ArtSlant - Closing soon en-us 40 Zhang Xiaogang - Pace Beijing - December 13th, 2012 - February 27th, 2013 <p>The coming December of 2012 will see PACE BEIJING holding its third annual event “BEIJING VOICE” with the exhibition of “BEIJING VOICE: Zhang Xiaogang” as its anchor program. An internationally renowned Chinese contemporary artist, Zhang Xiaogang would cooperate with PACE for a third time in the wake of his “Revision” exhibition in PACE in 2008 in New York and “The Records” exhibition in PACE BEIJING in 2009. As an artist believing in the power of drawing, Zhang Xiaogang sticks to painting’s narrative quality and tries almost single-mindedly to bring historical continuity of art to the contemporary art scene. Thereby it will be the focus of the third “BEIJING VOICE” to explore Zhang’s creative career, which is not only almost the longest but also one of the most constantly active among all the Chinese contemporary artists. Reconstructing and juxtaposing typical images of history and reality, collective and private memories, Zhang Xiaogang brings history and memory to the present. Despite the fact that this period of history and its experience was a regional one, the collectivistic, Utopian spirit at its base aimed to liberate man in the spirit of cosmopolitism. Also, from the pictorial level, we can establish a certain connection between Chuck Close, Gerhard Richter and Zhang Xiaogang, which enriches the depth of the world of imagery. Close’s paintings are a logical, material and physical analysis of portraits; Richter’s paintings are a philosophy of images; while Zhang’s paintings are about the historic issues of human kind. Among these images are the birthmark-like prints and bloodlines in “Big Family Series”, the colored shades on the face and tear stains under the eyes in “Amnesia and Memory Series”, the electric wires, lamp cords, ink and pens in “In-Out Series”, the lines representing blood ties in “Green Wall Series” and the parallel tracks in “Train Window Series”. All these images extend the cultural historical memory contained in the artist’s self-exploration which is exuberant with a mildness and tenderness that are unmistakably Zhang’s. Moreover, they could also be understood as a continued personalized expression of a collective memory. It is exactly Zhang’s primitive expression and adherence to the traditional culture that brings back our belief in and worship of the narrative quality of painting. What Zhang tries to do through painting is no less than reconstructing “humans” and reinvigorating faith in an era overflowing with concepts such as “Super Flat” and “Cool”. The melancholy and isolated figures immersed in contemplation in Zhang Xiaogang’s works have already been interpreted by the West as the archetypes of contemporary China. In his new works, the artist would again return to his old acquaintance the old painting and continue his stylized tone with stains of time and warmth of life. The works are marked with the artist’s idiosyncratic honesty and reserve as well as his poetic sensitivity and hesitation. Zhang Xiaogang would narrate in a way that is filled with emotional connotation yet still retain the touch of rationality. And people could see him trying to figure out a complex relationship between men and society through the construction of a cultural memory that is shared by the Chinese people of particular historical periods. And once again in these new works--the glimmering flashlight representing hope and confidence in the future and the plum trees and potted pine trees standing for a platonic idealism--we could touch the tracks of history and feel the warmth deep inside of us through the classic language of Zhang Xiaogang. BEIJING VOICE was first held as an annual event by PACE BEIJING in 2010. The first event “BEIJING VOICE: Together or Isolated” used the form of exhibition to explore a number of phenomenon and problems existing in the contemporary art of China. And the second event “BEIJING VOICE: Leaving