≡ West Bund Art & Design 西岸艺术与设计博览会 2019 | 展位 A212

≡ 郑洲 Zheng Zhou

兔子的祈福 The rabbit's blessing, 2019

布面丙烯与油彩 Acrylic and oil on canvas

154 x 132 cm

? 图片由艺术家和马凌画廊提供

Image courtesy of the Artist and Edouard Malingue Gallery

艾域克?柏达 Eric Baudart 

周育正 Chou Yu-Cheng

杰里米?埃弗雷特 Jeremy Everett 

谢素梅 Su-Mei Tse 

王卫 Wang Wei 

王之博 Wang Zhibo 

杨嘉辉 Samson Young 

于吉 Yu Ji 

郑洲 Zheng Zhou 

(Scroll down for English version)

马凌画廊很荣幸携九位艺术家参加2019西岸艺术与设计博览会，届时将展出来自艾域克?柏达（法国）、周育正（中国台湾）、杰里米?埃弗雷特（美国）、谢素梅（卢森堡）、王卫（中国）、王之博（中国）、杨嘉辉（中国香港）、于吉（中国）和郑洲（中国）的绘画、摄影和装置等作品。

艾域克?柏达（b.1972）擅长挪用、改造、转换现成物，把日常生活中人们习以为常、视而不见的物件从其功能性中抽离出来，它们被孤立、被拆解、被堆积或被重组，物件本身的概念被适度消解，在展览的语境下产生新的语言指涉和审美意义。柏达认为，被用过的物件是最好的艺术材料，因为它们避免了艺术中对材料的传统诠释，从而更好的呈现超越物质的精神层面。艾域克?柏达曾参与多次国际大展，联展经历包括日内瓦当代美术馆、巴黎小皇宫、布鲁塞尔当代艺术中心、迈阿密巴斯美术馆，个展经历则包括法国阿米伊Les Tanneries当代艺术中心、巴黎利卡德基金会、巴黎红楼等机构。2011年，他获颁“莫里斯当代艺术大奖”。柏达的创作也曾被国际媒体报导，包括《慕斯杂志》、《斜线巴黎》以及《华尔街日报》。艾域克?柏达的作品也在各个著名的博物馆收藏，其中包括波士顿MFA和日内瓦MAMCO。

≡ 周育正 Chou Yu-Cheng

电镀金，保持冷静，镀铝锌板，祈祷，渐层，灰烬，抗议，不均，不满，

资本，香炉，佼存，激动，击，日光。五（渐层绘画：深圳紫和灰）

Chemical Gilding, Keep Calm, Galvanise, Pray, Gradient,

Ashes, Manifestation,Unequal, Dissatisfaction, Capitalise,

Incense Burner, Survival, Agitation, Hit, Day Light. V

(Gradient Painting: Shenzhen Purple & Grey), 2019

布面丙烯 Acrylic on canvas

216 x 180 x 5 cm

? 图片由艺术家和马凌画廊提供

Image courtesy of the Artist and Edouard Malingue Gallery

周育正（b.1976）擅长处理美学与社会的双面操作，强调于视觉造型背后的工作程序，关注如何在既有事物的机制中产生出另类的操作与思考模式，并在“非典型合作”中产生出相对应的另类利益，同时显露既定事实的问题。他的创作形式广泛于各种媒材，但多以“中介者”的角色媒合了他视为“主体”之个人、企业与机构组织，并透过“工作程序”的操作，例如转移、转让、或是时间、地点的差异，产生出计划的结果，形成来源与结果间的相互辩证。个展包括贝塔宁艺术村，柏林（2015）；高雄市立美术馆，高雄（2015）；台北市立美术馆，台北（2014）等。群展包括Performa（2019）；澳大利亚珀斯当代艺术中心（2019）；里昂当代艺术双年展（2019）；利物浦双年展（2018）；菲律宾马尼拉当代艺术设计博物馆（MCAD）(2018)；新美术馆，纽约（2015）；台中亚洲艺术双年展，台湾（2015）等。周育正的作品已被纳入多个馆藏之中，包括索尔福德大学/曼彻斯特曼彻斯特华人当代艺术中心，英国；台北市立美术馆；高雄市立美术馆等。

