Public Sessions

Chinese Art Markets: Introduction

The Chinese art market has changed drastically over the past few years. Chinese collectors are now even more open to acquire international art, which has created layers of affects throughout the Chinese art world. Some of these affects include investigations into what artwork is created, and what exhibitions the public wants to see. Simultaneously, economic climates are undergoing transformation, from international trade wars to declining growth rates. Beijing Art Summit will invite the most experienced participants in the Chinese art market to share their experience in order to shed more light on these dynamic and complex topics.

 

 

Panel A: Action and Reaction: Responsive Art Markets

         March 22, 2019, 10:00 – 11:30

The recent growth of the Chinese art market has been
based in part on the steady growth of the Chinese economy,
an economy that withstood the previous financial crisis. As this paradigm seems to be shifting, what does mean for the Chinese art market and the recent influx of Western galleries into the region? Is this a temporary localized issue or part of larger global situation?

 

Panel B: New Tastes, Different Prospects

         March 22, 2019, 11:45 – 13:15

This conversation will be addressing the increasing appetite for art from abroad by Chinese collectors and institutions. What role is this taking in the evolution of artistic practices in China? How are art professionals globally handling and / or discussing this development? What may be the long-term effects, if any, on the complexity of what taste implies across multiple regions.



Chinese Art Markets: Speakers


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Moderator: Mark Rappolt

Mark Rappolt is the editor-in-chief of ArtReview and ArtReview Asia, the latter of which he founded in 2013. He has written books on the architects Greg Lynn and Frank Gehry. His writing has appeared in a number of journals, magazines and newspapers, and included in catalogues on the artists Yuko Mohri, ádám Albert and John Kørner. In 2017, He co-curated (with Tom Eccles and Liam Gillick) Like a Moth to a Flame, a two-part exhibition spanning 4000 years of artistic production, at the Officine Grandi Riparazioni and Fondazione Sandretto Re Rebaudengo, both in Turin.

 

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Panelist: Mario Cristiani

Mario Cristiani was born in Calitri (AV) in 1964. He studied Political Science at the University of Florence. In 1990, together with his friends Maurizio Rigillo and Lorenzo Fiaschi, he founded Galleria Continua and Associazione Arte Continua. Occupying a former cinema, Galleria Continua established itself and thrived in an entirely unexpeced location, away from the big cities and the ultramodern urban centres, in a town — San Gimignano — steeped in history, timeless, magnificent. In 2005 Galleria Continua opened a new exhibition space in 798 Art Zone in Beijing, China and in 2007 Continua inaugurated ‘Le Mouli’, a new site specifically for contemporary creation in the Parisian countryside. In 2015, Galleria Continua established Arte CONTINUA Habana. Cristiani is also the President of Associazione Arte Continua, a not-for-profit association.


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Panelist: Liu Gang

Liu Gang is one of the leading lawyers within the Asian market and in 2010 he received the Legal Profession Lifetime Achievement Award from the Chambers and Partners. He began collecting oil paintings in 1993 and was one of the first collectors in the mainland to take part in the collection of Chinese contemporary art. With his unique taste and 26 years of experience, Mr. Liu has assembled a collection of artworks which span from the contemporary era all the way back to the 18th century. Mr. Liu is also a map collector and researcher of cartographic history. He published a non-fiction study in the Chinese cartography historiography. Particularly, in January 2006 The Economist published an article China Beat Columbus to It, Perhaps in which an old map collected by Mr. Liu was considered as evidence to prove that American continents were discovered by other navigators rather than Columbus. Upon The Economist publishing the article, the news about the old map made headlines around the world and reignited the controversy about who actually discovered the New World.

 

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Panelist: Lu Jie

Lu Jie is the initiator and leader of the Long March Project. In 2002, Lu Jie founded Long March Space in Beijing’s 798 Art District. The space integrates exhibitions, the art market, the commission and collection of works, independent projects, residencies, academic research, conferences and lectures, publishing, and management consultation. It is a hub for communication and cooperation between the international and local art communities. It manifests itself as a complex, multi-faceted platform, open-ended ongoing art project, and an international arts organization based in Beijing. Lu Jie frequently attends international academic conferences and lectures at art colleges, galleries and institutions around the world. He participated in the founding of the China Academy of Art’s Masters Program in Contemporary Art and Curatorial Studies, the first such program in China, and was also invited to serve as a visiting professor. Lu Jie was born in Fujian, obtained his BFA from the China Academy of Art in Hangzhou (1988), and his MA in Creative Curating from Goldsmiths College, University of London (1999).



