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BEGIN:VEVENT
DTSTART;TZID=Asia/Hong_Kong:20130720T080000
DTEND;TZID=Asia/Hong_Kong:20190720T190000
DTSTAMP:20260607T232210
CREATED:20190430T062027Z
LAST-MODIFIED:20190430T062951Z
UID:28537-1374307200-1563649200@onarto.com
SUMMARY:Hong Kong Heritage Museum - Bruce Lee: KUNG FU - ART - LIFE
DESCRIPTION:This year marks the 40th anniversary of the passing away of the internationally renowned martial arts movie star Bruce Lee. A large-scale exhibition\, “Bruce Lee: Kung Fu • Art • Life”\, is being held at the Hong Kong Heritage Museum in commemoration. Presented by the Hong Kong Government’s Leisure and Cultural Services Department (LCSD) and jointly organised by the Bruce Lee Foundation and the Hong Kong Heritage Museum\, the exhibition is one of the highlight programmes of the “Vibrant Hong Kong” theme under the territory-wide “Hong Kong: Our Home” Campaign launched this year.  \nSponsored by Fortune Star Media Limited\, the exhibition is open from 20th July 2013 and runs for five years until 20th July 2018 at the Hong Kong Heritage Museum.\nThe exhibition features more than 600 precious relics related to Bruce Lee and the exhibition gallery houses several sets of reconstructions\, which were created with ideas inspired by prominent scenes in Lee’s five classic kung fu movies as well as his gym and his study to enhance visitors’ experiences in viewing the exhibition  \nBruce Lee took kung fu to a whole new level of recognition and a new international audience with his natural charisma and physical prowess. He introduced Hong Kong to the world through his films and did more in this area than any other person. Movies such as “Fist of Fury”\, “The Way of the Dragon” and “Enter the Dragon” have been considered by film critics to be all-time classics that transcend generational\, cultural and geographical boundaries. The exhibition takes visitors on a marvelous journey through the life and achievements of Lee: from a rebellious street fighting child growing up in Kowloon to accomplished Hollywood actor and director and revered kung fu master.  \nBruce Lee was born on 27th November 1940\, in San Francisco. His father\, Lee Hoi-Chuen\, was a celebrated Cantonese opera actor and his mother\, Ho Oi-yee\, was a daughter of prominent Hong Kong businessman Ho Kom-tong. Lee was brought back to Hong Kong when he was a newborn. Because of his father’s strong connections to the world of show business\, Lee first came into contact with cinema when he was an infant\, making his silver screen debut as a baby in the Cantonese film “Golden Gate Girl”\, shot in the US in 1941. Outstanding performances in the films “The Kid” (1950) and “Infancy” (1951) earned him praise as a “genius child actor”. He left for the US to pursue his studies in 1959 after finishing a final film in Hong Kong\, “The Orphan” (1960).  \nLee was passionate about martial arts when he was small. He became a student of the Wing Chun grandmaster Ip Man at the age of 13. After he went to the US\, the lifestyles and world views of Western society became catalysts for his new conception of the philosophy of martial arts. He began teaching Wing Chun when he was studying at Edison Technical School in Seattle\, and later\, in 1962\, he founded his own Jun Fan Gung Fu Institute at a permanent venue. He also named the martial arts system that had been brewing in his mind Jeet Kune Do – a style with no fixed technical movements and no specific forms.  \nIn 1965\, Lee was invited by 20th Century Fox to play the role of Kato in the US TV series “The Green Hornet”. His agile and skillful kung fu alerted Hong Kong film producers to his talents\, and in 1971 he returned to Hong Kong to resume his career and starred in a number of sensational movies\, including “The Big Boss” (1971)\, “Fist of Fury” (1972)\, “The Way of the Dragon” (1972) and “Enter the Dragon” (1972). His true and hard-hitting kung fu and jaw-dropping nunchaku skills mesmerized audiences. Lee not only took Chinese kung fu films to the international market but also reached the peak of his life and his career. Sadly\, he died suddenly during the shooting of his last film\, “The Game of Death”\, on July 20\, 1973\, at the age of 32.  \nOccupying a total area of 850 square meters\, the “Bruce Lee: Kung Fu • Art • Life” exhibition features more than 600 precious relics related to Bruce Lee on loan from a number of local and overseas collectors\, including memorabilia of Lee and his costumes\, books and gym equipment\, as well as his articles. The exhibition gallery also houses several sets of reconstructions\, which were created with ideas inspired by prominent scenes in Lee’s five classic kung fu movies as well as his gym and his study. Also featuring a 3D hologram animation on Bruce Lee\, a newly created 3.5-metre-high statue of Lee and the 75-minute documentary “The Brilliant Life of Bruce Lee”\, the exhibition will enable visitors to review Lee’s life story based on his profile\, his movies\, his martial arts and his development as a cultural phenomenon from a more comprehensive\, in-depth and independent perspective.
URL:https://onarto.com/art-event/hong-kong-heritage-museum-bruce-lee-kung-fu-art-life/
LOCATION:Hong Kong Heritage Museum\, 1 Man Lam Rd\, Sha Tin\, Hong Kong
CATEGORIES:Photography Exhibition
ATTACH;FMTTYPE=image/jpeg:https://onarto.com/wp-content/uploads/2019/04/Hong-Kong-Heritage-Museum-Bruce-Lee-KUNG-FU-ART-LIFE.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Asia/Singapore:20180505T100000
DTEND;TZID=Asia/Singapore:20190324T190000
DTSTAMP:20260607T232210
CREATED:20190311T023046Z
LAST-MODIFIED:20190306T072221Z
UID:28059-1525514400-1553454000@onarto.com
SUMMARY:Peranakan Museum Singapore - Amek Gambar
DESCRIPTION:The first camera that used a roll of film\, the Kodak\, was invented by the American George Eastman in 1888. It was revolutionary for being both easily portable\, easy to use\, and relatively inexpensive. This democratic form of picture-making heralded a new age of the amateur photographer. \nThis snapshot taken with a film camera of a Baba in chic tropical style – a drill cotton closed coat (baju tutop) and fedora – and holding a camera epitomises the excitement of modernity among young urbanites\, including Peranakans\, in Singapore and other modern Asian port cities. \nFedor Jagor\, a German ethnologist\, naturalist\, and photographer\, travelled in Southeast Asia in the late 1850s. In 1857 and 1858 he took many photographs of Singapore and its people. While here he met prominent Peranakan tycoon Tan Kim Ching. In the late 1860s\, Jagor’s stereoview photographs of Singapore were published in Berlin. \nStereoviews were popular in the 19th century. Two photographs of the same image are taken at slightly different angles and placed side-by-side on a card. When looked at through a binocular viewer\, they create an illusion of depth. \nA note on the back indicates the photograph was taken in Singapore and that the subject is a rich Chinese merchant from Malacca “who has Malay blood through the women”. Although it does not specifically mention Tan Kim Ching\, Jagor singles him out by name in his travelogue published in 1866. He also describes the Peranakan community at length\, which altogether strongly suggests that the image is a portrait of Tan and his family. \nThis stereoview is the oldest photograph on paper in Singapore’s National Collection. \nCommercial studio photography took off in Singapore and in other towns of Southeast Asia in the early 1860s with the arrival of European photographers. Soon after\, many Chinese studios opened\, often Cantonese from China or Hong Kong. These were quickly followed by the arrival of Japanese-owned studios. \nPeranakans numbered among the first patrons of these commercial studios. They commissioned portraits to memorialise important moments of Peranakan family life. Weddings were particularly popular themes. \nPeranakan wedding photography evolved its own aesthetics and conventions. Modern technology was borrowed\, but not its cultural influences\, thus photography constitutes one remarkable aspect of modernity in otherwise traditional celebrations. From the ways the subjects are dressed and posed\, to the choice of the studio settings\, studio photography in Asia – despite its static structure – displays a diversity of cultural responses in image making. \nIn this photograph taken at Keechun Studio\, the bride wears Penang-style Peranakan finery\, which was a hybrid of Malay\, Chinese\, Indian\, and Eurasian fashions. The groom is dressed in a rather informal jacket\, with a light coloured shirt and tie\, and long trousers. Although weddings ostensibly adhered to strict ritual protocol (often to ensure good fortune and fertility) such studio photographs also reveal the inconsistency and unpredictability of visual expression\, such as the lack of strict dress codes. Modern photography reveals the paradoxes of Peranakan and Asian life: images that attempt to convey tradition often reveal so many unconventional elements. \nSpace\, time\, and memories invite visitors to think about advancements in technology and how we use photography today. Digital photography\, with the help of social media\, has become one of the most democratic and dramatic forms of human expression. \nWhy do we take photos? How do we use them? Through photos\, what are we trying to say about ourselves\, our lives? \nWe invite contributions from you. Show us your Singapore and your Singaporean life. Send us photos from the family album\, or a snapshot taken today with your phone. Together we create Space\, time\, and memories. \nAbout Amek Gambar\nThe first commercially viable form of photography was invented in France in 1839\, and it quickly made its way to Southeast Asia. Peranakans were among the first subjects captured by photographers arriving from Europe. Amek Gambar (“taking pictures”): Peranakans and Photography presents early photographs of the community\, including the oldest example in Singapore’s National Collection: a portrait of a Peranakan family taken in 1857 and 1858. \nEuropean photographers established the earliest commercial studios in Asia\, and almost immediately enterprising Asians learned the new technology and started studios of their own. Many Peranakans were among those intrigued by this fledging art. They captured their own likeness and dress\, their cities and their rituals. The exhibition includes studio and amateur photographs of Peranakans in Singapore\, Malaysia\, Indonesia and Myanmar. In celebration of a donation by Mr and Mrs Lee Kip Lee of 2\,535 photographs to the Peranakan Museum\, Amek Gambar explores the multifaceted role of photography in the lives of Peranakans.
URL:https://onarto.com/art-event/peranakan-museum-singapore-amek-gambar/
LOCATION:Peranakan Museum Singapore\, 39 Armenian Street\, Singapore\, 179941\, Singapore
CATEGORIES:Photography Exhibition
ATTACH;FMTTYPE=image/jpeg:https://onarto.com/wp-content/uploads/2019/03/Peranakan-Museum-Singapore-Amek-Gambar.jpg
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BEGIN:VEVENT
DTSTART;TZID=Asia/Bangkok:20180510T110000
DTEND;TZID=Asia/Bangkok:20180721T190000
DTSTAMP:20260607T232211
CREATED:20180530T095056Z
LAST-MODIFIED:20190503T042442Z
UID:26290-1525950000-1532199600@onarto.com
SUMMARY:Puerta Roja - Movement
DESCRIPTION:MOVEMENT\nA Joint Exhibtion with Galerie Denise René \n10.05.18 – 21.07.18 \nCarlos Cruz-Diez\, Jesús Rafael Soto\, \nVictor Vasarely\, Yaacov Agam\, \nVentoso\, Hans Kooi\, Pe Lang\, Gladys Nistor\, \nGruppo MID\, Mariano Ferrante\, Olivier Ratsi \nIn the spring of 2017\, Puerta Roja presented the ground-breaking exhibition Carlos Cruz-Diez: Mastering Colour. In 2018\, we present once more the works by the Franco-Venezuelan master in a joint exhibition with the iconic Galerie Denise René. The exhibition titled Movement (2018) provides historical context through the works of the artist’s contemporaries whose careers\, alongside Cruz-Diez\, were catapulted by Denise René in the 1950s. Historical and recent works by Jesús Rafael Soto\, Victor Vasarely and Yaacov Agam\, are accompanied by younger artists’ works\, furthering the legacy of the Op and Kinetic Art movement into the twenty-first century and giving both tribute and future life to the visionary spirit of Denise René and her artists. With the title of the exhibition\, Puerta Roja not only captures the spirit of the historic movement\, but also pays homage to both the trailblazer gallery and the beginning of Cruz-Diez’s career. \nDenise René opened her Parisian gallery in 1944 with Victor Vasarely’s first solo show and the vision to spearhead exhibitions focused on abstraction and\, when critics and curators shun them\, support the career of many artists that would become some of the most influential of the century.After the horrors of the war\, many artists were fuelled by idealist notions of progress and\, inspired by science and mathematics\, they looked to change the world through reason and order. European and Latin American artists – who had been working on these ideas uninterrupted by the war – would move to Paris to work alongside each other. Using optical illusions and geometric patterns\, the effect to both confuse and stimulate the eye was produced. The incorporation of the viewer’s interaction and the straightforward unpretentious representations\, made the art inclusive\, a common language of optimism that could reach all. Whilst at first sight the works may seem void of political undertones\, these artists had a powerful social agenda\, seeking ultimately to democratize the art experience. Vasarely\, Soto\, Agam and Cruz-Diez all strove to create a new shared vision of art that better reflected the times. \n  \nDenise and the artists would ascertain their place in modern art history books with the ground-breaking exhibition Le Mouvement in 1955. A powerful champion for geometric abstraction and kinetic art\, she envisioned putting the spotlight on her young artists by showcasing them alongside established ones such as Alexander Calder and Marcel Duchamp. It was at Le Mouvement that Carlos Cruz-Diez was introduced to the gallery and other artists by his fellow Venezuelan Jesús Rafael Soto. Ten years later both artists would participate in the historical MoMA exhibition The Responsive Eye\, where the term ‘Op and Kinetic Art’ was first formally recognised. The eye-catching\, imaginative and vertigo-inducing works swept the art world and enamoured viewers. Works appeared on the walls of major museums and galleries around the world and heavily influenced architecture\, design and fashion. \n  \nCruz-Diez and Soto are prominently featured in the Puerta Roja Movement exhibition: Cruz-Diez’s Physicromie series (1959) and Chromointerference Spatiale Décembre (1964) use contrast and harmonisation to generate virtual colours that change depending upon the viewers point of perception. Soto’s El Ovalo Escarlata (2002) features his iconic linear\, kinetic constructions with suspended metal rods in front of detailed patterns on wooden reliefs. The finely balanced\, perpetually moving rods create ‘vibrations’ that extend into the surrounding space\, connecting to the environment and breaking free from the fixities of traditional painting. \n  \nFollowing a few years where conceptual art took over the spotlight\, it was the strength of the philosophical ideals at the heart of the artists’ intent that would ensure the movement’s lasting legacy and current revival. A myriad of retrospectives on the artists\, the movement and the gallery itself have taken place in the last twenty years. In 2001\, the French National Museum of Modern Art paid tribute with the exhibition The Intrepid Denise René\, a Gallery in the Adventure of Abstract Art\, at the Centre Pompidou. The Pompidou would also reinstall its collection along the lines of art theory\, including a dedicated section to Op and Kinetic Art. The Tate Modern opened A View from Zagreb: Op and Kinetic Art in 2016\, a permanent room in its new building which includes works by Cruz-Diez\, Soto and Vasarely. In the same year\, The Illusive Eye reopened at El Museo del Barrio in New York with a celebration of the original MoMA show. These exhibitions attest to the enormous influence of these artists and open the door to re-evaluate the relevance of the movement to contemporary society. \n  \nToday Op and Kinetic Art continues to develop with the next generation of artists. With strong roots in South America\, the tradition is brought forward by new dynamic artists such as Argentinians Mariano Ferrante\, Gladys Nistor and artist collective Ventoso represented by Puerta Roja in Asia. The contemporary furtherance of the movement also travels across borders\, with French artist Oliver Ratsi\, Dutch Hans Kooi\, Swiss Pe Lang and Italian collective Gruppo MID – all having exhibited at Galerie Denise René – employ innovative materials and technology as well as contemporary advancements in computer sciences. \n  \nAn icon in the art world for her innovative spirit and distinctive programme\, Denise René always said that art must invent new paths to exist. With this exhibition\, Puerta Roja\, entering its eighth year in Hong Kong\, continues to open new routes and break boundaries for Op and Kinetic Art\, particularly for Asian audiences. As it has been a regular feature in our programme\, the exhibition introduces emerging talent alongside the great masters\, presenting masterpieces and artists previously unseen in the region. \n  \nI am grateful to Carlos Cruz-Diez and Carlos Cruz-Diez Jr. for first nurturing the idea of a collaboration between the two galleries. It has been an enriching experience to work with Denis Killian\, under whose leadership\, Galerie Denise René continues to support new contemporary production inscribed by the movements’ historical reference. \n  \nBy bringing together both of our stable of artists\, we hope to highlight the connection between legacy and new proposals through the deeply universal ideals of the movement. I believe\, the essence and profound undercurrent of optimism and democratisation of art is more important than ever. Amidst our present troubled era\, experimenting with illusion is not a sign of denial but one of hope for the future\, an optimistic stand of resistance against an increasingly unstable socio-political world. \n  \nAdriana Alvarez-Nichol \nFounder of Puerta Roja and Co-President of the Hong Kong Art Gallery Association
URL:https://onarto.com/art-event/puerta-roja-movement/
LOCATION:Puerta Roja\, 1/F soho 189 art lane\, 189 queens road west\, sheung wan\, Hong Kong\, Hong Kong\, Hong Kong
CATEGORIES:Art Exhibitions,Other Events
ATTACH;FMTTYPE=image/jpeg:https://onarto.com/wp-content/uploads/2018/05/Puerta-Roja-Movement.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Asia/Bangkok:20180516T100000
DTEND;TZID=Asia/Bangkok:20180812T190000
DTSTAMP:20260607T232211
CREATED:20180611T092540Z
LAST-MODIFIED:20190503T042322Z
UID:26380-1526464800-1534100400@onarto.com
SUMMARY:Art Porters Gallery - Aiman - The evolution of Eian and Eien
DESCRIPTION:Aiman\nThe Evolution of Eian & Eien\n16 May – 12 Aug 2018\nR18 (portrayal of male genitalia & female frontal upper body nudity) \nAiman’s Solo Exhibition Opens 16 May 2018 Art Porters Gallery is delighted to present Aiman’s second solo exhibition\, The Evolution of Eian & Eien – an exhibition meant to challenge preconceived boundaries of the evolutionary process\, and expand our perception of normalcy. The exhibition will present a total of eight large-scale paintings from Aiman\, a series that will display his maturity and confidence as a visual artist\, demonstrating his superb understanding of visual concepts. \nA Surrealist Blend of Greek Mythology & Evolutionary Fantasy  \nHave a glimpse into Aiman’s fantasy world as we introduce three works of the series\, namely\, The Triumph of Ariadne\, Chapter 1 Eian and Chapter 2 Eien. In The Triumph of Ariadne we witness the heroine’s tragic betrayal by Theseus and her victorious rebirth. Featured as a red-haired siren\, she has dropped a ball of red thread\, which epitomizes her intuition\, trust\, and commitment. In the diptych Chapter 1 Eian and Chapter 2 Eien\, using the figures of conjoined twins\, Aiman explores the narrative between the hidden identity of the private individual and the fleeting nature of public fame as it relates to social media. Other works in the series illustrate an evolutionary process encompassing interracial life forms\, gender neutrality and duality. All of these themes convey the need to embrace a self-reflective journey to achieve a higher emotional intelligence through the radical acceptance of all emotions\, both positive and negative to build resilience and to live an authentic life. \n  \n“The exhibition is very much a reflection of modern day society\, layered with the illusive imagery of dreams\, Greek mythology and religious iconography. I hope the viewers resonate with the artworks\, and the themes of identity\, love\, and triumph beyond tragedy.” – Aiman\, artist \n  \n“I’ve been collecting and following Aiman for 10 years now. He is evolving into one of the most Singaporean important painters of his generation and I am excited to be showcasing his new series in the gallery”\, said Guillaume Levy-Lambert\, co-founder of The MaGMA Collection and Art Porters Gallery. \n  \n“We are now confronted by large scale paintings that reveal Aiman’s maturation and confidence as a visual artist with works that demonstrate his superb understanding of visual concepts”\, said Ernest Chan\, lecturer and mentor to Aiman. \n  \nAbout Aiman (b. 1984)  \nObsessed with a dreamlike world\, Aiman’s paintings aim to ignore realism and artistic conventions\, blurring the lines between high art and low art. The universe in his make-believe world favours grace\, sensuality and esotericism; staging mysterious icons\, glorified\, eroticised\, divinised to the point that they integrate popular imagery. In this enchanted world\, his subjects are born with the power of anti-gravity\, and as this gift is slowly cycled back into the universe; symbolised through the use of flowers\, energy is exchanged as they slowly ground themselves\, to the possibility of a destination or the start of a new chapter. The story of these figures is told in a fairytale fashion\, with both tenderness and cruelty\, often interweaved with references of religious iconography\, eroticism\, mythology and children’s tales. Aiman graduated from LASALLE College of the Arts in 2004 with a Diploma in Fine Arts. Awards he has won include the LASALLE-SIA Scholarship\, the Georgette Chen Scholarship\, and the Winston Oh Travel Award. Aiman has exhibited both in Singapore and overseas\, including at the National Art Gallery of Malaysia and the Sunshine International Museum\, in Songzhuang\, China. His works are included in prominent local and international collections including the MaGMA Collection. \n  \nAbout Art Porters Gallery  \nArt Porters Gallery believes in the unique power of art in transforming lives. Rooted in the founder’s personal experience with a life-changing masterpiece\, the gallery’s mission in “sharing happiness with art” was born. Art Porters Gallery is housed in a charming Peranakan shophouse in one of the quaintest neighbourhoods of Singapore. The gallery’s work focuses on contemporary art and develops privileged relationships with international artists\, whose works are presented in various forms of media including drawing\, painting\, sculpture\, photography\, and digital animation. The gallery also provides art consultancy services for various corporations\, and hosts events for a wide variety of clients.
