Pékin Fine Arts (Beijing)

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Dali's New Hues

by Edward Sanderson
Blue is the dominant colour of Zhang Dali’s new series of photograms and cyanotypes, framing the shadowed forms cast upon them. These large-scale photographic impressions on cloth present figures, bicycles and pagodas, in negative; the surroundings are left in the rich cyan blue, verging on indigo. These “material objects” (as Zhang refers to them) leave their marks as absence and adjust our received impressions of them, reversing the shadow’s fleeting aspect to permanently fix and memorialize... [more]
Posted by Edward Sanderson on 10/31/11

Oddball Effigies

by Iona Whittaker
For his last show at Pekin, ‘I Want What You Want,’ Colin Chinnery duplicated individual works and placed them in formation in such a way as to undermine their individual identities. Now, he has arranged in the gallery an odd little melange of mechanisms, objects and occurrences that address themselves to the relationships between things, their material and orientation. There are five metal frames or stands ringing the floor space. Each of them drags a small object slowly to and fro along a... [more]
Posted by Iona Whittaker on 10/1/11

Art for a Digital Age

by Iona Whittaker
Jaron Lanier does not look as you might expect a computer scientist to look. A photo portrait of him on his homepage shows his dreadlocks spreading away, tentacle-like, to become like tree roots, or perhaps wires connecting him to some unseen hardware. His recent book, “You Are Not A Gadget,” is a sobering critique of what the World Wide Web has become - its standardization, the harnessing of social life to the appetite of advertising, the atomizing of creativity and, in its place, the creation... [more]
Posted by Iona Whittaker on 1/24/11

Beyond Technicalities

by Edward Sanderson
Curated group shows reveal the hand of the curator in a public display of the thinking and working process: in some cases the curator may take a back seat; in others, be extremely visible. Curator Carol Yinghua Lu has consistently taken the latter approach, and her group show at Pékin Fine Arts, serves as a point at which to analyze the results. Building on the work of practitioners such as writer and curator Jens Hoffmann and art historian Hans Belting, Lu has developed a curatorial practice... [more]
Posted by Edward Sanderson on 3/21/11

Considering Wang Qingsong

by Angie Baecker
Three new video works by Wang Qingsong at Pékin Fine Arts are a formal and visceral departure from the cinematic photographs and “Gaudy Art” of his earlier career. Two in particular, "123,456 Chops" and "Iron Man" are violent, challenging tests of viewer sensitivity, while "Skyscraper" pays poetic tribute to the hyper pace of China's consumption and development. In "123,456 Chops," a man dressed in striped pajamas à la prison uniform, brings a sheep carcass forward, dumping it onto a... [more]
Posted by Angie Baecker on 2/22/10

Huang Zhiyang : Wall Text

  Pékin Fine Arts:   Huang Zhiyang (b. 1965 Taipei), Peripheral Vision, Solo Exhibition   February 21 - April 30, 2009 Wall Text   <Peripheral Vision>, Huang Zhiyang's 2nd solo exhibit at Pékin Fine Arts, fills all three main exhibit spaces with new works. The two front spaces present a black-white, dark-light contrast. On one side, Huang's "Three Marks" ink-wash painting installation, pale white and elegantly simple. "Three Marks" uses an infinite variety of fine ink brush... [more]
Posted by maiko on 3/3/09

White Box Prism

by E-Slant Team
In his latest works from his on-going PixCell (PRISM) series, Kohei Nawa shows his works in a specially constructed 5 x 5 meter white space-within-the-gallery-space. Kohei Nawa manipulates the viewers' preconceptions of three-dimensional vs. two-dimensional space and objects.   The viewer enters and stands in a space of oddly diffused white surfaces, where floor, walls, ceiling and lights are flattened to near two-dimensionality by virtue of the uniformly white environment. The five acrylic... [more]
Posted by E-Slant Team on 11/17/08