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ŠtheCORNERmagazine 2013 All right reserved

Robert Kothe Geraer Ring 84 12689 Berlin

Cover-Art: Logo: Layout:

Katja Kremenic Elena Anna Rieser Robert Paul Kothe

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Welcome back. We’re proud to have made it to our second issue and are happy to share it with you. If you enjoyed our debut you’ll be glad to know that all the interviews, photography, drawing, painting and indecent rants concerning the world of contemporary art have been maintained and thus established as the core elements that make up theCORNER. We hope you’ll continue to watch our magazine grow, form traditions, and add some new ones in the months to come. Happy reading.

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SURGERY Paul Owen Weiner


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Kinkade, Koons & Hirst : I fucking hate Thomas Kinkade. I think his paintings are shit and their success is only another far too frequent display of the humiliating lack of taste and cultural sophistication that gives Americans our bad name. I think Jeff Koons sucks. A skilled financer, he figured out how to profit off the art market, and now he’s a millionaire with a factory where his massive team constructs his giant tacky shiny shit that sells for over 30 million bucks apiece. As a full time dog sitter who makes barely enough money to pursue painting as a hobby and maintain my identity as an artist, obviously I’m gonna hate the guy. But, this is a rare occasion where I actually will put my opinion aside (yes, I really will) and grant the legitimacy of their work. If I were to be incredibly fortunate and bump into an enthusiastic buyer, or decide to study financing and acquire some practical skill (ha...), and eventually (questionably) earn the fame to sell my work for a million dollars, that would fucking rock. The point is, we’re just not allowed to hate artists for becoming rich. Well, we can hate them, but we can’t stamp our feet and claim to state, as a fact, that their work sucks, on the grounds of being highly profitable (I would know; I’ve tried). And, if we let our anger simmer, we might eventually muster a tiny (key word: tiny) bit of appreciation for them…maybe Koons’ earlier stuff, like the Michael Jackson

Text by Dania Lerman Illustration by Elena Anna Rieser

monkey piece, actually is kind of good. If I were rich (and significantly drunk), I would potentially buy it for reasons not entirely ironic. And, I don’t know, Kinkade died of an alcohol induced Valium OD. Maybe he was sufficiently disturbed to earn some points as a “crazy artist”. For the record, I do legitimately like Damien Hirst. I think his dot paintings are highly subtle, sophisticated works that display the essence of aesthetic stimulation, and perhaps even go as far as critiquing the historically excessive glorification of painting. And, come on, who doesn’t like the diamond skull. You gotta love the diamond skull. And the shark. Edward Snowden supposedly “turned the world upside down” by leaking the Stasi-esque activity of the NSA. And then we find out that France and the Postal Service does it too. But, at the end of the day, is anyone really surprised? I think we’ve long come to take for granted that the world’s not fair and there’s nothing we can do about it. We can get angry and point fingers, but, the truth is, anyone who’s received the proper education/intellect to do so was probably born into privilege and profits off global injustice themselves. I once had a professor who told me that we react with anger because it’s easy to do so. Once in a while we really do just have to take a deep breath, allow some self-reflection, and quit taking ourselves so goddamn seriously.



left - DISTRACTION this site - ILLUMINATED Paul Owen Weiner

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PARK Hong Kong



Leisure Time out, free time, holidays, picnicking in the park, bike riding, sipping cocktails on an exotic beach, reading or watching a film… Leisure can be defined as many things, and can happen in many places. Significantly influenced by the Ancient Greeks, documented by the impressionists and driven to another level by the industrial revolution, our notions of what leisure is and where we carry it out have changed over time. While the Greeks focused on leisure as a means to the good life, of scholarly activities and sports, leisure today has become something quite different. A subject that could be looked at from many angles, Maxime Delvaux‘s recent series Epitaph, but  in particular Leisure, investigate our social and human connections  with the natural and constructed environments which we define as and territorialise, for leisure. Originally trained as an architectural photographer, Brussels based Delvaux tells me that, even in his artistic work,  design and construction remain  a central influence. While he chooses sub-


