Art Miami 2015

art miami

2015

gallery mission Established in 2000, Sundaram Tagore Gallery is devoted to examining the exchange of ideas between Western and non-Western cultures.

We focus on developing exhibitions and hosting not-for-profit events that encourage spiritual, social and aesthetic dialogues. In a world where communication is instant and cultures are colliding and melding as never before, our goal is to provide venues for art that transcend boundaries of all sorts. With alliances across the globe, our interest in cross-cultural exchange extends beyond the visual arts into many other disciplines, including poetry, literature, performance art, film and music.

art miami 2015 Sundaram Tagore Gallery is pleased to present a curated exhibition of work by established and emerging artists exploring themes of intercultural entanglement.

Known for its boundary-pushing exhibitions, the gallery has built its reputation by featuring artists who share a global perspective, living and working between cultures. The works on view here examine the intellectual and aesthetic richness that emerges from such exchanges.

An internationally recognized leader in the field of contemporary Asian art, the gallery has been at the forefront of discovering new talent across the region for more than a decade. The gallery’s artists hail from a wide geographical swath, encompassing Japan, Thailand, Iran, China, India and Korea, as well as the Americas and Europe.

Many of the artists on view at Art Miami 2015 were part of Frontiers Reimagined, a global contemporary art exhibition and a Collateral Event of the 56th Venice Biennale. The show, curated by Sundaram Tagore and art historian Dr. Marius Kwint, was mounted at the Museo di Palazzo Grimani with the patronage of the Italian Ministry of Culture.

This presentation, which includes paintings, photography and installations, marks the gallery’s ninth consecutive year at Art Miami.

MIYA ANDO A descendant of Bizen sword makers, New York-based emerging artist Miya Ando was raised among sword smiths tuned Buddhist priests in a temple in Okayama, Japan. Ando is half Japanese and half Russian-American and grew up within two distinct cultures, spending her childhood between Japan and Northern California. She received a bachelor’s degree in East Asian Studies from the University of California at Berkeley, and attended Yale University to study Buddhist iconography and imagery. After university, she apprenticed at the master metal smith Hattori Studio in Japan and in 2009 did a residency at Northern California’s Public Art Academy.

Combining traditional techniques of her ancestry with modern industrial technology, Ando skillfully transforms sheets of burnished steel and anodized aluminum into ephemeral, abstract paintings suffused with subtle gradations of color.

The foundation of her practice is the transformation of surfaces. She produces light-reflecting gradients on her metal paintings by applying heat, sandpaper, grinders, acid and patinas, irrevocably altering the material’s chemical properties. It’s by an almost meditative daily repetition of these techniques that Ando is able to subtract, reduce and distill her concept until it reaches its simplest form. For Ando, the paradoxical pairing of metal with spiritual subject matter is intentional.

She says: “My work is an exploration into the duality of metal and its ability to convey strength and permanence, yet in the same instance absorb shifting color and capture the fleetingness of light.

It reminds us of the transitory nature of all things in life.”

Miya Ando is the recipient of many awards, including the Pollock-Krasner Foundation Grant in 2012. Her work has been exhibited extensively all over the world, including in a recent show curated by Nat Trotman of the Guggenheim Museum and in Frontiers Reimagined, a Collateral Event of the Venice Biennale curated and organized by Sundaram Tagore, in 2015. Ando has produced numerous public commissions, most notably a thirty-foot-tall commemorative sculpture in London built from World Trade Center steel to mark the ten-year anniversary of 9/11.

