ArtSlant - Closing soon en-us 40 Group Show - Hong Kong Wan Fung Art Gallery - January 18th, 2013 - February 6th, 2013 <p>Wan Fung Art Gallery is a private art museum which opens to the public for free since 1986 in Hong Kong, covering an area of 20,000 square feet. As we all know, many commercial buildings are located in TaiKoo Place. We usually get there for work. Have you ever imagine that there is a hidden palace of art inside? Step into Wan Fung Art Gallery, you will feel as jumping back into the time tunnel. Marvelous ancient Chinese palace, art furnishings are right there in front of you. Wan Fung Art Gallery proudly presents to you the ‘Royal Garden·Art Prints Exhibition’ from 18 January - 6 February, 2013 in Hong Kong Wan Fung Art Gallery.</p> <p>This exhibition will showcase the masterpieces in ancient and modern times, including ‘Riverside Scene at Qingming Festival’ by Zhang Ze-duan from the Northern Song era, Chiu Ying from Ming Dynasty and from National Palace Museum, Taipei. These masterpieces show the cityscape and social life in these three dynasties. There are nearly 200 paintings from Tang, Song, Yuan, Ming and Qing dynasty which are available for us to see the greatest artistic achievements in its two thousand years of history in China. As most of the original artworks are being collected by cross-strait national museums, we can seldom see more at one time. Therefore, Wan Fung specially organizes this art prints exhibition in order to reproduce the elegance of a number of ancient and modern art masters. Art lovers can feel so close to the charm of the Chinese national treasures. The ancient Chinese painting and calligraphy is undoubtedly the most precious cultural heritage in China. However, it is extremely difficult to save these works in a good quality in long term. As a result, many rare collections are not easily exhibited to the public. The emergence of high-precision replication technology allows us to save the original elegance of the ancient and modern paintings these years. The quality of these art prints is not only comparable to the original one; the colors even can be stored for centuries, which become the ideal home decorations of art lovers.</p> <p>To take the national treasures home is no longer a distant dream. One of the greatest pleasures in life is relax and talk about art in a friendly environment with friends. Royal Garden·Art Prints Exhibition, a show not to be missed.</p> Sun, 13 Jan 2013 06:49:45 +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 Ge Hui - Art Experience Gallery - December 29th, 2012 - February 8th, 2013 <p style="text-align: justify;">Art Experience Gallery takes the greatest pleasure in presenting “Dreamy Vision”, the solo exhibition of emerging Chinese artist, Ge Hui from 29 December 2012 to 8 February 2013.</p> <p style="text-align: justify;">The harmonious combination of women admired for their demureness, horses in different postures and pristine environments creates a dreamy vision of poetic feelings. The simple composition, straightforward strokes, abundant use of monochrome and extruded colours denote a technique deliberately kept low-profile, which leads the audience to take it as children’s work at first glance. These impeccable paintings demonstrate the pure personality of Ge Hui heart and soul. They are the artist’s “Eden”.</p> <p style="text-align: justify;">Before becoming an artist, Ge Hui studied civil engineering. The subject allowed him to understand how man uses natural resources, coupled with sophisticated calculations, to build different constructions to improve people’s livelihood. As the human civilization advances, the scales of infrastructure constructions continue to expand. The quality of life of people has been enhanced, yet superficially and Ge Hui cannot find genuine bliss in it.  For “well-being”, man “fully utilizes” each and every resource in nature to develop water conservancy facilities, transportation networks and energy projects… However, while focusing on these vast, grand buildings and constructions, we seem to have forgotten man and 6natures are indeed interdependent.  Resources of Mother Nature are finite.  Problems arising from excessive developments are apparent, which hurts Ge Hui’s conscience.  