"Tonight I come to sign you" 今晚我来签署你
Samuel Sarmiento
Resident artist April and May 2013
exhibition: from may 16th until may 23th
展出时间
5月16日 至 5月23日
Close Party: Thursday May 23th from 6pm until 9pm
密切党群干群关系
5月23日 / 周六 / 下午6 - 9 点
Samuel Sarmiento was born in Venezuela in 1987. It is as a self-taught that he starts out his artistic training. In 2009 he completes his journalism studies at the University Rafael Belloso Chacin in Maracaibo, Venezuela. In 2010 he carries out a Master's degree in Artistic Production at the Polytechnic University of Valencia, Spain. He is currently studying for a Master's Degree of Art - Creation and Research, his major being Painting, at the University Complutense of Madrid. He has participated in various exhibitions, individually as well as collectively in Venezuela, Germany, Aruba, Spain, USA, China and the Netherlands.
"I've always found great satisfaction while engaging in the act of painting and I am now trying to convert this activity into my profession. My artistic work is very much influenced by my life experiences. It is made up of drawings and paintings through which I hope to tell stories. Thanks to my creations I'm looking to materialize my narratives, where landscape and individual emotionally and symbolically relate to each other. In developing my artistic production I have created a personal symbolic code which produces repetition turning it into a creative tool, from which the represented characters, forms, figures, graphics and signs come about. They tell legends, tales and metaphorical stories, which, using a simple image, transmit a message without the need for rational interpretation. When it comes to theory, artists like Miodrag Djuric, Clyfford Still, Wifredo Lam and Marc Chagall, have all had an influence on my past as well as current work. These references may provide some insight, to a certain extent, when it comes to my use of ancient mythological figures, of depictions of adults with animal features, or of pictorial gestures containing different degrees of abstraction. All these factors, when seen within their specific context, help to develop the scenarios I create. I'm interested in analysing the relationship between narration and landscapes, and in which way the landscape constitutes an individual character's perception of its own environment can be built up."
Samuel Sarmiento
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"Cord and Discord" 绳与不调和展示系列绘画,视频和装置
Ameet Gill
opening: saturday, May 4th from 5pm until 8pm
开幕时间
5月4日 / 周六 / 下午5 - 8 点
exhibition: from May 4th until May 12th
展出时间
5月4日 至 5月12日
Bringing the contradictions of the society forward, symbolically representing beautiful rhythm and cord followed by discord, thus creating a viscous cycle overstepping all borders, where power have been used and abused... The beautiful cord of rich heritage and nature turning into discord. On the flip side the realization that contradiction is the power and beauty of universe - opposites not only exist but flow hand in hand and absolute harmony for example feelings of happiness and sadness, bravery and fear, leading to an understanding of darker forces like lust, greed, hatred as being the cause of Discord.
"Where there is discord, may we bring harmony" - Margaret Thatcher.
The medium used by Ameet to develop her artworks is wood, oil paints, wax, resin, 24 carat gold and reviving old techniques of gold leafing/ encaustic in contemporary style.
Living a rich artistic and observant life has made her realise the impact of our carbon footprint.
Nature has given the gift of beeswax; the perfect medium for my biodegradable mixed media work. Encaustic is an ancient art, originating form 100-300AD Egypt and Greeks. Wax can be colored with pigments, hardened with resin, poured into slabs, sculpted, painted and used to preserve. The colored melted wax flows toward each other, connecting color and shape, layering and revealing in the process.
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"Since we last spoke" 自从我们上次谈话
Pierre Chaumont
Resident artist April 2013
opening: saturday, april 20th from 2pm until 6pm
开幕时间
4月20日 / 周六 / 下午2 - 6 点
exhibition: from april 20th until may 2th
展出时间
4月20日 至 5月2日
For this series, Pierre Chaumont is using to create works a traditional Japanese craft called kumi himo which consists of tying a thin silk lace for it to form an organic or geometric shape (circle, ball, leaves, etc.) in a harmonious way. Originally it was believed that in every knot God was present and even if nowadays it has lost this meaning you can still find it for important events like wedding, funeral, child’s birth or starting a company. For him, it conceptually represents a way to highlight events in a community or individual's life. In a mixture of drawings, sculpture and video, he explores the possibilities of this technique to translate intangible moments.
This exhibition is possible in part with the help of the Conseil des Arts et Lettres du Québec.
艺术家Pierre Chaumont 借助了日本传统手织腰带绳手工艺创造出一系列利用丝绸细带编织成有机或者有序的形状,比如环形,球形,树叶等等...在古老的最初,每个绳结都代表一个神.甚至在今天那些绳结已经丢失了原本的意义.但是在一些重要的活动中, 婚礼,葬礼,生日,开业...依然可以见到他们的身影. 对于艺术家来说,这是一种概念化标志社团的重要活动或者个人生活的重要时刻. 借用混合绘画,雕塑和视频,他试图探索了用这一古老的编织技术转化这些无形时刻的可能性.
