ArtSlant - Recently added en-us 40 Beatriz Milhazes - White Cube Hong Kong - March 13th - May 30th <div class="expandable"> <div class="text ff"> <p style="text-align: justify;"><em>&lsquo;I want to have optical movements, disturbing things; such visions that your eyes would be disturbed when you see them.You don't have the real center of the composition, and your eyes are always moving...That way, I feel like you have a communication with the entire world.&rsquo;</em><br />Beatriz Milhazes (RES Art World / World Art, No 2, May 2008)</p> <p style="text-align: justify;">White Cube is pleased to present an exhibition by Brazilian artist Beatriz Milhazes. For this exhibition, her first in Hong Kong, Milhazes has produced a new series of collages and painting that continue the artist&rsquo;s unique pictorial language, combining the dual influences of Brazilian and European Modernist abstraction with the vibrant, hybrid culture of her personal heritage.</p> <p style="text-align: justify;">Milhazes first began making paper collages in 2003 but a collage technique is also evident in her paintings, which, since the 1990s, have combined different elements adhered to the canvas to create richly textured surfaces which appear prematurely aged. In this new series of collages, which draw on the artist&rsquo;s extensive archive of paper cut-outs, layered forms, patterning and abstraction appear in extraordinary compositions whose rich colour and dynamic forms reflect a playful, joyful process and a speed and energy in their production.</p> <p style="text-align: justify;">For this exhibition, Milhazes has turned to Brazil&rsquo;s exuberant flora, inspired by the abrupt relationship of natural and urban environments in her home city of Rio. In the collages, Milhazes combines different found materials such as wrapping paper, sweet wrappers, silkscreened and holographic papers in compositions whose cascading, proliferating forms are frequently arranged around a vertical stem, akin to a spine or the trunk of a tree. In others, elements are arranged horizontally to suggest a moving, restless landscape. An imperfect mirroring or symmetry dominates, with schematic leaf and flower shapes and repeated and vibrating circles of different thicknesses, cut in half, diagrammatic or solid against a patchwork of decorative, coloured papers. Rather than pictorialising nature, however, the works adopt the language of abstraction, and, in particular that of Op Art, to suggest our experience of it: how leaves cluster together when blown en masse by the wind, for example, or the wavy patterned lines glimpsed on strong ocean surf.</p> <p style="text-align: justify;">While Milhazes&rsquo; work might appear expressive, it is underlined by a focus on process and the construction of an ordered system that is highly precise, evident in the work&rsquo;s finished, cooly seductive surfaces. The riotous palette of purples, greens, yellow orange and gold used in the collages recalls the emblems from Brazil&rsquo;s exuberant folk culture &ndash; the costumes and parade floats of its Carnival for example, or the textiles, wallpaper and tiles of its decorative arts &ndash; it also underlines an uncomfortable, tense beauty. This active, vibrant conflicting use of colour, which reveals the artist&rsquo;s deep connection with the work of Modernist artists such as Matisse and Tarsila do Amaral, also emphasises how, for Milhazes, colour is primarily a construction device, visible in particular in her first ever black and white collage, shown here, where the composition is created through the manipulation of light and shadow.</p> <p style="text-align: justify;">Beatriz Milhazes was born 1960 in Rio de Janeiro, Brazil. She has had numerous solo exhibitions internationally including P&eacute;rez Art Museum, Miami (2014&ndash;15); Museu Oscar Niemeyer, Curitiba, Brazil (2013); Pa&ccedil;o Imperial, Rio de Janeiro (2013); MALBA-Fundaci&oacute;n Costantini, Buenos Aires (2012); Calouste Gulbenkian Foundation, Lisbon (2011); Fondation Beyeler; Basel (2010); Fondation Cartier, Paris (2009) and Pinacoteca do Estado de S&atilde;o Paolo (2008). In 2003 she represented Brazil at the Venice Biennale.</p> </div> </div> <div class="col col-35"><hr /> <div class="expandable"> <div class="text ff"> <p style="text-align: justify;">「我想帶出一連串的視覺動作、另人不安的東西 我想帶一些當你看見的時候眼睛會受影響的畫面。你不會找到整個構圖的真正重心,而你的眼球總在不停地轉動⋯⋯這樣,我才覺得你在跟整個世界溝通。」<br />比特利茲&bull;米拉塞斯</p> <p style="text-align: justify;">香港白立方呈獻巴西藝術家比特利茲&bull;米拉塞斯個展,亦為她在香港的首個展覽。米亞茲斯將延續她一貫獨特的畫面語言,創作出一系列全新的拼貼作品及油畫,把巴西和歐洲現代派的抽象風格, 以及她個人背景中那富動感和混雜的文化聯合起來。</p> <p style="text-align: justify;">米 拉塞斯早於2003年開始創作紙品拼貼畫。然而早於90年代,她的拼圖技巧已見於油畫之中,在畫布上匯集不同元素以展現出質感豐富的表面,創作手法較為早 熟。從剪紙以至不同層次的形態、圖案和抽象概念,在新一系列的拼貼畫中都可見藝術家那龐大的資料庫,並以非一般的構圖來呈現,斑斕的色彩和充滿動感的形態 流露出創作過程中的趣味、歡愉、速度和力量。</p> <p style="text-align: justify;">是次展覽中,米拉塞斯把焦點放在巴西茂盛的花卉上,靈感乃取自於她家鄉里約熱內盧的郊外和城市 之間那突兀的關係。在她的拼貼作品中,米亞茲斯結集了不同由現成材料如花紙、糖果紙、絲印紙和鐳射紙所湊併而成的構圖,這些星羅雲布的形態通常傾向圍繞著 一個縱向的主軸,就如脊椎和樹的主幹一樣, 其他元素則橫向地呈現,以展示一種流動、永無休止的風景。另外,她的作品亦由一種不完美的反照或不對稱的方式所主導。不論是中間剪開的、圖表形式的抑或是 堅實的,這些葉子構圖、花朵形狀、重覆和顫動著不同厚度的圓形通通都在裝飾彩紙的拼合作品中可見。這些作品採用的是抽象的語言,當中尤以奧普藝術為主,而 非把大自然圖畫化,從而延伸出我們固中的經驗,譬如葉子如何在風中一團團地旋轉,或是波浪圖案的線條如何凝向大海的巨浪。</p> <p style="text-align: justify;">米拉塞斯的作品也 許看似抒情,但作品之間的焦點是如何建構一個高度精準且有秩序的系統,這一點從她作品裡那冷酷且引人的完成表面裡皆有跡可尋。紫色、綠色、橙黃和金色 有跡可在拼貼作品中一系列帶有暴亂色彩的調色盤,使人聯想起巴西熱情的風土人情以及其種種象徵。譬如嘉年華裡的服飾和花車遊行,以及裝飾工藝品如紡織品、 牆紙和瓷磚,無一不散發出一種令人不自在且精神繃緊的美。這使用顏色的方式既主動、澎湃且帶有衝突,展示了藝術家與眾現代派藝術家之間那深刻的關聯,當中 包括馬蒂斯和塔席羅.杜.阿馬拉兒;同時亦針對為何對米拉塞斯而言,顏色是最原初的建構工具 色是最在畫廊裡展出藝術家的第一張黑白拼湊圖,構圖以巧妙的手法處理光影,正正展現出藝術家對顏色的看法。</p> <p style="text-align: justify;">比特利茲&middot;米拉塞斯生於1960 年巴西里約熱內盧。她曾在世界各地舉辦無數個人展覽,其中包括邁阿密的P&eacute;rez Art Museum (2014-15) ; 巴西庫里奇巴的Museu Oscar Niemeyer (2013); 里約熱內盧的Pa&ccedil;o Imperial (2013); 布宜諾斯艾利斯的MALBA-Fundaci&oacute;n Costantini (2012);里斯本的Calouste Gulbenkian Foundation (2011); 巴塞爾的Fondation Beyeler (2010);巴黎的Fondation Cartier (2009) 以及聖保羅的Pinacoteca do Estado de S&atilde;o Paolo (2008)。她是2003年威尼斯雙年展的巴西代表。</p> </div> </div> </div> Tue, 03 Mar 2015 16:24:54 +0000 - National Art Museum of China - March 21st - March 28th <p style="text-align: justify;">As the first large scale exhibition participated in by all members of Chinese Painting Institute since its foundation, the exhibition is an academic show to present a whole outlook of the Institute and an important event to embody &ldquo;research-oriented&rdquo; tenet of the Institute. By studying, understanding and implementing the spirit of lecture given by Xi Jinping at Forum on Literature and Art, keeping in mind people-oriented creation guideline, the members of Institute take patriotism as theme, uphold socialist core values and give full play of traditional Chinese painting in enlightening mind, comforting heart, cultivating character and passing on the true, the good and the beautiful. The member artists make great efforts to create excellent works that propagate values of contemporary China, show Chinese cultural spirit and combine aesthetic pursuit of Chinese people, ideological level and ornamental value.