ArtSlant - Current exhibits en-us 40 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 Mitsuru Watanabe - A Gallery Hong Kong - January 24th, 2013 - February 21st, 2013 <p>a Gallery is proud to present a series of art works by Mitsuru Watanabe, an established Japanese artist. Inspired by Western artists like Rousseau’s and Bosch’s iconic paintings, Watanabe transfuses the classic backgrounds with his forever subject matters, his two daughters. Portrayed in school uniform, the little girls appear to be traveling and exploring the different realm of reality and fantasy in the mysterious dimension. </p> <p>Watanabe’s excellent painterly technique and unique vision in his subject matter has expanded the horizon of contemporary Japanese art, where the possibility of the old and the new, the Oriental and the Western, the reality and fantasy can co-exist to create something completely unique yet familiar.</p> Sat, 19 Jan 2013 22:33:48 +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 Gao Ge - Art Projects Gallery - January 12th, 2013 - February 28th, 2013 <p>Art Projects Gallery is delighted to present Chinese artist, <strong>Gao Ge</strong>'s first solo show in Hong Kong, "<em>Lucid Dreaming</em>". Gao Ge (b.1984) is an emerging talent from China's Post-80s generation of artists who are set to redefine the future of artistic expression and development in China. </p> <p>Based in the artist's village of Song Zhuang in Beijing, Gao Ge's works depict mesmerizing dreamlike imageries that on closer inspection, reveals the artist's inner psyche and personal emotions. Gao Ge's paintings often feature surrealistic settings of intricate details and soothing colors, in which she poetically places her subjects, sometimes tiny in comparison to the extent of the canvas ("Legend") and at times partially obscured ("Seeking Phoenix Tree"), or even absent ("Come and Gone"). The play of scale, juxtapositions and pictorial space are skillfully used by the artist in her works. <br /><br />Gao Ge's works are inherently melancholic, introspective and sophisticated. Perhaps, in her paintings, the artist has choreographed her own fantasy worlds to replace actual events in her life; a virtual realm in which she can ease her emotions and to find her true self. <br /><br />Gao Ge graduated from Tianjin Engineering Technical Institute, Department of Art in 2005. Her works have been exhibited in various shows in China, South Korea and Taipei, including solo shows in Beijing, Zhengzhou, Shanghai, and Tokyo in recent years.</p> Sat, 05 Jan 2013 04:04:16 +0000 Feng Shu, Na Wei, Xia Hang, Fan Xiaoyan, Zaichang, Lee Hansu, Ko Kangcheol - Art Seasons Beijing - December 22nd, 2012 - March 10th, 2013 Tue, 01 Jan 2013 23:52:20 +0000 Zhang Lehua - Art+ Shanghai Gallery - February 3rd, 2013 - March 24th, 2013 <p>Zhang Lehua’s solo exhibition <strong>Love in a Golden Bowl</strong> explores how meaning is communicated and lost through a process of reading art. Deliberately miss translating text and employing ambiguity in his Chinese text are ways in which the Shanghai based artist plays with paradox and irony to peel away surface meanings. <br /><br />The English and Chinese subtext in his work often differ, a decision made by the artist to emphasize vagueness, and ultimately reveal contrary interpretations of life. In order to preserve the artist’s intended meaning two separate titles for the exhibition are used, in Chinese<strong> 鸾叹情</strong> (luan tan qing) is loosely translated into English as a male phoenix sighing. The reference to the phoenix sigh of affection plays with Chinese analogy of a happy phoenix symbolizes a happy couple. A slightly altered tone, however and <strong>鸾叹情</strong> (luan tan qing) sounds likedluan <em>乱弹琴</em> (luan tan qin), which translates to rambling nonsense, a meaning Lehua has also intended to convey. <br /><br />The English title for the exhibition is borrowed from Thel’s moto in the introduction to "The Book of Thel,” a poem by William Blake (1789). <br /><br /><em>Can the eagle see what is in the pit,</em><br /><em>Or wilt thou go ask the mole?