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k Counterfeit classics Vincent van Gogh – Wheatfield with Crows (1890)
One of Van Gogh’s most important paintings was valued by Sotheby’s at HK$272 million, but this is undoubtedly a conservative estimation. Price for replica: HK$240-$720
Edited by Jake Hamilton
Yue Minjun – Self Portrait (2004)
One of Minjun’s myriad ‘smiling’ paintings sold for HK$5.2 million in 2009. Price for replica: $85–$95 Long Xianzhong: Former medical student, now a master of copying the classics
IN THE SPOTLIGHT
The ‘knock-off painting’ village of Dafen is a joke for most people, but as Isak Ladegaard reports, an original artist may soon emerge
I
think most of the artists there are uneducated farmers and former factory workers,” says a companion bluntly. We’re on our way to Dafen, Shenzhen’s famous oil painting village about eight miles from the Lo Wu border. Shortly afterwards, her prediction is proven wrong. The first artist we talk to is working on a massive copy of Ai Xuan’s Sacred Mountain. “I went to art school for three years,” says artist Tang Dijian, adding that the school was in Yulin Normal University, in Guang Xi Province. “I’ve been here in Dafen for almost three months. Before I came here I was in advertising.” Dijian tells us he makes up to $3,600 a month. The Ai Xuan replica isn’t finished yet but it’s already clear that the 32-year-old artist knows what he’s doing. “I like to paint portraits,” he says. “Portraits tell stories. Portraits are difficult and I like challenges.” Dafen’s genesis as a painter’s commune began when Hong Kong artist Huang Jiang and his 20-man entourage of painters arrived more than two decades ago. Today,
Gustav Klimt – The Kiss (1907-1908)
Tang Dijian: Former ad man turned artist
The Cézannes of Shenzhen
the village – which is a suburb of Shenzhen – is a giant oil painting factory. More than 700 painting studios are spread over two square kilometres (and growing), with about 6,000 painters copying artworks on an industrial scale. According to China Daily, Dafen’s output ‘now accounts for 60 percent of the global oil painting market’. Despite the label of ‘Copycat art capital of the world’ one cannot underestimate the economic impact Dafen has had on Shenzhen. Last year, the first Dafen International Oil Painting Expo and Fair grossed sales of HK$788.2 million, according to the local government. According to financial news source, MarketWatch, the total art market value of mainland China, Hong Kong, Macau, and Taiwan has doubled since 2009 and is now the second largest in the world, after the US. Hong Kong is now considered the third most important auction hub in the world. At a Sotheby’s auction earlier this year, a painting by famous artist Zhang Xiaogang sold for HK$78.6 million – a record auction price for Chinese contemporary art. In Dafen, replicas
of Xiaogang’s work sell for $260 to $720 a piece. “Our customers are from all around the world,” says Rose He, sales manager of the art store and painting studio, Shenzhen Songmei Art. “But most of them come from mainland China,” she adds. “Mainland Chinese prefer traditional paintings – sceneries, flowers, still life and things like that, whereas Westerners prefer abstract painters or expressionist paintings.” She says prices of replicas vary wildly, depending on quality and size, and how much the buyer is willing to pay (see sidebar). However, there are signs Dafen will become much more than the art producing equivalent of “shoe city” in Dongguan or “furniture city” in Futian. In 2007, the Longgang municipal government built a HK$108 million museum in Dafen, offering space for local artists to display original work. “Most of our customers buy replicas,” says He. “But more and more customers prefer original work.” Dafen is known for bringing knock-offs to the world – but it might also produce brilliant artists one day. The folklore of top shelf artists is that they run on innate talent, their ‘gift’. But a long line of
academics stand ready to counter this idea. Anders Ericsson speaks for many of them – he’s the editor of the Cambridge Handbook of Expertise and Expert Performance, a 900-page-plus tome with contributions from more than 100 leading scientists who’ve studied ‘top performance’ in everything from surgery to sculpture. They argue that it’s all about “deliberate practice”. Long Xianzhong, another Dafen artist, has been in town for two years. “I studied art at Ji Shou University in Hu Nan province,” he says. “After three years there I came to Dafen to work as a painter.” He’s only 24, but already earns up to $8,400 a month – more than twice as much as his older colleague. “I’m doing OK,” he says, raising an eyebrow. “I’m paid per painting. How much I get depends on how difficult it is, and how well it turns out.” Ericsson writes that there are no shortcuts to achieving genuine expertise. His argument, which is backed by several studies, is that a minimum of 10,000 hours of intense training is needed to become truly great. If this theory is correct, Dafen could be a breeding ground for raw talent. “I usually work for about eight hours a day,”
