ArtSlant - Openings & events en-us 40 Group Show - ShanghART Gallery (main gallery) - October 12th, 2012 5:00 PM - 7:30 PM <p>ShanghART Gallery is delighted to present a group exhibition, Place of Residence-with Artists from Brazil and China, on October 12th in both ShanghART Main Space and H-Space. It is curated by Alfons Hug. As one of the first exhibitions to include artists active in Brazil and China, it marks the starting point for a larger project – BRICS. <br /><br />Despite the title, ‘Place of Residence’, it is not the exhibition’s purpose to solely dwell on the artists’ geographical, cultural, historical differences and their impact on artists’ creations. As more and more contemporary artists try to combine their own life experiences and thoughts into their works, they try to present works in various media in a specific point of view, to reflect the reality of life and to deeply engage an audience. Thus, ‘Place of Residence’ is no longer about boundaries or confinement. It concerns more closely with life. Artists’ expressions through objects of everyday life embody the symbolic social and cultural significations that would provide open doors for the audience to read and understand contemporary art.</p> Sat, 20 Oct 2012 19:23:47 +0000 Jiang Meiyan - Beijing Wan Fung Art Gallery - October 13th, 2012 3:00 PM - 5:00 PM <p><span style="font-size: medium;" size="3">此次共展出蒋美艳彩墨精品<span style="font-family: Times New Roman;" face="Times New Roman">30</span>余幅,希望能带给您不一样的视觉感受。</span></p> <div align="left"><span style="font-size: medium;" size="3">蒋美艳绘画创作的题材广泛,尤其大花卉工写结合,人物画独具创新;主题鲜明。</span> <span style="font-size: medium;" size="3">她十分注重传统与现代相结合的笔情意趣,强调中国画的意境。</span> <span style="font-size: medium;" size="3">她的彩墨荷花、向日葵、山楂树等,有潘天寿,石涛等大师的精神,但风格上完全有她自己的面貌,她的彩墨花卉同样借鉴了古往今来大家的东西,走出了自己的一片天地,新颖而不失法度。</span></div> <div align="left"><span style="font-size: medium;" size="3">近年来她更是走遍世界各地,潜心写生创作了许多画家未有画过的植物,菩提树、山楂树、各国本土花花草草都在她的画笔下彰显美艳绝伦。</span> <span style="font-size: medium;" size="3">此次展览将集中展示她的艺术创作成果,是对当下中国工笔重彩画精神新的追寻。</span></div> Fri, 12 Oct 2012 01:00:27 +0000 Group Show - Hong Kong Heritage Museum - October 13th, 2012 10:00 AM - 6:00 PM <p>Presented by Hong Kong Photo Festival 2012<br /> A partnership project of the Hong Kong International Photo Festival 2012 and the Hong Kong Heritage Museum of the Leisure and Cultural Services Department<br /><br /> One of the programmes in the Hong Kong International Photo Festival, this exhibition also forms part of a survey of contemporary photography in Hong Kong, Japan and South Korea. Seeking to develop an overview of Hong Kong photography in the early years of the 21<sup>st</sup> century, it highlights a new trend among young photographers who are rejecting traditional approaches to produce fresh and exciting work.<br /><br /> Over the last two decades, more and more photographers in Hong Kong have moved away from the ‘straight photography’ that has dominated the pursuit of this art since the 1980s. At the same time, an increasing number of artists who previously trained in other disciplines have taken up photography as their medium of expression and are creating works that rely on concept rather than subject or style.<br /><br /> The exhibition features sixteen groups of photographs created by artists who are establishing a new art scene for Hong Kong contemporary photography through their different approaches to creation.</p> Thu, 11 Oct 2012 23:46:42 +0000 Stanley Wong - K11 - October 13th, 2012 11:00 AM - 1:00 PM <p>In line with the AGI exhibition’s theme "Heaven and Hell", K11 presents two special workshops hosted by design maestros and AGI’s Hong Kong members Stanley Wong (aka anothermountainman) and Tommy. Stanley Wong will be presenting the “Heaven” workshop while Tommy Li’s workshop will be “Hell”.</p> <p>For enrolment and enquiries, please email <a href=""></a> or call +852 3118 8070.</p> <p>Terms and conditions:<br />The aforementioned exhibitions and workshops subject to change without prior notice. K11 reserves the right to make the final decisions.<br />Limited seats available per workshop. Places are filled on a first-come-first served basis.