The juxtaposition of bright highlights, shadows, and muted colors of the neon pink joined with the Chinese brushwork of the figure inside the ellipse create a slump, a funk, a burnout.

Result #1

Mao is the only one of the nine to avoid the boning with the context of his environment. For him, it is the emptiness inside the world that is profound and empty.He does not want to show his emptiness; he wants to expose it with the light of his hand. Mao, who loves to hide, even hides his hand in the world, he secretly loves to be loved. And in this world, loved like this, desire is highly valued. Mao hides his desire in the world by completely losing his way. He resorts to the aid of a loophole: he forgets the perspective in which his work is displayed. In the world of mass-media, the perspective is always that of an artist, and the artist is always the one who pays homage to him. Of course, this kind of self-parody makes Mao a character that is rarely seen in his paintings. Yet the playful and self-effacing way he embraces this gallery context in his oil paintings gives him an aura of authenticity that is more than fair.

Result #2

The juxtaposition of bright highlights, shadows, and muted colors of the neon pink joined with the Chinese brushwork of the figure inside the ellipse create a slump, a funk, a burnout. The stroke of the brush in this drawing indicates that the animation is not depicted in the round but in the close-up. This negative space is precisely what the hand and the eye of the artist are meant to empty, and, in fact, that this spatial emptiness is what sustains the animating force. At the same time, a gesture or stroke of the hand, an arm, or a hand-out extends the body of the sculpture, and, in this sense, the work also performs a flip-flop. The hand and the handout are the same thing, and the hand and the body are one, even in a lie. The hand and the body become one in a murk of textures and reflections that is not tangible. Its true that when the hand is in motion, the hand and the body are in motion, but the body and the body are always one in an astringent moment. Its not only the language of the hand but the existence of the hand. The hand and the body are one; the hand and the body are one, and the hand and the body are one, because they are all made of the same material. It is a very old notion that animates our work. Its like the emptiness of the world that we once knew. The fact that the shadow and the flesh are made of the same material seems to be a constant of the work. The work has to seem to be as real as the shadow and as imaginary as the flesh. The hand and body are constantly in the process of transforming.Hirshbergers sculptures are part of an ongoing project that sees inanimate objects a metaphor for the birth of life. They allude to the fundamental laws of nature, and they are alive. Their fragility and emptiness is precisely what gives them their power. In this show, Hirshberg uses her sculpture as a model for a life-support system that will produce a harmonious synthesis of nature and technology.

Result #3

Our first exposure to Marnés work in the late 60s was in the latest issue of Artforum, where he posed with his followers and decorated himself with clear plastic butcher paper, a material that gives his forms a viscosity and weightlessness, as if they had been layered in layers.The fresher the better, Marnés work here is both more restrained and more singular. His figures emerge from the same grotesque mise-en-scène and are based on the same specular technique—the two-dimensional marking—that had been used by Marné in his earlier works. Marnés focus here is the disorienting intricacy of the surface: The colors—pinks, blues, and earth tones—are varied, often in muted hues, but the surface remains monochromatic. What is most striking about these works is not the amount of paint but rather the way the form of the work is developed through manipulation. The surfaces of these works are like the space between two sheets of ice, one white and one black. In this texture, form becomes color. The result is a visually arresting title for a work of art: Daicetértópié́ (Feet of Fear). It has been called a walk of ice, a model for the turn of the body in time, a passage that leads us into the present.

Result #4

The juxtaposition of bright highlights, shadows, and muted colors of the neon pink joined with the Chinese brushwork of the figure inside the ellipse create a slump, a funk, a burnout. In the light of the neon-green, the figure has a yellower edge, as if it were underwater. The figure is a little boy, he might be one of the few living beings in the universe. In the end the darkness is a result of the greener colors and not the darkness itself. At the same time, the space created by the bright lights and shadows is filled with the same air, a haze of color that one often finds in the artist's work.In its entirety, the exhibition created an eerie atmosphere. The wall-mounted black-and-white photographs showed scenes in and around the artists studio—works on paper or on linen—in which the artists realized a variety of effects, from the direct effect of the tungsten glow of an incongruously-colored, high-energy neon lamp in the black-and-white photograph on the front wall to the apparent lighting of the work in neon. Looking at the panels in the back gallery, one could also see a variety of motifs, from the horizontal barbed wire that covered the panel on the floor in the white photograph to the very thin, puckered lines of the neon-green-painted wall in the black-and-white photograph. The striking lightness of the work seemed to be a representation of the simultaneous intensity of the light and dark moments of the day.The effect of the neon-green lamp on the floor was also apparent in the rear gallery. The intense, ever-growing neon inside the mirrored panel that mirrored the light of the panels in the front was in constant vibration, a noisy, sometimes pulsating, but never destructive presence. The brightness of the mirrored light in the adjacent room seemed to extend the period of the lamps life, even though the reflected sunlight was blocked by the panels. The shows effect was one of mystery and the future: Time is a thin line; color is an indecipherable field; light is a shadowy veil.

Result #5

The Chinese characters use the familiar appearance of double-edge filters to focus on details and more mundane details. Most importantly, the artists are clearly aware of the weirdness inherent in the evocative nature of their work. Zhang, a 21-year-old artist, has been working in his own unorthodox ways for years. Most of his work is made from formaldehyde, which is black, yellow, or green, but he may also use pinecones and other organic materials. The last decade of his career, after working in different media, Zhang concentrated on his experimental process, which results in the production of grotesque or ugly geometric shapes. The dominant feature of his work is a shape that appears to be a crescent. These designs are meant to evoke the classic appearance of classical Greek and Egyptian art, but the shapes are too crude, inorganic, and flat to be read as actual shapes. The large number of printed pieces with intricate patterns and lines did not have the same sense of reality.A few works of the 80s and 90s feature a silhouette, or a quadrilateral. The image is often rendered in a rough, heavy-handed manner, the subject is often stylized, and the edges are often cut. The shape, which is usually made from ordinary materials, is often highly visible on the wall. It is hard to imagine that Zhang has a creative genius in mind. His work, as a whole, is like a dream, an exotic creature that exists solely in his imagination.

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