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BANK参加巴塞尔艺术展香港展会线上展厅 Art Basel Online Viewing Rooms

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BANK展位模型@香港巴塞尔展会线上展厅 2020

BANK Booth (Sketch Up Version) @ Art Basel Hong Kong Online Viewing Rooms

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Maryn Varbanov 万曼

Shi Hui 施慧

Art Basel HK Onling Viewing Rooms

香港巴塞尔艺术展香港展会线上展厅

@https://www.artbasel.com/viewing-rooms

线上贵宾开放时间/VIP Opening Date：3月18日 18 March

线上公众开放时间/Public Opening Date: 3月20日 March 20

关闭时间/ Closing Date：3月25日 March 25

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Maryn Varbanov, MV Couple, 1978, Goat Wool, 220x 24x 25cm

万曼《夫妇》1978，山羊毛

BANK 荣幸于香港巴塞尔展会线上展厅呈现一场致敬中国现代纤维艺术的展览，展出中国纤维艺术运动中最活跃的先行者之一施慧与万曼的作品。

万曼既是施慧的导师又是掀起此番艺术浪潮的重要先驱。作为首次契机，施慧的作品将与万曼晚期的作品展开对话，创造了师生、性别和代际之间的阴阳辩证关系。三十多年以来，施慧一直是中国纤维艺术的拥护者。此艺术项目讲述了两位艺术家之间亲密无间的交往与过往故事，二者皆对中国纤维艺术的发展成长贡献良多。

BANK展位模型@香港巴塞尔展会线上展厅 2020

BANK Booth (Sketch Up Version) @ Art Basel Hong Kong Online Viewing Rooms

BANK is proud to present a special tribute to the modern Fiber Art tradition in China by showcasing one of its earliest and most active proponents in conversation with her mentor and inspiration for the movement in China on the Online Viewing Rooms launched by Art Basel Hong Kong. This inaugural edition going live on March 20, 2020.

For first time, the work of Shi Hui (施慧) will be shown in dialogue with the late Maryn Varbanov (万曼), creating a yin/yang discourse between student and teacher, female and male, younger and older generations within the space of the booth. For more than 30 years Shi Hui has been an exponent of the development of fiber arts in China. This project tells the story of two artists who worked very intimately with one another and shared a common vision for the fertile place for Fiber Arts in China.

Shi Hui, Structure-4, 1998, Cotton, coire cope, xuan paper, paper pulp, 45 x 190 cm

施慧《结之四》1998，棉线、棕绳、宣纸、纸浆

关于艺术家万曼

About the artist Maryn Varbanov

万曼 (1932年出生，保加利亚，1989年去世，北京)是一位享有盛誉的艺术家，他的影响力广泛，从他的故乡索非亚到他的第二故乡巴黎，以及对中国早期先锋派艺术的形成皆影响深远。万曼对世界艺术的卓越贡献不仅在他自己的持之以恒的艺术实践中，他也同时在欧洲和亚洲作为教育工作者和文化外交官。

1960年，万曼创建了索非亚艺术学院的第一个壁挂系，进行一系列编织雕塑的实验。他开创了“软雕塑”(现称为“纤维艺术”)的流派，他颠覆性地重新利用挂毯作为装饰艺术，并解构其隐藏的建筑结构。万曼随后连续三年在洛桑国际双年展上展示了他先锋的纤维艺术，并在著名的巴黎现代艺术博物馆(Musee d‘Art Modern ne de la Ville de Paris)、艾蒂安美术馆(Galerie Etienne De Causans)、奥德马特美术馆(Galerie Herve Odermatt)和巴黎大皇宫(Grand Palais)先后展出。他还得到法国前文化部长伯纳德·安东尼奥(Bernard Anthonioz)、收藏家乔治·赫克利(George Heckly)和皮埃尔·卡丁(Pierre Cardin)的拥簇支持，后者在巴黎皮尔卡丹艺术中心（Espace Cardin)展出了万曼的作品，并在20世纪80年代初跟随万曼的步伐来到中国。

Maryn Varbanov & Huai Gui Song , Butterfly, 1975

Goat Wool, 200x 140cm

万曼 & 宋怀桂《蝴蝶》1975，山羊毛

Maryn Varbanov (born 1932, Bulgaria – died 1989, Beijing) was a prestigious artist whose influence stretched from his native Sofia, to his adopted home of Paris, and more notably to China, where he was a powerful influence on the formation of the country’s avante-garde in its crucial, early years. Varbanov’s inspiring contribution to the global arts was felt in his own stellar practice as well as role as educator and cultural diplomat in both Europe and Asia.