</p> Wed, 03 Oct 2012 02:14:18 +0000 Wang Guangyi - Today Art Museum (TAM) - October 13th, 2012 4:00 PM - 6:00 PM <p>Today Art Museum is the first private, non-profit international contemporary art museum in China. It has long been dedicated to the exhibition and research of Chinese contemporary art and the establishment of linkage with international contemporary art. It has staged many large scale contemporary art exhibitions, and is highly regarded both at home and abroad. From October 14 to November 27 2012, Today Art Museum will hold the large scale research exhibition “Thing-in-itself: Utopia, Pop and Personal Mythology – Wang Guangyi Retrospective,” supervised by Zhang Zikang and curated by Huang Zhuan.<br />   <br />       The idea of the “thing-in-itself” is a core concept in Kantian philosophy, as well as a central theme in the history of modern thought. Thing-in-itself is the source and foundation of phenomena and sensory material, but are also unknowable things that lie beyond human cognition, imbued with a priori spatiotemporal form and universal, absolute metaphysical properties. Dialectically, it is a category that is distinguished from the “thing-for-us,” and in contemporary art history, this category has manifested as a series of multiple and paradoxical relationships between things and words, materials and ideas, reason and belief.<br />   <br />       Wang Guangyi has been one of the most representative artists in Chinese modernist art history since the 1980s. His artistic path embodies the complex paradoxical logic of Chinese contemporary art’s progression from its era of enlightenment to avant-gardism, postmodernism and consumerism, but for a long time, critique and research of him has been misconstrued and limited by cold war critical discourse and the commercial capitalist interpretation that is “political pop.” There is a need for an individual case study that takes the history of Chinese thought and visual culture into account.<br />   <br />       “Politics, Art and Mythology: the Wang Guangyi Art Research Project” will use the theme of “thing-in-self” to engage in in-depth academic research of the historical dialectic properties of the rationality and faith, secular and transcendental, political and mythological contents of Wang Guangyi’s art, and will use this research-oriented presentation of a typical case study in Chinese contemporary art history to apply combined art history and intellectual history methods to holistically clarify the internal logic, image methods and situational influences taking place within this period of history. The academic goal of this pursuit is to provide a Chinese-language critical case study for the global theoretical interpretation system of contemporary art.</p> Wed, 19 Sep 2012 00:45:16 +0000 - Today Art Museum (TAM) - October 13th, 2012 10:00 AM - 5:00 PM Mon, 01 Oct 2012 07:56:17 +0000 Liu Lu Lu - Shanghai Duolun Museum of Modern Art (Doland Art Museum) - October 14th, 2012 3:00 PM - 5:00 PM <p><strong></strong>金秋十月上海多伦现代美术馆将举办留英抽象表现主义女画家刘陆陆名为“色动”系列个人画展,此次展览将展出刘陆陆近年来陆续积累的20余幅作品,展期为10月10日至10月31日(开幕酒会10月14日,下午3:00)。</p> Mon, 01 Oct 2012 06:45:54 +0000 Cédric Maridet - 2P Contemporary Art Gallery - October 17th, 2012 6:00 PM - 8:30 PM <p><b><i>“Distinct Factures. A Return from Langsdorff”</i></b> appoints the theoretical concept of transforming the gallery space into a Wunderkammer, a chamber of curiosity that fascinated many predecessors in the Renaissance. Maridet borrows this practice as a point of departure, adopting the form of an assemblage, to simultaneously explore the possibility of an re-enaction of a particular sensual engagement within a milieu of overlapping subsystems with the use of different modes of writings and signs – a development of an abstract but original signifier to synthesize an experience of firstness that was initially a mere potential; the significations and unavoidable limits in the translation of an existing physical reality to representation; and the gap between different perceived spatiotemporal worlds of different organisms in the same territory. Recently returned from residencies in the rainforest in Brazil and in Penang’s National Park, Maridet takes The Langsdorff Expedition (1826-1829) led by Baron von Langsdorff in Brazilian Amazon as an analogy to directly evoke the scientific and methodical undertone of the encyclopedic assortment of works in this exhibition.