ArtSlant - Recently added en-us 40 Kim Joon - Sundaram Tagore Gallery - Hong Kong - May 14th - June 28th Wed, 29 Apr 2015 16:58:56 +0000 Feng Mengbo - Hanart TZ Gallery - May 8th - June 2nd Wed, 29 Apr 2015 16:49:00 +0000 Balthus - Gagosian Gallery Hong Kong - May 28th - August 15th Wed, 29 Apr 2015 16:29:36 +0000 Fu Xiaotong, Wang Fengge - CHAMBERS FINE ART BEIJING - May 2nd - May 31st <p style="text-align: justify;">Chambers Fine Art is pleased to announce the opening on May 2 of&nbsp;<em>Land of Serenity: Fu Xiaotong and Wang Fengge</em>. This will be the first solo exhibition by both artists at the gallery. Although there is a fundamental difference of approach in the technical aspect of their respective oeuvres, they both respond to the Chinese tradition of landscape painting although in fundamentally different ways.</p> <p style="text-align: justify;">Born in Shanxi in 1976, Fu Xiaotong received her BA in Fine Arts from the Tianjin Academy of Fine Arts, Tianjin in 2000. After working at the Institute of Fine Arts, Hebei United University, she received her MA in Fine Arts from the Department of Experimental Art, China Central Academy of Fine Arts, Beijing in 2013. For Fu Xiaotong, it is the overwhelming majesty of mountain ranges and the ocean that challenges her ability to convey their meaning on a flat surface. To accomplish this, she utilizes a seemingly counter-intuitive approach, choosing thick sheets of Xuan paper, the traditional support for Chinese painting through the centuries, which she perforates with a needle.</p> <p style="text-align: justify;">The needle is traditionally used for the feminine pursuit of embroidery but for Fu Xiatong it becomes the implement with which she perforates the sheets of paper she uses for her works many thousands of times. She has described the way in which thousands of pinholes made in different directions are brought together to form shapes of mountains, waves and patterns inspired by other forms of nature.</p> <p style="text-align: justify;">With her needles she damages the integrity of the surface of the paper but in doing so creates a new energy in which forms emerge from the angles at which light strikes the paper. Seen close to, the surface of the paper resembles that of a densely-worked tapestry in which abstract patterns are created from a limited range of shades of white. See from afar, these closely interlocking shapes are seen to have been inspired by changes of terrain in mountain ranges as they reach to the sky.</p> <p style="text-align: justify;">Born in Shaanxi in 1982, Wang Fengge graduated from the China Central Academy of Fine Arts in 2009 and completed advanced studies from the same institution in 2011. Unlike Fu Xiaotong who has perfected a new technique, Wang Fengge continues to paint in oil on canvas although she admits to a deep respect for classical Chinese brush and ink painting. In her case, however, she achieves effects of comparable subtlety through multiple layers of closely related hues applied in small touches that derive ultimately from Pointillism, the 19th century French art movement whose most important exponent was Georges Seurat.</p> <p style="text-align: justify;">Based on details of landscapes and buildings that she reduces to nearly abstract configurations, her paintings hover on the borderline between realism and abstraction without ever settling firmly in either camp. In the same way that her subdued patches of color are always in the process of defining themselves clearly, her compositions defy easy classification. What is it that we are seeing? Is it a man-made or a natural form? When recognizable elements do appear, they are bathed in a penumbral light that could be early morning or dusk. This preference for working at the outer limits of perceptibility is the secret of the paintings&rsquo; low-key allure.</p> <hr /> <p style="text-align: justify;">这是两位艺术家首次在前波画廊举办个展。尽管她们在各自的艺术领域中所运用的创作手法和技巧有本质上的区别,但是他们都通过不同的创作语言表达了对中国传统山水画的理解。</p> <p style="text-align: justify;">付小桐于1976年出生于山西,2000年本科毕业于天津美术学院,后任教于河北理工大学艺术学院,并于2013年获中央美术学院实验艺术系硕士学位。对付小桐而言,平面的画布不足以表现山脉与海洋雄浑磅礴的气势。于是,她运用了一种出人意料、反直觉的创作手法,即将中国传统绘画中不可缺少的宣纸经过特殊定制加厚,再用针刺孔。</p> <p style="text-align: justify;">从传统意义上来说,针仅是运用于女性手工刺绣的一种工具。然而在付小桐手中,却成为了一种艺术创作手段,在纸上扎出成千上万个针眼。据付小桐描述,数以万计、朝着不同方向的细密针眼汇集在一起,变幻出山脉、波浪、以及源于大自然中其他景象的图案。</p> <p style="text-align: justify;">付小桐用针毁坏了纸面的完整性,但也由此赋予了它一种新的能量。当纸面受到从不同方向照射而来的光时,它透过针孔呈现出特殊的光影效果。走近观看,由有限、不同层次的白色调构成了抽象的图案,犹如繁复编织的挂毯。而从远观,这些交错纹理的图案似乎是受到了地形变化的启发,犹如山峦直冲云霄或是海浪滔天。</p> <p style="text-align: justify;">王凤鸽于1982年出生于陕西,2009年毕业于中央美术学院油画系,并于2011年在同一院校完成了研究生的学习。如果说付小桐不断追索一种新的创作手段并精益求精,王凤鸽则延续了布面油画这一经典媒材。虽然也推崇中国传统水墨画的博大精深,但在其作品里,她却运用了一种源于19世纪以乔治&middot;修拉为代表的法国点彩画派的技法,通过细小的笔触用多层次及相交融和的色彩,营造出朦胧柔和的效果。