All posts tagged: Ellen Oredsson

Anish Kapoor

Published by Artomity Magazine

Gagosian Gallery, Hong Kong, Sep 12 – Nov 5, 2016 By Ellen Oredsson Anish Kapoor’s recent solo exhibition at the Gagosian, his first in Hong Kong, serves as both an introduction to his oeuvre and a subversion of it. The exhibition guides us through works from the past decade, starting with Kapoor’s iconic mirrored surfaces and moving into new, ongoing explorations of sculpture and sensory experiences. Entering the gallery, Mirror (Black) (2014) hits the viewer with the sheer force of its materiality. In this first section, reflective surfaces highlight the interaction between subject and object, with Mirror’s dark, concave facade destabilising perspective. Similarly, Vertigo (2006), a large mirrored wave, dominates the gallery with its warped convex/concave structure, reflecting distorted images back at the viewer. More unassuming is Right Angle Triangle Twist (2016), a smaller work that takes the warped mirror of Vertigo and keeps twisting it, confronting the viewer’s sense of space and reality. The exhibition’s second section illustrates a new direction in Kapoor’s art, with heavy slabs of stone lying on the floor. Compared to Kapoor’s immaculate mirrored surfaces, they are imperfect: corners …

Gender Matters

Published by Artomity Magazine

By Ellen Oredsson “I’m so happy you can see that this is really an exhibition about gender,” says curator Tang Ying Chi when I speak to her about What Do You Want For Tomorrow?, currently on display at the Hong Kong Heritage Museum. Although all 12 participating artists, including curators Tang and Wong Wo Bik, are women, only one of them refers directly to gender issues in her work. Part of the fourth annual Hong Kong International Photo Festival, the exhibition showcases a variety of subject matter, rapidly shifting in tone and medium. A Hong Kong perspective is woven through it: Zoe Chu Wing Man’s Tin Ha Tai Ping features cinematic photographs of urban landscapes covered in drawings lit up like neon signs, while Gretchen So’s Ten Thousand Messages couples her shots of deserted areas of Hong Kong with online discussions to create community engagement. Gender, as an issue, is almost invisible. Tang’s work is, of course, the exception. It’s not the first time she has addressed gender in the art world, having organised female-focused exhibitions …