Ge Hui, incapable of changing the cruel reality, projects his ideal land onto his works, giving the paintings innocent lives and trying to alleviate pain in the real world through dreamy visions.</p> <p style="text-align: justify;">The characters in the paintings include women, men as well as those of unidentifiable gender.  According to Ge Hui, “They have another kind of face and language.  What they are speaking of is a perspective outside of life, similar to the ‘hidden meaning of words’ in Chinese traditions.”  Ge Hui has stripped the characters of their clothing, putting them in nakedness, the most primitive state.  That is the moment closest to nature, when man, plants and animals co-exist in peace, depending on, without conquering, one another.  The missing of any one of them would result in a part breaking off from the chain.  In reality, this balance has been lost.  Nevertheless, the amazing interdependency in nature prevails in Ge Hui’s works.</p> <p style="text-align: justify;">Ge Hui’s passion for life and nature is taken beyond the frame. Paint, initially old and unwanted, is once again used by the artist. Ge Hui applies thick paint outside the frame in layers to create uneven shapes. This is regarded by Ge Hui as “additional pursuit of the remaining life”. The powerful brush strokes demonstrate the innocence of a child. Ge Hui’s paintings convey light-hearted and joyous scenes.  When the viewer’s eyes catch those of the characters, they feel a little melancholy in the look.  Moreover, the characters wear an expression like a smile yet not a smile, looking at the viewer.  The viewer is involved in rational scrutiny while emotionally engaged in joyous sensation.</p> <p style="text-align: justify;">The birth of his daughter Yiyi lets Ge Hui feel the joy and mission of being a father for the first time.  Yiyi was born in a quiet evening in September.  Staring at the pure, innocent child, Ge Hui hopes to give her a land of harmonious co-existence of man and nature—an honest hope of Ge Hui. </p> <p style="text-align: justify;"><b>For more information, please contact <span style="text-decoration: underline;">Zoe</span> via <span style="text-decoration: underline;"></span> or call <span style="text-decoration: underline;">2110-9928</span>.</b></p> Fri, 07 Dec 2012 07:14:28 +0000 Elad Lassry - White Cube Hong Kong - November 23rd, 2012 - February 8th, 2013 <div class="expandable"> <div class="text ff"> <p style="text-align: justify;"><span style="font-size: small;">White Cube Hong Kong is pleased to announce an exhibition of new work by Elad Lassry, his second with the gallery. Over the past few years, through photographs, films and sculpture, as well as interventions in the gallery space, Lassry has developed a reputation for the wit and rigour of his investigations into how we perceive and conceive pictures. In Hong Kong, Lassry will present a varied body of new work, including pictures, sculptures and a drawing, as well as perversely hybrid objects that radically question the distinction between these media.</span></p> <p style="text-align: justify;"><span style="font-size: small;">For Lassry, the act of looking, whether at a unique artwork, human face or generic coffee cup, is always a picture-making process, an instant that combines a particular sensual experience haunted by the memory of countless images that transform that experience. Brown, Red, Blue (2012) appears to be a picture of a sculpture, but the picture itself, in the form of the dominant hue, overflows and becomes inseparable from the sculptural frame. The picture has its own mysteries, seemingly a depiction of a scientific model of what looks like an organic substance breeding or multiplying. The artist’s sculpture, likewise, often flirts with the possibility that it is, instead, a picture. Untitled (Zebrawood Picture, Taupe) (2012) has a manifestly sculptural presence, with biomorphic shapes that bring to mind a relief by Jean Arp, and yet the scale perfectly reflects that of one of Lassry’s pictures. The work asserts itself as a sculpture while it hangs almost flat on the wall, with only one side visible to the viewer. Does the wood background act as a support or frame to the forms it presents, or is it integral to the artwork? Is it a still life or an abstraction, or both? These questions are further explored in Boston Shoulder Roasts (2012). Two palpable slabs of meat sit in a clean, clinical space. Behind them, two colour swatches suggest at once monochrome abstractions and a system for measuring colour. Framed in a fleshy red, the combination of specific, organic object, and a kind of distillation of its formal properties, creates a space in which we feel a tension between embodied experience and a set of abstract thoughts evoked by that experience. Within these spaces created by Lassry’s pictures and sculptures, a vibrant corporeality and a simultaneous longing for pure knowledge are suspended together in the pleasurable apprehension of the art object.