ArtSlant - Openings & events en-us 40 Group Show - CAFA Art Museum - July 2nd 9:30 AM - 5:30 PM <p style="text-align: justify;">Organized by CAFA Art Museum, Beijing, China<br /> The Eli and Edythe Broad Art Museum at Michigan State University East Lansing, Michigan, U.S.A. <br /> <br /> In recent years, large-scale exhibitions on the academic study, historical overview, and specialized exhibition of video art have been held in both western and non-Western countries. ZKM&rsquo;s 2006exhibition entitled &ldquo;Video Art in Germany From 1963 to the Present&rdquo; is just one important example. The recent interest in the medium is intimately related to the development of contemporary art overall. The structure of contemporary art today is moving toward homogenization and focusing on mutually influential and related global events. However, in the course of rapid globalization, the art of non-Western countries is urgently searching for new ways of reconstructing and writing its own history. <br /> <br /> In this context, CAFA Art Museum and the Eli and Edythe Broad Art Museum join up to organize &ldquo;Time Test: International Video Art Research Exhibition&rdquo;. In the axis of the development course of the video art, the project presents around 45 domestic and foreign artists with two collateral exhibitions echoing with each other.<br /> <br /> I.&nbsp;&ldquo;Moving Time: Video Art at 50, 1965-2015&rdquo; reviews and researches the greatly significant artworks in the last 50 years of western video art development.<br /> <br /> II.&nbsp;&ldquo;Screen Test: Chinese Video Art since the 1980s&rdquo; focuses on organizing and reviewing the last thirty years of video art through representative Chinese voices in active in moving image art.<br /> The project also includes a series of public programs such as a compendium of artistic and social events, extension reading materials for public enrichment, and lectures and discussions featuring the artists and invited scholars. <br /> <br /> <strong>Moving Time: Video Art at 50, 1965&ndash;2015</strong> <br /> Curator: Caitl&iacute;n Doherty<br /> Curatorial Assistant: Katja Rivera<br /> Organized by the Eli and Edythe Broad Art Museum at Michigan State University East Lansing, Michigan, U.S.A. <br /> Participating Artists:<br /> Marina Abramović, Charles Atlas, Mark Brownlow &amp; Ingrid Kvale &amp; Anuschka Schofield, Valie Export, Harun Farocki, Jean-Luc Godard, Michelle Handelman, Joan Jonas, Sam Jury, Chris Marker, Anne-Marie Mi&eacute;ville, N&aacute;stio Mosquito, Luis Felipe Ortega, Nam June Paik, Julian Rosefeldt, Martha Rosler, Michael Snow, Steina and Woody Vasulka, Bill Viola, Andy Warhol, Weng Yunpeng<br /> * In alphabetical order by surname <br /> <br /> &ldquo;Moving Time: Video Art at 50, 1965-2015&rdquo; traces the impact various artists have had on the art form&mdash;from its birth in the 1960s with artists Andy Warhol and Nam June Paik, to the performative work of influential women artists such as Joan Jonas, to the lesser-known works of international emerging artists continuing to push the medium forward today. The exhibition is one of the final shows envisioned by Broad MSU Founding Director Michael Rush prior to his passing earlier this year, and