</p> Tue, 03 Mar 2015 16:16:35 +0000 Qiu Zhenzhong - National Art Museum of China - March 11th - March 19th <p style="text-align: justify;">Born in 1947 in Nanchang, China, Qiu Zhenzhong is an artist, calligrapher, poet and art theorist. He is Professor of the Central Academy of Fine Arts.</p> <p style="text-align: justify;"><em>Qiu Zhenzhong: Origin and Formation</em> consists of painting, works featuring characters, and calligraphy. The exhibition is curated by Fan Di&rsquo;an, President of the Central Academy of Fine Arts.</p> <p style="text-align: justify;">As the action of writing is becoming an important element of contemporary art, Chinese calligraphy, with its long years of attention to the art of impromptu writing, has much to offer. Drawing upon his calligraphy achievements, Qiu&rsquo;s contemporary compositions point to a brisk direction for the traditional and current artistic endeavors to come together.</p> <p style="text-align: justify;">&ldquo;Works of Qiu Zhenzhong present a unique structure, which includes not only new ways of composition, but also an intellectual construction. His efforts promise possibilities of new conceptualizations in a world that has been dominated by Western theories and philosophies&rdquo;, observes Shen Yubing.</p> <p style="text-align: justify;"><br />For Cao Yiqiang, &ldquo;Qiu Zhenzhong&rsquo;s art has considerable contemporary implications.&rdquo; &ldquo;Not bound by mediums, values or genres, it is an open-ended experimentation that aims to powerfully re-invent mind, tradition and reality.&rdquo;</p> Tue, 03 Mar 2015 16:15:55 +0000 Alex Prager - Lehmann Maupin, Hong Kong - March 12th - May 16th <p style="text-align: justify;" dir="ltr">Lehmann Maupin will present Alex Prager&rsquo;s debut exhibition in Hong Kong from March 12 through May 16, 2015. Continuing her exploration of the psychological experiences of crowds and the individuals within them, Prager will exhibit five new, large-scale photographs as well as video work. <strong>The artist will be present for an opening reception on Thursday, March 12, from 6-8PM.</strong> </p> <p style="text-align: justify;" dir="ltr">Celebrated for her meticulously constructed, theatrical, and richly cinematic images, Prager, a Los Angeles-based artist, is inspired by a wide range of influences, from popular culture, to street photography, to the cinematic history of Hollywood. The artist is also interested in the ways in which audiences perceive and experience the pervasive cultural power of Hollywood films. These references infuse Prager&rsquo;s works with a narrative quality, leading the viewer to speculate on the &ldquo;before and after&rdquo; of the moment and characters depicted in her images. </p> <p style="text-align: justify;" dir="ltr">Prager&rsquo;s distinctive style and dialogue with Hollywood found full expression in her <em>Face in the Crowd</em> series, which debuted at the Corcoran Gallery of Art in Washington, D.C. in 2013 and was subsequently shown at Lehmann Maupin in New York in 2014. Prager managed large-scale sets, hundreds of extras, and a full production team to create precisely composed images of crowds. This series also includes a short film starring the American actress Elizabeth Banks. These works convey a sense of timelessness, extraordinary idiosyncratic detail, and the sometimes contradictory emotions that immersion in a crowd can produce, such as fear, camaraderie, isolation, claustrophobia, and a feeling of belonging to something larger than one&rsquo;s self.</p> <p style="text-align: justify;" dir="ltr">In her Hong Kong exhibition, Prager further refines her examination of the psychological dynamics of crowds, focusing on feelings of isolation exaggerated by the extreme vantage points employed in these images. By creating contorted points of view, especially in the works where the viewer looks up from below at the subjects in the photographs, Prager captures moments of stillness and isolation impossible to view in reality.</p> <p style="text-align: justify;" dir="ltr">Following her debut exhibition in Hong Kong, Prager will exhibit new works at the Goss Michael Foundation and at SOLUNA: International Music &amp; Arts Festival, both in Dallas, Texas, in May 2015. Additionally, one of Prager&rsquo;s new photographs will be shown in Lehmann Maupin&rsquo;s booth (1C08) at Art Basel Hong Kong 2015.</p> Tue, 03 Mar 2015 16:08:02 +0000 - Guangdong Museum of Art - February 13th - April 15th <p style="text-align: justify;">主办单位:广东省文化厅<br /> 承办单位:广东美术馆<br /> 协办单位:广州雕塑院 广州市石磨坊雕塑景观艺术有限公司</p> <p style="text-align: justify;">策展人:罗一平<br /> 策划:崔国贤<br /> 统筹:吴京蓬<br /> 策展助理:邱静思 林婕妤<br /> 媒体推广:罗强</p> <p style="text-align: justify;">丰饶和欢愉的普遍性</p> <p style="text-align: justify;">  艺术的目的何在?这是所有艺术家和观众都询问过并且试图解答的问题。这个问题的答案是多样的,所有的答案都可以说在某种意义上是正确的。而在我 看来,艺术的目的在于以一种直观而有限的视觉图像,对某种具有普遍性的概念进行探讨和再现。这种概念越具有普遍性,这种探讨越深入,艺术品的价值便愈加丰 厚。许鸿飞是一位出色的雕塑家,他的很多作品都十分优秀,这样的评价是基于他对人类一组最为核心的普遍价值的形象地阐释&mdash;&mdash;丰饶与欢愉。</p> <p style="text-align: justify;">  许鸿飞的作品中,最为代表的是胖女人,在艺术家精湛的构思与刻画下,那些巨大的团块结构如云朵般轻快地飞扬,丝毫不显笨拙。&ldquo;肥女人&rdquo;们或嬉 戏、或凝视,或谈笑风生、或自信奔走,无一不带有强大的情绪感染力,那种不论动静都喷薄出的欢乐重新激起了观众对于欢愉的记忆与想象,那些丰硕健康的身体 引导着这些记忆与想象,把它们和富足与丰饶联系在一起。</p> <p style="text-align: justify;">  许鸿飞的雕塑是传统的,在形式上总是让人不自觉地联想起汉代蜀地的陶俑、唐代敦煌的壁画和宋代麦积山的造像&hellip;&hellip;胖女人链接着传统,无论是乐不可 支的说唱优伶、漫天舞动的飞天还是微笑不语的菩萨,他们都共享着一种跨越地区、朝代、宗教乃至生死的恒定的幸福。许鸿飞的雕塑也同样是十分现代的,他并没 有像其他大多数的先锋派艺术家一样用视觉图像去激烈地挑战艺术在形式和和内容上的边界,而是十分清醒和冷静地领悟到&ldquo;现代性&rdquo;和&ldquo;先锋性&rdquo;两个概念在内涵 上的差异,而将目光转向了现代中国普通大众所共享的一种追求和梦想&mdash;&mdash;快乐与富足。</p> <p style="text-align: justify;">  可以说,许鸿飞的雕塑是源于本土精神的。他跳开了西方古典雕塑对于英雄和史诗的歌颂,也避免了西方现当代雕塑中知识精英对理论和形而上学的追 求。中国的传统雕塑并没有和卷轴画一样演变成文人和书斋的专利,而一直是大众和民间文化的载体,无论是作为对氏族图腾的崇拜、对死后升仙世界的想象、还是 对佛国光辉的追寻,中国传统雕塑一直以来都集结着这个文明每一个普通人所共有的一种快乐观,在这一点上,胖女人们别无二致。但同样的,许鸿飞的作品是全球 性的,胖女人中的价值观是普世的。他所表现的富足和欢愉以及对二者的共同追求,是跨越种族、国家、意识形态和宗教的。是全球不同生活方式下的不同人群共存 的基础。</p> <p style="text-align: justify;">  在人类历史朦胧的初期,正是对于这丰饶与欢愉的追求乃至崇拜,激励着我们人类的祖先创造出了不同形态的文明、信仰和生活方式。跨过上万年的时 光,这种追求仍然是所有普通人所共有的梦想。许鸿飞和他的胖女人追寻着纷繁的世界中我们所共同的梦,提醒着截然不同的每一个人什么是生活中最为质朴和本质 的追求。</p> Tue, 03 Mar 2015 16:02:20 +0000 Gregor Hildebrandt - Galerie Perrotin - March 12th - April 25th <p style="text-align: justify;">Galerie Perrotin is pleased to present the first solo exhibition of Gregor Hildebrandt in Hong Kong, opening on March 12.