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The opportunity of going to Tibet for shooting came from a choice made  after Wang Taiping’s deep thought. He decided to re-experience the great su ccessful career he had achieved for 20 years and tried to find the implicat ion and power. Shooting in Tibet is usually the traditional destination and  choice for a photographer : exotic culture\, ancient history\, Shangri-La  impression\, the mysterious religion\, which au arouses the desire of lens.  But for Wang Taiping\, the decision for shooting in Tibet was based on his  thinking: how to connect his new expectation for photography with the expe rience and thinking he is seeking for\, lonely and difficult as well as the  heart’s experience\, so that on the exploring road\, deviate from the conf usion and skills for photography he has lost in the past\, find out the rea l life for surveying life and society\; it firstly needs to return to the f irm and prudent inside\, light the inner light\, obtain the energy of think ing and action. So\, Taiping went to the depth of Qinghai and Himalaya area . He walked and contacted the unique environment\, life and people here\, h is camera was close to them -- the yogi\, ordinary Tibetans\, children in h is lens were in Wang Taiping's line of sight that he observed\, which showe d their generous and calm understanding of life. The state of being is perh aps the hint for Taiping recovering his self direction\, his photos has bro ught a kind of subtle experience for time\, a sense of quietude by contact\ , with a kind of calm temperament\, it seems that the staring brings out sp ecial halo and emotion – it is the survival predicament in the long history  of time\, the observation and record of warm power and finding the meaning  of life\, let a person can close and immersed in the mood of photos.

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The first action to re-start\, Taiping spent a long time for p reparation\, the start was also an adventure\, because\, contemporary art ( Photography) work is inseparable with the opinion\, understanding and actio n of the world. Taiping took action for his ideal\, in order to meet the "B uddha’s light" of life and art\, but we may not be able to see when we are  looking for. The thinking and construction\, the political understanding of  the world and the practical thinking are the various barriers\, which need  to be tracked and clarified one by one. In addition\, it is come out from  the places of "See and not see" and the meaning of thinking and action we a re looking for.

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DTEND:20130422 DTSTAMP:20141023T183959 DTSTART:20130420 GEO:39.890204;116.4828227 LOCATION:Today Art Museum (TAM)\,32 Baiziwan Road Pingod Community\, Chaoya ng District\nBeijing\, 100022 SEQUENCE:0 SUMMARY:The Energy of Buddha\, Wang Taiping UID:269063 END:VEVENT BEGIN:VEVENT DTEND:20130420T170000 DTSTAMP:20141023T183959 DTSTART:20130420T150000 GEO:39.890204;116.4828227 LOCATION:Today Art Museum (TAM)\,32 Baiziwan Road Pingod Community\, Chaoya ng District\nBeijing\, 100022 SEQUENCE:0 SUMMARY:The Energy of Buddha\, Wang Taiping UID:269064 END:VEVENT BEGIN:VEVENT DESCRIPTION:

在摄影及电脑技术如此发达的今天,写实绘画还有存在的价值吗?如果有,我们需要怎样的写实油画?
1980年代的中国 写实油画通过对西方古典绘画的理解和诠释,沿着精神性的深刻与视觉性的审美两个方向发展,将中国的油画艺术推向了一个新的高潮。以杨飞 云等艺术家为代表的写实 画派基于人文主义的理想追求,体现了对艺术价值和理想美的重新肯定,并且表现出了与古典传统文化的深刻联系。与此同时,另一部分艺 术家则借鉴西方古典写实绘画 中的样式,表现出对现实主义的怀疑与冷漠,画面中流露着一种茫然和恍惚不定的强烈个人心绪。

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    而当代的写实油画,除了追求完美的绘画原 则以激发观众的审美需求外,已经逐渐脱离了绘画形式和题材描述等技法层面的思考,而发展成了观念思辨的探索方向。 呈现出一种多元的趋势。以写实这一手法为主要 表现方式的艺术家中,有的在试图超越前一辈的技法,另一些则更多地在探索着写实绘画中的主观性可能。对于写实 绘画来说,最有价值的是对人文主义精神的探索。越 是经济发展,物质丰富的社会,越是需要人文价值的探讨和传承。写实艺术表达了艺术家对社会的评论,艺术中 的这种人文价值观与社会态度才是我们最值得关注与深入 研究的,也是写实油画发展的未来方向。如果说八十年代的中国写实画派是向西方荀原问道,那么21世纪 的新写实绘画是在借用外来的媒介实现内在的自我修炼。如何 才能使写实油画拥有足够的中国气派,使得这种从不同文化背景中滋生的艺术媒材与深远的本土传统文 化真正结缘?这正是这一代青年画家们所真正要探索的。

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    广东美术馆一直以来强调对青年艺术家创作动向的关注,注重对新艺术的发掘与培养,通过自身的平台与社会影响力,为艺术界的新生力量提供展示舞 台,激活新一 代艺术青年的创作热情,营造自由开放的文化艺术空间。本次由北京今日美术馆、上海多伦现代美术馆和广东美术馆共同主办、涌金艺术空间承办的巡展特 意精选了 15位目前处于创作旺盛期的青年写实画家的最新力作进行展示,这些艺术家大部分生于1970-1980年代,接受了学院派的教育之后,在独立创作过程 中逐 渐呈现出自我风格的雏形,也逐渐绽露出一派新的中国油画艺术风貌。本次展览广州站将于广东美术馆展示这15位艺术家的80件油画作品,借此将这一新的风貌 做一个整体的呈现,推动中国绘画的进一步发展。

DTEND:20130423 DTSTAMP:20141023T183959 DTSTART:20130410 GEO:23.087392;113.261934 LOCATION:Guangdong Museum of Art\,Er-sha Island\, \nGuangzhou\, Guangdong 5 10105 SEQUENCE:0 SUMMARY:对焦——中国写实绘画新异动 UID:272056 END:VEVENT BEGIN:VEVENT DESCRIPTION:

曾因现代工业、交通大规模发展而得“雾都”之名的英国城市伦敦经过痛下决心的整治终于成为令世人羡慕的环境保护的典范。事实上, 环保不只是一城一国 之事,我们都生活在小小的地球上,各国之间的合作、科学系统的管理乃至每个居民的自觉作为都与全球生态环境息息相关。正是怀揣着让人人都能 享受到世外桃源 般的环境的美好理想,英国曼彻斯特艺术学院的中国策展人周彤宇研究员为我们带来一个反思由极端城市化所引发的生态及人文环境激变等各种社会问题 的当代艺术 展。中外10位目光敏锐的艺术家从全球城市化问题的各个不同侧面,形象、直观、深刻地呈现了当代城乡居民的各种困境——人口增长过快、城乡人口分布 严重不 均、城市急剧而又无限制地扩张、大河污染、雾霾蔽日、垃圾围城、食物危险、海平面上升、古建筑及民俗消失等等。同时艺术家们也提出了各种富于想象的寻求 可 持续发展的构想,例如良好的城市生态系统、河流生态改造等。     展览现场具有舞台般的戏剧效果,影像、声音、装置等作品是迷雾中的亮点,隐喻着“先天 下之忧而忧”的艺术家在让人们明白事在人为的同时,也为处于困境中的 我们构想了保持社会发展与绿色生态良性平衡的美好图景——人们在芬芳馥郁的街道上漫步,在 清澈甘甜的城市河水中畅游。