</p> <p style="text-align: justify;">王凤鸽将风景和建筑的细节弱化到几乎抽象的轮廓,其作品徘徊于写实与抽象的边缘,而没有完全拘泥于两者间的任何一派。同样,她所用的柔和色块总是处于不断勾勒出清晰图像的过程之中,而构图也超越了简单的画风分类。我们看到了什么?是人为的创造还是自然景观?当可识别的物象最终显现在眼前,它们被笼罩在若隐若现的光影中,犹如黎明的曙光或黄昏的光晕。这种打破感知能力外部局限的艺术追求,是这些低调的油画作品的魅力所在。</p> <p>&nbsp;</p> Wed, 29 Apr 2015 16:28:55 +0000 He An - Tang Contemporary Art Beijing - April 12th - May 10th <div style="text-align: justify;">Tang Contemporary Art is delighted to announce the solo exhibition of He An after a four-year hiatus. He An will present his views on truth, timeline and legend involving a new series of installations.</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">All questions in regards to space and time proposed by the exhibition are on the basis of a classical approach for pictorial representation in the Western art history &ndash; the perspective. In the perspective, objects seem smaller at a further distance, which forms a fictitious visual relationship. While using the perspective to think about the world, &lsquo;near&rsquo; and &lsquo;far&rsquo; in terms of space and time are rather the &lsquo;near&rsquo; and &lsquo;far&rsquo; of the perspective, beyond the parallel distance or the depth. &lsquo;Armenia&rsquo; as the exhibition title is thereby given a poetic nature, placed in-between the reality and the fiction.</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">He An named the seven exhibition works as &ldquo;<strong>Preface &ndash; Night or with Its Daytime &ndash; He Taoyuan &ndash; EVA00 Prototype &ndash; Armenia &ndash; Bride &ndash; Love Child</strong>&rdquo;. Each word lost the relationship between its signifier and signified to form another narrative, as being a rhetorical device together creating a fiction novel or drama. The fiction and the reality stimulate, extrude and play with each other, mutually and in parallel, acquiring the same tension and the same presence. He An used the relationships between texts and rhetoric, rhetoric and time, and time and legend, to establish a magical realistic two-dimensional world. A kind of new potential language has been developed here.</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">A timeline is being cut off and unfolded in a new context. The past, present and future exist within the same horizont. He An has created a space-time for a new dimension where people mutually share their experiences, memories and emotions, escaping from the closed reality. While exploring the concept of time in each space, a kind of religious atmosphere would commonly arise. Drawing the fatalism into the context is almost inevitable, because He An hopes that every word he said is granted by the divine, &ldquo;this is my best judgment for the arts&rdquo;.</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;"><strong>Timeline, memories and legend</strong></div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">It does not even matter whether there is dragon or not. What counts is that he is the only one out of the twelve Earthly Branches existing in another world. But it is not modest for him at all turning to be the Chen-earth (the fifth of twelve Earthly Braches). He becomes the earthy reservoir in the spring, the most variable compound of water and earth in the four-tomb library. In the ancient time, he turned to slurry rising up into the sky, and then formed into rainbows, clouds and aurora borealis. The male genital is the dragon of a man. It returned to dust after death. When wind and rain arrived, it would re-form to the slurry, turning into the water vapor to become the rainbow and lightning. Its spirit became fish, creating a world with dragon flying in the sky. These transformations are all regarded as the dragon in Qi Men Dun Jia (the studies of Chinese ancient divination theory). Having the azure dragon moving in images of the Liu Yao trigrams (a method of divination) indicates the moment of reaching the full strength. Life is death, and death is for life. The fleshes enjoyed exciting lives during their lifetime, but their true images and seeds would be fully exposed after death. Dragon is a large collection of various strengths. When Chen-earth blew through a tree from the Southeast, people standing under the tree would feel the touch of the wind as if all four seasons have just passed by, indicating the presence and the strength of the dragon. I do not believe there is flesh and blood having the sense of touch as fishes. But human beings are self-regulated animals, what we are seeing is not solid. Recalling that my father told me Wuhan was flooded that year, Yangtze River water rushed into every family&rsquo;s door. My grandma lived near to the Jing-Han Railway escaped from home and ran following the