Born in 1971\, Wang Xingjie currently lives and works in She nyang. Not until the age of 27 did he officially start to paint. Unlike the majority of the self-educated amateur artists\, he has been keeping close contact with the academic circle and was familiar to the basic formative la nguage of art. He opens freely to different mediums and languages\, meanwhi le possesses his own attitude towards the reason and pursuit of making art.

With authentic eyes and brain\, he applies art mediums based on comprehensions and willing of his own. The language he has developed is straightforward and simple\, which depicts what he sees from the innermost consciousness\, also establishes his correlation with the world on canvas. Wang Xingjie has never pursued after any formulas that might be instantly effective\, instead\, he has developed a steadfast referential system deriv ing from the raw feelings within his heart. Rather than directly reflecting the energy in a man or an object itself\, he is trying to express how the energy manifested through his consciousness.

In an atmosphere that artists are prone to pursue individual symbols and identification as w ell as characteristics attached to a time or a culture\, Wang Xingjie has b een faithful to his original pursuit while learning\, experimenting and inv estigating. For him\, the starting point of making art is neither criticism nor creativity\, but discovery and free expression.

DTEND:20130826 DTSTAMP:20161027T021521 DTSTART:20130323 GEO:39.9846268;116.4931472 LOCATION:01100001 Gallery\,C3\, Red No.1\, Caochangdi Chaoyang District\n B eijing \, 100015 SEQUENCE:0 SUMMARY:Primary Colors \, Wang Xingjie UID:271427 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Young Chinese painter Pan Jian\, identifie d by his quiet and pensive landscapes\, will debut in Hong Kong from 10th A pril to 11th May with his first solo presentation The Realm of Shadows at 1 0 Chancery Lane Gallery Central.

Pan Jian's night-time landsc apes show a new generation of Chinese contemporary artists. Born in the 70s \, his individualized style and concept derives from his personal emotion r ather than collective thinking driven by socio-political themes. He explore s the forefront of the unknown. His calm and intricate brushstrokes convey abstraction at first glance in a dark blue\, almost black\, duo-chrome\, ho wever when your eyes adjust\, the night landscape slowly emerges.

The forest scenes and minimal landscapes are captured as if from an ins tant in a film. He is inspired by the words\, "the beauty of a scene origin ates from its sadness."  There is a deep melancholy or nostalgia that linge rs within in his works and it is precisely his intent\, which is to capture a mood\, state of mind or emotion within the silence and stillness of the night. His works are almost alive yet create a feeling of psychological dis location. There is no beginning and no end to a narrative however\, each wo rk\, says Pan Jian\, has a story behind it that he doesn't speak about wish ing to keep a somnolent obscurity to his work.  His flashes in time portray neglected corners\, he says\, "in the uninhibited corners\, silence can be broken at any moment."

The artist will be in Hong Kong for th e exhibition opening in April (date to be confirmed). For press enquiry or schedule interview\, please contact Severine Levrel at severine@10chanceryl or +852 2810 0065.

About the artist
Pan Jian (b. 1975 Shandong) is a young and committed painter who currently lives and works in Beijing &\; Xi'an. He graduated from the Oil Paintin g Department of Xi'an Academy of Fine Art where he is now a professor. His work is included in numerous collections including the DSL collection\, The Uli Sigg Collection\, The Yuz and is well supported by the Yuz Foundation in Jakarta.

DTEND:20130511 DTSTAMP:20161027T021521 DTSTART:20130411 GEO:22.280722;114.153445 LOCATION:10 Chancery Lane Gallery\,10 Chancery Lane \nHong Kong\, SEQUENCE:0 SUMMARY:The Realm of Shadows\, Pan Jian UID:269353 END:VEVENT BEGIN:VEVENT DESCRIPTION:

A Gallery is delighted to present a series of works by Arany a Khunchawattichai\, an emerging Thai artist.


Aranya Khunchawattich ai’s works highlight the temperament of a dark state\, creating an atmosphe re which releases energy.  In the "Dark Angels" series\, her characters are captured in animal skins\, torn between innocence and desire\, with their expression drawing intense involvement with the audiences.

