ArtSlant - Recently added en-us 40 Yayoi Kusama, Lin Jingjing, Thomas Shannon, Bernar Venet, Wang Guofeng, Zhao Jinhe, Zhou Wendou - de Sarthe Gallery - July 2nd - September 13th Sat, 12 Jul 2014 20:30:21 +0000 Ye Linghan - Ben Brown Fine Arts Hong Kong - July 23rd - September 4th <p class="s2">Ben Brown Fine Arts Hong Kong is honoured to present&nbsp;<em>Gold. Circle. Tiger</em>, a solo exhibition of new works by Chinese artist Ye Linghan.&nbsp; While this will be the third time Ye Linghan is exhibited at the gallery, this will be the first time the artist&rsquo;s work takes over the entire gallery space, including the main exhibition room and the Project Room. &nbsp;&nbsp;</p> <p>This ambitious, multi-media installation will include three new video works:&nbsp;<em>Rotation and Chrysler</em>(2013),&nbsp;<em>After the Spelling of the Names of God</em>(2013), and&nbsp;<em>Gold. Circle. Tiger</em>&nbsp;(2014), as well as works on paper and paintings related to the videos.&nbsp; Ye&rsquo;s videos are an amalgamation of his drawings, paintings, and fascination with digital animation, resulting in surreal, seemingly three-dimensional loops that focus on both the reduction and building up of various forms that interest him&mdash;in this case New York City&rsquo;s Chrysler building, an imagined gold coin, and a chained tiger.&nbsp; In each video the disparate and highly symbolic imagery hover and rotate over a black background, creating a hypnotic effect and beckoning a contemplative study of the artist&rsquo;s fastidious working method.&nbsp; The lack of narrative in Ye&rsquo;s videos shifts the focus to the temporal quality of his hand-drawn animations; the artist feels that his videos allow him to manipulate and &ldquo;create&rdquo; time.</p> Fri, 11 Jul 2014 02:26:28 +0000 Group Show - Gallery Magda Danysz - Shanghai - July 12th - August 25th <p>The stroke of a pen gives its soul and greatness to both the artwork and the Haute Couture dress. The concept is for the first time embodied in the form of a stroke. This exhibition &laquo; Art and Fashion &raquo; explores this link between the creative process in each domain.</p> <p>From the end of 19th century until today, the History of Europe has been strewn with achievements, tragedies and transforming events. To some extent, Fashion is a reflection of these experiences and is sometimes an initiator of the evolutions we have experienced. From the recklessness at the turn-of-the-century (Belle Epoque) to the refusal of constraints during the Roaring Twenties and the societal revolution of the 1960s, all these periods have been accompanied by creative revolutions that have progressively led to the emancipation of women in our society.</p> <p>What better way to discover this history though the sketches and drawings of Karl Lagerfeld, Gianfranco Ferr&eacute;, Christian Lacroix and many other designers? This exhibition invites us to take a rare and exclusive behind-the-scenes look at their creative process. It is also a journey through the depths and the blurred boundaries between Fashion and Art, since the first strokes of a sketch are the underlying foundations in the creation of both Haute Couture and Fine Art pieces. Through the light and feathery strokes of each designer, a fantasied physiological reality of stream-like silhouettes takes shape and the soul of a new collection is revealed before our eyes.</p> <p>Presenting their collaborations with the fashion industry, renowned photographers Liu Bolin and Erwin Olaf give their own personal interpretation of the Haute Couture world in this exhibition. Both sensual and seductive, the wooden sculptures of Wang Keping and corsets of artistic director of Chanel&rsquo;s Maison Lesage, Hubert Barrere, will also be displayed. The Chinese sculptor and master corsetiere seek to emphasize women&rsquo;s curves and transform the female body into a piece of art while designers work to transform their original sketches into real garments that show off feminity.</p> Fri, 11 Jul 2014 02:14:11 +0000 Group Show - Shanghai Gallery of Art - June 28th - August 26th <p>PRESENT-ING RECITAL LOUDER THAN PAINT brings together artists to explore the terrains of contemporary painting, actively challenging the conventional framing and contextualizing mechanisms through which their practices are often situated. These artists investigate the surface of painting &ndash; its layering and its reduction, its manipulation in defining the meaning of the work.