Matías Krahn (Chile)

11st December, 5pm  2015

2015年12月11日 ,星期五, 晚上5点到8点

12nd December, 8pm

2015年12月12日 ,星期六, 晚上8点到20点

13th December, from 5 pm to 8 pm

2015年12月13日 ,星期日, 晚上5点到8点

PanAmor

 The curtain rises.

A stage appears.

A box, a carpet

and two beings.

If both want begins

a game, a ritual,

a dialogue, a dance,

a work, a trip,

an oracle, a map,

an encounter in silence.

Gestures, shapes, colors, textures.

A time arrested in space.

A space suspended in time.

Symbols, metaphors, connections.

Earth and cosmos.

Reality and dream.

Road and stairs.

Spiral and cross.

Mind and heart.

Body and soul.

Matter and spirit.

Father and mother

thankful to be

recognized.

The curtain closes.

 Kanako Tada (Japan) is aware of 'self,' living a daily life, and the second 'self,' which is separated from the daily routine, as coexisting two 'selves.' The artist tries to seek how to confront with life and death and how to live a life through painting. 

Robert Marjoribanks (UK) 

Exhibition: 28th November  to 10th December, 2015

2015年11月28日到12月10日

 With his premier solo exhibition in China Robert Marjoribanks has produced a group of works curated into a mock museum of contemporary objects displayed as found artefacts. He is interested in the way we view our history and the way we consume our present. By presenting these modern objects recast into concrete, an all pervading material, he is questioning the understanding we have of our own visual culture and engagement in history making.

Born in Edinburgh, Scotland, Marjoribanks has taken up every opportunity to travel and experience other cultures giving him an appreciation for global culture. He currently resides and produces work in Shanghai, China. His work often explores how we interact with artworks and culture, using participation and familiar objects to create a language of dislocation and reconnection to material and content.

Enda O'Donoghue (Ireland) 

Exhibition: 24th October to 7th November, 2015

从2015年10月24日到11月07日

Opening Reception 閉幕酒會

Saturday, 24th October, 7 pm. 

2015年10月24日 ,星期六,7点到9点

This exhibition is the first solo show in China by Berlin based Irish artist Enda O'Donoghue. He will be presenting a series of new paintings created specifically for this exhibition based on found photographs of UFO sightings in 1973 from various places around the world. According to many sources 1973 was a bumper year for UFO sightings, it has been called “The Great UFO Wave”. Hundreds of sightings were reported throughout the United States and in many other countries across the globe. Some of these reports included tales of abductions, some with elaborate descriptions of humanoid like beings and some included photographs purporting to show the alien crafts or “flying saucers”. In O'Donoghue's paintings all traces of these mysterious crafts have been removed.

Born in 1973 in Limerick, Ireland, O’Donoghue has been living and working in Berlin since 2002. His work has previously been shown in China in a number of group exhibitions, such as at the Irish pavilion for the Expo in Shanghai in 2010. He has taken part in numerous international group exhibitions, including shows at CHB, Berlin (2014), Meter Room, Coventry (2012), The Moscow Museum of Modern Art (2011), Universal Cube, Leipzig (2008), Four Gallery, Dublin (2006), The Institute for Contemporary Art, Copenhagen (2006) and a number of solo shows in Berlin, Ireland and in 2009 a solo exhibition in New York. In 2012 his work was presented in a major solo exhibition at the Limerick City Gallery of Art, Ireland and in 2014 he was awarded a residency at the Golden Foundation for the Arts in New York state. He has also curated a number of group exhibitions, most recently an exhibition presenting a selection of Berlin based Irish artists at Grimmmuseum in Berlin which toured to the Galway Arts Centre, Ireland in 2013.

本次展览是来自柏林的爱尔兰艺术家恩达 ∙ 奥多诺休在中国首次个展。他将展示一系列专门为本次展览创作的画作。这些画作以1973年世界各地的UFO目击事件照片为灵感来源。1973年是UFO目击事件的爆发年，这一时期也被称为“UFO大浪潮”。数以百计的目击报告涌现于美国各地和许多其他国家。有些报告包含绑架经历，有的详细描述了类人形生物，而一些图像报告意在呈现外星产物或“飞碟”。在奥多诺休的作品中，这些神秘元素已被剔除。

1973年生于爱尔兰利默里克市，奥多诺休自2002年以来一直工作并生活在柏林。在中国，奥多诺休的画作曾在多个群展被展出，包括在2010年举办的上海世博会的爱尔兰展馆。奥多诺休也曾参加过许多国际联展，包括柏林CHB（2014），考文垂 ”电表房”（2012），莫斯科博物馆现代艺术展（2011），莱比锡“万能魔方”（2008），都柏林“四廊”（2006），哥本哈根当代艺术研究所（2006），以及若干个在柏林，爱尔兰的展览和2009年在纽约的个展。 2012年，爱尔兰的利默里克市美术馆举行了大型奥多诺休个人作品展；2014年，他被邀请参加了金艺术基金会在纽约州的艺术家体验创作项目。奥多诺休近期策划并参与了许多群展。最近一次展览在2013年，包含了多位在柏林的爱尔兰艺术家的作品，由柏林格林兄弟博物馆首发，巡回展览最后到达爱尔兰高威艺术中心。

Opening Reception:  Saturday 22th  August, 6pm

Exhibition from  22th August to 31th August, 2015

开幕酒会 : 2015年08月22日 ,星期六,6点到9点

展期:2015年08月22日到08月31日

Jane Tagg (UK): her works focuses on the changing environment which reflects technological developments and human population growth, resulting in the destruction of land, the extinction and endangerment of animals and genetic deformities. In this negative reflexivity, the very same scientific progress that led to the destruction of our world has ironically created the idea of "The frozen zoo", where stem cell regeneration is being considered by scientists as a future method of regrowth of limbs and organs and for the re-generation of endangered species. Drawn from scientific diagrams, MRI scans, repair and re-growth treatments, this work focuses on (re)imagined hybrid species in both the animal and human kingdoms whilst raising the question as to their viability and of the ethics involved. The birth of a reflexive world of new hybrids is illustrated by the composite imagery being transformed into futuristic forms born from kaleidoscopic imagery representing cell growth. 

