Asian Overview Roma 2009

ASIAN OVERVIEW
ROME 2009
Exhibition of artists from Italy and Far East
10-24/6/2009
Villa De Santis Via Casilina corner Via Gordiani, Rome, Italy
On 10/6/’06 at 6 pm will opened Villa De Santis with the exhibition “Asian overview Rome 2009” patronized by the City Hall of Rome Municipio 6 ,
Artists participating:
China: Liu Yang, Liu Wei, Wang Tiewei, South Korea: Shin-Hye Park, Japan: Hiroshi Matsumoto, India: Sangeeta Singh, Indonesia:Setyo Mardiyantoro, Anthonius Kho, Italia: Bruno Bruno, Giudo Della Giovanna, Mario D’Imperio, Teresa Mangiacapra, Clara Menerella, Vincenzo Montella, Armando Profumi, Nuccia Pulpo, Marco Sodaro, Malaysia : Yeoh Kean Thai, Jinleng Yeoh,


It will be possible to visit the exhibition:
Monday to Friday:
From 9,30 am to 1,30 pm and from 4pm to 7,30 pm
On Saturday and Sunday it will close on 9 pm.
The network of relationships built on-line is probably the subject of this exhibition. The wonder discovering that is possible to build a community overcoming differences in age, geographic collocation and cultural habits using virtual contacts and transforming them into an artistic event. In this exhibition there is an Indonesian artist immigrated in Italy, Setyo Mardiyantoro, and an Italian artist who emigrated to Japan, Marco Sodaro. Two experiences of life both rare and they express with different techniques, painting and photography, the same sense of disorientation to the environment. The oldest artist is Jinleng Yeoh, internationally recognized artist since the 50s, whose works are in the National Gallery of Kuala Lumpur as in other prestigious institutions, while the youngest is Liu Yang sophisticated digital artist and already teacher of this subject at the Academy of Fine Arts of Sichuan. Research on the femininity link her to Sangeeta Singh but also to Guido of Giovanna. Anthropological and political issues characterize the artworks by Wang Tiewei and Yeaoh Kean Thai as well as those by Clara Menerella and Nuccia Pulpo Travel stories those by Vincenzo Montella and Teresa Mangiacapra while have the same delicate style, even if expressed with different techniques,the landscapes by Shin Hie Park and Liu Wei. The surreal figurative artworks by Bruno Bruno, Mario D'Imperio and Antonius Kho seems the prelude to the complete abstraction of Hiroshi Matsumoto and Armando Profumi. A various collection that shows contact points between the different artists and also significant differences but expresses however the pleasure to discover and recognize each other escaping through this comparison from the social, political influences and the cultural environment of their background. It isn’t casual if the Municipalita’6 of Rome hosts for the second year this show. This is a territory already multi-ethnic and fully in tune with this kind of experiences.

A solo exhibition of work by Korean artist Shin-Hye Park

May 16 – May 31, 2008Opening Reception: Friday January 18th, 6-8 pm.

The Broadway Gallery is proud to announce a solo exhibition of work by Korean artist Shin-Hye Park curated by Tchera Niyego.
The exhibition will take place from May 16-31, 2008, with the opening reception on Friday 16 May 2008 from 6-8pm at the Broadway Gallery NYC 473 Broadway, 7th Floor New York, NY
Her realistic depictions of an ethereal landscape uses soft colors to reflect on that place where two worlds meet, where the known and unknown come together. With her own unique language of luminescent semi-abstraction, Park combines areas of extremely soft and light darkness. The evocative subtlety of Park’s work is focused not on material presence, but on the visual impact in relation to both the viewer and architectural surroundings.

SHIN_HYE PARK”S MEANINGFULL STRUGGLE OF SEEKING EQUILIBRIUM

By Tchera Niyego

Shin-Hye Park’s images of the waterfronts; ever so changing, yet studied and experimented with precarious repetition by the artist over years of patience and loyalty, is no vacation spot you’ve been dreaming to take a long, relaxed time out at. On many moments of the impossible while Park might have been during developing a piece, yet when even the water is still and there’s a whole wide land of sand yet to swim, while paradoxically seeming quiet indeed a place and just when the viewer might fall into the wishful conclusion upon first impression of labeling it one thing or another, relax into it, and drop out, others will hear they are never going to be ready and from what I hear when unprepared, death don’t come pretty. Only incredibly rare few are ever prepared so we better assume it isn’t just pretty or just not. The general silent wisdom space on the surface of Park’s work keeps screaming with the longing and yearning of the Ancient of Days. Park reminds us that always is, yet never graspable.

In the images of the very meeting point of the shore in close-ups where we see the water blending into dry land and there are no open deep seas or any air of the skies, the foam of the sea is ever so close to that breath of air and the voice of the beloved. Fundamentally of darkness pre white, irrational, unrestrained, unreliable devouring quality is accessible most here. Oddly enough Shin-Hye Park’s close-ups of the shore are details reminding there’s always an open door calling one back to the essential nature of things.

This is unconventional and unique in Park’s work as her clear memory and persistent repetition in reminding one of this open door to the Infinite that is the essential nature of all things is in every moment. Park’s dream-like perception is spontaneously what we are fooled to be real. The fact that Park knows to long for further clarifying her dream into perfection in every detail tells me she is not a terribly white-knuckled grasper on the belief of things being real in an absolute sense. Park’s work rather mirrors transparency and the artist does it with the very tools of basic human senses and nature as its sense gates; the only door in town available for us all to explore entering into what’s beyond perfection and imperfection and all contrasts. Park is sincere and authentic in hermost meaningful of struggles seeking equilibrium and she is a generous artist in keeping us posted on her progress with simplicity.

Shin-Hye Park’s work titled “Number 8” previously exhibited at Broadway Gallery NYC in a traveling group show context titled “Apple II” dealing with temptation which I had the pleasure of curating, has great significance in the whole of her work. In Park’s piece “Number 8” which the artist had composed of 9 panels, we see that although naturally not devoid of the traps of habit and on the contrary with the embodiment of habit, we could say, as Eve in the up-close left of the centerpiece and the eight remaining panels surrounding Eve suggests two directions. However Shin-Hye Park’s path is decidedly going one way and not any other. Park empowers the viewer into the re-cognition of the vast dissimilarity indeed like it has been interpreted before however the word is that this dissimilarity is not of this world as we breathe and live in it versus another one in the state of perfection that existed once upon a time, or that exists somewhere else. Our very own mind’s habits coax us back into splitting things apart time and again. As Adams and Eves we are so habituated into splitting ourselves into two’s into infinitum that we forget questioning it and yearning, longing and seeking the Unity of the two directions. Park stands clear in her choice of unsettling into so-called reality.