ArtSlant - Current exhibits en-us 40 JOHN YOUNG ZERUNGE - 10 Chancery Lane Gallery - September 27th, 2012 - October 27th, 2012 <p style="text-align: justify;"></p> <p style="text-align: justify;"></p> <p style="text-align: justify;"></p> <p style="text-align: justify;"><a name="top"></a>10 Chancery Lane Gallery is proud to present the third solo exhibition of Hong Kong Australian artist John Young Zerunge, The Macau Days. The exhibition presents a constellation of ideas and stories surrounding old Macau and its rich trans-cultural history as the oldest European settlement in Asia. Young's works pay homage to the flight out, and to those historical figures from Wenceslau de Moraes to Wu Li who gave their lives to the great transformation, and their days spent in Macau.<br /> <br /> As Young puts it, "This is an homage to the flight out, for all those whose lives were lived transformations- Wenceslau de Moraes who left Portugal, sojourned in Macau and spent the rest of his years in Tokushima, but introduced to the West the first Haiku. A-ma was and still is the guardian goddess of seafarers in Macau, yet she drowned in saving others, so the story goes. Guiseppe Castiglione, who brought to China tromp l'oeil, perspectival rendering in painting, conceived and built the "Western Mansions" or the "Chinese Versailles" at Yuan Ming Yuan - who left Italy, travelled via Goa to stay in Macau to master Chinese, then to Beijing, never to see Milan again. Or Wu Li the poet who dedicated his times at St. Paul's to understand the western spirit.  For more than five centuries, the days spent in Macau have inspired and nourished those on the bird's path, the flight out, those who have given their lives to the great transformation. This exhibition is for those people, and their days spent, in Macau." (Winter 2012)<br /> <br /> John Young Zerunge (b. Hong Kong, 1956) moved to Australia in 1967. He has exhibited extensively with his works being shown in major exhibitions both nationally and internationally, at institutions including the Solomon R. Guggenheim Museum, New York and museums and institutions in North America, Europe, North and South East Asia.<br /> <br /> Young has had more than 60 solo exhibitions and over 160 group exhibitions, beginning with his first solo exhibition held at Rosroe, Connemara, Ireland. In 2005-06 a survey of his work entitled Orient/Occident: John Young 1978-2005 was exhibited at the TarraWarra Museum of Art, Victoria. Two separate monographs have been written on John Young's works and projects by Dr. Graham Coulter-Smith (1993, Schwartz City Publications) and Dr. Carolyn Barnes and William Wright AM (2005, Craftsman House, Thames &amp; Hudson). Since the survey, Young has concentrated on projects that pay tribute to cross-cultural humanitarians. Young was awarded the Australia Council Visual Arts Fellowship to support the research and development of this area of his practice in 2012-2014. <br /> <br /> The Macau Days is Young's third solo exhibition presented at 10 Chancery Lane Gallery Hong Kong, following 1967Dispersion (2008) and Return, via new paths (2007).</p> <p></p> <p></p> <p></p> Fri, 21 Sep 2012 19:54:58 +0000 Federico Fiorentini - Above Second - October 11th, 2012 - November 10th, 2012 <p style="text-align: left;">Above Second is proud to present <em>‘Colors of the City: New York Narratives’</em> featuring the large scale canvases of Italian artist <strong>Federico Fiorentini</strong>.</p> <p style="text-align: left;">Federico Fiorentini captures life. He paints an array of subjects from antique cars and teddy bears to moving trucks and Hollywood boulevards. Drawn to cars for their timelessness, and city streets for their immediacy, Fiorentini looks too all aspects of life for inspiration. What was once part of our everyday becomes preserved and revered.</p> <p style="text-align: left;">In this selection of paintings, Fiorentini explores the many facets of New York City’s streets. Walking the streets of the city, Fiorentini takes inspiration from the mundane. He paints from photographs taken during these walks, instinctively composing life into neat canvases. His paintings force the audience to pause and contemplate the corner that they pass everyday, the commonplace that doesn’t seem special, and realize it’s subtle beauties.</p> <p style="text-align: left;">Fiorentini’s use of bold colored lighting on muted backgrounds adds a personality to otherwise normal scenes. For Fiorentini, color is his mood, a way to express the emotion of the setting. His scenes of New York reflect the beautiful light of the city, both natural and artificial. He is drawn to the city for its beauty diversity, and modernism, but what inspires him most is its colors. Come experience the colors of New York in the city of Hong Kong brought to you from Italy. Nothing could be more cosmopolitan.