Extract from Alain de Botton, The Architecture of Happiness



jects that personally interest him, his trained eye still can‘t help but see everything from an architectural point of view. In Epitaph „the act of putting up a barrier to block access to a site can be seen like an intervention in space, and so like architecture itself,“ he says of the photographs which depict places where tragic events have occurred and consequently the urban landscape is transformed. His follow on series, Leisure builds on these ideas of constructed social spaces. It  focuses on  defined places for play, relaxation and interaction - observing how people define, or are defined by, these spaces.  Throughout Tokyo, Beijing, France, Belgium, Hong Kong, New Zealand, Macau, and Slovenia, the images in Leisure isolate urban situations that  engage and inspire the photographer when he is on holidays or out of the country. Even  though he says this series gave him a more focused reason to take shots whilst on vacations, this is not a series of random snaps.  The photographer’s own

Text by Lara Merington

simultaneous  „leisure state“ provides  an interesting extra layer to the work. He originally began focusing on depicting leisure as he believed it was a large subject  open to diverse interpretation    and translation across geographies and cultural understandings. „It is interesting to compare things that are linked by a very large concept and express something in common, that can be interpreted the same way by most cultures“ he says. Consequently, the links  that can be drawn between the diverse locations of the images reveal a comprehensive study of global social past-times. At first glance the images in this series may appear a little like a Crewdson tableaux; staged film-set scenes, somewhat surreal. But they are not. Seeing his world as structures, planes and forms, Delvaux has an ability to create this stage from something pre-existing. Whereas some photographers look to capture fleeting moments, recreate scenes from memories or create the fantastical, Delvaux‘s photographs are direct images, in

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Maxime Delvaux was Born in 1984 in Brussels where he currently lives and works. Alongside his artistic practice he also works at his company 354 Photographers which is a collective formed with his colleague Kevin Laloux.



which  his  architectural eye succours in creating these immersive film-like scenes. Traversing fourteen different situations and places which people  either  deem as enjoyable pastime or leisure spaces, Delvaux‘ concentrates in particular on the human presence inserted into these constructs. There is a personal distance in Delvaux work though. The camera shoots from afar and there is not a strong connection with subject. This is an interesting juxtaposition, seeing as where architecture inherently changes the way in which one socially interacts with space, the photographer; has a choice. They can choose to interject in their space, changing the social structure or become more

of the quiet observer, the fly on the wall. But,  as the human presence in many of these images, Delvaux feels absent.  Feeling that photographing humans alone is too anecdotal, he says he tries to put a distance between himself and the subject, „to erase the presence of the photographer, to be able to focus on the matter itself, rather than the way it is captured. My input is to extract these particular situations from those places, to allow the viewer to read them differently.“

What interests Delvaux most   „are urban situations, landscape transformation brought by men and the way they interact with a particular environment.“ In

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pieces like Sautadais falls / France for example, bathers languidly place themselves over the rocks, but appear like awkward adornments  upon the natural landscape. This is interesting in comparison with Park / Hong Kong, where the human presence in the form of huge skyscrapers forming a backdrop to the green park, is like an uninvited and obnoxious guest at a party. And then there is Dog pram on the each / Tokyo, whose title underhandedly points at the some of the ridiculousness of our leisure/pastimes, and it is here that we start to realise the title „Leisure“ is in some sense, satirical. ‘If you really understand

what governs the universe, how can you yearn for bits of stone and pretty rock?’“ 1 once said a man to another who shed tears as he watched his house burn to the ground. As human beings we need to put things within the limits of what we define as safe / acceptable, tag, name, and possess some inherent need to somehow contain things that are unpredictable and beyond our capacity to control. Playing on this bizarre relationship of our need to control and predict and categorise in order to enjoy, Delvaux subtly involves satire to highlight the absurdity of our relationship with our surroundings and posessions.


While humans have always been aesthetic mammals,  placing importance on the beauty of places and things, it has increasingly become key to how we experience our lives. In the consumer driven world we live in not only do we believe we can buy happiness, but also the experience of pleasure (and leisure) in contained and pre-defined formats and places that tell us, „this is what relaxation looks like“. Take Pre-wedding pictures / Beijing for example. The pink dress, the „golden sunlight“ cast by a reflector on the young couple and the manicured gardens, play to our notion of what young - or pre-wedding love should

