THEUNFINISHEDCOLLECTION

dslcollection

Iona Whittaker

THEUNFINISHEDCOLLECTION

dslcollection

Iona Whittaker

Cover image

LIU BOLIN: “JR Through the Eye of Liu Bolin”, photograph, Edition 7 of 12, 146 x 200cm, 2012. Courtesy Eli Klein Fine Art, © Liu Bolin and JR

AcknowledgementsThis book would not have come about without the verve and

originality of Dominique and Sylvain Levy. I would like to thank

them for their enthusiasm and for inviting me to write this book,

which has proved a highly engaging and thought–provoking

experience, and goes beyond what is printed here. I am indebted

to the kindness, knowledge and inspiration of Karen Smith, with

whose support I first came to China and discovered its contemporary

art. I also want to thank Chris Moore, publisher of randian 燃点

magazine, for his perceptive comments and suggestions.

Contents

Introduction 13

A Book 14

Key Ideas 14

A Note on Time 15

Part 1: Where Do We Come from?

Origins: the dsl story 21

dslcollection: Mission 22

A Unique Project: dslcollection is Different 22

Acquisition Strategy 23

Departures 23

Culture is Contingent: Backdrop to dslcollection 23

The Challenge 27

Reference Points: Contemporary Collections 32

Part 2: What Are We?

Summary 38

Activities 38

Number Crunching 40

Strengths and Limitations: SWOT Analysis 41

Contents of dslcollection 42

Evolution 43

Part 3: Where are we going?

Aims Going Forward 48

Crucial Factors 48

Value 48

Ideas 60

Better by Branding 62

Lessons from Luxury? 75

Myth and Narrative 77

Cultural Branding for a Collection of Contemporary Chinese Art 80

Closing Remarks 81

Selected Bibliography 90

8 9

Preface“The real journey of discovery consists not of seeking

new landscapes, but in having new eyes...”

In relation to the big picture of international contemporary art,

the history of contemporary art in China is brief. But too much

emphasis on this comparison overshadows the huge developments

it has already undergone during a short period, changes which

have been more numerous and rapid than anything seen

elsewhere. From a tumultuous early stage, a dramatic boom and

what might now broadly be described as an adolescence, both in

terms of the market and the structures for contemporary art, this

is constantly–evolving territory.

Art aside, a changing condition is true not only of China, as is

often implied. The world as a whole is undergoing great shifts

wherein old orders are becoming unravelled, their fibres splitting

into constellations of new connections — not least due to the digital

age — where the source and destination are unclear, instantly

overcome by the flow of transmission. The so–called “Art World”,

inextricably linked to the wider context, is adjusting, too, though

long–standing canons are proving difficult to dissolve. Chinese

artists are producing work that is original, arresting and affective,

but for a number of reasons which persist, their output remains

peripheral to the main discourses of international contemporary

art.

Cue art collections. New questions arise in connection with

collecting art; to simply accumulate objects now seems outdated.

Under the altered and altering situation in which we find ourselves,

what should an art collection be? What could it do? What effect

8 9

could it have? How might an art collection match the dynamism

of its context? These thoughts play over the minds of Dominique

and Sylvain Levy, founders of the dslcollection of contemporary

Chinese art, and over this book, which is born of their desire to

explore and address them. This text is the product, not least, of the

daily exchange of ideas, articles and news between our respective

bases in France and China, of an exciting and reciprocal process

of inquiry.

As an independent art critic and editor based in Beijing,

specializing in contemporary Chinese art, these ideas about

collecting appealed to me. Subject to scrutiny should not only

be art works themselves, but the structures through which they

move and appear to us. Collecting is a field now in a position to

really influence contemporary art. A marriage between collecting

and Chinese contemporary art — which, as already mentioned,

deserves greater attention — seems an apt and productive one

for the present moment. I am glad, also, to have the opportunity

to approach this subject as an art critic. Too often supplanted

recently by the dominance of digits (the price of works), criticism

should expand and reclaim its relevance as part of the interlinked

“economies” — of value, knowledge and capital explored later

here — which hover insatiably around art. This book has proved

valuable for having brought these and other concerns to light and

offered a lens through which to look at them; as such, it represents

a beginning.

10

In the mood in which this book is conceived, one might be so bold

as to adapt the above quotation by Marcel Proust to befit the

current purpose:

“The real journey of discovery consists not only of

seeking new landscapes, but also in having new

eyes...”

We need new perspectives in order to see these changes clearly,

and to continue to do so. We must always seek new landscapes,

be they artistic or otherwise, and at the same time try to refresh

the eyes that perceive them. It is only by these means that we can

hope to remain active parts of the contemporary context, engaging

with it in a mode at once timely and timeless, with a finger on

“now” and a view to the future.

10

“The real journey of discovery consists not only of seeking new landscapes, but also in having new eyes...”

13

for the time in which they are living.”

“It is important for artists to speak

13

Introduction“It is important for artists to speak for the time in

which they are living.”

Sylvain Levy, co–Founder, dslcollection

In 1897, Paul Gauguin completed what he considered to be the

seminal work of his artistic career.

In the upper left–hand corner of the canvas, he wrote

“D’OU VENONS NOUS QUE SOMMES NOUS OU ALLONS NOUS”

(WHERE DO WE COME FROM WHAT ARE WE WHERE ARE

WE GOING).

A multitude of ideas converge on this quotation by one of the most

prominent artists of the 19th Century.

His existential inscription posits three essential questions that

were as much of his time as they are pertinent for ours, and those

that will follow.

14 15

A BookThis book reflects the desire of Sylvain and Dominique Levy,

founders of the dslcollection, to look systematically at the collection

they are creating of contemporary Chinese art. Beyond a simple

idea of accumulating works of art, it is their wish actively to

conceptualise the collection, treating it as an ongoing project with

the ability to further the field of which it is a part. This book offers

an opportunity to consider the dslcollection from its beginnings to

its current stage, and to think about the road ahead in awareness

of the contexts surrounding and influencing it, and upon which

it has the potential to exert an effect. In so doing, this book may

present more questions than it is able to answer; at the heart of the

exercise is active engagement with the question of what it means

to be an art collection in the 21st Century.

Key Ideas“The 21st Century collector must think beyond

established boundaries.” 1

Art collecting is changing.

The book is orientated around two key and interrelated ideas: the

identity of dslcollection as of its time, and timeless.

To pursue timelessness alone would be to limit the potential for

dslcollection to fulfil an energetic role, existing only in the traditional

sense of a collection: accumulating works and maintaining them

in a static manner, irrespective of shifting contexts and new

developments.

1 Sylvain Levy.

14 15

Vice versa — to only be timely would be to detach dslcollection from

the need for a consistent ethos underpinning its evolution, thus

allowing the possibility of its becoming ephemeral or subsumed in

what is an increasingly crowded, competitive milieu.

dslcollection must be not only acutely contemporary, moving with

the times, but also — in being a reliable, respected and recognised

entity — able to transcend them.

This conscious, dual imperative is an original approach by

dslcollection

In aiming to be simultaneously of its time and timeless, dslcollection

has in its sights an identity as dynamic, relevant and engaging

as well as long–lasting and respected for its unique, unchanging

message.

A Note on TimeEssential to this book are ideas about the relationship between

Time and collecting art.

In choosing to acquire works from the time in which they live

— and which are therefore their “contemporaries” as creative

products — collectors of any kind make a conscious decision to

deepen and visualise their relationship with their surroundings

through the pieces they select.

Collecting contemporary art is a way to understand and respond

to the time in which one lives; one may grasp at the spirit of the

age through the lens of art.

In collecting for posterity and in seeking to “go down in history”,

collectors are mindful of the future and of the idea of a legacy —

their choices claiming attention from future generations perceiving

the past.

Art collections are traditionally linked to the presentation

and narration of culture. Narration, as a form of storytelling,

necessarily implies the passage of time.

dslcollection wants to establish a model that makes collecting

art continuously active and meaningful — always

contemporary, and moving with shifting times.

One might think also of time in terms of how audiences experience

or “receive” culture now — not always whilst slowly contemplating

an exhibit, but whilst flitting between websites, for example,

or flicking through images. Temporal diversity is a crucial tool

with which to amplify the experience of art within a particular

context.2

The mode of acquisition necessarily entails time: accumulation

towards a state of completeness or closure (when the collector

themselves ceases to collect) heaps works together, finally

stopping them together in time. To collect as dslcollection proposes

— acquiring and replacing, adding and subtracting — means that

the collection is a moving entity over time, and never static

or complete; potentially infinite.

The aspirations of an art collection can be about time, as here: to

make your collection, and your choices, both timely and timeless.

2 Eliasson, Olafur, Artforum International, Vol. 48, No. 10, 2010.

Following two images

WANG JIANWEI: “Surface”, triptych, oil on canvas, (1) 162 cm x 112 cm, (2) 200 cm x 300 cm, (3) 162 cm x 112 cm, 2012 (panels 1 and 2). Courtesy of the artist and Long March Space.

Where Do We

Come From?

21

“We see the world in a different light: our understanding of modernism... is transformed by the increasing diversity of the artists and audiences we engage with, and by the character of the artists’ form of expression.”

21

Origins: the dsl Story“In an era of globalization, we see what a great

impact cultural diversity, technological and personal

mobility has had on the world. We see the world in

a different light and from a different perspective:

our understanding of modernism and the Western

tradition is transformed by the increasing diversity

of the artists and audiences we engage with, and by

the character of the artists’ form of expression. China

is an excellent example of this new cultural world.” 3

Sylvain and Dominique have been collectors for more than 25

years, initially of modern and contemporary Western art, furniture

and design. 2005 marked a turning point when it became clear

to them that from that moment forward, they would focus their

attention exclusively on the striking works of art being created by

Chinese artists. Thus began what they describe as an unending

adventure. Sylvain recalls the meetings that mark the beginning

of the dslcollection story.

