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Liao has travelled and performed internationally in various productions and dance festivals. Her works include performances in theatres and galleries, site-specific spaces as well as video works. He is currently a dancer of City Contemporary Dance Company. Osage: Announcement:. Kindly note that Osage Gallery Hong Kong along with the following offices, will be closed on Over time, Zhao Zhao has used repetition as a central concept and means of retaining reference to the original subject in the making of distinct works of art across a range of media.
The action of repetition can be understood as integral to the operational structure of the daily economy of life. More specifically, the processes of recycling, re-presentation and assemblage characterize its functioning. Repetition is also a significant aspect of contemporary art. As distinct from the idea of an original creation as with modernist art, this aspect of contemporary art is a practice whose concept and materiality are based on using directly what already exists around us.
More than that, we might say it represents the action of an individual artist or artistic group to intervene and respond to a social reality greater than themselves. The work of Zhao Zhao belongs to this approach, drawing upon what is given but, remains hidden in the course of daily life. His work brings to the attention of audiences something overlooked or unseen, a detail and or an action, imperceptible or hidden from view or, perhaps at the limits of the norm of what is acceptable to be represented. The five works seen together in this exhibition, we witness how Zhao Zhao gives a visible materiality to daily life, as if providing evidence of aspects of their otherwise unseen, forgotten or changing existence.
By repeating something, he makes it new as an art form while, referring to the original source of its creation. It is no longer simply appropriation as was post-modernist art. Rather, repetition is never the same as before, but a work of art that, through the action of repetition, highlights the disappearance of the original. As with other work by Zhao Zhao over the past six years, these works emphasize the action of an artist to intervene, to create a measure of distance from the real in order to reflect back on that reality.
Through his installations and actions, we see how repetition is used as an artistic method to critically reflect on aspects of contemporary life. Osage: Post-Industrial Landscapes 5. Post-Industrial Landscapes 5. A collaged city is constructed with unique urban components, ranging from Tai Kwun — the newly open heritage-revitalised cultural institution, to the overcrowded cemeteries along the hillsides and the bustling streets of Sham Shui Po.
Alongside these digital representations, this exhibition poses artistic insights towards the relationship between an urban space, its artificiality and the resulting cultural production, through the works of Hong Kong artists South Ho, Ko Sin Tung and Trevor Yeung. The intricacy of this exhibition is foregrounded by the multitude of urban scenography and the breakthrough of inherent boundaries, signifying Hong Kong in urbanism terms as an exception, not a model - never been able to be adapted by another planned city. Enquires Ms. Osage: Announcement: Please kindly note that Osage Gallery will be closed this Sunday 5 Aug due to building maintenance, and will reopen at am on Monday 6 Aug.
Sorry for any inconvenience caused. There are two ways to write the character Diu. One is to insert the character for Small into that for Door. The other one consists of two pictographic parts showing the image of a hanging corpse. Why is the word Diu being chosen as a focal point of the exhibition? Is it because of its unusual typographic structure with the character Small positioned inside a pair of Doors? Or could it be a bodily organ placed between a pair of legs? What exactly does the character of Small stand for in this context?
So, is the formation of Chinese characters similar to that of the emoji nowadays? Does the character structure already reveal the meaning of the word? The character Diu allows so much room for imagination. For a non-Chinese reader, does Diu appear as a smiling whiskered man with spectacles? A unique dialogue on the culture of Chinese typography is to be kicked off at the 2-day pop-up ink installation exhibition at Osage Gallery. Some guided tours will be provided.
The dull impression of some public spaces that is difficult for people to feel a sense of belonging to the community. The work in this show highlights three issues we face today in landscape architecture.
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These are the quality of community open space, bio-philia and lifestyle choices for Hong Kong. In some open spaces in the community, it is difficult to arouse the sense of belonging of the public. Landscape Architecture students started from the perspective of open space design, studying the existing coastlines, outdoor spaces, new town development and urban developed areas. They discovered the importance of the natural environment, to maintain the balance of natural ecosystem and its ability to inspire diversity in public open space design, community interaction and sustainable development.
It is a programme designed to lay a foundation of both design philosophy and technical knowledge for students who intend to pursue the landscape architecture or related professions. The programme is accredited by the Landscape Institute in UK. Admission is free. Curated by Zoran Poposki and Laurence Wood, the exhibition at Osage Gallery Hong Kong showcases a selection of more than 30 works of video art, painting, and drawing by 13 artists investigating translation as a key strategy of global negotiation and interchange between agents from different cultures. In the contemporary emerging network of new pathways between multiple formats of expression and communication, our daily practices, as well as our sense of self, rely on constant translation and mediation between identities and cultures.
