ArtSlant - Recently added en-us 40 Eastman Cheng & Joey Leung - Art Projects Gallery - December 18th - January 4th, 2015 <p>Art Projects Gallery is delighted to present &ldquo;She Looks Blue&rdquo;, a solo exhibition by Cold Ears Factory. Cold Ears Factory is a collaborative studio formed by Hong Kong artists Eastman Cheng and Joey Leung. Inspired by Chinese blue and white porcelain art that feature intricate floral patterns, this series of work creates a three-dimensional version of the &ldquo;blue and white&rdquo; motif, featuring fun and quirky sculptures that reflect nature, people and life, injected with the artists&rsquo; sense of humor and philosophical narratives.</p> <p><strong><span style="text-decoration: underline;">Artist Statement</span></strong><strong><span style="text-decoration: underline;">&nbsp;</span></strong><br />In traditional Chinese blue and white porcelain art, floral motifs in blue tones permanently glazed into ceramics wares portray a sense of everlasting elegance. However, imagine if a flower were to really turn blue, it must be feeling a little giddy, its legs or rather, stalk, may be turning a little soft, unable to stand upright. This playful thought inspired Cold Ears Factory to come up with their latest solo exhibition titled &ldquo;She Looks Blue&rdquo;.</p> <p>Drawings inspiration from the forms and characteristics of various floral species and together with the artist duo&rsquo;s fertile imaginations, Cold Ears Factory created a series of &ldquo;blue and white&rdquo; sculptures using a combination of medium that include fabrics in various hues of blue, handcrafted ceramics clay and other materials. In the exhibition, each sculpture is placed together against the particular flower species that had influenced the piece, revealing to the viewers the metaphorical connections that the artists had in mind and also allow the space for new meanings to be created in the viewers&rsquo; minds. Cold Ears Factory&rsquo;s mixed media sculptures set the &ldquo;blue and white&rdquo; aesthetics in a refreshing new light, offering reinterpretations of the genre in a philosophical and contemporary context.</p> <p><strong><span style="text-decoration: underline;">About Cold Ears Factory</span></strong><strong><span style="text-decoration: underline;">&nbsp;</span></strong><br />&ldquo;Cold Ears Factory&rdquo; is Eastman Cheng and Joey Leung&rsquo;s studio, established in October 2009. It is the &ldquo;brand name&rdquo; for their collaborative works. The exploration of new media for artistic expressions is important to Cold Ears Factory, and the artists try to use materials and medium that are outside of their usual individual practices.</p> <p><strong><span style="text-decoration: underline;">About Artists</span></strong><br /><strong>Eastman, CHENG Shuk-yee</strong><br />Cheng Shuk Yee graduated with Master of Fine Arts (MFA) and Bachelor of Arts from The Chinese University of Hong Kong. After 3 years of work as a product designer, Cheng began to like making &ldquo;mountains and rivers&rdquo; (a Chinese idiom for landscape). In 2008, she started the &ldquo;Landscape Furniture&rdquo; series, featuring useless furniture&nbsp; &ldquo;copy&rdquo; made by the artist to resemble a landscape familiar to all. Since then, her major exhibitions on &ldquo;Landscape Furniture&rdquo; had included &ldquo;Swimming Pool&rdquo; (2009) and &ldquo;Gymnasium&rdquo; (2010). Cheng believes &ldquo;objects&rdquo; are traces of human activity. Through meditating objects designed by others, the artist transforms them according to her feelings and experiences into a peculiar human landscape.