 idier Hirsch is a French businessman living in California. He's also one of the leading collectors of Chinese contemporary art. He only began collecting a few years ago, buying in a fury after shifting away from European art. And now, having seen auction prices skyrocket, Mr. Hirsch is, well, still collecting. In an interview with ArtZineChina.com, he talks about why he continues to buy Chinese contemporary art, and what he's recently purchased.
ArtZineChina: How were the new works acquired and why did you choose these works?
 Mr. Didier Hirsch: I bought a Liu Rentao oil at Phillips de Pury and two Liang Weizhou oils at 1918 ArtSPACE. I have four criteria. First and foremost, I like the works. Second, they fit in my collection of figurative / narrative paintings. Third, they are cheap, relative to the works of better known Chinese artists. Fourth, the works are from the golden age of contemporary Chinese paintings, and the artists, although not among the Chinese titans and icons are historically important and have been recognized by important collectors (Uli Sigg exhibited a Liu Rentao in Mahjong. The one I bought comes from Howard Farber and was recommended by Karen Smith. As for Liang Weizhou, his works were exhibited in the seminal 1996 German exhibition entitled China!).
ArtZineChina:Does the acquisition of these works mean you are moving in a new direction?
Mr. Didier Hirsch: Only in terms of going after lesser known but still historically important artists. More than ever, I am still focused mostly on early works by key artists. I am nervous that recent works from most Chinese icons have turned into a commodity, they are more academic and are trying to appeal to the market. It is a big change from the early days of individualism / humanism.
As for my approach to collecting, I always liked to go off the beaten path when I feel that the market is brainwashed. I like to be a contrarian.
 ArtZineChina:Tell us a little about the works?
Mr. Didier Hirsch:Liu Rentao is clearly an individualist. I have only seen four works by him (one in Mahjong, three in Howard Farber collection). In today’s context of over-production, this is refreshing. This work was the only one I ever saw for sale. I never buy at auctions, but I made an exemption for that reason. The work is attractive / repulsive, with a surrealist touch, but also a strong Chinesness to it.
Liang Weizhou is a Chinese expressionist. He is portrayed in the works I bought (along with Xue Song in one of the two works). The oils were painted in 1995, before international recognition influenced or perverted Chinese art. I like the composition, color, and subject. They are intimist paintings, with just the right touch of Chinesness to them.
ArtZineChina:Did you sell any earlier works to make these new acquisitions?
Mr. Didier Hirsch:No. I want to keep my collection intact.
 ArtZineChina: Has your philosophy about what to acquire changed because of the continuing rise in the prices on the market?
Mr. Didier Hirsch: I am becoming more selective; going after key works that complete my collection. As much as the rocketing market prices, though, what is changing is the overflow of stereotyped works from tier-1 artists.
ArtZineChina: Have you noticed any significant shifts in the auction market? We are told that fewer good works are now appearing in auction, despite the fact that prices continue to climb. Have things leveled off? Are people holding back from putting things up for auction?
Mr. Didier Hirsch: It would be wonderful if that meant that great works had finally found a home with museums and long term collectors. I did notice a rarefaction of great works, but there are still lots of them in the pipe line. So, yes, great works are partially taken out of the market for good, but speculators still own quite a bunch which will show-up sometime. It will take another 5 years before the usual phenomenon of great works going to their owners dries out the market. Even then, though, we will probably see some of the early collectors selling their collection.
ArtZineChina: Do you have any thoughts on what kind of fall auction we'll have? Will things continue to soar?
 Mr. Didier Hirsch: I think there are two key factors: macroeconomic and Chinese. I believe from the Chinese standpoint that market prices are on a secular growth trajectory. However, macroeconomic forces are cyclical and will be the primary force driving market prices, especially for contemporary art. I do not have a crystal ball as for the fall auction, but the market is clearly ready for a retreat.
ArtZineChina:Do you have any thoughts on Howard Farber selling a good chunk of his major collection of Chinese contemporary art?
Mr. Didier Hirsch: I do not know Howard Farber personally but he seems to be a very intuitive / perceptive collector. He is able to see opportunities ahead of the crowd and when time is right to move on to other opportunities. He has had impeccable timing, so far. He seems to be a true collector, but without the means (and the walls) to retain all the waves of collecting he has made. Therefore he has to fund his new passions (and free up space for them) by selling the old ones. Makes sense to me. Also, it is tough to passionately collect along too many paths. Focus is of the essence.
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