ArtSlant - Recently added en-us 40 Zhou Xiaohu, Xu Zhen, Wang Sishun, Wang Jianwei, Ran Huang, Hu Xiangqian, Chen Chieh-jen - Long March Space - September 11th - November 2nd Wed, 27 Aug 2014 05:21:16 +0000 - K11 at The Masterpiece - August 25th - September 29th <p>K11 has always supported the development of local artists, and provide valuable opportunities for them to express some important messages through exhibitions. K11 specially invited 3 local art units that have been nurtured by KAF to create the &ldquo;5<sup>th</sup>&nbsp;ARTiversary Design Special&rdquo; Exhibition. They include Pengguin, Stickyline, and Kay Kwok, the first Hong Kong menswear designer who unveiled his work during London Fashion Week. The exhibition will showcase a series of creative art works to express their blessings to K11 at the mall&rsquo;s showcases on G/F, L1 and L2.</p> Wed, 27 Aug 2014 05:16:38 +0000 Sue Williams - James Cohan Gallery Shanghai - September 12th - October 26th <p>Scroll Down for English</p> <div class="release"> <div class="text"> <p>上海James Cohan画廊很荣幸带来纽约画家<strong>苏&middot;威廉姆斯</strong>的展览。展览于2014年9月12日周五开幕,持续至10月26日。开幕酒会将于9月12日周五晚6点至8点举行。这将是苏&middot;威廉姆斯在中国的第一次展览。</p> <p>苏&middot;威廉姆斯(出生于1954年)长久以来因其作品结合了性别政治和身体的主题所被人熟知。她高度挑衅、叙事的早期作品吸引了80年代中期和90年代早期的一大批观众注意。威廉姆斯被认为是一位女权主义艺术家,但她很快就通过探索更多富有争议性的主题挑战了她的同行和其他艺术家,诸如家庭暴力、性猥亵和性虐待,以及她对社会中接受性别歧视现象的愤怒。在这些威廉姆斯的早期作品中,有很多都描画了身体部位、窍孔和人体器官的细节。她的作品很快成为公认的新叙事表现主义的一部分,并常常用文字或短语作为图示化的标题。到了1993年,威廉姆斯开始思考挑战抽象绘画和抽象艺术史,她画中能够被一眼认出的暴力景象变得越来越抽象和零碎,偶尔还带有尖刻的幽默和外向的荒诞。同年,她被授予古根海姆基金奖,以表彰她的开拓性创作。到了90年代末,她的画作又发生了一些风格上的转变,从类似《黑暗之光》(1996)和《旋花和红色》(2005)这样的作品可以看出,她的画通过限制颜色的选择变得更加精致,笔触和空间曲面也成为其关注焦点和核心。</p> <p>展览展出一些威廉姆斯上世纪90年代末的早期拟人化作品,及到过去七八年里的新作。自2001年9月11日世界贸易中心袭击事件和随后的反恐战争、伊拉克和阿富汗持续冲突开始,威廉姆斯的作品从对身体和身体功能凌乱、赤贫的视觉游戏,转变到关注具有创伤性的地缘政治和环境事件及所带来的后果的绘画,特别是最近的作品,如《绝迹》(2012),《蛇颈龙情侣》或《国家对话,贮藏在犹他州》(2014)。</p> <p>&nbsp;</p> <p>苏&middot;威廉姆斯参加国际展览已超过15年,包括1993年、1995年和1997年的惠特尼双年展,及在现代艺术博物馆和纽约新当代艺术博物馆举办的展览。最近她在弗罗里达棕榈滩ICA、奥地利维也纳的分离派展览馆、西班牙瓦伦西亚现代艺术中心和美国马萨诸塞州安多弗的Addison画廊举办了个展。苏&middot;威廉姆斯的作品被众多公共机构和博物馆所收藏,如华盛顿特区赫希洪博物馆和雕塑公园、纽约现代艺术博物馆、纽约惠特尼美术馆和瑞士日内瓦当代艺术中心。</p> </div> </div> <div class="release"> <div class="text"><hr /> <p>James Cohan Gallery Shanghai is pleased to announce an exhibition by the New York-based painter&nbsp;<strong>Sue Williams</strong>. The exhibition opens Friday, September 12 and continues to October 26, 2014. A special reception for the artist will be held on Friday, September 12th from 6:00 to 8:00 pm. This is Sue Williams&rsquo; first exhibition in China.</p> <p>Sue Williams (b. 1954) has long been known for her works which combine themes of gender politics and the body. Her early works of highly provocative narrative paintings brought her to the attention of a larger audience beginning in the mid-1980s and early 1990s.&nbsp; Williams was thought of as a feminist artist, but one who would soon challenge her peers and other artists by exploring more controversial themes such as domestic violence, sexual abuse and assault, and her indignation towards the acceptances of sexism in society. In many of these earlier works, Williams&rsquo; paintings depicted outrageous details of body parts, orifices, and human organs. Her paintings became quickly recognized as part of a new narrative expressionism and frequently included text or phrases as illustrated captions. The immediately recognizable violent imagery in her paintings grew increasingly abstract and fragmentary by 1993 and, at times, scathingly humorous and outwardly absurd as Williams reflected on the challenges of abstract painting and the history of abstract art. In 1993, she was awarded a Guggenheim Fellowship in recognition for her groundbreaking works. By the end of the decade there would be other stylistic shifts as her paintings became more refined by limiting her color choices and where brushstrokes and spatial surfaces were the focal point and central concerns, evident in paintings like&nbsp;<em>Darklight</em>&nbsp;(1996) and&nbsp;<em>Bindweed and Red</em>&nbsp;(2005).