Realism Behind” discussed the effects and interpretations of the cross-fertilization of abstract art between the East and the West. In the third event, “BEIJING VOICE” will place the solo show of Zhang Xiaogang at its centre. In the thirty-year history, Chinese contemporary art in general and Zhang Xiaogang in particular have both absorbed a gigantic amount of Western culture and art. Zhang’s works never sever his connection with history and memory or cease to do experiments with constantly changing forms of art. With his extensive contemplation on history and memory, we could see Zhang Xiaogang exploring not only the new possibilities of contemporary culture but also the process of the satisfaction of self-development as well as the formation of self-awareness. This solo exhibition of Zhang Xiaogang which will last from December 13th 2012 to February 28th 2013, will serve as the first opening of his global solo shows. After this exhibition in PACE BEIJING, Zhang Xiaogang’s solo exhibition will be held another round in PACE at New York in April 2013 with different creating artworks, and solo exhibition in PACE LONDON will be following next. Ever since 1989, Zhang Xiaogang has already held 18 solo shows and attended more than 150 group exhibitions. His solo show sites have covered not only Asia but also Europe and North America including exhibitions in China, Japan, Korea, Australia, America, France and Finland.</p> Wed, 20 Feb 2013 02:17:50 +0000 Gao Ge - Art Projects Gallery - January 12th, 2013 - February 28th, 2013 <p>Art Projects Gallery is delighted to present Chinese artist, <strong>Gao Ge</strong>'s first solo show in Hong Kong, "<em>Lucid Dreaming</em>". Gao Ge (b.1984) is an emerging talent from China's Post-80s generation of artists who are set to redefine the future of artistic expression and development in China. </p> <p>Based in the artist's village of Song Zhuang in Beijing, Gao Ge's works depict mesmerizing dreamlike imageries that on closer inspection, reveals the artist's inner psyche and personal emotions. Gao Ge's paintings often feature surrealistic settings of intricate details and soothing colors, in which she poetically places her subjects, sometimes tiny in comparison to the extent of the canvas ("Legend") and at times partially obscured ("Seeking Phoenix Tree"), or even absent ("Come and Gone"). The play of scale, juxtapositions and pictorial space are skillfully used by the artist in her works. <br /><br />Gao Ge's works are inherently melancholic, introspective and sophisticated. Perhaps, in her paintings, the artist has choreographed her own fantasy worlds to replace actual events in her life; a virtual realm in which she can ease her emotions and to find her true self. <br /><br />Gao Ge graduated from Tianjin Engineering Technical Institute, Department of Art in 2005. Her works have been exhibited in various shows in China, South Korea and Taipei, including solo shows in Beijing, Zhengzhou, Shanghai, and Tokyo in recent years.</p> Sat, 05 Jan 2013 04:04:16 +0000 Chen Chieh-jen - Hanart Square - December 18th, 2012 - February 28th, 2013 <p>陳界仁個人展覽《幸褔大廈 I》訂於十二月十八日在Hanart Square開幕,展出《幸褔大廈I》電影及其生產過程。開幕當日,下午1.30到 6.30有兩場座談會,由策展人高士明及漢雅軒總監張頌仁主持,敬邀閣下撥冗出席。<br style="line-height: 17.981481552124023px;" /><br style="line-height: 17.981481552124023px;" />在拍攝《幸福大廈 I》之前,陳界仁先邀請不同身分背景和無固定工作的年輕朋友,以詩或散文寫下其對個人生命史的片段感想,之後陳界仁再以虛構的敘事形式,將 這些案例串連成映射當代被原子化的個體。這種個體處於「在地流放」的生命狀態──亦即人不再有任何可真正依歸的社群、家族與家庭,而隻是社會原子化後被孤立的在地漂流者。<br /><br />影 片以一棟虛構的老舊出租公寓為背景──通過連結一個個「片段」故事的敘事形式,以及極低限的動作和無對白的表演方法,描述出租公寓在即將被拆除改建前,居 住其中的失業者、早已無任何家人的年輕女子、父親因長期失業而自殺的女同志、在父母離異後因無法忍受家庭崩解而離家的女聲音藝術家等人,陸續地準備搬離這 棟公寓......。而公寓外,因長期抗議「派遣制」以至疲憊不堪的單身女性、在電腦回收場從事拆卸電腦工作的年輕女工、長期參與「靜默行動」的身障小劇 場演員、因不滿學校教育而於退學後從事「樂生療養院史」檔案整理工作的女生,以及前來協助獨居老人搬家,卻隻見被遺留下的行李,而等不到老人們出現的年輕 社會運動者──這些原本互不相識的個體,在公寓即將被拆除前的下午,不約而同地聚集到這棟公寓的中庭內,在彼此沉默的眼神交流中,開始協助年輕社會運動者 搬運失蹤老人的行李……<br /><br />陳界仁將場景轉換成開放場域的行動,《幸福大廈 I》的創作計畫已不隻是生產一部影片。他將傳統電影的生產關係與觀看模式,質變為在原子化的社會中進行創造臨時社群的實驗行動;工作人員以個體視域呈現各 自觀點的展示,以及在與觀眾共構的交流平台上,讓各種意見可以針對社群的組構方式,提出各種想像與進行知識交換的場域。