December 31, 2011 to January 16 , 2012 – Today Art Museum
Huang Ying always uses body and its images as the tool and carrier of her art. After her paintings got recognized, she devoted two years to art making with videos. Her creations, which combine scene shooting and post production, enable her to create her “virtual reflection of reality” freely.
The art of Huang Ying is a process of self-exploration. In this show, Huang Ying will use video to show us the possibility of multi-existence between the self and the environment. She puts the body in a virtual reality she created, and tries to establish and secure the existence of self in a world where the self has vanished. The reality her works depict is more like a retreat from the real world, a place of happiness and peace. However, this imagined place is a surreal, lonelier and more merciless world. This demonstrates the artists’ reflection on the reality of our commercial society, which is full of deceiving, cheating, eagerness for money and profit, and materialism.
In the world of Huang, the body has no particular identification, but rather is abstract and metaphysical. One will not resist or comply when he encounters the reality, but rather look for a subtle balance in the endless conflict between him and the environment, and even invade or infiltrate into the reality. All these interaction, adaptability and abstraction of the encounter between the individual and the environment reflect Huang’s eastern aesthetics which is explicit in her works. However she abandoned the traditional forms in her works, which is always associated with eastern aesthetics, and utilized various kinds of modern art languages and methods, such as cinematic methods, montage, narrative suspension, collage and synthesis methods and 3-D technologies, thus changed our perception of specific space and time, and achieved a unique combination of Chinese aesthetics and modern languages.
Huang Ying’s self-exploration is purposing a question: what on earth is the relationship between man and nature, and between man and the real world? This relationship broadens the concept of “body” from natural body to social body, scientific body, and moral body, thereby showing us the fact that the situation of an individual actually reflects the situation of the mankind.
Archive for December, 2011
Until February 12, 2012 – Museo Thyssen-Bornemisza
As the result of an important agreement reached with the Musée Marmottan Monet in Paris, this autumn the Museo Thyssen-Bornemisza will be presenting the first monographic exhibition in Spain on the work of the Impressionist painter Berthe Morisot. Married to Eugène Manet, brother of her teacher Édouard Manet.
Berthe Morisot (Bourges, 1841-París, 1895), was the first woman to join the Impressionist movement. Born into an upper middle-class French family and educated in the arts and music, she managed successfully to combine her facet as an artist with the role of modern woman and active advocate of culture. The model and friend of Manet, whose brother Eugène she married, she was an ally of the Impressionist painters -including Degas, Renoir, Monet and Pisarro- and exhibited work of her own at virtually all of their exhibitions. Admired by intellectuals of the calibre of Mallarmé and Valéry, Morisot played a key role in the development of French Impressionism, taking part in the legendary First Impressionist Exhibition of 1874 and in other subsequent ones of the group.
More than thirty works from the Musée Marmottan Monet will be shown alongside others from the Thyssen collections, allowing visitors to discover the elegant, luminous work of this painter, expressed in the form of landscapes, scenes of daily life and female subjects. Morisot’s life and work also allow for an analysis of the role of women in late 19th-century France given that she was not just a great creative figure but also an urban, middle-class woman who was interested in fashion. In Paul Valery’s words: “Berthe Morisot’s uniqueness lies in the fact that she lived her painting and painted her life.”
From Jan. 20, 2012, through May 20, 2012 – Smithsonian American Art Museum
“Annie Leibovitz: Pilgrimage” charts a new direction for one of America’s best-known living photographers. Unlike her staged and carefully lit portraits made on assignment for magazines and advertising clients, the photographs in this exhibition were taken simply because Leibovitz was moved by the subject. The images speak in a commonplace language to the photographer’s curiosity about the world she inherited, spanning landscapes both dramatic and quiet, interiors of living rooms and bedrooms, and objects that are talismans of past lives.
The exhibition, which includes more than 70 photographs taken between April 2009 and May 2011, will be on view at the Smithsonian American Art Museum from Jan. 20, 2012, through May 20, 2012. The works on display in the exhibition will be acquired by the museum for its permanent collection.
The exhibition will travel following its presentation in Washington, D.C. A listing of venues will be available on the museum’s website as they are confirmed. “Annie Leibovitz: Pilgrimage” is organized for the Smithsonian American Art Museum by guest curator Andy Grundberg, former New
York Times photography critic and associate provost and dean of undergraduate studies at the Corcoran College of Art + Design. Joann Moser, senior curator, is the coordinating curator at the museum. The prints were made by David Adamson of Adamson Editions in Washington, D.C.
