艺博会 Art Fair | ART021上海廿一当代艺术博览会：W24

文摘 2023-11-05 15:00 上海

ART021 上海廿一当代艺术博览会

主画廊单元

W24

亨利·柯桥德，薇薇安·格蕾文，斯蒂芬妮·蒂玛·海尔，何麦克，黄可维，劳伦斯·莱杰，茹特·莫尔克，ML・波兹南斯基，沈心怡，夏琳·泰伯格海因

ART021 Shanghai Contemporary Art Fair

Main Galleries section

W24

Henry Curchod, Vivian Greven, Stephanie Temma Hier, Michael Ho, Huang Ko Wei, Laurens Legiers, Rute Merk, ML Poznanski, Sydney Shen, Charline Tyberghein

尊贵藏家预览：

2023年11月9日，星期四，下午1至8时

2023年11月10日，星期五，下午1至8时

公众日：

2023年11月11日，星期六，上午11时至下午6时

2023年11月12日，星期日，上午11时至下午6时

地点：

上海展览中心

延安中路1000号

VIP Preview:

November 9, 2023, Thursday, 1–8 pm

November 10, 2023, Friday, 1–8 pm

Public Days:

November 11, 2023, Saturday, 11 am–6 pm

November 12, 2023, Sunday, 11 am–6 pm

Location:

Shanghai Exhibition Center

No.1000 Middle Yan An Road

Gallery Vacancy将于ART021上海廿一当代艺术博览会“主画廊单元”（Main Galleries section）中呈现十位背景多元的艺术家，展位号为W24。

Gallery Vacancy is honored to present ten emerging artists from diverse backgrounds at Main Galleries section in ART021, Shanghai, booth W24.

关于艺术家

About the Artists

‍

亨利·柯桥德

塞特意外前的画，2023

布面油画、炭笔

200 x 200 公分（78 3/4 x 78 3/4 英寸）

Henry Curchod

I painted this days before my bicycle crash in Sète, 2023

Oil and charcoal on linen

200 x 200 cm (78 3/4 x 78 3/4 in)

亨利·柯桥德，1992年出生于美国帕罗奥图，现生活和工作于伦敦。柯桥德2014年毕业于新南威尔士大学艺术学院。柯桥德的绘画语言汲取自他伊朗库尔德的身份背景和西方环境下的成长经验。他的作品运用了波斯细密画中的绘画透视，以诙谐的场景隐喻了纷繁世界中耐人寻味的故事。艺术家往往以具象的方式和鲜明的色彩创作，用丰富的层次进一步展现出孩童般的率真和果断。柯桥德的艺术实践通过童趣诙谐的表达方式，来反思源自于日常生活中的残酷与荒诞，幻想和现实的尖锐冲突由此呈现在他的作品之中。柯桥德的绘画世界在荒唐现实和自我分析的隐喻中揭示了他对城市背景下的传统规范，以及社会性问题的重现和再解读。近期个展包括：“安全地带”，Gallery Vacancy于Paris Internationale，巴黎，2023；“Hugging a tree is like kissing a dog”，Shoot the Lobster，纽约，2023；“Trouble on the Event Horizon”，MAMOTH，伦敦，2023；“Rice is god’s dandruff”，Chauffeur，悉尼，2022；“Set Your Friends Free”，Mamoth，伦敦，2021；“Sharing the Sky”，Sumer Gallery，陶朗加，2021；“Inside Head, Outside Head”，Martin Browne Gallery，帕丁顿，2021。近期群展包括：“闲人出差 II”，Gallery Vacancy，上海，2022；“In Between”，Spurs Gallery，北京，2022；“Distance is Comfort”，Chauffeur，悉尼，2022；“Of Foxes and Ghosts”，Mamoth，伦敦，2022。近期驻留及入围奖项包括：“R&F Residency”，纽约，2023；“PPP/Oostmeijer Residency”，阿姆斯特丹，2023；“The Ramsay Art Prize”，2023；“The Sulman Prize”，2023；及“Brett Whiteley Travelling Art Scholarship”，2021。

