Galerie Magda Danysz

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Press release PARIS A CORPS PERDU GROUP SHOW VIDEO SHOW SEPTEMBER 5th – 27th 2015 © Alma Har’el, Sigur Ros - Fjögur Píanó, courtesy galerie Magda Danysz From September 5th to 27th, 215, the Magda Danysz gallery presents an exciting exhibition of new video installations. Coming from a variety of backgrounds, the work of these artists will be centred around the theme of the body in its various forms and movements - contrite and locked up in STEVEN BRIAND’s works, idealised by BENJAMIN SEROUSSI, dreamlike in ERWIN OLAF’s work and even dematerialised by artist MARIE VIC, whose works transform the body into colorful silhouettes blown up by the wind. Show casing the work of several artists, the exhibition speaks to the diverse range of digital art. Among them, MARIE VIC’s music videos, the heavy silence of ERWIN OLAF, ALMA HAR'EL’s slow choreography in his composition Fjögur Piano, collaborated with SIGUR ROS, to the strictly controlled bodies elsewhere in the show. Since 2006, the promotion of digital art and video has been a focus of the gallery. Magda Danysz is a member of the board of the CUBE, a famous institution in the promotion of various and innovative forms of digital art. Since then she organises monthly video sessions in Paris and Shanghai and curates groundbreaking video exhibitions, not only for their artistic choices but also their scenography. Three times a year Magda is involved in the video event Sundays Screening, working with other Parisian galleries and she collaborates with several artists for whom video is a part of the artistic expression such like Yang Yongliang, JR or VHILS. Also taking place on Sunday 27th September, the show will culminate with a special appearance at the “un dimanche à la galerie” show hosted by the Committee of Art Galleries, where guided tours of the exhibition will also be provided. VIDEO SHOW from September 5th to September 27th Opening : Saturday, September 5th from 6pm to 9pm Venue : Magda Danysz gallery 78 rue Amelot, Paris 11 Info : +33 (0)1 45 83 38 51 Website : www.magda-gallery.com Press liaison : Clémence Wolff +33 (0)1 43 57 79 78 [email protected] .

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Galerie Magda Danysz
Press release SLEEPING BEAUTY GROUP SHOW PARIS 21 FEB – 4 APRIL 2015 Prune Nourry, Hand Machine, 2012 – Christian Gonzenbach, Chicken kit, 2002 Magda Danysz gallery presents from February 21st to April 4th the exhibition SLEEPING BEAUTY. This event shows together the artists of the gallery through a selection of emblematic works. Magda Danysz shows face-to- face various artworks from Prune Nourry’s sculptures, billboard works by VHILS or Peikwen Cheng’s photos. SLEEPING BEAUTY is built up as a "vis à vis" of artworks that dialogue one with the other. The inherent power laying in each particular artwork, their inner meaning and underlying significations is something the SLEEPING BEAUTY show aims at focusing on. Each artwork is presented in a "face à face" with another artwork. The choice of each of these one to one dialogues is made to accentuate the power of each artpiece. One will revolve around the idea of power with Zhang Dali's "Second History" painting and Ma Kang's "Forbidden city - Chairman Mao" photograph. In another part of the show one will discover Prune Nourry's artistically enhanced "Hand Machine" facing swiss artist Christian Gonzenbach industrial chicken sculpture. Human creative intelligence sometimes morphs into a mechanical hybrid evolution many artists point out in their works. This sleeping power/beauty is also at stake in Shepard Fairey's propaganda imagery showcased through an extensive collection of his prints. What lays behind these marketed images is also the paradox of our societies. Beyond the powerful reflections she created between the works, SLEEPING BEAUTY is also an opportunity to discover a wide collection of screenprints by Shepard Fairey.
