Tefaf中国艺术市场报告4.6-5.7完

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  子文小偶 (冲！) 组长 楼主 2019-04-14 17:50:23

  

  China GDP Growth

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  子文小偶 (冲！) 组长 楼主 2019-04-14 17:57:53

  

  拍卖数据变化

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  子文小偶 (冲！) 组长 楼主 2019-04-14 18:45:19

  

  用字画古董换外汇阶段

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  子文小偶 (冲！) 组长 楼主 2019-04-14 18:52:11

  用字画古董换外汇阶段 用字画古董换外汇阶段 子文小偶

  According to the Standard and the Reference, any ancient Chinese painting or work of art created before 1795 (the 60th Year of Emperor Qianlong in the Qing Dynasty) was forbidden from export. In addition, modern Chinese works of art produced before 1911 and modern Chinese ink paintings created before 1949 were also not allowed to be exported. 幸好解释了下可以出口的字画范围。。。

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  子文小偶 (冲！) 组长 楼主 2019-04-14 19:28:25

  

  2001年后400个人的名单😂

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  子文小偶 (冲！) 组长 楼主 2019-04-14 20:42:51

  

  2000-2011中国拍卖市场

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  子文小偶 (冲！) 组长 楼主 2019-04-14 20:49:41

  

  中国GDP增长速度

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  子文小偶 (冲！) 组长 楼主 2019-04-14 20:59:23

  

  China GDP in Current USD

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  子文小偶 (冲！) 组长 楼主 2019-04-14 21:10:56

  

  China FDI Net Inflows (current USD)

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  子文小偶 (冲！) 组长 楼主 2019-04-14 21:24:42

  

  2008-2009年大批对于艺术品市场感兴趣的大众，好多都是从股市赚了钱出来了无处安放自己膨胀的自信心了。。。

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  子文小偶 (冲！) 组长 楼主 2019-04-14 21:31:46

  艺术品基金和艺术品衍生品基金，都是想短期获利的项目，结果将中国艺术品拍卖市场在2011年推向了世界第一😂

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  子文小偶 (冲！) 组长 楼主 2019-04-14 21:43:52

  2011年-2012年的艺术品断供，大量热钱发现了艺术品市场的流动性匮乏而离场，原有购买艺术品的买家大批进行了融资或高价购买，却不能够及时得到收益，断供是良选。

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  子文小偶 (冲！) 组长 楼主 2019-04-14 21:55:29

  

  China International Gallery Exhibition (CIGE)，04年的时候居然吸引了3w人，好多！

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  子文小偶 (冲！) 组长 楼主 2019-04-14 21:56:25

  China International Gallery Exhibition (CIGE)，04年的时候居然吸引了3w人，好多！ China International Gallery Exhibition (CIGE)，04年的时候居然吸引了3w人，好多！ 子文小偶

  798第二个月的当代艺术节，居然有8人参加！人真多！

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  子文小偶 (冲！) 组长 楼主 2019-04-14 22:40:20

  

  纽约曼哈顿的投资者因为中国当代艺术价格上涨，手中藏品涨100000%的故事，真惊人。。。居然他们当年也这么说。。。哈哈哈哈哈。。。。

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  子文小偶 (冲！) 组长 楼主 2019-04-14 22:47:50

  China lost 63% of its auction revenue from contemporary art between 2008 and 2009——artprice

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  子文小偶 (冲！) 组长 楼主 2019-04-14 22:52:45

  The artist Liu Xiaodong was agonized and confused by the result. After the auction, he said that just two or three years previously, his paintings sold for barely USD 20,000, less than 1% of the new record. “The growth of the market was distorted and frantic. Wealthy people in China are not like those in Western countries. They are not permitted to buy yachts and helicopters, so when they don’t know what to do with their money, they spend a fortune on art.” The painting was initially acquired by an Indonesian collector, and Liu Xiaodong was shocked that the collector flipped it in such a short time at auction. “I am disappointed and perplexed. I have mixed feelings about this.” 28 Reflecting on the peak of the market in 2006 and 2007, Bloodline Series artist Zhang Xiaogang said, “At the time, auctions were so popular and dominated the trade in the market. Galleries all of a sudden had nothing better to do. People said for artists like us, the prices increased 1,000 times compared with those in the 1980s and 1990s. Every week or two, we heard about another record created at an auction. It was crazy.” “I remember one day I entertained eight different groups of visitors in my studio, including new collectors, press, and people who were looking for project collaboration. I was exhausted meeting so many new people of all sorts every day. In the end, I could not tell who was genuinely interested in my art. One of the overseas collectors came to my studio and almost kneeled in front of me, begging and crying for me to sell him my painting at a cheap price and told me how much he loved my work. The next year, he flipped the painting at an auction and I have never seen him again. I was heartbroken. Afterward, I became scared of the auction and felt that it is so far away from the art. I wanted to stay away from it.” Such a wave of frantic buying and selling activity lasted until early 2008 and then abated after the outbreak of the world financial crisis. In 2009 the category of Chinese contemporary art experienced a significant decrease. According to a report published by Artprice, China lost 63% of its auction revenue from contemporary art between 2008 and 2009. 29 In 2009 the global art trade decreased about 26% during the economic recession. 30 When the overall market dropped, many previously active collectors reduced their buying activities. As described in the Artprice report, “The global art market contracted very severely, particularly at the high end of the Contemporary Chinese art market. With speculative buying almost immediately withdrawing from the arena, it quickly became clear that offering very expensive and price-sensitive works of Contemporary art at auction was not a good idea.” 31 In 2009 Sotheby’s New York stopped offering a Chinese contemporary art sale during Asia Week, and this category has never resumed as a stand-alone sale at the auction house’s locations outside Asia. As artist Zhao Xiaogang commented, “Many [Chinese contemporary] artists were thus ruined during this [sudden market fluctuation]. When the market was going up, the demand was strong with prices soaring. Some artists created a large amount of works to sell and sold well. But the art world does not work like this. When the financial crisis happened and the market couldn’t absorb so many works, these artists suffered.” “In the end, if collectors couldn’t make money from the art market, they could profit from somewhere else. But professional artists could only survive by creating art. When [the artists’] market went down, all [their] value was gone, and they felt abandoned by the society. Overnight, exhibitions, catalog production, press coverage, and collectors were all gone.” In 2008 Zhang Xiaogang entered an exclusive representation agreement with Pace Gallery in New York. He was relieved to have a layer of protection against the fluctuation of the market from an international blue-chip gallery. “I was lucky. Had it not been for (the representation of) Pace, I might have been drifting in the market and might have disappeared. I don’t think it’s an artist’s specialty to deal with the market. Only few artists have such a talent, but most artists are not able to handle [the market].”

