Exhibitions 2019

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an Installation by Todd Williamson

Collateral Event of the 58th International Art Exhibition – La Biennale di Venezia



Promoter: MAK Center for Art and Architecture

Participants: Todd Williamson, Greg Walter

Curator: Priscilla Fraser Chase

Coordination in Venice: Paolo De Grandis & Carlotta Scarpa (PDG Arte Communications)

With the support of: Pollock Krasner Foundation; Orb Audio; Cynthia Penna/ Art 1307 Cultural Association, Italy; Esther and Tom Watchel; Jean Hobart; Marc Ware and Walter Loewenstern

Venue: Chiesa di Santa Maria della Pietà, Riva degli Schiavoni, Castello 3701

Open to the public: 11th May – 24th November 2019

Opening hours: 10.00 a.m. - 6.00 p.m. – Closed on Mondays (except on 13th May, 2nd September, 18th November 2019).


The MAK Center for Art and Architecture is pleased to announce the exhibition Processional, an Installation by Todd Williamson as Collateral Event of the 58th International Art Exhibition – La Biennale di Venezia. Todd Williamson’s site-specific installation, for which The Pollock-Krasner Foundation has awarded him the Pollock Prize for Creativity, illustrates ideas of order and tradition to examine the deep uncertainty and uncontrollable political, social, and cultural movements of our time.

Both the work and concept generated for this installation will draw directly from the environment in which it will be displayed, Chiesa di Santa Maria Della Pietà, in Venice. Occupying the long, narrow chapel located to the side of the church, the space invites a meditative, sequential process of reflection. Drawing from the site’s formal proportions and material richness, the artist has developed a series of works which encourage contemplation, challenge the perceived order of tradition and ask who are our apostles today? What are their roles? Is the influence of today’s perceived Influencers truly inspirational or dangerously dogmatic? 

Curated by the MAK Center for Art and Architecture’s Director, Priscilla Fraser, and displayed inside a vaulted passageway, original works of writing will provide moments of pause for deeper contemplation. Through this strategic installation, Williamson encourages a suggested comparison between what we see and what we read. This designed dialogue invites the viewer to reflect upon the connection between reality and perception, between person and personality.

To further stimulate the visitor’s experience, Williamson is collaborating with composer and professor Greg Walter from the University of North Carolina, School of the Arts, to develop a harmonic Nocturne specific to the installation.

 Processional 1FB

Processional 1FB



About Todd Williamson

For the past 20 years Todd Williamson has exhibited extensively. Williamson has exhibited extensively both in the United States and internationally. His work is part of the Pio Monte della Misericordia permanent collection and is collected in some of the top collections around the world. He has shown at the CAM Museum, New Jersey Visual Arts Center, the Sonjuang third Biennale Beijing and over eighty exhibitions around the world. He has exhibited alongside Ed Ruscha, Jenny Holzer, Ed Moses, Chuck Close, and Robert Ryman. Williamson has been awarded Pollock Krasner Foundation Grant 2011, Artistic Merit Award Art 1407, Best Foreign Artist Bluduemila Sport and Art Foundation, 2 Artslant Abstract Showcase Awards.

About La Biennale di Venezia 

La Biennale di Venezia was founded in 1895 and is now one of the most famous and prestigious cultural organizations in the world. La Biennale di Venezia, who stands at the forefront of research and promotion of new contemporary art trends, organizes exhibitions and research in all its specific departments: Arts (1895), Architecture (1980), Cinema (1932), Dance (1999), Music (1930), and Theatre (1934).

Processional 4FB

Processional 4FB


About the MAK Center for Art and Architecture

Offering a year-round schedule of exhibitions and events, the MAK Center presents programming that challenges conventional notions of architectural space and relationships between the creative arts. It is headquartered in the landmark Schindler House (R.M. Schindler, 1922) in West Hollywood; operates a residency program and exhibition space at the Mackey Apartments (R.M. Schindler, 1939) and runs more intimate programming at the Fitzpatrick-Leland House (R.M. Schindler, 1936) in Los Angeles. The MAK Center is the California satellite of the MAK – Austrian Museum of Applied Arts / Contemporary Art in Vienna, and works in cooperation with the Friends of the Schindler House.



