ArtSlant - Current exhibits en-us 40 Ai Yamaguchi, Huang Rui, Hung Liu, Wang Keping, Yang Zhichao - 10 Chancery Lane Gallery - July 12th, 2012 - August 7th, 2012 Wed, 15 Aug 2012 01:16:47 +0000 Mamoru Okuno - 2P Contemporary Art Gallery - August 4th, 2012 - August 24th, 2012 <p>As part of the third HELL HOT! New Music Festival, 2P Contemporary and Gallery EXIT are pleased to present the on-going project "etude for everyday life" by Osaka-based sound artist, Mamoru Okuno (aka mamoru). The exhibition includes a series of portable installations that transform everyday objects and practices into intimate sound experiences. The exhibition is on view from 5 August to 24 August 2012 at 6 - 20 Po Tuck Street, Sai Ying Pun. </p> <p>The OED defines "étude" as a short musical composition, typically for one instrument, designed as an exercise to improve the technique or demonstrate the skill of the player. Mamoru uses common objects such as plastic straws, food wrap, ice, steel hanger, instant noodle, electric kettle, and microwave as means to create. The sounds produced by an object's functional disposition are spotlighted and brought to the fore of our awareness. As sound forms, they are arranged and orchestrated to define a field of contemptible sound whilst the mechanism of sound production serves as a visual cue to aid heightened listening. These otherwise quotidian sounds present the opportunity for the viewer cum listener to re-discover the fullness of a sound and the wholeness of sounds, which perhaps, could only be heard through a daily practice of listening.</p> <p>  </p> <p>The artist will be present at the opening reception Saturday, 4 August 2012 at 6 - 8 pm.</p> <p> </p> Mon, 20 Aug 2012 15:21:40 +0000 Suo Yutong - Art Beatus Gallery - Hong Kong - August 2nd, 2012 - August 24th, 2012 <p>Heartscape is no ordinary landscape. Each work is Suo Yutong’s dialogue with life, a chronicle of her steadfast patience as well as her undaunted sincerity as an artist.<br /> All paintings in this exhibition are composed of tens of thousand pieces of small fine hooks, meticulously grouped and textured on paper into recognizable topography.<br /> These works stand for the artist’s personal struggles against the mundane world around her and the serenity that she derived from completing the paintings.<br /> The Heartscape series also consists of works finished with sewn thread and hair, and three-dimensional pieces built with tiny round beads.<br /> Suo graduated from the Department of Oil Painting of the China Academy of Art in 1999 and completed the main postgraduate courses of that same academy the next year. She now lives and works in Beijing.</p> Wed, 18 Jul 2012 02:57:51 +0000 Tay Bak Chiang - Art Projects Gallery - July 21st, 2012 - August 19th, 2012 <p><strong>Tay Bak Chiang</strong>’s first solo exhibition in Hong Kong showcases works from his ‘Stone’, ‘Lotus Pond’ and ‘Flower’ series. His delightfully poetic and visually intriguing compositions are inspired by his constant dialogue with nature and reflection of life through nature.<br /><br />Trained in the traditional Chinese ink painting, Bak Chiang is constantly exploring and finding fresh perspectives to depict the ubiquitous Chinese painting themes, breaking away from the dependence on representational forms and combining innovative paint medium with brush technique. This approach has imbued the prolific artist with an artistic freedom to produce works that are distinctive and truly refreshing, making him one of the most dynamic contemporary ink artist to watch.<br /><br />Bak Chiang graduated from the Nanyang Academy of Fine Arts in Singapore where he obtained his Diploma in Fine Art. Between 1997 and 1998, he also studied at the China Academy of Fine Arts in People’s Republic of China.<br /><br />Since 1995, Bak Chiang’s works has been exhibited extensively in Singapore and other parts of the world, including France, Japan, Korea, China, Taiwan and Malaysia. His paintings are in the collection of The Istana (Official residence and office of the President of Singapore), National Art Gallery of Singapore, National Arts Council Singapore, Nanyang Academy of Fine Arts, Mandarin Oriental Hotel Singapore and Singtel.<br /><br />Bak Chiang is the recipient of the prestigious Young Artist Award for Visual Arts from the National Arts Council Singapore in 2002. His works were awarded the First Prize at the UOB Painting of the Year Competition Singapore in 2000 &amp; 2003, Distinction at the Dr Tan Tsze Chor Art Award 1999 &amp; 2002, First Prize at the Singapore Turf Club Art Competition 1999 and Shell Discovery Art Award Singapore in 1995.<br /><br />Born in Malaysia in 1973, the artist currently lives and works in Singapore.</p> Fri, 21 Sep 2012 07:41:05 +0000 Liu Ren, Ye Hongxing and Tong Ng, Huang Yulong - Art+ Shanghai Gallery - July 6th, 2012 - August 26th, 2012 <p><strong><em>In </em></strong><strong><em>Between Days II</em></strong> is a showcase of a new and previously viewed works from the gallery’s collection and collaborating artists. Art mediums include photography, sculpture, ink and oil paintings.