ArtSlant - Recently added en-us 40 - LONG MUSEUM PUDONG - September 30th - February 28th, 2015 <p>To commemorate the 65th anniversary of the founding of People&rsquo;s Republic of China, and to show the history of PRC&rsquo;s theme-orientated art creation as well as to appreciate these artworks, together with to research on the issues of the creation, and to summarize the theme-orientated artworks collected by Long Museum, we invited Mr. Chen Lvsheng, Vice Director of the National Museum of China, to curate Revolutionary Art: Exhibition for the 65th Anniversary of the Founding of People&rsquo;s Republic of China by enriching and improving the original exhibition (Revolutionary Art Since the Yan&rsquo;an Era). The exhibition is characterized by case studies, by which to reflect the origin and development of PRC&rsquo;s art creation. Additionally, they also reflect the impact of the art creation themes and theme-orientated creation at that typical time, which influenced the Chinese art creation in the middle and late twentieth century. The exhibition will have it opening in Long Museum Pudong on 28th September 2014, and will last until 28th February 2015.<br /><br />Two hundred and twenty-six artworks are selected for display from all periods since the Yan&rsquo;an Era (1933-2007), including oil painting, Chinese painting, printmaking, sketch, sculpture, propaganda poster, New Year painting, etc. , most of which are representative works of that time, and some works even fill the insufficiency of national collection. Among these artworks, some paintings such as Chairman Mao Inspection of No.3 Factory of Shang Gang by Jin Shangyi, Chairman Mao Inspection of Countryside in Guangdong by Chen Yanning, Sentinal of Our Great Mother by Shen Jiawei, and Thinking of History at My Space by Chen Yifei have caused public concerns since they were notable in auctions.</p> Sun, 21 Sep 2014 03:09:09 +0000 - LONG MUSEUM - West Bund - September 28th - December 10th <p>1199 People&mdash;&mdash; Collection from Long Museum is an ingenious exhibition, which is aim to break the traditional conception of curatorial philosophy and the plan of installation. Invited by Hans Ulrich Obrist who is the world-renowned curator and the Co-Director, Exhibitions and Programmes and Director of International Projects of Serpentine Galleries, the Chinese contemporary artist Xu Zhen proposed a personalized exhibition from an artist&rsquo;s perspective.&nbsp;<br /><br />Xu Zhen selected a number of the paintings with figures from the rich collection of Long Museum and displays them in the order of the number of figures represented - single woman, single man, two figures, groups. This is a very original exhibition planning concept hardly adopted by the previous curators. Therefore, Hans Ulrich Obrist will have a dialogue with Xu Zhen to discuss the concept of the exhibition and some other academic topics related to this exhibition. This dialogue will be published on the exhibition catalogues to enhance the audience's understanding of the exhibition and to provoke the interaction.<br /><br />This exhibition will display more than three hundred pieces of figure paintings which created by hundreds of artists after the period of Chinese Economic Reform (which started from December 18th, 1978). The number &ldquo;1199&rdquo; in the exhibition title is the overall number of figure images showing in the exhibition. By this show, the curator Xu Zhen tries to across a variety of artistic ideological trends and creative concept, simply purifying human relationships from the general appearance of the pictures, in order to reply the question: &ldquo;Who we are and where we came from and where shall we go?