Born in Los Angeles, 1978 | Lives and works in New York 6

Mizu Iro Light Blue, 2015, aluminum, dye, resin, urethane, 36 x 36 inches/91.4 x 91.4 cm 7

Kuenai Crimson, 2015, aluminum, dye, resin, urethane, 36 x 36 inches/91.4 x 91.4 cm 8

Ao Kuro Blue Black, 2015, aluminum, dye, resin, urethane, 36 x 36 inches/91.4 x 91.4 cm 9

Faint Lavender Silver Shift, 2015, pigment, urethane, aluminum, 36 x 36 inches/91.4 x 91.4 cm 10

Ephemeral Faint Lavender blue, 2015, pigment, urethane, aluminum, 36 x 36 inches/91.4 x 91.4 cm 11

Emptiness the Sky Gold, 2015, pigment, urethane, aluminum, 72 x 60 inches/182.9 x 152.4 cm 12

Saphire Emerald, 2015, pigment, urethane, resin, mineral dust, aluminum, 47.5 x 21.5 inches/120.7 x 54.6 cm 13

Hamon 5, 2015, pigment, urethane, aluminum, 48 x 48 inches/121.9 x 121.9 cm 14

Hamon 9, 2015, pigment, urethane, aluminum, 24 x 48 inches/61 x 122 cm 15

White Yellow Diptych, 2015, pigment, urethane, resin, aluminum, 47.75 x 43 inches/121.3 x 109.2 cm

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KAMOLPAN CHOTVICHAI Kamolpan Chotvichai addresses issues of identity and gender in her photo-based self-portraits.

At the same time, she challenges the formal limitations of canvas by meticulously hand-cutting her images, creating sinuous ribbons along various parts of her anatomy. Her goal is to dissolve her form, based on an understanding of the Buddhist teachings of the three characteristics of existence: anatta (the eternal substance that exists beyond the physical self); dukkha (sorrow and dissatisfaction) and anicca (impermanence). She obliterates her identity, eliminating her face and literally stripping away her physical form, in the process relinquishing attachment to her body.

The artist received a Master of Fine Arts degree at Silpakorn University, Bangkok, and has since been awarded numerous scholarships and art prizes, including a Gold Medal at the 58th National Exhibition of Art (2012), Bangkok.

Kamolpan Chotvichai was invited to participate in ON PAPER, a paper art workshop that was part of the ON PAPER—Paper & Nature exhibition at Tama Art University Museum, Tokyo. Group exhibitions include Anthropos Bangkok, Numthong Gallery, 2013; Anthropos: Navigating Human Depth in Thai and Singapore Contemporary Art, Sundaram Tagore Gallery, Singapore and New York, 2013; the 4th Young Artists Talent Art Exhibition 2013, Royal Thai Consulate-General, Los Angeles; the 2012 International Women Arts Exhibition, Lights of Women, Gwangju Museum of Art Kum Namro Wing, Metro Gallery, Korea, 2012; and Frontiers Reimagined, a Collateral Event of the Venice Biennale curated and organized by Sundaram Tagore, 2015. Chotvichai is a featured artist in Thailand Eye at the Saatchi Gallery, London, currently on view.

Born in Bangkok, 1986 | Lives and works in Bangkok

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No Self, 2013, C-print on hand-cut paper, 28.3 x 46.1 inches/72 x 117 cm 19

Stillness, 2013, C-type print on hand-cut paper, 34.6 x 45.3 inches/88 x 115 cm

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CHUN KWANG YOUNG Chun Kwang Young produces sculptural compositions made from small, hand-cut pieces of Styrofoam wrapped in antique mulberry paper sourced from Korean periodicals and academic texts that have been tinted with teas, fruits and flowers. Often massive in scale, Chun’s highly tactile sculptures and three-dimensional canvases are embedded with Korean tradition and history while articulated in a contemporary visual language.

Although he began his career as a painter, Chun started to experiment with paper sculpture in the mid-1990s and over time his work has evolved in complexity and scale. The development of his signature technique was sparked by a childhood memory of seeing medicinal herbs wrapped in mulberry paper tied into small packages. Chun’s work subtly merges the techniques, materials, and traditional sentiment of his Korean heritage with the conceptual freedom he experienced during his Western education.

