Hong Kong's contemporary art exhibition restores historic moments in China
‘Four Decades of Chinese Contemporary Art’ exhibition provides a taster of the astonishing collection Uli Sigg has donated to Hong Kong. (Photo: AFP)
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HARI LUALHATI : Art Exhibition in Hong Kong Cultural Centre, Hong Kong 2009
When: 13 - 29 Aug 2009
Whe re: Hong Kong Cultural Centre, Hong Kong
Hari Lualhati
(Artist)
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Hari Lualhati is an ARTIST (Painter, Illustrator, Graphic Artist, Designer) born in Philippines and obtained a Degree in Fine Arts in University of the Philippines, Diliman year 2006 (Cum Laude). Hari Lualhati has worked in Manila, Hong Kong and Shenzhen China. Hari is now based in South Africa.
Xu Tiantian, DnA_Design and Architecture (China)
Introduction
Hans-Jürgen Commerell and Kristin Feireiss, Aedes Architecture Forum, Berlin
While train connections in rural areas are being successively done away with in Europe and Germany, the digital interconnectivity of the hinterland is falling victim to neoliberal profit maximization, and we are currently feeling the effects of the political, social, and economic consequences of this, China has chosen the opposite route. In recent years, the most remote regions there have been linked by means of high-speed train lines and the final mountain villages are being connected with the rest of China by means of fibre optic cables. Over a total of four weeks in September and December 2017, we saw and experienced this ourselves on an exploratory tour of the rural areas of Songyang County, about seven hours by car in a southwest direction from Shanghai.
On the search for architectural and spatial models for improving rural living areas that might also be able to provide us with impulses for Germany and Europe, in the mountainous landscape of Songyang County, we made the acquaintance of a congenial team consisting of the architect Xu Tiantian and the Party Secretary of the Songyang County Committee Wang Jun, who, in only a few years, have succeeded in generating a new ‘rural self-awareness’ by means of architectural acupuncture.
While in the past three years ten projects, from the concept, through participatory processes, up to the realization, had already been implemented with breath-taking speed, it nevertheless amazed us, that in the merely three months between our visits, two completely new projects had once again been put in place. With caution and meditational sensitivity, the architect and her client, the regional government, have jointly repaired old clay farmhouses in the village, municipality, and natural space or landscape in collaboration with the inhabitants. The buildings have been adapted to contemporary requirements and consequently given additional new uses, or local spaces of collective memory have been created, thus reanimating the cultural and historical awareness of the region. As an example, community spaces have been integrated in the new building for a production site where cane sugar is obtained in a traditional way. This has significantly increased not only the self-awareness of local villagers, but also the price of the organic product.
It is with great pleasure and enthusiasm that we bring the process of this rural ‘upgrading’ and the built objects resulting from it to Europe in this catalogue and exhibition as the Songyang Story. Based on the example of long-neglected rural space, it shows that changes in society, the economy, and ecology are possible by means of many small steps and active engagement, and that architecture and committed architects play an important role in the process.
We thank the architect Xu Tiantian and her design team as well as Wang Jun and his highly motivated employees of the local government for the wonderful collaboration as well as for their support in producing the documentation and exhibition. Our gratitude also goes to Angelika Fitz, the Director of the Architekturzentrum in Vienna as well as Andreas Ruby, Director of the Swiss Architecture Museum in Basel, for helping us bring the topic to other countries and generate a discussion about it following the exhibition in Berlin.
Part of Rural Moves – The Songyang Story, Xu Tiantian, DnA_Design and Architecture, Beijing exhibited at the AEDES Forum, Berlin.
