ArtSlant - Current exhibits en-us 40 Sonia Mehra Chawla - 10 Chancery Lane Gallery - February 26th, 2013 - April 3rd, 2013 <p><a name="top"></a>10 Chancery Lane Gallery is excited to present the first Hong Kong solo exhibition of female Indian artist Sonia Mehra Chawla, The Embryonic Plants and Otherworlds, in which she will exhibit a new series of paintings and videos that explores the passage of nature's cycle and the temporal flow of birth and regeneration. <br /> <br /> For philosopher Michel Foucault, "heterotopias" designates real or imagined spaces of escape/departure, transformation, or revelation. The works explore a world or existence beyond earthly reality: The other realms of existence. The imagery is inspired by macro images of human anatomy and single-celled organisms, which are exquisite in their ornamental morphology, and displaying complex patterns of growth, reproduction, movement and mutability. <br /> <br /> For Mehra Chawla, within the simple configurations of the single-celled organisms, the entire mechanics of evolution is revealed. She revisits the ideas of sensuous exuberance with an underlying sense of desire and decay, layers within the cyclical layers of life, forms within forms, worlds within worlds. In this latest series of paintings, the female form has an uncompromising centrality in the work, where the woman's body is at the centre of love, life cycles and decay in a surface populated with hybrids of plant, flower, animal, and polyp. It is within this constellation that organic composites calibrated between ripeness and rottenness exists, blurring the lines between human, animal, plant and object to produce complex emblems of sexuality. Images of beauty and exuberance are infused with a sense of the macabre and both time and space are impregnated with a sense of heightened reality. <br /> <br /> Sonia Mehra Chawla (b. 1977, Kolkata, India) received her Bachelors Degree in Painting in 2001, and Masters Degree in Painting in 2004 from College of Art, New Delhi. Mehra Chawla has participated in studio-based projects at Tate Modern London, and in Public Art Projects at Khoj International Artists Organization, New Delhi and ET4U Contemporary Visual Art Projects, Denmark. She was a part of a year-long residency at Atelier 2221 printmaking and Edition studio in 2001-2002. <br /> <br /> Chawla is the recipient of several prestigious awards including the National Award for Painting in 2004-2005, Lalit Kala Akademi, National Academy of Art, India, and National Scholarship, Ministry of Culture, India in 2004. Recent collection includes Kunst der Gegenwart, ESSL MUSEUM, (Museum of Contemporary Art), Austria. <br /> <br /> The Embryonic Plants and Otherworlds is the first Hong Kong solo exhibition of Mehra Chawla and is her second showing at 10 Chancery Lane Gallery, after the group exhibition The Second Sex in 2009.</p> Wed, 20 Feb 2013 02:35:00 +0000 Lalla Essaydi - Amelia Johnson Contemporary - March 7th, 2013 - April 6th, 2013 <p>Amelia Johnson Contemporary is proud to present Boundaries, Lalla Essaydi’s first solo</p> <p>exhibition in Asia.</p> <p> </p> <p>Essaydi’s international career as an artist has encompassed painting, mixed media,</p> <p>photography and video. Boundaries features a carefully curated collection of</p> <p>Essaydi’s works which pose a contemporary reflection on an iconography that</p> <p>stretches at least as far back as the Orientalist imagery of nineteenth century artists</p> <p>such as Ingres, Delacroix and Gérôme. Moroccan women are swathed in sumptuous</p> <p>fabrics covered in Islamic calligraphy – writing, applied in henna, which adorns their</p> <p>skin, robes and the interiors they occupy. The studied confusion of body and environment</p> <p>address the complex issue of female identity from a unique, personal and</p> <p>regional perspective.</p> <p> </p> <p>Essaydi was raised in Morocco, educated in Europe and the United States and spent</p> <p>many years living in Saudi Arabia. She completed studies at the L’Ecole des Beaux</p> <p>Arts in Paris before receiving her BFA (1999) and MFA (2003) from the School of the</p> <p>Museum of Fine Arts and Tufts University in Boston, Massachusetts. In her work she</p> <p>returns to her Moroccan past by placing her subjects within architectural settings</p> <p>linked both to her own personal history and the histories, traditions and belief systems</p> <p>of Islam. The blending of body and object in each series operates on a decorative</p> <p>level, but more acutely as a subversive means of questioning, validating and recording</p> <p>feminine identities and how they are perceived.</p> <p> </p> <p>The artist acknowledges that both herself and her work are shaped and distorted as</p> <p>much by her Eastern heritage as her Western experiences. Using only analog film and</p> <p>cameras, Essaydi photographs are painstakingly choreographed in staged scenes</p> <p>appropriated from well-known, 19th-century European and American Orientalist</p> <p>paintings. In this way she acknowledges Western influences, but simultaneously</p> <p>encourages a re-consideration of iconography associated with such scenes.