</em><br /><em>Can wisdom be put in a silver rod,</em><br /><em>Or Love in a golden bowl</em><br /><br />The reference of Lehua as a post-modern Blake draws comparisons from the themes of maturation and sexual experience in Blake’s poetry to the young and naïve coming of age scenarios in Lehua’s artwork. Both poets share an interest with alienation of authority, Blake in his theological references and resentment towards the state church and Lehua in his animosity towards mainstream society and mockery of educational doctrine. While both artists are sincere in his criticism, an element of moronic satire is emphasized Lehua’s works.<br /><br />In a showcase of painting, video and installation,<strong> Love in a Golden Bowl</strong> discusses culturally sensitive issues via popular topics among China's youth. Join us on Saturday February 2nd for the exhibition preview opening. The artist will be present.</p> Wed, 20 Feb 2013 02:03:09 +0000 Yu Tao, Huang Youwei - Beijing Wan Fung Art Gallery - January 24th, 2013 - February 24th, 2013 Fri, 01 Feb 2013 00:42:43 +0000 Vik Muniz - Ben Brown Fine Arts Hong Kong - November 21st, 2012 - February 22nd, 2013 <p>Ben Brown Fine Arts, Hong Kong, is pleased to present the first solo exhibition in Asia of works by the internationally celebrated Brazilian photographer Vik Muniz. This exhibition will feature photographs from his recent Pictures of Magazines 2 series, in which the artist has carefully culled and torn pieces of paper from art, fashion and news magazines; amalgamated them into re-creations of iconic and historically significant paintings; and then photographed and magnified the images, resulting in evocative, exquisitely-detailed and entirely unique works of art. Muniz is renowned for his ingenious and laborious employment of unusual materials - dust, sugar, chocolate, diamonds, caviar, toys, paper hole-punches, junk, dry pigment - to reconstruct images, often art historically related, that tap into the spectator’s subconscious visual repository and beg for further investigation. Muniz’s elaborate material creations - in this case the magazine collages - are ephemeral; it is his masterly photographic documentation that is the final work of art, which is intentionally many steps removed from the original image that inspired it.<br />The exhibition features strikingly bold large-scale colour photographs based on visually resonant paintings by artists such as Michelangelo Merisi da Caravaggio, Paul Cézanne, Edward Hopper, Edouard Manet and George Stubbs. Muniz simulates the brushstrokes of these paintings with scraps of magazine paper carefully selected not only for their corresponding colour values but also their imagery - faces, body parts, text, advertisements - that collaged together suggest a tactile, impastoed surface. It is not just the final appropriated image that invites perusal, it is the minute components of the image - the bits of paper - that provide the irony, double meanings and visual associations for which Muniz is so well known. Highlights of the exhibition include optically rich renditions of Manet’s Bar at the Folies-Bergère, Annibale Carracci’s The Butcher Shop, Hopper’s Summer in the City and Mary Cassatt’s Picking Flowers in a Field.