Moderator: Colin Siyuan Chinnery

Colin Siyuan Chinnery is the Artistic Director of Beijing Art Summit. He is a curator, critic, and artist based in Beijing, as well as the founder of Sound Museum and contributing editor for frieze Magazine. He was born in the UK and has lived in Beijing since the 1990s. Chinnery has extensive experience in curatorial practice and art management. He was the Director of ShContemporary Art Fair in Shanghai (2009 – 2010), and before that, Chinnery was Chief Curator / Deputy Director at UCCA (Ullens Center for Contemporary Art) in Beijing (2006 – 2008), and the Arts Manager for the British Council in Beijing (2003 – 2006). He has curated many projects in experimental theatre, live art, sound art, and visual arts, including Aftershock: Contemporary British Art 1990 – 2006 (2007, Guangdong Museum of Art and the Capital Museum in Beijing) and one of the most influential sound art projects Sound and the City (2005 – 2006).

 

 

Panelist: Lin Han

Lin Han is a Chinese contemporary art collector who together with his wife Lei Wanying founded the M WOODS art museum in the Beijing 798 Art Zone in 2014. Dedicated to supporting growth of young Chinese contemporary artists he has initiated a series of public art education programs to propel the development of contemporary art in China and provide access to a broader audience. In 2015, Lin joined the Dia Art Foundation’s Art Council. Recently, he has organized and participated in various events, including the M MEASURES FORUM Virtual reality – Paul Mccarthy¡¯s  Video Art Experiment (2018), the exhibition of Overseas Kizil Grottoes Murals & Recovered Cave Images, as well as taking part in the academic seminar Research of the Kizil Grottoes and the Silk Road. Lin Han participated in the film production and interviews on Kizil themed exhibition of the Chinese News Station CCTV 4’s Monks and Artists. He also organize the artist talk program Liu Wei and Tuymans: A Dialogue on Paintings  at CAFA Art Museum (2018).


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Panelist: Gregor Muir

Gregor Muir is presently the Director of Collection, International Art at Tate Modern. From 2011 – October 2016, Muir was Executive Director of the ICA, London, where he oversaw its exhibition programme. He also coordinated ICA Off-Site exhibitions in Birmingham, London and Hong Kong. Muir has frequently chaired panel discussion and talks with artists, including Lynda Benglis, Tracey Emin and Gilbert & George, as well as working on Frieze Talks in London. From 2004 – 2011, Gregor was the London Director of Hauser & Wirth, organising exhibitions in London, Zurich and New York with artists including Louise Bourgeois, Francis Picabia and Wilhelm Sasnal. Muir previously worked as the Kramlich Curator of Contemporary Art at Tate where he co-curated the first moving image exhibition Time Zones at Tate Modern, and In-a-Gadda-da-Vida with Angus Fairhurst, Damien Hirst and Sarah Lucas at Tate Britain, both in 2004. He also worked on contemporary art acquisitions for Tate Collections, and curated several displays of contemporary art from the Tate collection.

 

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Panelist: Tang Xin

Tang Xin graduated from the Tianjin Technology University in 1990. As an active curator in Beijing since 1997, Tang Xin has curated a series of contemporary art exhibitions locally as well as establishing different forms of artistic exchange with Europe. In 2003, she joined Taikang Life Insurance Ltd, where she founded and served as the director of Taikang Space until present, an art institution known as one of the most vital non-profit art organizations in China. At the same time, as the head of Art Collection of the Taikang Insurance Group, she has made it into a leading corporation collection in the field in terms of scale and historical importance for over a decade. Tang Xin continues to focus on the development and promotion of modern and contemporary Chinese art. She has developed a unique systematic research approach by association of the socialist red revolutionary period art with contemporary art; her contribution in the history of photography, feminist art and the discovery and support for young artists is also significant.





