SHANGLIANG 商 亮

Ode to the Unexpected

Jan 12 – Mar 2, 2024

Artists: Maggie Menghan Chen, Chen Ruofan, Chen Ying,Fu Site, Huang Long, Li Kejin, Qian Qian, Shang Liang, Shao Fengtian,Shi Yi, Tian Yi, Wang Ye

 

Madeln Gallery is pleased to present the group exhibition “Ode to the Unexpected” on January 12, 2024, featuring twelve artists working in installation, sculpture, painting, video, and handicraft.

It aims to investigate how a younger generation responds to their lived experiences laden with contingency and heterogeneity, and to kindle a reimagination of the contemporaneity inherent of art ecology and social reality alike.

The exhibition points to the self-questioning and self-criticizing impulse of the art institution, from which stems the shared spiritual cause of participating artists. While embracing chance, contingency, heterogeneity, and uncontrollability as inevitable components of our artistic and social existence, we sushimit therefom, composing an o deeticism or

contemporary experiences. Yet meanwhile, the “ode” is fraught with things unexpected, or rather, that itself is unexpected – in other words, the birth of art or sublimity in general is equally a contingency and resists any thorough institutionalization or rationalization.

 

 

 

 

TENDRING

December 1, 2023- January 27, 2024

Artists: Leelee Chan, Chan Ting, Michele Chu, Dew Kim, Firenze Lai, Lee Eunsae, Yuko Mohri, Sasaoka Yuriko, Shang Liang, Eunice Tsang, and Virtue Village.

“Tendering” marks the 2 year anniversary of PHD Group and is a sequel to the inaugural show”Rendering”.

“Love, hate, desire, disgust, birth, decay, death-are we perhaps waiting for some tenderness in all of this? Some vulnerability? When you find a bruise on your body, do you trace it with your finger? Do you feel those soft reverberations of pain and pleasure? Do they sing to you?

Image: Installation view of “Tendering,” PHD Group,2023. Photo by Felix Wong. Courtesy the artists and PHD Group.

 

 

MYTH MAKERS — SPECTROSYNTHESIS III

24 DEC 2022 – 10 APR 2023

Artists: Bunny Cadag, Oscar Chan Yik Long, Shu Lea Cheang, Christopher Cheung, Isaac Chong Wai, Club Ate (Justin Shoulder & Bhenji Ra), Roy Dib, Jes Fan, Chitra Ganesh, Sadao Hasegawa, Fan Chon Hoo, Hosoe Eikoh, Hou Chun-Ming, Yuen Hsieh, Andrew Thomas Huang, Bones Tan Jones, Siren Eun Young Jung, Bhupen Khakhar, Jiaming Liao, Amy Lien & Enzo Camacho, Zihan Loo, Ly Tran Quynh Giang, Zoë Marden & Sonia Wong Yuk Ying, Josef Ng, Patrick Ng Kah Onn, Alfonso Ossorio, Beatrix Pang, Ellen Pau, Sornchai Phongsa, Khairullah Rahim, Ren Hang, Anne Samat, Joshua Serafin, Tejal Shah, Shang Liang, Raqib Shaw, Sin Wai Kin, Sputniko!, Ho Tam, Hiram To, Kwong Chi Tseng, Virtue Village, Danh Vō, Wang Shui, Apichatpong Weerasethakul, Ka Ying Wong, Martin Wong, Wu Jiaru, Xiyadie, Maru Yacco, Yau Ching, Trevor Yeung, Alex Yiu & Kei Ying Wong, Kohei Yoshiyuki, Samson Young, Zheng Bo, Bruno Zhu

Curators: Inti Guerrero and Chantal Wong

 

Myth Makers—Spectrosynthesis III circles around the core notion of “queer mythologies” and delves into modern and contemporary mythologies along with practices of the body, by gathering a diverse range of artistic idioms related to LGBTQ+ perspectives from over 60 artists from Asia and its diasporas.

The exhibition draws inspiration from artists addressing “queer mythologies”, who highlight either same-sex love and desire or gender fluidity as found in ancient belief systems and traditions in Asia. At the same time, the exhibition also highlights the “new traditions” of our times, of spectacle and celebrity, playful and/or transgressive, along with non-normative bodily practices and histories in artworks by contemporary artists.

Myth Makers unfolds through three distinctive chapters and encompasses newly produced artworks, historical works from the 1950s–1990s, as well as artworks on loan from the collection of the Sunpride Foundation. In bringing together such a plethora of artistic perspectives and vocabularies, Myth Makers endeavours to present a multiplicity of conversations, representations, and anti-representations of stories, individuals and communities. While the bulk of the exhibition focuses on living artists, some visionary and transformative figures of the past will also be underscored, including artists who lived in times when present-day LGBTQ+ identifications were not possible.

Sunpride Foundation was launched in 2014 with the mission to embrace and promote the rich, creative history of the LGBTQ community. The Foundation aims to foster a stronger, healthier, and more equitable world for LGBTQ people and their allies and to encourage and inspire a generation of young artists to take action and create positive changes to the LGBTQ+ experience by exhibiting and preserving art that speaks to society at large. In 2017, Sunpride Foundation and the Museum of Contemporary Art, Taipei co-hosted Spectrosynthesis – Asian LGBTQ Issues and Art Now, the first LGBTQ-themed exhibition staged in an art museum in Asia. Two years later, the Foundation and Bangkok Art and Culture Centre presented Spectrosynthesis II – Exposure of Tolerance: LGBTQ in Southeast Asia, the largest-ever survey of regional contemporary art exploring lesbian, gay, bisexual, transsexual and queer creative history in Southeast Asia and beyond.

 

Exhibition title: Shang Liang: New Man

Dates: November 7, 2022 – Febuary 12, 2023 (Tue – Sun 10:00-18:00)

Venue: Cc Foundation & Art Centre

 

Cc Foundation & Art Centre is pleased to present artist Shang Liang’s solo exhibition “New Man” on November 7, 2022, featuring her latest series of paintings and sculpture. With her signature range of visual symbols, the artist endeavors to dismantle the myths around body, gender, and subculture, and to explore alternative practices of aethestic production and identity construction.

In Shang’s long-time series Good Hunter, Boxing Man, and Sofa Man developed through her previous solo exhibitions “New Order” (2019) and “Mortal at the Helm” (2021), she has invented and established the image of a new race of people known for its mutated muscle, whose gender and age is vaguely discernible yet not verifiable for the viewer. It is both a symbol of heroism with its exceedingly worked out body, as well as a lonely and ambivalent individual unsanctioned by mainstream rules. Throughout Shang’s works, a muscle-worshipping aesthetic is developed to the extreme and thus becomes a parody and deconstruction of itself. By being overly strong, the new man makes strength seem suspicious and ludicrous; by being exaggeratedly in line with the mainstream discipline of the gendered body, it derails and deviates from the norms. Such an ambiguity in stance echos the fluidity of gender and identity that informs Shang’s practice.

 The image of this “new man” can be conceived as the artist’s self reflection and projection. In the current exhibition, she and/or he will continue to chart the freedom of identity construction and self display in a postmodern, posthuman context. Entangled in a paradoxical narrative, the larger-than-life figures on canvas combine humanity, divinity, and poetry. They appear phallocentric and yet challenge the hegemony signified by their very appearance. Under Shang’s well-controlled, accurate brushstrokes telling of her orthodox training, irrationality prevails – herein lies Nietzsche’s Dionysian, Freud’s going “beyond the pleasure principle”, and, ultimately, the spiritual drive of the artist’s unceasing creation and unification with her own works.