#edouard malingue gallery

[a-modernmajorgeneral]

Edouard Malingue Gallery is delighted to introduce the rising Chinese artist Cui Xinming (b. 1986) at the Insights section of the inaugural and highly anticipated Art Basel Hong Kong art fair. A recent graduate from the Sichuan Academy of Fine Arts, Cui Xinming creates expansive oil on canvas works that express, in an elaborate and vivid painterly style, the tumultuous thoughts and reflections of a younger Chinese generation. This exhibition marks Cui Xinming’s first solo show in Hong Kong and stands by the gallery’s dedication to exhibiting emerging highly talented artists from around the world.

Cui Xinming’s solo exhibition entitled ‘A Sleepwalker’s World’features a series of new works, which capture the inner turmoils experienced when undergoing a phase of personal development. A highly introspective artist, Xinming observes himself, his position with regards to society and the values of those who surround him. Where words do not capture his sentiments, Xinming approaches the canvas with incredible vigour and treats it as an extension of his visions and internal tensions, casting upon it incredulous scenarios and hypnagogic happenings.

Indeed, these scenes are not figments of a universal reality; rather, they are dramatic and subliminal visions that Xinming’s mind has conjured. This is not to say, however, that Xinming’s works do not bear a real-world relevance; on the contrary, each work is laced with secondary meaning, ranging from political to religious commentary. For example, in ‘Story (2)’ (2013), Xinming depicts two dogs approaching an offering stand in a highly vegetated setting, which two Buddha’s overlook. While one dog seems incredulous to the site’s sanctity and chews on the presented fruit, the other stands aback and overlooks his compatriot’s animalistic urges. Xinming thereby creates, and depicts, an allegory for the disparate respect of religion amongst living beings.

Privy to Xinming’s thoughts and opinions, one feels approximate to a trespasser, an infringer upon a terrene that is very much the artists own for these are visions that stand on the border of personal tremors and inveterate hauntings. Yet, Xinming’s work very much lends itself for observation by virtue of its monumental scale and panoramic composition. Indeed, true to the Greek roots of the word ‘panorama’, Xinming places all (pan) on view (horama):we are witnesses to every infinite detail, from the vibrant crepuscular sky in ‘The Bewitched Years‘ (2013) to the delineated face of the threatened buddha in‘Taboo Game’ (2013). Although Xinming does not oblige to the strict tradition of panoramas, that of depicting past national military battlefields or public events, he does depict a conflicted world of high contemporary relevance.

‘A Sleepwalker’s World’ therefore presents a series of narrative paintings that are omniscient in quality and insightful in their socio-political commentary. Indeed, Xinming’s works have a distinct literary quality and openly share an affinity with Franz Kafka’s fictional novella Metamorphosis that follows the inexplicable transformation and subsequent alienation of the lead character Gregor Samsa. While Kafka and Xinming’s works share a distress regards isolation, society and change, Xinming conversely finishes each of his istorias with a more hopeful twist: by virtue of his deliberate depiction of vivid skies, each luminescent and radiating, Xinming reflects that behind his troubles, and those of a young Chinese generation, there is a sense of hope.

Cui Xinming — Tabooed Game  (oil on canvas, 2012)

[unttld]

Edouard Malingue Gallery branding by Lundgren+Lindqvist

[oculablog]

JEREMY EVERETT - Untitled (broken grid), 2015, Paint on canvas, 177.8 x 127 cm, 70 x 50 inches, Image courtesy of Edouard Malingue Gallery

[thosewhomakewaves]

Sound & music art at Art Basel Hong Kong

IDEA: An overview of sound and music related art at Art Basel Hong Kong

WHAT: Art Basel's fifth edition in Hong Kong features 242 premier galleries from 34 countries and territories, as well as a new sector, Kabinett. This year's show features 29 new galleries and half of the galleries showing overall have exhibition spaces in Asia and the Asia Pacific region. The show takes place at the Hong Kong Convention and Exhibition Centre.

