Contemporary Politics of Tibetan Art Discussion as MASS MoCA featuring Tsherin Sherpa

THURSDAY, 10 APRIL, 5PM

Club B-10
1040 MASS MoCA Way
North Adams
MA 01247

FREE for members / $7 not-yet-members

Nepali-born Tibetan artist Tsherin Sherpa will be joining anthropology and religion professors from Williams College to discuss the Tibetan-Chinese conflict as represented in Tibetan Buddhist culture, art, and imagery.

The discussion will be followed by a reception in Kidspace, where works of art by Sherpa are on view.

For tickets: http://tickets.massmoca.org/single/selectSeating.aspx?p=1390

Image: Tsherin Sherpa, Shambhala, 2013. White and yellow gold leaf, acrylic and ink on cotton, 75 x 106.5 cm (29 ½ x 42 in).

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Classical Featured: 14th Century Tibetan Gilt Brass Buddha Shakyamuni

Buddha Shâkyamuni
Tibet
14th century
Gilt brass, cast in several pieces
59 cm (23 ¼ in)

With the left hand in the mudra of meditation and the right one in the gesture of touching earth, the figure of Sakyamuni is seated in meditation on a lotus pedestal. He shows a meditative face, raised urna and the ushnisha topped by a round jewel finial. The upper monastic garment is rendered without folds in a transparent manner and covers the left shoulder only. The elegant line of the body shows the style of the work of Nepal.

Seated in dhyanasana on a double-lotus base with beaded rims, his hands in the earth touching mudra, the folds of his sheer sanghati draped over the shoulder and gathered at the elbow and under the ankles, the face serene with bow-shoped mouth, heavy-lidded elongated eyes, and raised urna, flanked by pendant pierced earlobes, the hair in tight curls over the ushnisha and capped with a pointed knop.

Although cast in Tibet, the refined workmanship exhibits the influence of the Newari style of the Early Malla Period (13th–late 15th century), as do the facial features and serene expression, suggesting it may have been cast either by a Tibetan artist trained by a Nepalese artist or by Nepalese artist working in Tibet. The Early Malla period is credited with an increasing national consciousness in Nepal that lead to the depiction of figures with distinctly Nepalese features. Also typical of the period is the increased ornamentation of the bronze, especially the beaded rims of the double-lotus platform.

Provenance: Private Collection, Germany, 1990s
Nagel, Stuttgart, 19 June 2009, lot 88a
Hanhai, Beijing, 11 November 2009, lot 3221
Christie's New York, 13 September 2011, lot 364
Published: ‘Classical Selection 2014’, London, Rossi & Rossi Ltd., 2014, No. 18, p. 46,47

Please note our London gallery is temporarily closed. We are however still contactable via the same email address (info@rossirossi.com) and the same phone number (+44 20 7734 6487), so please do get in touch if you would like to arrange a meeting.

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Contemporary Opening This Week: Erbossyn Meldibekov at Rossi & Rossi Hong Kong

ERBOSSYN MELDIBEKOV, MOUNTAINS OF REVOLUTION

5 APRIL - 3 MAY 2014
OPENING HOURS: TUES-SAT, 11AM-6PM (OR BY APPOINTMENT)

PRIVATE VIEW: 5 APRIL, 4-7PM, in the presence of the artist.

ROSSI & ROSSI HONG KONG
Yallay Space
Yally Industrial Building, Unit 3C
Wong Chuk Hang
Hong Kong
T: +852 3575 9417

Rossi & Rossi is proud to present Mountains ofRevolution, a solo show of works by leading Central Asian artist Erbossyn Meldibekov, which is to be his second show with the gallery. The exhibition contains suclpture, photography and installations that highlight the complex history of Soviet and Post-Soviet Central Asia.

The collapse of the Iron Curtain in 1991 left the region scrambling to redefine, reinvent and reorder itself after the stagnant Soviet Era. The ensuing chaos resulted in power struggles amongst conflicting groups, including staunch Communists, former KGB members, newly formed Islamist organisations and patriots. These groups exerted their newfound authority by manipulating Central Asia’s visual symbols—renaming landmarks, redesigning the national flag, even tearing down sculptures of Lenin and Stalin, and replacing them with new or newly rediscovered heroes of the region’s past.

