≡ 法比安·梅洛 Fabien Mérelle
无题（二十幅为一组） Untitled (series of 20 drawings), 2011
纸本上墨彩 Ink on paper
28 x 21 cm
? 图片由马凌画廊和艺术家提供
Image courtesy of Edouard Malingue Gallery and the artist
开幕 Opening: 19.09.05 | 6 - 8 pm展期 Duration: 19.09.06 - 10.19马凌画廊 | 香港 | 香港中环德辅道中33号6楼 Edouard Malingue Gallery | Hong KongSixth floor, 33 Des Voeux Road Central, Hong Kong
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“折纱”汇聚六位艺术家，探讨手势如何隐蔽现实。香港马凌画廊的最新联展以纸本和装置作品作命题，旨于梳理艺术创作里印记和符号背后的动机，以及每一个际遇所带来的亲密情感。通过赖志盛（1971年生于台北）、邝镇禧（1987年生于香港）、张如怡（1985年生于上海）、刘茵（1984年生于广州）、法比安?梅洛（1981年生于法国）和艾斯特?弗莱克纳（1983年生于丹麦）的创作，“折纱”呈现往往被制服或忽视的形而上的精神现实，引导观者质疑眼前物质的真实性和深层意义，以一种颠倒的方式对存在式的多样性进行反思。
赖志盛的创作在日常语境中构建一种极简而非凡的现实，其场域性围绕着关于劳动和消费的悬念，呈现艺术家对艺术和其生产的巧思。赖志盛的近作通过拓展概念艺术中以自省为基础的实践，回应当代艺术对自我指涉作为显示系统的倚赖。以《素描纸》（2012、2016）为例，艺术家返璞归真，聚焦于素材的本质，即其厚度、均匀分布的活页钉孔、手撕纸的毛边和阿诗（ARCHES Aquarelle）水彩纸上的水印。
≡ 赖志盛 Lai Chih-Sheng
素描纸 Drawing paper, 2012
水彩纸，铅笔 Watercolor paper, pencil
纸张尺寸 Paper: 57.6 x 76.8 cm
装裱尺寸 Frame: 69 x 87 cm
? 图片由马凌画廊和艺术家提供
Image courtesy of Edouard Malingue Gallery and the artist
邝镇禧的艺术实践涵盖绘画、录像、动画和装置，通过扰乱物质的运作和结构来颠覆我们对日常事物的固有观念。作品《高度透明》（2019）极具敏感性和短暂性，源于水彩纸上轻如纱的墨水笔触，不受素材原来的属性牵制，提供除了现实世界外的另一种图像的可能性。
张如怡的创作以自我意识、物质空间和日常经历之间暧昧的潜在联系为重心，透过视觉瞒骗来把握情绪的物质化，并将其过程复制、压缩或改造。张如怡尤其关注个体与现实、自然和工业生产的正负磨合，借用秩序美学的关系语言，她提出对空间重塑进行 “解读”、“质疑”和“记忆”，以物件质疑物件，以空间质疑空间，由此抗衡事物的秩序。其近作《尖锐的柔软》（2019）运用瓷砖和铝箔纸，尖锐的刺、脆弱的铝箔纸以及网格的笼罩形成关联与对抗。
刘茵的绘画作品经常运用冷幽默来指涉我们对大众媒体的那种自满的宽容和消耗。此次展览呈现的作品《警察》（2015）和《握手》（2015）来源于公共图像，经过艺术家的改装，呈现出一种漫画般的小清新感觉，彰显了媒体图像作为真相的载体的虚伪性。
≡ 刘茵 Liu Yin
史蒂芬的幻想 Stephen’s fantasy, 2015
纸面水彩，铅笔，丙烯
Pencil, watercolor, acrylic on paper
79.5 x 78 cm
? 图片由马凌画廊和艺术家提供
Image courtesy of Edouard Malingue Gallery and the artist
法比安?梅洛的绘画在技法上显得十分写实，但其实际描绘的却是超脱世俗的场景、令人不安的状况和梦幻般的事件。在二十幅为一组的绘画作品《无题》（2011）中，梅洛以精致的笔触呈现街上的种种苟延残喘。梅洛在稀疏的白色背景上仔细描绘，提示观众逐个观察他绘出的图形，以此窥探一整个世界。而这在最初就像我们熟悉的世界，但在经过仔细审度之后，就会发现这其实是一种个人流动意识的呈现。
艾斯特?弗莱克纳的创作围绕着语言和物质，从中可见其对过程痕迹和反复试验的珍视。从酷儿认识论出发，弗莱克纳对失败、未满和错置进行颠覆，达致一种混沌而直观的知识观。其艺术实践通过木刻印刷探讨身体和文化主流的冲突，配合散文和素描作为注脚。在作品《所有模型都是错误，个别是有用的》（2017）中，木刻线条暧昧而具探索性，墨水和铅笔绘制的多面体逻辑鲜明，两者形成了一种耐人寻味的互文关系。
总括而言，“折纱”通过六位艺术家风格各异的艺术实践，梳理种种隐藏、揭示和观看现实的方式。
≡ 法比安·梅洛 Fabien Mérelle
无题（二十幅为一组） Untitled (series of 20 drawings), 2011
纸本上墨彩 Ink on paper
28 x 21 cm
? 图片由马凌画廊和艺术家提供
Image courtesy of Edouard Malingue Gallery and the artist
‘Folded Veil’ brings together six artists around an exploration of how gestures can conceal reality. Focusing primarily on works on paper and an installation, ‘Folded Veil’ at Edouard Malingue Gallery, Hong Kong prompts one to consider what compels us to make markings, produce symbols, and the intimacies that follow from each encounter. By bringing together the work of Lai Chih-Sheng (b. 1971, Taipei), Kong Chun Hei (b. 1987, Hong Kong), Zhang Ruyi (b. 1985, Shanghai), Liu Yin (b. 1984, Guangzhou), Fabien Mérelle (b. 1981, France) and Ester Fleckner (b. 1983, Denmark), ‘Folded Veil’ presents an array of approaches, each reflecting metaphysical mental realities that are often subdued or go unnoticed. As such, viewers are led to question prescribed notions of the quality and meaning of materials, and in this subversion probed to contemplate a diversity of existences.
