ART021 上海廿一当代艺术博览会
主画廊单元
W34
亚历山大・弗戈，娜塔莉亚・冈萨雷斯・马丁，薇薇安・格蕾文，黄可维，茹特・莫尔克，詹姆斯・帕派彤，丹尼・索伯，铃木初音，王霈
ART021 Shanghai Contemporary Art FairAlessandro Fogo, Natalia Gonzalez Martin, Vivian Greven, Huang Ko Wei, Rūtė Merk, James Prapaithong, Danny Sobor, Hatsune Suzuki, Wang Pei尊贵藏家预览：
2024年11月7日，星期四，下午1至8时
2024年11月8日，星期五，下午1至8时
2024年11月9日，星期六，上午11时至下午6时2024年11月10日，星期日，上午11时至下午6时
November 7, 2024, Thursday, 1–8 pmNovember 8, 2024, Friday, 1–8 pmNovember 9, 2024, Saturday, 11 am–6 pmNovember 10, 2024, Sunday, 11 am–6 pmLocation:
Shanghai Exhibition Center
No.1000 Middle Yan An Road
Gallery Vacancy将于2024年ART021上海廿一当代艺术博览会“主画廊单元”中呈现九位背景多元的艺术家，展位号为W34。
Gallery Vacancy is honored to present nine artists from diverse backgrounds at the Main Galleries section in ART021 Shanghai 2024, Booth W34.
关于艺术家
亚历山大・弗戈
群鸟，2024
布面油画
145 × 120 公分（57 1/8 × 47 1/4 英寸）
Alessandro Fogo
Stormo, 2024
Oil on linen
145 × 120 cm (57 1/8 × 47 1/4 in)
亚历山大・弗戈，1992年出生于意大利特耶内市，现生活和工作在于圣贝内代托-德尔特龙托。弗戈在获得威尼斯建筑大学（IUAV）视觉艺术学院的学士学位后，于2017年在比利时安特卫普皇家美术学院获得绘画专业的硕士学位。弗戈的绘画实践探索了神话的历史功能，意在解析其对当代生活的启示性。他的绘画主要取材于古老的意大利民间神话以及历史上人们对信仰的外在表现形式。他融合神话的幻想与现代生活中的形象，通过独特的叙述方式进行改变和再创造，使画面富有灵见和逸事的特质。个展包括：“Reach Out Touch Faith”，Fondazione Coppola，维琴察，2024；“Mythos”，Museo Palazzo Buonaccorsi，马切拉塔，2023；“圣显”，Gallery Vacancy，上海，2023；“Hang a crocodile outside for the unbelievers”，Cassina Projects，米兰，2023；“Black Morning”，Alessandro Fogo & Paola Angelini，Lyles & King，纽约，2022；“Skins and leathers”，PM/AM Gallery，伦敦，2022；“Alla luce del sole，un attimo prima di spegnersi”，Galleria Annarumma，那不勒斯，2021。群展包括：“Through the Floods”，Collezione Maramotti，雷焦・艾米利亞，2024；“X的收藏202：一个男人的肖像”，X美术馆，北京，2024；“Pittura Italiana Oggi”，米兰三年展，2023；“Dreamcatcher”，beacon，慕尼黑，2022；“Domani Qui Oggi”，罗马四年展，2021；“If on a winter’s night a traveller”，MAMOTH，伦敦，2020；“Immersione Libera”，Palazzina dei Bagni Misteriosi，Galleria Continua，米兰，2019。近期获奖及驻留包括：Premio Pannaggi/Nuova Generazione绘画奖，马切拉塔，2023；Nordisk Kunstnarsenter Dale艺术驻留，挪威，2021；意大利Combat Prize绘画一等奖，2019；及意大利拉古纳国际艺术奖绘画一等奖，2018。Alessandro Fogo, born in 1992 in Thiene, Italy, now lives and works in San Benedetto del Tronto. In 2017, he obtained a Master in painting at the Royal Academy of Fine Arts Antwerp, Belgium after graduating with BA at IUAV Visual Arts in Venice. Fogo approaches through his painting practice, how the idea of mythical reasoning remains poignant to the revelation of our contemporary reality. Sourcing the myths around Italian mythological tales and the multifarious forms of idols throughout history, Fogo weaves personal narratives with mystical symbology