A grand logo is displayed on the monitor; armchairs, indoor plants and an office carpet all in a setting to create a seemingly calm, peaceful, everyday scene. However, the goal of this installation is to stimulate spectators’ critical reflection on our hyperreal society and its power, which is continuously executed on micro levels. The intention of the artist is to create an ambience here tainted with death, a world resembling “the smile of a corpse in a funeral home, ” to quote from Jean Baudrillard, The Transparency of Evil : Essays on Extreme Phenomena.
Artist Moke Li’s installation HANA Island Super Agency is a mixed-media work simulating the reception area of a fake agency located in a holiday resort. Some elements in this piece were extracted from a real Chinese tourist city named Hainan Island. The island was originally demarcated as one of China’s special economic zones as part of the country’s economic reform policy–a place where people rapidly accumulate capital and power. Since the island has rich tourism resources, the tourism industry unites with mass media in making non-stop propaganda and manufacturing consumer demands in order to encourage people to consume. Yet the island has been ruined by rapid and extreme development; many unfinished buildings have been left on the island after the housing bubble burst in the 1990s. “For me, the interesting point is how a dilapidated island has been figured as paradise by propaganda. It’s a case in which the boundaries between reality and spectacle have become extremely contorted,” says Moke Li in her essay on her installation project.
Many elements in this installation have symbolic meaning. The created rebar shelves denote the China state apparatus of control, that different parts share in a homogeneous structure guaranteeing social order by establishing institutions, statutes, ideologies, language and knowledge. The rebar is also a very important symbol of the abandoned buildings in the real-life Hainan Island.
The irrational or non-rational elements in this installation, such as the fiberglass insulation on display shelves, weird souvenirs including monkey-head-shaped glass pots filled with energy drinks, postcards, and sculptural souvenirs shaped as red hands and bowling balls–gifts made from molds and mass-produced–are all meant to provide an entry-point to refuse the reality with which we’re confronted.
By incorporating these objects in his installation, Moke Li comments on ancient craft, long associated with quality and much manual labor, but within the logic of commodity production the concerns have shifted to quantities and efficiency rather than quality, destroying many ancient crafts, not just glass blowing.
Rebar, Glass, Fiber Glass, Paper, Plastic, Monitor & Projectors, CG Animation
The extremely flattened and detailed CG animation shows the hyperreal content of wonderful beaches and holiday villages behind sliding doors. As George Ritzer says: “It is a simulation that is more real than real, more beautiful than beautiful, truer than true. In a hyperreal world there is no way of getting at the source–the original reality.” For many people, in their routine lives they are surrounded by simulation and images all the time– all designed and used to manipulate their desires.
Strange scenes flash on the projected videos on two walls of the installation, designed to contrive an illusory scene for viewers in order to allow them to feel those counterintuitive moments, and lead viewers to understand the underlying reality. A scene, which is of an unfinished structure, flashes for less than half a second in both projected videos. It is too quick to see clearly, so spectators are prone to believe it is their own hallucination or that something has gone wrong at that moment.
Stacks of different postcards designed by the artist sit on the shelves in the installation. One of the postcards has an image of airships in sausage shapes covered with advertisements, making a statement on how media exercises its implicit violence and power through the non-stop bombardment of information and the promotion of various symbols. At the same time, mass media produces institutionalized and standardized welcoming smiles and attentive services. People can see advertisements simulating those intimate, personal communications happening between friends or loving couples in plastic-like tender feelings at the service of promoting consumption. Causing consumers to lose their own values as they voluntarily follow media-oriented trends.
Moke Li also associates scuba diving training and certification with the island tourism industry, and designed postcards “promoting” this content. Various training institutions have replaced the traditional confined school environment, and have become deeper-seated control mechanisms by providing special courses and one-on-one counseling. It seems as if there is more freedom. Many youths participate in continuing education voluntarily in order to gain more abilities which are recognized by society. Meanwhile, the training institutions have molded teenagers’ perceptions and preferences to make them believe it is sacred and beneficial that their leisure time be occupied.
Another recurring symbol in this piece is the gesture of the erect palm, which, in the mind of the artist, connotes the forbidden–the raised hand a symbol of oppressive force.