</p> <p>The exhibition features some of Williams&rsquo; earlier anthropomorphic paintings from the late 1990s leading to current works painted during the last seven or eight years, moving from the untidy, abject visual play on the body and bodily functions, to paintings which address traumatic geopolitical and environmental events and aftermath since the September 11th, 2001 attacks on the World Trade Center, the subsequent &ldquo;War on Terror&rdquo; and continued conflicts in Iraq and Afghanistan, notably in recent works such as&nbsp;<em>Extinction</em>&nbsp;(2012),&nbsp;<em>The Plesiosaurus Couple</em>, and&nbsp;<em>The National Conversation, Stored in Utah</em>&nbsp;(2014).</p> <p>Sue Williams has exhibited internationally for over 15 years and was included in the 1993, 1995, and 1997 Biennials at the Whitney Museum of American Art, as well as shown at the Museum of Modern Art and the New Museum in New York. She recently has had solo exhibitions at the Palm Beach ICA, Florida; the Secession in Vienna, Austria; the Instituto Valenciano de Arte Moderno, Spain; and the Addison Gallery of American Art in Andover, Massachusetts. Sue Williams&rsquo; works are in numerous public and museum collections, such as the Hirshhorn Museum and Sculpture Garden in Washington, D.C.; the Museum of Modern Art, New York; the Whitney Museum of American Art, NY; and the Centre d&rsquo;Art Contemporain in Geneva, Switzerland.</p> </div> </div> Wed, 27 Aug 2014 02:49:37 +0000 Shen Aiqi - Hanart TZ Gallery - September 5th - September 27th <p>Hanart TZ Gallery is proud to present the solo exhibition, Painting with Qi by SHEN Aiqi, opening on 5 September till 27 September. The show is curated by Professor Pi Daojian, School of Fine Arts, South China Normal University.</p> <p>Born in 1941 Hubei, Shen Aiqi has been engaged in the exploration of the painting process since his youth, and in the late 1950s was already a dedicated student of great Hubei master Xu Song&rsquo;an. As the decades passed by he immersed himself in the study of the &ldquo;six canons&rdquo; of Chinese art, creating a unique body of work grounded on the training he received under his master&rsquo;s tutelage, yet very uniquely his own. For many years, Shen Aiqi rarely showed his paintings to others: it was only after he celebrated his 70th birthday that he chose to share his work with the world in a solo exhibition at Yuhan. This has caused a true sensation in art circles and beyond. Shen Aiqi&rsquo;s painting is majestic and vibrant, radiating a unique sense of life-force that is tangible to all who come into contact with it. Within his works are contained organic patterns of nature and energy. This is the kind of grandeur that can only arise when the artist merges with sky and earth, mountains and rivers, fusing his life-force with that of nature. For Shen Aiqi, the process of merging with nature and then expressing this oneness through his art is one of the greatest joys of painting.</p> <p>In the 1980s, when the open-door political and economic reforms were first instituted in China, most people became obsessed with escaping the scarcity they had endured for so long and sought every means possible to improve their material well-being. By contrast, Aiqi&rsquo;s concerns at this time were focused on the idea that &lsquo;man and nature are as one&rsquo;. He always held firm to this belief</p> <p>in the unity of man and nature. In the 1990s, Aiqi&rsquo;s philosophical and artistic journey led him to a new understanding regarding the conceptualization of the cosmic creative source. Aiqi describes this conceptualization as tai 態: the unity of energy (nengliang能量) and the heart-mind (xin心). This concept of tai expresses Aiqi&rsquo;s understanding of the world, of nature and the universe. To Aiqi, tai is the mother of the universe, the source of all things. Aiqi&rsquo;s integration of this philosophical understanding into his daily life explains why the first act he performs in the painting process is to &lsquo;harness qi&rsquo; (cai qi) When Aiqi paints, he first gathers into himself the qi, or energy, of nature, and then externalizes it through the dynamic forms of brushwork--dots, lines, ink rhythm, ink &lsquo;breath&rsquo;; through this visual externalization, he constructs a world.