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Art Basel Hong Kong Will Return in 2024 to Its Pre-Pandemic Scale

Art Basel Hong Kong is set to return to its pre-pandemic scale in the upcoming edition in March 2024, featuring a total of 242 galleries. The galleries come from 40 countries and regions from across different continents, with more than half of them operating exhibition spaces across Asia.

The number of exhibitors, which reflects the fair’s 2019 numbers, also marks a 37 percent increase, or 65 exhibitors, from the 2023 edition, which took place just after the city re-opened its borders to international visitors after prolonged Covid-19 travel restrictions paralyzed the city for nearly three years. The next Art Basel Hong Kong will take place at the Hong Kong Convention and Exhibition Centre from March 26 to 30, with March 26 and 27 as VIP preview days.

It was understood that a number of international galleries could not make it to the 2023 edition due to uncertainties of travel restrictions during the time of preparation. In 2024, 68 of them will be returning after a hiatus, including Galerie Lelong & Co., Lisson Gallery, Sprüth Magers, Acquavella Galleries, kurimanzutto, and Galerie Eva Presenhuber.

The exhibitor list announced on Tuesday, November 20, focus on the fair’s main sections. Galleries, the fair’s main sector, features 200 galleries; twenty-two galleries will take part in Discoveries, which presents solo booths of emerging artists. Insights, which dedicates itself to artists from Asia and the Asia-Pacific region, will feature 20 galleries and hone in on historical presentations.

The 2024 show also welcomes 25 first-time exhibitors, including the Melbourne- and Sydney-based Station, Almeida e Dale Galeria de Arte from São Paulo, Mangrove Gallery from Shenzhen, Hua International which operates in Berlin and Beijing, Paris’s Fitzpatrick Gallery, Taipei’s PTT Space and Each Modern, Public Gallery and Alison Jacques from London, Shanghai-based Linseed, and New York’s Chapter NY.

While Art Basel Hong Kong’s size is certainly a show of strength in the wake of the lockdowns as well as the 2019 political unrests, there remains a notable absence of regulars to the Hong Kong fair: Galerie Rüdiger Schöttle, Sean Kelly, Goodman, and Marian Goodman are not on the list.

See the full exhibitors list below.

Galleries

10 Chancery Lane Gallery
A Thousand Plateaus Art Space
Miguel Abreu Gallery
Acquavella Galleries
Alisan Fine Arts
Almeida e Dale Galeria de Arte
Sabrina Amrani
Anomaly
Antenna Space
Arario Gallery
Alfonso Artiaco
Aye Gallery
Balice Hertling
Bank
Gallery Baton
Beijing Commune
Blindspot Gallery
Marianne Boesky Gallery
Tanya Bonakdar Gallery
Bortolami
Ben Brown Fine Arts
Cardi Gallery
Carlos/Ishikawa
Galería Cayón
Galeria Pedro Cera
Yumiko Chiba Associates
Clearing
Sadie Coles HQ
Galleria Continua
Pilar Corrias
Galerie Crèvecœur
Cristea Roberts Gallery
Galerie Chantal Crousel
Thomas Dane Gallery
de Sarthe
MassimoDeCarlo
Dirimart
Don Gallery
Galerie du Monde
Dvir Gallery
Anat Ebgi
Galerie Eigen + Art
galerie frank elbaz
Empty Gallery
Gallery Exit
Experimenter
Selma Feriani Gallery
Konrad Fischer Galerie
Fox/Jensen
Stephen Friedman Gallery
Gagosian
Gajah Gallery
Gallery 1957
François Ghebaly
Gladstone Gallery
Gomide & Co
Greene Naftali
Grotto Fine Art
Hakgojae Gallery
Hanart TZ Gallery
Hauser & Wirth
Herald St
Galerie Max Hetzler
High Art
Hive Center for Contemporary Art
Pippy Houldsworth Gallery
Hua International
Xavier Hufkens
Ingleby Gallery
Ink Studio
Taka Ishii Gallery
Alison Jacques
Johyun Gallery
Annely Juda Fine Art
Kaikai Kiki Gallery
Jan Kaps
Karma
Kasmin
Tina Keng Gallery
Kerlin Gallery
Kiang Malingue
Tina Kim Gallery
Richard Koh Fine Art
David Kordansky Gallery
Tomio Koyama Gallery
Kraupa-Tuskany Zeidler
Galerie Krinzinger
Maho Kubota Gallery
Kukje Gallery
kurimanzutto
Kwai Fung Hin Art Gallery
Pearl Lam Galleries
Leeahn Gallery
Lehmann Maupin
Galerie Lelong & Co.
Lévy Gorvy Dayan
Liang Gallery
Josh Lilley
Lin & Lin Gallery
Lisson Gallery
Loevenbruck
Luhring Augustine
MadeIn Gallery
Galleria d’Arte Maggiore G.A.M.
Magician Space
Mai 36 Galerie
Matthew Marks Gallery
Mayoral
Mazzoleni
Fergus McCaffrey
Galerie Greta Meert
Galerie Urs Meile
Mendes Wood DM
Mennour
Meyer Riegger
Mind Set Art Center
Francesca Minini
Galleria Massimo Minini
Victoria Miro
Misako & Rosen
Mizuma Art Gallery
Modern Art
The Modern Institute
mor charpentier
Morán Morán
Mother’s Tankstation Limited
Galerie nächst St. Stephan Rosemarie Schwarzwälder
Richard Nagy Ltd.
Edward Tyler Nahem
Helly Nahmad Gallery London
Nanzuka
Taro Nasu
neugerriemschneider
Anna Ning Fine Art
Galleria Franco Noero
Kotaro Nukaga
Galerie Nathalie Obadia
One and J. Gallery
Galleria Lorcan O’Neill Roma
Ora-Ora
Ota Fine Arts
P.P.O.W
Pace Gallery
Pace Prints
Peres Projects
Perrotin
Petzel
Pi Artworks
PKM Gallery
Galeria Plan B
Platform China
Polígrafa Obra Gràfica
Galerie Eva Presenhuber
Proyectos Monclova
Almine Rech
Regen Projects
Rodeo
ROH Projects
Thaddaeus Ropac
Rossi & Rossi
SCAI The Bathhouse
Esther Schipper
Galerie Thomas Schulte
ShanghART Gallery
Shibunkaku
Misa Shin Gallery
ShugoArts
Sies + Höke
Silverlens
Jessica Silverman
Skarstedt
Smac Art Gallery
Soka Art
Sprüth Magers
Galerie Gregor Staiger
Star Gallery
STPI
Sullivan+Strumpf
Take Ninagawa
Tang Contemporary Art
Timothy Taylor
Templon
TKG⁺
Tokyo Gallery + BTAP
Tornabuoni Art
Vadehra Art Gallery
Tim Van Laere Gallery
Various Small Fires
Venus Over Manhattan
Axel Vervoordt Gallery
Vitamin Creative Space
Waddington Custot
Michael Werner Gallery
White Cube
White Space
Galerie Jocelyn Wolff
Wooson
Yavuz Gallery
Zilberman Gallery
David Zwirner

