FQ projects

IMG_2048mw, originally uploaded by lucinda104.

November show at FQ projects

http://www.fqprojects.com/

FQ projects

IMG_2050mw, originally uploaded by lucinda104.

FQ projects artists

http://www.fqprojects.com/

FQ projects

IMG_2051mw, originally uploaded by lucinda104.

http://www.fqprojects.com/

OBAMA WOZ ERE

IMG_2060mw, originally uploaded by lucinda104.

(Obama was here).

Images from November of Obama Andy Warhol style alongside Chairman Mao paintings. - Interesting comparison, yes or no?

Interview with Li Liang - Eastlink Gallery, Shanghai

LH: You are an artist but you also run a gallery. Can you talk a little about this? How do you see these two parts working together?

LL: I have to say that since I have had the gallery, I don’t call myself an artist. Though I do a little of my own artwork.

LH: what do you think about the transition from being an artist to running a gallery?

LL: Artistically, I think it is quite easy. But, on business side it is not easy. I am personally happy with how I have promoted and helped other artists.

The reason to have the gallery? Well, most the time I see this from my own point of view. There just weren’t enough spaces for artists to exhibit in.  As an artist, having more spaces to exhibit in was the most important thing. At that time, a lot of artists went overseas because it was impossible to show some kinds of contemporary art here. It was very difficult for them to make any money from art at this time. These are the reasons why I set up the gallery.

LH: What are your plans for Eastlink over the next 10 years?

LL: Big question. Back in the beginning, I think I would do it more for other people, for the community’s sake. I did not think I would not be doing it for such a long time. Yet, I keep finding a reason to keep doing it. I will continue, if I’m not the director for the next 10 years, then I would find someone to continue Eastlink, this is why the gallery is not the Li Liang gallery.

Contemporary art is still very new to the majority of people in China. If you want to promote contemporary art in China at least you need to be showing it to the public. There is not enough of this and ten years from now I still don’t think there will be enough of this. It is also to develop Chinese collectors. From the beginning artists were only able to show overseas. The largest numbers of collectors are from overseas too. It is not balanced. So if Chinese art always relies on the overseas market or overseas exposure, I would not be able to call this ‘Chinese contemporary art’. For Chinese art to develop it needs to be supported by its own community. I think this is my goal.

LH: You said that Eastlink and its history has been an emotional experience can you explain this?

LL: I think it is hard. If you go back to 1999, in a way it was also quite fun, much less commercial. The things that everybody was thinking about were all quite similar. The typical example is the ‘Fuck Off’ show. For me I put a lot of effort into this show at this time. At that time, politically and financial I put everything into it.

LH: While researching for this interview I read about the ‘Fuck Off’ exhibition. In hindsight, how influential was this exhibition? Do you think that other shows were as influential?

LL: I think it did a lot of different things. All the things were according to the times and what the art community needed. I really don’t care about the presses views. That ‘Fuck Off’ became the most famous one is really beyond my control. But you come back and look at it and it makes sense why this show was the most important or influential.

LH: In the West we perceive China to have stringent censorship. How in the day to day running of a gallery are you affected by the control of central or local government?

LL: For example the show I have on now. The Australian artist Rodney Pople said that he would have more trouble if the show were exhibited in Australia. This is very interesting. You change the position and the impact is quite different. Of course I don’t want to make shows to be based on ‘shock’ value. I never had this kind of intention. In the early days of course you get hassle from censorship, often ridiculous and not serious reasons and often the authority were unable to say why they did not want the show.

Back to the early days before China opened. Abstract art was Capitalism so we were unable to show this kind of art. But, from another angle I can’t see why people were afraid of this kind of art.  Now there is less tension between the government and us. The last show that I remember that we could not open was an artist called Yu Da Hong, all his work was related to the Cultural Revolution the show was him and his students and they used Cultural Revolution content. Because that year was the 35 years anniversary of the Cultural Revolution the government didn’t want to draw attention to this. Just before the opening, the artist (who also worked at a local university) was put under pressure by his boss and the gallery itself was put under pressure to not open the show. But, it doesn’t really bother me because we live in China and we all know these things sometimes happen here. You can still do things that are valuable to the society, community.