In 1960 Varbanov founded Sofia Academy of Art’s first tapestry department where experimentations in woven sculptures took place. He pioneered the genre of “soft sculpture” – now known as “fiber art” – by subversively re-appropriating the decorative art of tapestry and interrogating its underlying architectonic structure. Varbanov went on to show his visionary textile works at three consecutive International Biennales in Lausanne as well as at the prestigious Musee d’Art Moderne de la Ville de Paris, Galerie Etienne de Causans, Galerie Herve Odermatt, and The Grand Palais. He had the support of the former French Cultural Minister, Bernard Anthonioz, the collector George Heckly and Pierre Cardin, who showed Varbanov’s work at the Espace Cardin in Paris and also followed him to China in the early 1980s.

Maryn Varbanov, MV Fenêtres, 1978, Goat Wool, 220x 90cm

万曼《窗》1978，山羊毛

20世纪80年代初，万曼慷慨地将 Cité des Art 的工作室捐赠给杭州的浙江美术学院(现在的中国美术学院)，将原本与世隔绝的中国带领到全球艺术界。1985年，万曼与几位中国青年艺术家一同在北京国家美术馆组织了现代艺术壁挂艺术展览。这场展览也同时是艺术家罗伯特·劳森伯格(Robert Rauschenberg)在中国的首次重要亮相。策展人侯瀚如引用当时劳申伯格的话说，这次软雕塑展览是他见过的最好的展览之一。

万曼与学生在中国美术学院万曼壁挂研究所前合影

Maryn Varbanov with his students in front of IATV

(图片提供：施慧）(Courtesy of Shi Hui)

万曼随后应邀在杭州的中国美术学院成立了万曼壁挂研究所。这位艺术家从中国和东欧的贸易历史中汲取素材，强调了挂毯作为进口商品的身份。他将希腊人、斯拉夫人和奥斯曼人的编织情感与中国传统的丝绸和羊毛编织交织在一起，不经意间为装置作为一种艺术形式在中国奠定了基础。万曼于1989年去世，但万曼壁挂研究所仍然存在，活跃在杭州，最近发起了一场国际纤维艺术三年展。

在他的艺术实践、个人生活和教育方法中，万曼自由游移于东西方、本土和国际、传统和前卫之间，双重性贯彻他的生活与作品一生。

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In the early 1980s Varbanov generously donated a studio at Cité des Art to the Zhejiang Academy of Art in Hangzhou (now known as the China Academy of Art) singlehandedly ushering an otherwise isolated China to the global art community. In 1985 Varbanov organized and participated, along with several young Chinese artists, in the Modern Artistic Tapestry Exhibition at the National Art Gallery in Beijing. The show ran concurrent with Robert Rauschenberg’s momentous China debut. Curator Hou Hanru quotes Rauschenberg at the time saying that the “soft sculpture exhibition was one of the best shows he had ever seen”.

Varbanov was then invited to establish the Institute of Art Tapestry Varbanov (IATV) at the China Academy of Art in Hangzhou. Underscoring the identity of tapestry as an imported good, the artist drew from both Chinese and Eastern European trade histories. He interlaced Hellenic, Slavic, and Ottoman knitting sensibilities with traditional Chinese silk and wool weaving and inadvertently helped to lay the foundation for installation as an art form in China. Varbanov passed away in 1989 but IATV still is alive and active in Hangzhou, recently initiating an international Triennial of Fiber Art.

Throughout his artistic practice, his personal life, and his pedagogy, Varbanov delicately negotiated between East and West; local and international; tradition and the avant-garde, embodying duality itself as an essential feature to his life and work. BANK is proud to present a selection of Varbanov’s plasticine models, which were produced in Europe in the 1970s and acted as sketches for larger fabric works, as well as several weaved totem pieces and ink drawings. In these works we see the artist’s methodology and final results as well as his overlapping sensibilities – modern and orthodox, organic and galactic that

have helped define his legacy in Europe and Asia.

