2024 ART021 Contemporary Art Fair, Hong Kong
展位 Booth | F1-03
主画廊单元 Main Galleries
尊贵藏家预览｜VIP PREVIEW (INVITED ONLY)
2024.8.29 13:00 - 20:00
2024.8.30 13:00 - 15:00
公众日｜PUBLIC DAYS
2024.8.30 15:00 - 20:00
2024.8.31 13:00 - 20:00
2024.9.1 13:00 - 18:00
展览地点｜Venue
管理局大楼 富艺斯亚洲总部 香港九龙西九文化区 柯士甸道西8号
Phillips Asia headquarters in the WKCDA Tower,West Kowloon Cultural District No. 8 Austin Road West Kowloon, Hong Kong
影像单元 VIDEOS
放映日期｜DATE
2024.8.29-9.01
放映地点｜PLACE
亚洲协会香港中心
Asia Society Hong Kong Center
*本单元门票需另行购买 Separate ticket purchase is required
何多苓
He Duoling
He Duoling, Grass on the Meadow No.2, Oil on canvas, 200 × 150 cm, 2020
He Duoling is a representative of contemporary Chinese lyrical realism oil painting artists. He Duoling's art has poetic characteristics, emphasizes painterliness, estheticism, elegance and sentimentality. What he pursues is unrestrained freedom. His artistic modeling skills are solid and comprehensive. Where he writes, characters and scenes in his paintings are full of vitality. His sense of simplicity in formal language is similar to that of traditional Chinese ink painting. It is meticulous after refining and complex in simplicity, showing a detached spiritual realm and deep-seated artistic pursuit.
李昌龙
Li Changlong
Li Changlong, Group Portrait—2, Oil on canvas, 100 × 80 × 2 cm, 2024
李昌龙的大型绘画作品源于他对全球性问题的思考，涉及身份、移民、地缘政治等当代复杂问题，他将历史与现实图像抽离成语言符号，在一种对抗性的结构张力下完成艺术语言的整合。不管是造型语言还是色彩的不断生成，李昌龙都并没有提前进行预设，相反，追求的是画面内部的自然生长。在“地缘政治山水”的名称下，我们还可以看到李昌龙力图将画面的形式表达、审美趣味与中国传统绘画的视觉结构与审美习惯联系起来。
Li Changlong's large-scale paintings are derived from his thinking on global issues, involving complex contemporary issues such as identity, immigration and geopolitics. He separates historical and realistic images into language symbols, and completes the integration of artistic language under a confrontational structural tension. Regardless of the continuous generation of modeling language or color, Li Changlong does not make presets in advance. Instead, he pursues natural growth inside the picture. Under the name "geopolitical landscape", we can also see that Li Changlong tries to connect the formal expression and aesthetic taste of the picture with the visual structure and aesthetic habits of traditional Chinese painting.
漆澜
Qi Lan
▲漆澜，致杜甫—江畔独步寻花，手工皮纸综合材料，129 × 88 cm，含框尺寸：147.5 × 106 cm，2024
Qi Lan, To Du Fu—Strolling Alone among Flowers by Riverside, Mixed media on handmade bast paper, 129 × 88 cm. Framed size: 147.5 × 106 cm, 2024
漆澜长期研读杜诗，对杜诗文本文字及史实编年都进行过严谨而系统的考证。特别是对杜甫在成都时期的诗篇，如数家珍。成都是幸运的，杜甫的流浪成就了成都的历史华章，而成都，也为杜甫漂泊流离的人生带来了短暂的慰籍和快意。《江畔独步寻花》、《锦江春色来天地》是漆澜杜诗系列作品的新作。在他的笔下，想象着一个与流浪诗人邂逅的春天。杂沓的笔触，错综复杂的笔触，如诗人反复沉吟，层层叠叠，诗人沉吟的节奏与画家的笔触在一种晃动的节律中通融交汇，一步步地向诗人眼中那个遥远的春天靠近。
Qi Lan has studied the poems of Du Fu for a long time, and has conducted meticulously and methodically examined the poems’ language, textual integrity and historical setting. Qi is especially acquainted with Du Fu's poems during his time in Chengdu. Chengdu is fortunate because Du Fu's wanderings brought Chengdu's historical grandeur to fruition, and Chengdu also gave Du Fu some fleeting solace and joy in his dispersed and nomadic existence. The “Looking for Flowers Alone on the Bank” and “Jinjiang Spring Fills the Heaven and Earth” are the most recent artworks in Qi Lan’s series of the poems of Du Fu. In Qi’s works, he imagines a spring encountering with the nomadic poet. The intricate and complicated strokes, like the poet's repeated meditations, are layered on top of each other. The rhythm of the poet's meditations and the painter's strokes are blended in a kind of wobbling rhythm, approaching the distant spring in the poet's eyes step by step.