</p> <p class="Pa0" style="text-align: justify;">When Gregor Hildebrandt moved into his Berlin apartment in April of 2010, he was welcomed to his new home by a discarded, worn down doormat with the Chinese characters &ldquo;Come in Peace / Leave in Peace&rdquo;. The wise, old doormat, had entered his world by chance, and in all of its dormant glory, was coming by hazard. Embracing chance, he saw it as a good omen of security and a priceless deterrent for thieves, as no one would suspect anything of value behind the door it guarded, and vowed to show it, should the opportunity present itself, at the threshold of his first solo exhibition in Hong Kong. That future is now.</p> <p class="Pa0" style="text-align: justify;">The coming by hazard doormat is an apt signifier for Hildebrandt&rsquo;s work. The doormat, like the vinyl records, VHS and cassette tapes that lie at the foundation of his work, is a lyrical recording device. It tracks the footsteps of all of those who have come and gone, compressing time, grime, and memory into an object that acts as a portal into another space. By placing this &ldquo;poetic&rdquo; object at the threshold, Hildebrandt is trans&shy;porting his audience into an enigmatic memory and cryptic simulation of his home life.</p> <p class="Pa0" style="text-align: justify;">The Talking Heads sang, &ldquo;Home is where I want to be&rdquo; on the 1983 album &ldquo;Speaking in Tongues&rdquo;, and the theatre of the domestic interior and the mutability of language and communication across cultures and time are very much the main themes on display.</p> <p class="Pa0" style="text-align: justify;">Visual patterns from everyday objects offer a glimpse into his home, inspirations, and personal relationships. They are transformed into positive/negative cassette tape paintings: a handbag, a blouse, a breakfast-in-bed tray, and a book by Martin Luther, the Protestant German friar whose translation of the Bible from Latin into German had an enormous cultural impact in the creation of a standard version of the German language. Hildebrandt highlights the &ldquo;spiritual quest for the infinite along the vertical axis mundi, connecting the earth &amp; the celestial vault&rdquo;, as formally articulated by Brancusi in 1918, and in a version of an &ldquo;endless column&rdquo; formed with molded vinyl records that appear to stack like musical warped galaxies.</p> <p style="text-align: justify;">A quasi-religious Pieta-like photograph of Hildebrand&rsquo;s head resting in the lap of his partner, the artist Alicja Kwade, adds to the themes of love, romance, and security within the sacred home. The fragility of the image, and by extension, his relationship and all relationships, is heightened as one realizes upon closer inspection that the single image is held together in a cabinet by, and the sum of, a multitude of layers of tiny cassette boxes.</p> <p class="Pa0" style="text-align: justify;">Hildebrandt has created another new photograph of an etching by his influential teacher, Thomas Gruber, from his home art collection paying homage to Marivaux&rsquo;s 1730 renowned romantic comedy theatre work, &ldquo;LE JEU DE L&rsquo;AMOUR ET DU HASARD&rdquo; (&ldquo;The Game of Love and Chance&rdquo;). By shooting it in the reflection of one of his Spiegel (Mirror) Paintings and flipping the mirrored image in Photoshop, the photograph then becomes the invitation poster.</p> <p class="Pa0" style="text-align: justify;">This referential hall of mirrors continues as the black magnetic tape of an unspooled VHS copy of a performance of Le Jeu de L&rsquo;Amour et du Hasard is transformed into an all-enveloping, elegant wall curtain which wraps the entire exhibition space. The walls of the gallery space are de-activated and re-activated by being made negative. From this new void, the cassette tape paintings then hang in cut out sections of the wall and curtain, functioning like windows with a view into the romantic enigma of domestic life. The audience&rsquo;s reflection is mirrored in the cur&shy;tains as they themselves become woven into the fabric and patterns of the drama.</p> <p class="Pa0" style="text-align: justify;">A tightly wound, painstakingly produced cassette tape wheel painting brings the exhibition literally and figuratively full circle; by chance I discovered the magnetic tape for recording sound was invented in Germany by Fritz Pfleumer in 1928, and developed in this fashion. Once again, we pass through a time portal to Hildebrandt&rsquo;s heritage.</p> <p class="Pa0" style="text-align: justify;">Hildebrandt&rsquo;s work is lyrical and poetic, speaking in tongues without making a sound. Coming by Hazard recites themes of romance and home within collective memory consciousness connected by chance across generations of time and space. It is open and inviting: come as you are, or come by hazard, it may or may not be up to you.</p> <p style="text-align: justify;">Slater Bradley</p> <hr /> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">&nbsp;貝浩登(香港)很榮幸為格雷戈爾‧希德布蘭特(Gregor Hildebrandt)在香港舉辦首次個展,展覽於3月12日晚開幕。</p> <p style="text-align: justify;">2010年4月,希德布蘭特搬進柏林寓所,迎接他的是一塊印有中文字「出入平安」的破舊門墊;於是,在機緣巧合下,這件蘊含智慧光華的「古董」,便進入了藝術家的世界。深信機緣的希德布蘭特,認為門墊可驅走盜賊(誰會想到它的主人擁有貴重物品?),帶來平安,決定日後如在香港舉辦個展,便會放在入口處展示。現在這機會終於來到。</p> <p style="text-align: justify;">一塊偶然遇上的門墊,正好道出希德布蘭特作品的特色。就如黑膠唱片、錄影帶、卡式錄音帶等創作物料,它作為抒情記錄工具,承載着人們往來的足印,把時間、塵垢、記憶壓縮起來,像一道門引領觀者到另一空間。藝術家把這「富有詩意的」物品放在展廳入口,正是要讓觀者進入自己隱秘的生活回憶。</p> <p style="text-align: justify;">The Talking Heads樂隊1983年大碟《Speaking in Tongues》裏有這句歌詞:「Home is where I want to be」。無可否認,隨着文化與時代不同,無論是家居佈置、語言或溝通模式也會攺變,而這正是展覽的主題所在。</p> <p style="text-align: justify;">從日常物件的視覺圖案,觀者可以窺探到希德布蘭特的家居、靈感來源,甚或私人關係。他喜歡用舊錄音帶創作正/反畫作,題材不一而足,有手袋、女襯衫、床上早餐托盤、馬丁‧路德著作等(這位新教修士把聖經從拉丁文翻譯成德文,對標準德語的形成有莫大影響)。他所創作的「無盡之柱」(endless column),把黑膠唱片壓成模型堆疊起來,看似一組扭曲的音樂星系,為的是要表達布朗庫西(Brancusi)早於1918年所說,「沿着接連天地的世界之軸(axis mundi)追求無限」。</p> <p style="text-align: justify;">希德布蘭特把自己躺在伴侶兼藝術家阿莉霞‧克瓦德(Alicja Kwade)懷裏的情景拍攝下來,相片有點像聖母抱着受難耶穌的畫像,凸顯了聖家所包含的愛、浪漫和安穩。不過,細看之下,會發現整幅相由一層層的小卡式盒砌成,結構並不穩固,由此引申至伴侶甚或其他一切關係,也非如想像般穩固。</p> <p class="Pa0" style="text-align: justify;">藝術家另一新相片,以其私人收藏的一幅蝕刻作品為主體,旨在向18世紀法國劇作家馬里伏(Marivaux)的經典浪漫喜劇《愛情與偶然狂想曲》(The Game of Love and Chance)致敬。蝕刻出自托馬斯‧格魯博(Thomas Gruber,一位對希德布蘭特影響深遠的導師)之手,通過「鏡像」畫作拍攝下來,再經圖像軟件處理,最後成為是次展覽請柬的封面。</p> <p style="text-align: justify;">展廳四周掛滿簾幕,由一條條黑色磁帶組成,都是《愛情與偶然狂想曲》的錄影帶,拆散後掛到牆上,反光如鏡,背後卻有指向。簾幕有部分挖空,用來懸掛以錄音帶製成的畫作,仿如透視隱秘家居生活的小窗戶。觀者欣賞作品,投入之餘,身影也同時反映到簾幕裏。</p> <p style="text-align: justify;">展覽的最後展品,是一個以錄音帶精心捲製的圓盤,既象徵結束,也是重新開始。1928年,德國人弗勒瑪(Fritz Pfleumer)發明以磁帶記錄聲音,所用的磁帶正是這個式樣。通過時間之門,觀者再次走進藝術家的歷史承傳。</p> <p style="text-align: justify;">希德布蘭特的作品在無聲中訴說感情,既抒情又富詩意。《Coming by Hazard》以浪漫和家為主題,透過集體回憶跨越時空,面向不同世代的觀者,不論是有意參觀或偶然而來,預先計劃與否。