9 September 2024

“Oppan Gangnam style
Gangnam style
 
Op, op, op, op
Oppan Gangnam style
Gangnam style”

I’ll bet that even if you don't understand a word of Korean, you can probably still hum along to the tune of the Korean pop song Gangnam Style. The explosive rise of K-Pop is nothing short of a cultural revolution. Its catchy melodies, captivating dance moves, and dazzling visuals have transcended language barriers, sparking a global sensation. This phenomenon represents a seismic shift in the cultural landscape, a testament to the irresistible allure of East meeting West.

Of course, centuries before K-Pop's global takeover, Europe was swept up by the Chinoiserie frenzy.From everyday coffee cups to grand pagodas, motifs and designs inspired by the exotic East were ubiquitous.

By the nineteenth century, Western appreciation for Eastern art and culture had evolved beyond superficial imitation. Post-Impressionist artists like Van Gogh and Gauguin were not only captivated by the exoticism of Japanese woodblock prints but also absorbed their aesthetic principles – bold lines, flat colors, unique patterns, and cropped compositions ­ – into their own creations.

As the tides of East and West continue to mingle, the West's fascination with the East has evolved from a curious glance at the exotic to a wholehearted embrace. This shift is vividly reflected in the global art scene, where works by Chinese artist Zeng Fanzhi and Japanese artist Yayoi Kusama consistently shatter records at international auctions, commanding prices that soar into the millions, even tens of millions.

At first glance, Zeng Fanzhi's paintings might appear to echo Western expressionism, while Yayoi Kusama's creations seem reminiscent of pop art. However, a deeper dive reveals a more nuanced story. Zeng Fanzhi's unrestrained, dynamic brushstrokes find their roots in the cursive and semi-cursive scripts of Chinese calligraphy, and Yayoi Kusama's iconic Infinity series draws inspiration from the profound depths of Zen and Buddhist thought. These artists, like cultural ninjas, move with effortless grace on the global stage, their creations infused with a secret ingredient, a generous helping of their own cultural heritage.

Every December, the global art world flocks to Miami Beach for its annual art extravaganza, a whirlwind of art fairs, gallery openings, museum exhibitions, and private collection unveilings. While Eastern artists are undoubtedly making a splash on the international stage, Miami's art scene remains a steadfast bastion of US and Latin American creativity, a territory where their voices have long resonated. Injecting the "East" into Miami Beach, a city pulsating with Latin rhythms, might at first seem as incongruous as pairing sushi with tacos, a culinary adventure for the daring. But as any food enthusiast will tell you, if you haven't yet experienced the delightful fusion of a "Sushi Taco", you're clearly missing out on the latest culinary trend.

And it seems even Miami Beach is embracing the unexpected. This year's Untitled Art has taken a bold step, inviting guest curators Kathy Huang and Jungmin Cho to guide this year’s curatorial theme “East Meets West.” This focus is a gentle nudge to the art market, a suggestion that it’s time to broaden the horizons and include more Eastern galleries in the conversation. And let's not forget that the " East" is a vast and diverse tapestry, encompassing Eastern Europe, Asia-Pacific, the Middle East, and Asian immigrant communities.

Untitled Art has always been a passport to global creativity, with last year's fair boasting a vibrant mix of 166 galleries from 38 countries. But this year, with the intriguing "East Meets West" theme, they're turning up the volume on artistic exploration. It's a chance for those younger, edgier galleries to steal the show, proving that art isn't just about big names and price tags. This infusion of fresh perspectives from new geographies elevates the "East Meets West" dialogue beyond mere commercial transactions, enriching it with a deeper cultural and artistic significance.

Take, for instance, the Hong Kong-based MOU Project: they've made a splash at international art fairs in Asia and Italy, but Untitled Art, Miami Beach marks their stateside debut. Founder Emerald Mou, a child of 1988 herself, has a mission: to champion artists of her generation, regardless of their origins or medium. She beams with pride at having orchestrated the first solo exhibitions in Hong Kong and Asia for many of these rising talents.

At Untitled Art, Miami Beach, MOU Project is spotlighting Huang Baoying, a Chinese artist based in New York. Born in Shenzhen in 1997, Huang left home at the tender age of 15 to study in the US. The constant state of flux, of being caught between two worlds, has deeply influenced her multi-layered works.