</p> <p style="text-align: left;">Federico Fiorentini was born in Milan in 1972. He studied sculpture at Accademia di Belle Arti of Florence, but turned to painting in his early 20’s. He has lived and worked in San Francisco, Los Angeles, Bali, New York, Berlin and Florence. He has exhibited his works in Italy, Europe, and the USA.</p> Sun, 04 Nov 2012 00:22:11 +0000 Larry Yung - Amelia Johnson Contemporary - October 4th, 2012 - November 3rd, 2012 <p>Amelia Johnson Contemporary is delighted to announce Larry Yung’s fifth solo exhibition in Hong Kong. For the past four years, Yung has been researching and applying the art of filmmaking to create an installation project that incorporates film, painting and audio elements. In "The Visit", Yung continues to examine Chinese-Western culture and its impact on contemporary lives with a deeply personal survey of particular moments from the past. Many of the images are taken from old photographs found in albums belonging to the artist’s father. Yung uses painting to examine the lives and unravel the stories of his family members and create narratives for the unknown faces found in the photos. Using painting, mixed media and accessible consumer sound and video devices, the artist manipulates the context of the photographs to create entirely new, thought-provoking narratives. Presented alongside the works on canvas are two short films. The first film, “4:15”, explores the notion of dreams by combining music and edited footage from found home movies. The artist’s titular film, “The Visit” is the culmination of four years of personal reflection. It is an intensely personal documentary piece examining the past relationship of the artist’s parents and the impact of their separation.</p> <p>ABOUT LARRY YUNG</p> <p>Larry YUNG is a contemporary Chinese American artist raised in San Francisco from the age of six. Throughout his career, Yung has held numerous sellout exhibitions in New York, San Francisco, Sweden, Amsterdam and Hong Kong. As well as countless group shows, Yung has produced commissions for Nordstrom, Proctor and Gamble, Pierre Cardin and China Max Cafe and his work can be found in private collections of Marvel Comics, Esquire Magazine and Bill Gate's Microsoft Collection. Yung’s work has also been featured in museum exhibitions including the Alternative Museum in New York City, The Crocker Art Museum in Sacramento, Berkeley Art Center and the Asian Art Museum in San Francisco. Most recently, he was selected and published in the Microsoft Art Collection’s 25th Anniversary catalogue.</p> Sun, 07 Oct 2012 01:18:16 +0000 Fang Lu - Arrow Factory - September 8th, 2012 - October 24th, 2012 Mon, 29 Oct 2012 20:36:50 +0000 Nan Chao - Art Experience Gallery - October 6th, 2012 - November 6th, 2012 <p>As a Chinese artist of the new generation, Nan Chao likes to explore the adaptability of materials and is constantly engaged in the search for new creative techniques. According to him, “Artistic creation has two perspectives: first, innovation in language; second, outstepping of concepts that will be found agreeable in the future.” Nan Chao has tried to “substitute paper with canvas and water with oil”. He has abandoned the traditional Chinese colour ink for oil paint. Moreover, he has used canvas instead of rice paper. <br /> <br /> In recent years, Nan Chao has embarked on an unprecedented creative experiment—using three-dimensional space to convey the planar ink and wash images. We can describe it as “three-dimensional ink and wash”. <br /> <br /> 作為新一代的中國藝術家,南超喜歡探索材料的可塑性和不斷嘗試新的創作技術,他表示:「藝術創作所要做的工作有兩點:一是在語言上有所創新,二是在觀念上超前,在未來引起共嗚」。南超嘗試了「以布代紙,以油代水」,他選擇了以油彩代替中國傳統的墨彩,以油畫布代替的宣紙,並且在西方繪畫的材料上模仿中國水墨畫。<br /> <br /> 近年,南超亦開始了嶄新的創作實驗—以立體的空間來呈現水墨的平面圖像,經過五年不斷的實踐和修正,掌握了更精準的技術,方才成功將二維的平面水墨畫,轉變為立體的雕塑作品,完成這新的藝術表現形式,我們可稱之為「立體水墨」。</p> <p> </p> Thu, 27 Sep 2012 23:39:51 +0000 Neal Adams - Art Projects Gallery - September 15th, 2012 - October 27th, 2012 <p>Art Projects Gallery is proud to present “<strong><em>Chasing Light – The Ethereal Realms of Neal Adams</em></strong>” opening on 15 September 2012 through to 27 Oct 2012. This will be British contemporary landscape artist, Neal Adams’s first solo exhibition in Hong Kong.<br /><br />Neal’s talent in drawing and painting was apparent from a very young age. His obsession for art saw him gained firm grounding in art history and painting techniques during his early artistic development from time spent intensively studying the works of great masters at the National Gallery of London and under the private tutelage of Professor James Turner (Wimbledon School of Art) in drawing and traditional painting techniques. The same burning passion and an unwavering quest for artistic breakthrough inspired Neal’s move to Bali in 2003.   <br /><br />Like the numerous foreign artists before him, most notably the likes of Adrien-Jean Le Mayeur de Mepres, Theo Meier, Lee Man Fong and Arie Smit, Neal was drawn to Bali’s spiritual energy, rich culture and enchanting natural landscapes. Indeed, the move to Bali marked a turning point in Neal’s artistic career, which inspired him to invent his own technique of fusing traditional gold leaf painting and mixed-media. The gold leaf is used by the Balinese to embellish their temples and ceremonial batik textiles, embodying important religious significance in the local culture. It was also used in Medieval Europe in illuminated manuscripts and also developed by the Austrian artist, Gustav Klimt in his masterpieces such as “The Kiss” (1907-1908). Thus, the use of gold leaf could be a subconscious effort by the artist to integrate his Western background with his newfound Asian influence. To Neal, “Gold is God’s color” and therefore it could be the universal element that transcends all boundaries, an aspect that the artist would like to achieve in his art.<br /><br />Neal starts each painting by applying ultra-thin foils of precious metals of gold and silver onto primed canvases. Upon this lustrous surface of carefully layered foil, Neal renders the subject matter in acrylic finished with oil glazing, creating textural and color contrasts between the two mediums. He adds more layers of foil, paint and translucent lacquers painstakingly until it reaches the desired effect and richness envisioned by the artist.<br /><br />Using the reflective quality of the metallic mixed-medium, together with the interplay of depth of fields, shadows and scale, the artist evokes dramatic landscapes that borders between the real and the ethereal. The viewer is teleported to the naturalistic sanctuary that the artist has so masterfully created, be it a woodland, a bamboo forest or a tropical paradise; recurring themes and motifs in the artist’s paintings through which he sees as a means to celebrate the beauty of nature and the human spirit.<br /><br />Neal’s paintings have a strong following in the United States of America, having had commissions and exhibitions in Hawaii, California and Texas, where many of his shows are sell-outs. He has also been exhibited in England and Indonesia. Neal’s works are traded at Masterpiece Auction House in Jakarta where his 100 percent sell through rate is clear testament to the artist gaining acceptance and prominence in Indonesia.</p> Fri, 21 Sep 2012 07:05:37 +0000 Li Xinjian, Lin Tianlu, HE Jia, LAN Yi - Art Seasons Beijing - September 15th, 2012 - October 21st, 2012 <p>Why do we paint? Sensation, that is what</p> <p>we paint!</p> <p>When ancient people started to paint, they</p> <p>went on to create pictographic scr ipts.</p> <p>Then painting went beyond its pictorial and</p> <p>narrative functions and, in its transition</p> <p>from sensory stimuli to that of the nervous</p> <p>system, it empowered the brain to think</p> <p>logically. Words and languages are the</p> <p>most universal symbolicsys tems but</p> <p>painting expresses the nature of perceptible</p> <p>substances and matters.</p> <p>The logic of sensation is a beam of light and</p> <p>what we need at the bottom of our heart;</p> <p>it helps to guide us in this chaotic world.</p> <p>Roland Barthes’s conclusion about visual</p> <p>objects is that "I see, I feel, hence I notice, I</p> <p>observe and I think".</p> <p>The works of the four artists featured in Art</p> <p>Season’s current exhibition express their</p> <p>unique sensations being at ease. However,</p> <p>never have they been satisfied with brush</p> <p>as the medium, and their works exhibit</p> <p>multi-sensory views.</p> <p>Xinjian’s paintings comprise a powerful</p> <p>pure visual space woven by hand. The colors</p> <p>of the senses are applied by the palette</p> <p>knife to massive strokes so as to render</p> <p>material deconstruction to visual images,</p> <p>transforming them into a bas-relief painting</p> <p>suspended between sculpture and painting.</p> <p>His painting depicts things existent between</p> <p>objects. "Still Objects" series describes</p> <p>supple human body, beautiful and fleeting,</p> <p>which is in continuous motion but various</p> <p>postures, trying to breaking away from a</p> <p>colorless beam of light. The body stops at</p> <p>the beginning of time. The triptych work</p> <p>"Metropolis" and "South Sea – White Tiger"</p> <p>symbolize catastrophe merging with the</p> <p>flowing rhythm of power in perpetuity; the</p> <p>body passes a vast space and the summit</p> <p>where time meets; visions fall from the</p> <p>pictorial codes and achieve the harmony</p> <p>of heart and soul, to bear witness to Igor</p> <p>F Stravinsky’s sunflower in a prehistoric</p> <p>valley of silence, accompanied by the music</p> <p>from Le Sacre du Printemps.