Reframing Strangeness: Ha Bik Chuen’s Motherboards and Collagraphs
Para Site is delighted to showcase the exhibition Reframing Strangeness: Ha Bik Chuen’s Motherboards and Collagraphs, an event that not only celebrates the centenary of Ha Bik Chuen’s birth but also offers a fresh perspective on his remarkable printmaking practice.
Ha Bik Chuen, a renowned Hong Kong artist, was born a century ago, and his artistic journey traversed tumultuous periods of history. He witnessed and actively participated in the transformative events that shaped Hong Kong’s cultural and artistic landscape. From the Japanese occupation during World War II to the city’s rapid urbanization as it became a global financial hub, Ha Bik Chuen’s artistic expression was deeply influenced by the historical currents flowing around him.
Often described as a master of mixed media, Ha Bik Chuen’s artistry extended beyond traditional artistic boundaries. His profound experimentation led him to explore unconventional techniques and mediums, showcasing his extraordinary ability to capture the essence of his subjects. In this exhibition, we revisit Ha’s lesser-known but equally captivating printmaking practice.
The exhibition title, Reframing Strangeness, alludes to our intention of offering a fresh perspective on Ha’s work. By refocusing on Ha’s printmaking legacy, we aim to highlight the unique manifestations of strangeness that permeate throughout his art. These motherboards and collagraphs, produced in the later years of his prolific career, exemplify his constant exploration of new possibilities.
Notably, Ha Bik Chuen’s motherboards stand as symbolic artifacts representing the intersection of technology and art. As Ha embraced the digital age and witnessed the rise of computer technology, he recognized its potential to expand his artistic horizons. By incorporating computer components into his art-making process, Ha incorporated the concept of ‘strangeness’ within his work, blurring the boundaries between traditional and modern mediums.
The exhibition also highlights Ha’s collagraphs, a printmaking technique that involves building textured surfaces on a plate. Ha’s collagraphs not only capture the materiality of his subjects but also depict the complexities of Hong Kong’s urban environment. Through this technique, Ha skillfully united the city’s dynamic energy with his own artistic vision.
As we commemorate Ha Bik Chuen’s centenary, Reframing Strangeness: Ha Bik Chuen’s Motherboards and Collagraphs endeavors to pay homage to his artistic legacy while shedding new light on his printmaking practice. By examining the convergence of history, technology, and artistic experimentation, this exhibition invites viewers to explore the multifaceted nature of Ha Bik Chuen’s creative genius.
Para Site is pleased to present Reframing Strangeness: Ha Bik Chuen’s Motherboards and Collagraphs, an exhibition that refocuses on Ha’s printmaking practice on the occasion of Ha’s 100th birth anniversary.
Salvador Dali. Peter Cook. Dudley Moore. Tom Jones. Joe Orton. Michael Caine. Peter O’Toole. John Hurt. Barry Humphries. Twiggy. These are just some of the stars who were photographed by Lewis Morley during his illustrious career as a portrait photographer in London during the Swinging Sixties.
Contact print of Tom Jones dressing, taken by Lewis Morley in the early 1960s. Science Museum Group Collection
Morley’s vast archive, held at the National Science and Media Museum, contains some of his personal photography in the form of reference photographs, Polaroids and transfer prints. It also includes vintage contact sheets from some of his most popular shoots, as well as exhibition materials, artworks, personal and professional correspondence and ephemera.
Over the next year we intend to catalogue the archive in more detail, improving accessibility for our researchers. We will provide you with updates on the cataloguing project, sharing some of the highlights in the collection as well as a behind-the-scenes look at the cataloguing process.
Lewis Morley was introduced to theatre photography in 1959 when Lindsay Anderson, one of the leading voices of British cinema and part of the Angry Young Men movement, asked Morley to photograph Albert Finney for his production of Billy Liar at the Royal Court Theatre. This began a ten-year relationship with the Royal Court, as well as various theatrical production companies, where Morley would go on to photograph hundreds of productions and their stars.
An image of Dudley Moore and Peter Cook in Brighton for their Beyond the Fringe show in 1961, taken by Lewis Morley and used to illustrate a set of homemade greetings cards.
During the early 1960s, Morley rented a studio in Soho above Peter Cook’s satirical nightclub The Establishment and became their resident photographer. Here he would photograph the Beyond the Fringe cast and would bump shoulders with the emerging actors and musicians of the day. His image of Twiggy was the first photograph of the model to be published and contributed to her status as the iconic face of the 1960s.
However, it was when Christine Keeler walked into Morley’s studio that he cemented his name as one of the iconic photographers of our time.
