ArtSlant - Current exhibits en-us 40 Huang Rui - 10 Chancery Lane Gallery - April 19th, 2012 - May 9th, 2012 <p><a name="top"></a>10 Chancery Lane Gallery is proud to present this new series of works by renowned artist Huang Rui. Language-Color is a series of recent experimental paintings by Chinese Artist Huang Rui that explores the relationship between text and color, language and visual experience. <br /> <br /> Language-Color, as the name implies, is the text in color and the color in text. Since the 1990s, Huang Rui's textual paintings have explored the relationship between text and color, increasing the focus on the visual attributes in the experience of painting. In 2006, Huang Rui created Four Reds. At that time, he was acting as the founder and planner for the 798 Art District in Beijing and would often hear the expression red-hot! when people referred to the 798 excitement. This intrigued him. The shades of color in this expression reflect the absurdity of changing tastes. In Chinese, the number four is a homophone for death, and so four reds can be read as die red.  Chinese people have always thought that red is the symbol of vitality, blood, passion, and joy. Chinese people always give red the positive descriptions and ornaments of power. Huang Rui's Four Reds rises from the first panel Glowing with Health to the heights of Popular for a Time, and reaches a critical point in that the third painting A Limit Reached. The series ends with the premonition of death in the fourth and final painting Beautiful Women Die Young. This group of paintings represents Huang Rui's focus on the connection between language, the color of language, and the order of time in his paintings.     <br /> Huang Rui often explores the political elements in painted colors. This exhibition also features White Paper, Black List (2007-2012), which reflects the cooperation between color and language, and also the typical style of contradictions hinting to political references. <br /> <br /> The series of works, 2011 to 1911: Additional Flags for the New Republic, is obliquely linked to Color Series. Huang Rui recreates proposed flags for the 1911 new Republic of China. The Revolution of 1911 or the Chinese Revolution, was a revolution that overthrew China's last imperial dynasty. The era was defined by unstoppable and intense change. The elements on these paintings are related to the primeval wisdom of China's genesis during the Spring and Autumn and Warring States Periods; they are related to the folk legends of remote ages, turning them into iconic symbols of newborn political power. <br /> <br /> Huang Rui has made pure text paintings since 1993. These early works were shown at a solo exhibition in 1993 at Ai Weiwei's studio; it was one of the first 'apartment exhibitions.' The exhibition's theme and form were truly unique, touching on political sensitive topics. Huang Rui paid a price for this exhibition. Apart from the crude political persecution he faced when he was later banned from returning to China, this exhibition and a few of his other solo exhibitions never appeared in any line of text in the history of Chinese contemporary art written by any Chinese critic. However, this is natural in China, and fortunately Huang Rui never lost himself.<br /> <br /> In this exhibition, Huang Rui returns to his long-standing practice, a solemn and eternal practice of language and color. Is it still a blank slate, or is it something long passed? Words as painting have represented the most revered tradition in literati painting since the Song Dynasty. Huang Rui firmly believes that he does not need recognition or protection if, at some point in the unknown future, we can master the classics of our ancestors.   <br /> <br /> Huang Rui is one of China's most highly regarded artists, one of the founding members of the Stars Group of 1979 and a seminal figure of the Dashanzi Factory 798 Art District. Since co-organizing China's first public art exhibition in Beijing in 1979, Huang Rui has sought to express art's function as a reflection of society and its strength in addressing contemporary concerns. <br /> Huang Rui's works have been shown extensively in China and abroad. In addition to public performances in Hong Kong, Japan, Beijing's Dashanzi Art District and London, his work has been included in major exhibitions at the Louisiana Museum of Denmark, the Museo delle Mura in Rome, the 1st Guangzhou Triennial, and the Ullens Center for Contemporary Art Beijing.  For more information and to schedule interviews with Huang Rui please email:<br /> or call +852 2810-0161. Mr. Huang will be in Hong Kong for the opening reception. The exhibition runs from April 19th until May 12th 2012.</p> Wed, 11 Apr 2012 04:00:27 +0000 Chang-Jin Lee - 1a Space - February 18th, 2012 - May 31st, 2012 <p>COMFORT WOMEN WANTED brings to light the memory of 200,000 young women, known as "comfort women," who were systematically exploited as sex slaves in Asia during World War II, and increases awareness of sexual violence against women during wartime.</p> <p>Based on artist Chang Jin-Lee’s research since 2007 in Asia, (including Korea, China, Taiwan, Japan, Indonesia, and Australia), meeting “comfort women survivors” and a former Japanese soldier from W.W.II, COMFORT WOMEN WANTED involves ad-like prints and multichannel video installation.