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1400 North Miami Avenue Miami, FL 33136
东画廊欣然宣布，将参加于2024年12月03日至12月07日举办的第二十二届NADA迈阿密艺博会，届时将在E206展位呈现艺术家曹再飞、常陵、郭海强、Kumi Usui九九、李珊、刘任、吕松、吴厚挺、张如怡和张云垚的创作。这也是东画廊首次参展北美地区的艺博会。NADA （the New Art Dealers Alliance 新艺术经纪人联盟）是一个非营利性组织，旨在支持和推广各类当代艺术，并关注新兴艺术家和新画廊。NADA Miami每年12月在令人眼花缭乱的迈阿密艺术周期间举行，展会地址位于Ice Palace Studio，与此同时举办的还有迈阿密海滩巴塞尔艺术博览会（Art Basel Miami Beach）、迈阿密设计博览会（Design Miami）、UNTITLED艺术博览会（UNTITLED Art）等。该展会也是美国唯一一个由非营利组织举办的博览会。Don Gallery is pleased to announce its participation in the 22nd Edition of NADA Miami art fair from 3 December to 7 December 2024, where it will present the works by artists CAO Zaifei, CHANG Ling, GUO Haiqiang, Kumi Usui, LI Shan, LIU Ren, LU Song, WU Houting, ZHANG Ruyi and ZHANG Yunyao at Booth E206. It also marks the first time Don Gallery will be exhibiting at an art fair in North America.
NADA – the New Art Dealers Alliance – is a non-profit group that supports and promotes contemporary art of all kind, and shines a spotlight on emerging artists and new galleries. NADA Miami takes place annually at the the Ice Palace Studio, during the dazzling Miami Art Week in December, at the same time as Art Basel Miami Beach, Design Miami, UNTITLED Art, among many others. This established show aims to celebrate the new stars of contemporary art and to offer a platform for artists who are not normally offered one and is one of the only American fair to be held by a non-profit organization.
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Untitled无题，CAO Zaifei 曹再飞, 2024. Oil on canvas 布面油画，50 ×60 cm曹再飞（b.1974）长期专注于在图像呈现之物的背后探寻对应的语词与意义。相比于政治性逐渐浓厚的当代艺术实践，曹再飞的图像言说彰显着不同的面貌——与其说是批判，毋宁说是调侃；并非严肃地直击，而是幽默地消解。CAO Zaifei (b.1974) focuses on exploring the corresponding words and meanings behind objects presented in his images. When contrasted with an increasingly political contemporary artistic discourse, CAO’s paintings present a different aspect -- one of ridicule, rather than critique. The artist does not strike out directly, instead, he approaches his subject through humour.![]()
On the Brink of Paradise 6 濒临乐土 6, Chang Ling 常陵, 2024. Oil on canvas 布面油画, 120×120×5 cm. Unique唯一版本常陵（b.1975）的最新系列作品取名“濒临乐土”，以靠近幸福生活为主题，一方面刻画了当代精英阶层正在享受的现实的幸福生活，另一方面描绘了年轻人心里憧憬的虚幻的幸福生活。有时是单一的画面，有时通过透视和变形把几个生动的生活的写照浓缩在一幅画面上——神山上错落的屋脊，色彩上接近19世纪中国清朝考究的珐琅器的色彩。常陵结合了他在巴黎和台湾生活学习中悟到的视角、笔触与生活细节里的审美，在有控制的、有厚度的、有情绪的灿烂里边把真实的和虚构的幸福生活惟妙惟肖地结合在一起。在这种幻像和真实交织的梦境里，财富分配游戏规则划分出来的不同阶层的生灵依然围绕着幸福生活和平共处。CHANG Ling’s (b.1975) most recent series of works, On the Brink of Paradise, is centred around the idea of living near happiness. It shows the real life of happiness that the modern elite is enjoying, as well as the false life of happiness that young people yearn for in their hearts. Sometimes it's a single image, sometimes several vivid portraits of life are condensed into one image through perspective and distortion—staggered roof ridges on the sacred mountain, and colours reminiscent of the elaborate enamels of the Chinese Qing Dynasty of the 19th century. CHANG Ling creates controlled, rich, and emotionally charged works of art by fusing perspective, brushstrokes, and aesthetics in the nuances of life that he gained from living and studying in Taiwan and Paris. Different kinds of creatures segregated by the laws of the game of wealth distribution yet coexist happily around the joyful life in this dream world where illusion and reality are mixed together.
