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 |...
Mimi Lauter works primarily with pastel on paper, from intimately scaled notebook-sized work to twenty-four part installations transforming entire gallery spaces into secular chapels. A saturated, bold palette and intricately carved rich textures comprise her works that harken simultaneously to cave paintings, Byzantine mosaics, medieval tapestries, Redon, and the murals of Diego Rivera. The work hovers between abstraction and representation, carrying narratives drawn from subconscious memory, literature, sociopolitical surroundings, the history of painting, and classical mythology.
She says, 'There's a certain type of intimacy with drawing. It's always an accumulation of many marks, never one gesture, that leads to a different relationship with time. It's both immediate and slow.'
Lauter began as a painter, transitioning to the medium of pastel as a means of slowing the pace of both the reading of her work and the creation of her work. These compositions exist in a space between painting and drawing, and even sculpture–Lauter's surfaces are thick, viscous accumulations of almost pure pigment, pushed, scraped, and then meticulously carved. These complex surfaces guide the viewer through deeply personal, and yet universal, knowing of human interior psychic and emotional spaces.
In recent bodies of work, Lauter has explored the relationship of the artist and the viewer to the art itself, a feeling that is deeply spiritual and potentially transcendent. These series, called Devotional Landscapes and Devotional Flowers, are intended as vessels for worship in the same manner as are traditional Christian devotional paintings, which function as physical substitutes for deities. With Lauter's work, devotion is focused on the art itself rather than a higher power–these compositions encourage the viewer to explore the ethereal, the amplified state that is roused through encountering impactful art.
Mimi Lauter (b. 1982, San Francisco) received her BA at the University of California, Los Angeles and her MFA from University of California, Irvine. Her work is represented in the collections of the Frederick R. Weisman Art Foundation, Los Angeles; Hammer Museum, Los Angeles; Los Angeles County Museum of Art; and the Marciano Art Foundation, Los Angeles.
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