This is Asia
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Andrew James Art brings together artists from China, Japan and Korea for this exciting new show "This is Asia?" Many of the works in the exhibition contradict one another often showing what it is to be Asian whereas others prove hard to tell they are Asian and could come from any country in the world.
Does it even matter that this is Asian art? Would we think it is better or worse if we knew which country it came from? Good art should come first, nationality a distant second. This show hopes to highlight some leading works from the contemporary art world, be it established artists or new up-and-coming artists. It aims to show that Asian art can be as good as any art in the word and deserves to be called contemporary art rather than the next trendy country defining label.
Includes work by; Akino Kondoh, Chiho Aoshima, Dorothy M.Yoon, Feng Zhengjie, Han Yajuan, Hiroyuki Matsuura, Ken Matsuyama, Liang Binbin, Ling Jian, Liu Ye, Lin Jianrong, Miao Xiaochun, Sakuji Yoshimoto, Sheng Qi, Shin Youngmi, Shintaro Miyake, Sun Huiyuan, Xu Heng Yang Jing, Yang Maolin, Yang Shaobin, Yuichiro Ohmura, Zeng Lingxin, Zhang Xiaogang, Zhou Yilun
The Vernissage is on the 12th September from 6-9pm
Gallery closed on Mondays.
- City Weekend
says -
Artists from China, Japan and Korea join forces in this show about Asians' existence in the world. Though artworks in this show may contradict one another there, all pieces either express what it is like to be Asian, or aim to prove that Asian can actually come from about country in the world.
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Dear Cameron Thank you for taking the time to review the show, much appreciated. Andrew
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Asking Some Questions
Like everything else, art is becoming increasingly globalized, but does that mean leaving regional and national considerations behind? This exhibition aims to champion the view that contemporary art made in Asia should be seen as “contemporary art” rather than “contemporary Asian art.” The theme is a strange choice given how distinctly and irrefutably Asian most of the Chinese, Japanese, and Korean pieces are. Given that there is plenty of art coming out of Shanghai not readily identifiable as “Chinese,” a case certainly could have been made. However, a flashing Sickle & Hammer illuminating Coca-Cola-stamped red guards is neither universal nor creative.
Too many of the Chinese pieces are mired in the clichéd propaganda imagery. Anyone who has not gotten past the socialist-chic phase should just get their fix in the back alleys of Moganshan Lu. However, a notable and refreshing deviation from the norm is Yang Jing’s work reflecting on the nature and form of dolls, set against a classical backdrop. The doll paintings are among the few that transcend the Asian / Western art barrier that the exhibit is purportedly attacking. Moving along, Chiho Aoshima utilizes anime influences and graphic design to take the landscape genre in a chimerical new direction. Takashi Murakama’s 727 takes a monster that wouldn’t seem out of place on a graffiti wall and transposes it onto an gloomy abstract background. Despite some dangerously high levels of kawaii, many of the featured Japanese artists have staked out new territory. Likewise, Yang Jing and Xu Heng’s strong, emotional works give hope for a new direction in Chinese art. So is this Asia? Indubitably. The good and the bad. - Cameron Willard, Issue 19, Art Review