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‘Occupying an area of 28.6 square kilometers, Macao comprises the Macao Peninsula and the islands of Taipa and Coloane. With a population of some 520,000, the metropolis of Macao is one of the most densely populated areas in the world. Over the centuries, it has been a meeting point for Chinese and Western cultures . . .'
In the year marking the 80th anniversary of the passing of Wu Changshuo - a master of fine arts who flourished in the late Qing Dynasty - the Macao Museum of Art proudly presents an exhibition of his works in collaboration with Zhejiang Provincial Museum and Xiling Seal Engravers Society, to promote a public appreciation of Wu's masterpieces. Zhejiang Provincial Museum and Xiling Seal Engravers Society house a great collection of Chinese art and calligraphy, particularly those of Wu Changshuo, which are considered the best of their kind in China. To make this exhibition possible, both institutions have loaned the Macao Museum of Art their finest collections of Wu Changshuo's masterpieces, some of which have never been seen or displayed in any form but will be exhibited to the public here in Macao for the appreciation of local citizens as well as visitors from around the world.
In order to facilitate development of local art, the Macao Museum of Art has called for public participation in the ‘52nd International Art Exhibition of the Venice Biennale'. ‘Place' is the theme of Macao this year. Eleven works of distinction created by local artists and students were selected by the Museum's judging panel. In which, two were sent to Venice to join the Biennale while and the other nine will be exhibited in ‘Place - Act II: Exhibition of Macao Contemporary Art'. Artists express their great attentions to the present and future of Macao through installations, sculptures, videos and performance art.
Robert Doisneau (1912 - 1994) was born in Paris. He was a famous French photographer who dedicated himself, using black-and-white films, to document aspects of life in France and his beloved Paris. His works are characterised by a very specific time period, covering different aspects of daily life under an unexpected perspective of freezing a moment of Paris life, while interacting with those he photographed.
Children are rich in curiosity and imagination. Driven by inborn creativity, children take pleasure in transforming their intuitions and perceptions of the surroundings into wondrous and amazing ideas. They are instinctively good at putting across their emotions with marvelous colours and straightforward brushstrokes. The exhibits of ‘Colourful Voice: Little Artists 2007' mirror children's naive characteristics and imaginative thoughts. An appreciation of children's art can diminish the distance between children and ourselves, and lead us into their colourful world - in which our long-forgotten innocence is rekindled.
Konstantin Bessmertny arrived in Macao in 1993. The colour of the city, the smell of local restaurants, the humidity of the air and the uniqueness of the colonial culture have great influence on the Russian artist. Konstantin excels in observing daily life from an absurd and humorous perspective. Being inspired by the contradiction, embarrassment and uncertainty of life, he then creates stories and expresses them through his works of art. In his latest creation, ‘the Casino Republic' series, the ridiculousness reflected from the works exactly manifests his introspection towards life. Konstantin also uses installations to ‘materialise' the concepts that appear in his paintings. He likes to substitute different items for his canvas, thereby using the characteristics of those tools to express his romantic sentiments, such as ceramics, violins, cellos and pianos, to create splendid works that are lively and humorous in line with the artistic conceptions of the items. ‘Edictus Ridiculum: Latest Creations by Konstantin Bessmertny', held by the Macao Museum of Art, will draw audiences into the absurd world of Konstantin through 28 pieces of oil paintings and installations.
During the 18th Century, a large number of the West European painters arrived at Chinese coastal cities due to intensive trade between China and the Mediterranean countries in Europe. To commemorate their visits, works produced by the western painters were largely about the life, customs and scenery of the places which they had visited. Some of their works were imitated and sold to foreign visitors as souvenirs and, therefore, spread overseas.
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