Celebrity Life
Chinese Artist Zhao Zhao on His Latest Project With Louis Vuitton
Born in 1982 in Shihezi, a city skirted by the railway in the foothills of the Tian Shan mountain range in northern Xinjiang Province, artist Zhao Zhao has come a long way. Today, based between Beijing and Los Angeles, Zhao is one of China’s most promising generation of ’80s-born artists, having exhibited around the world at institutions such as New York’s MoMA PS1, UCCA Beijing, MAXXI in Rome and Berlin’s Museum of Asian Art.
This season, there’s also a high-profile collaboration with French luxury-goods giant Louis Vuitton on its Artycapucines handbag project, for which the brand sought out a diverse list of six international artists to reimagine the handbag with a tabula rasa – Beatriz Milhazes, Jean-Michel Othnoiel, Josh Smith, Henry Taylor and Liu Wei, as well as Zhao Zhao.
[caption id="attachment_213140" align="aligncenter" width="683"]
The artist in his courtyard[/caption]
The challenge of taking on the Capucines handbag, which was introduced in 2013, was an odd one for this artist. “At first,” he says, “I was quite curious about how the collaboration between my art and a brand could proceed without sacrificing or undermining the syntax of the artwork.”
He eventually chose to base the project on his 2018 sculptural piece In Extremis No 3, a work that explores the process between life and death, through an abstractified image of a dead cat on an asphalt road, “like a beautiful carpet”.
“It’s more of a comment on the human condition rather than a brutal death of an animal,” explains the artist. Profound and universal, the choice to apply this particular work to the Capucines bag came with the intention that the art-fashion project wouldn’t be just “fancy or functional”, but “also represent my understanding of the state of in extremis – the ‘moment of death’ in medical terminology – something weighty and philosophical”.
“It’s the flashback of an entire life, in which pain, happiness and beauty are all important elements,” Zhao says. “I realised that it can be presented in such a way that has its meaning and significance transposed from the original media of asphalt and metal on to a bag, which in a way extends my work to another plateau.”
While the original In Extremis No 3 is an assemblage of brass, stainless steel, black iron and blue steel, Zhao transposed the metal components into 353 individual laser-cut leather patches, embroidered, pattern-printed or worked into relief, that were then meticulously sewn together into Zhao’s design on the bag. The result is a beautiful riot of texture, in a tight edit of colour (black, white, navy and gold), as if Extremis and its pattern had been wrapped or moulded around the entire bag.
Zhao initially studied oil painting at Xinjiang Art Institute, but after relocating to Beijing his work soon saw him move on to creative expression through sculpture, radical installation work, film and even more active performances.“I was born in Xinjiang and lived there for 19 years, but it never felt like home,” Zhao says. “I wanted to leave from a young age and decided to go to Beijing. It was the only place where you could feel connected to how China was operating, which I felt would, in turn, help me to understand myself.”
There, that bold evolution of media, alongside the exploration of fundamental themes – including historical impermanence in contemporary society – was a series of huge creative leaps that made him into such a fascinating figure in China’s contemporary art scene. “My early experience with art came in the late 1990s,” he explains. “At the time, many Chinese artists were immersed in German Expressionism or American Conceptual art, but what impressed me the most was performance art.”
Then progression of his ideas and chosen medium was deeply influenced by the “social sculptures” of German artist Joseph Beuys, who also used a vast array of media to articulate personal, humanistic and social issues. It inspired Zhao’s pushing of his own artistic boundaries in how he explores themes of individuality and free will as part of a generation of Chinese living through enormous and rapid social change.
“In particular,” he recalls, “I was inspired by Beuy’s work entitled I Like America and America Likes Me, in which he shared a small enclosed gallery space with a live coyote for three days, slowly befriending the wild animal in the process … and though I’d started my career as an artist with painting, seeing this kind of fearless work encouraged me to explore sculpture, filmmaking, installation and performance.”
[caption id="attachment_213141" align="aligncenter" width="683"]
Red paint and screen processes for Zhao Zhao’s Artycapucines bag[/caption]
There’s been an established tradition of work with bold, often contrarian contemporary artists at luxury, fashion and heritage giant Louis Vuitton. The most famous and memorable collaborations are still those with Japanese art “star” Takashi Murakami, but there have been others with the likes of Yayoi Kusama, Stephen Sprouse, Damien Hirst, Jeff Koons and Cindy Sherman.
In fine art, patronage by such a powerful entity as the LVMH group has its own kudos in the industry, along with obvious perks. The development of that relationship will be interesting to watch in the future, especially in going beyond mere models of patronage, while keeping the integrity of the artist’s vision intact.
“That Louis Vuitton approached me and also the determination of the artisans to bring this piece to its completed form represents huge respect to me and my artwork,” says the artist. “During the process of testing different materials and colours, I felt that we weren’t just repurposing the artwork, we were actually upgrading it.”
The new object itself, the fashion perspective, a new audience and a new medium, all made it a fascinating project, says Zhao, before asking no one in particular: “Where will the bag go? What will happen to it It’s a bit like a movie without a script.”
