杜梦堂 DUMONTEIL
展位 BOOTH B351
2024.11.07 - 11.10
Shanghai West Bund Art Center | 2555 Longteng Avenue
参展艺术家 | ARTISTS
Estate of ÉTIENNE-MARTIN 艾蒂安-马丁
Estate of Robert COUTURIER 罗伯特·库蒂里耶
Abed AL KADIRI 阿贝德·阿尔-卡迪里
Vincent CAZENEUVE 文森·漆
Liane CHU 朱丽晴
Julien DES MONSTIER 朱利安·德·蒙斯蒂耶
Hugo DEVERCHÈRE 雨果·德维切尔
Tess DUMON 苔丝·杜蒙
Charles HASCOËT 查尔斯·哈斯科埃特
Yanis KANNOUSSI 雅尼·卡努西
Matisse MESNIL 马蒂斯·梅斯尼尔
NISKY 俞杨
Ugo SCHILDGE 雨果·席德
Pablo TOMEK 帕布洛·托梅克
杜梦堂DUMONTEIL荣幸参展2024年第十一届「西岸艺术与设计博览会」，展位号B351，呈现来自十五位国内外艺术家的作品精选。此次不仅荟萃当代艺术家的近期创作，还展出了两位20世纪法国重要雕塑家艾蒂安-马丁（Étienne-Martin）和罗伯特·库蒂里耶（Robert Couturier）的作品。两人的双人展“形态的诗与哲”也在艺博会同期展出于杜梦堂（上海），展现了两位艺术家如何将形态美学的探索化为充满诗意与哲理的表达，通过各自独特而多元的创作实践成为现代雕塑发展的重要组成。更多当代艺术家精彩作品包括：阿贝德·阿尔-卡迪里 (Abed Al Kadir) 的布面油彩碳笔作品，文森·漆 (Vincent Cazeneuve) 和翁纪军以大漆为媒介的新作，马蒂斯·梅斯尼尔 (Matisse Mesnil) 的电弧焊作品，雨果·德维切尔 (Hugo Deverchère) 的花岗岩镌刻作品，查尔斯·哈斯科埃特 (Charles Hascoët)、苔丝·杜蒙 (Tess Dumon)、朱利安·德·蒙斯蒂耶 (Julien Des Monstiers)、俞杨和朱丽晴的绘画作品，雅尼·卡努西 (Yanis Khannoussi) 的彩虹雕塑系列，以及帕布洛·托梅克 (Pablo Tomek)和雨果·席德 (Ugo Schildge) 的架上综合材料作品。
DUMONTEIL is pleased to participate in the West Bund Art & Design Fair 2024, at Booth B351, presenting a selection of recent creations by fifteen local and international artists.In addition to the creations of emerging artists represented by the gallery, we will also present works by Étienne-Martin and Robert Couturier, two pivotal figures in 20th-century French sculpture. The two artists' duo exhibition, “Mysticisme et poésie des Formes”, on view at DUMONTEIL (Shanghai), demonstrates how the two artists have transformed their exploration of the aesthetics of form into poetic and philosophical expression, and how, through their unique and diverse creative practices, they contributed to modern sculpture.More works by the artists include oil and charcoal on canvas by Abed Al Kadiri, new creations revolving around Chinese lacquer by Vincent Cazeneuve and Weng Jijun, Matisse Mesnil‘s arc welding steel works, Hugo Deverchère’s engraving on granite, oil on canvas by Liane Chu, Charles Hascoët, and Julien Des Monstiers, acrylic on canvas by Tess Dumon and Nisky Yu, iridescent sculpture by Yanis Khannoussi, and mixed-media on panel by Pablo Tomek and Ugo Schildge.
