ShanghART Gallery Syndication

Broken Landscape - Liang Shaoji Solo Exhibition

Opening: Saturday 15^th of November at 16:00

Date: November 15– December 31, 2008

Venue: ShanghART Beijing, No. 261 Cao Chang Di, Old Airport Road, Beijing 100015, China

Tel: +86 10 6432 3202

Fax: +86 10 6432 4395

E-mail: infobj@shanghartgallery.com

Opening hours: 11am – 6 pm (Closed on Mondays)

‘Broken Landscape’ – Liang Shaoji at ShanghART Beijing

‘Broken Landscape’ is the extension and expansion of Liang Shaoji’s 2007 solo exhibition ‘Cloud’, a poetic expression of the Chinese state of mind. The artworks in ‘Broken’ portray a fractured visual image that incorporates ‘silkworm’ as a medium to reflect nature, life, science, history and society; and ‘Zen’ as a mental framework. These three characters are pronounced similarly in Chinese and convey profound meaning.

Through working with elements of nature, the exhibition stresses purity and simplicity, creating a sense of emptiness. The artist uses a variety of natural materials to exhibit the life-cycle of silkworms. Surrounded by ancient wooden remnants and suspended in air, the silkworm installation (about 10 meters in length) is reminiscent of a traditional landscape drawing. The wooden forms, shaped over time by river currents, reflect the imagery of a sunken boat: a symbol of fleeting life, suffering, and generosity, all notions found in ancient Chinese poetry. By using natural elements and alluding to Chinese thoughts, ‘Broken Landscape’ creates a poetic atmosphere, a virtual landscape of breeding silkworms and ancient wooden forms that provides visitors a space for quiet meditation.

Liang’s early work consisted of serenely abstract hangings and installations made from textiles, often including bamboo. In his representative work, Natural Series, he created a series of installations and performances using live silkworms, combining biology with art, and integrating sculpture, installation, and weaving. The artist also uses bamboo to deepen the reflection on the subjects of nature, life and society. As Liang Shaoji states, ‘I think art is all about the comity between societies, the faith in life, and the release which humans perceive from nature’.

Liang Shaoji, a close observer of the contemporary art world and frequent participant at all possible Biennales around the world, was born in 1945. He graduated from Zhejiang Academy of Ars. He is now residing in Tiantai Mountain in rural Zhejiang province, and working as a guest professor at the China Academy of Art, Hangzhou. His works have been widely exhibited at national and international art institutions, including: Chinese Avant-garde Art Exhibition (National Art Museum of China, Beijing, China, 1989), The 48^th International Art Exhibition Venice Biennale (Italy, 1999), The 6^th International Istanbul Biennale (Turkey, 1999), The 5^th Biennale d’Art Contemporain de Lyon (France, 2000), The 3^rd and The 6^th Shanghai Biennale (China, 2000 and 2006), ‘Cloud’ – solo exhibition at ShanghART H-Space (China, 2007).

For further exhibitions news and artists information, please visit www.shanghartgallery.com

For high resolution dpi images, please contact Miss Helen Zhu at helen@shanghartgallery.com or infobj@shanghartgallery.com

2008-11-05 20:15

Landscape—— Birdhead Solo Exhibition

‘Landscape’ consists of 5 different platforms that are dedicated to the imagery of Shanghai: Here, the city is captured photographically in a both poetic and realistic form of aesthetic. The show consists of tableaus that each tells a different story about contemporary life in this fast changing urban environment. The artists themselves call this approach ‘memory creation’. The images of the city come to symbolize the characters that inhabit it.

In one picture in the series titled “Zhongshan Park”, a-wide-angle-shot captures kites, kids, parents, and old men on the green meadow, and among those a common girl was taking a portrait shot of herself. In the world of the girl, she herself was the center, she was the landscape. But from the perspective of Birdhead, she was just the periphery.

The video installation ‘Landscape’ was conceived in Britain while Birdhead was traveling there as tourists. Here, they attempted to switch the identities around, and actually photograph the natives portrayed as tourists. In front of a tricky white board with only the Chinese characters “feng jing”, i.e. “landscape” written on it, people posed with pleasure as if situated in a real landscape.

“Garden” consists of a series of extraordinary light-box installations. Five boxes feature Birdhaed, a garden and their toys. The light-boxes picture these scenarios from dusk till down, and the work can be seen more as a rite de passage than merely an image of childhood games.