</p> <p>In oscillating between Western and Eastern ideology, as well as between the past</p> <p>and present, Essaydi articulates how identity can be understood not by characteristics</p> <p>peculiar to a linear conception of self, but by an amalgam of varying influences.</p> <p>Her work serves as a visual metaphor for this continual negotiation of shifting and</p> <p>converging boundaries.</p> Sat, 16 Feb 2013 22:08:15 +0000 Park Kyung-Sun - Art Beatus Gallery - Hong Kong - March 7th, 2013 - March 28th, 2013 <p>Park Kyung-sun paints to heal wounds that exist inside her as well as to create for herself new possibilities in life.  She paints all her works in soft pastel colours and embodies them with symbols and emotions, very much like a little girl trusting you with secrets in a gentle voice.</p> <p>"The child in my paintings is my other self," she says, "Trapped in the vague fear and anxiety throughout my childhood, I have to face the threat of existence persistently.  Finally, I resolve to talk to my inner self and start to heal my inner wounds."</p> <p>The bear mask, the thread phone as well as the icy environs all have their individual and distinct meanings.  They exist to dramatize the alienation of that little girl who desperately wishes to share her thoughts and be heard.</p> <p>Born in Seoul in 1983, Park was a graduate of the Department of Fine Arts of the Sookmyung Women's University, where she also received her Masters in plastic arts.  She has worked diligently since 2008 and has been widely shown in exhibitions in Seoul, Hong Kong, Taipei, Singapore and New York.</p> <p>Egocentric Speech is a term in psychology and means talking to oneself or self-talk in plain language.  This form of communication is common for children under seven years old but when it happens in adults, self-talk becomes a form of self defense like "speaking for oneself", Park writes in her artist's statement.<br />In her paintings, Park passes on her innermost emotions and delivers them through the tranquility of the little girl who has seemingly recovered calm and comfort by receiving her own resonance.</p> Wed, 27 Feb 2013 06:20:49 +0000 Alice Lau, Hui Kim Ho, Vivian Poon, Shih Yung Chun - Art Experience Gallery - March 9th, 2013 - May 4th, 2013 <p>Art Experience Gallery is pleased to present the group exhibition, “hidden Track”, curated by Samantha Wong, of four emerging Hong Kong and Taiwan artists, Vivian Poon, Alice Lau, Hui Kim Ho and Shih Yung-chun and their latest series of paintings.</p> <p>Artists are always sensitive to the particularity of the daily routine, their attempt to search for the hidden events - sometimes banality in others' perspective - is to regard all the tiny tracks and to transform them through their way of interpretation. By colors, by texture, or by form, in each moment of creation, their way of existence is reflected by their sincerity toward the canvas also as much as the religious repetition that would bond the artists and audiences together through the hidden beauty of the daily life. The four artists with various backgrounds here will share their "usefulness" but extremely peaceful and reflexive thoughts in this exhibition.</p> <p>By building temporary relationships with things that are mingling in the reality, Vivian Poon unfolds the hidden scents surrounding her. She is intended to create an atmosphere that reminiscent the memory of her personal life and also the memory of the hidden moment. In her <i>Snow</i> series for instance, she depicts the kapok tree in her childhood memory and the juxtaposition of the white polka dot pattern and curtain-liked paint altogether makes its reference to her favorite quotation in Chinese literature - Xie Huilian's <i>Rhapsody on Snow</i>, “Such is its appearance: Scattering and spreading, mingling and merging”.</p> <p>Shih Yong-chun presents the reality in his subjective imagination mainly by deconstructing and then carefully resembling the factual elements of the daily act including reading, eating, studying and being with pets etc. onto the canvases. His works are often appearing absurd in a way that the tiny details are being amplified and rearranged like “Soup Opera”, no matter in his <i>Demonstration Life</i> series or the latest <i>Daily Life System </i>series. Through the handful and mature painting techniques, an intriguing and evocative dimension that is close to the language of film has present and it interrogates the audience to re-examine the trivial details of the existence of human being in the modern city life.  </p> <p>Living in a confined city, Philip Hui Kim Ho re-articulates the meaning of “nature” and “artificial” by his theatrical representation of such. He criticizes the disappearance of the animal instinct by the repression imposed by the modernization and capitalism, and therefore he plays with the dislocation of the relationship of human beings and nature, and city environments in his series of work. Albeit the paintings sound familiar to those “traditional” art lovers due to its classical posed figure and framing of the background that the artist adapted from masters like Giacometti and Euan Uglow, however the blurred eyes surely are in its modern representation of 21st century, which are hopeless and are lost in their faith with the metaphor of atheism. </p> <p>The kind of hopelessness also inevitably reflected in the paintings of Alice Lau, she quietly observe the failure of the reality spaces – a place which no longer signifies the communication for her existence but only endless solitude. In her paintings, a sense of the “placeless place” could be found, she hides and she is “hidden” in the heterogeneous space that she created for her own, or maybe also to the audiences that connected with her explosive rooftop, disposed playground and abandon bridge.</p> <p>The hidden track in an album usually comes after the long silence of the last song, it requires extra attention otherwise it might have been missed; it is so condensed that the audience would probably associate it with the “extra” of the everyday life. The entity of life parallels an album with a bonus hidden tracks, in which we sometimes miss out things that worth a glimpse. With their works exhibit, the four artists reveal the linkage between the reality, the silence, and the “extra” imaginary realm. </p> Fri, 01 Mar 2013 03:20:52 +0000 Zhang Lehua - Art+ Shanghai Gallery - February 3rd, 2013 - March 24th, 2013 <p>Zhang Lehua’s solo exhibition <strong>Love in a Golden Bowl</strong> explores how meaning is communicated and lost through a process of reading art. Deliberately miss translating text and employing ambiguity in his Chinese text are ways in which the Shanghai based artist plays with paradox and irony to peel away surface meanings. <br /><br />The English and Chinese subtext in his work often differ, a decision made by the artist to emphasize vagueness, and ultimately reveal contrary interpretations of life. In order to preserve the artist’s intended meaning two separate titles for the exhibition are used, in Chinese<strong> 鸾叹情</strong> (luan tan qing) is loosely translated into English as a male phoenix sighing. The reference to the phoenix sigh of affection plays with Chinese analogy of a happy phoenix symbolizes a happy couple. A slightly altered tone, however and <strong>鸾叹情</strong> (luan tan qing) sounds likedluan <em>乱弹琴</em> (luan tan qin), which translates to rambling nonsense, a meaning Lehua has also intended to convey. <br /><br />The English title for the exhibition is borrowed from Thel’s moto in the introduction to "The Book of Thel,” a poem by William Blake (1789). <br /><br /><em>Can the eagle see what is in the pit,</em><br /><em>Or wilt thou go ask the mole?</em><br /><em>Can wisdom be put in a silver rod,</em><br /><em>Or Love in a golden bowl</em><br /><br />The reference of Lehua as a post-modern Blake draws comparisons from the themes of maturation and sexual experience in Blake’s poetry to the young and naïve coming of age scenarios in Lehua’s artwork. Both poets share an interest with alienation of authority, Blake in his theological references and resentment towards the state church and Lehua in his animosity towards mainstream society and mockery of educational doctrine. While both artists are sincere in his criticism, an element of moronic satire is emphasized Lehua’s works.<br /><br />In a showcase of painting, video and installation,<strong> Love in a Golden Bowl</strong> discusses culturally sensitive issues via popular topics among China's youth. Join us on Saturday February 2nd for the exhibition preview opening. The artist will be present.</p> Wed, 20 Feb 2013 02:03:09 +0000 Alexander Calder - Ben Brown Fine Arts Hong Kong - February 28th, 2013 - April 3rd, 2013 <p>Ben Brown Fine Arts, Hong Kong, is pleased to present a solo exhibition of sculpture, works on paper and jewellery by legendary American artist Alexander Calder.  The exhibition includes examples of the artist's seminal "mobile" and "stabile" sculptures, vibrant works on paper, and elaborately whimsical jewellery pieces.  The first in-depth examination of his work in Hong Kong, this show will provide insight into the ingenious and highly innovative working methods of Calder throughout the twentieth century.  <em>  </em></p> Thu, 21 Feb 2013 21:51:47 +0000 Taca Sui - Chambers Fine Art Beijing - March 2nd, 2013 - April 14th, 2013 <div class="prEnglish"> <p>Chambers Fine Art Beijing is pleased to announce the opening on March 2 of Odes by Taca Sui. In May - June, 2012 Taca Sui participated in a two-person exhibition with Cui Fei in Origins at Chambers Fine Art, New York in which a selection of photographs from the Odes were included but this will be the first time that the complete series is exhibited.