ÉTIENNE-MARTIN
艾蒂安·马丁 (1913-1995)
Etienne-Martin | 艾蒂安-马丁 (1913-1995)
The Beak | 喙
Bronze, signed, Godard FoundryOriginal edition, Edition of 9Etienne-Martin | 艾蒂安-马丁 (1913-1995)
Demeure X | 居所 X
Bronze, signed, Testoni FoundryOriginal edition, Edition of 8
艾蒂安-马丁是20世纪举足轻重的法国雕塑家。他的作品以抽象、表现主义和实验为特点。艺术家最广为人知的《Demeure（居所）》系列既是他对儿时故居的诗意重构，也是其阐述记忆与时空关联的具象载体。建筑结构常被艾蒂安-马丁用于展现思想的内部景观。
艾蒂安-马丁在造型与表达上的原创性也是他受到许多艺术家敬仰的主要原因。抒情抽象派创始人乔治·马修（Georges Mathieu）就曾写道（1989）：“艾蒂安-马丁或许是法国现存最伟大的雕塑家，他的作品体现了杰作通常具有的两个特点：永恒性和普遍性。它们既不属于史前时期，也不属于任何文明，尽管它们与人类的关联是根本性的。”
他是1966年第33届威尼斯双年展雕塑大奖的获得者，1970年被选为法兰西学术院-美术院(Académie des Beaux-arts)终身院士。他参加了1972年的第五届文献展(Documenta V)，此后一直被最有声望的机构所称颂。蓬皮杜中心(le Centre Georges Pompidou)和昂美术馆(Musée des Beaux-Arts de Lyon)分别于2010年和2012年为其举办了大型回顾展。
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Etienne-Martin was a pivotal French sculptor of the 20th century. He was known for his abstraction, expressionism, and experimentation. His most recognized series, “Demeure” (Dwelling) poetically reconstructs his childhood home and serves as a figurative means to explore the connection between memory, space, and time. The artist often employed architectural structures to visualize thoughts and ideas.
In addition to his complex spiritual quest, Étienne-Martin’s originality in form and expression is what has inspired many artists. Georges Mathieu, the founder of Lyrical Abstraction, wrote in 1989: “The work of Étienne-Martin, perhaps the greatest surviving French sculptor, embodies two characteristics often associated with masterpieces: timelessness and universality.”
He was the winner of the Grand Prize for Sculpture at the 33rd Venice Biennale in 1966 and was elected a life member of the Académie des Beaux-arts in 1970. He took part in Documenta V in 1972 and has been celebrated by the most prestigious institutions ever since. Centre Pompidou gave him a major exhibition in 2010 and the Musée des Beaux-Arts de Lyon in 2012.
Robert COUTURIER
罗伯特·库蒂里耶 (1905-2008)
Robert COUTURIER | 罗伯特·库蒂里耶
Grand galloping horse | 飞奔的骏马Bronze, signed ‘Couturier' and inscribed 'E. Godard' (on the base) Ed. 3/8 ; 29.2 x 22 x 11.4 cm作为战后法国雕塑界最具影响力的艺术家之一，罗伯特·库蒂里耶的抽象表达基于对形态的诗意捕捉和转变，实现材料在满与空之间的博弈。他偏爱极简主义的表现手法。在其创作生涯的中后期，库蒂里耶开创了以暗示为主导的瓣状（lamelliform）雕塑，以纤薄的曲面打破雕塑的体量，用近乎剪影的轮廓描绘人体形态。他的作品被蓬皮杜艺术中心、巴黎现代艺术博物馆和东京当代雕塑中心等主要机构收藏。One of the most influential figures in post-war French sculpture, Robert Couturier’s abstract expression draws on the poetic exploration and transformation of form, engaging a dynamic play between fullness and emptiness. Embracing a minimalist approach, Couturier later pioneered lamelliform sculptures, which evoke form through thin, curved surfaces that suggest rather than define volume, rendering the human figure in near-silhouette. His work is held in prominent institutions, including the Centre Pompidou, the Musée d’Art Moderne de Paris, and the Museum of Contemporary Sculpture in Tokyo.Abed AL KADIRI
阿贝德·阿尔-卡迪里 (b.1984)
Abed Al Kadiri | 阿贝德·阿尔-卡迪里 (b.1984)Oil and charcoal on canvas黎巴嫩艺术家阿贝德·阿尔-卡迪里的作品带有强烈的自传性质，这些作品源于对暴力的诠释，以及对被压抑的个人和集体创伤经历的调查，探索脆弱的情感与毁灭，以及自然、孤立和失落之间的关联。如同树的年轮般层层环绕，阿尔-卡迪里的作品所展开的故事将树作为社会持续崩溃的见证者和叙述者。
Highly autobiographical, the works of Lebanese artist Abed Al Kadiri stem from a need to translate violence and investigate repressed personal and collective traumatic experiences, explore feelings of fragility and destruction and the relationship between nature, isolation, and loss. As the growth rings at a tree’s core, Al Kadiri’s work unreels stories that position the tree as a witness and narrator of a society in perpetual collapse.
