Art Basel to Offer Online Viewing Rooms

As latent risks emerge, industry, business, and individuals adapt. Opportunities, and benefits, are discovered in and developed from such adaptation. Opportunities and benefits are discovered also in forward-looking mitigation.

Inaugurated in 1970 by Basel gallerists Ernst Beyeler, Trudi Bruckner and Balz Hilt, owned and managed by Switzerland-based MCH Group, art fair giant Art Basel, facing health, travel, and concomitant business risks posed by the emergent Covid-19 virus, cancelled Art Basel Hong Kong 2020.

The Art Basel fairs, offered in Basel, Miami Beach, and Hong Kong, have succeeded as an effective venue for introducing galleries, works of art, and collectors to each other.

The fairs, while offering face-to-face interactions, are, however, premised on travel, often long-distance. The fairs are premised further on the gathering of large numbers of people together in one place at one time.

The travel and costs (staff, booth rentals, insurance, hotels and lodging, shipping of works of art, …) involved with the fair – and the many art fairs that have developed over the years – are expensive for galleries and collectors alike.

The travel, further, can increase risk. Combustion of hydrocarbon-based fuels releases carbon dioxide into the atmosphere. 

Carbon dioxide molecules are precisely calibrated to attract and retain, in our atmosphere, photons of thermal energy that reach the earth from the sun. (See infographic.) Increasing levels of carbon dioxide in our atmosphere leads therefore to greater thermal energy (heat) in the atmosphere.

Acidification of the oceans, that themselvesabsorb about 30% of the carbon dioxide released into the atmosphere, also takes place.

Increased atmospheric heat leads to consequences such as melting of arctic permafrost, melting of glaciers, sea level rise, fires, storms, the release of pathogens and concomitant health risks. (See infographic developed by Zurich-based reinsurance giant Swiss Re.)

 With regard to large numbers of people gathering together in one place at one time, this currently may pose a risk of transmission of the emergent coronavirus (COVID-19).

To reduce such risk, the Swiss Federal Council, on 28 February 2020, issued an ordinance forbidding the holding of public or private events in Switzerland where more than 1,000 people are present at the same time.

MCH Group has, accordingly, not only cancelled Art Basel Hong Kong 2020 but has also postponed further events and trade shows such as the Baselworld Watch and Jewellery Show 2020 (until January-February 2021), the garden exhibition Giardina in Zurich, and Habitat-Jardin in Lausanne.

Fortunately there are means of bringing galleries, works of art, and collectors together that are premised neither on long-distance travel nor on the gathering in one place of multitudes of people.

Art Basel has been developing such a means, an initiative that, as “the art market continues to evolve, exemplifies its longstanding commitment to fostering a healthy art world ecosystem by creating new ways for its galleries to reach collectors from across the globe.”

The initiative is a digital-only platform for Art Basel’s galleries and collectors. The inaugural edition of Art Basel’s Online Viewing Rooms are planned to go live on 20 March 2020.

“Online Viewing Rooms will give visitors the opportunity to browse thousands of artworks presented by Art Basel participating galleries, many of which will be online exclusives. The exhibiting gallery can then be contacted directly for sales inquiries. The Viewing Rooms will run in parallel to the three shows in Basel, Miami Beach, and Hong Kong.”


Art Basel to launch Online Viewing Rooms,” Art Basel

While recognizing “’the essential personal interactions that continue to underlie the  art market,’” Art Basel Global Director Marc Spiegler notes that “’the Online Viewing Rooms will provide galleries with a further possibility for engaging with our global audiences.'”

All the galleries that were accepted for the cancelled 2020 Art Basel Hong Kong have been invited to participate, at no cost, in the launch of the Online Viewing Rooms.

Art Basel is not the first to organization to provide a means for galleries, works of art, and collectors to meet online. New York-based Artsy has been doing so for several years.

The process of selecting works of art, acquiring them, and developing a collection requires intent, effort, patience, and work. Such work is conducted in increments over a long-term.

Relationships of mutual trust and reliance, between collectors, galleries, and dealers, some private, are developed.

