ArtSlant - Recently added en-us 40 Group Show - University Museum and Art Gallery (The University of Hong Kong) - July 4th - August 24th <p><span style="font-size: small;">The University Museum and Art Gallery of The Hong Kong University will be showing an exhibition of artworks by 27 Austrian artists in China titled &ldquo;Refuse the Shadows of the Past: Five Years of Austrian Art made in China&rdquo; from the July 4 to August 24, 2014.</span></p> <p><span style="font-size: small;">This commemorative exhibition celebrates the fifth anniversary of artistic creation and transformation by Austrian and other international artists working in China with a concentrated focus on the &lsquo;Chinese&rsquo; past and present. Five years also mark a longer existing program of internationalisation, initiated by the Austrian government to allow artist to work around the world.</span></p> <p><span style="font-size: small;">This summer, the University Museum exhibits a selection of works that have been shown in Beijing, Shenzhen, Chongqing and Ningbo in the last 5 years, and include video works by Hannes B&ouml;ck, Thomas Weber Carlsen &amp; Jan Krogsgaard, Sylvia Eckermann &amp; Gerald Nestler, Johann Neumeister, Moritz Neum&uuml;ller, Audrey Salmon, Bernhard Staudinger, Sylvia Winkler &amp; Stephan K&ouml;perl and Heimo Wallner. Objects, installations and book works by Allan Au, Franz Amann, Anna Hofbauer, Ralo Mayer, Rainer Prohaska and Gerlind Zeilner as well as collages, drawings and photographic works by Lukas Birk, Karel Dudesek, Georg Frauenschuh, Tina Hochkogler, Heimo Lattner, Thomas Pakull, Anton Petz, Ida &amp; Bianca Regl, Roswitha Weingrill and Andrea Witzmann.</span></p> <p><span style="font-size: small;">Each exhibited artist developed his or her own method of artistic practice in a new environment, by working and living in China and not just visiting her. Thereby, they did not form part of a programmatic cultural exchange, but participated in a residency programme that allowed them to develop an approach driven by personal curiosity and subtle translations. The closest comparisons are the pictograms of the Naxi tribe, which have been communicating with images rather than with letters. Similarly, these artists communicate with, various materials, sounds, and forms to reach the visitors&rsquo; imagination.</span></p> <p><span style="font-size: small;">Among the twenty-seven artists represented, Heimo Wallner features Mao Tse Tung&rsquo;s selected works volume 2 with personal illustrations composed into an animation video, in order to draw and write a large map which shows historical and today&rsquo;s connection of China. Roswitha Weingrill presents collages with mosaic intarsia showing female and male heads carved out of Chinese art school books.</span></p> <p><span style="font-size: small;">This exhibition has been organised in collaboration with the Austrian Consulate General in Hong Kong and Macau and the Austrian initiative Embassy of the Arts.</span></p> Fri, 25 Jul 2014 09:35:40 +0000 Xuan Yongsheng - Today Art Museum (TAM) - August 18th - September 26th <div>&ldquo;The Madness, Elegance, and Thrill of Ink&mdash;&mdash;The Spirit and Style of Xuan Yongsheng&rsquo;s Ink Painting&rdquo; will be held in Today Art Museum in Sep 20th, 2014. The exhibition is the first retrospective showing of the artist, Xuan Yongsheng, who returned from aboard. Furthermore, the exhibition primarily includes the series of Not Mountain Not Water and significant artworks of the early period, which reflect the true mind of the systematic organization of the artist&rsquo;s career. The famous poet and art critic Dao Zi and Hao Qingsong will be the curator and assistant presenting the exhibition.</div> <div>&nbsp;</div> <div>Xuan Yongsheng is a Canadian Chinese artist who has earned great achievement in different artistic areas, such as Chinese ink painting, illustration, ceramics and woodblock print. Since the 1980s, he has been painting with ink in order to explore the unique style of contemporary Chinese ink painting and its combination of expressive and natural painting language. Through the informal aesthetic of traditional ink painting, the artist blends Chinese and Western elements, introducing diversity, self-awareness, self-sufficiency, and developmental logic that sustain the transformation of the Chinese ink painting language. He opens up an art road that embodies the spiritual strength and aesthetic freedom with professional skills and tenacity.