“The first art work we collected was a painting by

Ding Yi. The decision to begin the collection was

based on two encounters: the first was with Lorenz

Helbling at ShanghART Gallery in Shanghai. We

discovered Chinese art and its immense diversity for

the first time. We were very excited about starting a

collection, but the issue was how to find references

in order to better understand this art from the

perspective of our own culture. The second was with

3 Dominique and Sylvain Levy.

“We see the world in a different light: our understanding of modernism... is transformed by the increasing diversity of the artists and audiences we engage with, and by the character of the artists’ form of expression.”

22 23

Martina and Yang Jiechang; it was they who gave us

the key to this art world, because they agreed to help

us build the collection. With them, we were able to

open the doors of many artists’ studios, and — more

importantly — to build a collection from a Chinese

point of view, not a Western one.” 4

dslcollection: Mission

A Unique Project: dslcollection is Differentdslcollection embodies a progressive model for collecting

contemporary art; it sets itself apart with a unique approach to

acquisition. Contemporary art is by its very essence evolving; a

contemporary collection needs to regenerate in order to stay in

tune with its context. The collection is conceived as a project, with

specific criteria governing the selection of works. A cap on the

number of works in the collection — set at 160 — ensures its constant

evolution and redefinition in tandem with artistic development,

and pursues communication between the art works. These must

be connected with Chinese tradition, but at the same time engage

with the contemporary environment in China. The quest for quality

in an art work is the core value of the collection, and regardless

of whether the artist is known, or unknown. dslcollection actively

seeks artists who inscribe themselves in contemporary discourse

and, in their works, reflect the increasingly globalised state of the

world at large from a Chinese perspective.

4 Sylvain Levy.

22 23

Acquisition Strategydslcollection’s acquisition strategy begins with the art work, first

and foremost; it is driven by creative works, not personalities, and

the collectors do not take centre stage. This conception follows Hans

Ulrich Olbrist’s description of “the fundamental invisibility”5.

Collecting should not be accumulation or investment; the founders

feel that in order to make dslcollection coherent, visually strong

and with a distinct identity, it is important to limit the number

of works — not unlike pruning and strengthening a Bonzai tree.

Where other contemporary collections expand laterally, amassing

large numbers of works, dslcollection is propelled forward in a

dynamic fashion, always reappraising and tuning its contents,

and pivoting around a core ethos.

DeparturesThe works that exit dslcollection are those which — even if they

are by established artists — are no longer fitting to the image of

the collection.

A solution is always sought for these works which reflects the

needs both of the artist and dslcollection. In 90% of cases, a sale is

made through a co–operating gallery; if this path is not available,

the work is destined for private sale through an auction house.

Culture is Contingent: Backdrop to dslcollectionIt is crucial for dslcollection to be actively aware of the

currents surrounding it, and in particular shifts occurring in the

art world relative to which it must be responsive and astute.

5 Hans Ulrich Obrist, quoted on www.dslcollection.org.

24 25

Assessing the ZeitgeistThese are unprecedented and unstable times. Whilst the “spirit of

the age” is unquantifiable (particularly in advance of hindsight),

it is possible and useful to note particular currents characterising

the socio–political, economic and cultural backdrop against which

dslcollection has arisen and of which it is a part.

We are undergoing a period of “–isation”: globalisation continues

inevitably to unfold; the digitalisation of information and exchange

channels is ever–deepening and expanding, with connectivity

and communication dominating via the internet, social media

and applications; one could argue for a resultant state of

“de–materialisation” — a flattening world. Urbanisation is at issue

particularly in developing countries; so–called “corporatisation”

prevails. Human systems have multiplied and become more

diverse; formerly centralized, simple narratives are now less

potent.6

Globalisation’s discontents are increasingly present in the social

consciousness: environmental crises; ecological degradation and

economic volatility; socio–political revolution.

Whilst old orders have not been overturned completely, there is

increasing evidence that they are coming unstuck. As geopolitical

influence shifts in tandem with the accelerated growth of formerly

under–developed nations, the predominance of the West as the

focus of power is diminishing.

The Art–geistThe “art world” is inextricably bound to the wider situation, much

6 Cascade Matters Blog, The. www.cascadeeducationalconsultants.com/blog.php?id=4049509996256327646

24 25

as it might appear (and often cultivates itself as) detached from

it.

An overt “monetisation” cannot be denied; the market has

overtaken critical judgment as the arbiter of value for works of

art.7

Critical or “knowledge” capital has therefore fallen behind

financial capital, and art criticism is now facing issues of identity

and direction.8

That said, a distinctive industry diction prevails across the art

world — a language of exclusivity for insiders, by insiders, and

which prevails in attendant literature such as art magazines,

artist monographs, exhibition catalogues and press materials.

In place of art criticism, we have witnessed the rise of art news9

— a tendency inextricably linked to the development of an

event–driven global art scene in which high–end actors spend

their time flying between art fairs and biennales.

Recent years have been marked by “fairism”10, with Art Basel

consolidating a network of blue–chip global fairs in 3 continents.

Market focus has shifted from the West to areas in the East, where

an expanding class of new wealth is willing to invest in art, and

where earnest collectors are now emerging.

This shift is also reflected in the recent rush by high–end Western

galleries to open in Hong Kong, especially.

7 Graw, Isabelle. High Price: Art Between the Market and Celebrity Culture (New York: Sternberg Press, 2009), 21.8 Elkins, James quoted in Charlesworth, J. J. “Criticism V Critique: JJ Charlesworth Critiques Critique.” Art Monthly, May 2011, 7+.9 Chloe Preece, “Branding and the Creation of Value: an Exploration of Artistic Careers in the Visual Arts Market”, King’s College London, 2012, 222.10 Schieldahl, Peter, “Temptations of the Fair: Miami Virtue and Vice”, The New Yorker, December 25, 2006.

26 27

Emerging art scenes in regions previously marginalised by

West–centric art history — of which China is currently the prime

example — are, however, crucially lacking in infrastructure for

art, resulting in spectacular but empty museums and a dearth of

critical discourse.

Alongside and in contrast with initiatives designed to bring art

to wider audiences, there seems to have been a deepening of VIP

culture, wherein a “VVIP” elite is separate from the VIP lists of

before.

Recent years have posed significant challenges to the primary of

museums: funding cuts, financial pressures, increased competition

(particularly from commercial galleries with the means to stage

curated “museum–quality” exhibitions), corporate ties and a

“brain drain” whereby many influential curators migrated to the

commercial side have undermined traditional museum culture.11

But: the pursuit of high–profile branding and expansion

enterprises by such groups as Tate, the Guggenheim and Centre

Pompidou reflects a desire to revamp this area, rethinking the

role and potential of museums for a new era. Places which were

once distant from the map are now making strategic efforts to

put themselves on it with high–profile museological initiatives —

Quatar is a prime example.

As a result of broader globalisation, the art world is becoming

increasingly internationalised: curators, for example — once bound

to their institutions — are often now globe–trotting figures.

Artists, too, are highly mobile and unlikely to remain in one place;

a measure of this is the fact that four foreign artists (Ai Weiwei,

Romuald Karmakar, Santu Mofokeng and Dayanita Singh), have

11 Cumming, Laura. “What Price the Rise of Private Art?”, The Observer, 12 October 2008.

26 27

been invited to represent Germany at the 2013 Venice Biennale.

There are increasing numbers of bilingual art magazines:

randian 燃点, for example, is published in English and Mandarin;

Frieze launched a German edition (Frieze d/e) in 2011.

Loosened by post–colonial and transnational perspectives towards

the turn of the 21st Century, and in line with the decline of its

primary structures (museums, criticism), the art historical canon

is losing its grip.

The ChallengeEssential to this document if it is to guide the future of

dslcollection is as awareness of the challenges facing it.

Whilst some generalisation is inevitable, and the slant here is

necessarily negative, the following factors bear on the successful,

long–term promotion of contemporary Chinese art to international

audiences.

Literally, in terms of size, the Chinese art scene is the largest in

the world. The primary challenge for dslcollection is to generate

understanding of and curiosity about it amongst both existing and

potential audiences, as well as to help Chinese artists to engage

more deeply with the wider world.

Radical art worksChinese contemporary art is radical — not only relative to an

inward–looking Western canon, but also to traditional Chinese

art history, its sensibilities and methods. Contemporary Chinese

art confronts both.

28 29

TranslationIssues of translation both linguistic and cultural complicate the

encounter with the work on the international stage.

MediaChina and its socio–politics are often portrayed negatively by

the press in other countries; in the absence of access to accurate

information, these portrayals prevail in the mindsets of foreign

publics, discouraging engagement with its cultural life.

Perceiving ChinaLinked to the above is the persistence of a political, rather than

a cultural, view of China. A recent review of the exhibition “Art

of Change” at the Hayward Gallery inadvertently made these

expectations clear:

“Strikingly, sledge–hammer politics don’t feature

here, indeed much of the work is touchingly

whimsical.” 12

Another wondered what other possible reaction there could be to

Yingmei Duan’s performance piece (in which actors clad in striped

pyjamas followed visitors around) in the same exhibition:

“At the outset, these girls seemed political — what

else?” 13

12 Luke, Ben, “Art of Change: New Directions from China, Hayward Gallery — review”, Evening Standard, 13 December 2012 [www.standard.co.uk/arts/visual-arts/art-of-change-new-directions-from-china-hayward-gallery--review-8135114.html].13 Cumming, Laura, “Art of Change: New Directions from China — review”, The Observer, 7 September 2012.

28 29

Chinese Art BoomWidely reported was the infamous boom in Chinese art that

peaked in 2008; works by Chinese artists made an explosive

entrance onto the world stage, commanding record prices. Of the

art works that made their creators millionaires during this time,

certain motifs have stuck — most powerfully, grinning faces. This

boom on some levels engendered judgments about the new Chinese

art as narrowly cynical and motivated solely by the market. These

judgments persist today, whether consciously or not: Western

audiences in the main do not expect quality of imagination from

Chinese artists; observing a recent exhibition of work by MadeIn

Company in a Parisian gallery, Sylvain recalls the surprise

attending most of the visitors’ discovery of works that actually

interested them.14

Commercial ExhibitionsExhibitions of contemporary Chinese art abroad are relatively

few. High prices for the work collide with a lack of knowledge or

experience of it on the part of Western audiences, so that only the

more adventurous with the means are inclined to acquire it, thus

discouraging its integration and its becoming a more “natural”

presence for gallery–goers. Conditions for foreign galleries

wishing to feature the Chinese works outside the country are not

favourable, with a high import tax back into China, for example,

discouraging the export of works for commercial display, should

they have to be returned unsold.