The Translation s project explored that ongoing process of negotiating complex cultural interplays. Working under a curatorial concept encouraging diverse explorations and interpretations of the theme, the artists featured in the project explore perspectives of a world rapidly transforming into a global translation space by the physical movement of people, and the consequent mediation and negotiation to establish and understand new personal and collective cultures. Background The first edition of Translation s I was released in and was screened at international art festivals in Hong Kong, Slovenia, Denmark, Italy, and Canada.
The artists in T1 used a variety of visual approaches to translate the impact that living and working in different cultures has upon them. Simultaneously personal and universal, global and local, sometimes our contemporary lives can seem like journeys in an apparently chaotic universe, a territory which may be travelled forwards and backwards in time and space. In this changing terrain, our daily practices, and our sense of self, can rely on constant translation and mediation between identities and cultures.
The project explored that ongoing process of negotiating complex cultural interplays. T2 Translating the City explored urban space and place through the medium of video, employing a variety of strategies and interdisciplinary approaches, from mapping and public space performance, to the exploration of spatialized identities, cultural memory, and cultural translation. The participating artists reconsidered the city as a space of negotiation and interchange between agents from different cultures, the scene of an ongoing process of translation.
T3 Bodies in Transit explored one of the most topical issues of contemporaneity: the traversing of borders. Migration, immigration, and refugees, people and cultures meeting, mixing, melding or clashing, forcing collectives and individuals to come face to face with difference or similarity, and to consider questions of our underlying common humanity. About the curators Zoran Poposki MFA, PhD is a transdisciplinary artist, researcher, and educator, exploring themes of cultural translation, spatial epistemology and social practice.
His work has been shown in numerous exhibitions, screenings and festivals worldwide. Saturday He likes the idea that the camera, unlike other tools, is not a prosthetic extension of the human body, but rather a plaything that allows the photographer to become the player. Cameras are the basis of new media art as optical media machines that for the first time, imitated the very act of seeing. They are designed by people and as a result the design of these devices tell a lot about how they picture the world visually. Throughout his life he has been interested in how we see and how we perceive reality.
His father was an amateur photographer, and their home was full of camera catalogues, and the young Waliczky dreamed of owning them and puzzled over how they might work. Although Waliczky's structures are influenced by actual cameras, similar devices, or long forgotten 19th-century inventions, their technical aspects have all been re-engineered by the artist.
Humour and irony are a large part of his imaginary cameras. They are not standardised, user-friendly objects but are unique creations and using them would require special skills and sensitivity. Waliczky has worked together with his wife Anna Szepesi since the early eighties.
Anna is usually the artistic adviser in most of his works. He was artist-in-residence at the ZKM Institute for Visual Media in , and subsequently a member of the Institute's research staff before taking up a guest professorship at the HBK Saar, Saarbrucken From until he is professor at Fachhochschule Mainz.
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Between and he is at HBK Saar again, this time as full time professor. In Tobias Gremmler's work the technology primarily serves an artistic expression. Through that expression, the boundaries between disciplines start to dissolve. It is actually this process of dissolving rather than merging that interests me. It unveils a certain structure that exists beyond the media that carries it. There is a universal core in each theatrical expression, independent from its cultural encoding. Tobias Gremmler's work fuses Chinese opera with new media to make virtual actors inspired by the shapes, colours and motions of the traditional artform's movements, costumes, voices and dance.
He believes that "The visuals should trigger the imagination of the audience rather than being consumed. Every medium has a different degree of intimacy that determines the individual freedom of interpretation. When you read a book, all voices and images appear in your own head. They come to existence through the imagination of the reader. I often introduce elements of incompleteness in the sense that it encourages the recipient to complete it with their own imagination. Tobias Gremmler was born in born in Munich, Germany. He is also active in theatre composition, interactive installations and media scenography.
In December he created the visual effects for the show "Storm in Emptiness", directed by Tim Yip for the 10th National Spirit Achievers award ceremony and Modern Media Group 25th anniversary celebration. This exhibition is a part of the Osage Art Foundation's "Regional Perspectives" platform that puts the production of art in Asia into a critical perspective in relation to other geographies.