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this site - BOAT MAST Tokyo left - PRE-WEDDING PICTURES Beijing next site - FAKE VOLCANO Macau



look like. The replica of what is one of the most beautiful pieces of man-made architecture (the Eiffel tower), a symbol also of romance, is a prominent backdrop in the photographic set-up, a picture which is the containment of something that cannot be contained and is maybe more wild, unpredictable and uncontainable than any natural invention or pastime - love. Delvaux’s  images, raise many questions on how we relate to our surroundings, and how in turn: they mould us.  Speaking most significantly of our human relationship with space, he also brings to the surface ideas of how we spend our time on this earth. We are prompted to think on how we insert ourselves into our spaces, rather than how we adapt ourselves to spaces.   Through the architectural philosophy and sharp eye of Maxime Delvaux, Leisure is a contemplative push for the viewer to think outside of their relationship with their surroundings, and a brilliant body of work from this young and on-therise photographer.

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by SEBASTIAN BLINDE further informations





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Asbjørn Skou

I owe much of my love for process-oriented art – and art, in general – to the work of Asbjørn Skou. Early in my ongoing search for inspiration, I stumbled upon Asbjørn who, at the time, under his alias “Armsrock”, had attracted much attention for his urban figurative street art. While I was initially drawn to his work for its aesthetic appeal, what really got me hooked was its striking emphasis on process, context and allusion to social ritual, not to mention its ability to evoke self-reflection and ontological contemplation, not entirely usual for aesthetic representational work. Years later, Asbjørn has produced a new batch of work that, at a first glance, might seem unrecognizable to followers of his earlier figurative work: black and white photography printed on large transparent sheets are layered upon each other, from which his new series of abstract, textural images emerge. But upon closer examination, we still find much thematic continuity: As a street artist, Asbjørn focused on human individuality. He “…zoomed in on specific individuals…”, isolating them from the blur of urban anonymity. Now, through

his photographic collage work, compiled from snapshots of various features from relevant urban settings, Asbjørn has “…been trying to zoom out more and more, to attempt to talk about constructions of wholes – though still in a language of fragments – from the individual to the places and institutions containing and defining them, to the spaces and sites relating to these, and finally out into some quality of abstraction.” While, at a surface level, his newer work may seem discontinuous, there still lies a “…very formal relation to the movement between themes.” And thematically, his work still centers on “…questions of how our individual and collective identities - and mythologies - are created and bound by particular places and sites.” As for the change, Asbjørn finds it vital to “…hammer out a space for playfulness and constant forward motion in the rigid landscape of dogmas, expectations and coherence.” The transformation in his work is “…catalyzed by a general desire to engage in new contexts, and let the work change according to a dialogue with new materials.” While his work continues to, technically, remain two-dimensional, his attention and commitment to the process and context has always rendered his work more of a sculptural feel. From representational figures to abstract collage, what

Text by Dania Lerman

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still remains is his strategy of “…using the production of images as a tool to engage with spaces while simultaneously letting this engagement alter the image-space in an interdependent relationship.” He ultimately continues to explore “…how images, as both surface and objects, relate to the spaces in which they are installed or projected into; how their scale, materiality or placement can expand their presence beyond that of flat representational surfaces.”

A major focus of Asbjørn’s is “…translating space into image, and image into space.” He grounds this highly conceptual approach in themes of human existence, like how “…architecture, objects and images are interlinked as a trinity, materialized through immaterial concepts like ritual, ideology and metaphysics.” Acknowledging the hefty and “dangerously pretentious” nature of this, Asbjørn tries to “…approach the work as an equal measure of conceptual and formal experimentation… as a set

of complex intersections between form, surface and meaning.” For instance, in his layered photographic series, Asbjørn uses “…a range of materials with a standardized quality and predefined placement, like laser prints, xerox copy, tape, inkjet, plaster and mdf - things that you can get at the utility store, so to speak.” Asbjørn’s material base not only contributes to the efficient construction of his work, but additionally draws our awareness to the bizarre complexities of the artificial and




mass-produced landscape we’ve come to inhabit: “I am more often confronted with plasterboard and styrofoam, cement and plastic, than I am with bronze, marble and oil paint… Take Styrofoam…a fast and crappy material, a regular by-product of something else, but it will never go away – it’s a hyper-object.” As far as future work, Asbjørn “…keep[s] coming back to the spatial discussion… Right now it mainly amounts to series of experiments, some with a context and some of them slightly non sense-ical…There is a lot of half-finished stuff concerned with bricolage and image negation”. Keep an eye out for his upcoming solo exhibition at Munch Gallery (Chelsea, NY) and site-specific installation at the Ileana Tounta Contemporary Art Center (Athens, Greece). He is also in the process of having a book published by Konnotation Press that explores the “…hybrid between documentation and fiction, site-specific activity and discussion of the book as site.” Asbjørn studied at the Hoschule für Kunst in Bremen, Germany and is currently based in Copenhagen. He’s exhibited in over 60 group and solo shows in London, New York, San Francisco, Copenhagen, Vienna, Bremen, Berlin, and Cairo, amongst several other major galleries around the world. His work continues to transform and adapt to the ever-shifting context of human existence.