</p> Tue, 03 Mar 2015 15:55:17 +0000 JR - Galerie Perrotin - March 12th - April 25th Tue, 03 Mar 2015 15:50:19 +0000 Wang Wei - Edouard Malingue Gallery - March 12th - April 15th <p style="text-align: justify;">Two Rooms (2015) is an immersive installation created by the Beijing-based artist Wang Wei (b. 1972). Conceived not so much as an artwork but rather a vehicle for situating artifice in the context of everyday life, the installation builds upon Wang Wei&rsquo;s interest in the Beijing Zoo; upon a visit in 2007 he was struck by the wall designs of the animal enclosures &ndash; were they intended for the humans or the animals? These evident fictions or &lsquo;natural&rsquo; habitats have since inspired several installations exhibited at the Kunsthalle Project Space, Vienna as well as Observation Society, Guangzhou amongst other locations. Each project, including Two Rooms at Edouard Malingue Gallery, is an appropriation of an existing space and its visual elements, which Wang Wei then enlarges and adapts to a gallery setting. Through a process of identification, engagement and decontextualisation, Wang Wei questions the veracity of natural forms before fresh eyes and constructs windows for the investigation of new layers of meaning.</p> <p style="text-align: justify;">A graduate from the Fresco Painting Department of the Central Academy of Fine Arts in 1996, Wang Wei was already concerned with the principle tenets of space, viewer interaction and sensory perception. As a member of the artistic and curatorial &lsquo;Post-Sense Sensibility&rsquo; movement in the late 1900s early 2000s, Wang Wei later developed an ad hoc spirit<span style="font-size: xx-small;">1</span>, a key ingredient that would bring Wang Wei&rsquo;s work not only into the realm of installation but that of performance carved out of a space. To varying degrees, each of Wang Wei&rsquo;s works inspired by the Beijing Zoo have channeled this dichotomy between structure and interaction. A Zoo, No Animals (2007), the first Beijing Zoo work exhibited in the city itself, brought abandoned animal cages into an art space, which visitors would then pass through thus inhabiting the cage-like structures, whilst being stripped of immediate context.</p> <p style="text-align: justify;">Wang Wei&rsquo;s subsequent installations, such as A Zoo, No Animals 2 (2008) at the Kunsthalle Project Space, Vienna have been similarly immersive. Other iterations of Wang Wei&rsquo;s Beijing Zoo works, however, have involved different sorts of interaction; whilst remaining theatrical and immersive, less &lsquo;props&rsquo; have been used to define the viewers&rsquo; experience, relying instead on two-dimensional renderings and the visual as well as physical impacts of the pre-existing gallery space. In Natural History 6 (2013) at Observation Society, Guangzhou, for&nbsp; example, Wang Wei confronted the viewer with a curved mural wall featuring the backdrop of the African Tortoise cage; a mountainous Saharan background fronted by an incongruously replete and vivid blue lake. Thus, the viewer through the great height of the wall and its encircling effect felt both engulfed and situated amidst a fictitiously &lsquo;natural&rsquo; context.</p> <p style="text-align: justify;">Two Rooms follows from this last project, involving two floor-to-ceiling panels that cover the length and height of the gallery walls. As suggested by the title, two scenarios are cast, each depicting a separate room at the Beijing Zoo&rsquo;s Baboon House. Tonally distinct, one represents dusk/Autumn, whilst the other casts Spring/dawn. Created specifically for Edouard Malingue Gallery, the installation plays with the gallery layout, and leads the viewer through the undulations of the space till they are ultimately faced with the large &lsquo;Spring/dawn&rsquo; room, which presents a florid and mountainous landscape under a tepid red sky. Having at first been faced with the &lsquo;dusk/Autumn&rsquo; room, the viewer notes that the painted forms are remarkably similar &ndash; the mountains, odd trees, forms of foliage &ndash; signaling ultimately the repetitive monotony of the artificial setting; immersive, yet nonetheless vacuous.</p> <p style="text-align: justify;">Ultimately, Two Rooms (2015) conveys Wang Wei&rsquo;s persistence upon space and immersion. On the one hand, by inserting and recasting the backgrounds of these cages within the &lsquo;white cube&rsquo;, he decontextualises the original and highlights its fiction and absurdity. On the other hand, by altering the space of the &lsquo;white cube&rsquo;, he challenges the spaces&rsquo; character and breaks down the gallery&rsquo;s supposed neutrality. This in itself is a great challenge, for Wang Wei is not altering the space&rsquo;s meaning through changing its architecture, but rather by immersing it in a constructed narrative sequence, replete with visual impressions that ultimately have intellectual and bodily repercussions. </p> <p style="text-align: justify;">Wang Wei&rsquo;s work has been exhibited in numerous important exhibitions including: 12th Chinese Pavilion, International Architecture Exhibition, La Biennale di Venezia, Italy (2010); Shenzhen Hong Kong Bi-City Biennale of Architecture and Urbanism, Shenzhen, China (2009); The Real Thing: Contemporary Art From China, Tate Liverpool, UK (2007); Foreign Objects, Kunsthalle Wien Project Space, Vienna, Austria (2007); Beyond: The Second Guangzhou Triennial, Guangdong Museum of Art, (2005); A Second Sight, International Biennale of Contemporary Art, National Gallery in Prague, Czech Republic, (2005); Between Past and Future: New Photography and Video from China, International Center of Photography, New York (2004); The First Guangzhou Triennial, Guangdong Museum of Art, China, (2002).</p> <p style="text-align: justify;">1 Wang Wei: Borrowing from Reality, by Pauline J. Yao, June, (2012) p. 2</p> Tue, 03 Mar 2015 15:45:55 +0000 Tan Tian - White Space Beijing - March 7th - April 17th Tue, 03 Mar 2015 15:30:48 +0000 Annie Leibovitz, Hiroshi Senju - Sundaram Tagore Gallery - Hong Kong - March 10th - May 10th <p style="text-align: justify;">The work of two master artists is on view, with portraits by renowned American photographer Annie Leibovitz on the first floor and canvases by one of Japan&rsquo;s most celebrated contemporary painters, Hiroshi Senju, on the ground floor. Both bodies of work revolve around the notion of power&mdash;Leibovitz explores it in the context of the human sphere with images of iconic public figures and Senju addresses it in the landscape with sublime waterfall images.<br /> <br /> Over a storied forty-year career, <strong>Annie Leibovitz</strong> has become best known for her portraits of public figures. This exhibition, comprising ten iconic prints in color and black and white, showcases a selection of her most enduring work. The subjects include Andy Warhol, Scarlett Johansson, Brad Pitt, Jack Nicholson, the Dalai Lama and Queen Elizabeth II.