Henry Curchod, born in 1992 in Palo Alto, US, now lives and works in London. Curchod received his Bachelor’s degree from the University of New South Wales in 2014. Informed by his Iranian-Kurdish descent and Western upbringing, Curchod often depicts pictorial perspectives from Persian miniature with ostensibly joyous scenes, engaging us in a metaphorical articulation of the contemporary experience. His work which takes on a form that is figurative in nature, is always painted in vivid hues with a sense of gestural forthrightness. The adoption of such childlike rigour, a staple element in his practice, plays a spiteful juxtaposition with his representational content. In witticisms, aphorisms and self-analysis, Curchod’s art reveals an emotive assessment of conventional norms and socio-political issues under the urban context. His solo exhibitions include: Safe Spaces, Gallery Vacancy at Paris Internationale, 2023; Hugging a tree is like kissing a dog, Shoot the Lobster, New York, 2023; Trouble on the Event Horizon, Mamoth, London, 2023; Rice is god’s dandruff, Chauffeur, Sydney, 2022; Set Your Friends Free, Mamoth, London, 2021; Sharing the Sky, Sumer Gallery, Tauranga, 2021; Inside Head, Outside Head, Martin Browne Gallery, Paddington, 2021. Recent group exhibitions include: Vacation II, Gallery Vacancy, Shanghai, 2022; In Between, Spurs Gallery, Beijing, 2022; Distance is Comfort, Chauffeur, Sydney, 2022; Of Foxes and Ghosts, Mamoth, London, 2022. He was the recipient of the R&F Residency, New York, 2023; the PPP/Oostmeijer Residency, Amsterdam, 2023; and finalist for the Ramsay Art Prize, 2023; the Sulman Prize, 2023; and the Brett Whiteley Travelling Art Scholarship, 2021.

薇薇安·格蕾文

Infra，2023

布面油画

160 x 120 公分（63 x 47 1/4 英寸）

Vivian Greven

Infra, 2023

Oil on canvas

160 x 120 cm (63 x 47 1/4 in)

薇薇安·格蕾文，1985年出生于德国波恩，现居住生活、创作于杜塞尔多夫。格蕾文于2015年硕士毕业于杜塞尔多夫艺术学院。她的绘画技法借鉴贯通了古典艺术、波普艺术，以及数位媒介的形式与主题，轻盈地摆荡在真实的再现与抽离之间。娇娆的色彩，节制的构图，形象与形态的互换与共谋，格蕾文在静谧明澈的画面中，游弋探索于身体结构、生命经验、人性与神性之间，不断演绎却自若明晰的各种样貌。对世俗经验之外的向往，在不朽与转瞬的复始之间，格蕾文希冀在她的作品中捕捉一种更为恒定的和谐。

近期个展包括：“Water”，Neue Galerie Gladbeck，格拉德贝克，2023；“You Skin Is My Shield”，Gallery Vacancy于首尔弗里兹，首尔，2022；“CLOSE”，Kadel Willborn，杜塞尔多夫，2021；“Nabel”，海德堡美术协会，海德堡，2021；“薇薇安·格蕾文”，巴登美术馆，巴登，2021；“荧变”，Gallery Vacancy，上海，2021；“Apple”，埃朗根美术馆，埃朗根，2020；“Elefant”，ak Raum，科隆，2019；及“0 V”，Kadel Willborn，杜塞尔多夫，2019。部分群展于Alte Nationalgalerie，柏林；贝浩登，巴黎；杜塞尔多夫美术馆，杜塞尔多夫；纽伦堡美术馆，纽伦堡；Vestvossen Kunstlaboratorium，韦斯特沃森；G2 Kunsthalle，莱比锡；Ludwig Forum Aachen，亚琛；Tick Tack，安特卫普；Kunstmuseum Wolfsburg，沃尔夫斯堡；Paula Modersohn-Becker Museum，不莱梅；Anthena Foundation，杜塞尔多夫；Deichtorhallen Hamburg，汉堡；Philipp Pflug Contemporary，法兰克福；斯图加特艺术博物馆，斯图加特；及Salzburger Kunstverein，奥地利。格蕾文的作品收藏于：Braunsfelder Family Collection，科隆；龙美术馆，上海；李琳收藏，杭州；Kunstpalast Düsseldorf，杜塞尔多夫；Kunstpalais Erlangen，埃朗根；Kunstmuseum Stuttgart，斯图加特；Providence College Galleries，普维敦斯；Sammlung Kunsthaus NRW，亚琛；Sammlung Philara，杜塞尔多夫；STRABAG Art Collection，维也纳。

Vivian Greven, born in Bonn, Germany in 1985, now lives and works in Düsseldorf. Greven received her master’s degree at the Kunstakademie Düsseldorf in 2015. She creates ethereal paintings that borrow visually and thematically from classical arts, pop arts, and the digital media world, sliding in fluidity between representation and abstraction. Working in alluring colors and restrained arrangements, her paintings display the interplay between surface and form with a glowing luminosity, dramatically flirting with body structure, dualism, and human existence depicted in serenity and clarity. Beauty is rooted within holiness, which is in connection with the universal balance between the immortal and the ephemeral.

