ART SG CONTINUA
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AI WEIWEI JUAN ARAUJO loris cecchini chen zhen carsten Höller ANISH KAPOOR HANS OP DE BEECK giovanni ozzola QIU ZHIJIE tobias rehberger
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Ai Weiwei loves how different LEGO is when used in art in comparison to painting or sculpting. LEGO represents a second language: it is not a painting, a sculpture or an installation. It looks like two dimensions but it is actually three. The concept of one voice standing for something larger also applies to the effectiveness of LEGO bricks as the medium for this installation. A single LEGO brick symbolises, in part, the artist’s emphasis on the power of the individual, building upon each other to create a movement. In this case, the work depicts a memento mori in a mosaic in the Baths of Diocletian in Rome, bearing the Greek motto γνωθι σαυτόν (know thyself). The latter is an ancient Greek religious maxim inscribed in the temple of Apollo at Delphi. With this sentence Apollo ordered men to “recognize their own limitation and finiteness”. ai weiwei Know Thyself
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JUAN ARAUJOVersion Ortogonal #6 de Alejandro Otero 2018 oil on canvas 33 x 24 cm 83,82 x 60,96 in unique work
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LORIS CECCHINIAeolian Landforms, Haradhah 2021 cast polyester resins, acrylic resins, nylon fibers in aluminium frame 150 x 200 x 6 cm 59.05 x 78.74 x 2.36 in unique work
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Crystal Landscape of Inner Body (Dragon) 2000 Crystal, metal, glass 95 x 70 x 190 cm 37.4 x 27.56 x 74.8 in unique work CHEN ZHEN
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CARSTEN Höller Carsten Höller applies his training as a scientist to his work as an artist, concentrating particularly on the nature of human relationships. Major installations include Flying Machine (1996), an interactive work in which viewers are strapped into a harness and hoisted through the air; Test Site (2006), a series of giant slides installed in Tate Modern’s Turbine Hall; Amusement Park (2006), a large installation at MASS MoCA of full-sized carnival midway rides operating at dramatically slowed speeds; The Double Club (2008–09), a work designed to create a dialogue between Congolese and Western culture in the form of a London bar, restaurant, and nightclub; and Upside-Down Goggles (2009–11), an ongoing participatory experiment with vision distortion through goggles. Höller’s Revolving Hotel Room, an installation that became a fully operational hotel room by night, was featured in the exhibition theanyspacewhatever at the Guggenheim Museum, New York (2008–09). Höller was born in 1961 in Brussels to German parents. Major exhibitions and solo presentations include the 50th Biennale di Venezia, Venice (2003); One Day One Day, Färgfabriken, Stockholm (2003); 7th Biennale de Lyon, France (2003); Half Fiction, Institute of Contemporary Art, Boston (2003); 7,8 Hz, Le Consortium, Dijon, France (2004); Une exposition à Marseille, Musée d’Art Contemporain, Marseille (2004); 51st Biennale di Venezia, Venice (2005); Test Site, Tate Modern, London (2006); Amusement Park, MASS MoCA, North Adams, Massachusetts (2006); Carrousel, Kunsthaus Bregenz, Austria (2008); The Double Club, Fondazione Prada, London (2008); 28th Bienal de São Paulo (2008); Double Slide, Museum of Contemporary Art, Zagreb (2009); 53rd Biennale di Venezia, Venice (2009); 8th Gwangju Biennale, South Korea (2010); Divided Divided, Museum Boijmans Van Beuningen, Rotterdam, Netherlands (2010); Soma, Hamburger Bahnhof, Berlin (2010); Double Carousel with Zöllner Stripes, Museo d’Arte Contemporanea, Rome (2011); Experience, New Museum, New York (2011); 11th Sharjah Biennial, United Arab Emirates (2013); LEBEN, Thyssen-Bornemisza Art Contemporary, Vienna (2014); 8th Berlin Biennale (2014); 10th Gwangju Biennale, South Korea (2014); Golden Mirror Carousel, National Gallery of Victoria, Melbourne, Australia (2014–15); 56th Biennale di Venezia, Venice (2015); Decision, Hayward Gallery, London (2015); Doubt, Pirelli HangarBicocca, Milan, Italy (2016); Video Retrospective with Two Light Machines, Mu.ZEE, Ostend, Belgium (2016); Y, Centro Botín, Santander, Spain (2017); and Sunday, Museo Tamayo, Mexico City (2019). The Slide at the ArcelorMittal Orbit (2016), Höller’s commissioned addition to Anish Kapoor’s ArcelorMittal Orbit (2012), is permanently installed at Queen Elizabeth Olympic Park, London; and his site-specific Aventura Slide Tower (2018) can be experienced at the Aventura Mall, Florida. Höller’s memorial to Hans Künzi, Denkmal für Hans Künzi, (2017) is installed at SBB CFF FFS, Zürich, Switzerland, whilst Decimal Clock (White and White), (2018) at Centrale Supeléc.is one of his largest light works to date. DAC Slide, (2020) another site specific public slide for the Dansk Arkitektur Center (DAC), in Copenhagen, Denmark. Between October 2021 and February 2022, solo exhibition Day was held at MAAT – Museum of Art, Architecture and Technology, Lisbon (2021). Most recently, Höller’s Brutalisten – a restaurant serving brutalist cuisine – was opened in Stockholm, Sweden. Höller lives and works in Stockholm and Biriwa, Ghana.