</p> Wed, 18 Jul 2012 03:04:27 +0000 Li Hongbo, Wang Lei, Wei Ming, Ye Sen - Chambers Fine Art Beijing - June 30th, 2012 - September 1st, 2012 <div class="prEnglish"> <p>The term Jiang Qi which can be roughly defined as a style of working in which the emphasis is on technique, shows how the cultural mainstream harbors negative attitudes towards the crafts. In spite of this the craftsman’s originality is praised, which creates a contradiction – the craftsman must have “xin” (referring to soul) and “qi” (referring to spirit), and “xin” is connected to “qi”, so why judge it negatively?</p> <p>For contemporary art with its disdain for technique, excessive self-confidence and addiction to concepts, the crafts are either regarded as being in opposition to the avant-garde, or serve as supplements in conceptual art expression. Apart from this, in mainstream contemporary art, meaningless and low-technique cultural productions are widely popular. In the history of the humanities, the masterpieces are still immortal, but will the skills and techniques which have contributed to historical developments in the arts evaporate in the new cultural environment?</p> <p>Li Hongbo, Wei Ming, Wang Lei and Ye Sen were not expected to be spokesmen for avant-garde or contemporary art. Their artistic practice did not originate in concepts, instead it was based on traditional craft methods. However, they are well aware of their position in the art world, in the current multi-cultural and international era and of the rich inheritance of traditional Chinese culture. Consequently their works are not meant to create a mirage of the traditional farming culture of imperial China, but rather to explore the connection between contemporary spirit and creativity in order to establish a new means of creation. They no longer consider their art education as the only creative resource for their artistic expression, but instead they enter the lives of ordinary people and migratory craftsmen and look to techniques established in traditional workshops for inspiration.</p> <p>Many people refer to Li Hongbo, Wei Ming, Wang Lei and Ye Sen as the “Big Four” in experimental art, which encouraged them in their artistic creations. Clearly, as contemporary artists, they cannot simply be craftsmen, but the impact of traditional craft techniques and spirit has strengthened their abilities.</p> <p>Li Hongbo –Paper Gourd Garland Maker<br /> Wei Ming –Damaged Objects Restorer<br /> Wang Lei –Paper Towel Tailor<br /> Ye Sen –Wood Chain Maker</p> <p>Li Hongbo’s work Flexibility (伸缩性) has attracted considerable attention both nationally and internationally, strengthening his confidence in further exploration of the paper garland technique. He created Old Bottles (古瓶), World (世界), A Tree (一棵树), Broken Wood (断木), Hard Stone (顽石), Weapon Analysis (枪的解析), in which he transformed the garland technique, an out-of-date traditional folk craft, into a contemporary means of expression. The latest work Hard Stone is based on real stones that the artist found. These stones have been polished by running water over thousands of years. Scars and marks are still visible on the smooth surface of the stones. During his artistic recreation, the artist turned the unruly stones into gentle forms, as if they are telling some sad stories. Weapon Analysis triggers memories of war and reflections on its horrors. Initially, the artist proceeded as if he were producing the kind of blueprints used in an arsenal for the manufacture of weapons. This approach soon underwent a rapid transformation as the weapons were transformed into rainbow colored plowshares, dangerous weapons becoming festive decorations for the viewer’s delectation.</p> <p>Wei Ming is also expanding the range of his restoration work to include porcelain. Damaged Duchamp’s Fountain (打碎杜尚的小便池) does not question the validity of a masterpiece, but reinforces notions of the restoration of the material world. Outdated urinals are generally not found in today’s restrooms. If people feel sympathy for the fountain, it must develop from the process of restoration and the energy and emotion put into it. A mirror is an object of daily life used for reflecting faces and body shapes. It is very fragile, just like some relationships. Thus sometimes the mirror is used as a metaphor for the reunion of a family or a couple, the so-called “po jing chong yuan” (a broken mirror was restored). The artist uses metal pins to close the cracks in the mirror, a method with very successful results. In this process, the mirror has lost its original smoothness, but has gained new material and new meaning.</p> <p>Wang Lei’s use of the braid technique in his work Hand-Woven Toilet Paper (手织手纸) gained national and international recognition when it was first exhibited. Not surprisingly, this led to increasing pressure on him as he considered his future artistic career. Recently, Wang Lei has been making a new series of works, which are full of surprises. Although the series is still based on the forms of old costumes, he adds newspaper clippings into the process of tailoring, twisting and braiding, which injects social and political meanings into the clothes. As a result the clothes have additional visual imagery besides being merely clothes, a newspaper, a figure (or it could be other things), which indicate that society has different ways of receiving the news, clearly, vaguely, or fragmentarily. The newspaper as a ready-made object in Lei’s woven clothes has reinforced the social relevance of his work, resulting in braids that are more than merely braids.