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Exhibitions to Visit this November: Shanghai


Exhibitions to Visit this November: Shanghai
Image courtesy of Long Museum West Bund

With West Bund Art & Design, ART021 Shanghai Contemporary Art Fair and the 12th Shanghai Biennale making waves in Shanghai this month, exhibitions are indubitably set to run off the back of this art buzz these events create. An abundance of exhibitions are set to take place this month across the city of Shanghai at galleries, museums and project spaces. 

The Artling Artzine brings you these exhibitions to visit for the month of November: 


Image courtesy of Shanghai Biennale 2018

Shanghai Biennale, ‘Proregress - Art in an Age of Historical Ambivalence’ 
Earlier this year, chief curator of the 12th Shanghai Biennale announced this year’s theme, ‘Proregress - Art in an Age of Historical Ambivalence’. Taking place at the Power Station of Art, this biennale will engage with wide-ranging topics such as ‘our relationship to the past’, feminism that battles ‘new forms of misogyny and gender violence’, and ‘the geographical relocation of the industrial economy’, xenophobia and religious and cultural fundamentalism, climate change and the Anthropocene, in an attempt to explore the ways in which we experience the ‘present’ as a combination of contradictory trends and forces. 

First launched in 1996, the Shanghai Biennale is not only China's most established and influential international biennale of contemporary art, but also one of the most important biennales in Asia.

This biennale has additionally been co-curated with María Belén Sáez de Ibarra, Yukie Kamiya and Wang Weiwei. 

For more information, click here

Image courtesy of HOW Art Museum 

HOW Art Museum, ‘Heteroglossia’

From 7 November 2018 to 17 February 2019, HOW Art Museum presents Heteroglossia, featuring Cao Fei, Ho Tzu Nyen, Lu Lei, Peng Hung-Chih, Tiong Ang, Fiona Tan, Samson Young, Yangjiang group, Xiao Yu and Wang Qingsong. 

Historically, human society has maintained itself through the coexistence of distinct varieties of peripheral forces standing in opposition to a single, authoritative power that rules from the center. Referring to the coexistence of different languages as well as the conflicts between them, the term “heteroglossia” also reflects the plurality and fluidity that characterizes our contemporary culture and society. Since the end of the last millennium, the wave of globalization has lent momentum to the acceleration of this movement towards pluralism. Meanwhile, this same globalization has also witnessed the expansion of nationalism and the increased tension and segregation that has emerged on territorial borders. 

In other words, along with the consequences of global standardization at the superficial level, radical changes have simultaneously germinated within society. Through this presentation, the curatorial team at How Art Museum wishes to build a platform for dialogue and to convey to the public our thoughts and concerns on the “contemporary”.

For more information on this exhibition, click here.


Image courtesy of ShanghART Gallery 

ShanghART, ‘Interchange’

From 7 November 2018 to 6 January 2019, ShanghART Gallery presents Ding Yi’s solo exhibition titled ‘Interchange’. This show exhibits his most recent paintings from the “Appearance of Crosses” series together with the sculpture “Painting Stand”. This is Ding Yi’s first solo exhibition in ShanghART spaces in China after 12 years. 

As the strongest visual component of Ding Yi’s artistic practice, the latticed lines and patterns of crosses continue to be featured heavily in the exhibited works on basswood, canvas and paper. Refined from the meaning of “tridimensional” and “intersectional”, the exhibition title “Interchange” indicates his recent exploration of the layers and composition of paintings. This can be examined in more than ten pieces of paintings on basswood finished after 2015: Ding Yi uses thicker and harder basswood boards as its base and covered them with heavy acrylic colors. Then he carves out strong and sharp lines or cut surfaces of different shades, thus creating resonance among brushstrokes, paint layers and texture of basswood.

For more information on this exhibition, click here


Image courtesy of K11 Art Foundation 

K11 Art Foundation, ‘Katharina Grosse: Mumbling Mud’

From 10 November 2018 to 24 February, K11 Art Foundation (KAF) and chi K11 art museum presents Mumbling Mud, an impressive 1,500 sqm exhibition by internationally acclaimed German artist Katharina Grosse, featuring five site-related, immersive installations. Divided into five zones at chi K11 art museum, Mumbling Mud leads visitors through an immersive, labyrinthine passage. 

Katharina Grosse is known for her use of the spray gun as her primary painting tool to create vast site-related paintings. She has passed strongly colored swaths of paint across the walls of exhibition rooms, her isbed, a public billboard, an entire house and its surroundings, and different kinds of arranged objects such as piles of soil and tree trunks. Using the spray gun, she has been able to liberate the application of paint from its immediate connection to both the painter’s body and any predetermined surface.

