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Associated Press
a day ago
- Entertainment
- Associated Press
Asian Emerging Artist List Exhibition Wraps Up in Hong Kong, Spotlights Rising Talent Across Asia
06/02/2025, Toronto Ontario // KISS PR Brand Story PressWire // Hong Kong, June 1, – Younes Bensebaa, International Arts News —The Asian Emerging Artist List Exhibition concluded on Sunday after a four-day run at AsiaWorld-Expo in Hong Kong, drawing international acclaim for its showcase of promising new voices in contemporary Asian art. Curated by Tingting Fang, Dean of the Asian Academy of Arts, the exhibition has become a cornerstone of Hong Kong's annual art season. Held from May 30 to June 2, the exhibition featured works from artists across Asia and beyond, including participants from Singapore, London, Shanghai, and New York. Mediums ranged from traditional painting and sculpture to digital works, immersive installations, and virtual reality experiences. The show attracted collectors, curators, and art professionals from Europe, North America, and across Asia, underscoring its growing global relevance. A Platform for Emerging Talent The Asian Academy of Arts announced the successful conclusion of the exhibition, which was curated and led by Tingting Fang — a prominent figure in contemporary Asian art and a champion of emerging artists. Held at AsiaWorld-Expo, one of Asia's premier venues for cultural events, the exhibition earned wide recognition and high attendance, further solidifying its position on the international art calendar. Timed to coincide with Hong Kong's vibrant art season, the exhibition drew significant attention from collectors, critics, and global institutions. Tingting Fang: Visionary Curator and Mentor Central to the exhibition's success is Tingting Fang's inspired curatorial leadership. For over a decade, Fang has devoted herself to identifying and nurturing emerging talent across Asia, building platforms for new voices to connect with global audiences. Her ability to elevate raw artistic talent into internationally recognized names has made her one of the region's most respected mentors and curators.. Combining a deep knowledge of traditional Asian aesthetics with a sharp eye for contemporary trends, Fang has helped bridge generations of artistic practice. Under her leadership, the Asian Academy of Arts has offered young artists valuable grants, exhibition opportunities, and access to galleries, biennales, and collectors worldwide. 'The Asian Emerging Artist List is more than an exhibition — it's a movement,' said Tingting Fang. 'These artists represent the future of Asian art, and our role is to ensure their voices are heard on the global stage. This exhibition is about giving them the visibility and confidence they need to thrive.' Asian Art on the World Stage Now in its latest edition, the Asian Emerging Artist List Exhibition has become one of the most important platforms for discovering new talent in the region. Artists are selected through a rigorous vetting process by the Academy's curatorial team, who review thousands of submissions based on originality, technical skill, and conceptual depth. Many artists featured in the exhibition have gone on to show at major global institutions. As a result, the List is increasingly regarded as a barometer for future success, attracting close attention from collectors, galleries, and art foundations worldwide. This year's exhibition stood out for its diversity of media — from traditional fine art to cutting-edge technology — reflecting the breadth of contemporary artistic innovation in Asia. Participating artists came from global cities such as Singapore, London, Shanghai, and New York, underscoring the international scope of the event. Through her curation, Fang ensured that forward-thinking, boundary-pushing work was at the forefront of the visitor experience. Championing the Next Generation Beyond its visual impact, the exhibition plays a pivotal role in promoting younger Asian artists who often face challenges entering the global art scene. By featuring their work on a high-profile platform, the exhibition creates valuable exposure and facilitates connections with key players in the art world. Strategically positioned during Hong Kong's peak art season, the event receives maximum visibility and media coverage, helping to propel participating artists toward international recognition. In doing so, the exhibition contributes to a broader conversation about the evolving identity of Asian contemporary art. Global Interest and Cultural Impact Interest in the exhibition circulated well before its official opening, with collectors, journalists, and art world insiders from Asia, Europe, and North America expressing strong anticipation. Many traveled to Hong Kong specifically to attend, driven by Tingting Fang's reputation for discovering exceptional talent. Several artists she has championed in previous exhibitions have since emerged as leading figures in the global art world. Join the Movement The Asian Emerging Artist List Exhibition is more than a display of talent — it is a cultural movement redefining the future of contemporary art in Asia. It not only