2010

Beijing View, Gretz Gallery, Melbourne, Australia, August 2010

Artists: Zhang Hongkuan

Chart Anne Graham & Tony Scott, William Wright, Sydney, August 2012

Both artists also take the human body as their principal subject matter. Tony explores the mechanisms of the body, its failures and various kinds of medical intervention and instrumentation from the modern scientific repertoire but also traditional healing tools including charts and models related to acupuncture points. Anne often deals with grooming, ornamentation and covering for the body even on occasion felting costumes from animal hair. She uses instruments connected to hair care and has a spectacular collection of combs and related wooden shapes. Her interest extends to related forms such as tools for housework and gardening including brushes, picks, shovels and rakes.

Tony Bond Sydney August 2012.

Drawing Dust, Red Gate Gallery, Beijing, 2010

Artists: Martin King, Damian Smith, Karen Casey, Jayne Dyer, Jill Orr, Catherine Woo, Tony Scott

Kitsch & Kinky, Front Line Contemporary, Shanghai, 23 October – 3 November

Artists; Liu Zhuoquan, Huang Xu, Wayne Warren, Deng Yifu, Jayne Dyer

The artists use the readymade, transformed more or less into another language and presented as quirky, witty commentaries on contemporary life. Modification of the utilitarian function of the ready-made/found object to express an artistic concept is nothing new – post Duchamp. These artists adopt a socio-cultural transformative premise which reflects contemporary values – environmental issues, consumerism, materialism, conservation of heritage, personal and cultural identity.

俗气&古怪, Front Line Contemporary, Shanghai

艺术家们使用现成品表达他们的观点。物质化的成品被他们技巧性地转化为语言表达，以这样诡异但是诙谐的解说阐释了艺术家们对当代生活的理解。

藉以具有实用功效的现成品（生活中随处可见的物品）来表达艺术性的概念并不新奇，例如后杜尚风格即为这样的艺术表达方式。

这些艺术家们运用“社会文化的转变”这个前提，反映了变化中的当代价值观及社会注点：例如环境问题、消费主义、物质主义、历史遗迹的留存争议、

个人和文化认同感及城市暴力问题。

牛睿智策展人

Reg Newitt Curator

Hu Qinwu – New Abstraction from China, Stella Downer Fine Art, Sydney 2010

There are enormous canvases with subtle layers of colour – in some works rich reds and blues lie underneath the greys, blacks and whites of the grid of dots. Recently, however, he has removed colour almost entirely in favour of a subtle muted palette of greys. He doesn’t want too many elements occupying the surface – there is an increasing simplicity and purity in these works.

They are at once abstract and not abstract, meditative pieces which evoke the colour field works of Mark Rothko in their power to engulf and immerse the viewer.

Luise Guest interviewed Hu Qinwu in his Beijing studio on March 24, 2011