As I have noted, on a number of occasions, in a number of forums [see, for example,    for a good overview], many people have become involved in the art market, in China, solely, because they have heard “it can make money.”  We have seen people become art dealers, open art auction houses, and develop art securities, who have no idea about art or the market.  Indeed, a recent experience provides a good example of the focus on money, in the art market, in China.

Art Canton is an art fair that was recently begun by inexperienced locals.  There had been a Canton fair for art, run by the local government, in pernership with some experienced people from France, but the French dropped out, the government sold it to some other inexperienced locals, and it has gone slightly down hill.  So, a few of the people who had been invloved with the original art fair began their own: Art Canton.  Thus, Canton (Guangzhou, in Guangdong Province, in the new Beijing dialect), now, has two art fairs, both run by people who only see money in the fairs for art.

The people who run the new Art Canton, out of what used to be a site for the Canton Trade Fair, also rent the adjacent build, and they have convinced galleries to take up space, in that old office building, luring them with the carrot that a lot of collectors will stop by the Art Canton office, on one floor, and, then, go to see the galleries, on the other floors, while they’re at it (my sources tell me that that is not quite working out, like it was billed).  They even had a mutual friend call me, recently, to say that they wanted to work more closely with me since I am a foreigner and an expert in the business.  The friend offered that we might move our gallery there, even at a deep discount price on space.  However, by the next day, the friend called again and said that someone else was interested in taking the still available space, so, I should make a decision quickly.  So much for wanting to work with me: translation, they were trying to squeeze as much money out of the office building as they could; thought of me; then, forgot about me when they got a cold call on the space.

Not satisfied with earning money from the annual art fair and monthly money from galleries taking space in their office building, they recently divined another way to cash in on art: they would hold an “art salon”, sponsored by them, inviting collectors (at Y200/ticket) to view and, hopefully purchase, art with Art Canton, now, as the seller of art, not just an arranger of an art fair of dealers and artists.  My first thought was: but they know nothing about art, art sales, or the artists whose paintings will be in the show.  Moreover, it was explained to me that Art Canton would take 30 percent of the prices we set, which is inordinately high, but that objection was ameliorated by the additional information that that initial 30% would give them room to negotiate with people who were interested but wanted to pay less, and any discount to our retail price would come out of that 30 percent..  Still, my staff tried to convince me that, since it costs us nothing beyond the transport of art from the gallery to the office building, which is only a few miles, why not do it.  Furthermore, they said that exposure would not hurt, and they made a deal for our people to be at the salon to discuss the art we entered with any potential buyers.  So, I said ok, while also pointing out to them my initial impressions.

Then, as the time to deliver the art grew near, a contract was sent to us.  In that contract, there was a clause that required our gallery to insure the art, while it was at their salon.  Of course, we objected, and we explained to them that when art is consigned by one person to another, it is the receiver who is normally responsible for insurance, and that we would not sign the contract with that clause.  The answer that came back was that since they lacked experience in such matters, they did not know (no surprise, there).  We were assured that we would get a contract with a changed clause, but when it came, it simply removed the old clause, and there was no reference to insurance, at all, and we, again, said we would not sign.  After that, the head of the organization disappeared for several days and was completely incommunicado: she could not be reached by phone or otherwise by her staff, so, we continued to hold off, while I reiterated to the staff their unprofessionalism.  I told the staff that we should just forget it, they said that the agent for the salon said that all of our entries had been included in their catalogue for the salon, which, later turned out to be a blatant lie, anyway. Then, finally, as the date for delivery was upon us, we received a call telling us that the head of Art Canton would give us a separate sheet, beyond the contract that, apparently, all the other participants signed, accepting liability for damage or loss.

Several days later, when the event opened, we went to take a look.  As we had been told, previously, which, again, I said was not only unprofessional but pure folly, the salon was staffed by volunteers, chummed from the local art schools.  Of course, they had no idea about discussing any of the works of art, entered in the salon, but, at least, we did have our own staff peopling the salon in the area of our art.  In fact, when I asked if my people would be paid by Art Canton or would get a commission on any sales they made, I was told that none of the volunteers were being paid, which, of course, meant to me that, not only did they have n o experience to staff the event but, also, no motivation to sell anything, either.  That, to, later turned out to be a lie, as my staff asked the volunteers how much they were being paid, and they told them the truth.  Worse still, the Art Canton Salon staff had put a painting, entered by another dealer, painted by an artist whose work we had also entered, two paintings away from ours, which was priced twenty percent higher than the other dealer’s.  An important sculpture that we had entered was initially placed at a good spot, in the center of the exhibit and near a café area, the first day, but when we returned the second day, it had been relegated to a corner, difficult to even find.

Craig Mattoli,
Leona Craig Art, Guangzhou, China