ArtSlant - Recently added en-us 40 Tay Bak Chiang - Art Projects Gallery - May 11th - May 25th <p>Art Projects Gallery proudly presents Singapore artist Tay Bak Chiang&rsquo;s solo exhibition titled &ldquo;The Story of the Stone&rdquo;. The exhibition also celebrates the opening of Art Projects Gallery&rsquo;s new gallery space at the newly renovated PMQ in Central, a heritage building formerly known as the Police Married Quarters.</p> <p>&ldquo;The Story of the Stone&rdquo; is titled after a Chinese literature of the same name (also known as &ldquo;Dreams of the Red Mansion&rdquo; written by Cao Xueqin) that tells the story of a Stone Spirit in the mortal world. Bak Chiang is particularly inspired by the allegorical portrayal of the Stone, in which a lifeless object could be bestowed worldly experiences and personal expressions. In his distinctive compositions of abstract minimalist forms, striking colors and rich textures, Bak Chiang imbues each of his stone subjects with its individual character and seeks to tell their unique stories.</p> <p>Tay Bak Chiang, born in 1973, graduated from the Nanyang Academy of Fine Arts in Singapore in 1995 and studied at the China Academy of Art in Hangzhou, China, in 1997. He was awarded the First Prize in the Chinese Painting category in the 19th and 22nd United Overseas Bank Painting of the Year Competitions (2000 and 2003 respectively). In 2002 he received the Young Artist Award from the National Arts Council of Singapore.</p> Wed, 23 Apr 2014 05:23:33 +0000 Chen Tianzhuo, Gao Mingyan, Ou Wenting, Xu Di, Ye Linghan - Vanguard Gallery - April 25th - May 30th <p>Initiated in the beginning of 2004, Vanguard Gallery has established itself as a gallery that devotes to find and support the work of the innovative younger artists. After ten years we wanted to celebrate our birthday with special series of exhibitions &ldquo;Warehouse Story&rdquo; to show brilliant works from the gallery artists. At the last show we exhibited paintings and sculpture from 5 artists with unique personal style. This time we will exhibit paintings, installation and photos from Chen Tianzhuo, Gao Mingyan, Ou Wenting, Xu Di and Ye Linghan.</p> Wed, 23 Apr 2014 01:42:50 +0000 Anouk Kruithof, Elza Jo, Jaap Scheeren, Jan Hoek, Koen Hauser, Melanie Bonajo, Paul Kooiker, Stefan Ruitenbeek, Willem Popelier - He Xiangning Art Museum - April 27th - July 20th <p>&ldquo;荷兰摄影:我们之间的空间&rdquo;是何香凝美术馆和荷兰Foam摄影博物馆合作主办的展览。通过九位荷兰年轻艺术家的摄影作品,展览呈现出荷兰当代摄影的一个侧面。<br />&nbsp;<br />对于中国而言,荷兰是一个开放而自由的国度,她的郁金香、风车、木鞋和设计,以及宽容的社会风气,我们已经耳熟能详。荷兰也产生过很多著名的艺术家,比如伦勃朗(Rembrandt van Rijn)、梵高(Vincent van Gogh)和皮特&middot;蒙德里安(Piet Mondriaan),等等,这些艺术家在西方艺术史上都有着举足轻重的位置。本次展览的九位年轻摄影艺术家的百余幅摄影作品,展现了他们摄影艺术创作的观念、方式,以及较为极端的内心诉求,也呈现了他们所面临的困惑等问题,挖掘了摄影作为当代艺术创作媒介更为多元的现实存在的可能性。它为中国的观众、艺术界人士提供了摄影艺术的一种视觉样本。<br />&nbsp;<br />本次展览邀请了Foam摄影博物馆副馆长马塞尔&middot;菲尔荷兰进行演讲,为中国的观众介绍荷兰当代摄影的历史,他演讲的题目为&ldquo;荷兰当代摄影:传统与革新之间&rdquo;。展览同期还邀请了国内从事当代摄影工作和研究的专家马良、杨小彦、余海波、曾瀚、郑梓煜,他们将围绕&ldquo;中荷当代摄影艺术&rdquo;进行讨论。何香凝美术馆将通过本次展览和系列学术演讲、讨论,为中、荷两国的当代摄影艺术构建一个交流和互动的平台。</p> Wed, 23 Apr 2014 01:28:21 +0000 Danh Vo - Faurschou Foundation (Beijing) - April 30th - August 24th <p>The work 'We The People (Detail)' (2011-2013) is part of a 1:1 copy of the Statue of Liberty,&nbsp;consisting of more than 250 copper pieces. The goal of Danh Vo&rsquo;s project was not to construct a new, whole Statue of Liberty, but rather to reconstruct its individual elements, thus enabling them to be distributed throughout the world in various museums and exhibition venues. Though the countless fragments are still associated with the iconic symbol of freedom, at the same time they also highlight the abstract nature of this concept. The work raises questions about the subject of freedom, including whether or not it is necessarily everyone&rsquo;s human right.&nbsp;</p> <p>&ldquo;We The People&rdquo; is the opening clause of the United States Constitution, written in 1787. Hence, the title and the sculpture both refer to the free, democratic nation, which the USA has been perceived as since the end of the 18th century. This iconic sculpture, symbolizing freedom, was designed by the French sculptor, Fr&eacute;d&eacute;ric Auguste Bartholdi. Completed in 1886, the Statue of Liberty stands on Liberty Island, south of New York City. Over the years it became the landmark that the many immigrants looked out for as they arrived in the Promised Land: the land of opportunity.