</p> <p>Born in Tsingtao, China in 1984, Taca currently divides his time between Beijing and New York. Since 2010 he has been working a project inspired by the Book of Odes (Shi jing), the celebrated collection of poems which dates from the Bronze Age. To prepare for a photographic series based on the Book of Odes, he first spent a year immersed in the classic text and its enormous body of commentary. He worked out an itinerary based on places named in the text, visited them one after another ¬¬but without seeking to document the poems’ original setting, to illustrate their imagery, or to add another set of footnotes to the three thousand years’ worth of ingenuity and guesswork already on the shelves. Rather, in visiting the sites, Taca laid himself open to the discovery-procedure already implicit in the poems, and reproduced, not their particulars but their method.</p> <p>The photographs in this collection don’t illustrate the Book of Odes, they evoke its workings in a different medium. Recognizing the elusiveness of the topic, Taca has stated that he hopes “to build a stable artistic structure that corresponds on some level to the composition of the Book of Odes, but at the same time pushes the Odes’ literary significance into a distant and unfamiliar world, bringing the work’s amorphous and mystical concepts into reality and by doing so, facilitates analysis of the Odes which truly is an artistic model with limitless possibility.”</p> <p>The nine groups of photographs on display together for the first time – Odes of Ya and Song, Odes of Zhou Nan and Shao Nan, Odes of Wei, Odes of Wang, Odes of Zheng and Kuai, Odes of Tang and Wei, Odes of Qi and Cao, Odes of Qin and Bin and Odes of Chen - are noteworthy for their formal rigor and austerity. In subject matter they range from mountain ranges and rivers to close-ups of unexpected details but they are all unified by Taca’s masterly control of the platinum and silver gelatin process through which he achieves tonal effects of extraordinary refinement.</p> </div> <div class="prChinese"> <p>北京前波画廊荣幸地宣布将于2013年3月2日起举办塔可的个展《诗山河考》。2012年5月至6月,纽约的前波画廊举办了塔可和崔斐的双人展《起源》,其中展出了《诗山河考》这一系列的部分摄影作品。本次展览将首次完整展现《诗山河考》的全部作品。</p> <p>塔可1984年在青岛出生,目前往返于北京和纽约两地生活和工作。他深受源自青铜器时期的诗集《诗经》的启发,自2010年起开始创作《诗山河考》 这一摄影系列。为了筹备这个创作项目,塔可首先花了一年时间钻研《诗经》的文字以及大量的研究资料。他根据《诗经》中提到的地名作了一个路线计划,一个接 一个地亲身造访了这些地点。但他没有刻意去记录诗歌原本的情境或阐释它们的意象,或步众多文人学者的后尘在三千年来对《诗经》的研究上添加更多的揣摩。造 访这些地点时,塔可毫无拘束地运用了《诗经》的创作手法,而他模仿的不是这一诗集的具体内容而是其表现方式。</p> <p>《诗山河考》中的摄影作品并没有试图阐释《诗经》,而是通过另一种媒介来呼应《诗经》的创作手法。关于这一深奥的主题,塔可说道:“我希望建构一种 稳定而又牢固的结构,同时与‘诗’本身的结构在某些层面可以形成互文,把文学性的意义推到一个遥远而又陌生的世界。使这些无形而神秘的东西进入现实之中, 来剖析这个负载著无数可能性的范本。”</p> <p>《诗山河考》中的九组摄影作品《雅•颂》、《周南•召南》、《卫风》、《王风》、《郑风•桧风》、《唐风•魏风》、《齐风•曹风》、《秦风•豳风》 以及《陈风》将首次同时展出。它们以严谨的构图和简练的形式引人注目。从无际的山川河流到意想不到的细节特写,这些作品题材各异。然而,塔可对铂盐及银盐 印相的精湛运用将它们有机地结合,其对色调的掌控也不得不令人叹为观止。</p> </div> Wed, 06 Mar 2013 01:56:54 +0000 Louise Bourgeois - Faurschou Foundation (Beijing) - October 27th, 2012 - March 24th, 2013 <p>Louise Bourgeois has throughout the years experimented with a wide range of media spanning across sculpture, painting, drawing, graphics, installation and sound. She has expressed herself in materials ranging from the classical marble and bronze, over latex and nylon, ripped and recycled garments, and found ready-mades.</p> <p>Louise Bourgeois was born in 1911 in France. In the late 1930's she married an American art historian and moved to America. Here she lived here she spent the rest of her life. In the 1980's she had her great international breakthrough and today she is internationally considered one of the most respected modern as well as contemporary artists.</p> Mon, 31 Dec 2012 22:31:03 +0000 Brendan Earley - Galerie Urs Meile Beijing - March 2nd, 2013 - April 29th, 2013 <p>Galerie Urs Meile is pleased to announce the opening of “In the midnight city”, the first solo exhibition by Brendan Earley (*1971 in Dublin, Ireland, where the artist currently lives and works) at Galerie Urs Meile, on March 2, 2013. Brendan Earley participated in our artist-in-residence program at Galerie Urs Meile Beijing from August to November 2012 and the works exhibited in this exhibition include drawings, installations and sculptures created by the artist in Beijing during that period. <br /><br />Earley’s new works present his reflections concerning the subject of the city—according to Earley, the character of a city is not only defined by its cultural landscape, which is shaped by historical and geographical factors, but also by the material characteristics of its architecture and planning, and furthermore by the interactions that take place between the city and its occupants. <br /><br />The new series of drawings demonstrates a unique form of artistic depiction. With his repetitive use of short, sharp strokes in felt tipped pen, the artist has reduced the graphic and narrative nature of the works to an absolute minimum, laying bare their pure form. This process of indefatigable repetition describing the essence of the drawing’s own making, is a metaphor for the eternal construction of the city. <br /><br />The concept of light is often