In House Issue 5

Iam delighted to present the fifth issue of In-House, the magazine of Swire Hotels. For this edition we look
at some of the exciting developments in Beijing’s art and design scene, highlighting cutting-edge artists as
well supporters of the scene who along with the likes of media mogul Hung Huang and the Three Shadows
Photography Arts Centre, include The Opposite House.
We also have intriguing interviews with designers and artists involved with Swire’s other hotels including
Matthew Hilton who has created distinctive furniture for The Montpellier Chapter and artist Alison Crowther
whose contemporary wooden sculpture doubles as the reception desk at the Cheltenham hotel. Crowther is also
involved in the next Chapter Hotel due to open in May 2012 in Exeter. Meanwhile, The Upper House was recently
home to an exhibition of contemporary art works as part of Fine Art Asia.
We tour Beijing in a sidecar in a new package created for visitors to The Opposite House and China’s sight-filled
capital city, as well as taking a look around Hong Kong’s renowned wet markets with Café Gray Deluxe’s chef
Gray Kunz. In-House even goes behind the scenes at Cathay Pacific Catering Services which is teaming up with
Swire Hotels restaurants to create some of the most delicious meals you’ll ever experience that high up in the sky.
The hotels continue to go from strength to strength wherever they are in the world, continually supporting the
creative scenes in which they thrive. As a testament to Swire Hotels’ success, many have been awarded prizes
and included on prestigious lists in recent months. The Opposite House in Beijing was named on the Condé
Nast Traveller magazine Gold List 2011 as one of the world’s 50 “most exclusive, exotic and amazing” hotels.
The Upper House was listed in the top spot of Condé Nast Traveller’s Overseas Business Hotels in The Readers’
Travel Awards 2011 and also won the HICAP Sustainable Project Design Award. The Sunday Times named The
Montpellier Chapter, Cheltenham as one of the Best 100 Hotels in the World in its Travel Magazine.
With the second Chapter Hotel due to launch in time for the summer in the UK, as well as EAST, Beijing opening
in the second half of 2012, there is still plenty more to come from Swire Hotels.
Rachel Duffell
Editor-In-Chief
Letter From The Editor
2
C
M
Y
CM
MY
CY
CMY
K

8 |
Still Going Strong
At this moment in time, Frank Gehry is probably
the world’s greatest living architect. The creator
of such iconic buildings as the Guggenheim
Bilbao and the Walt Disney Concert Hall in Los
Angeles, his architecture and design creativity
is overwhelming and has not failed to impress
throughout the course of a career that has spanned
more than half a century. Still going strong, his
latest project completes in 2012 in Hong Kong.
16 |
Live With It!
Fine Art Asia is the only fair in Asia which
presents a combination of fine art and antiques.
It has even been billed as Asia’s answer to
Maastricht. This year, an exhibition at The Upper
House featuring contemporary artworks by a host
of artists from across the world served not only as
a preview to the huge range of pieces on show at
Fine Art Asia, but also as a way to get hotel guests
in the mood for art.
22 |
Social Commentary
Acclaimed artist Chen Wenling is recognised as
one of China’s leading contemporary sculptors
and his works have been exhibited across the
world. His intriguing and often twisted art address
contemporary society today. In-House visits the
artist at his impressive studio space in Beijing.
28 |
When Freedom Reigns
Attracted by Kengo Kuma’s distinct design
aesthetic at The Opposite House, Shanghai-based
contemporary female artist Ann Niu was thrilled
to have her works exhibited at the Beijing hotel.
In-House sat down with Niu to discover more
about her dynamic, expressive and vibrant works,
informed in part by her extensive background in
calligraphy.
34 |
It’s a Design Life
Designer Matthew Hilton has an extensive and
successful career under his belt, but in 2007,
after designing products and furniture for brands
including Ercol, Case and Habitat, and creating
the acclaimed Balzac armchair, he went out on his
own with the launch of Matthew Hilton Limited.
His fluid, functional and sleek designs feature
prominently at The Montpellier Chapter.
40 |
Room To View
In August 2011, The Opposite House continued
its mission of supporting the arts when it presented
a unique Australian art and design exhibition
entitled ‘The Abandoned Boudoir’. Launched at
the Metropolitan Hotel in Bangkok in late 2010
as part of the annual Bangkok Design Festival,
‘The Abandoned Boudoir’ builds on the success of
Asialink’s ongoing touring programme that aims
to promote intercultural understanding between
Australia and the countries of Asia.
44 |
At One With Nature
The Montpellier Chapter welcomes visitors in
a somewhat unconventional manner for a hotel
and what greets guests is a beautiful sculpture,
carved from English oak, which exudes warmth
and charm. Sculptor and furniture designer
Alison Crowther is the talented artist behind the
reception’s ‘Font’.
46 |
The Future Is Bright, The
Future Is Design
October 2011 saw the first, stand-alone
incarnation of Beijing Design Week, a city-
wide extravaganza featuring globally renowned
designers as well as local creative visionaries. Aric
Chen, Creative Director of the event, talks about
the highlights, China’s design industry, and its
bright future.
50 |
Coming Into Focus
Exhibition space, library, permanent collection
as well as a space for lectures, seminars and
workshops, the Three Shadows Photography Arts
Centre in Beijing’s Caochangdi is the missing
piece of China’s photography puzzle, founded by
acclaimed husband-wife artist duo RongRong
and inri. In-House visits the latest exhibition,
the beautifully curated and hugely affecting
‘Coal+Ice’, ahead of a show in collaboration
with Three Shadows and Mo Yi at The Opposite
House.
56 |
The Opposite Attracts...
Photography by Lucy McNally and shot entirely
on location at The Opposite House.
IN side
Editor-In-Chief:
Rachel Duffell
Graphic Designer:
Brian Au
Contributors:
Carol Chan
Margaux de la Croix
Korn de’Song
Emma Louise Fung
Tina Huang
Lucy McNally
Lin Yu Jie
Media Agents:
OMJ Media
Suite B,
15/F, Casey Building
38 Lok Ku Road
Sheung Wan
Hong Kong
T: +(852) 2375 2311
F: +(852) 2873 7442
E: jeremy@omjmedia.com
Herb Moskowitz
The Media Representative
Company
T: +(852) 9276 1011
F: +(852) 2572 5468
E: themediarep@gmail.
com
Cover:
Li Xiaofeng
‘Beijing Memory No.1’
By Lucy McNally
Issue 5
IN HOUSE |
The Magazine for Swire Hotels
C
M
Y
CM
MY
CY
CMY
K

70 |
The Man and A Mission
He might be one of the world’s most gifted
speakers, but when it comes to business, Robert
Swan OBE doesn’t allow much room for chit-
chat. Upon requesting an interview, he stated
that he had turned down several media requests,
graciously explained that he had to utilise his time
here to stay focused on his goals, challenged me
to make a case for how this publication’s readers
might take action as a result of learning about the
2041 mission, and then finally agreed.
74 |
A Brand New China
Hung Huang is the founder of renowned Chinese
magazine iLook and retail emporium Brand New
China, a store dedicated to the creations of local
Chinese designers, as well as a director of the first
design museum in China. In-House talks to the
media mogul who is also known as China’s very
own Oprah Winfrey.
78 |
Preserving Heritage
Hong Kong-based company Patinova was started
by Ben Huang, who in his previous career as a
landscape architect was imbued with one of the
most important maxims in landscape design, to
find the ‘genius loci’ - ‘the spirit of the place’. He
has taken a literal interpretation of this principle
when turning to jewellery design and has used the
most ubiquitous and yet one of the most important
of local objects which he believes embodies the
spirit of Hong Kong – its coinage.
82 |
Side-Seeing!
The city of Beijing spans a vast area of land,
almost 6,500 square miles, and choosing a means
of transport to get around it is far from easy. But
that’s where Beijing Sideways comes in, offering a
novel and fun way to see the city and all its vibrant
sights and sounds. So belt up, because you’re in for
a rollicking ride!
94 |
Natural-Born Skincare
In recent years organic produce has become the
wise choice when it comes to what we are putting
into our bodies. But it is also essential to think
seriously about what we are putting onto the
outside of our bodies in terms of skincare products
and make-up. In 1998 Margo Marrone became a
pioneer of organic skincare and beauty products
with the launch of The Organic Pharmacy, which
today is one of the leaders in the industry.
98 |
Off to Market...
Hong Kong’s historic wet markets have long been
the place to go for the city’s savviest buyers and
most dedicated cooks who seek out both regional
and local high quality produce which often can’t
be found elsewhere. Gray Kunz, the chef behind
The Upper House’s Café Gray Deluxe, can’t stay
away from them every time he sets foot in Hong
Kong. This time, In-House went with him…
102 |
Haute Cuisine
At Cathay Pacific Catering Services, the staff
prepare more than 70,000 meals every day, a far
cry from the kitchens of The Opposite House,
The Upper House and EAST. But Cathay Pacific
recently teamed up with the Swire Hotels
restaurants to create some special meals for its
Business and First Class passengers, bringing the
likes of Café Gray Deluxes’s Michelin-starred
cuisine miles high in the sky. In-House finds out
more.
108 |
Taking the Cake
As food trends go, the craze for cupcakes is one
of the big ones. The almost infinite possibilities
when it comes to flavourings, colourings and both
intricate and/or elaborate icing set against the
relatively low costs of creating the little bundles
of sweetness have been a huge draw for those
who inhabit both the culinary and retail worlds.
Inevitably, some do it better than others. In-
House visits Beijing’s renowned Colibri.
112 |
Cocktail Hour
The art of cocktail making is well-established in
cities as far reaching as New York, Los Angeles
and London. But in Hong Kong, the scene is only
just getting started. Pete Kendall from Sugar at
EAST and Sam Jeveons from The Upper House’s
Café Gray Deluxe are among its leaders. In-House
finds out more about their cocktails and what
trends they are setting with them.
116 |
Raising the Bar
The city of Beijing spans a vast area of land,
almost 6,500 square miles, and choosing a means
of transport to get around it is far from easy. But
that’s where Beijing Sideways comes in, offering a
novel and fun way to see the city and all its vibrant
sights and sounds. So belt up, because you’re in for
a rollicking ride!
120 |
Final Detail
IN side
Issue 5
C
M
Y
CM
MY
CY
CMY
K

Still Going Strong
Atthismomentintime,FrankGehryisprobablytheworld’sgreatestlivingarchitect.
The creator of such iconic buildings as the Guggenheim Museum, Bilbao and the
Walt Disney Concert Hall in Los Angeles, his architecture and design creativity is
nothing short of outstanding and has never failed to impress throughout the course
of a career that has spanned more than half a century. Still going strong, his latest
project completes in Hong Kong in 2012.
IN HOUSE
9
8
Build Story: Rachel Duffell Visuals: Courtesy of Gehry Partners LLP

