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The University Museum and A rt Gallery of The Hong Kong University will be showing an exhibition of art works by 27 Austrian artists in China titled &ldquo\;Refuse the Shadows of the Past: Five Years of Austrian Art made in China&rdquo\; from the July 4 to August 24\, 2014.

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This c ommemorative exhibition celebrates the fifth anniversary of artistic creati on and transformation by Austrian and other international artists working i n China with a concentrated focus on the &lsquo\;Chinese&rsquo\; past and p resent. Five years also mark a longer existing program of internationalisat ion\, initiated by the Austrian government to allow artist to work around t he world.

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This summer\, the University Museum exhibits a selection of works that have been shown in Be ijing\, Shenzhen\, Chongqing and Ningbo in the last 5 years\, and include v ideo works by Hannes Bö\;ck\, Thomas Weber Carlsen &\; Jan Krogsgaar d\, Sylvia Eckermann &\; Gerald Nestler\, Johann Neumeister\, Moritz Neu mü\;ller\, Audrey Salmon\, Bernhard Staudinger\, Sylvia Winkler &\; Stephan Kö\;perl and Heimo Wallner. Objects\, installations and book wo rks by Allan Au\, Franz Amann\, Anna Hofbauer\, Ralo Mayer\, Rainer Prohask a and Gerlind Zeilner as well as collages\, drawings and photographic works by Lukas Birk\, Karel Dudesek\, Georg Frauenschuh\, Tina Hochkogler\, Heim o Lattner\, Thomas Pakull\, Anton Petz\, Ida &\; Bianca Regl\, Roswitha Weingrill and Andrea Witzmann.

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Each exhibited artist developed his or her own method of artistic pract ice in a new environment\, by working and living in China and not just visi ting her. Thereby\, they did not form part of a programmatic cultural excha nge\, but participated in a residency programme that allowed them to develo p an approach driven by personal curiosity and subtle translations. The clo sest comparisons are the pictograms of the Naxi tribe\, which have been com municating with images rather than with letters. Similarly\, these artists communicate with\, various materials\, sounds\, and forms to reach the visi tors&rsquo\; imagination.

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A mong the twenty-seven artists represented\, Heimo Wallner features Mao Tse Tung&rsquo\;s selected works volume 2 with personal illustrations composed into an animation video\, in order to draw and write a large map which show s historical and today&rsquo\;s connection of China. Roswitha Weingrill pre sents collages with mosaic intarsia showing female and male heads carved ou t of Chinese art school books.

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This exhibition has been organised in collaboration with the Austrian C onsulate General in Hong Kong and Macau and the Austrian initiative Embassy of the Arts.