Chinese Contemporary Art: Curation, Collection, and Connection
Panel 1: CURATING Chinese Contemporary Art in the U.S.:
Melissa Chiu, Hirschhorn Museum, “Chinese contemporary art in Formation: A Personal Chronicle”; Daisy Yiyou Wang, Peabody Essex Museum, China of the Present Tense: Strategies and Challenges of Displaying
Chinese Contemporary Art in American Museums; Vivian Li, Worcester Art Museum, Chinese Contemporary Art and the Question of Relevance”; Christopher Phillips, Curator and Critic, “Curating Chinese Photography and Media Art at U.S. Institutions”; Moderator: Natsu Oyobe, UMMA Curator
Presented during the University of Michigan Museum of Art exhibition Wang Qingsong/Detroit/Beijing (February 2 - May 26, 2019), this symposium celebrates three decades of active engagement between American and Chinese artists, museum directors, curators, collectors, and scholars. The program includes two panels and roundtable discussions that will focus on the contributions of museums, exhibitions, collections and criticism to expand our understanding of contemporary Chinese art practice.
Chinese Contemporary Art and Lin Tianmiao
Lin Tianmiao (b. 1961) was born in Taiyuan, Shanxi, China. She studied at Capital Normal University, China, and at the Art Student League, New York. She has had solo exhibitions in Beijing at Courtyard Gallery, Gallery of the Central Academy of Fine Arts, and Baofang Hutong. Her work has been included in group exhibitions at Insitute of Contemporary Art, London; the Mexico Museum of Contemporary Art, Mexico City; San Francisco Museum of Modern Art, CA; Xu Xian Art Center, Taipei, Taiwan; National Gallery of Australia; Chengdu Contemporary Art Museum, Sichuan, China; Queens Museum of Art, NY; Cleveland Center for Contemporary Art, OH; Lasalle College of Art, Singapore; and Espace Cardin, Paris. She has participated in the Ireland Biennale, Kwunju Biennale, Fukuoka Asian Art Triennale, and Shanghai Biennale in 2002, as well as the Echigo-Tsumari Art Triennial, Japan, in 2003. Her work can be found in the collections of International Center for Photography, NY; Fukuoka Museum of Asian Art, Japan; Hong Kong Museum of Art; JGS, Inc. NY; and Santa Barbara Museum of Art, CA. She currently lives and works in Beijing.
Heaven and Earth: Anonymous—High Mountains and Flowing Waters 高山流水 (Grammy Yeung Ching Ho)
Performance — Heaven and Earth
West Lake has long been a site of inspiration for musicians and poets. The region's fusion of human-made causeways and the natural environment has become an ideal for classical forms of philosophy and design. Through her performance, Ms Yeung both responds to and offers a musical representation of the mists rising around West Lake.
Performer: Grammy Yeung Ching Ho
Yeung Ching Ho Grammy is a year 4 student in the Department of Music at The University of Hong Kong. She began her Guzheng training under Chin King in 2004, and is currently working under the guidance of Dr Xu Lingzi of the Hong Kong Academy of Performing Arts. She passed the diploma examinations with distinction from both the Central Conservatory of Music and the Shanghai Conservatory of Music.
Yeung was a champion in the Intermediate, Senior and Advanced levels, and first runner-up in the Junior and RTHK Radio 4 Chinese Instruments Scholarship for solo Zheng competitions at the Hong Kong Schools’ Music Festival. She was awarded first place in the 6th Hong Kong Students Open Music Competition and received the silver medal in The First International Zheng Contest’s B amateur group.
Yeung has been a member of various Chinese orchestras since 2006, including the Children’s Chinese Orchestra, Island Youth Chinese Orchestra, Hong Kong Youth Chinese Orchestra and Chinese Orchestra of HKUSU, in which she also held the office of Chairperson for the 2016–2017 session.
Yeung was recently featured as one of the finalists on RTHK 4’s Young Music Makers 2017. She has participated in Musicus Society concerts, including the Musicus Heritage Community Concert Series: A Habsburg Convocation, and the 5th and 6th Musicus Festival’s Children’s Concert, as well as the filming of RTHK’s The Works. She was recently invited by RTHK as a member of Twoplus Music to hold a STEAM workshop for children, and was awarded a Rayson Huang Scholarship for Music at the University of Hong Kong 2017–2018.
