Luise Guest

From this Author

The Fun of the Fair: Sydney Contemporary

Kim Joon, Bird Land - Chrysler, 2008, digital print, 47 x 83 inches, Sundaram Tagore Gallery, Hong Kong, New York, Singapore

Depending on who you ask, anywhere between eight thousand and thirteen thousand people attended the vernissage of the world’s newest art fair, Sydney Contemporary. By the end of three and a half days, the fair had attracted almost twenty-nine thousand visitors eager to see the offerings from eighty-three Australian and international galleries, presenting the work of more than three hundred artists. The physical scale was[…..]

Zhang Rui’s One Year at 4A Centre for Contemporary Asian Art

In 2007 young artist Zhang Rui, then newly graduated from the Tianjin Academy of Fine Arts, was one of 1001 Chinese citizens selected by Ai Weiwei through his blog to participate in his project Fairytale for Documenta 12. The experience proved to be a transformative one. Her body of work One Year is showing at Sydney’s 4A Centre for Contemporary Asian Art. Small works, painted with[…..]

Pigeon Auction: Suburban Secrets

Garry Trinh, Our Spot Year Made - Miller, 2008,  Digital C type print,  65x47cm each. There are 9 images in this series: Miller, Moorebank, Fairfield, Bondi, Allawah, Castle Hill, Punchbowl, Leichardt, Cabramatta

Driving the bleak stretches of highway to south-western Sydney to see “Pigeon Auction” at the Casula Powerhouse, an arts centre housed in a post-industrial relic between a polluted river and a railway line, I had time to reflect on the curatorial premise for the show. An examination of ‘suburban subcultures’ is fertile ground for contemporary art.  I was intrigued to see how a coherent narrative could[…..]

Things Happened on the Island: Lam Tung-pang’s Floating World

Lam Tung-pang / Things Happened on the Island / Acrylics, charcoal, pencil, scale model and wooden toys on plywood / H 244 x 700 x W 60cm / Acrylics, charcoal, pencil, scale model and wooden toys on plywood / 2013 image courtesy the artist

In early 2011, when I visited a number of young Hong Kong artists’ in their studios, they spoke of their frustration at the focus of curators on art from mainland China, and of their sense of being a ‘poor relation’. Add to that the tensions simmering just below the surface as cashed–up mainlanders poured into Hong Kong, and it seemed a recipe for resentment. In[…..]

Registering difference, considering change, mapping regeneration: the 7th Asia Pacific Triennial of Contemporary Art

Twenty years ago in the Asia Pacific Triennial’s first catalogue Caroline Turner wrote, “Euro-Americentric perspectives are no longer valid as a formula for evaluating the art of this region”. Today this seems obvious – but to a significant degree this is due to the previous 6 exhibitions which introduced audiences to the richness of contemporary art practices in the region. It was through the APT[…..]

Holding Up Half the Sky: An interview with Lin Tianmiao

After seeing Bound Unbound, the major retrospective show of Lin Tianmiao’s work at the Asia Society Museum in New York I was so intrigued by how such work could emerge from the testosterone-fuelled Chinese artworld in the late 90s that I decided to seek her out in Beijing to ask her what it’s like to be pretty much the only female artist in China to[…..]

A Double Take at White Rabbit

Zhang Chun Hong, Life Strands, 2004, charcoal and graphite on paper, 1160 x 150 cm, image reproduced courtesy of White Rabbit Gallery

Things are not quite what they seem in ‘Double Take’ at the White Rabbit Gallery in Sydney. The exhibition presents some new works and others which have been seen before but deserve re-examination. A heap of porcelain sunflower seeds, a shiny Harley Davidson which turns out, on closer inspection, to be a bicycle, and the doorway of a Beijing apartment which reveals itself to be[…..]