pies de mujeres by Paulo de Tarso


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The Internet is an unkempt, manmade terrain. It is a final frontier, and in many senses, a tabula rasa for a collective consciousness on a global level. The net is responsible for redefining areas of common law, intellectual property law, our favored methods of communication, and as we are all well aware, it plays a rapidly expanding role in average people’s daily routines. This tabula rasa dominated by Millennials has freed the contemporary art world from the entrenched band of art world opinion-makers, transforming the public into arbiters of taste. New Media art defies hierarchical and commercial standards at every turn and challenges the canonized works of art theory simply by existing as an amorphous platform for expression. The development of “Internet art,” a subset of new media art, began as most democratically driven movements do, as a breakthrough moment for DIY artists, looking to form networks of the new generation of thinkers and doers. The movement harkens back to the Conceptual Art movement of the sixties and seventies that broke down the high – low barrier through deskilling.

After , artistic training became second to the idea, and thus a new definition of Artist emerged. Makers of new media art began the new millennium with a set of skills and an outlook as fresh as the Lewitt’s was during the sixties. Internet art again parallels the sixties culture as collectives developed during the nineties with utopian visions that countered the elitist hierarchy of the art world. The Web proved the ideal realm to develop such a counterculture and since the early 2000s, issues concerning copyrighting, appraising, and marketing the work have nagged the international art community. Net art manifests in a variety of forms, and is about as amorphous as a genre has ever been. Interactive websites, ongoing participatory projects, networked installations, streamed audio / video works, and intricate virtual worlds are a small selection of what is possible. Gorgeous and powerful examples immediately jump to mind: The Infinite Sculpture Garden by Petra Cortright; Greg Leuch’s infamous Shaved Bieber; Miranda July’s ongoing project We Think Alone; and Ted Davis’ interactive work, charcollage. The work’s focus often falls into a spectrum, falling somewhere


between a reflection of the tenor of the Internet itself and a manipulation of the Internet as a medium with which to procure a specific aesthetic. Obviously this dichotomy isn’t cut and dry – artists work with a spectrum of intentions and focuses, but I believe that these tendencies reflect the recentness of the medium. Often net art addresses fantastical utopian ideals, social interconnectivity, the architecture of the Web itself, and/or the absence of physical experience in the digital realm. If we take a step back and observe the art climate as a whole, contemporary New York artists are currently creating amorphous works that defy genre. Many artists dabble in a variety of media and some even pull Internet art out of the digital sphere and into physical space. Lorna Mills’ painterly prints and GIFs in her recent show, The Axis of Something, prove that aesthetic complexity and sophisticated color theory are not moot in new media artwork, and that Internet art can converse harmoniously with works of traditional media. We see the consequences of the Internet’s presence on contemporary art: there is a prevailing graphic quality to young artists’ work, and the nature of the screen has inspired a great interest in the manipulation of surface. Moreover, work addressing communication/miscommunication and interpersonal relationships, seem to have an undertone of anxiety concerning our dependence on the Web. An Xiao’s Morse code project on Twitter contemplates the evolution of instant communication and its function as a maker of simulated closeness. Eva and Franco Mattes’ project No Fun, in which they staged a suicide and filmed peoples’ reactions on Chatroulette, is a prime example of artists

