ArtSlant - Recently added en-us 40 Chi Ming - Minsheng Art Museum - September 28th - October 28th <p>Shanghai Minsheng Art Museum will hold thesecond phase of<strong>&nbsp;Young-Artist Project &ldquo;</strong><strong>Circumstance and Attitude</strong><strong>&rdquo;</strong>:&nbsp;<strong>YOUTH NOTES</strong>. 26 painting works done between 2013 and 2014 by the artist Chi Ming will be exhibited from 28th September to 28th October in themuseum.</p> <p>&nbsp;As the old saying goes &ldquo;a son inherits hisfather&rdquo;, art circle is of no exception. As a child brought up by consecutivetwo generations who embarked on art as a career, it is by no means a surprisefor Chi Ming to step into art with such a resourceful cultivation. Compared tohis grandparents and parents, Chi is the very fortunate one who can dive intoand enjoy the freedom of art. All those uninhibited natures of him is thusbeing released yet facilitated fully through his highly expressive oilpaintings.</p> <p>&nbsp;By the intense yet meticulous colors and asharp yet real touch, he always can capture the souls of modern young people,be it men or women. He reveals the lives of living souls with intense emotionsby conjuring a wild picture of young privacy, alluring lust, bold and directattitude toward sex, as well as the constant pursuit of a tomorrow of freedomand imagination. Nevertheless, deeply down his heart one can still feel somehowthe childishly fragile and na&iuml;ve psychology of a little boy, who miles andlaughs lovely while still with a sense of slight sadness and loneliness.</p> <p>&nbsp;The artist wants to express the contrast ofyouths between his and his parents&rsquo;. &ldquo;Our youth is all about self-affectedmediocrity.&rdquo; This explains all those trivial and stale depictions all over hispaintings. He chooses to face them right at the face. As he once put it, &ldquo;Along period of my adolescence was obsessed with the sensual and alluring picturingabout male and female. Actually, my curiosity toward sex had been developed farearlier than others even though I hadn't even reached my sexual maturity yet atthat time.&rdquo; In such a way, Chi Ming has vaguely yet fully explored variouspossibilities of the subject, privacy. All his explorations and presentationshave come down to those small-size paintings as a visual archive of youth, or amoving film, or what we name it as &ldquo;Youth Notes&rdquo;.</p> <p>&nbsp;⊿&nbsp;<strong>About Artist</strong></p> <p>Born in Yantai in 1984, Chi Ming later got agraduate degree from The Three studio of Oil Painting Department in CAFA, asthe student of artist Liu Xiaodong. Currently he is working and living inBeijing.</p> <p>&nbsp;⊿&nbsp;<strong>Young-Artist Project &ldquo;Circumstance andAttitude&rdquo;</strong></p> <p>It is a new project by Minsheng Art Museum, which plans to annually invite 8 to 10 young artists tocome to independently exhibit their new arts or projects.</p> Wed, 01 Oct 2014 07:59:37 +0000 Sebastião Salgado
 - Sundaram Tagore Gallery - Hong Kong - October 15th - December 7th <p>Sebasti&atilde;o Salgado, one of the world&rsquo;s most respected photographers, presents iconic black-and-white images spanning thirty years of his career for his second solo gallery exhibition in Hong Kong. More than thirty-five photographs from five series, including&nbsp;<em>Genesis, Workers and Migrations</em>, will be on view.<br /><br />Salgado has made it his life&rsquo;s work to document the impact of globalization on humankind. In the past three decades he has travelled to more than one hundred countries for his photographic projects and devotes years to each series in order to grasp the full scope of his topic. 

<br /><br />In his&nbsp;<em>Workers and Migrations</em>&nbsp;series, Salgado captures the fragility and fortitude of the human spirit and infuses empathy and respect for his subjects. In&nbsp;<em>Workers</em>&nbsp;(1986-1993), his images tell the story of firefighters in Kuwait&rsquo;s oil fields; canal workers in Rajasthan, India; and gold miners at Serra Pelada, Brazil.&nbsp;<em>Migrations</em>&nbsp;(1993-1999) documents the mass displacement of people across thirty-five countries as a result of social, political, economic and environmental disparities. 