Of this initiative, Patrick Flores says " The South by Southeast project was conceived out of the anxiety to move beyond the burdened categories of nation and region. It was prompted by the desire to exceed the limits of how localities are almost by reflex and default integrated into nations, which in turn are integrated into regions.
This project will bring together 26 artists — 14 from South and Central America and Mexico, 8 from Southeast Asia and 4 from Hong Kong and Macau and generate new perspectives around contemporary art. For this exhibition curator Raphael Fonseca looked for artists with an interest in a critical articulation between the past and the present. He says, "All of the artists in this project are interested in raising questions about the relations between the historical past and the present. How can the past affect the present and how can contemporary art practice transform historical documents in very different kinds of narratives?
What are the relations between macro and micro history? Recalling the difficulties of his early life in Algeria Camus wrote "I was placed halfway between the misery and the sun. Misery kept me from believing that all was well under the sun, and the sun taught me that history isn't everything. Fonseca notes that "The topics of migration, diaspora, memory, oblivion and identity are all essential to each of the invited artists and to the historical narrative of their countries.
Even with the geographical distance between Asia and Latin America, there are many artistic, environmental and historical points of dialogue.
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Looking forward, the second iteration of the "South by Southeast" initiative will be curated by Patrick Flores and will set its sights on the ties between Southeast Asia and the Caribbean, which is southeast of the hegemonic North American mainland. Flores notes that "this South by Southeast option leads us to revisit how we reflect on the place of region in the contemporary.
Osage wishes all a healthy, happy and prosperous Year of the Dog! This exhibition is the second part of a cultural exchange that began in July when a group of young Hong Kong artists travelled to the village of Scuol in Switzerland to take part in a residency program, and to exhibit their work alongside that of a group of Swiss and Austrian artists.
As such, the exhibition shows us that while there are common traits that inform all modern and contemporary artistic practice, there are also significant differences. No more so are these differences evident than in placing Asian and European artists together, in this case Hong Kong and Swiss artists.
Together the five Hong Kong artists show in different ways how the social sphere appears as the subject of their practice. Co-Curator Harald Kraemer describes these differences as follows: "The Hong Kong artists explore objects in space but often beginning with the domestic, the mundane and everyday. This is the point of departure. Recreating a living room, a bathroom or just a bed or a table their installations generate new narratives.
Defined once as 'social sculpture', their installations fuse spatial design, paintings, everyday objects, sound to invoke the question of place and memory of the personal. In certain cases the work might playfully engage with kitsch or create a sense of estrangement with the familiar or to the contrary, forming quiet moments that escape the purview of the everyday, evoking calm and tranquility.
Such practice belongs to a long tradition of engagement with everyday life but there in a new dimension to this contemporary manifestation. The artists from Switzerland and Austria have started their artistic work with a more classical understanding of volume, space and sculpture. For them often the challenge is to respect the existing spatial situation by analyse it at the same time. The reflection and therefore the reaction can be an intervention in form of an alienation, a manipulation or even a destruction of the existing space.
They are responding to the characteristics of the given architecture in many ways. Their interventions can look like a set design, a forgotten ornament, an architectural detail, a construction site or an exhibition inside the exhibition. By describing the shown intervals in space, the visitors learn in many ways more about their own position in the interplay of diverse spaces as well as they can fill the seen with their own imagination. The schedule for Friday 15 December begins with a talk session with the artists and the curators from 4. Following on from this, Co-curator Harald Kraemer will lead a tour of the exhibition from 5.
To celebrate the occasion of the opening of Interval in Space there will be a special musical performance commissioned by Osage Art Foundation and organised by William Lane. Exhibition: Vernissage 15 December , 6. In his work, motifs, sequences, geometrics, mathematics, and dialectical oppositions orchestrate harmonious melodies, dancing on canvases, dynamic yet with restraint.
Propositions bloom and transmute detailed and grand rendering into gentle touches and sober contemplations on truth, existence and the universe. Together, they think and explore. In his work, silence, vibrancy, art and science encounter an oil paint ground, with a common tool of creative imagination. Li Xinping is a substantial thinker, and his work shows a steady range of development, over time his focus has shifted from a reliance on perception to rationalist elements as he progressed from painting objects and scenery in daily life to depicting geometrics and mathematical theories.
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A new angle to explore and question the existence of physical universe has emerged. His work constitutes a personal reflection of a dialectical opposition between rationalism and tangible experiences, here, on his canvas, art and science seems to have found something in common. Technology ventures ceaselessly with our time, or even ahead of our time, and our external world is ever enriching, while Li Xinping bravely explores the truth of existence.
