Intersection

The Digital Quarter of Gallery & Studio Magazine

  • Home
  • Just In
  • Artists
  • Gallerists
  • Contact

In with the new: Chan Hampe Galleries annouces its launch as Chan+Hori Contemporary at Gillman Barracks

2 February, 2017 by Anastasia Ong

Chan Hampe bids their space at Raffles Hotel Goodbye as they embark on a fresh start.

As they say, a new year brings a new start. And, what better time than now for major changes in both name and location for Chan Hampe Galleries.

Come 15 February 2017, the gallery will launch as Chan + Hori Contemporary at Block 6 of Gillman Barracks, directly located opposite the F&B outlet, Creamier.

Within a short span of 6 years, Chan Hampe Galleries has made quite a name for itself in the art worlds of Singapore and Southeast Asia. However just last year, Ben Hampe, partner of the former gallery, announced his move to a new position in Jakarta.

At the same time, Khairuddin (Khai) Hori, a decorated art veteran has joined the gallery as a new partner. With Khai’s inclusion on the team, he brings a fresh mix to a number of innovative projects and exhibitions in the new year. Viewers can expect a colourful program from the gallery, including events from artists such as Dusadee Huntrakul (Thailand), Sharon Chin (Malaysia) and Joo Choon Lin (Singapore) – just to name a few.

With the recent announcement of a major refurbishment project at the Raffles Hotel, the gallery has elected to move its premises to Singapore’s art enclave and will join other art establishments at Gillman Barracks.

To commemorate the revamp and usher in a fun twist, the gallery’s resident artists, Vertical Submarine will be designing Chan + Hori’s logo and feature their works as permanent fixtures in the new space.

The gallery has also refined its vision as:

Chan + Hori Contemporary seeks to engage with contemporary visual arts as a reflection of the everyday through collaborations with artists, curators and inspired professionals to provoke, challenge and stimulate our collectors and the general public. With Singapore as an axis, we will harness and share the immeasurable value, potential and ideas from art through exhibitions, events, exploratory laboratories and programming that is diverse yet inclusive.

Art Collector Art for Sale Art Gallery Art in Singapore Events coming up Events this month Featured Gallerists Singapore

Spotlight: Contemporary Ink with Gallery Owner and Artist, Terence Teo at Art Stage 2017

10 January, 2017 by Tim McIntyre

terence-teo-exhibition-image-1_web

Painter, gallery manager and President of the Singapore Art Society, Terence Teo talks to Intersection.sg about pioneering a style of painting. One that blends the discipline of the Chinese ink tradition with the vibrancy and expression of contemporary painting, in a style that is uniquely Singaporean.

Art Exhibitions Art in Singapore Chinese art Events coming up Events this month Events this week Feature interview Featured Gallerists Gallerists Painting Singapore Art Video Singapore

Frédéric and Carole de Senarclens: ArtAndOnly

17 May, 2016 by Intersection

372510b-1 ArtAndOnly_Founder_FrédéricdeSenarclens ArtAndOnly_Homepage_Platform_for_Collectors Artwork_ArtAndOnly_ArmenAgop_Untitled110 Artwork_ArtAndOnly_JeddNovatt_ChaosSanSebastian Artwork_KwangYoungChun_ArtAndOnly_Aggregation10-MY016BlueAndRed Artwork_TianTaiquan_ArtAndOnly_TotemRecollectionNo.3

Frédéric and Carole de Senarclens started out running a gallery in Geneva before making their move to Singapore. Since 2008, they ran Art Plural, where they not only showcased the works of established, but also emerging artists. Eight years later, the couple has based themselves back in Switzerland and also launched ArtAndOnly, an online platform for contemporary art.

Here, they showcase art across many disciplines and from established and emerging artists where “ArtAndOnly makes buying and selling art a full-service experience.” The artists are distributed across Europe, Asia and the USA. Visitors to the site can glean information on artists and art trends on Le Journal.

How does your sales platform work?