showcases the region's brightest new artists but also fosters the next generation of artistic leadership. For collectors, it offers rare opportunities to acquire early works from rising stars. For curators, it introduces fresh perspectives and emerging themes. And for art lovers, it is a chance to witness the shaping of tomorrow's visual culture. The exhibition fosters global connections, sparks cross-cultural dialogue, and supports the professional growth of artists poised to define the next era of contemporary art. Through acquisitions, partnerships, and increased visibility, the global art community can help elevate these voices — amplifying Asia's dynamic creative presence on the world stage. Original Source of the original story >> Asian Emerging Artist List Exhibition Wraps Up in Hong Kong, Spotlights Rising Talent Across Asia
News24
2 days ago
- Lifestyle
- News24
John Madu's historical exhibition: Van Gogh Museum hosts first African solo artist
Nigerian artist John Madu marks a historic first as an African artist with a solo exhibition at Amsterdam's Van Gogh Museum. Produced in just three months, Madu's paintings creatively reinterpret Van Gogh's iconic themes. The exhibition aims to enhance inclusivity in Western art spaces and celebrates African representation on an international stage. Expressive brushstrokes depict a man seated at a table, his face hidden behind a book of Japanese prints, a plastic chair in the corner, and a Nigerian passport lying on the table. It is one of 10 new paintings by Nigerian artist John Madu, created for Paint Your Path - the first solo exhibition by an African artist at Amsterdam's Van Gogh Museum, which opened Friday. Madu, 42, produced the 10 works in just three months in his Lagos studio, each responding to one of seven paintings by the Dutch master. 'Before I even knew who Van Gogh was, I knew about his work,' said the artist, recalling how, as a child, he admired his father's calendars filled with Impressionist art. View this post on Instagram A post shared by John MADU Is BLACKMUSE (@johnmadu_art) 'Van Gogh's works actually stuck out to me because of the yellows, the swirls, the strokes,' he told AFP. Madu plays on the global familiarity of Van Gogh's work to build connections between local and universal themes, notably through self-portraiture and the use of symbols. Van Gogh's famous wooden chair is reimagined by Madu as a white plastic seat - sometimes the main subject, sometimes carried on the shoulder of a protagonist resembling the artist entering a cafe in France's Provence region with a yellow facade. 'So I feel the world of Van Gogh plays out for people to relate to you,' he said. 'I really wanted to pay homage to this master I really love... So I thought for it to blend perfectly, the strokes, the brush strokes, the colour theme should connect together.' 'That would make the works actually feel like one.' This is not Madu's first dialogue with Western art - his previous works have drawn inspiration from Gustav Klimt, Edward Hopper and Norman Rockwell. These references resonated with the 'Beeldbrekers' ('Image Breakers'), a group of young adults who co-commissioned the exhibition with the goal of making the Van Gogh Museum more inclusive - both in its exhibitions and outreach. 'For me, especially, it's a kind of representation to see an African artist being represented in a museum like this,' said Himaya Ayo, a 22-year-old member of the Beeldbrekers. 'So, when I heard that, I immediately signed up for it, and now I get to take part in this amazing but also very historical moment.' View this post on Instagram A post shared by John MADU Is BLACKMUSE (@johnmadu_art)
ABC News
5 days ago
- Entertainment
- ABC News
Marcia Langton 'delighted' and 'terrified' by new exhibition 65,000 Years: A Short History of Australian Art
The long, woven eel trap in pale native grasses hovers above me. I've stepped through the new mirrored entrance into the redeveloped Potter Museum of Art at the University of Melbourne; the building has become a monumental recognition and celebration of the artistic visions of the oldest continuing culture on earth. The sinuous eel trap, made by Dhauwurd Wurrung Gunditjmara artist Sandra Aitken, is suspended in space, no longer a fishing device but seemingly a container of history, of almost-lost weaving skills and of the memory of connection to land and creativity that not even decades of colonisation could erase. Ten years of painstaking work has culminated in an exhibition that not only brings together the infinite variety and long history of Aboriginal art, but that also recounts the brutal history of dispossession, subjection and scientific racism that is the dark heart of colonial history — and the subject of so many of these works. The exhibition is called 65,000 Years: A Short History of Australian Art. It's a deliberately provocative title. It slices quickly to the point of what is almost certainly the most important exhibition of Australian Aboriginal art and design assembled in this country. Because Indigenous Australians have been making art for as long as they have been here, telling their stories, painting their place and recording their experiences and creative