</div> <div>&nbsp;</div> <div>The exhibition aims to introduce Chinese ink painting&rsquo;s remarkable characteristic, which not only destroys the rigid painting mode through the power of abstraction and imagery, but also rebuilds the grand and profundity. In addition, he combines the characteristics of inclusive landscape painting, calligraphy, and western contemporary painting to create a new layout. The exhibition is expected to display until September 26. Please stay tuned.</div> Fri, 25 Jul 2014 09:29:10 +0000 Group Show - Today Art Museum (TAM) - August 18th - September 8th <div>Experimental art is a recent phenomenon in China since the country's reform and open-up to the outside world. It is the major trend of world contemporary art, which, along with classical western realistic representational art and predominant traditional Chinese ink and wash painting, shapes the overall landscape of China's contemporary art. Chinese Artists Association decided to set up a special section for experimental art at the 12th National Art Exhibition. This is a decision in accordance to the status quo of China's fine art development and a very ground breaking move in the history of the National Art Exhibition. It sets a milestone in the path of China's history of fine arts.</div> <div>&nbsp;</div> <div>A committee of experimental art is commissioned by Chinese Artists Association to carry out research and documentation for a lengthy period of time before its proposal is granted by the Association. The exhibition is a retrospective display of the past 10 years' achievements in experimental arts. Works that are not suitable for exhibition owing to medium, condition and certain circumstances are represented with documentation. The exhibition is a comprehensive presentation of the achievements of contemporary Chinese experimental art. It also manages to strike a balance between the presentation of strongly characteristic and creative works, and the state of the country and acceptability of the public. Such balanced consideration makes it possible to realize the first exhibition of experimental art at the National Art Exhibition smoothly and effectively.</div> Fri, 25 Jul 2014 09:25:56 +0000 - Today Art Museum (TAM) - July 30th - August 10th <div>Chinese art and art ecology in the 21st century is diversified, active and shocking, and also appears insignificant, as "everything is possible" seems a little too normal. "Modern art" and "traditional art" either stand in their separate fields or have fuzzy boundaries; "magic of brush and ink " and "visual impact" sometimes work together and sometimes divide. There are a lot of fake works in the market, making it difficult to find authentic ones. Some old works of the 20th century look avant-garde, while some so-called experimental creations give us a feeling of &ldquo;visual fatigue&rdquo;. When you stand in art museums, galleries or art fairs, you will be confused: where am I, New York, London, Beijing or Hong Kong? Everyone is busy, bustling from point A to point B. Artists travel from studios to exhibitions, while curators and critics walk speedily among cafes, opening ceremonies and seminars. Practitioners of auctions and galleries shuttle between homes of artists and collectors and markets. We are all eager to express our attitudes towards the world, human beings and art with instant and even emotional impulse by Weibo and WeChat. For all of this, when we stop for a minute and act as a person in time-travel TV series, we will see that the art itself has too much in some areas and lost something in other aspects. In the same mood, when we observe with patience the Chinese art and art ecology, will we become speechless because there are too many things we&rsquo;d like to say? I suppose maybe we could express it in an unhurried way&hellip;</div> <div>The selection of AAC has been held for eight sessions and the exhibition tour was launched just two years ago. No doubt there is respectable grandeur to these events, but there are also stories which can be seen with just fried chicken and beer. This is AAC, representing the same diversity with the Chinese art ecology. In this exhibition tour of AAC, we once again rely on the abundant artistic resources of Yachang Group. Employing the slide-like reason and operation mode, we present with a peaceful mentality in 2014 a pure exhibition in real world based on a virtual Internet platform, to showcase in parallel the works of artists in the center or at the edge of our vision.