DTEND:20130424 DTSTAMP:20141023T183959 DTSTART:20130412 GEO:23.087392;113.261934 LOCATION:Guangdong Museum of Art\,Er-sha Island\, \nGuangzhou\, Guangdong 5 10105 SEQUENCE:0 SUMMARY:城市化的问题\, 克里斯缇娜・胡德丽格诗\, 王久良\, 大卫・黑里\, 冯峰\, 曾力\, 尼克・邓恩\, 艾松\, 杨小满\, 简 ・布瑞克和约翰\, 艾特肯 UID:272055 END:VEVENT BEGIN:VEVENT DESCRIPTION:

FEAST Projects is pleased to present Charles Jaulerr y first solo show Mirrors from 16th March to 26th April 2013. Arti st will be present at the vernissage on 15th March 2013. 

Opening Reception: 15 March 2013\, Friday\, 6 - 9pm
Exhibition: 16 March - 26 April 2013 

Shuttle bus is available for guests on 15 March: 
Departing from the main entrance of the General Post Office ( 2 Connaught Place\, Central) to Ap Lei Chau gallery at 5:45PM\, 6:15PM\, 6: 45PM\, 7:00PM\, 7:15PM and 7:30PM.

This painting exhibition show cases the young French artist Charles Jaulerry's Mirrors series. P ainted in acrylic and enamel\, these works show the human figure in its mos t simple elementary form\, traveling between abstraction and figuration\, m ysterious yet recognizable. The viewer is beckoned to stand in front of the canvas and contemplate his psychic reflection. Jaulerry is concerned with human nature overwhelmed by the complexity of a contemporary world – “T he Scream” cries out again. 

This exhibition is part of Le French May 2013 programme\, presented by FEAST Projects and supported by th e Consulate General of France in Hong Kong and Macau.

FE AST Projects 隆重宣佈由二零一三年三月十六日至四月二十六日舉辦 Charles Jaulerry 個展 Mirrors\ , 藝術家將出席三月十五日的開幕酒會。

開幕酒會:二零一三年三月十五日\, 星期五\, 晚上六時至九時
展覽日期:二零一三年三月十六日至四月二十六日

三月十五日將提供免費穿梭巴士服務\, 並於以下時間由香港中環郵政總局(中環康樂 廣場2號)開至鴨脷洲:晚上 5:45\, 6:15\, 6:45\, 7:00\, 7:15 及 7:30

法國年輕藝 術家 Charles Jaulerry 將於他的首個個展中展示他的 鏡子 系列,利用壓克力和琺瑯彩繪畫,這些作品以最基本簡單的方式表現人物形態,神秘而熟識,界乎於抽象與具象之間。觀者被呼召到畫布前\, 並仔細思量他的精神寫照。Jaulerry 關注人性對這非常複 雜的當代世界之反應 - 再一次的“吶喊”

是次展覽為法國五月藝術節的節目, 由FEAST Projects 主辦,由法國領事館協辦。

DTEND:20130426 DTSTAMP:20141023T183959 DTSTART:20130316 GEO:22.238016;114.153385 LOCATION:FEAST Projects\,Unit 307\, 3/F\, Harbour Industrial Centre 10 Lee Hing Street\, Ap Lei Chau\nHong Kong\, SEQUENCE:0 SUMMARY: Mirrors\, Charles Jaulerry UID:263361 END:VEVENT BEGIN:VEVENT DTEND:20130315T210000 DTSTAMP:20141023T183959 DTSTART:20130315T180000 GEO:22.238016;114.153385 LOCATION:FEAST Projects\,Unit 307\, 3/F\, Harbour Industrial Centre 10 Lee Hing Street\, Ap Lei Chau\nHong Kong\, SEQUENCE:0 SUMMARY: Mirrors\, Charles Jaulerry UID:263362 END:VEVENT BEGIN:VEVENT DESCRIPTION:
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Red Elation Gallery is pleased to present “Second Nature” – a group exhibition by Hong Kong and Japanese artists Kei Harada\, Jane Hung\ , Karen Louie\, Kazuki Mizuguchi\, Yasushi Yamada and Hideaki Yamamoto. Whi le using a natural element as a point of observation\, the featured works e xpress the artists’ personal experiences and explore a new perceptive relat ionship between human life and its origins. Human intervention in nature is not necessarily about dominance\; the artists present their works in a del icate and poetic way to arouse everyone’s original thoughts amid the hustle and bustle of life\, creating a symbiosis between man and nature.

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“This world” by Japanese artist Kazuki Mizuguchi uses a traditional Japanese painting material – mineral pigment - to depict the beauty of flowers on the lake. The peaceful and beautiful world in the painting is separated from the hustle and bustle of life. The artist disso lves his own body and emotions into the air to show the nuances of nature a nd turns the moment into eternity. Kei Harada’s “Red Swinging” presents the commonality of humans and plants. He constructs a poetic painting regardle ss of the human subject or object. Yasushi Yamada‘s oil painting “huuji\, r aiji” is a collage of his past memories and experiences on canvas. He shows a fleeting passing away with an out of focus image.

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Local artist Jane Hung uses paint ing and printmaking as her media\, Her work “Manjusaka” starts from a drop of water and a drop of ink\, each flowing freely on the canvas. With consta nt permutations of fruit and roots\, they circle each other\, some continui ng to split and some continuing to fade away. Karen Louie extends interesti ng ideas from extraordinary life to her artwork. “Everyone Got a Halo - Not es of my Backyard” tells a story about interesting things that happened whe n she was gardening recently in her abundant backyard at home.

