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Vanessa Yung

INSIDE THE WHITE CUBE
	White Cube Hong Kong
 
The belief that two heads are better than one definitely applies to White Cube Hong Kong's latest exhibition. The Central gallery's first foray into Chinese art features two mainland artists, Jiang Zhi and Shi Qing.
Their contrasting practices are crucial in highlighting a lesser-known side of Chinese contemporary art, one that curator Bao Dong is eager to show the world.
"Foreign countries' understanding of the Chinese art world can be very superficial," says Bao. "They always single out certain iconic artists, and attempt to use their works to define what contemporary Chinese art is. But they neglect to show the depth and diversity that exists."

"Many people think Chinese art is dominated by drawings laden with Eastern symbols, or political ones. But works by Jiang Zhi and Shi Qing are nothing like that. Bringing them together in one exhibition shows that there are artists with a critical, contemplative approach to art."
Both artists are in their 40s and emerged from the radical experimental art scene of the late 1990s. But their styles, artistic intentions and oeuvre are very different. Gallery director Laura Zhou says while Jiang's work embraces an aura of romance and sensitivity, Shi is a more analytical artist whose installations of prefabricated objects examine sociological issues.
A former journalist, Jiang's practice — incorporating photography and video, installations, paintings, documentaries and writing — used to be a candid reflection of social mores. But his video work  0.7% Salt (2009), and the ongoing  Love Letter series he started in 2011, highlight the evolution of a more sentimental approach that has resulted from the death of his wife.

"Flame and flower are actually very similar in form: when they are combined as one, the interaction is as gorgeous as it is ever-changing. What I do is to capture this fleeting moment using photography," says Jiang of his Love Letter series, adding that he has studied floral arrangement and is a keen collector of antique pottery.
"I want to dedicate this series to all who have loved, and been loved. Human lives are transient, but love is eternal," Jiang says.
Shi paid a visit to Hong Kong in December to do research and source materials and plants for All That is Solid Melts into Air.

First showcased in Shanghai in 2012, it is the fifth time this ever-evolving site-specific installation will be on show.
The Hong Kong version will mutate to reflect the complex and multicultural nature of the local urban landscape.
Shi is excited to see the show come together.
"Jiang and I have been friends for almost 16 years," he says.

"In this exhibition, his works deal more with the concept of time and mine with space.
"We are heading in unique creative directions and expressing ourselves using very different media. But somehow, our works manage to complement each other. It's a conversation."
White Cube Hong Kong, 50 Connaught Road Central, Tuesday-Saturday, 11am-7pm. Ends March 7. Inquiries: 2592 2000


Inside the White Cube shows a hidden side of Chinese art

Love Letters No 18 by Jiang Zhi

All That is Solid Melts into Air No 13 by Shi Qing.

All That is Solid Melts into Air No 32 by Shi Qing

Love Letters No 1 by Jiang Zhi

All That is Solid Melts into Air No 7 by Shi Qing.

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The belief that two heads are better than one definitely applies to White Cube Hong Kong's latest exhibition. The Central gallery's first foray into Chinese art features two artists, Jiang Zhi and Shi Qing.
