ArtSlant - Closing soon en-us 40 Gary Yeoh - Grotto Fine Art - September 13th, 2012 - October 6th, 2012 <p align="left"><span style="font-size: small;" size="3">Grotto Fine Art takes great pleasure in presenting Gary Yeoh’s first exhibition at our gallery. A world renowned pathologist, Dr. Yeoh combines his professional expertise and aesthetic curiosity to present an alternative representation of flowers. Each flower is photographed under a modern X-ray machine. On a dark backdrop, these images reveal the inner construction of the plants, their complexity and design. Dr. Yeoh’s unique vision of flowers takes hold by their beauty and mesmerizing power as each image resembles a life form as if from another world. In essence, they provide a window to an inner world of existence hidden from our mundane perception. </span></p> <p align="left"><span style="font-size: small;" size="3">Dr. Gary Yeoh is a histopathologist at Canossa hospital Hong Kong. </span></p> <p align="left"><span style="font-size: medium;" size="3"><span style="font-size: small;">Partial proceeds from this exhibition will be donated to the Hong Kong Breast</span> <span style="font-size: small;">Cancer Fund.</span></span></p> Wed, 12 Sep 2012 00:47:05 +0000 Bruno Costa, Jesse Mc Lin & Julie Progin, Pedro Campos (Pt), Pili Wu - ILIVETOMORROW - September 28th, 2012 - October 6th, 2012 <p><b> </b></p> <p><b><img src="" /></b></p> <p><b>‘Radical Materiality’ at CAOCHANGDI (collaboration with <cite>01100001</cite> Gallery)<br /></b></p> <p>ILIVETOMORROW presents for the second Beijing Design week a unique experience of the recent editions and productions of ILIVETOMORROW with its ‘LIMITEDunLIMITED Editions project.</p> <p>‘Radical Materiality’ shows one year of collaboration between ILIVETOMORROW and Designers, Artists, Architects from China, Spain, Portugal, Italy, Taiwan, Hong Kong and France.</p> <p>‘Radical Materiality’ proposes to the Beijing Design week a selection of objects, nobjects and installations reflecting conceptual and formal researches.</p> <p>Beyond Design perspectives and industrial issues, ‘Radical Materiality’ explores the physical limitations of forms and materials and expresses the complex relations between Conceptual explorations, fabrication processes and materialization.</p> <p>The diversity of the various projects presented by ILIVETOMORROW in Beijing is a manifesto to the recurrent seduction of materials and memory.</p> <p>Jesse Mc Lin and Julie Progin with ‘Fragment(s)’ and ‘Bloom’ and ‘Rolling Sofa’ by Pedro Campos propose a post-archeology of form, nature and memories.</p> <p>Bruno Costa has created ironic icons reflecting is conceptual experience in China, the poetry of lightness of the works of Xiaodong are a sensitive ephemeral expression of nature, the hybrid furniture of the Fashion designers CCChu and Nicola Borg-Pisani proposes new domestic environments, Pili Wu’s chair is an intensive dialog with industrial craft, etc.</p> <p>‘Radical Materiality’ is an experience to object recognition toward a teleology of materiality where objects and prototypes emphasizes the conceptual and visual knowledge.</p> Tue, 14 May 2013 08:18:21 +0000 - ILIVETOMORROW - September 28th, 2012 - October 6th, 2012 <p>‘TRANS-Design’ at 46-48 Xi Jie Hutong / DASHILAR BEIJING</p> <p>ILIVETOMORROW Design Gallery with his Concept store Signed-By present at the 2<sup>nd</sup> Beijing Design week in Dashilar the project ‘TRANS-Design’.</p> <p>‘TRANS-Design’ proposes an exploration of radical attitudes in Design with a selection of seductive and ironic objects developed by designers from all around the world such as China, Japan, Taiwan, Germany, France, Spain, Portugal, Canada, Netherland, Italy, Poland, USA, etc.</p> <p>The project proposed by ILIVETOMORROW reflects several years of collaborations in the Design field with a sharp selection of objects and projects not only define by a pure functional goal.</p> <p>‘TRANS-Design’ is the expression of transdisciplinaries, transnational and transculture practices that nowadays redefine strategically and radically the traditional industrial and functional design issues.