<br /><br />合辦:漢雅軒 香港城市大學創意媒體學院<br /><br />Hanart TZ Gallery and School of Creative Media at CityU jointly present Chen Chieh-Jen’s latest project Happiness Building I, showing the film Happiness Building I and its production process. Two sessions of discussion hosted by Gao Shiming and Chang Tsong-Zung will be held on the opening day. You are cordially invited to join us at Hanart Square on 18th, December 2012, from 1.30 to 6.30 for the talks, before opening cocktails.<br /><br />Before filming Happiness Building I, Chen Chieh-jen invited young people representing various segments of society and in need of steady work to compose poetry or prose describing parts of their lives. Next the artist wove together their impressions using a fictional narrative to explore atomism and exile at-home, which have resulted in a society of isolated wanderers deprived of real community, family or household on which they can rely.<br /><br />Chen constructed a set resembling an old rental-apartment building for this video. Using minimal movement and no dialog, Chen strings together the individual stories of fictional residents preparing to move from the soon to be renovated building. Characters include an unemployed man, a young woman orphaned at an early age, a gay woman whose father committed suicide as a result of long-term unemployment, and a female sound artist who left home after her parents separated because she could no longer face her broken home. Outside the building, Chen films a single woman exhausted from protesting against laws concerning dispatched workers; young women who work at dismantling computers at an electronics recycling center; a disabled stage actor involved in both Taiwan’s theater world and a long-term protest called Silent March; an archivist who dropped out of school due to dissatisfaction with the educational system; and a social activist who comes to help elderly residents living alone to move out, but is greeted only with piles of boxes…. These strangers gather in the courtyard of the building on the afternoon before renovation. Exchanging silent glances, they begin to help the social activist move boxes belonging to the elderly residents who had gone missing.<br /><br />Using the production set as a public space makes the Happiness Building I project more than just a film. It transforms traditional production relationships and viewing patterns into an experiment of temporary community formation in an atomized society, and gives a presentation of the perspectives of production assistants. The project also constructs a platform together with the audience, where views regarding the community fabric might be exchanged.</p> Thu, 27 Dec 2012 01:35:55 +0000 Shi Jianmin - Xin Dong Cheng Space for Contemporary Art - December 1st, 2012 - February 28th, 2013 <p>Chinese art is adept at unifying such contradictions as the warped and the straight, the simple and the complex, the dynamic and static. From ink painting to furniture, it deftly employs the beauty of simplicity and tranquility.</p> <p style="text-align: left;" align="right">Huang Miaozi The Man, The Book </p> <p>Shi Jianmin's artworks attempt to use the two different mediums of ink and stainless steel, as well as his unique techniques of incompleteness and illusory, dislocated space to express the ridiculous, distorted, anxious and restless mental state of contemporary life. Meanwhile, his works also reveal a faint sense of Chinese literati sentimentality.