About

We at JDCO have a passion for mountains. Founder John Dodelande has been scaling them for years. Whether it’s Carstensz Pyramid in Indonesia, the Damand volcano in Iran, the Mount Sidley in Antartica or Ojos del Salados (6900m) in Patagonia, he has been to the top.

But why go to all the trouble? Why not sit back in the comfort of one’s own home and leaf through a picture book?

For the view. That’s why. As any artist will tell you, there is no substitute for seeing with the naked eye.

And just what is it that JDCO has seen from atop some of these peaks? Remarkable landscapes, to be sure, but also the emergence in force of a part of the world that the West has long discounted. Ancient civilizations long known for the quiet beauty of stillness, for the virtue of simplicity, for the focusing of vastness in a mere point or line, are emerging today from their meditative splendour. The old power of bold strokes lives on, but with a startling dash of colour.

It is no accident that we have named our contemporary art collection East Peak. We believe we have glimpsed the most interesting, most valuable work of the twenty-first century.

JDCO 91, rue du Faubourg Saint-Honoré 75008 Paris FRANCE // jo@jdco.hk

COLLECTION

Half the JDCO collection comprises work by a new generation of Chinese artists, artists who did not grow up under the shadow of Mao Tse Tung. The Cultural Revolution is not their cultural touchstone, the Chinese government is not the source of their politics, and, indeed, China is not necessarily their focus. These artists are global in their thinking, global in their motivation. They are moved by humanity, technology, energy. They are concerned with the true wheels of the world's economics. They travel, they drive business.

The country they come from, meanwhile, remains a manufacturing powerhouse for the rest of the world, but it is also starting to call a great many of the shots.

A quarter of the JDCO collection comprises work by US artists. The US is, of course, the world's standard bearer of cultural and ethnic diversity, but it has also long been known for particular streams in art. Those days are fading fast. The US art scene is no longer just pop, or old school, or photographic, and we at JDCO prize the new developments.

That said, the US loves its own recent past and has not quite finished going over the same still-fertile but long-cultivated ground. The Americans have thus left the field of our times open to the Chinese: the true representatives of our era. The ancient dynasties live on in the background, but current Chinese works are decidedly of the moment, and primed to become tomorrow's classics.

The remaining quarter of JDCO's collection is devoted to emerging countries, like Indonesia, Pakistan, and Iran, where the mainstream is less clear but the work exceedingly interesting.

Arin Dwihartanto Sunaryo
Indonesia

Ekel Fendry
Indonesia

Fahd Burki
Pakistan

Hou Yong
China

Liu Wei
China

Ma Qiusha
China

Xu Zhen MadIn
China

Nadia Khawaja
Pakistan

Shang Yixin
China

Wang Yuyang
China

Wang Guangle
China

Xie Molin
China

Xu Qu
China

Zhao Yao
China

Zhao Zhao
China

Zhou Yilun
China


DELIVERED PROJECTS

Below is a sampling of recent JDCO collaborations and projects in the art world. As always with JDCO, there is a conscious mixture of art and industry, art and service, art and entrepreneurship. After all, some lines are meant to be erased.

Loaning Zhao Zhao work to Romain Torri gallery

In A Few Things That I Know from Them four internationally renowned artists make anti-establishment statements by exploring memory.

Braco Dimitrijevic mounts a challenge to historical discourse and its search for ‘importance’. Photographs from his series This Could Be a Place of Historical Interest suggest an alternate history of the ordinary on the streets of traditionally ‘important’ cities like New York and London. By putting forth his ordinary candidates for monumental status, Dimitrijevic invites us to consecrate our own monuments, and thus drain the meaning from such ideals as the memorial, the commemoration and, indeed, historical reality. These photographs are a paean to relativism, a sneer at the authority of History, a celebration of personal importance.

The works of Hamish Fulton, Ai Weiwei and Zhao Zhao mount a similar challenge to History, with particular contempt for the repression of the Chinese government. Their works resemble the residue of an imaginary past. Here there are no monuments—only traces, remainders, relics.

In spring 2011 at the Tate Modern’s Turbine Hall Hamish Fulton performed a walk in support of Chinese political prisoner Ai Weiwei. The mural presented here, with its depiction of a pro-Tibet rally in London, is another step in his march against the Chinese government. Tibetan Protest (2009–​2013) evokes Fulton’s meeting with Buddhist monk Palden Gyatso, a leader of the Tibetan uprising who was imprisoned for more than thirty years.

