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...
Moving across installation, painting, drawing, and writing, Malaysia-born and London-based artist Mandy El-Sayegh explores the political, social, and economic complexities of humanity, using a mosaic of information—from advertising slogans and pornographic imagery to newspaper articles—that she subjects to processes of layering,...
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...
Darren Almond is an English artist for whom the concept of time forms the crux of his work, particularly its fleeting and ephemeral qualities, and how they relate to space, history, memory, and the individual. He uses a wide range of media, including photography, film, installations, and sculpture, to produce highly abstract works that are both recognisable and uncertain, unfathomable, yet absolutely certain.
Almond addresses several aspects of time, such as the notions of waiting and duration, by building up certain tensions. The central theme of time becomes more apparent the longer one views his works, for the anticipation for resolution also rises. But herein lies a fundamental aspect of Almond’s abstraction that is difficult to resolve. Is time beyond our comprehension or is it simply our own construction? How can it be accurately measured if we have no definitive beginning and end points? By utilising such weighty, unanswerable debates, Almond gives his seemingly simple landscapes and journeys a deep sense of mysticism and ambiguity.
To give these concepts a visual grounding, Almond works with landscapes and other geographical locations, places that are often difficult to reach and isolated from the wider world. For his 'Fullmoon' series, which began in 1998, Almond has photographed landscapes on every continent under moonlight, using exposures of between 12 to 30 minutes to drastically change the nature of the landscape. The sky appears as if lit by the sun and edges are softened and appear more sculptural, while plants and rocks attain a dreamlike, haunting appearance, transmuting the landscapes to those of a young planet Earth. These works do not go through a post-production process, yet the pieces are rich in colour, almost appearing to have been hand-applied. They show how by allowing the landscapes to be exposed to extended time, new surfaces and colours are revealed that would ordinarily be hidden.
Almond also explores the relationship between time and humanity, focusing particularly on how we utilise time to organise society, and how it affects us. Almond’s films often observe a subject and their actions over a period of time. One example is Bearing, which follows a sulphur miner in Indonesia on his journey from the bottom of a crater that is producing plumes of yellow smoke, to a weighing station. The sculptures that Almond produces also deal with this relationship, often commenting on the mechanised way in which humans attempt to quantify the passage of time and use it. Of interest is the system of clocking in and out of work at specified times. He examines it by lining up hundreds of digital clocks on a wall, every single clock a constant reminder of the unstoppable movement of time.
Darren Almond was born in 1971 in Wigan, U.K. and graduated from the Winchester School of Art with a BA (hons) in Fine Arts in 1993. Beginning with an exhibition in 1995 at Great Western Studios in London, Almond’s solo shows include those held at The Renaissance Society, Chicago, 1999; Tate Britain, London, 2001; Kunsthalle Zürich, 2001; K21, Düsseldorf, 2005; SITE Santa Fe, 2007; White Cube, London, 2010; Sala Alcalá 31, Madrid Château Gallery, Domaine Régional de Chaumont-sur-Loire, 2012, Bloomberg Space, London, 2014; and White Cube, Hong Kong, 2016. He has also exhibited his works at the Berlin Biennale, 2001; Venice Biennale, 2003, the Turner Prize, Tate Britain, 2005 (for which he was a nominee); and the Tate Triennial, Tate Britain, London and Frac Lorraine, Metz, 2009.Darren Almond lives and works in London, U.K.
Since early in his career, Darren Almond has used a diverse range of media and techniques—from manufactured flip-clocks to moonlit, long-exposure photographs—to deploy the notion of time and the way it is perceived. Many of his works are conceived during his expeditions to remote and often inaccessible locations such as the Arctic Circle, Siberia, and the mystic Hiei mountains in Japan. Though concurrently reflecting on the world’s geology, ecology and realities of the human condition within these landscapes, Almond’s work induces evocative meditations on time and duration activating both personal and collective memory.