Recent solo exhibitions include: Water, Neue Galerie Gladbeck, Gladbeck, 2023; Your Skin Is My Shield, Gallery Vacancy at Frieze Seoul, Seoul, 2022; CLOSE, Kadel Willborn, Düsseldorf, 2021; Nabel, Kunstverein Heidelberg, Heidelberg, 2021; VIVIAN GREVEN, Kunstmuseum Langmatt, Baden, 2021; The Negatives, Gallery Vacancy, Shanghai, 2021; Apple, Kunstpalais Erlangen, Erlangen, 2020; Elefant, ak Raum, Cologne, 2019; and 0 V, Kadel Willborn, Düsseldorf, 2019. Selected group exhibitions at: Alte Nationalgalerie, Berlin; Perrotin, Paris; Kunsthalle Düsseldorf, Düsseldorf; Kunsthalle Nürnberg, Nürnberg; Vestvossen Kunstlaboratorium, Vestvossen; G2 Kunsthalle, Leipzig; Ludwig Forum Aachen, Aachen; Tick Tack, Antwerp; Kunstmuseum Wolfsburg, Wolfsburg; Paula Modersohn-Becker Museum, Bremen; Anthena Foundation, Düsseldorf; Deichtorhallen Hamburg, Hamburg; Philipp Pﬂug Contemporary, Frankfurt; Kunstmuseum Stuttgart, Stuttgart; and Salzburger Kunstverein, Austria. Greven’s works are in the collections of Braunsfelder Family Collection, Cologne; Long Museum, Shanghai; Li Lin Collection, Hangzhou; Kunstpalast Düsseldorf; Kunstpalais Erlangen; Kunstmuseum Stuttgart; Providence College Galleries; Sammlung Kunsthaus NRW, Aachen; Sammlung Philara, Düsseldorf; STRABAG Art Collection, Vienna.

斯蒂芬妮·蒂玛·海尔

瞬息不变，2023

布面油画，釉面陶瓷外框

66.7 x 58.4 x 28 公分（26 1/4 x 23 x 11 英寸）

Stephanie Temma Hier

Momentary architecture, 2023

Oil on linen with glazed stoneware sculpture

66.7 x 58.4 x 28 cm (26 1/4 x 23 x 11 in)

斯蒂芬妮·蒂玛·海尔，1992年生于加拿大多伦多，2014年毕业于安大略艺术设计大学，现生活和工作于纽约布鲁克林。海尔的绘画映射了21世纪信息时代个人在数字图像世界中穿梭的经历。她的作品用一种倒错的视觉方式，模拟了爱丽丝梦游仙境中的经典桥段“兔子洞”，以此来探寻当代图像消费及视觉文化。其中图像的意义借由看似不偏颇的大数据算法或是文化价值中的权力结构，在图像与图像之间临时的建立和解散中不断游移。结合了美国动画黄金时代的模版卡通角色，由艺术家重新定义了边界的现实主义图像，和纹身贴纸这一临时的图像转移媒介，她检视童年记忆与成年身份认同之间的联系及对于批量生产的当代图像符号的盲目迷恋，并以绘画的表现手法把预设图像从原有的语境中剥离、置换、升华。

近期个展包括：“Roadside Picnic”，Galerie Bradley Ertaskiran，蒙特利尔，2023；“This must be the place”，Nino Mier Gallery，布鲁塞尔，2023；“Palate Cleanser”，Nino Mier Gallery，洛杉矶，2021；“Soft Options, Hard Edges”，Galerie Bradley Ertaskiran，蒙特利尔，2021；“吞一千根针”，Gallery Vacancy，上海，2020；“Spring Now Comes Unheralded”，Franz Kaka，多伦多，2020；“Gridded and Girdled”，Y2K group，纽约，2019。她的作品曾展于：德基艺术空间，南京；Jeffrey Deitch，洛杉矶；Bradley Ertaskiran，蒙特利尔；Kasmin Gallery，纽约；Galerie Hussenot，巴黎；Jack Hanley Gallery，纽约；Liberal Arts Roxbury，罗克斯伯里；Arsenal Contemporary，纽约；Fisher Parrish Gallery，布鲁克林；JOHANNES VOGT，东汉普顿；Galerie Antoine Ertaskiran，蒙特利尔；PLUS-ONE Gallery，安特卫普；IQECO，马赛。海尔的获奖及驻留包括: Salon Nino Mier Cologne驻留项目，科隆；Canada Council for the Arts，加拿大; The Elizabeth Greenshields Foundation grant，蒙特利尔；Shandaken:Storm King驻留项目，纽约; The Residency Programme at Hospitalfield，阿布罗斯。海尔将于2024年在Gallery Vacancy举办个展。

Stephanie Temma Hier, born in 1992 in Toronto, now lives and works in Brooklyn. She received her BFA from the Ontario College of Art and Design in 2014. Her painting reflects the experience of traversing digital space in the 21st Century, mimicking the adage “falling down the rabbit hole” to describe the contemporary imagery consumption and visual culture, in which meanings fluctuate as images are brought together temporarily by seemingly indifferent big data algorithm to hierarchies of high and low culture values.

