CONDO Shanghai
City: Shanghai
Duration: 2018-07-07 ~ 2018-08-01
Opening: 3-7pm, Saturday, 7 July 2018
Address: #102-103, Building 17, M50, No.50 Moganshan Road, Shanghai
Participating Artist(s): Haffendi Anuar、Pu Yingwei、Tant Zhong、Roe Ethridge、Jennifer Steinkamp、Flo Brooks、Juliana Huxtable.

J:GALLERY is honored to announce that we will join hands with greengrassi and Project Native Informant to participate the first occasion of Condo Shanghai.

Condo takes its name from ‘condominium’ and is a large-scale collaborative exhibition of international galleries. Host galleries share their spaces with visiting galleries – either by co-curating an exhibition together, or dividing their galleries and allocating spaces. The initiative encourages the evaluation of existing models, pooling resources and acting communally to propose an environment that is more conducive for experimental gallery exhibitions to take place internationally.

In this exhibition, 3 galleries will present 7 artists from different regions, that include Haffendi Anuar, Pu Yingwei, Tant Zhong, Roe Ethridge, Jennifer Steinkamp, Flo Brooks, Juliana Huxtable.


Haffendi Anuar (b. 1985, Malaysia) initially studied at Rhode Island School of Design in Providence before completing his undergrad degree in fine art at Central Saint Martins College of Art and Design in London in 2013. He then returned to his hometown of Kuala Lumpur which had since provided the subtext for the development of different series. Haffendi Anuar’s recent exhibitions include Migratory Objects, ( Richard Koh Fine Art, Kuala Lumpur, Malaysia, 2017), Migratory Objects, ( Volta New York 2017, New York, USA, 2017), Flotsam, Jetsam, Lagan and Derelict, ( A.I. Gallery, London, UK, 2018), New Look, ( Christine Park Gallery, New York, USA, 2018), head heap heat, ( Institute of Contemporary Arts Singapore, Singapore, 2018). He won the Cass sculpture prize in 2017.

Pu Yingwei, 1989 Born in Taiyuan, China. Lives and works in Lyon and Beijing, received his BFA from Sichuan Fine art Institute, DNSEP (MFA with Félicitation du jury)from École nationale supérieure des beaux- arts de Lyon. Pu Yingwei’s creation based on his research of literature and archive, he believes that the individual experience and memory are evidence for one exists in the world. Through different medias such as video, installation, painting, and texts; the artists cross the boundaries of race, country, language, finally, he created a perceptual archive and his autobiography. Recent solo exhibitions/projects: If only it were true, Galerie Sator, Paris (2018); Pu Yingwei and Jim Thompson Architects, J: GALLERY, Shanghai (2017); Roman Nomade: Pu Yingwei Solo Project, Hive Center for Contemporary Art, Beijing (2017); Recent group exhibitions: Frontier: Re-assessment of Post-Globalisational Politics, OCAT Shanghai/OCAT Institute, Shanghai/Beijing (2017-2018); Fiction Art, OCAT Shenzhen, Shenzhen(2018); I Do (not) Want To Be Part Of Your Celebration, Qiao Space& TANK Shanghai Project Space, Shanghai (2017); Reciprocal Enlightenment, CAFA,Beijing (2017). He won the John Moores Painting Prize (2012). The article “Animism and Vulgar Materials” has been shortlisted for the IAAC ( International Awardsfor Art Criticism) prize (2015). His film “Interview” has been shortlisted for CaenSi Cinéma Festival (2018). In 2016, Pu Yingwei's works attempt to describe the reference relationship of the Chinese local situation in different cultural contexts, In this context, His first institutional solo exhibition will be held at Nouvel Institut Franco-Chinois.

