Rossi & Rossi
Founded in 1985 in London by Anna Maria Rossi, who was later joined by her son, Fabio, Rossi & Rossi is today amongst the leading representatives of contemporary artists from the Asia-Pacific region. The gallery operates from its headquarters in Hong Kong’s South Island Cultural District, as well as a showroom and offices in St. James’s, London. A pioneer in the development of contemporary Asian art, Rossi & Rossi attracts major museums and private collectors worldwide.
In 2017, Fabio Rossi embarked on a series of exhibitions in Asia dedicated to bringing greater attention to modern and contemporary European artists. The following year, Rossi & Rossi staged the first exhibition in Asia on the work of the late Italian avant-garde artist Aldo Mondino, in addition to a successful commercial presentation of works by Italian painter and printmaker Giorgio Morandi.
Rossi & Rossi is a member of the Society of London Art Dealers (SLAD), Asian Art in London (AAL), the Hong Kong Art Gallery Association (HKAGA) and the South Island Cultural District (SICD). The gallery also participates in pre-eminent regional and international art fairs, including Art Basel Hong Kong, West Bund Shanghai and TEFAF Maastricht.
The use of clothing in Naiza Khan’s work began as a strategy to explore the emotional content of the body through attire. Lingerie, armour, straight jackets, and other imagined pieces of attire become multiple identities or personae. These attire-objects address contemporary anxieties in a changing world, at a time when ideas about the “self” seem unstable and rapidly shifting.
The photographs New Clothes for the Emperor are produced in collaboration with artist Samar Zia, who dons the objects to create new meanings for the garments.
They explore notions of control and power, as something embodied through the act of wearing the garment. In these images, the sense of “control” versus the sense of “abandon” is quite explicit.
And the ease with which it can so easily become one or the other.
The title Tiger Milkweed (2019-20) is the name of a butterfly and reveal Sherpa’s fascination with impermanence, as well as the cyclical nature of life and death.
Sherpa uses figures and motifs derived primarily from Buddhas and Bodhisattvas, while also strongly alluding to Western commercialism and pop culture.
His works intentionally do not belong to any specific culture – Buddhist, Western or otherwise –
and instead suggest an invitation to experience and reflect on the ideas of flux, transition, and (dis)placement in the