偏锋画廊将于11月7日至10日参加2024 上海廿一当代艺术博览会。画廊将呈现代理艺术家恩里科·巴赫、邓洧、李继开、刘宇轩、马轲、倪军、胡里奥·朗多、谭军、童昆鸟、邬建安、尹朝阳、赵延斌的重要作品，届时欢迎您莅临展位E05。
PIFO Gallery is participating in 2024 Art 021 Shanghai Contemporary Art Fair from Nov. 7 to 10, showcasing artists Enrico Bach, Deng Wei, Li Jikai, Liu Yuxuan, Ma Ke, Ni Jun, Julio Rondo, Tan Jun, Tong Kunniao, Wu Jian'an, Yin Zhaoyang, Zhao Yanbin's works. We are pleased to welcome you on our Booth E05.
展位号 | Booth
E05
重要日期及时间 | Duration
VIP预览 | Preview
11.7，13:00 - 20:00
11.8，13:00 - 20:00
公众开放 | Public Days
11.9，11:00 - 18:00
11.10，11:00 - 18:00
地点 | Venue
上海展览中心 - 延安中路1000号
Shanghai Exhibition Center - No.1000 Middle Yan'an Road
参展作品 Works
尹朝阳 Yin Zhaoyang
山水 Landscape
2022
布面油画 Oil on canvas
97 × 131 cm
艺术有时就是一种鬼使神差，或者是一种任性使然。绘画不需要一加一等于二，它需要松动的信马由缰似的可能性，这是绘画的魅力。
——尹朝阳
二十多年来，尹朝阳通过对社会、人性、历史和中国传统文化的敏锐观察，形成了自己对事件和时代症候的个人态度与风格。人到中年，他仍然是一位理想主义者。他的作品脱离了围绕着图像展开对现实的描述，而上升为一种靠积蓄已久的情绪来调度画面的形成。他作品中的大笔触和表现主义的内核极具感染力，充满了观众所熟悉的、容易产生共情的魅力。
Art can be curious coincidences or actions led by willfulness. Painting doesn't need to add up, but to let the horse run wild. That's the appeal of painting. (Yin Zhaoyang)
Over the past twenty years, Yin has developed his attitude and style towards events and symptoms of the times through his keen observation of society, human nature, history, and traditional Chinese culture. He remains an idealist in his mid-life. His works have departed from rendering images that portray reality and sublimate to a type of image-making that relies on long-accumulated emotions. The broad brushstrokes and expressionistic core of his works are infectious and full of familiar, empathetic appeal.
马轲 Ma Ke
盲人摸象（五） The Blind Men and the Elephant Ⅴ
2023
布面油画 Oil on canvas
235 × 299 cm
马轲的“盲人摸象”系列是他的代表作之一，通过这一系列作品，艺术家展现了他对知识、认知和真理探求的深刻反思。“盲人摸象”系列以古印度寓言故事为灵感来源，故事中几个盲人通过触摸象的不同部分（如腿、鼻、耳）来想象整个大象的样子，每个人都根据自己的有限经验得出了不同的结论。马轲借用这一寓言，探讨了人类认识世界的局限性和主观性。这一系列作品不仅是对一个古老故事的再现，更是对现代社会中信息解读、个体观点多样性以及主观真理之间冲突的深刻隐喻。马轲通过“盲人摸象”的故事，暗示了人们在面对复杂现实时，往往只能基于有限的经验和知识作出判断，从而导致了对同一现象的不同解读和理解。
Ma Ke's "The Blind Men and the Elephant" series is one of his representative works. Through this series of works, the artist demonstrates his profound reflection on knowledge, cognition, and the pursuit of truth. The "The Blind Men and the Elephant" series is inspired by the ancient Indian fable, in which several blind men imagine the appearance of the entire elephant by touching different parts of it (such as legs, trunks, and ears), and each person reaches different conclusions based on their limited experiences. Ma Ke employs this fable to explore the limitations and subjectivity of human understanding of the world. This series of works is not only a reproduction of an ancient story but also a profound metaphor for the interpretation of information, the diversity of individual viewpoints, and the conflicts among subjective truths in modern society. Through the story of "The Blind Men and the Elephant", Ma Ke implies that when facing complex realities, people often make judgments only based on limited experiences and knowledge, thereby resulting in different interpretations and understandings of the same phenomenon.