</p> <p>Shaofan</p> Mon, 31 Dec 2012 01:23:51 +0000 Sébastien Mahon - Xin Dong Cheng Space for Contemporary Art - December 1st, 2012 - February 28th, 2013 Wed, 05 Dec 2012 01:21:14 +0000 Wong Kai Kin, David Smith - Amelia Johnson Contemporary - February 7th, 2013 - March 1st, 2013 <p>Amelia Johnson Contemporary presents My Space, an exhibition featuring two Hong Kong artists, Wong Kai Kin and David Smith. <br /><br />Working generally in small scale the work of each artist is figurative but otherwise wholly divergent in context and treatment. Wong uses the compact canvas to focus on tightly constructed views of apartments. His images evoke a sense of sterility and even isolation. Wong observes our projection of dreams and desires into the spaces we inhabit. <br /><br />In contrast the modest dimensions of Smith’s paintings are conceptually polarizing, depicting expansive subjects intimately. He employs washes and the chemical qualities of oil to produce vast sweeping vistas that unsettle but involve us. His images call to mind atmospheric pollution or perhaps a post apocalyptic afterglow. <br /><br />Like Wong, Smith’s work concerns a sense of space and an uncompromising consideration of the state of our existence within it. <br /><br />ABOUT Wong Kai Kin <br /><br />Wong Kai Kin is a young, emerging Hong Kong artist and recent graduate of RMIT. This is Kin’s second exhibition with Amelia Johnson Contemporary. The artist has said he is interested in the way we project our dreams and desires through imagining owning material possessions. <br /><br />ABOUT David Smith</p> <p>David Smith is an Irish artist based in Hong Kong. He graduated from the University of Ulster in 2003 with a Masters of Fine Art. More recently Smith’s painting has been included in the first and second edition of INPA (International Painting Annual).</p> Sat, 02 Feb 2013 22:55:55 +0000 Lewis Lau - Gallery EXIT - January 18th, 2013 - March 2nd, 2013 <p>Gallery EXIT is pleased to present <strong>In the Offing</strong>, the first solo exhibition of Lewis LAU Yin To with the gallery.</p> <p>"In the Offing" refers to the area where the sea touches the sky, the fine line where movement becomes stillness. Distant while at the same time visible, paintings by Lewis Lau revolve around the visual and experiential implications that the line of horizon imposes on our understanding of scenery. While using the photographic image as a point of departure, the featured works move away from their time bounded dimension and explore the possibility of portraying a timeless exposure of memory - the point where Sight and its objective dimension meets Absence and the imaginative power it brings. All the unnecessary signs, unseemly for the remembrance of an event, are in the works deleted from the original image and rendered into new and every time richer manifestations. Seemingly staged in every detail, the works in fact explore memory by means of brushstrokes. A gesture unrestrained from any mental or physical boundary, it enables the artist's interventions to explore fortuitous and unforeseen trajectories.  </p> <p>Roland Barthes in Camera Lucida notes that "Ultimately - or at the limit - in order to see a photograph well, it is best to look away or close your eyes. 'The necessary condition for an image is sight', Janouch told Kafka; and Kafka smiled and replied: 'We photograph things in order to drive them out of our minds. My stories are a way of shutting my eyes." The works by Lewis Lau quietly position themselves in the offing, where experience interjects with the memory of it.</p> <p>Lewis Lau obtained a Master in Fine Arts from The Chinese University of Hong Kong. He is the recipient of the Ting Yen Yung Creative Awards, 2009 and Y.S. Hui Fine Arts Award, 2010.</p> <p> </p> <p><strong>The Gallery will be closed for the festive season from 9 February and will re-open on </strong></p> <p><strong>19 February 2013.</strong></p> Fri, 08 Feb 2013 00:39:58 +0000 liu dahong - Hanart TZ Gallery - January 9th, 2013 - March 2nd, 2013 <p class="2" align="right">「童年:一再被斬殺,我一再追回」</p> <p class="2" align="right">——劉大鴻</p> <p class="2" align="right"> </p> <p>「人一生下來就會到處分發紅蛋報喜,意味著搗蛋童年開始了!人生離不開搗蛋,人生的價值取決於搗蛋的水平。這次展覽將從小搗蛋始,大搗蛋終,搗蛋貫徹其中。人的生機,人的創作都離不開搗蛋,唯一的例外也陷N是政府不能再搗蛋了,那可就要鬧病了。」(摘自劉大鴻《元旦·搗蛋》)</p> <p class="2" align="right"> </p> <p>「大 鴻講的「童話」都是因搗蛋而撿拾回來的記憶,在不斷回想和陳述中,這些事物冉冉升揚,幻化為自己的神話。文革成長的一代人都有共通的童話,匯流一起就成了 時代的神話。那年代全民都參與造神的大事,大家都放下了失憶的遺憾,也都放下了記憶的包袱。劉大鴻就屬於沒有包袱的一代,他們要是有包袱就是要為我們留下 當年搗蛋的記憶,作為新一代失憶者的見證。