<br /><br /><em>Genesis</em>, a series that was eight years in the making, comprises hauntingly beautiful photographs of majestic landscapes, serene wildlife and ancient civilizations untouched by modern society. Salgado made more than thirty-two trips, capturing remote realities and paying homage to unspoiled nature: surreal icebergs in Antarctica, the isolated Zo&rsquo;&eacute; tribe in Brazil, monumental crevices in Arizona&rsquo;s Grand Canyon, and Africa&rsquo;s native animals in Kafue National Park, Zambia.

<br /><br />A selection of photographs from the&nbsp;<em>Genesis</em>&nbsp;series has also been published in a book of the same title by Taschen.

<br /><br />Sebasti&atilde;o Salgado is Brazilian-born and based in Paris. He was born in Aimor&eacute;s, in the state of Minas Gerais, in 1944. In 1963, Salgado moved to S&atilde;o Paulo and trained as an economist. It was not until the early 1970s, after his wife loaned him a camera, that he embarked on a career as a photographer, eventually settling in Paris. Salgado says given his childhood and background in economics, it was only natural that he become a photographer gravitating toward humanistic themes. 

<br /><br />Salgado has had numerous exhibitions in influential museums around the world, including the Genesis exhibition, which was on view for four months at the National Museum of Singapore and extended due to record attendance. Genesis makes its United States debut at the International Center of Photography in New York this month.<br /><br />Salgado&rsquo;s work has been the subject of solo shows at the Barbican Gallery, London; the International Center of Photography, New York; the Corcoran Gallery, Washington, DC; the Photographers&rsquo; Gallery and the Natural History Museum, London; and the Royal Ontario Museum, Toronto. His work is in the permanent collections of the Museum of Modern Art, New York; the Chicago Art Institute; the Smithsonian Institution, Washington, DC; and the Los Angeles County Museum of Art.

<br /><br />Among his many honors, Salgado has been named a UNICEF Goodwill Ambassador and an honorary member of the Academy of the Arts and Sciences in the United States. Since the 1990s Salgado and his wife, L&eacute;lia Wanick Salgado, have been restoring a 676-hectare portion of the Atlantic Forest in Brazil. In 1998 they founded the nonprofit Instituto Terra, an organization focused on reforestation and environmental education. In recognition of Instituto Terra, the Salgados received the e-award in Education by Instituto-E in partnership with UNESCO Brazil and the Municipality of Rio de Janeiro as well as the Personalidade Ambiental Prize from the World Wildlife Fund, Brazil.

</p> Wed, 01 Oct 2014 07:41:10 +0000 Cai Guo­Qiang - Power Station of Art - August 8th - October 26th <p>The Power Station of Art is proud to present the major solo exhibition Cai Guo&shy;Qiang: The Ninth Wave by the New York- based Chinese-born artist. This will be the first solo exhibition by a living artist at the institution, China&rsquo;s first publicly funded contemporary art museum.</p> <p>Cai Guo&shy;Qiang: The Ninth Wave addresses one of the greatest challenges faced by mankind: Earth&rsquo;s current environmental and ecological crisis. Evidenced by the high levels of smog in the air and the incident of 16,000 dead pigs floating down the Huangpu River last year, environmental issues in China&mdash;and the world at large have reached a critical level. Exploring the imminent challenge posed by the environment, the artist references a theme in traditional Chinese aesthetics and philosophy: humanity&rsquo;s longing to return to a primordial landscape and spiritual homeland.</p> <p>Many of the works in the exhibition were made especially for the exhibition at the Power Station of Art.A series of art interventions and artworks were realized in the public realm leading up to the opening, allowing the public to witness various stages of the creative process.</p> <h3>About the artist</h3> <div> <div>Cai Guo-Qiang (b. 1957, Quanzhou, Fujian Province, China) currently works and lives in New York. He was trained in stage design at the Shanghai Theater Academy, and his work has since crossed multiple mediums within art, including drawing, installation, video and performance. While living in Japan from 1986 to 1995, he explored the properties of gunpowder in his drawings, an inquiry that eventually led to the development of his signature explosion events. Cai was awarded the Golden Lion at the 48th Venice Biennale in 1999, and the Praemium Imperiale in 2012. Additionally, he was also among the five artists honored with the first U.S. Department of State Medal of Arts award.