GROUP EXHIBITION

3812 Gallery Grand opening
with New exhibition
‘Space matter’

ARTISTS:

LIU GUOFU | LIU ZHUOQUAN | WEI QINGJI | LIN GUOCHENGZHANG XIAODI | YU YANG | CHEN HONGBO | CHLOE HO

11.Dec.2015 – 10.Jan.2016
3812 Gallery

G/F, 118 Queen’s Road West, Sai Ying Pun, Hong Kong

thumb_spacematter

3812 Gallery is now located in Sai Ying Pun and becomes an new icon of Queen’s RoadWest. 3812’s inaugural group exhibition named “Space Matter” is curated by Tang Keyang will be exhibited from 11th Dec, 2015 to 10th Jan, 2016.

Space matters

‘Space’ is perhaps one of the most widely used abstract notions, ranging from a simple daily expression such as ‘I need more space’ to the heavy-loaded, contested concepts used in political science, philosophy and architecture.

We tend to conceive space as a place where things happen, as opposed to a void. Whether imaginary or physical, spatial representations almost always entail a separation of the outside and inside. At first, this might seem like an unproblematic division. However, we soon run into questions regarding the ‘realness’ of space, for we are able to deconstruct them, break them down and return ourselves to the chaotic state of being we started out with. For the curious minds, this is a confusing but nonetheless tantalising subject of enquiry.

The three spectrums of space

Dr. Tang Keyang has put together a wonderful, thought-provoking show and presented us with the question of ‘space’ in three separate spectrums of meanings. The first being a ‘cultural space’, this invisible place entails a contested overarching knowledge structure. When the space of culture encounters the visible, localisable space which we live in, questions of representations are raised. This leads us to a second space, a space of representations as artists reconstitute objects and places in images of the first space.

The third space is implied but it is one that is the most puzzling (and liberating). That space is ‘us’, or rather, how we construct ourselves based on our understanding of the world around us. Our innate physical limitation dedicates that we are only ever present at one place, at one time. This is behind our spatial misconception that we are (relatively) free to move across space, yet our movement is always constrained by the way these spaces were produced.

We are the locality where the consequences or effects of the two aforementioned spaces translate into our living experience and how we understood ourselves – our identities. It is unsettling to understand that our life are determined and structured by forces in abstract places that cannot be ‘physically grasped’; and that the very language we use for self-expression is subjugated to the conditioning of these ‘invisible’ spaces.

Melancholy Modernity, Lin Guocheng, 24× 32cm, Pen and Chinese ink on Paper

Selected artworks

The works chosen here provide us glimpses into these imagery spaces that are otherwise unobtainable via langue.

In Lin Guocheng’s ‘Melancholy Modernity’ (see image below), the omission of ‘depth’ exposes the ‘real’ nature of the two-dimensional space and remind us that the presumed ‘realistic representation’ of three-dimensional world, is in fact created via visual deceptions. Whilst this is a difficult notion to grasp, it illustrates the uneasy, intricate relationships between representation, reality and our own perception.

A Horse, Wei Qingji, 136 × 70 cm
Ink on rice paper

Or in that of Lin Zhuoquan’s installations, where familiar objects are bottled and reorganised in an estranged context. Not only do his works raise the serious question as to whether we are consuming objects or rather, symbols. His otherworldly encyclopedic composition of worldly objects challenges our very own socially constructed understanding of the world.

Wei Qingji’s whimsical representational ink figures sets him apart from the preoccupation with abstraction amongst other experimental ink artists. However, his message is an equally serious one.  As the title ostensibly implies, the viewer’s instant recognition of the figure as a horse is in fact, unwarranted. In simpler language, what is being depicted is not horse, but a representational silhouette of a horse. In our recognition of the misleading nature of our interpretation of what we see, we are offered a fleeting glimpse into the invisible spaces that informed our very own understanding of the world. Wei Qingji’s subversive ink work shows that the abstraction is never in the ‘form’ of an object depicted, but in the invisible spaces hidden behind our thought.

What the artists chosen here have collectively shown is precisely the uneasy relationship amongst the three spaces. In which what we think we see are almost always conditioned by the way these spaces were produced.

