ArtSlant - Openings & events en-us 40 - K11 - October 3rd, 2012 6:00 PM - 8:00 PM <p>Graduates from the Department of Visual Communication from Tsinghua University’s Academy of Arts &amp; Design decided to bid farewell to their school and teachers with creative works inspired by their true feelings. To share the fruits of labour of these budding talents, K11 is bringing a selection of works by 6 of the graduates to Hong Kong. In particular, the works by K11’s star artist Shi Shuo are definitely not to be missed.</p> Wed, 03 Oct 2012 02:05:08 +0000 - Asia Contemporary Art Show - October 4th, 2012 5:00 PM - 8:00 PM <h3>Open to the Public</h3> <p>Friday October 5th: 12 noon to 8pm</p> <p>Saturday October 6th : 12 noon to 8pm</p> <p>Sunday October 7th: 12 noon to 8pm</p> <h3 class="textblue " style="text-align: justify;">VIP tickets – HK$290 (for you and a friend)<br /><br />Tickets at the Show – HK$100 (per person)</h3> <p><span style="font-size: medium;"><strong>Exhibitors</strong></span></p> <p>PubArt Gallery</p> <p>Kumquat Gallery</p> <p>Above Second</p> <p>Fabrik Contemporary Art</p> <p>LDX Gallery</p> <p>Galerie Ora-Ora</p> <p>ZZHK</p> <p>Susan Schmidt Art</p> <p>Mon Espace D'Art</p> <p>153 Gallery</p> <p>Damina Gallery</p> <p>AO Vertical Art Space</p> <p>KIM JEA SUN Gallery</p> <p>Astrid Dahl Studio Gallery</p> <p>The Cat Street Gallery</p> <p>BJN Gallery</p> <p>Sydney Art 206</p> <p>Art Company Misoolsidae</p> <p>Nexto Contemporary Art</p> <p>Gallery Miz</p> <p>HT Gallery</p> <p>Red Elation Gallery</p> <p>Rosella Gallery</p> <p>Cheong Dham Gallery</p> <p>Art Supermarket</p> <p>Gallery DM</p> <p>SLY Art Space</p> <p>Art Cube</p> <p>Hiraya Gallery</p> <p>A Gallery</p> <p>The Art Club Singapore</p> <p>Artistry</p> <p>Vision Korea Gallery</p> <p>ArtXchange Gallery</p> <p>Asia Fine Art</p> <p>Gallery We</p> <p>Gallery GAIA</p> <p>Puerta Roja</p> <p>Nancy's Gallery</p> <p>Carpediem Galleries</p> <p>Galerie Waterton</p> <p>Floren Gallery</p> <p>Gallery Jhak</p> <p>Karin Weber Gallery</p> <p>Khalifa Gallery</p> <p>Julia Carter</p> <p>King's Gallery</p> <p>Charlie K. Art Space</p> <p>Art Beatus</p> <p>Gallery Namu</p> <p>VA Gallery</p> <p>Caroline &amp; Solan</p> <p>The Zaha Collection</p> <p>Ketty Guillaume Devieux</p> <p>Voxfire Gallery</p> <p>New Gallery on Old Bailey</p> <p>The Gallery Eumundi</p> <p>K&amp;P Gallery</p> <p> </p> <p><span style="font-size: medium;"><strong> </strong></span></p> Fri, 21 Sep 2012 03:30:42 +0000 Zao Wou-Ki - FEAST Projects - October 4th, 2012 6:00 PM - 9:00 PM <p style="text-align: justify;"><b>FEAST Projects is proud to announce <i>ZAO WOU-KI – BEYOND</i>, a solo exhibition of watercolour paintings by the prominent Chinese French artist ZAO WOU-KI. </b></p> <p style="text-align: justify;">ZAO Wou-Ki (趙無極), at 92 years old, is a Chinese French painter and one of the world’s most prominent contemporary artist. Highlights of his life long achievements include: election to the Académie des Beaux-Arts in France, the decoration of Grand Officier de l’Ordre de la Légion d’Honneur by the President of France, the Praemium Imperiale Award for Painting by the Japanese Art Association in Tokyo, Japan and numerous important solo and retrospective shows in museums throughout the world, the Galerie Nationale du Jeu de Paume in France; the National Art Museum of China; and the Hong Kong Museum of Art, to name a few. <br /><br />On view will be a group of exceptional, large watercolour paintings coming directly from the artist’s studio, dated from 2004 to 2009. They belong to the most recent period in Zao Wou-Ki’s work: a series of large format watercolours that have dominated his pictorial output since 2004. The works show a masterly control mixed with a spontaneous fluidity. Some were painted from nature, directly observing subjects such as flamboyant flowers, intertwining branches or a symphonic landscape. They convey with freshness and immediacy Zao’s intimate appreciation of Chinese and Western culture.