93 Piccadilly, London, W1J 7NQ,
16 - 28 April 2018
Private View : Tuesday6pm, 17th April
"The mind is its own place, and in itself can make a heaven of hell, a hell of heaven"
- Paradise Lost, John Milton, 1667
'After Eden' celebrates the diversity and richness of the natural world and hints at its fate and potential decline at the hands of man. Mehta Bell Projects are pleased to present a carefully curated collection of artists that explore these concepts, investigating the complex relationship between man and nature and the potential consequences of the human pursuit for knowledge and power. 'After Eden' uses the fall of man after his banishment from paradise, as a starting point for a broader discussion about the state of the world we live in today.
Artists Orlanda Broom and Kristjana Williams create immersive compositions of lush vegetation and exotic flora and fauna, capturing in both paint and hand-cut paper the alluring power and joy of nature. Williams’ use of Victorian cartography depicts an intricately carved map of the world, thriving with plants, flowers and exotic animals. Amongst this dense landscape the roaming flamingos, insects, leopards and birds are competing for the land and are pushed to the edges of the frame, suggestive of man’s encroachment on the landscape and the threat to the animals’ natural habitat. With issues of over development, logging, human overpopulation etc, humanity’s excessive consumption is having potentially catastrophic consequences to our planet. How much longer until these creatures are out of the picture completely? Furthering this idea are the monumental watercolours by Thai artist Tawan Wattuya who deftly illustrates a leopard with this delicate medium and minimal brushstrokes, emphasising the leopard’s majesty and yet hinting at its fleeting and endangered presence. Lauren Baker’s red deer skull is a poignant and stark pause for reflection; captivatingly painted in vibrant colours, it provides a ‘memento mori’ highlighting nature’s transience and its threat at the hands of man. It manifests connotations of a hunting trophy and man's mistreatment of animals as recreational or ornamental objects at our disposal. Jane Ward manipulates digital photographs by dissolving the ink by hand, leaving traces of previous forms, implying man’s manipulation of the landscape and suggestive of a sense of memory and the passage of time. Her work is meticulously composed from fragmented images that are repeatedly broken down and collaged, creating imaginary land and cityscapes, hinting at an otherworldly Eden-like place, shattered and infinitely altered by time and humanity.
Central to the exhibition is the theme of the consequential fallout as a result of human actions. This is perhaps best illustrated through the character of Eve, who was punished for introducing original sin to the world, although she was duped by the evil serpent. It is her defiance and quest for knowledge that are largely held responsible for the fall of Eden, and so through her representation we discuss the role of humankind in the condition of the world today. Nick Archer depicts Eve as an innocent young girl in his lusciously painted ‘Eden’. She innocuously wanders through a verdant landscape, however, the deep, foreboding sky envelops the figure, and she is almost swallowed up by the triffid-like flowers and vegetation. Amongst this beautiful otherworldly scene, seductively flecked with gold-dust, the viewer is aware of an impending sense of doom, conscious of the devious serpent lurking in the depths of Eden and his inevitable encounter with the unsuspecting Eve. This raises questions of how intentional the harm caused to earth has been by man, whilst also being suggestive of how apprehensive we are as a society of our advancements and their ramifications. The symbol of Eve is further explored in the work of Marc Quinn, as he presents the hallucinatory face of Kate Moss, arguably the archetype of modern beauty, endowed with a reverential and goddess-like quality, evocative of Eve as the first woman and “the mother of all the living”. Her beauty which captivated Adam, and eventually contributed to the fall of Eden, is implicitly explored in the enchanting photographs by Anouska Beckwith, where a beautiful girl’s hair is carried by birds – an ‘earth mother’ interpretation of the figure of Eve. In ‘Aura’ a female nude lies across a rocky landscape, surrounded by a halo-like form surrounding her body, created with meticulously sewn embroidery thread through the actual photograph. However, the figure’s pose and stark nudity suggest submissiveness and possible surrender, a resignation of her fate and the consequences of her actions in Eden. Kamolpan Chotvichai’s photograph of the female form embodies the notion of female desirability and sexuality that was prevalent throughout the story of Eden. Her photograph of the female figure is printed on canvas, and then shredded away with fine strips of the canvas suspended from the picture plane. Striking in its ‘V’ shaped composition with the female's legs suggestively parted; this work alludes to the female form and its sexuality, a factor that Adam and Eve became shamefully aware of after their loss of innocence. The implications of physically shredding away the female form remind us of the curse of physical pain in childbirth that Eve is given from God as a results of her actions, and broadly asks the question of whether there is always a price to pay for man's crusade for advancement. The depiction of nature and desire is surreally captured in Taiwanese artist Ting Cheng’s quirky installation, incorporating photographs and a neon work. These four works touch on issues of religion, nature and sexuality. The neon piece ‘I am your F(o)l(l)ower’ poses the question: is Eve a subservient follower of man, or is she the flower, empowered by her prowess, beauty and ability to procreate? This work hints at the subtle power play between man and woman that echoes the Genesis narrative.