倪军 Ni Jun
关山飞渡 The Big Sleep
2023
布面油画 Oil on canvas
50.4 × 70.4 cm
倪军是具有哲学思辨与理论素养的当代画家之一，对油画、公共艺术、现代艺术理论和我国古代文明有深入研究，以绘画、摄影、录像等手段表现当代生活和他对世间哲学的思考。他的绘画着眼于人性的复杂本质与自然的光色奥秘，尤其注重自然景物的灵魂属性和生活细节的优雅韵味，以敏锐的视觉观察和从容闲定的技法，在古典油画美感上加入现代生活的冷毅精神。
Ni Jun is one of the Chinese artists who have the most philosophical speculations and theoretical accomplishments; his creations have brought people to the complexity of humanity and the profound mystery in nature, especially paying attention to the spirituality of the natural scenery, the tradition of Chinese culture and and elegant scenes of life, with his keen visual observation and leisurely brushstrokes, Ni Jun brings the modernity to his strong personal-style painterly paintings.
邬建安 Wu Jian'an
有金属块的白日梦—有弹性的疼痛之四
Daydream with Metal Block-The Elastic Pain, No.4
2018
夹宣镂刻，彩纸，金属块电镀
Xuan paper-cut, colored paper, plated metal block
154 × 106 cm
《⽩⽇梦》描述的是特殊时期⼈的精神状态，这些看似迷蒙、偶然、灵机⼀动的“糊涂幻想”，既是那个时期陪伴艺术家度过恐慌和寂寞的幻梦朋友，是个体精神对突然降临的现实危机的感性回应，更是经过理性分析和反复的造型推敲之后的“精神解剖图”。
在最初的剪纸系列之后，邬建安尝试为作品附上不同的底⾊，以改变它们的情绪。⾦属块的加⼊带来⼀种更⼤的材质性差异，也象征某种难以预料的“不确定性”的突然⼊侵。《⽩⽇梦的森林》则进⼀步将这些平⾯的、柔软的纸本作品改造为黄铜雕镂的树状雕塑，它们成为空间中坚硬、甚⾄带有⼀定“危险感”的实体存在。观者⾛进作品组构的空间场域，也⾛进和共同参与了另⼀种迷离、虚晃、诡谲却又活⽣⽣的“真实”。
"Daydreams" describes the mental state of people during a special period. These seemingly hazy, accidental, and whimsical "confused fantasies" were not only the dreamy companions that accompanied the artist during the panic and loneliness of that period, but also the sensory response of individual spirits to the sudden crisis of reality. It is also a "spiritual dissection chart" that has undergone rational analysis and repeated modeling.
After the initial paper-cut series, Wu Jian'an attempted to attach different backgrounds to the works to change their mood. The addition of metal blocks brings a greater material difference and symbolizes the sudden invasion of some unpredictable "uncertainty." "The Daydreams Forest” further transforms these flat, soft paper works into brass-carved tree sculptures, which become solid entities in the space, with a certain sense of "danger." As viewers enter the spatial field of the work's composition, they also enter and participate in another kind of perplexing, elusive, and eerie yet vivid "reality."