DTEND:20130521 DTSTAMP:20161027T021521 DTSTART:20130417 GEO:22.283829;114.152513 LOCATION:A Gallery Hong Kong\,2-4 Mee Lun Street \nHong Kong\, SEQUENCE:0 SUMMARY:DARK ANGELS\, Aranya Khunchawattichai UID:270942 END:VEVENT BEGIN:VEVENT DTEND:20130417T210000 DTSTAMP:20161027T021521 DTSTART:20130417T180000 GEO:22.283829;114.152513 LOCATION:A Gallery Hong Kong\,2-4 Mee Lun Street \nHong Kong\, SEQUENCE:0 SUMMARY:DARK ANGELS\, Aranya Khunchawattichai UID:270943 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Amelia Johnson Contemporary presents Disjecta Membra\, South African artist Barbara Wildenboer’s first solo exhibition in Asia. The lat in phrase\, disjecta membra\, is often used to refer to surviving fragments of ancient poetry\, manuscripts and other literary or cultural objects. In this her new body of work Wildenboere intertwines contemporary and ancient texts to create two dimensional works that often take on a three dimension al form. By her deconstruction and reconstruction of texts the artist conve ys the notion that narratives are not linear but rhizomatic. The assumed au thority of the author is undermined in favor of a myriad of abstract interp retations\; emphasis is placed on the weaving of disparate and seemingly di sjointed parts to create fresh stories. Ultimately in this work we are conf ronted with the infinite possibilities of meaning.

DTEND:20130518 DTSTAMP:20161027T021521 DTSTART:20130411 GEO:22.283794;114.152069 LOCATION:Amelia Johnson Contemporary\,g/f 6-10 Shin Hing Street (off Hollyw ood Road)\nCentral\, Hong Kong\, SEQUENCE:0 SUMMARY:Disjecta Membra\, Barbara Wildenboer UID:270086 END:VEVENT BEGIN:VEVENT DTEND:20130411T210000 DTSTAMP:20161027T021521 DTSTART:20130411T180000 GEO:22.283794;114.152069 LOCATION:Amelia Johnson Contemporary\,g/f 6-10 Shin Hing Street (off Hollyw ood Road)\nCentral\, Hong Kong\, SEQUENCE:0 SUMMARY:Disjecta Membra\, Barbara Wildenboer UID:270087 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:20161027T021521 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:20161027T021521 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 BEGIN:VEVENT DESCRIPTION:

Art Experience Gallery is pleased to present the group exhib ition\, “hidden Track”\, curated by Samantha Wong\, of four emerging Hong K ong and Taiwan artists\, Vivian Poon\, Alice Lau\, Hui Kim Ho and Shih Yung -chun and their latest series of paintings.


Artists are always sens itive to the particularity of the daily routine\, their attempt to search f or the hidden events - sometimes banality in others' perspective - is to re gard all the tiny tracks and to transform them through their way of interpr etation. By colors\, by texture\, or by form\, in each moment of creation\, their way of existence is reflected by their sincerity toward the canvas a lso as much as the religious repetition that would bond the artists and aud iences together through the hidden beauty of the daily life. The four artis ts with various backgrounds here will share their "usefulness" but extremel y peaceful and reflexive thoughts in this exhibition.


By building t emporary relationships with things that are mingling in the reality\, Vivia n Poon unfolds the hidden scents surrounding her. She is intended to create an atmosphere that reminiscent the memory of her personal life and also th e memory of the hidden moment. In her Snow series for instance\, she depicts the kapok tree in her childhood memory and the juxtaposition of th e white polka dot pattern and curtain-liked paint altogether makes its refe rence to her favorite quotation in Chinese literature - Xie Huilian's Rh apsody on Snow\, “Such is its appearance: Scattering and spreading\, mi ngling and merging”.


Shih Yong-chun presents the reality in his sub jective imagination mainly by deconstructing and then carefully resembling the factual elements of the daily act including reading\, eating\, studying and being with pets etc. onto the canvases. His works are often appearing absurd in a way that the tiny details are being amplified and rearranged li ke “Soup Opera”\, no matter in his Demonstration Life series or the latest Daily Life System series. Through the handful and mature pain ting techniques\, an intriguing and evocative dimension that is close to th e language of film has present and it interrogates the audience to re-exami ne the trivial details of the existence of human being in the modern city l ife.  