</p> <p>Vo challenges the canonical female figure by constructing a copy of the statue in the many hammer-formed components, like the original, which also existed first in pieces. Although in many of the pieces we recognise the torch-bearing woman, most of them have become non-figurative sculptures, &ldquo;generic abstractions&rdquo;, which are more reminiscent of Greek and Roman ruins or minimalist sculptures. Vo&rsquo;s decision to recreate the statue&rsquo;s thin copper shield with a thickness of just two millimetres, the same as two pennies, reveals the monument&rsquo;s material and conceptual fragility. The installation refers, not only to the mythical significance, which the statue possesses today, but also to the very first time the statue was shown to the public. The torch-bearing hand was shown in Philadelphia in 1876 at the Centennial Exhibition, while the head was shown at the 1878 World&rsquo;s Fair in Paris.</p> Wed, 23 Apr 2014 01:18:10 +0000 Mark Bradford - White Cube Hong Kong - May 14th - August 30th <div class="expandable"> <div class="text ff"> <p>White Cube Hong Kong is pleased to present a new exhibition by Los Angeles-based artist Mark Bradford. Known for his multi-layered collaged paintings incorporating materials found in the urban environment, Bradford has created a series of new works about Hong Kong that explore structures of power and politics through the lens of urban planning, in the world&rsquo;s most densely populated city.</p> <p>Using architectural floor plans for public housing in Hong Kong as a starting point, Bradford abstracts the formal compositions of the blueprints. Numerous layers of paper &ndash; remnants of billboard posters found in his neighbourhood, along with digitally-printed colour sheets and newsprint &ndash; are overlaid and then partially sanded, enabling the preliminary delineated forms to re-emerge. In works such as No More Pencils (2014) and Plan View 74 (2014), gestural passages of colour sweeping across the surface give way to an intricate maze of incisions that return the viewer to the original design. With each small square and rectangle divided, subdivided and partitioned into even smaller cage-like units, Bradford highlights the crisis in the lack of affordable living space in Hong Kong, where nearly half the population resides in cramped government-subsidised housing.</p> <p>A perspectival elevation of another public housing project provides the basis for Circus (2014). Broad swathes of blue and turquoise paper are sanded and burnished to expose a dynamic framework of yellows and reds, adopting the characteristics of thermal imaging. The living conditions within public housing in Hong Kong remain a combustible political issue, which Bradford deftly fuses with formal abstraction, to create a manifestation he references as &lsquo;social abstraction&rsquo;.</p> <p>South View (2014) and West View (2014), each a twenty-part work, feature framed sections of abstracted and partitioned housing, stacked one on top of the other to form a grid-like, frontal elevation of individual cubicles. The palette of greens and blues, cut through with convergent lines of vibrant yellow and rust red, present momentary and singular viewpoints, which together build into a fluid and harmonious composition. In Mailing a Country 1-3 (2014) fresco-like fragmentary sections materialise like partial, mnemonic excavations.</p> <p>Mark Bradford was born in 1961 in Los Angeles, where he lives and works. He has exhibited widely, including group exhibitions such as the 12th Istanbul Biennial (2011), Seoul Biennial (2010), the Carnegie International (2008), S&atilde;o Paulo Biennial (2006), and Whitney Biennial (2006). Solo exhibitions include, Aspen Art Museum (2011), &lsquo;Maps and Manifests&rsquo; at Cincinnati Museum of Art (2008) and &lsquo;Neither New Nor Correct&rsquo; at the Whitney Museum of American Art (2007). In 2009, Mark Bradford was the recipient of the MacArthur Foundation &lsquo;Genius&rsquo; Award. In 2010, &lsquo;You&rsquo;re Nobody (Til Somebody Kills You)&rsquo;, a large-scale survey of his work was presented at the Wexner Center for the Arts, Columbus, before traveling to the Institute of Contemporary Art, Boston; Museum of Contemporary Art, Chicago; Dallas Museum of Art; and San Francisco Museum of Modern Art. Upcoming exhibitions include the Rockbund Art Museum in Shanghai and the Hammer Museum in Los Angeles.