ArtSlant - Openings & events en-us 40 - Photo Shanghai - August 31st 6:00 PM - 8:00 PM <div class="module heading"> <div class="hd"> <h1>Friday 5th September</h1> </div> </div> <div class="module content"> <div class="bd"> <h2>11:30 - 1:00</h2> <p><strong>An Introduction to Buying and Collecting Photographs: Part I<br /></strong><em>The Photographic Process: Bringing Photography to Life.&nbsp;<br /></em>Artists Qin Yifeng, Shan Feiming, Shao Wenhauan, Zhou Ming &amp; Shi Hantao delve into the world of the photographic studio.&nbsp;</p> <p><em>Location: Talks Room</em></p> <hr /> <p>&nbsp;</p> <h2>11:45 - 12:15</h2> <p><strong>Artist &amp; Gallery Session I:<br /></strong><em>ATLAS Gallery:&nbsp;</em>The Oeuvre of Nick Brandt.</p> <p><em>Location: Booth C01</em></p> <hr /> <p>&nbsp;</p> <h2>1:30 - 2:30</h2> <p><strong>An Introduction to the Chinese Photo Book:<br /></strong>Following on from the show at the Arles Photo Festival this summer, Ruben Lundgren and Martin Parr, the show's curators introduce the project to a Chinese audience for the first time.&nbsp;&nbsp;<em>Book signing to follow.</em></p> <p><em>Location: Talks Room</em></p> <hr /> <p>&nbsp;</p> <h2>2:15 - 2:45</h2> <p><strong>Artist &amp; Gallery Session II:<br /></strong><em>Fahey / Klein: Photographers</em><strong>&nbsp;</strong>represented by the LA based gallery are explored by the&nbsp;directors.&nbsp;</p> <p><em>Location: Booth C06</em></p> <hr /> <p>&nbsp;</p> <h2>2:30 - 3:30</h2> <p><strong>Christopher Phillips:&nbsp;<br /></strong>New York&rsquo;s International Centre of Photography&rsquo;s curator explores the theme of&nbsp;Chinese Contemporary Photography. In conversation with artist and Three Shadows Founder &amp; Director, RongRong.</p> <p><em>Location: Talks Room</em></p> <hr /> <p>&nbsp;</p> <h2>3:15 - 3:45</h2> <p><strong>Artist &amp; Gallery Session III:<br /></strong><em>Flowers Gallery:&nbsp;</em>Photographers<strong>&nbsp;</strong>represented by the London and New York-based gallery are&nbsp;explored by the directors.</p> <p><em>Location: Booth C02</em></p> <hr /> <p>&nbsp;</p> <h2>3:30 - 4:30</h2> <p><strong>Starting a Photography Collection From Scratch:<br /></strong>Chinese collector Lu Xun, in conversation with Alexander Montague-Sparey.</p> <p><em>Location: Talks Room</em></p> <hr /> <p>&nbsp;</p> <h2>4:30 - 5:30</h2> <p><strong>Commissioning the World's Hottest Photographers:<br /></strong>The Wall Street Journal's Photography Director Jennifer Pastore in conversation with Alexander Montague-Sparey.</p> <p><em>Location: Talks Room</em></p> <hr /> <div class="module heading"> <div class="hd"> <h1>Saturday 6th September</h1> </div> </div> <div class="module content"> <div class="bd"> <h2>11:30 - 1:00</h2> <p><strong><em>An Introduction to Buying and Collecting Photographs: Part II<br /></em></strong><em>Advising New Collectors:&nbsp;</em><em>Signatures, the Editioning Process and Acquisitions</em>, with Steven Harris, Founder &amp; Director of M97, Shanghai&nbsp;and Alexander Montague-Sparey.&nbsp;</p> <p>Together they discuss in detail the main differences between buying from galleries and auction houses.&nbsp;</p> <p><em>Location: Talks Room</em></p> <hr /> <p>&nbsp;</p> <h2>11:45 - 12:15</h2> <p><strong>The Three Shadows Art Centre, Beijing<br /></strong>Our Image World</p> <p>RongRong &amp; Directors discuss the development of the Art Centre</p> <p><em>Location: Booth B03</em></p> <hr /> <p>&nbsp;</p> <h2>1:30 - 2:30</h2> <p><strong>Birdhead: Play With Your Head<br /></strong>The Shanghai-based artists explore the central themes in their work.</p> <p><em>Location: Talks Room</em></p> <hr /> <p>&nbsp;</p> <h2>2:15 - 2:45</h2> <p><strong>Artist &amp; Gallery Session IV:<br /></strong><em>Peter Fetterman Gallery:</em>&nbsp;Sebasti&atilde;o Salgado &amp;&nbsp;The Global Power of Photography.</p> <p><em>Location: Booth D09</em></p> <hr /> <p>&nbsp;</p> <h2>2:30 - 3:30</h2> <p><strong>In Conversation with Roger Ballen:<br /></strong>Roger Ballen, celebrated South African photographer in conversation with Mariagrazia Costantino, Artistic Director, OCAT Shanghai.&nbsp;</p> <p><em>Location: Talks Room</em></p> <hr /> <p>&nbsp;</p> <h2>3:15 - 3:45</h2> <p><strong>Publishing Photographs in Japan:<br /></strong>Amanasalto:<strong>&nbsp;</strong>Creating Platinum-Palladium prints and portfolios with&nbsp;president&nbsp;Kinya Horikoshi.&nbsp;</p> <p><em>Location: Booth A02</em></p> <hr /> <p>&nbsp;</p> <h2>3:30 - 4:30</h2> <p><strong>Contemporary Photography in China, 2009 - 2014:&nbsp;<br /></strong><em>Aura &amp; Post Aura:&nbsp;</em>1st Beijing Photo Biennial at Photo Shanghai.</p> <p><em>Location: Talks Room</em></p> <hr /> <p>&nbsp;</p> <h2>4:30 - 5:30</h2> <p class="p1"><strong>The Flaneur&rsquo;s Urban Image:<br /></strong>Modern Media Group: Photo critic Gu Zheng and visual artists Liu Heung Shing, Lu Yuanmin and Peng Yangjun join Ye Ying- the Chief Editor of The Art Newspaper China- for an in-depth dialogue on the real and surreal Shanghai presented in the flaneur&rsquo;s urban images in different times.</p> <p><em>Location: Talks Room</em></p> <hr /> <div class="module heading"> <div class="hd"> <h1>Sunday 7th September</h1> </div> </div> <div class="module content"> <div class="bd"> <h2>11:30 - 1:00</h2> <p><strong>An Introduction to Buying and Collecting Photographs: Part III:<em><br /></em></strong><em>Framing, Mounting and Conservation</em>, with&nbsp;expert Jacqueline Furniss, Widerhall Limited Hong Kong.&nbsp;</p> <p><em>Location: Talks Room</em></p> <hr /> <p>&nbsp;</p> <h2>11:45 - 12:15</h2> <p><strong>Gallery &amp; Artist Session V:&nbsp;<br /></strong><em>M97 Gallery:</em>&nbsp;Artists represented by the Shanghai-based gallery are explored by director Steven Harris.&nbsp;</p> <p><em>Location: Booth D10</em></p> <hr /> <p>&nbsp;</p> <h2>1:30 - 2:30</h2> <p class="p1"><strong>The Lianzhou Photo Festival, China:</strong><br />Duan Yuting Director/Founder of Lianzhou Foto, in conversation with Shi Hantao.</p> <p><em><em>Location: Talks Room</em><br /></em></p> <hr /> <p>&nbsp;</p> <h2>2:15 - 2:45</h2> <p><strong>Artist &amp; Gallery Session VI:<br /></strong><em>Chambers Fine Art Gallery:</em><strong>&nbsp;</strong>Artists represented by the Beijing-based gallery are explored by the directors<strong>.&nbsp;</strong></p> <p><em>Location: Booth C08</em></p> <hr /> <p>&nbsp;</p> <h2>2:30 - 3:30</h2> <p><strong>Davide Quadrillo:<br /></strong>The director of Art Hub Asia tells us more about the aims and objectives of this leading fine art platform.</p> <p><em>Location: Talks Room</em></p> <hr /> <p>&nbsp;</p> <h2>3:15 - 3:45</h2> <p><strong>Gallery &amp; Artist Session VII:&nbsp;<br /></strong>P&eacute;kin Fine Arts: Photographers represented by the Bejiing based gallery are explored by the Directors.</p> <p><em>Location: Booth D08</em></p> <hr /> <p>&nbsp;</p> <h2>3:30 - 4:30</h2> <p><strong>Li Ningchun:<br /></strong>Curating Video and New Media at Photo Shanghai with special guest Art Yan.