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Elad Lassry was born in Tel Aviv in 1977; he lives and works in Los Angeles. His work has appeared in many international exhibitions, including solo shows at The Kitchen, New York (2012), PAC, Milan (2012), Rat Hole Gallery, Tokyo (2012), the Contemporary Art Museum, St. Louis, MO (2010), Kunsthalle Zurich, Switzerland (2010) and Whitney Museum of American Art, New York (2009). Group exhibitions include the 54th Venice Biennale, International Pavilion; Deutsche Börse Photography Prize, The Photographers' Gallery, London; The Anxiety of Photography, Aspen Art Museum, Aspen, CO (all 2011); Sculpture Center, New York; 'New Photography 2010', Museum of Modern Art, New York (2010) and 'Younger Than Jesus', New Museum, New York (2009).</span></p> <p style="text-align: justify;"><span style="font-size: small;">A fully illustrated catalogue, with a text by critic and art historian Andre Rottman, will be published to accompany the exhibition.</span></p> <hr /> <div class="expandable"> <div class="text ff"> <p style="text-align: justify;"><span style="font-size: small;">2012年11月23日 – 2013年 2月9日</span></p> <p style="text-align: justify;"><span style="font-size: small;">香港 白立方即將第二度為 Elad Lassry 舉行展覽。過去數年,透過照片、影像和雕塑,以及在畫廊空間內製作的裝置, Elad Lassry在其作品中所表現出來的機智和嚴謹性在藝術界是享負盛名的。是次在香港展出最新的作品包括圖片、雕塑和畫像,以及混合性作品,從根本上質疑這 些媒體之間的區別。</span></p> <p style="text-align: justify;"><span style="font-size: small;">對 Elad Lassry而言,「觀看」這種行為,不論實踐在一個獨特的藝術品、人臉或一般的咖啡杯,都是一個圖片的創作過程,一個瞬間的記憶縈繞著無數圖像轉換的經 驗,結合了特定的感官體驗。棕色、紅色、藍色(2012年)是一個雕塑的圖片,圖片本身的主色調、溢出的形式,在雕塑框架中分開不了。圖片既有其自身的奧 秘,描繪的似乎是科學模型的樣子,或是有機物質的培植或繁洐。同樣,Elad Lassry 的雕塑經常呈現在圖片中調和出多樣的可能性。在無題(斑馬圖片,灰褐色)(2012年)一作中,明顯一個生物形態的雕塑,令人聯想到法國雕塑家兼畫家 Jean Arp的作品,卻完美體現於 Elad Lassry 的圖片中。作品體現的形態是雕塑,然而它掛在牆上,只有一面給觀眾看到。究竟木材的背景支撐或錶幀著這個表現模式,抑或木材的背景本身就是藝術品的一部分 呢?它是一個靜止的生物或是抽象的物體,或是兩者並全?在波士頓肩膊的烘烤(2012年)中,再一次對這些問題作進一步的探討。兩件肉塊一同坐在一個乾淨 的、客觀的空間上,在它們的身後,有兩組顏色咭紙以單一色調的抽象物組成顏色測量系統。規範在鮮紅的、具體而有組織的物體之上,在正統對象蒸發後,我們感 受到作品之體現及一組抽象思維誘發的經驗之間的緊張關係。在 Elad Lassry 創作的圖片和雕塑之中塑造的空間,盛載著一個充滿活力的形體,以及對純知識的渴望,充滿愉悅的憂慮懸浮在藝術作品之上。</span></p> <p style="text-align: justify;"><span style="font-size: small;">Elad Lassry於1977年在特拉維夫出生,曾在洛杉磯生活和工作。他的作品曾出現在多個國際展覽,包括在紐約的The Kitchen畫廊(2012年)、米蘭的PAC當代藝術展覽館(2012年)、東京的Rat Hole Gallery(2012年)、 美國聖路易斯的Contemporary Art Museum (2009年)、瑞士蘇黎世的 Kunsthalle Zurich 美術館(2010年), 以及紐約的Whitney Museum of American Art(2009年)。Elad Lassry 曾參加的群展包括第 54 屆威尼斯雙年展的國際館展覽、Deutsche Börse Photography Prize大獎、倫敦的攝影師藝廊、美國阿斯彭 Aspen Art Museum 的 The Anxiety of Photography展覽(2011年)、紐約的Sculpture Center、現代藝術博物館的 New Photography 2010展覽(2010年),以及紐約New Museum的 “Younger Than Jesus”展覽。</span></p> <p style="text-align: justify;"><span style="font-size: small;">此外,由評論家和藝術史學家 Andre Rottman 為展覽編寫的目錄即將出版。</span></p> </div> </div> </div> </div> Wed, 30 Jan 2013 02:08:35 +0000 Takashi Murakami - Gagosian Gallery Hong Kong - November 29th, 2012 - February 9th, 2013 <p>For his first solo exhibition in Hong Kong, Takashi Murakami will present a new group of original works in multiple variations on two of his signature motifs: flowers and skulls.  Infinitely repeatable, flowers and skulls have been prominent symbols in Murakami’s visual language since they first appeared in his work in the early 1990s.  Murakami has used a near identical flower form for more than twenty years in a quest to universalise this malleable symbol which holds mass appeal.  The skulls first appeared in his <i>Time</i> <i>Bokan </i>series (1993–), which borrow their skull-shaped mushroom cloud from the eponymous Japanese TV <i>animé </i>series from the 1970s. The new skulls, multilayered and intricately rendered, debuted in 2010 and are featured in the current exhibition.</p> <p>是次展覽為村上隆於香港舉行的首場個人展覽,展出的一系列原創新作皆以其常用的花及骷髏圖案作主題。