Vincent CAZENEUVE
文森·漆 (b.1977)
Vincent CAZENEUVE | 文森·漆
Untitled | 无题
2024
Chinese lacquer, old rice bag, Chinese fresco pigments
大漆，旧米袋，中国壁画颜料
104 x 68 cm
Vincent CAZENEUVE | 文森·漆
Untitled | 无题
2024
Chinese lacquer, old rice bag, cinnabar red, bronze powder, gold powder, mother of pearl
大漆，旧米袋，朱砂红、铜粉、金粉、贝母
40 x 23 cm
Vincent CAZENEUVE | 文森·漆
Untitled | 无题
2024
Chinese lacquer, old rice bag, Chinese fresco pigments
大漆，旧米袋，中国壁画颜料
60 x 43 cm
文森·漆 Vincent Cazeneuve是一名以大漆为主要创作媒介的法国当代艺术家。他将漆文化和与漆相关的传统手工艺作为研究核心，挑战并重新定义传统和创新的概念。他用看似简约实则繁复的艺术语言对东西方文化兼容并蓄，同时不断实验不同材料、艺术形式和传统手工艺与大漆结合的可能性，最终以具有丰富质感和层次的作品记录时光的流转和生命的印记。
Vincent Cazeneuve is a French artist whose primary medium is lacquer. His practice embodies a philosophy of continuous evolution, rooted in his ongoing research into lacquer culture, challenging and redefining concepts of tradition and innovation. Employing a deceptively simple yet intricate language, Vincent Cazeneuve embraces both Eastern and Western cultures, continually experimenting with the fusion of diverse materials, art forms, and traditional craftsmanship within lacquer. His richly textured and layered works serve as records of time’s passage and life’s enduring imprints.Liane CHU | 朱丽晴
That star isn’t far away; you’ll catch it when you’ve grown朱丽晴的作品不仅是反映她与抽动症经历的个人叙事，同时也是挑战社会对“正常”和“异常”界限的图景。每一笔都成为一种宣泄，体现了她对自我疗愈和自我表达的信念。在她的超现实主义风景中，朱丽晴探讨了人类对养分的依赖如同树木。同时，她强调了媒体在都市生活中的普遍影响，探索了我们与电子科技的互动如何潜移默化地塑造着我们的存在。
Liane CHU's work is not only a personal narrative reflecting her experience with Tourette's syndrome but also a canvas challenging society's boundaries of "normal" and "abnormal." Each stroke serves as a cathartic release, embodying her belief in self-healing and self-expression. In her surrealist landscapes, Chu also explores how humans, akin to trees, are deeply influenced by their consumption. She emphasizes the pervasive influence of media in urban life, illustrating how our interactions with technology subtly shape our existence.Julien DES MONSTIERS
Julien DES MONSTIERS | 朱利安·德·蒙斯蒂耶
朱利安·德·蒙斯蒂耶的作品体现了一种整体性的方法，融合了多样的风格、狩猎场景的历史图案、花卉图案、挂毯 和宏大的叙事，没有等级之分。他的创作材料从画布到木材，通过不断演变的转印印记和手势来 调整每件作品的形式，使用传统的画笔和非传统的工具。他将画布视为基础，构建了一个个人的艺术领域，其中每种影响和创意都具有其独特的意义。