LH: To me a large percentage of the Chinese population are interested in economic gain as apposed to or cultural enrichment. How do you think this is and will change?

LL: Still I think this is challenge. I agree with the government that this is a developing country. Only now, some people live in a big space where they can hang, or have artwork on the walls. It is only now that people don’t have to worry about next month’s food or school fees.  In my youth everyone experienced this. And this is something that everyone experienced. It is only less than 30 years, or in effect less than 10 years. So we have to give people time. We have to give people time to adjust to that. People do need a culture.

For the next exhibition we are contributing to charity. We are putting the money towards the construction of a bathhouse in Gansu province. But, compared to Shanghai the people there are really poor. The people there are so into singing and dancing. They are really enjoying life. They are not any less cultured than people in Shanghai. In a way people are always into culture. It is only when people have more money do they buy expensive contemporary art. You can’t really say that people really always focus on money and forget about art or culture.

LH: You spent sometime in Australia as an artist. How instrumental was this to setting up Eastlink?

LL: I lived there for 12 years and shared a studio with other artists. One big impact on my in time Australia was the art community. We started to do things together because in Australia we faced a similar situation, lack of space to exhibit or display work. We were in a warehouse, which was situated next to the water. There was an economic boom in Australia so we moved to a new place but a developer wanted to buy this space as well. We all teamed together to try to buy the warehouse, to own our studio. But we failed because the developer put more money on the table. This experience was very useful to me when I moved to Shanghai. The first space was also on the riverside. So I thought, get together a few artists and get a studio and then it happened again, a boom in Shanghai, so we moved to M50. We were told it would be only be temporarily but more voices joined and now we have the M50 cultural centre so we are quite lucky.

LH: To you what are some of the greatest achievements of Eastlink and why?

LL: It is hard for me to say that. I always. I realise that there are lot of things that we need for the whole contemporary art scene. One thing we need is a good education system. Not only educate the public but the kids too.  I really support education in the arts. We will give University students a show for example. It is about what I can give in terms of education to society or community. I think this is one of the greatest things Eastlink can contribute to.

LH Many galleries in Shanghai only exhibit Chinese artists. Eastlink exhibits both Chinese and international artists. Why did you decide to do this?

Two reasons, one reasons only showing Chinese artists is quite boring. You want to have a conversation a working relationship with different minds sets. The other thing is that for the Chinese audience gives them a good chance to see something else too. Maybe they only see it on the Internet.

LH Members of the art community in Shanghai have said to me that the art scene here is changing rapidly and for the better, especially over the last two years. How do you agree with this?

I believe it is improving. There is progress. I see it as very interesting there are few things that are in good way to develop. One way the old gallery ShangArt, foreign owned gallery, but we also see other foreigners open galleries in the city. I think it is really important that this is happening in Shanghai. They all love art and work with visitors and artists. I think this is very suitable for Shanghai because to me I think Shanghai always has a good mix of international cultures. Then of course you see the young people who feel they can do something with contemporary art or with other forms of culture. We see this as new energy. I think it is very good.

LH Eastlink now has gallery in Beijing too. Why did you decide to open a gallery space there? How is the art scene there different from Shanghai?

LL I have to say that the East Link Shanghai shows lots of artists from Beijing. At least half of the artists exhibited come from Beijing. I go to Beijing quite a lot, and I think. ‘Why not have a show in Beijing?’ Of course the reality is quite different. When you visit a friend or studios in Beijing to when you run a gallery there, it is quite different. I feel quite exhausted. Of course things are quite different there. Beijing is the capital; very important place and you meet different people. The people in Shanghai are different, less artistically minded. Of course I think I can get artists from Shanghai to show in Beijing.

LH: What advantage do you think the art scene in Shanghai has over Beijing?

LL: I do believe that. I dream that China will have two cultural centres, Shanghai and Beijing. I hope that it will be better, because Shanghai is quite an organised city, people are doing things quite rationally here in Shanghai; this is good for the arts, because we need to think long term. Every time I say the next five years will be better. Up to now, Shanghai has not had much advantage over Beijing.