</p> <p>The gathering of women to serve the Imperial Japanese Army was organized on an industrial scale not seen before in modern history. This project promotes awareness of these women, some of whom are still alive today, and brings to light a history which has been largely forgotten and denied.</p> <p>The title, COMFORT WOMEN WANTED, is a reference to the actual text of advertisements which appeared in Asia newspapers during the war. When advertising failed, young women from Korea, China, Taiwan, Indonesia, the Philippines, Thailand, Vietnam, Malaysia, and the Netherlands were kidnapped or deceived and forced into sexual slavery. Most were teenagers, some as young as 12 years old, and were raped by as many as fifty soldiers a day at military rape camps, known as "comfort stations." By some estimates only 30% survived the ordeal.</p> <p>Whenever there's a war we hear about the suffering of soldiers, yet we hear almost nothing about the plight of women who are kidnapped and raped, or killed. Often it is the poorest and most marginalized elements of society who suffer most. Throughout history women like this are too often invisible, forgotten and left with no place to turn.</p> <p>The "Comfort Women System" is considered the largest case of human trafficking in the 20th century. Much in the same way that acknowledgment and awareness of the Holocaust helps to insure it will not happen again, by acknowledging this issue we can prevent another generation of enslaved "comfort women" from happening anywhere ever again.</p> <p>In the 21st century, human trafficking has surpassed drug trafficking to become the second largest business in the world after arms dealing. The "comfort women" issue illustrates the victimization which women suffer in terms of gender, ethnicity, politics, and class oppression, and how women are still perceived as a disposable commodity. This project promotes empowerment of these and all women, and seeks to establish a path toward a future where oppression is no longer tolerated.</p> <p> </p> <p></p> <p>About the Works                  </p> <p><br />Ad-like prints:</p> <p>In the ad-like prints, the text COMFORT WOMEN WANTED is in black atop a red background. There are two black &amp; white portraits of former “comfort women” when they were young, including a portrait of a Taiwanese comfort woman taken by a Japanese soldier during her enslavement. These images of the women are surrounded by gold leaf, suggesting the halo of a saint from Renaissance painting.</p> <p>These portraits of young “comfort women” are juxtaposed with silhouettes of aged former “comfort women” in their current homes. Of those who survived, many of the women never went back, or they were ostracized from their families and communities because of what was perceived as their "shameful past" in a conservative society cherishing women's chastity as ideal. For most of these women, the sense of "home" was forever destroyed. To highlight this fact the central image of the prints, rather than being a portrait, contains an empty silhouette.</p> <p></p> <p></p> <p>Multi-channel video installation:</p> <p>Historian Suzanne O'Brien has written that "the privileging of written documents works to exclude from history...the voices of the kind of people comfort women represent - the female, the impoverished, the colonized, the illiterate, and the racially and ethnically oppressed. These people have left few written records of their experiences, and therefore are denied a place in history."</p> <p>In the multi-channel video installation, the Korean, Dutch, Taiwanese, Indonesian, and Chinese “comfort women” survivors, and a former Japanese soldier talk about their experiences at the military comfort stations, as well as, their everyday hopes and dreams and who they are as people. These women also sing their favorite traditional folk songs in Korean, Taiwanese, Chinese, and Dutch. This presents the women as individuals rather than as victims and highlights the experiences we all share, in order to put these monumental events in context. These are the stories and voices of the survivors.</p> <p>Another projection shows three videos simultaneously, of former military comfort stations in China and Indonesia. The three comfort stations depicted in the video are “Dai Salon,” the first comfort station ever in Asia; “Mei Mei Li,” a large complex of buildings in Shanghai; and an Indonesian comfort station which existed in a former Dutch officer’s house in Java. This video is about the history and memory of place.</p> <p>Despite growing awareness of the issue of trafficking of women and of sexual slavery as a crime against humanity, this particular recent historical event has gone largely unacknowledged. COMFORT WOMEN WANTED attempts to bring to light this instance of organized violence against women, and to create a constructive dialogue for the future by acknowledging their place in history.</p> <p> </p> <p></p> <p>About the Artists</p> <p>Chang-Jin Lee is a Korean-born visual artist based in New York City. Her multicultural background and experiences have provoked in her an interest in investigating the diverse cultural and social/political issues in our current era.