<br /> <br /> Annie Leibovitz began her career as a photojournalist for Rolling Stone magazine in 1970, while she was still a student at the San Francisco Art Institute. She joined the staff of Vanity Fair magazine in 1983. At Vanity Fair and later, Vogue, she developed a large body of work&mdash;portraits of actors, directors, writers, musicians, athletes, and political and corporate figures&mdash;that expanded her collective portrait of contemporary life.<br /> <br /> Leibovitz is the recipient of many honors, including the International Center of Photography&rsquo;s Lifetime Achievement Award, The American Society of Magazine Editors&rsquo; first Creative Excellence Award and the Centenary Medal of the Royal Photographic Society in London. In 2006, she was decorated a Commandeur in the Ordre des Arts et des Lettres by the French government. Leibovitz has been designated a Living Legend by the U.S. Library of Congress. She lives in New York.<br /> <br /> Exhibitions of Leibovitz&rsquo;s work have been held at museums and galleries all over the world, including the National Portrait Gallery and the Corcoran Gallery of Art in Washington, D.C.; the International Center of Photography in New York; the Brooklyn Museum; the Stedelijk Museum in Amsterdam; the Maison Europ&eacute;enne de la Photographie in Paris; the National Portrait Gallery in London; the Hermitage Museum in Saint Petersburg and the Pushkin Museum of Fine Arts in Moscow.<br /> <br /> <strong>Hiroshi Senju</strong> is noted worldwide for his sublime waterfall and cliff images, often monumental in scale, which combine a minimalist visual language rooted in Abstract Expressionism with ancient painting techniques unique to Japan.<br /> <br /> Widely recognized as one of the few contemporary masters of the thousand-year-old Nihonga style of painting, Mr. Senju began exploring the waterfall image in the early 1990s. He uses traditional Japanese materials, such as pigments made from minerals, ground stone, shell, corals and animal-hide glue. With incredible delicacy, he pours translucent paint onto mulberry paper mounted on board, creating the sensation of unrestrained movement. Evoking a deep sense of calm, his waterfalls conjure the appearance, sound, smell and feel of rushing water.<br /> <br /> This intimate exhibition features six waterfall paintings, two of which are painted with fluorescent pigments. These images appear black and white in daylight but fluoresce an arresting electric blue under ultraviolet light. An ode to the ubiquitous city lights of contemporary existence, Senju&rsquo;s waterfalls hover between day and night as he straddles the realms of industry and nature, the material and the ethereal.<br /> <br /> Hiroshi Senju was the first Asian artist to receive an Honorable Mention Award at the Venice Biennale (1995) and has participated in exhibitions around the world, including the <em>Beauty Project</em> at the Museum of Contemporary Art, London, in 1996; <em>The New Way of Tea</em>, curated by Alexandra Munroe, at the Japan Society and the Asia Society in New York in 2002; and <em>Paintings on Fusuma</em>, at the Tokyo National Museum in 2003. In 2003, Mr. Senju completed seventy-seven murals at Jukoin, a sub-temple of Daitokuji, a prominent Zen Buddhist temple in Japan. In 2004, he was the art director for the Haneda Airport International Passenger Terminal in Tokyo, where he completed one of his largest installations. The Benesse Art Site of Naoshima Island, designed by Tadao Ando, also houses two large-scale installations.<br /> <br /> Hiroshi Senju&rsquo;s work is in the Museum of Contemporary Art, Los Angeles; The Museum of Modern Art, Toyama, Japan; the Yamatane Museum of Art and Tokyo University of the Arts, Tokyo; and the Kushiro Art Museum, Hokkaido, Japan. The Hiroshi Senju Museum Karuizawa, designed by Ryue Nishizawa, opened in October 2011 in Japan.</p> <hr /> <p style="text-align: justify;">画廊将展出两位艺术巨匠的作品,一楼空间将展示著名美国摄影师Annie Leibovitz的肖像摄影,而下层将展出日本最享负盛名的当代画家Hiroshi Senju之大型画布。两位艺术家作品均以力量作为中心 &mdash; Leibovitz以标志性的公众人物肖像,探讨人性层面的力量,Senju则以壮丽的瀑布景观着手。<br /> <br /> 在传奇的四十年职业生涯中,<strong>ANNIE LEIBOVITZ</strong>拍摄的公众人物肖像最广为人知。本展览精选出合共十幅具标志性的大型彩色及黑白作品,拍摄对象包括Andy Warhol、Scarlett Johansson、Brad Pitt、Jack Nicholson、达赖喇嘛,及伊利沙伯二世。<br /> <br /> Annie Leibovitz1970年起于《Rolling Stone音乐世界》杂志当摄影记者,当时正修读于三藩市艺术学院。1983年先后加入《名利场》和《Vogue》杂志担任摄影师,期间曾为世界上最出色 的名人拍摄,包括演员、导演、作家、音乐家、运动员、及政治和商界人士,为现代生活提供集体的写照。<br /> <br /> Leibovitz曾获得无数荣誉,包括国际摄影中心的终身成就奖、美国杂志编辑学会首届卓越创意大奖,及伦敦英国皇家摄影学会百年纪念奖章。2006 年,她获法国政府颁发法国艺术及文学勋章的高等骑士勋位。Leibovitz获美国国会图书馆授予「生活的传奇」(Living Legend)奖项,她现居于纽约。<br /> <br /> Leibovitz的作品曾展出于世界各地的博物馆及画廊,包括美国华盛顿的国家肖像画廊及可可画廊、纽约国际摄影中心、布鲁克林美术馆、阿姆斯特丹市立博物馆、巴黎欧洲摄影之家、伦敦国家肖像画廊、圣彼得堡冬宫博物馆,及莫斯科普希金造型艺术博物馆。<br /> <br /> <strong>HIROSHI SENJU</strong>以其壮观宏伟的大型瀑布及山涯作品而闻名。他将简约的抽象表现主义与日本特有的传统绘画技法融合于作品中。<br /> <br /> 贵为现今为数不多,采用拥有千年历史的岩彩画风格来作画的大师。Senju于1990年代已经开始探索瀑布绘画。他成功地将日本传统技法结合从矿物石、贝 壳和珊瑚所研磨出来的颜料,利用兽皮胶水营造富现代感的视觉效果。他仔细地以半透明的颜料绘于装在木板上的宣纸,塑造出大自然无拘无束的动态,引发出平静 的感觉。观赏者站立于瀑布前犹如听着轰鸣的水声、嗅着湿润的空气,及沾着阴凉的薄雾。<br /> <br /> 是次展览的六幅瀑布绘画中,其中两幅以荧光颜料创作。作品于日光时呈现黑白色,但在紫外光灯照射下则变成耀眼的荧光蓝色。他的创作正正为歌颂当代社会无处 不在的城市灯光,Senju的瀑布于白天与黑夜之间徘徊,正如艺术家每天游走于工业世界与大自然、物质与空灵的境界之间。<br /> <br /> Hiroshi Senju是首位于威尼斯双年展中获得特别荣誉奖的亚洲艺术家(1995年),展览遍及世界各地,包括伦敦当代艺术博物馆1996年的<strong>Beauty Project</strong>、纽约日本文化协会2002年由Alexandra Munroe策展的<strong>The New Way of Tea</strong>展 览,及2003年于东京国立博物馆展出屏风画。同年,Senju为著名佛寺&ldquo;大德寺&rdquo;的聚光院伊东别院完成77幅壁画。翌年,他担任东京羽田机场的艺术总 监,为机场创作了最大型艺术作品。此外,由安藤忠雄设计的日本直岛贝尼斯艺术空间,亦收藏了Senju的两幅大型作品。<br /> <br /> Hiroshi Senju的作品收藏于美国加州的洛杉矶当代艺术博物馆、日本富山县立近代美术馆、东京山种美术馆、东京艺术大学,及北海道立钏路艺术馆。2011年,位于本长野县轻井泽的Hiroshi Senju美术馆正式开幕,该馆由西沢立卫设计。<br /> <br /> 如欲查询详情,请电邮至,或致电+852 2581 9678,以获取更多资讯。</p> Tue, 03 Mar 2015 15:23:54 +0000 Zeng Fanzhi - ShanghART Gallery Beijing - March 10th - March 22nd <p style="text-align: justify;">ShanghART Beijing is pleased to present ZENG FANZHI THE LOUVRE PROJECT, the first exhibition of ShanghART Beijing in 2015, from March 9th to March 22nd, 2015. It will be the first solo exhibition of ZENG Fanzhi in China Mainland in resent 5 years.