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Shirley Tse: Stakeholders, Hong Kong in Venice
Collateral Event of the 58th International Art Exhibition – La Biennale di Venezia


Respected Los Angeles–based Hong Kong artist and educator Shirley Tse to exhibit in the Hong Kong Collateral Event at the 58th International Art Exhibition – La Biennale di Venezia. The Hong Kong exhibition is co-presented and co-promoted by M+, at the West Kowloon Cultural District, and the Hong Kong Arts Development Council (HKADC).

1 ShirleyTse HK Key RGB resize

1 ShirleyTse HK Key RGB resize

Negotiated Differences (detail), 2019. 3D-printed forms in wood, carved wood, metal, and plastic
Courtesy of Shirley Tse. Photo credit: Joshua White. Commissioned by M+, 2019

(8 April 2019, Hong Kong) M+, at the West Kowloon Cultural District, and the Hong Kong Arts Development Council (HKADC) are proud to announce the exhibition Shirley Tse: Stakeholders, Hong Kong in Venice as Hong Kong’s Collateral Event at the 58th International Art Exhibition – La Biennale di Venezia. As the fourth collaboration between M+ and HKADC, this exhibition is a milestone for Hong Kong contemporary art on one of the world’s most prestigious international platforms.

The exhibition is curated by Christina Li, an internationally active curator based in Hong Kong and Amsterdam, as Guest Curator, with Doryun Chong, Deputy Director, Curatorial, and Chief Curator, M+, acting as Consulting Curator. This is the second time M+ has appointed and engaged a guest curator from the rapidly growing community of contemporary art practitioners. In the previous edition of the Biennale Arte in 2017, Ying Kwok was the guest curator for the solo presentation of the work of Samson Young.

Over the past two decades, the Los Angeles–based Hong Kong artist Shirley Tse has addressed the various meanings and possible interpretations of materials and things. Her sculptural practice has evolved from considering plastics as the prime signifier of globalisation through circulation, standardisation, and industrialisation to examining plastic as an adjective, and the resonance of plasticity, movement, and multiplicity in contemporary society.

The exhibition in Venice presents a new body of site-responsive work by Tse that contemplates a model for how we relate to each other, in ways that counter the logic that has produced our tumultuous times. In line with the overarching theme of this edition of the Biennale—titled May You Live in Interesting Times and curated by Ralph Rugoff—Tse uses the medium of sculpture to translate her thought process into physical form with two large-scale works: Negotiated Differences and Playcourt. Her work explores both horizontality and verticality, highlighting the unique spatial qualities of the exhibition site on the Campo della Tana, which includes an interior and an open courtyard. Negotiated Differences is a sprawling, rhizome-like installation of 3D-printed joints and hand-turned wooden forms that stretches across all the rooms of the space. Balusters, handrails, bowling pins, and abstract objects are connected by wooden, metal, and plastic elements, bringing together craft, mechanical, and digital technologies into an integrated whole.

Occupying the courtyard, Playcourt comprises sculptural amalgams of equipment and anthropomorphic forms that draw the eye skyward. The installation transforms the enclosure into an improvised badminton court, partly inspired by the artist’s memory of growing up in Hong Kong, and emphasises the negotiation between people and space that is a fundamental component of play. This negotiation is at the heart of Stakeholders; foregrounding the ideas of affect, empathy, and ethics, the exhibition proposes a space to reflect on how we can come to terms with the unforeseen actions that define our relationships with one another.

