The connection between us and those who did the paintings some 35 000 years ago in Altamira, Spain and the Lascaux caves, France makes for a breathtakingly beautiful thought. Humans invented the idea of drawing as a way to preserve knowledge. The material may have changed, but the method is as it always has been. The need to leave an imprint has always existed, and various surfaces have been used to do so: the Sumerians in southern Mesopotamia wrote with wedge-shaped characters on clay tablets; the Egyptians had hieroglyphs and pictograms; then there was the discovery of the papyrus plant, which though brittle resembled paper. Papyrus books were roll-formed. With time, papyrus was replaced with parchment: thin, scraped, bleached animal skin – strong enough that it could be formed into a book without breaking. The invention of paper in China was clearly something great. It facilitated communication. Knowledge could be shared and acquired more easily and more quickly. Artists welcomed paper and began to use it for printing images. The first method, relief printing, adorned documents and increased our reading comprehension. The image is more important than the word.

Our selection here stems from our wish to show all four printmaking methods: relief, intaglio, planographic, and serigraphy. Digital technology draws inspiration from all of these. Our further wish is to show how artists from different parts of the world use printmaking as a means of expression. The triennial brings together cultures and continents. The work of the artists provides insight into their lives. Printing is a means of communication. The methods are the same wherever, but the motifs differ. To hold or attend a triennial is a means to finding out what is current in the world of printmaking. We like to think of the print triennial as a project for peace.

Dialogue on enhanced cooperation with the International Print Triennial Society in Krakow (IPTS) was initiated in November 2010. The exhibition International Contemporary Printmaking from Krakow with 27 award-winning works by contemporary artists from the International Print Triennial in Krakow 2009 had just been inaugurated in the art gallery at Dalarna Museum. The long-standing cooperation between the Municipality of Falun and Dalarna Museum, which commenced in 1991 and resulted in three Falun biennials and four Falun triennials, interested our guests from Krakow, who were members of the IPTS board. Together we were able to offer three prominent “P” ideas: Print collections, Print workshops, and Print exhibitions. We were invited to become part of the international print network that Krakow, Oldenburg, and Vienna had established. Falun’s role as a northern link was considered valuable.

The municipal printmaking workshop in Falun (Falu Konstgrafiska verkstad) focuses heavily on sharing knowledge about prints and printmaking to children within the province of Dalarna. Activities have gradually increased in number, extending to children beyond Sweden’s borders. The most recent example was the 3Grafik, comprising images made by children in Zakho, Lublin, and Falun. The exhibition was held at Dalarna Museum and also offered creative activities for children and adults alike. Printmaking is always included in the museum’s educational programmes for schools. This autumn, for example, all children in grade 5 from Falun created prints in a joint project between the museum and the county theatre.

Now it is finally time to present the International Print Triennial – Krakow – Falun 2013 with works by 140 artists placed in three locations in Dalarna. The other two towns, Rättvik and Smedjebacken, are also home to significant art scenes, both having their own printing press as a result of support from the provincial art advisor. Dalarna is a printmaking province to be reckoned with. Welcome to Fridell & Co.

Modhir Ahmed and Anne Seppänen
Jury for the International Print Triennial – Krakow – Falun 2013

Demisch Danant is pleased to announce Maria Pergay: The 1970s, an exhibition devoted to a pivotal period in the career of the renowned French designer. On view in the gallery’s stand (G12) at Design Miami/, the exhibition comprises a selection of Maria Pergay’s most iconic works of the 1970s, set in a Parisian-style domestic environment at the fair and accompanied by early fiber works of the 1970s by esteemed Paris-based American artist Sheila Hicks.

In 1968, Maria Pergay presented her first collection of stainless steel furniture at Galerie Maison et Jardin under the direction of decorator Jean Dive. This seminal exhibition established Pergay as one of the most innovative French furniture designers of her time, a visionary who almost single-handedly transformed stainless steel from a commercial industrial material into a principal component of Modern furniture. With such objects as Wave Desk (1968) and Daybed (1968), she domesticated the cold, hard, and geometric effects of steel, sometimes coupling the metal with leather or fur and rendering something altogether new – something with a distinctively elegant and sensual but very daring air. Throughout the ensuing decade, Pergay collaborated with foremost manufacturers and embarked upon significant commissions for Pierre Cardin, The World Trade Center in Brussels, the Royal Family of Saudi Arabia, and other significant clients internationally. The work she produced in the 1970s has entered into the canon of design history – Pergay’s Wave Bench (1968) is in the collection of The Metropolitan Museum of Art, New York, for example – and laid the groundwork for a practice that continues uninterrupted today. At DesignMiami/, Maria Pergay: The 1970s, will provide a context for a presentation at the fair by renowned Italian luxury goods company FENDI, showcasing new objects it has commissioned from Maria Pergay.

