Feb 2019


affiche cocosmo

Les recherches de Jingfang Hao et Lingjie Wang sont le fruit d’une « exaltante alliance des contraires ».

Leurs oeuvres puisent aux racines de la culture chinoise et sont nourries de références à l’histoire de l’art occidentale. A la fois
conceptuelles et sensuelles, objet et processus.

Cette bipolarité, que l’on retrouve dans le taoïsme mystique originel sous la forme du Yin et du Yang, est davantage une façon d’être au monde qu’un système.

Chacune de leurs oeuvres repose sur un dialogue entre une conception cartésienne et mathématique, héritée de leur formation d’ingénieurs et d’un intérêt pour l’art conceptuel occidental, et une vision sensuelle et poétique du monde et de la nature liée à leur culture chinoise et à leur connaissance de la matière qui compose les objets qui nous entourent.

Dec 2018

Rolling Snowball


At 3:00 afternoon,on December 15, 2018.“Rolling Snowball·Nanjing”will be opened at AMNUA.This exhibition is led by Li Xiaoshan as the art director.Ineke Gudmundsson as the academic adviser and Chen Rui,Li Meilan are appointed as the curators.This exhibition will focus on the art works of 52 Chinese and foreign artists, including sketches,paintings,oil paintings,photography,installations,sculptures,performance,images and some comprehensive mediums.

Since 2010, “Rolling Snowball”project has been initiated by the China European Art Center and has been held for eleventh. The Rolling Snowball event brings together Chinese and foreign artists from different part of the world, whose fields span a wide range of media. This cultural exchange and cooperation has greatly enriched the culture, ideas and concepts of artists from all over the world, and helped them to refine their artistic views and redefine their relationship with the arts. This cross-cultural exchange is part of its thinking and is of great benefit to their work and connections at home and abroad.

International exchange is a nutrient for art itself. Art flows in every corner of the world. Cultural exchange can also be considered an art of perspectives. In the long history of intercultural relations, preconceptions and old narratives were tested, revised and adjusted through both dialogues and conflicts. In the best scenarios, we learn from one another and seek commonality despite differences, leading to deeper mutual understanding and greater mutual respect. The culture of the “other” is also like a mirror, reflecting our own cultural texture, so that we can look at ourselves more objectively through the perspective of the other. A richer perspective brings a broader perspective, and it allows us to become more aware of our own foothold in the broader world.

This winter, Let’s Rolling the Snowball in Nanjing!

Aug 2018

Minimal Light


Danysz gallery – Shanghai presents a group show of four contemporary Chinese artists this autumn. The title of this group show – Minimal Light, is inspired by a poetry of the legendary Canadian poet and singer Leonard Cohen “Anthem”. In this poetry, he writes: “there is a crack, a crack in everything, that’s how the light gets in.” Light from the crack is usually very small, but it represents a glean hope of survival. In this case, light becomes a kind of spiritual awareness.

In Minimal Light, you can discover Hao Jingfang & Wang Lingjie’s newest creations which come from the on-going project “Rainbow”. They have created several shapes of lakes facing of the danger of drying up. In this installation, light is brought in where refraction and reflection of the microspheres composes a rainbow for the viewers from different perspectives.

Minimal Light also presents several conceptual artworks by Song Xi. His video “Ode to Joy” recorded his performance. In the darkness, he patted the flies with electric flapper. Sparks are produced, and they are as beautiful and brilliant as fireworks. This light reminds us of a collection of poems Fireflies by Rabindranath Tagore. He once said: “You tiny, but you do not small.” Firefly is a small insect with weak light. However, once gathering lots of fireflies, they shine for the world to see.

Another key word of this group show is “minimal” which can be interpreted by Ma Lihua’s paintings. In his creation, the underlying language of white and sand is combined, through the interspersed handwriting, to combine a deep sense of space, forming a rhythm and feeling. Ma Lihua expresses the true spiritual world by means of an appropriate abstract image.

Jun 2018

The Cloud Atlas


The International Cloud Atlas, published in 1896, was compiled thanks to the research and classification work conducted by researchers like Jean-Baptiste Lamarck, Luke Howard and Ralph Abercrombie. It was the first publication to set out a nomenclature for clouds, using Latin names, which allowed all European meteorologists to work together. This was how names like  Cumulus, Stratus and Nimbus were applied to the different types of clouds, bearing witness to the establishment and recognition of meteorology in the 19th century. The theme of clouds has been present in iconography since Antiquity and has been a major source of inspiration over the centuries, particularly in painting and photography.

Symbolic, poetic, threatening, divine… clouds have played a central role in artistic representation. In the 21st century, they continue to fascinate numerous artists, whilst environmental and political issues have also come into play. The Cloud Atlas takes an approach that is both playful and sensory, arousing the curiosity of a broad audience, as it takes us on a geographical, sociological and philosophical journey.

The project encompasses the work of over twenty international artists, with photographs, daguerreotypes, neon works, lightbulb installations, videos, fabric sculptures, drawings and more.