14 Sylvain Levy.

30 31

In PrintExposure in international art magazines of the contemporary

scene in China is mainly limited to art fair, gallery or auction

advertising, thus perpetuating the image of a highly commercial

scene with which there is little opportunity to engage critically. In

addition, a headline diction persists in newspaper reportage along

the lines of “Great Wall of Chinese Art” etc., reinforcing cultural

stereotypes through a repetitive choice of words and reference

points.

OnlineAlthough selected online magazines now have a Chinese branch

— for example ARTINFO.cn and Artforum.cn, their concern is

often less to bring news of the Chinese contemporary scene to

foreign readers than to offer coverage from the Western side in

translation.

Talking HeadsFor the purpose of this research, the editorial team at one of

London’s top international contemporary art magazines were

asked what they thought about Chinese contemporary art. The

responses included:

“As to the Chinese question — aside from a few artists,

I don’t really think about Chinese contemporary

art.” 15

15 Anonymous Editor.

30 31

“Chinese contemporary art is the most uniformly

subprime area of the global art economy.” 16

Such responses — or the lack thereof — force the conclusion that

Chinese contemporary art simply is not a “valid” presence on the

critical radar for such commentators, and also that it is subject

to real art world snobbishness. Both are attitudes dslcollection

wishes to supplant.

In general, one might argue that whilst Chinese contemporary

art has in recent years generated significant market confidence, it

has yet to cultivate creative confidence amongst different

audiences.

On Home SoilIn China there exists a relative dearth of infrastructure for

contemporary art.

In particular, a lack of academic and critical discourse and public

financial support hinder the development for steady frameworks

against which emerging art can orientate itself.

The situation was aptly summarised by Pi Li, incoming Senior

Curator at M+ in Hong Kong, in Artforum:

“…Despite the breathtaking rise of the market for

contemporary Chinese art, the nation’s institutions

continue to lag seriously behind…China lacks a

critical discourse capable of independence from both

politics and the market, not to mention non–profit

institutions capable of supporting artists’ experiments.

The few museums that have contemporary

16 Anonymous Critic.

32 33

programming are often mired in problems, dependent

on renting out their spaces in order to maintain their

operations. This leads to a situation in which public

museums are encouraged to put their limited budgets

toward media–friendly biennials, and private

museums come off as compromised spaces that serve

their owners by mediating between the gallery and

museum systems, serving mostly as tony containers

for the display of private and corporate collections

rather than actually engaging a public…Exhibitions

of curatorial value are often confined to the periphery,

in the project spaces of commercial galleries, located

in, say, some village a forty–minute cab ride from the

centre of town…” 17

In addition, the art media in China remains extremely limited;

a proliferation of so–called “art” magazines accept payment for

pages, and a breadth of critical dialogue is lacking.

Ongoing in China is a spate of private museum—building on a

dramatic scale: size and spectacle in architecture — so–called

“vanity projects”18 — are many; but these suffer, often, from

a want of content, professional management and expertise to

sustain them.

Reference Points: Contemporary Collections19

dslcollection is not the only collection seeking to establish its

presence on the global art stage. Awareness of the nature of other

17 Pi Li in Artforum International, Summer 2010.18 Green, Tyler. “Turning a Museum into a Vanity Space”, The Art Newspaper, Nov 2009.19 The following assessments are all drawn from Chen, Patricia. “The DSL Collection: A White Paper”, 2011.

32 33

contemporary art collections is important:

Pinault CollectionContent: international contemporary art

Platforms: online, own museum, exhibitions, publications,

education

Foundation? Yes

Exposure level: high

Involvement in local Chinese art scene: very little

Budi Tek CollectionContent: ostensibly Chinese contemporary art

Platforms: online, two museums (one forthcoming), exhibitions,

education

Foundation? Yes

Exposure level: high

Involvement in local Chinese art scene: low

Burger CollectionContents: international contemporary art, including Chinese

Platforms: online, exhibitions, education, publications

Foundation? No

Exposure level: medium

Involvement in local Chinese art scene: medium

White Rabbit CollectionContent: specifically contemporary Chinese art

Platforms: online, own museum, exhibitions, education,

publications

Foundation? Yes

Exposure level: medium

Involvement in local Chinese art scene: low

35

Uli Sigg CollectionContent: specifically contemporary Chinese art

Platforms: exhibitions, museum donation, publications

Foundation? No

Exposure level: high

Involvement in local Chinese art scene: medium

Following two images

LI WEI: “The The hollow Men — The Truth”, painted fibreglass, 59 x 39 x 109cm, 2009 (detail and full view). Courtesy of the artist.

35

36

36

What are We?

38 39

Summary

AttainmentsRecognition: dslcollection has achieved a fairly respectable level

of name and project recognition amongst important stakeholders

in China comprising people in the museum, artist and dealer

circuits; it is increasingly well–regarded in the international

museum circuit in connection with Chinese art.

Relationships: strong working relationships with selected art

media and organisations, for example RedBox Review, randian 燃点

and Momentum Worldwide; dslcollection is an ardent supporter of

projects in emerging fields.

Invitations: dslcollection has been approached to create a Latin

American collection under the dslcollection name; invited also to

join the International Council at Tate.

Activities

Digital Platformsdslcollection has established a successful technological platform

for sharing its collection.

Professional / social networking sitesdslcollection enacts a strong presence on LinkedIn, with regular

updates and contact with connections.

PublishingA book on the collection published in in both English and Chinese;

distributed globally to important art world actors.

38 39

EducationSylvain is a visiting Professor at Shanghai University, and has

visited numerous universities including NYU, la Sorbonne and

Heidelberg.

Ongoing Projects / dslcollaboratesHayward Gallery, UK: collaboration for the exhibition “Art of

Change” (September–December 2012).

Tsinghua University, China: partnership to establish a prize to

be awarded to three Chinese multimedia artists for residencies

abroad.

Momentum Berlin, Germany: “PRESS PLAY: New Perspectives

in Contemporary Chinese Art” displayed 6 video works from

dslcollection at Momentum, based on the 3D exhibition curated by

Martina Koppel Yang, on show in dslcollection’s virtual museum

(April–June 2012).

Planned ProjectArt–Ba–Ba Mobile Tour, China: a touring exhibition of emerging

artists.

Seminarsdslcollection has participated in seminars at Tsinghua and

Shanghai Universities, ARCO Madrid and New York University.

Sponsorshipdslcollection is an active sponsor of the following: RedBox Review,

randian 燃点, John Moore Critics’ Award in China.

Digital PresentationWebsite — dslcollection.org was launched in Shanghai at

SHContemporary in September 2011; a comprehensive site

40 41

incorporating documentation, online exhibitions and information

on dslcollection and its artists

iPad app — dslcollection iPad app. was launched in 2012,

providing a new support for viewing the collection, in tandem with

contemporary technology

dslCineMag — dslCineMag, launched in May 2012, is the first

app–magazine to introduce ‘Chinese New Cinema’ to international

audiences.

3D Documentation — dslcollection is working to document (mainly

installation) exhibitions in 3D, in order to compile a progressive

archive that brings the work to life in a way that 2D filming

cannot.

Number Crunching

dslcollection.org300–500 visitors per day

40 repeat visits on average per day

Linkedin4400+ links in 85 countries

Youtubec30,000 views of the dslcollection video

20,000+ views of the dslcollection 3D film

dslcollection Book1000 copies printed of the small–format edition in English

500 distributed to important to important institutions, curators,

collectors, magazines and others in more than 15 countries

160 important art world players in the West have received a copy

40 41

of the limited edition book in English

200 people have received a copy of the large–scale Chinese

edition

Projects4 ongoing projects — Hayward Gallery, Tsinghua University —

TASML / dslcollection prize, John Moore Art Critic prize with

Shanghai Normal University, Momentum Worldwide

Strengths and Limitations: SWOT Analysis20

20 Diagram template source: SWOT pt.svg; author: Xhienne, en.wikipedia.org/wiki/File:SWOT_en.svg.

Helpful To achieving objectives

Harmful To achieving objectives

Strengths Weaknesses

Inte

rna

l O

rig

in (a

ttri

bute

s of

th

e or

gan

isat

ion

)

Cohesive mission and decision–making structure.

All artists are represented at the same level — based only on the sheer quality of the work.

Private status — internally funded and independent.

Acquisition budget is limited — a strength in dictating the careful selection of works.

Fairly well–established name.Good personal relationships and contact

base within the international art scene.

Collaborations to date with art institutions and organsations for education, exhibitions and support.

Mutual support and promotion through sponsorship.

Consciousness of the contemporary moment and an active will to engage with it in collecting art; clear missive and ambition.

dslcollection includes works by artists who are respected in the international scene, for example Zhang Huan.

Comparatively young collection.Despite its focus, dslcollection is based

outside China.The lack of a building / tangible space

in which to house / display the collection may be seen by some as a disadvantage.

Private status means that dslcollection cannot rely on sources of funding other than its own.

A small team, each with other commitments, means that dslcollection is not the sole focus for those involved.

Limited exposure in the international media.

A cap on the number of works might be seen by some as a limitation.

42

Helpful To achieving objectives

Harmful To achieving objectives

Opportunities Threats

Ex

tern

al

Ori

gin

(att

ribu

tes

of t

he

envi

ron

men

t)

dslcollection finds itself at the centre of many questions now facing contemporary art — concerning collection, display and dissemination, for example.

The zeitgeist (aforementioned) indicates that geopolitical attention and power are shifting away from West–centrism.

Art market focus is moving from West to East, where Art HK dominates attention, and new collectors are emerging.

Prominent exhibitions of Chinese art — for example at the Hayward and Sherman Foundation — are encouraging public and critical awareness of the work.

