Tag Archives: Vol. 4

Clash of the Titans 泰坦之战

aww-masthead.jpgTwo very different characters who came from two different centuries and both very influential art figures in the world art and social scenes. No one in their wildest dream in the art circle would have imagined to have the opportunity to witness a joint exhibition of Andy Warhol and Ai Wei Wei until National Gallery Victoria in Melbourne Australia presented more than 300 works, including major new commissions, immersive installations and a wide representation of paintings, sculptures, film, photography, publications and social media.

A one of its kind exhibition that has successfully collaborated the artist, Andy Warhol that symbolised the 20th century modernity and the ‘American century’ and on the other hand having the ‘Chinese century’ artist from the 21st century, Ai Wei Wei.

Among the exhibits, Ai Wei Wei’s installation of 1500 bicycles from his Forever Bicycles series is definitely one that cannot be missed by any visitors as the two wheelers standing tall with a powerful demand for attention upon entering the National Gallery of Victoria.

DSCF2441_final.jpgBlossom – 2015, Porcelain

The Blossom 2015 is another of Ai’s installation depicting a large bed of thousands of delicate, intricately designed white porcelain flowers. Interesting enough is that the only exhibits that both artists had in similarities is the Andy Warhol’s Absolut Vodka created in 1985 and Ai Wei Wei’s Tang Dynasty Courtesan in Bottle (Absolute Kurant) 1994. The former having the liquor bottle design silkscreened into typical Warhol’s presentation whereas the latter used the bottle as a representation of modernity of Chinese being influenced by the Western culture whilst reminding the public of Chinese cultural artefact that survived China’s history.

DSCF2434.jpgThe original bottles that Warhol designed for the Absolut Warhol campaign in 1986

DSCF2438Clay sculpture dating from the  Song dynasty (960 – 1279) in glass Johnnie Walker Red Label bottle.

谁从两个不同的世纪,世界艺术与社会的场景在这两个非常有影响力的人物艺术来到两个非常不同的字符。没有人在艺术圈他们最疯狂的梦想会想到能有机会亲眼目睹联合展出安迪·沃霍尔和艾未未,直到国家美术馆维多利亚州墨尔本的澳大利亚提交的超过300件作品,其中包括主要的新佣金,身临其境的装置和绘画,雕塑,电影,摄影,出版和社交媒体广泛的代表性。

同类展览的一个成功合作的艺术家,安迪·沃霍尔象征着20世纪的现代性和“美国世纪”以及具有21世纪,艾未未的“中国世纪”艺术家另一方面。

DSCF2407_fianl.jpgAndy Warhol’s screen prints from his Campbell’s Soup II series (1969), with Ai Weiwei’s Coloured Vases (2015)

展品中,从他永远自行车系列艾未未的安装1500自行车绝对是一个不能被任何游客的两轮车在进入维多利亚国家美术馆矗立了强大的需求为关注错过。

在2015年花是另一种爱的安装描绘了一张大床十万细腻,错综复杂的设计白瓷花。足够有趣的是,这两个艺术家们在相似的唯一展品是在1985年,艾未未的唐代名妓的瓶(绝对Kurant)1994年前者具有酒瓶设计丝网印刷成典型的沃霍尔的表现,而安迪·沃霍尔的绝对伏特加创建后者用酒瓶由西方文化的影响,同时提醒中国文化假象的幸存中国历史上中国公众的现代性的表示。

DSCF2386_final.jpgForever Bicycles – 2015, Stainless steel bicycle frames

Melbourne Art Fair Cancelled 墨尔本艺术博览会已取消!

Highly anticipated and only another few months to go, organiser of the Melbourne Art Fair had just announced that this important and successful biennale down under that attracted over 80 galleries and made a sales of $100 million in 2014 is now cancelled.

Chairperson of the non-profit Melbourne Art Foundation, Anna Pappas, cited that one of the reasons of this unfortunate announcement was due to the withdrawal of some of the high-profile galleries days before payment of the exhibition was due according to The Guardian reports. Pappas further elaborated that the organiser has no interest in becoming an affordable and mediocre art fair.

One of the withdrawn galleries voiced an opinion that the cost commitment was high, yet there were signs of good marketing and professional staff handling the fair. Another gallery had an interview with Art Asia Pacific, citing that the unofficial announcement that Sydney Contemporary run by the Art Fairs Australia (AFA) will be transforming the biannual art fair into an annual event in 2017 had influenced the decision. Adding insult to injury was that AFA had terminated its 20-year term contract with Melbourne Art Fair after 18 months.

万众期待的墨尔本艺术博览会,却在几个月之前宣布取消。主办单位指这项十分重要及成功的双年展,往年吸引80个画廊参加,并曾在2014年达到1亿澳元的营收。

非营利的墨尔本艺术基金会主席安娜·帕帕斯说,博览会取消的原因,是由于一些高知名度的画廊因《卫报》的报道,而在缴付展览费前几天决定退出。而帕帕斯进一步说,主办单位不想举办一场廉价平庸的艺术展,所以决定取消。

其中一个退出的画廊认为,即使有良好的营销和专业工作人员举办这场博览会,但仍嫌成本太昂贵。另一个退出的画廊接受亚太艺术组织采访时说,举办悉尼当代艺术展的澳大利亚艺博会协会 (AFA),将在2017年把该双年展改成常年展的非正式消息传出后,影响了他们的决定。

雪上加霜的是,AFA在18个月后,终止了它与墨尔本艺博会长达20年的长期合同。

Takashi Murakami: The 500 Arhats 村上隆: 500罗汉

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‘Takashi Murakami: The 500 Arhats’ exhibition marks the first large–scale Murakami exhibition in Japan in 14 years. Presented by Mori Art Museum, this amazing art exhibition is one show that should not be missed by anyone that has a heart for art. Born in 1962 in Tokyo, completed his doctoral work at Tokyo University in Fine Arts and selected by Time magazine’s ‘The 100 Most Influential People’ in 2008, Takashi Murakami is currently one of the most internationally acclaimed contemporary artists working today. Through his artistic career, the artist has cleverly connected the ‘otaku culture’, character iconography and Japanese art history against the backdrop of thematic landscape of post-war Japan. Hence developing the concept of ‘Superflat’, that has left his define mark in the contemporary art scene.

_O8A7641.JPGDuring this long awaited solo exhibition, Murakami presented one of the largest paintings ever produced in global art history – his 100-meter-long-painting, The 500 Arhats, showing off for the first time in Japan. Some other new works are also on exhibition in which the artist continues to amaze the public by exploring new challenges to the traditional Japanese art. This exhibition provides an important insight to Murakami’s art journey in terms of scale, energy and artistic accomplishment.

日本当代艺术家村上隆的500罗汉展览会是时隔14年后在日本首次大规模展出。这个在东京森美术馆举行的神奇展览会让拥有艺术心灵的人们都趋之若鹜。村上隆1962年出生于东京,在东京大学完成博士学位,并在2008年被《时代》杂志选为“100位最有影响力的人物”,直至目前保持着国际知名当代艺术家的身份。通过他的艺术生涯中,巧妙地连接了“御宅族文化”,包括以人物肖像,日本艺术历史与战后日本背景主题景观。而他创作的“超扁平”概念,也为他在当代艺术场景定义上取得重大印记。

在期待已久的个展上,村上隆最巨大的画作也缔造全球艺术历史记录—长达100米的画作 - 500罗汉,这是首次在日本展出。其他新作品也让观赏者通过探索发现日本传统艺术的新鲜挑战。展览会塑造想象洞悉力,观摩村上的艺术之旅、能源与艺术修养。

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