杰里米?埃弗雷特（b.1979）的作品正体现了他对这个世界的神秘的观察方式。埃弗雷特在“平凡”中寻找美感，时间的流逝总以不同的形式被反映在埃弗雷特的作品中，每一种努力都有价值，每一个地点都是一种漫长的旅程，包含了各种阶段和印迹。埃弗雷特熟知自然侵蚀力对物料的影响，因而将其收纳为创作的一种力量。埃弗雷特的作品探讨了空间的本体论，每一个空间都是独特的，每个空间中的时刻都不可重复。埃弗雷特对空间环境的干预以照片的形式收藏，或是以物件为载体吸纳，埃弗雷特并不企图占有这些空间和场域，他试图进行短暂性的实验。如同空间没有边界，埃弗雷特的实验将会永远进行下去。埃弗雷特曾在洛杉矶、纽约、旧金山、巴黎和香港等地举办个展。群展包括特内里费艺术空间和芝加哥现代艺术博物馆。埃弗雷特的创作被各大媒体和艺术评论广泛报道，并刊登于Centerfold杂志、费顿（Phaidon）、l’Officiel de l’Art、缪斯杂志、纽约时报、史密森尼杂志、Flash Review、现代画家与ArtReview等出版物。

谢素梅（b.1973）出生于一个音乐世家，父亲是来自中国的小提琴家，母亲是一位英国籍的钢琴家。她自幼学习古典音乐，因为渴望更加自由的创作空间，而非囿于一种形式，她选择在巴黎高等艺术学院学习视觉艺术，并于之后在当代艺术领域找到自己的舞台，让她把自己对音乐、文学、舞蹈、表演等多种艺术形式的热爱都糅合在一起。2003年，正值而立之年的谢素梅成为了威尼斯双年展卢森 堡国家馆的主角，并荣获国家馆金狮奖，自此，谢素梅得到国际上的广泛关注。来自一个东西方结合的文化背景，让谢素梅的作品不受风格和题材的限制，充满好奇心；多年的音乐修养又让谢素梅对声音、旋律、时间、气氛这些抽象元素拥有敏锐的感受力。谢的艺术作品已在多个国内和国际艺术机构展出，她的个展“安栖”（2018-2019）在卢森堡、柏林、罗马、上海、台北等地巡回展出。个展包括阿尔高尔美术馆，瑞士（2018）；卢森堡现代艺术博物馆,卢森堡（2017）；米罗基金会，巴塞罗那（2011）；伊莎贝拉嘉纳艺术博物馆，波士顿（2009）等。群展包括波昂艺术博物馆，德国（2009）；萨黑塔国立美术馆，波兰（2009）；新加坡双年展（2008）；苏黎世美术馆（2006）；艾波当代艺术中心，阿姆斯特丹（2005）；圣保罗双年展，巴西（2004）。

≡ 谢素梅 Su-Mei Tse

藏石 II #8 Stone Collection II #8, 2018

现成石头置于底座，木，砂石

Found stone on pedestal, wood, sand

石头 Found stone: 79 x 95 x 60 cm

底座 Pedestal : 7 x 220 x 140 cm

? 图片由艺术家和马凌画廊提供

Image courtesy of the Artist and Edouard Malingue Gallery

王卫（b.1972）1996年毕业于中央美术学院壁画系，是一位多领域的装置艺术家，关注物理空间的引导性如何标示出人们自身的生活现实，通过使用细微和出人意料的补充物或借用不同来源的风格去改造现有建筑的结构，王卫发展出一套强有力的介入实践，旨在扰乱人们对于空间的普遍认知，同时开启关于建造，劳动和观看方法之间的对话。王卫参加过的主要展览包括：泰国双年展（泰国甲米，2018），银川双年展（银川当代美术馆，2018），加利福尼亚太平洋三年展（美国橘郡美术馆，2017），第十二届威尼斯建筑双年展中国馆（威尼斯，2010）等。王卫的《树影》（2017）获得西岸艺术与设计博览会特别单元“2017 ArtReview Asia现场”大奖。

王之博（b.1981）每一个作品都呈现了从地理、历史、人口和建筑角度所追寻关于现实的怪诞范畴:一层轻薄的雪精致地覆盖着热带景观;玻璃陈列柜里摆放着一系列人类学展品;模糊视线中相对而坐的母亲和小孩。毕业于中国美术学院油画系，王之博创作别具匠心的油画作品，模糊我们对于空间和时间的认知。在主题上超越传统主义，既新奇又充满挑战。她的个展先后在纽约军械库（2013）;香港马凌画廊（2013;2016）展出；她的作品也曾在上海美术馆（2007），北京今日美术馆（2008）,台北当代艺术馆（2008）,悉尼Penrith Regional画廊（2014）, 重庆美术馆（2015）,巴黎Villa Vassilief（2017），广州时代美术馆（2017）以及德国柏林时代艺术中心（2019）展出。

