68-08
A solo exhibition by Qiu Jie
11th June
- 13th September 2008
The Red Mansion Foundation is pleased to present an exhibition of works by the artist Qiu Jie at its space in 46 Portland Place. In October 2007, The Red Mansion Foundation invited Qiu Jie to London to take part in an artist residency as part of our wider programme of exchange activities. Qiu Jie stayed in London for one month and produced a new series of work based on his encounters and impressions of the city. This new exhibition will consist of the series of work that was created as a result of this residency.
Qiu Jie was born in 1961 in Shanghai. He graduated from the School of Decorative Arts in Shanghai in 1981, and then furthered his education at the School of Fine Arts in Geneva, in 1994. Qiu's work is exhibited regularly at an international level, in Switzerland, France and China. He has received many prizes and distinctions, including a scholarship by Cite des Arts in Paris, and the Federal Fine Arts Prize in 1995. His work continues to be acquired by numerous contemporary art foundations (such as the Saatchi Gallery), museums, and private collectors. Recent exhibitions of his include a solo show at the Arrario Gallery in Beijing in 2008 and the Shanghai Biennale in 2006.
Qiu Jie's works consists of painstakingly intricate pencil drawings executed on a massive scale, some reaching up to 10 metres in width, and a series of portraits, over eighty in number, reflecting those people most important and influential in his life. Taking anything between six months and a year to complete, Qiu's pencil drawings are works of substantial achievement and endeavour. Yet despite their vast size, the breath taking detail and agile delicacy of these drawings makes for a very subtle and tantalising visual delight. The viewer is teased, our eye drawn on a diverse path through a melting pot of iconography, from titillating images of female sexuality to James Bond, from Pink Floyd album covers to Cultural Revolution soldiers. There is a playful and irreverent quality to his images; the convergence of culturally iconographic traditions from East and West creating a unique style, much like China itself. Yet when we look to the creator of the works themselves for some understanding, we are diverted once again - Qiu jokingly refers to them as "just high quality wallpaper".
Despite the more personal aspects to his work, especially the series of paintings that focus on important people in his life, including his son, Qiu Jie still refers to himself as an outsider - his name is in fact a pseudonym, meaning "foreigner", or "hermit". There may seem to be a dichotomy then, for an artist to take a name that means "outsider", yet whose work is deeply informed by tradition. One might wonder what role does tradition have in an increasingly rootless and scattered global culture? This perception of the world does not hold true for Qiu Jie however; his casual reply is not to worry, for no one can truly escape their roots.
Never say never again
1996
310cm x 756cm
PAINTING AFTER PAINTING
A solo exhibition by Yang Qian, curated by Huang Du
29th April - 4th June 2008
The Red Mansion Foundation, London, UK
Open Monday to Friday by appointment only
The Red Mansion Foundation is pleased to present its fourth exhibition of works by Yang Qian, curated by Huang Du, editor of Avant Garde Today, at its space in 46 Portland Place. Yang Qian, born in Chengdu (China) in 1959, has shown extensively on an international level, at the Today Art Museum in Beijing, the Shanghai Biennale in 2006, the National Museum of contemporary art in Seoul, and at the Taipei Art Museum, among other places.
Yang Qian became known for his gauzy and dreamlike "photorealist" paintings of women at their toilette. Although richly lit and sensuously positioned, these steamy shots of showers and bathrooms ultimately contain a certain Oriental reticence; the veils of steam that coil around the figures conceal as well as reveal their form, creating an erotic tension between subject and painter, viewer and voyeur.
Yang Qian continues to play with the notion of multi-layered meaning in painting with his new work. He seeks to deconstruct the ocular-centrism of art and to liberate the act of observation and appreciation. In the "Bathroom" series, images overlap between truth and illusion as we view the subject through the film of a mirror, a sheen of water-droplets, and mist. Following the hidden realities of these reflective and reflected images, Yang Qian's new work can be categorized as "dual paintings". His technique involves painting over surfaces of already finished pieces of work, using a colourless fluorescent paint, so that the painting presents a different visual image, depending on whether they are viewed in regular or UV light. This allows for a multiplicity of images, and a new aspect of interaction to emerge.
Yang Qian states that his aim with this series of "dual paintings" was to formally disrupt and go beyond the perceived limitations of a 2 dimensional painting. His new work seeks to engage and interact with the surroundings in a way that totally contradicts the expected restraints of painting. His "dual paintings" are classic in style, but also absorb new media, thus creating a new form of art. Yang Qian's new work also involves the concept of kinetic paintings - again, these involve and interact with the viewer in a wholly unexpected manner, breaking with the traditional preconceptions of painting. This exhibition as a whole in fact illustrates how the artist seeks to subvert the normal concept, and re-define the connotation and extension of the paintings, through the idiom "Only renovation can rejuvenate painting".
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QQ No.1
Oil and mixed media on canvas
2007
Dimensions variable
Three
Suns, (Three panels)
Acrylic on wood, LED motor sensor and mixed media
120cm x 200cm each
2008
THE MATERIALISTS ARE ALL ASLEEP
Lu Chunsheng, a retrospective, curated by Hans Ulrich Obrist
6th Feb 2008 - 20th April 2008
The Red Mansion Foundation, London, UK
Open Monday to Friday by appointment only
In February 2008 Hans Ulrich Obrist, Co-Director, Exhibitions and
Programmes and Director of International Projects at the Serpentine
Gallery curated a solo exhibition of Lu Chunsheng. Lu Chunsheng
studied at China National Academy of Fine Art, and currently lives
and works in Shanghai. Lu Chunsheng's brooding films and photographs
up to 2003 appear preoccupied with industrial-era and communist history.
However, the stories told via his films are more mystic than nostalgic,
and deal more in the narrative imagination than anything that could
be verified. The young men who act out the scenarios employ only basic
costume and no dialogue; the sets are more chosen for their symbolic
or evocative importance than their actual historical relevance.
Lu Chunsheng
Hey! Lana!
2000 |
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Lu
Chunsheng
C-Print
2005
'One of the most foolish attacks against science fiction is
the opinion
that it cannot forecast the future' |
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Qiu Jie
Berlingot de lait
Lead pencil on paper
100cm x 140cm
2008
Qiu Jie
Le champ est si ouvert
Lead pencil on paper
100cm x 140cm
2008
Yang Qian
Waterdrop and diamonds No.12
(under normal light)
Oil and mixed media on canvas
150cm x 300cm
2007
Yang Qian
Waterdrop and diamonds No.9
(under normal light)
Oil and mixed media on canvas
150cm x 200cm
2008
Yang Qian
Waterdrop and diamonds No.7
(under normal light)
Oil and mixed media on canvas
150cm x 200cm
2008 |
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