Heman Chong selected for 20th Sydney Biennale

18 MARCH–5 JUNE 2016

The 20th Biennale of Sydney, inspired by a quote from leading science fiction author William Gibson, is titled The future is already here — it’s just not evenly distributed. This edition of the Biennale will be presented at seven main venues conceived as ‘embassies of thought’.

Of the embassies, the Embassy of Stanislaw Lem presents a project by Heman Chong within a small bookshop. Chong’s work will develop out of a process of accumulation; gathering together second-hand copies of Polish science fiction author Stanislaw Lem’s books (in both English and Polish), which will be available for visitors to both peruse and purchase.

Image: Installation shot of Heman Chong's bookshop installation for Lem 1 at Rossi & Rossi London, February 2012.

New publication: Naiza Khan, 'Undoing / Ongoing', featuring an essay by David Elliott

Rossi & Rossi are delighted to announce the publication of a new catalogue featuring new works by Naiza Khan. Published in conjunction with her new exhibition, Undoing / Ongoing, the catalogue features an essay by renowned curator David Elliott, titled "In the Guts of the Whale: Image and Revelation in the Work of Naiza Khan".

For more information about the catalogue and exhibition, please contact the gallery.

Rossi & Rossi London to present Naiza Khan: Undoing / Ongoing

Rossi & Rossi is delighted to announce Undoing / Ongoing, an exhibition of new works by Pakistani artist Naiza Khan. Featuring oil paintings, watercolours, prints and brass sculpture, the show is a continuation of Khan’s long engagement with the urban landscape of Karachi and the city’s relationship with the sea. Though grounded in Karachi, her work also references global phenomena, including ideas of dwelling, movement, boundaries and the impermeability of borders.

Through her diverse practice, Khan investigates the built structures of Karachi and its surrounding areas, focusing especially on ruins, construction sites, public spaces and found objects. In her works, the city, and the life that exists within it, is presented as an organic structure under threat—of development, migration, modernisation and decay. In exploring and theorising urban space, the artist has encountered multiple embedded histories and time frames, as told through the city’s discarded objects and architectural constructions.

In a number of Khan’s larger new paintings, Karachi appears as a dark, oily shadow or reflection. Against this background, Breakage (2015) depicts the nearby island of Manora as a fractured, bisected plan, overlain and ‘unified’ in red paint by what seem to be the scattered footprints of unknown red buildings. Flickering between plan and silhouette, between flatness and three-dimensionality, the central form of this work suggests to Khan, ‘[A] large pylon under the ground. Something floating, contained and yet rooted. I was thinking, does concrete have a memory of its pouring? Does this object carry within it a history, and a memory of what it will become?’ Like people, objects and architectural constructions, she implies, have lives and memories of their own because they are interwoven into the same flux, form and pattern. This inexorable sense of flux is made explicit in the title of the exhibition, with its intimation that any sense of progress is immediately pushed back—or ‘undone’.

In Undoing / Ongoing, Khan also presents a number of cast brass sculptures that are the result of her explorations of the nature of debris and its productive quality in space. For the artist, the process of casting also operates as an underlying metaphor, bringing to the fore considerations of spillage, spontaneous making, transformation and mutability of form. Through her casts, she explores the phenomena of erasure and volume; the notion of aerial and planer views; and the multiple ‘presencing’ of objects through recurring motifs such as the boat, the tent, the horizontal line or the gutted whale. How does one, in fact, cast the phenomena of a city?

Image: Naiza Khan, Breakage, 2015, oil on canvas, 120 x 150 cm (47 ¼ x 59 in)

Rossi & Rossi at Bazaar Art Jakarta

27–30 AUGUST, 2015
Vernissage: 27 August, 2015

Bazaar Art Jakarta
Ritz-Carlton Jakarta Pacific Place
Sudirman Central Business District (SCBD)
Jalan Jenderal Sudirman No. 52-53
Jakarta 12190

Rossi & Rossi is delighted to announce their participation in this year’s Bazaar Art Jakarta. This will be the gallery’s first year participating in Indonesia's largest art fair, now in its seventh year.

Rossi & Rossi will be bringing to Jakarta works by Hong Kong-based cinematographer and filmmaker Christopher Doyle, Zurich-based Tibetan artist Kesang Lamdark, Lhasa-based Tibetan artist Nortse and Cambodian artist Leang Seckon.

