60H x 26W x 34D inches
Peasant Sensation Passing Through Flesh – 3 consists of a massage chair fixed to a wall. With its cushions removed to reveal its internal mechanisms, the chair’s programmed rubbing, kneading, patting, and vibrating motions create a strange sight and soundscape. The work explores the relationship between flesh and machine as they come together through technologically simulated social behaviors, challenging normative ideas about human interaction.
Yang Zhenzhong’s artwork challenges traditional notions of social behavior, often using new media to focus upon disharmony and contradiction within Chinese society and broach taboo subjects within Chinese culture such as death and obsolete familial traditions. Yang studied painting at the Zhejiang Academy of Fine Arts in Hangzhou. His work has been featured in the Venice Biennale, Shanghai Biennale, Asia Pacific Triennale of Contemporary Art, and Lyon Biennale.
Pak created New York Public Library Projects (NYPLP) (2008) during a residency in New York, using public libraries as exhibition spaces and the books they house as raw materials...
The series Nightmare Wallpapers represents a shift if Chuen’s practice, allowing the artist to immerse himself in an “artistic pilgrimage of self healing” following the failure of the 2014 Umbrella Movement...
A Flags-Raising-Lowering Ceremony at my home’s cloths drying rack (2007) was realized in the year of the 10th anniversary of the establishment of The Hong Kong Special Administrative Region of the People’s Republic of China...
Jean-Charles de Quillacq — Les poulains deviennent des chevaux — Galerie Marcelle Alix — Exposition — Slash Paris Connexion Newsletter Twitter Facebook Jean-Charles de Quillacq — Les poulains deviennent des chevaux — Galerie Marcelle Alix — Exposition — Slash Paris Français English Accueil Événements Artistes Lieux Magazine Vidéos Retour Précédent Suivant Jean-Charles de Quillacq — Les poulains deviennent des chevaux Exposition Techniques mixtes Jean-Charles de Quillacq, Ouverte (Discomfort), 2023 (Détail) Collage et acetone sur poster — 59,7 × 80 cm Courtesy de l’artiste et galerie Marcelle Alix, Paris Jean-Charles de Quillacq Les poulains deviennent des chevaux Encore 27 jours : 11 janvier → 9 mars 2024 « J’étais un morceau d’usine pour l’éternité...
O Africano (1984) is a large acrylic painting on canvas, made early in the artist’s career, and directly references both Leonilson’s artistic precursors and his desire to imagine and capture what it means to be Brazilian...
Jean-Charles de Quillacq — Les poulains deviennent des chevaux — Marcelle Alix Gallery — Exhibition — Slash Paris Login Newsletter Twitter Facebook Jean-Charles de Quillacq — Les poulains deviennent des chevaux — Marcelle Alix Gallery — Exhibition — Slash Paris English Français Home Events Artists Venues Magazine Videos Back Previous Next Jean-Charles de Quillacq — Les poulains deviennent des chevaux Exhibition Mixed media Jean-Charles de Quillacq, Ouverte (Discomfort), 2023 (Détail) Collage et acetone sur poster — 59,7 × 80 cm Courtesy de l’artiste et galerie Marcelle Alix, Paris Jean-Charles de Quillacq Les poulains deviennent des chevaux Ends in 27 days: January 11 → March 9, 2024 “I was a piece of factory for eternity.” Georges Navel, Travaux [Works], Gallimard, 1995, p.108 How can one rediscover desire when its very mechanics are monopolized by capitalism? Where can our desire still intrude in the plethora of poetic, pornographic, intellectual, psychological, promotional, and political offerings? In the field of ruins of the imaginary, increasingly littered with Instagram images of war victims, portraits of friends who left this world too soon, calls for help from NGOs, and—in their wake—, images of ever more exhibitions we couldn’t see, parties that always look better from afar, clothes that would finally suit our morphology, or the latest accessories needed to help us sleep...
A Portrait: Covering and Cleaning is an installation of six black-and-white video projections...
The Tower of Babel is an installation of large-format photographs that forces the audience to occupy a central position through its monumental scale...
A mesmerizing experience of a vaguely familiar yet remote world, History of Chemistry I follows a group of men as they wander from somewhere beyond the edge of the sea through a vast landscape to an abandoned steel factory...
Gypsy shows an ambivalent scene, in which broken blinds and its unsmiling subject are balanced with the stilllife plentitude of watermelon slices and the beautifully lit nudity of the sitter...