Her 2023 diptych Mother Tongue is a prime example. The left panel captures a scene in her New York studio, complete with a glimpse of the city lights through the window. The right panel transports us to her Shenzhen home, where a blurred figure ­– her father – lingers in the upper right corner. There are also two bouquets of lilies: real ones on the right, plastic ones (a Shenzhen souvenir) on the left. But there's a hidden layer: snap a photo with your phone, and the pixelated background reveals the character "寶" from Huang's name, rendered in both traditional and simplified Chinese. Like many of her works, Mother Tongue speaks to the duality of belonging, a feeling that resonates universally, regardless of geography.

Shanghai's Cub_ism_ Artspace, a fresh face on the scene since 2020, is led by a trio of art curating and fashion graduates: Haoyang Wang, Leslie Dong, and Qinru Zhou. Rather than promoting specific artists, their ethos centers on the curated exhibitions themselves, driven by compelling subjects and themes, collaborating with young artists who aren't afraid to push boundaries and bring fresh perspectives to the table. Untitled Art, Miami Beach marks their first foray into the American art world, and they're bringing a project by the intriguing Lilyjon.

Lilyjon, a homebody with a boundless imagination, has never left China, yet his artistic universe is rich and deeply personal. His works weave together occult symbols from both Western mysticism and Tibetan Sanskrit, creating a fantastical tapestry that defies easy categorization. While his inspirations are rooted in Eastern thought, his finished works transcend any specific nationality or region.

At first glance, one might assume Lilyjon exists solely within his own creative bubble. But a closer look reveals a subtle commentary on social marginalization, an echo of China's own position within the contemporary art world. Yet, within this marginalized space, Lilyjon constructs a vast and complete universe, a testament to the transformative power of art, even on the periphery.

Singapore's STARCH, an artist-run space born amidst the pandemic's unusual circumstances, is venturing into uncharted territory with their first-ever art fair appearance in Miami Beach. They're showcasing a dynamic duo: Daniel Chong, a queer Chinese artist based in Singapore, and Alysha Rahmat, an explorer of indigenous knowledge and history. STARCH founder Moses Tan aims to shake up the art world's usual narrative, challenging the dominance of US and Eurocentric views in queer theory by highlighting how artists like Chong forge unique visual languages within the Singaporean context. Meanwhile, Rahmat's use of traditional craft techniques like beading and embroidery adds another layer to the exhibition, amplifying the growing prominence of Indigenous narratives within the global art scene.

Through this Miami Beach debut, Tan hopes to introduce American audiences to the vibrant world of Singaporean art. He playfully reimagines Singapore, often portrayed as a futuristic metropolis, as a "green screen," inviting us to question how this image is constructed and its implications for the nation's global standing.

The "East Meets West" narrative isn't a new story; it's a centuries-old saga, with chapters ranging from 17th-century European Chinoiserie to the modern-day global phenomena of K-pop and the meteoric rise of Zeng Fanzhi and Yayoi Kusama. As Jungmin Cho pointed out to me, Asian pop culture and arts are rightfully in the spotlight, but it's crucial we see beyond the "trend." Untitled Art’s curatorial theme, of “East Meets West” adds a fresh and exciting chapter to the ongoing story of contemporary art, encouraging us to rethink outdated labels like "East" and "West," and recognize our interconnectedness. A South American gallery exhibiting an artist with Asian roots clearly exemplifies this global nature of art today.

Kathy Huang notes that these artists don’t just tell stories that span continents and cultures; they are diving into treasure troves of history, migration, and the fascinating mix of cultures that emerges from cross-cultural interactions across vast oceans. This isn't just about appreciating diverse cultures; it's about recognizing our shared responsibility to cultivate a deeper understanding of our interconnected global community.

Situated directly on the stunning Miami Beach, Untitled Art is the ideal platform for fostering transoceanic exchange between the "East and West." This transcends mere commercial transactions, positioning the fair as a vibrant hub for intercultural dialogue and diverse perspectives. In doing so, Untitled Art subtly shifts the axis of the global art world, prompting a re-orientation towards a more dynamic understanding of artistic expression. It highlights the ever-evolving story of art and the Orient's vital contributions.