<br /><br />A few works will be previewed during FINE ART ASIA, Asia’s leading international fine art fair, in Hong Kong from 4 – 7 October 2012. <br /><span></span></p> <p style="text-align: justify;"><span>A fully illustrated colour catalogue will be available at the time of the exhibition. <span style="text-decoration: underline;"></span><span style="text-decoration: underline;"></span><span style="text-decoration: underline;"></span><span style="text-decoration: underline;"></span><span style="text-decoration: underline;"></span><span style="text-decoration: underline;"></span><span style="text-decoration: underline;"></span><span style="text-decoration: underline;"></span><span style="text-decoration: underline;"></span><span style="text-decoration: underline;"></span></span></p> <p><strong>Gallery is closed from 16 December 2012 to 1 January 2013 and reopens on 2 January 2013</strong></p> <p></p> <p></p> Fri, 14 Dec 2012 00:21:53 +0000 Jonas Lipps - Ben Brown Fine Arts Hong Kong - October 5th, 2012 6:30 PM - 8:30 PM <p style="text-align: justify;">Ben Brown Fine Arts Hong Kong is pleased to present recent works on paper by Berlin based artist Jonas Lipps, in the Gallery's Project Room, in Pedder Building. This is the artist's first solo exhibition in Hong Kong and the first time his work will be shown in Asia. <br /><br />This exhibition brings together a group of watercolours in various formats, though rarely extending beyond A4. They show remembered and sometimes previously photographed situations, constructed images, but also elements from public image-banks such as newspaper photos or advertisements. All the genres seem to be included: landscape, portrait, still life, and at the same time none of these, since the thing represented is, though recognizable, never physical, or tangible, or object-like. When using photographic sources, particular parts are emphasized by the tracing of contours, subsequently covered with transparent layers  of  paint.  In  this  kind  of  painting  it's  not  a  question  of  a  demonstration  of  virtuosity,  more  important  is  how,  in  the painting  process,  there  are  repeatedly  changes  of  orientation,  and  detours,  which  result  from  self-imposed  constraints  and resistances. Lipps often works with papers which are badly suited to watercolour, and which through the subsequent loss of control  over  the  paint  flow,  prevent  a  predetermined  representation.  This  paper  can  be  of  different  origins  and  qualities: leaflets, book pages, or the squared pages of exercise books, partly stained and ripped. On some sheets, by leaving the edge white, a Polaroid-like format comes about, like a passe-partout.</p> Fri, 19 Oct 2012 21:08:39 +0000 Matias Faldbakken - Simon Lee Hong Kong - October 5th, 2012 6:00 PM - 8:00 PM <p>Simon Lee Gallery Hong Kong is proud to present an exhibition of new work by renowned Norwegian artist and writer Matias Faldbakken.<br /> <br /> In his practice as an artist, Matias Faldbakken often displaces and reconfigures mass-produced functional objects with a specific cultural significance, using the most minimal means of intervention possible to develop what could be termed a kind of agitated idleness. Garbage bags, Jerry cans, Lockers, tiles, televisions, paper, posters, books, magazines, chrome spray, electrical tape, nails, lever straps, angle grinders and metal bindings are some of the materials he uses to draw, crunch, screw, spray, compress and invert, in a variety of apparently vandalistic gestures, interrupting any habitual approach to reading and interpreting the object. <br /> <br /> In Faldbakken’s words, “(in my practice) a ‘parody’ of the formal is never far the same time the insistence on the physical presence of the work...and the possibility of its aesthetic precision, might gain enough authority for these ‘comedic’ be constantly destabilized or overruled...the idea of resigning, to resort to a more muted, gestural, wordless visual and formal practice because it has the air of being simultaneously doomed and potent..I like that. That ‘in-between’ quality. “ <br /> <br /> For this exhibition, Faldbakken elaborates on his ongoing exploration of serial objects, with ‘Untitled (Coin Locker Sculpture)’. As with his earlier Locker sculptures, he uses a simple technique to merge or make unique a series of identical, mass-produced objects. A horizontal line is cut through the lockers with an angle grinder, but this seemingly destructive gesture is at the same time a unifying one. The cut line could be read as a drawing, transforming the locker from container to content. <br /> <br /> In addition to the exhibition, there will be new canvas works on view. While Faldbakken’s work is often read through the lens of the Situationists, Dada and Punk, this ongoing series of canvases tends towards the negativistic litany of Ad Reinhardt, whose signature black paintings, in combination with his texts, challenged the limits of art production as such. Echoing Reinhardt’s zero-format 5ft square scale, the canvases are made in high-grade Belgian linen