</p> <p><strong>Joey Leung Ka-yin</strong>&nbsp;<br />Graduated from the Chinese University of Hong Kong, BA (Fine Arts), 2000 ; MFA,2007 ), Leung Ka Yin combines traditional Chinese painting and popular culture in her paintings. She explores the use of contemporary writing equipments to present the flavor of Chinese art, trying to push the boundary of different media. It&rsquo;s also an attempt to introspect the reception and interpretation of traditional images in the age of information abundance. Stories in her artworks depict her feeling and fantasy towards modern life. Joey has been creating the series of &ldquo;Photo mirror&rdquo; since 2012. The juxtaposition of photo and drawing constructs a dialogue to let &ldquo;observation&rdquo; and &ldquo;imagination&rdquo; reflect each other.</p> Thu, 11 Dec 2014 03:29:21 +0000 Group Show - Tang Contemporary Art Beijing - December 13th - March 15th, 2015 <div style="text-align: justify;" align="left"><em>Unlived by What is Seen </em>is an exhibition curated by the artists Sun Yuan and Peng Yu and independent curator Cui Cancan. Preparation of the project began in 2013, and after a year of in-depth communication and exploration, twenty-nine artists were selected, along with two art organizations and three artist groups.</div> <div style="text-align: justify;" align="left">&nbsp;</div> <div style="text-align: justify;" align="left">Opening on December 13<sup>th</sup>, the exhibition will take place simultaneously at <a href="" target="_blank">Galleria Continua</a>, <a href="" target="_blank">Pace Gallery Beijing</a> and Tang Contemporary Art Center and lasts for three months. In addition, there will be four public talks presented after the opening, with an exhibition catalogue scheduled for publication in May 2015.</div> <div style="text-align: justify;" align="left">&nbsp;</div> <div style="text-align: justify;" align="left"><em>Unlived by What is Seen</em> traces a new direction in Chinese contemporary art emerging since 2008. This new current is characterized by the infiltration of art practices into various social sectors and aspects of life. The goal of these practices is no longer geared toward the production of images or visual objects, but rather developing modes of existence that interrogate life itself. Arising from specific needs of the individual, it transgresses and transcends both the anxiety to enter history and the ennui of daily encounters. These unnameable needs cut into the social fiber without mediation and manifest attitudes of disengagement from which a poetics of life shines forth. In other words, the present exhibition is not interested in dealing with ossified modes of making art, but a multitude of actions taken by individuals.