‘’
Most of our customers buy replicas, but more and more customers prefer original work
says Dijian. It’s the same deal for his colleague, Xianzhong. “I work from 8am until 4pm. And I paint my original work in my spare time. If the company likes it, they’ll buy it.” Dafen’s painters are working at a pace that even the most obsessed college-trained painters can barely comprehend. Rose He says her company pays its painters by the quality of their work. “Every painter specialises in one style of painting,” she says. “The company tells me to paint the kind of art I like,” adds Xianzhong. “So I paint Van Goghs and Monets. I learn a lot from the masters of expressionism.” Dafen’s artists work day in, day out, and feedback to their art is instant – in aesthetics and paycheques. But odds are that a handful of them have bigger ambitions. “I went to medical school for five years before I abandoned that career path, and went to art school,” says Xianzhong. “I have a few big projects ahead,” adds Dijian, “I just don’t want to speak about them!” He then admits he will never, ever stop painting. Additional reporting: Shirley Zhao
A portrait Klimt made the same year sold for HK$1 billion in 2006. Price for replica: $180–$720
A mixture of ‘wow factor’ stories, quirky soundbites, amazing photo reportage and distinctive editorial opinions makes The Big Smog a perfect opening for Time Out readers. If a big story is shaping the city, you can be sure to find it in The Big Smog.
Leonardo da Vinci – Mona Lisa (1503-1519)
Originally valued at HK$778 million in 1962. Adjusted for inflation its 2011 value is approximately HK$5.6 billion. In truth, it’s practically priceless. Price for replica: $180–$720
Leonardo da Vinci – The Last Supper (late 1495-1498)
Life moves pretty fast in Hong Kong. If you don’t stop and take a look around once in a while you might just miss it…
Da Vinci’s mural in Milan, a ghost of its former self due to the artist’s tempera experimentation, is again considered almost priceless. Price for replica: $240–$840
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Ingenious ways of beating the heat
Jacques Louis David – Napoleon Crossing the Alps (1801-1805)
The price for this portrait by France’s greatest painter (and propagandist) would probably hover around the US$150 million mark. Price for replica: $360–$840
A City of Opposites #4: Modernity & Antiquity
WHERE IN HONG KONG IS THIS?
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July 6 – 19 2011 timeout.com.hk 9 10 timeout.com.hk August 17 – 30 2011
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My work requires me to find the [right] feelings in a very quiet state. So I often spend my mornings meeting guests, taking interviews and managing my work duties. All these tasks must be finished before lunch. In the afternoon, I try to keep any interaction with the outside world to a minimum.
Art
Edited by Edmund Lee •
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It seems to me that much of your work is oozing a kind of dark and disquieting ambience. Can you describe your state of mind when you paint? I like to… how should I put it? The facial expressions of my characters are sometimes very solemn – just like me. From the outside, I look very sensible and serious and not very sociable; but in reality, I’m quite an emotional person. While my work may be perceived as cold and melancholy, it is very vivid and temperamental at heart. But I do like to create a powerful aura of tragedy on the surface [of my work]. I don’t like images that are overwhelmingly beautiful.
Kong exhibition, which provides a fascinating survey of a career that’s equally characterised for its many stages of reinvention.
It’s interesting you mention the tragic quality of your work. I’ve been wondering if the occasional smiling faces are indeed ironic in their conception. There are some [characters] who are smiling, but most of them are not. They’re looking very sombre. Actually, I wouldn’t say [the smiles] are ironic, because they are still symbolic of our living experiences in the past. Most of my work is based on my past memories and childhood experiences, which are now expressed in this particular manner. It’s not an irony; [but] there’s a little bit of social critique in there. We care about our living environment, and I’m expressing that through an artistic mode, to offer food for thought for the public.
I can imagine that you must be a very busy man. So how much time in a day do you normally devote to painting? I usually spend about 80 to 90 percent of my time creating. It’s not just the painting process, but a larger part of this time is spent on the thinking process. I spend several hours, every day, meditating by myself in a [quiet] environment.
