{"id":51101,"date":"2025-06-02T15:13:06","date_gmt":"2025-06-02T06:13:06","guid":{"rendered":"https:\/\/kiaf.org\/?post_type=insights&#038;p=51101"},"modified":"2025-06-02T15:13:06","modified_gmt":"2025-06-02T06:13:06","slug":"walasse-ting-40-years-amsterdam","status":"publish","type":"insights","link":"https:\/\/kiaf.org\/en\/insights\/51101","title":{"rendered":"Walasse Ting: 40 years Amsterdam"},"content":{"rendered":"<p>Walasse Ting<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter wp-image-51104\" src=\"https:\/\/static-edge.kiaf.org\/web\/2025\/06\/02143523\/WalasseTing_Exhibtion1-kopie.jpg\" alt=\"\" width=\"600\" height=\"400\" \/><\/p>\n<p style=\"text-align: center;\"><em>Installation View (1)<\/em><\/p>\n<p style=\"text-align: justify;\">Gallery Delaive is pleased to present its current exhibition showcasing the later works of Chinese-American artist Walasse Ting (1929\u20132010) from the 1980s. The show, running from 17 may through 17 July, features a vibrant selection of pieces that offer a comprehensive insight into Ting\u2019s practice during his \u2018Amsterdam period\u2019.<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter wp-image-51109\" src=\"https:\/\/static-edge.kiaf.org\/web\/2025\/06\/02143532\/WalasseTing_Exhibtion7-kopie.jpg\" alt=\"\" width=\"600\" height=\"400\" \/><\/p>\n<p style=\"text-align: center;\"><em>Installation View (2)<\/em><\/p>\n<p style=\"text-align: justify;\">By the time Ting arrived in Amsterdam in the 1980s, he had already gained significant popularity both as an artist and as a personality. From his humble beginnings in Shanghai to his moves to Paris and later New York, he had explored various painting styles and forged connections with many of the most influential Western artists of the time, including Pierre Alechinsky, Karel Appel, Asger Jorn, Sam Francis, Arman, Tom Wesselmann, Andy Warhol, and Joan Mitchell. Together with Sam Francis, he created the portfolio 1\u00a2 Life, a remarkable collaboration featuring prints by some of the greatest artists of that era.<\/p>\n<p style=\"text-align: justify;\"><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter wp-image-51107\" src=\"https:\/\/static-edge.kiaf.org\/web\/2025\/06\/02143529\/WalasseTing_Exhibtion5-kopie.jpg\" alt=\"\" width=\"600\" height=\"400\" \/><\/p>\n<p style=\"text-align: center;\"><em>Installation View (3)<\/em><\/p>\n<p style=\"text-align: justify;\">Fellow artist and friend Chihung Yang described Ting as \u201cthe most uninhibited, free and easy-going, yet sensitive and meticulous\u201d artist he had ever met. Ting was an open-minded and curious character who easily connected with people and brought them together. A similar connection was formed when Ting met Nico Delaive during a chance encounter in Amsterdam. The two quickly became friends, and Nico began representing his work. Ting later introduced him to other notable artists, including Sam Francis and Tom Wesselmann.<\/p>\n<p style=\"text-align: justify;\"><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter wp-image-51105\" src=\"https:\/\/static-edge.kiaf.org\/web\/2025\/06\/02143527\/WalasseTing_Exhibtion2-kopie-rotated.jpg\" alt=\"\" width=\"600\" height=\"900\" \/><\/p>\n<p style=\"text-align: center;\"><em>Installation View (4)<\/em><\/p>\n<p style=\"text-align: justify;\">In Amsterdam during the 1980s and 1990s, Ting refined his figurative practice, incorporating traditional Chinese elements into his subjects. His favorite motifs were women, often paired with recurring themes like flowers, fruits, cats, fish, parrots, and insects.<\/p>\n<p style=\"text-align: justify;\">The works in this exhibition reflect Ting\u2019s distinctive personality and the art that naturally flowed from his temperament and lifestyle. His Modigliani-inspired women, vibrant animals, and blooming flowers express his love of life, warmth, and beauty. Each piece, uniquely his own, delights with unexpected compositions and charming details\u2014coffee cups, desserts, flowers, and parrots among them.<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter wp-image-51106\" src=\"https:\/\/static-edge.kiaf.org\/web\/2025\/06\/02143528\/WalasseTing_Exhibtion4-kopie.jpeg\" alt=\"\" width=\"600\" height=\"400\" \/><\/p>\n<p style=\"text-align: center;\"><em>Installation View (5)<\/em><\/p>\n<p style=\"text-align: justify;\">Ting was deeply aware of art history but emphasized the importance of intuitive taste over intellectualizing art. As he once said, \u201cMostly people just look at paintings. If they like them, they like them; if not, then so be it.\u201d This perspective was central to his work and reflected Nico Delaive\u2019s approach, which may explain their strong bond.<\/p>\n<p style=\"text-align: justify;\"><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter wp-image-51110\" src=\"https:\/\/static-edge.kiaf.org\/web\/2025\/06\/02143533\/WalasseTing_Exhibtion8-kopie.jpg\" alt=\"\" width=\"600\" height=\"400\" \/><\/p>\n<p style=\"text-align: center;\"><em>Installation View (6)<\/em><\/p>\n<p style=\"text-align: justify;\">Free from pretensions, Ting\u2019s art was instinctive and fluid. His works were often created rapidly, as if every brushstroke was an extension of his breath. He once described his process as \u201cmaking love to his paintings,\u201d resulting in a sensual symphony of colors. This gave his work a universal quality\u2014like the arrival of spring or the warmth of human connection.<\/p>\n<p>&nbsp;<\/p>\n<p>Gallery Delaive<br \/>\nSpiegelgracht 23, 1017 JP, Amsterdam, Netherlands<br \/>\n+31 206 221 295<\/p>\n<p><a href=\"http:\/\/www.delaive.com\/\" target=\"_blank\" rel=\"noopener\">WEBSITE<\/a>\u00a0\u00a0<a href=\"https:\/\/www.instagram.com\/gallerydelaive\/\" target=\"_blank\" rel=\"noopener\">INSTAGRAM<\/a>\u00a0<\/p>\n","protected":false},"featured_media":0,"template":"","categories":[50,51],"class_list":["post-51101","insights","type-insights","status-publish","hentry","category-insight","category-stories"],"translation":{"provider":"WPGlobus","version":"3.0.0","language":"en","enabled_languages":["ko","en"],"languages":{"ko":{"title":true,"content":true,"excerpt":false},"en":{"title":false,"content":false,"excerpt":false}}},"acf":[],"_links":{"self":[{"href":"https:\/\/kiaf.org\/en\/wp-json\/wp\/v2\/insights\/51101","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/kiaf.org\/en\/wp-json\/wp\/v2\/insights"}],"about":[{"href":"https:\/\/kiaf.org\/en\/wp-json\/wp\/v2\/types\/insights"}],"wp:attachment":[{"href":"https:\/\/kiaf.org\/en\/wp-json\/wp\/v2\/media?parent=51101"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/kiaf.org\/en\/wp-json\/wp\/v2\/categories?post=51101"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}