Venus and Cat is a solo exhibition by the Japanese artist Takeru Amano, which breaks through the attempts of different creative media and forms of expression to start a dialogue in the air.
Men are obsessed with women’s gracefulness; it is just as cute as women who love cats. This kind of almost mythical empathy worship, through the artist’s vision, from creative methods, media to color selection, created by the original expression “NEW ART” that combines modern art techniques and classical art, through the street’s casual coolness. The graffiti technique is presented to people. From the spiritual core, he gave a harmonious meaning to his tunes praising the beauty of the gods. This kind of keen intuition and inner wisdom is inextricably related to the process of his growth. It has been cultivated and cultivated by his father since he was a child. At the same time, it has been influenced by the animation trend culture that has risen in Japan after the 20th century.
His creative style combines clean lines with meaningful trend elements in popular culture. Let his works center on the oriental romantic culture, blending European classic elements and American emerging culture: like a bridge, creating a special viewing and interpretation angle for the viewer. The use of the most vivid and lively large-area flat color blocks streamlined and steady outline lines, as well as strong dramatic tension, and focused classicism portraiture perspectives, make the goddess originally in flat paintings with a touch of shyness and gentleness. With the graceful and natural dullness, stepping out of the original graphic limitations of the artwork, these amiable qualities come to you vividly, allowing you to quickly understand the artist’s work without the need for extra thinking.
Behind My Back, in Front of My Eyes is a solo exhibition by the German artist Gregor Hildebrandt, who is good at using “sound paper” with repetitive processing techniques to create familiar collage works.
The artist chooses to use this medium to create silence, which is both formal and metaphorical. His first records the melody, rhythm, and effects of the selected song on an empty audiotape. After finishing, paste the tape on the canvas and tear it off to create his unique rip-off tear-off canvas painting. By pasting the tape on the canvas, he tried to visualize the music, classic-style vinyl records also have similar media characteristics to tapes. When they are used to carry audio, all reflect a kind of temporality. He repeatedly recorded his favorite singles on the tape over and over again, thus inspiring nostalgic memories in his mind. The “timeliness” embodied by the tape is not only the length of the recorded song, but also the physical length of the tape itself, sealed this music in a silent language.
The artist materializes his fragmented memories and expresses them through works,
memory is layered and fleeting. The music and sound here show how loops and echo tapes can drive the flow of memory, and are interwoven with the artist’s sentimental materials and patterns, and stage an experience of his own on the canvas.
Placebo is the first solo exhibition by the Hong Kong local artist Stacey Chan Lok-heng.
In the exhibition, Chan continued to study medicinal materials in depth, gave them new forms and imaginations, and explored the meaning and connection of healing from the aspects of individual psychology, beliefs and social customs. The work deconstructs the physical manifestation and internal symbolic meaning of Western medicine as everyday objects, and serves as a commercial project to reflect on the relationship between contemporary art, medicine and religion. The artist used this material as a paint in painting for the first time. The three square pastel paintings are made by coating different colored pills on the canvas. The work uses the simplest technique to paint repeatedly in the work. This posture is not only the artist’s daily repetitive practice, but also has the sacredness of this religious ritual.
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.