crowd, sailing a wooden raft from Hankou to Huanggang to avoid the flood. The midnight, lightning accompanied by peals of thunder and rainstorms, the raft as if a piece of fallen leaves was drifting along the river. A dozen people on the raft were all thinking they would not get through the night. At a terrifying moment, when my grandma accidentally stretched her hand into the river to pole the raft, she suddenly touched a large piece of thick, strong and rolling scale. She settled down right away, calmly drifting up and down with the wind and rain until arriving at Huanggang. Grandma told my dad that she knew she touched the body of dragon. The older people said touching a dragon in chaotic water is a propitious sign for undeath. Until that day my grandma recalled this story to mind with my dad, the sense of touch on her hand remained real and vivid, as if rolling crudely in the chaotic night.<hr /> <div style="text-align: justify;">暌违四年再次回到当代唐人艺术中心举办个展,何岸将以全新作品呈现自己对于真实、时间轴以及传说的看法。</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">展览关于空间与时间的全部提问都围绕着西方艺术史图像再现的经典方法&mdash;&mdash;透视法展开。在透视中物体近大远小,这是一种虚假的关系。运用透视法思考世界时,空间与时间的远和近并不仅仅是平行或纵深的远和近,而是透视的远和近。作为展览标题的&ldquo;亚美尼亚&rdquo;由此悬置于真实与虚假之间,并被赋予诗性。</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">何岸把展览的七件作品分别命名为&ldquo;<strong>序言 -&nbsp;</strong><strong>夜晚或者和它的白天 -&nbsp;</strong><strong>何桃源 -&lsquo;</strong><strong>零&rsquo;</strong><strong>号机 -&nbsp;</strong><strong>亚美尼亚 -&nbsp;</strong><strong>新娘 -&nbsp;</strong><strong>私生子</strong>&rdquo;,每一个词语本身失去所指,能指之间的相互勾连形成另外一种它者的叙述,作为修辞手法共同形成一部虚构的小说或戏剧。虚构和现实并行相互刺激玩弄和挤压,获得同样的张力,同样的在场。何岸用文字与修辞、修辞与时间、时间与传说之间的关系搭建出一个魔幻现实平面的世界,一种新的可能性的语言在此展开。</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">在全新的境遇里时间轴被截断打开,过去、现在、未来存在于同一视域。何岸创造出新维度的时空,这里人们的体验、记忆、情感相互交融,从封闭的现实中逃逸。在每一个空间里探究时间概念的时候,便会具有某种宗教的情节。宿命的引入几乎是必然,何岸希望艺术家工作有一种神授艺人的职能,&ldquo;这是我对艺术最美好的判断&rdquo;。</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;"><strong>时间轴、记忆和传说</strong></div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">到底有没有龙不重要,重要的是十二地支就他一个在另外一个世界,不过化为辰土一点不虚,在春天他为土性水库,是四墓中变化最多的一个水土混合物。在远古化身为泥浆上升到天际又转为霓虹、云彩、北极光,男性生殖器就是自己的龙,死后归于尘土,风来了雨来了又会重新归于泥浆,化为水汽变成彩虹和闪电,一气化为鱼,再生三三有天的世界。这些在奇门遁甲都作龙看。六爻有青龙动象征力量最圆满的那一刻,生就是死死而为生,活着肉体各自精彩死后原形毕露都是它的相和子孙。龙是各种力量的大集合,辰土在东南方为风吹过的大树,站在风里树下风掠过大树吹到身上四季都能触到,这就是龙在运行。我不相信有手感鱼类那样的血肉体,不过人就是个自我调节的动物,眼不见为实。记得爸爸跟我讲有一年武汉大水,长江进了每个人的家门。京汉铁路边的我奶奶逃了出来跟着一大群人跑,从汉口坐木筏子到黄冈逃水。半夜在江水上风雨雷电小筏子如掉下来的树叶飘荡,筏子上不过十几个人都认为要完蛋了,我奶奶在惊魂时候偶然伸手往船帮撑,一下触到一大块粗壮翻动的鳞片,她当时就不慌了,很安静地随风雨起伏直到抵达黄冈。奶奶对我爸爸说她晓得摸到龙的身子了,听更老的人说恶水中摸到龙身就是不死的吉兆,直到奶奶跟我爸爸谈起来这个事情的那一天,她手上的触感依然清晰如澈 ,粗粝地在黑水风雨里翻动。</div> </div> Wed, 29 Apr 2015 15:20:49 +0000 - Space Station - April 26th - May 24th <p style="text-align: justify;" align="left">Double Fly&rsquo;s Klein Blue</p> <p style="text-align: justify;" align="left">By Fu Xiaodong</p> <p style="text-align: justify;" align="left">&nbsp;</p> <p style="text-align: justify;" align="left">On March 9th, 1960, in the Paris International Contemporary Art Gallery, Yves Klein applied IKB to the bodies of three women, and made them roll, pull and drag on the canvas set both on the ground and the walls.The Foire Internationale d&rsquo;Art Contemporain held on March 9th, 1960 witnessed that Yves Klein applied IKB to the bodies of three women, and made them roll, pull and drag on the canvas set both on the ground and the walls. The coming April 26th, this historical and classical moment is going to be presented again by Double Fly Art Center in Space Station in Beijing. It takes 55 years for the spiritual spark of &ldquo;flexible and unrestrained universe&rdquo;, which Klein worshipped very much, to reappear. Audience are given the chance by Double Fly Art Center to experience the moment when the virtual artists leap up and throw themselves into the void, suspending the illusory but complicated spiritual world in the universe. Klein uses the purest color and void to arouse the strong perception of the soul towards immateriality: this is his system of thought under the influence of Rose of the Cross and the Japanese Zen. Klein says: &ldquo;By using colors, I experience a kind of feeling which you assimilate with the space; I have true freedom.&rdquo; Klein is the founder of behavioral art and conceptual art, and the Double Fly Art Center is going to use a &ldquo;live body&rdquo; as the painting brush to start a sacred dialogue that transcends time and space, entering into the purely spiritual field of concepts.