All posts tagged: White Cube

Julie Curtiss at White Cube Hong Kong

Bitter Apples /Sep 21 – Nov 11, 2023 / White Cube Hong Kong50 Connaught Road, Central Hong Kong+852 2592 2000Tuesday – Saturday, 11am – 7pm whitecube.com White Cube is pleased to present Julie Curtiss’ first exhibition in Greater China, opening in September. The presentation features painting, sculpture and works on paper, as well as Curtiss’ first film work, a Surrealist narrative incorporating sculptural props made by the artist. The new works feature birds, insects and lush, tropical plants influenced by Curtiss’ new studio location in Florida. Sparking parallels with art-historical depictions of Eden and Paradise, the motifs serve as fertile ground for the artist’s slyly humorous take on temptation, gender and sexuality. A new edition, made by traditional Japanese woodblock printing, has been created on the occasion of this show.

Michael Ho, Chris Huen Sin Kan, Timothy Lai, Su Yu-Xin

Published by Artomity Magazine

Inside the White Cube: New Moroism / White Cube / Hong Kong / May 31 – Sep 9, 2023 / By Christina Ko / Blurred lines are very much the theme at White Cube’s summer exhibition, Inside the White Cube: New Moroism. In the literal sense, it refers to the Moroism movement, which emerged in Japan in the 19th century and saw stark outlines replaced by vague or hazy delineations of spatial boundaries. In a more abstract sense, these blurred lines are cultural ones: the four artists contributing to the show are of Asian descent, but no longer live or have never lived in their respective ethnic homelands, and pay homage to their heritage through their work. As such, the painting-dominant show is both romantic and restrained, filled with imagination and longing through an exploration of the concept of home, as embodied in each artist’s practice. The gallery’s lower floor features three works by London-based Michael Ho, who was raised in a small town in the Netherlands, a so-called third-culture kid whose childhood was and …

New Moroism at White Cube Hong Kong

Published by Artomity Magazine

Inside the White Cube: New Moroism /May 31 – 9 Sep, 2023 / White Cube Hong Kong /50 Connaught Road, Central /Hong Kong /+852 2592 2000 /Tuesday – Saturday, 11am – 7pm / whitecube.com White Cube Hong Kong is pleased to present New Moroism, a group exhibition which brings together four artists who seek to expand the parameters and ideation of figuration in painting. Part of an emerging generation of artists whose roots are in Asia, Michael Ho, Chris Huen Sin Kan, Timothy Lai and Su Yu-Xin reflect a new approach and sensibility, responsive to trans-regional shifts and migration. Embracing the concept of ambiguity within their paintings, the artists each explore Moroism, an aesthetic paradigm which is derived from the ‘mōrōtai’ style (mōrō literally translated as ‘vague’ or ‘indistinct’) that emerged in Japan of the late Meiji era (1868–1912), also found as a pictorial intention originating in traditional Chinese painting theory. Determined by the artists’ shared East Asian heritage, the works in this exhibition are grounded in personal narrative. Chris Huen Sin Kan’s large-scale oil paintings feature a recurring cast of characters including his wife, son, daughter and dogs. …

Haim Steinbach at White Cube Hong Kong

Published by Artomity Magazine

Haim Steinbachtin drumSep 14 – Nov 12, 2022 White Cube Hong Kong50 Connaught Road, Central Hong Kong+852 2592 2000Tuesday – Saturday, 11am – 7pm whitecube.com White Cube is pleased to present ‘tin drum’, an exhibition of new and recent work by Haim Steinbach. Featuring works made in the past two decades, the selection reflects the artist’s engagement with the everyday object and the aesthetic and cultural implications of methods of selection and display. Since the mid 1970s, Steinbach has made structures and devices for presenting various found objects, in particular employing a wedge-shaped shelf based on 40, 50 and 90 degree angles, constructed in several parts and finished with a coloured, plastic laminate. Working within the methodologies of presentation rather than representation, his art sets in train a nexus of associations, enabling multiple potential themes to emerge from the arrangement of these common objects. ‘I [see] my works as an engagement with the here and now, with the archaeology of what exists and what we all participate in,’ Steinbach states. In the ground floor gallery, a group of …

Bruce Nauman 布魯斯·瑙曼

Published 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 places one foot in front …