Anne Immelé’s cloud flags ask questions about borders, in the same way as Marco Godinho’s cloud stamps raise issues of migratory politics and the movement of people over the past decade. The cloud composed of 6,000 lightbulbs created by the collective of Caitlind Brown & Wayne Garett invites visitors to play with a tree of light. Pollution and smoke appear in the work of Christophe Urbain, whereas Hoang Duong Cam denounces the systems of Asia’s megacities. Berndnaut Smilde creates ephemeral clouds. And whilst Emilie Faïf sets hearts beating, they are pierced by Marion Baruch. Shilpa Gupta imprisons them or speaks to the sky. Julie Guillem and Jean Gabriel Lopez recreate their own cloud atlas using historic processes.

Artist list : Marion Baruch, Hicham Berrada, Olaf Brzeski, Caitlind Brown & Wayne Garrett, Rhona Byrne, Hoang Duong Cam, Julien Discrit, Arpaïs du Bois, Latifa Echakhch, Emilie Faïf, Marco Godinho, Julie Guillem, Shilpa Gupta, Anne Immelé, Hao Jinfang & Wang Lijie, Feng Li, Jean-Gabriel Lopez, Johan Parent, Berndnaut Smilde, Christophe Urbain, Bruno v. Roels, Sophie Zénon.

Jan 2018

La lumière n’existe pas / Light does not exist


Après leur participation à la 14ème biennale de Lyon et au 62ème salon de Montrouge, Anne-Sarah Bénichou invite Jingfang Hao et Lingjie Wang pour une exposition personnelle à la galerie. Le duo d’artistes, qui vit à Mulhouse et travaille entre Paris et Shanghai, propose principalement des installations. Formés en tant qu’ingénieurs avant d’intégrer une école d’art en France et particulièrement sensibles aux changements indétectables dans la nature, qu’il s’agisse du soleil, des étoiles ou du passage du temps, Jingfang Hao et Lingjie Wang proposent une vision poétique de ces changements tout en les exposant à la vue de tous.

Pour l’exposition, plusieurs œuvres et installations qui constituent des temps forts dans leur travail ces dernières années seront produites, ré-activées ou présentées pour la première fois, avec pour angle principal la réflexion des artistes autour de la lumière. Intitulée « La lumière n’existe pas », elle fait référence à une citation de Francis Picabia : “Ce sont les mots qui existent, ce qui n’a pas de nom n’existe pas. Le mot lumière existe, la lumière n’existe pas.” Il s’agit ici d’interroger notre perception de la lumière, de la beauté et des illusions qu’elle peut créer.

Dec 2017

Les Faits du hasard


2017.12.09 > 2018.03.04
with Arcadi, as part of Némo, international Biennial of contemporary digital arts / Paris Île-de-France

as part of the year France-Colombia 2017, with the support of the Institut Français, and as part of the Paris-Tokyo Tandem

Intentional artistic accidents and poetic re-reading of a technological society seen in the digital age are at the heart of the next central exhibition of the international Biennial of digital art at the CENTQUATRE-PARIS, Les Faits du hasard. A way for Man to resume control over the machine?

The international Biennial of digital arts of Île-de-France, heir of the Némo festival, will return to its nerve centre of the CENTQUATRE for its second edition (December 2017 – March 2018) on the occasion of its big thematic and transversal exhibition: Les Faits du hasard.

Like for the two previous exhibitions, the artistic direction is co-signed by Gilles Alvarez, director of the Biennial and the event coordination of Arcadi, and José-Manuel Gonçalvès, director of the CENTQUATRE. A token of continuity for a programme that will once again inscribe itself in the large artistic mechanism of chance, the accidental and serendipity that was opened two years ago by the exhibition Prosopopées : quand les objets prennent vie. “Before, chance in art was error”, declared Gilles Alvarez. “But ever since Marcel Duchamp and quantum mechanics, there is an intentional chance, a tool that is asking to be organised by an artistic gesture.”

In this new exploration of the relationship between Man and machine, where the technological process collides with an often capricious artistic equation, several installations will testify of the convoluted creative steps, going through a multiplicity of supports, such as Quentin Euverte’s Buzz Aldrin Syndrom, in which analog material, digital data, chemical processes and live cinema screenings participate in an unpredictable result, with the appearance of an exquisite corpse game. For José-Manuel Gonçalvès, the idea is to “build a contemporary art exhibition that draws from all forms of aesthetics, in digital technology, in the theatre of objects, and that plays with the variety of chance to show that the result of an artwork isn’t always replicable”. You can therefore expect surprises when you will project yourself into the body of another, using a headset (the body sway experience of The Machine to Be Another of the BeAnotherLab collective) or when you will observe the pixelated choreographies of augmented snails by Cyril Leclerc and Elizabeth Saint-Jalmes (Le Pixel lent).

The exhibition Les Faits du hasard will not however be settled as much in technological absurdity as Prosopopées. It will look for a more poetic and contemplative reading of our technological society through a digital filter. “Chance is the contrary of what we believe digital art is, as we think it brings us to total control, to perfection”, José-Manuel Gonçalvès sums up. “But maybe the greatest perfection is actually the things that are not completely perfect?”. Human, did you say human?