#edelassanti

[gordoncheung]

Desert of the Real, 2020 In Jean Baudrillard's Simulacra and Simulation: "If once we were able to view the Borges fable in which the cartographers of the Empire draw up a map so detailed that it ends up covering the territory exactly [...] this fable has now come full circle for us, and possesses nothing but the discrete charm of second-order simulacra. [...] It is the real, and not the map, whose vestiges subsist here and there, in the deserts which are no longer those of the Empire, but our own: The desert of the real itself..” Xinjiang is the largest administrative region of Northwestern part of China and will be the busiest intersection of the Belt and Road initiaitive (The re-ignition of the silk roads) as it borders 8 nations: Mongolia, Russia, Kazakhstan, Kyrgyzstan, Pakistan, Afghanistan, Pakistan and India (9 if you include disputed parts of Kashmir). It has 40% of China’s coal, 20% oil and gas and 20% potential Wind energy farms. The Uighur Muslims have attempted a separatist movement and briefly declared in 1949 independence, East Turkestan, with the support of Soviet Union. In 1990s the collapse of Soviet Union resurged separatist independence that was suppressed by Beijing. This was followed by terrorist attacks which was met with a severe crackdown and the current condition of one of the most high tech surveillance panopticons in China. Alongside algorithmic machine learning face recognition apparatus is also collection of DNA and fingerprints for a complete mapping of human movement whereby ’suspicious’ behaviour can be discerned and flagged for investigation. The sky is a map of the high speed rail of China that in a matter of decades built more than the entire world. In 1945 Xinjiang was 82.7% Uyghur and 6.2% Han Chinese. As a result of the high speed rail network and policy in 2010 census Uyghur account for 45.84% and Han 40.48%. The Golden poplar tree has been used to hold back desertification officially dubbed the Green Great Wall, launched 1978 to continue until 2050. It aims to plant 88 million acres of protective forests, in a belt nearly 3,000 miles long 💧 #GordonCheung #EdelAssanti #TearsOfParadise (Edel Assanti) https://www.instagram.com/p/B8crix8l50G/?igshid=3vuo8wqrisqi

[newyorkartdepartment]

NADA NY 2018 - NYAD Favorite 👀 Sheida Soleimani @sheidajanam At Edel Assanti - London, UK . . . . . . Booth 2.06 @newartdealers #nadany2018 #NYArtWeek #SheidaSoleimani #EdelAssanti (at Skylight Clarkson Sq)

[inezsuenart]

CHICAGO - Join us! Artist Talk: @gordoncheung at @chicagopubliclibrary Sept 21, 2019 3:30 PM @edelassanti @expochicago #CHICAGO #chinatown #artisttalk #expochicago #contemporaryart (at Chinatown Library) https://www.instagram.com/p/B2Kn03wFDr7/?igshid=6xx2eycl0bk1

[nicholasstavri-blog]

Fat, Sugar, Salt is Dale's second solo exhibition with Edel Assanti The exhibition reflects on the realities of contemporary urban life, focusing on subjects drawn from the artist’s immediate surroundings in and around his home in east London. Mundane and extraordinary scenes are given equal prominence, gaining expression through allegorical distortion. In Family Fortunes (Image 3 and 5), the Lewis family Christmas dinner is transformed into a deranged banquet, in which the artist himself is served for dinner – conveying the artistic anxiety of being on show for public consumption – with the traditional goose and pork courses standing in as guests. Taking its title from the popular 90s TV programme, on closer inspection, the carnivorous horror show gives way to a tender portrayal of the complexity of the family environment, and the unique freedom it provides to exaggerate and express oneself without judgment or embarrassment. @dalelewis80 Fat, Sugar, Salt Closes 10th March @edelassanti 74a Newman street W1T 3BD #DaleLewis #edelassanti #FatSugarSalt #contemporaryart #contemorarypainting #exhibition #londonartist (at Edel Assanti)

[eyecandyandesoterics]

The incredible work of @noemiegoudal over at @edelassanti in London. Go so it. Her work is phenomenal. (at Edel Assanti)

[drenchedreviews-blog]

Exhibition Review -  Yoshinori Niwa: 'That Language Sounds Like a Language' at Edel Assanti, London till 21st December 2017.

“Language graduating slowly from language."- Drenched Co.

Notes:  "Niwa's performances are the wrench and strain of a line, tracing edges, testing waters, shaking loose a point of view. His is the stress in a twisted wire of words, baffling tongues, fooling limits, exposing boundaries. He leads us to a cliff edge, and asks us to make out the shapes below, arranged in the shape of our confusion, angled into the light of our betrayal. I wanted the wind to snag my breath, to catch my tongue, to lean out, to stumble into Niwa's world but alas I met but a step and wished for more." - JayZee

See https://edelassanti.com/exhibitions/73/cover/ See also http://www.soaked.space/2017/12/exhibition-review-yoshinori-niwa-that.html See also http://www.woundsthatbind.com/2017/12/exhibition-review-yoshinori-niwa-that.html

Caption: Image above: Installation view  Yoshinori Niwa   Edel Assanti, London  2017. Copyright Yoshinori Niwa. Courtesy Edel Assanti, London.  