</p> <p>Within this concept of breath-resonance is contained the idea that painting is infused with and animated by the same kind of life-force that animates humans, and indeed all living beings. Watching Aiqi paint, one might feel that his is a completely unrestrained, almost cathartic process, but in fact it is far more than this. For Aiqi, painting is a vital necessity of his inner, energetic life-force as well as of his daily life: it is the way he expresses his being-ness in the world. Yet at the same time, he also wants to use his art to shake people up---to awaken them--by giving them a kind of powerful visual shock. His painting at first glance seems abstract and formless, but in fact it has both pattern and form that extend beyond the painting surface itself. This pattern and form come into being through the artist&rsquo;s complete energetic investment in the act of painting, through the rhythm and &lsquo;breathing&rsquo; of the ink forms; and, ultimately, they manifest through in their emergence in our minds and hearts.</p> <p>Aiqi&rsquo;s working method infuses his paintings with a strong sense of performance, setting his art apart from that of his shanshui forbears. But this element of performance is also quite different from that of modern Western &lsquo;action painting&rsquo;. This is not only because Aiqi paints out in the open air, in the midst of nature. The key issue is that Aiqi&rsquo;s paintings are the direct expression of his emotional and spiritual state in the moment;and by extension, they also channel, through the actions and methodology of the individual artist, the response of traditional Chinese culture in confrontation with the age of economic and technical globalization on the one hand and the existential state of modern Chinese society on the other. His works are materialisations of Chinese philosophical thought, of traditional views on nature, and on the relationship between man and the universe. In this sense, Shen Aiqi&rsquo;s shanshui painting can be considered as a form of Chinese contemporary art.</p> <p>Excerpted from&nbsp;<em>Transmuting Qi into Form: The Modern Shanshui Art of Shen Aiqi</em>, Pi Daojian</p> Wed, 27 Aug 2014 02:42:46 +0000 胡宇基 - Guangdong Wan Fung Art Gallery - August 23rd - September 8th <p>广东(中山)云峰画苑于8月23日下午三时正举办《古意今情-胡宇基作品展》開幕茶会。胡宇基作为岭南画派第三代重量级代表人物,当时被东方朋友昵称为&ldquo;荷花胡&rdquo;,可见胡老荷花系列作品给人们留下如此深刻的印象。胡宇基特别喜爱绘画荷花。因为他欣赏荷花出淤泥而不染,清丽而脱俗的属性。胡先生笔下荷塘景色是匠心独具的,他长期观察荷花的生长形态以及在风雨晴雾不同环境下的美感,致画面的刻画能达至淋漓尽致的境界,既有亮丽华贵的气氛和色彩,又不失雅逸清新的形象。<br />赵少昂大师曾为胡宇基的艺术成就予以&ldquo;古意今情&rdquo;的美誉。云峰画苑有幸以此为题为胡先生举办这次巡回展,本次展览展出近40幅精品之作,将胡宇基炉火纯青的艺术展示在观众眼前。</p> Wed, 27 Aug 2014 02:37:33 +0000 Julia Steiner - GALERIE URS MEILE BEIJING - September 6th - October 19th <p>Carol Yinghua Lu on the occasion of&nbsp;Julia Steiner&rsquo;s&nbsp;solo exhibition&nbsp;<em>deep voice &ndash; clear sky 净空 &ndash; 深声</em>&nbsp;at Galerie Urs Meile, Beijing:<br />Basel-based Swiss artist Julia Steiner might yet to become a familiar name to many of us in the Chinese art world, but she is no stranger to China. She has spent extensive time and energy traveling and working in China, through two artist-residency stays in Galerie Urs Meile in Beijing. What brought her to China in the first place was the fact that when she started out making works on paper and showing her gouache paintings back home in Switzerland, one of the most common responses she received was that many in Europe thought she was influenced by Chinese traditional paintings. It was then that she began reading about Taoism and learning about Taoist thoughts through the works of Laozi and Zhuangzi. As she read more, she made a decision to come to China and to see it for herself.