to conjure visionary and allegorical qualities to his paintings. Like sensate lullabies, each scene speaks a mystical idiolect of their own, a language of lamentation for mystical lost to avant-garde practises throughout the present.Fogo’s solo exhibitions include: Reach Out Touch Faith, Fondazione Coppola, Vicenza, 2024; Mythos, Museo Palazzo Buonaccorsi, Macerata, 2023; Hierophany, Gallery Vacancy, Shanghai, 2023; Hang a crocodile outside for the unbelievers, Cassina Projects, Milan, 2023; Black Morning, Alessandro Fogo & Paola Angelini, Lyles & King Gallery, New York, 2022; Skins and leathers, PM/AM Gallery, London, 2022; Alla luce del sole, un attimo prima di spegnersi, Galleria Annarumma, Naples, 2021. Selected group exhibitions include: Through the Floods, Collezione Maramotti, Reggio Emilia, 2024; X Collection 202: Portrait of a Man, X Museum, Beijing, 2024; Pittura Italiana Oggi, Triennale Milano, Milan, 2023; Dreamcatcher, beacon, Munich, 2022; Domani Qui Oggi, Quadriennale di Roma, Rome, 2021; If on a winter’s night a traveller, MAMOTH, London, 2020; Immersione Libera, Palazzina dei Bagni Misteriosi, Galleria Continua, Milano, 2019. Fogo was the recipient of the Premio Pannaggi/Nuova Generazione, Macerata, 2023; the Nordisk Kunstnarsenter Dale Residency, Dale, 2021; the Combat Prize, first painting prize, Livorno, 2019; and the Arte Laguna Prize, first painting prize, Venice, 2018.![]()
娜塔莉亚・冈萨雷斯・马丁
无处不在的美丽，2024
木板油画
15.2 × 20.4 × 2 公分（6 × 8 × 3/4 英寸）
Natalia Gonzalez Martin
Even there, there is beauty, 2024
Oil on board
15.2 × 20.4 × 2 cm (6 × 8 × 3/4 in)
娜塔莉亚・冈萨雷斯・马丁，1995年出生于西班牙，现工作生活于伦敦。她2017年在伦敦城市行业协会艺术学院获得绘画学士学位。她借用圣像绘画的形式，审视了宗教和文化传统对个人身体和身份的遗留影响，深入挖掘嵌入于日常生活中的仪式和惯例。通过传承自中世纪的木板油画技法，冈萨雷斯・马丁的作品融合了艺术史中的符号和人物形象，以及充斥于如今过度饱和的视觉经验中的当代图像。通过饱满鲜艳的色彩和如梦似幻的构图细节，她意图跨越神圣与世俗之间的界限，为个体经验和暗藏其中的生存困境提供另一种可能的叙事。个展包括：“Table Manners”，Hannah Barry Gallery，伦敦，2024；“Book of Hours”，Castello San Basilio，巴西利卡塔，2024；“欢庆时刻”，Gallery Vacancy，上海，2024；“Lady into Fox”，Galerie Sébastien Bertrand，日内瓦，2023；“Fever of Happiness”，Palazzo Monti，布雷夏尼，2023；“A change (would do you good)”，Hannah Barry Gallery，伦敦，2022；“Las Soledades”，Steve Turner，洛杉矶，2022。她的作品曾展出于：马刺画廊，北京；Soup Gallery，伦敦；Guts Gallery，伦敦；Cob Gallery，伦敦；Galeria Pelaires，帕尔马；Lawrie Shabibi Galerie，迪拜；East Contemporary，昂特勒沃；Collective Ending HQ，伦敦。