Contemporary Bringing Tibet Home UK release

The first European theatrical release of documentary Bringing Tibet Home takes place this month in London. The documentary will be shown at the following locations:

FRIDAY 12 DECEMBER, 7PM: The Cinema, Goldsmiths (Univeristy of London), LONDON SE14 6NQ (tickets)

SATURDAY 13 DECEMBER, 3PM: The Proud Archivist, 2–10 Hertford Road (Regent's Canal), LONDON N1 5ET (tickets)

SUNDAY 14 DECEMBER, 7.30PM: Platform, 2nd floor, Netil House, 1 Westgate Street, LONDON E8 3RL (tickets)

MONDAY 15 DECEMBER, 7PM: The Horse Hospital, Colonnade, LONDON WC1N 1JD (tickets)

dir. Tenzin Tsetan Choklay, US/India/Nepal/S. Korea 2013, 82:00min

Bringing Tibet Home is the pivotal, poignant and deeply personal debut feature documentary by Tibetan filmmaker Tenzin Tsetan Choklay. The film crew follow from start to finish the New York based Tibetan contemporary artist Tenzing Rigdol while he creates his most ambitious, political and crucial installation yet, the Soil Project. Inspired by his father's dying wish, to once again set foot on Tibetan soil, Rigdol transported soil from Tibet through Nepal to Dharamsala, India, to bring a piece of Tibet to the exiled community who are unable to return to their homeland. Choklay films Rigdol's physical and emotional journey to overcome seemingly insurmountable challenges as he navigates the border controls of three countries to smuggle out 20 tons of Tibetan soil. A deeply inspiring portrait of human resilience at its most tested, and a profound example of enduring creativity through times of political turmoil.

Contemporary Erbossyn Meldibekov in 'From Almaty to Astana' at Musee d'Art Moderne et Contemporain

5 DECEMBER 2014–1 MARCH 2015

Musées de la Ville de Strasbourg
67076 Strasbourg Cedex
France

Despite the complexity of both its history and its current political situation, Kazakhstan has always been a fertile ground for the development of intensive and high-quality artistic activity. The current project aims to showcase the diversity and significance of the positions of contemporary Kazakhstani sculptors with a selection of works that has never before been displayed in France. The ten selected artists of international renown, including Maori artist Erbossyn Meldibekov, are all between 40 and 50 years old. They have in common the questioning of Kazakhstan's history and popular culture and the developing of a vision that is by no means complaisant and is driven by a remarkable creative vitality.

Image: Erbossyn Meldibekov, Borderline, paper and cardboard, 126 x 94 x 120 cm (49½ x 37 x 47¼ in).

Contemporary Konstantin Bessmertny at 10 Chancery Lane Gallery

26 NOVEMBER 2014-31 JANUARY 2015

10 Chancery Lane Gallery
G/F, 10 Chancery Lane,
Soho, Central,
Hong Kong

In his newest series of works entitled STIR FRY, Bessmertny traverses our connected and disconnected worlds between East and West within the backdrops of European settings. Within a stir fry the elements are still distinguishable. They don’t melt together as in a stew. They remain as distinct items within a contained vessel. Bessmertny likens his life living in Asia with the diversity of peoples and cultures all within the global city of Hong Kong to a Stir Fry. The English, the Scots, the Cantonese, the Mainlanders, the Japanese, the Russians, the Koreans, etc. make for an interesting mix of both global exchanges set within very traditional cultures that can be both nationalistic or clinging to traditional cultural expressions. This may be considered as the forms in which traditional culture is expressed, how it forms part of the identity and heritage of a traditional community, as well as how they are passed down from generation to generation. Within this series Bessmertny touches upon the Scottish Referendum, the Hong Kong protests, the American ideologues all intertwined within a parody of provocative thoughts and ideas. Bessmertny’s paintings have the appeal of a grandiose Baroque masterpiece yet the cutting edge of a modern-day samurai. He touches on many a taboo subject yet the works still hold an air of traditional elegance.

Image: Konstantin Bessmertny, Swimming Before Breakfast N. VI, 2014, oil on wood.

Classical Rossi & Rossi London reopens 4 Dec 2014

4 DECEMBER 2014, 5–8PM

Rossi & Rossi
27 Dover Street
London W1S 4LZ

Rossi & Rossi are pleased to announce that they will be opening their new London space on 4th December at 27 Dover Street.