Insights

√K Contemporary
Dastan Gallery
Each Modern
Flowers Gallery
Hafez Gallery
HdM Gallery
Hunsand Space
Kosaku Kanechika
Lawrie Shabibi
Leo Gallery
Mizoe Art Gallery
Nonaka-Hill
Pifo Gallery
PTT Space
rin art association
Standing Pine
Station
Galerie Vazieux
Yiri Arts
Chini Gallery

Discoveries

Bangkok CityCity Gallery
Fine Arts, Sydney
Jhaveri Contemporary
Linseed
Nova Contemporary
Tarq
Waitingroom
Whistle
Christian Andersen
Chapter NY
Fitzpatrick Gallery
Layr
Umberto di Marino
Project Native Informant
Public Gallery
Phillida Reid
Catinca Tabacaru
Tabula Rasa Gallery
YveYang
Galerie Zink
Vanguard Gallery
Mangrove Gallery

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Student-led fashion marketing project marking hockey milestone hits market at Western

Student-led fashion marketing project marking hockey milestone hits market at Western
Contact: Erin Flynn

KALAMAZOO, Mich.—Western Michigan University’s Lawson Lunatics—recognized by the NCAA among the best fan sections in college hockey—have an extra reason to cheer this year: The Broncos are celebrating 50 years as a varsity team. A new merchandise line marks the milestone, and a group of Western students helped bring the vintage vibes to market.

“This generation has so much in the way of energy, style and awareness. We wanted to tap into that and give students a chance to shine in a real go-to-market campaign,” says Steve Koich of Men’s League Sweaters, a 2008 graduate of Western’s public relations program. He connected with Madeline Fritz, a fashion merchandising student from Bloomingdale, Michigan, and made his pitch for marketing new vintage hockey jerseys and jackets. 

MODA models helped bring Madeline Fritz, Olivia Bolognia and Anna Vitale’s vintage concept to life.

“This is the first professional opportunity that I have been given on this level,” she says. “It opened my eyes and opened the door for me to think about different career paths. I’ve always been interested in creative direction for shoots because I’m not exactly a photographer. I’m not exactly a model and I’m not exactly a designer, but I love and I’m really good at bringing groups of creative people together and getting the show on the road. This project really helped me realize that’s also what I have a passion for.”

Fritz, who is also marketing director for Western’s Merchandising Opportunities and Design Association (MODA), enlisted fellow fashion merchandising student and MODA vice president Olivia Bolognia, of suburban Chicago, to co-direct the project and booked Gwen Frostic School of Art student Anna Vitale, of New Buffalo, Michigan, for photography.

“When she reached out to me to take photos for this shoot, I was over the moon!” Vitale says. “It is extremely exciting to be able to do some professional work for the school I attend and to be able to show my school spirit in this unique way.”

Koich calls empowering students to lead the project a “no brainer.”

“What better way to honor this legacy than through the eyes of current students?” he says. “We put our trust in them and they ran with it to the moon.”

Using the inspiration of a vintage mood board supplied by Koich, the Western contingent met a few times to coordinate a multiple day, four-location shoot that incorporated 15 different models. They styled a number of versatile looks to showcase the garments, sourcing accessories and clothing from Fritz’s employer, Sizo & Peny Vintage, and set out to capture the models in authentic college environments like a pizza shop downtown and Lawson Ice Arena. 

Koich says he was “impressed but not surprised. They had my full confidence. From our first conversation, Madeline was professional, resourceful, with a clear passion to create.” He adds, “As an alum, it’s great to see students taking on a project like this and executing at a high level.” 

