DOCSLIB.ORG

Jason Wing Battleground

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Jason Wing Battleground Jason Wing Battleground 12 June – 11 July 2020 Artereal Gallery 747 Darling Street, Rozelle NSW Australia 2039 +61 (2) 9818 7473 [email protected] www.artereal.com.au This June, Artereal Gallery is Artereal Gallery is pleased to present Jason Wing's first solo exhibition with the gallery, showcasing important new works from his ongoing Captain James Crook series alongside a recent survey of both new and existing works from his Battleground series of shields. Described as “tough, necessarily blunt, yet often witty and lyrical, Jason Wing challenges dominant accounts of Australian history”1. Jason Wing is a Sydney based artist who strongly identifies with his Chinese and Aboriginal Biripi heritage. With works held in the collections of many of Australia’s major cultural institutions, his art protests the loss of the rich traditions and cultural identities of his layered dual heritage and challenges prevailing perspectives of Australian history and settlement. 1 https://visual.artshub.com.au/news-article/reviews/visual-arts/helen-wyatt/review-jason-wing-and-nicole-welch-glasshouse- regional-gallery-256707 BLACK LIVES MATTER! The plea and call to action is Captain James Cook when he sailed into Kamay (but named resonating worldwide. by Cook in his charts as Botany Bay), the home of the Eora and Gweagal people. It is at the heart of Jason Wing’s art. He challenges, protests and mourns Australia’s fraught colonising and indigenous It is a flawed colonial victor perspective perpetuated by histories and the continuing contemporary impact of lawmakers, many historians and school and university contested Country and the loss of the rich indigenous curricula that denies the sovereignty of Aboriginal and traditions and cultural identities of Aboriginal and Torres Torres Strait Islander peoples. Strait Islander peoples. Wing’s response is a succession of works created since Jason Wing’s mother is an Aboriginal woman of the Biripi 2012 around versions of busts of Captain James Cook to people in the Upper Hunter region of New South Wales. His challenge audiences to rethink dual and alternate histories father is Chinese (Cantonese). The artist’s many layered to those that are embedded in the Australian psyche of Australian heritage and DNA powers and drives his potent Australia as terra nullius (meaning a land belonging to no installations and objects: one) and having been peacefully settled by European colonizers: “The common thread throughout my practice is the everyday battle which Aboriginal people fight living in this The artist emphatically asserts: “There are many politically colonial institutional framework. We fight for re-writing correct terms such as "colonised, peacefully settled, Aboriginal history that has been erased, destroyed, hidden occupied, discovered etc. The truth is that Australia was and lost. We fight for equal human rights. We fight for our stolen by armed robbery. History is often written and erased culture to be respected, valued and celebrated in a genuine by the victors, so I decided to challenge colonial history of way. We fight for equal rights socially, culturally, politically Australia from an Aboriginal perspective.” and economically”. Australia was stolen by armed robbery is a found fiberglass Battleground assembles a serried armory of symbolic battle- bust of Cook on which the artist placed a black balaclava. It shields-for-our-time. Ground-in glyphs of surveyors’ marks won the 2012 Parliament of New South Wales Aboriginal Art alongside other universal cultural symbols of Country and Prize and is held in the permanent collection of the New ownership applied in ochre pigments of white and red, scar, South Wales Parliament House. It attracted a furor of leach and bleed into harsh rusted Corten steel surfaces. controversy. Subsequent cast bronze versions by Wing of Such marks universally bode a change of occupier and of Cook, both masked and unmasked have followed. purpose, whether to the natural environment, to inhabitants, and inevitably their histories… Captain James Crook (black light), a screen-print edition The artist’s ritualistic shields are at once a call to arms created in 2019-2020 and coincides with the two-hundred- signaling both defense and attack. And a memorial. United and-fiftieth anniversary of Cook’s arrival in Australia. It in protesting the corrosive impact of invasive settlement, of depicts a barefaced bust of Cook. Supplied with the work is a law-making practices, of mining with its desecration of Black Light Torch, a device used by forensic scientists to sacred grounds and destruction of natural habitats, and analyse crime scenes. When shone on the work it reveals against the ingrained and systemic discriminatory attitudes Cook/Crook wearing a black balaclava - significantly the that alienate peoples, endanger culture and threaten disguise of choice for bandits. The clever visual pun serves Country. to ‘shine a light’, to ‘enlighten’ and importantly to confront and reconcile