<br />About Vik Muniz<br />Vik Muniz was born in São Paolo, Brazil, in 1961 and currently lives in both New York City and Rio de Janeiro. He has had exhibitions at such prestigious institutions as the International Center of Photography, New York; Museu de Arte Moderna, São Paulo; Museu de Art Moderna, Rio de Janeiro; the Whitney Museum of American Art, New York; Fundació Joan Miró, Barcelona; the Menil Collection, Houston; Museo d’Arte Contemporanea, Rome and the Irish Museum of Contemporary Art, Dublin. His work is also included in the collections of the Museum of Modern Art, New York; the Art Institute of Chicago; the Solomon R. Guggenheim Museum, New York; the Metropolitan Museum of Art, New York; Museu de Arte Moderna de São Paulo; the Museum of Contemporary Art, Tokyo; the Museum of Fine Arts, Boston; the Museum of Fine Arts, Houston; the Tate Gallery, London; the Victoria and Albert Museum, London; the Walker Art Center, Minneapolis; and the Whitney Museum of American Art, New York. In 2001, Muniz represented the Brazilian Pavilion at the 49th Venice Biennale.<br />Vik Muniz is the subject of an Academy Award-nominated documentary film entitled Waste Land (2010), which chronicles the artist’s collaborations with a group of catadores - trash-pickers - in Jardim Gramacho, Brazil, the world’s largest garbage dump, located on the outskirts of Rio de Janeiro. Muniz spent three years working with these marginalized individuals using the collected recyclable trash to create monumental portraits of them, referencing Old Master paintings, that reveal both their dignity and desperation. Muniz was recently named a UNESCO Goodwill Ambassador for his contributions in education and social development, in particular for his work with the catadores.</p> Thu, 21 Feb 2013 09:57:52 +0000 San Shui, Peng Pi, Yi Guodong, Huang Haifei, Qiu Yun, Tian Xiaolei, Chen Xi, Han Peng, Li Zhen - Chambers Fine Art Beijing - January 5th, 2013 - February 4th, 2013 <div class="prEnglish"> <p>With the New Year approaching, Chambers Fine Art Beijing is pleased to announce the opening of a young artists’ group show Nonexistent Reality on January 5, 2013. Starting from Midwinter 2009 to 2010, and Make It New in early spring 2011, to Nonexistent Reality this time around, these young artists’ group shows in our program exemplifies that Chambers has been increasingly focusing on younger artists, in addition to our consistent emphasis on established and mid-career artists.</p> <p>The title Nonexistent Reality originates from The Truman Show, a dark comedy film. The film depicts a preposterous fable of life: the tragic character Truman is deceived and fooled all his life, living in a virtual world surveilled under numerous cameras. The film reflects multiple social issues such as human rights, freedom and privacy. Yet what is most impactful is the human desire for truth and freedom. In the ending, the ultimate puppeteer behind the scheme tells Truman that he has become the most popular star in the world, if he stays in this fictional world he can carry on his star life. Truman is however unconvinced and chooses to leave. Everybody has a different definition for the concept of truth. On a surface level, only what is visible to the naked eye can be regarded as real. But this reality is not singular. There is another reality deep inside our hearts. It is only peripheral to our vision but this reality holds great spiritual significance. The exhibition introduces the realities that are beyond human vision to our spiritual world, hoping to bring the viewer a unique otherworldly and “illusory” sensation.</p> <p>The exhibition encompasses painting, sculpture, photography, video and other forms of expression. Nine young artists, San Shui, Peng Pi, Yi Guodong, Huang Haifei, Qiu Yun, Tian Xiaolei, Chen Xi, Han Peng and Li Zhen attempt to explicate the concept of “nonexistent reality” through four independent themes: Mirage, Butterfly Dream, Virtual World and Fairytale. The nine artists in the exhibition all have their own idiosyncratic forms of expression and conceptualization. San Shui’s (b. 1972) Bund series revolves around the architectural landscape and the human living experience. The foggy sea and landmarks on the Bund in Shanghai compose a poignant and mirage-like scene. Peng Pi (b. 1984) has chosen Vietnamese Huali wood as his canvas. Using