24 ASIAN ART Paris
THE JAPANESE COUNTRYSIDE OF HOKUSAI AND HASUI
Tis exhibition looks at the Japanese countryside and change of seasons through the eyes of three great Japanese printmakers, Katsushika Hokusai (1760-1849) and Utagawa Hiroshige (1797- 1858), and Kawase Hasui (1883-1957). Te exhibition explores nature and the ebb and flow of time in 60 prints,
including new acquisitions by the museum of some prints by Hasui. Also on show from 21 June
to 4 September are Important Ceramics from the Ise Collection from Japan – the first time the collection has been seen in France. Mr Hikonobu Ise’s collection of Chinese ceramics spans from the 5th century to
A Tour of the Waterfalls of the Provinces, Kirifuri Waterfall at Kurokami Mountain in Shimotsuke (1833) by Katsushika Hokusai (1760-1849). Photo (C) RMN-Grand Palais (musée Guimet, Paris) / Tierry Ollivier
Evening Rain on the Pine Island, from an untitled series of views of the Mitsubishi villa in Fukagawa (1920) by Kawase Hasui (1883-1957), edition Watanabe Shozaburo, acquired by the Guimet in 2015. Photo: RMN-Grand Palais (musée Guimet, Paris) / Tierry Ollivier
LEE UNGNO The Man of Crowds
Lee Ungno (1904-1989) was one of the most important Asian painters of the 20th century, at the crossroads of Far East and Europe, of past and present. In the 1950s, he abandoned traditional art for modern, abstract forms, thus playing a pioneering role in the foundation of contemporary Korean art. Later figuring as a member of the Parisian avant-garde alongside Hartung, Soulages and Zao Wou-Ki, he was also a teacher of ink painting who inspired an entire generation of artists. His exploration of the relationship between calligraphy and abstraction in
Untitled (1987) by Lee Ungno, ink and colours on paper © Cernuschi Museum / Roger-Viollet
the 1970s gave rise to the emblematic theme of his work: Crowds. Tey constituted the symbol of budding democracy in South Korea. Since 1971, the Cernuschi Museum has been
home to the oriental painting academy founded by Lee Ungno, and the museum collections contain over a hundred of his works made between 1954 and 1989. A selection of these works in the exhibition will allow visitors to discover a prolific opus with an enormous communicative energy. • 9 June to 19 November, Cernuschi Museum, 7 avenue Vélasquesz,
www.cernuschi.paris.fr • Pan Yulian, the works of the painter and sculptor, is a concurrent exhibition at the museum until 27 August.
100 MASTERPIECES OF MODERN AND CONTEMPORARY ARAB ART
Te collection of the Barjeet Art Foundation is on public display for the first time in France. Te exhibition of around 100 pieces traces the history of Arab art since the second half of the 20th century, including works in a diversity of media such as installations, photographs, paintings, figurative and abstract works. Philippe Van Cauteren, the artistic director of the SMAK in Ghent (Belgium), has divided the exhibition into three section to offer an opportunity to visitors immerse themselves in the collection. Te exhibition opens with a traditional museum gallery containing modern and contemporary masterpieces, followed by a mise-en-scène of Sultan Al Qassemi’s reserve collection. Tis presentation gives visitors a chance to see the works up close, giving them an insight into the collector’s passion for collecting. In the third and last section, official documents, correspondence, and archive images shed light on the work of the collector, who has carefully searched for, selected, and documented the pieces over the years.
ASIAN ART SUMMER QUARTER 2017
the 19th centuries and presents the range of techniques and styles used in the evolution of Chinese ceramics as well as showing the Japanese taste for these works of art. Tis exhibition is in Panthéon Bouddhique (l’Hotel Heidelbach). • 21 June to 2 October, Guimet Museum, 6 Place d’Iéna and Panthéon, 19 avenue d’Iéna, Paris,
www.guimet.fr • A smaller exhibition showing Important Gold Objects from the Guimet Collection, also runs from 21 June to 4 September
FROM THE GREAT MUGHALS TO THE MAHARAJAS Jewels from The Al Thani Collection
Te great tradition of jewellery making on the Indian subcontinent can be seen in this large exhibition of 200 pieces of jewellery and objets d’art from the Al Tani Collection, along with major work on loan from institutions and other private collections. Famous historic Indian diamonds, spectacular precious objects and legendary pieces of jewellery are brought together to represent the evolution of taste and technique in India’s jewelled arts over five centuries. Te exhibition also explores the major developments in Indian jewellery traditions, from the peak of 17th-century Mughal imperial patronage through years of political chaos and colonisation from the 18th century onwards, to the age of the Durbar, formal public ceremonies that provided Indian sovereigns with a new setting in which to show off their jewels during the British Raj. Te refinement of Mughal visual culture is a central theme of the exhibition, as is the dialogue it created with Europe over the course of numerous stylistic and technical exchanges that began with the Renaissance.
Archer’s ring belonging to Shah Jahan, circa 1625-1650, gold, diamands, rubies, emeralds, with Persian inscription, © Hermitage Muiseum, Saint Petersberg, 2017 Photo: Vladimir Terebenin
Te exhibition closes with a homage to contemporary jewellery made by Indian jewellers or inspired by India. Tese include creations by Cartier and JAR which incorporate historic Indian
HAYOUN KWON
gems. Te work of Mumbai jeweller Viren Bhagat fuses contemporary technique and materials with traditional jewellery forms and ornament. • Until 5 June, Grand Palais, Paris,
www.grandpalais.fr
489 Years (2015) by Hayoun Kwonvideo, 11’, colour, HD, 5.1 or Stéréo. Courtesy of the artist
Te winner of the 2015 Prize of the Friends of Palais de Tokyo, Hayoun Kwon’s work is based on seeing narrative as a construction of individual and collective memory, through a staging of stories which she has been told, and situations she has experienced or imagined. By exploring possibilities provided by new technologies, so as to play on the confusion between actual memories and dreamed of
Les Miroirs Rouges (1980) by Ahmed Cherkaoui, oil on jute canvas, Te Barjeel Art Foundation
• Until 2 July, Institut du monde arabe, 1 rue Fossés-Sain-Bernaard, Place Mohammed V, Paris,
www.imarabe.org
actions, between faithful testimonies and fantastical interpretations, she examines what is transmitted, and what leaves a trace or else fades into oblivion. Several of Hayoun Kwon’s pieces are linked to geopolitical questions of borders and territoriality. For example, the projects Model Village (2014) or 489 Years (2015), she conceived as allusions to the
no man’s land that separates the two Koreas. By regularly mixing in her work a documentary approach with the techniques of animated movies and new technologies, Hayoun Kwon interweaves facts and fiction, reality and virtuality, to question the complexity of the ‘real’. • 14 June to 10 September, Palais de Tokyo, Paris,
www.palaisdetokyo.com
VIDEO ART FROM CHINA
THE CENTRE POMPIDOU and the K11 Art Foundation are copresenting seven video artists from China on 29 June. at 8 pm. Li Liao, Fang Lu, Ma Qiusha and Ming Wong are the artists involved in Performing Dramas II, which explores the way in which these artists use performance in videoart and how the scenarios, simultaneously fictional and real, are used as a dramatic way of imagining and reflecting our increasingly complex reality. Information on
www.pompidou.fr
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