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巴黎国际艺博会
Paris Internationale
Booth 3.2B
章佩芸 ZHANG Peiyun
个人项目《爱与知-家》
Solo Project of ZHANG Peiyun
贵宾预览｜VIP Preview
October 15, 2024
公众开放｜Public Days
October 16-20, 2024
地点｜Location
17 Rue Du Fbg Poissonniere, Paris, France
东画廊欣然宣布将于2024年10月16日-20日再度参展巴黎国际（Paris Internationale）艺博会，并于3.2B展位呈现艺术家章佩芸的最新个人项目《爱与知-家》。延续自此前《在园中》系列，“家”的意义与之前“园”的意义相似，但在联想上与人的关系更加密切。这一系列的新作以组合的方式展示，有小尺幅的布面油画，也有不同形制、质感各异的素陶、生土陶器物作品。这些单独或组合的器皿与色调相和谐的画作组合摆放，宛如一个真实家庭日常摆设的一角。正如人人都知道“家”的美好，而重返家园更是一个美好宏大的异象。
Don Gallery is pleased to announce that it will return to the Paris Internationale from 16-20 October 2024, where it will present artist ZHANG Peiyun's latest solo project, To Know Is to Love, To Love Is to Know – Home, at Booth 3.2B. Continuing from her previous series 'In the Garden', the meaning of 'home' is similar to that of 'garden', but with a stronger connection to humans. This new series of works is displayed in groupings, with small-scale oil paintings on canvas and plain and raw clay potteries of various shapes and textures. These separate or combined vessels are set in accordance with the paintings' colour pallet, resembling a corner of a typical household's everyday arrangement. Just as everyone understands the value of 'home', while returning home is even more grand and visionary.
以下是东画廊与章佩芸的对谈，关于她此次创作背后的感想。
Below is an interview between Don Gallery and ZHANG Peiyun regarding her inspiration for this solo project.
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To Know Is to Love, To Love Is to Know – Home #1 爱与知 – 家#1, ZHANG Peiyun 章佩芸, 2024. Raw clay pottery, oil on canvas 生土陶、布面油画, 13.3 × 9.5 × 9.5 cm, 6.7 × 9.7 × 9.7 cm, 34.6 × 26.5 cm, 14.5 × 9.5 × 9.5 cm. 东画廊：我想是否可以从你的个人经历开始。你是2014年本科毕业于华东师范大学设计学院公共艺术专业，此后又在2016年取得了伦敦艺术大学温布尔登艺术学院纯艺术专业的硕士学位。能简单聊聊你最初开始创作的契机？
章佩芸：读书的时候充满好奇心，我对很多事物都感兴趣，大脑中有持续的点子出现但大都不成熟。本科和研究生时期分别在绘画、小动画、影像、装置上都尝试过，到毕业之后我就放慢速度，问自己创作的根基是什么，我也撕掉过以前的画，也许这种抉择的时候就是一个开始。东画廊：目前你又回到母校华东师范大学任教于公共艺术和视觉传达专业，作为曾经的学生和现在的老师，曾经的专业对你的创作是否依然有影响？章佩芸：有的，我很幸运在邱黯雄和倪志琪两位老师的指导下成长起来，当时的学习环境是松弛的，我们往往在主动学习。我现在仍然认为，松弛的原因是基于环境给予的包容度和被他者吸引的单纯性。给予我们的环境相对自由之外，我们学习的不止是被传授的艺术史或者是审美，老师们的气质与人格魅力是更为深处的影响。我在他们身上看到创作者本身与作品之间的自洽，我也在—路寻求自洽的形式。东画廊：在最近一次2022年底在东画廊的个展《在园中》里，你通过一系列纯白的雕塑、手稿、油画等作品，营造了一个私密而含蓄的、纯洁的、充满神圣性的“园”的空间。能聊聊“园”这一概念和主题在你的艺术实践中占据了何种位置？章佩芸：无论是中文的“園”还是英文“Garden”,都在表达一个被保护的区域。园中有万物，人与自然、人与人都在其恰当的位置中享受劳作、收获与关系。而英文花园的另一种表达“Eden”意思是喜悦、快乐，这种情感相比东方的恬静之感来的更加高亢。从词意上，这就是一个完美的空间。如果这个完美的空间对照现实，张力与相似就会同时被看见。这是我对园这个概念的理解。我要做的就是用实体作品回应这个概念，尽管对现实我不能全参透，对完美之园也只能凭想象。章佩芸：正如画廊上文的评价，我的作品具有质感、画面朴实，基调平静、尺寸小、数量多，作品之间相互关联并有意识的在空间中寻找节奏感，情感上我既想表达又在克制。东画廊：“在园中”系列是“爱与知”的后续创作，这两个系列间有着怎样的过渡与链接？最新的作品又与此前的创作有着怎样的联系？章佩芸：在2016年我开始知道奥古斯丁表达的“爱”（love）和“知识”（knowledge）几乎等同的概念。当时震惊于其中的深刻和宏大并凭着直觉立下这个主题，认定这个主题足够我思想好多年。奥古斯丁说的“爱”特指神圣之爱但也可容纳物爱、友爱与情爱，而他提到的“知识”超越了单靠理性获得认知的方式。他将“爱”和“知识”描述成了有厚度、有亲密关系、完美、整全、和谐的样子。在奥古斯丁与友人探讨何为幸福时说到：“……运用理智就意味着认识，但是除非爱着某物，否则它不能被完全地认识。仅有精神是不能认识的，仅有爱也是不能做到的。爱是某种欲求，我们看到在灵魂的其它部分也有欲求，如果这个欲求与理智或是与理性一致，它就允许精神在无尽的平和与宁静之中凝视永恒的事物……”这是一种和当代文化全然不同的观念，产生的是一种基于爱的道德之美。产生“在园中”的想法是考虑把创作对象再具体化一些。时间走到了我们共同面对的疫情几年。2022年我和大家一样被限制在了自己的小区，而我所在的小区树木种类繁多，就凭果树的生长变化都可以数算季节的更替。于是环境迫使我一遍又一遍在限制当中观看微小之物的美好，这个过程有哀叹又有赞美。哀叹人的苦难，赞美微小之物的准时与坚韧。所以，我想以植物为代表呈现劳苦叹息的万物。同时若隐若现拉开的距离感和时间感再次倾注了我个人存以盼望的情感。去年年初我又一次凭着模糊的线索和直觉先定下了题目《爱与知-家》，“家”和之前的《在园中》的意义相似，但在联想上与人的关系更加的紧密。而纳入我作品语言的陶土，我认为恰当地成为了比喻人的载体。