</p> <p> </p> <p>The exhibition incorporates works on paper, video, installations and sound compositions. This miscellaneous collection of intricately fabricated works urges the audience to decode a stratum of signs and generate their own translation along the way through Maridet’s transposition in his oeuvres. Through a systematically organized perception experience and the act of recording, different samples of signs are constructed to become a possible descriptive form of a particular territory (a specific, subjective, spatiotemporal world); to represent nodes of opportunity and open pathways to new potentials of knowledge, representation, imagination and narratives; to create a new syntax of the world.Exhaustive sources of sensual experience and the overlapping yet different animalities within an intricate internal landscape are taken collectively as the keynote of this exhibition. Audience will find though, they remain largely absence; unseen and unheard. In this particular moment of time, Maridet has set himself off to the outlying perceptual territory,to exhaust the limitless representation possibilities and to seek to get out of oneself through a work of defamiliarisation in creating alternatively a distinct facture to delineate the world.</p> <p> </p> <p><b>About the artist </b></p> <p>CédricMaridet is an artist, theorist and researcher. He completed his Doctorate degree in Media Art in 2009 at the School of Creative Media, City University of Hong Kong. His solo and collaborative works have been presented internationally including New York (Art in General and Ramiken Crucible), Paris (Théatre de la Villette), Vienna (IG BildendeKunst), Cambridge (Kettle’s Yard), London (Turbine Hall, Tate Modern), Hong Kong (Para/Site, Osage Gallery, Hong Kong Museum of Art), and he was awarded Prize of Excellence in the Hong Kong Art Biennial 2005. Maridet has participated in several residencies and symposiums on field recording, listening theories and the aesthetics of sound, such as the Pierre Schaeffer symposium 2010 co-organised by GRM and in the EMF-EMS 2011 conference in New York University. His writings have been published in two books: Around (soundpocket, 2010), and Who Cares? 16 essays on curating in Asia, (Para/Site, 2010). Since 2007, Maridet has been contributing to the French-based research lab in audio art Locus Sonus, and is currently a member of NMSAT Scientific Committee. He is also advisor for soundpocket, a non-profit organisation promoting sound art and culture. His works have been published as CD and book releases on monème (, a platform founded by Maridet.</p> <p> </p> Wed, 26 Sep 2012 11:03:04 +0000 Ye Hongxing - Zee Stone Gallery - October 18th, 2012 6:30 PM - 9:00 PM <p style="text-align: justify;"></p> <p style="text-align: justify;"></p> <p style="text-align: justify;"></p> <p style="text-align: justify;">Ye Hongxing’s new “Paradise”series of mixed media works of art is composed of brightly coloured sequins and glass beads, which create a mesmerizing blend of a myriad different elements including fantastical figures, religious imagery and tropical flora and fauna.<br /> <br /> Ye Hongxing states that her work is a commentary on the swift development of China’s social system. She represents iconographic figures and religious symbols with kitsch material, a startling juxtaposition and unsettling contrast between the sacred and the profane, the respected elite and the trashy commercial.<br /> <br /> These works represent a significant acceleration in Ye Hongxing’s career, and are highly original both in content and execution. The subject matter of these collages includes mandalas, fictional landscapes, the natural world, images drawn from contemporary media, and iconographic city scenes and political figures.<br /> <br /> In her“Fusion” series Ye Hongxing combined traditional Chinese motifs, designs seen on antique silk &amp; porcelain, superimposed on self-portraits and presented as a circular image; the result is a mystical sense of the fusion of history and tradition with self and the contemporary.<br /> <br /> Ye Hongxing was born in 1972 in Guilin.  She graduated from the prestigious Central Fine Art Academy in Beijing in 1998. In 2004 she was selected by the curator of the Asian Art Museum in California and the director of Art Cologne as one of China’s top twenty rising artists. Ye Hongxing’s work has been exhibited internationally at venues including China Art Museum, Shanghai Museum of Contemporary Art, Nanjing Museum of Contemporary Art, the 7th Annual Exhibition of Sculptures and Installations in Venice; Art Taipei in Taiwan, Art Cologne and Art Asia Miami.