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  子文小偶 (冲！) 组长 楼主 2019-04-14 22:53:35

  The artist Liu Xiaodong was agonized and confused by the result. After the auction, he sai The artist Liu Xiaodong was agonized and confused by the result. After the auction, he said that just two or three years previously, his paintings sold for barely USD 20,000, less than 1% of the new record. “The growth of the market was distorted and frantic. Wealthy people in China are not like those in Western countries. They are not permitted to buy yachts and helicopters, so when they don’t know what to do with their money, they spend a fortune on art.” The painting was initially acquired by an Indonesian collector, and Liu Xiaodong was shocked that the collector flipped it in such a short time at auction. “I am disappointed and perplexed. I have mixed feelings about this.” 28 Reflecting on the peak of the market in 2006 and 2007, Bloodline Series artist Zhang Xiaogang said, “At the time, auctions were so popular and dominated the trade in the market. Galleries all of a sudden had nothing better to do. People said for artists like us, the prices increased 1,000 times compared with those in the 1980s and 1990s. Every week or two, we heard about another record created at an auction. It was crazy.” “I remember one day I entertained eight different groups of visitors in my studio, including new collectors, press, and people who were looking for project collaboration. I was exhausted meeting so many new people of all sorts every day. In the end, I could not tell who was genuinely interested in my art. One of the overseas collectors came to my studio and almost kneeled in front of me, begging and crying for me to sell him my painting at a cheap price and told me how much he loved my work. The next year, he flipped the painting at an auction and I have never seen him again. I was heartbroken. Afterward, I became scared of the auction and felt that it is so far away from the art. I wanted to stay away from it.” Such a wave of frantic buying and selling activity lasted until early 2008 and then abated after the outbreak of the world financial crisis. In 2009 the category of Chinese contemporary art experienced a significant decrease. According to a report published by Artprice, China lost 63% of its auction revenue from contemporary art between 2008 and 2009. 29 In 2009 the global art trade decreased about 26% during the economic recession. 30 When the overall market dropped, many previously active collectors reduced their buying activities. As described in the Artprice report, “The global art market contracted very severely, particularly at the high end of the Contemporary Chinese art market. With speculative buying almost immediately withdrawing from the arena, it quickly became clear that offering very expensive and price-sensitive works of Contemporary art at auction was not a good idea.” 31 In 2009 Sotheby’s New York stopped offering a Chinese contemporary art sale during Asia Week, and this category has never resumed as a stand-alone sale at the auction house’s locations outside Asia. As artist Zhao Xiaogang commented, “Many [Chinese contemporary] artists were thus ruined during this [sudden market fluctuation]. When the market was going up, the demand was strong with prices soaring. Some artists created a large amount of works to sell and sold well. But the art world does not work like this. When the financial crisis happened and the market couldn’t absorb so many works, these artists suffered.” “In the end, if collectors couldn’t make money from the art market, they could profit from somewhere else. But professional artists could only survive by creating art. When [the artists’] market went down, all [their] value was gone, and they felt abandoned by the society. Overnight, exhibitions, catalog production, press coverage, and collectors were all gone.” In 2008 Zhang Xiaogang entered an exclusive representation agreement with Pace Gallery in New York. He was relieved to have a layer of protection against the fluctuation of the market from an international blue-chip gallery. “I was lucky. Had it not been for (the representation of) Pace, I might have been drifting in the market and might have disappeared. I don’t think it’s an artist’s specialty to deal with the market. Only few artists have such a talent, but most artists are not able to handle [the market].” ... 子文小偶

  之前有提到对于艺术家心灵造成的影响，这个其实读完了才有了更深的感悟。单纯的艺术家，还是做艺术的好，应付市场真的太可怕了。

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  子文小偶 (冲！) 组长 楼主 2019-04-14 23:00:20

  The artist Liu Xiaodong was agonized and confused by the result. After the auction, he sai The artist Liu Xiaodong was agonized and confused by the result. After the auction, he said that just two or three years previously, his paintings sold for barely USD 20,000, less than 1% of the new record. “The growth of the market was distorted and frantic. Wealthy people in China are not like those in Western countries. They are not permitted to buy yachts and helicopters, so when they don’t know what to do with their money, they spend a fortune on art.” The painting was initially acquired by an Indonesian collector, and Liu Xiaodong was shocked that the collector flipped it in such a short time at auction. “I am disappointed and perplexed. I have mixed feelings about this.” 28 Reflecting on the peak of the market in 2006 and 2007, Bloodline Series artist Zhang Xiaogang said, “At the time, auctions were so popular and dominated the trade in the market. Galleries all of a sudden had nothing better to do. People said for artists like us, the prices increased 1,000 times compared with those in the 1980s and 1990s. Every week or two, we heard about another record created at an auction. It was crazy.” “I remember one day I entertained eight different groups of visitors in my studio, including new collectors, press, and people who were looking for project collaboration. I was exhausted meeting so many new people of all sorts every day. In the end, I could not tell who was genuinely interested in my art. One of the overseas collectors came to my studio and almost kneeled in front of me, begging and crying for me to sell him my painting at a cheap price and told me how much he loved my work. The next year, he flipped the painting at an auction and I have never seen him again. I was heartbroken. Afterward, I became scared of the auction and felt that it is so far away from the art. I wanted to stay away from it.” Such a wave of frantic buying and selling activity lasted until early 2008 and then abated after the outbreak of the world financial crisis. In 2009 the category of Chinese contemporary art experienced a significant decrease. According to a report published by Artprice, China lost 63% of its auction revenue from contemporary art between 2008 and 2009. 29 In 2009 the global art trade decreased about 26% during the economic recession. 30 When the overall market dropped, many previously active collectors reduced their buying activities. As described in the Artprice report, “The global art market contracted very severely, particularly at the high end of the Contemporary Chinese art market. With speculative buying almost immediately withdrawing from the arena, it quickly became clear that offering very expensive and price-sensitive works of Contemporary art at auction was not a good idea.” 31 In 2009 Sotheby’s New York stopped offering a Chinese contemporary art sale during Asia Week, and this category has never resumed as a stand-alone sale at the auction house’s locations outside Asia. As artist Zhao Xiaogang commented, “Many [Chinese contemporary] artists were thus ruined during this [sudden market fluctuation]. When the market was going up, the demand was strong with prices soaring. Some artists created a large amount of works to sell and sold well. But the art world does not work like this. When the financial crisis happened and the market couldn’t absorb so many works, these artists suffered.” “In the end, if collectors couldn’t make money from the art market, they could profit from somewhere else. But professional artists could only survive by creating art. When [the artists’] market went down, all [their] value was gone, and they felt abandoned by the society. Overnight, exhibitions, catalog production, press coverage, and collectors were all gone.” In 2008 Zhang Xiaogang entered an exclusive representation agreement with Pace Gallery in New York. He was relieved to have a layer of protection against the fluctuation of the market from an international blue-chip gallery. “I was lucky. Had it not been for (the representation of) Pace, I might have been drifting in the market and might have disappeared. I don’t think it’s an artist’s specialty to deal with the market. Only few artists have such a talent, but most artists are not able to handle [the market].” ... 子文小偶

  In hindsight, because the collector base of Chinese contemporary art was very international, the market was more directly impacted by the global recession during the financial crisis than the markets of Chinese paintings and works of art. As a result, in contrast to Chinese antiquities, Chinese contemporary art experienced a much quicker downturn. On the other hand, the correction of the market was beneficial to the long-term development of the category. It helped deflate the speculative bubble and encouraged artists to value collaboration with professional galleries that foster and develop long-lasting commitments to and careers for artists.