</p> <p style="text-align: justify;" align="left">&nbsp;</p> <p style="text-align: justify;" align="left">In quantum physics, the renowned mathematician John Conway of Princeton University, by using the spin entanglement of photon, proved in 2006 the &ldquo;the Free Will Theorem&rdquo; that in a single experiment, if the experimenter has the freedom of choice, then the results presented by the particles have freedom too; and this is not determined by the past history (including the whole universe). Though we cannot see or touch the consciousness, nor can we measure it with time, space or energy, consciousness is a basic nature of matter; and the test reflects that particles have consciousness. If matter and consciousness are one, and the latter is an inseparable whole from the universe, then the boundary between science and faith would be gone and the destroyed oriental inheritance would be continued, and a new world with a new outlook would come. How will Double Fly use the painting behavior of Klein Blue that transcends time and space to represent the shapeless world of consciousness? What kind of road to void is this?</p> <hr /> <p style="text-align: justify;" align="left">1960年3月9日,在巴黎国际当代艺术会场,伊夫克莱因用国际克莱因蓝涂抹在三位女性身上,并在墙壁和地面的画布上翻滚拖拉。2015年4月26日,双飞艺术中心将在北京空间站重现这一历史经典时刻的现场。历史经过了55年,克莱因所崇尚的&ldquo;空灵宇宙&rdquo;的精神火种,将再次复活,观众可以现场体验到双飞重演玄虚艺术家自投净空纵身一跃的刹那,使虚渺而复杂的精神世界悬浮于宇宙太空之中。克莱因用最单纯的颜色和虚空唤起心灵对非物质性强烈的感知能力,是在蔷薇十字会和日本东方禅影响下形成的思想体系。克莱因说:&ldquo;借助色彩,我体会到一种与空间同化的感觉,我是真正自由的。&rdquo;克莱因作为行为艺术、观念艺术鼻祖,双飞将用&ldquo;活体&rdquo;画笔展开此次跨越时空的神圣朝拜的对话,进入纯粹精神性的观念领域。</p> <p style="text-align: justify;" align="left">量子物理学于2006年由普林斯顿的著名数学家John Conway通过光子自旋纠缠证明出了&ldquo;自由意志定理&rdquo;,其内容是:在一个单独的实验中,如果实验人有选择的自由,那么粒子呈现的结果也是自由的,不是过去历史(包括整个宇宙)所决定的。意识虽然看不见、摸不着,无法用时间、空间、能量等来测量,但意识是物质的一个基本特性,试验既是粒子具有意识的体现。如果物质和意识的一性的,意识是宇宙不可分割的整体,科学和信仰的界限将会消失,东方被摧毁的遗传会被接续,一个新的世界观的世界将会来临。双飞如何通过克莱因蓝绘画的行为超越时间、空间,体验无形的意识世界?这是怎样一条通往虚空之路?</p> <p align="left">&nbsp;</p> Wed, 29 Apr 2015 15:03:59 +0000 Birdhead - ShanghART H-space - April 25th - June 1st <p style="text-align: justify;">ShanghART Gallery is pleased to present Birdhead&rsquo;s solo exhibition: Welcome to Birdhead World Again at ShanghART Gallery H Space from 26th April to 7th June 2015. This exhibition shows the latest artwork with the consistent creation style.&nbsp;&nbsp;<br /><br />SONG Tao and JI Weiyu set up Birdhead in 2004. They started their art creation through a large quantity of photography works, showing various social contradictions and controversies that have been ignored and evaded by people. Shanghai as their birthplace has been rising rapidly, but still houses its fragility and inferiority which is intended to be unveiled by Birdhead. And their works, like a blast of fresh air, has been brought to gradually break the fancy-looking shell of the city. While the word&lsquo;Shanghai&rsquo; in their works has been transforming bit by bit, Birdhead&rsquo;s works have become more mature as they have devoted themselves to art creation more than ten years. This solo exhibition is meant to review the past work, but to make a claim as well. Let us enter the world of Birdhead and search for the most common but ignored real word.<br /><br />Birdhead is keen on traditional Chinese culture, but did not show their interests in classics until the Tang Poem Song Jambic Verse in 2011. Just like they said, they have been enlightened and creating by instinct. And the implied connection between the past and the present in their works seems to be inspired and generated by their gene and blood in their body. This feature is going to be illustrated in the exhibition. In terms of curating and displaying, the gallery decides to create a yard-like space with&lsquo;three jins&rsquo; (&lsquo;jin&rsquo;&nbsp;&nbsp;in Chinese means &lsquo;enter, progress and forward&rsquo;).&nbsp;&nbsp;&lsquo;The first jin&rsquo;is designed to present 370 photographs that were shot in recent years. The Chinese character &lsquo;妙&rsquo; on the wall, which constitutes two Chinese characters &ndash;&lsquo;女&rsquo; (female) and &lsquo;少&rsquo; (little or few; young), is the highlight in that space.&nbsp;&nbsp;&lsquo;The second jin&rsquo;exhibits the latest work For a Bigger Photo that is framed by traditional lacquer. The collection in this space is the extract of the theme.&nbsp;&nbsp;Visiting the world of Birdhead is a process of transformation from being open to being private. When you expect to see something more exciting in &lsquo;the third jin&rsquo;, the artists suddenly define all the chaotic images and ingeniously configuration as &lsquo;the world of Birdhead&rsquo; which seems like a puzzle but tells everything.&nbsp;&nbsp;&nbsp;<br /><br />Their first photography catalogue is Bird Head published in 2004, which has only two copies and one of them is missing. But their works can still be easily found in many art fairs and well-known art organisations like Tate Modern, The Museum of Modern Art (New York) and Ullens Foundation etc.</p> <hr /> <p style="text-align: justify;">香格纳荣幸地推出鸟头个展&ldquo;欢迎再次来到鸟头的世界&rdquo;。