The year was 1963 and a scandal had broken out in British politics. John Profumo, the Secretary of State for War in Harold Macmillan’s conservative government, had been discovered to be having an extramarital affair with the young model Christine Keeler. Profumo was forced to resign from government and Keeler was catapulted to instant notoriety.
A photograph taken by Lewis Morley showing a poster advertising his retrospective at the Art Gallery of New South Wales, 2006, containing his famous image of Christine Keeler from 1963.
Keeler was contracted to take some publicity shots for an upcoming film about the scandal (the film was eventually scrapped) and the producers insisted she take some nude shots. Noticing that Keeler was reluctant to do so, Morley suggested she could fulfil her contract with the studio without having to appear fully nude. By using the now famous Arne Jacobson chair, Morley was able to help Keeler fulfil her contract but maintain her modesty. Eventually the photograph was leaked to the press and it became one of the defining images of the decade. The image continues to be imitated to this day in other forms of media.
A self-portrait with Arne Jacobsen chair, taken by Lewis Morley, c2000s
So who was the man behind the camera Lewis Frederick Morley (known to his close friends as Fred) was born in 1925 to English and Chinese parents in Hong Kong. He spent his later teenage years at the Stanley Internment Camp with his family during the Japanese occupation of Hong Kong and was repatriated to London in 1945. After attending Twickenham art school and studying life drawing in Paris, he married fellow art student Patricia Kay Clifford and began his career by selling photographs to magazines such as Photography Magazine and Tatler.
Morley liked to work in black and white and specialised in portraiture. He used high contrast lighting and studio environments with often minimalist backgrounds. This kept the focus on his subjects, capturing their personalities and emotions. As well as studio work, he also had an eye for capturing his subjects in their own environments, such as in his reportage and fashion photography. In his later years, Morley would use colour in his work and became a fan of still life photography and artworks.
Still life polaroid of fruit taken by Lewis Morley, undated (1990s–2000s)Transfer print of a polaroid by Lewis Morley, showing a room with vase and flowers, undated (1990s–2000s)
After working in mostly theatre, fashion and reportage, Morley emigrated to Australia with his family in 1971, where he spent his life working on his many art projects and taking photographs for style magazines such as Belle, Pol and Dolly. He would go on to have exhibitions at the National Portrait Gallery in both London and Canberra, as well at the State Library of New South Wales and the Art Gallery of New South Wales, among others. Morley received the Medal of the Order of Australia (OAM) in 2010 before he passed away at the age of 88 in 2013.
The Lewis Morley Archive reflects the life and career of a busy, working photographer. However, it also covers his post-retirement years, when he seemed busier than ever, managing how his images would be used, dealing with reproduction requests, copyright matters and attending exhibitions of his work.
We can’t wait to reveal some of the wonders from this archive in due course—watch this space.
The art industry is constantly evolving, with new trends and developments shaping the way artists, institutions, and audiences engage with art. In this article, we will analyze the key points from recent news articles and explore potential future trends in the industry.
Controversial New German Culture Minister
The appointment of Joe Chialo as Germany’s Culture Minister has sparked controversy due to his proposed funding clause and cost-cutting measures. This incident highlights the importance of effective communication between cultural policymakers and the artistic community. In the future, it is predicted that there will be a greater emphasis on dialogue and collaboration between government officials and artists. This will help create policies that support artistic freedom while also addressing social and political issues.
Recommendation: Establish regular forums or town halls where artists and policymakers can discuss their concerns, exchange ideas, and build trust.
Hong Kong Museum of Art Takes Over Venice Biennale Exhibition
The decision to replace M+ with the Hong Kong Museum of Art for the Venice Biennale exhibition suggests a desire to promote Chinese traditional culture and Hong Kong’s unique artistic heritage. This highlights a potential trend towards embracing local cultural identities and showcasing diverse artistic practices from different regions.
Prediction: Future art exhibitions will prioritize representation and inclusivity, showcasing artwork that reflects the cultural diversity of the host city or region.
Rise of Insolvency in Art Galleries
The recent insolvency of the Peres Projects gallery in Germany indicates a potential challenge for art galleries in the future. With increasing financial pressures and a changing art market, galleries may struggle to maintain financial stability. This could lead to a shift in the gallery model, with a greater focus on collaboration and shared resources.
Prediction: Art galleries will form alliances and partnerships, creating cooperative spaces that allow them to share costs and resources, while also providing a platform for emerging artists.
Ethical Considerations in Art Display
The BBC’s decision to reinstall a sculpture by Eric Gill, despite his history of sexual abuse, raises questions about the ethical considerations of displaying artwork created by individuals with controversial backgrounds. In the future, there may be a greater emphasis on transparency and contextualizing artwork within a historical and social framework.
