Posts Tagged ‘Chambers Fine Art’

Art | Nasreen Mohamedi Meets Taca Sui in New York

Friday, March 18th, 2016

Nasreen Mohamedi, Untitled, c 1975
Ink and graphite on paper
Sikander and Hydari Collection



Nasreen Mohamedi
The Met Breuer
NYC | USA
18 March > 5 June 2016

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Taca Sui: Steles – Huang Yi Project
Chambers Fine Art
NYC | USA
31 March > 28 May 2016



Taca Sui, Tomb of Prince Lu #2, 2015
Archival pigment print on baryta paper



One relatively young and having established his reputation fairly recently, the other being afforded posthumous, retrospective acclaim, parallels, contrasts and coincidences exist between their respective work and the life stories of two Asian artists of different generations, who almost certainly never met, but have shows opening in New York.

Indian modernist Nasreen Mohamedi (1937–1990) was brought up in Mumbai, often, like New York, described with the epithet ‘the city that never sleeps’. Fine art photographer, Taca Sui was born in Qingdao, like New York, albeit smaller, a port city of skyscrapers. In the mid-1950s, Mohamedi would travel to London to study at Central Saint Martin’s School of Art, while having attended the Central Academy of Fine Arts in Beijing in 2003, Taca went to the United States to continue his studies in 2005.

Taca Sui, Pagoda of Six Harmonies, 2015
Archival pigment print on baryta paper



Nasreen Mohamedi, Untitled, c 1975
Ink and graphite on paper
Sikander and Hydari Collection



The work of both artists is essentially monochrome, but whereas painter, photographer and draughtswoman Mohamedi, influenced by Russian suprematist Kazimir Malevich – a founding father of abstract art – among others, made non-representational paintings, semi-abstract photographs and drawings that bear no relation to Indian traditional art, Taca, who left college to assist American abstract expressionist painter Ronnie Landfield – well-known for his use of vibrant colour –produces work that is strongly rooted in China’s landscape, his images relate to geographic locations suggested in classical Chinese literature and are tied to the history, myths and religious traditions of ancient Han culture.

The calmness of mood in Taca’s work, and the reduction of the elements that make up each image, brings to mind Japanese minimalist Hiroshi Sugimoto’s photography, but the artists’ approach to and treatment of respective subject matter is entirely dissimilar. More redolent of the Italian futurist architect Antonio Sant’Elia’s drawings, Mohamedi’s graphic work has drawn comparisons with that of minimalist sculptor Carl Andre. It would be a mistake to label either Mohamedi or Taca as minimalist.

Nasreen Mohamedi, Untitled, c 1972
Gelatin silver print
Kiran Nadar Museum of Art, New Delhi



Taca Sui, Feilai Peak, 2015
Archival pigment print on baryta paper



On the road to success: their work transformed by their experiences abroad, neither artist completely abandoned their own country for life in the west. Nasreen Mohamedi, having worked for a time in Europe and after spending time in Bahrain, travelled extensively through India, Iran and Turkey, visiting Japan and the USA, before returning to India in the early 1970s to teach in the Faculty of Fine Arts at MS University in Baroda (now Vadodara), while Taca Sui is now based in both Beijing and New York.

Joined in spirit, located in disparate areas of New York, Nasreen Mohamedi opens today at Madison Avenue’s The Met Breuer on the Upper East Side of Manhattan, while Taca Sui: Steles – Huang Yi Project starts in two weeks’ time at Chambers Fine Art in Chelsea, afterwards the shows run concurrently.

All Nasreen Mohamedi images courtesy The Met Breuer
All Taca Sui images courtesy Chambers Fine Art


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The Blog’s publishers insist that all images supplied for publication in our posts are cleared for that use before being sent to us. Whether pictures are sent to us as email attachments or made available as downloadable files, any responsibility for fees that may, under any circumstances whatsoever, fall due, must be borne by the source supplier



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Art | Zhao Zhao: Unbroken Star

Friday, May 8th, 2015

Constellations No 11, 2015
Oil on canvas



Zhao Zhao: Constellations II
Chambers Fine Art / 前 波 画 廊
New York City | USA
15 May > 22 August 2015



Multi-media artist, Zhao Zhao 赵赵



In August 2012, Spiegel Online reported that China was cracking down on Ai Wei Wei protégé, Zhao Zhao. Meanwhile, top British art book publisher Phaidon’s blog, at the head of a post that posed the question ‘Is Zhao Zhao set to become the next Ai Wei Wei?’ showed an installation view of Officer, Zhao’s broken Chinese officer sculpture exhibited at Chambers Fine Art, in 2011. Ai Wei Wei (b 28 August 1957, Beijing, China), although forced to remain in Beijing, and Zhao Zhao – who worked with the latter for seven years – against all odds, and with continuing global support, enjoy phenomenal and well-deserved international success.

Since 2011, as well as featuring in numerous group shows around the world, Zhao Zhao (b Xinjiang, China, 1982), ignored by the Chinese press, has had the following solo exhibitions:

2012 Nothing Inside, Alexander Ochs Gallery, Beijing, China
2013 Zhao Zhao: Constellations, Chambers Fine Art, New York, USA
2014 Zhao Zhao: Uncertainty, Chambers Fine Art, Beijing, China
2015 Zhao Zhao: Omnipresent, Roberts & Tilton, California, USA



Constellations No 10, 2015
Oil on canvas



His forthcoming show, Zhao Zhao: Constellations II, is a continuation of the fragments theme, triggered by his involvement in a serious motor accident in 2011, when his head hit the windscreen of a car he was travelling in. Recovering, turning his misfortune around, he rescued the shattered glass and used the pattern of cracks caused by the violent impact as inspiration for his sculpture, Fragments (2007) – a steel slab assembled from numerous irregular pieces radiating from the centre. It appeared again in Untitled (2013), a painting of a possibly dead and probably raped, naked and spreadeagled woman in an exaggeratedly heavy and ornate, gilt frame, in which the glass has been violently broken, cracks spreading out from a point between the woman’s thighs.

For the Constellations series, with difficulty, and great personal risk – in China private ownership of guns is illegal – Zhao experimented with shooting bullets into glass. Having photographed each result, he stacked them, in different combinations, one on top of the other – the exhibition catalogue cover is a digital, composite photograph made up of thirty images – to create an illusion of space and depth. Afterwards, using a severely restricted palette, with Prussian blue as a common ground, against which the bullet holes resemble stars, he painstakingly reproduced a selection of these as finely-detailed, photo-realistic paintings. New works from the series, will be exhibited in Zhao Zhao: Constellations II at Chambers Fine Art.

Images courtesy of the artist and Chambers Fine Art


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The Blog is about art, architecture, books, design and gardens, and anything else that currently interests us which we think might interest you.

The Blog’s publishers insist that all images supplied for publication in our posts are cleared for that use before being sent to us. Whether pictures are sent to us as email attachments or made available as downloadable files, any responsibility for fees which may, under any circumstances whatsoever, fall due, must be borne by the source supplier



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