&mdash;&mdash;Wu Hongliang</div> Fri, 25 Jul 2014 09:22:23 +0000 Song Ling - Today Art Museum (TAM) - July 26th - August 11th <p>Ghosts in the Mirror - Song Ling 1985-2013 is the first complete presentation in China of works by Song Ling, one of the most important artists of the 85 New Wave Movement. The exhibition will meticulously present about 200 pieces of works from each phase of the artist&rsquo;s career path and also a lot of documentation that has never been published. The timeline spans for more than 30 years. The title of the exhibition actually derives from the of the biography of Alain Robbe-Grillet, one of the main figures of the New Novel Trend. As a tool made by mankind to reproduce the fictitious image of oneself, a mirror possesses a speculative and philosophical nature that most of the objects lack of: it can be used for both self-observation and mutual contemplation. If specified to Song Ling&rsquo;s exhibition, the metaphor of mirror implies the relationship between the objective existence of Chinese Contemporary Art and the subjective feeling of the artists. In this retrospective case, one can not only have a comprehensive look at the uniqueappearance of the artist's individual creation but also discover the evolution of Chinese contemporary art. The exhibition is an attempts to reveal the inner ideology of this historical art movement.&nbsp;</p> Fri, 25 Jul 2014 09:19:04 +0000 Tong King-sum - The Hong Kong Museum of Art - August 8th - December 31st <div>Tong King-sum (1940 &ndash; 2008) was born in Hong Kong. He has been keen on art since his younger days, and had worked as designer. He learnt sculpture under Cheung Yee in 1971. Tong became one of the founding members of the Hong Kong Visual Arts Society in 1974 and served as the President in 1992. Tong won numerous art awards in Hong Kong and Taiwan, including the "Urban Council Fine Arts Award (Sculpture)" in 1977 at the "Contemporary Hong Kong Art 1997" exhibition. He has contributed tremendously to Hong Kong art and arts education.</div> <div>&nbsp;</div> <div>Tong spent his childhood in Lantau Island, where he nurtured his love for nature. The human body, fruit and plants are the favourite themes of his works. His works are signified by a sleek form and texture. His torso sculptures depicted the structure of human body, the texture of bone, flesh and skin in refinement and precision. Be it the human body or a plant, his works permeate with the harmony of nature and beauty of form, which sprang from the artist's subtle yet strong inner vitality.</div> <div>&nbsp;</div> <div>Featuring 23 sets of works from the collections of the Hong Kong Museum of Art, Hong Kong Heritage Museum and Mrs Tong King-sum, this exhibition aims to pay tribute to Tong King-sum, a well-respected forerunner whose achievement mirrors those of local artists.</div> Fri, 25 Jul 2014 09:08:09 +0000 - National Art Museum of China - July 26th - August 4th <p>This exhibition aims at showcasing more excellent works of art on military theme and taking the CPC&rsquo;s goal of building a strong army under the new situation as the creation theme, works of military theme, particularly realistic military theme as the main part. Focusing on trainings and drills, diversified military missions carried out in the army at present, the exhibits mostly depict advanced persons and high- caliber military personnel emerging during the process of building strong army, and fully show the profound emotion to military and strong determination of army men of the new era. The show lays emphasis to reflecting brilliant history of CPC and PLA, vigorously promotes glorious tradition of solidarity between the army and the people, and harmony between soldiers and civilians, strongly expresses the fight and efforts made for national independence and people's happiness in modern times, providing spiritual strength for officers and soldiers in building powerful military force.The exhibition sticks to going close to reality, grass-roots, life of soldiers, highlights military manner, soldier manner and fighting manner and enhances epochal character, ideological level, artistry and esthetics. The exhibition will display 300 pieces of works, covering categories of Chinese painting, oil painting, print, sculpture, installation, water color, picture poster, serial pictures and experimental art work. The exhibits, diversified in artistic style and form, high in ideological and academic level, is an overall presentation to artistic creation of military themes in the whole army. Excellent works will be selected on the exhibition to display on The 12th National Art Exhibition.</p> Fri, 25 Jul 2014 08:51:14 +0000 Ma Wanguo - National Art Museum of China - August 28th - September 9th <p align="left">The exhibition will feature one hundred and thirty-nine well-crafted works of famous painter Ma Wanguo, manifesting the natural and spiritual beauty of the Kunlun Mountains as well as scenery from Western China. &ldquo;Kunlun Heart, China&rsquo;s Dream&rdquo; are the sketches which the painter created in the Kunlun Mountains. From ten meter high works to exquisite fan-shaped paintings, the external mystery and magnificence of the Kunlun Mountains has been transformed into art through Ma Wanguo&rsquo;s unique understanding and romantic techniques. This is not only the expression of his individual character and astonishing artistic power, but also the revelation of romantic perceptions. These works showcase the fantastic and sensuous natural instincts of the painter by the use of unsophisticated depictions and blocky structures.