&nbsp;<br />We know that paint can be fluid, that it can run, trickle, drip, dislodge itself, spill over and out of the frame of the picture; that in its descent it can form drops, drips, slashes, dots, diverse 'accidentals' extrinsic to the artistic intention; and that these remains, the 'residue' as it were of the picture, become an integral part of the work. Thus, the exhibition strives to bridge the gap between image and specificities through conceptual emphasis to mark-making and interrogating appearances.</p> <p>The curatorial approach is one in which differences and similarities are brought together into a single space: a labyrinth of collectiveness, drawing on new dialogues initiated as a coherent language of painting defined and shared. By extension, the attitude embraced by the artists has undergone significant modification, resulting in a reconstructed archetype of contemporary paintings that are more reflective of their experiences. These shifts of sense and form are also acted out in spatial terms: the composition as a whole, the quality of the different materials and the different qualities coming into contact with the exhibition space as the viewer moves around to observe not just from one but from many view points.</p> <p>Suggesting themes of surface and light, becoming part of the artworks themselves, and posing a physical test for the viewers, painterly images make appeal not so much to the senses as to sense; works that assault the convention that shaped the medium or representation as offered. It also explores painting&rsquo;s ability to absorb and amplify experiences through an intense material engagement, as a tool for questioning perception. And the appearance of light is considered not simply as color or absence of substance or part of nature, but also as space &ndash; such as that residing between objects and visual constructions.&nbsp; It&rsquo;s to demonstrate how do we shape &ldquo;illumination&rdquo;?&nbsp;</p> <p>It is where artworks with the beauty not in the eye, but the concept of the beholder. It will be an exhibition of expressions whereby the questions are followed by exploration within the medium, and ultimately, or hopefully, the larger body of knowledge is expanded. Hence, a search for its own suspended voice. The exhibition design attempts to expand as if everyday reality is at times dispersed like a drop of paint in a glass of mirrored water, at times crystalizing into abstract or concrete forms.</p> <p>Considerations of the artworks/ideas as well as towards the design and structure of the exhibition may compose of approaches such as immateriality, immersion, intervention, instability, the void and the invisible/visible. With special attention to the painterly surface, it strengthens the sense of dynamism in what our eyes and the vision speak in a contemporary artistic discourse. Reciting a whole array of metaphorical readings, emotional association and critical meanings.</p> Wed, 09 Jul 2014 02:13:16 +0000 Tracey Emin, Klara Kristalova, Alex Prager, Robin Rhode, Juergen Teller, Erwin Wurm - Lehmann Maupin, Hong Kong - July 10th - August 16th <p>Lehmann Maupin is pleased to present Under the Skin, a group exhibition featuring artworks by gallery artists Tracey Emin, Klara Kristalova, Alex Prager, Robin Rhode, Juergen Teller, and Erwin Wurm. The artists included in this exhibition will present a diverse selection of works that are linked by a shared engagement with figurative representation in contemporary art.<br />Under the Skin features a selection of Emin&rsquo;s intimately-scaled monoprints and watercolors, including self-portraits that present the figure in the classical reclining nude pose. Executed in a style reminiscent of German Expressionism, these works evoke the raw emotion and poignancy typical of Emin&rsquo;s work, revealing the artist&rsquo;s innermost hopes, fears, and disappointments.