with stretchers in Norwegian wood, in deliberate contrast to the casual gestures on their surface. Faldbakken first used black electrical tape to make marks on the canvas, always with the minimal intervention possible to achieve his objective: rejecting language and undermining ideas of form. He has developed this series using graphite and most recently white Molotow tagger pen on canvas, seen in these new works – a thick, satisfyingly indelible pen used by graffiti artists. The standard forms – squares, rectangles and overlapping lines - nod to both the formal language of Minimalism and that of vandalism whilst undercutting both. <br /> <br /> Faldbakken was born in Hobro, Denmark in 1973. He studied at the National Academy of Fine Arts in Bergen and later at the Städelschule in Frankfurt. His work has been exhibited widely in Europe, with solo exhibitions in the Scandinavian Pavilion at the Venice Biennale, National Museum of Art, Oslo, the IKON Gallery, Birmingham, Kunsthalle Skt Gallen, Switzerland. Kunsthalle Friedricanum, Kassel, Schinkel Pavillion, Berlin, Neuer Aachener Kunstverein, Aachen, Germany and OCA Oslo. This year, among other projects, he participated in dOCUMENTA (13) and opens ‘Intervention # 21’, a solo presentation at Museum Boijmans van Beuningen, Rotterdam. </p> Thu, 27 Sep 2012 23:46:13 +0000 Nan Chao - Art Experience Gallery - October 6th, 2012 4:00 PM - 6:00 PM <p>As a Chinese artist of the new generation, Nan Chao likes to explore the adaptability of materials and is constantly engaged in the search for new creative techniques. According to him, “Artistic creation has two perspectives: first, innovation in language; second, outstepping of concepts that will be found agreeable in the future.” Nan Chao has tried to “substitute paper with canvas and water with oil”. He has abandoned the traditional Chinese colour ink for oil paint. Moreover, he has used canvas instead of rice paper. <br /> <br /> In recent years, Nan Chao has embarked on an unprecedented creative experiment—using three-dimensional space to convey the planar ink and wash images. We can describe it as “three-dimensional ink and wash”. <br /> <br /> 作為新一代的中國藝術家,南超喜歡探索材料的可塑性和不斷嘗試新的創作技術,他表示:「藝術創作所要做的工作有兩點:一是在語言上有所創新,二是在觀念上超前,在未來引起共嗚」。南超嘗試了「以布代紙,以油代水」,他選擇了以油彩代替中國傳統的墨彩,以油畫布代替的宣紙,並且在西方繪畫的材料上模仿中國水墨畫。<br /> <br /> 近年,南超亦開始了嶄新的創作實驗—以立體的空間來呈現水墨的平面圖像,經過五年不斷的實踐和修正,掌握了更精準的技術,方才成功將二維的平面水墨畫,轉變為立體的雕塑作品,完成這新的藝術表現形式,我們可稱之為「立體水墨」。</p> <p> </p> Thu, 27 Sep 2012 23:39:52 +0000 Giuseppe Biguzzi, Franco Anzelmo, Silvio Porzionato - Red Elation Gallery - October 6th, 2012 5:00 PM - 7:00 PM <p style="padding-top: 0pt;" class="paragraph_style_3">Red Elation Gallery is delighted to present the project “it. figures”. The exhibition compares three names of Italian contemporary art around the theme of the recovery of classical representation in the most recent current art research. It will open Saturday, 6th October at 5pm and presents a selection of recent works by Franco Anzelmo, Giuseppe Biguzzi and Silvio Porzionato, each chosen for their ability to combine individual and social issues of contemporary man with the Italian figurative and aesthetic traditions. The exhibition path, consisting of sculptures by Anzelmo and paintings by Biguzzi and Porzionato, summarizes one of the most pressing needs of the art system: the restoration of the contact between the art of today and its history.</p> <p class="paragraph_style_3">The exhibition curator, Carolina Lio, writes in the catalog: The contemporary art of recent decades has pursued experimentation. The acceleration of this system, as well as all other social and economic schemes of our time, has turned the necessary intellectual action by the avant-garde in a run-up without control to novelty and provocation. What mostly suffered in this situation was the continuity bonds with the history of art, often deliberately broken in a sort of rejection by many contemporary artists who have long perpetrated against a conception of the aesthetics of art. But the new global crises, first of all the economic one, places up front of the need for content and their redefinition. Where should one start if not from the history of art as a reference point? It becomes clear how important it is to connect the contemporary to the past in a meaningful way of meaning that evolves but does not disown itself.