這兩大主題於1990年代初首次出現於村上隆的作品, 自此不斷重複出現,成為村上隆獨有的藝術語言。二十多年來,村上隆也使用幾乎相同的花朵圖案,希望將這個普及和深受喜愛的圖案成為人所共知的藝術元素。此 外,他於《時間孤舟》(Time Bokan)系列(1993-)中首次使用骷髏圖案,靈感來自1970年代日本同名動畫中的骷髏型蘑菇雲。於是次展覽中展出的新骷髏圖案於2010年創 作,層次更豐富,構圖亦更精細複雜。</p> Wed, 21 Nov 2012 22:13:59 +0000 Franco Anzelmo, Giuseppe Biguzzi, Sim Chan, Phillip Hui, Sunday Lai, Tohru MATSUSHITA, Teppei MIYAKE, Silvio Porzionato, Hideaki Yamamoto - Red Elation Gallery - January 15th, 2013 - February 9th, 2013 Sun, 06 Jan 2013 05:42:31 +0000 Andy Warhol - Osage Kwun Tong - December 16th, 2012 - February 14th, 2013 <p>In commemoration of the 25th anniversary of the death of Andy Warhol – arguably the most influential artist of the late 20th century – a select number of his films will be on exhibit for the first time in Southeast Asia. Curated by artist Yason Banal and Geralyn Huxley, curator of film &amp; video at The Andy Warhol Museum, this exhibition focuses on the artist’s seminal motion and moving pictures, from his structuralist masterpieces Empire, Sleep and Chelsea Girls to the conceptual experiments in portraiture such as the Screen Tests, Blow Job and Outer and Inner Space, as well as explorations into narrative, celebrity and archive via Imitation of Christ and Factory Diaries. The installation Silver Clouds, traversing cinema and sculpture, performance and philosophy, hovers above the exhibition.<br /> From the time he obtained his first film camera in 1963 until his death in 1987, Warhol produced nearly 650 films that capture the cultural milieu in which he lived and worked as the cool and curious coterie of friends and acquaintances, hanging on and hanging out at his New York studio factory became the cast and the subject of his work. Warhol’s Cinema is unique; projecting from film’s grave with video transfers on to digital media, dexterous and shadowy, shy and shining, looming over and nudging Hollywood and avant-garde tastes with one minimal and durational serial-copy after another. Much like his paintings, sculptures and activities, Warhol’s Cinema inter-faces various themes, styles and worlds and has never been more powerful and illuminating – its phantasmatic glamour, perverse aesthetic and conceptual brevity continue to maintain and pass through contemporary pop life, lying between hellos and goodbyes, staying still and moving on in space and time.</p> <p>Talks<br />Date: 16 December 2012, 1:00-3:00pm<br />Moderators: Yason Banal (Artist and Curator)<br />Cosmin Costinas (Executive Director/Curator of Para/Site Art Space)<br />Talkers: Eric Shiner (Director of The Andy Warhol Museum)<br />Giorgio Biancorosso (Associate Professor, Music Department,<br />The University of Hong Kong)<br />Ming Wong (Artist)<br />Cao Fei (Artist)<br />Sandy Ma (Specialist in Asian 20th Century &amp; Contemporary Art, Christie’s)<br />Roger Garcia (Executive Director, Hong Kong International Film Festival Society)</p> <p><br />To accompany the screenings we believe it is vital to stage a live discussion, and by a variety of voices at that, of Warhol’s films. This is because no single body of film work responds to the circumstances of reception as productively, and unpredictably, as Warhol’s films do. To screen a Warhol film is to ‘perform’ it and to discuss it is not simply to play or re-play it but to reactivate its haunting presence. Our round table, therefore, will not consist of a reading of scripted texts but rather the re-working of ideas and impressions not only in the presence of others but also, and just as important, the presence of the films themselves in the gallery. The films are porous and call for endless remakes, as it were; this turns the audience into makers of a sort.<br />For all their vulnerability to the vagaries of individual response and specific venues, the films also confront us with some hard facts – prime among them is the materiality of the medium. Be it the film, light, surface, or projection apparatus, we are time and again made aware of the arte-factual nature of the people, objects, and places we see (and hear) on the screen. The effect can be hilarious, veer toward the prosaic, or verge on the sublime, as when the objecthood of a prop or the reality of an emotion recorded by the camera hit us with unremitting force. Nothing can negotiate the liminal space between the material and the immaterial, and put it to a test, as a much as a live discussion among people in the flesh.