As a compliment and counterpoint to Pergay’s furniture, Demisch Danant will present several wall works by Sheila Hicks. After studying fine art at Yale under the tutelage of Josef Albers, Nebraska-born Hicks traveled and lived in Mexico and Chile, then settled in Paris in 1964. She soon established herself as one of the most innovative textile artists of the 20th century, sharing with such creators as Pergay an affinity for surprising materials and a deftness at challenging accepted notions about them. She is renowned for her painterly approach to textile design and an ability to craft environments through the unlikely medium of fiber. Hicks has collaborated with prominent architects including Luis Barragan, Ricardo Legorreta, and Skidmore Owings & Merrill, among others. Her work, which resides in major museums around the world, defies categorization, simultaneously addressing several related mediums including painting, sculpture, design, and installation.

Art Miami, Miami’s longest running contemporary art fair and anchor fair to the City of Miami along with sister fair CONTEXT, will present dynamic Special Projects and Exhibitions specially curated by LaRete Art Projects. Collectors will have the opportunity to experience these installations from the outside entrances, public walkways, interior and exterior lounge areas of the fairs during the VIP Private Preview on December 3 through the end of the fair on December 8, 2013. Art Miami and CONTEXT have grown to include more than 195 galleries from 20 countries and will showcase more than 1,875 artists from 60 countries around the world.

Aqua Art Miami kicks off with an exclusive VIP Preview onWednesday, Dec. 4 and continuing through Sunday, Dec. 8, 2013.  Continuous shuttle service will connect Aqua Art Miami and the nearby Art Basel Miami Beach to Art Miami and CONTEXT in the Wynwood Arts District.

The following are among the most anticipated programs and exhibitions for Aqua Art Miami’s 2013 edition:

Sound Vision - Presented by Lyons Wier Gallery and Audiophile plus, Sound Vision illustrates the synergy between visual art and music through a curated program of emerging and established recording artists, producers and DJs will activate the art fair format with a day-to-evening soundtrack that complements the visual art displayed by Lyons Wier Gallery.

Aqua Video Lounge - Situated in a tent outside the hotel’s entrance, Aqua’s Video Lounge is curated and produced by artist Montgomery Knott of New York City’s buzzed-about Monkey Town, a platform for filmmakers, video artists, musicians, performers and culinary artists.  The program features some of today’s cutting-edge video artists Peter Burr, Theo Angell, Shana Moulton, Jeremy Couillard and Will Rahilly, projected on to and within a video cube customized for the intimate dimensions of the space.

Charlie James Gallery presents Steve Lambert’s “Everything you Want, Right Now” in the fair’s entrance via the hotel’s front windows and lobby.  Consisting of a fabricated commercial sign with flashing lightbulbs and a neighboring panel of commercially painted storefront signs, the installation will provide a witty welcome to the commercial art-world dealings to be found inside the fair.

Shulamit Gallery presents Mythical Homeland, an installation by Gary Baseman.  This installation by the well-known and multifacted Los Angeles-based artist depicts a unique environment dominated by birch trees, an extension of the artist’s personal narrative and ongoing exploration of his heritage and homage to his father’s survival during WWII by hiding in forests on the outskirts of Poland.  The artist will be present for a book signing at Aqua Art Miami on Friday, December 6, at 1 PM; and Baseman will also be among the exhibiting artists featured at Milan’s Antonio Colombo Gallery in Room 206.

Coagula Curatorial presents Tim Youd in “Get Shorty – a Durational Performance”.  Artist Tim Youd continues his ongoing series of durational performances with his retyping of Elmore Leonard’s crime fiction classic Get Shorty throughout the duration of Art Aqua Miami, retyping of entire novel on a single piece of paper, utilizing the same make and model typewriter used by the original author.

