I first visited Havana in November 2016, a few days after Fidel Castro died, and just under a year before Hurricane Irma hit Cuba in September 2017. Since then, much has changed, including the hand-painted signs that punctuate the journey from the airport to the city centre, which today do not celebrate the revolution so much as the 'Unidad y...
The exhibition Beyond Boundaries at Somerset House in London (12 March–2 April 2019) marked the historic contributions of the Central Academy of Fine Arts, Beijing (CAFA) and the Slade School of Fine Art, University College London, on the occasion of their 100th and 150th anniversaries, respectively. Spread across several rooms of Somerset House's...
The National 2019: New Australian Art features work by 70 contemporary Australia-based artists split across three venues: the Art Gallery of New South Wales (AGNSW), Carriageworks, and the Museum of Contemporary Art Australia (MCA) (29 March–21 July 2019), as curated by Isobel Parker Philip, curator of photographs at AGNSW; Daniel Mudie Cunningham,...
Johnson Chang. Courtesy Hong Kong Tatler. Photo: Michaela Giles.
With his thick-rimmed glasses, Mandarin-collar jacket and broad smile, Johnson Chang is an instantly recognisable figure at many of Hong Kong's art events—but he's famous for far more than his fashion sense.
Zheng Li, courtesy name Da Yu, was born in 1964 in the city of Ningbo in Zhejiang province. Zheng Li received both his BA (1988) and his MA (2004) from the Chinese Painting Department of the China Academy of Art (formerly the Zhejiang Academy of Fine Arts), with a specialization in shanshui (Chinese landscape painting). Since 1994 he has been teaching in the Chinese Painting Department at CAA, where he is currently Assistant Professor as well as supervising professor for the graduate course in Chinese landscape painting. He is member of the China Artists Association, and on the council of the Zhejiang Art Association. His works have been shown in major exhibitions in China, including 'One Hundred Years of Chinese Painting' at the National Art Museum of China (Beijing), and the National Exhibitions of Fine Arts where his works have won numerous prizes. His paintings are highly sought after and are in a number of private and museum collections.
Born in Hangzhou in 1973, Luo Ying received her BFA (1996), MFA (2005) and PhD (2010) from the Chinese Painting Department of the China Academy of Art in Hangzhou. In 2015 Luo Ying was honoured by a solo exhibition of her paintings at the Zhejiang Art Museum in Hangzhou, Poetry in Dimensions. She has also participated in notable group exhibitions, including Shanshui: A Manifesta, the opening exhibition of the Gongwang Art Museum in Hangzhou (2016), and Post-Brushwork Era: Chinese Landscapes at the Zhejiang Art Museum (2018).
Luo Ying is presently a professor of Chinese Painting and Calligraphy and director of the master's programme in those disciplines at the China Academy of Art.
In a typical painting by Qiu Shihua (邱世华), what first appears as a blank canvas reveals itself to the careful observer as a delicately executed landscape shrouded in layers of pale paint. Requiring sustained gaze to reveal their contents, the works contain natural forms such as tufts of grass, trees or the line of a mountain ridge.
The careful balance between absence and presence in Qiu's works is in line with his Taoist beliefs, which place importance on the harmonious interaction between opposite forces in the cosmos. To achieve this balance, Qiu first applies the outline of a scene in a dark colour before obscuring it with multiple layers of semi-transparent oil paint.
Born in 1940 in Zhizhong in China's Sichuan province, Qiu completed his training in oil painting at Xi'an Academy of Fine Arts in 1962. At the time of his graduation, Qiu's painting style closely followed the stylistic tenets of Socialist Realism. Throughout the Cultural Revolution and up until 1984, the artist worked painting posters for a cinema in Tongchuan.
Travel has been markedly impactful on Qiu's style. In 1988, Qiu went to the Gobi Desert, which influenced the development of his vast, open scenes. After travelling to Europe in the early 1990s, Qiu began moving away from the traditional Shan Shui style (a method of Chinese landscape painting that dates from as early as the Tang Dynasty [618-907]) to embrace new aesthetic approaches. This shift was most distinct in his decision to use oil paint over ink or aquarelle, along with his intentional obscuring of the scene.
From afar, Qiu's minimalist rendering works might be interpreted by a Western eye as monochromes in the vein of Robert Rauschenberg or Yves Klein. Yet Qiu's work, through its combination of Eastern and Western approaches, rejects approximation to one specific style or movement. Instead, Qiu offers viewers quietly ambivalent images—asserted in his decision to leave all of his works untitled—that provide the visual space for a moment of meditation. Time is thus a crucial component of the viewing experience of Qiu's work, in a similar manner to the time required before an image might appear when processing a photograph in a darkroom.
Qiu's paintings were presented in the artist's first European retrospective in 2012 at Hamburger Bahnhof. Qiu's work has been included in a number of exhibitions, including the 23rd Bienal de São Paulo (1996), the 5th Shanghai Biennale (2004) and Ink Art: Past as Present in Contemporary China at The Metropolitan Museum of Art in New York (2013).
Qiu lives and works between Beijing and Shenzhen.
Born in Guangzhou in 1945, Leung Kui Ting moved to Hong Kong as a child and has gone on to have a marked influence on the city's art scene. Although originally a carpenter, Leung studied painting under Lui Shou Kwan and graduated from The Chinese University of Hong Kong, where he studied design under Wucius Wong. Today, he continues as a lecturer...
‘He truly is a great discovery for the artworld outside Taiwan’ said Johnson Chang (Chang Tsong-zung) about Chinese artist Yeh Shih-Chiang. Chang, the founder and owner of Hanart TZ Gallery in Hong Kong has been showing the artist, first at the Hong Kong Arts Centre (HKAC) with Illuminated Presence in November 2015, and then more...
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