BY: Art Basel Hong Kong

[mentaltimetraveller]

Jeremy Everett at Edouard Malingue Gallery 

[jordi-gali]

Jeremy Everett “Floy” at Edouard Malingue Gallery, Hong Kong

[huttson-blog]

Desolate Beauty In Yuan Yuan’s “Irregular Pearl” — ArtAsiaPacific

Desolate Beauty In Yuan Yuan’s “Irregular Pearl” — ArtAsiaPacific

Read more at ArtAsiaPacific

— by Lauren Long: Yuan Yuan’s elaborately detailed paintings of derelict interiors and architecture are haunting. Devoid of any human presence yet laden with traces of prior existence, the compelling portrayals accentuate the fragility of life and the formidable passing of time. The Berlin-based artist’s latest solo show at Edouard Malingue, titled “Irregular Pearl”…

[positive-magazine]

misty clouds scattered colours II

misty clouds scattered colours II

[dropcap]S[/dropcap]tarting from the seminal Ming dynasty text A Journey to the West and its search for clarity and understanding, misty clouds scattered colours II is the second reincarnation of a moving image project focusing on films by artists based in Asia and its diaspora. Presented as a collaborative three-day screening and panel project in a small cinema, which is a converted magistrates…

[fuckyeahpainting]

Yu-Cheng Chou, Refresh, Sacrifice, New Hygiene, Home, Washing, Chou Yu-Cheng, Acrylic, Rag, Scouring Pad, Canvas, Image, Album #16, 2018, Edouard Malingue Gallery

[distinktionsfetzen]

Check out Samson Young 楊嘉輝, Composers (16 March 2020, Betsey B.) (2020), From Edouard Malingue Gallery

[dissertationtara]

Exhibition Branding Initial Research:

Before creating a brand surrounding my artefact of exhibition space, I wanted to find existing materials of exhibitions and conferences to get some inspiration and see what works well and what doesn't. 

I feel the branding of the exhibition is somewhat just as importance as the actual exhibition space itself, as both need to link together and have consistency, but yet the branding plays a big part in getting people to actually come to the exhibition. 

Existing Branding:

https://bpando.org/2017/04/10/bpo-collections-art-galleries/

This post features work by Bunch, Studio Dumbar and Spy, and encompasses simple logo and stationery projects, and extends to broader brand identity programmes that include interior graphics and way finding, catalogues, flyers and poster. These effectively play with colour, form and type, and work in high quality material detail and finishes.

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Note here: 

The branding would be good for a wood based exhibition space and ties in with neutral tones. I really like the consistency through the materials and the typography placements used. 

Korea International Art Fair 2018 by Studio fnt:

I really like the colour scheme of these leaflets and the elements in which forms each colour. Also the typography is left simple yet looks unique and effective because of it’s placements within the boxes created by the colour palette. 

Dissabtes MACBA by Hey:

Out of all of the examples so far, I think this colour palette within these leaflets is my favourite. The 2 colour on the white background really makes the colours pop and so stands out from other leaflets. I think having the bright red within the design really has made it stand out mores than the other leaflets.  

Edouard Malingue Gallery by Lundgren+Lindqvist, Sweden:

Gold—Smidt Assembly by Re-Public, Denmark

[oculablog]

LAURENT GRASSO - Soleil Double, Bas-relief in marble, 36 x 41 x 3 cm, 14 3/16 x 16 1/8 x 1 3/16 inches, Image courtesy of Edouard Malingue Gallery

[webformss]

02-Edouard-Malingue-Gallery-Tokyo-Website-Lundgren-Lindqvist-BPO

[mentaltimetraveller]

Yu Ji, Flesh in Stone - Ghost No.2, 2018 

Edouard Malingue Gallery, Hong Kong / Shanghai

[baxters-art-blog]