a magnifier to focus light, he left burn marks resembling fossils of fish that no longer exists, transplanting past lives onto the Huali wood that is full of life, as a metaphor for rebirth. Yi Guodong (b. 1981) imagines war scenes from the future in a game-like manner. The playful tension between the war on the surface and the anti-war philosophy from Mo Gong exemplifies the artist’s sensitive imagination and rational contemplation on our current reality. Huang Haifei (b. 1983) breaks the rules by using the stamps that are important for purposes of authenticating name and status in traditional Chinese paintings to create fluid, lively and dream-like images. Underneath Qiu Yun’s (b. 1988) brushstrokes hides a girl’s sensitive dreamscape. Mystery, sweetness, danger and bizarreness are all parallel, inviting the viewer to the fascinating dream space. Tian Xiaolei (b. 1982) creates unique images by ways of digital modeling, depicting a group of white-collar workers running out of the subway after work towards the carnival island. The artist’s approach in pairing the imagery alluding to the spectacular and orderly National Day parade and the thrillingly wild fun at the amusement park “Happy Valley” is highly farcical and satirical. His utopian island seems to suggest that in this world of desire, the carnival island becomes the shelter and paradise, as well as the destination for the last indulgent rave party before the end of the world. Chen Xi (b. 1985) uses ink pens and watercolor to compose many fictional characters and stories. He explores in depth the humorous and weird characteristics of these fictive identities. For him, the nonsensical humor in the images is a true reflection of his inner world. Han Peng (b. 1982) makes use of many quotidian objects from our childhood and pointedly recreates a heartwarming scene for grown-ups – a fairytale in which a naïve little tin man leads an army of little objects to fight against the adult world. Li Zhen’s (b. 1989) work carries a toxic beauty and this beauty signifies very different things depending on the audience – “the most beautiful fairytale is not for children, because children themselves live in a fairytale, only adults, no longer possessing fairytale in their hearts, will be touched by fairytales.” The beautiful visual form of Li Zhen’s work is enhanced by its ironic humor.</p> <p>In recent years, a growing number of art organizations start to focus more on the new forces of young artists, not only because young artists carry more vitality, but also for that the younger generation embodies the future direction of contemporary Chinese art. Our exhibition dates coincide with “slight cold” and “the beginning of spring” in the lunar calendar. We hope this shall be a good omen for next year’s artistic climate as spring arrives.</p> </div> <div class="prChinese"> <p>临近新年,北京前波画廊荣幸地宣布将于2013年1月5日起举办《不存在的真实》年轻艺术家群展。前波画廊从《2009 冬至2010》开始,到2011年新春伊始的《创新》,再到这次的《不存在的真实》,不难看出,多个年轻艺术家群展的推出体现了前波画廊近年来在一贯重视 成熟艺术家的同时也把越来越多的目光转向年轻艺术家。</p> <p>此次展览标题“不存在的真实”概念起源于一部黑色喜剧电影《楚门的世界》(The Truman Show)。电影描述了一个荒诞无稽的人生寓言:一位悲剧人物楚门一生被愚弄和欺瞒,生活在一个被无数镜头窥视下的虚拟世界。影片背后反映了人权、自由、 隐私等诸多社会问题,然而,最令人印象深刻的是人类对真实和自由的渴求。电影结局时,那个幕后操纵者告诉楚门他现在已是世界上最受欢迎的明星,如果他愿留 在这个虚构的世界就可继续明星生活,然而楚门不为所动,毅然离去。对“真实”的概念每个人有多种不同的理解。从表面来看,人类视觉范围内的事实就是真实, 然而这种真实并非唯一,还有一种真实存在于人的内心深处,它游离于视觉之外却对人类的精神世界有着更为重要的作用。此次展览将人视觉所及之外的真实引入到 人的精神世界,带给观者一种独特的“身临幻境”的体验。</p> <p>本次展览涉及绘画、雕塑、摄影、影像等多种表现形式,由九位年青艺术家分四个不同的独立主题(海市蜃景、庄周晓梦、虚拟世界、童话故事)来阐述“不 存在的真实”这一概念。