I just want to take the time to apologize to my buddy, artist Joao Vasco Paiva, from the bottom of my heart for not posting about his exhibition much sooner. Paiva’s latest and best show yet, titled Near and Elsewhere, for Edouard Malingue Gallery, launched in late November and lasted for almost two months. Of course I should have posted about it in December or January, when it was most helpful, but with the year’s end and me flying to Texas and back… there seemed to be no time. But Alas… wait no more, here it is… better late than… well later.
Portugal born Paiva, is an active art practitioner in Hong Kong. At a relatively young age, 29, Paiva moved head first right into producing art after graduating with distinction for a Master of Fine Arts in Creative Media in 2008 in Hong Kong. Now his career is shooting straight up, being one of the Saamlung Gallery pioneers in collaboration with curator, Robin Peckham, in 2011-2012, and has since exhibited in museums and galleries in Hong Kong, Portugal, UK, Australia, Hungary, New York, and London. The Near and Elsewhere show at Edouard Malingue marks Paiva’s second solo showing, the first being hosted at the Goethe Institute in Hong Kong earlier last year.
The formal studies for Near and Elsewhere reflect Paiva’s own method of archiving Hong Kong’s public space and urban by-products. The objects in the exhibition is essentially a collection of neglected pieces of the everyday. From “boarded-up shop fronts camouflaged by a collage of ads, cast-off plexi strips, and mark-ridden fences used to prop severed wood”, Paiva looks at the unconscious development of form in common and useful space, as a way to underpin an exploration for new composition.
Untitled (from the Wanchai Market 3) 2013 . Oil on Stone Resin
A practice in displaying found object THIS IS NOT. Paiva’s obsession with documentation of Hong Kong, puts him in line pretty much with the likes of these “expat artists”, those born outside the city, but spend their lives reveling in the gloriousness of this alien world… the works of Architects, MAP Office, and photographer, Michael Wolf, come to mind immediately. Paiva’s collection of 2D stacks of planes in different shades of white within “The Brief Moment in Time” series, or the Untitled Speed Bumps or Untitled Styrofoam boxes in resin, pretty much scream Hong Kong as a signifier, however these are new items. While MAP Office draws and writes to deconstruct the sometimes absurd nature of the city as a form of documentation, and Michael Wolf, magnifies the residential building facade of Hong Kong as a seductive vertical veil, Paiva processes the neglected pieces as a way to properly validate their formal existence, either by re sculpturing them exactly as they were but with new medium, or giving them a painted and glossy finish to really accentuate their uniqueness… as with the Untitled Lumberyard pieces.
They may not be objects of desire in a traditional sense, but Paiva makes a good case that all objects are in fact desirable, because none would have been crafted or invented without its usefulness, of which all these pieces at one point in their lifetime in Hong Kong… were very useful.
Untitled (from the Wanchai Market 1) 2013 . Oil on Stone Resin
Untitled (from the Wanchai Market 2) 2013 . Oil on Stone Resin
Untitled (Corner) 2013 . Dental Stone Gypsum
From a Brief Moment In Time Series 2013 . Oil in Wooden Board
Friends and Supporters of Joao Vasco Paiva. Monocle editor, Aisha Spiers and her partner Jared.
Artist, Jin Meyerson, and Thyvane’s Roger Ouk.
My favorite piece… Untitled (Lumberyard Array 2) 2013 . Latex on Wood, with Steel Base.
Apparently some of the forms where photographed and imported into Sketch Up and rationalized and made new… it’s really fascinating how Paiva imports the found object, develops it, and re exports it as the art.
Big show, big sign. Congrats Joao!
MORE INFORMATION Joao Vasco Paiva’s Near and Elsewhere for Edouard Malingue Gallery