&rdquo; from the ancient Greek philosopher Socrates, and providing various possibility to interpret this ultimate questions of human beings from the contemporary artistic perspective.</p> Sun, 21 Sep 2014 03:01:34 +0000 - LONG MUSEUM - West Bund - September 26th - November 8th Sun, 21 Sep 2014 02:57:48 +0000 Vik Muniz - LONG MUSEUM - West Bund - September 22nd - November 1st <p>The Long Museum West Bund is pleased to present the first comprehensive exhibition in China of work by internationally celebrated artist Vik Muniz. Pictures of Anything encompasses various series produced throughout Vik Muniz&rsquo;s extraordinary career, from his first photographic forays of the early 1990s to his most recent project created specifically for this exhibition, a strikingly bold large-scale colour photograph created using scraps of postcards to create a striking view of the iconic Great Wall of China. This exhibition presents Vik Muniz at his very best; playful yet serious, intriguing yet consummately beautiful.&nbsp;<br /><br />Muniz is renowned for his ingenious and laborious employment of unusual materials - dust, sugar, chocolate, diamonds, blood, toys, magazines, junk, dry pigment - to reconstruct images, often referencing iconic works from throughout art history, that tap into the spectator&rsquo;s subconscious visual repository and beg for further investigation. Muniz&rsquo;s elaborate material creations 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. Vik continually surprises and astonishes using new materials that fascinate and delight the eye.&nbsp;<br /><br />The exhibition features strikingly bold large-scale colour photographs based on visually resonant paintings by artists such as Leonardo da Vinci, Michelangelo Merisi da Caravaggio, Pablo Picasso, Andy Warhol, Gerhard Richter and George Stubbs. It is not just the final appropriated image that invites perusal, it is the minute components of the image that provides the irony, double meanings and visual associations for which Muniz is so well known. Highlights of the exhibition include optically rich renditions of The Great Wall of China, the Hong Kong skyline, Warhol&rsquo;s Marilyn, da Vinci&rsquo;s Mona Lisa&cedil; Picasso&rsquo;s Les Demoiselles d&rsquo;AvignonandMichelangelo&rsquo;s Creation of Adam.</p> Sun, 21 Sep 2014 02:56:04 +0000 - Goethe-Gallery & Black Box Studio - September 23rd - October 7th <p><strong>Goethe-Institut Hongkong</strong> presents the exhibition <strong>&ldquo;Dictatorship and Democracy in the Age of Extremes &ndash; Spotlights on the History of Europe in the Twentieth Century&rdquo;</strong> from <strong>September 23 to October 7, 2014</strong> in the <strong>Goethe-Gallery</strong>.</p> <p><strong>2014 is an important year in European History:</strong></p> <p><strong>100 years</strong> since the outbreak of the <strong>First World War</strong></p> <p><strong>75 years</strong> since the start of the <strong>Second World War</strong></p> <p><strong>25 years</strong> since the <strong>fall of the Berlin Wall</strong> and the <strong>peaceful revolutions in Central and Eastern Europe</strong></p> <p><strong>10<sup>th</sup> anniversary</strong> of the <strong>eastern enlargement of the European Union</strong>&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;</p> <p>Compiled by the <strong>Institute of Contemporary History</strong>, <strong>&ldquo;Deutschlandradio Kultur&rdquo;</strong> and the <strong>Federal Foundation for the Reappraisal of the SED Dictatorship</strong>, the exhibition portrays Europe&rsquo;s twentieth century as a dramatic history of the struggle between freedom and tyranny, democracy and dictatorship. Inspired by the commemorative year 2014, it invites viewers to take a historical pulse of the last century. A total of <strong>26 posters</strong> will be on display. <strong>Original historical sound clippings </strong>are available upon scanning on the<strong> QR Code on each poster.