参展的九位艺术家各具独特的造型方式和观念表达:三水(生于1972年)的《外滩》系列作品围绕着建筑景观与个人生存体验而展开, 以迷雾中的大海与上海外滩标志性建筑组成一幕幕海市蜃楼般、同时又令人心悸的场景;彭丕(生于1984年)的作品采用越南黄花梨木作为画板,通过放大镜聚 光在黄花梨上灼烧出那些早已不存在的鱼化石的形象,将已经逝去的生命体以质朴而简洁的方式附着在充满生命的黄花梨上,隐喻了重生;易国栋(生于1981 年)通过游戏般的手法来描述未来世界的战争场景,藉由对画面表象的战争与背后《墨攻》“非战”理念的博弈,表达了艺术家对当下现实敏感的想象和理性的沉 思;黄海菲(生于1983年)打破常规,将传统国画中用以署名、地位十分重要的印章作为画面形象和元素符号,来创造着一幅幅如梦境般自由流转、活灵活现的 画面;裘昀(生于1988年)的笔触下隐藏着一个女孩细腻的梦境场面,神秘、甜美、惊险与诡异并存,使观者如置身其境;田晓磊(生于1982年)以电脑为 工具建模图像并进行编序,描绘了一群上班族下班后从地铁蜂拥而出径直奔向乐园小岛上狂欢的场景,通过荒诞而戏谑的手法导演着一幕幕犹如国庆阅兵式热闹而整 齐的场面和北京欢乐谷惊险的游戏与狂欢场景,他的乌托邦小岛似乎在向观者暗示:在这个欲望世界,乐园小岛是人们心灵的避难所和天堂,也是一场末日前放纵的 狂欢聚会;陈熹(生于1985年)采用针管笔和水彩颜料配合在作品中创造了许多虚构的情节和人造形象,并努力发掘这些形象所呈现出幽默而古怪的特性,对他 而言,画面中的无厘头趣味是他内心的真实反映;韩鹏(生于1982年)以许多童年时十分熟悉的日用小物件为背景,刻意营造一种对成年人来说极为温馨的氛 围,描述了一个纯真的小铁皮人率领众多小物件擐甲执兵对抗成年人世界的童话故事;李震(生于1989年)是此次展览中最年轻的艺术家,他的雕塑作品中潜伏 着一种毒药般的美丽,而这种美丽对不同观者具有截然不同的意义——“最美的童话不是给孩子读的,因为孩子本身就是童话,只有成人,因为不再有童话的心,才 会为童话而感动”,使观者在领略其作品形式美的同时也感受到它的反讽趣味。</p> <p>最近几年,越来越多的艺术机构更加重视新生力量,将焦点放到了年轻艺术家身上,不仅是因为年轻艺术家凝聚着更为鲜活的生命力,也是因为年轻一代身上肩负和代表着中国当代艺术未来的方向。此次展览恰逢小寒至立春,希望也能成为明年艺术氛围转暖回春¬¬¬的好兆头。</p> </div> Wed, 16 Jan 2013 02:36:24 +0000 Louise Bourgeois - Faurschou Foundation (Beijing) - October 27th, 2012 - March 24th, 2013 <p>Louise Bourgeois has throughout the years experimented with a wide range of media spanning across sculpture, painting, drawing, graphics, installation and sound. She has expressed herself in materials ranging from the classical marble and bronze, over latex and nylon, ripped and recycled garments, and found ready-mades.</p> <p>Louise Bourgeois was born in 1911 in France. In the late 1930's she married an American art historian and moved to America. Here she lived here she spent the rest of her life. In the 1980's she had her great international breakthrough and today she is internationally considered one of the most respected modern as well as contemporary artists.</p> Mon, 31 Dec 2012 22:31:03 +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 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 Berlinde De Bruyckere - Galleria Continua / Beijing - December 22nd, 2012 - March 17th, 2013 <p>Galleria Continua is pleased to announce the first solo exhibition in China by the well-known Belgian artist Berlinde De Bruyckere.<br />An internationally acclaimed artist, since the 1990s Berlinde De Bruyckere (Ghent, Belgium, 1964) has used organic materials such as wax, horse hair and skin, wood and fabrics to produce disturbing, alienated and solitary images. The focus of her work is a profound meditation on the nature of sculpture, conducted by means of a careful observation of art history. She draws on a variety of artistic influences, ranging from North European Renaissance masters like Roger Van der Weiden, Van Eyck, Robert Campin and Lucas Cranach through to Luca Giordano and the magnificent art of the Italian Seicento, from which are borrowed sudden flares of light and looming shadows.<br />All the artist’s work stages the dualism between life and death, suffering and love. In her sculptures, De Bruyckere observes the precariousness of human existence; her works appear to be images of a widespread archetypal pain, offering themselves up in their vulnerable existence to the viewer’s gaze. The human body, represented in highly realistic postures, is articulated in all its different forms: the skin is furrowed by folds which, together with a lattice of veins and arteries, weave an intricate pattern; the muscles are rendered with a keen anatomical eye; while the pallor of the flesh is a reminder of the transience of life. The bodies are explored by way of subtraction: the figures, always incomplete and faceless, are the portrait of a fragmentary existence.<br />The group of works on display in the show have been chosen to provide an intense and fully representative sample of the work of an artist who, in the course of her career, has composed a gallery of works charged with sensuality and force, realized in wax or horse hide, which describe a world of emotions, fragile tenderness and love.<br />A central work in the exhibition is We Are All Flesh (Istanbul), made by slowly and carefully sewing together pieces of horse hide. Suspended and with essential features, the posture exalts the vigorous and powerful traits of the animal, in which human qualities and the dualism between life and death come together.