Indeed, your work has touched on many of the social changes in modern China from the Cultural Revolution onwards. How political do you consider your own work? Actually, it’s impossible for our generation to get out of this way of thinking. I was born in the 1960s, and my teenage years – up to the 80s – were spent in a society in the shadow of the Cultural Revolution.
A portrait of the artist Zeng and his oil on canvas painting, Bacon (2010)
A brush with the extraordinary
With his psychologically complex portraits, Zeng Fanzhi has established himself as one of the greatest painters of his generation. Edmund Lee talks to the Chinese artist during his Hong Kong visit
W
hen people think about Zeng Fanzhi, they often recall his painting subjects’ white masks, their outsized hands and the astonishingly high prices that these hands have been fetching in auctions. In person, the Beijing-based 47-year-old artist whose impressionistic portraits of seemingly suppressed emotions is himself rather serene. Zeng only sporadically breaks into very subdued chuckles when our conversation drifts on to his slightly awkward status as one of the world’s top-selling artists,
which, at a 2008 auction, saw his oil-on-canvas diptych Mask Series 1996 No.6 sold for US$9.7 million, a record for Asian contemporary art. Drawn from the inner struggles stemming from the self-confessed introvert’s city living experiences, Zeng’s Mask Series – which he started in 1994 and officially concluded in 2004, and is generally considered his most important series to date – also delves into the artist’s childhood memories amid the socialist influences that he grew up with in the 1970s. We meet up with the artist at his Hong
76 timeout.com.hk October 12 - 25 2011
So in a way, we would inevitably feel deeply about the drastic changes since then. I’m in my 40s, and every decade [in my life] has been very different. I think we are a very complicated generation, living against a very complicated social backdrop. The impact of the Cultural Revolution has been huge for us – it has contributed to the complicated milieu that our generation grew up in. As artists, we have too many experiences to serve as our creative inspirations. Apart from dealing with humanity and the society, however, my work is also looking towards the future. Whereas my early work focused on my life and my past, my later work connects with the world, functioning as a dialogue between Eastern and Western cultures.
young. I just picked up a pen and began drawing. What kind of drawing? When I was little, I drew lianhuanhua [a form of sequential drawings that is the precursor of Chinese comics]. I modelled after the characters in lianhuanhua, so my interest in drawing people has been there
So how did you decide to become an artist at first? I think [I decided] in a daze, between the ages of 16 and 18. I wasn’t exactly thinking about becoming an artist. I only knew that I like art and thought it’s a pleasure to express, to create, and to feel life through art. It’s a job that I’m especially willing to do.
Along with the likes of Zhang Xiaogang and Yue Minjun, you belong to the first generation of Chinese artists who are internationally recognised and collected. What do you think are the factors that have really set you apart from the past generations? I think this has to do with the social changes in China. This is the era in which China rapidly develops in front of the eyes of the entire world. [We] are in the right place at the right time. It so happens that we’ve received a very good education and it so happens that we’re very young. Unlike our predecessors, who enjoyed very limited artistic freedom and must work to others’ ideas, we can work to our own life experiences and fully express our messages. It’s a very liberated state of being. Of course, we’ve also caught up with the best period of economic growth in our society. The whole world is looking at China now – and if you start out at this very moment, it’s easy to get noticed.
