Post on 13-Mar-2016
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THEUNFINISHEDCOLLECTION
dslcollection
Iona Whittaker
THEUNFINISHEDCOLLECTION
dslcollection
Iona Whittaker
Cover image
LIU BOLIN: “JR Through the Eye of Liu Bolin”, photograph, Edition 7 of 12, 146 x 200cm, 2012. Courtesy Eli Klein Fine Art, © Liu Bolin and JR
AcknowledgementsThis book would not have come about without the verve and
originality of Dominique and Sylvain Levy. I would like to thank
them for their enthusiasm and for inviting me to write this book,
which has proved a highly engaging and thought–provoking
experience, and goes beyond what is printed here. I am indebted
to the kindness, knowledge and inspiration of Karen Smith, with
whose support I first came to China and discovered its contemporary
art. I also want to thank Chris Moore, publisher of randian 燃点
magazine, for his perceptive comments and suggestions.
Contents
Introduction 13
A Book 14
Key Ideas 14
A Note on Time 15
Part 1: Where Do We Come from?
Origins: the dsl story 21
dslcollection: Mission 22
A Unique Project: dslcollection is Different 22
Acquisition Strategy 23
Departures 23
Culture is Contingent: Backdrop to dslcollection 23
The Challenge 27
Reference Points: Contemporary Collections 32
Part 2: What Are We?
Summary 38
Activities 38
Number Crunching 40
Strengths and Limitations: SWOT Analysis 41
Contents of dslcollection 42
Evolution 43
Part 3: Where are we going?
Aims Going Forward 48
Crucial Factors 48
Value 48
Ideas 60
Better by Branding 62
Lessons from Luxury? 75
Myth and Narrative 77
Cultural Branding for a Collection of Contemporary Chinese Art 80
Closing Remarks 81
Selected Bibliography 90
8 9
Preface“The real journey of discovery consists not of seeking
new landscapes, but in having new eyes...”
In relation to the big picture of international contemporary art,
the history of contemporary art in China is brief. But too much
emphasis on this comparison overshadows the huge developments
it has already undergone during a short period, changes which
have been more numerous and rapid than anything seen
elsewhere. From a tumultuous early stage, a dramatic boom and
what might now broadly be described as an adolescence, both in
terms of the market and the structures for contemporary art, this
is constantly–evolving territory.
Art aside, a changing condition is true not only of China, as is
often implied. The world as a whole is undergoing great shifts
wherein old orders are becoming unravelled, their fibres splitting
into constellations of new connections — not least due to the digital
age — where the source and destination are unclear, instantly
overcome by the flow of transmission. The so–called “Art World”,
inextricably linked to the wider context, is adjusting, too, though
long–standing canons are proving difficult to dissolve. Chinese
artists are producing work that is original, arresting and affective,
but for a number of reasons which persist, their output remains
peripheral to the main discourses of international contemporary
art.
Cue art collections. New questions arise in connection with
collecting art; to simply accumulate objects now seems outdated.
Under the altered and altering situation in which we find ourselves,
what should an art collection be? What could it do? What effect
8 9
could it have? How might an art collection match the dynamism
of its context? These thoughts play over the minds of Dominique
and Sylvain Levy, founders of the dslcollection of contemporary
Chinese art, and over this book, which is born of their desire to
explore and address them. This text is the product, not least, of the
daily exchange of ideas, articles and news between our respective
bases in France and China, of an exciting and reciprocal process
of inquiry.
As an independent art critic and editor based in Beijing,
specializing in contemporary Chinese art, these ideas about
collecting appealed to me. Subject to scrutiny should not only
be art works themselves, but the structures through which they
move and appear to us. Collecting is a field now in a position to
really influence contemporary art. A marriage between collecting
and Chinese contemporary art — which, as already mentioned,
deserves greater attention — seems an apt and productive one
for the present moment. I am glad, also, to have the opportunity
to approach this subject as an art critic. Too often supplanted
recently by the dominance of digits (the price of works), criticism
should expand and reclaim its relevance as part of the interlinked
“economies” — of value, knowledge and capital explored later
here — which hover insatiably around art. This book has proved
valuable for having brought these and other concerns to light and
offered a lens through which to look at them; as such, it represents
a beginning.
10
In the mood in which this book is conceived, one might be so bold
as to adapt the above quotation by Marcel Proust to befit the
current purpose:
“The real journey of discovery consists not only of
seeking new landscapes, but also in having new
eyes...”
We need new perspectives in order to see these changes clearly,
and to continue to do so. We must always seek new landscapes,
be they artistic or otherwise, and at the same time try to refresh
the eyes that perceive them. It is only by these means that we can
hope to remain active parts of the contemporary context, engaging
with it in a mode at once timely and timeless, with a finger on
“now” and a view to the future.
10
“The real journey of discovery consists not only of seeking new landscapes, but also in having new eyes...”
13
for the time in which they are living.”
“It is important for artists to speak
13
Introduction“It is important for artists to speak for the time in
which they are living.”
Sylvain Levy, co–Founder, dslcollection
In 1897, Paul Gauguin completed what he considered to be the
seminal work of his artistic career.
In the upper left–hand corner of the canvas, he wrote
“D’OU VENONS NOUS QUE SOMMES NOUS OU ALLONS NOUS”
(WHERE DO WE COME FROM WHAT ARE WE WHERE ARE
WE GOING).
A multitude of ideas converge on this quotation by one of the most
prominent artists of the 19th Century.
His existential inscription posits three essential questions that
were as much of his time as they are pertinent for ours, and those
that will follow.
14 15
A BookThis book reflects the desire of Sylvain and Dominique Levy,
founders of the dslcollection, to look systematically at the collection
they are creating of contemporary Chinese art. Beyond a simple
idea of accumulating works of art, it is their wish actively to
conceptualise the collection, treating it as an ongoing project with
the ability to further the field of which it is a part. This book offers
an opportunity to consider the dslcollection from its beginnings to
its current stage, and to think about the road ahead in awareness
of the contexts surrounding and influencing it, and upon which
it has the potential to exert an effect. In so doing, this book may
present more questions than it is able to answer; at the heart of the
exercise is active engagement with the question of what it means
to be an art collection in the 21st Century.
Key Ideas“The 21st Century collector must think beyond
established boundaries.” 1
Art collecting is changing.
The book is orientated around two key and interrelated ideas: the
identity of dslcollection as of its time, and timeless.
To pursue timelessness alone would be to limit the potential for
dslcollection to fulfil an energetic role, existing only in the traditional
sense of a collection: accumulating works and maintaining them
in a static manner, irrespective of shifting contexts and new
developments.
1 Sylvain Levy.
14 15
Vice versa — to only be timely would be to detach dslcollection from
the need for a consistent ethos underpinning its evolution, thus
allowing the possibility of its becoming ephemeral or subsumed in
what is an increasingly crowded, competitive milieu.
dslcollection must be not only acutely contemporary, moving with
the times, but also — in being a reliable, respected and recognised
entity — able to transcend them.
This conscious, dual imperative is an original approach by
dslcollection
In aiming to be simultaneously of its time and timeless, dslcollection
has in its sights an identity as dynamic, relevant and engaging
as well as long–lasting and respected for its unique, unchanging
message.
A Note on TimeEssential to this book are ideas about the relationship between
Time and collecting art.
In choosing to acquire works from the time in which they live
— and which are therefore their “contemporaries” as creative
products — collectors of any kind make a conscious decision to
deepen and visualise their relationship with their surroundings
through the pieces they select.
Collecting contemporary art is a way to understand and respond
to the time in which one lives; one may grasp at the spirit of the
age through the lens of art.
In collecting for posterity and in seeking to “go down in history”,
collectors are mindful of the future and of the idea of a legacy —
their choices claiming attention from future generations perceiving
the past.
Art collections are traditionally linked to the presentation
and narration of culture. Narration, as a form of storytelling,
necessarily implies the passage of time.
dslcollection wants to establish a model that makes collecting
art continuously active and meaningful — always
contemporary, and moving with shifting times.
One might think also of time in terms of how audiences experience
or “receive” culture now — not always whilst slowly contemplating
an exhibit, but whilst flitting between websites, for example,
or flicking through images. Temporal diversity is a crucial tool
with which to amplify the experience of art within a particular
context.2
The mode of acquisition necessarily entails time: accumulation
towards a state of completeness or closure (when the collector
themselves ceases to collect) heaps works together, finally
stopping them together in time. To collect as dslcollection proposes
— acquiring and replacing, adding and subtracting — means that
the collection is a moving entity over time, and never static
or complete; potentially infinite.
The aspirations of an art collection can be about time, as here: to
make your collection, and your choices, both timely and timeless.
2 Eliasson, Olafur, Artforum International, Vol. 48, No. 10, 2010.
Following two images
WANG JIANWEI: “Surface”, triptych, oil on canvas, (1) 162 cm x 112 cm, (2) 200 cm x 300 cm, (3) 162 cm x 112 cm, 2012 (panels 1 and 2). Courtesy of the artist and Long March Space.
Where Do We
Come From?
21
“We see the world in a different light: our understanding of modernism... is transformed by the increasing diversity of the artists and audiences we engage with, and by the character of the artists’ form of expression.”
21
Origins: the dsl Story“In an era of globalization, we see what a great
impact cultural diversity, technological and personal
mobility has had on the world. We see the world in
a different light and from a different perspective:
our understanding of modernism and the Western
tradition is transformed by the increasing diversity
of the artists and audiences we engage with, and by
the character of the artists’ form of expression. China
is an excellent example of this new cultural world.” 3
Sylvain and Dominique have been collectors for more than 25
years, initially of modern and contemporary Western art, furniture
and design. 2005 marked a turning point when it became clear
to them that from that moment forward, they would focus their
attention exclusively on the striking works of art being created by
Chinese artists. Thus began what they describe as an unending
adventure. Sylvain recalls the meetings that mark the beginning
of the dslcollection story.
