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 |...
Chambers Fine Art is pleased to present a solo exhibition of recent works by the artist Xiaoze Xie. Born in Guangdong, China in 1966, Xiaoze Xie graduated from Tsinghua University and the Central Academy of Arts and Design, Beijing before moving to the United States and settling in Texas where he continued his studies in a very different environment. He is currently the Paul & Phyllis Wattis Professor in Art in the Department of Art & Art History at Stanford University.
As a realist painter by vocation, early in his career Xie found a way to combine his passionate interest in Chinese history and current world events with more formal concerns by focusing on the materials stored in archives and library stacks as the subject matter of his paintings. During his career he has approached this subject in many different ways, but it is paintings of libraries with which he is most closely associated.
Unlike the German photographer Candida Höfer whose photographs of famous libraries concentrate on the splendid architectural surroundings created to house collections of books, Xie focuses on telling details, only rarely revealing the name of an author or title of a volume. A great deal is revealed, however, as he lingers on decaying bindings or more serious damage caused by historical events. In the 20th century Chinese libraries have suffered more than most, a fact treated with particular poignance in Xie's Chinese Library series. The frayed pages of these Chinese books and manuscripts attest to the long history of suffering caused by global conflicts in recent history. Ancient leather and vellum bound volumes depicted in recent paintings from his Library (Western) Series have also endured many centuries of turmoil and are often in a precarious state of preservation but they are now treasured and preserved in scholarly libraries.
Accompanying the paintings will be an installation of photographs that are part of Xie's longstanding investigation into banned books. Xie scoured library catalogs in China to unearth old books thatcontained information deemed 'dangerous' by various dynasties and rulers. Themes related to sexual pleasure, filial betrayal, political insurrection, and maps or descriptions of certain terrains were often censored, and the imperial class restricted general access to these books, allowing only certain elite citizens to see them. Censorship is, of course, not unique to China; in the past three years in the United States, books ranging from the Bible to novels by Nobel laureate Toni Morrison have been challenged, according to the Office for Intellectual Freedom, part of the American Library Association.
As an artist, Xie is also a cultural historian, deeply aware of what he refers to as 'the vulnerability of culture, memory, and history' and the seeming decline of printed matter today. His experiences as agraduate student following the Tiananmen Square protests of 1989 became the impetus for his focuson banned books, and his photographs address the censorship of media he witnessed in China. In his paintings, the somber tonality and large scale endows the volumes with a singular gravitas. He achieves a remarkable balance between detailed recording of the appearance of his inanimate subject matter—books and manuscripts—and an increasing delight in fluid brushwork and painterly effects that often verge on abstraction.
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