Suhanya Raffel, Museum Director, M+, stresses the significance of Hong Kong’s presence in Venice this year: ‘This marks the fourth collaboration between M+ and HKADC, in which we present the best of Hong Kong contemporary art and curatorship to a wide international audience in Venice. I am particularly pleased with the selection of a female artist for the Hong Kong presentation. For M+, this edition of the Biennale is especially significant, as we prepare for the opening of our permanent home—the M+ building—in 2020. We look forward to more and more collaborations with HKADC in Venice and trust that our permanent base will allow us to continue to promote and nourish the development of Hong Kong art in new, inspiring ways.’







Wilfred Wong, Chairman of HKADC, says: ‘Our participation in the Biennale has been one of the flagship projects of HKADC since 2001. Over the years, we have been presenting many outstanding Hong Kong visual artists and their works to the world through this international arts platform.

Riding on the previous success of Hong Kong’s presence in the Biennale, we continue to strengthen our ties with M+, West Kowloon Cultural District, this year to proudly present the exceptional works of Shirley Tse to our global audience. We are confident that the exhibition will enlighten our arts experience and bring new insights into the development of Hong Kong arts.’

Doryun Chong, Deputy Director, Curatorial, and Chief Curator, M+, Consulting Curator of the exhibition, emphasises the resonance of Shirley Tse’s Venice work: ‘Stakeholders is an exploration of issues of the individual and the collective that continue to be highly relevant today. Through the journey of spatial negotiations that she is thoughtfully setting up, Shirley Tse invites audiences to reflect on how individuals in society can maintain their identities and values.’

Christina Li, Guest Curator of the exhibition, places this project in the context of Shirley Tse’s practice: ‘I am excited to be working with Shirley Tse on Hong Kong’s presence in Venice. With Stakeholders, Tse’s career-long exploration of the concept of plasticity evolves further, and the exhibition is a momentous opportunity to showcase her sculptural practice to global audiences while also re-establishing her prominent position in Hong Kong contemporary art.’

Shirley Tse adds: ‘I am grateful for the generous support I have received from M+ and HKADC to develop this new body of work and to be able to represent Hong Kong in Venice. These new installations are the culmination of two decades of work, and my hope is that viewers will come away with new perspectives with which to think about their own agency and to look at the complexity of all forms of relations in our contemporary world.’

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Gladys Wong +852 2820 1003 gladys_wong@hkadc.org.hk


Notes to editors


About M+

M+ is a museum dedicated to collecting, exhibiting, and interpreting visual art, design and architecture, moving image, and Hong Kong visual culture of the twentieth and twenty-first centuries. In Hong Kong’s West Kowloon Cultural District, we are building one of the largest museums of modern and contemporary visual culture in the world, with a bold ambition to establish ourselves as one of the world’s leading cultural institutions. Our aim is to create a new kind of museum that reflects our unique time and place, a museum that builds on Hong Kong’s historic balance of the local and the international to define a distinctive and innovative voice for Asia’s twenty-first century.


About the West Kowloon Cultural District

The West Kowloon Cultural District is one of the largest and most ambitious cultural projects in the world. Its vision is to create a vibrant new cultural quarter for Hong Kong on forty hectares of reclaimed land located alongside Victoria Harbour. With a varied mix of theatres, performance spaces, and museums, the West Kowloon Cultural District will produce and host world-class exhibitions, performances, and cultural events, providing twenty-three hectares of public open space, including a two-kilometre waterfront promenade.

About the Hong Kong Arts Development Council

Established in 1995, the Hong Kong Arts Development Council (HKADC) is a statutory body set up by the Government to support the broad development of the arts in Hong Kong. Its major roles include grant allocation, policy and planning, advocacy, promotion and development, and programme planning. The mission of HKADC is to plan, promote, and support the broad development of the arts including literary arts, performing arts, visual arts as well as film and media arts in Hong Kong. Aiming to foster a thriving arts environment and enhancing the quality of life of the public, HKADC is also committed to facilitating community-wide participation in the arts and arts education, encouraging arts criticism, raising the standard of arts administration, and strengthening the work on policy research.






