Architectural Representation in Chinese Contemporary Art

One Thousand Museum by Zaha Hadid | Miami, FL

RSVP Required (private exhibition, limited space available):

November 30 – December 9, 2019

Bi Rongrong
Pattern XI - Laforet's Tile - Video 1, 2019
Two Channel Digital Video
2 minutes 6 seconds
Courtesy of the artist, Eli Klein Gallery and A Thousand Plateaus Art Space © Bi Rongrong

For a Bigger Photo-1, 2015
Gelatin silver print, paint, wood
49 1/4 x 49 1/4 inches (125 x 125 cm)
Courtesy of the artist, Eli Klein Gallery and ShanghART Gallery © Birdhead

Chow Chun Fai
City Hall, 2019
Acrylic on canvas
28 x 40 1/8 inches (71 x 102 cm)

Eason Tsang Ka Wai
Rooftop No.2, 2011
Digital inkjet print
37 3/8 x 25 inches (95 x 63.5 cm)
Courtesy of the artist, Eli Klein Gallery and Blindspot Gallery © Eason Tsang Ka Wai

Hu Haibo
Look for No.1, 2016
Traditional Chinese medicine, gelatin, wooden box
39 3/8 x 27 1/2 x 11 7/8 inches (100 x 70 x 30 cm)

Li Lang
A Long Day of A Certain Year - B1024, 2019
Giclee print
16 1/2 x 23 5/8 inches (42 x 60 cm)
Courtesy of the artist, Eli Klein Gallery and A Thousand Plateaus Art Space © Li Lang

Liu Weijan
Cowboy's Bemusement, 2007
Acrylic on canvas
39 3/8 x 39 3/8 inches (100 x 100 cm)
Courtesy of the artist, Eli Klein Gallery and ShanghART Gallery © Liu Weijian

Luke Ching
Second Series, 245 Queen's Road East, Wanchai, Hong Kong, 2005
Archival inkjet print
80 x 160 inches (203.2 x 406.4 cm)
Courtesy of the artist, Eli Klein Gallery and Gallery Exit © Luke Ching

Shen Zhenglin
Samantha, 2014
Acrylic and oil on canvas
48 x 71 7/8 inches (122 x 182.5 cm)

Szelit Cheung
1, 2, 3, 4, 5......No.3, 2016
Oil on linen
47 7/8 x 62 inches (121.5 x 157.5 cm)

Wang Enlai
Release Pressure, 2019
Marble, spray paint
52 x 41 x 34 1/2 inches (132 x 104.1 x 87.6 cm)

Yang Mushi
Sharpening - Piece, 2017
Filing rack, density board, lacquer
18 1/8 x 65 3/4 x 20 inches (46 x 167 x 51 cm)
Courtesy of the artist, Eli Klein Gallery and Galerie Urs Meile © Yang Mushi

Zhang Jin
A Brighter Day, 2010
Giclee print
18 x 18 inches (45.7 x 45.7 cm)

Zhou Zixi
The Flat, 2014
Oil on canvas
23 5/8 x 31 1/2 (60 x 80 cm)
Courtesy of the artist, Eli Klein Gallery and ShanghART Gallery © Zhou Zixi

Press Release

Bi Rongrong, Birdhead, Szelit Cheung, Luke Ching, Chow Chun Fai, Cui Xiuwen, Gao Weigang, Hu Haibo, Huang Rui, Hung Tung-Lu, Ji Zhou, Li Lang, Liu Bolin, Liu Weijian, Shen Zhenglin, Shi Jinsong, Eason Tsang Ka Wai, Wang Enlai, Yang Mushi, Zhang Jin, Zhou Zixi

Eli Klein Gallery is proud to present "Architectural Representation in Chinese Contemporary Art," a group exhibition of twenty-one artists whose works survey the multitude of approaches of aspects of architecture interplaying with Chinese contemporary art. The exhibition, held on the full-floor penthouse of the One Thousand Museum edifice, not only pays tribute to the architectural giant, but also raises more possibilities in the ever-changing linkage of  architecture and fine art. The exhibition will be on view from November 30, 2019 through December 9, 2019—concurrent with Art Basel Miami 2019.

Contemporary art and architecture have become increasingly interconnected, terms such as "deconstructivism" and "abstractionism" link the two fields. In numerous recent projects throughout China such as MOCA Yinchuan, the Harbin Opera House, and the Ningbo Museum, we observe a mixture of the present and the past, the east and the west within the design of these new buildings, further redefining and blurring the line between fine art and design.

A part of Zaha Hadid's legacy that needs more examination is her deep involvement with China, which had been soundly established during her first visit to the country in 1981. Zaha famously claimed: "For many years, I hated nature. As a student I refused to put a plant anywhere."  It was her bond with China that had shifted her focus towards an embrace of nature. Zaha visited every single garden in Suzhou, her observation on the manner in which public parks had been the focal point of gatherings in the Chinese society that inspired her many design projects in the country. The striking structure of the Beijing Galaxy SOHO complex, evokes water and land forms in a traditional Chinese sense.  

Mankind’s relationship with nature has historically and culturally been the focal point of Chinese philosophy, Chinese architecture and Chinese art. The observations of the architectural representation in art by the artists included in this exhibition are as notable as Zaha’s—only with their angles more distinct, and their mediums more diverse. 

The duplicability aspect of photography is, at its core, architectural. The idea of reproduction, whether it’s constructing or deconstructing an imagery with photography, is quietly emphasized in the works by Birdhead, Ji Zhou, Li Lang, Luke Ching and Eason Tsang Ka Wai. More elaborately, in the works by Huang Rui, Szelit Cheung, Wang Enlai and Yang Mushi, architectural concepts were isolated and then reconstructed. Art historian Gao Minglu defines urban spectacle as “a misplacement and distortion of real place and time built on an objective documentary foundation.” Painters Chow Chun Fai, Liu Weijian and Zhou Zixi record real place and time with a distortion that is based on social commentary even though each comes from a distinct background. Finally, in Bi Rongrong and Shen Zhenglin’s works, architectural concepts are pushed to an extreme and leave viewers anxious to make sense of the unfathomable structures that had been created. When you believe these illusion-filled structures will never possibly become the blueprint of a work of architecture in real life, you ought to think again.

A fully-illustrated digital catalog accompanies this exhibition. 

Press Inquiries:
Gia Kuan, | +1 212-255-4388

Eli Klein Gallery
Phil Cai, | +1 212-255-4388