DTEND:20140824 DTSTAMP:20140726T132538 DTSTART:20140704 GEO:22.283736;114.139646 LOCATION:University Museum and Art Gallery (The University of Hong Kong)\,9 0 Bonham Road\, Pokfulam \nHong Kong\, SEQUENCE:0 SUMMARY:Refuse the Shadows of the Past: 5 Years Austria Art Made in China\, Thomas Weber Carlsen\, Hannes Bock\, Allan Au\, Lukas Birk\, Sylvia Eckerm ann\, Georg Frauenschuh\, Tina Hochkogler\, Heimo Lattner\, Thomas Pakull\, Anton Petz\, Ida & Bianca Regl\, Roswitha Weingrill\, Andrea Witzmann\, Fr anz Amann\, Anna Hofbauer\, Ralo Mayer\, Rainer Prohaska\, Gerlind Zeilner\ , Karel Dudesehk\, Jan Krogsgaard\, Johann Neumeister\, Moritz Neumüller\, Audrey Salmon\, Bernhard Staudinger\, Sylvia Winkler\, Stephan Köperl\, Hei mo Wallner\, Gerald Nestler UID:347991 END:VEVENT BEGIN:VEVENT DESCRIPTION:
&ldquo\;The Madness\, Elegance\, and Thrill of Ink&mdash\; &mdash\;The Spirit and Style of Xuan Yongsheng&rsquo\;s Ink Painting&rdquo\ ; will be held in Today Art Museum in Sep 20th\, 2014. The exhibition is th e first retrospective showing of the artist\, Xuan Yongsheng\, who returned from aboard. Furthermore\, the exhibition primarily includes the series of Not Mountain Not Water and significant artworks of the early period\, whic h reflect the true mind of the systematic organization of the artist&rsquo\ ;s career. The famous poet and art critic Dao Zi and Hao Qingsong will be t he curator and assistant presenting the exhibition.
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Xuan Yongsheng is a Canadian Chinese artist who has earned great a chievement in different artistic areas\, such as Chinese ink painting\, ill ustration\, ceramics and woodblock print. Since the 1980s\, he has been pai nting with ink in order to explore the unique style of contemporary Chinese ink painting and its combination of expressive and natural painting langua ge. Through the informal aesthetic of traditional ink painting\, the artist blends Chinese and Western elements\, introducing diversity\, self-awarene ss\, self-sufficiency\, and developmental logic that sustain the transforma tion of the Chinese ink painting language. He opens up an art road that emb odies the spiritual strength and aesthetic freedom with professional skills and tenacity.
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The exhibition aims to intro duce Chinese ink painting&rsquo\;s remarkable characteristic\, which not on ly destroys the rigid painting mode through the power of abstraction and im agery\, but also rebuilds the grand and profundity. In addition\, he combin es the characteristics of inclusive landscape painting\, calligraphy\, and western contemporary painting to create a new layout. The exhibition is exp ected to display until September 26. Please stay tuned.
DTEND:20140926 DTSTAMP:20140726T132538 DTSTART:20140818 GEO:39.890204;116.4828227 LOCATION:Today Art Museum (TAM)\,32 Baiziwan Road Pingod Community\, Chaoya ng District\nBeijing\, 100022 SEQUENCE:0 SUMMARY:The Madness\, Elegance\, and Thrill of Ink\, Xuan Yongsheng UID:347989 END:VEVENT BEGIN:VEVENT DTEND:20140818T170000 DTSTAMP:20140726T132538 DTSTART:20140818T100000 GEO:39.890204;116.4828227 LOCATION:Today Art Museum (TAM)\,32 Baiziwan Road Pingod Community\, Chaoya ng District\nBeijing\, 100022 SEQUENCE:0 SUMMARY:The Madness\, Elegance\, and Thrill of Ink\, Xuan Yongsheng UID:347990 END:VEVENT BEGIN:VEVENT DESCRIPTION:
Experimental art is a recent phenomenon in China since the country's reform and open-up to the outside world. It is the major trend o f world contemporary art\, which\, along with classical western realistic r epresentational art and predominant traditional Chinese ink and wash painti ng\, shapes the overall landscape of China's contemporary art. Chinese Arti sts Association decided to set up a special section for experimental art at the 12th National Art Exhibition. This is a decision in accordance to the status quo of China's fine art development and a very ground breaking move in the history of the National Art Exhibition. It sets a milestone in the p ath of China's history of fine arts.
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A comm ittee of experimental art is commissioned by Chinese Artists Association to carry out research and documentation for a lengthy period of time before i ts proposal is granted by the Association. The exhibition is a retrospectiv e display of the past 10 years' achievements in experimental arts. Works th at are not suitable for exhibition owing to medium\, condition and certain circumstances are represented with documentation. The exhibition is a compr ehensive presentation of the achievements of contemporary Chinese experimen tal art. It also manages to strike a balance between the presentation of st rongly characteristic and creative works\, and the state of the country and acceptability of the public. Such balanced consideration makes it possible to realize the first exhibition of experimental art at the National Art Ex hibition smoothly and effectively.
DTEND:20140908 DTSTAMP:20140726T132538 DTSTART:20140818 GEO:39.890204;116.4828227 LOCATION:Today Art Museum (TAM)\,32 Baiziwan Road Pingod Community\, Chaoya ng District\nBeijing\, 100022 SEQUENCE:0 SUMMARY:The Section of Experimental Art at the 12th National Art Exhibition \, Yan Lei\, Yin Xiuzhen\, Ding Nan\, Wang Yuyang\, Li Songsong\, Xia Xiaow an\, Ding Yi\, Xu Bing\, Li Hongbo\, Xiao Yu\, Wang Qingsong\, Zhu Ming\, W u Xiaochuan\, Dong Yuan\, Lv Zhiqiang\, Song Dong\, Jiang Xinyu\, Ma Ke\, X u Zhen\, Feng Feng\, Sun Lei\, Cui Xiuwen\, Xu Wenkai\, Zhang Jianjun\, Qiu Zhijie\, Gong Lin\, Miu Xiaochun\, Zhang Xiaotao\, Jiang Zhi\, Zhan Wang\, Hu Xiaoyuan\, Lin Yilin\, Zhang Muchen\, Wu Juehui\, Yan Feng\, Wu Fan\, T an Bin\, Liang Shaoji UID:347987 END:VEVENT BEGIN:VEVENT DTEND:20140818T170000 DTSTAMP:20140726T132538 DTSTART:20140818T100000 GEO:39.890204;116.4828227 LOCATION:Today Art Museum (TAM)\,32 Baiziwan Road Pingod Community\, Chaoya ng District\nBeijing\, 100022 SEQUENCE:0 SUMMARY:The Section of Experimental Art at the 12th National Art Exhibition \, Tan Bin\, Xu Bing\, Song Dong\, Wu Fan\, Feng Feng\, Yan Feng\, Li Hongb o\, Zhang Jianjun\, Wu Juehui\, Ma Ke\, Sun Lei\, Yan Lei\, Gong Lin\, Zhu Ming\, Zhang Muchen\, Ding Nan\, Wang Qingsong\, Liang Shaoji\, Li Songsong \, Zhan Wang\, Xu Wenkai\, Wu Xiaochuan\, Miu Xiaochun\, Zhang Xiaotao\, Xi a Xiaowan\, Hu Xiaoyuan\, Jiang Xinyu\, Cui Xiuwen\, Yin Xiuzhen\, Ding Yi\ , Lin Yilin\, Xiao Yu\, Dong Yuan\, Wang Yuyang\, Xu Zhen\, Jiang Zhi\, Qiu Zhijie\, Lv Zhiqiang UID:347988 END:VEVENT BEGIN:VEVENT DESCRIPTION:
Chinese art and art ecology in the 21st century is diversi fied\, active and shocking\, and also appears insignificant\, as "everythin g is possible" seems a little too normal. "Modern art" and "traditional art " either stand in their separate fields or have fuzzy boundaries\; "magic o f brush and ink " and "visual impact" sometimes work together and sometimes divide. There are a lot of fake works in the market\, making it difficult to find authentic ones. Some old works of the 20th century look avant-garde \, while some so-called experimental creations give us a feeling of &ldquo\ ;visual fatigue&rdquo\;. When you stand in art museums\, galleries or art f airs\, you will be confused: where am I\, New York\, London\, Beijing or Ho ng Kong? Everyone is busy\, bustling from point A to point B. Artists trave l from studios to exhibitions\, while curators and critics walk speedily am ong cafes\, opening ceremonies and seminars. Practitioners of auctions and galleries shuttle between homes of artists and collectors and markets. We a re all eager to express our attitudes towards the world\, human beings and art with instant and even emotional impulse by Weibo and WeChat. For all of this\, when we stop for a minute and act as a person in time-travel TV ser ies\, we will see that the art itself has too much in some areas and lost s omething in other aspects. In the same mood\, when we observe with patience the Chinese art and art ecology\, will we become speechless because there are too many things we&rsquo\;d like to say? I suppose maybe we could expre ss it in an unhurried way&hellip\;
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The selection of AAC has bee n held for eight sessions and the exhibition tour was launched just two yea rs ago. No doubt there is respectable grandeur to these events\, but there are also stories which can be seen with just fried chicken and beer. This i s AAC\, representing the same diversity with the Chinese art ecology. In th is exhibition tour of AAC\, we once again rely on the abundant artistic res ources of Yachang Group. Employing the slide-like reason and operation mode \, we present with a peaceful mentality in 2014 a pure exhibition in real w orld based on a virtual Internet platform\, to showcase in parallel the wor ks of artists in the center or at the edge of our vision.&mdash\;&mdash\;Wu Hongliang
DTEND:20140810 DTSTAMP:20140726T132538 DTSTART:20140730 GEO:39.890204;116.4828227 LOCATION:Today Art Museum (TAM)\,32 Baiziwan Road Pingod Community\, Chaoya ng District\nBeijing\, 100022 SEQUENCE:0 SUMMARY:The AAC Art·Ecology·Observation Exhibition Tour 2014 UID:347985 END:VEVENT BEGIN:VEVENT DTEND:20140730T170000 DTSTAMP:20140726T132538 DTSTART:20140730T150000 GEO:39.890204;116.4828227 LOCATION:Today Art Museum (TAM)\,32 Baiziwan Road Pingod Community\, Chaoya ng District\nBeijing\, 100022 SEQUENCE:0 SUMMARY:The AAC Art·Ecology·Observation Exhibition Tour 2014 UID:347986 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Ghosts in the Mirror - Song Ling 1985-2013 is the first comp lete presentation in China of works by Song Ling\, one of the most importan t artists of the 85 New Wave Movement. The exhibition will meticulously pre sent about 200 pieces of works from each phase of the artist&rsquo\;s caree r path and also a lot of documentation that has never been published. The t imeline spans for more than 30 years. The title of the exhibition actually derives from the of the biography of Alain Robbe-Grillet\, one of the main figures of the New Novel Trend. As a tool made by mankind to reproduce the fictitious image of oneself\, a mirror possesses a speculative and philosop hical nature that most of the objects lack of: it can be used for both self -observation and mutual contemplation. If specified to Song Ling&rsquo\;s e xhibition\, the metaphor of mirror implies the relationship between the obj ective existence of Chinese Contemporary Art and the subjective feeling of the artists. In this retrospective case\, one can not only have a comprehen sive look at the uniqueappearance of the artist's individual creation but a lso discover the evolution of Chinese contemporary art. The exhibition is a n attempts to reveal the inner ideology of this historical art movement.&nb sp\;