</strong><strong>&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;&nbsp;</strong></p> <p>Additional posters dealing with <strong>Hong Kong in the &ldquo;Age of Extremes&rdquo;</strong> organised by <strong>Dr. Andreas Leutzsch</strong>, DAAD Visiting Assistant Professor of the European Studies Programme and <strong>Dr. John Wong</strong>, Assistant Professor of the Hong Kong Studies Programme of HKU are designed and presented in the Goethe-Gallery to complement the exhibition.</p> Sun, 21 Sep 2014 02:40:45 +0000 Cheng Ran - LEO XU PROJECTS - September 20th - November 2nd Fri, 19 Sep 2014 02:34:26 +0000 田力 - Beijing Wan Fung Art Gallery - September 27th - October 16th <p>中国优秀艺术家展示实力的舞台 全世界艺术爱好者的家<br />《皇城遗韵&bull;田力油画、版画作品展》开幕茶会将于2014年9月27日下午三点在北京云峰画苑举办。此次共展出田力老师精品力作40余幅,作品包 涵了油画皇城系列和荒原系列,版画紫禁城系列和胡同系列,让您一览北京古城皇城的遗韵。<br /> <br />田主张将自然万物看成不同的几何形,这种观念与中国几千年绘画以线造型,分割画面的观念相似。这种观念实质上是一种二维的艺术观。二维空间就是中国的平面世界。平面的造型,平面的色彩,将使形色的个性得到更充分的展现,从而大大提升画面的张力。中国的民族绘画、民间木版年画都是这种理念。红墙黄瓦的紫禁城其内外装饰更是与其一脉相承。他的油画以色块的主观设置和强烈的色彩对比构成画面,正是民族民间艺术观给他的裨益。他将三维的画面用直线划开,分割成大小不同的块面,不单是造成数个新形,更重要的是将原本的三維空间转化为二维空间,将原本的焦点透视打破,从而进入中国的散点透视。多视点,多时空,使直观的紫禁城变得更丰满、内涵更丰富。<br /> <br />田力<br />中国美术家协会会员 中国版画家协会会员<br />1946年出生,北京市人,1968年毕业于北京市工艺美术学校,1987年毕业于北京民族大学美术系。<br />作品曾参加第八届全国美展、第九届全国美展、第十届全国美展、第十二届、第十五届、第十六届全国版画展。多幅作品参加中国文化部中国展览中心及对外友协在日本、巴西、新加坡等国举办的《中国当代版画展》、《中国现代版画展》、《新中国版画展》等出国展。<br />多幅作品被《中国美术馆》、《黑龙江美术馆》、《广州美术馆》、《四川神州版画博物馆》、《山东齐鲁美术馆》、《安徽省美术家协会》、《北京美术家协会》、《人民日报出版社》等单位收藏。<br />版画《家园》获中国文联举办的《二十一世纪首届中国艺术精品大展》金奖<br />油画《家园》参加《共和国不会忘记纪念建国六十周年知识青年上山下乡书画邀请展》、《青春叙事知青油画邀请展》<br />中国画《皇宫遗梦》参加《首届中国美术家协会会员中国画精品展》<br />1996年8月中国版画家协会、北京美术家协会主办《田力作品展》(中国美术馆) <br /> 其中版画、彩墨画五十余幅<br />2003年9月《田力版画作品展》(华莱画廊)<br />2005年3月《辉煌紫禁城田力版画展》(可创铭佳艺苑)<br />2005年5月《中国国际画廊博览会》(韩国首尔艺术殿堂)<br />2006年12月《皇城平安夜田力版画推荐展》(可创铭佳艺苑)<br />2007年10月《胡同.情节田力版画作品新作展》(可创铭佳艺苑)<br />2014年9月《皇城遗韵&bull;田力油画、版画作品展》(云峰画苑)</p> Fri, 19 Sep 2014 02:24:02 +0000 Wong Hiu Fung - A Gallery Hong Kong - September 25th - October 16th <p>The Solo Exhibition &ldquo;Talking to Myself&rdquo;〔自言自語) is the artist - Wong Hiu Fung's "Past" and "Present" in a dialogue. When &ldquo;Past&rdquo; and &ldquo;Present&rdquo; appear simultaneously in the exhibition, the familiarity and strangeness create a chemical reaction during the creative process; emotional conflicts arising behind the creation become an interesting conversation between her &ldquo;Past&rdquo; and &ldquo;Present</p> Fri, 19 Sep 2014 02:13:30 +0000 Liu Jianhua - Pace Beijing - September 20th - November 8th <p>Scroll Down for English</p> <p>佩斯北京荣幸地宣布刘建华个展&ldquo;方&rdquo;将于9月20日开幕。这将是艺术家调动整个佩斯北京大展厅空间的首度尝试,展出的作品由繁入简,延续了他一贯的形式感与华美立场。而其对当下现实社会环境的思考和实验,从一种新传统的态度贯穿艺术家创作始终。<br /> <br /> 刘建华从2008年起寄情于一种有别于直接和写实场景的创作方式。为了充分体现作品本质上的纯粹性,艺术家通过古老的烧瓷工艺,加以对当代社会的深刻思考与感悟,使作品呈现出一种几乎不给想象留下任何空间的简明。<br /> 本次展览将至纯元素中的矛盾感展现得淋漓尽致。多种材质在看似有序排列的空间里流动着对抗性和此消彼长的力量,而工艺上的异曲同工,给人以相互依存的奇妙感受。艺术家对于空间的干预和牵制,相对于空间内肆意泼洒的细节,超越了可以使观者思考更加深入的距离感。展览将于11月8日结束。<br /> <br /> 感谢Dior迪奥中国对本次展览的大力支持。</p> <p><strong>关于</strong><strong>艺术家</strong></p> <p>刘建华,1962年出生于中国江西,1989年毕业于江西景德镇陶瓷学院美术系雕塑专业,现生活、工作于中国上海,自2004年起至今于上海大学美术学院雕塑系任教。<br /> <br /> 刘建华以陶瓷和综合材料为主要媒介,是中国著名的雕塑和装置艺术家。