Tag Archives: jiang heng

Jiang Heng 江衡 (b. 1972)

Jiang Heng was born in Guangdong, China in 1972. After graduating from the Department of Fine Arts of South China Normal University with a Bachelor of Arts degree in 1996, he continued to pursue a Master’s degree and graduated two years later. In 2010, Jiang Heng was appointed as a Masters’ supervisor at his alma mater and he continues to serve the role today, as an Associate Professor.

He has exhibited in many group and solo exhibitions, which include: “Fine & Gentle” Solo Exhibition of Jiang Heng’s Work at Guangdong Museum of Art 2019; “Ink at Current” the 10th International Ink Art Biennale of Shenzhen at Overseas Chinese Town Contemporary Art Terminal (OCAT) 2019; “City as Museum” the 2nd Shenzhen Biennale of Contemporary Art at OCAT 2017; “Personal Structures” the 57th Venice Biennale at Palazzo Bembo, Plazzo Mora 2017; the 56th Venice Biennale Satellite Exhibition – “Highway to Hell” by Jiang Heng 2015; “Re-Modern” the 3rd Exhibition of Fine Arts Literature at Hubei Art Museum 2014; the 55th Venice Biennale Satellite Exhibition – “Voice of the Unseen” 2013; UNESCO First Art Collection of Chinese Contemporary Artist at UNESCO Headquarters 2012; “Fluttering Butterflies” Exhibition of Jiang Heng’s Art at Shanghai Art Museum 2009; the 54th Venice Biennale Satellite Exhibition-“Future Passport” that toured Venice, Rotterdam World Museum, National Taiwan Museum of Fine Arts and Today Art Museum 2011-2012; “Where Do We Go Now?” the 1st Moscow International Biennale of Young Artists at Moscow Museum of Modern Art 2008; “Art Asia” Art Basel Miami 2008; “The Third Nature – China Reconstruction” the 4th Guangzhou Triennial at Guangdong Museum of Art 2012; and the 1st Chengdu Biennale at Chengdu Modern Art Museum 2001.

Jiang Heng was the only Chinese contemporary artist amongst those whose works were collected by the headquarters of United Nations Educational, Scientific, and Cultural Organisation in Paris in 2012. His works are also permanently collected by many notable institutions and entities, including the Museo Nacional de las Cultural (Mexico), Museo Civico Belliniano (Italy), Guangdong Museum of Art (China), He Xiangning Art Museum (China), Mantova Youth Museum (Italy), Mingyuan Art Museum (China), Shenzhen Art Museum (China), Nanjing Sifang Art Museum (China), Nanjing Qinghe Art Museum (China), American Consulate General, and in organisations in Belgium, Korea, France, Australia, England and Switzerland.


Artwork Images

Flower, Not 《花非花》 – A Group Exhibition at iPreciation

 


A Group Exhibition by Oh Chai Hoo 胡財和 (b. 1960), Song Ling 宋陵 (b. 1961), Hua Jun 花俊 (b. 1970), Wang Shaoqiang 王紹強 (b. 1970),  Jiang Heng 江衡 (b. 1972), Tan Seow Wei 陳曉薇 (b. 1979) and Chui Pui Chee 徐沛之 (b. 1980)

Venue: iPreciation (誰先覺), 50 Cuscaden Road, HPL House #01-01, Singapore 249724 

Private Preview: Feb 4, 2021  (By Invitation Only)

Exhibition Opens to Public: Feb 5 – Feb 27, 2021

(Due to social distancing, prior viewing arrangement is recommended. Please cal6339 0678 or email Brian at brian.foong@ipreciation.com)

花非花,霧非霧,

夜半來,天明去。

來如春夢幾多時?

去似朝雲無覓處。

A flower it seems, perhaps not. Was it the mist? I do not know.

She comes at night and leaves at cockcrow.

Much like a dream that could not stay.

Or maybe the clouds, fading away.

– Bai Juyi, Tang Dynasty

Our love affair with the bloom and wither dates back centuries. It continues to manifest in the present time, but there is more than meets the eye. Borrowing a line from Bai Juyis poem, and much like Magrittes La Trahison des images, Flower, Not is a study on the relationship between meaning and representation. Seeking new visual figures of speech, seven artists – Oh Chai Hoo (b. 1960), Song Ling (b. 1961), Hua Jun (b. 1970), Wang Shaoqiang (b. 1970), Jiang Heng (b. 1972), Tan Seow Wei (b. 1979) and Chui Pui-Chee (b. 1980), drew on their cultural heritages, socio-political backgrounds and generational influences to imbue fresh connotations to the age-old imagery.

The lionhearted Song Ling presents his rebellious take on the ironic phenomenon of alienation and isolation in an increasingly connected world. Maintaining an unwavering stance to celebrate imperfections, Oh Chai Hoo is back to question an impetuous world that downplays the beauty of flaws. Just as Wang Shaoqiang continues to sail through contemporary Chinese ink with his landscape imageries that interweave latter-day influences and ancient origins, the ancient Heart Sutra finds its perpetual modern relevance through the quirky lens of Hua Jun. Jiang Heng remains committed to confronting the pervasive nature of materialism and the struggle to uphold established moral ideals. In such times of uncertainty, Tan Seow Wei has constructed a quaint, whimsical place for retreat and to embrace oneself. Chui Pui-chee too finds solace in a realm that is long gone yet vividly present within his retrained brushstrokes.

Together, their works form a critical subtext of modernity.