(Hero Image: The Louis Vuitton Artycapucines bag)
The post Chinese Artist Zhao Zhao on His Latest Project With Louis Vuitton appeared first on Prestige Online - Hong Kong.
Chinese Artist Zhao Zhao on His Latest Project With Louis Vuitton
Born in 1982 in Shihezi, a city skirted by the railway in the foothills of the Tian Shan mountain range in northern Xinjiang Province, artist Zhao Zhao has come a long way. Today, based between Beijing and Los Angeles, Zhao is one of China’s most promising generation of ’80s-born artists, having exhibited around the world at institutions such as New York’s MoMA PS1, UCCA Beijing, MAXXI in Rome and Berlin’s Museum of Asian Art.
This season, there’s also a high-profile collaboration with French luxury-goods giant Louis Vuitton on its Artycapucines handbag project, for which the brand sought out a diverse list of six international artists to reimagine the handbag with a tabula rasa – Beatriz Milhazes, Jean-Michel Othnoiel, Josh Smith, Henry Taylor and Liu Wei, as well as Zhao Zhao.
[caption id="attachment_213140" align="aligncenter" width="683"] The artist in his courtyard[/caption]
The challenge of taking on the Capucines handbag, which was introduced in 2013, was an odd one for this artist. “At first,” he says, “I was quite curious about how the collaboration between my art and a brand could proceed without sacrificing or undermining the syntax of the artwork.”
He eventually chose to base the project on his 2018 sculptural piece In Extremis No 3, a work that explores the process between life and death, through an abstractified image of a dead cat on an asphalt road, “like a beautiful carpet”.
“It’s more of a comment on the human condition rather than a brutal death of an animal,” explains the artist. Profound and universal, the choice to apply this particular work to the Capucines bag came with the intention that the art-fashion project wouldn’t be just “fancy or functional”, but “also represent my understanding of the state of in extremis – the ‘moment of death’ in medical terminology – something weighty and philosophical”.
“It’s the flashback of an entire life, in which pain, happiness and beauty are all important elements,” Zhao says. “I realised that it can be presented in such a way that has its meaning and significance transposed from the original media of asphalt and metal on to a bag, which in a way extends my work to another plateau.”
While the original In Extremis No 3 is an assemblage of brass, stainless steel, black iron and blue steel, Zhao transposed the metal components into 353 individual laser-cut leather patches, embroidered, pattern-printed or worked into relief, that were then meticulously sewn together into Zhao’s design on the bag. The result is a beautiful riot of texture, in a tight edit of colour (black, white, navy and gold), as if Extremis and its pattern had been wrapped or moulded around the entire bag.
Zhao initially studied oil painting at Xinjiang Art Institute, but after relocating to Beijing his work soon saw him move on to creative expression through sculpture, radical installation work, film and even more active performances.“I was born in Xinjiang and lived there for 19 years, but it never felt like home,” Zhao says. “I wanted to leave from a young age and decided to go to Beijing. It was the only place where you could feel connected to how China was operating, which I felt would, in turn, help me to understand myself.”
There, that bold evolution of media, alongside the exploration of fundamental themes – including historical impermanence in contemporary society – was a series of huge creative leaps that made him into such a fascinating figure in China’s contemporary art scene. “My early experience with art came in the late 1990s,” he explains. “At the time, many Chinese artists were immersed in German Expressionism or American Conceptual art, but what impressed me the most was performance art.”
Then progression of his ideas and chosen medium was deeply influenced by the “social sculptures” of German artist Joseph Beuys, who also used a vast array of media to articulate personal, humanistic and social issues. It inspired Zhao’s pushing of his own artistic boundaries in how he explores themes of individuality and free will as part of a generation of Chinese living through enormous and rapid social change.
“In particular,” he recalls, “I was inspired by Beuy’s work entitled I Like America and America Likes Me, in which he shared a small enclosed gallery space with a live coyote for three days, slowly befriending the wild animal in the process … and though I’d started my career as an artist with painting, seeing this kind of fearless work encouraged me to explore sculpture, filmmaking, installation and performance.”
[caption id="attachment_213141" align="aligncenter" width="683"] Red paint and screen processes for Zhao Zhao’s Artycapucines bag[/caption]
There’s been an established tradition of work with bold, often contrarian contemporary artists at luxury, fashion and heritage giant Louis Vuitton. The most famous and memorable collaborations are still those with Japanese art “star” Takashi Murakami, but there have been others with the likes of Yayoi Kusama, Stephen Sprouse, Damien Hirst, Jeff Koons and Cindy Sherman.
In fine art, patronage by such a powerful entity as the LVMH group has its own kudos in the industry, along with obvious perks. The development of that relationship will be interesting to watch in the future, especially in going beyond mere models of patronage, while keeping the integrity of the artist’s vision intact.
“That Louis Vuitton approached me and also the determination of the artisans to bring this piece to its completed form represents huge respect to me and my artwork,” says the artist. “During the process of testing different materials and colours, I felt that we weren’t just repurposing the artwork, we were actually upgrading it.”
The new object itself, the fashion perspective, a new audience and a new medium, all made it a fascinating project, says Zhao, before asking no one in particular: “Where will the bag go? What will happen to it It’s a bit like a movie without a script.”