这些陶土质感各异，有未经烧制自然风干的，有经过火炼坚固如石的、有赤露本体的、有被釉“衣装”的。他们就像人类生命体不同的状态，也好比一个家庭孕育出的相似又不同的生命。我把这些单独或组合的器皿与色调相和谐的画面组合摆放，模拟出了一个真实家庭日常摆设的一角，化作比喻指向实体。我相信人人都知道“家”的美好，而重返家园更是一个美好宏大的异象。东画廊：过往的作品中有着大量植物意象（树、枝桠、叶片）的表达，这些素材的来源是哪里？你会在日常生活中有意识地去记录吗？是否遵循特定的选择标准？章佩芸：素材大多来自小区里的植物、自己种的植物，也包括小区之外一切自然中美好或衰败的瞬间。我会有意识的记录，因为我发现植物的变化微妙且快速，另外我会刻意训练自己观看的能力。但我不会强求自己每天必须要有收获，我的方法是留心和等待。To Know Is to Love, To Love Is to Know – Home #2 爱与知 – 家#2, ZHANG Peiyun 章佩芸, 2024. Raw clay pottery, bisque pottery, oil on canvas 生土陶、素陶、布面油画, 10 × 21.7 × 21.7 cm, 33.5 × 31.3 cm, 14.7 × 26 × 12.8 cm. 东画廊：你的作品多是通过木板、布面、铅笔、油画颜料、水泥等不同媒介的组合来完成的，在运用不同媒介时会有怎样的考量？这次加入了生陶土的器皿，这对作品的意义有哪些贡献？章佩芸：不得不说，质感的多样性既是我的兴趣，另外也一直在为作品的形式语言寻找恰当的材料，总之我允许自己存在一定的多样性，但是我会限制作品的语言往和谐统一的方向发展。木板有时雕刻有时拿来和布面当作绘画基底材料，都有朴实的特质。我天然会倾向这类材料，包括有意识的保留一定的手感甚至是瑕疵。白水泥这个材料对我来讲是个过渡，我看重的是它的白色基调和坚硬质感。铅笔是创作者普遍拿来用作草稿的工具，我也有很多手稿一样的纸稿。我会偏好将自然曝光产生的微黄色调的纸作为绘画基底，当经过一段时间，我会整理纸本作品并且成组。其中不变的还是考虑观念与形式的一致性。不过22年个展展示了一系列铅笔作品带着点个人纪念性的情感。准备展览期间的整4个月，所有的绘画材料都在工作室，无奈我隔离在家。而我仅有的材料就是一些东拼西凑的纸、几只铅笔和炭笔，起初很低落但慢慢接受了现实。新的陶土材料是我有意融入作品中的，我的作品不只是植物的形象，也有人存在的痕迹，比如手的雕塑和关于手的画面。相比白水泥，泥巴是更为适合的材料。因为土的本质和人体基本元素几乎相同，这种材料本身就是一个完美的比喻载体。泥巴无论是尘土的状态还是被塑造成形，它都是卑微的、脆弱的。这些特质又与塑造成器形成一种张力，这种矛盾同样出现在人的身上，我们是卑微的同时又是尊贵的。东画廊：我们注意到你的大部分作品尺寸限定在了一个中小的尺幅，包括绘画，是有什么样的考虑？是否有想过大尺寸的作品创作？章佩芸：我觉得这是行为习惯的原因，也是审美上的倾向。行为习惯就是我的高度和力量有限还有不大的工作室中空间比例感的回应，在审美上我认为小的东西就像音乐里的低声部，存在但不显眼。不过在大小的尺度上，我认为作品的变化会是动态的，也许当我的创作空间宽敞点，作品自然就跟着空间的感受作调整。东画廊：你习惯在陈列作品时使用摆放而非悬挂的方式，这是你有意而为之的吗？不同作品之间摆放的顺序和组合又意味着什么？章佩芸：摆放和悬挂确实在作品的气质呈现上有所不同，我会根据不同空间进行比较。摆放显得相对松弛，在工作室这样有成品和半成品混杂在一起的空间，我喜欢随性的调动作品的位置，观察它们互相之间产生的关系，这个过程总是会让我惊喜的找到作品最佳的状态。而悬挂就比较精致需要足够的独立空间。另外比较光线效果也是很重要的。这次根据布展效果我还是选择了悬挂。在意义上，我想把“多而一（the one and the many）”这个经典的古希腊理念放进展示效果里，单一或成组在恰当的空间关系中都是可以的，我要做的是把握他们的整体性和独一特质。东画廊：当观众观看作品时，你希望他们从作品中看到哪些关键信息或情感？章佩芸：我希望观众能看到作者的本意，并找到线索。这些线索包括材料的语言、色彩基调的感受、形式的意义和这一切的整合而成的综合感受。东画廊：音乐与文学是否对你的创作产生了一定的影响？章佩芸：我并非专业于音乐和文学，多半凭着直觉和已经构建的价值观选择自己在音乐和文学上的喜好。音乐作为另一种媒介的艺术对我在视觉方面的思考有很大益处。好的音乐是良药，和视觉艺术一样可以影响灵魂的状态。好的音乐产生的节奏感、次序感和框架的整体性对我在视觉艺术上是一个平行参考，这些特点对我个人生命的影响也是大的，它帮助我确定了好的标准。而文字是有力量的，是有创造性的。相比视觉艺术，对人影响更大的还是文学。我一直觉得视觉艺术是有限的，在阐述意义上存在模糊地带，它带给人视觉的愉悦，同时视觉艺术的存在又是必须的。而文字产生的意义可以是清晰的，我认为好的文学就像奥古斯丁所说的需要在精神和爱上相结合，不然文字就只是文字，对人的生命不产生益处。东画廊：有哪些你比较关注的艺术家呢？你的创作是否受到了他们的影响？此外，你更愿意将自己的作品放置在怎样的谱系当中？章佩芸：我认为我创作的动力的是从欣赏前人的艺术家们开始，读书的时候我会按着年份收藏很多艺术家的作品图片，并且从不同版本的艺术史中认识他们，甚至去到英国读书的动力是给自己两年时间好好看原作。随着我个人成长，影响我的艺术家名单就变得清晰起来，例如：米开朗琪罗、伦勃朗、威廉透纳、康斯坦布尔、塞尚、梵高、康斯坦丁布朗库西、莫兰迪、吉赛普佩诺内、瑞秋怀特里德、爱德华德瓦尔…最近了解了古道具收藏家坂田和实。在这里讲述如何影响我的就太长了，共同打动我的是他们在各自的形式里找到了自己精神中的契合点，并且作品的感受诚实地流露在他们的生命中，某种意义上作品就成了他们生命的记号。我没想过作品在谱系里的位置这个问题，很多时候我在解决我自己的困惑或者被材料形式本身的语言所吸引。东画廊：对于即将到来的Paris Internationale博览会有怎样的期待？章佩芸：当看到介绍图中的空间质感特别是斑驳的墙体就抱有好感，对整体的效果很是期待，希望布展顺利。To Know Is to Love, To Love Is to Know – Home #3 爱与知 – 家#3, ZHANG Peiyun 章佩芸, 2024. Bisque pottery, oil on canvas 素陶、布面油画, 14.5 × 9.3 × 4.7 cm, 38.5 × 35.2 cm, 6.1 × 6.9 × 4.7 cm. EN
Q: I wonder if we could start with your personal experience. You received an
undergraduate degree in Public Art from East China Normal University's School
of Design in 2014 and later earned an MA in Fine Art from Wimbledon College
of Art, University of the Arts London, in 2016. Can you describe your first