</div> <div>&nbsp;</div> <div>Among his many solo exhibitions and projects include Cai Guo-Qiang on the Roof: Transparent Monument at The Metropolitan Museum of Art, New York in 2006, and his retrospective I Want to Believe, which opened at the Solomon R. Guggenheim Museum, New York in 2008. The exhibition traveled to the National Art Museum of China in Beijing later that year, and then to the Guggenheim Bilbao in 2009. In 2011, his work was exhibited in Cai Guo-Qiang: Hanging Out in the Museum at the Taipei Fine Arts Museum, and his most recent exhibition, Falling Back to Earth opened in November 2013 at the Queensland Art Gallery | Gallery of Modern Art in Australia.</div> <div>&nbsp;</div> <div>Shanghai was Cai Guo-Qiang&rsquo;s first &ldquo;port of call&rdquo; after he left his hometown of Quanzhou. Since studying in Shanghai, he has since returned a number of times to his &ldquo;mother port.&rdquo; In 2001, he designed the Asia-Pacific Economic Cooperation (APEC) Cityscape in Shanghai, which then established a foundation for his continued artistic activities in China, the most notable of which is his participation in the 2008 Beijing Summer Olympics. In 2002, Cai held his first solo exhibition in China at the former Shanghai Art Museum.</div> </div> Wed, 01 Oct 2014 07:36:12 +0000 Mai Hongjun - National Art Museum of China - October 11th - October 21st <p>The exhibition will display over 100 pieces of excellent landscape painting of Mai Hongjun created over the years, including both large-sized magnificent landscapes and exquisite, exuberant improvisation. Mai Hongjun&rsquo;s works, either self-conscious and mature or elegant and smooth, reflect not only his persevering exploration to Chinese landscape painting and great devotion to artistic ideal but also his understanding to the landscape spirit &ldquo;the great beauty of heaven and earth is silence&rdquo; and consciousness of responsibility to inherit and carry forward national culture and tradition.&nbsp;</p> Wed, 01 Oct 2014 06:31:52 +0000 - National Art Museum of China - October 12th - October 20th <p>The exhibition aims to advocate and encourage inheritance and innovation of young artists to Chinese excellent traditional art, showcase new artistic achievements with national, epochal and innovative characters, so as to cultivate and recommend new artists and promote prosperous development of Chinese art.</p> <p>The exhibition has received 5500 pieces of works in total, in which 4926 are qualified. The works include 1592 pieces of traditional Chinese painting, 2145 pieces of oil painting, 480 pieces of prints, 407 pieces of sculpture and 302 pieces of lacquer painting. Finally, 260 pieces of works were selected to be on show.</p> Wed, 01 Oct 2014 06:29:43 +0000 Chen Dazhi - National Art Museum of China - October 23rd - November 3rd <p>As a result of his persistence and innovation, Mr. Chen Dazhi, a photographer, has discovered an approach to represent in photographs the wonders of inks and brush pens only available in Chinese ink and wash paintings, by making use of the special natures of the black and white film. His photography differs itself from others in terms of both the inspiration and the details, because, while a true photographic language is used, the strokes of charms from Chinese ink and wash paintings have been incorporated into it quite expertly. From his photographic works you could tell a strong philosophic essence that can only be observed in Chinese culture. Meanwhile, Chen Dazhi has pushed the boundaries of the west and east artistic forms, because his photographic language can not only express the objective and internal vitality of the nature, but also the subjective and emotional feelings of the author, both quite easily and freely.</p> <p>Mr. Chen Dazhi's photographic works have earned him a high reputation among the local art worlds during exhibition in Taipei and Paris. He is said to have, after Mr. Lang Jingshan, brought the Chinese contemporary pictorial photography to a new level, with broader beauty of nature and deeper poetic emotion being displayed.</p> Wed, 01 Oct 2014 06:27:15 +0000 Li Zhongyuan - National Art Museum of China - October 23rd - November 2nd <p>Li Zhongyuan is a famous calligrapher of China and member of Jiu Wan Calligrapher Group of Liaoning province. Starting to learn calligraphy since childhood, Li Zhongyuan has practiced calligraphy for decades in his spare time of archaeological studies. Inheriting orthodox of calligraphic masters of Wang Xizhi and Wang Xianzhi of Jin Dynasty and widely absorbing techniques of great calligraphers of Tang and Song Dynasties, Wang&rsquo;s works are forceful, varied, vigorous and smooth in brushwork. Being good at writing poem, he is both elegant and passionate in poem style. At advanced age of 80, Wang is more vigorous with age and does his utmost to create for this show. The exhibits are all large-sized connected scroll, grand and magnificent. The contents are poetry and prose created by Li Zhongyuan in recent years, which eulogizes his native land and sighs with emotion the favorable or unfavorable turns in life, reflecting brilliant talent on calligraphy and great attainments on poetry of the author.