</p> <p align="left">Ma Wanguo (stage name: Baohai) was born in Zibo, Shandong Province, in 1961. He studied at the Chinese Painting Department of the Central Academy of Fine Arts in 1993. Currently he is a member of the Chinese Artists Association.</p> Fri, 25 Jul 2014 08:46:39 +0000 Group Show - Art Experience Gallery - July 19th - August 30th <p>&ldquo;First Smash&rdquo; is a non-profit art project aims at sponsoring exhibition space for emerging artists in Hong Kong to stage their talent and skills. <br /> <br /> <!--[if !supportLineBreakNewLine]--><br /> <!--[endif]--></p> Fri, 25 Jul 2014 06:30:18 +0000 Takeru Amano - Art Statements Gallery - July 26th - August 30th <div align="justify">In this new exhibition, Japanese artist Takeru Amano - born in Tokyo in 1977 - expresses, through paintings of bucolic yet dripping landscapes and glistening diamonds, his feelings toward the beauty of nature shattered by the impact of mankind. With a particular perspective after the 2011 Tohoku earthquake and subsequent tsunami and Fukushima nuclear disaster, Amano explores the way we treat our environment and, often, arm it. Behind his idyllic mountain and lake landscapes lays the traces of our presence. His diamonds paintings represent the wealth that nature gives humans yet they bear traces of mistreatment, highlighting differently the way we treat mother nature.</div> Fri, 25 Jul 2014 06:20:51 +0000 Chung Seoyoung, Erica Lai, Morgan Wong - Pearl Lam Galleries Hong Kong - July 25th - September 10th <p>&ldquo;While spatial escape may be possible, temporal escape is not.&rdquo; &mdash;Paul Virilio</p> <p><br />Pearl Lam Galleries is proud to present After Time, a group exhibition curated by <br />David Ho Yeung Chan, featuring works by Chung Seoyoung (Seoul), Erica Lai (Singapore), and <br />Morgan Wong (Hong Kong). In this fast-paced world, we are often slaves to time&mdash;trying to <br />keep up and in need of more, which can be a mind-numbing pursuit. But what if the constraint <br />of time were no longer relevant? How would this alter our perception of an art object? This <br />exhibition explores temporality in art by attempting to stage a temporal arrest with a series of <br />art objects. A state of omnipresence will be simulated in the hope of provoking audiences to <br />contemplate the link between materiality, time, and memory. Audiences are invited to <br />negotiate between following their hearts and their minds when looking at artwork.</p> <p>Chung&rsquo;s sculptures, Lai&rsquo;s photography, and Wong&rsquo;s performance art all approach time and <br />objecthood from a formal perspective. In his seminal essay &ldquo;Art and Objecthood&rdquo;, art historian <br />Michael Fried defines objecthood as the supplementary conditions that entice the viewers to <br />participate in a conscious situation in real time. As such, this show aims to create such an <br />environment through three distinct spaces within the gallery: a theatrical space that questions <br />our perception of time, a space for mapping the changes of a given place, and an artist studio.<br />Chung Seoyoung&rsquo;s sculpture, installation, and video works utilise manmade and found objects <br />and relate them to the human body, questioning their effects on our psychology. The artist <br />believes that sculpture is an intimate form of expression with its meaning in constant flux; <br />viewers must confront the artwork&rsquo;s objective nature as it unfolds. Chung&rsquo;s works disturb the <br />perceptual systems of representation by reinterpreting familiar objects and landscapes. Her <br />large-scale sculpture East West North South amplifies the theatrical quality of the gallery <br />space by demarcating a void territory for imposing spatial control using steel fences. Not <br />corresponding to the exact orientation of the gallery, the artwork distorts our geographic <br />bearings and holds our attention in a contained zone, which causes us to question our own <br />relationship with time.