Julien des Monstiers's work embodies a holistic approach, blending diverse styles, historic motifs of hunting scenes, floral patterns, tapestries, and grand narratives without hierarchy. With surfaces ranging from canvas to wood, he adapts each piece’s form through an evolving process of transfer imprints and gestures, employing both traditional brushes and unconventional tools. Viewing the canvas as a foundation, he constructs a personal artistic territory where every influence and invention holds purpose.雨果·德维切尔 (b.1988)
Hugo DEVERCHÈRE | 雨果·德维切尔Marble Recording (CAS-A - NIR)
30.5 x 21 cm, Edition of 3
Hugo DEVERCHÈRE | 雨果·德维切尔
Marble Recording (NGC 346 - NIR)
Hugo DEVERCHÈRE | 雨果·德维切尔
Marble Recording (NGC 1566 - NIR)30.5 x 21 cm, Edition of 3
Hugo DEVERCHÈRE | 雨果·德维切尔
Marble Recording (NGC 1566 - Wide Field)理石记录（NGC 1566 星系 - 宽场显微镜）30.5 x 21 cm, Edition of 3
Hugo DEVERCHÈRE | 雨果·德维切尔
Marble Recording (M81 - IRA) | 理石记录（M81 星系群）21 x 30.5 cm, Edition of 3
雨果·德维切尔致力于探讨科学、技术以及它们的新型表现形式如何重塑我们的视野、知识、观念，乃至对周围环境的感知。我们今天用以捕捉超新星爆炸遗迹的望远镜传感器，正是由数十亿年前超新星爆炸所产生的硅制造的。在这个新系列中，雨果·德维切尔关注于物质转化与数字传播这一并行过程中的运作方式。这里所凸显的问题是物质与无形之间的关系，以及超越我们地球存在的知识、记忆与想象的保存问题。《理石记录》在大理石和花岗岩表面上揭示了詹姆斯·韦伯望远镜捕捉的天文图像。这些数字照片展示了我们当前对宇宙理解的知识视野。它们被刻在通过挖掘带到地表的石头上，这些石头的地质图案是在难以计量的时间和空间维度上形成的：宇宙原始物质的聚集、沉积、结晶和分解现象绘制了地球诞生和混沌演变的图案。在此，这些图案与我们对宇宙的现代视野融合在一起。这些作品如同未来考古的遗物，聚焦了近与远、地质与宇宙、人类与超越人类的事物之间的联系。
Hugo Deverchère explores how science, technology, and their new modes of representation shape our eyes, knowledge, consciousness, and perception of our close and distant environment.
The silicon from supernova explosions billions of years ago now forms the sensors of telescopes capturing their remnants. In this new series, the artist examines material transformation and digital propagation, focusing on the relationship between the tangible and intangible, and on preserving knowledge, memory, and imagination beyond our earthly existence.
Marble Recordings display astronomical images from the James Webb Telescope etched onto marble and granite. These digital images mark the boundaries of our current understanding of the universe, while the stones themselves, through patterns created by ancient processes like sedimentation and crystallization, reflect the earth’s formation and chaotic evolution.
Blending geological time with contemporary cosmic visions, these works evoke a future archaeology, bridging the near with the far, the geological with the cosmic, the human with the beyond.