</p> Wed, 01 Oct 2014 06:00:23 +0000 - National Art Museum of China - October 23rd - November 3rd <p>Having gone through 50 years of development since its establishment in 1964,&nbsp;the College of Fine Arts of&nbsp;Capital Normal University has made prominent&nbsp;achievements on respect of discipline construction, talent cultivation and social service, formed its own distinct advantages and features and cultivated a large number of professionals on art education and creation. This exhibition is held specially to celebrate the 60th anniversary of Capital Normal University and the 50th anniversary of the College of Fine Arts.</p> <p>The exhibition, which includes over 500 pieces of exhibits, consists of four parts: Chinese painting, oil painting, graphic design and collections from the College of Fine Arts. For many years, the faculty of CFACNU has accumulated rich teaching and creation experiences with the principle that teaching drives research and research promotes teaching. The College of Fine Arts expects to present the array of research achievements from its faculty by this exhibition, and synchronously, receive instructions and advices of professionals from arts and educational fields.</p> Wed, 01 Oct 2014 05:57:13 +0000 - National Art Museum of China - October 24th - October 30th <p>As the main force of calligraphy inheritance, specialty of calligraphy in universities has taken a lead in development of contemporary calligraphy with its in-depth research, systematic method, scientific training and excellent talents.&nbsp;<br />Since its establishment in 1985, calligraphy specialty of the Capital Normal University has set up the first doctoral program of calligraphy, the first postdoctoral research station of calligraphy of the country and become the first department-level calligraphy teaching institution, the first higher learning institution with complete educational hierarchy ranging from degree of college, bachelor, master, doctor and post-doctor of the country. On the occasion of the 60th anniversary of capital normal university and the 30th anniversary of its calligraphy discipline, Temperance and Self-Improvement calligraphy show will be held to display works of faculty and students of Chinese Calligraphic Culture Research Institute.&nbsp;<br />Based on a stage summary to work of calligraphy specialty and the university, the show aims to report growth process of calligraphy specialty of CNU to the society, experience inherent charm of Chinese calligraphic culture, carry forward national and time spirit of Chinese calligraphic culture and continue to do greater contribution to inheritance and development of it.&nbsp;</p> Wed, 01 Oct 2014 05:53:42 +0000 Fu Haushiuan - K11 at The Masterpiece - October 1st - November 5th <p>Fu Haushiuan, graduated in National Hsinchu University of Education, Department of Art Education, focusing on fine art creation. For him, painting is a process of self-reflection, aims to fine tune the way of presentation and attitude towards life.&nbsp;</p> <p>&nbsp;<br />Since the ancient era to the modern time, people&rsquo;s needs of household and social life space has not been limited. As a result, the land usage of human beings and the nature becomes unbalanced. The building in my work denotes human&rsquo;s desires. The plants and animals in the building indicate that human is also part of the nature. Thus, when the mankind exploits the nature, we in fact exploit ourselves.</p> Wed, 01 Oct 2014 05:48:13 +0000 Choi Dusu, Lee Wan, Park Zinoo, Jeon Jihan, Yoon Kalim, De-Bang, Hur Boree - K11 at The Masterpiece - September 5th - October 12th <p>Between 5 September and 12 October, the multidisciplinary art exhibition&nbsp;<strong>&ldquo;Design Feisty</strong><strong>거침없이</strong>&nbsp;<strong>한국디자인</strong><strong>&rdquo;</strong>&nbsp;will be held at K11, the 13 participating Korean artists are Choi Dusu, Lee Wan, Yoon Kalim, De-Bang and Hur Boree, etc. Most of the creations, which come in a wide array of styles, have been converted from furniture pieces or everyday items into highly creative, playful and even outlandish artworks. The creative group Gagu-Gasu, led by Park Zinoo and Jeon Jihan, will also present an innovative multimedia show on 4-5 September to celebrate K11&rsquo;s 5<sup>th</sup>ARTiversary, whereby a 3.3-metre high, 6-metre wide artwork created with several pieces of furniture placed in K11 Piazza will be matched with singing performance, electronic music, lighting and smoke to create different visual and audio effects showcasing the merging of music and design.