opportunity to start creating?A: When I was a student, I was curious, interested in a variety of topics, and had a lot of immature thoughts that kept coming to mind. During my undergraduate and postgraduate years, I experimented with painting, little animation, video, and installation, but after graduation, I calmed down and asked myself what my creative roots were, and I tore up my old paintings, so perhaps this period of choosing was a beginning.Q:You are currently teaching in the public art and
visual communication majors at East China Normal University, where you
graduated. Does your prior major continue to affect your creativity?A: Yes, I had the good fortune to learn from two very different professors: QIU Anxiong and NI Zhiqi. At that time, the classroom was relaxed and we were more likely to be active learners. I still think that the looseness sprang from the environment's tolerance and the simple attraction to otherness. We learnt more than simply the history of art or aesthetics that we were taught; the professors' personalities and charisma had a deeper influence in addition to the relative freedom of the surroundings. They exhibit a self-referential relationship between the artist and the work, which is something I'm looking for in my travels.Q:
In your latest solo exhibition ‘In the Garden’ at the end of 2022 at Don
Gallery, you created a private and implicit ‘garden’ space full of purity and
sanctity through a series of pure white sculptures, manuscripts and paintings.
As one of the few Chinese artists with Christian faith, can you talk about your
religious experience? And how has religion impacted your artistic endeavours?A:It is a matter of values, so it does affect my thoughts and actions. The Garden of Eden, which was a lovely place for humanity's initial existence, is where the concept of a garden originates. Sadly, sin brought about problems of defilement, disorder, broken relationships, and other concerns that are opposed to the "good" and persist to this day. The Bible tells a magnificent tale of creation, redemption, and recreation, but it also gives me subtle guidance on how I should live my daily life. The big and the ordinary are two characteristics that have progressively found their way into my work's conceptions. I also notice this contradicting aspect in the works of art history, including Vermeer, the Dutch landscape painting, and the still life painting. The radiance of the ordinary, uncomplicated everyday is shown by the fact that commonplace objects can stand alone as a picture. I perceive the subtlety of the work as a restrained classical aesthetic. Since "purity" is the common reaction to the colour white, that is why I decided to stick with the colour white for the remainder of the piece. Personally, I put my emotional hopes into the work.Q:
How would you describe the style of your work?A: As the gallery mentioned above, my work is textured, simple and unadorned, quiet in tone, small in size and large in number, interconnected, and purposefully striving for a feeling of rhythm in the room. I want to emotionally express myself, but I also want to be restrained at the same time.Q: The ‘In the
Garden’ series is a follow-up to ‘To Know Is to Love, To Love Is to Know’, what
is the transition and link between these two series? How does the latest work