“The first art work we collected was a painting by
Ding Yi. The decision to begin the collection was
based on two encounters: the first was with Lorenz
Helbling at ShanghART Gallery in Shanghai. We
discovered Chinese art and its immense diversity for
the first time. We were very excited about starting a
collection, but the issue was how to find references
in order to better understand this art from the
perspective of our own culture. The second was with
3 Dominique and Sylvain Levy.
“We see the world in a different light: our understanding of modernism... is transformed by the increasing diversity of the artists and audiences we engage with, and by the character of the artists’ form of expression.”
22 23
Martina and Yang Jiechang; it was they who gave us
the key to this art world, because they agreed to help
us build the collection. With them, we were able to
open the doors of many artists’ studios, and — more
importantly — to build a collection from a Chinese
point of view, not a Western one.” 4
dslcollection: Mission
A Unique Project: dslcollection is Differentdslcollection embodies a progressive model for collecting
contemporary art; it sets itself apart with a unique approach to
acquisition. Contemporary art is by its very essence evolving; a
contemporary collection needs to regenerate in order to stay in
tune with its context. The collection is conceived as a project, with
specific criteria governing the selection of works. A cap on the
number of works in the collection — set at 160 — ensures its constant
evolution and redefinition in tandem with artistic development,
and pursues communication between the art works. These must
be connected with Chinese tradition, but at the same time engage
with the contemporary environment in China. The quest for quality
in an art work is the core value of the collection, and regardless
of whether the artist is known, or unknown. dslcollection actively
seeks artists who inscribe themselves in contemporary discourse
and, in their works, reflect the increasingly globalised state of the
world at large from a Chinese perspective.
4 Sylvain Levy.
22 23
Acquisition Strategydslcollection’s acquisition strategy begins with the art work, first
and foremost; it is driven by creative works, not personalities, and
the collectors do not take centre stage. This conception follows Hans
Ulrich Olbrist’s description of “the fundamental invisibility”5.
Collecting should not be accumulation or investment; the founders
feel that in order to make dslcollection coherent, visually strong
and with a distinct identity, it is important to limit the number
of works — not unlike pruning and strengthening a Bonzai tree.
Where other contemporary collections expand laterally, amassing
large numbers of works, dslcollection is propelled forward in a
dynamic fashion, always reappraising and tuning its contents,
and pivoting around a core ethos.
DeparturesThe works that exit dslcollection are those which — even if they
are by established artists — are no longer fitting to the image of
the collection.
A solution is always sought for these works which reflects the
needs both of the artist and dslcollection. In 90% of cases, a sale is
made through a co–operating gallery; if this path is not available,
the work is destined for private sale through an auction house.
Culture is Contingent: Backdrop to dslcollectionIt is crucial for dslcollection to be actively aware of the
currents surrounding it, and in particular shifts occurring in the
art world relative to which it must be responsive and astute.
5 Hans Ulrich Obrist, quoted on www.dslcollection.org.
24 25
Assessing the ZeitgeistThese are unprecedented and unstable times. Whilst the “spirit of
the age” is unquantifiable (particularly in advance of hindsight),
it is possible and useful to note particular currents characterising
the socio–political, economic and cultural backdrop against which
dslcollection has arisen and of which it is a part.
We are undergoing a period of “–isation”: globalisation continues
inevitably to unfold; the digitalisation of information and exchange
channels is ever–deepening and expanding, with connectivity
and communication dominating via the internet, social media
and applications; one could argue for a resultant state of
“de–materialisation” — a flattening world. Urbanisation is at issue
particularly in developing countries; so–called “corporatisation”
prevails. Human systems have multiplied and become more
diverse; formerly centralized, simple narratives are now less
potent.6
Globalisation’s discontents are increasingly present in the social
consciousness: environmental crises; ecological degradation and
economic volatility; socio–political revolution.
Whilst old orders have not been overturned completely, there is
increasing evidence that they are coming unstuck. As geopolitical
influence shifts in tandem with the accelerated growth of formerly
under–developed nations, the predominance of the West as the
focus of power is diminishing.
The Art–geistThe “art world” is inextricably bound to the wider situation, much
6 Cascade Matters Blog, The. www.cascadeeducationalconsultants.com/blog.php?id=4049509996256327646
24 25
as it might appear (and often cultivates itself as) detached from
it.
An overt “monetisation” cannot be denied; the market has
overtaken critical judgment as the arbiter of value for works of
art.7
Critical or “knowledge” capital has therefore fallen behind
financial capital, and art criticism is now facing issues of identity
and direction.8
That said, a distinctive industry diction prevails across the art
world — a language of exclusivity for insiders, by insiders, and
which prevails in attendant literature such as art magazines,
artist monographs, exhibition catalogues and press materials.
In place of art criticism, we have witnessed the rise of art news9
— a tendency inextricably linked to the development of an
event–driven global art scene in which high–end actors spend
their time flying between art fairs and biennales.
Recent years have been marked by “fairism”10, with Art Basel
consolidating a network of blue–chip global fairs in 3 continents.
Market focus has shifted from the West to areas in the East, where
an expanding class of new wealth is willing to invest in art, and
where earnest collectors are now emerging.
This shift is also reflected in the recent rush by high–end Western
galleries to open in Hong Kong, especially.
7 Graw, Isabelle. High Price: Art Between the Market and Celebrity Culture (New York: Sternberg Press, 2009), 21.8 Elkins, James quoted in Charlesworth, J. J. “Criticism V Critique: JJ Charlesworth Critiques Critique.” Art Monthly, May 2011, 7+.9 Chloe Preece, “Branding and the Creation of Value: an Exploration of Artistic Careers in the Visual Arts Market”, King’s College London, 2012, 222.10 Schieldahl, Peter, “Temptations of the Fair: Miami Virtue and Vice”, The New Yorker, December 25, 2006.
26 27
Emerging art scenes in regions previously marginalised by
West–centric art history — of which China is currently the prime
example — are, however, crucially lacking in infrastructure for
art, resulting in spectacular but empty museums and a dearth of
critical discourse.
Alongside and in contrast with initiatives designed to bring art
to wider audiences, there seems to have been a deepening of VIP
culture, wherein a “VVIP” elite is separate from the VIP lists of
before.
Recent years have posed significant challenges to the primary of
museums: funding cuts, financial pressures, increased competition
(particularly from commercial galleries with the means to stage
curated “museum–quality” exhibitions), corporate ties and a
“brain drain” whereby many influential curators migrated to the
commercial side have undermined traditional museum culture.11
But: the pursuit of high–profile branding and expansion
enterprises by such groups as Tate, the Guggenheim and Centre
Pompidou reflects a desire to revamp this area, rethinking the
role and potential of museums for a new era. Places which were
once distant from the map are now making strategic efforts to
put themselves on it with high–profile museological initiatives —
Quatar is a prime example.
As a result of broader globalisation, the art world is becoming
increasingly internationalised: curators, for example — once bound
to their institutions — are often now globe–trotting figures.
Artists, too, are highly mobile and unlikely to remain in one place;
a measure of this is the fact that four foreign artists (Ai Weiwei,
Romuald Karmakar, Santu Mofokeng and Dayanita Singh), have
11 Cumming, Laura. “What Price the Rise of Private Art?”, The Observer, 12 October 2008.
26 27
been invited to represent Germany at the 2013 Venice Biennale.
There are increasing numbers of bilingual art magazines:
randian 燃点, for example, is published in English and Mandarin;
Frieze launched a German edition (Frieze d/e) in 2011.
Loosened by post–colonial and transnational perspectives towards
the turn of the 21st Century, and in line with the decline of its
primary structures (museums, criticism), the art historical canon
is losing its grip.
The ChallengeEssential to this document if it is to guide the future of
dslcollection is as awareness of the challenges facing it.
Whilst some generalisation is inevitable, and the slant here is
necessarily negative, the following factors bear on the successful,
long–term promotion of contemporary Chinese art to international
audiences.
Literally, in terms of size, the Chinese art scene is the largest in
the world. The primary challenge for dslcollection is to generate
understanding of and curiosity about it amongst both existing and
potential audiences, as well as to help Chinese artists to engage
more deeply with the wider world.
Radical art worksChinese contemporary art is radical — not only relative to an
inward–looking Western canon, but also to traditional Chinese
art history, its sensibilities and methods. Contemporary Chinese
art confronts both.
28 29
TranslationIssues of translation both linguistic and cultural complicate the
encounter with the work on the international stage.
MediaChina and its socio–politics are often portrayed negatively by
the press in other countries; in the absence of access to accurate
information, these portrayals prevail in the mindsets of foreign
publics, discouraging engagement with its cultural life.
Perceiving ChinaLinked to the above is the persistence of a political, rather than
a cultural, view of China. A recent review of the exhibition “Art
of Change” at the Hayward Gallery inadvertently made these
expectations clear:
“Strikingly, sledge–hammer politics don’t feature
here, indeed much of the work is touchingly
whimsical.” 12
Another wondered what other possible reaction there could be to
Yingmei Duan’s performance piece (in which actors clad in striped
pyjamas followed visitors around) in the same exhibition:
“At the outset, these girls seemed political — what
else?” 13
12 Luke, Ben, “Art of Change: New Directions from China, Hayward Gallery — review”, Evening Standard, 13 December 2012 [www.standard.co.uk/arts/visual-arts/art-of-change-new-directions-from-china-hayward-gallery--review-8135114.html].13 Cumming, Laura, “Art of Change: New Directions from China — review”, The Observer, 7 September 2012.
28 29
Chinese Art BoomWidely reported was the infamous boom in Chinese art that
peaked in 2008; works by Chinese artists made an explosive
entrance onto the world stage, commanding record prices. Of the
art works that made their creators millionaires during this time,
certain motifs have stuck — most powerfully, grinning faces. This
boom on some levels engendered judgments about the new Chinese
art as narrowly cynical and motivated solely by the market. These
judgments persist today, whether consciously or not: Western
audiences in the main do not expect quality of imagination from
Chinese artists; observing a recent exhibition of work by MadeIn
Company in a Parisian gallery, Sylvain recalls the surprise
attending most of the visitors’ discovery of works that actually
interested them.14
Commercial ExhibitionsExhibitions of contemporary Chinese art abroad are relatively
few. High prices for the work collide with a lack of knowledge or
experience of it on the part of Western audiences, so that only the
more adventurous with the means are inclined to acquire it, thus
discouraging its integration and its becoming a more “natural”
presence for gallery–goers. Conditions for foreign galleries
wishing to feature the Chinese works outside the country are not
favourable, with a high import tax back into China, for example,
discouraging the export of works for commercial display, should
they have to be returned unsold.
