ArtSlant - Recently added http://www.artslant.com/cn/Events/show en-us 40 Lam Tung Pang - Tang Contemporary Art - Hong Kong - July 7th - July 30th <p style="text-align: justify;">Tang Contemporary Art is proud to present a solo exhibition of contemporary Hong Kong artist Lam Tung Pang, the curatorial debut by renowned Hong Kong-based architect and collector William Lim. Exhibiting at their Central space from July 7 &ndash; 30, 2016, &ldquo;Planting Time&rdquo; will be the gallery&rsquo;s first-ever collaboration with him, and solo exhibition of a Hong Kong artist.&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</p> <p style="text-align: justify;">Curatorial Statement&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</p> <p style="text-align: justify;">&ldquo;Lam Tung Pang&rsquo;s works, to me, are a metaphor for connecting the past with the present, crossing from Shan Shui in Song dynasty to today&rsquo;s urban landscape, where viewers are directed to link the ancient with modern media. If an artist&rsquo;s early creations were abandoned, given up at the time for certain reasons, were to resurface after many years &ndash; would it take on a new life? And the successful creations made then, if seen again today, would they still have life in them? Could a work made today, reviewed again in a year, potentially become a creation to dispose?&nbsp;&nbsp;&nbsp;&nbsp;</p> <p style="text-align: justify;">The artist uses a tense in English grammar as the work title to reference the relationship between materials and time simultaneously; the schematization of its artistic language is also likened to text-imagery, in a series of chapters.&nbsp;</p> <p style="text-align: justify;">This exhibition features a 2011 representative work by the artist &ldquo;Past Continuous Tense&rdquo;, where he appropriates an earlier failed attempt and once abandoned idea of drawing on plywood as a visual artistic reflection on his creative progress. This has inspired the name of our exhibition, &ldquo;Planting Time&rdquo;.&nbsp;&nbsp;&nbsp;&nbsp;</p> <p style="text-align: justify;">As my curatorial debut, I am delighted to work with Lam Tung Pang and Tang Contemporary Art to share great Hong Kong art with everyone. Time has always been one of the recurring themes in my collection &ndash; here, Lam Tung Pang&rsquo;s exploration of the continuity and changes in time can also be an inspiration for today&rsquo;s society.&rdquo;&nbsp;&nbsp;&nbsp;&nbsp; &ndash; William Lim&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</p> <p style="text-align: justify;">About William Lim&nbsp;&nbsp;&nbsp;&nbsp;</p> <p style="text-align: justify;">William Lim is a Hong Kong-based architect, art patron, and collector. A graduate from Cornell University with a Bachelor and Masters degree in Architecture, he is the founder and managing director of award-winning firm CL3 Architects. A vocal supporter of contemporary art in Hong Kong, he published a book on his collection &ldquo;The No Colors: William Lim Collection&rdquo; in 2014.&nbsp;&nbsp;&nbsp;&nbsp;</p> <p style="text-align: justify;">In addition to several academic posts he holds in Hong Kong and abroad, William serves on the Gallery Advisory Committee of the Asia Society, the Asia Pacific Acquisition Committee for Tate London, is a board member of Asia Art Archive, on the advisory board for The Art Basel Cities, as well as a Council Member on the board for Cornell University Architecture, Art and Planning. He was previously co-chairman for the non-profit art space Para/Site in Hong Kong.&nbsp;&nbsp;&nbsp;&nbsp;</p> <p style="text-align: justify;">William has participated in Lantern Wonderland, Venice Biennale&rsquo;s International Architectural Exhibition, as well as the Hong Kong &amp; Shenzhen Bi-City Biennale of Urbanism/Architecture for his multidisciplinary art and design practice.</p> <div id="comp-iqdo322q" class="s4" style="left: 13px; width: 953px; position: absolute; top: 896px;" data-reactid=".0.$SITE_ROOT.$desktop_siteRoot.$PAGES_CONTAINER.1.1.$SITE_PAGES.$fkbke.1.$comp-iqdo322q"> <p class="font_8" style="font-size: 14px;"><span style="font-size: 14px;">Tang Contemporary Art is proud to present a solo exhibition of contemporary Hong Kong artist Lam Tung Pang, the curatorial debut by renowned Hong Kong-based architect and collector William Lim. Exhibiting at their Central space from July 7 &ndash; 30, 2016, &ldquo;Planting Time&rdquo; will be the gallery&rsquo;s first-ever collaboration with him, and solo exhibition of a Hong Kong artist.</span></p> <p class="font_8" style="font-size: 14px;"><span style="font-size: 14px;">&nbsp;</span></p> <p class="font_8" style="font-size: 14px;"><span style="font-size: 14px;">&nbsp;</span></p> <p class="font_8" style="font-size: 14px;"><span style="font-size: 14px;">Curatorial Statement &nbsp;</span></p> <p class="font_8" style="font-size: 14px;"><span style="font-size: 14px;">&nbsp;</span></p> <p class="font_8" style="font-size: 14px;"><span style="font-size: 14px;">&ldquo;Lam Tung Pang&rsquo;s works, to me, are a metaphor for connecting the past with the present, crossing from Shan Shui in Song dynasty to today&rsquo;s urban landscape, where viewers are directed to link the ancient with modern media. If an artist&rsquo;s early creations were abandoned, given up at the time for certain reasons, were to resurface after many years &ndash; would it take on a new life? And the successful creations made then, if seen again today, would they still have life in them? Could a work made today, reviewed again in a year, potentially become a creation to dispose?</span></p> <p class="font_8" style="font-size: 14px;"><span style="font-size: 14px;">&nbsp;</span></p> <p class="font_8" style="font-size: 14px;"><span style="font-size: 14px;">The artist uses a tense in English grammar as the work title to reference the relationship between materials and time simultaneously; the schematization of its artistic language is also likened to text-imagery, in a series of chapters.&nbsp; This exhibition features a 2011 representative work by the artist &ldquo;Past Continuous Tense&rdquo;, where he appropriates an earlier failed attempt and once abandoned idea of drawing on plywood as a visual artistic reflection on his creative progress. This has inspired the name of our exhibition, &ldquo;Planting Time&rdquo;.</span></p> <p class="font_8" style="font-size: 14px;"><span style="font-size: 14px;">&nbsp;</span></p> <p class="font_8" style="font-size: 14px;"><span style="font-size: 14px;">As my curatorial debut, I am delighted to work with Lam Tung Pang and Tang Contemporary Art to share great Hong Kong art with everyone. Time has always been one of the recurring themes in my collection &ndash; here, Lam Tung Pang&rsquo;s exploration of the continuity and changes in time can also be an inspiration for today&rsquo;s society.&rdquo;</span></p> <p class="font_8" style="font-size: 14px;"><span style="font-size: 14px;">&nbsp;</span></p> <p class="font_8" style="font-size: 14px; text-align: right;"><span style="font-size: 14px;">&ndash; William Lim </span></p> <p class="font_8" style="font-size: 14px;">&nbsp;</p> <p class="font_8" style="font-size: 14px;">&nbsp;</p> <p class="font_8" style="font-size: 14px;"><span style="font-size: 14px;">About William Lim</span></p> <p class="font_8" style="font-size: 14px;"><span style="font-size: 14px;">&nbsp;</span></p> <p class="font_8" style="font-size: 14px;"><span style="font-size: 14px;">William Lim is a Hong Kong-based architect, art patron, and collector. A graduate from Cornell University with a Bachelor and Masters degree in Architecture, he is the founder and managing director of award-winning firm CL3 Architects. A vocal supporter of contemporary art in Hong Kong, he published a book on his collection &ldquo;The No Colors: William Lim Collection&rdquo; in 2014.</span></p> <p class="font_8" style="font-size: 14px;"><span style="font-size: 14px;">&nbsp;</span></p> <p class="font_8" style="font-size: 14px;"><span style="font-size: 14px;">In addition to several academic posts he holds in Hong Kong and abroad, William serves on the Gallery Advisory Committee of the Asia Society, the Asia Pacific Acquisition Committee for Tate London, is a board member of Asia Art Archive, on the advisory board for The Art Basel Cities, as well as a Council Member on the board for Cornell University Architecture, Art and Planning. He was previously co-chairman for the non-profit art space Para/Site in Hong Kong.</span></p> <p class="font_8" style="font-size: 14px;"><span style="font-size: 14px;">&nbsp;</span></p> <p class="font_8" style="font-size: 14px;"><span style="font-size: 14px;">William has participated in Lantern Wonderland, Venice Biennale&rsquo;s International Architectural Exhibition, as well as the Hong Kong &amp; Shenzhen Bi-City Biennale of Urbanism/Architecture for his multidisciplinary art and design practice.</span></p> </div> Sat, 23 Jul 2016 10:07:28 +0000 http://www.artslant.com/cn/Events/list http://www.artslant.com/cn/Events/list Jiang Pengyi - ShanghART H-space - September 10th - October 23rd <div class="ap-whitebox-body description"> <p style="text-align: justify;">&lsquo;Jiang Pengyi: Grace&rsquo; is the third solo exhibition of the artist Jiang Pengyi (b.1977) held by ShanghART Gallery. A totally new silver-gelatin-print series &lsquo;Grace&rsquo; and a 8x10 Polaroid series &lsquo;Trace&rsquo; will be presented to public. <br /><br />JIANG Pengyi was born in Yuanjiang, Hunan Province in 1977, graduated from China Academy of Art, and currently lives and works in Beijing. He creates a kind of surreal spectacle and delicate narration of the scene, mostly, by photo and video, to reveal the barriers and confusions of the individuals.