relate to the previous series?A: When I first learnt about Augustine's expression in 2016 that knowledge and love are almost near equivalence, I was astounded by its breadth and profundity. I instinctively chose the theme, figuring I would have plenty to consider for years to come. Augustine defined "knowledge" as anything that goes beyond the process by which cognition is attained through reason alone. By "love," he specifically meant heavenly love, but he also included friendship, physical affection, and sensual love. According to him, "knowledge" and "love" are complete, harmonious, perfect, intimate, and profound. Augustine stated the following when he and a companion were debating what happiness is: "…To use reason means to know, but unless one loves something, it cannot be fully known. Love and spirit are not sufficient for knowledge on their own. One type of desire is love, but we can also see that there are other desires in other areas of the soul. When these desires are in line with logic or reason, the spirit is able to look at eternal things in an unending state of calm and tranquilly…" This is a very different idea from what is seen in modern culture, resulting in a moral beauty grounded in love.The idea of ‘In the Garden’ arose from a desire to make the object of creation more concrete. Like everyone else during the Shanghai lockdown in 2022, I was confined to my own neighbourhood, which had so many different types of trees that I could even tell the seasons by the growth of the fruit trees. I am so repeatedly forced by circumstances to find beauty in the smallest things despite my limitations, which is a process that involves both regret and praise, lamenting the misery of humanity and applauding the tenacity and punctuality of the tiniest things. For this reason, I decided to use the plant to symbolise all that is grieving and in pain. At the same time, the sense of time and distance that is concealed from view fills me with hope once more.At the beginning of last year, I chose the title " To Know Is to Love, To Love Is to Know – Home" based on hazy hints and gut feeling. While "home" and " garden" share a similar meaning, "Home" is associated with people more strongly. I believe that the clay that I have used to express the metaphor of humans is a suitable medium for my art. These clays come in a variety of textures: raw and glazed, firm as stone after being refined by fire, and unfired and naturally dried. They are comparable to the various stages of human development or the distinct yet similar lives of a family. Through the placement of these single or grouped vessels in relation to the painting's tonal harmony, I have created a real family's daily arrangement, as a metaphorical reference to the entity. Just as everyone understands the value of "home," in my opinion, the idea of returning home is even more grand and visionary.Q: There
is a lot of botanical imagery (trees, branches, leaves) expressed in yourpast works, where is the source of these materials?
Do you consciously record it in your daily life? Do you follow specific
selection criteria?A: Most of the prototypes come from plants in the neighbourhood, plants that I have grown myself, but also from all moments of beauty or decay in the surrounding landscape. I notice that plants change swiftly and subtly, therefore I will intentionally try to document them. However, I'm not going to push myself to work every day; instead, I'm just going to wait and pay attention.To Know Is to Love, To Love Is to Know – Home #4 爱与知 – 家#4, ZHANG Peiyun 章佩芸, 2024. Raw clay pottery, glazed pottery, oil on canvas 生土陶、釉陶、布面油画, 10 × 9.9 × 9.9 cm, 5.4 ×7 × 5.8 cm, 27.4 × 21.5 cm, 4.3 × 11 × 0.3 cm, 1.5 × 4.7 × 3.8 cm, 1.4 × 4.7 × 3 cm.Q: Most of your works are done through a combination