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2019.11.20, GUO Haiqiang 郭海强, 2019. Oil on canvas 布面油画, 40 × 56 cm郭海强（b.1980）毕业于西安美术学院雕塑系，目前主要从事架上绘画创作。他的艺术实践沿着雕塑语言与绘画语言的边界进行探究，旨在通过绘画的方式为自己的精神世界塑形。近年来，郭海强的主要创作方式乃是“写生”。他骑行至终南山，独自遁入山中，以油画勾勒山景的形态，并据此完成画作，并以写生当天的日期作为作品名。由于文化语境与艺术观念的骤变，郭海强的写生显露出中国传统认识论中“格物”的意味——他尽可能弃绝当代技术，仅凭借肉眼观察将凝视的对象内化，再通过创作将所见的物质世界转译为简单而宁静的内心世界。GUO Haiqiang(b.1980) graduated from the Sculpture Department of the Xi’an Academy of Fine Arts, and is currently working primarily with painting. The artist’s practice inhabits the boundary between sculpture and painting, with an aim to bring shape to his spiritual world. In recent years, GUO Haiqiang has mainly been working in the mode of “sketching.” As the artist rides through the Zhongnan Mountains alone, he outlines the shape of the ranges in oil, and uses these sketches as the basis for his work and titled after the date of their creation. With a shift of cultural context and artistic concept, the artist’s sketches reveal an attempt to infer the truth of things and seek out the underlying laws of everything -- a concept termed “ge wu” in Chinese epistemology. To the extent that it is possible, GUO rejects contemporary techniques, and internalizes what he observes with the naked eye. Then, he translates what he sees of the material world into a simple, yet peaceful inner world through artistic creation.
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Sewing Series/[Touch] No.1 缝补系列/【触】No.1, Kumi Usui 九九, 2021-2022. Gauze, thread, pigment 纱布、线、颜料, 18 × 13 cm (37 × 32 × 5 cm with frame 带框)在《缝补系列/【触】》作品中，Kumi Usui 九九以一种引人深思的方式探索了日常生活中缝补的意义和转化。前社会的紧张氛围使得人们普遍感受到压力的挤压，艺术家通过作品传达了对于这种紧张氛围的回应。作品所展现的一针一线的缝补过程，似乎呼应了我们每个人在面对挑战时所采取的微小举动，试图在渺小中寻求安全感和自我解放。这种微妙的艺术表达使观者不禁思考着自身在这个动荡时代中的定位，以及如何在挣扎与安逸之间找到平衡。The artist Kumi Usui thoughtfully examines the significance and metamorphosis of mending in daily life in the Sewing Series /[Touch]. People in today's society often feel under pressure due to tension, and the artist uses her works to express how she responds to this tension. The healing process depicted in the piece appears to mirror the insignificant steps we all take in an attempt to find comfort and self-emancipation in our insignificance when confronted with difficulties. The viewer is prompted to consider their own place in these unsettling times and how to strike a balance between comfort and hardship by this nuanced creative representation.