被提昇成神話的記憶的法力是能夠消解遺憾症。搗蛋的神話讓人知道原來搗蛋作亂之前的天地是別有姿態的,由是在增 長記憶中增長了知識,增長了生命。」(摘自張頌仁《因為搗蛋,所以不朽》)</p> <p>「劉 大鴻做「新中國的新主人」的方式,是畫畫,是以畫畫來「搗蛋」的;但這搗蛋不簡單:既要搗童年時產下來的蛋,又要搗現在時代的蛋。也就是說,搗著追憶著童 年的劉大鴻自己的蛋。……於是,對童年的「一再追回」就成了人間生存或與人鬥爭的重要依賴了:應該向童年的自己學習搗蛋,多多搗蛋。而且,原來這裏埋伏著 畫家在一開頭揭出的關於童年的冰冷的字眼:「一再被斬殺」——被自己斬殺,被現在斬殺;所有的倖存都關乎現在,所有的童年都是倖存。劉大鴻說對他而言「童 年是審美的法則,是尺度,是永恆的,童年的原則永存」,這裏是有藝術的戊猁滿F換言之,他的童年裏有著歷史的具體的藝術,而不是隻是一個空洞模糊的存在理 想觀念中的「審美的法則」。」(摘自孫善春《現在,讓我們講講童話……》)</p> <p> </p> <p>“Whenever my childhood is annihilated, I succeed in recovering it.”</p> <p class="FreeForm" align="right">Liu Dahong</p> <p class="FreeForm">  “When a child reaches his or her first month’s birthday in China, there is a custom of the newborn’s parents handing out boiled eggs dyed red to friends and family; what this ancient ritual really signifies is the beginning of a life of troublemaking, literally, a life full of bad eggs. Causing mischief is essential to human life. The value of one’s life is determined by how much trouble one stirs up. This exhibition starts off with minor shenanigans and concludes with major monkey business, with the theme of insubordination running throughout. Human vitality and creativity cannot exist without a certain amount of naughtiness. There is, however, one exception to this rule: if the government starts acting up again, the situation is bound to get terribly messy.”  </p> <p>(from Liu Dahong’s <em>New Year’s Day: Make Trouble</em>)</p> <p> </p> <p> “Liu Dahong’s Childhood Anecdotes are basically memorabilia from an age of troublemaking. As the stories get told and revisited, they slowly distill into personal myths. The generation that grew up during the years of the Great Proletarian Cultural Revolution has common stories to tell, and it seems to me the entire nation was mobilized at the time into the project of mythmaking; everyone put aside the guilt of amnesia as well as the burden of preserving the past. As a member of the burden-less generation, Liu Dahong’s legacy is to keep for us memories of troublemaking, and to bear witness against future amnesia. The magic of myth is that it cures amnesia. The myth of troublemaking reveals to us not just its own era, but also the world that came before revolution. In stretching back our memory it stretches knowledge, and life itself.”  </p> <p>(from Chang Tsong-Zung’s <em>Era of Troublemakers</em>)</p> <p> </p> <p> “The way that Liu Dahong took to become “a new master of New China” was for him to become an artist, and by so doing to become a troublemaker, an “egg crusher,” an agent provocateur. But for Liu Dahong, stirring up trouble was not a simple matter. The targets and beneficiaries of Liu’s provocation were the legacy of Chinese childhood in the Cultural Revolution on the one hand, and the present day and age on the other. Liu Dahong also had to delve deeply into his own memories of his own childhood……Reclaiming childhood thus becomes a form of dependence for maintaining one’s own existence, or as a basis for struggling with others; one should become a troublemaker again by learning from one’s own childhood, and then go out and stir up more trouble. Here, the chilling words with which Liu Dahong begin his book, ‘Whenever my childhood is annihilated…’ come to mind. The risk lies in being annihilated by ourselves, or by the present. All survival depends on the present, and childhood is nothing more than survival. For Liu Dahong, ‘childhood is the standard of everything beautiful, the yardstick. Childhood is eternal, may the ideals of childhood reign forever!’ Only an artist can think that way. In other words, Liu’s childhood is a form of art, in the historical and concrete sense; not merely something vague, abstract and idealistic concept, the ‘standard of everything beautiful.’” </p> <p>(from Sun Shanchun’s <em>Now, Let</em><em>’</em><em>s Talk Kidspeak</em>)</p> Mon, 14 Jan 2013 02:03:46 +0000 Timothy Betjeman - Identity Art Gallery - January 29th, 2013 - March 2nd, 2013 <p class="h3">In his first-ever solo exhibition held in Hong Kong, British artist Tim Betjeman presents works on glass, canvas and wood which meld visual and thought-worlds, combining precious and found materials with painterly lines to create disorientating surfaces, alternately rich and sparse.