</p> </div> </div> Wed, 23 Apr 2014 01:03:28 +0000 Sun Xun - Edouard Malingue Gallery - May 13th - July 5th <p>Edouard Malingue Gallery is thrilled to announce the solo exhibition of Sun Xun (b. 1980, Fuxin, China) entitled &lsquo;Brave New World&rsquo;, which will feature the exciting new animation film &lsquo;What happened in the year of the dragon&rsquo; (2014) and an immersive installation. Created exclusively for the show and presented for the first time, the film - which carries the show&rsquo;s title - will be screened alongside drawings and installations that collectively present a response to Aldous Huxley's 1932 seminal text and considers its contemporary&nbsp;incarnations.&nbsp;A graduate from the Printmaking Department of the China Academy of Arts in Hangzhou, Sun Xun was a professor at the prestigious Academy before founding in 2006 his own Animation Studio, entitled &pi;. His work primarily involves making images using various materials such as colour powder, woodcuts and traditional ink, and collating these to produce a film, which is often presented in an immersive setting. Sun Xun is not to be simply categorised as an as an animation artist, though - his art goes beyond production and acts as a theatre of memory, replete with shuttering sequences and jarring juxtapositions of surrealistic and recognisable images, which mutually serve to scrape the uncontested surface of politicised truth.</p> <p>&lsquo;Brave New World&rsquo; reflects and condemns how the predicaments outlined in Huxley&rsquo;s ominous text have become a reality. An illustrious writer, <em>Brave New World</em> was Huxley&rsquo;s most enduring work in which he imagined a fictional future where free will and individuality have been sacrificed in deference to complete social stability. A work that combined the writer&rsquo;s skill for satire and his deep-rooted fascination with science, <em>Brave New World </em>envisaged - or indeed even warned - of a dystopian world, in which a totalitarian government controlled society through the use of science and technology, one was part of an extreme consumerist society, and there was an incompatibility between happiness and truth. Huxley, whilst creating a notorious tome, effectively cautioned readers of the dangers of an all-powerful State; a premonition that, through his work, Sun Xun is stating has actually become a reality.&nbsp;</p> <p>Consider, for example, Huxley&rsquo;s vision of complicated entertainment machines: ones that would generate both harmless leisure and high levels of consumption and production, which in turn would form the basis of the World State&rsquo;s stability. Sun Xun remarks and evinces in his exhibition that today these dystopian &lsquo;ideals&rsquo; have become a reality, where rather than reading a book replete with independent thought, contemporary individuals tune in to watch meaningless TV that distracts their mind and deletes their impartial thoughts. Ironically, and as a deliberate response, Sun Xun presents a film entitled &lsquo;What happened in the year of the dragon&rsquo; (2014). But unlike those blas&eacute; channels of entertainment pumped by production houses, it comprises a series of individual images that are questioning, reflective and, most importantly, stir independent thought. Sun Xun has thus turned on its head the 21st century tactics of information ingestion to gain our attention and, in turn, deliver us intellectually from our flat unquestioning nonchalance. The ultimate result is then not so much a film, as we have come to recognise it, but rather a manuscript &ndash; an interactive visual work of authorship.