lundi 21 octobre 2019


Sun Yanchu, « Fictions », 2018.
Photo © FDM, 2019.

October 16 to 20, 2019
9 Hoche Avenue - 75008 - Paris

Paris hosts the 5th edition of a Fair whose vocation is to present a cartography and synthesis of Asian art being done. - We will therefore find all the possible forms of expression plastic, in a very wide range that goes from traditional art (calligraphy, prints, easel paintings inherited from European art, etc.) to the jolts of a before -guard largely marked by new technologies (video, robotics, reality TV, digital art, etc.).

No dominance so. But a very eclectic walk that brings us to work at the stroke of heart or the "bloodshed". By privileging what pleases (or displeases) instinctively.

The field in which contemporary Asian art moves (dominated by Japan, Korea and China) remains situated between a highly international and avant-garde pole and this other pole that seeks to maintain the millennial artistic traditions of an East Asian that does not intend to disappear but seeks to maintain its oldest treasures.

Grafts between these two opposing universes are constituted, sometimes artificial, other times very successful. Like the scroll of the small pictorial theater of Ni Jui Hung (Taiwan) : Peng Lai Xian Shan, installation consisting of a long scrolling ribbon. An animated and colorful landscape, a poetic soundtrack and the turn is played. We stop to read, listen and browse the mobile sketch.

The richness and mix of traditional (or more contemporary) materials are often combined and mixed in a variety of reworked collages. Born in China in 1978, Sun Yanchu resumes in his "Fictions", old photographs, which are repainted, zebra streaks vertical and disrupted by caches masking the faces of the characters. The work thus acquires a narrative meaning. We can gloss over the modalities of existence and feelings of this couple sitting facing the photographer with his two children. The "family photo" is seen revisited, disturbed, transformed - in the literal sense of the term - by the so-called "plastic" arts.

All these finesse, poetry and delicacy come to be conceptual, by dint of precision and radicalization of the eyes in the "impression" final. So is the photographic panorama of Mi-Hei Her (Korea), Entre-Deux, (Photo, plexiglass, film, 2016). The work consists of a long box of plexiglass, whose face and bottom are "impressed". The photographic image is thus superimposed and out of step with itself. The vision becomes disturbing, the slightest movement of the viewer moving the entire landscape stretched in width.

Born in 1990, Chando Ao (China) works at the intersection of popular culture (crafts, traditional embroidery, fishing nets, etc.) and new technologies (videos, machineries), building poetic robots containing plants, live fish (I'm a fish, 2019) that give rise to mobile installations. The visitor is attacked in a charming way by these animated ludions (inhabited sphere and / or jar) which graze it, bypass it, avoid it ... - The most contemporary Asian art has an undeniable playful dimension.

This also includes those sets of perspectives (and nested windows) that characterize Western traditional art. Two worlds are then found by juxtaposition in the space of the exhibition. Cai Lei (Beyong freedom, 2019) draws in bronze a silhouette and frames that redouble (by framing) the spaces we cross.

ASIA NOW - Paris Asian Fair Art

Jui-Hung Ni

Volta Basel 2020

Paris Photo - Sun Yanchu

Chando Ao, I’m a fish, 2019.
Photo ©FDM, 2019

Aucun commentaire:

Enregistrer un commentaire