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 |...
There is something irrepressibly compelling about the lewd animated videos of Wong Ping. Is it their flat surfaces rendered in popping colours? Or their dark narratives that resonate with the deepest recesses of the human psyche? They have been included in an impressive repertoire of group exhibitions in recent years, including One Hand Clapping at...
Get Up Stand Up Now: Generations of Black Creative Pioneers at Somerset House in London (12 June–15 September 2019) surveys more than half a century of black creativity in Britain and beyond across the fields of art, film, photography, music, design, fashion, and literature.Curated by Zak Ové, works by approximately 100 intergenerational black...
With works by Donald Baechler, Keith Coventry, Michael Craig-Martin, Joel Morrison, Ichwan Noor, Gavin Turk, James White and Erwin Wurm.
Duchamp did it first, 101 years ago, with his urinal. By recasting a utilitarian object as a work of art, he opened up the world to seeing things differently, and caused tremors that shook the core of the art world that are still being felt today.
Reflex gallery is proud to present an exciting group exhibition with a selection of diverse works by some of the most exciting practitioners of contemporary art from around the globe. In Times of Plenty: The Shape of Things Today also takes everyday objects as its starting point. But this time, by recasting them in a gallery setting, these artists are asking us to question, not only the nature of art, but more the nature of our contemporary society, with its rampant consumerism, disposable culture and overexposure to iconic brands.
Whether it be Erwin Wurm's comic frankfurter-like Head, cast in bronze, or Ichwan Noor's VW Beatle fashioned into a space-age black ball, its smoothness reminiscent of Barbara Hepworth, or Keith Coventry's McDonald's golden arches, redrawn in red and cropped by a white frame, the work in the show invites us to look again at the things around us.
By distorting, abstracting and deforming, these objects arerendered strange - beautiful and monstrous in equal measure. Michael Craig Martin's acrylic on aluminium paintings of a green tennis ball, a high heel and a robot vacuum cleaner have a graphic simplicity, Donald Baechler's collage of a diamond solitaire, is somehow both cosmic and sinister against a backdrop of childlike drawings of faces. James White's oil on panel monochrome imbues a canister of Raid insect spray with a certain monumentalism, standing tall on a shelf in an otherwise ordinary setting, a collection of sunglasses scattered alongside.
Young British Artist Gavin Turk's Holy Egg (2018) is an appropriation of Lucio Fontana's Fine di Dio from his famed Concetto Spaziale series. The egg, a highly charged symbol with connotations of the circle of life, is made two dimensional here, cast in blackened brass. With its perforated surface suggesting the artist's initials, it is mysterious and relic-like in one context, and throwaway, a piece of scrap-metal, in another. His tiny wizened Malus Domestica (2017) is both astonishingly ordinary in its hyperrealism, and an exquisite piece of craftmanship.
We are surrounded-these artists say-by the things we idealise (the IPhone), the things we think we need (the robot vacuum cleaner) the things we desire (cars). Their forms and functions we take for granted. The headspace they occupy, the environmental impact they wield, and the insatiability they breed in us. This extraordinary display of work invites us to reflect and take stock.
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