“Annie Leibovitz’s new project Pilgrimage captures some of the best aspects of the American spirit through individuals who shaped how we see the world and the places that define them, from Thomas Jefferson and Abraham Lincoln to Emily Dickinson, Annie Oakley and Georgia O’Keeffe,” said Elizabeth Broun, The Margaret and Terry Stent Director of the Smithsonian American Art Museum. “These images resonate with other works in the Smithsonian American Art Museum’s collection, so I am delighted that we are acquiring a set for the permanent collection.”
“From the beginning, when I was watching my children stand mesmerized over Niagara Falls, this project was an exercise in renewal,” said Leibovitz. “It taught me to see again.” “These pictures may surprise even those who know Leibovitz’s photography well,” said Grundberg. “They are more intimate, personal and self-reflective than her widely published work, combining the emotional power of her recent black-and-white portraits of her family with an awareness of her own cultural legacy. All photographs are in a sense intimations of mortality, but the pictures of ‘Pilgrimage’ make this connection explicit.”
The pictures, although there are no people in them, are in a certain sense portraits of subjects that have shaped Leibovitz’s distinctly American view of her cultural inheritance. Visiting the homes of iconic figures, including Eleanor Roosevelt, Ralph Waldo Emerson, Pete Seeger and Elvis Presley, as well as places such as Niagara Falls, Walden Pond, Old Faithful and the Yosemite Valley, she let her instincts and intuitions guide her to related subjects—hence the title “Pilgrimage.” Some of the pictures focus on the remaining traces of photographers and artists she admires, such as Julia Margaret Cameron, Ansel Adams and Robert Smithson. “Pilgrimage” is an evocative and deeply personal statement by a photographer whose career now spans more than 40 years, encompassing a broad range of subject matter, history and stylistic influences. Together the pictures show Leibovitz at the height of her powers, unfettered by the demands of her career and pondering how photographs, including her own, shape a narrative of history that informs the present.
14 of January to February 15, 2012 – Institute of Contemporary Arts Singapore
East is West: Three Women Artists is an exhibition featuring works by Mariana Vassileva (Bulgaria), Almagul Menlibaeva (Kazakhstan), and Nezaket Ekici (Turkey) who have taken up residence in Berlin.
Integral to their practice is performance that is recorded and subsequently shown as independent video work. Their practice involves both themselves directly as the subject, as well as others.
Some of the work explores women as the subject as well as cultural differences that lie within their countries of origin and between national boundaries.
From January 19 to April 21, 2012 – Frac Aquitaine-Bassins à flot n°1 Quai Armand Lalande
Diptychs, duplicate, twin works, twin binoculars, “bi” or mirrored, this exhibition consists of works seen as a pair, combining two opposite, one of which is the counterpart of the other , a copy of his original; repetition of the same or denial of the other.
Featured artists : Pauline Bastard, Ulla von Brandenburg, Rineke Dijkstra, Hans-Peter Feldmann, Ryan Gander, Gilbert & George, Dominique Gonzalez-Foerster, Jane Harris, Bertrand Lavier, Mathieu Mercier, Gianni Motti, Gabriel Orozco, Jean Sabrier, Margaret Salmon , Roman Signer, Haim Steinbach, Jeff Wall .
Until February 4, 2012 – Galeria Fortes Vilaça
Galeria Fortes Vilaça is pleased to present Incarnation São Paulo, a new exhibition by celebrated British artist Cerith Wyn Evans. In his second solo exhibition at the gallery, two sculptures of technological vein propose an intense sensorial experience in counterpoint with a third piece composed of plants in movement. A 30 minutes video complements the exhibition.
Since the 1990s, Wyn Evans has been focusing his production on works that question the nature of written and visual language with clear-cut conceptual accuracy. His installations can be seen as repositories of meanings arising from different sources, reassembled as to reveal many discursive paths. An ongoing dialog with the works of great artists from past is established, with a direct reference or using their very works with a new approach revealing a wish to keep their ideas at play. His refined esthetics is nearly always influenced by a deep interest in the history of cinema and literature.
Cerith Wyn Evans was born in Wales, and currently lives and works in London. His participations in collective exhibitions include the Venice Biennial (1995, 2003, and 2009), Yokohama Triennale (2008), the Aichi Triennale (2010), the 9th Istambul International Biennial (2005), and the 11th Kassel Documenta (2002). His more recent individual exhibitions include the Bergen Kunsthall (2011), the Tramway, in Glasgow (2009), the Inverleith House, in Edinburgh (2009), the MUSAC, in León (2008), the ICA, in London (2006), the Musée d’Art Moderne de la Ville de Paris (2006), the Kunsthaus Graz (2005), the Museum of Fine Arts in Boston (2004), and the Frankfurter Kunstverein, .