</p> Wed, 01 Oct 2014 05:44:16 +0000 - K11 at The Masterpiece - September 4th - October 31st <p>Keen to promote local art and nurture young local artists by providing them with a creative platform to appreciate art and exhibit their works, K11 will present a long-running exhibition,&nbsp;<strong><span style="text-decoration: underline;">Encounters 11</span></strong><strong><span style="text-decoration: underline;">-</span></strong><strong><span style="text-decoration: underline;">Local Students&rsquo; Public Art Projects</span></strong>, showcasing paintings and graphic design works by 11 students. Two of the students are graduates of the Academy of Visual Arts under the Hong Kong Baptist University, while other students are from Stewards Pooi Kei College, The Hong Kong Institute of Education and Hong Kong Art School. The works will be housed at different indoor and outdoor locations in K11 Art Mall, enabling the public to attain a better understanding of art.</p> Wed, 01 Oct 2014 05:39:40 +0000 Cui Xinming - Edouard Malingue Gallery - October 10th - November 15th <p>Edouard Malingue Gallery is pleased to present &lsquo;Journey to the East&rsquo;, a solo show with the emerging Chinese artist Cui Xinming (b. 1986, lives in Chongqing). A recent graduate from the Sichuan Academy of Fine Arts, Cui Xinming creates expansive oil on canvas works that express, in an elaborate and vivid painterly style, the tumultuous thoughts and reflections of a younger Chinese generation. Presenting a new body of work, the exhibition follows from Xinming&rsquo;s previous practice yet displays a remarkably luminous development in his painting technique. The vibrant, red-toned glow that permeates these new works heightens how, at the heart of Xinming&rsquo;s oeuvre, is his unique ability in capturing the inner turmoils experienced when undergoing a phase of personal development. Indeed, Xinming is an observer, a highly introspective artist who examines himself, his position with regards to society and the values of those who surround him. Where words do not capture his sentiments, Xinming approaches the canvas with incredible vigour and treats it as an extension of his visions and internal tensions, casting upon it incredulous scenarios and hypnagogic happenings.&nbsp;</p> <p>Although Xinming&rsquo;s paintings borrow elements from the quotidian, these scenes are not figments of a universal reality; rather, they are dramatic and subliminal visions that Xinming's mind has conjured. This is not to say, however, that his works do not bear a real-world relevance; on the contrary, each work is laced with secondary meaning, ranging from political to religious commentary. In&nbsp;<em>Empire is a dream</em>&nbsp;(2014), for example, Xinming depicts three figures in ornamental Empirical dress standing behind an altar upon which incense sticks have been placed as well as a red card bearing the sign of luck. Despite the details of their robes, the faces of each of the figures are concealed, creating a sense of eeriness, a feeling that is heightened by the surrounding monkeys, which given their animated postures, seem even more alive than the figures themselves. As such, Xinming comments on the emptiness of humanity, the animality of our society and breaks down perceived illusions of grandeur.</p> <p>Privy to Xinming's thoughts and visual narrative, one feels approximate to a trespasser, an infringer upon a terrene that is very much the artist&rsquo;s own, for these are visions that stand on the border of personal tremors and inveterate hauntings. The painting&nbsp;<em>Don&rsquo;t hurt me</em>&nbsp;(2014), for example, follows from Xinming&rsquo;s interest in capturing an altered domestic and shows to the left of the canvas what seems to be a commonplace home interior; an ornate dark sofa, faced by a low-rise wooden coffee table. As your gaze traverses to the centre of the canvas, however, it becomes fixated on a fiery glow and the profiled outline of a kneeling figure. Face turned, it is uncertain whether the character is seeking to put out the mounting blaze, trying to protect himself, or is indeed caught in a limbo between the two acts. From the title of the oeuvre though, one can deduce the existence of a threat, a state that seems all the more peculiar given the usual comforts of a homely interior. Xinming thereby addresses the challenges of the domestic, the flame both acting and symbolising the variety of possible perils.