<br /><br />Composing a painting or an installation through collaging and by responding intuitively, sensually and aesthetically to physical conditions and atmospheric surroundings of a space has been a systematic approach in Steiner&rsquo;s practice. The paper she paints on and the process of making each painting are the connected-links between how she witnesses and experiences a space or a condition and how she articulates such an experience. She drew situations, persons, fragments of situations, sights and scenes. The process of working through a painting is a process of recalling and conveying a personal immersion in a situation, be it darkness or an empty space. As the artist describes it herself, it is as if taking a walk through a painting.<br /><br />In the early paintings she made around 2005, what emerged as motifs were usually a mixture of things: observations, noise she heard, scenes she witnessed, sentences she heard or read, atmosphere she felt in a space. These were inspirations she would start with and she would then try to find an image for their materialization on paper. It was usually not a clear idea of the actual image, but more of a feeling of what the image was and how it should look like. These images in her work were more imaginary than factual, yet firmly based on the reality as she experienced it. Instead of portraying birds fluttering around in the space, resting on a tree or horses running, literally as they appear, what Julia Steiner sets out to do in her painting is to make apparent the experience as such.<br /><br />Until now, Steiner always works in black and white. In her paintings, the majority of which are done in large scale, whiteness is almost always more expressive and outstanding than blackness and is nearly inevitably the first thing that catches one&rsquo;s eyes. In a way, Steiner is sculpting space and void in her works, a process motivated by her experience and memory of the reality, her personal reality, to be precise, paths she takes, places she visits, sound she hears and scenes she witnesses. It&rsquo;s both personal and original. She does not take references from theoretical writings or precedents from art histories. I asked Steiner if having being in China a number of times, doing research and making works, had she come to agree with any of the resemblance and connection people back home talked about between her paintings and Chinese paintings. She told me that in fact shortly after arriving in China, she knew that such a generalization about Chinese paintings and the formal comparison between hers and Chinese traditional cultures were just irrelevant.<br /><br />In the exhibition at Galerie Urs Meile, Beijing during the installation process, Julia Steiner has brought in 3500 kg of wet clay to the gallery space and worked on them for seven days on a wood base, measured at 3.20 m wide and 4.10 m long with a height of 28 cm, built especially to hoist this sculptural being. She also made a painting on the walls of the exhibition space, framing the sculptural work. Like her paintings, the clay work requires the artist to be with it, spending time observing, molding, feeling and making it, taking some distance from it and returning to it. After a two-week breathing period, the artist will cover it with black glossy acrylic paint. This enormous and abstract clay landscape will continue to dry during the time being of the exhibition and will crack, change form and become a living presence in the space. This new direction of working with clay does offer a more corporal feeling, the experience of the density and the energy of the artist&rsquo;s movement in full dimensions and from all angels.