The group’s efforts are now live on the WMU Bookstore webpage.

“I’ve worked for small businesses and managed their social media and marketing, but being in charge of the marketing campaign and concept for the hockey team’s 50th anniversary merch is on a whole other level for me,” Fritz says. “I think it kind of opened my eyes and opened the door for me thinking about other career paths.”

A photo of a clothing display inside the WMU Bookstore.

The 50th anniversary hockey merchandise is on sale now at the WMU Bookstore.

“I learned a lot from this opportunity,” adds Bolognia. It was nice to be a co-director and learn how to lead a shoot as well as bounce off ideas with Madeline as the other co-director.”

Vitale says her biggest takeaway from the project is the importance of collaborating with a team to move ambitious projects forward.

“I loved working with different creatives and models using all of our unique skills and ideas while bringing these photos to life,” says Vitale. “WMU has set me up for success by introducing me to so many different people and helping me network and expand my career as a photographer. I am very thankful for the many different experiences and opportunities that are here at Western.”

“All of us were able to bring the skills we gained from our classes to the shoot. Everything just aligned so well,” adds Fritz. “This marketing concept for the hockey shoot ties perfectly into fashion merchandising because we’re marketing clothing, collaborating with creatives and showcasing our skills while also bringing the models together—it’s almost like seeing your thesis.”

The 50th anniversary hockey line is available for purchase at the WMU Bookstore inside the WMU Student Center and online.

For more WMU news, arts and events, visit WMU News online.

Brelyon Unveils State-of-the-Art Immersive Display Showcase in Kyoto

Brelyon Unveils State-of-the-Art Immersive Display Showcase in Kyoto

KYOTO, Japan, Nov. 21, 2023 /PRNewswire/ — Brelyon, a leading immersive display company, announces the opening of its latest showcase site at 34 Sujakuhozocho, Shimogyo Ward, Kyoto, 600-8846, Japan, in collaboration with Monozukuri Ventures.

Located in the heart of Kyoto, renowned for its rich cultural heritage and technological advancements, the new showcase site right above AM Labs & FabKyoto, next to Umekoji Market represents a significant milestone for Brelyon as it expands its international presence. The collaboration with Monozukuri Ventures, a key player in fostering innovation in the Japan ecosystem, further emphasizes Brelyon’s commitment to excellence in immersive display technology.

The showcase site in Kyoto is designed to provide visitors with a captivating and interactive experience, allowing them to explore the cutting-edge advancements in immersive displays. With a focus on innovation and Monozukuri, the Japanese spirit of craftsmanship, the showcase site aims to demonstrate the seamless integration of technology and artistry.

“We are thrilled to unveil our showcase site in Kyoto, a city known for its rich history and commitment to craftsmanship,” said Barmak Heshmat, CEO of Brelyon. “This collaboration with Monozukuri Ventures is a testament to our dedication to providing innovative and immersive experiences in Japan and Asia Pacific market.”

“Monozukuri Ventures is excited to join forces with Brelyon in bringing cutting-edge immersive display technology to Kyoto,” said Narimasa Makino, CEO of Monozukuri Ventures. “This collaboration aligns with our mission to support innovative endeavors that celebrate the marriage of tradition and technology.”

About Brelyon:
Headquartered in San Mateo, CA, Brelyon is a pioneer in hardware and software technologies for headset-free immersive experiences. Helmed by a founding team of scientists and industry executives from MIT, UCF, DARPA and IMAX, Brelyon has developed the world’s first no-headset display technology with monocular depth. For more information about Brelyon and its virtual display solutions, please visit www.brelyon.com.

About Monozukuri Ventures:
Monozukuri Ventures (abbreviated as MZV), based in Kyoto and New York, manages venture investment funds for hardware startups and provides technical consulting on hardware prototyping and manufacturing. MZV launched the first Fund in the summer of 2017 and the second in 2021. MZV has invested in a total of 57 hardware startups (26 in Japan, 30 in the US, and 1 in Singapore). MZV also provides technical consulting services based on the knowledge and network from prototyping to mass production. MZV has supported more than 190 manufacturing projects, mainly startups. (All figures are as of March 31, 2023)

SOURCE Brelyon

CUEN – Cuentas Unveils State-of-the-Art Disaster-Resilient Buildings in Florida, tapping into a $2.1 Trillion Market to Reshape Real Estate’s Future

CUEN – Cuentas Unveils State-of-the-Art Disaster-Resilient Buildings in Florida, tapping into a $2.1 Trillion Market to Reshape Real Estate’s Future

CUEN – Cuentas Unveils State-of-the-Art Disaster-Resilient Buildings in Florida, tapping into a $2.1 Trillion Market to Reshape Real Estate’s Future










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November 21, 2023 8:30 AM EST

Cuentas Casa, the building division of the company has completed of its first ninety-six-unit multifamily development, utilizing groundbreaking construction technology, marks a significant departure from traditional methods and heralds a new era in building design

Revolutionizing the real estate landscape, Cuentas, Inc. (Nasdaq: CUEN & CUENW) is thrilled to announce a groundbreaking milestone in innovation. The company proudly revealed a state-of-the-art multifamily building using natural disaster-resilient building technology. This cutting-edge development marks CUEN as a leader in pioneering resilient infrastructure, ensuring a safer and more secure future for homeowners in the United States, and demonstrating its steadfast dedication to providing affordable, sustainable, and reliable housing solutions.