Tess DUMON
苔丝·杜蒙 (b.1990)
Tess DUMON | 苔丝·杜蒙
One of these mornings (espresso)
苔丝·杜蒙的创作结合了其经历和广泛的阅读体验，通过富有神话色彩的场景构筑个人的梦想世界，捕捉难以言喻的思想和情感。她试图将观众置于作品的核心，将观看本身变成一场表演。其作品形式包括雕塑、以色彩为主的布面绘画，和以线条为主的纸本绘画，三者在形式表达和主题探索上高度呼应，相辅相成。Tess Dumon’s creation combines her own story and extensive reading experience to build her dreamscape through a mythical approach while capturing ineffable thoughts and emotions. She seeks to place the viewer at the centre of the work, turning the viewing itself into a performance. Her work takes the form of sculpture, painting, and drawing, which respond to each other in their formal expression and thematic exploration. Charles HASCOËT
查尔斯·哈斯科埃特 (b.1985)
Charles HASCOËT | 查尔斯·哈斯科埃特
Comfort of Strangers | 陌生人的慰藉
Charles HASCOËT | 查尔斯·哈斯科埃特
Back to the Kame House | 回到龟屋
查尔斯·哈斯科埃特擅长用直觉式的绘画分享其生活日常，思想和情感。艺术家将自己的个人经历化为充满趣味的谜题，使观众置身于真实与想象不断碰撞的思维状态之中。
《陌生人的慰藉》的灵感来自保罗-施拉德（Paul Schrader）的同名电影，影片以威尼斯为背景，在迷蒙、神秘的氛围中展开，令人着迷。在这件作品中，艺术家将自己描绘成克里斯托弗-沃肯（Christopher Walken）在影片中饰演的角色首次出现的场景。空无一人的城市夜晚，弥漫着潮湿、略带不安的气氛，仿佛步入梦境。
在《回归龟屋》中，艺术家挖掘了自己所珍视的童年记忆——日本动漫《龙珠》，其中标志性的龟屋既是一个避难所，也是主人公的转变之地。通过重新审视这一象征，艺术家回访了坐落在无尽海洋中的龟屋，让自己漂浮于现实与幻想之间。
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Charles Hascoët shares his daily life, thoughts, and emotions through his intuitive paintings. The artist weaves his personal experiences into intriguing puzzles that guide the viewers on a journey between the tangible and the imaginary.
In The Comfort of Strangers, the artist drew inspiration from the eponymous film by Paul Schrader. Set in Venice, the film unfolds in a misty, mysterious atmosphere that captivates the artist. In this work, the artist portrays himself as the character played by Christopher Walken in the film’s initial encounter. The scene is set at night in an empty city, filled with a damp, slightly unsettling mood, like stepping into a dream.
In Back to the Kame House, the artist taps into a cherished childhood memory inspired by the Dragon Ball, where the iconic Kame House embodies both a sanctuary and a place of transformation. By revisiting this symbol, the artist revisited the Kame House, nestled alone amidst an endless sea, while floating between reality and fantasy.
Yanis KHANNOUSSI
雅尼·卡努西 (b.1996)
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Yanis KHANNOUSSI | 雅尼·卡努西
Moonrock | 月岩
2024
Paint and varnish on resin
树脂，油漆，清漆
110 x 50 x 50 cm
雅尼·卡努西对工业图像的技术和材料有着浓厚的兴趣，逐渐发展出在模制树脂上以手势和色彩为主导的绘画技巧，把自己从画布上的二维图像创作中释放出来。随后，艺术家将气枪融入到他的实践中，使最终创作接近工业制造的精工标准，将艺术家的“笔触”和其他自身的”印记”彻底消解。同时，通过强调对形式和色彩的沉浸体验，艺术家试图为难以物化的抽象概念创造类比，如地平线、光的折射等。
Having an asserted interest in the techniques and materials used in industrial iconography, Yanis Khannoussi gradually developed his painting techniques predominated by gestures and colours on moulded resin, liberating himself from the two-dimensional pictorial creations on canvas. Later the artist integrated the pneumatic gun into his practice, which imitates the finishing criteria of the bodywork of industry and de-materializes the gestures and any other “imprint” of the artist. Through accentuating the contemplative experience of form and colour, the artist attempts to create analogies for abstract concepts hard to materialize, such as the horizon, the refraction of light, etc.Matisse MESNIL