<br />Central to this live discussion of Warhol’s work is also its locale - Hong Kong. For the time seems ripe, not only for echoing here in Hong Kong some of the ideas germinating around Warhol’s film work but jump in as agents of change. That is why we aim to create a dialogue among some of the people closest to the geographical and spiritual center of Warhol’s art – New York – but also cast them alongside artists, curators, and market representatives who, while deeply aware of, or indebted to, Warhol’s legacy, are based in Asia.<br /><br /></p> Fri, 14 Dec 2012 00:38:51 +0000 Wang Keping - 10 Chancery Lane Gallery - November 23rd, 2012 - February 16th, 2013 <p><a name="top"></a>Katie de Tilly is honoured to present new works by acclaimed Chinese sculptor<br /> <br /> WANG KEPING<br /> <br /> Wood flesh Form Nothingness<br /> <br /> Reception with the artist Friday November 23rd, 6:30 - 8:30 pm at 10 Chancery Lane Gallery<br /> <br /> "If ever form spoke directly to the eye of the viewer, it is here...and what from! If, as I believe, what has been called the :inner core" of art is the way in which the artist transforms feeling into form, then what can we see that mysterious process taking place before our eyes, in Wang Keping's passionate engagement". - Michael Sullivan, Fellow Emeritus of St. Catherine's College, Oxford University<br /> <br /> "In my sculpture, I strive to find that which is universal in primitive Chinese form and the further I go back to the origins of this art, the closer I am to my idea of contemporary art". - Wang Keping</p> Wed, 06 Feb 2013 02:00:37 +0000 Tian Wei, Qiu Jie - MOCA Shanghai (Museums of Contemporary Art Shanghai) - December 22nd, 2012 - February 16th, 2013 <p align="left"><span style="font-size: small;" size="3">While embracing the year of 2013, MoCA,Shanghai sincerely invites two Chinese artists Tian Wei and Qiu Jie, who have lived in oversea countries for a long time, to present you a refreshing joint exhibition. Though their perspectives and styles differ from each other, their works reveal same profound life comprehension. MoCA Shanghai wishes to bring the audience to a self-reflecting, peaceful journey for mind through this exhibition.</span></p> <p align="left"><span style="font-size: small;" size="3">    Tian Wei started learning calligraphy when he was a child, therefore traditional Chinese artistic skill naturally enhanced his artistic language. After living, studying and working in America for many years and also under the influence of oriental and western culture, he combined oil painting and ink , started to draw western characters with the techniques of Chinese calligraphy. There is a profound philosophy in each of his work.  In recent years, his works has become freer and freer via different format of media, however the central message that these works represent remains consistent. Tian Wei hopes through his work, audience enjoy the aesthetics which is expected to be rooted in Chinese' spirit and beliefs, namely a philosophy connects different perspectives.  His works bridge different cultures form east and west.</span></p> <p align="left"><span style="font-size: small;" size="3">    Qiu Jie's works would appear heavy and rather complicated. You may find, in his works, a blonde who fits into the typical stereotype pin-up poster girl stands with a slogan which is often seen during China's cultural revolution era, and a couple of Chinese and English characters and letters that are placed in a strange order...Usually Qiu Jie picks one corner of a piece of paper as the starting point and then slowly expands to another piece of paper like a growing organism.  He manages to picture all threads and ideas together: a dream, a memory, a live object, etc. All of these make his works realistic and somehow surrealistic.  His canvas shows how a Chinese who lives his life in the Western world feel about with his unique expression, his canvas actually creates the emotions mixing disorder, absurdness and even ambiguity. </span></p> <p align="left"><span style="font-size: small;" size="3"> </span></p> <p align="left"><span style="font-size: small;" size="3">    Both Tian Wei and Qiu Jie were born almost at the same unique period of time in China. They started their journey to the West, experienced different cultures in America and Europe; on their way, they felt confused and even lost when trying to find their sense of belongingness.  