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

Leang Seckon and Tsherin Sherpa to participate in the 8th Asia Pacific Triennial of Contemporary Art (APT8)

21 NOVEMBER 2015–10 APRIL 2016

Queensland Art Gallery | Gallery of Modern Art (QAGOMA)
Stanley Place, Cultural Precinct
South Bank, Brisbane
Queensland 4101

APT8 will feature works by more than 80 artists from over 30 countries, including Cambodia's Leang Seckon and USA-based Tibetan artist Tsherin Sherpa. APT is a triennial devoted to examining developments in the contemporary art of Australia, Asia and the Pacific, and APT8 will focus especially on exploring how the human form can express cultural, social and political ideas in times of enormous change. Sherpa's participation in the triennial also marks the first time Nepal has been represented at the prestigious event.

Image: Leang Seckon, Inverted Eyeballs, 2010, mixed media on canvas, 150 x 150 cm (59 x 59 in)

Rossi & Rossi at ART15 London

21–23 MAY 2015

Stand D12
Kensington Olympia
London W14 8UX

For the third edition of the contemporary art fair ART15 London, Rossi & Rossi will present works by three contemporary Asian artists: Heman Chong, Naiza H. Khan and Nicole Wong.

Singaporean artist Heman Chong (b. 1977, Muar, Malaysia) creates works that combine genres: visual art, performance, writing, installation and science fiction. His fascination with language and words has led to the creation of works that explore the meaning of the written word and questions its power and ability to communicate knowledge.

Naiza H. Khan (b. 1968, Bahawalpur, Pakistan) explores the "disrupted geography" of Karachi. Through her prints she presents architectural scenes that explore the development and decay of the urban landscape as the result of unpredictable and unstoppable social upheaval. In her work the ruins of the past are overlaid by stories that demonstrate the continuing hold of history on the present.

Nicole Wong (b. 1990, Hong Kong) creates minimalistic works that present everyday and mundane objects as fine art. Disguised within the gallery environment, the works blur the boundaries between reality and illusion, highlighting the indifference of the modern world.

Image: Naiza H. Khan, Membrane II, 2010, screen print, watercolour and graphite on paper, 100 x 70 cm (39 ½ x 27 ½ in).

Christopher Doyle at Rossi & Rossi London: No Glass Twice as Big as It Needs to Be

17 APRIL–15 MAY 2015

Private view; the artist will be present:
Thursday, 16 April, 6–8 p.m.

Rossi & Rossi London
27 Dover Street
London W1S 4LZ

T: +44 20 7629 6888

Rossi & Rossi is delighted to present No Glass Twice as Big as It Needs to Be, the first solo exhibition in Europe of famed cinematographer and director Christopher Doyle. The show will feature installation, mixed-media collage and video works by the award-winning filmmaker.

No Glass Twice as Big as It Needs to Be includes a range of works, from humorous collages that deconstruct familiar historical and religious imagery to images of delicate pastel-hued flowers covered with splatters of paint and ink. For Doyle, the process of creating collages is therapeutic; it allows him to re-energise after long days of filming. The artist sees the resulting body of intimately personal works as products of his intuition.

According to Doyle, No Glass is a celebration of the pictorial surface through the restrictions imposed upon it by its physical frames. This is most evident in the series Issue, which pairs a collage with a video work, highlighting the different approaches to imagery with which Doyle deals when producing art and film. Each of the twelve collages is presented as floating—suspended from the ceiling and effectively frameless, instead of being sandwiched between clear pieces of Perspex—while the same image is slowly revealed on the accompanying monitor, as billowing, cloudlike forms emerge from the edges of the screen.

Also accompanying the exhibition is just like you and me (2015), a video in which Doyle is interviewed by his alter ego Du Ke Feng (杜可風, the artist’s Chinese name, meaning ‘like the wind’). Doyle and Du have a give-and-take relationship: free-minded Doyle creates films and art out of pleasure; in contrast, reason-based Du requires the kind of logical rhetoric that Doyle is uncomfortable to afford. So who creates which work of art? Who creates which film?

Doyle/Du will be in London from 13 to 18 April and available for interviews. For more information please contact the gallery.

Christopher Doyle (b. 1952, Sydney, Australia) is guilty of creating some of the most beautiful images on film in the last four decades. Among his forty-two awards and nineteen nominations at film festivals around the world are the Grand Technical Prize at the Cannes Film Festival for In the Mood for Love (2000, dir. Wong Kar-wai), as well as the Osella d’Oro for Best Cinematographer for Ashes of Time (1994, dir. Wong Kar-Wai) at the Venice International Film Festival. In 2013, Doyle teamed up with ArtAsiaPacific to release Away With Words, an interactive iPhone and iPad app that allows users to interact and collaborate with him through language and imagery. Most recently, the artist made international headlines while crowdfunding his latest film project, Preschooled Preoccupied Preposterous, a film partially set during Hong Kong’s recent ‘Umbrella Movement’ protests.

