Would you pay #120,000 for a bag of seeds?
They caused a sensation at the Tate. Now art lovers everywhere are on the edge of their seats as the porcelain sunflower seeds are auctioned tonight.
Up for sale: Ai WeiWei's iconic sunflower seeds. Photo: AFP/GETTY IMAGES
By Judith Woods 7:00AM GMT 15 Feb 2011
Comments
New Bond Street in the heart of London, and here in the designer emporia the only double dip is into Birken handbags for black credit cards in the rarefied confines of Bulgari or Chanel. Stepping into Sotheby’s auction house, doors are opened and staff greet you. As you sink your feet into the deep-pile carpets, it’s a salutary reminder that the rich truly are different.
In the real world, for example, those two old wooden panels, paint peeling, scraped and scarred would be awaiting a special uplift from the council. In the art world, Gerhard Richter’s Abstraktes Bild is “a paragon of the artist’s most arresting and seductive language” – price tag estimated at between £5 million and £7 million. Donald Judd’s crenellated brass shelf costs more than the average house. And its next-door neighbour.
This evening, these two works and great number of major pieces by the likes of David Hockney and Bridget Riley, Antony Gormley and Andy Warhol will go under the hammer in Sotheby’s Contemporary Art Evening Auction, which is expected to be something of a blockbuster.
An estimated £30 million will change hands, yet the first lot – by convention expected to generate the most excitement – isn’t the Nine Multicolored Marilyns or Chris Ofili’s elephant dung and glitter collage, but an iconic mound of porcelain Sunflower Seeds by Chinese artist Ai Weiwei. They have utterly captured the public’s imagination.
The 100kg batch, exquisitely piled up on a little podium, has a guide price of £80,000-£120,000. But figures showing China is now the world’s second-largest economy after the US are reflected in a new wave of collectors and investors from the Far East, and if bidding is as lively as expected, the final price could be much higher.
But just what is it about these seeds that is so compelling? Primarily it’s because over at Tate Modern 100 million similar seeds are spread across the floor of the Turbine Hall, in a mesmerising, enigmatic installation, and the confluence of public art and private commerce has long been a profitable one.
“Given the huge buzz at the Tate, there couldn’t be a shrewder time for the seeds to come to auction for the first time,” says Melanie Gerlis, art market editor at The Art Newspaper. “Nobody knows exactly who is selling them, which adds to the interest. The excitement in the room tends to be very high at the start of a sale and as this is the first lot, that could push the price up.”
Strictly speaking this isn’t quite the first auction; a single seed pilfered from the Tate was recently sold on eBay for £28. But the Sotheby’s seeds haven’t been purloined – although the volume is so vast, it’s hard to imagine anyone would notice the absence of a sack or two – in fact, Ai produced 10 similar “variants” to be sold separately.
“Maybe because of the economic environment, a lot of the contemporary art at Sotheby’s and Christie’s is quite thought-provoking, more serious. There’s less neon and glitz and more Richter, who is very much the thinking man’s artist,” says Gerlis.
Ai, 53, is best known for his co-design of the Beijing “Bird’s Nest” Olympic stadium, which he later renounced as “a fake smile”. But his human rights activities in China have led to his persecution by the authorities. He was subjected to severe police beatings – which left him needing cranial surgery – for speaking out against the shoddy construction of schools that collapsed during the 2008 Sichuan earthquake. He has been placed under house arrest and last month his £750,000 art studio in Shanghai was torn down for allegedly failing to comply with planning regulations – despite the fact that he was personally invited by the local mayor to build it two years ago.
When he was awarded the 11th Unilever Series commission for the Tate – previous recipients include Louise Bourgeois and Anish Kapoor – his Kui Hau Zi (Sunflower Seeds) sculpture received universal acclaim.
The seeds are open to myriad, complex interpretations. They were laboriously handmade by 1,600 skilled craftspeople over two years, and their quantity echoes the scale of Chinese mass production of cheap goods for the West. Yet these seeds are not plastic, but porcelain, a precious material with enormous cultural resonance in China.
Sunflower seeds also represent the unattainable agricultural quotas set by Chairman Mao, when the Chinese relied on these snacks to survive the ensuing famines. Mao also depicted himself in posters as the sun, his subjects as sunflowers, basking in his glory. Yet these are seeds, not blooms; full of potential not yet realised and a stark parallel with the Chinese population, who now make up a fifth of the world’s 6.7 billion people.
So far, so intellectual, but there’s a powerful emotional dimension to the seeds. At a visceral level, the impulse is to plunge your hands into the pile, feel the smooth seeds trickle through your fingers and experience their unexpected weight, their counter-intuitive texture.
At the opening, last October, the intention was to make the Turbine Hall exhibition hands-on; Ai wanted people to crunch across them, pick them up and even put them in their mouths. The first lucky visitors did just that; they rolled round, scampered through them, gathered armfuls and built seed castles. But within 48 hours, the installation was roped off on health-and-safety grounds as the volume of ceramic dust generated was deemed dangerous.
The effect thereafter was of gazing longingly at an empty beach from a packed promenade. But still the audiences come to stare, and with good reason, as it’s impossible not to be moved by this lavish spectacle of Chinese proportions – a harmonious, amorphously identical mass from a distance, but up close, each seed is utterly unique.
The Sotheby’s lot is more modest in scope, and also easier to house. According to Helen Ho, director of Bespoke Art Advisory, a London-based art consultancy that specialises in contemporary Chinese art, the seeds are hugely significant and it seems probable that they will return to Ai’s homeland.
“Recent Chinese contemporary art is all going to mainland Chinese buyers,” says Ho. “Ai Weiwei is quite a controversial figure, so it will be fascinating to see who buys it. A lot of his art is large-scale installations, which don’t necessarily sell at auction, which may distort prices.”
The one question mark over the work is the motivation of the seller. The seeds were made in 2010 and sold through a gallery in Copenhagen to a collector who has now put them on the market with what is considered to be slightly dubious haste – and indeed, taste.
“That sort of thing raises concerns that the owner is flipping their artwork – selling in order to make a quick profit,” says Ho.
Back at Sotheby’s there’s an air of genteel hush, broken only by low-level American and European voices earnestly discussing art portfolios. An Italian man in a pale cashmere sweater reaches out and briefly runs a finger along a £300,000 Joseph Beuys chalk-on-blackboard, evidently of the robust opinion that he can touch what he can afford.
And in the centre of the gallery, overlooked by a small bronze Angel of the North (guide price £400,000 to £600,000), Juan Muñoz’s bizarre polyester-resin human Tombliboos (£800,000 to £1.2 million) and Warhol’s Marilyns (£2.3 million) the sunflower seeds look plump, rounded and tantalising.
“It’s fantastic that art which has such political and social importance is opening a sale at Sotheby’s,” says Stephen Tribbell, gallery manager at Olyvia Fine Art, which specialises in Chinese contemporary art. “It stands as a testament to how far Chinese contemporary art has come.”
So does Sotheby’s. Tonight, when the gavel falls on those 100kg of Sunflower Seeds, a market value can be put on the 150-ton exhibit in the Tate, which will satisfy the curiosity of movers and shakers in the art world. For the rest of us, it’s academic. But if you’re passing the Tate before May 2, it’s well worth a visit, to admire and to contemplate.
If Warhol looked to Hollywood, just as the Renaissance looked to the antiquities, in search of gods, then Ai directs our gaze back to the earth – and it’s impossible not to feel a powerful response to his silent clarion call.
Telegraph.feedsportal.com