Date and Time:
Friday, 25 January 2019 13:05–13:50 (Guided Tour for the West Lake Panorama exhibition: 13:55–14:10)
Friday, 22 February 2019 19:00–19:45 (Guided Tour for the West Lake Panorama exhibition: 18:30–18:45)
Venue: 1/F, T.T. Tsui Building, University Museum and Art Gallery, HKU, 90 Bonham Road, Pokfulam
© University Museum and Art Gallery
Grammy Yeung—Ode to Bamboo
Programme:
March of the general 將軍令 Anonymous 佚名
Combating typhoon 戰颱風 Wang Changyuan 王昌元
Fantasia 幻想曲 Wang Jianmin 王建民
Spring on Xiang River 春到湘江 Ning Baosheng 寧保生
Bamboo has played an important role in music-making in China since the earliest periods of civilisation, when it was first used to make woodwind instruments like the dizi, a side-blown flute that was invented in the ninth century BCE. It was also the main material for early zithers called zhu—a possible precursor to the guzheng—and plectra that were used to play a variety of stringed instruments. Rich with symbolism, bamboo has inspired countless songs and plays, many of which focus on its perceived qualities of simplicity and humility, and its abundance in nature.
In a series of performances at UMAG on 12 April and 9 May 2019, guzheng player Grammy Yeung responds to the aesthetic of bamboo in Chinese art through a carefully selected programme of six contemporary and traditional compositions. Each evokes feelings of retreating to a remote landscape and the transformational processes of nature. The performances are organised in conjunction with the exhibition Art of the Iron Brush: Bamboo Carvings from the Ming and Qing Dynasties, which runs at UMAG from April 17–July 28, 2019.
Performer: Grammy Yeung Ching Ho
Yeung Ching Ho Grammy is a year 4 student in the Department of Music at The University of Hong Kong. She began her Guzheng training under Chin King in 2004, and is currently working under the guidance of Dr Xu Lingzi of the Hong Kong Academy of Performing Arts. She passed the diploma examinations with distinction from both the Central Conservatory of Music and the Shanghai Conservatory of Music.
Yeung was a champion in the Intermediate, Senior and Advanced levels, and first runner-up in the Junior and RTHK Radio 4 Chinese Instruments Scholarship for solo Zheng competitions at the Hong Kong Schools’ Music Festival. She was awarded first place in the 6th Hong Kong Students Open Music Competition and received the silver medal in The First International Zheng Contest’s B amateur group.
Yeung has been a member of various Chinese orchestras since 2006, including the Children’s Chinese Orchestra, Island Youth Chinese Orchestra, Hong Kong Youth Chinese Orchestra and Chinese Orchestra of HKUSU, in which she also held the office of Chairperson for the 2016–2017 session.
Yeung was recently featured as one of the finalists on RTHK 4’s Young Music Makers 2017. She has participated in Musicus Society concerts, including the Musicus Heritage Community Concert Series: A Habsburg Convocation, and the 5th and 6th Musicus Festival’s Children’s Concert, as well as the filming of RTHK’s The Works. She was recently invited by RTHK as a member of Twoplus Music to hold a STEAM workshop for children, and was awarded a Rayson Huang Scholarship for Music at the University of Hong Kong 2017–2018.
© University Museum and Art Gallery 2019
Key Note Speech: Theater of the World: Art, China, and Institutions in a 'New Era'
Key Note Speech: Theater of the World: Art, China, and Institutions in a 'New Era'
Speaker: Mr. Philip Tinari, Director of Ullens Centre for Contemporary Art (UCCA), Co-curator of Art and China after 1989: Theater of the World (2017), Guggenheim Museum.
Date: 17 Nov 2017 @ Asia Society Hong Kong Center
Xu Bing and the Forest Project
December 29th / On a recent stop in Hong Kong, the celebrated contemporary artist tells us about his groundbreaking Forest Project, where art and education fund tree-planting schemes in Africa. Watch the video here. For more information, visit
Ink Remix: Contemporary art from mainland China, Taiwan and Hong Kong
From the political to the playful - discover the art of ink.
16 Sept 2016 - 19 Feb 2017
Museum of Brisbane
Level 3, City Hall, Brisbane
CNY greetings! Be amazed as Xu Beihong's horses come alive in 3D!