'Exploring Duality' in London!🤩 Today from 18:00-21:00 Elephant West 62 Wood Lane, W12 7RH London, United Kingdom "Join us for a panel discussion on the notion of duality as explored in Dreams, illusions, phantom flowers and beyond, with Nixi Cura (SOAS), Dr Rachel Marsden (UAL) and Dr Wenny Teo (Courtauld Institute), moderated by Ying Tan (British Council). ‘Exploring Duality’ is the second panel discussion part of the public programme of Dreams, illusions, phantom flowers, a collaborative project between Elephant and Edouard Malingue Gallery (Hong Kong/Shanghai) running at Elephant West from 13 – 28 April 2019." . . . . . #BAM! #BAM!it #abstract #acrylic #art #artcall #arte #artgallery #artist #artnews #artshow #artwork #callforart #colour #creative #drawing #drawings #fineart #graffitiart #graphic #graphicdesign #illustration #ink #ukart #singaporeart #painting #buyart #sellart #artsy #singapore https://www.instagram.com/p/BwmcKd-ho_E/?utm_source=ig_tumblr_share&igshid=btnikw0xcrwl

[caveartfair]

The Artists Everyone Was Talking about during Art Basel in Hong Kong

Installation view of Jamie Diamond, “Dolls’ House,” at Prada Mode Hong Kong, 2019. Courtesy of Prada.

Early last week, a well-heeled group of international gallerists and collectors infiltrated Central Hong Kong’s busy streets as Hong Kong Art Week kicked off. Before the seventh edition of Art Basel in Hong Kong commenced, a flurry of exhibitions opened in galleries across the city, including at some younger, hipper spaces, such as Empty and Blindspot, which have set up shop on the island’s Southside district of Wong Chuk Hang. The events offered visitors and locals myriad opportunities to discover new artists and view recent work by old favorites—and to tell us all about them.

On Monday, musical siblings David, Lauren, and Sean Carpenter serenaded visitors to the newly opened Lévy Gorvy at the ground level of the St. George’s Building in the island’s Central neighborhood (the trio are friends with co-owner Brett Gorvy). Sean Carpenter explained after the performance that he and his siblings collect art—“[Yayoi] Kusama, [Robert] Motherwell, a lot of [Willem] de Kooning, so a lot of post-war”—and noted the similarities between their work and the gallery’s program. When they’re not performing, the trio sells Stradivarius violins. “There’s kind of an aesthetic to these 18th-century old instruments,” Carpenter said. He was particularly enthusiastic about the work of Chinese-French painter Zao Wou-Ki, whose work hung alongside that of American artists Joan Mitchell and Agnes Martin at Lévy Gorvy.

Zao Wou-Ki, 04-06-62, 1962. Courtesy of Lévy Gorvy.

Agnes Martin, Untitled, 2003. Courtesy of Lévy Gorvy.

Meanwhile, H Queen’s and the Pedder Building—just a short walk away from each other—bustled with champagne-fueled art enthusiasts. In the former, David Zwirner opened a show of large-scale Neo Rauch paintings, while Hauser & Wirth displayed a miniature retrospective of Louise Bourgeois, to coincide with the artist’s first major traveling museum exhibition in China (the show, “The Eternal Thread,” just left Shanghai’s Long Museum and opened at Beijing’s Song Museum).

At the Pedder Building, visitors were particularly intrigued by a show of still lifes by Paul Cézanne, Giorgio Morandi, and Sanyu at Gagosian, curated by Zeng Fanzhi; an installation made to look like a boiler room by the ever-entertaining Scandinavian duo Elmgreen & Dragset at Massimo De Carlo; and a show of new sculptural work by Leonardo Drew at Pearl Lam. Drew created the new work in China, incorporating porcelain into his practice for the first time. Many of the pieces resemble black paintings (colored by charcoal) with fragments of gold, black, and colored porcelain fracturing off the surface like three-dimensional paint drips. The centerpiece is a larger-than-life vase, busted at the center with gold porcelain shards spilling out around it. All are major departures for Drew, who’s best known for large-scale assemblages made from wood.

Installation view of Leonardo Drew solo show at Pearl Lam Galleries, 2019. Courtesy of Pearl Lam Galleries.

Drew himself was in town: In addition to the Pearl Lam show, he was slated to show work at three Art Basel in Hong Kong booths—Pearl Lam, Galerie Lelong, and Pace Prints. The artist later told me that he tries to avoid fairs, which he likened to “a meat market,” before adding, “I think fairs are wonderful. I’m not interested in attending them, but I understand they’re important.” Drew said his week had been “over-the-top crazy,” but he’d been able to enjoy a presentation of sculptures by Cuban artist Yoan Capote at Ben Brown Fine Arts, also in the Pedder Building.