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DTEND:20130426 DTSTAMP:20141023T183959 DTSTART:20130316 GEO:22.273189;114.174067 LOCATION:Red Elation Gallery\,G/F.\, 5-6 Lung On Street\, Wanchai\nHong Kon g\, Hong Kong 852 SEQUENCE:0 SUMMARY:Second Nature\, Kei Harada\, Jane Hung\, Karen Louie\, Kazuki Mizug uchi\, Yasushi Yamada\, Hideaki Yamamoto UID:266009 END:VEVENT BEGIN:VEVENT DTEND:20130316T200000 DTSTAMP:20141023T183959 DTSTART:20130316T180000 GEO:22.273189;114.174067 LOCATION:Red Elation Gallery\,G/F.\, 5-6 Lung On Street\, Wanchai\nHong Kon g\, Hong Kong 852 SEQUENCE:0 SUMMARY:Second Nature\, Kei Harada\, Jane Hung\, Karen Louie\, Kazuki Mizug uchi\, Yasushi Yamada\, Hideaki Yamamoto UID:266010 END:VEVENT BEGIN:VEVENT DESCRIPTION:

de Sarthe Gallery is pleased to present for the first time i n Hong Kong the sculptures by Mariko Mori "Flatstone" and "Tom Na H-iu".

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Flatstone is named after the special stones u sed by the mid-Jomon era people in Japan (3500-2500 BC) in the structures a rcheologists believe to have housed ancient shrines. The entrance of these early buildings was located specifically to receive sunlight on the winter solstice. Jomon period stone circles used to celebrate dawn on the Winter S olstice inspired this work. The people of Jomon period Japan celebrated the seasonal transition of the Winter Solstice\, realizing that the day marked the ultimate waning of the natural environment due to the shortened daylig ht\, while also heralding the coming renewal of spring. Resonating with the values of these ancient people who lived in harmony with nature\, Mori rec reated the Jomon ritual space with 22 white ceramic forms\, thus expressing the transitions and rebirth of nature\, and of the soul. This work speaks to all of us caught up in contemporary social issues\, suggesting a new way of being that incorporates a fusion with nature."FLATSTONE" was part of MA RIKO MORI: REBIRTH\, a major exhibition of her works at ROYAL ACADEMY of Ar ts Burlington Gardens in London which took place from December 13  2012 to February 17  2013. 

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Tom Na H-iu< /em> is an ancient Celtic site of spiritual transmigration. According to le gend\, following death\, a soul enters the spirit world\, where one day equ als 100 years or 36\,525 days by the Julian calendar\, before returning to earth. Ancient people built eternal monuments\, or "standing stones" to gui de the return of transmigrating spirits to our world. Mori's version of a s tanding stone is a contemporary memorial to the cycle of eternal life\, a c ycle that has been honored throughout art history by many ancient cultures. Mori's Tom Na H-iu marks the death of a star with a beautiful light\, remi nding us not only of our own mortality\, but also of the potential birth of another star\, memorializing the eternal flow of life and rebirth. The wor ks develop Mori's continued interest in a fusion of art and technology\, an d the idea of universal spiritual consciousness. Drawing from ancient ritua ls and symbols\, Mori uses cutting edge technology and material to create a striking vision for the 21st century.

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MARIKO MORI  

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Born in Tokyo in 1967\, MARIKO MORI is an internationally acclaim ed artist\, whose work has been acquired by museums and private collectors worldwide. A major survey of her work\, entitled Oneness\, was held at the Groninger Museum\, Netherlands\; ARoS Aarhus Kunstmuseum\, Denmark\; and th e Pinchuk Art Centre\, Kiev\, Ukraine in 2010\, and travelling to Centro Cu ltural Banco de Brasil\, Brasilia\; Rio de Janeiro and Sao Paulo in 2011.\n

MORI's solo exhibitions have been organized in institutions around t he world\, including the Museum of Contemporary Art\, Tokyo\; Centre George s Pompidou\, Paris\; the Prada Foundation\, Milan\; the Museum of Contempor ary Art\, Chicago\; the Dallas Museum of Art\; the Brooklyn Museum of Art\, New York\; the Serpentine Gallery\, London\; and the Los Angeles County Mu seum of Art. Mori's work was featured in the Royal Academy's group exhibiti on Apocalypse in 2000.

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MORI has received numerous international awa rds\, including the prestigious Menzione d'onore at the 47th Venice Biennal e in 1997 (for 'Nirvana') and the 8th Annual Award as a promising Artist an d Scholar in the Field of Contemporary Japanese Art in 2001 from the Japan Cultural Arts Foundation.

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Mariko Mori currently lives and works in New York.

DTEND:20130427 DTSTAMP:20141023T183959 DTSTART:20130328 GEO:22.279959;114.15739 LOCATION:de Sarthe Gallery\,8/F Club Lusitano 16 Ice House Street \nHong Ko ng\, SEQUENCE:0 SUMMARY:Flatstone\, Mariko Mori UID:273699 END:VEVENT BEGIN:VEVENT DESCRIPTION:
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When the National Art Museum of China will soon celebrate its 50th anniversary\, it holds “A Embrace of Plain Nature—Qin Xuanfu Arts Exhi bition” to commemorate Qin Xuanfu\, the older generation of outstanding pai nter\, art historical critics\, art educator who has had a selfless dedicat ion life both in new china’s art career and the fine arts education career .

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Qin Xuanfu (1906-1998), the artist had studied in France in his early years\, learning the latest teaching achievements in t he fields of art creation and art history in the west. Thanks for the educa tion\, he realized the close relationship between art and nature in various European national arts galleries\, which made him a glory of “The painting of scholar”. After his back to China\, he taught at Beiping Art Profession al University\, Tsinghua University\, Art Department of Central University\ , etc. Then the story of his following to several friends and difficultly t raveling to Chongqing Fenghuang Mountain becomes an art legend. “Cling to l ife\, and embrace the nature” is a creational ideal suggested by Qing Xuanf u at the level of aesthetic. He had done arts with this ideal\, gaining the glamour of arts and the soul of nature.

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This exhib ition is the most large-scale art exhibition held in Beijing for master Qin Xuanfu. More than 200 works fully represent every creation period of Qin X uanfu. Not only oil paintings\, including the master work maid of honor whi ch had been early selected in the French independent salon’s masterpiece\, but also gouache paintings\, watercolor paintings\, sketches\, literary ske tches and watermark picture for independent artistic exploration in his old years are in this exhibition. With his mass of books and articles for inte nsive research and discussion\, these works represent comprehensively and p rofoundly Qin Xuanfu’s artistic life as a much achievements-achieved artist with the glory names “The painting of scholar”.