Opportunity to establish dslcollection as a bridge in terms of cultural diplomacy, opening up new audiences and helping to change attitudes.

Chinese contemporary art remains radical, and is “uncomfortable” for many audiences.

Financial and cultural issues and lack of knowledge discourage Western galleries from featuring contemporary Chinese art.

Issue of display — apart from via its own digital platforms, dslcollection is dependent on the cooperation of galleries and institutions with real space to actually exhibit the works.

China is currently subject to largely negative reporting by the media in Western countries; this affects the degree of openness to its cultural life.

Contents of dslcollection

160 worksMedia: all, from installation and performance to painting and

photography

Date commenced (collection): 2005

Date of creation (individual works): 1983–present

Size: mainly large–scale works

Current location: France and China

100 artistsNationality: Chinese

Age range: more than 50% are under 35

Current location: China and international

42

dslcollection is conceived with the aim of representing leading

experimental and avant–garde Chinese artists — those

exerting an influence on the development of contemporary Chinese

art as it unfolds. As befitting its ethos, dslcollection includes works

in diverse media from painting to sculpture, installation, video

and photography. Among around 100 artists currently present

in dslcollection are established names like Ding Yi, Zeng Fanzhi,

Zhang Huan and Li Yilin, as well as emerging artists such as

Ma Qiusha, Xie Molin and Zhao Yao.

EvolutionDuring the 7 years since its inception, dslcollection has evolved,

refining its aims. dslcollection is focussed now on the acquisition of

monumental works with powerful visual effect, and is more

closely linked with emerging artists — those who may create one or

two good exhibitions, but whose artistic development is uncertain

or unpredictable.

LIN TIANMIAO: “The Very Same”, synthetic and animal skeletons and gold leaf (1500 pieces), dimensions variable, 2011 (installation view). Courtesy of the artist.

45

dslcollection is open to all kinds of art work. A recent acquisition

— “The Very Same” (2011) by Lin Tianmiao — exemplifies the

kind of installation that represents a challenge to collect, to

exhibit — even to sell. It was collected because Lin Tianmiao is

amongst the strongest female artists in China, and on account

of the ambitiousness of the installation. It has that elusive “wow

effect” — and without succumbing to mere spectacle.

dslcollection is a collection of art works — not artists. If a work

is considered breath–taking and meaningful, it will be collected

regardless of the fact that the artists may be completely unknown.

dslcollection collects the best works; it prefers a high–quality piece

from an unknown artist to medium–quality work from a famous

one.

Following two images

GAO LEI: “K7 — Carrier”, mixed media installation, 760 x 200 x 200 cm, 2011 (detail). Courtesy of the artist and White Space.

45

46

46

Where are We GoinG?

48 49

Aims Going Forwarddslcollection is a contemporary art collection with a Chinese focus

and international scope.

The following ideas might apply not only to dslcollection, but to

the broader spectrum of contemporary art collections amid these

shifting times in posing the question “Where are we going?”, and

suggesting ways to address it.

The founders have expressed a wish for dslcollection to be at once

fundamental and invisible — a conduit for, and instigator of,

developments in the field of collecting contemporary art

Crucial FactorsThere can be no doubt about the strength of the art works 1.

being produced by contemporary Chinese artists.

A combination of aforementioned “zeitgeist” factors has 2.

resulted in the rise of the private sector and of the influence

art collections can exert.

Innovation now stands alongside beauty and artistic skill as 3.

the standard by which contemporary art is valued.

ValueThe art world pivots around highly nuanced conceptions of value.

Whilst it is not within the scope of this book — or its intention —

exhaustively to explore the concept of value relative to art, a

central question at the present time is:

How are contemporary art collections being valued?

48 49

What is value and where is it located?Simply defined, “value” is “relative worth, merit or importance” 21.

For contemporary art, there are two main distinctions of value,

which — despite the efforts of many ostensibly to separate them —

are inextricably linked22: monetary value and aesthetic value.

For an art collection, these relate to the contents of the collection

(individual works), the collection as a whole and the context in

which it exists, ie., internal and external views.

The internal view entails such attributes of the work as:

Authenticity

Originality

Skill

The external view refers to factors influencing the response to it

(be that purely economic or otherwise), for example:

Prior knowledge

Presentation

State of the market (according to Artprice.com, of the twenty

“most sold” artists of 2011, ten were represented by Gagosian

Gallery and ten were Chinese23).

The Bigger PictureThinking beyond the art works themselves, one might consider the

value of an art collection in the following contexts:

21 The online Dictionary, dictionary.reference.com.22 Graw, High Price: Art Between the Market and Celebrity Culture, 154.23 www.artprice.com

50 51

Relative to the “culturisation” 24 of the world of business, wherein

cultural values have become relevant to creative marketing

strategies.

The idea of short and long term value — or — that which can be

realised quickly, as opposed to what may take time to develop.

With respect to notions of value in different regions25 — in the

case of dslcollection, France and China.

As the market grows in power, so too does the potential influence

of art collections.26

“Symbolic Value”Whilst art collections are inevitably tied to the market, dslcollection

for its purposes is more concerned with the kind of value which is

incalculable in economic terms.

In order to name this incalculable value, one may borrow a term

from sociologist Pierre Bourdieu: “symbolic value” 27.

Symbolic value may be loosely defined as a quality unhinged

from the materiality of any given thing; as efficiently summed

up recently, “It thus stands for a surplus and an assumption of

meaning and worth that goes beyond the concrete object used to

refer to it.” 28

Under the auspices of symbolic value lie such elements as

Emotive impact — upon direct encounter with a work

Cachet — “A certain cachet” indicates a particular, but

24 Preece, “Branding and the Creation of Value”, 37.25 Ibid., 48.26 Ibid., 178.27 Bourdieu, Pierre. “Structures, Habitus, Power: Basis for a Theory of Symbolic Power” in Outline of a Theory of Practice (New York/Cambridge, Cambrudge University Press, 1997), 182.28 Graw, High Price: Art Between the Market and Celebrity Culture, 23.

50 51

unspecified status

The “aura” 29 of a work of art, as described by Walter

Benjamin

Singularity — the art work as one of a kind30

Its lasting quality31 — encapsulated in the saying “Life is

short, art is long”

It is this system of value that is crucial for the identity of

dslcollection and its peers if it they are to exert an effect both now

and for posterity — ie. as both timely, and timeless.

Key to propelling dslcollection forward is an understanding of

the inherent desire for symbolic value, and ideas as to how to

cultivate and fuel it as part of the art world’s machinery.

The Changing Nature of ValueThe construction of value is not exempt from shifts in the art and

wider world as described in Part 1 (the Zeitgeist and Art–geist).

Recent marketing literature discusses the construction of value

in connection with active relationships and networks; it is thus

increasingly “participatory and dynamic” 32, rather than static and

cumulative. Reputation and recognition are being built differently

these days — gaining credibility happens primarily through word

of mouth and one–to–one relationships.

Regardless of such shifts, however, museums still represent

the apex of value for art works, “museum quality” 33 being the

distinction.

29 Benjamin,Walter “The Work of art in the Age of Mechanical Reproduction”, 1936.30 Graw, High Price: Art Between the Market and Celebrity Culture, 25.31 Ibid., 26.32 Preece, “Branding and the Creation of Value”, 16.33 Ibid., 30.

52 53

“Economies”Relative to the ambitions of dslcollection, it is productive to think

about value in the sense of different “economies” at work.

A standard definition of “economy” includes “The prosperity or

earnings of a place”, and “The disposition or regulation of the

parts or functions of any organic whole; an organised system or

method.” 34

Apart from the obvious — the financial — there is also “knowledge

capital” relative to works of art, their critical understanding and

appreciation.

In the art world, as others, there is certainly what might be called

a “kudos economy” in operation, wherein acclaim and recognition

circulate, are desired and won, maintained, damaged and lost. It is

essential to gain acclaim in order to be noticed and remembered.

Taste?Taste is at once integral to relationships with and judgements

of art and notoriously difficult to pin down. Whilst one cannot

hope to quantify or even very accurately assess taste beyond a

“predominant taste” or apparent trend — say for painting or

sculpture at any particular moment — its shifts and influence

cannot be denied.

What one can say with conviction is that taste is highly contingent

(for example on background, upbringing, current context both local

and general and opinion influencers) and is largely a subconscious

reaction to what is seen or experienced. It is often difficult to fully

34 The online Dictionary, dictionary.reference.com.

52 53

explain why one is drawn to some things, and not to others.

As an independent, private collection, dslcollection is necessarily

governed by the personal taste of its owners and founders, who

must stand by their choices.

Taste FormationJust as there can be no such thing as a truly independent opinion,

so it is for taste.

The reality of contemporary aesthetic judgement and its attendant

literature has been aptly summarised thus:

“Today, especially under the conditions of the

information and media society, it should go without

saying that no–one makes judgements “for himself”…

Never before has judgement–formation depended so

heavily on the kind of “idle talk” so despised by Kant…

It is only Paolo Virno who has rehabilitated “idle talk”

in the sense of a “contagious and prolific discourse

without any solid structure” that offers orientation

in times when it is hard to gain an overview. It

“nurtures reassuring certainties” and “diffuses

opinions that are always already shared”. What for

Kant must be ignored at any price is recognised as

a productive force by Virno, who declares it the core

form of production within a society already ruled by

communicative action…For in today’s “connexionist

world” (Boltanski/Chapello), the key is to have access

to as much information capital as possible. And one

can assume that this information capital, with its

newly enhanced value, will help shape our aesthetic

54 55

judgements of taste. What Kant condemned as

invasive chatter now forms the basis of our capacity

for aesthetic judgement.” 35

Relevant taste–influencers in the contemporary context therefore

include, for example:

Social media

News

Private conversations

Broadly speaking, part of the goal for dslcollection is to help

generate tastes for contemporary Chinese art, firstly as one of

few collections focused solely on this work, and secondly where

Chinese art works — still considered radical and unfamiliar in

many circles (not least those more startling works dslcollection is

now focused on) — are not yet a widely accepted canvas for taste.