present in Earley’s works—he has integrated fluorescent light, color filter paper, natural light and translucent acrylic panels to produce a pure and simple aesthetic that possesses architectural characteristics, one in which we can see the profound influence of minimalist aesthetics and architectural language. In <i>Shine a Light</i> (2012, florescent lights, plastic ties, stainless steel and yellow filter paper, 110 x 44 x 22 cm) fluorescent lights installed inside the piece shine through acrylic panels covered with yellow filter paper to cast c. As China’s cities undergo dramatic transformation, the construction of new buildings is accompanied by the dismantling and destruction of the old. Earley has successfully balanced the relationship between both kinds of urban space in his work. <br /><br />Earley’s reflections concerning the materiality of urban construction during his residency in Beijing are expressed in the sculpture <i>Untitled (Janus Head)</i> (2012, steel, plastic ties and plywood, 43 x 22 x 20 cm) in which the artist has used hard steel to articulate the unconstrained nature of Styrofoam. Although steel is a core construction material, it functions as filler in the urban landscape. Such a conceptualized transformation of materials is not only a continuation of Earley’s former work, but furthermore a step forward in development and experimentation. As Earley himself notes: “These new drawings and sculptures continue to develop my interest in the materiality of the object and images combined with a more conceptualized concern with the legacies of past eras of cultural history and the contextualization of artifacts within the pragmatic approach to design through construction.” Through his sculptures and drawings, which are concise in form and profoundly expressive, he hopes to create an alternative view of order, one which attempts to reconcile one’s position in everyday life. <br /><br />We will also publish a leaflet in conjunction with the exhibition.</p> Wed, 20 Feb 2013 02:44:48 +0000 Li Gang - Galerie Urs Meile Beijing - March 2nd, 2013 - April 29th, 2013 <p>Galerie Urs Meile is pleased to announce the opening of "Lateral Edge", the latest solo exhibition by artist <span class="external-link-new-window">Li Gang</span> (*1986 in Dali, Yunnan Province, China; currently living and working in Beijing, China) at our Beijing gallery on March 2, 2013. This will mark the third exhibition for Li Gang at Galerie Urs Meile, following two previous solo shows: "A Tranquil Order" at Galerie Urs Meile in Lucerne and "Between" at Galerie Urs Meile in Beijing in 2011. "Lateral Edge" will show the artist’s most recent works created during the last year. <br /><br />The title of the exhibition comes from a geometric concept: a lateral edge is the intersecting line between two adjacent sides. This is a metaphor for Li Gang’s creative process; he is expert at manufacturing the connections between different things, just as lateral edges generally exist between two different planes. His creative materials are readily available—in this exhibition his new works are made from materials such as trees, pebbles, canvas frames, and thick, hand-weaved canvases—but in most cases, his creative process loses or diminishes the original appearance or significance of these materials. <br /><br /><i>Beads</i> (2012, wooden spheres, shaped from the connecting points of a dead tree of Yunnan Province, 397 pcs., ø 0.5 – ø 51 cm), one of the principal pieces in the exhibition, presents nearly four hundred pieces of wooden spheres, all shaped from the connection-points of a dead tree in Yunnan Province. As a tree grows, it continually produces new branches, and each new branch or twig that emerges leaves behind a “connection-point”; the hundreds of connections that are formed vary in size according to the thickness of the limbs. A tree growing straight upward is a metaphor of a human life: from birth, with the family as our foundation, we start to develop more and more connections with other people, just as the tree produces so many branches; however, if we gather together all of the connections from the tree, like the wooden beads created in this piece, we may find a new perspective and way of looking at life. <br /><br />The work <i>Ridge</i> (2012, stones and glue, 70 pieces, different sizes between 24 x 6 x 4.5 and 81 x 24 x 15 cm installation size: 430 x 520 cm) comes from a variety of pebbles collected by Li Gang. The natural process of erosion left the pebbles with different “ridges” projecting from their surfaces. Li Gang found points of connection between two of the pebbles and carefully joined them together with adhesive, extending and connecting their ridges to transform the two pebbles into one form. According to Li Gang, what appear to be independent objects have hidden connections; joining such independent objects together is a way of creating uncertainty between the objects. <br /><br />Li Gang was born in Dali, Yunnan Province in 1986. After graduating first in his class from the Dali Academy in Dali, Yunnan, he moved to Beijing with the goal of becoming a professional artist and began a career which has been marked by his comprehensive artistic practice. Since then, Li Gang has experimented with various aesthetic possibilities through a wide range of media, from painting and photography to installation and sculpture, exploring enduring topics such as death and time. <br /><br />We will also publish a catalogue in conjunction with the exhibition.