the divided issues surrounding our colonial Rio Tinto detonating explosives in the Juukan Gorge of past. Western Australia on 15 May 2020 destroying a significant site dating back 46,000 years for the Puutu Kunti Kurrama Artist and activist, Jason Wing is exhibited widely nationally and Pinikura people bears witness to the distressing and internationally. He has delivered a range of significant disregard and ongoing massacre by corporate giants of public art commissions and is represented in major Aboriginal heritage. Australian collections including the National Gallery of Australia and prestigious Australian and International public, Stenciled texts and portentous cut-out holes in selected of corporate and private collections. Wing’s shields ominously admonish and attest “... that once culture is cut out - it is so, so hard to put back.” Barbara Dowse At school in Sydney, Jason Wing, like so many generations of students, was taught that Australia was discovered by ‘When I attended high school I was taught that Australia was discovered by Captain James Cook. Since 1770, when Captain James Cook first sailed into Camay (Botany Bay), home of the Eora people and what is now commonly known as Sydney, Australia, this has been a popular narrative shared by our law-makers, school curriculum, media outlets and historians. This narrative is one that depicts Australia as, until recently, not only terra nullius (meaning a land belonging to no one) but also as having been peacefully settled by European colonisers. This oppressive and violent history continues to impact our communities today and is perpetuated by racist Government policies such as the Intervention; a policy which seeks to control and disempower people, predominately minority groups and Aboriginal and Torres Strait Islander people. It seems ironic that the Intervention limits the rights of Indigenous people as though they were criminals, when it this very policy that breaks the international UN human rights convention. Fundamentally nothing has changed in since 1770. The violent and racist legacy left by Captain James Cook and his fellow colonisers is enmeshed in the fabric of contemporary Australian society . There are many politically correct terms such as "colonised, peacefully settled, occupied, discovered etc. The truth is that Australia was stolen by armed robbery. History is often written and erased by the victors, so I decided to challenge colonial history of Australia from an Aboriginal perspective and simply tell the truth. In 2012 I found a fibreglass bust of Captain Cook on Gumtree for $200. I placed a balaclava on Cook’s head and became the Winner of the 2012 Parliament of NSW Indigenous Art Prize. This artwork, known as Australia was stolen by armed robbery, is held in the permanent collection of NSW Parliament House. Winning this prize led to a media furore. The controversy that surrounded both the creation of this artwork and its conceptual underpinning, I was publicly attacked by media figures such as Steve Price, Andrew Bolt etc, which I wear as a badge of honour. I received death treats, trolling etc. Following on from this storm of controversy I decided to create a second iteration of the sculpture titled Captain James Crook, in which a Bronze bust of Cook is depicted wearing a balaclava. During the process of creating the Captain James Crook edition, I also created one unique Bronze bust which depicted Cook without a balaclava. This piece shows Cook unmasked – his now iconic face immediately recognisable. In 2019-20 I created my most recent work Captain James Crook (black light). This screenprint depicts an unmasked bronze bust of Captain James Cook. Audiences are invited to consider the dual and alternate history’s which exist in our country by taking an active and performative role in how they engage with this artwork. By activating the UV light (or black light), they can choose to reveal a depiction of Cook in which he is seen wearing a balaclava. In showcasing these two opposing depictions of Cook, audiences are faced with two alternative views of Australian history and asked to confront the internal fissure which exists within the Australian psyche. Australian’s today are still divided on issues surrounding our colonial past. Through these two artworks I hope that audiences will begin to rethink the various narratives that exist within Australian history. The common thread throughout my practice is the everyday battle which Aboriginal people fight living in this colonial institutional framework. We fight for re-writing Aboriginal history that has been erased, destroyed, hidden and lost. We fight for equal human rights. We fight for our culture to be respected, valued and celebrated in a genuine way. We fight for equal rights socially, culturally, politically and economically. We have serpent blood in our veins and we will never stop fighting for our culture.’ Jason Wing, Artist Statement “This work is about acknowledging the largely untold history of biological warfare used by British colonisers as an invasive military tactic against Indigenous peoples.