14 Sylvain Levy.
30 31
In PrintExposure in international art magazines of the contemporary
scene in China is mainly limited to art fair, gallery or auction
advertising, thus perpetuating the image of a highly commercial
scene with which there is little opportunity to engage critically. In
addition, a headline diction persists in newspaper reportage along
the lines of “Great Wall of Chinese Art” etc., reinforcing cultural
stereotypes through a repetitive choice of words and reference
points.
OnlineAlthough selected online magazines now have a Chinese branch
— for example ARTINFO.cn and Artforum.cn, their concern is
often less to bring news of the Chinese contemporary scene to
foreign readers than to offer coverage from the Western side in
translation.
Talking HeadsFor the purpose of this research, the editorial team at one of
London’s top international contemporary art magazines were
asked what they thought about Chinese contemporary art. The
responses included:
“As to the Chinese question — aside from a few artists,
I don’t really think about Chinese contemporary
art.” 15
15 Anonymous Editor.
30 31
“Chinese contemporary art is the most uniformly
subprime area of the global art economy.” 16
Such responses — or the lack thereof — force the conclusion that
Chinese contemporary art simply is not a “valid” presence on the
critical radar for such commentators, and also that it is subject
to real art world snobbishness. Both are attitudes dslcollection
wishes to supplant.
In general, one might argue that whilst Chinese contemporary
art has in recent years generated significant market confidence, it
has yet to cultivate creative confidence amongst different
audiences.
On Home SoilIn China there exists a relative dearth of infrastructure for
contemporary art.
In particular, a lack of academic and critical discourse and public
financial support hinder the development for steady frameworks
against which emerging art can orientate itself.
The situation was aptly summarised by Pi Li, incoming Senior
Curator at M+ in Hong Kong, in Artforum:
“…Despite the breathtaking rise of the market for
contemporary Chinese art, the nation’s institutions
continue to lag seriously behind…China lacks a
critical discourse capable of independence from both
politics and the market, not to mention non–profit
institutions capable of supporting artists’ experiments.
The few museums that have contemporary
16 Anonymous Critic.
32 33
programming are often mired in problems, dependent
on renting out their spaces in order to maintain their
operations. This leads to a situation in which public
museums are encouraged to put their limited budgets
toward media–friendly biennials, and private
museums come off as compromised spaces that serve
their owners by mediating between the gallery and
museum systems, serving mostly as tony containers
for the display of private and corporate collections
rather than actually engaging a public…Exhibitions
of curatorial value are often confined to the periphery,
in the project spaces of commercial galleries, located
in, say, some village a forty–minute cab ride from the
centre of town…” 17
In addition, the art media in China remains extremely limited;
a proliferation of so–called “art” magazines accept payment for
pages, and a breadth of critical dialogue is lacking.
Ongoing in China is a spate of private museum—building on a
dramatic scale: size and spectacle in architecture — so–called
“vanity projects”18 — are many; but these suffer, often, from
a want of content, professional management and expertise to
sustain them.
Reference Points: Contemporary Collections19
dslcollection is not the only collection seeking to establish its
presence on the global art stage. Awareness of the nature of other
17 Pi Li in Artforum International, Summer 2010.18 Green, Tyler. “Turning a Museum into a Vanity Space”, The Art Newspaper, Nov 2009.19 The following assessments are all drawn from Chen, Patricia. “The DSL Collection: A White Paper”, 2011.
32 33
contemporary art collections is important:
Pinault CollectionContent: international contemporary art
Platforms: online, own museum, exhibitions, publications,
education
Foundation? Yes
Exposure level: high
Involvement in local Chinese art scene: very little
Budi Tek CollectionContent: ostensibly Chinese contemporary art
Platforms: online, two museums (one forthcoming), exhibitions,
education
Foundation? Yes
Exposure level: high
Involvement in local Chinese art scene: low
Burger CollectionContents: international contemporary art, including Chinese
Platforms: online, exhibitions, education, publications
Foundation? No
Exposure level: medium
Involvement in local Chinese art scene: medium
White Rabbit CollectionContent: specifically contemporary Chinese art
Platforms: online, own museum, exhibitions, education,
publications
Foundation? Yes
Exposure level: medium
Involvement in local Chinese art scene: low
35
Uli Sigg CollectionContent: specifically contemporary Chinese art
Platforms: exhibitions, museum donation, publications
Foundation? No
Exposure level: high
Involvement in local Chinese art scene: medium
Following two images
LI WEI: “The The hollow Men — The Truth”, painted fibreglass, 59 x 39 x 109cm, 2009 (detail and full view). Courtesy of the artist.
35
36
36
What are We?
38 39
Summary
AttainmentsRecognition: dslcollection has achieved a fairly respectable level
of name and project recognition amongst important stakeholders
in China comprising people in the museum, artist and dealer
circuits; it is increasingly well–regarded in the international
museum circuit in connection with Chinese art.
Relationships: strong working relationships with selected art
media and organisations, for example RedBox Review, randian 燃点
and Momentum Worldwide; dslcollection is an ardent supporter of
projects in emerging fields.
Invitations: dslcollection has been approached to create a Latin
American collection under the dslcollection name; invited also to
join the International Council at Tate.
Activities
Digital Platformsdslcollection has established a successful technological platform
for sharing its collection.
Professional / social networking sitesdslcollection enacts a strong presence on LinkedIn, with regular
updates and contact with connections.
PublishingA book on the collection published in in both English and Chinese;
distributed globally to important art world actors.
38 39
EducationSylvain is a visiting Professor at Shanghai University, and has
visited numerous universities including NYU, la Sorbonne and
Heidelberg.
Ongoing Projects / dslcollaboratesHayward Gallery, UK: collaboration for the exhibition “Art of
Change” (September–December 2012).
Tsinghua University, China: partnership to establish a prize to
be awarded to three Chinese multimedia artists for residencies
abroad.
Momentum Berlin, Germany: “PRESS PLAY: New Perspectives
in Contemporary Chinese Art” displayed 6 video works from
dslcollection at Momentum, based on the 3D exhibition curated by
Martina Koppel Yang, on show in dslcollection’s virtual museum
(April–June 2012).
Planned ProjectArt–Ba–Ba Mobile Tour, China: a touring exhibition of emerging
artists.
Seminarsdslcollection has participated in seminars at Tsinghua and
Shanghai Universities, ARCO Madrid and New York University.
Sponsorshipdslcollection is an active sponsor of the following: RedBox Review,
randian 燃点, John Moore Critics’ Award in China.
Digital PresentationWebsite — dslcollection.org was launched in Shanghai at
SHContemporary in September 2011; a comprehensive site
40 41
incorporating documentation, online exhibitions and information
on dslcollection and its artists
iPad app — dslcollection iPad app. was launched in 2012,
providing a new support for viewing the collection, in tandem with
contemporary technology
dslCineMag — dslCineMag, launched in May 2012, is the first
app–magazine to introduce ‘Chinese New Cinema’ to international
audiences.
3D Documentation — dslcollection is working to document (mainly
installation) exhibitions in 3D, in order to compile a progressive
archive that brings the work to life in a way that 2D filming
cannot.
Number Crunching
dslcollection.org300–500 visitors per day
40 repeat visits on average per day
Linkedin4400+ links in 85 countries
Youtubec30,000 views of the dslcollection video
20,000+ views of the dslcollection 3D film
dslcollection Book1000 copies printed of the small–format edition in English
500 distributed to important to important institutions, curators,
collectors, magazines and others in more than 15 countries
160 important art world players in the West have received a copy
40 41
of the limited edition book in English
200 people have received a copy of the large–scale Chinese
edition
Projects4 ongoing projects — Hayward Gallery, Tsinghua University —
TASML / dslcollection prize, John Moore Art Critic prize with
Shanghai Normal University, Momentum Worldwide
Strengths and Limitations: SWOT Analysis20
20 Diagram template source: SWOT pt.svg; author: Xhienne, en.wikipedia.org/wiki/File:SWOT_en.svg.
Helpful To achieving objectives
Harmful To achieving objectives
Strengths Weaknesses
Inte
rna
l O
rig
in (a
ttri
bute
s of
th
e or
gan
isat
ion
)
Cohesive mission and decision–making structure.
All artists are represented at the same level — based only on the sheer quality of the work.
Private status — internally funded and independent.
Acquisition budget is limited — a strength in dictating the careful selection of works.
Fairly well–established name.Good personal relationships and contact
base within the international art scene.
Collaborations to date with art institutions and organsations for education, exhibitions and support.
Mutual support and promotion through sponsorship.
Consciousness of the contemporary moment and an active will to engage with it in collecting art; clear missive and ambition.
dslcollection includes works by artists who are respected in the international scene, for example Zhang Huan.
Comparatively young collection.Despite its focus, dslcollection is based
outside China.The lack of a building / tangible space
in which to house / display the collection may be seen by some as a disadvantage.
Private status means that dslcollection cannot rely on sources of funding other than its own.
A small team, each with other commitments, means that dslcollection is not the sole focus for those involved.
Limited exposure in the international media.
A cap on the number of works might be seen by some as a limitation.
42
Helpful To achieving objectives
Harmful To achieving objectives
Opportunities Threats
Ex
tern
al
Ori
gin
(att
ribu
tes
of t
he
envi
ron
men
t)
dslcollection finds itself at the centre of many questions now facing contemporary art — concerning collection, display and dissemination, for example.
The zeitgeist (aforementioned) indicates that geopolitical attention and power are shifting away from West–centrism.
Art market focus is moving from West to East, where Art HK dominates attention, and new collectors are emerging.
Prominent exhibitions of Chinese art — for example at the Hayward and Sherman Foundation — are encouraging public and critical awareness of the work.