Natalia Gonzalez Martin, born in 1995 in Spain, now lives and works in London. She received her BA in Fine Art Painting at City & Guilds of London Art School in 2017. Drawing from the formal qualities of icon painting, her works examine the vestige of religious and cultural heritage on one’s physical body and identity, delving into the rituals ingrained in daily life. Employing medieval painting form, namely, oil on wood panel, as well as historic symbolisms and figurations in her paintings, Gonzalez Martin rouses the re-enchantment of the mythical, and fabulates daedal narratives that resonate the oversaturated-ness and irrepressible chaos of image content found in our contemporary visual experience. Through the hallucinatory details and vibrant color palette, her pieces transcend the boundaries between the divine and the secular, alluding to an alternative narrative of individual experience and the living predicament endured irrespective of time and space.Gonzalez Martin’s solo exhibitions include: Table Manners, Hannah Barry Gallery, London, 2024; Book of Hours, Castello San Basilio, Basilicata, 2024; Rite of Passage, Gallery Vacancy, Shanghai, 2024; Lady into Fox, Galerie Sébastien Bertrand, Geneva, 2023; Fever of Happiness, Palazzo Monti, Brescia, 2023; A change (would do you good), Hannah Barry Gallery, London, 2022; Las Soledades, Steve Turner, Los Angeles, 2022. Her works have been featured in exhibitions at: SPURS Gallery, Beijing; Soup Gallery, London; Guts Gallery, London; Cob Gallery, London; Galeria Pelaires, Palma; Lawrie Shabibi Galerie, Dubai; East Contemporary, Entrevaux; Collective Ending HQ, London.
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薇薇安・格蕾文
Ais V，2024
布面油画
160 × 120 公分（63 × 47 1/4 英寸）
Vivian Greven
Ais V, 2024
Oil on canvas
160 × 120 cm (63 × 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：“Vivian Greven | Paula Modersohn-Becker”，Paula Modersohn-Becker美术馆，不来梅，2024；“When the Sun Hits the Moon”，贝浩登，纽约，2024；“Water”，Neue Galerie Gladbeck，格拉德贝克，2023；“You Skin Is My Shield”，Gallery Vacancy于首尔弗里兹，2022；“CLOSE”，Kadel Willborn，杜塞尔多夫，2021；“Nabel”，海德堡美术协会，2021；“薇薇安・格蕾文”，巴登美术馆，2021；“荧变”，Gallery Vacancy，上海，2021；“Apple”，埃朗根美术馆，2020。部分群展于：Museum MORE，霍瑟尔；Fondation Carmignac，波克罗勒岛；波恩美术馆；杜塞尔多夫艺术博物馆；G2 Kunsthalle，莱比锡；Alte Nationalgalerie，柏林；漢堡美术馆；杜塞尔多夫美术馆；纽伦堡美术馆；Vestvossen Kunstlaboratorium，韦斯特沃森；Ludwig Forum Aachen，亚琛；沃尔夫斯堡美术馆；Anthena Foundation，杜塞尔多夫；Deichtorhallen Hamburg，汉堡；斯图加特美术馆；萨尔兹堡艺术协会。格蕾文的作品收藏于：Braunsfelder Family Collection，科隆；漢堡美术馆；Hildebrand Collection，莱比锡；Kunstmuseum Bonn，波恩；杜塞尔多夫美术馆；埃朗根美术馆；斯图加特美术馆；李琳收藏，杭州；龙美术馆，上海；Providence College Galleries，普洛敦维士；Sammlung Kunsthaus NRW，亚琛；Sammlung Philara，杜塞尔多夫；STRABAG Artcollection，维也纳。格蕾文将于2025年于Gallery Vacancy举行第二次个展。
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.
