ArtSlant - Recently added en-us 40 Yang Fan - Space Station - July 19th - August 17th <p>Beyond the Scale</p> <p>Su Lei</p> <p>No matter what kind of experimental innovation and structural readjustment, the ultimate goal is to make the scene as well as the value system that lies beneath cooperate more smoothly. But the inner expansion and standardized criteria of the value system have gradually reduced the everyday scene to be merely its decoration, leading the whole culture to virtualization and semiotization. The scene with outer prosperity complies with the inner rules of the value system. The standardized movement demanded by value judgment has established grades and scales for different pattern of art in aesthetics and emotion. The direct result of it is that the satisfaction of the needs of grading has become the benchmark to evaluate aesthetic pattern. With the natural motive disappearing, the real scene falls into a purely virtual world. When placed in different standards and criterions, the subjective sentiment will no longer be open and pure; but be modified, fastened and merged into some pattern.</p> <p>Yang Fan tries to place both artwork of low interest, poor quality and classical value scene under hard light, wiping out those empty interests as much as possible, and restoring the value system itself. In The Value System series, artists, by using cheap buttons of magnificence and full of various interests, reproduce the overwhelming aesthetics caused by the scalization of the value system. The Value System 10 and The Value System 11 have taken a step further to use an ambiguous human figure as the background, suggesting an individual deeply immersed in the scene is being encroached by poor aesthetics. The materialization of an individual naturally results in the From the Bottom of One&rsquo;s Heart series, using the inferior body model to mean a standardized individual: the apparent healthy and bright organs whose functions are stipulated clearly have been represented here, ironically, as an inferior body after being stipped off reality. Mr. Zhang&rsquo;s Afternoon has depicted a scene imbued with economic and political prerogatives by the exchange of power institution and foreign capital. It is stripped off by strong flare its original happy, amiable and fervent ambience, leaving only the iciness and tedium of the pure exchange in the value system.</p> <p>Based on the gradation of the value system, absolute equality of sentiments has never been realized in human history. To escape from the inherent pattern means to resist from within, to get rid of pattern and standard, and only in this way can one let out the real emotions to the greatest extent. Beyond the scale, the illogical, non-standard bad interest is just like rebellious revelry after getting rid of the value system.</p> Wed, 23 Jul 2014 02:18:08 +0000 - Power Station of Art - July 19th - October 12th <p>From the first chatelaine watches &ndash; the oldest on display dates back to 1874 &ndash; to the new Cartier ID One and Cartier ID Two &ldquo;concept watches&rdquo;, the Cartier Time Art exhibition is an invitation to discover more than a century of Cartier&rsquo;s watchmaking treasures and a fascinating story featuring beautifully shaped timepieces and ingenious, complex mechanisms.The 151 historic pieces in the Cartier Collection include some of Cartier&rsquo;s early models, such as 10 mystery clocks, all of which are truly spectacular watchmaking creations. Together with 31 contemporary pieces, the Collection demonstrates the continuity of Cartier&rsquo;s watchmaking production since it was founded in 1847. The exhibition will also take visitors to La Chaux-de-Fonds, the world-renowned mecca of watch manufacturing in the Swiss Jura Mountains. It will present age-old craftsmanship and explain the complex and intricate production of watch movements. &nbsp;</p> <p>The entire exhibition has been conceived by the Japanese designer, Tokujin Yoshioka, who was given complete freedom to present the two concept watches Cartier ID One and Cartier ID Two in a colossal art installation, the Gate, which was designed specifically for this event.