MIAMI BEACH, FL, Nov. 21, 2023 (GLOBE NEWSWIRE) — Cuentas, Inc. (Nasdaq: CUEN & CUENW), the foremost developer of fully integrated cybersecurity, telecommunications, and financial applications for the unbanked and underbanked Hispanic market, has released a management update highlighting the use of a pioneering construction method, reminiscent of interlocking LEGO bricks. This method forms entire structures engineered to withstand natural disasters, boasting top-tier ratings for hurricane and earthquake resistance. This marks the initial phase of Cuentas’ visionary goal to revolutionize housing affordability through innovative construction practices.

In a significant management update, Mr. Arik Maimon, CEO of Cuentas, shared insights into the company’s triumphant foray into real estate investments and the strategic alliance with RENCO. The completion of its inaugural ninety-six-unit multifamily development using revolutionary construction technology represents a departure from traditional methods.

This milestone has garnered extensive media coverage, with a special focus on core products manufactured with naturally occurring raw materials and recycled products in an environmentally friendly process. A video coverage by a leading US news outlet showcases the Lakewood Village project, highlighting its versatility, departure from traditional materials, efficient construction, and cost-effectiveness. A video of the completed project and the use of the technology is available at: Cuentas Real Estate.

Lakewood Village Project

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Renco USA, a Florida-based company with nine patents, has developed a state-of-the-art structural building system comprising interlocking composite building units. These units join to form monolithic structures, are cost-effective compared to traditional materials, are self-supporting, lightweight, and environmentally friendly. Cuentas has secured a ten-year agreement  to leverage Renco’s technology, solidifying a strategically tight partnership for joint project development. A copy of the announcement can be found here: Cuentas and Renco Supply Agreement

In a significant move, management has invested in a 26-acre property in Tampa, Florida, and is planning a collaborative three hundred sixty-unit complex, branded Cuentas Casa. This investment underscores Cuentas’ commitment to sustainable, environmentally resilient, and durable construction, with a remarkable 63% equity participation in the project.

Mr. Maimon, CEO, emphasized, “The investments in Lakewood Village and our new project in Tampa stand as a testament to our management’s visionary approach and the strategic selection of this groundbreaking building technology. Our commitment to expanding Cuentas into the lucrative rental income real estate sector is bolstered by the cost-effectiveness and rapid construction capabilities of Renco’s technology, ensuring the provision of affordable and quality housing.”

Cuentas continues to excel in delivering strategic technology solutions within sectors that provide essential services to the general public, enhancing people’s lifestyles. This revolutionary leap forward signifies our commitment to redefine the way we envision, construct, and interact with the spaces that shape everyday life.

Looking ahead, Cuentas is poised to seamlessly integrate future resident services, including Cuentas Mobile, Cuentas Fintech, Cuentas Casa, secure financial services, and business and personal cybersecurity applications, creating a holistic and innovative living experience for our residents.
About Cuentas

Cuentas, Inc. (Nasdaq: CUEN & CUENW) is creating an alternative financial ecosystem for the growing global population who do not have access to traditional financial alternatives. The Company’s proprietary technologies help to integrate FinTech (Financial Technology), e-finance and e-commerce services into solutions that deliver next generation digital financial services to the unbanked, under-banked and underserved populations nationally in the USA. The Cuentas Platform integrates Cuentas Mobile, the Company’s Telecommunications solution, with its core financial services offerings to help entire communities enter the modern financial marketplace. Cuentas has launched its General Purpose Reloadable (GPR) Card, which includes a digital wallet, discounts for purchases at major physical and online retailers, rewards, and the ability to purchase digital content. In Q1 of 2023 Cuentas launched Cuentas Casa, an alternative housing development initiative that secured a 10-year supply agreement for a patented, sustainable building system that will provide the bridge between its technology solutions and the affordable housing market. Cuentas has made investments to date in affordable housing projects for over 450 apartments. LINK: https://cuentas.com  AND   https://cuentasmobile.com

Forward-Looking Statements

This news release contains “forward-looking statements,” as that term is defined in section 27a of the United States Securities Act of 1933, as amended, and section 21e of the United States Securities Exchange Act of 1934, as amended. These forward-looking statements involve substantial uncertainties and risks and are based upon our current expectations, estimates and projections and reflect our beliefs and assumptions based upon information available to us at the date of this release. We caution readers that forward-looking statements are predictions based on our current expectations about future events. These forward-looking statements are not guarantees of future performance and are subject to risks, uncertainties and assumptions that are difficult to predict. Our actual results, performance or achievements could differ materially from those expressed or implied by the forward-looking statements as a result of a number of factors, including, but not limited to, Nasdaq and shareholder approval of the proposed transaction, our ability to manage our research and development programs that are based on novel technologies, our ability to successfully integrate WHEN operations and product offerings, the sufficiency of working capital to realize our business plans and our ability to raise additional capital, market acceptance, the going concern qualification in our financial statements, our ability to retain key employees, our competitors developing better or cheaper alternatives to our products, risks relating to legal proceedings against us and the risks and uncertainties discussed under the heading “RISK FACTORS” in Item 1A of our Annual Report on Form 10-K for the fiscal year ended December 31, 2022, and in our other filings with the Securities and Exchange Commission. We undertake no obligation to revise or update any forward-looking statement for any reason.

