Osang Gwon in New York Times

Posted in Osang Gwon by arariogallery on December 17, 2009

Faking photographs is almost as old as photography itself, but the digital revolution has opened up vast, hitherto undreamed-of possibilities for making constructed, fictional images look real. It has also expanded the potential of photography and video as forms of artistic expression.

The sheer variety of the application of digital technology in imaginative fields is revealed by an absorbing, sometimes disturbing, exhibition of 23 artists from around the world, “Manipulating Reality: How Images Redefine the World” at the Strozzina Center for Contemporary Culture at the Palazzo Strozzi.

Art photography and video in the past often distinguished themselves from their professional equivalents by a willful level of technical incompetence and amateurism. What is immediately striking about almost all the exhibits on display here are the high-grade production values and slickness of finish. And while much post-modern art has seemed to pride itself on its lack of traditional art skills and its contempt for aesthetics, a significant number of the pieces here have relied on manual dexterity and a developed sense of composition, design and color at some stage in their production. Although the end result may be a digital photograph or video, many of these works have also been labor-intensive.

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Tallur L.N. in The Empire Strikes Back:Indian Art Today

Posted in Tallur L.N. by arariogallery on December 17, 2009

In October 2008, the Saatchi Gallery re-opened in the 70,000 sq. ft Duke of York’s HQ building on King’s Road in the heart of London. With free admission to all shows, the Saatchi Gallery aims to bring contemporary art to the widest audience possible. Its first three shows, “The Revolution Continues: New Art from China”, “Unveiled: New Art from the Middle East” and “Abstract America: New Painting and Sculpture”, have attracted over one million visitors to date.

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Yue Minjun in Freshness Magazine

Posted in Yue Minjun by arariogallery on December 17, 2009

Hidden under the facade of a grin is an emotion only known to the subject on view, and maybe its painter, Chinese contemporary artist Yue Minjun (岳敏君).  An early proponent of the so-called “Cynical Realism” school, a form of subtle protest against the Chinese government’s 1989 crack down at Tiananmen Square, Yue Minjun’s signature wide (and very surreal) grin is a statement all on to its own.

Read the rest here.