</div> <div style="text-align: justify;" align="left">&nbsp;</div> <div style="text-align: justify;" align="left">As contemporary art becomes more institutionalized, <em>Unlived by What is Seen</em> examines what happens to art as it transforms into experiential and discursive transactions. It also questions modes of art production that cater to established, effective but effete systems of circulation. Though distancing itself from exhibitions purely driven by commercial interests, it nevertheless appropriates systems of capital in a way that fuels the movement it seeks to articulate. One significant feature is that none of the artists made their work to be housed inside the exhibition space. The most vibrant and tenacious part of the work has already been consumed by its own flame. As artists address their needs and confusion through action, what remains to be seen is evidence or crystallization of these activities that have taken place elsewhere, in another time, and under a different intensity. Consequently, the work of the curators is centered on the excavation, identification and presentation of these life practices that transpire within a dynamic social, political and interpersonal context as they push art to expand its borders. In short, they are anomalies of life whose adventurous labors will win their freedom.</div> <div style="text-align: justify;" align="left">&nbsp;</div> <div style="text-align: justify;" align="left">Based on the unique status of these works, the curator designed a unique form of communication in which the artists were asked to narrate or recount actions, experiences and encounters that can not or need not be documented or visually represented. This also involves a process of experimentation on the part of the curators, the artists and the art organizations. It neither follows conventional standards nor seeks to draft a rubric for the future. By returning art to the actions and happenings of life, the works resist clear classifications and generalizations, yet they convene on one point: as long as viewers take what is in front of them for the whole, something gets unlived by what is seen.</div> <div style="text-align: justify;" align="left">&nbsp;</div> <div align="left">There will always be an attitude that does not translate into form, but through our being in the act, it incessantly flashes before us. As art exhausts itself in the constant pursuit of the new, subtle transformations are already underway in the sphere of life<hr /> <div style="text-align: justify;">&ldquo;不在图像中行动&rdquo;展览项目由艺术家孙原&amp;彭禹和独立策展人崔灿灿共同策划。项目于2013年正式开始启动,经历了一年多的与艺术家的深度沟通和探讨,最终选定34位艺术家参展(包括两个艺术机构和三个艺术小组)。</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">展览将于2014年12月13日在中国北京最重要的三家艺术机构:常青画廊、佩斯北京、当代唐人<a name="_GoBack"></a>艺术中心同时开幕和呈现,展期至2015年3月15日,为期三个月。同时,展览开幕后将举办4场公共研讨和讲座,并在2015年5月出版展览画册与相关文献图录。</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">此次展览集中展现了在2008年之后,中国当代艺术所发生的一种新的艺术方式和方向,这种方式强调个体艺术家在社会和生活中的全面实践,艺术实 践不再以获得图像或是制造视觉化的物品为目的,而是在自我实践中强调生活本身的特殊方式和形态。它始终围绕个体自身的特殊需求而展开,抽身于艺术史博弈和 普遍的日常经验之外,这种个体的&ldquo;莫名&rdquo;的需求以一种非常的应对方式回应现实,在回应和发生的过程中,不断的显现对艺术的出离态度和生活的诗学。或者说, 这个展览本身所呈现的并非是固化的艺术作品,而是诸多的独特个体在生活中的种种行动,它的目的并不在于如何生产艺术品,而是选择何种生活方式以及如何发生 对生活的回应。</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">在当代艺术系统不断体制化的今天,这个展览所针对的是艺术沦为物品被交换的知识与经验,那种因明确的、有效的、实用的艺术流通渠道应运而生的艺 术生产思路。此次展览即有别于带有明确交换性质的艺术展览的运作方式,又将资本系统重新运用于对于新的艺术方向的推动。一反常规的是,此次受邀参展的34 位(组)艺术家的作品并不是为迎合此次活动而创作的,它自身在现实和生活中已经发生。这三个艺术空间中所展现的只是行动遗留的证据和标本,它最为生动的部 分并不是在展厅,而是在艺术家的生活和现实之中,艺术家通过行动应对了自身的需求与困惑。策展人的大量工作是对&ldquo;在社会中的特殊生活实践&rdquo;的挖掘、甄别与 指认,它更像是对艺术的拓展。艺术家的行动更像是生活中的异端,这种异端的生活是自在的,也充满冒险的快乐。</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">基于这些&ldquo;作品&rdquo;的特殊形态,策展人在展厅中设计了一个独特的交流线索,以艺术家的第一口吻讲述那些不可记录或是无需被视觉展示的行动和经历。 诚然,这样一个展览对于策展人、艺术家、艺术机构而言都是一种尝试,它既不在历史的规律之中,也不以进入未来作为标准。