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Pace Gallery opens summer group show at Entertainment building in Hong Kong
Alfred Jensen, The River Diagram: Lo Shu, 1971. Oil on canvas, 152.4 x 152.4 cm© Alfred Jensen, courtesy of Pace Hong Kong.

HONG KONG.- Pace Hong Kong announced the opening of summer group show at Entertainment building on Queens Road Central, Hong Kong, from 24 July through 04 September 2014. The show comprises the works of Agnes Martin, Alfred Jensen, Hiroshi Sugimoto, Hong Hao, Li Songsong, Liu Jianhua, Robert Irwin, Yin Xiuzhen, and Zhang Huan.

The exhibition showcases a painting by Alfred Jensen from the 1970s depicting Lo Shu Square, a traditional Chinese numerical system passed down from Holo Culture in China. As Jensen juxtaposes numbers with graphs, an exquisite symmetry is formed. The clash of conceptual and visual depth reveals Jensen’s distinctive style, wavering between abstract and pop art. By overlapping Eastern and Western wisdom, a new perspective is introduced in Jensen’s painting; his paintings are sublime in conception, color and extreme complexity. In dialogue with Jensen’s painting, Zhang Huan’s painting stands out with an extraordinary, bold visual language. Inspired by Tibetan religion and culture, Zhang renders his emotions into hysterical, whimsical landscapes on canvas. Not only does Zhang work with oil paint, he also incorporates the sacred medium of incense into his historical drawings, attaining a high level of spirituality.

Conversely, Agnes Martin speaks with her minimalistic style; influenced by Daoism and Chinese philosophy. The legendary abstract painter blends in ‘nets’ into her paintings; a symbol of quiet thoughts in Daoism. Martin’s work revolves around the idea of inner emotions, displaying a state of emotional perfection yet unable to achieve wholeness in tranquility and satisfaction. Hiroshi Sugimoto also utilizes Eastern values in his photographs. A lightning bolt and sea horizon photograph is being exhibited in this show, both signifying Zen. The stillness of the image conveys the power of calmness and explores the eternality of time.

Li Songong deconstructs China’s political and historical landscapes, in search for a new cultural social identity. Li translates factual reality in the image into an abstract language on the canvas, revealing a new perspective on the story. Simultaneously, Robert Irwin narrates the aesthetics of light and philosophy through his installation. Irwin explores the notion of senses and experience in virtue of blurring the boundaries between reality and imagination. Irwin and Hong Hao place in dialogue two and three-dimensional objects. Through the act of scanning, Hong transforms three-dimensional objects into two-dimensional objects, challenging the social values bestowed upon them and modifying aesthetics of the mundane.

Liu Jianhua displays a series of ceramics, exerting the potential of complexity and purity in the medium. Liu challenges conventional ideas on tools, he emphasizes on their cultural significance instead of its functions. While Yin Xiuzhen works with clothes collected from people, as she sees them as a ‘second skin’ of each person. The amalgamation of fabrics stitched together discloses memories and affections carried on them.

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