</p> <p>Since its founding in Paris in 1847, Cartier has served as the quintessential ambassador of French craftsmanship and arts. The Cartier Collection, consisting of iconic works from throughout the history of the company, has been featured in exhibitions at prestigious museums and institutions across the globe since 1989. Cartier treasures embody the universality and timelessness of art, while promoting French culture around the world. The Cartier Collection has long-standing ties to China, with exhibits in the Shanghai Museum, the Beijing Palace Museum, Taipei Palace Museum and Liaoning Provincial Museum. As part of the series of events celebrating the 50th anniversary of French-Chinese diplomatic relations, the Cartier Time Art exhibition will present these exquisite timepieces from the French Maisonto Chinese admirers, in a unique experience that will exemplify the cultural impact of East meets West.</p> Wed, 23 Jul 2014 02:08:10 +0000 - Power Station of Art - June 11th - July 27th Wed, 23 Jul 2014 02:04:38 +0000 - Pace Hong Kong - July 24th - September 4th <p>Pace Hong Kong is pleased to announce the opening of summer group show at Entertainment building on Queens Road Central, Hong Kong, from 24 July through 04 September 2014. The show will comprise the works of Agnes Martin, Alfred Jensen, Hiroshi Sugimoto, Hong Hao, Li Songsong, Liu Jianhua, Robert Irwin, Yin Xiuzhen, and Zhang Huan. Opening Reception will be held at gallery on Wednesday, 23 July from 6 to 8 PM. The exhibition will showcase a painting by Alfred Jensen from the 1970s depicting Lo Shu Square, a traditional Chinese numerical system passed down from Lo Shu Era in China. As Jensen juxtaposes numbers with graphs, an exquisite symmetry is formed. The clash of conceptual and visual depth reveals Jensen&rsquo;s distinctive style, wavering between abstract and pop art. By overlapping Eastern and Western wisdom, a new perspective is introduced in Jensen&rsquo;s painting; his paintings are sublime in conception, colour and extreme complexity. In dialogue with Jensen&rsquo;s painting, Zhang Huan&rsquo;s painting stands out with an extraordinary, bold visual language. Inspired by Tibetan religion and culture, Zhang renders his emotions into hysterical, whimsical landscapes on canvas. Not only does Zhang work with oil paint, he also incorporates the sacred medium of incents into his historical drawings, attaining a high level of spirituality. Conversely, Agnes Martin speaks with her minimalistic style; influenced by Daoism and Chinese philosophy. The legendary abstract painter blends in &lsquo;nets&rsquo; into her paintings; a symbol of quiet thoughts in Daoism. Martin&rsquo;s work revolves around the idea of inner emotions, displaying a state of emotional perfection yet unable to achieve wholeness in tranquility and satisfaction. Hiroshi Sugimoto also utilizes Eastern values in his photographs. A lightning bolt and sea horizon photograph will be exhibited in this show, both signifying Zen. The stillness of the image conveys the power of calmness and explores the eternality of time. Li Songong deconstructs China&rsquo;s political and historical landscapes, in search for a new cultural social identity. Li translates factual reality in the image into an abstract language on the canvas, revealing a new perspective on the story. Simultaneously, Robert Irwin narrates the aesthetics of light and philosophy