</p> <p class="paragraph_style_3">Great museums and galleries, and hence in the big fairs, painting and sculpture designed in the classic sense, after having been considered obsolete for years, have gradually come out again to confirm the need for a cultured connection with history and for a traceability of an aesthetic path within the experiences of art. At the same time, so that the work of art has a meaning, it must be inserted in a contemporary context that, in this time facing a critical vision of itself, often results in a lack of context, requiring a reinvention.</p> <p>It is no coincidence that paintings by both Giuseppe Biguzzi and Silvio Porzionato are decontextualized portraits, respectively on a neutral and minimal backgrounds, in which the human being is alone at the testing ground of a new relationship with himself. In the case of Biguzzi we find ourselves faced with anxious and disappointed young women, alienated, that deny the gaze and shut themselves away in an indefinitely and melancholic wait. Whereas subjects by Porzionato show a boldness in contrast with their loneliness and their helpless nakedness, giving the idea of characters struggling with an inner strength. Both artists are trying to open their subjects to a fresh look on the world and on themselves. Equally in the sculptures by Franco Anzelmo, new men, like an Adam of a second generation lost in time, discover a life pure and uncluttered, an archetype of innocence, cleansed and free, moving lightly to reach and to challenge gravity and other heavy laws of the world.</p> Thu, 27 Sep 2012 22:48:53 +0000 Dale Frank - Art Statements Gallery - October 11th, 2012 6:30 PM - 9:30 PM <p>Born 1959, Dale Frank's career spans more than twenty years. In 1983, he was included in the exhibition Panorama della post - critica: critica ed arte at the Museo Palazzo Lanfranchi in Pisa along with Thomas Lawson and Anselm Kiefer (curated by Helena Kontova). In 1984 he was included in the Aperto section of the Venice Biennale. Returning to Australia, in 1990 he was included in the 8th Biennale of Sydney (curated by Rene Block). A major solo retrospective of his work was held at the Museum of Contemporary Art, Sydney in 2000. His paintings are held in every major public collection in Australia and in numerous private and corporate collections in Australia, Europe and the U.S. In 2005 Frank won The Arthur Guy Memorial Painting Prize at the Bendigo Art Gallery, Victoria. A major new monograph on Frank’s work So Far: the Art of Dale Frank 2005-1980 was published in 2007.<strong> </strong></p> Sun, 07 Oct 2012 01:11:46 +0000 Group Show - ShanghART Gallery (main gallery) - October 12th, 2012 5:00 PM - 7:30 PM <p>ShanghART Gallery is delighted to present a group exhibition, Place of Residence-with Artists from Brazil and China, on October 12th in both ShanghART Main Space and H-Space. It is curated by Alfons Hug. As one of the first exhibitions to include artists active in Brazil and China, it marks the starting point for a larger project – BRICS. <br /><br />Despite the title, ‘Place of Residence’, it is not the exhibition’s purpose to solely dwell on the artists’ geographical, cultural, historical differences and their impact on artists’ creations. As more and more contemporary artists try to combine their own life experiences and thoughts into their works, they try to present works in various media in a specific point of view, to reflect the reality of life and to deeply engage an audience. Thus, ‘Place of Residence’ is no longer about boundaries or confinement. It concerns more closely with life. Artists’ expressions through objects of everyday life embody the symbolic social and cultural significations that would provide open doors for the audience to read and understand contemporary art.</p> Sat, 20 Oct 2012 19:23:47 +0000 Jiang Meiyan - Beijing Wan Fung Art Gallery - October 13th, 2012 3:00 PM - 5:00 PM <p><span style="font-size: medium;" size="3">此次共展出蒋美艳彩墨精品<span style="font-family: Times New Roman;" face="Times New Roman">30</span>余幅,希望能带给您不一样的视觉感受。</span></p> <div align="left"><span style="font-size: medium;" size="3">蒋美艳绘画创作的题材广泛,尤其大花卉工写结合,人物画独具创新;主题鲜明。</span> <span style="font-size: medium;" size="3">她十分注重传统与现代相结合的笔情意趣,强调中国画的意境。</span> <span style="font-size: medium;" size="3">她的彩墨荷花、向日葵、山楂树等,有潘天寿,石涛等大师的精神,但风格上完全有她自己的面貌,她的彩墨花卉同样借鉴了古往今来大家的东西,走出了自己的一片天地,新颖而不失法度。</span></div> <div align="left"><span style="font-size: medium;" size="3">近年来她更是走遍世界各地,潜心写生创作了许多画家未有画过的植物,菩提树、山楂树、各国本土花花草草都在她的画笔下彰显美艳绝伦。</span> <span style="font-size: medium;" size="3">此次展览将集中展示她的艺术创作成果,是对当下中国工笔重彩画精神新的追寻。