ArtSlant - Recently added en-us 40 - Mur Nomade - June 19th 5:00 PM - 7:00 PM <p>Title: TIME is Love.9</p> <p>Type of event: Video art screening</p> <p>Admission: Registration by email to by 14th June. Free of charge.</p> <p>Mur Nomade presents the international video art program TIME is Love, travelling to Hong Kong for the first time, with a screening on Sunday 19<sup>th</sup> June at 5:00pm.</p> <p>Established in 2008 by curator Kisito Assangni, TIME is Love has travelled to major cities around the world exploring the theme of love in hard times and bringing every year a refreshing perspective on video art. This screening will be a unique opportunity for Hong Kong audience to discover innovative and thought-provoking works.</p> <p>TIME is Love.9 is the ninth edition of the program and features a curated selection of twenty videos by international artists from Europe, Africa, the U.S., Chile, Afghanistan, Israel and Japan.</p> <p>Exploring love stripped of its traditional clich&eacute;s and timeless idealism, the videos address the complexities of human relationships. In their own languages infused by personal sensibility and history, the artists deal with ambivalent emotions, prevented communications, disturbed feelings, globalization, memory and spirituality. The program hopes to encourage the audience to reflect on the normative understanding of relationships in our modern society.</p> <p>The selected artists of TIME is Love.9 are Alex Pearl (UK), Annabel Dover (UK), Boris Eldagsen (Germany), Carla Gannis (USA), Dimitri Fagbohoun (Benin), Fatos Irwen (Turkey), Halida Boughriet (Algeria), Irina Gabiani (Luxembourg), Javiera Tejerina (Chile), Joas Nebe (Germany), John Sanborn (USA), Michele Manzini (Italy), Nao Sakamoto (Japan), Nicolas Tourte (France), Rahman Hak-Hagir (Afghanistan)/Alfie Nze (Nigeria)/Alice Bachmann (France), Simo Ezoubeiri (Morocco), Sonia Laura Armaniaco (Italy), Thierry Ferreira (Portugal), Victor Mutelekesha (Zambia), and Yuval Yairi (Israel).</p> <p>This year, TIME is Love.9 has been presented at Plateau Gallery in Berlin, Ljosi Light Festival in Seydisfj&ouml;rdur (Iceland), Galerie de La Vo&ucirc;te in Paris, and it will be travelling to SPECTRUM Festival in Villach (Austria), Niv Art Centre in New Delhi and Studio1.1 in London.</p> <p>Willing to support sustainability and promote recycling, Mur Nomade is partnering with Crossroads Foundation, who kindly provided collected second-hand equipment for the screening of TIME is Love.9. Donations to Crossroads Foundation can be made at the end of screening.</p> Sat, 28 May 2016 03:24:50 +0000 Kathryn Andrews, John Baldessari, Bernard Frize, Louise Lawler, Daido Moriyama, John Stezaker, Christopher Wool, Toby Ziegler - Simon Lee Hong Kong - May 28th - July 2nd <p class="Default" style="text-align: justify;">Simon Lee Gallery Hong Kong is proud to present <em>Fractured </em>a selected group exhibition exploring one of modernism&rsquo;s most characteristic formal strategies, the fracturing of the picture plane. Just as the renaissance development of perspective yielded the possibility of the representation of three dimensional space in a two dimensional plane, so the modernist device of splitting the picture plane by means of formal fault lines suggested the simultaneous presentation of multiple viewpoints, and opened the door to abstraction.</p> <p class="Default" style="text-align: justify;">One hundred years after Picasso and Braque used this device for the first time as a central ingredient of the new syntax of Cubism, its significance and the range of uses to which it is put by contemporary artists is immense. This exhibition, including work by artists from the gallery alongside invited artists will explore some of those strategies. It focuses particularly on the point of slippage between figuration and abstraction, placing figurative compositions which use the strategy of a fractured picture plane alongside works which employ it as a tool in the development of a formal language in a completely abstract context. Other works further expand the field of a fractured image, in each artist&rsquo;s use of a language which exploits the oscillation and ambiguity between the figurative and the abstract and between image and sculptural object.</p> <p class="Default" style="text-align: justify;">Bernard Frize&rsquo;s interests in theory, process and formalism are communicated through his painting formulations. Part of a series that re-visits a labyrinthine painting made in 1986 on the ceiling of the Mus&eacute;e d&rsquo;art Moderne de la Ville de Paris, Frize&rsquo;s circling patterns of inversed and reversed spectral colours is governed by his tools, materials and particular handling of the paint.</p> <p class="Default" style="text-align: justify;">Christopher Wool&rsquo;s work places emphasis on elements of painting and erasure, gesture and removal, depth and flatness. By silk screening painterly gestures, Wool uses industrial procedures and techniques made available by mass production in combination with painting itself to play with the ideas and techniques of reproduction. Repetition and layering, recurring motifs and the reproduction of errors suggests the breakdown of a structure that once existed.</p> <p class="Default" style="text-align: justify;">A key figure in the last four decades in the developments of Conceptual art and Appropriation to the re-emergence of collage, John Stezaker creates a tension of opposites in surreal disunites and intuitive arrangements of line and form. <em>The Double Shadow </em>series transforms photographs through alterations, deletions, inversions and juxtapositions, resulting in images with an unsettling allure.</p> <p style="text-align: justify;">In his innovative, highly personal and unvarnished depictions of urban life, Daido Moriyama redefined the medium of photography while chronicling the social and political turmoil of post-war Japan. His rough, blurred aesthetic experiments with light, shade and abstraction while allowing for photographic chance.</p> <p class="Default" style="text-align: justify;">In Toby Ziegler&rsquo;s practice source images of Old Master paintings undergo a process of digital manipulation and physical dissolution. Exploring the relationship between control and abandon, once the image is intricately built-up to full completion, Ziegler starts removing the paint again, grinding it off with an electric sander to reveal the metal beneath. The work simultaneously builds up and strips back shimmering layers of paint on a scarred and polished aluminium ground, creating a work that hovers between abstraction and figuration.</p> <p class="Default" style="text-align: justify;">Kathryn Andrews&rsquo;s works expose and deconstruct the excesses of capitalism, drawing on pop art and minimalism, and manipulating visual vocabulary from popular culture, such as movies, television, and stock photography archives. Andrews creates narratives that re-contextualize contemporary spectacles from politics to the contemporary art market, inviting us to recognize our attachment to illusions.</p> <p class="Default" style="text-align: justify;">Upending commonly held expectations of how images function, John Baldessari encourages the viewer&rsquo;s attention to minor details, absences, or the spaces between things. Painting in primary colours over faces, obscuring portions of scenes, or juxtaposing stock photographs with banal or utopian phrases, Baldessari&rsquo;s conceptual exercises make use of cultural artefacts as frameworks for irreverent philosophical inquiries into art and knowledge.</p> <p class="Default" style="text-align: justify;">Eyeing the system of art and its institutions, Louise Lawler&rsquo;s camera registers the incidental, undermining the economy of attention and dislocating hierarchies. Her disparate arrangements on a single plane are a movement of disconnections and variations that bring forward what is hidden. Lawler questions how we subscribe to traditional modes of production and places of functioning through suggestive relationships, poetic ambiguities and fractured harmonies.</p> <p>For further press information, images and interview requests please contact Ying Yue Li:</p> Sun, 22 May 2016 11:36:58 +0000