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  子文小偶 (冲！) 组长 楼主 2019-04-14 23:00:57

  In hindsight, because the collector base of Chinese contemporary art was very internationa In hindsight, because the collector base of Chinese contemporary art was very international, the market was more directly impacted by the global recession during the financial crisis than the markets of Chinese paintings and works of art. As a result, in contrast to Chinese antiquities, Chinese contemporary art experienced a much quicker downturn. On the other hand, the correction of the market was beneficial to the long-term development of the category. It helped deflate the speculative bubble and encouraged artists to value collaboration with professional galleries that foster and develop long-lasting commitments to and careers for artists. ... 子文小偶

  这段就典型的一方面吃一堑长一智一方面还是杰出的人才会脱颖而出。。。

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  子文小偶 (冲！) 组长 楼主 2019-04-14 23:11:42

  原来是常青画廊2004年第一次在北京做了画展，国际画廊引入当代艺术展对第一次尝试。

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  子文小偶 (冲！) 组长 楼主 2019-04-14 23:23:24

  This Chinese buyer turned out to be a Nanjing-based entrepreneur. During the Impressionist and Modern Art Evening Sale held at Sotheby’s New York on November 4, 2009, he bought four works for USD 10.8 million. These included a portrait of Francoise Gilot, “Femme au Chapeau Vert,” which Pablo Picasso painted in 1947, for USD 8.15 million (pre-sale estimate USD 4 to 6 million) and an 1864 landscape by Claude Monet, “La chapelle de Notre-Dame-de-Grâce, Honfleur,” which sold for USD 842,500 (pre-sale estimate USD 400,000 to 600,000). 34 Today this entrepreneur owns one of the largest collections of impressionist and modern art of any mainland Chinese collector, including over 50 works by Picasso and important sculptures by Rodin and Degas.

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  子文小偶 (冲！) 组长 楼主 2019-04-14 23:23:39

  This Chinese buyer turned out to be a Nanjing-based entrepreneur. During the Impressionist This Chinese buyer turned out to be a Nanjing-based entrepreneur. During the Impressionist and Modern Art Evening Sale held at Sotheby’s New York on November 4, 2009, he bought four works for USD 10.8 million. These included a portrait of Francoise Gilot, “Femme au Chapeau Vert,” which Pablo Picasso painted in 1947, for USD 8.15 million (pre-sale estimate USD 4 to 6 million) and an 1864 landscape by Claude Monet, “La chapelle de Notre-Dame-de-Grâce, Honfleur,” which sold for USD 842,500 (pre-sale estimate USD 400,000 to 600,000). 34 Today this entrepreneur owns one of the largest collections of impressionist and modern art of any mainland Chinese collector, including over 50 works by Picasso and important sculptures by Rodin and Degas. ... 子文小偶

  这个南京背景的富商叫啥名？

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  子文小偶 (冲！) 组长 楼主 2019-04-14 23:25:44

  Based on his three decades of observation, art dealer David Norman, formerly of Sotheby’s, said, “In the past, new buyers often began in the day sales or lower-level evening sales. After that and developing their taste and experience, they would step up to the higher valued pieces.” In contrast, he noted, “When the Chinese bidders entered the market, they mostly started on the high-end evening sales . . . the top names of Impressionist & Modern Art . . . [where] well above all else are Monet and Picasso.”

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  子文小偶 (冲！) 组长 楼主 2019-04-14 23:26:29

  Based on his three decades of observation, art dealer David Norman, formerly of Sotheby’s Based on his three decades of observation, art dealer David Norman, formerly of Sotheby’s, said, “In the past, new buyers often began in the day sales or lower-level evening sales. After that and developing their taste and experience, they would step up to the higher valued pieces.” In contrast, he noted, “When the Chinese bidders entered the market, they mostly started on the high-end evening sales . . . the top names of Impressionist & Modern Art . . . [where] well above all else are Monet and Picasso.” ... 子文小偶

  观察了30年，外国人先去日场和低档点的夜场慢慢来，中国人直接去高端夜场，只买最有名的😂 形象。

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  子文小偶 (冲！) 组长 楼主 2019-04-14 23:27:50

  The trend of collecting Western art prevailed after 2012. Many top collectors and private museum owners in China have a considerable number of Western artworks in their permanent collections. The London-based gallerist Ben Brown, who also owns a gallery in Hong Kong, commented, “I think it’s the shift of the price of things. When you have the suddenly so-called great contemporary Chinese artists costing the same as a Picasso, mostly the collectors started buying Picasso instead of the local artists.”

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  子文小偶 (冲！) 组长 楼主 2019-04-14 23:28:14

  The trend of collecting Western art prevailed after 2012. Many top collectors and private The trend of collecting Western art prevailed after 2012. Many top collectors and private museum owners in China have a considerable number of Western artworks in their permanent collections. The London-based gallerist Ben Brown, who also owns a gallery in Hong Kong, commented, “I think it’s the shift of the price of things. When you have the suddenly so-called great contemporary Chinese artists costing the same as a Picasso, mostly the collectors started buying Picasso instead of the local artists.” ... 子文小偶

  是啊，当发现现当代中国画家的画居然和毕加索一样贵，大家当然去买毕加索了。。。

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  子文小偶 (冲！) 组长 楼主 2019-04-14 23:38:14

  

  China Art Auction Market Sales

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  子文小偶 (冲！) 组长 楼主 2019-04-14 23:40:04

  

  China Guardian Sales Charts

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  子文小偶 (冲！) 组长 楼主 2019-04-15 14:54:48

  

  原来曾经苏富比与歌华还一起做过拍卖在北京，直到2015年最后一笔结束。。。果然也是受了税收和艺术品关于古董的影响，有意思。歌华是个神奇的公司，又想弄拍卖又想弄TEFAF，应该研究下。。。

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  子文小偶 (冲！) 组长 楼主 2019-04-15 14:57:46

  原来曾经苏富比与歌华还一起做过拍卖在北京，直到2015年最后一笔结束。。。果然也是受了税收和艺 原来曾经苏富比与歌华还一起做过拍卖在北京，直到2015年最后一笔结束。。。果然也是受了税收和艺术品关于古董的影响，有意思。歌华是个神奇的公司，又想弄拍卖又想弄TEFAF，应该研究下。。。 ... 子文小偶

  Back in 1988, Sotheby’s held a charity auction at the Working People’s Cultural Palace in Beijing to raise funds for the restoration of the Great Wall in China and restoration in Venice, Italy. But the real goal for Sotheby’s was to hold auctions in mainland China. This did not happen until in 2012, when the company formed a joint venture with the state-owned enterprise Beijing Gehua Group, creating Sotheby’s (Beijing) Auction Co., Ltd.. From 2013 to 2015, the joint venture entity held auctions twice a year in Beijing in the categories of Chinese contemporary art and Chinese contemporary ink and organized a couple of selling exhibitions of Western paintings, decorative art and jewelry in Beijing. Sotheby’s (Beijing) Auction’s last sale was held in 2015, and since then the auctioneer has not held another auction in mainland China. A former senior member of staff at Sotheby’s (Beijing), who prefers to stay anonymous, explained that it had been challenging for an international auction house to operate in mainland China. First of all, according to the Law of Protection of Cultural Relics, foreign auctioneers are not allowed to sell cultural relics in this market. Therefore, the only categories that they could auction were Chinese and Western contemporary art. Secondly, if mainland Chinese collectors acquired Western artworks and wanted to bring them to their domestic residences, they would have to pay importation tax plus VAT (value-added tax). The two taxes combined would create a tax load of approximately 20%. As a result, collectors preferred to buy Western artworks in free-port cities such as Hong Kong or New York. Initially, Sotheby’s established a joint venture in Beijing, hoping that the law would change one day to allow foreign auctioneers to sell cultural relics (Chinese modern and classical paintings; Chinese works of art), which still remain the categories that generate the largest art trading turnover in the country. However, without this occurring in the short term, and the business of Chinese contemporary art becoming challenging, Sotheby’s decided to suspend their auctions in mainland China and continued to focus on Hong Kong as the company’s trading center in Asia.