URL:https://onarto.com/art-event/art-porters-gallery-aiman-the-evolution-of-eian-eien/
LOCATION:Art Porters Gallery\, 64 Spottiswoode Park Road\,\, Singapore\, Singapore\, 088652\, Singapore
CATEGORIES:Art Exhibitions,Other Events
ATTACH;FMTTYPE=image/jpeg:https://onarto.com/wp-content/uploads/2018/06/Art-Porters-Gallery-Aiman-The-Evolution-of-Eian-and-Eien.jpg
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BEGIN:VEVENT
DTSTART;TZID=Asia/Bangkok:20180524T080000
DTEND;TZID=Asia/Bangkok:20180714T170000
DTSTAMP:20260607T232211
CREATED:20180523T080040Z
LAST-MODIFIED:20190503T024426Z
UID:26213-1527148800-1531587600@onarto.com
SUMMARY:Perrotin - So Near Yet So Far
DESCRIPTION:Perrotin is pleased to present “So Near Yet So Far”\, the first solo exhibition of the Chinese artist Ni Youyu in Hong Kong. Showcasing 12 pieces\, the exhibition gives a comprehensive view of the artist’s diverse creations. \nNi Youyu’s practice does not apply demarcation to antiquity and modernity\, nor does it concern itself with the task of reinventing paradigms – so the artist says. This principle is grounded in Ni’s studies at the Fine Arts College of Shanghai University\, where he specialized in Chinese paintings. Whilst the genre emphasizes engagement with – or even resuscitation of – antiquity\, Ni’s works are pivoted on the ways we can access the space between all temporalities and material objects as a repository of universal cognizance. \nRegardless of questions about the relations assumed between Ni’s Dust series and the cosmology of Five Dynasties and Northern Song Dynasty (907 – 1127) landscape paintings\, an awareness of life is evident in his work populated with astronomical tropes. Cosmology\, after all\, comes down to temporality in the sense that it is at once a temporal dimension – lodged in ephemerality – and a spatial concept. Through the almost scientific technique of grid division\, which might be redolent of Renaissance Scandinavian landscape paintings\, Ni maps out the various intersections between Chinese and Western cosmologies. A case in point is his “Waterfall & Rockfall” (2016) wherein he deconstructs the paragon of Chinese landscape by superimposing paradoxes\, conflicts and resonance onto one another. From repetitive\, experimental gestures thus emerge a highly idiosyncratic expression: using the water-wash technique\, Ni applies pressurized water to wash away layers of paint\, and repeats the process until the painterly trace and texture appear as wulouhen\, a type of Chinese calligraphic stroke that likens the trailing of ink to rainwater trickling through the crevices of dilapidated walls. From afar\, the work contains the pattern and wrinkled texture of landscape paintings; upon closer examination\, then\, the work is in fact a tactile manifestation of the Expressionist discursive structure\, indicating a superimposition of two different drawing methods and their visualities. Seen thus\, Ni’s various experiments (largely with the golden acrylic – a plastic medium beneath its metallic reflet) are punctuated by painting’s intrinsic deceptiveness as fiction. \n  \nAt the heart of Ni’s creative process is a displacement of social modalities such as identity\, nationality\, race\, and class. The subjects in his work\, be they constellations or dust\, collectively embody life (and death) within the universe. Essentially\, Ni is interested in tracing the fundamental cognizance that conditions and makes accessible the interplay between antiquity and modernity\, between the Chinese and the West – embodied by dust. In Ni’s previous works\, such cognizance takes on the form of transparent cubicles as an allusion to the modern way of looking at things\, conditioned by logic and reason\, whilst the bonsai contained within the tanks hints at a miniature universe in its own right. Lacing through other scenic depictions across drawers\, alcoves and coins is precisely this double perspective\, enriched by golden paint common in both antique and contemporary art. Following from this discursive structure\, Ni’s new canvas work “Relic” (2017) replaces the three-dimensional cubicles with a transparent perspective. One notices the familiar texture – eroded\, water-washed. At once literal and figurative\, transparency as such points towards the influence of formal analysis and iconology on our understanding of traditional Chinese landscape paintings. As such\, Ni questions the kind of “image inertia” and art historical self-consciousness we take for granted\, and visualizes them as specimens of historical remnants. Occasionally\, Ni would embellish the margins of the canvas with a hand-drawn frame\, whence a metacognitive moment emerges to indicate the duality of the work as a painting-within-a-painting. \n  \nOften\, the notion of universality is manifest in Ni’s work as a single line or an abstract shape\, such as the void shared between image and bonsai in The Endless Second series. In another instance\, Freewheeling Trip combines images sourced from multiple obscure photographers on almost the same subject\, resulting in a collage contra the kitsch perfection of Photoshop: the margins\, indicative of manipulation\, are retained as points of contact between clusters of subjects. In the installation series Pagoda\, lotus seats of varying sizes are combined through an axis into a single composition. Here\, lines and shapes figure as universality\, or rather\, a unit of measurement reflective of Ni’s aesthetics. \n  \nSuch interest in geometry also extends to Ni’s frequent use of rulers à la readymade. The handmade rulers in the Inches of Time series\, for instance\, crudely exemplify the futility of subjective intervention more than any practical purposes. Nonetheless\, they stand in as a unit of measuring time\, or our experience of time in terms of introspection\, emotions\, and space. Exposing norms\, perception and cognizance as constructed\, Inches of Time questions their susceptibility to human sensibility whilst also highlighting the latter’s semantic grey areas for our attention. Thus\, what is being problematized in Ni’s practice is not the order of things per se but the principles and abstract reasoning that enable such an order. After all\, their universality is the place of origin whence power and violence emanate. One observes the same will to power and potency embedded in the act of “washing away” – brought to the fore as the true nature of aesthetics’ seeming abstinence. \n  \nLu Mingjun \n  \n__________________ \nBorn in 1984 in Jiangxi\, China\, Ni Youyu now lives and works between Shanghai and Berlin. In 2014\, Ni won the “Best Young Artist” of the Chinese Contemporary Art Award (CCAA). \nNi has been exhibited at art museums and institutions worldwide\, including Kunstverein Konstanz\, Germany; Kunstraum Villa Friede\, Bonn; Yuz Museum\, Shanghai; Long Museum\, Shanghai; Shanghai Minsheng Art Museum; Shanghai Art Museum; M+ Museum\, Hong Kong; the 5th Singapore Biennale; White Rabbit Gallery\, Sydney; UNSW Galleries\, Sydney; Canberra Museum; Kunstmuseum Bern\, Switzerland; Kunstmuseum Luzern\, Switzerland; MOCA Taipei; Art Museum of Nanjing University of the Arts\, China\, among others. \nNi’s work is featured in prominent public and private collections\, including Brooklyn Museum\, New York; M+ Museum\, Hong Kong; Singapore Art Museum; me Collectors Room / Olbricht Collection\, Berlin; Art Museum of Nanjing University of the Arts\, China; White Rabbit Gallery\, Sydney; DSL Collection\, Paris; Sigg Collection. Switzerland\, among others.
URL:https://onarto.com/art-event/perrotin/
LOCATION:Perrotin (Hongkong)\, 17/F\, 50 Connaught Road Central\, Central\, Hong Kong\, Bangkok\, Hong Kong
CATEGORIES:Art Exhibitions,Other Events
ATTACH;FMTTYPE=image/jpeg:https://onarto.com/wp-content/uploads/2018/05/Perrotin-So-Near-Yet-So-Far.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Asia/Bangkok:20180526T103000
DTEND;TZID=Asia/Bangkok:20180722T190000
DTSTAMP:20260607T232211
CREATED:20180629T090524Z
LAST-MODIFIED:20190503T024129Z
UID:26585-1527330600-1532286000@onarto.com
SUMMARY:Pearl Lam Galleries Shanghai - Golnaz Fathi - A Long line without a word
DESCRIPTION:A Long Line Without a Word \nGOLNAZ FATHI solo exhibition \nExhibition Dates 26 May–22 July\, 2018 Monday–Sunday\, 10:30am–7pm \nVenue Pearl Lam Galleries\, 181 Middle Jiangxi Road\, G/F\, Shanghai\, China 200002 \nShanghai—Pearl Lam Galleries is pleased to present A Long Line Without a Word\, a solo exhibition by Iranian artist Golnaz Fathi in Shanghai\, China\, on show from 26 May to 22 July\, 2018. Gathering over 17 works\, most of them new and recent\, the stark and striking exhibition highlights Fathi’s delicate yet assertive works created in two styles: ink pen on canvas and acrylic brush on canvas—with the latter making its series debut in Asia. The polarity of the techniques complements one another in their respective details\, while reflecting Fathi’s artistic practices as both a contemporary artist and a trained calligrapher. \nRooted in traditional Persian calligraphy—a sacred form of art in the Islamic world—Fathi’s works break free from the disciplines of Arabic scripts. Under Fathi’s abstract spin\, letters are reduced to lines; each word becomes illegible and diverges from its original meaning. Following the twists and turns of each line drawn under her intuitive gestures\, viewers experience a rhythm that is universal yet uniquely subject to one’s own imagination. When examined up close\, the seemingly minimal composition on canvas is composed of thousands of lines\, the result of a painstaking process\, delivering emotional responses that even language sometimes fails to communicate. \nInspired by the technique known as Shiah Mashgh or “black practice”\, a warm-up exercise where a sheet is repeatedly filled with black letters\, Fathi considers this expression as the most free and artistic part of writing\, for one connects body and mind in these spontaneous movements. Instead of consciousness\, her pen is triggered from her meditation and eventually leads the direction of the lines. By taking delight in the laborious repetition of manual gestures and technical complexity\, Fathi has stripped forms and languages of the anonymity of function\, forcing them to speak on their own terms. \nLikewise emanated from an inner force\, Fathi’s acrylic paintings combine both momentum and acumen. The artist finds empty spaces to be full of information and constructs her works to be specific to a space that is drenched in its own aura of imageries. She explores the tension between filling and emptying the canvas as a metaphor for the cycles of human life. Despite its minimalistic appearance\, each wide brushstroke demands a high level of concentration and dexterity that only someone who practices calligraphy daily can achieve. Fathi creates another pen painting series with a similar composition of just a few horizontal or vertical strokes on the entire canvas while numerous expressive lines look as if they were created by a brush\, resembling the marks of brush hairs. The two mediums reflect the paradox of improvisation and precision\, while both are done on a clean background. If lines are the melody\, then the vacant canvas is “the sound of silence”. \nIn the triptych Knotted Roots\, the meandering lines differ from most of her works\, as they do not cross over one another but instead wind around neighbouring lines. Each thread is a unique narrative that is closely related with other “roots” nearby. Likewise\, just like rhizomes hidden under the soil\, the grey lines blend into the cream background\, giving the canvas a mysterious sentiment. Fascinated by how calligraphic traces can have a different effect on non-traditional mediums\, Fathi projects a version of this work in the exhibition space. In contrast to the almost all-white canvases\, the colourful lines dance on the dark wall as if they represent the rebirthing of nature. Fathi simply invites audiences to untie the knots and unearth the meaning behind the work\, which has no end or destination other than showcasing the beauty of simplicity on her own terms. \n  \nAbout the Artist \nGolnaz Fathi was born in Tehran\, Iran in 1972. Her work is transnational both in conception and execution\, as it incorporates her extensive training in traditional Iranian calligraphy\, graphic design\, painting\, and autobiography. Her paintings carry traces of meaning that have no known coded alphabet. The strength of her work stems from the drive to express emotions that cannot be pinned down into words. She has also exhibited widely in galleries and museums in South Korea\, New York\, Geneva\, Dubai\, London\, Tehran\, Paris\, Hong Kong\, and Singapore. Her work is part of the permanent collection of the Metropolitan Museum of Art\, New York\, USA; Brighton & Hove Museum\, England; Carnegie Mellon University in Doha\, Qatar; Islamic Art Museum\, Malaysia; Asian Civilisations Museum\, Singapore; The British Museum\, London; Devi Art Foundation\, New Delhi\, India; Farjam Collection\, Dubai; and The Devi Art Foundation\, New Delhi\, India. She has also received numerous fellowships and grants\, including resident scholarships to study at Fabrica (Treviso\, Italy) and Cité Internationale des Arts (Paris\, France).