W hen notable American architect Philip Johnson first walked into the Guggenheim
Museum, Bilbao upon its completion in February 1998, with its creator Frank Gehry by his
side, the renowned Johnson burst into tears as he struggled to express his thoughts in words.
“Architectureisnotaboutwords.It’sabouttearsandlove,”hesobbed.Thismomentistestamentto
thegreatworkofGehrywhoJohnsonwentontoproclaimas“thegreatestarchitectwehavetoday.”
At 82 years of age, Canadian architect Frank Gehry shows no sign of retiring and continues to
create iconic structures, characterised by his distinctive organic forms and unusual choice of
materials, in all four corners of the globe. Most recently he has been working on OPUS HONG
KONG, a collaboration with Swire Properties located at 53 Stubbs Road. It is set to open in 2012
commanding an unmatched location as well having the great design mind of Gehry behind its
creation.
Frank Gehry was born and raised in Toronto, Canada before moving in 1947 to Los Angeles. He
went on to study Architecture at the University of Southern California in 1954 and then City
PlanningatHarvardUniversityGraduateSchoolofDesign.Gehry’sfirstworksappearedin1959
and over the last 50 years have included residential buildings (including his private residence
in Santa Monica, California), offices (for example, the striking Ray and Maria Stata Center in
Cambridge,Massachusetts),museums(includingtheWeismanArtMuseuminMinneapolisand
theVitraDesignMuseumandMARTaHerfordinGermany)andconcerthalls(themostfamous
being the renowned Walt Disney Concert Hall in Los Angeles), as well furniture and artworks
(including his dynamic fish sculpture in front of the Vila Olímpica in Barcelona).
One of Gehry’s most famous works is without a doubt the Guggenheim Museum in Bilbao,
frequentlycitedasthemostimportantworkofarchitecturesince1980(significantforitsinfluence
onthecityinwhathasbeentermed“TheBilbaoEffect”).However,manyofhisotherdesignshave
also been acclaimed over the years, as evidenced by the large number of awards that Gehry has
collected, including the Arnold W. Brunner Memorial Prize in Architecture, the Pritzker Prize,
the American Institute of Architects Gold Medal and the Royal Institute of British Architects
Gold Medal, to name but a few.
Gehry’s works are distinct because of their sense of movement and rhythm, which always ties to
their environment and their function. Inspired by his love of the sea and classical music, these
influencesareclearinhiswork.FromtherollingstructureoftheHotelatSaintMarquésdeRiscal
Winery in Spain which reflects its surrounding context, its pale pink and gold coloured stainless
steelroofinganodtotheredandwhitewinesproduced,totheNovartisCampusGehryBuilding
in Switzerland, a human resources headquarters built beautifully and humanly as a sign of the
importanceofanoftenunder-appreciateddepartment,Gehry’sworksarealwaysconsidered.He
is currently working on the highly anticipated Guggenheim Abu Dhabi which will no doubt be
yet another pillar of architecture and design.
Guggenheim Museum, Bilbao Jay Pritzker Pavilion, Millennium Park, Chicago. Image by William Furniss
IN HOUSE
11
10
Still Going Strong

Gehry has a unique working process, as evidenced by a recent exhibition dedicated to his work.
Entitled ‘Outside the Box’ the exhibition took place in Hong Kong, showing the extensive
development procedure involved in the design of OPUS HONG KONG as an example of what
is involved in the realisation of each of Gehry’s well thought out structures. It was also a nod to
his distinctive architectural style which, according to Martin Cubbon, Chief Executive, Swire
Properties,is“anythingbuttheregimentedboxesweseeinsomanycities.”Hecontinues,“Frank
is passionate about finding the perfect design solution for each building and for that you need
out-of-the-box thinking.” The exhibition not only featured examples of Gehry’s previous works
but also an extensive overview of the creative process behind OPUS HONG KONG.
GehryandhisteamhavebeenworkingonthecurrentprojectwithSwirePropertiesfornearlyfive
years. OPUS HONG KONG is a 12-unit residential development which will, without a doubt, be
a landmark of design, as Gehry’s previous projects have proven to be. Swire Properties acquired
thesiteat53StubbsRoadinthe1940sandformanyyearsitwashometotheCompanyExecutive.
Ithassensationalviewsandthesiteisrelativelysecluded,surroundedbygreeneryandprotected
so that nothing will be built in front of it. Close to the hearts of those at Swire, as Cubbon states,
“A site of this significance demands a rare and inspiring building - and who better to create one
for us than one of the world’s most original and visionary architects?”
“We could think of nobody better suited than Frank to create a building which broke through
therigidconventionsoftraditionalarchitecture;inotherwords,somethingthatwasoutsidethe
box.WhatFrankhasachievedranksalongsidehisotherdistinguishedworks,worthyofitsplace
in his legacy,” adds Gordon Ongley, Chief Operating Officer, Swire Properties.
Overthelastfiveyears,Gehry,inacollaborationwithSwireProperties,hasundertakenhisnormal
yet extensive working process to ensure that his creation is ideally suited to the site and the city.
Only after extensive site analysis, where a thorough understanding of what he is working with,
considering the lay of the land, the topography and what the client wants to achieve, has taken
place, will Gehry and his partners begin drawing and coming up with ideas for the building’s
form.Fromhere,theteamdevelopsconceptualdesigns,generatingmoreandmoresophisticated
anddetailedmodelstoreallyunderstandthephysicalityoftheproposedstructure.Glue,scissors
andcardboardareprevalentinscenesthatalmosttakeyoubacktoschool.Theproposedmodels
are photographed and placed into a model of the site in the topographical location to see what
eachonelookslike.Theyarethenscaledupandbecomemoredetaileddowntoeachunit’slayout.
It is only then, after this huge array of models has been completed, that 3D computer modelling
and detailed design begins. Alongside this process is technical development and finally, when
every aspect has been thought out, construction can commence.
Ever modest, Gehry explains his design for OPUS HONG KONG and the development of it.
“The building kind of designed itself because of the beautiful site. You could almost just put up
a platform with glass around it, and the views from inside are spectacular. We approached this
building to enhance those views, to make the whole better than the sum of the parts, and make
the experience of living in it something unique and special.”
“Frank is passionateabout
finding the perfect design
solutionforeachbuildingand
for that you need out-of-the-
box thinking.”
Walt Disney Concert Hall, Los Angeles
Cleveland Clinic Lou Ruvo Center For Brain Health, Las Vegas
IN HOUSE
13
12
Still Going Strong

OPUS HONG KONG is designed around a single core, from which the apartments radiate. It means that none
of the 12 apartments look at each other and instead make the most of the unsurpassed views that the site offers.
The apartments twist around the central core, lending the building Gehry’s signature sense of movement. The
delicate outline is reminiscent of bamboo twisting in the wind, a reference to the nature of the site and its green
surroundings and is also symbolic of Gehry’s consistently organic style. Because of the inspired design and
exterior columns, there are few load-bearing walls within the apartments which give freedom and flexibility to
their occupants and ensure the units are all bright, light and airy.
Each unit is different and Gehry has created intimate individuality within each of the spaces. As the building
goes up in height, it twists, allowing different framings of the exceptional view in each unit which lends them
an individual personality. There is one unit on each floor, including two double-level garden apartments, plus
five swimming pools and a fitness centre.
Gehry’sloveoftheseacomesintoplayasthebalconiesineachapartmentarereminiscentofstandingonthebow
of a boat, hands on the rails as you look out to sea, or in the case of OPUS HONG KONG, across Hong Kong’s
harbour.Thebuildingalsoexhibitsthearchitect’sloveofunusualmaterialsasheincorporatesadistinctiveamber
stone exterior at the building’s base which links it to its position on Hong Kong’s hillside. The prominence of
glass means that full advantage of the view is taken.
OPUS HONG KONG is certainly a worthy addition to Gehry’s oeuvre and is representative of his distinct style
and way of working that has led him to achieve so much success in all of his previous design endeavours. It is
also his first project in Hong Kong, a place where so many other acclaimed architects have already made their
mark. Gehry’s latest building looks set to do the same as its completion comes close. “I’m very excited to have
been included in this wonderful journey to build in this city which I’ve come to love,” said Gehry at the opening
to his exhibition. In return, Hong Kong is lucky to soon be able to boast the work of the world’s leading living
architect who continues to push boundaries with his impressive design solutions and outstanding structures,
more than 50 years on.
Vila Olímpica Fish Sculpture, Barcelona
OPUS HONG KONG - Frank Gehry’s first residential building in Asia
IN HOUSE
15
14
Still Going Strong

Live With It!
Fine Art Asia is the only fair in Asia which presents a combination of fine art and antiques.
It has even been billed as Asia’s answer to Maastricht. This year, an exhibition at The Upper
House featuring contemporary artworks by a host of artists from across the world served not
only as a preview to the huge range of pieces on show at Fine Art Asia, but also as a way to
get hotel guests in the mood for art.
Chen Qiulin, ‘Sitting Series’
IN HOUSE
17
16
Story: Rachel Duffell Visuals: Lucy McNally and courtesy of Fine Art Asia
Curate

T EFAFMaastrichtisthemostrenownedfineartfairintheworld.
AndFineArtAsiaistheEast’sequivalentoftheprestigiousNetherlands-
based fair. Founded in 2006, Fine Art Asia 2011 marks the seventh
installmentoftheregion’sleadinginternationalartfairwhichnotonly
presents a selection of contemporary artworks, but also a prestigious
collection of antique works which range from ancient Chinese bronze
and stoneware to Old Master paintings, antique silverware to Chinese
ceramics,HimalayanbronzestoEnglishfurnitureandFrenchdecorative
items. However, the exhibition at The Upper House, entitled ‘In The
Mood For Art’, was a chance for visitors to the hotel to experience a
taste of the many good things from the contemporary art sections set
to feature at Fine Art Asia, as well as experiencing first-hand the value
of living with art.
It was a striking splash of red in the form of one of Chen Wenling’s
striking figures which welcomed guests to The Upper House, the
laughing representation of a boy sitting with his arms crossed on a
contrasting antique table. Chen Wenling’s works have also appeared at
The Opposite House, and are part of the artist’s ‘Red Memory’ series of
sculptures,inspiredbythelivelyvillagechildrenfromhishomeinAnxi
County, Fujian Province in China. Another sculpture by Chen on the
hotel’s Lawn showed a figure stretching, apparently having just woken
fromadeepslumber.Chen’sworksrepresentthelongingthattheartist
has for the innocence and fun of those youthful years.
In contrast to Chen’s red figures, the intricate work of Liu Zhuo-quan
alsofeaturedintheentrancetoTheUpperHouse,apieceofworkwhich
perfectlyshowedtheartofneihua,or‘insidepainting’,whichartistLiu
has come to perfect. On the shelves sat hundreds of glass bottles and
on the inside of each, a different insect has been painted. By poking the
paintbrush through the opening and down through the neck of the
bottle,theartistpaintedtheinsidewithavarietyofinsects,someextinct
but all part of what makes up the natural world. Liu is an artist quickly
gainingmoreandmorerenown.Hisworksarewidelycollectedglobally
and he is set to participate in the Sydney Biennale in 2012.
IndianpainterSohanQadri’ssereneinkanddyeworksblendedperfectly
with the atmosphere at The Upper House, created as a result of deep
meditation yet informed by the vibrancy of India. The steel-backed
works of Israel-born artist Nathan Slate Joseph featured pure pigment
powder on zinc-galvanised steel left to its own devices and a reflection
oftheeffectsthatnaturecanhave.AbeautifulworkbyMalaysianartist
Xu Hongfei, ‘Stroll’
Sun Yi, ‘Dancer’ A Bronze Ritual Vessel, Late Shang Dynasty
IN HOUSE
19
18
Live With It!