Greven’s recent solo exhibitions include: Vivian Greven | Paula Modersohn-Becker, Paula Modersohn-Becker Museum, Bremen, 2024; When the Sun Hits the Moon, Perrotin, New York, 2024; Water, Neue Galerie Gladbeck, 2023; Your Skin Is My Shield, Gallery Vacancy at Frieze Seoul, 2022; CLOSE, Kadel Willborn, Düsseldorf, 2021; Nabel, Kunstverein Heidelberg, 2021; VIVIAN GREVEN, Kunstmuseum Langmatt, 2021; The Negatives, Gallery Vacancy, Shanghai, 2021; and Apple, Kunstpalais Erlangen, 2020. Her works have been featured in exhibitions at: Museum MORE, Gorssel; Fondation Carmignac, Porquerolles Island; Kunstmuseum Bonn; Kunstpalast Düsseldorf; G2 Kunsthalle, Leipzig; Alte Nationalgalerie, Berlin; Hamburger Kunsthalle; Kunsthalle Düsseldorf; Kunsthalle Nürnberg; Vestvossen Kunstlaboratorium; Ludwig Forum Aachen; Kunstmuseum Wolfsburg; Anthena Foundation, Düsseldorf; Deichtorhallen Hamburg; Kunstmuseum Stuttgart; and Salzburger Kunstverein. Greven’s works are in the collections of Braunsfelder Family Collection, Cologne; Hamburger Kunsthalle; Hildebrand Collection, Leipzig; Kunstmuseum Bonn; Kunstpalast Düsseldorf; Kunstpalais Erlangen; Kunstmuseum Stuttgart; Li Lin Collection, Hangzhou; Long Museum, Shanghai; Providence College Galleries; Sammlung Kunsthaus NRW, Aachen; Sammlung Philara, Düsseldorf; and STRABAG Artcollection, Vienna Greven will have her second solo exhibition at Gallery Vacancy in 2025.![]()
黄可维
回廊，2024
布面丙烯
单幅尺寸：145.5 × 112 公分 （57 1/4 × 44 1/8 英寸）
双联画，总尺寸：145.5 × 230 公分（57 1/4 × 90 1/2 英寸）
Huang Ko Wei
Penrose, 2024
Acrylic on canvas
Each: 145.5 × 112 cm (57 1/4 × 44 1/8 in)
Diptych, overall: 145.5 × 230 cm (57 1/4 × 90 1/2 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。
近期个展包括：“Nested Real-Time”，CYLINDER，首尔，2024；“穿隧”，Cadet Capela，巴黎，2024；“出镜”，Gallery Vacancy，上海，2023。群展包括：“Gentle Again”，The Shophouse，香港，2024；“Our Week”，Gallery Vacancy，首尔，2023；“各找各家”，Gallery Vacancy，上海，2022；“闲人出差”，Gallery Vacancy，上海；2021；“禽兽不如”，台湾美术双年展，国立台湾美术馆，台中，2020；“扶疏”，诚品画廊，台北，2019。
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. Huang Ko Wei's recent solo exhibitions include: Nested Real-Time, CYLINDER, Seoul, 2024; Tunneling, Cadet Capela, Paris, 2024; False Mirror, Gallery Vacancy, Shanghai, 2023. Group exhibitions include: Gentle Again, The Shophouse, Hong Kong, 2024; Our Week, Gallery Vacancy, Seoul, 2023; Self-Dismiss, Gallery Vacancy, Shanghai, 2022; Vacation, Gallery Vacancy, Shanghai, 2021; Sub-zoology: 2020 Taiwan Biennial, National Taiwan Museum of Fine Arts, Taichung, 2020; and Luxuriant, Eslite Gallery, Taipei, 2019.