Exhibition details

Curated by Christina Li, Guest Curator; with Doryun Chong, Deputy Director, Curatorial, and Chief Curator, M+, as Consulting Curator; assisted by Olivia Chow, Assistant Curator, Special Project; and Maggie Yim, Curatorial Assistant

Coordinator in Venice: PDG Arte Communications

Graphic design: Geoff Han and Julie Peeters

Location: Campo della Tana, Castello 2126, 30122, Venice, Italy (in front of Arsenale entrance)

Dates and times: 11 May–24 November 2019, 10am–6pm. Closed on Mondays (except 13 May, 2 September, 18 November).


Exhibition website: www.vbexhibitions.hk

The exhibition will be accompanied by a publication featuring essays on Shirley Tse’s new work as well as on her practice overall, with contributions by Evelyn Char, Chris Kraus, Miwon Kwon, and Christina Li.

Organisers’ websites

M+: http://www.mplus.org.hk

HKADC: http://www.hkadc.org.hk


Social media

Please join the conversation on Twitter (@mplusmuseum), Facebook (https://www.facebook.com/mplusmuseum), and Instagram (@mplusmuseum) with the hashtags #ShirleyTse #Stakeholders #HongKongInVenice #MayYouLiveInInterestingTimes #BiennaleArte2019


About Shirley Tse

Los Angeles–based Hong Kong artist Shirley Tse (born 1968) works in the media of sculpture, installation, photography, and text. She at once deconstructs the world of synthetic objects that carry paradoxical meanings and constructs models in which differences might come together. To visualise heterogeneity, Tse conflates different scales, fuses the organic with the industrial, moves between the literal and the metaphorical, merges narratives, and collapses the subject and object relationship.

Tse received a Master of Fine Arts degree from ArtCenter College of Design, Pasadena, and a Bachelor of Arts degree from the Chinese University of Hong Kong Department of Fine Arts. Her work has been exhibited at venues including the Pasadena Museum of California Art (2004/2017); Osage, Hong Kong (2010/2011); K11, Hong Kong (2009); Kettle’s Yard, University of Cambridge (2009); the Museum of Modern Fine Art, Minsk (2006); the Herbert F. Johnson Museum of Art, Cornell University (2005); Para Site, Hong Kong (2000/2005); the Kaohsiung Museum of Fine Arts (2003); the Art Gallery of Ontario (2002); the Bienal Ceará América, Fortaleza (2002); the Biennale of Sydney (2002); Capp Street Project, San Francisco (2002); the Institute of Contemporary Art, Boston (2002); MoMA PS1 (2002); the New Museum (2002); Palazzo dell’Arengo, Rimini (2002); the San Francisco Museum of Modern Art (2001); TENT, Centrum Beeldende Kunst Rotterdam (2001); and Govett-Brewster Art Gallery, New Plymouth, New Zealand (2000). Her work is featured in many articles, catalogues, and other publications including Akademie X: Lessons in Art + Life (2015) and Sculpture Today (2007).

Tse received the John Simon Guggenheim Memorial Foundation Fellowship in 2009 and has been on the faculty at California Institute of the Arts since 2001, where she is the Robert Fitzpatrick Chair in Art.

About Christina Li

Christina Li is a curator working between Hong Kong and Amsterdam. She graduated from the University of Hong Kong with a degree in Fine Arts (Art History) and Comparative Literature, and completed De Appel Curatorial Programme in 2009. She was the Curator-at-Large at Spring Workshop, Hong Kong, where she served as the Director between 2015 and 2017. At Spring, she curated, among other projects, A Collective Present (2017), Wu Tsang: Duilian (2016), Wong Wai Yin: Without Trying (2016), Days push off into nights (2015), and Des hôtes: a foreigner, a human, an unexpected visitor (2015). Her most recent exhibition, Dismantling the Scaffold (2018), was the inaugural exhibition at Tai Kwun Contemporary, Hong Kong. With Heman Chong, she launched Stationary, a collection of short stories, and co-edited the latest volume with writer and artist Malak Helmy. 