</p> <p><em>Location: Talks Room</em></p> </div> </div> <p><em>&nbsp;</em></p> </div> </div> <p><em>&nbsp;</em></p> </div> </div> Sun, 31 Aug 2014 02:58:31 +0000 Mehmet Ali Uysal - Pearl Lam Gallery Shanghai - September 3rd 5:00 PM - 7:00 PM <p><img src="" alt="" /></p> Fri, 15 Aug 2014 00:08:40 +0000 - Photo Shanghai - September 4th 6:00 PM - 9:00 PM <h3>Hours &amp; Admission</h3> <table> <tbody> <tr> <td>Thursday</td> <td>4th September&nbsp;&nbsp;&nbsp;</td> <td>4pm-6pm</td> <td>Collectors' Private View</td> </tr> <tr> <td>&nbsp;</td> <td>&nbsp;</td> <td>6pm-9pm</td> <td>VIP Opening</td> </tr> <tr> <td>Friday</td> <td>5th September</td> <td>11am-6pm</td> <td>Open to the Public</td> </tr> <tr> <td>Saturday</td> <td>6th September</td> <td>11am-6pm</td> <td>Open to the Public</td> </tr> <tr> <td>Sunday</td> <td>7th September</td> <td>11am-5pm&nbsp;&nbsp;&nbsp;&nbsp;</td> <td>Open to the Public</td> </tr> </tbody> </table> <p>Please note that the Collectors' Private View on Thursday 4th September 2014 is by invitation only.</p> <p>Public Tickets&nbsp;RMB 50</p> <h3>Exhibitors</h3> <div class="module content"> <div class="bd"> <h2>Galleries</h2> <p><a href="" target="_blank"><img title="A Galerie" src="" alt="A Galerie" /></a>&nbsp;&nbsp;<a href="" target="_blank"><img title="A Thousand Plateaus" src="" alt="A Thousand Plateaus" /></a>&nbsp;&nbsp;<a href="" target="_blank"><img title="Aike Dellarco, Shanghai" src="" alt="Aike Dellarco, Shanghai" /></a>&nbsp;&nbsp;</p> <p><a href="" target="_blank"><img title="amanasalto, Tokyo" src="" alt="amanasalto, Tokyo" /></a>&nbsp;&nbsp;<img title="AO Vertical Art Space, Hong Kong" src="" alt="AO Vertical Art Space, Hong Kong" />&nbsp;&nbsp;<a href="" target="_blank"><img title="Atlas" src="" alt="Atlas" /></a>&nbsp;&nbsp;&nbsp;</p> <p><a href="" target="_blank"><img title="Ayyam" src="" alt="Ayyam" /></a>&nbsp;&nbsp;<a href="" target="_blank"><img title="BreeseLittle" src="" alt="BreeseLittle" /></a>&nbsp;&nbsp;<a href="" target="_blank"><img title="C14" src="" alt="C14" /></a>&nbsp;&nbsp;</p> <p><a href="" target="_blank"><img title="C.A.M. Gallery" src="" alt="C.A.M. Gallery" /></a>&nbsp;&nbsp;<a href="" target="_blank"><img title="CAMERA WORK" src="" alt="CAMERA WORK" /></a>&nbsp;&nbsp;<a href="" target="_blank"><img title="Chambers" src="" alt="Chambers" /></a></p> <p><a href="" target="_blank"><img title="Chandelier" src="" alt="Chandelier" /></a>&nbsp;&nbsp;<a href="" target="_blank"><img title="Contemporary Art Projects" src="" alt="Contemporary Art Projects" /></a>&nbsp;&nbsp;<a href="" target="_blank"><img title="Czech Centre of Photography, Prague" src="" alt="Czech Centre of Photography" /></a>&nbsp;&nbsp;</p> <p><a href="" target="_blank"><img title="Danziger" src="" alt="Danziger" /></a>&nbsp;&nbsp;<a href=";lg=fr" target="_blank"><img title="Dumonteil" src="" alt="Dumonteil" /></a>&nbsp;&nbsp;<a href="" target="_blank"><img title="Fahey/Klein Gallery, Los Angeles" src="" alt="Fahey/Klein" /></a>&nbsp;&nbsp;</p> <p><a href="" target="_blank"><img title="Flowers" src="" alt="Flowers" /></a>&nbsp;&nbsp;<a href="" target="_blank"><img title="ifa gallery" src="" alt="ifa gallery" /></a>&nbsp;&nbsp;<a href="" target="_blank"><img title="In the Gallery, Copenhagen" src="" alt="In the Gallery, Copenhagen" /></a>&nbsp;&nbsp;</p> <p><a href="" target="_blank"><img title="Inter Gallery" src="" alt="Inter Gallery" /></a>&nbsp;&nbsp;<a href="" target="_blank"><img title="kunst.licht" src="" alt="kunst.licht" /></a>&nbsp;&nbsp;<a href="" target="_blank"><img title="M97 Gallery, Shanghai" src="" alt="M97 Gallery, Shanghai" /></a>&nbsp;&nbsp;</p> <p><a href="" target="_blank"><img title="Magnum" src="" alt="Magnum" /></a>&nbsp;&nbsp;<a href="" target="_blank"><img title="Mao Space" src="" alt="Mao Space" /></a>&nbsp;&nbsp;<a href="" target="_blank"><img title="MD Gallery" src="" alt="MD Gallery" /></a>&nbsp;&nbsp;</p> <p><a href="" target="_blank"><img title="OFOTO" src="" alt="OFOTO" /></a>&nbsp;&nbsp;<a href="" target="_blank"><img title="Pekin Fine Arts" src="" alt="Pekin Fine Arts" /></a>&nbsp;&nbsp;<a href="" target="_blank"><img title="Peter Fetterman Gallery, Santa Monica" src="" alt="Peter Fetterman" /></a>&nbsp;&nbsp;</p> <p><a href="" target="_blank"><img title="Photo12" src="" alt="Photo12" /></a>&nbsp;&nbsp;<a href="" target="_blank"><img title="Riflemaker" src="" alt="Riflemaker" /></a>&nbsp;&nbsp;<a href="" target="_blank"><img title="See+" src="" alt="See+" /></a>&nbsp;&nbsp;</p> <p><a href="" target="_blank"><img title="ShanghART" src="" alt="ShanghART" /></a>&nbsp;&nbsp;<a href="" target="_blank"><img title="SIPACHINA" src="" alt="SIPACHINA" /></a>&nbsp;&nbsp;<a href=""><img title="Stephan Witschi" src="" alt="Stephan Witschi" /></a>&nbsp;&nbsp;</p> <p><a href="" target="_blank"><img title="Tasveer" src="" alt="Tasveer" /></a>&nbsp;&nbsp;<a href="" target="_blank"><img title="Three Shadows" src="" alt="Three Shados" /></a>&nbsp;&nbsp;<a href="" target="_blank"><img title="Timeless Gallery, Beijing" src="" alt="Timeless" /></a>&nbsp;&nbsp;</p> <p><a href="" target="_blank"><img title="Time Space" src="" alt="Time Space" /></a>&nbsp;&nbsp;<a href="" target="_blank"><img title="Tristan Hoare Gallery, London" src="" alt="Tristan Hoare Gallery, London" /></a>&nbsp;&nbsp;<a href="" target="_blank"><img title="Vanguard Gallery, Shanghai" src="" alt="Vanguard Gallery, Shanghai" /></a>&nbsp;&nbsp;</p> </div> </div> <div class="module content"> <div class="bd"> <h2>Publishers</h2> <p><a href="" target="_blank"><img title="Artron" src="" alt="Artron" /></a>&nbsp;&nbsp;<a href="" target="_blank"><img title="BPG Artmedia" src="" alt="BPG Artmedia" /></a>&nbsp;&nbsp;&nbsp;<a href="" target="_blank"><img title="Thircuir" src="" alt="Thircuir" /></a></p> </div> </div> Sun, 31 Aug 2014 02:34:52 +0000 Ng Sai-kit - Osage Hong Kong - September 5th 7:00 PM - 8:00 PM <p>dis/close is an investigation into the frictions and synergies between social media<br />platforms and photographic languages as presented in Ng Sai Kit&rsquo;s series of Instagram<br />works, with aims to critically re-engage with our habits of image consumption and to<br />further the possibilities of photography as a medium.<br />Ng Sai Kit was walking down the street just outside the customary New Year&rsquo;s day lunch<br />at his mother&rsquo;s house two years ago when - with his keen eye for a good photograph -<br />Ng happened upon a scene he wanted to capture. The only issue being, he hadn&rsquo;t<br />brought his usual camera - so he captured the image on Instagram instead. Such a<br />gesture marks a turning point for the established Hong Kong photographer where he<br />moves from analogue to digital to a social media platform, from light to data and from<br />black and white to colour. The series embodies his critical attention, depicting the<br />osage&nbsp;aleatoric meeting of the photographer&rsquo;s gaze with those of advertisements and posters,<br />and the encounter of his frame with architectural structures and surfaces.<br />While the characteristic 3 by 3 frame of Instagram provides an easily understandable<br />and stable organizing principle for both the viewer and photo-taker, what continues to<br />draw Ng Sai Kit to Instagram is not the &lsquo;easiness&rsquo;. Ng Sai Kit, rather, expands his own<br />photographic vocabulary by incorporating the language of this contemporary medium.<br />The result being that the found frames Ng depicts sit rather uncomfortably within his; he<br />shakes loose the original composition of these found images, often cropping rectangular<br />iPhone pictures to fit the Instagram format. The images that emerge spill over the corners<br />and edges; Ng Sai Kit thus activates the frame. His images reference a cubist attitude,<br />containing several perspectives at once.