</p> <p></p> <p></p> <p></p> Sat, 13 Oct 2012 15:54:17 +0000 John Powers - Saamlung - October 19th, 2012 7:00 PM - 9:00 PM <p class="western">Saamlung announces a solo exhibition of new work from the New York-based sculptor and essayist John Powers, opening on Friday 19 October and running through 17 November 2012. Entitled “Suite of Suites,” the sculptural objects in the exhibition make reference both to furniture as a functional category and to the more abstract logic of repetition and differentiation. Expanding his experiments with the historical legacies of minimalism and its ideologies for his second appearance at the gallery in Hong Kong, this project frames the relationships between floor and chair; floor and plinth; plinth and sculpture; sculpture and floor; sculpture and chair as matters of conceptual urgency when viewed with regard to urbanism and power dynamics.<br /> <br /> Robert Morris makes a great deal of the difference between the “intimate” and the “public” in his second <i>Notes on Sculpture</i> essay, in which the public is deemed morally superior to the intimate. It is an essay in which he also valorizes object of a very particular scale:</p> <p>Q: Why didn’t you make it larger so that it would loom over the observer?</p> <p>A: I was not making a monument.</p> <p> </p> <p>Q: Then why didn’t you make it smaller so that the observer could see over the top?</p> <p>A: I was not making an object.</p> <p><br /> Morris's desire to frame minimalism as fully of the public domain, lacking any indication of the personal, was characteristic of the modernist project from its beginning. The heroic masculinity of the art and architecture of the 20th century could only be haunted by the idea that moderns are domesticated “men without chests,” an anxiety that remains with us (consider Rush Limbaugh’s shrinking penises).<br /> <br /> There was an overriding anxiety in the postwar years that art objects not be mistaken for intimate things. One can imagine a third, unarticulated question that must have haunted the minimalists as it did their modernist forefathers:</p> <p>Q: Why didn't you have it upholstered?</p> <p>A: I didn't want it mistaken for furniture.</p> <p><br /> If this seems silly, it is. Allowing oneself to look at a plain gray box as an aesthetic object, the modernist believed, would set us on the dangerous road to looking at everything around us with the serious gaze of the critic — a sort of aesthetic onanism. Here at the beginning of the new century, however, the desire is no longer to incorporate the heroic publicness of I-beams and sheet metal shops, but rather to wonder at the architecture of sofa fortification.<br /> <br /> In the major series exhibited here, John Powers has fabricated a series of deformed furniture objects referred to as “sofa burls,” including individual sculptures that appear to have originated in the forms of ottomans and sectionals but which have been overtaken by transformations of a cancerous sort, sprouting cushions in unexpected locations and growing beyond the expected patterns of interior design. Many of these objects are upholstered; several remain as naked wooden frames mirroring the hidden skeletons of the sofa burls. Elsewhere in the exhibition, sections of rugs are afflicted with similar patterns of growth, spreading across the floor and even rising up to leave its surface. This is a vision of the living room gone mad, as the parallel logics of sculpture and domesticity somehow cross-pollinate with unexpected spatial results. If minimalism attempted to do away with the plinth, instead placing its sculptural objects directly on floors, against walls, and on the earth, here the plinth — that much scorned piece of gallery furniture — reasserts its presence with a vengeance. For the artist, this is an experiment with the capacity of “non-pedestal” sculpture to move from the gallery to the home, and back again.