a resultant disconnect and apathy and also expose the dangers of a digital realm void of morality, not to mention etiquette. These projects pose several important questions: where are we going, and why? What, if anything, are we gaining and losing through our dependence on the Internet, and to what aim? Both projects reveal shocking truths. An Xiao’s project addresses the artifice of our mediated communications. She is grappling with the social consequences of our internet dependency. The Mattes’ project reveals the web as a dangerous, Lord of the Flies–like environment where anything goes in an environment void of society. But I would venture to guess that the generally mild responses to No Fun have much to do with the size and graininess of the image as well as the obviously comforting anonymity and false privacy of Chatroulette. If this situation had been mediated in a physical space, regardless of the space’s anonymity, the reactions would have been much more intense. The results of this experiment also suggest that images online have less value, are less powerful and are less likely to be true. It’s a question of whether we can truly experience the work emotionally and physically through a screen. One question among many that this project raises is: when one’s physical reactions are essential to how we relate to the world around us, what is the value of a piece of art that is, in its essence, a sequence of code? As a growing portion of our daily lives are experience through a digital interface and sensations of scent, touch, and taste diminish in importance, our values will shift to ignore the physical reactions

Text by Clara Bauman

which have always been so integral in our understanding of a work of art. In reality, what are these intangible works of art but philosophical musings on function and form same as traditional art objects? Their intangibility is key: is the death of sensation upon us? We are not only eyeballs, we are nervous systems and fingers and swells of blood and hormones. Where does the body go when we ignore the value of four senses? This push towards a digital existence becomes a philosophical and moral question that concerns the deadening of the body when the physical art object becomes obsolete. Alas, in our vision-centric, Internet-centric culture, works produced within the genre of new media hold undeniable power. For the moment they exist in the intriguing place between commercial product, fine art, and product of pop culture. Moreover, Internet art has practical benefits that make it an empowering medium for artists and art viewers. Most people in today’s world are computer literate, it’s globally accessible, and it’s a free medium. New Media is still a recent enough genre that artists are not confined by tradition or market value. Most importantly I would say, is the genre’s absence of age, race, socioeconomic status, and gender biases. It is a territory to be defined by a new generation of visionaries. For now, we must wait and see whether the questions raised by An Xiao will be answered, and what the consequences of this growing chorus of artistic perspectives produce. Change is the only constant and all we can predict is that Internet art will redefine what it means to be contribute to the art world, and for those who best experience art with all of our sense, it may even change how we exist in our own bodies.








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left - OCALA right - RICHFIELD


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I met Sarah Walko as an intern for Triangle Arts Association; a Brooklyn based art collective that she coordinates. Prepared to soldier through the usual chore intensive “bitch work”, I found myself regularly engrossed in conversation with Sarah, discussing our shared interests in aesthetic appreciation, Wallace Stevens, books on tape, and several other art-related intellectual concerns. I wasn’t surprised to find her work incredibly striking, packed rich with color, detail, texture, and allusions to philosophy, science, and literature. For the next three years, I watched Sarah’s work grow in dimensions, media, content, and reference. Her latest work consists of highly aesthetic, sculptural arrangements of objects ranging from paper, books, money, animal parts, jewelry, test tubes, cigarette stubs, and all sorts of other gems she gathers from thrift shops and the city streets. Sarah recalls walking through the forest as a child “…  captivated for hours…each tree then branch then leaf revealed more seemingly infinite worlds the longer you looked and watched.” And now as a practicing artist, Sarah likes to “…create little worlds where the longer you look the more you might find.” What I, perhaps, find most fascinating about her work is the ever evolving

manner in which she expresses her appreciation for literature. While her earlier 2D pieces were often accompanied by literary quotes as captions or titles, her later works of collage and sculpture incorporated carefully selected fragments of pages until she started cutting up and using the entire books themselves. Her transition from using text to reference an abstracted idea, to then draw our awareness to the texture and materiality of the book, is a lovely manifestation of the intense yet highly eclectic, and perhaps overwhelming, range of her appreciation for nearly everything our world has to offer. Even her use of found objects hold narrative significance beyond their sensory and material presence: “Sometimes I think people think I‘m only interested in objects, but in fact, I‘m trying to emphasize the space between objects and how those objects are interconnected and what they say when presented together.” Sarah received her MFA from Savannah College of Art and Design where she was later hired as Head Curator. She is currently Executive Director of Triangle Arts Association and continues to work as a practicing artist. As an emerging writer, she’s produced a variety of fiction and non-fiction and is working towards publishing two completed novels.