Ironically, in HANA Island Super Agency, the palm also serves as one of those cheap tourist souvenirs. Associated with social reality in China, for its people, the external oppressive power is obvious to feel and understand. Therefore, it is no longer an insidious enemy and it will be defeated and destroyed in the end. But it is hard for people to defeat their inner desires. They adhere to them in order to make correct value judgments when facing the dazzling array of consumer information. Baudrillard describes America as a desert, implying lack of depth and emotion. Yet China has been inevitably importing the American mode of consumption during the decades of implementing reform and opening policy. Such consumption is an insidious and concealed power which could make people consume things beyond their needs–more dangerous than the visible governing power authority.
Moke Li’s website: http://limokeart.com
Pan Stage & Summer Pan Stage 2013/2014.
Residence in the gallery in Shanghai and Berlin
Applications accepted on a rolling basis.
Pantocrator Gallery is a space for the production, exhibition and diffusion of Contemporary Art in all its disciplines–combining gallery activity with a residency program, which opened summer of 2011.
Pantocrator Gallery is located in one of the most important artistic centers of China, the M50 complex in the Moghanshan Lou district in the city of Shanghai where there is a concentration of over one hundred local and international galleries, studios of local artists and design agencies.
With each residence programs, the space becomes a permanent production place open to the public during gallery hours, allowing the dialogue between artist and visitors in order to deepen in the understanding of the work, and facilitate their sales.
– “Pan Stage 2013-14” : 2 selected artists residents work in the gallery for a period of 1-2 months for each artist–this continues throughout 2013-2014. Artists can work in any medium they desire, from painting, collage, video, digital art or sculpture or installation. The last week of the program the Gallery focuses on an exhibition of the resident artist with an opening in the gallery and all the needed promotion.
– “Summer Pan Stage 2013-14” : during July and August an average of four artists working one or two months.
Artists may apply on the gallery website: http://pantocratorgallery.com/stage.html
Artists should seek scholarship application, grants or financial support in their home countries during the application period. Pantocrator Gallery will provide the necessary documentation to applicants if required + other assistance, such as with housing.
I do know a bit about Asia, from having lived as an expatriate in Tokyo, Japan, India and Hong Kong for a total of 4 years. It’s well know that any traveler may put their bags down on a busy sidewalk in Tokyo and walk away, with many thousands of people streaming past, and the bags will go untouched. In Tokyo, I recall seeing a small leather purse up on a stone wall each day as I walked to a small grocery nearby the house I lived in. After a few days of seeing the purse there I became curious and had a look inside, surprised to find that it contained a quantity of cash! I even counted it. There was the equivalent of about $100USD in Japanese yen. Then I put the purse back on the wall. Locals commonly commented that “the person who dropped it may come back looking for it”–and that’s why no one touches purses or bags left on sidewalks. For an American to see that in a major urban area was quite amazing.
Of course there is a certain amount of crime in any county, but often in Asia it is organized crime and easily avoided. In China, I repeatedly encountered instances of superstition against cheating anyone in business. Small business owners considered it bad luck to cheat or steal from customers.
So what does that have to do with art galleries?
I have heard American artist state that they are fearful of shipping their art to foreign art galleries due to possible expenses from legal hassles. Based on my experiences, I would trust most Asian art galleries to sell my art should they be so inclined.
As part of my personal research, I have compiled
a list of Asian art galleries for American and European artists thinking about getting into the Asian art market.
You won’t need a knowledge of Asian languages or need to employ a translator. Even in 2013, many Americans seem to think that they will find it difficult to approach Asian art galleries due to a language barrier. But the over 200 art galleries in China that are on my list, link to websites in both English and Chinese–some sites are also in additional languages such as Japanese, Korean, and German.
The list of China art galleries consists primarily of galleries in the large cities of Hong Kong, Beijing, and Shanghai. A few of these galleries in Mainland China also have additional galley locations in Taipei, Taiwan, and Seoul, S. Korea.
Yes, the list contains elegant galleries such as Chambers Fine Art in an architectural space designed by architect Ai Wei Wei. Chambers Fine Art was established in New York in 2000, and is one of the leading galleries in the United States and China, along with famous James Cohen Gallery with locations in New York City and Shanghai, China.
But also, the list contains such galleries as–
State of the Art Gallery in Hong Kong, a somewhat lesser known that has a very Western image.
There are many others. So that artists seeking a fit for their work may access a broad range of opportunities I’ve include the a wide variety of art galleries on the list.