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DTEND:20130427 DTSTAMP:20141023T183959 DTSTART:20130420 GEO:39.9213382;116.4238114 LOCATION:National Art Museum of China\,1 Wusi Dajie\, East District \nBeiji ng\, 100010 SEQUENCE:0 SUMMARY:A Embrace of Plain Nature\, qin xuanfu UID:269044 END:VEVENT BEGIN:VEVENT DTEND:20130420T170000 DTSTAMP:20141023T183959 DTSTART:20130420T090000 GEO:39.9213382;116.4238114 LOCATION:National Art Museum of China\,1 Wusi Dajie\, East District \nBeiji ng\, 100010 SEQUENCE:0 SUMMARY:A Embrace of Plain Nature\, qin xuanfu UID:269045 END:VEVENT BEGIN:VEVENT DESCRIPTION:
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Bai Lang\, a member of Chinese Calligraphers Association\, now the director of Chinese People's Association for Friendship with Foreign A rt Exchange Creative\, the Vice President of the All-China Calligraphy and Painting Federation Of Industry\, Signing art adviser of CCTV legal channel \, he is honored as “People” in CCTV in 2011\, and has been reported by Bei jing television science and education channel columns special report. Mr. R ong Baozhai has published both up and down volumes named Bai Lang scribble writing collection for him.

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Bai Lang is good at scr ibble writing\, and he has won the honor as today’s Wang Duo\, Xu Wei and F u Shan (who are all great ancient artists). He says: “I am not writing word s\, nor creating arts\, but I am working for life\, the great nature and al l images”. The famous contemporary artists Li Qun and Wang Qi have made rev iews on his works that his scribble writing shows his talent\, brilliance\, look and spirits. The exhibition will show 100 pieces of pictures from Mr. Bai Lang\, and we hope for your identification of appreciation.

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DTEND:20130427 DTSTAMP:20141023T183959 DTSTART:20130420 GEO:39.9213382;116.4238114 LOCATION:National Art Museum of China\,1 Wusi Dajie\, East District \nBeiji ng\, 100010 SEQUENCE:0 SUMMARY:The Wing occurs\, the cloud flies\, Bai Lang UID:269046 END:VEVENT BEGIN:VEVENT DTEND:20130420T170000 DTSTAMP:20141023T183959 DTSTART:20130420T090000 GEO:39.9213382;116.4238114 LOCATION:National Art Museum of China\,1 Wusi Dajie\, East District \nBeiji ng\, 100010 SEQUENCE:0 SUMMARY:The Wing occurs\, the cloud flies\, Bai Lang UID:269047 END:VEVENT BEGIN:VEVENT DESCRIPTION:

After Lunar New Year\, Pace Beijing will present the solo ex hibition of Hong Hao\, the renowned contemporary Chinese artist who is newl y represented by Pace. The exhibition is a comprehensively retrospective of the artist's works from various periods of his career\, as well as new wor ks. This exhibition will also be the first public show of his 2013 series < em>Deja vu since Hong Hao’s solo exhibition As It Is in 2011.

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Hong Hao questions and criticizes the survival in reality in his u nique satire and parody style\, and he also discusses aesthetics by using a highly representative language\, which is based on his talent of using var ious media and his creational methods with oriental origins. The exhibition will last from 16 March to 27 April.

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The new series Deja vuextends from Hong Hao’s previous concept of making art by scanning\, whic h preserves the original shape of the material. After procedures such as co llecting\, limning\, scanning and painting after print\, Hong Hao’s artwork breaks the traditional rules of production and techniques\, and also passe s the boundary of media. Besides\, after removing from the functional and c ommercial impact which comes from public opinions in a logic way\, his artw ork returns to the thinking of pure aesthetics\, and blur the physical form of certain objects but focus on the archetype. Hong Hao’s work shows both the spatial relationship between different objects after dematerialization and the artist’s will\, which returns to the very early stage that is pure and simple after experiencing the reality\, but obtaining more wisdom than the very beginning that is refined from the experience.

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Videos will also be included in the exhibition\, including Taichi\, a recordi ng of the process in which the artist practices Taichi every day. Shot from different perspective\, it conveys the awareness of the relationship betwe en the human being and his surroundings\, and through the self-reflection o ver survival and daily maintaining\, to represent the implications of achie ving the ultimate truth via invisible presence. The exhibition will also in clude the past important works of Hong Hao\, which reflects the featured ch aracteristics of the artist. Hong Hao has a very deep understanding of the process of experience. In his late-80s work Selected Scriptures\, Hong Hao made screen printing in the form of antique books. He rearranged t he existing territory of different nations by containing languages and mark s of social consuming as well as public commercial media to eliminate the c lash between different cultures and merge the worldwide culture and history .

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The series Elegant Gathering (2007) is the ironic repres entation of the public place where audience tends to talk with others inste ad of appreciating art. The artwork also shows that the artist imposes his bold humor onto the ruthless analysis of the art world\, especially the pos ition of an individual in a self-inferential and narcissistic world. Hong H ao used to study history and antique books in the 1990s. From 1997\, he beg an taking photographs that are ironic and self-reflective. In 2001 Hong Hao began the series My Things\, in which he displayed his objects af ter scanning them\, to show his living situation through daily consumption. He has discovered a universal space among arrangement\, transformation and repentance when displaying his objects. The arrangement is a very complex combination that enforces the impression of the survival and rhythm of life in the reality\, and transforms the living situation and the desire of con suming in contemporary China into graphics. In his 2008 series Bottom\, Hong Hao scanned his objects at various angles. Therefore\, the final look of this series follows the natural trend rather than in a pre-set sit uation. In another work\, Hong Hao collected many red header documents and food tickets to create a collage that comments on the sense of authority am ong hierarchy in Chinese cultural context to show the relationship of human ity in people’s daily life. Best known for his print and photography works\ , Hong Hao (b. 1965\, Beijing\, China) graduated from the Printmaking Depar tment of the Central Academy of Fine Arts\, Beijing in 1989. The artist cur rently lives and works in Beijing. Much of Hong Hao’s work features assembl ed scanned images of various found objects including maps\, books\, tickets \, receipts\, banknotes\, food\, and containers. In his 2009 solo exhibitio n “Hong Hao: Bottom" at Beijing Commune\, the artist exhibited a series tha t features the bottom half of everyday objects. By arranging the scanned im ages according to their forms and colors he destructs the functional proper ty of the materials and reproduces an undifferentiated\, flattened\, delibe rately superficial world of aesthetics. While Hong Hao continues to work wi th found objects\, ”AS IT IS\,” his recent solo exhibition at Beijing Commu ne\, deals with the physical forms in a more straightforward manner\, creat ing an interesting dialectic development of both the vocabulary and concept of his art. Hong Hao’s work has been exhibited widely since the 1990s\, in cluding solo exhibitions at Chambers Fine Art\, New York (2004 and 2007) an d Rencontres d'Arles\, Arles\, France (2003). He has also participated in i nternational group exhibitions such as “Between Here and There: Passages in Contemporary Photography” at the Metropolitan Museum of Art\, New York (20 10)\; “Book/Shelf” at the Museum of Modern Art\, New York (2008)\; and "Zoo ming into Focus: Contemporary Chinese Photography and Video"\, shown at the San Diego Museum of Art\, USA\, Shanghai Art Museum\, and the National Art Museum of China (2004-2005). Work by Hong Hao was also recently included i n the group show “The Global Contemporary: Art Worlds after 1989” at ZKM (M useum of Contenporary Art) in Karlsruhe\, Germany. Hong Hao’s work is inclu ded in numerous public collections including the Museum of Modern Art\, New York\; the British Museum\; Museum Of Fine Arts\, Boston\; the Fukuoka Asi an Art Museum\, Japan\; the J. Paul Getty Museum\, Los Angeles\; and the Ul lens Center for Contemporary Art\, Beijing\, among others.