Ji Weiyu (1980) and Song Tao (1979) were both born in Shanghai where the artists today also reside and work. The artists graduated from the Shanghai Arts and Carafts School (2000). Recent exhibitions include The World of Other’s, Museum of Contemporary Art, Shanghai (2008), China Power Station II, Astrup Fearnley Museum of Modern Art, Oslo, Norway (2007), Bird Head 2006-2007 Photography Show, BizArt Art Center, Shanghai, China (2007), and Individual Position II, ShanghART H-Space, Shanghai, China (2007).

2008-10-14 17:00

INVOLVED

ShanghART Gallery, Shanghai is pleased to announce

INVOLVED

ShanghART H-Space

Opening October 31 – December 15, 2008

Knut Asdam, Miroslaw Balka, Stefan Bruggemann, Pavel Buchler, Armen Eloyan, Corey McCorkle, Shi Yong, Yutaka Sone, Luc Tuymans, Xu Zhen, Zhang Enli

ShanghART Gallery is pleased to announce INVOLVED, the first exhibition at H-Space with both Chinese and foreign artists. The exhibition is curated by Philippe Pirotte, Director of Kunsthalle Bern, Switzerland. Pirotte choose some of the most exciting contemporary artists from Europe, USA, and Shanghai to put together an extensive show under the elusive title INVOLVED.

As the title indicates, the exhibition evolves around different terms of engagement and involvement - be it artistically, sexually, or politically - often focusing on what is left unsaid. The great diversity of the artists and their projects display concepts of what it means to affect, include, contain, or comprehend in today’s world, with very different aesthetic and intended ends. Often evasive, the art here approach being INVOLVED on different levels. Indeed, such complexity and contradictory perspectives thwart a one-dimensional and ideological treatment of the subject matter, and keep it open.

New works have been conceived especially for this exhibition by painter extraordinaire Luc Tuymans, together with conceptualist Miroslaw Balka, and by Yutaka Sone, living in Los Angeles, and young London based artist Stefan Bruggemann. Projects also include paintings and drawings by Zhang Enli and Armen Eloyan, based in Switzerland, film and videos by Norwegian artist Knut Asdam and New York based Corey McCorkle, an out-door sound installation by Pavel Buchler, an archival video project by Shi Yong, a sculpture by Yutaka Sone, a three-dimensional piece by Xu Zhen, and a collaborative limited-edition sound piece by Tuymans & Balka which will also be for sale as a vinyl piece, including drawings by the artists, at the gallery.

The exhibition was realized with great support by White Cube, London, David Zwirner, New York, Maccarone Inc., New York, and Zeno X, Antwerp.

Please see below for further information on the artists and curator’s statement.

Further information please contact helen@shanghartgallery.com

Curator’s statement

In relation to recent turmoil happening in and around a certain vigorous and performing China, the Western world seems to hold to an eerie misconception of the historical condition of geopolitical initiative today. This situation is not new, but perceived as such by a West that has difficulties to abandon its grammar of superiority. This attitude is of course combined with a fascination and an urgency to participate in the Chinese economical ‘hyper-growth’. The artistic project at hand here, rather than ‘celebrating’ naïvely the effects of globalization and the encounter between different cultural spheres, cannot deny that it is partly motivated by such a particular mixed set of feelings.

We chose to bring a group of artists together under the title Involved. ‘Involved’ can mean as much as being implicated in a crime or concerned in some intricate affairs.

As an exhibition Involved addresses content, which is not announced explicitly but becomes something understood by the observer of the work as it is experienced. It is focusing on subject matter underneath that what is rendered public. By careful use of subtexts, the exhibition instils a sense of purpose or focus to an anticipated future. Not necessary optimistic, this future is covered in an aside, sometimes through recollecting a past, suggested through that what is left out of a conversation.

Philippe Pirotte, Shanghai, September 2008

Knut Åsdam

Norvegian artist Knut Åsdam’s Untitled: Pissing is a video showing a crotch-shot of a man pissing in his pants. The main theme is in relation to masculinity, and in a simple way the video mentions masculinity and sexuality without being phallocentric. The wetting itself is not only traumatic in relation to masculinity (something the little boy does and knows he is punished for,) or something that happens solely from fear; it is also a sign of arousal and excitement even in the confrontation with the trauma; to come (on one self), have an orgasm, and furthermore has a feminine metaphor in ’getting wet’. This leads the video also to raise questions in relation to the viewer of what is erotic or simply perverse.