Tant Zhong was born in Wuhan in 1990. After graduated from East China Normal University in Shanghai, she incepted Master of Fine Art in Wimbledon College of Art, University of Arts London in 2013. Now she lives and works in Shanghai. Tant Zhong's works are hard to classify, fluctuating between raw formalism and comic whimsy. Mass produced objects are elevated into sensual arrangements that shelter unexpected jokes. The innate properties of materials play off against each other, the power acting on different medias constructs a harmonious balance in her work. Often her works lack definitive boundaries, spilling into each other and absorbing space, leaking their world view out of the gallery and into the wider world. Implicit in the works is a challenge that all things canbe seen formally and elevated to the realm of aesthetics, never forgetting the absurdity of such a task. Tant Zhong’s recent exhibitions include The Endless Spring, ( J:GALLERY, Shanghai, 2017) , Inexplicable, (Pearl Lam Gallery, Shanghai, 2017) , I Do(not) Want To Be Part Of Your Celebration (TANK Shanghai Project Space, Shanghai, 2017) ,Tissue And Tissue Paper, ( Tabula Rasa Gallery,Beijing, 2016)

Roe Ethridge (born 1969, American) studied photography at the Atlanta College ofArt. He shoots in “editorial mode” and also borrows images already in circulation, including out takes from his own commercial work, sometimes already published in other contexts. “Everything seems to end up in a magazine sooner or later,” Ethridge has said. Drawing upon the descriptive power of photography and the ease with which it can be accessed, duplicated, and recombined, the artist orchestrates visual fugues, juxtaposing, for example, a picture in which he has super imposed an image of a plain white plate, grabbed from Bed Bath& Beyond’s website, on a checkered Comme des Garçons scarf; a photograph of a model dressed in an Alexander McQueen shirt posing against a tripod, which he took at Pier 59 in New York; two filmic pictures of a Julliard ballet student;a still life of moldy fruit he previously published in Vice magazine; a catwalk shot from the Chanel spring 2009 fashion show grabbed from The New York Times; animage of a pumpkin that is a magnified close-up of a sticker; and a picture ofa red bag in a corner of the artist’s studio. The pictures acquire their meaning from the salient way in which they have been shuffled, sequenced, andlaid out in nonlinear narrative structures. Combining and recombining already recont extualized images, Ethridge at once subverts the photographs’ original roles and renews their signifying possibilities.

Jennifer Steinkamp (born December 22, 1958) is an American installation artist who works with video and new media in order to explore ideas about architectural space, motion, and perception. Jennifer Steinkamp’s recent exhibitions: Naturaleza Digital, (Espacio Fundación Telefónica Madrid, Spain, 2018.),Winter Fountains, (Benjamin Franklin Parkway, Philadelphia, Pennsylvania, 2017), The Lapis Press in Las Vegas, ( Soho Lofts, Las Vegas, Nevada, curated by Adam Gross, 2017)

Flo Brooks (b. 1987, Devon) lives and works between Brighton and the South-West. His work combines painting, collage and social practice. Recent exhibitions include Is Now a Good Time? (solo show), Cubitt Gallery, London, 2017, Outskirts launch, White Cubicle Toilet Gallery, London, 2017, Whose body where? a commission for Open Source festival, curated by Helen Nisbet, Gillett Square, London, 2016, Inland Art Festival, Redruth, Cornwall, 2016, and Notes for Turtle Salon, a two person show with Charlotte Prodger, guest curated by Irene Revell, White Cubicle Toilet Gallery, London, 2015. He facilitates an on going collaborative project called Outskirts which explores the intersection between liminality and identity.

Juliana Huxtable (born December 29,1987) is an American artist, writer, performer, DJ, and co-founder of the New York-based nightlife project Shock Value. Huxtable has exhibited and performed at a number of venues including Reena Spaulings Fine Art, Project Native Informant, Artists Space, the New Museum, the Museum of Modern Art, Portland Institute of Contemporary Arts, and Institute of Contemporary Arts. Huxtable's multi disciplinary art practice explores a number of projects, such as the internet, the body, history, and text, often through a process she calls "conditioning." Huxtable is a published author of two books and a member of the New York City-based collective House of Ladosha. She currently lives and works in New York City.


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[Editor] 张艳