</span></div> Fri, 12 Oct 2012 01:00:27 +0000 Group Show - Hong Kong Heritage Museum - October 13th, 2012 10:00 AM - 6:00 PM <p>Presented by Hong Kong Photo Festival 2012<br /> A partnership project of the Hong Kong International Photo Festival 2012 and the Hong Kong Heritage Museum of the Leisure and Cultural Services Department<br /><br /> One of the programmes in the Hong Kong International Photo Festival, this exhibition also forms part of a survey of contemporary photography in Hong Kong, Japan and South Korea. Seeking to develop an overview of Hong Kong photography in the early years of the 21<sup>st</sup> century, it highlights a new trend among young photographers who are rejecting traditional approaches to produce fresh and exciting work.<br /><br /> Over the last two decades, more and more photographers in Hong Kong have moved away from the ‘straight photography’ that has dominated the pursuit of this art since the 1980s. At the same time, an increasing number of artists who previously trained in other disciplines have taken up photography as their medium of expression and are creating works that rely on concept rather than subject or style.<br /><br /> The exhibition features sixteen groups of photographs created by artists who are establishing a new art scene for Hong Kong contemporary photography through their different approaches to creation.</p> Thu, 11 Oct 2012 23:46:42 +0000 Stanley Wong - K11 - October 13th, 2012 11:00 AM - 1:00 PM <p>In line with the AGI exhibition’s theme "Heaven and Hell", K11 presents two special workshops hosted by design maestros and AGI’s Hong Kong members Stanley Wong (aka anothermountainman) and Tommy. Stanley Wong will be presenting the “Heaven” workshop while Tommy Li’s workshop will be “Hell”.</p> <p>For enrolment and enquiries, please email <a href=""></a> or call +852 3118 8070.</p> <p>Terms and conditions:<br />The aforementioned exhibitions and workshops subject to change without prior notice. K11 reserves the right to make the final decisions.<br />Limited seats available per workshop. Places are filled on a first-come-first served basis.</p> Wed, 03 Oct 2012 02:14:18 +0000 Wang Guangyi - Today Art Museum (TAM) - October 13th, 2012 4:00 PM - 6:00 PM <p>Today Art Museum is the first private, non-profit international contemporary art museum in China. It has long been dedicated to the exhibition and research of Chinese contemporary art and the establishment of linkage with international contemporary art. It has staged many large scale contemporary art exhibitions, and is highly regarded both at home and abroad. From October 14 to November 27 2012, Today Art Museum will hold the large scale research exhibition “Thing-in-itself: Utopia, Pop and Personal Mythology – Wang Guangyi Retrospective,” supervised by Zhang Zikang and curated by Huang Zhuan.<br />   <br />       The idea of the “thing-in-itself” is a core concept in Kantian philosophy, as well as a central theme in the history of modern thought. Thing-in-itself is the source and foundation of phenomena and sensory material, but are also unknowable things that lie beyond human cognition, imbued with a priori spatiotemporal form and universal, absolute metaphysical properties. Dialectically, it is a category that is distinguished from the “thing-for-us,” and in contemporary art history, this category has manifested as a series of multiple and paradoxical relationships between things and words, materials and ideas, reason and belief.<br />   <br />       Wang Guangyi has been one of the most representative artists in Chinese modernist art history since the 1980s. His artistic path embodies the complex paradoxical logic of Chinese contemporary art’s progression from its era of enlightenment to avant-gardism, postmodernism and consumerism, but for a long time, critique and research of him has been misconstrued and limited by cold war critical discourse and the commercial capitalist interpretation that is “political pop.” There is a need for an individual case study that takes the history of Chinese thought and visual culture into account.<br />   <br />       “Politics, Art and Mythology: the Wang Guangyi Art Research Project” will use the theme of “thing-in-self” to engage in in-depth academic research of the historical dialectic properties of the rationality and faith, secular and transcendental, political and mythological contents of Wang Guangyi’s art, and will use this research-oriented presentation of a typical case study in Chinese contemporary art history to apply combined art history and intellectual history methods to holistically clarify the internal logic, image methods and situational influences taking place within this period of history. The academic goal of this pursuit is to provide a Chinese-language critical case study for the global theoretical interpretation system of contemporary art.