<br />Actaeon, inspired by Ovid’s Metamorphoses, centres on the unfortunate fate of Actaeon, who was turned into a stag by the goddess Diana and then devoured by his own hounds. Scattered across a table, a simple plinth, is a tangle of branch-like stag antlers mixed up with strips of cloth, like an abandoned memory of the young hunter, an image of broken youth. The sculpture combines raw and delicate images, and of strength and power, sensuality and suffering.<br />Stag antlers, this time as an image of nature rather than as a metaphor of suffering, also feature in Rodt, interlaced branches in a precious wunderkammer.<br />009-, 2011-2012 is a large old glass display cabinet housing tree branches and trunks modelled in wax. The trees appear to be memories of the past, with knots and veining emerging from the texture of the wax. Wood, as an organic changeable element, is a powerful symbol associated with life.<br />Berlinde de Bruyckere was born in 1964, in Ghent, where she lives and works. She has shown extensively in recent years, with solo shows including We Are All Flesh, Australian Centre for Contemporary Art, Melbourne, Australia (2012); The Wound, Arter, Istanbul, Turkey (2012); Mysterium Leib. Berlinde De Bruyckere im Dialog mit Cranach und Pasolini, which opened at the Kunstmuseum Moritzburg, Halle, Germany, and then travelled to the Kunstmuseum Bern, Switzerland (2011); DHC / ART Foundation for Contemporary Art, Montreal, Canada (2011); Hauser &amp; Wirth Zürich, Switzerland (2010); Schmerzensmann, Hauser &amp; Wirth London, Piccadilly (2006); Eén, De Pont Foundation for Contemporary Art, Tilburg, Netherlands (2005).<br />The artist is going to represent Belgium at the 55. Venice Biennale in 2013.</p> Wed, 13 Mar 2013 00:21:21 +0000 Lewis Lau - Gallery EXIT - January 18th, 2013 - March 2nd, 2013 <p>Gallery EXIT is pleased to present <strong>In the Offing</strong>, the first solo exhibition of Lewis LAU Yin To with the gallery.</p> <p>"In the Offing" refers to the area where the sea touches the sky, the fine line where movement becomes stillness. Distant while at the same time visible, paintings by Lewis Lau revolve around the visual and experiential implications that the line of horizon imposes on our understanding of scenery. While using the photographic image as a point of departure, the featured works move away from their time bounded dimension and explore the possibility of portraying a timeless exposure of memory - the point where Sight and its objective dimension meets Absence and the imaginative power it brings. All the unnecessary signs, unseemly for the remembrance of an event, are in the works deleted from the original image and rendered into new and every time richer manifestations. Seemingly staged in every detail, the works in fact explore memory by means of brushstrokes. A gesture unrestrained from any mental or physical boundary, it enables the artist's interventions to explore fortuitous and unforeseen trajectories.  </p> <p>Roland Barthes in Camera Lucida notes that "Ultimately - or at the limit - in order to see a photograph well, it is best to look away or close your eyes. 'The necessary condition for an image is sight', Janouch told Kafka; and Kafka smiled and replied: 'We photograph things in order to drive them out of our minds. My stories are a way of shutting my eyes." The works by Lewis Lau quietly position themselves in the offing, where experience interjects with the memory of it.</p> <p>Lewis Lau obtained a Master in Fine Arts from The Chinese University of Hong Kong. He is the recipient of the Ting Yen Yung Creative Awards, 2009 and Y.S. Hui Fine Arts Award, 2010.</p> <p> </p> <p><strong>The Gallery will be closed for the festive season from 9 February and will re-open on </strong></p> <p><strong>19 February 2013.