马蒂斯·梅斯尼尔 (b.1989)
Matisse MESNIL | 马蒂斯·梅斯尼尔
The Two Agaves | 两株龙舌兰
2023
Arc welding
电弧焊
170 x 100 cm
Matisse MESNIL | 马蒂斯·梅斯尼尔
Mazzolin series | 马佐林系列
2024
Arc welding
电弧焊
30 x 20 cm
Matisse MESNIL | 马蒂斯·梅斯尼尔
Mazzolin series | 马佐林系列
2024
Arc welding
电弧焊
30 x 20 cm
Matisse MESNIL | 马蒂斯·梅斯尼尔
Mazzolin series | 马佐林系列
2024
Arc welding
电弧焊
30 x 20 cm
马蒂斯·梅斯尼尔的创作理念与阿尔伯蒂(Leon Battista Alberti)提出的“绘画是通过窗口看 世界”的观点背道而驰，将关注点转移到框架本身，视其为艺术作品的重要组成部分，而不仅是最后的点缀。这一视角呼应了雅克·德里达 (Jacques Derrida)提出的 “使外部元素成 为作品本身 (parergon)”的观点。通过焊接和打磨等工业技术，梅斯尼尔重新诠释了风景画和静物画等传统题材，将粗犷的材料与柔和的主题相结合，在工业美学与静谧艺术间架起一座桥梁，同时反思艺术界在“高雅艺术”与“工业” 或“手工劳动”之间的划分。Matisse Mesnil’s approach runs counter to Alberti’s idea of painting as a “window on the world.” Instead, he shifts focus to the frame itself, exploring it as an essential element rather than a finishing touch. This perspective echoes Jacques Derrida’s idea of making the “parergon” — what lies outside the work — an integral part of the piece. Utilizing industrial techniques such as welding and grinding, Mesnil reimagines traditional genres like landscape and still life, merging rugged materials with delicate subjects, and bridging the aesthetics of industry with contemplative art, while reflecting on the art world’s divisions between “high art” and “industrial” or “manual labor”.俞杨 (b.1989)
Garden Oath| 花园誓言
110 x110 cm
NISKY 俞杨的绘画作品源于其对美术、音乐、文学与电影的多元理解。“超拼贴”是Nisky近年来从创作体验中提炼出的一个新概念。如果说原本的拼贴是停留在“材料”的物理变化上，那Nisky的超拼贴更像是一种化学反应，将所有原材料都打散再加以整合、重组，在画面中实现统一。可以说，“超拼贴”既是艺术家的构思过程，也是其创作手段。“超拼贴”技巧的背后是这位年轻艺术家令人惊讶的文化底蕴。他有着近乎贪婪的好奇心，促使他大量而庞杂的自学，这让Nisky的探索与研究更多是基于感受与体悟，跳脱了传统研究的分类与框架，由此获得一种全新的、更为开放的生命力。无论尺幅大小，俞杨的作品都包含了惊人的叙事量，邀请我们细探究竟。画面的每个细节——建筑的浮雕，人物的衣袖，暗夜的星空——都藏着新的惊喜。如同随手翻阅一本书，发现这原来只是一部史诗的序篇，每个章节都将引出新的人物和情节。
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NISKY's art reflects a rich, cross-disciplinary curiosity spanning fine arts, music, literature, and cinema. His concept of "Metacollage" transcends traditional collage by breaking down raw materials and reassembling them into unified, harmonious compositions—a process more akin to a chemical reaction. This technique embodies both his conceptual approach and creative process.
Behind the Metacollage lies Nisky's impressive intellectual breadth. Driven by insatiable curiosity, he has pursued diverse self-study that shapes his explorations through intuitive perception rather than academic conventions. His research fosters a multidisciplinary approach, creating a fresh and open vitality that transcends traditional frameworks.
His works hold extraordinary narrative depth, inviting prolonged observation. Each detail—whether the relief of a building, a sleeve’s fold, or stars across a night sky—unveils hidden surprises. Viewing them feels like turning the prologue of an epic, where new characters and plots emerge, drawing us into a complex story.
