ORIGINIS Nov8 - Dec 10 2022 GIOVANNI MOTTA A collaboration with Gallery Kiche INSTALLATION VIEWS WORKS ARTISTS According to the 3-phase iconological method of analysis of art presented by Erwin Panofsky, the symbolic meaning of a painting consists of three levels: the primary, the conventional and the intrinsic. The process of deciphering an image level by level is to probe into the cultural and social contexts behind the two-dimensional schema and to imbue it with comprehensible contents and connotations as a subject. In Giovanni Motta’s work, a little boy known as “Jonny Boy” with his peculiar facial expressions appears recurrently, turning into a core imagery of the artist’s exploration in the realm of painting. As a hyper-realistic artist, Giovanni Motta’s artistic style is under profound influence of Katsushika Hokusai and Egon Schiele. The former, being one of the most known representative artists of orientalism, exerted influence upon Motta’s way of seeing the world through unique observation of details as well as highly emotional colors; and the latter inspired the artist to embark on a path of self-discovery through emotional intensity and unique narrative approach. Born out of these sources of inspiration, “Jonny Boy” reminds people of anime in terms of style; while aesthetically it strongly alludes to “self”. “Jonny is the child of all time, the child of everyone”, Motta once said. As an anthropomorphized collective imagery, “Jonny Boy” conveys three primary types of human emotions: “wonder” (the positive), “fear” (the negative) and “amazement” (the neutral). The various objects surrounding “Jonny Boy” in different scenes imply the different mental states of the protagonist, which in turn evokes viewers’ feelings and emotions from within. The image of the kid, innocent yet with a glimpse of pain, is captured for good through the artist’s brushstrokes. Despite the colorful cartoonish images and building blocks, Jonny’s eyes always give out the impression of void. He seems to look at somewhere beyond the image, somewhere unknown; and in the meantime, he seems to be murmuring to himself, talking about uneasiness. The ambiguous and ambivalent ambience seems to denote the ever-changing reality world in which the viewers live and the illusory nature of Jonny’s very existence, which in turn stifles viewers’ expectation for “eternity”. Despite all these, the desire for staying young forever, embedded in the very depth of our soul, and for seeking for the origin of the self still persists in the collective subconsciousness. “My Jonny Boy is always alive and alert”, as the artist put it. To constantly look back upon “authenticity” constitutes the source of nostalgia in Motta’s work. Although Motta doesn’t reject the ideas of trying something novel like NFT, AI or VR, “nostalgia” remains a fundamental motif in his practice, which could be sensed from the fact that Motta entitles his upcoming exhibition “Origins”. The word “origin” is derived from Latin, referring to the beginning of everything and the moment when things are created. “My artistic research focuses on the theme of rediscovering the inner child through recovering emotional memories”. In order to go deeper into the “beginning” of consciousness or memories, Motta tries to awaken the brain to ponder upon the origin of humanity through meditation, and to explore the private narratives between memories and emotions, memories and objects by resorting to the images generated in meditation. “Nostalgia” indicates a desire to return to someone or something once we deeply cherished – a desire that will stimulate the brain by making use of everything around it: colors, ambience, objects, people or animals… It is in those instants that inspire strong emotional experience in us that we seem to more likely to feel “presence”. In this exhibition, Motta manages to demonstrate a more sophisticated mastery of this kind of emotional narrative through the further refinement of aesthetic schema. “Game over” means the end and “Origins”, the beginning. The artist seems to be in a constant state of flux, going through crisis moments of self-doubt one after another. The continuous reflection imbues artistic exploration with inexhaustible momentum it takes to carry on. One work after another, Jonny Boy leads audience onto a journey of self-awareness, letting the latter to connect and reconnect with it. “We are only at the beginning”, of all time. Text Chen Wenyi