</p> <p>She has exhibited extensively including at The Incheon Women Artists’ Biennale (Korea), Bo Pi Liao Contemporary (Taiwan), The Queens Museum of Art (New York), The World Financial Center Winter Garden (New York), The Lower Manhattan Cultural Council (New York), The Franconia Sculpture Park (Minnesota), The Asian American Arts Centre (New York), The Chinese American Arts Council (New York), Van Brunt Gallery (New York), Elizabeth Heskin Gallery (New York), The Peekskill Project (New York), The Bronx River Art Center (New York), and Spaces Gallery (OH).</p> <p>She is a recipient of numerous awards including The New York State Council on the Arts Grant (New York), Asian Cultural Council Fellowship (New York), The Lower Manhattan Cultural Council Grant (New York), The Franconia Sculpture Park Jerome Fellowship (New York), The Asian Women Giving Circle Award (New York), The New York Foundation for the Arts Fiscal Sponsorship Award (New York), The World Financial Center Sponsorship (New York) , The Puffin Foundation Grant, The Lower Manhattan Cultural Council - Creative Capital Professional Development Workshop (New York) and The Lower Manhattan Cultural Council's Manhattan Community Arts Fund (New York).</p> Sat, 12 May 2012 02:09:39 +0000 Meggs - Above Second - March 30th, 2012 - May 17th, 2012 <p><strong><em>‘Journey is the Reward’ </em></strong>has become somewhat of a manifesto for my life thus far. So much so that I even have these words tattooed across my chest, a reminder for life that the process of making art and the journey of travel is just as important as the final product and solid milestones we might consider <em>‘achievements’</em> or <em>‘goals’</em>. For me, making art or being an artist, is a lifestyle, a passion and life-long commitment. This has opened up a whole world of new places, people, friends and adventures, which in turn influences my artistic practices and the subject matter of my work.</p> <p><strong><em>‘Journey is the Reward’ </em></strong>at Above Second gallery represents another one of those unique experiences for me, and the work references my inspirations from my journey so far as well as the location, people and influences of Hong Kong. Somewhat a mix of Australian, American and Asian culture the pieces show the diverse effects these cultures have had on my work and my continuing exploration of duality and human emotions and experiences. – <em>Meggs</em></p> Thu, 08 Nov 2012 17:07:39 +0000 Konstantin Bessmertny - Amelia Johnson Contemporary - May 3rd, 2012 - June 3rd, 2012 <p>Amelia Johnson Contemporary announces Konstantin Bessmertny: BESTIARIUM, a powerful exhibition of small paintings and three-dimensional work. Bessmertny’s latest exhibition takes its name from a compendium of beasts that was particularly popular in England and France around the 12th century. The illustrated volumes described various animals, birds and even fantastical creatures. Here Konstantin Bessmertny presents his own Bestiarium: a collection of 20 small oil paintings under the collective series title “Portraits of the Rich and Famous” and a powerful three-dimensional work. These small, intimate portraits of politicians, philosophers, world leaders, film stars, who are recognizable and famous, are presented in monochrome and colour, perhaps exploring an unique, mundane aspect of their lives or a character trait that the person is not known for. In objectifying his subject matter, the artist is asking his audience to look at these personalities in a new light, perhaps to empathise with them, perhaps to ridicule them, but also to question and possibly rethink every preconceived notion that has previously been synonymous with this person’s fame. So here we have “Napoleon on Elba’ – rosy cheeked, enormously fat and healthy – a reference to the amazing living he experienced whilst in captivity. Here we have a Richter-esque Marilyn figure – ghostly and taking the stage in front of the President. In contrast to the small oils is the artist’s titular work “Bestiarium”, a life size lion, Asian-esque, carved from wood and painted over with scenes and tracts of text from mediaeval life. Here Bessmertny depicts an imagined world populated with fantastical creatures and mythological people, moral stories and anecdotes for a twenty first century audience. This parallel universe that the artist creates is made all the more powerful by the juxtaposition of these simplistic, painterly oils with this giant lion, whose carved features terrify and mesmerize yet who draws the audience further into this parallel world to uncover the hidden messages contained within these works. Bessmertny is a creature of boundaries between times, cultures and places. The effect is not lost on his works, which gleefully portray challenges of basic, almost universally accepted understandings of zeitgeist, history, and its heroes. Through his work Konstantin Bessmertny affords the viewer a delicious glimpse into a world that could so nearly exist and demonstrates, yet again, why he is one of the most exciting artists working in Asia today.</p> Thu, 10 May 2012 08:47:27 +0000 Tian Taiquan - Art Experience Gallery - April 21st, 2012 - June 22nd, 2012 <p>Tian Taiquan has created series of conceptual photos out of his childhood memory during Cultural Revolution in Chongqing. The artist, born in the most peculiar period in the modern history of China, is greatly attentive to social issues and hence, develops the Trilogy “Past, Present &amp; Future”. He aims to respond and raise awareness in the society with his artworks. It is claimed as the responsibility of an artist. “Totem Recollection” highlights the most renowned “Past” series of the Trilogy.