Opportunity to establish dslcollection as a bridge in terms of cultural diplomacy, opening up new audiences and helping to change attitudes.
Chinese contemporary art remains radical, and is “uncomfortable” for many audiences.
Financial and cultural issues and lack of knowledge discourage Western galleries from featuring contemporary Chinese art.
Issue of display — apart from via its own digital platforms, dslcollection is dependent on the cooperation of galleries and institutions with real space to actually exhibit the works.
China is currently subject to largely negative reporting by the media in Western countries; this affects the degree of openness to its cultural life.
Contents of dslcollection
160 worksMedia: all, from installation and performance to painting and
photography
Date commenced (collection): 2005
Date of creation (individual works): 1983–present
Size: mainly large–scale works
Current location: France and China
100 artistsNationality: Chinese
Age range: more than 50% are under 35
Current location: China and international
42
dslcollection is conceived with the aim of representing leading
experimental and avant–garde Chinese artists — those
exerting an influence on the development of contemporary Chinese
art as it unfolds. As befitting its ethos, dslcollection includes works
in diverse media from painting to sculpture, installation, video
and photography. Among around 100 artists currently present
in dslcollection are established names like Ding Yi, Zeng Fanzhi,
Zhang Huan and Li Yilin, as well as emerging artists such as
Ma Qiusha, Xie Molin and Zhao Yao.
EvolutionDuring the 7 years since its inception, dslcollection has evolved,
refining its aims. dslcollection is focussed now on the acquisition of
monumental works with powerful visual effect, and is more
closely linked with emerging artists — those who may create one or
two good exhibitions, but whose artistic development is uncertain
or unpredictable.
LIN TIANMIAO: “The Very Same”, synthetic and animal skeletons and gold leaf (1500 pieces), dimensions variable, 2011 (installation view). Courtesy of the artist.
45
dslcollection is open to all kinds of art work. A recent acquisition
— “The Very Same” (2011) by Lin Tianmiao — exemplifies the
kind of installation that represents a challenge to collect, to
exhibit — even to sell. It was collected because Lin Tianmiao is
amongst the strongest female artists in China, and on account
of the ambitiousness of the installation. It has that elusive “wow
effect” — and without succumbing to mere spectacle.
dslcollection is a collection of art works — not artists. If a work
is considered breath–taking and meaningful, it will be collected
regardless of the fact that the artists may be completely unknown.
dslcollection collects the best works; it prefers a high–quality piece
from an unknown artist to medium–quality work from a famous
one.
Following two images
GAO LEI: “K7 — Carrier”, mixed media installation, 760 x 200 x 200 cm, 2011 (detail). Courtesy of the artist and White Space.
45
46
46
Where are We GoinG?
48 49
Aims Going Forwarddslcollection is a contemporary art collection with a Chinese focus
and international scope.
The following ideas might apply not only to dslcollection, but to
the broader spectrum of contemporary art collections amid these
shifting times in posing the question “Where are we going?”, and
suggesting ways to address it.
The founders have expressed a wish for dslcollection to be at once
fundamental and invisible — a conduit for, and instigator of,
developments in the field of collecting contemporary art
Crucial FactorsThere can be no doubt about the strength of the art works 1.
being produced by contemporary Chinese artists.
A combination of aforementioned “zeitgeist” factors has 2.
resulted in the rise of the private sector and of the influence
art collections can exert.
Innovation now stands alongside beauty and artistic skill as 3.
the standard by which contemporary art is valued.
ValueThe art world pivots around highly nuanced conceptions of value.
Whilst it is not within the scope of this book — or its intention —
exhaustively to explore the concept of value relative to art, a
central question at the present time is:
How are contemporary art collections being valued?
48 49
What is value and where is it located?Simply defined, “value” is “relative worth, merit or importance” 21.
For contemporary art, there are two main distinctions of value,
which — despite the efforts of many ostensibly to separate them —
are inextricably linked22: monetary value and aesthetic value.
For an art collection, these relate to the contents of the collection
(individual works), the collection as a whole and the context in
which it exists, ie., internal and external views.
The internal view entails such attributes of the work as:
Authenticity
Originality
Skill
The external view refers to factors influencing the response to it
(be that purely economic or otherwise), for example:
Prior knowledge
Presentation
State of the market (according to Artprice.com, of the twenty
“most sold” artists of 2011, ten were represented by Gagosian
Gallery and ten were Chinese23).
The Bigger PictureThinking beyond the art works themselves, one might consider the
value of an art collection in the following contexts:
21 The online Dictionary, dictionary.reference.com.22 Graw, High Price: Art Between the Market and Celebrity Culture, 154.23 www.artprice.com
50 51
Relative to the “culturisation” 24 of the world of business, wherein
cultural values have become relevant to creative marketing
strategies.
The idea of short and long term value — or — that which can be
realised quickly, as opposed to what may take time to develop.
With respect to notions of value in different regions25 — in the
case of dslcollection, France and China.
As the market grows in power, so too does the potential influence
of art collections.26
“Symbolic Value”Whilst art collections are inevitably tied to the market, dslcollection
for its purposes is more concerned with the kind of value which is
incalculable in economic terms.
In order to name this incalculable value, one may borrow a term
from sociologist Pierre Bourdieu: “symbolic value” 27.
Symbolic value may be loosely defined as a quality unhinged
from the materiality of any given thing; as efficiently summed
up recently, “It thus stands for a surplus and an assumption of
meaning and worth that goes beyond the concrete object used to
refer to it.” 28
Under the auspices of symbolic value lie such elements as
Emotive impact — upon direct encounter with a work
Cachet — “A certain cachet” indicates a particular, but
24 Preece, “Branding and the Creation of Value”, 37.25 Ibid., 48.26 Ibid., 178.27 Bourdieu, Pierre. “Structures, Habitus, Power: Basis for a Theory of Symbolic Power” in Outline of a Theory of Practice (New York/Cambridge, Cambrudge University Press, 1997), 182.28 Graw, High Price: Art Between the Market and Celebrity Culture, 23.
50 51
unspecified status
The “aura” 29 of a work of art, as described by Walter
Benjamin
Singularity — the art work as one of a kind30
Its lasting quality31 — encapsulated in the saying “Life is
short, art is long”
It is this system of value that is crucial for the identity of
dslcollection and its peers if it they are to exert an effect both now
and for posterity — ie. as both timely, and timeless.
Key to propelling dslcollection forward is an understanding of
the inherent desire for symbolic value, and ideas as to how to
cultivate and fuel it as part of the art world’s machinery.
The Changing Nature of ValueThe construction of value is not exempt from shifts in the art and
wider world as described in Part 1 (the Zeitgeist and Art–geist).
Recent marketing literature discusses the construction of value
in connection with active relationships and networks; it is thus
increasingly “participatory and dynamic” 32, rather than static and
cumulative. Reputation and recognition are being built differently
these days — gaining credibility happens primarily through word
of mouth and one–to–one relationships.
Regardless of such shifts, however, museums still represent
the apex of value for art works, “museum quality” 33 being the
distinction.
29 Benjamin,Walter “The Work of art in the Age of Mechanical Reproduction”, 1936.30 Graw, High Price: Art Between the Market and Celebrity Culture, 25.31 Ibid., 26.32 Preece, “Branding and the Creation of Value”, 16.33 Ibid., 30.
52 53
“Economies”Relative to the ambitions of dslcollection, it is productive to think
about value in the sense of different “economies” at work.
A standard definition of “economy” includes “The prosperity or
earnings of a place”, and “The disposition or regulation of the
parts or functions of any organic whole; an organised system or
method.” 34
Apart from the obvious — the financial — there is also “knowledge
capital” relative to works of art, their critical understanding and
appreciation.
In the art world, as others, there is certainly what might be called
a “kudos economy” in operation, wherein acclaim and recognition
circulate, are desired and won, maintained, damaged and lost. It is
essential to gain acclaim in order to be noticed and remembered.
Taste?Taste is at once integral to relationships with and judgements
of art and notoriously difficult to pin down. Whilst one cannot
hope to quantify or even very accurately assess taste beyond a
“predominant taste” or apparent trend — say for painting or
sculpture at any particular moment — its shifts and influence
cannot be denied.
What one can say with conviction is that taste is highly contingent
(for example on background, upbringing, current context both local
and general and opinion influencers) and is largely a subconscious
reaction to what is seen or experienced. It is often difficult to fully
34 The online Dictionary, dictionary.reference.com.
52 53
explain why one is drawn to some things, and not to others.
As an independent, private collection, dslcollection is necessarily
governed by the personal taste of its owners and founders, who
must stand by their choices.
Taste FormationJust as there can be no such thing as a truly independent opinion,
so it is for taste.
The reality of contemporary aesthetic judgement and its attendant
literature has been aptly summarised thus:
“Today, especially under the conditions of the
information and media society, it should go without
saying that no–one makes judgements “for himself”…
Never before has judgement–formation depended so
heavily on the kind of “idle talk” so despised by Kant…
It is only Paolo Virno who has rehabilitated “idle talk”
in the sense of a “contagious and prolific discourse
without any solid structure” that offers orientation
in times when it is hard to gain an overview. It
“nurtures reassuring certainties” and “diffuses
opinions that are always already shared”. What for
Kant must be ignored at any price is recognised as
a productive force by Virno, who declares it the core
form of production within a society already ruled by
communicative action…For in today’s “connexionist
world” (Boltanski/Chapello), the key is to have access
to as much information capital as possible. And one
can assume that this information capital, with its
newly enhanced value, will help shape our aesthetic
54 55
judgements of taste. What Kant condemned as
invasive chatter now forms the basis of our capacity
for aesthetic judgement.” 35
Relevant taste–influencers in the contemporary context therefore
include, for example:
Social media
News
Private conversations
Broadly speaking, part of the goal for dslcollection is to help
generate tastes for contemporary Chinese art, firstly as one of
few collections focused solely on this work, and secondly where
Chinese art works — still considered radical and unfamiliar in
many circles (not least those more startling works dslcollection is
now focused on) — are not yet a widely accepted canvas for taste.
How to generate value?