简塔格的作品侧重于环境的变化，体现技术的发展和人口的增长造成了土地的破坏和濒危动物灭绝畸形。这种毁灭世界的科学进步，催生了"冰冻动物园"的灵感：干细胞再生被科学家认为是未来的肢体和器官，以及濒危物种重生的方法。从数据图表，MRI扫描，修复和重生的实验开始，这项工作的重点在于想象杂交物种动物的伦理和生存能力问题。万花筒般代表细胞生长的复合意象表达了对新杂交物种的反思 。

 Jee Hye Kim (Korea-USA): her alter ego is a time traveler who is on a mystical quest to find her true love. This love is real. It has always existed even before she was born, but she learns to recognize its mystery through traveling in and out of a space that loses itself by the minute. To love is to transcend all things that conform to the ways of this world, so she embarks on a journey to follow her heart. No one knows what the journey will be like, and everything is uncertain.

In this journey, the time traveler creates portals to move across the universe. She seeks to know what is beyond herself, and portals allow entry into a time and a place that holds the essence of things. She needs to extract them like an alchemist, and must find a way to combine and transform them to make portals that will take her to next destination.

她的另一个自我是一个时间旅行者，一个神秘的追求，寻找她的真爱。这爱是真实的，即使在她出生前它也一直存在，但她通过在空间中的穿越学会了认识到它的奥秘，这空间每分钟都在消失。爱是超越所有这个世界的习以为常的方式，所以她踏上旅程去跟随她的心。没有人知道这会什么样的旅程，一切都是不确定的。

在这个旅程中，时间旅行者创造了穿越宇宙的通道。她试图知道什么是超越自己，宇宙通道允许她进入那个本质性的时间地点。她需要像一个炼金术士一样提取它们，找到一种方式来组合变换他们，使这些通道带她到下一个目的地。

 Kaitlyn Malloy: her paintings are centered around surreal narratives that create an active environment.

The environment vibrates with color in a grotesque and aggressive manner. Giant and fleshy figures are essential to the habitat. They are vulnerable and deformed. They are a resource to the hostile creatures. The negative-like entities consume,destroy and fight each other.

凯特琳马洛伊的画都是围绕着超现实的故事，动态的环境。

这环境与怪诞的挑衅色彩产生共鸣。肉体是必不可少的。他们脆弱而变形。他们是天敌的猎物。他们消费，破坏和彼此斗争。

 Ye Cheng (China-USA) : Working and living in the United States has instilled the nostalgia for her family background, China. The displacement helped her realize that the ever-losing classic art form in China is still beautiful and humble. Through her art making, She exaggerate the beauty of an oriental past and embrace it with western conceptual ideas as well as modern technology.

Her works also focus on interaction with the viewers, trying to fully excite their senses, to participate and to perform with her creation.

在美国工作和生活使她在作品中注入了她对中国背景的怀旧。这种环境转换使她意识到，正逐渐消逝的中国古典艺术形式仍然是美丽而谦逊的。通过她的艺术创作，她夸大了东方过去的美，并把它与西方的观念观念以及现代技术结合在一起。

她的作品也注重与观众的互动，试图充分激发他们的感觉，使他们参与和执行她的创作 

Opening Reception: 22th  August, 6pm

Exhibition: 22nd to 31st August, 2015

开幕酒会 : 2015年08月22日 ,星期六,6点到9点

展期:2015年08月22日到08月31日

Berna Okan (Turkey) is a sculpture artis, she develop her work through dıfferent materials, from Bronze to paper.

伯娜奥翰是一个雕塑艺术家，她运用不同的材料，从铜铁到纸张。她也

Florence Lam ( Hong Kong)  mostly time-based where audiences are invited to witness the birth and constant deterioration of material as a performance. She places herself in a position where she is in control of the presentation while simultaneously being out of control of how the material performs, therefore creating an illusion of familiar intimacy, exposing the life within the materials as they interact with audiences.

Inspired by the two common phenomenon in the early developmental stages in children, Magic Thinking and Animistic thinking, she uses simple materials that are known and common to general public, something that audiences thought they already have a knowledge of their mechanisms, to pick out and amplify their special quality creating a sense of surprise, the trigger of wonder, as if the object is engaging to the audience to create an illusion of liveliness. She strives to recall her audiences' feeling of pure wonder by bringing in front of their eyes an object that seems physically impossible without life, just as children believed that there were spirits inhabited in the flowing water and sizzling leaves. This is a collective memory for all people regardless of time, space and background, and is driven by the natural human instinct of curiosity.

林素如的作品大多是基于时间的，观众被邀请见证材料的诞生和不断的。她地自己在的位置，她是在控制演示文稿而同时被控制的材料是如何执行的，因此创造了一个幻想的亲密，揭示生命的材料作为他们与观众互动。

启发于两种儿童早期发育阶段常见的现象－魔法思维和泛灵主义思维，她使用简单的，众所周知的材料， 一些观众认为他们已经有知识的机制，挑选和放大他们的特殊品质创造惊喜感，触发奇迹的幻象，如果对象是从事观众造成一种假象生动活泼。她努力回忆她的观众带来他们的眼睛面前的一个对象，似乎不可能的身体没有生命，就像孩子们相信有神灵居住在流水和火热的叶子感觉纯粹的好奇。这是一个对所有人的集体记忆，无论时间、空间和背景，都是由自然人的本能的好奇心所驱使。

"Balloon Performance"气。球 / Florence Lam 林素如

July 2015, Every Saturday & Sunday 2 – 4 pm

2015年七月，每周末 下午2－4点

Kaitlyn Malloy (USA) :  her paintings are centered around surreal narratives that create an active environment.

The environment vibrates with color in a grotesque and aggressive manner. Giant and fleshy figures are essential to the habitat. They are vulnerable and deformed. They are a resource to the hostile creatures. The negative-like entities consume,destroy and fight each other.

凯特琳马洛伊的画都是围绕着超现实的故事，动态的环境。

这环境与怪诞的挑衅色彩产生共鸣。肉体是必不可少的。他们脆弱而变形。他们是天敌的猎物。他们消费，破坏和彼此斗争。

Tobias Zehntner (Switzerland) , based in Brussels.   

Opening Reception : 20th June, 6pm

Exhibition: 20th  to 30th June, 2015

开幕酒会 : 2015年06月20日 ,星期六,6点到9点

展期:2015年06月20日到06月30日

He practice is inspired by visual observations of the everyday, often reflecting his interest in the sublime aspects of science. Pairing this with his romantic and somewhat naive view of the world, He respond to the beautiful and poetic in these manifestations. Reoccurring themes are light, movement, space and time. His recent work focuses on kinetic sculptures and room installations that are spatial and immersive. Their nature requires time from the viewer, and suggests new ways of seeing in return.