The Conseil des Arts et Lettres du Québec协助本次展览
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"Urban Gaps" 都市缝隙
Photography and Space Production 影像与空间
Gaby Steiner
Resident artist March 2013
opening: saturday, march 30th from 2pm until 6pm
开幕时间
3月30日 / 周六 / 下午2 - 6 点
exhibition: from march 30th until april 11th
展出时间
3月30日 至 4月11日
The modernization of Chinese society produces images of fast pacing global cities. New buildings come along with the destruction of older areas. The demolition creates blank spaces, an urban wasteland of shredded bricks with traces of broken furniture, a chair, a curtain and plastic bags. In the background there is the horizon of newly erected high rise buildings. The wasteland is called short-term potential spaces ready for development and exists as a metaphor for fast-paced capitalism. The gaps in the urban environment are a kind of discrete sign for the hidden and obvious social gaps. The so-called socio-economic harmonization process of the society narrows the chances of space-seeking migrant workers. Real life chances are replaced by a simultaneous identification with prosperity. Next to the destroyed area there are still a couple of old buildings that are nearly ruined but still inhabited. The urban wasteland is a chaotic interruption in the continuity of the cities structure. Temporary urban wasteland can be considered as a model of a border zone in urban society. It is a zone between the past and the future, a sort of a blank space in the present. The marginal inhabitants of the area have no hope that their half-shattered homes will resist the brutal forces of the city’s reconfiguration.
Gaby Steiner’s portraits of the inhabitants show what is left for them: the dignity of one day that could be the last in their area. There are images that show a young mother with her boy on her arm posing in front of her old home, an old lady on a chair sitting in front of her unheated house to grasp some warmth of the sun and the self confident look of a young man passing a narrow lane. Shanghai's rapidly changing urban environment appears as a pattern of multiple places, fragments of temporary, potential spaces, spaces that are not yet used, but are in transformation between two conditions and times. Fragmentation is an essential aspect of the picture of modernity. There is an inside problematic of the idea that the image is communicating through the fragmentation of the visualization but the viewer's failure to find meaning despite the disjointedness, is that truth and reality are uncertain and only knowable by analyzing the broader context. The city as a social form is inserted into a far larger global network of economy, demographics, ecology and communication. Global culture is shaped by world cities and those are in turn shaped by global cultures.
In Shanghai culture is viewed as a source of cohesion in China's rapidly changing environment. But what if a culture tolerates the oppression of the public:everyday people, students and artists? Most people in Shanghai live in high-rise buildings. A lot of them were asked to leave their old houses in order to make way for the construction of high rise apartment blocks. Living and working in those buildings with their monolithic infrastructure makes it really hard to establish a relationship to one’s surroundings.The outside world is structurally isolated and serves the needs of cars and public transportation. Most of the this space is not perceived as something other than transit space. An additional factor that creates the sense of isolation is the space between the blocks. Your neighboor in the opposite building is visible when you look out of your prefabricated home. Although you are visible as well for the people who live in the next building, it is hard to imagine that the space between the buildings is a space for interaction.
Finally there is the question for the role of photography in the described environments and social contexts. Can photographs go beyond the illustration of interior and exterior within the frame of the image, which is communicated on the surface, and the unspoken, unseen context? Photography can in this way be seen as a medium of space production. It is concerned with exploring social spaces, focussing on frames and fragments that appear as parts of an interconnected reality. The interplay between the meaning of the visible space and the simultaneous isolation of the image uncovers different layers of representation of reality and power structures. The human being appears as an integral component of the narration. Photography as space production goes beyond documenting places, and serves as research into the relations between the human and the environment. The personal and social landscape is juxtaposed within the urban environment, the question of space is vital. In that sense the exploration of the blank spaces introduced in the beginning of this text creates a new space: a social counter-space in a visual but also literal sense.
中国社会的现代化进程使中国拥有了国际大都市的形象.新建筑取而代之老建筑. 在这取代的过程中却出现了一块都市荒地, 废弃的砖瓦, 家具, 桌椅, 窗帘和塑料袋. 背景处是新建的高楼大厦... 这种暂时的都市荒地可以被视为城市的边缘地带, 存在于过去与未来之间. 无望的生活在破落房子中的居民们面对着粗鲁的再安置.
Gaby Steiner 描绘了都市荒地上的居民: 他们坚守的尊严... 上海的快速发展产生了这些暂时的都市荒地, 还未被利用开发的地方, 也是时代转变的产物[...]
在上海,文化与中国的快速发展息息相关. 但是否这文化也能包容公众的苦恼? 学生,艺术家, 许多上海人生活在高楼中, 他们中的很多人离开老房子, 搬进了新的高楼. 生活在高楼中的人们很难真正的与新环境产生共融[...]