&nbsp;</p> <p>Combined with installations as well as drawings, the gallery space will thus go beyond being a site for placid contemplation and be pivotally changed into a milieu for you to be engaged, politically or other. Sun Xun&rsquo;s work purposefully stimulates us to think, and urges us to do so in a public environment; it responds to a critical need within our contemporary society to be actively and consciously present. Sun Xun achieves this, however, not by pointing to current events but rather by presenting a series of characters that seem to have existed in times past. Consider, for example, his top-hatted and straight suited magician. The locations, furthermore, seem to be of elsewhere: some mnemonic nightmarish milieu. Indeed, the scenes and sites are not attributable to places you would recognise, but rather seem to stem from some dark fictional narrative. Within this portrayal, however, lies the true wonder in Sun Xun&rsquo;s works, for he is able to create a relevant fiction, one that brings you into another world, yet presents a vivid undercurrent that prompts reflection into the world you currently live in.</p> <p>Overall, &lsquo;Brave New World&rsquo; provides a challenging response, not far from a century later, to the predictions made by the literary master Aldous Huxley. Primordially, it prompts an active and engaged consideration as well as an awakening vis-&agrave;-vis what is taking place in our society and how we - as supposedly sophisticated liberated people - &lsquo;are&rsquo;. Is our existence really ours, and is our history really one that we&rsquo;re making? Or are we allowing it to be simply, and ignorantly, constructed for us?</p> <p>Sun Xun is widely considered one of China&rsquo;s most talented rising artists. He was awarded in 2010 the Best Young Artists award by the CCAA, the Young Art Award by Taiwan Contemporary Art Link and the Arts Fellowship by Citivella Ranieri Foundation (Italy). Sun Xun has held multiple solo exhibitions around the world, most notably at the Hayward Gallery (London), Hammer Museum (Los Angeles), The Drawing Center (New York), Kunsthaus Baselland (Basel), A4 Contemporary Arts Centre (Chengdu), Minsheng Art Museum (Shanghai) and the Louis Vuitton Taipei Maison (Taipei). He has also been included in numerous significant group exhibitions at the Metropolitan Museum of Art (New York), Skissernas Museum (Lund), Times Museum (Guangzhou), Jordan Shnitzer Museum of the Moving Image (New York), Minsheng Art Museum (Shanghai), Kunsthalle Bern (Bern) and Taiwan Museum of Fine Arts (Taipei), amongst others. Furthermore, his video work has been widely exhibited at film festivals around the world, from Germany and Austria, to Sweden, South Korea, Brazil and Iran.</p> Wed, 23 Apr 2014 00:47:54 +0000 Nadav Kander - Blindspot Gallery - May 10th - July 19th <p>Blindspot Gallery is delighted to present London based, Israel born photographer Nadav Kander's first solo exhibition in Hong Kong, &ldquo;Curves of Moon and Rivers of Blue&rdquo;, co-curated by Tamar Arnon and Eli Zagury. The exhibition opens on the eve of Art Basel Hong Kong 2014.</p> Fri, 18 Apr 2014 00:12:30 +0000 David Smith - Amelia Johnson Contemporary - April 23rd - May 9th <p>David Smith&rsquo;s paintings explore the elements of space, light, scale and material through a restricted format.&nbsp;Elemental subjects are often&nbsp;isolated, cropped or in transition. These provide a fulcrum around&nbsp;which changeable environmental conditions like light, weather or&nbsp;pollution can play. A vast and mysterious space displayed through&nbsp;a small and intimate scale.</p> <p>The processes involved are central to the work. The approach is&nbsp;often fluid and adaptable, employing washes and the chemical&nbsp;qualities of oil to disrupt, dissolve, shroud or partly erase the paint&nbsp;surface. This facilitation sets the stage for a flexible outcome. The&nbsp;small scale of the paintings is a deliberate attempt to depict vast,&nbsp;elusive spaces on an intimate scale. Simple compositional design,&nbsp;coupled with minimal, often neutralised colour and the unyielding&nbsp;surface of solid plywood panels, allow the paintings to grow and&nbsp;inhabit more space than their size suggests.</p> Fri, 18 Apr 2014 00:03:51 +0000 Edward Burtynsky - Sundaram Tagore Gallery - Hong Kong - May 9th - June 21st <p>Canadian photographer Edward Burtynsky presents new color photographs from <em>Water</em>, his most recent series, in a major solo exhibition.<br /> <br /> Edward Burtynsky is known worldwide for his arresting images of industrial landscapes. The <em>Water</em> series, begun in 2007, his largest and most ambitious project to date, documents the scale and impact of manufacturing and human consumption on the world&rsquo;s water supplies.