We take great care not to harm the image in any way. And these views, they are ours only and not those of the gallery or artist.

#cutsoverart #drenchedco #soakedspace  #EdelAssanti #YoshinoriNiwa #EdelAssantigallery #ThatLanguageSoundsLikeaLanguage #londonart #artlondon #artinlondon #artberlin #berlinart #artinberlin #artnewyork #newyorkart #artinnewyork #artreview  #exhibitionreview #artreview #reviewart #language #bondary #limit #performanceart #artperformance #videoart #artvideo #perimeter #contigent #artjapan #japaneseart #artinjapan

[gordoncheung]

Towers of Water, 2020 Financial newspaper, acrylic and sand on linen 💧 The Himalayan mountains, otherwise known as the ‘water towers of Asia’ and a sacred mountain hovers over the major river systems of the Tibetan Plateau. China having already built over 84,000 hydro electric dams is also constructing more throughout the Plateau to satisfy energy demands of a developing nation. Control over the rivers accumulates political leverage over all downstream nations. Beyond the human rights issues, widened to a geopolitical perspective, Tibet without an army will always be vulnerable to foreign control which means control over the water towers of Asia and a potential chokehold on China’s water and therefore it’s sovereignty. 💧 ‘Tears of Paradise’ goes on till 7 March 2020. Please RSVP for an in conversation with Mark Rappolt, Art Review editor-in-chief 19 Feb. The discussion will begin at 7pm. RSVP eve@edelassanti.com to reserve a seat. The event is free, but space is limited. 🌟 Exhibition dates: 17 January - 7 March 2020 Tuesday to Saturday 11am to 6pm 🌟 #GordonCheung #EdelAssanti #Art #TearsOfParadise #TibetanPlateau (Edel Assanti) https://www.instagram.com/p/B8RFMrRFSEV/?igshid=1pbw4hjprebl3

[inezsuenart]

Please join us on September 21, 2019 at 3:30pm at the @chicagopubliclibrary Chinatown branch to welcome London based artist, @gordoncheung and take an in depth look at the inspirations and motivations behind his artworks in the @edelassanti booth at the @expochicago #artisttalk #chicago #expochicago #artist #contemporaryart #paintings #chinatown (at Chinatown Library) https://www.instagram.com/p/B2H64N-Fs6Q/?igshid=ftaer43wfohq

[gordoncheung]

🙏Thank you Margot Mottaz who has written a great and nuanced feature on my solo show published in Artomity. ✨ Tears of Paradise / Edel Assanti / London / Jan 17 – Mar 18, 2020 / Margot Mottaz / ✨ #GordonCheung #MargotMottaz #EdelAssanti #TearsOfParadise #Artomity @edelassanti @artomitymagazine @margotmottaz (at Edel Assanti) https://www.instagram.com/p/B_zDTz-FjDf/?igshid=t8n76dpuq4xr

[gordoncheung]

🔥 Launched today is a short video of a conversation between Jeremy Epstein and myself about my installation called Home that is still in the gallery due to the pandemic and ensuing lockdown overlapping at the tail end of the exhibition. Home has become an important consideration for so many reasons in this crisis. 🔥 Home Fires 01: Gordon Cheung 🔥 Home Fires is a series of short conversations between Edel Assanti's artistic director Jeremy Epstein and gallery artists, discussing a recent or ongoing body of work. The conversations address inspiration, research and studio process, whilst framing individual works within a broader context of each artist's practice. 🔥 https://edelassanti.com/viewing-room/1-home-fires-01-gordon-cheung-home/#verify=94bcb163474d46d8ba94361566bbe425 🔥 Made from layered newspaper and bamboo, Gordon Cheung’s window installation Home refers to homes in China with traditional window lattice designs that were demolished due to rapid urbanisation. The sculpture hovers between states of being, suggesting a ghost architecture that would have supported the windows. They act as a demarcation between the march of unstoppable progress, and the framework of identity, history and culture that define the individual. Home appeared in Cheung’s fourth solo show with the gallery, Tears of Paradise. This exhibition was the latest in a series in which Cheung witnesses and interprets events surrounding the emergence of China as a twenty-first century global superpower. 🔥 #GordonCheung #EdelAssanti #HomeFires #covid_19 #Home (at Lockdown London) https://www.instagram.com/p/B_X2_nhlriu/?igshid=aaugyo9o6tel

[gordoncheung]

