Past Events

Exhibition Date 08 Apr 2015 To 26 Apr 2015

 

Everyday

11:00H-19:00H

 

In Outside the Text, we present 20 selected artworks of Ge Zhen, illustrating the artist’s creation from 2010 to 2014.  Ge Zhen has brought some of his latest work to Macau for this exhibition including paintings from the series The Backyard and Outside the Text. “The Backyard” can be viewed as an extension of Ge Zhen’s previous work, and it seems the theme of “limitation and liberation” has now become an inevitability on his canvas, one that cannot be wiped away. Those potted plants seem to be ravishingly in bloom under the sun, but deep inside they share the same fate as the birds trapped in their cages. Outside the Text, on the other hand, is a distillation of the artist’s thoughts: text with immortality or with death, text with opium poppy or with poison, text with text or the intertextuality between them, and so on. All these are questions posed to the viewers.

 

 

Organisers

Macpro Gallery

The Script Road

 

Venue

Avenida da Praia Grande, No. 417-425, 
Centro Comercial Praia Grande, loft 1
Macau

T: 2833 7828
E: info@macprogallery.com

 

 

Gauge the Sky with the Wings of Freedom

Before organising this exhibition, Ge Zhen and I were not acquainted, and still  to this day we have not yet met. When I was preparing for the publication of  my poetry collection Distant Songs in 2008, I saw Ge Zhen’s paintings by chance  in Nanjing Reviews, of which Huang Fan was Editor-in-Chief. It was love at first  sight, and, after gaining his approval through some mutual friends, I selected a  number of his works to serve as the illustrations for my poetry collection. To  feature on the cover I chose an image of a bird that had sacrificed itself, crushing  its head against its cage, leaving only a sparse skeleton and eyes staring at the  Birds, cages and winged man are the key symbols in Ge Zhen’s work.

The birds  in his work are not those that soar and hover in the sky, but rather the ones  imprisoned, with drooping wings and skeletal frame. Perhaps they once did  gauge the sky with their wings of freedom. Nevertheless, captivity is their  denouement. Unwilling to forfeit the right to stretch their wings, they will  perish in the cage at the end of the day. In point of fact they could have an easy,  comfortable life in the cage. They need not search for food, so a cage might  feed a large number of birds, even a human. However, there are always birds  and people who refuse to trade their liberty for the feed that is doled out in  contempt. These are the birds – or, we ought to say, the people or the spirit  – in Ge Zhen’s work. So, the birds and cages are the symbolic elements in his  paintings. They have been used repeatedly to express the theme of limitation  of a former liberty. Or perhaps this grand proposition was not intentional but  rather the reflection of an artist’s difficult life en route to the core of his artistic  

In the series The Birds, Ge Zhen tends to use cold, greyish colour and simple  brushwork. He also intentionally leaves a mark in the oil painting that gives  a taste of the desolate: a desolate background, a rotten birdcage, withered  branches.... Despite the fact that he has used the brushwork of oil painting, there  is always hint of oriental scenery reminiscent of Ni Zan’s landscape painting or  the monochrome, withered branches in Bada Shanren. There is no doubt this is a  reflection of pessimism. Nevertheless, there is a co-existence between miserable  desolation and profound sacrifice. Look at the birds, even if all they have is their  own gaunt skeleton, they still stand tall, with dignity, and retain the soaring  Another key symbol is the winged man, not the angel of religious legends, but the  human who strapped a pair of wings on, himself. The human story of learning  to soar with the birds is a long one, but we did not grow wings through all that  soaring until the airplane was invented. If the winged man did not have that  fantasy and the bloody, deadly experience, there would be no airplane today.  From this point of view these winged men share traits and a spirit in common  with the birds. They both desire to free themselves from the frame and yearn for  a wider space. However, not one of the winged men in his works is portrayed in  flight. They all just carry the wings, earthbound, walking, sitting, lying or even  swinging. Some of them even wear masks, whether for oxygen at high altitudes  or to protect from the poison of smog.

Ge Zhen has brought some of his latest work to Macau for this exhibition  including paintings from the series The Backyard and Outside the Text. “The  Backyard” can be viewed as an extension of Ge Zhen’s previous work, and it  seems the theme of “limitation and liberation” has now become an inevitability  on his canvas, one that cannot be wiped away. Those potted plants seem to be  ravishingly in bloom under the sun, but deep inside they share the same fate  as the birds trapped in their cages. Outside the Text, on the other hand, is a  distillation of the artist’s thoughts: text with immortality or with death, text with  opium poppy or with poison, text with text or the intertextuality between them,  and so on. All these are questions posed to the viewers.

