Pearl Lam Galleries Shanghai, "INEXPLICABLE", Opening on 17 June (5-7pm), Exhibition runs 17 June-27 August, 2017
ShanghaiINEXPLICABLE
Featuring works by Cai Zebin, Dai Chenlian, Ju Anqi, Liang Ban, Liu Mengxing,Pan Jianfeng, Shi Yiran, Song Chen, Tang Bohua, Tao Yi, Wang Ji, Wu Di,Xia Qingyong, Xu Dawei, Xu Xinwu, Yan Heng, Zheng Lu, and Zhong YunshuExhibition Dates 17 June–27 August, 2017 Monday–Sunday, 10:30am–7pmVenue Pearl Lam Galleries, 181 Middle Jiangxi Road, G/F, Shanghai, China 200002Shanghai—Inexplicable is a group exhibition of 18 Chinese young artists, revolving around theirimaginative and incredible creations. With a booming and fast-moving pop culture in China, youngartists are constantly exposed to all kinds of inspiration, ranging from social media, fiction and movies,magazines, and daily life in a globalized context. This exhibition explores Chinese traditions andmodernization, fantasy and science fiction, as well as literary narrative and social realism. The titleInexplicable refers to an experience that is indescribable and inconceivable to the beholder. The showaims to introduce audiences to multi-faceted styles of art forms that are made by millennials, whoseworks mirror the society in which they dwell.A sense of dark humour is embedded in the style of Cai Zebin¡¯s (b. 1988), Liang Ban¡¯s (b. 1985), LiuMengxing¡¯s (b. 1990), and Pan Jianfeng¡¯s (b. 1973) works. By reversing the roles of humans andobjects, or otherwise mocking the emotional reactions of human beings being objectified, the artworkforces the audience to re-evaluate its day-to-day lifein society. Whether it is the shaking butt of ahuman sculpture trying to untie itself from the wall, or the suffocating piece of human ¡°meat¡±packaged in a plastic bag, the audience cannot help but admire the artists¡¯ fantastical representationof a consumeristic world, in which misplacement becomes a motif to satirize a miserable existence.Instead of using a satirical tone, Liu Mengxing applies a playful manner in her collages to re-presenttrivial objects that are often forgotten in their existence.In Ju Anqi¡¯s (b. 1975), Tao Yi¡¯s (b. 1978), and Wang Ji¡¯s (b. 1988) paintings, they use abstraction torefer to something symbolic in our culture, as the idea of abstraction is to distill the essence of anobject. For example, Ju Anqi¡¯s grass painting references calligraphy, where the ¡°grass script¡± is a styleof writing from ancient China; grass perseveres and is strong, as it is never defeated by a difficultenvironment. Tao Yi uses the shape of a diamond to address how diamonds symbolize the sun andlight in early human civilization. However, the artist chooses to emphasize the decorative purpose ofthe diamond shape in his paintings, rather than its historical source, and thus transforms it into anarchitectural ornament. In Wang Ji¡¯s splendidly colourful paintings, she explores the boundarybetween an imaginative and real space. Viewing her works is like falling into a rabbit hole andwandering in a wonderland that prompts audiences to question what they see.Literature and film have always provided a rich source of inspiration for young artists, who areinterested in reinterpreting a classical novel/film in a modern setting that connects with contemporaryaudiences. In Dai Chenlian¡¯s (b. 1982) shadow play animation, he restages a classical Chinese ghoststory from the Tang Dynasty. Works from Shi Yiran¡¯s (b. 1983) Peacock Town series are a synthesis ofher research on rural communities and her childhood memories. The artist restructures thesemontages into fictional scenes to reveal the development of contemporary societies in China.Born and raised in an era bombarded with images from various regions and periods, both Wu Di (b.1979) and Yan Heng (b. 1982) perceive and reinterpret pictures by complicating the surfaces withmixed media. To Wu, collaging photography and prints, classical motifs, and pop culture on paintingsnot only creates novel meanings to existing visual representations, but also places the power ofnarration in the hands of audiences. Yan¡¯s figurative canvases appropriate scenes from familiarfictional works or current events, and reconstructs the plane with installation pieces, ultimatelyelucidating alternative perspectives while taking into account the impact of technology.While many young artists rely on new media in their ventures, some reconsider the roots of theirtraditions to originate artistic languages that are constrained by neither time nor culture. Inspired by astatement from Zhuangzi, an