Building a ConsensusThe construction of value in the art world rests heavily on
endorsement. Integral to its “taste–making machinery”36 are art
dealers, their contacts and exhibitions, curators, critics, awards
and collectors.
Traditionally, and as theoretically separate from the commercial
side, critics are the ones to generate symbolic value for art
works through critical engagement.
The process ideally has a snowball effect, with notice, knowledge
and acclaim passing between parties, spreading and accumulating.
35 Graw, High Price: Art Between the Market and Celebrity Culture, 154.36 Preece, “Branding and the Creation of Value”, 28.
54 55
This explains the excitement surrounding emerging art, as people
strive to (be the first to) generate the action around an artist that
those further down the line will want a piece of. “Spotting” a great
new artist who is more than a flash in the pan is sought after,
both in terms of economic and symbolic value, and particularly in
a climate where innovation and originality (not just on the part of
the art, but of its practitioners, too) is highly regarded.
Across the art world, recognition is key.
The Communication of ValueAs vital as value itself are the channels by which it travels. This
is especially true in the art world — a famously opaque industry
based largely on private conversations, word of mouth and close
relationships.
WHO?Succinctly put: “A crucial influence on the shaping of my judgement
will also be…above all by whom the art work in question was
recommended to me. What sources does idle talk draw on? Do I
value the opinion of those who claim to appreciate this work?” 37
WHERE?The context or vehicle through which information travels is also
very important; the editorial in a magazine, for example, carries
different weight from opinions imparted at a private dinner.
37 Graw, High Price: Art Between the Market and Celebrity Culture, 154.
WHY?An awareness of the source’s motivation(s) may affect how what
they convey is received.
In addition, one must keep in mind “…the many and varied social
factors of any given aesthetic experience (prior knowledge, existing
interests, knowledge of artistic hierarchies, recommendations from
others, etc.)” 38
Trust and the Value of ValuesIt is therefore critical for dslcollection to be a trusted source.
This is the single most important factor relative to its ambitions as
a contemporary and lasting platform for emerging Chinese art.
The value of dslcollection’s core values is therefore indispensable;
without consistent and reputable values to guide and frame
its actions, dslcollection would open itself to the possibility, for
example, of inconsistency; this would destabilise audiences’ trust
in its endeavours, and ultimately diminish its sources of support.
Noun / VerbThus, dslcollection needs to approach “value” as both a noun, and
a verb.
LegitimationAs a field of cultural production, the art world has its own
discourses and diction which serve to legitimate works of art as
art.39
38 Ibid.,155.39 Preece, “Branding and the Creation of Value”, 155.
Image overleaf
CHENG RAN: “Anonymity, or Imitation and Imagining of Man Ray’s “Tears”, single channel video with sound, 11 min 33 sec, 2010 (video still). Courtesy of LEO XU PROJECTS.
58 59
As already mentioned, museums embody the chief affirmation of
value for works of art, cementing them both in their own time and
for future generations, and legitimising their presence as part of
the wider discourse — a judgement accepted by art world actors
and the general public alike.40
In tandem with the increase in power of the market and shifts
occurring in the museum realm, as well as a general loosening
of rigidly–defined roles in the art scene, collectors can now play
a greater part in the process of legitimising art works for an
audience of both insiders and outsiders to the art world. The high
standard of the works they own and a developing imperative to
share them combine to propel this shift.
Value Added?In aspiring to be a form of conduit — fundamental and
invisible — might dslcollection understand itself in terms
of “value added” relative to the production of symbolic value for
contemporary Chinese art?
The Tipping Point“The tipping point” 41 was coined by Malcolm Gladwell in a
book first published in 2000 to denote the moment when “social
epidemics” or trends reach critical mass.
The idea has been summarised thus:
“…It only takes one person (a “connector”) to show
off his new…look to an influential contact (a
40 Ibid., 156.41 Gladwell, Malcolm. The Tipping Point: How Little Things can make a Big Difference. First published by Little Brown: UK, 2000.
58 59
“maven”) whose adoption of the look is co–opted by
opinion–formers such as model or pop stars
(“salesmen”)…According to Gladwell, you can detect
the tipping point in everything from business to
advertising to social policy, and, given the tools, even
start “positive” epidemics of your own.” 42
Although the tipping point refers less to fine art than street–level
trends, for example, its concept is still a useful one to apply to the
aim of disseminating Chinese contemporary art amongst wider
audiences. As opposed to Gladwell’s “tipping point”, however,
dslcollection aims for Chinese contemporary art to instil itself in
the long term — not just as a temporary trend.
In this vein — and given the dependency of the art world on close
relationships — dslcollection might imagine itself as a kind of
“connector”, in Gladwell’s words:
“…I talk about the central role that three personality
types — that I call Connectors, Mavens, and Salesmen
— play in social epidemics…What makes someone a
Connector? The first — and most obvious — criterion
is that Connectors know lots of people. They are the
kinds of people who know everyone.” 43
Of course, dslcollection cannot hope to achieve a “tipping point” for
Chinese contemporary art on its own, but a form of tipping point
— wherein the activity of a body like dslcollection in contact with
influential actors causes the spread of an idea or interest — is in
large part the goal.
42 Bayley, Stephen. “50 great ideas for the 21st Century”, The Independent, August 6, 2006.43 Gladwell, Malcolm, introducing The Tipping Point on www.gladwell.com/tippingpoint/tp_excerpt2.html.
60 61
Questions about ValueThese themes are being explored always in a mode of questioning. Among the questions that might be posed at
present are:
Should a collection be built on trophies or well–known artists to be
considered as a meaningful collection?
Can it be also composed of creative works from unknown artists?
What does it mean to the artists and their works to be included in
this collection?
What is the value of independence?
What can art collections do that galleries and museums can’t, and
vice versa?
How can value be measured, if not financially?
IdeasThe following outline different ways in which a contemporary body
such as dslcollection might further its aims.
dslConnectionThe art world is all about relationships and networks.
Perhaps one of the most valuable means by which dslcollection
can contribute to the field is by facilitating meetings between
relevant people that will generate discussion, communication and
opportunities.
The founders of dslcollection collect not only works of art, but also
moments of happiness; a collection is composed of memories, too.
60 61
dslOpportunitiesSimilar to dslConnection but aimed at less experienced or
younger people, allowing them to gain experience with galleries
and museums, for example, with whom dslcollection may have an
arrangement for assisting placement.
dslShowsA regular project (say annual or bi–annual) with a gallery or
museum whereby dslcollection collaborates for a short exhibition
by one of its artists.
dslPrimerAn initiative by which — rather than exhibitions of challenging
Chinese art appearing out of the blue for uninformed audiences,
and thus proving sometimes difficult to grasp — dslcollection helps
to inform audiences about the upcoming show, its artist(s) and
theme in advance of the opening.
dslSalonThe idea of a Salon follows the model of gathering together
(instigated by an enthusiastic and knowledgeable host) that was
popular in France in the 17th and 18th Centuries — in line with
Horace’s definition of poetry “either to please or to educate” 44.
dslcollection might fulfil the role of that host, encouraging people
to come together in a relaxed and informative manner.
44 “Salon (gathering)” en.wikipedia.org/wiki/Salon_%28gathering%29.
62 63
dslSurveysAs much as dslcollection aims to contribute actively to the
development of Chinese contemporary art, it would also like
to help document its progress. A survey carried out subtly and
regularly might assist greatly in gauging receptiveness to the
work, for example, in the wider art world context, and in detecting
change over time.
dslDiaryA diary of events, exhibitions, prizes etc. relevant specifically to
contemporary Chinese art as a reference point.
Relationship BuildingThe art world, as has been mentioned, is based on close, active
relationships and word of mouth; a revolving cast of prominent
actors — for example curators and museum directors — can be
personally influential.
For this reason, dslcollection should compile an on–going list of
target names; these should be contacted directly and individually
about the collection, its activities and aims in an effort to foster
these important relationships and the assistance they may
generate.
Better by BrandingSymptomatic of the current age are developments in the reach
of branding and its tactics. Just as it has become fashionable for
companies to enlist creative marketing strategies, so branding —
originally an approach confined to commercial companies — is
now an accepted option for non–profit enterprises, including those
62 63
relating to art.
The primary aims of a brand are to define and differentiate a
product.
As long ago as 1999 it was observed that “Imagery has reached
such a throbbing pitch that it is understandably likened to noise.” 45
Predictably, recent years have seen no slowing of this trend —
quite the opposite — and in tandem with it is increased recourse
to branding.
This is an “any time, everywhere world” 46; this ubiquitous situation
represents both an opportunity and a challenge.
Adopting a brand–style approach may assist dslcollection in its
aims to infiltrate, integrate and influence in its chosen field.
Branding TenetsSimply put, branding is a “persuasion tactic” 47 that revolves
around identification. It is a tag (often visual) that spells
particular associations, ideas and meanings — and their value —
in the mind. It is a “cue to quality.” 48
Brief by definition, a brand triggers direct relay to specific content
in a crowded marketplace, where many different identities are
jostling for the attention of the audience:
“Branding images are simple, often stark in
45 Moeller, Susan D. “Why We Need Those Shoes: The Power of Branding,” The Christian Science Monitor, September 3, 1999.46 Mathieson, Rick, The On–Demand Brand: 10 Rules for Digital Marketing Success in an Anytime, Everywhere World, (New York: AMACOM), 2010.47 Laran Juliano et al, “The Curious Case of Behavioural Backlash: Why Brands Produce Priming Effects and Slogans Produce Reverse Priming Effects”, Journal of Consumer Research, April 2011.48 Idem.
64 65
composition. They occur when form and content
collide. They associate a single, distinctive idea with
a product, news event, or person. Branding images
provoke a visceral reaction.” 49
Logos are a good example of the visual rhetoric employed by
brands.50
Slogans are a more overt method enlisted to sell products or
ideas.
Crucial to remember is that “Your brand is not your product, your
logo, your website, or your name. It’s what your customers perceive
about you, and how you make them feel.” 51
Brands are reflexive devices, they not only about the value
of the product, but dependent also on the qualities its audience
perceive in and desire for themselves.52
Brand–building: Fundamental PrinciplesAs a non–commerical brand, dslcollection is involved in the selling
— read “dissemination” — of ideas, not products; generating
symbolic, not financial value.
