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 |...
Time always leaves its historic trace, for example, those elements which have appeared in my works: the auditorium, the map, the engine oil and the Morse code, contain transformed emotions. Some people might think I am trying to express a certain political view through my works. However, I just convert the ideas floating through my head into some kind of images.
For instance, when I was a child I particularly loved codes, and always wanted to be a detective, to acquire communication skills inaccessible to others, so these things leave a deep impression on me. And I think I might be a nostalgic person.
A lot of materials I use are disappearing or even hard to find, and I think this (phenomenon) is really interesting. What else can be a better option to be the mark of time? So I am aching to take advantage of them and organise them. Although it might sound hypocritical while talking too much about this thing, but the truth is all the artists can't deny the influence of their childhood. The marks of time decide what he will do and how to do it later.
I'm really influenced by classicism. I kept learning classical art and early modern art, all out of love, when I was at college. And consequently the influence of that time is deep and profound. I don't tend to be avant-garde, for it's not a style.
Many of my works originate from hypothesis and trance, I would capture some images while in a trance. I emphasis on feeling when doing works, a word, a graph or even a sentence can inspire me. I don't like to create on an assigned topic, and I quite enjoy creating freely. Creation becomes quite boring without freedom.
Nor do I rely particularly on sensibility. When I am not sure about perceptual knowledge, I would use data and mathematics to help work. So it's a kind of fifty-fifty work.
By Lu Lei
Lu Lei (b.1972) works and lives in Beijing, graduated from Sculpture Department of China Fine Arts College in 1998. Recent exhibitions include: LU Lei Solo Exhibition-ECHO, ShanghART Beijing, Beijing(2015); Li Pinghu, Li Ran, Lu Lei: Semi-automatic Mode, ShanghART Beijing, Beijing (2014); Jungle II, Platform China, Beijing (2013); Evidence, Newage Art Gallery, Beijing (2012); Lu Lei solo exhibition-Floating Ice Biography, Other Gallery, Beijing (2011); Blackboard, ShanghART H Space, Shanghai (2009); Present: Lu Lei Solo Exhibition, Hanart TZ gallery, Hong Kong (2008); Amateur World, Platform China, Beijing (2007); 6th Shanghai Biennale: Hyper Design, Shanghai Art Museum, Shanghai (2006).
Mention new media art, and the first things which might come to mind are a sense of ephemerality and insubstantiality – the evanescence of artworks which exist, in some sense, as particular arrangements of bits. Not so with The Dynamics, a largely new media-based group exhibition at Singapore’s ShanghART gallery, which places some...
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