is curated by Caitl&iacute;n Doherty, Broad MSU Curator and Deputy Director of Curatorial Affairs. <br /> <br /> Rush was internationally recognized for his observations of, and pioneering publication on, video art (Video Art, 2003, 2007). His vision for &ldquo;Moving Time&rdquo; was guided by the belief that, given the ubiquity of all manner of videos in contemporary society, it is of growing importance to focus on the history and progress of video as an art form, as practiced by visionary artists from around the globe. <br /> &ldquo;The trajectory of video art is expansive and the form has the unique ability to embrace a kaleidoscope of artistic ideas&mdash;from the abstract to the performative, the conceptual to the documentary. Video art has become one of the most significant mediums to emerge over the past half-century, and artists across the globe are constantly moving it forward&mdash;evolving and departing from the innovative and experimental work of their predecessors,&rdquo; said Caitl&iacute;n Doherty. &ldquo;Video pervades our daily lives as never before and so now, it is perhaps more important than ever to distinguish video art as an art form and celebrate the artists who use it to explore the world we live in. We hope this exhibition both honors our Founding Director Michael Rush&rsquo;s vision and provides our visitors with insight into a medium that proliferates throughout the art world today.&rdquo; <br /> <br /> Video technology&mdash;once dominated solely by the film and television industry&mdash;first became accessible to visual artists in the mid-20th century, in the form of more affordable and easy-to-use portable devices. In just 50 years, the medium has been leveraged by artists across the globe to blur the boundaries between traditional artistic practices and inventive new methods of storytelling. &ldquo;Moving Time&rdquo; will ask visitors to both contemplate the progression of video art over time and simultaneously put works from various time periods in dialogue with one another. It will also feature five works from emerging, international contemporary video artists&mdash;including Sam Jury, Michelle Handelman, and Weng Yunpang. Each artist will showcase his or her work alongside one &lsquo;historic&rsquo; work they cite as having been of particular influence to them during the course of their career. <br /> <strong><br /> Additional highlights of the exhibition include:<br /> </strong><br /> l &nbsp;Seminal works by early pioneers&mdash;including:<br /> &iexcl; &nbsp;Andy Warhol&rsquo;s first double-projection film Outer and Inner Space (1965), one of the earliest examples of video installation art capturing actress and factory girl Edie Sedgwick interacting with a video recording of herself; and<br /> <br /> &iexcl; &nbsp;Nam June Paik&lsquo;s earliest video tape Button Happening (1965), recorded on the day he first acquired his Sony Portapak camera.<br /> <br /> l &nbsp;An installation dedicated to the performative videos of women artists, exploring the role of the body, complexity of the mind, and inequalities fostered by both gender and political prejudice&mdash;including Marina Abramović&rsquo;s AAA-AAA (1978), Joan Jonas&rsquo;s Vertical Role (1972), and Martha Rosler&rsquo;s Semiotics of the Kitchen (1975).