ART BASEL HONG KONG 2018: Insights | Film Sector

Convention & Exhibition Center, 1 Harbour Road Wan Chai Hong Kong, China, 29 - 31 March 2018
Convention & Exhibition Center, 1 Harbour Road Wan Chai Hong Kong, China Booth 3D 29 https://www.artbasel.com/hong-kong

Insights

Seaming and Regenerating: From Zurich to Art Basel Hong Kong - Tan Ping

Academic Advisor: Huang Du

Artist:  Tan Ping

Leo Gallery Booth: 3D 29

 

Private View (by invitation only):  

Tuesday, March 27, 2018
Wednesday, March 28, 2018

Vernissage:                                   

Wednesday, March 28, 2018

Public Days:                                

Thursday, March 29, 2018

Friday, March 30, 2018

Saturday, March 31, 2018

 

Hong Kong Convention and Exhibition Centre (1 Expo Drive, Wan Chai, Hong Kong)

 

 

Tan Ping presents on-site paintings in the space of Art Basel HK. He has recently shown great interest in new drawing experiments. He allows a large area of black paint spreading from the canvas surface to the wall, as if calmly pushing all the mixed feelings and squeezing it to the edges of canvas, and to the wall and the ground. These works embrace a logical relationship between space, time, and the field, exactly like the on-site painting.

Transferring the works from the "space" of an art museum to the "space" in a gallery to the "space" in an art fair raises an inherent question about the paintings and the changing space: would the transfer of works detach their connections? It inspires Tan Ping to reconsider the uncertainty between space, inspiration and state of creation. Encountering this kind of uncertainty, when Tan Ping picks up a painting brush, he is exposed to more moments ofuncertainty that is similar to the continual ‘overspreading’ in the painting process. His new ideas are generated in Zen way. Tan Ping reconnects the joint of a specific space and the context. He magnifies the uncertainty and re-defines the idea of ‘presence’, inserting a system cultivated by space and boundary into the paintings. He finally presents an entire new visual language of space, inspiration and state of creation.

Through the extension of painting boundary, immersive creation and multi-perspectives of frame, wall and space, Tan Ping allows the work image entering to a new space, passing from the canvas surface to the wall and form a striking visual language; and finally articulates a profound exhibition space with a mixture of abstract elements and performativity.

 

For a piece of work originally created for a particular environment or event, if it is snipped into an exhibition space that is not related to the original space that it belongs to, will the connection be terminated invisibly? Tan Ping's on-site paintings dives subjective ideas into specific objective environments, which involves the interpretation and synthesis of time, space, field and context. Therefore, based on the analysis of the above elements, Tan Ping "seamed" and "regenerated" the various elements that are aggregated in the other's space by alternative means, allowing the work to be a part of the new space, generating new meanings and relationships.---Huang Du

 

Film Sector

Yuan Keru | Moon and Sixpence

Screening Time

2018.3.30(Fri)  16:00-17:45

Hong Kong Arts Centre Cinema, 2 Harbour Road, Wan Chai, Hong Kong

2018.3.30(Fri)  18:30-20:15

N102-N103, Hong Kong Convention and Exhibition Centre, Wan Chai, Hong Kong

 

At the beginning of the 20th century, Maugham's novel Moon and Sixpence described a geek who pursues the dreams of art with almost inhuman behaviors. In order to pursue the ideal of painting, the character gave up his job as a stock exchange broker, abandoned his family, and found his way to the isolated island of Tahiti for art creation. Through this story, Maugham explores the origin of art, the relationship between individuality and talents, as well as the artist-society contradictions and other thought-provoking questions. Artist Yuan Keru, born in the 1990s, created her work Moon and SixpenceWhile architect Yung Ho Chang’s Vertical Glass House, situated close to the West Bund Art Center, is used as a filming location, Yuan also brings in 3D digital special effects to turn the space into an aircraft travelling through the Ice Age. In the aircraft, each floor represents a different plane of existence (the Garden of Eden, the physical and spiritual worlds respectively) with five characters inhabiting the space who embody the creators and the terminators of the world, and communicate with each other through dance.

 

 

Sutthirat Supaparinya | Roundabout at km0

Screening Time

2018.3.28(Wed)  16:00-16:40

Hong Kong Arts Centre Cinema, 2 Harbour Road, Wan Chai, Hong Kong

2018.3.28(Wed)  18:30-19:10

N102-N103, Hong Kong Convention and Exhibition Centre, Wan Chai, Hong Kong

 

Roundaboutat km 0 portrays the pausing and reversing travel around about through moving images. The roundabout’s location is “kilometer zero;” the starting point of Thailand’s national highway system—and most significantly, also the location of Thailand’s Democracy Monument. This place has delineated as the “beginning” of all roads—literal and figurative—throughout Thailand. It’s also possible to run those roads run in reverse. The work uses this Bangkok location, which every Thai person will recognize, but perhaps without appreciate its meaning. The struggle between Thailand’s ideological poles has led to stalemate and stagnation of both ruler and system. Thai people seem blind to the clear picture of a brighter future—all is blurred. The audio that coincides with the moving images is amixture of audio recordings pulled from Youtube videos of incidents of the Thai military cracking down on demonstrations that have taken place since the coup of 2014.