Chun Kwang Young received a Bachelor of Fine Arts from Hongik University, Seoul and a Master of Fine Arts from the Philadelphia College of Art, Pennsylvania. His work is in numerous public collections, including The Rockefeller Foundation and the United Nations, New York; the Woodrow Wilson International Center for Scholars, Washington, D.C.; the Philadelphia Society Building, Pennsylvania; the National Museum of Modern and Contemporary Art, Seoul, and the Seoul Museum of Art; the National Gallery of Australia, Canberra; the Victoria and Albert Museum, London; and the National Museum of Fine Arts, Malta.

He was named Artist of the Year by the National Museum of Modern and Contemporary Art, Seoul, in 2001 and in 2009 he was awarded the Presidential Prize in the 41st Korean Culture and Art Prize by the Ministry of Culture, Sports and Tourism.

Born 1944 in Hongchun, Korea | Lives in works in Seongnam, Korea

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Aggregation 11, 2011, mixed media with Korean mulberry paper, 38.5 x 51.5/98 x 131 cm 23

GOLNAZ FATHI Drawing on her extensive training as a calligrapher, Golnaz Fathi uses texts and letters as formal elements, transforming traditional calligraphy into a personal artistic language. She studied classical calligraphy before she established her own style of working, receiving a Bachelor of Arts in Graphics from Azad Art University, Tehran, and completing further studies at the Iranian Society of Calligraphy.

Fathi works in fine pen, mostly on varnished raw, rectangular, polyptych canvases, in a limited palette of white, black, red and yellow. She layers the surface of the canvas with thousands of minute marks that echo the curvilinear forms of calligraphic letters and words. These intricate lines coalesce into minimalist compositions that can be read in multiple ways—as landscapes, electronic transmissions or atmospheric phenomena. She refrains from titling her works, which allows the viewer free reign to assign his or her own interpretation.

The basis of Fathi’s practice is siah-mashq, a traditional exercise in which the calligrapher writes cursive letters across the page in a dense, semi-abstract formation. The letters aren’t meant to form words or convey meaning, but rather strengthen the skill of the scribe. Fathi reinterprets this technique, drawing inspiration from Western and Eastern sources, including American Abstract Expressionism, as well as the work of Iranian and Middle Eastern modernists who pioneered the use of the written word as a pictorial element in the late 1950s and early 1960s. By skillfully combining these various elements, she has created a unique visual language with universal appeal.

Golnaz Fathi’s works are in the permanent collections of The Metropolitan Museum of Art, New York; Brighton & Hove Museum, East Sussex, England; Carnegie Mellon University, Doha, Qatar; the Islamic Arts Museum Malaysia, Kuala Lumpur; the Asian Civilisations Museum, Singapore; the British Museum, London; the Devi Art Foundation, New Delhi; and The Farjam Collection, Dubai.

In 2011, Fathi was chosen as a Young Global Leader Honoree by the World Economic Forum and in 2015, her work was included in Frontiers Reimagined, a Collateral Event of the Venice Biennale curated and organized by Sundaram Tagore.

Born in Tehran, 1972 | Lives and works in Tehran and Paris 24

Every Breaking Wave, 2014, acrylic and pen on canvas, 55.4 x 66.3 inches/141 x 168.4 cm 25

SHI GUOWEI Photographer Shi Guowei explores a range of themes in his practice, but he is best known for images that examine the complex issues that arise when traditional Chinese culture collides with current social and political realities. He skillfully transforms black-and-white images into visually compelling social commentary. In this new series of color-saturated landscapes, the artist draws attention to the effect of industry on nature and the devastating impact of chemical pollution on future generations.

History is an integral part of Shi’s work. He has appropriated iconic paintings from both Eastern and Western art history, such as Botticelli’s The Birth of Venus and Van Eyck’s Arnolfini Portrait, into which he injects his own brand of symbolism delineating contemporary Chinese society. He begins by taking digital black-and-white photographs of his subject matter and then transforms them by carefully applying a water-based paint to add color, producing images that create an ambiguous sense of time and space.

