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
View of “Tan Yongqing: Fantasy”
Burning at The Edges
View of “Burning at The Edges”
“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.
On the whole show: there are 2 categories of works in the show, those collected by Longlati before and those made for the show.
For the works made for the show, I was influenced by the concept of traveling, of sea and sky, of navigating on a boat. So, there are works referring to horizon like Milles Horizon. The Portrait on the Surface tries to imagine faces seen below the surface of the water. Les Immortels is a reference to the Ship of Fools (cf. Pu Yingwei’s images). The work The Swells Within refer to the waves. In this case it is a person who has waves inside.
Longlati Foundation is pleased to present “Don’t Let the Sun Go Down on Me, Pa”, the first institutional solo exhibition of Asian-American painter Timothy Lai Hui Ming (b. 1987, Kota Bharu, Kelantan, Malaysia) and his debut in China. This new body of work cites Elton John’s 1974 song “Don’t Let The Sun Go Down on Me,” transformed by “Pa” as an ending note. The impassioned plea for reciprocity within male fellowship is redirected into the complex father-son relationship, represented through conflict and negotiation on Lai’s canvases. Exuberant hues of yellow and red, purple and brown cast the unique quality of liminal light, underscoring the fluid and ever shifting state of these confrontations.
Longlati Foundation is honored to present “Silk Road Traveler, Lethe’s Wanderer”, the solo exhibition of Manuel Mathieu (b.1986, Port-Au-Prince, Haiti) curated by Chinese artist Pu Yingwei, which marks the launch of Longlati Curatorial Exchange Program, a pioneering gesture of the foundation to demonstrate “exhibition as form” when artists are playing the role of curator. The body of work on show this time includes Mathieu’s earlier paintings acquired by Longlati Foundation and new pieces devised around the concepts of traveling, of sea and sky, of navigating on a boat, which are influenced by his discussions with Pu Yingwei. In return, Mathieu will also curate Pu Yingwei’s solo exhibition next year at Longlati Foundation. The following is the exhibition text written by Pu Yingwei:
Produced by Longlati Foundation, “Theatergarden and A Be(a)stiary of the Anthropocene” presents its collection of paintings and glass sculptures by Laure Prouvost (b.1978, Lille, France) along with an array of mediums that span installation, hand-woven tapestry and video from the artist’s recent practice. The body of work portrays the disorientation of life-(trans)form in the face of global climate change, while mapping the precariousness of modern language beyond sociopolitical confines.