Visitors will also be invited to participate in a site-specific variation of Kevin Berlin’s video project Uncensored, presented by Mark Miller Gallery of New York’s Lower East Side, and a premiere US solo exhibition of Korean artist and K-Pop phenomenon Mari Kim, presented by EJMQ of Seoul.

As in years past, Aqua’s offerings will also include a select number of exhibitors featuring new artists and promising graduates: the online network and magazine ArtSlant will unveil the winners of a yearlong contest to select several artists from an open call juried by a panel of international art luminaries; in an ongoing series spotlighting a different institution of higher education each year, the Ernest G. Welch School of Art & Design at Georgia State University will showcase a juried selection of recent MFA graduates; and Island Press at Washington University in St. Louis will share the results of intensive printmaking residencies by prominent visiting artists including James Siena, Trenton Doyle Hancock, Nina Katchadourian, Radcliffe Bailey and Ann Hamilton.

Gallery co-founder Rachel Lehmann said,

Booth highlights include Lee Bul’s False Azure in the Windowpane, a small-scale sculpture that is characteristic of the artist’s formally inventive, intellectually provocative oeuvre and continues the unwavering defiance of aesthetic boundaries present in her work; Tracey Emin’s Trust Yourself, which explores the simultaneous public and private nature of her work by using neon writing as a visual poetry to express the artist’s emotions; Broken Glass and The Point of Vanishing by Robin Rhode, which unite his body and his imagery in choreographic gestures that exemplify the artist’s hybrid street-based aesthetic; and a life-size fabric radiator from Do Ho Suh’s acclaimed Specimen Series, a replica of that appliance from the artist’s New York City apartment. Suh’s ongoing exploration of domestic spaces he has inhabited and his memories of them will be the subject of his first solo show at Lehmann Maupin, Hong Kong from 14 November 2013 – 25 January 2013.

We are delighted to announce the launch of the second edition of Campus Art Dubai, the free six-month alternative “school” for artists, curators, writers, cultural producers and art workers based in the UAE and running from October 26th through March 2014. The first session of Campus Art Dubai 2.0 coincides with the openings of exhibitions from artists and curators who participated in Campus Art Dubai 1.0.

The Campus Art Dubai 2.0 programme has been developed with lead tutor Tirdad Zolghadr, with lectures, workshops and seminars led and presented by a local and international cast of academics, critics, curators and artists including Aaron Cezar, Salwa Mikdadi, Uzma Rizvi, Oraib Toukan and Murtaza Vali.
Campus Art Dubai, is held in partnership with Dubai Culture & Arts Authority, and is kindly hosted by a number of partner spaces and art institutions in the UAE, including Capsule Arts; thejamjar; Tashkeel; Shelter; Satellite in Dubai, and Maraya Arts Centre; Barjeel Art Foundation; Sharjah Art Foundation in Sharjah.

The eighth edition of Art Dubai takes place March 19-22, 2014. Besides the gallery halls, comprising Contemporary, Modern and Marker, the fair boasts a strong not-for-profit programme of curatorial and educational projects, including artists’ and curators’ residencies; site-specific works and commissioned performances (Art Dubai Projects); an exhibition of works by winners of the annual The Abraaj Group Art Prize; the year-round ‘Saturday school’ Campus Art Dubai; and the critically-acclaimed Global Art Forum.

For further information on Campus Art Dubai, please visit the Programmes section on our website http://artdubai.ae/programme or http://artdubai.ae/campus-art-dubai
For more information and the latest updates, please visit artdubai.ae, Like us on Facebook facebook.com/artdubai.artfair and Follow us on Twitter twitter.com/artdubai and Instagram instagram.com/artdubai
For Campus Art Dubai enquiries, please contact:
Lee Xie
Campus Art Dubai Coordinator, Art Dubai
lee@artdubai.ae
+97143842007

The fourth edition of the Singapore Biennale (SB2013), the country’s pre-eminent platform for international dialogue in contemporary art, will be launched by Acting Minister of Culture, Community and Youth, Mr Lawrence Wong. SB2013 opens to the public this Saturday 26 October 2013 to 16 February 2014. Titled If the World Changed, this Biennale invites artists to reconsider the world we live in, and the worlds we want to live in.