谭军 Tan Jun
东山 East Mountain.37
2023
手工纸、墨、丙烯 Crafted paper, ink, acrylic
215 × 200 cm
谭军的绘画与其内在性情保持绝对的忠诚和一致，作品中揉合了中国传统绘画和艺术家直面自由和孤独的思绪。在他的绘画中，可以看到纸本与画布的异质感，画面的交界处出现的微妙分界，让原本就孤立于现实世界之外的画作，格外散发一种超脱的自由之感。谭军对绘画的纯粹态度，在于表达艺术家精神性与情感性的真实。他的构图形式，回归到他创作之初伫立画面的孤独形体，带有强烈的观古喻今的转化，给观者留下深刻的时代感和介入现实的当代性。
Tan Jun's professional training and technical proficiency allow his pictorial expressions to remain faithful to his inner nature. His paintings harmonize modern Western art concepts with traditional Chinese expressionism, conveying the artist's thoughts on freedom and loneliness. His works retain the visibility of the medium. He makes the heterogeneous texture of paper and canvas stand out and creates an atmosphere of transcendence and freedom. The subtle unevenness at the junction distinguishes his pictures from standard flat images, which embodies the artist's philosophical thinking. Tan Jun's pure attitude towards painting lies in expressing the artist's spirituality and emotional truth. The lonely forms in his paintings concrete his questioning of being in Heidegger's sense These forms contain ancient meanings with a modern touch, leaving an untrammeled feeling for viewers.
恩里科·巴赫 Enrico Bach
LVRV
2022
布面油画 Oil on canvas
145 × 110 cm
恩里科·巴赫使用线条、形式和颜色制造出“视觉陷阱”的纵深效果。再用自发的肢体语言和随机的行动颠覆自己创造出严谨的几何抽象形式绘画。他的作品玩弄并慢慢瓦解人们对于透视和三维立体的惯常印象，迫使观者重新感知二维的绘画形式。巴赫的作品被欧洲和亚洲许多重要艺术机构、私人收藏，是德国年轻一代艺术家中的佼佼者。
Enrico Bach uses line, form and colour to create troupe l'oeil effects of depth. He then subverts his rigorous geometric abstract form of painting with spontaneous gestures or random actions. The works seduce and undermine the viewers’perception of perspective and three-dimensionality thus forcing them to consider the works once again as two-dimensional paintings.
李继开 Li Jikai
小帐篷 Small Tent
2021
布面丙烯 Acrylic on canvas
120 × 90 cm
躲在角落里，进入一个对于日常物质低限度状态的工作和生活中，低于尘埃，和时代脱节一般。在绘画中体会某种质感，寻找一些可能。不断受挫的过程对于艺术而言，让人远离社会生活中的种种得意，在绘画中无论用力过度还是诚实不足，才让人觉得自己是真正的失败者。创作劳动过程的意义就在于自己可以停留于无声处去体察自己的呼吸和留下活着的痕迹，日常生活中的失败让人坠到尘土中。当一个人在生活中的选择变得越来越少的时候，绘画也许开始诚实有效。
——李继开
Hiding in the corner, switching into a living/working mode where material needs are minimized, insignificant human beings living on an insignificant speck of dust, as if impossible to catch up with the times. In painting, I experience, I feel, and I explore possibilities. Constant frustration in the process of making art keeps us away from all the complacency. In painting, either working too hard or lacking honesty makes people feel that they are the ultimate losers. The significance of the creative labor is that one can silently listen to their own breath and leave traces of lives that they have lived. The failures in everyday life can lead our hopes to being turned to dust. Only when being given less choice can one create paintings in a more honest, effective manner. (Li Jikai）
童昆鸟 Tong Kunniao
青绿鸿枝图 Second Natural Person
2024
绢本设色 Ink on silk
190 × 140 cm
童昆鸟的作品形式多样，在装置、行为、影像、雕塑和绘画等媒介中灵活穿插。他习惯利用现代社会这个永动废物工厂制造的（过剩）产物与个人日常生活中触手可及的残余物件进行创作。关注繁杂的社会结构对个体身份与地位的限制与消耗，分解现成物，结合机械串联，导入重力平衡等因素，从而回应材料背后的个体意识，社会机制之间的多重变量和脆弱性。在拜物情绪、消费文化符号盛行，信息过载的当下，不断突破人类再造物的想象边界，呈现刁钻与戏谑并行的重构。
Tong Kunniao's works across installation, performance, video, sculpture, and painting. He is adept at using “excess products” generated by the modern world—a perpetual waste-making factory, and “leftovers” that have been found in resale shops, the flea markets or on the streets. He concerns about how the complex social structure has determined our social status and eaten up our individual identities. By decomposing ready-made objects and reassembling them in tandem or keeping them perfectly in balance, Tong aims to demonstrate the individual consciousness (the free spirit) behind the objects as well as the multiplicity and fragility of the system. In an era when commodity fetishism and symbol consumption are prevalent, and information is overloaded, Tong's work extends beyond formal boundaries of reconstruction and presents it in a quirky and seemly absurd manner.
