Fair and Gallery Shows 33


WINTER ART AND ANTIQUES FAIR


Te fair is now in its 27th year and continues to be one of the largest annual antique fairs in the UK. Apart from European and Western antiques and works of art, the fair also has a long-established connection with Asian art. Asian dealers at the Winter edition of Olympia include Laura Bordignon, Steve Sly Japanese Art, Marina Oriental Art and Kevin Page Oriental Art. As usual, a series of lectures accompanies


the fair, including a lecture by Dr Nicole Chian, curator at the Museum of East Asian Art in Bath on Collecting the ‘Uncollectables’ – the Study Collection at the East Asian Art Museum, on 5 November at 12.30 pm. Te preview is on 31 October. More information on the fair’s website.


31 October to 5 November, Olympia, London, olympia-antiques.com


ZEN & CLAY


Carole Davenport’s autumn show in New York is about the powerful, yet often


unassuming ink paintings and calligraphy inspired by Zen philosophical thought – often expressed in calligraphic poetic phrases and sparse, austere ink paintings. Tis expression, in three-dimensional form, can be seen in the Zen meditative outlook on tea ceremony ceramics in the form of teabowls, tea caddies, and tea jars. Paintings and objects with these influences form the basis of this reflective exhibition. A highlight is an iconic ink painting of a one-stroke Mt Fuji with accompanying poems and an Obaku zen calligraphy screen of bold characters evoking the image of a sage reciting poems in the morning dew whilst desiring


16th-century Bizen small jar in a sombre dark brown with golden ash spots, as well as tea bowls from the Raku kilns, plus an assortment of chaire, the small containers which hold powdered tea and despite their diminutive size possess grand forms. Also included are lacquer and basketry works of art to illustrate and complement the meditative theme. Te calligraphy scrolls date


Small Bizen jar, dark brown with golden ash spots, Japan, 16th century


his morning tea Ceramics range from a contemporary Shigaraki jar with resplendent colours of burnt orange with an ash-green glaze by the master potter, Furutani Kasuzaya, a


from the 17th century to the Edo, including works by Otagaki Rengetsu from 19th century vintage and works by Nakahara Nantembo, the Zen monk of Meiji fame. From 26 October to 2 November, Carole Davenport at Tambaran Gallery, 5 East 82 Street, New York, caroledavenport.com. Hours noon to 6pm daily.


AHMED ALSOUDANI


Tis is the first solo show for the artist with the gallery and it brings together a new body of work executed in acrylic, charcoal and pencil-on-canvas, which present surreal and often discomforting scenes, accentuated by chaos. Marking a departure from


previous series, the works on view are noticeably cooler in tone. Whereas earlier works reveal his grim subject matter in discordantly bright colours, here Alsoudani no longer subverts the bleakness of his inspiration. His expressionistic mark-making in coloured pencil - a prominent feature of the paintings on display - detail the artist’s hand across his canvases and lend an intimate impression. In many works, Alsoudani conceals or reveals specific areas of the picture plane, restricting the viewer’s ability to fully comprehend the forms of individual elements. In Pit (2016), the artist presents colourful abstractions – unidentifiable figures, perhaps dismembered bodies or mutilated creatures – intercepted by black snake-like forms and an


X-Ray (2016) by Ahmed Alsoudani, acrylic, charcoal, coloured pencil on canvas, 82 x 64 in., 208.28 x 162.56 cm, courtesy of the artist and Marlborough Contemporary


30,000 pieces


Hand-picked, stylish and eclectic Unrivalled choice


ominous black void. In X-ray (2016) geometric shapes appear trapped between the distorted imagery. At the bottom of the canvas a coloured square imposes a filter across the scene, searching to distil meaning from inside the disarray. Paint drips and blots are a


recurring motif of many of the works on view. Intercepting the composition with this painterly mark-making, Alsoudani adds further complication to his


disordered scenes, while highlighting the role of the human hand in the creation of violence. In Doorway (2017), the looming presence of an individual is referenced by a door frame – though the shape is barely perceptible among the explosion of forms that burst through it. 28 September until 11 November, Marlborough Contemporary, London, marlboroughcontemporary.com


For details and tickets visit olympia-antiques.com


Image: Manuel Castilho Antiguidades


Bronze vase with silver dragon, Meiji period, Japan, Laura Bordignon


1 - 5 November 2017 Preview 31 October


OCTOBER 2017 ASIAN ART


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