Art Ecologies: Introduction

Contemporary art is living art. Its existence is a response to specific cultural, social, and political contexts of today. The international art community, which exists primarily to support the production of knowledge and art, does so by bringing artists, curators, critics, collectors, publishers, commercial galleries, non-profit institutions, and audiences together in a mutually beneficial relationship. This complex arrangement of people and institutions runs parallel to real world contexts, such as economy and politics. As the world is changing, contexts change with it. What is the relationship between art and society today? How is art being used for urban regeneration? What new forms of symbiosis is there between different sectors of the art world? These are just three of many questions to be explored when discussing Art Ecologies.

 

 

Panel A: High and Mighty: Big Vision and Urban Regeneration

         March 23, 2019, 10:0 0 – 11:30

As urban centers are growing worldwide, this conversation will be addressing new developments in Chinese urban development with important international perspectives. Is it possible for art and culture to ‘get in front’ of regeneration? Professionals from different regions weigh in on the strengths of what is possible, how regeneration is different in a range of cultures, as well as how to make space for the vision of the unimaginable.

 

Panel B: Grassroots: Accessory or Necessity?

      March 23, 2019, 11:45 – 13:15

This conversation will be addressing perspectives on what a healthy art ecology looks like. How does the complexity of an art community change from region to region? As it is important to have growth in diverse aspects on any community, art, market or otherwise, what nurtures long term growth most effectively? Art professionals offer frank perspectives from in and out of China, reflecting on a wide, global context.



Art Ecologies: Speakers


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Moderator: Amy Sherlock

Amy Sherlock is a writer and editor based in London, UK. Since 2015, she has been the deputy editor of frieze, the international arts and culture publication, where she leads on coverage from Asia and of architecture and design. She is the curator of the annual Frieze Art & Architecture Conference, which takes place in London every October and has featured speakers including David Adjaye, Shigeru Ban, David Chipperfield and Annabelle Selldorf. In addition to frieze, she has had writing published in numerous academic journals, arts publications and national newspapers. She was one of the directors and curators of Open Source, a free, artist-initiated contemporary arts festival, which took place in East London between 2014 – 16.

 

Panelist: Mishaal Al Gergawi

Mishaal Al Gergawi is the co-founder and CEO of Axis, an enterprise SaaS startup based in New York. Mishaal began
his career in investment banking at HSBC and Deutsche Bank.
He went on to establish a family construction business and then joined the Dubai government as a project manager in charge of contemporary cultural projects. Most recently, he was the founder and managing director of The Delma Institute, a think tank and risk advisory firm located in Abu Dhabi. He holds a bachelor in business administration from the American University in Dubai and a masters of science in finance from Skema Business School. He speaks Arabic and English.


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Panelist: Alexis Şanal

Alexis Şanal, born in Los Angeles in 1974, is an architect. Alexıs’ vision of a streamlined relationship between people and the design of their environment is reflected in her academic and professional pursuits. She has received awards for her architectural / urban design contributions from the community which reflects her passion towards pedagogical, cultural and civic environments that serve as spaces of living culture; all while embracing technologies and ecologies intelligently within the physical and natural environment. She is currently leading the research intiative in the Istanbul street market structure, The Pazar, and is launching the Wedgetopia an initiative for transforming residual land into vibrant urban places. She is a member of Bomontiada’s creative board for the district-wide public realm realization. She graduated from MIT with a M.A. in City Planning (2002) and SCI-Arc with a B.A. (1995). 

 

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Panelist: Wang Yanling

Wang Yanling is the CEO of Beijing SevenStar Science & Technology Co., Ltd. (SevenStar Group), the chairman of Beijing 798 Creative Culture Industry Investment Co., Ltd, as well as the founder of 798 Art Zone. Since the year 2000, he has directed and propelled the renovation of abandoned old factories in the 798 district by transforming them into a cultural zone. In 2010, he successfully listed the Beijing Sevenstar Electronics on the stock market, creating a sustainable ecology for contemporary art institutions. He also made the strategic decision to allow for international art and cultural organizations such as UCCA, the Faurschou Foundation, and the Pace Gallery to become a part of 798, further enhancing the art zone’s influence within the global arena. Now that 798 has become a cultural icon of Beijing, its development has aided in the citiy’s urban regeneration. 798 attracts more and more global visitors every year, with more than 8 million visitors in 2018, it continues to play a vital role in the cultural exchange between China and the world.