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Art of the Mountain
Wang Wusheng, Disciples of Buddha and Fairy Maiden Peak, taken at Peak Lying on the Clouds June 2004, 8 A.M. ART OF THE MOUNTAIN THROUGH THE CHINESE PHOTOGRAPHER’S LENS Organized by China Institute Gallery Curated by Willow Weilan Hai, Jerome Silbergeld, and Rong Jiang A traveling exhibition available through summer 2023 ART OF THE MOUNTAIN: THROUGH THE CHINESE PHOTOGRAPHER’S LENS Organized by China Institute Gallery Curated by Willow Weilan Hai, Jerome Silbergeld, and Rong Jiang A traveling exhibition available through summer 2023 In Chinese legend, mountains are the pillars that hold up the sky. Mountains were seen as places that nurture life. Their veneration took the form of rituals, retreat from social society, and aesthetic appreciation with a defining role in Chinese art and culture. Art of the Mountain will consist of three sections: Revered Mountains of China will introduce the geography, history, legends, and culture that are associated with Chinese mountains and will include photographs by Hou Heliang, Kang Songbai and Kang Liang, Li Daguang, Lin Maozhao, Li Xueliang, Lu Hao, Zhang Anlu, Xiao Chao, Yan Shi, Wang Jing, Zhang Jiaxuan, Zhang Huajie, and Zheng Congli. Landscape Aesthetics in Photography will present Wang Wusheng’s photography of Mount Huangshan, also known as Yellow Mountain, to reflect the renowned Chinese landscape painting aesthetic and its influence. New Landscape Photography includes the works of Hong Lei, Lin Ran, Lu Yanpeng, Shao Wenhuan, Taca Sui, Xiao Xuan’an, Yan Changjiang, Yang Yongliang, Yao Lu, Zeng Han, Gao Hui, and Feng Yan, who express their thoughts on the role of mountains in society.
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Yang Yongliang Artworks
GALERIE PARIS-BEIJING YANG YONGLIANG ARTWORKS Travelers Among Mountains and steams, 2014 Lightbox Size A: 130 x 150 cm Size B: 200 x 100 cm From the New World, 2014 Photography Size A: 400 x 800 cm Size B: 300 x 600 cm Size C: 200 x 400 cm Crocodile and Shotgun, 2012 Lightbox Size A: 100 x 179 cm Size B: 66 x 118 cm Scorpion and Missile, 2012 Lightbox Size A: 100 x 179 cm Size B: 66 x 118 cm Snake and Grenade, 2012 Lightbox Size A: 100 x 179 cm Size B: 66 x 118 cm Enjoyment of the Moonlight, 2011 Size A: 82 x 225 cm Size B: 55 x 170 cm Size C: 41 x 127 cm An Elegant Assembly of Literati, 2011 Size A: 95 x 321 cm Size B: 64 x 219 cm Size C: 43 x 146 cm Broken Bridge, 2011 Size A: 90 x 260 cm Size B: 60 x 173 cm Size C: 40 x 115 cm Horse-Herder, 2011 Size A: 160 x 300 cm Size B: 70 x 200 cm Size C: 47 x 133 cm Lonely Anglerm, 2011 Size A: 80 x 245 cm Size B: 53 x 163 cm Size C: 40 x 122 cm YANG YONGLIANG I GALERIE PARIS-BEIJING Born in Shanghai in 1980, China Currently lives and works in Shanghai, China SOLO EXHIBITIONS 2015 «Yang Yongliang Solo Exhibition», Galerie Paris-Beijing, Brussels, Belgium 2014 «Yang Yongliang Solo Exhibition», Art Basel Hong Kong, Galerie Paris-Beijing, Hong Kong «Yang Yongliang Solo Exhibition», Sophie Maree Gallery, Den Haag, The Netherland 2013 «The Silent Valley», Galerie Paris-Beijing, Paris, France «Silent Valley», MC2 Gallery, Milan, Italy «Moonlight Metropolis», Schoeni Art Gallery, Hong Kong 2012 «The Peach Blossom Colony», Galerie Paris-Beijing, Paris, France «The Peach Blossom Colony», LIMN Art
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YANG YONGLIANG Born in Shanghai in 1980
