All posts tagged: Axel Vervoordt Gallery

Jaffa Lam 林嵐

Chasing an Elusive Nature / Axel Vervoordt Gallery / Hong Kong / 15 Oct 2022 – 7 Jan 2023 / A long piece of dark wood welcomes visitors at the entrance of the gallery. Like a totem, or the unique remnant of a larger structure, A Piece of Silence from Lying (2022) simply stands on the floor, vertically, as if abandoned. Its delicate, carved lines suggest the fluidity of running water, as if frozen or trapped in its flow. Created from a recycled pine crate, it epitomises Jaffa Lam’s attempts at magnifying the mundane and revealing the fundamental mutability of matter. Her first solo exhibition at Axel Vervoordt Gallery explores the porosity and transformations of media, as a metaphor for the human quest for identity and a sense of belonging. Immediately, there is a large installation, flooded by the window light. Taishang LaoJun’s Furnace (2022) resembles a graveyard, with hundreds of small volcanic stones aligned on dark soil. On closer inspection, the rocks turn out to be made of aluminium, bronze and concrete, all moulded from …

Jaffa Lam at Axel Vervoordt Gallery Hong Kong

Jaffa LamChasing an Elusive NatureOct 15, 2022 – Jan 7, 2023 Artist Talk Jaffa Lam and Dr. Caroline Ha ThucSaturday Oct 15, 20222pm – 3pm Axel Vervoordt Gallery21F, Coda Designer Center62 Wong Chuk Hang RoadEntrance via Yip Fat Street, Wong Chuk HangHong Kong +852 2503 2220Tu-Sa 11am – 7pm axel-vervoordt.com Axel Vervoordt Gallery is pleased to present, Chasing an Elusive Nature, a solo exhibition by Jaffa Lam (b. 1973), the first Hong Kong artist in the gallery’s roster. The inaugural exhibition with the gallery also marks the artist’s first solo exhibition following the invitation by Hong Kong Arts Centre, Jaffa Lam Laam Collaborative: Weaver in 2013. Chasing an Elusive Nature spans the entire floor of the gallery and features new sculptural works and site-specific installations made with a variety of materials, including recycled crate wood, umbrella fabric, bronze, and stainless steel. Lam’s new works are presented in dialogue with some of her earlier pieces, showing her long-standing anchorage in local heritage, history, and explorations into the city’s collective power. “Taishang LaoJun’s Furnace” (2022) is a large installation consisting of 500 rock sculptures moulded from …

Jaromír Novotný at Axel Vervoordt Gallery, Hong Kong

Just a Narrow Range of Possible Things Sep 5 – Nov 7, 2020Opening: Saturday, Sep 5, 11am – 7pm Axel Vervoordt Gallery21 F, Coda Designer Centre62 Wong Chuk Hang Road, Hong Kong Axel Vervoordt Gallery is pleased to present the second solo exhibition by Jaromír Novotný (°1974, Český Brod, Czechoslovakia) in the Hong Kong location. The exhibition invites visitors to experience the silent and seemingly monochrome creations, which, through the use of colour and materiality, enable the power of memory and remembrance.  In modern days, there’s a strong tendency to rely only on what is seen. The act and ability to see may result in an illusion or misconception of things and situations. However, Novotný’s works and his creative process gently reminds viewers that human intuition has great potential, perhaps more than may be realised. The word ‘tactile’ was derived from Latin for ‘that may be touched, tangible’. It refers to the physical act of feeling; the experience of touching – for example, the skin. Novotný’s work bears the traces of the human hand and …

Bosco Sodi 博斯克•索迪

A Thousand Li of Rivers and Mountains / Axel Vervoordt Gallery / Hong Kong / Feb 13 – Sep 5, 2020 / Christine Chan Chiu / The colour turquoise holds great significance for Bosco Sodi, so much so that the artist’s first solo show at Axel Vervoordt Gallery Hong Kong was devoted to exploring the nuances and subtleties of this pigment.Created during his two-week residency in Hong Kong last December, the works in it are made with sawdust and inspired by the artist’s experiences in the city. Completing the multi-dimensional exhibition was a selection of the artist’s large clay sculptures, presented on the floor. The title of the exhibition references the famous 12-metre-long shanshui landscape painting of turquoise-tipped peaks by Chinese painter Wang Ximeng (1113 AD). Focusing on the colour turquoise was cathartic for the artist; not only has the mineral turquoise long been seen as a good-luck talisman in many cultures, but its unique, stunning colour also recalls precious memories from the artist’s childhood. It conjures images of cool waters amid lush landscapes, scenery found both …

Raimund Girke at Axel Vervoordt Gallery, Hong Kong

Jun 15 – Sep 28, 2019 / Opening: Saturday, Jun 15, 11am to 7pm / Axel Vervoordt Gallery is pleased to present the exhibition, Raimund Girke: The Silent Balance at their new space in Wong Chuk Hang, Hong Kong. Following In Between White, in 2015 (Hong Kong), and Dominanz des Lichts in 2018 (Wijnegem, Belgium), this will be the gallery’s third solo presentation of the late artist’s work.  The Silent Balance builds on the gallery’s exploration of Girke’s monochrome paintings and work from the last two decades to highlight various aspects of his complete oeuvre. The line is a constant in the selection of artworks—as a motif that recurs both in his early large-format work and in his later, darker and more intimate paintings. axel-vervoordt.com

Masatoshi Masanobu

Axel Vervoordt Gallery Hong Kong Nov 15, 2017 – Feb 10, 2018 Valencia Tong The word Gutai suggests wild, expressive gestures and performances, but the work of late Gutai artist Masatoshi Masanobu (1911-95) from the mid-1960s to the early 1970s in this exhibition at Axel Vervoordt Gallery is rather controlled and subdued. Masanobu met painter Jiro Yoshihara, co-founder of the post-war avant-garde group, in Kobe in 1947; Yoshihara founded Gutai in 1954 when Masanobu was 43. A prolific artist, Masanobu participated in a number of Gutai exhibitions until the group dissolved in 1972. The earth-tone enamel colours of the paintings in the current exhibition, coupled with the primitive yet abstract composition, make them oddly calming. The emphasis on the materiality of the paintings, rather than the fleeting performative actions, creates an illusion of weight and solidity. The mind becomes lost as the eye follows the wriggling lines, hand-drawn but calculated – unlike, for example, the casual scribbles of Cy Twombly. The brushstrokes recall a magnified version of the patterns of felt or knitted fabrics. As the Gutai Manifesto says, “Gutai art does not change …