Li previously worked as a curator at Para Site in Hong Kong from 2005 to 2008, and was the Assistant Curator of Making (Perfect) World: Harbour, Hong Kong, Alienated Cities and Dreams, Hong Kong’s participation in the 53rd International Art Exhibition – La Biennale di Venezia, in 2009. Her other projects include The Goethe-Institut’s Pyongyang Reading Room: Between Object and Shadow (Goethe-Institut Amsterdam, 2013); A Map of Misreading (TENT, Centrum Beeldende Kunst Rotterdam, 2012); Spacecraft Icarus 13: Cinematic Narratives from Elsewhere (BAK, Utrecht, 2011); Prologue – Speculations on the Cultural Organisation of Civility (SKOR and various locations, Amsterdam, 2010); Not Yesterday, Not Tomorrow (Cable Factory, Helsinki, 2009); and Weak Signals, Wild Cards (De Appel, Amsterdam, 2009). As a writer, she has contributed to publications including ArtforumArt Review Asia, LEAP, ParkettSpike, and Yishu Journal of Contemporary Art.











About Doryun Chong

Doryun Chong is Deputy Director, Curatorial, and Chief Curator of M+, a new museum of visual culture, which will open its Herzog & de Meuron–designed building in 2020, in Hong Kong’s West Kowloon Cultural District. Appointed as the inaugural Chief Curator in 2013, Chong oversees all curatorial activities and programmes, including acquisitions, exhibitions, learning and public programmes, and digital initiatives encompassing the museum’s three main disciplinary areas of design and architecture, moving image, and visual art. Some of the exhibitions he has curated or co-curated at M+ include Mobile M+: Live Art (2015); Tsang Kin-Wah: The Infinite Nothing, Hong Kong in Venice (2015); Samson Young: Songs for Disaster Relief World Tour (2018); and Noguchi for Danh Vo: Counterpoint (2018). Prior to joining M+, Chong worked in various curatorial capacities at the Walker Art Center in Minneapolis (2003–2009) and the Museum of Modern Art, New York (2009–2013).








Pavilion of Azerbaijan
at the 58th International Art Exhibition – La Biennale di Venezia

Virtual Reality

Executor: Heydar Aliyev Foundation, Baku, Azerbaijan
Commissioner: Ambassador Mammad Ahmadzada
Curators: Gianni Mercurio, Emin Mammadov
Participants: Zeigam Azizov, Orkhan Mammadov, Zarnishan Yusifova, Kanan Aliyev, Ulviyya Aliyeva
Coordinators: Narmina Khalilova, Farhad Boyukzada, Paolo De Grandis, Carlotta Scarpa, PDG Arte Communications
Venue: Palazzo Lezze, Campo Santo Stefano, San Marco 2949

Public opening: May 11 – November 24, 2019
Opening schedule: 10.00 - 18.00 – Closed on Monday (excl. May 13, September 2, November 18, 2019).

This year, for the 58th International Art Exhibition of La Biennale di Venezia, the Azerbaijan Pavilion is proud to present Virtual Reality from May 11 to November 24, 2019, that marks Azerbaijan’s fourth participation in the International Art Exhibition of La Biennale di Venezia, realized by the Heydar Aliyev Foundation.
This exhibition of works by contemporary Azerbaijani artists draws on the phenomenon of fake news, one of the greatest threats to democracy, free debate, and progress. Curators Gianni Mercurio and Emin Mammadov introduce a group exhibition of works by Kanan Aliyev, Ulviyya Aliyeva, Zeigam Azizov, Orkhan Mammadov, and Zarnishan Yusifova that explores the challenges and implications of living in a ‘post-truth’ era and social media’s double-edged sword.
Each day, we are susceptible to a mind-boggling tsunami of news. Individuals check their telephones around 150 times each day around the world, and over 2 billion individuals use social networks.
There is a significant change in the manner in which we receive data and news today. We are living in a “fake news bubble”, stories are more often shared via web-based networking media than official news stories, and a significant part of the contention around false news is about something other than whether its content is valid or not. We all need to escape the confines of confirmation bias and shine a light on our unconscious leanings. We should embrace the views of others and acknowledge the other side in our communications. We should stimulate and participate in debate and remember that social media platforms only give us more of the same. It is up to us as individuals to change that pattern.
In a time of international instability, where the world is facing more significant change than ever before, this exhibition could not be more affecting. Virtual Reality addresses an issue that is at the heart of today’s politics and questions our everyday reality.