 Tobias Zehntner的实践灵感来源于每天的视觉观察，总是反映出他对于科学崇高方面的兴趣。他的浪漫交织着天真的世界观，用这些回应着美和诗意。主题反复是光，运动，空间和时间。他最近的作品专注于动力雕塑和室内装置，他们是空间的和拟真的。他们的本性要求参观者付出时间，给出新欣赏方式的建议作为回报。 

Maria Soromenho (Portugal)

Opening Reception: 20th June, 6pm 

Exhibition: 20th to 30th June, 2015

开幕酒会 :  2015年06月20日 ,星期六,6点到9点

展期:2015年06月20日到06月30日

 All her work, scarves and womenswear, is extremely inspired by art and music and all her models are in bands. Her background in scenography, jewellery and knitwear can be seen in her intricate, slowly hand-crafted work that aims to experiment and discover new techniques in textile modification and the use of unexpected materials.

A clothing brand that is music / art conscious. Has the aim to collaborate with artists specially musicians. Each piece is different and unique. An experiment of materials and different textures. Experimental yet wearable. Each piece has a story, a song and a name. Fashion to communicate, give identity and to turn a lifestyle into a look that can be translated in clothes. An aim to shape a generation and dress the agitators. Not just about the clothes alone but how people dress them.

她所有的作品，从围巾到女装，灵感来自于艺术和音乐，模特都是乐队乐手。她在透视学，珠宝和针织方面的背景，在可以在她慢工出细活的作品中看见，目的是实验并发现面料技术的改良和使用新型材质。

一个服装品牌是音乐和艺术的觉醒。目标是与艺术家，特别是音乐家合作。每件衣服都是与众不同的。这是材料与不同面料的实验。兼具实验性与实穿性。每件衣服都有一个故事，一首歌和一个名字。时尚关于传播，给予身份象征，把生活方式转化为造型，为服装所诠释。一个塑造时代并装扮鼓动者的目标。不仅仅关于服装本身，而是关于人们如何穿着它。

Exhibition: 16th March to 3th April, 2015

展期:2015年03月16日到04月03日

• Anne Wölk (Germany)

• Anastasia Coyto (Spain)

• Stephanie Ballantine (UK)

• Roland Darjes (Germany-China)

• Enda O'Donoghue (Ireland)

• Pablo Lerma (Spain)       

Today, the contemporary picture is an intermediate stop between various sign processes in which it lets itself be conveyed and from the conveyance of which it comes: a relay between states of signs and designation procedures. It exists as an ephemeral moment between processes of transformation: as something that is not only conveyed, but which comes from the conveyance and is that which is conveyed. The picture has become the cache and the clipboard; it brings forth as enduring that which otherwise often disappears in production. 

 如今，在众多标识性的过程中，当代图片是媒介物，它让自己被传达，并传达它出自何处：它是介于标识状态和指定程序之间的传递者。作为变换的程序而短暂显示：像某些东西它不仅被传达，更是被传达的传达者。照片已经变成贮存处和剪贴板；它带来的是持久的展，否则经常会在生产中消失。

Exhibition: 15th March to 10th April 2015

Saskia Ketz (Germany)

"Anybodies home"  / 任何人的家 

Exhibition 個展 From 03 to 10 April, 2015 从2015年4月03日到4月10日 In addition to being the most populous continent in the world, Asia is becoming increasingly urbanised. In the evenings, after work most people are at home. Housing space is known as an area of retreat in which people meet, live and get to know safety and coherence. The photographic artworks analyse Asian metropolises and their living quarters in terms of anonymity, isolation juxtaposed to their function as communal and warm spaces. The places that have been photographed in Thailand and China are often devoid of people but people's way of living is still at the centre of this sociological survey. The viewer is always at a distance that is supported by the structure of the photographs. All photos are taken in the dark even though the use of light brings forward a number of questions: How much light does a latent picture need? How much light does a photograph need in order to leave prints? When does a photograph leave impressions? Can a picture be a document? This work considers these questions and explores the subjectivity of media photography under the theme of light and the limits of photography. Narrative photographs in which light becomes a protagonist show the duplication of content and also the basis for the media. Light is visible and without light photography would be unfeasible. Is light the essence of photography?

 作为新崛起的大陆，亚洲正急剧地被城市化。在傍晚，多数人下班后回家。住宅空间被认为是一个可以让人隐退的空间，人们在那儿见面、生活，并感到安全和连贯性。摄影作品从匿名方面分析了亚洲都会和它们的生活空间，隔离并列是它们作为公共和温暖空间的作用。 那些在泰国和中国拍摄的地方通常缺少人，但人们的生活方式始终是社会学调查的重心。观众一直处在一个由照片结构所产生的距离。所有照片在暗处拍摄，即便光的使用显示出几个问题： 一个潜意识的画面需要多少光？为了打印，一张照片需要多少光？一张照片什么时候留下了印象？一个画面可以是一个记录吗？此作品思考了这些问题，并且探讨了在光的主题和摄影的局限性下，媒体照片的主体性。叙述在光作为主角的照片里，展示内容的复制和媒体的基础。光是可视的，没有光无法摄影，光是摄影的本质吗？

Exhibition: 23th February to 15th March,  2015

展期:2015年02月23日到03月15日

Pantocrator Gallery is pleased to present the solo exhibition of the great Shanghainese artist Zhu Ye / Juliet.

Zhu Ye advanced her knowledge and appreciation of Western culture when she studied art in England. She currently lives and works in Shanghai, but travels regularly to Europe where her work is positively received.

Her large canvases capture a virtuosity deeply rooted in an ancient culture; while her subtle Western influences allows for a universal artistic reading of her work.

Zhu Ye develops a harmonious aesthetic using elaborate mixed media: organic materials, acrylic and pure pigments mixed with traditional Chinese ink, which results in an accumulation of stains, layers and transparencies that despite the apparent final abstraction, transport the viewer to crisp landscapes, mystical and comforting.

Her brushwork revolves around blue as the base color, on top of which the use of ink highlights the subtle tones of the artist’s work, thus emphasizing the overall drama of her pieces.

