Fast-forward to 2015, and while limited editions still factor into PIMO’s plans, they’re now second to a proposed platform for content creation, art promotion, and more. “PIMO was created out of the fact that we think China needs a good commercial brand that connects the art world to mass media, regular people who like culture, something that talks to a wider audience,” says Chau.
In an already dense—if fledgling—arts ecology, what of PIMO’s role? “There are lots of museums springing up, but in terms of Shanghai and China there’s a lack of content. PIMO will fill that gap,” says Xu.
Citing the government-funded Shanghai Biennale as a similarly out-of-synch showcase, the artist added, “PIMO will be more flexible. We’re still in the thinking stages, but it will further define itself.”
Certainly PIMO’s founders present ample reason to get excited about what can best be described as a somewhat elastic venture. Part of a new generation of
, Chau and Xu have kept moving and in doing so, stayed ahead of their respective curves. For Xu, that meant a reinvention of what an artist is when he declared himself CEO of MadeIn Company in 2009, with an eponymous sub-brand launching in 2013.