邓洧 Deng Wei
劳动者之环卫工人 Laborer, the Sanitation Worker
2022
布面丙烯 Acrylic on canvas
160 × 190 cm
把邓洧的绘画叫做“喜剧”，并不仅是因为他的题材、故事与形象，虽然它们有着强烈的喜剧效果，不管是唐僧师徒四人躺在海滩上度假，还是田螺姑娘长着美人鱼的尾巴，又或者是他把城管、环卫工人与乞丐描绘的是多么的概括并传神。但邓洧绘画中真正有趣的地方在于，他故意造成绘画语言与绘画内容之间的“逗”，这种“逗”带来的是一种智力上的放松与欣赏。是的，喜剧尤其要避免的是让观众“沉浸”其中，而是要让观众站在审判席上去“笑”，“嘲笑”。
In this sense, claiming Deng Wei's paintings as "comedy" is not only grounded on his subjects, stories, and iconography, despite their compelling comedic effect, ranging from the Tang Monk and his disciples lying on the beach on vacation, the Chinese conch maiden with mermaid's tail in the field of snails, and how generalized and evocative he depicts the urban police, sanitation workers and beggars. The actual intrigue in Deng's paintings is the way in which he deliberately creates the "tease" between the language and the content of his paintings, which affords intellectual relaxation and appreciation. Yes, comedy, in particular, should avoid the provision of an "immersive" experience, instead placing the spectator on the judicial stand to "laugh at" and "mock."
胡里奥·朗多 Julio Rondo
落 Fallen
2022
玻璃背面丙烯，木板上丙烯及漆
Acrylic behind glass, acrylic and varnish on wood
110 × 95 cm
胡里奥·朗多的作品在玻璃背面喷涂丙烯和油漆，企图通过巨大的笔触痕迹，和无与伦比的色彩光影混淆绘画的界限。尽管那些痕迹生动得如自发生长一般，但其实都是艺术家经过了深思熟虑后的严格执行：首先在玻璃后的底板上用色块建构框架，然后在玻璃上使用快干丙烯叠涂加重颜色，有时再次刮去，产生半透明的肌理。所使用的色彩几近超出人类的视力边界，加上玻璃折射出炫目的反光，使人不禁产生幻觉，直接跌入其作品内部。
Julio Rondo has constructed each work by enclosing a painted surface in a glass case with its own reverse side treated with acrylic and paint, which indicates the artist’s attempt to blur the boundaries of painting with bold strokes visible as distinct marks and unparalleled colors and shades. Although the marks are as vivid as being produced in an improvised way, they are meticulously executed by the artist with much careful deliberation: first, the artist built up with color on the backing behind the glass, then the color is reinforced on the glass using an overlay of fast-drying acrylic, sometimes scraped off again to produce a translucent texture. The color scheme designed by the artist goes virtually beyond the boundaries of human vision. With the dazzling reflective sheen of glass, it seems to be impossible for viewers not to induce hallucinations and immerse themselves in the world of Julio Rondo's art.