through his installation. Irwin explores the notion of senses and experience in virtue of blurring the boundaries between reality and imagination. Irwin and Hong Hao place in dialogue two and three-dimensional objects. Through the act of scanning, Hong transforms three-dimensional objects into two-dimensional objects, challenging the social values bestowed upon them and modifying aesthetics of the mundane. Liu Jianhua will display a series of ceramics, exerting the potential of complexity and purity in the medium. Liu challenges conventional ideas on tools, he emphasizes on their cultural significance instead of its functions. While Yin Xiuzhen works with clothes collected from people, as she sees them as a &lsquo;second skin&rsquo; of each person. The amalgamation of fabrics stitched together discloses memories and affections carried on them.&nbsp;</p> <div class="jspVerticalBar">&nbsp;</div> Wed, 23 Jul 2014 01:56:16 +0000 Group Show - Pace Beijing - July 26th - September 5th <p>Pace Beijing is delighted to announce the opening of a summer group show &ldquo;We Love Video This Summer&rdquo; on July 26, 2014. This is Pace Beijing&rsquo;s very first attempt to devote its entire gallery space merely to video/motion graphic art. We hope in this temporary community formed by space, image, voice, and even the viewers could generate a physical and psychological resonance, make each individual work as a full force field to unleash greater openness, as well as renew and challenge the viewer&rsquo;s experience as a participant. Between works and works, and works and the audience, the chain of meaning and experience will continue to join and disintegrate, and the 2000 m2 exhibition space of Pace Beijing will become a laboratory for new relations in video art observation.</p> <p>Therefore, the title of this exhibition does not provide any descriptive or diagnostic information. On the contrary it is an emotional and simple move. We intentionally minimize the traditional sense of curatorial clues, themes, chronologies and taxonomic restrictions added to works or artists. In a sense, &ldquo;We Love Video This Summer&rdquo; is a free rehearsal for practitioners in a specific space of authigenic dialogue, communication, and performance. The artists exhibited are from different countries, regions, cultures and historical environments, with all kinds of creative backgrounds, concepts and contexts. Some of them are long-time pioneer explorers of video art, some are young artists with passion and faith of video language or video itself, while some others are people who walk on this path because of their belief in changing the world with the power of video art. In this exhibition, we wish to build a platform for these explorers and practitioners for the oncoming, tuber-like narrative of freedom.</p> <p>The exhibition absorbs multiple video/motion graphic art to the extreme: the video art pioneer Bill Viola maintained his consistent theme in his work &ldquo;Visitation&rdquo;, which is to show the intersection between life and death and the deformation process cycle in the flow and blink of image. Song Dong, the Chinese video precursor in his five-channel video &ldquo;I don&rsquo;t know&rdquo; catches the changes of objects and time with purified and near abstract image language. Yuan Goang-ming (Taiwan) also seizes the image itself during his years of creation, and treats images as an unknown beyond the recognition of language. His work shown in the 300 m2 separates space, and with the driven of image, the audience&rsquo;s present experience is under potential variation and rebirth. Tseng Yu-Chin, on the other hand, is using his highly recognizable visuals to force the boundary of narrative and communication, and to explore the global existence of individuals through the body and senses.