Load more

Recommended publications
  • The Self-Organization of Contemporary Art in China, 2001–2012
    Bao Dong Rethinking Practices within the Art System: The Self-Organization of Contemporary Art in China, 2001–2012 The Origin of the Term “Self-Organization” in China The term “self-organization” was first used in the context of contemporary Chinese art in 2005 at the Second Guangzhou Triennial curated by Hou Hanru, Hans Ulrich Obrist, and Guo Xiaoyan. Self-organization was one of the special projects of the triennial, and there were two panel discussions on the topic. The exhibition theme “Beyond” focused on the topic of alternative modernity in China and non-Western countries, and the term self-organization was defined by the following statements: “A number of independent art organizations, institutions, and communities have taken an active role in artistic creation and practice” and “their projects are often diverse, flexible” and “self-induced in nature.”1 Altogether, twenty-four self- organized groups2 were included in this project, and for the curators, the concept of “self-organization” was used to differentiate independent and autonomous organizations from those attached to government systems or political parties. This feature is also the fundamental difference between the various artist-run autonomous organizations and the organizations within the conventional art system as constituted by Chinese Artists Association, along with the various academies of painting, art institutes, museums, and so on. In other words, self-organization is considered a force operating outside of the conventional art system, just as the inception, growth, and flourishing of contemporary Chinese art is believed to have been achieved outside of official systems. In terms of any independence from the conventional art system, self- organization is not a new phenomenon in the contemporary Chinese art scene.
    [Show full text]
  • Locating Vietnamese Contemporary Art Scene
    Locating Vietnamese contemporary art scene An ethnographic Hong-Ngoc TRIEU attempt from afar TRI14437741 Abstract. Initially, as a student majored in Design Cultures, I was intrigued in Vietnam precisely because I barely knew anything about the art history of my country. Having exposed to the studies of Design Cultures and Histories, I set out to fnd how Vietnamese art history is chronicled by putting it in a complex relationship with the sociocultural and political background. Identifying and locating art from a place like Vietnam that rarely fgures in art history cannot be done overnight as I am thousand miles away from the happenings. This essay, thus, is my humble attempt to look at Vietnam’s contemporary art scene through an afar-ethnographic approach mainly by fexible design methods such as interview, survey, case study, discourse analysis and participant observation. Given how little experience in the real-world research and history learning that I possess, my fndings are based on personal analysis, percep-on and hence, do not necessarily reflect other’s views on the same topic. Entrance to contemporary art scene: tracing the Vietnamese art history In order to investigate the Vietnamese reform in 1986, where restriction on contemporary art scene, I am essentially artistic creativity were steadily relaxed asking the question of how it is and hence allowed artist greater freedom constructed and perceived within the art of expression and facilitating exposure to community and the stream of Vietnamese contemporary trends in both Asian and history of art. While world contemporary Western art. However, unlike the world art had started and risen to prominence contemporary art with its rich outline of since the 1950s - 1960s, its Vietnamese artistic movements in term of quantity, counterpart only came into existence in the diversity and quality, Vietnamese latter decades of the twentieth century; contemporary art scene has barely seen therefore, it is relatively new to the public.
    [Show full text]
  • Jeffu Warmouth: NO MORE FUNNY STUFF Is the First Solo Exhibition in the Fitchburg Art Museum’S New Series of Shows Devoted to Contemporary New England Artists
    Fitchburg Art Museum in Partnership : with Fitchburg State University Presents: February 9 - June 1, 2014 Table of Contents 1 Foreword 3 Acknowledgments 5 A Word From The Artist 7 Introduction 9 JeFFu’s FFantastic FFunhouse Exploring Galleries 13 Experimental Performance 23 Playing With Your Food 51 Falling Into A Digital Paradise 19 Rethinking The Motion Picture 91 Exhibition Checklist 95 Biography 103 Bibliography Foreword: Jeffu Warmouth: NO MORE FUNNY STUFF is the first solo exhibition in the Fitchburg Art Museum’s new series of shows devoted to contemporary New England artists. It’s fitting – and important – to begin with Jeffu, because he is Fitchburg’s best-known contemporary artist. His work has been shown across the United States, and abroad, and he has been a vital participant in the regional visual arts community for two decades. This exhibition also reflects the deepening relationship between AMF and Fitchburg State University as we work together to create enhanced artistic and educational experiences for Fitchburg State students and FAM’s audience. A show as complex as Jeffu Warmouth: NO MORE FUNNY STUFF would have been impossible for FAM to achieve alone. Fitchburg State contributed the hard work and creativity of its faculty and students in myriad ways, provided technology and IT support, and invested funds in the exhibition. In return, their students enjoyed a real professional challenge while developing career-boosting portfolio materials. This pilot collaboration worked so well, that it will be continued for future shows at FAM. I would like to thank Fitchburg State President Robert Antonucci for his generosity of spirit and resources, and Professor Rob Carr for his vision and passion.