In his work, Meldibekov draws upon these controversial actions, merging propagandistic visual symbols with fictional elements to deconstruct Central Asian identity; to emphasise its hybrid, contradictory and continually mutating composition. Inspired by a twentieth-century monument within the central park of Tashkent, Uzbekistan, the artist’s Transformer (2013) is an interactive sculpture that allows the viewer to remove or replace ideologically symbolic statues on a wooden plinth. The piece highlights the symbolism imbued in each monument that was erected following changes in Uzbekistan’s leadership in the twentieth century, reflecting how these political upheavals led to the construction of a whopping ten new monuments in its central park over the past ninety years.

The artist will be in Hong Kong from April 1 to 10, during which time he will be available for interviews. Please contact the gallery to arrange a time to speak with him.

A fully illustrated catalogue with an essay by renowned curator David Elliott accompanies the exhibition.

:ABOUT THE ARTIST:
Born 1964 in Shymkent, Kazakhstan, Erbossyn Meldibekov graduated from the Almaty Theater and Art Institute, and currently resides and works in Almaty. The artist’s practice is informed by Post-Soviet Central Asia, and the “collapse of culture” in the region; namely in his native Kazakhstan, where political and social disarray exists between rival political and commercial tribes over the distribution of power and wealth. Meldibekov deploys his ideas via a range of diverse mediums, such as video, performance, architecture and installation, offering viewers absurd, heroic and humorous visual interpretations of human interplay.

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Contemporary Rossi & Rossi London is moving

Dear Friends,

After 7 wonderful years at 16 Clifford Street we are both sad and excited to announce that we will be moving. As a result the gallery will be closed from the 10th March, and we will be moving into temporary offices while we prepare ourselves for the opening of the new gallery. We will however still be contactable via the same email address (info@rossirossi.com) and the same phone number (+44 20 7734 6487), so please do get in contact if you would like to arrange a meeting.

We are incredibly grateful for your support over the years, we could not have achieved what we have without it. We are also looking forward to announcing the opening of our future gallery space - so please watch this space!

Sincerely,

Fabio, Anna Maria, Mauro, Xiaohan, Kim

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Contemporary Tenzing Rigdol at The Metropolitan Museum of Art

TIBET AND INDIA: BUDDHIST TRADITIONS AND TRANSFORMATIONS

8 FEBRUARY - 8 JUNE 2014

Florence and Herbert Irving Asian Wing,
Exhibition Gallery for South Asian Art, Gallery 251

The Metropolitan Museum of Art
1000 Fifth Avenue
New York 10028-0198

Tibet and India: Buddhist Traditions and Transformations examines how esoteric imagery, texts, and Vajrayana ritual practices coming out of the great monasteries of north India contributed to reshaping the complex religious landscape of Tibet. The exhibition includes some twenty-three masterpieces of Buddhist art produced in Tibet and North India during the 11th and 12th centuries, including stone and bronze sculptures, illuminated manuscripts and book covers, and some of the earliest thangkas to survive from the Tibetan tradition.

Also presented is a work by Tenzing Rigdol (b. 1982), one of only two Tibetan artists to be included in the exhibition. The inclusion of contemporary Tibetan art aims to demonstrate how Tibet's longstanding tradition is today being presented to a new international audience. His work, Pin Drop Silence - Eleven-Headed Avalokitesvara (2013), has also been acquired by the museum as part of its permanent collection.

The educational programmes accompanying the exhibition includes a presentation entitled Reimagining the Indian and Tibetan Buddhist traditions: A Conversation, featuring Tenzing Rigdol as a guest speaker, will also take place on the 7th March 2014.

For those not based in New York, Tenzing Rigdol is also one of three Tibetan artists to be included in Rossi & Rossi's Art14 London show entitled Our Clouded Hills. The art fair takes place from the 28th February - 2 March at the Olympia Grand, Kensington, London, and Rossi & Rossi can be found at stand H9.

A newly completed work by Tenzing Rigdol will also be featured at Rossi & Rossi's stand at TEFAF Maastricht. The fair takes place from 14th - 23rd March at the Maastricht Exhibition & Congress Centre, and Rossi & Rossi can be found at Stand 166.

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Tenzing Rigdol (born Kathmandu, 1982).
Pin drop silence,
2013. Ink, pencil, acrylic, and pastel on paper
9 15⁄8 × 49 1⁄8 in.
(232.7 × 124.8 cm).
The Metropolitan Museum of Art, New York
Gift of Andrew Cohen, in honor of Tenzing Rigdol and Fabio Rossi, 2013
(2013.627)

Contemporary Rossi & Rossi to present Our Clouded Hills at Art14, London

For the second edition of the contemporary art fair ART14 London, Rossi & Rossi will present Our Clouded Hills, an exhibition of paintings by three Tibetan artists: Gade, Tenzing Rigdol and Tsherin Sherpa. Their works incorporate traditional Tibetan and Buddhist symbolism and techniques to comment on issues faced by Tibet, its inhabitants, and the Tibetan Diaspora.