</p> Tue, 21 Aug 2012 04:05:04 +0000 Matt Hope - Saamlung - August 31st, 2012 - October 6th, 2012 <p style="text-align: justify;"></p> <p style="text-align: justify;"></p> <p style="text-align: justify;"></p> <p style="text-align: justify;" class="western">Saamlung announces a new solo installation project from artist Matt Hope. For his first solo presentation in Asia after five years working in Beijing, the artist will create a disorienting sensation of contrasting experience with an apparatus that simultaneously focuses the viewer on the physical experience of the gallery space while also transforming it into a mediatized event. Entitled <i>Spectrum Divide</i>, the installation draws parallels between machine vision and human blindness.</p> <p style="text-align: justify;" class="western">Matt Hope will bring complete darkness to the Saamlung space—at least to the human eye. At one end of the gallery is constructed a bank of lightning sources numbering in the tens of thousands that emit a spectrum of light invisible to the naked eye. In terms of the vision of the machine world, however, the room is actually as bright as day. Certain kinds of cameras in the gallery are able to provide an illuminated video signal that seems to effectively double the architectural space of the installation: half bathed in floodlights and half under the cover of darkness.</p> <p style="text-align: justify;" class="western">This project at Saamlung marks the artist’s first solo presentation in Asia, though his work will be familiar to Hong Kong audiences. Matt Hope last appeared in the city under the aegis of “The Border Show,” a temporary exhibition project that took place in a cargo container storage site in the New Territories in early 2011. For that installation, Hope collaborated with Jon Phillips on <i>Laoban Soundsystem: Infinite Baffle</i>, which transformed an empty cargo container into the rear volume of a massive speaker system.</p> <p style="text-align: justify;" class="western">Other recent major outings in Asia include the installation <i>People’s Power Station</i>, presented at the Chengdu Biennial, for which Hope used interaction with components from the public outdoor exercise machines installed across mainland Chinese cities to generate electricity; the sculpture <i>Helioscope</i>, exhibited at the Ullens Center for Contemporary Art, which transforms light into sound with the help of the audience; and his ongoing sculptural series <i>Towers</i>, shown in “Get it Louder,” for which the artist reassembles incompatible mechanical and electrical components into often useless and occasionally threatening pylons.</p> <p style="text-align: justify;" class="western"><i>Spectrum Divide</i> similarly relies on the audience to provide at least half of the equation it suggests. Both blinded and enabled by Hope’s transformations of the gallery architecture and the visual regime it represents, the visitor to this installation project is simultaneously split into two parallel worlds: the flesh of the body and its mediated image.</p> <div style="text-align: justify;" align="center"><hr align="center" noshade="noshade" size="1" width="100%" /></div> <p style="text-align: justify;" class="western">Matt Hope (b. 1976 in London, lives and work in Beijing and Los Angeles) works as an engineer of the aesthetically unpredictable and conceptually unsound, assembling large-scale agglomerations of steel, custom hardware, machinery, speaker components, and odds and ends culled from wholesale electronics markets. Once involved in the production of sound systems and electronic music for the English underground party scene, he is currently based in Beijing's Caochangdi district, working with globalized manufacturing systems and local fabrication workshops.</p> <p></p> <p></p> <p></p> Mon, 10 Sep 2012 15:35:49 +0000 AES+F - Art Statements Gallery - September 6th, 2012 - October 7th, 2012 <p>AES+F F (Tatiana Arzamasova, Lev Evzovich, Evgeny Svyatsky and Vladimir Fridkes) has been exploring the possibilities of combining modern technology, Hollywood cinema, fashion photography, advertising, mass media, popular culture and youth obsession with the classical aesthetic of old masters’ paintings since the forming of the group in 1987, visualising and presenting a world for the viewers that is rather familiar yet mysterious and alienated. Their digital collage of real life photographs and animated landscape/objects blurs and defies the line between reality and fantasy, history and time, constructing a futuristic mythological metaphor for the present through their glamorous, seductive yet alarming, artificially hyper-realistic imageries. <br /> <br />ABOUT THE FEAST OF TRIMALCHIO <br /> <br />In the 'Satyricon', the work of the great wit and melancholic lyric poet of Nero's reign, Gaius Petronius Arbiter, the best preserved part is 'The Feast of Trimalchio' (Cena Trimalchionis). Thanks to Petronius's fantasy, Trimalchio's name became synonymous with wealth and luxury, with gluttony and with unbridled pleasure in contrast to the brevity of human existence. <br /> <br />We searched for an analogue in the third millennium and Trimalchio, the former slave, the nouveau riche host of feasts lasting several days, appeared to us not so much as an individual as a collective image of a luxurious hotel, a temporary paradise which one has to pay to enter. <br /> <br />The hotel guests, the 'masters', are from the land of the Golden Billion. They're keen to spend their time, regardless of the season, as guests of the present-day Trimalchio, who has created the most exotic and luxurious hotel possible. The hotel miraculously combines a tropical coastline with a ski resort. The 'masters' wear white which calls to mind the uniform of the righteous in the Garden of Eden, or traditional colonial dress, or a summer fashion collection. The 'masters' possess all of the characteristics of the human race - they are all ages and types and from all social backgrounds. Here is the university professor, the broker, the society beauty, the intellectual. Trimalchio's 'servants' are young, attractive representatives of all continents who work in the vast hospitality industry as housekeeping staff, waiters, chefs, gardeners, security guards and masseurs. They are dressed in traditional uniforms with an ethnic twist. The 'servants' resemble the brightly-colored angels of a Garden of Eden to which the 'masters' are only temporarily admitted. <br /> <br />On one hand the atmosphere of 'The Feast of Trimalchio' can be seen as bringing together the hotel rituals of leisure and pleasure (massage and golf, the pool and surfing). On the other hand the 'servants' are more than attentive service-providers. They are participants in an orgy, bringing to life any fantasy of the 'masters', from gastronomic to erotic. At times the 'masters' unexpectedly end up in the role of 'servants'. Both become participants in an orgiastic gala reception, a dinner in the style of Roman saturnalia when slaves, dressed as patricians, reclined at table and their masters, dressed in slaves' tunics, served them. <br /> <br />Every so often the delights of 'The Feast of Trimalchio' are spoiled by catastrophes which encroach on the Global Paradise... <br /> <br />The Feast of Trimalchio film was featured at the 17th Sydney Biennale [2] and the 53rd Venice Biennale.<strong> </strong></p> Fri, 07 Sep 2012 03:22:07 +0000 - Asia Contemporary Art Show - October 4th, 2012 - October 7th, 2012 <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 03:30:41 +0000 Group Show - Iberia Center for Contemporary Art - September 22nd, 2012 - October 7th, 2012 <p>The exhibition “Looking Awry”, hosted by the Iberia Center for Contemporary Art and organized by Beijing Lelege Culture &amp; Art CO. Ltd, is having its grand opening on September 22nd 4:00p.m., 2012 at Iberia Center for Contemporary Art in Beijing’s 798 art district. </p> <p>  This is a show that releases contemporary Chinese art from the usual historical, social, political, and cultural concepts; it aims to return to the individual, return to the basics. As the title “Looking Awry” entails, this exhibition hope to achieve the sudden emotional shiver among its audiences through the pure visual expressions of intense emotional impulse and precipitation of memories.</p> <p>The “awry” used in “Looking Awry” is in reference to Slavoj Žižek, the most influential ideologist of contemporary cultural. The phrase “Contemporary Art” appears to be an extremely glamorous label, but if we try to perceive it in another way perhaps it could remind us of the various anxiety and deviation of both spirit and culture.Contemporary artworks seemed to be very straightforward, naked and integrated,inviting the public to comprehend and appreciate. However, behind the artworks there hid the artists’ secret intention and anxiety, which ther refuse to be completely comprehended by the public. This part that could not be comprehended is precisely the emotional mechanism of the phrase “awry”,and this is also the reason why contemporary Chinese art could continue to vibrantly flourish.