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).

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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: Buddha Mahavairocana, ca. 1200, Tibet, distemper on cloth, 86 x 70 cm (34 x 27 ½ in).

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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).

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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).

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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.

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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).

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Parallel Realities opens at ARNDT gallery, Berlin, in conjunction with Rossi & Rossi

26 OCTOBER-22 NOVEMBER 2014
Tues-Sat, 11am–6pm and by arrangement

ARNDT Berlin
Potsdamer Straße 96
10785 Berlin

Curated by Tsherin Sherpa, Parallel Realities examines the work of five contemporary Tibetan artists—Gade, Kesang Lamdark, Nortse, Tenzing Rigdol and himself—whose lives and art span the globe, from Tibet to Europe to North America. Each artist addresses his personal relationship to his cultural history and heritage, exploring it through different mediums and from different vantage points. Often, such viewpoints diverge along geopolitical boundaries, which are also the cause of strife and war. Here, however, the juxtapositions present common themes and inheritance, as well as individual searches for meaning in today’s Tibetan diaspora.

Tibet acts as the focal point for this exhibit, but how it is seen varies according to each individual artist’s personal reality. Tibet itself exists in different realities—seen as both part of China and as something completely separate from it—and continues to be perceived as both a mythological and spiritual Shangri-la, as well as an occupied and rapidly industrialised country. Emerging from Tibet’s history, these divergent pathways have led to so many unique perspectives, and continue to inspire the search for its people’s sense of spirit and home.

Image: Tsherin Sherpa, Lost Spirits (detail), 2014, gold leaf, acrylic and ink on cotton, 80 x 116.8 cm (31½ x 46 in).

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Tenzing Rigdol in 'Bringing Tibet Home' at Buddhist Film Festival Europe

4 OCTOBER 2014, 7.30pm

Film screening followed by Q&A with Tenzing Rigdol

Buddhist Film Festival Europe
IJpromenade 1
1031KT Amsterdam
The Netherlands

Bringing Tibet Home tells about the extraordinary project Our Land, Our People by artist Tenzing Rigdol. Rigdol set out on a mission to bring Tibet home to its people through an art project involving the smuggling of 20,000 kilos of native Tibetan soil across the Himalayas from Tibet into India, spanning the borders of three countries.

In doing so he forever touches the hearts of many Tibetans living in exile who are unable to return home. This soil was laid out on a platform in Dharamsala where thousands of exiled Tibetans live and took the opportunity to walk on their home soil. For many a reunion, for some, the first time that they set foot on their homeland and for a few, this is probably the last time that they ever see anything of their lost nation. Through this site-specific installation the artist enables the displaced to ‘return’ home.

Although Rigdol’s work examines the plight of the Tibetan people in exile, it has wider resonance, exploring the notion of homeland and how art is intertwined with the political and the social, demonstrating the transgressive power of art as an act of defiance.

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Heman Chong participates in Extinction Marathon in Serpentine Gallery

18–19 OCTOBER 2014

Serpentine Gallery Pavilion
Kensington Gardens
London W2 3XA

The Serpentine, together with artist Gustav Metzger – who acts as co-curator and mentor to this year’s Marathon – has invited a world-class line-up of artists, writers, scientists, film-makers, choreographers, theorists and musicians, including Heman Chong, to explore the complex and timely topic of extinction through talks, conversations, performances and screenings.

Extinction Marathon: Visions of the Future will be the ninth in the Serpentine’s annual Marathon series, an ambitious event that brings together the fields of art, culture, science and technology. Approaching the topic through the prism of visual art, Extinction Marathon addresses the philosophical and artistic image of the end and the void, as well as new ways of envisioning and imagining the future. The two-day event, which comprises a non-stop series of 15-minute presentations in The Magazine at the Serpentine Sackler Gallery, will be live-streamed by thespace.org.

Image: Benedict Drew, Public Address (video still), 2004, HD video, courtesy of the artist and Matt's Gallery London.

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Naiza Khan in 'Et in Arcadia Ego' at Nature Morte Delhi

18 OCTOBER-22 NOVEMBER 2014

Nature Morte
A-1, Neeti Bagh, Anand Lok
New Delhi
India

Et in Arcadia Ego is a group art show by Rohini Devasher, Saravanan Parusuraman, Riyas Komu and Naiza Khan. The Latin title for the show translates as "Even in Arcadia, there am I," referring to the contrast between the ever-present shadow of death and the idle pleasures of Utopia. Et in Arcadia Ego is also the famous title of two pastoral scenes byNicolas Poussin depicting the ideal world of classical antiquity.

The works of these four artists converge on these reference points in a variety of media - video, print-making, installation, photography, and watercolor with the medium of drawing being explored in multiple directions, anchored to the terrain and consequently acting as an examination of the artists' place within the world, be it Utopian or Dystopian. The artistic antecedents hovering in the air are robust, from the neo-classical paintings of Nicolas Poussin, the Dada constructions of Kurt Schwitters, and the neo-expressionism of Jean-Michel Basquiat, while the works also engage with multiple scientific disciplines.

Image: Naiza Khan, The Streets are Rising, 2012-13, oil on canvas, 200 x 256 cm (78 ¾ x 100 ¾ in).

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