Contack Information:

Arik Maimon

CEO at Cuentas Inc

Cuentas Inc. (NASDAQ: CUEN)

Phone:  800-611-3622 

Mobile: 786-774-2835

Web: www.cuentas.com

Email: [email protected]

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Art Basel Hong Kong returns to full scale for its 2024 edition

Art Basel Hong Kong returns to full scale for its 2024 edition
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EN |  |  |  |

Art Basel Hong Kong returns to full scale with a 2024 edition featuring 242 premier international galleries and a vibrant program both within and beyond the Hong Kong Convention and Exhibition Centre (HKCEC)

  • Art Basel’s 2024 Hong Kong edition will feature 242 galleries from 40 countries and territories, a 37% increase in exhibitor numbers compared to 2023 that marks a return to the show’s pre-pandemic scale
  • Once again, the fair will shed light on the rich art scenes of Asia and beyond, with more than half of all exhibitors operating spaces in the region
  • 68 galleries will return after a hiatus, including notable names like Galerie Lelong & Co. from France, Galleria d’Arte Maggiore G.A.M. from Italy, kurimanzutto from Mexico, and Experimenter from India
  • 25 galleries from across Asia, Europe, Africa and the Americas will join the fair for the first time
  • Art Basel, in collaboration with galleries, artists, world-class institutions, and cultural partners, will present a dynamic city-wide program of events and activations throughout the show week
  • Art Basel Hong Kong, whose Global Lead Partner is UBS, will take place at the Hong Kong Convention and Exhibition Centre (HKCEC) from March 28 to 30, 2024, with Preview Days on March 26 and 27

Art Basel today announced the list of 242 leading international galleries selected for its 2024 Hong Kong show. This represents a return to pre-pandemic numbers, with an additional 65 exhibitors joining the fair compared to 2023. Galleries from 40 countries and territories across Asia, Europe, North and Latin America, the Middle East, and Africa will present artworks of the highest quality spanning all market segments, from 20th-century masters to established contemporary artists and today’s most exciting emerging voices.

25 international galleries known for their engaging program will join the fair for the first time: Station (Melbourne, Sydney), Tim Van Laere Gallery (Antwerp, Rome), Almeida e Dale Galeria de Arte (São Paulo), Mangrove Gallery (Shenzhen), Hua International (Berlin, Beijing), Fitzpatrick Gallery (Paris), Galerie Zink (Seubersdorf in der Oberpfalz), Gallery 1957 (Accra, London), Galleria Massimo Minini (Brescia), Waitingroom (Tokyo), Morán Morán (Los Angeles, Mexico City), Hafez Gallery (Jeddah), PTT Space (Taipei), Each Modern (Taipei), Public Gallery (London), Alison Jacques
(London), YveYang (New York), Bortolami (New York), Nonaka-Hill
(Los Angeles), Rodeo (London, Piraeus), Dvir Gallery (Brussels, Paris, Tel Aviv), Chini Gallery (Taipei), √K Contemporary
(Tokyo), Linseed (Shanghai), and Chapter NY (New York).

68 galleries will return to Art Basel’s fair in Asia after a brief hiatus, including established international names such as: Galerie Lelong & Co. (Paris, New York), Lisson Gallery (Beijing, Shanghai, London, Los Angeles, New York), Matthew Marks Gallery (Los Angeles, New York), Miguel Abreu Gallery (New York), Regen Projects (Los Angeles), Sprüth Magers (Berlin, London, Los Angeles, New York), Tanya Bonakdar Gallery (Los Angeles, New York), Galleria Franco Noero (Turin), Acquavella Galleries (New York, Palm Beach), Galleria d’Arte Maggiore G.A.M. (Bologna, Rome, Venice), Annely Juda Fine Art (London), Modern Art (London), kurimanzutto (Mexico City, New York), and Galerie Eva Presenhuber (Zurich, Seoul, Vienna). 

Major galleries from Brazil will also make a comeback: Gomide & Co (São Paulo) and first-time participant Almeida e Dale Galeria de Arte (São Paulo) for a joint presentation, and Mendes Wood DM (São Paulo, Brussels, New York, Paris).

Once again, the show will provide an unparalleled and dynamic overview of artistic production across the Asia-Pacific region, from historical rediscoveries to work by contemporary practitioners. More than half of all exhibitors operate spaces on the continent. In addition to a strong presence of galleries from Hong Kong SAR, Mainland China, South Korea, Japan, and Taiwan, notable galleries from Australia, New Zealand and India will showcase their program, including: Sullivan+Strumpf (Melbourne, Sydney), Fine Arts, Sydney (Sydney), Station (Melbourne, Sydney), Fox/Jensen (Auckland), Experimenter (Kolkata, Mumbai), Vadehra Art Gallery (New Delhi), Tarq (Mumbai), and Jhaveri Contemporary (Mumbai).