<br />In an age where the high-res and the instantaneous are prized above all, Ng Sai Kit&rsquo;s<br />images put us in a liminal space of poesis where we are as unsure of what we are looking<br />at as we are reassured that we have encountered these images before. Ng makes<br />strange the social dynamics or vantages that both produce and engender our<br />consumption of the found images he depicts and brings into question how these social<br />relations are embedded within our information networks and technological hardware,<br />determining how and what we see.</p> <p><br />About the Artist<br />Ng Sai-kit was born in Hong Kong in 1957. He has been an active photographer since the<br />early 1980s; during which time he also set up the photography workshop The<br />Photoventurers Workshop with other photographers. His early photography was inspired<br />by Ng Hon-lam and Cheung King-hung; in 1985, he participated his first group<br />photography exhibition Sensitive, Transitive, which was curated by them. Between 1989<br />to 1990, he travelled to Europe; the National Library of France in Paris collected his<br />photography works. After he returned to Hong Kong, The Photoventurers Workshop was<br />reformed as The Workshop. Between 1993 to 1999, he took on an editorial role for eleven<br />issues of non-periodical visual culture publications issued by The Workshop with<br />sponsorship from the Hong Kong Arts Development Council. Between 2005 to 2008, the<br />Photocrafters workshop was set up. This workshop aimed at promoting visual cultural<br />activities in Hong Kong and it held many photography courses and exhibitions. In 2008,<br />he set up the Out-Focus Group Workshop with friends at the Jockey Club Creative Arts<br />Centre in Shek Kip Mei, Hong Kong. To date, his works have been exhibited in Hong Kong,<br />Macau, Tokyo,&nbsp;Canada and Paris. His works have also been collected by the Hong Kong&nbsp;Heritage Museum.</p> Sun, 17 Aug 2014 00:21:47 +0000 Ryota Unno - Art Projects Gallery - September 6th 4:00 PM - 6:00 PM <p>Art Projects Gallery is delighted to present Japanese artist Ryota Unno&rsquo;s inaugural solo exhibition in Hong Kong, titled &ldquo;Visual Diaries of the Floating World&rdquo;.</p> <p>Artist Ryota Unno was trained in the &ldquo;kaiga&rdquo; (also known as &ldquo;gado&rdquo;) Japanese painting technique, one of the oldest and most highly refined of traditional Japanese visual arts. While encompassing a wide variety of genres, depictions of everyday life and narrative scenes crowded with figures and large amounts of details are widely regarded as most characteristic of Japanese painting, for which Ryota is most fascinated with.</p> <p>The works in Ryota&rsquo;s latest solo exhibition, &ldquo;Visual Diaries from the Floating World&rdquo; at Art Projects Gallery resemble traditional Japanese scroll paintings from afar, but upon closer inspection reveals the artist&rsquo;s humorous depictions of contemporary society and modern life in Japan.</p> <p>Painting with traditional Japanese medium such as iwaenogu (natural mineral pigments) and gold foil on Japanese paper, Ryota is influenced by genre paintings of the Edo period in Japan three centuries ago, and feature richly detailed cartoon-like people engaged in a range of activities in various scenes. The artist likes to record and capture the little things that he feels are easily forgotten in our fast-paced everyday life. Through his paintings or &ldquo;visual diaries&rdquo;, the artist hopes that the record and rediscovery these captured moments would encourage the audience to recall and appreciate the little pleasures in life.</p> <p>For Ryota, humor is the most important theme of his works as he feels that it exists within everyone in various degrees. Laughter gives energy and it is this quality about humor that the artist would like to express in his works.</p> <p>Ryota Unno was born in 1977, Shizuoka, Japan. Graduated with a Bachelor of Fine Arts in Japanese Painting from the Tokyo National University of Fine Arts and Music in year 2004. Ryota has participated in solo and group exhibitions in Japan as well as USA, Brazil, Italy, Taiwan and Singapore.</p> Sun, 17 Aug 2014 04:05:28 +0000 Martin Parr - Blindspot Gallery - September 6th 4:00 PM - 6:00 PM <p>Martin Parr&rsquo;s first solo exhibition in Hong Kong is a diverse showcase of the work of Parr who is famous for his satirical and humourous social documentary on modern life. The exhibition spotlights select works from his recent <em>Hong Kong</em> project (2013) commissioned by Blindspot Gallery, alongside selections from two of his iconic past series, his first work in colour&nbsp;<em>The Last Resort</em> (1983 to 1985) and <em>Luxury</em> (1995 to present). An art book titled <em>Hong Kong Parr</em> will be launched at the opening with book signing.<br /> <br /> In collaboration with the Hong Kong International Photo Festival (HKIPF), a public talk on Parr's work will be held on 7 September at Hong Kong Central Library. In the talk, Parr will discuss his long career in photography and explain how both the world of photography and his practice have changed.&nbsp;<br /> <br /> <strong>About Martin Parr</strong><br /> Martin Parr is a pioneer of contemporary photographic culture, an avid photography book collector and the president of Magnum Photos. In addition to large-scale retrospectives of his work in the Barbican Art Gallery in London (2002), Haus de Kunst in Munich (2008) and other prestigious venues, Parr's accolades have included the Dr. Erich Salomon Award of the Deutsche Gesellschaft f&uuml;r Photographie (DGPh) (2006) and Photo Espania lifetime achievement prize (2008). He is the co-author of three volumes of the highly influential <em>The Photobook: A History</em>, and he is currently working on a book about the History of Chinese Photobook to be published in spring 2015. Parr has published over 80 books of his own work and edited another 30. &nbsp;</p> Fri, 22 Aug 2014 00:47:37 +0000 Xia Xiaowan - GALERIE URS MEILE BEIJING - September 6th 4:00 PM - 7:00 PM <p>Galerie Urs Meile is pleased to announce the opening of a solo exhibition by&nbsp;Xia Xiaowan. While viewers might be familiar with his earlier glass works, in this exhibition these three-dimensional works are juxtaposed with related sketches, revealing the artists exploration and understanding of process in painting. In his earlier artistic practice, Xia Xiaowan primarily produced pencil drawings on paper. But in order to establish a more close relationship between the works and the exhibition space, and drawing on concepts developed in his earlier paintings on glass panels, Xia began in 2003 the transition from two-dimensional drawing to three-dimensional painting. These glass works, with their stereoscopic optics, broke the boundaries of two-dimensional paintings and created a strong sense of physical mass that was at the same time empty and ambiguous. The exhibition presents a selection of four representative three-dimensional works, shown together with sketches related to his artistic process, to provide the viewer with a means of understanding his transition from a traditional painting form to a three-dimensional object.<br /><br />In the center of the gallery space, a glass piece combines representations of Jesus and Buddha that relate to Xia Xiaowan&rsquo;s earlier statue series. In terms of visual effect, the artist humorously conflates the supreme beings of the Western and Eastern worlds into one; in terms of the cultural connotations, it reflects the essence and differences between two cultures. In addition, based on the existent images, the artist continues to create a variety of figures, which are also included in the exhibition.