Image: Christopher Doyle, Manifest Destiny, 2015, mixed media collage on paper, 31.2 x 24.6 cm (12 ¼ x 9 ¾ in).

Heri Dono to represent Indonesia at the 56th Venice Biennial

Heri Dono: Voyage – Trokomod

9 MAY–22 NOVEMBER 2015

From the early beginning of his artistic engagement, Heri Dono has consistently aspired to set right what he thought was wrong. For Heri, art is not just about exploring the beauty or the aesthetic but to give awareness to the audience. “Artists have a moral responsibility to add to the global conversation, and inspire people with awareness of what is going on in their environment and in the world at large.”

In the Indonesian Pavilion which is themed “Voyage”, Heri Dono presents his site- specific work, a fusion of the Trojan Horse and the Indonesian Komodo dragon (dubbed Trokomod), shaped as an amphibious hybrid “animal” of 7.5 x 3 x 3.5 meter. With this hybrid ‘vehicle’ which encompasses his entire world vision where East and West merge, he explores the state of the world, at the same time exploring his place and the country’s in the global constellation of nations. “Indonesia has for most of the time been a blank spot on the world map, he asserts, now is the time to speak up’. With this he wants to show another way of asserting power.

While the appearance of Trokomod may be frightful, the interior presents a soft power using material like rattan, and a ceiling covered with a canvas on which batik symbols of all religions denote the wish for peaceful religious pluralism, Trokomod’s voyaging through history and plying the oceans between cultures is the culmination of his critical views about global and local cultures, about political, geopolitical and social situations at home and in the world, and about Western hegemonies that he used to reveal with a lot of humor and a touch of human benevolence. Trokomod, however has added an etchy touch.

An important part of the work is Heri Dono’s ethnographic imaging. Contrary to a traditional display in an ethnographic museum which traditionally displays exotic cultures from a Western point of gaze, Heri Dono switches roles showing Western icons as we perceive them from the other part of the world. This follows his belief that it’s an artist’s moral responsibility to inspire people with awareness of what is going on in the world and to balance the global conversation.”

Within the ‘animal’s interior, visitors can peep through telescopes to see artifacts and images of important cultural significance that is perceived to have marked the Western world, and operate the periscope showing selected markers of Indonesian and Eastern significance.

Traditional vessels of the past that mutated in the course of time, are hanging above the hybrid animal fusing memory of Indonesia’s maritime position in the past and a view for the future.

As a whole, Heri Dono wants to signify the past, the present and the unknown but hopeful future.

Curatorial Text by Carla Bianpoen

Image: 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).

'Namibia: A Land of Moving Emotions' charity photography exhibition at Rossi & Rossi London

26–28 MARCH 2015
Reception: 6:00–8:00 p.m.

Rossi & Rossi London
27 Dover Street

Paola, Gabriella and Loretta, share a story of moving emotions and travel through their photographs. All proceeds from the sale of the photographs will be donated to support Scintille, a secular association that focuses on alleviating poverty in Africa, focusing especially on women and children in Namibia.

For more information about Scintille, please visit their website: www.scintille.org.

Rossi & Rossi to present Leang Seckon at Art Basel Hong Kong


15–17 MARCH 2015
Vernissage: 14 March 2015, 4:00–9:00 p.m.


Hong Kong Convention and Exhibition Centre
1 Expo Drive
Wan Chai
Hong Kong

T: +852 3575 9417

Rossi & Rossi is pleased to announce its participation in this year’s Art Basel Hong Kong. Exhibiting in the art fair’s ‘Insights’ section, which focuses on galleries and artists from Asia and the Asia-Pacific region, the gallery will present a solo show of recent paintings and collages by one of Cambodia’s foremost artists, Leang Seckon.

Having grown up in the 1970s during the devastating period of Khmer Rouge rule, Seckon witnessed firsthand the government-enforced policies that led to famine and disease, as well as state executions. Today, his striking artworks in a variety of media—textiles, photographs, posters, found objects—are intimate narratives of his memories from the period and the civil war that followed. Brimming with references to popular culture and local lore, such as Buddhist prophecies and folk stories, his intricate and delicate pieces depict both the beauty and the horrors of Cambodia’s past.

For Seckon, the process of creating artworks is cathartic; it allows him to experience and express the identity that was denied to him as a youth. Through his works, the artist looks nostalgically to an idyllic vision of Cambodia in the 1960s, to a time before the destruction of the Vietnam War and the rise of the Khmer Rouge. However, Seckon’s corpus also acts as a warning: drawing parallels between Cambodia’s past and present, it cautions against corruption and environmental destruction.

Image: Leang Seckon, Giants and Gods, 2015, mixed media on canvas, 90 x 74 cm (35 ½ x 29 in)