关于艺术家施慧

About the artist

Shi Hui Nest, 1992-1993, bamboo,cotton, Chinese paper pulp, 60x 100 x 80cm

施慧《巢》1992-1993，竹篾、棉线、宣纸纸浆

施慧，纤维艺术家，中国美术学院教授，博士生导师。万曼壁挂研究所主任。施慧1982年毕业于浙江美术学院（今中国美术学院）染织专业，获学士学位。1986年-1989年在“万曼壁挂研究所”研修当代纤维艺术创作。1987年，作品《寿》（合作）参加瑞士洛桑“第十三届国际壁挂双年展”，实现了中国当代壁挂艺术走向世界的零的突破。

施慧是上世纪80年代中国第一批从事当代纤维艺术的艺术家，她坚持纤维艺术在当代艺术中的创作方向，作品以棉、麻、宣纸、纸浆等纤维材料为特征，在当代艺术的范畴内延展出东方精神的底蕴。作品先后参加国内外许多重要展览及提名展、双年展，参加的群展有 2000年第三届上海双年展，2001年德国柏林国家美术馆 “生活在此时——29位中国当代艺术家”展，2003年法国蓬皮杜艺术中心“间”——中国当代艺术展，2013年德国科布伦茨路德维希博物馆双个展。2007年获马爹利非凡艺术人物奖，2014年获AAC第八届艺术中国年度影响力大奖。

万曼与施慧（左四）在瑞士洛桑参加1987年 “第十三届国际壁挂双年展”

Maryn Varbanov & Shi Hui in " the 13th International Tapestry Biennale" in Lausanne

施慧持续使用中国宣纸和纸浆为主要媒介，在这种钟爱的后面，显然既是对媒介与自己心灵默契的那种特殊属性的体认，也是对中国传统媒介在当代的价值转换的信念。施慧的作品在中国当代艺术的图式中，呈现出独特的视觉特征，她将传统意义上的编织拓展为一种视觉空间的建构，编织的过程被作为经验的流程，而成为一种“后现代的万物有灵论”的图像演绎。

Shi Hui, Fan-1, 2006

Wire mesh,xuan paper,paper pulp,140 x 112 x 7.2cm

施慧《扇-1》2006, 镀锌铁丝网、宣纸、纸浆

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Shi Hui (b. Shanghai, 1955) is a textile artist and educator. She has held the professorship position and served as a doctoral supervisor at China Academy of Art. She has also worked as the director of Varbanov Fiber Art Research Center.

Graduated from the Zhejiang Academy of Fine Arts (now China Academy of Art) in 1982 with a bachelor's degree in dyeing and weaving, she studied contemporary fiber art at the Maryn Varbanov Institute from 1986 to 1989. In 1987, her work "Shou" (cooperation) was included in the "13th International Tapestry Biennale" in Lausanne and marked the first presentation in the contemporary Chinese tapestry art in the world-known occasion.

Shi Hui was among the first generation of Chinese artists working in contemporary textile art in 1980s. Specially focused on the fiber art practice, Shi relentlessly incorporates typical materials in China like cotton, hemp, rice paper, paper pulp in her compositions, which in a way reveals the essence of the oriental spirit. His works have been featured in numerous exhibition worldwide, most recently including The 3rd Shanghai Biennial(Shanghai, 2020), Living in time: 29 contemporary Chinese artists from China at Berlin’s National Gallery(Hamburger Bahnhof, Berlin, 2001), Alors, La Chine at Centre Pompidou(Paris, 2003) and Flourish Spirits at Ludwig Museum(Koblenz, 2013). She has also been awarded as the 2007 “Martell Artists of the Year” and the 8th Award of Art China in 2014.

Shi’s works are well known for her using xuan paper and paper pulp relentlessly in the practice. Her sustained emphasis on the materials reflects a special relationship between the materials and artist her self, revealing the artist’s devotion and belief to the traditional Chinese medium in the contemporaneity. She challenges the conventional notion of the weaving and experiments in the physical space practice, which marks her works intricate and dynamic.Through the deft use of warp and weft, Shi’s practice embraces the accumulation of the experience, which visually shows idea of the postmodernism animism.