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Hong Kong Convention and Exhibition Centre
东画廊欣然宣布将参展于3月26日（周二）至3月30日（周六）举办的2024年巴塞尔艺术展香港展会，展位位于主画廊单元 Booth 1B41。画廊将带来十位艺术家近年来的最新创作与实践，呈现跨越绘画、雕塑、装置等不同媒材的多样化作品。Don Gallery is happy to announce that it will be participating again in Art Basel Hong Kong 2024, which takes place from Tuesday, March 26 to Saturday, March 30. The gallery will be located in the Main Gallery section, Booth 1B41 and will be presenting the latest creations and practices of ten artists in recent years, showcasing a wide spectrum of media-related works including painting, sculpture, and installation.Folding the Distant-1 对遥远的折叠 - 1, ZHANG Ruyi 张如怡, 2022. Wood board, aluminum alloy, UV print, silkscreen print, colored acetate paper, card stock, colored cellophane,sandpaper, copper wire, copper plate, nylon mesh, drafting paper, teak frame, Tru Vue Museum Acrylic 木板、铝合金、UV 打印、丝网印刷、有色硫酸纸、卡纸、彩色玻璃纸、砂纸、铜丝、铜片、尼龙网、计算纸、柚木框、美国 Tru Vue 博物馆级亚克, 128 × 186 × 6 cm（framed 含框）作为“装饰物”系列的延续，张如怡最新的平面作品所运用的材料愈加丰富，跨越了工业制品与日常产物，不断拓展着其对后现代社会空间中物质文化的探讨。“装饰”一词本身暗示对物质功能性的抽离，而在作品中，都市生活的种种物件也与原本的使用语境松绑，经过排布、叠加、挤压，被概念化为多重的图层，制成城市的印象标本。印有成倍放大的仙人掌图像的工业计算纸，以重复的折痕构成网格脉络的锡纸，用紫铜电线手工编制的菱形织网，盛装物品的网袋和它被拓印在砂纸上的白色影子——当观众漫溯在看似抽象的图层之间，会默契地认出它们来自日常生活的何处。这是城市居住者间心照不宣的视觉暗语。For the newest two-dimensional artwork in her “Decoration” series, ZHANG Ruyi employs an even wider range of materials than in previous works. By using industrial products and everyday objects, she expands her investigation into the material culture of postmodern social space. The word “decoration” implies a detachment from functionality. In the work, various items drawn from urban life are removed from the contexts of their use, and through the layered arrangement, are conceptualized as a stratified specimen of the city. Industrial drafting paper, printed with an image of an enlarged cactus; aluminium foil folded to create a grid; a diamond-shaped web made of hand-woven red copper wire; a knit bag and its white abrasions on sandpaper—as the audience surveys these abstract layers, they will recognize their origins in everyday life, a tacit visual code of urbanity.文本来自张如怡2022-2023北京UCCA尤伦斯当代艺术中心个展“张如怡：低声细语”Text from ZHANG Ruyi's solo exhibition "Zhang Ruyi: Speaking Softly" at UCCA Beijing, 2022-2023左右滑动查看更多
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Time-Baidu | Google时代–百度｜谷歌, LIU Ren 刘任, 2024. Oil on straw paper, gold foil油彩在草纸上、金箔, 54 × 41 × 13 cm
刘任往往从身边的日常材料中寻找创作灵感，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、生命的消耗以及人类存在的状态，将各种碎片化的信息、平凡的事件、行为和表演转化为艺术的表达。通过持续的手工劳作，他试图对人类所处的境况进行全面的叙述。蛋壳是刘创作中的一个原始母题，他曾在蛋壳内壁抄写英语单词，这一行为本身就能消解单词的意义。在他的《时代》系列作品中，他选择将卫生间粗纹厕纸叠加托裱成一本无法打开的雕塑之书。在这些纸张表面快速消耗和廉价内核之上，他镀上象征永恒与闪耀的金箔，并仅留下一页封面。在信息快速流动的时代，内容渐被边缘化，甚至空洞化，而封面本身却成为人们关注的焦点。百度、谷歌、英特尔等科技公司对刘目前生活产生着重要影响，但在他的视野中，它们只是简洁符号的浓缩。刘选择在蛋壳中绘制这些公司的符号文字，以此回应他对人类基本态度的理解——既脆弱又顽强。LIU Ren 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. Eggshell is one of the original motifs in LIU Ren’s practice. Writing English words and vocabulary inside the eggshell is derived from his creative endeavours early in his career. In these works appropriating the narrative of the Time magazine cover, LIU Ren selects a series of tech companies that he finds dominating the future development of human beings. Through the repetition of their names, he tries to illustrate how vulnerable the consumerisation of technology is.
