Photography (Photography)

Composed of four images, the series Sleeping Elephant in the Axis of Yogyakarta (2011) explores the artist’s observation of how Javanese mythology and cosmology have marked the geography of Yogyakarta, the cultural centre of Indonesia. Through photomontage digital operation, an identical elephant is superimposed in front of iconic landmark of the city: Parangtritis Beach, Sultan Square, the City Monument and Mount Merapi. These four locations are spiritual symbols and the subject of cosmological beliefs in Indonesia and the imagery of elephant has long been considered as a cultural and religious icon.

Sculpture (Sculpture)

Memorial for intersections #2 (2013) is a minimalist, black metallic structure that contains the brightly colored translucent circles, triangles, rectangles, and squares that originally were presented in Pica’s performance work A ? B ? C (2013).

Drawing & Print (Drawing & Print)

Study of History IV by Subas Tamang is an etching and aquatint print based on photographs taken by German photographer Volkmar Wentzel in 1949. Wentzel’s original color photographs document the transportation of a Mercedes Benz, carried on a wood armature by sixty porters, over a rocky trail from Bhimphedi to Kathmandu in Nepal. At the time of Wentzel’s photographs, paved roads in Nepal only existed within the Kathmandu Valley and cars had to be carried into the city from the surrounding hills on foot.

Drawing & Print (Drawing & Print)

Masiniya Matawali by Subas Tamang is an etching and aquatint print based on photographs taken by German photographer Volkmar Wentzel in 1949. Wentzel’s original color photographs document the transportation of a Mercedes Benz, carried on a wood armature by sixty porters, over a rocky trail from Bhimphedi to Kathmandu in Nepal. At the time of Wentzel’s photographs, paved roads in Nepal only existed within the Kathmandu Valley and cars had to be carried into the city from the surrounding hills on foot.

Drawing & Print (Drawing & Print)

Study of History VI by Subas Tamang is an etching and aquatint print based on photographs taken by German photographer Volkmar Wentzel in 1949. Wentzel’s original color photographs document the transportation of a Mercedes Benz, carried on a wood armature by sixty porters, over a rocky trail from Bhimphedi to Kathmandu in Nepal. At the time of Wentzel’s photographs, paved roads in Nepal only existed within the Kathmandu Valley and cars had to be carried into the city from the surrounding hills on foot.

Drawing & Print (Drawing & Print)

Study of History III by Subas Tamang is an etching and aquatint print based on photographs taken by German photographer Volkmar Wentzel in 1949. Wentzel’s original color photographs document the transportation of a Mercedes Benz, carried on a wood armature by sixty porters, over a rocky trail from Bhimphedi to Kathmandu in Nepal. At the time of Wentzel’s photographs, paved roads in Nepal only existed within the Kathmandu Valley and cars had to be carried into the city from the surrounding hills on foot.

Drawing & Print (Drawing & Print)

Study of History V by Subas Tamang is an etching and aquatint print based on photographs taken by German photographer Volkmar Wentzel in 1949. Wentzel’s original color photographs document the transportation of a Mercedes Benz, carried on a wood armature by sixty porters, over a rocky trail from Bhimphedi to Kathmandu in Nepal. At the time of Wentzel’s photographs, paved roads in Nepal only existed within the Kathmandu Valley and cars had to be carried into the city from the surrounding hills on foot.

Sculpture (Sculpture)

font VII by Catalina Ouyang is part of an ongoing series of ‘fonts’, or sculptures, inspired by Catholic holy water vessels. This particular iteration from the series combines hand-carved soapstone, a stop loss trap, horse hair, fermented egg, and other elements to create an artwork that defies categorization. The work’s most notable feature is a small cavity that cradles a naked egg—a translucent, flaccid egg without its outer shell.

Photography (Photography)

Occupy HK 2014 is a series of 18 photographs that Xyza Cruz Bacani’s shot at the height of the Umbrella Movement in Hong Kong. At the time, the Umbrella Movement was considered the largest social unrest defending the democratic aspirations of Hong Kongers, who flooded the streets to demand universal suffrage. The protestors even managed to block Hong Kong’s main highway for months, freezing Asia’s financial centre.

Photography (Photography)

Occupy HK 2014 is a series of 18 photographs that Xyza Cruz Bacani’s shot at the height of the Umbrella Movement in Hong Kong. At the time, the Umbrella Movement was considered the largest social unrest defending the democratic aspirations of Hong Kongers, who flooded the streets to demand universal suffrage. The protestors even managed to block Hong Kong’s main highway for months, freezing Asia’s financial centre.

Photography (Photography)

Occupy HK 2014 is a series of 18 photographs that Xyza Cruz Bacani’s shot at the height of the Umbrella Movement in Hong Kong. At the time, the Umbrella Movement was considered the largest social unrest defending the democratic aspirations of Hong Kongers, who flooded the streets to demand universal suffrage. The protestors even managed to block Hong Kong’s main highway for months, freezing Asia’s financial centre.

