Art Basel Hong Kong 2017
Hall 1C Booth 10
21–25 March 2017
Kerlin Gallery is pleased to announce its participation in Art Basel Hong Kong 2017.
In Booth 1C10, the gallery will present a selection of work by Liam Gillick, Siobhán Hapaska, Callum Innes, Merlin James, Liu Ke, Jan Pleitner and Zhou Li.
b. 1964, Aylesbury, England
Liam Gillick is one of the most prominent and important figures to have emerged in international contemporary art since the mid-1990s. The diverse forms of his art—ranging across sculpture, installation, film-making, writing and other, widely varied, collaborative projects—often allude to pivotal moments in the history of modern and postmodern art. In particular, the profound, dual influence of minimalism and conceptualism is evident both in his recurrent sculptural use of sleek modular forms (strictly colour-coded based on the RAL system) and in his continued commitment to more ‘dematerialised’ modes of practice (his many texts and talks are, for example, understood as integral elements of his art). For more information on Liam Gillick, click here.
b. 1963, Belfast, Northern Ireland
Siobhán Hapaska continually reconsiders the role of the object in contemporary sculpture. At the core of Hapaska’s work is a consideration of human relations. Accepting all the difficulties of our current global condition and its often violent opposing forces and conflicting ideologies, her work strives to find a position of balance and a sense of equilibrium. Hapaska goes about this with a dazzling array of materials, each loaded with history and multiple readings. These materials are persuaded into complex relationships of both potential energy and harmony. Often enigmatic in form, each work or installation betrays a sober exploration of emotion that is undercut with a sense of humour and always devoid of cynicism or pessimism. For more information on Siobhån Hapaska, click here.
b. 1962, Edinburgh, Scotland
Callum Innes is among the most significant abstract painters of his generation. His paintings are highly disciplined but also uncertain spaces, combining the controlled authority of monochrome geometric forms with ever-present traces of fluidity and an always-apparent tendency towards formal dissolution. Central to his distinctive artistic process is a dual activity of painting and ‘unpainting’. Innes begins by applying densely mixed dark pigment onto a prepared canvas before then brushing the wet surface with turpentine: strategically stripping away sections of the painted space before it has entirely settled and solidified. In an ongoing series such as his Exposed Paintings, solid square blocks of deep, complex black are accompanied by lighter zones of varying, more transparent colour – from dioxazine violet to cobalt blue to Veronese green – each separated section being the contingent outcome of Innes’s methodical erasure of the painting’s primary material substance. For more information on Callum Innes click here.
b.1960, Cardiff, Wales
Merlin James’ intensively worked and generally small-scale canvases encompass a wide variety of subject matter including empty interiors, rural landscapes, architecture and, more recently, scenes of sexual intimacy. Often distressed, pierced, cropped or heavily overpainted, these works refine and renew many of painting's most time- honoured concerns - genre and narrative, pictorial space and expressive gesture, the emotive resonance of colour and texture. His apt description of the painterly project of an admired forebear, Alex Katz (James is also an accomplished and widely published critic), is equally applicable to his own practice, i.e. he continues to play the grand, complex game of Western painting while reflecting a fully contemporary consciousness of the modern and postmodern disjunctures of history and culture. For more information on Merlin James, click here.
b. 1984, Oldenburg, Germany
Jan Pleitner creates striking and expressive abstract painting driven by subconscious thought. Often painted in short bursts of time, or even marathon single sittings, the works are full of movement and energy, with jolting lines pulling the eye up and down the canvas. Pleitner’s highly physical approach to painting sees him scrape through layers of paint as readily as he builds them up, resulting in a highly tactile canvas. His deep colour palette is lively and mercurial, with elemental patches, streaks and lines bleeding into one another and jostling for space aggressively, but not inharmoniously. Imbued with symbolic properties, they point towards a synesthesiac sensibility. For more information on Jan Pleitner click here.
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