Korean art takes one step further in Beijing

Befitting the growing attention toward Chinese art, about 100 galleries from 17 countries, including the Marlborough Gallery of the United States, Laurent Godin of France and Galerie Nagle of Germany, participated in the fair.

While being launched only three years ago, this annual art fair has established itself as the most respectable among a handful of international art fairs held in Beijing.

By the pre-opening day, the works of "first-generation" Chinese artists such as Fang Lijun, Zhang Xiaogang and Yue Min Jun were mostly sold out demonstrating the fast-rising status of Chinese art.

Experts say the art fair is meaningful in itself that it offers an opportunity for overseas buyers to access Chinese art. "Chinese art is getting a lot of spotlight but it was hard for overseas buyers and collectors to find the place to purchase the artworks. That's why they have been so popular at international auctions," said Lee Jeong-woo, editor-in-chief of art magazine Art&Culture.

Lee Jae-hyo`s wood and nail work was one of the first Korean artworks to be sold at the 2006 China International Gallery Exposition.

Next to some 30 Chinese art galleries, Korea was the most conspicuous presence with 14 established galleries including Artside, Gallery Hyundai, Keumsan Gallery, Cais Gallery and Gallery Kukje participating in the fair. "Along with Shanghai, Beijing is fast becoming a mecca for Chinese art, but Korean galleries have played a major role in pushing this fair to an international level," said Hwang Dal-seung, president of the Korea Print Art Promotion Committee, who has worked closely with the Chinese organizing committee.

There were voices of concern that were skeptical of the "bubble effect" of the Chinese art market, questioning how much Korean artists can gain from getting on the bandwagon of Chinese artists.

Pyo Mi-sun of Pyo Gallery is one of the enthusiastic believers in the potential of China. "We have been planning to come to China since 2000 and have participated in the Beijing exposition since the first year it expanded its scope to include international galleries," she said.

Pyo Gallery is one of the pioneers in venturing into the country, with a branch in Beijing that opened last month. Pyo acknowledges that she has high hopes for the 2008 Beijing Olympics, which she believes would serve as a platform for China, especially its culture, to leap onto a much higher stage on an international level.

But what makes China different from Korea is that the Chinese are naturally more appreciative of art. "Even before the door is open, people were swarming in front of the exhibition hall waiting to get inside first," Pyo said.

Many of the Korean galleries understandably host both Korean and Chinese artists, and Chinese artists are drawing more attention, not to mention selling better, as expected. Korean artists, however, are gaining recognition albeit slowly. As some art dealers have predicted, a wood and nail work by Lee Jae-hyo from Gallery Artside was one of the first to bear the red sticker.

"This is a good opportunity for us to promote Korean art to the international market since Western, especially European galleries and buyers are coming here," said Cheong Jong-hyo, an official of the Galleries Association of Korea.

Although the number of Korean galleries at this year's exposition was down from last year's 20, due to the limitation set by Chinese organizers, Cheong thinks the overall level has improved. "We are holding the Korea International Art Fair since 2002 but the Beijing art fair would be another stepping stone for Korean artists to enter the international art market."

There were gripes regarding the lack of preparation or service, such as delays in registration and distribution of catalogues, but the Chinese committee, at least some members of them, is keenly aware of what needs to be done.

"There is a lot to catch up but (the China International Gallery Exposition) has been around for only three years. It's still a baby. After this fair, we'll learn a lot," said Jimmy Lu, a special consultant for the exposition and former secretary-general of the Taiwan Art Gallery Association. "But China is a magnet. Everyone is coming here, including us from Taiwan," he said.

Renowned Chinese artists acknowledged that the rise of China contributed to the upsurge in Chinese art. "China is getting attention in every sector," said Yang Xiao Bin, one of the top 10 bestselling artists of China, to a group of Korean reporters.

When asked to comment on Korean artists presented at the fair, he said "some are very traditional and some are very contemporary." Yang and Wang Du, the Paris-based artist who made a name for himself with his avant-garde artworks during the Tiananmen Square crackdown, agreed that Korean contemporary artists are skilled but made a point that Korean galleries should be more "international."

"I've been to Korea several times. (Korean) galleries have a longer history but there's no internationally famous artwork. They can sell 50 Matisses, but that doesn't make the galleries international," said Wang Du.

"What makes a good gallery is that they can sell local artists' works to the overseas market. They should discover young, promising artists," he emphasized.

(glamazon@heraldm.com)

<By Hwang You-mee, The Korea Herald>