C.N. Liew again made use of an unusual medium as the artist uses
ancient Chinese calligraphy techniques on aluminium, while Chinese
artistYangYanping’sinkpaintingsfavouringthelotusflowerembodied
peace and purity and complemented the environment at The Upper
House perfectly.
Japanese self-taught artist Mai Miyake presented a mixed media work
which referenced both ancient Japanese traditions and culture as well
as more contemporary technologies,
combing the two in an original design
and visionary artwork. She has had
workscommissionedbyHermèsandhas
featuredinanumberofimportantbooks
on contemporary Japanese art.
Sculpture didn’t go amiss with a large
red porcelain apple by leading Chinese
sculptor Wu Shaoxiang. Covered in
banknotes,itcommentedonmankind’s
constant quest for monetary gain. Xu
Hongfei’s recognisable sculptures of
overweight figures were also present
in the exhibition, as were works by Sun Yi, whose sensual wooden
artworks have met with global acclaim, and British artist Rob Ward
whoincorporatestechnicalexpertiseintohisintriguingcompositions.
ChenQiulin’semotionalsculptureofaseatedfigure,headhanging,was
adedicationtothosewhosufferedasaresultoftheSichuanearthquake,
asculpturemadefromstudenttextbooksfoundinthedisaster’srubble.
Many more artworks also featured in the exhibition and there was
certainly something to delight and intrigue all, such was the scope of
the work on show.
“Swire Hotels has a tradition of supporting art and it’s an interesting
idea to have an exhibition here at The Upper House,” states Calvin
Hui, curator of the exhibition. The pieces were chosen to match the
interiors and as a result the exhibition focused on contemporary art.
“I considered the essence of this environment, the interior design, the
designer’s concept, but at the same time the essence of the art itself.
It is very mellow, and classic yet contemporary. The artists talk about
the definition of time or of culture and how they feel about their living
environment,” says Hui of the relevance
of the works he chose. Often they also
relate back to tradition.
Andy Hei, Founder and Director of Fine
Art Asia is keen to encourage art within
people’simmediateenvironments.“Ilive
with art. I touch it. I use it,” states Hei
whose expertise lies in the appraisal and
restorationofclassicalChinesefurniture.
“Art is something you should live with
everyday.Istronglyrecommendthatmy
clientsusewhattheybuy.It’sanattitude.
Many people in Hong Kong can’t afford
to have a big house to put things in, but that’s why I emphasise quality.
Get the best things you can and live with them. We want people to
enjoy art every day,” says Hei. “Art is very important in public spaces
too, primarily for the education of the younger generation. Hong Kong
definitely doesn’t have enough, but somebody has to start it, and this is
a good place to begin.”
“I considered the essence of
this environment, the interior
design, the designer’s concept,
but at the same time the essence
of the art itself. It is very mellow
and classic, yet contemporary."
Chen Wenling, ‘Red Memory - No Big Deal No.1’ Wu Shaoxiang, ‘Red Apple’
Sohan Qadri, ‘Agni V’
Sohan Quadri, ‘Arti III’
IN HOUSE
21
20
Live With It!

Social Commentary
Acclaimed artist Chen Wenling is recognised as one of China’s
leadingcontemporarysculptorsandhisworkshavebeenexhibited
across the world. His intriguing and often twisted art address
contemporary society today. In-House visits the artist at his
impressive studio space in Beijing.
IN HOUSE
23
22
Create Story: Rachel Duffell Interview: Carol Chan Visuals: Lucy McNally

I tisalmostimpossibletofindataxiwillingtotakeustoartistChen
Wenling’s studio, let alone one whose driver knows where it is. His
assistant has provided us with the address, written in Chinese, yet few
seemtohaveanyideaastoitswhereabouts,despiteitsallegedproximity
to Beijing’s famous 798 Art District.
Whenanopen-mindeddriverfinallyagreestotakeus,hespendsalmost
the entire journey from Caochangdi, where we’re picked up, on the
phone to Chen’s assistant as she gives him the requisite directions.
We turn off one of Beijing’s many busy roads and make our way slowly
down a rubbly lane, the nature of the city’s taxis not particularly suited
towhatisalmostfour-wheel-driveterrain.Itissomethingofasurprise
toreachtheendofthebumpytracktobegreetedbyaguardandbarrier
throughwhichwepasswithouthassleintoacompoundoflargehouses
andstudios.Therearereportedlyaround12artistslivinginthecomplex,
whose countryside feel is almost reminiscent of an English farm.
However, throughout the area there are out-of-place reminders that
thisisanareainhabitedbyartists,whosecreationsappearintermittently
as we jolt our way down towards our destination.
Chen Wenling’s studio is at the end of one of the compound’s wide
streets. We immediately know we are in the right place as on the front
lawnoutsidethehousesitsalargeredsculptureofaskinnynakedboy,a
piecetakenfromaseriesofworksforwhichhehasbecomewell-known.
But this is just part of his oeuvre, as becomes immediately clear when
youenterthelargewoodendoorstohisstudio-cum-home.Thehallway
opens out into a vast concrete floored and white-washed walled space,
filledwithacollectionofsomeofChen’smostrepresentativeworks,his
outrageous and unusual sculptures.
“There are a lot of people in China and the rent in the urban centre is
very high. So I chose my studio in the countryside. I can work here.
There’s not much entertainment, so I can work quietly,” states Chen as
we sit down in large leather armchairs in what appears to be his study,
while an assistant prepares tiny cups of Chinese tea in a traditional tea
ceremony. “In Beijing studios are always moving,” states Chen whose
currentspaceissetfordemolitionanddevelopmentimminently,though
he seems unperturbed. “If I cannot work here I will find another place
to work. I am an artist and I need to work. It is hard to find a space in
Beijing, but compared to London or Berlin, Beijing is still easy, and
much easier than Hong Kong. The rent in Hong Kong is very high, so
as an artist, I love Beijing.”
Chen Wenling was born in Jingu Village of Anxi County in Fujian
Province where he grew up, spending most of his childhood playing
outdoors in the countryside. However, he admits that it was not always
a happy childhood. He grew up with a stutter and as a result was often
laughed at by other children. He believes that his art partly stems from
his low self-esteem. However, the artist found solace in spending time
alone, making things out of wood and painting on the white plaster on
the outside of wealthy villagers’ homes. He looks back on these time
fondly,believingthatthiswasthebeginningoftheshapingofhisartistic
career.
IN HOUSE
25
24
Social Commentary

weareveryanxious,nervousandinsecure.Weareevenverygreedyand
have lots of desires. These are all different from the characteristics of
a child’s life. That is a contrast. I hope that by portraying this fine and
beautiful childhood, to express how we as adults should keep this state
of mind and recall our childhood,” expounds Chen.
ItwasthesefiguresthatChen,inashowpresentedbyRedGateGallery,
exhibited at The Opposite House during the summer of 2011, entitled
‘Time Without Changes’. He had never worked in hotels before but felt
this was a worthy space, with great characteristics and somewhere that
he could really “affect society and make an impact on the public” with
his work. “I don’t think you should make artwork that caters to a hotel.
Instead, I considered the hotel suitable for my art pieces. But it was also
a two way thing. The space in The Opposite House was suitable for my
art and my artworks were suitable for the space.”
Chen’sownstudiospace,whereheexhibitsmuchofhiswork,isvast,yet
seemsatastarkcontrasttohisrelativelyquietandsimplecreativeprocess.
However it is more a means to exhibit his sculptures as they increase in
size.“FirstIdraw,”statesChenofthefirststageofanycreation.“WhenI
seesomethinginteresting,Imemoriseitandthinkitover.Ifitismature
enough as an idea, I first do a sketch and then a plan. After that I leave
the sketch aside for a while. I then make a small model, then a bigger
one, and then an even bigger one,” states the artist, and examples of his
many sculptures can be seen in different sizes throughout his studio.
Even his red figures appear in varying dimensions.
Asidefromtheseredfigures,Chenhasalsoproducedanumberofother
artworkswhichatfirstseemverydifferenttohismischievous,humorous
andenergeticredfigures.YetalloftheChineseartist’sworkscomment
on society today, whether it is the loss of the innocence of youth or the
current state of society whose focus tends to be materialism.
A particularly well-known work by
Chenisentitled‘WhatYouSeeisNot
NecessarilyTrue’,alarge-scaleversion
of which appears in the centre of the
artist’s studio. As much installation
as it is sculpture, the artwork shows
Bernard Madoff being crushed
against the wall as a raging bull lets
off wind and fires up towards him.
Madoff is presented as helpless and
desperatewhilethebullisexcitedand
powerful. The clouds that emanate
from his rear are a metaphor for the
greedthatpowersthebullwhileMadoff’scircumstancessymbolisethe
consequences. The work is a critical expression of Chen’s thoughts on
contemporary society.
Many of the artist’s other works also feature animals, and in many
cases pigs, which are prominent in his body of work, and which he
seesasanaptrepresentationofhumansandtheirmanycharacteristics.
“There is a certain relationship between animals and humans. My
WhileChenoftendidfarmworkintheafternoonsafterfinishingschool,
during the holidays he got involved with local temples that he began
painting for. But he was ambitious and worked hard in order to gain
theopportunitytoenrollatXiamenAcademyofArtandDesignwhere
he studied sculpture. After a brief stint working as the Arts Editor for a
localnewspaper,hewentontostudyattheprestigiousCentralAcademy
of Fine Arts in Beijing.
Chen’s childhood growing up in relative poverty in the countryside
has influenced his works, particularly when it comes to the inspiration
behind his renowned red figures which he started creating after
graduatingfromartschoolandworkedonforthreeyearsbetween1998
and2001.“Thoseartpiecesareamemoryofmychildhood.Iwasbornin
thetimeofMaoTseTungandatthattime,Chinawasfullofredthings.
The whole society was dominated by the politics, and the economy did
not prosper. So kids were thin, like my figures are. But they were not
affected by any of the political movements. They were still so genuine
andhappy.Theposesofthoseredfiguresaretypicaloftheactionsofthe
kids,forexample,reflectingwhentheywakeupinthemorning,orbeing
shy,” explains Chen referring to his red sculptural works as a symbol of
those who haven’t been modified by society and the problems or issues
which exist within it today.
“I’m trying to express that childhood is very innocent, pure and
unsophisticated. That state of life is very real. They laugh genuinely
whichislovely.Nowadays,intheglobalworld,orinChina’sadultworld,
animal art pieces actually talk about human nature. Through animals
Istrivetoexpresssomekindofdeepstateorcharacteristicofthehuman
spirit,” explains the artist. “In China, the pig represents the rich, the
very wealthy and the concept of money. It is more like a concept of
materialism. The characteristics of the pig and the modern world and
China are all so similar. There is no balance between the development
ofmaterialgoodsandmoney,andthe
state of the human spirit. In this era,
money and materialism come first
and are more important than other
things. I use the pig to describe the
stateofhumankind,usingthesymbol
to criticise this introspection of the
present state of the world,” states
Chen whose pigs are often shown in
an unfavourable light.
While Chen’s sculptures which
feature animals works are more
socially-orientated,theredfiguresareverypersonaltotheartist,almost
transporting him back to his childhood judging by the fondness with
which he speaks of them. However, both variances of his work explore
human nature and social issues and the demise of human values in
favourofgrossmaterialism.WhileChen’sworksinitiallyappearstriking
and almost grotesque there is a much more thought-provoking side to
the works, as the artist addresses issues key to contemporary society,
particularly at this current economic point in time.
"There is a certain relationship
between animals and humans. My
animal art pieces actually talk about
humannature.ThroughanimalsIstrive
to express some kind of deep state or
characteristic of the human spirit."
IN HOUSE
27
26
Social Commentary

