Pearl Lam Galleries｜Art Cologne 2018 Stand C-010
原標題：Pearl Lam Galleries｜Art Cologne 2018 Stand C-010
Art Cologne 2018 Stand C-010
Vernissage: Wednesday, 18 April, 4–8pm
Public Opening: 19–21 April, 11am–7pm; 22 April, 11am–6pm
Koelnmesse, Hall 11, Messeplatz 1, 50679, Cologne, Germany
Cologne—Pearl Lam Galleriesis pleased to announce its participation in the 52nd edition of Art Cologne, which will take place from 19–22 April, 2018. As one of the biggest art fairs in Europe, Art Cologne brings together international galleries who show 20th and 21st century art. The Galleries is the only Asian-based gallery exhibiting in the fair』s Contemporary Art section out of 200 participating galleries. The stand will feature works by contemporary artists from Asia and the UK, including Chun Kwang Young (b. 1944, South Korea), Huang Yuanqing (b. 1963, China), Luke Heng (b. 1987, Singapore), Li Tianbing (b. 1974, China), Liu Wentao (b. 1973, China), Antony Micallef (b. 1975, UK), Kour Pour (b. 1987, UK), Ged Quinn (b. 1963, UK), Su Xiaobai (b. 1949, China), Zhou Yangming (b. 1971, China), and Zhu Jinshi (b. 1954, China).
CHUN KWANG YOUNG
Aggregation 13-DE053, 2013, Mixed media with Korean mulberry paper, 59 x 59 in.
Chun Kwang Young (b. 1944, Korea) combines his early experimentations with Abstract Expressionism with his mastery of mulberry paper, a uniquely Korean material, in his search for a culturally authentic mode of artistic expression. Wrapping individual triangular pieces of polystyrene in hand dyed mulberry paper, Chun creates the textured surfaces of his wall-hung assemblages.
HUANG YUANQING
Untitled 2017-36, 2017, Acrylic on linen, 66 7/8 x 98 3/8 in.
Huang Yuanqing』s paintings are influenced by Western Abstract Expressionism, which he was exposed to in art school, and traditional Chinese calligraphy. In the 1980s, his open and liberal approach to Chinese calligraphy allowed him to create his own 「abstract calligraphy」, which also integrates Western oil painting techniques. Colour plays an integral role in the artist"s works, as it seems to fly, float in the air, or swim on the surface of water. Another essential element is his use of lines, which Huang may paint over multiple times, building texture and shapes, until he is satisfied. This process may span long periods of time—from months to years.
LUKE HENG
Non-Place (#2), 2017, Oil on linen, 74 x 65 in.
Singaporean artist Luke Heng is interested in the dialectics between painting, object, and picture-making. His earlier practice revolves around the conceptualization and physical manifestation of painting, with his works often responding to the history of painting while drawing from various other art forms to influence his approach and process. His most recent practice extends into installation and sculpture, while he introduces depth and perspective into his new oil on linen paintings.
LI TIANBING
Street Violence, 2016, Oil on canvas, 62 x 78 in.
Chinese artist Li Tianbing』s latest series of works, which includes the painting Street Violence, addresses social conflicts that often lead to violence, resulting from the increasing polarization between the rich and poor. He is interested in representing the moment where the physical conflict is at its height, where the scene becomes a visual blur and is almost fragmented or even abstract in painted appearance.
LIU WENTAO
Untitled, 2017, Pencil on canvas, dia. 59 in.
By interweaving simple straight lines on the flat canvas, Liu Wentao creates a material conversation and superposition between his pencil drawings. The refraction of light caused by the lead』s texture interacts with the diverse, three-dimensional geometrical canvas frames, using a minimalist method to present the transformation of light and space to the viewer. As an experimenter of form, Liu Wentao regards the void of the canvas as the starting point of his works. Liu』s dark pencil strokes are not created to manufacture meaning; instead, they endlessly contribute to a combined dialectical relationship between 「nothingness」 and 「presence」.
ANTONY MICALLEF
Self-Portrait (Flayed Construct), 2017, Oil on linen, 51 1/8 x 43 1/4 in.
Known for his visually charged figure paintings, Antony Micallef』s series of works in his 2016 exhibition Raw Intent are a complete departure from his earlier artworks. He builds up a relief-like surface with heavy paint to depict a figurative mass in front of a muted background. By using an impasto technique, the material is pushed to its extreme and blurs our reading of painting and sculpture. Through the use of tools such as scrapers and palette knives, Micallef literally twists the paint to further distort the depicted figure in the hope of realizing an embodiment that will 「breathe」 on its own.
KOUR POUR
Geometric Painting 1, 2017, Acrylic on canvas over panel, 30 x 25 in.