The overall environment in China has now becomes more internationalized and opened; where different cultures and ideas seem to achieve the peak time for interacting and impacting on each other, thus we sincerely hope our audience may reflect a little and reach to some common understandings through their works.</span></p> Mon, 14 Jan 2013 02:06:52 +0000 - K11 - January 11th, 2013 - February 17th, 2013 <p>Number is a mathematical object used to count and measure. It is one of a series of symbols with a unique meaning. Its main function is reference or identification. It is part of our lives as we use it to determine value, time, label or order, etc.</p> <p>Nowadays, we always use number to measure the quantity and quality of our life and society. We mention the happiness index, which measures the quality of life in more holistic and psychological terms. Gross Domestic Product (GDP) and the Human Development Index (HDI), twho other common tools for measuring a country’s economy.</p> <p>However, do these indices or numbers really reflect and represent the real feeling and experience in our life? From different people’s perspectives, there maybe there a particular number to present their own experience and thought.</p> <p>NUMBERS is a thematic design exhibition showcasing four young design collectives’ experiences and design points of view on “Numbers”. Four sets of numbers are chosen for this exhibition:</p> <p>0- Peaceful 7- leisure 18- growth 100- perfection</p> <p>“NUMBERS” Exhibition consists of an exhibition, a workshop and a Mobile “NUMBERS” Exhibition.</p> <p><strong>About Pengguin</strong><br />PENGGUIN is co-founded by Soho So and Todd Lam in 2009, a non-government organization. It is a design based and an independent curated group that encourages and provokes the cultural value of design, by presenting experimental and contemporary works in design point of view.</p> <p>The group believes in exhibition as it is a strong medium to create influence. Through exploring possibilities on the format of exhibition, we try to deliver new ways of sharing experiences. As we become more aware on the znteraction and extension of exhibition, it helps promote the sustainability of education.</p> Tue, 01 Jan 2013 22:46:32 +0000 anthony white - The Cat Street Gallery - January 17th, 2013 - February 17th, 2013 <p>Australian artist Anthony White is an abstract painter in the truest sense – his works draws immediately from his response to the landscape and urban environment, but are highly refined experiments of one man’s obsession with the process of applying paint to canvas.<br /> <br /> He is influenced by references from the New York School of the 1950's The Merzbau project of the artist Kurt Schwitters and the abstract movement including Mondrian's De Stijl and the combines of Robert Rauschenberg. His work is characterised by an awareness of surface and a preoccupation with the engagement of physicality and the found object.<br /> <br /> His majestic, contemplative and powerful works, which reveal tantalising hints of landscape and dazzle with thoughtful hues and tones, are truly compelling. For any lover of paint, and indeed any lover of a knowing and bold brush stroke, White’s pieces will not only satisfy, they will leave their audience wanting more.<br /> <br /> Born in Sydney, Australia 1976, White has been living and working in Paris, France. Since 2009.<br /> <br /> White completed his visual arts studies at the National Art School, Sydney. With the help of the Marten Bequest Travelling Scholarship, White furthered his education by participating in the Drawing Marathon Programme at The New York Studio School.<br /> <br /> Anthony White has produced a number of solo exhibitions, the most notable being Paris Paintings (2010), Scratching The Surface (2011) both at Iain Dawson Gallery Sydney and this current show Informal Relations at The Cat St Gallery, Hong Kong (2013).<br /> <br /> Anthony White was the recipient of The Marten Bequest 2007,The Elioth Gruner Prize for Landscape Painting Art Gallery of NSW 2005 and The Great Southland Art Prize 2003. He has also been the recipient of many artist in residence programmes throughout the world. The Vermont Studio Centre (2008),The Leipzig International Art Programme Scholarship (2010),Leipzig Germany, La Cite Internationale Des Arts, during 2009 and 2010.