<br /> <br /> l &nbsp;Groundbreaking contemporary works that create large-scale immersive experiences&mdash;including Julian Rosefeldt&rsquo;s Asylum, a nine-screen work exploring the stereotypes given to asylum-seekers across the globe&mdash;and that revisit and question the history of film as in Harun Farocki&rsquo;s Workers Leaving the Factory (1995). <br /> (Courtesy the Eli and Edythe Broad Art Museum) <br /> <br /> <strong>Screen Test: Chinese Video Art Since 1980s</strong> <br /> <br /> Curator: Dong Bingfeng, Wang Chunchen<br /> Curatorial Assistant: Yi Yue<br /> Organized by CAFA Art Museum, Beijing, China <br /> <strong><br /> Participating Artists:</strong><br /> Zhang Peili, Wang Gongxin, Li Yongbin, Song Dong, Wang Jianwei, Xu Tan, Xu Zhen, Wang Jun-Jieh, Yuan Goang-Ming, Feng Mengbo, Cao Kai, Cao Fei, Lu Yang, Miao Ying, Lin Ke, Jiao Yingqi, Jia Zhangke, Yang Fudong, Wang Bing, Zhou Xiaohu, Cheng Ran, Ming Wong, Chen Chieh-jen, Mao Chenyu (filmfarm), Hsu Che-Yu <br /> * All in random order. <br /> <br /> The study of video art, or to use the recently popular term &ldquo;moving image,&rdquo; is still concentrated in core countries in Europe and America that are considered the source of modern art and its development, but the influence of this artistic form has increased in the Chinese-speaking world. Video art has developed in mainland China for more than twenty years; the medium rose earlier in neighboring Taiwan and Hong Kong, which were influenced by Western modern art at an earlier date. Beginning in the late 1990s, there has been a marked increase in the number of exhibitions of Chinese video art, and exchange and discussion regarding the medium is becoming more common. It is particularly worth nothing that video art, a form that is rising in the Chinese-speaking world, came from the West, but Chinese video art has not simply imitated the Western historical, aesthetic, and cultural context. Instead, Chinese video artists have brought the practice into their unique cultural contexts, with a close focus on their own realities. They have actively and strategically intervened in discussions of social issues, launching a moving image movement with a more organic critical awareness and reflective spirit. <br /> <br /> As a part of CAFA Art Museum&rsquo;s &ldquo;Time Test: International Video Art&rdquo; exhibition, &ldquo;Screen Test: Chinese Video Art since the 1980s&rdquo; focuses on organizing and reviewing the last thirty years of video art through representative Chinese voices in active in moving image art. Within the title &ldquo;Screen Test,&rdquo; the &ldquo;screen&rdquo; refers to the framed vehicle for the projection and presentation of the moving image, while &ldquo;test&rdquo; refers to the practice and manifestation of the medium in the multiples spaces in which art museums hold public education and discussion events. This concept attempts to break away from narrow understandings of video art and the excessive focus on the forms, techniques, and development of the medium. Instead, this art form is re-examined with the context of the art museum and broader public places, which also allows for the investigation of the closely-related media