GALERIE PARIS-BEIJING YANG YONGLIANG Born in Shanghai in 1980. Currently works and lives in Shanghai. COLLECTIONS AiLing Foundation, China Allen Memorial Art Museum, USA Arendt Art Collection, Luxembourg Art Gallery of New South Wales, Australia Bates College Museum of Art, USA Brooklyn Museum, USA Deutsche Bank, China DSL Collection, France Fidelity Investment Corp. Collection, USA Franks-Suss Collection, UK How Art Museum, China Jordan Schnitzer Museum of Art, University of Oregon, USA Metropolitan Museum of Art, USA Nevada Art Museum, USA PAE ART Collection, Switzerland HSBC Hong Kong, China M+ Sigg Collection, China Middlebury College Museum of Art, USA Museum of Fine Arts, Boston, USA Samuel P. Harn Museum of Art, USA San Francisco Asian Art Museum, USA Ulrich Museum of Art, Wichita State University, USA The British Museum, UK The National Gallery of Victoria, Australia The Rare Books Department of the National Library of France, France The Saatchi Gallery, UK White Rabbit Contemporary Chinese Art Collection, Australia SOLO EXHIBITIONS 2019 Yang Yongliang: Eternal Landscape, HdM Gallery, London, UK Artificial Wonderland, Dunedin Pulic Art Gallery, Dunedin, New Zealand 2018 Salt 14: Yang Yongliang, Utah Museum of Fine Arts, Salt Lake City, USA Journey to the Dark, Sullivan+Strumpf, Sydney, Australia Journey to the Dark, Whitestone Gallery, Taipei, Taiwan 2017 Time Immemorial, Galerie Paris-Beijing, Paris, France GALERIE PARIS-BEIJING 62 rue de Turbigo - 75003 Paris ITEL: +33 (0)1 42 74 32 36 I www.galerieparisbeijing.com Time Immemorial,
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Ocean Press Release EN 20181023 Final
17/F, H Queen’s, 80 Queen’s Road Central, Central, Hong Kong Tel: 2851-1171 Email: [email protected] www.ora-ora.com For immediate release GALERIE ORA-ORA PRESENTS ??.?? SQUARED METER OF OCEAN A Group Exhibition curated by CURATION COLLECTIVE Xn OFFICE，featuring artists from Japan, China and Hong Kong, including: HIiroshi Sugimoto, Peng Jian, Ni YouYu, Yang YongLiang, Li Qing, Yang Xun, Yang JinSong, Liu Ren, Cai DongDong, Ding BeiLi, Ding ShiWei, Shao WenHuan, Shi ZhiYing, Cheung Sze Lit, Lin Qing, Shang YiXin, Ma LingLi, Gregory Halili and Li Shun 22 November 2018 – 5 January 2019 Yang Xun, To Ma Yuan – Fine Waves No.1, 100 x 100 cm, Oil on Canvas. Image courtesy of the artists and Galerie Ora-Ora. Hong Kong – October 24, 2018: Galerie Ora-Ora is delighted to present ??.?? Squared Meter of Ocean. This group exhibition brings together contemporary artists from China/Hong Kong/Japan using different media and forms of works to present a seascape or an abstract sea. The Ocean is enriched with history. Ten thousand years ago, ice sheets melted fiercely, rising tide of water inundated the land between the New Guinea Islands and Australia and engulfed the Bering Land Bridge. Since then, various small civilizations had been trapped in their respective worlds and forgotten for centuries. With the expedition of the "Great Waterway", the dots across the world were reconnected via ships in forms of colonization, trading, monetary flows, and exchange of cultures. And Hong Kong is one of the civilizations derived from such currents. 17/F, H Queen’s, 80 Queen’s Road Central, Central, Hong Kong Tel: 2851-1171 Email: [email protected] www.ora-ora.com Evidently, the bond between man and the ocean is not limited to their interdependence of existence.