</p> <p>University of Illinois professor Gary Xu, who earned his Ph.D in Columbia University, curates this exhibition. This exhibition gathered arworks from 18 contemporary Chinese artists,they are Chen Wenling, Cui Xiuwen, Fang Lijun, Hong Lei, Huang Ying, Li Qing, Qin Ming, Tu Hongtao, Wang Guangyi, Xiang Jing, Xue Song, Yue Minjun, Yang Qian, Yang Xun, Zhou Chunya, Zeng Hao, Zhang Peili, Zhang Xiaogang they will show their newest works to the public for the first time, including paintings, new media and sculpture works. They are creating a whole new contemporary art world, and constantly exploring new forms of expression. Through this show “Looking Awry”,the public will enjoy to appreciate the deep communication between the artists and the curator.</p> Wed, 05 Sep 2012 03:08:44 +0000 - K11 FASHION MUSE - September 7th, 2012 - October 7th, 2012 <p>“Trinity”, this year’s APPortfolio exhibition is a collection of 33 pieces of works from 3 lands, by artists aged under 35, showcasing the best in interactive and innovative installations. The key visuals of the exhibition are symbolic animals from the three lands, namely the sparrow from Hong Kong, the spotted deer from Taiwan, and the cuddly panda from mainland China.</p> <p>This exhibition aims to present inspiring Asian young creators through visual impact and audience participation. Physical interaction from the audience is required in order to fully appreciate the installations. Touching buttons, tilting your heads up, maybe even squatting down, would be essential so as to heighten your personal experience of these installations by the energetic young creatives.</p> Wed, 05 Sep 2012 03:22:47 +0000 Liu Chuang - LEO XU PROJECTS - September 7th, 2012 - October 7th, 2012 <p>Beijing-based conceptualist <b>Liu Chuang’s</b> first solo presentation in Shanghai, this exhibition presents Liu’s latest series of works titled successively from “No.16″ to “21″. Centerpieces of the exhibition are site-specific installations that create a show in limbo where the artist challenges the norms of exhibition-making and spectator’s anticipation. Other works include a set of found books with hand-written stories by random readers.</p> <p>Born in 1978 in Hubei, Liu Chuang produces works with subtlety and sensibility, which brings together institutional critique and social intervention. Liu has exhibited extensively at various institutions and galleries, among many others, “Image-History-Existence: Taikang Art Collection” (National Art Museum Of China,Beijing,2011), “51m2:16 Emerging Chinese Artists” (Taikang space, Beijing, 2011), “CAFAM Biennale:Super-organism” (CAFA Art Museum, Beijing, 2011), “Moving Image In China:1988-2011″ (Minsheng Art Museum,Shanghai, 2011), “China Power Station” (Pinacoteca Giovanni e Marella Agnelli, Turin, 2010), “Studies &amp; Theory” (Kwadrat, Berlin, 2010), “The Generational: Younger Than Jesus” (New Museum of Contemporary Art, New York, 2009).</p> Fri, 31 Aug 2012 00:30:26 +0000 Michael Lin - LEO XU PROJECTS - September 7th, 2012 - October 7th, 2012 <p>The first solo project of <b>Michael Lin</b> at LEO XU PROJECTS explores the artist’s interest in a dialogue between the graphic, medium and social context. Transforming his signature floral pattern painting typical of local aesthetics and tradition into extensive wallpaper covering contemporary gallery space, the show starts with ideas of artistic intervention with the architectural space and <em>fengshui</em>, and consequently evolves into a laboratory of print-making.</p> <p>Raised in Taiwan, Lin (b. 1964 in Tokyo) lives between Brussels, Shanghai and Taipei. Lin creates paintings and site-specific installations that appropriate images and products from the regional cultures and histories, and reflect upon the quotidian reality shaped by today’s cultures and policies.