    [Show full text]
  • RU Newsletter June 2019
    Like Tweet Pin +1 in JUNE INCOMING RU RESIDENTS RU is pleased to announce this month’s residency cohort of US-based artists: Arghavan Khosravi (MA ) and Serge Serum (LA), both selected for residencies focused on discrimination and marginalization issues. This program made possible with funding from NEA/Artworks and NYC Cultural Affairs. We also welcome incoming artists Takayuki Matsuo (NYC/Japan) and Sebastien Berger (Germany). RU JUNE PUBLIC PROGRAMS -June 1, 4-7pm at Chashama Midtown, COCOONS, open studio with Eduardo Navarro, discover the prolific production of this Panamean artist and a unique site-specific installation; -June 8, 12-5pm at Equity Gallery, RU Exhibition Closing: Dynamis, with Rashwan Abdelbaki, Chantal Feitosa, Kyung-jin Kim, Cansu Korkmaz, and Angélica Maria Millán Lozano; curated by RU alum Luciana Solano and hosted by Equity Gallery. -June 13, 1pm at RU, Meet Over Lunch: Queer Forever! and the contemporary art scene in Vietnam, by visiting Hanoi-based artist and curator Nguyễn Quốc Thành, co-founding member of the Nha San Collective (NSC). In conversation with Bartek Remisko; -June 19, 1pm at RU, Meet Over Lunch: RU artist Gabriella Ciancimino presents her mural project Smell in Dialect and the key role of community engagement for Smell in Dialect, commissioned by NYC Health + Hospitals/Kings County for the pediatric unit; -June 29, 1pm-5pm, RU Exhibition: RU Argentinian artist and muralist Joaquin Zavaleta unveils a site-specific mural commissioned by the City Reliquary Community Museum in Williamsburg, Brooklyn. DONATE TO RU OTHER NEWS Artists nominations for upcoming residencies: Selected through the Open Call: International Residencies for Saudi-based Artists, Ahaad Alamoudi will spend two months at RU this Fall with support from ATHR, a contemporary art project space and gallery in central Jeddah whose new cultural exchange scheme with international artists and curators is part of its commitment to promoting cultural dialogue between Saudi Arabia and the rest of the world.
    [Show full text]
  • The Art of Women in Contemporary China
    The Art of Women in Contemporary China The Art of Women in Contemporary China: Both Sides Now By Patricia Eichenbaum Karetzky and Zhang Er The Art of Women in Contemporary China: Both Sides Now By Patricia Eichenbaum Karetzky and Zhang Er This book first published 2020 Cambridge Scholars Publishing Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2020 by Patricia Eichenbaum Karetzky and Zhang Er All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-5275-4102-9 ISBN (13): 978-1-5275-4102-3 This book is dedicated to the hard-working, talented and courageous women artists whose work fills these pages. First and foremost, I want to thank Zhang Er for her extraordinary efforts for this study and for her diligence, patience and love. Special thanks for the support and time of Sahm Doherty Sefton, Martha Lipman, Jinglun Zhu, Maude Guillo and my husband Monroe Karetzky. I would also like to especially thank the following artists for their extreme cooperation and kindness Peng Wei, Xiang Jing, Xing Danwen, Lin Tianmiao, Yin Xiuzhen, Cao Fei, Yu Hong, Chen Qingqing, Chen Ke, Lin Jingjing, Li Xinmo, Gao Yuan, Zhu Hui, Hao Jingban, Hu Xiaoyuan, Xiaoyi Chen, Feng Jyali, Peng Yun, Cai Jin, Sun Shaokun, Gao Yuan, Ma Yanling, Chu Haina, Ma Quisha, Lu Feifei, Xiong Lijun and Chen Zhe.