Yoan Capote, Top Feminist, 2008–09. © Yoan Capote. Courtesy of Ben Brown Fine Arts.

Music while you work , 2018. Samson Young 楊嘉輝 Edouard Malingue Gallery

The week’s raison d’être, Art Basel in Hong Kong, welcomed long lines of VIPs and press—like racehorses waiting to be unleashed—inside its stanchions beginning midday Wednesday. Crowds clustered, in particular, around Berlin-based gallery Société’s presentation of Chinese artist Lu Yang’s wild, colorful videos. The abundance of work by Chinese, Japanese, and Korean artists (such as a massive white Yoshitomo Nara sculpture at Blum & Poe and STPI’s booth featuring Do Ho Suh prints) revealed many galleries banking on the appeal of regional artists.

Already thinking ahead to the next event on the international art-world calendar, curator Kim Inhye was at the fair in anticipation of the Venice Biennale. In May, she’ll organize the first international retrospective of Dansaekhwa (a South Korean minimalist movement) artist Yun Hyong-keun at the Palazzo Fortuny. In the heavily guarded VIP lounge, she told me she was mostly interested in work by Korean artists such as Lee Bul, who had works in Lehmann Maupin’s booth, and who created a giant silver balloon for the “Encounters” sector of large-scale artworks, entitled Willing To Be Vulnerable - Metalized Balloon (2019). (The piece, presented by Galerie Thaddaeus Ropac, Lehmann Maupin, and PKM Gallery, sold to a private museum in China.)

Installation view of Société’s booth at Art Basel in Hong Kong, 2019. Courtesy of Art Basel.

Electromagnetic Brainology, 2017. Lu Yang Société Berlin

Hong Kong Art Week also offered opportunities for international institutions to meet with local talent. At a brunch for the Donum Estate winery on the 49th floor of the tony Upper House hotel on Pacific Place, Camden Arts Centre director Martin Clark told me he was looking forward to a meeting with Wong Ping. The Hong Kong–based video artist won the museum’s inaugural Emerging Artist Prize at Frieze London last fall, and Clark and his team are planning a solo presentation of Wong’s work. Wong also has an animated film, Who’s the Daddy (2017), on view at Hong Kong’s Tai Kwun center, in the traveling show “Performing Society: The Violence of Gender.” A particularly memorable scene features a high-heeled woman stepping on a man’s eye—violence of gender, indeed. “The videos have this darkly comic [element]; they’re like these contemporary fables,” Clark said of the artist’s recent appeal. “The visual language feels like it comes out of the Chicago Imagists, crossed with a manga video. A very Chinese aesthetic. It speaks to a sort of alienated, slightly disenfranchised moment in a twisted way.”

Installation view of Lee Bul, Willing To Be Vulnerable - Metalized Balloon, 2019, at Art Basel Hong Kong, 2019, presented jointly by Lehmann Maupin, PKM gallery, and Galerie Thaddaeus Ropac. Couresty © Art Basel.

The satellite fair Art Central hosted a handful of notable focused presentations: Seoul’s Gallery Hyundai displayed Dansaekhwa artists such as Lee Ufan, while Hong Kong’s Puerta Roja showed work by all Latin American figures (the gallery’s specialty). Laura Zhang, a curator at the latter gallery, lauded the show “An Opera for Animals” at local nonprofit Para Site. “The curation is always amazing,” she explained, noting that the exhibition includes many artists, so “you need to go through the context of their work to feel the power of their pieces. Unfortunately, during Art Week, it’s a little difficult.”

Nevertheless, Para Site offered gallerists and curators a chance to slip away from the Hong Kong Convention and Exhibition Centre and see the space during a packed Friday morning brunch. Of all the work in the show—which focused on themes of colonialism, nature, and technology—Luhring Augustine director Donald Johnson Montenegro was particularly excited to see that of Hong Kong–based artist Samson Young (known for multimedia works about sound) and Colombian artist Beatriz González (who often adorns domestic objects—curtains, tables, beds—with political imagery). Regarding the latter, he said, she’s “an important figure in contemporary Columbian art. People call her La Maestra, like ‘the master.’ She’s shepherded a whole generation of artists in Columbia.”

