Latest news with #FarhadMoshiri
CNA
18-05-2025
- Business
- CNA
This art collector went from running his own marketing firm to opening galleries in Hong Kong and London
Hong Kong native Calvin Hui always had a keen appreciation for visual arts, especially abstract art. What started as a hobby buying and collecting art that resonated with him, has turned into a lifelong passion. In 2011, he opened 3812 Gallery in Hong Kong, which specialises in Chinese contemporary art, particularly ink works. A few years later in 2018, he and his co-founder opened a gallery in London's Mayfair, which will be relocating to The Whiteley London this Summer. Hui reflected on his early days buying art: 'The first art piece I bought was a print lithograph by Juan Miro when I was a student. I collected 20th-century modern art, with the small amounts of money I earned from part-time jobs as a student. It has always been my passion.' When he set out to decorate his new home 20 years ago, Hui was on a quest to find and acquire more art. 'In addition to the decorative pieces I've collected earlier, I consider the first 'serious' work I bought to be Jar with Horizontal Colour Bars (2005), by an Iranian artist Farhad Moshiri. It is a large piece, measuring 2 sq m. To be honest, I didn't do much research. It fit my budget and matched my home interiors perfectly. That marked the beginning of my journey as a serious collector.' After his first acquisition, Hui continued to expand his knowledge about art by reading, going to exhibitions, and museums and subsequently attending fairs, thus growing his collection. As Hui's collection grew, unexpectedly, he received a message from a gallery about one of the artists whose work he had purchased; the value of that artist's pieces had skyrocketed at auction. This experience deepened his interest in learning more about art and collecting. Before opening his gallery in 2011, Hui ran his own public relations, events, and marketing company. As his collection grew, he saw an opportunity to showcase the artists' works in a gallery setting. Hui attributes his gallery success to his skillsets as a communications graduate. 'It was a natural progression transitioning from a PR, events and marketing professional to an art business as a gallery owner, curator, dealer and collector,' he said. 'My skills and experience have been incredibly beneficial to my art business; the storytelling, introducing artists and connecting with people came naturally to me.' His foray into the auction market was an organic process that unfolded over several years. He became more involved in the art market beyond just collecting. He described the art scene in Hong Kong during his time as a collector, before opening his gallery in 2011: 'It was all very organic. There were no art fairs, no Art Basel, and no established gallery districts in Hong Kong. I had the opportunity to meet with art institutions, get to know the community, and eventually began writing about art collections.' Hui finds immense joy in art collecting, viewing it as a deeply personal journey enriched by the memories associated with each piece. 'Every work I add to my collection — from travels or when enhancing my office or gallery — carries specific moments tied to the people I'm with and the places I've been,' he reflected. As Hui expanded his personal collection, he delved deeper into the art industry, educating himself about the market and discovering that art can serve as both an asset and an investment. Yet, his passion and joy for collecting transcends monetary value. 'Personally, when you purchase and collect art, when you live with art and appreciate its aesthetics daily, that's what truly holds value for me. If its price appreciates, that's just a bonus.' A particularly cherished part of his collection features works by the late artist Hsiao Chin, who was not only a master of modern art but also a personal friend. 'His ability to blend Chinese culture and Eastern spirit with modern abstract art resonates with me. Hsiao Chin created distinctive and meaningful pieces throughout his lifetime.' Hui has two hats on when collecting, one for his passion and the other for the gallery. He is always on the lookout for emerging artists, to support them, providing a platform to showcase their talents. 'I'm proud to feature several young artists in our portfolio. I assess their talent, commitment, and professional attitude, all while envisioning their long-term development. My goal is to guide these young talents as they navigate their artistic careers.' The works of self-taught Hong Kong artist Thomas Ngan have piqued Hui's interest. There are plenty of choices in the market and Hui does his due diligence. 'Once I collect, I will commit to following the artist's journey. Visiting exhibitions and art fairs is integral to discovering new talents. I can be quite impulsive, but I usually do my homework before purchasing. I keep my passion for collecting art for my personal collection and at the same time, I want to see how each artist develops their art and the unique artistic ideas and concepts they are trying to convey. Aesthetic quality, craftmanship and techniques are very important.' Hui's collection mainly features paintings — ink and Western, most of them focused on Chinese contemporary modern art, along with a selection of European works. Hui believes the rule of collecting is, 'leading by the heart first and foremost. Whatever is visually captivating and speaks to you. You need to like it and connect to the artwork, it should bring you joy looking at it, rather than seeing it purely for investment. Art is unique. It's not just a commodity. The best case scenario is that you appreciate it and see it as a long-term investment, instead of a short-term trade.' Hui's advice on how to start collecting is to start with a budget and define preferences — themes, and mediums. 