Adriana Varejão Carnivorous at Victoria Miro Mayfair, London
06 June 2014 - 02 August 2014

Victoria Miro Mayfair is delighted to present Carnivorous, Adriana Varejão’s fifth solo presentation with Victoria Miro and her first in the Mayfair gallery. One of the most original voices in contemporary Brazilian art, Varejão’s diverse practice comprises painting, sculpture, photography and installation. Her sources encompass  the baroque, history,  ceramics, botany and art history.

This presentation conceived especially for Victoria Miro Mayfair features single- and multiple-panel paintings of carnivorous plants depicted in a deep red on a cracked surface that recalls old tiles. The cracked tile has been a recurring motif in Varejão’s work since early in her career, and in these works she draws particularly on the history of Portuguese Azulejo tilework and of Chinese celadon ceramics dating back to the 11th century Song dynasty.

More info here



Lara Audergon is passionate about contemporary art, an interest that has blossomed since moving to Asia. In 2005, Lara and her husband Christophe left their native Switzerland to set up Crossinvest (Asia), an independent wealth management company based in Singapore. Since then, they have developed sophisticated private and corporate contemporary art collections.

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Tyler Shields, Fire Escape Day, 2013, Chromographic print, edition of three, more sizes available, 50.8 x 72. 6

Jiang Pengyi Dark Addiction/The Suspended Moment/Intimacyat ShanghART H-Space, Shanghai
28 June 2014 - 31 July 2014

We are so honored to present Jiang Pengyi’s first exhibition in ShanghART, which opens in H-Space from June 28th to Jul 31st, 2014.

This exhibition presents three series Jiang Pengyi created in the past two years, including The Dark Addiction, Intimacy, and The Suspended Moment. They are the outcomes of continuous experiment and exploration that span from the field of materials such as light, camera, photographic film, firefly, nature and many others to the field of spirit such as life, narration, relationship, time, space and many others. These three series not only represent the perfect combination of technology and aesthetics in the use of photography, but also the inseparability of poetics and thought when it comes to artistic creation. What else could photography be? What else could image be? How to make light, time and life become visible? It is such artist’s inquiries to the nature and basis of photography and art that initiated these creations. In this sense, the curator, Gu Zheng, regards Jiang Pengyi as the explorer of light, and describes his works as a story or an allegory about light, a writing of light that were given out by tiny objects, and a light-based discussion about the significance of life.

More info here. 


Ocula Conversation: Boyd Webb

Boyd Webb was born in Christchurch, New Zealand in 1947 and attended the University of Canterbury School of Fine Arts (Ilam). He won a scholarship to study sculpture at the Royal College of Art, London in 1972 and continues to live and work in Brighton, England.

Initially he worked as a sculptor, making life casts of people in fibreglass and arranging them into scenes. He eventually turned to photography and his early work played with ideas of the real and the imagined. Through mysterious and elaborate compositions created using actors and complex sets built by the artist in his studio. In later years his focus shifted to a cool observational style, his work less theatrical and technique less elaborate.

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John Baldessari, Double feature: Criss cross, 2011, Varnished inkjet print on canvas with acrylic and oil paint, 213.4 x 191.8 cm

Group Show curated by Natacha Carron Pittura Oggetto at Almine Rech Gallery, London
03 June 2014 - 26 July 2014

The Italian art scene of the 1960s was both very active and well informed of foreign developments. Jasper Johns and Rauschenberg had exhibitions in Italy as early as 1958, and some of their artworks were reproduced in the first issue of Azimuth, the review launched by Castellani and Manzoni in 1959. Yves Klein, John Cage and Pierre Restany were present in Milan at the time, weighing in on the debate on Informalism, a defining issue of 1950s modernism. The discussion was imbued with an end-of-art atmosphere, indissociable from a discourse of renunciation and radicality: ancient art has ceased to exist and art must start over again for it to cease existing.

More info here. 



Last week’s contemporary art sales in London raised £243 million, comfortably within the pre-sales estimate of £186 million to £265 million. The total was short of the record £295.5 million for a London series of contemporary art sales set in February, and was only the fifth highest for London historically, but many artists’ records were broken in this most buoyant sector of the market.

For British observers, it was Tracey Emin’s My Bed from the Saatchi collection that was the big attraction, selling for more than double the estimate at £2.5 million to her dealer, Jay Jopling. Christie’s said it was going to “a good home”, which raised hopes that it might be going to Tate either as a gift or a loan. The sale price represents an annual gain in value of 22 per cent since Charles Saatchi bought it in 2000 for £150,000.

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Ariel Hassan, HFV-PROJECT # 21, 2012, Black and white photography on aluminum edition of 5, 100 x 75 cm

Celia Paul Solo Exhibition at Victoria Miro, London
12 June 2014 - 02 August 2014

Victoria Miro is pleased to announce that the gallery now represents renowned British painter Celia Paul and is delighted to present her first solo exhibition at the gallery.

Paul’s paintings have an otherworldly, haunting quality. She makes intimate depictions of people and places she knows well. She has made no commissioned portraits; her portrayals of people exclusively feature close family members and friends. From 1977-2007 Paul worked on a series of paintings of her mother, and since then she has concentrated on her four sisters, especially her sister Kate, as well as a number of portraits of close friends. She has also produced a large number of evocative self-portraits over the course of her career. As art critic Laura Cumming has described, ‘[Paul’s] paintings aren’t so much portraits as poems based on an intensely empathetic observation’

More info here.



At 34 years old, Hong Kong business leader Adrian Cheng is one of the world’s youngest billionaires. However, he is determined to make a name for himself, based not on dollars and cents, but on cultural development, with his K11 Art Mall and not-for-profit K11 Art Foundation. Posing his endeavors as a “new museum model,” Cheng has brought major shows, such as the recent “Master of Impressionism—Claude Monet,” to the art space in the basement of the K11 shopping development in Shanghai. He has also built two “art villages” in smaller cities, set up artist residencies, and developed the foundation’s collection.

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Aaron Young, Underdog2009, Polyester resin with fiberglass and chrome finish, 25.4 x 91.4 cm


Nadav Kander Curves of Moon and RIvers of Blue at Blindspot Gallery, Hong Kong
10 May 2014 - 19 July 2014

Blindspot Gallery is delighted to present London based, Israel born photographer Nadav Kander’s first solo exhibition in Hong Kong, Curves of Moon and Rivers of Blue, curated by Tamar Arnon and Eli Zagury. The exhibition opens on the eve of Art Basel Hong Kong 2014.


More info Here. 


Ocula Conversation: Tim Marlow

On the 28th April 2014, Tim Marlow—who had directed exhibitions at White Cube since 2003—embarked on a new role as Director of Artistic Programmes at the Royal Academy of Arts (RA), a British institution of historical significance located in central London. Marlow is also an art historian, who has provided commentary on the contemporary cultural scene for television and radio, as well as for print publications and broadsheets, includingArt Monthly, The Times, The Guardian and The Independent on Sunday.
In his new role, Marlow will be responsible for exhibitions, learning, public talks, the Royal Academy collection as well as the architecture programme. He will also be presiding over a Beijing–London–Hong Kong artist exchange programme developed by the RA, the Central Academy of Fine Arts, Beijing and Arts in Heritage Research Limited, Hong Kong. In this interview, Marlow discusses his appointment, reflecting on the RA’s past, present and future.

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Jeremy Everett, Recto/Verso #2, 2014, ink on silk, 206 x 166 cm