How to generate value?

Building a ConsensusThe construction of value in the art world rests heavily on

endorsement. Integral to its “taste–making machinery”36 are art

dealers, their contacts and exhibitions, curators, critics, awards

and collectors.

Traditionally, and as theoretically separate from the commercial

side, critics are the ones to generate symbolic value for art

works through critical engagement.

The process ideally has a snowball effect, with notice, knowledge

and acclaim passing between parties, spreading and accumulating.

35 Graw, High Price: Art Between the Market and Celebrity Culture, 154.36 Preece, “Branding and the Creation of Value”, 28.

54 55

This explains the excitement surrounding emerging art, as people

strive to (be the first to) generate the action around an artist that

those further down the line will want a piece of. “Spotting” a great

new artist who is more than a flash in the pan is sought after,

both in terms of economic and symbolic value, and particularly in

a climate where innovation and originality (not just on the part of

the art, but of its practitioners, too) is highly regarded.

Across the art world, recognition is key.

The Communication of ValueAs vital as value itself are the channels by which it travels. This

is especially true in the art world — a famously opaque industry

based largely on private conversations, word of mouth and close

relationships.

WHO?Succinctly put: “A crucial influence on the shaping of my judgement

will also be…above all by whom the art work in question was

recommended to me. What sources does idle talk draw on? Do I

value the opinion of those who claim to appreciate this work?” 37

WHERE?The context or vehicle through which information travels is also

very important; the editorial in a magazine, for example, carries

different weight from opinions imparted at a private dinner.

37 Graw, High Price: Art Between the Market and Celebrity Culture, 154.

WHY?An awareness of the source’s motivation(s) may affect how what

they convey is received.

In addition, one must keep in mind “…the many and varied social

factors of any given aesthetic experience (prior knowledge, existing

interests, knowledge of artistic hierarchies, recommendations from

others, etc.)” 38

Trust and the Value of ValuesIt is therefore critical for dslcollection to be a trusted source.

This is the single most important factor relative to its ambitions as

a contemporary and lasting platform for emerging Chinese art.

The value of dslcollection’s core values is therefore indispensable;

without consistent and reputable values to guide and frame

its actions, dslcollection would open itself to the possibility, for

example, of inconsistency; this would destabilise audiences’ trust

in its endeavours, and ultimately diminish its sources of support.

Noun / VerbThus, dslcollection needs to approach “value” as both a noun, and

a verb.

LegitimationAs a field of cultural production, the art world has its own

discourses and diction which serve to legitimate works of art as

art.39

38 Ibid.,155.39 Preece, “Branding and the Creation of Value”, 155.

Image overleaf

CHENG RAN: “Anonymity, or Imitation and Imagining of Man Ray’s “Tears”, single channel video with sound, 11 min 33 sec, 2010 (video still). Courtesy of LEO XU PROJECTS.

58 59

As already mentioned, museums embody the chief affirmation of

value for works of art, cementing them both in their own time and

for future generations, and legitimising their presence as part of

the wider discourse — a judgement accepted by art world actors

and the general public alike.40

In tandem with the increase in power of the market and shifts

occurring in the museum realm, as well as a general loosening

of rigidly–defined roles in the art scene, collectors can now play

a greater part in the process of legitimising art works for an

audience of both insiders and outsiders to the art world. The high

standard of the works they own and a developing imperative to

share them combine to propel this shift.

Value Added?In aspiring to be a form of conduit — fundamental and

invisible — might dslcollection understand itself in terms

of “value added” relative to the production of symbolic value for

contemporary Chinese art?

The Tipping Point“The tipping point” 41 was coined by Malcolm Gladwell in a

book first published in 2000 to denote the moment when “social

epidemics” or trends reach critical mass.

The idea has been summarised thus:

“…It only takes one person (a “connector”) to show

off his new…look to an influential contact (a

40 Ibid., 156.41 Gladwell, Malcolm. The Tipping Point: How Little Things can make a Big Difference. First published by Little Brown: UK, 2000.

58 59

“maven”) whose adoption of the look is co–opted by

opinion–formers such as model or pop stars

(“salesmen”)…According to Gladwell, you can detect

the tipping point in everything from business to

advertising to social policy, and, given the tools, even

start “positive” epidemics of your own.” 42

Although the tipping point refers less to fine art than street–level

trends, for example, its concept is still a useful one to apply to the

aim of disseminating Chinese contemporary art amongst wider

audiences. As opposed to Gladwell’s “tipping point”, however,

dslcollection aims for Chinese contemporary art to instil itself in

the long term — not just as a temporary trend.

In this vein — and given the dependency of the art world on close

relationships — dslcollection might imagine itself as a kind of

“connector”, in Gladwell’s words:

“…I talk about the central role that three personality

types — that I call Connectors, Mavens, and Salesmen

— play in social epidemics…What makes someone a

Connector? The first — and most obvious — criterion

is that Connectors know lots of people. They are the

kinds of people who know everyone.” 43

Of course, dslcollection cannot hope to achieve a “tipping point” for

Chinese contemporary art on its own, but a form of tipping point

— wherein the activity of a body like dslcollection in contact with

influential actors causes the spread of an idea or interest — is in

large part the goal.

42 Bayley, Stephen. “50 great ideas for the 21st Century”, The Independent, August 6, 2006.43 Gladwell, Malcolm, introducing The Tipping Point on www.gladwell.com/tippingpoint/tp_excerpt2.html.

60 61

Questions about ValueThese themes are being explored always in a mode of questioning. Among the questions that might be posed at

present are:

Should a collection be built on trophies or well–known artists to be

considered as a meaningful collection?

Can it be also composed of creative works from unknown artists?

What does it mean to the artists and their works to be included in

this collection?

What is the value of independence?

What can art collections do that galleries and museums can’t, and

vice versa?

How can value be measured, if not financially?

IdeasThe following outline different ways in which a contemporary body

such as dslcollection might further its aims.

dslConnectionThe art world is all about relationships and networks.

Perhaps one of the most valuable means by which dslcollection

can contribute to the field is by facilitating meetings between

relevant people that will generate discussion, communication and

opportunities.

The founders of dslcollection collect not only works of art, but also

moments of happiness; a collection is composed of memories, too.

60 61

dslOpportunitiesSimilar to dslConnection but aimed at less experienced or

younger people, allowing them to gain experience with galleries

and museums, for example, with whom dslcollection may have an

arrangement for assisting placement.

dslShowsA regular project (say annual or bi–annual) with a gallery or

museum whereby dslcollection collaborates for a short exhibition

by one of its artists.

dslPrimerAn initiative by which — rather than exhibitions of challenging

Chinese art appearing out of the blue for uninformed audiences,

and thus proving sometimes difficult to grasp — dslcollection helps

to inform audiences about the upcoming show, its artist(s) and

theme in advance of the opening.

dslSalonThe idea of a Salon follows the model of gathering together

(instigated by an enthusiastic and knowledgeable host) that was

popular in France in the 17th and 18th Centuries — in line with

Horace’s definition of poetry “either to please or to educate” 44.

dslcollection might fulfil the role of that host, encouraging people

to come together in a relaxed and informative manner.

44 “Salon (gathering)” en.wikipedia.org/wiki/Salon_%28gathering%29.

62 63

dslSurveysAs much as dslcollection aims to contribute actively to the

development of Chinese contemporary art, it would also like

to help document its progress. A survey carried out subtly and

regularly might assist greatly in gauging receptiveness to the

work, for example, in the wider art world context, and in detecting

change over time.

dslDiaryA diary of events, exhibitions, prizes etc. relevant specifically to

contemporary Chinese art as a reference point.

Relationship BuildingThe art world, as has been mentioned, is based on close, active

relationships and word of mouth; a revolving cast of prominent

actors — for example curators and museum directors — can be

personally influential.

For this reason, dslcollection should compile an on–going list of

target names; these should be contacted directly and individually

about the collection, its activities and aims in an effort to foster

these important relationships and the assistance they may

generate.

Better by BrandingSymptomatic of the current age are developments in the reach

of branding and its tactics. Just as it has become fashionable for

companies to enlist creative marketing strategies, so branding —

originally an approach confined to commercial companies — is

now an accepted option for non–profit enterprises, including those

62 63

relating to art.

The primary aims of a brand are to define and differentiate a

product.

As long ago as 1999 it was observed that “Imagery has reached

such a throbbing pitch that it is understandably likened to noise.” 45

Predictably, recent years have seen no slowing of this trend —

quite the opposite — and in tandem with it is increased recourse

to branding.

This is an “any time, everywhere world” 46; this ubiquitous situation

represents both an opportunity and a challenge.

Adopting a brand–style approach may assist dslcollection in its

aims to infiltrate, integrate and influence in its chosen field.

Branding TenetsSimply put, branding is a “persuasion tactic” 47 that revolves

around identification. It is a tag (often visual) that spells

particular associations, ideas and meanings — and their value —

in the mind. It is a “cue to quality.” 48

Brief by definition, a brand triggers direct relay to specific content

in a crowded marketplace, where many different identities are

jostling for the attention of the audience:

“Branding images are simple, often stark in

45 Moeller, Susan D. “Why We Need Those Shoes: The Power of Branding,” The Christian Science Monitor, September 3, 1999.46 Mathieson, Rick, The On–Demand Brand: 10 Rules for Digital Marketing Success in an Anytime, Everywhere World, (New York: AMACOM), 2010.47 Laran Juliano et al, “The Curious Case of Behavioural Backlash: Why Brands Produce Priming Effects and Slogans Produce Reverse Priming Effects”, Journal of Consumer Research, April 2011.48 Idem.

64 65

composition. They occur when form and content

collide. They associate a single, distinctive idea with

a product, news event, or person. Branding images

provoke a visceral reaction.” 49

Logos are a good example of the visual rhetoric employed by

brands.50

Slogans are a more overt method enlisted to sell products or

ideas.