</p> <hr /> <p style="text-align: justify;">蒋鹏奕:给予》是艺术家蒋鹏奕(b.1977)在香格纳画廊的第三次个展,将展出手工银盐(明胶卤化银)冲印的最新系列黑白摄影作品《给予》,以及另一新系列8x10英寸宝丽来作品《自迹》。<br /><br />艺术家蒋鹏奕1977 年生于湖南省沅江市,毕业于中国美术学院,现工作生活于北京。目前作品主要以摄影、录像为媒介,通过制造超现实的景观以及对景物的微妙叙述,呈现出个体生命的内外障碍与疑惑。</p> </div> Sat, 23 Jul 2016 08:50:44 +0000 http://www.artslant.com/cn/Events/list http://www.artslant.com/cn/Events/list Group Show - ShanghART H-space - July 16th - August 31st <div class="ap-whitebox-body description"> <p style="text-align: justify;">The uncertain, or the shelved... is showcased in ShanghART Gallery both Main and H Space from 16th July. The diversified perspectives have been finalised after sourcing through numerous artists&rsquo; studios. Works are exhibited in various media ranging from paintings, installations, sculptures and manuscripts etc. . The exhibition is on view through 31st August.<br /><br />The uncertain, or the shelved... &ldquo;The uncertain&rdquo; is the hesitation, exploration or experimentation of the concept, thoughts, creativity etc. in the extent of thinking logic; &ldquo;the shelved&rdquo; is the statement of behaviour positioned in pause, reserve, lingering etc.. Both scenarios are connected as well as mutually influenced each other. This exhibition aims at revealing that those works or ideas are initiated due to momentary inspirations but temporarily/permanently halted because of self-struggling with distracted clues or directions. The mysterious circumstances that how works are conceived and why they&rsquo;re suspended have become flowing riddles between artists and audiences. Not only does the exhibition challenge the viewers&rsquo; cognition by presenting the seemingly divergent creation clues which enrich the possibilities of artists creative contexts, but also reflects the extended associations which are hidden beneath the differentiated creation practices.<br /><br /><br />&ldquo;The unfinished is an interesting beginning or a recurrent idea after repetitious recording then forgetting it.&rdquo;<br /><br />&ldquo;I&rsquo;ve always liked woodcarving, but never followed through... One day sculpting out the rough shape but was difficult in further detailing it, I helplessly left it there...around 2012, had several attempts in carving it again but still ended in a meltdown...now, just look back again, it appears more perfectly after shifting through time, and has become my cherished object.&rdquo;<br /><br />&ldquo;Problems like many traditional craftsmen in churches or temples might confront, how to create an intangible spirit by deploying tangible materials. I wanted to exercise some tactile painting sometimes, I&rsquo;m sensitive about the surface texture of paintings, therefore, I have processed several experiments violently on some most simple materials. &rdquo;<br /><br />Above narratives excerpted from Artists&rsquo; oral statement<br /><br /><br />Art works included in this exhibition are drifting away from artists&rsquo; usual practices, which are parallel presented in both spaces anonymously in order to allow public to immerse in the non-empirical scenario. More than thirty artists are involved in this exhibition which will be comprehensively delivered with artists&rsquo; narrative texts, video, animation etc. novelty and interactive presentations.</p> <hr /> <p style="text-align: justify;">香格纳画廊于2016年7月16日在主空间与H空间推出群展&ldquo;不确定的,或者被搁置的&hellip;&hellip;&rdquo;。继拜访数十位艺术家工作室最终形成此次群展丰富多样的视角。该展览从绘画,装置,雕塑,手稿,多媒体等多种媒介的方式展出。展览持续至8月31日。<br /><br />&ldquo;不 确定的,或者被搁置的&hellip;&hellip;&rdquo;不确定的是概念,思路,创意等思想方面的踟蹰,探索以及实验;被搁置的是暂停,储存,徘徊等行为的状态;二者彼此关联又相互影 响。在艺术家的创作过程中,那些曾经因灵感突至而开始,又因为线索,方向,自我迟疑种种挣扎而暂时搁置的作品或思路是这次展览的主旨所在。此次展出的作品 在何种情境下萌发,又因何种瓶颈而暂停成为艺术家与每一位观者的一场互动的谜题。该展览不仅挑战性地展现艺术家看似大相径庭的创作线索,丰富艺术家创作脉 络的多种可能性,更在趣味之余反思差异性创作下隐藏的引申关联。<br /><br /><br />&ldquo;还没完成是一个有意思的开始或者记录下来又遗忘后的再一次显现&rdquo; <br /><br />&ldquo;一直喜欢木雕,但一直也没有实施&hellip;大型出来后,往细部走的时候,还弄不了,后来也就放那了&hellip;后来12年左右,没事也会拿锉锉几下,然后也是很崩溃&hellip;现在,再回头看去,随着时间的推移,它也越加完美了,俨然它已成了我的爱物。&rdquo; <br /><br />&ldquo;就像教堂寺庙里无数传统的手工艺工匠面临的问题,怎样利用有形的物质创造无形的精神。当时也想做些有触感绘画,我一直对绘画的表面质感敏感。所以就买了最简单的材料来进行粗暴试验。&rdquo;<br /><br />以上摘自艺术家口述备忘录<br /><br /><br />此次展览囊括这些游离于艺术家创作主线之外的作品,并在两个空间中平行展出。主空间以及H空间皆以匿名的方式使大众在&ldquo;零经验&rdquo;的情境下观赏艺术家创作之外的创作。此次展览涉及艺术家三十余名,以艺术家口述文本,影像,动画等新颖,互动的综合方式呈现所有作品。</p> </div> Sat, 23 Jul 2016 08:49:01 +0000 http://www.artslant.com/cn/Events/list http://www.artslant.com/cn/Events/list Jiang Pengyi - ShanghART Gallery (main gallery) - September 10th - October 23rd <p style="text-align: justify;">&lsquo;Jiang Pengyi: Grace&rsquo; is the third solo exhibition of the artist Jiang Pengyi (b.1977) held by ShanghART Gallery. A totally new silver-gelatin-print series &lsquo;Grace&rsquo; and a 8x10 Polaroid series &lsquo;Trace&rsquo; will be presented to public. <br /><br />JIANG Pengyi was born in Yuanjiang, Hunan Province in 1977, graduated from China Academy of Art, and currently lives and works in Beijing. He creates a kind of surreal spectacle and delicate narration of the scene, mostly, by photo and video, to reveal the barriers and confusions of the individuals.</p> <hr /> <p style="text-align: justify;">蒋鹏奕:给予》是艺术家蒋鹏奕(b.1977)在香格纳画廊的第三次个展,将展出手工银盐(明胶卤化银)冲印的最新系列黑白摄影作品《给予》,以及另一新系列8x10英寸宝丽来作品《自迹》。<br /><br />艺术家蒋鹏奕1977 年生于湖南省沅江市,毕业于中国美术学院,现工作生活于北京。目前作品主要以摄影、录像为媒介,通过制造超现实的景观以及对景物的微妙叙述,呈现出个体生命的内外障碍与疑惑。</p> Sat, 23 Jul 2016 08:45:46 +0000 http://www.artslant.com/cn/Events/list http://www.artslant.com/cn/Events/list Group Show - ShanghART Gallery (main gallery) - July 16th - August 31st <p style="text-align: justify;">The uncertain, or the shelved... is showcased in ShanghART Gallery both Main and H Space from 16th July. The diversified perspectives have been finalised after sourcing through numerous artists&rsquo; studios. Works are exhibited in various media ranging from paintings, installations, sculptures and manuscripts etc. . The exhibition is on view through 31st August.<br /><br />The uncertain, or the shelved... &ldquo;The uncertain&rdquo; is the hesitation, exploration or experimentation of the concept, thoughts, creativity etc. in the extent of thinking logic; &ldquo;the shelved&rdquo; is the statement of behaviour positioned in pause, reserve, lingering etc.. Both scenarios are connected as well as mutually influenced each other. This exhibition aims at revealing that those works or ideas are initiated due to momentary inspirations but temporarily/permanently halted because of self-struggling with distracted clues or directions. The mysterious circumstances that how works are conceived and why they&rsquo;re suspended have become flowing riddles between artists and audiences. Not only does the exhibition challenge the viewers&rsquo; cognition by presenting the seemingly divergent creation clues which enrich the possibilities of artists creative contexts, but also reflects the extended associations which are hidden beneath the differentiated creation practices.<br /><br /><br />&ldquo;The unfinished is an interesting beginning or a recurrent idea after repetitious recording then forgetting it.&rdquo;<br /><br />&ldquo;I&rsquo;ve always liked woodcarving, but never followed through... One day sculpting out the rough shape but was difficult in further detailing it, I helplessly left it there...around 2012, had several attempts in carving it again but still ended in a meltdown...now, just look back again, it appears more perfectly after shifting through time, and has become my cherished object.&rdquo;<br /><br />&ldquo;Problems like many traditional craftsmen in churches or temples might confront, how to create an intangible spirit by deploying tangible materials. I wanted to exercise some tactile painting sometimes, I&rsquo;m sensitive about the surface texture of paintings, therefore, I have processed several experiments violently on some most simple materials. &rdquo;<br /><br />Above narratives excerpted from Artists&rsquo; oral statement<br /><br /><br />Art works included in this exhibition are drifting away from artists&rsquo; usual practices, which are parallel presented in both spaces anonymously in order to allow public to immerse in the non-empirical scenario. More than thirty artists are involved in this exhibition which will be comprehensively delivered with artists&rsquo; narrative texts, video, animation etc. novelty and interactive presentations.</p> <hr /> <p style="text-align: justify;">香格纳画廊于2016年7月16日在主空间与H空间推出群展&ldquo;不确定的,或者被搁置的&hellip;&hellip;&rdquo;。继拜访数十位艺术家工作室最终形成此次群展丰富多样的视角。该展览从绘画,装置,雕塑,手稿,多媒体等多种媒介的方式展出。展览持续至8月31日。<br /><br />&ldquo;不 确定的,或者被搁置的&hellip;&hellip;&rdquo;不确定的是概念,思路,创意等思想方面的踟蹰,探索以及实验;被搁置的是暂停,储存,徘徊等行为的状态;二者彼此关联又相互影 响。在艺术家的创作过程中,那些曾经因灵感突至而开始,又因为线索,方向,自我迟疑种种挣扎而暂时搁置的作品或思路是这次展览的主旨所在。此次展出的作品 在何种情境下萌发,又因何种瓶颈而暂停成为艺术家与每一位观者的一场互动的谜题。该展览不仅挑战性地展现艺术家看似大相径庭的创作线索,丰富艺术家创作脉 络的多种可能性,更在趣味之余反思差异性创作下隐藏的引申关联。<br /><br /><br />&ldquo;还没完成是一个有意思的开始或者记录下来又遗忘后的再一次显现&rdquo; <br /><br />&ldquo;一直喜欢木雕,但一直也没有实施&hellip;大型出来后,往细部走的时候,还弄不了,后来也就放那了&hellip;后来12年左右,没事也会拿锉锉几下,然后也是很崩溃&hellip;现在,再回头看去,随着时间的推移,它也越加完美了,俨然它已成了我的爱物。&rdquo; <br /><br />&ldquo;就像教堂寺庙里无数传统的手工艺工匠面临的问题,怎样利用有形的物质创造无形的精神。当时也想做些有触感绘画,我一直对绘画的表面质感敏感。所以就买了最简单的材料来进行粗暴试验。&rdquo;<br /><br />以上摘自艺术家口述备忘录<br /><br /><br />此次展览囊括这些游离于艺术家创作主线之外的作品,并在两个空间中平行展出。主空间以及H空间皆以匿名的方式使大众在&ldquo;零经验&rdquo;的情境下观赏艺术家创作之外的创作。此次展览涉及艺术家三十余名,以艺术家口述文本,影像,动画等新颖,互动的综合方式呈现所有作品。</p> Sat, 23 Jul 2016 08:43:26 +0000 http://www.artslant.com/cn/Events/list http://www.artslant.com/cn/Events/list Ghada Da, Richeie Fermie, MHP, Paula Zuccotti - Shanghai Duolun Museum of Modern Art (Doland Art Museum) - June 20th - July 13th <p class="su_en_9" style="text-align: justify;">'TIME Capsule: Allegories of Shanghai'&nbsp;emanates&nbsp;from our proposition of 'culture' as one of the most&nbsp;complicated forms of ecology&nbsp;that exists. Culture itself is not easily defined by words alone, because it is a&nbsp;constantly&nbsp;evolving state of mind&nbsp;that is as organic as our use&nbsp;of language. Therefore there is no&nbsp;such thing asa&nbsp;defining&nbsp;moment for&nbsp;culture. To that end&nbsp;for over a century anthropologists have been trying to understand culture, and&nbsp;its absolute definition still remains unanswered.