For Virtual Reality, the artists have produced interactive multimedia works, installations, and sculptures.


Kanan Aliyev and Ulviyya Aliyeva present two works. Globe seems motionless, but the slightest interference changes its direction. Through the sculpture’s sensitivity to movement, the artists share their belief that even a pawn on the international chessboard can propel Globe, and, thus, the world in new or desired directions. In their second project The Slinky Effect, a Slinky jumps over people’s heads. The Slinky Effect, a Slinky jump over people’s heads. The Slinky represents the flow of news that we receive from social networks every second of the day. People communicate almost only through these flows, without gazing each other’s even if they are close; they became beings without empathy and have therefore a gray and uniform appearance.
Kanan Aliyev, born in Baku, in 1983 and Ulviyya Aliyeva, born in Baku in 1986, live in Baku.






Headlines etc 2019 Photoshoot Courtesy of the artist Zeigam Azizov IG

Headlines etc 2019 Photoshoot Courtesy of the artist Zeigam Azizov IG
Zeigam Azizov in his Headlines considers media domination by focusing on the sway that headlines command. Made in the form of essay (textual and visual) Headlines etc… is partly a response to the media domination and a complex relation between images and time. As a poetic-philosophical perception of the contemporary world through the stream of images it will demonstrate how headlines became a language of addressing multicultural global movements of people and the transportation of ideas, which creates a new image of the world altogether.




Zarnishan Yusifova questions the connection between social media and human relationships in a sort of cyber-installation.

Her Bubble Reflection conveys connection with the social networks and human relations, as well as the impact of the media devices on the human beings, on their mind. 

The anthropomorphic figures are perfectly aligned, in military order, while telematic circuits at this point have integrated in their organisms and are masters of their unconscious and their intimacy. They represent a hypnotized humanity, inhabitants of a planetary Metropolis whose empty heads passively welcome a virtual reality.

Zarnishan Yusifova, born in Baku, in 1985, lives in Baku.



Circular repetition 2019 Computer rendering Courtesy of the author Orkhan MammadovIG

Circular repetition 2019 Computer rendering Courtesy of the author Orkhan MammadovIG


Orkhan Mammadov presents two installations, consisting on immersive audiovisual experiences blurring boundaries between physical and digital spaces. The installation Circular Repetition employs data consisting of elements of traditional ornaments. Using the latest state-of-the-art machine learning algorithms, Orkhan and his team designed a unique Artificial Intelligence approach to traditional patterns. In Muraqqa artist has reproduced original miniature paintings and represented it as digital linear story. The authentic traditional Muraqqa becomes a source for the construction of an alternative virtual replica.Orkhan Mammadov, born in Ganja, Azerbaijan in 1990. Currently lives and works betweenNew York, Prague and Baku.









Gianni Mercurio, Italian independent curator, lives in Rome.
Gianni Mercurio has been involved with modern and contemporary art for nearly thirty years as curator and writer. Specialist in American art, he collaborated with the Heydar Aliyev Center in Baku in 2013, when he curated the exhibition “Andy Warhol, Life, Death and Beauty”. He has been guest curator at the Ludwig Museum Cologne, MOCA Lyon, MACRO Rome, MAXXI Museum Rome, Tretyakov State Gallery in Moscow, Heydar Aliyev Center in Baku, Trienale Museum in Milano and museums in Italy, Austria, Spain, Belgium, Finland among others.