Art, having undergone so many years of development, no longer simply exists  for aesthetic purposes and to be admired. Rather, it is closely connected to the  development of society. Art is a way to express liberty and individuality, but  at the same time it can be used to doubt and judge, applying introspection and  scepticism to the shackling of survival to reality. All in all, to be a great artist one  not only needs to possess an individual style and wonderful painting skills, but  also the ability to question reality and imagine the future. Ge Zhen is on his way,  and his destination is neither a birdcage nor a backyard, but a spacious plateau  and the vast blue sky.

 

 

Curator: Yao Feng

Macau, March 2015

 

 

Exhibition Date 23 Mar 2015 To 07 Apr 2015

 

Everyday

11:00H-19:00H

 

In Outside the Text, we present 20 selected artworks of Ge Zhen, illustrating the artist’s creation from 2010 to 2014.

Ge Zhen has brought some of his latest work to Macau for this exhibition including paintings from the series The Backyard and Outside the Text. “The Backyard” can be viewed as an extension of Ge Zhen’s previous work, and it seems the theme of “limitation and liberation” has now become an inevitability on his canvas, one that cannot be wiped away. Those potted plants seem to be ravishingly in bloom under the sun, but deep inside they share the same fate as the birds trapped in their cages. Outside the Text, on the other hand, is a distillation of the artist’s thoughts: text with immortality or with death, text with opium poppy or with poison, text with text or the intertextuality between them, and so on. All these are questions posed to the viewers.

 

Organisers

Macpro Gallery

The Script Road

 

Venue

Avenida da Praia Grande, No. 417-425,
Centro Comercial Praia Grande, loft 1
Macau

T: 2833 7828
E: info@macprogallery.com

 

 Gauge the Sky with the Wings of Freedom

Before organising this exhibition, Ge Zhen and I were not acquainted, and still

to this day we have not yet met. When I was preparing for the publication of

my poetry collection Distant Songs in 2008, I saw Ge Zhen’s paintings by chance

in Nanjing Reviews, of which Huang Fan was Editor-in-Chief. It was love at first

sight, and, after gaining his approval through some mutual friends, I selected a

number of his works to serve as the illustrations for my poetry collection. To

feature on the cover I chose an image of a bird that had sacrificed itself, crushing

its head against its cage, leaving only a sparse skeleton and eyes staring at the

Birds, cages and winged man are the key symbols in Ge Zhen’s work. The birds

in his work are not those that soar and hover in the sky, but rather the ones

imprisoned, with drooping wings and skeletal frame. Perhaps they once did

gauge the sky with their wings of freedom. Nevertheless, captivity is their

denouement. Unwilling to forfeit the right to stretch their wings, they will

perish in the cage at the end of the day. In point of fact they could have an easy,

comfortable life in the cage. They need not search for food, so a cage might

feed a large number of birds, even a human. However, there are always birds

and people who refuse to trade their liberty for the feed that is doled out in

contempt. These are the birds – or, we ought to say, the people or the spirit

– in Ge Zhen’s work. So, the birds and cages are the symbolic elements in his

paintings. They have been used repeatedly to express the theme of limitation

of a former liberty. Or perhaps this grand proposition was not intentional but

rather the reflection of an artist’s difficult life en route to the core of his artistic

In the series The Birds, Ge Zhen tends to use cold, greyish colour and simple

brushwork. He also intentionally leaves a mark in the oil painting that gives

a taste of the desolate: a desolate background, a rotten birdcage, withered

branches.... Despite the fact that he has used the brushwork of oil painting, there

is always hint of oriental scenery reminiscent of Ni Zan’s landscape painting or

the monochrome, withered branches in Bada Shanren. There is no doubt this is a

reflection of pessimism. Nevertheless, there is a co-existence between miserable

desolation and profound sacrifice. Look at the birds, even if all they have is their

own gaunt skeleton, they still stand tall, with dignity, and retain the soaring

Another key symbol is the winged man, not the angel of religious legends, but the

human who strapped a pair of wings on, himself. The human story of learning

to soar with the birds is a long one, but we did not grow wings through all that

soaring until the airplane was invented. If the winged man did not have that

fantasy and the bloody, deadly experience, there would be no airplane today.

From this point of view these winged men share traits and a spirit in common

with the birds. They both desire to free themselves from the frame and yearn for

a wider space. However, not one of the winged men in his works is portrayed in

flight. They all just carry the wings, earthbound, walking, sitting, lying or even

swinging. Some of them even wear masks, whether for oxygen at high altitudes

or to protect from the poison of smog.