它将艺术重新回到个体生活的行动与 发生之中,难以被明确的归纳和划分,但这些&ldquo;作品&rdquo;至少符合一个基本的共识:不在图像中行动。</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">总有一种态度无法变成形式,但它却会在行动中不断的显现,在艺术已经不能提供任何新的创造的时候,生活也许正在悄然发生变化。</div> </div> Wed, 10 Dec 2014 17:58:47 +0000 Ignacio Uriarte - WHITE SPACE BEIJING - December 13th - February 15th, 2015 Wed, 10 Dec 2014 17:52:11 +0000 - Sundaram Tagore Gallery - Hong Kong - January 7th, 2015 - February 22nd, 2015 Wed, 10 Dec 2014 17:47:44 +0000 Group Show - ShanghART Gallery Beijing - December 21st - February 26th, 2015 <p style="text-align: justify;">&ldquo;V&amp;P&rdquo;, combines of the first letter of &lsquo;Video&rsquo; and &lsquo;Photograph&rsquo;, is the last exhibition of ShanghART Beijing in 2014 that will open on December 20th, during which over 20 pieces of video and photograph by a dozen artists, including: BIRDHEAD, CHEN Xiaoyun, GENG Jianyi, HU Jieming, HUANG Kui, JIANG Pengyi , LU Chunsheng, LI Pinghu, LI Ran, LIANG Shaoji, LIANG Yue, SHI Qing, SUN Xun, SHI Yong, SHAO Yi, TANG Maohong, WANG Yuyang, WANG Youshen, XIANG Liqing, XU Zhen, YANG Fudong, YANG Zhenzhong, ZHANG Ding, ZHU Jia, ZHANG Qing, ZHOU Tiehai etc., will be presented. It&rsquo;s the first group exhibition focuses on video and photograph since ShanghART Beijing opened in 2008 with many of the works making their first appearance here. <br /><br />As a medium of art, video and photograph has been developed for over two decades in China, changed from the former &ldquo;new media&rdquo; pioneer to a indispensable element of contemporary are that has now been widely recognized and accepted, while the &ldquo;Video Database&rdquo; program of ShanghART gallery is entering its sixth year. If each piece of video work represents a pixel of the image of contemporary art, then the purpose of this exhibition is to open a door for entering the video world, and to see whole scenery by a restricted view.</p> <hr /> <p style="text-align: justify;">&ldquo;V&amp;P&rdquo;是录像(Video)和摄影(Photograph)的英文首个字母,作为香格纳画廊北京空间2014年的最后一个展览,香格纳 北京将于12月20日为大家隆重呈现来自鸟头,陈晓云,耿建翌,胡介鸣,黄奎,蒋鹏奕,陆春生,李平虎,李然,梁绍基,梁玥,石青,孙逊,邵一,施勇,唐 茂宏,王郁洋,王友身,向利庆,徐震,杨福东,杨振中,张鼎,朱加,章清,周铁海 等20多位艺术家,超过20多件(组)的摄影和录像作品,其中的不少作品是首次在北京展出,这也是香格纳画廊北京空间自2008年开馆以来首个大型影像群 展。<br /><br />影像作为一种媒介在中国已经发展了超过20年的时间,从最初相对先锋的&ldquo;新媒体&rdquo;,变成现在已经被广泛接受和认可,成为当代艺术里不 可或缺的组成部分,而香格纳画廊的&ldquo;影像资料库&rdquo;计划也进行到了第六年。如果说每一件影像作品都是当代艺术影像里的一个像素点的话,希望通过此次的展览, 试图打开一个进入影像内部的缺口,并且窥一斑而见全豹。</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;"><strong>相关艺术家:</strong> ZHANG QING 章清 WANG YOUSHEN 王友身 SHI QING 石青 LIANG YUE 梁玥 JIANG PENGYI 蒋鹏奕 YANG ZHENZHONG 杨振中 BIRDHEAD 鸟头 ZHANG DING 张鼎 CHEN XIAOYUN 陈晓云 HU JIEMING 胡介鸣 XIANG LIQING 向利庆 ZHU JIA 朱加 YANG FUDONG 杨福东 TANG MAOHONG 唐茂宏 SUN XUN 孙逊 SHI YONG 施勇 ZHOU TIEHAI 周铁海 XU ZHEN 徐震 LU CHUNSHENG 陆春生 HUANG KUI 黄奎 LIANG SHAOJI 梁绍基 GENG JIANYI 耿建翌</p> Wed, 10 Dec 2014 17:42:18 +0000 Nashunbatu - Pékin Fine Arts (Hong Kong) @ Union Industrial Building - November 22nd - January 5th, 2015 <p style="text-align: justify;">&ldquo;My so-called &ldquo;landscape paintings&rdquo; are products of my imagination; the landscapes exist only in my mind. There is no message of certainty to convey. Instead, I prefer to invite viewers to interact with my work on their own terms, taking from the work what they will. I don&rsquo; t paint from real life. I don&rsquo; t follow the latest dogma in constructing what is essential to my paintings. Each of my paintings has its own soul, like a riddle without an answer.