You’ve said quite a few times in the past that your work isn’t meant to be political. But at the same time, it’s hard to deny that the popularity of it is also partly indebted to its perceived political ingredient. What do you think about this paradox? We’re all part of this society. On the one hand, my work reflects my life and my views on the society; on the other hand, art also has its aesthetic functions. Aside from our social concern and critique, the aesthetics are very important too. I think the two sides have to be connected. How would you describe your style? My style is varied. My form and language are varied and vivid. It can be accepted by everyone and easily comprehended by anyone. I don’t want my art to require too much explanation from me. Art is something to be seen. Each viewer has his own judgement after seeing a work, and it is very important for my [visual] language to be accepted. If your work is comprehensible only to 10 percent [of the viewers], with the remaining 90 percent requiring your linguistic explanation, the visual language is [effectively] absent. I feel that much of the comprehension should be through the viewers’ eyes. [Painting] is a visual medium, and shouldn’t require me to explain myself too much. That’s why I find it necessary to [adopt] a generally comprehensible mode of expression. In your work, how many of your characters are based on you? When I was working on the Mask Series, I was quite often expressing my inner feelings. I’m not saying that it’s me in every painting, but every one of them tells a story from my past. I might find a person to play [a role] in my story, my dream or my imagination. My thoughts are encapsulated in there. Do you remember what your earliest paintings were like? I can’t recall too clearly, because I started painting when I was very
Matters of life (Clockwise from top) Mask Series 1996 No.6 was sold for US$9.7 million in 2008; Zeng’s new oil on canvas portrait of the recently deceased British painter Lucian Freud; Hospital Triptych No.1 was part of the landmark 1990s touring exhibition, China’s New Art Post-1989, and is widely considered one of Zeng’s most important works; Mask Series No.13, 1994
right from the start. I was drawing whatever I felt like. My daughter is like that too: I never tell her what to draw, and – as in my own childhood – I just give her a pen and let her draw whatever she wants. Through this arbitrary process, your brain is in fact developing and creating and exercising its imagination. This is of utmost importance, because the technical issues can be solved when you’re 15 or 16, but creativity and imagination must be [developed] before 10. It can’t be taught. What does your daughter think about your work? She normally has no comment [about my work]. She thinks dad is best. She always says dad’s [work] is great.
When did you first realise you’ve become well-known? I think in the early 1990s. At that time, it’s mostly about being recognised by the professionals, by your peers in the industry. It wasn’t about the public back then, because they weren’t as interested in art as they are today. It was through exhibitions that we got to know other artists. And then, in 2008, your Mask Series 1996 No.6 was sold for US$9.7 million, setting a record for Asian contemporary art along the way. What do you make of that now? This was definitely out of my imagination. I wouldn’t have thought that… that there’d be
*Art & Culture
such a price. For an artist… it was a complete surprise to me back then. But now that I’ve thought about it, [the price] was only logical, because China’s economy has been rapidly developing. People are all very confident about the prosperity of the art market – and the future of China. As such, the new generation of Chinese artists are increasingly valued by the market. [Nonetheless] the 2008 [sale] was a shock. I thought it was an extremely high price.
On a relatively trivial note, I see that on top of your Chinese signature, you’ve also included the pinyin ‘Zeng Fanzhi’ on your paintings in recent years. Is this meant to offer easier access to a wider audience? Right. This is a habit: at first it’s only the Chinese name and, later on, I’m also including my pinyin. I haven’t thought too much about this… it’s to let more people recognise your work. In terms of your artistic directions, are you experimenting with any new ideas at the moment? I have a few ideas. I’ve created some new works that I haven’t shown to the public yet. I’ve been exploring… I started out by studying Western art; I’m seeking the dialogue between Eastern and Western cultures. I’ve been exploring many of the important concepts in traditional Chinese art. Perhaps I’ll absorb some of these nutrients and turn them into my new work. Zeng Fanzhi’s Hong Kong exhibition is at Gagosian Gallery until Nov 5. timeout.com.hk/art
October 12 - 25 2011 timeout.com.hk 77
Art
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This is the era in which China rapidly develops in front of the eyes of the entire world. We are in the right place at the right time
Art
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132
June 5
Distribution Date (Wed)
Shopping Issue 137
August 14
Cheap Eats Issue No.
130
Distribution Date (Wed)
HONG KONG Art Guide 2013
Travel Special Issue No.
Issue No.
129
5th Anniversary issue Issue No.
March 27
Photography issue
5th Anniversary
Issue
127
Distribution Date (Wed)
Style issue and Spa Guide Issue No.
February 13
Distribution Date (Wed)
New year agenda issue Issue No.
124
Issue No. Distribution Date (Wed)
139
September 11
Autumn Style special 141
October 9
Issue No.
143
November 6
Distribution Date (Wed)
TIME OUT DINING GUIDE 2013 Top 200 bars and restaurants of Hong Kong The food trends of the moment Table talk with top chefs and much more...
Time Out Dining Guide Issue No. Distribution Date (Wed)
Holiday and gift issue
Time Out Macau Guide 145
December 4
Issue No. Distribution Date (Wed)
146
December 18
Christmas and New year special