Creating a minimalist, atypical reality within everyday circumstances, Lai Chih-Sheng’s artwork has a site-specific quality, involving concepts of labour and consumption, which raises questions about art and its production. Extending the tradition of self-reflexivity seen in conceptual art, Lai’s recent work responds to the contemporary art world’s reliance on display systems of self-reference in an exploration of minute perceptions. In ‘Drawing Paper’ (2012, 2016), Lai draws the viewer's attention to the subtle and distinctive features of the material itself – the thickness and evenly spaced-out rounds of a sketchbook leaflet and the hand torn edges and watermarks on a sheet of Arches Aquarelle watercolour paper.
Kong Chun Hei pursues a practice that spans drawing, video, animation and installation. Interested in meddling with the operations and structures of matter, Kong subverts the viewer’s notions of everyday objects and materials. ‘Highly Transparent’ (2019), for example, has a hypersensitive, ephemeral quality conveyed through the lightness with which the ink is applied to the watercolour paper. Resembling a delicate cloth, the viewer discovers through the formation other parameters of the materials and expands the realms of possibility for each.
≡ 邝镇禧 Kong Chun Hei
高度透明 I Highly Transparent I, 2019
墨水笔水彩纸本 Ink on watercolor paper
62 x 57 cm
? 图片由马凌画廊和艺术家提供
Image courtesy of Edouard Malingue Gallery and the artist
Zhang Ruyi’s artistic practice is centred on the undisclosed relationship between ego consciousness, physical space and mundane experience. By withholding certain “slices” of time and information of the material employed, she is able to capture, replicate, compress, condense or fabricate the materialisation of emotions. She is dedicated to the exploration of both positive and negative friction between individuals and reality, nature and industrial landscape. Taking the relational language of order aesthetics, she suggests the reconstruction of a specific space to be “read,” “questioned,” and “memorised.” Zhang employs objects to question objects and spaces to question spaces, thus resisting the order. In a new work titled ‘A piercing softness’ (2019), Zhang plays with tile and aluminum foil–materials that embody smoothness, pliability, and delicacy with the threat of sharpness.