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茹特・莫尔克
水果与拿铁，2023
布面油画
140 × 80 × 2.5 公分（55 1/8 × 31 1/2 × 1 英寸）
Rūtė Merk
Fruits and Latte, 2023
Oil on canvas
140 × 80 × 2.5 cm (55 1/8 × 31 1/2 × 1 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，2023年毕业于慕尼黑视觉艺术学院。莫尔克以源自于学院绘画的传统技法，拟彷了物体由物质世界再现于数字景观中所生成的隔阂与误差，意在审视个体身份在网路算法经济系统中被激活的异化与整合。作品中的人物与物件通常以悬停的方式暂歇地被搁置在画布中央，摆荡在背景所描绘的无垠虚空之中。个体的差异性由此被消解，在同质化的共鸣中彼此呼应又相互孤立。平滑诱人的图像表面在艺术家的精心编造下，重建并检视图像在数字世界中广泛流通的审美形式，其中繁复劳作下的笔触痕迹被隐匿在几近无暇、去人格化的完美中。历史文化的传统影响与人为介入的技术变革在她的画布上并存，勾勒了当下日常经验中科技导向的工程化崇高，以及随之而来注定为时代所汰换的焦虑与隐忧。劳动与闲暇的界线逐渐模煳、靠拢与交错，提示了现代生活相互连结却又无法逃逸的孤独，在身体逐渐退位的非物质转向间不断地游移在虚拟与真实的光谱之中。近期个展包括：“Crisp3r”，Gallery Vacancy于首尔弗里兹，2024；“Promises”，国家艺廊，维尔纽斯，2024；“Moments”，beacon，慕尼黑，2023；“XP”，Tara Downs，纽约，2023；“f(x)”，Gallery Vacancy，上海，2022；“Стрiлецька”，WT基金会，基辅，2021；“SS20”，Downs & Ross，纽约，2020；“单手接龙”，Gallery Vacancy，上海，2020。部分群展于：Green Family Art Foundation，达拉斯；Kunstverein München，慕尼黑；Margburger Kunstverein，马尔堡；Rupert，维尔纽斯；及当代艺术中心，维尔纽斯。莫尔克的作品收藏于：Green Family Art Foundation；达拉斯；迈阿密ICA；香港M Art Foundation；北京木木美术馆；维尔纽斯MO Museum；日内瓦现当代美术馆；南京四方当代美术馆；及北京X美术馆。Rūtė 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, 2023. Exploring the essence of human condition, Merk employs academic painting tradition to simulate the glitch generated from physical representations in the mediated world and the integration of identities under the conditions of cognitive capitalism. Figures and objects are usually depicted and suspended in the center of her composition in a homogenized manner, unified and isolated against the backdrop rendered in an alienating vastness and hollowness. The intriguing smoothness of her fabricated surface imitates and re-assesses the prevailing visual aesthetics in the digital sphere, concealing brushworks, the laborious endeavor, into dehumanized perfection. Meeting both the traditional and the artificial on her canvas, Merk contours both engineered sublime and concomitant anxieties of planned obsolescence in our technology conditioned life. The boundary between work and leisure is blurred, merged, and interlaced, illuminating the networked loneliness perpetuated and embodied in the immateriality shifting between the virtual and the realistic spectrum.
Merk’s solo exhibitions include: Crisp3r, Gallery Vacancy at Frieze Seoul, 2024; Promises, National Gallery of Art, Vilnius, 2024; 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. Her works have been featured in exhibitions at: Green Family Art Foundation, Dallas; National Gallery of Art, Vilnius; Kunstverein München, Munich; Margburger Kunstverein, Margburger; Rupert, Vilnius; Contemporary Art Centre, Vilnius. Merk’s works are in the collections of Green Family Art Foundation, Dallas; Institute of Contemporary Art, Miami; M Art Foundation, Hong Kong; M Woods Museum, Beijing; MO Museum, Vilnius; Musée d’Art Moderne et Contemporain, Geneva; Sifang Art Museum, Nanjing; and X Museum, Beijing.
