The Glass House in n New Canaan, Connecticut has unveiled the third part of its collaboration with famed Japanese artists Yayoi Kusama.
Friday, September 2
Monday, August 29
Ai Weiwei will have his first solo exhibition in a Parisian gallery this fall when Galerie Max Hetzler presents a range of recent works that underline the Chinese artist’s use of traditional materials, such as wood, porcelain, marble, and jade, and his ‘appropriation’ of traditional Chinese material and objects.
On view will be “Tree Trunk,” 2015, a continuation of his Tree series that he started in 2009, assembling pieces of wood to form majestic tortuous trees akin to abstract paintings. The four-meter-tall “Tree Trunk” is made in cast iron that has been left to oxidize, giving it a particular red hue.
Wednesday, August 24
Filmmaker Kevin Macdonald's “Sky Ladder: The Art of Cai Guo-Qiang” premiered at the 2016 Sundance Film Festival and received rave reviews for offering an interesting insight into the world of the Chinese conceptual artist who is best known for his use of gunpowder and fireworks to create spectacularly visual artworks deeply anchored in Chinese traditions.
The documentary will now be launched on Netflix on October 14 and will also open theatrically in New York and Los Angeles.
Sunday, August 21
The third edition of PHOTOFAIRS | Shanghai is bringing together 50 international galleries at a time when, according to Christopher Philips of the International Center of Photography in New York, the collecting market for photography in Asia has recently seen an increase in activity, with regional institutions and private collectors alike finally recognizing the importance of photography as an collectable art medium.
Wednesday, August 3
Though not linked to the Singapore Biennale 2016, opening in October and curated around the theme of "An Atlas of Mirrors" in reference to the similarities and differences between people and across cultures, the Singapore Art Museum is opening an exhibition mapping the seas, which could be a prelude to the biennale.
Sunday, January 31
Thursday, January 7
Thursday, December 17
Widely considered as one of the great Chinese ink masters of the 20th century, Wu Guanzhong was also an accomplished oil painter, spending the first part of his career fully dedicated to the medium. A major new retrospective opening on Thursday at the National Gallery Singapore, ‘Beauty Beyond Form,’ provides a comprehensive insight into Wu’s prolific career, presenting examples of the large ink works he started producing in his 50s along with some of his earlier oil paintings.
Friday, December 11
The National Gallery Singapore is officially opening its doors on November 24, but for the last couple of weeks, some members of the public and media have already had an opportunity to explore two permanent galleries in a ‘soft opening’ to allow museum officials to study the public flow through the vast building and iron out any quirks.
Thursday, December 10
The National Gallery Singapore will open at the end of November, but some members of the media have already been treated to a sneak preview of the DBS Singapore Gallery, where 400 artworks illustrate the evolution of art in Singapore from very early representations of an exotic tropical paradise in the 19th century to the emergence of the Nanyang art movement in the 1950s and the development of a contemporary art scene.
Friday, October 10
Singapore painter Andre Tan has developed a clear Pop Art style for his commentary on consumerism and its popular culture. Juxtaposing disparate images and often including brand logos or advertising, Tan’s works consider the reverential attitude shown towards luxury goods and popular culture, while also referencing well-known artists from Andy Warhol and Yayoi Kusuma, to Damien Hirst and Bansky.
Wednesday, August 27
The Singapore Art Museum and Asia Pacific Breweries Foundation have announced the 15 artworks vying for the APB Foundation Signature Art Prize 2014.
Now in its third installment, the prize seeks to reward artists in the Asia Pacific region who have created compelling contemporary artworks from the last three years.
Monday, August 11
Come September, Sundaram Tagore Gallery in New York will present a large-scale exhibition of artworks by 12 artists from Thailand and Singapore spread over its two locations: Chelsea and Madison Avenue. Curated by Loredana Pazzini-Paracciani, Anthropos New York aims to offer some insight into the social, political, and religious dynamics artists from these two diverse cultures are confronting with their practices. I talked to the curator:
Tuesday, July 22
Sunday, June 22
Born in 1942, Wong Keen is a second generation artist, whose early formative years were spent studying calligraphy with his mother, a professional calligrapher, and drawing with Liu Kang. Chen Wen Hsi was also one of his teachers who opened his eyes to Western art and Cubism, but it was when he moved to New York in the early 1960s, to study at Arts Student league in New York, that Wong Keen found his voice and embraced abstract expressionism, a movement itself influenced by oriental thinking and ink practices.