最后, 有一个问题留给摄影所居的角色关于如何表述社会环境. 摄影是否可以超越只是简单的在方寸之间描绘内部和外部环境, 而是沟通其潜在的, 更深层次的内在意义? 影像可以被看作是载体, 通过探索社会空间, 聚焦与现实紧密联结的形式. 游走于可见空间的意义和同时存在于画面的孤立感之间所透露的多层次的现实力量... 影像空间也可以超越仅作为对于空间的记录, 而作为研究人与环境的关系.在都市中人与环境是对矛盾体, 对于空间的问题是重要的. 对于都市荒地的探索开启了一个新的空间: 一个具有字面意义的显形时空
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28 February to 15 March, 2013 - Opening: 28 February, 6pm
"In Search of the Original" 寻找源
Erin Tjin A Ton (Holland)
Resident artist February 2013
Solo exhibition
Erin Tjin A Ton (1985) is a Dutch artist who got her BFA at the Gerrit Rietveld Academy in Amsterdam (2009) and graduated cum laude from the research master Artistic Research at the University of Amsterdam (2011).
She defines herself as a conceptual artist that works with a variety of media, such as ceramics, textile, photography, moving images and simple pen and paper. In her work the medium follows the concept. In order to create her works she often co-operates with different technicians and artists.
During her one-month stay in Shanghai she noticed that there are people who collect and divide garbage. You see men with bikes loaded with only plastics or cardboards. Which she assumed could be traded for money somewhere else. Objects that are for one person seen as garbage are seen as ‘bread’ to someone else.
Therefore she decided to make work that questions the value of waste. She collected plastic packages; casted these in plaster and made porcelain models of these objects. Next to that she collected wrappings from the materials she used during her stay in Shanghai and requested a Chinese painter to make a painting out of these wrappings.
Another starting point for her work she developed during her residence were fish. In Holland fish are meant as some lovely decoration in ones house. Fish in Asia have a deeper meaning and are seen as fortune bringers. The character for fish means wealth and oversupply.
For her work Erin carved five different fish in wood together with her Chinese friend and artist Lixiau Fange and printed these in black on papers that are hanged in the gallery. First there are a few fish, then they swim towards each other and slowly meet, until there are too many of them to space themselves out on the paper.
Within the works she made for the exhibition at Pantocrator Gallery she opposes different questions that raised to her during her stay such as: ‘What is it that decides whether something is valuable or not?’, ‘When we appreciate art, do we appreciate its maker, material or context or is this a combination?’, ‘In the context of Chinese contemporary art, does it matter whether the artist actually makes the works him/herself or not?’, ‘Do fish actually bring luck?’, ‘ How does the use of certain materials in art reflect a certain culture?’.
Erin Tjin A Ton (1985)是一位来自荷兰的艺术家，她于2009年毕业于阿姆斯特丹的Gerrit Rietveld Academy ，并且2011年以优异的成绩拿到了University of Amsterdam的艺术研究硕士学位。
她把自己定义为一个概念艺术家，擅于运用各种媒介，比如陶瓷，纺织，摄影，运动图像和简易笔纸等等。她的工作遵循自己的理念，为了创造更好的作品，她经常和不同的技术人员和艺术家合作。
在她待在上海的这一个月中，她发现有些人把垃圾给分类收集。你会看到一些人骑着车拖着塑料或者纸板，这让她觉得很浪费，所以这个创作目的就是把“垃圾”变“面包”。
因此她开始研究并质疑废物利用的价值，她收集了塑料废物做成石膏模型。接下来，在上海逗留的这段时间，她收集了很多的包装外壳材料，并请一些中国画家对其进行创作。
她在工作室想到的另一个灵感就是鱼。在荷兰，鱼是可爱的房子装饰物。在亚洲的鱼有更深一层的含义，被看作是财富带来者。鱼的字符意味着财富和供应过剩。
erin有五条不同的木刻鱼，同她的中国朋友Lixiau的Fange把其打印在黑色纸上。这些可爱的鱼儿在纸上游来游去，好似活物，直到由于数量太多好似要溢出纸外。
她在Pantocrator Gallery的展览的作品当中也提出了很多的问题 比如:"是什么决定东西是有价值的"“当我们欣赏艺术的时候，我们欣赏的是它的作者，材质或内含，或者是整体感觉？”“在中国当代艺术的背景下，艺术家单独完成作品与否已经无所谓了?”“鱼真的能带来好运吗？”“如何正确巧妙使用某些材料以便更好的体现出文化性与艺术性？”
这些都是Erin这次画展想告诉大家的。
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25 January 2012 to 15 to February, 2013 - Opening: 25 January, 6pm
"Made in Korea: The Process that the Colours are Mixed"
韩国制造：颜色混合的过程
Gyuwon Lee (South Korea)
Resident artist December 2012, January 2013
Solo exhibition
Gyuwon Lee (Seoul, Korea) develops a very interesting artistic work from a personal theory, perhaps somewhat ironic but seriously metaphysics about his country of origin; Korea.