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Moderator: Mari Spirito

Mari Spirito is the Curator of Beijing Art Summit. She has developed curatorial projects and taken part in art management internationally. She is the founding director of Protocinema, a non-profit art organization based in Istanbul and New York, realizing site-conscious exhibitions around the world since 2011. She has programmed Conversations for both Art Basel and Art Basel Miami Beach since 2014 and was a juror for the Art Basel Crowdfunding Initiative. She is an Associate Curator of Visual Arts, at the Onassis Cultural Center in both Athens and New York. She served as Curator and Director of Alt Art Space / Bomonti, Istanbul from 2015 to 2017, an Advisor to the 2nd Mardin Biennial, Turkey, 2012, and Director of 303 Gallery New York from 2000 to 2012. She is President of the Board of at Participant, Inc, in New York.

 

Panelist: Michelle Coffey

Michelle Coffey, as Executive Director, she designs, implements and furthers the strategic agenda, leadership and vision of Lambent Foundation. Through innovative grant making and projects, Lambent Foundation supports the intersections of contemporary arts and culture as critical strategies for social change. Lambent’s global grant making provides critical general operating support for artist-centered organizations in the visual, performance and alternative media fields in New York, New Orleans and Nairobi. With a global lens, her areas of focus included Human Rights, Women / Girls, Criminal Justice Reform, Arts and Culture and HIV / AIDS. Ms. Coffey served as a Program Officer for the New York Foundation for the Arts and the Walker Art Center in Minneapolis, MN.
She was Director of Starry Night Fund and Senior Philanthropic Advisor at Tides Foundation. In addition, she currently serves on the boards of The Vera List Center for Art and Politics at the New School , the Brownsville Multi-Service Family Health Care Center in East New York, and most recently, Creative Capital Foundation.


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Panelist: Anne Ellegood

Anne Ellegood has been the Senior Curator at the Hammer Museum since 2009. Previously, she was Curator of Contemporary Art at the Hirshhorn Museum & Sculpture Garden in Washington D.C. and from 1998-2003, she was the Associate Curator at the New Museum of Contemporary Art in New York. In addition to organizing exhibitions and building the collection, she oversees the Hammer Projects series and the Public Engagement program. Ellegood has contributed texts to a number of journals, including Artforum, Bomb Magazine, Art Journal, Tate Etc, etc. She has written numerous catalogue essays. Ellegood regularly lectures on contemporary art and participates on panels, juries exhibitions, and serves as a visiting critic to graduate programs in fine arts and curatorial practice. She received her MA in Curatorial Practice from the Center for Curatorial Studies at Bard College and has taught at Bard’s CCS, Rhode Island School of Design, School of the Visual Arts, George Washington University, and at The Center for the Study of Modern Art, University of Illinois at The Phillips.

 

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Panelist: Peng Xiaoyang

Peng Xiaoyang is the founder and director of the art spaces DRC No.12 (located in the Beijing diplomatic residence),
The Bunker and Tattoo Parlour. Using space as a basis to explore locality and realize diversity within the ecosystem of art, he has been a catalyst for experimental contemporary
art projects through the establishment and operation of independent spaces. Peng Xiaoyang is concerned with how a personal sense of expansion or isolation within an art system can damage individual rights. He intends to work out solutions through non-profit and decentralized art spaces. Since 2016, he has lead three art spaces and its curatorial projects and realized 23 exhibitions. After graduating from China University of Political Science and Law, where he majored in economic law, he continued to study civil and commercial law at Peking University where he earned his master degree. In addition, he has many years of legal work experience in the field of international trade.




Art & Technology: Introduction

Technology is changing the way we see and learn about life and art, as well as transforming art itself. The Digital Age is giving us completely new art forms as well as paths for communication, thinking and participation in culture and society. At this point it is hard to predict the rapidly evolving shape and needs of future museums, from their funding sources to what the exhibition experience and audience participation will be. How are artists, institutions, patrons and gallerists adapting to these changes in China and worldwide? What is the long-term relationship between the digital and the handmade? What kind of funding may come from crypto-currency? How long will it be until we see very good art in VR and AR? Beijing Art Summit brings together high profile and emerging art professionals to share their experience and knowledge and spark new conversations on technology, art and the not-yet-imaginable.