<br /> <br /> White has been a finalist in many art prizes in Australia including The Brett Whiteley Travelling Scholarship, 2006 and The Churchie Emerging Art Prize 2005, and 2007,Hills Grammar Art Prize 2005,The Willoughby Art Prize 2006 Art on the Rocks 2005, The Paddington Art Prize 2005 as well as the Lloyd Rees Memorial Art Prize 2002. Of which he received commendations in The Churchie Emerging Art Award and The Lloyd Rees Memorial Art Prize.<br /> <br /> White has participated in curated group exhibitions in Sydney, London, Hong Kong, New York and Brisbane with The Iain Dawson Gallery, The Tim Olsen Gallery, The COMODAA Gallery, The Cat St Gallery and Edwina Corlette Gallery respectively. White was a part of a group exhibition focusing on current emerging Australian painters at The Mary Place Gallery Four Young Australian Painters curated by Julius Bokor (2005).<br /> <br /> During late 2011 White received a commission to produce new work for the filmmakers Baz Luhrmann and costume designer Catherine Martin for their residence in Sydney, and New York.</p> <p><strong>The Gallery will be closed Februrary 9 to 13 for the Chinese New Year</strong></p> Sat, 09 Feb 2013 07:40:40 +0000 - University Museum and Art Gallery (The University of Hong Kong) - November 29th, 2012 - February 17th, 2013 <p><span style="font-size: small;" color="660000" size="4">The University Libraries and The University Museum and Art Gallery, The University of Hong Kong are delighted to jointly present an exhibition “Celebrating the Centenary: Gems of the University of Hong Kong Libraries” to commemorate the centenary of University Libraries and the eightieth anniversary of the establishment of the Fung Ping Shan Library.</span></p> <p><span style="font-size: small;" color="660000" size="4">On display will be over one hundred rare books, manuscripts and artefacts from the University Libraries, including letters and manuscripts by renowned scholars, maps and rubbings, as well as imprints dated to the 13th and 14th centuries.</span></p> <p><span style="font-size: small;" color="660000" size="4">The exhibition will provide an overview of the development of the HKU Libraries from the founding in 1912 to the present day, and the history of the Fung Ping Shan Library. Highlights include <em>An Authentic Account of an Embassy from the King of Great Britain to the Emperor of China </em>written by Sir George Staunton (1737-1801) in 1798, <em>The Hongkong Almanac</em><em>k and Directory for 1846: with an Appendix </em>compiled by William Tarrant (1820-1872) in 1846, <em>Essays on Self-discipline </em>dated 1234, and <em>Collection of Random Sketches</em>, a handwritten copy dated to the Ming dynasty (1369-1644).</span></p> Mon, 04 Feb 2013 02:57:36 +0000 - K11 - January 17th, 2013 - February 18th, 2013 <p>Apart from the exhibition venue K11 Stage of the Arts, there are showcases located in different corners of the mall where 16 more young design parties were invited to display their works, which are also based on the theme of numbers and to echo with the ‘NUMBERS’ exhibition. We are glad that to see the theme of numbers running through K11, arousing curiosity and new interpretation from the audiences on numbers.</p> <p><strong>About Pengguin</strong><br />PENGGUIN is co-founded by Soho So and Todd Lam in 2009, a non-government organization. It is a design based and an independent curated group that encourages and provokes the cultural value of design, by presenting experimental and contemporary works in design point of view.</p> <p>The group believes in exhibition as it is a strong medium to create influence. Through exploring possibilities on the format of exhibition, we try to deliver new ways of sharing experiences. As we become more aware on the znteraction and extension of exhibition, it helps promote the sustainability of education.</p> Tue, 01 Jan 2013 22:49:51 +0000 - Sundaram Tagore Gallery - Hong Kong - December 18th, 2012 - February 18th, 2013 <p>New works by 10 gallery-represented artists hailing from Brazil, Canada, India, Japan, Korea, Mexico and the United States are on view.</p> Wed, 30 Jan 2013 02:06:33 +0000