PHOTOFAIRS | Shanghai 2018
PHOTOFAIRS | Shanghai 2018: Spotlight on Shao Wenhuan and Zhang Kechun
For its fifth participation at PHOTOFAIRS | Shanghai, the Three Shadows +3 Gallery (booth D24) will bring this year the latest works from Chinese artists Shao Wenhuan 邵文欢 and Zhang Kechun 张克纯.
Shao Wenhuan was born in Hotan, Xinjiang in 1971. In 2002 he enrolled in a graduate program for painting at the Chinese Academy of Art. During this time he also traveled to France to study at the National Superior School of Art in Dijon. After completing his degree, Shao remained at the Chinese Academy of Arts as an Associate Professor. He lives and works in Hangzhou.
It is easy to get absorbed into the worlds of Shao’s images. Photography is very much at the center, but he manages to conjure destabilized realities and alternate existences all the same. In works like Wings of a Phoenix Bird, the multidimensional rips of aluminum showcase Shao’s break from a single, black-and-white, subjective or objective worldview in his photography. It is not necessarily a rethinking of image consciousness (that is, the way the image acts as a mirror) he strives for, but this rethinking of space.
Zhang Kechun was born in 1980, Sichun, currently works and lives in Chengdu. He has participated in many solo and group exhibitions at domestic and international contemporary art institutions. Zhang Kechun won the National Geographic Picks Global Prize in 2008, the Daylight Photo Award and the Arles Photo Festival Discovery Award in 2014. He was nominated by the Three Shadow Photo Award in 2012, Sony World Photography Awards in 2012 and 2013, and by the Prix HSBC Pour la Photographie in 2014.
Zhang Kechun is best known for his large format photographs of post-industrial Chinese landscapes. He produces epic vistas that dwell on the significance of the landscape in modern Chinese national identity. Mountains and rivers are always the heaviest carriers of Chinese people’s affection. The continental cultural awareness of making a sightseeing tour, the inherent cultivation consciousness of “mountains being virtuous, rivers being moral”, and the sense of visual illusion of a short distance away are always the main line of interpreting Mountains and waters. In his latest series China, he makes a new attempt. In additional to the landscape of mountains and rivers, he extends his focus on social group.
ABOUT THE GALLERY
Three Shadows +3 Gallery, a new independent art space founded by Three Shadows Photography Art Center in Caochangdi, first seeks to act as a channel for promoting Chinese Contemporary photography, past and present, and keeping its doors open to the future of the medium. It aims to provide a professional model for promoting and guiding China’s homegrown artists, and offer opportunities to the public to better understand and recognize the excellent photography produced in China. To this end, +3 Gallery aims to foster the further development of informed collecting of photography in China.
While its main focus is on Chinese photography, Three Shadows +3 Gallery is also committed to showcasing outstanding photography from abroad. Through collaborations with international art spaces and fairs, Three Shadows +3 Gallery is working towards expanding the audience for these photographs at home, while also increasing Chinese photography’s exposure in other regions of the world.
PHOTOFAIRS | Shanghai
From September 21-23, 2018
Shanghai Exhibition Center
No. 655 Changhua Road
Singapore Art Museum To Organise Next Two Biennales With Patrick D. Flores As Artistic Director For The 2019 Edition.
The National Arts Council (NAC) is pleased to announce the re-appointment of the Singapore Art Museum (SAM) as organiser of the next two editions of the Singapore Biennale, the country’s premier international contemporary visual arts event. Established in 2006, the Biennale presents and reflects the strength of artistic practices in Singapore, the region and internationally. Through collaborations and engagement with artists, arts organisations and businesses, the Biennale enhances Singapore’s reputation as a creative centre that embraces the visual arts.
As a contemporary art museum focusing on art-making and art thinking in Singapore, Southeast Asia and Asia, SAM was the organiser of the Singapore Biennale in 2011, 2013 and 2016. The re-appointment for both Singapore Biennale 2019 and Singapore Biennale 2022 enables SAM to leverage and build upon their expansive artistic and curatorial networks and collaborative relationships, creating more opportunities to work with curators, artists and the art community over an extended period of time.
“As a key cultural institution and leader in contemporary arts, the Singapore Art Museum has successfully presented three editions of the Singapore Biennale. It is well placed to present the next two editions of the Biennale on behalf of the National Arts Council,” says Chief Executive Officer for the National Arts Council Mrs. Rosa Daniel, who co-chairs the Singapore Biennale 2019 Steering Committee with Ms. Jane Ittogi, former Chair of the Singapore Art Museum. “Over the years, the Biennale has not only been instrumental in establishing Singapore as a go-to destination for Southeast Asian contemporary art, but has also proven to be an important developmental platform for art practitioners from Singapore and the region to showcase their works to an international audience. We look forward to the Biennale building upon the meaningful connections established with the many international artists and art institutions, and hope to inspire new and exciting opportunities for the regional contemporary art community and audiences.”
The Singapore Biennale Steering Committee, comprising representatives from the arts community, has appointed Patrick D. Flores the Artistic Director for the 2019 edition of the Singapore Biennale. An established curator, art historian and educator, he is currently a Professor of Art Studies at the Department of Art Studies at the University of the Philippines and curator at the Vargas Museum in Manila. He says, “It is a great opportunity to work with the Singapore Art Museum and direct the Singapore Biennale at a time when the art world of Southeast Asia is strongly placed to fulfill the worldly potential of a lively region. I look forward to making the biennale platform more open to engaged forms of interaction with audiences through the public discourse of art. Perhaps the best way to do this is to turn the Biennale into an intersection between a festival and a seminar, a moment to think through what is happening around us and a time to take in the creative energy of the region.”
Patrick D. Flores is Professor of Art Studies at the Department of Art Studies at the University of the Philippines, which he chaired from 1997 to 2003, and Curator of the Vargas Museum in Manila. He was one of the curators of Under Construction: New Dimensions in Asian Art in 2000 and the Gwangju Biennale (Position Papers) in 2008. He was a Visiting Fellow at the National Gallery of Art in Washington, D.C. in 1999 and an Asian Public Intellectuals Fellow in 2004. Among his publications are Painting History: Revisions in Philippine Colonial Art (1999); Remarkable Collection: Art, History, and the National Museum (2006); and Past Peripheral: Curation in Southeast Asia (2008). He was a grantee of the Asian Cultural Council (2010) and a member of the Advisory Board of the exhibition The Global Contemporary: Art Worlds After 1989 (2011) organized by the Center for Art and Media in Karlsruhe and member of the Guggenheim Museum’s Asian Art Council (2011 and 2014). He co-edited the Southeast Asian issue with Joan Kee for Third Text (2011). He convened in 2013 on behalf of the Clark Institute and the Department of Art Studies of the University of the Philippines the conference “Histories of Art History in Southeast Asia” in Manila. He was a Guest Scholar of the Getty Research Institute in Los Angeles in 2014. He curated an exhibition of contemporary art from Southeast Asia and Southeast Europe titled South by Southeast and the Philippine Pavilion at the Venice Biennale in 2015.
More information on Singapore Biennale 2019, including the curatorial model, title and venues, will be shared in the last quarter of 2018.