Realised in dialogue with the physicality and functionality of the museum’s architecture, the exhibition will alter the building’s current existence through an unexpected use of time, space, light, and sound to become a semi automated puppet...
The title of the exhibition, Monuments, literally refers to both the solid, recurring images of statuary featured in the artist’s work, which, by extension, bears his amorphous indelible memories.
There are seven films, one for each week. Their narratives are rooted in different times and spaces. There seems to be no direct association among them, nor any intersection.
Art reveals the stories of our own instead of enslavement, Chellali’s works reveals the sensuality and secularity that only belong to female artists, whether its a cognition to oriental beauty or a challenge to ‘Pursuit of Happiness’.
It shows a selection of 12 videos and Han Nefkens, the well-known Dutch art collector and writer, began building his collection in 2000, and has worked selectively with art museums and other institutions worldwide to exhibit his collection.
The title indicates an interrelationship between the individual and the external world. As the individual who inhabits the world, they experience the collective anxiety and ponder their relationship with the outside world while discerning a difference in their own anguish and others’.
The film tells three real-life stories about people getting lost mysteriously: the English mountain climber George Mallory, who went missing in his first attempt to top the Mount Everest in 1924; the Dutch artist Bas Jan Ader, who vanished during his 1975 journey across the Atlantic; and the crew on the China Lu Rong Yu...
Despite the difference in media, artistic concepts, and means of expression, they exemplified a generation of collective endeavor to rethink the role of art and artists in the reflection upon and response to the social condition of postwar Germany.
Wu will present nine works, including Farewell, Spring and Autumn Pavilions (2015), which was shown at the Taiwan Pavilion in the 2015 Venice Biennale, as well as other video installations from the last decade.
The works of Ju Anqi confront us with the absurd--a person arbitrarily staring at another in a confined space--it is a suggestion or a foreshadowing. Up to this date, his artworks are essentially videos, which can be seen as an extension of the many films he already produced.
From the delineation of the natural landscape, to the probe into problems that are commonly faced by contemporary people, and then to the presentation of a humanistic approach with a somewhat futuristic touch, the exhibition intends to depict a constantly evolving imagery to inspire more reflection...
The show is divided into three sections: posthuman skins, posthuman memories, and posthuman implants. Using video, websites, and installations, it addresses topics such as our networked existence, genetic engineering, vertical farming, genetically modified food, and infusion based feeding systems.