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DTSTART:20210101T000000
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20260618
DTEND;VALUE=DATE:20260809
DTSTAMP:20260609T005828Z
CREATED:20260609T005828Z
LAST-MODIFIED:20260609T005828Z
UID:10022672-1781740800-1786233599@cultureplus.asia
SUMMARY:Tomo Campbell: Search Party
DESCRIPTION:Double Q is pleased to present Search Party\, the third solo exhibition by Tomo Campbell in Hong Kong. The British artist’s new paintings are inspired by 15th-century tapestries\, weaving together the language of tapestry\, patchwork\, and collage. The arrangement forms a continuous sequence in which his signature motifs and visual elements flow seamlessly from one work to the next. \nIn Tomo Campbell’s paintings\, motifs repeat and become lost in a sea of surrounding abstract marks. Hierarchies between layers are flattened. The viewer is sent on an endless search for meaning and connection. The British artist has long been inspired by tapestries\, and in recent years\, the display of his paintings has taken on the immersive nature of this sprawling\, traditional art form. In ‘Search Party’ at Double Q\, Campbell anchors the space around a single\, continuous L-shaped centrepiece that invites the viewer to journey into the work. Here\, a long line of canvases surrounds the viewer with trees\, unicorns\, and sculptural figures. \nThis form of display also evokes the traditional frieze format\, which is rooted in classical architecture and presents a continuous narrative. Over the centuries\, the frieze has evolved to a\nlooser compositional form\, which bends our understanding of how space and time exists within the canvas by turning the wall into an unbroken visual field. As such\, we become consumed by Campbell’s work\, becoming another person on the hunt rather than simply an observer. The continuity of the paintings in the installation invites the viewer to explore threads between each canvas\, no longer individual pieces but one connected whole. \nCampbell’s fascination with textile mediums such as tapestry and patchwork imbues his paintings with a unique quality. His inspirations are craft-based\, methodical\, and often communal in their creation. In Campbell’s paintings\, abstract marks are given the same weight as his figures\, while he leaves room for the viewer to project their own knowledge and experience onto the imagery that surrounds them. He is particularly drawn to late medieval references. ‘The Devonshire Hunting Tapestries’ at Victoria and Albert Museum and ‘The Unicorn Tapestries’ at The Met Cloisters are ongoing influences\, both made in the 15th century. Like Campbell’s paintings\, this period of tapestries eschews realistic perspective\, combining recognisable forms and looser visual elements. \nCampbell is also inspired by Peter Paul Rubens’ early 1600s sketches made for tapestries; these drawings are less refined than the Flemish artist’s meticulous paintings\, which allowed the weavers to input their own flair. Campbell’s paintings take a similarly informal approach to their mark making and subject matter\, suggesting the possibility of further artistic development rather than a neat end point. The blurred depth of Japanese woodcuts can also be observed in the artist’s installation\, where the eye is encouraged to move over the work rather than easily consuming it with one look. He also borrows the repeating\, covering and revealing aspects of patchwork. He finds parallels between the repeated act of stitching and passing down quilts through numerous hands and generations with his own style of painting\, as he takes emblems and icons from art history and adds something new each time. \nThis hunt to understand the visual scene is mirrored in the literal hunts suggested in his works. ‘Search Party’ becomes a feedback loop with no grand end\, as the eye travels over\nimages of boats in the forest and figures on horseback. The unicorn is a symbol of something that might or might not be there\, a stand-in for meaning. As the figures search for the unicorn\, the viewer may also search to get something out of the painting. Subjects\, viewers and artist are caught in an eternal quest\, looking for something that can never quite be found. The whole point is to keep looking. The artist himself never knows how a painting might conclude\, as he tapes areas and then reveals them\, he finds accidental contrasts and repetition. \nCampbell is interested in showing all the possibilities that can come from a limited number of starting points\, with different versions of the work powering one another. Shown together\,\ntheir minute differences can be observed and delved into. He hopes to encourage the viewer to keep looking\, frustrating their need to settle on one easy understanding. Ultimately\, his\nwork captures the frustration but also joy of the hunt\, when finally finding what you are looking for can be a let-down. Instead\, his works revel in a constant state of searching\, mirroring the pleasure that can be found in keeping the hunt going throughout life.
URL:https://cultureplus.asia/event/tomo-campbell-search-party/
LOCATION:Double Q Gallery\, 68 Lok Gu Road\, Sheung Wan\, Central and West District\, Hong Kong
CATEGORIES:Painting
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260318
DTEND;VALUE=DATE:20260510
DTSTAMP:20260318T170300Z
CREATED:20260318T170300Z
LAST-MODIFIED:20260318T170300Z
UID:10022452-1773792000-1778371199@cultureplus.asia
SUMMARY:Luca Sára Rózsa: Last Trip to the Amazon
DESCRIPTION:The exhibition Last Trip to the Amazon shows the latest works of Hungarian painter Luca Sára Rózsa\, one of the most talented in her generation. \nThe artist\, from the beginning of her career\, focused on Western philosophical and religious heritages\, the deep analysis of beliefs about the origins of human psychology and behavior. Her works present humankind partly as beings of animal origin\, and recall motifs of stereotypical representations of religious beliefs. Thus\, she could integrate Greek and biblical traditions about the descriptions of the birth of humankind and the patterns of human relations\, like love\, loneliness or interdependency. \nThe landscapes and the nearly naked figures recall an ideal state and existence which is either before or after the conflicts\, the contradictions of civilization\, the overdominated technological development\, pollution\, or the devastation of wars. The vision of nature on her images makes us feel a tropical climate that gives a comfortable temperature and vegetation\, a paradise where there is no danger lurking. The humans in her works seem to be still—or again—in between an animal and evolutionary development; their bodies recalling the anatomy and movements of zoological beings. Even so\, their movements\, bodily gestures\, and eye contact show interactions\, which are the keys to understanding the symbolism of her images. \nTo perceive her works\, the viewer has to be open to noticing the psychological signs of the images\, which are universal\, in spite of the Western culture historical roots. The narration of the images recalls stories\, situations\, and emotions which are timeless\, existing already in the far past and exists also in the contemporary world. The painting models situations\, focusing on interaction by simplifying the circumstances to the core of the actions. \nThe recent exhibition shows a new series of the artist\, where she experiments with extending the limitations of painting by presenting a ceramic object and an embroidery in the form of installations. The topic that connects the artworks leads us to the adaptation of personal memories from her experience of an ideal family trip to the Amazon region in 2004. Being a teenager\, they made an excursion by boat on the river\, experiencing the isolated landscapes and vegetation\, recalling the fabulous myths of how human and nature coexisted in ancient times. Luca Sára Rózsa found old photographs of this journey\, which gave motifs for the nature backgrounds of her works to present her traumatic understanding of our contemporary world. The project is confronting the artist with the different mythical beliefs about the importance of water\, the losses related to the changing circumstances of nature and a past personal constellation of living\, and parallels with the dramatic political\, economic and environmental changes of the last decades. \nThe artist used this emotional experience to present this series of works\, where the symbolism speaks about attachments\, separation\, the closeness and distances of human bodies\, and how this general relation becomes universally related to the transcendent. Thus\, the paintings\, the ceramic face\, the embroidered female body with living plants\, and the Western collapsible icon-formed painting become the expression of the same meaning: who we are and what we have to do with each other to survive the troubles of the everyday.
