ART021 SHANGHAI CONTEMPORARY ART FAIR
Shanghai Exhibition Center
No. 1000 Middle Yan An Road
8 - 11 November 2018
Collector's Preview: Thursday, 8 November2018
Fair Dates: Friday - Sunday, 9 - 11 November 2018
Sullivan+Strumpf is delighted to participate in this year's edition of ART021 Shanghai Contemporary Art Fair, with a presentation of works by Irfan Hendrian (ID), Lindy Lee (AU) and Alex Seton (AU).
Irfan Hendrian’s sculptures are informed by Bauhaus principles and created from layers of accumulated single sheets of coloured paper. Through a long and painstaking process, Irfan bonds together innumerable interconnected sheets of paper to form solid but composite objects that are at once delicate, intricate and rigidly compacted. Red Brick Wall (2018) is a solid 60 cm high wall of paper – a collage of myriad coloured sheets, reduced to a recognisable quotidian pattern, reflecting Hendrian’s interest in the Bauhaus tendency for simplification. An inherently abstract action, collage provides a methodology that maintains Hendrian's purist approach to materials, a methodology which in his work, underscores the flawed nature of representation. Ideological and innately restrictive, Hendrian’s work asserts that the meaning of any given representation is never definitive, as the gap between intention and realisation, original and copy, can never be bridged.
These notions of accumulation and inclusivity are also examined in Lindy Lee’s practice which explores her Chinese ancestry through Taosim and Ch’an (Zen) Buddhim. As Lee has said “we are all part of this thing; it is intrinsic to us and we are intrinsic to it.” For ART021 Shanghai, her presentation will include Listening to the Moon, a large mirror-polished stainless-steel sphere and three new large-scale works on paper in which the artist uses Chinese ink and fire to rework giclée prints of traditional Chinese figurative paintings. In, The Exile Awakens (2018) Lee incorporates circular patterns of burnt paper into an image of a single female figure dressed in Chinese traditional costume emerging from a darkened doorway. Collectively, these works consider the cosmic forces at work within the universe and within ourselves; the ever-changing duality of presence and absence. These two capabilities are represented by paper and fire, light and dark, pillars of Lee’s work, which act as both the medium and subject.
Alex Seton often incorporates clothing and fabric in his practice to speak to the body and how it participates in the economic, geographic and social systems that structure our world. Seton’s presentation for Shanghai will include a series of marble carvings in the form of folded or draped cloth and clothing. The complexities of each draped piece of fabric are also a nod to the tropes of classical statuary; the shrouds, drapes and folds of cloth of European marble tradition. In, Destroy the Past, Slow the Future (2018), Seton employs this historical lens to consider the environmental, cultural and economic impact of systems of clothing manufacture on those that bear the burden of our dispensation. From the ubiquitous hoodie politicised by the shooting of Trayvon Martin, to makeshift refugee shelters and discarded life jackets, cloth serves as a humble reminder of the deep and messy entanglement of the personal and political.