    [Show full text]
  • Conceptualism – Intersectional Readings, Inter National Framings
    Conceptualism – Intersectional Readings, Inter national Framings Situating ‘Black Artists & Modernism’ in Europe CONTENTS • Nick Aikens, susan pui san lok, Sophie Orlando Introduction 4 KEYNOTE • Valerie Cassel Oliver Through the Conceptual Lens: The Rise, Fall and Resurrection of Blackness 218 KEYNOTE • Iris Dressler Subversive Practices: Art Under Conditions of Political Repression in 1960s and 1980s South America and Europe 14 IV DAVID MEDALLA 244 I CONCEPTUALISM AND INTERSECTIONAL READINGS 30 • Nick Aikens Introduction 246 • Nick Aikens, Annie Fletcher Introduction 32 • David Dibosa Ambivalent Thresholds: David Medalla’s Conceptualism and ‘Queer British Art’ 250 • Alexandra Kokoli Read My QR: Quilla Constance and the Conceptualist Promise of Intelligibility 36 • Eva Bentcheva Conceptualism-Scepticism and Creative Cross-pollinations in the Work of David Medalla, 1969–72 262 • Elisabeth Lebovici The Death of the Author in the Age of the Death of the Authors 54 • Sonia Boyce Dearly Beloved: Transitory Relations and the Queering of ‘Women’s Work’ in David Medalla’s A Stitch in Time (1967–72) 282 • susan pui san lok Found and Lost: A Genealogy of Waste? 68 • Wei Yu David Medalla and Li Yuan-chia: Conceptual Projects from the 1960s to 1970s 300 II NIL YALTER 96 • Sarah Wilson Introduction 98 V CONCEPTUALISM AND INTERNATIONAL FRAMINGS 312 • Fabienne Dumont Is Nil Yalter’s Work Compatible with Black • susan pui san lok Introduction 314 Conceptualism? An Analysis Based on the FRAC Lorraine Collection 104 • Alice Correia Allan deSouza and Mohini
    [Show full text]
  • Contemporary Art’: Propositions of Critical Artistic Practice in Seni Rupa Kontemporer in Indonesia
    CONTEXTUALIZING ‘CONTEMPORARY ART’: PROPOSITIONS OF CRITICAL ARTISTIC PRACTICE IN SENI RUPA KONTEMPORER IN INDONESIA A Dissertation Presented to the Faculty of the Graduate School of Cornell University in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy by Amanda Katherine Rath January 2011 © 2011 Amanda Katherine Rath CONTEXTUALIZING ‘CONTEMPORARY ART’: PROPOSITIONS OF CRITICAL ARTISTIC PRACTICE IN SENI RUPA KONTEMPORER IN INDONESIA, 1973-1994 Amanda Katherine Rath, Ph. D. Cornell University 2011 This dissertation contends with the development of seni rupa kontemporer (contemporary art) between 1973 and 1993, with certain case studies extending to the late 1990s. I offer a history and genealogy of concepts of critical artistic practice, examining to what purpose strategies of a contemporary art have been put and from what conditions they emerged. I examine how these have been interpreted to possess criticality in Indonesia. Taking the controversial curatorial essay published for the 9th Jakarta Biennale of Art (1993) as a catalyst rather than as a point of reference, I rethink the possibility and value of a construct of an avant-garde and postmodern in seni rupa kontemporer.I propose a kind of avant-garde without modernism’s tradition of transgressive poetics. The mode of marginality I have in mind is a critical position possible only on this side of the political sea change and depoliticization of the cultural field in Indonesia after 1965. This entails tracing shifting notions of art’s and artistic autonomy, which were largely dependent upon the relation art had with politics and the spheres in which artistic practice was seen to reside.