URL:https://cultureplus.asia/event/luca-sara-rozsa-last-trip-to-the-amazon/
LOCATION:Double Q Gallery\, 68 Lok Gu Road\, Sheung Wan\, Central and West District\, Hong Kong
CATEGORIES:Painting
ATTACH;FMTTYPE=image/webp:https://cultureplus.asia/wp-content/uploads/2026/03/Luca-Sara-Rozsa-Last-Trip-to-the-Amazon.webp
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20250918
DTEND;VALUE=DATE:20251102
DTSTAMP:20250909T100550Z
CREATED:20250909T100550Z
LAST-MODIFIED:20250909T100550Z
UID:10021931-1758153600-1762041599@cultureplus.asia
SUMMARY:Ewa Partum: Conceptual Feminism
DESCRIPTION:A pioneer of conceptual art\, Ewa Partum’s work is inseparable from feminism challenging the social inequalities\, the patriarchal system\, and women’s representation in art. Since the early 1970s\, she has challenged the societal systems that dictate how women should behave\, appear\, and occupy public space. In her practice\, the personal is political—not as a slogan\, but as a lived\, enduring artistic investigation. \nThis first solo exhibition in Asia brings together Partum’s works across photography\, film\, mixed media\, and works on paper\, offering viewers an opportunity to see the breadth and depth of her contribution to the intersection of conceptualism and feminist discourse.
URL:https://cultureplus.asia/event/ewa-partum-conceptual-feminism/
LOCATION:Double Q Gallery\, 68 Lok Gu Road\, Sheung Wan\, Central and West District\, Hong Kong
CATEGORIES:Multimedia,Photography
ATTACH;FMTTYPE=image/jpeg:https://cultureplus.asia/wp-content/uploads/2025/09/Ewa-Partum.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20250719
DTEND;VALUE=DATE:20250824
DTSTAMP:20250805T220320Z
CREATED:20250805T220320Z
LAST-MODIFIED:20250805T220320Z
UID:10021758-1752883200-1755993599@cultureplus.asia
SUMMARY:Reflections on Being
DESCRIPTION:Double Q is pleased to present Reflections on Being\, a group exhibition that reflects on a person’s identity that is a blurred construction of the internal and the external world. Each of the eight artists brings a different perspective on the idea of self-image\, creating a richly layered view on the topic: Zsófia Antalka\, Ewa Czwartos\, David Farcaș\, Shuang Jiang\, Elena Rivera-Montanes\, Rita Süveges\, Ivana Vozelj and Karolina Żądło. \nSince ancient civilizations\, humans have explored this tension which became a blueprint in our understanding of a person’s existence. This duality is present everywhere: from the separation of body and soul\, mind and body\, as well as reason and emotion. In Greek philosophy\, Plato was among the first to explore this according to whom the soul was free from the body being immortal. In Chinese philosophy\, this duality is referred to as yin and yang\, where opposite forces are seen as dependent on each other\, and it is a dynamic balance that humans aim to achieve. \nThe artists present in this exhibition have mastered the challenge and evolved through it\, inviting visitors to reflect on their own stories through their works. They reveal their world through the paintings and sculptures present at the show\, while keeping something for themselves that remains hidden. What they reveal functions as thought-provoking door-openers to the audience\, and what they kept hidden awaits personal interpretation.
URL:https://cultureplus.asia/event/reflections-on-being/
LOCATION:Double Q Gallery\, 68 Lok Gu Road\, Sheung Wan\, Central and West District\, Hong Kong
CATEGORIES:Painting
ATTACH;FMTTYPE=image/jpeg:https://cultureplus.asia/wp-content/uploads/2025/08/doubleqgallery-Reflections-on-Being.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20250315
DTEND;VALUE=DATE:20250427
DTSTAMP:20250411T000245Z
CREATED:20250411T000245Z
LAST-MODIFIED:20250411T000245Z
UID:10021530-1741996800-1745711999@cultureplus.asia
SUMMARY:József Csató: Behind the Curtain\, A New Landscape Again
DESCRIPTION:In József Csató’s new series\, there is a barely noticeable shift from his previous work: his creatures are slowly moving away from their natural habitat. Although in many of his paintings these mushroom-like\, plant-animal hybrids still dwell in their own gardens\, forests or underwater realms in a proliferating and carnivalesque manner\, we can observe this gentle migration towards our ordinary spaces. As the outside and inside merge in Csató’s works\, that’s emphasized by the sometimes more upfront\, other times more obscure motifs of curtains and doors\, the beings leave the groves of the forest and take their exuberant presence somewhere else: in our homes. Are they helpful souls or harmful spirits? Do they resemble the brownies or hobgoblins from Scottish folklore who perform household chores after the family goes to sleep? Are they malicious shapeshifting tricksters? Or do they refer to those moments when an object suddenly resembles a strangely familiar shape – a face for instance?  