The exhibition, Within The Shadow of The Sun, links together a constellation of his newest works made as a result of such explorations with a focus on celestial environments. Explicit in these works are the tools and language that have facilitated our greater understanding and comprehension of our being in relation to the infinite void of space and time. Central to the exhibition is Hand-held Sun (2015), a projection of a low-fi iPhone video stretched to the full expanse of a high wall. The video was taken by the artist through the eyepiece of a solar telescope at the Griffith Observatory, Los Angeles. As the sun influences the moon, the projection acts as the sole light source within the gallery illuminating the mirror-surface of In Reflection (2015). Each of these works consists of 16 mirrored panels containing either the upper or lower half of an integer. When combined, form undecipherable black-and-white compositions reminiscent of flip-style clocks: They are, however, dysfunctional in telling time operating between the figurative and abstract simultaneously. These works of reflection not only deal with the directness of time itself within the here and now, but they also trigger the human tendency to perceive meaningful patterns within apparent random fields of data, which the artist refers to as his Apophenic Pictures. In conjunction with these will be Timescapes (2015), a new series of star paintings of Aquacryl on aluminium panels, images derived in reference to the data recorded by the Hubble Space Telescope. The paintings are made in multiple layers of colour, and produced in synergies between artistic and scientific thinking.
In this exhibition, these three sets of works are placed in relation to one another. As our sun sets in the street outside, the projection of this solar surrogate within the gallery is intensified, reflecting and radiating across the mirrored planes. The numbers here of a broken syntax emphasise the ambiguity rather than accuracy underlined by the passage of time, and the ambience of space. Reminding us that the oldest form of navigation is carried out with the use of the stars at night, and the sun during the day. Almond’s oeuvre explores the emotional impact of waiting and anticipation, between arrival and departure, imbuing his works with a quiet, mystical and daring quality.
Since its foundation in 2001 by Park Kyung-mee, the former commissioner of the Korean pavilion at the 49th Venice Biennale, PKM Gallery has established itself as one of the leading contemporary art galleries in the world, representing prominent Korean and international artists through its creative programs in the context of global contemporary art.
PKM Gallery began with a renovated three-story residential building, providing 3,500 square feet of exhibition space in Hwa-dong, Central Seoul. The gallery successfully grew in stature with its various exhibition programs while actively promoting Korean emerging artists on the international stage. In the spring of 2008, PKM Trinity Gallery, located in Cheongdam-dong, opened as the second venue of PKM Gallery which had its focus on representing world-renowned artists in its impeccable exhibition space measuring more than 6,000 square feet. The gallery contributed greatly to making Cheongdam-dong as a cultural hub of Seoul, not a mere fashion and upscale commerce area but also a new destination for art lovers. In the spring of 2015, PKM Gallery will relocate to Samcheong-dong in the heart of the capital with its renaissance as the hub of art and culture. Its spectacular architecture of 6,200 square feet will become the landmark of this ancient quarter of the city where tradition and cutting-edge innovation coexist.
As one of the leading galleries in the global art world, PKM Gallery is committed to promoting contemporary art in the international artistic context and to providing sophisticated aesthetic experience to a wide audience worldwide.
SCAI THE BATHHOUSE is a contemporary art gallery known for introducing Japan's avant-garde artists to the world as well as for helping exceptional artists from abroad to establish a presence in Japan. SCAI has a strong track-record of large-scale exhibitions presenting artists such as Lee Ufan and Tadanori Yokoo who led the genesis of Japanese contemporary art, and Toshikatsu Endo, Tatsuo Miyajima, and Mariko Mori who brought Japanese contemporary art to the world's attention in the latter half of the '80s and the '90s by showing their works in international exhibitions. Through their association with SCAI, international artists such as Anish Kapoor and Julian Opie have produced new series of works inspired by Japanese traditional culture and crafts.
SCAI also works to discover and promote young artists. Recent successes include stars of international biennales and of well-acclaimed exhibitions at major art museums, such as Kohei Nawa, Nobuko Tsuchiya, Toru Kamiya, Katsuhiro Saiki, Jeppe Hein, Dzine, and Brian Alfred.
In addition to gallery exhibitions, SCAI has also been responsible for numerous site-specific projects, including public art by Tatsuo Miyajima and Louise Bourgeois at Roppongi Hills, and Julian Opie's commissioned work at Omotesando Hills.
SCAI THE BATHHOUSE opened in 1993 with the completion of the renovation of Kashiwayu, a venerable public bath with a 200-year history. The outside of the bathhouse possesses an elegant atmosphere, with its tiled roof and towering chimney. Take one step inside and you find yourself in a very unique exhibition area, a neutral space with white walls, a concrete floor and natural light descending from the high ceiling. Located in the traditional shitamachi (downtown) Yanaka district, SCAI THE BATHHOUSE lies in middle of an art zone, conveniently close to Ueno where many museums and art universities can be found. The gallery is a six-minute walk from the South Exit of JR Yamanote Nippori Station, and a seven-minute walk from Nezu Station on the Chiyoda Line.
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