</p> <p><br />The flatness of Erica Lai&rsquo;s photographic prints from The Gardens Series and The Observatory <br />Series conveys the collapse of geographic distance and our subsequent loss of visual memory. <br />She deconstructs the audience&rsquo;s voyeuristic power with the photograph&rsquo;s surface becoming a <br />controlled ground for mediating our psychological conflict intrinsic with visual perception. In <br />The Observatory Series, Lai photographs the vantage points of various tourist attractions <br />around the world, focusing on the area where one would typically stand for a good view instead <br />of the actual scenic view, to investigate the extent to which our identification with a place has <br />been predetermined. By stepping back to document the very spot that makes a tourist <br />attraction a spectacle in the first place, Lai subverts the objective of armchair tourism, as the <br />landmarks may not be immediately recognisable in her photos.</p> <p>Focusing on durational performance, Morgan Wong&rsquo;s collection of past and new works <br />addresses human survival and time, particularly as a reaction against conforming to a social or <br />political norm. He will transform the gallery space into a temporary artist studio, which he will <br />occupy periodically, to examine what is lost during the translation between performance, time, <br />and materiality. The artist&rsquo;s 2013 video work Frustration of Having More than Two Choices to <br />Make in Life documents his intensive meditative days of isolation, where all Wong did for two <br />days was confine himself to an empty space with a steel bar and hand file with little activity. <br />Initially intended as practice for a later public performance titled Filing Down A Steel Bar Until <br />A Needle Is Made, a reference to a Chinese allegory revolving around one&rsquo;s will and <br />determination, the experience became a performance video in and of itself.</p> <p><br />Pearl Lam, Founder of Pearl Lam Galleries, says, &ldquo;We are very excited to be presenting another <br />strongly curated exhibition at Pearl Lam Galleries Hong Kong. Instead of restricting our <br />understanding of these artists in relation to their cultural background or nationality, After Time<br />is a group show that incorporates a formal and art historical approach to shed light on the <br />richness and intellectual nuances of three dynamic artists from Asia.&rdquo;</p> Fri, 25 Jul 2014 06:16:53 +0000 Eileen Chan - New Gallery on Old Bailey - August 30th - September 19th <p><strong>Eileen Chan</strong>, the creator of <strong><em>Bottlemania</em></strong>, returns to <strong>New Gallery on Old Bailey</strong> with her second solo exhibition.&nbsp;<strong><em>Ideation . Life</em></strong>, organized by <strong>Breathe Life Arts and Culture</strong>, will be held from&nbsp;30 August through 19 September, 2014.<br /> <br /> Throughout her career, Eileen Chan&rsquo;s artistic creation has evolved from traditional Chinese ink paintings to her pop art-inspired bottle art known as <strong><em>Bottlemania</em></strong>.&nbsp;Chan continues her prior exploration into the ideology of <strong><em>Bottlemania</em></strong> through different artistic approaches. In the series of Time Gala paintings, Chan turns bottles into colorful abstract forms. Traces of different strokes are drawn on the neck of the bottles, the artist calls them &lsquo;Time Signatures', as if time capsules were created to preserve the artist&rsquo;s precious moments.</p> <p>Each painting is a recollection of the artist&rsquo;s past.&nbsp;Chan uses lines as&nbsp;tools to illustrate her meticulous chain of memories. Seamless lines flow through every inch of the canvas, but masterfully invoke an elegant balance; woven into swirling paths of the artist&rsquo;s thoughts. Some of the works are almost hypnotic in their density and intricateness, enticing viewers to navigate the artist&rsquo;s mind.</p> <p>Eileen Chan is a Hong Kong artist with a cosmopolitan sense. She has collaborated with international luxury brands, including Tumi and Frank Muller, and local renowned fashion designer Noel Chu, to create products and fashion items with an artistic touch. Fusing art and life; embracing the concept of &lsquo;art as a lifestyle&rsquo;.</p> <p>This exhibition will continue to exhibit Chan&rsquo;s distinct artistic creation: bottle arts.&nbsp;For Chan, each and every bottle is filled with emotion and stories. She transforms used bottles into canvases and gives them second lives, which aligns with the vision of <strong>Breathe Life Arts and Culture</strong>, using art as a platform to promote environmental awareness.&nbsp;</p> <p>&nbsp;</p> <p>Exhibited widely throughout Asia, Europe and the United States, Chan&rsquo;s works increasingly capture international audiences.&nbsp;Chan was invited to participate the Florence Art Biennale in 2009 and the upcoming London Art Biennale in 2015.