Results for the tag: 2016

Jiali Gallery is pleased to announce its participation to the Salon Zürcher in Paris from October 18-23, 2016. Please come and visit us and discover the works of Charlotte Guibé and Cindy Ng.
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The 24th of September 2016 we were pleased to welcome you to the opening of Production Void an Installation by Nan Hao at Jiali Gallery “hijacked” by Alessandro Rolandi
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This exhibition is not just about Nan Hao’s intervention at Bernard Controls and the obvious doubts it raises about labor, work, production and the place of culture and art in this complex and difficult context and time. It is also a different situation and location that aims to preserve and push forward the continuity of our meetings at Non-Space with their sense of the yet-to-be-achieved and their moments of openness to sharing and being alive.
Alessandro Rolandi
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Jiali Gallery is pleased to announce its participation to the PHOTOFAIRS Shanghai 2016 from September 9-11 at Shanghai Exhibition Center. Please come and visit our booth (#A05) and discover the works of our 3 artists : Cai Dongdong, Guo Peng, Ying Ji！
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To produce this level of perception, Zhuyu’s installation “From desire to desire” is recreated in Jiali’s main space, (appropriately darkened), suggesting a ritualistic mis-en-scene where a snake light on the floor designs an “x” outline filled with broken glass surmounted by the sharp-edges cold steel surfaces of an old bed. What does the symbol stand for? What happened here? Is this where the victim was or is going to be abused?

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Happiness, as experienced in the uniqueness of each and every day, is—as if—a part of a larger whisper of saying goodbye. This is not a goodbye that is to part, to separate from what is whole, but a goodbye that agrees to accept—and actively choose to get involved with—life’s ephemerality; to witness the myriad transformations in life, from growth to disintegration, and perhaps to renewal. Mortality, change, NOW, carpe diem…these subjects enframe the exhibition, Living to Say Goodbye.
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These endless intersections of lines articulate the positive and negative space in a dense plot of plans, surfaces and patterns in which the liveliness of ink is limited but not constrained. Despite the accuracy of the process, there is no trompe-l’oeil effect, or attempt to mime or reproduce a certain texture to cheat the eye. The weave of the ink lines blends into the weave of the rice paper fibers, but it resists interpretation and symbolism, remaining basically “just what it is”.
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