<br /> <br /> In order to produce this vast body of work, Burtynsky traveled the world. He chronicles the monumental dams on China&rsquo;s Yangtze River; ancient stepwells in India; dramatic deforestation and erosion in Iceland; and desertification of the once vital Colorado River Delta in Mexico. He shows, in stunning color and intricate detail, how human interference is depleting this precious resource. 

<br /> <br /> Edward Burtynsky&rsquo;s works are in the collections of more than fifty museums worldwide, including the Museum of Modern Art and the Solomon R. Guggenheim Museum, New York; Biblioth&egrave;que Nationale, Paris; The Photographer&rsquo;s Gallery and the Victoria and Albert Museum, London; and Albright-Knox Art Gallery, Buffalo, New York.

<br /> <br /> Edward Burtynsky holds six honorary doctorate degrees and was recognized with a TED award in 2005. In 2006 he was named an Officer of the Order of Canada, the nation&rsquo;s highest civilian honor. His distinctions include the National Magazine Award, the MOCCA Award, the Outreach Award at the Rencontres d&rsquo;Arles and the Applied Arts Magazine book award.

<br /> <br /> In 2007, Burtynsky was the subject of the award-winning documentary <em>Manufactured Landscapes</em>, which screened at the Sundance Film Festival. Burtynsky&rsquo;s new film, <em>Watermark</em>, which he made in conjunction with award-winning filmmakers Jennifer Baichwal and Nick de Pencier, premiered at the 2013 Toronto International Film Festival.

<br /> <br /> In conjunction with this exhibition, Asia Society Hong Kong will host a screening of <em>Watermark</em> on Saturday, May 10, at 6:30 pm. The film follows the artist as he shoots the images that form the Water series. Edward Burtynsky will be on hand for the screening and will answer audience questions. Details and ticket information are available on the Asia Society website.<br /> <br /> The photographs in this show were recently published in the book titled <em>Water</em> by the German publishing house Steidl.

</p> Thu, 17 Apr 2014 23:57:22 +0000 - Hong Kong Heritage Museum - June 7th - September 15th <p>The exhibition <em>The Extraordinary in the Ordinary: Chairs for Viewing the World through Time</em> offers a global perspective on chairs and explores the position that this everyday utilitarian object has held in people&rsquo;s lives throughout the ages.<br /><br /> Valuable exhibits from the collections of museums around the world will be put on display for the first time in Hong Kong and will include some chairs that are ancient and rare, some that belonged to emperors and nobles and others that were used by the common people, while chairs designed for specific functions and trades, and special chairs for men, women, children and the elderly will also be showcased. Visitors will find much to arouse their curiosity among the rich variety of topics that the exhibition encompasses: the evolution of chairs; chairs as symbols of authority and status; chairs and their relationship to everyday life in areas such as food, clothing, transport and social activities; the role of chairs in religion and beliefs and their associations with people&rsquo;s values; chairs and political, economic and cultural exchanges. Chairs reflecting the people and life of Hong Kong during the old days will also be exhibited, including chairs for village ceremonies and temple rituals, an exquisitely decorated bridal sedan chair for a traditional wedding and a chair from a bygone barber&rsquo;s shop. The stories provided by this exhibition about chairs will inspire visitors and stimulate their interest in the history, culture and art of the world.</p> Thu, 17 Apr 2014 23:42:05 +0000 Isao Takahata, Hayao Miyazaki - Hong Kong Heritage Museum - May 14th - August 31st <p>Studio Ghibli was founded in 1985 by renowned animation directors Isao Takahata and Hayao Miyazaki. The Ghibli&rsquo;s animation films have been well received by worldwide audience, have won awards in various international film festivals and become a beloved part of popular culture.