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"Beijing: the world's largest marketplace for art? March 11, 2013 By Sebastien Goulard | edit Vases on sale in a department store in Shanghai Vases on sale in a department store in Shanghai China has become the largest art market in the world. This could have important consequences for Chinese cities. The new urban upper class has rediscovered its heritage and has been exploring new artistic trends. Thanks to China's new passion for art, fresh talents have emerged and have been widely recognized. Chinese art lovers are flocking to the main international art market centres, where auction houses cater to the new clientele, offering Chinese language services. Since 2010, China has progressively come to dominate the art market. In 2011, China represented 41.4% of global fine art auction sales revenue, while the USA and the UK lagged far behind, with 23.6% and 19.4%, respectively1. Does this mean that Chinese cities have caught up with - and surpassed - New York and London as the leading auction marketplaces? If we take a closer look at China's art market, we notice, first of all, that this market is concentrated within a few cities. Beijing and Hong Kong represent the lion's share of the market, although Shanghai and some other provincial capitals, such as Hangzhou, are making progress. Nevertheless, Hong Kong is still the main artistic hub. In China, Hong Kong has played a similar role to Monaco vis-à-vis the French market. Because foreign auction houses were not allowed to operate in France until 2000, during the 60's American Sotheby's set up in Monaco, where French customers could easily buy pieces of fine art. Sotheby's and Christie's, the two main rivals, began looking to Asia in the 70's and 80's, opening offices in Hong Kong in 1973 and 1986 respectively. There, these companies could operate in a very business-friendly environment thanks to a reliable legal framework, the absence of taxes and the role of Hong Kong as Asia's main hub. When China s

"This week, INESAD's Carolynn Look published an article in the October 2012 issue of Global South Development Magazine, where she is the editorial assistant and contributor: Beijing, China. Hundreds of buildings tower over the people that bustle between them every day. Some get demolished, some get rebuilt, some just get a fresh layer of paint. But what strikes you as you walk through this eclectic monster of a city is that none of its buildings are covered in tags or graffiti as they are in other metropolises. Or so you would think on first sight."

"Photos: Over 4 tons of garbage fished from Forbidden City moat"

Régine THIRIEZ, Barbarian lens : western photographers of the qianlong emperor's european palaces, New York, Gordon and Breach, 1998, 191 p. Compte-rendu de Gérard Lévy "Dans le domaine encore peu étudié des premières décennies de la photographie en Chine, ce travail ouvre une voie nouvelle aux chercheurs: celle de l'étude systématique au cours du temps des diverses représentations d'un sujet unique et de leur contexte. 2Il s'agit ici de monuments aussi célèbres qu'ils sont peu connus, les palais de style européen construits près de Beijing pour le grand empereur Qianlong par des missionnaires jésuites au milieu du XVIIIe siècle, qui furent incendiés lors du sac du Palais d'Été, en 1860. La recherche porte, d'une part, sur le sujet photographié et ses représentations, d'autre part, sur les quelques hommes qui entre 1860 et 1925 photographièrent ces ruines, depuis pratiquement anéanties.