DTEND:20140811 DTSTAMP:20140726T132538 DTSTART:20140726 GEO:39.890204;116.4828227 LOCATION:Today Art Museum (TAM)\,32 Baiziwan Road Pingod Community\, Chaoya ng District\nBeijing\, 100022 SEQUENCE:0 SUMMARY:Ghosts in the Mirror \, Song Ling UID:347983 END:VEVENT BEGIN:VEVENT DTEND:20140726T180000 DTSTAMP:20140726T132538 DTSTART:20140726T160000 GEO:39.890204;116.4828227 LOCATION:Today Art Museum (TAM)\,32 Baiziwan Road Pingod Community\, Chaoya ng District\nBeijing\, 100022 SEQUENCE:0 SUMMARY:Ghosts in the Mirror \, Song Ling UID:347984 END:VEVENT BEGIN:VEVENT DESCRIPTION:
Tong King-sum (1940 &ndash\; 2008) was born in Hong Kong. He has been keen on art since his younger days\, and had worked as designer . He learnt sculpture under Cheung Yee in 1971. Tong became one of the foun ding members of the Hong Kong Visual Arts Society in 1974 and served as the President in 1992. Tong won numerous art awards in Hong Kong and Taiwan\, including the "Urban Council Fine Arts Award (Sculpture)" in 1977 at the "C ontemporary Hong Kong Art 1997" exhibition. He has contributed tremendously to Hong Kong art and arts education.
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Tong spent his childhood in Lantau Island\, where he nurtured his love for natur e. The human body\, fruit and plants are the favourite themes of his works. His works are signified by a sleek form and texture. His torso sculptures depicted the structure of human body\, the texture of bone\, flesh and skin in refinement and precision. Be it the human body or a plant\, his works p ermeate with the harmony of nature and beauty of form\, which sprang from t he artist's subtle yet strong inner vitality.
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\nFeaturing 23 sets of works from the collections of the Hong Kong Museum of Art\, Hong Kong Heritage Museum and Mrs Tong King-sum\, this exhibition aims to pay tribute to Tong King-sum\, a well-respected forerunner whose ac hievement mirrors those of local artists.
DTEND:20141231 DTSTAMP:20140726T132538 DTSTART:20140808 GEO:22.2938;114.170513 LOCATION:The Hong Kong Museum of Art\,10 Salisbury Road\, Tsim Sha Tsui Kow loon\nHong Kong\, SEQUENCE:0 SUMMARY:Tempting Touch \, Tong King-sum UID:347980 END:VEVENT BEGIN:VEVENT DTEND:20140808T180000 DTSTAMP:20140726T132538 DTSTART:20140808T100000 GEO:22.2938;114.170513 LOCATION:The Hong Kong Museum of Art\,10 Salisbury Road\, Tsim Sha Tsui Kow loon\nHong Kong\, SEQUENCE:0 SUMMARY:Tempting Touch \, Tong King-sum UID:347981 END:VEVENT BEGIN:VEVENT DESCRIPTION:

This exhibition aims at showcasing more excellent works of a rt on military theme and taking the CPC&rsquo\;s goal of building a strong army under the new situation as the creation theme\, works of military them e\, particularly realistic military theme as the main part. Focusing on tra inings and drills\, diversified military missions carried out in the army a t present\, the exhibits mostly depict advanced persons and high- caliber m ilitary personnel emerging during the process of building strong army\, and fully show the profound emotion to military and strong determination of ar my men of the new era. The show lays emphasis to reflecting brilliant histo ry of CPC and PLA\, vigorously promotes glorious tradition of solidarity be tween the army and the people\, and harmony between soldiers and civilians\ , strongly expresses the fight and efforts made for national independence a nd people's happiness in modern times\, providing spiritual strength for of ficers and soldiers in building powerful military force.The exhibition stic ks to going close to reality\, grass-roots\, life of soldiers\, highlights military manner\, soldier manner and fighting manner and enhances epochal c haracter\, ideological level\, artistry and esthetics. The exhibition will display 300 pieces of works\, covering categories of Chinese painting\, oil painting\, print\, sculpture\, installation\, water color\, picture poster \, serial pictures and experimental art work. The exhibits\, diversified in artistic style and form\, high in ideological and academic level\, is an o verall presentation to artistic creation of military themes in the whole ar my. Excellent works will be selected on the exhibition to display on The 12 th National Art Exhibition.

DTEND:20140804 DTSTAMP:20140726T132538 DTSTART:20140726 GEO:39.9213382;116.4238114 LOCATION:National Art Museum of China\,1 Wusi Dajie\, East District \nBeiji ng\, 100010 SEQUENCE:0 SUMMARY:Chinese Dream Strong Army Dream——Art Exhibition on Military Theme UID:347977 END:VEVENT BEGIN:VEVENT DTEND:20140726T170000 DTSTAMP:20140726T132538 DTSTART:20140726T090000 GEO:39.9213382;116.4238114 LOCATION:National Art Museum of China\,1 Wusi Dajie\, East District \nBeiji ng\, 100010 SEQUENCE:0 SUMMARY:Chinese Dream Strong Army Dream——Art Exhibition on Military Theme UID:347978 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The exhibition will feature one hundred and thi rty-nine well-crafted works of famous painter Ma Wanguo\, manifesting the n atural and spiritual beauty of the Kunlun Mountains as well as scenery from Western China. &ldquo\;Kunlun Heart\, China&rsquo\;s Dream&rdquo\; are the sketches which the painter created in the Kunlun Mountains. From ten meter high works to exquisite fan-shaped paintings\, the external mystery and ma gnificence of the Kunlun Mountains has been transformed into art through Ma Wanguo&rsquo\;s unique understanding and romantic techniques. This is not only the expression of his individual character and astonishing artistic po wer\, but also the revelation of romantic perceptions. These works showcase the fantastic and sensuous natural instincts of the painter by the use of unsophisticated depictions and blocky structures.

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Ma W anguo (stage name: Baohai) was born in Zibo\, Shandong Province\, in 1961. He studied at the Chinese Painting Department of the Central Academy of Fin e Arts in 1993. Currently he is a member of the Chinese Artists Association .