URL:https://onarto.com/art-event/pearl-lam-galleries-shanghai-golnaz-fathi-a-long-line-without-a-word/
LOCATION:Pearl Lam Galleries Shanghai\, 181 Middle Jiangxi Road\, G/F\, Shanghai\, Shanghai\, 200002\, China
CATEGORIES:Art Exhibitions,Other Events
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BEGIN:VEVENT
DTSTART;TZID=Asia/Bangkok:20180601T110000
DTEND;TZID=Asia/Bangkok:20180815T190000
DTSTAMP:20260607T232211
CREATED:20180525T092659Z
LAST-MODIFIED:20190503T023955Z
UID:26252-1527850800-1534359600@onarto.com
SUMMARY:ShanghART Singapore - Lynn Hershman - Alter ego
DESCRIPTION:Lynn Hershman: Alter Ego (Roberta Breitmore Series)\nArtists: Lynn HERSHMAN \nOpening: 1 June 2018\, 5pm\nExhibition Period: 2 June – 16 August 2018\nAddress: ShanghART Singapore\, 9 Lock Road\, #02-22\, Gillman Barracks\, Singapore 108937\nOpening Hours: Daily from 11am – 7pm\, excluding Mondays\, Tuesdays\, and Public Holidays\nContact: +65 6734 9537 | info@shanghartsingapore.com \nIn the past 50 years\, American artist Lynn Hershman has been continuously creating a pioneering body of works in drawing\, videos\, collage\, performance\, installation\, site-specific art and recently digital technologies\, interactive web-based works\, Bio Art\, etc. She has largely been ignored and disregarded for decades but her work in all her different media has proven remarkably ahead of its time. It is only in recent times when her works started to gradually attract wide attention in the United States and Europe. ShanghART Singapore is pleased to announce Lynn Hershman’s first solo exhibition in Asia – Alter Ego (Roberta Breitmore Series)\, showcasing her best-known series created from1973 – 1978\, giving the audience here an opportunity to better understand the artist who has not just been advancing with the times\, but often even ahead of her time. \nIn the 1970s\, Americans of “The Me Decade” experienced significant changes in attitudes. On one hand\, the United States suffered an economic recession\, the unemployment rate hit a new high and triggered various social crises. On the other hand\, the civil rights and feminist movements from 1960s continued to grow and became more mainstream. Individual liberation and rebellion against authority became key themes in the 1970s\, and Americans sought a new individualism through the new perspectives on religious beliefs\, pop culture\, gender and identity. \nThis exhibition will showcase Lynn Hershman ’s representative and critical series of works of Roberta Breitmore in 1973-1978. The works examine the relationship between individuals’ “real” and “virtual” identities – a topic that is still very much relevant in this day and age of consumerism; when issues such as Facebook’s data breach and mass surveillance in everyday life forces us to reevaluate the balance between privacy\, security\, and convenience; and an environment where technology is increasingly intertwined with our lives. \nThe fictional persona\, Roberta Breitmore was first played by the artist herself\, and during the fourth year of the performance\, Roberta Breitmore multiplied into three other people appearing in her guise. The creation of Roberta Breitmore is the existence of “another self”\, or Lynn Hershman’s alter ego\, consisting not only of the appearance transformation through makeup\, wigs and dressing which occupied all the role-playing\, but a full-fledged\, socially constructed identity in the real world and over a period of time\, with authentic and reliable evidence: from a driver’s license and credit card to letters from her psychiatrist. The accumulation and reproduction of these fictional traces is an awakening process to the artist’s self-awareness and identity. As she notes\, “Although I denied it at the time and insisted that she was ‘her own woman’ with defined needs\, ambitions and instincts\, in retrospect we were linked. ROBERTA represented part of me as surely as we all have within us an underside… To me\, she was my own flipped effigy; my physical reverse\, my psychological fears.” \nLynn Hershman constantly pushed the boundaries of institutionally sanctioned forms\, mediums\, and subjects\, creating a unique context and surrogate personas for herself. The notion of identity is as much a socially constructed one as a psychological one; the individualised form of existence of Roberta Breitmore is determined through her public persona and social interactions\, such as her rental advertisements in newspaper\, correspondence with doctor\, dating with different men\, all of which were under constant close surveillance. Though Lynn Hershman began her artistic practice in an era when smart phones\, artificial intelligence\, and big data seemed like a futuristic fantasy\, her work anticipates a visualised world in which interactive networking and privacy monitoring become dominant drivers in everyday life. \nIn theory\, today people can construct and adopt various virtual personas on the Internet\, but at the same time\, we are policed by biometric security procedures and cyber-surveillance and are constantly required to prove our ‘real’ identities. This can be regarded as a reinterpretation of the artist’s alter ego Roberta Breitmore in today’s context. Lynn Hershman’s works redefined the nature of human identity in the Information Age\, as she depicted\, each individual is a “simulated person who interacts with real life in real time”. \nAbout the Artist:\nAmerican artist Lynn Hershman (b.1941) has been doing artistic practice for more than 50 years and internationally acclaimed for her art and films. As one of the earliest new media vanguard artists\, Lynn Hershman is widely recognised for her innovative work investigating issues that are now recognised as key to the workings of society: the relationship between humans and technology\, identity\, surveillance\, and the use of media as a tool of empowerment against censorship and political repression. Over the decades\, she has made pioneering contributions to the fields of photography\, video\, film\, performance\, installation and interactive as well as net-based media art. \nHer recent solo exhibitions include: “Civic Radar”\, Yerba Buena Center for the Arts\, U.S.A. (2017); “Cyborgs and Self-Promotion”\, Cleveland Museum of Art\, U.S.A.(2016); “The Liquid Identities”\, Lehmbruck Museum\, Germany (2016); Origin of the Species (Part 2)\, Modern Art Oxford\, U.K. (2015); “Civic Radar”\, ZKM | Museum of Contemporary Art\, Germany (2014); “The Agent Ruby Files”\, San Francisco Museum of Modern Art\, U.S.A.(2013); “Me as Roberta”\, Museum of Contemporary Art\, Krakow\, Poland (2012); “Investigations”\, Katherine E. Nash Gallery\, University of Minnesota\, U.S.A. (2011); “The Complete Roberta Breitmore”\, Whitworth Art Gallery\, University of Manchester\, U.K. (2009). Recent group exhibitions include: “Post-war- Art between the Pacific and Atlantic”\, Haus Der Kunst\, Germany (2016); “Dreamlands: Immersive Cinema and Art 1905-2016”\, Whitney Museum\, U.S.A(2016); “The Campaign for Art”\, San Francisco Museum of Modern Art\, U.S.A.(2016); “Technologism”\, Monash University Museum of Art\, Australia (2015); “Pop Departures”\, Seattle Art Museum\, U.S.A. (2014); “Vertigo of Reality”\, Academy of Art\, Germany (2014); “A Bigger Splash: Painting After Performance”\, Tate Modern\, U.K. (2012); “Double Life”\, Tate Modern\, U.K. (2011); “Verbund: Held Together With Water“\, Istanbul Museum of Modern Art\, Turkey (2008). \nLynn Hershman is a recipient of a Siggraph Lifetime Achievement Award\, Prix Ars Electronica Golden Nica\, and a John Simon Guggenheim Memorial Foundation Fellowship. In 2017 she received a USA Artist Fellowship\, the San Francisco Film Society’s “Persistence of Vision” Award and will receive the College Art Association’s Lifetime Achievement Award. \nHer five feature films – Strange Culture\, Teknolust\, Conceiving Ada\, !Women Art Revolution: A Secret History\, and Tania Libre are all in worldwide distribution and have screened at the Sundance Film Festival\, Toronto Film Festival and The Berlin International Film Festival\, among others. She was awarded the Alfred P. Sloan Foundation Prize for writing and directing Teknolust. !Women Art Revolution received the Grand Prize Festival of Films on Art. \nHer work has been shown in over 200 large-scale exhibitions throughout the world and is featured in the public collections of the Museum of Modern Art (New York\, U.S.A)\, Tate Modern (London\, U.K.)\, Lehmbruck Museum (Duisberg\, Germany)\, Los Angeles County Museum of Contemporary Art (California\, U.S.A)\, National Gallery of Canada (Ottawa\, Canada)\, Walker Art Centre (Minneapolis\, U.S.A)\, Whitworth Art Gallery (Manchester\, U.K.)\, ZKM | Centre for Art and Media (Karlsruhe\, Germany)\, Berkeley Art Museum (California\, U.S.A). \nCurrent and Upcoming Exhibitions:\n– Art in Motion. 100 Masterpieces with and through Media\, ZKM | Centre for Art and Media\, Karlsruhe\, Germany\, July 14\, 2018 – February 24\, 2019\n– Screening of Conceiving Ada & Vertighost at Art Basel\, Art Basel Film Programme\, Basel\, Switzerland\, June 14\, 2018\n– Riga International Biennial of Contemporary Art\, Riga\, Latvia\, June 2 – October 28\, 2018\n– Lynn Hershman Leeson: Anti-Bodies\, House of Electronic Arts Basel (HeK Basel)\, Basel\, Switzerland\, May 3 – August 5\, 2018\n– Objects Like Us\, The Aldrich Contemporary Art Museum\, Berlin\, Germany\, May 20\, 2017 – January 13\, 2019\n– Flashes of the Future\, Ludwig Forum\, Aachen\, Germany\, April 20 – August 19\, 2018\n– Screening of Tania Libre at EPOS Art Film Festival\, Tel-Aviv Museum of Art\, Tel-Aviv\, Israel\, March 14 – 17\, 2018
URL:https://onarto.com/art-event/shanghart-singapore-lynn-hershman-alter-ego/
LOCATION:ShanghART Singapore\, 9 Lock Road\, #02-22\, Gillman Barracks\,\, Singapore\, 108937\, Singapore
CATEGORIES:Art Exhibitions,Other Events
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DTSTART;TZID=Asia/Bangkok:20180608T100000
DTEND;TZID=Asia/Bangkok:20181007T210000
DTSTAMP:20260607T232211
CREATED:20180822T052259Z
LAST-MODIFIED:20190503T023543Z
UID:27095-1528452000-1538946000@onarto.com
SUMMARY:Yuz Museum - Charlie Chaplin\, A vision
DESCRIPTION:World Premiere at Yuz Museum of “CHARLIE CHAPLIN. A VISION”\nA major retrospective exhibition of the King of Comedy\nYuz Museum\, West Bund Shanghai\nJune 8th – Oct. 7th\, 2018\n(May 2018\, Shanghai) Yuz Museum recently announced that they would bring a major retrospective exhibition of the King of Comedy\, Charlie Chaplin\, to China\, co-produced by the Musée de l’Elysée\, Lausanne and Yuz Museum\, Shanghai. \n  \nCharlie Chaplin is the founder of modern comedy\, one of the most influential performing artists and film directors of the 20th century. His comical image with a bowler hat\, bamboo cane\, and a small mustache is well known and deeply rooted worldwide. The recipient of a Special Oscar in 1928 for The Circus and an Academy Honorary Award in 1972\, Chaplin made an immeasurable contribution to the development of film in the 20th century. He himself was a famous pacifist and social activist. \n  \nThe Charles Chaplin photographic archive was entrusted to the Musée de l’Elysée in January 2011 by the Chaplin Association and Roy Export SAS. Some 20\,000 negatives\, prints and original albums cover 60 years of the professional and private life of the filmmaker. The collection includes production and set stills\, as well as travel albums and portraits by well-known photographers such as James Abbe\, Edward Steichen\, and Richard Avedon. The Musée de l’Elysée benefited from the collaboration of Fondazione Cineteca di Bologna which digitized and made available Chaplin photographic and paper archive. \n  \nIn October 2015\, at the invitation of Mrs. Tatyana Franck\, director of the Musée de l’Elysée\, Mr. Budi Tek\, founder of Yuz Museum\, attended a seminar in Lausanne\, Switzerland. When visiting the Collections’space of the Musée de l’Elysée\, Mr. Budi Tek found the curators studying precious original photographs of Chaplin and doing restoration work. The collection testifies as much to the evolution of Chaplin’s famous tramp\, a mischievous dandy but a great charmer\, at the beginning of his career\, as to the artist at work. Some photos also show that Chaplin visited China and Bali\, which coincides with Mr. Budi Tek’s background. Charlie Chaplin is beloved to Chinese audiences. Recalling this comedy master through his photographic archive and related contemporary artworks\, Mr. Budi Tek believes it will enable the audience to have a better understanding of why the characters Chaplin created transcend time and become classics. His remarkable vision of cinematic art and his open-minded spirit of exploration still have far-reaching impact and enlightening significance even today. The Yuz Museum team immediately decided to collaborate with the Musée de l’Elysée and started preparations for the exhibition. \n  \n“Charlie Chaplin. A Vision” is a major exhibition proposed by the Musée de l’Elysée and co-produced by the Yuz Museum\, Shanghai. Presented in chronological order\, its aim is to help us better understand the modernity of Charles Chaplin and of his timeless character by shedding a new light on their deep humanism. Who was Charles Chaplin? What had he seen of this world and how did it influence his art? What was he trying to transmit to us? How did the world and especially the artists of his time perceive the man and the tramp? How is he perceived by modern artists? The exhibition explores the reasons for his success\, those that brought about and nourished his critical fortunes\, and measures the role that the photographic image played in the prosperity of the legend. \n  \nIn November 2017\, Tatyana Franck\, director of the Musée de l’Elysée was invited to attend the 2017 Yuz Museum Benefit Gala Dinner and released the exhibition plan of this collaboration between two museums. By taking a shot/countershot approach to his life and career\, and by revealing the secrets of his cinematic language\, the exhibition also attempts to re-evaluate Chaplin’s revolutionary artistic heritage. With over 300 photographs and documents from the Chaplin Archive and almost two hours of film clips\, the exhibition also includes items from private collections and public institutions (original posters\, videos\, paintings\, drawings\, lithographs) that highlight the impact of the figure of Charles Chaplin on the production of international artists\, from the avant-garde artists of the 1920s to today\, such as Fernand Léger\, Marc Chagall\, Erwin Blumenfeld\, Varvara Stepanova\, Tony DeLap\, C215 and Lita Cabellut. \n  \nConceived of as a major international project\, the exhibition “Charlie Chaplin. A Vision” will first be presented at the Yuz Museum in Shanghai from June 8 to October 7\, 2018\, and should then be presented in Mexico City in November 2018. Two other venues are projected. The exhibition will be accompanied by a publication. \n  \n“Charlie Chaplin. A Vision” is made possible by Yuz Museum and the Musée de l’Elysée with the support of Yuz Foundation. The exhibition would not be possible without the support of Roy Export and the Chaplin Estate. It was curated in collaboration with Fondazione Cineteca di Bologna. \n  \n \n  \n  \nAbout Curators\nCarole Sandrin\, Curator\, Chaplin Photographic Archive\, Musée de l’Elysée\, assisted by Justine Chapalay\nTatyana Franck\, Director\, Musée de l’Elysée\nCecilia Cenciarelli\, Head of Research and Special Projects\, Fondazione Cineteca di Bologna\, assisted by Elena Correra \n  \n  \nAbout Charlie Chaplin\nCharlie Chaplin was born on 16th April 1889 in London; he died on 25th December 1977 in Vevey\, Switzerland. At only twenty years old he left for the United States with the music-hall troupe of Fred Karno\, where he would be spotted by Mack Sennett\, the director of the Keystone Film Company. His first short film\, Making a Living\, was in 1914. In his second film\, Kid Auto Races at Venice\, Chaplin appeared in the costume of the Tramp. Between 1914 and 1923\, Chaplin produced over 70 short films. From 1925-1967\, he completed eight more films. Beginning as an actor\, Chaplin transformed quickly over the course of his career into a multifaceted artist involved in his work as a director\, producer\, actor\, writer\, and composer. \nThe Chaplin Archives are now owned by the different rights holding companies he set up and managed by the Chaplin office in Paris. www.charliechaplin.com \n  \n  \nAbout the Musée de l’Elysée\nThe Musée de l’Elysée is one of the world’s leading museums entirely dedicated to photography. Since its establishment in 1985\, it has improved public understanding of photography through innovative exhibitions\, key publications\, and engaging events. \nRecognised as a center of expertise in the field of conservation and enhancement of visual heritage\, it holds a unique collection of more than 1 million phototypes and preserves several photographic archives\, in particular\, those of Ella Maillart\, Nicolas Bouvier\, Jan Groover\, Sabine Weiss and René Burri. By supporting young photographers\, offering new perspectives on the masters and confronting photography with other art forms\, the Musée de l’Elysée experiments with the image. Based in Switzerland\, it presents four major exhibitions in Lausanne each year and an average of fifteen in prestigious museums and festivals around the world. Regional by character and international in scope\, it seeks to constantly develop new and exciting ways to interact with audiences and collaborate with other institutions. \n  \n  \nAbout Fondazione Cineteca di Bologna\nCineteca di Bologna is an internationally recognized film archive with a multi-faceted mission ranging from film preservation and dissemination\, training\, research\, and publishing. Its annual festival Il Cinema Ritrovato is one of the most awaited venues for film historians\, scholars and cinephiles all over the world. Over the last 20 years\, Cineteca’s laboratory\, L’Immagine Ritrovata\, has grown to be one of the leading centers for film restoration\, working in partnership with entities such as the Academy Film Archive\, Martin Scorsese’s The Film Foundation\, Pathé\, Gaumont\, Sony\, Institut Lumière – just to name a few – and completing over 800 restorations\, including masterpieces by Pasolini\, Renoir\, Fellini\, Visconti\, De Sica\, Leone\, Rossellini\, Vigo\, Keaton. \nIn the late 1990s\, thanks to its collaboration with Roy Export/Association Chaplin\, Cineteca launched the “Chaplin Project” which led to the restoration of Charlie Chaplin’s entire body of films\, 80 titles overall. \n  \n  \nAbout Yuz Museum Shanghai\nYuz Museum Shanghai\, officially opened in May 2014\, is a contemporary art museum founded by Mr. Budi Tek\, a Chinese-Indonesian entrepreneur\, philanthropist\, and collector. The museum is located in the core area of West Bund Shanghai\, and plays an important role in “West Bund Culture Corridor”. Yuz Museum is committed to drawing the world’s attention to Shanghai\, advancing the development of contemporary Chinese art\, actively in the field of art education\, and promoting cultural dialogues between the East and the West. As a non-profit institution\, Yuz Museum aims to establish itself as a new landmark for exhibiting contemporary Chinese art and to be a preeminent contemporary art museum in the world. \nDesigned by acclaimed Japanese Architect\, Sou Fujimoto\, the museum was renovated from an old aircraft hangar site of the former Shanghai Aircraft Manufacturing Factory. The museum has a total area of 9\,000 square meters\, among which the hangar-converted great hall alone covers over 3\,000 square meters\, complementing the numerous large-scale art installations\, while the other galleries offer more than 1\,000 square meters for paintings\, sculptures\, and photography of contemporary art. \n  \n  \nAbout the founder Budi Tek and Yuz Foundation\nBudi Tek is a Chinese-Indonesian entrepreneur\, philanthropist\, collector and founder of Yuz Museum and Yuz Foundation. He was once a member of Tate Asia Pacific Acquisition Committee\, and he was awarded Officer of the Legion of Honor by the French government in 2017. Budi Tek established Yuz Foundation in 2007\, which the foundation dedicates itself mainly to Chinese and other international contemporary art. It aims to popularize contemporary art through its ideas\, collections\, museums\, sponsorship and academic projects. In 2008\, Yuz Foundation established the first private museum in Jakarta\, Indonesia. In 2014\, Yuz Museum formally settled in West Bund\, Xuhui District\, Shanghai\, under the umbrella of Yuz Foundation. \n  \nBudi Tek was born in Pamelang\, Indonesia\, and grew up in Singapore. He then returned to Jakarta and became a successful entrepreneur specializing in agriculture and food industry. In 2004\, he became obsessed with the contemporary art and began to research for the art collection. Budi Tek built up his Yuz Collection over a decade\, and as a top Asian collector\, he spans his collection to contemporary art from the East and the West. His Chinese contemporary is regarded as one of the most significant collection internationally\, predominantly from the period of the early 1980s to the late 1990s. The Yuz Collection of western contemporary art ranges from mega size installations to German post-war paintings to young artists’ NEW ART. For Budi Tek\, art is a sensory experience that is more important than the object itself. He generously exhibits and often lends his collection to other accredited art institutions in order to create an understanding of Chinese contemporary art worldwide. \n  \nBudi Tek has been granted many honors in the field of contemporary art: he was elected “10 Most Influential Art Figures” by Art+Auction Magazine in 2011\, and “The Power 100” of 2012 and 2013 by Art Review\, “100 Most Influential Art Figures” by Artnet in 2015\, etc.