of different media such as wood panels, canvas, pencils, oil paints, cement,
etc. What considerations do you make when using different media? How does the
inclusion of raw clay vessels contribute to the meaning of the work?
A: I must admit that the variety of textures is a source of both fascination and ongoing exploration in pursuit of the ideal materials for the formal language of the piece. To put it briefly, I permit myself a certain degree of diversity, but I restrict the language used in my work from developing farther in the direction of harmony and oneness. Canvas, wooden boards that have been carved sometimes, and wooden surfaces used as a foundation for paintings all have a basic feel. This type of material appeals to me naturally, even if I intentionally keep some hand feel and even flaws in it. For me, white cement is a transitional material that I appreciate for its strong texture and white tone. Artists frequently use pencils for drafts, and I have a lot of manuscript-sized paper works. I like to base my drawings on paper that has a yellowish tint from natural exposure; eventually, I will arrange the paper pieces together. The consideration of formal and conceptual consistency never changes. On the other hand, a number of monumental and intimate pencil works are on display in my 2022 solo exhibition. All the sketching supplies were in the studio during the four months I spent getting ready for the show, but I was isolated at home. All of the supplies I had were charcoal pencils, a few pencils, and some scraps of paper. At first, I was really depressed, but I gradually accepted the reality.The new clay material is something I intentionally incorporate into my work. My work is not just about images about plants, but also includes traces of human presence like hand sculptures and hand-related motifs. Clay is a more suitable material than concrete. This material itself is an ideal metaphorical vehicle because the nature of the planet and the fundamental components of the human body are almost identical. Clay is humble and frail, both in its dusty form and when sculpted into shape. These attributes then produce a conflict with the shaping into a vessel, a paradox that also exists in humans, who are both honourable and humble.Q:
We notice that most of your works are limited to a small to medium size,
including paintings, what kind of considerations are there? Have you ever
thought of creating large-sized works?A: I think it's as much about behavioural habits as it is about aesthetic tendencies. My short stature and strength, coupled with my limited perception of space in a small studio, have shaped my behavioural patterns. From an aesthetic perspective, small details are subtle yet present, akin to the lower register of a piece of music. On the other hand, I believe that the work's size will alter dynamically; perhaps when my creative space is larger, the pieces will organically adapt to the impression of space.