Liu Yin’s darkly humoured images reflect upon our ever-growing complacent approach to media consumption. The works exhibited, such as ‘The Policeman’ (2015) and ‘The Handshake’ (2015) display Liu’s approach of sourcing and altering found images. Liu changes what we see through imposing heavily stylised, fantastical, manga-style eyes and backgrounds to these found images, bringing to light the falsity of the image as the bearer of truth in our current age of fast-paced media.
Fabien Mérelle’s drawings depict outworldly scenarios, unsettling situations and dream-like occurrences. In his series of 20 drawings, ‘Untitled' (2011), Mérelle uses his delicate rendering style to draw the viewer in to what are really depictions of those surviving on the streets. Working on a minute scale against a sparse white background, Mérelle prompts the viewer to individually examine his figures and peer into a world, which from the outset may appear as our own, but upon closer inspection is a rendering of a personal streaming subconscious.
≡ 艾斯特·弗莱克纳 Ester Fleckner
所有模型都是错误，个别是有用的 2
All models are wrong, some are useful, 2, 2017
木刻，雕塑 Woodcut, sculpture
纸本上木刻，铅笔，装裱，1件混凝土雕塑
Woodcut on paper, pencil, framed and 1 concrete sculpture
纸张尺寸 Paper: 111 x 86 cm
装裱尺寸 Frame: 118 x 93 x 3.5 cm
雕塑直径 Sculpture: ? 10 cm
? 图片由马凌画廊和艺术家提供
Image courtesy of Edouard Malingue Gallery and the artist
Ester Fleckner’s work explores language and materials in ways that preserve traces of the process and privilege the repetitive labour of trial and error. Working from queer epistemology, Fleckner inverts the value of failure, unfinishedness and displacement to arrive at chaotic and intuitive ways of knowing. Fleckner uses the medium of woodcut printing in an exploration of the collisions between the body and various cultural norms, with fragments of text or drawing often added in pencil as interaction or dialogue with graphic forms. In her series, ‘All models are wrong, some are useful’ (2017), these imprecise, explorative woodcuts communicate in the space with small concrete sculptures mimicking the polyhedrons graphically portrayed in ink and pencil.
Ultimately, ‘Folded Veil’ unravels different approaches to the acts of concealing, revealing and fundamentally, seeing.
艺术家简介 About the artist
艾斯特·弗莱克纳 Ester Fleckner
艾斯特·弗莱克纳1983年生于丹麦奥尔胡斯，现生活和工作于柏林和丹麦默恩岛。
艾斯特·弗莱克纳的创作围绕着语言和物质，从中可见其对过程痕迹和反复试验的珍视。从酷儿认识论出发，弗莱克纳对失败，未满和错置进行颠覆，达致一种混沌而直观的知识观。弗莱克纳利用抽象美学来中和规范化趋势，以生成新的，伪造的二分法。因此，她的探索过程总是有几乎连续不断的冒险，充满了明显的好奇心而没有特定的终点。她的作品可以被解读为寻找打破严格分类的视觉语言表述的导航。