URL:https://onarto.com/art-event/yuz-museum-charlie-chaplin-a-vision/
LOCATION:Yuz Museum\, 35\, Fenggu Road\, Xuhui District\, Shanghai\, Shanghai\, China
CATEGORIES:Art Exhibitions,Other Events
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BEGIN:VEVENT
DTSTART;TZID=Asia/Bangkok:20180609T110000
DTEND;TZID=Asia/Bangkok:20180727T180000
DTSTAMP:20260607T232211
CREATED:20180615T064718Z
LAST-MODIFIED:20190503T023305Z
UID:26424-1528542000-1532714400@onarto.com
SUMMARY:Rossi & Rossi - Billy apple six decades 1962 – 2018
DESCRIPTION:Rossi & Rossi is pleased to announce the exhibition Billy Apple®Six Decades 1962–2018\, taking place from 9 June to 27 July in Hong Kong. Regarded as a pivotal artist in the British and New York pop and conceptual art movements of the 1960s and ’70s\, Billy Apple’s examination and promotion of an identity\, and his uncompromising and singular means to do so\, place him amongst the most idiosyncratic artists of our time. Rossi & Rossi’s presentation tracks his practice over three continents and six decades through seminal works from each period. Apple will give a public talk with Christina Barton\, the exhibition’s curator\, on 9 June at 3:00 p.m.\, followed by a reception at the gallery. \nBorn Barrie Bates in Aucklandin 1935\, the artist enrolled at the Royal College of Art\, London\, in 1959. There\, he studied graphic design alongside Derek Boshier and David Hockney\, taking a transformative trip with the latter to New York City in 1961. Upon graduating\, he bleached his hair and changed his name to Billy Apple\, reinventing himself as an artistic brand. This act is documented in the photographic self-portrait\, Billy Apple Bleaching with Lady Clairol Instant Crème Whip\, November 1962(1962/1997)\, a defining work in the artist’s oeuvre. \nAlso on view is Self-Portrait (Apple Sees Red on Green)(1962/1963)\, one of the six surviving canvases from the original series of twelve that was shown in Apple’s first solo exhibition\, Apple Sees Red: Live Stills\, at Gallery One in London in April 1963. The work resemblesa publicity shot that is intended to herald a new brand or product. While Apple’s naked neck and shoulders suggest rebirth\, the form and pose of the image reads like a mugshot. It exemplifies Apple’s distinctive manifestation of pop art\, which drew on the language of advertising to convey his own rebranding as a way of blurring the distinction between art and life\, as well as people and products. \nIn 1964\, Apple moved to New York\, where he produced and exhibited pop-related paintings and objects alongside Andy Warhol\, Jasper Johnsand Claes Oldenburg­\, notably in the now-legendary exhibition\, American Supermarket. In the ensuing years\, Apple pursued new and varied consumer technologies to aid his art production-promotion\, exploring the mediums of xerography\, as seen in Portrait of the Artist in a Drip-Dry Suit (Purple)(1964)\,and neon\, as in Four Blue Knots for R. D. Laing(1966/2017). \nBy 1969\, Apple had shifted to a more conceptual and process-oriented practice. To create a venue for his work\, he established APPLE\, a not-for-profit space at 161 West 23rd Street\, which he operated between October 1969 and May 1973. There\, Apple embarked on a systematic exploration of his ‘negative condition’ principle. One aspect of the principle involved declaring as ‘art’ a set of cleaning actions more associated with domestic maintenance: sweeping\, vacuuming\, mopping and washing.  These actions are documented in the exhibition via Four Activities: Sweeping\, Vacuuming\, Mopping\, Washing\, 20 March 1971(1971)\, a suite of vintage photographs. \nThe process of removal was more formally depicted in a set of three works on paper\, Self-Elimination Portrait\, 27 March\, 1974(1974)\, which were printed for amajor survey of the artist’s work staged at the Serpentine Gallery in London in 1974. In this process\, the image of Apple ‘dissolves’. The portrait is the third of several the artist has had taken by professional photographers over his career\, each adopting the identical format of the full-frontal\, head-and-shoulder shot. \nSince the early 1980s\, Apple has complemented his installation practice with text-based works that draw attention to the art system and highlight the artist’s social networks. These relationships are represented in the exhibition with works such as Bartered (Untransacted)(1984/2018) andIOU(Untransacted)(1987/2018)\, as well as Paid: The Artist Has to Live Like Everybody Else(1995/2018)\, an ongoing series in which the artist invites buyers to pay one of his personal bills. In exchange\, they receive the invoice mounted on a printed\, framed card. \nBy blurring the boundaries between art and artist\, art and life\, and art and commerce\, Apple’s gradual transformation from an individual artist into a brand culminated in 2007\, when he registered his name as a trademark. He has worked on a range of projects to create branded products in the eight classes in which his trademark is registered\, including an attempt to produce a new commercially viable breed of apple. Developed together with horticulturalists and apple growers\, the cultivar is represented in the exhibition by the sculpture\, Class 31.Billy Apple®Cultivar (Red)(2007). \nThe exhibition concludes with a suite of works resulting from the artist’s collaborations with scientists\, comprising elements of a project known as The Immortalisation of Billy Apple®(2009–15). Part of an art-science experiment by biochemist Dr Craig Hilton\, Apple’s living somatic cells have been deposited in the American Type Culture Collection in Virginia\, in the United States\, where they will be kept in perpetuity for the purposes of scientific research. \n          Billy Apple®Six Decades 1962–2018 is accompanied by a limited-edition\, fully illustrated catalogue\, with an introductory essay by Wellington-based art historian Christina Barton. More information can be found at rossirossi.com. \n  \nABOUT THE ARTIST: \nBilly Apple® was born Barrie Bates in Auckland\, New Zealand\, in 1935. He left New Zealand in 1959 to study graphic design at the Royal College of Art in London. After graduating in 1962\, he changed his name to Billy Apple. In 1964\, he moved to New York\, where he produced pop-related paintings and objects followed by a body of neon sculptures\, showing at various venues\, including the Bianchini Gallery\, the Howard Wise Gallery and the Pepsi-Cola Gallery. \nBy 1969\, Apple had shifted to a more conceptual and process-oriented practice. To create a venue for his work\, he established APPLE\, a not-for-profit space at 161 West 23rd Street\, which he operated between October 1969 and May 1973. He also exhibited at various spaces in New York’s alternative art scene\, including 3 Mercer Street\, Holly Solomon\, Martha Jackson West and the Clocktower\, and for one year\, from 1975 to 1976\, was director of 112 Greene Street Gallery. \nA major survey of Apple’s work\, which brought together his British and American works from 1960 to 1974\, was staged at the Serpentine Gallery in London in 1974. The artist remained in New York until 1990\, continuing to exhibit his work at various venues\, including Leo Castelli Gallery (in 1977\, 1978\, 1980 and 1984). He also made two extended tours to New Zealand in 1975 and 1979–80\, producing site-specific installations in dealer and public galleries throughout the country. Since the early 1980s\, Apple has complemented his installation practice with text-based works that draw attention to the art system and highlight the artist’s social networks. A survey of these\, As Good as Gold: Billy Apple Art Transactions 1981–1991\, was organised and toured by Wellington City Art Gallery in 1991. \nBilly Apple® became a registered trademark in 2008. The artist has worked on a range of projects to create branded products in the eight classes in which his trademark is registered\, including a new breed of apple\, called the ‘Billy Apple’\, as well as ‘Billy Apple Cider’\, ‘Billy Tea’ and ‘Apple’s Blend’\, a mix of coffee beans. More recently\, he has been involved in several art-science collaborations that have seen his cells immortalised\, his genome sequenced and his DNA extracted and analysed for microbiome research. \nBased in Auckland\, New Zealand\, since the 1990s\, the artist has produced works that have been featured in major international and national exhibitions. These include: Toi Toi Toi: Three Generations of New Zealand Artists (Kassel & Auckland\, 1999)\, Global Conceptualism: Points of Origin\, 1950s–1980s (New York\, 1999)\, Kronos + Kairos: Über die Zeit in der Zeitgenössischen Kunst (Kassel\, 1999)\, Shopping: A Century of Art and Consumer Culture (Frankfurt & Liverpool\, 2002–03)\, American Supermarket (Pittsburgh\, 2002)\, Art & the ’60s from Tate Britain (Auckland\, 2006)\, Gold (Vienna\, 2012) and International Pop (Minnesota & Philadelphia\, 2016). More recent solo surveys include Billy Apple®: A History of the Brand and Revealed/Concealed\, both at the Witte de With Center for Contemporary Art in Rotterdam in 2009\, as well as Billy Apple®: The Artist Has to Live Like Everybody Else at Auckland Art Gallery in 2015. His works are in many public and private collections\, including the Solomon R. Guggenheim Museum\, New York; the Chrysler Museum of Art\, Norfolk\, Virginia; the Corning Museum of Glass\, Corning\, New York State; the Detroit Institute of Arts\, Detroit; the Museum of New Zealand Te Papa Tongarewa\, Wellington; Tate Britain\, London; and the Scottish National Gallery of Modern Art\, Edinburgh.
URL:https://onarto.com/art-event/rossi-rossi-billy-apple-six-decades-1962-2018/
LOCATION:Rossi & Rossi\, 3C Yally Industrial Building\, 6 Yip Fat Street\, Wong Chuk Hang\, Hong Kong\, Bangkok\, Hong Kong
CATEGORIES:Art Exhibitions,Other Events
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BEGIN:VEVENT
DTSTART;TZID=Asia/Bangkok:20180616T180000
DTEND;TZID=Asia/Bangkok:20180731T200000
DTSTAMP:20260607T232211
CREATED:20180616T025336Z
LAST-MODIFIED:20190503T022849Z
UID:26429-1529172000-1533067200@onarto.com
SUMMARY:Galerie du Monde - Joint Exhibition - Lin Yusi and Yeh Jen-Kun
DESCRIPTION:Joint Exhibition \nLin Yusi and Yeh Jen-Kun \nExhibition: June 16 – July 31\, 2018 \nOpening Reception: 6 – 8 pm on June 15\, 2018 \nGalerie du Monde\, 108 Ruttonjee Centre\, 11 Duddell Street\, Central\, Hong Kong \nGalerie du Monde is pleased to present a joint exhibition of emerging ink artists Lin Yusi (林于思) and Yeh Jen-Kun (葉仁焜)\, the first presentation of the two young artists’ work in Hong Kong. \nLin Yusi is widely regarded as one of the most skillful young Chinese brush painters working today. Lin believes there are two governing principles to Chinese ink painting – an expression of the soul and great techniques\, and integration of the two creates meaningful and exceptional works of art. He is fascinated with Chinese classical myths and literature such as Strange Tales (聊齋) and the Anecdotes about Spirits and Immortals (搜神記). Lin works predominantly on conceptual fable painting\, using a combination of the meticulous ‘gong bi’ (工筆) and the freestyle “xie yi” (寫意) techniques to convey the traditional untraditionally. ‘Gong bi’ is a realist technique in Chinese painting that incorporates intricate details and vivid colors to portray narrative scenes\, often featuring figures. “Xie yi” is also known as literati painting\, which emphasizes the artist’s personal expression over accuracy and details. \nThe body of work showcased in this exhibition demonstrates Lin’s diversified expression of ink and his narrative of the relationship between humanity and nature. Lin’s landscapes carry traces of traditional painting style from the Song dynasty. Painting from the Song period was grounded in the Taoist philosophy that humans are tiny specks in a vast and greater cosmos. Observe the miniscule human and animal figures in comparison to the surrounding landscape\, the proportion between the character and scenery in Lin’s paintings depicts the traditional Chinese view of mankind as small and insignificant in relation to the natural world\, and the existential perspective of loneliness. Lin’s use of monotone ink\, fine and freehand brushstrokes creates an ethereal and dream-like tone in his works\, and he is skilled at capturing the light and negative space to create a strong composition. \nIn contrast to Lin Yusi’s exploration of humanity and nature\, Yeh Jen-Kun delves into the relationship between humanity and the urban city\, a man-made world. People often associate a metropolis with tall buildings\, mass transit and busy sidewalks but Yeh depicts the city as an uncanny lost space. The ‘uncanny’ is a Freudian concept – a psychological experience that locates the strangeness of the familiar\, confronting the subject with the unconscious\, repressed desire. Since 2008\, Yeh began to create a series of landscape paintings that evoke memories of a city based on what lives in his mind through reconstructing and assembling. In the process\, Yeh painstakingly excavates pieces of memories that connect self and space. The ruin-like cement structures in Yeh’s works respond to the desolate spaces that have been neglected in real life. Yeh’s paintings exude a subtle surrealistic and dream-like ambiance. Yeh does not deliberately refer to any time or space\, yet his works retain a sense of familiarity to viewers. \nYeh’s ways of creating are never bound by conventional techniques. He is one of the leading artists to experiment with Eastern gouache in Taiwan and believes the medium and textures are as important as the strong visual presence that governs his works. In the body of work featured in this exhibition\, he has fused techniques of traditional ink and wash paintings with gouache and silver foil\, to project the emotions he experiences in this contemporary society. Yeh expresses the feelings of alienation\, frigidness and solitude through the concrete-like greys and the deep and dark blues in his paintings. Sharp lines\, heavy shades of blue and omnipresent concrete structures are dominating elements that make his works readily recognizable. \n“Lin Yusi and Yeh Jen-Kun are part of a new generation of ink artists that address the intellectual and cultural issues of contemporary society through a new pictorial language\, exploring the traditional Chinese artistic language with new art forms and mediums. Galerie du Monde is delighted to collaborate with these emerging young artists and host their first exhibition in Hong Kong.” \n– Fred Scholle\, Founder and Chairman of Galerie du Monde
URL:https://onarto.com/art-event/galerie-du-monde-joint-exhibition-lin-yusi-and-yeh-jen-kun/
LOCATION:Galerie du Monde\, Shop 107-8\, 1/F.\, Ruttonjee Centre\, 11 Duddell Street\, Central\, Hong Kong\, Hong Kong
CATEGORIES:Art Exhibitions,Other Events
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BEGIN:VEVENT
DTSTART;TZID=Asia/Bangkok:20180622T110000
DTEND;TZID=Asia/Bangkok:20180923T190000
DTSTAMP:20260607T232211
CREATED:20180618T113734Z
LAST-MODIFIED:20190502T095547Z
UID:26474-1529665200-1537729200@onarto.com
SUMMARY:100 Tonson Gallery - Dusadee Huntrakul - There are more monsoon songs elsewhere
DESCRIPTION:“There are More Monsoon Songs Elsewhere”\nby Dusadee Huntrakul \nOpening Reception : Friday 22nd June 2018\, 7:00pm onwards \nThe exhibition features new works on paper\, found photographs and special sculpture installation by the artist in collaboration with Naroot Pitisongswat of Flo Furniture to present his new ceramic pieces. \n“There are More Monsoon Songs Elsewhere” (2018) is a series of hyper-real drawings of prehistoric Ban Chiang bracelets that dated back ±3\,000 years ago. The original bracelets are now in the collection of LACMA (Los Angeles County Museum of Art). These prehistoric Ban Chiang artifacts were accidentally found by an American student who were researching for his senior thesis during the summer of 1966 in the northeastern part of Thailand. This discovery was considered to be a major breakthrough in Southeast Asian archeology as it predicated Southeast Asian as an autonomous Bronze Age that weren’t owed its metallurgy advancement from its neighboring countries like India and China.Even though the artifacts has been surfaced before but it was brought to attention by the help of the United States government which led to major archeological excavations of the site and further studies\, however this could be seen as a Post Vietnam by-product of US imperialism as well as to serve their geopolitical agenda of replacing Indochina governments with liberal democracies to win against the influence of communism. \nAlong with the drawings of Ban Chiang bracelets and bangles\, Dusadee also presents a series of photographs “Artifacts” (2007) of which he accidentally found in a drawer of an old cabinet in a thrift store on Wilshire Boulevard in Los Angeles. The photographs depict women leisurely laid on the beach in their bikinis captured by then periodic gaze of technology and its bearer. While the identity of these women remained unclear but together with the prehistoric bracelets\, evoke the sense of its wearer and perhaps mirroring simultaneously a parallel egalitarian lives with leisure- laced capitalism of both ancient and recent where they can all be envisioned as skilled hunter- gatherers\, taxpayers\, and both actively participated. \nIn this exhibition Dusadee also present his new ceramic pieces with sculpture installation designed by Naroot Pitisongswat of Flo Furniture. Dusadee came across Flo’s famous design “Dinsor (pencil)” which structurally composed of hexagon wood profiles that resembles pencils\, a tool used for drawing\, something fundamentally accessible and protean. As a cross-over between designed object and sculpture\, Niroot offers visions of living and theatric of lives both inside and outside. When as Dusadee’s ceramic works\, as the artist stated “I make objects to remember the lives of those around me and clay has potential to open up how becoming addresses its materiality\, economy\, technology of the making. With hand built figurines\, I want to suggest that information and empathy can be realised through represented touch” \n100 Tonson Gallery cordially invites all visitors to the opening reception on Friday 22 June 2018\, 7:00pm onwards. The exhibition will be on view from 22 June until 23 September 2018\, Thursday – Sunday\, 11:00 am – 7:00 pm \nStay tune on the exhibition\, “There are Monsoon Songs Elsewhere”\, \n  \nFor more information please contact us via info@100tonsongallery.com or call (+66)2-510-5813 \n  \n  \nDusadee Huntrakul (b.1978\, Bangkok) Lives and works in Bangkok. He received his MFA from University of California Berkley in 2013. His solo exhibition has been held at Chulalongkorn Art Center in Thailand\, Chan+ Hori Contemporary in Singapore and selected as a part of Brandnew Art Project\, Thailand. \nHis work has been included in numerous group exhibitions such as \n\nMori Art Museum\, Japan (2017);\nOakland Art Museum co-organized by SFMOMA\, USA (2014);\nSingapore Biennale\, Singapore (2013);\nICA Lasalle organized by Palais de Tokyo in Singapore (2015)\nBerkley Art Museum\, USA (2013)\nand the first edition of Thailand Biennale (upcoming)
URL:https://onarto.com/art-event/100-tonson-gallery-dusadee-huntrakul-there-are-more-monsoon-songs-elsewhere/
LOCATION:100 Tonson Gallery\, 100 Soi Tonson\, Ploenchit Rd.\, Lumpini\, Pathumwan\, Bangkok\, 10330\, Thailand
CATEGORIES:Art Exhibitions,Other Events
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BEGIN:VEVENT
DTSTART;TZID=Asia/Bangkok:20180622T110000
DTEND;TZID=Asia/Bangkok:20180901T180000
DTSTAMP:20260607T232211
CREATED:20180622T072650Z
LAST-MODIFIED:20190502T095611Z
UID:26488-1529665200-1535824800@onarto.com
SUMMARY:House of Lucie - Spotlights on reza
DESCRIPTION:Join us on Friday\, June 22 for the launch of Spotlights on Reza (2009 Lucie Award for Achievement in Documentary Photography) at House of Lucie. The exhibition presents 30 of Reza Deghati’s most iconic images. \nVisitors Information:\nDates: June 22 – Sep 1\, 2018\nOpening hours: 11am-6pm every day\nFree Admission\n________________ \n  \nAbout Reza Deghati\n(Text by Tim Mantoani) \nA philanthropist\, idealist\, humanist\, Reza’s career began with studies in architecture. He has gone on to become a renowned photojournalist who\, for the last three decades\, has worked all over the world\, notably for National Geographic. His assignments have taken him to over a hundred countries as a witness to humanity’s conflicts and catastrophes. His work is featured in the international media (National Geographic\, Time Magazine\, Stern\, Newsweek\, El País\, Paris Match\, Geo…)\, as well as a series of books\, exhibitions and documentaries made for the National Geographic Channel. \nAlong with his work as a photographer\, since 1983 Reza has been a volunteer committed to the training of youths and women from conflict-ridden societies in the language of images\, to help them strive for a better world. In 2001\, he founded Ainaworld in Afghanistan\, a new generation NGO which trains populations in information and communications through the development of educational tools and adapted media. While pursuing his reportages for international media outlets\, Reza has continued to conduct workshops on the language of images in a variety through his association Reza Visual Academy. He works with refugees\, urban youths in Europe and others from disadvantaged backgrounds. \nAfter his work\, Mémoires d’Exil (“Memories of Exile”) shown at the Louvre Carrousel in 1998\, he has shared his humanitarian vision through a series of monumental installations: Crossing Destinies\, shown on the grilles of the Luxembourg Gardens in Paris\, One World\, One Tribe in Washington DC\, and the Parc de la Villette in Paris\, War + Peace at the Caen Memorial and on the banks of the Garonne in Toulouse\, Hope in Doha (Qatar)\, Windows of the Soul in Corsica\, Soul of Coffee\, 250 photographic exhibitions throughout the world\, including major installations on the banks of the Seine\, or at Kew Gardens in London\, Land of Tolerance at the UN Headquarters in New York\, the European Parliament in Brussels\, as well as UNESCO in Paris. In 2014\, Azerbaijan: the Elegance of Fire\, presented at the Petit Palais revealed a little-known people with an ancestral culture\, turned towards modernity. Finally\, the giant panorama A Dream of Humanity was featured along the banks of the Seine during the summer of 2015\, showing portraits of refugees around the world taken by Reza and photographs taken by refugee children in Iraqi Kurdestan who were trained as “camp reporters” at the workshops organized by Reza Visual Academy. \nAuthor of thirty books\, and a recipient of many awards over the course of his career\, Reza is a Fellow (2006-2012) and Explorer of the National Geographic Society since 2013\, and a Senior Fellow of the Ashoka Foundation. His work has been recognized by World Press Photo; he has also received the Infinity Award from the International Center of Photography\, the Lucy Award\, an honorary medal from the University of Missouri and the honorary degree of Doctor Honoris Causa from the American University of Paris. France has also appointed him a Chevalier of the National Order of Merit.