Stefan Brüggemann

Brüggemann (Mexico City, 1975) uses text in a rather unusual approach, combining a formal, and quite traditional conceptual approach to art with a rough and critical attitude. Brüggemann has been creating works of art that are expressed through tautological premises, not only within themselves but also in relation to the context in which they are conceived and inserted. His language-based works are founded in rebellion, irony and in institutional critique. He continues with the conceptual tradition of using industrial media that have a primordial utilitarian function. However, its contents also come from those same vernacular contexts, as if putting together message and medium he is able to reveal its hidden possibilities to express deeper meanings than the apparently superficial ones perceived at a first glance.

Some of his text pieces ambiguously present a cynical, nihilist and lucid reflection on certain economical and philosophical aspects related to the production and reception of cultural goods, art included. Brüggemann’s texts resound that same attitude of rebellion, discontent and skepticism. He has a contradictory behaviour, oscillating between criticizing and doing nothing. It’s hard to find a better tribute to punk.

Often, his text pieces make direct reference to the conceptual practices in which the artist inserts himself. However, there is a slight difference regarding orthodox conceptualism, and it lies in mockery and auto-irony: few conceptual artists play about their processes or question the validity of their redundancies, and that’s Brüggemann achievement, to tease about his own influences and creations.

At Shanghart he will create a very big vinyl text: “NEW” and wallpaper a room with “Conceptual Decoration”. Next to that he will try out graffitied paintings with mirrored dollar signs.

Pavel Büchler is a Czech born artist, lecturer and writer, living in the United Kingdom since 1981, where he is also a Research Professor at Manchester Metropolitan University. Büchler’s work evolves around two fundamental concerns: time and the manipulation of found materials. Concerned with the distortions of language, he gives a critical attention to the gaps in communication, fascinated as he is with the limits of the communicative properties of visual language. Particularly interested in art’s old links to language and literature, Pavel Büchler will show a group of works he conceived over the years with Marconi Sound projectors from the 1920’s and text-to speech software to read a text. In this particular piece Büchler uses a quotation from Franz Kafka’s The Castle, a quintessential text about labyrinthine bureaucracy and its control systems. The short section chosen by Büchler recounts the resentment with which the locals suffer Josef K’s presence in the village. It includes the words of a village landlady: “You are not from the Castle, you are not from the village, you aren’t anything. Or rather, unfortunately, you are something, a stranger, a man who isn’t wanted and is in everybody’s way...” The key passage from Kafka’s novel articulates the unclassifiable identity of a stranger in the closed social matrix of the village-castle. The Castle is about the struggle to fit in and its failure. Booming out through the antique speakers, the text recalls old factory or street propaganda announcements, this one declaring that assimilation is impossible and the stranger will always remain on the outside. Büchler is particularly interested in the different resonances it can have in the different cities where the work is presented: in a city of migrants and Byzantine codes of behaviour like Istanbul, or in a more provincial old European capital like Bern. The text is narrated in German and English using text-to-speech voice synthesis and loudspeakers designed by Marconi in 1926, the year of the publication of the book. The soundtrack is interrupted by bursts of music remixed from 1950s Eastern European propaganda repertoire.

Armen Eloyan

Armenian painter Armen Eloyan has swathed ‘figuration-as-we-know-it’ in a loud and greasy perverse painterly realm, carrying the viewer towards that last grain of bare and violent vulgarity, which one sometimes - in a horrifying unguarded moment - recognizes in oneself. The enthusiasm these paintings incite however, finds its origins in a dynamic-vitalistic way of painting. The paintings derive an enormous visual impact and energy from a field of tension that exists between gesture and story and from the historical short circuit and constant interaction between painting as action and painting as narration. Though operating on an epic scale, Eloyan pushes the narrative - in all likelihood his motivation or even excuse to paint - to the background. The act of painting with the whole body - rather than with the wrist alone - is not only a manner of expression but it becomes a risky enterprise of dangerous yet funny acrobatics, as if one were running in too big shoes. The urge to paint and the instinct to tell a story, continuously keep each other in an unstable balance in favour of the formal composition, which requires constant commitment on the part of the painter. The artist devotes himself to pictorial research with what is for many a touching and authentic dedication but, balancing between an apparent unpredictability and purposefulness, his large-scale pictures are often based on the conscious study of the colour scheme and composition of constructivist examples. Indeed, ‘innocent’ painting is today less possible than ever. For his motifs Armen Eloyan often turns to folk-art and folklore, basing his paintings at times on 19^th century Eastern European woodcuts and embroidery with representations of fairy-tales and stories, or on animation movies, comic strips and other popular art forms. As in an oral tradition, the digested and assimilated references suggest a domain of received stories and ideas. In visual sediments, the paintings mimic the transmission of cultural material.