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90 × 120 × 3.5 公分（35 3/8 × 47 1/4 × 1 3/8 英寸）90 × 120 × 3.5 cm (35 3/8 × 47 1/4 × 1 3/8 in) 詹姆斯・帕派彤，1996年出生于泰国曼谷，现生活、工作于伦敦。他在温布尔登艺术学院获得绘画学士学位，而后于皇家艺术学院获得绘画硕士学位。詹姆斯・帕派彤的艺术实践一直围绕着地点、记忆和消逝的时间之间的深刻关系展开。他的作品以模仿屏幕长宽比的构图为特点，展现熟悉而又难以捉摸的风景。高饱和度的色调源于他对光线的忠实，以及将视觉和情感进行外部显化的手法。他将浪漫的自然元素—水、天空和星星—串联在画面中，作为朦胧如梦的风景将美学之美与怀旧之情交织在一起，揭示了人们对联系的渴望。帕派彤电影般的绘画作品仿佛记忆构建，充满了光学线索，挑逗着集体记忆的缝隙，在那里，洞察变得清晰可见，但从未全然透明。
个展包括：“Strange Trails”，Nova Contemporary，曼谷，2024；“Light Years”，Workplace，伦敦，2023；“喃喃”，蜂巢·生成，上海，2023；“A Year Ago Today”，Workplace，伦敦，2021。群展包括：“A New Sensation”，Galerie Marguo，巴黎，2023；“Kaleidoscope”，Workplace，伦敦，2022；“ HEXAGON”，Nova Contemporary，曼谷，2022；“This is Water”，Workplace，伦敦，2021；“The Weird and the Eerie”，Hockney Gallery，伦敦，2020；等。
James Prapaithong, born in Bangkok, Thailand in 1996, now lives and works in London. He received his BA in painting from Wimbledon College of Arts and MA in painting at the Royal College of Art. James Prapaithong’s practice has always centered on the profound relationship between place, memory, and the transience of time. Prapaithong’s work is characterized by compositions that emulate the aspect ratios of screens, resembling enlarged photographs of familiar yet elusive landscapes. His palette of highly saturated hues stems from his fidelity to light, which he sees as a means to express potent visions and intimate emotions. Threading a constellation of romanticized natural elements—water, sky and stars—his hazy, dream-like landscapes weave aesthetic beauty with nostalgia to reveal a universal longing for connection. Like a construction of memory, optical cues abound, Prapaithong’s filmic paintings tease at the seams of collective memories where insights are made visible but never wholly transparent.
Prapaithong’s solo exhibitions include: Strange Trails, Nova Contemporary, Bangkok, 2024; Light Years, Workplace, London, 2023; Whisper, Hive Becoming, Shanghai, 2023; A Year Ago Today, Workplace, London, 2021. Group exhibitions include: A New Sensation, Galerie Marguo, Paris, 2023; Kaleidoscope, Workplace, London, 2022; HEXAGON, Nova Contemporary, Bangkok, 2022; This is Water, Workplace, London, 2021; The Weird and the Eerie, Hockney Gallery, London, 2020; and more.![]()
丹尼・索伯
晚云，2024
布面油画
45.7 × 40.6 公分（18 × 16 英寸）
Dusk, 2024
Oil on canvas
45.7 × 40.6 cm (18 × 16 in)
丹尼・索伯，1992年出生于美国芝加哥，现生活、工作于纽约布鲁克林。他于 2015 年获得布朗大学视觉艺术与神经科学的学士学位。索伯的艺术实践结合了数字和传统技术，探索视觉暂留和记忆的主题。他利用电影、摄影以及搜索引擎Yandex 的反向图像搜索功能，获取并收集漂浮于数字世界中的图像碎片，再透过油画的方式诠释这些几乎不可追溯的信息。受黑特・史德耶尔（Hito Steyerl）《为弱影像辩护》概念，以及埃伯哈德·哈夫科斯特（Eberhard Havekost）作品中极简的形象构造为启发，索伯示意透过传统的油画媒介去勾勒出身处于静态与虚幻之间的互联网图像，朦胧的画面定格在永恒的时刻，供观众投射自己的思考。近期个展包括：“陌生人”（即将展出），Gallery Vacancy，上海，2025；“Just a window. In”，Fortnight Institute，纽约，2023。群展包括：“Artifice”， Sitting Room Gallery，纽约，2024；“The Blue Hour”，Union Pacific，伦敦，2024；“Now That’s What I Call Devotion!”