<br /><br />This exhibition project of Zeng Fanzhi in Louvre Museum in 2014 came from a meeting in Hong Kong between Zeng and Henri Loyretee-then the curator of Louvre Museum. They were congenial and conceived the idea of holding an exhibition together to arouse more discussions about "classical art and contemporary art".Soon after that, the artist created From 1830 till Now from No.1 to No.4 - a set of four individual pieces for this exhibition. Finally the No.4 was elaborately selected to be displayed in Denon Hall (Red) where specially display romantic artworks. The No.4 was juxtaposed with Libert&eacute; guidant le people and other masterpieces of romanticism,which profoundly presenting dialogues between east and west, contemporary art and classical art. Only the No.4 had been exhibited in Louvre Museum, the No.1 to No.3 had so less chance to be exposed in public that they were nearly never absent from artist's side. Being a precious opportunity, ZENG FANZHI THE LOUVRE PROJECT in ShanghART Beijing shows the entire collection of From 1830 till Now, this is the first time these four works are shown together in one exhibition. Audiences can deeply feel the rhythm of artist's emotion in every stage of creation and his changes even breakthroughs along the way while being attracted by artist's meditation beyond the dialogue of "classicism and contemporary" about history, time, freedom and "ultimate freedom".&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;<br /><br />From 1830 till Now is a set of four individual pieces, all of the 4 pictures from No. 1 to No. 4 are based on Libert&eacute; guidant le people, but in different editions and variations, which shows Zeng's thinking and interactions toward art history as a contemporary artist. Zeng first saw the coloured illustration of Liberty Leading the People in a textbook in the mid-1980s. He remained deeply fascinated with the piece throughout his school days and, when visiting the Louvre for the first time some 10 years later, in 1995, he found the original Libert&eacute; the most moving artwork in the museum. Throughout the years, Zeng's affection to Libert&eacute; has stayed true, he is always fascinated by the complex composition and the intense emotional charge in the colours and brush strokes, but it was the striking image of the nude Liberty in the piece that affected him the most. The free use of the body to express her impassioned feelings, the most consummate apotheosis of "liberty", resonated deeply with Zeng's conscious pursuit for "creative freedom" in his youth, this is the foundation of all Zeng's works today. From 1830 till Now could be regarded as a blank page in the Zeng's history book, offering a fresh direction for interpreting his works.</p> <hr /> <p style="text-align: justify;">香格纳画廊北京空间非常荣幸的宣布,2015年香格纳北京开年展览-曾梵志个展《卢浮宫计划》将于3月9日隆重开幕,这也是艺术家时隔五年在中国大陆地区的又一次个展,展览持续至3月22日。<br /><br />艺 术家曾梵志2014年卢浮宫特展,起源于2011年艺术家与卢浮宫博物馆时任馆长Mr. Henri Loyrette在香港的一次见面,双方对话一拍即合,于是生起展览合作的想法,希望藉展览带动更多关于「古典与当代」的讨论。艺术家随后为这次展览计划 而创作了《从1830年至今》四幅组画,最终精心挑选了《第4号》,展出于馆内专门陈列浪漫主义作品的德侬厅(红厅),与德勒克洛瓦《自由领导人民》及其 他浪漫主义名作并列,深刻呈现东方与西方、当代与古典的艺术对话。在卢浮宫展出的只有《第4号》,第1至第3号作品,对外曝光甚少,甚至根本未曾离开艺术 家手边,未曾同场展出。香格纳北京筹办此次「曾梵志&middot;卢浮宫计划」将首次把四幅组画同步展出,机会弥足珍贵。观众能深刻感受艺术家在每一创作阶段不同的情 感律动,一路走来的变化与突破,甚至更完整体会他在「古典与当代对话」以外,关于「历史」、「时间」,甚至「自由」、「终极的自由」等其他主题的思考成 果。<br /><br />《从1830年至今》第1至第4号都以德拉克洛瓦的《自由领导人民》为根本,却有不同的增删和变化,代表曾梵志作为一位当代艺术家, 面对美术史上经典的不同思考和互动关系。从艺术家学生时代(约1985年前后)第一次看到《自由领导人民》的印刷彩图,直到十年之后的1995年首次游历 欧洲,在卢浮宫中亲见原作。曾梵志始终着迷于这幅画作复杂的构图和带有强烈情感氛围的色彩与笔触,尤其是其中的自由女神裸体形象,在曾梵志看来,就是「自 由」最形象的表达,呼应了当时他对「创作自由」的自觉追求,这份自由是后来一切创作的根源。《从1830年至今》旨在以一种艺术家真诚剖白内心的方式,引 领观众回到艺术家本身创作历程的起点,与他一同感受过去的成长挣扎与思想脉动,了解他对艺术自由的追寻情怀。</p> Tue, 03 Mar 2015 15:15:52 +0000 Yang Yongliang - Shanghai Gallery of Art - February 7th - April 7th <p style="text-align: justify;">Shanghai Gallery of Art is pleased to present the solo exhibition of Yang Yongliang, where the artist&rsquo;s first feature film YAN will be on premiere. A 50-minute offering, YAN is, metaphorically, both as a dream one could never wake up to and as a dilemma one could never pierce through. The protagonist is, seemingly, a swordsman existing in a metropolis; he appears to have an ambition with nowhere to express. Chasing after a tripedal raven&rsquo;s guide, the swordsman travels back and forth between reality and his mental space. A predecessor challenges him and he bids farewell to an imagined land. The narrative expresses Tao Yuanming&rsquo;s longing of reclusion exemplified in Peach Blossom Spring. It also introduces Zhuangzi&rsquo;s paradox of Dream of Butterfly written in On the Equality of Things.</p> <p style="text-align: justify;">Yang Yongliang&rsquo;s early works compose the structure of overwhelming cityscapes, in which he describes objective world to its ultimate. Meanwhile, the film could be viewed as a subjective extension. In Chinese traditional landscape paintings, imitating the realistic landscape was never the essence; instead it is meant to reveal the artists&rsquo; inner minds. The wandering traveler, the lead figure often seen hidden in the mountainous scenes of traditional landscape paintings, manifest itself as a swordsman in Yang&rsquo;s film, guiding the audience towards his individual world. Through this black and white filmic journey without dialogue, each transition of a scene and each movement of the character are suggestive. It allows the audience to associate with the unknown man in the swordsman&rsquo;s outfit. Along with him, we drown in the stress of current lives and scenarios. Onward with him, we are challenged by our other selves. Being with him, we reflect the warmth and bid farewell.</p> <p style="text-align: justify;">Through Yang&rsquo;s works in the past decade, we sense his arbitrary yet cheerful insist as a lone creator. He exploits a connection between traditional art and the contemporary, implementing ancient oriental aesthetics and literati beliefs with modern language and digital techniques. His works are creative while not overthrowing classical aestheticism. The artist accumulates a heavy database of documentary urban landscape photos. And with editing skills, he replaces brush and ink with images of architectures to present immersive concrete forests as artificial wonderlands. Architectural lines of various tones therefore become wrinkle method of brush paintings. Yang&rsquo;s maximalist overlaps of cityscapes depict the ups and downs of time as the ancient painters represented in their infinitive mindscape.</p> <p style="text-align: justify;">All in all, what the artist inherits is not simply Chinese art as its symbolic elements or traditional composition, but its mentality and ideology in creation. His belief in contemporary art is not about originating an idea, but setting something in motion gradually throughout the years. Yang never makes easy change; instead he develops and digs further for refinement. As of last year, his techniques has risen ably to create replicas of Song landscape masterpieces such as Travelers Among Mountains and Stream, Wintery Forest in the Snow, an artistic endeavor he is still continuing.</p> <hr /> <p style="text-align: justify;">沪申画廊将于2015年年初荣幸呈现杨泳梁个展,展览首映杨泳梁的第一部艺术电影长片《魇》。&ldquo;魇&rdquo;既梦魇,睡不醒的梦境,不能突破的重围。影片的 主人公是一个生活在闹市里,全副武装的剑士,仿佛身负重任却没有用武之地。剑士跟随一只三足乌鸦的指引,游离于现实和幻想世界之间,与过去的自我(或者一 个前辈)思辨,与幻想的世界告别。故事展现作者对&ldquo;桃花源记&rdquo;般远离世俗的向往,同时引出&ldquo;周公梦蝶&rdquo;所提出的对于精神存在的悖论。