63 x 32 x 122 cm
Flesh in Stone – Ghost No. 1 is a stunning series of cement made body parts in various scales and movements, along with components such as iron and plaster molds to emphasize their tension. The “incompleteness” of Flesh in Stone weakens the figurative image itself, thus shifting the viewer’s focus onto the relationship between the rough material and the ideal rounded body shapes. This work is a striking metaphor of individualization, confinement, control and voluntary bondage in contemporary China and beyond.
Yu Ji is a precise artist with multiple preoccupations, references, and interests; she comes from a long tradition of erudite, polymath approaches to art making. She is very much involved with the broader community, having run one of the crucial artist-run spaces in Mainland China for many years. Graduated from the Department of Sculpture at the Fine Art College of Shanghai University, Yu Ji also received a master degree. She is known for the diversity of her practice, dealing chiefly with sculptures and installations along with performances and videos. Her long-term interest has been an ongoing investigation into specific loci that are charged with geographical and historical narratives. She frequently conducts field research and is keen on creating bodily interventions in different sites.
Vija Celmins | Hatton Gallery See the work of Latvian-American artist Vija Celmins at the Hatton Gallery, Newcastle ARTIST ROOMS Vija Celmins takes an in-depth look at the artist’s works on paper...
Iván Argote’s As Far As We Could Get comprises a series of video chapters made in the municipality of Palembang, Indonesia and the small town of Neiva, Colombia...
En rachâchant is based on the short story Ah! Ernesto! (1971) by Marguerite Duras in which the child Ernesto does not want to go to school anymore as all that he is taught are things he does not know...
In 1980, with the construction of highways in Indigenous territories, an epidemic was brought to the Yanomami region...
Study of History V by Subas Tamang is an etching and aquatint print based on photographs taken by German photographer Volkmar Wentzel in 1949...
The acronym “CFL” stands for an existing light standard (Compact Fluorescent Light) as well as a standard nutrient (Cognitive Fooding Laboratory)...
Hyunjin Kim on Frequencies of Tradition Wednesday, April 6, 2022, 7.30 pm at California College of the Arts Hyunjin Kim, KADIST’s former Lead Curator for Asia (2017-2020), will discuss Frequencies of Tradition , the culmination of an eponymous series of exhibitions and programs initiated by KADIST in 2018...
Central Region by Tanatchai Bandasak is a meditation on materiality and time-based media centres on the mysterious, prehistoric ‘standing stones’ of Hintang in Northern Laos: little-studied megaliths which have survived thousands of years of political change and the cataclysmic carpet-bombing of Laos by the United States during the Cold War...
This untitled ink and pencil drawing by James “Yaya” Hough is made on what the artist calls “institutional paper”, or the state-issued forms that monitor the daily activities of prisoners, of which, each detainee is generally required to fill out in triplicate...
The Class (2005) by Araya Rasdjarmrearnsook challenges the viewer’s personal sense of morality and tolerance by depicting a classroom from hell...
Société Anonyme: Week 5 March 3 – 16, 2008 Saturday, March 8, from 6 – 9 p.m Presentation of “Art conceptuel, une entologie” (Editions MIX, edited by Gauthier Herrmann, Fabrice Reymond & Fabien Vallos) “Art Conceptuel, une entologie” is a collective translation experience of 278 conceptual artworks, most of them available for the first time in French...