URL:https://cultureplus.asia/event/jozsef-csato-behind-the-curtain-a-new-landscape-again/
LOCATION:Double Q Gallery\, 68 Lok Gu Road\, Sheung Wan\, Central and West District\, Hong Kong
CATEGORIES:Painting
ATTACH;FMTTYPE=image/png:https://cultureplus.asia/wp-content/uploads/2025/04/Screenshot-2025-04-11-at-8.00.18-AM.png
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20250118
DTEND;VALUE=DATE:20250223
DTSTAMP:20250210T234929Z
CREATED:20250210T234929Z
LAST-MODIFIED:20250210T234929Z
UID:10021347-1737158400-1740268799@cultureplus.asia
SUMMARY:Kateřina Ondrušková: Blue-Green Eyes
DESCRIPTION:Kateřina Ondrušková’s first solo exhibition for Double Q\, Blue-Green Eyes\, presents the latest series of paintings created during 2024. The title of the exhibition itself evokes the duality of perception – blue as the colour of inner melancholy and restless reflection\, green as a symbol of life\, all-encompassing nature and organically controlled cycle. These two positions are the way through which the painter has long viewed the world. This duality then resonates not only in the colour palette and techniques she uses\, but also in the emotional and conceptual layers of her work\, which links nature and her personal feel of the world. Contemplative exploration of nature\, memories and human emotions has long been inherent in her work. \nThe scenes of Ondrušková’s displayed paintings are deeply rooted in the motifs of nature\, but at the same time they go beyond its simple representation. The gardens\, wetlands and lakes represent a kind of perfect environment that invites to pick flowers\, moments of quiet solitude\, rest or undisturbed observation of the buzzing and humming – the desire to dwell\, linger and blend in with everything around. However\, the scenes are imbued with their own narratives the moment we notice the human figures that often accompany the various species of animals. All of this\, in fact\, transforms the canvases from mere mirrored landscape paintings into scenes interpreting the mental space of human experience\, which is often much more complex and intimate. \nThe tones and textures of Ondrušková’s canvases are processed with the aforementioned sensitivity to their emotional undertones. The distinctive brushstrokes\, the scraping of paint and the final use of spray paint layer the compositions in exactly the way we live or relive the vibrant and breathing vitality of these scenes. The play between the visible and the hidden is therefore an important part of Ondrušková’s work – figures\, animals and plants appear and disappear in transparent layers\, alluding to the fleeting quality of memories and experiences. This softening also emphasizes the intertwining of phenomena\, their multiple layers and frequent ambiguity. Although narratives are present\, they always remain partially unspoken. \nA good example is the painting Anthill. The volatility of exuberant youth is depicted in a calm contrast to the teeming anthill in which the unknown figure lays their palms. This is linked to an old (perhaps Bohemian?) tradition according to which this act is supposed to ensure eternal youth and fertility to the one who does so. This meeting of different human temporalities with natural events in which community is more important than the individual life journey is enhanced by the depiction of butterflies\, flighty fragile creatures that often do not survive more than one month. \nOther flying animals\, often water birds\, appear in the gloom or darkness in Ondrušková’s other paintings. The painting Guards shows a swimming woman accompanied by a whole flock that leads her in the direction of the water flow. Animals\, the river and human beings merge into one – one masks and protects the other\, in fact\, in several canvases we can also find humans’ closest animal partner\, the dog. The alternation of day and night is an important part of this series of paintings. The work Hair Washing is an almost ritualistic glimpse into a private moment of taking care of one’s own body\, when one dissolves into the other again\, in a nocturnal\, almost magical tonality. The canvas Wetlands\, in turn\, depicts a young couple in the ambivalence of modernity and age-old nature – the phosphorescent cap beats into view\, along with an empathy for how comfortable it would be to lie down in the damp soil. \nBroader questions about our relationship to the world around us are also suggested by the use of paint scraping in the drawing moments of Ondrušková’s work. This is particularly evident in the hair of the characters\, the leaves of plants or the body of a slug (Mom’s Hair Clip).  This painterly gesture can again be perceived by the artist as placing attention on the flow of unified energy and the repetition of universal shapes inherent in all living things. The characters in Ondruskova’s work dissolve as if they were simultaneously part of the world and outside of it. There is more of a depiction of various emotions in the reverie of paintings such as the pastel Meadow. This is ultimately underlined by the canvas Blue-Green Eyes\, which suggests that to see nature is to see oneself in it. \nKateřina Ondrušková’s exhibition is thus a concentrated reflection on the act of seeing and experiencing. The paintings\, with their layered textures and rich palette\, recall the interconnectedness of things and invite us to look more closely and remain in the space that emerges when we momentarily pause.
URL:https://cultureplus.asia/event/katerina-ondruskova-blue-green-eyes/
LOCATION:Double Q Gallery\, 68 Lok Gu Road\, Sheung Wan\, Central and West District\, Hong Kong
CATEGORIES:Painting
ATTACH;FMTTYPE=image/png:https://cultureplus.asia/wp-content/uploads/2025/02/Screenshot-2025-02-11-at-7.47.55-AM.png
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20240601
DTEND;VALUE=DATE:20240625
DTSTAMP:20240529T052158Z
CREATED:20240529T052158Z
LAST-MODIFIED:20240529T052158Z
UID:10020846-1717200000-1719273599@cultureplus.asia
SUMMARY:The Garden of Fragility
DESCRIPTION:Double Q Gallery is pleased to present The Garden of Fragility\, a group exhibition bringing together new works by three female artists from Central and Eastern Europe. The exhibition focuses on the biology of the female body and identity\, as well as natural processes such as growth\, florescence\, and maturation. The work of all three artists is characterised by an emphasis on glimpses of softness behind structure\, hidden references brought to light by the motifs\, and the integration of form and reference. \nTaking her drawings of human bone tissue as a starting point\, the suspended installation by Hungarian-born artist Zsófia Antalka (b. 1994) is made of glass beads and reproduces the intricate patterns of osseus matter\, exploring and representing biological processes associated with the female body. Bone tissue consists of cells and the extracellular matrix – it is the only type of connective tissue in the body where minerals are gradually incorporated into the (soft) material in between cells. As a result of this process\, bone tissue becomes extremely rigid and resistant\, allowing it to serve as the supporting structure that holds up the human body. In female bodies\, the interior density of the bone tissue gradually increases between ages twenty and thirty until it reaches its maximum density. Antalka draws a parallel between this biological phenomenon with mental and psychological processes\, such as the experience of individuality and the crystallisation of identity. Predominantly a woman’s sense of self-identity likewise reaches its established\, mature state during this period of her life. The artist presents these biological\, mental\, and psychological processes as taking place in parallel: the skeletal system formed out of bone tissue provides the framework for the physical body\, just as identity forms the basis for immaterial existence. For Antalka\, these parallel processes are currently the most important points of reference in her life and artistic practice. \nUkrainian-born artist Maria Kulikovska (b. 1988) uses her own body as the central element in her work\, repeatedly reproducing it in the form of sculptural replicas made from a variety of natural and artificial materials. Her preferred materials are natural and artificial substances that radically differ from those typically used in sculpture\, including salt\, milk\, sugar\, plaster\, epoxy resin\, and even ballistic soap\, a material used in the testing of weapons. Her compositions draw attention to the biological changes experienced by the female body\, the temporality of the flesh and the body\, the material principle\, as well as the debates surrounding women’s position in society. The bust on display here refers back to the iconographic tradition of the hortus conclusus. In art history\, images of this kind depicted the Virgin Mary and the Baby Jesus in a beautiful\, idyllic walled garden. The earliest examples are to be found in medieval miniatures\, after which they appear in Renaissance paintings. In each case\, the garden is a symbol of absolute purity and innocence. Kulikovska’s self-casted bust with flowers enclosed can be interpreted as a contemporary paraphrase of this iconographic tradition\, which is also closely associated with the Old Testament Song of Songs. The other works on display are from the artist’s latest watercolour series\, Letter to Eva (2023)\, which reflect on one of the most fragile of female principles\, the inheritance of motherhood\, and the reality of the artist’s life as a refugee. \nThe paintings of Czech-born artist Kateřina Ondrušková (b. 1991) are almost always connected with nature\, which emerges as the distinctive theme connecting individual cycles of paintings\, either as the principal motif or as a secondary motif. She draws inspiration from cultivated nature and landscaped gardens\, while the imagery of her extraordinarily personal works is often combined with melancholic fragments of memory. The essence of her paintings lies in their powerful spontaneity\, inspired by the biological processes that take place in nature\, such as growth\, florescence\, and maturation. Her works reflect the explosive vitality of nature. Almost without exception\, her series of paintings feature animate and inanimate natural phenomena – flowers and stones – that portray different aspects of human life. She often combines natural motifs and close-ups of flower gardens with depictions of figures\, scratched into the layers of paint\, that emerge mysteriously from the background or disappear into it. Her work frequently takes direct inspiration from her personal mythology: besides natural motifs\, the compositions in her latest series include depictions of her son and time spent with him in nature.