Crucial to remember is that “Your brand is not your product, your

logo, your website, or your name. It’s what your customers perceive

about you, and how you make them feel.” 51

Brands are reflexive devices, they not only about the value

of the product, but dependent also on the qualities its audience

perceive in and desire for themselves.52

Brand–building: Fundamental PrinciplesAs a non–commerical brand, dslcollection is involved in the selling

— read “dissemination” — of ideas, not products; generating

symbolic, not financial value.

Just as dslcollection aims to be a conduit in the field of

contemporary Chinese art, so branding could be a conduit for the

spread of its mission.

49 Moeller, “Why We Need Those Shoes: The Power of Branding”.50 “Visual Rhetoric/The Rhetoric of Brand Identity: Nike”, en.wikibooks.org/wiki/Visual_Rhetoric/The_Rhetoric_of_Brand_Identity:_Nike51 Sorenson, Lauren. “7 Components That Comprise a Comprehensive Brand Strategy.” blog.hubspot.com/blog/tabid/6307/bid/31739/7-Components-That-Comprise-a-Comprehensive-Brand-Strategy.aspx#ixzz29jYql3DP.52 Preece, “Branding and the Creation of Value”, 240.

64 65

The following can be considered integral to building and sustaining

a brand:

Differentiate yourself: focus on something that sets you apart.53

Create a position: decide what position suits your background,

abilities, and audience, and plan around it.54

Be consistent and persistent55: this is obvious

Customise your services: qualify the brand identity by offering

services tailored to your aims.56

“Product first”57: in dslcollection’s case, this is the ethos of the

collection, which in turn revolves around unique art works.

It is important (particularly in the case of symbolic value) to be

wary of too heavy an emphasis on marketing; some research has

shown, for example, that consumers are more wary of slogans

than they are of a brand58 — a reflection, perhaps, of the level

of emotional investment required in order to endorse a product,

whatever it might be.

Big Brand / Small BrandWithin its field, dslcollection is a relatively small fish — it is not

the Pinault Collection, nor the Guggenheim or Tate, lacking their

size, budgets and other resources and man–power.

This status, however, needn’t be a disadvantage.

In fact, the shifting quality of the current landscape and

53 Montoya, Peter. “Building Brand Loyalty.” The CPA Journal, August 2003.54 Idem.55 Idem.56 Idem.57 Pellett, Jennifer. “Lessons from Brand Leaders”, Chief Executive (U.S.), October/November 2006.58 Laran et al, “The Curious Case of Behavioral Backlash”.

66 67

Brands have become a form not simply of communication

but of navigation…

the multiplicity of channels available arguably offer new

opportunities where previously only those with unrivalled

budgets and campaigns were able to reach a wide audience.

With this in mind, one might refer to the theory put forward

recently of enacting a “Lighthouse Identity”59.

The author argues that:

“…Brands have become a form not simply of

communication but of navigation…the brands

that flourish today are those that have a very clear

sense of who they are — that is to say, not simply a

distinctive identity but a strong and self–referential

identity; they stand out from the competition by

their intensity and their confidence in themselves…

we might say that the brands that flourish in this

uncertain environment are those that have what we

call a Lighthouse Identity.” 60

The main characteristics of a “Lighthouse Identity” include:

Self–Referential Identity: always stating where they stand.

59 Morgan, Adam. Eating the Big Fish: How Challenger Brands Can Compete against Brand Leaders (New York: Wiley, 1999), 57.60 Idem.

66 67

Emotion: the aim to connect with audiences on an emotional — not

necessarily rational — level.61

Intensity: everything a “lighthouse brand” does must communicate

its identity as strongly as possible62; dslcollection wishes to make

its mission clearer and clearer.63

For “lighthouse brands”

“…The strong sense of their own identity that they

actively and intensely communicate at every point of

interaction with the brand invites the consumer to

navigate with reference to them. Like a lighthouse,

one notices them without looking for them”.64

Continuing the metaphor, dslcollection might provide a useful

source of information and access in what (for the majority) is an

uncharted realm of contemporary art.

It has also been argued recently that branding could be more

important for small, non–profit enterprises, as they in the business

of cooperating, rather than competing.65

Applicable Facets — Art CollectionsNeedless to say, there exists an entire industry of branding and

related jargon. dslcollection and its peers needn’t absorb it all, but

61 Idem.62 Ibid., 249.63 Sylvain Levy.64 Morgan, Adam. Eating the Big Fish, 82.65 Abello, Oscar. “The Smallest Nonprofits Should Have The Most Powerful Brands”, www.fastcoexist.com/1680582/the-smallest-nonprofits-should-have-the-most-powerful-brands.

instead glean from it useful ideas and approaches.

Branding is as applicable to triggering symbolic value as it is to

purely commercial value. It is important as a means to create an

identity that surpasses the “product” itself.66

In the long term, and as might be applied to an art collection as

an “asset”:

“That intangible value, or branding differentiation,

becomes the on–going quality associated with the

asset. Branding success means building value for the

quality of your work and differentiating your future

value potential.” 67

Thus is the concept of branding useful for a collection aiming to be

noticed as at once of its time, and timeless.

The “image” of dslcollection must convey certain strong associations,

and with them expectations which must always be met and

refreshed if the collection is to claim timeless relevance.

Branding in the Art WorldExamples of branding can now be detected in all areas of the art

world; the most prominent are:

Artists–as–BrandsNow, as ever, artists’ personalities are a source of intrigue

affecting or — in some cases — surpassing their work in the

attention stakes.

66 Preece. “Branding and the Creation of Value”, 131.67 Morgan, Mark. “Personal Branding: Create Your Value. Proposition: Building Your Personal Brand the Right Way Will Let You Make a Positive Impression on the Decision Makers in Your Organization and Build Your Professional Presence”, Strategic Finance, August 2011.

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CHEN FEI : “Only Fools Feel Sad”, acrylic on Canvas, 180 x 130 cm, 2010. Courtesy of Schoeni Gallery.

70 71

Art and its market has always been closely related to money,

glamour and power — if any evidence were needed, see Artforum’s

hugely popular “Scene and Herd” column, or Art Review’s annual

(tongue–in–cheek, but only partly) Power 100.

The collision of the art world and media–driven celebrity culture

have resulted in renewed bolstering of artists’ personalities and

the marketing thereof.

A common tendency is for artists to circulate on the market as

names68. One hears that someone has bought “a Cezanne”, for

example, when what is meant is “a work by Cezanne.”

The prime example of an artist–brand is Damien Hirst.

Infamous as his own PR machine, Hirst’s operations include a

factory–style studio (called “Science Ltd.”) employing numerable

staff, and a retail outlet (“Other Criteria”) selling branded

products such as prints and t–shirts.69 Hirst actively manages his

own image, which is the equivalent of brand–management.

Hirst’s most famous work, “The Physical Impossibility of Death in

the Mind of Someone Living” (1991), needs no introduction: “the

shark” is enough to trigger recall of his name.

The Spot Paintings series — Hirst’s most prominent product line70

were shown simultaneously at 11 branches of Gagosian gallery in

2012 in what must be the world’s first truly “global” exhibition.

Whilst this case of a “branded” contemporary artist is indicative

of the environment in which it operates, dslcollection is vocal about

the fact that it acquires art works, not artists, and that it

is the strength of the work — not the personality of its creator —

68 Graw, High Price: Art Between the Market and Celebrity Culture, 131.69 Gleadell, Colin. “How Damien Hirst tried to Transform the Art Market”, Telegraph, 21 March 2012.70 Preece, “Branding and the Creation of Value, 225.

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which governs its decisions.71

Museums–as–BrandsRecent years have witnessed the rise of museum branding

initiatives in a bid, one might say, to “revamp the establishment”.

At the forefront of this development are:

TateNo longer “The Tate”, but “Tate” (an approach sampled for

dslcollection throughout this book), the British Gallery in 2000

instigated an unprecedented rebranding initiative for its three

already–existing and one planned site, assisted by brand

consultancy Wolf Olins, who state:

‘Tate wanted to make all four sites into something

new: not traditional institutions, but exciting

destinations.” 72

Branding was the means by which to define and deliver this

ambition to the public.

“…Tate reinvented the idea of a gallery from a

single, institutional view, to a branded collection of

experiences, sharing an attitude by offering many

different ways of seeing…Seven years after the initial

launch, we helped Tate refresh its vision for the

decade ahead.” 73

Tate’s new logo, for example, is blurred at the edges: “It reflects the

71 Sylvain Levy.72 Wolff Olins’ website, www.wolffolins.com/work/tate.73 Idem.

72 73

idea that Tate is always Tate, but always different” 74 says Boylan

— a quotation which aptly sums up the aims of dslcollection to be

both timely and timeless.

For one writer:

“…Tate Modern is the ultimate symbol of marketing

thinking applied to the world of museums and

galleries. Its controversial, but largely applauded,

decision to abandon the traditional chronological

curatorial format and juxtapose artists according to

themes is motivated by two factors: distinct appeal

(and)… global reputation.” 75

Tate took a risk, stepping into the commercial / corporate

world by enlisting the help of a branding strategy to realise its

rejuvenation.

Le Centre PompidouNot content to remain outside this trend, the Centre Pompidou

announced this year its aims to expand abroad with a chain of

venues carrying the flagship institution’s brand 76:

“We will draw on the scope of our collection, (which is) the best

in Europe, and the strength of our own brand” 77, says President

Alain Seban.

Also of note is the Virtual Centre Pompidou, which will go live

later this year. The site will be a digital platform where all content

produced by the Centre will be easily accessible: “It will act as a

74 Brian Boylan quoted in Marsh, Harriet. “How the Tate Modernised Its Brand.” Marketing, May 25, 2000.75 Idem.76 Harris, Gareth. “Pompidou plans to go global: focus is Brazil, India, China”, The Art Newspaper, May 1, 2012.77 Idem.

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digital mirror to the Centre Pompidou” 78 says Seban.

GuggenheimTop of the museum–brands, however, is the Guggenheim; in the

words of one journalist

“...Not just a museum, but a brand which summons up an image

transferable from New York to Venice to Bilbao” 79

“Guggenheim museums are, it seems, the Starbucks of the art

world” says another. “Officially, they are dedicated to “the collection,

preservation, presentation, and interpretation of modern and

contemporary art and culture”. Unofficially, their aim is to become

the biggest and hottest global art brand.” 80

With recognisable titanium architecture and a name that

resonates with world–class shows, the Guggenheim has certainly

branded its name into the international consciousness.