Corey McCorkle is best described not as an object-maker (although he does produce meticulously crafted things) but as a spatial interventionist.

Film is a growing component of McCorkle’s production, not least because of its presumed transparency. Recent films include: Preah (2005), a portrait of a reportedly mystical white cow in Cambodia; Tower of Shadows (2006), a vision of Le Corbusier’s famous unfinished monument in Chandigarh, filmed from dawn till dusk on the shortest day of the year; and Bestiaire (2007), a slide-show-like view of a defunct zoo outside Istanbul. In each case McCorkle adopts a neutral approach, employing static close-up shots (and in the case of Tower of Shadows a single take) that divest the camera of subjective personality while simultaneously highlighting its function as framing device. (In fact, McCorkle modelled Bestiare’s shots on views by the 18th-century fantasy landscape painter Nicholas Robert.) It would seem that for McCorkle meaning exists outside our efforts to harness it, just as this application to meaning is all we can ever claim to have. At Shanghart the artist will show March, 2008 his video about The Knickerbocker Greys, a historic after-school leadership program for children and teenagers, has been shown at the Park Avenue Armory. Featuring the Knickerbocker Greys, a paramilitary drill club for children that has practiced at the Park Avenue Armory since 1881, McCorkle explores the club’s weekly pageant, highlighting the neo-gothic interiors of this historic building. Most of McCorkle’s work - a mix of architecture, sculpture, installation, and traditional documentary technique - explores utopian communities and zones of public space.

Shi Yong’s work embraces modernization and the ideology of consumerism as the basis for self-imagination and creation. He has produced a series of photo-based works around the concept of the ideal Shanghai citizen. It is an ongoing multifaceted project that explores images of consumption, commodity and the development of the culture industry. One series, entitled “Made in China – Welcome to China” (1999), consists of hand-painted plaster models of a young businessman in a Mao suit, sunglasses, briefcase and waving. The image of the ideal citizen used for the statue was the outcome of an Internet project through which Shi Yong asked volunteers to vote for the ideal way of looking. The individual now transforms the identity of his or her self by following the logic of commodity market surveys. It is a composite image that Shi Yong has repeatedly used in other pieces such as “Longing For” (2000) and “You Cannot Clone It, But You Can Buy It” (2001). The iconic figure is morphed through the agency of the marketplace. Recently, Shi Yong has focused his attention on large-scale installations and architectural models imbued with an absurd twist of humor. Most notably, his mixed media installation “Flying Q” is of a UFO built with the purpose of opening up the sky. The flying object comes with no additional explanation, but might be recognized as just another signature vision of and interventions into the imaginary world of Shi Yong. His subversive approach pokes fun at architecture based on rules and pre-established schemas. Shi Yong fabricates a colorful and ironic architectural structure that is at once a parody of serious design and its synthesis. In short, his work is an amalgam of Shanghai’s eclectic ‘anything goes’ attitude towards the built environment.

Luc Tuymans is is an artist more concerned to problematise than to delight. The 50-year-old Belgian is probably the most influential painter of his generation. His hauntingly vacant images are compelling yet elusive to the point of seeming wilfully obtuse. They put you in a mood (a blue one, generally), but you come away from them with a generalized sensation rather than specific visual memories. Although they often focus on singular objects or events, they are somehow too tricky and shadowy to submit to memorability. He tackles loaded political themes — past shows have taken on the Holocaust, Belgian meddling in post-colonial Congo, and the press response to the September 11 attacks — in ways that are teasingly tangential. It is history as experienced by the numbed, the apathetic, the befuddled. One of the strangest aspects of Tuymans’s project is his strict rule of finishing each painting in a single sitting. This is particularly perverse because ‘alla prima’ painting is usually intended to achieve freshness and spontaneity, whereas Tuymans has more than lived up to his anti-heroic ideal of the “authentic forgery.” Far from conveying any kind of speed or dashed-off painterliness, his surfaces have a flat, matter-of-fact delivery that is usually associated with a slow, deliberate hand. But they do have a sense of belligerent unfinish and of apathetic awkwardnesses. It is as if they wanted to convey as much alienation and unease in the way they are made as in the way they will be received. The pervasive unease in Tuymans’s work amounts to a sublimated violence. His imagery deals with conflicts and problems obliquely: Seemingly intent on capturing the banality of evil rather than its drama.

