For Art Paris 2018 Galerie Paris-Beijing is delighted to present a group featuring 6 artists working a wide variety of media.

Geometric form and its concurrent disruption, destruction and deformation are the starting point for Sebastian Wickeroth‘s art. His works is a combination of elements of painting, sculpture and architecture based on the decomposition of geometrical shapes. The form is no longer deconstructed in the work itself but visually affects the static architectural forms of the surroundings. Most of his installations are composed of several parts whose interaction causes a confrontation of clear geometric forms with vanishing orthogonality. Wickeroth’s most-known in-situ installations imply the premeditated and diligent destruction of enormous geometric cuboids made of plasterboard. The artist seems to create decomposition as an equal mode of construction. Seemingly accidental and unregulated occurrences emerge as composed structures.

Shaped within finite dimensions, the works of Chul Hyun Ahn employ a combination of lights and mirrors in order to manipulate perspective. The repetitions of light patterns, resulting in boundless reflections, convey the impression of looking into a seemingly limitless space. By providing an illusionistic environment, Ahn’s sculptures encourage the viewer to consider concepts that defy human understanding. Ahn’s knowledge in art and technology embraces the Zen practice of meditation: in the Zen Buddhist tradition, the enlightenment is achieved through meditation, which can be increased by reducing optical stimuli. The dizzying visual impact provoked by Ahn’s balanced use of lighting and mirrors is aimed at tracing a pathway to a spiritual experience.

Our relations with the media, the archive, and the way visual information is perceived and comprehended are the core of Léa Belooussovitch ‘s work. Through her new series of drawings on felt, she reinterprets in a veiled manner various images broadcasted on Internet or published in the press, reporting dramatic events of our contemporary history, such as the explosion of a bus bomb in Somalia, a shooting in Bangladesh, an attack in Pakistan or a nightclub targeted by Islamic terrorists in Istanbul. Silhouettes of men and women in a precarious situation are delicately reconstituted by applying a large range of coloured pencils to the white, smooth and reassuring surface of a large segment of felt. By mixing the pigments with the textile fiber, the drawing blurs the shapes due to the inner property of this material to trap the colours. The gesture leads to an abstract composition almost impossible to be brought into focus.

Inspired by Chinese ancestral culture and the famous Shan Shui, Yang Yongliang works with digital photography like a painter. The overall view of his work reminds us of a landscape, but a careful analysis will reveal an image made of man-made shapes and the representation of an undoubtedly urban context. The characteristic trees from the classical Song dynasty paintings become metallic lattice or poles from which are drawn electrical power lines. His inhabitants are cut off from the natural environment and seem to lead a life pairing with a kind of anonymity. With the new 4k videos Time the artist keeps developing a critic approach to reality while searching for a spiritual source in his country’s relentless march between technological progress and annihilation. The contemporary urban imagery in total decay is always present: the mountains covered by giant skyscrapers in ruins will soon be flooded by the rise of the waters, taking more and more over the surface.

A complex assembly of shadows and reflections, human presences, images of interiors and natural landscapes, Fu Site’s pictorial language borrows the codes of the oneiric world, to give life to scenes that open the field of interpretation. Even though we are far from the sombre atmospheres that characterised his early works, a certain tension still lingers. By subtly combining fragmented images and overlapped narrative layers, Fu Site knows how to provoke a certain ambiguity on our perception of time, depriving the scene of any logical coherence. Like memories or spectres, his enigmatic anti-heroes softly appear on the turbid surface of the canvas: they inhabit space without really belonging to it. Their juxtaposition with baroque decorations and, more recently, contemporary interiors, whose elements are sometimes barely suggested, plunges the viewer into an ongoing story with multiple denouements.

Also on display on a our booth a selection of Liu Bolin latest  works witnessing the artist’s engagement on environmental issues. Since the beginning of his career, ecology has been a central topic of Liu Bolin’s artistic production. By disappearing in a highly symbolic background Liu Bolin continues to denounce with finesse some important issues of our time while questioning the place of the individual in his or her own environment. His disappearance challenges the viewers both intellectually and emotionally, just the time for them to discover the silhouette hiding in the photograph.