</p> <p>Michael Lin has been included in many international museum shows and biennales, for instance, “The Spectacle of the Everyday” (Biennale de Lyon, France, 2009), “Super Fengshui” (Ullens Center for Contemporary Art, Beijing, 2008), Moscow Biennial of Contemporary Art (Moscow, 2007), “Notre Histoire” (Palais de Tokyo, Paris, 2006), “Spring 2003″ (Palais de Tokyo, Site de Creation Contemporaine, Paris, 2003), “Bibliotherapy” (with Remy Markowitsch, Kuntsmuseum, Lucerne, 2003), “International:Liverpool Biennial” (Liverpool, 2002), “The Gravity of the Immaterial” (Total Museum, Seoul, 2002), 7th Istanbul Biennal (Istanbul, 2002), “The Gravity of the Immaterial” (Institute of Contemporary Art, Taipei, 2001), 49th Biennial of Venice, Taiwan Pavilion (Venice, 2001), “The Sky is the Limit” (Taipei Biennial, Taipei Fine Arts Museum, Taipei, 2000), etc. His recent solo exhibitions include “Model Home: A Proposition by Michael Lin” (Rockbund Art Museum, Shanghai, 2012), “Michael Lin: A Modest Veil” (vancouver Art Gallery, Vancouver, 2010), “Michael Lin” (Kunsthalle Wien, Vienna, 2005), among many others.</p> <p> </p> Fri, 31 Aug 2012 00:34:27 +0000 Liu Wei - Long March Space - September 1st, 2012 - October 7th, 2012 <p style="text-align: justify;">Long March Space is proud to present the solo exhibition of artist Liu Wei, the first solo presentation of the artist at the gallery.</p> <p>Liu Wei refuses to give this exhibition an explanatory title, insisting there is nothing to be said in words and that nothing can be said.  Taking form over the course of one year, the exhibition fills both halls of the Long March Space gallery.  The audience is acutely aware that the segmenting and division of the exhibition space presents an inherent issue.  However, it is only upon “entering the space” that the problematic visual and physical relationship of the space reveal themselves.  The standard terminology of “conceptual”, “installation”, “site” and other related phrases lose their descriptive meaning. Instead, Liu Wei’s work presents us with a vocabulary filled with uneven bars, large circular tables, rectangular pillars, canvas, scaffolding, large and small, vertical and horizontal, wrapped, bound, and cut so that he is able to find the logic behind his materials and the space.  During the preparation of the exhibition, there was a conscious desire by Liu Wei to break free from his system. However, after repeatedly entering into the space, has this not turned back into the unconditional support of Liu Wei’s system, his concept that “form is the most political”.  Although Liu Wei often uses the word “reality”, we can be certain that he is not speaking about our conventional precepts, but rather the multilayered membrane of ideology and structure. </p> <p style="text-align: justify;">Widely recognized as one of the most dynamic and audacious artists of his generation, Liu Wei (b. 1972) has come to international attention for his enigmatic but incredibly arresting “Gesamtkunstwerk”, a culmination of elements that are brought together offering an acute visual commentary on the urgent situation in China and beyond. While earlier works engage with and make use of particular cultural, social and political ideas, his recent series of works focuses on his relationship with the fundaments that constitute our world, seeking to “get past what is immediately visually available, and realize more of the value within the matter itself.”</p> Mon, 24 Sep 2012 01:49:03 +0000 - National Art Museum of China - September 10th, 2012 - October 7th, 2012 <div id="content_div"> <div><span style="font-family: 宋体;" face="宋体"><span style="font-family: 宋体;" face="宋体"></span></span> <p>This is the first research exhibition launched by National Research Center for Modern Art. As a new way of presentation, it will exhibit the important achievements of the art circle in the research on Chinese modern art in the form of exhibiting artwork, manuscript, archives, and video, to communicate and share with the academic circle timely.</p> <span style="font-family: 宋体;" face="宋体"><span style="font-family: 宋体;" face="宋体"></span></span> <p>+The exhibition is composed of “Michael Sullivan and Twentieth-Century Chinese Art” and “The Road of Chinese Modern Fine Arts”. As the first western scholar that introduced Chinese modern art to the world, Sullivan was engaged in research on Chinese art for several decades and made crucial academic achievements in the history of art communication between China and western world. “Michael Sullivan and Twentieth-Century Chinese Art” displays the course of his research on Chinese modern art by exhibiting the valuable artworks and archival materials he collected. “The Road of Chinese Modern Fine Arts” shows the latest achievements of Pan Gongkai, a famous art historian and the president of Central Academy of Fine Arts of China, in research on transformation of Chinese modern art and discussion on the theory of evolution of Chinese modern art. These two part of exhibition view the development of Chinese modern art from “inside” and “outside” to inspire the innovation in research idea and method of Chinese modern art.