visions for millennia — but colonial recognition of that art has been a very long time coming. "I say it's a short history of Australian art,'' co-curator, writer and anthropologist Professor Marcia Langton says, "because Australian art, the art of this country, was not recognised as art until well into the 20th century, so it's both a truthful and an ironic title." The exhibition's curators are formidable women: Professor Langton, who was originally asked to create this show a decade ago; and curator and Arrernte woman Shanysa McConville, with historian and curator of Indigenous art Judith Ryan, who both joined the project in 2021. They are brilliant, insightful and dedicated curators. They hold every aspect of the broad, varied and long histories of Indigenous art in their minds, rapidly recalling fine details and important historical contexts. They are awe-inspiring company: in conversation with them, I work hard to keep up. The curatorial team consulted with communities around the country, sought the display of a major collection of historical Indigenous art and cultural objects, and have invited commissions of new work to establish a powerful timeline over centuries that Professor Langton says had to be done — "because it had never been done before". For the curators, the task of putting together this exhibition was cultural, historic and deeply personal. "I started out thinking that we have to address Australian history because the artists themselves do," Langton says. Not to do so, she says, "would be an act of cowardice". "Getting those chronologies right has been really important," McConville says. "The central and western desert room in particular has been close to my heart … I wanted to get that absolutely right." Brought together, the works are overwhelming. They extend from the very earliest bark paintings and cultural objects — all approved for public viewing — to the first colonial representations of Indigenous Australians. And there is work from every place, region and period of time in which art was created: former missions and settlements, deserts and homelands in and around the battlegrounds of the Australian Wars, and the suburbs and cities of new movements of contemporary Indigenous art. The three curators also include "hero" works from the celebrated art movements of Papunya, the Kimberley and the Spinifex people among others, with major paintings by Emily Kngwarreye, Rover Thomas, Carlene West and the Tjanpi Desert weavers. For Judith Ryan, much of the exhibition is a living tribute. "A lot of the walls are memorial walls — of loss, sorrow and death. You can't see this art separate from dispossession and massacre: it isn't separate from history — it's the intersection of art and history." McConville cites the room of early colonial painting as one of great significance to her, as the names, images and histories of important Aboriginal artists are depicted in the works. "It brings them into the room and into focus. Those works are more about these artists than the colonial painters themselves," she says. At the centre of the exhibition is the returned cultural pinnacle of the university's Indigenous collections: the Donald Thomson collection, which has been on long-term loan to Museums Victoria since 1973. The Melbourne anthropologist's collection is astonishing: Thomson is credited with making the world's most significant ethnographic collection of Aboriginal art and cultural objects, which he started in the 1930s. It comprises work from more than 90 communities in Cape York, Arnhem Land, the Central and Gibson Deserts, and beyond. The room in the Potter Museum that contains many of the Thomson pieces is painted green for the grasslands of their origin, and the precious bark paintings are thrillingly familiar and mysterious. But even in this extraordinary collection, there was something missing. "One of the things I noticed when I started going through the catalogues was that there were no works by women except for the weaving works that Donald Thomson collected," Professor Langton says. "But of course, none of the women are named." The curators specifically commissioned major pieces by contemporary women artists, including the mesmerising five-metre painting, Ngangkari Ngura (Healing Country). Betty Muffler and Maringka Burton, respected Aṉangu ngangkari (traditional healers) based at Indulkana in the APY Lands, collaborated on the painting, which focuses on healing the country in the aftermath of British atomic testing at Maralinga and Emu Field during the 1950s. After 10 years' work, the exhibition has left its mark on its curators. "It feels like home," McConville says. "It's the greatest exhibition experience I have had," says Ryan who was senior curator of Indigenous art at the National Gallery of Victoria for more than 40 years. When I tell her that I think it will blow people's minds, she quietly replies, "I hope so." Marcia Langton feels similarly. 65,000 Years: A Short History of Australian Art is at the Potter Museum of Art (Naarm/Melbourne) from May 30 to November 23, 2025. Virginia Trioli is presenter of Creative Types and a former co-host of ABC News Breakfast and Mornings on ABC Radio Melbourne.
