An Opera for Animals was first staged at Para Site in Hong Kong between 23 March and 2 June 2019, with works by over 48 artists and collectives that use opera as a metaphor for modes of contemporary, cross-disciplinary art-making. The exhibition's second iteration takes up a large portion of the Rockbund Art Museum (RAM) in Shanghai (22 June–25...
Zoe Butt is the artistic director of The Factory Contemporary Arts Centre in Ho Chi Minh City, the first purpose-built space for contemporary art in Vietnam. Founded in March 2016, the Centre was designed by HTAP Architects in an old steel warehouse, with cargo shipping containers added to its structure. Initiated as a social enterprise...
即将于2019年7月13开幕的第二届 Condo Shanghai，联合上海7座画廊/艺术机构与14 家来自全球11个不同的城市，如东京、首尔、雅加达、巴尔的摩、洛杉矶、伦敦、纽约、危地马拉城、利马和墨西哥城，为实验性展览营造了一个更切实可行的国际环境。以下是Ocula的展览看点。周奥，《景观/对象WA》（2016）。橡木上固化油墨打印，左: 55.88 × 147.32 cm，中: 121.92 × 152.4 cm，右: 55.88 × 147.32 cm，图片提供：马凌画廊，上海。马凌画廊 × 80m2 Livia Benavides × LABOR × Proyectos Ultravioleta马凌画廊 |...
Patrick Heide Contemporary Art and Bartha Contemporary are pleased to announce Should I Stay or Should I Go?, a group exhibition, which examines broader questions resulting from the UK’s decision to leave the European Union, and in particular examine notions surrounding inclusion and exclusion, migration and memory, and more profoundly of home and belonging.Turning from an unthinkable scenario into a fast-approaching reality, individuals, groups, corporations, and even nations are facing historic change, uncertainty and upheaval. This exhibition attempts to address many of the issues caused by this unprecedented change by showcasing works that approach the subject in a principally metaphorical manner.
Indeed, across the social- and political spectrum and not least within the prominent European expat community, the exhibition’s title and its question have taken on an existential nature: Should I Stay or Should I Go? The exhibition does not comment on the political reality but rather attempts to reveal hidden layers and undercurrents that have led to the current state of affairs.
One overarching theme exposed in the exhibition is the realisation that our experience is growing from a desire to achieve equilibrium, to balance the action of opposing and contradicting forces. This central theme informs Johannes von Stumm’s (b. 1959, Germany) sculptural oeuvre in particular, but equally resonates with the work of many artists in this exhibition. Another recurring theme is identity, not as a single entity with clearly defined boundaries, but rather as a continuing response to external forces arising from a multitude of often conflicting issues, is beautifully manifested in James Scott Brooks’ (b. 1974, UK) 'Birthplace' series.
In total, the exhibition brings together fifteen artists from diverse backgrounds, who work in a wide range of media. The most literal approach to the subject must be Michal Iwanowski’s (b. 1977, Poland) project Go Home, Polish—derived from a sentence the artist took literally and turned into an art-work as he gathered experiences and images on his journey, walking from Bristol to his native Poland. David Connearn’s (b. 1952, UK) work Calais Flags or Danica Phelps’ (b. 1971, USA) Gratitude Project were both triggered by images of the refugee crisis, to which both found unique responses. Sophie Bouvier Ausländer (b. 1970, Switzerland) and Eric Cruikshank (b. 1975, UK) take maps and places as their point of departure, retracing the terrain by reworking geographical images. Stefana McClure (b. 1959, Northern Ireland) and Mike Meiré (b. 1964, Germany) both took print media as their starting-point, violating or erasing its very content and in turn commenting on the current socio-political landscape. Presumably, the most poignant work in the exhibition, Susan Stockwell’s (b. 1962, UK) Jerusalem-Br-Exit visualises a feeling of frustration and deflation; presenting a UK map coming loose at its Southern border, that faces the European Union.
Should I Stay or Should I Go? is the first collaborative exhibition project between Bartha Contemporary and Patrick Heide Contemporary Art, whose respective programs and exhibitions are rarely politically motivated, yet both felt that the current debate cannot be left uncommented, even if in a rather abstracted manner.
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