Qualifications of all parties are established. Buyers and sellers alike vet each other for acknowledgement and understanding of contract law as well as willingness to agree and adhere to contractual terms.

As works of art are identified for purchase, high-resolution images taken from multiple angles can be shared. Condition reports, provenance, and valuations provided.

The process enables collectors to learn and value not only the aesthetic, historical, and, increasingly, financial qualities of such works of art but also the supply chain logistics.

Supply chain logistics are themselves complex, often crossing cultures, history, collections, sovereign entities such as cities, states, and nations, and laws.

Supply chain logistics and the logistics of collections management evolving to include collaborations not only with art professionals but also with those with in a variety of industries. These industries include science, tech, law, engineering, energy, water, design, architecture, finance, and, insurance.

Insurance especially in a new iteration: in regard to transparent, data-driven identification of risk together with public/private collaborations structured to foster preemptive mitigation of risk.

See:

Art Basel to launch Online Viewing Rooms,” Art Basel

Anny Shaw, “MCH Group postpones Baselworld watch fair as Swiss authorities ban large events over coronavirus fears,” The Art Newspaper, 28 February2020

Christian Jecker, “MCH Group postpones forthcoming events,” MCH Group Media Release, 28 February 2020

Carbon Dioxide Absorbs and Re-Emits Infrared Radiation,” UCAR Center for Science Education

Swiss Re, “Special Feature: It’s existential – climate change and life & health,” 22 May 2019

NOAA, “Ocean Acidification

楊詰蒼 | Earth Roots @ Ink Studio, Beijing

Beijing’s Ink Studio presents Earth Roots, a survey of Yang Jiechang’s One Hundred Layers of Ink series.

Born in Guangdong Province in 1956 and a 1982 graduate of the Chinese Painting Department of the Guangzhou Academy of Fine Arts, calligrapher Yang Jiechang (楊詰蒼) was selected to participate in the 1989 group exhibition Les  Magiciens de la Terre at the Centre Georges Pompidou in Paris.

Yang Jiechang arrived in Paris in April 1989 without works to show, however, as they had been detained at the Chinese border. So he responded extemporaneously.

Retaining his native medium, he distilled all that he knew and experienced into a simple procedure: the repeated application of ink with a brush on paper, day after day and layer upon layer, until the fibrous surface hardened into a thick, densely textured relief with a metallic sheen. As blackness turned paradoxically luminescent, it gained the dimensions of space and time, becoming a record of his actions and being. 

The resultant One Hundred Layers of Ink series departed strikingly from traditional ink paintings and resembled rather color fields and other modernist idioms,

but for Yang it was calligraphic practice in its bare essence, and was grounded moreover in the multilayered polychrome court painting of the Song Dynasty (960-1279).

Four large rectangular works were exhibited at Les  Magiciens de la Terre at the Centre Georges Pompidou.

Artsy describes Yang Jiechang’s multimedia works as combining  traditional Eastern and Western modes of representation, a confluence he calls “Eurasian.” Based in Paris and Heidelberg, Mr. Yang states, “Eurasia is the land I experience everyday in my life: I am from Canton, China, my wife is from Germany, our children are Eurasian. We feel this land; this disposition and lifestyle bear a lot of possibilities and power.”

Works from the One Hundred Layers of Ink series are in the permanent collections of the Brooklyn Museum; Cantor Center for the Arts, Stanford University; Deutsche Bank; Guggenheim Abu Dhabi; Hong Kong Museum of Art; M+, Hong Kong; and University Museum and Art Gallery, University of Hong Kong.

Other of his works are in the collections of Berkeley Art Museum, Berkeley; François Pinault Foundation, France; Fukuoka Art Museum; Guangdong Museum of Art, Guangzhou; Ministry of Culture, France; Rockefeller Foundation, New York; and World Bank, Washington, D.C.

See:

Earth Roots” | Yang Jiechang Paintings, 1985-1999, 10 June – 12  August 2017, Ink Studio, Beijing

Yang Jiechang | Artsy

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