It is very straightforward. The collector offers us a work for sale, our experts review it and if the work meets our standards (authenticity, quality, condition report) we agree on a price and a period of consignment. The work is then presented across our platform and offered for sale. The buyer makes a price offer, we convey it to the seller and we help them to close a deal. ArtAndOnly works on a commission basis and then takes care of the logistics until the work reaches its final destination.

How different would it be going into the global market in terms of marketing, reach and logistics?

A strong social media strategy is absolutely key in growing an online marketplace. We’ve leveraged Facebook, Twitter, and Instagram in parallel with the upcoming launch of an international media campaign. Additionally, we benefit from a global network of contributors and partners in Europe, Asia and the USA to create a global buzz with a variety of expertise. As per the logistics, it is basically the same process as in a traditional gallery. The works are stored in safe and insured facilities, shown in private locations and shipped through our network of logistics partners.

What are the challenges you foresee?

We are confident in the fact that the future of the art market is online. This is a competitive area, but we believe our platform is tailor-made for today’s collectors and a natural expansion for us. It’s not just that the costs of operating a traditional gallery are getting higher – the marketplace is changing and the mentalities of collectors are evolving fast. They desire more variety and transparency and are ready to buy online from a trusted platform. We know what they are looking for and are able to source the right work from anywhere in the world.

What can collectors expect?

ArtAndOnly is a curated platform where each piece is carefully selected through a rigorous artistic line, exactly like a physical gallery. Our expertise and network in contemporary art is a huge benefit to collectors who are looking to be personally guided through the buying or selling process with a trusted and confidential partner. The platform is the premier source in the art market for collectors who are looking to acquire interesting artworks from both renowned and emerging artists.

What have you learned from running galleries that could be applied to the new platform?

Running galleries in Switzerland and then in Asia brought us a great understanding of both the Eastern and Western art scenes. Our experience in Asia proved invaluable as it offered us an expanded vision of the art market that ultimately led to this new global online project. Living in Singapore for more than six years allowed us to discover a wider range of artists not only from South East Asia, but also from China, Korea, India, and Australia. In Singapore, we also developed an understanding of how new media can increase our global reach. Thanks to our strong online presence, we realised we had followers and collectors from all over the world. Today, the physical gallery space has become less relevant, and thanks to the Internet, we assist in an “uberisation” of the market.

Tell us more about the process in terms of logistics and storage for the works.

 The consigned works are stored in secured and insured facilities until sold. Potential buyers can organize a private viewing of the work in various cities around the world: New York, Geneva, Singapore, London, Paris to name a few. The acquisition process is then pretty classical. Once paid, professional art movers will ship the work to the buyer.

How do you go about reviewing artworks that collectors wish to sell?

ArtAndOnly believes in quality, not in quantity. We are a high-end platform presenting only the best works through a strong selection process. We combine our expertise and eye for talent with various other expert curators to offer exclusive and interesting works to a wide audience.

I understand you’ll have works across various disciplines.

We are excited to unveil a new sculpture by renowned American artist Jedd Novatt, whose monumental work can be seen in Singapore on Scotts Road. We will also present an iconic work by Korean artist Chun Kwang Young, known for his structural works made of the assemblage of hundreds of polystyrene foam triangles wrapped in Korean mulberry paper called hanji. Other highlights are important sculptures by Armen Agop, Pablo Reinoso and Yves Dana.

 

Feature interview Featured Gallerists Gallerists Mixed media Singapore Art Tags: #Artandonly #artexhibition #artforsale #artcollectors #artplatform #fredericsdeenarclens #caroledesenarclens #artcurator

Interview: Flaneur Gallery’s Mike Tay and Vincent Chow

27 November, 2015 by Intersection

Vincent Chow (seated) and Mike Tay

Vincent Chow (seated) and Mike Tay

Located at 129 Jalan Besar, Flaneur Gallery may be a young art space at, but owners Mike Tay, 44, and Vincent Chow, 38, are passionate about using art as a platform to give back to society.

Flaneur Gallery is a partnership between collector and artist. How did that relationship begin?
Mike Tay [MT]: I started collecting are a few years back and I came across Vincent’s work on Facebook. He’d share the paintings he did there and it made me want to see his work and visit him at his studio. Eventually, I bought my first piece from him and that’s how the friendship started.