Angelle Siyang-Le, Director, Art Basel Hong Kong, said: “Art Basel Hong Kong is excited to announce our 2024 edition, returning in full scale with a warm welcome to exhibitors from around the world, including the 68 galleries that had taken a hiatus and 25 newcomers. Our goal is to connect guests from all around the world in our home, Hong Kong, by offering possibilities of collaboration and innovation inspired by art and artists. As the key strategic cultural hub in Asia and Asia Pacific, the city plays an important role, more than ever, in bridging the evolving art landscape across regions.”

Download the full press release here.

Kendall Ross Gets Personal with Her Colorful Sweaters Embedded with Stories

Kendall Ross Gets Personal with Her Colorful Sweaters Embedded with Stories

“I would never wear this in public” (2022), hand-knit with wool the artist hand-dyed for Factory Obscura in Oklahoma City. All images © Kendall Ross, shared with permission

Creating pieces that are part artwork and part fashion, Oklahoma City-based artist Kendall Ross of I’d Knit That imbues her knitwear with plenty of personality. “My I’d Knit That project got started because I thought the name was funny, and I was convinced I needed to claim the Instagram handle before someone else did back in 2019,” she tells Colossal. “Originally, it was a very casual way for me to share photos of what I was making and to organize knitting meet-ups with my friends from college. Still, I started taking it very seriously, and it ended up being a very important way for me to share my art and connect with other artists.”

Ross emphasizes bright hues in her pieces, using stitching methods like intarsia or Fair Isle colorwork—also known as stranded colorwork—to illustrate playful graphics and incorporate original texts. In a statement on her site, she writes that she is “drawn to telling unapologetically intimate, complicated stories of feminine, overlooked moments…putting private emotions on display for people to wear on their chest in their public lives.”

All of Ross’ vests and cardigans are hand-knit from either acrylic or wool yarn, the latter of which the artist hand-dyes herself whenever she is able. “I have done a lot of hand-dyeing in the past, and I really love the process of it,” she says, sharing that space is limited in her home studio, so she isn’t able to add color to all of her materials. This winter, she’s looking forward to a residency at Penland School of Craft in January, where she’ll focus on the hand-dyeing process.

Ross is currently working toward shows in 2024 in Oklahoma City, Tulsa, and the Pacific Northwest, and she also teaches at the Oklahoma Contemporary Arts Center, where this winter, she is offering a class on how to knit sweaters for dogs. “I think they only agreed to let me do it because I talk about my basset hound Frankie so much, but I’m very excited about it!”

Find more in the artist’s shop, and follow updates on Instagram. (via Kottke)

 

“Girl Talk” (2021), hand-knit acrylic

Left: “Stress Knit” (2022), hand-knit wool. Right: “Bad Driver” (2022), hand-knit with wool the artist hand-dyed

“Product Placement” (2023), hand-knit wool

“Fake Vest” (2023), hand-knit wool

Left: “Storyteller 2” (2023), hand-knit with wool for La Colombe Coffee. Right: “Company” (2022), hand-knit with wool the artist hand-dyed

“Everyone will forget about this” (2023), hand-knit with wool the artist hand-dyed

“Boring” (2023), hand-knit wool

Do stories and artists like this matter to you? Become a Colossal Member today and support independent arts publishing for as little as $5 per month. The article Kendall Ross Gets Personal with Her Colorful Sweaters Embedded with Stories appeared first on Colossal.

Is This the World’s Highest Grossing Photograph?

Is This the World’s Highest Grossing Photograph?
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“Girls in the Windows” wasn’t made by an art world giant, but people keep buying it. And buying it. And buying it.

Standing on a second-story fire escape, a photographer named Ormond Gigli is shouting instructions through a bullhorn. Forty models are posing in the window frames of brownstones across East 58th Street on Manhattan’s Upper East Side, a menagerie of colorful dresses and evening gowns. Two more women stand on the sidewalk, next to a silver Rolls-Royce.

It is the summer of 1960 and Gigli is in a rush. Demolition on the brownstones has already begun — that’s why there’s no glass in those windows — and the day after the shoot, the buildings will be razed. But the demolition supervisor has agreed to let Gigli commandeer the place for two hours during an extended lunch break, under one condition: The supervisor wants his wife in the picture. (She’s on the third floor, third from the left.)

Nobody has hired Gigli, a 35-year-old freelance commercial photographer, to create “Girls in the Windows.” He’s working without an assignment because he wants to memorialize those buildings, which stand directly across the street from his home studio. What he doesn’t know is that the image will become one of the most collected photographs in the history of the medium.

Over the last 30 years, roughly 600 signed and numbered copies have been sold, at prices that typically range between $15,000 and $30,000. The image is offered at galleries around the world — in New York, Los Angeles, Palm Beach, Cleveland, Atlanta, Boston, Santa Fe, London, Paris and, until the invasion of Ukraine, Moscow. Buyers who want to cut out the middleman can buy directly from the artist’s estate.

Ormond Giglivia Ogden Gigli

“Girls in the Windows” is also a darling of the auction market. More than 160 have been offered over the years at Phillips, Christie’s, Sotheby’s and other houses, according to Artnet. In 2017 alone, an amazing 13 copies were put on the block and instead of depressing the prices, one of them set a record for the image, at $56,906. Seven have been sold at auctions this year, and on Tuesday bidders will vie for yet another one at Phillips in London. The high estimate is 25,000 British pounds, roughly $31,000.