Recent solo exhibitions include: Roadside Picnic, Galerie Bradley Ertaskiran, Montreal, 2023; This must be the place, Nino Mier Gallery, Brussels, 2023; Palate Cleanser, Nino Mier Gallery, Los Angeles, 2021; Soft Options, Hard Edges, Galerie Bradley Ertaskiran, Montreal, 2021; Swallowing the Pit, Gallery Vacancy, Shanghai, 2020; Spring Now Comes Unheralded, Franz Kaka, Toronto, 2020; and Gridded and Girdled, Y2K group, New York, 2019. Hier’s works have been featured in exhibitions at: Deji Art+Action, Nanjing; Jeffrey Deitch, Los Angeles; Bradley Ertaskiran, Montreal; Kasmin Gallery, New York; Galerie Hussenot, Paris; Jack Hanley Gallery, New York; Liberal Arts Roxbury, Roxbury; Arsenal Contemporary, New York; Fisher Parrish Gallery, New York; JOHANNES VOGT, East Hampton; Galerie Antoine Ertaskiran, Montreal; PLUS-ONE Gallery, Antwrep; IQECO, Marseille. Hier was the recipient of multiple grants from Canada Council for the Arts, the Elizabeth Greenshields Foundation, and participated in residency programs at Salon Nino Mier Cologne; Storm King Art Center, New York; and Hospitalfield, Arbroath. She will have a solo exhibition at Gallery Vacancy, Shanghai in 2024.

何麦克

梦（侵蚀），2023

布面油画，丙烯

130 x 225 公分（51 1/8 x 88 5/8 英寸）

Michael Ho

Dream of (Erosion), 2023

Oil and acrylic on canvas

130 x 225 cm (51 1/8 x 88 5/8 in)

何麦克，1991年出生于荷兰阿纳姆，现生活、工作于伦敦。他在2019年毕业于英国建筑联盟学院。作为来自中国的第二代移民，何麦克通过绘画来探究海外华裔群体的经历、文化差异及文化再发现等概念。他运用一种特殊的方式作画：由画布的背面向正面进行颜料的浸润，将稀释的背景色域与正面的清晰笔触并置，创造出一重东方传统与西方美学相融的潜在张力。他对于东方主义式的图像和形象的批判性解读饱含丰富的面相，从玩味性到政治性，从身体到空间。2020年至2022年，何麦克与他的搭档何智仁（1993-2022）以艺术家双人组的形式进行创作。何麦克与何智仁的个展包括：“Kūnlún”，V.O Curations，伦敦，2021。何麦克的个展包括：“As Feelings Burn Their Way”，High Art，巴黎，2023；“洞天”，Gallery Vacancy，上海，2023；“密恋”，Gallery Vacancy于伦敦弗里兹艺术博览会，伦敦，2022。他曾群展于GRIMM，纽约；白立方，香港；博伦坡画廊，东京；Nottingham Contemporary，诺丁汉；ICA，伦敦；刺点画廊，香港；Guts Gallery，伦敦；Gallery Vacancy，上海；Intersticio，马德里；Soft Opening，伦敦；和Delphian Gallery，伦敦。他的影像作品曾在伦敦皮卡迪利广场，伦敦ICA和Nottingham Contemporary放映。何麦克的作品被收藏于：Asymmetry Art Foundation，伦敦；Domus Collection，纽约；Labora Collection，达拉斯；李琳收藏，杭州；Tanoto Family Collection，新加坡；经纬艺术中心，香港；X美术馆，北京。

Michael Ho, born in Arnhem, Netherlands in 1991, now lives and works in London. Ho graduated from the Architectural Association in 2019. As a second-generation immigrant from China, Ho’s works investigate the notions of the Chinese diaspora, cultural mismatch, and subsequently cultural rediscovery through his painting practice. He employs a specific technique of painting from back to front, superimposing diluted images with resolved brush strokes, clashing Eastern traditions with Western aesthetics. Ho’s critical engagement with the orientalist images and tropes is multifold: from the playful to the political and from the erotic to the domestic. From 2020 to 2022, Ho worked with Chiyan Ho (1993-2022) as an artist duo. The duo’s solo exhibition includes: Kūnlún, V.O Curations, London, 2021. Ho’s solo exhibition includes: As Feelings Burn Their Way, High Art, Paris, 2023; Grotto Heavens, Gallery Vacancy, Shanghai, 2023; Tryst, Gallery Vacancy at Frieze London, London, 2022. His works have been featured in group exhibitions at GRIMM, New York; White Cube, Hong Kong; Blum & Poe, Tokyo; Nottingham Contemporary, Nottingham; ICA, London; Blindspot Gallery, Hong Kong; Guts Gallery, London; Gallery Vacancy, Shanghai; Intersticio, Madrid; Soft Opening, London; and Delphian Gallery, London. His film projects have been screened at Piccadilly Circus, London, ICA, London and Nottingham Contemporary. Ho’s works are in the collections of: Asymmetry Art Foundation, London; Domus Collection, New York; Labora Collection, Dallas; Li Lin’s Collection, Hangzhou; Longlati Foundation, Hong Kong; Tanoto Family Collection, Singapore; X Museum, Beijing.

