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B Beyond Was Once Again a Guest of International Art Patron Pearl Lam for the Opening of Her New Hong Kong Gallery to Coincide with the Annual Art Fair There

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B Beyond Was Once Again a Guest of International Art Patron Pearl Lam for the Opening of Her New Hong Kong Gallery to Coincide with the Annual Art Fair There B BEYOND was once again a guest of international art patron Pearl Lam for the opening of her new Hong Kong gallery to coincide with the annual art fair there. The events were the culmination of a year-long re-branding of the original Contrasts gallery into a global fine and contemporary art dealership set to encompass galleries throughout Asia. The expansion is a logical one – Pearl Lam has established a solid reputation and regular collectors have enjoyed not only the works they have purchased over the years but also the knowledge that they have made a sound investment. In Howard Bilton’s words, she looks after her artists. The new gallery itself is situated at the Pedder Building, along with White Cube, Gagosian, Ben Brown and a spade of other big names. In terms of attendance, the gallery opening was so much of a success it nearly defeated its own purpose. As I arrived at the entrance of the building at 6.30 pm, a massive queue had already formed, with people waiting patiently in the humid heat of the early evening to access either lift or stairs. The corridor leading to the gallery itself had countless flower baskets from well wishers lining the walls. The Mindmap exhibition had works by Li Huasheng, Li Xiaojing, Qiu Zhenzhong, Su Xiaobai, Yan Binghui, Zhang Jianjun and Zhu Jinshi. These were imposing canvasses (everyone who knows Pearl Lam knows she has a penchant for large works), with Zhu Jinshi drawing a lot of the attention because collectors of his work are already on a waiting list (the artist’s output is limited by a heart condition). Invitation cards were handed discretely to 100 fortunate revelers who did not, up to that point, know the location of the secret post-private view dinner. The dinner itself was held on a historic Chinese junk in Aberdeen Bay, preceded by a drinks reception for the good and the great in the art world as well as HK society figures. B Pearl Lam's Gallery Opening Pearl Lam in front of Zhu Jinshi’s painting The river full in red, 2006. Oil on canvas, 290 x 400 cm Photo by Julian de Hauteclocque Howe 14 “For some time, Chinese abstraction was considered second-hand and derivative. But we have a sense of abstraction Claudia Shaw that is distinct to ourselves. My first show had to help bring international audiences in, to help them understand a Pearl Lam and guests type of Chinese art that is not Pop, not Stanley Wong political, but rooted in Chinese literati culture.” David Tang Su Xiaobai (artist in the inaugural exhibition) and his wife Tobias Berger Magnus Renfrew Dominique Lee, Jane Chao 16 “Hong Kong has a good art market. That’s not the same as a good art scene. Next year, galleries should Gilles Bonnevialle coordinate even more openings. It will be better next year.” Angelica Cheung and Mabel Auyeung Uli Sigg and Zhang Jianjun (artist in the inaugural exhibition) William Louey Patrice Bulter and guest Jehan Chu, Sean Fitzpatrick 18 Claire Hsu, Benjamin Vuchot and Reina Chau MINDMAP Chinese contemporary abstract INtroDuctioN to participatiNG MINDMAP ARTISTS Li Huasheng Li Huasheng was born in Yibing, Sichuan Province in 1944. His early works were in the style of traditional literati paintings, although by the mid-1980s, he began to pursue a more subjective painting style. Around 1997, Li began to give up any reference to image, and his structure became simpler, leaving only works composed of short lines. His process is comparable to Zen meditation, where the brushstroke is a reflection of one’s soul. He draws lines on Xuan paper every day, focusing on the composition in relation to the lines in ink, overlapping one over another. It is through this repetition that he creates a form of “writing” that is neither performance nor reproduction. His individual style of writing has become a diary, as dots and lines act as a creation timeline. Thus, Li always names his artwork by date and time, e.g. 9803 was completed in March in 1998. Unlike Western abstract art, Li’s grid drawings do not focus on the grids per se, but rather on the process of forming them, as he feels that they cannot represent the spiritual order of the external world or the objective existence of a material object. 