<br />Kristalova&rsquo;s Big Girl Now (2013) uses the traditions of ceramics to integrate a conventional figurative form with a ceramic elephant-headed figure. In Big Girl Now the artist explores concepts of physical and psychological transformation by exposing a mysterious confluence between the human and animal worlds.<br />Prager, whose practice often explores the figure in relation to its surroundings, will exhibit recent photographic work that evokes a sense of ambiguity about time and place. The artist often creates narratives that straddle the line between fiction and reality, relaying a sense of anxiety, suspense, and general unease.<br />Rhode&rsquo;s nine-panel photograph Carry-on (2013) depicts a figure gesturing with what appears to be a piece of luggage, outlined by a scaled-down geographical map of South Africa. The &rdquo;push-pull&rdquo; resistance between the character and his &ldquo;carry-on&rdquo; bag evokes notions of transnational movement and the burdens of identity, highlighting the relationship between the individual figure and society.<br />Cerith, Suffolk (2011), Teller&rsquo;s photograph of a seemingly catatonic man lying still on a bed, buoyed by a vibrant clutch of balloons, evokes a loss of spirit and the decay of the living body. The fleeting nature of the figure&rsquo;s exhausted life is juxtaposed starkly with the effervescent colors floating above him.<br />The exhibition will also feature Wurm&rsquo;s Step (2014), a new large-scale work from the artist&rsquo;s Abstract Sculptures series. Continuing his exploration of the anthropomorphic qualities of the sausage-like form, Wurm challenges the viewer&rsquo;s ingrained psychological perceptions of a recognizable object. In Step Wurm alters and re-envisions the traditional representation of the figure by adopting the frankfurter form, drawing subtle parallels to the physiology of the human body.<br />About Lehmann Maupin<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.<br />About the Artists<br />Tracey Emin (b. 1963, Croydon, United Kingdom) is internationally recognized for her blunt and revealing style, which elicits a broad range of emotions from shock to empathy to self-reflection. Drawing on personal experiences, Emin often reveals emotional situations with brutal honesty and poetic humor in a wide variety of media including painting, drawing, embroidery, neon, installation, sculpture, and film. In 2007, she was chosen to represent Great Britain at the Venice Biennale. That same year, Emin was made a Royal Academician and was awarded an Honorary Doctorate from the Royal College of Art, a Doctor of Letters from the University of Kent, and a Doctor of Philosophy from London Metropolitan University. In 2013, Queen Elizabeth II appointed Emin a Commander of the Most Excellent Order of the British Empire for her contributions to the visual arts. In recent years, Emin has been the subject of numerous retrospective exhibitions, and her work can be found in many of the world&rsquo;s most prestigious public collections. The artist currently lives and works in London, England.<br />Klara Kristalova (b. 1967, Czechoslovakia) studied at the Royal University College of Fine Art, Stockholm, Sweden. A skilled and imaginative storyteller, Klara Kristalova&rsquo;s figurative sculptures are influenced by myth and fairy tales and exude both an innocence and horror that recall childhood fantasy, dreams and nightmares. Kristalova&rsquo;s exhibition history includes solo exhibitions at SITE Santa Fe, New Mexico (2009); San Francisco Museum of Modern Art (2011); Bonniers Konsthall, Stockholm (2012); and Goteborgs Konstmuseum, Sweden (2012), among others. Kristalova&rsquo;s work is included in numerous collections including the Moderna Museet, Stockholm; National museum, Stockholm; Norrk&ouml;pings Konstmuseum, Sweden; Bror Hjorts Hus, Sweden; Sk&ouml;vde Konstmuseum, Sweden; Norrt&auml;lje Kommun, Sweden; Sundsvalls Konstmuseum, Sweden; and the National Public Art Council, Sweden. The artist lives and works in Norrt&auml;lje, Sweden.