DTEND:20140909 DTSTAMP:20140726T132538 DTSTART:20140828 GEO:39.9213382;116.4238114 LOCATION:National Art Museum of China\,1 Wusi Dajie\, East District \nBeiji ng\, 100010 SEQUENCE:0 SUMMARY:Kunlun Heart\, China's Dream\, Ma Wanguo UID:347973 END:VEVENT BEGIN:VEVENT DTEND:20140828T170000 DTSTAMP:20140726T132538 DTSTART:20140828T090000 GEO:39.9213382;116.4238114 LOCATION:National Art Museum of China\,1 Wusi Dajie\, East District \nBeiji ng\, 100010 SEQUENCE:0 SUMMARY:Kunlun Heart\, China's Dream\, Ma Wanguo UID:347974 END:VEVENT BEGIN:VEVENT DESCRIPTION:

&ldquo\;First Smash&rdquo\; is a non-profit art project aims at sponsoring exhibition space for emerging artists in Hong Kong to stage their talent and skills.


DTEND:20140830 DTSTAMP:20140726T132538 DTSTART:20140719 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:"First Smash 2"\, Chloe Cheuk\, Sze Wing\, Elaine Wong\, Shuk Yin M an\, Mei To\, Tristan Ng\, Sum Chi Yiu\, Kwan Ho Tang\, Fei Lung Tang\, Yiu Ho UID:347945 END:VEVENT BEGIN:VEVENT DESCRIPTION:
In this new exhibition\, Japanese artist T akeru Amano - born in Tokyo in 1977 - expresses\, through paintings of buco lic yet dripping landscapes and glistening diamonds\, his feelings toward t he beauty of nature shattered by the impact of mankind. With a particular p erspective after the 2011 Tohoku earthquake and subsequent tsunami and Fuku shima nuclear disaster\, Amano explores the way we treat our environment an d\, often\, arm it. Behind his idyllic mountain and lake landscapes lays th e traces of our presence. His diamonds paintings represent the wealth that nature gives humans yet they bear traces of mistreatment\, highlighting dif ferently the way we treat mother nature.
DTEND:20140830 DTSTAMP:20140726T132538 DTSTART:20140726 GEO:22.250336;114.169186 LOCATION:Art Statements Gallery\,65 Wong Chuk Hang Road \nHong Kong\, SEQUENCE:0 SUMMARY:NO ONE ON THE MOON\, Takeru Amano UID:347943 END:VEVENT BEGIN:VEVENT DTEND:20140726T190000 DTSTAMP:20140726T132538 DTSTART:20140726T150000 GEO:22.250336;114.169186 LOCATION:Art Statements Gallery\,65 Wong Chuk Hang Road \nHong Kong\, SEQUENCE:0 SUMMARY:NO ONE ON THE MOON\, Takeru Amano UID:347944 END:VEVENT BEGIN:VEVENT DESCRIPTION:

&ldquo\;While spatial escape may be possible\, temporal esca pe is not.&rdquo\; &mdash\;Paul Virilio

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Pearl Lam Galleries i s proud to present After Time\, a group exhibition curated by
David H o Yeung Chan\, featuring works by Chung Seoyoung (Seoul)\, Erica Lai (Singa pore)\, and
Morgan Wong (Hong Kong). In this fast-paced world\, we ar e often slaves to time&mdash\;trying to
keep up and in need of more\, which can be a mind-numbing pursuit. But what if the constraint
of t ime were no longer relevant? How would this alter our perception of an art object? This
exhibition explores temporality in art by attempting to stage a temporal arrest with a series of
art objects. A state of omni presence will be simulated in the hope of provoking audiences to
cont emplate the link between materiality\, time\, and memory. Audiences are inv ited to
negotiate between following their hearts and their minds when looking at artwork.

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Chung&rsquo\;s sculptures\, Lai&rsquo\;s photo graphy\, and Wong&rsquo\;s performance art all approach time and
obje cthood from a formal perspective. In his seminal essay &ldquo\;Art and Obje cthood&rdquo\;\, art historian
Michael Fried defines objecthood as th e supplementary conditions that entice the viewers to
participate in a conscious situation in real time. As such\, this show aims to create such an
environment through three distinct spaces within the gallery: a t heatrical space that questions
our perception of time\, a space for m apping the changes of a given place\, and an artist studio.
Chung Seoy oung&rsquo\;s sculpture\, installation\, and video works utilise manmade an d found objects
and relate them to the human body\, questioning their effects on our psychology. The artist
believes that sculpture is an intimate form of expression with its meaning in constant flux\;
viewe rs must confront the artwork&rsquo\;s objective nature as it unfolds. Chung &rsquo\;s works disturb the
perceptual systems of representation by r einterpreting familiar objects and landscapes. Her
large-scale sculpt ure East West North South amplifies the theatrical quality of the gallery < br />space by demarcating a void territory for imposing spatial control usi ng steel fences. Not
corresponding to the exact orientation of the ga llery\, the artwork distorts our geographic
bearings and holds our at tention in a contained zone\, which causes us to question our own
rel ationship with time.