&rdquo;</p> <p style="text-align: justify;">- Nashunbatu Nov.2014</p> <p style="text-align: justify;">P&eacute;kin Fine Arts is pleased to present Nashunbatu&rsquo; s premiere Hong Kong solo exhibition. This is the 2nd solo exhibition for the artist with the gallery, following his exhibition at P&eacute;kin Fine Arts Beijing in 2012.</p> <p style="text-align: justify;">Born in Inner Mongolia in 1969, Nashunbatu graduated from university in Ordos, and earned graduate degrees in Germany. Today, he divides his time between his studios in Beijing and Frankfurt.</p> <p style="text-align: justify;">Nashunbatu is fluent in the Mongolian language, as well as Chinese, English and German, and is typical of the latest artists from Mainland China emerging on to the international stage: Polymaths, well studied and well travelled, and actively engaged with Western and Chinese, (and Mongolian), art history, literature and philosophical discussions.</p> <p style="text-align: justify;">As an &ldquo;Overseas Returnee&rdquo; (part-time in China and full-time in Germany), and like many of his generation, Nashunbatu can finds himself in the awkward role of outsider, looking in at an unfamiliar Chinese art scene. Both ethnically and by virtue of his pursuits, he is more cosmopolitan and more prone to deviate from Chinese art world trends and discourse. As such, his successes and failures as an artist in China are particularly representative of the diversity and unpredictability that typifies the highly individualized avant-garde artists working in and around Beijing today. This lack of adherence to one dominant aesthetic or philosophical approach liberates his creative impulses and pursuits, while at the same time creating obstacles to easy understanding and categorization of his artistic practice.</p> <p style="text-align: justify;">His paintings, primarily horizontal/land-based imagery inspired by Mongolian landscapes, could be categorized as traditional art making or &ldquo;classical avant-garde&rdquo; of a realistic-representational mode. However, this would be an over-simplification. The formal language he adopts is as complex as the artist&rsquo; s experience; and, his rendering of the contemplative, passive and infinite characteristics of landscapes while evident, are only one facet of the artist&rsquo; s view of the world.</p> <p style="text-align: justify;">More precisely, he relies on classical land imagery and both ink and oil painting techniques, to &lsquo;disarm&rsquo; viewers into a false sense of familiarity and neo-classical comfort. He uses a masterly array of painting styles, primarily dark palettes of thinly applied paint more typical of ink painting, to affect an ominous mood, alluding to danger and disaster, while tiny lone figures perform mysterious and random tasks. &ldquo;Real life&rdquo; is never the artist&rsquo; s subject domain, and his representational imagery is more surrealist than real. </p> <p style="text-align: justify;">In alluding to - without aiming to depict - reality, Nashunbatu&rsquo; s paintings invite the viewer to embark on a &lsquo;process of aesthetic experience&rsquo; , that transcends formal image production of figures, landscapes, and color wash on canvas. Instead, he opens image production to new possibilities that record the &lsquo;uneasy relation&rsquo; between Western and Asian trends and visual art discourse. As German writer Felix Ruhofer explains, &ldquo;[Nashunbatu] asserts the continued status of painting &ndash; and figuration - as critical elements of the theoretical discourse, deserving of continued critical analysis, as he reaches for answers beyond facile rejections of traditional image production.