Gyuwon assumes that Korea is what is currently by influences that has suffered over time: China until the nineteenth century, and continues in North Korea. Japan's colonization of 36. U.S. currently in South Korea.
Or what is the same, Korea, could be the result of superposition of the three powers, USA, Japan and China.
From this metaphysical approach, and always in the aesthetic sense, Gyuwon's plastic work develops a sublime intensity,new pop, full of color and nuances, in which all elements are easily recognizable, always around iconic elements of this three potentials.
Gyuwon Lee is Korean but lives and works in London, so it is aware that this kind of influence can be extrapolated to other cosmopolitan cities that also draw on external influences.
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17 November to 17 December, 2012 - Opening: 22 September, 6pm
"Matter-time-light"
Gonzalo Reyes Araos (Chile)
Resident artist October, November 2012
Solo exhibition
“Matter-time-light” is a research project that took place during an artist residency at Pantocrátor gallery in Shanghai, in October and November 2012. As an “intimate picture philology”, this research addresses some questions related to the symbolic content of the
picture production, and examines the link between its technical process and its presentation and development support.
The difference of inductive and deductive creative processes is for me a real source of inspiration. In the first case, the work and its emotional content contribute to shape the creation process. In the second, the work is defined by the conceptual process that takes
place before the implementation. These processes led me to confront and to explore the sublimation of technical production supports of contemporary creation.
Questioning the methods of execution and production of the picture takes, therefore, a metaphysical value in the act of constructing the picture. The discipline, as well as its active components, can therefore be considered as a tool supporting a spiritual dimensión. The approach adopted is a formal confrontation that submits to the production of an image of a specific discipline and image production techniques from other disciplines. This creates hybrids that stimulate new forms of symbiosis. The work comes from an exploration of the movement
of « push generator » between different processes.
“物质-时间-光线”是一个Pantocrátor的研究计划，关于一个艺术家在2012年10月和11月
在上海居住的期间进行的创作.作为一种“亲密关系的图片语言学，”这个研究计划是关于
图片创作的符号内容的问题，而且也检验了其工艺流程、推介和发展支持之间的联系。
对我而言，归纳和演绎创作的过程的不同是一个灵感的源泉。首先，这项工作和它的情
感内容有助于塑造创作的过程。其次，这项工作被概念性的过程所定义，其过程在实施
之前已产生。这些过程引导我去面对和探索当代艺术创作的技术支持的升华。因此，对
执行的方法和图片的制造的质疑在图片制作的活动中具有一种形而上学的价值。它的活
性成分可以被认为是一个支持精神层面的工具。
采用的方法是一种正式的对抗，它提交了一种特定学科从其他学科的图像制作. 他图像
的生产技术，来自其他学科。这创建了刺激新形式的共生关系的混合*，而且这项工作来
开幕：9月5日，5点 - 9点 (下午)
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5 October to 18 November, 2012 - Opening: 19 May, 6pm
"Portraits"
Collective exhibition / Painting and drawings
Sito Mújica (Spain)
Berto Martínez (Spain)
Josafat Miranda (USA)
Onofre Bachiller (Spain)
For the first time in Shanghai, this collaborative exhibition brings together several works by two of the most brilliant illustrators based in Barcelona: Berto Martínez and Sito Mújica.
To some degree, broadly speaking, they both draw inspiration from the same sources, (modernity, 20th century media celebrities, the fashion industry, sports, or other entertainment) driven by an anthropological concern for human representation.
This leads them to develop reflective works on self-identity, creating new and strong links between the spectator and the representative figure.
Both artists developed their technique resulting in works that are precise, precious and wonderful.
Furthermore, we present portraits by Onofre Caldentey with his demystified vision of vulgar reality with respect to what is triumphant and unreal in this world. Vulgarity emphasizes the utilized techniques; pen over paper, but with contrast to the mastery of the stroke.
Finally, Josafat Miranda shows us a portrait that draws on a sense of fantasy and its escapist imagery to fuel her work. Detail and precise drawing are also central to her technique, incorporating a mixture of modern and old techniques such as hot wax (encaustic) or a gold leaf.
In parallel with the exhibition "Portraits", Pantocrator Gallery presents a video art of Pecado Pixelado.
Her creative philosophy focuses on eroticism and visual humor, emphasizing the semantics of the images. Her sessions as a Vj easily adapt to different background noises. In her works, you will find influences from vintage aesthetics, surrealism, series b, animation or Atari video games.
On this occasion, we present "Duelo al Sol." This piece moves away from her works as a VJ and resemble more of a "video art" influence while maintaining her dreamlike and surrealist vision.
