Hugo Boss Asia Art – Award for Emerging Artists exhibition
Rockbund Art Museum, Shanghai, China
13 September – 8 December, 2013
Art’s relationship with branding sees a new incarnation with the Hugo Boss Asia Art Award, produced in collaboration with the Rockbund Art Museum in Shanghai and in this first instance addressing itself to artists from what is termed the “Greater China” region.
The Hugo Boss Asia Art Award creates a new geographical focus for the fashion brand, running in parallel with the original “Hugo Boss Prize” which began in 1996. The seven short-listed artists for this award have already developed strong bodies of work, and one of the strengths of this show is that many of the artists’ presentations are retrospective in nature. Hsu Chia Wei from Taipei, Kwan Sheung Chi from Hong Kong, Li Liao from Shenzhen, and Hu Xiangqian and Li Wei from Beijing all present a selection of work from across their careers. On the other hand, rather than presenting older extant examples of their work in this context, Lee Kit from Hong Kong and BIRDHEAD from Shanghai, have created large-scale installations that build on previous works.
Symptoms: Becoming Peninsula I (Cheng Ran, Li Wei, Lu Yang, Ren Hang, Yan Heng, Yan Xing, Yuan Yuan, Zang Kunkun)
Iberia Center for Contemporary Art, E06, 798 Art District, Beijing
3 March – 3 April, 2012
In the first of what the organisers promise will be a long-term project with regular presentations (although “…to be held once or twice a year in different ways…” is perhaps a little vague), Iberia Center for Contemporary Art in 798 has brought together a patchy, but (perhaps for that reason) representative selection of young Chinese artists to show the state of art production in China at this time.
This show is ostensibly based on the truism that the works and the artists’ sensibilities are ‘symptoms’ of the society they have grown up in. The wall text for the show makes the case that after the ‘idealism’ of the ‘90s, business culture took over and young people had to fit into tiny gaps in the “highly specialised division of labour and elaborate social structure[s]”. By doing so they could then only develop inwardly, using their new-found access to media and technology. I’m not sure I completely understood the argument, but the upshot is that ‘diversity’ became the key to their lives and productions.
Linda Gallery, 797 Street B Zone, 798 Art District, 2 Jiuxianqiao Lu, 100015 Beijing
4 June – 3 July, 2011
“Alibi,” the title in English of this group show at Linda Gallery in Beijing’s 798 Art District, seems so much more evocative than the Chinese title《不在场》which the essay by curator Wang Yifei translates as “Being Absent.” Although the adherence to the title seems a little weak at times, this show presents artists working with an absence of some sort. That being a very broad subject, the results take many forms and directions, and overall the show brings together an interesting selection of works, with some standout pieces.
Staying initially with the curator’s text, there are some points there that I think bear notice. Unsurprisingly, given where we are, the text does not delve too far into any of the contemporary social realities of “being absent.” Describing it in general terms as “like a conspiracy, an escape or a way of self-liberation.” To me this places the focus more on an individual’s agency in the matter and less on absence as a result of outside circumstances.
As Ma mentioned in my interview with him, the group show “forget art” which he has curated took place this afternoon in the Dragon Fountain Bathhouse in Caochangdi. Following his reasoning for the show, the works more or less blended into reality, so for a while the whole bathhouse was an object of artistic possibility.