 

 

Panel A: New Aura: Art & The Small Screen

      March 24, 2019, 10:00 – 11:30

This conversation will debate the multiple issues of art and life, being experienced primarily via devices, and what has evolved out of this new experience. Is virtual-life now part of ‘real life’? How will museums and galleries evolve now that art can be experienced on devices, alone, anywhere? Artists and digital developers from across the globe weigh in on how screen-life impacts their communities and artworks.

 

Panel B: Front Lines On-Line

      March 24, 2019, 11:45 – 13:15

This conversation will debate the multiple directions and impacts, to date, of digital technology on art & culture, in China and globally – from both international and Chinese perspectives. Artists and curators give in depth reflections on the peer-to-peer culture, fluidity of identity and representation and new modes of thinking and art that are evolving now. In the field of art, where it’s all about relationships, how is the Digital Age shifting personal relationships?


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Moderator: Mari Spirito

Mari Spirito is the Curator of Beijing Art Summit. She has developed curatorial projects and taken part in art management internationally. She is the founding director of Protocinema, a non-profit art organization based in Istanbul and New York, realizing site-conscious exhibitions around the world since 2011. She has programmed Conversations for both Art Basel and Art Basel Miami Beach since 2014 and was a juror for the Art Basel Crowdfunding Initiative. She is an Associate Curator of Visual Arts, at the Onassis Cultural Center in both Athens and New York. She served as Curator and Director of Alt Art Space / Bomonti, Istanbul from 2015 to 2017, an Advisor to the 2nd Mardin Biennial, Turkey, 2012, and Director of 303 Gallery New York from 2000 to 2012. She is President of the Board of at Participant, Inc, in New York.

 

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Panelist: Karen Archey

Karen Archey is Curator of Contemporary Art, Time-based Media at the Stedelijk Museum Amsterdam. She is an American curator and art critic formerly based in Berlin and New York, and a 2015 Creative Capital | Warhol Foundation Arts Writers Grant recipient for short-form writing. Since joining the Stedelijk Museum in April 2017, Archey has organized solo exhibitions by artists Rineke Dijkstra, Stefan Tcherepnin, Catherine Christer Hennix, and Metahaven, as well as the latest edition of the Stedelijk Museum Amsterdam’s biannual Municipal Art Acquisitions: Freedom of Movement. She heads the Stedelijk’s research initiative on the conservation, acquisition and display of time-based media and also coordinates the museum’s performance program, recently commissioning new works by Alicia Frankovich and artist collective CFGNY. Archey previously worked as an independent curator and
editor for the New York-based organization e-flux. In 2014, she organized with Robin Peckham the exhibition Art Post-
Internet at Ullens Center for Contemporary Art in Beijing.


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Panelist: Cao Fei

Cao Fei, born in 1978 in Guangzhou and now based in Beijing, is one of the most innovative young Chinese artists to have emerged on the international scene. She mixes social commentary, popular aesthetics, references to Surrealism, and documentary conventions in her films and installations. Her works reflect on the rapid and chaotic changes that are occurring in Chinese society today. Cao Fei works have been showcased at a number of international biennales and triennales, including the Shanghai Biennale, the Taipei Biennale, Biennale of Sydney, theVenice Biennale, etc. She has also exhibited her works and projects at the Serpentine Gallery and the Tate Modern in London, New Museum, Guggenheim Museum, Centre Pompidou in Paris and so on. She was a nominee for the Future Generation Art Prize 2010 and the finalist of Hugo Boss Prize 2010. She received the Chinese Contemporary Art Award (CCAA), Best Young Artist Award in 2006 and Best Artist Award in 2016. She was also the recipient of Piedra de Sal Award at Cuenca Biennale in 2016.

 

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Panelist: Prodromos Tsiavos

Prodromos is the Head of Digital Development at the Onassis Cultural Centre and a Senior Research Fellow at The Media Institute at University College London (UCL) / BBC.
Prodromos has worked for the National Hellenic Research Foundation, the European Commission, Oxford and Oslo Universities, the Athens University of Economics and Business and the London School of Economics and Political Science (LSE). He read law and Information Systems in Athens and London and holds a PhD in Law and Information Systems from the LSE. Prodromos has worked as an adviser for the Greek Ministry of Infrastructure, Transport and Networks, the Special Secretary for Digital Convergence and a number of public sector bodies as well as companies in the cultural and creative industries. He has over 120 publications and talks on legal and business aspects of open data, Free / Open Source Software, open hardware and open innovation / fabrication. Prodromos is currently chairing the administrative council of the Greek Industrial Property Organisation.