</p> Wed, 19 Sep 2012 00:45:16 +0000 - Today Art Museum (TAM) - October 13th, 2012 10:00 AM - 5:00 PM Mon, 01 Oct 2012 07:56:17 +0000 Liu Lu Lu - Shanghai Duolun Museum of Modern Art (Doland Art Museum) - October 14th, 2012 3:00 PM - 5:00 PM <p><strong></strong>金秋十月上海多伦现代美术馆将举办留英抽象表现主义女画家刘陆陆名为“色动”系列个人画展,此次展览将展出刘陆陆近年来陆续积累的20余幅作品,展期为10月10日至10月31日(开幕酒会10月14日,下午3:00)。</p> Mon, 01 Oct 2012 06:45:54 +0000 Cédric Maridet - 2P Contemporary Art Gallery - October 17th, 2012 6:00 PM - 8:30 PM <p><b><i>“Distinct Factures. A Return from Langsdorff”</i></b> appoints the theoretical concept of transforming the gallery space into a Wunderkammer, a chamber of curiosity that fascinated many predecessors in the Renaissance. Maridet borrows this practice as a point of departure, adopting the form of an assemblage, to simultaneously explore the possibility of an re-enaction of a particular sensual engagement within a milieu of overlapping subsystems with the use of different modes of writings and signs – a development of an abstract but original signifier to synthesize an experience of firstness that was initially a mere potential; the significations and unavoidable limits in the translation of an existing physical reality to representation; and the gap between different perceived spatiotemporal worlds of different organisms in the same territory. Recently returned from residencies in the rainforest in Brazil and in Penang’s National Park, Maridet takes The Langsdorff Expedition (1826-1829) led by Baron von Langsdorff in Brazilian Amazon as an analogy to directly evoke the scientific and methodical undertone of the encyclopedic assortment of works in this exhibition.</p> <p> </p> <p>The exhibition incorporates works on paper, video, installations and sound compositions. This miscellaneous collection of intricately fabricated works urges the audience to decode a stratum of signs and generate their own translation along the way through Maridet’s transposition in his oeuvres. Through a systematically organized perception experience and the act of recording, different samples of signs are constructed to become a possible descriptive form of a particular territory (a specific, subjective, spatiotemporal world); to represent nodes of opportunity and open pathways to new potentials of knowledge, representation, imagination and narratives; to create a new syntax of the world.Exhaustive sources of sensual experience and the overlapping yet different animalities within an intricate internal landscape are taken collectively as the keynote of this exhibition. Audience will find though, they remain largely absence; unseen and unheard. In this particular moment of time, Maridet has set himself off to the outlying perceptual territory,to exhaust the limitless representation possibilities and to seek to get out of oneself through a work of defamiliarisation in creating alternatively a distinct facture to delineate the world.</p> <p> </p> <p><b>About the artist </b></p> <p>CédricMaridet is an artist, theorist and researcher. He completed his Doctorate degree in Media Art in 2009 at the School of Creative Media, City University of Hong Kong. His solo and collaborative works have been presented internationally including New York (Art in General and Ramiken Crucible), Paris (Théatre de la Villette), Vienna (IG BildendeKunst), Cambridge (Kettle’s Yard), London (Turbine Hall, Tate Modern), Hong Kong (Para/Site, Osage Gallery, Hong Kong Museum of Art), and he was awarded Prize of Excellence in the Hong Kong Art Biennial 2005. Maridet has participated in several residencies and symposiums on field recording, listening theories and the aesthetics of sound, such as the Pierre Schaeffer symposium 2010 co-organised by GRM and in the EMF-EMS 2011 conference in New York University. His writings have been published in two books: Around (soundpocket, 2010), and Who Cares? 16 essays on curating in Asia, (Para/Site, 2010). Since 2007, Maridet has been contributing to the French-based research lab in audio art Locus Sonus, and is currently a member of NMSAT Scientific Committee. He is also advisor for soundpocket, a non-profit organisation promoting sound art and culture. His works have been published as CD and book releases on monème (, a platform founded by Maridet.</p> <p> </p> Wed, 26 Sep 2012 11:03:04 +0000