</p> <p>Ye Sen is neither simple nor complex. He combines the two, and the mixture represents him in his entirety as in his early work Analysis (分析). Later he created Hoisting Pulley (起重滑轮), Two Pairs of Chairs (两把椅子), Rolling Blind (卷帘) and related works which push Jiang Qi further and further into a complicated and incredible zone. The latest work Chair’s Craft Analysis (椅子的匠作分析) shows something different. All the components in this work were carved from a single huge log, using the technique known as tenon-and mortise. The chain in the work separates the other components but does not isolate them, accomplishing the dual analysis of a log and a chair. Without question, this is a complicated work by a thinking artist, but it is simple as well, when you do not subject it to analysis, but rather regard it as a chair on which one could sit.</p> <p>“The Revolution has not yet succeeded. Comrades, you must carry on.”</p> <p>I cannot help myself from quoting Dr. Sun Yat-sen for the conclusion. This paper is rightly just an introduction, the main text being the works themselves.</p> <p>As students I have recently taught, I wish them years of continuous creativity.</p> <p>I praise their Jiang Qi today, and I wish for their phenomenal Jiang Qi in the future.</p> <p>June 21, 2012, Midsummer’s Day</p> </div> <div class="prChinese"> <p>匠气大概被定义为一种注重技艺工巧的作风,可见文化主流对“匠人”文化身份及大众审美的鄙视。但“匠心独具”又作夸奖,其实内里充满矛盾——匠人必定有 “心”有“气”,心气相通,何必褒贬?在轻蔑技艺、张扬自我表现、迷恋意义观念的当代艺术中,手艺要嘛是与前卫精神相悖的顽固情结,要嘛是在观念表达中多 余的穿帮马脚。也许不只是这样的原因,但“文”为空话、“匠”也低能的文化垃圾的确滚滚流淌在当代艺术的主流之中。人类艺术经典中那些不朽的巨匠之作依然 不朽,难道推动文明进程从传统到今天的那些技能与手艺就真的会在这个新时代的文化平台上销声匿迹吗?</p> <p>洪波、魏明、王雷、叶森原本都不曾有担当艺术“前卫”或“当代”的奢望,创作实践也并非从观念的表达开始,而是基于传统的手工艺。但是,他们很清楚 自己所在的位置——国际多元文化的时代背景与中国传统文化的雄厚土壤,因而,他们的工作,不是为了在今天再重建一个传统农耕文化的海市蜃楼,而是为了寻求 一种现代精神与创造的实在营造。他们不再将原有专业美术教育给予自己的造型能力当成从事艺术表达的唯一法器,而是从民众生活、游方匠人或工棚作坊中开启灵 感与智慧的广场,并进入其中接纳质朴造化。 有很多人称他们为实验艺术“四大匠”,成为一种激励他们继续前行的褒奖。当然,作为当代艺术家,他们已经无法化身为工匠,但匠气的感染却分明充实了身心的 力量。</p> <p>洪波-盡精微,致廣大,紙葫蘆拉花匠。<br /> 魏明-碎能平,粘能安,破器物修補匠。<br /> 王雷-化腐朽,為神奇,手紙巾織衣匠。<br /> 葉森-死變活,硬變軟,鎖鏈子雕木匠。</p> <p>李洪波因作品《伸缩性》受到国际国内的注目,他自己也因此而充满信心地探讨着纸拉花的匠作,并生成《古瓶》、《世界》、《一棵树》、《断木》、《顽 石》、《枪的解析》等新作,让纸拉 花这种民间传统土玩意儿在当代艺术的殿堂之中显尽风流。近作一堆《顽石》是对捡来的真实石头的写生,这些石头在滚滚水流与悠长时光的冲刷中经磨历劫,圆滑 的轮廓上依然可见伤痕累累,瘢迹重重,作者通过制作将他顽劣的表情变得柔软,拉开它们,仿佛可以听到一个个催人泪下的辛酸故事。《枪的解析》必然让人想到 对战争的反思,作者却首先是将枪弹当成一幅架上的绘画,精密的图纸往往用于军火工厂的加工制造,在这里,却从画板的背面拉出了一道彩虹——化干戈为玉帛, 于是,一张张杀伤武器的图纸将永远成为供人观赏的艺术品。 魏明也正在扩大自己的修补营生,并瞄上了锔匠。</p> <p>《打碎杜尚的小便池》并非出于对经典的质疑,仍然强调的是对于物质世界的修复,但一个过气了小便池几乎没有可能出现在现实生活普通的卫生间设施当中。倘若人们对它产生珍爱之心,那一定是因为修复它所付诸的做工,以及潜在其中的精力与情感。 镜子是鉴照面容与身形的家居日用设置,它脆弱易碎,有时候被用以比喻家庭或爱人之间的情感修复,所谓“破镜重圆”是也。作者用锔钉将破镜弥合的严丝合缝,显得坚不可摧,但无论如何,它都失却了原来的光洁与平整,也增添了新的内容。</p> <p>王雷使用编织的技术的《手织手纸》公开展出之后很快成为一件感染力很强的作品被国内外艺术界广泛称道,这也成为一个沉重的包袱压在他的肩上艰难前 行。近来,王雷正在赶制的一组新的作品让我们看到新的契机,尽管还是古装的形制,他在将报纸裁切、搓线以及编织的过程中投入了阅读与剪报,报纸上的人像被 善意的剪裁出来,成为衣服成衣之外的另一个视觉层次——报纸、衣服、人像(也可以是别的)分别提示着社会对新闻清楚、模糊、碎片或断章取义的不同采纳方 式,这起码强调了报纸作为现成品在作品中使用的意义,也让他的编织手艺不止是为了编织。</p> <p>叶森没那么简单也没那么复杂,简单与复杂结合起来,就是他的全部——正如他的开山作品《分析》。他后来又创作了《起重滑轮》、《两把椅子》、《卷 帘》以及多块分析的系列作品,越发将这种匠气推向复杂,令人不由生出难以置信的叹服。近来的新作《椅子的匠作分析》有所不同,这把古式椅子的所有构件都是 从一块整木上“分析”出来,按应有的榫卯雕琢成型,链条充当着这些构件“分”却不解体整木的若干条纽带——完成了对一块木头和一把椅子的双重分析。无庸置 疑,这必定是一个善于捉摸的人完成的一项更加复杂的工作,但也很简单,你只要不做“分析”,只把它当作一把可以坐着歇口气的椅子。</p> <p>“革命尚未成功,同志仍须努力。”</p> <p>不由自主以孙中山的这句话结尾本文大概是自知这仅仅是个前言,正文应该是他们的作品。</p> <p>而作为我曾经教过的学生,更希望他们不止于此。</p> <p>我赞美当前的匠气,我更期待将来的大匠气。</p> </div> Wed, 29 Aug 2012 10:16:40 +0000 SONG HYUN SOOK - Edouard Malingue Gallery - July 3rd, 2012 - September 1st, 2012 <p style="text-align: justify;">Edouard Malingue Gallery is pleased to present a solo exhibition by the Korean artist Song Hyun-Sook at the gallery, from 3rd July to 1st September, 2012.     </p> <p style="text-align: justify;">The minimalist paintings of Song Hyun-Sook are compelling in their simplicity and expressive feeling. Delicate and powerful at the same time, they are composed of only a few brushstrokes yet possess a depth of emotion.</p> <p style="text-align: justify;">Song Hyun-Sook’s career has spanned East and West and explored different media. Born in 1952 in a mountain village in South Korea, in 1972 she travelled to West Germany. From 1976 to 1981 she studied at the College of Fine Art in Hamburg. After returning to Korea to study Korean Art History at Chonnam National University in Gwangju from 1984-1985, she subsequently settled in Germany where she began a career as an illustrator, documentary film maker and artist.</p> <p style="text-align: justify;">Song Hyun-Sook has developed a unique painting style in which the canvas surface is the only colour field and the subject is depicted in a few, distinct brush strokes. She counts the brush strokes and entitles each of her paintings with the number of strokes needed to complete it.</p> <p style="text-align: justify;">Seeking her own style, Song Hyun-Sook chose tempera, a medium which was often used in Western medieval paintings. Made from eggs and pigment, tempera is water soluble and opaque. Combining Western and Eastern elements in her art, she applies this paint using a coarse brush made of horse hair which was traditionally used in Korea for painting ceramic wares. Song Hyun-Sook’s brush strokes are vigorous yet sensitive, evoking both space and time.