<br /> <br /> This series of work will premier in the upcoming exhibition. John Powers’s work was last visible in Hong Kong during the Saamlung exhibition “No One to Hear You Scream” in the spring of 2012, a project to which the artist contributed a series of architectural models and an essay engaging with the theoretical possibilities of historical modernist public space as typified in Tian’anmen Square. Whereas that body of work polemically argued for the conversion of public development zones like the West Kowloon Cultural District or Victoria Park into massively flat and open concrete meeting spaces, “Suite of Suites” instead bears more direct consequences for the interpretation of the place of art in the minuscule private living areas to which Hong Kong is accustomed.<br /> <br /> Most recently, John Powers completed a corrective rewriting of the complete script to the 2012 Ridley Scott film <i>Prometheus</i>, attempting to “rationalize the inconsistencies” of the film while fundamentally reconstructing the genre of fan fiction itself. Prior to that effort, he constructed the outdoor sculpture <i>Big Gini</i> (2012) in the north-central Russian town of Vyksa for the Art Ovrag youth festival, making reference to Futurism and notions of public art.</p> <p></p> <div align="center"><hr align="center" noshade="noshade" width="100%" size="1" /></div> <p></p> <p class="western">Concerned with the legacies of the minimalist avant-garde and its attendant ideologies as manifested throughout the popular culture of the past half-century, John Powers (b. 1970, based in New York) mines the iconography of science fiction film and art theory for the spatial vocabulary of his pointedly maximalist practice. Divided at times between writing and sculpture, which is often fabricated partially by hand and partially by machine, his work examines the intersection of supply chains and the traditional studio.</p> Thu, 04 Oct 2012 22:54:00 +0000 Group Show - Gallery EXIT - October 20th, 2012 5:00 PM - 7:00 PM <p>"As the field of Contemporary Art broadens, the boundaries become more blurred, but Painting continues to light the way." </p> <p>Painting On and On presents a series of exhibitions proposing discourses on painting in Hong Kong today. The first instalment of this project will feature works by more than thirty local painters, ranging from early practitioners of the 1970s to a selection of emerging artists. Born out of multiple discussions over the course of a year, the project forms a basis for artists to exchange their concerns and fascinations. The thematic exhibitions, seminars, workshops and a publication are documentations of their collaboration, commonalities and mutual influences. </p> <p>Automatic Banana invites the audience to see Painting through the artists' lived experiences. Their works do not follow any particular school of theory, their mark-making techniques are direct and even reject traditional practices. The artists tend to favour an intuitive approach that is even more relevant in the contemporary age as the discourse of painting is predominately self-referential. Works on display will not be confined to the medium of painting. There will also be video interviews and personal objects to reflect the artists' relationship with their works and practice. This exhibition is a symbiosis of their personal outlooks, as they seek to learn by unlearning.</p> <p>A talk on the project will be held at the opening from 5pm. Artists from Automatic Banana will also be giving presentations about their works and collaboration. </p> <p>Painting On and On is an artist-run project initiated by a group of Hong Kong painters in the Spring of 2011.</p> Fri, 12 Oct 2012 00:18:42 +0000 Liu Guibin, Wang Changkai, Wang Rui, Xu Lin, Zhou Tieli, Liu Peijun - Hong Kong Wan Fung Art Gallery - October 20th, 2012 3:00 PM - 5:00 PM <div align="left"><span style="font-family: Verdana;" face="Verdana">Wan Fung Art Gallery proudly presents, the “Hainan Memoirs- Art Exhibition Tour” from 20 October to 1 November in Hong Kong Wan Fung Art Gallery.<br /></span></div> <div align="left"> </div> <div align="left"><span style="font-family: Verdana;" face="Verdana">Their artworks are so exotic that could offer audience a virtual experience in Hainan. The opening ceremony will start at 3pm on 20th October, with refreshment served.