The opening will feature a rare ca. 1200 Tibetan thangka of Buddha Mahavairocana. The thangka is a particularly fine example from the early period of Tibetan art production, and is evidence of the artistic exchanges between Tibet and Pala India during this period. To compliment this exquisite work of art, three contemporary Tibetan artists, Kesang Lamdark, Tenzing Rigdol and Tsherin Sherpa, have each been commissioned to produce a work inspired by the 13th century thangka. Executed using different techniques and mediums, the works demonstrate the variety and vibrancy found in contemporary Tibetan art, as well as the close connection between classical Tibetan art and contemporary practice. These contemporary examples will be shown alongside the thangka as well as other rare classical Himalayan works of art, demonstrating an exciting fusion of past and present artistic traditions and influences.

Image: Installation View

Classical Rossi & Rossi Hong Kong to present a selection of classical Buddhist sculpture

20TH NOVEMBER – 20TH DECEMBER 2014

ROSSI & ROSSI HONG KONG
Yally Industrial Building, Unit 3C
6 Yip Fat Street, Wong Chuk Hang
Hong Kong

Opening hours:
Tuesday–Saturday, 11am–6pm, or by appointment

Opening this Thursday, Rossi & Rossi Hong Kong will be presenting a selection of classical Buddhist sculpture, including exquisite bronzes from China and the Himalayas, as well as an impressive stone sculpture from Pala India. Providing a small glimpse into the history of Buddhist art production, these objects of worship demonstrate the complexities and nuances of the religion, and also highlight how Buddhism changed and adapted as it travelled across Asia.

Image: Seated Buddha, China, Qing period, 18th century, bronze, 33.5 cm (13 ½ in).
坐佛,铜鎏金 残存涂彩痕迹,中国,清,18世纪,33.5 厘米 (13 ½ 英寸)

Contemporary Kesang Lamdark in 'Material Analysis' at ShugoArts

15 NOVEMBER–20 DECEMBER 2014

5th floor, 1-3-2 Kiyosumi
Koto-ku
Tokyo 135-0024

Material Analysis features works by Teppei Kaneuji, Lee Kit and contemporary Tibetan artist Kesang Lamdark, who each incorporate a wide range of materials and techniques to create their works of art. Lamdark produces works using PVC plastic, lightboxes, as well as found objects and beer cans. His brightly coloured works often have a sombre focus, such as expressing his concern for the subjugation of Tibetans and the increasing number of self-immolations by Tibetans since 2009.

Image: Kesang Lamdark, Khenpo Jigme Phuntsok, 2014, PVC, holographic postcard, 75 x 51 cm (29 ½ x 20 in).

Contemporary Shane Cotton: The Voyage Out in Rossi & Rossi Hong Kong

ROSSI & ROSSI HONG KONG

Yally Industrial Building, Unit 3C
6 Yip Fat Street
Wong Chuk Hang
Hong Kong

Marking New Zealand artist Shane Cotton'a first solo show in Hong Kong and second solo presentation with the gallery, The Voyage Out demonstrates the artist’s ability to defy easy categorisation—in search of new ideas and forms, he consistently reinvents his own painting practice.

Part of a hugely influential generation of contemporary Maori artists, Cotton has played a central role in shaping New Zealand’s postcolonial discourse. In The Voyage Out, he offers twenty new works on paper, many of which deploy his signature forms of the past few years: ambiguous texts; birds being stretched and warped through space; coloured dots and lines that simultaneously censor his images and create spatial depth; and, most contentiously, mokomokai—preserved Maori heads that were traded in the nineteenth century. One by one, the paintings transform into proto-Surrealist spaces of invocation, in which seemingly unrelated forms from past and present are thrown together against stormy skies. But these works also present significant developments within Cotton’s practice. First, at the centre of several paintings, there is the introduction of a diamond; inside, the artist creates abstract forms that hark back to British painter Ben Nicholson. He also finds new depths with his ‘smoke’ paintings, whose ambivalent surfaces are punctuated by a wobbling and unpredictable three-dimensionality.

Cotton opens up the spaces of paintings to find what lies behind them. Yet the resulting breakthroughs are less about staging Surrealist disorientations than they are about discovering unseen dimensions. Thus, they refer as much to quantum physics as to traditional Maori cosmology. The artist also wears his influences openly—like Nicholson, he borrows freely from American painter and photographer Ed Ruscha, American conceptual artist John Baldessari and New Zealand’s greatest painter, Colin McCahon. But Cotton’s works create a unique vision: a collision of colonial traumas, histories of modernism, contemporary reflections on ideas of ‘place’ and the nature of our existence.

