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艺术北京 2017

北京农业展览馆

北京

April 29 – May 2, 2017

Wu Jian’an 邬建安 , Pictorial Landscape è±¡å½¢å±±æ°´
Wu Jian’an 邬建安 , Osmanthus 桂
GAMA, Deer of Nine Colors 8 九色鹿 8
GAMA, TAL III (Valley III) 山谷III
Yan Shanchun 严善錞, Lake Surface #2 湖面 #2
Wu Jian’an 邬建安 , Xingtian 刑天
Yan Shanchun 严善錞, Willow Tree #3 柳树 #3
Fu Xiaotong 付小桐 , 213,570 Pinpricks 213,570 孔
Fu Xiaotong 付小桐 , 956,000 Pinpricks 956,000 孔

Chambers Fine Art is pleased to be participating in Art Beijing 2017. Dedicated since 2000 to the promotion of contemporary Chinese art, this year we are exhibiting new works by four artists that reflect our recent exhibition program in both New York and Beijing.

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.

Wu Jian’an is represented by two virtuosic paper cuts, Pictorial Landscape and Ten Thousand Things (featured in the public section), in which hundreds of small, overlapping figures are arranged in such a way that only fragments of bodies are revealed. Along side his paper-cuts are two brass sculptures, Xingtian, a wall mounted piece, and Osmanthus, a free-standing sculpture from his Daydream Forest series, first exhibited at the Beijing Minsheng Museum, and later to be featured in the official China Pavilion at this year’s Venice Biennale. In contrast, Fu Xiaotong uses a needle to perforate sheets of hand-made xuan paper until images emerge from her carefully orchestrated excavation of the surface of the paper. Her recent works have become more abstract yet remain based on natural forms, including snake skins, microscopic cellular forms, and cloud formations.

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