(Hero Image: The Louis Vuitton Artycapucines bag)
The post Chinese Artist Zhao Zhao on His Latest Project With Louis Vuitton appeared first on Prestige Online - Hong Kong.
Joan Cornellà’s My Life is Pointless Opens in Hong Kong
Sotheby’s Gallery Hong Kong opened Contemporary Showcase: My Life Is Pointless, a solo exhibition of 48 works by acclaimed Spanish artist Joan Cornellà in conjunction with Hong Kong design studio, AllRightsReserved, making it the biggest solo exhibition staged by the artist in Hong Kong to date.
My Life Is Pointless is Cornellà’s third solo exhibition in Hong Kong and marks his return to the city after three years. It features for the first time the artist’s latest life-sized panels, shaped panel paintings and bronze sculptures, along with a selection of limited print works that will not be released again.
With nearly 8 million followers worldwide on social media, Cornellà’s works have been exhibited globally, from Hong Kong, Tokyo, Seoul and Beijing to London, Paris and New York. With a simplistic visual language and cheerful palette, Cornellà uses satire to comment on the bleak side of human nature, creating works that are honest, entertaining and stimulating. “In 2020, his well-established style evolved to combine text and imagery as he continues to explore the possibilities and universal resonance of his signature brand of humour,” according to Sotheby’s.
“It’s been three years since my last show in Hong Kong,” Cornellà said. “The audience can once again witness my representative works as well as some of my latest ones, which often explore the combination of text and pictures. It seems this surreal black humour resonates well with the times we live in.”
SK Lam, founder of AllRightsReserved, described Cornellà as “undoubtedly an icon of dark humour – his works crack you up, or can get on your nerves. Yet, it is Joan’s unique, sensational sense of humour that connects with everyone emotionally. The overwhelming response of his previous exhibitions in Hong Kong proves how much the people in this city relate to his worldviews. To many of us, 2020 has been incredibly challenging and it still is. I hope this exhibition, weaved together with laughter and tears, is coming at the right time as we round up the year.”
Heather Kim, Specialist of Contemporary Art, Asia of Sotheby’s, described Cornellàs works as “humorous, sinister and inspiring all at the same time. The entertaining yet thought-provoking show wraps up this unprecedented year, which truly demonstrated the tenacity and innovative opportunities of the contemporary art market in Asia and around the world.”
Joan Cornellà Vázquez was born in 1981, in Barcelona. His creations are light-hearted and playful on the surface, featuring a cheerful palette and figures with generic grins. Upon deeper contemplation, they communicate a potent, astute and nuanced satire on human nature and existence. Poking fun at sensitive and taboo topics with a fluid hand and minimal visual clues, Cornellà cuts to the core of the unnerving essence of our times.
My Life is Pointless opened on December 15 and runs until January 29 at Sotheby’s Gallery Hong Kong. By appointment only. RSVP online here: Sothebys.com/JoanCornella
The post Joan Cornellà’s My Life is Pointless Opens in Hong Kong appeared first on Prestige Online - Hong Kong.
From “Sex and The City” to Politics, This Exhibition Celebrates The Power of Handbags
Whether toted by Conservative leader Margaret Thatcher or "Sex and the City" actress Sarah Jessica Parker, handbags pack a powerful punch, a British exhibition reveals. The Victoria and Albert Museum is showing some 300 items at the exhibition called "Bags: Inside and Out" that opens on Saturday.
They range from a 16th-century embroidered purse to a contemporary plastic rucksack by British designer Stella McCartney. The decorative arts and design museum has chosen to focus on the accessories for its first exhibition since England's lockdown was lifted in early December.
It looks at the "It bag" craze that kicked off in the 1990s, with women flocking to buy a certain designer style, influenced by celebrity images. One such bag on show is a purple sequined Fendi baguette bag once carried by the Sex and the City character Carrie Bradshaw, played by Parker in the hit HBO show.
There is also a formidable leather handbag once carried by Thatcher, known as her "secret weapon". Thatcher's assertive armoury of bags even led to the creation of a new verb: "to handbag", or browbeat into submission.
"These portable, yet functional accessories have long fascinated men and women with their dual nature that combines private and public," said Lucia Savi, the exhibition's curator.
From the Hermes Kelly to Lady Dior, bags are a connecting link between the home and the outside world and allow people to carry money or important documents out of sight. The exhibition's first part looks at the different uses bags are put to.
An imposing Louis Vuitton trunk from the early 20th century was made for long voyages while a tiny leather bag measuring just 16 centimetres can squeeze in a purse, an opera glass, a notebook and a mirror: all you need for a night at the opera.
The second part of the exhibition looks at bags and identity: what a bag says about the owner and their aspirations. Some have become closely associated with celebrity owners, such as Hermes's "Kelly", a bold trapezoid-shaped bag. It was renamed after the icily stylish actress Grace Kelly was photographed carrying it.
Others include the Lady Dior, known as a favourite of Princess Diana, and the Hermes' Birkin bag created after the fashion house's head Jean-Louis Dumas met the British-born actress Jane Birkin on a plane.
These days it is social media that fuels desire for the latest bag. On video, Chinese influencer Tao Liang, known as Mr Bags, talks about the designs he has collaborated on with top luxury brands such as Burberry and Chanel.