<br /><br /> As opposed to the widely used digital technology in arts nowadays, Takahata and Miyazaki insisted on producing their animation films basically by the traditional method of hand-drawn animation. This exhibition comprises over 1,300 items of layout design selected from works by Isao Takahata and Hayao Miyazaki throughout their careers. A layout, being regarded as the blueprint of an animation film, is used to illustrate the director&rsquo;s ideas on the outlook of the scenes, including the arrangement of colors, positions, motions, etc. for subsequent production to ensure the continuity, In this exhibition, the whole history of Studio Ghibli layout production will be on display, ranging from <em>Nausicaa of the Valley of the Wind</em> to the latest released <em>The Wind Rises</em> and <em>The Tale of The Princess Kaguya</em>. Exhibits are drawn from the company&rsquo;s popular major works including <em>Castle in the Sky</em>, <em>My Neighbor Totoro</em>, <em>Grave of the Fireflies</em>, <em>Kiki&rsquo;s Delivery Service</em>, <em>Princess Mononoke</em>, <em>Spirited Away</em>, <em>Ponyo on the Cliff by the Sea</em>. Layouts from the early works and TV series produced before the founding of the company such as <em>Heidi a girl of the Alps and Conan</em>, <em>The Boy in Future</em> are also featured for a comprehensive view of their achievement.<br /><br /> Through these layout designs visitors can come to a better understanding of the production process of animation films. In addition, the layouts can also be appreciated individually as works of fine art. It is also an opportunity to rethink the classical notion of animation-making, as well as the pursuit of excellence and variety in the language of aesthetics in Japanese culture.</p> Thu, 17 Apr 2014 23:36:54 +0000 WU MINGZHONG - Xin Dong Cheng Space for Contemporary Art - April 26th - April 26th Wed, 16 Apr 2014 05:33:09 +0000 Shang Chengxiang - Space Station - April 12th - May 11th <p align="justify">The Space Station is about to present you the second solo exhibition of Cloud Atlas of the artist Shang Chengxiang on April 12th, 2014. The exhibition lasts until May 11th.</p> <p align="justify">The year 2013 has seen many &ldquo;clouds&rdquo; as well as &ldquo;palm-trees&rdquo; in Shang&rsquo;s works, the recurrent images in his dream of a certain period. Grown up in the northeastern China, he has not seen much of a palm forest; yet he dreamt that those colourful trees swayed in the breeze and he weaved through those treetops. At that time he found it very hard to sober up every day, which felt like there was always a cloud haunting at the bedside, much like those depicted in the painting Start from the Fog. Thus we have the works from 2013 till the present.</p> <p align="justify">Shang&rsquo;s predilection is not limited from the early &ldquo;glass pieces&rdquo;, &ldquo;rocket booster&rdquo;, &ldquo;bombed house&rdquo;, to the recent &ldquo;deer with snapped antlers&rdquo;, &ldquo;masked goat&rdquo; and &ldquo;lost zebra&rdquo;, etc. He likes it more to delineate those unfamiliar, strange and remote. Reality and fantasy in his works appear one after another; animals and human beings often exchange identities, making us rethink ourselves as human beings from the perspectives of the animals.</p> <p align="justify">Shang always depicts some &ldquo;unrealistic&rdquo; scene by using large size canvas, like in Unescapable Dream, the wreckage of a damaged ship appears in a vast expanse of cornfield, and kids are strapped by plastic bags and toy horses; Your Face describes a stranded whale wrecked by the oars, and a little girl wants to control or stroke it; Horror Series portrays docile animals, whose eyes and the bits are gleaming with ferocious emotions as well as the strength to rebel. These powers can be either long neglected, or constantly gathered. Shang carefully conceals these details, making them like a timer of a bomb, urging you to discover all the unusualness within the countdown.</p> <p align="justify">A most significant question, however, is who the protagonists of his works are. This means that the spectators are placed in different locations, with some gazing on the animals, and some besieged by the atmosphere created by the paintings. That is to say, Shang intends to narrate a quasi-circular story, in which he lets the viewers to discover, as if the depicted scene is pregnant with inexhaustible meanings: the beginning is also the end; the portion is also the whole.