Just as dslcollection aims to be a conduit in the field of
contemporary Chinese art, so branding could be a conduit for the
spread of its mission.
49 Moeller, “Why We Need Those Shoes: The Power of Branding”.50 “Visual Rhetoric/The Rhetoric of Brand Identity: Nike”, en.wikibooks.org/wiki/Visual_Rhetoric/The_Rhetoric_of_Brand_Identity:_Nike51 Sorenson, Lauren. “7 Components That Comprise a Comprehensive Brand Strategy.” blog.hubspot.com/blog/tabid/6307/bid/31739/7-Components-That-Comprise-a-Comprehensive-Brand-Strategy.aspx#ixzz29jYql3DP.52 Preece, “Branding and the Creation of Value”, 240.
64 65
The following can be considered integral to building and sustaining
a brand:
Differentiate yourself: focus on something that sets you apart.53
Create a position: decide what position suits your background,
abilities, and audience, and plan around it.54
Be consistent and persistent55: this is obvious
Customise your services: qualify the brand identity by offering
services tailored to your aims.56
“Product first”57: in dslcollection’s case, this is the ethos of the
collection, which in turn revolves around unique art works.
It is important (particularly in the case of symbolic value) to be
wary of too heavy an emphasis on marketing; some research has
shown, for example, that consumers are more wary of slogans
than they are of a brand58 — a reflection, perhaps, of the level
of emotional investment required in order to endorse a product,
whatever it might be.
Big Brand / Small BrandWithin its field, dslcollection is a relatively small fish — it is not
the Pinault Collection, nor the Guggenheim or Tate, lacking their
size, budgets and other resources and man–power.
This status, however, needn’t be a disadvantage.
In fact, the shifting quality of the current landscape and
53 Montoya, Peter. “Building Brand Loyalty.” The CPA Journal, August 2003.54 Idem.55 Idem.56 Idem.57 Pellett, Jennifer. “Lessons from Brand Leaders”, Chief Executive (U.S.), October/November 2006.58 Laran et al, “The Curious Case of Behavioral Backlash”.
66 67
Brands have become a form not simply of communication
but of navigation…
the multiplicity of channels available arguably offer new
opportunities where previously only those with unrivalled
budgets and campaigns were able to reach a wide audience.
With this in mind, one might refer to the theory put forward
recently of enacting a “Lighthouse Identity”59.
The author argues that:
“…Brands have become a form not simply of
communication but of navigation…the brands
that flourish today are those that have a very clear
sense of who they are — that is to say, not simply a
distinctive identity but a strong and self–referential
identity; they stand out from the competition by
their intensity and their confidence in themselves…
we might say that the brands that flourish in this
uncertain environment are those that have what we
call a Lighthouse Identity.” 60
The main characteristics of a “Lighthouse Identity” include:
Self–Referential Identity: always stating where they stand.
59 Morgan, Adam. Eating the Big Fish: How Challenger Brands Can Compete against Brand Leaders (New York: Wiley, 1999), 57.60 Idem.
66 67
Emotion: the aim to connect with audiences on an emotional — not
necessarily rational — level.61
Intensity: everything a “lighthouse brand” does must communicate
its identity as strongly as possible62; dslcollection wishes to make
its mission clearer and clearer.63
For “lighthouse brands”
“…The strong sense of their own identity that they
actively and intensely communicate at every point of
interaction with the brand invites the consumer to
navigate with reference to them. Like a lighthouse,
one notices them without looking for them”.64
Continuing the metaphor, dslcollection might provide a useful
source of information and access in what (for the majority) is an
uncharted realm of contemporary art.
It has also been argued recently that branding could be more
important for small, non–profit enterprises, as they in the business
of cooperating, rather than competing.65
Applicable Facets — Art CollectionsNeedless to say, there exists an entire industry of branding and
related jargon. dslcollection and its peers needn’t absorb it all, but
61 Idem.62 Ibid., 249.63 Sylvain Levy.64 Morgan, Adam. Eating the Big Fish, 82.65 Abello, Oscar. “The Smallest Nonprofits Should Have The Most Powerful Brands”, www.fastcoexist.com/1680582/the-smallest-nonprofits-should-have-the-most-powerful-brands.
instead glean from it useful ideas and approaches.
Branding is as applicable to triggering symbolic value as it is to
purely commercial value. It is important as a means to create an
identity that surpasses the “product” itself.66
In the long term, and as might be applied to an art collection as
an “asset”:
“That intangible value, or branding differentiation,
becomes the on–going quality associated with the
asset. Branding success means building value for the
quality of your work and differentiating your future
value potential.” 67
Thus is the concept of branding useful for a collection aiming to be
noticed as at once of its time, and timeless.
The “image” of dslcollection must convey certain strong associations,
and with them expectations which must always be met and
refreshed if the collection is to claim timeless relevance.
Branding in the Art WorldExamples of branding can now be detected in all areas of the art
world; the most prominent are:
Artists–as–BrandsNow, as ever, artists’ personalities are a source of intrigue
affecting or — in some cases — surpassing their work in the
attention stakes.
66 Preece. “Branding and the Creation of Value”, 131.67 Morgan, Mark. “Personal Branding: Create Your Value. Proposition: Building Your Personal Brand the Right Way Will Let You Make a Positive Impression on the Decision Makers in Your Organization and Build Your Professional Presence”, Strategic Finance, August 2011.
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CHEN FEI : “Only Fools Feel Sad”, acrylic on Canvas, 180 x 130 cm, 2010. Courtesy of Schoeni Gallery.
70 71
Art and its market has always been closely related to money,
glamour and power — if any evidence were needed, see Artforum’s
hugely popular “Scene and Herd” column, or Art Review’s annual
(tongue–in–cheek, but only partly) Power 100.
The collision of the art world and media–driven celebrity culture
have resulted in renewed bolstering of artists’ personalities and
the marketing thereof.
A common tendency is for artists to circulate on the market as
names68. One hears that someone has bought “a Cezanne”, for
example, when what is meant is “a work by Cezanne.”
The prime example of an artist–brand is Damien Hirst.
Infamous as his own PR machine, Hirst’s operations include a
factory–style studio (called “Science Ltd.”) employing numerable
staff, and a retail outlet (“Other Criteria”) selling branded
products such as prints and t–shirts.69 Hirst actively manages his
own image, which is the equivalent of brand–management.
Hirst’s most famous work, “The Physical Impossibility of Death in
the Mind of Someone Living” (1991), needs no introduction: “the
shark” is enough to trigger recall of his name.
The Spot Paintings series — Hirst’s most prominent product line70
were shown simultaneously at 11 branches of Gagosian gallery in
2012 in what must be the world’s first truly “global” exhibition.
Whilst this case of a “branded” contemporary artist is indicative
of the environment in which it operates, dslcollection is vocal about
the fact that it acquires art works, not artists, and that it
is the strength of the work — not the personality of its creator —
68 Graw, High Price: Art Between the Market and Celebrity Culture, 131.69 Gleadell, Colin. “How Damien Hirst tried to Transform the Art Market”, Telegraph, 21 March 2012.70 Preece, “Branding and the Creation of Value, 225.
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which governs its decisions.71
Museums–as–BrandsRecent years have witnessed the rise of museum branding
initiatives in a bid, one might say, to “revamp the establishment”.
At the forefront of this development are:
TateNo longer “The Tate”, but “Tate” (an approach sampled for
dslcollection throughout this book), the British Gallery in 2000
instigated an unprecedented rebranding initiative for its three
already–existing and one planned site, assisted by brand
consultancy Wolf Olins, who state:
‘Tate wanted to make all four sites into something
new: not traditional institutions, but exciting
destinations.” 72
Branding was the means by which to define and deliver this
ambition to the public.
“…Tate reinvented the idea of a gallery from a
single, institutional view, to a branded collection of
experiences, sharing an attitude by offering many
different ways of seeing…Seven years after the initial
launch, we helped Tate refresh its vision for the
decade ahead.” 73
Tate’s new logo, for example, is blurred at the edges: “It reflects the
71 Sylvain Levy.72 Wolff Olins’ website, www.wolffolins.com/work/tate.73 Idem.
72 73
idea that Tate is always Tate, but always different” 74 says Boylan
— a quotation which aptly sums up the aims of dslcollection to be
both timely and timeless.
For one writer:
“…Tate Modern is the ultimate symbol of marketing
thinking applied to the world of museums and
galleries. Its controversial, but largely applauded,
decision to abandon the traditional chronological
curatorial format and juxtapose artists according to
themes is motivated by two factors: distinct appeal
(and)… global reputation.” 75
Tate took a risk, stepping into the commercial / corporate
world by enlisting the help of a branding strategy to realise its
rejuvenation.
Le Centre PompidouNot content to remain outside this trend, the Centre Pompidou
announced this year its aims to expand abroad with a chain of
venues carrying the flagship institution’s brand 76:
“We will draw on the scope of our collection, (which is) the best
in Europe, and the strength of our own brand” 77, says President
Alain Seban.
Also of note is the Virtual Centre Pompidou, which will go live
later this year. The site will be a digital platform where all content
produced by the Centre will be easily accessible: “It will act as a
74 Brian Boylan quoted in Marsh, Harriet. “How the Tate Modernised Its Brand.” Marketing, May 25, 2000.75 Idem.76 Harris, Gareth. “Pompidou plans to go global: focus is Brazil, India, China”, The Art Newspaper, May 1, 2012.77 Idem.
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digital mirror to the Centre Pompidou” 78 says Seban.
GuggenheimTop of the museum–brands, however, is the Guggenheim; in the
words of one journalist
“...Not just a museum, but a brand which summons up an image
transferable from New York to Venice to Bilbao” 79
“Guggenheim museums are, it seems, the Starbucks of the art
world” says another. “Officially, they are dedicated to “the collection,
preservation, presentation, and interpretation of modern and
contemporary art and culture”. Unofficially, their aim is to become
the biggest and hottest global art brand.” 80
With recognisable titanium architecture and a name that
resonates with world–class shows, the Guggenheim has certainly
branded its name into the international consciousness.
