I first visited Havana in November 2016, a few days after Fidel Castro died, and just under a year before Hurricane Irma hit Cuba in September 2017. Since then, much has changed, including the hand-painted signs that punctuate the journey from the airport to the city centre, which today do not celebrate the revolution so much as the 'Unidad y...
The exhibition Beyond Boundaries at Somerset House in London (12 March–2 April 2019) marked the historic contributions of the Central Academy of Fine Arts, Beijing (CAFA) and the Slade School of Fine Art, University College London, on the occasion of their 100th and 150th anniversaries, respectively. Spread across several rooms of Somerset House's...
The National 2019: New Australian Art features work by 70 contemporary Australia-based artists split across three venues: the Art Gallery of New South Wales (AGNSW), Carriageworks, and the Museum of Contemporary Art Australia (MCA) (29 March–21 July 2019), as curated by Isobel Parker Philip, curator of photographs at AGNSW; Daniel Mudie Cunningham,...
Exhibition view of DING YI's Appearance of Crosses at Timothy Taylor, London, 2017. Photo by Prudence Cumming Associates. Courtesy Timothy Taylor.
Ding Yi is an artist committed to a language of crosses, taking two symbols as his alphabet: 'x' and '+'. From the outset of his career in the mid-1980s, the artist has been associated with and defined by variations of abstract grid works composed of these marks. His first solo show in the United Kingdom at London's Timothy Taylor gallery is a strong exclamation that this language has not been exhausted. Seven large square paintings of these seemingly infinite geometrical shapes, tessellating and overlaid in a palette of black, white, luminous green and warm orange, filled the gallery with optical tricks.
ShanghART gallery was initiated in 1996 in Shanghai. It has since grown to become one of China’s most influential art institutions and a vital resource to the development of contemporary art in China with two spaces in 50 Moganshan Road (Main Space and H-Space), a public warehouse space in West of Shanghai (ShanghART Taopu), and a gallery space in Beijing and representing over 40 artists.
Being recognized for its importance ShanghART became the initial gallery from China participating in major international art fairs like Art Basel and Fiac, Paris. ShanghART gallery also enjoys the great respect of being among the 75 most influencial galleries selected in Thames & Hudson’s publication "International Art Galleries: Post-war to Post-millennium."
Timothy Taylor is honoured to announce Ding Yi's first solo exhibition in London. Continuing his ongoing investigation, Appearance of Crosses, this show will present seven never-before seen paintings. As one of today's preeminent Chinese contemporary artists Ding Yi's work employs a distinctive language of mark- making to examine the function of abstract painting both as a personal form of expression and meditation, as well as a channel through which to consider the rapid socio-political developments of 20th century China.
The seven paintings on show form part of a recently defined new body of work. The series is characterised by an intuitive development in the artist's practice - the creation of a sensitive and reactive relationship between woodcut and painting. Borne out of Ding Yi's rigorous investigation of materiality, this distinctive new technique allows the artist to imbue his paintings with an even greater sense of space, depth and time, as well as a heightened sensuousness and physicality. Ding Yi states that Appearance of Crosses is an "ever evolving sequence in which composition changes gradually from geometrical to dispersive".
Born, raised and educated in Shanghai, Ding Yi continually draws inspiration from the city's physical and philosophical framework. His works are defined both by a language of 'x's and '+'s as well as by their grid structure, initially reflective of the fluid architectural milieu of late 1980s Shanghai. Ding Yi's tenacious practice operates within a completely self-contained system that avoids social metaphors, while simultaneously observing urbanization and the vast and rapid transformations of contemporary Chinese society.
The first Appearance of Crosses painting was created in 1988 and Ding Yi was considered a part of the important nationwide avant-garde movement of the time, 85 New Wave, as coined by curator and critic Gao Minglu. This was the first contemporary Art Movement that broke away from traditional Chinese aesthetics and represented progressive thought, and the historic importance of this specific moment in China would inevitably influence Ding Yi's work for decades to come.
Ding Yi's international recognition continues to grow with recent solo exhibitions at Galerie Urs Meile, Switzerland, Ikon Gallery, United Kingdom, Karsten Greve, France/ Switzerland, Museo d'Arte Moderna de Bologna, Italy, and most recently, his inclusion in the 2016 edition of Art Basel Unlimited. Notable recent solo exhibitions in China have taken place at Hubei Museum of Art, Wuhan, Long Museum, Shanghai, Changsha City Museum, Changsha, and Minsheng Museum of Art, Shanghai.
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