&rdquo;</p> <p style="text-align: justify;">The potential of painting is what we see in the latest works of Nashunbatu.</p> Wed, 10 Dec 2014 17:32:53 +0000 - Shanghai Duolun Museum of Modern Art (Doland Art Museum) - November 15th - December 14th <p class="su"><strong>  </strong>由上海多伦现代美术馆主办的"雾语&mdash;&mdash;杨重光个 展"将于2014年11月15日下午14时在上海多伦现代美术馆隆重开幕。本次展览是艺术家杨重光首次在国内美术馆举办他的个展,展览将呈现其1980年 代初期创作的纸本作品,以及2006年至今创作的100余件综合材料和陶塑作品。</p> <p class="su"><strong>  </strong>杨重光1955年生于安徽芜湖,幼年在父亲新潮思想的启蒙下开始自习绘画,他早期 的作品充满着现代主义绘画的原始、夸张的艺术表现。1990年代,杨重光赴德深造,新表现主义在德国的影响不经意间与杨重光对材料的这种热爱和敏感相融 合,使他成为一位不受风格限制,自由探索的艺术家,他的艺术实践,也从绘画延伸至综合材料、陶塑、装置等多个领域,显示出一位当代艺术家的综合艺术素养。</p> <p class="su"><strong>  </strong>在杨重光的作品里,我们可以看到另一种深刻和厚重,就是杨重光在以他所有的心力和敏 感去呈现他作为一个个体的最真实的生命体验,这种体验饱含着一个中国六十年代出生的知识分子经历了种种匪夷所思的事件和戏剧般的人生转折之后的感悟。杨重 光作品当中那些暧昧的、温暖而又模糊人物形象,放大的身体局部,信手拈来的日常事物,被线条和色块恰到好处的表达出来,很诗意,却又有几分沉重;那些或呐 喊、或沉静的纸面浮雕,粗犷而又极具生命力的陶塑,无一不在表明这位艺术家心中涌动的暗流&mdash;&mdash;也许正是这种个人体验穿越了文化的差异,历史的差异,能打动 认真去阅读的人。</p> <p class="su"><strong>  </strong>杨重光2000年以后的作品复归于一种更深沉的平静,在重回老家安徽之后,他的创作 也开始回归一种对于故土文化的感受,在最近期的作品里面,他用水墨的语汇描绘了安徽皖南的建筑,这些建筑的外立面和内部空间有时清晰的浮现在肌理丰富的纸 面上,有时则是隐现于交织的墨色之后。这些作品介乎于抽象与具象之间,体现了艺术家与之前风格的某种分裂,是不是会走向一种纯粹的抽象呢?这又是一个未 知,也是艺术家给我们留下的一个悬念。</p> Wed, 10 Dec 2014 17:27:22 +0000 Tianzhuo Chen - K11 at The Masterpiece - November 7th - January 5th, 2015 <p style="text-align: justify;">At K11 Art Mall, Tianzhuo Chen creates an adoring subculture around a character drawn from the most widespread of media and consumer holidays. Chen's first solo exhibition in Hong Kong&nbsp; is also his first large-scale installation outside of a gallery.</p> Wed, 10 Dec 2014 17:17:31 +0000 JeeYoung Lee - K11 at The Masterpiece - November 8th - January 5th, 2015 <p style="text-align: justify;">Since 2007, artist JeeYoung Lee has been shooting the invisible, capturing intangible excerpts of her emotions, her memories and her dreams in whimsical, theatrical manifestations.<br /> &nbsp;<br /> In <strong>Stage of Mind</strong>, Lee conjures up a series of ethereal narrative space that houses the tangible materialisation of her imagination, which she photographs as a testament to their reality.<br /> &nbsp;<br /> The symbolic objects and spectacular displays - meticulously and painstakingly fabricated with weeks and sometimes months of efforts &ndash; are used to reenact the scenes of Lee&rsquo;s life in a metaphorical way. Excluding any ulterior photographic alteration, Lee&rsquo;s theatrical displays visualise an authentic inner world where unique feelings and experience take centre stage and refuse judgment.<br /> &nbsp;<br /> The elaborate act of setting the stage, where the artist places herself at its very centre, is thus a self-imposed meditation of life, through which she deals with her inner-conflicts and exorcises them. Through such self-reflection, Lee finds her relation to society as an individual and identifies the influences she casts and those the society casts upon her.<br /> &nbsp;<br /> Ultimately, the work is an act of deliberate objectification of her current status; by dissecting the incomprehensibilities surrounding her, Lee turns them into portents of hope and completes herself.