URL:https://cultureplus.asia/event/the-garden-of-fragility/
LOCATION:Double Q Gallery\, 68 Lok Gu Road\, Sheung Wan\, Central and West District\, Hong Kong
CATEGORIES:Painting
ATTACH;FMTTYPE=image/png:https://cultureplus.asia/wp-content/uploads/2024/05/Screenshot-2024-05-29-at-1.20.53-PM.png
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20231213
DTEND;VALUE=DATE:20240204
DTSTAMP:20231219T030638Z
CREATED:20231219T030638Z
LAST-MODIFIED:20231219T030638Z
UID:10019109-1702425600-1707004799@cultureplus.asia
SUMMARY:Posthuman Abstraction
DESCRIPTION:Double Q Gallery is pleased to present a duo exhibition featuring Wanda Czełkowska and Zuza Golińska. The exhibition brings together works by two Polish artists from two different generations and focuses on what are essentially definitive concepts in the 20th century evolution of material and mass-based sculpture\, such as sculptural representation and abstraction\, and the duality of mass and anti-mass. \nMultidisciplinary artist Zuza Golińska (b. 1990) works primarily with sculpture and installation to create robust\, spatial interventions that investigate the relationship between humans\, public space\, and architecture. Her practice is rooted in a variety of visual references from a kind of raw\, brutalist post-industrial materiality to dystopian science fiction and pre-modernism. Inspired by the radical Arte Povera movement of the 1970s\, her materials are often chosen as symbolic elements of gendered socio-political narrative around labour and industry\, such as recycled steel from a shipyard in her hometown of Gdańsk. \nWanda Czełkowska (1930–2021) is one of the most important figures in Polish avant-garde art\, yet her oeuvre has only recently begun to attract the attention of the international canon of art history. Her work – which remains largely unknown outside Poland unlike that of her contemporaries Alina Szapocznikow and Magdalena Abakanowicz – encompasses a variety of mediums: she produced sculptures\, installations\, paintings\, drawings\, and photographs\, although the elimination of the boundaries between different artistic forms and mediums was a characteristic feature of her work. \n 
URL:https://cultureplus.asia/event/posthuman-abstraction/
LOCATION:Double Q Gallery\, 68 Lok Gu Road\, Sheung Wan\, Central and West District\, Hong Kong
CATEGORIES:Painting,Sculpture
ATTACH;FMTTYPE=image/jpeg:https://cultureplus.asia/wp-content/uploads/2023/12/doubleqgallery-zuza-goli-ska-crawler-2023.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20230510
DTEND;VALUE=DATE:20230618
DTSTAMP:20230507T234506Z
CREATED:20230507T234506Z
LAST-MODIFIED:20230507T234506Z
UID:10018552-1683676800-1687046399@cultureplus.asia
SUMMARY:Botond Keresztesi: The Garden of the Magician
DESCRIPTION:Double Q Gallery is pleased to present a solo exhibition of new paintings by Hungarian artist Botond Keresztesi (b. 1987\, Târgu Mureș\, Romania)\, his first with the gallery. For the title of his debut Hong Kong exhibition\, Keresztesi drew on a historical reference – an artwork of the same name (The Garden of the Magician) painted by one of Hungary’s most significant artists\, Lajos Gulácsy\, between 1906 and 1907. \nBotond Keresztesi is one of the most distinctive painters of the post-digital era in Eastern Europe\, and as a member of Generation Y\, pioneered an innovative and ambitious way of thinking about painting. Like his contemporaries\, he has been exposed since childhood to the determinative visual world of video games and electronic devices. His artistic explorations are informed by this defining experience and are directed towards the blurred nature of the boundaries between the digital and analogue worlds as well as the continuous dialogue between these two distinct spheres of reality. \nKeresztesi studied painting at the Hungarian University of Fine Arts between 2007 and 2012 and works chiefly in the medium of painting. As the starting point for his paintings\, he uses photographs of everyday objects and applied arts. These photographs are often manipulated using picture-editing software or sometimes combined with his own photography. The planar and spatial dimensions\, both truth and fiction\, are combined to create a collage-like painted surface. For his latest series\, the inspiration is Art Nouveau object culture. This style of art\, which flourished between 1890 and 1910\, emerged as a reaction against the academic approach\, eclecticism\, and historicism typical of 19th-century architecture and decoration. It was often inspired by forms found in nature\, such as the sinuous curves of plants and flowers\, while another of its most important characteristics was its representation of dynamism and movement\, frequently expressed by means of asymmetry or whiplash lines. One of the main ambitions of the representatives of Art Nouveau was to do away with the traditional distinction between the applied arts and fine arts (especially painting and sculpture). \nKeresztesi’s latest series\, with its references to the forms and archetypes of Art Nouveau object culture\, is characterised chiefly by the dialogue between pairs of contrasting\, almost counteractive\, opposites. He has borrowed from the everyday items of Art Nouveau object culture including jewellery\, brooches\, furniture\, clocks and building ornamentation. The distinctive forms that he finds and lifts from their original context\, however\, are first cut out as silhouettes using picture-editing software\, after which the surfaces of the resulting shapes are filled with fluid\, almost psychedelically swirling pictorial vortices. The viewer is initially bewildered by the contrast between the static nature of the silhouette-like shapes that define the compositions and the animated movement that fills the interior of these shapes. Keresztesi intensifies this visual confusion even further by contrasting the hard\, acrylic base of the landscape-like backgrounds with the softness of the floating\, cloud-like wisps\, painted by air brush. \nThe layering of images\, the distortion of the digital and analogue shapes\, and the blurring\, obscuring and multiplication of details\, are a comment on the kind of image dumping currently under discussion in the theoretical discourse on post-digital painting that operates with visual interferences. Using superimposed layers of visual archetypes and references to the history of painting and art\, Keresztesi creates a cyborg aesthetics\, most readily identifiable with the genre of science fiction\, which lends his painterly universe immediate recognisability and in which the analogue and the digital\, the cybernetic and the organic\, are essentially united. Keresztesi’s cyborg aesthetics drew on an additional historical reference – the ‘eosin’ ceramic glaze invented by a famous Hungarian porcelain factory named Zsolnay. The use of iridescent eosin glazes which shimmer between gold and rose chafer green is closely associated with Art Nouveau in Hungary.
URL:https://cultureplus.asia/event/botond-keresztesi-the-garden-of-the-magician/
LOCATION:Double Q Gallery\, 68 Lok Gu Road\, Sheung Wan\, Central and West District\, Hong Kong
CATEGORIES:Digital Art
ATTACH;FMTTYPE=image/jpeg:https://cultureplus.asia/wp-content/uploads/2023/05/Botond-Keresztesi-The-Garden-of-the-Magician.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20230119
DTEND;VALUE=DATE:20230226
DTSTAMP:20230112T014035Z
CREATED:20230112T014035Z
LAST-MODIFIED:20230112T014035Z
UID:10018312-1674086400-1677369599@cultureplus.asia
SUMMARY:Down in the Woods\, Up to the Sky.