</p> Sat, 20 Apr 2013 22:46:22 +0000 Berlinde De Bruyckere - Galleria Continua / Beijing - December 22nd, 2012 - March 17th, 2013 <p>Galleria Continua is pleased to announce the first solo exhibition in China by the well-known Belgian artist Berlinde De Bruyckere.<br />An internationally acclaimed artist, since the 1990s Berlinde De Bruyckere (Ghent, Belgium, 1964) has used organic materials such as wax, horse hair and skin, wood and fabrics to produce disturbing, alienated and solitary images. The focus of her work is a profound meditation on the nature of sculpture, conducted by means of a careful observation of art history. She draws on a variety of artistic influences, ranging from North European Renaissance masters like Roger Van der Weiden, Van Eyck, Robert Campin and Lucas Cranach through to Luca Giordano and the magnificent art of the Italian Seicento, from which are borrowed sudden flares of light and looming shadows.<br />All the artist’s work stages the dualism between life and death, suffering and love. In her sculptures, De Bruyckere observes the precariousness of human existence; her works appear to be images of a widespread archetypal pain, offering themselves up in their vulnerable existence to the viewer’s gaze. The human body, represented in highly realistic postures, is articulated in all its different forms: the skin is furrowed by folds which, together with a lattice of veins and arteries, weave an intricate pattern; the muscles are rendered with a keen anatomical eye; while the pallor of the flesh is a reminder of the transience of life. The bodies are explored by way of subtraction: the figures, always incomplete and faceless, are the portrait of a fragmentary existence.<br />The group of works on display in the show have been chosen to provide an intense and fully representative sample of the work of an artist who, in the course of her career, has composed a gallery of works charged with sensuality and force, realized in wax or horse hide, which describe a world of emotions, fragile tenderness and love.<br />A central work in the exhibition is We Are All Flesh (Istanbul), made by slowly and carefully sewing together pieces of horse hide. Suspended and with essential features, the posture exalts the vigorous and powerful traits of the animal, in which human qualities and the dualism between life and death come together.<br />Actaeon, inspired by Ovid’s Metamorphoses, centres on the unfortunate fate of Actaeon, who was turned into a stag by the goddess Diana and then devoured by his own hounds. Scattered across a table, a simple plinth, is a tangle of branch-like stag antlers mixed up with strips of cloth, like an abandoned memory of the young hunter, an image of broken youth. The sculpture combines raw and delicate images, and of strength and power, sensuality and suffering.<br />Stag antlers, this time as an image of nature rather than as a metaphor of suffering, also feature in Rodt, interlaced branches in a precious wunderkammer.<br />009-, 2011-2012 is a large old glass display cabinet housing tree branches and trunks modelled in wax. The trees appear to be memories of the past, with knots and veining emerging from the texture of the wax. Wood, as an organic changeable element, is a powerful symbol associated with life.<br />Berlinde de Bruyckere was born in 1964, in Ghent, where she lives and works. She has shown extensively in recent years, with solo shows including We Are All Flesh, Australian Centre for Contemporary Art, Melbourne, Australia (2012); The Wound, Arter, Istanbul, Turkey (2012); Mysterium Leib. Berlinde De Bruyckere im Dialog mit Cranach und Pasolini, which opened at the Kunstmuseum Moritzburg, Halle, Germany, and then travelled to the Kunstmuseum Bern, Switzerland (2011); DHC / ART Foundation for Contemporary Art, Montreal, Canada (2011); Hauser &amp; Wirth Zürich, Switzerland (2010); Schmerzensmann, Hauser &amp; Wirth London, Piccadilly (2006); Eén, De Pont Foundation for Contemporary Art, Tilburg, Netherlands (2005).<br />The artist is going to represent Belgium at the 55. Venice Biennale in 2013.</p> Wed, 13 Mar 2013 00:21:21 +0000 Casper Chan, CHEUNG Szelit, Elva Lai, Firenze LAI, Ling Pui Sze, Lulu Ngie, Tang kwok Hin - Gallery EXIT - March 9th, 2013 - March 28th, 2013 <p>Gallery EXIT is pleased to present "disturbances", a group exhibition with works by Casper CHAN, CHEUNG Szelit, Elva LAI, Firenze LAI, LING Pui Sze, Lulu NGIE and TANG Kwok Hin.