杨嘉辉（b.1979）是一位接受过专业作曲训练的跨学科艺术家，2013年获得美国普林斯顿大学音乐作曲的博士学位。音乐的高阶学术背景，使杨嘉辉得以将实验音乐、声音研究和现场演奏等元素引入到当代艺术创作中，组合成一种独树一帜的实践。长年的正统音乐训练和计算机作曲实践，使杨嘉辉对声音之符号结构及其文化政治意涵别具心得。在杨的创作中，听觉代表了隐藏在视觉背后的一种现实。他从意识形态的角度挖掘声音和音乐的历史意义，审视音乐作为权力工具时的作用。他的作品都将声音作为一种思考工具，穿过日常及常识之面纱背后，考掘关于声音的种种政治性议题。杨嘉辉曾在世界各地举办个展，包括芝加哥大学斯马特美术馆，爱丁堡大学塔尔波特?瑞斯美术馆，香港视觉艺术中心、温哥华亚洲当代艺术国际中心、德国杜塞尔多夫美术馆、曼彻斯特华人当代艺术中心(CFCCA)、香港M+展亭和广岛市现代美术馆等。此外，杨嘉辉代表香港参加2017年第57届威尼斯双年展。2019年，他入围首届由香港M+展亭成立的希克奖。群展包括纽约古根海姆美术馆、悉尼双年展、大坂国立国际美术馆、首尔MMCA国立现代美术馆和卡塞尔文献展之卡塞尔电台广播等等。

≡ 于吉 Yu Ji

石肉 - 零件2#Flesh in Stone – Component 2#, 2015

水泥，铁 Cement, iron 

100 x 30 x 45cm

? 图片由艺术家和马凌画廊提供

Image courtesy of the Artist and Edouard Malingue Gallery

于吉（b.1985）生于上海，于2011年获得上海大学美术学院雕塑系硕士学位。她以多样且具实验性的实践闻名，使用包括装置、表演和视频等媒介，其中雕塑是她工作的核心。于吉的近期作品大都基于对特定地域的研究，以及对特定地点进行地理和历史叙述的能力。她专注于以时间、空间和移动来创造的想法，通常使用最少的材料，将非物质和无形的事物注入物质存在。于吉经常进行田野调查，作为其一部分，她在世界各地不同的地点介入临时性干预，对身体在日常环境中的位置进行反思与质问，将其引入观者的整个空间意识中。于吉的作品曾在法国巴黎东京宫，中央美术学院美术馆，上海余德耀美术馆，广东时代美术馆等艺术机构中展出；于吉近期群展包括《愿你生活在有趣的时代》，第58届威尼斯双年展（2019）；《足够快：行动中的艺术》,Tensta Konsthall，斯德哥尔摩（2018）；HUGO BOSS亚洲艺术：亚洲新锐艺术家奖，上海外滩美术馆（2017）;《第八气候带（艺术何为？）》，第十一届光州双年展（2016）；《何不再问——正辩，反辩，故事》，第11届上海双年展（2016）等。

郑洲（b.1969）1990年代初就读于浙江美术学院（即今天的中国美术学院）版画系，以绘画记录思维永不停息的流动，推敲自己对外界信息的接收及反馈，剖析内心幻想和隐秘欲望，一切幽秘的思维活动，皆以绘画为途径为出口。就风格而言，郑洲的绘画基本属于表现主义的范畴，崇尚漫不经心、随心所欲的感觉，排除透视，颜色大胆，线条狂乱，不受困于任何时间空间的逻辑，超越主观和客观的边界，在一定程度上，可比意识流文学中对灵感、直觉和潜意识的表达，连绵、多变、跳跃。郑洲画画可能就像常人头脑里面的联翩浮想和绵绵思绪，意识流动永不停息，郑洲只是快速地将其转化成画面。郑洲的作品曾在上海和香港展出，也曾在CHAO艺术中心举办个展。

Edouard Malingue Gallery is pleased to present at West Bund Art & Design works by Eric Baudart (b. 1972, France), Chou Yu-Cheng (b. 1976, Taiwan, China), Jeremy Everett (b. 1979, USA), Su-Mei Tse (b. 1973, Luxembourg), Wang Wei (b. 1972, China), Wang Zhibo (b. 1981, China), Samson Young (b. 1979, Hong Kong, China), Yu Ji (b. 1985, China) and Zheng Zhou (b. 1969, China). 

Eric Baudart appropriates, transforms and alters readymades as well as decontextualises quotidian objects to mount a ballet of shape, colour and form. On display is Light Trap. Baudart has been widely exhibited internationally with group exhibitions at the MAMCO, Geneva; Le Petit Palais, Paris; La Centrale for Contemporary Art, Brussels; Bass Museum of Art, Miami, as well as solo exhibitions at Centre d'art contemporain Les Tanneries, the Fondation d’entreprise Ricard and La Maison Rouge, Paris, among other locations. In 2011 he was the recipient of the Meurice Prize for contemporary art. Baudart’s work is held in various notable museum collections, including the MFA, Boston and the MAMCO, Geneva. 