​Jeremy Yamamura WORK OVERVIEW ARTICLES EXHIBITIONS 錨點 1 Jeremy Yamamura was born in France in 1981, the artist started his first job in London after graduating in 2004 with a degree in Visual Communication in Bordeaux. Jeremy’s project “DOGZZZ” started more than 20 years ago in the streets of Bordeaux. The characters initially inspired by a simple doodle took on various shapes and forms over time, always spreading a positive fun energy while giving a social commentary. Artist Talk: I don’t remember a moment when I chose to be an artist, it came progressively, I draw since I’m a kid, the paintings and doing walls in the streets in my twenties. Later on, working on graphics, videos, motion, canvases and different support & medias. It can start off as an idea, a story I want to tell, a statement, music or just a visual composition. Then I move onto the medium. I prepare the canvas for example, work out the proportions, trace the detail and start painting. I am quite detailed oriented, so I look for every line to be precise and the colors evenly distributed. I usually make few pieces at the same time, using the same tones and juggle between the pieces, creating a series that I can enjoy making over and over again, repetition and improvement are key elements in my approach. In my work I talk about my daily life, personal experiences and my interests: music, culture and ideas that are important to me. I try to keep it light hearted and positive with a twist. I like the idea of making something visually appealing but also having a message or a statement that can emphasize the artwork. ARTWORK 錨點 2 錨點 3 EXHIBITIONS The Fiction July 11 - August 11, 2021 錨點 4 back to top

Emotional Autonomous Region When Crypto Meets Funeral & Wedding Artist: SHI Ruini Curator: MIAO Zijin Jun 30 - Jul 23 2022 INSTALLATION VIEWS WORKS ARTIST 施蕊妮 SHI Ruini SHI Ruini 「How should we present an inappropriate opening ceremony? 」This is the open question raised when the exhibition was initially conceived. Ruini Shi and her team present two virtual platforms named "FuneralPlay" and "LoveCounter" investigating whether a better and more friendly interactive experience could be achieved by users attending digital funerals and weddings if blockchain technology reaches certain maturity. De-centralized emotional service operations simulate "X-to-Earn", a reward mechanism of blockchain game. Participants invest in FuneralPlay in exchange for souvenirs in memory of the deceased (Play-to-Earn); likewise, the mourning time invested in FuneralPlay could be exchanged for souvenirs in memory of the deceased (Mourn-to-Earn). Lovers who sign LoveCounter, an intelligent marriage contract, will earn love Karma for the time they spend together online, the properties they contribute and the interactions between the two of them to trigger user-defined life events (Love-to-Earn). Are the new game rules in X-to-Earn for quantifying emotions sufficient to express true sadness or love? Can proof-of-love be delivered for cryptographic transactions? Emotional capitalism supported by Web 2.0, and in particular the dating software, have further standardized and commodified emotions. Through monitoring data generated by users with the assistance of algorithms lockchain-based Web 3.0 empowers users to take back ownership of their personal data from tech giants. What FuneralPlay and LoveCounter, the two interactive websites launched by the artist as conceptual and de-materialized media, produce are performative situations in which diverse values co-exist. Inspirations for scene constructions derive from creators' surveys and sampling of the identities and free will of their families and friends. Such non-fictional and unquantified data of emotions hereby collected attempt to draw an alternative collective portrait of contemporary youth. If "emotional autonomous region", which exists in parallel with the governance of the state or religion, is reckoned as one of the mental options for alleviating faith crisis, survival guide for the future may include a strategy of disappearance. In other words, escaping from the omnipresence of big data and managing our digital footprints at our own discretion have become an increasingly imperative urge. Within a closed system, encrypted funeral and wedding offer pathways for vulnerable individuals to cope with force majeure. When we reconnect with the real world, an inappropriate opening ceremony seems more like a ceremony of care, a scarce material in the contemporary context. Text / Miao Zijin

錨點 1 Xiuching Tsay b.1993 Xiuching Tsay (b1993) is a Thailand-born artist, currently based in London. Tsay is interested in an energetic rhythm in paintings, and the interplay between colours that create dynamic landscape and dynamic development of narratives. WORK OVERVIEW EXHIBITIONS ARTICLES Tsay has been developing works engaging a fluid kind of language - both meaningful and abstract, to clarify an unclarity, to question clarity. She describes her process as simultaneously a search for logic within paintings, whilst seeking the otherness (the alien self) outside this logic. Tsay work is inspired by the pattern of natural growth and ecology of animals and plant lives, expressed in the orbital concept. Observing their physical rules, behaviours, and life fate that reminds of the mysteries of human existence. How we face an existential crisis everyday and be influenced in this shared space (world);the habitat of all beings. Building a landscape in a painting, Tsay imagines the locations,the situations, and the biological traits of the other lives, and applies the humane experiences and the familiar body. The known experience then again becomes questionable, sometimes a frightening one when it is detached from the place we’ve been. 錨點 2 ARTWORKS 錨點 3 EXHIBITIONS DSC03967.jpg ART021 Shanghai Contemporary Art Fair Nov10 - Nov 13 2022