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The flatness of Erica Lai&rsquo\;s photo graphic prints from The Gardens Series and The Observatory
Series con veys the collapse of geographic distance and our subsequent loss of visual memory.
She deconstructs the audience&rsquo\;s voyeuristic power with the photograph&rsquo\;s surface becoming a
controlled ground for med iating our psychological conflict intrinsic with visual perception. In
The Observatory Series\, Lai photographs the vantage points of various to urist attractions
around the world\, focusing on the area where one w ould typically stand for a good view instead
of the actual scenic vie w\, to investigate the extent to which our identification with a place has
been predetermined. By stepping back to document the very spot that m akes a tourist
attraction a spectacle in the first place\, Lai subver ts the objective of armchair tourism\, as the
landmarks may not be im mediately recognisable in her photos.

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Focusing on durational perfor mance\, Morgan Wong&rsquo\;s collection of past and new works
address es human survival and time\, particularly as a reaction against conforming to a social or
political norm. He will transform the gallery space in to a temporary artist studio\, which he will
occupy periodically\, to examine what is lost during the translation between performance\, time\, < br />and materiality. The artist&rsquo\;s 2013 video work Frustration of Ha ving More than Two Choices to
Make in Life documents his intensive me ditative days of isolation\, where all Wong did for two
days was conf ine himself to an empty space with a steel bar and hand file with little ac tivity.
Initially intended as practice for a later public performance titled Filing Down A Steel Bar Until
A Needle Is Made\, a reference to a Chinese allegory revolving around one&rsquo\;s will and
determin ation\, the experience became a performance video in and of itself.

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Pearl Lam\, Founder of Pearl Lam Galleries\, says\, &ldquo\;We are v ery excited to be presenting another
strongly curated exhibition at P earl Lam Galleries Hong Kong. Instead of restricting our
understandin g of these artists in relation to their cultural background or nationality\ , After Time
is a group show that incorporates a formal and art histor ical approach to shed light on the
richness and intellectual nuances of three dynamic artists from Asia.&rdquo\;

DTEND:20140910 DTSTAMP:20140726T132538 DTSTART:20140725 GEO:22.2817377;114.1570956 LOCATION:Pearl Lam Galleries Hong Kong\,601-605 Pedder Building 12 Pedder S t.\, Central\nHong Kong\, SEQUENCE:0 SUMMARY:After Time\, Chung Seoyoung\, Erica Lai\, Morgan Wong UID:347942 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Eileen Chan\, the creator of Bo ttlemania\, returns to New Gallery on Old Bailey with her second solo exhibition. \;Ideation . Life\, organized by Breathe Life Arts and Culture\, will be held from \;30 August through 19 September\, 2014.

Throughout her career\, Eileen Chan&rsquo\;s artistic creation has evolved from traditional Chinese ink paintings to her pop art-inspired bottle art known as Bottlemania. \;Chan continues her pr ior exploration into the ideology of Bottlemania through different artistic approaches. In the series of Time Gala paintings \, Chan turns bottles into colorful abstract forms. Traces of different str okes are drawn on the neck of the bottles\, the artist calls them &lsquo\;T ime Signatures'\, as if time capsules were created to preserve the artist&r squo\;s precious moments.

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Each painting is a recollection of the ar tist&rsquo\;s past. \;Chan uses lines as \;tools to illustrate her meticulous chain of memories. Seamless lines flow through every inch of the canvas\, but masterfully invoke an elegant balance\; woven into swirling p aths of the artist&rsquo\;s thoughts. Some of the works are almost hypnotic in their density and intricateness\, enticing viewers to navigate the arti st&rsquo\;s mind.

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Eileen Chan is a Hong Kong artist with a cosmopol itan sense. She has collaborated with international luxury brands\, includi ng Tumi and Frank Muller\, and local renowned fashion designer Noel Chu\, t o create products and fashion items with an artistic touch. Fusing art and life\; embracing the concept of &lsquo\;art as a lifestyle&rsquo\;.

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This exhibition will continue to exhibit Chan&rsquo\;s distinct artistic c reation: bottle arts. \;For Chan\, each and every bottle is filled with emotion and stories. She transforms used bottles into canvases and gives t hem second lives\, which aligns with the vision of Breathe Life Art s and Culture\, using art as a platform to promote environmental a wareness. \;

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Exhibited widely throughout Asia\, Europe and the United States\, Chan&rsquo\;s works increasingly capture in ternational audiences. \;Chan was invited to participate the Florence A rt Biennale in 2009 and the upcoming London Art Biennale in 2015. \;One of her Time Gala paintings was selected to be exhibited in Nanjing Interna tional Art Festival 2014. \;Her works can be found in private collectio ns in Hong Kong and abroad.

