Fantasy is the activity of imagining actions and ideas beyond the constrains of reality. Once those are curbed within the sphere of factuality, one is simply thinking. So, the appealing quality of fantasy is how close or far it can get from reality, or at least possible reality. The fact that it’s generally improbable according to common knowledge, makes it both fascinating and entertaining.
Tan Yongqing: Fantasy
Exhibition Dates
2022.11.09–2023.01.15
View of “Tan Yongqing: Fantasy”
Burning at The Edges
Exhibition Dates
2022.11.09–2023.01.15
View of “Burning at The Edges”
9 November 2022 – 15 January 2023
9 November 2022 – 15 January 2023
“Burning at the Edges” features a number of large scale works recently acquired by Longlati Foundation in response to the theme of minority and multi-minority cultures, including the “Domes” series Y.Z. Kami’s (b.1956, Tehran, Iran), the jute sack works of Ibrahim Mahama (b. 1987, Tamale, Ghana), the black-and-white paintings by Adam Pendleton (b. 1984, Richmond, Virginia, United States). The exhibition will explore how these three artists transform sacred architecture, globalized commodities, propaganda and graffiti texts, while exploring the meaning of fluid identities and the inherent conflicts within. The exhibition is produced by Longlati Foundation.
Curated by Yang Jian, “Fantasy” is Tan Yongqing’s (b.1990, Shijiazhuang) first institutional show in China. Driven by the idea of “Decade after Decade”, this is the first time for Longlati Collection and Patronage Program to present the stage achievements of the practices of post-90s Chinese artists since its launch in 2017, among which Tan Yongqing has long been concerned and given strong back to. This exhibition carries a substantial research into the huge triptych by Tan Yongqing, which is the most significant piece in the artist’s recent works. Commissioned by Longlati Foundation in 2020, it responds to the great proposition of “art meets technology” for Longlati Collection and Patronage Program.
Conflict and flow are the consistent tone of Timothy Lai’s works. Between the twisted and squeezed flesh, we can glimpse the tension under the highly saturated hues, and along with the subtle changes in light and shadow, a different mood emerges on the screen. This language is most directly present in his deconstruction and reproduction of classical art.