弗莱克纳的作品大多与木刻印刷有关。木刻印刷是一种简单而直接的技术，允许差异，错误和失控。木材作为一种自然材料，非常适合弗莱克纳用来探讨身体和文化主流的冲突。为了实现与图形的交互和对话，她经常配合散文和素描作为注脚。弗莱克纳的创作实践从木刻印刷逐渐扩展到浇铸混凝土雕塑，绘画，文本创作和表演阅读。
? 图片由马凌画廊和艺术家提供
Image courtesy of Edouard Malingue Gallery
and the artist
攝影 Photo by Anders Sune Berg
Born 1983 in Aarhus, Denmark. Lives and works in Berlin and M?n Denmark. Ester Fleckner’s work explores language and materials in ways that preserve traces of the process, and privilege the repetitive labour of trial and error. Working from queer epistemology, Fleckner inverts the value of failure, unfinishedness, and displacement to arrive at chaotic and intuitive ways of knowing. Fleckner employs an abstract aesthetic to counteract normative tendencies to produce ever new and false binaries. As such, her ventures are almost always serial and expressly inquisitive; always morphing along the way towards no particular endpoint. Her works can be read as alternative maps for navigating visual and linguistic representation out of rigid categorisation. Fleckner mostly works with woodcut printing – a simple and immediate technique that allows for differences, errors and a loss of control. As a natural material, wood is apt for Fleckner’s exploration of the collisions between the body and various cultural norms. Fragments of text or drawing are ofen added in pencil as interaction or dialogue with the graphics works. Fleckner’s practice expands from the woodcuts to include cast concrete sculptures, drawings, text work and performative readings.邝镇禧 Kong Chun Hei
邝镇禧生于1987年，2009年毕业于香港中文大学艺术系，现于香港生活及工作。
邝氏的作品以素描为主，并偶然地 生多种呈现方式，如录像，动画及装置。他关注事物运作及物质构成层面，并考虑当中可能作出的干涉。
近期展览包括：个展“低度处理”（吊诡画廊，高雄，2018），“中台阶”（Last Tango，苏黎世，2018），“远离那些石头”（安全口画廊，香港，2017）；联展“今天应该很高兴”（泰康空间，北京，2018），“逆光：双城取样”（有空间，深圳，2017），“Connect 4”（Simon Lee Gallery，香港，2016）。
? 图片由马凌画廊和艺术家提供
Image courtesy of Edouard Malingue Gallery
and the artist
Kong Chun Hei was born in 1987, and graduated from the Fine Arts Department of The Chinese University of Hong Kong in 2009. He currently lives and works in Hong Kong.
Kong uses the medium of fundamental drawing to develop a diverse practice coincidentally, including video, animation and installation. He considers the possibility of meddling on the operation and structure of matters.
Past exhibitions include solo exhibition “Turn down the pulse” (Crane Gallery, Kaohsiung, 2018), “Sidestep” (Last Tango, Zurich, 2018), “Stay away from those rocks” (Gallery EXIT, Hong Kong, 2017). Group exhibition “Today Could Have Been A Happy Day” (Taikang Space, Beijing, 2018), “Against the Light: Sampling in Two Cities” (YOU Space, Shenzhen, 2017), “Connect 4” (Simon Lee Gallery, Hong Kong, 2016).