Shanghai's First Ceramics Show

On Sunday went to the Ceramic Fair at Shanghai Mart. There was some international ceramicists as well as Shanghai based studios/galleries/artists and representation from other places in China. 
As I am only beginning to read Chinese for the non-Chinese visitor it was challenging to work out who the maker was of each piece.

There were conventional useable pieces as well as ceramics that were purely for their visual pleasure.

Highlights included large wall hung plates/bowls by a Taiwanese ceramist Wang Xiugong. These are about 75 cm in diameter. Think the gallery is Shanghai based.

This curved tea set by a studio artist, Langlang 朗朗 for d9design.

These were awesome but unable to find out much about the maker.

Great teapot and example of the labeling.
These were very painterly large ceramic pots and bowls.
Part of the exhibition was the International Ceramic Invitation Exhibition which included more experimental pieces from China and Internationally. This is by Sandor Kecskemeti. He also had much larger pieces persumably for public sculpture but I loved these small works.

Great tiny chairs by Renate Hahn and fragile curvy containers by Francois Ruegg.

Both of these works are by Zhang Jingjing 张婧

婧. She was exhibiting as part of two cities gallery stand. I really liked her fluid curved lines.

Transposing the Common II @ Eastlink Gallery

Transposing the Common II

Australian artist Rodney Pople and Chinese artist Zhao Qin

Eastlnk Gallery

7 November to 20 November 2009  

I have seen lots of exhibitions of paintings where the artist has just copied a photoshoped image. Often showing little awareness of the painterly surface. At first, I thought Pople’s pictures were just paintings executed with painstaking detail. They are in fact photoshoped images printed onto canvas then paint is applied often with rag to transform the surface. With much mixed media painting the paint is there to create a different spatial level. This is not the case with Pople’s works the paint is on the same plain as the photographic printed surface. The painted areas are seamlessly intertwined to the pre-printed; they are for the majority of the time indistinguishable. The paint changes the digital image and the digital image changes the paint. Though conversations on the death of a painting are themselves dead, and utterly dull, Pople’s work does bring a new angle on painting in the digital Baudrillardian world.

The subject matter of his work, which is what will turn off most people, is about turning on, the pornographic. Pople told me about how the church commissioned artists to paint nudes that were only for ‘private privileged’ viewing, works in which we now revel in their excellence and consider them to be high minded master pieces. What is the difference between these works and a porno mag? Pople puts both together in his mixed media paintings. Hot large breasted woman in overt ecstasy lay on alters where more pious virgins were originally.

Much of the imagery in Pople’s paintings comes from past paintings. Ingres’ famous lute playing nude in ‘The Turkish Bath’ plays for a page three like female entertaining herself.  Many other works have been pillaged the past for their iconography and replaced or added sexual female figures. Pople’s works are steeped in sex and European painterly religious history.

Not all paintings have such strong overt sexual references, interspersing two of the alter works was a painting of a shark swimming through a religious building. The painted shark helped to turn painted surface into a fluid moving one as apposed to the static still printed image. The two alter nudes either side became more watery just by conjunction.

Zhao Qin’s paintings work on the viewer at a much slower pace. There isn’t the same instant hit, but there is still as much force. The small works are colourful and highly textured. The imagery can be read as no less subversive or offensive as Pople's, but depends on how you read it. Can you read gun tooting space men with traditional Chinese architecture in the background as not subtly subversive when China recently celebrated a space walk.  Qin’s work is a dystopian world of bright glowing colours painted an almost innocently textured way. How could these small almost cute works be critiquing contemporary China? 

struggle for life and death Huang He Solo exhibition

At 1918 Artspace, 20 Moganshan Lu
Exhibition 'Struggle For Life and Death: Huang He Solo Exhibition'.

Black and white paintings and sculptures of figures on the floor with a single horn surounded by broken mirrors.

Trenton Doyle Hancock talk at James Cohan Gallery

BizArt - Yu Ji Acnestis

Prior to entering Yu Ji exhibition, Acnestis at Biz Art, you read the introduction to the exhibition/artist. This would warn or prepare any sensitive viewer for the uninhibited nudity in the show. The show it self consisted of video projections on the wall - sensitively curated. The videos were of a young Chinese man the majority of the time naked, pursuing women, the films capturing that sexual itch, constant desire. The filming was frank and unbeauitified an attempt to capture the intimate subtleties of communication between people. The videos were banal, non showy which I liked. There was also a video recorded backwards with two people meeting on a deserted street intersection. In this video there was also wonderful footage of a horse.