The standard art market rules of supply and demand simply don’t apply to “Girls in the Windows.” Add up all the copies already sold and multiply that figure by the price of each copy and you end up with a number in the range of $12,000,000.

“We’ve had discussions about this internally,” said Caroline Deck, senior specialist of photographs at Phillips in New York City. “It must be the highest grossing photograph of all time.”

It’s hard to know for sure if that’s true. A few photographs have turned up at auction more times than “Girls,” including Henri Cartier-Bresson’s “Rue Mouffetard,” a 1954 black-and-white image of a young boy proudly toting two bottles of wine down a street. And a number of individual photographs have fetched spectacular sums, including work by Man Ray (“Le Violon d’Ingres,” which sold for $12.4 million) and Edward Steichen (“The Flatiron,” $11.8 million.)

But the notion that “Girls” might well belong in a discussion about the most valuable photographs in history raises a question: How did an otherwise obscure commercial photographer, who spent much of his career photographing celebrities and politicians for magazines like Parade and Life, crash a party filled with some of the most famous artists in the world?

The answer starts with the image, of course, which is a brassy, joyful combination of glamour and urban grit with a dash of “Mad Men”-era nostalgia. The building embodies a glorious slab of vanishing New York City, and those women look like they’re ready to break into song.

“If you come to the gallery, we’ve got a lot of stuff hanging and that’s the one they always stop in front of,” said Etheleen Staley, co-founder of Staley-Wise, a gallery in SoHo, the first to sell a copy of “Girls.” “They love it and they’ll pay a lot of money for it and ignore that there are a million out there.”

A “million” overstates the matter, but it hints at the other secret of the success of “Girls” — a very robust supply. Starting around 2010, and before his death in 2019, Gigli produced, printed and signed hundreds of copies of the photograph, in a variety of sizes and on a variety of photographic papers. He did so at the behest of his son, Ogden, 63, a photographer who now runs his father’s estate and who masterminded the unique sales strategy that turned the image into a phenomenon.

“It was all me, saying to my father, ‘Whatever we do, whatever editions we make, I can sell them, don’t worry,” said the younger Gigli, from his studio in Pittsfield, Mass., home to what could be called Girls in the Windows Inc. “I saw that we needed to have inventory for the day my father passed and it was my belief that the appeal of this image would carry on forever.”

Typically, fine art photographers sell five or six copies of an image in one or two sizes. Scarcity is intended to drive interest and sustain prices. “Girls” has been printed in 12 different sizes and in each size the Giglis created dozens of photographs. There are 75 copies of the 50-inch square edition, for instance, and 44 copies of the 27-inch square edition.

“The reason it’s successful is that there is product for people to own,” Ogden Gigli explained. “And they’re not worried that there are hundreds out there. They’re thinking that $10,000, $20,000, $30,000 isn’t a lot for one of the world’s best images.”

Ormond Gigli’s son, Ogden Gigli, in his photo studio in Pittsfield, Mass.Kristen Tomkowid for The New York Times

Ormond Gigli grew up in New York City and took up photography in his teens. He joined the U.S. Navy during World War II, serving as a photographer, and later bought the brownstone — still standing at 327 East 58th Street, now home to the permanent mission of the Kingdom of Cambodia to the United Nations — where he set up his home studio. He took assignments from The Saturday Evening Post, Time and other magazines. John F. Kennedy stopped by the studio to have his portrait taken by Gigli in 1961. Boris Karloff arrived with a man dressed as Frankenstein. Gigli coaxed a mule onto the premises for a hillbilly-themed shot of the actress Gina Lollobrigida.

At some point in 1960, Gigli realized that a clutch of brownstones across the street were about to disappear. Manhattan was just entering its maximum-occupancy phase, obliterating tenements and constructing high-rise apartment buildings. The idea for “Girls” came to him close to the day of destruction.

“There was very little planning beforehand,” said Sue Ellen Gigli, his wife, 95, who spoke on the phone from her son’s studio. “But we knew those buildings were coming down so he thought about what he could do to remember them as they were.”

Sue Ellen Gigli wasn’t just an onlooker during the “Girls” shoot. She is standing in a window, second row, far right. She remembers a bit of a frenzy and a focus on costs. The 40 models came from an upstart agency, and none of them seemed to mind the pay — $1 per woman for the whole gig. Nor did they flinch when asked to bring their own outfits, or do their own hair and make up.

The Rolls was borrowed from a dealership nearby. A small disaster was averted when a Con Edison crew agreed to pour concrete on a patch of sidewalk it had just dug up. The women stepped around debris to climb the tenement stairs and, from across the street, Ormond Gigli arranged them just so.

“I moved them around to spread out the colors,” he told The Guardian in 2013, “and told them to pose as if they were giving someone a kiss.”

The image first ran in Ladies’ Home Journal, then a handful of other publications. It didn’t become commercially available until 1994. That year, Sue Ellen Gigli called Sotheby’s and asked if it would sell “Girls in the Windows.” An in-house expert advised her to find a gallery that would represent her husband. The Giglis soon hopped on a subway to SoHo, a copy of “Girls” in hand.

“We took to it instantly,” recalled Staley, the gallerist. “In the beginning it was just us. Now Ogden sells to whomever he wants.”