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Imagining Shanghai in Yang Yongliang's Phantom Landscapes
Trinity University Digital Commons @ Trinity Undergraduate Student Research Awards Information Literacy Committee 2020 The City in the Mist: Imagining Shanghai in Yang Yongliang’s Phantom Landscapes Avani Leela Sastry Trinity University, [email protected] Follow this and additional works at: https://digitalcommons.trinity.edu/infolit_usra Repository Citation Sastry, Avani Leela, "The City in the Mist: Imagining Shanghai in Yang Yongliang’s Phantom Landscapes" (2020). Undergraduate Student Research Awards. 70. https://digitalcommons.trinity.edu/infolit_usra/70 This Article is brought to you for free and open access by the Information Literacy Committee at Digital Commons @ Trinity. It has been accepted for inclusion in Undergraduate Student Research Awards by an authorized administrator of Digital Commons @ Trinity. For more information, please contact [email protected]. Sastry 1 The City in the Mist: Imagining Shanghai in Yang Yongliang’s Phantom Landscapes Avani Sastry Many of Yang Yongliang’s landscapes are illusions – from a distance, they resemble traditional Chinese ink landscape paintings, albeit enlarged and edited, but close inspection reveals mountains composed of looming high-rises, coastlines of accumulated debris, and birds replaced by construction cranes (Figure 1). In Phantom Landscape III – Forbidden City (2007), Yang undermines the illusion he establishes in other works in the series, stopping the viewer from reading the landscape as a historic painting (Figure 2). He still evokes the conventions of shanshuihua (“mountain-and-water”) ink paintings, such as the heavy use of mist, the rising skyscrapers that evoke cascading mountains, and the inclusion of seals and colophons. However, the landscape is obstructed by traffic signs that emerge from the mist.
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Chase the Dragon
Press release PARIS PRUNE NOURRY SOLO SHOW TERRACOTTA DAUGHTERS 22 MAR – 10 MAY 2014 Prune Nourry, Terracotta Daughter, image © Zachary Bako « A contemporary Xian army » Following one year of working with Chinese craftsmen, and her exhibition this winter in Shanghai, Prune Nourry is exhibiting her most recent project Terracotta Daughters at Magda Danysz gallery in Paris from March 22nd to May 10th. Famous for a lot of performances & exhibitions in Asia, Europe and in the US, she showcases her engaged work, 108 clay sculptures representing young Chinese girls. A French multi-disciplinary artist working on sculptures, pictures & videos, from the beginning of her studies Prune Nourry has always shown an interest in sociology, ethics and bioethics. Her focus is particularly human beings & procreation. Her work aims at highlight the crucial problems of our society, as the implication of science in the child gender selection and the consequences of the techniques of procreation, which bring to an artificial evolution of the population. With Spermbar, she creates at Central Park a bar where the visitor drinks a cocktail composed from his own physical characteristics – for example, brown eyes correspond to nutty flavour. With her previous work Holy Daughters, Prune Nourry highlighted the selective abortions on female foetuses in India and raised the woman’s place in Indian society. Terracotta Daughters goes on the same process. Prune Nourry created 108 characters inspired by the characteristics of 8 orphan girls, from 10 to 13 years old, she met. Then she will plut this figures in a grave to recreate the famous Terracotta Army of the Emperor Qin, like an archaeological dig.
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View / Open Mickle Oregon 0171N 11557.Pdf
ART BEYOND THE GENERIC CITY: YANG YONGLIANG’S PHOTO COMPOSITES 2007-2012 by ALEXANDRA W. MICKLE A THESIS Presented to the Department of the History of Art and Architecture and the Graduate School of the University of Oregon in partial fulfillment of the requirements for the degree of Master of Arts June 2016 THESIS APPROVAL PAGE Student: Alexandra W. Mickle Title: Art Beyond the Generic City: Yang Yongliang’s Photo Composites 2007-2012 This thesis has been accepted and approved in partial fulfillment of the requirements for the Master of Arts degree in the Department of the History of Art and Architecture by: Dr. Jenny Lin Chairperson Dr. Charles Lachman Member Dr. Kate Mondloch Member and Scott L. Pratt Dean of the Graduate School Original approval signatures are on file with the University of Oregon Graduate School. Degree awarded June 2016 ii © 2016 Alexandra W. Mickle iii THESIS ABSTRACT Alexandra W. Mickle Master of Arts Department of the History of Art and Architecture June 2016 Title: Art Beyond the Generic City: Yang Yongliang’s Photo Composites 2007-2012 This thesis examines the digital photo composites of Chinese artist Yang Yongliang (b. 1980, Shanghai) from 2007-2012 by selecting three distinct series that focus on three cities. This thesis approaches Yang’s Shanghai-based digital landscape prints (shuma shanshui), his 2012 series A Bowl of Taipei, and his 2010 series Greece, Greece and investigates how they relate to Asian art history, contemporary art discourse, and urban theories, including Rem Koolhaas’s 1995 essay “The Generic City.” This thesis moves beyond the simple binaries with which Yang’s works are often described – past versus present, nature versus city, tradition versus modernity – dichotomies similar to those used to characterize recent urbanization in most major cities, as observed in Koolhaas’s writing.