'Affordable art fairs are a good place to start, define what you like and then go in search of it. Today with social media and the internet you can find plenty of information, but I recommend going physically to the museums, and art fairs and talking to people to help you understand what you like, and it might also help you learn about market trends.' View this post on Instagram A post shared by 3812 Gallery (@3812gallery) Besides his ongoing quest to expand his personal collection, Hui is curating Light of Hope – Hsiao Chin 90th anniversary retrospective exhibition of the late artist Hsiao Chin at the Guangdong Museum of Art in Guangzhou that runs from now till Aug 17, 2025. This showcase celebrates the prolific works of Hsiao Chin, one of the pioneers of post-war abstract art, featuring pieces that date back to the 1950s. Simultaneously, he is preparing for the opening show at his new London gallery at The Whiteley, highlighting the Paris-based Chinese artist Ma Desheng. Having collected Ma's work for 20 years, Hui has developed a close friendship with the artist and now represents him in both Hong Kong and London. The behaviour of collecting can quickly become addictive regardless of the items one collects. 'It's the thrill of treasure hunting, reading stories about the pieces – it's all part of the pleasure of collecting,' he said. 'When I find something I really like and have faith in the artist, I find myself diving deeper into the fulfilling journey of learning and acquiring their works.'
Telegraph
16-05-2025
- Business
- Telegraph
‘Worst stadium name in the world': Everton mocked over £10m-a-year deal
Everton have announced their new £750 million arena on Liverpool's docks will be christened the Hill Dickinson Stadium. The sponsorship deal with the international commercial law firm, understood to be worth around £10m-a-year, is claimed to be one of the largest stadium naming rights agreements in Europe. Although the club have not confirmed the duration of the contract, it is believed to be comparable to the recent £100m, ten-year deal which the RFU and Twickenham signed with Allianz. However, the new name has not gone down well with fans on social media. One fan wrote: 'I absolutely hate this. Will we always call it Bramley Moore? Probably. Is it a great commercial deal? Apparently. But for me, this is one of those things that matter more than an extra couple of million in the bank.' Another said: 'Genuinely this might be the worst name for a football stadium, ever.' And a weary supporter added: 'There simply is no end to the nightmare experience that is being an Everton fan.' As the Everton men's team prepares to leave Goodison Park this weekend, a naming rights deal for the new stadium has been on the agenda for years. Current owners, the Friedkin Group, made it a priority since completing their purchase of Everton earlier this season. When construction at Bramley-Moore dock began, it was initially expected it would be called the USM Stadium because of the business partnership between former majority shareholder Farhad Moshiri and Alisher Usmanov. Usmanov controversially paid £30 million for the 'first option' to sponsor the new arena. However, the Russian invasion of Ukraine and subsequent sanctions against Russian businesses working in the UK meant Everton had to rethink. Evertonians leaving Goodison after the last league game this weekend may find it a readjustment to refer to the Hill Dickinson Stadium after a week of romancing about their current home. Founded in 1810, Hill Dickinson is a commercial law firm spanning 11 offices across the UK, Europe and Asia. Well established in the city of Liverpool, the company has expressed its determination to expand its global reach.
Yahoo
16-05-2025
- Business
- Yahoo
Farhad Moshiri reveals his 'biggest sadness' as Everton owner - 'I wish I'd been able to'
Farhad Moshiri has revealed that his biggest "sadness" was not attending more matches as Everton owner. The Iranian-born businessman also claimed he invested £400million into the club's new stadium and hopes it can help "bridge the gap" to the elite. The Toffees will play their final competitive game at Goodison Park on Sunday before moving into their new arena at Bramley-Moore Dock next season. Moshiri's eight-year tenure, which ended when he sold his holding to the Friedkin Group last year, was blighted by a number of controversies but the construction of the new stadium was one positive, tangible legacy. READ MORE: Farhad Moshiri wealth soars after Everton sale as former club owner rockets up Rich List READ MORE: Everton scouting mission set to wrap up as summer targets begin to emerge He told Sky Sports News: "We were all in love with Goodison. I was in love with Goodison. Nobody wanted to move. "But the reason we had to leave was partly infrastructural, partly financial. "I had to put in £400million. The rest had to come from other investors." The new stadium cost around £750million and has a capacity of 52,888. It has already held its first two test events, at reduced capacities, with a third to take place over the summer. Moshiri believes the stadium could make a big difference as the club, after several years of toil in the lower reaches of the Premier League, strive higher. He said: "The fact we have the Friedkin Group, really good custodians in a new stadium – I think this is our best chance to bridge the gap. "Our fans have suffered far too long." Moshiri's reign was marked by financial problems, on-field struggles and a high turnover of managers. He said: "My biggest sadness is not to have attended more games. I wish I'd been able to but I was constrained by my work. I have no regret."