Despite its success in the field, the Guggenheim franchise has
not been without its critics; the backlash around the demotion of
Thomas Krems as Director of the Guggenheim Foundation amid
criticisms of “commercialization”81 is telling of the persistent
discomfort of the art world with overt business dealings.
Galleries Go GlobalIn line with the expanding power of the market is that of
commercial art galleries as international businesses.
78 Idem.79 Idem.80 Butler, Katherine. “Guggenheim Is Determined to Be the Hottest Brand in the Modern Art World”, The Independent (London, England), October 24, 2000.81 Usborne, David. “The Fine Art of Empire–Building”, The Independent, February 29, 2008.
74 75
GagosianThe gallery “empire” built up by Larry Gagosian is unsurpassed,
and now incorporates no less than 11 global branches, the latest
addition to which will be a temporary exhibition space in Rio de
Janeiro and a gallery designed by Jean Nouvel at Le Bourget,
near Paris (in September and October 2012, respectively), making
Gagosian’s total area larger than that of Tate Modern.82
Says an art advisor of Larry Gagosian:
“He has been as influential as the internet in the
globalisation of the art world.” 83
PaceThe Pace Gallery, founded fifty years ago by Arne Glimcher, runs
a close second, with seven international branches.
Just opened ahead of Frieze Art Fair 2012 is a 9,000 square foot
space in the West wing of the Royal Academy in London.84
These two contemporary “mega–galleries”85 — Gagosian and
Pace — have been labelled “supersize”86. Notice how the jargon
previously reserved for branded food corporations, for example,
has migrated into the territory of art reportage.
That they are nick–named “blue–chip” galleries illustrates how
accepted their tenure has become; it is a title associated with the
stable value of a company, to which may be added the fact that a
brand also contributes to stability and guards against damage in
82 Burns, Charlotte and Pryor, Riah. “Grow, grow, Gagosian”, Market, September 2012.83 Idem.84 Halperin, Julia. ““It’s Become Extremely Brutal”: Pace’s Marc Glimcher on What’s Driving the Gallery’s Splashy London Expansion”, Artinfo, July 2, 2012.85 Reuters,“Welcome to the treasure domes: art galleries go supersize in global market”, The Guardian, October 15, 2012.86 Idem.
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changing times.
What about Collections?As yet, the behaviour of contemporary art collections has not been
obviously connected with branding.
This may be attributed to a number of reasons, many of which
relate to collecting as traditionally a non–commercial project and
its personal / connoisseurial nature.
Branding is now migrating into the non–profit sphere.
Part of dslcollection’s purpose is to suggest that adopting some of
the attitudes of a brand might help further the cause of collecting
contemporary art, bringing it forward into the current age
and in line with developments in the art field.
Lessons from Luxury?Whilst one should be wary of aligning art collections too closely
with the luxury industry, inspiration may be found here, too.
The crossover between art and fashion is nothing new; fashion
houses, for example, are often also patrons of contemporary art,
and are able to realise projects with levels of energy and budgets
that are a thing of the past for many museums. For such brands
as Chanel and Louis Vuitton, incorporating art into their business
model garners status and visibility.87
The Prada Foundation is a case in point. In the words of Director
Germano Celant, the choice of works in the Foundation is a
“self–portrait”, that allows the company to move away from
87 Seno, Alexandra. “China’s Modern Master”, Newsweek International, August 16, 2010.
76 77
“mass product” towards “idea product” and involve itself in the
production of culture.88
For Grazia Quaroni, Curator at the Cartier Foundation for
Contemporary Art in Paris, it is about linking the brand to the
present, engagement and long–term commitment.
These brands are demonstrating the power of association with
contemporary art — particularly for their customers, who are likely
to move between these circles as buyers of expensive commodities,
be they clothes or art works.
Art thus contributes productively to the “world” spun by the
marketing of these companies — a world of taste, style and
innovation to which one is encouraged to aspire, and desire.
In other words, the incorporation of art into a brand image here
is not overtly about “buying” products, but “buying into”
intangible ideas and values, which in turn furnish the aura of the
product.
It is a means by which to combine, and therefore draw wider
audiences to, fashion and art.
This environment serves dslcollection well; in addition, collections
like dslcollection may adapt motifs from the luxury industry to
serve its own purposes.
The most obvious of these is the idea of a niche product — loosely
defined, something distinctive that is suitable or appropriate to a
particular person or place89.
“Niche”, understood as “a distinct segment in the market” 90 is an
88 Tinari, Philip (Chair), “Fashion Houses, Art Patrons”, Forum #5, Art Dubai 2011, vimeo.com/33473472.89 The online Dictionary, dictionary.reference.com.90 Idem.
76 77
apt description for dslcollection as it currently stands; contemporary
Chinese art, despite its market success, it a niche area in terms
of symbolic value where the international art world (for reasons of
access or prejudice) still concentrates on Western contemporary
art.
As cultivated by the luxury industry, “niche” products are, for
example:
Special — ie. Specially selected or different from the rest
Tailored — to their particular audience, who, it is implied,
are refined in their tastes and know where to look for what
they want
Carefully produced and presented — as opposed to
being a mass product, the service is integral
Emotive — having a particular emotional quality attached
to the experience
Long–lasting — rather than merely fashionable
Related to the idea of niche products is the concept of a “boutique”
shop or department; in the fashion or wider business industries91,
boutiques conjure qualities of being small, specialised, exclusive,
refined in their expertise and often part of a larger industry, for
example in the case of “boutique consultancy” firms.
As such, boutiques make their relatively small scale and
specialised nature into assets that contribute to their distinct
appeal — something an art collection could also do.
Myth and NarrativeUnexpected though they might seem at this point, myth and
narrative — or fiction and story–telling — are hugely relevant.
91 Idem.
78 79
In many ways, branding, luxury and art converge on these
as integral to the aura each constructs for their respective
audiences.
In short: “something to believe in”.
To believe is to invest oneself — financially or emotionally.
In the present, shifting socio–political context, a focus for belief
and thereby self–orientation are arguably becoming both more
rare, and more necessary.
Branding, as has been explained, entails the construction and
sustenance of a distinct identity. It is about the relationship
between companies and their customers — recognition in a
crowded marketplace, but also in the sense of identification with
something felt to be familiar and known; a form of connection.
In the words of one manager:
“Branding started out because customers no longer
had personal relationships with the people behind
growing companies…Companies had to create these
fictional stories and characters so that consumers
would relate to their products.” 92
In a similar way, the luxury industry constructs images of lifestyles
that are mythical or imagined — one sees models in fake interiors,
engaging in non–real situations, living fabricated narratives, all
played out in the trappings of that brand.
In the case of art, myth–making is connected closely with
authenticity and “symbolic value”. Think, for example, of the
stereotype of the struggling artist, surviving on crusts and
92 Abello, Oscar. “The Smallest Nonprofits Should Have The Most Powerful Brands”.
78 79
creating masterpieces (not unlike the penniless writer scribbling
in a garret).
The link between tenets of branding and this age–old myth—
making with regard to visual art has been aptly summarised
thus:
“A brand…performs myths through its associated
stories. In art these stories are told by the work
itself but also by the artist, the dealer, the critics,
the curators and the collectors…It seems certain
‘stories’ are more likely to be successful than others…
These include myths about innovation which is…the
primary criteria for quality in the art market. This
fits in well with the myths or stereotypes generally
associated with…the dominant view of the authentic
artist, someone who is on the edges of society, young,
extreme and therefore a suitably tragic figure…
(who communicates) underlying needs that are not
acknowledged in modern life.” 93
The myth of the struggling artist has, of course, appeared in media
reports about Chinese art. In 2007, we were given a romantic image
of the repressed and famished artist, newly located in China:
“Xu Zhen was… (a) garret–dwelling artist, scraping
a living in a Shanghai apartment”. 94
Thus, it becomes clear that in order to build a convincing and
distinctive identity, dslcollection needs also to emphasise its own
authentic story.
93 Preece,“Branding and the Creation of Value”, 244–5.94 Hickling, Alfred. “Great Leap Forward, The Guardian, March 28, 2007.
80 81
“…Art provides a rich arena to investigate the branding process,
as it is an arena in which symbol and image drive
brand value.”
As much as it is the aim of dslcollection to give access to
contemporary Chinese art, thus demystifying it, the core narrative
of the collection, its contents and their context have an important
part to play in building a “brand–able” identity to which audiences
can respond.
Cultural Branding for a Collection of
Contemporary Chinese ArtFrom the perspective of a recent study,
“…Art provides a rich arena to investigate the
branding process, as it is an arena in which symbol
and image drive brand value.” 95
In the shifting contexts of today, and in the art world — globally
connected, event, taste and market–driven as it is — it is
essential for brands to be flexible and able to keep adapting to the
environment. At the same time, however, they must maintain a
consistent sense of identity and uniqueness.
95 Preece, “Branding and the Creation of Value”, 220.
80 81
as it is an arena in which symbol and image drive
brand value.”
Far from it being an option, these conditions in the art world
demand an identity that is at once timely and timeless if it
is to survive — innovative and adaptable, but also authentic and
true to its purpose.
The classic example of an artist who continues to succeed in these
terms is Picasso — a hugely prolific and diverse creator throughout
his career.
As opposed to conventional notions of branding, it is argued that
cultural branding is complex, temporal and co–constructed by a
network of players in the field.96
Fitting this is a more dynamic conception of value that acknowledges
its constantly being in flux between different parties.97
It is crucial to remember that relationships in the art world are
symbiotic.98 It may be therefore productive to be branded as part
of a wider movement.99
As a body without a bricks–and–mortar base, dslcollection may
behave in a “parasitic” manner — staging exhibitions in other
venues, and thus borrowing value through association with other
brands.100
Closing Remarks
“History is a pattern of timeless moments.” 101
96 Ibid., 265.97 Ibid. 154.98 Ibid., 27899 Ibid., 228100 Uggla, H.,“Managing leader and partner brands: the brand association base” in J. E. Schroeder and M. Salzer–Morling (eds.). Brand Culture., London: Routledge, 2006.101 Quotation by T.S. Eliot.