    [Show full text]
  • 9 of HUMAN BONDAGE, a Relationship With
    OF HUMAN BONDAGE, a relationship with Nudes. January – June 2021 Prologue: The great British playwright and novelist William Somerset Maugham (b. 1874 – d. 1965) wrote the semi-autobiographical novel “Of Human Bondage” in 1915. Considered one of the best English-language novels of the 20th century, it was thrice made into a film in 1934, 1946 and 1964. The novel tells the story of an orphan, Philip who wanted to be an artist but was told he was not gifted enough and eventually ended up as a doctor. He was madly in love with a waitress Mildred who rejected him repeatedly for other men. He eventually settled for a nice homely girl Sally, after he stopped searching for happiness, and concluded that "the simplest pattern - that in which a man was born, worked, married, had children, and died - was likewise the most perfect". Maugham was not only a man of letters, he was also a connoisseur of the arts. He collected Camille Pissarro, Alfred Sisley, Claude Monet and Pierre-Auguste Renoir. In Bondage, there were (according to writer Stanley Archer, a Maugham fan), more than thirty artists named in the book with ten famous paintings mentioned by name! In the 1946 movie starring Bette Davies and Leslie Howard, I could see many paintings in Philip's flat, including a big reclining nude which was painted by Philip himself. Maugham first came to Singapore in 1921 and he would for some reason, keep coming back repeatedly over four decades, each time staying at the iconic Raffles Hotel. In curating this exhibition of nudes from my collection, I thought revisiting Maugham and borrowing his masterpiece Of Human Bondage as the title for this show would not be coincidental.
    [Show full text]
  • University of Pennsylvania School of Design, Philad
    Resume - Mark Brosseau BORN: 1976, Saint Johnsbury, VT RESIDENCE: EDUCATION: University of Pennsylvania School of Design, Philadelphia, PA; Master of Fine Arts in Painting, 2001 Dartmouth College, Hanover, NH; Bachelor of Arts in Studio Art, 1998; with honors in major SOLO EXHIBITIONS: 2010 Wondrous Spaces, Bridgette Mayer Gallery, Philadelphia, PA 2006 WordSpace, Bridgette Mayer Gallery, Philadelphia, PA 2005 Vocabulary, Saint Joseph’s University, Philadelphia, PA 2002 Experiential/Spatial, Straumur International Art Commune, Hafnarfjordur, Iceland The Space Project, Galleri Skuggi, Reykjavik, Iceland New Works on Paper, Icelandic Printmakers’ Association, Reykjavik, Iceland 2001 New Work, La Terasse, Philadelphia, PA 2000 New Prints, Morgan Print Gallery, Philadelphia, PA Prints, Morgan Print Gallery, Philadelphia, PA 1999 New Paintings, Quimby Gallery, Lyndon State College, Lyndon, VT GROUP EXHIBITIONS: 2010 Group Show Benefit, Bridgette Mayer Gallery, Philadelphia, PA 2009 Group Show Benefit, Bridgette Mayer Gallery, Philadelphia, PA 2008 Gallery Artist Group Show, Bridgette Mayer Gallery, Philadelphia, PA Art of the State: Pennsylvania 2008, The State Museum of Pennsylvania, Harrisburg, PA 2007 Black & White, Bridgette Mayer Gallery, Philadelphia, PA Pattern Disruptive, Hopkinson House Gallery, Camden, NJ Art of the State: Pennsylvania 2007, The State Museum of Pennsylvania, Harrisburg, PA From Eye to Eye: A Collaborative Drawing Project, Bridgette Mayer Gallery, Philadelphia, PA Young Talent, Washington Art Association, Washington
    [Show full text]
  • Geng Xue Born 1983 in Jilin, China
    Geng Xue Born 1983 in Jilin, China. Lives and works in Beijing EDUCATION 2014 M.F.A., Central Academy of Fine Arts, Beijing 2007 B.F.A., Central Academy of Fine Arts, Beijing SOLO EXHIBITIONS 2019 The Lightness of Being - Geng Xue Solo Exhibition, Zhuzhong Art Museum, Beijing 2018 Geng Xue: The Second IAPA Invitational Exhibition, Ceramic Art Avenue Art Gallery, Jingdezhen, China 2017 Geng Xue: Mount Sumeru, Klein Sun Gallery, New York 2016 Poetics of the Body - The Sculpture & Video Art of Geng Xue, Fengmian Art Space, Guangzhou, China Geng Xue: In search of sound, Yishu 8 Gallery, Beijing 2015 Geng Xue, University of Applied Arts, Vienna, Austria Geng Xue: Borrowing an Easterly Wind, Klein Sun Gallery, New York 2014 Mr. Sea - Geng Xue, Art Museum of Nanjing University of the Arts, Nanjing, China Mr. Sea - Geng