他生长于以陶瓷著名的江西省并在景德镇的工厂工作和生活了14年之久。1989年从景德镇陶瓷学院美术系雕塑专业毕业后,他尝试在当代背景下进行实验性的创作。刘建华的陶瓷和综合材料作品反映了近年来不断困扰中国的经济和社会变化。他的《日常&middot;易碎》系列于2003年威尼斯双年展中国馆中首次展出,刘建华将日常用品复制成外表和象征意义大于实用性的神秘物体。2008年,他一反先前多年对全球化及中国社会急剧转型引发的诸多问题、焦点的近距离直接关注,提出&ldquo;无意义、无内容&rdquo;的理念来进行创作,从2008年作品《无题》开始了一个全新方向的探索,并形成了一个当代艺术创作概念的基本方向。</p> <p>刘建华作品曾经参加过第一届基辅当代艺术双年展、意大利第十四届卡拉拉国际雕塑双年展、第十七届悉尼双年展、加拿大温哥华双年展、第三届南京三年展、第二届莫斯科双年展、第一届新加坡双年展、第六届上海双年展、2006釜山双年展、第50届威尼斯双年展中国馆等展览,以及由尤伦斯当代艺术中心、上海当代艺术博物馆、瑞士伯尔尼艺术博物馆、北京今日美术馆、上海美术馆、旧金山亚洲艺术博物馆、上海当代艺术馆、德国德累斯顿国家艺术收藏馆、深圳美术馆、广东美术馆、北京中国美术馆、荷兰格罗宁根艺术博物馆、奥地利维也纳路德维希当代美术馆、荷兰眼镜蛇当代艺术美术馆、奥地利埃舍尔收藏博物馆、德国汉堡当代美术馆、东京森美术馆、都柏林爱尔兰现代美术馆、英国利物浦泰特美术馆、法国马赛现代艺术博物馆、法国蓬皮杜艺术中心等机构举办的展览。<br /> <br /> 刘建华作品被法国巴黎路威酩轩艺术基金会、香港新世界K11购物艺术中心、迪奥巴黎总部、挪威俾尔根美术馆、上海余德耀美术馆、上海浦江华侨城、日本十和田市美术馆、纽约古根海姆美术馆、上海张江当代艺术馆、澳大利亚悉尼新南威尔士博物馆、中国上海世博会组委会、中国上海环球金融中心、西班牙国家银行艺术中心、北京今日美术馆、深圳美术馆、广东美术馆、首尔艺术基金会、澳大利亚昆士兰美术馆、日本原美术馆、中国香港中国会、美国可口可乐公司、深圳何香凝美术馆、德国法兰克福工艺美术馆等公共机构和私人收藏。</p> <p><strong>&nbsp;</strong></p> <div align="center"><hr align="center" noshade="noshade" size="1" width="100%" /></div> <p><br /> Pace Beijing is pleased to announce the solo exhibition of Liu Jianhua &ldquo;Square&rdquo; from September 20 to November 8. This is the artist&rsquo;s first attempt to mobilize the entire space of the grand exhibition hall of Pace Beijing. The work shown at the exhibition transforms numerous into briefness, which demonstrates his long-term sense of form and the field of beauty. It&rsquo;s also a thinking and experiment of the reality of the present social environment, which can also been recognized throughout the artist&rsquo;s artistic creation as a neo-traditional attitude.<br /> <br /> Since 2008, Liu Jianhua&rsquo;s focus has been the exploration of a creative way that is different from picturing the direct and realistic scene. In order to fully reflect the purity of works in nature, the artist adopted the ancient porcelain craft, which is accompanied by the deep thinking and comprehension of the contemporary world. His work presents a concise that hardly leaves any space to imagine.<br /> <br /> The exhibition shows the ambivalence of pure elements incisively and vividly. A variety of material flows antagonism and power-shifting in this seemingly ordered arrangement, and the shared technology of creating these materials provides the viewers a wonderful feeling of interdependence. The artist&rsquo;s intervention and contain of space, and the freely spilled details, go beyond the distance that can make the viewer to think more deeply.<br /> <br /> This exhibition is supported by Christian Dior.</p> <p><strong>About the Artist</strong></p> <p>Liu Jianhua is born in 1962 in Ji&rsquo;an, Jiangxi Province, China. In 1989, he graduated from Fine Art of Sculpture at the Jingdezhen Ceramics Institute. He lives and works in Shanghai, China. From 2004 to present, he teaches in Fine Art of Sculpture in Shanghai University.<br /> <br /> Liu Jianhua is one of China&rsquo;s best known sculptural and installation artists whose primary materials are porcelain and mixed media. He was raised up in Jiangxi Province where he spent 14 years in learning the ceramic and porcelain craft at Jingdezhen&rsquo;s factory. He graduated in Fine Art of Sculpture at the Jingdezhen Ceramics Institute in 1989, and within a contemporary context, he started his own experimental practices. Liu&rsquo;s porcelain and mixed media works reflect the economic and social changes in China as well as the problems that follow suit. His Regular Fragile series, first shown at the Chinese Pavilion, Venice Biennale in 2003, is composed of porcelain replicas of daily that privilege appearance and symbolism over function. In 2008, he shifted his previous close and direct attention on the problems emerged in China from globalization and sharp social changes to &ldquo;no meaning, no content&rdquo;, which declared the fairly new exploration of his creation with works Untitled in 2008 and therefore formed a basic direction leading the perception of contemporary art creation.