Lu Hao - The Out-of-Joint World

Lu Hao - The Out-of-Joint World

A-05, 798 Art Zone, No. Jiuxianqiao Rd. Chaoyang DistrictBeijing, 100102, China Saturday, March 16, 2024–Tuesday, April 30, 2024


the out-of-joint world no.18 brandenburg gate by lu hao

Lu Hao

The Out-of-Joint World No.18 Brandenburg Gate, 2024

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the out-of-joint world no.16 vincci lella baya by lu hao

Lu Hao

The Out-of-Joint World No.16 Vincci Lella Baya, 2024

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the out-of-joint world no.15 oia village by lu hao

Lu Hao

The Out-of-Joint World No.15 Oia Village, 2024

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the out-of-joint world no.13 blue mosque by lu hao

Lu Hao

The Out-of-Joint World No.13 Blue Mosque, 2024

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the out-of-joint world no.11 grundtvig's church by lu hao

Lu Hao

The Out-of-Joint World No.11 Grundtvig's Church, 2024

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the out-of-joint world no.9 church of hallgrímur by lu hao

Lu Hao

The Out-of-Joint World No.9 Church of Hallgrímur, 2024

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the out-of-joint world no.14 inntel hotel by lu hao

Lu Hao

The Out-of-Joint World No.14 Inntel Hotel, 2024

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the out-of-joint world no.6 old city of sana'a by lu hao

Lu Hao

The Out-of-Joint World No.6 Old City of Sana'a, 2024

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The Out-of-Joint World

Artist: Lu Hao
Curator: Su Wei
Duration: March 16 - April 30, 2024 

Venue: TRIUMPH GALLERY


TRIUMPH GALLERY is pleased to announce The Out-of-Joint World, the artist Lu Hao’s first solo exhibition with the gallery, from March 16 to April 30, 2024. The exhibition, curated by Su Wei, features more than 30 pieces of the artist's work, including recently completed works on silk and important manuscript documentation from the early years.

This exhibition focuses on a series of new works by the artist on the theme of architecture. Lu Hao employs mediums such as Chinese ink and mineral pigment and technique akins to the mode of “Jiehua” (boundary- painting, a traditional mode of Chinese “Gongbi” painting) to delineate the contours of the exotic architectures in his works, but in a way that removes any traces of techniques. He remains invested in the detail of objects depicted and the amalgamation of various visual elements seen on them. The depiction of these details and elements, however, is not to fulfill any realist endeavors but to bestow the composition an ambiance that oscillates between illustration and “Lianhuanhua” (linked picture, a form of picture book popular in 1920s China), allowing the artist to come up with an expression that circumvents narratives and meanings.

Embedded within his paintings are emotions, sentiments, and inner voices of neighbors from afar. Continuing to polish his artistic language, Lu Hao and his works have never attempted to detach themselves from this ever-changing and anxious era. After experiencing the rise of globalism in the art world, he remains faithful to the flat yet multifaceted aesthetic of the past. With this emotion, he utilizes and continues to believe in his previous creative experience. At the same time, he seems to be tackling something that has often been overlooked—the truthful depictions of things that have been given different positions. For Lu Hao, the contemporary lies within the delineation of such things.

At a time of despair, artists tend to express themselves and their position through an “ugly and naïve” mode. Lu Hao’s approach is not to illustrate the difference between self-explanatory dichotomies such as beauty and ugliness, peace and violence. Instead, he decides to confront the world by observing it in silence.