His struggle and willingness to experience defeat along the way is the direct source of his creativity. Those shapes and surfaces may come from an imagination or a theory that mathematicians have been working on. They are the evidence of our never ending pursuit of truth, the beauty of truth. As the Austrian poet Rilke put it: "If only we could discover such a singular human place- pure, determined, self-contained, our own fruitful soil between the river and the stone! Two hundred million years ago trees fell in the forests of what later would become the island of Madagascar.
Over vast periods of time, these trees were transformed into fossils known as petrified wood. Osage has the largest collection of petrified wood ever seen in Hong Kong. More than 1, pieces, some weighting well in excess of kg will set the scene for a voyage of discovery through ,, years of Malagasy history.
Some of these fossils still look like wood on the outside but when cut and polished take on the quality of precious stones. These objects are a tangible part of our past. They embody notions of time, history, creation, evolution, disaster, extinction, survival, transformation and regeneration. By looking to the past we are able to engage with the future in myriad ways including climate change, technological change and our own evolution and survival as a species.
The exhibition also features work by Chan Sicpo, a naive self-taught artist whose work reflects the colours of the people of Madagascar, and the land that sustains them. Artists: Chan Sicpo Exhibition Period: Closed on public Holidays. The project begins in July when a group of young Hong Kong artists will travel to the village of Scuol in the picaresque Engadin valley in south-eastern Switzerland in order to take part in a residency program and to share information about their artistic practices with a group of artists from Switzerland and Austria.
The project includes an exhibition in Switzerland from 21 July to 29 October and then later in the year will continue in Hong Kong with a residency for the Swiss and Austrian artists and an exhibition at Osage Hong Kong from 15 December to 28 January Scuol in Switzerland is a centre for the rich Romansch culture that is a descendant of the spoken Latin language of the Roman Empire.
During their stay, the Hong Kong artists will explore this culture and later reflect upon their experiences for their exhibition in Hong Kong. In Switzerland the Hong Kong artists will show work that they hope will resonate with their hosts. Nadim Abbas will show an animated crashing waterfall but as seen through a typical Hong Kong apartment window. Kingsley Ng will show a work that is a reflection on the supply of water. Sarah Lai will show work that comments on the crowded nature of Hong Kong.
Lee Kit's interest is to redefine how we identify with the everyday by staging communal activities with his artworks and to seek an uncanny interpretation of an object. Au Hoi Lam will explore the nature of language with an installation that examines the process of translating a Cantonese pop song into English, French, German, Italian and then into a dialect of Romansch. The art of Chinese artist Li Xinping speaks to the language of music. In some of his early works this connection between subject and form is made explicit, while in his more classically inspired works it is expressed more by his selection of a particular key.
This is a more abstract concept that encompasses tone, pitch, duration, loudness, timbre, rhythm and melody. His work also speaks to the long established relationship between mathematics and music. Some of these connections are based on rules and principles that result in harmonious beauty while others are more tumultuous and describe the chaotic uncertainty of everyday existence. Artists: Li Xinping Exhibition Period: Closed on Sundays and public Holidays.
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Keeping attentiveness to the precious individuality, they devote themselves to practices of art as ways to reconcile the relation with oneself. Closed on Public Holidays. From fetishizing horror and beauty to contemplating anxiety and morality, this carefully curated collection ranging from installations to documentations aims to provoke and undermine the sensibilities of viewers. At times dark and on occasion satirical, these powerful and provoking works by the most current Chinese artists present for us a celebration of the fragility and volatility of the human condition. In these moments, we are witnesses to vulnerability, to the unspoken rules of daily life, and to possibilities of existing beyond these rules.
Apart from Castro, who lies faintly breathing and speechless, the leaders lie in coffins, making the summit of these once vociferous leaders a silent one. At a time when the whole world is drawn into the vortex of economic crisis, and doubt has emerged about the values inherent in Capitalism, the work poses the questions: are the ideas and ideals of these long-gone socialist vanguards still relevant?
Will their ideas, concepts and theories on Capitalism and Socialism merge to reflect our sensibilities someday? Taking the form of an over one hour-long documentary video, the camera, like a fly on the wall, chronicles the daily routines of ethnic Russians living on the edge, whose ancestors during the First World War crossed the Chinese border on the Heilongjiang River to settle in Hongjiang, a small farming village of 30 square kilometers. It is an open platform for dozens of short, often informal presentations, such as artist talks, panels, lectures and performances with a range of speakers representing many different aspects of the artworld.
