There is a subtle difference between the English and Chinese titles of the UCCA survey of David Diao’s work. The latter contains the additional word “retrospective,” and the same characters feature in Diao’s painting Retrospective (in Chinese), 1995, part of a series depicting invitations to fictitious exhibitions at illustrious institutions such as MoMA and the Centre Pompidou. Such works critique the artist’s perceived exclusion from the institutional art system, laying bare his desire to be accepted by those institutions even while surrendering all hope. Another painting, Carton d’Invitation
The exhibition “Mapping Asia” is a unique response to one of the most frequently posed questions at Hong Kong’s Asia Art Archive: How is “Asia” defined? “Mapping Asia” takes up the conundrum from diverse vantage points, from artworks, performances, and talks, as well as materials from the archive.
Boundaries are fluid, culturally and physically. A newspaper clipping from November 14, 2013—“The World’s Newest Island” from the South China Morning Post—reports on the creation of a new landmass off the coast of Pakistan. The troubled legacy of partition, meanwhile, is referenced in Naeem Mohaiemen’s
Billy Childish’s latest solo exhibition, “Edge of the Forest,” reinstates the instinctive, as opposed to the overtly intellectual, relationship between work and viewer. The six intensely personal paintings on view recalibrate the experience of looking, drawing us into a world of slow, simple pleasures.
United by Childish’s palette of turquoise, fuchsia, ochre, and deep purple, and evincing broad, sweeping strokes, the paintings were executed on a monumental scale, the exposed oatmeal gray of the linen canvas becoming a baseline for the work. The collection comprises self-portraits, family portraits,