What made you decide to take the plunge and open Flaneur Gallery?
MT: I’m the kind of person who’d let things flow organically and had a fortune tell predicted that I would be a gallerist today, I’d have thought that he was siao (crazy) for saying that. Vincent is someone I felt that I could trust because of the way he’s lived his life (giving up a comfortable job as an engineering to pursue his passion in art). He had been running ‘minimART’ with a space at the Substation, where he’d offer artists a chance to have their own art shows for a nominal $30. It had been something he did single-handedly. And many artists have actually benefitted from sowing those seeds and they’d eventually go from that first opportunity to establish themselves and get represented by other galleries.

I found that very meaningful and very pure. Also, being 44 made me think about doing something for myself, to do something meaningful that will help benefit young artists. I had shared this with Vincent, he agreed, and the gallery started out from there.

So what inspired the name, Flaneur Gallery?
MT: I had been on the train with a friend and we talked about enjoying that free-and-easy approach to travelling, like walking around leisurely and seeing things I want to see, and taking things more leisurely when I’m tired. And to that, my friend said that it was a very ‘Flaneur’, an unhurried way of seeing the world and appreciating the present moment. And in our location, it’s like calm space in the middle of Jalan Besar’s hustle and bustle.
1-IMG_0121
How do you decide which artists to work with and the kind of art to feature?
Vincent Chow (VC): Firstly, the work has to excite us and make us want to share it with more people. It also depends on the artists whom we work with. With time, we’d know if we’d want to work with an artist on a longer term or if there are any differences in the way we approach things. Only time can tell how we work together. What really matters is that the artists are sincere and are easy to work with.

MT: We’ll attend museum and graduation shows. That’s one way we start sourcing artists. The artist’s choices of subject and colours will also matter. We’re looking for artists with stories to tell: things like social commentary, stories about their personal journeys, and how they react to our changing landscapes—stories that we are concerned about and how they’re translated in art. Integrity is also something very important. We work at a very fast pace here, with new shows almost every fortnight. So if we’re trying to change the perception of buyers, to look beyond collecting second-generation Singaporean artists and at the younger, emerging talents, we’d need good partners who are motivated, passionate and dedicated to the cause. If it was about money, then this wouldn’t be the best way to get it.

Tell us more about your focus on local artists and art.
VC: We believe that there are a lot of talented artists out there with not enough platforms for them. But as we progress, we’d probably be able to work with foreign artists as well.
MT: We hope, in our own way, to play a little part in Singapore’s culture. We’re well-schooled in hard disciplines, while we’re weaker in the softer cultural areas. I would like to see this part of Singapore grow, and give young artists have a chance to bloom. By giving them the opportunity to share their stores, it’ll help cultivate culture beyond just digits and numbers. And we’ve managed to help quite a number of young artists ‘break out’ with a number of firsts. This is something we’d definitely want to keep on doing.

As a young gallery, what are your biggest challenges in Singapore’s competitive art scene?
MT: One of the main challenges is that we’re short of art collectors, and we’re still very young, with just five months of operations. So we have yet to let more people know about who Flaneur is, and who are the artists we carry.

Things are improving and we’re getting support from contacts in our own personal networks, like architects and designers. But we’ve also got support from individuals who have an exposure in arts, and they’ve also bought from us. We’ve also had friends telling us that people are watching our space, that the artists who are coming in to exhibit with us. The works we carry are quite varied and bold, which is good.

Do you think that there might be too many galleries and too little buyers?
VC: I think that it’s not yet common to collect the works from young local artists. This area is still quite new and people are not sure whether the works are worth collecting and investing in. They’d be more inclined then, to go for more established artists. They might be keen, just not sure, so we’d probably need time to nurture this group of collectors.

