Art

He Art Museum makes ‘gutsy’ China arts push in industrial Foshan – Al Jazeera English

Published

4 years ago

December 6, 2020

Foshan, China – After five years of planning, a pandemic and a failed kidnapping, the He Art Museum, China’s buzziest new private arts venue in Guangdong province, is finally welcoming visitors.

Initially delayed by the COVID-19 outbreak, which scuttled its planned mid-March unveiling, it was then almost derailed by a June kidnapping attempt on the founders of the Midea electronics empire – 78-year-old He Xiangjian and his son, the museum’s founder 55-year-old He Jianfeng – at a nearby villa complex.

But with the drama behind them and China one of the countries currently least-affected by the coronavirus, the He Art Museum [HEM] opened its doors in the southern city of Foshan in October – during China’s National Day.

Shao Shu, executive director of HEM, told Al Jazeera that the He family hopes the venue can showcase a balance between Chinese, Lingnan – roughly Cantonese – and Western artistic cultures and further develop art and culture in the family’s hometown; a city better known at the moment for its vast factory-scapes than for art.

“HEM would like to turn private enjoyment into public pleasure,” he said.

The family commissioned world-renowned Japanese architect Tadao Ando to design the glass-walled concrete building, which was inspired partly by the region’s traditional earthen roundhouses.

The He Art Museum was designed by world-renowned Japanese architect Tadao Ando [Michael Standaert/Al Jazeera]

Tucked away behind trees – opposite Midea’s headquarters and a small building housing offices, restaurants and high-end tea shops – the 16,000 square metre (172,223 square feet) structure includes two sweeping staircases spiralling around a light-filled central courtyard that forms the heart of the museum.

‘Mundane world’

The venue has begun to showcase pieces from He Jianfeng’s own collection, built up over the past 10 years and including about 500 works, three-quarters of them either Chinese traditional or contemporary art and the remainder from the west.

The opening exhibition, curated by Feg Boyi, is called Mundane World featuring scenes and materials from daily life – coloured box rooms full of light fixtures and a “mundane canteen” filled with artifacts from Shunde culinary traditions. Other rooms include sculptures ranging from a set of large tractor-like wheels made of everyday materials by artist Yin Xiuzhen, to an installation by Palestinian artist Mona Hatoum – a world map made from clear glass marbles that fills the floor.

There are also several rooms of Lingnan art pieces featuring snowy landscapes and water buffalo.

From the HEM collection itself is the impressive PixCell Deer by Kohei Nawa, built out of clear and golden glass bubbles and other materials, it stands on its own as visitors turn a corner between gallery rooms.

“In the future, according to the collection’s content, it will be strengthened by [various] types and expanded by artwork from young artists worldwide,” Shao said.

The museum adds to the growing number of private and publicly financed art museums in China as the country stakes its claim to become a global cultural powerhouse.

In the past 40 years, the number of art museums in China has ballooned from just a few hundred to more than 5,000, according to statistics from China’s National Cultural Heritage Administration.

“From my perspective, museum growth – both public and private sector – is an exciting development and good for enriching community, culture, education, and civic pride,” Meg Maggio, director of Pekin Fine Arts gallery in Beijing and Hong Kong, told Al Jazeera from Boston.

‘Gutsy’

Recent government planning has aimed for greater inclusion of the arts in the education system. During the next five years, that will only strengthen as provinces roll out ambitious museum growth plans, Emily de Wolfe Pettit, founder and chief cross-cultural strategist at Peking Arts Associates told Al Jazeera.

And while its location in Foshan may have drawn some guffaws, most who have followed the venue’s development think that it makes perfect sense.

“I think that it’s fabulous that they’ve chosen to place the museum [in Foshan] rather than Guangzhou or Shenzhen,” de Wolfe Pettit said. “It’s quite gutsy to do this. There’s a real opportunity here to spread knowledge and also a sense of local pride.”

Foshan is a vital site historically for Cantonese culture, Maggio said.

“The He Art Museum also has close ties with Hong Kong and is a good example of Greater Bay regional growth and cooperation,” she said referring to the development area across the southern cities.

Shao says HEM wants to be a museum with local roots but a global perspective.

While the museum hopes to draw art lovers from big cities like Beijing, Shanghai, and elsewhere, the founders know that residents in these places already have plenty of opportunities to visit art museums and other cultural venues, so the focus is on drawing people from Foshan and the surrounding Greater Bay Area.

“For local audiences, they may not have many opportunities for exposure to well-known international contemporary artwork,” Shao said. “Therefore, HEM is dedicated to showing the specialty in local culture to international audiences and to presenting what is happening in the art world outside to local audiences.”

With China’s strict border controls to keep COVID-19 cases from inundating the country, foreign visitors are few on the ground, giving local audiences more of a chance to explore.

HEM had about 1,600 visitors a day during the National Holiday week starting October 1 and had attracted about the same numbers on weekends since.

Foshan currently has a population of around seven million, although the entire Greater Bay Area region population is ten times that.

“There’s enough of an audience, there are enough artists, that can sustain [museum growth] here and sustain the programmes,” De Wolfe Pettit said. “They’re making serious commitments, with serious architecture and serious curators, it’s a wonderful initiative. I’ll be eagerly watching what they do next.”

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Calvin Lucyshyn: Vancouver Island Art Dealer Faces Fraud Charges After Police Seize Millions in Artwork

Published

14 hours ago

September 13, 2024

Harry Miller

In a case that has sent shockwaves through the Vancouver Island art community, a local art dealer has been charged with one count of fraud over $5,000. Calvin Lucyshyn, the former operator of the now-closed Winchester Galleries in Oak Bay, faces the charge after police seized hundreds of artworks, valued in the tens of millions of dollars, from various storage sites in the Greater Victoria area.