</p> <p class="h3">Essentially an urban artist who notes his reaction to commonplace scenes with lively painting and bitey mark-making, Betjeman is keen on tackling peripheral elements from his surroundings, capturing the feel of the city in all its grit and glory. In mixing abstraction with reality, he creates spaces for the viewer to rest amongst his visual cacophony.</p> <p class="h3">Rain or shine, light or shadowed, bored or ecstatic, familiar or strange, under Betjeman's vigorous, even reckless lines, contradictory scenes and feelings are explored and synthesized to invoke a shadowy alliance. When seen through a pane of glass the sketchy delineation of his cosmic musing evokes new moods, memories and emotions as color interplays with light and nature.</p> <p class="h3">Born in New York City in 1982 and based in London since 2006, Betjeman graduated with a BA in Visual Art at the University of Chicago and a post-graduate diploma in Drawing from the Prince's Drawing School where he was awarded a full bursary for 2 years of study. His work is in the collections of HRH the Prince of Wales, Clare College, Cambridge University and various private collections. His recent shows include Blue Darling, George and Jorgen Gallery, London 2011, Debut, Edel Assanti Project Space, London 2010, and Metro-Land, Flora Fairbairn Projects, Oxfordshire, UK 2009.</p> <p class="h3"><strong>Gallery closed between Feb 10- 14, 2013. Reopening on Feb 15, 2013</strong></p> Fri, 08 Feb 2013 00:48:23 +0000 - Guangdong Museum of Art - January 16th, 2013 - March 3rd, 2013 <p>继上海当代艺术馆及北京中国美术馆之后,《文化香奈儿》展览此次移师广州大剧院。<br /> 本次展览由广东美术馆协办,依然由主导前两届《文化香奈儿》的尚•路易•弗蒙负责策展。<br />展览于2013年1月16日至3月3日在广州大剧院举行,该建筑出自著名设计师扎哈•哈迪德之手。</p> <p>    本次展览精彩演绎了香奈儿品牌与艺术之间的深厚渊源。这一始自香奈儿女士的传统,由卡尔•拉格斐延续至今。一幅毕加索于1924年为芭蕾舞剧《蓝色列车》 所创作的巨型布景将串起展览的五个主题。这幅收藏于伦敦维多利亚和阿尔伯特博物馆的巨作,是特别为此次展览而出借的。</p> <p>    《蓝色列车》是一出由塞尔吉•迪亚吉列夫创作的芭蕾舞剧,剧名取自往返于巴黎与蔚蓝海岸之间的豪华列车。该剧由达律斯•米尧创作音乐、尚•考克多撰写脚本、亨利•劳伦斯设计舞台装置、毕加索负责节目单及布景创作、香奈儿女士则担任全剧的服装设计。<br /> 这次合作让参与《蓝色列车》创作的艺术家们与香奈儿的关系更为密切。与这些艺术界精英的友谊与互动影响了香奈儿的一生,为她带来了创作上质的飞跃。 “思想解放”与20世纪初所萌发的对“身体解放”的渴望(无论是通过体育或是舞蹈的形式实现)这二者皆为香奈儿风格最基本的要素。</p> <p>    通过对《蓝色列车》布景中不同元素的仔细剖析与解构,本次展览将围绕着五个主题展开:“呼•吸Breathe”,“行•动Move”,“爱Love”,“梦•想Dream”,“创•造Invent”。<br /> 五大主题完美契合了香奈儿品牌的创意美学及核心理念,将通过400件不同形式的展品呈现出来。展品包括照片、素描、油画、手稿、书籍、影片、时装作品(包括从香奈儿女士到卡尔•拉格斐的创作)、腕表、珠宝以及香水。</p> <p>    在此次展览中,参观者还将能欣赏到毕加索从未公开过的三十余幅画作,全都出自私人珍藏。此外,由莫迪里阿尼为与《蓝色列车》相关主要人物绘制的多幅肖像素描也将首度公开展出。<br />     本次展览,将以毕加索创作的巨幅《蓝色列车》布景为主轴,为参观者铺陈出环环相扣的五大主题。这些珍贵藏品,反映出那个时代的精神,勾勒出未来。文化香奈儿——《一幅布景与五幕传奇》展览,正是香奈儿创新轨迹的绝好见证。</p> Mon, 04 Feb 2013 02:24:10 +0000 Chen Xiaoyun, MadeIn Company, Yang Zhenzhong, Zhang Ding - ShanghART H-space - January 20th, 2013 - March 4th, 2013 <p>ShanghART is pleased to present "Things from the Warehouse 5" as part of a continuing program at the beginning of 2013. Since 2009, a series of exhibitions have made possible for large-scale installations that have been in storage, to be viewed by the general public. <br /><br />Many artists at ShanghART have created installation works that were once shown at exhibitions and later sent back to our warehouse. "Things from the Warehouse" is not only a re-organization of archival memory, but also an attempt to set up a new context for spectatorial interpretation. With the double displacement of time and space, the exhibition may trigger the possibility of deconstructive and critical readings of the artworks in a new light. <br /><br />The artworks include: "Summer 2009" by Yang Zhenzhong (last shown at "Shanghai History in Making from 1979 To 2009", curated by Biljana Ciric); "Untitled - Drawer 1" by Zhang Ding (shown at "Restless: Photography and New Media" at MoCA Shanghai in 2006); Sponge Piano by Made In Company, (Exhibited in Alfred Dunhill "Homework" Art Exhibition, Shanghai, 2011)and "3600W" by Chen Xiaoyun, a massive drawing on light tubes (shown at "Generations" exhibition at ShanghART H-Space in 2008).