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About Breathe Life Arts and Culture-

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Co-founded by Susan Yeung and Ada Chan\, Breathe Lif e Arts and Culture organized &lsquo\;Breathe Life Arts Exhibit ion&rsquo\; throughout Beijing\, Shanghai and Hong Kong from 2011 to 2 013. \; This exhibition cultivated environmental awareness through art.  \; \; Showcased works by the two co-founders and six Hong Kong ren owned artists\, including director Dante Lam Chiu Yin\, jewelry designer Di ckson Yewn\, musician Peter Kam\, lyricist Chen Shao Qi\, photographer Ring o Tang and art photographer Derek Que. \; \;  \;

DTEND:20140919 DTSTAMP:20140726T132538 DTSTART:20140830 GEO:22.339016;114.198788 LOCATION:New Gallery on Old Bailey\,4/F\, 35 Tai Yau St San Po Kong\nKowloo n\, SEQUENCE:0 SUMMARY:Ideation . Life by Bottlemania\, Eileen Chan UID:347933 END:VEVENT BEGIN:VEVENT DTEND:20140906T180000 DTSTAMP:20140726T132538 DTSTART:20140906T150000 GEO:22.339016;114.198788 LOCATION:New Gallery on Old Bailey\,4/F\, 35 Tai Yau St San Po Kong\nKowloo n\, SEQUENCE:0 SUMMARY:Ideation . Life by Bottlemania\, Eileen Chan UID:347934 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Beyond the Scale

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Su Lei

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No matter what kind of experimental innovation and structural readjustment\, the ultimate goal is to make the scene as well as the value system that lies beneath cooperat e more smoothly. But the inner expansion and standardized criteria of the v alue system have gradually reduced the everyday scene to be merely its deco ration\, leading the whole culture to virtualization and semiotization. The scene with outer prosperity complies with the inner rules of the value sys tem. The standardized movement demanded by value judgment has established g rades and scales for different pattern of art in aesthetics and emotion. Th e direct result of it is that the satisfaction of the needs of grading has become the benchmark to evaluate aesthetic pattern. With the natural motive disappearing\, the real scene falls into a purely virtual world. When plac ed in different standards and criterions\, the subjective sentiment will no longer be open and pure\; but be modified\, fastened and merged into some pattern.

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Yang Fan tries to place both artwork of low interest\, poo r quality and classical value scene under hard light\, wiping out those emp ty interests as much as possible\, and restoring the value system itself. I n The Value System series\, artists\, by using cheap buttons of magnificenc e and full of various interests\, reproduce the overwhelming aesthetics cau sed by the scalization of the value system. The Value System 10 and The Val ue System 11 have taken a step further to use an ambiguous human figure as the background\, suggesting an individual deeply immersed in the scene is b eing encroached by poor aesthetics. The materialization of an individual na turally results in the From the Bottom of One&rsquo\;s Heart series\, using the inferior body model to mean a standardized individual: the apparent he althy and bright organs whose functions are stipulated clearly have been re presented here\, ironically\, as an inferior body after being stipped off r eality. Mr. Zhang&rsquo\;s Afternoon has depicted a scene imbued with econo mic and political prerogatives by the exchange of power institution and for eign capital. It is stripped off by strong flare its original happy\, amiab le and fervent ambience\, leaving only the iciness and tedium of the pure e xchange in the value system.

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Based on the gradation of the value sy stem\, absolute equality of sentiments has never been realized in human his tory. To escape from the inherent pattern means to resist from within\, to get rid of pattern and standard\, and only in this way can one let out the real emotions to the greatest extent. Beyond the scale\, the illogical\, no n-standard bad interest is just like rebellious revelry after getting rid o f the value system.

DTEND:20140817 DTSTAMP:20140726T132538 DTSTART:20140719 GEO:39.982148;116.495188 LOCATION:Space Station\,4 Jiuxianqiao Rd\,798 Art Zone\,Chaoyang District \ nBeijing\, 100015 SEQUENCE:0 SUMMARY:Value System\, Yang Fan UID:347634 END:VEVENT BEGIN:VEVENT DESCRIPTION:

From the first chatelaine watches &ndash\; the oldest on dis play dates back to 1874 &ndash\; to the new Cartier ID One and Cartier ID T wo &ldquo\;concept watches&rdquo\;\, the Cartier Time Art exhibition is an invitation to discover more than a century of Cartier&rsquo\;s watchmaking treasures and a fascinating story featuring beautifully shaped timepieces a nd ingenious\, complex mechanisms.The 151 historic pieces in the Cartier Co llection include some of Cartier&rsquo\;s early models\, such as 10 mystery clocks\, all of which are truly spectacular watchmaking creations. Togethe r with 31 contemporary pieces\, the Collection demonstrates the continuity of Cartier&rsquo\;s watchmaking production since it was founded in 1847. Th e exhibition will also take visitors to La Chaux-de-Fonds\, the world-renow ned mecca of watch manufacturing in the Swiss Jura Mountains. It will prese nt age-old craftsmanship and explain the complex and intricate production o f watch movements.  \;

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The entire exhibition has been conceived by the Japanese designer\, Tokujin Yoshioka\, who was given complete freed om to present the two concept watches Cartier ID One and Cartier ID Two in a colossal art installation\, the Gate\, which was designed specifically fo r this event.