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ANISH KAPOOR Anish Kapoor is considered one of the most influential artists working today. Born in Mumbai, India in 1954, he has lived and worked in London since the late seventies. His works are permanently exhibited in the most important collections and museums around the world from the Museum of Modern Art in New York to the Tate in London; at the Prada Foundation in Milan; at the Guggenheim Museums in Venice, Bilbao and Abu Dhabi. Recent solo exhibitions have been held at Modern Art Oxford, U.K (2021); Houghton Hall, Norfolk, U.K (2020); Pinakothek der Moderne, Munich, Germany (2020); Central Academy of Fine Arts Museum and Imperial Ancestral Temple in Beijing (2019); Fundación Proa, Buenos Aires (2019); Serralves, Museu de Arte Contemorânea, Porto, Portugal (2018); University Museum of Contemporary Art (MUAC), Mexico City (2016); Château de Versailles, France (2015); Jewish Museum and Tolerance Center, Moscow (2015); Gropius Bau, Berlin (2013); Sakıp Sabancı Müzesi, Istanbul (2013); Museum of Contemporary Art, Sydney (2012). Anish Kapoor represented Great Britain at the 44th Venice Biennale in 1990 where he was awarded the Premio Duemila Prize. In 1991 he won the Turner Prize and has gone on to receive numerous international awards including the Praemium Imperiale in 2011 and Padma Bhushan in 2012. He received a CBE in 2003 and a Knighthood in 2013 for visual arts services. Also renowned for his architecturally-scaled works, public projects include: Cloud Gate (2004), Millennium Park, Chicago, USA; Leviathan (2011) exhibited at 2011 Monumenta, Paris; Orbit (2012), Queen Elizabeth Olympic Park, London; Ark Nova, the worlds first inflatable concert hall created for Lucerne Festival, Japan (2013-), Descension, (2014) most recently installed in Brooklyn Bridge Park, New York, USA (2017) and HOWL (2020) exhibited at Pinakothek der Moderne, Munich, German (2020–2021). In April 2022 Anish Kapoor has been the first British artist to be honoured with a major exhibition at the Gallerie dell’Accademia, Venice, Italy.
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At a certain point in his practice Anish Kapoor not only works with pigment and stone but he turns to mirrored surfaces, producing works that are completely involving while exploring colour, depth, tone, transparency or opacity. Disks in different chromatic variations, ranging from dark to light and of seemingly unlimited depth, reveal an almost infinite void that when combined with a reflective surface brings all of the surrounding space into the work’s landscape. On this threshold of involvement and participation, the boundary between subject and object is blurred. This precarious existence of the object is a defining theme of a large part of the artist’s research. ANISH KAPOOR Tangerine
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‘Aline’, ‘Aline (2)’, ‘Lucas’, ‘Lauren’ and ‘Fatima’ are life-sized sculpted monochrome grey figures –standing, sitting and reclining – all with their eyes closed. Looking at them like this, we become voyeurs of a sort. The closed eyes suggest a tranquil state of mind, as if the figures are experiencing a moment of silent introspection. The poses cite those of the classical nudes that belong to the long tradition of autonomous sculpture. Here, though, there is a contemporary component: these ‘nudes’ wear jeans, shorts, sweatpants or swimming trunks. Props such as soft drink cups, mobile phones, cigarettes and headphones make these fictive characters emphatically of the here and now. The children ‘Lauren’ and ‘Lucas’ hold props that advert to childhood: freshly picked blackberries or a piece of string knotted into a big loop to play cat’s cradle with. hans op de beeck Aline (2)
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giovanni ozzola Come away with me #3 In the series ‘Come away with me’, inaugurated in 2021 on occasion of the solo show ‘Traces of wind’ at Galleria Continua Beijing, flower petals fall to carpet humid soil as they reach the end of their life cycle. Some small details suggest that the humid soil, where we recognize a net of knotty roots, might be next to a urban side walk. These images meditate on the transience of life and the ephemeral nature of beauty, but also on the uninterrupted mingling of natural and artificial elements. In this series of works the artist is experimenting the technique of shine ink color on tempered glass, a technique that activates light reflections and transparencies, echoing the vibrant light in the photo.
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qiu zhijieThirty-Six Stratagems 2022 ink on paper 200 x 200 cm 78.74 x 78.74 in unique work
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tobias rehbergerRun 2014 watercolor on paper, acrylic glass, light bulb,cable painting 200 × 160 cm | 78,74 x 62,99 in lamp 136 × 64 x 48 cm | 53,54 x 15,19 x 18,89 in unique work