A show worth seeing but not my personal aesthetic, though no doubt a review will change my mind....

Nov 1^st – 30^th Nov

BizArt Center 50 Moganshan Lu,

Young Glass at Two Cities Gallery

Non-purposeful colourful objects: must be art? Studio Glass, purposeless objects made of glass, beautiful and see through. I went to the Two Cities Gallery to see “Young Glass” an exhibition of emerging glass artists. I was amazed by the diversity of the work there, not just between artists but also within the artists’ own practice.

When I think of glass art I immediately think of Dale Chihuly’s amazing organic glass creations and the expensive creations of Lalique. This discipline, like many others, is off the fine art map, by being too close to craft and supposedly not cerebral enough. In China, painting has been a prevalent power in the art scene for a long time now, but there are movements away from this with more new media and photography exhibitions. The glass in this show had strong links with painting, not the representational political pop but to abstract expressionism and traditional Chinese ink painting.

The most interesting artists work was Xue Lv who is exploring how he can express traditional Chinese ink painting through glass. One striking piece at semi circle of high-pressure casted clear glass contained a single black ink stroke. Lv other works all predominantly tonal or subtly incorporating incidental colours try to solidify the fluidity of ink but maintaining a feeling of fragility.

Another artist who stood out was Han Xi who produced colourful solid cast formed pieces of glass. The light came through the different colours of glass creating a different hold able colour mixing.

Exhibition glass artists: Xue Lv, Cheng Xiang, Xiao Tai, Yang Meihua, Wang Qin, Luo Xiaoshu, Zheng Wenqing, Li Wen, Han Xi, Guo Xiaoyan, Wang Sheng

Young Glass

Oct 31 – Nov 17

Two Cities Gallery, 50 Moganshan Lu.

Thomas Palme @Stage Back Shanghai PRIMORDIAL BAVARIAN DRAWING HITS SHANGHAI

I wandered up the candlelit concrete stairs of the once opium den of the 696 Weihai Lu artists studio complex to the StageBack art space. On entering the space I was relieved to discover no paintings overly tastefully framed on the walls, no flowers arranged in a vase, no guilt, or glitter. Thomas Palme Madness, Booze and Social Phobia is what art exhibitions are supposed to be – energetic and stimulating, and NOT about the transaction of goods.

The white walled gallery space is strewn with drawings pinned to the wall, or pegged to string criss-crossing the space. The packing materials that the artist, Thomas Palme, had used to transport his drawings to Shanghai in are also used in the installation. All the works are on white paper, done with pencil, hard black lines – none of this soft delicate pussing around drawing stuff, hard in your face ‘this is what I’m about and deal with it’ kind of stuff.

Apparently he draws with both hands though I doubt he limits himself to using just hands to draw with. His work is body but a body drowned in history. I spotted Van Gogh with a female nude body. Animal bones, animal heads, and Christian crucifixes a primordial art man alone in the Bavarian mountains draws out his cultural history.

When I spoke to the artist, Thomas Palme, we discussed the privacy needed for drawing, something that isn’t needed for painting. Internal secrecy that is spewed out onto the page, then in the case of this exhibition the drawings in the travel tube were exploded around the gallery by the artist, the resultant curation being the trace of a performance. The artist also makes books (books this soon to be redundant object) to share his work with others.

Palme shows one of his videos too. It is a TV screen attached to the fence that is on the Stage Back Shanghai terrace that is at the back of the space. I watched the video of Palme doing odd things in the snow clad Bavarian woods with bone like penis coverings (and a BMWs having an appearance too) with the fast paced Shanghai skyline in the background. A personally moving conjunction the bright fast paced densely populated Shanghai with the snowy solitary wooded mountain in Bavaria. Where would I rather be?