黄可维

夜荫，2023

布面丙烯

135 x 180 公分（53 1/8 x 70 7/8 英寸）

Huang Ko Wei

Nighthawk, 2023

Acrylic on canvas

135 x 180 cm (53 1/8 x 70 7/8 in)

黄可维，1988年出生于台北，现工作、生活于台北。他分别于2006年与2011年取得国立台北艺术大学美术学系的学士及硕士学位。在黄可维的丙烯绘画实践中，流动性常常成为作品的主题，既存在在绘画语言当中，亦反映了艺术家在台湾所接受的学院训练背景。黄可维的画布上所精湛描绘的人物、动物以及建筑空间中，模糊性与可读性二者间的张力通过艺术家刻意于具象与抽象之间的游弋呈现，以此对绘画史做出回应，同时也体现了艺术家对美学传统不断进行的逃离。在动静平衡的画面中，黄可维企图在台湾后殖民语境的艺术史断层中提供一个遥远、陌生却又普世的观看体验。他的个展包括：”出镜“，Gallery Vacancy，上海，2023；“图谜”，也趣艺廊，莱比锡，2021；“觔斗”，也趣艺廊，台北，2021；“骰子”，也趣艺廊，台北，2020；“空灰”，也趣艺廊，台北，2015；“无理数”，VT Artsalon，台北，2013；“后乐园”，Agora Art Salon，台北，2011。部分群展于：Gallery Vacancy，上海；2020台湾美术双年展，国立台湾美术馆，台中；诚品画廊，台北；大美无言艺术空间，台中；高雄美术馆，高雄。

Huang Ko Wei, born in Taipei in 1988, now lives and works in Taipei. He holds a BFA and an MFA degree from the Taipei National University of the Arts. In his acrylic paintings, the artist delves into the theme of fluidity both in painterly language and his identity as an academically trained painter. In Huang’s deftly portrayed human figures, animals, and architectural space, the tension between ambiguity and legibility not only reveals the intentionally blurred boundary between representation and abstraction, an active response to the history of painting, but also indicates the artist’s relentless attempt at breaking free from the existing aesthetic convention. Huang’s meticulously balanced treatment of dynamic and static tones on canvas seeks to provide a distant, achronological yet universal visual experience, reflecting the gaps in the art history of postcolonial Taiwan. His solo exhibitions include: False Mirror, Gallery Vacancy, Shanghai, 2023; Puzzle, AKI Gallery, Leipzig, 2021; Roll, AKI Gallery, Taipei, 2021; One Die, AKI Gallery, Taipei, 2021; Phantom Gray, AKI Gallery, Taipei, 2015; Irrational Number, VT Artsalon, Taipei, 2013; Post-Paradise, Agora Art Salon, Taipei, 2011. Selected group exhibitions at: Gallery Vacancy, Shanghai; 2020 Taiwan Biennial, National Taiwan Museum of Fine Arts, Taichung; Eslite Gallery, Taipei; dmwe Art Gallery, Taichung; Kaohsiung Museum of Fine Art, Kaohsiung.

劳伦斯·莱杰

无题（芦笋），2023

布面油画

160 × 130 公分（63 x 51 1/8 英寸）

图片致谢艺术家及PLUS-ONE Gallery

Laurens Legiers

Untitled (asparagus), 2023

Oil on canvas

160 × 130 cm (63 x 51 1/8 in)

Courtsey of the Artist and PLUS-ONE Gallery

劳伦斯·莱杰，1994年出生于比利时哈瑟尔特。他2018年于安特卫普皇家艺术学院毕业，现生活、工作于比利时安特卫普。莱杰的作品以自然为主题，从比利时的绘画传统出发，将浪漫主义、表现主义和超现实主义中的丰富题材进行细致的形式分析。他具象式的创作语言将日常生活中的物体转录为风格化的几何形式，通过圆润的线条及对光和体积的细腻处理，传递一种悠远的静谧恬适。莱杰的艺术实践使张力与平衡并蓄：超现实主义的气韵透过视角、比例及色彩，与重复且对称抽象构图相融相交，形成了他对现代艺术史的当代解读。莱杰的个展包括：“岸里星畔”，Gallery Vacancy于台北当代，台北，2023；“If only”，Nicodim Gallery，纽约，2023；“Dusk till Dawn”，PLUS-ONE Gallery，安特卫普，2022；“幽思入幕”，Gallery Vacancy，上海，2021；“Soft Thoughts”，PLUS-ONE Gallery，安特卫普，2020。曾经群展于：L21 Gallery，马德里；Nicodim Gallery，纽约；Nino Mier Gallery，洛杉矶；Tuesday to Friday，瓦伦西亚；PLUS-ONE Gallery，安特卫普；The Hole，纽约；Ramp Gallery，伦敦；WOAW Gallery，香港；KOP VZW，安特卫普；Alpha Gallery，安特卫普；和Souterrain，安特卫普。

