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  3. In the past two decades, mainland China’s art market has followed the same flight path as the rest of the country’s rocketing ec

In the past two decades, mainland China’s art market has followed the same flight path as the rest of the country’s rocketing ec

admin2012-07-22  46
问题     In the past two decades, mainland China’s art market has followed the same flight path as the rest of the country’s rocketing economy. Galleries and collectors have flocked in from abroad. But the mainland leaves some things to be desired. Some of them can be found just across the funny border crossing that separates the Special Administrative Region of Hong Kong from the rest of China. And as the Hong Kong Art Fair closed last week, there was a sense of tides turning. A number of mainland-based galleries are setting up shop in Hong Kong (five are confirmed; a few others that are actively considering it). This despites the sky-high prices for commercial real estate, a determinative factor for many galleries. Why? Presumably not for the local breed of democracy. But perhaps for other political qualities?
    "Art Basel has been looking at Asia for a long time and we seriously considered three possibilities: Singapore, Shanghai and Hong Kong," according to Marc Spiegler, one of the two directors of Art Basel and Art Basel Miami Beach. Ease of doing business and a guarantee for the freedom of expression were of paramount importance to Art Basel’s choice. "If you want to bring the top international galleries you can’t restrict them too much in terms of what they can show. You don’t want people to live in constant fear of having their booth shut down or censors come in and telling to take works away," in Mr Spiegler’s words. That stands in the way of Shanghai, at least.
    Geography plays a role too. "Obviously China is very important for us, but so is South-East Asia, and Japan and South Korea, two of the most sophisticated art markets in Asia, with Taiwan. Australia too is a strong market, as is the Middle East." Hong Kong is ideally located to serve them all and "it’s very user-friendly" explains Magnus Renfrew, the fair’s director since its inception five years ago. "There’s no tax for the import and export of art," he adds. Galleries that exhibit in China face tariffs and duties that can add up to as much as 30% of a work’s value.
    And there are other forces at play for galleries, beyond the low taxes and easy logistics. As businesses invest significant money and time in bettering their products, galleries invest in their relationships with artists, often at significant cost. Where promising young artists are concerned, a hands-on gallerist can also play a role much like that of an old-fashioned patron. Galleries have a vested interest in helping them grow and be seen. Where the rule of law is loose and contractual practices inconsistent, an emerging artist might be easily "poached" by bigger galleries based in Europe or America, which can show their works to their long-established networks of collectors. Hong Kong is perfectly placed for galleries based on the mainland to venture their first steps abroad. There are power struggles to represent established artists around the world and the rivalry between galleries is intense. One competitive advantage—besides the more obvious curatorial clout—is show space.
    If one were to extrapolate from one small example (in an industry that has many peculiar traits, admittedly), in the art scene perhaps lies a cautionary tale for the larger China, eager to expand the reaches of its "soft power". Some of the same intangibles that collectors, museums and galleries hold dear are what the rest of the business world craves too, to grow beyond the cheap manufacturing and infrastructural development that has boomed so loudly in the new China. The artists and galleries have tried the mainland and found it wanting. Is the central government paying attention?
                                                From The Economist, May 30, 2012
What is a risk mentioned in the article for galleries operating in an unregulated environment?
选项 A、There is no pricing mechanism for artwork.
B、Auctions can charge unreasonable high prices.
C、A lack of artwork insurance products.
D、Artists will be poached by bigger markets.
答案D
解析 本题为细节题。第四段中“Where the rule of law is loose and contractual practices inconsistent，an emerging artist might be easily‘poached’by bigger galleries based in Europe or America，which can show their works to their longestablished networks of collectors．”明确提及，因此正确答案为D。
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