For more information on this exhibition, click here


Image courtesy of M97 Shanghai 

M97 Shanghai, ‘Hiroshi Maeda, Fireflies’

From 20 October, M97 presents ‘Hiroshi Maeda, Fireflies’. This is Maeda’s first solo exhibition in China. Hiroshi Maeda has been hunting his memories of fireflies since his childhood. In Japan, fireflies are considered to be a national treasure and detecting them requires great precision both in the choice of remote places and the time of shooting. Hiroshi Maeda has worked with local farmers to find the best locations. Pure water is very important for these magic moments to happen. For many years, due to pollution, the fireflies disappeared, and it's only lately that they have come back. This series is a highly poetic examination of the possibility of reversing the harmful effects of humans and industry on the environment. 

Born in 1956 in Fukui, Japan, in a family of architects. Since childhood, Hiroshi Maeda has been passionate about drawing and photography. He studied painting in Tokyo and later in Paris at the National School of Decorative Arts (EnsAD) in the studio of Zao Wou-ki. In addition to his artistic activities, he is also a professor in the Photography department at EnsAD. Maeda's photographs have been collected by the Pompidou Center as well as private collections in Europe and Asia. 

For more information on this exhibition, click here

Image courtesy of Power Station of Design

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Power Station of Design, ‘David Shrigley - Lose your Mind’ 

Until 14 November 2018, Power Station of Design, a creative extension of the Power Station of Art, and the British Council are pleased to present the premiere solo exhibition of British artist David Shrigley. Entitled Lose Your Mind, the exhibition showcases more than 400 pieces of Untitled Drawings, a 1:1 scale inflatable version of Really Good, and other signature works over the past 30 years representative of Shrigley’s irreverent take on the intersections between art, design and popular culture. The exhibition hopes to shake up our assumptions by breaking down existing understandings of contemporary art. 

Shrigley is known for his clever use of puns, satirical play-on-words, to present his unique black humor and absurd surrealist depictions of everyday situations. What is behind the seeming cynicism is the artist's insight into the human condition and his criticism of the ‘cliché’. The artist sets up multiple rousing hurdles for the upcoming exhibition. Audiences must enter through a “Death Gate” and a“展覧会” neon sign that is deliberately mis-spelled; adjacent to a wall installation exclaiming "I Am A Person". There is also other playful, misleading signage such as a "No Photograph" sign and an actual photograph which tells the viewer to "Imagine the Green is Red". Even remaining vigilant, it will seem, as the exhibition title indicates, you will have inevitably, “lost” your mind. Perhaps this is the purpose of the exhibition: to allow people to empty the contents of their brain and get enlightened and replenished by the likeness of chaos.

For more information on this exhibition, click here

Image courtesy of Rockbund Art Museum 

Rockbund Art Museum, Francis Alÿs, ‘La dépense’

From from November 9, 2018 to February 24, 2019, The Rockbund Art Museum Shanghai will present the first large-scale solo exhibition in China by the Belgian artist Francis Alÿs, ‘La dépense’, curated by Yuko Hasegawa.

One of the most recognizable and influential artists in contemporary art history, Francis Alÿs possesses a distinctive identity and background as a Belgian artist living in Mexico City. Arriving in Mexico City in 1986 armed with an architectural education, Alÿs first engaged in work that revolved around Mexico’s distinctive local culture, history, and society, ultimately extending to a series of performances around the world. With his acute poetic and imaginative powers of perception, Alÿs raises questions about anthropology and geopolitics, conducting close observations and practices around everyday life. He has had numerous major exhibitions, including at the Tate Modern in London, MoMA in New York, and the Museum of Contemporary Art in Tokyo, among others. For the artist’s first institutional solo exhibition in China, La dépense will present close to 1300 works, including videos, paintings, drawings, sketches and installations, some of which have never been shown to the public before.

Curator Yuko Hasegawa is Artistic Director of the Museum of Contemporary Art, Tokyo (2016 - present) and Professor of the Graduate School of Global Arts, Tokyo University of the Arts (2016 - present). She has previously been Chief Curator and Founding Artistic Director of the 21st Century Museum of Contemporary Art, Kanazawa (1999 - 2006) and Chief Curator of the Museum of Contemporary Art, Tokyo (2006 - 2016). She is currently Artistic Director of Inujima Art House Project (2011 - present). She was Curator of 11th Sharjah Biennial (2013), Co-Curator of 29th São Paulo Biennial (2010), and Artistic Director of the 7th International Istanbul Biennial (2001).