All of them are "very instagrammable," he says. "Who doesn't want a picture of themselves with a nice bag?" says the fashion blogger who claims to have 5 million followers on China's Weibo. Sometimes a bag can carry a political message, however, such as the bag bearing the slogan "My Body My Business," created by US-Swedish artist Michele Pred.
A final section of the exhibition examines the techniques used to make bags, including quirkier designs such as the US designers Thom Brown's handbag from last year in the shape of a dachshund, inspired by his dog Hector. As fast fashion falls out of favour, designers are looking at new technologies and recycling to reduce environmental impact. A pioneer in this area, Stella McCartney, used plastic waste taken from the sea to make a rucksack on display.
The contents of a handbag remain sacrosanct, especially in the case of Queen Elizabeth II, who has remained loyal to the conservative Launder brand and has several of its bags.
The post From “Sex and The City” to Politics, This Exhibition Celebrates The Power of Handbags appeared first on Prestige Online - Hong Kong.
From “Sex and The City” to Politics, This Exhibition Celebrates The Power of Handbags
Whether toted by Conservative leader Margaret Thatcher or "Sex and the City" actress Sarah Jessica Parker, handbags pack a powerful punch, a British exhibition reveals. The Victoria and Albert Museum is showing some 300 items at the exhibition called "Bags: Inside and Out" that opens on Saturday.
They range from a 16th-century embroidered purse to a contemporary plastic rucksack by British designer Stella McCartney. The decorative arts and design museum has chosen to focus on the accessories for its first exhibition since England's lockdown was lifted in early December.
It looks at the "It bag" craze that kicked off in the 1990s, with women flocking to buy a certain designer style, influenced by celebrity images. One such bag on show is a purple sequined Fendi baguette bag once carried by the Sex and the City character Carrie Bradshaw, played by Parker in the hit HBO show.
There is also a formidable leather handbag once carried by Thatcher, known as her "secret weapon". Thatcher's assertive armoury of bags even led to the creation of a new verb: "to handbag", or browbeat into submission.
"These portable, yet functional accessories have long fascinated men and women with their dual nature that combines private and public," said Lucia Savi, the exhibition's curator.
From the Hermes Kelly to Lady Dior, bags are a connecting link between the home and the outside world and allow people to carry money or important documents out of sight. The exhibition's first part looks at the different uses bags are put to.
An imposing Louis Vuitton trunk from the early 20th century was made for long voyages while a tiny leather bag measuring just 16 centimetres can squeeze in a purse, an opera glass, a notebook and a mirror: all you need for a night at the opera.
The second part of the exhibition looks at bags and identity: what a bag says about the owner and their aspirations. Some have become closely associated with celebrity owners, such as Hermes's "Kelly", a bold trapezoid-shaped bag. It was renamed after the icily stylish actress Grace Kelly was photographed carrying it.
Others include the Lady Dior, known as a favourite of Princess Diana, and the Hermes' Birkin bag created after the fashion house's head Jean-Louis Dumas met the British-born actress Jane Birkin on a plane.
These days it is social media that fuels desire for the latest bag. On video, Chinese influencer Tao Liang, known as Mr Bags, talks about the designs he has collaborated on with top luxury brands such as Burberry and Chanel.
All of them are "very instagrammable," he says. "Who doesn't want a picture of themselves with a nice bag?" says the fashion blogger who claims to have 5 million followers on China's Weibo. Sometimes a bag can carry a political message, however, such as the bag bearing the slogan "My Body My Business," created by US-Swedish artist Michele Pred.
A final section of the exhibition examines the techniques used to make bags, including quirkier designs such as the US designers Thom Brown's handbag from last year in the shape of a dachshund, inspired by his dog Hector. As fast fashion falls out of favour, designers are looking at new technologies and recycling to reduce environmental impact. A pioneer in this area, Stella McCartney, used plastic waste taken from the sea to make a rucksack on display.
The contents of a handbag remain sacrosanct, especially in the case of Queen Elizabeth II, who has remained loyal to the conservative Launder brand and has several of its bags.
The post From “Sex and The City” to Politics, This Exhibition Celebrates The Power of Handbags appeared first on Prestige Online - Hong Kong.
From “Sex and The City” to Politics, This Exhibition Celebrates The Power of Handbags
Whether toted by Conservative leader Margaret Thatcher or "Sex and the City" actress Sarah Jessica Parker, handbags pack a powerful punch, a British exhibition reveals. The Victoria and Albert Museum is showing some 300 items at the exhibition called "Bags: Inside and Out" that opens on Saturday.
They range from a 16th-century embroidered purse to a contemporary plastic rucksack by British designer Stella McCartney. The decorative arts and design museum has chosen to focus on the accessories for its first exhibition since England's lockdown was lifted in early December.
It looks at the "It bag" craze that kicked off in the 1990s, with women flocking to buy a certain designer style, influenced by celebrity images. One such bag on show is a purple sequined Fendi baguette bag once carried by the Sex and the City character Carrie Bradshaw, played by Parker in the hit HBO show.