本次展览延续了鸟头一贯的风格,展示了他们的最新创作,展览将持续到6月7日。<br /><br />鸟头是宋涛和季炜煜组成的艺术家组合,04年成立至今,早期他们以数量庞大的摄影作品以及独特的编排方式,毫不避讳地呈现了上海这座急速膨胀的经济都市中人们刻意回避掉的,并不光鲜甚至于卑微的真实一面,这种躁动让这密不透风的华丽外壳有了一丝裂缝,而我们也得以呼吸到了新鲜空气。在他们一起工作的十几年里,&ldquo;上海&rdquo;这个词的含义微妙地改变着,而鸟头组合也逐渐走向成熟,本次展览是一次回顾也是一次宣言,让我们一起进入&ldquo;鸟头的世界&rdquo;,探寻最普通却最易被忽略的真实。<br /><br />虽然始终钟情于古典文化,但是从2011年的&ldquo;唐诗宋词&rdquo;系列开始,鸟头才在作品里显露出这一喜好,就像他们说的&ldquo;一直是用本能在创作&rdquo;,这种今与古的微妙联系似乎是出于基因,出于一种只有中国人身体里才流淌着的血。本次展览更是把这种情节推向了高潮,香格纳画廊的H空间在鸟头的全新个展上化身为一个&ldquo;三进&rdquo;的院落,空间的&ldquo;一进&rdquo;呈现的是370张近几年来在各地所拍摄的照片,正面的墙上书有&ldquo;女&rdquo;&ldquo;少&rdquo;二字,在汉语里这两个字组合成&ldquo;妙&rdquo;,是为第一进的点睛之笔。空间的&ldquo;二进&rdquo;展示了最新创作的&ldquo;为了更大的照片&rdquo;是使用传统漆器工艺装裱的作品,这个系列是对海量照片的主题性提炼。&ldquo;进入鸟头的世界&rdquo;是一个从最公开到最私密的过程,当你认为会看到更加激动人心的内容时,在空间的&ldquo;三进&rdquo;,艺术家把一切喧闹的画面和精巧的排布都归于四个字&ldquo;鸟头世界&rdquo;,这像一个谜语但却已经表达了所有。<br /><br />鸟头最早的摄影集是04年的《鸟头》,只出版了两套,一套已经遗失,而如今你可以轻易地在各大艺术博览会,甚至泰特美术馆,纽约当代艺术博物馆,尤伦斯基金会等国际知名的艺术机构看到他们的作品。</p> <p>&nbsp;</p> Wed, 29 Apr 2015 14:52:07 +0000 Shen Fan - ShanghART Gallery (main gallery) - May 10th - June 14th <p style="text-align: justify;">ShanghART Gallery is pleased to present SHEN Fan&rsquo;s solo exhibition:<em> Punctuation &ndash; The First Time</em>, from May 10th to June 14th 2015. The exhibition will be showing his latest mixed-material paintings and installations.&nbsp;<br /><br />SHEN Fan is one of the artists in China doing abstract painting in the early days. His work mainly features non-subjective duplicate elements and monochrome. Affected by western painting style, his work tended to involve certain trends and tension.&nbsp;&nbsp;In late 1990s, the tensions in his paintings gradually disappeared, but a painting language, which harmonises with early decorative art, and the nature of painting that possesses Chinese aesthetics started to be unveiled. Stone rubbing technique during SHEN&rsquo;s creation process helps to restrain the strong emotional fluctuation by orders and steadiness, which generates moderate introspect and exposure in his work.&nbsp;&nbsp;&nbsp;<br /><br />This exhibition will be showing SHEN&rsquo;s latest creation during 2014-2015. After&nbsp;removing&nbsp;the&nbsp;characters,&nbsp;it&nbsp;resembles&nbsp;the&nbsp;Morse&nbsp;code,&nbsp;illustrating&nbsp;a&nbsp;sense&nbsp;of&nbsp;continuation&nbsp;and&nbsp;extension&nbsp;of&nbsp;abstraction. And the rhythm caused by the remaining punctuations is constrained by serene statements, protesting the authority of characters. SHEN Fan manages to challenge audience&rsquo;s way of appreciation by a new language. Covering the original characters and abandoning all the potentials of understanding and misunderstanding, he chooses to bring a broader subject.&nbsp;&nbsp;&nbsp;&nbsp;<br /><br />Shen Fan, born in 1952, works and lives in Shanghai. His work has been collected by The National Art Museum of China, M+ Collection, and Shanghai Art Museum and so forth. Shen&rsquo;s recent solo exhibition include: SHEN Fan: Black &amp; White Confusion (2014), ShanghART Beijing, Beijing; Landscape 9210 &ndash; SHEN Fan Solo Exhibition (2012), ShanghART H-Space, Shanghai. And the main group exhibitions include: A Fragment in the Course of Time, Landscape of Chinese Ink Art in 1980s (2014), Himalayas Art Museum, Shanghai; Images and Words: Since Magritte Era (2012), The National Art Museum of China, Beijing; In Time-2012 Chinese Oil Painting Biennale (2012), National Art Museum, Beijing; Shanghai (2010), Asian Art Museum, San Francisco, U.S.A.; Hyper Design (2006), the 6th Shanghai Biennale, Shanghai Art Museum, Shanghai.</p> <hr /> <p style="text-align: justify;">香格纳画廊上海荣幸地推出申凡个展:标点-第一回,该展览将呈现申凡近期创作的综合材料绘画及装置作品。<br />&nbsp;&nbsp;&nbsp;&nbsp;申凡是中国最早从事抽象绘画创作的艺术家之一, 他的作品以去主观化的重复元素及单色画面为特点。早期受到西方画派影响,风格偏向动态与张力,90年代后期开始,画面中的紧张感逐渐消除,呈现出与早期的纹饰艺术相契合的绘画语言以及秉有中国美学情趣的绘画属性,纸本油画的创作过程中采用了拓印法,这种做法使强烈的情绪波动被秩序和稳定所抑,继而生出一种节制的自省和揭露。<br />本次展览展出了申凡2014到2015年的最新创作, 对抽象的探索绵延为文字被涂掉之后如同摩斯电码的横杠,留下的标点所产生的节奏感被一种冷静的陈述所约束,抗议着文字的权威性。艺术家用一种全新的语言挑战了观众的欣赏习惯,让原本作为审阅主体的文字被覆盖,摈弃了一切误会或理解的可能性,还原一个更为开放的命题。<br /><br />&nbsp;&nbsp;&nbsp;&nbsp;申凡生于1952年,生活并工作于上海,作品被中国美术馆,香港M+收藏,上海美术馆等机构纳入收藏。近期主要个展包括:申凡: 黑白惑&nbsp;(2014),香格纳北京,北京;山水9210-申凡个展&nbsp;,香格纳H空间,上海(2012);主要群展包括:时间的节点, 中国&middot;1980年代水墨景观, 喜玛拉雅美术馆, 上海(2014);图与词: 马格利特以来, 中国美术馆, 北京(2012);在当代-2012中国油画双年展, 中国美术馆, 北京(2012);上海, 旧金山亚洲艺术博物馆, 旧金山, 美国(2010);第六届上海双年展, 超设计,上海美术馆, 上海(2006)等。