&nbsp;One of her Time Gala paintings was selected to be exhibited in Nanjing International Art Festival 2014.&nbsp;Her works can be found in private collections in Hong Kong and abroad.</p> <p>&nbsp;</p> <p><strong>About </strong><strong>Breathe Life Arts and Culture</strong>-</p> <p>Co-founded by <strong>Susan Yeung</strong> and <strong>Ada Chan</strong>, <strong>Breathe Life Arts and Culture</strong> organized <em>&lsquo;Breathe Life Arts Exhibition&rsquo; </em>throughout Beijing, Shanghai and Hong Kong from 2011 to 2013.&nbsp; This exhibition cultivated environmental awareness through art.&nbsp;&nbsp; Showcased works by the two co-founders and six Hong Kong renowned artists, including director Dante Lam Chiu Yin, jewelry designer Dickson Yewn, musician Peter Kam, lyricist Chen Shao Qi, photographer Ringo Tang and art photographer Derek Que.&nbsp;&nbsp; &nbsp;</p> Fri, 25 Jul 2014 03:51:14 +0000 Yang Fan - Space Station - July 19th - August 17th <p>Beyond the Scale</p> <p>Su Lei</p> <p>No matter what kind of experimental innovation and structural readjustment, the ultimate goal is to make the scene as well as the value system that lies beneath cooperate more smoothly. But the inner expansion and standardized criteria of the value system have gradually reduced the everyday scene to be merely its decoration, leading the whole culture to virtualization and semiotization. The scene with outer prosperity complies with the inner rules of the value system. The standardized movement demanded by value judgment has established grades and scales for different pattern of art in aesthetics and emotion. The direct result of it is that the satisfaction of the needs of grading has become the benchmark to evaluate aesthetic pattern. With the natural motive disappearing, the real scene falls into a purely virtual world. When placed in different standards and criterions, the subjective sentiment will no longer be open and pure; but be modified, fastened and merged into some pattern.</p> <p>Yang Fan tries to place both artwork of low interest, poor quality and classical value scene under hard light, wiping out those empty interests as much as possible, and restoring the value system itself. In The Value System series, artists, by using cheap buttons of magnificence and full of various interests, reproduce the overwhelming aesthetics caused by the scalization of the value system. The Value System 10 and The Value System 11 have taken a step further to use an ambiguous human figure as the background, suggesting an individual deeply immersed in the scene is being encroached by poor aesthetics. The materialization of an individual naturally results in the From the Bottom of One&rsquo;s Heart series, using the inferior body model to mean a standardized individual: the apparent healthy and bright organs whose functions are stipulated clearly have been represented here, ironically, as an inferior body after being stipped off reality. Mr. Zhang&rsquo;s Afternoon has depicted a scene imbued with economic and political prerogatives by the exchange of power institution and foreign capital. It is stripped off by strong flare its original happy, amiable and fervent ambience, leaving only the iciness and tedium of the pure exchange in the value system.</p> <p>Based on the gradation of the value system, absolute equality of sentiments has never been realized in human history. To escape from the inherent pattern means to resist from within, to get rid of pattern and standard, and only in this way can one let out the real emotions to the greatest extent. Beyond the scale, the illogical, non-standard bad interest is just like rebellious revelry after getting rid of the value system.</p> Wed, 23 Jul 2014 02:18:08 +0000 - Power Station of Art - July 19th - October 12th <p>From the first chatelaine watches &ndash; the oldest on display dates back to 1874 &ndash; to the new Cartier ID One and Cartier ID Two &ldquo;concept watches&rdquo;, the Cartier Time Art exhibition is an invitation to discover more than a century of Cartier&rsquo;s watchmaking treasures and a fascinating story featuring beautifully shaped timepieces and ingenious, complex mechanisms.The 151 historic pieces in the Cartier Collection include some of Cartier&rsquo;s early models, such as 10 mystery clocks, all of which are truly spectacular watchmaking creations. Together with 31 contemporary pieces, the Collection demonstrates the continuity of Cartier&rsquo;s watchmaking production since it was founded in 1847. The exhibition will also take visitors to La Chaux-de-Fonds, the world-renowned mecca of watch manufacturing in the Swiss Jura Mountains. It will present age-old craftsmanship and explain the complex and intricate production of watch movements. &nbsp;</p> <p>The entire exhibition has been conceived by the Japanese designer, Tokujin Yoshioka, who was given complete freedom to present the two concept watches Cartier ID One and Cartier ID Two in a colossal art installation, the Gate, which was designed specifically for this event.