Cocktail Hour: The Post-Exhibit Soiree Among Critics and Curators

A translated excerpt from the LIULI team and Loretta H. Yang on tour in Paris
(Some statements that were originally in French, after translating twice, may not have retained their entire meaning.)

September 17, 6:30 p.m. The district of Le Marais Paris—passersby peeked curiously into an old building directly opposite the Picasso Museum. A grand opening was being held. Was there some new form of contemporary art still unseen by these locals at the center of the art and fashion world?

After an exhibition at the Grand Palais, “Enlightenment - The Contemporary Glass Art of Loretta H. Yang” went on display at the Galerie Collection at the Ateliers d'Art de France Foundation.

The party was attended by Serge Nicole, president of the Ateliers d'Art de France Foundation, and by many other notable figures of the French art scene, artists and collectors from all over Europe. The house was so packed that even the hosts from the Ateliers d'Art de France Foundation were taken by surprise, commenting “we've never seen an opening ceremony draw a crowd like this before.”

After the opening party, President Serge Nicole and twelve directors from the Ateliers d'Art de France Foundation hosted a dinner party for Loretta Yang and Chang Yi. These leaders of the French contemporary art scene told Loretta Yang, “we have never seen anything like your pieces in the field of glass art. Your work puts your sensitivity on full display.”

The exhibition at the Galerie Collection presents 12 pieces from the “Formless, but not Without Form” series. Here, Chinese contemporary glass art makes its successful debut into the wider world of art, displayed in a classical building across from the Picasso Museum alongside the abundant modern images it houses. Having heard all of these compliments and words of admiration, Yang concluded that “many visitors have remarked that the Formless series moves beyond the theme of Buddha to reach a level of reflection on life itself.”

Perhaps art critic, Alin Avila was correct in saying that, in a way, Loretta Yang re-introduced glass to the art world. Avila stated that it was impossible to avoid the word “beauty,” whether we want to admit it or not, and that “Ms. Yang’s technique and her intention to create a vast, deep feeling of space inside her pieces give rise to something that transcends our own being. Gazing at these works elicits a feeling that is more than merely pleasing to the eyes; it channels an emotion from which there is no escape. Her art is an altar from a myth. This sense of beauty is what really touches our hearts.”

 

Among those to attend were:

Artists such as Fabienne Picaud and Agathe Saint Girons, exhibitors of the 2014 Liuli China Museum-hosted “French Art Tour” exhibition.

Ms. Shaw-Lan Wang, the head of French luxury brand Lanvin, was away from Paris at the moment, so she sent flower bouquets to offer her well wishes for the success of the exhibition.

Mr. A-Sun Wu, an internationally renowned artist and old friend of Yang’s, commented on how Yang constantly refined her work, pouring her whole heart into it.

Jean-Luc Olivié, Chief Curator,
Les Arts Decoratifs, Glass Department (Museum of Decorative Arts, Glass Department)


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