Contemporary Heman Chong and Heri Dono at Gwangju Biennale


Gwangju Biennale Exhibition Hall
111 Biennale-ro
Republic of Korea

The 10th Gwangju Biennale: Burning Down the House explores the process of burning and transformation, a cycle of obliteration and renewal witnessed throughout history. Evident in aesthetics, historical events, and an increasingly rapid course of redundancy and renewal in commercial culture, the Biennale reflects on this process of, often violent, events of destruction or self-destruction–burning the home one occupies–followed by the promise of the new and the hope for change.

Curated by Jessica Morgan, the Biennale will feature the work of 105 artists from thirty-six countries, including Singapore's Heman Chong and Indonesia's Heri Dono.


Contemporary Lois Conner's Latest Catalogue 'Beijing: Contemporary and Imperial'

Lois Conner's latest book captures the last 30 years of architectural change in Beijing. The ruins of Manchu-Qing dynasty's Garden of Perfect Brightness are juxtaposed with the ultra-modern "Bird's-Nest" Olympic Stadium by Herzog de Meuron. The Garden had been destroyed by the Anglo-French in 1860. Today, officials cite this humiliation as a reason for why the country needs to undergo continuous change and revitalisation. The coexistence of the old and the new in Beijing reflects the social and cultural changes experienced by its residents as China rises as a new global power today.

Beijing: Contemporary and Imperial accompanied an exhibition at the Cleveland Museum of Art's Photography Gallery earlier this year. The book includes 169 panoramas which have been shot with a custom-made, oversized camera.

Purchase the book here: US / UK


Contemporary Contemporary Tibetan Artists Featured on the Culture Trip

9 of the 10 artists recently featured in the Culture Trip's article "10 Contemporary Tibetan Artists and Where to Find Them" are artists that we regularly work with and represent. The article featured: Tsering Nyandak, Nortse, Dedron, Tsherin Sherpa, Tenzing Rigdol, Gade, Benchung, Kesang Lamdark, and Tsewang Tashi. These 9 artists are currently being exhibited, amongst other contemporary Tibetan artists, in our exhibition Impermanence at Rossi & Rossi Hong Kong. The first exhibition to be held in Hong Kong that focuses solely on contemporary Tibetan art, it will remain open until 24 August 2014.

(read the article here)

Image: Tsherin Sherpa, Neo Conqueror (Magenta), 2014, gold leaf, acrylic and ink on cotton, 124 x 98.5 cm (48¾ x 38¾ in).


Contemporary Faiza Butt in 'the Image of an Image' at Canvas Gallery, Karachi

Hours: Mon.–Sat., 11AM–8PM

Private view: 5 AUGUST, 5–8pm

Canvas Gallery
D40 / 1 A, Block 4, Kehkashan, Clifton
Karachi, Pakistan 75600

This month Canvas Gallery, Karachi will present a solo exhibition of works by Faiza Butt. The Image of an Image will present both new and old works by the artist.

Later this year, Rossi & Rossi are planning to hold an exhibition of new works by Faiza Butt at our new location in Mayfair, London. The exhibition is to be Faiza's first solo exhibition with the gallery.

Image: Faiza Butt, Pehlwan 3, 2012, ink on polyester film, 45 x 55 cm (17 ¾ x 21 ¾ in).


Contemporary Leang Seckon's 'Hell on Earth' extended!

27 JUNE–8 August 2014
Hours: Mon.–Sat., 10:00 a.m.–6:00 p.m.

Asia House
63 New Cavendish Street

We are delighted to announce that Leang Seckon's exhibition Hell on Earth has been extended until Saturday 9 August 2014.

The exhibition has received a thoroughly positive response from visitors, and has received wonderful press coverage. This includes Leang Seckon's live interview on BBC World News' programme Impact (watch the video here) and and his interview with The Times' Catherine Nixey that was published in the Times Saturday Review (read the article here). Leang Seckon's discussion with SOAS researcher and lecturer, Dr. Peter Sharrock, can also be seen here.

The exhibition has also been featured in publications and online blogs such as Cambodia Daily, the Culture Trip and One World.

Image: Leang Seckon, King Sihanouk's Funeral, 2012, mixed media on canvas, 50 x 40 cm (19¾ x 15¾ in)


Contemporary Konstantin Bessmertny at Museu Fundação Oriente


Museu Fundação Oriente
Avenida de Brasília,
Doca de Alcântara (Norte),
1350-352 Lisboa,

365. A Work a Day at the Museu Fundação Oriente, Lisboa is an exhibition of Konstantin Bessmertny's "Project 365". The series consists of individual works, each measuring 39 x 28 cm, that were created every day from the 15th September 2012, and was completed on the 15th September 2013.

Image: Konstantin Bessmerty, Project 365: 2013.04.16, 2013, mixed media on paper, 39 x 28 cm (15 ½ x 11 in).