URL:https://onarto.com/art-event/house-of-lucie-spotlights-on-reza/
LOCATION:House of Lucie\, 1 Ekamai soi 8\, Bangkok\, Bangkok\, 10110\, Thailand
CATEGORIES:Art Exhibitions,Photography Exhibition
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BEGIN:VEVENT
DTSTART;TZID=Asia/Bangkok:20180622T180000
DTEND;TZID=Asia/Bangkok:20180728T200000
DTSTAMP:20260607T232211
CREATED:20180617T021514Z
LAST-MODIFIED:20190502T095505Z
UID:26433-1529690400-1532808000@onarto.com
SUMMARY:Tang Contemporary Art Hong Kong - Wang Yuping - Tedious Paradise
DESCRIPTION:Wang Yuping “Tedious Paradise”  \nArtist: Wang Yuping\nCurator: Guo Xiaoyan\nExhibition Dates: June 22 – July 28\, 2018\nLocation: 10/F\, H Queen’s\, 80 Queen’s Road Central\, Central\, Hong Kong\nOpening Reception: Friday\, June 22\, 6 – 8 pm \nTang Contemporary Art Hong Kong is proud to announce the opening of Wang Yuping’s all-new solo exhibition “Tedious Paradise” at H Queen’s on June 22\, 2018. Curated by Guo Xiaoyan\, the exhibition primarily showcases work Wang made while traveling in Thailand\, including the locally-flavored Tuk Tuk and Lady Boy\, the water colour series Cat\, and the small Starbucks works. The exhibition will also present Beihai Park\, his Beijing sketch series acclaimed for its relaxed\, virtuoso technique. When shown together\, the works are both moving and delightful. \nIn looking at Wang Yuping’s paintings\, we are often unintentionally influenced by things that we never expected\, but we are also inexplicably moved by the richness of the images\, first by the special emotional quality achieved through his contemplation of the medium\, and second\, by the colours of his painting. Here\, we can see the truth of painting\, namely that they always contain deep perceptions\, even if they are often ignored. Wang Yuping uses his distinctive painting language and combination of paint to put on a banquet\, showing people that he is an artist who continues to create pictorial magic. \nHis paintings most often come from reality and memories. Reality is the ordinary lived landscape of cities\, streets\, and people in an era in which time passes too quickly; time flows like water even in our memories\, allowing us to feel the afterglow. Wang Yuping uses simple\, languid\, and quiet emotion to depict the Beijing in which he lives\, but those leaping\, obvious\, and enthusiastic colours show that he has never abandoned the core of painting\, namely\, the the joy of physical\, breathing colour. With regard to Wang’s use of colour in his paintings\, the writer Ah Cheng once analyzed it in this way: “Wang Yuping excels at shading. Many people do not do it well and cannot find the right relationships. Wang’s pairing of grey tones and shading is incisive\, sensitive\, and charming.” \nThis Hong Kong exhibition tells the story of his ordinary\, relaxed days in Bangkok and Chiang Mai. Wang Yuping said that\, more than ten years ago\, he traveled to Thailand often. In his eyes\, Thailand was a friendly\, easy place where people coexisted harmoniously with the natural environment\, but the longer he stayed\, the more he felt that it was too comfortable and empty— a “tedious paradise.” On this trip to Bangkok\, he lived in an alley apartment\, a quiet place just off Wang Yuping working on Lady Boy series visual sensation of colour\, and \na busy street. He went to Starbucks every day to eat breakfast\, and he liked to sit there and watch the world go by. The Westerners there made him think of pirates\, and he was cheered by a pretty Thai woman walking slowly down the street. He sat there staring\, thinking that the world was both tedious and wonderful. The 24 Starbucks works in the exhibition present these interesting figures and scenes\, randomly captured on paper napkins. \nHe also focused on several things that always made him curious: tuk tuks\, lady boys\, and cats. As the most common mode of transportation in the country\, tuk tuks are everywhere on the streets of Bangkok and Chiang Mai. They are convenient and cheap\, weaving through the congested streets; in Wang Yuping’s eyes\, the magnificent interiors and exteriors of the tuk tuks are spots of nostalgic warmth in the city. He painted the tuk tuks from the driver’s perspective\, facing the street as cats scurry across the road. These tuk tuks are painted in warm\, bright colours and riding one through the streets and alleys is like floating in a dream. The number of lady boys has increased since the 1990s\, and international commercial interests have allowed Thailand to turn them into commodities for tourists. Most tourists who go to Thailand are searching for novelty when they go to see lady boy performances. Wang Yuping wanted to understand what they were really like\, so he invited two lady boys to serve as models\, interacting closely with them. He discovered that they had healthy mindsets; they were more accepting of themselves\, they loved themselves more\, and they thought themselves more beautiful than women. This authentic encounter and understanding allowed Wang to paint these healthy\, quick-witted\, and powerful lady boys. \nIn this body of work on Thailand\, he chose to use acrylic and oil pastel on canvas\, as well as paper. His casual\, detached images bring us back to vacation. Paintings (figures)\, like words\, are visible\, and when people look at the paintings\, it’s like looking at the figures. The figures exist in these two-dimensional paintings\, but we are actually looking into the depths\, the depths of memory. \nWang Yuping entered the Central Academy of Fine Arts (CAFA) in Beijing\, China in 1983. Since he graduated in 1989\, he has been teaching in the Oil Painting Department of CAFA. He is known for his gritty\, comic book style portraits of urban life in China. \nThe creative source of artist Wang Yuping is an expression on the basis of an experience in survival\, the selection of subject matter focuses on the description of the plot of reality\, and of an excellent “frosty coquettish” and “humorous” performance. He often uses a sketching technique\, focusing on trifles and the state of ordinary people\, to record\, clip and transform the fragments\, dispelling and releasing his experience\, memory\, hobbies and interests. \nIn 1997\, he participated in the 47th Venice Biennial. His works have exhibited in various notable exhibitions in China and abroad and have been collected by the National Art Museum of China. In 2017\, Wang Yuping had a solo exhibition “Jingshan Hill St.” at Tang Contemporary Art Beijing.
URL:https://onarto.com/art-event/tang-contemporary-art-hong-kong-wang-yuping-tedious-paradise/
LOCATION:Tang Contemporary Art Hong Kong\, 10/F\, H Queen's\, 80 Queen's Road Central\, Hong Kong\, Hong Kong\, Hong Kong\, Hong Kong
CATEGORIES:Art Exhibitions,Other Events
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Asia/Bangkok:20180623T170000
DTEND;TZID=Asia/Bangkok:20180722T190000
DTSTAMP:20260607T232211
CREATED:20180606T051841Z
LAST-MODIFIED:20190502T095458Z
UID:26321-1529773200-1532286000@onarto.com
SUMMARY:Chan + Hori Contemporary - Langkawi (1976 - 1980) by Latiff Mohidin
DESCRIPTION:LANGKAWI (1976 – 1980) by Latiff Mohidin D/SINI Festival 2018\, From the Studio Series\nCurated by Khairuddin Hori \nExhibition Dates: 23 June – 22 July 2018\nArtist Conversation: 23 June 2018\, 15:30 – 17:00\n(Free event but RSVP required at https://bit.ly/2IOfg1x)\nOpen to Public: 23 June 2018\, 17:00 – 19:00 \nVenue: Chan + Hori Contemporary\, 9 Lock Road\, #03-21\, Block 9\, Gillman Barracks\, Singapore 108937 (Tel: +65 6338 1962) \n  \nAfter delivering the groundbreaking Pago-Pago (1964 – 1969) and Mindscape (1973 – 1974) series that exhilarated the Malaysian art scene\, Latiff Mohidin re-emerged a couple of years later with Langkawi. Inspired by his time in meditation at the seaside\, these ‘sculptural paintings’ are named after the western Malaysian archipelago comprising 99 islands on the Straits of Malacca that is well-known for its mythical tales and landscapes. \nUnlike the commanding brush strokes and fluidity of Pago-Pago and Mindscape\, Langkawi is reserved\, calculated and meticulously composed. Each is graphic in design and evokes symbolic implications suggestive of Islamic domes\, rafts\, battle shields\, wall plaques\, windows and portals to sacred places. Langkawi\, of course\, did not emerge without genealogy. In a process that spanned more than a decade\, evident motifs – particularly the roofed triangulation\, capsule\, domes and stupa-like shapes – could be traced to both Pago-Pago and Mindscape. Its palette and character has been described relative to folk cultures and architecture from the Malay Archipelago. Through mastery in painting and carpentry\, the sculptural forms of Langkawi engage viewers to step around and explore their protruding surfaces and distinctive outlines. And\, amidst their quietness and mindfulness\, Langkawi affords viewers pockets for respite and meditation. \n  \nLatiff Mohidin Biography\nLatiff Mohidin was born in Seremban\, Malaysia in 1941. He currently resides in Penang\, where his home and studio are located. Wellestablished in the canons of Southeast Asian modern painting and Malay literature\, the artist was dubbed ‘boy-wonder’ after his first solo exhibition at the age of ten. He responds to and finds the primary inspiration for his works through nature. In May 1974\, Latiff led the announcement of a manifesto on the formation of Kumpulan Anak Alam (Collective of Children of Nature). The collective consisted of artists\, performers and writers who committed to relating to each other as a community. They engaged in activities such as poetry recitals\, auctions\, performances and even boxing bouts. \nPak Latiff\, as he is affectionately called\, spent his early years in Singapore – studying at the Kota Raja Malay School and English School Mercantile Institution in the early 1950’s. On a German scholarship\, he went to study at the Hoschule der Künste (Academy of Fine Arts) in Berlin (1960 – 1964). Upon his return\, Latiff embarked on an extensive tour of Southeast Asia and spent much time engaged with the landscape of Southeast Asia. This led to the publication of his first poetry anthology titled Sungai Mekong (Mekong River\, 1979). On a French Ministry scholarship\, he took up printmaking at Atelier La Courrière\, Paris in 1969 and enrolled at Pratt Institute in New York on a John D. Rockefeller III scholarship later in the same year. \nHis early series of paintings\, Pago-Pago (1964 – 1969) and Mindscape (1973 – 1974) claimed critical success and added intellectual weight and substance to the painting scene in Malaysia and Southeast Asia. These successes were followed by the groundbreaking series titled Langkawi (1976 – 1980)\, where he presented a combination of painting and sculpture for each piece. Other major series of works include Rimba (1998)\, Voyage (2007) and Serangga (2013). Between his literary publications\, Latiff also won various Malaysian National Literary Awards (from 1972 – 1976\, 1984 and 1986) and the South East Asian Write Award in 1984. In 2013\, he translated Johann Wolfgang von Goethe’s Faust into Malay. \n  \nLatiff Mohidin CV\nEducation\n1950 Malay School Kota Raja\, Singapore\n1951 English School Mercantile Institution\, Singapore\n1954 English School King George V\, Seremban\, Negeri Sembilan\n1960 Hochschule für Bildende Künste\, Berlin\, Germany\n1969 Printmaking\, Atelier La Courrière\, Paris\, France\n1969 Printmaking\, Pratt Institute\, New York\, U.S.A. \nSelected Solo Exhibitions\n1951 First exhibition\, Malay School Kota Raja\, Singapore\n1961 Frankfurter Kunstkabinett\, Frankfurt-am-Main\, Germany\n1961 Ladengalerie\, Berlin\, Germany\n1964 Bangkapi Gallery\, Bangkok\, Thailand\n1966 Balai Ampang\, Kuala Lumpur\, Malaysia\n1968 British Council\, Singapore\n1968 TRIO Gallery\, Bangkok\, Thailand\n1969 Galeri 11\, Kuala Lumpur\, Malaysia\n1971 British Council\, Kuala Lumpur\, Malaysia\n1971 1st Open-Air Art Exhibition\, Taman Jaya\, Petaling Jaya\, Selangor\n1971 Alpha Gallery\, Singapore\n1972 Commonwealth Institute Art Gallery\, London\n1973 Retrospective Exhibition\, National Art Gallery\, Kuala Lumpur\, Malaysia\n1976 Dewan Tunku Canselor\, Universiti Malaya\, Kuala Lumpur\, Malaysia\n1977 215 Jalan Macalister\, Penang\n1979 Langkawi\, Arca Dinding\, Museum & Gallery\n1980 Dewan Canselor Tun Abdul Razak\, Universiti Kebangsaan\, Bangi\n1983 Wooden Structures & Metal Sculptures\, Universiti Kebangsaan\, Bangi\n1983 Mindscape\, Australian High Commission\, Kuala Lumpur\, Malaysia\n1988 Gelombang\, Maybank Art Gallery\, Kuala Lumpur\, Malaysia\n1994 Pago-Pago to Gelombang\, 40 Years of Latiff Mohidin\, Singapore Art Museum\n1998 Rimba\, Galeri Petronas\, Kuala Lumpur\, Malaysia\n2007 Voyage/Kembara\, Galeri Petronas\, Kuala Lumpur\, Malaysia\n2009 The Journey to Wetlands and Beyond\, Singapore Art Museum\n2012 Serangga\, Bank Negara Malaysia\, Kuala Lumpur\, Malaysia\n2012 Pameran 60 Tahun Latiff Mohidin Retrospective Exhibition\, National Art Gallery\, Kuala Lumpur\n2014 Seascape\, Recent Paintings 2010 – 2014\, Singapore and Kuala Lumpur\n2016 Latiff Mohidin\, Modern Sculptures 2007 – 2015\, The Edge Galerie\, Mont Kiara\n2018 Latiff Mohidin Pago-Pago (1960 – 1969)\, Centre Pompidou\, Paris\, France \nAwards\n1953 1st Prize & Special Prize in Oil Painting\, Malaysian AgriHorticulture Association\, Kuala Lumpur\n1957 3rd Prize in Art & Photography\, Malayan Independence (Merdeka) Trade Fair\, Kuala Lumpur\n1958 Honourable Mention\, 2nd Young Artists Exhibition\, British Council\, Kuala Lumpur\n1960 DAAD\, German Academy Student Exchange Scholarship\, Bonn\n1968 2nd Prize Graphics\, Honourable Mention in Other Media\, Salon Malaysia\, National Art Gallery\, Kuala Lumpur\n1969 French Ministry of Culture Scholarship\, Paris\, France\n1969 John D. Rockefeller 3rd Fund Scholarship\, New York\, U.S.A.\n1972 Literary Awards from 1972 to 1976\, Government of Malaysia\n1977 Creative Fellow\, Universiti Sains Malaysia\, Penang\n1980 Guest Artist\, Universiti Kebangsaan Malaysia\, Bangi\n1984 S.E.A. Write Awards\, Bangkok\, Thailand\n1984 Literary Award from 1982/1983\n1986 Literary Award from 1984/1985\n1988 Guest Writer\, Dewan Bahasa dan Pustaka\, Kuala Lumpur \nLiterary Works\nLatiff Mohidin has translated works such as Gintajali (1986)\, Woyzeck (1987)\, Tao Te Ching (2007) and Faust (2012) into Malay.