&nbsp;As an evolving phenomena culture&nbsp;is&nbsp;currently&nbsp;effecting and effected by&nbsp;people living through the epochs of&nbsp;post-globalization;&nbsp;mass mobility and digital modernity.&nbsp;</p> <p class="su_en_9" style="text-align: justify;">Individuals&nbsp;are&nbsp;now&nbsp;connected&nbsp;to the&nbsp;horizontal zone, and all of the diverse cultures within that&nbsp;zone are effortlessly influencing each other through&nbsp;their&nbsp;social interactions. Specifically through exchanges between the&nbsp;macro&nbsp;and the&nbsp;micro, the global and the local;&nbsp;we can see that new&nbsp;cultural codes are constantly&nbsp;evolving. Therefore&nbsp;when it comes to discussing contemporary culture, it&nbsp;requires we consider it&nbsp;in the 'present continuous'&nbsp;tense;&nbsp;in order to acknowledge&nbsp;its constant state of flux.&nbsp;&nbsp;</p> <p class="su_en_9" style="text-align: justify;">This exhibition also&nbsp;explores&nbsp;the term 'allegory',&nbsp;as a trigger&nbsp;for cultivating a wealth of very&nbsp;diverse perspectives&nbsp;from which to&nbsp;interpret&nbsp;cultures.&nbsp;Specifically in the context of this show,&nbsp;allegory&nbsp;is&nbsp;deconstructed&nbsp;of&nbsp;its original&nbsp;signification&nbsp;as being&nbsp;'a symbolic generalization'. Here&nbsp;appearing&nbsp;in&nbsp;the&nbsp;plural&nbsp;tense,&nbsp;allegories;&nbsp;and&nbsp;not as&nbsp;the&nbsp;singular noun, allegory.&nbsp;Which also crucially raises&nbsp;questions about&nbsp;the&nbsp;thoughtless&nbsp;cultural clich&eacute;s&nbsp;put upon otherness;&nbsp;in such circumstances as describing&nbsp;Asian cultural&nbsp;elements as exotic.&nbsp;&nbsp;</p> <p class="su_en_9" style="text-align: justify;">In context&nbsp;Shanghai&nbsp;is defined as&nbsp;the first metropolitan city in Asia, the third richest financial centre&nbsp;of the&nbsp;world, a critical terrain&nbsp;for&nbsp;the&nbsp;Korean&nbsp;independence movement and&nbsp;centre of ideology&nbsp;and Chinese&nbsp;philosophy&nbsp;at&nbsp;the&nbsp;beginning of the&nbsp;Modernism era. And against such historical and financial&nbsp;gravitas,&nbsp;the city&nbsp;has also emerged as&nbsp;one of the&nbsp;leading&nbsp;creative centres in the world.&nbsp;&nbsp;&nbsp;</p> <p class="su_en_9" style="text-align: justify;">Time Capsule: Allegories of Shanghai&nbsp;aims to draw attention to the city's&nbsp;culture; and&nbsp;of&nbsp;the vibrant sounds and sensations of its&nbsp;inhabitants. Whose individual lives become integral to the exhibition, as they are invited to witness allegories of themselves as artworks. And by exploring Shanghai through&nbsp;its people&nbsp;and their urban lives, the exhibition&nbsp;attempts to comprehend a measure&nbsp;of&nbsp;their thoughts, feelings, and aspirations; as they influence and are influenced&nbsp;by&nbsp;culture's evolution.&nbsp;</p> <p class="su_en_9" style="text-align: justify;">More&nbsp;specifically&nbsp;a leading component of&nbsp;the audience's&nbsp;participation involved&nbsp;a&nbsp;two week long on-line&nbsp;and&nbsp;off-line survey&nbsp;of&nbsp;their&nbsp;choice of memorable&nbsp;songs. Which were collectively given to the eminent British music producer and composer Richie Fermie to correlate into a sound encyclopaedia of Shanghai's&nbsp;very eclectic&nbsp;culture. In detail for the first sound installation Fermie re-interprets five of a total of fifty songs chosen by participants in the city. All of which proved acoustically intriguing to the producer. He then manipulated the collective sounds through a process of 'granular synthesis'. The archive of songs were selected between an on-line generation of music lovers; and an older group of people, who without the internet were invited to choose songs that were as memorable to them. Selecting only five songs Fermie deconstructed the elements of each of the songs, and reassembled them by employing a method known as granular synthesis. Which led to the musicians Pan Daijing (electronic musician), and Mindy Wang (Guzheng Player), responding to Richie Fermie five sound pieces, and also to the original fifty songs, with collaborative musical performances and improvisations.</p> <p class="su_en_9" style="text-align: justify;">The second audience participation lead by the Argentinian artist Paula Zuccotti involved her focusing on six individual lives in Shanghai through their utilitarian use of the objects that they come to use, consume and touch, over the course of one day. Photographic work, installation and video form the visual framework for which a selected audience become the matter and medium of the artwork. As Zuccotti's selected works are part of a more substantial long term project entitled 'Everything We Touch'; soon to be published by Penguin Books, in which she features sixty different people from all over the world.</p> <p class="su_en_9" style="text-align: justify;">While MHP, 'the son of Shanghai Techno', draws on the city's population to create impressive interactive soundscapes based on his twenty-four hour sensitive sensory experiences. Capturing twenty-four individual elements of sounds that are based on his own personal interpretations, as a compilation of sound allegories of Shanghai. For which MHP is using the frequency &lt;90-15.1K Hz&gt;, which is outside normal human hearing, presented as 'visual images'.</p> <p class="su_en_9" style="text-align: justify;">Finally Ghada Da seeks to divulge her spiritual experiences as a consequence of a direct exchange between the participants and the artist herself. Inspired by French philosopher Pierre Teilhard de Chardin, who said "we are not human beings having a spiritual experience; but spiritual beings having a human experience." Ghada Da's collective 'wishes' translate beyond language, race, gender, socio-cultural-political boundaries.</p> <p class="su_en_9" style="text-align: justify;">Between March and July of 2015 the curatorial project will aim to present time-space specific works at the Shanghai Duolun MoMA; where the exhibition will act as an active incubator for the audio and visual evidence of the city's cultural practices, extracted during the five months previously. And by reintroducing such electric sounds and sensations into a museum setting, to an audience participating and to those observing; Time Capsule: Allegories of Shanghai&nbsp;draws a visible light on the rich complexity and generative energy of belonging to one of the most richly diverse cities in the world.</p> <p style="text-align: justify;"><strong>ABOUT ARTISTS </strong></p> <p class="su_en_9" style="text-align: justify;"><strong>Ghada Da</strong></p> <p class="su_en_9" style="text-align: justify;">Having studied Fine Arts at Central St. Martin's College of Art and Design in London, Ghada's multi-disciplinary fine art practice focuses mainly on performative sculpture and video installations. Her work is a journey of observation and exploration on disconnect, the genderless body, finding home, rebirth, identity and the representation of the sacred body.</p> <p class="su_en_9" style="text-align: justify;">The main aim of her work is an investigation of the visible landscape presented by the body and the spatial area in which the body exists as well as its invisible counter part; the psyche. Da tends to create images that become psychological portraits of the identity of the human condition by either an intentional mutation or an intersex by design, in order to allow the sculptural body to live outside the gender system. Her works are shown internationally including, Satellite (Dubai), Sharjah Art Foundation (Sharjah), Saatchi Gallery (London), Mumford Fine Art Gallery (London) and Ductac Gallery (Dubai). Da is currently participating in a residency at Seoul Art Space_Geumcheon and will produce an exhibition at Maraya Art Centre (Sharjah) as part of the residency partnership.</p> <p class="su_en_9" style="text-align: justify;"><br /> <strong>Richie Fermie</strong></p> <p class="su_en_9" style="text-align: justify;">Richie Fermie is one of the finest sound manipulators in Europe. As a composer, producer, writer and remixer, he has worked with some genre defining artistes such as Norman Cook (Fat Boy Slim),&nbsp;Neneh Cherry,&nbsp;U.N.K.L.E., All Saints&nbsp;and&nbsp;Portishead. Richie's remixes have topped the DJ Magazine and Mix Magazine's Buzz Charts. He has produced records that have been number one records in both the Album &amp; Singles charts. At the age of 16 Richie produced and wrote the first Acid House hit with his band Adrenalin M.O.D., He produced some of the early hip hop artistes such as Monie Love, The Jungle Bothers and Stetsasonic.</p> <p class="su_en_9" style="text-align: justify;">Richie focuses on the spatial placement and exploring the texture and mass of sound.&nbsp;Richie is adept at creating unique sonic architecture. He is currently collaborating with the neuroscience specialists the Sonic Ray-gun looking in detail at how sound enhances emotion. Richie is exploring the concepts of silent sound and reverse analogue synthesis.