While traveling for business is not always what it's cracked up to be, it definitely has it's upside. I always try to carve out a little time for myself so that I can take advantage of key sites and sample a bit of local culture. Sometimes, as in this case, a trip will coincide with something really fabulous like Chanel Mobile Art, the traveling contemporary art exhibit sponsored by Chanel and housed in a futuristic pavilion designed by Zaha Hadid, the Iraqi-born, London-based architect. Perched atop the rooftop of a nondescript building in Hong Kong's Central District virtually across the street from The Mandarin Oriental, the structure looks a bit like a flying saucer albeit a chic one involving the iconic Chanel quilting. The SciFi reference is enhanced by a band of blue neon light at the base of the pavilion and on the roof. The neon lights, visible only after nightfall, give the shiny white exterior a bluish tint that makes the structure glow against the backdrop of steal and concrete.
Hong Kong is the first stop of what is set to be a two-year world tour that showcases the works of 20 international contemporary artists. An altruistic act of patronage for a few lucky contemporary artists? Not exactly. Retail sales of western luxury goods in Hong Kong are some of the highest in the world and so the city is a necessary stop on the route of any exhibition sponsored by a leading luxury brand. This is especially true given that most luxury brands are banking on Asian sales to offset the economic woes currently besetting the U.S. market. For Chanel, this is one more way (albeit an innovative one) to set itself apart from its competitors and raise its profile in a city overwhelmed by luxury brands. And just in case you might want a little souvenir of the event, the nearby Chanel boutique just off of Connaught Road sells a limited-edition Mobile Art 2.55 bag for approximately $3,000 USD. So very thoughtful that Mr. Lagerfeld.
While one might be tempted to write off this traveling art exhibit as a mere roving commercial for Chanel, I still think it has merit. As many have pointed out, it does blur the line between art and commerce in a way that would make some old-school art patrons cringe. The artists for instance were required to produce works inspired by the 2.55 quilted handbag, one of the most enduring status symbols of 20th century fashion ("2.55" refers to February 1955, the date Coco Chanel designed the bag). But this would not be the first time the line between art and commerce is intentionally blurred. After all, the roots of Pop Art are undeniably commercial. Roy Litchenstein was strongly influenced by cartoons and James Rosenquist earned a living designing billboards. And it's not as though the demarcation between art and commerce is a hard and fast one - Toulouse-Lautrec paid off his bar tab by designing and painting posters for local bistros and other commercial establishments (many of them brothels). These posters are now considered fine art. But above all this, the opportunity for the kind of exposure this type of event offers a struggling contemporary artist can't be overlooked. The public's opportunity to discover a new art form or a new artist also should not be overlooked. A private art gallery can be an intimidating place for some people. The kind of public space masterly created by Hadid offers the right combination of anonymity and intimacy likely to appeal to a wider public than would normally patronize a contemporary art gallery. So what if many will be drawn to the event solely by the Chanel brand name? There are far worst things.
Chanel Mobile Art in Hong Kong closed on April 5 but the the exhibit will now be moving to Tokyo in July and New York in September. It will subsequently travel to London and Moscow sometime in 2009 and will end in Paris in July 2010. If you get a chance to see the exhibit, let me know what you think!
Sincerely,
The Luxe Chronicles
Photographic reference:
Chanel Mobil Art Exhibit, Hong Kong. Pavillion designed by Zaha Hadid. Photo by The Luxe Chronicles. All rights reserved.
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