HKJC teamed up with the Hong Kong Film Awards and Taiwan Golden Horse Film Festival Best Visual Effect winner, Victor Wong, to transform Xu Beihong's equine masterpieces into an unforgettable 3D animated TV commercial! Leveraging state-of-the-art multimedia technology to create traditional Chinese ink artistry, the resultant 60-second commercial conveys the vibrancy of the Chinese New Year with the energy of the horses.
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Chinese museum relics ‘sing and dance’ for Chinese New Year celebration
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Historic Chinese relics have been “brought to life” through an animated exhibit at the Baoji Bronze Ware Museum in China’s northwest province of Shaanxi. Introduced in time for the recent Lunar New Year celebration, the production featured animated versions of a collection including items from the Tang (618-907) and Ming (1368-1644) dynasties. Chimes, statues and pottery figures were among 68 historic pieces depicted dancing and singing in the video. Museum curators said they hope the exhibition offers a more attractive look at the collection. The animation is scheduled to run until March 7, 2019.
Zhang Daqian's masterpiece Peach Blossom Spring unveils in HK
Chinese leading modern artist Zhang Daqian's masterpiece Peach Blossom Spring unveils in Hong Kong for the upcoming Sotheby's sale. It is assessed to be the most worthwhile work in the history of Sotheby's Fine Chinese Painting Spring Sale.
The Works:Migrant Women Workers, Wilson Shieh x Sun Yat Sen Museum & Singer Songwriter Najwa Mahiadd
Like many other hard working cities, Hong Kong would most likely find it hard to thrive as it does without the presence of female migrant workers from countries like the Philippines and Indonesia. The same story is repeated across much of the world. Economic disparities mean many in poorer countries have to leave their own homes, and work in the homes of others, to survive and earn money for their families. And sometimes the work they do is considerably harder on them than domestic work. The challenges of the lives of female migrant workers is the subject of a current exhibition at the University of Hong Kong.
Over the past month, The Works has been introducing the Hi! Houses series, in which artists are invited to create site-specific art works in some of Hong Kong’s most significant older buildings. So far we’ve seen Lam Tung-pang’s work in Wong Uk in Shatin, and an exhibition by ceramic artist Fiona Wong at Law Uk in Chai Wan. Today, we’re heading to mid-levels, to Kom Tong Hall, and the work of Wilson Shieh. And in case the name “Kom Tong Hall” doesn’t mean anything to you, you might know it better as a museum dedicated to one particular revolutionary thinker.
In 1974, as part of a small group of philosophers and literary figures from France, Roland Barthes visited China, during the final stage of the Cultural Revolution. The group was warmly received by Chinese writers and academics, but their visit was tightly controlled and they were kept to a highly planned and monitored itinerary. Barthes planned to write a book on the trip when he returned to France, but he never completed it. However, in 2011, more than three decades later, “Travels in China” a book based on notes and other materials he wrote at the time, was published. At Blindspot Gallery five Chinese artists have taken those notes as the starting point for their group exhibition “After Party: Collective Dance and Individual Gymnastics”. Their aim, they say, is to highlight the complex political tension between the ideological control of the state and the expression of the individual will.
A graduate of Berklee College of Music, Malaysian singer songwriter, Najwa Mahiaddin released her first album “Innocent Soul” six years ago, and was instantly recognised for her soul and R&B style. Now though, she’s changing musical direction a little. She’s here to tell us more about it.
Asia Art Archive Chair Jane DeBevoise Lectures on Hong Kong's Cultural Scene in Montreal
On January 23, 2013, Jane DeBevoise, chair of the board of directors of Asia Art Archive in Hong Kong and New York, delivered the lecture Hong Kong as Cultural Construction Site: A View from Asia Art Archive at the Musée d'art contemporain de Montréal. The talk was part of the Asia Contemporary Speaker Series, a partnership between the Canadian Art Foundation and the Asia Pacific Foundation of Canada's National Conversation on Asia and its sponsors. This video documents her complete Montreal lecture.