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22 to 30 September, 2012 - Opening: 22 September, 6pm
"Circus"马戏团
Jose Manzanares (Spain)
Resident artist September 2012
Solo exhibition
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1 July to 31 August, 2012 - Opening: 1 July , 6pm
"Shanghai Summer artist residence 2012"
Collective exhibition / Painting, drawings and installation
Denise Treizman (Chile / New York)
David Jacobs (Los Angeles / New York)
José Manzanares (Spain)
Chi Zhang (New York)
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22 June to 1 July, 2012 - Opening: 22 June, 6pm
"Post-Memories"
Marta Martínez Corada (Spain)
Resident artist May, June 2012
Solo exhibition
The narratives developed in "post-memories" are set on the border between the documentary and narrative fiction, where time, related to a particular space, is presented as distorted and/or altered.The resulting image does not provide portraits of the individual subjects, but rather contextualises them in their everyday lives as actors on stage.The series speculates on the causality of time while suggesting a reflection on the relationship between the individual and space.As the viewer interacts with the elements of a conventionally supposed reality, the individuals actions in everyday life create bizarre environments where the omitted things leads to speculation about cause and meaning.
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19 May to 15 June, 2012 - Opening: 19 May, 6pm
"Soltanto Madonne"
Mariano Vargas (Spain)
Solo photography show
Considered as one of the finest contemporary erotic photographers, Mariano Vargas draws most of his inspiration from the great masters of the Italian Renaissance, Botticelli, Raphael, and Leonardo da Vinci.
In the series Soltanto Madonne, beauty is trapped in the form of unique women with enigmatic silhouettes.
Mariano Vargas wants to create beauty in the combination of bodies, clothing, theatrical decor, and other sophisticated details. His Madonnas are like "tableaux vivants," models involving their fantasies in a world that links the past, postmodernism and Renaissance. All these beautiful women portrayed are allegorized at the same time with the following themes: religion and the profane, transcendence and pleasure, magic and the quotidian.
Exhibition in collaboration with the spanish gallery
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20 April to 12 May 2012 - Opening: 20 April, 6pm
"Shanghai Slow"
Matthias Hagemann (Germany)
Solo photography show and Pinhole workshop
(*1967, Germany ) currently lives in Shanghai, China.
Graduated in Architecture, he is pinhole photographer since 1996. He displayed his works in numerous individual and collective shows in Germany, France, Spain, Poland, US, China and Australia, is editor of the annual Boxocam Camera Obscura Calendar since 2004. His experimental pinhole cams range from small size Coke Cans, Shoe-box-sized Tins, Fridges and Camerickshaw up to complete rooms. Further he creates fascinating In-Camera-collages with dated basic plastic cameras from the fifties. His work is mainly based on the topics of „slow“ and „time“.
For the actual exhibition, Matthias Hagemann presents „Giants dance“, a series about skyscrapers from Shanghai. Additionally the public is invited to have a first view on the work-in-progress of „Camerickshaw“, a giant tricycle pinhole camera build to make special large size pinholes of Shanghai cityscape.
本次展览，Matthias Hagemann展出的 “巨型跳舞 “，是有关上海摩天大楼的系列作品。另外，公众观看到的一辆三轮针孔摄影机可以用来观看上海都市风光。
For the „World Pinhole Day“ Matthias Hagemann offers a pinhole workshop on Saturday 28 April.
www.boxocam.de
www.camerickshaw.blogspot.com
www.pinholeday.org
Time Saturday, 28.4.2012 11 am to 4 pm
Teacher Matthias Hagemann (www.boxocam.de)
Participants max 12 person
More info
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31 March to16 April 2012 - Opening: 31 March, 6pm
"You must believe me: Happiness is colourful"
Juan Antonio Baños (Spain)
Resident artist February, March 2012
Solo exhibition, painting
JUAN ANTONIO BAÑOS was born in Linares – Spain, in 1980. Currently lives and works between Madrid, Shanghai and London.
JUAN ANTONIO BAÑOS1980年出生于西班牙Linares. 现在马德里和伦敦之间生活和工作。
He is graduated in Fine Arts by Faculty of Fine Arts – University of Granada, in Spain and, at the present time, he combines his artistic activity with the doctorate in painting.
他毕业于西班牙格拉纳达的一所美术学院，目前他将他的艺术活动与绘画的博士学位的学习结合在一起。
冥想的艺术像是从一扇窗户往外看。通过这种方式，我们看到的世界和遇到的事情，超越我们的时空，把我们带到不一样的地方。
但同时像一面镜子让我们看到自己和更深入地了解人类的现况。
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16 to 30 December 2011 - Opening: 16 December, 6pm
"When Night Falls"
Xuhong Shang (China)
Solo exhibition
Born in Shanghai, China. He received my M.F.A degree in Painting from Tyler School of Art in Philadelphia in 1992. For the past twenty years,
He has exhibited my work in New York City, Chicago, Atlanta, Miami, Philadelphia, Geneva, Vienna, Tel Aviv, Barcelona, Kumamoto, Hong Kong, Singapore, and Shanghai. He has exhibited at such venues as Nexus Contemporary Art Center, Atlanta; Aldrich Museum of Contemporary Art, Connecticut; Contemporary Art Museum in Baltimore; Mitchell Museum, Mt. Vernon, Illinois; Muskegon Museum of Art in Michigan; Shanghai Duolun Museum of Modern Art; Kumamoto Fine Arts Museum; Richard Gray Gallery in Chicago; Leda Fletcher Gallery in Geneva; Contrasts Gallery and Stir Gallery in Shanghai. He is the recipient of a National Endowment for the Arts/Southern Art Federation Regional Visual Arts Fellowship (1995); and Art Matters Fellowship (1993). Articles have been written on his work in Sculpture, Art Papers and Asian Art News magazines as well as in such newspapers as of The Atlanta Constitution, Nashville Scene, etc.
