This exhibition is organized by Shanghai chi K11 Art Museum.

 

The universe is an endless hoax, in which everything is perpetually mutating. In the creation of art, medium can be regarded as a tool, which allows for the unconventional transmutation of materials that lies beyond the naked eye. It is imbued with potentials to probe behind appearance and shatter pre-established frameworks.

The exhibition Capricious Structure features independent projects by four young artists from both China and abroad, including Andrew Luk (Hong Kong), Brendan Fowler (Los Angles), Wu Juehui (Hangzhou), and Shen Xin (London/Amsterdam). The works presented reflect on the mutual intervention between the artificial and the natural, the interstices of interior and exterior, and the fictionality of video, all contesting the capricious nature of medium.

Artists from various backgrounds use their idiosyncratic perspectives and visual lexicons to reconstruct narrative space, exploring ideas around urban conditions, industrialization, technology, economy, and race. Emerging from and yet operating outside of the mainstream culture, artists have orchestrated a series of heterogeneous temporalities. They can be seen as a manifestation of the dynamic worlds envisaged by the artists as well as a mind game with the viewer.

 

 

Andrew Luk (b. 1988) is a Hong Kong artist whose material-based practice of creating installations, sculptures, and images investigates how civilization regards itself in relation to nature by way of examining human projects as well as studying naturally occurring systems of entropy, anti-entropy, and preservation.

 

The material based and process driven art work of Andrew Luk draws lines between that which is natural and manmade. His artwork reverses and subverts these prescribed roles, often through the use of unconventional material or considered modes of production. Much of the work in this exhibition also reflects on the invisible, yet massive quantities of technology and labor that are currently in use throughout the world. As technology diminishes the evidence of human labor, such labor is subsequently devalued. The acceleration of change and compression of time allow innovation to take effect as soon as it is discovered, leaving little to no room for reflection and assessment. Ultimately, this may lead the value of a person to equal that of a featherless biped with broad flat nails.

 

 

Brendan Fowler (b. 1978) currently lives in Los Angeles, the United States. His career spans multiple disciplines, including music, art, and fashion. His artistic practice incorporates his music background in free jazz and uses readymades to show the process of deconstructing and reconstructing. Within the exhibition space are free-standing “production flats” and wall-mounted sculptural paintings; they unabashedly proclaim their internal construction, activating the surrounding space in which the spectator is forced to oscillate back and forth. In his early work, sculpture, photography, and fabrics are layered, folded, sutured, and amalgamated. The seemingly casual configuration of various elements, which are inlaid within the frames and stacked upon each other, is in fact meticulously staged by the artist. The resulting effects of crashing and blocking produce a tension between improvisation and composition, like the moment when a band of free jazz musicians accidentally arrives at the same tune. For Fowler, these pieces are simultaneously images, sculptures, and performances.

 

 

Souvenir package:
1 ticket + transparent tote + booklet + lanyard

 

chi k11 Art Museum specially commissioned this cool and practical exhibition souvenir tote bag with abstract patterns and pops of color. The lanyard is a very versatile and trendy piece of accessory that can be used on bags or with your outfits.