赵延斌 Zhao Yanbin
画家 Painter
2024
布面丙烯 Acrylic on canvas
110 × 200 cm
赵延斌，1991年生于河南新野，2010年毕业于中央美术学院附中，2014年毕业于中央美术学院实验艺术学院。现工作、生活于北京。
赵延斌是一位通过自己的感觉用绘画展现我们童年的艺术家。追忆我们年少时想过的事情，或者我们经历过的事情，也通过提问的方式将现在上学的学生所想象的，或者知道的事情用艺术家独特的表现方式呈现出来。他的作品与我们一般理解的当代绘画有一些出入，他使用了普通人喜闻乐见的风俗化语言。而这其中，却隐藏着非常深刻的寓意。我们在进入画面时，会感受作者思维的缜密及深度。
Zhao Yanbin, born in 1991, Xinye, Henan Province, graduated from Fine Arts School Affiliated to China Central Academy of Fine Arts in 2010, then graduated from CAFA School of Experimental Art in 2014. Currently lives and works in Beijing.
Zhao Yanbin is an artist who paints our childhood through his own feelings. His works recall the things we thought or experienced when we were young, and also present the things imagined or known by current school students with the unique expression of artists through the way of asking questions. His works are a little different from our understanding of contemporary painting, and he uses the folksy language that ordinary people like to hear. But there is a very deep moral hidden in it. When we enter the picture, we will feel the meticulousness and depth of the author's thinking.
刘宇轩 Liu Yuxuan
B.P. No.6
2024
木板油画 Oil on wood panel
33 × 36.5 cm
刘宇轩，1993年生于中国北京，2017年在加拿大艾米丽卡尔艺术与设计大学获得艺术学士，后于2022年获得中央美术学院文学硕士学位。
我着迷于物体中拟人化的美，因为我相信人性的抽象可以从这些形状之中显现出来。我希望观者能够参与到与形状的无声的交流中，进而触发与自我的对话。
——刘宇轩
Liu Yuxuan, born in Beijing, graduated from the Emily Carr University of Art and Design, BFA, Canada in 2017. In 2022, he graduated from the Central Academy of Fine Arts, MA, China.
The anthropomorphic beauty found in objects captivates me because I believe the abstraction of humanity can be revealed through these shapes. I aspire for viewers to partake in a silent interaction with the forms, which can then spark an introspective dialogue. (Liu Yuxuan)
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关于画廊
偏锋画廊坚持对中国当代艺术进程的洞察以及对欧洲及战后艺术大师的探索，并在两者的对话与碰撞中寻找各种可能的艺术力量。偏锋既是中国最早推动抽象艺术研究与发展的重要画廊，也是持续探讨具象绘画在当下多种可能性的主要机构。我们深信，艺术的体验产生于一个又一个的变革中创造的新世界；艺术家的作品正是探索世界的第三只眼睛。对于收藏家，偏锋为其提供专业知识，鼓励他们发掘个人独特的视角，只因两者的充分结合才能构建卓越的收藏。我们希望更多的藏家可以秉持鉴赏家的心态，更深入地理解当代艺术以及欣赏画廊发掘、重塑并坚信的艺术家。
About Gallery
PIFO Gallery concentrates on the participation of the course of Chinese contemporary art and the exploration of post-war European master artists and seeking for all possibilities of art power in the dialogue and collision between the two aspects. As a major gallery in China specialized in the study and promotion of abstract art, and also the main institution to continuously explore the various possibilities of figurative art at present, PIFO is convinced that the experience of art emerges from the new world created by one revolution after another; The artist's work is the third eye to explore the world. For collectors, PIFO provides expertise and encourages them to explore their own unique perspective because only the combination of the two can make a great collection. We hope to see a growing number of collectors to take on the roles of a connoisseur, with a more in-depth understanding of Asian and Western contemporary art, and appreciate the artists discovered, reshaped and firmly believed in by the gallery.
其他垂询
All enquiries
王彧涵 Sophia Wang
sophia.wang@pifo.cn
M: +86 18210011135
邵萍 Apple Shao
apple@pifo.cn
M: +86 18310700176