Exhibition kindly supported by the Goethe Institute

Exhibition on until 21^st November 2009

StageBack art space

310, 3^rd floor, 696 Weihai Lu, Shanghai, China

ZendaiMOMA - Liang Shaoji 'You Si Miao - An Infinitely Fine Line'

Ok, so I'm cynical. Going to an exhibition about silk worms/moths in China is SO predictable and appears uninteresting. 'You Si Miao' - an infinite line. Just googled 'You Si Miao' to find a bit more about its historical references in Buddhism but couldn't find any. To get back to the show. Everything in the show related to silk and its life cycle but was then taken to a more seemingly philosophical level. I loved the large room, fully of data projectors projecting stunning images of skies just filled with clouds - my inner hippie was very happy. I think I would have preferred without the 31 days of the month LEDs made up of silk caccoons,  this piece would have had a quality about it similar to Turrell.

Upstairs was another great installation. First you walked into a dark room with two rows of silk cushions, each with headphones resting on them. There seemed to bits of rubbish on the floor, bits of paper. Then I walked over to a light that was lighting up an empty wall to see lots of moths collected in the light, some still alive. This was so natural and moving I loved it. Then I turned round to move into a back area of the installation to discover wood and straw stands and hundreds of moths. It was so cool. I didn't listen to the head phones. It is to me interesting about how much we access exhibitions, how much to we 'do' to actively participate to receive the work, sort of like going to exhibitions and not watching all of the video installation.

Internet Access in China - the Great Fire Wall

Apologies to all followers. Even though I now host this blog on a domain name because blogger was/is blocked. Contemporary Art Shanghai is inaccessible in China unless you have a proxy or personal VPN, which a lot of people don't.  It is very strange to write a blog to an audience that is on the other side of the Fire Wall, not the local art community. At the moment, I have access to blogger because I have a personal VPN but for the last few days even with this I can't access facebook or twitter. With a personal VPN or a proxy web surfing is super slow, basically accessing any sights that are outside of China have been 'made' very slow, similar speed to when the big internet cable near Taiwan that goes to the States got damaged. Sadly this censorship is not just about control of who says what, but about money, about which companies have access to the Chinese market, e.g. Chinese companies with state connections.

Frustrating!

Gladly, the internet is the only place where I experience any control over what I do or say really. Though exhibitions can be sensored - I don't know of any shows in particular but there is a feeling or sense that if you exhibit anything really outrageous overtly it will get closed down. I suppose most people just perpetually self sensor. It is not so much that they are just aware of the controling power but people here are nationalistic and, often rightly proud of their country.

art tactic on signs of recover of chinese art market

Art Tactic state the following their website

"The Chinese art market could be first out of the downturn: It looks like the Chinese art market could be about to regain some of the lost confidence too. After a dismal auction season in Hong Kong in November 2008, there were clear signs of recovery in the recent round of Chinese auctions in Hong Kong in May 2009." Art tactic

Though, the art market is something I worry about interesting though.

shcontemporary art fair 2009

10th - 13th September
Participating Galleries
lectures/forums
speakers include; eARTS, Hu Fang, Boris Gray, Raqs Media Collective, Carol Yinghua Lu, Jan Verwoert, Martha Rosler, Gao Shiming, Cuauhtemoc Medina, Hans Ulrich-Obrist and Jeorg Heiser.


Preview (by invitation): Wednesday, Sept 9th, 5 to 7 p.m.
Vernissage (by invitation): Wednesday, Sept 9th, 7 to 10 p.m.
VIP days (by invitation): Thursday 10th & Friday 11th Sept, 11 a.m. to 6 p.m.
Public days (entry ticket): Saturday 12th & Sunday 13th Sept, 11 a.m. to 6 p.m.

Shanghai Exhibition Centre No.1000 Yan An Zhong Lu

140sqm gallery - THE SHAPE OF THINGS TO COME

New show opening at the 140 sqm gallery - THE SHAPE OF THINGS TO COME
Like this gallery very much - very professional a quiet confidence about it.

Group exhibition, artists; Elaine W. Ho, Qiu Xiaofei, Liang Shuo, Sun Xun

Opening 8th September 3pm - 7pm
show dates; 8th September - 31st October

Burlesque Naughtiness at Art Labor

Friday 21st August opening party at Art Labor
TASSOLOGY - An anthropological exploration of the Pastie
AMELIA KALLMAN.
To those of us unused to the term 'pastie' - no it's not a pie eaten by people from the North of England.
Pastie = glue-on nipple patches with or without tassles!