For more information on this exhibition, click here.

Image courtesy of MoCA 

MoCA, ‘Mind Temple’

On show till 3 January 2019, ‘Mind Temple’ at the Museum of Contemporary Art Shanghai (MoCA) seeks to reflect, review, and raise questions about the current spirituality of lives in different ways, be it real, virtual, scientific, and so on. It places specific attention on how technology and art are changing everyday lives, and questions how life is or can be defined by these aspects in the future 

All the artists and artworks selected for this group exhibition explore the modes of gathering information, giving answers and examine the behaviours that they feel society requires in understanding their own inner places, aiming to build a strong and better future within this framework.

‘Mind Temple’ is curated by Miriam Sun, with Kong ChangAn as Curator Advisor. 

For more information on this exhibition, click here


Image courtesy of Long Museum West Bund 

Long Museum West Bund, ‘Tu Hongtao: A Timely Journey’

The Long Museum West Bund is pleased to announce the opening of A Timely Journey, the first solo museum show for Tu Hongtao, curated by Barbara Pollack. Focusing on landscape painting, Tu Hongtao combines Chinese and western influences to convey the sensation of a journey through natural wonders. To achieve these remarkably imaginative paintings, the artist has himself undertaken a journey through landscapes both real and imagined, from his early neo-Pop paintings to his current near-abstractions. 

He has immersed himself in the bucolic setting of his home in Chengdu, but also in the halls of art museums and the pages of art history books, absorbing lessons from the local scenery and lessons from the past provided by masters of this timeless genre. From this rich background, he creates paintings that not only transmit an encounter with nature, but also evoke the passage of time, using multiple perspectives and various vantage points in a single work. 

For more information on this exhibition, click here

Image courtesy of AIKE Gallery

AIKE Gallery, ‘Lui Chun Kwong: Forming Dusty Clues’ 

Lui Chun Kwong has gained familiarity with the concurrent languages of western art throughout the time spent in New York and London during the 80’s and the early 90’s. However, in 1994 after he gained his master’s degree, Lui decided to move back to Hong Kong and started focusing on what for him was most important - an investigation into the foundations of painting over a period of 20 years. His “Landscape series” is a group of abstract paintings that aim to capture the primordial forces of Nature within the boundaries of the canvas – being those opposite energies of cause and effect, fragility and roughness, movement and stillness, order and chaos. Every line that the artist draws compresses the visual world that our eye captures with a single eye-blink by reducing it to the essential. The recent works from the series “Yi Liu Shan Shui”, continue the artist’s reflection on landscape by further exploring those layers of abstraction that have been familiar to Lui’s works over the past twenty years. This marks for the artist a return to his own foundations, where simplicity is sought in the purity of the form.

For more information on this exhibition, click here

Image courtesy of Edouard Malingue Gallery 

Edouard Malingue Gallery Shanghai, ‘Samson Young: The highway is like a lion’s mouth’

From 6 November 2018, Edouard Malingue Gallery presents Samson Young’s 2018 solo exhibition. ‘The highway is like a lions mouth’ follows from the English translation of a slogan that is familiar to Hong Kongers. Originating in a 1990s government-sponsored jingle, it educated children about the dangers of jaywalking. In Young’s work, the auditory represents a reality that is hidden from plain sight. He excavates the ideological significance of sound and music and examines music’s role as an instrument of power. His oeuvre employs sound as a thinking tool, cutting through the veil of the everyday and of common sense, to uncover its political propositions.

Multi-disciplinary artist Samson Young was trained as a composer and graduated with a Ph.D. in Music Composition from Princeton University in 2013. His academic background in music has led him to incorporate elements of experimental music, sound studies and site-specific performance into his distinctive contemporary art practice. Young has had solo exhibitions at the Kunsthalle Düsseldorf, Centre for Contemporary Chinese Art in Manchester, M+ Pavilion in Hong Kong, and Hiroshima City Museum of Contemporary Art, among others. In 2017, he represented Hong Kong in a solo project at the Hong Kong Pavilion of the 57th Venice Biennale. 

For more information on this exhibition, click here

Image courtesy of Island6 

Island6 (六岛) Main Space, ‘Disaster Diaries’

Until 30 December 2018, Island6 presents ‘Disaster Diaries’, an exhibition on the story of an unknown land, Earth, after the fall of human civilisation. “Disaster Diaries” does not give answers, it only raises questions. What will end our civilization? Will there be somebody or something after people are gone to make sense out of what we left on Earth? Is it going to be possible to make new contexts around life? If so, what if we looked into the diary of a future surveyor of the post-Apocalyptic world? This time, the visitors will have to put the puzzle together, and maybe start their own journals before it’s too late. 