 Pantocrator画廊欣然展出伟大的上海艺术家 朱晔/ Juliet的个人展览

朱晔在英国学习艺术时，加强了对深厚的西方文化的知识了解与欣赏。她目前在上海工作和生活, 不过她会经常去欧洲, 在那里她的作品得到许多正面的回应。

在她的大画布里，捕捉到一个根深蒂固的古老文化，然而微妙的西方影响，让她能够贯通世界艺术的语言。

朱晔利用了繁杂不同领域的艺术材料，展现了和谐艺术，

例如：有机材料，丙烯酸和纯颜料，其中夹杂着传统中国水墨，导致了着色的堆积层和透明透明性，可是最终的抽象展示， 描绘给观画者清新风景，

神秘感和舒适感。

她的作品围绕着蓝色， 利用蓝色作为基调色，顶部使用油墨作为加强她作品的微妙的色调，由此强调整幅作品的戏剧性。

 Zhu Ye, born 1977 Shanghai.  After graduating from Shanghai University, the College of Fine Art, Zhu Ye continued her MA studies in Kent Institute of Art & Design, England. From 2005 to 2010 she was lecturer at Shanghai Arts and Crafts Vocational College. Currently Zhu Ye is a professional artist who having her studio at M50 Shanghai. Her artworks been exhibited in China and Europe and due her very individualistic style of painting she has been appreciated by local and foreign art collectors.

朱晔，女，1977年出生于上海。2000年本科毕业于上海大学美术学院中国画系。2002年硕士毕业于英 国肯特艺术与设计学院艺术系。2004年至2010年七月任教于上海工艺美术职业学院, 现为职业艺术家, 在莫干山路50号艺术创意园区内的工作室进行艺术创作。她的作品曾在中国和欧洲展出, 并被国内外的收藏家所收藏.

Exhibition / 個展: 22th to 30th November, 2014

从2014年11月22日到11月30日

Opening Reception  / 开幕酒会

22th November, 6pm to 9pm

2014年9月20日 ，星期六，6点到9点

Live Dance Performance  / 现场舞蹈表演

6pm & 8.30 pm / 6点 & 8点半

Soo Kyung Hong (South Korean) artist currently living in Shanghai. With her exhibition "Opaque Reflections", she invites the visitor to dive into her impressions of the megacity. Preserved in mixed media 'snapshots' on paper as well as acrylic paintings on canvas, the works explore the unique struggle and beauty in chaos of life between Chinese economy and culture. Like a look through a window the pieces expose the hidden interaction between Soo's cultural background and her experiences in Shanghai, especially her observations on music and dance. During the exhibition opening life music and dances will bring her work life and give us an idea of her personal 窗花, "look through the window".

Her works starts with photos which she collect. One artwork will generally be based on several of these – images that she sense have a connection linking them together. She have lived in many different places and experienced diverse cultures, She is very aware of the importance of visual connections and of communicating through art. Soo Hong start with charcoal, which gives a unique texture that she love, and then paint in colors that reflect the energy that I feel existing between the figures. The result is dreamlike, yet rooted in reality.

It is so easy in adult life to become desensitized to your own emotions, distanced from what you feel. It is her hope that art helps viewers to reconnect with this fundamental part of themselves.

Exhibition: 1st October 2014 to 16th March 2015

从2014年10月1日2015到3月日

Pantocrátor Gallery is pleased to show a collective exhibition in collaboration with EBPC, through a selection of international artists.

• Anastasia Coyto (Spain) Photo

• Berto Martínez (Spain) Ilustration

• Conrad Rosed (Spain) Ilustration

• Deenesh Ghyczy (Hungary) Painting

• Gonzalo Reyes Araos (Chile) Photo

• Javier Martín (Spain) Mix Media

• Jochem Rotteveel (Holland) Collage

• Makode Linde (Sweden) Painting

• Mariano Vargas (Spain) Photo

• Roland Darjes. (Germany) Mix Media

The exhibition will be available to visit at: 1416 Yangshupu Road. 200090 Shanghai (China). 

Exhibition: 25th to 31th October, 2014

从2014年10月25日到10月31日

2014年10月25日星, 期六, 6点

Roland Darjes (Germany)  artist based in Shanghai. Since his arrival 7 years ago he works with light sculptures integrating overwhelming impressions of Shanghai's urban landscape into his art works. Always on the quest for new techniques and materials he – as a foreigner – uses various layers in his light boxes and installations to illustrate different dimensions of China's contemporary Society and material needs. Also being a photographer he is constantly on the lookout for critical motifs reflecting the struggle of the individual in China's modern anonymous cities.

Exhibition: 20th to 30th September, 2014

从2014年9月20日到9月30日

Opening Reception /  闭幕酒会

20th September, 6pm to 9pm

2014年9月20日，星期六，6点到9点

Artist talk and listening event  /  艺术家的谈话和聆听活动

30th September, 5pm

2014年9月30日 , 周二 ，5点

Byron Huang-Dean (Australia) artist based in Melbourne. Primarily working with sound, Byron Huang-Dean creates installation works, site-specific interventions, performances and compositions. He is interested in examining the experience of sound in contemporary urban and natural environments, using field recordings to map and reimagine places. He situates his practice between the fields of Psychogeography, Acoustic Ecology and expanded documentary practice. His works aim to immerse the listener within the everyday textures and rhythms that go unnoticed in sonic environments, fluctuating between abstraction and clearly narrative sequences of sound.

Collective exhibition  / 集体展览 

Opening Reception: 23rd August, 6pm to 9pm

闭幕酒会 :  2014年8月23日 6点至9点

Exhibition: 23rd to 31st  August

展出时间:  8月23日 至 8月31日

Lorraine Heller-Nicholas (Australia)

 Lorraine Heller-Nicholas often work with video and photography to create something new. As demonstrated by her past use of animation, drawing, printmaking, traditional handicrafts, photography and digital imaging, her work is dominated by a spirit of juxtaposition.

Jeff Musser (USA)

 Jeff Musser use canvas as a second skin, He attempt to create a world where the ugliness of his life is contained and expunged, giving his mentality artistic form, making it concrete. The tattoos became a proxy, in this case, a surrogate for the real skin and the real stories he embody underneath them mixed with birds such as sparrows, finches, humming birds and plants such as milk thistle, trumpet vines, roses and bearded irises that are symbols of freedom and happiness from his childhood in Northern California.

Ilaria Villagrassa (Italy)

Ilaria Villagrassa use glazing and mixed techniques. The outcome is intentionally not naturalistic and the mimesis is replaced by transfigured shapes, in order to reach the perfect balance between the material and the spiritual components.

Her art is a search on the free expression, a quest to voice emotions and deep feelings, an invitation to the viewer to dive into a world of dream and unconsciousness.