Contemporary Tenzing Rigdol's 'Bringing Tibet Home' screening at Asian American International Film Festival

31 JULY 2014, 8:30 p.m., followed by Q&A with director Tenzin Tsetan Choklay

Asian American International Film Festival (AAIFF)

City Cinema Village East
189 2nd Ave
New York
NY 10003

for tickets: AAIFF

Bringing Tibet Home, the documentary about the journey behind New York-based Tibetan artist Tenzing Rigdol's courageous installation, Our Land, Our People. The installation involved the smuggling of 20 tonnes of native Tibetan soil across the borders of three countries that border the Himalayas. The soil was finally isntalled on a platform in Dharamsala, India, giving the chance for thousands of Tibetans in exile in Dharamsala to set foot on their native soil.

The documentary will be screened in New York as part of the Asian American International Film Festival and will be followed by a Q&A with the director, Tenzin Tsetan Choklay.


Contemporary Leang Seckon on BBC World News

On 7th July Leang Seckon was interviewed live at the BBC Broadcasting House by Karin Giannone for the programme Impact. The interview touched upon Seckon's experiences growing up in the Khmer Rouge, some of his works included in Hell on Earth and also his monumental installation Naga (2008).

A video of the interview can be watched on our website here:


Contemporary Palden Weinreb in 'the air we swim in' at BRIC Arts

10 JULY–31 AUGUST 2014

The Project Room at BRIC House
647 Fulton Street
(Enter on Rockwell Place)
Brooklyn, NY 11217

The air we swim in will be on view in the Project Room of BRIC House this summer. Curated by Kelly Schroer, the exhibition will focus on artists who create physical interactions with intangible elements that inhabit our same space, but are invisible to the human eye.This fascination with invisible elements in the air acts as a starting point in expressing our human need to make sense of the world around us. The exhibition will feature artists Hanny Ahern, Thessia Macahdo, Eric Shows and Palden Weinreb. Through drawing, sculpture, and interactive installations, the artists exhibited in The air we swim in create tactile sensations out of sound waves, energy and light waves, breath, and microscopic particles.

Image: Palden Weinreb, Untitled, 2014.


Classical Featured: Ming Dynasty ink on paper painting of The Lioness

Given that this year marks two major exhibitions on the Ming Dynasty at national museums, Ming: the Golden Empire currently on show at the National Museum of Scotland, Edinburgh, and Ming: 50 Years that Changed China to open at the British Museum this September, we felt it a great opportunity to highlight one of the stunning Ming Dynasty works of art Rossi & Rossi have to offer.

The Lioness
1483 (Chenghua Period, Ming Dynasty)
Framed ink and colour on paper
242 x 287 cm (95 ¼ x 113 in)

The Lioness is perhaps one of the most important and most interesting paintings from the period of the Chenghua Emperor. Near Life-size, the painting depicts two emissaries accompanying a lioness that is being offered to the Chinese court as tribute. The accompanying inscription, which runs along the top of the painting, is a prose-poem entitled, 'The Imperial Rhapsody on Lions' (Yuzhi shizi fu 御制狮子赋). Purported to have been written by the Chenghua 成化 emperor (r. 1464–1487), it is dated to the first of the lunar sixth month in the guimao 癸卯 year of the Chenghua Period, Ming Dynasty (1368–1644)—corresponding to the date of 5 July 1483—and features a large seal reading, ‘Treasures from Vast Territories’ (Guangyun zhibao 廣運之寶).

This offering of a lion as tribute to the court can be traced to a specific event referenced in the literature of the Ming Dynasty. Descriptions of this event can be found in the History of the Ming Dynasty (Mingshi 明史, completed 1739), the Veritable Records of the Ming Dynasty (Ming shilu 明實錄, compiled during the Ming Dynasty) and the Draft History of the Ming Dynasty (Mingshi gao 明史稿 by Wang Hongxu 王鴻緒, completed 1723) as well as in the inscription that runs above the painting. According to these texts, in 1483 the emir of Samarkand and Isfahan, Sultan Ahmad, offered tribute of lions to the Ming Dynasty court. (While the texts explicitly describe the offering of a pair of lions, only a single lioness is depicted in this painting.) According to the History of the Ming Dynasty, which relates the story, when the emissaries requested a minister to meet them and accept the lions as tribute, advisors to the emperor argued against accepting the gift, as the animals were seen as ‘useless creatures’ that could neither be sacrificed nor used to pull carriages. Emperor Xianzong 憲宗, however, decided to accept the tribute; the painting and the inscription attempt to justify this action by extolling the lioness as a fierce creature that should be read as a symbol of loyalty and regarded as auspicious sign.

Exquisitely painted trees, alive with brilliantly observed birds, form the background and also partially frame the scene. Both trees and birds are highly symbolic, and have been incorporated more for their associations than to provide a realistic setting. The huai 槐, or locust tree, is commonly found in palace gardens, and is perhaps suggestive of the location of the offering. In poetic contrast, behind the locust tree is a peach tree—its ripe, subtly shaded fruit symbolic of prosperity and longevity. The songbirds that cluster in the branches include a pair of orioles and a pair of magpies, which are both also auspicious symbols. This favourable setting was probably chosen to equate the tribute with good omens.

Dubridge translation (1997), P.Hobson text (1989), Whitefield (SOAS, 2003),
Watson, William. "Chinese Style in the Paintings of the Istanbul Albums", Islamic Art I (1981), pg.76, n12.

For more information, including provenance and images, please contact the gallery.