ancient anthology that exemplifies Daoist teachings, Tang Bohua (b.1986) has created a hand-drawn animation that ponders on human nature in probing the unknownuniverse even when enclosed by self-limitation. Tang paints each frame on plasterboard, as craftsmendid a millennium ago, connecting Chinese traditions to the present.The nod towards a medium that carries Chinese sentiments is also apparent in Xia Qingyong¡¯s (b.1988) abstract landscapes delineated with Xuan paper fibres. To represent lively imagery of rivers andmountains with a seemingly fragile material, Xia reinforces the Chinese philosophy of conquering theunyielding by yielding. Also drawing on seemingly opposing elements from nature, Zheng Lu (b. 1978)threads Chinese calligraphy into a frozen moment of splashing water in his stainless steel sculpture.By transforming text into a three-dimensional figure, Zheng juxtaposes the abstraction of history witha solid material from modern times, evoking the Daoist teaching of ¡°action without action¡±.The mysterious relationship between humankind and nature has always been a fascinating theme inart that many painters cannot resist revisiting. The powerful connection between humans and natureillustrates the reverence artists possess toward something inconceivable and untouchable. It is withthis concept that we delve into Xu Dawei¡¯s (b. 1980) and Xu Xinwu¡¯s (b. 1984) work, both of whomexplore the fantastical realm of energy field within the universe, kindling an intimate conversionbetween past and present, real and surreal, human and object. Although we do not see a human figurein the magnificent composition, the suggestion of a human perspective is projected from the artist¡¯spoint of view, which is an immersive sensation where the viewer and the artist, together, are drawn intothe fantastical space.The two installation artists Song Chen (b. 1979) and Zhong Yunshu (b. 1990) created site-specificworks, using the unique characteristics of their favoured materials as an extension of the exhibitionspace. Song Chen is known for ¡°molding¡± sculptures and creating installations using the most organicelement of this planet—earth. Like the goddess Nüwa who created human beings on Earth, Song Chenis also the goddess of creation who breathed life into the forest covered with earth. Zhong Yunshu hasan acute observation of the subtle relationship between different materials, which she cleverly utilizesto produce works that seem to stand magically on their own without substantial interference from thehuman hand. Zhong even describes the ¡°elasticity¡± and ¡°natural force¡± of materials themselves, andperhaps even sees herself as merely an assistant to the materials.About Pearl Lam GalleriesFounded by Pearl Lam, Pearl Lam Galleries is a driving force within Asia's contemporary art scene.With over 20 years of experience exhibiting Asian and Western art and design, it is one of the leadingand most established contemporary art galleries to be launched out of China.Playing a vital role in stimulating international dialogue on Chinese and Asian contemporary art, theGalleries is dedicated to championing artists who re-evaluate and challenge perceptions of culturalpractice from the region. The Galleries in Hong Kong, Shanghai, and Singapore collaborate withrenowned curators, each presenting distinct programming from major solo exhibitions, specialprojects, and installations to conceptually rigorous group shows. Based on the philosophy of ChineseLiterati where art forms have no hierarchy, Pearl Lam Galleries is dedicated to breaking downboundaries between different disciplines, with a unique gallery model committed to encouragingcross-cultural exchange.The four branches of Pearl Lam Galleries in Hong Kong, Shanghai and Singapore represent anincreasingly influential roster of contemporary artists. Chinese artists Zhu Jinshi and Su Xiaobai, whosynthesise Chinese sensibilities with an international visual language, are presented internationallywith work now included in major private and public collections worldwide. The Galleries has alsointroduced leading international artists, such as Jenny Holzer, Leonardo Drew, Carlos Rolón/Dzineand Yinka Shonibare MBE, to markets in the region, providing opportunities for new audiences in Asiato encounter their work. Pearl Lam Galleries encourages international artists to create new work whichengages specifically with the region, collaborating to produce thought-provoking, culturally relevant work.
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