Ai Weiwei himself figures in the exhibition with two of the 1001 Wooden Chairs presented at documenta 12 in 2007 (1001 chairs for the 1001 Chinese citizens invited to Kassel for the 28-day exhibition). Under state surveillance for years, Ai Weiwei continues his struggle for self-expression. The exhibition of his chairs is a commemoration—important to us—of his quest.

Zhao Zhao (b. 1982) was for seven years assistant to Ai Weiwei and has pursued a similar subversive line. For this exhibition he contributes his own personal monument: the windshield of his car, cracked in a car crash in 2005. In 2007, another milestone: Zhao Zhao’s acquisition of a firearm through a Chinese website. Constellation XVII (2013), a plate of glass riddled with bullet holes, combines these outlaw memorials in one work of art.

Text adapted from an article by Laure Jaumouillé

Point: Zhao Zhao on loan from JDCO collection.

HIQUILY DESHYQUILIBRE AUCTION MONACO

Client : Hennessy, LVMH featuring Tefaf Maastricht

IN 2011 JDCO SERVED AS CONSULTANCY AND SUPPLIER FOR THE PRESTIGIOUS TETAF FAIR, IN MAASTRICHT, STAFFING THE STAND HONOURING RENOWNED ARTIST ARIK LEVY AND HANDLING THE LOGISTICS OF THE COLLECTORS’ DINNER THAT BROUGHT THE EVENT TO A CLOSE.

Client : Group Simon featuring JC de castelbajac

WITH ITS MANDATE TO SEEK OUT BOLD ARTISTS TO CREATE AN ORIGINAL BOAT, JDCO GAVE “CARTE BLANCHE” TO FASHION DESIGNER JEANCHARLES DE CASTELBAJAC. THE RESULT IS THE ARKONA 45’POP CRUISER, NOW IN PRODUCTION.

XAVIER VEILHAN RAL 5015 - FRANCE - MONACO - ARTCURIAL

XAVIER VEILHAN RAL SKY BLU - Spain - Ibiza

JDCO, PROMOTER AND PRODUCER OF THE FIRST BOAT DESIGNED AND CREATED BY THE ARTIST, INVESTED IN PROJECT PRODUCTION WITH PARTNER PHILIPPE GELLMAN, COFOUNDER OF BOURSORAMA.COM.

ONE OF THE RESULTING BOATS HAS BEEN PURCHASED AT AUCTION IN MONACO BY A PRIVATE INVESTOR, A SECOND HAS BEEN SOLD IN IBIZA, AND THREE OTHERS ARE ON THE MARKET.

BORN IN 1963, FRENCH ARTIST XAVIER VEILHAN LIVES AND WORKS IN PARIS. A 2009 EXHIBITION OF HIS WORK AT THE CHÄTEAU VERSAILLES (VEILHAN VERSAILLES) LAUNCHED HIM ON AN INTERNATIONAL CAREER. SINCE THE LATE 1980S VEILHAN HAS BEEN DEVELOPING, IN THE TRUE SENSE OF THE TERM, A MULTIPLE-MEDIA APPROACH, BLENDING SCULPTURE, PAINTING, AND ENVIRONMENT, DISPLAYED THROUGH VIDEO AND PHOTOGRAPHY WHILE INHABITING THE VAST SPACE BETWEEN FORMAL CLASSICISM AND HIGH TECHNOLOGY. FOR VEILHAN, ART IS ‘A VISUAL TOOL THROUGH WHICH TO OBSERVE AND COMPREHEND OUR PAST, OUR PRESENT AND OUR FUTURE’. THE CONCEPT OF PRESENTATION LIES AT THE HEART OF HIS APPROACH, AND ONE OF HIS PREFERRED MODES OF PRESENTATION IS THE WALK: VEILHAN AT HATFIELD: THE WALK (2012), LIFE FRAMES (ARCHITECTONES, 2012). HIS IN-SITU INTERVENTIONS—IN CITIES, PARKS OR HOUSES—ALWAYS PRIZE THE SOCIAL DIMENSION OF ART AND QUESTIONS OUR PERCEPTIONS.