</p> <p>Macchie defines Tian Lu’s paintings and</p> <p>makes sure that hisi s different from</p> <p>French artist Georges Seurat’s pointillism</p> <p>school, which is defined specifically by the</p> <p>use of dots. Tian Lu’s subjective dots and</p> <p>patches cover the entire canvas, break from</p> <p>easel paintings, and go beyond the frame by</p> <p>creating an exotic, illusionary and bizarre</p> <p>landscape. His work is meticulous like math</p> <p>and has a minute hold on the pictures and</p> <p>patterns. Black, white and gray dots alone</p> <p>trigger our sensory logics: life has been</p> <p>entrusted to a piece of luggage; to a ghastly</p> <p>and empty geometric form; an grand</p> <p>idealized building, which has been divested</p> <p>of time and by vegetation; to cold violence</p> <p>that pervades the still, gray emptiness and</p> <p>is about to be obliterated by ruthlessness.</p> <p>Halting his cartoon style painting patent, He</p> <p>Jia holds a circular PV board and conducts</p> <p>a new painting experiment. I picture him</p> <p>doing graffiti as translucent as marble.</p> <p>Unfortunately, unlike Paris, Beijing does</p> <p>not permit graffiti on the streets. In Paris,</p> <p>you may mark at will the walls of a lane</p> <p>a celebrity used to inhabit; you may spray</p> <p>your truck and drive it around everywhere.</p> <p>Even on museum exhibitions may graffiti be<br /> found. He Jia seeks to transform himself</p> <p>into a shaman with his gorgeous mystical</p> <p>graffiti paintings full of mythological visions</p> <p>like "Life of Extravagance" and "Moonlight</p> <p>in the Water". Maybe he wants to reflect</p> <p>Beijing, the Vanity Fair that is filled with</p> <p>corruption and decadence, where people</p> <p>wear a mask out of bravado.</p> <p>Romantic and talented in literature, Lan</p> <p>Yi upholds the notion-centric trends of the</p> <p>Tang and Song Dynasties. What with birds,</p> <p>flowers, fishes and bugs, he uses complex</p> <p>lines and level planes to create luxuriant</p> <p>Tang style paintings: in golden, dark green,</p> <p>diamond-blue, dark red and rouge pink</p> <p>hues. He tried to preserve the or iental</p> <p>borders but cannot help resorting to inlaid</p> <p>Byzantine painting style. He seems to try to</p> <p>rebuild a new artificial Chinese-style ideal</p> <p>of landscape, and to render it irresistible</p> <p>like drug so that he can indulge himself in</p> <p>the mirage of narcissism.</p> <p>The works of these artists at this exhibition</p> <p>do not connect you directly to the theme.</p> <p>So wel l versed in ar t i st i c exper iment ,</p> <p>they put on the easel the essence of their</p> <p>imaginat i ve por t rayal , which has been</p> <p>engraved upon their mind before the act</p> <p>of paint ing commences. The opposi t ion</p> <p>b etwe e n t h e v i s u a l o b j e c t s a n d t h e i r</p> <p>visualizations damps the complexity and</p> <p>produces images that could not have been</p> <p>pictured by the visual senses. This gives the</p> <p>typical analogical art of painting multiple</p> <p>meanings and helps you see the spirituality</p> <p>of the age.</p> <p>Only when are we face to face wi th the</p> <p>canvas can we escape from the trivialities</p> <p>and conventionalities of life.</p> <p>Only when are we equipped with the courage</p> <p>to send the Curiosity spacecraft can we</p> <p>become involved in major contemporary</p> <p>events – that calls for 2500 million dollars.</p> <p>The artist paints his ideas. More importantly,</p> <p>only when you step out of the canvas, with</p> <p>your numbed senses, can you save yourself.</p> Thu, 13 Sep 2012 01:42:35 +0000 Dale Frank - Art Statements Gallery - October 11th, 2012 - November 18th, 2012 <p>Born 1959, Dale Frank's career spans more than twenty years. In 1983, he was included in the exhibition Panorama della post - critica: critica ed arte at the Museo Palazzo Lanfranchi in Pisa along with Thomas Lawson and Anselm Kiefer (curated by Helena Kontova). In 1984 he was included in the Aperto section of the Venice Biennale. Returning to Australia, in 1990 he was included in the 8th Biennale of Sydney (curated by Rene Block). A major solo retrospective of his work was held at the Museum of Contemporary Art, Sydney in 2000. His paintings are held in every major public collection in Australia and in numerous private and corporate collections in Australia, Europe and the U.S. In 2005 Frank won The Arthur Guy Memorial Painting Prize at the Bendigo Art Gallery, Victoria. A major new monograph on Frank’s work So Far: the Art of Dale Frank 2005-1980 was published in 2007.