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Thanksgiving Cactus 蟹爪莲, LI Shan 李珊, 2023. Oil on canvas 布面油画, 50 × 40 cm
李珊（b.1957）在上世纪七十代初期与中期曾以非官方艺术家的身份积极参与“玉渊潭画派”的创作活动，其后或名为“无名画会”的主要成员，在中国当代艺术史上占据特殊的意义。作为画会中对没有经过系统性学院训练最不在意也最没有负担的成员，李珊的画面总是出自本真和自然，以平涂的方式描绘景与物的构造，展现出对色彩的敏锐和极高的天赋。绘画之外的李珊，爱好海外旅行、徒步和单板滑雪等户外活动，足迹遍及世界各地，绘画也因而成为她记录旅途的日记本。李珊将对美好事物的关注和对生活的热爱倾注于画布上，作品中总有一种明媚、温暖而可靠的气质。LI Shan (b.1957) was an active participant in the ‘Yuyuantan Lake School of Painting’ as a self-taught artist in the early and mid-1970s, and was later named a key member of the ‘No Name Group,’ which holds a special significance in the history of contemporary Chinese art. Since the 1970s, LI Shan has likely been the member who is least bothered by and concerned about the absence of formal academic background. Her paintings are always natural and unadorned, omitting detailed textures and depicting the structure of scenes and objects in a flat manner, demonstrating a keen eye for colour and a great talent for it. Outside of painting, LI Shan's interests extend beyond to overseas travelling, hiking, snowboarding, and other outdoor activities. These pursuits have allowed her to visit various locations all over the world and her paintings have served as journals for her travels. LI Shan pours her appreciation for beautiful things and love of life onto the canvas, and her works are always bright, warm, and dependable.![]()
Flow 流, LIU Ren 刘任, 2021. Straw paper, UV print, mixed media 草纸、UV打印、综合材料, 25 × 15 × 12 cm, base 底座 22 × 15.5 × 14 cm刘任（b.1983）往往从身边日常的材料中寻找灵感，在干净工整的视觉形态背后隐藏感性累积与文本解析。他关注时间的流逝、生命的消耗以及人的存在状态，在这个过程中各种碎片化的信息或平凡的事件、行为与表演得以转化。《流》把草纸打成纸浆，再重塑成可打开状的沙漏形状，通过海的拆分与沙漏的切割，表达着重塑时间形态的初衷。LIU Ren (b.1983) often draws inspiration from everyday materials that surround him and conceals accumulated sentiments and analytical texts behind the clean, neat, and orderly visual forms. He attends to the passage of time, the consumption of life, and the state of being, where fragmented information and mundane materials are transformed. In Flow, recycled straw toilet paper is transformed into pulp, and then reformed into an hourglass which can be opened. In parting the sea and splitting the hourglass, LIU expresses his original intention of reshaping the form of time itself.![]()
Foliage 4 叶子4, LU Song 吕松, 2017. Acrylic on Canvas 布面丙烯, 60 × 50 cm
野蛮生长的植物常常出现在吕松（b.1982）的绘画中。巨大的叶子如同电影中放大或晃动的镜头，画面引发着观者想象叶子背后的世界，以及画外所发生着的一切。叙事、氛围和绘画本身的实验在吕松笔下走到了一起。艺术家通过画⾯中的⾊彩分隔破除不同情境之间的必要边界却又渲染出戏剧性的间离效果，叫⼈⽆法分辨艺术家究竟是在直觉地反映⾃⼰所处的⽣存环境，还是有意地带领观者逃离无所不在的日常秩序。弥漫在画布上的复杂气氛既叫人向往，却又不免令⼈⽣畏。瞬间的亲密与疏离是意识之内的真实片段，理想的栖息之地可能并不存在。Wildly growing plants often appear in LU Song’s (b.1982) paintings. The huge leaves are like zoomed-in or shaky-camera shots in a film, and the images provoke the viewer to imagine the world behind the leaves and what is happening outside the painting. Narrative, atmosphere and the experimentation of painting itself come together in LU Song's paintings. The separation of colours in the painting breaks down the necessary boundaries between different situations yet creates a dramatic effect of disjunction, leaving the viewer unable to tell whether the artist is intuitively reflecting his own existence or intentionally leading the viewer to escape from the ubiquitous order of everyday life. The complexity of the atmosphere that pervades the canvas is both desirable and intimidating. Moments of intimacy and alienation are fragments of reality within the consciousness, where the ideal habitat may not exist.
