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...
For the upcoming edition of Art Basel Hong Kong, Timothy Taylor will bring a focused group exhibition that draws from within the gallery's programme. Participating artists include Antoni Tàpies, Shezad Dawood, Eddie Martinez, Sean Scully, Alex Katz and Josephine Meckseper. This is the sixth year that the gallery will exhibit at the fair. With Hong Kong operating as the flagship for Asian Art, Art Basel Hong Kong remains a focus for the gallery.
The fair is of great importance to the gallery given its recent involvement in China including the gallery's presence in the region, organising and sponsoring the Sean Scully tours in China in 2016 as well as Alex Katz's first solo exhibition in the country the same year.
Sean Scully's work at the fair engages with a history and practice of abstraction. While Scully's paintings and sculptures have since departed from the tightly-controlled grids of his early career, his works from this period (1970s), involving multiple layers of precise stripes, set the stage for his subsequent subversions. Scully is now easily recognised for his distinct striped paintings – so distinct in fact that David Cohen referred to his work as 'readymade abstraction'.
Shezad Dawood and Josephine Meckseper each utilise collage, assemblage and the readymade, to create unique works in painting, sculpture and moving image. Dawood's vintage textile paintings form a key element of the artist's multi-disciplinary practice.
The textiles on which Dawood's works are based were created throughout the 1970s by nomadic weavers in Pakistan. Composed of discarded scraps, the fabrics also attest to an earlier, more utopian globalisation, where patterns from Lagos, Kyoto, Shanghai and the Netherlands all informed the palette of pattern and colour. Meckseper can be seen within a lineage of artists working with a critique of consumerism. However, rather than adopting this method wholesale, the artist repurposes pre-existing models and materials. Her use of cultural typology as a readymade serves to connect the artist's magazines to her videos to her slat wall and vitrine sculptures.
Eddie Martinez's paintings, drawings and sculptures draw from a deep understanding of painting's histories, filtered through personal experience, popular culture, and subcultures such as graffiti and skateboarding. His works incorporate coarse brushwork and bold contours through the combination of mediums such as oil, enamel and spray paint and often include collaged found objects. Martinez has gained recognition for his manipulation of colour, that he applies aggressively and in vividly contrasting combinations, as well as his extraordinary use of line – a de Kooning-esque painterly language, bold colour and cartoonish forms. Eddie Martinez, described as 'indomitable' by Interview magazine, is one of the most promising artists of his generation. His solo show Cowboy Town is on view at the London gallery from the 30th March until 6th May 2017.
Antoni Tàpies remains an influential figure for his highly technical approach to materials and masterful, gestural mark making. Broadly, Tàpies's work investigates the essential 'void' and his diverse creative output shares a clear underlying quality: the suggestion of an intangible force, which is only sensed in its absence. Tàpies's use of assemblage became a signature of his work, particularly through the recurring use of windows, doors and beds. The familiar and humble attributes of these domestic objects reflect Tàpies's deep concern with a personal yet universal introspection, catalysed by the spirituality of the material world. Antoni Tàpies is also on view at the London gallery until the 18th of March.
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