To mark our first participation at Art Central Hong Kong, De Buck Gallery is thrilled to propose an overview of the finest artists of our program ranging from European mid-century masters like Bernard Aubertin, Turi Simeti, and Pino Pinelli, over post-modern light art by Berlin-based contemporary artist Hans Kotter, to contemporary creations by American artists Robert Lazzarini, Will Ryman, Rashaad Newsome, and Devan Shimoyama.
The booth will showcase a grid composition featuring historical red nail paintings by French avant-garde artist Bernard Aubertin. The grid composition in Aubertin’s iconic red hue embodies the artist’s longtime fascination with fire and the color red.
As the main highlight of the booth we are thrilled to introduce Hans Kotter’s light sculptures, engaging the audience via its subtle and customizable change of colored LED surfaces. Throughout his oeuvre, Hans Kotter consistently manipulates light and color, creating a unique atmosphere and truly transforming the space surrounding the works.
Building on the almost hypnotic presence of Hans Kotter’s light boxes, we present two pieces from Robert Lazzarini’s shadow moiré series that challenges viewers’ optical perception. Lazzarini creates the effect of confusing and haptic space in which complicates the viewers’ sense of space of time and physical space. Vantage point is key to the appreciation of Lazzarini’s sculptures and paintings; the shallow space within the images oscillates and dissipates as the viewer approaches the work.
Concluding our artistic voyage are the visually stunning collages and paintings by critically acclaimed American contemporary artists Rashaad Newsome and Devan Shimoyama. Conversing on the outside walls of the booth are a painting and collage by Devan Shimoyama and Rashaad Newsome respectively, two artists making a wave in the States and beyond. Best known for his opulent collage-work, Newsome’s creations are deeply invested in how images used in media and popular culture communicate distorted notions of power. By moving towards portraiture, Newsome engages with the idea of agency, specifically in relation to interpretations of feminism by transgender and cisgender women of color. Similarly, young Shimoyama’s glitter-sprinkled self-portraits are playful hints at the social construction of human identity.
The focus on “optical and responsive eye” creates a presentation of both tense and contradictory juxtapositons of the multiple artist artworks on display. The emphasis on the perceptual aspects of art, which results both from illusion of movement, light and the interaction of color relationships all work together as a larger contemporary conversation. Pattern, lines, textures and unique reflective surfaces provide a unique three-dimensional space, which enact a new architectural space. The different viewpoints of light installation and paintings throughout the booth will therefore create a transformative experience.
Screen Section Art Central Hong Kong / Media and MUMM: Reiterating the themes present within the portrait collages included in the booth, Rashaad Newsome’s KNOT (2014) single channel video with sound was selected for the 2016 Screen Section of Art Central Hong Kong. The film KNOT combines Newsome’s interest in knot theory, the performative language of the house dance style known as “Vogue Fem,” the design formulas of heraldry, and Baroque architecture. Knot theory, a branch geometric topology, studies the embedding of circles into three-dimensional space. The hand movements, referred to as Hand Performance, that comprise the main elements of “Vogue Fem” are loosely based on a figure eight, or Listing’s knot. The film presents an abstracted, collaged environment informed by the designs of Baroque architecture and created out of commodities like designer high heels. Against this environment, abstracted and multiplied figures dance, sparkle, and morph to an original sound score, creating knot-like forms that are reminiscent of Newsome more static collage works.
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More info: artcentralhongkong.com