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 |...
Hauser & Wirth is pleased to present a survey exhibition by acclaimed American artist Roni Horn at its Hong Kong space in the H Queen's building. Intended as a comprehensive introduction to Horn's multidisciplinary practice, the exhibition brings together works on paper, photography, installation and sculpture. The selection comprises over 30 works created between 1983 and 2018, chosen and curated by the artist. Opening on 27 November 2018 and on view through 2 March 2019, this is Horn's first solo exhibition in Greater China.
Horn's work assumes various guises to generate uncertainty and thwart closure, in pursuit her longstanding interest in the fluctuating nature of identity, meaning, and perception, as well as the notion of doubling. These issues continue to propel Horn's practice, regardless of medium, and constitute the thematic underpinning to this show.
Entering the gallery on the 16th floor, visitors are confronted with a blue glass sculpture, Untitled ('There is perfect conviction in everything, as if the objects were better informed about themselves and the position they took up in the world. Here you don't wonder. You don't have a hunch. You know.'). For this exhibition, the gallery's floor-length windows have been revealed to allow the weather and sunlight to fully interact with and activate the works on view. Light becomes an element of the exhibition and engages directly with the theme of mutability. It causes the sculpture's appearance to subtly change throughout the day, adjusting its colour, weight, and perceived solidity. Just as light affects our visual perception, it also alters the emotion of the viewer, so that the natural light causes nuanced reactions to the same work. The seductively glossy surface of the glass sculpture invites the viewer to gaze into the optically pristine interior, as if looking down on a body of water through an aqueous oculus. The changing appearance of Horn's sculptures is where one discovers meaning and connects her work to the concept of identity and the fragility of its construct. For these works, coloured molten glass assumes the shape and qualities of a mould as it gradually anneals over the course of months. The sides and bottom are left with the rough translucent impression of the mould in which it was cast in stark contrast to the smooth top surface.
Balanced against the surrounding walls are a number of sculptures from Horn's Key and Cue and White Dickinson series, which employ text as image drawn from various sources including poetry, letters, and even fragments from other languages. Horn renders text as images, encouraging us to think about language as sculpture, and hence removed from its meaning. As Horn said, 'I don't think of the object, the material thing or what is produced as the endpoint of a work. The aspiration is always the experience, which means the audience, the individual, is integral to the value of the work.'
Moving through the gallery to the 15th floor, viewers encounter another pair of blue square glass sculptures–Untitled ('Sometimes I think I resemble myself too much. I have always been someone else...'), as well as photographic diptychs, which directly engage with the gesture of doubling, an aesthetic and conceptual strategy that has been a recurrent motif for Horn since 1980. Doubling is a tool that invites careful scrutiny from the viewer, altering the dynamic of the work. She has noted that, 'with two objects that are one object you have an integral use of the world. You have the necessary inclusion of circumstance.'
A range of Horn’s works on paper are also on view, including pigment drawings and examples from the Hack Wit series. For Horn, drawing is a primary activity that underpins her wider practice. Her intricate works on paper examine recurring themes of interpretation, mirroring and textual play, which coalesce to explore the materiality of colour and the sculptural potential of drawing.
Roni Horn began to make her pigment drawings in the early 1980s and continues to make them today. The pigment is applied to the paper in thick layers, then mixed with small amounts of turpentine, and varnish, added a little at a time. It is a laborious process that lends physicality and depth to the two-dimensional works. The Hack Wit drawings employ a reconstructive method–Horn begins with two drawings, or 'plates', which she cuts into pieces then reassembles into new, tessellating forms. Through this process, the original drawings are fused into a single mutated composition. The subject matter is grounded in language and linguistic play: Horn reconfigures idiomatic turns of phrase and proverbs to engender nonsensical, jumbled expressions that thwart expectation. The themes of pairing and mirroring emerge as Horn intertwines not only the phrases themselves but also the paper they are inscribed on, so that her process reflects the content of the drawings.
Roni Horn was born in 1955 and lives and works in New York NY and Reykjavik, Iceland. Recent solo exhibitions include Roni Horn, Glenstone Museum, Maryland, USA (2017) (a survey exhibition of four decades of Horn’s work); Roni Horn, Fondation Beyeler, Basel, Switzerland (2016); Roni Horn, de Pont Museum, Tilburg, Netherlands (2016); Roni Horn. Butterfly to Oblivion, Fondation Vincent van Gogh, Arles, France (2015); Roni Horn. Butterfly Doubt, Hauser & Wirth London (2015); the travelling exhibition Roni Horn. Everything was sleeping as if the universe were a mistake, first shown at Hauser & Wirth New York, 18th Street (2013) and then Fundació Joan Miró, Barcelona, Spain (2014) and Caixa Forum, Madrid, Spain (2014); Photographien/Photographic Works, Hamburger Kunsthalle, Hamburg, Germany (2011); and Well and Truly, Kunsthaus Bregenz, Austria (2010). In November 2009, Horn’s comprehensive survey exhibition Roni Horn aka Roni Horn opened at Tate Modern and travelled to Collection Lambert in Avignon, France (2009); Whitney Museum of American Art, New York NY (2009); and The Institute of Contemporary Art, Boston MA (2010). Horn’s works are featured in numerous major international institutions and collections including the Guggenheim Museum, New York NY; Museum of Modern Art, New York NY; The Art Institute of Chicago, Chicago IL; Tate Modern, London, England; Kunsthalle Hamburg, Hamburg, Germany; Kunsthaus Zürich, Switzerland; and Centre Georges Pompidou, Paris, France.
In January 2013, Horn was awarded the Joan Miró Prize and JRP Ringier also published the first major publication to focus solely on Horn’s extensive drawing practice.
American artist Roni Horn has something akin to an illusionist's ability to make you do a double take, stand still and figure out what it is you are actually seeing, which is quite a feat in an age of mass attention deficiency. It's something evident in her new show in Hong Kong, a survey of her work that spans four decades.The works on display...
We have sent you an email containing a link to reset your password. Simply click the link and enter your new password to complete this process.
Scan the QR Code via WeChat to follow Ocula's official account.