ART021 Shanghai Contemporary Art Fair 2016

Booth W22, Shanghai Exhibition Center

Shanghai, China

November 11 – 13, 2016

Wu Jian’an 邬建安 (b. 1980)

140 Color Balls 140 颗彩色圆球, 2016

Watercolor on paper 纸本水彩

28 3/4 x 40 1/4 in (73 x 102 cm)

Taca Sui 塔可 (b. 1984)

Wen River 汶水, 2016

Archival pigment print on baryta paper 泛银,硫化钡纸

28 3/4 x 43 1/4 in (73 x 110 cm) , Edition of 3, 3版

Guo Hongwei 郭鸿蔚 (b. 1982)

Stone No. 14 石14, 2016

Watercolor on paper 纸上水彩

22 3/4 x 30 1/4 in (58 x 77 cm)

GAMA (b. 1977)

A Deer of Nine Colors # 3 九色鹿 # 3, 2016

Oil on canvas 布面油画

48 x 40 1/4 in (122 x 102 cm)

Fu Xiaotong 付小桐 (b. 1976)

260,180 Pinpricks 260,180 孔, 2016

Handmade paper 手工宣纸

30 1/4 x 64 1/4 in (77 x 163 cm)

Cui Fei 崔斐
Manuscript of Nature V_006 3 自然的手稿之五(006)3, 2016
Tendrils, pins on panel 藤枝
58 1/4 x 34 3/4 in (148 x 88 cm)
Yan Shanchun 严善錞
Lake Shore #20 湖滨 #20, 2016
Acrylic on Canvas, Mixed Media 布面亚克力, 综合材料
Set of 3, 78 3/4 x 55 1/2 in each (共三件, 每件200 x 141 cm)

Chambers Fine Art is pleased to announce its participation in ART021 Shanghai Contemporary Art Fair 2016.  Dedicated since 2000 to the promotion of contemporary Chinese art, this year we are exhibiting new works by seven highly individual artists that give a clear idea of the catholic taste that has always characterized our exhibition program.

Yan Shanchun is the senior artist in the group and the most indebted to the thematic content of traditional Chinese art, the titles of his paintings and prints generally referring to famous landscape motifs in Hangzhou, but his paintings hover on the edge of abstraction. His spontaneous approach contrasts with the mysterious visual dramas of GAMA who was born in Mongolia although he has been living in Germany since 2002 and is currently resident in Berlin. The familiarity with the supernatural world that he gained in Mongolia from his great aunt who was an important shaman still infuses his uncanny imagery although this is now equally indebted to German Romanticism and fairy-tales.

Three of the artists in the selection are represented by works on paper. The eloquent simplicity of Guo Hongwei’s watercolor of two rows of stones contrasts with Wu Jian’an’s 140 Color Balls in which the brightly colored spheres are combined with a dizzying array of geometrical forms. He is also represented by a virtuosic paper cut, Ten Thousand Things, in which hundreds of small, overlapping figures are arranged in such a way that only fragments of bodies are revealed. In contrast, Fu Xiaotong uses a needle to perforate sheets of hand-made xuan paper until landscape images emerge from her carefully orchestrated excavation of the surface of the paper.

Based in New York, Cui Fei uses materials from the natural world ranging from thorns to vine tendrils in installations and independent works. Whereas the thorns in Reading by Touch represent the passing of time, the grape tendrils in Manuscript of Nature refer to the origins of Chinese calligraphy.  Photographer Taca Sui is also deeply interested in the earliest stages of Chinese civilization. In his recent series Steles: Huang Yi Project he followed in the footsteps of a Qing dynasty scholar looking for traces of China’s cultural past.  Part of this series, Wen River is a particularly enigmatic image, the underwater form suggesting a distant mountain.

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