Recommendation: Institutions should provide clear and comprehensive information about controversial artists, enabling audiences to make informed decisions about their engagement with the artwork.
Exploring Previously Private Art Collections
The exhibition of Robert Mapplethorpe’s S&M images, which were privately held for decades, suggests a growing interest in exploring previously unseen or hidden parts of art history. This trend may continue, with curators and collectors actively seeking out hidden treasures to expand the narratives and understanding of art.
Prediction: There will be an increase in exhibitions featuring previously unseen works, providing new insights and perspectives on well-known artists and movements.
The Future of Art Practice
The conversation between Medrie MacPhee and Nicole Eisenman highlights the ongoing dialogue within the art world about the nature of artistic practice. Artists are exploring new forms, techniques, and ideas, challenging traditional boundaries and definitions. This trend is likely to continue, with artists pushing the boundaries of their practice and embracing experimentation.
Prediction: The future of art practice will be characterized by interdisciplinary collaborations, hybrid mediums, and a blurring of traditional artistic categories.
Conclusion
The art industry is constantly evolving, and the trends discussed in this article provide a glimpse into its potential future. By addressing issues of communication, representation, financial sustainability, ethics, and artistic practice, the industry can adapt to meet the changing needs and expectations of artists and audiences.
References:
1. Berliner Zeitung – https://www.berliner-zeitung.de/en/germanys-new-culture-minister—all-about-joe-chialo-li.34307
2. South China Morning Post – https://www.scmp.com/news/hong-kong/politics/article/3174909/hong-kong-museum-art-one-step-closer-taking-citys-venice
3. Artnet News – https://news.artnet.com/art-world/peres-projects-gallery-insolvent-2009123
4. The Guardian – https://www.theguardian.com/uk-news/2022/aug/24/tottenham-court-road-sculpture-returning-to-bbc-at-sex-abuse-row-firms-hq
5. The Art Newspaper, France – https://www.theartnewspaper.com/news/tokyo-dealer-kiyoshi-tamenaga-has-died
6. Observer – https://observer.com/2022/08/first-public-viewing-of-robert-mapplethorpes-s-and-m-images/
Title: The Future Trends in the Asian Art Auction Market
Introduction:
The Asian art auction market has seen significant growth and development in recent years. With the opening of Christie’s new Asia headquarters in Hong Kong, there is a growing interest in the potential future trends in this market. This article will analyze the key points from recent auction sales and provide predictions and recommendations for the industry.
1. Responsibly Priced Works for the Asian Market:
Despite some challenges in sourcing, Christie’s Asia Pacific president, Francis Belin, described the recent evening sales as “robust.” The works on offer were “responsibly priced for this market,” indicating a sophisticated approach to pricing strategies. The sustained appetite for top masterpieces in Asia suggests that collectors are eager to invest in high-quality artworks.
Prediction: To cater to the Asian market, auction houses should continue to focus on pricing works responsibly while ensuring they include top-tier masterpieces. This approach will attract discerning collectors and maintain a strong demand for high-quality art.
2. Strong Demand for Blue-Chip Artists:
The recent auction sales demonstrated a preference among Asian collectors for safe and blue-chip artists. Collectors are more conservative and selective in their purchases, opting for fewer pieces but of the best quality. This trend aligns with the economic slowdown in China and a desire for less risky investments.
Prediction: Auction houses should prioritize blue-chip artists and safe investment options to meet the demand of cautious Asian collectors. They should aim to curate auction catalogs that include renowned artists with proven track records and guarantee the authenticity and quality of the artworks.
3. Continued Interest in Asian Masters:
Works by Asian masters, such as Taiwanese artist Ju Ming and Korean Dansaekhwa artists, performed well in recent sales. This indicates a strong demand within the Asian market for artworks by regional artists. Additionally, works by late abstract painter Zao Wou-Ki generated interest but at lower prices.
Prediction: Auction houses should continue to highlight the works of Asian masters to cater to the increasing interest of Asian collectors. Promoting regional artists and investing in research and education to build awareness will stimulate demand for these artists’ works.
Recommendations for the Industry:
1. Enhance Sourcing Efforts: To meet the demand of the Asian market, auction houses should invest in sourcing high-quality artworks that resonate with collectors’ tastes. Developing strong relationships with artists, collectors, and galleries will enable auction houses to curate catalogs that appeal to Asian collectors.
2. Embrace Technology and Online Platforms: As the Asian art market continues to grow, auction houses should leverage technology and online platforms to expand their reach and engage with a broader audience. Online bidding options and virtual previews will attract new collectors and meet the preferences of the tech-savvy generation.