of documentaries, film, and new media art, proposing a renewal of artistic ideas and posing a challenge to the sites of culture. <br /> <br /> &ldquo;Screen Test: Chinese Video Art Since the 1980s&rdquo; is divided into three sections. The first section, entitled &ldquo;The Infancy of Video Art,&rdquo; introduces the occurrence of video art in greater China and how it became an independent artistic medium and cultural theme. Participating artists include Zhang Peili, Wang Gongxin, Li Yongbin, Song Dong, Wang Jianwei, Xu Tan, Xu Zhen, Wang Jun-Jieh, etc. In the second section, entitled &ldquo;Media Experiment,&rdquo; video art developed in 1990s with spread of personal computers and new media technologies and the rise of the independent film movement and experimental films. Video art became an expanding aesthetic experiment and a radical transformation. Artists include Feng Mengbo, Qiu Zhijie, Jiao Yingqi, Cao Kai, Cao Fei, Lu Yang, Lin Ke, and Miao Ying, etc. The third section, entitled &ldquo;Transition to Film,&rdquo; encompasses films shot by artists or spatial film installations produced by film directors; both are becoming increasingly important themes in moving image art today. Film has become more than a medium of contemporary art; it is an important tool and methodology for witnessing, recording, participating, and acting in society. Participating artists include Jia Zhangke, Yang Fudong, Wang Bing, Zhou Xiaohu, Chen Chieh-jen, Cheng Ran, Ming Wong, Mao Chenyu (filmfarm), Hsu Che-Yu.<br /> (Courtesy Dong Bingfeng) &nbsp;</p> <hr /> <p style="text-align: justify;">主办:中国中央美术学院美术馆<br /> 美国密歇根州立大学布罗德美术馆<br /> <br /> 近年,关于&ldquo;录像艺术&rdquo;(Video &nbsp;Art)的研究、历史整理和专题展览,不断在西方或非西方国家的大型美术馆相继举行,2006年ZKM举办的&ldquo;德国录像艺术40年&rdquo;(Video &nbsp;Art &nbsp;in &nbsp;Germany &nbsp;From &nbsp;1963 &nbsp;to &nbsp;The &nbsp;Present)就是其中一个重要案例。&ldquo;录像艺术&rdquo;在当下备受关注的局面与当代艺术整体的发展趋向紧密相关:一方面,今天当代艺术的格局正向着均质 的、互为影响与关联的&ldquo;全球性事件&rdquo;的方向发展;另一方面,非西方国家的艺术在全球化加速的进程中更为迫切地寻求不断重构和书写自身历史的新的方式。有关 &ldquo;录像艺术&rdquo;,或用近年更流行的说法,&ldquo;影像艺术&rdquo;(Moving &nbsp;Image)的研究重镇,虽然仍旧集中在欧美那些被认为是现代艺术发生源头及演变发展的核心国家和区域,但这一艺术形式在华人世界的影响力也一直在不断 增强。<br /> <br /> 在此背景下,中央美术学院美术馆联合密歇根州立大学布罗德美术馆,共同策划&ldquo;时间测试:国际录像艺术研究展&rdquo;。此次项目将以录像艺术发展脉络为轴,以两个平行展呼应展出的方式共同呈现中外45位艺术家的录像作品。<br /> <br /> 一、&ldquo;移动的时间:录像艺术50年,1965-2015&rdquo;将呈现一系列在过去50年来对西方影像艺术发展有着重大影响的作品;<br /> 二、&ldquo;屏幕测试:1980年代以来的华人录像艺术&rdquo;将重点梳理和回顾过去三十多年,以&ldquo;录像艺术&rdquo;为创作主题,具有代表性的华人活动影像艺术作品。<br /> <br /> 此次项目还将包括一系列的公共项目,艺术和社会背景大事记,用于公开浏览的延伸阅读出版物,以及由参展艺术家和特邀学者共同参与的讲座及对话活动。<br /> <br /> <strong>移动的时间:录像艺术50年,1965-2015<br /> </strong>Moving &nbsp;Time: &nbsp;Video &nbsp;Art &nbsp;at &nbsp;50, &nbsp;1965&ndash;2015 <br /> 策展人:凯特琳&middot;多尔蒂<br /> 策展助理:卡特娅&middot;里维拉<br /> 主办:美国密歇根州立大学布罗德美术馆<br /> <br /> <strong>参展艺术家:<br /> </strong>玛莉娜&bull;阿布拉莫维奇(Marina &nbsp;Abramović),查理&bull;阿特拉斯(Charles &nbsp;Atlas),马克&bull;布朗洛、英格丽&bull;克韦尔和阿纳斯卡&bull;斯科菲尔德(Mark &nbsp;Brownlow, &nbsp;Ingrid &nbsp;Kvale &nbsp;and &nbsp;Anuschka &nbsp;Schofield),瓦里&bull;艾斯波尔(Valie &nbsp;Export),哈伦&bull;法罗基(Harun &nbsp;Farocki),让-吕克&bull;戈达尔(Jean-Luc &nbsp;Godard),迈克尔&bull;汉德尔曼(Michelle &nbsp;Handelman),琼&bull;乔纳斯(Joan &nbsp;Jonas),山姆&bull;朱里(Sam &nbsp;Jury),克利思&bull;马克(Chris &nbsp;Marker),安娜-玛丽&bull;米耶维尔(Anne-Marie &nbsp;Mi&eacute;ville),纳斯蒂奥&bull;莫斯基多(N&aacute;stio &nbsp;Mosquito),路易斯&bull;费利佩&bull;奥尔特加(Luis &nbsp;Felipe &nbsp;Ortega),白南准(Nam &nbsp;June &nbsp;Paik),尤利安.