There is also a formidable leather handbag once carried by Thatcher, known as her "secret weapon". Thatcher's assertive armoury of bags even led to the creation of a new verb: "to handbag", or browbeat into submission.
"These portable, yet functional accessories have long fascinated men and women with their dual nature that combines private and public," said Lucia Savi, the exhibition's curator.
From the Hermes Kelly to Lady Dior, bags are a connecting link between the home and the outside world and allow people to carry money or important documents out of sight. The exhibition's first part looks at the different uses bags are put to.
An imposing Louis Vuitton trunk from the early 20th century was made for long voyages while a tiny leather bag measuring just 16 centimetres can squeeze in a purse, an opera glass, a notebook and a mirror: all you need for a night at the opera.
The second part of the exhibition looks at bags and identity: what a bag says about the owner and their aspirations. Some have become closely associated with celebrity owners, such as Hermes's "Kelly", a bold trapezoid-shaped bag. It was renamed after the icily stylish actress Grace Kelly was photographed carrying it.
Others include the Lady Dior, known as a favourite of Princess Diana, and the Hermes' Birkin bag created after the fashion house's head Jean-Louis Dumas met the British-born actress Jane Birkin on a plane.
These days it is social media that fuels desire for the latest bag. On video, Chinese influencer Tao Liang, known as Mr Bags, talks about the designs he has collaborated on with top luxury brands such as Burberry and Chanel.
All of them are "very instagrammable," he says. "Who doesn't want a picture of themselves with a nice bag?" says the fashion blogger who claims to have 5 million followers on China's Weibo. Sometimes a bag can carry a political message, however, such as the bag bearing the slogan "My Body My Business," created by US-Swedish artist Michele Pred.
A final section of the exhibition examines the techniques used to make bags, including quirkier designs such as the US designers Thom Brown's handbag from last year in the shape of a dachshund, inspired by his dog Hector. As fast fashion falls out of favour, designers are looking at new technologies and recycling to reduce environmental impact. A pioneer in this area, Stella McCartney, used plastic waste taken from the sea to make a rucksack on display.
The contents of a handbag remain sacrosanct, especially in the case of Queen Elizabeth II, who has remained loyal to the conservative Launder brand and has several of its bags.
The post From “Sex and The City” to Politics, This Exhibition Celebrates The Power of Handbags appeared first on Prestige Online - Hong Kong.
DesignInspire Virtual Fair Sheds Lights on The Vital Importance of Creativity Amid Global Pandemic
Creativity and its power to connect people and places have never been more vital to communities all over the world than in 2020. DesignInspire Online, a virtual fair organised by the Hong Kong Trade Development Council (HKTDC) that was recently held, celebrated this concept with a diverse showcase of global designs from Hong Kong, Mainland China, Japan, Korea and Australia to both trade and public visitors.
This year's theme, “Design for Good”, was chosen with the intent of delivering positive energy to societies and inspire through innovations and world-class designs that can help overcome adversity amid the Covid-19 pandemic.
The focus of most projects led by Hong Kong designers was in fact to create furniture and domestic gadgets that could improve the stay-home-experience and help optimise spaces while exploring global creativity and making the most of local excellence in design. The works also exalt the local traditions and heritage, like the “Made to measure” paintings on iron roller-shutter doors telling the city's stories through powerful symbols.
DesignInspire Online also featured numerous interactive projects and games aimed at combining creativity with technology and innovation, possibly highlighting one of the most important themes explored by creatives all over the world during the pandemic. Additionally, the fair covered timely topics like enhancing the digital customer experience and engagement as well as industry-specific trends such as video marketing and practical tips for designers to improve their business models.
To add to the charm and relevance, the virtual event curated a series of exclusive designs from all over the world through the overseas pavilions.
The Japan Pavilion
The most remarkable elements of Japanese luxury residencies, office buildings and retail spaces as well as high quality materials are brought together in the Japan Pavilion. Additionally, the virtual booth, designed by award-winning Masaaki Hisatakeh Architects, also aims at connecting the country's professionals and ideas of functionality and innovation with Hong Kong's architects.
Established in 1870, Ikuta is a leader in the flooring industry. Some of the company's premium composite flooring, a blend of tradition and innovations, has been used in many high-end developments like the residences at the Ritz-Carlton Tokyo. Among its signature original products there's Takumi Japan, the world’s first flooring incorporating gold leaf, created in collaboration with traditional artisans in Kyoto and Kanazawa
Hirata Tiles, which recently celebrated its 100th anniversary in 2019, is a specialised trading company that sells and applies construction materials. Thanks to innovative and creative tile compositions that made the most of natural light and colours, the Japanese company is considered a leader in creating effortlessly stylish and vibrant spaces.
The Melbourne Pavilion
Melbourne, known as Australia's creative capital and one of the world's most liveable cities, is home to a growing and vibrant community of designers. The city is also known for the importance it gives to the creative industries, constantly exploring and making the most of the economic, cultural and social powers of design. The Melbourne pavilion is a tribute to this attitude and artistic diversity.
LCI Melbourne is a progressive art and design Institute and a world-class leader in creative education. Based in a heritage building in Collingwood, the heart of Melbourne, LCIM is part of a global network of 23 design institutes born over 60 years ago.