<br /> <br /> Liu Jianhua&rsquo;s works have been exhibited in The 1st Kiev Biennale of Contemporary Arts, 14th international Sculpture Biennale of Carrara, 17th Biennale of Sydney, Vancouver Biennale 2009-2011 (Canada), The 3rd Nanjing Triennial, 2nd Moscow Biennale of Contemporary Art, The 1st Singapore Biennale, The 6th Shanghai Biennale, Busan Biennale (South Korea), The 50th Biennale di Venezia China Pavilion and exhibitions held by institutions including UCCA(Beijing), Power Station of Art (Shanghai), Kunstmuseum Bern (Switzerland), Today Art Museum (Beijing), Shanghai Art Museum, Guangdong Museum of Art, Asian Art Museum (San Francisco), MoCA Shanghai, Staaliche Kunstsammlungen Dresden (Germany), Shenzhen Art Museum, Guang Dong Art Museum, National Art Museum of China (Beijing), Groninger Museum (The Netherlands), Museum Moderner Kunst Stiftung Ludwig Wien (Austria), Cobra Museum of Modern Art (The Netherlands), Kunst Der Gegenwart Sammlung Essl (Austria), Hamburg Art Center (Germany), Mori Art Museum (Tokyo), Irish Museum of Modern Art (Dublin), Tate Liverpool (Liverpool, London), Marseilles Museum of Contemporary Art (France), Center Pompidou (France) etc,.<br /> <br /> Liu Jianhua&rsquo;s works have been collected by Paris Warehouse, Hong Kong New World, Bergen Art Museum (Norway), Yuz Foundation, OCT Contemporary Art Terminal (Shanghai), Towada Art Center (Japan), Guggenheim Museum (New York), Z-Art Center (Shanghai), The Art Gallery of New South Wales (Sydney, Australia), Shanghai World Expo National Organizing Committee, Shanghai World Financial Center, Santander Bank Art Center (Spain), Today Art Museum (Beijing), Shenzhen Art Museum, Guangdong Museum of Art, Seoul Foundation for Arts and Culture, Queensland Art Gallery (Australia), Kawara Museum (Japan), China Club (Hong Kong, China), Coca-cola (The United States), He Xiangning Art Musem (Shenzhen), Museum of Arts and Crafts in Frankfurt (Germany) etc, and by private collection.<br /> <br /> Liu Jianhua has been awarded The 7th Award of Art China &ndash; Artist of the Year for Sculptural Art, Martell Artists of the Year, his work Dream is awarded The Grand Award of &ldquo;Biennale of Contemporary Chinese Art Montpellier&rdquo;(Montpellier, France), Merriment the 1st Chinese Contemporary Art Document Award (Wuhan, China).</p> Fri, 19 Sep 2014 01:52:54 +0000 T'ang Haywen - de Sarthe Gallery - September 18th - October 18th Fri, 19 Sep 2014 01:46:25 +0000 Antoinette Wysocki - The Cat Street Gallery Annex - September 25th - October 26th <p><img src="" alt="" /></p> Fri, 19 Sep 2014 01:39:22 +0000 He Chi - Tang Contemporary Art Beijing - September 6th - October 20th <div align="left">Tang Contemporary Art is pleased to present He Chi&rsquo;s new solo exhibition &ldquo;Pearl,&rdquo; showcasing three recent works about nature, from September 6 to October 20, 2014.