，Outlet Projects，纽约，2023；“Paintings of Common Objects”，Fortnight Institute，纽约，2023；“Ultra Light Beams”，Mount Analogue Gallery，西雅图，2019；等。Danny Sobor, born in Chicago, USA in 1992, now lives and works in Brooklyn, NY. He received his BFA in Visual Art and Neuroscience from Brown University in 2015. Danny Sobor’s art practice combines digital and traditional techniques to explore themes of visual transience and memory. Using film, photography, and the digital fragments sourced through Yandex’s reverse image platform, Sobor collects ephemeral images, often barely traceable, which he reinterprets in oils. Inspired by Hito Steyerl’s concept of the “poor image” and sympathetic to Eberhard Havekost’s anonymized forms, Sobor’s paintings capture the quiet blur of internet-sourced visuals in a traditional medium, resulting in timeless, visually ambiguous works that invite personal interpretation.Sobor’s recent solo exhibitions include: Stranger (forthcoming), Gallery Vacancy, Shanghai, 2025; Just a window. In, Fortnight Institute, New York, 2023. Group exhibitions include: Artifice, Sitting Room Gallery, New York, 2024; The Blue Hour, Union Pacific, London, 2024; Now That’s What I Call Devotion!, Outlet Projects, New York, 2023; Paintings of Common Objects, Fortnight Institute, New York, 2023; Ultra Light Beams, Mount Analogue Gallery, Seattle, 2019, and more.![]()
铃木初音
感知你的呼吸，2024
楢木、菊芋、楮、泥土、绣线
130 × 160 × 15 公分（51 1/8 × 63 × 5 7/8 英寸）
Hatsune Suzuki
Touching Breath, 2024
Oak wood, Jerusalem artichoke, paper mulberry, soil, embroidery thread
130 × 160 × 15 cm (51 1/8 × 63 × 5 7/8 in)
铃木初音，1995年出生于日本神奈川县，现生活、工作于茨城。她目前就读于东京艺术大学，美术研究科美术学部油画研究领域壁画的博士课程。铃木初音的创作扎根于材料和她的壁画专业背景。在创作过程中，艺术家惯以采用天然材料，如自己栽培的菊芋作为纸本和河床中采集的石灰，从而激发人类与自然关系的反思。铃木将其与作品置身于自然环境之中，积攒着大自然所回应的印记，将漫长的岁月与感知定格在画面永恒的瞬间。她的作品融入了史前洞穴壁画的神秘气质和日本古代壁画的宁静崇敬，平静而真切的捕捉出自然之无形以及张力。近期个展包括：“微风轻拂的水面”，Gallery Vacancy于Paris Internationale，2024；“Scooping a Blink”，Shimokitazawa Arts，东京，2023。双人和三人展包括：“Look into the Water”，Shimokitazawa Arts，东京，2024；“A Breeze of Fresh Air”，Micheko Galerie，慕尼黑，2023。她曾获奖包括：佐藤美术馆，购藏奖，东京，2022；筑波绘画奖，优秀奖，茨城县和东京，2021；奖学金包括：日本艺术基金会，2022；第31届佐藤国际文化财团奖学金，2021。Hatsune Suzuki, born in Kanagawa Prefecture, Japan in 1995, now lives and works in Ibaraki. She is currently pursuing a doctorate in mural painting at Tokyo University of the Arts, Graduate School of Fine Arts, Oil Painting Research Area. Firmly rooted in materials and her background in muralism, Suzuki’s practice employs natural materials such as self-cultivated Jerusalem artichoke for paper and lime sourced from riverbeds to inspire rumination on the relationship between human beings and nature. Placing herself amid nature and responding to its reactions, Suzuki’s works, created over a long period of time, contain moments that lead to eternity. Her imagery carries a mysterious appeal—both tense and magnanimous—echoing the enigmatic quality of prehistoric cave paintings and the tranquil reverence of ancient