A Short History of Power and Death
Massimo De Carlo gallery is pleased to present Double by Carsten Höller. This is the first show by the Belgian-born German artist in Hong Kong. Renowned for his audience-engaging and inquisitive practice, Carsten Höller, who has begun his professional life as a scientist in agricultural entomology, creates visually striking, often large-scale installations that produce unique experiences in the viewer/user.
In the exhibition Double, the artist presents a series of recent works dealing with the notion of doubling, and doubling the doubled. The double is a recurring theme in the work of the artist, and is epitomized by the acrylic glass sculpture Yellow/Orange Double Sphere1, a suspended luminous device composed of two coloured spheres. The work is part of the series Vehicles by Höller, created from 1998 onwards. He suggests using this particular vehicle on a downhill slope, where a person can travel standing inside the inner sphere whilst the outer sphere spins around it when rolling down the hill. The dimensions of Yellow/Orange Double Sphere are designed to accommodate one person standing with spread legs and arms, like Leonardo da Vinci's Vitruvian Man.
The notion of duplication is also present in the work Giant Triple Mushroom2, an enlarged replica of three different types of mushrooms, including Amanita muscaria (also known as fly agaric), a highly poisonous type of fungus with psychoactive properties. The work is part of a series of mushroom sculptures that the artist started making in the early 2000s. Questioned about his interests in mushrooms, Höller has said: "the fruiting bodies of fungi, which we call mushrooms, come in a large variety of shapes, colours, and ingredients - but this variety doesn't make sense as they don't communicate and don't want to attract animals in order to spread their spores, as far as we know. There is something going on there that we don't understand. The fly agaric, in it's splendid colourful display and it's toxicity, is an especially striking example of this enigmatic uselessness."
The artists continues to apply the doubling method in Double Mushroom Vitrine (Twice) a glass vitrine that contains life-sized casts of wild mushrooms: half a fly agaric is mounted to half a fruiting body of another mushroom of similar height. The vitrine contains two of these half/half mushroom replicas. Grey Dots on Ivory-white Background is part of Carsten Höller’s new series of paintings based on the principle of division. The dots are applied at the exact location where a division would take place if the surface of the painting would be divided in half, and half of it in half again, and so on.
Artista
Yan Pei-Ming è nato a Shanghai nel 1960; vive e lavora tra Digione, Parigi e Shanghai.
Fin dall'inizio della sua carriera Pei-Ming si è distinto per il suo interesse nei confronti della figura umana e della ritrattistica. Si è fatto conoscere a livello internazionale per le sue opere monumentali raffiguranti personaggi storici come Mao Zedong, il Buddha, il Papa e Bruce Lee, esplorando anche temi personali attraverso autoritratti e rappresentazioni della sua famiglia.
L’artista utilizza un pennello lungo e grande come un mocio per creare le sue immagini iconiche, stratificando i colori a olio ancora bagnati, a partire da una tavolozza di colori monocromatici a due toni bianco e nero o rosso e bianco.
Le opere di Yan Pei-Ming sono presenti in collezioni pubbliche e private, tra cui: National Gallery of Australia, Canberra; Heidi Horten Collection; S.M.A.K. Stedelijk Museum voor Actuele Kunst, Gand; Guangdong Museum of Art, Guangzhou; Shanghai Art Museum, Shanghai; Yuz Museum, Shanghai; Centre Pompidou, Parigi; Collection Lambert en Avignon, Avignone; Fondation François Pinault, Parigi; Fondation Louis Vuitton, Parigi; Fonds Régional d'Art Contemporain de Bourgogne, Dijon; Institut d'Art Contemporain, Villeurbanne; Le Consortium, Dijon; Les Abattoirs / FRAC Midi-Pyrénées, Toulouse; Musée d'Art Moderne de la Ville de Paris, Paris; Musée des Beaux-Arts, Dijon; Musée des Beaux-Arts, Rennes; Musée Paul Valéry, Sète; Collection Deutsche Bank, Frankfurt; Kunsthalle Mannheim, Mannheim; Museum Ludwig, Colonia; Banca Popolare di Bergamo, Bergamo; Collezione Fondazione San Patrignano, Rimini; GAMeC - Galleria d'Arte Moderna e Contemporanea, Bergamo; MAXXI - Museo Nazionale delle Arti del XXI Secolo, Roma; The National Museum of Modern Art, Tokyo; Qatar Museums Authority, Doha; Sonje Museum of Contemporary Art, Kyongju; Wooyang Museum of Contemporary Art, Gyeongju; Centro de Arte Contemporáneo, Málaga; Voorlinden Museum, Wassenaar; Louvre Abu Dhabi Museum, Abu Dhabi; Academy of Arts, Honolulu; Honolulu Museum of Arts, Honolulu; The Hawai'i State Foundation on Culture and the Arts, Honolulu; TIA Collection, Santa Fe.
Le opere di Yan Pei-Ming sono state incluse nella Biennale di Lione (1997, 2000); nella Biennale di Venezia (1995, 2003); nella Biennale di Siviglia (2006); nella Biennale di Istanbul (2007); nella Biennale di Bangkok (2018).