<strong> </strong></p> Sun, 07 Oct 2012 01:11:45 +0000 Huang Zhiyang - Art+ Shanghai Gallery - September 2nd, 2012 - November 25th, 2012 <p style="text-align: justify;">The first solo exhibition of Huang Zhiyang in Shanghai will be held at Art+ Shanghai Gallery. Unveiled in our new gallery space, the exhibition will include a site-specific five-meter long miniature Chinese garden created by the artist displaying his new marble sculptures. The installation will rest among a labyrinth of ink paintings draped from the ceiling. <br /> <br /> The artist’s sculptural exploration is one concerned with the science of nature and study of life. The evolution of living organisms from cells into plants and human forms has been the underlining theme of Huang’s artistic career. A Thousand Plateaus examines the origin, structure and evolution of the artist’s rich repertoire of new ink paintings and marble sculptures in an epic gallery installation.<br /> <br /> The exhibition is running simultaneously with a large-scale public artwork featured in the HOT SPOTS at the 2012 SH Contemporary Art Fair. The site-specific installation will feature 10 new large granite sculptures by the artist at the entrance to the fair.</p> Tue, 23 Oct 2012 11:09:49 +0000 Yunizar - Ben Brown Fine Arts Hong Kong - September 15th, 2012 - November 10th, 2012 <p>Ben Brown Fine Arts Hong Kong is pleased to present the first solo exhibition of works by internationally acclaimed Indonesian contemporary artist Yunizar. This exhibition brings together a new group of works directly from the artist’s studio in Yogyakarta, Indonesia, all of which are painted in his characteristically intuitive, obsessive, enigmatic and spontaneous style.<br />Yunizar’s large-scale canvases teem with organic imagery and erratic, rhythmic words and lines that appear at once haphazard and uniquely coded. He works in an entirely instinctive and impulsive manner, creating a visual language that is not necessarily meant to be deciphered but rather absorbed visually and emotionally by the viewer. His visual vocabulary is culled from the mundane and organic surroundings of his everyday life and bears influence from the rich cultural and political heritage of Indonesia. While there is a naïve quality to Yunizar’s work, there is also evidence of his stringent artistic training and deep understanding of art historical traditions, resulting in a complex and intriguing body of work. This exhibition includes both canvases and works on paper.</p> <p>Yunizar was born in Talawi, West Sumatra, Indonesia, in 1971 and graduated from the prestigious Indonesian Institute for the Arts (ISI) in Yogyakarta in 1999. Yogyakarta is a progressive cultural center of Indonesia, attracting artists from around the country. Yunizar is a leading member of the Jendela group, Indonesia's most prominent contemporary art collective.</p> Mon, 24 Sep 2012 01:35:52 +0000 Jonas Lipps - Ben Brown Fine Arts Hong Kong - October 5th, 2012 - November 10th, 2012 <p style="text-align: justify;">Ben Brown Fine Arts Hong Kong is pleased to present recent works on paper by Berlin based artist Jonas Lipps, in the Gallery's Project Room, in Pedder Building. This is the artist's first solo exhibition in Hong Kong and the first time his work will be shown in Asia. <br /><br />This exhibition brings together a group of watercolours in various formats, though rarely extending beyond A4. They show remembered and sometimes previously photographed situations, constructed images, but also elements from public image-banks such as newspaper photos or advertisements. All the genres seem to be included: landscape, portrait, still life, and at the same time none of these, since the thing represented is, though recognizable, never physical, or tangible, or object-like. When using photographic sources, particular parts are emphasized by the tracing of contours, subsequently covered with transparent layers  of  paint.  In  this  kind  of  painting  it's  not  a  question  of  a  demonstration  of  virtuosity,  more  important  is  how,  in  the painting  process,  there  are  repeatedly  changes  of  orientation,  and  detours,  which  result  from  self-imposed  constraints  and resistances. Lipps often works with papers which are badly suited to watercolour, and which through the subsequent loss of control  over  the  paint  flow,  prevent  a  predetermined  representation.  This  paper  can  be  of  different  origins  and  qualities: leaflets, book pages, or the squared pages of exercise books, partly stained and ripped. On some sheets, by leaving the edge white, a Polaroid-like format comes about, like a passe-partout.