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【艺博会资讯】博而励画廊参加首届巴塞尔香港展会线上展厅

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“从非官方到后网络”
From Underground to Post Internet
博而励画廊—香港巴塞尔艺术展香港展会线上展厅
Boers-Li Gallery at Art Basel HK Onling Viewing Rooms
APP
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

博而励画廊欣然宣布，即将于2020年3月18日至25日参加首届香港巴塞尔艺术展线上展厅。本次线上展览以“从非官方到后网络”为主题，呈现从文革后出现的第一批前卫艺术到当下的后网络艺术，在时代性与历史性之间，以艺术家的作品述说当代艺术的迁延与发展。我们荣幸地呈现共15位艺术家的作品，并在一周展期内依循时序精彩呈现。

*我们诚邀您届时移步官方网站：

https://www.artbasel.com/viewing-rooms（点击文末阅读原文可直达）

或下载Art Basel APP，

进入虚拟展厅，体验线上观展乐趣。

部分参展作品甄选

张伟，Z-AC 1713，2017，亚麻布油画，180 x 220 cm | Zhang Wei, Z-AC 1713, 2017, Oil on linen, 180 x 220 cm

张伟1952年生于北京，是当今中国最早的抽象画家之一，对精神自由的渴望不断地通过他的艺术表达体现出来。在美国生活近20年的丰富的跨文化体验（2005年他回到北京定居），弥合了张伟对西方抽象艺术大师们的理解和对自己文化传统的崇敬，借鉴了齐白石和徐渭等传统画家的手法，通过需要体力的自由挥洒的笔触与他的个人体验一同融合在了画布上。

张伟的作品在世界各地广为收藏。特别是他从70年代末开始的早期抽象绘画，标志了中国现当代艺术的兴起，不久前曾在香港M+乌利·希克典藏的《中国当代艺术40年》中国展出。同样，他的作品被国际知名艺术机构收藏，如M+博物馆－香港九龙文化西区视觉艺术博物馆、美国芝加哥艺术学院以及世界各地久负盛名的私人收藏机构。

Zhang Wei, boin in Beijing, China in 1952, who is one of the first abstract painters in China today, desire for spiritual freedom to be manifested through his artistic expressions. Enriched by his cross-cultural experience for having lived in the U.S. for nearly two decades, the resettlement back to Beijing in 2005, bridges Zhang Wei understands of the Western masters of abstraction and reverence for his own cultural tradition. His work draws references from painters such as Qi Baishi, Xu Wei among others, which are then integrated with his personal experiences onto the canvas through free gestural brushworks that demands physical energy.

Zhang Wei’s works are widely exhibited internationally. In particular, his early abstract paintings from the late 70s, marking the rise of modern contemporary Chinese art, were recently exhibited “40 Years of Contemporary Chinese Art” from the M+ Uli Sigg Collection in Hong Kong. Equally, his works are collected by renowned international art institutions, such as the M+, Museum for Visual Culture of the West Kowloon Cultural District, Hong Kong, the Chicago Art Institute, USA, … and various prestigious private collections worldwide.

张培力，有球形建筑的风景，2008，交互影像装置（36LCD监测传感器），3个版本，1个AP版本 | Zhang Peili, Landscape with Spherical Architecture, 2008, Interactive photography installation (36 LCD monitors and sensors), Ed. 1/3, plus 1 AP

张培力，1957年11月生于杭州，1984年毕业于浙江美术学院（现中国美术学院）油画系，现为中国美术学院教授，OCAT（上海）执行馆长；居住于杭州。
1985、86年他组织参与“85新空间”展览及“池社”活动。主要作品有《休止音符》、《X?》系列、《30x30》、《水——辞海标准版》、《（卫）字3号》、《不确切的快感》、《遗言》、《喜悦》、《阵风》、《碰撞的和声》等，艺术创作涉及录像、文字、声音装置、机械装置、摄影等媒介，同时从事艺术教学及行政工作。
张培力曾在纽约现代艺术博物馆及芝加哥美术馆举办个展；并三次参加威尼斯双年展，及里昂双年展、悉尼双年展、光州双年展、上海双年展等重要国际展事。他的作品为纽约现代艺术博物馆、古根海姆博物馆、芝加哥美术馆、泰特现代美术馆、法国蓬皮杜艺术中心等重要机构收藏。

Zhang Peili was born in Hangzhou, China in November 1957. He graduated from the Department of Oil Painting at Zhejiang Academy of Fine Arts (now China Academy of Art) in 1984, where he is now a professor. He is also the executive director of OCAT Shanghai. Zhang currently lives and works in Hangzhou.
In 1985 and 1986, he organized and participated in the "'85 New Space" exhibition and artist collective "Pond Society" activities. His major works include Rest, X? series, 30x30, Water: Standard Version from Cihai Dictionary, Document on Hygiene No.3, Last Words, A Gust of Wind and Collision of Harmonies etc.. Zhang is mainly engaged in works with the media in video, text, sound installation, mechanical installation and photography, along with art education and administration.
Zhang has held solo exhibitions at renowned institutions such as Art Institute of Chicago and Museum of Modern Art New York, and he participated in Venice Biennale three times. His works are also shown in several important international exhibitions such as Lyon Biennale, Sydney Biennale, Gwangju Biennale and Shanghai Biennale. His works have been collected by prominent institutions such as MoMA New York, Guggenheim Museum, Art Institute of Chicago, Tate Modern and Centre Georges Pompidou, etc.