</p> <p>Overall, &lsquo;Journey to the East&rsquo; presents a series of narrative paintings that are omniscient in quality and insightful in their socio-political commentary. Following from Xinming&rsquo;s previous works, these oeuvres have a distinct literary angle in their visual recounting of a story. Fraught with complexity, Xinming&rsquo;s paintings voice the qualms of his generation - its evolving relationship with traditions, values and beliefs.&nbsp;</p> <p>Cui Xinming is a highly promising emerging contemporary Chinese artist based in Chongqing. He previously held a solo exhibition at Art Basel Hong Kong 2013 that received critical acclaim and has been exhibited in Istanbul, Berlin, Beijing and Chengdu, amongst other locations. In 2010 he was nominated for the 1st Zhang Xiaogang Graduate Contemporary Art Scholarship and came in third place at the 2nd Chinese Institute Annual Art Exhibition. His work has been featured in multiple publications, including the South China Morning Post, Art Info, The Art Newspaper, Oriental Daily News, Flash/On, and Artron.&nbsp;</p> Wed, 01 Oct 2014 05:27:47 +0000 anothermountainman, ALMOND CHU, Ng Sai-kit, Leo K.K. Wong, Martin Cheung, Topaz Leung, Joseph Fung, Ringo Tang, Vincent Yu - Hong Kong Heritage Museum - October 3rd - November 3rd <p>An artist must be prepared to overcome various difficulties to achieve new goals. In the path of creation, Hong Kong contemporary photographers have to think out of the box to reach a higher level in all aspects of their art. The various outstanding images they have captured constitute the diversity and uniqueness of Hong Kong&rsquo;s photographic domain. <br /> <br /> Nine stunning artists, including anothermountainman, Martin Cheung &amp; Topaz Leung, Almond Chu, Joseph Fung, Leo K.K. Wong, Ng Sai-kit, Ringo Tang and Vincent Yu, will feature their two disparate groups of photographs, demonstrating two separate approaches to photographic art, which explains the exhibition title, <em>Twin Peaks</em>. In this exhibition, we aim not only to display the artists&rsquo; remarkable achievements, but also delve into the evolutionary progress of their artistic concepts and the technique used to create their works of art. </p> Sun, 28 Sep 2014 04:57:56 +0000 Merlin Carpenter - Simon Lee Hong Kong - October 12th - November 15th <p>For a first-time viewer a possible problem is not the realization that there are many layers, but not knowing how to use them. Someone with a vague knowledge of his work, based on gossip and internet material, would likely be puzzled and rather discouraged by a Merlin Carpenter exhibition when faced with all too obvious references that leap out but that seem to conceal others. The viewer would also be intrigued by the pure aesthetic of Carpenter's paintings, often visually pleasant. Think of the current show DECADES: a series of paintings of degraded popularised versions of Warhol. Carpenter's press releases, which are informative and quite candidly literal, would only cause further disquiet, because the viewer can feel the obliqueness of the explanation. But it is necessary to work with this discouragement as a prerequisite. This is what Carpenter sets out to achieve. In fact we need to find another level of observation, taking in his numerous interventions, which often reference painting and sometimes operate in stealth mode away from the art world. At first influenced by debates on institutional critique in 80s New York/90s Cologne and a conceptual approach to painting, Carpenter broke away via a process of opposition, adjustment and exchange with other protagonists in this scene including artists, critics, gallerists, and curators, at the risk of a kind of disenchantment. But one which turned out to be productive in a wider frame. (Premise 1: engaging in a dialectic and knowing where we&rsquo;re speaking from). Over the past two decades, Carpenter has made personal archaeological excavations of cultural situations linked to a recent history of art. For example, the staging in Paris of a corporate event faking a London 90s rave to talk about Tate Modern's gentrified rive gauche (Merlin and Isabelle BANKSIDE Launch, 2014). Or in Nice, a series of art school versions of Degas paintings shown in a caf&eacute; and an office, placing French art of the late 19th Century in relational aesthetics (Au Caf&eacute;, 2012). His interventions create a bipolar tension between contexts in order to play them against each other. (Premise 2: displacing contexts). Ultimately, these