</p> Fri, 19 Oct 2012 21:08:38 +0000 Lee So Yeun - CAIS Gallery Hong Kong - September 20th, 2012 - October 19th, 2012 <p>CAIS Gallery Hong Kong is pleased to present a 7th solo exhibition  of Lee So Yeun. Lee So Yeun's </p> <p>paintings mainly focus on self-portraits which create a subtle theatrical atmosphere. <br /> <br /> Her desire to create her own garden is the motif of this exhibition.</p> Wed, 26 Sep 2012 02:11:50 +0000 Feng Mengbo - Chambers Fine Art Beijing - September 15th, 2012 - October 28th, 2012 <div class="prEnglish"> <p>Chambers Fine Art is pleased to announce the opening on September 15 of Not Too Late- Recent Works by Feng Mengbo. In recent years it has become apparent that China’s leading video and new media artist is becoming increasingly interested in painting, an activity he essentially abandoned as soon as he acquired his first Macintosh and synthesizer in the early 1990s. Between 1993 when his work was first shown at the Venice Biennale and 2008 when the eight-screen interactive video game installation Long March- Restart was completed, the development of Feng’s work paralleled the extraordinary growth in reach and sophistication of the cyber world, but in 2007 the exhibition Wrong Code- Shanshui revealed an interest in classical Chinese painting and calligraphy that has grown progressively stronger.</p> <p>Simultaneously with Yi Bite at Chambers Fine Art in 2009/2010 and Journey to the West, 2010, both of which explore different aspects of Chinese visual art, Feng was working on Not Too Late, a much more abstract video that was first shown in Decode: Digital Design Sensations at the Victoria and Albert Museum, London in 2010 and subsequently at the CAFA Museum, Beijing. Based on the video game Quake III Arena that had been the source of many earlier works, Feng created a new MOD that stripped the original most of its figurative references, revealing lines of force that resemble the forceful strokes of the great maters of calligraphy.</p> <p>As shown at Chambers Fine Art, the video component of Not Too Late is accompanied by a new series of oil paintings and works on paper that further develop the concepts first glimpsed in 2010. The slowly moving visual drama of the video with its musical accompaniment resembles not only Chinese calligraphy but also the paintings of some of the pioneers of abstraction in the West. Selecting isolated moments from the video to be transferred to canvas and paper, Feng is now able to emphasize their distinctive characteristics by hand, exaggerating the drama when necessary or toning it down if required to. He has managed to tame Quake III Arena until it resembles something else entirely, and then to a degree personalize its visual offshoots until they enter the company of illustrious predecessors too numerous to mention.</p> <p>A restless experimenter, Feng is currently investigating ways in which his fascination with the cyber world and the video games that have inspired so much of his art might be broadened to embrace more traditional methods for producing unique works of art. Not Too Late is a fascinating meditation on the relationship between the artist and the machine, between mechanically produced forms and those generated by the mind and hand of the artist, between past and present.</p> </div> <div class="prChinese"> <p>北京前波画廊荣幸的地宣布将于9月15日起举办冯梦波近作展《不太晚》将于9月15日开幕。很明显的在冯梦波作为中国最著名和杰出的影像和新媒体的 领军艺术家,冯梦波从自90年代初当他买了他第一台苹果电脑及合成器以来就放弃了绘画这一创作工作手法,然而近几年来他又重拾们对绘画产生了强烈的兴趣。 从1993年其作品第一次在威尼斯双年展上出现登场到2008年他完成了有由八面相互作用屏幕组成的大型电子游戏互动装置作品《长征:重启》这期间,无论 从广度上还是深度上来看,冯梦波艺术创作的的进展和网络世界日新月异的蜕变都超乎寻常广度与精细度是相平并行的。但是在然而,其2007年的展出《乱码: 山水》的展览却中冯梦波显现出他对中国传统绘画和书法的兴趣也日益浓厚的兴趣。</p> <p>2009及/2010年在前波画廊的展出的《一比特》以及和2010年的展出《西游记》,均从不同角度探究了中国视觉艺术。,在与此同时,冯梦波也 在创作了《不太晚》的创作过程中,这样一件更为抽象的互动影像响作品。,此作品最初在于2010年在伦敦维多利亚和艾伯特博物馆的《解码:电子设计感知》 展览中展出,随后又巡回到在北京中央美术学院美术馆展出。和许多其他早期作品一样,《不太晚》的创作灵感也来源于基于曾经是很多早期作品源泉的电子游戏 “雷神三竞技场”。录像游戏而在此件作品中,冯创作了一个新的游戏修改版MOD,去删除了原版中大部分的人或事物形象,作品中强有的力的线条原先很多的比 喻指涉,如似出自书法大师的刚劲有力笔触笔法。</p> <p>此次在前波画廊展出的除影像作品《不太晚》之外,还有连同一组最新创作的同系列油画作品和纸上作品一展览,揭示了更进一步的表达了最初艺术家最初于 在2010年提出的创作概念的演变。影像作品中缓慢播放的视觉艺术和相呼应的音效,不仅仅展现了与中国书法有的相似之处性,同时也让人联想到体现了和西方 早期抽象艺术家的类似绘画作品。冯从录像中选出一个个独立截取的孤立的时刻,将其转换到画布和纸面上,随后再以通过手工(的创作)来强调它们各自的独特之 处的特性,在需要的时候强化或者弱化戏剧性效果。于是,他从能够驯服“雷神三竞技场”中表现出一种完全截然不同的含意,然后又在将它的视觉衍生物个性化, 它的视觉衍生物直至它进入直到它们进加入到众多杰出的前辈们的行同列中。</p> <p>冯梦波对虚拟世界和录像电子游戏的想象的方法迷恋曾激发了其多件作品的创作,而他作为一个毫不止歇的实验艺术家,现在正在探索着如何扩展曾经并接纳 更多的传统的手法,从而创作出独特的艺术作品。《不太晚》是对于艺术家和机器之间关系的沉思,是对机械化制造作的形象式和艺术家思想、手工双手创作制造之 间关系的思考(作品),也是对过去和未来间联系的冥想一个绝佳的冥想。</p> </div> Fri, 19 Oct 2012 19:00:19 +0000 Yuan Yuan - Edouard Malingue Gallery - September 20th, 2012 - November 10th, 2012 <p style="text-align: justify;"></p> <p style="text-align: justify;"></p> <p style="text-align: justify;"></p> <div style="text-align: justify;"> <p class="p1">The Hangzhou artist Yuan Yuan (b. 1973) is gaining critical acclaim on the international art scene thanks to his distinctive paintings focusing on architectural subjects, executed with an impeccable technique and imparting a unique atmosphere.