With his latest body of work, Shi explores the effect of color on form. Contrary to Chinese tradition, where landscapes are often rendered in the form of a vertical scroll, the artist presents his subjects in a horizontal format. In the hand-painted photographs on view, the highly colorsaturated landscapes appear otherworldly and foreboding, symbolizing man’s handprint on nature and the ill effects of industrial pollution.

Shi Guowei graduated from Tsinghua University Academy of Arts & Design, Beijing, in 2002 and received a Master’s Degree in photography from Dortmund University of Applied Sciences and Arts, Germany, in 2006. He has exhibited extensively in museums and cultural venues in Asia and the West, including the Minsheng Art Museum, Beijing; the Soka Art Center, Taiwan; the Hong Kong Arts Centre; the China Cultural Centre Sydney; and the Adelaide Festival Centre, Australia.

His work is also part of the UBS corporate collection.

Born in Luoyang, Henan Province, in 1977 | Lives and works in Beijing

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The Lab (A), 2013, hand-colored black-and-white photo, 68.9 x 74.8 inches/175 x 190 cm 27

The Flower, 2013, hand-colored black-and-white photo, 27.6 x 118.1 inches/70 x 300 cm 28

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KIM JOON Kim Joon creates digital prints focusing on themes of desire, memory and fragility. He uses the human body as his canvas, superimposing tattoos and brand logos on hyperrealistic flesh and porcelain fabricated using three-dimensional modeling and rendering software. The artist has long been preoccupied with tattoos, a social taboo in Korean society, which he uses as metaphors for unconscious desires.

Kim’s elaborate tableaux consist of tableware, fragments of idealized nudes and icons of Western pop culture, including guitars, cars and guns. Juxtaposing old and new, traditional Asian motifs and new media, he raises questions about conflicting forces of identity in Korea’s increasingly Westernized culture. By using brand logos and luxury products, he also explores society’s materialism, commodification and a loss of individuality in the era of globalization.

Kim Joon’s works have been exhibited extensively across the globe, including in Frontiers Reimagined, a Collateral Event of the Venice Biennale curated and organized by Sundaram Tagore, in 2015; the Saatchi Gallery, London, where his work was featured on the cover of Korean Eye: Contemporary Korean Art, the book that accompanied the exhibition of the same name; the Total Museum of Contemporary Art, Seoul; The National Museum of Modern and Contemporary Art, Gwacheon, Korea; and the National Taiwan Museum.

Born in Seoul, 1966 | Lives and works in Seoul

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Royal Copenhagen 1, 2015, digital print, 59 x 23.6 inches/150 x 60 cm 31

Royal Copenhagen 2, 2015, digital print, 59 x 23.6 inches/150 x 60 cm

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AARON TAYLOR KUFFNER Aaron Taylor Kuffner creates site-specific sonic, kinetic sculptures comprising an orchestra of handcrafted percussion instruments derived from the Indonesian gamelan and robotic technology.

Kuffner, an American-born conceptual artist, has immersed himself in the study of gamelan music for the last decade. He both preserves and reinterprets this tradition.

Kuffner’s sculptures combine traditional bronze, brass and iron instruments with robotic mallets on ornate mounting systems that are connected to a computer network that transcribe his compositions. The compositions range from solitary reverberations of gongs and singing chimes to full ritual or storytelling orchestrations. Each object, robot, installation and musical composition the artist creates is unique and largely determined by the layout of the site.

Kuffner, a trained painter and metal sculptor, a former street artist and music producer. Upon moving to Indonesia for six years and studying at the Institut Seni Indonesia Yogyakarta, he embraced the traditions of both the gamelan and village life. After returning to the United States, and following an artist-in-residency with the League of Electronic Musical Urban Robots in Brooklyn, Kuffner began The Gamelatron Project, which concretized the concept of merging robotic technology and gamelan instruments.

Kuffner has created more than twenty Gamelatron sculptures in the last seven years and his works have been installed worldwide, including in Frontiers Reimagined, a Collateral Event of the Venice Biennale curated and organized by Sundaram Tagore in 2015, and two exhibitions in New York curated by Alanna Heiss, founder and former director of MoMA PS1. He has received grants and sponsorship from The Andy Warhol Foundation for the Visual Arts and the Trust for Mutual Understanding, New York; the Mid Atlantic Arts Foundation, Baltimore, Maryland; and the Ministry of Foreign Affairs, Jakarta.