<br /> <br /> The exhibition exposes the viewer to a surreal world where control paradigms, plans and structures are put into jeopardy. What is left is an acceptance to chaos, an acknowledgment of our incapability of becoming a "Body Without Organs" (Deleuze and Guattari, "A Thousand Plateaus").<br /> <br /> Society, with its values and all the arbitrary and unnatural binary structures of gender, ethnicity, sexuality, age etc., inhibit us from an uncontrolled, ungoverned, spontaneous existence. From the moment we come into being, we introject these ethics into the construct of an artificial fabricated personality. As Deleuze puts it, society is a hierarchical organism, where everybody is one part of an economic infrastructure without any space for free will, variety or identity.<br /> <br /> The works on view proclaim the possibility of a failure; the paradox of fighting against a status quo that could never be defeated. They delve into the friction that is created when the innate idea of the self tries to challenge the artifice of a socially acquired personality. In a convergence of multimedia works, "disturbances" will reveal the emergence of social and personal disturbances in a display of corruption of the mind, alienation, perversion and madness.<br /> <br /> The ethereal figures in paintings by Lulu NGIE are situated in a place of quiet contemplation. Their inaction does not build any specific narration but suggests the aftermath of an inner conflict. They seem to be dissolving within their quivering outlines and embody a sense of alienated solitude as they come to terms with an inner world that is better left undisturbed. The withering souls portray quietude of the mind, a stillness born in a state of confusion.<br /> <br /> A pair of paintings by Elva LAI describes different kinds of mental resistance against the rigid systematic society. "The Fear of Perfect Order" depicts a large white sterile room with rows of small faceless figures walking on balls. They are consumed and agonised by their effort to maintain equilibrium. By means of turbulent brushstrokes, the painting reveals mental fragility and apprehension. "Room" with inverted colouration provides a more optimistic antidote. Wondering weightless beings occupy the floor of a colossal somber interior. Each of their heads is illuminated by a tiny source of light. Dim as they are, collectively they create a beautiful, consoling landscape. Light appears to provide hope for the spirit and aspirations in the midst of struggle.</p> <p></p> <p>Gallery EXIT 安全口畫廊呈獻《白噪聲》。參展藝術家包括:陳曉筠、張施烈、賴明珠、黎清妍、凌佩詩、倪鷺露和鄧國騫。</p> <p>展覽將會帶領觀眾進入一個打破規範、秩序和結構的離奇世界。在那裏,我們無奈地接受世上剩下來的一切混亂,並且變成為一「無器官的身體」(德勒茲與瓜達里,《千高原》)。</p> <p>社會的傳统價值和其專制的二元結構(例如:性別、種族、性傾向、年齡等等),有效地約束及管治我們。從出生的一刻人類就把這些道德標準加諸身上,從而構造出人工造作的性格。就如德勒茲說:社會是一個階級組織,各人均屬經濟體系的一部分;自由意志、差異或個人身分並不曾存在。</p> <p>展覽的作品展示了「失敗」的可能性;矛盾地與無可抵抗的現況對抗。作品探討當先天人格和社會所鑄造的性格相衝時所產生的摩擦。透過多種媒體的作品,《白噪聲》揭示因社會或個人的憂慮和不安而導致的精神錯亂、疏離及心理變態等狀態。</p> <p>在倪鷺露的畫作裡,空氣般的人物在寂靜中沉思。不動的身軀,有若在蠕蠕的線條裏慢慢溶解;沒有明顯的敘事結構但卻內藏暗湧。他們呈現一份孤獨感,似在學習接受自然無為的內在世界。在迷亂中衍生出的沉寂,這些凋敝的靈魂似在描述靜謐的思緒。</p> <p>賴明珠的一對油畫向嚴厲的社會作出不一樣的精神抗爭。「房間一」描繪一座白色巨大又陌生的場地,一排排細小卑微的人物在球上行走。忙着保持平衡,他們精疲力盡。透過狂暴的筆法,作品顯露出精神上的脆弱與憂慮。「房間二」用相反的著色給予較為樂觀的解讀。飄搖的生物佔領龐大而昏暗的房間地面。每人的頭上有一柱小光;雖然暗淡,但凝聚起來建構出一幅動人的圖像。光看似在迷亂中為飄泊的靈魂打氣。</p> Thu, 21 Feb 2013 22:21:28 +0000 Luis Chan, Wucius Wong, Fang Zhaoling, Nancy Chu Woo, Kan Kit-keung, Joey Ka-yin Leung, Koon Wai-bong, Wai Pong-yu - Grotto Fine Art - February 14th, 2013 - March 16th, 2013 Wed, 06 Feb 2013 02:12:46 +0000 Wang Dongling - Hanart TZ Gallery - March 7th, 2013 - April 3rd, 2013 <p>漢雅軒畢打行首次書法個展《王冬齡:書海潮》訂於二零一三年三月七日(週四)開幕。</p> <p>藝術家指,他的書法是一種“開放式的書寫”,面對當今的視覺世界。這次展覽是和</p> <p>香港的一次結緣,除了書寫香港經典流行文字《獅子山下》、《女人花》,他還帶來</p> <p>他的最新實驗作品“銀鹽書寫”。</p> <p>Wang Dongling’s soloexhibition BRUSHING THE TIDES at Hanart TZ Gallery opens 7<sup>th</sup>March 2013 with new ink paintings.</p> <p>Wang Dongling positions his calligraphy as an open writing form, aimed at engaging our contemporary visuality. This exhibition is a tribute to Hong Kong and it includes famous local writings such as “Under the Lion Rock” and “Woman Flower”. The artist will also be exhibiting his new experimental “silver salt” calligraphy.</p> <p><strong>「筆法功夫頗像武功,一落筆就知道是</strong><strong>"</strong><strong>地凍三尺</strong><strong>"</strong><strong>,還是僅僅</strong><strong>"</strong><strong>下了點霜</strong><strong>"</strong><strong>。</strong><strong>」王冬</strong><strong>齡</strong></p> <p><strong>“Calligraphy is a form of Kung-fu, you can tell from a glance if you have struck an ice block or just touch some frosting.” Wang Dongling</strong></p> <p><strong> </strong></p> <p>許江(中國美術學院院長)</p> <p>王 冬齡的大書寫,正是以其圓滿俱足的書的藝術,昭示著生命的「相忘而生」的領域。王冬齡的巨書,以自己的心息來承接這樣一個偉大的心息,以「遊」的氣格持續 的窺探或者傾聽這從至高的自然之境中徐徐傳來的召喚,並將之化為一個動人新心魂的過程。這個過程讓人、讓今日的城市人的人心追隨那活化的筆端,真切地體會 「技而近乎道」的自然之境界,體會那種「故」、「性」、「命」的互相交養、又匯通於生命的本有之境,並有可能真實地體悟一個真正的書者存持和展示中華書藝 精神的使命。</p> <p>——許江《散懷逍遙神遊萬象——從王冬齡的巨書談書藝的當代使命》</p> <p> 高士明(著名策展人)</p> <p>王冬齡先生從原本安之若素的書法藝術的書寫狀態中出走,積極應對公共空間與展示制度的挑戰,進入與整個現代藝術史和當代藝術實踐的艱難對話之中。他以書法入得當代藝術的門庭,且在其中有所貢獻,開拓了書法的當代視野。可以說,王冬齡的作品,在當代藝術實踐中別開生面,不但為西方博物館的中國當代藝術收藏增添了書法這一篇章,也為全球性的書法史寫作增添了新的一頁。