Home Fires 01: Gordon Cheung 🔥 Home Fires is a series of short conversations between Edel Assanti's artistic director Jeremy Epstein and gallery artists, discussing a recent or ongoing body of work. The conversations address inspiration, research and studio process, whilst framing individual works within a broader context of each artist's practice. 🔥 Home Fires 01: Gordon Cheung will be released this Friday 24 April at 4pm. 🔥 #GordonCheung #EdelAssanti #HomeFires #Lockdown #Covid-19 https://www.instagram.com/p/B_Vgtvzlqei/?igshid=jf9xjk1izioi

[gordoncheung]

Art Review Asia Spring 2020, ‘Myth, Belt, Road and the Sublime. Mark Rappolt, Editor in Chief, interviews Gordon Cheung 😷 #GordonCheung #ArtReview #ArtReviewAsia #MarkRappolt #ChineseWindow #ChineseWindowLattice #EdelAssanti (at Edel Assanti) https://www.instagram.com/p/B_C3L-qFD-t/?igshid=1cs4k17iy3t99

[gordoncheung]

Pleased that the @uos_artcollection has acquired this window sculpture made from bamboo and financial newspaper. ✨ Currently in a large installation @EdelAssanti, London ✨ #GordonCheung #ChineseWjndow #WindowLattice #EdelAssanti https://www.instagram.com/p/B-aIcfdFKN3/?igshid=1n2vpaol2lgm8

[gordoncheung]

🔥Show extended to 18 March🔥 Talk with Mark Rappolt is online: https://edelassanti.com/events/21/ 🖖 Thanks to everyone who came to the talk. It was a great conversation with Mark and I am constantly surprised at despite talking about the mega projects of China and the lifting of 800 million people from poverty, better healthcare than the US, over 96% literacy, more infrastructure built than the worlds history, all in a matter of decades, from what was a destitute nation, that some people found it terrifying rather than extraordinary. The audience interaction was fascinating for what was sometimes a reductionist perception via good vs evil and Democracy vs Communism. That the fear of China is inured into the emotional mindset despite the facts of economic miracles and largest human projects in history. More in the video of the talk. 😷🖖 #GordonCheung #MarkRappolt #TearsOfParadise #EdelAssanti #artreviewmagazine (Edel Assanti) https://www.instagram.com/p/B9pD4_plpSb/?igshid=15kcbu360c9sa

[gordoncheung]

TONIGHT: Wed 19 Feb 2020 7pm at Edel Assanti Gordon Cheung is in conversation with Mark Rappolt, editor-in-chief of ArtReview. 🔥 Space is limited. Free. RSVP email eve@edelassanti.com 🔥 'Tears of Paradise' is Cheung's 4th exhibition with Edel Assanti. Until Sat 7 March 2020 🔥 #GordonCheung #TearsofParadise #ArtReview #EdelAssanti @artreview_magazine @edelassanti @artforum #artforumcriticspick @financialtimes #financialtimescriticschoice #timeout (Edel Assanti) https://www.instagram.com/p/B8wPJ3rpMqN/?igshid=1ege4edrdh9bt

[gordoncheung]

🔥🔥🔥 I am Artforum Critic’s Pick, thank you Daniel Culpan! 🔥🔥🔥 Culpan poetically focuses on the Dystopic aspects of China’s mega projects by picking out the extreme examples of a nation becoming a Superpower. Im writing to supplement the other conceptual dimensions in the work, where nuances about the largest human projects in history are not reduced to a Good vs Evil narrative or simplified into being about Democracy vs Communism. Geopolitics is a complex moral maze with profound roots of history that determine China’s modernity and future plans. String of Pearls is a US military contractor’s term, thus a US Empire’s narrative, to promote the theory of current and potential overseas military bases, mega infrastructure projects, economic corridors, port or other China geostrategic advantage in the region. String of Pearls refers to the possibility of the Chinese Navy connecting these pearls via maritime routes. The wider complex situation is China being surrounded by over 400 US military bases by a nation that is currently waging a trade war and has invaded and semi-colonised China in the recent past with what was known as the Unfair Treaties. 80% of China’s energy supply comes via The Strait of Malacca, a narrow 890km stretch of water and one of the most important sea lanes in the world that can be choked off in times of conflict. Even if China wanted to exert naval power via these so called Pearls they would be shut down by India’s influence over these areas. Therefore they have invested in infrastructure projects into various ports to ensure multiple ways to deliver energy and trade routes. (text continues in chat) 🔥 Wed 19 Feb 2020 7pm at Edel Assanti Gordon Cheung is in conversation with Mark Rappolt, editor-in-chief of ArtReview. Space is limited. Free. RSVP email eve@edelassanti.com 'Tears of Paradise' is Cheung's 4th exhibition with Edel Assanti. Until Sat 7 March 2020. #GordonCheung #TearsofParadise #ArtReview #EdelAssanti @artreview_magazine @edelassanti (Edel Assanti) https://www.instagram.com/p/B8t5YYzlB-L/?igshid=15jtlpi1rivj2