Text by Dania Lerman

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lef t - TH E ISL AN D LTRAHARDT thi s site - PADIO NU GS DIN NER DO site next


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SUBMIT* YOUR ART, WRITING, etc. TO submission@THECORNERMAGAZINE.COM * read the submission guideline


Jacky Tsai

Jacky Tsai embraces two cultural extremes: his native Chinese and pop-art references, which he combines to blend the limits of art and fashion. He talks about the importance of these two influences, as well as the sensibility inherent to his creative process and approach to contemporary art and fashion markets. Your art is said to merge traditional Eastern influences with those of western commercial art. What do you consider to be the most interesting aspects of these, both in general and in your work? Eastern influence or traditional Chinese art is very different from modern art. Chinese art is crafted with attention to detail, a masterpiece as displayed in an auction house. On the other hand, contemporary commercial art is appreciated on a mass scale, affordable in every household. The most interesting aspect of creating a harmony between these two polar opposites is the challenge of it. As for my work, I am fascinated with the combination of Western and Eastern backgrounds, and am blessed with the ability to create art that finds such a harmony. As an artist, what is your central preoccupation when dealing with a fashion project? Do your work methods differ? Art and fashion have different values. In art, the artist is central; he or she can create anything from his/her feelings. But for fashion, the customers take central stage. The artist has to juggle between customersâ&#x20AC;&#x2122; feedbacks, demands, and desires while remaining true to who the artist is. To continuously present the market


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with what is unique and popular is a challenge for any artist in the fashion industry. As for myself, I am already accustomed to making commercial art, so it naturally transforms into fashion. How does the consumerism associated with the fashion industry affect the way you work? The consumerism within the fashion industry requires me to keep an open eye for consumer trends and feedback. By doing so, I assure to offer what is regarded as popular and desirable by my customers. Yet, my Jacky Tsai’s fashion line aims to attract a niche-sophisticated group: a group of young art followers who are wise and cultured to appreciate art; charismatic young men with a unique character, who are independent and live under his own rules – men who chose not to wear brands but to wear art. The skull series is normally referred to as depicting a sort of beauty in death. Would you say that there’s this mystical dimension in your work? In the skull series’ simplest sense, it depicts rebirth. Flowers, nature’s symbol of life, blossoming on a skull, a symbol of death. In a complex Eastern point of view, the skull series play on the Buddhism religious belief of reincarnation. The series illustrate how the soul lives on upon the death of a physical body and is reborn into a new life of beauty. What kind of research precedes a new project for you? Is your working process more a priori, conceptual-driven? Or does experimentation with new materials also play an important role? My kind of research is one of a search for inspiration. Such inspiration arises from being sensitive in every detail of my life. Both a conceptual-driven and experimentation processes play important roles in

Interview by Julio Pattio

my art. A conceptual-driven approach focuses an artist’s creativity while experimentation adds the spice of a surprise. What does it mean for you to be a Chinese artist? Being a Chinese artist here in the UK means that I’m the only person of my kind – the only Chinese print artist of contemporary art. Though there were obstacles of a different cultural audience, I believe my Chinese background provides me with an opportunity and advantage to demonstrate the unique hidden Chinese traditions that remain, to a certain extent, an interesting mystery to the UK market. In your opinion, what is the most difficult challenge faced by an artist? The most difficult challenge faced by an artist is one of survival in the fast paced art industry. An artist’s survival is dependent on creativity, patience, and luck. In addition, a foundation of talent in an artist is critical to his/her survival, to create something charismatic enough to attract followers and complex enough to avoid imitation. A talent to continuously create something new, unique, and smart from one’s previous perfection. How would you define beauty? Beauty is one of a natural sense. Something is beautiful to me when it is created with attention to detail, something that allows the audience to appreciate and to feel the excitement from the smallest point. Beauty is within these elements and the positioning and in some cases the repositioning of them, capable to ignite an interest amongst viewers.

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Do you see the work of art as ephemeral and distinct, inevitably supplanted by something new? Or, rather, as a permanent, enchained mechanism of inquiry and questioning? Some of the greatest arts are permanent for generations to appreciate. As for myself, art is continuously changing by the psychological fact that consumers dislike to be bored by the same things. Consumer’s taste for art changes gradually along with social trends. Similarly, the art world changes progressively with the increasing open boundaries of canvas and art forms. In my eyes, art is continuously supplanted by new ones to better attune to consumer’s desires and experiment with new definitions of art.