&nbsp;<br />The human body has been an artistic research interest in Xia Xiaowan&rsquo;s work for a long time, and it is taken up again in&nbsp;<em>Two Persons in Water</em>(2012, special pencil, 26 tinted glass panels, each 6 mm thick, 60.5 x 82 cm (glass), 67.8 x 51 x 83.5 cm (framed)). By referring to the works on paper, the audience can appreciate the efforts made by the artist in exploring form; he achieves the effect of &ldquo;being like something and yet not being that thing you&rsquo;re like,&rdquo; and finds the point between the true and the untrue. Superimposing or layering a series of sketches is a formal strategy used by Xia Xiaowan. In the two-dimensional works there is already a sense of layering present, while the three-dimensional works bring this into full play. In one of the pieces, the artist combines multi-layered beards with handwritten manuscripts by Leonardo da Vinci, bringing together complex elements that explore the possibilities in creating shape.<br /><br />In addition to the human body, landscape is another key theme in the artist&rsquo;s work. Xia Xiaowan explores the topic of space in these landscape paintings, creating a dialogue that transcends time and space with the classics of Chinese traditional art. In the exhibition, we deconstruct the piece&nbsp;<em>Chinese Ancient Landscape of Fan Kuan Linliuduzuotu</em>&nbsp;(2014, special pencil, 20 tinted glass panels, each 6 mm thick, 81.5 x 57.5 cm (glass), 88 x 59 x 47 cm (framed)) showing the glass panels one by one, and provide an opportunity for the audience to observe the three-dimensional work&rsquo;s components in isolation.&nbsp;<br /><br />Born in Beijing in 1959, Xia Xiaowan currently lives and works in Beijing. His works have been exhibited all over the world. Main solo exhibitions include Transmutations across the Space &ndash;&nbsp;<em>XIA XIAOWAN Solo Exhibition</em>&nbsp;at MOCA@Loewen in Singapore in 2012;&nbsp;<em>Xia Xiaowan &ndash; Three Dimensional</em>&nbsp;at Galerie Urs Meile Lucerne Gallery in 2010; and&nbsp;<em>How do You See with Your Mind &amp; Body? Xia Xiaowan&rsquo;s Works on Paper</em>&nbsp;at the Today Art Museum in 2003. Recent group exhibitions include&nbsp;<em>Face Art Exhibition</em>&nbsp;at the Minsheng Museum in Shanghai in 2012; and&nbsp;<em>Reshaping History &ndash; China from 2000 to 2009</em>&nbsp;at the China National Convention Center (CNCC) in Beijing, China in 2010.</p> Sat, 23 Aug 2014 23:50:20 +0000 Julia Steiner - GALERIE URS MEILE BEIJING - September 6th 4:00 PM - 7:00 PM <p>Carol Yinghua Lu on the occasion of&nbsp;Julia Steiner&rsquo;s&nbsp;solo exhibition&nbsp;<em>deep voice &ndash; clear sky 净空 &ndash; 深声</em>&nbsp;at Galerie Urs Meile, Beijing:<br />Basel-based Swiss artist Julia Steiner might yet to become a familiar name to many of us in the Chinese art world, but she is no stranger to China. She has spent extensive time and energy traveling and working in China, through two artist-residency stays in Galerie Urs Meile in Beijing. What brought her to China in the first place was the fact that when she started out making works on paper and showing her gouache paintings back home in Switzerland, one of the most common responses she received was that many in Europe thought she was influenced by Chinese traditional paintings. It was then that she began reading about Taoism and learning about Taoist thoughts through the works of Laozi and Zhuangzi. As she read more, she made a decision to come to China and to see it for herself.<br /><br />Composing a painting or an installation through collaging and by responding intuitively, sensually and aesthetically to physical conditions and atmospheric surroundings of a space has been a systematic approach in Steiner&rsquo;s practice. The paper she paints on and the process of making each painting are the connected-links between how she witnesses and experiences a space or a condition and how she articulates such an experience. She drew situations, persons, fragments of situations, sights and scenes. The process of working through a painting is a process of recalling and conveying a personal immersion in a situation, be it darkness or an empty space. As the artist describes it herself, it is as if taking a walk through a painting.<br /><br />In the early paintings she made around 2005, what emerged as motifs were usually a mixture of things: observations, noise she heard, scenes she witnessed, sentences she heard or read, atmosphere she felt in a space. These were inspirations she would start with and she would then try to find an image for their materialization on paper. It was usually not a clear idea of the actual image, but more of a feeling of what the image was and how it should look like. These images in her work were more imaginary than factual, yet firmly based on the reality as she experienced it. Instead of portraying birds fluttering around in the space, resting on a tree or horses running, literally as they appear, what Julia Steiner sets out to do in her painting is to make apparent the experience as such.<br /><br />Until now, Steiner always works in black and white. In her paintings, the majority of which are done in large scale, whiteness is almost always more expressive and outstanding than blackness and is nearly inevitably the first thing that catches one&rsquo;s eyes. In a way, Steiner is sculpting space and void in her works, a process motivated by her experience and memory of the reality, her personal reality, to be precise, paths she takes, places she visits, sound she hears and scenes she witnesses. It&rsquo;s both personal and original. She does not take references from theoretical writings or precedents from art histories. I asked Steiner if having being in China a number of times, doing research and making works, had she come to agree with any of the resemblance and connection people back home talked about between her paintings and Chinese paintings. She told me that in fact shortly after arriving in China, she knew that such a generalization about Chinese paintings and the formal comparison between hers and Chinese traditional cultures were just irrelevant.<br /><br />In the exhibition at Galerie Urs Meile, Beijing during the installation process, Julia Steiner has brought in 3500 kg of wet clay to the gallery space and worked on them for seven days on a wood base, measured at 3.20 m wide and 4.10 m long with a height of 28 cm, built especially to hoist this sculptural being. She also made a painting on the walls of the exhibition space, framing the sculptural work. Like her paintings, the clay work requires the artist to be with it, spending time observing, molding, feeling and making it, taking some distance from it and returning to it. After a two-week breathing period, the artist will cover it with black glossy acrylic paint. This enormous and abstract clay landscape will continue to dry during the time being of the exhibition and will crack, change form and become a living presence in the space. This new direction of working with clay does offer a more corporal feeling, the experience of the density and the energy of the artist&rsquo;s movement in full dimensions and from all angels.