The Deluge 68005300 大洪水68005300, WANG Ningde 王宁德, 2024. Photographic paper, modulated printing inks applied by artist 相纸、艺术家调配打印墨水堆积, 68 × 53 cm. Unique 唯一版本《大洪水》系列作品是王宁德近期仍在进行的一个项目，他在位于中国东北部的家乡采集了一座山上的植物和种子，用自己创造的成像方法以 1:1 的比例描绘了这座山的植被。艺术家在制作全新的影像视觉的同时，也让摄影史上“物影成像”这门古老的技艺呈现出新的可能性。在绝大多数的摄影方法中，光都是最重要的元素，也是王宁德以往创作中的重要主题。然而艺术家的新方法却舍弃这一关键元素，并用水取而代之，从而动摇了摄影的“始基”。他从原本是“干燥”的数字摄影系统中抽取出打印相纸和墨水这两种材料，让它与古老的“湿版摄影术”交互对话。水在相纸上长时间流动、干燥，过程中携带调配的墨水将植物和种子的轮廓缓慢刻录下来，这些介于正、负像之间的印痕，不禁让人联想到洪水漫过大地后留下的痕迹。
The Deluge series is a recently embarked project by WANG Ningde, who collected plants and seeds from a mountain in his hometown in northeastern China and used his own imaging method to depict the mountain's vegetation on a 1:1 scale. While creating a new vision of the image, the artist also brings new possibilities to the ancient technique of "Photogram" in the history of photography. Light is the most crucial component of most photographic techniques and has been a major focus in WANG's earlier works as well. But the artist's innovative method does away with this key component and substitutes water for it, upending the "fundament" of photography. He takes off the photo paper and ink from the "dry" digital photography method and combines them with the antiquated "wet plate photography" to create a dialogue. These marks between positive and negative images are reminiscent of the traces left behind by the floods that spread over the earth. The water runs and dries on the paper for a long time, and the ink carried in the process slowly records the outlines of plants and seeds.![]()
(Left 左) Dance of Trees #10 树舞 #10, LU Song 吕松, 2023. Acrylic on canvas布面丙烯, 200 × 150 cm
(Right 右) Dance of Trees #11 树舞 #11, LU Song 吕松, 2023. Acrylic on canvas布面丙烯, 200 × 150 cm吕松最新的《树舞》和《栗色怀抱》系列作品正在画廊举办的“吕松：一阵温煦的和风吹来”展览中同期展出。这些作品呈现了自然界生命的力量和美丽，以及它们在人类眼中所具有的坚韧和超越性。人类与自然的互动，不仅仅是为了满足生存的需求，更是为了实现某种精神层面的超越。这种超越可能表现为对自然力量的敬畏和尊重，也可能是对生命意义的深入探索和理解。吕松以其绘画描绘自然景观，尽管作品中没有人物形象，但他的视角却暗示了人类在自然景观中的内省和感悟。他的审美体验超越了单纯的生存需要，成为个人精神生活的重要组成部分，而生存与超越的主题往往与灵性探索密不可分。LU Song’s latest series of works, “Dance of Trees” and “Maroon Hugger”, are being shown simultaneously with the gallery’s exhibition "LU Song: A Warm Breath Set the Leaves Stirring" at the gallery. The works capture the strength and beauty of life as it exists in the natural world, as well as how resilient and transcendent it is in the eyes of humans. Humans need to engage with nature not just to survive, but also to reach a higher state of consciousness. This transcendence could be the discovery and comprehension of life's purpose or the awe and respect for the force of nature. LU Song paints nature, and while he does not include any human figures in his works, his viewpoint conceals how a man would think and see the natural world. The ideas of transcendence and survival are frequently intricately interwoven into spiritual inquiry, and his aesthetic experience transcends the necessity for survival and becomes a significant aspect of one's spiritual life.左右滑动查看更多
