The entrance to The World According to Nara selling exhibition in Hong Kong. Yoshitomo Nara's In the Pinky Lake (2004) shown in background.

HONG KONG - Upon entering S|2’s The World According to Nara at the show’s opening reception on Friday evening, a variety of tunes played on repeat in the background of the dimly lit space in Sotheby’s Hong Kong gallery. From songs by one of Nara’s favorite punk bands, the Ramones – whom the artist plays in his studio while working into the night – to the 2008 country hit One Foot in the Groove by Donnie Fritts – which is also the title of a large-scale work available in the exhibition – guests couldn’t help but feel as though they were truly entering Yoshitomo Nara’s world:  a world enriched by music, children and memories.


A Visitor to The World According to Nara looks at Dog (1991).

Nara’s monumental plate painting In the Pinky Lake greeted visitors at their first turn, and before they knew it they came face-to-face with a colossal canvas titled Round Eyes, a larger-than-life dreamy eyed figured. With every turn, little gems emerged, glowing brightly out of the shadows of the gallery walls. Wine and hors d'oeuvres were passed as viewers chattered amongst themselves, admiring the array of paintings and works on paper, and by the time the reception came to an end almost half the show had sold.


A Visitor to The World According to Nara looks at Round Eyes (2009).

The World According to Nara pays tribute to the artist’s global career including works executed in the late 80s up until recently. The varied group of works in this show collectively and cohesively illustrate the scope of the artist’s oeuvre, as noted by Marilyn Ivy in the introduction to the exhibition’s catalogue. “A real world, a cosmos unified by a vision drawn and drawn out over a succession of years, a dream world manifested through paintings, sketches, poems, sculptures, textures, structures, installations, photographs, conversations, performances, and communities both physical and virtual. Nara's world is Japanese, but not first and foremost nor exclusively:  it is transcultural, borne out by Nara's global peregrinations, ranging from Afghanistan to Australia to North America and across Asia.” It is precisely with this all-encompassing vision that the opening reception for the exhibition successfully kicked-off the fall season at Sotheby’s Hong Kong.

標籤香港, Selling Exhibitions, 當代亞洲藝術