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You: We often talk about the relationship between art systems and social ecology. Your identity is both the buyer of the art and the media to spread the art. How do you do so much in a large art system affect the shaping of your personal spiritual life?

 

David: I am just a participant in the contemporary art system, or in a state of maintaining value in the ideal. Maybe many people think that I have made a lot of money from the collection, but everyone in the circle knows that it must cost money to do these things. I like to do things in an emotional way, but in this emotional state to find opportunities to do business.

 

You: Young collectors are more likely to like the most avant-garde and latest art of the moment. But a very important part of your collection is made up of traditional Chinese art. How are these two aesthetic systems highly unified in you?

 

David: I have always liked history since I was a child. This is why I read art history

——you must understand your past, and you must be able to criticize it from an objective point of view. This is my traditional value. My systematic collection is completely guided by my knowledge structure. It is possible that after I learn more in the next stage, I will have a more objective perspective to collect new things. The establishment of this collection system is the same as life, by constantly optimizing the knowledge structure to achieve a wider realm.

 

You: In addition to collecting art and supporting art institutions, you also have many accurate investments and judgments in the art business. When you first entered the art industry, did you make a big strategic plan?

 

David: I entered the art industry in 2003. At that time, there was basically no logic in the art industry and art market in China. The value of artists only suddenly rose up in 2005, and everything now comes step by step.

 

You: Everyone wants to achieve a kind of life. You do a lot of things, and you also cross different fields. How can this state be maintained?

 

David: The most important thing in a "broad life" is to study hard and improve every day. Absorb new knowledge every day to stay young. I don't think I have enough time. I want to do too much and can only work harder. The knowledge and youthful attitude that I have been receiving allows me to stay alive, pursue a larger and broader life, and constantly explore boundaries and expand cognition.

 

You: Your work also involves a lot of art and business projects. How do you see the connection between the two in the art system?

 

David: Separate art from the art market. Art itself has logic and rules to follow, it is a spiritual thing. The art market is just like any market. It is regular. Good art does not necessarily perform well in the art market. This is a commercial operation. The core of art business is business, not art itself. If you can find good art and combine it with good business, then you can have a long-term culture and wealth.

 

You: What do you think art means to today's audience, especially young audience?

 

David:I think at this stage, art is a spiritual and cultural thing that everyone should pursue. From the development in the past two years, it can be seen that art is more a trend and lifestyle for young audiences.

 

You: When it comes to this, there are many kinds of spaces for presenting art. Art institutions have different stages in history and their functions are also different. Do you think that the new-generation art space should also have some corresponding changes in the theoretical and practical aspects of its work?

 

David: For me, China is setting up its own art history and art standardization system. Of course, from the perspective of Chinese galleries, after more than 20 years of development, there is no possibility that it can affect global art and change its systematization, but I think it will definitely be in the future. I think China will definitely find its own system.

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