DESCRIPTION:Double Q Gallery is pleased to present our first exhibition of 2023\, “Down in the woods\, up to the sky.”⁠\n⁠\nCurated by Domenico de Chirico\, the group exhibition is inspired by Henry David Thoreau’s 1854 book\, “Walden; or\, Life in the Woods\,” which is about returning to nature and simplicity. \nIn conversation with Domenico de Chirico: \n”When I decided the exhibition topic and its title\, I immediately worked on the selection of artists based on their artistic practice and their own both intellectual and aesthetic flexibility. All invited artists have in some way a very strong connection with themes such as nature and gestures. \nThe relationship between all the works in the exhibition has been structured on the basis of the request to understand and to interpret the theme of the exhibition in a very free way without ever betraying the artistic identities of each of them. They were all called upon to interpret an apparently very common but currently extremely important theme which is crucial to the fate of the world. Each of them has elegantly and generously given us a unique vision in harmony with all the others. We could consider this exhibition as a new way of breathing.”
URL:https://cultureplus.asia/event/down-in-the-woods-up-to-the-sky/
LOCATION:Double Q Gallery\, 68 Lok Gu Road\, Sheung Wan\, Central and West District\, Hong Kong
CATEGORIES:Painting
ATTACH;FMTTYPE=image/png:https://cultureplus.asia/wp-content/uploads/2023/01/Down-the-woods.png
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20221014
DTEND;VALUE=DATE:20221113
DTSTAMP:20221017T065659Z
CREATED:20221017T065659Z
LAST-MODIFIED:20221017T065659Z
UID:10019039-1665705600-1668297599@cultureplus.asia
SUMMARY:Sebastian Hosu: In My Inner Place
DESCRIPTION:Double Q Gallery is pleased to present In My Inner Place by Sebastian Hosu\, the Leipzig-based artist’s first solo exhibition in Asia which features 10 paintings and drawings from his latest body of work. In My Inner Place opens on 14 October and runs through 12 November. \nAs a starting point for creating his images\, Hosu often uses self-made recordings from his own family albums which capture moments like summer walks in the woods\, sports events or trips with friends. However\, according to the artist\, the basic reference of his art is almost exclusively the relationship between figures and landscapes (natural space). He is interested in the magical moment when a figure moving in the landscape becomes almost one with the natural space and seemingly dissolves into its surrounding environment. Hosu strives to represent and express this endless fusion of figures and landscapes. In his compositions\, figures and landscapes not only merge\, but also enter into a symbiotic relationship with each other where the existence of one is unimaginable without the other. \nThe vigorous brushstrokes of his canvases and the fiercely bold lines of his charcoal drawings oscillate subtly on the border between representational realism and abstract depiction. His monumental figures – sometimes alone\, sometimes in pairs or larger groups – become part of the landscape that surrounds them. A sense of space is created by the “horizon landscape” that remains compositionally recognizable in almost all of Hosu’s paintings. This “horizon landscape” divides the canvas into upper and lower halves. The luminous blue above and the lush green below sensitively evoke the beautiful blue skies and the rich green forests\, meadows or fields\, respectively. By applying thick layers of paint\, the chromatic landscape references are just as visually exciting as the way in which Hosu’s figures dissolve into their surrounding environment. \nThis exhibition showcases Hosu’s latest body of work\, which can be divided into three groups in terms of both composition and technique. For his oil paintings\, Hosu classifies them into two groups regardless of their size. The first group follows a compositional principle of the “horizon landscape\,” which divides the canvas into two halves. In the second group\, Hosu takes abstraction to the extreme and merely marks the space and the dissolving figures with gestures of allusion. The third and last group are the charcoal drawings which were made in parallel to the paintings to complement them. For Hosu\, the charcoal drawings are an extremely important medium of formulation and expression. He considers the charcoal paintings to be as important as the oil paintings for the exhibition. \nHosu’s paintings bring to life the entire genealogy and toolset of the history of European landscape painting during the 19th and 20th centuries. The artist not only seeks to explore the role that natural space can play in artistic expression\, but he is also equally concerned with the historical significance of figuration in painting. His works attempt to dissolve the hierarchy of genres that has been fossilised over the centuries between figurative and landscape art.
URL:https://cultureplus.asia/event/sebastian-hosu-in-my-inner-place/
LOCATION:Double Q Gallery\, 68 Lok Gu Road\, Sheung Wan\, Central and West District\, Hong Kong
CATEGORIES:Painting
ATTACH;FMTTYPE=image/jpeg:https://cultureplus.asia/wp-content/uploads/2022/10/Sebastian-Hosu-Falling-Up-2022-oil-on-canvas-200x230-cm.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20221014
DTEND;VALUE=DATE:20221113
DTSTAMP:20221017T065219Z
CREATED:20221017T065219Z
LAST-MODIFIED:20221017T065219Z
UID:10019038-1665705600-1668297599@cultureplus.asia
SUMMARY:Mátyás Erményi: Pine-Needle Tales
DESCRIPTION:Double Q Gallery is pleased to present Pine-Needle Tales by Mátyás Erményi\, the Hungarian artist’s first solo exhibition in Asia. The exhibition features eight paintings from the artist’s latest body of work. Pine-Needle Tales opens on 14 October and runs through 12 November. \nErményi was born in 1992 and graduated from university in 2017. The period since his graduation has been mostly determined by technical and material experiments. His most recent series can be technically characterized as a subtle oscillation between drawing and painting. His compositions are often reminiscent of phase drawings borrowed from the world of cartoon animations\, but he also prefers to operate with picture-in- picture editing. He prefers to use raw canvases for his large colourful easel paintings because the unprimed surface gives the acrylic paint an oil pastel-like\, graphic effect. \nHis work is primarily inspired by the aesthetics of Eastern European animated films. For decades\, the countries of the former Eastern Bloc region shared animated cartoons which originated from their own country. As a result\, several generations in the region grew up with the same cartoon characters and stories\, such as the Polish Bolek i Lolek\, the famous Krtek (or Mole) drawn by Czech animator Zdeněk Miler\, or the tale of the Hungarian fox cub\, Vuk. These cartoons were not only abundant in cultural references from the Soviet and post-Soviet eras\, but also fundamentally defined the aesthetic experience of several generations in Eastern Europe. \nAnthropomorphic\, coniferous pine trees are the protagonists of Erményi’s latest body of work presented at Double Q Gallery. There is also a subjective thread connected to Ermenyi’s trees in this series\, which connects back to the generation of the artist’s great-grandparents who once planted these pine trees in the yard of their multi-generational family home. Till today\, the artist and his family still sweep the falling needles of these pine trees from time to time. The pine trees appearing in the paintings are decorated in an almost festive way; the graceful\, dance-like movements of their branches reinforce their anthropomorphic character. \nIn addition to the compositional principle borrowed from animated sequence drawings\, the images also evoke the traditions of European landscape and still life paintings. Ermenyi’s works for this exhibition can be classified into three distinct yet compositionally related groups. The starting point is shapes built from outlines on raw canvas surfaces. Here\, the artist leaves the image space around the contoured composition empty and unfilled\, as is usual with the sequence drawings of animations. In the second group\, the shapes drawn with contour lines come to life saturated with colour\, but the artist also works on the spaces around the saturated shapes by filling in the backgrounds with tiny\, almost needle-like lines. This gesture is reminiscent of shading and leads to the saturation and animation of the “horror vacui.” In the third group of paintings\, only a few colours resembling outlines are visible from the monochromatic composition of forms made of dense\, needle-like lines. \nThe simultaneous observation of the three related compositional schemes allows viewers to experience the artist’s process – starting from sketches\, through colourful movement\, and lastly filling the image space in the spirit of “horror vacui.” During this process\, the needles that previously filled the spaces around the central composition become the protagonists of the foreground. In the Soviet era\, censorship controlled the region’s art and artists who drew cartoon animations could only create freely when they were drawing the backgrounds of the cartoons. The artist studied the visual and compositional world of backgrounds that would come to life in the animated tales of Eastern Europe. In Erményi’s view\, the impressions of the Soviet Union and socialist realism can be viewed through these backgrounds\, including their dense and melancholic colours\, their movement\, and their forest-like details which were sometimes composed of geometric elements.