</div> <div align="left">&nbsp;</div> <div align="left">He Chi was born in 1978 in Tongwei, Gansu Province. He graduated from the Chinese Painting Department at the Xi&rsquo;an Academy of Fine Arts in 2002. His artistic practice spans painting, installation, photography, performance, curatorship, interior design, and text. In 2007, He Chi, Wu Hai, and Guo Haiqiang established the Xionghuang Society, which was dedicated to the perpetuation of Confucian culture and the promotion of contemporary scholarly art. In 2011, he formed the Nanshan Painting Group with Ning Haoxiang and Hu Liu. The group was devoted to the study and creation of paintings. In 2012, He Chi, Cai Dongdong, Dai Zhuoqun, Yan Bing, and Kang Xueru founded &ldquo;We Want a Space Simply to Have a Space&rdquo; in an attempt to create an independent spatial entity and explore the possible fates of spaces.</div> <div align="left">&nbsp;</div> <div align="left"><em>A Sentence Makes Me Weak</em>&nbsp;is a site specific work He Chi created for Linhu Mountain in Taihang; viewers need to look through binoculars on one of the Linhu Mountain viewing platforms before they can see the artworks hidden in the distance. Using the telescope as a passageway, action is stripped of the trappings of daily life, and viewers are shifted into the position of the average tourist. Linhu Mountain became a motif in traditional Chinese ink paintings, but it has now been placed in a modern setting.&nbsp;<em>A Rainbow 11</em>utilizes a row of seven monitors to show stripes of red, orange, yellow, green, blue, indigo, and violet paint being sprayed in order. Rainbows are a unit in which humanity measures its living space, but here the rainbow is displayed in a time-consuming and corrosive manner. In He Chi&rsquo;s dreams,&nbsp;<em>Pearl</em>&nbsp;is a stubborn yet docile rock found along the banks of the river in anyone&rsquo;s hometown. There is no other rock in the world quite like it, but each of these differently-shaped stones contain a large, entirely perfect stone sphere.</div> <div align="left">&nbsp;</div> <div align="left">In the artist&rsquo;s view, the study of the principles underlying these natural phenomena is an active yet static state that results when people and things interact in a direct and simple way. He Chi reminds us, &ldquo;A sage once said that pearls represent the rationality of the universe and the goodness of Heaven; pearls are not formed from our tears.&rdquo;</div> Wed, 17 Sep 2014 04:40:55 +0000 Yan Lei - Tang Contemporary Art Beijing - September 6th - October 20th <table width="100%" border="0" cellspacing="0" cellpadding="0"> <tbody> <tr> <td valign="top"> <div align="left"><span style="font-size: small;">What makes images disappear? When the artist distances himself from the details of an artwork&rsquo;s creation, he masters the subjectivity of art and the sovereignty of the artist. Yan Lei not only controls this subjectivity and sovereignty; he dissolves these images into their industrial, measured, and rational production. By allowing this rationality to emerge, he also preserves the artist&rsquo;s ability to write the text behind the painting, as a commemoration of memory, poetry, and concept.&nbsp;</span><br /><br /><span style="font-size: small;">Do images truly disappear? Through concept, the artist intercuts the relationship between the chosen moment and visual experience with pure imagination. With specific color photographs, the narrative becomes a paradox, which exists behind the covered image surface and is the text that must be discovered behind the image.