Into A Carpet Made of Water is a solo exhibition by one of Australia’s leading contemporary artists Aida Tomescu, its name is taken from the early poems “Under The Iron of the Moon” by the Austrian writer Thomas Bernhard, whose works span natural themes, death, and beliefs.
The artist’s unique and powerful paintings are the result of the poetic process she describes as repeated layering, erasure, and ruthless questioning of images to discover and locate new content in each series.
The keystone of this exhibition is established by a group of huge paintings completed between 2019 and 2021. The intensity and nuance of these works are higher, and the way of level expression is more subtle, and it is also clear that painting is increasingly entering the way of painting. They are characterized by the use of cadmium red, alizarin crimson, magenta, cobalt violet, and cadmium maroon, creating a wild and often whimsical playful counterpoint with the accompanying series of calm and reflective called Silverpoint I-IV Contrasts with his small paintings.
UNBUILT is an exhibition of paintings and drawings by the Japanese artist Minoru Nomata, which comes from multiple series, including works from 1987 to 2020, and highlights the artist’s continued attention to fictional buildings and environmental landscapes without human existence. These paintings have the form and structure of the uncertain period. These forms and structures are derived from the mixed architectural language of the artist, fusion of industry, fantasy, ancient future and developed from the artist’s iterative process. It usually starts with a sketch of the image found, and then converts it over a period of months, years, or even decades.
In Nomata’s early works, the influence of Charles Sheeler is obvious, the 20th-century American “precisionist” painter focused on the aesthetics and industrial landmarks of the machine age. Continuing this point into the work display of this exhibition, the artist uses the Japanese “Chigaidana” shelf as the basis and loosely displays his paintings on the wooden structure. Several paintings are hung in the frame of these structures and placed at different heights. The slender partition helps to encourage viewers to move in the space and see different paintings in the same field of view.
The earliest works in the exhibition reflect his interest in classical, Renaissance, and medieval resources, titled Decor – 5 (1987), it has a bony-white conical tower with doorways and niches cut into its volume. The “Windscape/Perspective” series of the late 1990s and early 2000s featured tall and ancient buildings, characterized by exposed structural elements and sails, ropes, and rotating blades, which evoke a strong sense of emptiness and movement. “Bourou”, the Chinese character for “watchtower”, the painting was created in the 1990s after his daughter was seriously ill, depicting earthy terrains such as cliff faces and mountains transitioning to pyramids and tall conical towers or from pyramids to tall Transition of conical towers.
Waterfalls and Clouds is a joint exhibition by the American painter Pat Steir and Swiss artist Ugo Rondinone, which exhibits the final three of a group of 20 sculptures by Rondinone, and shown alongside new large-scale paintings by Steir.
The last three of the 20 works are exhibited, each of which is named after a word from a 20-character poem written by Rondinone. These were conceived in 2007 and were Rondinone’s first works using stone in his materials; in this sense, they foreshadow the stone statues and columnar “mountains” he will build later. The gray surfaces of these sculptures are concrete inlaid with pebbles and do not pretend to replicate the stone on which they are based. The artist calls these vast, meandering, and unstable forms “clouds”, and their constantly deforming shapes are named after them. However, he personally prefers to talk about smoke, the gray smoke that lingers in the air above the smoker’s head and spins unpredictably like his slowly spinning thoughts.
There are not only full of unexpected corners and gaps, but their appearance from either side will not show them what they would look like from another vantage point. The paradox is that the more focused the viewer is, the more likely he or she will be attracted to the details of the constantly changing form of the sculpture, so that it will forget the whole. A person circled them around, not even sure at the beginning whether he was back to the starting point because everything was constantly looking different, revealing aspects that were never familiar. Then there are hallucinations: these abstract forms are full of faces. When many holes in the sculptural form are transformed into eyes, do you feel that your gaze is attracted by other incredible gazes, asking you intently as if you were looking at them? In the endless process of perception, is the perceiver ultimately the one to be perceived?
Nosy in the Wild is a solo exhibition by the Italian artist Valentina Loffredo, which showcase the game and the original series of works and co-organized with the Italian Cultural Institute of Hong Kong.
The exhibition is a digital art project in the form of a video game, designed by the artist in collaboration with The Sandbox to expand her broader project – Nosy, which extends the world of physical experience to Metaverse in the global privacy issue of the digital age.
The minimalist, playful, and eye-catching world presented in the exhibition attracts our attention and invites us to explore all aspects of it. But we are not alone: there are surreal and weird noses everywhere, and a question arises: “Who is watching whom?” In participating in this exciting exploration process, we realized that we were also under strict scrutiny. These noses are not only playful and surreal elements, but also a symbol of surveillance tools. The project mimics the conflict between the allures of technology, expressed through the playful and attractive appearance of the artwork, and its dark “nosy” side, revealed through the repetition and incredible existence of the human nose.
Window – Mirror is a solo exhibition of series of the latest works by the Mainland Chinese artist Song Dong which is including Compressed Window, Black Window, and other new works created between 2020 to 2021.
The artist continues to explore the multicultural meaning of windows. As a barrier between the living space and the wider world, windows provide a key perspective for people to observe the external environment. In the process of opening or closing, windows can change the relationship between the individual and the outside world. Through changes in color and form, they can change the appearance of the world in the eyes of the viewer. Song Dong’s works are based on the rhetorical and aesthetic meanings associated with windows since ancient times.
He also extracts “scenes” and “objects” from reality, and uses rich rhetoric to transform them into carriers of ideas, prestige, and meaning. He uses a self-contradictory self-made term “abstract realism” to summarize this type of creation method. The artist continuously extracts images from reality and processes them on the aesthetic and speculative levels. However, its core is still realism. On a certain level, art can maintain its vitality only by constantly returning to reality and daily life. This may also be the foundation of his artistic achievements.