Xue, ZERO Art Center, Beijing 2010 Geng Xue, H.T. Gallery, Beijing 2009 The Other Side - Geng Xue, National Museum of Wales, Cardiff, United Kingdom SELECTED GROUP EXHIBITIONS 2021 From Clay to Words: Ceramics as Media, Pearl Art Museum, Shanghai Wu Jie III, Gaota Art Plaza, Beijing Animation and Contemporary Art, Estonian Academy of Arts, Estonia 2020 Human After All: Ceramic Reflections in Contemporary Art, Keramiekmuseum Princessehof, Leeuwarden, Netherlands Nude - Arising From the Ground, The Ravestijn Gallery, Amsterdam, Netherlands When Speed Become Form - Live in Your Screen, Wind H Art Center, Beijing 398 West Street, New York, NY 10014 | T: +1.212.255.4388 | [email protected] | www.galleryek.com The Exhibition of Annual
    [Show full text]
  • A Forty-Five Year Retrospective of D. Dominick Lombardi T
    Murray State's Digital Commons Faculty & Staff Research and Creative Activity 2019 High + Low: A Forty-Five Year Retrospective of D. Dominick Lombardi T. Michael Martin Murray State University, [email protected] Follow this and additional works at: https://digitalcommons.murraystate.edu/faculty Part of the Fine Arts Commons, Interdisciplinary Arts and Media Commons, Painting Commons, and the Sculpture Commons This work is licensed under a Creative Commons Attribution 4.0 License. Recommended Citation Martin, T. Michael, "High + Low: A Forty-Five Year Retrospective of D. Dominick Lombardi" (2019). Faculty & Staff Research and Creative Activity. 40. https://digitalcommons.murraystate.edu/faculty/40 This Exhibition/Gallery Showing is brought to you for free and open access by Murray State's Digital Commons. It has been accepted for inclusion in Faculty & Staff Research and Creative Activity by an authorized administrator of Murray State's Digital Commons. For more information, please contact [email protected]. HIGH+LOW A FORTY-FIVE YEAR RETROSPECTIVE HIGH + LOW D. Dominick Lombardi D. HIGH + LOW D. Dominick Lombardi HIGH+LOW HIGH+LOW A FORTY-FIVE YEAR RETROSPECTIVE D. Dominick Lombardi Clara M. Eagle Gallery, Murray State University, Murray, Kentucky Catalog published by Clara M. Eagle Gallery Murray State University, Murray, Kentucky to accompany the exhibition High+Low, A Forty-Five Year Retrospective by D. Dominick Lombardi, held August 15-September 22, 2019 CONTENTS All rights reserved. No part of this publication may be reproduced in ӽ Acknowledgments vii any form or by any electronic or mechanical means, including information storage and retrieval systems, ӽ Foreward–T. Michael Martin, Curator ix without written permission, except by a reviewer, who may quote brief passages in a review.
    [Show full text]
  • 1000 Apertures & 1 Visage
    UK 1000 APERTURES & 1 VISAGE GROUP EXHIBITION ZANE MELLUPE GAO BROTHERS DAI GUANGYU WU JUNYONG FAN JIUPENG VERNISSAGE 11.MAR.2016 • 5—9PM 12.MAR.2016 — 8.MAY.2016 THURSDAY TO SUNDAY, FROM 10AM TO 7PM rue des renards / vossenstraat 28 • 1000 bruxelles / brussel • belgium tel. +32 2 502 40 58 • [email protected] ifa-gallery.com 1000 APERTURES & 1 VISAGE On the occasion of its latest group exhibition « 1000 apertures & 1 visage », ifa gallery proposes a panorama of artworks in which are evoked various symbols of “passage”, a subject that has inspired many artists throughout the ages. From the geometric structures of the Gao Brothers’ photography works, to the surrealist installations of Wu Junyong, the metaphorical ink paintings of Dai Guangyu or the enigmatic pieces of Zane Mellupe, the theme of passage is subject to a rich symbolic language, including revelation of a new world and of knowledge. In this exhibition, in contrast to one thousand apertures, just one face: the self-portrait of a young man of frail physical aspect, penetrating stare and neglected beard. A bunch of keys around his neck, does he hold access to another world? In painting, symbolism of passage has often been associated with the image of a bridge. In the 19th century, for impressionist painters, the bridge is a much-used motif, as the very subject of the painting, on the one hand a symbol of industrial development, on the other a subject of light composition and reflection. During this period, beyond the structured canvas medium, the bridge represented the idea of transition.
    [Show full text]