Seeking the Ordinary 寻+常, WU Houting 吴厚挺, 2024. Cooper, aluminum 紫铜、铝, 9.7 × 7.8 × 16.2 cm吴厚挺（b.1985）的最新的金属雕塑作品，取型于日常商品物的外部造型结构、包装箱内防震减震的塑料泡沫块，以及存在于物品与承托物之间的间隙空间。通过对这些结构性元素的再造，吴厚挺借助五金模具的数控加工工艺，将之拆解、切割、并置和重构，超越了传统雕塑的实体塑造，同时将现代工业设计的规范性逻辑与雕塑形式相结合。隐喻在艺术创作背后的是中国制造业与小商品生产线的缩影，艺术品与消费品被置于同一条工业生产的轨道上，揭示了当代艺术与消费文化之间的暧昧关系。作品的开放性与封闭性相结合，似乎暗示着个体在现代社会中既被物化，又不断追求自我突破的双重处境。WU Houting’s (b.1985) most recent series of metal sculptures was inspired by the exterior designs of commonplace consumer items, the shock-absorbing plastic foam blocks found in packaging boxes, and the gap that exists between an object and its support. WU transcends the physical form of traditional sculpture by reproducing these structural elements and fusing the normative logic of modern industrial design with the form of sculpture. He accomplishes this by disassembling, cutting, juxtaposing, and reconstructing them with the aid of CNC machining of hardware moulds. The artwork serves as a metaphor for China's manufacturing sector and commodity production line, illustrating the shaky relationship between contemporary art and consumer culture by placing artwork and consumer goods on the same industrial production track. The work's dichotomy of openness and closure seems to allude to the paradoxical circumstances of the individual being objectified in contemporary society while simultaneously seeking breakthroughs.
Soap-11 香皂– 11, ZHANG Ruyi 张如怡, 2017. Concrete, soap holder 混凝土、香皂架，9.5 x 5 x 3 cm (soap 香皂), 12.7 × 8.4 × 3.5 cm (soap holder 香皂架)
张如怡（b.1985）在她的艺术实践中经常使用混凝土这一常见的建筑材料。混凝土作为工业社会中具有代表性的人工制品，其主要成分水泥却来自于砂、石等自然物。在将自然物转换为人工制品的过程中，艺术家开始质疑个人在物质世界中的生存状态，尤其是工业化的外部条件如何聚集到一起形成日常的秩序。因此，“转换”逐渐成为艺术家主要的创作语言之一，被运用在雕塑与建筑的相互融合与纠缠中。《香皂》系列作品展现了被永恒固化的消耗品，张如怡通过作品消解自然的生命力及日用品的功能性，构建出怪诞情境，默示了她所秉持的非人类中心论式的态度与立场。ZHANG Ruyi (b. 1985) often uses concrete, a common building material, in her artistic practice. While concrete is a representative artefact of industrial society, its main ingredient, cement, comes from natural objects such as sand and stone. In the process of converting natural objects into artefacts, the artist begins to question the existence of the individual in the material world, especially how the external conditions of industrialisation come together to form the order of everyday life. As a result, ‘transformation’ has gradually become one of the artist's main creative languages, used in the fusion and entanglement of sculpture and architecture. The series of works ‘Soap’ shows consumables that have been solidified for eternity, through which ZHANG Ruyi dismantles the vitality of nature and the functionality of daily necessities, constructing grotesque scenarios and implicitly demonstrating her non-anthropocentric attitude and stance.
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Lucifer 明亮之星, ZHANG Yunyao 张云垚, 2015. Oil on canvas 布面油画, 35 × 35 cm毛毡绘画之外，张云垚（b.1985）在2015年的一批油画作品更多的是艺术家向传统绘画领域的探索。它们与周遭世界无关，而更多地是在问绘画到底是什么。张云垚意识到颜色的自我意识，图像就是颜料，反之亦然，而这一切与绘画者并无关联。风格和描绘对象在张云垚的绘画中飘忽不定，时空似乎在这里失效。黑白、蓝绿曾是张云垚作品的主色调，艺术家在这批绘画的探索中大胆使用肆意铺张的色彩来构建作品和主题，挑逗观者的眼睛，散发出和先前完全不同的情绪。Following felt drawings, ZHANG Yunyao's (b.1985) early-stage oil paintings are more of the artist's exploration into the realm of traditional painting. They have nothing to do with the world around them, but more to do with asking what painting really is. ZHANG Yunyao is aware of the self-consciousness of colours, that the image is the paint and vice versa, and that this has nothing to do with the painter. Style and the object depicted in his paintings are erratic, and time and space seem to fail here. Black and white, blue and green used to be the dominant colours in his works, but in this exploration of paintings, the artist boldly uses unrestrained colours to build up his works and themes, teasing the viewer's eyes and exuding a completely different mood from the previous ones.