Should be an interesting show - only up for a few days.

8 -11pm

ART LABOR Gallery
10 - 36 Yongjia lu, (near Maoming lu)
永嘉路36-10号（靠近茂名路）Shanghai, 200020上海

Surprises of the Universe

Opening 1st August the Cervantes Library holds 'Surprises of the Universe' exhibition. I love science and space so will be going to this one. On until September
contact censha@cervantes.org.cn
198-208 Anfu Lu,
Xuhui
near Wulumuqi Nan Lu
安福路198-208号
近乌鲁木齐南路

intelligent alternative

Just come across an organisation called intelligent alternative which was set up to support artists and fund and support art projects. Very interesting particularly focuses on cross-cultural work cross discipline boundaries.

You can subscribe to their newsletter too.

Opening Friday 31st July Allegorical Aftermath SGA

Shanghai Gallery of Art opens the exhibition Allegorical Aftermath this friday 31st July at 6pm -8pm

Artists in this exhibition have story telling or pictorial narrative in their work

Gao Shiqiang, Guan Wei, Wang Lang, Wu Junyong, Zhang Hui, Dan Er

curated by Mathieu Borysevicz

exhibition dates 31st july - 30 august 2009

Performance by Phạm Ngọc Dương

At ifa gallery great show of contemporary vietnamese artists. Went to see excellent performance by Phạm Ngọc Dương - involved black ink being injected into a watermelon then the melon was cut and given to members of the audience. Phạm Ngọc Dương ate some of the melon too.

Ben Houge's 29 Giraffes

opening 23rd July 6pm
sound performance 8pm

[the studio], 796B Julu Rd. (near Fumin Rd.), Shanghai
Enter through lane 786, then take the first left until you see the big brown door.

Arthub talk - China and India in Context and Comparison

I like arthub they do interesting things. Talk comparing Indian and Chinese art.
Friday, July 16, 7 pm (though my calender says that friday is the 17th so will amend once I know the correct date.
held at Museum of Contemporary Art, Shanghai

MUST GET RICH 一定会富起来 Bamboo Art Space + 1918 Art Space

MUST GET RICH 一定会富起来
TAO Hongjing & Alexandre OUAIRY 陶弘景与亚历山大
Bamboo ArtSPACE & 1918 ArtSPACE
opening July 10th from 5pm 7月10日5点起
exhibition runs from the 10th July - 19th July

I like Bamboo art space and 1918 art space - their shows are always well curated - and there is a good quality emerging art works there.

Foundation: Summer Show - two cities gallery

Foundation: Summer Show features 8 young artists representing the emergent world of contemporary craft art in China.
This exhibit runs from July 4th to August 25th
twocities
双城现代手工艺术馆
50 Moganshan Road
Building 0, 2nd floor
[86 21] 5252 1518
www.twocitiesgallery.com

screening of building 173 @stageback shanghai

screening of building 173 at wei hai

www.building173.com

20th June at 50Moganshan

Shangart H-Space Blackboard exhibition

20th June at 50Moganshan

20th June at 50Moganshan i heart shopping gallery

shopping gallery

20th June at 50Moganshan

Galleria Dell'Arco

Stageback Shanghai - 5 germans

5 Shanghai Germans

Opening reception May 16th 2009
18h-22h

stage候台BACK Shanghai is delighted to present ‘Five Shanghai Germans’, a group show of recent works by Alexander Brandt, Roland Geissel, Susanne Junker, Rolf A. Kluenter and Lothar Spree.

stage back facebook page

Room 310, 3F, Building 11, 696 Weihai Lu near Shanxi Lu
Shanghai, China

DINGBATS BRASIL at the Foundry

DINGBATS BRASIL
Brazilian digital pictorial alphabets (1996-2006)

PV 9th may 6pm

the foundry
End of Lane 729, Shanxi Bei Road, x Kang Ding Road 中国上海市静安区陕西北路729弄内到底，近康定路

foundry facebook event page

140平方米画廊 | 140sqm gallery at hongkong international art fair

140平方米画廊 | 140sqm gallery at hong kong international art fair 2009

One of my favourite galleries in shanghai.
140sqm gallery - in a beautiful artedeco building clean layout and good sensitivity to framing and curation. Reminds me of the approach in london.