“I n my experience I wasn’t sure that my art and a hotel lobby would be good to each other,
becauseIoftenrefuselobbiesandIdon’tdorestaurants,”statesthebubblyartistAnnNiuaswesit
down over coffee. “But I knew The Opposite House had a good design space. I saw some samples
ofpreviousexhibitionsandIsaid,good,nice,”shecontinueswithalaugh.“It’snewageandIneed
to have an open mind and to think positively,” concludes Niu of the early stages of organising
her recent exhibition at the hotel in Beijing’s Sanlitun, which did indeed prove to be a success.
The large space of The Opposite House’s atrium soars up several storeys to the clear ceiling
where natural light floods in, creating an ideal setting for art to be viewed. A large number of
exhibitions have taken place in the space, ranging from sculpture to installations to hanging
scrolls, and Niu’s work is the latest in the realm of painting. The artist’s fresh and often cheerful
works, full of swirling lines and curved brushstrokes set against bright backgrounds of bold
colour, contrast perfectly with the strong, clean lines of the interior architecture, as designed by
renowned Japanese architect Kengo Kuma.
For this exhibition, Niu also completed one of her larger pieces of work, as she has done before
when she completed a huge artwork for Adidas’ Sport & Art exhibition at MOCA, Shanghai in
2007 and again for a large mural commissioned by Shanghai Tourism Festival in the People’s
Park in Shanghai in 2002, both in the Green House space. Her expansive piece at The Opposite
Housewassomewhatsmaller,butat15metreswideby9metreshigh,itcertainlymadeanimpact.
On the sloping glass panes that ordinarily enable a view of the swimming pool, Niu created one
of her distinctive artworks, but this time using new technology to give it a certain luminescence
that would still allow light to filter through to the pool beneath it. “The modern audience is not
only satisfied by paintings,” states Niu. “They need eye-catching and disparate design and new
ideas of expression, so I think in this sense we did a good job,”
When Freedom Reigns
Attracted by Kengo Kuma’s distinct design aesthetic at The Opposite House, Shanghai-based
contemporary female artist Ann Niu was thrilled to have her works exhibited at the Beijing
hotel. In-House sat down with Niu to discover more about her dynamic, expressive and vibrant
works, informed in part by her extensive background in calligraphy.
‘The Journey Winter’
IN HOUSE
29
28
Create Story: Rachel Duffell Visuals: Courtesy of Ann Niu

‘Pillow - Jade’
‘Tonight’s Moon’
Working on art for public spaces is something that Niu is becoming
more and more familiar with. Last year she did a window installation
for the JOYCE fashion boutique in Hong Kong’s Central, painting a
glass window and placing her works throughout the store. “I thought I
shoulddosomethingwiththepublic,”explainsNiu.“Idon’treallyneed
to deal with people, only in exhibitions, and if I do this public art, it at
least makes me happy,” she says with another laugh. “My public works
might be neglected or abandoned, but I will continue to create them -
because even if only one person in a thousand is inspired or touched,
for me it’s a miracle.”
Niu was born in the 1960s in Shanghai, though she went on to spend
more than 10 years travelling and studying, working and creating art
abroad in places as far afield as Korea, Japan and America. She first
became interested in art when she was young. Her mother latched onto
this and decided that her daughter needed to develop a skill, so she put
herunderthetutelageofacalligraphymaster.Niuwouldgoontospend
almost 15 years learning calligraphy, however, she always yearned to
paint. When finally given the opportunity to do so, she had to learn the
academicway,studyingcolourandcompositionattheFineArtsCollege
ofShanghaiUniversity.Itwasherethatshelearnedthemanypossibilities
thatthecreativeworldmightholdforher.Impressionismandpopmusic,
rock‘n’roll,fineartandavantgardeallappealed,amongstotherthings.
“At that time we were students. We loved to learn everything,” states
Niu, and these eclectic influences and the artist’s zest for life were, and
still continue to be, reflected in her work. However, calligraphy would
always form a strong basis for her distinctive artistic expression and it
remainsavehicleforherworkstodaywhichstraddletheborderbetween
abstract and figurative work, incorporating calligraphic graffiti-esque
forms, eye-catching figures, hidden shapes and various Asian scripts
andcharacters,aswellasexhibitingherformalpaintingtraininginoil.
Following graduation, Niu was granted the chance to go overseas. It
was a significant opportunity and one that offered endless possibilities
for a young Chinese girl during that time. “It was huge. You cannot
imagine,” enthuses Niu. “Getting a visa was something special.”
However, things were starting to happen in China at this point. The
renowned movie director Zhang Yimou was just beginning to make
a name for himself and Niu thought that perhaps she wanted to go to
the Beijing Film Academy to study instead. “I wanted to be like Zhang
Yimou.Itwasagoodenvironmentforart(atthattime).Youcanseehow
many contemporary artists came out of those years. I was only young
at the time but I followed them and wanted to go to Beijing,” says Niu,
citingtheexcitementwhichshebelievedsurroundedtheartscenethere.
However,goingabroadwasalsooneofherdreams,inparticulartoJapan
to study the country’s traditional artistic techniques.
IN HOUSE
31
30
When Freedom Reigns

‘California Diary Series’
“I chose to see the world and see anything I liked; new things that I
had never experienced in China,” states the artist of the decision she
madeintheend.NiuwenttoJapanwhereasidefromlearningJapanese
she enrolled in one of the country’s top universities. Unsure of which
particular creative studies to follow, she went from wanting to be a
fashion designer, influenced by the likes of Kenzo and Comme des
Garçons who were big at the time, to interior design and ended up
settling on a course in Industrial, Craft and Interior Design. From
there Niu went on to work for a construction firm, doing architectural
drawings,beforemovingbrieflytoKorea.“AtthattimeChinesestudents
didn’t want to go back to China. We had finally come out and wanted
to see a new life. We didn’t believe in China at that time and while we
didn’t all know what we wanted to do, we knew we wanted to stay free.
For me, it was simply freedom for art.”
Niu toyed with the idea of studying again, this time to be an architect
as she was doing so well with her Frank Lloyd Wright-esque drawings.
But she had joined a calligraphy group and a painting class and art
was coming back to her. With encouragement from her friends she
beganpaintingagainandwithamoveto
America,shefinallyembarkedonacareer
as an artist. Being a Chinese artist in
Americawasnoteasy,butshethrivedon
thechallenge,untilonedayanoldfriend
fromShanghaicalledherandaskedherto
come back to China for an exhibition in
whichhewasplanningtoshowherwork.
Although Niu was enjoying life as an
artist in America, ultimately she wanted
to be a Chinese artist. She didn’t want to
change her identity. The opportunity to
show in her homeland was too great to
turn down, so she went back and at the
exhibition opening met people keen to
commission works by her in Shanghai.
Theyhelpedhermakeuphermindtostay.
Itwastheyear2000whenNiureturnedtoShanghai,havingspentseven
years in Japan, one year in Korea and five years in America. Although
by this point she had been a practising artist for some time, it was these
valuable experiences that clearly influenced her distinctive style which
continues today and is visible throughout her oeuvre. Coupled with
her extensive calligraphy background, it is clear that both Eastern and
Western influences permeate her energetic and bold works.
Niuhasmanyfollowersandfanswhocollectherworkswhichsheseesas
her children, stirred by passion and products of herself, emotional and
full of life. “I’m so glad that so many good parents adopt my paintings.
I’m not trying to get gallery shows everywhere. I just want the right
person, who truly appreciates (my work) and I’m happy. I have a little
money and I carry on with my life. I want the freedom. I went to the
US and I think freedom is so important, to be free for thinking as an
independent woman and free for art.”
This freedom that Niu refers to, and the happiness that comes with
it, is clear in her work, the way it is carried out and the manner in
which it comes across. “Painting is laborious, but at the same time it’s
somethingthatisbothmysticalandspiritual.Inspirationdoesnotcome
about through my own will. Yet I cannot stop painting. I paint, almost
obsessively, without a shred of self-awareness. Sometimes I forget that
I am exhausted and I become possessed. My sore fingers are led by the
brush,andthebrushisswayedbythestrokes,asifstrollingonthepaper.
The strokes become natural and relaxed; free and unbound, filled with
self-confidence. Strokes that come together by chance are filled with
spirituality,”wroteNiuonherwebsitein2005,sentimentsthatcontinue
to prevail today.
In 2010, Niu exhibited her works at the Shanghai Art Museum in a
kind of retrospective celebrating 10 years of being back and living and
working in Shanghai. She has worked on a number of different series
over the last decade, with each one addressing human beings and their
emotions, more specifically her own. As she wrote in the exhibition
catalogue:“WheneverIpaint,Iamtryingtomakevisiblethefeelingsof
aparticularmoment.WhenI’mholding
mypaintbrushandlettingmyemotions
flow out, I am at my happiest and most
fulfilled. But if you ask me to go back
and paint the same thing again, I won’t
be able to do it: the feelings and mood
of that particular moment have faded
away.”
Oftenfeaturingwomeninherworks,at
times disguised by her free and rapid
brush strokes, lines and circles, Niu
looks at the world from her own point
of view and that of being a woman. “So
far my painting has taken me 40 years.
When you paint you think about all
sorts of things in your head, from early
memories,fromyourlife.IliketokeepahealthylifementallybecauseI
don’t like to lose memories. I want to be old, to have more memory and
morerangetothinkabout.Thenmypaintingscanhavemoredepthand
I will have more freedom.”
Overthenext10years,Niuiskeentocontinueherartinherdistinctive
style,butgobacktothoseseriesshetriedinherfirstdecadeinShanghai
anddevelopthemfurther,takethemdeeper.Continuallydrawingfrom
herpast,heremotionsandherverytraditionalupbringing,theartisthas
madepeacewithherworksafterreviewingthemlastyearandiscontent
with her position as an artist in China. “I used to hate my background
because I studied very traditional things, and thought that maybe I
can never be a modern, contemporary artist. But it’s my identity, so
why not use it and people will recognise that it’s my work? It’s my way
and it’s unique.”
“Whenever I paint, I am trying
to make visible the feelings of
a particular moment. When I’m
holding my paintbrush and letting
my emotions flow out, I am at my
happiest and most fulfilled.”
IN HOUSE
33
32
When Freedom Reigns