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  子文小偶 (冲！) 组长 楼主 2019-04-15 14:58:04

  In 2005, Beijing Forever International Auction Company was established with the right to license the Christie’s brand. The local auction house offered sales in three categories including Chinese modern paintings, Chinese works of art, and 20th century Chinese paintings and contemporary art. The company adopted Christie’s professional practices, but the scale of its sales was much smaller than other leading domestic players. For example, in 2011 when China’s art auction market reached its peak, when annual sales of China Guardian were CNY 11.23 billion, the total sale result of Beijing Forever was CNY 280 million, 2% of what China Guardian achieved. When Sotheby’s entered the joint venture partnership with Beijing Gehua Group in 2012, Christie’s was also eager to break into the mainland Chinese market as an independent force. In April 2013, Christie’s successfully registered a wholly owned foreign enterprise in Shanghai and received the license to hold non-cultural relic auctions in mainland China. In September 2013 Christie’s offered its first auction in Shanghai under this new entity. That same year, the business of Beijing Forever International Auction Company was dissolved.

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  子文小偶 (冲！) 组长 楼主 2019-04-15 14:58:18

  In 2005, Beijing Forever International Auction Company was established with the right to l In 2005, Beijing Forever International Auction Company was established with the right to license the Christie’s brand. The local auction house offered sales in three categories including Chinese modern paintings, Chinese works of art, and 20th century Chinese paintings and contemporary art. The company adopted Christie’s professional practices, but the scale of its sales was much smaller than other leading domestic players. For example, in 2011 when China’s art auction market reached its peak, when annual sales of China Guardian were CNY 11.23 billion, the total sale result of Beijing Forever was CNY 280 million, 2% of what China Guardian achieved. When Sotheby’s entered the joint venture partnership with Beijing Gehua Group in 2012, Christie’s was also eager to break into the mainland Chinese market as an independent force. In April 2013, Christie’s successfully registered a wholly owned foreign enterprise in Shanghai and received the license to hold non-cultural relic auctions in mainland China. In September 2013 Christie’s offered its first auction in Shanghai under this new entity. That same year, the business of Beijing Forever International Auction Company was dissolved. ... 子文小偶

  原来还想有所突破，幸好读了这段历史。。。

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  子文小偶 (冲！) 组长 楼主 2019-04-15 15:06:56

  

  Sotheby's Beijing vs Christie's Shanghai vs China Guardian

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  子文小偶 (冲！) 组长 楼主 2019-04-15 15:08:06

  Sotheby's Beijing vs Christie's Shanghai vs China Guardian Sotheby's Beijing vs Christie's Shanghai vs China Guardian 子文小偶

  “It is fair to say that as long as the regulatory restriction on foreign auctioneers selling cultural relics in China remains unchanged, and the tax on importing artworks from overseas markets to mainland China does not substantially decrease, international auctioneers will have a very hard time catching up to the domestic players in this competitive environment.” 税和售卖限制没有改变的情况下，是不会有改变现在的格局的。

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  子文小偶 (冲！) 组长 楼主 2019-04-15 15:11:40

  

  For example, collectors such as Jenny Wang and Qiao Zhibing now rely on galleries and art fairs as the primary channels for collecting. Collector Liu Gang, who was an active buyer at auction in the 1990s and early 2000s, now acquires 95% of his artworks from galleries and art fairs. In 2015, when he bought a sculpture by Tomas Saraceno at ArcoMadrid, it was a turning point for him to include more Western art in his private collection. 越来越多的收藏者开始从画廊和展会买画而不是拍卖会了。

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  子文小偶 (冲！) 组长 楼主 2019-04-15 15:13:59

  David Chau and Kelly Ying，Art021，2013； West Bund Art and Design Fair，Zhou Tiehai，2014

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  子文小偶 (冲！) 组长 楼主 2019-04-15 15:14:30

  David Chau and Kelly Ying，Art021，2013； West Bund Art and Design Fair，Zhou Tiehai，2014 David Chau and Kelly Ying，Art021，2013； West Bund Art and Design Fair，Zhou Tiehai，2014 子文小偶

  每年11月去上海艺术周

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  子文小偶 (冲！) 组长 楼主 2019-04-15 15:25:17

  

  Number of New Contemporary Art Galleries in China

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  子文小偶 (冲！) 组长 楼主 2019-04-15 15:28:06

  When commenting on the phenomenon, collector and founder of the private museum TANK Shanghai, Qiao Zhibing, said “I feel that it is very difficult for Chinese galleries to survive. Now they are in a more difficult situation than in 2008. The reason is that the international [galleries] have entered the market. Many collectors are collecting Western art. Unlike the past, there was a transitional period: at first, [Chinese collectors] bought Chinese art for a few years and then began to buy international works. Now when the new collectors enter the market, they immediately start to buy Western art.”

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  子文小偶 (冲！) 组长 楼主 2019-04-15 15:29:52

  When commenting on the phenomenon, collector and founder of the private museum TANK Shangh When commenting on the phenomenon, collector and founder of the private museum TANK Shanghai, Qiao Zhibing, said “I feel that it is very difficult for Chinese galleries to survive. Now they are in a more difficult situation than in 2008. The reason is that the international [galleries] have entered the market. Many collectors are collecting Western art. Unlike the past, there was a transitional period: at first, [Chinese collectors] bought Chinese art for a few years and then began to buy international works. Now when the new collectors enter the market, they immediately start to buy Western art.” ... 子文小偶

  这段话引用的充满信心啊，原来过渡时期中国收藏者买中国画家的作品，然后呢，当越来越多的国际大画廊来了中国，他们开始买外国画家的作品，新来的收藏者呢，则直接买外国画家的作品。本土画廊越来越难做，但是如果开的是有国际经验的画廊，应该好一点么？可是自己又烧不起钱，其实是一样的。。。但是，大家买国际画的趋势是极度向好的呢。

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  子文小偶 (冲！) 组长 楼主 2019-04-15 15:33:29

  这段话引用的充满信心啊，原来过渡时期中国收藏者买中国画家的作品，然后呢，当越来越多的国际大 这段话引用的充满信心啊，原来过渡时期中国收藏者买中国画家的作品，然后呢，当越来越多的国际大画廊来了中国，他们开始买外国画家的作品，新来的收藏者呢，则直接买外国画家的作品。本土画廊越来越难做，但是如果开的是有国际经验的画廊，应该好一点么？可是自己又烧不起钱，其实是一样的。。。但是，大家买国际画的趋势是极度向好的呢。 ... 子文小偶

  对于代理中国当代绘画的画廊，也是充满挑战的，因为他们代理的画家面临的是全球画家的竞争而不仅仅是中国了。

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  子文小偶 (冲！) 组长 楼主 2019-04-15 15:37:44

  Zheng Hao, collector and founder of the private museum How Art Museum, owns the largest collection of Joseph Beuys’s works in China. How Art Museum’s inaugural exhibition, which opened in Shanghai in September 2017, showed Julian Rosefeldt’s multi-screen film installation that featured the Australian actress Cate Blanchett, Manifesto. It was the first time that the film installation was exhibited in Asia.

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  子文小偶 (冲！) 组长 楼主 2019-04-15 15:38:18

  Zheng Hao, collector and founder of the private museum How Art Museum, owns the largest co Zheng Hao, collector and founder of the private museum How Art Museum, owns the largest collection of Joseph Beuys’s works in China. How Art Museum’s inaugural exhibition, which opened in Shanghai in September 2017, showed Julian Rosefeldt’s multi-screen film installation that featured the Australian actress Cate Blanchett, Manifesto. It was the first time that the film installation was exhibited in Asia. ... 子文小偶

  原来郑好是国内收藏了最多的博伊斯作品的人啊，厉害！

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  子文小偶 (冲！) 组长 楼主 2019-04-15 16:47:38

  

  How long have you been collecting art?