<br />Alex Prager was born in 1979 in Los Angeles, California, where she continues to live and work. A self-taught artist, she was inspired to take up photography after seeing the color images of William Eggleston, who is widely regarded as the father of contemporary color photography. Her work has been exhibited internationally, most prominently in Alex Prager: Face in the Crowd at the Corcoran Gallery of Art in Washington, D.C. (2013), Alex Prager: Compulsion (2012) at FOAM in Amsterdam, and New Photography 2010 at New York&rsquo;s Museum of Modern Art. Prager has been recognized with the FOAM Paul Huf Award (2012), among other honors. Her editorial work has been featured in Vogue and W, and her film series &ldquo;Touch of Evil,&rdquo;<br />commissioned by The New York Times Magazine, won a 2012 Emmy Award. Prager&rsquo;s work is represented in the collections of major museums including New York&rsquo;s Museum of Modern Art and Whitney Museum of American Art, San Francisco Museum of Modern Art, and Moderna Museet in Stockholm, Sweden.<br />Robin Rhode (b. 1976, Cape Town, South Africa) was raised in Johannesburg and graduated from the South Africa School of Film, Television and Dramatic Arts, Johannesburg, in 2000. The Berlin-based multidisciplinary artist engages a variety of visual languages such as photography, performance, drawing and sculpture to create arrestingly beautiful narratives that are brought to life using quotidian materials such as soap, charcoal, chalk and paint. Coming of age in a newly post-apartheid South Africa, Rhode was exposed to new forms of creative expression motivated by the spirit of the individual rather than dictated by a political or social agenda. The growing influence of hip-hop, film, and popular sports on youth culture as well as the community&rsquo;s reliance on storytelling in the form of colorful murals encouraged the development of Rhode&rsquo;s hybrid street-based aesthetic. His strategic interventions transform urban landscapes into imaginary worlds, compressing space and time, as two-dimensional renderings become the subject of three-dimensional interactions by a sole protagonist, usually played by the artist or by an actor inhabiting the role of artist. Melding individual expressionism with broader socio-economic concerns, Rhode&rsquo;s work reveals a mastery of illusion, a rich range of historical and contemporary references, and an innate skill for blending high and low art forms.<br />Juergen Teller (b. 1964, Erlangen, Germany) studied at the Bayerische Staatslehranstalt f&uuml;r Photographie in Munich, before moving to London in 1986. Considered one of the most important photographers of his generation, Teller has successfully navigated both the art world and commercial photography since beginning his career in the late 80s. Recent solo exhibitions include Touch Me, at Le Consortium, Dijon (2010) and Daelim Museum, Korea (2011); Man with Banana, Dallas Contemporary, Texas, curated by Peter Doroshenko (2011); and Irene Im Wald, The Journal Gallery, Brooklyn (2012), among others. In 2012, renowned curator Francesco Bonami organized Juergen Teller&rsquo;s first solo exhibition in Italy. Installed in the majestic reserve apartments of the Palazzo Reale, The Girl With the Broken Nose comprised nine photographs of monumental proportion. Each measuring six feet by ten feet, the works on view were the artist's largest to date. In January 2013, the Institute of Contemporary Art, London opened a retrospective of the artist&rsquo;s work.<br />Known for his uniquely humorous approach to formalism, Erwin Wurm&rsquo;s (b. 1954 Bruck an der Mur/Styria, Austria) multi-disciplinary works have appeared in exhibitions throughout the world. The artist&rsquo;s recent exhibitions include The Artist Who Swallowed the World, Kunstmuseum St. Gallen, Switzerland (2008); Narrow Mist, Ullens Center for Contemporary Art, Beijing (2010); Liquid Reality, Kunstmuseum Bonn (2010); Wear Me Out, Middleheimmuseum, Antwerpen, Belgium (2011); Beauty Business, Bass Museum of Art, Miami (2011), Dallas Contemporary, Texas (2012); Am I A House, CAC Malaga, Spain (2012); and Erwin Wurm- Good Boy, Museum of Contemporary Art, Krakow, Poland (2013). In 2011, Erwin Wurm&rsquo;s &ldquo;Narrow House&rdquo; was installed at the Palazzo Cavalli Franchetti as part of Glasstress 2011, a collateral event of the 54th Venice Biennale.</p> Fri, 11 Jul 2014 21:00:10 +0000 Xu Haotian - Guangdong Wan Fung Art Gallery - July 5th - July 21st <p>广东(中山)云峰画苑于7月5日下午三时正举办《宁静致远-徐浩田山水作品展》開幕茶会。届时画家徐浩田将亲临现场跟大家分享他的创作心得。此次展览展出50幅徐老师的山水精品作。徐浩田长居乡村,孜孜不倦地写生和创作。