Collective exhibition  / 集体展览 

Opening: 23rd August, 6pm to 9pm

闭幕酒会 :  2014年8月23日 6点至9点

Exhibition: 23rd to 31st  August

展出时间:  8月23日 至 8月31日

Qin Tan (USA)

 Qin Tan is a multimedia artist residing in Maryland, USA. She studies in the Maryland Institute College of art with a major of General Fine Art. Her artwork have been showcased in Italy, USA and Shanghai. 

Sanjay Ramachandran (India)

 Sanjay Ramachandran is a self taught illustrator and Creative Producer with over 10 years of experience in Television. He is a Film and Television major from Symbiosis Institute of Mass Communication, Pune , India. 

  从2014年6月1日起至2014年6月30日

  Opening  /  闭幕酒会

 21st June, 5pm to 9pm / 2014年6月21日 5点至9点 

 Lily Hawkes (UK) Her work from her residence at Pantocrator M50 combines outdoor views and interior spaces, dissecting and reconfiguring the Shanghai cityscape, borrowing shapes and imagery, and combining these with the recurring motives and aesthetics of her work.

The playful and suggestive piece is designed to create a highly theatrical presence whilst continuing to tackle issues regarding form, colour, and texture.

The final result of Lily's residence is closer to a gallery takeover than an exhibition, so join us for a drink among this unique, candy-coloured, and larger-than-life installation on Saturday, June 21st.

Lily Hawkes is an artist based in London, UK. She is the latest artist to take part in Pantocrator Shanghai's artist-in-residence programme, which brings international artists to work in Shanghai.

莉莉·霍克斯此次在上海M50创意园潘多画廊的艺术创作结合了户外景观和室内空间，她解析重组了上海的都市风景，借用各样摩登大楼的景象来创作她的作品。

这些带着暗示意味的作品创造了一个带有强烈戏剧性效果的展出，同时表现了艺术家对颜色、造型和材质的处理手法。

 莉莉·霍克斯的本次创作已接近尾声，最后会以酒会的形式来开启最后的展出。所以我们诚挚的希望你能在6月21号，星期六晚来和我们一起享受这独一无二的开幕式。 

 Lily Hawkes combine outdoor views and interior spaces, dissecting and reconfiguring the Shanghai cityscape, borrowing shapes and imagery and combining these with recurring motifs and aesthetics in my work. The playful and suggestive piece is designed to create a highly theatrical presence whilst continuing to tackle issues regarding color, texture and form.

'Architecture itself can unnerve the viewer as much as any ghoulish tale' - Freud

Structures are borrowed from the cityscape in both its silhouette and detail. The artist use existing spaces, objects and composition to inspire new structures. She analyze, redefine and present segments from these spaces in the gallery environment allowing the viewer to re-experience familiar composition and shapes often resulting in something that teeters between the sincere and the artificial.

The collective impact and use of dichotomy in scale and materiality are intended to allow the viewer to form their own experience that simultaneously confronts and seduces as they are immersed in a fabricated, artificial environment: a culmination of passive associations, inherent tensions and behavior.

The work relies heavily on materiality and composition; fabric aspects feel ephemeral in pale and faded colors whilst wooden structures seem permanent and durable in comparison. Hawkes explore the visual relationship between hard and soft materials, the use of industrial materials in juxtaposition with the handmade. The sculptures often exhibit huge mass and weight, dwarfing the viewer, evoking a feeling of awe and oppression.

The instillations act as post apocalyptic landscapes, both industrial and polished, weathered and temporary. They are mobile and immobile, fragile and strong, a visual jarring of materials, influences and scale; with the intention of immersing the viewer into a carefully balanced tension and contrast: a simultaneous confrontation and seduction.

 莉莉·霍克斯此次在上海的艺术创作，结合了户外景观和室内空间，她借用上海繁华景观，将这种都市风情分解再重组，创作出新的主题和新的美学元素，并展现在她的作品中。这些带着玩味和暗示性的大型作品营造出强烈的戏剧性效果，同时又展示了艺术家对作品的颜色，表面质感和形状的处理手法。

“建筑本身就可以使观者在其面前如同听闻鬼魅故事般丧失勇气。”——卢西恩·费洛依德

作品的形状结构是源自城市景象的侧影和细节而创造的。莉莉·霍克斯利用已有的空间架构，物体元素和构图来创作新的构造。 她通过分析和重组，以图片形式展现画廊中的空间片段，让观者来重新体验似曾相识的构图布景，使观者有种在虚实之间徘徊的感觉。

群体性的影响，以及在规模性和物质性上对二分法的利用，目的在于让观者沉浸在这个人工制造环境中的同时，引诱他们形成自己的感官体验：一股沉重的消极之感，或一种由内而生的紧张。

作品侧重于依靠物体质感和空间构造，浅若褪色的织布材料给人一种转瞬即逝的感觉而木制的结构又给人以耐久永恒的感觉。莉莉·霍克斯探索着软硬两种材料间在视觉上形成的对比关系，使用工业材料比手工制作出大型的现代雕塑。这些室内雕塑给观者凌乱和厚重的感觉，使观者在其面前显得矮小由此而产生一种敬畏和压迫的感觉。

这些雕塑预示着末日最后的景观：无论是现代工业化的，光鲜靓丽的还是风化破败的，短暂将逝的。 他们或可以移动或不可移动，或易碎或强壮，在物质材料和规模上产生一种不和谐的视觉效应，但同时让观者沉浸在一种非常精妙平衡的紧张不安和陶醉平和中。

Opening 閉幕酒會 : 24th May, 5pm to 9pm

2014年5月24日 ，星期六，5点到9点

Deenesh Ghyczy (Hungary)

  Painting the Mirror

The mirror is a recurring element in the history of art. A case in point is offered by Parmigianino, one of the great painters of Italian Mannerism and considered by the art historian Giorgio Vasari to be the spiritual and stylistic heir to Raphael. Parmigianino went to Rome in 1524, seeking patronage from the papal court. For the occasion he painted his famous Self-Portrait in a Convex Mirror, which is preserved at the Kunsthistorisches Museum in Vienna. In this self-portrait, the young Emilian painter, who died in 1540 without nothing but a legacy of sublime work, shows his skill by portraying himself in a distorting mirror. 