URL:https://onarto.com/art-event/chan-hori-contemporary-langkawi-1976-1980-by-latiff-mohidin/
LOCATION:Chan + Hori Contemporary\, 6 Lock Road\, #02-09\, Singapore\, 108934\, Singapore
CATEGORIES:Art Exhibitions,Other Events
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BEGIN:VEVENT
DTSTART;TZID=Asia/Bangkok:20180630T080000
DTEND;TZID=Asia/Bangkok:20180812T170000
DTSTAMP:20260607T232211
CREATED:20180612T022728Z
LAST-MODIFIED:20190502T095452Z
UID:26384-1530345600-1534093200@onarto.com
SUMMARY:Mizuma Gallery - Ohata Shintaro - Resonate
DESCRIPTION:OHATA Shintaro\nResonate\n30 June – 12 August 2018\nOpening reception: Saturday\, 30 June 2018\, 4pm – 7pm \n  \nMizuma Gallery is pleased to announce Resonate\, a solo exhibition by Japanese artist\, Ohata Shintaro. Recognized for his body of works that seamlessly blends sculpture and canvas to produce playful and dreamy three-dimensional paintings\, Ohata depicts life-like scenarios of the simplest experiences in everyday life. With the sculpture placed in front of the canvas\, colours and textures merge flawlessly to form a single painting. On the surface of the sculpture\, each little piece of traditional Japanese paper of various colours is adhered meticulously\, creating a harmonious coherence that reverberates with the rest of the scenery. What sets him apart is his distinct style of controlling colours\, shade\, and light\, causing one to quickly assume that some kind of intense light source is present within his paintings. Through the use of similar tones to render the overall illumination\, he not only creates an atmospheric effect\, but also furthers the illusion of light in his paintings. This sense of dynamism and movement elevates the paintings to bring out an almost life-like quality. When Ohata turned 40 a few years ago\, he felt the need to reaffirm himself as an artist. Instead of focusing on his struggle to create great works that would make his art more convincing and powerful\, he chose to capture these beautiful moments of everyday life and rebirth them as something fundamental and eternal by painting them. Through his works\, he hopes to pass on those splendid moments to the viewers. The feeling of reminisce is predominately captured in Ohata’s paintings. Through his eyes\, we witness the dazzling and enfolding light of sunset\, city roads on a rainy day\, and the gleaming fluorescence of convenient stores at night. Amidst the rapid speed of life\, Ohata urges audience to pause for a moment and take a breather. For his first solo exhibition in Singapore\, Ohata showcases a recent painting Deep Breath\, that was drawn from his interest in Singapore’s Gardens by the Bay. To him\, nature has been a fundamental part of this world since the beginning of time and it will never change regardless of human’s existence. In Gardens by the Bay\, nature and contemporary architecture seem to blend seamlessly. It was this fusion of old and new elements that he was interested in and wanted to incorporate into his painting. \n  \nAbout the Artist  \nOHATA Shintaro (b. 1975\, Hiroshima\, Japan) is a painter known to create artworks that depict little things in everyday life. The artist is renowned for his style of placing sculptures in front of paintings\, combining both the 2D and 3D worlds. “By doing so\, I believe that the viewers could feel the atmosphere of my works more lively and dynamically. I had been seeking for a way to give more realistic feel to my piece without changing my painting style\, and then I got inspired by the painting in the backgrounds of film and theatre.” This became one of the most significant turning points in his career. Some of Ohata’s selected solo exhibitions include the recent Resonate at Mizuma Gallery\, Singapore (2018)\, Everyday Life at YUKARI ART CONTEMPORARY\, Tokyo\, Japan (2011)\, and Luminous at gallery4walls\, Seoul\, South Korea (2010). He has also participated in numerous group exhibitions in United States\, Singapore\, South Korea\, and Japan. Ohata was shortlisted for the category of Installation & Sculpture at the Celeste Prize (2009)\, and at the GEISAI #10 (2006)\, he received the WWD Japan award\, DENTSU award\, GIANT ROBOT award\, and yukari-art\, Inc. award. Ohata’s artworks can be found on the publication cover of Tokyo Soundtrack (Italian edition) by novelist Hideo Furukawa (2018)\, and on the CD jacket of Daylight and Suiyoubi no Wine by Rika Shinohara (2001). His artwork is in the public collection of the Takahashi Collection (Japan). Ohata Shintaro lives and works in Kanagawa\, Japan. \n  \nAbout the Gallery  \nMizuma Gallery was established in 1994 in Tokyo\, and since its opening in Gillman Barracks\, Singapore in 2012\, it aims for the promotion of Japanese artists in the region as well as the introduction of new and promising young talents from Southeast Asia to the international art scene. The gallery creates a new vector of dialogue within Asia\, by exchanging art projects between East Asia and Southeast Asia. \n  \nAbout Gillman Barracks  \nSet in a former military barracks dating back to 1936 and surrounded by lush tropical greenery\, the Gillman Barracks visual arts cluster was launched in September 2012. Gillman Barracks’ vision is to be Asia’s destination for the presentation and discussion of international and Southeast Asian art. Today\, Gillman Barracks is a place for art lovers\, art collectors\, and those curious about art. The cluster is a focal point of Singapore’s arts landscape\, and anchors the development of visual art in the region and beyond. For more information: www.gillmanbarracks.com
URL:https://onarto.com/art-event/mizuma-gallery-ohata-shintaro-resonate/
LOCATION:Mizuma Gallery\, Singapore
CATEGORIES:Art Exhibitions,Other Events
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BEGIN:VEVENT
DTSTART;TZID=Asia/Bangkok:20180630T110000
DTEND;TZID=Asia/Bangkok:20180908T190000
DTSTAMP:20260607T232211
CREATED:20180725T085711Z
LAST-MODIFIED:20190502T095445Z
UID:26714-1530356400-1536433200@onarto.com
SUMMARY:Empty Gallery - Catherine Christer Hennix - Thresholds of Perception
DESCRIPTION:Thresholds of Perception is the first exhibition in Asia and the most comprehensive gallery survey to date showcasing the work of Swedish avant-garde composer\, poet\, mathematician\, and visual artist Catherine Christer Hennix (b. 1948). \n  \nHennix’s work was deeply influenced by her early years in 1970s Downtown New York where she cultivated lasting friendships with a number of key figures at the center of the scene’s artistic developments—including such luminaries as Henry Flynt\, Dick Higgins\, Alison Knowles\, Walter De Maria\, and perhaps most importantly\, La Monte Young and Marian Zazeela. It was through Young that Hennix met and eventually became the disciple of Hindustani musician Pandit Pran Nath whose ideas regarding sustained tones and non-Western tuning systems would become central elements in Hennix’s artistic practice. \n  \nThresholds of Perception looks both into and beyond her musical compositions\, for which she’s best known\, and serves as an introduction to the breadth and complexity of her visual practice and by extension\, her philosophical thought. Hennix received her peers’ artistic innovations through the lens of her unique academic background\, which involved studies in philosophy\, mathematics\, and computer science. Her studies have manifested\, too\, in a wide body of mathematical and philosophical texts that betray diverse influences\, such as Islamic philosophy\, linguistics\, Intuitionist mathematics\, and Noh theater. Hennix’s visual art\, often created as a complement or outgrowth of her music and writing\, can best be understood as an attempt to express her idiosyncratic system of thought through non-literary means. \n  \nFollowing Traversée du Fantasme\, Hennix’s recent solo exhibition at The Stedelijk Museum in Amsterdam\, Empty Gallery’s presentation showcases a mixture of re-imaginings and recreations of historical pieces drawn from Hennix’s notebooks\, including works from Toposes and Adjoints — her seminal 1976 exhibition at the Moderna Museet in Stockholm. These works collectively showcase Hennix’s gift for adapting formal strategies from minimalist painting and sculpture towards the function of expressing her own highly personal intellectual cosmology. \n  \nOn the gallery’s upper floor\, Hennix has installed a newly realized body of work dealing with the idea of “tuned waveforms” in their multiplicity as recursive aural\, visual\, spatial\, and conceptual phenomena. This space is dominated by a site-specific installation consisting of sustained sine-wave tones and slow-moving projections\, which Hennix has conceived partially in homage to La Monte Young and Marian Zazeela’s Dreamhouse. A series of light-boxes printed with visual representations of tuned waveforms—originally created at the EMS (Electronic Music Studio) in Stockholm during the 1970s—accompany the installation. \n  \nOn the lower floor\, Empty Gallery presents a series of reconstructed pieces from Hennix’s 1976 Toposes and Adjoints exhibition. These pieces include a series of minimalist stainless steel sculptures which Hennix intended as a response to Walter De Maria\, a frieze-like arrangement of self-invented glyphs which Hennix refers to as “infinitary drawings”\, and a pair of “soot paintings” in which squares of mirrored aluminum have been transformed into black monochromes through the gradual deposition of match soot. \n  \nDescribing these last works in relation to Hennix’s overall practice\, the poet Charles Stein has stated that “just as the soot paintings begin with a blank mirror space and end with a return to the original condition of blackness\, so too do Hennix’s theoretical structures build up from fundamentally ‘empty concepts’ and collapse all the structure generated back into a recapitulated emptiness at the end (while at the same time allowing a phantasmagorically rich array of mathematical structures and possibilities to shimmer before the contemplating intellect in passing).” This description could be taken as an apt summary of Hennix’s work as a whole\, in which modular concatenations of signs are mobilized\, not in order to communicate a specific meaning\, but in order to generate a space of reflection and self-illumination in the spectator. \n  \nAbout Catherine Christer Hennix (Lives and works in Berlin) \nCatherine Christer Hennix (b. 1948) started her creative career playing drums with her older brother Peter growing up in Sweden. In the mid-1960s she saw jazz luminaries such as John Coltrane\, Eric Dolphy\, Dexter Gordon\, Archie Shepp\, and Cecil Taylor perform at the Golden Circle\, Stockholm. Directly after high school\, Hennix went to work at Stockholm’s pioneering Elektronmusikstudion (EMS)\, where she helped develop early synthesizer and tape music. After traveling to New York In 1968\, she met Dick Higgins and Alison Knowles and developed a fruitful relationship with many composers in the burgeoning American avant-garde\, including\, most significantly\, Henry Flynt and La Monte Young. Young introduced Hennix to Hindustani raga master Pandit Pran Nath\, and she would later study intensively under him. During this time Hennix led the just-intonation live-electronic ensemble The Deontic Miracle\, drawing inspiration from Japanese Gagaku music and the early vocal music of late-Middle Age composers Perotinus and Leoninus. In 1976 the ensemble would perform Hennix’s original compositions as part of Brouwer’s Lattice at the Moderna Museet in Stockholm\, which was followed later that year at the same institution by Hennix’s first ever exhibition\, Topos and Adjoints. While Hennix continued to make music performing alongside Henry Flynt\, Marc Johnson\, Arthur Russell\, and Arthur Rhames\, she also served as a professor of Mathematics and Computer Science at SUNY New Paltz and as a visiting Professor of Logic (at Marvin Minsky’s invitation) at the Massachusetts Institute of Technology’s Artificial Intelligence Laboratory. She currently resides in Berlin\, Germany\, where she is active as a composer and writer. A two-volume collection of her writing is to be published by Blank Forms Editions\, as well as a series of archival recorded releases forthcoming through a co-production between Empty Editions and Blank Forms Editions.
URL:https://onarto.com/art-event/empty-gallery-catherine-christer-hennix-thresholds-of-perception/
LOCATION:Empty Gallery\, 18th & 19th Floor\, Grand Marine Center\, 3 Yue Fung Street\, Tin Wan\, Hong Kong\, Hong Kong\, Hong Kong
CATEGORIES:Art Exhibitions,Other Events
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BEGIN:VEVENT
DTSTART;TZID=Asia/Bangkok:20180705T080000
DTEND;TZID=Asia/Bangkok:20180909T170000
DTSTAMP:20260607T232211
CREATED:20180615T022910Z
LAST-MODIFIED:20180613T064504Z
UID:26405-1530777600-1536512400@onarto.com
SUMMARY:River City Bangkok - Photo Bangkok Festival 2018
DESCRIPTION:Photo Bangkok Festival 2018 \nThe Photo Bangkok Festival returns!\nPhoto Bangkok Festival (PBF) is a non-profit triennial international photography festival established in 2015 to provide a platform for photographer artists in Asia exhibiting their works alongside their international peers at various venues across Bangkok. Its aim is to inspire and encourage people to contribute knowledge and experience and working together effectively to help create better community of shared future for mankind. The six main festival components include Exhibitions\, Educational Programs\, Workshops\, Portfolio Review\, Special Events and Screening. \n  \nWhen\nThu 5 July – Sun 9 September 2018 \n  \nContact\nhttps://www.photobangkokfestival.com \n  \n\nMain Exhibitions\n• Post-Repost-Share Photography Exhibition (Bangkok Art and Cultural Center – BACC)\n• Thai New Wave Exhibition (BACC)\n• Smartphone photography contest\n• French Connection by French Embassy and Bangkok University Gallery (Subhachok the Art Centre)\n• Photobook Exhibition by Japan Foundation (Open House\, Central Embassy)\n• Targets by Herlinde Koelbl (Goethe Institute)\n• Excessocenus by Cristina de Middle (Subhachok the Art Centre)\n• Beautiful Bangkok by Magnolia Quality Development Corporation (BACC)\n• Street Photography Thailand Exhibition\, by Street Photo Thailand (BACC)\n• Interactive Installation (BACC)\nEducational Programs\n• Contact Bangkok by Museum of Photography\, Seoul (BACC)\n• Portfolio Review by PhotoEspaña (BACC)\n• International Symposium (BACC)\n• Artist Talk (BACC)\n• Alternative Printing Event\n• Documentary Films (Cinema Oasis)\n• One Shot One Minute (BACC)\n• Prints Fair (BACC)\n• Photobook Making by Japan Foundation (Open House\, Central Embassy)\n\n\nInstitution Partners\n• Bangkok University Gallery\n• French Embassy\n• Goethe Foundation\n• Japan Foundation\n• Ratchadamnoen Contemporary Art Centre\n• Spanish Embassy\nGallery Partners\n• Ananta Kama\n• Atta Gallery\n• Case Space Revolution\n• Galerie Oasis\n• H Gallery\n• Hof Art Space\n• House of Art\n• House of Lucie\n• Kathmandu Gallery\n• Leica Gallery\n• Most Gallery\n• OHK Building\n• Pomp\n• P.Tendercool\n• River City Bangkok\n• RMA Institute\n• Serindia Gallery\n• Subhachok the Art Centre\n• Tentacles\n• The Jam Factory\n• WTF Gallery\n• Woof Pack\n• Yelo House\n• 1 Projects Gallery\n\n  \n\nAbout River City Bangkok\nAsia’s premier shopping destination for art\, antiques\, decor and design. \nChances are\, if you ask where to take a river cruise up and down Chao Phraya river\, people will point you towards River City. Increasingly becoming known as the hop on and off point of dinner\, sunset\, day excursion cruises (and also bike tours)\, River City actually has an important cultural past that most seem to have forgotten. And the clue to that is in its antique shops. \nIn 1984\, with Baby Boomers coming of age with their taste for collectibles\, River City opened its doors as the go-to antique market and auction house. Many antique shop owners were pioneers of antique trade and those remaining today can still tell you what is genuine and what is a reproduction. The monthly auctions still go on with die-hard collectors and traders still vying for pieces up until today. Over recent years though\, River City has begun to draw in contemporary art shops to cater to the tastes of newer generations and continues to evolve and reinvent itself with the times. \nRiver City\, being on a prime riverside location\, is not only a niche market but also a fantastic location for dining. The cluster of eateries on the side facing the river all offer terrace seatings\, offering one of the city’s best views of sunsets. Definitely head there for a sundowner if you have the time. River City provides free boat shuttles that always make for pleasant journeys to Sathorn pier where you can easily connect to the skytrain. \n  \nContact\nshop@rivercity.co.th \n  \nView map\n23 Trok Rongnamkhaeng\, Si Phraya Pier\, Yota Road\, Sampantawong \n  \nOperating Hours\n10:00 am – 10:00 pm\, daily \n  \nHow to get there\nExit BTS at Saphan Taksin Station to get to River City Bangkok on complimentary RCB Shuttle boat at every an hour.
URL:https://onarto.com/art-event/river-city-bangkok-photo-bangkok-festival-2018/
LOCATION:River City Bangkok\, 23 Trok Rongnamkhaeng\, Si Phraya Pier\, Yota Road\, Sampantawong\, Bangkok\, Bangkok\, 10100\, Thailand
CATEGORIES:Photography Exhibition
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BEGIN:VEVENT
DTSTART;TZID=Asia/Bangkok:20180707T100000
DTEND;TZID=Asia/Bangkok:20180805T180000
DTSTAMP:20260607T232211
CREATED:20180704T085804Z
LAST-MODIFIED:20180704T090440Z
UID:26615-1530957600-1533492000@onarto.com
SUMMARY:S.A.C. - Tavepong Pratoomwong - Good day Bad day But Everyday