罗斯费尔德(Julian &nbsp;Rosefeldt),玛莎&bull;罗斯勒(Martha &nbsp;Rosler),迈克尔&bull;斯诺(Michael &nbsp;Snow),斯坦纳和伍迪&bull;瓦苏尔卡(Steina &nbsp;and &nbsp;Woody &nbsp;Vasulka),比尔&bull;维奥拉(Bill &nbsp;Viola),安迪&bull;沃霍尔(Andy &nbsp;Warhol),翁云鹏<br /> *按英文姓氏首字母排序<br /> <br /> &ldquo;移动的时间:影像艺术50年,1965-2015&rdquo;呈现了一系列在过去50年来对影像艺术发展有着重大影响的作品。展览将追溯不同艺术家对这一艺术形式 的影响&mdash;&mdash;从一九六零年代录像艺术诞生之际的安迪&middot;沃霍尔(Andy &nbsp;Warhol)和白南准(Nam &nbsp;June &nbsp;Paik),到像琼&middot;乔纳斯(Joan &nbsp;Jonas)这样有影响力的女艺术家的行为作品,再到如今国际上涌现出的一批新媒体艺术家,尽管他们的作品不那么为人所知,但也推动这一媒介不断向前。 此次展览是布罗德美术馆的首任馆长迈克尔&middot;拉什(Michael &nbsp;Rush)生前构想的最后一批展览之一,由策展人兼策划事务部副总监卡特娅&middot;里维拉(Caitl&iacute;n &nbsp;Doherty)策展。<br /> <br /> 迈克尔&middot;拉什曾以他对录像艺术的关注和开创性地就此撰文发刊而受到国际性的认可(《录像艺术》(Video &nbsp;Art)2003,2007)。既然当代社会广泛存在着录像的各种方式,那么它作为一种被全世界有创见的艺术家所实践的艺术形式,关注其历史演进就越发 具有重要性&mdash;&mdash;拉什的愿景正是由这一信念指引。<br /> <br /> 卡特娅&middot;里维拉说:&ldquo;录像艺术的轨迹很丰富,并且有独特的能力能够囊括千变万化的艺术理念&mdash;&mdash;从抽象的到行为的,从观念的到记录的。录像艺术已经变成了过 去半个世纪以来涌现的最重要的媒介之一,并且全球艺术家也在由他们前辈的原创和实验作品基础上蜕变并持续推动它向前&rdquo;,&ldquo;录像正前所未有地在生活中普及, 所以现在比以往任何时候都更要把它作为一种艺术形式区分开来,也需肯定那些使用这一形式来探索我们生活的世界的这些艺术家。我们希望这个展览既能体现首任 馆长迈克尔&middot;拉什的愿景,也能提供给参观者深入了解这一风靡全球的媒介的机会。&rdquo;<br /> <br /> 录像技术曾经单单由电影电视业主宰,在二十世纪中叶时,它以更加实惠的价格和便携易上手的形式为艺术家使用。短短五十年里,全世界的艺术家利用这一媒介模 糊了传统艺术实践和创新叙事方法之间的界限。&ldquo;移动的时间&rdquo;将使观众凝视录像艺术的时间演变的同时,也能够看到不同时段作品之间的对话关系。展览将从来自 于国际新锐录像艺术家的五件作品引入,他们包括山姆&middot;朱里(Sam &nbsp;Jury)、迈克尔&middot;汉德尔曼(Michelle &nbsp;Handelman)和翁云鹏。每一位艺术家都将把他们的作品和其援引的一件对自己有创作生涯有特殊影响的&ldquo;历史性&rdquo;作品共同展示。<br /> <br /> <strong>其他展览亮点有:<br /> </strong><br /> 早期先锋艺术家的开创性作品:<br /> 安迪&middot;沃霍尔的第一个双投影电影《内与外》(Outer &nbsp;and &nbsp;Inner &nbsp;Space,1965),这是早期录像装置艺术的范本之一,拍摄&ldquo;工厂女孩&rdquo;&mdash;&mdash;女演员伊迪&middot;塞奇威克(Edie &nbsp;Sedgwick)和一段记录她本人的录像之间的互动。<br /> &nbsp;白南准的早期录像《扣子偶发事件》(Button &nbsp;Happening,1965),拍摄于他购买了索尼Portapak相机的当天。<br /> &nbsp; <br /> 一件献给女性艺术家的行为录像的装置,探索身体的角色,心智的复杂以及由性别和政治偏见所带来的不平等&mdash;&mdash;包括玛莉娜&middot;阿布拉莫维奇(Marina &nbsp;Abramović)的《AAA-AAA》(AAA-AAA,1978),琼&middot;乔纳斯的《垂直运转》(Vertical &nbsp;Roll,1972),玛莎&middot;罗斯勒(Martha &nbsp;Rosler)的《厨房的符号学》(Semiotics &nbsp;of &nbsp;the &nbsp;Kitchen,1975)。<br /> <br /> 能提供身临其境之体验的当代开创性作品&mdash;&mdash;包括尤利安.罗斯费尔德 (Julian &nbsp;Rosefeldt)的《收容所》(Asylum),该作品有九块荧幕,探索能给予全世界寻求避难者的模型&mdash;&mdash;这也像哈伦&middot;法罗基(Harun &nbsp;Farocki)1995年的《工人离开工厂》(Workers &nbsp;Leaving &nbsp;the &nbsp;Factory)所做的一样,重拾电影史的问题。<br /> <br /> (展览阐述由密歇根州立大学布罗德美术馆提供)<br /> <br /> <strong>屏幕测试:1980年代以来的华人录像艺术<br /> </strong>Screen &nbsp;Test: &nbsp;Chinese &nbsp;Video &nbsp;Art &nbsp;Since &nbsp;1980s<br /> <br /> 策展人:董冰峰、王春辰<br /> 策展助理:易玥<br /> 主办:中国中央美术学院美术馆<br /> <br /> <strong>参展艺术家:<br /> </strong>张培力,王功新,李永斌,宋冬,汪建伟,徐坦,徐震,王俊杰,袁广鸣,冯梦波,曹恺,曹斐,陆扬,苗颖,林科,焦应奇,贾樟柯,杨福东,王兵,周啸虎,程然,黄汉明(Ming &nbsp;Wong),陈界仁,毛晨雨(稻电影),许哲喻<br /> *排名不分先后<br /> <br /> 有关&ldquo;录像艺术&rdquo;,或用近年更流行的说法,&ldquo;影像艺术&rdquo;(Moving &nbsp;Image)的研究重镇,虽然仍旧集中在欧美那些被认为是现代艺术发生源头及演变发展的核心国家和区域,但这一艺术形式在华人世界的影响力也一直在不断 增强。&ldquo;录像艺术&rdquo;在中国大陆的发展已有二十余年,而在邻近的台湾、香港这样较早接受西方现代艺术影响的地区,则发展更早。自上世纪90年代后期开始,华 人领域关于&ldquo;录像艺术&rdquo;的展览明显增多,交流和讨论也变得日益频繁。 &nbsp;需要特别指出的是,华人世界里新兴的&ldquo;录像艺术&rdquo;,虽传承自西方,但并非对其既有的历史、美学、文化内涵进行简单模仿,而是将实践带入特有的文化语境、 密切关注现实,并且积极又策略地介入对社会问题的讨论,掀起一场更为有机、且深具批判意识与反思精神的&ldquo;影像运动&rdquo;浪潮。<br /> <br /> 作为中央美术学院美术馆&ldquo;时间的测试:国际录像艺术研究展&rdquo;项目的组成部分,&ldquo;屏幕测试:1980年代以来的华人录像艺术&rdquo;,重点梳理和回顾过去三十多 年,以&ldquo;录像艺术&rdquo;为创作主题,具有代表性的华人活动影像艺术作品。&ldquo;屏幕测试&rdquo;(Screen &nbsp;Test)所提到的 &nbsp;&ldquo;屏幕&rdquo;是指活动影像得以投射和显现的框状载体;&ldquo;测试&rdquo;是指美术馆进行公共教育和分享的多种空间实践及表现。这个概念试图打破对&ldquo;录像艺术&rdquo;狭义的理 解,及对其形式、技术、发展线索的过度关注, &nbsp;而将这一艺术样态置于美术馆空间和更为广阔的公共场域来重新观察,同时考察与其紧密相关的纪录片、电影和新媒体艺术的发展,提出对于艺术观念的更新,和 对文化现场的挑战。<br /> <br /> &ldquo;屏幕测试:1980年代以来的华人录像艺术&rdquo;分为三组单元。第一单元&ldquo;录像初生&rdquo;:介绍&ldquo;录像艺术&rdquo;是如何在华人区域中发生,以及如何形成一种自主的艺 术媒介与文化命题的。参展艺术家如张培力、王功新、李永斌、宋冬、汪建伟、徐坦、徐震、王俊杰等;第二单元&ldquo;媒介实验&rdquo;:&ldquo;录像艺术&rdquo;的演进,同时也伴随 着1990年代个人电脑及新媒体技术的发展,也包括中国的&ldquo;独立电影运动&rdquo;(Independent &nbsp;Film &nbsp;Movement)和实验电影潮流的影响,使&ldquo;录像艺术&rdquo;在中国大陆呈现一种不断扩展中的美学实验。如冯梦波、邱志杰、焦应奇、曹恺、曹斐、陆扬、林 科、苗颍等;第三单元&ldquo;电影转向&rdquo;: &nbsp;艺术家拍摄电影作品,或电影导演制作以空间表现为形式的&ldquo;电影装置&rdquo;(Film &nbsp;Installation),日益成为当下&ldquo;影像艺术&rdquo;(Moving &nbsp;Image)发展的主题。电影不仅是一种当代艺术的媒介,更表现为一种强调见证与记录、具社会参与和行动力的重要方法论。如贾樟柯、杨福东、王兵、周啸 虎、陈界仁、程然、黄汉明(Ming &nbsp;Wong)、毛晨雨(稻电影)、许哲瑜等。<br /> <br /> (展览阐述由董冰峰撰写)</p> Fri, 13 May 2016 10:15:23 +0000 Lam Tung Pang - Tang Contemporary Art - Hong Kong - July 7th 6:00 PM - 8:00 PM <p style="text-align: justify;"><strong>Tang Contemporary Art is proud to present a solo exhibition of contemporary Hong Kong artist&nbsp;Lam Tung Pang, the curatorial debut by renowned Hong Kong-based architect and collector&nbsp;William Lim. Exhibiting at their Central space from&nbsp;July 7 &ndash; 30, 2016, &ldquo;Planting Time&rdquo; will be the gallery&rsquo;s first-ever collaboration with him, and solo exhibition of a Hong Kong artist.&nbsp;</strong></p> <p style="text-align: justify;">Curatorial Statement&nbsp;&nbsp;</p> <p style="text-align: justify;">&ldquo;Lam Tung Pang&rsquo;s works, to me, are a metaphor for connecting the past with the present, crossing from Shan Shui in Song dynasty to today&rsquo;s urban landscape, where viewers are directed to link the ancient with modern media. If an artist&rsquo;s early creations were abandoned, given up at the time for certain reasons, were to resurface after many years &ndash; would it take on a new life? And the successful creations made then, if seen again today, would they still have life in them? Could a work made today, reviewed again in a year, potentially become a creation to dispose? &nbsp;</p> <p style="text-align: justify;">The artist uses a tense in English grammar as the work title to reference the relationship between materials and time simultaneously; the schematization of its artistic language is also likened to text-imagery, in a series of chapters.&nbsp;&nbsp;This exhibition features a 2011 representative work by the artist &ldquo;Past Continuous Tense&rdquo;, where he appropriates an earlier failed attempt and once abandoned idea of drawing on plywood as a visual artistic reflection on his creative progress. This has inspired the name of our exhibition, &ldquo;Planting Time&rdquo;.