3. Foster Education and Research: Providing educational resources and conducting research on Asian artists and art movements will deepen collectors’ understanding and appreciation of regional art. Auction houses can organize seminars, exhibitions, and online resources to build knowledge and confidence among collectors.
Conclusion:
The Asian art auction market shows great potential for growth and development. By pricing works responsibly, prioritizing blue-chip artists, and promoting regional artists, auction houses can meet the evolving demands of Asian collectors. Embracing technology and fostering education will further enhance the market’s expansion. With these strategies, the Asian art auction market is poised for a prosperous future.
References:
1. Roberts, K. (2022, March 18). Christie’s Asia Sees Solid Results at Second Evening Sale in HK Auctions’ New Headquarters. ARTnews. Retrieved from https://www.artnews.com/art-news/market/christies-asia-evening-sale-results-1234627562/
Future Trends and Predictions: How Trade Tariffs Are Shaping the Art Market
The imposition of widespread tariffs by President Donald Trump on Canada, Mexico, and China has sent shockwaves throughout the art world. This trade war has disrupted the operations of gallerists, museum directors, art fair directors, and art shippers, forcing them to grapple with the impact of tariffs on future sales and acquisitions. The increased costs, complexities, and uncertainties associated with selling, transporting, and exhibiting art have marked a significant shift in the art market landscape.
Effects on Sales and Acquisitions
One of the immediate consequences of these tariffs is a decline in sales, as buyers become hesitant to make purchases due to increased costs. The director of Gander & White New York, Francis Petit, believes that these tariffs will not be conducive to sales, as potential buyers will be less willing to invest in art.
Moreover, the art industry is now facing taxes that have never been imposed in this sector before, according to Mia Nielsen, director of Art Toronto. This adds an additional burden to the already complicated process of selling and transporting artworks.
Impact on International Art Fairs
Art fairs, such as Art Basel Hong Kong, Independent, and Frieze New York, play a crucial role in the art market. However, the implementation of tariffs has created uncertainty for galleries that spend months planning their participation in these events. The new tariffs have led gallerists to reconsider their strategy and potentially limit the artists they showcase. Daniel Faria, from Daniel Faria Gallery, is still navigating how to adjust his operations, questioning whether he should focus on European artists to mitigate the impact of tariffs.
Rising Import Costs and Challenges
The tariffs have resulted in higher import costs and created challenges for art professionals. These costs affect not only the price of artworks but also the shipping and transportation of art supplies, including lumber for art crates and stretcher bars. The large import and export volumes between Canada, Mexico, and the US, especially in lumber, crude oil, and motor vehicle parts, are expected to increase art shipping and transportation prices.
Weakening Foreign Exchange Rates
The tariffs have also exacerbated the challenges caused by weak foreign exchange rates for Canadian dollars and Mexican pesos. The increased costs due to tariffs, compounded by unfavorable exchange rates, make it even more difficult for art professionals to navigate the international art market.
Shift in Consumer Behavior and Alliances
As a result of the trade war and the tariffs, there is an emerging shift in consumer behavior, with campaigns in Canada urging citizens to avoid buying American products and traveling to the US. Buyers are becoming less inclined to purchase American art or attend American art fairs. This trend is expected to continue, leading to changes in the global art market landscape.
Furthermore, these tariffs may foster new alliances and collaborations as art professionals seek alternatives to the US art market. Efforts are already underway to reduce dependence on the US art market and explore opportunities to connect with other countries, such as Canada’s engagement with Mexico City’s art market.
Promising Opportunities for Canadian and Mexican Artists
Despite the challenges posed by the tariffs, one potential positive outcome is the increased attention and recognition for Canadian and Mexican artists. The tariffs may encourage a greater emphasis on showcasing the works of these artists domestically and internationally. Their artwork presents a favorable value proposition compared to their US counterparts due to the reasonable pricing.
Conclusion and Recommendations: Navigating the Turbulent Art Market
The art market is currently facing unprecedented challenges due to the imposition of trade tariffs. To navigate this turbulent landscape, art professionals should consider the following recommendations:
Stay updated: Keep track of changes in trade policies, tariffs, and exemptions to understand their impact on the art market.
Diversify markets: Explore opportunities in alternative markets and foster collaborations with countries less affected by trade tariffs.
Focus on local talent: Highlight the works of local artists to attract buyers who are seeking affordable and unique pieces.
Optimize logistics: Find cost-effective shipping and transportation solutions, considering the rise in import costs and potential delays.
Create tailored marketing strategies: Adapt marketing strategies to address the changing consumer behavior and preferences.
The art market’s future remains uncertain, as the trade war continues to unfold. However, by staying agile and proactive, art professionals can weather the storm and find new opportunities amidst the challenges.
