It’s Never Over is the first solo exhibition by Michael Kagan, which focused on six F1 drivers Ayrton Senna, Alain Prost, Niki Lauda, Lewis Hamilton, Sebastian Vettel and Michael Schumacher painted in cropped tight compositions.
Each piece is portrayed as a static driver’s tribute portrait, reminiscent of works hanging in the Hall of Fame. Senna, Prost and Lauda are the most iconic drivers of this sport in generations. On this list, Prost is the only driver alive – Senna died in an epic car accident, and Lauda recently passed away. Schumacher retired after a nearly fatal ski accident in 2013. Currently only Hamilton and Vettel are active drivers.
When deciding how to choose which drivers to paint, Kagan studied the best F1 drivers of all time based on winning statistics, and their purely numerical rankings. He chose the driver from the top ten of all time. Kagan likes the idea that the ranking is not fixed. No matter what era they are from, their statistics and themselves can still beat novices. In F1, there is a tradition of paying tribute to other drivers in the past-for example, Hamilton wore a yellow helmet in a race to commemorate Senna. When choosing drivers, Kagan praised the past and present of the sport, and past drivers inspiring a new generation of ways. Lauda’s portrait is based on his son’s personal photos taken by Kagan, showing how this cycle of memory goes beyond racing and extends to personal life. These drivers remember who was before them, and this is what keeps them going. They will remember them through the images they left, and then the cycle will continue.
Artists Letters is a treasure trove of carefully selected contemplation and memories created by great artists including Salvador Dali, Frida Kahlo, Vincent van Gogh, Andy Warhol, Pablo Picasso, David Hockney, Yayi Kusama, and Georgia O’Keeffe, etc. It is arranged by topic and includes notes and messages about love, work, daily life, money, travel, and the creative process. The letter itself is copied with the transcript and provides fascinating background information to provide insights.
Random Numbers is the solo exhibition by Filipino contemporary artist Rodel Tapaya, which reflects his interest in continuing on ideas based on the common human experience has always been part of his artistic practice. He is also interested in presenting the relationship between imagination and reality, but it represents a departure from his previous artistic research. The name of the exhibition directly refers to the name of one of the artworks in the exhibition. These artworks are selected paintings, ranging from monumental works to medium-sized works.
Explore the new stage of the artist’s “scrap painting”, this stage studies the concept and process of collage. The work is composed of semi-graphic illustrations, involving idle objects of objects set in the background of existence and miscellaneous elements that appear anonymous and expressive.
Collage has not only become the initial creative process of Tapaya’s techniques used in the “Scrap Paintings” series, but also the core theme of his overall work. On the small scale and stage almost like an illustration, almost like a diorama on a small scale. The seed will be transformed into a larger scale. In this way when working, his discipline and challenge is not to make the collage work unfinished, but to treat it as a complete work, and imagine that the almost photo-realistic translation effect through painting will become even more than life. Great. This kind of innovation and internal deconstruction of one’s own reflective thinking process in order to criticize and question, thereby enhancing personal creativity, proves the artistic significance of the artist that important new works continue to demonstrate his international reputation.
Second Skin is a collective performance composed of 6 artists from Hong Kong, studying the complexity inherent in the wardrobe of our own choice and the broader background of today’s fashion industry. With a long history rooted in women’s clothing practice, fashion has always been a tool for expressing personal self and individual personality. In recent decades, the highly developed fashion industry has caused more controversy. Sustainability and human rights are also the primary considerations.
The participating artists discussed personal themes around fashion themes, such as conspicuous consumption, identity and body objectification, while also emphasizing the broader social problems caused by mass consumption machines, which seems to have become so in many fashions today. Considering that the turnover of seasonal collections is getting faster and faster, “Second Skin” will launch new works in the middle of the exhibition.
American abstractist Jack Whitten’s first solo exhibition in Asia. Whitten’s work is known for his innovative craftsmanship of painting the surface of the canvas and changing its material terrain. It builds a bridge between gesture abstraction and the rhythm of arts and crafts, resulting in a subtle painting language. Wandering between mechanical automation and strong personal expression.
The exhibition includes rare paintings, sculptures and works on paper, highlighting selected works from the 1960s to the 2010s. Multidimensional painting blurs the boundaries between sculpture and painting and between the artist’s studio and the outside world. It combines geometric abstraction and discovered objects to unearth spiritual and metaphysical themes. The works on paper emphasize the artist’s naughty and improvisational skills in finding his own special visual language, which proves his dedication to painting to express his thoughts and improve methods. In short, the works on display reveal an extraordinary sensitive artist who is able to blend modernist abstraction with the vibration of historical narrative and unify the spiritual and material realms.
The exhibition also includes an important sculpture entitled “The Apollonian Sword” (2014), which was exhibited at the Whitten Large Museum in Met Breuer in 2018 “Odyssey: Jack Whitten Sculpture, 1963– Exhibited in 2017”. Represents the beautiful and delicate god Apollo (Apollo). Cardinal refers to the wild and savage god Dionysus. Wheaton made this sculpture to balance these forces. Near the end of life, Wheaton created a series of masterpieces, characterized by thin blade-like smooth white marble fragments protruding from the base of the wood, some of which were charred black and poured into molten lead. For this work over six feet tall, he attacked a piece of black mulberry with a chain saw and drill bit, and then set it on fire. He polished the marble with his hands. After putting the marble into the wood and fixing it with metal pins, he poured the molten lead into the cavity so that it burned the wood and spilled on its bad surface.