</p> Sat, 12 May 2012 09:21:35 +0000 Geng Yini (耿旖旎), Li Yijia (李艺嘉), Tian Han (田寒), Wang Di (王迪), Yang Rui (杨蕊), Zhang Wanqing (张晚晴), Zhang Yi (张祎), Shi Mohan (史墨涵) - Art Seasons Beijing - April 28th, 2012 - June 10th, 2012 <p>Contemporary Chinese art has unveiled an increasingly rich, diverse and complex visage as it presses forward.  Without intent, the “trend” has become a veiled but distinctive barometer. Artists from Northeast China appear to be the black horse with Luxun Academy of Fine Arts spearheading art education in the region, cultivating a number of art students with excellent training.  At the same time, as the region is expansive and art in the area relatively isolated, northeast art production markedly differs from that in other cities, and has shown an independent and vivid character. As the market comes to grip with gradual exploration, discovery and promotion, the “northeast trend” appears to be around the corner, fast becoming a novel phenomenon in contemporary Chinese art landscape. In retrospect, all art forms develop rapidly and become objects of courtship after having been acknowledged and recognized. It is not necessarily a bad thing for art to thrive and progress in a regional atmosphere, as long as it is actively explored and truthfully presented. </p> <p>Our exhibition features eight young women artists from Luxun Academy of Fine Arts, either new graduates or graduate students, all born in the region in the 1980s. Ginseng grows in abundance in Northeast China. As the title of the exhibition, “ginseng” not only imbues the exhibition with a geographical connotation but is indicative of a mild life force, and a rich, delicate and subtle form of art. In the 1960s, Feminist Art was born out of feminist movement. At the outset, this art form assumed the shape of collectivity and uniqueness, in confrontation with men’s art in general, seeking equal opportunity and rights from the viewpoint of women artists. By the 1980s and 1990s, radicalism and confrontation slowly subsided. While against femininity, women artists in both the West and the East were more mindful of the establishment of feminist cultural identity and of exploring the value and significance of feminist society, from their respective experiences.   </p> <p>Since 2000, however, as the post 1980s women artists live in a relatively freer social environment and a richer material life, significant changes in both attitude and orientation took place. Gender related differences are ebbing away and new generation women artists have come to embrace independence, freedom, tolerance and equality and their works have become more vibrant, diverse and liberal.</p> <p>Northeast China is a relatively marginalized region, which happens to render the artistic environment there more pure and stable. The participating artists have all studied in the city of Shenyang and the vast majority now lives there as well, where most artists have other sources of income and lead a freer life, without too much pressure and tension. Artistically, they are more mild and at ease. Most of them work in rented or self-owned flat and live quite apart, therefore peer influence is minimal and their works are more individualized exploration and meditation, their artistic language autonomous and self-centered. That can be easily felt from their participating works. In addition, as new generation artists, they present something fresh in their art. Instead of adhering to the beauty of form characteristic of women artists, they base their work on realistic experience and inner sentiments, breaking the gender boundary and choosing the theme and artistic expressions that befit them.  From the exterior, their works do not follow the trend but define a direct, magnanimous and subtle sentiment. Although most works concern everyday life and emotional feelings, they have embedded in them different wisdoms, and diverse and rich values. The broad evolution of feminist art renders localized art production meaningful. Although the group exhibition of the eight women artist cannot give a broad representative view of the landscape of women artists, we hope that it will steer us towards putting on our thinking cap.</p> Wed, 02 May 2012 02:23:04 +0000 Tony Ng, Xiang Guohua, Yu Peng - Art+ Shanghai Gallery - May 4th, 2012 - June 30th, 2012 <p>Art+ Shanghai Gallery proudly announces a group exhibition exploring contemporary Chinese landscapes. The Hanging Garden focuses on the use of traditional techniques and materials to communicate meaning through landscape art.<br /><br />Beginning in the Tang Dynasty the primary subject matter of painting was a mountain with water (shanshui). The landscapes were mostly sparse because the purpose was not to reproduce what the artist saw but rather to establish the feeling of nature to the viewers. Space was defined with brushstrokes, while different materials and color were later introduced to enhance the emotion of an artists work.