</span><br /><br /><span style="font-size: small;">Is Yan Lei&rsquo;s work satire? Is it the end of art history? Or is it the best response to contemporary society? Beginning with the status of the artist, he takes a microscopic look at logic, legitimacy, duplication, power, and substitution in contemporary society from within the art system</span></div> <div align="right"><span style="font-size: small;">&nbsp;</span></div> <div align="right"><span style="font-size: small;">&mdash;&mdash;Li Zhenhua</span></div> <p>&nbsp;</p> </td> </tr> </tbody> </table> Wed, 17 Sep 2014 04:38:33 +0000 Luke Ching - Gallery EXIT - September 13th - October 11th <p>Gallery EXIT is pleased to present Screensaver - Luke CHING&rsquo;s first solo exhibition with the gallery, also the artist&rsquo;s solo exhibition in Hong Kong since the past seven years.&nbsp;CHING&rsquo;s solo exhibition has two titles: Screensaver in English and《楚門的世界》(The Truman Show) in Chinese, featuring a linear series of thought-provoking video installations, sculptures and photographs all anchored to the notion of &lsquo;repetition&rsquo; &ndash; the fundamental and perpetual pattern of screensaver.&nbsp;</p> Wed, 17 Sep 2014 04:28:04 +0000 Guo Hongwei - CHAMBERS FINE ART BEIJING - September 12th - October 19th <div class="prEnglish"> <p>Chambers Fine Art is pleased to announce the opening on September 12, 2014 of&nbsp;<em>The Great Metaphorist</em>&nbsp;by Guo Hongwei. Born in Sichuan province in 1982, Guo has achieved wide renown for his mastery of the watercolor technique, culminating in the large-scale watercolors exhibited in&nbsp;<em>Painting is Collecting I, II, III</em>&nbsp;at Chambers Fine Art in 2012. In these as in his works in other media, the metaphorical associations of the objects he represents have always been of particular importance to him, a way of thinking about the world that reaches a climax in his new exhibition,&nbsp;<em>The Great Metaphorist</em>. Turning away from the objects from the natural world that hitherto he has depicted with scrupulous fidelity, he uses as the thematic core of this exhibition the twenty minute drive that he makes several times a day between his house and studio in Beijing.</p> <p>In a humorous fictional account of the circumstances that led to the creation of this multi-media work, Guo describes a visit to a fortune-teller who informed him that the drive on July 17 would determine his destiny. Reflecting on this he observes that &ldquo;your character determines how you drive a car, and essentially how you live your life; a short ride to work may well be a mirror of your life.&rdquo; When he starts paying attention to this daily routine, he is astounded at the richness of what he observes.</p> <p>Playing the role of the fictional artist/poet who by profession is alert to the richness of metaphorical associations, Guo muses aloud on the connections between his life and art and this daily drive. The main part of the exhibition consist of a five-screen video, four elements of which combine the fictitious script with random events that happen on the road, turning metaphor into a logical mode of connecting random phenomena. The fifth screen shows the collaboration between the artist/poet and the freestyle rapper Xiao Laohu Jfever. Using what he sees on the road as inspiration, the rapper comments on what he sees, revealing the hidden connection between things through his improvisations. In another video work &ndash;&nbsp;<em>The Great Metaphorist: Fortunetelling</em>&nbsp;&ndash; the artist collaborates with a fortuneteller who comments on the relationship between daily life and karma.</p> <p>Supplementing the videos is a new group of paintings based on maps of the artist&rsquo;s journey from his home to his studio which are treated in a variety of styles, indicative of the wide range of the artist&rsquo;s life interests. In a new series of prints based on the covers of the many books the artist consulted in preparation for this project, the artist redesigned them as metaphors of the contents of the books and the viewing aesthetics of the time.