Installation view of Puerta Roja’s booth at Art Basel in Hong Kong, 2019. Courtesy of Puerta Roja.

The exhibition’s only weak spot may have been the brunch food—bagels and tepid bites of egg—but over at iconic local restaurant Duddell’s (owned and run by major collector couple Alan Lo and Yenn Wong), visitors received more regional fare in the form of pork belly and egg rolls. The space is exhibiting large-scale abstract paintings by Chinese artists Wang Guangle (full of subtle color gradations) and Li Shurui (resembling panels of LED lights). The works hail from young French entrepreneur John Dodelande’s collection, organized by roving French curator Jérôme Sans.

Sans called the venue “a cultural hub…the skin of the cultural city.” The curator is also responsible for the first-ever Hong Kong exhibition of Franco-Algerian artist Adel Abdessemed—a series of gruesome red-and-white paintings that look as though they’re spattered in blood—over at Tang Contemporary Art, in H Queen’s.

Sans and Galerie Lelong director Dede Young enthused over Hauser & Wirth’s Bourgeois show; Young called it “absolutely fabulous. Absolutely knock-out beautiful.”

Installation view of Denny Dimin Gallery’s gallery pop-up at partner Katie Alice Fitz Gerlad’s Hong Kong apartment, 2019. Courtesy of Denny Dimin Gallery Hong Kong.

In the evenings, eager revelers headed to Prada’s pop-up club, Prada Mode Hong Kong, located in the former police barracks that is now the site of cultural space Tai Kwun. Regally decked out with chartreuse banquettes and currant-hued leather chairs, the venue also exhibited photographs by Brooklyn-based artist Jamie Diamond (Milan’s Prada Foundation is currently showing her work). Many of Diamond’s pictures feature “reborners,” a group of women who make stunningly life-like dolls that they treat as their own children.

“The whole show is exploring notions of love of motherhood, of the uncanny but more specifically the relationship between a human and a synthetic representation of a human in a doll,” Diamond shouted to me over the pulsing music, wearing a feathered black Prada dress. She’d been too busy with the brand’s events to see much besides an exhibition entitled “Cutthroat Kitchen,” of young Chinese artist Zhang Zipiao’s elegant abstract paintings, at the new Mine Project Gallery near the Convention and Exhibition Centre (the show was curated by Diamond’s former student at the University of Pennsylvania, Michael Xufu Huang).

Diamond hoped to see work by KAWS—an enormous inflatable sculpture by the street artist floated in Victoria Harbour for a few days before bad weather forced its removal, and the Hong Kong Contemporary Art Foundation also mounted a well-attended show of his work on Aberdeen Street.

Installation view of Jamie Diamond, “Dolls’ House,” at Prada Mode Hong Kong, 2019. Courtesy of Prada.

Installation view of Jamie Diamond, “Dolls’ House,” at Prada Mode Hong Kong, 2019. Courtesy of Prada.

For a significantly more DIY evening activity, New York gallerist Robert Dimin mounted a show at Denny Dimin Gallery partner Katie Alice Fitz Gerald’s Hong Kong apartment. He brought the exhibition’s works—a series of Erin O’Keefe’s photographs and Matt Mignanelli’s geometric enamel-and-acrylic paintings—to Hong Kong in his checked luggage. As the party wound down, Fitz Gerald showed me the sparkling view of the city from her rooftop. The gallery, she said, was interested in having “a more intimate setting, which is less intimidating perhaps than the austere white cube space.” (Also, of course, it comes with much less overhead.) On the Southside, she’d enjoyed Hong Kong artist Lam Tung-pang’s “atmospheric” mixed-media show at Blindspot—a refreshment from the main fair.

All this activity, more or less, traces back to the advent of the first Art Basel in Hong Kong in the early 2010s. Sans noted that since then, a new dialogue has emerged between the West and the East. “Within five years, the entire world came to Hong Kong and China,” he said. “A few years ago, many of my Western friends were still suspicious about this part of the world. Now they are wholly here and it shows a radical change.”

from Artsy News