The phrase Our Clouded Hills is taken from an untitled poem by the 18th century visionary artist William Blake which appeared in the preface to his epic, Milton, a Poem. It begins, ‘And did those feet in ancient time’, and is best known as the words to the stirring anthem ‘Jerusalem’ with music by Sir Hubert Parry, regarded by many as the unofficial English national anthem. For Blake, England was a promised land awaiting a divine saviour, whose pastoral landscape was being obscured and turned into a satanic hell by pollution from the early industrialization in which Britain led the world. But far from being a lament, the poem is also a rallying cry to change: ‘I will not cease from Mental Fight, nor shall my Sword sleep in my hand, Till we have built Jerusalem in England’s green and pleasant Land.’

The works in this show present a similar view of Tibet, its mountainous landscape and its people: clouded by pollution, affected by changes in climate or even set ablaze. Today, Tibet’s landscape and culture are being concealed and eroded by a multitude of factors. Aside from the rapid industrialization and globalization of the territory, Tibet is also subject to an escalating military presence, harsh censorship and increasing control over the movements of its residents. In the face of these changes, within recent years, Tibet has witnessed a sharp increase in self-immolations: according to the International Campaign for Tibet, there have been some 124 cases within the past three years, with the total rising as the protests continue. It is to this crisis and these changes that Tibetan artists respond.

Lhasa-based artist Gade (b. 1971, Lhasa) presents enchanted Tibetan landscapes shrouded in mist and executed in the jewel-toned mineral and vegetable pigments usually reserved for traditional thangka painting. Amongst the mountains however are silhouetted figures lifted from advertisements, but the use of gold leaf, a material normally reserved for deities and important religious figures, equates them to the divine. According to Gade, his works aim to ‘show the viewer a Tibet undergoing great changes under the pressures of globalisation. Modernization has redefined Tibet and the people who live there; it has also corrupted people’s minds and taken away happiness’.

Paintings and collages by Tenzing Rigdol (b. 1982, Kathmandu) incorporate traditional materials such as silk brocade and hand blocked scripture, as well as traditional Tibetan Buddhist iconography to address conflicts faced by Tibetans today. In On a Distant Land, the traditionally styled and precisely posed bodhisattva is constructed out of tongues of flames, a clear allusion to the recent self-immolations of Tibetans around the world.

Tsherin Sherpa’s (b. 1968, Kathmandu) paintings address the complex identity of the Tibetan Diaspora, scattered around the world and severed from their cultural roots. His works present Tibetan protector spirits within a modern context, charged with looking over a new generation of Tibetan children who will grow up disconnected from their homeland. In his Golden Child/Black Clouds series faces of children are set amongst wisps of smoke and menacing silhouettes. Surrounded by their protector deities, however, the children gaze out defiantly at the viewer; beneath their patchy and darkened skin is burnished gold, suggesting their hope for the future.

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Tenzing Rigdol (b. 1982), On a Distant Land, 2014. Collage, silk brocade, scripture, prints. 203 x 122cm (80 x 48in)

Contemporary Rossi & Rossi to represent Nicole Wong

Rossi & Rossi is delighted to announce the representation of 23 year-old Hong Kong-born artist Nicole Wong.

Nicole's works address flaws in our perceptional understanding. She says her works 'aim to envelop the viewer within the "eureka" moment' by shifting points of view and highlighting the double meaning of words. These conceptual works are visually poetic and poignant. 

Having completed her BFA (Hons) at Nottingham Trent University, Nicole has been included in a number of solo and group shows in Asia and the UK. In 2013 she was a finalist in the Griffin Art Prie, London as well as the Hong Kong Art Prize, and also received the Hong Kong Contemporary Art Award grand prize. More recently she was included in Rossi & Rossi's group show at Yallay Space, Hong Kong, These Shores.

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Nicole Wong, High Tea, 2013. Teapots, teacups. Variable dimensions

Contemporary Rossi & Rossi at Art Stage Singapore 2014: Heri Dono

Rossi & Rossi are delighted to announce their participation in Art Stage Singapore 2014. Now in its fourth year, it has proven to be one of South East Asia’s most dynamic art fairs, featuring many leading international contemporary art galleries and art professionals.

