During Art Basel Miami this year we presented at Scope, the work of Jin Junjie along with #elvinnabizade and #yehongxing
Through his tireless explorations, this young Chinese artist gradually developed a style of “no painting” that accords to the artworks he creates a possibility of a brand new and untapped space.
His creations are never a concrete stroke of isolated moments but layers of thick engraved acrylic with a three dimensional effect.
Thank you to all who came to visit us in the past days and see you in 2019!
This is artist EJ Hill at Hammer Museum standing fierce in his durational performance conceived for “Made in LA 2018”. When, last August, I entered the Hammer’s vault gallery, the solemnity of the space evoked a collection of emotions from curiosity to reverence. Hill’s installation, which was actually a full time summer job (6 days a week for the opening hours of the exhibition), was definitely a different kind of art experience, where you could feel the pain of the memories and the strength needed for this severe trial, in Hill’s words “Meditating on what it actually means to endure”. The final message is that the race towards acceptance ultimately isn’t against others. It’s against oneself.
@iheartbeyus I want to know who’s your meditation master!
EJ Hill “Excellentia, Mollitia, Victoria” 2018, installation and durational performance at “Made in LA 2018”.
In collaboration with #TexasIsaiah @kingtexas #MadeInLA2018#HammerMuseum
As a kid I was never excited about clowns or dog shaped balloons, so when I walked by the Jeff Koons, “Balloon Dog (Blue)” at the Broad, my first reaction was “here it is, one of the most expensive and overrated work by a living artist” but still, I stood in front of the shiny object, charmed like a magpie asking myself the reasons behind all the fuss. Something was catching my attention, maybe the mirrored surface or probably the color, as a matter of fact I was hangover and all the blue artworks were so calming and inviting. Rethinking it now, I believe it was just the hangover.
Balloon Dog (Blue)
mirror-polished stainless steel with transparent color coating
121 x 143 x 45 in.
“It was the age of wisdom, it was the age of foolishness, it was the epoch of belief, it was the epoch of incredulity, it was the season of Light, it was the season of Darkness, it was the spring of hope, it was the winter of despair, we had everything before us, we had nothing before us, we were all going direct to Heaven, we were all going direct the other way–in short, the period was so far like the present period, that some of its noisiest authorities insisted on its being received, for good or for evil, in the superlative degree of comparison only.” Charles Dickens, “A Tale of Two Cities”. •
Glenn Ligon, Double America 2, 2014, neon and paint - on view @thebroadmuseum
Christopher Wool “Apocalypse Now”, 1988.
The quotation is from the 1979 Francis Ford Coppola movie Apocalypse Now, and it’s part of a letter that US Army Captain Richard Colby writes to his wife. The letter says: “Sell the house, sell the car, sell the kids, find someone else, forget it. I am never coming back. Forget it.” #christopherwool#apocalypsenow#contemporaryart
Walking barefoot through IK LAB’s wooden and glass doors, feels like passing through a portal to another dimension.
“Alignments”, the gallery’s inaugural exhibition, features works by Tatiana Trouvé, Artur Lescher and Margo Trushina that explore the human journey through both physical and metaphysical realms.