Fátima de Juan WORK OVERVIEW ARTICLES EXHIBITIONS 錨點 1 The artist was born in Palma de Mallorca in 1984. She began using urban space as a creative support at an early age. Her work draws from New York graffiti and comics of the late 1970s as well as more modern European influences, from which she has developed her own language, both aesthetically and conceptually. ​ Artist Talk: ​ Art saves me from a grey and boring life and has allowed me to express myself and continue playing beyond childhood. It has made me find my place in the world. I'm inspired by fighting, nature, ancient cultures, strong wome. ​ ​ARTWORK 錨點 2 錨點 3 EXHIBITIONS GZ Contemporary Art Fair December 26 - December 29, 2021 The Fiction July 11 - August 11, 2021 錨點 4

ORIGINIS Nov8 - Dec 10 2022 GIOVANNI MOTTA A collaboration with Gallery Kiche INSTALLATION VIEWS WORKS ARTISTS According to the 3-phase iconological method of analysis of art presented by Erwin Panofsky, the symbolic meaning of a painting consists of three levels: the primary, the conventional and the intrinsic. The process of deciphering an image level by level is to probe into the cultural and social contexts behind the two-dimensional schema and to imbue it with comprehensible contents and connotations as a subject. In Giovanni Motta’s work, a little boy known as “Jonny Boy” with his peculiar facial expressions appears recurrently, turning into a core imagery of the artist’s exploration in the realm of painting. As a hyper-realistic artist, Giovanni Motta’s artistic style is under profound influence of Katsushika Hokusai and Egon Schiele. The former, being one of the most known representative artists of orientalism, exerted influence upon Motta’s way of seeing the world through unique observation of details as well as highly emotional colors; and the latter inspired the artist to embark on a path of self-discovery through emotional intensity and unique narrative approach. Born out of these sources of inspiration, “Jonny Boy” reminds people of anime in terms of style; while aesthetically it strongly alludes to “self”. “Jonny is the child of all time, the child of everyone”, Motta once said. As an anthropomorphized collective imagery, “Jonny Boy” conveys three primary types of human emotions: “wonder” (the positive), “fear” (the negative) and “amazement” (the neutral). The various objects surrounding “Jonny Boy” in different scenes imply the different mental states of the protagonist, which in turn evokes viewers’ feelings and emotions from within. The image of the kid, innocent yet with a glimpse of pain, is captured for good through the artist’s brushstrokes. Despite the colorful cartoonish images and building blocks, Jonny’s eyes always give out the impression of void. He seems to look at somewhere beyond the image, somewhere unknown; and in the meantime, he seems to be murmuring to himself, talking about uneasiness. The ambiguous and ambivalent ambience seems to denote the ever-changing reality world in which the viewers live and the illusory nature of Jonny’s very existence, which in turn stifles viewers’ expectation for “eternity”. Despite all these, the desire for staying young forever, embedded in the very depth of our soul, and for seeking for the origin of the self still persists in the collective subconsciousness. “My Jonny Boy is always alive and alert”, as the artist put it. To constantly look back upon “authenticity” constitutes the source of nostalgia in Motta’s work. Although Motta doesn’t reject the ideas of trying something novel like NFT, AI or VR, “nostalgia” remains a fundamental motif in his practice, which could be sensed from the fact that Motta entitles his upcoming exhibition “Origins”. The word “origin” is derived from Latin, referring to the beginning of everything and the moment when things are created. “My artistic research focuses on the theme of rediscovering the inner child through recovering emotional memories”. In order to go deeper into the “beginning” of consciousness or memories, Motta tries to awaken the brain to ponder upon the origin of humanity through meditation, and to explore the private narratives between memories and emotions, memories and objects by resorting to the images generated in meditation. “Nostalgia” indicates a desire to return to someone or something once we deeply cherished – a desire that will stimulate the brain by making use of everything around it: colors, ambience, objects, people or animals… It is in those instants that inspire strong emotional experience in us that we seem to more likely to feel “presence”. In this exhibition, Motta manages to demonstrate a more sophisticated mastery of this kind of emotional narrative through the further refinement of aesthetic schema. “Game over” means the end and “Origins”, the beginning. The artist seems to be in a constant state of flux, going through crisis moments of self-doubt one after another. The continuous reflection imbues artistic exploration with inexhaustible momentum it takes to carry on. One work after another, Jonny Boy leads audience onto a journey of self-awareness, letting the latter to connect and reconnect with it. “We are only at the beginning”, of all time. Text Chen Wenyi

