Satoru Hoshino & Chung Hsi-Han, Texture; SinArts Gallery, The Hague

Satoru Hoshino

Although SinArts Gallery tries to show art by Chinese artists and artists from the Chinese diaspora, it also puts its art into a broader international context: the Southeast Asian and the West European contexts.

Satoru Hoshino

In the present exhibition it shows works by the Japanese artist Satoru Hoshino (1945) and the Dutch artist with Chinese-Indonesian roots Chung Hsi-Han (1958).

Satoru Hoshino

Satoru Hoshino’s ceramic sculptures show the ultimate use of clay.

Satoru Hoshino

Clay, when used for modelling, gives a certain resistance in that it will always maintain its volume.

Satoru Hoshino

If you push or press it, it will bulge beneath your hands.

Satoru Hoshino

It will always react, it will always have the last word, which creates, especially in Satoru Hoshino’s works, a kind of dialogue between the artist and his material.

Satoru Hoshino

In Hoshino’s ceramic sculptures the volumes of clay almost become a kind of organic creatures.

Chung Hsi-Han

To make the story even more international, Chung Hsi-Han especially found inspiration in Nepal, where he also discovered Nepali paper on which the presented works are made.

Chung Hsi-Han

Also with Nepali paper one could say that it is the paper which has the last word.

Chung Hsi-Han

It both resists and absorbs in such a way that you may wonder what the next stage in Chung Hsi-Han’s work may be.

Chung Hsi-Han

Will he show us both sides of the paper next time?

Chung Hsi-Han

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© Villa Next Door 2022

Contents of all photographs courtesy to Satoru Hoshino, Chung Hsi-Han and to SinArts Gallery, Den Haag

Bertus Pieters

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Opening of a new space. Gallery Nono & SinArts Gallery, The Hague

The new cultural season has been opened last weekend in different venues in The Hague and especially at Boekhorststraat, where two galleries opened a new shared space.

Wim Nival, Gallery Nono
Alex De Bruycker, Gallery Nono

Gallery Nono mainly existed on line until now and SinArts Gallery had a temporary space at Korte Vijverberg (as regular readers of Villa Next Door may know).

Nono’s gallerist, showing the back side of the same work by Alex De Bruycker

They now settled down in this lively street in the city centre, in the same street where 1646 and Page Not Found are.

Nuria Maria, Gallery Nono
Camille Truyffaut, Gallery Nono

Nono and SinArts will alternate their exhibitions but last Sunday they opened with a shared presentation.

Zhu Hong, SinArts Gallery

It is a group show with works by some nineteen artists in a space that is both small and spacious.

Choi Wong, SinArts Gallery

The two wide and welcoming, early twentieth century shop windows will guarantee a very public view of the exhibited art that will hopefully intrigue the passers-by.

Liao Zhixin, SinArts Gallery
Zhang Peng, SinArts Gallery

Personally i’m very much looking forward to the exhibitions that will follow and Villa Next Door wishes both galleries a happy and inspiring future in their new place!

Left to right: gallery assistant, Alex Lebbink (SinArts) and Renée van Nievelt (Nono). A painting by Bertrand Fournier (Nono) in the background.

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Contents of all photographs courtesy to the artists and to Nono and SinArts Galleries, Den Haag.

Bertus Pieters

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Shen Wei, I Miss You Already; SinArts Gallery, The Hague

Shen Wei (1977) had his first solo exhibition at SinArts Gallery already five years ago.

In Villa La Repubblica i wrote a review about it and i think the text of it still stands, even for the present show.

It is in another room of the same building on the ground floor with a glorious view on The Hague’s sunlit Hofvijver (Court Pond) lined with lavishly green chestnut trees, that his pictures are shown now.

The photos are examples from a long running series of self portraits of Shen’s, and water, plants and of course light play a main role in them, which easily brings them into dialogue with the wonderful view from the windows of the gallery. As such the gallery almost becomes part of the whole set up.

One may call them self portraits, but they are and they are not. On the one hand the sitter just happens to be the photographer himself, on the other hand it is an image of the photographer in the world as it changes with age.

While in one picture the model is the main subject, in another he becomes a prop in a scene or a landscape, or you may see him as the symbol of something the picture may represent.

As a whole it has the melancholy of the photograph as a medium of remembrance.

Now that you’ve come here, you might as well subscribe to Villa Next Door (top right of the page)!

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© Villa Next Door 2022

Contents of all photographs courtesy to Shen Wei and SinArts Gallery, Den Haag.

Bertus Pieters

VILLA NEXT DOOR IS NOT RESPONSIBLE FOR ANY ADVERTISING ON THIS PAGE!!