Xu Zhen. It is hard to think of another contemporary talent as prolific as Xu Zhen. His projects articulate frivolity that entails multiple subject matters. The artist takes intrinsically slight material and plays with it without condescension: His work entails theatrical humor as well as social critique, neither entirely serious nor obviously ironic. Xu Zhen’s extensive body of work includes photography, installation art and video evoking moments of complexity. His projects are informed by performance as well as conceptual art. His video installation “8.848-1.86” (2005) documents an expedition to Mount Everest. Here, Xu Zhen removed 1.86 meters of the mountain’s peak and transported it home to be exhibited in a large display cabinet. The video, among other allusions, is a subtle and humorous commentary on China’s official policy of reclaiming Tibet. r

As a signifying device he often uses the concept of the ’body’, such as in the short video “Rainbow” (2000) displayed at the 49th Venice Biennale. It features four tense minutes, during which an anonymous naked back gradually changes color according to emerging and clearly defined flesh marks. Caesuras coincide with slapping sounds that strike the skin in a sudden and unexpected manner. Featured in the INVOLVED exhibition will be a spare new sculpture entitled It, consisting of a tiny speck of mud viewable through a microscope. One viewer at a time discovers that the minute sculpture depicts the famous image of Neil Armstrong’s first footprint on the moon. With this installation, Xu Zhen continues his ongoing investigation of fact and fiction by referencing the controversial debate over the 1969 Apollo 11 lunar landing. Various conspiracy theorists claim that during the Cold War era, the United States government faked the American lunar landing in its haste to beat the Soviet Union to the moon. Thus, by creating a faux artifact from a possible non-event, Xu highlights the media’s role in directing modern-day history and poses the question: where do we stand?

Zhang Enli. Writings on Zhang Enli’s work often focus on his subtle depictions of humanity and solitude. His early works revolve around the unavoidable transformation of the way of life, disturbance and the suffocating pressure that ensues, often threatening displacement. He sites dislocation as a primary condition of life, using it as a constructive backbone for a narrative praxis. Tales of permanent loss and subsequent retrieval are returned to the social and public realms to be tested for their potential to define contemporary conditions in the metropolis. Zhang Enli creates both a comforting and uncomfortable consciousness of presence. He illuminates the underside of society and his bold and unpretentious brushstrokes often reveal the grotesquerie of contemporary civilization. He portrays details from ordinary objects that are often neglected or downplayed in conventional painting. His brushstrokes come close to traditional Chinese ink painting where every stroke on the canvas articulates parts that are significant to the whole.

Zhang Enli’s mode of engagement entails photographically documenting his close environment. He then employs the photographs’ claim on the real to develop his observation of his surroundings, though in a more intuitive and fragmented manner on the canvas. The circuitous route by which Zhang Enli comes to the image is typical of a methodology based on the experience of memory. It is not the repeated image that is central to each painting, but rather the process of reflecting on the events and objects that led him to it.

Accordingly, in his current paintings of trees, only fragments are revealed to the spectator. As in his other work, these paintings come across as ’un-finished’ because they are semi-transparent and leave some of the white canvas exposed. This can be understood as the emergence of reality in the sphere of art, or, perhaps, vice versa. INVOLVED will feature two of Zhang Enli’s recent, more abstract, paintings evolving around ‘light’.

2008-09-16 13:52

Videotheque

ShanghART Gallery is pleased to announce the release of ShanghART Videotheque with more than 200 works. The Videotheque, located in the gallery in Shanghai and Beijing, features over 200 Chinese videos. Also a pdf of the Videotheque catalogue will be available for download at http://www.shanghartgallery.com/galleryarchive/allPdfs.htm

2008-08-26 13:14

Shanghai Longtang-Solo Show by Hu Yang

September 5 – October 15, 2008

In the 1980’s Hu Yang started wandering along the streets in Shanghai, especially the Longtang (lanes of traditional Shanghai style). Here, the way of life has changed dramatically.

