All Bets are Off is a solo show by the American artist Jorge Pardo, which features over 10 new large-scale paintings, a 4-piece custom-built couch, and other works, etc.
As a typical Pardo, these new paintings make people consider observing their own behavior. Each one is composed of an accumulation of images, first layered digitally until almost unrecognizable, then laser cut to engrave the outline on the MDF, and finally hand-painted with acrylic. The resulting objects echo the sculptures and paintings in the iconic ornate Pardo style. These paintings are abstract, transformed through the combination of layered images, but they cannot be called non-figurative, but present a distorted form without the memory of what they represent.
Minimalism is the core, these fully superimposed works continue to explore the layered paintings that the artist has been developing over the years. The original images, usually two to seven layers per painting, are extracted from a wide range of source materials. They are personal photos, works of other artists he admires, and even a levelless fusion of his own past works. These works Appear between each other and each other in space. Explore the possibilities, which in this case seem limitless, let them disappear and become something else. This collective patchwork effect allows enough differences between different paintings that they “start a dialogue with each other.”
Nam June Paik Solo Exhibition depicts the future where humanity, technology and nature can be in perfect harmony. Facing the gloom of mass media oppression and control of mankind, the artist presents a world where technology and mankind coexist. The artist predicts that the East and the West will be connected through the media, and people from all over the world will communicate in real time.
Video art begins with the spirit of resisting the elimination of the dominance of television information and overcoming the social morbidity caused by it. As a member of the international avant-garde Fluxus movement, he approached video art with the anarchist ideas and anti-aesthetic philosophy advocated by the Fluxus. His pursuit of anti-aesthetics aims to make audience participation the subject of art and refuses to isolate himself from the public through communication. The 7 colors are reminiscent of TV test patterns, and this piece contains his intention to communicate through art. By fusing religion and technology together, he completed the face-to-face encounter of spiritual culture and material culture. Unlike this fusion with religion, there is light before the words, and after the words there will be light showing that the artist himself refers to religion by imitating Genesis and the Gospel of John.
Discussing Wittgenstein’s proposition, “What we cannot say, we must silently ignore”. The artist brings out through the work, what cannot be said may be portrayed through art.
Tapestries is a series of five large-scale tapestries by the English Henry Moore, which showcases are one of the few modern artists who extend their creations to tapestries. After the painting is transformed into a large tapestry, the scale is seven or eight times the original size, which shows the outstandingness of the original work itself.
These works of Moore were originally made for his family, and some of them have never been publicly exhibited for more than ten years after they were completed. After the birth of his first grandson, many mother and child themes appeared in tapestry creation, continuing his extensive exploration of internal and external expression in his most prestigious sculpture works.
Conceptions of Parallel Event is a solo exhibition by the Chinese artist Liang Man-qi, which showcase 11 of her most recent oil paintings.
Her work explores how space, media, and color transform the relationship between real and virtual environments in the polygonal dimension. Color blocks, lines and geometry are the basic elements of the artist’s abstract art. With her intuition and curiosity, she constructed shapes, lines and color scales, creating a unique aesthetic in contemporary art. Her works incorporate symbols that resonate with Western rationalism and embrace Eastern philosophy. Seeking harmony in everything is the key to calmness, psychological order, and self-understanding. In her works, these geometric patterns are arranged irregularly, but still set against each other, evolving into a multidimensional universe full of unknowns. Colors intersect with tangible or intangible patterns on the geometric plane. The inner conflict between the artist’s abstraction and concreteness, rationality and sensibility, can be explained through the process of creating an emotional field.
This is not Snow is a solo exhibition of Siu kam-han’s ceramic works
Siu Kam-han, which showcases a series of works on display are the artist’s use of ceramic materials to imitate the perceived snow at the European Ceramic Center in the Netherlands under the 2020 epidemic.
The memory of the bench recalls the country life in childhood. It is ordinary, industrious, simple, and inseparable, without exquisite decoration, plain and simple.
The size of the small slabs recurring in the work is similar to the actual size in the artist’s memory, and powdered glaze is sprinkled on it after forming. While the black Banhua tree was gradually covered by the gray-white glaze powder, it also covered the clay slabs underneath which represented the ground. The formation of positive and negative spaces fascinated her. What she perceives about the small bench, the snow that she recognizes because of the heavy snow, and the related emotions are so far away to them.