DTEND:20130427 DTSTAMP:20141023T183959 DTSTART:20130316 GEO:39.921034;116.443188 LOCATION:Pace Beijing\,798 Art District\, No. 2 Jiuxiangqiao Road\, Chaoyan g District \nBeijing\, SEQUENCE:0 SUMMARY:Solo Exhibition\, Hong Hao UID:261490 END:VEVENT BEGIN:VEVENT DESCRIPTION:

In conjunction with the ArtWal k\, Schoeni Art Gallery will once again sponsor one of its gallery spaces t o the Society for Community Organization's (SoCO) exhibition. They are the Hong Kong ArtWalk 2013 beneficiary organisation and will hold a 10-day phot o exhibition on the homeless people in Hong Kong. These monochromic photogr aphs not only highlight the appalling living conditions these homeless peop le are daily confronted with\, they further delve into the needs of each of the homeless person and compel us to reflect on the treatments of these de stitute members of the society.

\n

***

\n

The Society for Community Organization (SoCO) held a press conference today to announce the Photo Exhibition Home\ , Street Home\, which reveals the truly difficult circumstances of the home less in Hong Kong. The exhibition is one of a series of ArtWalk 2013 exhibi tions. SoCO invited the Secretary for Labour and Welfare\, Hon. Matthew Che ung Kin-chung\, JP as a special guest to the opening ceremony of Home\, Str eet Home. SoCO urges the government and the public to squarely face the pro blem of the homeless in Hong Kong.

\n

Ar tWalk is Hong Kong’s most popular charity art event activity\, held annuall y. This year\, it will be held
from 4.30 p.m. to 11.30 p.m. on 18 Apri l (Thursday). Participants can enjoy a variety of art in 70 art galleries. The proceeds from the admission ticket ($450 for adults and $150 for studen ts) will be donated to charities. Since 2005\, ArtWalk has donated the reve nue from admission tickets to our organization\, supporting our work in ser ving the underprivileged and promoting human rights. SoCO sincerely thanks ArtWalk for the great support it has given to our organization. Our sincere thanks also goes to the Schoeni Art Gallery: since 2008\, Schoeni has gene rously sponsored the exhibition venue so that more people can understand is sues of poverty.

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In 2012\, the per ca pita GDP in Hong Kong reached its highest in history. However\, due to the failure of social policies\, personal circumstances and poor livelihood\, t here remains nearly 1\,000 homeless people who sleep in Hong Kong’s streets . Amongst the homeless are middle-aged workers\; rehabilitated mental patie nts who remain ill\; and single and impoverished elderly people who have lo st family support. They are the most underprivileged\, most helpless group in our community. They are in dire need of concern and attention from the p ublic.

\n

In the Home\, Street Home phot o exhibition\, SoCO is fortunate to have photographer Mr. LEI Jih-sheng\, t he journalist HO Mei Wah and the photographer Alan LAU to accompany our soc ial workers and go\, day and night\, deep into the dark corners of the comm unity. Through their lens and words\, they volunteered to recount the dark side behind our glamorous cosmopolitan city and unfold the life of the home less. It is hoped that this will arouse the community’s concern about the h omeless and spur the authorities to assist them in improving their living c onditions. During the exhibition\, there will be charitable sale of the pos tcards of the homeless ($20 per set of 6 cards). The proceeds will all be u sed for charitable purposes.

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So cial Welfare Department’s homeless statistics do not represent the facts Ho melessness has always existed in Hong Kong. Accurate statistics on the numb er of homeless would help the formulation of more appropriate services. The re are\, however\, loopholes in the way in which government estimates the n umber of homeless. According to figures provided by the Social Welfare Depa rtment\, there are 586 registered homeless people as at February 2013\, but the Department has not taken into account those who have become homeless f or less than a month. As long as a person is “arranged to enter a shelter f or the homeless within one month”\, he / she will be de-registered by the g overnment.

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Furthermore\, since most h omeless people who have employment do not sleep in fixed locations in the s treet\, they are often omitted from the Department’s statistics. The survey s conducted by SoCO in 2010 and 2012 show that employed persons represent 7 8.9% and 63.7% respectively of the persons not receiving comprehensive soci al security assistance (CSSA). Both figures are way above the Social Welfar e Department’s 2012 statistics that employed persons represent 25% of the p ersons not receiving CSSA.

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Therefore\ , SoCO is of the view that SWD has most probably omitted some homeless peop le in its counting and has seriously underestimated the number of the homel ess who have employment. In
order to avoid discrimination and the offi cialdom’s expulsion from locations\, the vast majority of homeless are in t he habit of going to sleep in not noticeable places after dark. They are hi gh in mobility and difficult to contact. SoCO estimates that there are abou t 1\,200 homeless people in Hong Kong. Uncertainty in employment results in more than half of the homeless “become homeless again” Owing to changes in the employment market\, manual work tends to become short-term. As a resul t of job instability and exorbitant rent for residences\, the situation of becoming unemployed again and becoming homeless again has become more promi nent. Our 2012 survey shows that 52.4% of respondents are persons who have “become homeless again”. The median of the intervening period between the t wo homeless occasions has dropped sharply from the 4 years in 2010 to 1 yea r in 2012. Quite a few of the homeless are engaged in short-term contract w ork outsourced by the government. It shows that labour policies indirectly affect the employment of the homeless.

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40% of the homeless not receiving comprehensive social security assistanc e cannot afford rent After minimum wage legislation took effect\, and altho ugh the median salary of the homeless has increased from HK$3\,000 in 2010 to HK$5\,000 in 2012\, private housing rent has increased by a wide margin. Consequently\, many homeless people are forced to sleep in the street beca use they cannot afford the exorbitant rent or rent deposit of bed spaces an d wood-partitioned cubicles in private flats. Moreover\, since 2005\, the g overnment has abolished single people’s hostels that had been charging rent of only HK$430 per month. There is a lack of services to support the housi ng of the homeless. In addition\, the Housing Department allocates less tha n 1\,000 single-person public housing units each year. It means single pers ons have to wait indefinitely for allocation of public housing. Therefore\, the homeless can only regard the street as their homes\, which shows that the government does not have sound policies to address the housing problem of low-income people. CSSA rent allowance is inadequate.