22 Sep - 28 Oct, 2023 Entropy and Hidden Force Tianshu Zhang INSTALLATION VIEWS WORKS ARTISTS The theme of the exhibition focuses on the relationship between solid form and continuous dynamics between painting and consciousness. Entropy is compared to the arrow of time, an eternal movement, and hidden force is an unpredictable infinite combination that exists in a single form and in the same field. ​ The night is dropping, and the moon in the dark blue fog is casting its gaze equally on each nest. This is not an exotic land that you break into while escaping reality. It is the gravel buried in the soil of the ancient city. Hunting among the huge choices, the image is peeled off from the undefined shell, after the solid state, it starts to rebuilding within the vortex and the deriving from the waves. The distant past is essentially inaccessible to us. The details between the traces of oil and pastel are imagined as corresponding carriers, and the images created by the artist flow into the depths of our own time and conscious through our gaze. Faced with such a combination and arrangement of works in the space, it is difficult for us to ignore the narrative energy of the images, or in other words, they are crossing the canvas and our bodies while being embodied. Rather than saying that they are evidence of illusion, it is better to say that what the artist is trying to create is the fleeting golden light of the holy fire outside the city wall. The brushstrokes sliding between the media determine the reproduced image, leaving us like flames and leaving us. Together, we move to the next scene in our consciousness. The sequence of pictures contains a structure from dark to light, volume and visual interweaving and interpenetration. The process of creating images that are not controlled by the target consciousness is to constantly explore aspects of oneself in media and images, and the feelings triggered when viewing the works also come from this. “I will spend my whole life trying to understand the operation of memory. Memory is not the opposite of forgetting, but the inner connection of forgetting.” (Chris Marker, Sans Soleil) Under this mechanism, the relationship between the hand and the canvas, inner contradictions and desires merge into the same space. What is urgently needed is the right to tamper with the prophecy. The artist fixes the unfixable things and turns the abandonment into a still life falling into the dust. No more words are wasted describing the storm, the hunter will keep such things to themselves, and the best part of it is the close juxtaposition of survival and disappearance and the unique experience of passing perpendicular to it. Texts: Tingzhi Zhang ​ ​ Tianshu Zhang is a painter now living and studying in New York. Her semi-abstract figurative paintings are often inspired by dreams, memories, fantasies and all forms of stage performance, rendered with traditional painting and drawing materials. With distorted, exaggerated human bodies and mysterious spaces in her paintings, Tianshu continually explores the themes of human nature, emotions, and desires. She got her Bachelor of Fine arts degree from The University of Texas at Austin in 2017 and came to New York to obtain her Master degree in fine arts at the School of Visual Arts in 2021.

錨點 1 Rachael Tarravechia b.1995 WORK OVERVIEW EXHIBITIONS ARTICLES Rachael Tarravechia (b. 1995, UnitedStates) received a B.F.A. in painting from The Savannah College of Art and Design, Savannah, Georgia in the spring of 2018. She has exhibited her work internationally in the United States, Hong Kong, and France. Her work investigates the threshold of private versus public, and aim to capture fleeting, intimate moments. Moments where the room was just previously occupied, and now there are no people, no phones, no cameras, yet the aura of humanity still lingers. Tarravechia lives and works in Brooklyn, New York, and is represented by Tchotchke Gallery. 錨點 2 ARTWORKS 錨點 3 EXHIBITIONS DSC03916.jpg West Bund Art & Design 2022 Nov10 - Nov 13 2022

