Cinga Samson 's paintings lay bare the complex relationship between contemporary life, African traditions, globalisation, and representation. His strikingly sombre portraits contain similarities to those of contemporary painters such as Toyin Ojih Odutola, Lynette Yiadom-Boakye , Kehinde Wiley , Florine Démosthène, and Tunji...
Seismic Movements , the fifth Dhaka Art Summit, plotted movements, solidarities, and exchanges across the Global South with over 500 artists, scholars, curators, and thinkers.
In Liang Yue's works, either photos or videos, the 'daily' is always taken as a focus. She uses the easy-to-get materials with her acute art talents, keeps seeking, exploring and capturing the daily routines, and extending form concerning for the life in city to gazing the eternal scenery in the nature. A clear clue of her art practice could be witnessed in the massive works during the past fifteen years that the exploration for the beauty of insignificance, especially her videos, in which she keeps simplifying and abandoning the techniques of shooting and editing, challenging the art appreciation which the audience has been used to, as well as the viewers' retina and eardrum, patience and rationality, and further questioning the so-called significance and value of art as she treats the meaningless as the ultimate significance of her creation. Her works remind us of the manifesto by Herzog stated in his Minnesota Declaration: Truth and Fact in Documentary Film, that:Read More
'The moon is dull. Mother Nature doesn't call, doesn't speak to you, although a glacier eventually farts. And don't you listen to the Song of Life.'
Liang Yue was born in Shanghai in 1979. She graduated from the Shanghai Art Academy in 2001. Today she lives and works in Shanghai. Recent exhibitions include The 7th edition Bi-City Biennale of Urbanism\Architecture, Shenzhen (2017); Intermittent, ShanghART Beijing, Beijing (2016); Easy Going, OCT Contemporary Art Terminal, Shenzhen (2014); Liang Yue: The Quiet Rooms, ShanghART H-Space, Shanghai (2013); A Lecture Upon the Shadow, Open Eye Gallery, Liverpool, U.K. (2012); Numerous, Liang Yue's Solo Exhibition, Shanghai (2011); Move on Asia, the End of Video Art, Casa Asia-Barcelona, Barcelona, Spain (2011); Shanghai Candid: Women In Motion, San Francisco Arts Commission Gallery, U.S.A. (2010); China Power Station - Part IV, Pinacoteca Agnelli, Torino, Italy (2010); Shanghai Kino, Shanghai Kino, KUNSTHALLE BERN, Switzerland (2009); China Power Station: Part II, Astrup Fearnley Museum of Modern Art, Oslo, Norway (2007); China Power Station: Part I., Battersea Power Station, London, U.K. (2006); The Thirteen: Chinese Video Now, PS1 Contemporary Art Center, New York, U.S.A. (2006); China Contemporary – Architecture, Art and Visual Culture, Netherlands Photo Museum, Rotterdam, Netherlands (2006); Restless – Photography and New Media, Museum of Contemporary Art, Shanghai (2006); Stop Dazing, BizArt, Shanghai (2005); Conceptual Photography from the Peoples Republic of China, Museum of Contemporary Art, Denver, U.S.A. and China Now, MoMA Film at the Gramercy Theatre, New York, U.S.A. (2004).
Text courtesy ShanghART.
Set in verdant woodland a group of luxury villas are like architectural jewels scattered around a lake. Contrasting these villas the strange form of the five-year-old Sifang Art Museum, designed by Steven Holl, is an alien presence overlooking the scene. In this contemporary paradise it is hard to imagine the lifestyles of people dwelling in these...
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