Osage Gallery Hong Kong is currently closed in preparation for a new exhibition on March 17, Thanks for your patience and we hope to see you soon! Artists Lam Siu-wing, Eric Tsang, Solomon Yu and the art group Archive of the People will present their artworks as a way to explore the relation between truth and art creation. The exhibition will open on Feb 6, at Osage Hong Kong and an on-site public forum will be held on Feb 25, to engage the public and the artists. Exhibition Period: By juxtaposing garments, design, art, music, choreography, and architecture, HKIRunway!
The project interprets fashion as performance, business, and community. Anothermountainman, the design curator and advisor, selected ten fashion designers who are graduates of Hong Kong Design Institute from years , and and works on the graphic design of the project. Event Dates: Fashion as a Performance: Enquiries: Andy Cheng: andycheng osagegallery. In celebration of the festival season, Osage Merchandising, Osage Art Consultancy, and Sigma Art Service will have special office hours on the following days:.
Enquiries: Melody Qin: melodyqin osagegallery. Open to special appointments outside of these times. Osage will be presenting a solo booth by Beijing based artist Li Xinping, debuting a selection of his new oil on canvas works. In the paintings, the rational and the poetic of the universe collide as the artist depicts a universal operating system by using geometric and abstract structures.
The artist is not only concerned with the criticism of commonly misinterpreted philosophical propositions in contemporary society, but also in exploring the relationship of Yin and Yang — forces that mutually reinforce and neutralize each other, both in the natural sciences and in human thought. The artist eagerly looks forward to awakening the instinct of questioning the unknown world in the audience. The artist will extend his unique style of creating this year, as is manifest in his new exploration of philosophy and sociology in CIGE.
The painting is a dialogue on the power of esoteric knowledge. The artist further extends this concept with more subtle scenes of love songs and war, depicting inevitably tangled chaos. Philosophical propositions are restored to a rational image, as embodied in the geometrical shapes in the artwork; social identity is discarded. It is through the abstract that Li Xinping expresses the contemporary social situation in order to expose a perception of the order of the human world that is beyond our current perception.
The title of the artwork references such a notion of the constant pursuit of knowledge that has historically occurred and will occur. Hong Kong::Post-Industrial Landscapes 4. Osage Art Foundation is pleased to be the venue sponsor of the AAVS exhibition, and a supporter of the young emerging talents. Osage Art foundation is a non-profit organization, established in with three main goals - Creative Communities, Cultural Cooperation and Creative Capacity. We aim to stimulate the development of alternative education models in Hong Kong. Sugar is sexy, superbly successful, stimulating, sweet and synonymous for a society of hyper consumption and addiction to instant gratification in all levels of life.
We live in a new electronically permeated, augmented and mediated landscape, framed by biological addiction, mental hyper-activity and electronic stimuli. We allow and enjoy continuous stimulation of our optic nerves through a myriad of optical devices, immersing ourselves in the likes of Oculus, Virtual Reality and Augmentation. Consuming not only electronically, but physically more than ever before in human history. Yet we experience and see more unbuilt virtual spaces than actual architectural physical environments each day.
Becoming sugar addicted in all digital, physical, and biological ways. In addition, a series of lectures will be held by a number of International key speakers. In partnership with the City University of Hong Kong, and the renowned School of Creative Media, the workshop provides tremendous exposure not only in the Academic sector, but also in the world of Architecture and Design locally and internationally. In all of the Post-Industrial Landscapes workshops the aim is to be opportunistic; exploring and pushing the technological possibilities and concepts of our disciplinary involvement.
For instance, in , Post-Industrial Landscapes 3. The results were overwhelming in quality and were exhibited at Osage. As one of the oldest and most prestigious schools of architecture, the AA School of Architecture prides itself for being at the epi-centre of contemporary architectural conversation worldwide. From exhibitions, lectures, to symposia and publications, the AA has provided the backdrop for three Pritzker Prize winners Rem Koolhaas, Zaha Hadid and Richard Rogers and handfuls of the most influential architects and thinkers of today.
In , the AA had launched its Visiting School Programme with the ambition of reaching larger audiences and sectors from its doorstep of 36 Bedford Square, London. Exhibition Details Opening Ceremony: In Hong Kong, our city, coastlines, even countryside, are a response to geographical and spatial limitations. It is as if our activities and imagination are impeded by both visible and invisible boundaries. Starting from thinking about the urban spaces of this city, the students of Landscape Architecture study the limitations as dictated by land and reference related examples in order to discover the possibilities of transforming a place.
