![]()
Halls 5 & 6, Place de la Belgique 1, 1020 Brussels东画廊欣然宣布将参展于2024年4月25日（周三）至4月28日（周日）举办的第40届布鲁塞尔艺博会（Art Brussels）。画廊展位位于主画廊单元 Booth 5B-07，将呈现艺术家常陵、Kumi Usui 九九、刘任和张云垚的部分选作。布鲁塞尔艺术博览会（Art Brussels）创办于 1968 年，是欧洲最著名的当代艺术博览会之一。今年，博览会将迁回布鲁塞尔世博会会址，在为 1935 年布鲁塞尔国际博览会而建的标志性建筑 5 号和 6 号展厅举办。
Don Gallery is pleased to announce that it will be participating again in Art Brussels 2024, which takes place from Wednesday, April 25 to Sunday, April 28. The gallery will be located in the Main Gallery section, Booth 5B-07 and will be presenting the latest creations and practices from CHANG Ling, Kumi Usui, LIU Ren and ZHANG Yunyao. Founded in 1968, Art Brussels is one of the most renowned contemporary art fairs in Europe and a must-see in the international art calendar. This year, the fair is moving back to the Brussels Expo site where the fair will be held in Halls 5 and 6, Art Deco icon built for the 1935 Brussels International Exposition.
![]()
Self Portrait (with Celtic Boat) 自画像(与凯尔特舟), ZHANG Yunyao 张云垚, 2024. Colored pencil on felt mounted on wooden panel 彩色铅笔毛毡裱于木板, 70 × 60 cm
在过去的几年中，张云垚在毛毡上的绘画作品一直将探索身心、情绪欲望的敏感状态作为其艺术实践的一个典型特征。其最新作品《自画像(与凯尔特舟》，图像来源于艺术家2018年在慕尼黑Brandhorst美术馆参观Cy Twombly的《Untitled Roses》系列作品时不经意间拍到的一张照片。装裱着Cy Twombly素描手稿作品《Celtic Boat (Gaeta)》的镜框玻璃反射着周遭环境以及作为观看者的艺术家本人的模糊轮廓，背景中依稀可辨的是Cy Twombly的另一大型绘画《Unititled (Gaeta)》。Gaeta是意大利的海滨小镇，Cy Twombly自20世纪90年代起每年都要在盖塔住上几个月。在工作室的海景中，他创作了以地中海地区为灵感的一系列画作。
两位艺术家相遇和邂逅的图景就此形成了一种画面结构，艺术家欣然将这个充满诗意且抒情的瞬间转印到毛毡之上，并开始使用彩色铅笔绘画，也为原本黑白分明的画面增添了诗意的色彩。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。Over the past few years, ZHANG Yunyao's paintings on felt have been characterised by an exploration of sensitive states of mind, body and emotional desire as a quintessential feature of his artistic practice. For his latest work, Self Portrait (with Celtic Boat), the image is derived from a photograph inadvertently taken by the artist during a visit to Cy Twombly's Untitled Roses series at the Brandhorst Museum of Art in Munich in 2018. The framed glass in which Cy Twombly's sketch manuscript Celtic Boat (Gaeta) is mounted reflects the blurred silhouettes of the surroundings and of the artist himself as a viewer, while in the background is faintly recognisable another of Cy Twombly's large-scale paintings, Untitled (Gaeta). Gaeta is an Italian seaside town where Cy Twombly has lived in for several months every year since the 1990s. In his studio seascape, he created a series of paintings inspired by the Mediterranean region.The image of the encounter between the two artists forms an image structure, and the artist readily transfers this poetic and lyrical moment onto the felt and begins to experiment with coloured pencil, adding poetic colour to the otherwise black and white images. The artist actively sets up a relationship between the felt and the chosen object, hoping to draw on Cy Twombly's poetic and innovative artistic expression to bring poetry, photography and drawing together through photorealistic depictions.Hot Spring in the Sky 空中温泉, CHANG Ling 常陵, 2021. Oil on canvas 布面油画, 179.5 × 130 cm常陵的绘画，格外关注当代人生存状态中的肉身经验，以及对于社会关系的心理感知。“大玄玄社会”系列延续了他对社会现实的关照，这类现实更加内化而深入，是常陵用情感和记忆堆砌而成的时代幻像。他以记录式的视角撷取现代生活的某个断面，逐步逼近观察社会历史亦或自身。画中扭曲的形象像在龇牙咧嘴地叫喊，这种叫喊是身为艺术创作者的自觉——“对外怒吼不如对自己的态度怒吼”。无拘无束的笔触和色彩更是常陵心中情绪的狂泻，尤其是那些有着照片式构图的绘画，人物间故作亲密的姿态和莫名的疏离感在难以辨识的场景中迸发出巨大的情感冲突，大尺幅的画面将观者挤到角落，然后猛地推进了常陵所制造的海市蜃楼里。