DESCRIPTION:Subhashok The Arts Centre(S.A.C.)\, in collaboration with Photo Bangkok 2018\, proudly presents three solo exhibitions by distinctive photographers.\n** ภาษาไทย เลื่อนลงด้านล่าง -scroll down for Thai version ** \nTavepong Pratoomwong is recognized as a Thai multiple award-winning street photographer and was ranked the #1 influential street photographer by Street Hunter in 2015. Marc Yang was the winner of the Best Young Chinese Magnum Photographer Award and recently exhibited “Eastern Time Zone” at the Kragujevac National Museum in Serbia; travelling around the world to explore cultural and religious relationships. Lik Sriprasert\, of well reputable fashion photography and published in well-known Thai magazines\, presents traces back into his life through his photographs combined with his modern paintings. \nYou are cordially invited to join the opening reception of these three solo exhibitions on 7 July 2018\, 18:00 PM at Subhashok The Arts Centre\, Bangkok \n  \nGOOD DAY BAD DAY BUT EVERYDAY\nA photo exhibition by\nTavepong Pratoomwong \nStreet photographs of Tavepong Pratoomwong are the fusion of real and magical worlds. The composition and point of view reflect the truth of life and society based on empirical evidence\, yet his photos present magic like fantasy novels which full of mystery and surrealism. Two worlds exist on the same time and space. The magic challenges realism\, the traditional logic of truth. In reality\, there is a room for surrealness and vice versa. In the end\, we cannot point out what is “real” and what is “magic.” Tavepong’s photos urge audiences to question “truth” that we perceived from our sight\, what have taken root in our minds\, experiences and what flows in our society. Truth is too complicated and too paradoxical to believe instantly without a question or a doubt. \nExhibition at 1st floor\, Art Centre Bldg.\nDuring 7 July – 5 August 2018\nCurated by Chol Janepraphaphan \n  \nEASTERN TIME ZONE\nA photo exhibition by\nMarc Yang \nMoving East and West across Asia and encountering the varied religious approaches to life gave cause for a heightened reanalysis on the spirituality of the artist. Marc Yang tells of moments in his travels\, having felt a spiritual energy leading him on his path and affirming the belief in a higher god. Free of an institutional belief in God or faith in one true religious system\, Marc was able to perceive the religious notions of the people and cultures of Asia in a humanist way which he finds binds and bonds us together. \nExhibition at 2nd floor\, Art Centre Bldg.\nDuring 7 July – 5 August 2018\nCurated by Linjie Zhou \n  \n1992-2005 (2018)\nA photo exhibition by\nLik Sriprasert \nAs a photographer who studied in painting\, Lik Sriprasert has created works of art which interact between fashion and portraiture. This series is full of traces of history gained from his work and life experience as well as his view on the society. Also\, the work reflects on the educational system that molds the process of thinking then leads to a set of questions about aesthetics that he has learned by himself over a decade. \nExhibition at 2nd floor\, Gallery Bldg.\nDuring 7 July – 5 August 2018\nCurated by Suphita Charoenwattanamongkol \n  \nMore info about S.A.C.\, visit : www.sac.gallery\nor follow us at\n-Facebook: sacbangkok\n-Instagram : sacbangkok\n-Twitter: @sacbangkok\n-Youtube: SAC CHANNEL \nContact us:\nTel. 662 662 0299 \, 662 258 5580 ext. 401\nEmail: manager@sac.gallery \, info@sac.gallery \n  \n  \n  \nศุภโชค ดิ อาร์ท เซ็นเตอร์ ร่วมกับ Photo Bangkok 2018 นำเสนอนิทรรศการเดี่ยวของสามศิลปินภาพถ่ายรุ่นใหม่ที่น่าจับตาในขณะนี้ ได้แก่ \nทวีพงษ์ ประทุมวงษ์ ศิลปินแนว Street Photography ของไทยที่ถูกพูดถึงในฐานะช่างภาพไทยที่คว้ารางวัลชนะเลิศมากมายในระดับนานาชาติ โดยเฉพาะรางวัลล่าสุด 1st Prize Winner Independent-Photo (Street Photography) ในปี 2017 และเป็น 1 ใน 20 ช่างภาพสตรีทที่ทรงอิทธิพลที่สุดในปี 2015 จากการจัดอันดับโดยเว็บไซต์ streethunters.net \nMarc Yang ช่างภาพหนุ่มสัญชาติจีน ผู้ผจญภัยรอบโลกเพื่อสำรวจรอยเชื่อมต่อของวัฒนธรรม ศาสนา และสรรพชีวิตบนโลก ผู้เคยกวาดรางวัลสำคัญๆ อาทิ Best Young Chinese Magnum Photographer Award Winner เมืองเซี่ยงไฮ้ ประเทศจีน ในปี 2015 และรางวัลชนะเลิศจากเวที Top 20 Chinese Cutting Edge Contemporary Photography ณ เมืองหางโจว ประเทศจีน ในปี 2017 \nรวมถึงช่างภาพหนุ่มอีกท่านคือ ลิค ศรีประเสริฐ ผู้คร่ำหวอดอยู่ในวงการแฟชั่นและฝากผลงานมากมายไว้ในนิตยสารชั้นนำของไทย จากเอกลักษณ์ของการถ่ายภาพแฟชั่นผสานรูปแบบของจิตรกรรมสำแดงอารมณ์จากยุคโมเดิร์น ในครั้งนี้ลิคนำเสนอจิตรกรรมที่ส่งอิทธิพลกลับไปสู่การถ่ายภาพเพื่อย้อนรอยประวัติศาสตร์ของตัวเอง สู่การตั้งคำถามเกี่ยวกับสุนทรียศาสตร์ที่เกิดจากการเรียนรู้ด้วยตัวเองนับสิบปี \nขอเรียนเชิญทุกท่านร่วมเป็นเกียรติในงานเปิดนิทรรศการเดี่ยวของสามศิลปินภาพถ่ายในวันเสาร์ที่ 7 กรกฏาคม 2561 เวลา 18:00 น. ณ ศุภโชค ดิ อาร์ท เซ็นเตอร์ กรุงเทพฯ \n  \nGood day Bad day But Everyday\nนิทรรศการภาพถ่าย โดย\nทวีพงษ์ ประทุมวงษ์ \nนิทรรศการภาพถ่ายของ ทวีพงษ์ ประทุมวงษ์ หลอมรวมโลกคู่ขนานระหว่างความเป็นจริงและโลกแห่งความมหัศจรรย์ ทำให้ภาพถ่ายมีองค์ประกอบและมุมมองที่สะท้อนความเป็นจริงของชีวิตและสังคม โดยยึดหลักความสมจริงตั้งอยู่บนหลักของเหตุผลตามแบบวิทยาศาสตร์ ในขณะเดียวกันก็นำเสนอความมหัศจรรย์ ราวกับฉากในนิยายแฟนตาซี เต็มไปด้วยความลึกลับเหนือจริง ซึ่งโลกทั้งสองดำเนินไปบนเส้นเวลาและพื้นที่เดียวกันจนมีผลให้ความมหัศจรรย์ผลักกรอบคิดเรื่องสัจนิยม ท้าทายตรรกะดั้งเดิม อาจกล่าวได้ว่าในความเป็นจริงมีความเหนือจริง และในความเหนือจริงมีความสมจริง จนในท้ายที่สุด ไม่สามารถจำแนกได้ว่าอะไรคือ “ความเป็นจริง” และอะไรคือ “ความมหัศจรรย์” ภาพถ่ายของทวีพงษ์จึงสามารถกระตุ้นให้ผู้ชมเกิดความคลางแคลงใจกับ “ความจริง” ที่เคยรับรู้จากการมองเห็น จากการถูกปลูกฝัง จากประสบการณ์ชีวิต และความจริงที่ไหลเวียนอยู่ในสังคมซึ่งเป็นสิ่งสลับซับซ้อนและยอกย้อนเกินกว่าจะด่วนสรุปโดยไม่ตั้งคำถามหรือสงสัย \nสถานที่: ห้องแสดงนิทรรศการชั้น 1 อาคารหอศิลป์ ศุภโชค ดิ อาร์ท เซ็นเตอร์\nระยะเวลานิทรรศการ: 7 ก.ค. – 5 ส.ค. 2561\nเปิดนิทรรศการ: วันเสาร์ที่ 7 กรกฏาคม 2561 เวลา 18:00 น.\nภัณฑารักษ์: ชล เจนประภาพันธ์ \n  \nEastern Time Zone\nนิทรรศการภาพถ่าย โดย\nMarc Yang \nMarc Yang เป็นศิลปินภาพถ่ายชาวจีน ผู้ชนะรางวัลช่างภาพดาวรุ่งในการประกวดเวทีใหญ่ในประเทศจีน เขาได้เริ่มต้นผลงานโปรเจ็กต์ “Eastern Time Zone” มาตั้งแต่ปี 2554 โดยผลงานชุดนี้บอกเล่าถึงภูมิภาคเอเชีย ตั้งแต่ตะวันออกกลางถึงเอเชียตะวันตกและจากเอเชียใต้จรดเอเชียตะวันออกเฉียงใต้จนสุดตะวันออกไกล ซึ่งเป็นพื้นที่ที่มีศาสนาต่างๆและวัฒนธรรมอันหลากหลายตั้งอยู่ ได้แก่ ศาสนาอิสลาม ออร์โธดอกซ์ ฮินดู ศาสนาพุทธทั้งนิกายหินยานและมหายาน อีกทั้งผู้คนที่อยู่ในพื้นที่ที่แตกต่างกัน ทั้งภูมิศาสตร์ และภูมิหลังทางประวัติศาสตร์ ทำให้ประเพณีวัฒนธรรมของพวกเขาได้ถูกพัฒนาขึ้นให้สอดคล้องไปกับวิถีชีวิตในท้องที่นั้นๆ ศิลปินได้บันทึกภาพเรื่องราวเหล่านั้นในฐานะประจักษ์พยานต่อเหตุการณ์ที่เกิดขึ้นในโลกใบนี้มากกว่าจะเป็นเพียงผู้ชม \nสถานที่: ห้องแสดงนิทรรศการชั้น 2 อาคารหอศิลป์ ศุภโชค ดิ อาร์ท เซ็นเตอร์\nระยะเวลานิทรรศการ: 7 ก.ค. – 5 ส.ค. 2561\nเปิดนิทรรศการ: วันเสาร์ที่ 7 กรกฏาคม 2561 เวลา 18:00 น.\nภัณฑารักษ์: Linjie Zhou \n  \n1992-2005 (2018)\nนิทรรศการภาพถ่าย โดย\nลิค ศรีประเสริฐ \nย้อนกลับไปเมื่อครั้งยังเรียนศิลปะในมหาวิทยาลัย ผลงานศิลปนิพนธ์ของ ลิค ศรีประเสริฐ ได้แรงบันดาลใจมาจากสองสิ่งด้วยกันคือ งานจิตรกรรมแบบ Fauvism และ Fashion Magazine เขาใช้ภาพถ่ายแฟชั่นที่ชื่นชอบมาเป็นต้นแบบในการวาดภาพ เปรียบเสมือนการลอกเลียนภาพจากต้นแบบที่คนอื่นสร้างขึ้นมา แต่นั่นคือจุดเริ่มต้นความสัมพันธ์ระหว่างจิตรกรรมและภาพถ่ายที่ผูกพันกับศิลปินมากว่าสิบปี เพราะหลังจากเรียนจบ ลิค ศรีประเสริฐได้ทำงานเป็นช่างภาพในสายแฟชั่นมาโดยตลอด และบ่อยครั้ง concept ที่เขาสร้างขึ้นจากการถ่ายภาพจะบรรจบกับการตีความงานจิตรกรรมยุค classic และ modernism ไม่ว่าจะเป็นการจัด composition\, posture\, lighting ให้กับผู้เป็นแบบ ผลงานการถ่ายภาพที่ผ่านมาทำให้ศิลปินตั้งคำถามกับตัวเองว่าอะไรคือสิ่งที่ทำให้เห็นความงาม และหลงใหลในงานจิตรกรรมที่เคยเคลื่อนไหวเมื่อกว่าร้อยปีก่อน \nการคิดกลับไปกลับมาระหว่างงานจิตรกรรมกับภาพถ่ายทำให้เขาทดลองสร้างผลงานชุดนี้ขึ้น แต่ต่างไปจากอดีตที่เคยใช้ผลงานภาพถ่ายของคนอื่นเป็นต้นแบบ ตอนนี้ศิลปินได้เป็นผู้สร้างสรรค์ทั้งภาพถ่ายและงานจิตรกรรมผ่านประสบการณ์ การใช้ชีวิต ทุกสิ่งทุกอย่างกำลังถูกจัดการให้เป็นเรื่องเดียวกัน การลอกเลียนได้เปลี่ยนสถานะไปเป็นการส่งต่อความคิดและความรู้สึกซึ่งกันและกันระหว่างตัวตนของการเป็นช่างภาพและจิตรกร \nการวาดภาพและการถ่ายภาพ จึงไม่ได้เป็นเพียงความสนใจในสื่อเทคนิคอีกต่อไป ผลงานชุดนี้เต็มไปด้วยรอยประวัติศาสตร์ของศิลปิน ทั้งจากประสบการณ์การทำงาน ชีวิต การมองสังคม และย้อนกลับไปได้ถึงระบบการศึกษาที่หล่อหลอมขบวนการทางความคิด นำไปสู่การตั้งคำถามเกี่ยวกับสุนทรียศาสตร์ที่เกิดจากการเรียนรู้ด้วยตัวเองนับสิบปี \nสถานที่: ห้องแสดงนิทรรศการชั้น 2 อาคารแกลเลอรี่ ศุภโชค ดิ อาร์ท เซ็นเตอร์\nระยะเวลานิทรรศการ: 7 ก.ค. – 5 ส.ค. 2561\nเปิดนิทรรศการ: วันเสาร์ที่ 7 กรกฏาคม 2561 เวลา 18:00 น.\nภัณฑารักษ์: สุภิตา เจริญวัฒนมงคล \n  \nดูข้อมูลเพิ่มเติม: www.sac.gallery\nหรือติดต่อเราได้ที่ โทร. +662 662 0299\nอีเมล์: manager@sac.gallery \n 
URL:https://onarto.com/art-event/s-a-c-tavepong-pratoomwong-good-day-bad-day-but-everyday/
LOCATION:S.A.C. Subhashok The Arts Centre\, Soi Phrom Chit \,Sukhumvit 39\, Bangkok\, 10110\, Thailand
CATEGORIES:Photography Exhibition
ATTACH;FMTTYPE=image/jpeg:https://onarto.com/wp-content/uploads/2018/07/S.A.C.-Tavepong-Pratoomwong-Good-day-Bad-day-But-Everyday.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Asia/Bangkok:20180707T110000
DTEND;TZID=Asia/Bangkok:20180901T190000
DTSTAMP:20260607T232211
CREATED:20180820T050757Z
LAST-MODIFIED:20190502T095349Z
UID:27080-1530961200-1535828400@onarto.com
SUMMARY:Leo Gallery Shanghai - Soft Power 2018
DESCRIPTION:Exhibition Introduction\nLeo Gallery is pleased to present “Soft Power 2018\, A Female Artists’ Exhibition”\, as part of the Gallery’s ten-year anniversary exhibition series in Shanghai. As the sixth exhibition of the series “Soft Power”\, that Leo Gallery has held since 2011\, the works and thoughts of essentially two female artists\, namely: Ingrid Ledent and Lin Yan will be presented. Ingrid Ledent\, a renowned contemporary printmaking artist\, and Chairman of the International Adviser Board at International Printmaking Organization Alliance continues to expand the boundaries of traditional printmaking. She combines the latter with computer prints\, video and sound pieces\, where a new horizon for printmaking creations rises. Ledent has used reproducibility\, as a characteristic of printing techniques\, not to make editions in a simple way\, but to generate unique artistic elements. Along with her printing process\, with aqueous layers\, where repetition dissolves into the windows of spatial tension and creates organic silhouettes\, time becomes one of the main themes in Ledent’s work. Influenced by Henri Bergson’s concept of time\, she has been trying to seize Durée\, as the perception brought by reproducibility and time has been implicated in the word mindscapes\, which the artist created specifically for the theme of the exhibition. Mindscapes\, per say\, do not exist but can be considered as the artist’s visitation to some sort of word game\, as it refers to specific mental and emotional landscapes of the artist’s thought process and headspace. \nSince the 1990s\, Lin Yan has been working and living in New York City. Oscillating between Chinese and Western culture\, she revisits her memories and emotions rooted in both East and West. Yan was strongly shaped by Chinese Taoist thought\, leaving her work toothed in the spirit and image expression of Oriental philosophy. She uses “Xuan Paper”\, also known as rice paper\, an indispensable material in traditional Chinese painting and calligraphy\, as the main material in her work. Lin Yan’s work is a journey through traditional painting\, sculpture\, and deconstructs of Xuan paper\, along three dimensions of line\, surface\, and body. \n  \nCompositional elements\, such as the multiple layers of Xuan paper\, let the spectator indicate a sense of freeing deliberation. In its simplest black-and-white color\, the installation exposes dynamic posture in the setting of space and light. Respective fluctuations in her work evoke an explicit recollection of the changes of nature\, culture\, and society. \n  \nA lot of Lin Yan’s works have been inspired by her steady visits to China. As indicated by the exhibition theme “Inverted Shadow”\, if she was to be closer to heaven and earth in Northern China\, then in Southern China – or Jiangnan\, as the thick air has given her the chance to revisit water\, as a fundamental element in her work. \n  \nThe recurring theme takes place in the exploration of the relationship between space and architecture\, man and nature\, but with no historical or geographical traces. In her view\, the most valuable part of her work is the line between sensibility and spirituality. Nicely summarized in the question she once raised: “how to grasp the untouchable?”. This gives the artist the freedom to gradually transit from the obvious to the untouchable. \n  \nThe aesthetic experience and perspective\, as well as the taste of the life of females\, have constituted special symbols which female artists convey in their creations. Both the female artists try to proceed from their individual experience to move their concerns inwards and display their personal and mental aspects through self-discoveries. This kind of pursuit of unique artistic languages by female artists is what Leo Gallery wishes to present and explore in the “Soft Power” exhibition series. \n  \n  \n  \nArtist Statement\n\nTime\, as it is also in a process\, is the basic theme in my work. I am strongly influenced by Henri Bergson’s idea of time\, especially his philosophical thinking about “durée\,” the continuous living of a memory which proceeds the past into the present. Emerging out of the manner in which I experience time\, I highlight what cannot be interpreted as concrete\, within the measurable time\, for the soul is not able to comprehend the experience as a phenomenon within the limits of time. This is a foundation for my images\, a non – transparent\, archaic tissue of frequently recurring forms. Also important in the content are processes of manipulation\, the phenomena of the matrix and the controlled coincidence or serendipity. Time is also involved in the human body as well as in the actions it undertakes. Therefore\, I often use my own skin and body parts to reference and translate the time into more visual aspects. \n—Ingrid Ledent \n\n  \n\nIf I were to be closer to heaven and earth in the north\, then after coming to the south – Jiangnan\, or the south of the Yangtze River in China\, the moist air has given me a glimpse of water\, another indispensable natural resource in life. The exhibition of “Lin Yan: Inverted Shadow” in the noble south is a reflection of the installation done in the north -“Phekda” that is the third star of the Big Dipper\, also my reaction to ink as well as the attitude of modern humans towards nature. \n—Lin Yan \n  \nIngrid Ledent (b.1955)\n1955  Born in Brasschaat\, Belgium\n1978  Graduated from Royal Academy of Fine Arts Antwerp\, Belgium\n1979  Studied in UMPRUM in Prague\, Czechoslovakia with Rudolf Broulim\n1981  Graduated from National Higher Institute Antwerp\, Belgium\n1984  Professor of Lithography at Royal Academy of Fine Arts Antwerp\, Belgium\nCurrently lives and works in Antwerp\, Belgium \nIngrid Ledent studied at the Royal Academy of Fine Arts Antwerp\, the UMPRUM in Prague and the National Higher Institute Antwerp where she received her MFA in printmaking in 1981. Since 1984 she is professor lithography at the Royal Academy of Fine Arts Antwerp. Since September 2017 she is a distinguished professor at the Shanghai Academy of Fine Arts. Ledent is also a member of the Council of the Internationale Senefelder-Stiftung in Offenbach (Germany) and chairman of the International Adviser Board at IPOA (International Printmaking Organisation Alliance) based in Guanlan\, China. \nShe gave workshops and lectures at many international organizations and institutions. Her work has been exhibited around the world in over 20 solo exhibitions and many group exhibitions. She has received 12 national and 14 international awards in the field of Graphic Arts including the Grand Prix at the 3rd International Triennial in Prague\, the 8th International Biennial of Drawing and Graphic Arts Györ\, the International Print Triennial Krakow\, the 5th Splitgraphic International Biennial\, etc. \n  \nLin Yan (b.1961)\n1961 Born in Beijing\, China\n1984 Graduated from Department of Oil Painting\, Central Academy of Art\, Beijing\, China (B.F.A)\n1986 Graduated from Atelier of Technique of Painting\, L’École Nationale supérieur des Beaux-Arts\, Paris\, France\n1989 Graduated from Department of Studio Art\, Bloomsburg University of Pennsylvania\, Bloomsburg\, United States (M.A)\nCurrently lives and works in New York\, United States\nLin Yan\, lives and works in Brooklyn\, New York\, grew up in Beijing. She followed her grandfather and mother’s footsteps to Paris continuing her studies in art in 1985. A year later\, she came to the US. Her first solo show “Tai Chi in Painting” at graduate school infused Chinese philosophy into her own “constructing paintings.” \nIn 1993\, she moved to New York with her painter husband Wei Jia and their young son. Taoist thought remains in her life and art. She seeks the simplest possible use of elements in her work. Though her forms are quite minimal and mostly quiet\, they are filled with complex impulses and nuances. The foundation of LinYan’s large sculptural paper collage is a variety of hand-made paper which has been used for Chinese traditional painting and calligraphy. The crumbled layers of soft handmade papers with ink create a paradoxical effect of strong\, post-industrial feeling. Inspired by old Beijing architecture in her memory and industrial elements in her Brooklyn home\, LinYan blur boundaries\, embrace conflict\, bring histories\, past and present together. Aware of the struggle and resistance in the world\, she balances this restlessness with the tranquility of her materials. Her images investigate the interrelation of Chinese traditional painting and modernist abstraction\, and postmodern appropriation and ancient technical rigor. \nLin Yan’s works have been widely shown in the galleries and museums\, reviewed and featured in New York Times\, Art News\, Art in America\, Art Asia Pacific\, Architecture and Art\, Elle China\, Women of China\, World Journal and CCTV\, among others. Her works are in public collection of the National Art Museum of China\, the Pang Xunqin Museum\, the Chengdu Contemporary Art Museum\, the Museum of the Central Academy of Fine Art in China and Deutsche Bank Art. \n  \n  \n  \n  \n展览前言\n狮語画廊上海空间将于 2018 年 7 月 8 日，隆重呈现“锵锵 2018 | 女性艺术家联展”，展览也是狮語画廊十周年重要活动之一。 \n“锵锵”是狮語画廊自 2011 年来为女性艺术家举办的系列群展，今年是 Soft Power 主题展的第 6 回，此次展出两位女性艺术家：英格里德·勒登特（Ingrid Ledent）与林延的艺术创作与思考。 \n当代著名版画艺术家、国际版画联盟主席英格里德·勒登特（Ingrid Ledent）挑战了传统版画的边界，她将传统的印刷技术与计算机印刷、视频和音频相结合，从而延展了其创作的范围。