</p> <p>——高士明《公共空間中的書法——論王冬齡的書法藝術》</p> <p>張頌仁(香港漢雅軒藝術總監、著名策展人)</p> <p>冬 齡兄於此大力拓展毛筆所長,除介入各種現代書法試驗之外,更在書法的傳統功能裡找尋在今天的生活體驗,並以推進書法的技法為修煉之途。書法既不在日常經驗 出現,於非常情境作非常之態就成為對書家的新的挑戰。冬齡兄的長幅擘窠榜書不僅發揮了技藝的極致,並且強烈刺激了當代藝術的視覺經驗,刷新了書法的當代藝 術形象。而若調轉歷史角度,改從書法史的長鏡審視今天,冬齡兄的「舞字」也是無愧古人的。</p> <p>——張頌仁《現代時空中的書法——關於王冬齡近作的雜想》</p> <p> </p> <p><strong>Xu Jiang ( President of China Academy of Art)</strong></p> <p>In experiencing calligraphy, things become equalized and unified. Wang Dongling’s monumental writing offers a classic example. The meaningful world that he creates has no borders. In a state of wander and absorption, the artist and the universe, the traditional and modern come together to form a creative force.When our spirit is harmonized with nature, our life becomes vital and creative. With a profound understanding of this philosophy, Wang Dongling creates a compelling experience for the viewer to discover the essence of life and art in his monumental works. An earnest calligrapher, Wang considers the revitalization of Chinese aesthetics his mission. In his world, a direct, vital, and liberating experience with art takes precedence over fame, specific aesthetic principles, or moral concerns. His life and career is, indeed, an inspiration for many artists.</p> <p>(Excerpt from Xu Jiang: A Wondrous WanderL Wang Dongling’s Large- Scale Calligraphy and the Mission of Contemporary Chinese Calligraphy)</p> <p><strong>Gao Shiming ( Curator)</strong></p> <p>The transition of Wang’s calligraphy from a private space to a public space is a difficult and remarkable process in which the artist actively responded to the challenges and opportunities in the exhibition system in modern and contemporary art discourse. By transforming Chinese calligraphy into a significant contemporary art category, Wang Dongling is creating an illustrious chapter in the history of calligraphy.</p> <p>(Excerpt from Gao Shiming : Writing in the Public Space:Wang Dongling’s Art of Calligraphy)</p> <p> <strong>Chang Tsong-Zung Johnson ( Director of Hanart TZ Gallery, Curator)</strong></p> <p>Wang Dongling has explored various possibilities, testing the grounds for ‘modern calligraphy’ and looking for active elements in the tradition that are sympathetic to contemporary experience. Since calligraphy no longer plays a role in ‘normal’ life, the ‘exceptional’ in terms of experience and context becomes its new norm. What Wang Dongling has achieved with his large bang shu is more than a technical or physical breakthrough; he has galvanized the visual experience of calligraphy and reconstructed its image as a form of ‘contemporary’ art.  If we look at these works from the point of view of tradition, we can safely assume his ‘dance writing’ would find approval among the ancients. Wang Dongling’s large-scale renderings of Zhuangzi’s Wandering Beyond, Laozi’s The Way and Its Power and the Li Sao of Qu Yuan are unique masterpieces that deserve an enduring place in the history of Chinese calligraphy, as does their creator, whose life is one with that noble tradition.</p> <p> </p> <p>(Excerpt from Chang Tsong-Zung: Calligraphy for the Here and Now: Random Thoughts on  Wang Dongling)</p> Mon, 11 Mar 2013 01:24:49 +0000 何香凝 - He Xiangning Art Museum - January 1st, 2013 - December 31st, 2013 <p>何香凝(1878-1972),原名谏,又名瑞谏。原籍广东省南海县棉村,号棉村居士,又号双清楼主。何香凝是中国民主革命先行者孙中山先生的亲密战友、民主革命先驱廖仲恺先生的夫人,中国民主革命的积极参与者和重要推动者,杰出的政治家和社会活动家,著名艺术家。   <br /><br />何 香凝早年留学日本。1909年春,何香凝入日本东京本乡女子美术学校学习绘画,专攻山水、花卉及动物画。她常以狮、虎猛厉之气振奋国人,并以梅、兰、竹、 菊等耐寒花木勉励国人不屈的精神与坚贞的气节。何香凝长达60余年的创作历程记录着中国20世纪初叶以来的风云变幻,她的绘画气度恢弘、立意深邃,是研究 中国现代史的重要图像,同时也是她七十年革命生涯和高尚品德、人格的生动写照,堪称中华民族艺术的瑰宝。 <br /><br />作为以何香凝先生个人名字命名 的国家级美术馆,收藏、研究、展示何香凝艺术是我馆的主要工作和学术项目。1997年建馆以来,在对馆藏何香凝艺术作品进行不断深入研究的基础上,对馆外 其他博物馆、美术馆、艺术机构所藏的何香凝绘画、书法、文献、图片等资料进行商借和研究,我们先后策划举办了“双清心迹——何香凝艺术典藏”、“何香凝与 她的时代”、“翰墨情深——何香凝、廖承志母子合作绘画作品陈列”、“书画缘永——何香凝合作画陈列展”、“何香凝艺术的地·图·志——何香凝美术馆建馆 十周年”、“润色江山一支笔——纪念何香凝诞辰一百三十周年艺术精品展”、“画高人寿——何香凝晚年作品暨手稿展”、“人月双清——纪念辛亥革命一百周年 廖仲恺何香凝诗词作品展”、“何香凝:丹青写烟霞——何香凝美术馆建馆十五周年”等多个专题展览,从多层面多角度向公众展示何香凝的艺术人生,以便我们更 丰富地观赏、理解何香凝艺术。 <br /><br />此次展出的39件书画作品,是何香凝先生不同历史阶段创作的艺术精品。另有赵朴初先生和周慧珺女士书写的 何香凝先生的诗作,及毛泽东先生致何香凝先生的书信(复制件)一并陈列,以飨观者。其中部分作品曾在香港(2003年)、澳门(2004年)、上海 (2007年)及台北(2009年)、北京、武汉(2011年)巡回展出,在不同地区的展示背景也构成了何香凝艺术精品陈列展的有机组成部分。</p> Tue, 08 Jan 2013 21:01:26 +0000 Wang Guangyi, Fang Lijun, Zhang Xiaogang, Yue Minjun, Yu Hong Ju Ming, Sui Jianguo - He Xiangning Art Museum - March 1st, 2013 - May 4th, 2013 <p>作为以个人名字命名的国家级美术馆,在对何香凝艺术创作的收藏、研究和展示倾注不懈努力之外,何香凝美术馆自建馆以来一直主动关注并积极介入中国当代艺 术。十五年来,通过系统性的展览和学术活动策划,以及具有针对性、前瞻性的典藏工作,何香凝美术馆努力推动着中国当代艺术的发展,充实着对当代艺术的研 究。在展览的基础上和有限的条件下,何香凝美术馆逐渐积累了较为丰富多样的藏品,其中包括中国当代代表性艺术家、具有潜力的年轻艺术家及国际知名艺术家等 的作品,力图使藏品在一定程度上反映中国当代艺术发展的轨迹。  <br /><br />美术馆是一个面向公众的机构,而艺术作品的文化使命最终需要通过与观者 的对话交流得以实现。此次我们特别从建馆十五年来的藏品中挑选了65件(组)最具代表性的国画、油画、版画、摄影等作品予以馆内陈列,另有12件雕塑作品 陈列于美术馆户外广场和华侨城生态广场。其中包括王广义的《大批判》、方力钧的《2001-1-15》、张晓刚的《兄妹》、岳敏君的《无题 》、喻红的 《青春年少》、朱铭的《太极系列·转身前动》、隋建国的《衣钵》、展望的《鱼戏浮石》等对中国当代艺术产生过重要影响的经典作品。作为继五周年及十五周年 馆藏展之后,对十五年来的馆藏作品进行的一次相对系统的梳理工作,也希望能使观者从中略窥中国当代艺术发展的多元图景。</p> Mon, 04 Mar 2013 03:43:51 +0000