Image: Shane Cotton, #Diamond II, Acrylic on Steinbach paper, 100 x 70 cm (39 1/2 x 27 1/2 in).

Contemporary Kora: A Meditation on Pilgrimage at Queens Museum

1 NOVEMBER–4 JANUARY

Queens Museum
New York City Building
Flushing Meadows Corona Park
Queens, NY 11368
USA

In the Tibetan Buddhist and Bön traditions, a kora is a type of pilgrimage made through repeatedly walking and meditating around a sacred site or temple, the word itself meaning circumambulation or revolution. As a counterpoint toAnonymous: Contemporary Tibetan Art, the artists featured in Kora: A Meditation on Pilgrimage examine pilgrimage in its broadest possible context, with many creating site specific works for the Panorama’s unique environment. Footprints of an imaginary devotee encircle the entire space, connecting works that explore different ideas of veneration. Each artist occupies a wall, suggestive of stages on the journey. The architecture of the Panorama and its ramp structure, make it impossible to complete a conventional circumambulation. It is a discontinuous or uncompleted kora surrounding the three-dimensional depiction of the city of New York.

As exiles, each of the artists live in multi-cultural cities, where exposure to other ideas and cultures is a daily experience that can feel like sensory overload. Outside of Buddhist culture, the speed of modern life and ideas of self-expression and identity are everywhere, and have become a currency in their own right within the global art market. The works collectively imply a mourning for Tibet experienced by those in exile, or an acceptance and tentative embrace of multi-culturalism. The exhibition can also be seen as an attempt to encircle the city in a different philosophy, pointing the viewer toward a life of selflessness and contemplation. Visually, many of the pieces in the exhibition show traits of the attention to detail and technique of Thangka—traditional Tibetan painting, though the ideas behind some suggest a break with religious tradition, an incomplete pilgrimage or rupture of the path to enlightenment.

The exhibition includes works by Nortse, Tenzing Rigdol, as well as Chungpo Tsering, Tulku Jamyang, Tashi Norbu, and an anonymous artist.

Image: Tenzing Rigdol, Afloat, 2014, collage, silk brocade and scripture, 152 x 152 cm (60 x 60 in).

Contemporary Lois Conner at M97 Gallery, Shanghai

1–30 NOVEMBER 2014

ARTIST RECEPTION: THURSDAY 13 NOVEMBER, 6–8PM

M97 Project Space
Lane 170 Yueyang Road, No.1 Bldg 3, Room 102
Shanghai

“READING LANDSCAPES” features a selection of platinum prints from the Lotus series as well as landscapes to celebrate Lois Conner’s 30th anniversary of her first photographic trip to China. This selection illustrates not only the lotuses that have fascinated the photographer, but also the changes she has witnessed in three decades of intense travel throughout the country. This is the artist’s first gallery exhibition in Shanghai.

Image: Lois Conner, Yuanming Yuan, Beijing, 2004, pigment ink on Hahnemühle, 36 x 86 cm (14 x 34 in), edition of 10.

Contemporary David Elliott in conversation with Parallel Realities' artists in ARNDT gallery, Berlin

Sunday 26 OCTOBER, 4pm

ARNDT Berlin
Potsdamer Straße 96
10785 Berlin

Parallel Realities opens with a conversation between David Elliott and the artists during which they will be discussing the Tibetan and buddhist influences on their work.

David Elliott is a curator and writer who has directed contemporary art museums and related institutions in Oxford, Stockholm, Tokyo, Istanbul, Sydney and Kiev. He was President of CIMAM (the International Committee of ICOM for museums of modern and contemporary art) from 1998 to 2004, and is currently President of the Board of Triangle Art Network/Gasworks in London, Chairman of MOMENTUM in Berlin, a member of the Asia Advisory Board of the Guggenheim Museum, New York, and a Visiting Professor in Curatorship at the Chinese University in Hong Kong. A specialist in Soviet and Russian avant-garde, as well as in modern and contemporary Asian art, David Elliott has published widely in these fields as well as on many other aspects of contemporary art.

Image: Kesang Lamdark, Dorge Drakkten, 2014, PVC, paper, 180 x 88 cm (71 x 34 ½ in).