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Even the homeless receiving CSSA sleep in the street be cause the rent allowance under the CSSA is inadequate. With effect from 200 3\, the government reduced the ceiling of CSSA rent allowance from $1\,505 to $1\,265. The amount was increased\, for the first time\, to $1\,335 in F ebruary 2012 and then to $1\,440 in February 2013. However\, the CSSA rent deposit was cancelled. Also cancelled were the special allowances for CSSA recipients under 60 years old\, such as allowances for dental care and spec tacles. According to SWD’s statistics\, the actual rent paid by nearly 70% of single person CSSA recipients living in private housing exceeded the cei ling of rent allowance. As at January 2012\, 37\,638 households receiving C SSA were living in private housing. These included 22\,688 cases where the monthly actual rent exceeded the ceiling of rent allowance. The figure repr esented 60.3% of the CSSA cases in private housing. If only the single-pers on families in private housing who receive assistance are counted\, the cei ling of rent allowance was exceeded in nearly 70% (67.6%) of the cases. The trend indicates the situation will become worse.

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The homeless are harassed\; the government has no policy to pr otect them Hong Kong does not have\, at present\, any clear legislation on whether or not people may sleep in the street. SoCO has found on several pa st occasions that government officials used “targeting executive measures” to address the problem of street-sleeping. According to our survey in 2012\ , the homeless interviewed say they have been harassed by the police / secu rity guards (30.4%) and worried about personal safety (25.5%).

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Government departments incessantly expel the home less and clear their personal belongings from streets\, but have no policie s to protect the homeless. SoCO’s recommendations To address the difficulti es of the homeless as described above\, we urge the government to implement the following reform proposals:

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1. To improve the policy on the homeless – the government should reactiva te the SWD’s pre-1997 practice to calculate the number of homeless people b y “head counting”\, so as to arrive at a better “plan to serve the homeless ”. As in Japan\, policies and legislation should be established to protect the homeless.
2. More low-cost single-people hostels in urban areas – reactivate the low-cost (e.g. monthly rent of
HK$430) single-people ho stels in urban areas to assist “non-CSSA homeless” - who represent 39.9% of the homeless\, - to move into housing flats.
3. Reform the CSSA syste m – the authority should review the CSSA system\, including: providing spec ial allowances for dental care\, spectacles etc\; Revise the rent allowance for single-person CSSA recipients back to the $1\,505 level and provide re nt deposit allowance to the homeless who are CSSA recipients to promote emp loyment.
4. Improve the public housing policy – the authority should b uild more public housing flats\, review the proportion of one-person indepe ndent units in the urban area and shorten the “public housing waiting time” of single persons.
5. Strengthen the support services for mental heal th patients – at present\, some “hospital psychiatric outreaching teams” ma y not be willing to examine the homeless on the street. The authority shoul d strengthen the services of the “hospital psychiatric outreaching teams”. Under the co-ordinated efforts of four outreaching teams\, visits should be paid to the homeless in the main areas where the homeless are staying.

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Society for Community Organization
17 April 2013
 

\n
The Society for Community Organization (SoCO) held a press conference today to announce the Photo\n
Exhibition
\n
\n
Home\, Street Home
\n
\, which reveals the tru
\n
ly
\n
difficult circumstances of the homeless in Hong
\n
Kong. The exhibition is one
\n
of
\n
\n
a
\n
series of A
\n
rtWalk 2013 exhibitions. SoCO invite
\n
d
\n
the Secretary fo r Labour
\n
and Welfare\, Hon. Matthew Cheung Kin
\n
-
\n
chung\ , JP as a special guest to the opening ceremony of
\n
Home\,
\n
Street H ome
\n
. SoCO urges the government and the public to
\nsquare ly
\n
face
\n
the problem o
\n
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\n
\n
ArtWalk is Hong Kon g’s most popular
\n
charit
\n
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held
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annually. This year\, it will be held
\n
from 4.30 p.m. to 11.30 p.m. on 18 April (Thursday).
\n
P
\n
articipa nts can enjo
\n
y
\n
a variety of
\n
\n
art
\n
in 70 art
\n
galleries . The
\n
proceeds
\n
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from the admission ticket
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($450 for adults and $150 for students) will be donated to
\n
charities. Si nce 2005\, ArtWalk has donated the revenue from admission tickets to our or ganizati
\n
on\,
\n
supporting our work in serving the underprivileged a nd promoting human rights. SoCO sincerely thanks
\n
ArtWalk for the great support it has given to our organization. Our sincere thanks also go
\n
e s
\n
to the Schoeni
\n
Art Gallery
\n
: s
\n
ince 2008\, Schoeni has gen
\n
erously sponsored the exhibition venue so that m ore
\n
people
\n
\n
can
\n
understand
\n
issue
\n
s
\n
of poverty.
\n
\n
\n
In
\n
2012
\n
\,
\n
the per capita GDP in Hon g Kong reach
\n
ed
\n
\n
its
\n
highest in history. However\,
\n
due
\n
\n
to the
\n
f ailure
\n
\n
of
\n
social poli
\n
cies\, personal
\n
circumstances
\n
and poor livelihood\, there
\n
remains
\n
nearly 1\,00 0 homeless people who
\n
sleep in
\n
Hong Kong’s\n
street
\n
s
\n
. Among
\n
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\n
the
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homeless
\n
are middle\n
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\n
aged workers
\n
\;
\n
rehabilitated mental patients
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\n
\n
ill
\n
\;
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a
\n
nd single
\n
and impoverished elderly people who have lost family support. They are the most
\n
underprivileged\, most helpless group in our community. They are in dire need of concern and attention from
\n
the public.
\n
\n
\n
In the
\n
Home \, Street Home
\n
\n
photo exhibition\,
\n
SoCO is fortunate to have\n
photographer Mr.
\n
LEI Jih
\n
-
\n
sheng
\n
\,
\n
the
\n
\n
journalist
\n
\n
HO Mei Wah\n
and
\n
the
\n
photographer
\n
Alan LAU
\n
to accomp any our social workers and go\, day and
\n
night\, deep into the dark corners of the community. Through
\n
\n
their
\n
lens and words\, th ey vo
\n
lunteered to
\n
recount the dark side behin d
\n
our
\n
\n
glamorous cosmopolitan city and unfold the life of the home less. It is
\n
hoped that this will arouse the community’s conce rn about the homeless and spur the authorit
\n
ies
\n
to assist
\n
the
\n
m
\n
in improving
\n
their living conditions.
\n
During the exhibition\, there will be charitable sale of the\n
postcards of the homeless ($20 per set of 6 cards). The proceeds will all be used for charitable
\n