His art work has been included in books and catalogs such as New American Paintings (Vol.16); International Young Art 2000, Sotheby’s; Euro Art 2000, BCN Art Directe's of Barcelona, Spain; and Mapping The Self, Telfair Museum of Art; also a book/catalog titled Representation / Reality, Xuhong Shang published by Plum Blossoms International Ltd., in the spring of 2001. A catalog titled Xuhong Shang/Momentary published by Mitchell Museum at Cedarhurst Center for the Arts in May 2007. He maintains studios both in USA and in Shanghai, China.
商徐宏簡介:
商徐宏出生于中國上海, 1984 年獲得上海師范大學油畫本科學位. 于1989 年獲美國伊利諾州立大學油畫与素描碩士學位, 并于1992年獲美國費城泰勒美術
學院職業藝術家碩士學位.
從1992至今20年, 作為一個藝術家, 畫家, 裝置藝術家,商徐宏在世界各地努力展
出其作品. 他曾經在美国的紐約城的Robert Pardo畫廊, Z畫廊, 万玉堂畫廊, 芝加哥
的 Richard Gary 畫廊, 蘇富比畫廊, 亞特蘭大的當代藝術中心, Kiang 畫廊,
邁阿密南佛羅里達藝術中心, 費城的S.S. White大厦/瞬间艺术, Temple 畫廊, 479 畫廊,
Tyler 畫廊, 康洲阿屈历曲当代美术馆, 巴尔得磨现代美术馆, 伊利诺州蜜秋尔美术馆, 密西根墨斯克根美术馆, 奥地利維也娜 蘇富比畫廊, 以色列塔拉維夫蘇富比畫廊, 西班牙巴塞羅那 Sala Marques de Comillas of Drassanes城堡, 香港 万玉堂畫廊, 新加坡万玉堂畫廊, 熊本美朮館 及上海对比窗画廓, 东廊, 稿画廊等地展出. 他曾于1995年獲得美國國家藝術基金會及美國南方藝術聯合會的視覺藝術獎金, 及1993年紐約Art Matters藝術獎金. 1993年至1999年曾任教于美國薩凡訥美術學院.
1999 年至2004年任美國堪莎斯州立大學繪畫終身教授及繪畫專業主任. 2004年至今,
任美國南伊利諾大學卡本代爾美術學院繪畫终身教授及研究生导师. 商徐宏多年来
When Night Falls
At nightfall, obscurity can lead to revelation. As dusk descends, objects that appeared so clear and determined in the light of day disintegrate into the folds of a gathering gloom, causing convictions about the nature of reality to waver, perhaps even dissolve along with the contours of a physical world immersed in night. As darkness creeps over forests and meadows, suburbs and skyscrapers, our little Earth merges with the velvety blackness of a vast and mysterious universe, rendering what seemed finite suddenly infinite. As objects yield themselves up to the dark lamp of revelation that is the night, a thousand small epiphanies prompt Socratic wisdom – a knowing that we do not know – and plunge our world of experience into a realm of shadows.
When Night Falls is the latest of Xuhong Shang's exhibitions to conjure the elusiveness of absolutes and the ultimate ambiguity of definitions. Small paintings of the Random series hang haphazardly on two sides of the gallery, like wet, wind-blown leaves adhering momentarily to a garden wall. Their images – black forms against monochrome gradients – defy the mind's grasp, even as they suggest objects that one ought to recognize. Elusive, too, are the cryptic texts scrawled across the irregularly shaped canvases of the Moonbeam series, which suspends suggestions of the night sky tenuously from pushpins.
Night in the guise of a black butterfly, its sheer wings as impalpable as the surrounding air, floats on an unseen current, while a layer of darkness encases the buildings of a silent city, removing them from the compass of the inquisitive eye and mind. On the gallery floor, eight works from the Virtual series, created by squeezing black acrylic paint through the threads of blank canvases, suggest the surface of the earth photographed in black and white from a satellite or an outpost on the moon. Darkness, distance, indistinctness and ambiguity are devices more fundamental than forms in Shang's When Night Falls, and the results are meanings as elusive and infinite as the night itself.