</p> Sat, 23 Aug 2014 23:56:02 +0000 Eileen Chan - New Gallery on Old Bailey - September 6th 3:00 PM - 6:00 PM <p><strong>Eileen Chan</strong>, the creator of <strong><em>Bottlemania</em></strong>, returns to <strong>New Gallery on Old Bailey</strong> with her second solo exhibition.&nbsp;<strong><em>Ideation . Life</em></strong>, organized by <strong>Breathe Life Arts and Culture</strong>, will be held from&nbsp;30 August through 19 September, 2014.<br /> <br /> Throughout her career, Eileen Chan&rsquo;s artistic creation has evolved from traditional Chinese ink paintings to her pop art-inspired bottle art known as <strong><em>Bottlemania</em></strong>.&nbsp;Chan continues her prior exploration into the ideology of <strong><em>Bottlemania</em></strong> through different artistic approaches. In the series of Time Gala paintings, Chan turns bottles into colorful abstract forms. Traces of different strokes are drawn on the neck of the bottles, the artist calls them &lsquo;Time Signatures', as if time capsules were created to preserve the artist&rsquo;s precious moments.</p> <p>Each painting is a recollection of the artist&rsquo;s past.&nbsp;Chan uses lines as&nbsp;tools to illustrate her meticulous chain of memories. Seamless lines flow through every inch of the canvas, but masterfully invoke an elegant balance; woven into swirling paths of the artist&rsquo;s thoughts. Some of the works are almost hypnotic in their density and intricateness, enticing viewers to navigate the artist&rsquo;s mind.</p> <p>Eileen Chan is a Hong Kong artist with a cosmopolitan sense. She has collaborated with international luxury brands, including Tumi and Frank Muller, and local renowned fashion designer Noel Chu, to create products and fashion items with an artistic touch. Fusing art and life; embracing the concept of &lsquo;art as a lifestyle&rsquo;.</p> <p>This exhibition will continue to exhibit Chan&rsquo;s distinct artistic creation: bottle arts.&nbsp;For Chan, each and every bottle is filled with emotion and stories. She transforms used bottles into canvases and gives them second lives, which aligns with the vision of <strong>Breathe Life Arts and Culture</strong>, using art as a platform to promote environmental awareness.&nbsp;</p> <p>&nbsp;</p> <p>Exhibited widely throughout Asia, Europe and the United States, Chan&rsquo;s works increasingly capture international audiences.&nbsp;Chan was invited to participate the Florence Art Biennale in 2009 and the upcoming London Art Biennale in 2015.&nbsp;One of her Time Gala paintings was selected to be exhibited in Nanjing International Art Festival 2014.&nbsp;Her works can be found in private collections in Hong Kong and abroad.</p> <p>&nbsp;</p> <p><strong>About </strong><strong>Breathe Life Arts and Culture</strong>-</p> <p>Co-founded by <strong>Susan Yeung</strong> and <strong>Ada Chan</strong>, <strong>Breathe Life Arts and Culture</strong> organized <em>&lsquo;Breathe Life Arts Exhibition&rsquo; </em>throughout Beijing, Shanghai and Hong Kong from 2011 to 2013.&nbsp; This exhibition cultivated environmental awareness through art.&nbsp;&nbsp; Showcased works by the two co-founders and six Hong Kong renowned artists, including director Dante Lam Chiu Yin, jewelry designer Dickson Yewn, musician Peter Kam, lyricist Chen Shao Qi, photographer Ringo Tang and art photographer Derek Que.&nbsp;&nbsp; &nbsp;</p> Fri, 25 Jul 2014 03:51:17 +0000 Ye Hongxing - Art+ Shanghai Gallery - September 7th 3:00 PM - 7:00 PM <p>"Everybody must have a fantasy." &ndash; Andy Warhol</p> <p>Contemporary China exists in a state of fantasy, and artist Ye Hongxing is no exception. Art+ Shanghai Gallery's exhibition&nbsp;<em>The Fantasy Factory: New Works by Ye Hongxing</em>explores the creative process of fantasy and the fantastic through mixed media works of stickers on canvas. Beijing-based artist Ye Hongxing plays with the world she perceives around her, injecting pop culture and a sense of sardonic humor into her works like a modern-day female Andy Warhol. At once whimsical and witty, her works cannot help but tease: What's real and what's fantasy? Do you ever know for sure?</p> <p>Ye Hongxing's exhibited works feature stickers &ndash; little images of smiling blue bunnies, fluffy cupcakes, and so forth that capture the innocence of childhood and resonate regardless of culture or generation. Ye Hongxing mosaics these bright, playful pieces of pop culture into compositions of contemporary confusion, using stickers as a gateway into the realm of environmental pollution, fading traditional cultures, and the glossy glamorization of a consumer society.&nbsp;<em>The Fantasy Factory</em>&nbsp;is the tedious production of hundreds of stickers on canvases and the bold open-ended statements that beg for discussion among exhibition-goers. Fantasy is ideological flight of fancy, but more fundamentally, it is the re-contextualization of the real in a fantastical mode. Fantasy is not devoid of reality; it is an extension of it. The fantastical is that which commands awe and captivates thought, where menageries of images, thoughts, and discoveries battle harmoniously in rich compositions, and where the mythical melds with problem-riddled reality. There is a sense of playful layering and weaving, blurring boundaries between fact and fiction, sight and illusion, smiles and smirks, to be simultaneously individual and universal.</p> <p>Part ideal, part statement, and part provocation, Ye Hongxing's&nbsp;<em>Fantasy Factory</em>&nbsp;mixes bits of her Beijing surroundings with a healthy dose of imagination and mindful creativity to be relatable to a wide audience and wonderfully immersive in both conceptual depth and contemporary commentary. Gas masks, kama sutra, models, tigers, stilettos, oh my. Mingling across her canvases, these alluring images of polluted skies and over-the-top fashions are at once real and fantastical, playing off the real yet surreal world of contemporary China. We welcome you into her world, to get lost in&nbsp;<em>The Fantasy Factory</em>.</p> <p>&nbsp;</p> <p>&ldquo;每个人都必须怀有幻想。&rdquo;&mdash;&mdash;安迪&middot;沃霍尔</p> <p>当代中国处于一种幻想状态,艺术家叶红杏也不例外。艺术+上海画廊&ldquo;幻工厂:叶红杏新作展&rdquo;通过综合材料的布面拼贴,探索了制造梦幻的过程与精彩。叶红杏生活在北京,她每天与感知世界打交道,将流行文化元素和冷幽默注入艺术创作,像是个当代女版&ldquo;安迪&middot;沃霍尔&rdquo;。她的作品天马行空、风趣诙谐,让人不禁产生疑问:究竟什么是真实?什么是虚幻?你真的分得清吗?</p> <p>此次展出的作品以拼贴为主,微笑的蓝兔子,蓬松的杯子蛋糕等小图案,这些都能唤起人们儿时的童真,并产生内心的共鸣,这种怀旧情怀无关国界,无关岁月。叶红杏将流行文化的明快嬉闹的一面嵌入其现代迷津的作品中,她使用贴纸的方式探讨了环境污染、衰退的传统文化精神及物质社会的光怪陆离。&ldquo;梦幻工厂&rdquo;是一部画布作品,由数百个贴纸组成,这种大胆的表现手法能够吸引参观者的关注和讨论。幻想是想象的意识之旅,更重要的是,它以梦幻的方式将现实重新情景化。幻想不是脱离现实,而是现实的延伸。幻象能够令人生畏,迷惑心智,在这些丰富多彩的作品中,动物形象、思想活动和探索穿插其中,既相互碰撞,又和谐共存,充满问题的现实画面与神秘意境交相融合。现实与虚拟、视觉与幻觉、真笑与假笑相互交织,难以捉摸,不禁让人感觉置身于广阔的空间。</p> <p>理想、言论、挑衅,&ldquo;梦幻工厂&rdquo;中,叶红杏加入了恰好的想象与精心考量的创造使观众陷入沉思,并在审慎着当代社会的方方面面。毒气面罩、印度圣经、模特、老虎、高跟鞋,这些物品一一浮现在她的画布上,让人瞠目结舌。被污染天空和浮夸的潮流尚品同时吸引着眼球,显得如此真实,但又如梦似幻,充分体现了当代中国真实且超现实的一面。欢迎来到叶红杏的世界,迷失在&ldquo;梦幻工厂&rdquo;。</p> Wed, 20 Aug 2014 08:32:24 +0000 Hosook Kang, Hassan Massoudy, Golnaz Fathi - Sundaram Tagore Gallery - Hong Kong - September 11th 6:30 PM - 8:30 PM <p>Sundaram Tagore Hong Kong is pleased to present&nbsp;<em>Marked: Contemporary Takes on Mark-Making</em>, an exhibition showcasing the work of three noted artists who bridge East and West.<br /><br />Hosook Kang, Hassan Massoudy and Golnaz Fathi were each born in the East, but live and work in the West. Each also employs a distinctive mark-making technique, subtly merging the traditions and artistic mores of his or her culture of origin with contemporary Western visual language.