Laurens Legiers, born in Hasselt, Belgium in 1994, graduated from the Royal Academy of Fine Arts Antwerp in 2018 and now lives and works in Antwerp. Undertaking the subject matter of nature, Legiers’s practice emerges from the Belgian art historical tradition through his assiduous formal analysis of the rich tropes and motifs from Expressionism, Romanticism, and Surrealism. His paintings employ a figurative approach to transform the daily objects into stylized geometric forms through the pivoted curvilinearity, the idealized roundedness, along with the intricate treatment of volume and light to provoke an enduring sense of serenity and tranquility. The artistic endeavor of Legiers becomes a site of simultaneous tension and balance: the Surrealist sensibilities epitomized via perception, scale, and color nevertheless seep through the repetitive and symmetrical composition of the canvas, resulting in an alternative interpretation of art history. Legiers’s solo exhibitions include: Drifting Onshore, Gallery Vacancy at Taipei Dangdai, 2023; If only, Nicodim Gallery, New York, 2023; Dusk till Dawn, PLUS-ONE Gallery, Antwerp, 2022; A Veil of Thoughts, Gallery Vacancy, Shanghai, 2021 and Soft Thoughts, PLUS-ONE Gallery, Antwerp, 2020. His works have been featured in group exhibitions at L21 Gallery, Madrid; Nicodim Gallery, New York; Nino Mier Gallery, Los Angeles; Tuesday to Friday, Valencia; PLUS-ONE Gallery, Antwerp; The Hole, New York; Ramp Gallery, London; WOAW Gallery, Hong Kong; KOP VZW, Antwerp; Alpha Gallery, Antwerp; and Souterrain, Antwerp.

茹特·莫尔克

莱拉，2023

布面油画

45 x 40 公分（17 3/4 x 15 3/4 英寸）

Rute Merk

Lyra, 2023

Oil on linen

45 x 40 cm (17 3/4 x 15 3/4 in)

茹特·莫尔克，1991年出生于立陶宛，现生活工作于柏林。莫尔克2013年于维尔纽斯艺术学院获得绘画学士学位，2020年毕业于慕尼黑视觉艺术学院。莫尔克的绘画作品在风格上回应了后90年代电子游戏的特殊审美，在数位运算生成的空间透视与造形关系中，集结了写实科幻和虚拟真实的特点，以此来模糊当代社会性别与身份认知之间的界限。晕涂的背景与细致的神情，莫尔克往往将描绘的对象置身于如同电脑特效制作出的未明场景中，深入观察了意识主体与欲望他者之间的距离。她的创作不仅可以被看作为一种客观的纪实，更是个体在电子世界的强势影响下扭曲后的变革。不知名的形象以虚拟存在的方式，对应具体存在的人物被动画化、数字化，以此来展现人类灵魂在科技发展背景下获得的再一次重生。个展包括：“Moments”，beacon，慕尼黑，2023；“XP”，Tara Downs，纽约，2023；“f(x)”，Gallery Vacancy，上海，2022；“Стрілецька”，WT基金会，基辅，2021；“SS20”，Downs & Ross，纽约，2020；“单手接龙”，Gallery Vacancy，上海，2020。作品曾展出于Green Family Art Foundation，达拉斯市；Kunstverein München，慕尼黑；Margburger Kunstverein，马尔堡；RUPERT，维尔纽斯；以及当代艺术中心，维尔纽斯。莫尔克的作品于日内瓦现当代美术馆、迈阿密ICA、维尔纽斯MO Museum、北京木木美术馆、南京四方当代美术馆、及北京X Museum收藏。

Rute Merk, born in 1991 in Lithuania, now lives and works in Berlin. She received her BA in Painting from Vilnius Academy of Arts in 2013 and acquired her painting diploma from Akademie der Bildenden Künste in Munich, 2020. Merk draws fuzzy lines among genders, anonymous identities, and also the integration of realistic fiction and virtual realities in the facture of her painting which reverberates in its aesthetics of late ’90s RPG video games. Staging her subject matters into the seemingly computer generated imagery and scenes, Merk takes a deep look into the distance between a person and the phantasmal of the given image, which simultaneously becomes a document and distortion arisen from the triumph of digital world and reformation of the individual. Her solo exhibitions include: Moments, beacon, Munich, 2023; XP, Tara Downs, New York, 2023; f(x), Gallery Vacancy, Shanghai, 2022; Стрiлецька, WT Foundation, Kyiv, 2021; SS20, Downs & Ross, New York, 2020; and Solitaire, Gallery Vacancy, Shanghai, 2020. Recent group exhibitions at: Green Family Art Foundation, Dallas; Kunstverein München, Munich; Margburger Kunstverein, Margburger; RUPERT, Vilnius; Contemporary Art Centre, Vilnius. Merk’s works are in the collections of Institute of Contemporary Art, Miami; Musée d’Art Moderne et Contemporain, Geneva; MO Museum, Vilnius; M Woods Museum, Beijing; Sifang Art Museum, Nanjing; and X Museum, Beijing.