</p> <p style="text-align: justify;">Her subjects consist of simple structures and objects from everyday life in Korea: a wooden post, a fence, the corner of a house, cooking pots, lengths of ramie fabric hanging on a line, or sometimes human figures. Her works evoke nostalgia and respect for her homeland. They are also symbolic: for example, ramie fabric has been woven by women in the Hansan region of Korea for 1,500 years. Light and fine, it is also very durable and has come to symbolize the perseverance of Korean women.</p> <p style="text-align: justify;">Somewhere between the figurative and the abstract, Song Hyun-Sook’s paintings feature an elegant, subdued palette. They seem to evoke a deep longing for her homeland, yet at the same time have a meditative serenity that speaks of a wandering artistic soul that has found peace.</p> <p style="text-align: justify;">Song Hyun-Sook’s works are in the collections of the Kunstmuseum Bern, Switzerland; the Kunstmuseum Bonn, Hamburger Kunsthalle and Kunstmuseum Düsseldorf, Germany; the National Museum of Contemporary Art, Leeum-Samsung Museum of Modern Art, Seoul Museum of Art, Gwangju City Art Museum, Gyeonggido Museum of Modern Art and Sungshin Women’s University Museum, Korea; and the Mori Art Museum and Fukuoka Asian Art Museum, Japan.</p> Fri, 13 Jul 2012 11:11:55 +0000 Chen Zhen 陈箴 - Faurschou Foundation (Beijing) - March 24th, 2012 - September 15th, 2012 <p>This spring Faurschou Foundation will present a solo exhibition by Chen Zhen, one of the best known exponents of Chinese avant-garde art. The space is divided into two parts, one reveals the contradiction and conflicts of the society, and the other, by the form of a room, creats a place for spirit purification and culture lavation. He was born in Shanghai in 1955 and died in Paris in 2000. <br /> <br />Chen Zhen left China in 1986, and rapidly attracted international attention for his remarkable mixedmedia installations. The exhibition at Faurschou Foundation presents a variety of Chen Zhen's sculptures and installations produced between 1992 and 2000 - most of them made out of all kinds of everyday objects like cloth, candles, chairs, fabric, bicycle tubes and other objets trouvés. <br /> <br />Chen Zhen lived in Shanghai and Paris and travelled a lot in Europe, USA, South America, and Middle East. At a t i m e when neither multiculturalism nor globalization had yet become dominant discourses, Chen Zhen was interested in cross-cultural social dynamics. His own experience of being between cultures and <br />his great interest and engagement in the various cultures he constantly met, made him coin the concept "transexperiences". This is a central concept in Chen Zhen's work and expresses his striving to create harmony by acknowledging <br />difference. <br /> <br />When he was 25, Chen Zhen began to suffer from haemolytic anaemia. This illness greatly influenced his art; Chen Zhen explores the intricate and often paradoxical relationship between the material and the spiritual, between community and individual, and between interior and exterior. <br /> <br />As an artist, Chen Zhen bears a sense of mission. The future and destiny of mankind is the key theme of Chen Zhen’s works. He hopes people would reflect and meditate through his works. He expects a harmonious relationship between man and nature, man and man.</p> Mon, 06 Aug 2012 14:03:33 +0000 Cy Twombly - Gagosian Gallery Hong Kong - June 28th, 2012 - August 11th, 2012 <p>In tribute to the late Cy Twombly, Gagosian Gallery is proud to present his last paintings.</p> <p style="text-align: justify;">The eight untitled paintings are closely related to the<em> Camino Real</em> group that inaugurated Gagosian Paris in 2010. The inimitable, exuberant paintwork and bold, intense colors typify the freedom with which Twombly worked, never restricted to a single reference. Even in the face of his impending death, their elegiac power, vivid palette, and ardent gestures pulse with the energies of the new.</p> <p style="text-align: justify;">Twombly remains one of the world's most revered contemporary artists, whose central and ongoing relevance to the art of the present is attested to by a stream of recent survey exhibitions in leading international institutions. Since the opening of the first Gagosian Gallery in New York in the mid-eighties, Twombly has been a cornerstone of the gallery. He made many exhibitions there over the last twenty-five years, each one as surprising and memorable as the last, from the <em>Bolsena Paintings</em> (1990) to <em>The Coronation of Sesostris</em> (2001) to <em>Lepanto </em>(2002), <em>Bacchus </em>(2007), and <em>The Rose</em> (2009). <em>Ten Sculptures and a Painting</em> (2003),<em> Three Notes for Salalah</em> (2007), <em>Leaving Paphos Ringed with Waves</em> (2009), and <em>Camino Real</em> (2010) inaugurated new galleries in London, Rome, Athens, and Paris respectively.</p> <p style="text-align: justify;">This exhibition began in Los Angeles earlier this year. Following the Hong Kong exhibition, it will travel to Gagosian Gallery locations in London and New York throughout 2012.</p> <p style="text-align: justify;">A fully illustrated catalogue of the paintings accompanies the exhibition, with essays by Achim Hochdorfer, curator of "Cy Twombly: States of Mind" at Museum Moderner Kunst Stiftung Ludwig Wien in 2009; curator Julie Sylvester, and a photo essay by Sally Mann. A fully illustrated catalogue of the photographs with an essay by Edmund de Waal, artist and author of <em>The Hare with the Amber Eyes</em>, is forthcoming.