Before moving to Hong Kong in 2002, DeBevoise was deputy director of the Guggenheim Museum, where she was responsible for museum operations and exhibitions globally. She joined the museum in 1996 as project director of China: 5000 Years (1998), a blockbuster exhibition of traditional and modern Chinese art that was presented at the Guggenheim museums in New York and Bilbao. Prior to 1996, DeBevoise was managing director at Bankers Trust Company, where she worked for 14 years in New York, Hong Kong, Tokyo and London. DeBevoise holds a BA from Tufts University, an MA from the University of California, Berkeley, and a PhD from the University of Hong Kong, all in art history. She was appointed by the Home Affairs Bureau of the Hong Kong government to the Committee for Museums from 2004 to 2007 and to the Museums Advisory Group for the development of the West Kowloon Cultural District from 2006 to 2007. She is also a trustee of the Asian Cultural Council, New York.
The Asia Contemporary Speaker Series explores the rise of Asia on the international scene as one of the most compelling stories in contemporary art. Provocative artworks command ever-higher prices as markets expand, and impressive new museums, schools and biennials continue to proliferate. Hong Kong, Singapore, Dubai, Tokyo and Beijing have established themselves as major art-world hubs, competing directly with London and New York. In order to understand this phenomenon and its connection to global movements of economic and political power, the Asia Contemporary Speaker Series will bring five recognized leaders in the field to speak in cities across Canada in 2012 and 2013. For more information about upcoming talks, please visit
Private collection of Chinese fine art at Ashmolean Museum
A museum in England's university town of Oxford is beginning the Year of the Horse with plans for an exhibition of what's considered the West's finest private collection of Chinese art.The collection of 400 works of art belonged to a man who's love affair with China was forged in the murderous heat of war and conflict.
Geometrical Hong Kong: An Immersive and Interactive Virtual Reality Tour
Geometrical Hong Kong: An Immersive and Interactive Virtual Reality Tour
Shirley Geng Xu, Huaxin Wei
CHI '18: ACM CHI Conference on Human Factors in Computing Systems
Art Exhibition
Abstract
Geometrical Hong Kong is an interactive virtual reality (VR) documentary that provides the audience an immersive touring experience of the lesser-known but visually stunning and highly functional architectural design of Hong Kong public housing estates. In a first-person view, the audience can navigate a series of buildings by changing positions, view the interior and exterior, and listen to brief audio introductions of the architecture. In the design and production of this piece, we formed an indie VR production model that aimed to architect an immersive and interactive experience at an affordable cost. To realize this goal, we chose a simple interaction model and consumer technologies, but emphasized quality cinematography and script writing.
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The Pauline and Joseph Degenfelder Lecture 2017: How to Read Chinese Paintings
Speaker: Maxwell K. Hearn, Douglas Dillon Chairman of the Department of Asian Art, Metropolitan Museum of Art
The Chinese way of appreciating a painting is often expressed by the words du hua, “to read a painting.” How does one do that? Because art is a visual language, words alone cannot adequately convey its expressive dimension. In this lecture, Mike Hearn will visually analyze select paintings and calligraphies from the encyclopedic collection of the Metropolitan Museum of Art and elucidate what makes each a masterpiece.
Spanning a thousand years of Chinese art from the eighth through the seventeenth century, the lecture will examine multiple layers of meaning—style, technique, symbolism, past traditions, and the artist’s personal circumstances—in the treatment of landscapes, flowers, birds, figures, religious subjects, and calligraphies in order to illuminate the main goal of every Chinese artist: to capture not only the outer appearance of a subject but also its inner essence.
An Art Salon on 'Chineseness' 《華人藝術紀》藝術會客室
HONG KONG, May 8, 2014 — Chineseness, a series from the DISCOVERY Channel, marked its premiere at Asia Society Hong Kong Center with a presentation by Dr. Agnes Hsu-Tang that explored the rebirth of Chinese identity through the lives and works of four renowned Chinese contemporary artists: Yang Chihung, Zhang Huan, Li Chen, and Xu Bing.
