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 |...
Timothy Taylor, London and Proyectos Monclova, Mexico City will be presenting a joint booth at Armory, highlighting converging interests, particularly through the joint representation of Gabriel de la Mora and Eduardo Terrazas. In addition to de la Mora and Terrazas, the booth will include works by Volker Hüller and Shezad Dawood (Timothy Taylor) and Martin Soto Climent and Julius Heinemann (Proyectos Monclova).
Each artist subverts traditional notions of painting and sculpture in striking ways. For the more ‘conventional painters’, Heinemann and Hüller, the experience of real, lived time manifests on the canvas, as they use painting materials found in their immediate world (in Hüller’s case, from his studio floor).
Similarly, De la Mora uses found materials and objects (including worn shoe soles, eggshells, matchboxes and old paintings), passing them through a process of pentimento that generates palimpsest works conveying the effects of the passage of time, natural elements and histories of use.
Both Dawood and Terrazas further explore our relationship to time, but conceptually. Their works move beyond our lived experience to pre-history and an imagined future, as well as alternative realities. Both of their methods employ traditional craft practices combined with digital technologies, juxtaposing the analogue and virtual through material exploration.
Terrazas’s beautifully woven works are ongoing investigations of form and color, exploring the infinite variety of possible geometric constructions. He uses the Huichol technique, consisting of wool yarn glued with Campeche wax onto a wooden surface.
In turn, Dawood sources and uses vintage textiles layered with painted imagery from his films. The layering of narratives creates a bridge between the past and the present, linking painting, animation, digital media and historical and speculative stories.
Soto Climent is known for his irreverent reverence of materials, including women’s clothing and domestic furnishings. However, his work is less about valorizing the overlooked and everyday than it is about transforming it. These transformations are marked as much by humour as by an understated sensuality and a gleeful perversity, bearing a decidedly Freudian tenor.
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