Over the years, the extremely prolific artist has created many Zen-like abstract compositions incorporating strong rhythmic calligraphic strokes.
“Second Nature,” opening June 25th at Artcommune Gallery in Singapore, is his latest poetic reflection on nature where forms and colors battle in a series of acrylic-on-paper works that blends Chinese ink aesthetics with a bold color palette.
Combining printmaking with painting – a technique frequently explored by the artist since the 1960s — the series deconstructs the properties of acrylic paints to achieve a visual effect that recalls Chinese ink-wash execution.
The exhibition will run until July 6.
Wednesday, June 4
After making his name with slightly blurred floral paintings, Eric Chan pursued for several years a distinctive visual language of reverse negative effect, as if X-raying his subjects. His latest works, showing at Chan Hampe Galleries in an exhibition called “Beautiful Stories: Chapter One,” is a new progression for the Malaysian artist, who returns to his slightly blurry image technique, this time taking on more general landscapes and portraits.
“These pieces incorporate techniques and subject matter that each have been featured at different times in my earlier paintings, this is just the first time I've used them all within a single body of work. This is really more of a fusion of established techniques, so to speak,” he explains.
Several paintings are presented as a split panel, with an object or character straddling two different worlds as if in a dream-like sequence, the past blurring with the present, reality blurring with fantasy
While Chan's works are often autobiographical, his presence hereis felt only as narrator, leaving each story up to the viewer to interpret.
“The most significant shift in this collection is the role I play,” he says, “ Previous works tent to be somewhat autobiographical in nature, but here my goal is to create a mood, a tangible atmosphere that encourages the viewer to get carried away within the internal narrative they create themselves for each piece.”
“The purpose is not to tell a cohesive or contingent story, but rather that each painting evokes a similar emotional quality or impression. It's almost like a series of short stories that share a motif, while each is completely independent, when considered together you realize that each articulates a different layer or path to a similar destination,” he adds.
“Beautiful Stories: Chapter One” runs from June 6 – July 6
Monday, June 2
Sculptor Delia Prvacki and her husband, painter Milenko Prvacki, are presenting a joint exhibition, Passage, at the Luxe Art Museum that brings together seven of her large tactile glazed-ceramic sculpture installations and three of his abstract oil on canvas works.
The exhibition offers an opportunity to see the recent development in Delia’s visual language, starting with the 2005 Pieces from the Sea sculpture, a smaller installation of glazed seashells to her Silk Road installation, which was first presented at the A+A Gallery in Venice in 2007 and takes the viewers on a journey of evolving colors from the blue of Venice to the burned sands of the Gobi Desert.
The impressive 18 Hours is a poetically striking installation of 18 large ceramic works, with mosaic gradient of colors progressing from one board to the others that reflects the change of light throughout the day. The most recent installation Rare Earth, dated 2012, is a treasure-trove-like assembly of glazed ceramic pieces and gold accents installed on a circular shaped mount and alludes to old mining techniques.
Accompanying Delia’s works are three abstract paintings by Milenko two of which have been conceived as bookends to his wife’s sculptures, with Entrance and Exit.
Passage runs at Luxe Art Museum on Handy Road until Jun 15
Monday, May 19
Watch all ARTINFO videos from Art Basel Hong Kong 2014 HERE.
After a relaxed start on Wednesday, the VIP opening day, Art Basel in Hong Kong quickly became a crowded event with organizers reporting over 65,000 visitors by the time it wrapped up on Sunday night (an eight percent increase on the previous year).
There were no doubts in the minds of people attending, be it collectors or gallerists, that this has become “the” art fair of the region for finding top quality art works and getting a quick education on the latest Asian art scene happenings. As Can Yavuz, founder of Yavuz Fine Art commented, the global brand “comes with quality and the legacy of bringing collectors from the world together,” and the general feeling was that it had delivered. "Art Basel in Hong Kong has consolidated its position as the leading fair in Asia and a key fixture in the international art calendar,” noted Neil Wenman, Senior Director, Hauser & Wirth (Zurich, London, New York).
But many complained the fair still lacked an Asian identity and had more western works than might be expected in its second year.