All posts tagged: Hong Kong

Donald Moffett at Whitestone Gallery

NATURE CULT / May 18 – Jun 26, 2021 /Opening: Saturday, May 15, 2 – 6pm / Whitestone Gallery8/F, H Queen’s, 80 Queen’s Road CentralCentral, Hong Kong http://www.whitestone-gallery.com/exhibitions Whitestone Gallery Hong Kong is pleased to present NATURE CULT, the first solo exhibition of American artist Donald Moffett in Asia. Coinciding with Art Central Hong Kong, Moffett’s exhibition highlights his recent works characterised by a provocative minimalism, glossy surfaces and uncanny forms exploring subjects on nature, the body and desire. The show at the gallery in H Queen’s will also feature works from across Moffett’s oeuvre, including He Kills Me, 1987; an iconic work by the artist made in New York at the height of the AIDS epidemic. In the past two decades Moffett has developed a unique application of paint in which orifices and bristled surfaces invite implications of the human body, botanical and molecular forms, as well as bullet holes. The emergence of this extruded series marked a major shift in Moffett’s work and challenged traditional notions of painting. In Moffett’s recent NATURE CULT series, from which the show …

Bruce Nauman 布魯斯·瑙曼

By Diana d’Arenberg Parmanand / This year marks the 80th birthday of American artist Bruce Nauman. Following on from a recent Tate retrospective is Presence/Absence at White Cube, the first exhibition in Hong Kong for the pioneering video artist, featuring five works: two single-channel pieces, from 1999 and 2001; and three dual-screen projections made in 2013. The artist is present in all but one of them. Many of Nauman’s earlier works are about time and endurance: his own as an artist, as he pushes himself to physical limits; and the audience’s, as they try to sit through videos of maniacal clowns (Clown Torture, 1987), and of the artist performing mundane tasks. In one of several early videos from 1968, we see him bouncing off the wall (Bouncing in the Corner I), making the viewer dizzy in the process. In another, Walk with Contrapposto (1968), he walks back and forth in a narrow corridor, exaggeratedly swinging his hips side to side. Similarly, in Walking in an Exaggerated Manner Around the Perimeter of a Square (1968), he …

Tai Kwun Contemporary: INK CITY | Portals, Stories, and Other Journeys

Tai Kwun Contemporary: INK CITY | Portals, Stories, and Other JourneysApr 23 to Aug 1, 2021 1/F JC Contemporary & F Hall, Tai Kwun10 Hollywood Road Central, Hong KongTue – Sun: 11am – 7pm (Closed on Mondays) Tai Kwun Contemporary has opened two new exhibitions! INK CITY and Portals, Stories, and Other Journeys will be on view from Apr 23 to Aug 1, 2021. INK CITY sets out an expanded vision of ink art firmly grounded in current social, political, and aesthetic concerns, featuring artists inspired by immediate encounters with contemporary life. Often caught between an overwhelming urbanism and intimate brushes with everyday life, the artists offer keen observations, commentaries, and sometimes even deconstructions of contemporary culture and society through their artworks. ArtistsLuis Chan, Chen Shaoxiong, Chu Hing-Wah, Sherry Fung Hoi Shan, Frog King Kwok, Lam Tung Pang, Joey Leung Ka Yin, Li Jin, Wilson Shieh, Sun Xun, Frank Tang Kai Yiu, Tao Aimin, Walasse Ting, Tsang Tsou-Choi (King of Kowloon), Howie Tsui, Evelyn Taocheng Wang, Wei Dong, Yang Jiechang, Zhang Yanzi Curated by Katherine Don and Tobias Berger Portals, Stories, and Other Journeys stems from Asia Art Archive’s research …

Rodel Tapaya at Tang Contemporary Art

Random Numbers /Apr 22 – May 15, 2021 /Opening: Apr 22, 6 – 8pm / Tang Contemporary Art10/F, H Queen’s, 80 Queen’s Road CentralCentral, Hong KongTu-Sa 11am – 7pm tangcontemporary.com Random Numbers is the latest solo exhibition by Filipino contemporary artist Rodel Tapaya at Tang Contemporary Art Hong Kong showcasing the artist’s most recent body of work. Rodel Tapaya is one of the most prominent contemporary Filipino painters working within the international art world today. Early in Tapaya’s career, he came to regional and global prominence through his now signature body of work, the Folk Narrative paintings. During this phase, the artist drew direct inspiration from pre-colonial mythology and Filipino folkloric tradition in order to fuse the otherworldly imagery with the impressions from the contemporary daily life. This enabled him to establish a unique contemporary, neo-traditional artistic form of myth-making. In these works, numerous pictorial fragments within muralist compositions are devoid of traditional perspective, and meticulously pieced together to form epic stories filled with allegorical references. Tapaya became renowned for his celebration of Filipino culture while communicating urgent universal ideas concerning civilization, colonization, capitalism and globalization. In this …

Various artists

Yummy Gummy / Eaton / Hong Kong / Aug 23 – Sep 1 / Ellen Wong / Yummy Gummy, curated by Wong Ka Ying, was the most eclectic of the programmes and activities dedicated to celebrating women in this year’s lineup at Women’s Festival Hong Kong. For starters, Ho Sin Tung’s I’ve often sailed in her (2019) could be seen in the lift – not the ideal place spacially to display the piece, but one that attracteda larger crowd than would normally attend a gallery exhibition thanks to its location in the Eaton Hotel. The way in which the curator, the Eaton Hotel team and the artists worked together to appeal to a wider crowd is valuable for future reference. Alysa Chan’s Just cut it! (2019) outside the exhibition venue within the hotel was a companion piece to Sadako’s My Personal Feelings (2016-2019) inside the venue. Both used techniques superficially associated with mass media to raise issues related to minorities, and both were somewhat straightforward in their approaches. Chan’s work questioned the relationship between hair length and impressions of primness through the poster format, …