types of deployment and avoidance involve an analysis of institutions and the way the art system dictates its rules, establishing the value of artworks and attributing positions, roles, fictions, and meanings. If Carpenter chose not to resist an explanatory <br />approach, the audience would be subjected to a set of responses explaining the work, undermining the viewers' own abilities to experience and interpret it for themselves; this way they are more likely to identify the subtle mechanisms of art reception and to find their own path. (Premise 3: working on independence). Alternately, we might find Carpenter playing a character without ever making this explicit, and casting his friends and the public as art world extras (The Opening, 2007-2009). Making the viewer feel awkward by creating exasperating, boring, embarrassing, but also hilarious situations, as well as having fun. These are ways of reconnecting with a freer atmosphere, other relationships, other codes eventually to be transgressed in turn. Some of his shows feel like a rock tour: they happen very quickly, but they&rsquo;re designed to undermine their own style (Burberry Propaganda Tour 2013). The question is not how to put together good or bad exhibitions, but to generate instances of social intensity and transient art events. (Premise 4: creating a scene that has a use value).<br />Catherine Chevalier&nbsp;</p> Sun, 28 Sep 2014 04:51:20 +0000 Ray Chan See-kwong, Nick Poon Fai-wong, Miu Tsang Che-ching, Ben Yau Man-pun - Mur Nomade - September 27th - November 22nd <p>The exhibition features new ceramic works and installations by Ray Chan See-kwong, Nick Poon Fai-wong, Miu Tsang Che-ching and Ben Yau Man-pun. From a varying range of career marks, the four Hong Kong male artists create artworks displaying remarkable technical skills and craftsmanship. The selected pieces in the exhibition are examples of a distinctive way to approach ceramic art based on clarity, delicacy, and rejection of anything heavy or unnecessarily intricate.</p> <p>&nbsp;</p> <p>From a curatorial angle, <em>Grace</em> is a stage where artworks are celebrated in beautiful choreography. Each artist entered the stage one after the other, and their respective works naturally found their own space and role. The exhibition is a peaceful ballet of elegant shapes and delicate materials. All the artworks find their sources of inspiration in simple forms of beauty, may it be the movement of birds in the sky, the wings of butterflies, a slow dance duo or the gesture of offering a bowl of rice. Their fragility and deliberate simplicity confer them mystery. Just as the lighting and layout of objects shape the visitor&rsquo;s experience of the exhibition, so does the music. Piano pieces by Erik Satie and short intermissions of silence add another transformative layer of perception in the appreciation of the artworks.</p> <p>&nbsp;</p> <p>Glazed, raw, polished or scraped, the artworks on display offer a feast of textures. There is no doubt that visitors will be tempted to touch them. Indeed the tactile experience in ceramic art, be it in the production process or in the end result, is absolutely unique and cannot be replaced by any literary description. Therefore, for this exhibition only, there is a dedicated area where visitors are invited to touch and hold selected artworks to observe them closely and to better appreciate the lightness, the textures and the play of light and shadows.</p> <p>&nbsp;</p> <p>All the artists participating in the exhibition have their own individual ceramic studios in Hong Kong. At <em>Grace</em>, Ray Chan See-kwong presents <em>Duo</em>, a series created in collaboration with two contemporary dancers. To make those naturally curling shapes, Chan uses extremely thin sheets of translucent Japanese porcelain. Nick Poon Fai-wong presents his new collection of white bowls entitled <em>Hold</em>. They are very pure and graceful shapes, inspired by the gesture of a child holding a warm bowl of rice for the first time. Miu Tsang Che-ching designed a unique wall-mounted display for sixteen of his signature bird-shaped vessels. The installation can be seen as homage to the harmony and effortless beauty of nature. And Ben Yau Man-pun hung an installation of mobiles to the ceiling of the exhibition space: butterflies move gently in a slow dance using the natural ambient air movements.</p> <p>&nbsp;</p> <p>The conception of this exhibition is based on the guidance and recommendations provided by Fiona Wong Lai-ching. Mur Nomade would like to thank Ms Wong for sharing her experience and knowledge as a talented ceramic artist and inspiring teacher.</p> Fri, 26 Sep 2014 04:25:07 +0000