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MAYA HAYUK Born in Baltimore, MD. Lives and Works in Brooklyn, NY
MAYA HAYUK Born in Baltimore, MD. Lives and works in Brooklyn, NY SELECTED SOLO EXHIBITIONS 2015 POSITIVE SPACE, Circle Culture Gallery, Berlin, Germany 2014 LIGHT HEAVY, Cinders Gallery, New York, NY ALLES KLAR, Die Kunstagentin Gallery, Cologne, Germany 2013 HAMMER PROJECTS: MAYA HAYUK, Curated by Corrina Peipon, Hammer Museum, LA HEAD LIGHT, ALICE Gallery, Brussels, Belgium ONE ROOM RESIDENCY, Clocktower Gallery, New York, NY PMA, Museum of Contemporary Canadian Art, Toronto, Canada ALL ACCESS, AF Gallery, Cologne, Germany FRIENDSHIP BRACELET, FLA Gallery, Gainesville, FL 2012 HEAVY LIGHTS, Bonnefanten Museum, Maastricht, The Netherlands MULTI VERSUS, Cooper Cole Gallery, Toronto, Canada APOCABLISS, Anonymous Gallery, Mexico City, Mexico 2011 ZONE, Space Gallery, Portland, ME 2010 HEAVY LIGHT, Cinders Gallery, Brooklyn, NY ULTRA, ULTRA DEEP FIELDS, MU, Eindhoven, The Netherlands FEELING SPACE, Gallery 16, San Francisco, CA 2009 A PATH FOR THE LIGHT, ALICE Gallery, Brussels, BE SEXY GAZEBO: BELIEVING IS BELIEVING, Cinders Gallery, Brooklyn, NY 2008 DO ME A SOLID, Mahan Gallery, Columbus, OH 2007 FOREVERS, Upper Playground, San Francisco, CA 2005 SUMMER OF LOVE BATTLES, Brooklyn Fireproof Project room, Brooklyn, NY WHERE HAVE ALL THE HEADSHOPS GONE?, 555 Soul, Brooklyn, NY SELECTED PUBLIC WORKS 2015 GROW TO THE SUN, BERLIN, Berlin, Germany THEY’LL KNOW WE’RE HERE, COPENHAGEN, Copenhagen, Denmark CONEY ISLAND MEGA WALL, Curated by Jeffrey Deitch, Brooklyn, New York ALL FLAGS AND GATEWAY, Rabat, Morocco CHEMTRAILS FACEBOOK KITE, Menlo Park,
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Ink Remix Exhibition Catalogue.Pdf
墨變中國大陸臺灣香港當 Contemporary art 代 from mainland China, 藝 Taiwan and Hong Kong 術 INK REMIX Contemporary art from mainland China, Taiwan and Hong Kong 墨變 : 中國大陸臺灣香港當代藝術 curated by Sophie McIntyre Published in association with the exhibition INK REMIX Contemporary art from mainland China, Taiwan and Hong Kong 墨變 : 中國大陸臺灣香港當代藝術 Canberra Museum and Gallery 3 July – 18 October, 2015 Exhibition curator: Sophie McIntyre TOUR DATES Bendigo Art Gallery: 31 October 2015 – 7 February 2016 UNSW Galleries: 26 February – 21 May 2016 Museum of Brisbane: 16 September 2016 – 19 February 2017 Text © Sophie McIntyre, Pan An-yi, Eugene Wang 2014 All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording or information retrieval system without permission in writing from the publisher. Exhibition website: www.inkremix.com.au ISBN is 978-0-9872457-3-1 Design: Coordinate Printing: Paragon Printers Australasia Canberra Museum and Gallery Cnr London Circuit and Civic Square, Canberra City, Australia www.museumsandgalleries.act.gov.au Cover Image: Ni Youyu, Galaxy, 2012-2015, 80 (approx.) painted coins, size variable (detail). Contemporary art from mainland China, Taiwan and Hong Kong CONTENTS Chief Minister’s Foreword 墨 Andrew Barr, MLA, ACT Chief Minister 2 變中 Director’s Foreword 國 Shane Breynard 4 大陸 INK REMIX: Contemporary art from mainland China, Taiwan and Hong Kong 臺 Sophie McIntyre 8 灣 All in the Name of Tradition: Ink Medium in Contemporary Chinese Art 香港 Eugene Wang 14 當 Ink Art in Taiwan 代 An-yi Pan 20 藝術 Artists’ Works & Essays Sophie McIntyre 27 List of Works 76 Artists’ Biographies 78 Writers’ Biographies 86 Curator’s Acknowledgements Sophie McIntyre 87 Museum Acknowledgements 89 1 INK REMIX CHIEF MINISTER’S FOREWORD I am delighted to introduce the exhibition, INK REMIX: Contemporary art from mainland China, Taiwan and Hong Kong to Australian audiences.