In a luncheon discussion moderated by Vikram Channa, Dr. Hsu-Tang and one of the four artists, Xu Bing, discussed Chineseness as well as Dr. Hsu-Tang's holistic view of how contemporary Chinese consciousness is reflected through arts and culture. Xu Bing also offered a few thoughts on what it takes to be inspired and how artists need to keep up with the constantly changing world around them.
Important Chinese art up for auction
(1 Mar 2012)
Hong Kong, February 28, 2012
1. Close of a woman in a Chinese painting, called 'Late Night', by Chen Yanning, expected fetch between USD 155,000 and 233,000
2. Close of a ceramic tea pot in 'Late Night'
3. Wide of 'Late Night'
4. Tilt up of 'Late Night'
5. Pan from a man to a Chinese painting, named 'Mother in Red', by Chen Yifei, expected to fetch between USD 233,000 and 362,000
6. Close pan left from a woman in 'Mother in Red' to a child in the painting
7. Wide of 'Mother in Red'
8. Mid of a woman and a child in 'Mother in Red'
9. Tilt up 'Mother in Red'
10. Wide of Sylvie Chen, Head of 20th Century Chinese Art Department at Sotheby's, showing a painting
11. Cutaway media
12. SOUNDBITE (Mandarin), Sylvie Chen, Head of 20th Century Chinese Art Department at Sotheby's
Under the political and economic development, we are proud to say the 20th century is the century of Chinese people. Under these circumstances, in these five recent years, there have been many Chinese art collectors and Chinese buyers, booming the whole Chinese art industry.
13. Wide of two digital prints on display
14. Tilt up a digital print, called 'Joyful Rain', by Chen Fuli, expected to fetch between USD 3,650 and 4,950
15. Mid of Joyful
16. Wide of a Chinese painting, named '25.06.86', by Zao Wouki, expected to fetch between USD 2.3 millions and 3.6 millions
17. Close of Zao's painting '25.06.86'
18. SOUNDBITE (Mandarin), Sylvie Chen, Head of 20th Century Chinese Art Department at Sotheby's
Sometimes, the art industry will be stricken by the economy, but from the view of 20th century Chinese art, the price of art pieces will only appreciate and not depreciate. Good art pieces will always be vital items that art collectors and galleries will pursue. Personally, I think the price of Chinese art pieces will continue to surge. At this stage, the younger, rich generation might not have deep knowledge in Chinese art, so they buy more luxurious consumer products. But when they understand the long five-thousand-year history of Chinese culture and the history of Chinese painting, I believe they will treasure this culture.
19. Tilt up of Zao's painting '25.06.86'
20. Wide of Zao's painting '25.06.86'
LEADIN
Chinese art prices continue to show healthy gains.
Despite the global economy remaining uncertain , fine art seems to be drawing the money.
STORYLINE
' Late Night' - one of the paintings up for auction at Sotheby's in Hong Kong.
In the coming 20th Century Chinese Art Spring Sale, 140 art pieces estimated to raise in excess of USD 20 million.
Items include abstract art, realist art and photographic art from China, Hong Kong and Taiwan.
Among the selected items, the most attractive highlight is the painting by abstract artist Zao Wouki.
His piece, named 25.06.86, is expected to fetch between USD 2.3 millions and 3.6 millions.
In recent years, the number of rich buyers from China who indulge in Chinese art has been growing, and that inevitably boosts the demand of art pieces done by Chinese artists.
Commenting on the prospect of the Chines art industry, Sylvie Chen, Head of 20th Century Chinese Art Department at Sotheby's says the industry has been booming in line with the political and economic development in China.
In view of the political and economic development, we are proud to say the 20th century is the century of Chinese people, says Chen.
Under these circumstances, in these five recent years, Chinese artists are benefited as there have been many Chinese art collectors and Chinese buyers, booming the whole Chinese art industry,.
While the slow economic recovery in the West poses negative factors on the value of the art pieces, Chen says that the price of Chinese art pieces will only continue to rise.
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