Could you talk about any current projects of yours? Currently, I am presenting my skull series through a valued medium of Chinese historical lacquer carvings. The traditional Chinese practice of lacquer carving is precious in its labor intensive, talented craftsmanship and attention to detail that creates a masterpiece on an emperor’s standard. Today, the sacred practice is diminishing with only a few people capable to replicate such practice. Through this new medium, my purpose is to demonstrate the delicacy of my artwork and to preserve one of Chinese priceless heritage. Moreover, I am experimenting with other mediums with the mission to make my art affordable for ordinary people to value within their home collections. Mediums of ceramics, embroidery, and fashion will transform the high-class auction house art to commercial appreciations.







Porträt 05 - 9th of July, 2012 Copyright Erwin Olaf Courtesy WAGNER + PARTNER Berlin

SEP 6, - OCT 19, 2013 Erwin Olaf visited seven aesthetically and historically significant locations in Berlin such as the Olympic Stadium, the Schöneberg Town Hall and Clärchen Ballhaus.   The photographs are, as always, perfectly composed. The mood brings us back to the 1920s of Franz Bieberjopf‘s sinister, violent and steadily growing metropolis. The dark and cool precision of Olaf’s photographs is highly evocative and somewhat uncomfortable, as children on the edge of adulthood confront the viewer with domineering confidence. For Olaf, these children have more power over their world than the children of over a decade ago. Olaf’s simulations of various realities and intuitively built scenes gives rise to the remarkable tension in his imagery, which is bound to leave the viewer with as much discomfort as voyeurism. Galerie WAGNER + PARTNER Strausberger Platz 8, 10243 Berlin Tuesday-Saturday, 1pm-6pm Gallery admission is free


Marilyn; 28 years old; Las Vegas, Nevada; $30, 1990-92 Courtesy David Zwirner Gallery

SEP 12, - NOV 2 , 2013

DAVID ZWIRNER 525 West 19th Street, New York, NY 10011 Tuesday – Saturday, 10 AM – 6 PM Gallery admission is free

Taken just over twenty years ago in Los Angeles in the vicinity of Santa Monica Boulevard, Hustlers is considered to be one of Philip-Lorca diCorcia’s best-known series. It features male prostitutes posing for the camera for a fee loosely equivalent to what they would charge for their sexual services. In 1993, twenty-one works from Hustlers were on view at The Museum of Modern Art, New York, marking diCorcia’s first museum solo exhibition The exhibition at David Zwirner presents forty photographs from the series, including fifteen works newly produced and shown for the first time



Vincent van Gogh. Self-portrait, Dec 1886 - Jan 1887. Oil on canvas, 39.5 x 29.5 cm. Collection Gemeentemuseum Den Haag, The Hague, The Netherlands

SEP 26, - NOV 29, 2013 Van Gogh in Paris explores the years of 1886 to 1888 when Vincent Van Gogh was living and working in Paris. It is during this time when he underwent his critical transition from the dark, somber works of his Dutch influenced work towards the bright colours and expressive handling for which he is best known today.  Van Gogh’s work is surrounded by a carefully researched, and rarely public, selection of work from Monet, Pissarro, Toulouse-Lautrec and Gauguin, whom Van Gogh would have seen during his time in Paris. In addition to exploring the influences of Van Gogh’s contemporaries, the show also focuses on the importance of Japanese prints in his work.

EYKYN MACLEAN 30 Saint George Street, London W1S 2FH Tuesday-Saturday, 11am - 4pm Gallery admission is free and booking is essential due to anticipated demand. For ticket information:

UTOPIA Ltd. RECONSTRUCTIONS by HENRY MILNER Vladimir Tatlin, Letatlin. Courtesy GRAD Gallery for Russian Arts and Design

SEP 21, - DEC 20 , 2013

GRAD Gallery for russian arts and design 3-4a Little Portland Street, London W1W 7JB Tuesday-Friday 11am – 7pm, Saturday 11 am – 5pm Gallery admission is free

GRAD presents an exhibition of Soviet-Era avant-garde work reconstructed for a contemporary audience. Utopia Ltd. reimagines original blueprints in three dimensions. Henry Milner creates striking sculptures based upon the geometric experiments of EL Lissitzky, Aleksandr Rodchenko, Vladimir Tatlin and Gustave Klucic. And Milner summons forth the Constructivists, accepting their open invitation to continue experimenting with forms and materials.