ML・波兹南斯基

安特卫普之幕，2023

油彩、手染帆布

100 x 120 公分（39 3/8 x 47 1/4 英寸）

ML Poznanski

Antwerp Scene, 2023

Oil on hand dyed linen

100 x 120 cm (39 3/8 x 47 1/4 in)

ML・波兹南斯基，1984 年出生于英国赫尔，现生活和工作于华沙。波兹南斯基曾就读于中央圣马丁艺术与设计学院的艺术系和伦敦大学伯贝克学院的哲学系。波兹南斯基画作的原材料来自她在华沙工作室制作衣服时，裁剪下来的亚麻布料。这些边角布料经由她的收集、重组、制染处理，最后缝制成一块崭新的布面，来进行她绘画创作的第一步。在波兹南斯基的绘画实践中，材料的分解与改造无数无可不在强调建构与劳作在绘画创作中的重要性。同时，她从切身的生命经验出发，探讨了童年往事、记忆还有对波兰传统手工挂毯成为当下时代遗迹的感叹。波兹南斯基是 “Everyone Agrees”写作团体的一员，该团体曾与伦敦的Book Works合作出版了《The Night》和《After The Night》。近期个展包括：“Tubamirum；A Missive for the Daffodils”，Simo Bacar Gallery，里斯本，2022；“Stories Not Systems”，Montague，伦敦，2019。她曾在伦敦的Raven Row Gallery发起一场行为表演。部分群展包括：“Palomar”，Simo Bacar Gallery，里斯本；“ZEIT”，house of spouse，Vienna；SPACE，伦敦；Castillo/Corrales，巴黎；Fool's Prophecy，华沙。

ML Poznanski, born in 1984 in Hull, UK, now lives and works in Warsaw. She studied Fine Art at Central Saint Martins and Philosophy at Birkbeck, University of London. Poznanski’s work is often constructed through bits of off-cut linen picked from the floor of her Warsaw studio, a place where she makes clothes as well as paintings. There, she gathers, hand-dyes, and painstakingly sews each fabric together to arrive at a new point of departure––a new blank canvas. Embracing the craftsmanship of artmaking, her approach of repurposing materials that have been broken down or partially used in one process, then be used in another, asserts the idea of painting as a site of construction or building. Her practice provides a unique contemplation on childhood, memory formation and serves as a quiet tribute to the relic of traditional Polish handwoven tapestry. Poznanski is part of the writing collective “Everyone Agrees” who have published “The Night” and “After The Night” with Book Works, London. Her recent solo exhibitions include: Tubamirum; A Missive for the Daffodils, Simo Bacar Gallery, Lisbon, 2022; and Stories Not Systems, Montague, London, 2019. She did a performance at Raven Row Gallery, London as a guest for Resonance FM and has participated in group exhibitions: Palomar, Simo Bacar Gallery, Lisbon; ZEIT, house of spouse, Vienna; SPACE, London; Castillo/Corrales, Paris; and Fool’s Prophecy, Warsaw.

沈心怡

科斯洛克探险队，2022

松木、石墨、亚克力、银箔、PLA树脂、植绒纤维、金属配件

228.6 x 25.4 x 23.5 公分（90 x 10 x 9 1/4 英寸）

Sydney Shen

Kisslock Cavern, 2022

Cedar wood, graphite, acrylic, sterling silver leaf, PLA resin, nylon flocking fiber, steel mount

228.6 x 25.4 x 23.5 cm (90 x 10 x 9 1/4 in)

沈心怡，1989年出生于美国新泽西，现生活工作于纽约。2011年毕业于The Cooper Union。她的装置、雕塑通常流露不寻常的诡谲与疏离。她从一系列的历史和当代文化资源中得到灵感，包括中世纪刑罚考究、科幻文学、和线上世界中加密的暗网，并以弗兰肯斯坦式—科学怪人的手法将中西方医疗器械、3D打印、以及生物标本等有机和人造材料重新搭建，利用这种诱人且恐怖的双重性将观众一步一步拉入她自编自导自演光怪陆离多重虚构的「真实」之中。