140sqm gallery
1331 fuxing zhonglu room 26, near fenyang lu
Shanghai, 200031 China
Tue -- Sun 11:00 -- 19:00
+86 21 6431 6216

Hong kong interanational art fair 4-17 May 2009,

wellside gallery opening 8 may 2009

Wellside Gallery 95 Moganshan Lu
two shows open 8 may

Jang Jae Rok Solo Exhibition
ANOTHER LANDSCAPE
Song Hyun Ju Solo Exhibition
INVISIBLE PARADOX

Reception: 8May, 2009, 5pm
Exhibition Dates: 8May - 4June,2009

Shanghai Gallery now in the UK

LiKailin Gallery’s Grand Opening on 7 May in Prestbury.

Shanghai based gallery now relocated to the UK to sell and promote + sell predominantly Chinese + Asian artists.

Grand opening 7 May

The Village ◆ Prestbury ◆ Cheshire ◆ SK10 4DG
+44 (0) 1625 422514

enquiries@likailin.com

Bamboo ArtSPACE inaugural exhibition / 请柬－竹艺术空间开幕展

Bamboo ArtSPACE inaugural exhibition / 请柬－竹艺术空间开幕展

Opening of a new space in Shanghai
20 Moganshan Lu

Utopia
Kwon, ki- soo
May 9th 6-9pm

bamboo artspace

"knitting" @ elisabeth de brabant

talk and "knitting" film at elisabeth de brabant art center
directed by Yin Lichuan
http://www.elisabethdebrabant.com/
Wednesday April 29th
6.30pm - 10.00pm
250rmb per person

299 fuxing xi lu shanghai

MOMMY FOUNDATION in CANART

CANART

Opening Party_ 8:30 pm May 1st

MOMMY FOUNDATION - A FOUNDATION SUPPORTING YOUNG CHINESE ARTISTS AND PROJECTS

CANART Institute of Contemporary Arts
1A of building 4 no. 727 Ding Xi Road, Shanghai

Gallery 55

Gallery 55 Moganshan Lu

55 @ 50 Moganshan Road, Bldg. 4A, Shanghai 200060, China
Tel: (+86 21) 6266 4108
Business hours: Tuesday - Sunday, 13:00-17:00. Closed on Mondays & holidays

Exhibition dates: 25 April - 18 June 2009
Tuopishi - by Li Wenqiang + Zhang Wei (photo + installation + video)

B1 Studio & Art Salon, wei hai lu

Enjoyed B1 studio black and white curated show of ventilation tubes luminous coloured post it note labels and hanging sculptures.

No website for this space - bit designy.

B1 no. 696 weihai lu, shanghai

wei hai gallery White Factory

On the weihai open studio event found another gallery, unfortunately missed the opening but loved the card flier and the fact that their new show is called flaneur, it must be good or at least slightly interesting.

Flaneur
18 april - 18 may
thu - sun 2-6pm

white-factory

Great Gallery!!! Around Space

While going round the Weihai road open studio event I came across a really cool gallery with some interesting curation. They had transformed the box like space with corners and then hung the work responding to the context and not over hung. Like!

around space

108 Building 11, No 696 Weihai road. Shanghai

around space II

map

Mindscape of the 21st Century - Andrew James Art

andrew james gallery

Exhibition of contemporary korean art opens Saturday 25 april

Artists: Kang Eemyun, Kim Hayoung, Kwon Hyuk, Yoo Junghyun
Curator: Heejin No

39 north maoming road, jing'an, Shanghai

map

Floating in Intimacy—Solo Exhibition of Yelan 2009

shun art design

Opening: 2009.4.25 (Sunday) 16：00-18：00

Exhibition Duration: 2009.4.25(Saturday)-2009.6.21(Sunday)

Tuesday - Sunday 10:00-18:00 Closed on Monday

Venue: Shun Art Gallery · Shanghai

RM 103/208, Building 3, No.50 Moganshan Road,Shanghai

Looks like Paintings of water lillies and plants - bit monet like in subject matter