The idea of the inevitable downfall of paradise is subtly explored in the works of Peihang Huang. Frequently inspired by images from the media, the artist seduces the viewer with rich swirls of vibrant oil paint, in a vivid colour palette that belie the darker subject matter she depicts. In ‘The Boy’s’ we see the abstracted and blurred outline of a young child, depicted in a flurry of dynamic brushstrokes and streaks of colour that suggest a hazy recollection of a memory or image. On closer inspection this familiar image presents itself – derived from the heart-wrenching photograph that flooded the news in 2016 of the Syrian boy pulled from the rubble in the aftermath of an airstrike. Syria, once a flourishing country and nostalgically considered a paradise, is all but destroyed through the act of war. Man’s destruction of itself and not only nature through his hungry pursuit of power, is evocatively portrayed in this emotionally charged work. If man continues in this vein what will remain of our world? In the surreal and intimate paintings by Tom Shedden, a strange and hybrid version of paradise is depicted. In 'Adrift' a human skull dominates a scene of tropical paradise, evocative of the inevitably dark cost of man's colonisation. In 'Armadillo' snow falls over armadillos hanging from palm trees. This disorientating scene once again contains opposing elements that are ambiguous and hint at a sense that something is not quite right. At the centre of this composition we see a baffled man who looks up in bewilderment at what he has engendered. Benjamin Thomas Taylor presents us with a painting-by-numbers depiction of the word 'Happiness', ironically juxtaposed against the background of a picture-perfect green landscape. His work suggests atonement as we try to compensate for what we have now lost. Are we paying the price for man’s insatiable quest for natural resources, globalisation, the destruction of the natural world in the pursuit of happiness? By now having to 'paint by numbers' to create an artificial version of paradise, have we lost the very soul of our world? It suggests a regret as we try to fill the void through a simulation of paradise, when it was there right in front of us all along.
‘After Eden’ encourages a dialogue on the potential hazards and misgivings of the world we live in, and investigates the consequences of our actions in these deeply troubled times. On a voyage through the exuberance of nature and its infectious energy, these works also pose a valuable reminder of the temptations and risks that are ever present and ask that we be mindful that paradise can be lost.
Benjamin Thomas Taylor
Women Artists 1 st International Biennial of Macao
Mulheres Artistas 1ª Bienal Internacional de Macau
2018-03-09 - 2018-05-13 3rd Floor 三樓專題展覽廳
Jointly organised by the Macao Museum of Art (MAM), under the auspices of the Cultural Affairs Bureau, and Albergue SCM, the exhibition “Women Artists – 1st International Biennial of Macao” features 142 works from the 1970’s up to present created by 132 women artists from 23 countries and regions, including paintings, silkscreen printings, drawings, sculptures, installations and videos, among others. This exhibition aims to enhance the reputation of contemporary female artists and show the impact of their creative works on society and culture, as well as reveal the diverse roles of female identity, the multiple interpretations of women and artistic practices that transcend gender differences.
The opening ceremony of the biennial will be held on Thursday, 8 March, at 6:30pm, on the 3rdfloor of the MAM and is open to the general public.
Women artists from Mainland China, Macao, Hong Kong, Taiwan, South Korea, Japan, East Timor, Russia, India, Iran, Angola, Guinea-Bissau, Sao Tome and Principe, Cape Verde, Portugal, Spain, United Kingdom, Georgia, Brazil, United States and Australia, among other countries and regions, were invited to participate in this biennial, which also includes works by female artists from the MAM’s collection. These artists are from different generations, regions and cultural backgrounds, their personal feelings and creativity are different, and their works will show the public the unique female art world.
The exhibition “Women Artists – 1st International Biennial of Macao” is open until 13 May 2018. The Macao Museum of Art, located at Avenida Xian Xing Hai, NAPE, is open daily from 10am to 7pm (no admission after 6:30pm), including on public holidays and closes on Mondays. Admission is free. For more information, please visit the MAM website at http://www.MAM.gov.mo. For enquiries, please contact MAM through tel. no. 8791 9814 during the opening hours.
Macao Museum of Art
Address: Av. Xian Xing Hai, Macao
Tel: (853) 8791 9814
Peihang Huang’s background as a migrant in the UK and her family’s history of diaspora, has led her to develop a body of work that examines the relationship between culture, society and the media.