The Longtang, the most common style of local residence in Shanghai, however, have almost disappeared. One critical characteristic of living in the Longtang is that there is no clear-cut boundary between public and private space. When air-conditioning, refrigerator, and television set are not available or affordable, and when cooking and watering facilities have to be shared, many daily activities of the residents, including doing laundry, cooking, brushing teeth, washing their face and even taking shower, are necessarily conduced in the shared space of the Longtang. And because the houses are very small, many family activities such as having meals taking naps, reading and playing chess are moved from indoors to the street. The specific material condition has profoundly shaped the manners, life styles and cultural habits of people living in the Longtang. In contrast to lives in the modern apartment buildings, those of the Longtang are far more transparent with very limited privacy: personal activities and family affairs are much more revealing to the sights of neighbors who are, in general, more familiar with and more intimately involved with each other.

There are neither worship for modern life, nor emotional reminiscence of time. What we seen in Hu Yang’s work are merely an outdated invitation, or a trip to the past.

Wu Jiao Chang 800 Art Zone, 800 Guoshun East Rd., #401, Shanghai, 200433, China

T: +86 21 55065989

F: +86 21 55066997

info@shanghartgallery.com

Opening hours: 1pm – 6 pm (Closed on Sunday/Mondays )

There are neither worship for modern life, nor emotional reminiscence of time. What we seen in Hu Yang’s work are merely a outdate invitation, or a trip into yesterday.

For more information and all the images, please visit:

http://www.shanghartgallery.com/galleryarchive/artists/name/huyang

or contact Ms Helen Zhu by email: helen@shanghartgallery.com

2008-08-19 14:10

ShanghART Videotheque Release

Date: September 6, 2008

Venue: ShanghART Beijing, No. 261 Cao Chang Di, Old Airport Road, Beijing 100015, China

Tel: +86 10 6432 3202

Fax: +86 10 6432 4395

E-mail: infobj@shanghartgallery.com

Opening hours: 11am – 6 pm (Closed on Mondays)

ShanghART Videotheque

ShanghART Gallery is pleased to announce the release of ShanghART Videotheque with more than 200 works.

The Videotheque offers a platform for visitors to view the artists’ work in video art and film. The archive features Chinese video & film art produced since the beginning of the 90’s up until today. The selection ranges from canonical works like Yang Fudong’s Seven Intellectuals In Bamboo Forest I-V cycle to newly produced experimental films by young and up-coming artists. Works include feature-length 35 mm films transferred to DVD, video documentations of performances, animations, and short films.

A full catalogue including brief descriptions of the various films available to view can be found at the Videotheque desk at ShanghART’s galleries in Shanghai and Beijing. Also a pdf of the Videotheque catalogue will be available for download at www.shanghartgallery.com

Screening time can be booked in advance, and monitors are provided for individual viewings.

Works available by Feng Mengbo, Hu Jieming, Lu Chunsheng, Liang Shaoji, Liang Yue, Shi Qing, Sun Xun, Shi Yong, Song Tao, Tang Maohong, Xu Zhen, Yang Fudong, Yang Zhenzhong, Zhao Bandi, Zhang Ding, Zhou Tiehai, Zhu Jia, Chen Xiaoyun.

For further exhibitions news and artists information, please visit www.shanghartgallery.com

For high resolution DPI images, please contact Miss Helen Zhu at helen@shanghartgallery.com or infobj@shanghartgallery.com

2008-08-14 14:53

Wang Youshen's show

ShanghART Gallery
Booth A10
Art Beijing- Photo Beijing
Hall 5, National Agricultural Exhibition Center
September 6-9, 2008

The latest series of artworks by Wang Youshen continue the particular concept and technique of ‘Washing’. After ‘washing’, the photographs are recomposed and given a new structure and definition. Therefore, the content of the photographs are explained in new details and new perspectives. The ‘Washing’ itself can be comprehended as the symptom of abreacting emotions and fading memories, or a kind of suspicion or even denial on the reflection of the reality. Additionally, the readability of the photography is endued with deeper and broader meanings.