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  子文小偶 (冲！) 组长 楼主 2019-04-15 16:48:24

  How long have you been collecting art? How long have you been collecting art? 子文小偶

  The survey with the top collectors closely examines their collecting behaviors, from the length of their collecting journey, collecting categories, to the capital they have spent and plan to spend in the future. All of these collectors are Chinese Citizens, were born in Mainland China, or currently reside in Mainland China. 国内顶级藏家的调查问卷分析😂

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  子文小偶 (冲！) 组长 楼主 2019-04-15 16:51:07

  

  How many pieces have you collected?

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  子文小偶 (冲！) 组长 楼主 2019-04-15 16:55:51

  How many pieces have you collected? How many pieces have you collected? 子文小偶

  其实收藏的量好大，不能优化下么？

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  子文小偶 (冲！) 组长 楼主 2019-04-15 17:02:00

  

  How much have you spent on your art collection in total?

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  子文小偶 (冲！) 组长 楼主 2019-04-15 17:04:44

  

  How much have you spent on your art collection over the past five years?

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  子文小偶 (冲！) 组长 楼主 2019-04-15 17:05:47

  

  What have you been collecting the past 5 years?

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  子文小偶 (冲！) 组长 楼主 2019-04-15 17:17:19

  

  What do you plan to collect over the next 5 years?

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  子文小偶 (冲！) 组长 楼主 2019-04-15 20:34:57

  

  Why do you collect?

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  子文小偶 (冲！) 组长 楼主 2019-04-15 20:36:11

  Why do you collect? Why do you collect? 子文小偶

  这里，为了下一代这个，把我乐疯了，哈哈哈哈。。。问卷有些搞笑，但是太直接。。。

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  子文小偶 (冲！) 组长 楼主 2019-04-15 20:40:03

  

  Where have you purchased art?

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  子文小偶 (冲！) 组长 楼主 2019-04-15 20:47:40

  

  Where do you plan on purchasing art in the future?

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  子文小偶 (冲！) 组长 楼主 2019-04-15 20:57:01

  

  How much do you plan to spend on your art collection in the next five years?

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  子文小偶 (冲！) 组长 楼主 2019-04-15 20:58:53

  

  How much of your art collection do you plan on selling over the next five years?

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  子文小偶 (冲！) 组长 楼主 2019-04-15 21:01:36

  

  How did you learn about the art that you have collected? How did you develop an interest?

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  子文小偶 (冲！) 组长 楼主 2019-04-15 21:01:58

  How much of your art collection do you plan on selling over the next five years? How much of your art collection do you plan on selling over the next five years? 子文小偶

  本来收藏者就是个长期的持有行为

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  子文小偶 (冲！) 组长 楼主 2019-04-15 21:09:55

  How did you learn about the art that you have collected? How did you develop an interest? How did you learn about the art that you have collected? How did you develop an interest? 子文小偶

  Jenny Wang, Collector and Chairwoman of Fosun Art Foundation, said “I have not systematically studied [art collecting], which means I did not go to the classroom to study. I do not have such time. . . . I think it is the fact that practice makes perfect. You have to go out to understand more and learn more. First, you are learning when you visit the exhibitions. You communicate more with these artists, collectors, and gallerists. I think this is part of the process of learning.”

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  子文小偶 (冲！) 组长 楼主 2019-04-15 21:10:08

  Jenny Wang, Collector and Chairwoman of Fosun Art Foundation, said “I have not systematic Jenny Wang, Collector and Chairwoman of Fosun Art Foundation, said “I have not systematically studied [art collecting], which means I did not go to the classroom to study. I do not have such time. . . . I think it is the fact that practice makes perfect. You have to go out to understand more and learn more. First, you are learning when you visit the exhibitions. You communicate more with these artists, collectors, and gallerists. I think this is part of the process of learning.” ... 子文小偶

  果然过程中学习

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  子文小偶 (冲！) 组长 楼主 2019-04-15 21:10:51

  果然过程中学习 果然过程中学习 子文小偶

  Collector Liu Gang has had a similar experience: “I think the first thing is just going to exhibitions. Second is reading. I love to read, especially about abstract art. I read original English works. I find them very interesting.” And Liu Gang is not impressed with the current art education courses offered in the art market: “I would guess that I probably already know most of the stuff they might teach in those courses.”

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  子文小偶 (冲！) 组长 楼主 2019-04-15 21:14:15

  

  What channels have you used to collect art?

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  子文小偶 (冲！) 组长 楼主 2019-04-15 21:31:15

  

  What channels do you plan on using to collect art?

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  子文小偶 (冲！) 组长 楼主 2019-04-15 21:34:33

  

  What channels do you plan on using to liquidate your art collection?

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  子文小偶 (冲！) 组长 楼主 2019-04-15 21:38:36

  What channels do you plan on using to liquidate your art collection? What channels do you plan on using to liquidate your art collection? 子文小偶

  原来买东西是想朋友那边低价买，卖东西时候又不想卖给朋友省的价格太低。。。国人的纠结。。。哈哈哈。。。

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  子文小偶 (冲！) 组长 楼主 2019-04-15 21:43:37

  

  How do you plan to learn more about the art you would like to collect over the next three years?

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  子文小偶 (冲！) 组长 楼主 2019-04-15 21:53:03

  How do you plan to learn more about the art you would like to collect over the next three How do you plan to learn more about the art you would like to collect over the next three years? ... 子文小偶

  自我教育，参观博物馆和美术馆，跟朋友学，，，最少的是上在线课程什么的。。。我是不是该好好想想了

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  子文小偶 (冲！) 组长 楼主 2019-04-15 22:01:19

  

  What are the major challenges for you to continue to expand your art collection?

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  子文小偶 (冲！) 组长 楼主 2019-04-15 22:27:49

  In addition, 30% of the collectors surveyed felt that it is difficult to find the artworks they want. Evelyn Lin, Deputy Chairman, International Director and Head of the Department of Asian 20th Century & Contemporary Art at Christie’s has also noticed this challenge: “I started to work in auctions from 2004 and many collectors have been collecting from 2004 until now. Since there will be less and less works of art that they believe are good enough, collectors will have less targeted [high quality] works [to choose from]. But they still continue to participate in this market and they are still here.”

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  子文小偶 (冲！) 组长 楼主 2019-04-15 22:28:14

  In addition, 30% of the collectors surveyed felt that it is difficult to find the artworks In addition, 30% of the collectors surveyed felt that it is difficult to find the artworks they want. Evelyn Lin, Deputy Chairman, International Director and Head of the Department of Asian 20th Century & Contemporary Art at Christie’s has also noticed this challenge: “I started to work in auctions from 2004 and many collectors have been collecting from 2004 until now. Since there will be less and less works of art that they believe are good enough, collectors will have less targeted [high quality] works [to choose from]. But they still continue to participate in this market and they are still here.” ... 子文小偶

  这段比较有趣，参与的越久，看得上眼的就越少了！

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  子文小偶 (冲！) 组长 楼主 2019-04-17 23:36:13

  “We want to create a public space within the museum and to borrow works to do exhibitions to offer the public a chance to experience the beauty of art. There are two points of focus for Long Museum and we have been working on these since we opened. The first is about the permanent collection, the other is about works from well-known artists. We have maintained these two points of focus, so we are doing all kinds of exhibitions for both the permanent collection and the works of well-known artists [both alive and deceased] in China and abroad.” “We are still planning exhibitions, especially for our permanent collection, to sort out relationships among our artworks. We might have more interactions with artists.” “There are too many [artists who want to exhibit at Long Museum] and we have problems with arranging exhibition schedules. Speaking about what the public wants to see and also from an aesthetics point of view, Chinese audiences are getting more and more interested in exhibitions of famous Western artists, because [Chinese people] might not get the chance to see their works even though they travel abroad.” “We are also talking to artists like Zeng Fanzhi about holding solo exhibitions and we have all types of artists coming up. Well-known star artists from the West can create better publicity.” “Museums in the West are not doing exhibitions of star artists very often, mainly because they cost too much money and museums cannot afford them. Museums are unwilling to do these kinds of exhibitions because they will lose quite a bit of money. Such exhibitions all lose money.” “I think the loss of money is unavoidable if you open a private museum. [For exhibitions of famous artists] the first thing you need to consider is whether the artist wants to work with you. The artist will think about whether the space is large enough and satisfactory and also will think about your museum’s reputation. There are two important issues playing out here: First of all, you need to be willing to spend money; and second, the artist [needs to] acknowledge your ability [reputation]. If it clicks, you can work together and make the exhibition happen.”