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Moderator: HG Masters

HG Masters is a writer and editor with a focus on artists from across Asia. He is editor-at-large for ArtAsiaPacific (AAP) 
magazine. He worked previously as the managing editor of AAP, as well as editor of the 2010 ArtAsiaPacific: Almanac, a compendium of sixty country-by-country reports reviewing the year 2009 in Asian art. As a writer for AAP, he regularly contributes news stories and reviews covering events across Asia, and has written feature-length articles on artists including Lee Bul, Yoko Ono, Mona Hatoum, An-My Lê, Haegue Yang, Raqs Media Collective, Walid Raad, Guy Ben-Ner, Monir Shahroudy Farmanfarmaian, and Sigalit Landau. He has also written catalogue essays for Tradition Transformed, a 2010 exhibition of Tibetan contemporary art at New York’s Rubin Museum of Art, and for Palden Weinreb’s solo exhibition at Rossi & Rossi gallery, London.

 

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Panelist: John Gerrard

John Gerrard (b. North Tipperary. Ireland 1974) is widely regarded as a key figure in the development of simulation within contemporary art. Deceptively looking like film or video, his works are virtual worlds, made using real-time computer graphics, a technology developed by the military and now used extensively in the gaming industry. His recent exhibitions include a newly commissioned work at Manifesta, Palermo, Italy. Power. Play, Ullens Centre for Contemporary Art, Beijing, China, etc. John Gerrard’s work is in the
collection of Tate, London; MoMA, New York; SFMOMA,
San Francisco; LACMA, Los Angeles; Hirshhorn Museum
and Sculpture Garden, Washington; M+, Hong Kong and many private collections internationally. He received a BFA from Oxford University in 1997 and an MFA from the School of the Art Institute of Chicago in 2000. He lives and works in Dublin, Ireland and Vienna, Austria. He is represented by Thomas Dane Gallery, London, and Simon Preston Gallery, New York.
 


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Panelist: Rebecca Taylor

Rebecca Taylor is Executive Vice President of FITZ & CO’s London office. She oversees the Media (with Meg Blackburn, EVP) and Digital Marketing teams, spearheading strategic planning and overseeing marketing, including Almine Rech Gallery, Art Basel, ART021 Shanghai, BMW,among others.
In addition, Rebecca lectures extensively on the art world ecosystem at Christie’s, and has been a featured speaker at international conferences in Barcelona, Berlin, Bristol,
New York, and beyond. Prior to joining FITZ & CO, Rebecca spearheaded communications for MoMA PS1, The Getty and the Museum of Contemporary Art, Los Angeles (MOCA).
She also taught contemporary art history at UCLA Extension, and wrote for the Huffington Post and Khan Academy’s Smarthistory. Rebecca graduated with a Master’s degree in Modern Art, Connoisseurship and the History of the Art Market from Christie’s, as well holds as a Bachelor’s in Business Administration with a triple emphasis in finance, marketing and international business from
Chapman University.

 

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Panelist: Dillion Zhang

As an explorer and proponent of the ecosystem of art and technology in China, Dillion Zhang’s practice ranges from artistic research and creation, public art, art in daily life, art, and commerce, as well as cultural and creative industries. He founded the Chronus Art Center (CAC) in 2013, which is China’s pioneer nonprofit art organization dedicated to the academic presentation and research of media art. In March of 2016, Dillion founded MANA. Over the last 5 years, Dillion
has launched several projects such as: Helu Culture, an exhibiting company focused on the application of media art; What’s Media Lab, a Art and public space design consulting firm; UP gallery, a platform devoted to practices and research of public art; as well as MTA the research center of public art. In May of 2016, he created EXTRA TIME, a multi-functional space based on consumer experience that combines art, film, and design. For the past 7 years, Dillion has constructed an ecosystem which integrates art and technology in the context of industry, culture, and innovation.