Artist Taloi Havini and Ruth McDougall, curator of Pacific art at Queensland Art Gallery and Gallery of Modern Art, discuss Havini's first Australian solo exhibition, Reclamation .
'This year's Biennale of Sydney seems like a corrective,' writes Soo-Min Shim, 'prioritising autonomy in an international exhibition format that has all too often omitted or sidelined First Nations artists.'
In the United States, parallels have been drawn between the HIV/AIDS crisis and what is unfolding with Covid-19. These connections feed into P·P·O·W's online exhibition, Hell is a Place on Earth. Heaven is a Place in Your Head .
Founded by Alice King in 1981, Alisan Fine Arts is a leading gallery in promoting Chinese contemporary art and New Ink Art. It has two locations: Central and Aberdeen in Hong Kong.Read More
Alisan Fine Arts represents artists across generations, many of whom share a common interest in abstraction and the reinvention of Chinese traditional ink art. Prominent senior artists include Chinyee, who has been based in New York since the late 1940s and is known for her lyrical abstractions; Chao Chung-Hsiang, who was also based for a long period in New York and gained a reputation for combining elements of ink art with American Abstract Expressionism; Lui Shou-Kwan, a pioneering Hong Kong artist who participated in the New Ink Movement in the 1980s; Paris-based Zao Wou-ki, who worked across oil painting, printmaking, Chinese ink painting, and watercolour; and Walasse Ting, based in New York, whose expressive paintings are characterised by bright colours and depictions of women, birds and flowers.
Alisan Fine Arts also represents some of the key players in Chinese avantgarde art movements, such as Li Shan—a founding member of the Political Pop movement in the 1990s renowned for his portraits of cultural figures and use of propaganda images—and Yu Youhan, who participated in Political Pop as well as the Shanghai Minimalist movement and is recognised for his circular motif.
Emerging artists at Alisan Fine Arts include Wang Mengsha, who reworks traditional depictions of court maidens and beauties and the landscape genre with her characteristic humour and calligraphic touch; and Chu Chu, who collapses boundaries between the various media of calligraphy, ink painting, photography, and oil painting.
In the 1980s, Alisan Fine Arts gained attention for hosting group exhibitions that introduced significant mainland Chinese artists to Hong Kong, notably A State of Transition: Contemporary Paintings from Shanghai (1987) and Modern Chinese Paintings: A Selection from Beijing, Hangzhou, Sichuan (1989). The gallery was also the first to present commercial exhibitions of Zao Wou-ki (1993) and Gao Xingjian (1996) in Hong Kong.
Over the years, Alisan Fine Arts has worked with other major institutions such as The Zhejiang West Lake Art Museum, Hangzhou; The Taipei Museum of History; and The National Art Museum of China in Beijing. Recent collaborations include Alisan Fine Arts Thirty Five Years at Hong Kong Central Library (2016) and A Legacy of Ink: Liu Shou-kwan 40 Years On at the Hong Kong Arts Centre (2015).
An active supporter of the Le French May arts festival—an annual event maintained by the Hong Kong French Consulate to introduce French culture to Hong Kong—Alisan Fine Arts has organised exhibitions of French and Chinese-French artists such as Pierre Soulages: Beyond Black (2019) and Shan Weijun: Between Light and Shade (2018).
Alisan Fine Arts has participated in international art fairs including ART021 Shanghai Contemporary Art Fair; Art Basel in Hong Kong; ART TAIPEI; Fine Art Asia, Hong Kong; Ink Asia, Hong Kong; Masterpiece London; Taipei Dangdai; and West Bund Art & Design, Shanghai.
'As one of the most important contemporary art fairs in Asia, ART021 reinforces its ongoing commitment to leveraging local recourses with a global perspective, supporting contemporary Chinese art andcultivating new generations of domestic collectors. 111 world's leading galleries from 18 countries and 57 cities are selected to present contemporary...
There was a great connection between the first edition of Taipei Dangdai (18–20 January 2019), staged on the 4th floor of the Nangang Exhibition Center, and the 11th Taipei Biennial, Post Nature—A Museum as an Ecosystem (17 November 2018–10 March 2019). Installed at the fair's entrance was John Yuyi's live tree, I Tree to Call You...
'With a strong selection of returning exhibitors, the 2018 edition welcomes 87 galleries in the Galleries section, among which 39 are participating for the first time.' – West Bund Art & Design (8–11 November 2018).
The last decade has seen an extraordinary interest in the art of China, yet Hong Kong artists have been significantly overlooked in this bubbling and frothing phenomena. It is timely therefore that Ai Weiwei, arguably the most well-known of the Chinese artists, has chosen to curate an exhibition in Hong Kong featuring only Hong Kong artists; and...
Raspy, trumpeted notes dip, jump and shimmy across a melodic scale, meandering spontaneously through a supporting rhythmic foundation of brassy hi-hats, double bass twangs and piano progressions. So begins Miles Davis's legendary 1959 jazz album Kind of Blue —nonagenarian painter Chinyee's one and only requisite studio soundtrack for the...
Having been recently nominated for the Women of Hope award, Daphne King-Yao, the director of Alisan Fine Arts, is not only a gallerist but also a dedicated philanthropist in the arts and culture sector.
Hong Kong artist Fung Ming Chip's research into the history of ideograms and pictographs, especially in relation to Chinese calligraphy, seems increasingly relevant in a media saturated world in which the image is most definitely the message. The title of Fung Ming Chip's current solo exhibition Meme at Hong Kong-based Galerie du Monde seeks to...
The Chinese art collectors Liu Yiqian and Wang Wei last week unveiled the third location of their Long Museum, in the inland megacity of Chongqing—and there are more to come. At the opening on 26 May, Wang announced further plans for a fourth branch due to open in 2018 in Wuhan, the capital of Hubei province.
Zhang Yu discusses his works Divine Light Series No. 59 , The Floating Incomplete Circle (1998) and Divine Light Series: 2000–8 (2000) as part of the artist interview series conducted for the special exhibition Ink Art: Past as Present in Contemporary China .
We have sent you an email containing a link to reset your password. Simply click the link and enter your new password to complete this process.
Scan the QR Code via WeChat to follow Ocula's official account.