Glen R. Brown, Ph.D. Art Critic, Art Historian (U.S.A)
当 夜幕降临时，模糊不清的黑夜有着意想不到的启示。黃昏之时，所有在白天光天化日之下所呈现的及所界定的如此清晰的一切，将脫变并被聚集在艨胧的黑暗之中。 因此而相信现实的自然己被夜幕所取消，或许尽管现实世界的轮廓还未能在夜色中完全溶解在一起。当夜幕悄悄地盖住了树林，草地，郊外及城市的高楼大厦。 我们微小的大地似乎穿上了一层来自神秘宇宙的巨大黑色， 演示出了从有限越至无限之中。 当事物在夜色之中放弃了原本的状态，那些无数个在夜色中闪动的物体及灵智，那是我们所不能获知的。 但是把我们对世界的体验推向了阴影的王国。
“夜幕降临”是商徐宏最新的实验装置个展，它施展着绝对魔幻般的最终无法明确的意义及界定。小型的“无由”系列绘画作品在展厅中无秩序地挂在墙上， 就象是那些潮湿的被风吹动的树叶瞬息粘符于花园的墙上，它们黑色的图像呈现在简单的色调之上，违背于思维的正常捕捉，尽管似乎在建议图像应被确认。同样难以确认的是那用晦涩的英文字潦草地划在不规则形状并被剪破的黑色画布之上的
“月光” 系列作品，它们被悬而未决地用几个小图钉悬挂在墙上，以此暗示着夜晚的天空如此的薄弱及不确定性。
有一个黑色的物体在黑暗的笼罩下漂浮着，它几乎透明的双翼就象它周围的空气难以捉摸，漂浮于不可见的现在瞬间时空之中。同时夜色己将城市及大地套入其中，
并把它们拖离于好奇的目光及思维的规范之外。在展厅的地面上一组“几乎”
系列绘画作品被并列成一张大型作品，作品运用了颜料挤压与画布的纹理产生的抽象视觉效应。似乎在提醒近似卫星或遥远的月球上所拍摄的地球表面黑白图像。比较商徐宏的“夜幕降临”的形式，其中的夜色，距离，非距离感，模棱两可及意义的不明确性是一种更为重要的策略及手段。其结果产生的意义是难以被确认的及无限的。就象是晚上的夜色。
格伦. 勃郎博士，艺术评论家，美国堪莎斯州立大学艺术史终身教授
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19 November to 20 December 2011 - Opening: 19 November , 6pm
"Presence -Absence"
New visions of the Self in contemporary art
Collective exhibition / Painting, drawings and installation
Piacha (China)
Berto Martínez (Spain)
Makode Linde (Sweden)
Conrad Roset (Spain)
Jonatan Moreno (Spain)
Keflione (France)
Nick Gentry (UK)
Contemplating Art is like looking out of the window. That way we see the world, we encounter something that is beyond our space and brings us to a different location.
But it is also a mirror that allows us to see ourselves and, at best, further understand our human condition.
PRESENCE-ABSENCE invites us to rethink the trace of humanity in contemporary art, from the perspective of several artists who, from a fresh eye and without prejudice, attack head-on the notion of identity.
In this case, the trace of humanity is not only limited to the portrait, as a track of a presence suspended in time. Nor is it an inquiry into its psychological root, which struggles to find an identity from an existential perspective. Now, the rules of the game have changed and what it is suggested here is a distant view of the human spectrum covering both surface symbols with which we build our identity and the traces that human presence has left in the past.
Do we really see what they are when we look at the others? When we look in the mirror, do we really see us the way we are? When we contemplate a work of art, do we see the trail of the human being? Do we really question behind the façade of appearances?
Behind every absence there is a presence.
出席-缺席 邀请我们重新思考当代艺术中人类的踪迹，从几位艺术家的不带偏见的清新的视角，正面抨击身份的概念。
在这种情况下，人类的踪迹不仅局限于形象，因为存在于时间中的踪迹。而且也无法深入到心理的根源，挣扎地从存在的观点中寻找到身份。现在，游戏规则已经改变，这里所暗示的是一幅人类图谱的远景图，覆盖了包括表面象征，我们所建立起来的身份，和人类过去所遗留的痕迹。
当我们看着其他人时，我们真的看到他们是什么了吗？当我们看着镜子，我们真的看到自己了吗？当我们注视一副艺术作品时，我们看到人类的踪迹了吗？我们真的在质疑表面现象的背后吗？
在每一个缺席的背后都有一个出席。
Matias Krahn.
Painter and Doctor of Fine Arts
See the pictures of the exhibition
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1 to 6 November 2011
"River Calligraphy"
Tina Zimmerman (Germany)
Solo exhibition, video instalation
Water in all its endless variety of structure, texture and dynamic is Tina Zimmermann's most coherent reaccuring creative theme over the last ten years.
She films the waters of the seas, the rivers, and lakes, of puddles and waterfalls, tiny drops and majestic ocean waves, fascinated by the everchanging formal manifestation of the liquid element, that make up 80 percent of our body and the planet.
By seperating the recorded footage from its natural surrounding, by changing its perspective and adding effects with digital video tools, she transforms the natural and common phenomenon of water in motion into an abstract and purely aethetic experience.