<br /><br />Using calligraphy and ink on paper, Yu Peng pays homage to his ancient masters while exploring contemporary culture in his scroll paintings of modern cityscapes. Using incense to burn small holes into rice paper, Xiang Guohua’s landscapes on paper and acrylic are likened to the creative process of a Buddhist practitioner, whose actions emphasize the journey and practice more than the end or work displayed. <br /><br />In an era of visual transformation, landscape art is widely innovative and diverse, at times containing subtle social commentary. In his photography, painting and acrylic sculptures, Tony Ng addresses issues of congestion and pollution caused by landfills and construction sites. <br /><br />The Hanging Garden explores contemporary Chinese landscape art as a means of expressing society via realism, metaphor and abstraction. It is less about the literal representation of scenery and more concentrated on establishing a new vocabulary through techniques, materials and motifs.</p> Tue, 24 Apr 2012 22:21:53 +0000 Chen Hong Xin - Asia Fine Art Gallery - May 3rd, 2012 - June 10th, 2012 <p><br />A new collection of oil paintings depicting the landscapes and life scenes of rural china.<br /><br />Born in 1944, Chen Hong Xin grew up in old Shenzhen when it was just a fishing village.<br /><br />Always interested in art and creation, as a student, he first went to Guangzhou Academy of Fine Art to study oil painting which ultimately became his chosen medium. After graduation, he worked as a graphic designer at Guangzhou Fine Art Studio. <br /><br />Before Shenzhen become a Special Economic Zone of China, he returned home. Chen is one of the pioneers in promoting the local art scene in Shenzhen and has witnessed the tremendous economic, social and infrastructure changes in the area.<br /><br />For 8 years , Chen Hong Xin was a staff member of Guan Shan Yue Museum, Shenzhen and retired as Director. Now devoting his time to his passion for painting portraits and landscapes - his works are recognized as being of the finest quality. Chen is reputed as the first class national artist and is member of China Artist Association.<br /><br />Chen Hong Xin’s works have been constantly published in local and national media. His paintings are collected by museums and by private collectors locally and overseas.</p> Thu, 10 May 2012 07:25:02 +0000 Fu chunmei - Beijing Wan Fung Art Gallery - April 28th, 2012 - May 15th, 2012 <p>Fine brushwork painting exhibition.</p> <p><b>Fu Chunmei </b></p> <p>Fu Chunmei received her undergraduate degree from the Department of Fine Art, North Eastern Normal University in 1997. Received her Master Degree in the Department of Chinese Painting, China Central Academy of Fine Arts.</p> <p>She is now a member of the Chinese Artists Association and Beijing Association of Strong Color Drawing Painting.</p> <p>She is currently a teacher of the advanced research class of strong color drawing painting at the Department of Fine Arts, Tsinghua University</p> Fri, 13 Apr 2012 23:49:48 +0000 Jiang Pengyi - Blindspot Gallery - May 4th, 2012 - June 2nd, 2012 <p><em>Luminant</em> are images of glowing luminance of modern skyscrapers by night in major mainland cities. Against the darkened cityscape, the skyscrapers stand glowing in intense brightness created by overexposure. Such overexposure instills a feeling of departure from reality into the picture, which seems to urge the viewers to contemplate the city’s over-development and the society of spectacle dominated by consumption and mass media.</p> Sat, 12 May 2012 22:33:23 +0000 Kyoung Mi LEE - CAIS Gallery Hong Kong - April 19th, 2012 - May 10th, 2012 Tue, 24 Apr 2012 23:31:23 +0000 Guo Hongwei - Chambers Fine Art Beijing - May 5th, 2012 - June 23rd, 2012 <div class="prEnglish"> <p>Chambers Fine Art is pleased to announce the opening on May 5, 2012 of Guo Hongwei: Painting is Collecting. In this exhibition of watercolors on paper Guo Hongwei turns away from the everyday objects such as paper cups, plastic bags etc. that were the subject-matter of his works in various media in Things, his first solo exhibition at Chambers Fine Art in 2009, to encompass natural history as it has been collected and classified in a systematic way since at least the Renaissance. Since the beginning of his career, Guo Hongwei has used oil painting and watercolor not in pursuit of a Realist enterprise but as a means to investigate the relationship between the objects he chooses to represent and the infinite possibilities of his media in all their unpredictability.</p> <p>In so far as he depicted objects close at hand in the paintings shown in the 2009 exhibition and immediately after, Guo Hongwei’s works were to a certain degree autobiographical. With Painting is Collecting , he moves out of the studio into a much broader arena that incorporates mankind’s curiosity concerning the world in which he lives, the classification and understanding of the relationships between the infinite variety of animals, insects, plants and minerals. Not only has he visited natural history museums and botanical gardens with their ancient herbaria, he has also read widely in historical literature and developed a keen appreciation of the artistry of botanical illustrators of previous centuries. From this vast amount of material, he has selected certain images that appeal to him as a result of their cultural patina and has also created arrangements of his own that show his interest in tracking relationships between closely related forms.