<br /><br />Combining bold action painting and steady mark-making, Korean-born New York painter&nbsp;<strong>HOSOOK KANG</strong>&nbsp;creates optical effects through a process of layering intricate dot patterns and gestural brushstrokes.

<br /><br />Kang&rsquo;s paintings depict nature as she sees it in her imagination. She starts with a background of abstract forms&mdash;her vision of the completed painting&mdash;then covers the canvas with a painted net of structured units that create a skin-like overlay. To bring her original vision back into focus, Kang fills each unit with colors that correspond to the background, adding a three-dimensional quality. Obsessively detailed and orderly, these works are simultaneously meditative and pulsing with energy.

<br /><br />Kang&rsquo;s works reference traditional Korean motifs, such as elements of nature, yet her focus on abstraction and the richness of color root her work firmly in the Western tradition.

<br /><br />Hosook Kang was raised in Daegu, Korea, and attended the Pratt Institute, Brooklyn. She has exhibited her work at Gallery Korea, Korean Cultural Service New York and Daegu Culture and Arts Center, Korea.

<br /><br />Classically trained calligrapher&nbsp;<strong>HASSAN MASSOUDY</strong>&nbsp;inscribes oversized letters in vibrant color on paper to create sublime, visually compelling works that bring traditional Arabic script into a contemporary context.

<br /><br />Massoudy, who was raised in Iraq and is based in Paris, sources words from Eastern and Western authors, poets and philosophers. He selects a passage, which he writes at the bottom of a sheet of paper, then extracts a single word, enlarging it to monumental proportions over the entire surface of the paper.
<br /><br />In accordance with tradition, Massoudy makes his own tools and inks, but breaks from the Arabic custom of using black ink by incorporating a bold palette of blues, greens, yellows and reds. Although executed with the utmost control, his letters are gestural, fluid and charged with energy, as he skillfully transforms the written word into an emotionally evocative pictorial element.

<br /><br />Born in Najaf, Iraq, in 1944, Massoudy moved to Baghdad in 1961 to study classical calligraphy. He moved to France in 1969, continuing his education at the Ecole des Beaux-Arts in Paris. He has shown his work at The Kennedy Center, Washington, DC; the British Museum, London; Mus&eacute;e d&rsquo;Avranches, France; Centre d&rsquo;Art Contemporain, Abbaye de Trizay, France; and the Palais des Congr&egrave;s, Grasse.

<br /><br />Iranian artist&nbsp;<strong>GOLNAZ FATHI</strong>, who divides her time between Tehran and Paris, works in fine pen, mostly on varnished raw, rectangular, polyptych canvases, in a limited palette of white, black, red and yellow. She layers the surface of the canvas with thousands of minute marks that echo the curvilinear forms of Persian calligraphic letters and words. These intricate lines coalesce into minimalist compositions that can be read in multiple ways&mdash;as landscapes, electronic transmissions or atmospheric phenomena. She refrains from titling her works, which allows the viewer free reign to assign his or her own interpretation.

<br /><br />The basis of Fathi&rsquo;s practice is&nbsp;<em>siah-mashq</em>, a traditional exercise in which the calligrapher writes large, cursive letters across the page in a dense, semi-abstract formation. The letters aren&rsquo;t meant to form words or convey meaning, but rather strengthen the skill of the scribe. Fathi reinterprets this technique, drawing inspiration from various Western and Eastern sources, including American Abstract Expressionism, as well as the work of Iranian and Middle Eastern modernists who pioneered the use of the written word as a pictorial element in the late 1950s and early 1960s. The strength of her work lies in the emotion suggested by the rhythmic gestures of her mark-making.

<br /><br />Born in Tehran in 1972, Fathi mastered classical calligraphy at Azad University and the Iranian Society of Calligraphy. Her work is in the collections of the British Museum, London; Brighton &amp; Hove Museum, England; Carnegie Mellon University, Doha; the Islamic Arts Museum Malaysia, Kuala Lumpur; the Asian Civilisations Museum, Singapore; and The Farjam Collection. She has exhibited extensively around the word, including at the Tehran Museum of Contemporary Art and the Chelsea Art Museum, New York. 