</strong></p> Fri, 08 Feb 2013 00:39:58 +0000 Gaël Davrinche, Zhang Dali - Gallery Magda Danysz - Shanghai - February 2nd, 2013 - March 9th, 2013 <p>The exhibition presents the French virtuoso artist, Gaël Davrinche and the famous Chinese artist Zhang Dali. Graduated from the Beaux-Arts of Paris, Gaël Davrinche constantly renews the great masters’ painting techniques and dares to take over their models. Exhibited for the first time ever in Shanghai, his work surprises us with its colors and textures. This show is an opportunity to discover an amazing work with a lot of references to the history of art. Zhang Dali, one of the most famous Chinese artist (collected by Charles Saatchi and such and ranked in the Top 100 of Chinese contemporary artists by artnet), he is exhibited in many museums, and was also shown at the Venice Biennial. For this exhibition, Zhang Dali presents the series Man and Beast, where humans and animals mix themselves through huge bronze sculptures reflecting a fantastic and wonderful universe.</p> <p>Keen observer of the society, Gaël Davrinche depicts with accuracy and humor human beings in huge portraits. Made famous since his first series, Les Revisités, in which he echoed with classics such as Velasquez or Van Gogh; Gaël Davrinche is noted for his spontaneous and precise touch. Using self-derision, he paints people wearing incongruous accessories such as colander or boxing gloves. In his Memento Mori series, the artist subtly paints faded flowers on huge canvases. As a real metaphor of life, these fragile flowers symbolize renewal and change, Gaël Davrinche suggests an optimistic view of the world to come and offer a vision of a renaissance with these flowers which will give life to new ones before disappearing rather than a desperate version of it. The artist evokes a reflection on man and his environment as the origin of this series.</p> <p>This reflection about human being is also present in Zhang Dali’s sculptures. Juxtaposing life-sized animals and human figures, the artist offers a powerful image, almost violent, of the ferocity of tyranny. The animal, with its open mouth, dominates with all its power an inert and impassive man. These bronze sculptures - about three meters long - refer to Confucius texts about tyranny. Set with Gaël Davrinche’s works, they become a broader reflection on the nature of things.</p> <p>Gaël Davrinche and Zhang Dali’s works raise questions about the relationship between the human being and his environment. The issues raised by Gaël Davrinche in his portraits about the link between man and the heritage of what is his identity, make a lot of sense in Shanghai. Through the exhibition, Zhang Dali sculptures give rhythm to this thought, as a reminder of the mythical relationship between man and animal. In a world where everything is going faster and faster Gaël Davrinche and Zhang Dali’s works establish a time for introspection.</p> Sat, 22 Feb 2014 16:02:53 +0000 - Guangdong Museum of Art - January 16th, 2013 - March 3rd, 2013 <p>继上海当代艺术馆及北京中国美术馆之后,《文化香奈儿》展览此次移师广州大剧院。<br /> 本次展览由广东美术馆协办,依然由主导前两届《文化香奈儿》的尚•路易•弗蒙负责策展。<br />展览于2013年1月16日至3月3日在广州大剧院举行,该建筑出自著名设计师扎哈•哈迪德之手。</p> <p>    本次展览精彩演绎了香奈儿品牌与艺术之间的深厚渊源。这一始自香奈儿女士的传统,由卡尔•拉格斐延续至今。一幅毕加索于1924年为芭蕾舞剧《蓝色列车》 所创作的巨型布景将串起展览的五个主题。这幅收藏于伦敦维多利亚和阿尔伯特博物馆的巨作,是特别为此次展览而出借的。</p> <p>    《蓝色列车》是一出由塞尔吉•迪亚吉列夫创作的芭蕾舞剧,剧名取自往返于巴黎与蔚蓝海岸之间的豪华列车。该剧由达律斯•米尧创作音乐、尚•考克多撰写脚本、亨利•劳伦斯设计舞台装置、毕加索负责节目单及布景创作、香奈儿女士则担任全剧的服装设计。<br /> 这次合作让参与《蓝色列车》创作的艺术家们与香奈儿的关系更为密切。与这些艺术界精英的友谊与互动影响了香奈儿的一生,为她带来了创作上质的飞跃。 “思想解放”与20世纪初所萌发的对“身体解放”的渴望(无论是通过体育或是舞蹈的形式实现)这二者皆为香奈儿风格最基本的要素。</p> <p>    通过对《蓝色列车》布景中不同元素的仔细剖析与解构,本次展览将围绕着五个主题展开:“呼•吸Breathe”,“行•动Move”,“爱Love”,“梦•想Dream”,“创•造Invent”。<br /> 五大主题完美契合了香奈儿品牌的创意美学及核心理念,将通过400件不同形式的展品呈现出来。展品包括照片、素描、油画、手稿、书籍、影片、时装作品(包括从香奈儿女士到卡尔•拉格斐的创作)、腕表、珠宝以及香水。</p> <p>    在此次展览中,参观者还将能欣赏到毕加索从未公开过的三十余幅画作,全都出自私人珍藏。此外,由莫迪里阿尼为与《蓝色列车》相关主要人物绘制的多幅肖像素描也将首度公开展出。<br />     本次展览,将以毕加索创作的巨幅《蓝色列车》布景为主轴,为参观者铺陈出环环相扣的五大主题。这些珍贵藏品,反映出那个时代的精神,勾勒出未来。文化香奈儿——《一幅布景与五幕传奇》展览,正是香奈儿创新轨迹的绝好见证。</p> Mon, 04 Feb 2013 02:24:10 +0000