</p> <p>The series of watercolors devoted to plants, for example, are closely based on botanical specimens in which the date of collecting, inventory number etc. are only partially revealed as a result of the free-flowing pools of watercolor. Contrasting are the sheets in which rows of birds and insects are freely arranged, the minute differences between them beautifully replicated by the subtle adjustments of color and density of pigment. As Sun Dongdong comments, however, “thanks to Guo’s expressive painting style that breaks through the boundaries of scientific representation, the watercolors in the exhibition are not documentary studies meant for natural history museums. The naming of these paintings, “Flowers, Birds, Fish, and Insects,” is at best a playful allusion to scientific methods of categorization.”</p> <p>Although capable of being highly developed, traditionally, watercolor has been reserved for informal studies and small-scale works. Guo Hongwei appreciates the fluidity and transparency of the medium but is prepared to place a greater burden on it, exaggerating its qualities in order to transform the physical characteristics of the objects he chooses to paint. For Painting is Collecting I, Guo Hongwei has transformed the galleries of Chambers Fine Art into a hauntingly beautiful reflection on mankind’s need to classify, preserve and depict, to pin down the qualities of living forms whether in watercolor on paper or in the vitrines of a natural history museum.</p> </div> <div class="prChinese"> <p>北京前波画廊非常荣幸地宣布郭鸿蔚个展《收集者》将于2012年5月5日开幕。在这个以纸上水彩为媒介的个展中,郭鸿蔚将着眼点从上一次个展《东 西》中由多种绘画媒介呈现的纸杯、塑料瓶等日常事物滑向了自文艺复兴以来以收集和分类为方法而体系化的自然历史。从其早期的工作开始,他的绘画并不是去追 寻现实主义,而是研究他选择的那些物体和媒介间的关系,并探索其无限可塑性。</p> <p>《收集者》作为某种程度上自喃式的展览,看似是在以绘制的方式去收集主观的形式感片段,其实面对的却是一个更具普遍性,更根本的“似” 的基础,一个人类主观的博物学基础。郭鸿蔚从充满触手可及日常之物的工作室里走向了一个更广阔的领域,其中充满了人对其所处世界的好奇,以及对无限种类的 鸟兽虫石木所营造的自然界的分类定名和主观理解。他不仅造访了许多自然历史博物馆和植物园,还广泛的参考了标本绘本的历史文献,并加深了对几个世纪以来自 然科学图谱艺术的理解。从庞杂的资料中,他选择了那些有着文化包浆和时间感的素材,并且以自己对于作为视觉表象的形式感的兴趣为尺度编排于纸面上。</p> <p>作品中有一系列以植物馆中的标本为蓝本,画中将标本上的标签,收集日和序列号等信息悉数再造,但却只能以水彩其氤氲水渍的姿态被辨认出来。与之相映成趣的 是,鸟或虫被以某种形式对比的需要排列于纸面上,微妙的形式差异浮现其间,被色彩和颜料浓度的调度精致地复制出来。如孙冬冬所述,“展览中的水彩作品根本 不是博物学范式内的绘画,因为郭鸿蔚作品一贯的语言表征完全脱离了博物学对再现方法的学科要求,就像他对这些作品‘花鸟鱼虫’式的命名,如果从博物学角度 来看,都像是一个假动作而已”。</p> <p>虽然水彩已被作为一种技巧臻熟的绘画媒介,但是传统上,水彩作品仅被预设为小尺幅的习作。此次展览中,郭鸿蔚继续迷恋着其介质的通透和流动性,使用这种充 满不确定性的媒介并放大其特质,使这种媒材变得分外有趣,同时物体作为物质本身所衍射的光晕也被散发出来。在《收集者》中,郭鸿蔚将画廊空间转化为一个戏 说人类对分类、留存和描述的标本馆;不论是橱窗中展出的标本还是纸上的水彩作品,都呈现了生命最常态的本质。</p> </div> Tue, 24 Jul 2012 18:28:27 +0000 CHAN Yu - Connoisseur Contemporary - April 20th, 2012 - May 10th, 2012 <p>Connoisseur Contemporary will be presenting a solo exhibition of contemporary Chinese artist CHAN Yu from April 20 to May 10, 2012.</p> <p>Chan Yu’s work commands a standing in the contemporary art world because of both their meaning and presentation. Chan Yu’s previous series was heavily centered on his own concept of identity. His 2008 solo in Connoisseur Contemporary titled “The Absence of Self; The Presence of Images”, required him to see himself from a third-person perspective and subsequently look at another person as himself; in order to establish his identity. In the end he believes that our identity is affirmed by the presence of others and that often, we are just trying on alter egos to see which fits best. His work is now recognizable by his style of repetitive, overlapping layering of images that have become a symbol of his evolution as a person and as an artist with a complex personality.</p> <p>His new solo is an extension of this concept, and an even bigger step from the individual to the social sphere and featuring only on well-known cultural icons. Some of them, 20th century personalities such as James Dean, Audrey Hepburn, Bruce Lee, Jim Morrison, are being portrayed as a representation of not only of their diversity but also a phenomenon that these people, who pass on at a very young age, became unbounded and easily recognizable and iconic symbols in our society. Despite their “absence”, their “presence” continues throughout generations, influencing us in different ways and dimensions. The series hints at the fact that we all have different personalities in each of us. By multiplying and applying numerous layers of paint the artist tries to draw our attention towards a complexity of different aspects of our own identity; while at the same time, celebrating the legacy of these cultural icons whom we adore and idolize.</p> Tue, 24 Apr 2012 23:36:47 +0000 Mark Aldred, Mike Patterson, Ajay Malghan, Clara Forest, Polina Shubkina - Cultural Club Gallery - April 23rd, 2012 - May 26th, 2012 <p><span style="color: yellow; font-size: small;" color="yellow" size="2"><span style="color: #000000;">4Corners is as an international movement of artists from four continents based in Hong Kong. We believe in equal parts concept, craft and aesthetics. </span><br /> <br /><span style="color: #000000;"> Through the works of Mark Aldred, Mike Patterson, Ajay Malghan, Clara Forest and Polina Shubkina deal with cardinally different themes and use totally different techniques they are united into a movement by the following factors. The necessity of time for understanding of their deep concepts and the undeniable beauty of the images. This combination of qualities allows their work to speak for itself. Another distinctive feature of our Post-Futurism is their insistence on a dialogue between the author and the viewer. Although their work goes way beyond the literal, the Post-Futurists don’t try to stay on plan B, creating especially-subjective aesthetics of work which are impenetrable without inside information