Itchy - Young Artists Group Exhibition Biz Arts

Biz Art

All female show opening at Biz Art

Opening: April 24th, 2009, Friday, 18:30

Exhibition dates: April 24th to May 24th, 2009, 11:00 -18:00

Venue: BizArt Art Center

4/F, Bldg 7, 50 Moganshan Road 200060 Shanghai

Tel: +86 21 62775358 / Fax: +86 21 62273400

Factory (意工场) 6pm tonight visual art work by chinese students

Factory (意工场) VASI student art show tonight at 6 PM - 200 pieces on display by art students all over China!

factory map

上海市虹口区
沙泾路29号4号楼1楼 （1933创意园区）
200075

1933 Creative Complex
1ST FLR, BUILDING 4, 29 SHAJING ROAD,
HONGKOU DISTRICT,
SHANGHAI, P.R.C.
200075

Bund 18 Private view

Bund 18

Opening reception Tuesday 21st 6pm
21st of April, 2009– 30th of June Bund18 Creative Center Exhibition——Round Ground - Han Soonja’s solo exhibition

Shanghai ART BUS

Check out details of this art bus

Goes to Zendai and Shanghai Art Museum

18 - 19 April
Cost 150 RMB including lunch so not bad

Peter Dixie Talk 24 May @garden books

Following up on Peter's good talk/discuss on the photographic portrait last week Peter will be doing another talk at Garden Books on the 24 May this time on constructed spaces
see link for flier.

ART LABOR -CAMELEON – Alexandra Diez De Rivera

18 April - 9 May, 2009
OPENING PARTY: Saturday, 18 April 2009 5- 10pm, ALL WELCOME
ART LABOR Gallery
10 - 36 Yongjia lu, Shanghai (near Maoming lu)

I like ART LABOR. no idea what the show will be like, but sounds fun.

You can read about it on their facebook page.

18 - 19 April Open Studio Weihai Road 696

This is what it says on their facebook site
"696 Weihai Road has a very diverse mix of inhabitants, including painters, sculptors, dancers, singers, bands, film directors, photographers , actors, arts activists, journalists, fashion designers, professional travelers, an underwear designer, child arts specialists, a wedding photography team, a foreign martial arts master, an animation company, an outdoor clothing and gear shop, architects, and also a few experimental gallery spaces."

Sounds great. Plan to go.

stageback website

Return 回 归

Private View Saturday, April 11, 2009, 3:00 PM

4月11日 星期六 下午3点

3F,0 Bld,50 Moganshan Road（M50）,Shanghai, the Sunbow Art Gallery

上海市莫干山路50号0号楼3层 太阳虹画廊

looks like traditional oil painting of landscapes

Talk on Portraiture in Photography

PORTRAITURE:culture/theory/meaning - a photography seminar - Sunday 12th April, 7-9pm, Garden Books & Cafe, 325 ChangLe Lu. 40RMB incl. drink/snacks

talk flier

Photographer Peter Dixie is giving a talk on Portraiture in photography.

peter dixie on flickr

Matters of Faith James Cohen Gallery

matters of faith james cohen gallery

This New York and Shanghai gallery displays it's big guns 基弗 Anselm Kiefer, 白南准 Nam June Paik, 比尔•维奥拉 Bill Viola (I think Bill Viola's recent stuff is really dull)

but the artist who completely steals the show is 徐震 Xu Zhen with his 'untitled' massive house of cards that looks like a famous building in a western region of China

Must see show and lovely restored art deco building

gallery address

opening reception Gary Fernandez (resident artist)

factory page on facebook

recently opened creative space called the factory - (i haven't been there so can't rate it)

Spanish illustrator Gary Fernandez starts his two week residency.
The opening reception is at 6pm on the 9th April

http://www.factoryshanghai.com

how to get there - address - map

Femme Fatale @ Art plus Shanghai

femme fatale art plus shanghai

group show on until 19 April

Artists shu jie, wang xiaodi and jiang wanlu

Interesting exhibiting dealing with issues regarding the portrayal of women in china.

His Story - Sun Xun Solo Exhibition

Great exhibition of drawings, light boxes by Sun Xun. Skillful bold charcoal representational drawings some used as part of animations.

Apr 03, 2009 - May 16, 2009

ShangART, 50 Moganshan