</p> <p class="p1">Born in Zhejiang, Yuan Yuan studied in the Oil Painting Department of the China Academy of Art in Hangzhou, where he gained a Bachelor of Fine Arts in 1996 and a Master of Fine Arts in 2008.  The Academy, founded in 1928, was the seedbed of modern Chinese art after its founder Lin Fengmian turned to the West in a bid to reinvigorate Chinese painting. His famous students Zao Wouki, Wu Guanzhong and Chu Teh-chun were all successful in synthesizing traditional Chinese painting with Western art. Today Yuan Yuan sees himself continuing this development of breaking new ground in Chinese contemporary art.</p> <p class="p1">Yuan Yuan’s subjects are mainly interiors, some once very grand such as great halls with neo-classical arches and balconies, others more modest such as entrances and corridors of old apartment buildings. All share a sense of abandonment and dereliction. These places are dilapidated, often almost in ruins, offering just a glimpse of their former glory. Without exception, they are devoid of any human presence, like forgotten stage sets without any actors.</p> <p class="p1">In his most recent work, Yuan Yuan focuses further on enclosed spaces, such as the narrow alleyways between old buildings, or the stairwells in old apartment blocks with worn steps and ancient lift shafts. Frequently, the viewer looks through a gate, or window bars, a wire screen, or some other patterned barrier at whatever lies beyond in a receding perspective. Yuan Yuan seems intent on creating an atmosphere that is closed in, even claustrophobic. Sometimes he manipulates architectural details, leaves spaces empty, or merges elements of different places to create new spaces of his own through the process of painting. As a result, the scenes he depicts seem to lie somewhere between reality and illusion.</p> </div> <p></p> <p></p> <p></p> Fri, 14 Sep 2012 19:02:04 +0000 Zao Wou-Ki - FEAST Projects - October 5th, 2012 - February 7th, 2013 <p style="text-align: justify;"><b>FEAST Projects is proud to announce <i>ZAO WOU-KI – BEYOND</i>, a solo exhibition of watercolour paintings by the prominent Chinese French artist ZAO WOU-KI. </b></p> <p style="text-align: justify;">ZAO Wou-Ki (趙無極), at 92 years old, is a Chinese French painter and one of the world’s most prominent contemporary artist. Highlights of his life long achievements include: election to the Académie des Beaux-Arts in France, the decoration of Grand Officier de l’Ordre de la Légion d’Honneur by the President of France, the Praemium Imperiale Award for Painting by the Japanese Art Association in Tokyo, Japan and numerous important solo and retrospective shows in museums throughout the world, the Galerie Nationale du Jeu de Paume in France; the National Art Museum of China; and the Hong Kong Museum of Art, to name a few. <br /><br />On view will be a group of exceptional, large watercolour paintings coming directly from the artist’s studio, dated from 2004 to 2009. They belong to the most recent period in Zao Wou-Ki’s work: a series of large format watercolours that have dominated his pictorial output since 2004. The works show a masterly control mixed with a spontaneous fluidity. Some were painted from nature, directly observing subjects such as flamboyant flowers, intertwining branches or a symphonic landscape. They convey with freshness and immediacy Zao’s intimate appreciation of Chinese and Western culture.<br /><br />A few works will be previewed during FINE ART ASIA, Asia’s leading international fine art fair, in Hong Kong from 4 – 7 October 2012. <br /><span></span></p> <p style="text-align: justify;"><span>A fully illustrated colour catalogue will be available at the time of the exhibition. <span style="text-decoration: underline;"></span><span style="text-decoration: underline;"></span><span style="text-decoration: underline;"></span><span style="text-decoration: underline;"></span><span style="text-decoration: underline;"></span><span style="text-decoration: underline;"></span><span style="text-decoration: underline;"></span><span style="text-decoration: underline;"></span><span style="text-decoration: underline;"></span><span style="text-decoration: underline;"></span></span></p> <p><strong>Gallery is closed from 16 December 2012 to 1 January 2013 and reopens on 2 January 2013</strong></p> <p></p> <p></p> Fri, 21 Dec 2012 00:55:48 +0000 Joel Morrison - Gagosian Gallery Hong Kong - September 13th, 2012 - November 17th, 2012 <p style="text-align: justify;"><br /> <em>This Greek bust was copied thousands of times and its distant available contemporary offspring ended up on a front lawn next to a gnome, giant fiberglass mushrooms, and a statue of the Virgin of Guadalupe.