</p> <p>Also is a forerunner of video art, Qiu Anxiong in his new work "Cake" utilizes comprehensive language full of extremely strong style and materiality, and to calmly describe a cruel and ambiguous wrestle. Shen Ruijun, a young curator and artist re-discusses the limits of painting on a flat surface and painting as a process in a peaceful, elegant, and smart way. More freedom can be sensed in Pak Sheung Chuen&rsquo;s &ldquo;To breathe a roomful air&rdquo;. The artist recorded his residence in Busan where he collected his own breathe using plastic bags. This nuances of individual life experience in this particular way connects the room in an unconventional way &ndash; the everyday breathing process opened another perception and acceptance of the passage of life following the deliberately stress and strip.</p> <p>With the impact of new technologies, a number of new comprehensive video works have gradually become fashionable, and how to define them is still in the process of modification and adjustment. In this exhibition, a creative team from Japan named teamLab created science and bionic art with the minimum recognition of their existence &ndash; they produce/manufacture loop and endless video art as a group. While Norwegian artist Pia Myrvold combines art, fashion, photography, performance, and interactive technology, and introduces the concept of "interface" to the works, allowing the audience&rsquo;s static relationship with the art becomes blur and fueled with impetus.</p> <p>Lastly, the political nature and a sense of practice on difference levels are also reflected in most of the works in this exhibition. Israel artist Mochal Rovner adheres to themes such as identification and segregation which are both political and personal, and transforms geographical concepts into the visual expression of walking, or explains cultural/social narratives including live and death, confrontation and floating using abstract metaphors. Young artists such as Tsui Kuang-Yu who are more like activists usually turn the record of action into methodology. By showing how the leading character (the artist himself) deal with the surrounding environment, explore the possibility of a new relationship between individual and environment, and try to ask and click the hidden problems in life, the artist eventually finds and practices a set of method of the individual, and his video work is just a presentation of these methods. Morgan Wong, an emerging artist uses fuzzy symbolism, intentional sense of alienation and a likely provocation, to translate political, questioning, and participating into a brand new discussion space that is pure and fresh.</p> <p>&nbsp;</p> <div class="jspVerticalBar">&nbsp;</div> Wed, 23 Jul 2014 01:51:23 +0000 Group Show - MOCA Shanghai (Museums of Contemporary Art Shanghai) - July 12th - September 10th <p>Museum of Contemporary Art, Shanghai presents &ldquo;Aura of poetry&rdquo; on July 12th. Artists invite viewers to enter into a poetic space; seeking the crack in time in our fast paced and intense urban environment and find refuge in the beauty of poetry and experience its spiritual power. The power of poetry lies in &ldquo;beauty&rdquo;, and also its ability to reflect truth. Poetry resembles light that breaks through the complexities of the modern life, creating a crack in time that brings people hopes and strength. In the &ldquo;Aura of Poetry&rdquo; viewers will experience the poetic light from these cracks. With light, forms time and space, subsequently different stories and human history. The participating artists of the exhibition includes (in alphabetic order): GAO Ruyun, HU Xiaoyuan, LIU Jianhua, PENG Yangjun, QIU Anxiong, SHI Zhiying, WANG Youshen, WANG Guangle, YANG Yongliang, ZHANG Enli. Majority of the works are newly created for this exhibition. With &ldquo;Aura of poetry&rdquo;, MoCA Shanghai aims to stimulate innovative thinking and create spiritual strength for all the viewers. &ldquo;Aura of Poetry&rdquo; ---The exhibition is co-curated by Tiffany Soong, Shen Qilan, and Miriam Sun.