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Since its founding in Paris in 1847\, Cartier has ser ved as the quintessential ambassador of French craftsmanship and arts. The Cartier Collection\, consisting of iconic works from throughout the history of the company\, has been featured in exhibitions at prestigious museums a nd institutions across the globe since 1989. Cartier treasures embody the u niversality and timelessness of art\, while promoting French culture around the world. The Cartier Collection has long-standing ties to China\, with e xhibits in the Shanghai Museum\, the Beijing Palace Museum\, Taipei Palace Museum and Liaoning Provincial Museum. As part of the series of events cele brating the 50th anniversary of French-Chinese diplomatic relations\, the C artier Time Art exhibition will present these exquisite timepieces from the French Maisonto Chinese admirers\, in a unique experience that will exempl ify the cultural impact of East meets West.

DTEND:20141012 DTSTAMP:20140726T132538 DTSTART:20140719 GEO:31.231763;121.484443 LOCATION:Power Station of Art\,200 Huayuan Gang Road Huangpu District\nShan ghai\, SEQUENCE:0 SUMMARY:CARTIER TIME ART – MECHANICS OF PASSION UID:347631 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20140727 DTSTAMP:20140726T132538 DTSTART:20140611 GEO:31.231763;121.484443 LOCATION:Power Station of Art\,200 Huayuan Gang Road Huangpu District\nShan ghai\, SEQUENCE:0 SUMMARY:THE ONE MINUTES ON TOUR UID:347630 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Pace Hong Kong is pleased to announce the opening of summer group show at Entertainment building on Queens Road Central\, Hong Kong\, f rom 24 July through 04 September 2014. The show will comprise the works of Agnes Martin\, Alfred Jensen\, Hiroshi Sugimoto\, Hong Hao\, Li Songsong\, Liu Jianhua\, Robert Irwin\, Yin Xiuzhen\, and Zhang Huan. Opening Receptio n will be held at gallery on Wednesday\, 23 July from 6 to 8 PM. The exhibi tion will showcase a painting by Alfred Jensen from the 1970s depicting Lo Shu Square\, a traditional Chinese numerical system passed down from Lo Shu Era in China. As Jensen juxtaposes numbers with graphs\, an exquisite symm etry is formed. The clash of conceptual and visual depth reveals Jensen&rsq uo\;s distinctive style\, wavering between abstract and pop art. By overlap ping Eastern and Western wisdom\, a new perspective is introduced in Jensen &rsquo\;s painting\; his paintings are sublime in conception\, colour and e xtreme complexity. In dialogue with Jensen&rsquo\;s painting\, Zhang Huan&r squo\;s painting stands out with an extraordinary\, bold visual language. I nspired by Tibetan religion and culture\, Zhang renders his emotions into h ysterical\, whimsical landscapes on canvas. Not only does Zhang work with o il paint\, he also incorporates the sacred medium of incents into his histo rical drawings\, attaining a high level of spirituality. Conversely\, Agnes Martin speaks with her minimalistic style\; influenced by Daoism and Chine se philosophy. The legendary abstract painter blends in &lsquo\;nets&rsquo\ ; into her paintings\; a symbol of quiet thoughts in Daoism. Martin&rsquo\; s work revolves around the idea of inner emotions\, displaying a state of e motional perfection yet unable to achieve wholeness in tranquility and sati sfaction. Hiroshi Sugimoto also utilizes Eastern values in his photographs. A lightning bolt and sea horizon photograph will be exhibited in this show \, both signifying Zen. The stillness of the image conveys the power of cal mness and explores the eternality of time. Li Songong deconstructs China&rs quo\;s political and historical landscapes\, in search for a new cultural s ocial identity. Li translates factual reality in the image into an abstract language on the canvas\, revealing a new perspective on the story. Simulta neously\, Robert Irwin narrates the aesthetics of light and philosophy thro ugh his installation. Irwin explores the notion of senses and experience in virtue of blurring the boundaries between reality and imagination. Irwin a nd Hong Hao place in dialogue two and three-dimensional objects. Through th e act of scanning\, Hong transforms three-dimensional objects into two-dime nsional objects\, challenging the social values bestowed upon them and modi fying aesthetics of the mundane. Liu Jianhua will display a series of ceram ics\, exerting the potential of complexity and purity in the medium. Liu ch allenges conventional ideas on tools\, he emphasizes on their cultural sign ificance instead of its functions. While Yin Xiuzhen works with clothes col lected from people\, as she sees them as a &lsquo\;second skin&rsquo\; of e ach person. The amalgamation of fabrics stitched together discloses memorie s and affections carried on them. \;

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DTEND:20140904 DTSTAMP:20140726T132538 DTSTART:20140724 GEO:22.2814579;114.1564631 LOCATION:Pace Hong Kong\,30 Queens Road Central \nHong Kong \, SEQUENCE:0 SUMMARY:Summer Group Show UID:347627 END:VEVENT BEGIN:VEVENT DTEND:20140723T200000 DTSTAMP:20140726T132538 DTSTART:20140723T180000 GEO:22.2814579;114.1564631 LOCATION:Pace Hong Kong\,30 Queens Road Central \nHong Kong \, SEQUENCE:0 SUMMARY:Summer Group Show UID:347628 END:VEVENT END:VCALENDAR