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The contemporary Chinese art is sick ...

was inevitable. Four years after the great boom in Chinese contemporary art market one begins showing the first signs of cansaçoe, according to the Herald Tribune (December 5 edition), the end state of grace may be in sight. Under normal circumstances, would tell that it was only a reflection of the economic crisis across the planet from one end to another. After all, the disastrous results in recent auctions indicate the possibility - in the last auction of Chinese art at Christie's, on November 30 in Hong Kong, only 18 of the 32 works that went under the hammer and found a buyer that is priced below expectations. But the other contours win situation if we consider that in recent years there has been a spontaneous generation of artists who, except honorable exceptions, literally walked trailer of a market trend.

In four years, the Chinese carousel was amazing, almost a joke: It is confirmed, overvalued talent to so many; speculation has inflated the market price and produced false icons and, above all, gave to understand that the Chinese contemporary art has become so important that at some point, Briefly, naively believed that we were facing a vanguard of the twenty-first century. Is there, in fact, a common denominator of these artists clearly pointing to the notion of movement or trend. And one manifestation of this nature, which the market breaks out in block transmitting a certain cultural ideal of contemporary China, can not be neglected. However, the statute seems to us unfair edge - an idea that will certainly be duly considered in the coming years, after the dust settles ...

However, this is perhaps the best time to get some interesting pieces at good prices. Forgotten unbridled euphoria of recent years and speculators to turn to other places, the crisis itself will help bring some sense and reset the logic of the market, separating the wheat from the chaff, the essential accessory. And above all, to produce a balance that will offer a real vision of what is Chinese contemporary art. With its eyes on the East, the question imposes itself: and now, who will be the last laugh? ...

Yue Minjun, "Between Men And Animal" (2005)

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HOW TO MAKE A Happening? - Allan Kaprow



How to make a "happening"? Apparently, the answer to the question is not easy and even intertwined with the very definition of "happening" - A kind of performance previously staged, although given many times the improvisation exercises, which typically occurs in unusual places and encourages the involvement of the viewer in the action itself. Incessantly created and exploited by the American Allan Kaprow in the late 50s, would become quite popular in the next decade, thousands of artists when they adopt it as the means of artistic expression par excellence, gradually abandoning painting.
The democratization of the "happening" not only in America but all over the world, gave rise to a new chapter of central importance in the history of twentieth century art. Despite its acceptance by the art institution, the medium was far from consensual. The discussions around the "happening" animated the academic circles, that every day raised a number of problems with which it was difficult to handle.
The truth is that everyone was a "happening" but they were few who ventured to describe step-by-step preparation of the same, since the birth of the idea to its completion. In 1966, Kaprow decided to finally unveil the recipe and cast album "How To Make A Happening", which explains in detail what we do, and do, develop a "happening". Originally posted by Mass Art, the album never came to be distributed on a large scale due to the bankruptcy of the publisher just before its launch. Now, by the hand of the publisher Primary Information, "How To Make a Happening" back on shelves in CD format (1000 copies) - a duly signed release during its presentation at the Maccarone Gallery in New York, where historic recording was played simultaneously by one hundred radios. Orders are made here.