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  子文小偶 (冲！) 组长 楼主 2019-04-17 23:36:44

  “We want to create a public space within the museum and to borrow works to do exhibitions “We want to create a public space within the museum and to borrow works to do exhibitions to offer the public a chance to experience the beauty of art. There are two points of focus for Long Museum and we have been working on these since we opened. The first is about the permanent collection, the other is about works from well-known artists. We have maintained these two points of focus, so we are doing all kinds of exhibitions for both the permanent collection and the works of well-known artists [both alive and deceased] in China and abroad.” “We are still planning exhibitions, especially for our permanent collection, to sort out relationships among our artworks. We might have more interactions with artists.” “There are too many [artists who want to exhibit at Long Museum] and we have problems with arranging exhibition schedules. Speaking about what the public wants to see and also from an aesthetics point of view, Chinese audiences are getting more and more interested in exhibitions of famous Western artists, because [Chinese people] might not get the chance to see their works even though they travel abroad.” “We are also talking to artists like Zeng Fanzhi about holding solo exhibitions and we have all types of artists coming up. Well-known star artists from the West can create better publicity.” “Museums in the West are not doing exhibitions of star artists very often, mainly because they cost too much money and museums cannot afford them. Museums are unwilling to do these kinds of exhibitions because they will lose quite a bit of money. Such exhibitions all lose money.” “I think the loss of money is unavoidable if you open a private museum. [For exhibitions of famous artists] the first thing you need to consider is whether the artist wants to work with you. The artist will think about whether the space is large enough and satisfactory and also will think about your museum’s reputation. There are two important issues playing out here: First of all, you need to be willing to spend money; and second, the artist [needs to] acknowledge your ability [reputation]. If it clicks, you can work together and make the exhibition happen.” ... 子文小偶

  刘益谦的说法里，越大的展览办起了越亏钱。。。好吧。。。难怪他们办那样。。。

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  子文小偶 (冲！) 组长 楼主 2019-04-18 00:57:40

  With more Western galleries aggressively expanding their influence in the Chinese market, domestic galleries will have an even tougher time surviving the competition. Some galleries might be forced to close their physical premises and generate sales revenue through participating in art fairs or online sales. Some are likely to seek collaboration with Western galleries to offer services to them to benefit both parties. Such transformation will bring more challenges to Chinese contemporary art as a stand-alone collecting category. We do not expect that the turnover of the category will return to its peak period in 2006 and 2007. Prices of works by the Chinese contemporary artists who are represented by blue-chip galleries will remain steady. But those artists who sell directly from their own studios or are represented by domestic galleries under competitive pressures will have an increasingly difficult time in justifying the sustainable long-term market value of their artworks.

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  子文小偶 (冲！) 组长 楼主 2019-04-18 00:58:10

  With more Western galleries aggressively expanding their influence in the Chinese market, With more Western galleries aggressively expanding their influence in the Chinese market, domestic galleries will have an even tougher time surviving the competition. Some galleries might be forced to close their physical premises and generate sales revenue through participating in art fairs or online sales. Some are likely to seek collaboration with Western galleries to offer services to them to benefit both parties. Such transformation will bring more challenges to Chinese contemporary art as a stand-alone collecting category. We do not expect that the turnover of the category will return to its peak period in 2006 and 2007. Prices of works by the Chinese contemporary artists who are represented by blue-chip galleries will remain steady. But those artists who sell directly from their own studios or are represented by domestic galleries under competitive pressures will have an increasingly difficult time in justifying the sustainable long-term market value of their artworks. ... 子文小偶

  外资画廊，优势明显，中国艺术家自己卖的真的不行的，，，

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  子文小偶 (冲！) 组长 楼主 2019-04-23 22:06:19

  Due to the existing challenges of the heavy tax burden of bringing artworks made overseas into China and the difficulties of converting RMB into foreign currencies, the Western galleries who do not have a physical presence in China are likely to explore innovative ways to reduce these complexities and enable domestic Chinese collectors to buy art. For instance, Western gallery owners might have artworks produced within mainland China or partner with Chinese galleries for exhibitions or art projects. Some Western galleries might start working with art finance service providers to design a collateral-based payment structure to help collectors clear these hurdles.

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  子文小偶 (冲！) 组长 楼主 2019-04-23 22:06:43

  Due to the existing challenges of the heavy tax burden of bringing artworks made overseas Due to the existing challenges of the heavy tax burden of bringing artworks made overseas into China and the difficulties of converting RMB into foreign currencies, the Western galleries who do not have a physical presence in China are likely to explore innovative ways to reduce these complexities and enable domestic Chinese collectors to buy art. For instance, Western gallery owners might have artworks produced within mainland China or partner with Chinese galleries for exhibitions or art projects. Some Western galleries might start working with art finance service providers to design a collateral-based payment structure to help collectors clear these hurdles. ... 子文小偶

  今天还学习了关于保税区的知识，也不错，租个仓库一放。

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  子文小偶 (冲！) 组长 楼主 2019-04-23 22:07:40

  今天还学习了关于保税区的知识，也不错，租个仓库一放。 今天还学习了关于保税区的知识，也不错，租个仓库一放。 子文小偶

  Some galleries might be forced to close their physical premises and generate sales revenue through participating in art fairs or online sales. Some are likely to seek collaboration with Western galleries to offer services to them to benefit both parties.

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  子文小偶 (冲！) 组长 楼主 2019-04-23 22:08:08

  Some galleries might be forced to close their physical premises and generate sales revenue Some galleries might be forced to close their physical premises and generate sales revenue through participating in art fairs or online sales. Some are likely to seek collaboration with Western galleries to offer services to them to benefit both parties. ... 子文小偶

  国内画廊就参加下展会或者跟国外合作，这些都蛮好的呢，不就是我们一个现有模式。

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  子文小偶 (冲！) 组长 楼主 2019-05-06 22:43:17

