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 |...
Wooson Gallery is pleased to present Christiane Löhr’s first solo exhibition in Korea. OPUS includes new series of drawings and installation works including sculpture woven with horse hair, cushions made of dandelion, a tower made of ivy, and a dorm constructed with stem.
Christiane Löhr creates sculpture and installation work with plant seeds, stems, and horsehair that she collects from nature, reconstructing them at a new space in ways reminiscent of sound classical structure. The works are invisible and very delicate seen from a distance; however, the audiences are overwhelmed by the structures as they come closer to them. Using nature as motif, not only in sculpture, Löhr also produces drawing works with oil pastel and ink. However, this medium is not used to admire mother nature, but instead is utilised to construct a space with a division of screen.
The unique medium and plasticity implies that the artist’s main concern is the product of nature like plants and animals. Also, nature is the most common method for communication beyond time, civilization, or thoughts—either from the Occident or the Oriental—and for that fact, the artist chooses it as medium for her works. In addition, it is true that the reason for using the nature products for her work is based on her knowledge of nature acquired since her childhood life. However, the essence of her work is not about nature itself as medium. No matter how small a nature-being is, it does not exist as a means to an end but instead does so with indigenous meaning and value, as an organism with the instinct of self and procreative power. In other words, the essence of art is not the beauty itself, but it is to scrutinize the original structure and function with humans’ sensibility, and to study the reconstructed structure in a new space by an artist's sensitivity that forms an organic relationship between phenomena and sensibility.
Christiane Löhr, a German born in 1965, is based in Italy and Germany after earning her Master’s degree from Kunstakademie Düsseldorf. She was invited for the 49th Venice Biennale, and has had exhibitions with numerous important galleries and museums in Americas and Asia as well as European countries.
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