</p> Tue, 01 Jan 2013 23:37:08 +0000 Qiu Xiaofei - Minsheng Art Museum - January 18th, 2013 - March 7th, 2013 Sun, 13 Jan 2013 06:53:47 +0000 Gaël Davrinche, Zhang Dali - Gallery Magda Danysz - Shanghai - February 2nd, 2013 - March 9th, 2013 <p>The exhibition presents the French virtuoso artist, Gaël Davrinche and the famous Chinese artist Zhang Dali. Graduated from the Beaux-Arts of Paris, Gaël Davrinche constantly renews the great masters’ painting techniques and dares to take over their models. Exhibited for the first time ever in Shanghai, his work surprises us with its colors and textures. This show is an opportunity to discover an amazing work with a lot of references to the history of art. Zhang Dali, one of the most famous Chinese artist (collected by Charles Saatchi and such and ranked in the Top 100 of Chinese contemporary artists by artnet), he is exhibited in many museums, and was also shown at the Venice Biennial. For this exhibition, Zhang Dali presents the series Man and Beast, where humans and animals mix themselves through huge bronze sculptures reflecting a fantastic and wonderful universe.</p> <p>Keen observer of the society, Gaël Davrinche depicts with accuracy and humor human beings in huge portraits. Made famous since his first series, Les Revisités, in which he echoed with classics such as Velasquez or Van Gogh; Gaël Davrinche is noted for his spontaneous and precise touch. Using self-derision, he paints people wearing incongruous accessories such as colander or boxing gloves. In his Memento Mori series, the artist subtly paints faded flowers on huge canvases. As a real metaphor of life, these fragile flowers symbolize renewal and change, Gaël Davrinche suggests an optimistic view of the world to come and offer a vision of a renaissance with these flowers which will give life to new ones before disappearing rather than a desperate version of it. The artist evokes a reflection on man and his environment as the origin of this series.</p> <p>This reflection about human being is also present in Zhang Dali’s sculptures. Juxtaposing life-sized animals and human figures, the artist offers a powerful image, almost violent, of the ferocity of tyranny. The animal, with its open mouth, dominates with all its power an inert and impassive man. These bronze sculptures - about three meters long - refer to Confucius texts about tyranny. Set with Gaël Davrinche’s works, they become a broader reflection on the nature of things.</p> <p>Gaël Davrinche and Zhang Dali’s works raise questions about the relationship between the human being and his environment. The issues raised by Gaël Davrinche in his portraits about the link between man and the heritage of what is his identity, make a lot of sense in Shanghai. Through the exhibition, Zhang Dali sculptures give rhythm to this thought, as a reminder of the mythical relationship between man and animal. In a world where everything is going faster and faster Gaël Davrinche and Zhang Dali’s works establish a time for introspection.</p> Sat, 22 Feb 2014 16:02:53 +0000 Feng Shu, Na Wei, Xia Hang, Fan Xiaoyan, Zaichang, Lee Hansu, Ko Kangcheol - Art Seasons Beijing - December 22nd, 2012 - March 10th, 2013 Tue, 01 Jan 2013 23:52:20 +0000 Adou - M97 Gallery - January 12th, 2013 - March 10th, 2013 <p>M97 Gallery is pleased to present “ADOU”, an exhibition of artist Adou’s new series of photographs. This is the artist’s first solo exhibition in China and he will be present at the opening reception on Saturday January 12, from 4 to 6 in the afternoon.<br /><br />In this lastest series of works, aptly titled after the artist himself, Adou goes to the root of the individual and the camera, the photo-grapher in front of the lens, seen and unseen, both photo-grapher and subject of his photographs. While making photographs in the mountains of Sichuan for his “Samalada” series of portraits, Adou once said “There is no difference between taking a picture of others and myself. The camera may be pointed outward, but whether you like it or not, it always reveals you”.