Chou Yu-Cheng pursues a practice that builds, across multiple mediums, a subtle critique of mass media, institutions and the mechanisms that produce them. On display are Refresh, Sacrifice, New Hygiene, Home, Washing, Chou Yu-Cheng, Acrylic, Rag, Scouring Pad, Plate, Image, Album #2 and Chemical Gilding, Keep Calm, Galvanise, Pray, Gradient, Ashes, Manifestation, Unequal, Dissatisfaction, Capitalise, Incense Burner, Survival, Agitation, Hit, Day Light. V (Gradient Painting: Shenzhen Purple & Grey). His notable solo shows include Taipei Fine Art Museum, Taipei; Kaohsiung Fine Art Museum, Kaohsiung; Bethanien Kunstverein, Berlin, amongst other. Group exhibitions include Performa; Perth Institute of Contemporary Arts; Lyon Contemporary Art Biennale; Liverpool Biennial; Art Basel Hong Kong Encounters; New Museum, New York, Asian Art Biennial, Taiwan and others. Chou’s work is held in multiple museum collections including the University of Salford/CFCCA, UK; Taipei Fine Art Museum; Kaohsiung Museum of Fine Art. 

Jeremy Everett creates works that exist as the fragment of a sentence. With an initial degree in Landscape Architecture, Everett traversed into the art of making. Citing inspirations such as Land Art masters Robert Smithson and Michael Heizer, Everett’s work stems from a centre of intuition and subtly evolves beyond process and creation; neither never fully created nor complete, its significance is in its evolving state between varying forms of beauty. On display is Burn Out. Everett has held solo exhibitions in Los Angeles, New York, Shanghai, Paris and Hong Kong, amongst other locations. Group exhibitions include Espacio Tenerife de las Artes and the Museum of Contemporary Art, Chicago. Everett’s practice has been extensively featured in publications and critical reviews including Phaidon, l’Officiel de l’Art, The New York Times, Modern Painters and ArtReview, amongst others. 

≡ 谢素梅 Su-Mei Tse

工作室8（罗马）#1 Studio 8 (Rome) #1, 2015

艺术纸上数码微喷，塑铝板装裱

Inkjet print on the fine art paper mounted on Dibond

120 x 96 cm

? 图片由艺术家和马凌画廊提供

Image courtesy of the Artist and Edouard Malingue Gallery

Su-Mei Tse weaves a meditative tale through her work. Empowered by the language of music, Tse’s practice spans mediums of video, installation and sculpture. Investigating associations between places, cultures and traditions, Tse’s delicate work elicits a cross-stimulation of the senses, where time and its flow are suspended in a gentle state of contemplation. On display are Nested #4&5, Studio 8 (Rome) #1&2 and Stone Collection II #8. Tse is an internationally-celebrated artist who rose to prominence in 2003 when she represented Luxembourg at the Venice Biennale and was awarded the prestigious Leono d’Oro award for her tripartite installation ‘Air Conditioned’. Tse’s work has since been exhibited nationally and internationally including solo shows at Aargauer Kunsthaus, Aarau (2018); Mudam Luxembourg, Luxembourg (2017); Joan Miró Foundation, Barcelona (2011); Isabella Stewart Gardner Museum, Boston (2009). Her solo show “Nested“ was held in Luxembourg, Berlin, Rome, Shanghai and Taipei. Group exhibitions include Kunstmuseum Bonn, Germany (2009); National Gallery of Art, Poland (2009); Singapore Biennale (2008); Kunsthaus Zurich (2006); De Appel, Amsterdam (2005); Sao Paulo Biennale (2004). 

Wang Wei is a multidisciplinary installation artist who looks at how the navigation of physical spaces can inform us about our own lived reality. Through modifying existing architectural structures with subtle, surprising additions or appropriating stylized features from disparate sources, Wang Wei has developed a strong practice around interventions that are aim to disrupt human perceptions of space while opening a dialogue about construction, labor and ways of seeing. On display is Squared Natural History 4 (No.9), replicating the décor from exterior walls of various buildings in Guangdong’s Dongguan area. Using various forms of borrowing and replication, these “cheap aesthetics” are extracted from their original contexts, rendering them odd, awkward, isolated and self-contained. Wang Wei’s work has been exhibited in series of important exhibitions including: Thailand Biennale, The Second Yinchuan Biennale, 2017 California-Pacific Triennial, Pavilion of China at 12th International Architecture Exhibition-La Biennale di Venazia and others. Wang Wei’s work ‘Shadow’ (2017) was selected as the best oeuvre standing as part of the special exhibition programme ArtReview Asia Xiàn Chang at West Bund Art & Design 2017, Shanghai. 