近期个展/个人项目包括：“第一把椅子”，Gallery Vacancy于Art Basel Hong Kong，香港，2023；“我到你的荣耀里”，Gallery Vacancy于Liste Art Fair Basel，巴塞尔，2021；“Strange But True”，Queens Museum，纽约，2021；“苦鞭作乐”，Gallery Vacancy，上海，2021；“Every Good Boy Does Fine”，Sophie Tappeiner，维也纳，奥地利，2019；“Onion Master”，New Museum，纽约，2019。近期群展于：Jack Barrett，纽约；金鹰美术馆，南京；Simone Subal Gallery，纽约；Lubov，纽约；KRAUPA-TUSKANY ZEIDLER，柏林；47 Canal，纽约；Deutsches Hygiene-Museum，德累斯顿；Gallery Vacancy，上海；Museum Het Valkhof，奈梅亨。沈心怡的作品收藏于：M+美术馆，香港；Asymmetry Art Foundation，伦敦；Longlati Foundation，香港；美凯龙艺术中心，北京；Sigg Collection，巴塞尔。沈心怡是2019-2020年Queens Museum Jerome Foundation Emerging Artist Fellowship的得奖者，并在2019-2020年取得Lower Manhattan Cultural Council Workspace的驻留。

Sydney Shen was born in 1989 in Woodbridge, NJ. She now lives and works in New York. She completed her BFA at The Cooper Union for the Advancement of Science and Art, New York in 2011. Shen uses sculptures and installations to create an atmosphere of wretched apprehension, examining the limitation of mentality through the extremity of the physical body. Exploring through various sources from historical and contemporary art history, including but not limited to medieval excruciation, supernatural horror fiction, and Internet subcultures, Shen frankensteins organic and fabricated materials such as Chinese and Western medical apparatus and instruments, graphic designed ornaments, and biological specimens. With the enticing but horrifying duality in her work, Shen manages to drag the audiences into the bizarre yet motley world she creates, directs and performs in.

Recent solo exhibitions include: First Chair, Gallery Vacancy at Art Basel Hong Kong, 2023; Cupio Dissolvi, Gallery Vacancy at Liste Art Fair Basel, 2021; Strange But True, Queens Museum, New York, 2021; Misery Whip, Gallery Vacancy, Shanghai, 2021; Every Good Boy Does Fine, Sophie Tappeiner, Vienna, 2019; and Onion Master, New Museum, New York, 2019. Recent group exhibitions at: Jack Barrett, New York; G Museum, Nanjing; Simone Subal Gallery, New York; Lubov, New York; KRAUPA-TUSKANY ZEIDLER, Berlin; 47 Canal, New York; Gallery Vacancy, Shanghai; Museum Het Valkhof, Nijmegen. Her works are included in the collections of: M+ Museum, Hong Kong; Asymmetry Art Foundation, London; Longlati Foundation, Hong Kong; Macalline Art Center, Beijing; Sigg Collection, Basel. Shen was the recipient of The Queens Museum-Jerome Foundation Fellowship for Emerging Artists and the Lower Manhattan Cultural Council Workspace Residency Program in 2019.

夏琳·泰伯格海因

别骑我的小马，2023

布面丙烯

80 x 60 公分（32 1/2 x 23 5/8 英寸）

图片致谢艺术家及Gallery Sofie Van de Velde

Charline Tyberghein

get off my horsie, 2023

Acrylic on canvas

80 x 60 cm (32 1/2 x 23 5/8 in)

Courtsey of the Artist and Gallery Sofie Van de Velde

夏琳·泰伯格海因，1993年出生于比利时安特卫普，现生活和工作于安特卫普。泰伯格海因2018年毕业于安特卫普皇家艺术学院。泰伯格海因的艺术实践吸收了比利时超现实主义精神，并通过错视画的技法加以呈现。她的绘画将趣味性和不可预知的视觉信息隐藏在秩序明晰的几何结构中，以此激活观者与作品之间一种富有游戏意味的视觉关系。泰伯格海因的个展包括：“家居风暴”，Gallery Vacancy，上海，2023；“Worrier Princess”，Gallery Sofie Van de Velde，安特卫普，2021；“Many drops make a puddle”，Castor Gallery，伦敦，2020；和“Soft News”，Beursschouwburg，比利时，2019。她的作品曾群展于：Gallery Vacancy，上海；De Warande，蒂伦豪特；L21 Gallery，马德里；Future Gallery，柏林；The Hole，纽约；安特卫普当代艺术博物馆，安特卫普。

Charline Tyberghein, born in 1993 in Antwerp, Belgium, now lives and works in Antwerp. Tyberghein graduated from the Royal Academy of Fine Arts, Antwerp in 2018. Tyberghein’s artistic practice absorbs the spirit of Belgian Surrealism, carried out through the trompe l'oeil technique. Her paintings conceal playfulness and unexpectancy within the orderly structured geometric clarity, meanwhile activating the dynamic viewing relationship between her works and the viewer. Tyberghein’s solo exhibitions include: Domestic Blitz, Gallery Vacancy, Shanghai, 2023; Worrier Princess, Gallery Sofie Van de Velde, Antwerp, 2021; Many drops make a puddle, Castor Gallery, London, 2020; and Soft News, Beursschouwburg, Brussels, 2019. Her works have been exhibited at: Gallery Vacancy, Shanghai; De Warande, Turnhout; L21 Gallery, Madrid; Future Gallery, Berlin; The Hole, New York; and M HKA, Antwerp.

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