12 Dec Let’s Talk History — the Trilogy of Art gallery industry in Taiwan
The formation of art gallery industry in Taiwan: From being present as an art gallery to developing an art gallery industry.
Generally speaking, the art galleries in Taiwan saw their gradual development from the 1970s to the 1980s. As a result, a delicate professional system was established from within. Subsequently, under the premise of thriving mass media and promising circulation of art magazines, the art industry in Taiwan formed an environment where a tight-knit network was built on the following converging advantages. In 1975, Artist Hsiah Li-Fa(謝里法)wrote a lengthy article “History of Taiwan Arts Movement” which was serialized on “Artist Magazine”. It turned out to be an agent that stimulated the research and exploration of Taiwan’s art history, leading to unprecedented appreciation and recognition of Taiwan’s senior artists and the idea of highlighting their significance by planning exhibitions to showcase their works. Thus, with mutual learning experience and encouragement between artists, art commentators, art historians, the mass media and private art galleries, an industrial chain in arts had since formed and a mighty force created from within could no longer be ignored.
The Council for Cultural Affairs was established in 1981. The Taipei Fine Arts Museum was opened in 1983. Both of their presence ushered in an era in which cultural developments and fine arts museums had a strong standing in Taiwan. Furthermore, after the lifting of Martial Law in 1987, the entire atmosphere in our society grew ever more liberating. Artists were able to break loose from the shackles of the past in minds and spirits, creating and interpreting their works macroscopically. Art galleries of this time, in terms of their business focuses, primarily invested in the art works of Taiwan’s senior artists and the arts depicting local realities in order to meet the market needs. In mid-1980s, the art gallery industry progressed towards a new phase by getting in touch with mixed media such as installation art, images, etc. What’s worth mentioning were the exhibition of “Alternative Space” in 1984 and the exhibition of “Super Space” in 1985 held by Spring Gallery. The art works exhibited then were considered very bold, original and avant-garde from the perspective of the time. Both exhibitions revealed in a certain degree the significance of an art gallery taking the initiative to curate art shows for their time. As stated by Mrs. Hou Wang Su-Tsou (侯王淑昭), the owner of Spring Gallery, “Art gallery curates art shows that inspire artists of young generations to create their works with contemporary elements and to observe their surroundings with a heart sensitive to the pulse of the society…… By using various skills and diverse media materials to present artworks to the viewers, the art gallery may truthfully achieve the purpose of introducing contemporary arts to the masses.”
Spiritual value and diversity: Evolution from the act of putting on artworks to curating an art show
With prospering economic growth in the late 1980s to the early 1990s, the number of art galleries increased tremendously to over a hundred. The economic effects brought about by the art market had not only drawn private enterprises to invest in art industry, but had also attracted international auction houses to set up shops in Taiwan. After the lifting of Martial Law in 1987, Taiwan grew to be an open environment embracing free thoughts and speeches and hence received the influence of the thoughts of post-modernism. The art industry no longer dwelt on the idea of traditional exhibitions. Depressed mood was liberated. Free thoughts contributed to the transformation of the life of art galleries. Art gallery no longer merely focused on sales for business’ sake. It started learning to cultivate and deepen the academic values for exhibitions put on. In terms of transforming from the phase of “putting on an art show” into the phase of “curating an art exhibition”, globalization in the 1990s was the catalyst. It drove creative thoughts and innovative exhibition methods into the art gallery industry. An art curator grew to be an indispensable link in the chain. By engaging in constant dialogues and exchanges with artists, an art curator is able to guide artists or present the spiritual value and the core idea of an artwork in a more convincing manner. Originally served as a place to put on simple and regular exhibitions, to conduct second-hand trade, to provide artists consignment sales service and to exchange collectibles, art gallery is now transformed into a cultural space where social issues of the time may be reflected. Through curating an art show as another knowledge producing process, the significance of art works is revealed and appreciated.