URL:https://cultureplus.asia/event/matyas-ermenyi-pine-needle-tales/
LOCATION:Double Q Gallery\, 68 Lok Gu Road\, Sheung Wan\, Central and West District\, Hong Kong
CATEGORIES:Painting
ATTACH;FMTTYPE=image/jpeg:https://cultureplus.asia/wp-content/uploads/2022/10/Matyas-Ermenyi-The-Tree-and-the-Wind-2022-acrylic-on-canvas-140x110-cm.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20220826
DTEND;VALUE=DATE:20220925
DTSTAMP:20220822T053544Z
CREATED:20220822T053544Z
LAST-MODIFIED:20220822T053544Z
UID:10017976-1661472000-1664063999@cultureplus.asia
SUMMARY:Djordje Ivačković: Crouching Harmony\, Hidden Tension
DESCRIPTION:Double Q Gallery is pleased to present Crouching Harmony\, Hidden Tension\, a solo exhibition of the late French-Serbian artist Djordje Ivačković (1930 – 2012). The exhibition features eight paintings from the 1980s\, a period when Ivačković’s painting entered a new phase of development\, characterised essentially by more intense colours\, strong gestures\, and more complex compositions. Crouching Harmony\, Hidden Tension opens on 26 August and runs through 24 September. \nAs one of the most important elements of American culture in the post-World War II period\, jazz was a major medium for the spread of American influence in Eastern Europe. As Ivačković himself recalled\, “the Voice of\nAmerica radio station in Yugoslavia in the 1950s was ‘to blame’ for the influence West Coast jazz on me”. The young musician\, who at that time only drew occasionally\, was decisively influenced in his career when he encountered the works of the painters he had come to know – Schneider\, Soulages\, Mathieu\, Zao Wou-Ki\, then Kline\, De Kooning\, Pollock and other main figures of French lyrical abstraction and American abstract expressionism. What made the most lasting impression on Ivačković at these exhibitions was the analogy between his love of painting and jazz. \nIvačković spent more and more time painting and moved to Paris in 1961. After arriving in the French capital in 1963\, he organised his first solo exhibition at the Le Soleil dans la tête gallery. This was the beginning of his friendship and collaboration with art critic Jean Jacques Lévêque and other artists who\, similarly to him\, were involved in jazz music. He participated on several occasions in exhibitions that brought together painters inspired by American music\, and in the late 1960s he took part in one of the special multimedia evenings organised during Phil Woods’ tour of France. While Woods’ orchestra played\, Ivačković painted his large- format paintings in front of the audience. The link between jazz and his abstract painting was most evident in the 1960s\, but remained a constant and defining element of Ivačković’s artistic approach in the following decades. \nThe next period between 1972 and 1982 marked a turning point and a new era\, which the artist himself described as a period of conceptual painting. Although his gestural method remained evident\, Ivačković\nfocused on the structure of the painting and insisted that the artistic power of gestures and their pure relationship was the only content of the work. During this period\, not only was his outstanding talent recognised by French art critics\, but all the major French magazines and journals regularly published reports and reviews of his exhibitions and analyses of his art. It was also at this time that he became part of the Serbian and Yugoslav art historical canon in his own country.In the 1970s and 1980s\, his work toured Slovenia\, Macedonia\, Hungary\, Germany\, Italy\, Belgium\, Luxembourg\, the Philippines and New Zealand.
URL:https://cultureplus.asia/event/djordje-ivackovic-crouching-harmony-hidden-tension/
LOCATION:Double Q Gallery\, 68 Lok Gu Road\, Sheung Wan\, Central and West District\, Hong Kong
CATEGORIES:Painting
ATTACH;FMTTYPE=image/jpeg:https://cultureplus.asia/wp-content/uploads/2022/08/Djordje-Ivackovic-5-X-88_2-1988-oil-on-canvas-200x200-cm-3152.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20220826
DTEND;VALUE=DATE:20220925
DTSTAMP:20220822T052550Z
CREATED:20220822T052550Z
LAST-MODIFIED:20220822T052550Z
UID:10017975-1661472000-1664063999@cultureplus.asia
SUMMARY:Natalia Załuska: Continuous Structures
DESCRIPTION:Double Q Gallery is pleased to present Continuous Structures by Natalia Załuska\, the Polish artist’s first solo exhibition in Asia. Using collage technique to create minimalistic and structural paintings\, Załuska’s works appear as architectural images which transcend the boundaries of two-dimensional space. Continuous Structures opens on 26 August and runs through 24 September. \nStretcher\, cardboard\, acrylic paint – these materials represent Natalia’s permanent toolkit. Her creative process is not preceded by a sketch or plan\, the artworks are born there and then in her studio. The artist is intrigued by the possibilities of depicting structures\, and how one can illustrate the construction of the picture using monochrome colours\, or how the different layers alter the picture as a whole. \nThe exhibition showcases nine prominent works created by the artist from 2019 to 2022. These works of art are realised through an ever-changing stream of thoughts and ideas. Three smaller\, blue artworks\, from her paintings made in 2019\, are exhibited\, which are a larger step towards colours from her previous black and white works. The paintings are monochrome\, showing a pure and unmixed state of blue. Though minimalism still defines her art\, the works from 2020 are characteristically more colourful. Compared to her earlier paintings in a single colour tone\, the colours here appear in multiple shades\, in this particular case shades of blue. Her double-sided works from 2021 and 2022 have a sense of novelty when contrasted with her recognisable monochrome works\, which operated with simpler forms. However\, the idea is not entirely new\, as the artist has experimented with double sided paintings previously\, in 2017. \nDuring her creative process\, she does not move forward along a single straight line\, as she gives herself the opportunity to rethink and rework themes and works even a few years down the line. This type of return and experimentation results in a uniformly and consistently formed artistic career.