In her newest work she treats water in a very minimalistic way- inspired by traditional Chinese calligraphy she transforms the water motions recorded at a mountain creek in Fujian province into a transient flowing progression of black and white abstract shapes – reflecting closely on the ancient yogi saying: "the contemplation of water is the oldest from of mediation"
Tina Zimmermann is a media artist from Berlin, Germany. She is currenty in China teaching "Public Art“ at Jimei University in Xiamen.
See the pictures of the exhibition
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8 to 31 October 2011 - Opening: 8 October, 6pm
"Into the unknown"
Jochem Rotteveel (Holland)
Resident artist September and October 2011
Solo exhibition, mix media
For eight weeks ( September and October ), a part of the gallery will be transformed into studio space for the artists Jochem Rotteveel. The Dutch artist investigates the picturesque qualities of tape and is happy to give additional information on his artistic research.
Pantocrator Gallery invites the public to interact with the artist, experience the work in progress and watch the dynamic of the gallery space as it changes during his residency program.
See the pictures of the exhibition
Visit Jochem Rotteveel on line shop
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20 September to 20 October 2011
Patsy McArthur (Scotland)
Illustration
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1 to 7 October 2011 - Opening: 1 October, 6pm
Jonathan Mármol Moreno (Spain)
Solo Exhibition, Specific site installation
Through his sculpture and installation work presents turbulent situations, that act as a build of unrealities.
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2 to 30 September 2011 - Opening: 2 September, 6pm
"Women's lines"
Collective exhibition / Painting and drawings
Lore Vanelslande (Belgium - China)
Marta Blasco (Spain)
Alejandra Alarcón (Bolivia)
Ji Hong-Yan (China)
Sonia Carballo "Socatoba" (Spain)
Carmen Garcia Huerta (Spain)
Stephanie Costello (New York)
Patsy McArthur (Scotland)
Freya Douglas-Morris (UK)
Pristine, delicate and silky soft, are the fingers of the women hands when caresses the skin of paper, ready to be drawn.
Hands that draws their beautiful expressions, from their pens and pencils lines, to fallow their paths of senses to let be manifested on the texture of feelings, moments, dimensions, spaces, or just characters, hidden to be shown, called to give, created to live, now breathing in this special draws exhibitions.
This is "Women's Lines" the given name of the first Pantocrator's Gallery show in Shanghai, presenting eight women from different hemispheres of the world in a conjunction of talents, spread it on a cosmos of draws that let us feel the unpredictable but very unique sensations inside this eight women's hearts and lives from China, Bolivia, Belgium, Scotland, Spain, USA and UK.
The recognition of this eight very talented emerging artists, that Pantocrator Gallery just bring to Shanghai, give us an interesting variety of drawing techniques form the very tenderness and also the deep strength of this women.
From the serious study of the geometry to the secrets of the creation given from the pregnancy, the artists invites us to discover them, in a universe of lines, dots, ink spots, scratches and smudges in this sensational "Women's Lines" show.
More info about this exhibition
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25 to 31 August 2011 - Opening: 25 August, 6pm
Landa Ruen (USA)
Resident artist July and August 2011
Solo exhibition, painting
A collection of oil paintings inspired by the relationship of cities, societal evolution, and nature; specifically the duality of nature and the city.
In our ever-changing world, cities are more than just a place to live; rather, they are complex villages sowing needs, wants, desires, dreams and nightmares.
Paintings rage from non-objective fields of color to surreal scenes, like a blind, mechanical zebra gallantly running from a muddy-blue city towards a new place; three lone trees.
See the pictures of the exhibition
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1 to 30 May 2011 - Opening: 1 May, 6pm
"Shanghai Inspiration Mission!"
Elmur (Spain-Germany)
Imagination is the beginning of creation, we imagine what we desire and pursue our desires till they become reality
(G. Bernard Shaw).
elmur.net was created by the Fundacion Ferrereuela Sanfeliu and zzz on 2007 in Lleida (Spain) as an on street video installation where zzz, a young creative collective, screened images to inspire citizens with positive imagination and ideas.
From April 2009 elmur has become a network: elmur.net where citizens from around the world contribute to build up an infinite container of positive imagination proposals.
Pantocrator Gallery & elmur.net have proposed creative citizens of the world to inspire Shangai's citizens in order to re-inspire all us again. In Shanghai, the worldwide reference megalopolis of future, engine of change and progress, Pantocrator Gallery & elmur.net have screened during Mai 2011 a selection of thoughts, dreams, hopes and ideas which invite us to see our everyday life from creative points of views.
A collective movie, a visual dialogue built upon the recieved proposals from worldwide creatives, which speaks about existence, mass media, politics, art, reality, dreams and fiction, life and death, hope and the power of creativity and artistic creation as engines of change and transformation which help us to build, inspire and dialogue about a future full of magic and common illusions.
See the pictures of the exhibition, list of participant videos & artists.