Living in a confined city\, Philip Hui Kim Ho re-articulates the meaning of “nature” and “artificial” by his theatrical representation of such. He criticizes the disappearance of the animal instinct by the repr ession imposed by the modernization and capitalism\, and therefore he plays with the dislocation of the relationship of human beings and nature\, and city environments in his series of work. Albeit the paintings sound familia r to those “traditional” art lovers due to its classical posed figure and f raming of the background that the artist adapted from masters like Giacomet ti and Euan Uglow\, however the blurred eyes surely are in its modern repre sentation of 21st century\, which are hopeless and are lost in their faith with the metaphor of atheism. 


The kind of hopelessness also inevit ably reflected in the paintings of Alice Lau\, she quietly observe the fail ure of the reality spaces – a place which no longer signifies the communica tion for her existence but only endless solitude. In her paintings\, a sens e of the “placeless place” could be found\, she hides and she is “hidden” i n the heterogeneous space that she created for her own\, or maybe also to t he audiences that connected with her explosive rooftop\, disposed playgroun d and abandon bridge.


The hidden track in an album usually comes af ter the long silence of the last song\, it requires extra attention otherwi se it might have been missed\; it is so condensed that the audience would p robably associate it with the “extra” of the everyday life. The entity of l ife parallels an album with a bonus hidden tracks\, in which we sometimes m iss out things that worth a glimpse. With their works exhibit\, the four ar tists reveal the linkage between the reality\, the silence\, and the “extra ” imaginary realm. 

DTEND:20130504 DTSTAMP:20161027T021521 DTSTART:20130309 GEO:0.0;0.0 LOCATION:Art Experience Gallery\,Room 2009\, 20/F\, Cable TV Tower\, 9 Hoi Shing Road Tsuen Wan\, N.T\nHong Kong\, SEQUENCE:0 SUMMARY:hidden Track\, Alice Lau\, Hui Kim Ho\, Vivian Poon\, Shih Yung Chu n UID:263215 END:VEVENT BEGIN:VEVENT DTEND:20130309T180000 DTSTAMP:20161027T021521 DTSTART:20130309T150000 GEO:0.0;0.0 LOCATION:Art Experience Gallery\,Room 2009\, 20/F\, Cable TV Tower\, 9 Hoi Shing Road Tsuen Wan\, N.T\nHong Kong\, SEQUENCE:0 SUMMARY:hidden Track\, Shih Yung Chun\, Hui Kim Ho\, Alice Lau\, Vivian Poo n UID:263216 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Art+ Shanghai Gallery proudly announces Paradise City\, a so lo exhibition of Ye Hongxing highlighting mixed media works from the artist 's repertoire. Featuring a colorful display of artworks exploring anthropol ogical changes in modern China\, the Beijing-based artist introduces new pa intings from her ongoing currency series and a spectacular presentation of innovative collage works.

Throughout her career\, Hongxing has b een inspired by nature\, which was strengthened by her encounters at the Yu zile Sculpture Park in Guilin during her artist-in-residence. While much of her activity at the park was focused on marble sculpture\, the dominant in fluence of Guilin’s landscape would shape her paintings for years.

After leaving the undisturbed surroundings of the south and returning to a rapidly changing Beijing\, Hongxing’s work underwent a huge transformati on. It was in Beijing that she took her inspiration from a new landscape\, the artificial cityscapes filled with commercial advertising and billboards . Works such as Charming Reflection and Floating Life combined imagery from traditional patterns on pottery against a backdrop of her own face.

Last year Art+ Shanghai Gallery held the first Shanghai exhibition of Hongxing’s currency series\, Common Wealth. Displaying a sequence of oil p aintings with traditional landscapes found on Chinese currency\, the exhibi tion posed questions on how China can progress without selling out its envi ronment and culture. Paradise City however\, speaks to a global audience. < br />
Her new paintings of legal tenders from other countries are a vi sual representation of diversified landscapes and cultures in one of their prevalent signifiers: money. Hongxing maintains accuracy of the original ca sh note but by selecting only a portion of the pictorial imagery of each co untry’s currencies however\, her paintings refer to a more general internat ional concern of materialization.

For the first time at the Gal lery\, Hongxing will exhibit her mixed media canvases. Utilizing mass-produ ced materials she creates animated landscapes with a mosaic of thousands of tiny stickers. Highlighting a fusion of modern technology against traditio nal naturescapes\, she returns again to the unlined theme in all her works\ , how does a society move forward without forgetting its past.