Ogden Gigli keeps close tabs on his many sellers. If he learns that a gallery is peddling “Girls” at a discount, that gallery is cut off. And he provides copies to auction houses at a pace intended to maintain a baseline price. Which doesn’t always work. Over the years, about 30 have copies failed to sell at their low estimates at auctions, Artnet reports. (The auction house will usually find a buyer privately, hold the image for a future auction or return it to Gigli.)

The vast majority, though, are gaveled out the door. Buyers rhapsodize about the image and are undaunted by the sheer quantity of “Girls” in the world.

“I didn’t buy it to make money,” said Jim Buslik, 73, a principal in the commercial real estate business in New York, who bought his copy in 2008. “It hit me the first time I saw it and every day after that.”

Unsurprisingly, auction houses regularly contact Gigli and ask for a “Girls.” That’s what Phillips did a few weeks ago, requesting the copy that will sell Tuesday.

“Departments do have to hit their numbers,” said Joshua Holdeman, head of the Hammond Group, an art advisory firm, who has worked at all three of the major auction houses. “And if they know it’s an easy sale and it’s going to sell at a certain price, it’s like, totally easy money.”

Gigli says he has about 100 “Girls” left, including black-and-white copies that he describes as so stunning he’s a little reluctant to part with them. But he will, and once everything is sold, one of photography’s most improbable runs will come to end.

Unless it doesn’t. Some heirs of deceased artists produce “estate prints,” which look identical and simply lack the artist’s signature. (They get an estate stamp instead.) Estate prints of “Girls” would surely fetch lower prices, but how much lower is unclear.

“That’s a market I need to research,” Gigli said. “You never know.”

Junction Arts unveils new art installation in Chesterfield town centre

Junction Arts unveils new art installation in Chesterfield town centre

By Josh Marsh

A new art installation has been unveiled at Elder Way in Chesterfield town centre this week, created by artist Lucie Maycock to shine a light on community arts in Chesterfield and raise awareness of local charity, Junction Arts.

Jomast, the company which has developed the former Co-op department store building on Elder Way, commissioned the piece to bring colour and light to the building this winter, creating a point of interest while telling the story of Junction Arts and the work they do in the community.

The artwork can be seen in the window of one of the new units in the Elder Way building.

Entitled ‘We are all artists and creators’, the artwork includes original illustrations, which frame a stunning collection of lanterns that have been made by the local community over the last three decades, for the annual Bolsover Lantern Parade. People can see the display in the window located opposite the Co-op Bank, which is best viewed in the evening when the lanterns are lit up – over 7000 lights have been used to bring the artwork to life.

The window was designed by Chesterfield artist and Junction Arts board member Lucie Maycock, who has a personal connection to the building. Lucie’s Mother, Karen Maycock was the Display Supervisor for the Co-op, dressing the windows at the old department store for over 30 years before it closed. Karen has been on hand to help Lucie with the design, revisiting her old place of work to ensure that the window display is perfect.

Lucie said: “When Junction Arts asked me to create the window display on Elder Way in the old Co-op building, I was excited by the idea. Not just about the project itself but the link to my Mum and her career as a window dresser in the same building. I grew up seeing my Mum in the windows of this beautiful department store, I remember walking home from school via town to see if I could see her and knock on the window to say hi and show all my friends that this is what she did as a job.

“I asked my Mum if she wanted to help create the arrangements for the window display. She was really excited about going back there and helping me to make the fabulous creation come to life. I am so lucky to have her skills and expertise to help execute this project, it’s a real privilege.

“Drawing onto the window was a wonderful experience. I kept imagining that this was how my Mum would have felt for all those years she spent at the Co-op. As people walked by, they were so friendly, saying hi, asking what I was doing and generally being wonderful. I felt emotionally connected to the artwork, space and purpose of this project.

“Doing this window for Junction Arts was a pleasure and I feel privileged to be promoting my passion for community arts whilst working with my Mum, and being able to put myself in the same place she did so many times.”

Junction Arts is an award-winning participatory arts charity, that was established in 1976 to develop and deliver engaging arts experiences within disadvantaged areas, to improve wellbeing, build confidence and skills, address inequality and inspire change. The local charity runs several projects throughout the year as well as organising events including The Chesterfield Children’s Festival, Tapton Lock Festival and Bolsover Lantern Parade.

Junction Arts Managing Director, Emily Bowman said: “Thank you to Jomast for giving us this opportunity to showcase community art in the town centre, it’s great to see the lanterns as the centrepiece to the design, as we are celebrating 30 years of the Bolsover Lantern Parade this year. We hope that Lucie and Karen’s amazing work will bring light and hope to people, inspiring them to get creative in their communities. The window perfectly reflects the work we do in Chesterfield and North East Derbyshire and I hope it encourages more people to engage with us in the future.”

Jomast’s Commercial Property Director Mark Hill said: “We’re all really excited by the artwork that Lucie is creating. Her link to the building’s former use as a Co-op department store is remarkable and we couldn’t think of anyone better placed to bring one of the new units to life with this stunning artwork. The lanterns really will shine a light on this beautiful building and its redevelopment.”

The artwork will be on display until spring 2024. For more information visit www.junctionarts.org or follow Junction Arts on social media @JunctionArtsUK.

Junction Arts and Elder Way Development support the marketing and economic growth of the town through Chesterfield Champions, a network of over 200 organisations across Chesterfield and North Derbyshire.

junction arts elder way window