Swipe left or right for moreFlatland 平面国, WU Houting 吴厚挺, 2024. Aluminum 铝, 60 × 12.2 × 90(H) cm. Unique 唯一版本 吴厚挺的最新雕塑作品延续了他对“间隙”的深入研究与考察，作品题目则来源于小说《平面国》。该小说讲述了二维世界的主人公正方形与来自三维世界的球体相遇，并一同展开了一段关于空间之旅的故事。通过了解这部小说的内容，艺术家发现自己对该作品所表达的思想产生了极大的共鸣。吴厚挺的每一次的创作过程都不止于追求预设的结果，而是通过作品中出现的不同面貌，引领着他进行更深层次的思考和探索。
作品中的两个铝制平面内容被压缩在狭窄的空间中，不断受到挤压。然而，被压缩的内部却成为另一种物体的被限制和被想象的空间。于是在限制性与想象力之间，在巨大的银白色金属平面与紧密压实的隐匿空间之间，产生了一种张力与压迫感。在创作手法上，艺术家采用工业数控技术，将每个构件精准地在车床上塑造。结合人工打磨，使作品产生出与众不同的触感和感受。
WU Houting's latest sculpture continues his in-depth research and investigation of the "interstices", and is titled after the novel "Flatland". The novel tells the story of a two-dimensional protagonist, a square, who meets a sphere from a three-dimensional world and embarks on a journey through space. The artist discovered that he really resonated with the thoughts conveyed in the piece after learning about the plot of the novel. Through the various faces that emerge in the work, the artist is guided to deeper thinking and investigation rather than just pursuing a preset outcome in every creative process.The two aluminium planes of the piece are continuously pushed and squashed into a narrow area. But the condensed interior turns into a confined, envisioned area for something else. A sense of tension and oppression is therefore established between limitation and creativity, between the massive silver-white metal plane and the closely packed secret space. Regarding the process of creation, the artist precisely shapes each component on the lathe using industrial CNC technology. When coupled with hand buffing, the process yields a unique texture and feel.
On the Brink of Paradise 3 濒临乐土 3, CHANG Ling 常陵, 2023. Oil on canvas 布面油画, 189.7 × 227 cm常陵最新所呈现的作品，题名为《濒临乐土》，以探索靠近幸福生活之路为主题。这一系列作品一方面生动勾勒了当代精英阶层所体验的实质幸福，另一方面则描绘了年轻一代内心憧憬的虚幻幸福生活。画面中神山上错落有致的屋脊，色彩上呈现出类似于19世纪中国清朝珐琅器的精致色彩。“濒临乐土”一词意味着幻想与现实之间的模糊边界。常陵笔下的创作无论是在单一场景或透视构图中，皆深刻贯穿于这种暧昧氛围之中。作品《濒临乐土》融合了艺术家在巴黎与台湾的生活学习经历中所体悟到的视角、笔触以及生活细节中的审美意识，以精心打磨的、具有深度的、富含情感的艺术表现，将真实与虚构的幸福生活巧妙融合在一起。在这种幻想与真实交织的梦境中，财富分配所规划的不同阶层依然围绕着追求幸福生活与和平共处而展开。
CHANG Ling's latest work, entitled "On the Brink of Paradise", is based on the theme of exploring the path towards happiness. The series artwork portrays both the false happy existence that the younger generation secretly yearns for and the substantial happiness that the modern elite experiences in striking detail. The painting’s holy mountain's uneven ridges are coloured with soft hues reminiscent of Qing Dynasty enamels from the 19th century in China. "On the Brink of Paradise" suggests that reality and imagination are blending together. It not only skillfully blends real and fictional happy lives with a well-polished, in-depth, and emotionally rich artistic expression, but also does this by combining the artist's perspectives, brushstrokes, and aesthetic awareness of the details of life that CHANG Ling has learned from his living and studying experiences in Paris and Taiwan. The quest for a happy life and peaceful cohabitation is central to the plans of the many classes determined by the distribution of wealth in this dream world where fiction and reality are blended together.