</p> <p class="su_en_9" style="text-align: justify;"><br /> <strong>MHP</strong></p> <p class="su_en_9" style="text-align: justify;">The 4th Abliu-Douban Music Award winnder (2015) and also known as 'Son of Shanghai techno' Ma Haiping (aka MHP) is the leading contemporary musician, sonic artist and performer in China. During the last fourteen years, his has worked across diverse musical genre such as avant-garde, experimental and electronic music. In collaboration with visual artists and contemporary dancers, he also has composed and produced interdisciplinary art performances. Recently, MHP is promoting cutting-edge contemporary music culture of China through high-profile music festivals such as China Shanghai International Arts Festival(2014), 2014 F&ecirc;te de la musique, Shanghai Strawberry Music Festival(2013). He also organized and lectured academic music symposium such as 'Avant-grade Music and Contemporary Art' (Shanghai Duolun Museum Of Modern Art, 2012), 'Does not exist in the border-The avant-grade Music and Visual Art Form' (The China Academy of Art, 2012).</p> <p class="su_en_9" style="text-align: justify;"><strong>Paula Zuccott</strong>i</p> <p class="su_en_9" style="text-align: justify;">Paula Zuccotti is the author of the forthcoming publication entitled Everything We Touch; a unique visual collection of the stories of over 60 people around the world. <br /> As an artist and storyteller working across photography and film, she is interested in documenting society and culture with her unique perspective and skills as an industrial designer, ethnographer and trends forecaster. In the past fifteen years she has travelled the world studying the relationship between people and products; those they use and those they do not even know exist yet. Her expertise is to anticipate what future scenarios people may find themselves in and the products and services they may need and want. She is the founder of The Overworld, a London based research and design observatory and was a keynote speaker at international events such as Power to the Pixel, Learn Do Share, Dubai Design Days and the Royal Academy of Arts on cross-media, consumption of art and entertainment, design research and foresight. She has a Ba Hons degree in Industrial Design from the University of Buenos Aires and a MA in Design Strategy and Innovation from Brunel University. She lives and works in London.</p> <p class="su_en_9" style="text-align: justify;">&nbsp;</p> <p class="su_en_9" style="text-align: justify;"><strong>ABOUT CURATOR</strong></p> <p class="su_en_9" style="text-align: justify;"><strong>JW STELLA </strong></p> <p class="su_en_9" style="text-align: justify;">JW Stella is the founder of JW STELLA Arts Collectives; a London based non-profit curatorial research lab, and recently has become the international associate curator to Shanghai Duolun Museum of Modern Art.</p> <p class="su_en_9" style="text-align: justify;">She has curated high-profile international contemporary art exhibition and art festival projects, focusing on socio-cultural contemporary anthropology in collaboration with international organisations. The most recent of which were&nbsp;'??[WOO:RI]: interrelationship between you, myself and us'- a site specific contemporary art project in the national &amp; UNESCO cultural heritages in Czech Republic (TINA B. Prague Contemporary Art Festival 2012 &amp; Centre for Theology and Arts). 'Allegories of SEOUL'- a contemporary Korean cultural pop-up project (2011 London Design Festival, UK). 'NABATT: a sense of being'- the Saudi Arabian contemporary art exhibition for 2010 Shanghai World Expo (Shanghai Duolun Museum of Modern Art, China, 2010), 'SU: MBISORI'- the inaugural international contemporary art exhibition for Jeju Museum of Modern Art (Jeju Special Self &ndash;governing province, Korea, 2009),&nbsp;'USB'- emerging Korean diaspora contemporary artists in the World' (Hangaram Art Museum, Seoul Art Centre, 2009).&nbsp;</p> <p class="su_en_9" style="text-align: justify;">Her forthcoming curatorial project, ' [ana]: Please keep your eyes closed for a moment' will talk place in Maraya Art Centre, Sharjah, UAE, from 21 October 2015 to 2 January 2016.</p> <p class="su_en_9" style="text-align: justify;">JW served as an advisory for public art organisations such as Geumcheon Art Space (Seoul Foundation of Art and Culture) and Korean Art Management Service (Korean Ministry of Culture, Sports and Tourism) for their international exchange programmes in ME NA region.</p> <p class="su_en_9" style="text-align: justify;">As a regular contributor to Seoul Art Guide she writes about the contemporary art from ME NA region and also wrote essays and reviews by Korean and international art journals such as 'Art in Culture' (Korea), 'Art in Asia' (Korea/ Asia), 'Art Now' (Korea/ China), 'Public Art (Korea)', 'SPACE (Korea)', 'The Artro (Korea)', Art and Antique' (Czech Republic) and 'Canvas' (UAE).</p> <p class="su_en_9" style="text-align: justify;">JW received a Masters degree in Curating Contemporary Art at the department of Museum and Gallery Management from the City University, London and a Bachelor's degree in Fine Art from Ewha Woman's University, Seoul, South Korea.</p> Sat, 23 Jul 2016 08:20:28 +0000 http://www.artslant.com/cn/Events/list http://www.artslant.com/cn/Events/list Hai Bo - Pace Hong Kong - July 29th - September 14th <p style="text-align: justify;">This summer, Pace Hong Kong will present the first Hong Kong solo exhibition of important contemporary Chinese photographer Hai Bo. The exhibition will feature his classic works, known for uncovering the poetry in everyday scenes. These silent moments stand as a force of resistance against the chaos and clamor of our rapidly changing era. The exhibition will open on July 29, and on view through September 14. The opening reception on July 28 from 6 &ndash; 8 p.m. will be open to the general public. The artist will be in attendance.</p> <p style="text-align: justify;">Hai Bo focuses on the ordinary moments behind our complex reality, concealing weighty narratives and perceptions within easily overlooked rural scenes. Through the unique tension between the eternal and ephemeral in photography, these ordinary people and things are able to convey the unavoidable changes in times, history and the individual, to great emotional impact.</p> <p style="text-align: justify;">The Pace Hong Kong exhibition will present eight of Hai Bo&rsquo;s works, including seven works from the Northern Series. A signature series in the artist&rsquo;s oeuvre, the Northern Series uses the theme of family to convey the vast, desolate northern wilderness he calls home, and the people who pass over this yellow soil. Since 1982, Hai Bo has created many photographic works in his native northeastern China, expressing this stark beauty in his own unique way, and bearing witness to this individualized history.</p> <p style="text-align: justify;">Hai Bo&rsquo;s maternal uncle features frequently in the Northern Series. Remembered as a strong and somewhat wild figure, time has reshaped Hai Bo&rsquo;s uncle into a quiet old man. On the rare occasion the uncle has given accounts of the past, Hai Bo has recorded it, giving it the title Northern Series&mdash; End of Story. At the moment he pressed the shutter, the artist sensed the end of an era. The once familiar scenes, people and lives have all passed, and China has gradually progressed from an agrarian civilization to a modern one. In this process, the drastic change that has come to China has made it so that history is no longer an abstract concept but an intimate experience. More than individual catharsis and nostalgia, Hai Bo&rsquo;s creations are a form of resistance against change.</p> <p style="text-align: justify;">Another work in The Northern Series featured in the exhibition, 2008-1, also features the artist&rsquo;s uncle. This now gentle old man gradually emerges from the shadows. &ldquo;Their today is our tomorrow,&rdquo; says Hai Bo, &ldquo;In the end, we all belong to the dust.&rdquo; This exhibition will also present the work Fable from the Photographic Diary series. This series is infused with Hai Bo&rsquo;s signature poeticism, using seemingly scattered fragments to document memories as they slip away, effecting a recollection of memory with a light hand. &lsquo;</p> <p style="text-align: justify;">Hai Bo&rsquo;s works are featured in numerous public collections including the Metropolitan Museum of Art, the J. Paul Getty Museum, Museum of Modern Art(MoMA), Smithsonian's Arthur M. Sackler Gallery, the Queensland Art Gallery. His selected solo exhibitions include Hai Bo at Pace Beijing, Beijing (2012) and Pace/MacGill Gallery, New York (2011); Perspectives: Hai Bo at Smithsonian's Arthur M. Sackler Gallery, Washington DC (2010). Recently, he was included in the following exhibitions: The China Project at Gallery of Modern Art and Queensland Art Gallery, Queensland, Australia (2009); Journeys: Mapping the Earth and Mind in Chinese Art at Metropolitan Museum of Art, New York, U.S.A (2007); Between Past and Future: New Photography and Video from China at ICP and Asia Society, New York, U.S.A (2004) and The 49th Venice Biennale, Venice, Italy (2001).</p> <p style="text-align: justify;">About Artist</p> <p style="text-align: justify;">Hai Bo (b. 1962, Changchun, China) graduated from Printmaking Department of the Fine Art Institute of Jilin in 1984. His artistic ideals involve the restoration of the past through photography. Hai Bo&rsquo;s work is less about what changes through time and more about what endures. His photography often depicts people shown in various stages of life as well as the passage of time. Hai Bo turns his gaze toward the stars, rivers, and mountains, where he sees a durable natural rhythm that can affect all people and serve as an inspiration to artists. He is a retiring solitary man, who, besides nature, loves literature and poetry. He spends most of his time at his home in the far reaches of Beijing, working in studio surrounded by high gray brick walls. There he immerses himself in his books, his memories, and the careful study of the photographs he has collected through years.</p> <hr /> <p style="text-align: justify;">佩斯香港將於今夏推出中國當代重要攝影藝術家海波在香港的首次個展,展覽將以海波的經典代表作呈現日常風景中的詩意,以無聲的瞬間抵抗時代的嘈雜紛 擾與飛速變化。