82 83
What is summed up in this quotation by T.S. Eliot is key to
dslcollection’s ambition to be at once timely and timeless, and
to how the two may be combined.
The experience of art is above all a personal one for artists,
collectors and the public alike. The moment of encounter with a
work of art which affects one on that particular, unnamed level
— which truly has an impact both instantaneous and lasting — is
at the heart of Dominique and Sylvain’s experience of collecting.
They hope that by sharing their collection, others will have this
experience in contact with the strongest works of contemporary
Chinese art.
Such an encounter with an art work can be understood as the
interruption by timelessness of the usual flow of time — a moment
when time is stopped, opening up a liminal space in between;
as defined by the ancient Greeks, the intersection of sacred (or
symbolic) time with that of the everyday world.102
In another way, we may feel timelessness through these intense
encounters with products of our own time.103
The art works in this collection are themselves a series of timeless
moments.
Beyond all else, this is what dslcollection wishes to impart to its
audience.
The audience — those who will experience the works — is therefore
crucial.
102 Wolfe, Gregory, “The Operation of Grace”, Image online journal, www.imagejournal.org/page/journal/editorial-statements/the-operation-of-grace.103 Buntz, Sam, “A People Without History”, Nextgen online journal, www.nextgenjournal.com/2011/09/a-people-without-history.
82 83
Changing Audiences for Contemporary ArtIt was recently asserted that the user of the museum is more
valuable than the museum itself.104 The museum of the future
has been conceived anew as a relative (not an absolute) truth —
along with artists, practitioners and audiences, a co–producer of
meaning and value.105
This applies also to a progressive model for collecting art.
An important aspect setting dslcollection apart is its approach to
the audience, which it actively seeks ways to locate and connect
with, particularly via its digital platforms:
“You do not wait for people to come to you: you go to
where people are.” 106
Recent years have witnessed rampant growth in audiences shaped
by the digital world. Some 2.5 billion people are connected to the
internet 107; Facebook reached 100 million users in 2008, and now
counts one billion active users per month108. The “like” button
is clicked millions of times per day. More than 4 billion hours of
video are watched each month on YouTube109, whilst 70% of the
104 Eliasson, Artforum International, 2010.105 Idem.106 Sylvain Levy.107 Fowler, Geoffrey “Facebook: One Billion and Counting”, The Wall Street Journal, online.wsj.com/article/SB10000872396390443635404578036164027386112.html.108 Idem.109 YouTube Statistics, www.youtube.com/t/press_statistics.
“You do not wait for people to come to you: you go to where people are.”
84 85
site’s traffic comes from outside the USA110. In October last year,
an estimated 250 million “Tweets” were posted on Twitter per
day111, and Google+ users apparently spend 12 minutes each day
“in the stream”.112 The statistics are endless and ever–increasing.
dslcollection wants to address this “digital population”
using the right tools, and the right messages.
Thus, effective expression (both by the art works themselves and
by the collection as a conduit) is crucial for dslcollection, which
must assess and generate its audience constantly.
Significant are dramatic changes to the audience for contemporary
art in recent times. In the words of dslcollection’s founders, “They
are today’s consumers of culture, and tomorrow’s collectors.” 113
30% of the audience for dOCUMENTA 13 in 2012 were under
thirty years old.
The Art Newspaper’s annual survey of global exhibition and
museum attendance worldwide shows noteworthy growth in
audience numbers, stating last year that:
“The increase in the number of people going to see
the exhibitions in our surveys over the years has been
remarkable. In 1996, around four million people went
to the top ten shows. Last year, almost six million
people went to see the ten best–attended shows.” 114
Whilst audiences for contemporary art in Europe are widening
110 Idem.111 Pingdom Blog, “Internet 2011 in Numbers”, royal.pingdom.com/2012/01/17/internet-2011-in-numbers.112 McGee, Matt, “Google+ Users Spend 12 Minutes Per Day ‘In The Stream’, Marketing Land online, marketingland.com/google-users-spend-12-minutes-per-day-in-the-stream-15423.113 Dominique and Sylvain Levy.114 Pes, Javier and Sharpe, Emily, “Exhibition and Museum Attendance Figures 2011, The Art Newspaper, April 2012.
84 85
in tandem with the loosening of museological structures and a
growth in public initiatives, those in China are also undergoing
an evolution. A growing, internationally–engaged middle class, in
particular, is crystallising broader interest in creative culture in
China, and causing its industries to follow suit (for example in
design, fashion and art).
dslcollection must consider its audience as constituents,
understanding always that they are integral to its project —
indeed, that they lend it purpose.
dslcollection must consider not only its own questions within the
field, but also the questions its audience may ask about it, and how
to respond to these.
As part of its active project, dslcollection aims to develop its
activities in tandem with audiences. Planning for a mobile tour of
emerging art in China is already underway, and the future should
bring further and increasingly responsive outreach in this vein.
Through this and other initiatives, dslcollection must conjure a
space in which others can engage with contemporary Chinese
art.
Asking QuestionsA bold, questioning attitude remains crucial to dslcollection:
What is a 21st Century art collector?
How, through the acquisition of monumental works, can dslcollection
raise and contribute to discussions around the idea of a “total art
work”115?
115 Sylvain Levy.
86 87
We look at the art works, but the art works also look at us116; how
can this reciprocal relationship be explored through dslcollection?
How can uncertainty be made productive?
The collectors who really matter to history are those who by their
example set standards for others117; what kind of standard is
being set by dslcollection?
Who are we?
What is at stake should dslcollection and its peers fail to advance
the cause of collecting in the present moment?
Gauging Success: CriteriaThe fact remains that whilst failure is often obvious, success is
difficult to measure. There are, however, ways in which dslcollection
can hope to assess the progress and impact of its work.
Success may be
Reflected — for example through invitations to advisory
boards
Told — directly, as through comments on LinkedIn and other
platforms, or in person
Detected — for instance in the placement of an artist’s work in
a museum as a result of its having featured in the collection
The Art WorldAre artists who are part of the collection subsequently picked up
by major museums?
116 Birnbaum, Daniel and Obrist, Hans Ulrich, “Museums on the Move”, Artforum, Summer 2010.117 Sylvain Levy.
86 87
Is dslcollection regularly used as a resource for important
exhibitions, including surveys?
Is dslcollection regularly consulted by leading institutions,
including museum directors?
Are works from dslcollection referenced in important publications
including books, catalogues, magazines and newspapers? The
quality of the reference is also important.
Does the quality of what is written and presented relative to
art works acquired by dslcollection reflect the quality of their
presentation by the collection?
What is the response to proposals and invitations from dslcollection,
for example for art fairs and symposia?
The Wider AudienceSite statistics, page views and social media interaction are still a
highly effective tool to gauge public interest levels.
One may detect also levels of sharing, reposting and linkeage, for
example of images, which show that people want to spread what
they have seen.
Being approached by students or educational establishments is also
telling: do they consider dslcollection a reliable and valuable
resource?
dslcollection must be willing to ask its audience directly, and
regularly, about the success of the project, and do so in innovative
ways.
A Work in ProgressIt bears repetition that dslcollection is always a work in progress.
It has a temporal thrust, constantly adapting to the environment
and trying to play an active role in it.
This book ends on a note of affirmative incompleteness. The
thoughts it presents may be considered a tool box to which should
be added further ideas and clues to continuation.
Finally, dslcollection must always be asking itself whether it feels
it is progressing successfully in its aims.
One sure ingredient of world–class patronage is passion118 —
that which extends beyond the art works themselves towards the
inclusive project at hand, desiring always to advance and sustain
it, now and in the future.
118 “Guggenheim” Marketing, July 6, 2011.
Image overleaf
Jia Aili in his studio working on an untitled painting (oil on canvas, 296 x 400 cm, 2007–2008). Courtesy of the artist
90 91
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Birnbaum, Daniel and Obrist, Hans Ulrich. “Museums on the Move”, Artforum International, Summer 2010.
Birnbaum, Daniel and Obrist, Hans Ulrich. “Museum/Museum: Notes toward an A–Z (Work in Progress).” Artforum International, Summer 2010.
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Duncan, Carol. Civilizing Rituals: Inside Public Art Museums. London: Routledge, 1995. The Evening Standard (London, England). “Curators Give Critics the Brush–Off; Now That Exhibitions Are All ‘Blockbuster’, ‘The First Ever’ or ‘The Greatest’, It Is the Responsibility of the Critic to Pinpoint Any Shortcomings. Alas, There Is No Evidence That Curators Ever Listen to Them.” June 11, 2004.
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The Evening Standard (London, England). “Sewell on SA ATCHI; A Collector with a Voracious Appetite and an Advertiser’s Taste for All Things Sensational and Immediate, Charles Saatchi Is the Most Important Force in Contemporary Art, Says Our Critic.” July 13, 2011.
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Gladwell, Malcolm. The Tipping Point: How Little Things can make a Big Difference. First published by Little Brown: UK, 2000.
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About the Author Iona Whittaker (b.1985) is a Beijing–based art critic and editor. Originally from London, she first came to Beijing in early 2009. Iona is Editor at randian 燃点, the independent magazine for creative culture in China. Her writing, interviews and exhibition reviews appear also in Art Review, the Wall Street Journal, Frieze, Flash Art, Artforum online, LEAP, Art Asia Pacific, The Art Newspaper, Artinfo, ArtSlant and ArtQuest. Other projects include consulting on gallery design in Beijing, and on–going collaboration with the dslcollection of contemporary Chinese art.
First edition, designed in Beijing (China) by Julien Tang, and
printed on 7th November, 2012 in Romania.
Copyright 2012 © dslcollection.
“The real journey of discovery consists not only of seeking new landscapes, but also in having new eyes...”
There can be no doubt about the strength of the art being produced by contemporary Chinese artists. The world is changing; so is art collecting. This book examines these changes — and their potential — through the lens of the dslcollection of contemporary Chinese art with a finger on “now” and a view to the future.
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