For this edition Rossi & Rossi are showcasing works by Heri Dono, one of Indonesia's foremost contemporary artists. Best known for his installations inspired by experiments with wayang, the popular Javanese folk theatre, he has participated in exhibitions and workshops in Asia, Australia, Europe and the United States. 

Dono’s paintings depict wild deformations and free fantasies, out of which emerge characters from wayang stories. His profound knowledge of children’s cartoons, animated films and comics is reflected in his canvases which are filled with astonishing, even nightmarish characters, forming complex and intertwined stories, fantastical and absurd. Many of these works are critical commentaries on the varied sociopolitical issues in Indonesia as well as abroad. 

The artist will be present at the fair and we look forward to welcoming you onto our stand. 

For more information regarding the event and tickets please visit the Art Stage Singapore website: 

http://www.artstagesingapore.com/

Date: 16-19 January 2014

Private View: 15 January 2014

Venue: Marina Bay Sands, Singapore, Booth B22

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Heri Dono 
Riding a Scapegoat 
2013 
Fibreglass, electronic and mechanical devices, cable, automatic timer 
120 x 100 x 50 cm (47 ¼ x 39 ½ x 19 ¾ in)

Contemporary Naiza Khan awarded 2013 Prince Claus Award

Rossi & Rossi are delighted to announce that Naiza Khan has been awarded the Prince Claus Award at a ceremony at the Royal Palace Amsterdan.

The Prince Claus Award is an annual award that supports freedom of cultural expression in developing countries. The Fund honours eleven outstanding artists, thinkers and organisations whose cultural and artistic actions have had a positive impact on their countries’ development. The recipients are often role models and a source of inspiration for all those around them.

This is the culmination of a great year for Naiza that started with her involvement in the Shanghai Biennial at the end of 2012, and also marked her first ever solo show in the USA, Naiza Khan: Karachi Elegies at the Eli and Edythe Broad Art Museum. This year the first major monograph of her work was published by ArtAsiaPacific, featuring essays and illustrations that examine Naiza's work over the last 25 years. While next month, a solo exhibition of Naiza's works will also be open at the Sidney Cooper Gallery at Canterbury Christ Church University.

After such an amazing year, we are incredibly excited for Naiza's upcoming show in the gallery in 2014.

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Contemporary THESE SHORES

7 December 2013 – 4 January 2014

PRIVATE VIEW: 7 December, 4-8 pm

ROSSI & ROSSI
UNIT 3C YALLY BUILDING, 6 YIP FAT STREET,
WONG CHUK HANG, HONG KONG
www.rossirossi.com

THU-SAT, 11 am – 6 pm
OR BY APPOINTMENT

Rossi & Rossi is delighted to announce These Shores, a group exhibition of five young Hong Kong artists: Gavin Au (b. 1982), Homan Ho (b. 1984), South Ho (b.1984), Vivian Ho (b.1990), Nicole Wong (b.1990). This will be the first showing of local artists in Yallay Space.

Like many great cities - London, New York, Shanghai – the origin of Hong Kong is as a seaport. Initially a small trading harbour, the resulting wealth from the growth in commerce caused it to grow vastly in size but also saw the inhabitants lives become more urban, disconnected from the surrounding environment. These Shores aims to show a re-connection between the land and its inhabitants through the eyes of five artists.

The featured artists were all born in Hong Kong during the 1980s, an era overshadowed by the approaching handover of the colony to China in 1997. In response to the perceived and threatened changes that might result a movement towards reinforcing the identity of Hong Kong was pursued by many of the inhabitants. A shift in policy by the UK government in handing over its power to the local people enabled the movement to grow and as a result, unlike earlier generations, those born in Hong Kong began to view it as their homeland and no longer as a temporary place, lacking permanence.

This sentiment, to a greater or lesser degree, seeps into the work of all the artists included in the exhibition, which tends to the intimate and personal. One reason for this is that for much of the 20th century Hong Kong artists were isolated from the wider context and history of contemporary art, and compared to many of the artists in surrounding areas, they have seen no reason to strive to make a place in the history of art. In return, their intimacy is a way of piercing through the greater humanities and human conditions in our society. 

Further details >

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Gavin Au, Still Sitting on the Wall, No. 5, 2011, Wet plate collodion positive, 54.5 x 54.5 cm (21½ x 21½ in)