</p> <p>Since its founding in Paris in 1847, Cartier has served as the quintessential ambassador of French craftsmanship and arts. The Cartier Collection, consisting of iconic works from throughout the history of the company, has been featured in exhibitions at prestigious museums and institutions across the globe since 1989. Cartier treasures embody the universality and timelessness of art, while promoting French culture around the world. The Cartier Collection has long-standing ties to China, with exhibits in the Shanghai Museum, the Beijing Palace Museum, Taipei Palace Museum and Liaoning Provincial Museum. As part of the series of events celebrating the 50th anniversary of French-Chinese diplomatic relations, the Cartier Time Art exhibition will present these exquisite timepieces from the French Maisonto Chinese admirers, in a unique experience that will exemplify the cultural impact of East meets West.</p> Wed, 23 Jul 2014 02:08:10 +0000 - Power Station of Art - June 11th - July 27th Wed, 23 Jul 2014 02:04:38 +0000 - Pace Hong Kong - July 24th - September 4th <p>Pace Hong Kong is pleased to announce the opening of summer group show at Entertainment building on Queens Road Central, Hong Kong, from 24 July through 04 September 2014. The show will comprise the works of Agnes Martin, Alfred Jensen, Hiroshi Sugimoto, Hong Hao, Li Songsong, Liu Jianhua, Robert Irwin, Yin Xiuzhen, and Zhang Huan. Opening Reception will be held at gallery on Wednesday, 23 July from 6 to 8 PM. The exhibition will showcase a painting by Alfred Jensen from the 1970s depicting Lo Shu Square, a traditional Chinese numerical system passed down from Lo Shu Era in China. As Jensen juxtaposes numbers with graphs, an exquisite symmetry is formed. The clash of conceptual and visual depth reveals Jensen&rsquo;s distinctive style, wavering between abstract and pop art. By overlapping Eastern and Western wisdom, a new perspective is introduced in Jensen&rsquo;s painting; his paintings are sublime in conception, colour and extreme complexity. In dialogue with Jensen&rsquo;s painting, Zhang Huan&rsquo;s painting stands out with an extraordinary, bold visual language. Inspired by Tibetan religion and culture, Zhang renders his emotions into hysterical, whimsical landscapes on canvas. Not only does Zhang work with oil paint, he also incorporates the sacred medium of incents into his historical drawings, attaining a high level of spirituality. Conversely, Agnes Martin speaks with her minimalistic style; influenced by Daoism and Chinese philosophy. The legendary abstract painter blends in &lsquo;nets&rsquo; into her paintings; a symbol of quiet thoughts in Daoism. Martin&rsquo;s work revolves around the idea of inner emotions, displaying a state of emotional perfection yet unable to achieve wholeness in tranquility and satisfaction. Hiroshi Sugimoto also utilizes Eastern values in his photographs. A lightning bolt and sea horizon photograph will be exhibited in this show, both signifying Zen. The stillness of the image conveys the power of calmness and explores the eternality of time. Li Songong deconstructs China&rsquo;s political and historical landscapes, in search for a new cultural social identity. Li translates factual reality in the image into an abstract language on the canvas, revealing a new perspective on the story. Simultaneously, Robert Irwin narrates the aesthetics of light and philosophy through his installation. Irwin explores the notion of senses and experience in virtue of blurring the boundaries between reality and imagination. Irwin and Hong Hao place in dialogue two and three-dimensional objects. Through the act of scanning, Hong transforms three-dimensional objects into two-dimensional objects, challenging the social values bestowed upon them and modifying aesthetics of the mundane. Liu Jianhua will display a series of ceramics, exerting the potential of complexity and purity in the medium. Liu challenges conventional ideas on tools, he emphasizes on their cultural significance instead of its functions. While Yin Xiuzhen works with clothes collected from people, as she sees them as a &lsquo;second skin&rsquo; of each person. The amalgamation of fabrics stitched together discloses memories and affections carried on them.&nbsp;</p> <div class="jspVerticalBar">&nbsp;</div> Wed, 23 Jul 2014 01:56:16 +0000