饶维懿
Rao Weiyi
Rao Weiyi, Deliberate Practice, Acrylic on canvas, 180 × 150 cm, 2024
饶维懿一直力图在图像泛滥的后网络时代，重建一条经典绘画与不断自我意义解构的消费性图像之间“和谐共处”的方法通道，以解决多元文化、多重叙事对绘画造成的表达不适和意义缺失。作为年轻一代的新锐画家，饶维懿将网络图像的独特质感转换为实验性的绘画语言，从网络图像独有的清晰度缺失，拼贴，以及荒诞当中，凸显碎片化的视觉逻辑。同时，他用绘画的方式还原图像的电子质感，用笔触和颜料复制像素的视觉特征，带来不同以往的色彩，肌理，以及构图的组合，由此将绘画变成一种创造性的视觉“复制品”。
Rao Weiyi has been striving to rebuild a "harmonious coexistence" method channel between classic painting and consuming images that constantly deconstruct their own meanings in the post internet era where images are rampant, in order to solve the expression discomfort and lack of meaning caused by multiculturalism and multiple narratives in painting. As an emerging painter of new era, Rao Weiyi transformed the unique texture of network images into experimental painting language, highlighting the visual logic of fragmentation from the characteristic feature such as lack of clarity, collage, and absurdity of network images. At the same time, he restores the electronic texture of images through painting, using strokes and pigments to replicate the visual features of pixels, bringing different combinations of colors, textures, and compositions, thus turning painting into a creative visual "replica".
王川
Wang Chuan
Wang Chuan, Box No.9, Oil on canvas, 150 × 100 cm, 2015
Wang Chuan is a key figure in the Scar Painting movement. He began his early career as a successful realist painter and turned to abstract painting during the 1985 New Wave period. In the late 1990s, sudden illness brought Wang Chuan to a turning point that helped transform his practice. The energy at work in his more recent work arises from contrasts of scale, density, line and surface. This introspective and self-reflective way of working has enabled Wang Chuan to achieve insights, especially through the contemplation of oriental philosophy, The formal resources of his work are both rich and complex. There is the line as inherited from traditional Chinese art but transferred into oil on canvas; there is graffiti; doodling; drawing in paint; and there are elements of both abstraction and figuration. It is as if Wang Chuan is suspicious of the purity of abstraction and he is equally suspicious of the power of figuration.
王绍强
Wang Shaoqiang
Wang Shaoqiang, Blue Stream After Nightfall II, Ink on paper, 125 × 125 cm, 2023
Based on his love and confidence in the traditional Chinese culture, Wang Shaoqiang cultivated a unique insight, which helped him move against all the obstacles, hence observing what is good and what is not. With a cultural stance of connecting ancient and modern art between China and the West, the present and the past, drawing inspiration from the spirit of modern Western science, Wang Shaoqiang has conducted a systematic study and reflection on Chinese ink art, especially the literati painting tradition after the Song Dynasty. He has also studied and reflected on the relationship between ink art and geography, geology, anthropology, archaeology and other disciplines. A creative and imaginative reconstruction of tradition has been carried out from the perspectives of contemporary art, including media, physics, and production, which helped him develop a unique set of visual language logic and artistic viewing methods. In Wang Shaoqiang's exploration, the continuation and upheaval of ink art culture tradition constitute a tense bipolar situation in current reality. The artist's ‘observation’ of the world is also achieved through the cosmic wandering of ‘looking up (to the universe)’ and ‘looking down (to the fine dust)’, entering history from mythology and falling into the human world from Utopia.
