Being able to intern at Yayoi Kusama’s studio is an extremely valuable opportunity for most artists.

It’s basically akin to students of finance interning at Goldman Sachs or J.P. Morgan, or accounting students at PricewaterhouseCoopers or Ernst & Young, in their top-notch core departments.

With such credentials,

whether you want to pursue a pure art painting career and eventually sign with a gallery, or become an art curator, work as a senior market advisor at an auction company like Christie’s or Sotheby’s, or even make a fortune at luxury companies like LV or Hermes, it’s all at your disposal.

What’s more, Yayoi Kusama is the premier female artist.

In the art market, the price of works by female artists is often significantly lower than that of male artists, yet the average price of Yayoi Kusama’s works almost matches that of the top male painters, which speaks volumes.

Not even Elder Cao can compare, it’s not about the money.

The first is the first, in the world of art criticism, it’s hard to determine who is the most influential male artist of the World War II and post-war era.

If there were a voting to decide,

it would most likely be Picasso, perhaps Duchamp, or possibly Andy Warhol.

However, Cao Xuan’s name is unlikely to be the first impression in people’s minds for this list.

He is top-tier, but not number one.

Yayoi Kusama, on the other hand, is the only supernova, the idol in the eyes of female art students worldwide, the light, the electricity, the myth, and the Pop Empress on par with Andy Warhol.

Takashi Murakami is merely a junior in her presence.

Pop art is the most profitable and commercialized school in the art world, and if you have Yayoi Kusama’s support and don’t achieve a one million dollars annual income within a few years, that would be a failure.

I must say,

Gu Weijing was indeed tempted.

The pity is, he knows that compared to the colorful pop art, Elder Cao’s Chinese Painting may be more suitable for him.

It’s also better suited for the seal engraved with "Owner of the Gu Residence".

Once Gu Weijing achieved a certain economic condition, making money became an accessory to painting, not its purpose.

Conversations with his grandfather Gu Tongxiang instilled in him a greater sense of responsibility for the legacy of brush and ink, his ancestors, the art of Chinese Painting is hidden within his bloodline.

"I’m most likely going to study at a university in Germany... If you’re asking about my recent plans, I might prepare to try participating in a biennale this summer?"

Gu Weijing shook his head and said.

"The Singapore Art Biennale, right? Germany, that’s Elder Cao’s idea?"

Koizumi Katsuko’s ability to capture art trends and cutting-edge information far surpasses that of a local Yangon girl like Mona.

Germany’s universities combined with a summer art exhibition, two bits of information.

She hardly had to think to guess it about eighty to ninety percent correctly.

"Oh, if you can study by Mr. Cao Xuan’s side for a while, it’s not worse than interning at Senior Kusama’s studio, it seems the old gentleman really likes you."

Koizumi Katsuko nodded.

In her mind, she assumed Elder Cao would at most let Gu Weijing stay by his side, occasionally giving some guidance, much like an internship at Yayoi Kusama’s studio.

Even Miss Sakai didn’t think about accepting him as a disciple.

Mr. Cao Xuan’s seniority is too high, a near-century-old man, almost a living fossil who could be their great-great-grandfather.

Judging by the age of his debut, Elder Cao could even be classified among the pre-World War II generation of painters, and it’s been almost thirty years since he last accepted a pupil.

"Forget it, if you want to engage more with pop art at that time, I will try to find a way for you."

Koizumi Katsuko was a bit disappointed about failing to recruit for her father.

But she didn’t push it.

Art styles, what’s suitable is best. She was delighted for Gu Weijing to be appreciated by Elder Cao.

Her attention shifted to the exhibition Gu Weijing mentioned.

Koizumi Katsuko wrinkled her nose: "The Singapore Art Exhibition is indeed a great platform for a debut, but due to curational issues it’s been delayed by one or two years, this edition’s competition should be very fierce. If you are willing to delay a year, to participate in the Yokohama Triennale, which is as famous as the Lion City Art Exhibition, I can ask my dad to see if he can get you a special invitation slot."

This was Shengzi hinting at a possible backdoor,

Mr. Tree Sloth had once negotiated with Curator Tangkis’s blonde assistant, trying to secure a special invitation slot, but the assistant pretended not to understand and politely declined.

With Uncle Sakai’s renown,

If he himself expressed the intention to participate, not to mention the Lion City Art Exhibition, even the art crown jewel Venice Biennale, the organizers would be happy to extend an invitation.

But if it was a recommendation for a junior to participate directly... the committee would need to consider.

Actually,

Honestly, in past events, it wouldn’t have been difficult.

High-end artists are always a small circle that helps each other, you recommend my student, I promote your disciple, if the skill is decent, a slot is given.

As long as it’s not too embarrassing, the audience may not even notice.

But with the new curational strategy to boost tourism and enhance the city’s image, this edition of the Lion City Art Exhibition’s budget and scale have been exceptionally high, almost setting a new record for Asian art exhibitions.

This summer, the world’s most high-profile art focus should be the Singapore Art Biennale.

It’s a gathering of elites and a cloud of experts.

Not just Elder Cao, even Mr. Tree Sloth far away in Europe, recommended Gu Weijing to participate in the Lion City Art Exhibition, noting that this time, there’s an especially large number of young artists.