Eness is famous for its unique art sculptures that have appeared in the Melbourne Museum, Cabrini Hospital and other famous locations around the city. Making use of technologies like 3D project mapping and LED lights, each work, created by an esteemed team of writers, musicians, artists, software engineers, and industrial designers, has an interactive element to stimulate the imagination and to encourage engagement.
For more information visit DesignInspire. Access to DesignInspire ONLINE is free for both trade and public visitors
The post DesignInspire Virtual Fair Sheds Lights on The Vital Importance of Creativity Amid Global Pandemic appeared first on Prestige Online - Hong Kong.
DesignInspire Virtual Fair Sheds Lights on The Vital Importance of Creativity Amid Global Pandemic
Creativity and its power to connect people and places have never been more vital to communities all over the world than in 2020. DesignInspire Online, a virtual fair organised by the Hong Kong Trade Development Council (HKTDC) that was recently held, celebrated this concept with a diverse showcase of global designs from Hong Kong, Mainland China, Japan, Korea and Australia to both trade and public visitors.
This year's theme, “Design for Good”, was chosen with the intent of delivering positive energy to societies and inspire through innovations and world-class designs that can help overcome adversity amid the Covid-19 pandemic.
The focus of most projects led by Hong Kong designers was in fact to create furniture and domestic gadgets that could improve the stay-home-experience and help optimise spaces while exploring global creativity and making the most of local excellence in design. The works also exalt the local traditions and heritage, like the “Made to measure” paintings on iron roller-shutter doors telling the city's stories through powerful symbols.
DesignInspire Online also featured numerous interactive projects and games aimed at combining creativity with technology and innovation, possibly highlighting one of the most important themes explored by creatives all over the world during the pandemic. Additionally, the fair covered timely topics like enhancing the digital customer experience and engagement as well as industry-specific trends such as video marketing and practical tips for designers to improve their business models.
To add to the charm and relevance, the virtual event curated a series of exclusive designs from all over the world through the overseas pavilions.
The Japan Pavilion
The most remarkable elements of Japanese luxury residencies, office buildings and retail spaces as well as high quality materials are brought together in the Japan Pavilion. Additionally, the virtual booth, designed by award-winning Masaaki Hisatakeh Architects, also aims at connecting the country's professionals and ideas of functionality and innovation with Hong Kong's architects.
Established in 1870, Ikuta is a leader in the flooring industry. Some of the company's premium composite flooring, a blend of tradition and innovations, has been used in many high-end developments like the residences at the Ritz-Carlton Tokyo. Among its signature original products there's Takumi Japan, the world’s first flooring incorporating gold leaf, created in collaboration with traditional artisans in Kyoto and Kanazawa
Hirata Tiles, which recently celebrated its 100th anniversary in 2019, is a specialised trading company that sells and applies construction materials. Thanks to innovative and creative tile compositions that made the most of natural light and colours, the Japanese company is considered a leader in creating effortlessly stylish and vibrant spaces.
The Melbourne Pavilion
Melbourne, known as Australia's creative capital and one of the world's most liveable cities, is home to a growing and vibrant community of designers. The city is also known for the importance it gives to the creative industries, constantly exploring and making the most of the economic, cultural and social powers of design. The Melbourne pavilion is a tribute to this attitude and artistic diversity.
LCI Melbourne is a progressive art and design Institute and a world-class leader in creative education. Based in a heritage building in Collingwood, the heart of Melbourne, LCIM is part of a global network of 23 design institutes born over 60 years ago.
Eness is famous for its unique art sculptures that have appeared in the Melbourne Museum, Cabrini Hospital and other famous locations around the city. Making use of technologies like 3D project mapping and LED lights, each work, created by an esteemed team of writers, musicians, artists, software engineers, and industrial designers, has an interactive element to stimulate the imagination and to encourage engagement.
For more information visit DesignInspire. Access to DesignInspire ONLINE is free for both trade and public visitors
The post DesignInspire Virtual Fair Sheds Lights on The Vital Importance of Creativity Amid Global Pandemic appeared first on Prestige Online - Hong Kong.
This Auction House Wants You to Buy Art Because You Love it, Not For Investment
Expert art collectors are well aware that the popularity of an emerging artist can skyrocket rapidly, meaning that their artworks are at risk of only being bought for expensive future resale. New auction house Greenhouse Auctions has created a business model to counter this widespread phenomenon.
This online art platform was founded by Shlomi Rabi, former head of photography sales at Phillips, New York, and former VP, head of photographs for the Americas at Christie's, to address the disparities in the auction art market. "Greenhouse Auctions sprouted in the midst of an economic avalanche, and its mission from day one has been to create an inclusive, inviting, safe space for those in the art world who are often left out," explains the website.
Greenhouse Auctions sales focus on small galleries and emerging artists, whose works are estimated under US$20,000 (HK$155,000). The main goal is to offer an affordable entry point to a new generation of art collectors, and to help upcoming artists whose markets are growing rapidly. The latter can directly sell their work through Greenhouse Auctions, alongside art dealers and gallery owners who want to reach new clients outside international art fairs.