The myth of Narcissus brings up the importance of the reflected image, wherein the handsome young hunter perishes, captivated by his reflection in a pool. The diaries of explorers and anthropologists are littered with reports of the value indigenous and uncontacted tribes place on small pieces of mirrors, trading food and manufactured goods for these foreign artefacts. In his Treatise on Painting , Leonardo da Vinci gives the mirror a place of honour, most notably in the famous chapter entitled How the Mirror is the Master of Painters. In it, Leonardo asserts that ‘Above all, the mirror is like the master of painting, because [the image] on the surface of the mirror maintains many similarities to paintings."

In the work of Deenesh Ghyczy, the mirror becomes a distorting lens through which the subject is both crushed and multiplied. The birth of the post-modern subject occurs as follows: first there is the fragmentation of modern and rational, then, as a result of its break-up and its dispersion, it gives gives rise to today's society full of multiple identities linked within each of us . In this new awareness of the multiplicity of our identities and our roles, Ghyczy seems to suggest that the ‘univocal’ portrait, to which we have become so accustomed through the history of painting, has now become ‘impossible’. The new ‘I’ needs multiple points of view and angles in order to be seen and understood in its ‘totality’. 

Other series of paintings echo thematically and spiritually what Ghyczy’s work tries to make visible. The subject engages in a dialogue with himself, with his own aura. While its inwardness appears and resounds we, as external viewers, are gripped by a fear and a hope. There is more to the world than the visible, the power of this painting is to show us this truth, going beyond the actual perception to reach deeper dimensions. 

Dr. Nicholas David Angerame

Curator and Art Critic , 17th May 2014 

Based in Berlin, Deenesh has been working in M50 as Pantocrator Gallery’s artist in residence since the beginning of May, and will continue using the gallery space as his studio until June 3rd. 

镜子在艺术史上是一个经常性的元素。一个典型的例子是帕米贾尼诺，意大利伟大的画家之一，艺术史家瓦萨里认为他是拉斐尔精神和风格的继承人。帕米贾尼诺 1524年去了罗马，寻求罗马教皇的庇护。在那里他画了他最著名的一个在凸镜里的自画像，它被保存在维也纳艺术史博物馆。这位死于1540年年轻的艾米利 亚画家，通过这幅扭曲的自画像向世人显示了自己超人的绘画功力。

那喀索斯的神话带来了反射形象的重要性，其中年轻英俊猎人被自己在池中的倒影迷住， 导致了他的毁灭。探险家和人类学家的日记满布着具有历史价值的土著和原始部落的小块镜子，人们用食品和手工制品换取这些舶来品。在达芬奇关于绘画的论述 里，他给予镜子很高的评价，尤其在著名的一章题为镜子是画家的老师， 在这里面，莱昂纳多声称， “最重要的是，镜子是绘画的老师，因为镜子的表面上显示的图像保持着和绘画许多的相似处。 ”

在迪内士的绘画作品中，镜子变成了扭曲的镜头，通过对它的主题的粉碎和叠加。后现代主义的出现如下：首先有现代和理性的分裂，然后，作为其破裂和分散的结 果，引起当今社会每个相互关联的有着多重身份的我们对自我身份和角色的多重性的重新认识。 迪内士似乎在对我们指出，“单义”的画像，那些我们已习惯的绘画的历史，现在已经成为“不可能” 。新的“自我”需要更多的观点和角度以理解其“整体性”。

迪内士新的系列的作品中， 主题上和精神上的意图非常明显。主题是他自己的光环和自我内心的话。精神上的内在性的出现和提升，我们作为外部观察者，被他的画面带出了恐惧和希望。世界 上还有很多东西是不可见的，这些画向我们展示了这个道理，画面可以超越实际的感知，达到更深的层面。

Exhibition: 1st April to 8th May, 2014

   从2014年4月1日到5月8日

Closing Reception  / 閉幕酒會

Thursday, 8th May, 5pm to 9pm / 2014年5月8日 ，星期四，5点到9点

Pantocrator Gallery is pleased to present the solo exhibition of the great Shanghainese artist Zhu Ye / Juliet.

Zhu Ye (China) Shanghai:  advanced her knowledge and appreciation of Western culture when she studied art in England. She currently lives and works in Shanghai, but travels regularly to Europe where her work is positively received.

Her large canvases capture a virtuosity deeply rooted in an ancient culture; while her subtle Western influences allows for a universal artistic reading of her work.

Zhu Ye develops a harmonious aesthetic using elaborate mixed media: organic materials, acrylic and pure pigments mixed with traditional Chinese ink, which results in an accumulation of stains, layers and transparencies that despite the apparent final abstraction, transport the viewer to crisp landscapes, mystical and comforting.

Her brushwork revolves around blue as the base color, on top of which the use of ink highlights the subtle tones of the artist’s work, thus emphasizing the overall drama of her pieces.

 Pantocrator  画廊欣然展出伟大的上海艺术家 朱晔/ Juliet的个人展览

朱晔在英国学习艺术时，加强了对深厚的西方文化的知识了解与欣赏。她目前在上海工作和生活, 不过她会经常去欧洲, 在那里她的作品得到许多正面的回应。

在她的大画布里，捕捉到一个根深蒂固的古老文化，然而微妙的西方影响，让她能够贯通世界艺术的语言。

朱晔利用了繁杂不同领域的艺术材料，展现了和谐艺术，

例如：有机材料，丙烯酸和纯颜料，其中夹杂着传统中国水墨，导致了着色的堆积层和透明透明性，可是最终的抽象展示， 描绘给观画者清新风景，

神秘感和舒适感。

她的作品围绕着蓝色， 利用蓝色作为基调色，顶部使用油墨作为加强她作品的微妙的色调，由此强调整幅作品的戏剧性。

 Zhu Ye, born 1977 Shanghai.  After graduating from Shanghai University, the College of Fine Art, Zhu Ye continued her MA studies in Kent Institute of Art & Design, England. From 2005 to 2010 she was lecturer at Shanghai Arts and Crafts Vocational College. Currently Zhu Ye is a professional artist who having her studio at M50 Shanghai. Her artworks been exhibited in China and Europe and due her very individualistic style of painting she has been appreciated by local and foreign art collectors.

朱晔，女，1977年出生于上海。2000年本科毕业于上海大学美术学院中国画系。2002年硕士毕业于英 国肯特艺术与设计学院艺术系。2004年至2010年七月任教于上海工艺美术职业学院, 现为职业艺术家, 在莫干山路50号艺术创意园区内的工作室进行艺术创作。她的作品曾在中国和欧洲展出, 并被国内外的收藏家所收藏.

Bryan Prillwitz (USA)  Michigan

Su Ling Gyr has a BTECH and BA in Fine Art and Fashion from Central St. Martins College of Design in London, she has shown her work in Switzerland, London, Berlin and Stockholm. 