</p> Wed, 29 Apr 2015 14:40:18 +0000 Liu Yujia - Shanghai Gallery of Art - April 24th - June 18th <p style="text-align: justify;">In artist&rsquo;s first solo exhibition, she intentionally erases the presence of human from the scene, and intends to present the independent being of objects by detaching them from the original narrative logic to the maximum degree. She creates a kind of suspenseful atmosphere within these delicate confronting, or unstable subtle relevance, trying to lure people to be trapped in some delusory and possibly non-existent metaphors. With the transforming of time, objects, as the subject of narrative, present the state that is hardly conscious in daily experience and play a role beyond itself.&nbsp;</p> <p style="text-align: justify;">The presence of human seems to retreat to an inconspicuous and accessorial position. Nevertheless, they more or less leave some traces on the artworks. The motion of the lifeless objects is exactly valid evidence of the all-time presence of &lsquo;the third man&rsquo;. Plus the intentional intervention with narrative time and the network of responses between artworks and views, the fields of truth and fiction constantly overlap, ultimately forming a relationship of &ldquo;being-for-others&rdquo; in between objects and people. Such a &ldquo;serve as a foil&rdquo; effect is where the charm of narrative language lies.</p> Wed, 29 Apr 2015 14:34:33 +0000 - Shanghai Art Museum - December 27th, 2014 - June 19th <p style="text-align: justify;">上海是一座面向大海的现代化都市,从海平线上冉冉升起的太阳把生命的能量源源不断地投向充满着希望和梦想的人们。</p> <p style="text-align: justify;">回眸上个世纪,1986年6月19日, 由中国美协上海分会主办的&ldquo;海平线86绘画联展&rdquo;联展在上海美术展览馆初次亮相,那是一次艺术之旅的扬帆起航,目的地是精神世界的神圣彼岸。</p> <p style="text-align: justify;">&ldquo;海平线86绘画联展&rdquo;以视觉艺术的学术探索为宗旨,邀请了26位敢于探索并具艺术个性的中青年美术家参展,共展出了85件作品。展览受到了上海及全国美术界的关注,北京、河北、江苏、浙江等地同行专程前来观摩。</p> <p style="text-align: justify;">当时的美术界,百花齐放、百家争鸣,境外形形色色的美术思潮伴随着展览会和出版物不断涌入中国,而国内的艺术家们也纷纷各擅胜场、各领风骚,时代变动中释放出的能量把艺术家们带向画框以外的世界。正是在这样的大背景下,&ldquo;海平线86绘画联展&rdquo;所具有的先锋性和前瞻性、独特性和多样性、探索性和学术性,无不彰显出鲜明的时代精神和迥异的个性风格。</p> <p style="text-align: justify;">&ldquo;海平线86绘画联展&rdquo;在当时的美协主席沈柔坚、秘书长徐昌酩等先生的领导下开启了新的学术机制,将作品展览、媒体传播和学术研讨融为一体。同年6月,《文汇报》刊登了部分作者的创作手记;12月,《江苏画刊》刊登了展览的多幅作品;举行了为期三天的研讨活动,应邀与会者包括哲学、文学、社会学、美术学等方面的专家学者50余人,议题涉及美术展览、画坛现状、美术与文化的关系等各个方面,并邀请花建、陈巨源、吴亮、朱旭初、王邦雄、毛时安、戴恒扬、施选青等撰文评述,编成专辑,作为《上海美术通讯》增刊出版&hellip;&hellip;可以说,&ldquo;海平线&rdquo;引发的震动远远超过了画展本身,它不仅启发了上海文化界对于文化艺术的思考和争鸣;同时更重要的是,从注重个人的艺术追求到发掘艺术的社会价值,随着第一届&ldquo;海平线&rdquo;作者的成长,它所带来的蝴蝶效应至今绵绵不绝。</p> <p style="text-align: justify;">已举办了14届展览的&ldquo;海平线&rdquo;始终坚持以中青年为主力,以探索性、学术性、当代性为主旨,相继推出艺术家300多位,已经成为推介、展示上海中青年美术人才和优秀作品的重要平台;而参加过&ldquo;海平线&rdquo;的艺术家大都已经或即将成为上海美术界的骨干力量。可以说,&ldquo;海平线&rdquo;对上海中青年美术力量的发现和培养起到了不可替代的推动作用。</p> <p style="text-align: justify;">本届&ldquo;海平线&rdquo;将主题落在回顾上,精选了80位参与历届&ldquo;海平线&rdquo;的艺术家,每人展出三件代表作品,其中一件是当年的参展作品,另两件则为新作。</p> <p style="text-align: justify;">&ldquo;海平线&rdquo;不仅仅是一个品牌,也是一种象征。作为一个品牌,二十八年来的积累和沉淀,是我们弥足珍贵的文化财富;作为一个象征,它承接海派文化的优秀传统,开拓新时代艺术的疆域,并为年轻一代艺术家建构起跨越海平线通向未来实现梦想的一道彩虹。</p> <p style="text-align: justify;">感谢所有为&ldquo;海平线&rdquo;努力过的老一辈艺术家,因为你们,因为你们如此豁达开朗的艺术胸怀,正如大海所展示出来的广阔和包容,才使得&ldquo;海平线&rdquo;那么魅力无穷!</p> Wed, 29 Apr 2015 14:27:33 +0000 Myung Nam An - Art Projects Gallery - May 14th - June 7th <p>Art Projects Gallery is delighted to present &ldquo;FRESH EYES&rdquo;, showcasing the latest collection of ceramic sculptures by Korean artist Myung Nam An. Based in the UK, this is Myung Nam An&rsquo;s first solo exhibition in Hong Kong.</p> <p>Myung Nam An&rsquo;s works reflects and celebrates the everyday life and people, from which she derives her inspiration. Featuring vibrant colors and fascinating textures, Myung Nam An&rsquo;s ceramics sculptures - each one unique and possessing an otherworldly physical appearance - convey a sense of mystery and unfamiliarity that prompt a deeper emotional response from the viewers. The viewers are encouraged to form their own interpretations of the objects based on their personal feelings, thoughts and experiences. Myung Nam An&rsquo;s sculptures become windows to the artist&rsquo;s inner world while at the same time, offer the viewers a fresh introspective perspective to their own.</p> <p>Born in 1969 in Seoul, Myung Nam An&rsquo;s works have been shown in numerous gallery exhibitions and art fairs internationally, including New York, London, Hong Kong and Singapore.</p> <p><strong>ARTIST'S STATEMENT</strong></p> <p>Art is a lifestyle for me. Everything that surrounds and excites me is automatically processed and transformed into the final result: an artwork. It is fascinating to watch the transitions from life to art. The essence of my work is the human being and their everyday life. I find ceramic to be the most versatile material and it is suited to express my ideas. Working in clay is really deep and has much to interest me: philosophy, technique and so on.