Born in New York, 1975 | Lives and works in New York

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Gamelatron Pohon Electrum, 2015, powder-coated steel and silicone bronze with mirror polished Balinese gamelan kebyar instruments, 94 x 24 x 70 inches/238.75 x 61 x 177.8 cm 35

TAYEBA BEGUM LIPI Tayeba Begum Lipi creates paintings, prints, videos and installations articulating themes of female marginality and the female body. Her sculptural works re-creating everyday objects including beds, bathtubs, strollers, wheelchairs, dressing tables and women’s undergarments use unexpected materials, such as safety pins and razor blades. This purposeful and provocative choice of materials speaks to the violence facing women in Bangladesh, as well as referencing tools used in childbirth in the more underdeveloped parts of the country.

In 2002 Lipi co-founded the Britto Arts Trust, Bangladesh’s first artist-run alternative arts platform dedicated to exhibitions, intercultural dialogue and residencies for local artists.

Tayeba Begum Lipi completed a Master of Fine Arts in Drawing and Painting at the Faculty of Fine Arts, University of Dhaka, in 1993. In 2000 she was an artist-in-residence at the Irish Museum of Modern Art, Dublin. She was awarded a Grand Prize at the 11th Asian Art Biennale Bangladesh 2003, Dhaka; and was the commissioner for the Pavilion of Bangladesh at the 54th International Art Exhibition of la Biennale di Venezia, 2011; and one of the curators for the Kathmandu International Art Festival 2012. Lipi has exhibited at Alliance Française, Paris and the Bengal Gallery of Fine Arts, Dhaka. She participated in the 14th Jakarta Biennale 2011, the Colombo Art Biennale, 2012, Sri Lanka, and Dhaka Art Summit 2012. In 2013, her work was featured in the Guggenheim Museum exhibition No Country: Contemporary Art for South and Southeast Asia. In 2015, she participated in the Venice Biennale, with two installations in Frontiers Reimagined, a Collateral Event.

Born in Gaibandha, Bangladesh, 1969 | Lives and works in Dhaka

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Trapped-2, 2013, stainless-steel razor blades and exposed drawing on polished mirror, 20 x 30 inches/51 x 76 cm 37

RICARDO MAZAL Ricardo Mazal explores themes of life, death, transformation and regeneration through a multidisciplinary approach to painting that includes photography and digital technology.

In 2004, the artist embarked on a trilogy examining the sacred burial rituals of three cultures, continents, and time periods. He began at the Mayan tomb of the Red Queen in Palenque, Chiapas, Mexico, then traveled to the FriedWald forest cemetery in Odenwald, Germany. His final series was inspired by the sky burials and prayer flags of Mount Kailash, Tibet’s holiest summit.

Mazal conveys his experience of these spiritual sites through an iterative process of abstraction, building up the painting from photographs gathered in situ and digital manipulation. Applying and scraping away oil paint with foam-rubber blades, he creates works layered with luminous passages of color.

Ricardo Mazal’s work is included in the collections of the Scottsdale Museum of Contemporary Art, Arizona; Museo de Arte Moderno, Mexico City; Museo de Arte Abstracto Manuel Felguérez, Zacatecas, Mexico; Maeght Foundation, Saint-Paul-de-Vence, France; and Deutsche Bank, New York and Germany. In 2006, a retrospective of his work was held at the Museo de Arte Moderno, Mexico City. In 2015, the artist’s work was included in Frontiers Reimagined, a Collateral Event of the Venice Biennale curated and organized by Sundaram Tagore and he also had his second solo show at Mexico City’s Centro Cultural Estación Indianilla.