</p> <p align="justify">Just when you think you have seen the light, Shang explains all these as two separate but closely related selves. It is said that he often fails to distinguish reality and truth, as the aforementioned that he cannot tell whether he is in dreams or reality in the daytime. For instance, in Partake of the Feast, where three goats of different appearances represent several different types of person; it is hard to tell who is the most dangerous, for they are either masqueraded or fierce or submissive, but these are only the appearances: maybe the best mask is without mask. The meat in the painting represents the interests, and those blooming flowers at the background suggest these three goats are to partake of the feast in such a flowery environment.</p> <p align="justify">If we disregard all those literary metaphors, what Shang aims to express still remain. This shows that his way of constructing the work is still conventional and purely visual, which is different from most contemporary artists who rely on the hermeneutics of texts and notions. If we go on to strip off those props on the aforementioned animals, you will find, as a spectator, that those eyes also reveal human nature.</p> <p align="justify">This is a story about solitude and conflict, reality and emotions. Even if we do not tell it, Shang, at the very beginning has limited our sights within a perceivable scope, so accurate that what we are facing and our inner choice are standing in sharp conflict. Good news is that the scope does not produce much loneliness, but just a world of me and another me. In fact, this is a state void of the real and the outside world, and also the very way through which we walk into our inside world, and those &ldquo;clouds&rdquo; are the doors and windows to enter from. Rid of the omnipotent reality that seems to have all the word under control, we obtain our own freedom. On the other hand, those spiritual symbols in the painting may be just the murmur between the two selves. Reality and fantasy, solitude and conflict undergo ups and downs like the waves in our life journey; but orders seem to have always existed governing these chaos, and occasionally disrupting our excessive imaginations which, more interestingly, we also need in our pursuit of the truth and self-balancing. This seems to be a de-fantasized or de-rationalized process; and in the end, the virtual world in the painting converges with our perceivable world, where the real feelings and inspirations spring up for some time and are quickly washed away by the tides of thoughts.</p> Wed, 16 Apr 2014 05:25:46 +0000 陈燕飞, 朱敬一, 宋涛 - Shanghai Duolun Museum of Modern Art (Doland Art Museum) - April 20th - May 2nd <p>2014年4月20日,&ldquo;三维的墨&mdash;当代水墨三人展&rdquo;将在上海多伦现代美术馆隆重开幕。本次展览由四位来自不同领域的创作者携手参展:璞素家居创办人陈燕飞、当代艺术家朱敬一、自造社创始人宋涛。<br /><br />  三位创作者以浸染多年的中国传统文化为根基,分别从各自不同的思维角度重新诠释了&ldquo;墨&rdquo;的多维度的可能性。<br /><br />  陈燕飞:受日本现代书法影响开始书法的现代变革,建立起一套古典与现代相融合的审美观。他将传统书法,抽象绘画,以及对创作环境的理解融合为一体,创作出颇具现代感的书法作品。<br /><br />  朱敬一:迷恋中国古代线描,他以&ldquo;线&rdquo;为工具,将二维平面的水墨、三维立体的结构,以及中国古典神话式的妖怪形象,纳入同一个语境中,创作出立体化的水墨作品。<br /><br />  宋涛:经历了中西文化两方面的浸淫和比较, 反而让他对中国传统文化有了更深的理解。以从法国留学回国为分界点,1994 年之后,他的作品中加入了对第三维度&mdash;&mdash;时间的思考。<br /><br />  四位艺术家试将通过本次展览共同发起各界观者对当代水墨在时空象限上的存在形式与存在意义的再度思考。</p> Wed, 16 Apr 2014 05:21:37 +0000 Hung Fai - GROTTO Fine Art - April 23rd - May 10th <p><span style="font-family: Arial,Helvetica,sans-serif; font-size: xx-small;"><span style="font-family: Arial,Helvetica,sans-serif; font-size: xx-small;"><span style="font-size: small;">Grotto Fine Art takes pleasure to present <em>Movement, </em>the first one-man exhibition of Hong Kong artist Hung Fai. Inspired by Chinese ink tradition, Hung mediates his aesthetics with contemporary and fundamental elements. His new series <em>Splash </em>and <em>Wild Grass </em> shed new light on the usage of materials, methods and conceptualization in contemporary ink painting.</span> </span></span></p> Mon, 21 Apr 2014 02:37:27 +0000 Li Shurui - WHITE SPACE BEIJING - April 26th - June 4th Wed, 16 Apr 2014 05:01:00 +0000