Featuring works by 82 artists and artist collectives from 13 countries, SB2013 has harnessed the energy of the Southeast Asian region to bring to the fore unique practices, concerns and myriad perspectives of artists from this part of the world. Drawing on the combined expertise of its team of 27 curators, a significant 93% of works are by artists or collectives from the region, resulting in the strongest Asian representation to date. A substantive number of works have also been specially commissioned for SB2013, and are being shown for the first time here.

Sookoon Ang, Exorcise Me, 2013, 4-channel video installation, duration 2:30 mins, artist collection. Image Courtesy of the Artist.
“Growing up is always a process of change and Exorcise Me addresses coming-of-age anxiety, teenage alienation and the confusing phase between childhood and adulthood. The title references the unease an adolescent feels within his or her own skin, and the yearning to get rid of newfangled fears and unfamiliar emotions. Referencing Balthus’s paintings of young girls languidly sitting around in rooms, the teenagers in the video live in a strange interior world – completely self-absorbed, with their faces hidden from us by a mask of make-up.”

Each artist’s unique engagement with the title If The World Changed has resulted in the works coming together in unexpected ways, presenting a layered perspective for visitors to consider. Viewed holistically, the collection explores concepts such asspirituality; histories, ancestries and futures; the self and the other; exchanges as well as nature and geographies.

Dr. Susie Lingham, Director of Singapore Art Museum, said,

Of particular note is that SB2013 reaches beyond the familiar, featuring artists who hail not only from major metropolitan centres but also from lesser known regions, allowing a multi-faceted and diverse presentation of current regional art practices as well as artistic responses. Comprising various mediums including video, installation, painting, photography, mixed media, sculpture and more, the engaging works of SB2013 aim to deepen our understanding of the sociocultural, economic, aesthetic and ideological complexities of the region.

Mr. T. K. Sabapathy, Co-Chair, SB2013 Programme Advisory Committee, said,

BIENNALE OUTREACH PROGRAMMES

This year’s Biennale will feature a range of engaging programmes and activities in an expansion of educational and outreach efforts.

During the opening weekend, Artists and Curators in Conversation will see SB artists and curators sharing about the creative processes and ideas behind their works in person on-site. In addition, visitors can look forward to themed tours led by Singapore-based Biennale curators that will explore various topics and ideas reflected in Biennale works.

The Appreciating Art Lecture Series makes its return in 2014, presenting an overview of contemporary art development in Southeast Asia within socio-political and cultural contexts drawn from the SB2013 works.

In addition, a new range of talks, The Mapping Series, jointly organised by the Singapore Art Museum and National Library Board invites experts from diverse fields such as social sciences, cultural anthropology and arts and design, in discourses that encourage multi-layered and multi-disciplinary exploration into themes and issues of the Biennale.

For those who want a more immersive experience, workshops will be conducted with Singapore-based artists such as ZNC, Speak Cryptic, Shirley Soh, Hazel Lim and Grace Tan. Each workshop will allow participants to learn and create works of their own, based on the Biennale title.

Other special programmes include a two-day academic symposium aimed at contextualising and investigating Asian biennales and Southeast Asian art practices. (For more info on programmes please refer to Annex F)

BIENNALE RESOURCES

A smartphone application has been made available on both the Google Play and iTunes stores featuring two specially curated time-based walking trails and additional information on each artist and work. Users can also create their very own trail based around works they are interested in, or have “favourited”. When a work is “favourited”, they can be shared on Twitter or Facebook where information about the work and artist will be available to the user’s contacts.

Artist Folios are another unique resource available for the first time this biennale. Designed for educators and parents, each folio provides background information about the artist and their work, along with a glossary of terms, suggested questions, and activities to encourage children of all ages to understand each work and its themes. There are also links to articles and videos should they wish to delve even deeper into the issues explored.

VISITING THE BIENNALE

The Singapore Biennale 2013 will be held in a number of active art spaces in the Bras Basah.Bugis precinct, including SAM and its annex building SAM at 8Q, National Museum of Singapore, Peranakan Museum, Fort Canning Park, National Library Building, Singapore Management University and Waterloo Centre as well as Our Museum @ Taman Jurong. With the works tightly located around the city centre, visitors will be able to conveniently access and explore the wide range of works with ease. (For the complete list of exhibition venues, please refer to Annex C)

Tickets to the Biennale can be purchased from SB2013 museum venues at $10 for adults and $5 for students and senior citizens, or online at SISTIC. Each ticket allows one-time entry to SB2013 museum venues (including permanent galleries) and one complimentary Short Guide. Visitors can enjoy free admission to Biennale artworks at outdoor venues including Fort Canning Park, Our Museum @ Taman Jurong, National Library Building, Singapore Management University and Waterloo Centre.(For more info on the visitor information, please refer to Annex E)

SB2013 is organised by the Singapore Art Museum (SAM) and supported by the Ministry of Culture, Community and Youth, the National Arts Council and the National Heritage Board.