他的山水画清新雅静,品读他的山水画一股清新静谧之气扑面而来,没有丝毫的委靡之风,也没有点滴的粗俗与浮躁。</p> Wed, 09 Jul 2014 01:55:05 +0000 Shi Jing, Wu Didi - CHAMBERS FINE ART BEIJING - July 12th - August 31st <div class="prEnglish"> <p>Chambers Fine Art Beijing is pleased to announce the opening of&nbsp;<em>Shi Jing &amp; Wu Didi</em>&nbsp;on July 12, 2014.</p> <p>For both painters nature is the source of inspiration, although they approach it from widely different perspectives. Shi Jing is inspired by views of the world from outer space, by vast perspectives, mountain ranges and impressive landscapes, but is reluctant to approach these themes in a traditional way. Wu Didi, on the other hand, focuses on the constituent parts of the natural world: weeds, stones, and insects, for example, and paints them in minute detail on blank canvases. The dialogue between the two artists is a stimulating one.</p> <p>Shi Jing has evolved a painterly method that evokes surprise each time we see nature in all its majesty. At first glance his paintings appear to be monochromatic, whether white or black, but as the spectator changes his or her position, planets, mountains, majestic buildings and sometimes human faces gradually appear and disappear. Achieved through minute changes in the direction and thickness of his brushstrokes, these mirage-like visions are deeply meaningful, providing insights into the impermanence of human life and the passing of time. For the current exhibition, Shi Jing has painted a new series of white canvases in which the inspiration is not so much nature itself as it is nature perceived through Chinese landscape painting. In the new series of dark paintings, forms resembling planets or the world seen from outer space appear through the use of a special LED lighting system that is attached to each piece.</p> <p>In complete contrast are the poetic nature studies of Wu Didi in which the absence of context leads to concentration on the specificities of natural forms that are generally overlooked. In this case, her focus is on bamboo. She has written of her quest to investigate the nature of bamboo through actions such as breaking, twisting and bending and wishing to convey its toughness and resilience. Further emphasizing the strength of the bamboo are the insects that add motion to her otherwise static compositions.</p> <p>Both artists approach Chinese traditions and themes, whether landscape in the case of Shi Jing or motifs such as bamboo and insects in the case of Wu Didi, in a highly personal manner that shows the continuing appeal of this time-honored subject matter.</p> <p>Shi Jing was born in Dehongzhou,Yunnan province in 1971. He lives and works between Beijing and Yunnan. Chambers Fine Art has been working with the artist for the past six years with works included in&nbsp;<em>Blog It: New Wave of New Wave</em>&nbsp;(2008 Chambers Beijing, Chambers New York) and&nbsp;<em>Dream Or Reality-Chinese Art Today</em>&nbsp;(2008 Amsterdam). Shi Jing has been widely exhibited in China including a solo show in the Today Art Museum (2009) and the Nanjing and the Guizhou Triennials (both 2008). Internationally, his work appeared in&nbsp;<em>China Now</em>, ESSL COLLECTION, Vienna (2006),&nbsp;<em>Grounding Reality</em>, Seoul Arts Center, Seoul, Korea (2005) and&nbsp;<em>Mahjong: Contemporary Chinese Art from the Sigg Collection</em>, Kunstmuseum Bern, Cologne, Germany.</p> <p>Wu Didi was born in Chong Qing in 1976. She graduated from the Sichuan Academy of Fine Arts High School in 1996, and received her BA degree from Central Academy of Fine Arts, Beijing. In 2004, she earned her Master&rsquo;s Degree from CAFA Oil Painting Department. She currently teaches at Central Academy of Dramatic Art. This is her first exhibition at Chambers Fine Art.</p> <hr /> <p>&nbsp;</p> </div> <div class="prChinese"> <p>前波画廊荣幸地宣布将于2014年7月12日起举办展览:《史晶 &amp; 吴笛笛》。</p> <p>两位艺术家的灵感都来源于大自然,然而他们探索这一主题的角度迥然不同。史晶的灵感来自从外太空鸟瞰世界的景象及层峦叠嶂的壮丽景观,但他并不愿意用传统的手法来表现这些主题。与之相比,吴笛笛则更专注于自然世界的微观组成,比如杂草、岩石、昆虫等等,并将这些细节充分展现在画布上。两人的作品在同一展览中形成了一个对话,可谓是相得益彰。</p> <p>史晶的绘画手法总不失带给我们带来惊喜,使观者通过这种创作方法来见证大自然的雄伟。乍一看,他的油画色调单一,或是一片漆黑或是一片雪白。而当观者转换其视角,星球、山峦、雄伟的建筑或人像便会映入眼帘,时隐时现。艺术家通过对笔触方向和力度的细微控制创作出这些奇迹般的景象。这些景象具有深层的内涵,它们洞悉人世的无常,光阴的流逝。为了本次展览,史晶创作了一系列新的白色作品。这组作品的灵感与其说是来源于自然本身,不如说是来自中国古代山水画对大自然的展现。另一新系列的暗色作品则借助每幅作品所特别配置的LED灯光装置,呈现出类似星球或者从外太空所看到的地球的景象。