Japanese murals, capturing nature’s power and unseen forces with calm yet profound intensity.Suzuki’s recent solo exhibitions include: Gliding Through the Waters of Breeze, Gallery Vacancy at Paris Internationale, 2024; Scooping a Blink, Shimokitazawa Arts, Tokyo, 2023. Two- and three-person exhibitions include: Look into the Water, Shimokitazawa Arts, Tokyo, 2024; A Breeze of Fresh Air, Micheko Galerie, Munich, 2023. Awards include: The Sato Museum of Art, Purchase Award, Tokyo, 2022; Tsukuba Award of Art, Award of Excellence, Ibaraki pref. & Tokyo, 2021. Scholarships include: Japan Arts Foundation, 2022; The 31st Sato International Cultural Scholarship Foundation, 2021.![]()
40 × 40 × 4 公分（15 3/4 × 15 3/4 × 1 5/8 英寸）Peaks and Throughs IV, 202440 × 40 × 4 cm (15 3/4 × 15 3/4 × 1 5/8 in)
王霈，1989年出生于中国，现生活、工作于巴塞罗那。他毕业于中国美术学院，2012 年获得雕塑学士学位，2015 年获得油画硕士学位，并于 2021 年获得巴塞罗那大学中世纪研究 RA 博士学位。王霈遵循学院派的美学体系，在油画创作中借鉴诸多古典大师的技法，如对光线的研究知和蛋彩（casein tempera）等材料的运用，描绘出亲切、写实的人物形像。面对当下数字演算法对速度与清晰度的追求，王霈的绘画实践将材料作为实体的存在，试图减缓人们的视觉速度，从而促进更深刻的参与感。他透过人物面部和身体的电影式的描绘手法来显现叙事延宕的瞬间，示意探索人类与生俱来的条件反射和被数码平台所利用的欲望。近期个展包括：“The Enneagram Mask”，Workplace，伦敦，2024；“Mute”，Tara Downs，纽约，2024；“Shape of times”，Yi画廊，杭州，2021。近期群展包括：“极致暴力”，PODIUM，香港，2024；“Prophetic Dreams”，Kutlesa，戈尔道，2024；“and I still may“，Workplace，伦敦，2024；“Notes Toward a Shell”，Tara Downs，纽约，2024。Wang Pei, born in China in 1989, now lives and works in Barcelona. He graduated from the China Academy of Art in Hangzhou, earning a Bachelor's degree in Sculpture in 2012 and a Master's degree in Oil Painting in 2015. In 2021, he received his PhD in Medieval Studies RA from the University of Barcelona. Wang Pei follows the Beaux Arts system and borrows Old Masters’ techniques, such as the study of light and materials like casein tempera, in his oil paintings to create intimate, photorealistic representations of the human form. Standing in defiance of the rapid consumption and visual clarity demanded by digital algorithms, Wang Pei engages in the material practice of painting as a means of slowing the eye and fostering a more profound engagement. His filmic depictions of the face and body conjure moments of narrative suspense, exploring innate human reflexes and desires exploited by digital platforms.Wang Pei’s recent solo exhibitions include: The Enneagram Mask, Workplace, London, 2024; Mute, Tara Downs, New York, 2024; Shape of times, Yi Gallery, Hangzhou, 2021. Selected group exhibitions include: Vitalis Violentia, PODIUM, Hong Kong, 2024; Prophetic Dreams, Kutlesa, Goldau, 2024; and still I may, Workplace, London, 2024; Notes Toward a Shell, Tara Downs, New York, 2024.V A C A N C Y
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周二–周六
Tuesday to Saturday | 10:00–18:00
200021 上海市黄浦区云南南路261号6楼
6F, No.261 S. Yunnan Rd., Shanghai 200021
+86-(0)21-62411239
info@galleryvacancy.com
www.galleryvacancy.com
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