展覽將從7月29日持續展出至9月14日,並於7月28日週四晚間六至八時舉辦向公眾開放的開幕式,藝術家將出席開幕酒會。</p> <p style="text-align: justify;">海波關注複雜現實背後的平凡瞬間,將沉重的故事和感受隱藏在極易被人忽略的鄉野景物之中。而這些尋常之人、之物卻可以通過攝影所特有的存在於瞬間與永恆之間的張力,呈現時代、歷史乃至個人內心不可迴避的變化,給人帶來更強烈的觀感與觸動。</p> <p style="text-align: justify;">此次佩斯香港個展將帶來海波的8件作品,其中包括7件《北方》系列作品。作為藝術家的重要代表作,該系列以家園為題材,展現出藝術家深深迷戀著的北 方故土遼闊蒼涼的原野,以及廣袤土地上如匆匆過客般的人民。海波自1982年以來在故鄉東北拍攝並完成了大量影像創作,他以自己的方式来表现这种凄美,见 证这段個人化的历史。</p> <p style="text-align: justify;">《北方系列》中拍攝的老人多為海波的舅舅,昔日藝術家記憶中高大、強壯甚至粗野的人隨著歲月的流逝已變成一位安靜的老人,而少數正在述說陳年往事的 情景則被藝術家記錄下來並命名為《北方系列﹣故事的結束》。按下快門的瞬間,藝術家感受到一個時代的結束:曾經熟悉的風景、熟悉的人、熟悉的生活都已悄然 遠去,中國也從漫長的農業文明開始了現代文明的進程。在此進程中,中國劇烈的變化使得歷史對人們來說不再是觀念,而是真實的經歷和感受。海波的創作不僅是 自我情感的傾注和對過去的留戀,同時也是對變化的一種抵抗。</p> <p style="text-align: justify;">而《北方系列》另一展出作品《2008-1》拍攝的同樣是藝術家的舅舅,《2008-1》拍攝的同樣是藝術家的舅舅,隨著年老而變得溫順和藹的身影 從陰影下慢慢浮現出來,&ldquo;他们的今天就是我们的明天,&rdquo;海波说道,&ldquo;我們的歸宿和終結都是塵土。&rdquo;此次香港首次個展將同時展出藝術家的《攝影日記》系列作 品《寓言》。《攝影日記》有著海波特有的詩意,以看似零落的片段記錄人們似乎正在逐漸遺失的記憶,以一種輕鬆的手法來進行一次記憶的重拾。</p> <p style="text-align: justify;">海波的作品曾在國內外多個重要展覽中亮相,包括於2001年第49屆威尼斯雙年展展出《他們》系列作品,於2010年華盛頓史密森尼學會亚瑟&middot;M&middot; 萨克勒画廊舉辦個展「透視:海波」及於2007年紐約大都會藝術博物館「心靈和天地之旅程」群展中展出《北方系列》。他的作品被現代藝術博物館、紐約大都 會博物館、華盛頓史密森尼學會亚瑟&middot;M&middot;萨克勒画廊、蓋蒂博物館、昆士蘭美術館、中國美術館、廣東美術館等知名機構收藏。</p> <p style="text-align: justify;">關於藝術家</p> <p style="text-align: justify;">海波1962年出生於中國吉林長春,1984年畢業於吉林藝術學院美術系版畫專業。他的藝術理想是用照片來複製已經消逝的時光。在他充滿溫情又具鄉 土氣息的照片裡,熟悉的人和景物在柔和的光線中成為永恆。海波會關注星辰、河流和山川。他認為這些事物蘊含一種永恆的節拍,人們可以去契合,也可以在藝術 創作時參照。他是一個害羞的、喜歡獨處的人,熱愛自然、文學和詩歌。他大部分時間都在北京遠郊的工作室裡,被四周灰磚的高牆圍繞,沉浸在讀書、回憶和細細 品味多年來收藏的照片之中。</p> Sat, 23 Jul 2016 08:11:55 +0000 http://www.artslant.com/cn/Events/list http://www.artslant.com/cn/Events/list Xiao Yu - Pace Beijing - July 6th - August 20th <p style="text-align: justify;">Pace Beijing is honored to present the Xiao Yu solo exhibition <em>Cement Floor</em>, opening at 4pm on July 6. This, the artist&rsquo;s third exhibition at Pace Beijing, once again presents the artist&rsquo;s singular contemporary vision.</p> <p style="text-align: justify;">In this exhibition, the artist again utilizes bamboo, a creative material uniquely imbued with Chinese traditional aesthetics. This material took center stage in the artist&rsquo;s work in 2010 in a series with a powerful sense of strength that reflects the artist&rsquo;s deep thinking on contemporary society and the human condition.</p> <p style="text-align: justify;">In this latest work, a matrix of bamboo holds fast to a heavy cube of cast cement. The two materials, with their vastly opposed properties, coexist in an unconventional manner, their awkward connection seeming to allude to the state of a Chinese society in the midst of rapid transformation. Here, the bamboo conveys two forms of identity. As a sign, it is a carrier of ancient cultural affinities and aesthetics. As a living thing, its green body conveys vivid and concrete tenacity and strength. Under the great weight of the concrete, these two forms, one material and one virtual, come together to awaken the instinctual reverence for life that is rooted deep in the genes of the spectator. The concrete, which serves here as a reference, has had its surface forcefully imprinted with the texture of split bamboo. Here, the artist has utilized the inherent tenacity of life to wrap this symbol of modern society with the fibrous texture of skin.</p> <p style="text-align: justify;">This exhibition can be seen as a continuation of Xiao Yu&rsquo;s previous solo exhibition. In the third segment of the 2015 exhibition <em>Oblivion</em>, the artist presented a series of life-themed paintings that provided an individualized response to the dilemmas of contemporary society. Life has been a persistent inner thread concealed within the artist&rsquo;s oeuvre. In this latest creation, the artist conceals his own insights into life within the highly expressive appearance of bamboo&mdash;this primal living thing, with its Eastern traditional aesthetic import, seems to be an inevitable creative choice here. The repeating scene of external force and life&rsquo;s resistance to it also seems to reference a more deeply concealed emotional thread in the artist&rsquo;s heart. The massive tension borne of this resistance grows from the sensory level to catalyze the most direct experience and emotional resonance in the viewer.</p> <p style="text-align: justify;">Xiao Yu (b. 1965, Inner Mongolia) graduated from the Mural Painting Department at the Central Academy of Fine Arts in 1989 and now lives and works in Beijing. Since 1990s he has engaged in contemporary art creation and was awarded the Chinese Contemporary Art Award (CCAA) in 2000. In 2001, he participated in the 49th Theme Exhibition of Venice Biennale &ldquo;Plateau of Humankind&rdquo;, curated by Harald Szeemann, presenting his most controversial work. He was invited to participate in international exhibitions including Lyon Biennale of Contemporary Art, Shanghai Biennale and Guangzhou Triennial and the Off Site Project at the Royal College of Art in London. His works have been exhibited at the Centre Pompidou, the Groningen Museum, Graz Art Museum, Fukuoka Asian Art Museum, Seoul Art Museum, Bern Art Museum Switzerland, the Museum Tinguely in Basel, the Royal College of Art in London, the National Art Museum of China, Shanghai Art Museum, Guangdong Art Museum, the Ullens Center for Contemporary Art, and other eminent exhibition spaces. Xiao Yu joined the Pace Gallery in 2014.</p> <hr /> <p style="text-align: justify;">萧昱最新个展&ldquo;水泥楼板&rdquo;将于2016年7月6日在佩斯北京开幕。作为艺术家在佩斯北京举办的第三次个展,本次展览将再度呈现萧昱式的当代视觉景观。</p> <p style="text-align: justify;">萧昱在此次展览中再次使用了竹子作为创作材料,这种有着东方传统美学意蕴的独特材料自2010年起成为了艺术家作品中的主角,并以极具力量感的形态出现在了他一系列重要的作品之中,呈现出艺术家对于当代社会与人类处境的深刻思考。</p> <p style="text-align: justify;">作品由两种直观的材料组成,由竹子组成的矩阵稳稳托起一块硕大而沉重的浇铸水泥立方体。两种特性相互对立的材料以异于常识的关系共处,这种颇为生硬 的衔接似乎正暗喻了快速转型中的中国社会现状。而竹子在这里展现出了两种身份:作为符号的&ldquo;竹&rdquo;自古承载着文化趣味与美学意涵;而作为生命体的竹子则以其 青绿色的躯体在重压之下展现出生动而具体的韧性与力量感。这一虚一实的两种形象在厚重水泥的压力下重合,唤起观者自身根植于生物基因之中的本能敬畏。同 时,以参照系出现的水泥表面被艺术家强行拓印上了竹席纹理,以生命特有的执着将这个现代社会的象征物包裹以纤维质感的皮肤纹理。</p> <p style="text-align: justify;">此次展览可以被视为萧昱上一次个展的延续:在其2015年的个展&ldquo;遗忘&rdquo;中,艺术家在展览的第三章节以一组生命为主题的绘画给出了他对于当代社会艰 难处境的个人化回应&mdash;&mdash;而生命自始至终是萧昱作品内在隐含的重要线索。在此次最新的创作中,艺术家将自身对于生命的体悟隐藏在竹子极富表现力的外表之下 &mdash;&mdash;这种有着东方传统美学意义的原生生命体几乎是其创作的必然选择。而作品之中反复出现的外力与生命对抗的场景也似乎暗示了艺术家内心一条更加隐秘的情感 线索。由对抗之中诞生的巨大张力因而从感官层面激发出观者最直接的体验与情感共振。</p> <p style="text-align: justify;">萧昱1965年生于中国内蒙古,1989年毕业于中央美术学院壁画系。萧昱自上世纪90年代中期开始当代艺术创作,并于2000年摘获第二届中国当 代艺术大奖(CCAA)。2001年,以极具争议的作品参加了由瑞士著名策展人赫拉德 &middot; 泽曼策划的第49届威尼斯双年展主题展&mdash;&mdash;&ldquo;人类的剧场&rdquo;,此后先后受邀参展法国里昂双年展,上海双年展,广东三年展和英国伦敦皇家艺术学院三年展场外项 目等国际展览。作品展出于法国蓬皮杜文化中心、荷兰格罗宁根美术馆、奥地利格拉兹艺术宫、福冈亚洲美术馆、韩国汉城美术馆、瑞士伯尔尼美术馆、瑞士巴塞尔 丁格力美术馆、英国伦敦皇家艺术学院画廊、中国美术馆、上海美术馆、广东美术馆、尤伦斯当代艺术中心等知名艺术场馆。佩斯北京自2014年起代理萧昱。</p> Sat, 23 Jul 2016 08:07:49 +0000 http://www.artslant.com/cn/Events/list http://www.artslant.com/cn/Events/list - Osage Hong Kong - July 21st - August 19th <p style="text-align: justify;">The second Architectural Association Visiting School (AAVS) is to be held in Hong Kong in July 2016. Participants will be guided through workshops and lectures, the results of which will be shown in the exhibition, &ldquo;Post-Industrial Landscapes&rdquo;. Osage Art Foundation is pleased to be the venue sponsor of the AAVS exhibition, and a supporter of the young emerging talents. Osage Art foundation is a non-profit organization, established in 2004 with three main goals - Creative Communities, Cultural Cooperation and Creative Capacity. We aim to stimulate the development of alternative education models in Hong Kong. We regularly support activities by Hong Kong Design Institute, Hong Kong Christian Services, School of Creative Media (City University of Hong Kong) and Hong Kong Baptist University.<br /> <br /> The theme of this year&rsquo;s AAVS workshop is Sugar. Sugar is sexy, superbly successful, stimulating, sweet and synonymous for a society of hyper consumption and addiction to instant gratification in all levels of life. We live in a new electronically permeated, augmented and mediated landscape, framed by biological addiction, mental hyper-activity and electronic stimuli. We allow and enjoy continuous stimulation of our optic nerves through a myriad of optical devices, immersing ourselves in the likes of Oculus, Virtual Reality and Augmentation. Consuming not only electronically, but physically more than ever before in human history. Yet we experience and see more unbuilt virtual spaces than actual architectural physical environments each day. Becoming sugar addicted in all digital, physical, and biological ways.<br /><br /> Bringing together a handful of the notable industry experts in their respective fields and with cross disciplinary backgrounds, the 10-day workshop of AAVS will be run by Cesar Jung-Harada, Tobias Klein, Victor Leung and Ferdinand Fritz in July 2016. In addition, a series of lectures will be held by a number of International key speakers. In partnership with the City University of Hong Kong, and the renowned School of Creative Media, the workshop provides tremendous exposure not only in the Academic sector, but also in the world of Architecture and Design locally and internationally. <br /><br /> In all of the Post-Industrial Landscapes workshops the aim is to be opportunistic; exploring and pushing the technological possibilities and concepts of our disciplinary involvement. In three previous iterations of this successful workshop in 2013 Ottawa, Canada, 2014 San Francisco, USA, and 2015 Hong Kong, outstanding results were demonstrated. For instance, in 2015, Post-Industrial Landscapes 3.0 explored space as an interface laboratory connecting the urban fabric of multiple agents to become a place between the networks and the city of Hong Kong. The results were overwhelming in quality and were exhibited at Osage.