Kour Pour』s series of carpet paintings, which take months to prepare, are inspired by an early education in textiles from his Iranian-born father. Each design is highly labour-intensive and incorporates a range of techniques, including scrupulous hand painting, silkscreen printing, and applying paint layers with a broomstick, sanding down, and repainting. Pour』s most recent series of paintings uses geometric abstraction to investigate issues of appropriation and originality. Lying in between a Persian miniature painting and an American or European minimal geometric painting, expressing different cultures and time periods. The image is silkscreened and painted over with geometrical shapes.
GED QUINN
A Kind of Wick or Snuff, 2014–17, Oil on linen, 108 1/8 x 72 in.
Ged Quinn is known for his densely layered paintings that transform art historical techniques into contemporary experience. His paintings critique cultural icons through intervention, rather than through strict representation, with concepts of historicity and the collapse of boundaries between the internal and external, all working in definite ways to generate a stimulating political and cultural dialogue. He works in meticulous detail and executes his paintings with extraordinary technical skill. Multiple histories, narratives, and mythological emblems collide. The interplay of elements drawn from Western cultural history, mythology, philosophy, and the imagination create an engagement with the viewer that challenges and plays with preconceived notions of beauty and art.
SU XIAOBAI
Plump, 2016, Oil and lacquer on linen and wood, 65 x 63 x 6 1/4 in.
Su Xiaobai is one of China』s most distinctive painters. From 1985–87, he studied oil painting at the Central Academy of Fine Arts in Beijing. In 1987, he received a scholarship to study at the Kunstakademie in Dusseldorf, where he was exposed to avant-garde Western art. During the 1990s, his work became progressively less figurative, and following his return to China in 2003, it has increasingly focused on essential characteristics of colour, shape, and surface. Su』s works straddle sculpture and painting. Ranging from shell-like finishes to sensuous, curved profiles and abraded textures, they exist entirely on their own terms, exuding their own history, character, and independent presence.
ZHOU YANGMING
20170714, 2017, Acrylic on canvas, 76 3/4 x 38 1/4 in.
Born in 1971 in Taizhou, China, Zhou Yangming has been living and working in Beijing for over 20 years. Since childhood, Zhou has been interested in art and is now one of the most distinctive Chinese abstract artists in China. Focused primarily on ideas of line and space, Zhou creates his intricate surfaces by drawing and painting line upon line in a meditative process that reveals great discipline of both the hand and mind.
ZHU JINSHI
Nothing but the Central Plain, 2015, Oil on canvas, 70 7/8 x 63 in.
Born in Beijing, China in 1954, Zhu Jinshi is a pioneer of Chinese abstract art and installation art. Zhu began painting abstract works in the late 1970s and moved to Berlin in 1986, splitting his time between Berlin and Beijing since 1994 before settling in Beijing in 2010. During his time in Berlin, Zhu was exposed to Western art movements and experimented with performance, installation, and conceptual forms. In his impasto oil paintings, the paint is applied with shovels and other heavy-duty implements; the works themselves take several years to dry.
About Pearl Lam Galleries
Founded by Pearl Lam, Pearl Lam Galleries is a driving force within Asia』s contemporary art scene. With over 20 years of experience exhibiting Asian and Western art and design, it is one of the leading and most established contemporary art galleries to be launched out of China. Playing a vital role in stimulating international dialogue on Chinese and Asian contemporary art, the Galleries is dedicated to championing artists who re-evaluate and challenge perceptions of cultural practice from the region. The Galleries in Hong Kong, Shanghai, and Singapore collaborate with renowned curators, each presenting distinct programming from major solo exhibitions, special projects and installations to conceptually rigorous group shows. Based on the philosophy of Chinese literati where art forms have no hierarchy, Pearl Lam Galleries is dedicated to breaking down boundaries between different disciplines, with a unique gallery model committed to encouraging cross-cultural exchange.
Further building on the Galleries』 commitment, Pearl Lam Galleries is delighted to have opened its new gallery at H Queen』s, Hong Kong』s latest art hub, in March 2018. The four gallery spaces of Pearl Lam Galleries in Hong Kong, Shanghai, and Singapore represent an increasingly influential roster of contemporary artists. Chinese artists Su Xiaobai and Zhu Jinshi, who synthesize Chinese sensibilities with an international visual language, are presented internationally with work now included in major private and public collections worldwide. The Galleries has also introduced leading international artists, such as Leonardo Drew, Jenny Holzer, Carlos Rolón/Dzine, and Yinka Shonibare MBE, to markets in the region, providing opportunities for new audiences in Asia to encounter their work. Pearl Lam Galleries encourages international artists to create new work that engages specifically with the region, collaborating to produce thought-provoking, culturally relevant work.
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