We will restrain ourselves from offering any further interpretative spoilers on the works that will be exhibited but to leave the cognitive exercises to the pleasure of our audiences. 3812 is thrilled to be able to conjure a show encompassing works specifically created for this exhibition by Chloe Ho, Liu Zhuoquan, Chen Hongbo, Lin Guocheng, Wei Qingji and Zhang Xiaodi. We invite you to join us this October in our new space to experience a thought-provoking intellectual journey.

ARTWORK

LIU GUOFU

劉國夫,《彌漫 3》, 布面油彩 Liu Guofu, ‘Pervading – 3’, Oil on canvas, 90 cm x 120 cm, 2015

劉國夫,《敞 16》, 布面油彩 Liu Guofu, ‘Open Space No.16’, Oil on canvas, 165 cm x 93 cm, 2013

劉國夫,《敞 43》, 布面油彩 Liu Guofu, ‘Open Space No.43’, Oil on canvas, 180 cm x 150 cm, 2015

劉國夫,《彌漫 1》, 布面油彩 Liu Guofu, ‘Pervading – 1’, Oil on canvas, 200 cm x 140 cm, 2015


WEI QINGJI

魏青吉,《物.像系列 – 黄金》, 水墨、紙本 Wei Qingji, ‘Thin . Form – Gold’, Chinese ink on paper, 180 cm x 95 cm, 2005

魏青吉,《一匹馬》, 水墨、紙本 Wei Qingji, ‘A Horse’, Chinese ink on paper, 136 cm x 70 cm, 2015

魏青吉,《無題 2015A》, 水墨、紙本 Wei Qingji, ‘No Title 2015 A’, Chinese ink on paper, 95 cm x 180 cm, 2015

魏青吉,《晚霞 2014 A》, 水墨综合材料 Wei Qingji, ‘Sunset 2014’, Mixed Media with Chinese Ink, 125 cm x 126 cm, 2014


LIN GUOCHENG

林國成,《暗香系列》, 鋼筆水墨、紙本 Lin Guocheng, ‘Hidden Fragrance’, Pen and Chinese ink on paper, 150 cm x 250 cm, 2014

林國成,《開門見山(三) – 雲朵與雪意》, 鋼筆水墨、紙本 Lin Guocheng, ‘Open the door and see the mountain (III) – Cloud and Snow’, Pen and Chinese ink on paper, 115 cm x 196 cm, 2015

林國成,《格子與樹 (二)》, 鋼筆水墨、紙本 Lin Guocheng, ‘Grids and Tree (II)’, Pen and Chinese ink on paper, 115 cm x 220 cm, 2015

林國成,《共生》, 鋼筆水墨、紙本 Lin Guocheng, ‘Symbiosis’, Pen and Chinese ink on paper, 113 cm x 128 cm, 2015

林國成,《形與流 (一)》, 鋼筆水墨,茶水、紙本 Lin Guocheng, ‘Form and Current (I)’, Pen and Chinese ink, and Chinese tea on paper, 77 cm x 57 cm, 2014

林國成,《形與流 (二)》, 鋼筆水墨,茶水、紙本 Lin Guocheng, ‘Form and Current (II)’, Pen and Chinese ink, and Chinese tea on paper, 57 cm x 77 cm, 2014

林國成,《紅日》, 鋼筆水墨、紙本 Lin Guocheng, ‘The Flaring Sun’, Pen and Chinese ink on paper, 78 cm x 67 cm, 2014


LIU ZHUOQUAN

劉卓泉,《神話》, 香港本地日用瓶、化妝瓶、馬爹利瓶、礦物質顏料、水墨、水彩、綜合顏料、火漆、燈光、鏡子、照片 Liu Zhuoquan, ‘The Legend’, Hong Kong household bottles, cosmetic bottles, Martell bottles, mineral pigments, Ink, watercolor, integrated pigments, wax,lighting, mirrors, photos, 1,000 bottles installation, 2015

劉卓泉,《迷途》, 鐵網玻璃燈罩,瓶子、礦物質顏料、噴漆、電線 Liu Zhuoquan, ‘Stray’, Glass Lampshade with iron frames, Bottles, Mineral Pigments, Spray paint, electrical wire, 2013