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Self Portrait (with Two Bicycles) 自画像(与两辆自行车), ZHANG Yunyao 张云垚, 2024. Graphite pencil on felt mounted on wooden panel 石墨铅笔毛毡裱于木板, 45 × 43 cm
长期以来，张云垚借以毛毡作为支撑，探究“drawing”的扩展部分，由跨肉身性的叙事表达对建立起情绪的不定意义的欲望。艺术家制造的可见痕迹充当了非建构的形式，连贯地牵扯出其用来塑造斗争自我的完整创作语言。其最新的两件毛毡绘画《自画像(与两辆自行车)》和《空间习作》，分别基于两幅Cy Twombly在罗马的公寓工作室的摄影作品以及艺术家2018年在慕尼黑Brandhorst美术馆拍摄的他的大型绘画《Untitled (Roses)》时的照片。在进行二次拍摄的过程中，装裱着Cy Twombly素描手稿的镜框玻璃反射出作为观看者的艺术家本人的模糊形象和所处的周遭环境，于是他开始着手在毛毡上对这一新的邂逅图像进行手工绘制。艺术家积极地设置毛毡与所选对象之间的关系，希望能够借助Cy Twombly的那些富于诗意和创新的艺术表达通过照相写实的描绘将诗性、摄影及素描捏合在一起。
For a long time, ZHANG Yunyao has explored the extension of "drawing," a trans-corporeal story that communicates a desire to expand on the ambiguous meanings of emotions, using felt as support. The artist's outward manifestations serve as non-constructive shapes that logically implicate the whole creative language that shaped his troubled identity. His two latest felt paintings, Self-Portrait (with Two Bicycles) and Space Study are based on two photographs of Cy Twombly's apartment studio in Rome and his large-scale painting Untitled (Roses) ZHANG Yunyao taken at the Brandhorst Museum of Art in Munich in 2018. In the process of making the secondary photographs, the fuzzy image of the artist as a spectator and his surroundings was reflected in the framed glass in which Twombly's works were displayed. In an effort to combine photography and drawing through lifelike portrayals, the artist deliberately establishes a relationship between the felt and the selected item, presumably deriving inspiration from Cy Twombly's poetic and inventive artistic expression.
In The Garden #3 在园中#3, ZHANG Peiyun 章佩芸, 2020-2021. Mixed Media 综合媒材. Dimension Variable 装置尺寸可变章佩芸的绘画擅长运用极简的线条与轮廓，却并非简单地操练这种当代艺术的语言规范，而是旨在探索如何在当代的形式感之下蕴藏古典时代的秩序感。她的《在园中》系列平面作品，近观之下依稀可辨被掩藏 在平涂、拖拽、具有覆盖力、或半透明的白色笔触之下由她所描绘的植物外形及指挥家手的色彩与轮廓，穿插于平面作品中的雕塑由白色水泥形塑而成，雕塑中的“白”在光线下被起伏、龟裂、粗糙与光滑的表面赋予了丰富且细腻的色彩变化，彼此间相似又相异的特征凸显了作品中多与一的关系——形式、材料及肌理的丰富性与作品整体光韵、气息间的融合。ZHANG Peiyun specializes in using minimalist lines and contours in her paintings, but her goal is not just to test the boundaries of contemporary art language, but also to investigate how a classical sense of order can be embedded underneath a contemporary sense of form. Under close look, the colours and contours of the plant forms and the conductor's hands depicted by ZHANG Peiyun can be faintly discerned under the flat, dragged, covered, or translucent white brushstrokes. The "white" in the sculptures is richly and delicately coloured by the shapes, cracks, roughness, and smoothness of the surfaces under the light, and the similarities and differences between them highlight the relationship between "the many and the one" in the works - the richness of form, material, and texture and the overall Aura and rhythm of the works. The artist's works resemble plants in the garden, perched on a wooden stand with unique form and quality. The delicate, firm, and pure white texture of the works, given by the characteristics of the material, is accompanied by a large amount of "white" in the overall space, and the symbolic way of imagination transforms the real and natural forms.Sleeper 沉睡者, CAO Zaifei 曹再飞, 2019. Oil on canvas 布面油画, 75 × 60 cm
曹再飞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 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.![]()
Untitled 无题, LI Shan 李珊, 1970s. Oil on cardboard 纸板油画, 16.7 × 26.2 cm
李珊借着自学研究成为中国早期的前卫女艺术家，在中国当代艺术史中占据着独特的位置。本次博览会上将再度呈现她经典的小尺幅风景写生绘画，作品年代跨越半个多世纪，连缀起李珊自1970年代起作为前卫艺术团体“无名画会”的主要成员时期的创作，以及重返画坛后近年来于边疆和海外游走与冒险的旅程记录。Through her self-taught studies, LI Shan became an early female avant-garde artist in China, occupying a unique position in the history of Chinese contemporary art. The gallery presents a selection of her classic small-scale flower and landscape sketches spanning more than half a century in the fair, linking her work as a key member of the avant-garde No Name Group from the 1970s onwards with her return to the art world in recent years, when she has been travelling and venturing to and from the borders and overseas.