The Asia Society Hong Kong Center presents No Country: Contemporary Art for South and Southeast Asia, the inaugural touring exhibition of the Guggenheim UBS MAP Global Art Initiative featuring recent work by 13 artists from Bangladesh, Cambodia, India, Indonesia, Malaysia, Myanmar, Pakistan, the Philippines, Singapore, Thailand, and Vietnam, No Country presents some of the most compelling and innovative voices in South and Southeast Asia today. The exhibition was first seen in New York at the Solomon R. Guggenheim Museum (February 22–May 22, 2013) as part of the Guggenheim UBS MAP Global Art Initiative, a multi-year collaboration charting contemporary art practice in three geographic regions—South and Southeast Asia, Latin America, and the Middle East and North Africa—and encompassing curatorial residencies, international touring exhibitions, audience-driven educational programming, and acquisitions for the Guggenheim’s permanent collection. All works have been newly acquired for the Guggenheim’s collection under the auspices of the Guggenheim UBS MAP Purchase Fund. Following its presentation in Hong Kong, the exhibition will travel to Singapore.

S. Alice Mong, Executive Director, Asia Society Hong Kong Center, stated:

Richard Armstrong, Director of the Solomon R. Guggenheim Museum and Foundation, stated:

Kathryn Shih, UBS CEO Wealth Management Asia Pacific, stated:

Exhibition Overview

No Country: Contemporary Art for South and Southeast Asia is curated by June Yap, Guggenheim UBS MAP Curator, South and Southeast Asia, and Dominique Chan, Exhibition Curator, Asia Society Hong Kong Center. The exhibition includes 18 paintings, sculptures, photographs, videos, and mixed-media works by 13 artists. According to Ms. Yap, “There is a tremendous diversity of artistic practice in South and Southeast Asia, and certainly more artists and artworks than any single project can accommodate. In this exhibition, the intention is to present the range of aesthetic developments and subjects of interest to contemporary artists, and to challenge the privileging of nation and national narrative as a basis for understanding them. Accompanied by programs for engagement with different local audiences, No Country is more than an exhibition; it is a platform for discussion and exchange.”

The artists in the Hong Kong presentation are:
• Aung Myint (b. 1946, Yangon, Myanmar)
• Bani Abidi (b. 1971, Karachi, Pakistan)
• Reza Afisina (b. 1977, Bandung, Indonesia)
• Khadim Ali (b. 1978, Quetta, Pakistan)
• Shilpa Gupta (b. 1976, Mumbai, India)
• Vincent Leong (b. 1979, Kuala Lumpur, Malaysia)
• Tayeba Begum Lipi (b. 1969, Gaibandha, Bangladesh)
• Tuan Andrew Nguyen (b. 1976, Saigon, Vietnam)
• Araya Rasdjarmrearnsook (b. 1957, Trad, Thailand)
• Vandy Rattana (b. 1980, Phnom Penh, Cambodia)
• Norberto Roldan (b. 1953, Roxas City, Philippines)
• Tang Da Wu (b. 1943, Singapore)
• Truong Tan (b. 1963, Hanoi, Vietnam)

The exhibition—the title of which was drawn from the opening line of W.B. Yeats’s “Sailing to Byzantium” (1928), which was also adopted by Cormac McCarthy for his novel No Country for Old Men (2005)—proposes an understanding of South and Southeast Asia that transcends physical and political borders. The historical narrative of South and Southeast Asia stretches from the era of its ancient kingdoms and empires to that of today’s nation-states. The region is marked by traces of colonization, division, and intervention, events and processes that are inscribed in cultural memory. South and Southeast Asia is also home to numerous influential faiths, religions, and ethical codes, including Buddhism, Hinduism, and Islam.