Born in Mexico City, 1950 | Lives and works in Santa Fe, New Mexico and New York

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Bhutan PF19, 2015, oil on linen, 40 x 42 inches/101.6 x 106.7 cm 39

Bhutan PF diptych, 2015, oil on linen, 40 x 84 inches/101.6 x 213.4 cm diptych 40

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SEPTEMBRE 18.15, 2015, oil on linen, 50 x 54 inches/127 x 137 cm 42

OCTUBRE 18.15, 2015, oil on linen, 50 x 54 inches/127 x 137 cm 43

SOHAN QADRI The late artist, poet and Tantric guru Sohan Qadri was one of the few modern painters of note deeply engaged with spirituality. He abandoned representation early on, incorporating Tantric symbolism and philosophy into his vibrantly colored minimalist works. He began his process by covering the surface of heavy paper with structural effects by soaking it in liquid and carving it in stages with sharp tools while applying inks and dyes. As a result, the paper was transformed from a flat surface into a three-dimensional medium. The repetition of careful incisions on the paper was an integral part of his meditation. Having lived and worked in more than a dozen countries, Qadri was one of India’s many post-Independence artists who form a sprawling diaspora. He once said, “I did not want to confine myself to one place, nation and community….My approach to life has been universal, and so is my art.”

Qadri was initiated into yogic practice at age seven in India, his birthplace. In 1965, he left India and began a series of travels that took him to East Africa, North America and Europe. After settling in Copenhagen in the 1970s, Qadri participated in more than forty one-man shows, in Mumbai, Vienna, Brussels, London, Oslo, Stockholm, Montreal, Toronto, Los Angeles and New York.

Sohan Qadri’s works are included in the British Museum, London; the Peabody Essex Museum, Massachusetts; the Rubin Museum of Art, New York; the National Gallery of Modern Art, New Delhi; the Los Angeles County Museum of Art; the Royal Ontario Museum, Toronto; as well as the private collections of Cirque du Soleil, Heinrich Böll and Dr. Robert Thurman. In 2011, Skira Editore published the monograph Sohan Qadri: The Seer. In 2015, his work was included in Frontiers Reimagined, a Collateral Event of the Venice Biennale curated and organized by Sundaram Tagore.

Born in Chachoki, Punjab, India, 1932 and died in 2011 | Lived and worked in Copenhagen and Toronto

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Kama IV, 2007, ink and dye on paper, 55 x 39 inches/139.7 x 99 cm 45

Vega III, 2007, ink and dye on paper, 55 x 39 inches/139.7 x 99 cm 46

Vidya III, 2007, ink and dye on paper, 39 x 27 inches/99 x 68.6 cm 47

Nitya II, 2008, ink and dye on paper, 55 x 39 inches/139.7 x 99 cm 48

Sakti V, 2009, ink and dye on paper, 55 x 39 inches/139.7 x 99 cm 49

NORBERTO ROLDAN Norberto Roldan’s mixed-media assemblages negotiate the socio-political terrain of Philippines’ past and present. Through paintings and installations combining objects, text and imagery, he explores issues ranging from collective memory to the balance of power in geopolitical encounters.

Crusade is composed of two Middle Eastern carpets–symbols of cultural migration–that form a tapestry-like backdrop for salvaged wooden crosses juxtaposed with crosses made of neon lights. The work revisits the clash of belief systems in 16th-century Philippines and address wider implications of religious conversion by colonizing powers.

In 1986, Norberto Roldan founded Black Artists in Asia, a group devoted to socially and politically progressive aesthetic practices. His work has appeared in several landmark surveys of Southeast Asian contemporary art including No Country: Contemporary Art for South and Southeast Asia, 2013, at the Solomon R. Guggenheim Museum, New York, and Negotiating Home History and Nation: Two Decades of Contemporary Art in Southeast Asia 1991–2011 at the Singapore Art Museum. He has also exhibited at the Tate Modern, London; Asian Art Museum of San Francisco; Fukuoka Asian Art Museum, Japan; and the Centre for Contemporary Art in Singapore. He is currently the director of Green Papaya Art Projects, an independent multidisciplinary platform founded in 2000.