<br />Have you ever traveled to Hainan Island? Situated at the most southern part of China, where summer lasts for whole year, Hainan Island is a famous and hot vacation paradise for Hong Kong people. “Hainan Memoirs” showcases the artworks of featured Hainan artists from 3 generations. They include Wang Changkai and Liu Guibin (painting masters, frequent travellers in Hainan), Xu Lin and Liu Peijun, who started their career in Hainan years ago, and also local painters: Zhou Tieli, Wang Rui and Zeng zhou. Their nostalgia for Hainan is melted into colorful palettes, and splashed on diversified styles of oil and Chinese paintings. Their artworks outline the lush rainforest of Wuzhishan, the sparkling riverside of Yalong Bay, Hainan fishing girls and delicious ripen fruits. Rendering love on rice paper and floating nostalgia in between unique lines show the natural beauty on this international tourists’ hotspot.</span></div> Wed, 17 Oct 2012 07:58:30 +0000 Tommy Li - K11 - October 20th, 2012 2:00 PM - 4:00 PM <p>In line with the AGI exhibition’s theme "Heaven and Hell", K11 presents two special workshops hosted by design maestros and AGI’s Hong Kong members Stanley Wong (aka anothermountainman) and Tommy. Stanley Wong will be presenting the “Heaven” workshop while Tommy Li’s workshop will be “Hell”.</p> <p>For enrolment and enquiries, please email <a href=""></a> or call +852 3118 8070.</p> <p>Terms and conditions:<br />The aforementioned exhibitions and workshops subject to change without prior notice. K11 reserves the right to make the final decisions.<br />Limited seats available per workshop. Places are filled on a first-come-first served basis.</p> Wed, 03 Oct 2012 02:12:32 +0000 Xia Xiaoli - Identity Art Gallery - October 25th, 2012 7:00 PM - 9:00 PM <p>Fine artist, illustrator, toy sculptor, print maker and the founder of screen printing studio Idlebeats, Nini Sum is a lady with many hats, for whom any juggling act would prompt a seesaw sprouting into imagination. Lately, the little device is swinging a lot, throwing up a series of surreal and quietly subversive images linking what she saw and what she sees. </p> <p>Combining figurative drawings, surrealism and abstract painting with her favorite personal symbology, Sum's works represent a visual and tangible interplay between philosophy, fantasy and the world of dreams. Enter it and one will find a string of free associative ideas through to "the shadow side" - the collective unconscious where what we see is muddled by our tactile sensory and what is saw is blurred with perceived reality.</p> <p>"Painting to me is an expression of images and scenes that consciousness brought in. The process of creation is filled up with struggle and lonesomeness, but that's the rare path to inner peace and pure bliss if you are being truly honest with the flow of the sublime."- Nini Sum                                                       </p> <p>Born 1986 in Nanjing, the Shanghai-based artist is a Visual Communication graduate at Jiangnan University. Her recent show include Spot Light- China Youth Art Exhibition 2012.<b></b></p> Thu, 11 Oct 2012 23:52:07 +0000 - National Art Museum of China - October 26th, 2012 9:00 AM - 5:00 PM <p><span style="font-family: 宋体;" face="宋体"><span style="font-size: small;">“2012 China Oil Painting Exhibition” was held in Olympia, London from July 24 to July 31 at the invitation of Mayor’s Office of London. This exhibition is one part of “Beijing Culture Week in London – Colorful Beijing” series activities during the 30th London Olympics. Under the guidance of senior oil painters such as Curator Ji Shangyi, the host unit Beijing Guozijian Oil Painting Gallery carefully chose 103 pieces of 65 oil painters to be exhibited in London. By exhibiting the representative works of the most artistically influential artists of three generations, the old-aged, the middle-aged and the young in China, which represent their thinking about modern Chinese life and emotional experience in art exploration, and exhibiting Chinese oil paintings with Chinese characteristics and artistic characteristics to the British public, we enhanced their understanding of Chinese modern culture. It is reported that this exhibition is the largest Chinese oil painting exhibition held in Western countries. It has contributed to the development of exchange between Chinese and Western cultures and the improvement of the friendship between Chinese and British people. Now this exhibition is held in China for report.</span> </span></p> Wed, 26 Sep 2012 01:40:58 +0000 Lv Yanjun - Wellington Gallery - October 26th, 2012 7:00 PM - 10:00 PM Wed, 17 Oct 2012 08:09:37 +0000