"A lot of these artists are not necessarily household names," said Shlomi Rabi to The Art Market Monitor. "They may not have been at the big auction houses, but it's not because they are not at the calibre, it's simply because they haven't necessarily had the break, and this is what the platform is meant to do: It's exposure, visibility, empowerment, access."
[caption id="attachment_212661" align="alignnone" width="1024"]
'Time Table' by Shay Azoulay is one of the works to be auctioned during the 'Sourdough' sale on December 2 at Greenhouse Auctions. (Image: Greenhouse Auctions)[/caption]
Selling prices remaining confidential
One of its other unique features is that Greenhouse Auctions refuses to make public the final sale prices of works at auction, even though their estimates remain accessible. The policy is designed to discourage buyers who want to make a good return on their investment, while protecting artists from the possibility of seeing their market collapse if one of their works does not find a buyer.
"Auction houses are all about anonymity. Chances are that you won't know who's selling, or why they even bought that work of art a year ago if their intention was to flip it," the site outlines. It explains its difference in that "[b]uyers come [to us] to directly support artists, pursue exciting artwork in a fair and transparent model, and invest in the next generation of talent."
Greenhouse Auctions will launch its first online sale today called "Sourdough". Fifteen works created during the pandemic by artists including Shai Azoulay, Molly A. Greene, T. Eliott Mansa, Nick Farhi, William Osorio and Tony Vazquez-Figueroa will be auctioned.
Sellers will keep 95 percent of the final price of their sold work, while collectors will pay a 20 percent buyer's premium. A part of the sellers fee will be donated to launch a new scholarship with the Thurgood Marshall College Fund, benefiting Black colleges in the US.
(Main and featured image: Greenhouse Auctions)
The post This Auction House Wants You to Buy Art Because You Love it, Not For Investment appeared first on Prestige Online - Hong Kong.
This Auction House Wants You to Buy Art Because You Love it, Not For Investment
Expert art collectors are well aware that the popularity of an emerging artist can skyrocket rapidly, meaning that their artworks are at risk of only being bought for expensive future resale. New auction house Greenhouse Auctions has created a business model to counter this widespread phenomenon.
This online art platform was founded by Shlomi Rabi, former head of photography sales at Phillips, New York, and former VP, head of photographs for the Americas at Christie's, to address the disparities in the auction art market. "Greenhouse Auctions sprouted in the midst of an economic avalanche, and its mission from day one has been to create an inclusive, inviting, safe space for those in the art world who are often left out," explains the website.
Greenhouse Auctions sales focus on small galleries and emerging artists, whose works are estimated under US$20,000 (HK$155,000). The main goal is to offer an affordable entry point to a new generation of art collectors, and to help upcoming artists whose markets are growing rapidly. The latter can directly sell their work through Greenhouse Auctions, alongside art dealers and gallery owners who want to reach new clients outside international art fairs.
"A lot of these artists are not necessarily household names," said Shlomi Rabi to The Art Market Monitor. "They may not have been at the big auction houses, but it's not because they are not at the calibre, it's simply because they haven't necessarily had the break, and this is what the platform is meant to do: It's exposure, visibility, empowerment, access."
[caption id="attachment_212661" align="alignnone" width="1024"] 'Time Table' by Shay Azoulay is one of the works to be auctioned during the 'Sourdough' sale on December 2 at Greenhouse Auctions. (Image: Greenhouse Auctions)[/caption]
Selling prices remaining confidential
One of its other unique features is that Greenhouse Auctions refuses to make public the final sale prices of works at auction, even though their estimates remain accessible. The policy is designed to discourage buyers who want to make a good return on their investment, while protecting artists from the possibility of seeing their market collapse if one of their works does not find a buyer.
"Auction houses are all about anonymity. Chances are that you won't know who's selling, or why they even bought that work of art a year ago if their intention was to flip it," the site outlines. It explains its difference in that "[b]uyers come [to us] to directly support artists, pursue exciting artwork in a fair and transparent model, and invest in the next generation of talent."
Greenhouse Auctions will launch its first online sale today called "Sourdough". Fifteen works created during the pandemic by artists including Shai Azoulay, Molly A. Greene, T. Eliott Mansa, Nick Farhi, William Osorio and Tony Vazquez-Figueroa will be auctioned.
Sellers will keep 95 percent of the final price of their sold work, while collectors will pay a 20 percent buyer's premium. A part of the sellers fee will be donated to launch a new scholarship with the Thurgood Marshall College Fund, benefiting Black colleges in the US.
(Main and featured image: Greenhouse Auctions)
The post This Auction House Wants You to Buy Art Because You Love it, Not For Investment appeared first on Prestige Online - Hong Kong.
This Auction House Wants You to Buy Art Because You Love it, Not For Investment
Expert art collectors are well aware that the popularity of an emerging artist can skyrocket rapidly, meaning that their artworks are at risk of only being bought for expensive future resale. New auction house Greenhouse Auctions has created a business model to counter this widespread phenomenon.
This online art platform was founded by Shlomi Rabi, former head of photography sales at Phillips, New York, and former VP, head of photographs for the Americas at Christie's, to address the disparities in the auction art market. "Greenhouse Auctions sprouted in the midst of an economic avalanche, and its mission from day one has been to create an inclusive, inviting, safe space for those in the art world who are often left out," explains the website.