How would you describe the accessibility of the work here at Flaneur?
MT: I would think its affordable because for this exhibition here, the smallest piece here starts from $350, and the biggest ones is in the range of $2,000. Bearing in mind, these are actually trained practising artists and not one-offs. To us, art is something that you must like and enjoy, more than an investment that will appreciate in five to ten years.
1-20150401_182132
How do you manage the commercial interests of the gallery and the aims of developing an artist?
MT: It is very difficult to say if art can be sold. We may like it, but it might not sale. So it’s difficult to project public interest, so what we can do, is rely on what we’re good at, which is discovering artists, and then let the public decide whether or not they like what they see.
We’ve also got a design space downstairs where we work with designers and retail their products. This would allow them to get to know the art part of what we do, and help each other and create an ecosystem for art and design.

So what’s on the cards for you this year?
MT: We’re thinking about promoting specific artists more serious beyond just the exhibitions we’ve run. We’ve got some in our shortlist, but we’re still firming up the details and explore how we can better hep them. We’re also working with the Majestic Hotel to promote our young artists to the hotel’s international guests. They had approached us about showing a slice of Singapore through art, and every month, we’d showcase two to three local artists at the hotel.

This story was first published in Vol 5 of Gallery & Studio.

Feature interview Featured Gallerists

Feature Interview: Helina Chan from iPreciation

15 November, 2015 by Intersection

1-Helina's portrait 1
While artists may decry the lack of support and patronage, the flipside – over-patronage – can be just as damaging, says iPreciation’s Helina Chan

Gallery owner Helina Chan’s foray into serious art began when she decided to invest in a gallery in Hong Kong, to represent artists in the former colony. Then 1997 came and as Hong Kong was handed back to China, Helina made her way to Singapore, where she soon established a gallery that would continue from where she had left off, representing artists from Hong Kong, Taiwan and mainland China. This remained a formula she would adhere to for over a decade. In 2012, Helina felt the time was right to work with more Singapore-based artists.

“When I first started, I thought, being from overseas, that I did not understand the local culture enough to show local art,” Helina explains. “But after so many years here, I know now that there is a need for local artists to be well represented.”

This is true not only for Singapore art but Asian art as a whole, which is still in its infancy. Even contemporary Chinese art, notes Helina, only started to garner strong international acclaim at the tail-end of the 1990s. Around this time, art from Hong Kong and Taiwan also started developing as well. Even the Singapore art scene would be swept along by this prevailing mood.
“The collector base is new so we’re in the primary level of collecting, where art is bought first-hand direct from the galleries,” she adds. “The auction market is not really developed yet, unlike in the Western markets, where you have had many generations of artists, a mature secondary market, and relatively high prices.”
1-IMG_0010
Art hunting
For Helina, playing her part in growing a fledgling art industry means keeping a keen eye out for rising talent, and then ensuring that talent is nurtured and shielded from exploitation. “When I look at an artist, I want to see work that is original,” adds Helina. “I don’t want to see things I have seen before. I want to look at people who have their own ideas. The work needs to speak to me.”
Talent and vision aside, Helina is adamant that artists need discipline: “That’s very important – the discipline to go after their dreams, to be original, and to not compromise on their work merely to give the market what it wants at the moment.”

The danger to art, says Helina, is when a gallery owner, dealer or a collector tries to steer the artist one way, typically by offering to buy more paintings of a certain type. The net result is that artists end up churning hundreds of these copycat paintings. “This is dangerous. I’ve seen a lot of young artists who were very determined and focused at the start became ‘corrupted’,” she adds. “Artist needs to be able to say ‘enough is enough’, this is the painting I am working on now. After this, I will move on to something else’.”

According to Helina, this is exactly what has happened in contemporary Chinese art in recent years. Artists have resigned themselves to making copies of their works since the early 90s. “People who have now become rich want something on the wall that visitors recognise, that visitors will go: ‘Wow, isn’t that a $20 million painting?’ Unfortunately, that is becoming the market,” she elaborates.

Yet it follows then that for the quality of art and artists to grow requires not just disciplined artists but corresponding increase in the calibre of art patronage as well. Arts patrons, buyers and collectors need to be better-informed and more self-confident. “At a level of appreciation, you hang something on the wall that is decorative. From a fine art perspective, you hang something that is critical. Something that challenges traditions,” she says.