<br /><br /> As one of the oldest and most prestigious schools of architecture, the AA School of Architecture prides itself for being at the epi-centre of contemporary architectural conversation worldwide. From exhibitions, lectures, to symposia and publications, the AA has provided the backdrop for three Pritzker Prize winners Rem Koolhaas, Zaha Hadid and Richard Rogers and handfuls of the most influential architects and thinkers of today. In 2008, the AA had launched its Visiting School Programme with the ambition of reaching larger audiences and sectors from its doorstep of 36 Bedford Square, London.</p> Sat, 23 Jul 2016 08:03:47 +0000 http://www.artslant.com/cn/Events/list http://www.artslant.com/cn/Events/list Group Show - Minsheng Art Museum - July 23rd - September 4th <p style="text-align: justify;">Shanghai Minsheng Art Museum is pleased to present &ldquo;Turning Point: Contemporary Art in China Since 2000&rdquo;, a group show of contemporary Chinese art. Professor Yi Ying, renowned art historian and critic, will take the role as the academic moderator of the exhibition. Featuring 52 artists/artist collectives in total, the exhibition will occupy the whole first floor of the museum and present work ranging from painting, sculpture, installation to video and animation. The exhibition will open to the public on July 23 and run through September 4.</p> <p style="text-align: justify;">Highlighting the year 2000 as a key time concept, the exhibition intends to probe into the various changes, emerging trends of thought as well as social problems ever since then and to cast light on the responses contemporary art has made. The exhibition focuses mainly on two &ldquo;turning points&rdquo;, or say two types of &ldquo;transition&rdquo;&ndash;that from easel art to conceptual art and from form to social significance. To be more specific, the former refers to the fact that in the wake of the development of the linguistic nature of contemporary art, the linear evolution of art since mid-80s came to an end. Compared to art back in the 90s which featured painting mainly, it has now become more diverse and conceptual. The latterstresses on the changes of the writing of contemporary art. Attention has been shifted from the logic embeddedin the form to social movements, social significance, social problems (i.e. urban space, land and ethnic groups) and the demonstration of the different experiences. In the meantime, with the increasing involvement of the internet, films, televisions, high-tech and new media, the art form has witnessed continuous development as it is equipped with the capacity to present new visual forms of expression in line with the development of the society.</p> <p style="text-align: justify;">With a focus on the status quo of the Chinese contemporary art and the driving force behind it, Shanghai Minsheng Art Museum will present a selected groups of works produced since 2000. These works cast light on how artists think about art, the evolution of social concepts as well as the progress and destiny of Chinese contemporary society from a variety of perspectives. Collectively, they form a big picture illustrating the transition witnessed in the Chinese contemporary art scene since the new century. </p> <p style="text-align: justify;">A themed symposium will be organized during the exhibition and scholars from different disciplines will be invited to share their views upon art, philosophy and various social issues. Public educational programmes accompanying the exhibition will include talks and a series of workshops. </p> <p style="text-align: justify;">We&nbsp;pay&nbsp;special&nbsp;thanks&nbsp;to&nbsp;<em>Artron.Net</em>,&nbsp;our&nbsp;strategic&nbsp;partner&nbsp;supporting&nbsp;us&nbsp;for&nbsp;the&nbsp;exhibition&nbsp;and&nbsp;the&nbsp;symposiums.&nbsp;We&nbsp;show&nbsp;gratitude&nbsp;to&nbsp;the&nbsp;online&nbsp;plan&nbsp;of&nbsp;&lsquo;The&nbsp;Culture&nbsp;Pavilion&nbsp;[w&eacute;n&nbsp;hu&agrave;&nbsp;guǎn]&rsquo;&nbsp;for&nbsp;the&nbsp;special&nbsp;project&nbsp;provided.&nbsp;And&nbsp;we&nbsp;express&nbsp;thanks&nbsp;to&nbsp;the&nbsp;media&nbsp;support&nbsp;from&nbsp;<em>The&nbsp;Art&nbsp;Newspaper</em>,&nbsp;<em>Art&nbsp;World</em>,&nbsp;<em>Art&nbsp;China</em>&nbsp;and&nbsp;APP<em>&nbsp;</em>iMuseum&nbsp;for&nbsp;the&nbsp;exhibition.&nbsp;The&nbsp;audio&nbsp;guide&nbsp;of&nbsp;the&nbsp;exhibition&nbsp;is&nbsp;provided&nbsp;by&nbsp;Artsky.&nbsp;Part&nbsp;of&nbsp;the&nbsp;audiovisual&nbsp;media&nbsp;equipment&nbsp;is&nbsp;provided&nbsp;by&nbsp;WTi&nbsp;Group.&nbsp;</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;"><strong>About the Academic Moderator</strong></p> <p style="text-align: justify;">Yi Ying, renowned art historian and critic, is currently professor and doctoral tutor of the Central Academy of Fine Arts.</p> <hr /> <p style="text-align: justify;">上海民生现代美术馆荣幸带来中国当代艺术群展&ldquo;<strong>转向:2000后中国当代艺术趋势</strong>&rdquo;,并邀请知名美术史家易英先生担任学术主持。展览将贯穿美术馆的一楼展厅,展出52位/组艺术家的绘画、雕塑、装置、录像、动画等多种媒介形式的作品。<strong>展览将于2016年7月23日开幕,持续至2016年9月4日。</strong><br /> <br /> 本次展览的主题将围绕着2000年以来这个时间节点开始进行构思。中国社会发生的诸多变化,出现了各种思潮以及伴随着中国的各种社会性问题,当代艺术对此做出了何种反应,是我们关注的重点。展览基于两种&ldquo;转向&rdquo;(<strong>架上&mdash;观念、形式&mdash;社会性</strong>)概念。一是形态上的转向:随着当代艺术完成了语言学的转向,80年代中期以来的线性发展的历史已经趋于终结,90年代以架上绘画为主的艺术形态逐渐向多元化、观念化转变;二是形式向社会性转向:新 时期当代艺术的书写也发生了诸多变化,不再着重于形式主义的逻辑,而是着重于社会运动、社会性,强调社会问题,比如关注城市,土地,族群等,主要在于体现 不同的经验。同时随着互联网、影视、高科技、新媒体的不断介入,艺术形态方面也在不断推进,不再依赖于艺术自身的创造,而是伴随社会发展提供新的视觉表达方式。<br /> <br /> 基于对中国当代艺术的关注与创作的现状,上海民生现代美术馆选取了<strong>从2000年以来富有代表性的艺术作品</strong>。这些作品试图去阐释发生在中国当代艺术中的转向问题,它们以不同的方式表达了艺术家对艺术的思考、艺术家与社会观念的变迁、以及中国当代社会中的进程和命运。<br /> <br /> 此外,展览期间还将举办以&ldquo;转向&rdquo;为主题的学术研讨会,邀请国内相关知名学者就艺术、哲学、社会问题等展开讨论。同期还会举办多场相关讲座及工作坊(请持续关注我们的微信订阅号)。<br /> </p> <p style="color: #3e3e3e; font-family: 'Helvetica Neue',Helvetica,'Hiragino Sans GB','Microsoft YaHei',Arial,sans-serif; font-size: 16px; background-color: #ffffff; text-align: justify;">特别鸣谢战略合作伙伴雅昌艺术网为展览及研讨会提供支持。感谢&ldquo;文化馆&rdquo;线上艺术计划为 本次展览提供的特别项目。感谢《艺术新闻》、《艺术世界》、《艺术当代》和APP iMuseum对本次展览的媒体支持。展览的语音导览系统由空艺术提供支持。展览部分影音媒体设备支持来自网庭企业机构。</p> <p style="color: #3e3e3e; font-family: 'Helvetica Neue',Helvetica,'Hiragino Sans GB','Microsoft YaHei',Arial,sans-serif; font-size: 16px; background-color: #ffffff; text-align: justify;">&nbsp;</p> <p style="color: #3e3e3e; font-family: 'Helvetica Neue',Helvetica,'Hiragino Sans GB','Microsoft YaHei',Arial,sans-serif; font-size: 16px; background-color: #ffffff; text-align: justify;"><strong>▍关于学术主持</strong></p> <p style="color: #3e3e3e; font-family: 'Helvetica Neue',Helvetica,'Hiragino Sans GB','Microsoft YaHei',Arial,sans-serif; font-size: 16px; background-color: #ffffff; text-align: justify;">易英,中央美术学院博士生导师,著名美术史家及著名美术理论家。</p> Sat, 23 Jul 2016 07:59:57 +0000 http://www.artslant.com/cn/Events/list http://www.artslant.com/cn/Events/list Shi Guowei - Magician Space - July 9th - August 21st <div style="text-align: justify;">As the mind opens, the artist uses the eye to photographically capture images of interest - information is then stored in the memory of a &lsquo;micro-chip&rsquo;. It involves a continuous accumulation of things, but also a perpetual procedure of&nbsp;screening, verification, and layering, which together enhances the process of image recognition.</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">Starting in 2013 with the work &lsquo;Flag of Sweat&rsquo;, Shi Guowei has attempted to incorporate the &lsquo;Caviliar Perspective&rsquo; into photography, a perspective often found in Chinese scrolls - creating within scenes an array of images, which can&nbsp;be read in a dynamic way. Later in &lsquo;Low-Pressure&rsquo;, one of the first works in a new series, or whether facing the &lsquo;Four Girls Mountain&rsquo;, a forest, objects or scenes from around the artist, he employs a similar method to photography&nbsp;throughout. As a result, he neither tries to &lsquo;devise&rsquo; a subject nor does he overtly emphasize the connection to the work&rsquo;s structure &ndash; in this way, the objects photographed in the scenes appear imperturbable like the everyday.</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">Shi Guowei studied photography at Fachhochschule, Dortmund. For his graduation, he took inspiration from the technique of hand-coloring photographs influenced from his parent&rsquo;s generation. Through processes of using Kodak C-print, he&nbsp;first chemically develops the black and white print onto photographic paper &ndash; this becomes the &lsquo;base color&rsquo; &ndash; before final hand painting the final layers to complete it. It is a traditional hand technique, which shares more than one&nbsp;hundred years of history with black and white photography &ndash; and it reappears again to beguile a new audience. For a long period of time, photography has become associated as an &lsquo;objective&rsquo; form of reproducing objects. Taken this idea&nbsp;further, today the photographic technologies have reached a point of practically becoming an omnipotent presence in our lives. Shi Guowei uses his own work to challenge this point &ndash; &ldquo;There is still distance between color perceived with&nbsp;the naked eye, which far surpasses that of the lens.&nbsp;Color obtained in color photography still falls short to the vivid qualities of nature &ndash; in fact it pales in comparison. On the contrary, through the mind and its memory of the photographed scene, color is mixed and applied according to&nbsp;what feels appropriate to the scene &ndash; adding lucidity to the image as well as a heightened accuracy.