赖志盛 Lai Chih-Sheng
赖志盛1971年生于台湾台北，1996年获国立台北艺术大学美术学系学士学位，2003年获国立台南艺术大学造形艺术研究所硕士学位，目前生活与工作于台湾台北。赖志盛在1990年代中期是观念主义团体“国家氧”的成员之一，早期作品多发表在台北都会区外围的废墟，以状似徒劳的工事召唤绝对性、转换场所意义。如在空厂房以一百块砖头砌成一直顶天花板的长柱，或是以海菜水填补废弃民宅一处地板凹洼成就水平。他在灰扑扑的日常情境中创造一种低限而异样的现实，作品围绕着劳动、耗费、特定场域精神，以及“艺术生产如何可能？”的瞬间。他过去长达13年在工地担任泥水匠的经验，一直是重要的创作养分。
赖近期在广州观察社（2018）、台北诚品画廊（2017）、台北就在艺术空间（2015）和巴黎西帖国际艺术村（2015）等地举办个展。主要群展包括高雄吊诡画廊（2019）、第2届大台北当代艺术双年展（2018）、2017萧垅国际艺术节、爱知艺术文化中心（2016）、台湾新竹竹师艺术空间（2016）、里昂当代美术馆（2015）、香港Para Site 艺术空间（2015）、2014台湾美术双年展、深圳OCT当代艺术中心（2014）和伦敦海沃美术馆（2012）等。赖还曾参与多个艺术项目，例如在2016年于里昂当代艺术馆举办的小野洋子个展“黎明之光”，其参与了“水事件”的创作。
? 图片由马凌画廊和艺术家提供
Image courtesy of Edouard Malingue Gallery
and the artist
Lai Chih-Sheng was born in 1971 in Taipei, Taiwan. He graduated in 1996 with bachelor degree from Department of Fine Art of Taipei National University of the Arts and graduated in 2003 with master degree from Graduate Institute of Plastic Arts of Tainan National University of the Arts. He currently lives and works in Taipei, Taiwan. During the 1990s Lai Chih-Sheng was a member of the conceptual art group National Oxygen, presenting his early work in disused structures around the periphery of Taipei, which often involved seemingly futile labor, combined with reference to the transformation of site or the reign of absolutism. Examples include an installation in which he stacked a column of 100 bricks up to the ceiling of an empty factory; and another in which he felled a hollow area of an abandoned building with methyl cellulose, forming an artificial water line that met with the surrounding floor. He creates a minimalist, atypical reality within everyday circumstances. His artwork has a site-specic quality, involving concepts of labor and consumption, and raises questions about art and its production, while also drawing on his 13 years of experience as a professional bricklayer.Lai has had solo exhibition at, Observation Society, Guangzhou, China, 2018; ESLITE GALLERY, Taipei, Taiwan, 2017; Project Fulfill Art Space, Taipei, Taiwan, 2015; Cité Internationale des Arts, Paris, France, 2015, among others. Group exhibitions include Crane Gallery, Kaohsiung, Taiwan, 2019; The 2th Greater Taipei Biennial of Contemporary Arts, 2018; Soulangh International Contemporary Art Festival, 2017; Aichi Arts Center, Nagoya City Art Museum, Aichi, Japan, 2016; NHCUE ART SPACE, Hsinchu, Taiwan, 2016; Lyon Museum of Contemporary Art, Lyon, France, 2015; Para Site, Hong Kong, China, 2015; Taiwan Biennial, 2014; Shenzhen OCT Contemporary Art Terminal, Shenzhen, China, 2014; Hayward Gallery, London, United Kingdom, 2012. Lai has also presented in many programmes, such as in 2016, he participated the creation of work “Water Event” for Yoko Ono’s solo exhibition “Lumière de L’aube” at MAC Lyon, Lyon, France.刘茵 Liu Yin
刘茵1984年生于广州，2010年毕业于广州美术学院。她那些具有黑色幽默感的 绘画及装置作品曾展出于广州观察社，北京泰康空间，柏林IMPORT Projects， 罗马阿黛尔C画廊和法国贝桑松美术学院。她也为广州艺术家独立出版的月度杂志“冯火”做封面创作。刘茵现工作和生活在香港和广州。
? 图片由马凌画廊和艺术家提供
Image courtesy of Edouard Malingue Gallery
and the artist
Liu Yin (b. 1984, Guangzhou) is a graduate of the Guangzhou Academy of Art. Her darkly humored images have been exhibited at Observation Society (Guangzhou), Taikang Space (Beijing), Wiessensee School of Art (Berlin), Adele C gallery (Rome) and the Ecole Régionaledes Beaux Arts (Besan?on, France). Her work can also be found on the cover of the artist-published zine Feng Huo (冯火) which is printed monthly in Guangzhou. She lives and works in Hongkong and Guangzhou.法比安·梅洛 Fabien Mérelle