</p> <p style="text-align: justify;">杨泳梁 早期的影像作品刻画着虚幻城市的躯壳,将陈述客观世界做到一种极致。而在电影作品中,他首次以一条主观线索作为对于以往作品的延伸。正如中国传统山水画 中,描绘山水之意并不在于还原自然风景的真实性,更在于通过对于一山一水的刻画传递艺术家内心的风景。传统山水中往往藏匿着的那个旅行者、引路人,在杨泳 梁的电影中以剑士的形象出现,带领观者感受他身处的主观世界。在这趟无对白的黑白电影旅程中,每一个场景的切换、每一个物件的出没都充满暗示性,令人不禁 将自己和主人公联系在一起,独自沦陷于都市的压抑,独自面临自我的挑战,独自回味沿途的温情。</p> <p style="text-align: justify;">杨泳梁过去10年的作品让我们感受到这位创作 者一意孤行、而又乐此不疲的坚持。他的数码山水开拓了连接传统和当代的一种可能性,即以当代语汇结合前沿技术重现东方传统的审美方式和文人情节,创新而不 忘本、古典而不拘泥。艺术家拍摄了大量的纪实城市风景作为创作素材,利用数码后期技术,以建筑图像取代笔墨进行绘图,呈现浩瀚而又荒诞的超现实水泥森林、 人造仙境。他以深浅不一的建筑线条表现笔墨皴法,用极繁的城市纹理再现了古人曾经只能从无垠山水里读到的沧海桑田。</p> <p style="text-align: justify;">在历经西方观念艺术的洗 礼之后,杨泳梁坚持的不仅是视觉上的中国符号、中国图式,更重要的在于他对东方文人的创作心境以及核心意识形态的延承。他的当代艺术观不在于灵机一动闪现 的一个主意,而在于对这个主意十年如一日的深掘。不轻易以改变作为突破,而在重复中循序渐进。时值2014年,他用他严谨而娴熟的绘图语言临摹了奠定宋代 山水的巅峰作品《溪山行旅图》、《寒林雪景图》,并完成400x800cm的巨幅山水《来自新大陆》,终于在&ldquo;创作&rdquo;这一场自我斗争中立下了不可逾越的里 程碑。要谈突破,可能现在才是时候。</p> Tue, 03 Mar 2015 15:11:58 +0000 Daniel Shosha, Amit Matalo - Shanghai Duolun Museum of Modern Art (Doland Art Museum) - March 8th - March 31st <p class="su_en_9" style="text-align: justify;">We are delight to announce&nbsp;LIVE_TRACE an exhibition of contemporary art from Israel. The grand opening of this exhibition will be held at 3pm, 8 March 2015 at the Shanghai Duolun Museum of Modern Art. Daniel Shosha and Amit Matalo, two Israeli contemporary artists will present unique art practices of landscape as well as its visual representation through combination of paintings and sound installations.</p> <p class="su_en_9" style="text-align: justify;">Daniel Shoshan and Amit Matalon, two Israeli artists who wonder the open space, photographing and drawing the local Israeli landscape, documenting and processing by employing various tools and methods.Similar to scientists, Shoshan and Matalon use their landscape photographs and the specimens they've collected as a platform to recreate a new artificial landscape, which they assemble in a laboratory environment.</p> <p class="su_en_9" style="text-align: justify;"><br /> The landscapes depict a process of visual mapping, traces of memories and reflections.Their experiences and impressions are then processed, abstracted and transformed through various digital techniques into basic drawing units.These basic units act as cells of information that constitute the foundation and infrastructure upon which a microcosm of a new landscape experience is created.</p> <p class="su_en_9" style="text-align: justify;">In this exhibition, Shoshan and Matalon display three installations of laboratory landscapes.Each installation is in fact, an artificial landscape that withholds it's own system of codes.The first installation is the first step in the process of transformation.<br /> The dismantled landscape is portrayed through a dense physical texture created by a standard form of drawing.</p> <p class="su_en_9" style="text-align: justify;">In the second installation, the landscape spreads upon tens of meters as a drawing in action, as a collection of encoded shapes.This landscape was created in collaboration with local artists who have no relation to the original one.</p> <p class="su_en_9" style="text-align: justify;">In the third installation, the landscape spreads upon tens of meters of sound sketches. The cell information of the landscape receives a new dimension of time, movement and sound.</p> <p class="su_en_9" style="text-align: justify;">This project represents an attempt to disassemble local Israeli landscape from the myths and ideological baggage it carries. At the same time, it is also an attempt to dismantle drawing from its own myths by building a new language and practice.</p> <hr /> <p class="su_en_9" style="text-align: justify;">由上海多伦现代美术馆主办,来自以色列的展览"现场&middot;痕迹"将于2015年3月8日下午15:00在上海多伦现 代美术馆隆重开幕,两位以色列当代艺术家丹尼尔&middot;绍珊(Daniel Shosha)和阿密特&middot;马塔龙( Amit Matalo)将通过绘画与声音装置相结合的方式呈现他们对于风景及其视觉再现的独特艺术实践。</p> <p class="su" style="text-align: justify;"><strong>&nbsp;&nbsp;</strong>艺术家丹尼尔?绍珊和阿密特?马塔龙对户外空间有着浓厚的兴趣和好奇心,他们通过 照相机与画笔记录以色列当地的风景,并运用各种不同工具及方法来呈现。就像科学家一样,丹尼尔?绍珊和阿密特?马塔龙运用他们收集到的风景的图片和标本作 为一个平台,重新创造了一种新的人造风景。这种新的风景是他们在实验环境里重新构造的。风景描绘了视觉组合的过程,关于记忆及反思的溯源。他们的经验及印 象被过程化、抽象化,并通过电子技术转化为基本绘画单位。这些基础的单位作为信息单元,构成被创造出来的经验性的微观世界的基质。</p> <p class="su" style="text-align: justify;"><strong>&nbsp;&nbsp;</strong>在展览中,艺术家们展示了三个实验风景装置。事实上,每件装置都隐匿着风景及其自 身的编码系统。第一个装置是转化过程的第一步。被消解的景观通过艺术家的画笔呈现出密集的物理结构。在第二个装置中,风景作为一种编码语言,通过绘画行为 在展厅中延伸达数十米,这个作品由与原先风景没有任何关联的本土艺术家协作完成。第三个装置,风景将以声音为介质被分散成数十米的声像景观,它集合成一个 包含着时间、运动及声音的新的维度。</p> <p class="su" style="text-align: justify;"><strong>&nbsp;&nbsp;</strong>这个项目象征着一种把以色列当地风景从神秘与意识形态包袱中分离的尝试。同时,这也是通过创立一种新的语言和实践,对绘画本身神秘性的一种消解。</p> Tue, 03 Mar 2015 15:09:36 +0000 Arik Levy - Pékin Fine Arts (Hong Kong) @ Union Industrial Building - February 28th - May 9th <p style="text-align: justify;">P&eacute;kin Fine Arts is pleased to present Arik Levy&rsquo; s 1st solo exhibition in Hong Kong, A selection of works is presented that allows the visitor to navigate through Levy&rsquo; s vast body of artwork, and to explore a diverse spectrum of fabrication technologies.</p> <p style="text-align: justify;">The artist&rsquo; s preoccupation with creating a bridge and connections between humans, nature, social codes and science, is presented via a number of researched directions and the cross over between these notions. The artist and industrial designer&rsquo; s dexterity across a variety of materials is hued by hand, and used to express a consistent aesthetic, as well as to go up against the wall of self, his ideas and his feelings.</p> <p style="text-align: justify;">Known for his innovative use of varied material and obsessive attention to the message, details and emotional intimacy, Levy takes a strong uncompromising stance toward both indoor and outdoor sculpture. His attitude is one where artworks and surroundings come to be one. He is keenly aware of Hong Kong as context, and the reflection and interaction of his work against the backdrop of a high-rise dominated urban environment. Hong Kong&rsquo; s architecture and emotional ergonomics result in a powerful message and experience.</p> <p style="text-align: justify;">Paintings and sculpture presented together reveal surprising affinities between divergent mediums, breaking down traditional barriers between and rigid categorizations of art works vs. industrial design. Ultimately, Arik&rsquo; s artworks inform exhibit goers - across varied materials - of how the artist views himself.</p> <p style="text-align: justify;">Please join us at Duddell&rsquo;s on Feb. 27 evening from 5:30 to 7:30 for an artist-curator dialogue between Arik Levy and Aric Chen, M+ Museum curator of design and architecture.