</p> <p>In my work, I like to tell stories using symbols which are universal, when you look at my work you could tell your own story, and would interpret what you see in your own way and each work in the series is created to evoke a different moods and emotions. I am exploring abstract appropriated images from our culture and translating these onto the surface of my work. I feel that they address or allude to specific ideals that interest me. It has always been my goal as an artist to make work that speaks to the viewer on a deeper level.</p> <p>My works are a step in my ongoing growth toward a personal and unique approach to clay. It is my hope that these images will provoke thought in the viewer. The characteristics and limitations of the materials is a fundamental issue for me. I make use of a working process that is based on analysis and experience. I approach my work in a formal and aesthetic way. That does not mean that emotionality and sensuality are set aside, on the contrary, I go for a cool expression with sensitive undertones and thereby join an abstract, new formalistic movement in contemporary art.</p> Wed, 29 Apr 2015 11:54:27 +0000 Huang Binhong - National Art Museum of China - April 4th - May 10th <ul class="info"> <li>Venues:Hall 19-21</li> </ul> Tue, 28 Apr 2015 19:15:54 +0000 - National Art Museum of China - April 22nd - May 4th <p style="text-align: justify;">With a history of 36 years, Great Way Painting Exhibition stresses more on artistic quality. Closely focusing on the theme &ldquo;Chinese Railway Establishment and Dream Realizing all over the World&rdquo;, The 17th Great Way Painting Exhibition pays more attention to introducing classical works and distinguished artists. Compared with the previous ones, the show of this year has greatly upgraded on aspect of artistic quality, exhibition scale and curation level. The exquisite painting works present surging tides of the sea and river, beauty of the rivers and mountains of &ldquo;South in the North&rdquo;, journey trace of thousand miles of Silk Road as well as stories on construction sites all over the world. The new works reveal the stretching of great way to the distance, interweaving between ecology and environment, brilliance of soul and emotion and harmony between human beings and the nature. The fantastic art works have people experience the original charm and supreme state to beauty of life, beauty of construction, beauty of work and beauty of creation.</p> <ul class="info"> <li>Venues:Hall 2,4,6</li> </ul> Tue, 28 Apr 2015 19:15:04 +0000 Luo Erchun - National Art Museum of China - April 25th - May 5th <p style="text-align: justify;">Born in Xiangxiang of Hunan province in 1929, Luo Erchun enrolled in Fine Arts College of Suzhou and learned from Yan Wenliang in his early years. He has worked as editor and creative worker of People's&nbsp;Fine&nbsp;Arts&nbsp;Publishing&nbsp;House, teacher of Beijing Art Normal University and professor of Central&nbsp;Academy&nbsp;of&nbsp;Fine&nbsp;Arts. Luo Erchun has done great contribution to China&rsquo;s art cause of the 20th century.&nbsp;</p> <p style="text-align: justify;">Luo Erchun has devoted himself to oil painting creation for half a century and his oil painting shows strong expressionism. He turns his love to nature and life into blazing strokes and brilliant colors, developing a school of his own in China contemporary oil painting world. Luo Erchun&rsquo;s Chinese painting is influenced by Li Kuchan and Wu Zuoren but accordant with his oil painting style. The traditional Chinese painting presents distinct individuality and lasting appeal under his painting brush.&nbsp;</p> <p style="text-align: justify;">This exhibition, which will fully showcase nearly 300 pieces of oil and wash painting works of Luo Erchun created over the years, is a complete review to his artistic career. The show, which consists of 4 parts - native land is everywhere, change in trends, echoes&nbsp;of&nbsp;life, temperate&nbsp;and&nbsp;refined tradition, interprets colorful passion full of plain grand beauty and meaningful artistic life pregnant&nbsp;with significance&nbsp;and implication.</p> <ul class="info"> <li style="text-align: justify;">Venues:Hall 1, 7, 8, 9</li> </ul> <p>&nbsp;</p> Tue, 28 Apr 2015 19:16:19 +0000 - National Art Museum of China - April 25th - May 5th <p style="text-align: justify;">This exhibition is sponsored by Gangtai Group and undertaken by Shanghai Gangtai Culture Group Co., Ltd. Adhering to style of &ldquo;Shanghai school&rdquo;, the exhibition gathers distinguished contemporary artists of traditional Chinese painting of Shanghai and displays 97 pieces of high quality works. The show is a summary to artistic creation and academic research fruits of Shanghai Chinese painting world in recent years as well as a comprehensive presentation of the latest achievements of Shanghai Chinese painting to the whole nation. In spite of being varied in subject and techniques of expression, the exhibits are all full of strong passion and profound meaning of Shanghai-style culture, alive with features of the time, reflecting truly the progressive course of inheritance and innovation of Shanghai Chinese painting.