<br /> <br /> <strong>Cy Twombly</strong> (1928-2011) was born in 1928 in Lexington, Virginia. He studied at the School of the Museum of Fine Arts, Boston (1947-49); the Art Students League, New York (1950-51); and Black Mountain College, North Carolina (1951-52). In the mid-1950s, following travels in Europe and Africa, he emerged as a prominent figure among a group of artists working in New York that included Robert Rauschenberg and Jasper Johns. In 1968, the Milwaukee Art Center mounted his first retrospective. This was followed by major retrospectives at the Kunsthaus Zürich (1987) travelling to Madrid, London and Paris; the Museum of Modern Art, New York (1994) (travelling to Houston, Los Angeles, and Berlin) and the Pinakothek der Moderne in Munich (2006). In 1995, the Cy Twombly Gallery opened at The Menil Collection, Houston, exhibiting works made by the artist since 1954. The European retrospective "Cy Twombly: Cycles and Seasons" opened at the Tate Modern, London in June 2008, with subsequent versions at the Guggenheim Bilbao and the Museum of Modern Art in Rome in 2009. Recent exhibitions include "Cy Twombly: The Natural World, Selected Works 2000–2007," The Art Institute of Chicago (2009) and "Sensations of the Moment," the Museum Moderner Kunst Stiftung Ludwig, Vienna, (2009). In 2010, Twombly's permanent site-specific painting, Ceiling was unveiled in the Salle des Bronzes at the Musée du Louvre. At the same time he was made Chevalier of the Légion d'Honneur by the French government.</p> <p style="text-align: justify;">Twombly died last year in Rome, Italy.</p> <p style="text-align: justify;"></p> <hr /> <p style="text-align: justify;"><br style="text-align: justify;" /> 為向剛辭世的 Cy Twombly 致敬,高古軒畫廊榮譽呈獻他輝煌藝術人生中暮年的畫作以及精選攝影作品</p> <p style="text-align: justify;">是次展出的八幅無題繪畫,與 2010 年巴黎高古軒畫廊的揭幕作品 ”Camino Real” 系列關係密切 那些精力充沛而無法仿傚的筆觸與大膽濃烈的色彩,標誌著 Twombly 作畫的自由奔放,絕不侷限於單一風格 而面對咄咄逼近的死亡,前作悲哀的震撼、鮮活的色彩和激動的姿態,與新作的能量同步躍動著</p> <p style="text-align: justify;">至今 Twombly 仍是世上最受尊崇的當代藝術家之一,近年多間大型國際展館接連舉辦他的考察展,可見他對當今藝壇持久不斷的投入和專注 自從第一間高古軒畫廊八十年代中期於紐約開幕, Twombly 已是畫廊的台柱,過去廿五年在此舉辦過多次展覽,每次都給觀眾帶來驚喜,令人珍惜回味, 包括 ”Bolsena Paintings” (1990)、”The Coronation of Sesotris” (2001)、”Lepanto” (2002)、”Bacchus” (2007) 與 ”The Rose” (2009) 而”Ten Sculptures and a Painting” (2003)、”Three Notes for Salalah” (2007)、”Leaving Pathos Ringed with Waves” (2009)和”Camino Real” (2010)更分別成為倫敦、羅馬、雅典及巴黎高古軒畫廊的開幕作品</p> <p style="text-align: justify;">本次展覽今年較早時於洛杉磯開始展出。香港展覽之後,本展覽將於倫敦及紐約高古軒畫廊巡迴展出至2012年底<br /> <br /> 伴隨著展覽的,是一份附詳盡解說的畫作目錄,由2009年維也納路德維希基金會現代藝術展覽館(Museum Moderner Kunst Stiftung Ludwig Wien) ”Cy Twombly: States of Mind” 之策展人阿歆霍多費爾 (Achim Hochdorfer) 及策展人茱莉西爾維斯特 (Julie Sylvester) 撰文,莎莉曼恩 (Sally Mann) 作攝</p> <p style="text-align: justify;">影報導 而由《琥珀眼兔子》作者艾德蒙德瓦爾 (Edmund de Waal) 撰文,附詳盡解說的攝影目錄亦快將登場</p> <p style="text-align: justify;">Cy Twombly (1928–2011) 1928 年生於維珍尼亞州萊辛頓,曾就讀於波士頓美術館學院 (1947–49)、紐約藝術學生聯盟 (1950–51) 及北卡羅來納州黑山學院(1951–52) 五十年代中期,遊歷過歐洲和非洲之後,湯布利漸於一眾駐紐約藝術家中嶄露頭角,羅伯特羅森伯格(Robert Rauschenberg)和賈斯培瓊斯(Jasper Johns)均在此列 1968 年,密爾瓦基藝術中心(the Milwaukee Art Centre)舉辦了他的第一個回顧展,其後多個大型回顧展亦於各地陸續舉行,包括蘇黎世美術館(1987)(於馬德里、倫敦和巴黎巡迴展出)、紐約現代 美術館 (1994) (於休斯頓、洛杉磯和柏林巡迴展出)以及慕尼黑現代博物館(2006) 1995年,Cy Twombly 畫廊於休斯頓 Menil Collection開幕,展示藝術家自1954年以來的作品 在歐洲,”Cy Twombly: Cycles and Seasons” 回顧展2008年6月於倫敦泰特現代美術館 (Tate Modern, London) 揭幕,隨後畢爾包古根漢美術館 (Guggenheim Bilbao) 及羅馬現代美術館(Museum of Modern Art in Rome) 的版本亦相繼於2009年揭幕 近期展覽包括2009年芝加哥美術館的”Cy Twombly: The Natural World, Selected Works 2000–2007” 及2009年維也納路德維希基金會現代美術館 (the Museum Moderner Kunst Stiftung Ludwig, Vienna) 的”Sensations of the Moment” 展覽 2010年,湯布利為羅浮宮特別製作的永久繪畫”Ceiling”於青銅廳揭幕,同年他獲法國政府頒發榮譽軍團勳章</p> <p style="text-align: justify;">湯布利去年於意大利羅馬逝世</p> Wed, 13 Jun 2012 06:46:34 +0000 Moataz Nasr - Galleria Continua / Beijing - March 24th, 2012 - August 19th, 2012 <p style="text-align: justify;"></p> <p style="text-align: justify;"></p> <p style="text-align: justify;"></p> <p style="text-align: justify;"></p> <p style="text-align: justify;"></p> <p style="text-align: justify;"></p> <p style="text-align: justify;"></p> <p style="text-align: justify;" align="right">“<i>Sometimes I feel as if I am holding a large loop to make things clear and seen for those who can't or maybe can but avoiding and sometimes in some work I act like a channel, a channel to bring to life people’s screams.” </i></p> <p style="text-align: right;" align="right"><i>Moataz Nasr</i></p> <p style="text-align: justify;">Galleria Continua is pleased to announce <i>The Tunnel</i> the first solo exhibition by the Egyptian artist Moataz Nasr in China regarded as one of the leading exponents of contemporary pan-Arab art.</p> <p style="text-align: justify;">Showing complex cultural processes currently underway in the Islamic world, the work of Moataz Nasr surpasses idiosyncrasies and geographical limits and voices the worries and torments of the African continent. The feeling of belonging to a specific geopolitical and cultural context and the need to maintain a link with his homeland are key elements of the artist’s life and work. Art and life are inseparable for him. His childhood memories, frustrations and the society in which he is evolving seem to fuel his paintings, sculptures, videos and installations. Moataz Nasr’s work concerns Egypt with its traditions, people, colours, without ever slipping into the exoticism or creating distance. It appears, on the contrary, close to everyone’s preoccupations. In fact, Egypt is just a background, a territory inhabited by human beings whose fragility is universal, as are indifference, powerlessness and solitude, weaknesses inherent in human nature.