It’s a Design Life
Designer Matthew Hilton has an extensive and successful career under his belt,
but in 2007, after designing products and furniture for brands including Ercol,
Case and Habitat, and creating the acclaimed Balzac armchair, he went out on
hisownwiththelaunchofMatthewHiltonLimited.Hisfluid,functionalandsleek
designs feature prominently at The Montpellier Chapter.
IN HOUSE
35
34
Story: Rachel Duffell Visuals: Courtesy of Matthew Hilton Limited
Create

How did you get into design?
MatthewHilton:IthinkdesignwasalwayssomethingthatIwantedto
do. Art was initially the path down which I thought I would go, but as I
got older I became more focused. I still knew I wanted to do something
creative but I settled on design.
What inspires your work?
MH:Thereisnotanyonethinginparticularasit’sneverthesamething
everytime.ItakealotofphotographssoIhavealibraryofimageswhich
inspiresmeandincludesbuildings,architectureandbridges.Ialsolook
at furniture quite a bit.
I have two guys who work in my studio with me and they bring some
of their ideas to the table too; things that they have seen. So there is a
constant feeding of ideas which influence the work.
What is your creative process and has it changed over time?
MH:Istartbydoingdrawingsonpaper.Afterthatwemakea3Dmodel
onthecomputerandcontinueworkingfromthat.Theinspirationisjust
asmallstartingideawhereasmostofthedevelopmenthappenswiththe
3D model. Sometimes an initial design can change completely and we
might end up with just the concept, the idea, but nothing of the visual
left. But as long as it still excites us, we keep going. And that’s what gets
us going and what generates the energy to start things. From there it’s
about starting to build the collection and the range.
Since I started designing I have changed my way of working. We’re
building things in 3D and working with computer-controlled
manufacturing which allows us to do things that weren’t possible
before.It’sahugeimprovementandthegreaterfreedomcreativelyallows
your mind to expand. Four years ago I also started my own company,
Matthew Hilton Limited, and now I don’t have to get permission from
anybody when I’m designing. I just do what I want to do. That freedom
also allows your creative mind to expand.
How often do you produce new pieces or collections?
MH: We have one collection but it is continuously growing and we’re
adding to it all the time. We produce, on average, seven or eight new
pieces a year at the moment, but that’s because we’re relatively new. We
started with nothing in 2007.
Why do you have a preference for wood as the material of choice for
the majority of your designs?
MH: Wood is one of the best materials for making furniture. People
like to live with wood and it ages fantastically well. There’s a whole
industry set up to make things in timber and a great deal of knowledge
about it. You can do interesting things with timber too, so it has a lot of
advantages. But we’re also trying to add other materials and forms to
makethecollectionmorevaried.However,thereneedstobeacohesive
feel.
IN HOUSE
37
36
It’s A Design Life

What are you working on at the moment and what does the future
hold?
MH: We’ve spent the last two or three years growing the collection and
we’re now starting to take some things out, make some adjustments
and refresh things. We want to keep things looking fresh and add new
thingstoo,astherearestillgapsinthecollection.Weneedsomelighting
and more storage so there’s still much to do, but it has been great. I
have done lighting before. It can be very technical but with the kind of
lightingIenvisionitwillbemorelikefurnituresoitfitsinwellwiththe
collection as a whole.
How did you get involved with The Montpellier Chapter?
MH: Swire wanted the hotel in Cheltenham to have some products by
British designers in it. But also, the hotel has a certain feel. It’s a luxury
that isn’t to do with opulence. It’s simplified but everything is of great
quality. It’s a more relaxed and less showy opulence and I think my
design worked with those ideas. I’ve been interested in that kind of
concept for a long time. I like well-made things and products that are
of very good quality, made from great materials and manufactured to
lastalongtime.Idon’tlikeopulence,Ilikethefeelingofqualitywithout
that ostentation.
WhichpiecesfromthecollectionfeatureatTheMontpellierChapter?
MH: Originally we were going to custom design bespoke pieces for
the hotel but in the end, the furniture was chosen from the existing
collection. There are Hepburn sofas, I-beam tables and desk chairs in
both the public areas and the rooms.
What advice would you give to young designers starting out today?
MH: Develop your own way of doing things. I believe that’s the most
important thing. Find your own way and work hard.
Whatareyourthoughtsontheage-oldissueofformversusfunction?
MH: It’s always about finding a balance. Aesthetics are very important
but so is how something is made, because that controls the aesthetics
and the price. Function is important too of course. I don’t like things
that look nice but don’t work. Yet I don’t say consistently that one thing
is more important than another. Sometimes we make a decision to cut
the cost of making something and other times it’s based on aesthetics,
but the key to good design is about managing that blend to achieve
something that succeeds in all of those aspects, something that looks
good and performs well but is not at a prohibitive cost. They are all
important in their own way.
"I like well-made things and products that are of very good quality,
made from great materials and manufactured to last a long time."
IN HOUSE
39
38
It’s A Design Life

InAugust2011,TheOppositeHousecontinueditsmissionofsupportingthe
artswhenitpresentedauniqueAustralianartanddesignexhibitionentitled
‘The Abandoned Boudoir’. Launched at the Metropolitan Hotel in Bangkok
in late 2010 as part of the annual Bangkok Design Festival, ‘The Abandoned
Boudoir’ builds on the success of Asialink’s ongoing touring programme
that aims to promote intercultural understanding between Australia and
the countries of Asia.
Room To View
IN HOUSE
41
40
Story: Margaux de la Croix Visuals: Courtesy of aestheticalliance*
Create