on the artist. They leave open the possibility for a viewer to solve a creative puzzle independently. Each member of the 4Corners group scrupulously investigates objects of their own interest in each the body of work. With <span style="text-decoration: underline;">Michael W Patterson</span> this has been the exquisite patterns formed by movement over time. With <span style="text-decoration: underline;">Mark Aldred</span> it is the human tendency to create order out of a chaos of time and chemical process in ageing walls. With <span style="text-decoration: underline;">Clara Forest</span> it is the way we perceive long or tall objects as a series of overlapping frames. With <span style="text-decoration: underline;">Adjay Malghan</span> it is the stunningly beautiful microscopic structures in fruit and meat. Polina Shubkina does typologies of human emotions which she turns into iconic images, using combinations of live models, make up and careful posing and subtle lighting, to exemplify each of the emotions she has chosen to represent.</span><br /> <br /> <br /><span style="color: #000000;"> <b>Mike Patterson</b> is an internationally exhibiting American artist and fine art photographer. Throughout his career he has experimented with many different mediums but has recently moved to Hong Kong to focus on a new body of work that is primarily photographic. This recent work seeks to expand the photographic vocabulary to accommodate the new ways in which images are produced, distributed and viewed in the digital age. In particular, Patterson is interested in non-linear user-driven narratives, digital reproduction and dissemination, and the alteration of meaning as data is translated across various media. </span><br /> <br /><span style="color: #000000;"> <b>Polina Shubkina</b> was born in Ekaterinburg, currently lives and works in Hong Kong. Photography has been her passion ever since childhood. However she was side-tracked from it a few times. Polina was studying industrial design at the Ural State Academy of Architecture and Arts in Russia. Then moved to ESMOD in Paris where obtained a BA majoring in Fashion Design. After ESMOD served as a junior accessories designer for Araldi 1936 and Kenzo. Finally in 2011, realized that she wants to go back to photography and enrolled in an MFA at Savannah College of Art and Design (SCAD) in Hong Kong. The imaginary characters of Shubkina's work "Broken People" personify uncontrolled emotions and critical states of being which can appear in anybody's life. This is her effort in externalizing the internal chaos or trauma. </span><br /> <br /><span style="color: #000000;"> <b>Clara Forest</b> is a French photographer based in Hong Kong. She comes from an alpine town in the south-east of France and holds degree with majors in Latin, Greek and French. She mainly works with film cameras, preferably medium format. Her favourites are her Yashica Mat, her Kiev 88, her Zeiss Taxona, her Holga and finally her Zeiss Ikonta 520/2. The latter is an old folding 6×9 camera she inherited from her grandfather, with which she produced her most recent series A World Of Signs. A World Of Signs is a series of multi exposure 6 x 18 cm Panorama images of neon signage and street intersections. It examines the way in which we see long or tall images as a series of overlapping frames as our eyes track across them. </span><br /> <br /><span style="color: #000000;"> <b>Mark Aldred</b> is an Australian photographer based in Hong Kong. He is of mixed descent, English, Irish, Scots Jew, Geordie and Australian Aborigine. He holds a BA with two majors, Behavioural Science and Intellectual History from James Cook University plus a Graduate Diploma in Education and an MA in Applied Linguistics from Flinders University. His original photographic background was photojournalism and he served as the founder and publisher of Brink Magazine for several years before going back into photography full time. In 2010 he made the decision to investigate fine art photography by enrolling in an MA in photography at the new Hong Kong Campus of Savana College of Art and Design, SCAD. During his first term there, he produced the work which evolved into his first venture into abstract photography, Rorschach Walls. This work consists of close up photographs of Hong Kongs old walls shot on medium format .These images function like the famous Rorschach inkblots used to psychologists to look into the subconscious mind. These powerful abstracts invite the viewers to find images within the images and ultimately tell them as much about themselves as about the walls depicted. </span><br /> <br /><span style="color: #000000;"> <b>Ajay Malghan</b> is a multimedia artist versed in music, photography, video and painting. After an inconspicuous childhood filled with soccer fields and moving every 4 years to wherever his father’s research took them; Ajay Malghan embarked on the 20’s of a lifetime. Told on Valentine’s Day 2000 that he had ALL Leukemia at the ripe age of 20; a 10 year fight followed which involved enough drugs to kill a herd of elephants,a bone disease that linked him to Bo Jackson, 16 surgeries and three hip replacements. Presently in his Graduate studies, he created his latest body of work, Naturally Modified by pioneering a cameraless process that integrates glass plates, fruits and vegetables as a negative.