</p> <p style="text-align: justify;">Commenting on the show, the curator Simon Njami writes: <i>“The Tunnel is a concept of confinement, of fear, of uncertainty. It could be argued that it is a metaphor for a state of illness whose outcome is unknown. All that is known is that it’s curable. That there is hope. And that it’s necessary to struggle to keep the flame of life burning. The tunnel is a dark place. A sort of hell that we enter of our own free will and by trial and error. We advance by fits and starts, cautiously, afraid of bumping into a wall at each step. It is underground, like the kingdom of Hades, a subtle prison that prevents people from seeing the sun. And we are forced to return to a state of infancy. Which imprisons us in a disturbing and hostile anti-nature. The artist straightaway places us in a clear opposition between darkness and light, freedom and imprisonment, joy and sorrow. Contrasting, contradictory concepts that, through their opposition, create the tension that is at the root of this exhibition presenting the schizophrenia through which the countries of the Middle East and the Maghreb are passing, like an epidemic. The tunnel to which Moataz Nasr refers obviously reflects the way that he perceives the situation in which his own country, Egypt, finds itself.</i></p> <p style="text-align: justify;"><i>[…] The system set up by the artist at the Galleria Continua illustrates the tension between the visible and the invisible, this age-old opposition between the principle of desire and that of reality which obliges the Egyptian people to carry out a permanent renegotiation of its daily situation. The visible, the reality, is the exterior. It is the makeshift walls that have turned Tahrir Square into a fortified high-security camp. In the exhibition, the omnipresence of a Big Brother that aims to control lives and thoughts is represented by balloons, a metaphor for the police. Balloons that block the view, that obstruct and prevent us from seeing what is happening further away. We have to clear ourselves a way through them to get to a more open space, which could be, even if the artist is not necessarily aware of it, the now mythical Tahrir Square. We cannot escape the drawing that takes up the whole of a wall and dominates the space by imparting to it its rhythm. This allegory, which looms over the whole structure, would suffice, in itself, to sum up the concept of the exhibition. A sort of pyramidal staircase at whose summit is set an eagle, the emblem of Egypt. Symbol of a dream whose fulfilment, apparently within our reach, requires a special effort. Laid out around this main axis, the ideal to be attained, we find, face to face, the people and their potential tormenters. The crowd and the city, represented by Cairo Walk, men and women, painted in these twenty-five figurines on shelves, like passive objects that allude to Chinese sculptural traditions, and the three Falcons. There is no need here to dwell on the meaning of these birds of prey that for a while appeared on the Egyptian flag. There are also lions made out of jade, the same lions, guardians of the Qasr al-Nil Bridge in Cairo, that Nasr has made one-eyed in a photomontage which we will find upstairs.</i></p> <p style="text-align: justify;"><i>To get there we follow a man, from the back, projected onto a wall, who seems to be showing us the way. The elevation in itself, the effort required by the ascent, is an invitation to calm and concentration. We are going to gain access to the inner space, that of meditation and mental strength. The strength that makes it possible to defy and to resist. The dervishes, the lions and the neon light that illustrates Ibn Arabi’s profession of faith are all elements that allude to reflection, to calm. Strength carries no weight in this universe. It is rendered absurd by the harmony of the proposals. And the artist proves, if there were any need, that real power is not to be found in extreme demonstrations, but inside ourselves. It is only this calm and this asceticism that allow us to find the path of light.</i></p> <p style="text-align: justify;"><i>The last stage brings together new pieces and old ones. The eagle, in all its glory, keeps watch. It will not allow the falcons to deprive Egyptians of their aspirations. On the skins, two inscriptions that tell us we have finally emerged from the tunnel. The first, taken from Sufi philosophy, signifies “light on light”. And the second is the sign of infinity. We might think that we can rest at last. Let ourselves go. Forget. That would not be at all like the artist, who is reminding us that the battle is not over. That it is necessary to maintain our vigilance and the spirit of freedom. That freedom is a daily struggle that involves us all. The one-eyed lion is there to remind us of the tunnel. And, if there were still any need, the video The Echo completes the discourse. In this journey through time that shows us two Egypts faced with the same problems, at a distance of some forty years. Perhaps the exhibition Le tunnel represents the third facet of this forever unfulfilled quest</i>.”