H ongxing has remained true to her own unique vision amid the many shifting a rtistic trends of the time. Her reputation and influence will continue to g row\, establishing her as an artist of great significance. Paradise City ex plores the ways in which subject matter and technique innovate depictions o f contemporary everyday life.

DTEND:20130512 DTSTAMP:20161027T021521 DTSTART:20130330 GEO:31.2410122;121.4745039 LOCATION:Art+ Shanghai Gallery\,191 South Suzhou Road \nShanghai\, 200002 SEQUENCE:0 SUMMARY:Paradise City\, Ye Hongxing UID:268132 END:VEVENT BEGIN:VEVENT DESCRIPTION:

CHAI Gallery &\; Art+ Shanghai Gallery proudly announce T he Glory and the Dream a solo exhibition of Bei Ling Yue\, highlighting Chi na’s changing landscape and illustrating how economic through reform and a new influx of personal wealth and rapid industrialization have influenced u rban life.

Shanghai-based artist introduces new works from her S hanghai Series featuring a colorful display of artworks exploring anthropol ogical changes in modern China. Through her photographs\, Yue brings us int o the city where individuals are living in a world of attainable  dreams.
Yue’s does not search purposely for the city's dark corners and n eglected populations but instead she captures the details of the neighbourh oods. Later she composes a new-hybrid canvas made from the thousands of det ailed images she has amassed on her wanderings. 

Her photographs consistently expose a human dimension\, an angle of vision\, or a profound insight\, which are usually unseen or ignored. In this\, Yue performs one of art’s important tasks: rendering visible what is otherwise invisible. Yu e’s art-making praxis has a transformative dimension as well: it expands ou r range of vision and shows us things that are important to see.

The way in which Yue views the subjects in her images displays a kind of k nowledge and yet simultaneously conceals the actual reality\, an oscillatin g between depiction\, melancholy and humour\, documentary journalism\, and a speaking between the lines—all of it formulated with an alert eye.
< br />


Our own sensory\, overwhelmed by so much intensity and depth\ , skewers the surface of each print. The light concentrated in the urban Ch ina landscape proposes and encourages a variety of interpretations.

DTEND:20130519 DTSTAMP:20161027T021521 DTSTART:20130420 GEO:31.2410122;121.4745039 LOCATION:Art+ Shanghai Gallery\,191 South Suzhou Road \nShanghai\, 200002 SEQUENCE:0 SUMMARY:The Glory and the Dream\, Bei Ling Yue UID:275847 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Wan Fung Art Gallery in 2013 will be held in April 30th April 20 - "Hutong feelings\, Peng ying-cai 2013 Ink Exhibition" alley. The exhibit ed a total of more than 50 pieces of fine ink Hu Tong\, Peng Yingcai.
Peng excellence is a solid basic skills\, painting talented painter. His in k works using the "realistic plus Hutong sketch" techniques\, as is the "re al" old alley original face of history\, let each works in real life\, orig inates from the city residential development.
The narrow alley\, the m ottled walls\, gray tiles\, old doors and windows\, and even car\, bucket\, honeycomb briquette...... In his art works. The work shows that the accumu lation of deep\, historic houses\, like the yellow "old photo"\, the record is ordinary life is gone and the vicissitudes of the years away. April sun shine\, with the story of time to enjoy the scenery of the alley.

DTEND:20130430 DTSTAMP:20161027T021521 DTSTART:20130420 GEO:39.92147;116.443108 LOCATION:Beijing Wan Fung Art Gallery\,35-37 Guanyintang Art Avenue Wangsiy ing No.2A\,Chaoyang District\nBeijing\, SEQUENCE:0 SUMMARY:Hutong · 2013 Ink Hutong Exhibition \, Peng Yingcai UID:272066 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Ben Brown Fine Arts is pleased to announce the inaugural sho w of Simon Birch\, one of Hong Kong's most acclaimed contemporary artists\, taking place at its gallery in Central Hong Kong's Pedder Building from 10 April to 15 May 2013.