Tropical sceneries finely coated by a delicate layer of dewy snow; glass cabinets housing an array of anthropological items; the blurred vision of a seated mother and child; each are running explorations in Wang Zhibo’s practice that surveys the absurd spectrum of what is real - geographically, historically, ethnographically, architecturally. A graduate from the China Academy of Art’s Oil Painting Department, Wang’s paintings confound our notions of time and space, transcending traditionalism through her curious and challenging subject matter. On display is Sitting (Saint 1). A highly regarded Chinese painter, Wang was awarded the prestigious Luo Zhongli Scholarship in 2009. Her work has since been exhibited worldwide including exhibitions at Times Art Centre Berlin; Times Museum, Guangzhou; Penrith Regional Gallery, Sydney; Chongqing Art Museum; Today Art Museum, Beijing; and Museum of Contemporary Art, Taipei among others. Furthermore, Luise Guest selected Wang to feature in her publication on female Chinese artists ‘Half the Sky’ (2015). 

≡ 杨嘉辉 Samson Young

Support Structure #17, 2019

PLA 3D打印 3D print PLA

22 x 30 x 14 cm

? 图片由艺术家和马凌画廊提供

Image courtesy of the Artist and Edouard Malingue Gallery

Multicultural paradigms, weaved into a symphony of image and sound, are at the heart of Hong Kong artist and composer, Samson Young’s practice. With a formal cross-cultural training in music composition, Young channels creates innovative cross-media experiences that touch upon the recurring topics of identity, war and literature. On display is a 3D print artwork Support Structure #17. Young has had solo exhibitions at SMART Museum of Art, Talbot Rice Gallery, the Kunsthalle Düsseldorf, Centre for Contemporary Chinese Art in Manchester, M+ Pavilion in Hong Kong, and Hiroshima City Museum of Contemporary Art, among others. In 2017, he represented Hong Kong in a solo project at the Hong Kong Pavilion of the 57th Venice Biennale. In 2019, he is shortlisted for the inaugural Sigg Prize. Group exhibitions include Performa 19 Biennial, New York; Solomon R. Guggenheim Museum, New York; Biennale of Sydney; National Museum of Art, Osaka; National Museum of Modern and Contemporary Art, Seoul. 

Yu Ji’s current practice is motivated by the ongoing investigation into the specific location with geography and historical narratives. Her works have been associated closely with field researches, and shows a strong interest in the intervention of specific space with the body. Taking materiality of the media she employs as the starting point and sculpture as her essential media, Yu Ji has been developing and enriching her own vocabulary of art. Her performances that happen together with exhibitions of her sculptures, reflecting and moderating the fragile presence of human and objects in its everyday environment, often turn the space of art into the site of labor work. On display are Flesh in Stone – Component 2# and Ta Jama No.1. Yu Ji’s work has been exhibited at Various art institutions including Palais des Tokyo in France, CAFA Museum in Beijing, Yuz Museum Shanghai, and Times Museum Guangzhou. Yu’s selected exhibitions include: May You Live In Interesting times, 58th International Art Exhibition of La Biennale di Venezia 2019; SOON ENOUGH: ART IN ACTION, Tensta Konsthall, Stockholm (2018); HOGO BOSS ASIA ART: Award for Emerging Asian Artists, Rockbund Art Museum, Shanghai (2017); Why Not Ask Again?-Maneuvers, Disputation & Stories, 11th Shanghai Biennale; and The Eighth Climate (What Does Art Do?), 11th Gwangju Biennale (all 2016). 

Zheng Zhou is a painter of instinct, conveying onto canvas observations from the world, as ad hoc as they may be. His strokes, furtive yet decisive, depict an urgency - to grasp, to depict, to capture that mesmeric multitude of the cosmos, the ‘phenomena’ we, or more precisely he, is a witness to. On display are his most recent works, Cool summer and The rabbit’s blessing. Zheng Zhou has been exhibited internationally, from Beijing to Hong Kong, Paris and Shanghai. Zhen Zhou’s work has been exhibited in Hong Kong and Shanghai. He also had solo exhibition in CHAO Art Center. 

即将开幕 UPCOMING EXHIBITION:

上海 Shanghai “居住在那些无法取得之物的 固体影子中”   "Dwells in the Solid Shadow  of the Unreachable" 何意达 He Yida 19.11.07 - 12.22