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 |...
Starkwhite is pleased to present High Fidelity by Matt Henry from 16 November to 14 December 2013.
In his first solo show at Starkwhite, Henry assembled a small group of paintings and sculptures reflecting his interest in art, design and consumerism. Installed in two galleries, each the mirror image of the other, the exhibition played on the notion of the doppelgänger, exploring the formal similarities and interconnectedness of art and design through the minimalist aesthetic.
Utilizing the same gallery space, Henry presents a new suite of paintings that engage with the legacy of minimalism and design. Concentrating on the picture frame as an integral element in the 'design' of his paintings, the works in High Fidelity focus on the formal and mimetic possibilities of the frame, rather than the frame as embellishment or protection.
Henry's minimalist-like paintings characteristically subvert conventions of display and construction in order to play upon references to non-objective art and minimalist product design. Willingly inviting uncertainty to the reading or perception of the work, Henry describes his practise as an "incongruous mix of the languages of 20th century abstraction, conceptualism and 21st century design."
Tracing the process of commodification and semiotic re-coding, the works play upon the contextual openness of reductive or minimal art. Exploring the origins, histories and contradictions imbedded in the minimalist idiom, Henry's investigation endeavours to decode and record the vagaries of these forms and their shifting social/political value.
Matt Henry graduated from Melbourne's RMIT University with an MFA in 2008. Recent solo shows and representation in group/thematic exhibitions include: Elsewhere, Dunedin Public Art Gallery (2012-13); From the series 16:9, Sydney Non Objective (2012); Metaphoria, St Paul Street Gallery (2012); Melbourne Art Fair (2012); Vernacular Painting, Starkwhite, (2011); User Friendly, Te Tuhi Centre for the Arts (2011); ART HK11, Hong Kong (2011); Contraflow, Starkwhite (2010); ART HK10, Hong Kong (2010); Fahrenheit, Govett-Brewster Art Gallery (2009); Doppelgänger, Starkwhite (2009); Living Together, Michael Hirschfeld Gallery, City Gallery Wellington (2007); Activating Korea, Govett-Brewster Art Gallery (2007); Mostly Harmless: a performance series, Govett-Brewster Art Gallery (2006); View, Govett-Brewster Art Gallery (2004); and Bloom, High Street Project, Christchurch (2004).
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