Exhibited are works from the Fitting Room series, in which Shieh explores the androgynous body; broad shouldered and small waisted - interchangeable for both his male and female characters. With these doll-like bases, he weighs on them with an exterior of individual hairstyles, faces, and apparel imbued with heavy questions on gender dynamics, culture, and identity.
In finding grounds for his identity and culture, he collects, assembles and disassembles celebrities, movies, and other icons of Hong Kong that have become the major building blocks that accumulated into what is our local culture. Often alluding to the familiar child-like aesthetics of paper dolls or old-fashioned decorative posters, these illustrations echo his previous focus on bodies and the separate exterior.
This estranged visual organization indexes not only his pop cultural influences but also his influences as an artist. Thus forming a body of work colorful in Hong Kong and western references. The artists featured in the showcase navigate the inherited cultural horizons between the inward and outward currents of the Philippines, working with irony, satire, appropriation, and transgression. The instinct of burning down existing structures, ways of thinking and perception, in order to start afresh, is juxtaposed with that to find the space between the existing and yet to exist languages to describe what could and should be.
Using live bullets, Alvin Zafra etches out on sandpaper portraits of martyrs and executioners. Each portrait uses up one round of bullets. The text is chosen for its description of the nature of human consciousness and imagination. I see it as rationalization of intangible complexities. Composed of a backdrop resembling a galactic, expansive space and flat fields of reductive color, the work references the mirror as a threshold between the intangible and the tangible, familiar and unfamiliar, becoming and unbecoming.
Mike Arcega takes a humorous approach to the history of colonialization with a scaled down version of a Spanish galleon made entirely out of Manila folders. Manila folders were chosen as the material, as they are made from a native Philippine plant — the very same plant that produced the strongest known fiber and was monopolized by the Spanish armada. Hong Kong: Osage, What underlies all of the gestures and methods of critique and transgression is an overture of — perhaps, not hope — but of sending a message out in a bottle, a means of surviving in the present.
Their collective effort was exhibited in The Cultural Center of the Philippines in after being shown at Osage gallery in Osage will present 7 pieces of collage from this series , originally maps of China, Mongolia and Korea, covered in layers of torn printed materials. Cinema Hong Kong Arts Centre. Hong Kong::Works by Li Xinping Inspired from Chinese classical mythology, for example, Constellation: Blue Dragon, Rose Finch, Black Tortoise and White Tiger depicts Blue Dragon, Rose Finch, Black Tortoise and White Tiger, the four constellations that represents a direction and a season correspondingly, each of whom have their own individual characteristics and origins.
His works push painting in explorations of the imaginary and invisible complexities of maps of cities and earth spaces.
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Maps are manifest with past and present political, cultural, social and economic negotiations. May your holiday season and the new year be filled with much joy and happiness. We look forward to your continuous support in the coming year and for the many years that follow. Hong Kong::Around sound art festival The exhibitions bring together local and international artists and further through performances, workshops and talks, they attempt to break down assumptions that audiences might have on the definition of sound art.
Opening hours: Mon - Sat: am - pm Sun: - pm Closed on public holidays. Hong Kong::Works by Roberto Chabet : The showcase exhibition is comprised of a series of collages, drawings and an installation by artist Roberto Chabet — Chabet, widely known as the Father of Philippine Conceptual Art, established an alternative paradigm beyond the prevalent art movements such as modernist abstraction and social realism during the 60s and 70s in the Philippines and significantly influenced the contemporary generation of Filipino artists, as suggested in works such as To Be Continued , which consists of 10 plywood panels and a neon sign; the work was made by Chabet's students under his instruction to create colors by mixing red, blue and yellow paint the emblematic colors of modernism.
The exhibition also brings together the Imagined Geographies drawings, which express the artist's fluid and ambiguous perceptions of 'place'. London::Osage at Start Art Fair : Hong Kong: Shanghai: Docent guided tour arrangeable 3 days in advance. Gale Center of History and Culture. Gale Force Bike. Gale Force Fishing. Gale Force Guides. Gale Meadows Pond. Gale Public Library. Galen Center. Galen Glen Winery. Galen Marine LLC. Galena Beads. Galena Canning Company. Galena Cellars Vineyard. Galena Center for the Arts. Galena Clay Works.
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