Alleged Fraud Scheme

Police allege that Lucyshyn had been taking valuable art from members of the public under the guise of appraising or consigning the pieces for sale, only to cut off all communication with the owners. This investigation began in April 2022, when police received a complaint from an individual who had provided four paintings to Lucyshyn, including three works by renowned British Columbia artist Emily Carr, and had not received any updates on their sale.

Further investigation by the Saanich Police Department revealed that this was not an isolated incident. Detectives found other alleged victims who had similar experiences with Winchester Galleries, leading police to execute search warrants at three separate storage locations across Greater Victoria.

Massive Seizure of Artworks

In what has become one of the largest art fraud investigations in recent Canadian history, authorities seized approximately 1,100 pieces of art, including more than 600 pieces from a storage site in Saanich, over 300 in Langford, and more than 100 in Oak Bay. Some of the more valuable pieces, according to police, were estimated to be worth $85,000 each.

Lucyshyn was arrested on April 21, 2022, but was later released from custody. In May 2024, a fraud charge was formally laid against him.

Artwork Returned, but Some Remain Unclaimed

In a statement released on Monday, the Saanich Police Department confirmed that 1,050 of the seized artworks have been returned to their rightful owners. However, several pieces remain unclaimed, and police continue their efforts to track down the owners of these works.

Court Proceedings Ongoing

The criminal charge against Lucyshyn has not yet been tested in court, and he has publicly stated his intention to defend himself against any pending allegations. His next court appearance is scheduled for September 10, 2024.

Impact on the Local Art Community

The news of Lucyshyn’s alleged fraud has deeply affected Vancouver Island’s art community, particularly collectors, galleries, and artists who may have been impacted by the gallery’s operations. With high-value pieces from artists like Emily Carr involved, the case underscores the vulnerabilities that can exist in art transactions.

For many art collectors, the investigation has raised concerns about the potential for fraud in the art world, particularly when it comes to dealing with private galleries and dealers. The seizure of such a vast collection of artworks has also led to questions about the management and oversight of valuable art pieces, as well as the importance of transparency and trust in the industry.

As the case continues to unfold in court, it will likely serve as a cautionary tale for collectors and galleries alike, highlighting the need for due diligence in the sale and appraisal of high-value artworks.

While much of the seized artwork has been returned, the full scale of the alleged fraud is still being unraveled. Lucyshyn’s upcoming court appearances will be closely watched, not only by the legal community but also by the wider art world, as it navigates the fallout from one of Canada’s most significant art fraud cases in recent memory.

Art collectors and individuals who believe they may have been affected by this case are encouraged to contact the Saanich Police Department to inquire about any unclaimed pieces. Additionally, the case serves as a reminder for anyone involved in high-value art transactions to work with reputable dealers and to keep thorough documentation of all transactions.

As with any investment, whether in art or other ventures, it is crucial to be cautious and informed. Art fraud can devastate personal collections and finances, but by taking steps to verify authenticity, provenance, and the reputation of dealers, collectors can help safeguard their valuable pieces.

Art

Ukrainian sells art in Essex while stuck in a warzone – BBC.com

Published

2 weeks ago

September 2, 2024

Harry Miller

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Ukrainian sells art in Essex while stuck in a warzone BBC.com

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Somerset House Fire: Courtauld Gallery Reopens, Rest of Landmark Closed

Published

4 weeks ago

August 18, 2024

Harry Miller

The Courtauld Gallery at Somerset House has reopened its doors to the public after a fire swept through the historic building in central London. While the gallery has resumed operations, the rest of the iconic site remains closed “until further notice.”

On Saturday, approximately 125 firefighters were called to the scene to battle the blaze, which sent smoke billowing across the city. Fortunately, the fire occurred in a part of the building not housing valuable artworks, and no injuries were reported. Authorities are still investigating the cause of the fire.

Despite the disruption, art lovers queued outside the gallery before it reopened at 10:00 BST on Sunday. One visitor expressed his relief, saying, “I was sad to see the fire, but I’m relieved the art is safe.”

The Clark family, visiting London from Washington state, USA, had a unique perspective on the incident. While sightseeing on the London Eye, they watched as firefighters tackled the flames. Paul Clark, accompanied by his wife Jiorgia and their four children, shared their concern for the safety of the artwork inside Somerset House. “It was sad to see,” Mr. Clark told the BBC. As a fan of Vincent Van Gogh, he was particularly relieved to learn that the painter’s famous Self-Portrait with Bandaged Ear had not been affected by the fire.

Blaze in the West Wing

The fire broke out around midday on Saturday in the west wing of Somerset House, a section of the building primarily used for offices and storage. Jonathan Reekie, director of Somerset House Trust, assured the public that “no valuable artefacts or artworks” were located in that part of the building. By Sunday, fire engines were still stationed outside as investigations into the fire’s origin continued.

About Somerset House

Located on the Strand in central London, Somerset House is a prominent arts venue with a rich history dating back to the Georgian era. Built on the site of a former Tudor palace, the complex is known for its iconic courtyard and is home to the Courtauld Gallery. The gallery houses a prestigious collection from the Samuel Courtauld Trust, showcasing masterpieces from the Middle Ages to the 20th century. Among the notable works are pieces by impressionist legends such as Edouard Manet, Claude Monet, Paul Cézanne, and Vincent Van Gogh.

Somerset House regularly hosts cultural exhibitions and public events, including its popular winter ice skating sessions in the courtyard. However, for now, the venue remains partially closed as authorities ensure the safety of the site following the fire.

Art lovers and the Somerset House community can take solace in knowing that the invaluable collection remains unharmed, and the Courtauld Gallery continues to welcome visitors, offering a reprieve amid the disruption.

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