Specifically, she believes what artists need are patrons who can understand, appreciate and of course, support the artist by buying their art, most of which would not be very expensive to acquire. “The collector grows with the artist and in so doing, a secondary market for their work is naturally created,” says Helina. “It’s important that our artists be able to survive through their careers. Artists are our intellectuals. Were it not for their art, many would be university professors and lecturers. Most of them have to rely on sponsorship and government grants to make ends meet.”

A large chunk of Helina’s customer base is made up of corporations with art collections and wealthy individuals buying for their private collection. Even so, Helina has seen a marked change in the profile of her customer base. Where one segment of the market used to be dominated by expatriates, this has effectively been replaced by a market of younger professionals, many of whom are Singaporeans. “Some of them are very disciplined in their collecting – they put aside a bit of money every year to buy Singapore art,” she says.

She reveals further that works priced below $10,000 tend to be easy to sell although many of her customers would be willing to spend up to $50,000 for an established local artist. “Anything beyond $50,000 and they would have more buying options on the international market,” she says, adding that the gallery also works with banks to assist customers with the financing of art purchases.

iPreciation is located at 50 Cuscaden Road, #01-01. Tel (65) 6339 0678.

The story was first published in the Vol 1 edition of Gallery & Studio magazine.

Art Gallery Feature interview Featured Gallerists

  • 1
  • 2
  • Next Page »

Art Exhibition Spotlight

Waterfall by Hiroshi Senju
Waterfall by Hiroshi Senju

Passion.Innovation.Excellence

Passion.Innovation.Excellence
Wild & Free @ The Visual Arts Centre
Wild & Free @ The Visual Arts Centre

Categories

  • About Mail Order Brides
  • Activities
  • Adult Webcam Chat
  • Architecture
  • Art Bars
  • Art Collector
  • Art competition
  • Art Consultant
  • Art Exhibitions
  • Art for Sale
  • Art Gallery
  • Art Hotels
  • Art in Singapore
  • Art Restaurants
  • Art talks and discussions
  • Artists
  • Asian Women For Marriage
  • Auction
  • Beautiful Foreign Brides
  • Best Dating Services
  • Body Art
  • Brands
  • Calligraphy
  • Chinese art
  • Custom Essay Writing
  • Custom Papers For Students
  • Dating Asian Women Online
  • Dating For Adult Singles
  • Dating Sites For Sex
  • Design
  • Eastern European Brides
  • Events coming up
  • Events this month
  • Events this week
  • Feature interview
  • Featured Artists
  • Featured Gallerists
  • Find Bride Online
  • Gallerists
  • Help Writing a Paper
  • Homework Assignment
  • Installation
  • Legit Custom Writing Help
  • Local Asian Dating
  • Mixed media
  • modern & contemporary art
  • Museums
  • Nude Girls Chat Room
  • Online Dating Services
  • Painting
  • Paper Writing Tips
  • Photography
  • Pottery
  • Recently concluded events
  • Russian Brides Club
  • Russian Mail Order Brides
  • Sculpture
  • Second Generation Artists
  • Sex Chat For Singles
  • Singapore Art
  • Single Ladies Online
  • Street Art
  • Travel
  • Uncategorized
  • Urgent Custom Essay
  • Video
  • Women Mail Order Catalog
  • world
  • Writing Help For Students

Art By Countries

  • Argentina
  • australia
  • Cambodia
  • Chile
  • China
  • Dubai
  • France
  • Germany
  • Greece
  • Hong Kong
  • India
  • Indonesia
  • israel
  • Italy
  • Japan
  • Laos
  • Malaysia
  • miami
  • Myanmar
  • nepal
  • New York
  • New Zealand
  • Philippines
  • Rest of the world
  • Shanghai
  • Singapore
  • South Korea
  • Southeast Asia
  • Thailand
  • USA
  • Vietnam

Big Time Publishing Pte Ltd
220 Tagore Lane #03-01 Singapore 787600
Tel: +65 6836 2216

Copyright © 2019 Intersection