&nbsp;</p> <p style="text-align: justify;">&nbsp;As my curatorial debut, I am delighted to work with Lam Tung Pang and Tang Contemporary Art to share great Hong Kong art with everyone. Time has always been one of the recurring themes in my collection &ndash; here, Lam Tung Pang&rsquo;s exploration of the continuity and changes in time can also be an inspiration for today&rsquo;s society.&rdquo; &nbsp;</p> <p align="right">&ndash; William Lim</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">About&nbsp;<strong>Lam Tung Pang</strong>&nbsp;</p> <p style="text-align: justify;">Lam Tung Pang is a contemporary artist, born in Hong Kong in 1978 and currently lives and works in Hong Kong. Lam studied Fine Art at The Chinese University of Hong Kong before undertaking an M.A. at Central St Martins College of Art, London in 2004. He has been awarded numerous scholarship and awards, including the Arts Scholarship from Hong Kong Arts Development Council (2003) and Hong Kong Contemporary Art Biennial Awards (2009).&nbsp;</p> <p style="text-align: justify;">Lam&rsquo;s works are mostly related to specific situations or social contexts, some of them in monument scale that are given a touch of humanity. He has exhibited extensively worldwide, with works in a number of private and public collections including: M+ Museum, K11 Foundation, Deutsche Bank, Hong Kong Museum of Art, the Burger Collection, and commissioning a work for the Hong Kong Legislative Council. In 2012, he was awarded the&nbsp;Asian Cultural Council Fellowship for outstanding contributions to the development of culture and arts by The Secretary for Home Affairs, Hong Kong, as well as the Award for Best Artist (Visual Arts) of the Hong Kong Arts Development Awards in 2013.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">About&nbsp;<strong>the Work</strong></p> <p style="text-align: justify;"><em>Past Continuous Tense</em>&nbsp;is a sixteen-meter-long drawing on plywood depicting a wildfire. Lin&rsquo;s painting of trees are imitations of those by ancient Chinese, Korean and Japanese painters, together with fire and ash composition.&nbsp;</p> <p style="text-align: justify;">About<strong>&nbsp;William Lim</strong>&nbsp;</p> <p style="text-align: justify;">William Lim is a Hong Kong-based architect, art patron, and collector. A graduate from Cornell University with a Bachelor and Masters degree in Architecture, he is the founder and managing director of award-winning firm CL3 Architects. A vocal supporter of contemporary art in Hong Kong, he published a book on his collection &ldquo;The No Colors: William Lim Collection&rdquo; in 2014. &nbsp;</p> <p style="text-align: justify;">In addition to several academic posts he holds in Hong Kong and abroad, William serves on the Gallery Advisory Committee of the Asia Society, the Asia Pacific Acquisition Committee for Tate London, is a board member of Asia Art Archive, as well as a Council Member on the board for Cornell University Architecture, Art and Planning. He was previously co-chairman for the non-profit art space Para Site in Hong Kong. &nbsp;</p> <p style="text-align: justify;">William has participated in Lantern Wonderland, Venice Biennale&rsquo;s International Architectural Exhibition, as well as the Hong Kong &amp; Shenzhen Bi-City Biennale of Urbanism/Architecture for his multidisciplinary art and design practice.&nbsp;</p> Fri, 24 Jun 2016 15:27:46 +0000