劉卓泉,《H2O》, 不銹鋼,玻璃管、礦物質顏料 Liu Zhuoquan, ‘H2O’, Stainless Steel, Glass Tube, Mineral Pigments, 2013

劉卓泉,《我的長途旅程》, 瓶子、礦物質顏料、木材、鋼化玻璃 Liu Zhuoquan, ‘My Long Journey’, Bottles, Mineral Pigments, Wood, Glass, 2015


CHLOE HO

何鳳蓮,《多元宇宙》, 中國水墨、丙烯,紙本 Chloe Ho, ‘Multi-Verse’, Chinese ink and acrylic ink on rice paper, 57 cm x 278 cm, 2015

何鳳蓮,《奧林匹斯山》, 中國水墨、咖啡,紙本 Chloe Ho, ‘Mount Olympia’, Chinese ink and coffee on paper, 56 cm x 158 cm, 2015

何鳳蓮,《宇宙大爆炸》, 中國水墨,丙烯、紙本 Chloe Ho, ‘Big Bang’, Chinese ink and acrylic ink on rice paper, 107 cm x 193 cm, 2015

何鳳蓮,《衝擊》, 中國水墨、桑樹紙 Chloe Ho, ‘Collision’, Chinese ink on mulberry paper, 70 cm x 89 cm, 2015

何鳳蓮,《灶神星》, 中國水墨、桑樹紙 Chloe Ho, ‘Vesta’, Chinese ink on mulberry paper, 70 cm x 71 cm, 2015


YU YANG

于洋,《水墨物體 – 本命年》, 紙本水墨,木 Yu Yang, ‘Ink Object – Animal Year’, Chinese Ink on paper, wood, 150 cm x 180 cm, 2015

“于洋,《筆墨無用 – 红與黑》, 紙本水墨,木 Yu Yang, ‘Useless Brush & Ink – Black and Red’, Chinese Ink on paper, wood, 150 cm x 150 cm, 2015”


CHEN HONGBO

陳紅波,《有象》, 綜合材料、多層亞克力 Chen Hongbo, ‘There like… an elephant’, Mixed media with multi-layered acrylic, 40 cm x 80 cm x 11 cm, 2015

陳紅波,《夜、海》, 綜合材料、多層亞克力 Chen Hongbo, ‘Night and Sea’, Mixed media with multi-layered acrylic, 40 cm x 80 cm x 11 cm, 2015

陳紅波,《春曉》, 綜合材料、多層亞克力 Chen Hongbo, ‘Spring Dawn’, Mixed media with multi-layered acrylic, 50 cm x 80 cm x 11 cm, 2015

陳紅波,《瓊樓》, 綜合材料、多層亞克力 Chen Hongbo, ‘Jade Palace’, Mixed media with multi-layered acrylic, 100 cm x 60 cm x 12 cm, 2015

陳紅波,《精靈》, 綜合材料、多層亞克力 Chen Hongbo, ‘Elf’, Mixed media with multi-layered acrylic, 40 cm x 80 cm x 11 cm, 2015


ZHANG XIAODI

張小迪,《逝者如斯夫》, 3屏高清數位影像,2分鐘,版數:6+AP(第一版為武漢美術館收藏) Zhang Xiaodi, ‘Becoming, Decaying’, 3-channel video installation, filmed with HDV, 2 mins, Edition: 6+AP(The first edition is collected by Wuhan Art Museum), 2013

張小迪,《逝者如斯夫》, 3屏高清數位影像,2分鐘,版數:6+AP(第一版為武漢美術館收藏) Zhang Xiaodi, ‘Becoming, Decaying’, 3-channel video installation, filmed with HDV, 2 mins, Edition: 6+AP(The first edition is collected by Wuhan Art Museum), 2013

張小迪,《逝者如斯夫》, 3屏高清數位影像,2分鐘,版數:6+AP(第一版為武漢美術館收藏) Zhang Xiaodi, ‘Becoming, Decaying’, 3-channel video installation, filmed with HDV, 2 mins, Edition: 6+AP(The first edition is collected by Wuhan Art Museum), 2013

EVENT PHOTO