Wang Youshen was born in Beijing in 1964. He graduated from the Central Academy of Fine Arts, Beijing, and now lives and works in Beijing. Exhibitions include 85 New Wave – The Birth of Chinese Contemporary Art, UCCA, Beijing (2008); the 27th Bienal de Sao Paulo (Brazil 2006); Zooming into Focus, National Art Museum of China (Beijing 2005); Between Past and Future: New Photography and Video from China (U.S., U.K., and Germany, 2004 – 2005); 5^th Shanghai Biennale: Techniques of the Visible, Shanghai Art Museum (2004); Washing – New Works by Wang Youshen, ShanghART Gallery (Shanghai 2004) and 45^th Venice Biennale (1993).

For further exhibitions news and artists information, please visit www.shanghartgallery.com

For high resolution DPI images, please contact Miss Helen Zhu at helen@shanghartgallery.com or infobj@shanghartgallery.com

2008-08-14 13:02

ShanghART Summer Group Exhibition

Group Exhibition LI Shan, GENG Jianyi, ZHOU Tiehai, YU Youhan, PU Jie, WU Yiming, etc. ShanghART Gallery, Shanghai

Date: Jul 19, 2008 - Aug 5, 2008

In July of 2008,Shanghart gallery invites several distinguished artists including LI Shan, GENG Jianyi, ZHOU Tiehai, YU Youhan, PU Jie, WU Yiming to prepare a banquet for eyesight for all of you.

We talk about two of the artists as follows. In terms of time, Li Shan is one of the earliest artists that initially considered the relationship between genes, biological variation and art. Through the descriptions of monstrosity in variation, he expresses his uneasiness to the unknown and creates a tense atmosphere close to madness.

Ding Yi applies basic and primary elements to develop various changes in iteration and principle. His choices of colors are diverse, ranging from quasi-monochrome to the most unexpected combination of tones, creating constantly oscillating impulses on our retinas and therefore highly pleasing perceptual effects.

Contemporary art has a huge communication space, so we sincerely hope you will get rich and subtle interaction with the works.

2008-08-04 18:57

Landscape—Bird Head

Landscape – Birdhead solo-exhibition

Exhibition: September 6 – October 15, 2008

Opening reception: September 5th, (Friday) 2008, 3:00--5:00 p.m

ShanghART F-Space

800 Guoshun Rd East, #315-317

Shanghai 200433, China

T: +86-21 5506 5989

F: +86-21 5506 6997

Daily 1-6PM (closed Sun/Mon)

ShanghART Gallery is pleased to announce ‘Landscape’ – a solo-exhibition by the artists collective Birdhead in F-Space, a space dedicated to young artists.

The exhibition features video as well as original photographs.

For more information, please contact nico@shangartgallery, helen@shanghartgallery.com or visit www.shanghartgallery.com

2008-07-27 11:37

New Shanghai Living - Hu Yang Solo-Exhibition

July 26 – August 31, 2008

Wu Jiao Chang 800 Art Space, 800 Guoshun East Rd., #310-314, Shanghai, 200433, China(3rd Floor, just opposite ShanghART F-Space)

T: +86 21 55065989

F: +86 21 55066997

info@shanghartgallery.com

Opening hours: 1pm – 6 pm (Closed on Sunday/Mondays )

After first successful exhibition at ShanghART H-Space in 2005, Hu Yang’s intensive documentation on life in Shanghai’s homes is on view again at Wu Jiao Chang 800 Art Space.

The featured photographs take on an anthropological and sociological approach that attempts to describe the dramatic changes of domestic living that occurred following the process of modernization and the Open Door policy. The photographs work as cultural documents as well as aesthetic objects that give us an almost voyeuristic view into a group of diverse private spheres ranging from migrant worker’s dwellings to the domiciles of foreign diplomats and successful business people. The photographs are contextualized with captions that quote inhabitants from conversations with the photographer prior to the shoot. Meanwhile, this complete series of the work now is in the "Collection of the Queensland Art Gallery".

For this exhibition, the original set of 100 photos has been extended by 20 additional photos.

For more information and all the images, please visit:

http://www.shanghartgallery.com/galleryarchive/artists/name/huyang

or contact Ms Helen Zhu by email: helen@shanghartgallery.com

2008-07-22 11:56