Archive for May, 2013

自动手臂 | Automatic Arms by Liu Xinyi

香港巴塞尔艺博会现场,香港
Installation view at Art Basel HK, Hongkong

自动手臂 | Automatic Arms by Liu Xinyi 

招财猫 Lucky cats ( 招き猫 ), Exhibited at Art Basel HK, 2013 – White Space Beijing  Booth, Hong Kong

Read More about White Space Beijing – 

Read More about Liu Xinyi –

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Top 10 Booths at Art Basel in Hong Kong 2013

Top 10 Booths at Art Basel in Hong Kong 2013
by Benjamin Genocchio

Gajah Gallery Singapore – Artists: Nyoman Masriadi and Yunizar
Chambers Fine Art  – Artist Zhao Zhao
Gmurzynska Galerie – Artist Fernando Botero
White Space BeijingArtist LiuXinyi

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Zhao Zhao prepares “Constellations” for Art Basel HK


Zhao Zhao prepares “Constellations” for Art Basel HK

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Living Room by Hou Yong

 
HOU Yong/ Living Room/ Acrylic on canvas / 183x163cm / 2013

Living Room by Hou Yong at Tang Contemporary Art Gallery
Date: May 18- Jun 30, 2013
Location: BEIJING

HOU Yong/ Shutter Door/ Acrylic on canvas / 146x200cm / 2013

 

 

Hou Yong born in Beijing, 1976. In 1999 graduated in Central Academy of Fine Art in the Oil Painting Studio No.2 and currently lives and works in Beijing.
For this exhibition, six paintings produced by Hou Yong between 2012 to the present will be displayed in two small rooms. The acrylic on canvas works predominately will display a re-ordered pictorial space.
Rather than bound to a historical trajectory, it instead perhaps marks a certain clear new turning point. ‘Living Room’ appears to be Hou Yong’s creative hint that point towards a certain stage of the project – it is clearly something appropriate. In his new series, it is the first time a relatively complete pattern has emerged. The scale, whilst not large, is sufficient enough to outline a completely different impression of Hou Yong – who typically employs calm images and applies an exquisite language to occupy a long duration of time to narrate the single theme of ‘Water’ on a canvas in a series.
The surface flows with a tactile and increasingly proficient expression, which is also in some ways almost obstinate in manner. This has by no means limited the accumulation of questions within his paintings. Instead this has initiated the development of several tangents that together create a ‘new room’.
In terms of the most important or only tool for a practicing painter, the transformations that emerge in the picture are always in the final few steps – this enables the progression of different states within work to be illustrated even more clearly. Hou Yong practice has in the last seven years gradually become an individualistic practice with a range of dizzying perceptions underlined by concrete, feeling of touch. Precisely, as with many other contemporary Chinese practitioners, his earliest understanding of painting was completely informed by the educational framework of the art academy: space, structural relationships, the finalization of a picture, etc.
They explicitly institute a systemic symbol of issues that become an imaginary kind of adversary. With this premise, abstract expressions become the better option; the rules of form supersede the rules of an image to seemingly establish an even more conceptual order. It is evident that this is not a new order; the specificity of the environment and background provides it with a meaningful text to describe China’s uniqueness.
But this does not simply mean that many images of value will be produced. The tranquil pattern of ripples conceals a confusion and chaos. At each nodal point a form is generated to cause Hou Yong to separate from a balanced and stable state in order to pursue and solve issues lingering from the starting point and other paradigmatic questions of painting.
In ‘Living Room’, he obtains material from the most familiar environment from his life to deliberately avoid creating something artificial for its own sake. It also saves him from establishing connections related to certain processes – the skill of assembling images is not simply an art of ‘composition’. There are trivial aspects, common issues, techniques of understatement, and also further ideas of looseness, contradiction, and the paradoxical. Shaping a picture from beginning to end is no longer considered vital. On the same canvas you can smear paint or describe a number of issues, the dividing line is not necessarily used as a functional structural device. To officially commence this new series of work, Hou Yong applies the parallel clue of ‘exercising’ painting to continue the role of the hand, brush, and the ancient affiliation between paint and canvas.

 

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Wang Yuyang Prepares for Art Basel Hong Kong


Wang Yuyang Prepares for Art Basel Hong Kong

IN THE STUDIO [VIDEO]: Wang Yuyang Prepares for Art Basel Hong Kong

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Curator Philip Tinari Discusses China’s Newest Generation of Artists

Curator Philip Tinari Discusses China’s Newest Generation of Artists from Canadian Art

On March 11, 2013, Philip Tinari gave a lecture titled “ON|OFF: The Double Consciousness of China’s Newest Generation of Artists” at the Vancity Theatre in Vancouver. The talk was part of the Asia Contemporary Speaker Series, presented in partnership by the Canadian Art Foundation and the Asia Pacific Foundation of Canada and its sponsors. This particular lecture was also presented in collaboration with the Vancouver Art Gallery.

Philip Tinari is Director of the Ullens Center for Contemporary Art (UCCA), an independent museum in Beijing’s 798 Art District with an annual attendance of more than half a million visitors. He is also Founding Editor of the art magazine LEAP, Contributing Editor to Artforum, and Adjunct Professor in the College of Humanities at the Central Academy of Fine Arts. Since joining UCCA in 2012, he has curated exhibitions and projects with artists including Gu Dexin, Yun-Fei Ji, Wang Mai, Kan Xuan and Yung-Ho Chang. He recently co-edited the books The Future Will Be… China Edition (curated by Hans Ulrich Obrist). Having lived in Beijing for much of the past decade, he has written and lectured widely on contemporary art in China.

The rise of Asia on the international scene is one of the most compelling stories in contemporary art. Provocative artworks command ever-higher prices as markets expand, and impressive new museums, schools and biennials continue to proliferate. Hong Kong, Singapore, Dubai, Tokyo and Beijing have established themselves as major art-world hubs, competing directly with London and New York. In order to understand this phenomenon and its connection to global movements of economic and political power, the Asia Contemporary Speaker Series was created to take place at venues across Canada from November 2012 to April 2013.

 

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