In her recent work from her latest collection “Past & Present”, she focuses on challenging our perception of reality by exploring the hidden relationships between the visual documents of the human experience.
Her color palette has a strong east-Asian influence, provoked by internet subculture. Starting with collages of photographs gleaned from historical sources and everyday media, in this case, Google images from Chinese civil war, contemporary forced migrations and random daily life holiday elements, Peihang looks for the subtle associations that persist through time and space with a sense of humor. She recreates a world that is both familiar and yet at odds with our experience, questioning our relationship to history and how our perceptions are constructed.
Last year Peihang Huang was invited to the “Future Island-Start Art Fair Project, 2016 ” at the Saatchi Gallery. This lead her to the “The Future and Potential of Taiwanese & Japanese Contemporary Painting, 2016” in the Museum of Tokyo University of Arts in Japan, which is part of the “The Spotlight Taiwan Project, 2016”, sponsored by the Ministry of Culture Taiwan.
“Future Island-Start Art Fair Project” was commissioned by START Art Fair as part of their program; exhibited in the vast space, Gallery 10, at the Saatchi Gallery.
Peihang Huang’s large-scale triptych painting “Candy House” was one of the most memorable works in START; and she joined a successful panel discussion lead by the fair director Niru Ratnam, accompanied by Hsiao-chi Tsai and Jag Mehta, one half of the Mehta Bell Projects curatorial partnership. This fascinating discussion gave insight into the artists' practices, the cultural context of this compelling region, and the influences and experiences contemporary Taiwanese artists encounter today.
About JingLu Gallery
Founded by Yao Liu and Ching-Ju Cheng in 2014, Jing-Lü Gallery is located in the heart of Taipei, Taiwan.
The gallery is dedicated to establishing the careers of local emerging artists, exhibiting those whose works reflect new and innovative developments in contemporary art, focusing on themes specific to Taiwan, Hong Kong, China, Japan and South-East Asia.
With Wen-Tsao Lin and Patrice Chou as Artistic Director and Curator, respectively, the gallery is both engaged with local communities, and international artists, scholars and curators, bringing emerging artists to Asia under our International Exchange Program.
The fourth edition of START runs 14-17 September 2017. The fair is held at the Saatchi Gallery in the Duke of York HQ building on King's Road in Chelsea, London.
VIP Preview 13th September 15:00-20:00 (By Invitation Only)
Thursday 14th September 11:00 - 18:00 Public Opening
Friday 15th September 11:00 - 18:00 Public Opening
Saturday 16th September 11:00 - 18:00 Public Opening
Sunday 17th September 11:00 - 17:00 Public Opening
The Pier-2 Art Center /Kaosiung, Taiwan
Open: Mon to Thu: 10.00-18.00 Fri to Sun/National Holidays: 10.00-20.00
週一至週四 10am-6pm；週五至週日及國定假日 10am-8pm
Location: The Pier-2 Art Center - Dayong C5
售票資訊: 憑票入場 | 單人當日進場149元，年齡12歲以下或身高150公分以下之幼童，與持身心障礙手冊及必要陪同者，請出示相關證明文件正本，得免票進場。詳情請洽C5、C7-2、B8、駁二哨船頭售票點。
If, today, in the 21st century, deep in every heart dwelled a princess or a hero, what would they be like?
Push open the door of childhood memories to find fairy tales one simply never getting tired of re- reading; cartoons one never ever getting bored of watching, which are sweet recollections of a child; Princess Dismay always being able to win the love of Prince Charming, and common people persecuted by evil forces always being able to get rescued by heroes, never failing. Images of princesses and superheroes are superb, whose inspiring and diehard attitude have burnt into the imaginations and longings for this world in childhood.
We children, however, are meant to grow up. The truth will only emerge when sugar coatings of reality are peeled off layer after layer. Outdated princess syndromes and hero dreams gradually impact on people’s childhood memories.
Most of today’s well-known stories are from Grimm's Fairy Tales, which is a collection of folktales, myths, and legends first published in 1812 by the Grimm brothers, Jacob and Wilhelm. Because the original stories were too controversial for people to accept, the two brothers kept revising, re-editing and toning down the parts not regarded as suitable for children. However, its important value of its touch with social realities and exploration of humanity was deprived at the same time.
The exhibition, “Childhood Memories Collapsed”, will be inviting 8 contemporary artists in Taiwan, through their artwork, to explore modern versions of well- known fairy tales and superheroes in real life.
To tear down the illusion of perfection in the hope of bringing out hidden truths. A counterattack is a force to recover lost ground. While we believe that every story has a happy ending, how will realities counterattack?