</p> </div> </div> Mon, 03 Sep 2012 07:03:05 +0000 Group Show - Shanghai Duolun Museum of Modern Art (Doland Art Museum) - September 2nd, 2012 - October 7th, 2012 <p>“解构水墨——国际当代水墨邀请展”定于2012年9月2日至10月7日在上海多伦现代美术馆举行。本次展览由著名策 展人彭锋策划,上海多伦美术馆、北京当代艺术馆联合主办,将展出来自海内外的21名艺术家的绘画、装置、影像、行为艺术作品。展览定于9月2日晚上7点在 多伦现代美术馆开幕。</p> Wed, 12 Sep 2012 01:24:58 +0000 Geng Jianyi, Yu Youhan, Wu Yiming, Liang Shaoji, Pujie, Chen Xiaoyun, Xiang Liqing, MadeIn Company - ShanghART Gallery (main gallery) - September 1st, 2012 - October 7th, 2012 Wed, 19 Sep 2012 00:34:31 +0000 Feng Zikai - The Hong Kong Museum of Art - May 25th, 2012 - October 7th, 2012 <p>More than 200 exemplary works of Feng Zikai covering a wide range of subjects and created at different stages of his life are on loan from Feng’s family and local collectors in this section of the exhibition. Displayed under different themes such as “A Childlike Heart”, “Family Life” and “Painting Old Poems” etc, the exhibits will provide an interesting study of Feng’s forms of representation, warmth as a humanist and concern for humankind and beyond.</p> <p><em>“Each and every falling petal (in Feng’s painting) embraces compassion of the human world.” Yu Pingbo</em></p> <p>Feng Zikai introduced the genre he called manhua (cartoons) into China, and “Zikai’s Cartoons” has since become synonymous with his iconic style. According to him, “cartoon may be described as a kind of spontaneous drawing, or a quick study on one subject. It is painting inspired by any ad hoc subject matter, and is succinct in form and content.” In other words, both form and content of cartoons must carry spontaneity and an immediacy that has plebeian appeal. Only when the humanistic touch is felt in a cartoon can it touch its audience, regardless of their cultural and education background.</p> Mon, 30 Apr 2012 04:13:47 +0000 - Today Art Museum (TAM) - September 12th, 2012 - October 7th, 2012 <p>In commemoration of the 20th anniversary of diplomatic ties between the People's Republic of China and the Republic of Korea, the Gwangju Museum of Art in Korea and the Today Art Museum in Beijing, China have jointly planned the exhibition, Mudeung Tales which is of an omnibus storyline akin to that of a movie plot. Gwangju, Korea's cradle of the arts, possesses many important traces of its nation's turbulent modern and post-modern history, and Damyang and Hwasun of Jeonnam province had produced the Chosun dynasty's most prominent tradition of lyrical literature and pavilion culture, offering a distinctly stylish culture of classical scholars and innumerable stories of the common folk embraced by and hidden in their beautiful fields and mountains.<br /> <br />      Korea has many breathtaking mountains as some 70% of its land mass is mountainous. Of them, Mt.Mudeungis a great Korean mountain that crosses into Gwangju, Damyang and Hwasun and, possessing the roots of a long history and diverse cultural and artistic activities, has tucked away countless stories in changing with the times to this day. Among them are many stories, such as myths, legends, folk tales, etc., that have been passed down since a distant time ago.</p> <p><br />       Those things are in progress, passing through the past and present, and will continue to produce new tales in the future as well. They will possess the historic and social qualities of an era and are sometimes an important resource for scholarship. The arts can be said to ultimately evolve through the application of, and contact with, such things as these.</p> <p>      The &lt;Mudeung Tales&gt; exhibition becomes a gathering of nine precious stories from around Mt.Mudeung, thus being of three acts- the stories of Gwangju, Damyang and Hwasun- and coalesce into one theme of Mudeung within a larger frame to complete the exhibition. Participating artists capture the past or produce new fictions through a liberal arts approach, investigation or interpretation. 11 artists will representKoreain the exhibition and display various works including those of painting, video and installation, etc. which promise to be an example of truly fine contemporary Korean art.</p> Wed, 19 Sep 2012 00:39:12 +0000