  Can you elaborate more on the trend of internationalization? So one part of this is globalization which makes the price differences in the market became smaller and the other part is opening an office in Hong Kong to attract more international buyers, right? We are gradually developing in the direction of internationalization, but we are not an international auction house. We still cannot compare with Christie’s and Sotheby’s (and the differences are quite obvious) in terms of global revenue, categories of works, and the level of internationalization of our organization. Opening an office in Hong Kong had to be our first step, because we had to test the waters. If you cannot succeed in Hong Kong, then it would be impossible for you to expand to London or New York. The tax issue in China was another important factor back then. Hong Kong is a freeport which has more advantages in dealing with tax issues when compared to Mainland China. Moreover, Hong Kong is located next to Mainland China, and we are more familiar with the city, so basically that’s what we were thinking. Nevertheless, if we want to see a real internationalization process, it is not just about where you hold your auctions, it is how you operate that matters. Many people went to Japan to open auction companies, but most of them are selling Chinese works of art instead of local Japanese works. Such an effort is not so meaningful. We are still working hard on it, but the degree of doing it is quite difficult and it requires systematic thinking. Besides, internationalization means you need to think about who your clients are. Contemporary art is precisely about globalization, and this next step is important to focus on. If you want internationalize the company and the company’s influence from customer to auction, many components need to be fully integrated. This (to integrate China’s art market with the global art market) had great prospects, but relying solely on auction houses is not enough. For example, if Western works of art were to be introduced to China a few large questions needed to be addressed. First of all, we need to understand the value system: Where does the value of the art and the academic value sit? The establishment of a system needs an organized and systematic introduction to the values of the system in the Western art world. The second question is about the pricing system. Many Chinese people are wealthy, but this situation (the valuation of Western artworks) was very difficult to explain clearly to everyone. For example, some reporters came to ask my opinion when Wang Jianlin bought Claude et Paloma by Picasso in 2013. I said I really don’t know how to answer you. If he bought a work by Qi Baishi or Zhang Daquan, I might have something to say, but he bought a Picasso and it is really difficult for us to talk about the academic value of that work, and what the role of that work was in Picasso’s career. I really think it’s difficult for us. The judgement about value and price didn’t even touch on the issue of authenticity. There’s one more special thing about the Chinese market, and by that I mean investment. Thinking from the perspective of investing, to whom shall we sell these Western works of art would be a complicated question. Therefore, Poly Group started to operate a chain of museums, and using this system we hope we can introduce Western artists to a Chinese audience.

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  子文小偶 (冲！) 组长 楼主 2019-05-06 22:44:18

  Can you elaborate more on the trend of internationalization? So one part of this is global Can you elaborate more on the trend of internationalization? So one part of this is globalization which makes the price differences in the market became smaller and the other part is opening an office in Hong Kong to attract more international buyers, right? We are gradually developing in the direction of internationalization, but we are not an international auction house. We still cannot compare with Christie’s and Sotheby’s (and the differences are quite obvious) in terms of global revenue, categories of works, and the level of internationalization of our organization. Opening an office in Hong Kong had to be our first step, because we had to test the waters. If you cannot succeed in Hong Kong, then it would be impossible for you to expand to London or New York. The tax issue in China was another important factor back then. Hong Kong is a freeport which has more advantages in dealing with tax issues when compared to Mainland China. Moreover, Hong Kong is located next to Mainland China, and we are more familiar with the city, so basically that’s what we were thinking. Nevertheless, if we want to see a real internationalization process, it is not just about where you hold your auctions, it is how you operate that matters. Many people went to Japan to open auction companies, but most of them are selling Chinese works of art instead of local Japanese works. Such an effort is not so meaningful. We are still working hard on it, but the degree of doing it is quite difficult and it requires systematic thinking. Besides, internationalization means you need to think about who your clients are. Contemporary art is precisely about globalization, and this next step is important to focus on. If you want internationalize the company and the company’s influence from customer to auction, many components need to be fully integrated. This (to integrate China’s art market with the global art market) had great prospects, but relying solely on auction houses is not enough. For example, if Western works of art were to be introduced to China a few large questions needed to be addressed. First of all, we need to understand the value system: Where does the value of the art and the academic value sit? The establishment of a system needs an organized and systematic introduction to the values of the system in the Western art world. The second question is about the pricing system. Many Chinese people are wealthy, but this situation (the valuation of Western artworks) was very difficult to explain clearly to everyone. For example, some reporters came to ask my opinion when Wang Jianlin bought Claude et Paloma by Picasso in 2013. I said I really don’t know how to answer you. If he bought a work by Qi Baishi or Zhang Daquan, I might have something to say, but he bought a Picasso and it is really difficult for us to talk about the academic value of that work, and what the role of that work was in Picasso’s career. I really think it’s difficult for us. The judgement about value and price didn’t even touch on the issue of authenticity. There’s one more special thing about the Chinese market, and by that I mean investment. Thinking from the perspective of investing, to whom shall we sell these Western works of art would be a complicated question. Therefore, Poly Group started to operate a chain of museums, and using this system we hope we can introduce Western artists to a Chinese audience. ... 子文小偶

  你能详细说明国际化的趋势吗？因此，全球化的一部分是市场价格差异缩小，另一部分是在香港开设办事处以吸引更多国际买家，对吧？ 我们正朝着国际化的方向逐步发展，但我们不是国际拍卖行。在全球收入，作品类别和组织国际化程度方面，我们仍然无法与佳士得和苏富比（以及差异非常明显）进行比较。 在香港开设办事处必须是我们的第一步，因为我们必须测试水域。如果你不能在香港取得成功，那么你就不可能扩展到伦敦或纽约。中国的税收问题是当时的另一个重要因素。香港是一个自由港，与中国大陆相比，在处理税务方面具有更多优势。此外，香港位于中国大陆附近，我们对这座城市比较熟悉，所以基本上就是我们的想法。 然而，如果我们想要看到一个真正的国际化进程，那不仅仅是关于你举办拍卖的地方，而是你操作的重要性。许多人去日本开设拍卖公司，但大多数人都在卖中国艺术品而不是当地的日本作品。这样的努力没那么有意义。我们仍在努力，但这样做的程度非常困难，需要系统思考。 国际化意味着您需要考虑您的客户是谁。当代艺术正是关于全球化，下一步是重点关注。如果您希望将公司和公司的影响从客户国际化到拍卖，那么许多组件需要完全集成。 这（将中国的艺术市场与全球艺术市场融为一体）前景广阔，但仅依靠拍卖行是不够的。例如，如果要将西方艺术品引入中国，需要解决一些大问题。首先，我们需要了解价值体系：艺术的价值和学术价值在哪里？建立一个系统需要有组织和系统地介绍西方艺术界的系统价值。第二个问题是关于定价系统。许多中国人富裕，但这种情况（西方艺术品的估价）很难向每个人清楚地解释。例如，有些记者在2013年王建林买了毕加索的Claude et Paloma时就开始询问我的意见。我说我真的不知道怎么回答你。如果他买了齐白石或张大全的作品，我可能有话要说，但他买了毕加索，我们很难谈论这部作品的学术价值，以及这部作品的作用是什么。毕加索的职业生涯。我觉得这对我们来说很难。关于价值和价格的判断甚至没有触及真实性问题。 关于中国市场还有一个特别之处，我的意思是投资。从投资的角度思考，我们向谁出售这些西方艺术品将是一个复杂的问题。因此，保利集团开始经营一系列博物馆，使用这个系统，我们希望我们能够向中国观众介绍西方艺术家。

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  子文小偶 (冲！) 组长 楼主 2019-05-06 22:45:13