Yahoo
15-05-2025
- Business
- Yahoo
Everton to reduce Goodison capacity for women's team
Everton are drawing up plans about how they will reduce the capacity of Goodison Park when the club's women's team move in, including closing some of the stadium's upper tiers. The 133-year-old stadium plays host to its final Premier League game on Sunday, when Everton face Southampton, before moving to a new 53,000-capacity arena at Bramley-Moore Dock. Everton have announced that proposals to demolish Goodison Park have been scrapped and will be used for their women's team from next season. The women's team average attendance has been 2,062 at their current home at Walton Hall Park and Everton are keen to make Goodison more intimate with its current capacity at 39,572. The club will now reconfigure Goodison Park, with the Main Stand's top balcony, the Upper Bullens Road Stand and the upper tier of the Howard Kendall Gwladys Street End not in use, but instead covered in Everton's women's team branding. The club had also offered season ticket holders and seasonal hospitality members the opportunity to buy the seat they have used in the 2024-25 season as a permanent souvenir of Goodison Park after the final men's game has been played. That plan will go ahead and any seats bought will be replaced by the club in areas that will be occupied by supporters for women's matches. Everton are then planning to reduce the number of seats in each row where seats have been bought to create extra space, with the current capacity at 39,572. Under previous owner Farhad Moshiri, the club had announced plans for an £82m post-demolition renovation project on the Goodison site, which was set to include housing, a care home, retail units and a park. The centre circle, where the ashes of Everton legend Dixie Dean - whose record of 60 league goals in the 1926-27 season still stands - are scattered, was going to be preserved as an area of green space. But after being taken over by private investment firm the Friedkin Group in December, the club carried out a feasibility study into the possibility of maintaining the stadium as a home for the women's team, and have now opted to continue operating the site. Latest Everton news, analysis and fan views Get Everton news sent straight to your phone
BBC News
15-05-2025
- Business
- BBC News
Everton to reduce Goodison capacity for women's team
Everton are drawing up plans about how they will reduce the capacity of Goodison Park when the club's women's team move in, including closing some of the stadium's upper 133-year-old stadium plays host to its final Premier League game on Sunday, when Everton face Southampton, before moving to a new 53,000-capacity arena at Bramley-Moore have announced that proposals to demolish Goodison Park have been scrapped and will be used for their women's team from next women's team average attendance has been 2,062 at their current home at Walton Hall Park and Everton are keen to make Goodison more intimate with its current capacity at 39, club will now reconfigure Goodison Park, with the Main Stand's top balcony, the Upper Bullens Road Stand and the upper tier of the Howard Kendall Gwladys Street End not in use, but instead covered in Everton's women's team branding. The club had also offered season ticket holders and seasonal hospitality members the opportunity to buy the seat they have used in the 2024-25 season as a permanent souvenir of Goodison Park after the final men's game has been plan will go ahead and any seats bought will be replaced by the club in areas that will be occupied by supporters for women's are then planning to reduce the number of seats in each row where seats have been bought to create extra space, with the current capacity at 39, previous owner Farhad Moshiri, the club had announced plans for an £82m post-demolition renovation project on the Goodison site, which was set to include housing, a care home, retail units and a park. The centre circle, where the ashes of Everton legend Dixie Dean - whose record of 60 league goals in the 1926-27 season still stands - are scattered, was going to be preserved as an area of green after being taken over by private investment firm the Friedkin Group in December, the club carried out a feasibility study into the possibility of maintaining the stadium as a home for the women's team, and have now opted to continue operating the site.