Q: Is it
intentional that you are accustomed to displaying your work by placing it
rather than hanging it? What does the order and combination of the different
works mean?A: Posing and hanging do differ in the airy presentation of the work, and I would compare them depending on the space, making them relatively loose. I like to move the pieces around in a studio setting, where semi-finished and final pieces are mixed together, to see how they relate to one another. This process never ceases to amaze me when I discover the pieces in their best states. Hanging needs a lot of space apart and is more delicate. It is imperative to compare the light's influence as well. This time, I made the decision to hang out based on the exhibition's impact.In the sense that I want to put the classic ancient Greek idea of ‘the one and the many’ into the effect of the display, singly or in groups in the right spatial relationship possible, what I want to do is to grasp their wholeness and uniqueness.Q: What are the key messages or emotions you want viewers to
see in the work when they view it?A: I want the viewer to see the artist’s intention and find clues. These clues consist of the text's language, the colour tone's mood, the form's significance, and the overall impression created by combining all of these.Q: Has music and literature
influenced your creation in any way?A: I do not specialise in music and literature and mostly choose my tastes primarily based on intuition and pre-existing ideals. Using music as an additional artistic tool has helped me think more visually. Good music has the same healing properties as the visual arts and can impact one's emotional condition. For me, the sense of rhythm, order, and cohesiveness that excellent music creates serves as a parallel reference and is also significant in helping me define the parameters of what is good. Furthermore, words are inventive and potent. The visual arts are not as influential on individuals as literature is. Visual arts as limited and somewhat ambiguous in conveying meaning, primarily offering visual pleasure. Nonetheless, visual arts remain indispensable. On the other hand, the meanings conveyed through words can be clear and precise. I believe that great literature, as Augustine said, must be paired with spirituality and love; otherwise, words are simply words and do not benefit human life.Q: What are some of the
artists you follow? Are you influenced by them in your work? Also, where would
you prefer to place your work on the spectrum?A: I think my motivation to create started with simply appreciating the artists who came before me, and when I was studying I would collect images of many artists by year and learn about them from different versions of art history, and even went to England study with the motivation of giving myself two years to look at the originals. As I grew, the list of artists who influenced me became clear, for example: Michelangelo, Rembrandt, William Turner, Constable, Cézanne, Van Gogh, Constantin Brancusi, Moranti, Guiseppe Penone, Rachel Whiteread, Edouard de Waal and so on. I recently became aware of Kazumi Sakata, the collector of antique props. It would take too much space to explain how I was impacted here, but what really stood out to me about them all was how they were able to find a place for their spirit in each of their forms and how the work felt like an honest extension of who they were; in a way, it became their signature.I didn’t think about the question of where my work fits into the spectrum, but very often I'm solving my puzzles or am drawn to the language of the material form itself.Q:What are your expectations for the upcoming Paris Internationale fair?A: When I saw the
introduction of the fair, the exhibition space was full of texture on the wall
and was full of nice feelings, the overall impact is very much looking forward
to, and I hope that the exhibition set-up proceeds smoothly.To Know Is to Love,
To Love Is to Know – Home #7 爱与知 – 家#7,
ZHANG Peiyun 章佩芸, 2024. Raw clay pottery 生土陶, 10.3 × 16.3 × 16.3 cm, 21.2 × 10.8 × 10.8 cm, 10.7 × 12.3 × 11.4 cm.
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