</p> <div class="meno_info" id="txt_more"> <p>In the “Adou” series he has decided to do just that: point the camera at himself, the artist, confined, contemplative, exploring the boundaries of meaning in his practice before the film and lens, so that we, the viewer, can see him wildly exploring and expe-rimenting amidst the elements and vast landscapes of remote and rural China. Adou’s works are a return to the landscape, a primitive, isolated and at times vulnerable position for the artist in a desolate world. Part Dadaist and part Existentialist, Adou’s photographs come from a long lineage of perfor-mance art but perhaps the wildcard that trumps all these before him is his seriousness towards the camera, film and lens, as well as the darkroom techniques and processes he reveres. The “ADOU” exhibition at M97 also features a selection of silver gelatin prints from his renowned “Samalada” series, a collection of portraits documenting the Yi ethnic minority living in the Da Liang Mountain region, whose native name is Samalada.</p> <p><strong>The gallery will be closed February 9-11 for the Luna New Year</strong></p> <p><br />M97画 廊隆重宣布2013开年首展“阿斗”,本次展览也将是艺术家阿斗在中国的首次个人摄影展。开幕酒会将于2013年1月12日下午4至6时举行,欢迎届时光 临。本次展览精选艺术家最新同名系列“阿斗”和广受赞誉的“沙马拉达”两个系列的创作。“沙马拉达”向观众呈现四川西部彝族大凉山山区单纯而丰富的风景和 肖像,山坡上前行的男人, 雾中矗立的女人, 面容沧桑犹如刀刻的老人, 跑马场, 很多人的集市, 简陋的马车, 云雾缭绕的山顶. 到处都是寇德卡式的流放感。不同于普通意义上的纪实摄影,阿斗并非观察者,他在这片充满淳朴自由空气的土地上找到了久违的自己,他用饱含情感的语汇和的影 像 引领观者进入一个富于生命意识和历史情怀的时空。“摄影的镜头对着外界,但是无论你愿意与否,其实镜头始终是对着你自己"。同名系列“阿斗”的创作在此意 义上愈加率性而放达:作者将自身隐蔽于画面上雄浑的宇宙自然中,用纯净的身心感受周遭的广阔维度,通过肢体的律动实现了与时间和空间轨迹的交互,演绎和诠 释属于阿斗的抽离和融入。阿斗带着些许随兴而做的达达主义式和我在故我思的存在主义式境界,以一种极致直觉和坦诚的方式完成这场与内心、时空、和观者多个 维度的深度对话。移轴和反焦的技术的使用,使得4x5的大画幅黑白胶片上的影像褪去现实的物理属性,达到超现实的意境。作为艺术家,阿斗具有对镜头语言的 强大掌控力,纯熟的暗房制作技巧,却可以超脱技术本身,不流于匠气。他的作品充满内省的表达和探索,阿斗对待艺术创作的严肃态度,及其精神世界在作品上的 真实投射和连结,在中国当代摄影界是十分难能可贵的。</p> </div> Sun, 10 Feb 2013 05:44:41 +0000 David Lam - University Museum and Art Gallery (The University of Hong Kong) - November 21st, 2012 - March 10th, 2013 <p><span style="font-size: small;" color="660000" size="4">The University Museum and Art Gallery is delighted to announce a retrospective exhibition of paintings by the pioneering Hong Kong artist David Lam Chun-fai. </span></p> <p><span style="font-size: small;" color="660000" size="4">David Lam was born in Hong Kong in 1932 and has been an active artist in Canada since he emigrated there in 1965. Prior to that, he had been an artist and arts administrator in Hong Kong during the development of a distinct Hong Kong art that acknowledged Abstract Expressionism, as well as other western art movements, in a Chinese idiom. He spent his formative years training with the Hong Kong master artist Lee Byng (1903–1994). He also worked as a curator’s assistant at the Hong Kong City Hall Museum and Art Gallery, the precursor to the Hong Kong Museum of Art.</span></p> <p><span style="font-size: small;" color="660000" size="4">This retrospective exhibition marks David’s eightieth year, and will include paintings from as early as the 1960s when he was a young artist in Hong Kong and a founding member of the influential Circle Art Group. The earlier paintings depict aspects of Hong Kong in detailed watercolours, and contrast with the artist’s mature monumental and expansive landscapes of his adopted home. These works often fill the surface of the canvas in dense opaque colours, suggesting man’s humble place in the world. Many of the works have never been exhibited in Hong Kong before.</span></p> <p><span style="font-size: small;" color="660000" size="4">A handbook including a selection of the paintings in the exhibition, with essays written by his contemporaries, artists Hon Chi-fun (b. 1922) and Wucius Wong (b. 1936), and Canadian art critic Chan Man-hung, will be available.</span></p> Tue, 27 Nov 2012 02:10:53 +0000