There is solace in the fact that the end of humanity will most probably not mean the end of life itself and we might be leaving something intelligent behind. Would it be an AI? Liu Dao has been playing with the thought. Robotic imagery has been apparent in the collective’s work: human figures turned into pixelated images inevitably lose something from their humaneness and gain something through their machinery, as if this were the natural cycle of life on a universal scale, perhaps even the next evolutionary step.

For more information on this exhibition, click here

Image courtesy of Leo Gallery 

Leo Gallery, ‘Painting Interface’ 

From 7 November 2018 to 5 January 2019, Leo Gallery Shanghai presents a group exhibition entitled ‘Painting Interface’. Curated by the renowned art critic Huang Du, the exhibition is going to present the works of five artists Dong Dawei, Liu Zhengyong, Lu Song, Ma Ke and Qian Jiahua, showing their unique explorations and practices in the fields of expressive painting and abstractive painting.

For more information on this exhibition, click here


Image courtesy of Gallery 55

Gallery 55, ‘MUCHTOOMUCH’

Gallery 55 is proud to present “MUCHTOOMUCH” - a multimedia group show from the 7th of November 2018 through the 27th of January 2019. This exhibition includes Li Zhuwei, Song Xi, Xu Yihua, Ye Qing, Yin Changzhi, Zhang Yehong, and Zhao Bang. 

Li Zhuwei’s works show no narrative, no intoxication, no sorrow in Li’s creation; they are stripped of its ornate appearance and heavy meaning, only emphasize the relationship between the artist’s own behavior and materials. Through close physical contact, the consumption of time and life, the artificial traces on materials become the subject of the work. Song Xi’s refer to the communication of body and ideas, exploring the boundary of life form on the political structure in the depoliticization of body and consciousness. Xu Yihua’s creations as based on exploring the mysterious connection between the original single language and vision, hearing and touching, researching the complex sound image perception of "A" (pronunciation) sequence as the creative subject. The subjects of Ye Qing’s paintings are taken from the most ordinary scenes of his life. He uses the most standard realistic techniques to present them on the canvas. Ye Qing’s method of painting seems to conform to all the norms, a bit like the standard exam work. Yin Changzhi creates around the painting frame, plane, and space structure, breaking through the history of painting practice. He creates artworks between painting, sculpture, and installation. The title of Zhang Yehong’s work, "End of the World", comes from an anonymous English website ( searched by the artist. Differing from the romantic imagination of most people, it’s an uneventful British local association (West Sussex,aka Worlds End). In Zhao Bang’s single-channel video work "Tomb", photo images of street view from Google Maps constantly pop up in the maze. This panoramic shooting technique is sometimes "deformed" due to technical problems. 

For more information on this exhibition, click here. 

Image courtesy of Chronus Art Center

Chronus Art Center, ‘Three Rooms: Edge of Now’ 

From 8 November 2018 to 20 January 2019, Chronus Art Center (CAC) is pleased to present 'Three Rooms: The Edge of Now', an international touring exhibition contributes to current discussions about contemporary media technologies and the new potentials of art making from the perspective of the young generation. 

The exhibition was first launched with the three selected artists at Nam June Paik Art Center in the summer of 2018. The program is designed to support emerging artists through exhibitions and public programs, promoting young artists’ experimentation and practice to gradually construct a systematic global archive for media artists based upon the media art ecologies of China, Germany and Korea.

For more information on this exhibition, click here

Image courtesy of Between Art Lab

Between Art Lab, ‘Curtain Painting: Tranquilization’ 

Between Art Lab has set up a new space in Huizhi International Commercial Center of Shanghai since the start of 2018. The new space launched the solo exhibition of Jin Yangping as its first step, that is, ‘Curtain Painting: Tranquilization'. Artist Jin Yangping has adopted the approaches of close-up and magnifying lens in his recent works. Confronted with magical and witty reality at present, the artist interprets and performs the human scene plays through curtain painting. 

Jin has long considered issues pertaining to the era we live in. Perhaps it’s the times that trigger the corresponding alertness. Born in the 1970s, he boasts hard-to-clarify attributes of inter-generational genre. In another word, deep concerns for the status quo of the society, sense of natural participation of senior artists. and diverse perspectives and expression of relative individuality of younger artists are all reflected in his works. Such symbols as curtains, shower curtains that have been attached to the orientation due to the development of civilization have supported background of pictures.

For more information on this exhibition, click here

Any views or opinions in the post are solely those of the authors and do not necessarily represent the views of the company or contributors.

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