Su Ling Gyr currently works between Berlin and Stockholm. 

Fashion Bone

What comes to mind when Su Ling Gyr thinks of Shanghai is progress.

Her grandpa fled China during the revolution, it is only decades later, that she is here checking out the skyscrapers and luxury stores, several of her European friends who work in fashion now take jobs in Asia. Industrialization. Growth. Growth that has been powered by anonymous workers in factories. Work at the hands of millions of Chinese looking for betterment. And now increasingly looking for luxury and fashion. They have traded in the communist costume in favour of trendy fashion and identity.

Fashion Bone is about identity, and how identity is crafted though luxury and fashion. How we use fashion to dress ‘our bare bones’, how we use it to empower and to classify but also to blend in and to follow. Fashion Bone is also about individuality and luxury, vs. mass production and poverty. The frivolous and the ugly. Life and death.

China is the home to textile manufacturing. Having worked in the fashion industry and having had her own company, Su Ling Gyr always felt empathy to the workers behind the sewing machines. Their sweat is another mans bread. And another ones purchase.

The value development is similar to selling Art and to what extent a purchase creates identities.

In her project Fashion Bone Su Ling Gyr attempts to live through the stages of “added value” starting at the bottom of the “production chain”. She swaps her identity and puts herself on the other end of the spectrum. Staging a performance as a factory worker, sewing newspaper pleats each day in the gallery in the week running up to the opening, she compares her own working process to that of a factory worker. She prompts people to think about the provenance of their purchases, questioning value, identity and luxury.

In addition to her performance, a video piece is screening at the gallery. She created this video with celebrated fashion photographer Nick West (Nick&Chloe) in Berlin in March this year for project Fashion Bone. In the video, Su Ling Gyr objectifies herself ‘grooming’ a Fashion Bone, in preparation for display. She talks about beauty, fetishism, identity and fashion, while dressed in a surgical uniform. Her take on Fashion Bone, is definitely an insiders point of view, using fashion as a main inspiration to her message. On the wall of the gallery, she displays photos of the finished ‘couture’ bones, she created in form of fine art prints.

On another level “Fashion Bone” looks at the necessity and absurdity of fashion. Our need for it, for personal enhancement and identity, the demand that never ceases, the political message of it and getting literally down to the “Bone” of what fashion and our need for beauty is all about. And to what extent we are ready to suffer for it, and have others suffer. The concept of fashion being a concept that gains momentum when bellies are full.

Opening: 23th November, 5pm

Exhibition: from 23th to 30th November

开幕时间

11月23日／星期六／下午5点到晚上9点

展出时间

11月23日 至 11月30日

"Emptinesses" is a project of artistic creation resorting to a fantastic, classic and contemporary canon. The title suggests the inexorable condition of existential events toward the search for identity as a metaphor. So, ambiguity as well as vagueness become the leitmotiv of this visual narration.

Ramón Lez (Spain) is an artist who works in a variety of media including painting, artvideo,installation and film/video.

He studied fine arts in San Carlos Faculty in Valencia (Spain) and went on rounding his vocational training off with academic grants in Caracas whitch Luis Lizardo and Munich where he studied with Gunther Förg and Markus Ohelen.

It is to point up some prizes and grants such as the First Prize, Murcia Visual Arts, Murcia. 2007, Artistic Production Grant, La Bodega, Museum Casa Pintada, Mula. 2007, Artistic Creation Grant for The Gabarron Foundation.2011.

He has been selected by multiple national and international film festivals and selected to take part in contests like: 

Workshops whitch film-makers L.M.Kit Carson and Abbas Kiarostami.

His work has been exhibited in International Fairs of Contemporaneous Art:

- The Gabarron Foundation of New York 2008 and 2011

- CIRCA in Puerto Rico 2008

- MAC in Puerto Rico 2009

- ARCO MADRID 2009 and 2010

Ramon Lez  has planned with his latests projects, portraits, painted faces containing elements which make us reflect and which are loaded with a certain mysterious. 

It is not about faces which, seemingly, look at the beholder but looks watching themselves, introspective and suppressed looks at the same time, as if it is about mirrors on the canvas itself, like small parts of the whole.

In this works the aim is to reflect the splendour of nature by means of an conceptual images contemplation of the flowing images in order to think about the very existence of mankind as well as history and modernity through death as a birth, a catharsis, a transformation, rather a pupa giving rise to another identity/ reality.

Some, seemingly, simple, anguished or beautiful portraits constitute reflections concerning perception and photography through Lez´s properly contemporaneous way of working, by preparing painstaking stage designs on which he places the images like protagonists and falls back on digital technology with the object of manipulating the final result.

Exhibition 16th September  to 17th  October, 2013

Lei Wang (China)  Live & work in Shanghai

Born in 1984 in Qingdao. 

Luciano Benites Fiusa Lima (Brasil)

Every July Saturday, 5:30 pm

“Performances and sound adventures”by: Erico Wakamatsu (Japan), Francesco Liberti (Italy) and Lilian Beidler (Switzerland)

七月／每个星期六／下午5:30点半

“行为表演和声音探险”

Erico Wakamatsu (日本), Francesco Liberti (意大利) 和 Lilian Beidler (瑞士)

Exhibition: 27th to 31st July

展出时间

7月27日 至 7月31日 

Luciano Benites Fiusa Lima (Brasil)

Hans Gullickson (USA)

Hans is a multimedia artist interested in expressing and exploring the personal and communal experience of awareness through different mediums, forms and settings.

 Through the detailed and continual expression of what is inside him (varying the medium to fit the project), be it memories, muscle memory, iconography, symbols. His work draws from diverse sources for content, and context.

 He wish to express both a very personal voice, and also the communal shared voice of our human form and history through the raw alive ingredients of actualized hope and potential implemented by simple direct means. 

He regularly use silkscreens, paper, paint, hand drawing, gold leafing, found objects and mediums, he work in are handmade artbooks, video art, street art, installations, paintings, textiles.

Exhibition: June 2013 

Pantocrator Gallery is pleased to present the solo exhibition of the great Shanghainese artist Zhu Ye / Juliet.

Zhu Ye (China) advanced her knowledge and appreciation of Western culture when she studied art in England. She currently lives and works in Shanghai, but travels regularly to Europe where her work is positively received.

Her large canvases capture a virtuosity deeply rooted in an ancient culture; while her subtle Western influences allows for a universal artistic reading of her work.