法比安 ? 梅洛（1981年生于法国，现生活工作于图尔市和巴黎。）是一名颇具才能的新晋法国艺术家，专注于水墨和水彩画创作。梅洛毕业於著名的巴黎国立美术学院，2005年获得奖学金，赴西安美术学院参与跨文化艺术深造计划，并於当地跟随艺术家研习，深入钻研中国山水画技法，临摹艺术，以及从大师角度细致入微地观察自然物象，为其艺术创作带来新的美学思维、技法与境界。他亦因此创造出一种非常別具一格的艺术风格，巧妙地融合东方水墨意念与西方绘图技巧。梅洛在回到欧洲后即刻获得了马德里著名的 Casa Vélasquez 驻村名额，又在2010年成为 Canson 奖的第一位获得者。
梅洛对绘画主题的把握，同时具有荒诞、幽默、讽刺和残酷等特性，编织著他们的传说和故事，模糊固有模式和我们记忆之间的界限。梅洛坚持根据解剖学的精密度来创作人体，这与伟大的艺术先锋阿尔布雷希特·丢勒等人的手法一脉相承。然而梅洛又秉持著一种怀疑，和一种温和的信仰，使观众在猜测的同时，也能辨认和明白他的所见所想。由此，梅洛把我们内心的所思所感带出来，与二十世纪伟大的思想家 ─ 例如皮埃尔?珍妮特 ─ 的心理学理论相吻合，带给观众一个可视化的体验，告诉我们人类思想的巨大潜能。
? 图片由马凌画廊和艺术家提供
Image courtesy of Edouard Malingue Gallery
and the artist
Fontenay-Sous-Bois, France, 1981. Lives and works in Tours and Paris. Fabien Mérelle is a highly talented and emerging young French artist who creates delicately detailed drawings in black ink and watercolour. A recent graduate from the Beaux-Arts academy in Paris, Mérelle received a scholarship in 2005 to attend the Beaux-Arts academy in Xi’An, China. Already passionate about the art of drawing, this transglobal opportunity permitted Mérelle to discover and perfect the use of alternative Eastern drawing techniques, such as Chinese ink. Upon his return to the West, Mérelle was granted a residence at the prestigious Casa Vélasquez in Madrid and in 2010 he was the first winner of the highly lauded Canson Prize.These renderings, simultaneously absurd, humorous, ironic and cruel, weave their own tapestry of tales and legends, blurring the line between what has been written and what our memory has forged. Mérelle’s insistence on anatomical precision, an art historical tradition borrowed from great draughtsmen such as Albrecht Dürer, adds a dimension of doubt and moderate belief, as the viewer simultaneously quizzes yet recognises and understands what he sees. Mérelle thus brings our inner thoughts and mental scenarios on to the surface of a page, channelling psychological theories of great 20th century thinkers such as Pierre Janet, and providing viewers with a visual of what the depths of our minds might conjure.张如怡 Zhang Ruyi
张如怡的艺术创作存在于生活的逻辑中。围绕自我意识，物理空间，日常体察之间的隐秘关系而展开。从现实生活中提取时间切片和物质信息，捕捉，折叠，压缩，捏造出个体于日常现实之间相互指引与限制中情感瞬间的“物化”过程。她将人与现实，自然与工业景观之间主动或被动的作用力处理为“话语装置”，以秩序美学的关系语言来重建一个被“阅读”，“质疑”，“记忆”的空间。她以物反问物，以空间质询空间，由此对抗平静。
? 图片由马凌画廊和艺术家提供
Image courtesy of Edouard Malingue Gallery
and the artist
Zhang Ruyi’s artistic practice embeds itself in nothing less than the logic of life. It is centred on the undisclosed relationship between ego consciousness, physical space, and mundane experience. By withholding certain “slices” of time and information of the material employed, the artist is able to capture, replicate, compress, condense or fabricate the materialisation of emotions. She is dedicated to the exploration of both positive and negative frictions between individuals and reality, nature and industrial landscape. Its position is that of a discursive apparatus, transforming the tactile into the visual. Taking the relational language of order aesthetics, she suggests the reconstruction of a specific space to be “read,” “questioned,” and “memorised.” She employs objects to question objects and spaces to question spaces, thus resisting the order.
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