Adapted in collaboration with the Asia Society Hong Kong Center, and drawing on the central themes of cultural, historical, and political representation within the New York exhibition, the presentation in Hong Kong places added emphasis on the impact of South and Southeast Asian spiritual and moral teachings on the shaping of the region’s communities. No Country investigates the variety of contemporary artistic practice in this diverse region and demonstrates how the artists represented in the exhibition move beyond reductive representation to reflect on the manifestations and effects of belief.

June Yap curated No Country: Contemporary Art for South and Southeast Asiawith assistance from Helen Hsu, Assistant Curator, Solomon R. Guggenheim Museum, and guidance from Alexandra Munroe, Samsung Senior Curator of Asian Art, Solomon R. Guggenheim Museum. Nancy Spector, Deputy Director and Jennifer and David Stockman Chief Curator at the Solomon R. Guggenheim Foundation, New York, and Joan Young, Director of Curatorial Affairs, Solomon R. Guggenheim Museum, are providing curatorial oversight for the entire multi-year Initiative. Dominique Chan, Exhibition Curator and Sharon Chan, Curatorial Officer, Asia Society Hong Kong Center will collaborate closely with June Yap and the Guggenheim curatorial team in staging the exhibition in Hong Kong.

About Guggenheim UBS MAP Global Art Initiative
Conceived to engage a range of audiences, including artists, curators, and educators, the Guggenheim UBS MAP Global Art Initiative seeks to stimulate dialogue and creative interaction both regionally and globally, fostering lasting relationships among institutions, artists, scholars, museumgoers, and online communities. Launched in April 2012, the program builds upon and reflects the Solomon R. Guggenheim Foundation’s distinguished history of internationalism and significantly increases the Guggenheim’s holdings of art from these dynamic communities.

Expanding the Dialogue, on the Ground and Online
As part of its mission to encourage cross-cultural dialogue about contemporary art and cultural practice, the Guggenheim is presenting an extensive and innovative series of discussions and commentaries in collaboration with educators at the Asia Society Hong Kong Center. Programs seek to provide inclusive learning opportunities that enable a diverse constituency of young people, families, and adults to enjoy meaningful encounters with Guggenheim UBS MAP Global Art Initiative programs. Through a dynamic process of cultural and professional exchange, the direct involvement of artists, the creative integration of technology, and an extensive range of programs in the visual arts, the education program will provide a vital international intellectual forum.

Educational programming will take place in Hong Kong and in conjunction with the exhibition tour of No Country: Contemporary Art for South and Southeast Asia. Program highlights include:

• Teachers’ training workshop, family program offerings such as gallery tours and hands-on workshops
• Tours for visitors with visual impairments
• Symposium and food program, which explore cultural hybridity
• A series of artist-led exhibition workshops during week-long artist residencies in Hong Kong
• Multimedia tour featuring extended artwork information, artist commentary, and curatorial overview
• Printed and online Family Activity Guide and Teacher Resource Guide
• Interactive gallery tours for primary and secondary schools
• A half-day museum educator conference on making art museums a part of everyday life
• Printed and online student activity sheets

Online programs will transcend geographic boundaries to reach hundreds of thousands of people worldwide throughout the duration of the project and beyond. The Initiative’s online platform features writing, audio, and video by curators, art historians, artists, and regional experts. Launching in late September, individual pages for each exhibition artist will provide further information on their practices, and on the acquisitions made through the Guggenheim UBS MAP Purchase Fund.

About Asia Society Hong Kong Center
As one of the eleven centers of The Asia Society, Asia Society Hong Kong Center (the “Center”) was established in 1990 by a group of Hong Kong community leaders, led by Dr. the Hon. Lee Quo-Wei, the honorary chairman of Hang Seng Bank. As the leading regional knowledge-based platform for furthering the understanding of the countries and cultures of Asia and global issues that impact the region, Asia Society Hong Kong Center boasts extensive regional and international networks of leaders and scholars, and recognized expertise in business and policy, arts and culture, and educational programming for a wide range of audiences. In February 2012, the Hong Kong Center established its new permanent home in Admiralty, Hong Kong.

About the Solomon R. Guggenheim Foundation
Founded in 1937, the Solomon R. Guggenheim Foundation is dedicated to promoting the understanding and appreciation of art, primarily of the modern and contemporary periods, through exhibitions, education programs, research initiatives, and publications. The Guggenheim network that began in the 1970s when the Solomon R. Guggenheim Museum, New York, was joined by the Peggy Guggenheim Collection, Venice, has since expanded to include the Guggenheim Museum Bilbao (opened 1997), and the Guggenheim Abu Dhabi (currently in development). Looking to the future, the Guggenheim Foundation continues to forge international collaborations that take contemporary art, architecture, and design beyond the walls of the museum. More information about the Foundation can be found at guggenheim.org.