URL:https://cultureplus.asia/event/natalia-zaluska-continuous-structures/
LOCATION:Double Q Gallery\, 68 Lok Gu Road\, Sheung Wan\, Central and West District\, Hong Kong
CATEGORIES:Multimedia,Painting
ATTACH;FMTTYPE=image/jpeg:https://cultureplus.asia/wp-content/uploads/2022/08/Natalia-Zaluska-Untitled-2021-Mixed-media-collage-on-stretcher-cardboard-acrylic-charcoal-wood-metal-angles-140x110-cm-back.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20220617
DTEND;VALUE=DATE:20220717
DTSTAMP:20220613T055748Z
CREATED:20220613T055646Z
LAST-MODIFIED:20220613T055748Z
UID:10018451-1655424000-1658015999@cultureplus.asia
SUMMARY:József Csató: TREASURES\, TREES\, FIRE and BONES
DESCRIPTION:Double Q Gallery is pleased to present TREASURES\, TREES\, FIRE and BONES by József Csató\, the Hungarian artist’s first solo show in Asia\, featuring a new body of work completed in Csató’s quirky style that unites multiple painting genres. Using minimal and witty language\, the artist showcases a series of “Wunderkammers” containing daily objects that annotate people’s sufferings\, anxieties and everyday feelings. TREASURES\, TREES\, FIRE and BONES opens on 17 June and runs through 16 July. \nDrawing inspiration from the long history of European paintings and many of its traditional classifications such as still life\, landscape and portraits\, Csató’s treasure chests-like canvases construct surrealist scenes that explore the potential of nature-inspired forms and motifs. Strange fragments resembling plants\, anthropomorphic hybrid figures\, alongside geometrics reminiscent of pipes\, drops\, pots and freely invented “signs” emerge from the surfaces of his sensual paintings\, bursting with colours. For Csató\, these objects are the encyclopedic collection motivated by a desire for scientific and philosophical knowledge\, research and hoarding. \nCarrying both contemporary and Neo-primitivism traits\, Csató’s canvases are characterised by an archaic\, brutal and expressive language\, leading to the image spaces oscillating between drawing and painting. The surface of layered paint and their frottage-like reverse open the space to an enigmatic dimension – traces from the artist’s studio live on and are visualized within each painting\, as the studio wall’s texture is captured and imprinted on the canvas. \nIn the visual world characterised by humour and playfulness\, Csató combines the simplicity of form with various references in art history\, such as pop cultural icons\, surrealism\, and figurative and abstract elements. The Wunderkammer-like compositions often feature totemic figures and hybrids reminiscent of ancient\, prehistoric cultures and civilisations. In the exhibition\, snapshot-like glimpses of the referenced genres and prototypes are presented\, encouraging viewers’ curious eyes to linger\, discover and examine the hidden art historical references. By playing with forms\, and merging them into each other\, the vivid intersecting\, embracing movement leads both Csató’s and the viewer’s eye from one motif to the next\, from one image to the next.
URL:https://cultureplus.asia/event/jozsef-csato-treasures-trees-fire-and-bones/
LOCATION:Double Q Gallery\, 68 Lok Gu Road\, Sheung Wan\, Central and West District\, Hong Kong
CATEGORIES:Painting
ATTACH;FMTTYPE=image/jpeg:https://cultureplus.asia/wp-content/uploads/2022/06/Jozsef-Csato-Hiding-Treasures-2022-oil-on-canvas-150x210-cm.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20220617
DTEND;VALUE=DATE:20220717
DTSTAMP:20220613T055046Z
CREATED:20220613T054514Z
LAST-MODIFIED:20220613T055046Z
UID:10018450-1655424000-1658015999@cultureplus.asia
SUMMARY:Soft\, Hidden\, Exposed
DESCRIPTION:Double Q Gallery is pleased to present Soft\, Hidden\, Exposed\, the gallery’s first group show featuring three emerging female artists from Central and Eastern Europe: Karolina Bielawska\, Kateřina Ondrušková and Monika Žáková. With seven works from different painting classifications\, the exhibition annotates trends in abstract and figurative art from subtle\, sensitive and profound female perspectives. Soft\, Hidden\, Exposed opens on 17 June and runs through 16 July. \nThe exhibition’s variable presentation includes layered figural motifs extracted from fragments of observation and memories\, contradictorily complex creation of minimalism and Trompe l’Oeil paintings that deceive viewers. While the comprehensive historical references and recurring iconographical elements are woven into each other and combine formal languages and culture of the millennium generations by oscillating between figurative and abstraction. The creative positions of each work echo each other through the associations “soft”\, “hidden” and “exposed” evoke – characterised by the softness that emerges from behind the structures\, the hidden references revealed by motifs\, and the exposed use of forms and figures integrated within the pictorial spaces. \nPolish artist Karolina Bielawska (b. 1986) finished her study of Media Arts at the Academy of Fine Arts in Warsaw in 2015. Bielawska’s distinctive use of black and blue hues\, curved and angular abstract shapes and structures are often based on architectural and local historical prototypes\, including architectural motifs of iconic Polish modernist villas built between the two world wars\, for example\, the arches of balconies and staircases. Furthermore\, the asphalts and industrial paints she uses in her abstract paintings can also be interpreted as references to the inspiration of the architectural models. Her interpretation of simplicity and hard-edge painting is contravention by mixing various techniques and materials such as bituminous masses\, plasterboard\, enamels and varnishes\, pushing the classical painting boundaries toward installation. \nCzech-born Kateřina Ondrušková (b. 1991) graduated from the Academy of Fine Arts in Prague in the class of Josef Bolf in 2019. Working with natural motifs in her paintings\, especially flowers\, Ondrušková’s deeply personal art is primarily inspired by cultivated nature and built gardens\, sceneries of which she fuses with melancholic fragments of memories. She often combines close-ups of the referred natural formations and flower gardens with figures that mysteriously emerge or disappear into the background\, scratched into layers of paint. The superimposed\, overlapped\, hidden and translucent layers of images expand the perspectives in Ondrušková’s pictorial spaces and allow the viewers to come up with intuitive interpretations\, bringing narrative stories to life. \nAnother Czech artist Monika Žáková (b. 1987) graduated from the Academy of Fine Arts in Prague in 2012 in the class of J. Sopko. Emphasising the precise elaboration of themes\, Žáková’s distinctively minimalistic\, meditative and clean surfaces refer to trompe-l’œil painting\, a form that seeks to mislead the vision. Žáková is also fascinated by the interaction of materials\, especially canvas and paper\, while aluminium\, metal sheet and plaster are also materials she is known to work with occasionally. In recent years\, she has created remarkable combinations jesting between the borders of classical paintings and fine reliefs. In the artist’s own words\, her works “push the boundaries between surface\, space\, image and object through the act of creation”.