Film & Video (Film & Video)

Yang Song’s Die features a clay mask of the artist himself slowly dissolving into water. Clay returns to clay. Clay originates from and returns to earth, becoming a metaphor for life.

Sculpture (Sculpture)

Although seemingly unadorned at first glance, Yang Xinguang’s sculptural work Phenomena (2009) employs minimalist aesthetics as a means of gesturing towards the various commonalities and conflicts between civilization and the natural world. Comprised of rudimentary planks of wood hammered together into a rectangular form, Yang’s work uses reclaimed materials from everyday life and seems deliberately in conversation with Arte Povera, the art movement that originated in Italy during the late 1960s where practitioners produced art from found and common materials as an act of resistance against the decided commercialization of the art world through market economies. Yang, by extension, pays close attention to his materials in attempt to release the forms within them rather than impose his own.

Film & Video (Film & Video)

Itch explores the relationship between technology and daily human experience with a motorized arm that extends from within the gallery’s wall, moving up and down while holding a projector that shows a desperately scratching pair of hands.

Installation (Installation)

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.

Painting (Painting)

The painting is composed of nineteenth century linen collected over five years. The pieces started out as offcuts from a large work called Fabaceae, which refers to the carob bean, an African staple found in the rainforest and tropical forests. The artist took these already dyed offcuts and dyed them further and then put them out in the sun to fade.

Sculpture (Sculpture)

A steel clothing rack adorned with turbine vents, Moroccan vintage jewelry, pinecones and knitting yarn, these heterogeneous elements are used here to create an exotic yet undefined identity within the work. Following Haegue Yang’s 2010 anthropomorphic series Medicine Men, this sculpture appears as a shamanic objet or being. It is mobile and can be activated.

Film & Video (Film & Video)

Indigenous educator and curator Sandra Benites, of the Guarani-Ñandeva people, narrates the origin myth of the bird Urutau in her native language. This nightjar stands still on a branch all day long and, at dusk, cries a low hoot resembling a human weeping. In 2013, indigenous activist José Urutau Guajajara remained on the top of a tree for 26 hours, deprived of food and water by state forces.

Photography (Photography)

Occupy HK 2014 is a series of 18 photographs that Xyza Cruz Bacani’s shot at the height of the Umbrella Movement in Hong Kong. At the time, the Umbrella Movement was considered the largest social unrest defending the democratic aspirations of Hong Kongers, who flooded the streets to demand universal suffrage. The protestors even managed to block Hong Kong’s main highway for months, freezing Asia’s financial centre.

Sculpture (Sculpture)

The Rock 181

Drawing & Print (Drawing & Print)

The series refers to the militarization in Iran and surrounding countries and criticizes it by naming it reproduction of failure. Baktash Sarang was born 1981 in Tehran, Iran. He studied at Azad University, Tehran and then graduated from ESADS, Strasbourg in 2009.

Photography (Photography)

Occupy HK 2014 is a series of 18 photographs that Xyza Cruz Bacani’s shot at the height of the Umbrella Movement in Hong Kong. At the time, the Umbrella Movement was considered the largest social unrest defending the democratic aspirations of Hong Kongers, who flooded the streets to demand universal suffrage. The protestors even managed to block Hong Kong’s main highway for months, freezing Asia’s financial centre.

Advanced Technology (Advanced Technology)

The Great Adventure of the Material World Knight by Lu Yang is a video game world in which an androgynous protagonist goes on a hero’s journey to overcome their understanding of the material world as a coherent, objective truth. Looping arcade music builds suspense as the artist mobilizes varying aesthetics—Sinofuturist cityscapes, Kawaii, religious imagery, anime characters, and body scans of the artist—to propel the viewer through a series of levels, including heaven, hell, and various sites populated by deities and monsters. While traversing these worlds, the protagonist encounters a dizzying array of characters while posing a series of questions about the subjective nature of reality, desire, and suffering.

Sculpture (Sculpture)

In addition to Yang’s signature drying rack and light bulbs, Office Voodoo includes various office supplies like CDs, paper clips, headphones, a computer mouse, a stamp, a hole puncher, a mobile phone charger. The installation suggests the personal, physical, psychological, and political dimensions of the modern office environment. Though abstracted from their original contexts, these materials are still formally recognizable and function as stand-ins for the places from which they came.

Installation (Installation)

In Action no. 1 Yang Guangnan reflects on the interiority and exteriority of human-technological experience with mechanical gestures that are semi-human and semi-machine. A hanged shirt mounted upon the artist’s machine rhythmically bounces and rotates in a way that suggests a skeletal interior.

Photography (Photography)

Composed of three photographic panels, Three Times at Yamato Hotel by Luka Yuanyuan Yang is a part of the artist’s ongoing project Dalian Mirage , a seven act play in a theatre staged as the city of Dalian. This modern city was built by the Russian Empire in 1898 and occupied by Japan between 1905 and 1945. Based on historical investigations, Yang created ten characters, including a Dalian-born Japanese writer and a Dalian-born American immigrant.