</p> Tue, 03 Mar 2015 15:06:31 +0000 Yoshitomo Nara - Pace Hong Kong - March 13th - April 25th <p style="margin: 0px; font-size: 10px; font-family: Arial; text-align: justify;"><span style="font-size: small;">Pace Gallery Hong Kong is proud to present <em>&ldquo;stars&rdquo;</em>, Yoshitomo Nara&rsquo;s second exhibition at Pace following his 2013 show in New York. The exhibition features recent works by Nara that combine his adolescent figures with star imagery and his work with burlap. Coinciding with Art Basel Hong Kong, the exhibition will be on view from 13 March to 25 April 2015.&nbsp;</span></p> <p style="margin: 0px; font-size: 10px; font-family: Arial; min-height: 11px; text-align: justify;"><span style="font-size: small;">&nbsp;</span></p> <p style="text-align: justify;"><span style="font-size: small;">Although stars have previously appeared in Nara&rsquo;s work, this exhibition and recent body of work marks his first focused engagement of the theme. Nara paints his distinctive adolescent figures interacting with or surrounded by sequences of golden four-point stars. The youthful nature of Nara&rsquo;s figures conjures childish notions of the star, varying from from earning a gold star as a reward for good work in school to the optimism of childish bromides such as &ldquo;shoot for the stars&rdquo; and &ldquo;wish upon a star.&rdquo; The latter phrase highlights the way stars can be read as harbingers, auguring the fulfillment of a wish or something more sinister. The many facial expressions of Nara&rsquo;s figures suggest these meanings, be it the hopefulness of a child gazing up at the stars or a more adolescent cynicism, chary of any sense of hope. The exhibition also features a 2011 acrylic and pen work on a wood panel shaped like the four-point stars in the more recent paintings, establishing the motif in his oeuvre.&nbsp;</span></p> <p style="margin: 0px; font-size: 10px; font-family: Arial; min-height: 11px; text-align: justify;"><span style="font-size: small;">&nbsp;</span></p> <p style="margin: 0px; font-size: 10px; font-family: Arial; text-align: justify;"><span style="font-size: small;">Nara&rsquo;s works on various surfaces such as cardboard and jute on wood create different effects for the paint. In several of his new works, he uses jute stitched together that is then stretched over a wood panel. The stitched jute creates a textural surface of irregular gridded lines that, coupled with the wood panel, lend the work an almost sculptural quality. Nara seeks to counterbalance these forces&mdash;the texture of the jute especially&mdash;by painting in flat blocks of color devoid of texture evocative of Japanese woodcuts. This technique of flattened paint distinguishes itself from the layering of diaphanous and airy pigments that characterize much of his work, yet finds precedent in his earlier billboard paintings.&nbsp;</span></p> <p style="margin: 0px; font-size: 10px; font-family: Arial; min-height: 11px; text-align: justify;"><span style="font-size: small;">&nbsp;</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Yoshitomo Nara (</strong>b. 1959, Aomori, Japan) was raised in Japan and completed his education in Germany. Nara integrates elements of his Western education with historical traditions in Japanese art, crafting a distinct aesthetic and process. Informed by elements of popular culture ranging from manga and anime to punk rock, Nara fuses Japanese visual traditions and Western modernism to create young characters that possess a startling emotional intensity. In a sense, Nara&rsquo;s paintings and drawings can be seen as an ongoing dialogue with his own childhood, as he reveals an internal rebellious spirit through each work. Through these quiet hints, the artist allows the audience into his psyche and reveals an internal turmoil and the loneliness of modern society.&nbsp;</span></p> <p style="margin: 0px; font-size: 10px; font-family: 'Times New Roman'; min-height: 11px; text-align: justify;"><span style="font-size: small;">&nbsp;</span></p> <p style="margin: 0px; font-size: 10px; font-family: Arial; text-align: justify;"><span style="font-size: small;">The subject of more than one hundred solo exhibitions worldwide, Nara has been the subject of solo exhibitions at The Diary Art Center, London (2014); Asia Society&nbsp; Museum, New York (2010); 21st Century Museum of Contemporary Art, Kanazawa (2006); Institute of Contemporary Art, University of Pennsylvania, Philadelphia (2004); and the Orange County Museum of Art (2003&ndash;04). The Hara Museum of Contemporary Art, Tokyo, the Yokohama Museum of Art, Kanagawa organized traveling exhibitions of Nara&rsquo;s work in 2004 and 2012, respectively.</span></p> <p style="margin: 0px; font-size: 10px; font-family: 'Times New Roman'; min-height: 11px; text-align: justify;"><span style="font-size: small;">Nara&rsquo;s works have been widely collected by major museums and institutions, including the Museum of Modern Art (MoMA), New York; the British Museum, London; the Museum of Contemporary Art, Tokyo; the Neue Pinakothek, Germany; Leeum, Samsung Museum of Art, Korea; the National Museum of Art, Osaka; Centro de Arte Contempor&aacute;neo in M&aacute;laga, Spain; the Museum of Contemporary Art, Los Angeles; and the Museum of Contemporary Art, Chicago.</span></p> <hr /> <p style="margin: 0px; font-family: 'Heiti TC Light'; text-align: justify;">值2015年香港巴塞爾藝術展巴塞爾香港藝博會之盛事之際,佩斯香港將於3月13日隆重推出國際矚目的日本藝術家奈良美智之最新個展, 也是他在佩斯畫廊繼紐約個展後的第三次展出。本次展覽將為觀眾呈現奈良的最新創作「星星」系列,同時包括丙烯畫作及紙上作品不同媒材形式,展覽將持續至4月25日。</p> <p style="margin: 0px; font-family: Helvetica; text-align: justify;">&nbsp;</p> <p style="margin: 0px; font-family: 'Heiti TC Light'; text-align: justify;">此次個展的主題「星星」是宇宙奧祕的象徵,也是藝術家所鍾情的語言,從繪畫的源起開始,嬗變延續至今:梵高、米羅、克利&hellip;&hellip;星星或作為發揮情感的通道,或作為太初奇跡的見證,或作為完美形式的抽象表達,不盡種種。而在本次展覽中,奈良美智將賦予這一古老的符號以清晰、迷人而獨特的色彩,以及引人遐想的無窮意味。奈良氏的星星,是投射在孩童眼中的倒影。對單純的孩童而言, 星星不僅僅是天上遙不可及的亮點,更是可以與之遊戲的切近存在;星星的意義,不僅僅是一種對於未來的期盼, 也 可以讓人聯想起社會慣用的嘉獎符號。藝術家在他的新作中充分地開掘並呈現了童稚世界中星星的細膩意味。而於手法上更見創新:藝術家此次在用色與分層上達到 一種深度空間的概念形式,他採用丙烯顏料在覆蓋於木板之上的粗麻直接作畫,木頭的紋理在畫面中隱約呈現,創造出似回聲、似回憶的美學效果,以及多變肌理的 感性趣味。&nbsp;</p> <p style="margin: 0px; font-family: Helvetica; text-align: justify;">&nbsp;</p> <p style="margin: 0px; font-family: 'Heiti TC Light'; text-align: justify;">奈良美智生長於日本,求學德國12年 載,將傳統藝術教育與前衛的藝術探索融於一體。作品受到包括動漫、搖滾在內的流行文化的影響,同時呈現出其內心的矛盾情緒。他的畫作中經常出現的孩童形象 充滿童稚卻又經常帶著苦惱或氣憤的神情,孤獨的畫面之下有著被壓抑的叛逆。奈良美智的繪畫其實可以被看做是藝術家自身與童年時期的持續對話,他通過繪畫來 表達他對於成人世界的反叛情緒,那些看似安靜默然但卻在企圖求救的暗示,則是藝術家自身與社會間所碰撞與掙扎出的情感表達,一種似而喧囂的孤獨情緒。&nbsp;</p> <p style="margin: 0px; font-family: Helvetica; text-align: justify;">&nbsp;</p> <p style="margin: 0px; font-family: 'Heiti TC Light'; text-align: justify;">奈良美智作品被紐約現代美術館、倫敦大英博物館、東京都現代美術館、德國新美術館、韓國三星美術館、大阪國立美術館、西班牙馬拉加當代藝術中心、洛杉磯當代藝術博物館&nbsp;、芝加哥當代藝術博物館等重要美術館與藝術機構收藏&nbsp;。</p> Tue, 03 Mar 2015 14:59:51 +0000 Zhu Yu - Long March Space - March 7th - May 24th Tue, 03 Mar 2015 14:55:06 +0000