杨述
Yang Shu
影像单元 Videos
放映时间表 Videos schedule
陈秋林｜彩条 Colour Line
2024.8.30 11:30
2024.8.31 16:00
陈萧伊｜当特提斯海向西退却，留下残响 When Tethys Sea retreats westward, leaving the reverberation
2024.8.30 16:00
2024.8.31 11:30
放映地点 |亚洲协会香港中心 香港金钟正义道9号
Place | Asia Society Hong Kong Center, 9 Justice Drive, Admiralty, Hong Kong
陈秋林
Chen Qiulin
Chen Qiulin, Colour Line, Video (Still), 8' 8'', 2006
“感受现实生活是我的创作出发点。这几年来我的创作一直和城市变化有着紧密的联系，三峡工程是发生在自己家乡的大事，我在成长的同时也感受到和自己生活息息相关的城市变化，我的家乡很小，只是三峡工程所涉及地区中的微不足道的小城市，我看着曾熟识的城市，接到，朋友们都在记忆里慢慢消失，昔日的奔腾的江水也变得象湖泊一样的平静，在所有一些沉默表象下还有数百万的移民在他乡开始他们新的生活，数百万的新楼房正在一片轰轰烈烈的吆喝声中拔地而起，我的家乡已经变成一个大工地，或许它也只是现在中国城市化进程中最微小的一个缩影，我只是一个记录者，用自己的眼睛和心情记录我曾经经历的这个历史时期展览内容。”
——陈秋林
Chen Qiulin responds to the global contemporary art world's tendency to create "spectacles" when addressing issues of society, history, and identity with a restrained and straightforward creative approach. This stems from her respect for individual life and existence: no individual should be used as a tool to discuss identity issues but should be recognized and represented as they are.
An affinity with reality is always the start of my creations. The last years my works have been closely related to urbanization. Since my home town is located on the borders of the Yangtze River, the construction of The Three Gorges Dam has directly affected my life. When growing up I could feel and see the effects of urbanization. My home is a very small town. The streets and alleys I used to know so well, the friends I used to hang out with are all slowly disappearing from my memory. The water once wild and surging is now as calm as a lake. Millions of people are starting another life in another place. Millions of buildings are being erected in new towns. My hometown has become a construction site; or maybe it is just the smallest epitome of the urbanization process that all cities in China are going through. I am only the person that records; with my own eyes and senses I record this small piece of history that I have experienced.
——Chen Qiulin
陈萧伊
Chen Xiaoyi
Chen Xiaoyi, When Tethys Sea retreats westward, leaving the reverberation, Video,(Still),25' 17'', 2022
The Hengduan Mountains were born 65 million years ago when the ancient Tethys Sea receded as a result of the compression of the Eurasian and Indian plates. Those ancient ore deposits were born in the ocean. In the legends of the Tibetan and Yi tribes in the mountains of southwestern China, ores are the food of the mountain gods. However, who could have predicted that mankind, for thousands of years, would just take away the food of the mountain gods, thus paving the way to modern civilization. “When Tethys Sea retreats westward” takes as its clue the white conch revered in high-altitude mountainous regions. The images are switched between freeze-frames and are all related to “landscapes”, which are focused on the abandoned mines and forests of the Hengduan Mountains in Southwest China.The text and narration corresponding to the image are respectively an old man of the Ersou tribe narrating the ancient legend of the white conch in their endangered language that is about to disappear. The other part is rewritten from the unfinished novel Heinrich von Ofterdingen (1802) by Novalis, which explores the perceptions and reflections triggered by the underground world. In the relationship between the transience of the scale of life and the constant change of the land, an ancient time and space is summoned. Just as the images, although taken in the ruins of the mine, the nature and the mountains of the present day, in the polyphony of the text, the imagery aroused is a stack of stratigraphic time. The white conch exists as a key, as a link between a dialog of scales, a time lapse from the present to the past, from the mountains back to the sea, from people back to stones.
In addition to the exhibitions and events in the over 1,000 square meters gallery space, A Thousand Plateaus Art Space also takes an active part in important international art fairs including Art Basel in HK, Art Hong Kong, Art Stage Singapore, Asia Now | Paris Asian Art Fair, ART021, West Bund Art & Design, JING ART, Art Chengdu, Photo Shanghai, Festival LOOP and Paris Internationale, LISTE in Basel etc..
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