Emin Mammadov Artistic Advisor of the Heydar Aliyev Foundation, lives in Baku.
In 2012 he was appointed Honored Worker of Art of the Azerbaijan Republic. Mammadov has gained international recognition quickly and has curated numerous exhibitions in Azerbaijan and Europe. Mammadov curated "UNDER ONE SUN. The Art of Living Together" Azerbaijan Pavilion at the Biennale Arte 2017, and also curated the exhibitions "Beyond the Line" and Vita Vitale that were shown at the Azerbaijani Pavilion at the Biennale Arte 2015. Within 2016–2018 he was curating the international travelling exhibition Live Life in London, Paris, Berlin, Tbilisi and Moscow.

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Heidi Lau: "Apparition"


Exhibit from Macao, China
Collateral Event of the 58th International Art Exhibition – La Biennale di Venezia

Promoter: The Macao Museum of Art
Website of promoters: www.mam.gov.mo
Exhibitor: Heidi Lau
Curator: Sio Man Lam
Commissioner: Paolo De Grandis
Coordinator in Venice: Carlotta Scarpa
Venue: Arsenale, Campo della Tana, Castello 2126/A, Venice, Italy

Opening period: May 11th – November 10th, 2019
Opening hours: 10 am - 6 pm - Closed on Mondays (except on May 13th, September 2nd and November 18th 2019)



2019 will mark Macao, China’s seventh participation in the Collateral Event of the 58th International Art Exhibition – La Biennale di Venezia since 2007. For this occasion, the Macao Museum of Art (MAM) of the Cultural Affairs Bureau will present an exhibition titled Apparition by artist Heidi Lau and curator Sio Man Lam. "Apparition" deconstructs the global image of Macao as “Las Vegas of China” to reveal its intricate cultural identity, hence “apparate” the invisible Macao.

This solo exhibition of Heidi Lau aims to investigate Macao’s complex histories in the style of classical Chinese supernatural fiction (Zhiguai志怪). It showcases 10 newly commissioned ceramic installations under 4 different themes: Apparition I: Primitive Memories, Apparition II: The Ancestral House, The Contemporary Moment: Learning from Casino, and Reflective Nostalgia: The Old Recreation Garden. Lau’s work resembles the crumbling remains of historical relics and features imageries of Taoist and folk mythologies. The curator hence named the exhibition title as “Apparition” to emphasise Lau’s artistic investigation and to depict Macao in a state of manifestation.

Since the 2000s, Macao saw the influx of global capital as it ended a four-decade casino monopoly and opened-up its gaming sector. In response to rapid urban development, Lau creates ceramic works based on her personal and family memories in Macao, constructing a space to contemplate the city’s cultural heritage by re-contextualising over-simplified and easily digestible impressions of Macao.

Mirroring the surreal replicas of Venice’s waterways and the Eiffel Tower constructed in Macao by international capital, Lau recreates in Venice an apparition of Macao that is being overshadowed by a society of spectacle: a monument to mourn the loss of collective memory and  sense of place.

In this exhibition, Lau conveys her critical views and re-imagination for the city through a spiritual reconstruction of the lost home, reflection on the city’s ruins, and longing for stories of the ineffable and supernatural. Her oblique expression rejects the cliché of an East-meets-West narrative, opening up new possibilities for a more nuanced expression for the future.

Curator Sio Man Lam earned a master degree in Visual Arts Administration at New York University and has curated numerous public art projects across five boroughs of the New York City. The Artist Heidi Lau obtained a bachelor degree in Fine Arts at New York University. Her work has been exhibited nationally and internationally, in venues including the Macao Museum of Art, Macao; the Bronx Museum of the Arts, New York; the Museum of Chinese in America, the Museum of Arts and Design, New York. Lam and Lau grew up in Macao and currently live and work in New York City. Together, they represent the growing creative talents of Macao who are eager to explore their identity and add their voice to the international platform.






 The exhibition Apparition runs from 11th May to 10th November, daily from 10am to 6pm (local time) and closes on Mondays.