CHANG Ling's paintings pay special attention to the physical experience of contemporary people's state of existence, as well as the psychological perception of social relations. The 'Illusion Society' series is more internalised and in-depth, and is an illusion of the times built up by CHANG Ling's emotions and memories. He uses a documentary perspective to capture a cross-section of modern life, gradually approaching a closer look at the history of the society or himself. The distorted images in the paintings are like grimacing and shouting, which is the consciousness of an art creator - 'better to howl at one's attitude than to howl outwardly'. CHANG Ling's internal tumult leaks from his unrestrained brushstrokes and use of color. This is especially evident in the pieces with photographic composition. Scenes of purposeful intimacy juxtaposed against an inexplicable sense of alienation collide to elicit immense emotional conflict that is difficult to process. Large canvases seem to push the viewer into the margins, only to plunge them back into CHANG Ling's mirages.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). Unique 唯一版本在《缝补系列/【触】》作品中，艺术家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。从最初的日常修补开始，艺术家逐渐将其转化为一种情感抚平和情绪转化的方式。作品呈现了一种令人沉浸的慢活状态，仿佛将观者带入一种冷静、放松且专注的思考状态，甚至在创作过程中也体现出了意外的灵感迸发。通过布料的柔软和缝补的细致，艺术家似乎在呼唤观者一同去体验内心的安稳与解放。作品所传达的温暖和安宁，如同一种治愈的力量，引导着观者在喧嚣的世界中寻求片刻的宁静和内心的安定。《缝补》系列作品不仅是对日常生活的深度反思，更是一次对内心情感的触动和呼唤。The artist thoughtfully examines the significance and metamorphosis of mending in daily life in the Sewing Series/[Touch]. She begins with basic daily mending and works her way up to a method of emotional transformation and relaxation. The pieces convey an immersive, slow-motion condition, as though transporting the audience to a state of serenity, relaxation, and concentrated thought—or perhaps an unanticipated flash of inspiration during the creative process.
The artist seems to be inviting the audience to share in a shared experience of inner stability and liberty through the delicate cloth and the painstaking sewing. The artwork's warmth and tranquility act as a healing force, encouraging viewers to find inner stability and a moment of calm among the chaos of the outside world. The 'Sewing' series is a heartfelt appeal as well as a profound meditation on everyday existence.
Swipe left and right for more
PantaRhei-202403301633, LIU Ren 刘任, 2024. Silk screening on straw paper, gold foil 丝网草纸、金箔, 152.5 × 202.5 cm
“Panta Rhei”是古希腊哲学家赫拉克利特的观点，意指万物皆流，无物永驻。人无法两次踏入同一条河流，当你再次抬腿的时候，此河流已非彼河流。这在如今快节奏的城市生活中尤为明显。草纸，作为废弃纸张的回收与再制作的媒介，它是人们生存痕迹一次次抹平的见证，在这个系列里，刘任将草纸进一步的消解，制作成纸浆风干后接近于石头的效果，个人信息流逝的痕迹在这个过程里被进一步的强调与提炼，同时在空隙中嵌入黄金，与草纸的廉价的消耗性形成强烈的反差。
'Panta Rhei' tears a sheet from Greek philosopher Heraclitus' summary of the ever-changing nature of existence, where 'one cannot step twice into the same stream.' In the heady pace of today's urban lifestyle, this adage is especially apparent. Straw paper, as a medium which is tossed aside only to be re-formed, is a testament to human life as it is wiped away again and again. In this series, LIU breaks down straw paper step by step, transforming it into pulp, and then drying it into a stone-like effect. The traces of personal information as it passes away is further emphasized and refined through this process. Within the cracks, the artist inserts gold, which forms a sharp contrast to the expendability of straw paper.In The Garden #53 在园中 #53, ZHANG Peiyun 章佩芸, 2022. Oil on gesso 油画、布面基底材料, 14.8 × 10.5 cm
在本次博览会上，章佩芸的作品将参展 Art Brussels 与 The KickCancer Collection 共同举办的特别单元，带来一件小尺幅作品《在园中 #53》。这些小型艺术品将以匿名形式出售，所得用于资助比利时 KickCancer 基金会，支持儿童癌症研究。
At the fair, ZHANG Peiyun's work will also be featured in a special section organised by Art Brussels in collaboration with The KickCancer Collection, with a small-scale work titled 'In The Garden #53'. These small works of art will be sold anonymously, with the proceeds going to the Belgian KickCancer Foundation, which support research on children's cancer!
![]()