Ugo SCHILDGE
Ugo SCHILDGE | 雨果·席德
The Evil of Flowers | 恶之花
2020
Plaster, concrete, pigment, varnish and wood
石膏，混凝土，色粉，木材，清漆
200 x 140 x 10 cm
Under the Lemon Tree | 柠檬树下
2024
Plaster, concrete, pigment and wood
石膏，混凝土，色粉，木材
172 x 122 cm
雨果·席德独特的创作手法以天然色粉、木材、石膏和混凝土等为主要材料，模糊了绘画和雕塑、画布和媒介、控制和自由之前的界限，同时赋予了作品无与伦比的质感和流动性。这是席德与城市公民的身份达成和解的一种方式。通过他独特的表现手法，席德赋予了这些谋求城市发展的“帮凶”缤纷色彩和万千形态，成为了其讯息的传递者和见证者。Using natural pastels, wood, plaster, and concrete as his primary materials, Ugo Schildge's unique approach blurs the boundaries between painting and sculpture, canvas and medium, control and freedom, while giving the works an unparalleled texture and fluidity. This is the artist's attempt to reconcile with his role as an urban citizen. Through his unique approach, Schildge gives these "accomplices" of urban development a colourful and diverse form, becoming the conveyors and witnesses of his message.
Pablo TOMEK
帕布洛·托梅克 (b.1988)
Pablo TOMEK | 帕布洛·托梅克
Acrylic on canvas, polyurethane boardPablo TOMEK | 帕布洛·托梅克
Acrylic on canvas, polyurethane board
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Pablo TOMEK | 帕布洛·托梅克
Sponge - Frame 2 | 海绵 - 框架 2
Acrylic on canvas, polyurethane board
帕布洛·托梅克以涂鸦创作开启艺术生涯，并与他的团体PAL一起进行实验性的非法实践。在工作室中，托梅克进一步拓展了他的创作实践，开始探讨涂鸦文化与抽象表现主义绘画之间的联系。远离街头的风险，帕布洛·托梅克在他的工作室里重新演绎了这种创造性破坏的机制。托梅克还挪用了手工劳动的技术和美学，这些元素被他重新解构，创造出一种新的、往往是不完整的视觉语言，在制度化和城市更新背景下，游走于绘画和城市改造之间。Pablo Tomek began his artistic journey in the world of graffiti, which he explored experimentally and illegally with his collective, PAL. In his studio practice, the artist has taken his practice further, examining the connections between the heritage of graffiti and abstract expressionist painting. Tomek also misappropriates the techniques and aesthetics of manual work. These elements come together to form a new, often incomplete, visual language that navigates the margins between painting and urban renovation, set against a backdrop of institutionalization and gentrification.WENG Jijun
翁纪军 (b.1955)
WENG Jijun | 翁纪军
Constellation 2024-1 | 集聚 2024-1Chinese lacquer, ramie fabric, wood
WENG Jijun | 翁纪军
Tracing 2024-2 | 循迹 2024-2Chinese lacquer, ramie fabric, gold leavesTracing 2024-6 | 循迹 2024-6
2024
Chinese lacquer, ramie fabric
大漆，苎麻
30 x 18 cm
Tracing 2024-3 | 循迹 2024-3
2024
Chinese lacquer, ramie fabric, gold leaves
大漆，苎麻，金箔
23.5 x 22.5 cm
Tracing 2024-4 | 循迹 2024-4
2024
Chinese lacquer, ramie fabric
大漆，苎麻
21.5 x 15 cm
翁纪军以大漆为媒介，从大漆自身特性和传统漆艺中汲取灵感，以见微知著的方式将不同维度的世界相互连结。近年来，翁纪军开始更多地关注人对未知世界探索的渴求，用作品折射出科学棱镜之外宏观与微观世界之间的联系。对漆艺的精通则让他能够将所谓的传统“图案”、“纹样”转化为对生命起源的探寻和宇宙形态的描绘。
Drawing inspiration from lacquer, its characteristics, and its tradition, WENG Jijun provides an alternative for us to re-examine our connection with the world in a way that bridges its different dimensions. In recent years, Weng Jijun has begun to focus more on the human desire to explore the unknown, using his works to reflect the connections between the macro and micro worlds beyond the prism of science. His mastery of lacquer art has enabled him to transform the traditional 'patterns' and 'motifs' into a search for the origins of life and a depiction of cosmic forms.
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