The exhibition venue is located in front of the Arsenale, one of the main Biennale Exhibition venue, with address at Arsenale, Campo della Tana, Castello 2126/A, Venice, Italy.  



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Pavilion of Andorra

at the 58th International Art Exhibition – La Biennale di Venezia

The Future is Now / El futur és ara


Artist: Philippe Shangti

Commissioner: Eva Martínez “Zoe”

Curators: Ivan Sansa, Paolo De Grandis

Coordinator in Andorra: Meritxell Blanco, Ministry of Culture, Youth and Sports

Coordinator in Venice: Carlotta Scarpa, PDG Arte Communications

Venue: Istituto S. Maria della Pietà, Riva degli Schiavoni, Castello 3701

Open to the public: 11th May – 24th November 2019

Opening hours: 10.00 a.m. - 6.00 p.m. – Closed on Mondays (except on 13th May, 2nd September, 18th November 2019).

The Andorran Pavilion presents a provocative proposal of speculative fiction in which Philippe Shangti rouses the collective consciousness with his vision of the world. It is a fragmented installation of bits and snatches which should be examined separately in order to understand this multidisciplinary project: a criticism of exacerbated consumerism and its effects. 

In the purest camp style, it sets before us universal topics using bright surfaces, saturated colours and clean perfect finishes, seeking all the while to protest and to provoke.

Philippe Shanti is a multifaceted artist. He was born in in Toulouse (France) in 1983 and he lives in Andorra. Shangti's passion for photography arose at a very early age, when he was given his first camera, which he came to use extensively. Later, his bold character and life itself led him to Saint-Tropez, where he came upon a world that took drugs and concealed itself in superficiality. He dared to portray it, showing women marked by a confusion of vulnerability and strength, as may be seen in the monumental photograph Goddess of Oxygen, depicting a woman entwined between what is divine and that which is most purely materialistic, doing business with the very air we breathe.


Both "Gate of Lost Paradise Park" and "Soul Tree Museum" portray plainly evil actions and the consequences of our misguided way of doing things.

Throughout this project, Shangti builds a story that has been meticulously conceived, drawing its inspiration from James Bidgood and David LaChapelle, whose works also criticise the society in which we live.

The use of writing in Philippe Shangti's work and specifically his tags generate a message that is conveyed with great celerity and in a multidisciplinary manner. In this way, in addition to using photography and sculpture, he also moves in the audiovisual world.

"Prison of for Spender Addict" is a kitsch video sculpture that could be associated with the work of Dan Graham or Bill Viola.

Shangti's project, with its joyful colours and hilarious compositions, is set within the framework of the metalanguage of art and draws us closer to the contemporary aesthetic of pop art, just as may be seen in No Vandalism Here, The Babies’ Hope and Fuck Who doesn’t Like My Vision.

It is an invitation to reconsider the consumerist present which is leading us towards a precarious future that is already all too near...

As the last year, the Andorran Pavilion at the 58th International Art Exhibition - La Biennale di Venezia will be located in Istituto Santa Maria della Pietà, a former convent, orphanage and music academy. The church was built in the 18th century by Giorgio Massari and was not only used as a place of worship but also as a concert hall. The Italian Baroque composer, Antonio Vivaldi, worked there as the choir director, writing many cantata and teaching at the seminary.

The church is situated in the Castello neighbourhood in Riva degli Schiavoni, a five-minute walk from Piazza San Marco. The Pavilion has two separate entrances. The main one opens from the side of the church on to Calle della Pietà street and the second one can be reached from inside the church’s chapel itself.


left: Philippe Shangti - Gate of Lost Paradise Park_2018

photocredit: © Àlex Tena – Government of Andorra

right: Philippe Shangti - Soul Tree Museum_2018 

photocredit: © Àlex Tena – Government of Andorra



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Press office contact:

Meritxell Blanco – Cultural Action area 

Ministry of Culture, Youth and Sport

Government of Andorra

Carrer Prat de la Creu 62-64, AD500 Andorra la Vella, Andorra

Tel. 00376 875708