</p> Sat, 23 Aug 2014 23:55:57 +0000 Xia Xiaowan - GALERIE URS MEILE BEIJING - September 6th - October 19th <p>Galerie Urs Meile is pleased to announce the opening of a solo exhibition by&nbsp;Xia Xiaowan. While viewers might be familiar with his earlier glass works, in this exhibition these three-dimensional works are juxtaposed with related sketches, revealing the artists exploration and understanding of process in painting. In his earlier artistic practice, Xia Xiaowan primarily produced pencil drawings on paper. But in order to establish a more close relationship between the works and the exhibition space, and drawing on concepts developed in his earlier paintings on glass panels, Xia began in 2003 the transition from two-dimensional drawing to three-dimensional painting. These glass works, with their stereoscopic optics, broke the boundaries of two-dimensional paintings and created a strong sense of physical mass that was at the same time empty and ambiguous. The exhibition presents a selection of four representative three-dimensional works, shown together with sketches related to his artistic process, to provide the viewer with a means of understanding his transition from a traditional painting form to a three-dimensional object.<br /><br />In the center of the gallery space, a glass piece combines representations of Jesus and Buddha that relate to Xia Xiaowan&rsquo;s earlier statue series. In terms of visual effect, the artist humorously conflates the supreme beings of the Western and Eastern worlds into one; in terms of the cultural connotations, it reflects the essence and differences between two cultures. In addition, based on the existent images, the artist continues to create a variety of figures, which are also included in the exhibition.&nbsp;<br />The human body has been an artistic research interest in Xia Xiaowan&rsquo;s work for a long time, and it is taken up again in&nbsp;<em>Two Persons in Water</em>(2012, special pencil, 26 tinted glass panels, each 6 mm thick, 60.5 x 82 cm (glass), 67.8 x 51 x 83.5 cm (framed)). By referring to the works on paper, the audience can appreciate the efforts made by the artist in exploring form; he achieves the effect of &ldquo;being like something and yet not being that thing you&rsquo;re like,&rdquo; and finds the point between the true and the untrue. Superimposing or layering a series of sketches is a formal strategy used by Xia Xiaowan. In the two-dimensional works there is already a sense of layering present, while the three-dimensional works bring this into full play. In one of the pieces, the artist combines multi-layered beards with handwritten manuscripts by Leonardo da Vinci, bringing together complex elements that explore the possibilities in creating shape.<br /><br />In addition to the human body, landscape is another key theme in the artist&rsquo;s work. Xia Xiaowan explores the topic of space in these landscape paintings, creating a dialogue that transcends time and space with the classics of Chinese traditional art. In the exhibition, we deconstruct the piece&nbsp;<em>Chinese Ancient Landscape of Fan Kuan Linliuduzuotu</em>&nbsp;(2014, special pencil, 20 tinted glass panels, each 6 mm thick, 81.5 x 57.5 cm (glass), 88 x 59 x 47 cm (framed)) showing the glass panels one by one, and provide an opportunity for the audience to observe the three-dimensional work&rsquo;s components in isolation.&nbsp;<br /><br />Born in Beijing in 1959, Xia Xiaowan currently lives and works in Beijing. His works have been exhibited all over the world. Main solo exhibitions include Transmutations across the Space &ndash;&nbsp;<em>XIA XIAOWAN Solo Exhibition</em>&nbsp;at MOCA@Loewen in Singapore in 2012;&nbsp;<em>Xia Xiaowan &ndash; Three Dimensional</em>&nbsp;at Galerie Urs Meile Lucerne Gallery in 2010; and&nbsp;<em>How do You See with Your Mind &amp; Body? Xia Xiaowan&rsquo;s Works on Paper</em>&nbsp;at the Today Art Museum in 2003. Recent group exhibitions include&nbsp;<em>Face Art Exhibition</em>&nbsp;at the Minsheng Museum in Shanghai in 2012; and&nbsp;<em>Reshaping History &ndash; China from 2000 to 2009</em>&nbsp;at the China National Convention Center (CNCC) in Beijing, China in 2010.</p> Sat, 23 Aug 2014 23:50:16 +0000