Best-known for his dramatic figurative paint ings\, Birch has extended his exploration of the human figure in new works characterized by a distinctive use of textured oil on canvas. The striking female forms in Hooligan bear the imprint of an invisible force\, as though someone hurled them through space and punched them into the frame . The belligerent title of the show is the only hint about the identity of the aggressor\, underscoring the eruptive violence that pervades Birch's wo rk. We're in a story that's been freeze-framed\, but not for long: there is a before to this moment\, just as there will be a hereafter.     

DTEND:20130515 DTSTAMP:20161027T021521 DTSTART:20130411 GEO:22.2818589;114.156989 LOCATION:Ben Brown Fine Arts Hong Kong\,303 Pedder Building 12 Pedder Stree t \nHong Kong\, SEQUENCE:0 SUMMARY: Hooligan\, Simon Birch UID:267599 END:VEVENT BEGIN:VEVENT DTEND:20130410T203000 DTSTAMP:20161027T021521 DTSTART:20130410T180000 GEO:22.2818589;114.156989 LOCATION:Ben Brown Fine Arts Hong Kong\,303 Pedder Building 12 Pedder Stree t \nHong Kong\, SEQUENCE:0 SUMMARY: Hooligan\, Simon Birch UID:267600 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Chambers Fine Art is pleased to ann ounce the opening on April 20\, 2013 of Zhang Dun and Song Hongquan: Uni ts. This exhibition takes the form of a dialog between drawing and scul pture\, Zhang Dun’s delicate pencil drawings contrasting with the sensuous white marble sculptures of Song Hongquan. The two artists come from widely different backgrounds\, Zhang Dun having grown up in the industrial environ ment of Shenyang and Song Hongquan in a village in Hebei\, and this is clea rly visible in their work. Zhang’s desolate urban landscapes\, pencil drawi ngs of remarkable refinement\, contrast with the biomorphic forms of Song’s sculptures which seem at first glance to be a continuation of a tradition pioneered nearly a century ago by Jean Arp and Henry Moore.


Zhang D un’s “units” (danwei) refer to the abandoned or neglected buildings that ha ve been the primary theme of her oeuvre since her first exhibition at Chamb ers Fine Art A Difference of Opinion in 2011. Her large pencil drawi ngs\, occasionally heightened with touches of color\, are noteworthy for th e way in which she transforms industrial buildings of the type that can be found throughout China into haunting evocations of a world that no longer e xists. From the 1990s onwards it was the destruction of the traditional arc hitecture of Beijing that inspired many artists to document its demise. Now \, in the hands of Zhang Dun\, it is the massive industrial architecture of the 1950s and 1960s that occasions these elegiac reflections on this utili tarian architecture that is currently undergoing the same fate as the huton gs.


In a new series of drawings of peaches\, however\, executed in colored pencil\, Zhang reveals sensitivity to the forms of the natural worl d that had hitherto not appeared in her oeuvre. Traditionally regarded as a symbol of longevity and health in China\, the peach assumes monumental for m in Zhang Dun’s drawings and is the sole focus of attention. The luscious peaches are simultaneously strangely disembodied and frankly erotic.

\n< p>Song Hongquan’s “units” refer to the seeds\, a plant’s unit of reproducti on that he uses as inspiration for his sculpture. While Zhang Dun creates h er visionary fruit from networks of faint pencil lines Song Hongquan discov ers his unitary forms inside blocks of marble by removing everything that i s not what he is looking for. The son of a noted carver\, Song used the too ls of a carver as the theme of his first major body of work\, After the Stone Age (2011)\, now in the White Rabbit Collection\, Sydney. Working on the land while he was still a child\, Song also grew to understand the mysterious process by which a mature plant grows from a tiny seed. Although faithful to the particularities of the seeds he uses as his inspiration\, the enlarged\, streamlined forms that result once the sanding and polishing process is completed hover disturbingly between the botanical and the huma n.