Born in Roxas City, Philippines, 1953 | Lives and works in Manila

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Crusade, 2015, wooden crosses salvaged from demolished old houses on beeswax-drenched panels, neon lights diptych, 66 x 174 inches/168 x 442 cm 51

SEBASTIÃO SALGADO Sebastião Salgado has made it his life’s work to document the impact of globalization on humankind. His black-and-white prints lay bare some of the bleakest moments of modern history as well as some of the planet’s last remaining wonders.

In the past three decades, Salgado has traveled to more than one hundred countries for his photographic projects and devotes years to each series in order to grasp the full scope of his topic. Breaking down barriers, he lives with his subjects for weeks, immersing himself in their environments. Salgado describes this approach as photographing from inside the circle. Each of his images is infused with empathy and respect for his subjects.

The images on display come from his most recent series, Genesis, which he began in 2004 as an antidote of sorts to the harrowing scenes encountered on previous projects. With the aim of reviving hope, Genesis pays homage to nature left unscathed by humankind.

Sebastião Salgado began his career as an economist. It was not until the early 1970s, after his wife and frequent collaborator loaned him a camera, that he embarked on a career as a photographer.

Salgado has had solo shows at the Barbican Art Gallery, London; the International Center of Photography, New York; the Corcoran Gallery of Art, Washington, D.C.; The Photographers’ Gallery and the Natural History Museum, London; and the Royal Ontario Museum, Toronto.

Among his many honors, Salgado has been named a UNICEF Goodwill Ambassador and an honorary member of the American Academy of Arts and Sciences. In 2015, his work was included in Frontiers Reimagined, a Collateral Event of the Venice Biennale curated and organized by Sundaram Tagore.

In 1998 Sebastião and Lélia Salgado founded the non-profit Instituto Terra, an organization focused on reforestation and environmental education. Since the 1990s, they have been restoring a portion of the Atlantic Forest in Brazil.

Born in Aimorés, Minas Gerais, Brazil, 1944 | Lives and works in Paris 52

Marine Iguana, Galรกpagos, Ecuador, 2004, gelatin silver print, 68 x 50 inches/172.7 x 127 cm 53

Chinstrap Penguins on an Iceberg, betwenn Zavodovski and Visokoi Istands, South Sandwich Islands, 2009, gelatin silver print, 36 x 50 inches/91.4 x 127 cm 54

Leopard in the Barab River Vallery, Damaraland, Namibia, 2005, gelatin silver print, 36 x 50 inches/91.4 x 127 cm 55

Herd of Buffalo, Kafue National Park, Zambia, 2010, gelatin silver print, 68 x 50 inches/172.7 x 127 cm

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HIROSHI SENJU Japanese-born painter Hiroshi Senju is noted worldwide for his sublime waterfall and cliff images, which are often monumental in scale. He combines a minimalist visual language rooted in Abstract Expressionism with ancient painting techniques unique to Japan.

Senju is widely recognized as one of the few contemporary masters of the thousand-yearold nihonga style of painting, using pigments made from minerals, ground stone, shell and corals suspended in animal-hide glue. Evoking a deep sense of calm, his waterfalls, which he creates with incredible delicacy by pouring paint onto mulberry paper on board, conjure not only the appearance of rushing water, but its sound, smell and feel.

Hiroshi Senju was the first Asian artist to receive an Honorable Mention Award at the Venice Biennale (1995), and has participated in numerous exhibitions including the Beauty Project in 1996 at the Museum of Contemporary Art, London; The New Way of Tea, curated by Alexandra Munroe, at the Japan Society and the Asia Society in New York in 2002; Paintings on Fusuma at the Tokyo National Museum in 2003; and Frontiers Reimagined, a Collateral Event of the Venice Biennale curated and organized by Sundaram Tagore, in 2015.

Public installations include seventy-seven murals at Jukoin, a sub-temple of Daitokuji, a Zen Buddhist temple in Japan, and a large waterfall at Haneda Airport International Passenger Terminal in Tokyo. The Benesse Art Site of Naoshima Island also houses two large-scale installations.