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Parallel Tracks: Three Case Studies of the Relationship Between Street Art and U.S. Museums in the Twenty-First Century
Louisiana State University LSU Digital Commons LSU Master's Theses Graduate School 11-2-2018 Parallel Tracks: Three Case Studies of the Relationship between Street Art and U.S. Museums in the Twenty-First Century Erin Rolfs Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_theses Part of the Art Practice Commons, Museum Studies Commons, and the Urban, Community and Regional Planning Commons Recommended Citation Rolfs, Erin, "Parallel Tracks: Three Case Studies of the Relationship between Street Art and U.S. Museums in the Twenty-First Century" (2018). LSU Master's Theses. 4835. https://digitalcommons.lsu.edu/gradschool_theses/4835 This Thesis is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Master's Theses by an authorized graduate school editor of LSU Digital Commons. For more information, please contact [email protected]. Louisiana State University LSU Digital Commons LSU Master's Theses Graduate School 11-2-2018 Parallel Tracks: Three Case Studies of the Relationship between Street Art and U.S. Museums in the Twenty-First Century Erin Rolfs Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_theses Part of the Art Practice Commons, Museum Studies Commons, and the Urban, Community and Regional Planning Commons PARALLEL TRACKS THREE CASE STUDIES OF THE RELATIONSHIP BETWEEN STREET ART AND U.S. MUSEUMS IN THE TWENTY-FIRST CENTURY A Thesis Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Master of Arts in The School of Art by Erin Rolfs B.A., Louisiana State University, 2006 December 2018 Table of Contents Abstract ................................................................................................................................................................
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Parallel Lines
PARALLEL LINES Contemporary Chinese ink painting and the Great Age of British landscape painters LOWELL LIBSON LTD · MD FLACKS PARALLEL LINES An exhibition at W.M. BRADY & CO NEW YORK NOVEMBER 13 – 18 and LOWELL LIBSON LTD LONDON NOVEMBER 30 – DECEMBER 8 平 PARALLEL LINES 行 Contemporary Chinese ink painting and the Great Age of British 线 landscape painters Lowell Libson Ltd · MD Flacks B C Marcus Flacks A shared artistic language Ink on Silk, 60 x 60 cm liu dan | Scholar’s rock, 2012 the idea behind this exhibition contains a number of very personal ingredients. The first is a long-standing appreciation of European works on paper that I inherited from my late father, a great enthusiast and collector of the works of J. M. W. Turner. It was through him that I first met Lowell Libson, then at Leger, whilst I was still in my teens. There followed an enduring friendship that has made this exhibition possible, but that has also been an important mainstay in my adult life. For me, the second, and perhaps more obvious ingredient as a dealer and collector of Chinese art, is my love of Chinese ink paintings. Although, here again, at the heart of this fascination is a deep personal friendship with the artist Liu Dan, one that has lasted for over two decades. It was Liu Dan who guided me through my first steps in ink art and it is through him that I have met many of the artists presented in this exhibition, such as Zeng Xiaojun, Xu Lei and Shen Qin.
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