</p> <p style="text-align: justify;">Moataz Nasr was born in 1961 in Alexandria (Egypt). He lives and works in Cairo. After studying economics, he decided to change direction and take a studio in Old Cairo. This self-taught artist gained local recognition marked by many prizes before breaking into the international art scene in 2001, notably winning the Grand Prix at the 8th International Cairo Biennial.</p> <p style="text-align: justify;">The artist has participated in many important international art events, including the Venice Biennale (2003), the Seoul Biennale (2004), the Sao Paulo Biennale (2004), the Yokohama Triennale (2005), the<i> </i>Canarie Biennale (2008), the Lubumbashi Biennale (2010), the Thessaloniki Biennale (2011) and group events such as <i>Arte all’Arte </i>(San Gimignano, 2004), <i>Africa Remix </i>(Kunst Palast, Dusseldorf, 2004; Hayward Gallery, London, 2005; Centre Pompidou, Paris, 2005; Mori Art Museum, Tokyo, 2006; Johannesburg Art Gallery, Johannesburg, 2007), <i>Ghosts of Self and State </i>(Monash University Museum of Art, Melbourne, 2006) and, last but not least, a solo exhibition at The Khalid Shoman Foundation, Darat al Funun, Amman, Jordan, 2006. The most recent group shows to which he has contributed include: <i>Machine-RAUM</i>, Vejle Art Museum and Spinning Factory, Vejle, Denmark, 2007/2011; <i>Traversées (Crossings)</i>, Grand Palais, Paris, France, 2008; <i>Les Recanters Internationales de la Photo</i>, Centre Cervantes, Fes, Morocco, 2008; <i>MidEast Cut</i>, The Danish Film Institute &amp; Backyard Gallery, Copenhagen, Denmark (2009); <i>African contemporary art</i>, Exhibition Center, Algiers, Algeria, 2008; <i>Made in Afrika</i>, National Museum, Nairobi, Kenya, 2008; <i>Taswir, Islamische Bildwelten und moderne</i>, Martin-Gropius-Bau, Berlin, Germany, 2008;   <i>21st Century: Art in the first Decade</i>, Gallery of Modern Art, Brisbane, Australia, 2010; <i>Time After Time: Actions and Interactions</i>, Southern Exposure, San Francisco, USA, 2012<i>.</i></p> <p style="text-align: justify;">In the sufi garden site specific-installations<i> The Maze-The People Want the Fall of the Regime<b> </b></i><b>(</b>Château de Blandy-les-Tours, Blandy, France; Gothenburg, Sweden; Jardin des Tuileries, Paris, France, 2011) Nasr uses the Egyptian slogan cried out in Tahrir square, the same one that gathered together like in one and only strong body thousands of people fighting for freedom in his country and beyond, starting the Arabian spring.</p> <p style="text-align: justify;">In 2008 Moataz Nasr founded Darb 1718, a non-profit cultural and exhibition centre in the middle of Cairo, the mission of which is to promote Egyptian contemporary art and a knowledge of international art, to create an archive of works and to set up and maintain an up-to-date, on-line archive of Egyptian art. Darb 1718 also organizes seminars, screenings and projects in order to inform and heighten the awareness of the local community.</p> <p style="text-align: justify;"> </p> <p style="text-align: justify;"></p> <p style="text-align: justify;"></p> <p style="text-align: justify;"></p> <p style="text-align: justify;"></p> <p></p> <p></p> <p></p> Thu, 02 Aug 2012 19:47:16 +0000 Homan Ho, LAU HOK SHING, Chi Kit LO, Christine NG Mien Yin, Ng Ka Chun, Roy Ng, Trevor Yeung - Gallery EXIT - July 14th, 2012 - August 18th, 2012 <p>Gallery EXIT is pleased to present Scalable Strategies, a group exhibition with works by Homan HO, LAU Hok Shing, LO Chi Kit, Christine NG Mien Yin, NG Ka Chun, Roy NG and Trevor YEUNG.</p> <p> </p> <p>Four assumptions for scalable art making strategies:</p> <p>1)    An art practice should be capable of handling a fluctuating, irregular amount of constraints and workload;</p> <p>2)    It will reconfigure and maximize its resources when the demand exceeds the daily routine;</p> <p>3)    A practice is said to be scalable, if it is suitably efficient and practical when having to create work for both small and large situations;</p> <p>4)    If the strategy fails when a quantitative factor increases, it does not scale.</p> <p><br /> Seven propositions using scalable strategies (that might not work):</p> <p>*          Projected rendering of a sculpture</p> <p>*          Plywood mountain growing upon itself</p> <p>*          5-point star made from long wooden planks the shape of toothpick </p> <p>*          A free-standing moon gate</p> <p>*          IKEA do-it-yourself furniture kits assembled at will</p> <p>*          Blades of grass moving in wave-like motion</p> <p>*          A functional fish pump pushing air through a maze of tubing</p> Mon, 10 Sep 2012 02:40:11 +0000 Christine NG Mien Yin - Gallery EXIT - August 3rd, 2012 - August 30th, 2012 <p>Gallery EXIT is pleased to present our first exhibition of works by Christine NG Mien Yin, "The Long Goodbye," on view from 3 to 30 August 2012 at 1 Shin Hing Street, Central. </p> <p>The title addresses the convoluted relationship between urban dwellers in Hong Kong and nature that is perpetually on the verge of disappearing. Based on three photographs taken during hiking trips around the city, the artist employed different processes to reinterpret the landscape imagery. </p> <p>The exhibition features a series of print transfers, a pair of circular black mirror, two paintings and a video projection. Anchoring the show is a juxtaposed image of the iconic Lion Rock. The image is fragmented into polka dots, evocative of the myopic field of vision brought on by crowded living conditions. Other inkjet print transfers in the series appear faded and monochromatic. By using a repetitive process that incorporates chance, each layer of print transferal becomes increasingly imprecise. On some surfaces the image is intact, on others it looks more obscure, rubbed and torn, with delicate paper shavings left over on the surface, suggesting that it is in a state of decay.