Chewing Gum V

Jul 22 – Sep 8, 2022
Hong Kong
Exhibition Details:

Chewing Gum V
Jul 22 – Sep 8, 2022


12/F, H Queen's
80 Queen's Road Central
Hong Kong


Press Release


(opens in a new window) @pacegallery

Above: Zhang Xiaogang, Green Wall - White Bed, 2008 © Zhang Xiaogang

Pace is pleased to present Chewing Gum V, the latest presentation in a series of group exhibitions highlighting the gallery’s expansive, international program, at its Hong Kong space.

The exhibition will spotlight work by key modern and contemporary artists, including Zhang Xiaogang, Louise Nevelson, Mao Yan, Irving Penn, Kiki Smith, Claes Oldenburg and Coosje van Bruggen, and other figures. The show will meditate on exchanges between artists across temporal and geographic boundaries.

Cultivating a dialogue among paintings, sculptures, and photographs created between the mid 20th century and present day, Chewing Gum V follows four previous editions in the exhibition series, which has been presented at Pace’s Hong Kong gallery since 2015.

Zhang is known for his figurative paintings and sculptures that engage with memory to explore both personal and collective histories. Replete with symbolism and allusions, his painting Green Wall White Bed (2008), on view in Chewing Gum V, examines the intermingling of public and private spaces. This work will be presented in conversation with Nevelson’s 1985 wall sculpture, which brings to the fore the relational and perceptual possibilities of form and space.

Mao’s 2013 painting Oval Portrait of Thomas No. 2 eschews markers of cultural and temporal significance. Rather, the portrait is imbued with spiritual and psychological complexities that encourage introspection and contemplation of the self. Meanwhile, Penn’s black-and- white fashion photographs reflect the idiosyncratic, malleable nature of self-expression.

Smith’s dynamic sculpture Rabbits (1998) examines the relationships between predators and their prey, while Oldenburg and van Bruggen’s 2005 sculpture Collar and Bow 1:16 draws out the madcap qualities of seemingly banal, everyday objects.

In the way of abstract works, a 3D printed sculpture by Sui Jianguo, which features the artist’s fingerprints in white copper, figures in Chewing Gum V. Liu Jianhua’s porcelain sculpture Blank Paper (2014) explores enactments of blankness and their attendant resonances, inviting viewers to conjure their own narratives of the work and the exhibition as a whole.


Featured Works

Oldenburg/van Bruggen, Collar and Bow 1:16, 2005, aluminum painted with acrylic and polyurethane enamel, 50" x 50" x 40" (127 cm x 127 cm x 101.6 cm)
Irving Penn, Black and White Fashion With Handbag (Jean Patchett), New York, 1950, gelatin silver print mounted to paper, 16-3/4" × 15-1/2" (42.5 cm × 39.4 cm), image 17-3/8" × 15-1/2" (44.1 cm × 39.4 cm), paper and mount
Sui Jianguo, Garden in the Cloud - Planting Trace - Island No. 1, 2014-2020, white copper, 37.5 cm × 46.7 cm × 16 cm (14-3/4" × 18-3/8" × 6-5/16") 1.5 cm × 40.3 cm × 70.3 cm (9/16" × 15-7/8" × 27-11/16"), aluminum plate
Kiki Smith, Rabbits, 1998, silicon and phosphorous bronze, 24-5/8 x 12-5/8 x 5" (62.6 x 32.1 x 12.7 cm) to 24-5/8 x 12-5/8 x 10-1/2" (62.6 x 32.1 x 26.7 cm), 8 units, each approximately installation dimensions variable
Zhang Xiaogang, Green Wall - White Bed, 2008, oil on canvas, 59" x 78-3/4" (150 cm x 200 cm)
Mao Yan, Oval Portrait of Thomas No. 2, 2013, oil on canvas, 110 cm x 75 cm (43-5/16" x 29-1/2")

Installation Views