"These stories about collectors of contemporary Asian art are really important because they are a way for us to understand the incredibly rapidly developing history of Asian art. It has gone from zero to a hundred in just a couple of decades almost. And the collectors are at the centre of this process; they actually not only drive it, but also construct history to a large extent. They play the same role as the collectors in the early 20th century in the US, for example, and through the study of them we actually understood why things developed the way they did in the US. So I think this is an incredibly important process and project."
Lars Nittve
Advisor, M+ Museum of Visual Culture
Hong Kong
on Leading Patrons of Asian Art, MAY 2014
Screening of Uli Sigg: China's Art Missionary
Yogjakarta, Nov 15
“I’m certainly grateful for this platform, and I can’t help feeling that there’s something renegade about holding this show in Gillman Barracks, which is primarily geared towards the selling of art by establishd commercial artists. In fact, I don't think there’s ever been a survey of young emerging artists quite as extensive as this. It’s definitely the first time I’m showing art in a container! I really hope it’d be a yearly affair.”
Fyerool Darma on SCOUT
Business Times, 16 Jan 2016
What makes this project so interesting is that Patricia is actually taking the time to research and search out these collectors who are truly and deeply passionate about modern and contemporary art, not brand-new collectors who are in search of fame or social status and are really just flaunting their brand-name artists or how much money they can spend. These collectors have been deeply committed to supporting artists that you see in their collection and also building a comprehensive collection that actually tells a story."
Elaine Ng, Editor, ArtAsiaPacific
Hong Kong
on Leading Patrons of Asian Art
May 2014
Screening of Uli Sigg: China's Art Missionary
Hong Kong, May 14
"On why Sculpture Square was the
only first-time recipient for NAC grant , NAC cited “its strong commitment to
present quality visual arts, “in developing
new and young audiences” and its
ability to establish “a stable
administrative team to manage and
market the venue well”.
Oon, C. (2001), “NAC grants gallery’s wish” Straits Times, August 18, 2001 p.3
The 24 Hour Art Practice is an intimate, revealing look at The Oei Hong Djien (OHD) Museum in Magelang. Suggestive without being accusatory, Chen's film pointedly highlights the issue of how far public standards of accountability ought to be imposed on what are ostensibly “private” collections built up by wealthy individuals who may not always see eye to eye with the self-appointed guardians of a nation’s cultural heritage. It prompts the beginnings of a wider discussion on how private museums need to engage with the question of their public profile, and perceived role as an arbiter of academic and art historical value, in a region where the state has not yet adequately filled these roles.
Darryl Wee
Head of Visual Arts, Asia
ArtInfo.com
on The 24-Art Practice, February 2016
Screening of The 24-Hour Art Practice, Authentication in Art Congress, The Hague, May 16
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