798 Art District, Beijing. Courtesy of Weekend Beijing Gallery
“Visibility” is the current imperative for Beijing galleries and the Chinese art scene, which have suffered from diminished overall perception due to the pandemic and tight controls on travel and public gatherings. This year, Gallery Weekend Beijing adopted this theme, reflecting the collective efforts of the Chinese art industry to regain international recognition. And as cafes and restaurants in Beijing’s 798 Art District buzz with industry gossip and jokes, one can sense a return to normalcy on the horizon.
This comeback is a luxury for many, given the challenges faced in 2022, which has seen limited in-person international exchanges and the local arts calendar more than a year behind its Western counterparts.
With the help of the Beijing Contemporary Art Expo and JINGART, between which it is nestled in the calendar, Gallery Weekend Beijing is accelerating the pace of activity in the city, underscoring the determination of the local art community to catch up with global art. . world. Beijing’s art world is undeterred in its pursuit of international engagement, despite the potential rise in Covid cases. Adapting to the reality of openness and rebuilding long-lost international connections are essential steps in this ongoing process.
While the number of international guests at Gallery Weekend Beijing has yet to fully recover from 2019, there has been a significant increase in the number of domestic visitors, according to event director Amber Yifei Wang. The 798 Art District, host of the event, welcomed more than 150,000 visitors, surpassing 120,000 attendees in 2022. Wang highlights the challenge of making the event more attractive to overseas collectors as part of the art route crowded world. The number of participants also demonstrates the growing interest and engagement of local audiences.
Yuan Keru, soft sediment (2023), Performances. Courtesy of the artist and SPURS Gallery
Chen Li, an independent curator who curated GWBJ’s public sector group exhibition, acknowledges the stagnation the art world faced in Beijing last year. However, he sees a strong desire for recovery now, despite the uncertainties stemming from economic, political and global changes. Chen’s exhibition, titled “Facets,” aims to present the tension between external and internal realities in the context of social dynamics. He believes that artists show courage in the face of unpredictability and that the creativity of art continues to thrive.
Foreign gallery owners, such as Thomas Schulte and Timothy Taylor, have taken advantage of the opening of borders and removed quarantine measures to return to Beijing. Their galleries, along with seven others, are featured in the visitors’ section of Gallery Week Beijing.
Taylor, who witnessed the abrupt shutdown of Shanghai’s ART021 contemporary art fair last year, is excited to attend in person this year. He enjoys the vibrant and energetic atmosphere of 798 Art District, highlighting the growth potential of galleries over time in China’s young and evolving art world. As a gallery establishes its identity in a new city and country, its audience grows through continued participation, he said. He envisions his gallery cultivating audiences in China over a 10-15 year period, acknowledging that it is a young art world “still finding its way within the parameters set for it.” . ”
Chris Martin, Singing (2023), Acrylic oil collage of shimmering glitter on canvas. Courtesy: Timothy Taylor
Gallery Week Beijing 2023 features an unprecedented lineup of 40 exhibiting galleries and non-profit institutions. The organizers aim to break down the boundaries between the city’s artistic districts and revive Beijing’s cultural vitality as a center of contemporary Chinese art. They use golf carts to transport collectors and media groups, gallery representatives share WeChat QR codes to connect with collectors for tracking information, and dealers have been encouraged to immerse themselves in the group growing number of visitors to discover the projects of other artists. The dedication and hard work of everyone involved is evident as they strive to present their best work after a long hiatus.
White Space, meanwhile, is known to nurture Chinese artists. Although they don’t have a permanent space in the 798 Art District, their presentation in the special exhibitions sector exceeds expectations for a short-lived show. In collaboration with architect and collector Tian Jun, White Space transforms an abandoned factory into twisting, dimly lit spaces using unfinished wooden planks. This unique setting provides a serene backdrop to artist Ouyang Chun’s poetic paintings. It is the only gallery whose programs cover the three main artistic districts of Beijing.
Installation view, OUYANG Chun, “Road to Heaven”, Building B06, 798 Art District, May 26 – June 28, 2023. Courtesy of the artist and WHITE SPACE
In its Caochangdi space, White Space exhibits artist Yang Jian’s installations and paintings full of social and political metaphors, reflecting the urban environment of the village of the suburban area. Despite challenges during the pandemic and forced demolitions in 2018, Caochangdi has persevered and is now home to a new group of tenants, including design galleries.
Blanc Art Group, established in October 2021, is located in the National Foreign Culture Trade near Beijing International Airport. It is Beijing’s first art center with a tax-free policy. Home to international and domestic dealers including Lisson Gallery, Massimo de Carlo, White Space and Chantal Crousel, Blanc Art Group’s interior design resembles Hong Kong’s H Queen building, with more spacious rooms and more efficient elevators. They recently presented a secretive, low-key, queer-themed exhibit titled “More Than Human,” accompanied by a lively performative party in the neighborhood’s central garden.
Installation view, Nicholas Stewens and Villiam Miklos Andersen, “November”, SIMULACRA. Courtesy: © SIMULACRA 2023
Despite the three-year hiatus, the local art market and international exchanges converged rapidly, nurturing the galleries of a younger generation. One example is SIMULACRA, founded by Zachariah Zhou, a graduate of Parsons and Central Saint Martins who returned to China in 2020. ” in China. . The gallery is currently hosting a double exhibition featuring Danish artist Villiam Miklos Andersen and German-American artist Nicholas Stewens, resonating with younger audiences reminiscent of shows on the Lower East Side of New York or Berlin.
Zhou acknowledges that Chinese collectors are willing to spend money but tend to prefer established media. It aims to balance its program between established and experimental approaches.
Installation view, Hans Op de Beeck, “Vanishing”. Photo credit: the artist and Galleria Continua
Beijing’s gallery history focuses primarily on the past 20 years in the 798 Art District, and Wang acknowledges the significant departure from cities like London, New York or Berlin. Part of the Beijing scene’s current plan is to expand professional galleries. It is an ongoing effort. But With half of the year, Beijing shows no signs of entering a slack period, as is traditionally the case in summer.
Wang, for his part, is optimistic and confident about the rest of 2023 and the future. “Rebuilding trust is a top priority,” he said. “It’s not for China but for the art industry worldwide. After the opening, we are back on top of a bigger stage and we are more demanding in all aspects of our work.
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