</p> Wed, 23 Jul 2014 01:44:03 +0000 Li Jinghu - Magician Space - July 26th - September 14th <div>Magician Space is pleased to present &lsquo;Time is Money&rsquo; the second installment of a unique back-to-back exhibition series with Guangdong artist Li Jinghu. The exhibition brings together two newly commissioned works, offering a poetic rumination on society, industry, and capitalism - of the boundaries erected that separate humanity from nature. Comprising moving-image, sound, as well as sculptural and painted elements, the exhibition moment is translated into a nocturnal setting inspired by the reality of Dongguan &ndash; an emerging &lsquo;factory of the world&rsquo;. In continuation of the first exhibition, the title embodies the missing half of the billboard slogan &lsquo;Time Is Money, Efficiency Is Life&rsquo; &ndash; an ominous phrase used in South China throughout the 80s.&nbsp;</div> <div>&nbsp;</div> <div>Two distinct installations will occupy each of the exhibition rooms, underscoring an intertwining and ongoing personal &lsquo;historiography&rsquo; of Dongguan in flux. Reflecting an ongoing interest in the fugitive imprints of labor and life, the exhibition includes the installation &lsquo;Today&rsquo;s Screening&rsquo; - a re-staging of video halls that once littered streets nearby factories. A popular nighttime activity for factory workers, the setting of the video hall is distilled into its most basic components: the soundtrack and projected image. Mass-produced plastic crystals &ndash; a source of livelihood and at once an incongruous presence in this city &ndash; cover the projection film-screen, abstracting a continuous circularity of images into a refracted dazzle of darkness and light. With this sleight of hand, a social moment transforms into a spectral image, as projection becomes the performing act.<br /><br /></div> <div>The second installation &lsquo;Moonlight&rsquo; inhabits the main exhibition hall, marking a new series of wall-based works. As tempo, subject matter, and soundtrack shift through different cadences in the smaller room, &lsquo;Moonlight&rsquo; offers a further counterpoint through a fixed sequence of varying geometric forms. Here, each form alludes to moonlight as it traverses through crevices and the elongated gaps of buildings &ndash; in the city, moonlight neither dances nor shimmers like it does between living branches of trees. It instead retains a rather motionless etiolated glow, but with an industrial airbrush to coerce the surface paint into craters and ridges, the &lsquo;skin&rsquo; of these indelible marks provide a new sensory field held together in a state of pleasant suspension. We are reminded of this celestial being in the sky - of the void beyond the quotidian and of its enduring visual potential.</div> <p>&nbsp;</p> Wed, 23 Jul 2014 01:39:38 +0000 Guo Fengyi - Long March Space - July 24th - August 24th <p><strong>Guo Fengyi&nbsp;</strong>drew from the wealth of Chinese culture for inspiration. She centered her practice on herself, while externally touching upon nature and internally meridians and beliefs.&nbsp;<strong>Guo Fengyi</strong>&rsquo;s art is all-embracing, the themes including human body, nervous system, I Ching, history, biography, cosmology, geography, among others, representing her unique world view in both temporal and spatial aspects.