</p> <p>In this latest body of work Guo Hongwei abandons his habitual methods of expression in an attempt to achieve a grand synthesis of his multifarious interests which include not only the visual arts but literature, performance and contemporary music.</p> <p>At the opening of the exhibition on September 12, there will be a live performance by rap singer Xiao Laohu Jfever.</p> </div> <div class="prChinese"> <p>前波画廊荣幸地宣布将于2014年9月12日起举办郭鸿蔚个展《大比喻家》。1982年出生于四川的郭鸿蔚以其精湛的水彩画技艺而闻名,也完美体现在2012年其在前波画廊的系列展览《收集者I,II,III》中的大幅作品中。在他的艺术创作中,事物的隐喻联系对他来说尤其重要,而在本次展览《大比喻家》中,他将自己对世界的隐喻性理解推向了一个新的高潮。离开了其一直以来所热衷的对自然事物的描写,本次展览中他以每天几次在家和工作室之间的20分钟车程来作为主题核心。</p> <p>在一件多媒体作品中,郭鸿蔚通过一个幽默的虚构故事,描述了他去算命的一次经历。算命先生告诉他7月17日的车程将会决定其人生。反思着这件事,他发现,&ldquo;性格即决定你怎么开车,又决定你怎么面对人生。所以,看你怎么开车走完一段路,就也看得出来你怎么应对生活。&rdquo;当他开始留意每天的来回车程后,所观察到的生活的丰富多样性令其震惊。</p> <p>通过一个艺术家皆诗人对比喻丰富的联想,郭鸿蔚联系到其人生、艺术创作、以及每天的往返车程之间的关系。展览主体是一个五屏影像,其中四面屏幕将虚构故事和路上发生的偶然事件巧妙结合在一起,使比喻变成一种将随机现象联系在一起的逻辑方法。第五个屏幕展现了艺术家兼诗人与青年说唱歌手&ldquo;小老虎&rdquo;的共同合作。用路上发生的一切作为灵感,说唱歌手通过即兴创作将事物之间某些隐匿在深处的联系揭示出来。而在另外一件影像作品《大比喻家&mdash;&mdash;见相起卦》中,艺术家与一位算命先生合作,对日常生活和因果报应之间的关系作出了评论。</p> <p>结合着这些影像作品,郭鸿蔚创作了一系列的新的相关绘画,内容均是艺术家从家到工作室的路程图。每张作品以不同的风格出现,展示了艺术家广泛的生活兴趣。同时,郭鸿蔚还将以一些书籍封面作为灵感来创作一系列的版画作品。这些书籍均是展览前期艺术家做主题研究时所用到的相关资料,郭鸿蔚通过重新设计封面以隐喻书籍的内容以及当时的审美理念。</p> <p>在这次的展览中郭鸿蔚摈弃了其以往习惯性的表现手法,尝试着将他广泛繁杂的兴趣更加宏观地结合在一起,其中不仅包含视觉艺术,也包含文学、表演艺术以及当代音乐。</p> <p>在9月12日展览开幕当天,说唱歌手小老虎将在画廊作即兴创作演出。</p> </div> Mon, 22 Sep 2014 13:00:18 +0000 Chen Shaoxiong, WassinkLundgren, Yan Lei, Zhang Xiao - Pékin Fine Arts (Beijing) - September 20th - November 11th <p>The four artists on exhibit share a common acuity in adapting the camera&rsquo;s lens and photo images for non-traditional purposes. These are not photographs about photography. Instead, these are works inspired by the popular press, contemporary material, and daily life. The Beijing based curator FengBoyi notes in regard to WassinkLundgren&rsquo;s work, &ldquo;In fact, these photographs do not seem the slightest bit artistic, and this is meant to counter our habitual ways of understanding and appreciating photography&rdquo;. The same could be said for the commercial fonts appropriated on canvas by Yan Lei and Chen Shaoxiong; the Xinhua News Agency press pix repainted by Chen Shaoxiong; or, the company business envelopes re-printed by Zhang Xiao.</p> <p>The artists rely on photography to edit a new reality; starker, multi-layered, and more in keeping with what we see around us.&nbsp; Each artist is compelled to depict the real world of street images; less idealized, less formulaic, less fashionable, less curated, avoiding &ndash; and negating - the seductive power of happy endings. These are not works of beauty, of pretty surfaces or blind optimism. These are works by keen observers of daily life who happen also to be adept with photography, video-technology and digital printmaking. The equipment comes in handy; primarily as tools for life recording rather than art producing.</p> <p>Nevertheless, within these idiosyncratic annals of lives acutely observed, there are also stories to be told, stories with insight into a variety of issues. Stories of rapacious land development, small acts of corruption, street skirmishes against authority, and advertisers&rsquo; omnipresent propagandizing. Told by artists aware of photography&rsquo;s powers of immediacy, photographyless contemplative and more agitating. &nbsp;&nbsp;</p> <p>- Beijing, Sept. 2014</p> Thu, 18 Sep 2014 23:00:44 +0000