Artists: Angela Chen、林慶芳Lin Ching-Fong、游孟書You Meng-Shu、黃瑞貞Huang Jui-Chen、黃沛涵Huang Pei-Hang、黃鈺軒Huang Yu-Hsuan、陳傑強TAN KENT KEONG、張凱翔Chang Kai-Hsiang
參展藝術家: Angela Chen、林慶芳Lin Ching-Fong、游孟書You Meng-Shu、黃瑞貞Huang Jui-Chen、黃沛涵Huang Pei-Hang、黃鈺軒Huang Yu-Hsuan、陳傑強TAN KENT KEONG、張凱翔Chang Kai-Hsiang
The Future and Potential of TAIWANESE & Japanese Contemporary Painting [The Spotlight Taiwan Project 2016] 台湾・日本芸術文化交流事業 （台湾文化光点計画） 2016 年 /
The Future and Potential of TAIWANESE & Japanese Contemporary Painting
[The Spotlight Taiwan Project 2016] -Sponsored by Ministry of Culture Taiwan
台湾・日本芸術文化交流事業 （台湾文化光点計画） 2016 年
■会 期： 2016 年 10 月 15 日（土）～10 月 25 日（火） 計 11 日間〈予定〉
■開館時間： 10:00～17:00（入館は 16:30 まで） ■休館日： 無休
■The Future Possibility Contemporary Painting of Taiwan & Japan
■Museum of Tokyo University of Arts. Symposium
■15th October 2016- 25th October 2016
■ 10:00～17:00 (Last entry 16:30) ■ Open on Sunday/Saturday
Future Island captures the forward-thinking and unique identity of the vibrant contemporary art scene in Taiwan. Each artist investigates notions of identity, environment and the unique position of Taiwan in a contemporary context. These artists seek to create an independent and striking visual language that communicates their sense of self, and engages with the social and political influences and traditions that have infiltrated their culture. Whilst Future Island features some already well-established artists from the region, true to START's ethos of "Emerging Artists and New Art Scenes",
Future Island also highlights talent yet to be discovered from this fresh art scene, allowing savvy collectors the chance to catch these rising stars, as they embark on their rich careers.
Especially commissioned by START art fair as part of their program of Special Projects Future Island will dominate the entire Gallery 10 in the immaculate Saatchi Gallery. Mehta Bell Projects are delighted to make a return to the art fair with this unique exhibition, alongside Future Island we will be hosting an engaging panel discussion. Director Wang of the Taiwanese Ministry of Culture will inaugurate the panel discussion which will be lead by Fair director Niru Ratnam. He will engage in a discourse surrounding this exciting art scene, accompanied by artists Peihang Huang and Hsiao-chi Tsai and Jag Mehta, one half of the Mehta Bell Projects curatorial partnership. This fascinating discussion will give an insight into the artists' practices, the cultural context of this compelling region, and the influences and experiences contemporary Taiwanese artists encounter today.
Future Island 15th - 18th September
Private View 14th September by invitation only
Panel Discussion 15th September 4 - 6pm RSVP essential
Gallery 10, Saatchi Gallery, Duke of York's HQ, King's Rd, London, SW3 4RY
Private View: 6:30-8:30, 7th April 2016
(RSVP for PV required, please contact to guarantee your entrance..)
Grace Belgravia (Private Membership Club) London
11c West Halkin Street, Knightsbridge SW1X 8JL
Organized by Mehtabell Projects
To suffer is one thing; another thing is living with the photographed images of suffering, which does not necessarily strengthen conscience and the ability to be compassionate. It can also corrupt them. Once one has seen such images, one has started down the road of seeing more – and more. Images transfix. Images anaesthetize.”
Susan Sontag, ‘On Photography’, 1979
At first glance, Taiwanese painter Peihang Huang’s paintings are enchanting and irresistible, with their swathes of rich oil paint, dynamic brushstrokes and pastel hues. Upon closer inspection, darker elements surface; an aeroplane fractured in two, the devastation of an earthquake or avalanche, scenes from a refugee camp. Huang’s practice consists of the multiple aspects of her imagination, her perception of reality through media images and the physical process of painting. She references familiar and often iconic images from the mass media and weaves these events or incidents into an imagined painterly scene, reflecting the artist’s parallel universe and her re-visioned reality. Huang filters the images through her own imagination, perhaps as a way of processing the negative aspects of human nature, or to digest life’s harsh realities. The world she creates hovers between a visionary realm, the unreal, and a fragmented interpretation of the modern world. The paintings are dream-like, almost hallucinatory, highlighting the beauty and joy of the visual experience, yet the viewer is not able to escape the sinister undertones of the image’s origins. The overall effect is a dichotomy between a seductive and an apocalyptic representation of the world we inhabit and how we respond to the crises and adversities of life in the 21st century.