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.

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Tan Yongqing: Fantasy

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.

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Timothy Lai: Don’t Let the Sun Go Down on Me, Pa

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.

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Silk Road Traveler, Lethe’s Wanderer —Manuel Mathieu’s World-Building Painting Comes to China

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:

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Laure Prouvost: Theatergarden and A Be(a)stiary of the Anthropocene

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.

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Ma Qiusha: The Mirror(-scape) of Your Skin

Longlati Foundation is pleased to present “The Mirror(-scape) of Your Skin.” Introducing a significant part of Ma Qiusha’s (b. 1982 Beijing) “Wonderland” series commissioned by Longlati Collection and Patronage Program since 2018, it is Foundation’s first exhibition dedicated to a single Chinese artist and it incorporates a selection of important works from her past.

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WRITERS’ ACQUISITION COMMITTEE (SHANGHAI)

Initiated in September 2021, Longlati Writers’ Acquisition Committee, Shanghai, is formed by four Shanghai-based writers, Jenny Chen, Zian Chen, Suchao Li, Evonne Jiawei Yuan, who are actively involved in the local art scene. It aims to promote the intellectual exchange between writers and emerging artists. They will organize monthly visits to gallery and museum exhibitions in Shanghai, conduct research into the works and develop acquisition proposals. Each of them will nominate artists and evaluate each other’s opinions, then make votes to make new additions to the Collection of Longlati Foundation every month.

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Longlati基金会 | 驻·居·思:写给上海的四月日记

上海在刚刚过去的4月经历了一场惊变,猝不及防的全域封控似乎成为新的常态,整座城市无奈陷入踌躇。

Longlati基金会写作者收藏委员会的四位成员——陈嘉莹、陈玺安、李素超、袁佳维——特别发起此次分享,谈谈各自在遭遇闭环管理过程中的工作界面与生活方式,试图重新思考与所处空间的关系并从中探索自我的延伸。

借用德国哲学家海德格尔在〈筑·居·思〉(Building Dwelling Thinking)一文中提出的空间观念——个体必须通过其在空间中的“逗留”来理解其“存在”与“栖居”状态,此次分享以间断性的“驻”作为核心命题来统摄建设性的“筑”与日常性的“住”,并将其追溯到这段时间里所有触手可及之事物及其所属的领域之中。

此次分享亦邀请到与Longlati基金会有所合作的驻沪画廊业者代表——蔡珺珺、Francois Ho、王若琳、周冰心、张哲源——联合发声。

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新闻动态 | 沈心怡《先进教徒修旧利废有限公司》——Longlati写作者收藏委员会计划(上海)2021年12月入藏作品

沈心怡(Sydney Shen,1989年出生于新泽西,现居纽约)是Longlati基金会写作者收藏委员会(上海)的四位成员陈嘉莹、陈玺安、李素超、袁佳维在各自日常研究中皆关注到的华裔女性艺术家。在Gallery Vacancy于2021年初呈现的艺术家上海首展“苦鞭作乐”(Misery Whip)中,混合了人类身体史和医疗史、考古现成物、当代符号以及科幻叙事的雕塑、装置以及沉浸式环境将我们引入了现实世界的镜像真实,充分体现出建构式实践的张力与复杂肌理。艺术家之后在Liste Art Fair Basel的个人项目“我到你的荣耀里”(Cupio Dissolvi)中进一步演绎了其标志性的视觉语言之一:通过一定比例的放大与尺度的增加致使普通的生活物品异化乃至武器化,以此反思自我的内部对立、分裂与更新。

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“墙后”:雕塑图像、拓扑面孔、多元混响

进入“墙后(Behind the Wall)”展览的展厅,首先映入眼帘的是墙体刷成明黄色的六菱形亭阁,探身而入,视线便与拱形门廊框定的黑人肖像四目相对。这是一位有着如同埃贡·席勒(Egon Schiele)画作般模糊面孔的男子,身着花衣,侧身但正面注视着对位的来者。环顾而视,左右墙壁上各自悬挂着更大尺幅的肖像,一幅是优雅的身着红绿波点花纹的披肩发黑人女士,另一幅,画中身着白T的黑人青年身体前倾,表露出与人交谈的兴致。

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LONGLATI FOUNDATION ANNOUNCES LAUNCH OF ITS EXHIBITION SPACE IN SHANGHAI

Longlati Foundation is a non-profit organization registered in Hong Kong, China, co-founded by David Suand Chen Zihao. It stands between the changing cultural landscape and geo-political environment, contributing to the development of contemporary art in its diversity. Longlati Collection and Patronage Program is structured around three themes: 20th-century international women artists, minority and multi-minority cultures, as well as

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