北京前波画廊荣幸地宣布将于2013年4月20日起举办张盾和宋红 权的双个展《单位》。此次展览以素描和雕塑之间的对话形式展现,张盾细腻的铅笔画 与宋红权抽象且性感的汉白玉雕塑形成了对比。张盾在工业城市沈阳长大,而宋红 权则出自河北的农村,他们的作品悄然体现出这两位艺术家截然不同的生活背景。 张所描绘的城市景观荒芜凄凉,其素描技能至臻完美。而宋的雕塑则展现了生物形态, 似乎延续了近百年前让•阿尔普和亨利•摩尔的创作传统。于是,两位艺术家 的作品形成了鲜明对比。


张盾此次展出的“单位”是指那些废弃的厂房 或是被遗忘了的建筑,那也是她于2011年在纽约前波画廊举行首次展览《求同异存》时的主题。这些铅笔画 尺寸相对较大,偶尔用隐约的色彩来画龙点睛。被空置了 的工业建筑在北方随处可见,然而这些作品的独特之处便在于艺术家将观者引领到一个早已不存在、却又令 人难以忘怀的时代。自上世纪90年代起,北京开始大规模拆 除传统建筑,激起了许多艺术家的灵感,并通过艺术创作记录了这一变迁。而张盾手中的铅笔却哀婉地 描绘了建于上世纪五、六十年代的大型工业厂房,它们现在也和胡 同一样有着相似的遭遇。


与此同时,张盾在一组新的彩色铅笔素描作品中,展示了她以往艺术创作中不曾出现的对自然界的精湛描绘。桃子在中国传统 文化中是长寿和健康的象征,在张盾的素描里每个桃子独立成为了主题。被放大了几倍后,它们似乎遗失了本体,不再像桃子,而是非常坦然地流露出一丝妩媚。


宋红权作为一个石雕匠之子,将石雕工具作为主题,创作出其第一组重要作品,即现被悉尼白兔美术馆收藏的2011年作品《后石器时代》。而本次展览的 “单位” 作品指的是种子,或者说是一个植物繁殖系统的单位。他通过去除汉白玉中他不想要的部分而寻找到了这些单位造型。虽然这些雕塑呈现了有机形态的造型,却 不能 让人直接联想到任何真实世界里的东西。这样的三维表现方式和当今典型的组装式雕塑和装置形成对比,令人眼前一亮。自小在田里务农,他十分清楚从一颗小小的 种子变成一棵成熟的植物所需经历的神秘过程。尽管他的创作严格遵循了每颗种子的特征,经过打磨后,这些被放大了的光滑流畅的造型却使人恍惚徘徊于植物和人 体 的幻觉之间。

DTEND:20130519 DTSTAMP:20161027T021521 DTSTART:20130420 GEO:39.9896188;116.4681231 LOCATION:Chambers Fine Art Beijing\,Red No.1-D\, Cao Changdi Chaoyang Distr ict \nBeijing\, 100015 SEQUENCE:0 SUMMARY:Units \, Zhang Dun\, Song Hongquan UID:272067 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".


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. 


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.






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.


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.


Mariko Mori currently lives and works in New York.

DTEND:20130427 DTSTAMP:20161027T021521 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:

Edouard Malingue Gallery is pleased to present ‘I STHK|HKIST’\, the first exhibition in Hong Kong of celebrated Turkish conte mporary artist\, Nuri Kuzucan (b. 1971\, Turkey). A highly anticipated exhi bition\, the solo show marks the first time Turkish contemporary art is pro vided a particular focus in Hong Kong\, and brings together two of the worl d’s most thriving artistic scenes: Istanbul and Hong Kong. The exhibition t hus reflects Edouard Malingue Gallery’s dedication to exhibiting selected d istinguished talent from around the world.


‘ISTHK|HKIST’ will feature a series of ten works that individually\, as well as aggregat ely\, explore the complex geometries of dense urban landscapes. Although de void of human presence\, Nuri Kuzucan shows in his paintings how metropolis es\, from Istanbul to Hong Kong\, have become signifiers and quantifiers of modern living. Nuri Kuzucan thus explores society’s increased focus on spa ce and provides reflection\, as well as seeming criticism\, on our manifest ed urbanity and celebrated contemporaneity.


Nuri Kuzucan depicts\, from multiple perspectives\, our complex surroundings: whether f rom an aerial or panoramic viewpoint\, each of his paintings manifest layer s and folds of interior and exterior spaces. Depicted from a distance\, eac h painting portrays the intricate overlap and fragmented dimensionalities o f our cosmopolitan edifices. Such distance\, however\, is not to be confuse d with detachment: on the contrary\, Nuri Kuzucan’s omniscience permits him to delve deeply into the composition of our modern quotidian and flesh out the intimacy amidst the anonymity of the concrete jungle.