“重复性”是印刷技术的特性，她长期运用印刷这一特性，但又不是简单的重复，而是将此生成为自己独特的艺术表现元素，她将传统版画的技法用于当代观念表达中，在印刷的过程中，这种“重复”被彼此分层，从而形成新的视觉形式。 \n受到柏格森的时间观念的影响，“时间”也是勒登特的主题，她一直试图抓住“延续的时间”。“重复性”与“时间性”带来的感知，正如艺术家本人为此次展览主题特别创造的单词“Mindscapes”一样，“Mindscapes”这一并不存在的单词，既可视为是艺术家的一次 “语言的游戏”，又指向艺术家心灵不同状态的多重风景。 \n自九十年代起，林延就长期工作、居住在纽约，游走在中西文化之间，她试图串联起中西文化之间与古老东方的记忆与文化情感。她的艺术蕴含着中国道家思想，来自于东方哲学的精神与意象表达，以传统书画中必不可少的材料“宣纸”为材质，她打破传统架上绘画和雕塑的界限，将宣纸从线、面、体三维空间进行重新解构进行创作。 \n层层幻化后的宣纸装置，最为简单的黑白两色，借由身处空间和光线释放出个性而神秘的动态姿态，展现其自由呼吸之感。细腻柔软的宣纸成为全新生命体，诠释艺术家对于自然与文化、社会变迁动荡中的挣扎与生命力。 \n林延所有作品的主题灵感都来自于每年在中国的短暂停留，正如本次展览的主题“反映 Inverted Shadow”所展现的一样，如果说在中国北方，她更多的是亲近天与地，而江南湿润的空气让她重新认识生命中另一个不可缺少的自然资源——水。 \n作品中反复出现的主题是来自于空间与建筑、人与自然关系的探索，但她却刻意模糊着地域、历史、过去与当下。在她自己看来，其作品最有价值、最有意思的是 sensibility（感觉）和 spirituality（精神性），如何“把握住那些摸不着的”？这使其艺术作品呈现出独特与自由的气息。 \n女性的审美体验和视角、对于人生和生命的体味，构建了女性艺术家在创作中传递出的特殊符号，这两位女性艺术家都尝试从自身经验出发，将视线内移，在自我探寻的创作过程展现出个人化、心灵化的一面，这种来自女性艺术家独特艺术语言的自我追寻与展现也是狮語画廊在“锵锵”系列展览中期待观看并探讨的课题。 \n  \n  \n艺术家自述\n\n时间是我创作的基本主题，它也存在于过程之中。我深受亨利·柏格森对时间的论述的影响，尤其是他关于“绵延”的哲学思考，这是一种将过去带入现实的绵延不断的记忆形态。从我体验时间的方式出发，我强调了那些在可被测量的时间内所不能被理解为有形的事物，正因在时间的限制下，灵魂无法将经验理解为一种现象。这是我所创作的图像的基础，是一个不透明的，重复出现的古老的形式。在内容中，对过程的操纵、矩阵现象、受控制的巧合或偶然性也很重要。时间也涉及到人体以及人体所采取的行动。因此，我经常用我自己的皮肤和身体部位作为参考，以此将时间转译至视觉的维度。\n——英格里德·勒登特 \n\n  \n\n如果说在北方我更多地亲近天与地，那么到南方- 江南，湿润的空气让我认识了水，生命中另一个不可缺少的自然资源。“林延：反映”展是秀美的江南对我在北方做的装置作品北斗七星系列第三颗星“天玑”的清影，也是我对水墨，现代人类对自然的态度的反应。\n——林延 \n\n  \n  \n英格里德·勒登特 (b.1955)\n1955，生于比利时布拉斯哈特\n1978，毕业于比利时安特卫普皇家艺术学院 自由图像专业\n1979，就读于捷克斯洛伐克布拉格 UMPRUM 应用艺术学院，师从当代石版画之父 Rudolf Broulim\n1981，就读于比利时国家高等艺术类研究所\n1984-，比利时安特卫普皇家艺术学院 石版画教授\n现工作生活于比利时安特卫普 \n英格里德·勒登特（Ingrid Ledent），1955 年 5 月 27 日出生于比利时-布拉斯哈特，现任上海美术学院特聘教授，国际版画联盟主席。1973-1978 年期间，她在安特卫普皇家艺术学院学习自由图像专业。在比利时版画大师高登（G . Gaudaen）、范雷默特尔（W . Van Remoortel）和范鲁斯梵（J . Van Ruysseveldt）等人的指导下学习木版画、石版画和蚀刻。1978-1979 年期间，她来到捷克斯洛伐克的布拉格，受鲁道夫·布洛林\n（Rudolf Broulim）的指导，在应用艺术学院（u.m.p.r.u.m）专攻石版画学习。1981 年在安特卫普获得国家高等艺术类研究所奖。从 1984 年至 2016 年，担任比利时安特卫普皇家艺术学院版画系教授，并任纯艺术部门主任。 \n她是国家和国际比赛的评审团成员，在世界各地举办了个人和团体展览。除了比利时，她还在奥地利、巴西、加拿大、中国、克罗地亚、捷克、爱沙尼亚、芬兰、法国、德国、匈牙利、日本、波兰、罗马尼亚、俄罗斯、斯洛文尼亚、南非、韩国、瑞典、乌克兰、英国、美国等国家展出过自己的作品。 \n  \n林延 (b.1961)\n1961，生于中国北京\n1984，毕业于中央美术学院 油画系，获艺术学士学位\n1986，就读于法国巴黎国立高等美术学院 绘画材料研究室\n1989，毕业于美国布鲁姆斯堡宾夕法尼亚州立大学 视觉艺术系\n现工作生活于美国纽约 \n林延 1961 年出生于中国北京，中央美院油画系毕业后，1985 年前往巴黎美院绘画材料研究室进修，后于宾州布鲁斯堡大学视觉艺术系取得硕士学位。林延以宣纸为主要媒材，创造出具有建筑性格的装置和绘画雕塑。宣纸不再只能是平面绘画的载体，而能被塑造为极富重量感和层次感的形态。黑与白、刚与柔的并置如同虚实相容的太极，呼应中国传统哲学思想中的阴阳平衡。以空间为起点、与建筑形式相结合、赋予极简主义以东方美学的纬度，林延近年制作许多大型的现地装置，作品庞大的气势与其近距离的触感、手工感形成微妙对比。在包罗万象的当代艺术中，林延以最古老简朴的材料，简明有力的独特语言平静地表现出社会变迁动荡中的自然和文化的挣扎与生命力，美与创伤。 \n1988 年毕业前即举办首次个展「林延：绘画中的太极」。1994 年在中央美院联展「泣、弃、契、弃？气」中，林延以大型黑色装置表达对城市变迁的忧虑，随即展开长达十年的「黑色时期」创作。1998 年，林延策划「三代中国女艺术家：丘堤，庞壔，林延」联展，以女性角度呈现中国艺术百年来的变化，分别在纽约、北京、温哥华三地展出。近期重要展览包括：2016 年「林延」、2014 年「林延：不一样的宣」和「林延：空－气」、2013 年「林延：知止」等个展，分别于台北诚品画廊、布鲁塞尔 Officina、纽约天理文化中心、纽约熨斗大厦艺术公共空间展出，联展包括 2014 年美国布鲁斯博物馆「双城记：纽约与北京」和｢2012 纸上艺术双年展｣等。作品获纽约德意志银行、上海龙美术馆、北京中国美术馆等机构收藏。
URL:https://onarto.com/art-event/leo-gallery-shanghai-soft-power-2018/
LOCATION:Leo Gallery Shanghai\, Ferguson Lane\, 376 Wu Kang Road\, Xuhui District\, Shanghai\, Shanghai\, 200031\, China
CATEGORIES:Art Exhibitions,Other Events
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Asia/Bangkok:20180707T140000
DTEND;TZID=Asia/Bangkok:20181022T180000
DTSTAMP:20260607T232211
CREATED:20180702T071704Z
LAST-MODIFIED:20190502T095317Z
UID:26595-1530972000-1540231200@onarto.com
SUMMARY:TARS Gallery - Dutem Schwöllen - New-territories - In-mature-limbo
DESCRIPTION:“In-mature-Limbo” \nDutem Schwöllen and New-territories \n07/07/18 until 22/10/18 Wed to Sat 2pm to 6pm\nBy appointments for the other days \nOpening 07/07/18 at 6pm until 10 pm \nWelcome to a game where the rules have been erased. The martyr of the aesthete acts as a trigger… “Mister\,” the ‘Cat’ is away…in a curating-non-curating-moody posture… so… we dance in farandole formation\, in the innocence of play…. Now… only now / welcome to ‘dangerous methods’ at the wheel … We are not guilty… neither in thought nor in action … an immunity and a wild card begin their circulation … flickering fire\, exorcise that daemon … to erect some sand castle from where we scream\, rumble and spit on the passerby … We are not guilty… we’re holding the cards … immunity and a wild card. Acting in the isolation and cruelty of the two-faced teenager\, the forbidden is forbidden… No resentments at our stage of pre-pubescence\, we could shoot kittens\, pull legs off spiders\, emasculate our daddies\, find refuge in the darkness of our confusion\, cruising zombies and elves and clowns …fleshy monstrosity oozing erotic toxins…no matter….intricacy of nightmares flexing morning wood/clito-tumescence … bed sheets cling\, as a flag…our innocence … clad in battle tunics with no cavalry … \nJust say no to norepinephrine… sensation of pleasure. \nWe eat greedily\, gagging and vomiting spasmophilically\, ad-nauseum…compliances\, teachers\, institutions … every clerk who framed the legitimacy of the order\, the order of the discourse\, and the discourse of the master… \n“In-mature-Limbo”…. it proceeds by variation\, expansion\, conquest\, recycling\, adapting\, capturing\, embracing\, tweaking… It is a connection to sexuality\, anima mundi\, photomorphogenesis\, terra mater\, affairs of cities\, artifice\, machines and bits… like a thousandth plateau… it means discovering continuous areas of intensities pulsating all by themselves and evolving by avoiding being directed toward a culminating point or external end\, a little war machine\, an automatic pistol of combinations\, associations… assemblage in vivo that’s a lot more incisive than innovation in vitro… It operates like so many “dream machines\,” pitted against the methods\, messianisms\, and mercantile theories of happiness\, the natural state privatized and re-primitivized\, symbols\, progress. When everything has once and for all suddenly descended into ‘anything goes\,’ the deep freeze\, urban guerilla warfare\, and the rest of the whole shamozzle\, there remains that sixth sense\, nerve endings and defensive reflexes. \n“In-mature-Limbo” is an inter-zone\, where you are welcome to cross\, share\, borrow\, corrupt\, caress… \nThere is a reality principle that doesn’t seek to be right against the daily disorder\, but walks gaily over its ashed ruins. It lives in broad daylight\, not in the shadows\, because the shadows are a refuge for jumpy activists living in the comfort of their ideals… clowns\, as Zizek calls them. \nIt doesn’t illustrate destruction or violence\, but is a state of things\, a palpitation between Eros and Thanatos. It isn’t there to reproduce what is\, or to eliminate its existence\, its precondition\, its affects… “Nostalgia is a weapon\,” wrote Douglas Coupland in Generation X. The word still circulates\, the sentiment too\, we’re going to have to wheel it out again\, push it into the very heart of whatever situation\, like a hesitation of time’s arrow\, here and now\, here and elsewhere\, elsewhere but not just anywhere\, avoiding the futurist past as much as the positivist future… \nQuite the opposite… \nAnd anyway\, why would “It” be more moral\, why would it have some right over the whole collection of good wishes and good consciences? There are so many people who are happy to carry morality’s flag\, their legion\, as numerous and powerless as petty criminals. \n  \nNew-Territories / Dutem Schwollen / bkk 2018
URL:https://onarto.com/art-event/tars-gallery-dutem-schwollen-new-territories-in-mature-limbo/
LOCATION:TARS Gallery\, 3 Soi Srijun\, Sukhumvit Soi 67\, Bangkok\, Bangkok\, 10110\, Thailand
CATEGORIES:Art Exhibitions,Other Events
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BEGIN:VEVENT
DTSTART;TZID=Asia/Shanghai:20180709T180000
DTEND;TZID=Asia/Shanghai:20180802T210000
DTSTAMP:20260607T232211
CREATED:20180702T024036Z
LAST-MODIFIED:20180208T030955Z
UID:24625-1531159200-1533243600@onarto.com
SUMMARY:NTU Centre for Contemporary Art - The Expanded Field of Art Writing
DESCRIPTION:A four-part workshop on critical art writing by established writers\, poets\, artists\, and curators\, including Nuraliah Norasid\, Jason Wee\, Cyril Wong\, and Pauline J. Yao. \nCourse dates/times: 9 July – 2 August 2018 (four sessions)\nVenue: NTU Centre for Contemporary Art Singapore\, The Seminar Room\, Block 43 Malan Road\, Singapore 109443 \nFee (inclusive of GST):\nS$850 per person for the whole course\nS$300 per person per session \nThis critical art writing course explores various methods and techniques of writing about art. Participants will acquire significant tools to develop skills in analysing\, formulating\, and editing texts\, as well as expand their practical knowledge of the field. \nApplication:\nPlease email the following documents (in pdf format) to NTUCCAeducation@ntu.edu.sg:\n– CV (max. 2 pages)\n– Cover Letter/Letter of Intent (250 words)\n– Up to 3 short writing samples \nDeadline for application: Monday\, 26 February 2018 \n— \nCOURSE PROGRAMME \nMonday\, 9 July and Thursday\, 12 July\, 6.00 – 9.00pm \nOn Poetry\nBy Cyril Wong (Singapore)\, writer \nIn this session\, Cyril Wong will guide participants away from the ekphrastic towards poetry’s other approaches to art. A Singapore Literature Prize-winning author of poetry collections such as Unmarked Treasure (2004) and The Lover’s Inventory (2015)\, Wong completed his doctoral degree in English Literature at the National University of Singapore in 2012 and is a recipient of the National Arts Council’s Young Artist Award in 2005\, \nMonday\, 16 July and Thursday\, 19 July\, 6.00 – 9.00pm \nOn Non-Fiction\nBy Pauline J. Yao (United States/Hong Kong)\, Lead Curator\, Visual Art\, M+ Museum\, Hong Kon \nFor this session\, Pauline J. Yao will speak about the documentary\, the essayistic\, the archival\, as well as other non-fiction approaches to art writing. Before her current position as Lead Curator\, Visual Art\, at M+ Museum in Hong Kong\, Yao has held curatorial positions at the Asian Art Museum of San Francisco and worked as an independent curator and writer in Beijing for six years. She is a co-founder of the storefront art space Arrow Factory and is a regular contributor to Artforum\, e-flux Journal\, and Yishu Journal of Contemporary Chinese Art. Her writings on contemporary Asian art have appeared in numerous catalogues\, online publications\, and edited volumes. \nMonday\, 23 July and Thursday\, 26 July\, 6.00 – 9.00pm \nOn Fiction\nBy Nuraliah Norasid (Singapore)\, author \nNuraliah Norasid’s session will focus on the possibilities of the novel and the short story as forms of art writing. The winner of the 2016 Epigram Books Fiction Prize for her debut novel The Gatekeeper (published 2017)\, Nuraliah holds a PhD in English literature and creative writing from Nanyang Technological University and works as a Research Associate at the Centre for Research on Islamic and Malay Affairs\, where she studies marginalities and the confluence of religious ideas and secular society. Her writing has been published in Quarterly Literary Review Singapore\, Karyawan Magazine\, AMPlified\, and Perempuan: Muslim Women Speak Out (2016). \nMonday\, 30 July and Thursday\, 2 August\, 6.00 – 9.00pm \nOn Artist as Writer\nBy Jason Wee (Singapore)\, artist and writer \nIn this session\, Jason Wee will introduce ways of writing as artistic practice. Editor for Softblow and the 2014–15 writer-in-residence at the National University of Singapore\, Wee creates text within his artistic practice to produce works such as the performance script Tongues (2012)\, co-written with Sean Tobin\, commissioned for the Singapore Fringe Festival 2012\, as well as in his poetry volume The Monsters Between Us (2013) as medium and way of expressing his socio-political views.
URL:https://onarto.com/art-event/ntu-centre-for-contemporary-art-the-expanded-field-of-art-writing/
LOCATION:NTU Centre for Contemporary Art Singapore\, Block 43 Malan Road\, Gillman Barracks\, Singapore\, 109443\, Singapore
CATEGORIES:Art Course
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BEGIN:VEVENT
DTSTART;TZID=Asia/Bangkok:20180712T100000
DTEND;TZID=Asia/Bangkok:20180824T190000
DTSTAMP:20260607T232211
CREATED:20180709T100004Z
LAST-MODIFIED:20190502T094049Z
UID:26677-1531389600-1535137200@onarto.com
SUMMARY:Lehmann Maupin Hongkong - Gridology
DESCRIPTION:Gridology \nGilbert & George\, Liu Wei\, Angel Otero\, and Robin Rhode \nJuly 12—August 24\, 2018 \n407 Pedder Building\, 12 Pedder Street\, Hong Kong \n@lehmannmaupin \nOpening Reception: Thursday\, July 12\, 6-8 PM \nLehmann Maupin is pleased to announce Gridology\, a group exhibition featuring Gilbert & George\, Liu Wei\, Angel Otero\, and Robin Rhode. Together\, these artists whose work spans 2009-2015 and includes painting\, photography\, and mixed media sculpture\, offer contemporary contextualization on the minimalist grid. As a formal device\, the origins of the grid can be traced back to earliest art history\, when the rectangle was established as the standard pictorial plane\, likened to looking through a window. Most recently\, the grid has endured through postwar to postmodern art\, and has been transformed after decades\, with these four artists offering unique\, socially engaged\, and personally reflective interpretations on the theme. The gallery will host an opening reception on Thursday\, July 12\, from 6 to 8 PM. \nGilbert & George (b. 1943 and 1942; live and work in London) have worked jointly since meeting in art school at Central Saint Martins\, where they developed their signature form of “living sculpture” in 1967. Their works in Gridology are curated from their URETHRA POSTCARD PICTURES (2009). The series replicates “an angulated version of the sign of urethra\,” arranged from postcards sold to tourists in the U.K. This shape—a continuous rectangle of cards\, with a single card in its central space—mimics the sexual symbol used by the onetime theosophist C. W. Leadbeater to accompany his signature. In reducing this potent sexual symbol to an overly simple and grid-like format\, Gilbert & George engage subject matter often left unregarded for its lowly or undesirable associations. \nLiu Wei (b. 1972\, lives and works in Beijing\, China) explores 21st century sociopolitical concepts such as the contradictions of contemporary society and the transformation of developing cities and the urban landscape. In many of his sculptural and installation works\, he uses found materials that are recontextualized to draw new meanings out of the materials from which they are made. He frequently uses geometric and architectural forms in his work as a reference to his urban surroundings. Gridology focuses on the artist’s Exotic Lands series from 2013\, part of his wall-hanging sculptures that engage in repetition\, symmetry\, and geometry—all primary formal qualities of many of Liu Wei’s works. \nAngel Otero (b. 1981\, Santurce\, Puerto Rico; lives and works in Brooklyn\, New York) is a visual artist best known for his process-based paintings. Otero remains an innovator in the genre of painting\, as he is constantly experimenting with new techniques. Rather than creating purely abstract and formal work\, Otero keeps his process-based concept at the forefront of his practice\, allowing for conversation about content in addition to formal qualities. All of the works in Gridology come from the artist’s Landscape Transfer series\, spanning 2014-2015\, in which Otero digitally distills a photographic image down to a line pattern traditional to woodcut techniques. He then traces the outline onto linen using silicone\, and covers it with powdered pigment that sticks to the adhesive surfaces. This act and physical process of reproducing and obscuring are crucial components to Otero’s practice\, in this case through the paring down of an image to a selective set of line work. \nRobin Rhode (b. 1976\, Cape Town\, South Africa; lives and works in Berlin) has established his unique practice with a multifold approach\, working across media\, including drawing\, performance\, photography\, video\, and music. As a young artist inspired by the rebellion and possibility of graffiti\, he was first drawn to working in public\, unsanctioned spaces. Since then\, his practice has evolved to become more closely aligned with and influenced by the minimal wall drawings of Sol Lewitt\, and the 1970s performance work of artists such as Vito Acconci and Bruce Nauman\, as well as earlier art historical references like Eadweard Muybridge’s stop-motion photography. The succession of images in works like Four Plays (2012-2013) and Dragon (2015) alter the two-dimensional photographs depicting the movements of the character featured\, thus the gridded formation allows the artist to articulate the narratives central to his socially engaged works. Rhode has often emphasized the reciprocal and collaborative nature of his work\, saying\, “The reactions and responses of the people on the street\, the conditions pervading that particular process—that’s part of the narrative.” \nAbout Lehmann Maupin \nRachel Lehmann and David Maupin founded Lehmann Maupin in 1996. In addition to its diverse American artists\, Lehmann Maupin represents artists and estates from across Europe\, Asia\, Africa\, and the Middle East\, and has been instrumental in introducing numerous artists from around the world in their first New York exhibitions. Known for championing artists who create groundbreaking and challenging forms of visual expression\, the gallery prioritizes personal investigations and individual narratives. Lehmann Maupin prizes the distinct conceptual approaches that its artists offer on the essential matters that shape international culture today\, including gender\, class\, religion\, history\, politics\, and globalism. In 2013\, with two locations in New York\, significant interest in its artists abroad\, and with the dynamic opportunities of new markets evident\, Lehmann Maupin opened its doors in Hong Kong\, followed by Seoul in 2017. For more information on the gallery and its artists\, visit www.lehmannmaupin.com
URL:https://onarto.com/art-event/lehmann-maupin-hongkong-gridology/
LOCATION:Lehmann Maupin\, 407 Pedder Building\, 12 Pedder Street\, Central\, Hong Kong\, Hong Kong\, Hong Kong
CATEGORIES:Art Exhibitions,Other Events
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