&rdquo;</div> Sat, 23 Jul 2016 07:55:31 +0000 http://www.artslant.com/cn/Events/list http://www.artslant.com/cn/Events/list Zhang Hui - Long March Space - July 22nd - August 28th <p style="text-align: justify;">"Zhang Hui" to be held at Long March Space, will be Zhang Hui's fifth solo at the space since his first show which first presented his paintings a decade ago. This exhibition marks a third important turning point in Zhang Hui's creative career. The first turning point appeared in the 2006 "Partial Zones" exhibited at Long March Space that gave priority to his painting and marked a clear trajectory in the medium of his artistic practice by shifting from a sense of on-site presence to the flat surface of painting as the focused means of narrative form. The second transformation took place in the 2009 "21<sup>st</sup>Floor and a Half", in which Zhang Hui "created a form of existence" as a means to supersede "the expression of already existing things". In "Groundless" (2012) and "Plaza" (2014) which followed upon this, he conversely did his utmost to control the components of the form of language, gradually &ldquo;retrieving&rdquo; a descriptive means to establish a tenable structural form. With &ldquo;retrieve&rdquo; acting as the impetus that directly gave form to that exhibition.</p> <p class="Default" style="text-align: justify;">In addition to the aforementioned &ldquo;retrieve&rdquo;, the terms "recognition" and "structure" should be incorporated into his working methods as three of the keywords to his recent work and this current exhibition. The current exhibition carries on the transformations and deepens the probing of previous exhibitions, also directly touching upon the direction of the inspiration for his future work. &ldquo;Retrieve&rdquo; also re-examines and searches back at the influences and education the artist was informed by during his personal process of growth, the good and the bad. &ldquo;Recognition&rdquo; is a re-assessment of all those things overlooked in art history and the history of social development, whereas &ldquo;structure&rdquo; works in accordance with the other two to break through all new patterns and structures which can appear. Amongst these patterns one can count those still extant and those which have already been abandoned &ldquo;pluralistically&rdquo; linked together to form &ldquo;mutual-structures&rdquo; and &ldquo;co-structures&rdquo;. Returning to the works, Zhang Hui hopes that they will suffice in inciting off a new viewing method, and re-summarize his past works whilst progressing towards a more extended and abundant structure.</p> <p class="Default" style="text-align: justify;">Zhang Hui has resolved 14 paintings created in the past two years into seven new sections. The creative object of each section corresponds in some way to certain element present in his past works, appearing in a multilayered narrative methodology. In these new works, Zhang Hui for the first time utilizes the form of the &ldquo;Nurse&rdquo;, and this series of works reveals in its creases and human forms the following of a thread which can be traced back to the "Blueprint" series (2012-2013) which layered scenes of reality and fictitious imagery on the canvas. The creases on the surface gave each painting the feel of fabric, but still with a very real sense of muscle behind it: silver threads scuffling back and forth across the surface of the canvas simultaneously shouldering the burden of the construction of the effect of both reality and illusion. Life buoys and neon lights began to repeatedly appear in his work beginning in 2011, like a sudden shift in tune or the reappearance of a figure in a novel, these instilled both traceable and unfamiliar feelings to his works and created a multi-layered visual effect. The snowy scene penetrating through the blue light of the canvas also reveals the possibility of a renewed structure, and the fusing together of human portraits into a single entity like accumulated snow is refined to take the form of a completely meaningful snowy landscape. This act eliminates each paintings' independence, instead allowing them to mutually overlap to each form but a section of the overall ensemble.</p> <p style="text-align: justify;">In a co-structure with an existing position and composed of existing objects, Zhang Hui's works would usually already encompass a wide analysis on social reality. In this exhibition, in addition to the aforementioned frame-like considerations, Zhang Hui restructures his own world from different angles. He purposefully implants emotional elements into the structure of the exhibition, and like in the more than thirty watercolor paintings which appeared in his first show, he &ldquo;retrieves&rdquo; a great many fragments from his process of growth to continue his creations, as well as methods of retrospection to clarify lost remnants of history and installs these according to a visual logic within different corners of the exhibition space. The existence of this fragmentation allows the constructions of Zhang Hui's world to be filled with their own dynamism; they begin to flow and cease to be fixed societal models in stasis. The universal possibilities attributed to the addition of emotion also suffice to give the &ldquo;free structure&rdquo; and speaking on good grounds of attempted constructions(which can furthermore be taken as &ldquo;staring&rdquo; at existing beings and on the other side, as the addition and direction of personal emotion), the artist an opportunity to cast aside any heroic narratives and start out from the position of individual experience. The exhibition will continue until August 28.</p> Sat, 23 Jul 2016 07:47:00 +0000 http://www.artslant.com/cn/Events/list http://www.artslant.com/cn/Events/list Mary Corse, Liu Wei, Nari Ward - Lehmann Maupin, Hong Kong - July 7th - August 27th <p style="text-align: justify;">Hong Kong, June 28, 2016&mdash;<strong>Lehmann Maupin </strong>is pleased to present <strong><em>Radical Materiality</em></strong>, a group exhibition featuring <strong>Mary Corse</strong>, <strong>Liu Wei</strong>,&nbsp;and <strong>Nari Ward</strong>,&nbsp;three artists whose practices push the boundaries of traditional genres and material specificity through innovative experimentation with unconventional mediums. <strong>There will be an opening reception at the gallery on Thursday, July 7, from 6-8PM.</strong></p> <p style="text-align: justify;"><br /> <strong>Mary Corse&rsquo;</strong>s minimalist paintings are created by incorporating reflective glass microspheres, a process she has developed over the last five decades. Associated with the Light and Space painters of 1960&rsquo;s California, Corse&rsquo;s work both embodies and defies this male-dominated movement that focuses on the subjective experience of light and color, and thus, visual perception. Best known for her white paintings, Corse&rsquo;s application of the paint emphasizes the multi-chromatic visual effect created in the contrast between the glass beads and her textural brushwork. Each visual experience is therefore uniquely dependent on the viewer&rsquo;s engagement and physical interaction with each painting.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;"><strong>Nari Ward</strong> and <strong>Liu Wei </strong>will each present sculptural works made from found materials selected for their thematic possibilities. Ward&rsquo;s <em>Scape</em> (2012) is comprised of shoelaces installed directly into the wall in the shape of a fire escape ladder, a signifier of the urban landscape. Shoelaces have become a common medium for Ward, who often uses repurposed, common, or castoff objects as the base of his sculptures. Formally, the shoelaces act as a line, facilitating Ward's interest in drawing and mark-making. &ldquo;The laces, for me, are a way of bringing a different kind of movement and intensity into the piece,&rdquo; Ward says, emphasizing how the non-traditional materials he uses become intimately linked to the narrative content of the finished piece.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;"><strong>Liu Wei</strong>&rsquo;s work often utilizes industrial materials and forms in an abstract manner to offer insights into the complexity of the human condition. His sculptural work repurposes salvaged demolition debris in order to call attention to the accelerated urbanization and construction typical of the artist&rsquo;s home cityscapes of China. In<em> Exotic Lands No. 21</em> (2013), Liu Wei repurposes industrial doors in order to highlight the simplistic beauty in basic and typically commercial elements. The artist&rsquo;s <em>Puzzle</em> series, assemblages of mirrors in overlapping and irregular geometric forms, transforms the original purpose and context of the mirror and ultimately distort the viewer&rsquo;s perceptual experience.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">Together, these three artists demonstrate how the materials used in art production can have aesthetic or formal implications while also providing a narrative framework within their practice.&nbsp;</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;"><strong>About the artists</strong><br /> <strong>Mary Corse&nbsp;</strong>(b. 1945, Berkeley, California) received her BFA from the University of California, Santa Barbara, in 1963, and her MFA from the Chouinard Art Institute, Los Angeles in 1968. Corse&rsquo;s work has been included in several group exhibitions at significant institutions, including <em>Venice in Venice</em>, a collateral exhibition curated by Nyehaus in association with the J. Paul Getty Museum at the 54th Venice Biennale (2011); J. Paul Getty Museum, Los Angeles (2011); the Martin-Gropius-Bau, Berlin (2011); and Museum of Contemporary Art, San Diego (2011). Her works are in the permanent collections of Los Angeles County Museum of Art; Museum of Contemporary Art, Los Angeles; Fondation Beyeler, Basel; J. Paul Getty Museum, Los Angeles; Museum of Contemporary Art, San Diego; Orange County Museum of Art, Newport Beach; Solomon R. Guggenheim Museum, New York, and other significant public and private institutions. She lives and works in Los Angeles.