<br /> <br /> <strong>ABOUT JEEYOUNG LEE </strong><br /> &nbsp;<br /> JeeYoung Lee graduated from Seoul&rsquo;s Hongik University in hernative South Korea. Recipient of multiple artistic awards including the Sovereign Art Prize (2011), JeeYoung Lee&rsquo;s photographs have already found their way into public collections, such as the Kiyoto Photographic Museum in Japan, the Incheon Foundation for Art and Culture and Seoul&rsquo;s OCI Museum. In 2013, <strong>Stage of Mind </strong>has gained a worldwide audience with appearance in prominent international art media in China, UK and the USA, making Lee one of the most promising up-and-rising figures of the Korean art scene.</p> Wed, 10 Dec 2014 17:15:11 +0000 - K11 at The Masterpiece - November 7th - January 5th, 2015 <p style="text-align: justify;">This exhibition showcases the HKDI young talents&rsquo; new perspectives of our world. Christmas can be thought of as more than just a festival or a religious message. Coming as it does at the end of year, it is also an opportunity for family gatherings, and for us all to look back and consider what has been done and achieved during the past year.<br /> &nbsp;<br /> Another objective of the exhibition is to see the things not normally seen; to be reminded of the things which have been forgotten. During this journey, viewing our students&rsquo; works,&nbsp;visitors can enjoy the beauty of our world and also reflect on the meaning of Christmas time so as to&nbsp;generate a positive attitude towards life and be well prepared for the new year.</p> Wed, 10 Dec 2014 17:05:37 +0000 - K11 at The Masterpiece - December 11th - December 15th Wed, 10 Dec 2014 17:04:18 +0000 Li Xinping - Osage Hong Kong - December 7th - January 4th, 2015 <p style="text-align: justify;">Following the presentation of the exhibition in Shanghai, <em>In A Time Of Love And War: Li Xinping</em> is travelling to Osage Hong Kong. The exhibition showcases the dynamic, multilateral directions in Li&rsquo;s art practice of more than a decade, featuring work from 2002 to 2014, and will trace the development of the artist&rsquo;s career through the thread of &lsquo;sensuality&rsquo;. By mapping both the Asian and European influences on the painter&rsquo;s works, In A Time Of Love And War: Li Xinping will also explore the artist&rsquo;s position between &ldquo;East" and &ldquo;West&rdquo;.</p> Wed, 10 Dec 2014 16:53:12 +0000 Wu Chen - Magician Space - November 29th - January 4th, 2015 <div style="text-align: justify;">Seeing this miscellaneous array of artist portraits culled from picture handbooks and illustrations from art history - one by one they each undergo a child-like process of distortion and reassembly, causing us to wonder at the morbidity of such a whimsical sense of imagination. Is it a child&rsquo;s world? Far from it, this is an image of a brilliant young Henanese mind, one free from any association whatsoever with the Shaolin Temple! Hearing how he speaks of painting, one is undoubtedly astonished to hear how each narrative can be vividly conveyed to exude passion with such chaotic grammar, then added with some highly individualistic and ingenious details to finish the composition. Looking at these paintings you suddenly realize, for instance, a work by Giovanni Bellini depicting the Virgin Mary embracing Christ, and