Wang Dofu(王福東), the editor in chief at Lion’s Art Magazine, once stirred up written debates in arts community in the 1990s. He said: “The number of the pages of Lion’s Art Magazine increased after I worked as the chief editor. The growth was primarily attributed to more advertisements apart from increasing sales volume and source of articles. The advertising growth was not credited to me. When I joined Lion’s Art, it was three or four years already after the lifting of Martial Law. Lots of energy had accumulated since. In that era, businesses and enterprises emerged and thrived. Therefore, the volume of advertising increased. I was merely an ignition or at a right place in the right time.” It was an era when free speech was embraced and art gallery industry became vibrant. All had contributed to the emergence of a diversity of themes for artwork creation and an opening up of more fearless discourse on new perspectives by art commentary media. The discourse revolved around issues of political and social nature, equal rights and democracy, local environments, art creation, etc. Breakthrough and transformation in the development of contemporary art were brought forth.
In quest for positioning: The requirement to be a “ “(parenthesis mark)
In the wake of the severe economic downturn caused by the 1997 Asian financial crisis, other events such as the global economic contraction, the emergence of the Chinese art market, the widespread use of the internet and the rise of global mega-sized art expositions and auctions soon followed. The art gallery industry in Taiwan sensed the changing nature of the globe and learned to adjust its business strategies and operations. Its business running pattern has turned to be ever more complex and diverse. Within the huge globalized art economic sphere which is complicated and teeming with fierce competitions, art gallery being a part of the life cycle of artworks has learned to brand itself as an attempt and effort to add characteristics, distinctions and values to arts or services it provides. For art collectors, a branded art gallery symbolizes risks mitigated and trust strengthened. For an art gallery, how to create its distinctiveness in cultural character and specialty and how to position and deepen its brand have become new tasks.
As the forefront in the art industry, art galleries are critically important in terms of promoting an artwork to the public after it is created. Art galleries in Taiwan evolved from being a platform for exhibiting antiques and paintings in their early time to being a laborious art cultivator by cooperating with experienced galleries and artists. Together, they have broadened the range of acceptance from viewers when it comes to the diversity of art forms and media materials of the time. The explosive progress made in art forms and media materials has further driven each art gallery towards developing its unique style and character, and establishing its own base of targeted collectors. Exhibitions held in art galleries aim to create visual experiences where conflict and contradiction co-exist. Challenged by seeing alignment and malposition at the same time, viewers are compelled to think and imagine what are the likely requirements of being a “ “ (parenthesis mark). How come “ “(parenthesis mark) remains“ “(parenthesis mark)? At a time when an art gallery stands as a brand, this question seeks to know how an art gallery defines itself in terms of the spirit of its individual brand and how it positions itself to deepen its intrinsic values!
At the back of a branded art gallery, lots of labor in various forms is constantly performed after a piece of artwork is created. Such a behind-the-stage expertise has made the art gallery’s professionalism and refinement a profound knowledge which is hidden and inscrutable, adding to the value of a branded art gallery and creating prospects of a higher value and far-reaching effects for an artwork. Imagine yourself or the viewer immersed and blended into the space of an art gallery where elements and languages of different materials are used. It stands as a sharp contrast to imagining yourself or a viewer being present at an art exposition or an auction event where excitement and extreme self-inflation dominate while the air of globalization and sensations created by the new media act as props. One has to conclude that the value and irreplaceability of an art gallery as a space for holistic and professional exhibitions is undeniable.
Taiwan’s art industry started from scratch. From taking its baby steps to becoming mature; from trial and error to making something out of it; from being loose-knit to being thorough and rigorous; from being seen as an interest to being established as a profession. Starting from the time when Japan ruled in Taiwan to the 1980s, it was a long time in the making. Contributing factors include, but not limited to, political and economic developments, rising awareness of aesthetics or the subtle interdependence between artists and the art industry. Ultimately, each and every professional in this industry should be given credit for its development. Out of their enthusiasm and love for art, they came together with a willing spirit to inspire and create infinite probability, hoping to unleash tremendous potential for the art industry in Taiwan.