Ge Zhen has brought some of his latest work to Macau for this exhibition

including paintings from the series The Backyard and Outside the Text. “The

Backyard” can be viewed as an extension of Ge Zhen’s previous work, and it

seems the theme of “limitation and liberation” has now become an inevitability

on his canvas, one that cannot be wiped away. Those potted plants seem to be

ravishingly in bloom under the sun, but deep inside they share the same fate

as the birds trapped in their cages. Outside the Text, on the other hand, is a

distillation of the artist’s thoughts: text with immortality or with death, text with

opium poppy or with poison, text with text or the intertextuality between them,

and so on. All these are questions posed to the viewers.

Art, having undergone so many years of development, no longer simply exists

for aesthetic purposes and to be admired. Rather, it is closely connected to the

development of society. Art is a way to express liberty and individuality, but

at the same time it can be used to doubt and judge, applying introspection and

scepticism to the shackling of survival to reality. All in all, to be a great artist one

not only needs to possess an individual style and wonderful painting skills, but

also the ability to question reality and imagine the future. Ge Zhen is on his way,

and his destination is neither a birdcage nor a backyard, but a spacious plateau

and the vast blue sky.

Curator: Yao Feng

Macau, March 2015

 

Exhibition Date 01 Nov 2014 To 30 Nov 2014

Every Friday-Sunday

12:00H-20:00H

 

This November, Macpro Gallery will feature the works of Ah Chung, some of the work is the latest creation for his Macau Solo Exhibition. We hope the audience will get inspired by his optimistic life philosophy, of taking things easy with an open-mind, while seeing his work. 

 

Ah Chung’s original name is Yim Yee King.He calls himself “Ah Chung” (insect) because of his admiration for worms. He admires them not only because they have great strength in survival, but also, be happy in harsh environments. This humble artist is one of the most popular artists in Hong Kong. His works are both tradition and modern.

 

With his simple brushwork fills with wisdom of life, his painting speak straight to people’s hearts. After reading, people will be suddenly enlightened.

 

 

 

Macpro Gallery

Avenida da Praia Grande, No. 429, 
Centro Comercial Praia Grande, 2° andar
Macau

T: 2833 7828
E: info@macprogallery.com

Exhibition Date 05 Sep 2014 To 28 Sep 2014

 

 

Date and Times:2014/09/05-28, 12:00H-20:00H
Venue:Macpro Gallery. Art Space (2/F, Nam Wan Commerical Centre, Avenida da Praia Grande, No.429, Macao)
Free admission
Inquiry:(853)2833 7828
Organizer:Macpro Gallery

 

This September, Macpro Gallery in Macau is honored to host renowned architect, Siza Vieira, displaying his architectural work as photographed by architectural photographer Fernando Guerra. 

Siza Vieira is a Portuguese architect and educator, having his own practice since 1954, a year before he graduated from the former School of Fine Arts of the University of Porto. His work is often described as “poetic modernism,” and has won numerous awards in architecture, such as the Pritzker Prize in 1992, often considered the Nobel Prize of architecture. 

Fernando Guerra is also Portuguese and has photographed Mr. Vieira’s architectural masterpieces, being the pioneer in the way architecture is photographed and divulged. Mr. Guerra is also trained in architecture, although he practices architectural photography. This skillset allows him to capture a view of the architectural piece as the architect had intended, having an understanding of its value. Mr. Guerra will showcase his photography of Mr. Vieira’s architecture in September at Macpro Gallery in Macau. 

 

Exhibition Date 10 Jul 2014 To 20 Jul 2014
“Dialogue with Japanese Contemporary Art” Exhibition [Extension] 

Art is a boundary-less language and also a bridge to integrate different cultures.

Art is also an embellishment of life that can soothe our soul.

Macpro Gallery aims to be a bridge of art and culture, co-operates with different forms of art in the hope of igniting sparks to audience. This time, Macpro Gallery cooperates with her Japanese affiliated partner, gallery UG, to host a Contemporary art exhibition, bringing the fabulous art pieces of the emerging Japanese artists to audience of Pearl River Delta.

In this exhibition, art pieces from 11 Japanese artists are selected, demonstrating different creative concepts and style.  Audience visiting this exhibition, is like having a cultural exchange conversation with these artists, having enjoyed a sumptuous feast of art.

In response to the request to extend the exhibition, “Dialogue with Japanese Contemporary Art” Exhibition will be launched again in July 2014, free admission to public. The period is from 10-27 July 2014, 12:00 noon – 8:00pm (on Thursday-Sunday).  

 

Macpro Gallery

Avenida da Praia Grande, No. 429, 
Centro Comercial Praia Grande, 2° andar
Macau

T: 2833 7828
E: info@macprogallery.com

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