how this can be transformed into something perversely erotic. Her flesh colored face and neck form a geometric phallic shape, two exposed breasts weep to one another, and a deformed palm together forms an embrace - he tells me also that Christ is merely a stimulation between testicle and breast. Or perhaps like Manet&rsquo;s lunch on the grass, this can be turned into a portrait capturing an image of a group; then there is also the two-headed monster of Van Gogh and Duchamp, just to name another example.&nbsp;</div> <div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">Each story must first begin with zero, then to one, proceeding further exponentially in this sequence. He presides over this history, amongst a ragtag group of artists, and in an infinite galaxy of colliding images and desire for transformation.</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">Xie Nanxing</div> <div style="text-align: justify;">2014.11.19</div> <div style="text-align: justify;">&nbsp;</div> </div> <div style="text-align: justify;">About Artist</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">Wu Chen (b. 1983, Zhengzhou, Henan Province) currently lives and works in in Chengdu and Beijing. Major exhibitions include: 6th Chengdu Biennale, Chengdu International Conference and Exhibition Centre, Chengdu (2013); Hi Art, Beijing (2013); Times Art Museum, Beijing (2011); M50 Creative District, Shanghai (2009); Shanghai Duolun Museum of Modern Art, Shanghai (2008).</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;"> <div style="text-align: justify;">About Curator</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">Xie Nanxing (b. 1970, Chongqing) currently lives and works in Beijing and Chengdu. Recent solo exhibitions include Galerie Urs Meile, Lucerne, Switzerland (2013); Galerie Urs Meile, Beijing (2012); Kunstverein Hamburger Bahnhof, Hamburg (2005); and Manchester Art Gallery, Manchester (2003); Pulitzer Gallery, Amsterdam (1998). Recent group exhibitions include: OCAT Shenzhen, Shenzhen (2014); Shanghai Art Museum, Shanghai (2012); Minsheng Art Museum, Shanghai (2012); CCCS, Florence (2010); and UCCA, Beijing (2008); and Documenta XII, Kassel (2007).<hr /> <div>看 到那些被乱搭的美术史中的各个艺术家肖像,图鉴,图例一一被幼稚化,扭曲和重组,你会怀疑这是多么病态的异想天开,一个孩子的世界吗?不对,这是个不去少 林寺的河南青年满脑子的图像。当我听到他如何叙述绘画,你一定会惊讶于故事如何以流光溢彩的激情经由混乱的语法,加上天才的个别细节构成。看到画的时候你 就恍然大悟,比如,一张贝里尼的圣母怀抱圣子图在他的画面里改造得极其色情。她肉色的脸与脖子几何化成阴茎状,两个裸露的乳房相对哭泣,变形的手掌作搂抱 状。他告诉我圣子只是睾丸和乳房的模拟。还比如马奈草地上的午餐如何变成了人物群像口袋,还有梵高和杜尚的双头怪,不一而足。</div> <div>&nbsp;</div> <div> <div style="text-align: justify;">故事会以零开头,到达一,然后往往复复以数字的方程式繁衍,在图片和改造欲望碰撞的浩瀚星河里,他独自主宰着美术史和那些艺术家布娃娃们。</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">谢南星</div> <div style="text-align: justify;">2014.11.19</div> </div> <div>&nbsp;</div> <div>关于艺术家:</div> <div>&nbsp;</div> <div>武晨,1983年出生于河南郑州,现工作生活于成都与北京。展览包括:第六届成都双 年展,成都国际会展中心(2013);4分22秒,西南交通大学美术馆(2012);M50创意新锐展,M50创意园(2009);&ldquo;囧&mdash;&mdash;表达与姿态&rdquo; 第三届上海多伦青年美术展,上海多伦美术馆(2008);&ldquo;青年中国&rdquo;当代艺术展,海德堡大学美术馆,德国海德堡(2008),等。</div> <div>&nbsp;</div> <div>&nbsp;</div> <div>关于策展人:</div> <div>&nbsp;</div> 谢 南星,1970年出生于重庆,现工作生活于成都与北京。近期个展包括:麦勒画廊,瑞士卢森(2013);麦勒画廊,北京(2012);汉堡火车站美术馆 ,德国汉堡(2005);Manchester Art Gallery,英国曼彻斯特(2003)。群展包括:深圳OCAT(2014);上海美术馆(2012);民生美术馆,上海(2012);CCCS,意 大利佛罗伦萨(2010),尤伦斯当代艺术中心,北京(2008);第十二届卡塞尔文献展,德国卡塞尔(2007)。</div> <div style="text-align: justify;">&nbsp;</div> </div> Wed, 10 Dec 2014 16:48:04 +0000