Despite its success in the field, the Guggenheim franchise has

not been without its critics; the backlash around the demotion of

Thomas Krems as Director of the Guggenheim Foundation amid

criticisms of “commercialization”81 is telling of the persistent

discomfort of the art world with overt business dealings.

Galleries Go GlobalIn line with the expanding power of the market is that of

commercial art galleries as international businesses.

78 Idem.79 Idem.80 Butler, Katherine. “Guggenheim Is Determined to Be the Hottest Brand in the Modern Art World”, The Independent (London, England), October 24, 2000.81 Usborne, David. “The Fine Art of Empire–Building”, The Independent, February 29, 2008.

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GagosianThe gallery “empire” built up by Larry Gagosian is unsurpassed,

and now incorporates no less than 11 global branches, the latest

addition to which will be a temporary exhibition space in Rio de

Janeiro and a gallery designed by Jean Nouvel at Le Bourget,

near Paris (in September and October 2012, respectively), making

Gagosian’s total area larger than that of Tate Modern.82

Says an art advisor of Larry Gagosian:

“He has been as influential as the internet in the

globalisation of the art world.” 83

PaceThe Pace Gallery, founded fifty years ago by Arne Glimcher, runs

a close second, with seven international branches.

Just opened ahead of Frieze Art Fair 2012 is a 9,000 square foot

space in the West wing of the Royal Academy in London.84

These two contemporary “mega–galleries”85 — Gagosian and

Pace — have been labelled “supersize”86. Notice how the jargon

previously reserved for branded food corporations, for example,

has migrated into the territory of art reportage.

That they are nick–named “blue–chip” galleries illustrates how

accepted their tenure has become; it is a title associated with the

stable value of a company, to which may be added the fact that a

brand also contributes to stability and guards against damage in

82 Burns, Charlotte and Pryor, Riah. “Grow, grow, Gagosian”, Market, September 2012.83 Idem.84 Halperin, Julia. ““It’s Become Extremely Brutal”: Pace’s Marc Glimcher on What’s Driving the Gallery’s Splashy London Expansion”, Artinfo, July 2, 2012.85 Reuters,“Welcome to the treasure domes: art galleries go supersize in global market”, The Guardian, October 15, 2012.86 Idem.

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changing times.

What about Collections?As yet, the behaviour of contemporary art collections has not been

obviously connected with branding.

This may be attributed to a number of reasons, many of which

relate to collecting as traditionally a non–commercial project and

its personal / connoisseurial nature.

Branding is now migrating into the non–profit sphere.

Part of dslcollection’s purpose is to suggest that adopting some of

the attitudes of a brand might help further the cause of collecting

contemporary art, bringing it forward into the current age

and in line with developments in the art field.

Lessons from Luxury?Whilst one should be wary of aligning art collections too closely

with the luxury industry, inspiration may be found here, too.

The crossover between art and fashion is nothing new; fashion

houses, for example, are often also patrons of contemporary art,

and are able to realise projects with levels of energy and budgets

that are a thing of the past for many museums. For such brands

as Chanel and Louis Vuitton, incorporating art into their business

model garners status and visibility.87

The Prada Foundation is a case in point. In the words of Director

Germano Celant, the choice of works in the Foundation is a

“self–portrait”, that allows the company to move away from

87 Seno, Alexandra. “China’s Modern Master”, Newsweek International, August 16, 2010.

76 77

“mass product” towards “idea product” and involve itself in the

production of culture.88

For Grazia Quaroni, Curator at the Cartier Foundation for

Contemporary Art in Paris, it is about linking the brand to the

present, engagement and long–term commitment.

These brands are demonstrating the power of association with

contemporary art — particularly for their customers, who are likely

to move between these circles as buyers of expensive commodities,

be they clothes or art works.

Art thus contributes productively to the “world” spun by the

marketing of these companies — a world of taste, style and

innovation to which one is encouraged to aspire, and desire.

In other words, the incorporation of art into a brand image here

is not overtly about “buying” products, but “buying into”

intangible ideas and values, which in turn furnish the aura of the

product.

It is a means by which to combine, and therefore draw wider

audiences to, fashion and art.

This environment serves dslcollection well; in addition, collections

like dslcollection may adapt motifs from the luxury industry to

serve its own purposes.

The most obvious of these is the idea of a niche product — loosely

defined, something distinctive that is suitable or appropriate to a

particular person or place89.

“Niche”, understood as “a distinct segment in the market” 90 is an

88 Tinari, Philip (Chair), “Fashion Houses, Art Patrons”, Forum #5, Art Dubai 2011, vimeo.com/33473472.89 The online Dictionary, dictionary.reference.com.90 Idem.

76 77

apt description for dslcollection as it currently stands; contemporary

Chinese art, despite its market success, it a niche area in terms

of symbolic value where the international art world (for reasons of

access or prejudice) still concentrates on Western contemporary

art.

As cultivated by the luxury industry, “niche” products are, for

example:

Special — ie. Specially selected or different from the rest

Tailored — to their particular audience, who, it is implied,

are refined in their tastes and know where to look for what

they want

Carefully produced and presented — as opposed to

being a mass product, the service is integral

Emotive — having a particular emotional quality attached

to the experience

Long–lasting — rather than merely fashionable

Related to the idea of niche products is the concept of a “boutique”

shop or department; in the fashion or wider business industries91,

boutiques conjure qualities of being small, specialised, exclusive,

refined in their expertise and often part of a larger industry, for

example in the case of “boutique consultancy” firms.

As such, boutiques make their relatively small scale and

specialised nature into assets that contribute to their distinct

appeal — something an art collection could also do.

Myth and NarrativeUnexpected though they might seem at this point, myth and

narrative — or fiction and story–telling — are hugely relevant.

91 Idem.

78 79

In many ways, branding, luxury and art converge on these

as integral to the aura each constructs for their respective

audiences.

In short: “something to believe in”.

To believe is to invest oneself — financially or emotionally.

In the present, shifting socio–political context, a focus for belief

and thereby self–orientation are arguably becoming both more

rare, and more necessary.

Branding, as has been explained, entails the construction and

sustenance of a distinct identity. It is about the relationship

between companies and their customers — recognition in a

crowded marketplace, but also in the sense of identification with

something felt to be familiar and known; a form of connection.

In the words of one manager:

“Branding started out because customers no longer

had personal relationships with the people behind

growing companies…Companies had to create these

fictional stories and characters so that consumers

would relate to their products.” 92

In a similar way, the luxury industry constructs images of lifestyles

that are mythical or imagined — one sees models in fake interiors,

engaging in non–real situations, living fabricated narratives, all

played out in the trappings of that brand.

In the case of art, myth–making is connected closely with

authenticity and “symbolic value”. Think, for example, of the

stereotype of the struggling artist, surviving on crusts and

92 Abello, Oscar. “The Smallest Nonprofits Should Have The Most Powerful Brands”.

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creating masterpieces (not unlike the penniless writer scribbling

in a garret).

The link between tenets of branding and this age–old myth—

making with regard to visual art has been aptly summarised

thus:

“A brand…performs myths through its associated

stories. In art these stories are told by the work

itself but also by the artist, the dealer, the critics,

the curators and the collectors…It seems certain

‘stories’ are more likely to be successful than others…

These include myths about innovation which is…the

primary criteria for quality in the art market. This

fits in well with the myths or stereotypes generally

associated with…the dominant view of the authentic

artist, someone who is on the edges of society, young,

extreme and therefore a suitably tragic figure…

(who communicates) underlying needs that are not

acknowledged in modern life.” 93

The myth of the struggling artist has, of course, appeared in media

reports about Chinese art. In 2007, we were given a romantic image

of the repressed and famished artist, newly located in China:

“Xu Zhen was… (a) garret–dwelling artist, scraping

a living in a Shanghai apartment”. 94

Thus, it becomes clear that in order to build a convincing and

distinctive identity, dslcollection needs also to emphasise its own

authentic story.

93 Preece,“Branding and the Creation of Value”, 244–5.94 Hickling, Alfred. “Great Leap Forward, The Guardian, March 28, 2007.

80 81

“…Art provides a rich arena to investigate the branding process,

as it is an arena in which symbol and image drive

brand value.”

As much as it is the aim of dslcollection to give access to

contemporary Chinese art, thus demystifying it, the core narrative

of the collection, its contents and their context have an important

part to play in building a “brand–able” identity to which audiences

can respond.

Cultural Branding for a Collection of

Contemporary Chinese ArtFrom the perspective of a recent study,

“…Art provides a rich arena to investigate the

branding process, as it is an arena in which symbol

and image drive brand value.” 95

In the shifting contexts of today, and in the art world — globally

connected, event, taste and market–driven as it is — it is

essential for brands to be flexible and able to keep adapting to the

environment. At the same time, however, they must maintain a

consistent sense of identity and uniqueness.

95 Preece, “Branding and the Creation of Value”, 220.

80 81

as it is an arena in which symbol and image drive

brand value.”

Far from it being an option, these conditions in the art world

demand an identity that is at once timely and timeless if it

is to survive — innovative and adaptable, but also authentic and

true to its purpose.

The classic example of an artist who continues to succeed in these

terms is Picasso — a hugely prolific and diverse creator throughout

his career.

As opposed to conventional notions of branding, it is argued that

cultural branding is complex, temporal and co–constructed by a

network of players in the field.96

Fitting this is a more dynamic conception of value that acknowledges

its constantly being in flux between different parties.97

It is crucial to remember that relationships in the art world are

symbiotic.98 It may be therefore productive to be branded as part

of a wider movement.99

As a body without a bricks–and–mortar base, dslcollection may

behave in a “parasitic” manner — staging exhibitions in other

venues, and thus borrowing value through association with other

brands.100

Closing Remarks

“History is a pattern of timeless moments.” 101

96 Ibid., 265.97 Ibid. 154.98 Ibid., 27899 Ibid., 228100 Uggla, H.,“Managing leader and partner brands: the brand association base” in J. E. Schroeder and M. Salzer–Morling (eds.). Brand Culture., London: Routledge, 2006.101 Quotation by T.S. Eliot.