E arlierthisyear,TheOppositeHouseinBeijingunveiledoneofits
most interesting art installations to date, to critical acclaim from both
the press and the public alike. Fittingly, ‘The Abandoned Boudoir’ is
a unique Australian art and design exhibition devised as a ‘pop-up’
displayforselectedinternationalartordesignfestivalstobeinstalledin
ahotelroom,anywhereintheworld.Existinghotelartwork,bedlinens,
objects,furnitureandlightingintheroomareremovedandreplacedby
Australian crafted objects. During the display period, the installation
also undergoes subtle changes to reflect the moods of its ‘inhabitant’,
functioning as a ‘living’ exhibition for visitors to inspect.
True to the name of the exhibition, ‘The Abandoned Boudoir’ uses the
hotel bedroom (in the case of The Opposite House, Studio 115) as an
intimate exhibition space. “The exhibition references themes such as
sex, glamour, mystique, displacement and surveillance. The objects
themselveshaveallbeencreatedbyAustraliandesignersbutareglobal
in their approach and show no signs of their origin,” says Curator
Marisia Lukaszewski of aestheticalliance*. Featuring the work of 22
solo and collaborative artists, the artworks and design pieces seen
in ‘The Abandoned Boudoir’ are specific to the artists’ or designers’
memories; how they ‘travelled’ to realise the end form or idea. They are
allAustralianmadeintermsofthemakers’identity.“Withtheseobjects,
these clothes, I dress a room and furnish our idea of the additional
identity of the persona that inhabits it,” states Lukaszewski.
The exhibition is clearly based around a woman who settles in a hotel
room, but to the viewer it is unclear who she is or why she is there,
imbuing the installation with a sense of mystery. Perhaps she is simply
travelling, doing business, or visiting a lover. “She changes the room
arounddaily,tryingtoinstillfamiliarityintoanewenvironment,”notes
Lukaszewski.“Shehasbroughttreasuresfromhome;jewellery,textiles,
objectstogivethespaceasenseofplaceandfamiliarity...thingsthathide
anddistractfromherowndisplacement.Theroomdisplaysacollection
of mementos, a sense of luxury; objects that provide visual joy and a
reflectiononplaces,lovesandactivities,buttheycouldalsoeasilybeleft
behind. ‘The Abandoned Boudoir’ is an exhibition that aims to create
a sense of place outside of its place(s) of origin.”
What Curator Lukaszewski endeavours to reflect on in this exhibition
is how a sense of place can be displaced, like a person. “‘She’ could be
anyone of us; romantically itinerant, homeless or constantly mobile
due to business. ‘She’ embraces the temporary, yet the objects in this
exhibitionaremeanttoinsinuateaneedforcontinuityandfamiliarity.
Despite creating a new identity where we travel to, our possessions are
innatetowherewehavetravelledfrom.‘She’personifiesinmanywaysan
idealtraveller,norealobviousgoal,nofinaldestination…justasuitcase
of memories.”
OneofthemostprominentartistsintheexhibitionisWesternAustralian
Andrew Nicholls who has created four pieces under his own moniker,
including a series of 22 Limited Edition plates entitled ‘In Excess’, and
threefabric-basedpieces,including‘SomeDemons,WhiteAustralians’,
a queen size, hand-printed reversible duvet cover, for Third Drawer
Down, an entity that reproduces artwork by contemporary Australian
and International Artists as Limited Edition screen prints.
Anotherartist,BeatriceSchlabowsky,whoseworkfocusesonthebenefits
of both designing and manufacturing industry innovations, without
compromising the originality and the integral nature of the resulting,
handmadeobject,createdfivepiecesfortheexhibition,primarilyusing
metalashermedium,butalsoincorporatingglass,enamelandpolymer
wool.Theartistcontributedherthoughtsonbeinginahotelroominthe
accompanyingexhibitioncatalogue:“Anotherhotelroom.Strangehow
they are all so much the same, so anonymous and interchangeable. The
air-conditioningunitreleasesacontinuouslowdrone,sealedwindows
and drapes buffer all outside sounds, it is like a cocoon in here. Can I
be bothered to unpack my bags just yet? What for? I won’t be here long
enough. I look out of my window to gain some sort of bearing of where
I am, people are walking out in the brightly lit street even at this hour...
On the coffee table is an ashtray, beside it the obligatory hotel literature
pack advertising the usual tourist destinations and local restaurants.
Likeacutlerydrawerbrimmingwithoddflatware,hotelclientsaround
the world are an assemblage of people that at a casual glance have a
degree of sameness. But closer observation reveals quirks and details
that make them unique...”
Artist Tae Schmeisser for Glitzern’s contribution to the exhibition
was three pieces of jewellery which replicate matchsticks in silver and
enamel, small but striking in their simplicity. "The trinkets I collect
when travelling are memory triggers. They summon sounds of goats
with bells around their necks, tastes of powdery sweets, the smells of
thebeachandthefeelingofsnowandgravelcrunchingundermyshoes,”
states the artist. “The utilitarian and found objects I collect, jolt back
thememoryoftheeverydayactivitiesandscenes.Mementosthatdiffer
slightlyfromplacetoplace,enoughformetonoticeandrememberwhen
andhowIstumbleduponthem,yetnotenoughforanyoneelsetorealise
their uniqueness and value. The functional form of the matchstick is
timeless in its simplicity. A universal item. These pieces travel quietly
seeking a home across the ocean with someone wishing to remember
the present."
With the recent phenomenal surge of interest and sales of Australian
art,‘TheAbandonedBoudoir’istrulyadiverseshowcaseofsomeofthe
country’s most talented artists and artisans in what is an innovative
conceptthatisguaranteedtoengageviewersasittravelsfromcitytocity.
‘TheAbandonedBoudoir’isorganisedbyAsialinkatTheUniversityof
Melbourneinpartnershipwiththeaestheticalliance*andissupported
bytheAustraliaCouncilfortheArts,TheAustralianGovernment’sarts
fundingandadvisorybody,throughtheVisualArtsandCraftStrategy,
aninitiativeoftheAustralian,StateandTerritoryGovernments,andthe
Australian Government through the Australian Visual Arts Touring
Program of the Department of Foreign Affairs and Trade.
IN HOUSE
43
42
Room To View
The artworks and design pieces seen in ‘The Abandoned Boudoir’ are
specifictotheartists’ordesigners’memories;howthey‘travelled’torealise
the end form or idea.

At One With Nature
The Montpellier Chapter welcomes visitors in a somewhat unconventional manner for a hotel
andwhatgreetsguestsisabeautifulsculpture,carvedfromEnglishoak,whichexudeswarmth
and charm. Sculptor and furniture designer Alison Crowther is the talented artist behind the
reception’s ‘Font’.
Create
A n ancient barn at the foot of the Sussex Downs in the south
of England is the setting for Alison Crowther’s art. It is here that she
gets down to the business of sawing, hand-carving, arborteching and
finishing formidable sculptural forms, created from lone sections of
unseasoned English oak. Hefty slabs after months of work become
aesthetic, textured forms, appearing not only in private homes and
public spaces but also in gardens and parks, going back to their place
in nature.
Crowther’s works are often characterised by their strikingly finished
surfaces. The artist works with the natural grain and rhythm of the
majestic wood which she chooses, carving and moulding deep lines
and stirring grooves on the exteriors of her pieces. In deep chocolate,
burnt sienna and warm chestnut, her grand sculptures appear across
the world, from Europe to the USA and Hong Kong, and more often
thannottheartistchallengestheboundariesbetweenartandfurniture
through her work.
You have been carving furniture and sculpture for the last 15 years.
Did you always want to be an artist?
Alison Crowther: I trained as a furniture designer but I have always
loved drawing and making things since my childhood.
Why did you choose sculpture/furniture?
AC: I love the three-dimensional nature of the medium.
What inspires you and your work?
AC: I am inspired by simple, organic or geometric forms. I then work
using integral features in the wood, such as medullary rays and grain
to carve a tactile, textured surface.
Have any artists been a particular influence on you and your work?
AC: I have been influenced by British sculptor, photographer and
environmentalistAndyGoldsworthyOBEforhispurismandempathy
with natural materials. David Nash OBE RA, another British sculptor,
was also an inspiration to me for his cleverness with green oak. Nash
works extensively with wood, trees and the natural environment.
WhydidyouinitiallychoosetoworkinEnglishoakandwhydidthis
material appeal?
AC:Englishoakisloadedwithassociationsbothhistoricalandmythical,
andthesecombinedwithitsnaturalappearance,arewhatdrewmetoit
asastudent.Ialsochooseitbecauseitcanbeusedenvironmentally.Iuse
locally sourced timber, re-using off-cuts and dust and I’m still amazed
at its beauty. All of these aspects keep me using it.
How did you get involved with Swire Hotels?
AC: I initially made several pieces for Swire Properties in Hong Kong
atPacificPlaceThree.OneofthedirectorsofSwireHotelssawthework
and contacted me regarding The Montpellier Chapter Hotel project. I
was attracted to the project because of the fact that the architect and
designers were looking for a sculptural piece instead of a conventional
reception desk.
What is the idea behind your work ‘Font’ which features at The
Montpellier Chapter?
AC: The overall design of ‘Font’ was based around the intended use of
thespaceinthereceptionarea.Itwashopedthatthesolidityofthewood
would create a ‘presence’ of contemporary sculpture, yet the warmth
of the natural material is welcoming, not austere - a ‘way-marker’ and
something a little quirky in keeping with the hotel’s character.
What were the biggest challenges relating to ‘Font’ in the hotel?
AC: The biggest challenge was definitely the installation, but I got
professional art installers to help make it a smooth operation.
How does ‘Font’ compare to previous works you have done, both in
concept and style as well as in the making of the piece?
AC: The style of the piece follows on as a natural development of recent
work and an exploration of textures. This was neither the smallest or
the largest of the works I completed in 2010.
What was the creation process of ‘Font’ and how long did it take?
AC: The oak is carved from a solid piece - one huge tree butt - with
chainsaws initially, then hand tools were used to carve gouges. It took
several months to make.
Do you focus on art specifically made for private and public space or
do you exhibit your work?
AC: I make pieces for private, public and corporate clients. I also try
to exhibit regularly and use these shows as an opportunity to reveal
new work.
What factors do you need to bear in mind when designing works for
private clients?
AC: It’s important to satisfy the needs of the client, as with any design
brief, but also to keep my artistic integrity.
What are you working on at the moment?
AC:I’mworkingonarangeofnewcarvedtexturesonsmall,maquette-
like pieces, and a selection of outdoor projects for private gardens and
corporate clients. I will also be doing a similar ‘Font’ project for the
upcoming Swire Hotel in Exeter which I am currently in the process
of creating.
I was attracted to the project because of
the fact that the architect/designers were
looking for a sculptural piece instead of a
conventional reception desk."
IN HOUSE
45
44
Story: Rachel Duffell Visuals: Courtesy of The Montpellier Chapter

I n 2009 the first Beijing Design Week was organised as a small
eventtiedtotheInternationalCouncilofGraphicDesignAssociations’
(Icograda)designconferencewhicheveryfewyearsisheldinadifferent
city. In 2009, it was Beijing’s turn, and the city government used this
as a launching point for Beijing Design Week. However, 2011’s Beijing
Design Week was the first that would stand on its own.
Beijing Design Week is organised by Gehua, a state-owned enterprise
and lead organiser for the state when it comes to culture, media and
technology. Following 2009’s efforts, the enterprise had decided that it
wanted to continue but wasn’t sure how. Bringing Aric Chen on board
wasthesolution,someonewithinternationalexperienceindesignwho
knew how such things worked. Chen, Chinese by heritage, but a New
Yorker who was a well-established journalist and design critic for the
likes of The New York Times and Wallpaper, was an apt choice and
got on with arranging an event that would first and foremost spark
conversation amongst China’s design community.
“It’snosecretthatdesignisstillyounginChina,”statesChen,clearlystill
recoveringafterahecticninedaysofBeijingDesignWeekeventswhich
spanned China’s sprawling capital. “Design is much more established
in other countries. The key is that no one in China wants to copy the
West, but I think there is still a great deal to be learned from other
people’s experience. And we had a lot of participation which is a good
thing,”reportsChenoftheeventwhichfeaturedahostofinternational
participants as well as local Chinese creatives.
Events were wide-ranging. Designers including renowned Tunisian
industrial designer Tom Dixon and Italian design and architecture
legend Stefano Giovannoni, who has worked extensively with Alessi,
hosted gatherings during the week, while acclaimed British designer
PaulCocksedgecompleteda50-tonneinstallationconsistingof30sheets
ofrolledsteelengravedwithChineseandEnglishpoetry.InDashilar,an
oldareaofBeijingjustsouthofTiananmenSquare,therewereextensive
goings-on, including the annual Notch collaboration between Nordic
counties and China, an installation from Chinese actress Zhou Xun,
pop-up stores, art projects and much more. “Dashilar is an area right
The Future Is Bright,
The Future Is Design
October 2011 saw the first, stand-alone incarnation of Beijing Design Week, a city-wide
extravaganza featuring globally renowned designers as well as local creative visionaries.
AricChen,CreativeDirectoroftheevent,talksaboutthehighlights,China’sdesignindustry,
and its bright future.
IN HOUSE
47
46
Story: Rachel Duffell Visuals: Lucy McNally
Envision