</p> <p>与之截然相反,吴笛笛对自然的探索则富有诗意,其作品省略了背景,于是将我们的视线引领到常常被忽视的自然具体形态之中。本次展览作品中,她的创作重点是竹子。通过对竹子特性的研究,包括折断、扭转和弯曲,表现出竹子的弹性及韧性。艺术家也通过那些昆虫进一步强调了竹子的坚韧,并为原本静态的作品中增添了一份生气。</p> <p>无论是史晶的风景还是吴笛笛的竹子与昆虫,两位艺术家都是以非常个性化的手法来展现久经不息、持续散发魅力的中国传统主题。</p> <p>史晶于1971年出生于云南省德宏州,现工作和生活于北京和云南。前波画廊在过去六年中与其持续合作,入选展览包括《Blog It: 新的新浪潮》(2008年纽约前波画廊),以及《梦想或现实:中国今日艺术》(2008年于荷兰阿姆斯特丹)。史晶的作品在中国也已被广泛展出,包括其在今日美术馆的个展(2009年),以及南京三年展和贵州三年展(2008年)。在国际上,其作品也入选了《今日中国&mdash;中国当代艺术的转世魄影》(2006年于维也纳)、《着陆现实》(2005年于首尔),以及2005年的《麻将&mdash;希克中国当代艺术收藏展》(2005年于德国)。</p> <p>吴笛笛于1976年出生于重庆。1996年毕业于四川美术学院附中,后在北京中央美术学院获学士学位,并于2004年获中央美术学院油画系硕士学位。至此,也已有着丰富的参展经历如《万象&bull;呼吸》(2013年今日美术馆)以及《玄心妙物》(2014年时代美术馆)等,现执教于中央戏剧学院。本次展览是吴笛笛与前波画廊的首次合作。</p> </div> Wed, 09 Jul 2014 01:48:15 +0000 Cao Xiaoyang - Hanart TZ Gallery - July 18th - August 16th <p>Hanart TZ Gallery is proud to present The Twenty-Four Solar Terms, Paintings by Cao Xiaoyang debut solo exhibition in Hong Kong, opening on 18 July till 16 August, 2014, showcasing set of 24 charcoal on papers from the series. Born in Zhenjiang, Jiangsu Province, he graduated with the master of Arts from the Print-making Department and is currently the Head of The Foundation Studies Branch of the China Academy of Art. Cao&rsquo;s debut solo show at Hanart TZ Gallery is curated by Professor Gao Shiming, Director of the School on Intermedia Art, China Academy of Art.</p> <p>Xiaoyang has devoted himself exclusively to shanshui (Literally, &lsquo;mountains and water&rsquo;; the Chinese concept of brush-and-ink landscape painting) art for over ten years. And through all these years, each time Xiaoyang paints, it seems that he is seeking to evoke the archetypal shanshui scroll: the scroll that has endured through thousands of years, through the ravages of time, the invasions of insects, the turmoil of war, and that retains faint, misty traces still discernible on its surface. The scroll, in itself, is shanshui.</p> <p>When sketching in nature, the artist stands amidst the mountains. When painting in the studio, the scenery reappears in the artist&rsquo;s mind, and materializes through the movements of his body: the painter and his subject matter become as one, bonded together in a process of mutual cultivation, like polishing a piece of jade.</p> <p>Excerpted from Sharing Silent Secrets: Cao Xiaoyang&rsquo;s Way of Shanshui , Gao Shiming</p> <p>&nbsp;</p> <p>Tradition can also confuse people. Those who have seen Cao&rsquo;s work often willstart talking about the classical elegance of Song-dynasty shanshui paintings and mourn the loss of the ancient methods. Painters think about this too; it is an inescapable question. However, artists still must paint; and thus they must seek out the traditions that exist within their own minds and hearts, and harness the inner wellspring that connects them to the dao of Nature. These shanshui must be his own shanshui, must be his own tradition, must be his own self: his own present, in this moment and as it begins to move into the past.</p> <p>Excerpted from Shanshui: A View: An Appreciation of Cao Xiaoyang&rsquo;s Art, Sun Shanchun</p> Wed, 09 Jul 2014 01:21:31 +0000 Ye-Feng Wang - Art Projects Gallery - August 9th - August 24th <p>Art Projects Gallery is delighted and honored to have the opportunity to present New York based Chinese artist Wang Yefeng&rsquo;s inaugural gallery solo exhibition, titled &ldquo;iGeneration&rdquo;.</p> <p>Prior to this, Yefeng&rsquo;s cutting edge works have mainly been exhibited only in museums and other prestigious academic venues. These include the Co-prosperity Sphere Culture Center in Chicago, El Museo Cultural de Santa Fe, Xuzhou Museum of Art China, The Museum of Luxun Academy of Art (Shenyang, China) and 99 Art Space at Shanghai University.</p> <p>An innovative artist using the digital media and currently leading the Digital Media Program at Rhode Island College as an Assistant Professor, Wang Yefeng&rsquo;s works feature virtual worlds and imaginary characters created by the artist to raise issues about the real world that are close to his heart. The &ldquo;iGeneration&rdquo; solo exhibition showcases two of his important video installation works, &ldquo;Well-Disciplined Kids&rdquo; and &ldquo;A Figure&rdquo;.</p> Mon, 07 Jul 2014 10:55:42 +0000