purposes

DTEND:20130427 DTSTAMP:20141023T183959 DTSTART:20130417 GEO:22.2820936;114.1537563 LOCATION:Schoeni on Hollywood Rd\,27 Hollywood Rd \nHong Kong\, SEQUENCE:0 SUMMARY:Home\, Street Home: Photo Exhibition of the Homeless in Hong Kong UID:270951 END:VEVENT BEGIN:VEVENT DTEND:20130418T233000 DTSTAMP:20141023T183959 DTSTART:20130418T163000 GEO:22.2820936;114.1537563 LOCATION:Schoeni on Hollywood Rd\,27 Hollywood Rd \nHong Kong\, SEQUENCE:0 SUMMARY:Home\, Street Home: Photo Exhibition of the Homeless in Hong Kong UID:270952 END:VEVENT BEGIN:VEVENT DESCRIPTION:

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 U rs 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\, installation s and sculptures created by the artist in Beijing during that period.

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.

The new series of drawings demonstrate s a unique form of artistic depiction. With his repetitive use of short\, s harp strokes in felt tipped pen\, the artist has reduced the graphic and na rrative nature of the works to an absolute minimum\, laying bare their pure form. This process of indefatigable repetition describing the essence of t he drawing’s own making\, is a metaphor for the eternal construction of the city.

The concept of light is often present in Earley’s works— he has integrated fluorescent light\, color filter paper\, natural light an d translucent acrylic panels to produce a pure and simple aesthetic that po ssesses architectural characteristics\, one in which we can see the profoun d influence of minimalist aesthetics and architectural language. In Shin e a Light (2012\, florescent lights\, plastic ties\, stainless steel an d yellow filter paper\, 110 x 44 x 22 cm) fluorescent lights installed insi de the piece shine through acrylic panels covered with yellow filter paper to cast c. As China’s cities undergo dramatic transformation\, the construc tion of new buildings is accompanied by the dismantling and destruction of the old. Earley has successfully balanced the relationship between both kin ds of urban space in his work.

Earley’s reflections concerning the materiality of urban construction during his residency in Beijing are e xpressed in the sculpture Untitled (Janus Head) (2012\, steel\, plas tic ties and plywood\, 43 x 22 x 20 cm) in which the artist has used hard s teel to articulate the unconstrained nature of Styrofoam. Although steel is a core construction material\, it functions as filler in the urban landsca pe. Such a conceptualized transformation of materials is not only a continu ation of Earley’s former work\, but furthermore a step forward in developme nt and experimentation. As Earley himself notes: “These new drawings and sc ulptures continue to develop my interest in the materiality of the object a nd 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 sculpt ures and drawings\, which are concise in form and profoundly expressive\, h e hopes to create an alternative view of order\, one which attempts to reco ncile one’s position in everyday life.

We will also publish a l eaflet in conjunction with the exhibition.

DTEND:20130429 DTSTAMP:20141023T183959 DTSTART:20130302 GEO:39.9846268;116.4909346 LOCATION:GALERIE URS MEILE BEIJING\,104\, caochangdi cun\, cui gezhuang xia ng Chaoyang district \nBeijing\, 100015 SEQUENCE:0 SUMMARY: "In the Midnight City"\, Brendan Earley UID:261495 END:VEVENT BEGIN:VEVENT DTEND:20130302T190000 DTSTAMP:20141023T183959 DTSTART:20130302T160000 GEO:39.9846268;116.4909346 LOCATION:GALERIE URS MEILE BEIJING\,104\, caochangdi cun\, cui gezhuang xia ng Chaoyang district \nBeijing\, 100015 SEQUENCE:0 SUMMARY: "In the Midnight City"\, Brendan Earley UID:261496 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Galerie Urs Meile is pleased to announce the opening of "Lat eral Edge"\, the latest solo exhibition by artist Li Gang (*1986 in Dali\, Yunnan Province\, China\; cur rently living and working in Beijing\, China) at our Beijing gallery on Mar ch 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 U rs 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.

The title of the exhibition comes from a geometric c oncept: 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 manufa cturing the connections between different things\, just as lateral edges ge nerally exist between two different planes. His creative materials are read ily 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 appea rance or significance of these materials.

Beads (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 th e exhibition\, presents nearly four hundred pieces of wooden spheres\, all shaped from the connection-points of a dead tree in Yunnan Province. As a t ree grows\, it continually produces new branches\, and each new branch or t wig that emerges leaves behind a “connection-point”\; the hundreds of conne ctions 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 con nections with other people\, just as the tree produces so many branches\; h owever\, 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.

The work Ridge (2012\, stones an d 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 collect ed by Li Gang. The natural process of erosion left the pebbles with differe nt “ridges” projecting from their surfaces. Li Gang found points of connect ion between two of the pebbles and carefully joined them together with adhe sive\, extending and connecting their ridges to transform the two pebbles i nto one form. According to Li Gang\, what appear to be independent objects have hidden connections\; joining such independent objects together is a wa y of creating uncertainty between the objects.

Li Gang was born in Dali\, Yunnan Province in 1986. After graduating first in his class fro m 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 p ainting and photography to installation and sculpture\, exploring enduring topics such as death and time.

We will also publish a catalogue in conjunction with the exhibition.

DTEND:20130429 DTSTAMP:20141023T183959 DTSTART:20130302 GEO:39.9846268;116.4909346 LOCATION:GALERIE URS MEILE BEIJING\,104\, caochangdi cun\, cui gezhuang xia ng Chaoyang district \nBeijing\, 100015 SEQUENCE:0 SUMMARY:Lateral Edge\, Li Gang UID:261497 END:VEVENT BEGIN:VEVENT DTEND:20130302T190000 DTSTAMP:20141023T183959 DTSTART:20130302T160000 GEO:39.9846268;116.4909346 LOCATION:GALERIE URS MEILE BEIJING\,104\, caochangdi cun\, cui gezhuang xia ng Chaoyang district \nBeijing\, 100015 SEQUENCE:0 SUMMARY:Lateral Edge\, Li Gang UID:261498 END:VEVENT BEGIN:VEVENT DESCRIPTION:

A master jeweller and goldsmith\, Peter Carl Fabergé (1846-1 920) was a leading figure in the rise of Russian jewellery craftsmanship in the late 19th century. Although the fame of the House of Fabergé faded for a while following the outbreak of the Russian Revolution\, its worldwide r enown persisted thanks to the fabulous masterpieces that it produced. Of th e numerous items that the House of Fabergé created for the Russian court\, its Imperial Easter eggs are undoubtedly its most spectacular works: design ed as an Easter surprise for the royal family\, they continue to amaze us e ven today.