Nuri Kuzucan’s works exhibited in ‘ISTHK|HKIST’ simultaneously carry wit h them an emotional charge: executed in dark\, light or colourful tonalitie s\, Nuri Kuzucan sets with each stroke a dramatic or conversely tranquil au ra over each contemporary landscape. Moreover\, Nuri Kuzucan’s technique of using acrylic on canvas and paper tape adds a textural sense of fragility and concurrent permanence to each painting. Thus\, although Nuri Kuzucan ch ooses not to blatantly depict the human form\, each of his paintings carrie s a whisper of humanity and illustrates how “to live is to leave traces”. ( Walter Benjamin\, Reflections: Essays\, Aphorisms\, Autobiographical Wri ting. Trans. Edmund Jephcott. New York: Schocken Books\, 1986. Print. p 155).


Nuri Kuzucan (b. 1971) gained a Major in Painting as well as a Science Masters from the Mimar Sinan University of Fine Arts in Istanbul. Nuri Kuzucan’s paintings have been the focus of multiple solo exhibitions in Turkey and group exhibitions around the world\, from Basel t o Berlin and Dubai. Nuri Kuzucan’s work has additionally been exhibited in public collections such as the Pera Museum in Istanbul. In the event of his first solo show in Hong Kong\, an extensive publication has been created w ith images of his work as well texts by leading international commentators in the field of Contemporary Art. Key contributors include: Levent Calikogl u (Chief Curator\, Museum of Modern Art Istanbul)\, Arianne Koek (CERN Resi dency Programme)\, HG Masters (Editor-at-large\, Art Asia Pacific) and Bige Orer (Director\, Istanbul Biennale).

DTEND:20130518 DTSTAMP:20161027T021521 DTSTART:20130405 GEO:22.280118;114.157647 LOCATION:Edouard Malingue Gallery\,33 Des Voeux Road Central Sixth Floor\nH ong Kong\, SEQUENCE:0 SUMMARY:ISTHK | HKIST\, Nuri Kuzucan UID:264350 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The exhibition features a new body of photography works and a video installation by the internationally a cclaimed Iranian artist\, Shirin Neshat. Her work interweaves an austere ye t sensuous visual language with music\, poetry\, and history\, as well as t he political and philosophical.

DTEND:20130908 DTSTAMP:20161027T021521 DTSTART:20130413 GEO:39.9846268;116.490197 LOCATION:Faurschou Foundation (Beijing)\,798 Art District NO.2 Jiuxianqiao Road\, 8502\nBeijing\, Chaoyang District 100015 SEQUENCE:0 SUMMARY:The Book of Kings\, Shirin Neshat UID:269359 END:VEVENT BEGIN:VEVENT DTEND:20130413T180000 DTSTAMP:20161027T021521 DTSTART:20130413T160000 GEO:39.9846268;116.490197 LOCATION:Faurschou Foundation (Beijing)\,798 Art District NO.2 Jiuxianqiao Road\, 8502\nBeijing\, Chaoyang District 100015 SEQUENCE:0 SUMMARY:The Book of Kings\, Shirin Neshat UID:269360 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

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:20161027T021521 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:20161027T021521 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: DTEND:20130504 DTSTAMP:20161027T021521 DTSTART:20130321 GEO:0.0;0.0 LOCATION:Gagosian Gallery Hong Kong\,7/F Pedder Building\, 12 Pedder Street \nHong Kong\, SEQUENCE:0 SUMMARY:Popstraction\, Richard Artschwager\, John Chamberlain\, Dan Colen\, Piero Golia\, Damien Hirst\, Albert Oehlen\, Steven Parrino\, Richard Prin ce\, Blair Thurman\, Piotr Uklański\, Andy Warhol UID:265633 END:VEVENT BEGIN:VEVENT DTEND:20130321T200000 DTSTAMP:20161027T021521 DTSTART:20130321T180000 GEO:0.0;0.0 LOCATION:Gagosian Gallery Hong Kong\,7/F Pedder Building\, 12 Pedder Street \nHong Kong\, SEQUENCE:0 SUMMARY:Popstraction\, Richard Artschwager\, John Chamberlain\, Dan Colen\, Piero Golia\, Damien Hirst\, Albert Oehlen\, Steven Parrino\, Richard Prin ce\, Blair Thurman\, Piotr Uklański\, Andy Warhol UID:265771 END:VEVENT END:VCALENDAR