I am still adding Japanese art galleries to the list, and currently have 58 art galleries primarily located in Tokyo. If you are looking for art consultants in Asia, find our additional list of art consultants here. If you would like to license your art with Asian companies or find an Artist Agent, check this list.
Zendai Himalayas exhibition, Shanghai
Deadline December 13
Fees: for framing and shipping to China depends upon size
Pantocrator Gallery Shanghai will feature an exhibition space in the center of Shanghai “Zendai Himalayas” during the months of January and February 2013, coinciding with its year-end celebrations.
Zendai Himalayas exhibition is a large leisure center where are concentrate restaurant, shops, all major international firms,etc, plus the interest that is awakening in China for contemporary art, this year will also feature exhibition halls with works for sale.
Pantocrator Gallery will present background that we have in China, but we believe it is an excellent opportunity for other Western artists can make known his work with saleability. Subsequently, if no sale, Pantocrator Gallery will keep these works as gallery fund with the intention of performing several group exhibitions throughout the year 2013 in our center of M50 Shanghai. The unsold works will be returned to Barcelona between October and January 2014 by Pantocrator. And from Barcelona will be sent to the addresses individually by each artist that is from outside Barcelona. 50 Moganshan Road (Chinese: 莫干山路50号) or M50 is a contemporary art district in Shanghai that houses a thriving community of more than 100 artists whose studios are open to the public. http://en.wikipedia.org/wiki/50_Moganshan_Road
The steps involved are:
1. Send to email@example.com image of the work you want to expose. Detailing the work measures, technical and brief summary of the artist in English. Approximate Retail Price including 50% of commision for gallery.
2. Subsequently, the selected works will be sent to China from Barcelona, with all others.
Each artist must pay the approximate price of the frame and a percentage for shipping, we will provide advance prices as measured by the works.
4.Each artist must sent his work to Barcelona. And must transferred to the bank account of Pantocrator Gallery, the amount for the framework, which will vary depending on the size and number of works, plus the percentage for shipment to China, that in a tube is usually cheaper and less problematic when it comes to pay customs .
-Example: a piece of paper of 40X30cm can cost:
10€ frame + 10€ shipping = 20 €.
Two works of the same dimensions = 35 €
Three works of the same dimensions = 45 €
-Deadline for sending the images to the selection is next Thursday, December 13 and the deadline for sending the tube to China on Dec. 22.
Pantocrátor Gallery www.pantocratorgallery.com
Lomography is an international community of Lomographic photographers who advocate creative and experimental film photography, often shooting with outdated 35mm films in cheap toy cameras, creating off-color, out of focus, vignette effects that produce one of a kind photographs.
It is interesting to me to see the lomography movement take root in Hong Kong, where I lived for two years. What better place than the jostling streets of Hong Kong, packed with thousands of people on the move day and night, filled with opportunities to make the bokeh images characteristic of lomography.
“Lomography began with a fateful encounter in the early 1990s, when two students from Vienna, stumbled upon the Lomo Kompakt Automat, a small, enigmatic Russian camera. They were astounded with the mind-blowing photos that it produced, the colours were vibrant, with deep saturation and vignettes that framed the shot. It was nothing like they had seen before. Upon returning home, friends wanted their own Lomo LC-A, igniting a new style of artistic experimental photography that we now know as Lomography.” http://anyimage.net/tag/lomography/
Lomography.com serves as the communication hub for Lomographers worldwide. The sum of this movement–you don’t have to be a photographer to make lomographic prints as part of your artists output and sales.
The painting above, by Fang Lijun is an example of Cynical Realism, a contemporary movement in Chinese painting that began in the 1990s in Beijing and has become one of the most popular Chinese contemporary art movements in mainland China. The art movement Cynical Realism arose through the pursuit of individual expression by Chinese artists that broke away from the collective mindset that existed since the Cultural Revolution. The major themes of Cynical Realism tend to focus on socio-political issues and events since Revolutionary China(1911) to the present, usually with a humorous and post-ironic take on a realist perspective and interpretation of transition that Chinese society has been through, from Communism to today’s modernization.
Sunbelt Mfg. Co. has manufactured quality American made artist canvas since 1982. At one time Sunbelt was a large supplier for stretched and gallery wrap canvases in the U.S. Since the China explosion onto the U.S. market they now focus on professional artists and art instructors, working hard to give their customers exactly what they need. Sunbelt provides all types of custom canvas supports at competitive prices.