&nbsp;</p> <p>&ldquo;LANDSCAPEPORTRAIT&rdquo; is a selection of fifteen carefully picked-out ink drawings on rice paper from the artist&rsquo;s oeuvre during the years 1990 to 2006. The subject matters include historic, cultural and divine characters, e.g. Xuanyuan (1990), Bodhisattva No.1 (1998), Statue of Liberty (2003) and Confucius (2007), as well as landscapes like Lugu Lake &ndash; If Women Ruled the World (2002). GuoFengyi&rsquo;s first collaboration with Long March was her participation in the 2002 &ldquo;Long March Project&mdash;A Walking Visual Display&rdquo;&nbsp;at Lugu Lake. One year later, she began working on the colored ink drawing on Long March, and it was&nbsp;</p> <p>not until seven years later that she accomplished the 22-meter-long Long March Painted by&nbsp;<strong>Guo Fengyi&nbsp;</strong>(2003-2010), arguably the most ambitious piece of work in her life. It is the first time that this piece is unveiled to the public. The grand dimension presents a set of interesting challenges on the subject of display and meanwhile sparks a string of debates on how to physically look at or view&nbsp;<strong>Guo Fengyi</strong>&rsquo;s artworks. &nbsp;</p> <p>Albeit the wide-ranging themes,&nbsp;<strong>Guo Fengyi</strong>&nbsp;&ldquo;anthropomorphosized&rdquo; the majority of those subject matters when she had them implemented on paper, especially those using rice paper or scroll, which in result generated a visual similarity notwithstanding the thematic difference. For instance, there is usually a singular, enclosed shape in a piece, within which images of face or head are highly &nbsp;recognizable. The facial features together with signatures and inscriptions hint at vertical viewing, which follows the tradition of the display of portraits; therefore, most of&nbsp;<strong>Guo Fengyi</strong>&rsquo;s works could be interpreted as portraits from a sheer visual perspective. However, her art-making process accorded with traditions of Chinese landscape painting, which is in particular reflected in her rice paper works. &nbsp;Rice paper is a major medium in her practice, and its attribute of limitless extension allows a relatively freer painting style and enables the piece to physically stretch according to the duration and process of painting. Judging from the sizes and proportions, her works are always long and slender as Chinese landscape paintings. These two co-existing approaches her work, by way of visual attributes or working method, have inevitably led to the ways in which her work could be seen. When one thinks of her work from the viewpoint of visual perception, the pieces ought to be&nbsp;</p> <p>approached by virtue of viewing a portrait, which is displayed vertically; in respect of methodology and her work process, they should be approached by virtue of landscape painting, which traditionally are displayed horizontally.</p> <p>&ldquo;LANDSCAPEPORTRAIT&rdquo; combines the two perspectives of viewing the work of&nbsp;<strong>Guo Fengyi</strong>. In the rooms filled with portraits primarily, some of which are hung vertically while others are displayed horizontally or simply laid flat, we hope the juxtaposition could bring the audience a fresh outlook into the singular practice of&nbsp;<strong>Guo Fengyi</strong>.</p> Wed, 23 Jul 2014 01:31:11 +0000 何香凝 - He Xiangning Art Museum - August 23rd - November 23rd <p>在20世纪中国美术史上,何香凝是一个独特的个案。她的艺术创作、政治实践都是艺术史家和历史学家们所津津乐道和反复书写的题材。特别是她的山水画,明显有别于中国近代山水画的主流风格。早年受日本绘画(如端管紫川、田中赖章)的影响,但因日本山水画本身是受南宋绘画的影响,所以,她最初所接受的与其说是日本绘画传统,不如说是经日本画家改造过的中国文人山水画这一新传统。晚年有一个转变,画面中日本绘画的色彩越来越弱,风格更趋近于中国传统的文人画。加之和其他画家、政治家们的特殊交往,使得她的山水画无论观看方式,还是笔墨、形式以及画意的变化,都体现出与众不同的一面。这样一种风格的形成既不是单纯的个人趣味选择,也不是单纯的政治意识形态所决定的,更不是一种纯粹绘画的实践和探索,而是一种综合的结构性的生成和建构。</p> <p>本次展览拟以何香凝的山水画为视角,一方面通过与黄宾虹、傅抱石等其他山水画家的比较研究和呈现,系统考察她在20世纪中国山水画史上的特殊意义,另一方面,通过梳理她与其他画家、政治家的合作与交往,重探20世纪中国画家内在的认同机制及其转变。展览期间还将举行系列学术演讲与对话和艺术史工作坊。