Greenhouse Auctions sales focus on small galleries and emerging artists, whose works are estimated under US$20,000 (HK$155,000). The main goal is to offer an affordable entry point to a new generation of art collectors, and to help upcoming artists whose markets are growing rapidly. The latter can directly sell their work through Greenhouse Auctions, alongside art dealers and gallery owners who want to reach new clients outside international art fairs.
"A lot of these artists are not necessarily household names," said Shlomi Rabi to The Art Market Monitor. "They may not have been at the big auction houses, but it's not because they are not at the calibre, it's simply because they haven't necessarily had the break, and this is what the platform is meant to do: It's exposure, visibility, empowerment, access."
[caption id="attachment_212661" align="alignnone" width="1024"] 'Time Table' by Shay Azoulay is one of the works to be auctioned during the 'Sourdough' sale on December 2 at Greenhouse Auctions. (Image: Greenhouse Auctions)[/caption]
Selling prices remaining confidential
One of its other unique features is that Greenhouse Auctions refuses to make public the final sale prices of works at auction, even though their estimates remain accessible. The policy is designed to discourage buyers who want to make a good return on their investment, while protecting artists from the possibility of seeing their market collapse if one of their works does not find a buyer.
"Auction houses are all about anonymity. Chances are that you won't know who's selling, or why they even bought that work of art a year ago if their intention was to flip it," the site outlines. It explains its difference in that "[b]uyers come [to us] to directly support artists, pursue exciting artwork in a fair and transparent model, and invest in the next generation of talent."
Greenhouse Auctions will launch its first online sale today called "Sourdough". Fifteen works created during the pandemic by artists including Shai Azoulay, Molly A. Greene, T. Eliott Mansa, Nick Farhi, William Osorio and Tony Vazquez-Figueroa will be auctioned.
Sellers will keep 95 percent of the final price of their sold work, while collectors will pay a 20 percent buyer's premium. A part of the sellers fee will be donated to launch a new scholarship with the Thurgood Marshall College Fund, benefiting Black colleges in the US.
(Main and featured image: Greenhouse Auctions)
The post This Auction House Wants You to Buy Art Because You Love it, Not For Investment appeared first on Prestige Online - Hong Kong.
This Auction House Wants You to Buy Art Because You Love it, Not For Investment
Expert art collectors are well aware that the popularity of an emerging artist can skyrocket rapidly, meaning that their artworks are at risk of only being bought for expensive future resale. New auction house Greenhouse Auctions has created a business model to counter this widespread phenomenon.
This online art platform was founded by Shlomi Rabi, former head of photography sales at Phillips, New York, and former VP, head of photographs for the Americas at Christie's, to address the disparities in the auction art market. "Greenhouse Auctions sprouted in the midst of an economic avalanche, and its mission from day one has been to create an inclusive, inviting, safe space for those in the art world who are often left out," explains the website.
Greenhouse Auctions sales focus on small galleries and emerging artists, whose works are estimated under US$20,000 (HK$155,000). The main goal is to offer an affordable entry point to a new generation of art collectors, and to help upcoming artists whose markets are growing rapidly. The latter can directly sell their work through Greenhouse Auctions, alongside art dealers and gallery owners who want to reach new clients outside international art fairs.
"A lot of these artists are not necessarily household names," said Shlomi Rabi to The Art Market Monitor. "They may not have been at the big auction houses, but it's not because they are not at the calibre, it's simply because they haven't necessarily had the break, and this is what the platform is meant to do: It's exposure, visibility, empowerment, access."
[caption id="attachment_212661" align="alignnone" width="1024"] 'Time Table' by Shay Azoulay is one of the works to be auctioned during the 'Sourdough' sale on December 2 at Greenhouse Auctions. (Image: Greenhouse Auctions)[/caption]
Selling prices remaining confidential
One of its other unique features is that Greenhouse Auctions refuses to make public the final sale prices of works at auction, even though their estimates remain accessible. The policy is designed to discourage buyers who want to make a good return on their investment, while protecting artists from the possibility of seeing their market collapse if one of their works does not find a buyer.
"Auction houses are all about anonymity. Chances are that you won't know who's selling, or why they even bought that work of art a year ago if their intention was to flip it," the site outlines. It explains its difference in that "[b]uyers come [to us] to directly support artists, pursue exciting artwork in a fair and transparent model, and invest in the next generation of talent."
Greenhouse Auctions will launch its first online sale today called "Sourdough". Fifteen works created during the pandemic by artists including Shai Azoulay, Molly A. Greene, T. Eliott Mansa, Nick Farhi, William Osorio and Tony Vazquez-Figueroa will be auctioned.
Sellers will keep 95 percent of the final price of their sold work, while collectors will pay a 20 percent buyer's premium. A part of the sellers fee will be donated to launch a new scholarship with the Thurgood Marshall College Fund, benefiting Black colleges in the US.
(Main and featured image: Greenhouse Auctions)
The post This Auction House Wants You to Buy Art Because You Love it, Not For Investment appeared first on Prestige Online - Hong Kong.