Seen&Scene: Antony Gormley… Cubed

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TOP, Ease (2012). MIDDLE, Murmur (2014) ABOVE, Antony Gormley with his self-portrait, Form (2013).

In the month prior to Art Basel, the Hong Kong branch of White Cube is playing host to a new show by the world-renown sculptor, Sir Antony Gormley, titled States and Conditions, Hong Kong. Usually Art Basel month is a great way to present the heavy hitter artists, however the choice to exhibit a Gormley show prior to the annual art fair may have something to do with A) the gallery wanting an introspective Gormley show to shine bright above the hustle and bustle of fair traffic and/or B) a Gormley show is just plain difficult to literally sell an Art Basel crowd.

The “difficulty” is partly due to the site specificity of the Gormley show. That said, it’s a very good exhibition and one that needs to be seen before May 3rd. If you miss it, you’ll be missing out on an opportunity of a moment. Based on Gormley’s own project drawings available via the exhibition’s catalogue, the works created for White Cube Hong Kong are meant to be experienced at that site. Taking one piece away from this context would be like breaking up a family. According to the artist at his talk, the “sequence of architectural volumes (of the gallery space, is) an opportunity to create a connected narrative.”

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And all parts of the show are connected. Every work is a qualifier of the previous work, according to Gormley, and what is presented here is thought forming, process, and various manipulation of volume, emphasizing that the interconnected acts is a full spectrum of creation (with every chapter readily available for sale, of course).

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In his talk at the gallery two weeks ago, Gormley states that White Cube Hong Kong is a “privatized gallery”, a prime example of the “architecture of capitalism”. However he takes this opportunity to present new works as an act of subversion.

White Cube Hong Kong has only been operating for about three years, yet no one has proposed work, quite like Gormley, which speaks directly to the gallery as a manifested product of its physical site and as an art market destination in Hong Kong.

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Small Prop 111 (2013)

It’s within these found conditions, all defined literally by a logical series of White Cube-like rooms, Gormley responds by imposing 90-degree surfaces to a sculptural self portrait; a lone work on the 2nd level of the gallery titled, Form (2013), which pretty much evolves to become the behemoth piece that is Murmur (2014), located on the street level space right underneath it.

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Gormley responds to the gallery’s starkly geometric and commercial existence with a counter proposal of space, one that is derived from the evolution of his own proportions. 

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Strain II (2011)

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Transfer (2011)

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Secure (2011)

Murmur (2014), as with all other works in this show, celebrates the opportunity to formulate a discussion between our raw animal natures, our bodies, and our conscious choice to confine / and define ourselves via cubic spaces, something that is not of our natural world and can potentially be a segregative experience in the process.

And outside these cubic spaces? Back to classic “Gormley” studies in Reserve (2013) where the object’s human proportions is itself the one true shelter in unison with the wild.

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Reserve (2013)

VISIT Antony Gormley: States and Conditions, Hong Kong . White Cube Hong Kong . Until 3 May 2014 . 50 Connaught Road Central, Hong Kong . T: +852-25292000

JJ.

Para/Site Moves Up With 2012 Art Auction

It’s Fall at the end of the year, and you know what that means… Art Auctions. Yes, we attended the Annual Para/Site Art Auction this year located at Lane Crawford’s very cool One Island South company digs and was hosted by Board of Directors, William Lim of CL3, Yana Peel, Executive Director/Curator, Cosmin Costinas, with live auctioneer, Jehan Chu of Chaiwanese. 

Cosmin and Jehan below. 

It was really interesting to attend this particular auction, especially because i’ve been going to Para/Site auctions ran by Jehan for so many years now. I still remember when the auctions were small and held at the KEE Club back in the day. And now it’s a full dinner affair with friends and supporters. Very neat to see how far Para/Site Art Space and its programs have evolved over the years.

Ignacio checks out works on display for Silent Auction.

Some of my favorite pieces include this abstracted architectural topography by Joao Vasco Paiva, titled High Tide (2012) which sold at live auction for 42K HKD. The work was graciously donated by the artist and Saamlung Gallery.

This metallic skateboard by Olafur Eliasson, Your Mercury Ocean (2009), was donated by Vitamin Creative Space, and sold for 100K HKD.

I really liked Lot 62, a selection of prints by Sunjung Kim, Anton Vidokle, and Nikolaus Hirsch.

This one I liked, a DVD by Ming Wong, called Honeymoon In The Third Space (1999).

A good seller, Heman Chong’s, muted geometric composition from Never Let Me Go (2011), caught my eye. This painting on canvas sold well at 50K, and is a donation from Vitamin Creative Space.

Are you cool on your island? I absolutely loved this work by MAP Office, titled Honeymoon Island (2011), which I hope found a great home via silent auction.

This print, Cheng Ran’s Still of an Unknown Film (2008), sold at 60+K HKD, and a donation by the artist.

And there was no way I can do a post about Hong Kong art, without a work by my favorite artist, Nadim Abbas. This piece, Chernobyl_Core.gif (2012), is a print donated by Abbas and Saamlung Gallery.

The work of emerging artist, Trevor Yeung drew plenty of fans. Here G.O.D.’s Benjamin Lau and Alan Lau admire Yeung’s work, Sleepy bed (Sao Paulo Hostel 1) (2012). Yeung photographs subjects, usually male, all around the world, and turns them into multi-layered compositions which involve the photographic image as well as an overlay of illustration.

Next to the work, Lot 30, is a piece by Antony Gormley. Body XI (2011), was the biggest seller of the night and sold at 160K HKD by an absentee bidder. The work was donated by the artist, and Vitamin Creative Space.

In attendance was artist, Adrian Wong, and Xue Tan. Adrian was actually working on the composition for his Fall 2012 Saamlung show with his rabbit. Dont Ask.

We also spotted Alex Seno and Lane Crawford’s Eliot Sandiford. Thanks Alex for the invite!

Great to finally meet Claudia Albertini of Platform China.

The room was full of super couples as well. There’s no art shindig without the following… Tangram’s Igancio and Paola who will soon be unveilinga new collection in December. Here they are channeling the work of Chow Chun Fai, aptly titled Frida Kahlo and Diego Rivera (2011), which sold at live auction for 75K HKD. Perfect.

Supercouple #2, FIOL Prosecco addict Pietro and Whitney of the Gagosian Hong Kong. 

Supercouple #3, Tim and Marc, here standing next to Yuk King Tan’s The Mandate of Heaven (2011). Love.

Supercouple #4, cool peeps Michelle and her husband, Varun. Great to see them here.

Twitter Supercouple Bonus, my gal, artist Yuk King in Tangram. Hello Yuk!

The tables at the canteen.

Whitney’s favorite works.

Pals on my table, Benjamin and Alan. Nice to meet you both!

Para/Site IS Hong Kong’s leading contemporary art space, the oldest, and most active. They exhibit, they publicize, they create discourse, and you wouldn’t think that based on their tiny space in Sheung Wan, that they are paving the way for many emerging artists. The point is, they’re moving spaces and adding curators, and they’re thinking big. Check out the works that were at auction here.

That said if you missed out on the Para/Site auction, but would still love to purchase work as well as contribute to a good cause, the Asia Art Archive Annual Fundraiser site is now up, and you can actually bid on your favorite work online. Yes. Contemporary Art at your fingertips. Many of whom had works that sold well at the Para/Site Auction. Good luck!

ART Para/Site

JJ.