Senju’s work is in the Brooklyn Museum, New York; the Museum of Contemporary Art, Los Angeles; the San Francisco Museum of Modern Art, California; The Museum of Modern Art, Toyama, Japan; the Yamatane Museum of Art, Tokyo; Tokyo University of the Arts; and the Kushiro Art Museum, Hokkaido, Japan. In 2009, Skira Editore published a monograph of his work titled Hiroshi Senju.

The Hiroshi Senju Museum Karuizawa, designed by Ryue Nishizawa, opened in 2011 in Japan.

Born in Tokyo, 1958 | Lives and works in New York

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Waterfall, 2012, natural pigments on Japanese mulberry paper, 102.4 x 78.75 inches/261 x 200 cm 59

Cliff, 2012, natural, acrylic pigments on Japanese mulberry paper, 102 x 71.3 inches/259 x 182 cm 60

Cliff #27, 2015, natural, acrylic pigments on Japanese mulberry paper, 68.9 x 37.8 inches/175 x 96 cm 61

ZHENG LU The gravity-defying sculptural works of Zheng Lu are deeply influenced by his study of traditional Chinese calligraphy, an art form he practiced growing up in a literary family. Zheng Lu uses language as a pictorial element, inscribing the surface of his stainless-steel sculptures with thousands of Chinese characters derived from texts and poems of historical significance.

To create his metal sculptures, Zheng Lu begins with a plaster base. He then laser-cuts characters into metal, and in a fashion similar to linking chainmail, the pictographs are connected and heated so that they can be shaped to the support. The resulting works are technically astonishing; their fluid, animated forms are charged with the energy (qi) of the universe, belying their steel composite.

Zheng Lu graduated from Lu Xun Fine Art Academy, Shenyang, with a Bachelor of Fine Arts in sculpture in 2003. In 2007, he received his Masters of Fine Arts in sculpture from the Central Academy of Fine Art, Beijing, while also attending an advanced study program at The École Nationale Supérieure des Beaux-arts in Paris in 2006. Zheng Lu has participated in numerous exhibitions in China and abroad, including at the Museum on the Seam, Jerusalem; The Ekaterina Cultural Foundation, Moscow; Musée Océanographique, Monaco; Musée Maillol, Paris; the National Museum of China, Beijing; the Long Museum and the Shanghai Duolun Museum of Modern Art, Shanghai.

Born in Chi Feng, Inner Mongolia, in 1978 | Lives and works in Beijing

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Water Dripping - Splashing, 2014, stainless steel, 181.1 x 131.9 x 114.2 inches/460 x 335 x 290 cm, edition 1 of 4 63

SUNDARAM TAGORE GALLERIES new york new york hong kong singapore

547 West 27th Street, New York, NY 10001 • tel 212 677 4520 fax 212 677 4521 • gallery@sundaramtagore.com 1100 Madison Avenue, New York, NY 10028 • tel 212 288 2889 57-59 Hollywood Road, Central, Hong Kong • tel 852 2581 9678 fax 852 2581 9673 • hongkong@sundaramtagore.com 5 Lock Road 01-05, Gillman Barracks, Singapore 108933 • tel 65 6694 3378 • singapore@sundaramtagore.com

President and curator: Sundaram Tagore Director, New York: Susan McCaffrey Director, Hong Kong: Faina Derman Designer: Russell Whitehead Contributing editors: Kieran Doherty, Esther Bland and Payal Uttam Art consultants: Teresa Kelley, Gabrielle Mattox, Raj Sen, Melanie Taylor, Addison Ying, Chelsea Zhao

WWW.SUNDARAMTAGORE.COM Text © 2015 Sundaram Tagore Gallery Photographs © Sundaram Tagore Gallery All rights reserved under international copyright conventions. No part of this catalogue may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording or any other information storage and retrieval system, without prior permission in writing from the publisher.