</p> <p>The video "from here to now" is a mirrored video projection, with the left lagging moments behind the right. It observes how commoditized nature -- public beach, luxury housing with a view, country park, the peak -- is being disregarded by its user. The video captures candid conversations of hikers, discussing real estate prices while they trailed through the hills, and a Chinese tour-guide introducing the panorama from the Peak wholly through monetary references. </p> <p>The artist will be present at the opening reception on Friday, 3 August 2012 at 6pm - 8pm. </p> <p>Christine NG Mien Yin obtained an MFA from Goldsmiths College, UK in 2010. She was previously granted the Sudler Fund and Richter Summer Fellowship at Yale College. Recently, her works were shown at ART HK 12 in Hong Kong.</p> Sat, 28 Jul 2012 23:00:35 +0000 Liu Bolin - Gallery Magda Danysz - Shanghai - July 7th, 2012 - August 31st, 2012 <p style="text-align: justify;">Known for his “Invisible Man” photo-performance, Liu Bolin has also through the years been working on different subsequent themes and media, as sculpture for instance.Liu Bolin uses the city around him as a backdrop, painting himself to blend in with a landscape in constant flux. By literally blending into the city, Liu creates a tension that challenges the viewer to question what is on and beneath the surface. For Liu, the most important element of his images is the background. Each image requires meticulous planning and execution: as both artist and performer, Liu directs the photographer on how to compose each scene before entering the frame. Once situated, he puts on a monochromatic uniform, which he wears for all of his Invisible Man photographs and, with the help of an assistant and painter, is painted seamlessly into the scene. This process can sometimes take up to 10 hours with Liu having to stand perfectly still. Although the end result of Liu’s process is the photograph, the tension between his body and the landscape is itself is important.</p> Sat, 22 Feb 2014 16:02:53 +0000 Angela Su - Grotto Fine Art - July 10th, 2012 - August 11th, 2012 <p><span style="font-family: Arial,Helvetica,sans-serif; font-size: small;" face="Arial, Helvetica, sans-serif" size="2">Grotto Fine Art takes great pleasure in presenting the recent works of Angela Su. </span></p> Wed, 11 Jul 2012 01:44:40 +0000 Luis Chan, Irene Chou, Gaylord Chan, Liu Kuo-sung, Chu Hing Wah, Wucius Wong, Leung Kui Ting - Hanart Square - May 19th, 2012 - September 29th, 2012 <p><span style="font-size: small;" size="2">Hanart TZ Gallery presents the group exhibition “A Tribute to Hong Kong Masters” to celebrate the art of seven eminent painters:Luis Chan, Irene Chou, Gaylord Chan, Liu Kuo-Sung, Chu Hing-Wah, Wucius Wong, Leung Kui-Ting (by order of birth). Each in his or her own way, has defined the artistic development of Hong Kong, and offers alternative entry points into the amorphous history of art of this city.</span></p> Wed, 29 Aug 2012 10:23:51 +0000 GulamMohammed Sheikh - Hanart TZ Gallery - July 6th, 2012 - August 11th, 2012 <p><span style="font-size: small;" size="2">Hanart TZ Gallery is happy to announce the first solo exhibition of Gulammohammed Sheikh in Hong Kong which is also our last exhibition at our temporary space at unit 407 Pedder Building before we move into our permanent home in units 401 on the same floor this September. The exhibition entitled “Gulammohammed Sheikh” will open at Hanart TZ Gallery on Friday, 6th July 2012 and the opening ceremony will be officiated by Mr. P. Ajithakumar, Consul, The Consulate General of India. <br /> <br /> “Gulammohammed Sheikh’s career as artist, poet, educationist, art historian, and curator has seen him engage with a diversity of artistic and literary traditions from many parts of the world. As a painter of more than five decades he has pioneered an engagement with historical forebears and a social and political investment in art practice. Since the mid-1970s, he has also returned time and again to dwell on human habitations: homes, streets, shrines, bazaars, cities, towns, and villages. His projects present the mapping of the art historical onto the contemporary, teasing out the interstices between tradition and contemporaneity, collapsing place and time into an amalgam that can speak in multiple tongues. The world-view pertinent to his work is manifestly pluralistic, rooted in the welter of contact, exchange and influence that gives rise to culture in various parts of the world.” In Sheikh’s work, audience is invited to walk through his cities and float above their streets, such as his sculpture Weather Vane: Incredible India / Vibrant Gujarat, City of Statues (2011) and Partition (2011). The Alphabet Stories (2004) is an artist version of the traditional portable shrine inspired by Rajasthan itinerant storytellers.</span></p> Thu, 02 Aug 2012 22:05:05 +0000