ORIGINIS Nov8 - Dec 10 2022 GIOVANNI MOTTA A collaboration with Gallery Kiche INSTALLATION VIEWS WORKS ARTISTS According to the 3-phase iconological method of analysis of art presented by Erwin Panofsky, the symbolic meaning of a painting consists of three levels: the primary, the conventional and the intrinsic. The process of deciphering an image level by level is to probe into the cultural and social contexts behind the two-dimensional schema and to imbue it with comprehensible contents and connotations as a subject. In Giovanni Motta’s work, a little boy known as “Jonny Boy” with his peculiar facial expressions appears recurrently, turning into a core imagery of the artist’s exploration in the realm of painting. As a hyper-realistic artist, Giovanni Motta’s artistic style is under profound influence of Katsushika Hokusai and Egon Schiele. The former, being one of the most known representative artists of orientalism, exerted influence upon Motta’s way of seeing the world through unique observation of details as well as highly emotional colors; and the latter inspired the artist to embark on a path of self-discovery through emotional intensity and unique narrative approach. Born out of these sources of inspiration, “Jonny Boy” reminds people of anime in terms of style; while aesthetically it strongly alludes to “self”. “Jonny is the child of all time, the child of everyone”, Motta once said. As an anthropomorphized collective imagery, “Jonny Boy” conveys three primary types of human emotions: “wonder” (the positive), “fear” (the negative) and “amazement” (the neutral). The various objects surrounding “Jonny Boy” in different scenes imply the different mental states of the protagonist, which in turn evokes viewers’ feelings and emotions from within. The image of the kid, innocent yet with a glimpse of pain, is captured for good through the artist’s brushstrokes. Despite the colorful cartoonish images and building blocks, Jonny’s eyes always give out the impression of void. He seems to look at somewhere beyond the image, somewhere unknown; and in the meantime, he seems to be murmuring to himself, talking about uneasiness. The ambiguous and ambivalent ambience seems to denote the ever-changing reality world in which the viewers live and the illusory nature of Jonny’s very existence, which in turn stifles viewers’ expectation for “eternity”. Despite all these, the desire for staying young forever, embedded in the very depth of our soul, and for seeking for the origin of the self still persists in the collective subconsciousness. “My Jonny Boy is always alive and alert”, as the artist put it. To constantly look back upon “authenticity” constitutes the source of nostalgia in Motta’s work. Although Motta doesn’t reject the ideas of trying something novel like NFT, AI or VR, “nostalgia” remains a fundamental motif in his practice, which could be sensed from the fact that Motta entitles his upcoming exhibition “Origins”. The word “origin” is derived from Latin, referring to the beginning of everything and the moment when things are created. “My artistic research focuses on the theme of rediscovering the inner child through recovering emotional memories”. In order to go deeper into the “beginning” of consciousness or memories, Motta tries to awaken the brain to ponder upon the origin of humanity through meditation, and to explore the private narratives between memories and emotions, memories and objects by resorting to the images generated in meditation. “Nostalgia” indicates a desire to return to someone or something once we deeply cherished – a desire that will stimulate the brain by making use of everything around it: colors, ambience, objects, people or animals… It is in those instants that inspire strong emotional experience in us that we seem to more likely to feel “presence”. In this exhibition, Motta manages to demonstrate a more sophisticated mastery of this kind of emotional narrative through the further refinement of aesthetic schema. “Game over” means the end and “Origins”, the beginning. The artist seems to be in a constant state of flux, going through crisis moments of self-doubt one after another. The continuous reflection imbues artistic exploration with inexhaustible momentum it takes to carry on. One work after another, Jonny Boy leads audience onto a journey of self-awareness, letting the latter to connect and reconnect with it. “We are only at the beginning”, of all time. Text Chen Wenyi

錨點 1 Shigeki Matsuyama b.1971 he worked as a freelance illustrator creating product illustrations and advertising. Immediately following the 2011 Great East Japan Earthquake, Matsuyama held a solo exhibition in Tokyo called UNEASINESS. This inspired him to deviate from his 13-year career as an illustrator and begin working as an artist, so that he could create more conceptual work. Currently, he is working not only on tableaus, but also on objets and installations. WORK OVERVIEW EXHIBITIONS ARTICLES 錨點 2 ARTWORKS 錨點 3 EXHIBITIONS DSC03965副本.jpg ART021 Shanghai Contemporary Art Fair Nov10 - Nov 13 2022