&nbsp;</p> <p style="text-align: justify;">This exhibition is expected to give a macroscopic view to development of Shanghai painting school in a contemporary context as well as a microscopic study to art of representative Chinese painting artists of contemporary Shanghai, so as to inherit and carry forward art essence of &ldquo;Shanghai painting school&rdquo;, promote the art of Shanghai contemporary Chinese painting artists, lead the prosperity and development of contemporary Shanghai Chinese painting art and do some contribution to &ldquo;Shanghai-style culture&rdquo;.</p> <ul class="info"> <li>Venues:Hall 13-17</li> </ul> <p>&nbsp;</p> Tue, 28 Apr 2015 19:13:08 +0000 Sol LeWitt, Vik Muniz, Elizabeth Murray, James Turrell, Keith Tyson, Bill Viola, Xiao Yu - Pace Hong Kong - May 7th - June 3rd <p style="text-align: justify;">Pace Hong Kong is pleased to present <em>Chewing Gum</em>, a group exhibition of artists from across generations and nationalities. The exhibition will be on view from 7 May to 3 June 2015. An opening reception will be held Tuesday 12 May from 6 to 8 p.m.&nbsp;and open to public.</p> <p style="text-align: justify;">Against teleological modes of eating, chewing gum stresses the moment of taste and texture. This notion unites the group of artists in the exhibition, all of whom have highly process-oriented practices in media such as installation, painting, photography, sculpture and video, dwelling on ideas of production and meditation.</p> <p style="text-align: justify;">In his seminal 1967 text &ldquo;Paragraphs on Conceptual Art,&rdquo; Sol LeWitt wrote, &ldquo;No matter what form [a work] may finally have it must begin with an idea. It is the process of conception and realization with which the artist is concerned.&rdquo; A 1998 gouache by LeWitt highlights the interplay between lyricism and conceptual apparatuses in&nbsp;</p> <p style="text-align: justify;">the artist&rsquo;s work. LeWitt&rsquo;s idea-based approach to art confronts notions of play in Turner Prize-winner Keith Tyson&rsquo;s Fractal Dice sculpture. Tyson forfeits subjective decisions to chance, creating boldly colored geometric sculptures whose appearance is conditioned by the roll of a six-sided die. In ceding control, Tyson&rsquo;s sculptures meditate on the relationship between stochastic functions and expressiveness.&nbsp;</p> <p style="text-align: justify;">A late work by the painter Elizabeth Murray highlights her spirited and ebullient style of abstraction. Murray&rsquo;s work builds on the legacy of early twentieth-century Modernist movements such as Cubism and Expressionism, funneling them into her own language that is equally concerned with psychology and the quotidian.</p> <p style="text-align: justify;">Xiao Yu&rsquo;s reinterprets the rich twentieth-century tradition of monochrome painting in his inventive use of material in his 2012 work Seasoning Material. Born in Mongolia and based in Beijing, Xiao eschews paint, using chili pepper and silicone to coat his canvas, inviting cultural and technological readings of his work. Vik Muniz similarly questions medium-specific determinations in his photographs, which recreate iconic images in unlikely, often &ldquo;low&rdquo; materials. His work in the exhibition recreates a photograph of Piet Mondrian&rsquo;s studio by the Hungarian-American photographer Andr&eacute; Kert&eacute;sz. Muniz reduces the original sepia-toned photograph to greyscale, adding textures and stripping away elements that evoke a de Stijl aesthetic as well as Kert&eacute;sz&rsquo;s photographic sensibility.</p> <p style="text-align: justify;">A key figure in the Light and Space movement, James Turrell highlights vision and optics in his meditative manipulations of visual phenomena. Chewing Gum will feature an iconic hologram by the artist that was featured in the Los Angeles County Museum of Art&rsquo;s presentation of his sweeping three-venue retrospective in 2013. Bill Viola&rsquo;s video Isolde&rsquo;s Ascension (The Shape of Light in the Space After Death) evinces themes from the pioneering American video artist&rsquo;s year-long study of Buddhism in Japan. Created for a production of Wagner&rsquo;s opera Tristan and Isolde,&nbsp;Viola&rsquo;s video employing slow, archetypal imagery in service of these themes such as transcendence and agony as it meditates on life cycles and notions of rebirth and healing.</p> Tue, 28 Apr 2015 19:10:11 +0000