黑料不打烊

MA: What's the most exciting feature of this year's edition?
LR: First of all 鈥溾��, the spectacular sector with special projects realized by emerging Asian artists. There are more than 40 of them, each more stunning than the other. It is the place for discovering the stars of tomorrow. Art Stage 2012 will also showcase impressive presentations and works by established artists: For example, big one-man shows with Japanese rising star MR, and China鈥檚 big painter Yan Pei-Ming; or an impressive and historically important drums installation by Chen Zhen, who was the star of China鈥檚 first generation of contemporary artists; or two immense paintings by the Chinese painters THEY, presenting on 8 and 10m the two metropolis Beijing and Shanghai (pictured above); or an incredibly stunning multimedia installation by Indian artist Bose Krishnamachari, playing with the overwhelming impressions you get in the traffic of Bombay; or, last but surely not least, a very personal 25m long work by Thai artist Rikrit Tiravanija. (Above left: Gao Brothers World Hug Day - artistic)

Also, China鈥檚 famous Gao Brothers expect hundreds (if not thousands) of participants for their enormous 鈥淲orld Hug Day鈥� performance (above). The cherry on top is a 12m long painting by Thai artist Navin Rawanchaikul, who, inspired by the Fair鈥檚 eye-catching publicity campaign, created especially for Art Stage a very special and satirical work titled 鈥淲e are Asia!鈥�, showing the 鈥渨ho鈥檚 who鈥� of the continent鈥檚 art world. I鈥檓 already looking forward to seeing the reaction of many actors of the Asian art scene, collectors as well as artists, when they recognize themselves on the huge artwork. (Right: Navin Rawanchikul & Rirkit Tiravanija, Cities on the Move 4 (Midnight Sun), 1999, Acrylic on canvas, 150 x 225 cm)

MA: How do the Western exhibitors fit in with the fair and its aim to present an authentic Asian identity?
LR: On the one hand they set international standards to which the Asian galleries have to adapt themselves. To be juxtaposed next to good international galleries is the best way to learn to function as professionally as Western galleries do, and it鈥檚 the only way to become competitive in the international context. In the end, we wish to see also some Asian galleries showing and representing important Asian artists worldwide; not, as is the case today, the Western galleries taking over quite all successful and promising Asian artists. On the other hand, Asia 鈥� but also the West 鈥� needs the cultural exchange and dialogue. Our main goal should not be to open the Asian market for as many Western galleries as possible, but to support and to strengthen the Asian artists and the Asian galleries to become strong, globally competitive players. That鈥檚 the reason why we select Western participants so carefully. They should complement and not conflict; they have to be an additional value. Many of our Western galleries really make special efforts, like e.g. White Cube, which will showcase three specially created large-scale installations by Antony Gormley. (Left: Anthony Gromley, Drift VIII, 2011, 2mm square section stainless steel, 205 x 155 x 185 cm)

MA: Can Singapore give the Hong Kong art scene a run for its money?
LR: I鈥檓 fully convinced that Asia can and will accommodate (only) two international-league fairs in the near future. We will have many national and regional shows, but only Hong Kong and Singapore are predestined to host an art fair of the topmost level. And the constantly expanding Asian market needs two top international fairs which complement 鈥� not compete against 鈥� each other: a clearly trade-oriented event in the trade driven financial place Hong Kong, Asia鈥檚 center of investment banking, and a much more content-oriented event in the wealth driven financial place Singapore, Asia鈥檚 center of private wealth management. I think that the two cities do seem to 鈥渃ompete鈥� on several levels 鈥� but I don鈥檛 believe competition is necessarily about who 鈥渨ins,鈥� but about which of the two fairs will be an even bigger catalyst for a constantly growing Asian market. The success of one fair will help the other, and vice-versa.

MA: How do you envision the Singapore art scene in 5-10 years?
LR: Singapore already has produced internationally renowned artists such as Jane Lee, Ming Wong and others. Realistically, though, Singapore is too small to have its own competitive art scene, alone it will never be able to compete with the scenes in Beijing, Shanghai, Delhi...The art scenes/markets of Europe and the United States are open and function as an integrated community while Asia still remains fragmented with many individual, insular art scenes/markets. There are no organically grown art centers like New York, London or Paris where the necessary artistic dialogues and exchanges occur. And this should be Singapore鈥檚 role: to become Asia鈥檚 necessary center and hub for contemporary art. Which other Asian place or city is more predestined for such a role than centrally located, multicultural Singapore!

Written by 黑料不打烊 writer Joanna Bledsoe