Max Hattler

Receptive Rhythms / Goethe-Gallery / Hong Kong / Sep 4 – 28 / Valencia Tong / Squares. Circles. Colours. Repetition. These are the words that come to mind as the visitor tries to comprehend the sensory overload unfolding before the eyes in the small exhibition space in the lobby of the Goethe-Institut, located in the Hong Kong Arts Centre. With a focus on the claustrophobia-inducing aesthetics of the high-rise architecture of Hong Kong’s residential estates and the geometrical patterns found on the city’s streets, the show brings to the fore fleeting images from our contemporary existence as city dwellers, and re-examines often neglected, mundane experiences through the lens of abstraction.  Hong Kong-based German video artist and experimental filmmaker Max Hattler explores the interplay between film animation and photographicimage in the exhibition, Receptive Rhythms, for example in the rapid transitions in the video Serial Parallels (2019), highlighting the vertical nature of the architectural landscape found in the densely populated urban metropolis. Moving images of each nearly identical rectangular components, which represent the facades of apartments stacked against each other, create a mesmerising effect reminiscent …

Marcel Dzama

Crossing the Line / David Zwirner / Hong Kong / Jan 22 – Mar 9 / Katherine Volk / If artists are historians of our times, Marcel Dzama represents the present. Canadian-born, New York-based Dzama references the contemporary climate in the US under Donald Trump’s presidency; this was paired with influences from elsewhere, in particular Hong Kong, for his recent show at David Zwirner, which spanned both floors of the gallery. Dzama departs dramatically from his earlier approach of sparse characters on plain paper, with his style morphing into colourful, large-scale works that are bold and chaotic but meaningful. The new approach was influenced by the work and looser approach to creation of his friend Raymond Pettibon, as well as Dzama’s time living in and visiting large cities such as New York and Hong Kong, and the vibrancy and crowded energy of these places. The neon lights of Hong Kong aren’t Dzama’s only inspiration; the city’s iconic horse racing also features as a prominent theme across multiple works, including Ghost riders (or Watch out he don’t fall on …

Rei Hayama, Takashi Makino

Katherine Volk / The Pearl of Tailorbird / Memento Stella / Empty Gallery / Hong Kong / Dec 15 – Jan 26 / Katherine Volk / Two solo exhibitions, The Pearl of the Tailorbird by Rei Hayama and Memento Stella by Takashi Makino, took over the entire two-floor space of Empty Gallery. While both employ film, they provoke vastly different feelings and reactions. Spread across two floors, The Pearl of the Tailorbird took viewers on a journey. Winding through the top floor of the gallery’s iconic dark void were walls spiralling inwards like a maze; as visitors navigated the barriers, it felt as if they needed Ariadne’s silver thread to guide them out of the miniature labyrinth. This searching and disconnection are symbolic of Hayama’s exploration of the human condition alienated from nature. The layout itself was a structure within a structure, where perceptions were altered, and the spiral also alluded to other manmade or mythical cultural constructions of disorder, such as the Tower of Babel, from a biblical tale in which God punishes people’s attempts to build …

Chen Danqing

By Diana d’Arenberg Parmanand / Shanghai-born artist Chen Danqing was only 14 when he started painting Mao propaganda posters in the 1970s. “I painted more than 100 portraits of Chairman Mao on the street walls in Shanghai and its suburbs and also on factory iron sheets,” he says. “During that time, there were millions of amateur and professional painters in China who painted millions of portraits of Mao Zedong.” Sent to live in the countryside in Jiangxi province for five years as part of a nationwide programme of forced collectivisation during the Cultural Revolution, Chen painted what was prescribed in the socialist realist style. The posters were part of a progression in a career that would eventually earn him accolades as a painter in China. After the Cultural Revolution he was admitted to the China Central Academy of Fine Arts, graduating in 1980 and staying on to teach until he moved to New York City a couple of years later. It was during this period that he painted his series of seven Tibetan paintings, which would …

Free to Express – Fresh Wave International Short Film Festival

By Karen Chu / The impact of dementia on a family; a straight-A student’s struggle with a speech impediment; kintsugi, the ancient Japanese art of repairing ceramics; premature ejaculation; prostitutes, rappers and farmer-robbers – the 2019 edition of the Fresh Wave International Short Film Festival is a kaleidoscope of youthful creativity. Alongside an international selection, a Japanese and Taiwanese talent showcase and the opening gala premiere of feature film The Pluto Moment by Chinese sixth-generation director Zhang Ming, the festival’s heart is its local competition, where 20 short films by aspiring Hong Kong filmmakers compete for four awards. Now in its 13rd edition, Fresh Wave was launched by renowned Hong Kong filmmaker Johnnie To. Its aim is to discover and nurture new talents in Hong Kong, where the film industry has struggled to sustain its rich legacy since it suffered a downturn in the 2000s while mainland China-Hong Kong co-productions bloomed, siphoning off established directors and creative talent northward. During the heyday of Hong Kong cinema in the 80s and 90s, Hong Kong actors and directors were …