Osage Kwun Tong

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Baby Blue Bedding

by Robin Peckham
Lee Kit’s How to set up a room for Johnny is staggeringly beautiful. Entering a space that constitutes one third of the cavernous factory-building gallery the visitor encounters first simply the title of the exhibition, pasted on the wall and illuminated by a bare fluorescent tube, the actual content of the project visible only in the far corner of the space, well lit but positioned on the wrong side of a dark stretch of empty floor. Walking across the distance we find that the artist has... [more]
Posted by Robin Peckham on 2/5/12

Experiments in Environmental Cinema

by Robin Peckham
Incoming gallery director and widely respected curator Pauline J. Yao launches her first project in Hong Kong with A Lesson in Extremes, a tight selection of video work from four strong younger artists working with the medium of the moving image. The spatial design is unimaginative and occasionally disorienting--three of the works are positioned in equal-sized rooms in a neat row, while the fourth is located on the far side of a separate exhibition entirely--but local audiences will be... [more]
Posted by Robin Peckham on 2/7/11

At it Again

by Robin Peckham
In his fifth major solo exhibition in two years, Lee Kit demonstrates his ability to think not only in terms of projects and series of work but also through the apparatus of the body of work--an agglomeration of practice similar in scale but evidently distinct in quality from the exhibition, connecting multiple styles and series through a thematic or perceptual axis of experience. Working at an almost superhuman rate of studio production, he has recently consolidated one of his many... [more]
Posted by Robin Peckham on 2/14/11

Crowded and Confused

by Robin Peckham
        This project sets out with the best of intentions: on the occasion of the retirement of Lui Chun Kwong, a highly influential professor of painting at the Chinese University of Hong Kong, a number of his students have been invited to work through his contributions to local art. As an exhibition, however, is an utter disaster. The sprawling gallery space is packed to the brim with often barely conceived and poorly wrought installations and paintings from some 50 artists, not counting... [more]
Posted by Robin Peckham on 9/27/10

Resist by Absorption

by Robin Peckham
        The question of modernism and its periodization has regained prominence in the art world after a brief period of détente and postmodern indulgence during the 1980s and 1990s, reappearing in the last 10 years as a new generation of artists engage with the legacies of monumentality, the expanded field, and architecture. This historical study of formalist ideology on its own terms has in many cases engendered a new approach to the mechanisms of imperialism that accompanied a certain... [more]
Posted by Robin Peckham on 7/19/10

Osage Kwun Tong

by Robin Peckham
      Continuing a solid stretch of exhibitions examining the conditions of cross-cultural exchange within the global Asian heritage, Osage Gallery reveals at long last an exhibition for New York-based Taiwanese artist Lee Mingwei that has been in the works for at least a year. Surprisingly small and occupying only the third of the gallery not formerly given over to "The Burden of Representation," the show includes two older works and one new piece. "100 Days with Lily" (1995) was once an... [more]
Posted by Robin Peckham on 5/31/10

Colour me Asia

by Robin Peckham
  The first thing to know about "The Burden of Representation" is that it is not, in fact, concerned with abstraction in Asia today. According to curator Eugene Tan, it is instead "about" painting, surveying the limit case of pictorial abstraction as a metonymic model for the medium as a whole. This is important because the announcement of the artist list under the banner of abstraction caused much wailing and gnashing of teeth within the Chinese art community; only after the opening did the... [more]
Posted by Robin Peckham on 5/10/10

Sister Act

by Robin Peckham
        Having both studied at the Chinese University of Hong Kong, sisters Sara and Shirley Tse offer an interesting vision of the fracturing international art world. Sara, based in Hong Kong, works on an incredibly intimate scale that balances craft and affect, while older sister Shirley, based in Los Angeles for some twenty years, embraces a more sterile vision of post-minimal sculpture. The exhibition is of great comparative interest for observers of Chinese and Hong Kong art as it... [more]
Posted by Robin Peckham on 4/12/10

The Group at Osage

by Robin Peckham
    As is the norm for the never-ending parade of sprawling group shows at Osage Gallery, the curatorial mandate for the latest exhibition, Biography, is itself rather vague, seemingly circulating around the art of "individual expressions" amongst the younger generation of mainland Chinese artists--indeed, a theme around which entire gallery programs have been centered. The exhibition is dense, with each of five artists given at least one room; perhaps not the most imaginative spatial... [more]
Posted by Robin Peckham on 3/9/10
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