</span> <br /> </span></p> Sat, 12 May 2012 23:21:01 +0000 Bernar Venet - de Sarthe Gallery - May 3rd, 2012 - May 26th, 2012 <p class="content"><strong>Bernar Venet</strong> exhibition in Kowloon consist of seven monumental sculptures that he created from 2003 to 2010 including one that was exhibited at the Venice biennale in 2009 and two sculptures recently exhibited at the <em>Chateau de Versailles </em>exhibition in 2011.<br /><br /> Questioning the relationships between art, landscapes and architecture with his rolled steel<em> Arches, Indeterminate Lines</em> and <em>Collapses</em>, the artist tells us a story visually about his path from conceptual art to public art, and how his installations and monumental sculptures make a lasting mark on the contemporary aesthetic landscape. Each series expresses different notions of his interest in the mathematics of order versus chaos.<br /><br /><strong>Bernar Venet</strong> , whose long and distinguished career dates back to the 1960s, began producing monumental linear improvisations in steel in the early 1980s. His sculptures, considered as his trademark, have been exhibited in major cities worldwide and acquired by the most prestigious museums including the Guggenheim, New York, The National Gallery, Washington, Centre Pompidou, Paris, National Museum of contemporary Art, Seoul, Korea<br /><br />法國雕塑家貝納.維尼在九龍所展出的七件大型雕塑都是他於2003年至2010年間製作的作品。當中包括一件他於2009年威尼斯雙年展所展出過的雕塑及兩件他於2011年在法國凡爾賽宮展覽的作品。<br /><br /> 貝納.維尼利用捲曲鋼材製成的拱門(Arcs)、不定線條 (Indeterminate Lines) 以及倒塌的形態,對藝術、景觀和建築之間的關係提出質疑;以視覺言語向我們細訴他從概念藝術到公共藝術的創作歷程以及他如何利用裝置藝術及大型雕塑作品在 當代美學景觀上留下悠久的註腳。在不同系列的作品中,我們可看到他對數學中的秩序與混亂表達了不同的關注。<br /><br /> 貝納.維尼長久而成功的藝術生涯可追溯至六十年代開始,及後他於八十年代用鋼材製作的大型線條式雕塑成為了他最廣為人知的作品,並於世界各地多個城市及著 名的博物館展出;當中包括紐約索羅門·古根漢美術館、華盛頓的美國國家美術館、巴黎的龐畢度中心以及韓國首爾的國立現代美術館。</p> Sat, 12 May 2012 23:33:42 +0000 Laurent Grasso - Edouard Malingue Gallery - April 26th, 2012 - June 16th, 2012 <p>Edouard Malingue Gallery is pleased to present <i>Future Archeology</i>, the gallery's first solo exhibition of contemporary French artist Laurent Grasso, from 26th April to 16th June 2012. </p> <p><i>Future Archeology</i> is Laurent Grasso's first show in Asia, since <i>Radio Ghost</i> at agnès b.'s galerie du jour in Hong Kong in 2003 on the early days of his international career.  </p> <p>Beyond its romantic aura, <i>Future Archeology</i> plays with the notion of time which appears here as compressed, creating for Laurent Grasso a destabilising, even paranoid, effect. This tension continually pushes further towards certain boundaries of the spectator's perception, such as when he pretends that his series of paintings <i>Studies from the Past</i> are taken from the Italian Renaissance or the classical ages of European painting. Similarly his contemporary neon <i>Stella Nova</i> refers to a 17th century essay about a shooting star. This exhibition will be the occasion to demonstrate how the work of this artist has matured with a carefully curated selection of artworks.   </p> <p>In addition to the exhibition within the gallery, Laurent Grasso will install his<i> Anechoic Pavilion</i>, a one-room cabin constructed as a place for meditation and observation of surroundings, on the rooftop of Central Ferry Pier 4, facing the Victoria Harbour. This iconic piece will allow visitors to experience a unique sensation of inner exploration. Visitors will embark on a journey taking them from the heart of the most active city in the world to the very margins of reality and fiction. </p> <p>Born in France in 1972, Laurent Grasso is universally regarded as one of the most prominent artists of his generation. Having embarked upon his successful career in the early 2000s, by 2008 he had been awarded the highly prestigious Marcel Duchamp Prize. Subsequent notable shows in Europe include <i>The Horn Perspective</i> at the Centre Pompidou, Paris in 2008, and in the USA, <i>Portrait of a Young Man</i> at the Bass Museum of Art, Miami in 2011. He has also exhibited his work extensively in the Middle East, at the Sharjah Biennal (United Arab Emirates) in 2009, and in Asia at the Busan Biennale in 2006 and the Leeum, Samsung Museum of Art in South Korea, in 2010. Laurent Grasso is currently holding a solo show entitled <i>Uraniborg</i>, at the Jeu de Paume, Paris. This constitutes the artist’s most important solo exhibition to date and will subsequently travel to the Musée d'Art Contemporain de Montréal, Canada. </p> <p>Laurent Grasso’s work often investigates the machines and systems that mediate our modern era. He uses these mechanisms, as well as the history of art, techniques, philosophy and cinema, to create unusual perspectives. This kind of consideration and play on common experience and knowledge, aiming to enlarge or radically change points of view, is what attracted Edouard Malingue to Grasso’s work. Both gallerist and artist alike are reaching for a new approach for our times, be it prospectively or retrospectively. </p> <p>A catalogue presenting the works of the artist with an interview and essays that shed light on his approach and go deeper into details is published by the gallery and will be available on opening day.</p> <p><span style="font-family: Optima; font-size: medium;" class="Apple-style-span" face="Optima" size="3"><span style="font-family: Arial; font-size: medium;" class="Apple-style-span" face="Arial" size="3"></span></span></p> Sun, 29 Apr 2012 03:05:26 +0000