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;"><strong>Liu Wei</strong> (b. 1972, Beijing, China) graduated from the National Academy of Fine Arts, Hangzhou, China in 1996. His work has been featured at several significant institutions with recent solo exhibitions at PLATEAU, Samsung Museum of Art, Seoul (2016); Ullens Center for Contemporary Art, Beijing (2015); and Museum Boijmans Van Beuningen, Rotterdam (2014). Recent group exhibitions include Qatar Museums, Doha (2016); Fondation Louis Vuitton, Paris (2016); Asian Art Museum, San Francisco, and San Antonio Museum of Art, Texas (2015); Rubell Family Collection, Miami (2014); The Queens Museum, New York; Long Museum, Shanghai (2014); Minsheng Art Museum, Shanghai (2011); Centre Georges Pompidou, Paris (2010); National Art Museum of China, Beijing (2010); Ullens Center for Contemporary Art, Beijing (2010); Long March Space, Beijing (2010); Saatchi Gallery, London (2008); Bonniers Konsthall, Stockholm; and Mudam Luxembourg (2008). He has participated in numerous international biennials and triennials, including the 13th Biennale de Lyon (2015); 11th Sharjah Biennial (2013); 4th Gwangju Triennial (2012); Shanghai Biennial (2010); Busan Biennial (2008); Guangzhou Triennial, (2008); and 51st Venice Biennial (2005). His work is included in numerous museum collections at Astrup Fearnley Museet, Oslo, Norway; M+ Sigg Collection, Hong Kong; and the Rubell Family Collection, Miami, among others. Liu Wei lives and works in Beijing.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;"><strong>Nari Ward</strong> (b. 1963, St. Andrew, Jamaica) received his BA from City University of New York, Hunter College, New York in 1991, and his MFA from the City University of New York, Brooklyn College in 1992. Ward&rsquo;s mid-career survey exhibition, Sun Splashed, is currently on view through August 22, 2016 at The Barnes Foundation, Philadelphia, after first opening in 2015 at the Perez Art Museum, Miami. His work has been included in several group exhibitions at significant institutions, including Savannah College of Art and Design Museum, Savannah (2015); Louisiana State University Museum of Art, Baton Rouge (2014); Fabric Workshop and Museum, Philadelphia (2011); Massachusetts Museum of Contemporary Art, North Adams (2011); Isabella Stewart Gardner Museum, Boston (2002); and Walker Art Center, Minneapolis (2001, 2000). The artist has participated in a number of biennial exhibitions, including the Whitney Biennial (2006); Prospect 1 New Orleans (2008); and Documenta XI, Kassel, Germany (2003). Ward&rsquo;s work is included in numerous museum collections at The Museum of Modern Art, New York; Baltimore Museum of Art; Brooklyn Museum; Nasher Museum of Art at Duke University, North Carolina; The Studio Museum in Harlem, New York; Walker Art Center, Minneapolis; and Whitney Museum of American Art, New York, among others. He lives and works in New York City.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;"><strong>About Lehmann Maupin</strong><br /> Founded in 1996 by partners Rachel Lehmann and David Maupin, Lehmann Maupin has fostered the careers of a diverse group of internationally renowned artists, both emerging and established, working in multiple disciplines and across varied media. With three locations&mdash;two in New York and one in Hong Kong&mdash;the gallery represents artists from the United States, Europe, Asia, South America, Africa, and the Middle East. Known for championing artists who create groundbreaking and challenging forms of visual expression, Lehmann Maupin presents work highlighting personal investigations and individual narratives through conceptual approaches that often address such issues as gender, class, religion, history, politics, and globalism.</p> Sat, 23 Jul 2016 07:42:31 +0000 http://www.artslant.com/cn/Events/list http://www.artslant.com/cn/Events/list - K11 at The Masterpiece - July 15th - September 11th <p style="text-align: justify;"><em>FASHION MUSE</em>, a cross-discipline &lsquo;art revolution&rsquo; project that covers fashion, architecture and lifestyle design, exploring the relationship between fashion and cultural identity in a contemporary context. In this campaign, you may visit the incredible installation by <strong>Kevin Lim</strong>, enjoy an architectural pop-up with exclusive T-shirt collection and designer products. A brand new exhibition,<em> FASHION. I.D.</em>, which features artworks by eight talents who examine the interplay of fashion and art, will be unveiled at chi K11 art space and Showcases.</p> Sat, 23 Jul 2016 07:38:51 +0000 http://www.artslant.com/cn/Events/list http://www.artslant.com/cn/Events/list Kong Lap Fung - Hong Kong Wan Fung Art Gallery - July 8th - July 20th <p style="text-align: justify;">香港雲峰畫苑與中國三品美術館將於2016年7月8至20日於土瓜灣總部聯合主辦《東方情韻-江立峰人物作品展》。是次展覽將展出江立峰工筆人物作品約四十多幅。開幕酒會訂於2016年7月8日(星期五)下午3時正舉行。<br /><br />江立峰生於1948年,廣東省寶安縣人,1978年定居香港,曾任香港理工大學研究生美術課程和香港公開大學中國水墨畫大師系列証書課程導師。現為專業畫家、廣東省美術家協會會員。江立峰是香港少數具實力的工筆人物畫家,其技法之於花鳥、動物和山水亦見充分駕馭。 <br /><br />仕女畫對於傳統人物畫發展的重要佔一席位,仕女畫既反映了當時的生活方式,又表現出畫家對美的追求,亦代表了傳統水墨對女性美的詮釋。而中國水墨發展史上,不論是古代的張萱、周昉、顧愷之,還是近代的張大千、林風眠等人,都對仕女畫的推進作出具大的貢獻,承先啟後,影響深遠。作為現代工筆人物畫家,江立峰的仕女畫作品多以古代歷朝和民國初年的服飾為主,透過俐落的線條,秀勁的用筆以及典雅的色調,在保留傳統工筆畫技法的同時亦不失時代氣息,加上現代的審美觀,把女性的嫵媚動人畫得別樹一格。<br />&nbsp;<br /><br />雲峰畫苑現誠邀各位參觀是次展覽,欣賞江立峰筆下女子風姿綽約的古典美。</p> Sat, 23 Jul 2016 07:34:18 +0000 http://www.artslant.com/cn/Events/list http://www.artslant.com/cn/Events/list Guo Xi, Zhang Jianling, Gong Xu, Zhu Xi, Feng Chen, Hong Dan, Shao Wenhuan, Tong Yixin - Hanart TZ Gallery - July 22nd - August 27th <p style="text-align: justify;">Hanart TZ Gallery proudly presents Annals of Floating Island, a special group exhibition of works by 8 young artists who are graduates of the progressive, cross-disciplinary programmes of the China Academy of Art, in Hangzhou. The exhibition is curated by SONG Zhenxi and ZHANG Cheng, and opens on 22 July 2016.</p> <p style="text-align: justify;">Curatorial Statement</p> <p style="text-align: justify;">This exhibition focuses on paradigms of constructing discourses about authenticity and creativity. Through the participating artists&rsquo; projects and artworks, we can discern their attempts at fresh articulations of &lsquo;truthful narratives&rsquo;, in which the threads of the virtual are interwoven with the experiences of the actual, and where the boundaries between so-called &lsquo;absolute reality&rsquo; and &lsquo;absolute fiction&rsquo; are blurred. The artists confront issues such as the reading of history, perceptual illusion, inter-subjectivity and inter-objectivity, and creativity as the product of ideology. Through these confrontations, they seek to create a new kind of discourse that is both informed by and revolves around the state of uncertainty.</p> <p style="text-align: justify;">This desire to restructure &lsquo;truth&rsquo; or &lsquo;authenticity&rsquo; results from the artists&rsquo; sense of collective purpose based on the particular reality of their life experience during this era. This experience is a complex construction of the intercourse between the secondary life lived within the virtual world of the Internet and the primary life lived within reality; the ubiquitous presence and encroachment of consumer society; and the cultural impoverishment and juxtapositions brought about by an increasingly globalized economy. The result is a state of extreme disruption and fragmentation of perception, sensory experience, judgment and creativity, where boundaries are increasingly blurred.</p> <p style="text-align: justify;">Through their processes of exploration, the artists seek to establish a new definition of &lsquo;the believable&rsquo; that is relevant to their generation; and at the same time, to reorganize the logic of &lsquo;the known&rsquo; by providing new feedback of their &lsquo;encounters&rsquo; along the way.</p> <p style="text-align: justify;">The key image of this exhibition is the &lsquo;floating island&rsquo;, an unanchored existential space that drifts across the ocean. The implications of this image include not only the constant motion of sailing across vast spaces, but also the act of navigating through unknown worlds. It also symbolizes the existence of a small sanctuary for hope and imagination within these &lsquo;uncertain&rsquo; times.</p> <p style="text-align: justify;">The title of the exhibition, Annals of Floating Island (Fudao zhi in Chinese), links together the artists&rsquo; projects and physical artworks as both records and historical products of the worlds contained within the floating islands. There is a double entendre here in the use of the character zhi in the Chinese title, which can also mean &lsquo;purpose&rsquo;: It hints at the purpose of the artists to represent the collective power of their generation as they seek to give a new definition to the ocean of the &lsquo;known&rsquo;.</p> <hr /> <p style="text-align: justify;">漢雅軒在2016年夏天帶來八位中國美術學院畢業的青年藝術家的作品,推出聯展:《浮島誌》。展覽由現任中國美術學院媒體城市研發中心策展部主任宋振熙加上張騁策展,討論所謂真實性論述的構建方式和創造力。</p> <p style="text-align: justify;">在參展藝術家的項目或作品中能夠感受到藝術家們對「敘事的真實」重新的描繪,虛造的線索和真實的經驗穿插在一起,模糊掉所謂絕對真實和絕對虛構的邊界,他們在面對歷史讀本、感知幻象、主客體轉換、意識形態時所產生的創造力,將重新構建一種圍繞不確定性所展開的論述,並置多個平行世界。</p> <p style="text-align: justify;">重構「真實」的欲望來自這個時代現實的經驗給於藝術家們的集體課題。虛擬互聯網的第二人生和現實生活的交合體驗;消費社會的景觀包圍;經濟全球化帶來的文化缺失和並置等,這些問題將人們的感知經驗、判斷力、創造力全部打亂,極其碎片化,走向迷失邊緣。藝術家們希望在自己的尋找中,建立這一代人對「相信」本身的重新界定,以及對被給予的「已知」的邏輯重組,從而反饋現實生活中「遭遇」。作為本次展覽的主題意象:浮島,即漂流在海上的一個移動著的空間存在。它不僅暗示著在航行中不斷移動著的,進行抒寫未知世界的航行者,同時也象征著在「不確定」時代裡,那一點點希望和遐想。展覽以虛構的「浮島志」為主題,鏈接起藝術家項目和參展作品,將他們看作是「浮島」世界的某種紀錄和歷史生產。同時,「志」在這裡的一語雙關,也暗示著以藝術家們為代表的群體力量對「已知」海洋重新定義的志向。</p> Sat, 23 Jul 2016 07:19:36 +0000 http://www.artslant.com/cn/Events/list http://www.artslant.com/cn/Events/list