The Fabergé Easter eggs on display are undoubt edly the highlight of this exhibition\, but they are accompanied by many ot her rare and exceptional artworks and pieces of jewellery in a variety of p recious metals and stones that bear witness to the fine craftsmanship of th e former Russian Empire\, while also offering visitors a chance to learn mo re about the illustrious history of the House of Fabergé. The exhibits\, nu mbering over 200 in total\, are on loan from the collections of the Moscow Kremlin Museums and the Fersman Mineralogical Museum of Russia.

DTEND:20130429 DTSTAMP:20141023T183959 DTSTART:20130206 GEO:22.377252;114.185296 LOCATION:Hong Kong Heritage Museum\,1 Man Lam Road Sha Tin\nHong Kong\, 218 0 8188 SEQUENCE:0 SUMMARY:Fabergé: Legacy of Imperial Russia UID:253665 END:VEVENT BEGIN:VEVENT DTEND:20130206T180000 DTSTAMP:20141023T183959 DTSTART:20130206T100000 GEO:22.377252;114.185296 LOCATION:Hong Kong Heritage Museum\,1 Man Lam Road Sha Tin\nHong Kong\, 218 0 8188 SEQUENCE:0 SUMMARY:Fabergé: Legacy of Imperial Russia UID:253666 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20130429 DTSTAMP:20141023T183959 DTSTART:20130323 GEO:31.2487514;121.4466722 LOCATION:ShanghART Gallery (main gallery)\,50 Moganshan Rd.\, Bldg 16 \nSha nghai\, 200060 SEQUENCE:0 SUMMARY:ShanghART Group Show \, Liang Yue\, Nobuyoshi Araki\, Pu Jie\, Shi Qing\, Sun Xun\, Tang Guo\, Wu Yiming\, Xiang Liqing\, Yuan Yuan UID:268142 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The “Seven Women Artists Exhibition”\, which originally open ed in the late eighties at the National Fine Arts Museum of China\, was the  first female-only painting salon in Beijing. Seven women presented their f resh talents and charming\, diverse artistic styles in works full of vigor\ , dedication\, passion\, and sincerity.

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As the generation of the la te 50s and 60s who underwent the difficult political and economic eras of t he Republic\, these seven women were fortunate enough to be able to get int o art academies in the late 70s and to then mature in the 80s\, a special p eriod of transition. After more than 20 long years of accumulating new life  experiences and being surrounded by different art movements\, amazing new  trends\, and complex discourses on art\, these seven women\, who were once  the darling children in a vast and turbulent landscape\, have firmly held o nto their artistic ideals and understanding of humanity. Regardless of whet her each stayed in the homeland or crossed the oceans\, these seven women\,  now together again\, are presenting works that exhibit their artistic stre ngth and sincerity.

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No longer the young and fragile women they once  were\, these seven women now have so much more appreciation and understand ing of their mission and value in life. At a critical juncture of their liv es when they are witnessing their own fleeting shadows in the passing of ti me and vicissitudes of existence\, these seven women still continue to embr ace life’s poetic expectations by cherishing it with utmost love and sincer ity\, replete with beautiful colors\, gorgeous shapes\, and carefully const ructed aesthetic compositions. Here the intellectual\, spiritual\, physical \, and metaphysical come together and blend\; the East and the West\, the a ncient and the new are integrated and absorbed\; nostalgia\, innovation\, s imple and intricate coexist. The works of these seven women avoid neither t he traditional and the realistic nor the new and innovative. Rather\, these  women persist in their individual spiritual approaches by demonstrating ho norable spirits that surpass fleeting trends\, and discard limiting\, reduc tive labels.

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The generation that these seven women belong to has be en fascinated by the purity of aesthetics\, confronted the new and challeng ed the old\, and has searched diligently for artistic purification and cult ivation of the mind. For this generation\, the “dignified” aesthetic ideal  exemplified by the Seven Women Artists is especially meaningful. Some of th e women’s works are calm and elegant\; some are based on the humanities tha t exude gentle poetic melodies or deep philosophical thoughts\; some are si mple or abstract\; some convey a certain compassion and religious attention \; and some are composed of both emotional and rational thinking. Irrespect ive of how the world and its visual appearances have changed and are changi ng\, there have always been an internal and eternal constant in art – “pass ion”. This “passion” has been the hallmark of the works of the Seven Women  Artists. Their art has not only interpreted the views and struggles in the  material world\, but has also further endeavored to preserve and manifest t he soul and integrity of humanity in order to fulfill the obligation to con serve the beauty and light of life.

DTEND:20130429 DTSTAMP:20141023T183959 DTSTART:20130422 GEO:39.890204;116.4828227 LOCATION:Today Art Museum (TAM)\,32 Baiziwan Road Pingod Community\, Chaoya ng District\nBeijing\, 100022 SEQUENCE:0 SUMMARY:The Journey from Past to Present: Seven Women Artists Exhibition\, Zhang Dongy\, Tang Liming\, Chen Feiyan\, He Wei\, Ba Huang\, Su Heyan\, Li ang Hao UID:273309 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Ban Wei's ink paintings are configurations of free fl owing human torsos laden with graphic symbols\, familiar and otherwise.  Cr eating his paintings with both hands working at the same time\, Ban says th at the two brushes together balance his creative world and form the oneness that he strives for.

Ban states that his creative proc ess ends when he finishes the delineation of his inspirations and it is up to the viewers to form their own interpretations upon interacting with his works.


This exhibition is Ban Wei's first solo i n Hong Kong after he immigrated to Canada some 20 years ago.  He is tracing his ink paintings back to the origins of his life.

DTEND:20130430 DTSTAMP:20141023T183959 DTSTART:20130411 GEO:22.2825162;114.1525198 LOCATION:Art Beatus Gallery - Hong Kong\,50 Peel St Central\nHong Kong\, SEQUENCE:0 SUMMARY:The Trace of Flash\, BAN WEI UID:270610 END:VEVENT BEGIN:VEVENT DTEND:20130411T200000 DTSTAMP:20141023T183959 DTSTART:20130411T180000 GEO:22.2825162;114.1525198 LOCATION:Art Beatus Gallery - Hong Kong\,50 Peel St Central\nHong Kong\, SEQUENCE:0 SUMMARY:The Trace of Flash\, BAN WEI UID:270611 END:VEVENT END:VCALENDAR