</p> Wed, 23 Jul 2014 01:19:27 +0000 Group Show - He Xiangning Art Museum - July 27th - October 26th <p>&ldquo;两岸四地艺术交流计划&rdquo;项目由何香凝美术馆发起,已连续成功举办了五届,从2008年的&ldquo;出境&rdquo;、2010年的&ldquo;蝴蝶效应&rdquo;、2011年的&ldquo;1+1&rdquo;、2012年的&ldquo;四不像&rdquo;,2013年的&ldquo;交叉口&middot;异空间&rdquo;,到今年第六届的&ldquo;因地制宜&rdquo;,共有港澳台和大陆的95位艺术家参展,先后与港澳台10家美术馆、艺术机构合作,召开过6次研讨会和座谈会,逐步形成了两岸四地在当代艺术范围内的一种合作与交流的机制。第六届&ldquo;两岸四地艺术交流计划&rdquo;由何香凝美术馆、澳门艺术博物馆、屏东市公所屏东美术馆和香港大学美术博物馆联合主办。继澳门、台湾巡展之后,将于7月26日-10月26日巡展到何香凝美术馆。</p> <p>本届交流计划主策展人为冯博一,以及四地策展人,包括:吴方洲(澳门)、徐婉祯(台湾)、苟娴煦(深圳)及吴秀华(香港)。共邀请两岸四地13位艺术家参展,分别为:郭倩齐、梁慕贞、梁慕洁、霍凯盛;李根在、郭慧禅、赵陆;马永峰、张文超、陈蔚;李天伦、林欣杰、洪强。作品将呈现两岸四地艺术家对各地区的了解、认知,以及由于历史所造成的差异与现在不同的社会结构、价值观之间的磨合与冲突。参展的当代艺术作品形式有装置、录像、绘画及摄影。</p> <p>&ldquo;因地制宜&rdquo;作为第六届&ldquo;两岸四地艺术交流计划&rdquo;的主题,针对其中的文化生态,呈现之间复杂的交流关系。这意味着艺术家将在艺术交流与对话的前提下,对两岸四地不同历史、记忆、现实进行思考、认知和判断、想象。参展艺术家从澳门首站开始进行创作并展出,并于之后每一站根据当地的地域文化生态,以及自己的理解进行再创作,在前一站创作的基础上进行延展或变化。从澳门艺术博物馆的首展开始,到台湾屏东美术馆、深圳的何香凝美术馆,最后以香港大学美术博物馆为终点,参展艺术家在每一站的迁移与体验中,进行&ldquo;就地创作、就地展示&rdquo;,使作品携带有对四地不同文化的认知与痕迹。同时,也使四地的观众了解艺术家建构、完成作品的过程,感受当代艺术创作和展览形式的不确定变化,以及艺术表达具有的多种可能性。</p> <p>&ldquo;两岸四地艺术交流计划&rdquo;作为一个跨地区的当代艺术展示活动,体现出极具实验性、挑战性与深入的交流性。配合本届展览在深圳站的实施,我们将举办系列的公共教育活动,以期让两岸四地的艺术交流与公众有更多的互动。继深圳站巡展之后,展览将于2014年11月14日巡展到香港大学美术博物馆。</p> Wed, 23 Jul 2014 01:14:59 +0000 Cheng Ran, Tsang Kin-Wah, Yang Yi-Shiang - Galerie Perrotin - July 24th - August 23rd Wed, 23 Jul 2014 01:01:22 +0000 Group Show - Beijing Wan Fung Art Gallery - June 28th - July 29th <p>中国优秀艺术家展示实力的舞台 全世界艺术爱好者的家</p> <p>《新的里程&middot;北京云峰画苑新址开幕志庆暨中国画坛精英艺术大展》谨定于2014年6月28日下午三时在北京高碑店路民俗文化街1367号隆重举行。本活动由香港云峰画苑及百利达国际集团联合主办。届时,部分热爱艺术的政府官员以及众多各界贵宾和艺坛名家将出席这一盛会,见证云峰画苑28年来为中国艺术不懈努力的推广又跨进了一个新的里程。同时共同分享中国艺术界精英们伟大的艺术成果。</p> <p>踏入2014年,是云峰画苑从事中国艺术推广工作第28个年头。在这短短的二十多年里,中国艺术市场从寂静的零开始发展至今天繁荣兴旺、欣欣向荣。而我们荣幸地成为其中的见证者、参与者和积极的推动者。同时,我们亦亲自见证一批中国杰出的艺术家在极为艰辛困难的环境下,凭着自己的卓越才华、对艺术的虔诚和长期不懈的努力终成为当今中国画坛的一代名师。如今,我们藉北京云峰画苑新址开幕之际,展出一百多位中国杰出画家的精心作品。尽管这批画家仅仅是中国庞大艺术家队伍中一小部分,但已足以显示当代中国画坛的雄厚实力和最新水平。云峰画苑亦为自己定下了新的努力目标、与时共进,迈向新的里程。</p> Wed, 23 Jul 2014 00:55:14 +0000 Group Show - ART SEASONS BEIJING - July 19th - August 10th Wed, 23 Jul 2014 00:39:55 +0000 尤里 - Guangdong Museum of Art - July 18th - August 5th <p>尤里&bull;卡留塔是当代俄罗斯著名画家,俄罗斯列宾美术学院教授,俄罗斯功勋艺术家。1957年出生于乌克兰。1973年毕业于敖德萨科列科夫艺术学校,1983年就读于苏联列宁格勒列宾美术学院,师从艺术大师梅尔尼科夫,1989年毕业后留校任教至今。</p> <p>  作为俄罗斯现实主义的新生代,其画风潇洒自如,在欧洲画坛独树一帜,同时尤里&bull;卡留塔对中国丰富而古老的传统文化非常热爱,1997年至今,他几乎每年都到中国参加画展,其作品《米丽莎》曾在2002年首届北京国际双年展上获金奖。尤里&bull;卡留塔善于吸收各种文化艺术的精髓,融会贯通,一方面准确地把握物象造型,另一方面又诗意地表现画面的情感。</p> <p>  此次展览将展出尤里&bull;卡留塔约100件油画作品,届时观众能欣赏尤里&bull;卡留塔写意的色彩与构图和独特的写实绘画语言。</p> Wed, 23 Jul 2014 00:19:02 +0000 - Guangdong Museum of Art - July 22nd - July 31st <p>此次影展是在海关总署政治部领导下和各海关单位及广大摄影爱好者的积极支持下,经过一年多的全国征集、专家评审、专业制作完成的,共展出94件作品。</p> <p>  影展用独特的镜头语言展现了海关人以中华民族伟大复兴的&ldquo;中国梦&rdquo;为精神引领,践行&ldquo;四好&rdquo;总体要求,推动&ldquo;五型&rdquo;海关建设的精神风貌。展览作品记录身边的感动、国门的亮色,用摄影艺术呈现海关人的风采,表现海关人在平凡岗位上的敬业故事,为海关改革发展做出凝练的注脚。同时,展览作品还寄情祖国山河、人民风貌,表达对祖国和人民的热爱,抒发海关人&ldquo;筑梦&rdquo;、&ldquo;圆梦&rdquo;的真挚情感。作品中的新题材、新手法,彰显了海关人对海关文化、职责认同的新思考、新境界,是摄者与观者的牵手与交流。</p> <p>  此前,展览已分别在北京海关博物馆、大连市中山美术馆展出。此次是全国巡展第二站。</p> <p>  同期举办的还有 &ldquo;穗关风采&rdquo;广州海关摄影展, 展出的摄影作品全部由广州海关干部职工原创。</p> Wed, 23 Jul 2014 00:15:19 +0000 扬·诺格 - CAFA Art Museum - October 24th - November 28th <p>&ldquo;比扬&middot;诺格:再世界&rdquo;将于2014年秋天在中央美术学院美术馆展出,此展览将回顾丹麦艺术家比扬&middot;诺格大量的精彩之作。</p> <p>比扬&middot;诺格是丹麦在世艺术家中的杰出代表,同时也是自二十世纪六十年代起最重要的丹麦艺术家之一。这个展览主要是展现了比扬&middot;诺格从二十世纪六十年代至今的完整而连贯的作品,包括早期在公众场所做的雕塑、装置、绘画、行为和影像等主要作品,还包括专为丹麦女王创作的巨幅挂毯,以及近几年富有深度且具幽默感的作品,其中有相当部分是在中国完成。</p> <p>&ldquo;再世界&rdquo;是比扬&middot;诺格近期大量行为和装置作品的标题。在这些作品中,他将一个我们熟悉的世界打破成拼图一般的小块,又用新的方式将它重拼起来。我们挪用这个题目作为展览名称,代表比扬&middot;诺格对材料美学的重塑,及其作品中的重要原则&mdash;&mdash;民主的对话和参与。</p> <p>本次展览的中英文画册中提供了一个更为详细解读,构造了一个微妙的、幻想的、批判的画面来表现比扬&middot;诺格在过去的五十年来发展出的复合且多面的艺术面貌。 本展览由中央美院美术馆和丹麦国家美术馆共同合作完成,是2014年丹麦在华文化季的一部分。作品借展于丹麦国家美术馆及其他美术馆、公共机构以及私人藏家。</p> <p>&nbsp;</p> Wed, 23 Jul 2014 00:05:32 +0000