About UBS
UBS draws on its 150-year heritage to serve private, institutional and corporate clients worldwide, as well as retail clients in Switzerland. Its business strategy is centered on its global wealth management businesses and its universal bank in Switzerland. Together with a client-focused Investment Bank and a Global Asset Management business, UBS will expand its wealth management franchise and drive further growth across the Group. UBS is present in all major financial centers worldwide. It has offices in more than 50 countries, with about 35% of its employees working in the Americas, 36% in Switzerland, 17% in the rest of Europe, the Middle East and Africa and 12% in Asia Pacific. UBS employs about 61,000 people around the world. Its shares are listed on the SIX Swiss Exchange and the New York Stock Exchange.

Jason Martin
Obregón (2012)
Pure Pigment on aluminium
182 x 162 cm

Zhu Jinshi
Transcribing the Buddhist Diamond Sutra 3, (2013)
Oil on canvas, 180 x 160 cm

Pearl Lam Galleries will participate in the 12th edition of the Korea International Art Fair (KIAF) at COEX in Seoul from 3–7 October 2013. The gallery will present a strong lineup of 19 artworks from 7 internationally renowned contemporary artists, including Jason Martin, Jim Lambie, Michael Wilkinson, Juju Sun, Su Xiaobai, Yinghua and Zhu Jinshi, with the majority exhibiting in Korea for the first time. By presenting leading artists from Britain, the USA and China alongside each other, the selection continues Pearl Lam Galleries’ mission to foster cross-cultural dialogue and exchange between Asia and the rest of the world.

The exhibition will juxtapose Western and Asian abstract painting including Zhu Jinshi’s thickly-layered oil on canvas painting Transcribing the Buddhist Diamond Sutra 3 with No. 1320, a new acrylic on canvas painting of vivid and vibrating colours by Juju Sun, alongside Jason Martin’s manipulation of pure pigment on aluminium in works Obregón and Tojo from his series of almost sculptural paintings named after the world’s most notorious dictators.

Pearl Lam Galleries will also bring a selection of Su Xiaobai’s poetic lacquer paintings to Korea for the first time, including A Thousand Years Unchanged 1, for the first time. Further highlights include sculptures and installations from Jim Lambie’s Sonic Reducer and Metal Box series, mounted on the wall and dotted across the stand floor; Michael Wilkinson’s etched mirror pieces including Ruins Triptych with images appropriated from old photographs from his recent Dresden series; and Yinghua’s mixed media on canvas, Singapore.

This ambitious project is the result of the initiative of a Chinese collector and patron of the arts, DENG Xihong, who was impelled by the desire to show three generations of distinguished Chinese artists whom she felt deserved to have the same aura in the Occident as other stars of contemporary art promoted by the media. The artists she defends, trained in the techniques of pictorial art, are central figures in the Chinese cultural panorama, much esteemed by the public and highly rated on the Asiatic art market.

This exhibition is coordinated by FAN Dian, director of the NAMOC in Beijing (National Art Museum of China). It has received the endorsement of the Ministry of Culture of the People’s Republic of China.

It brings together forty Chinese and French artists, including YANG Feiyun, GUO Runwen, CHAO Ge, HONG Ling and Pierre SOULAGES, Gérard GAROUSTE, Yan PEI MING.
In organizing this exhibition DENG Xihong wished to show the decisive role occupied by France in international culture in the 20th century.

It does indeed reveal to what extent the tradition of the teaching of art in France influenced Chinese painting and sculpture. Chinese artists born in the 30’s came to study art in France in the 50’s and passed on those techniques acquired in Paris to the younger generations upon returning to China. After the end of the Cultural Revolution in the 1980’s, China opened to the world and created new relations with the Occident. The work of new generations of artists, inspired by a large variety of sources and mediums, participated in the development of contemporary Chinese art, while other new avant-garde movements were just beginning to see the day.

This exhibition aims to show the crossing of two traditions of pictural art, removed from the context of ideology, market or passing trends.