Ellen Pearlman

Post image for In Vietnam, Contemplating the Future of Contemporary Art

The 1986 policy of Doi Moi or “new change” injected reforms into Vietnam similar to Perestroika in the former Soviet Union.

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Post image for The Polyglot Lineage of Vietnamese Propaganda Art

When Ho Chi Minh, the father of current-day Vietnam retreated north to regroup during the French Indochina war of 1946, he was accompanied by a number of artists.

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Articles

The Complex Tale of Vietnamese Modernism

by Ellen Pearlman on February 25, 2015

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Vietnamese contemporary art has received a fair amount of press recently and that’s a good thing. However, most Vietnamese artists who are reviewed either studied abroad or have had the opportunity to travel abroad, or grew up outside of Vietnam before returning home.

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Galleries

A Tibetan Artist’s Political Pop

by Ellen Pearlman on September 30, 2014

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HONG KONG — In his new show at Pearl Lam Galleries in Hong Kong, contemporary Tibetan artist Gonkar Gyatso uses traditional Tibetan landscape themes and iconography, but also tchotchkes, bricolage, cartoon bubbles, and stickies, all of which serve as cheery subterfuge for the dire messages he buries under his techniques.

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Still from Amie Siegel's

Amie Siegel’s three-part installation on view at the Metropolitan Museum of Art, “Provenance,” traces the rehabilitation of ruined Le Corbusier furniture from Chandigarh, India, as upscale appetences for chic global lifestyles.

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Post image for Artistic Revelations from Ancient Southeast Asia

With Lost Kingdoms: Hindu-Buddhist Sculpture of Early Southeast Asia, 5th to 8th Century, the Metropolitan Museum of Art once again proves its stature as a world-class museum — not just because of its collections, size, or location, but because it is one of the few institutions in the world that can luxuriate in mounting shows of profound global impact that are not dictated by the whims of mass popularity.

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Post image for Blood, Guts, and Splattered Gore: Hermann Nitsch Hits Hong Kong

HONG KONG — Hermann Nitsch, one of the founders of the visceral Viennese “Aktionismus,” or Actionism, of the 1960s, has resurfaced with a retrospective of his work at the CIA (Culture Industries Association) gallery, located in the gritty and remote industrial Kwai Hing neighborhood, as if to counter the glamor and frisson of Art Basel Hong Kong. The inscrutable and pseudonymous gallery directors, Juiz and Mr. Outside, curated the retrospective, a first for the city.

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Post image for Art Basel Hong Kong on the Verge (Part 2)

HONG KONG — More than US$1 billion of art was for sale at Art Basel Hong Kong, according to insurer AXA ART. But the fair managed to look beyond sales, and also displayed a number of serious counterweights to the frenzied acquisitive impulse.

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Post image for Art Basel Hong Kong on the Verge (Part 1)

HONG KONG — Art Basel Hong Kong, formerly ART HK and brought into the fold of the Art Basel franchise last year by director Magnus Renfrew, is primarily about place, though it thinks it’s about selling art.

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Post image for The Sound Of Two Borders Dissolving

HONG KONG — Unlike the Berlin Wall, which began with the division of post-World War II spoils, or the Israeli West Bank barrier, which divides parts of Israel and Palestine, the Shenzhen/Hong Kong fence, or “Frontier Closed Area,” has as much security power as wet tissue paper.

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