20 ART Li Xiaojing Li Xiaojing was born in Shandong Province in 1981. She earned her bachelor’s degree in authentic and absolute. This idea is clearly evident in his 1988 series Characters To Be Deciphered, Printmaking from the Sichuan Fine Arts Institute in 2001, and master’s degree in Oil Painting in which are inspired by the unverified characters from bronze vessels dating back to the Shang 2009. Li currently lives and works in Beijing. and Zhou dynasties. Unlike Xu Bing, who created “false characters” and Gu Wenda’s “typos”, Qiu has not attempted to alter the structure of the Chinese characters, but instead has resurfaced the Li Xiaojing’s works always show a sense of discipline. The greyish background and lines are placed unrecognisable. The artist perceived the symbols as characters, even though their meaning has yet to asymptotically to express the particular detail of daily life. Her works Orion and Arthropods be recognised. The so-called “abstract” form effect from modern abstract paintings is unintentional; illustrate that landscapes are not landscapes through the inference of rules. Orion was thought to be Qiu’s works embody the fundamental qualities of traditional calligraphy. The only difference is that a portrayal of the constellations, but in fact it indicates the sense of order of the stars in the universe; Qiu has liberated and restored the characters. Arthropods, a spider, enlarged and scabrous, occupies a painted world of spots, splashes and scratched lines. Presented in this way, it is seen anew. Its physical features are echoed in the context Su Xiaobai created by Li’s painting: dark, scratchy, probing. There is the impression not only of the spider’s appearance, but a whole sense of the creature and its world, a glimpse perhaps of what it is to be that Su Xiaobai was born in 1949 in Wuhan, Hubei Province. He graduated from the Wuhan School of living thing. These are poetic insights, in which the mysterious essence of different phenomena is, Art and Design in 1969, and later joined the Oil Painting postgraduate class at the Central Academy as it were, extended and given visible form. Li’s paintings are a reminder that such perceptions are of Fine Arts in 1986. He was awarded an Arts and Culture Scholarship from Germany in 1987, possible only in a metaphorical visual language that goes beyond the capacity of words. which allowed him to pursue his postgraduate studies at the Düsseldorf State Arts Academy, from which he graduated in 1990. Su has been living in Germany and concentrating on his art since 1992. Qiu Zhenzhong Su Xiaobai’s works are influenced by Western modernism, which stresses modernity in forms and Qiu Zhenzhong was born in Nanchang in 1947. Not only is he an artist, but he is also engaged in the material, while also cultivated by local Chinese culture. Su has had a special fondness for Chinese creation of poetry and study of art theories. Currently, Qiu holds the following positions: Professor lacquer, which developed during his early years in industrial arts training. He feels that traditional (Doctoral Supervisor) at the China Central Academy of Fine Arts, Director of the Calligraphy and Chinese lacquer technique is magnificent and delicate, and at the same time rich and weighty; Painting Comparative Research Centre, Member of the National Art Museum of China Expert nevertheless, the latter features are not immediately apparent. That is why he employs the lacquer Committee, and Vice Director of the Chinese Calligraphers Association Academic Committee. techniques in his “painting”, which endows the lacquer with the “Literati grey” aesthetic, as he removes the clean and gaudy features of traditional lacquer. Therefore, the finished “paintings” Qiu Zhenzhong has demonstrated a subtle control of space, time and lines, which shapes his possess a modern form of beauty. However, Su’s major concern is how to transform the beauty of the unique style of art that combines elements of Chinese calligraphy and modern art. However, Qiu’s object into deeper cultural implications. His main focus is the enchantment of the material, i.e. the works focus on exhibiting high aesthetic value, rather than advocating the didactic purpose of material imagination, where the image is only a glimpse of the ideas behind it, and not the artist’s calligraphy. The only way of serving the contemporary through aesthetics is to liberate Chinese way of expression. calligraphy from its typical ideology, so as to transform its aesthetic function into something more 22 Yan Binghui Yan Binghui was born in Tianjin in 1956. He graduated from the Tianjin Academy of Fine Arts in ART 1988, and at present is a Professor of Traditional Chinese Painting at the academy. He has been one of the most prominent Chinese modern ink-painting artists since the 1980s. Yan has always been an artist whose works are influenced by his life experiences. He has been dedicated to his own artistic creation for many years, never following artistic trends. Yan extracts the expressiveness of traditional ink painting techniques and aesthetics, and infuses it into his works. Due to the very personal nature of calligraphic expressions, Yan’s artworks in the early 1990s were able to break through the barriers of traditional writing and forms, and strive towards “Yi”, which means the “mind space”, or idea, intention, concept.
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