in the centre of the city but one which a lot of people don’t really think of these days because it has
fallen into disrepair. Our goal was to draw a new crowd, to get them to see the neighbourhood in a
new way and realise how special it was. With design week in Beijing, it is very different from other
design weeks because the industry is still very young in China, so we are not so much about showing
things as encouraging discussion or conversation about the subject. Part and parcel of that is a desire
to do something for the city as well, because Beijing is definitely a city in transition. All great cities
are always in transition but I believe Beijing is changing more than other established design cities.
Dashilar was super rewarding because we had the chance to hopefully become some kind of catalyst
for preserving and redeveloping this very important neighbourhood,” states Chen.
Beijing Design Week also included an extensive exhibition at the National Museum close
to Tiananmen Square which, entitled The First Beijing International Design Triennale
2011, included famous works from a range of well-known international designers including
Thomas Heatherwick’s Spun chairs, Philippe Starck’s renowned furniture design, works by
theCampanabrothersandToshiyukiKita’srenownedWinkchairplusmuchmore,incuding
pieces by local Chinese designers.
It was interesting to see that a large number of the events taking place during Beijing Design
Week were either organised by, or featured, international designers, something that Chen
hopestochangeinfutureyears.“Ithinkthatourgoaloverthenextfewyearsisthattheratio
ofinternationaltoChinesedesignerswillshifttowardsbeingmoreChinese,butatthisstage,
there is simply more content coming from abroad, and that is not a bad thing,” he states.
However, there are already a number of Chinese designers making a name for themselves across
the city, and country. Chen picks just a few of his favourites who include Li Naihan, a designer who
studied in the UK but returned to Beijing after graduating from Bartlett School of Architecture and
collaborated with Ai Weiwei on the Jinhua Architectural park development as well as a number of
otherprestigiousprojects.Shealsotookpartinthisyear’sBeijingDesignWeek.“Herrecentworkhas
been exploring portable furniture in the context of contemporary China where she has had to move
so many times that she has created entire rooms built into shipping crates. They are done really well,
their detailing is incredible and they are extremely well thought-out,” states Chen.
Chen also mentions that in China, architecture is an area of design
slightly more developed than others, something that can be seen from
the many impressive structures around the city. “Architecture here is
a somewhat further along than furniture and product design, as has
happened in the West also,” explains Chen, picking out Li Hu as one of
China’s most forward-thinking and exciting practitioners. For a long
timeLiwasaward-winningAmericanarchitectStevenHoll’spartnerin
China.AspartofBeijingDesignWeek,theChinesearchitectpresented
an “absolutely radical, never-going-to-happen-except-that-we-are-in-
China-and-maybe-it-willproposaltotransformtheSecondRingRoad
into a park,” describes Chen. As cities like Copenhagen and New York
have been doing, turning previously urban areas into public plazas,
this is something that Li also envisions for Beijing. “I think Li Hu’s
proposal is especially interesting for the city, not only in terms of its
broader movement, but to reduce roads, or go on what’s called a ‘road
diet’, based on a notion that the more roads you build, the worse traffic
gets. So that’s why cities are reducing the number of roads to deal with
trafficproblems.LiHu’sproposalisnotonlyinterestingintermsofthat,
but Beijing definitely has a lack of green spaces and public amenities.
There’s a beautiful poetry in this proposal because the Second Ring
Road is where the old city walls used to be. In the 1950s, when those
walls were about to be torn down, Liang Sicheng, the father of Chinese
architecture, fought very hard to have the walls preserved as a park. Of
course, that didn’t happen, but there’s a nice circular poetry to Li Hu’s
proposal,andthat’sthekindofdiscussionthatwehopedBeijingDesign
Week could be a platform for.”
ThesearejusttwoofanumberofChinesedesignerswhoareparticularly
noteworthy in Chen’s opinion, and a few of many already making a
mark on the wider global scene. China itself and the country’s way of
working is also influencing the broader design industry. “All over the
world now designers are realising that the old model - for example, the
rarefieddesignerinMilancreatingasofawithfamilyworkshops,tenth
generation where you have to wait 12 weeks for your couch - doesn’t
workanymore.Theyarefindingnewerwaysofdoingthingsmuchmore
quickly,atahighlevelofquality,inaglobalwaywheretheycanrespond
to change much faster. And that’s a change that has been spurred on by
China. It’s really very fascinating and very much how China is already
changing global design.”
And it seems that this is only the beginning. The first proper Beijing
Design Week has been received well by local visitors and international
designers alike, indicating that this could well be the first of many. “I
hope it happens again because I think it was off to a great start. There
is much to build on and it has huge potential. And that was the point of
doing it in the first place, to make sure it could keep happening,” states
the Creative Director.
WhenChenfirstmovedtoChinaafewyearsago,hepredicted,somewhat
over-enthusiastically,thatthecountrywouldhaveanestablisheddesign
industryinjustthreeyears.Astimewenton,hequicklybegantorealise
it wouldn’t be that easy. However, in the aftermath of Beijing Design
Week, three years on from when he arrived, he has been pleasantly
surprised. “Beijing Design Week for me has been this milestone where
I have reflected on all that has happened over the past three years and
in some way, even though I had no idea what I was talking about, in
the end maybe my projection wasn’t so far off, not because I was so
prescient, but because things happen. I still think it will take a while
before we see China have a real healthy sustainable established design
infrastructure, but no matter how long it takes, I have to say it’s going
to be sooner than we think.”
It’s no secret that design is still
young in China. Design is much more
established in other countries. The
key is that no one in China wants to
copy the west, but I think there is still
a lot to be learned from other people’s
experience.
IN HOUSE
49
48
The Future is Bright, The Futire is Design

I nanimposinggreybuildingsurroundedbyaredbrickwallliestheThree
ShadowsPhotographyArtsCentre,situatedinCaochangdi,justafewkilometres
awayfromBeijing’sfamous798ArtDistrict.Abeautifullymanicuredcourtyard
gardensitsinfrontofthesprawlingcompound,whichcomprises4,600square
metres. It is the creation of renowned artist and architect Ai Weiwei.
The exhibition space inside, which spans 880 square metres, is impressive
and the shows on display are consistently well thought-out and meticulously
curated. The centre’s most recent exhibition, ‘Coal+Ice’, is no different, and
despite featuring works by a host of photographers from across the world,
has particular relevance to its location in China which is the world’s largest
consumer of coal. From miners in the USA, Europe and China to the melting
glaciers of the Himalayas and the Tibetan Plateau where the landscapes have
been severely affected by carbon emissions, greenhouse gases and resulting
climate change, the exhibition charts the consequences that coal mining is
having, not only on the world’s disappearing ice caps, but also on the people
forcedtospendtheirdaysinthedarkandsootyminesfromwherethisage-old
resource is extracted.
Curated by Susan Meiselas and Jeroen de Vries and presented by Asia Society
at Three Shadows Photography Art Centre, the show features a range of
photographersfromGlebKosorukov,knownforhisphotographsofUkrainian
miners, to Song Chao, a Chinese photographer who himself is a former coal
miner, Stuart Franklin, who once captured one of the famous Tiananmen
Squaretankmenphotographs,torenownedwarphotographerRobertCapaand
mountaineer,photographerandfilmmakerDavidBreashears,whoco-directed
and produced the first IMAX film shot on Mount Everest and reached the
summitoftheworld’shighestpeakforthefifthtimein2004,tonamejustafew.
The exhibition also incorporates images taken by explorers, including a 1921
shot by English mountaineer George Mallory of the Main Rongbuk Glacier in
Tibet. An image of the same glacier captured by Jimmy Chin in 2007 shows
Coming Into Focus
Exhibition space, library, permanent collection as well as a space for lectures, seminars and
workshops, the Three Shadows Photography Arts Centre in Beijing’s Caochangdi is the missing
piece of China’s photography puzzle, founded by acclaimed husband-wife artist duo RongRong and
inri. In-House visits the latest exhibition, the beautifully curated and hugely affecting ‘Coal+Ice’,
ahead of a show in collaboration with Three Shadows and Mo Yi at The Opposite House.
Story: Rachel Duffell Visuals: Lucy McNally and courtesy of Three Shadows Photography Arts Centre
Envision
IN HOUSE
51
50

the grave effects that climate change has had on these regions which,
once covered in snow and ice, are now brown and barren with barely a
covering of white. David Breashears holds Mallory’s image in front of
his own in one picture. “I could immediately see the results. In fact the
glacierwewerelookingat,theMainRongbukGlacier,hadalreadymelted
threeorfourhundredfeetverticallyinthespanof88years.”Breashears
hasalsorecreatedshotsbyphotographerandmountaineerVittorioSella
who at the turn of the 20th Century was exploring mountain ranges in
Pakistan and Nepal. The differences are intense; the critical effects of
humankindanditsceaselessconsumptioninjust100yearsisshocking.
Minersatworkhavebeencapturedoncamerathroughouttheagesand
acrosstheglobe.Imagesintheexhibitiondocumentthis.WeseeWales
and her miners over the years, from shots taken in 1950 by W. Eugene
Smith to Bruce Davidson in 1965 and David Hurn in the late 1980s and
early1990s.IntheUSA,LewisHinedocumentsminersinTennesseein
1910 and in Pennsylvania in 1911, while Builder Levy takes us forward
to Kentucky in 1970. With David Seymour, we visit France’s mines in
1935. China’s photographic history is shorter but we see her miners
throughtheeyesofphotographersYangJunpoandYuHaibowhovisited
Henan Province in 1996 and 2007 respectively, while Song Chao takes
us to Shangdong Province circa 2002. A host of images from the China
Features/China Photo Archive show a mining China from the 1970s
whichgivestheworkadifferentperspectivethankstothetiming.Asthe
exhibition catalogue states, miners have been seen as “both industrial
heroes and “les damnés de la terre” or, “the damned of the earth” (and)
these depictions reflect mankind’s complex relationship to coal: our
reliance on it to fuel economic growth and our awareness of its harm
on human life and our environment.”
Industrial photography incorporating the mines and the coal used to
power the large stations as they pump out fumes into the atmosphere,
exhibits another side to mining, with shots from India to Italy, Greece
to Germany and the USA to China, taken by a range of photographers.
ContinuingthroughthevariousspaceswhichThreeShadowsprovides,
broken up by video compositions as well as stunning large-scale
photographs, the exhibition explains visually that it is not only the
Himalayasthatareexperiencingtheintenseeffectsofcoalconsumption,
butwiththemeltingofallthisice,thegreatriversofAsiaarebecoming
overwhelmedandthis,inturn,istakingitstollonthemanymillionsof
people who live downstream. This is where the exhibition culminates,
with striking images of flooding, drought and lowered water tables,
fromphotographersincludingJonasBendiksonwhoseimagesshowthe
alarming effects in Qinghai Province, China, and Nadav Kander and
Ian Teh who have captured on film the repercussions of human’s use
of fossil fuels which lead to glacial melt, disrupting important seasonal
flows of water.
Closing the exhibition is a selection of Clifford Ross’ images of the
Atlantic Ocean, taken from East Hampton in New York during
hurricane season as violent waves crash from sky to shore. “Man-made
pollution has likely increased the intensity of droughts and hurricanes
worldwide,” says Ross. “When hurricanes land, they force us to look at
what we’re doing to nature. Did we cause some portion of this? Did we
increasetheintensity?Thethoughtthatwe’veaddedfueltothefire-it’s
appalling.”
IN HOUSE
53
52
Coming Into Focus

