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...
For three months from 1 June to 1 September 2019, Tai Kwun Contemporary in Hong Kong showcases MURAKAMI vs MURAKAMI, a major survey exhibition of the Japanese artist Takashi Murakami. Curated by Tobias Berger, head of art at Tai Kwun, and Gunnar B Kvaran, director of Astrup Fearnley Museet, Oslo, the exhibition spans the three floors of Tai Kwun's...
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...
Lin Tianmiao, Protruding Patterns, 2014. Wool thread, yarn, acrylic, dimensions variable. © Lin Tianmiao. Courtesy Galerie Lelong & Co.
Lin Tianmiao is one of the most powerful female voices to emerge from and endure the vicissitudes of Chinese contemporary art over the past two decades. Since the mid-1990s, she has been making labor-intensive, traditional craft-based sculptures and installations breathtaking in their obsessive and dangerously precise transformation of everyday objects.
Galerie Lelong & Co. represents prominent contemporary artists and estates from the United States, Latin America, Europe, Asia, and Australia. This uniquely diverse group includes mid-career and established artists at the forefront of the international art world working across all media.
The gallery presents art that challenges viewers on multiple levels and diversifies dominant understandings of modern and contemporary art. While contemporary Latin American art has only recently begun to receive due recognition in the field, the gallery has been a key proponent of the region for decades, representing some of its most vital figures and presenting museum-quality exhibitions of their work. The gallery is proud to have represented Cildo Meireles, the Estate of Ana Mendieta, and Alfredo Jaar for over twenty years as well as the Estate of Hélio Oiticica for over a decade.
Galerie Lelong & Co. has also actively engaged in the cross-generational representation of women artists at a time when women continue to be underrepresented in the art world. Etel Adnan, Zilia Sánchez, and Carolee Schneemann have been exhibiting as early as the fifties or sixties, yet their impressive bodies of work and keen visual languages have just begun to be acknowledged. The gallery also supports several artists known for their socially engaged practices, such as Alfredo Jaar, Yoko Ono, Nancy Spero, and Krzysztof Wodiczko.
Contemporary sculpture is another strength of the gallery with artists such as Petah Coyne, Andy Goldsworthy, Jaume Plensa, and Ursula von Rydingsvard continually expanding the boundaries of three-dimensional expression. The gallery has a long history of working closely with prestigious museums and public institutions around the world to support the creation of new work, permanent public art projects, exhibitions both monographic and thematic, and publications on its artists.
Founded in Paris in 1981 by Daniel Lelong, Jacques Dupin, and Jean Frémon, the gallery in New York opened in 1985. Directed by Mary Sabbatino, Vice President and Partner, the gallery moved to its present ground-floor location in Chelsea in 2001. Galerie Lelong & Co. is a member of the Art Dealers’ Association of America, the most esteemed organisation of art galleries in the United States.
Galerie Lelong & Co. is pleased to present Protruding Patterns, a solo exhibition of work by Beijing-based artist Lin Tianmiao that will transform the main gallery with woven carpets. For the first time, viewers are encouraged to touch Lin's intricate, labor-intensive work with textiles and thread.
Over the past six years, Lin has collected around 2,000 words and expressions about women in various languages. Pulling from popular novels, newspapers, the internet, and colloquial dialogues, she has gathered phrases such as "divinité," "Mori girl," and "leftover women." Some are predictably derogatory to women, demonstrating the continued ubiquity of sexist attitudes reinforced by language, while others are directly recovered from obsolescence, representing the nuanced mix of confusion, humor, self-deprecation, and empowerment that accompanies the shifting consciousness of women. This lexicon is woven into thickly raised wool forms so that viewers can feel the visceral and literal protruding patterns while touching and walking on the carpets.
By making visible and tangible the various definitions of womanhood that transcend cultures and time, Lin creates an immersive platform to explore how women feel within their evolving societal roles. Meanwhile, the examination of feminine semiotics highlights the disparity that still remains between much-advocated gender equality and culturally embedded gender discrimination. Despite the subject matter of the work, Lin Tianmiao eschews the typical, Western label of a "feminist artist" given that the notion of feminism emerged from different social and cultural contexts within China and abroad.
The exhibition will also feature a selection of new paintings and sculptures in the adjacent gallery, which continue Lin's exploration of "body language." Sculptures combining bones with ordinary tools create visual puns, akin to her More or Less the Same (2011) series. In one of the new sculptures, bones form the underside of a clothing hanger, while in another a thermometer is embedded into a bone. These contradictory materials blur the line between binaries such as subject and object, yin and yang, and interior and exterior, challenging the distinction between normal and abnormal. For Lin, bones eliminate the boundaries of social classes, cultures, political ideologies, and species in light of a shared mortality.
Lin Tianmiao (b. 1961) is among the first generation of Chinese contemporary artists to receive international recognition. The work Protruding Patterns was shown at the Ullens Center for Contemporary Art, Beijing (2014); Long Museum, Shanghai (2016); and Minsheng Art Museum, Shanghai (2016). __Protruding Patterns is Lin's first major solo exhibition in New York since 2012, when she presented Bound Unbound at the Asia Society Museum and Badges at Galerie Lelong & Co. This fall, Lin will also be featured in Art and China after 1989: Theater of the World at the Solomon R. Guggenheim Museum, New York. Lin will present a solo exhibition at the Shanghai Museum of Glass, which will simultaneously feature her work in the group exhibition Annealing. In Spring 2018, Lin will also present a solo exhibition at the Bund Art Museum, Shanghai. Her work is in many prestigious institutions worldwide including the Brooklyn Museum, New York; Hirshhorn Museum and Sculpture Garden, Washington, D.C.; Centre Pompidou, Paris; Hong Kong Museum of Art; Museum of Modern Art, New York; National Art Museum of China, Beijing; National Museum of Australia, Canberra; M+ Museum, Hong Kong; Seattle Art Museum; Shanghai Museum of Glass; Sherman Foundation, Sydney; and the Ullens Center for Contemporary Art, Beijing.
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Although she has not had a major solo show here since the extraordinary Bound Unbound closed at Asia Society in 2013, Lin Tianmiao is currently receiving a good deal of attention in New York City. Her solo exhibition Protruding Patterns (featuring the remarkable large-scale 2014 work of the same title) was at Galerie Lelong & Co., New York,...
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