Takis at White Cube Hong Kong

Published by Artomity Magazine

Takis /Nov 21 – Feb 27 / White Cube Hong Kong /1/F, 50 Connaught Road, Central /Tuesday – Saturday, 11am – 7pm / White Cube Hong Kong is pleased to present an exhibition of works by the late Greek artist Takis (1925–2019). This first presentation in Asia follows his last major solo exhibition as a living artist at the Tate Modern. Featuring sculptures drawn from a thirty-year period – from the end of the 1960s to the 1990s – it showcases the artist’s committed exploration of art and science. Born in Athens, Takis took art into realms that were previously considered the domain of physicists and engineers. Describing himself as an ‘instinctive scientist’, Takis carved out a new aesthetic territory, incorporating invisible forms of energy such as magnetic, acoustic or light waves as the fourth dimension of his work. View full exhibition details online.

Virginia Overton 弗吉尼亞·奧弗頓

Published by Artomity Magazine

Signs of the Times / By Christina Ko / When you are dealing with works as large and savagely stark as Virginia Overton’s installations, it’s easy to reduce the importance of a scattering of pieces on paper, which might initially seem to be simply two-dimensional precursors or stylistic explorations that precede their sculptural siblings, forged of aluminium and light. To many artists, paper is usually just a canvas, its function no more than to support the paint that sits on top of it; to Overton, it is a material with a history and significance equal to that of the salvaged aluminium that forms the rest of the pieces. Overton’s practice is not defined by any overarching message or cause, and, by her own admission, defying categorisation can be “problematic” in a world that loves a pigeonhole. But if there is a connective thread, it is that she works exclusively with salvaged materials, and that respecting the past life of said materials is an important aspect of the process – whether they be her go-to industrial …

Virginia Overton at White Cube Hong Kong

Published by Artomity Magazine

Alone in the Wilderness Sep 11 – Nov 14, 2020 White Cube1/F, 50 Connaught Road CentralHong Kong In her first solo exhibition in Asia, Virginia Overton presents new sculptures and works on paper. In this body of work the artist explores the histories embedded in certain materials, and the narratives and value systems that are created when these materials are appropriated, revived and re-contextualized. Overton’s sculptures are made from objects and elements she comes across in her immediate environment, her choices and working process driven by what she has described as the ‘natural push and pull in materials’. She selects materials that are part ready-mades, altering their purpose and function through a shift in perspective or orientation. As with so much of her work, the materials used in this exhibition have had other lives before taking on a life as artwork. For this new series of sculptures Overton has reassembled aluminium letters and logos salvaged from the names and signs adorning the facades of high-rise corporate buildings. Shown alongside the sculptures are a new series of …

Park Seo-Bo

Published by Artomity Magazine

Ecriture 1967−1976 / White Cube / Hong Kong / Nov 23, 2018 – Jan 5, 2019 / Valencia Tong / The father of the Korean Dansaekhwa movement, Park Seo-Bo believes that art is an act of emptying. Through repeated hand movements he creates meditative works that are deeply rooted in Taoist and Buddhist philosophy. At his exhibition at White Cube in Hong Kong, the early works of the artist’s Ecriture series, which began in the late 1960s, embody the notion of emptying the mind. The Korean War in the 50s was a traumatic period for many local artists, whose works became more introspective following the unrest in the country. In the next decade, the post-war generation of artists embarked on the spiritual journey of Dansaekhwa, the Korean monochrome movement, with an emphasis on the process of art-making. Park’s work explores existential conditions but is firmly rooted in the Korean cultural tradition. He regards the resulting art pieces that we see as the residue of the process of his spiritual exercise, as if he had been chanting prayers …

Wang Gongxin

Published by Artomity Magazine

Sep 6 – Nov 11 The gallery is pleased to present Rotation, a solo exhibition by Chinese multimedia artist Wang Gongxin – his first in Hong Kong. This is the first presentation of the artist’s early installation works, as well as new works. The exhibition presents artworks from the period immediately preceding Wang’s first uses of video and projection in 1996. Most of the exhibited works were originally conceived of or created between 1993 and 1996, a period of fervent artistic experimentation inseparable from Wang’s later video practice. Born in 1960 in Beijing, Wang is a pioneering media artist, being one of the first in China to use digital editing. He was also, in 2001, the founder of Loft, the earliest media art centre in China. Wang began his career as a painter, but his experiences and in particular the art education he received in the US between the late 1980s and early 1990s encouraged him to broaden his artistic language, evidence of the energy and vitality within his practice. White Cube 50 Connaught Road, Central …