  你能详细说明国际化的趋势吗？因此，全球化的一部分是市场价格差异缩小，另一部分是在香港开设办 你能详细说明国际化的趋势吗？因此，全球化的一部分是市场价格差异缩小，另一部分是在香港开设办事处以吸引更多国际买家，对吧？ 我们正朝着国际化的方向逐步发展，但我们不是国际拍卖行。在全球收入，作品类别和组织国际化程度方面，我们仍然无法与佳士得和苏富比（以及差异非常明显）进行比较。 在香港开设办事处必须是我们的第一步，因为我们必须测试水域。如果你不能在香港取得成功，那么你就不可能扩展到伦敦或纽约。中国的税收问题是当时的另一个重要因素。香港是一个自由港，与中国大陆相比，在处理税务方面具有更多优势。此外，香港位于中国大陆附近，我们对这座城市比较熟悉，所以基本上就是我们的想法。 然而，如果我们想要看到一个真正的国际化进程，那不仅仅是关于你举办拍卖的地方，而是你操作的重要性。许多人去日本开设拍卖公司，但大多数人都在卖中国艺术品而不是当地的日本作品。这样的努力没那么有意义。我们仍在努力，但这样做的程度非常困难，需要系统思考。 国际化意味着您需要考虑您的客户是谁。当代艺术正是关于全球化，下一步是重点关注。如果您希望将公司和公司的影响从客户国际化到拍卖，那么许多组件需要完全集成。 这（将中国的艺术市场与全球艺术市场融为一体）前景广阔，但仅依靠拍卖行是不够的。例如，如果要将西方艺术品引入中国，需要解决一些大问题。首先，我们需要了解价值体系：艺术的价值和学术价值在哪里？建立一个系统需要有组织和系统地介绍西方艺术界的系统价值。第二个问题是关于定价系统。许多中国人富裕，但这种情况（西方艺术品的估价）很难向每个人清楚地解释。例如，有些记者在2013年王建林买了毕加索的Claude et Paloma时就开始询问我的意见。我说我真的不知道怎么回答你。如果他买了齐白石或张大全的作品，我可能有话要说，但他买了毕加索，我们很难谈论这部作品的学术价值，以及这部作品的作用是什么。毕加索的职业生涯。我觉得这对我们来说很难。关于价值和价格的判断甚至没有触及真实性问题。 关于中国市场还有一个特别之处，我的意思是投资。从投资的角度思考，我们向谁出售这些西方艺术品将是一个复杂的问题。因此，保利集团开始经营一系列博物馆，使用这个系统，我们希望我们能够向中国观众介绍西方艺术家。 ... 子文小偶

  这段引入西方艺术品和国际化，说得很现实很中肯。

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  子文小偶 (冲！) 组长 楼主 2019-05-06 23:44:43

  This is what differentiates true collectors. True collectors buy high-value works and let them be. They don’t make a fuss over their purchases. The money they spend on collecting art and antiquities is disposable and will not affect their businesses and careers. All in all, the years of 2011 and 2012 were tumultuous. What followed has been a period of adjustment. The worst moments have passed, I think.

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  子文小偶 (冲！) 组长 楼主 2019-05-06 23:45:24

  This is what differentiates true collectors. True collectors buy high-value works and let This is what differentiates true collectors. True collectors buy high-value works and let them be. They don’t make a fuss over their purchases. The money they spend on collecting art and antiquities is disposable and will not affect their businesses and careers. All in all, the years of 2011 and 2012 were tumultuous. What followed has been a period of adjustment. The worst moments have passed, I think. ... 子文小偶

  真的收藏者，不会对他们的购买大惊小怪。他们花在收集艺术品和古董上的钱是一次性的，不会影响他们的业务和职业。

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  子文小偶 (冲！) 组长 楼主 2019-05-07 00:33:42

  Miety Heiden Miety Heiden is the Deputy Chairman and Global Head of Private Sales at Phillips. She has over ten years of experience working with collectors in Asia in the field of contemporary art. When did you start interacting with Mainland Chinese collectors? If you look at Chinese contemporary, then you are talking about 2004 or 2005 when they started buying it and it grew big very quickly. If you look at Western art, it’s more from 2010 onwards (when I was at Sotheby’s). If we look at the category of Chinese contemporary art, for Chinese collectors buying through international auction houses, what has been the trajectory of the past 14 years? I would say that you saw very little activity in 2005 and 2006, and you started (to see) a small group (which) grew bigger up until 2008 and the market collapsed. Then you saw it becoming active again in 2010 up till now. The Mainland Chinese collectors were active in 2014, 2015 and 2016, mainly in Impressionism and Modern art categories. I think they follow the international buyers: their buying behavior very much follows the international market, i.e. in observing what the American buyers or European buyers are collecting. So when you see a downturn in the Western market, you see that Chinese (collectors) also show less activity. Based on your experience of working with mainland Chinese collectors for the past 14 years, what has been your observation in terms of their collecting behavior? Well what I’ve seen is that, I am speaking on behalf of my clients and I generalize very much (here): they want trophies, not that they necessarily had all that tradition around it or that they want to build a collection. They like to have that Picasso, Modigliani or a Van Gogh. It’s less (because of) that they want to build a collection with garden views or with horses, or I want paintings from early 1920s or something, it is more probably to have trophies and that status as the rich person. Other than that, what’s your observation of their collecting taste? I think my observation of the taste is that it is shaped by what they see in museum shows, and what they see when traveling around the world, what they read about and what their opinions are of the trophies of Western art history. Can we say, in that sense, the Western auction houses are tastemakers for these collectors? I think so, yes. I think that the museums are even more powerful tastemakers, when they see Van Gogh and when they see that it’s printed on glasses and bags, and they feel that they are spending money on super paintings. I guess this also shows their trust in Western auction houses and blue-chip galleries, right? They listen to them and buy through them. Yes. But I have to say it’s not necessarily different to when the Russians started to buy or the Japanese. They've gone the same trajectory with status and they wanted trophy works that won’t be laughed at. If you look at the end of the 80s when the Japanese were buying, they were also going after Van Gogh or Picasso and Renoir. Maybe they were more specific about certain artists, but it was also the big names of Impressionists in art history they went after. Do you think they are quite different from American and European collectors that you work with? Let’s put it this way: I think if the American and European collectors were willing to spend that sort of money, they wouldn’t spend it the same way. I think the European and American collectors grew up in this culture, so they are more used to it. I think it also has something to do with the division of wealth. I mean especially for Europeans, the wealth (distribution) is far more equal, so chances that a European collector will spend a hundred million dollars on a painting is much smaller than if you are newly rich and want to buy status and trophies. It’s a very fascinating observation, so do you agree it’s the same for American collectors? I think if you see an American collector, he/she will spend the same millions. I think it’s human nature to do that, and maybe you can see that the American collectors are a little bit more educated because they have grown up with it, he/she has seen a great deal. For the newly rich (i.e. the Mainland Chinese collectors), if you become wealthy within your own generation, and having earned it for yourself, it’s also easier to spend for yourself. If you make 2 billion in 10 years, then it is not that much to spend 50 million on a painting. I don’t see much difference between a typical Mainland Chinese and a typical American collector, they do exactly the same thing. For me the only remarkable thing is that the Asian or Mainland Chinese buyer is far more influenced by fashion. They will follow trends of what the American or European collectors are buying. How do you think they gradually shape their collecting taste of Western art? It’s what they have seen in auctions, museums, on their travels or in newspapers. They all want the big names, I mean the big names for auction buyers. Do you feel that Western culture or the knowledge of art history has been a barrier for these collectors? I don’t think so. I think they educated themselves very quickly. Do you feel art education programs play a role here? I think it will play a role if you are an art buyers that buys art up to say, one million dollars and you have to be careful how you spend your money. For these mega-wealthy people who could buy a Van Gogh for 40 or 50 million, I don't think so. I don’t think they will pay the time to educate themselves, they know what they want and they know what is good. Also because probably they don’t have time to go to classes. No, exactly. Although I believe everybody should do that.

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  子文小偶 (冲！) 组长 楼主 2019-05-07 21:59:29

  原来从奢侈品报告看，成都是购买力最强劲的城市。像上海一样，大家买完了奢侈品就该买画了。。。

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  子文小偶 (冲！) 组长 楼主 2019-05-07 22:28:23

  乔志兵平易近人，刘益谦傲气十足，苏宁很传统。

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