82 83

What is summed up in this quotation by T.S. Eliot is key to

dslcollection’s ambition to be at once timely and timeless, and

to how the two may be combined.

The experience of art is above all a personal one for artists,

collectors and the public alike. The moment of encounter with a

work of art which affects one on that particular, unnamed level

— which truly has an impact both instantaneous and lasting — is

at the heart of Dominique and Sylvain’s experience of collecting.

They hope that by sharing their collection, others will have this

experience in contact with the strongest works of contemporary

Chinese art.

Such an encounter with an art work can be understood as the

interruption by timelessness of the usual flow of time — a moment

when time is stopped, opening up a liminal space in between;

as defined by the ancient Greeks, the intersection of sacred (or

symbolic) time with that of the everyday world.102

In another way, we may feel timelessness through these intense

encounters with products of our own time.103

The art works in this collection are themselves a series of timeless

moments.

Beyond all else, this is what dslcollection wishes to impart to its

audience.

The audience — those who will experience the works — is therefore

crucial.

102 Wolfe, Gregory, “The Operation of Grace”, Image online journal, www.imagejournal.org/page/journal/editorial-statements/the-operation-of-grace.103 Buntz, Sam, “A People Without History”, Nextgen online journal, www.nextgenjournal.com/2011/09/a-people-without-history.

82 83

Changing Audiences for Contemporary ArtIt was recently asserted that the user of the museum is more

valuable than the museum itself.104 The museum of the future

has been conceived anew as a relative (not an absolute) truth —

along with artists, practitioners and audiences, a co–producer of

meaning and value.105

This applies also to a progressive model for collecting art.

An important aspect setting dslcollection apart is its approach to

the audience, which it actively seeks ways to locate and connect

with, particularly via its digital platforms:

“You do not wait for people to come to you: you go to

where people are.” 106

Recent years have witnessed rampant growth in audiences shaped

by the digital world. Some 2.5 billion people are connected to the

internet 107; Facebook reached 100 million users in 2008, and now

counts one billion active users per month108. The “like” button

is clicked millions of times per day. More than 4 billion hours of

video are watched each month on YouTube109, whilst 70% of the

104 Eliasson, Artforum International, 2010.105 Idem.106 Sylvain Levy.107 Fowler, Geoffrey “Facebook: One Billion and Counting”, The Wall Street Journal, online.wsj.com/article/SB10000872396390443635404578036164027386112.html.108 Idem.109 YouTube Statistics, www.youtube.com/t/press_statistics.

“You do not wait for people to come to you: you go to where people are.”

84 85

site’s traffic comes from outside the USA110. In October last year,

an estimated 250 million “Tweets” were posted on Twitter per

day111, and Google+ users apparently spend 12 minutes each day

“in the stream”.112 The statistics are endless and ever–increasing.

dslcollection wants to address this “digital population”

using the right tools, and the right messages.

Thus, effective expression (both by the art works themselves and

by the collection as a conduit) is crucial for dslcollection, which

must assess and generate its audience constantly.

Significant are dramatic changes to the audience for contemporary

art in recent times. In the words of dslcollection’s founders, “They

are today’s consumers of culture, and tomorrow’s collectors.” 113

30% of the audience for dOCUMENTA 13 in 2012 were under

thirty years old.

The Art Newspaper’s annual survey of global exhibition and

museum attendance worldwide shows noteworthy growth in

audience numbers, stating last year that:

“The increase in the number of people going to see

the exhibitions in our surveys over the years has been

remarkable. In 1996, around four million people went

to the top ten shows. Last year, almost six million

people went to see the ten best–attended shows.” 114

Whilst audiences for contemporary art in Europe are widening

110 Idem.111 Pingdom Blog, “Internet 2011 in Numbers”, royal.pingdom.com/2012/01/17/internet-2011-in-numbers.112 McGee, Matt, “Google+ Users Spend 12 Minutes Per Day ‘In The Stream’, Marketing Land online, marketingland.com/google-users-spend-12-minutes-per-day-in-the-stream-15423.113 Dominique and Sylvain Levy.114 Pes, Javier and Sharpe, Emily, “Exhibition and Museum Attendance Figures 2011, The Art Newspaper, April 2012.

84 85

in tandem with the loosening of museological structures and a

growth in public initiatives, those in China are also undergoing

an evolution. A growing, internationally–engaged middle class, in

particular, is crystallising broader interest in creative culture in

China, and causing its industries to follow suit (for example in

design, fashion and art).

dslcollection must consider its audience as constituents,

understanding always that they are integral to its project —

indeed, that they lend it purpose.

dslcollection must consider not only its own questions within the

field, but also the questions its audience may ask about it, and how

to respond to these.

As part of its active project, dslcollection aims to develop its

activities in tandem with audiences. Planning for a mobile tour of

emerging art in China is already underway, and the future should

bring further and increasingly responsive outreach in this vein.

Through this and other initiatives, dslcollection must conjure a

space in which others can engage with contemporary Chinese

art.

Asking QuestionsA bold, questioning attitude remains crucial to dslcollection:

What is a 21st Century art collector?

How, through the acquisition of monumental works, can dslcollection

raise and contribute to discussions around the idea of a “total art

work”115?

115 Sylvain Levy.

86 87

We look at the art works, but the art works also look at us116; how

can this reciprocal relationship be explored through dslcollection?

How can uncertainty be made productive?

The collectors who really matter to history are those who by their

example set standards for others117; what kind of standard is

being set by dslcollection?

Who are we?

What is at stake should dslcollection and its peers fail to advance

the cause of collecting in the present moment?

Gauging Success: CriteriaThe fact remains that whilst failure is often obvious, success is

difficult to measure. There are, however, ways in which dslcollection

can hope to assess the progress and impact of its work.

Success may be

Reflected — for example through invitations to advisory

boards

Told — directly, as through comments on LinkedIn and other

platforms, or in person

Detected — for instance in the placement of an artist’s work in

a museum as a result of its having featured in the collection

The Art WorldAre artists who are part of the collection subsequently picked up

by major museums?

116 Birnbaum, Daniel and Obrist, Hans Ulrich, “Museums on the Move”, Artforum, Summer 2010.117 Sylvain Levy.

86 87

Is dslcollection regularly used as a resource for important

exhibitions, including surveys?

Is dslcollection regularly consulted by leading institutions,

including museum directors?

Are works from dslcollection referenced in important publications

including books, catalogues, magazines and newspapers? The

quality of the reference is also important.

Does the quality of what is written and presented relative to

art works acquired by dslcollection reflect the quality of their

presentation by the collection?

What is the response to proposals and invitations from dslcollection,

for example for art fairs and symposia?

The Wider AudienceSite statistics, page views and social media interaction are still a

highly effective tool to gauge public interest levels.

One may detect also levels of sharing, reposting and linkeage, for

example of images, which show that people want to spread what

they have seen.

Being approached by students or educational establishments is also

telling: do they consider dslcollection a reliable and valuable

resource?

dslcollection must be willing to ask its audience directly, and

regularly, about the success of the project, and do so in innovative

ways.

A Work in ProgressIt bears repetition that dslcollection is always a work in progress.

It has a temporal thrust, constantly adapting to the environment

and trying to play an active role in it.

This book ends on a note of affirmative incompleteness. The

thoughts it presents may be considered a tool box to which should

be added further ideas and clues to continuation.

Finally, dslcollection must always be asking itself whether it feels

it is progressing successfully in its aims.

One sure ingredient of world–class patronage is passion118 —

that which extends beyond the art works themselves towards the

inclusive project at hand, desiring always to advance and sustain

it, now and in the future.

118 “Guggenheim” Marketing, July 6, 2011.

Image overleaf

Jia Aili in his studio working on an untitled painting (oil on canvas, 296 x 400 cm, 2007–2008). Courtesy of the artist

90 91

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Birnbaum, Daniel and Obrist, Hans Ulrich. “Museums on the Move”, Artforum International, Summer 2010.

Birnbaum, Daniel and Obrist, Hans Ulrich. “Museum/Museum: Notes toward an A–Z (Work in Progress).” Artforum International, Summer 2010.

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Duncan, Carol. Civilizing Rituals: Inside Public Art Museums. London: Routledge, 1995. The Evening Standard (London, England). “Curators Give Critics the Brush–Off; Now That Exhibitions Are All ‘Blockbuster’, ‘The First Ever’ or ‘The Greatest’, It Is the Responsibility of the Critic to Pinpoint Any Shortcomings. Alas, There Is No Evidence That Curators Ever Listen to Them.” June 11, 2004.

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The Evening Standard (London, England). “Sewell on SA ATCHI; A Collector with a Voracious Appetite and an Advertiser’s Taste for All Things Sensational and Immediate, Charles Saatchi Is the Most Important Force in Contemporary Art, Says Our Critic.” July 13, 2011.

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About the Author Iona Whittaker (b.1985) is a Beijing–based art critic and editor. Originally from London, she first came to Beijing in early 2009. Iona is Editor at randian 燃点, the independent magazine for creative culture in China. Her writing, interviews and exhibition reviews appear also in Art Review, the Wall Street Journal, Frieze, Flash Art, Artforum online, LEAP, Art Asia Pacific, The Art Newspaper, Artinfo, ArtSlant and ArtQuest. Other projects include consulting on gallery design in Beijing, and on–going collaboration with the dslcollection of contemporary Chinese art.

First edition, designed in Beijing (China) by Julien Tang, and

printed on 7th November, 2012 in Romania.

Copyright 2012 © dslcollection.

“The real journey of discovery consists not only of seeking new landscapes, but also in having new eyes...”

There can be no doubt about the strength of the art being produced by contemporary Chinese artists. The world is changing; so is art collecting. This book examines these changes — and their potential — through the lens of the dslcollection of contemporary Chinese art with a finger on “now” and a view to the future.

dslcollection