</em><br /> —Joel Morrison</p> <p style="text-align: justify;">Gagosian Gallery is pleased to present an exhibition of recent sculptures by Joel Morrison. This is his first solo exhibition in Asia.</p> <p style="text-align: justify;">Morrison draws on the wealth of found and everyday objects for his complex, highly determined sculptures and drawings. Composite sculptures assembled from mannequin busts, weather balloons, water bottles, shopping carts, and bullets are fused into polymorphous forms, which are then cast in bright stainless steel. The resulting works engage the full history of western sculpture, from classical Greek sculpture to Futurism to the Duchampian readymade.  The highly refined stainless steel surfaces attest to the intensive process required to make them, beginning with an arduous casting process followed by intense polishing.</p> <p style="text-align: justify;">Morrison's oeuvre maintains a dynamic conversation between an idiosyncratic sense of humor and the art-historical canon. The sculptural result of this dialogue is a landscape of unnatural peaks and unidentifiable protrusions that presents fresh, arresting and sometimes outrageous work of arts.  <em>Tomb </em>(2012) recalls Frank Stella’s <em>Getty Tomb</em> (1959)—the reflective steel surface resembles a wall hanging covered with a packing blanket, the seams of which mimic the geometric shape of Stella’s famed monolithic work. While Stella’s rejection of the figurative is finite, Morrison’s obscured canvas has limitless possibility. Encased in a skin that abstracts all that it reflects, it envelops the world at large in its ever-changing surface.<br /> <br /> Morrison’s drawings offer an equally engaging but entirely different visceral experience. These three-dimensional interpretations of line drawings explore the dynamics between two and three dimensional representation.  In <em>Standing Figure with Crowbar</em>, the drawn line is represented by a matte black elongated composition that bows and bends in three dimensions, the crimped, flattened, and fissured ends of which signal the unmistakable tip of a crowbar. The detailed facets of the <em>Basketball Rim Drawing Series</em> reveal the lines of the form on which they are based. The multifaceted nature of Morrison’s sculpture defies easy categorization, operating on a fault line between critical engagement and entertaining aesthetics that is very much in the spirit of our times.<br /> <br /> <strong>Joel Morrison</strong> was born in Seattle in 1976. He received his BA at Central Washington University and an MFA in sculpture at the Claremont Graduate University. His work has been exhibited internationally and is included in numerous public and private collections worldwide. In 2010 his work was the subject of a solo exhibition at the Wexner Center for the Arts.  In 2006 he was included in the California Biennial at the Orange County Museum of Art and “Thing,” the Hammer Museum, Los Angeles. Morrison lives and works in Los Angeles.</p> <p style="text-align: justify;">For further information please contact the gallery at <a href=""></a> or at +852.2151.0555.<br />  </p> <hr /> <p style="text-align: justify;"><br /> <em>「此希臘胸像已被複製過千千萬萬次,它的遠房近代子孫最後來到這片前園草地,旁邊是一個小矮人、巨型玻璃纖維蘑菇與瓜達盧佩聖母(Virgin of Gualalupe)塑像 」</em><br /> —祖爾‧莫里森</p> <p style="text-align: justify;">高古軒畫廊榮譽呈獻祖爾‧莫里森(Joel Morrison)的最新雕塑作品展,是次展覽為其首個在亞洲舉行的個展</p> <p style="text-align: justify;">莫里森複雜而果斷的雕塑和立體圖,皆取材自俯拾皆是的日常物品 這些複合雕塑由石膏半身像、氣球、水樽、購物車和子彈組裝而成,融合為多姿的形體之後,再以光亮的不鏽鋼鑄造 完成品承襲了古希臘雕塑、未來主義(Futurist)與杜尚派的現成品(Duchampian readymade),跟整個西方雕塑史息息相關 細緻無瑕的不鏽鋼表面背後,是一連串密集的製作工序,先是艱鉅的鑄模過程,最後是仔細的打磨拋光</p> <p style="text-align: justify;">莫里森向來喜歡以其獨到的幽默感與美術史標準耍把戲,兩者間的微妙動力化為他的雕塑 作品,猶如一片奇峰突出、不自然又難於辨認的結果,給觀眾帶來前所未見、引人入勝,時而誇張無度的藝術作品 《Tomb》(2012)令人聯想起弗蘭克‧斯特拉(Frank Stella)的《Getty Tomb》(1959)-反光的精鋼表面好比一堵被吊起的牆蓋上了包裝氈,邊緣的形態就像斯特拉那座著名巨型作品中的幾何形狀 不同的是,斯特拉只是有限度地排斥具象,而莫里森晦澀的原料裡卻存在著無限可能 這表層能將所反映的一切事物抽象化,用其時刻變幻的表面將整個環境封存起來<br /> <br /> 他的立體圖同樣令人著迷,但給人的感覺和經驗完全不同 這些線畫的三維演繹,探索著二維與三維表現法之間的動力 在《Standing Figure with Crowbar》中,線條以三維化地彎曲的啞黑色長型結構來表達,翹起、扁平、開叉的尾部清楚說明了那是鐵撬的末端 而《Basket Rim Drawing Series》中所描繪的精細面貌,則披露了線條之下的形體依據。莫里森雕塑作品的多面性使其不易被歸類,它們於對美術史的參考批判與富娛樂性的美學之間 運作,甚具我們此時代的象徵<br /> <br /> 祖爾‧莫里森1976年生於西雅圖,在中央華盛頓大學(Central Washington University)取得其文學學士學位,繼而於克萊蒙研究大學(Claremont Graduate University)取得雕塑藝術碩士學位。他的作品曾見於多個國際性展覽,為世界各地多所知名博物館與私人藝廊收藏 2010年,他的作品成為了韋克斯納藝術中心(Wexner Center for the Arts)一個個人展覽的主題 2006年,他參與了於橙縣美術館(Orange County Museum of Art)舉行的加州藝術雙年展(California Biennial),以及在洛杉磯漢莫爾美術館(Hammer Museum, Los Angeles)舉行的《Thing》展覽 莫里森現於洛杉磯居住及創作</p> <p style="text-align: justify;">如有查詢,請電郵至<a href=""></a>或致電+852.2151.0555與高古軒畫廊聯絡</p> Fri, 07 Sep 2012 21:16:25 +0000