</p> Sun, 17 Aug 2014 00:58:28 +0000 Sue Williams - James Cohan Gallery Shanghai - September 12th 6:00 PM - 8:00 PM <p>Scroll Down for English</p> <div class="release"> <div class="text"> <p>上海James Cohan画廊很荣幸带来纽约画家<strong>苏&middot;威廉姆斯</strong>的展览。展览于2014年9月12日周五开幕,持续至10月26日。开幕酒会将于9月12日周五晚6点至8点举行。这将是苏&middot;威廉姆斯在中国的第一次展览。</p> <p>苏&middot;威廉姆斯(出生于1954年)长久以来因其作品结合了性别政治和身体的主题所被人熟知。她高度挑衅、叙事的早期作品吸引了80年代中期和90年代早期的一大批观众注意。威廉姆斯被认为是一位女权主义艺术家,但她很快就通过探索更多富有争议性的主题挑战了她的同行和其他艺术家,诸如家庭暴力、性猥亵和性虐待,以及她对社会中接受性别歧视现象的愤怒。在这些威廉姆斯的早期作品中,有很多都描画了身体部位、窍孔和人体器官的细节。她的作品很快成为公认的新叙事表现主义的一部分,并常常用文字或短语作为图示化的标题。到了1993年,威廉姆斯开始思考挑战抽象绘画和抽象艺术史,她画中能够被一眼认出的暴力景象变得越来越抽象和零碎,偶尔还带有尖刻的幽默和外向的荒诞。同年,她被授予古根海姆基金奖,以表彰她的开拓性创作。到了90年代末,她的画作又发生了一些风格上的转变,从类似《黑暗之光》(1996)和《旋花和红色》(2005)这样的作品可以看出,她的画通过限制颜色的选择变得更加精致,笔触和空间曲面也成为其关注焦点和核心。</p> <p>展览展出一些威廉姆斯上世纪90年代末的早期拟人化作品,及到过去七八年里的新作。自2001年9月11日世界贸易中心袭击事件和随后的反恐战争、伊拉克和阿富汗持续冲突开始,威廉姆斯的作品从对身体和身体功能凌乱、赤贫的视觉游戏,转变到关注具有创伤性的地缘政治和环境事件及所带来的后果的绘画,特别是最近的作品,如《绝迹》(2012),《蛇颈龙情侣》或《国家对话,贮藏在犹他州》(2014)。</p> <p>&nbsp;</p> <p>苏&middot;威廉姆斯参加国际展览已超过15年,包括1993年、1995年和1997年的惠特尼双年展,及在现代艺术博物馆和纽约新当代艺术博物馆举办的展览。最近她在弗罗里达棕榈滩ICA、奥地利维也纳的分离派展览馆、西班牙瓦伦西亚现代艺术中心和美国马萨诸塞州安多弗的Addison画廊举办了个展。苏&middot;威廉姆斯的作品被众多公共机构和博物馆所收藏,如华盛顿特区赫希洪博物馆和雕塑公园、纽约现代艺术博物馆、纽约惠特尼美术馆和瑞士日内瓦当代艺术中心。</p> </div> </div> <div class="release"> <div class="text"><hr /> <p>James Cohan Gallery Shanghai is pleased to announce an exhibition by the New York-based painter&nbsp;<strong>Sue Williams</strong>. The exhibition opens Friday, September 12 and continues to October 26, 2014. A special reception for the artist will be held on Friday, September 12th from 6:00 to 8:00 pm. This is Sue Williams&rsquo; first exhibition in China.</p> <p>Sue Williams (b. 1954) has long been known for her works which combine themes of gender politics and the body. Her early works of highly provocative narrative paintings brought her to the attention of a larger audience beginning in the mid-1980s and early 1990s.&nbsp; Williams was thought of as a feminist artist, but one who would soon challenge her peers and other artists by exploring more controversial themes such as domestic violence, sexual abuse and assault, and her indignation towards the acceptances of sexism in society. In many of these earlier works, Williams&rsquo; paintings depicted outrageous details of body parts, orifices, and human organs. Her paintings became quickly recognized as part of a new narrative expressionism and frequently included text or phrases as illustrated captions. The immediately recognizable violent imagery in her paintings grew increasingly abstract and fragmentary by 1993 and, at times, scathingly humorous and outwardly absurd as Williams reflected on the challenges of abstract painting and the history of abstract art. In 1993, she was awarded a Guggenheim Fellowship in recognition for her groundbreaking works. By the end of the decade there would be other stylistic shifts as her paintings became more refined by limiting her color choices and where brushstrokes and spatial surfaces were the focal point and central concerns, evident in paintings like&nbsp;<em>Darklight</em>&nbsp;(1996) and&nbsp;<em>Bindweed and Red</em>&nbsp;(2005).</p> <p>The exhibition features some of Williams&rsquo; earlier anthropomorphic paintings from the late 1990s leading to current works painted during the last seven or eight years, moving from the untidy, abject visual play on the body and bodily functions, to paintings which address traumatic geopolitical and environmental events and aftermath since the September 11th, 2001 attacks on the World Trade Center, the subsequent &ldquo;War on Terror&rdquo; and continued conflicts in Iraq and Afghanistan, notably in recent works such as&nbsp;<em>Extinction</em>&nbsp;(2012),&nbsp;<em>The Plesiosaurus Couple</em>, and&nbsp;<em>The National Conversation, Stored in Utah</em>&nbsp;(2014).</p> <p>Sue Williams has exhibited internationally for over 15 years and was included in the 1993, 1995, and 1997 Biennials at the Whitney Museum of American Art, as well as shown at the Museum of Modern Art and the New Museum in New York. She recently has had solo exhibitions at the Palm Beach ICA, Florida; the Secession in Vienna, Austria; the Instituto Valenciano de Arte Moderno, Spain; and the Addison Gallery of American Art in Andover, Massachusetts. Sue Williams&rsquo; works are in numerous public and museum collections, such as the Hirshhorn Museum and Sculpture Garden in Washington, D.C.; the Museum of Modern Art, New York; the Whitney Museum of American Art, NY; and the Centre d&rsquo;Art Contemporain in Geneva, Switzerland.</p> </div> </div> Wed, 27 Aug 2014 02:49:39 +0000 Sterling Ruby - Gagosian Gallery Hong Kong - September 13th 6:00 PM - 8:00 PM <p><em>I live in the foothills of the San Gabriel Mountains and my studio is in downtown Los Angeles. My daily routine of driving back and forth is always a contemplative time. On these drives I often witness extremely vivid and colorful sunrises and sunsets, yielding horizon lines that transform the urban sprawl into a meditative celestial plane.</em><br />&mdash;Sterling Ruby</p> <p>Gagosian Hong Kong is pleased to present &ldquo;VIVIDS,&rdquo; an exhibition of new spray paintings by Los Angeles-based artist Sterling Ruby. This is Ruby&rsquo;s first exhibition with the gallery.</p> <p>Ruby engages a wide range of aesthetic strategies and mediums&mdash;glossy and color-saturated poured-polyurethane sculptures, drawings, collages, richly glazed ceramics, graffiti-inspired spray paintings, and video&mdash;maintaining a constant tension within a multitude of elements. His work engages with issues related to the violence and pressures within society, autobiography, and art history. Throughout he vacillates between fluid and static, minimalist and expressionist, pristine and dirty. Of the diverse forms that constitute his oeuvre the paintings are the most formally abstract. Ruby has long been influenced by the sociological implications of urban demarcation, vandalism, and the power struggles of gang graffiti. In his paintings, acts of defacement are transformed into a painterly sublime.</p> <p><em>VIVIDS</em>&nbsp;is a new suite of spray paintings in a vibrant, fluorescent pink palette. The resulting electric color fields are Ruby's ruminations on the shifting, multi-hued Los Angeles skies that he encounters en route to his studio. He engages the horizon as his subject using an approximate and speedy medium befitting the gritty urban context, fixing sprays into multiple dimensions&nbsp;<em>alla prima</em>, without pausing for touch-ups or to catch drips. Undelineated forms merge with hazy backgrounds and atmospheric magenta layers, producing meditations of uncontained voltage on an ever-shifting horizon line, which asserts its radiant presence beyond the physical picture plane.</p> <p><strong>Sterling Ruby</strong>&nbsp;was born on an American air force base in Bitburg, Germany in 1972, and lives and works in Los Angeles. Public collections include Solomon R. Guggenheim Museum, New York; Whitney Museum of American Art, New York; Museum of Contemporary Art, Chicago; Museum of Contemporary Art, North Miami; Museum of Contemporary Art, Los Angeles; Los Angeles County Museum of Art; Museum of Modern Art, New York; San Francisco Museum of Modern Art; Montreal Museum of Fine Arts; Moderna Museet, Stockholm; Centre Georges Pompidou, Paris; and Tate Modern, London. Solo exhibitions include &ldquo;CHRON,&rdquo; The Drawing Center, New York (2008); &ldquo;SUPERMAX 2008,&rdquo; Museum of Contemporary Art, Los Angeles (2008); &ldquo;Grid Ripper,&rdquo; Galleria d&rsquo;Arte Moderna e Contemporanea, Bergamo, Italy (2008-09); &ldquo;SOFT WORK,&rdquo; Centre D&rsquo;Art Contemporain, Geneva (2012, traveled to FRAC Champagne-Ardenne, Reims, France; Bonniers Konsthall, Stockholm; and Museo d&rsquo;Arte Contemporanea, Rome); &ldquo;CHRON II,&rdquo; Fondazione MEMMO, Rome (2013, traveled to Kunsthalle Mainz, Germany); &ldquo;Droppa Blocka,&rdquo; Museum Dhondt-Dhaenens, Ghent, Belgium (2013); and &ldquo;Sterling Ruby,&rdquo; Baltimore Museum of Art (2014). Ruby&rsquo;s work was included in the 2014 Whitney Biennial.