Three Shadows strives to present exhibitions which are thought-
provokingandcontemporary,whileshowcasingChinesephotography
from both past and present. This is also only one part of the Three
Shadows Photography Arts Centre mission with the organisation
striving to promote photography through residency programmes, an
annual award, a library, education programmes, a publishing press,
lectures, seminars and workshops, and an expanding permanent
collection,allofwhichexistalongsidetheCentre’sregularpresentation
of impressive exhibitions.
Three Shadows was founded by
Chineseartistsandhusbandandwife
duo,RongRongandinri,in2007.“We
havealottothankphotographyfor.If
it wasn’t for photography we may not
be together,” states RongRong who
met inri in Japan in 1999 at one of his
soloshows.Eversincethecouplehave
been collaborating on photographic
works, creating iconic series. “It
was the same drive that led us to
photography,thesameexpressionand
the same creative energy,” continues
RongRong on why the pair decided
to start a space for photography.
“We decided that creating a space
was more important than going out and shooting more work. China
doesn’thaveaphotographyresearchcentreoraphotographymuseum.
We wanted to create a space where people could come and learn about
photography,learnhowtoappreciateitandhowtolookatit.Theinitial
dreamwastohaveaphotographylibraryandthatdreamexpandedand
now it encompasses Three Shadows which also has an exhibition space
and artist residency programme, among other things.”
ThePhotographyArtsCentreisthefirstcontemporaryartspacededicated
exclusively to photography and video art in China. Photography is a
relatively new medium in the Chinese contemporary art scene, a form
of art that has taken longer to make a name for itself. “Since 1949 and
the creation of Communist China, photography was used as a means
for propaganda and for government use. People weren’t really able to
use it as a means for self-expression and individual perspective. It has
only been in the last 30 years or so that people have been able to use
it in that way,” states RongRong.
“In China, contemporary art has
been doing well, but the status of
photography is still below that of
other media. However, I think that
even if that is the case, the means
for self-expression and exploring
everyday issues and real life and
the energy in photography is much
stronger than in other mediums,”
he continues. “Photography is such
an immediate mode of expression
and for a country like China, that
has seen so much change in the
past century with the Cultural
revolution, the economic reforms
and now the economic boom that
is hitting China, photography is a
very unique way of expressing those types of changes and how people
are experiencing them.”
Coal+Ice runs at Three Shadows Photography Art Centre, No. 115A
Caochangdi, Chaoyang District, Beijing, China 100015, until 28th
November 2011. Visit www.threeshadows.cn for more information and
upcoming exhibition details.
Watching this Space
The Opposite House presents ‘Through My Eyes’, an interactive photography
installation by artist Mo Yi from the Three Shadows Photography Arts Centre
which runs from 3rd November through 31st December 2011.
Artist Mo Yi has been photographing urban life in China for the last 30 years. He
has exhibited his art widely globally and his works are collected by museums
and private collectors from across the world. Based in Caochangdi in Beijing, the
artist is part of an exciting group of contemporary Chinese photographers. He
was born and grew up in Tibet and has lived in various Chinese cities across the
nation and his experiences over the years inform his acclaimed work.
Thisexhibitionwillexploretheinterplaybetweenaudience,artistandphotography,
not only through a presentation of multiple photography of eyes, but through
visitor interaction. Viewers will be invited to have their eyes photographed (on-site
production materials and technical support are provided by HP) and added to
the installation which will become an ever-changing art piece designed to spark
conversation, expression and communication, as Three Shadows consistently
endeavours to do, between the people of different cultural and linguistic
backgrounds who visit The Opposite House and the exhibition.
From miners in the USA, Europe and
China to the melting glaciers of the
Himalayas and the Tibetan Plateau, the
exhibition charts the consequences that
coal mining is having, not only on the
world’s disappearing ice caps, but also on
the people forced to spend their days in the
dark and sooty mines from where this age-
old resource is extracted.
Yu Haibo, Pingdingshan, Henan Province, 2007
Niu Guozheng, Pingdingshan, Henan Province, 2006
Clifford Ross, Hurricane LIV, 2009
Geng Yunsheng, Zhenxiong, Yunnan Province, China, 2002
IN HOUSE
55
54
Coming Into Focus

Photography: Lucy McNally
Styling: Korn de’Song
Makeup: Lin Yu Jie
Hair Stylist: Tina Huang for New Look BJ
Hair Styling Assistant: Kevin Kao for New Look BJ
Production Assistant: Carol Chan
Model: Teng Teng by arrangement through Synergy Model Management Ltd.
Shot entirely on location at The Opposite House
The Opposite Attracts...
Dress and bangle by Chanel; shoes by Christian Louboutin |
IN HOUSE
57
56
Fashion

Jacket, skirt and bangles by Chanel; shoes by Roger Vivier |
IN HOUSE
59
58
Opposite Attracts

Swimsuit and robe by Chanel; shoes by Christian Louboutin |
IN HOUSE
61
60
Opposite Attracts

Top, skirt and bangles by Chanel; shoes by Roger Vivier |
IN HOUSE
63
62
Opposite Attracts

Swimsuit, necklace and bangles by Chanel |
IN HOUSE
65
64
Opposite Attracts

Swimsuit, jacket, bangles and shoes by Chanel |
IN HOUSE
67
66
Opposite Attracts

Dress and necklace by Chanel; ring by Tiffany & Co.; shoes by Roger Vivier |
IN HOUSE
69
68
Opposite Attracts

T o be honest, I found the challenge of meeting Robert Swan OBE
rather exhilarating. His brusque manner conveys the no-nonsense
attitudeofthePolarExplorer,EnvironmentalLeaderandthefirstperson
in history to have walked to both the North and South Poles. It makes
you sit upright and ensure you’re not wasting time. And so it should,
for this is a man who is dedicating his life to a mission with a serious
timeframe.30yearsfromnow-in2041-therewillbearenegotiationon
themoratoriumonmininginAntarcticaandthecontinent’sdesignation
as ‘a natural reserve, devoted to peace and science’ can potentially be
overturned. The mission’s website www.2041.com counts it down in
days.
Swan’s singular aim is to work towards the continuing protection of
the Antarctic Treaty so that the last great wilderness on earth is never
exploited in the same way that the North Pole has been. His strategy
is to generate awareness and action amongst the younger generation
and tomorrow’s thought leaders who will be in charge when critical
decisions are made in three decades time. He travels the world to share
his adventures with them and educate, encourage and empower with
positivetalesaboutwhatanindividual,regardlessofraceorwealth,can
dotohelplightentheloadforMotherEarth.Youjustneedtobeyoung,
willingandabletolistenandhewillinvigorateandchallengeyoutotake
up the torch in his quest to make inspiration, as well as climate control,
a sustainability success story.
But let’s back up several decades to when and how this all started for
Swan, an 11 year-old boy from the North of England with a thirst for
adventure ignited by stories of the 20th Century heroes of Antarctic
exploration, Robert Scott and Sir Ernest Shackleton. At the age of 21,
he set out to raise US$5 million to fund an expedition to follow in their
footsteps, a task he enthusiastically thought would take a matter of
weeks,butwhichendeduptakingsevenyears.Hisdeterminationcaught
theattentionofrespectedmarineconservationistandthefatherofscuba
diving, Jacques Cousteau, who helped by becoming his patron and to
whomSwansolemnlypromisedthattheywouldleaveAntarcticaasthey
hadfoundit-withnotatraceofwaste-“justtheirfootstepsinthesnow”.
The Man and A Mission
He might be one of the world’s most gifted speakers, but when it comes to business, Robert
Swan OBE doesn’t allow much room for chit-chat. Upon requesting an interview, he stated
that he had turned down several media requests, graciously explained that he had to utilise
his time here to stay focused on his goals, challenged me to make a case for how this
publication’s readers might take action as a result of learning about the 2041 mission, and
then finally agreed.
The expedition comprised three people, each pulling 160 kilogramme
sleds loaded with food, fuel, supplies and shelter with which to survive
the 1,400 kilometre trek. It was a journey that was wholly unassisted
and in which survival as well as success depended on trust, discipline,
teamworkandthestrengthofthehumanspirit.In70days,theyreached
their destination having traversed 6,000 crevasses and seen with their
own eyes the catastrophic effects that CFC gases were having on the
ozonelayer,forwithoutitsprotectiontheireyesblisteredandtheywere
temporarilyblind.Journeycomplete,thepromisetoCousteauneededto
be fulfilled, a task which proved a little tricky after the expedition boat,
the‘SouthernQuest’,sankminutesbeforetheirarrivalattheSouthPole,
leaving the team and 60 tonnes of equipment stranded. It took another
yeartoraisethefunds,yettruetotheirword,theycollectedeverything
and left nothing but their footprints in the snow.
The seminal ‘takeaway’ was clear to Swan however, and three years
later, he earned his place in history by walking unassisted to the North
Pole and set about focusing on his lifetime goal of working towards
the preservation of Antartica as the last great wilderness on earth. In
1992andagainin2002,hegavekeynotespeechesattheWorldSummit
for Sustainable Development and was charged by global leaders to
undertake global and local environmental missions which involve
industry, business and young people. It is these missions that, 20 years
on, have Swan generating a carbon footprint that keeps him awake at
night, but they are also the seed-bed for leadership and awareness in
the countdown to 2041.
At the time of writing, Swan’s trustworthy yacht ‘2041’ continues to
travel the oceans on her way to the next reporting milestone at the June
2012 World Summit in Rio de Janiero, Brazil. Under power from sails
made entirely from recycled plastic bottles, her ‘Voyage for Cleaner
Energy’ has spread the message to over 450,000 students from around
theworldsofar.SheiscurrentlymooredinDubai,withtheMiddleEast,
India and China charted as ports of call to inspire and rally support for
a greater effort towards world sustainability before sailing onwards to
Brazil for the next World Summit.
IN HOUSE
71
70
Story: Emma Louise Fung Portrait: Lucy McNally
Converse

In House Issue 5

Recomendados

Recomendados

Mais conteúdo relacionado

Mais procurados

Mais procurados (14)

Semelhante a In House Issue 5

Semelhante a In House Issue 5 (20)

In House Issue 5