Daily Mail
6 days ago
- Entertainment
- Daily Mail
Madonna turns heads in a Regency-style pinstripe waistcoat and boots as she enjoys a private midnight visit to The Metropolitan Museum of Art
Madonna turned heads as she enjoyed a private visit to the Metropolitan Museum of Art in New York City on Wednesday. The Queen of pop, 66, took to Instagram to share snaps of herself frolicking around the museum for the Superfine: Tailoring Black Style exhibition, which launched at the star-studded 2025 Met Gala. Taking style inspiration from the Costume Institute's spring show, Madonna wowed in a black and white pinstripe waistcoat layered over a white ruffled-trim shirt. She teamed it with a pair of distressed cut-out flared trousers which gave a glimpse of her thighs and square-toe lace up boots. Madonna added a long black jacket over the top of her look and accessorised with silver jewellery, a black fedora hat, and sunglasses. From A-list scandals and red carpet mishaps to exclusive pictures and viral moments, subscribe to the DailyMail's showbiz newsletter to stay in the loop. She captioned the post: 'Finally got a chance to see the new Frick collection, an 18th century Jewel box on 5th Avenue. Especially fond of Rembrandt. 'Dashed over to the Met to see the SuperFine Tailoring Black Style exhibition! What a treat! So nice to see without big crowds. Well done to everyone involved.' Superfine: Tailoring Black Style presents a cultural and historical examination of style over three hundred years through the concept of Black dandyism. Visitors walk through 12 sections - Ownership, Presence, Distinction, Disguise, Freedom, Champion, Respectability, Jook, Heritage, Beauty, Cool and Cosmopolitanism. The exhibition features looks from 40 contemporary Black designers including Grace Wales Bonner, Ozwald Boateng, Labrum London, Botter, Telfar,, Jeffrey Banks, Luar, Willy Chavarria, Balmain's Olivier Rousteing, Fear of God, among others. Superfine: Tailoring Black Style opened on May 10 at The Met Fifth Avenue and will run until October 26. The Met Gala adopted a theme in line with the exhibition's style and Madonna joined other A-listers in honouring the artistic creations on the red carpet. She showed off a stunning natural look as she wowed in a cream silk Tom Ford suit, designed by Haider Ackermann. Sticking to the event's Tailored for You dress code, the iconic musician displayed her interpretation in a double-breasted jacket, white shirt, cummerbund and bowtie. The androgynous look was paired with a bold fuchsia lip and smoky eyeliner, while the star puffed on a cigar. The night also saw her make her red carpet debut with her younger boyfriend Akeem Morris, 29 - with the pair looking very loved-up. The duo were first romantically linked in July 2024, as the recording artist shared photos of them celebrating Independence Day in the Big Apple. But they've known each other since at least August 2022, when they posed alongside each other for a Paper magazine cover. Madonna will 'soon' re-release her sixth studio album Bedtime Stories and she's recording a sequel to her 2005 dance album, Confessions on a Dance Floor, with musical director Stuart Price. She is the world's best-selling female recording artist and the most successful solo artist in the history of the U.S. Billboard Hot 100 chart with 44 No. 1 singles.
Arab News
26-05-2025
- Entertainment
- Arab News
Saudi Information Minister: 250,000 pilgrims have arrived through Makkah Route Initiative
Mexican artist displays Saudi and Mexican culture in 'Tiny Homes' RIYADH: Mexican artist Erika Place has been living in Riyadh for 14 years and through her work highlights key elements of Saudi and Mexican culture. In her pieces created using recycled materials, Place combines key elements of both cultures including Mexican-inspired colors, architecture and major Saudi landmarks such as the Kingdom and Faisaliah towers. 'It is in Saudi Arabia that I got inspired,' Place told Arab News at her recent exhibition 'Tiny Homes,' hosted at the Mexican ambassador's residence in Riyadh. 'I have been here 14 years and I consider this place my home, and I feel at home. I do miss Mexico but I don't feel that I am not home here,' she said. Born in Guadalajara, Place moved to Europe at a young age. She always had a passion for art but never realized her talents until later in life when she moved to Saudi Arabia with her husband in 2012. In the Kingdom Place's artistic vision was realised, and she began to draw inspiration from the country's landscapes, architecture and people. 'I made this my home and the experience has been beautiful,' she told Arab News. Mexico's ambassador to Saudi Arabia, Anibal Gomez-Toledo, hosted the exhibition and gave his perspective on Place's art. 'She is a self-taught artist, and what she has been doing is incredible. After many years of practice and discipline, the outcome is noteworthy,' Gomez-Toledo said. In her art, Place takes discarded small boxes and turns them into tiny homes and tiny villages, repurposing materials that would have otherwise end up in a landfill. Place believes that this is her way to help the environment, by reducing waste and giving new purpose to products that can still be useful. She takes these recycled materials, paints them, and gives them a new life that reflects Saudi landscapes and culture through the bright and vibrant colors of Mexico. 'For me the Mexican touch is the colors. In Mexico, we have colors everywhere, the Mexican touch is putting colors in my paintings,' Place said. During his remarks, the Gomez-Toledo said: 'Generally speaking, after using something, you throw it away and forget about it. However, can you imagine how many tonnes of waste there are worldwide?' Gomez-Toledo underlined that, according to the World Bank, as of 2020 there were 2.24 billion tonnes of municipal solid waste generated annually and that by 2050, global waste generation is expected to reach 3.4 billion tonnes a year. 'The global production of paper and cardboard waste is over 400 million tonnes annually, paper and cardboard are the materials Erika has used to create tiny homes,' he said. In her works, Place also depicts scenes of Saudi life, portraying people dressed in traditional thobes and abayas. Through her art, Place invites visitors to explore the diversity of Saudi Arabia through the tiny cardboard homes she creates.