</p> <p>Ruby will be featured in &ldquo;The Los Angeles Project&rdquo; at Ullens Center for Contemporary Art, Beijing (2014); &ldquo;Taipei Biennial 2014&rdquo; at Taipei Fine Arts Museum (2014); and &ldquo;Gwangju Biennale 2014: Burning Down the House,&rdquo; Gwangju (2014).</p> Wed, 20 Aug 2014 02:37:52 +0000 Ugo Rondinone - Rockbund Art Museum - September 13th 10:00 AM - 6:00 PM <p>The Rockbund Art Museum is thrilled to introduce the very first exhibition in China of the internationally acclaimed artist Ugo Rondinone, born in 1964 in Brunnen, Switzerland, and living in New York since 1997.<br /><br />Ugo Rondinone&rsquo;s oeuvre takes up a unique position in the contemporary art scene and his contribution in revisiting the codes and the histories of the visual arts has been exceptional.<br /><br />Having developed very precise and obsessive series&mdash;from clown sculptures to stone figures, target paintings, masks, oversized wax light bulbs, stripe paintings, landscape ink drawings, bronze still-life objects, video and sound installations&mdash;Ugo Rondinone advances extremely diverse techniques, combining concepts with performative figures, abstract forms with raw materials, exploring themes of fantasy and desire, branching out in literature and poetry, contemporary cinema and the visual arts.&nbsp;<br /><br />Paying very close attention to his art projects, Ugo Rondinone always refuses to conceive of his solo exhibitions as a display of artworks but rather as a total art statement, offering the visitor a very strong visual and emotional experience combined with powerful poetic and critical observations.<br /><br />Ugo Rondinone states:"Since 2007 all my exhibitions have used the natural colors of the material that was used in the production of the work: stone, clay, earth, bronze or aluminum. It's now time to bring back all the colors of the spectrum. This exhibition will combine different color works from the past and the present into one unifying installation."</p> Wed, 06 Aug 2014 00:13:57 +0000 Wang Youshen - ShanghART Gallery Beijing - September 13th 4:00 PM - 7:00 PM <p>ShanghART Beijing is pleased to present Wang Youshen&rsquo;s solo exhibition &lsquo;Per Square Meter&rsquo; on 13th September, 2014. This is the first solo exhibition with Wang Youshen in ShanghART Beijing space, and also the first solo exhibition in Beijing after a lapse of 20 years.<br /><br />&lsquo;Per Square Meter&rsquo; is an exhibition about an &lsquo;event&rsquo;: Artist twice experienced the process of constructing to dismantling of his studio from 2007 to 2011.<br /><br />Two Studios in five years, from sign a contract, start construction to demolition, from blossom to fade. Time and space are compressed, everything running in a absurd way. A "Rashomon" story is completed, which recorded a "uncontrolled" daily behavior.<br /><br />&lsquo;Per Square Meter&rsquo; describes an extension of a physical unit of space related to a social event or an art event. The whole process is consisted of installation, picture, sound, documentary and paperwork, the multiple visual relationship paves an interesting path to the explanation.<br /><br />The recent four years after 2011, Wang started the project &lsquo;Per Square Meter&rsquo;, in the process of deconstruction and reorganization, he tries to complete a unrealistic reconstruction. A &ldquo;uncontrolled&rdquo; daily behavior and social event switched into a &ldquo;controllable&rdquo; art production and artistic event, everything seems never happened, everything from realistic physical world changed into a illusive mental world.&nbsp;<br /><br />Our individuals are like plural &lsquo;per square meter&rsquo;, keep the constant melting and reconstructing.</p> Wed, 20 Aug 2014 02:09:14 +0000 Robin Rhode - Lehmann Maupin, Hong Kong - September 17th 6:30 PM - 8:00 PM <p><strong>Lehmann Maupin is pleased to present <em>having been there</em>, Robin Rhode&rsquo;s debut exhibition in Hong Kong.</strong> Continuing the artist&rsquo;s engagement with complex social and political issues, this exhibition also explores Rhode&rsquo;s notions of permanence and ephemerality as seen through his unique marks and gestures. In addition to a selection of photographic works and wall drawings, Rhode will premiere a new animation created specifically for his Hong Kong exhibition. <strong>The artist will be present for an opening reception on September 17, 6:30-8PM.</strong><br /> <br /> Rhode, who was born in South Africa and is based in Berlin, engages a variety of visual forms including photography, performance, drawing, and stop-motion animation to create engaging and poignant narratives. Rhode&rsquo;s experience as a member of one of the first post-apartheid generations in South Africa has been a major influence on his work, leading him to approach topics such as poverty and violence from a personal perspective. His work features imagery of everyday and consumer objects, such as paper clips, light bulbs, and champagne flutes, found in desolate urban settings as a reference to his upbringing, but also to broader universal ideas including desire, luxury, and the influx of consumerism into South African society. Working within the contexts of Johannesburg and Berlin&mdash;cities undergoing significant social and political changes&mdash;Rhode&rsquo;s artworks embrace a vibrant spontaneity and are infused with both the language of the street and the dynamics of body-based performance art of the 1970s.<br /> <br /> The exhibition title is a reference to a quotation of cultural theorist Roland Barthes who wrote, referencing the depiction of photographic subjects, &ldquo;photography set up, not a perception of the <em>being there</em> of an object...but a perception of its <em>having been there</em>.&rdquo; Rhode&rsquo;s photographs, in which he increasingly appears, though often in disguise, explore this idea further. By inserting himself into the photographic image and through his mark making, Rhode creates records and traces of &ldquo;having been there.&rdquo;<br /> <br /> In addition to photographic pieces, the exhibition includes a selection of wall drawings, created first in vinyl and subsequently drawn over in oil crayon. Highlighting Rhode&rsquo;s focus on spontaneity and gesture, these works capture the playful spirit of his practice. As with the photographs, these works reinforce the exhibition&rsquo;s central theme, replicating traces and references of the imagery featured in Rhode&rsquo;s photographs upon the gallery&rsquo;s walls.<br /> <br /> Rhode has also created a new animation that examines aspects of established Chinese myths, weaving a tale of struggle, of growth, and ultimately of evolution. Highlighting themes frequently referenced in the artists&rsquo; work such as reinvention and transformation, this animation refines Rhode&rsquo;s relationship to a medium with which he is often associated.<br /> <br /> <strong>About the Artist</strong><br /> Robin Rhode (b. 1976, Cape Town, South Africa) was raised in Johannesburg and graduated from the South Africa School of Film, Television and Dramatic Arts Johannesburg in 2000. His first major museum solo show was at Haus der Kunst, Munich, Germany in 2007, and Rhode has since had major solo exhibitions at a number of important museums around the world including the Hayward Gallery, London (2008); the Wexner Center for the Arts, Columbus, Ohio (2009); the Los Angeles County Museum of Art, Los Angeles (2010); the National Gallery of Victoria, Melbourne, Australia (2013); and the Neuberger Museum of Art, Purchase, New York (2014). He has participated in notable group exhibitions including <em>New Photography</em>, The Museum of Modern Art, New York (2005; the 51st Venice Biennale (2005); <em>Staging Action: Performance in Photography Since 1960</em>, The Museum of Modern Art, New York (2011); and the 2012 Sydney Biennale. His work is included in numerous public collections, including the Castello di Rivoli, Turin; Centre Pompidou, Paris; The Hirshhorn Museum and Sculpture Garden, Washington, D.C.; Miami Art Museum, Florida; The Museum of Modern Art, New York; Solomon R. Guggenheim Museum, New York; and Walker Art Center, Minneapolis. The artist lives and works in Berlin, Germany. </p> Fri, 22 Aug 2014 00:53:47 +0000