URL:https://cultureplus.asia/event/soft-hidden-exposed/
LOCATION:Double Q Gallery\, 68 Lok Gu Road\, Sheung Wan\, Central and West District\, Hong Kong
CATEGORIES:Painting
ATTACH;FMTTYPE=image/jpeg:https://cultureplus.asia/wp-content/uploads/2022/06/Katerina-Ondruskova-Picnic-with-Flowers-2021-acrylic-fix-and-oil-pen-on-canvas-130x115-cm-front.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20220506
DTEND;VALUE=DATE:20220605
DTSTAMP:20220425T105414Z
CREATED:20220425T105414Z
LAST-MODIFIED:20220425T105414Z
UID:10018166-1651795200-1654387199@cultureplus.asia
SUMMARY:Tomo Campbell: From Now On
DESCRIPTION:“I like to think of things in terms of cycles\, one thing becoming another and back again.” – Tomo Campbell \nBorn and currently based in London\, Tomo Campbell’s canvases blur the lines between figurative and abstract through rhythmic movements and romantic imagination. The artist has always been fascinated with invoking vagueness in his paintings\, encouraging viewers to create their own stories and discover their own meanings from his open-ended aesthetic journeys. In From Now On\, which opens on 6 May and runs throughout 4 June 2022\, Campbell continues his celebration of ambiguity and brings together eight new paintings that explore the cyclical nature of life. \nCampbell’s vivid compositions draw inspiration from a diverse array of source materials\, including Victorian etchings\, Ancient Greek vases\, and Flemish tapestries – all hidden within layers of fluid paint pulsing with kinetic energy. Traversing realms of history and myth\, his paintings offer multiple focal points that keep the eye wandering and draw the beholder closer in searching for hidden shapes and characters. The artist repeats motifs again and again to create shifting scenes\, which are often continuous and overlapping with one another. \nHe may zoom in on an image from the background of one piece and bring it to the foreground of another. Mythical heroes and creatures may flicker through the viewer’s mind as they appear and disappear from one pictorial space to the next. This sense of shifting back and forth between paintings generates a vibrating rhythm between activity and stasis\, subject and form\, clarity and confusion. \n‘From Now On’ is a phrase that cycles through Campbell’s latest body of work. ‘From’ represents the past\, ‘Now’ represents the present\, and ‘On’ represents the future. Campbell often paints surrounded by his own work\, elements of which make their way back into his newest paintings. The paintings themselves are propelled by their own momentum as one painting creates the starting point for the next. \nIt is a constant cycle\, summed up by the painting names and the exhibition title\, and more thoughtfully\, the hidden connections between the paintings\, and further reveals the artist’s circular perception in a rapidly changing world. The continuous mythical motifs and complementary colour palettes Campbell utilises throughout the exhibition dramatically transform the gallery space into somewhere that feels like a recurring dream. In doing so\, Campbell pushes the viewer into a dreamlike realm that mirrors and shadows our current social landscape. Like a pleasant wonderland\, each painting recalls the viewer towards a joyful state lost between reality and fantasy\, inciting viewers to embrace ambiguity as they seek to navigate and make sense of the world today. \n 
URL:https://cultureplus.asia/event/tomo-campbell-from-now-on/
LOCATION:Double Q Gallery\, 68 Lok Gu Road\, Sheung Wan\, Central and West District\, Hong Kong
CATEGORIES:Painting
ATTACH;FMTTYPE=image/jpeg:https://cultureplus.asia/wp-content/uploads/2022/04/Tomo-Campbell-All-Day-Long-2022-oil-on-canvas-150x140-cm-e1650883895716.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20220506
DTEND;VALUE=DATE:20220605
DTSTAMP:20220425T104414Z
CREATED:20220425T104414Z
LAST-MODIFIED:20220425T104414Z
UID:10018165-1651795200-1654387199@cultureplus.asia
SUMMARY:Márton Nemes: City In The Sky
DESCRIPTION:“I am amazed by the way Hong Kong is constantly growing in its geographically available space by penetrating deeper and deeper underground and higher and higher towards the sky.” – Márton Nemes \nBorn in Hungary and currently based in New York\, Márton Nemes is a multimedia artist who creates paintings\, sculptures\, installations and sounds. City In The Sky marks the artist’s first presentation in Asia\, featuring a new series of his cutting edge sculptural paintings inspired by the artist’s fascination with the cityscape. Contemplating modern life and social media phenomenon in metropolises like Hong Kong\, the series captures the city’s double-edged sword where excitement turns into escapism\, promising yet at times desolate. \nInitially inspired by the vibrant energy of technoculture and illegal warehouse parties in London\, where Nemes lived for several years starting in 2017\, this series underscores a distant fascination with Hong Kong’s dazzling skyline and ongoing architectural expansion. He translates this to his paintings by piecing layers of steel materials in multiple ways\, a technique central to his practice in order to go beyond the constraints of two- dimensional canvases. Always eager to innovate with new materials and production methods\, Nemes seeks to find new ways of disintegrating and rearranging the pictorial experience as reference to the escapist counterculture of the rave scene. \nInstead of using separate elements to build on the surface of his paintings beyond their frames\, Nemes assembles five layers of steel\, acrylic and mirror within the given image space. Reflective plexiglass and steel sheets\, mostly used on the surfaces of his earlier works\, are now moved from the foreground to the rear; by laser-cutting\, hollowing out and re-arranging the order of these layers\, he constructs an interior ‘image space’ amplified by its very reflection\, of which we glimpse through the steel with irregular voids. By interlocking these ‘image spaces’ into a mesh-like cage\, Nemes reveals a feeling of disconnect and desire to break away from urban life. As a result\, the series offers viewers a visual transcendence that is flushed with life\, energy and joy yet with a sense of anxiety\, sorrow and decay at the same time. \nAs a result of this layering\, Nemes operates not only with the negative and positive spaces that emerge from the surfaces\, but also from within the ‘emptiness’ composed between the reflective background and vibrant foreground. Visually\, these overlapping surfaces echo the sheer density of our own surroundings that have become part of our everyday life. He also makes reference to graffiti art – so common to urban street culture – through the use of spray paint and in this instance\, PVD coating. Similar to the artistic power of covering and destruction gestures exhibited in Gerhardt Richter’s Overpainted Photographs series (1980s)\, Nemes introduces variations in our perception towards his paintings that appear simultaneously dominating yet balanced. \n 
URL:https://cultureplus.asia/event/marton-nemes-city-in-the-sky/
LOCATION:Double Q Gallery\, 68 Lok Gu Road\, Sheung Wan\, Central and West District\, Hong Kong
CATEGORIES:Painting
ATTACH;FMTTYPE=image/jpeg:https://cultureplus.asia/wp-content/uploads/2022/04/Marton-Nemes-Hong-Kong-Paintings-05-2021-PVD-coated-stainless-steel-acrylic-canvas-wood-122x82-cm-6-e1650883333556.jpg
END:VEVENT
END:VCALENDAR