As a special promotional offer exclusively for Artist Marketing Resources blog readers and Artist Marketing Resources LinkedIN group members Sunbelt will give one artist a 16 X 20 inch Gallery Wrap canvas.
To be eligible for selection to receive the canvas, all you have to do is use the share buttons at the bottom of this blog post to Tweet this post and share it on Facebook, then leave a comment below.
One artist will be selected from those who comment and will receive the 16 x 20 inch canvas sent to them at no cost!
Leave comments up until Wednesday March 20th, noon EST, to be eligible. One artist selected will be asked to provide their U.S. mailing address to receive the canvas. P O box addresses are *not* eligible.
Visit the Sunbelt site to view the other products they offer, including wood panel supports for artists and silkscreen frames. The artist section on the Sunbelt website shows some of the artists that use their canvases. They will always be glad to place the work of other artists in their feature section.
Glossom is a new portfolio site with a difference. Glossom is a social media network for visual creatives. Whether you work in fashion, design, photography, illustration, video making or any other creative media, Glossom allows you to organize your work into Collections and share them quickly “like a visual tweet.” A Collection is displayed as a one page montage of 3 or more images. It is a visually appealing way to present your project or an aspect of your portfolio all at once.
I typed my short story, The Waiting Room, from my contributors’ copy of the now defunct print magazine Clamor (with a C), that published it in 2005, along with an illustration. I submitted the story to Yahoo!
The short story is set in a foreigners waiting room the Beijing train station. Here is the Yahoo! link:
If you like my story, share it on on Facebook, Twitter and any other social networks you use. Bookmark it on sites like Reddit, Digg and StumbleUpon–using the buttons below.
I am an artist and I started this blog in February 2009 with the idea of gathering resources here for artist’s growth.
I was born in the USA and I am an artist working with the possibilities of paint layers and poured paints on my supports of canvas, panel and papers– such layering, poured painting, and stain painting is also know as Process Painting. The formal possibilities of my use of color layers and tones, variety of paints and the resulting surface texture are achieved by varying the paint flow, paint run overlaps, and by creating flow interference, splash and splatter. I have an interest in the possibilities of both maintaining and breaking the hard edge. Close-up gives the vantage point of the pleasure of the painterly poured paint run intermingled with elements of patterning and the finer details of applied image transfers and Asemic writing built up on my support in a dense bricolage. Asemic writing consists of language-like marks unreadable as writing so as to straddle the line between the visual and the textual. My Asemic writing is informed by my formal language studies of Mandarin Chinese at the Chinese University of Hong Kong, China, and language studies at private language schools in Tokyo, Japan and in India. My stronger American influences on my Asemic writing reference everyday product package lettering past and present. My high contrast mixed use of Day-Glo to earth color compositions are responses to Asian and American use of color from ancient to recent Pop aesthetics. Color influences of Japan, India and China and the forms of the written characters of the languages of those countries, as well as those elements in other Asian countries I visited–Thailand, Malaysia, Singapore, Taiwan and South Korea–reemerge in newly abstracted and combined forms. Translucent and transparent overlays of color contain the opacity of the drawn stroke. In some of my paintings I work with my collection of large handmade Chinese calligraphy brushes. I abstract written language characters, cut up, juxtapose, and layer fragmented language signs together visually,–sometimes over, sometimes under poured paint, or sandwiched between the layers of my surfaces. In the image transfer elements of my paintings, I incorporate my own drawings photographically reproduced and printed on paper multiple times. Incorporating too, images from my camera–including outdoor night photography shots, and vintage b & w films I shoot capturing both the individual film frames and the overlapped combined images within frame transitions for use as image transfers. I also collect “found images” and have used images in my paintings that I’ve held on to for 7-8 or more years, printed to paper and used as acrylic image transfers on my supports. Subject matter for my image transfers tend to center around vintage film, holiday and other social symbols and iconography, and commercial product packaging. My daily painting practice yields surprisingly varied results per canvas or composition within the repetition of these techniques and recurring interests of form. Each painting contains traces of what is significant to me, the artist, –my personal progress, growth, shifts, changes, expansions, forward motion, accumulation of thought and work, day upon day, contained within the layers of my paintings, as form, color and texture merge in the spirituality of my abstract painting practice that proceeds from the context of ideas, beliefs and emotions.
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Best wishes for a productive day!