Edouard Malingue Gallery (Hong Kong/Shanghai) is pleased to announce its participation in Condo London 2018, a collaborative exhibition by 46 galleries across 17 art galleries in London. Edouard Malingue Gallery will be hosted by mother’s tankstation (Dublin/London) in their London space, presenting a co-curated group exhibition that explores the minutiae of everyday life featuring works by Sam Anderson (b. 1982, USA), Eric Baudart (b. 1972, France), He Yida (b. 1980, China), Ko Sin Tung (b. 1987, Hong Kong), Noel McKenna (b. 1956, Australia), and Mairead O’hEocha (b. Ireland).

Unfurling a reconsideration of the ordinary and the everyday, He Yida (b. 1980, China), Ko Sin Tung (b. 1987, Hong Kong) and Eric Baudart (b. 1972, France) weave narratives around the notions of space, value and process. He Yida employs everyday materials to mount a discourse on the quotidian, challenging what we look at twice or indeed contemplate as beautiful, worth our gaze, engagement. Seemingly bearing the influence of Arte Povera, He creates sculptural arrangements that appear effortless, ad hoc, but equally open – to interpretation, possibilities. Moving towards posited conditions of actuality, Ko Sin Tung addresses the disconnect between what is promised and what actually exists, building a visual dialogue with the intimate yet urban environments that persons individually create. Concerned with the impact of ‘things’, Ko Sin Tung investigates, through a myriad of mediums and materials, the psychological influences private objects project and the idiosyncratic functions they’ve been personally channeled to fulfill. Delicately transposed, it is the displaced materiality in Eric Baudart’s works that spurs their contemporary resonance. His works or situations proposed are not mere found objects but rather reconfigured and repurposed, composed and re-choreographed materials that have been carefully assembled or moulded to mount a delicate ballet of shapes, colour and form.

Mairead O’hEocha’s reinvigorated, re-visitation of the still life genre urges the viewer to look afresh at the time-worn cliché of flower painting. Giving vitality to subjects that inevitabley lose their organic beauty and die when plucked from their roots, O’hEocha often radically re-works the paintings of artists who did not achieve recognition during their lifetime, or lost it due to a male-dominated art historiography. Sam Anderson expresses that her characters are never protagonists, but rather, minor bit players who contribute to narrative, with roles almost described by “uniforms”: for example, ‘Waitress’ or ‘Nurse #1’. With keenly perceived articulations of hand gestures, facial expressions and body postures, many of which derive from the observational drawings of early Disney animators, Anderson’s sculptures consider the intimate, psychological and social dynamics that we encounter daily. Noel McKenna’s paintings and ceramics also inhabit their own specific place: frequently, the interior. Not only those homely, welcoming inside spaces depicted in many of McKenna’s works but the psyche of the artist and his perception of the world. McKenna’s paintings reocurringly incorporate the artist’s personal items (spectacles, a tobacco pipe, favourite cups and saucers), as well as current and past pets that have been under the artist’s guardianship over the years. It is these small elements of the everyday that are enriched by their inclusion in Noel McKenna’s artworks, and his care in sharing them with us.

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