Zhu Ye develops a harmonious aesthetic using elaborate mixed media: organic materials, acrylic and pure pigments mixed with traditional Chinese ink, which results in an accumulation of stains, layers and transparencies that despite the apparent final abstraction, transport the viewer to crisp landscapes, mystical and comforting.

Her brushwork revolves around blue as the base color, on top of which the use of ink highlights the subtle tones of the artist’s work, thus emphasizing the overall drama of her pieces.

Pantocrator  画廊欣然展出伟大的上海艺术家 朱晔/ Juliet的个人展览

朱晔在英国学习艺术时，加强了对深厚的西方文化的知识了解与欣赏。她目前在上海工作和生活, 不过她会经常去欧洲, 在那里她的作品得到许多正面的回应。

在她的大画布里，捕捉到一个根深蒂固的古老文化，然而微妙的西方影响，让她能够贯通世界艺术的语言。

朱晔利用了繁杂不同领域的艺术材料，展现了和谐艺术，

例如：有机材料，丙烯酸和纯颜料，其中夹杂着传统中国水墨，导致了着色的堆积层和透明透明性，可是最终的抽象展示， 描绘给观画者清新风景，

神秘感和舒适感。

她的作品围绕着蓝色， 利用蓝色作为基调色，顶部使用油墨作为加强她作品的微妙的色调，由此强调整幅作品的戏剧性。

Zhu Ye, born 1977 Shanghai.  After graduating from Shanghai University, the College of Fine Art, Zhu Ye continued her MA studies in Kent Institute of Art & Design, England. From 2005 to 2010 she was lecturer at Shanghai Arts and Crafts Vocational College. Currently Zhu Ye is a professional artist who having her studio at M50 Shanghai. Her artworks been exhibited in China and Europe and due her very individualistic style of painting she has been appreciated by local and foreign art collectors.

朱晔，女，1977年出生于上海。2000年本科毕业于上海大学美术学院中国画系。2002年硕士毕业于英 国肯特艺术与设计学院艺术系。2004年至2010年七月任教于上海工艺美术职业学院, 现为职业艺术家, 在莫干山路50号艺术创意园区内的工作室进行艺术创作。她的作品曾在中国和欧洲展出, 并被国内外的收藏家所收藏.

Exhibition: 16th to 23th May

展出时间

5月16日 至 5月23日

Close Party: 23th May, 6pm

密切党群干群关系

5月23日 / 周六 / 下午6 - 9 点

Samuel Sarmiento (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."

Pierre Chaumont (Canada)  Quebec.

Opening: 20th April, 2pm

开幕时间

4月20日 / 周六 / 下午2 - 6 点

Exhibition: 20th April to 2nd May 

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

Gaby Steiner ( Switzerland) 

Opening: 30th March, 2pm

开幕时间      3月30日 / 周六 / 下午2 - 6 点

Exhibition:  30th March to 11st April  

展出时间      3月30日 至 4月11日

Photography and Space Production 影像与空间

 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 ( Switzerland) : Her 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

Gyuwon Lee (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. 

Exhibition : 17th November to 17th December, 2012 

Opening: 22th  September, 6pm

Gonzalo Reyes Araos (Chile) 

“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.

Exhibition: 5th October to 18th  November, 2012 

• Berto Martínez (Spain) 

• Sito Mújica  (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.

Jose Manzanares (Spain) Linares

Exhibition: 22nd to 30th September, 2012 

Opening: 22nd  September, 6pm

Exhibition: 22nd June to 1st July, 2012 

Marta Martínez Corada   (Spain)  

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. 

这 种从"后现代记忆"发展出来的叙述方式界定于纪实和虚构之间，关系于特定空间的时间被呈现出扭曲和变异。因此画面并未展现出个人主体的形象，而是应该将它 们置于舞台上演员们的日常生活的情境中去分析。这个系列思索了时间的因果关系，同时暗示了个体与空间关系的投影。当观看者与按照惯例的所假定的现实产生互 动，在日常生活中的个人行为就会创造出奇怪的环境，而忽略了一些导致对原因和意图的猜测的事物。

Exhibition:19th May to 15th June, 2012 

Considered as one of the finest contemporary erotic photographers, Mariano Vargas (Spain) 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 Imaginart. 

Exhibition:  20th April to 12nd May 2012 

Solo show  and Pinhole workshop  .      

Matthias Hagemann (Germany)

(*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

Pinhole Photography workshop

Time Saturday, 28.4.2012 11 am to 4 pm

Teacher Matthias Hagemann (www.boxocam.de)

Participants max 12 person

Exhibition: 31st March to16th  April 2012 

 Opening: 31st March, 6pm

Juan Antonio Baños (Spain)  Currently lives and works between Madrid, Shanghai and London.

Juan antonio Baños  1980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。

 Xuhong Shang (China)

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

 Exhibition: 9th November to 20th  December 2011

• Nick Gentry (UK)                              

• Berto Martínez (Spain) 

• Makode Linde (Sweden) 

• Conrad Roset (Spain) 

• Jonatan Moreno (Spain)

• Keflione (France) 

• Piacha (China)

"Presence -Absence" New visions of the Self in contemporary art

Collective exhibition / Painting, drawings and installation

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

Exhibition: 1st to 6th November 2011

Exhibition (Video Installation): 1st to 6th November 2011 

 Tina Zimmerman (Germany)

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.

Exhibition (mix media):  8th to 31st October 2011 

Opening: 8th October, 6pm

 Jochem Rotteveel (Holland)

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.

 Exhibition (Painting):  20th September to 20th October 2011

 Patsy McArthur (UK) Scotland                   

Exhibition (installation): 1st to 7th October 2011

Jonathan Mármol Moreno (Spain)

Specific site installation

 Through his sculpture and installation work presents turbulent situations, that act as a build of unrealities.

Exhibition: 2nd to 30th  September 2011

• Ji Hong-Yan (China)

• Marta Blasco (Spain)

• Lore Vanelslande (Belgium - China)

• Alejandra Alarcón (Bolivia)

• Sonia Carballo "Socatoba" (Spain)

• Carmen Garcia Huerta (Spain)

• Stephanie Costello (USA) N.Y.

• Patsy McArthur (UK) Scotland

• Freya Douglas-Morris (Ireland)

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.

 Exhibition: 25th to 31st  August 2011 

 Landa Ruen (USA)

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.

 Exhibition: 1st to 30th May 2011

 Installation "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.