薛峰，颤动之像 2018-2，2018，布面油画，160 x 120 cm | Xue Feng, The Shaky Image 2018-2, 2018, Oil on canvas, 160 x 120 cm

薛峰（生于1973，现于深圳定居及创作）在中西油画传统的词汇框架下，以夸大的手法展示了我们当代人类对大自然以至其人工制造政治的思维。

从“笔触场”、“笔触景观”到“地盘”和“流动的形状”，我们从这四个系列中清晰地看到，薛峰有意放大了笔触——一个通常赋予着抽象形式之精髓的基本单元——的转化过程，即从表现主义无拘无束的处理手法到精心分配的形式。同时，他也展现了一个升华的过程，其中风景作为一个在地理上可识别的地点之概念，延伸至一个更为抽象的地理概念。这些视觉图像以地图格作为基底，它们剔除了我们通常与地图有关的社会、政治和文化联想，而新的视觉建构也为这些想象提供了全球化的视觉语境。

部分作品收藏：M+视觉文化美术馆，香港；希克收藏，瑞士；私人收藏等。

Xue Feng (b.1973 – lives and works in Hangzhou) shows in a rich manner our contemporary mind set towards nature and its politics of artificiality, framed in an articulated vocabulary of both Chinese and western painting traditions.
Visibly apparent in the four series on view, namely Brushstroke Aura, Brushstroke Spectacle, Territories and Fluid Shapes, Xue Feng magnifies the transformation of his brushworks – a basic unit often accords to the essence of abstract forms – from a free hand expressionist approach to deliberately assigned forms. In addition, it is also a process of sublimation, where notion of landscape, a geographically identifiable location, expands to a more abstract notion of territory. Visualized on the cartographical grid, Xue Feng’s expansion is marked by the elimination of the social, political and cultural attributes we often associate with maps, so the new constructs afford imaginations for a new global outlook.

His works have been collected by M+, Museum for Visual Culture, Hongkong, Ulli Sigg Collection, Switzerland, Private Collections, etc.

廖国核，多少党员克服多少坏人，2018，织物丙烯，110 x 144 cm 厘米 | Liao Guohe, A number of Communists overcome a number of evils, 2018, Acrylic on fabric , 110 x 144 cm

廖国核，生于1977年。他的个展曾在北京民生美术馆（2016）、四方美术馆（2014）等重要艺术机构举办。此外，他还曾多次参与国内外重要群展，包括：“大阳台：蒙特利尔双年展”，蒙特利尔当代艺术博物馆，加拿大（2016）；“土尾世界—抵抗的转喻和中华国家想象”，PARA SITE 艺术空间，香港（2015）等。

自90年代末起，廖国核就以其几近恶俗的绘画语言持续刺激着中国当代艺术领域。作为中国当代绘画的另类代表，廖国核独特的绘画语言成功的对当代中国的庸常现实进行了批判与反讽。他所开创的迷人风格，以一种无遮蔽的方式，对日常经验进行了大规模的篡改与重组，而这种带有欺骗性的语言却反过来清除了理解所谓本质的障碍，让廖国核对观众开出的种种低俗玩笑最终成为正儿八经的哲学命题。

Liao Guohe, born in 1977. His works were the subject of solo exhibitions at Beijing Minsheng Art Museum in 2016 and Sifang Art Museum in 2014. He has participated in group shows include, Le Grand Balcon: La Biennale de Montreal at the Musée Contemporaine de Montreal, Canada (2016); A Hundred Years of Shame – Songs of Resistance and Scenarios for Chinese Nations, Para Site, Hong Kong (2015).

Since the late 1990s, Liao has kept stimulating the Chinese contemporary art by his own painting language---painting that is somewhat vulgar. This unique language of painting successfully declares the criticism and irony to the commonplace realities of contemporary China. The charming style he created, made a large-scale falsification and reconstruction of the daily experience in an unsheltered way, and this painting language, with a sort of deception, has inturn removed the barriers for understanding that so-called intrinsic character, making Liao’s vulgar jokes on the audience eventually become real proposition of philosophy.

左：铁鹰，希望-01，2020，布面油画，40 x 30 厘米；右：铁鹰，希望-02，2020，布面油画，40 x 30 厘米 | Left: Tie Ying, Hope-01, 2020, Oil on canvas, 40 x 30 cm; Right: Tie Ying, Hope-02, 2020, Oil on canvas, 40 x 30 cm

作为中国70后艺术家中的代表人物之一，铁鹰的艺术创作主要围绕着绘画和摄影这两种艺术媒介展开。尽管他对于中西方艺术史有着深刻的洞见，但他一直对既存的视觉艺术传统和形式保持着审慎的态度，以抵抗对艺术范式的自我阐释，平庸乏味的图像学，以及方法论的老生常谈。铁鹰在实践中为自己开辟了一条高度个人化的探索道路，通过不断地、有意识地对绘画的构图做出调整和改变，从而避免了落入任何一条典型的艺术轨迹。

他的作品被aZURE 当代艺术私人收藏机构，摩纳哥和瑞士，DSL 中国当代艺术收藏机构，巴黎，法国，Chinart中国当代艺术收藏机构，苏黎世，瑞士，摩纳哥王子Albert II个人收藏，摩纳哥，PALM 私人当代艺术收藏，伦敦，英国，巴克莱财富管理银行, 摩纳哥，纽约马乐伯画廊，纽约，美国等重要收藏机构收藏。

Tie Ying’s paintings are proactive acts of liberating our visual experiences from the pictorial syntax we have become immune to. By disconnecting the classic scenes traditionally related to one another, and reducing image making to the piecing together of seemingly unrelated fragmental components, each painting is given a more independent existence. The conglomeration of these visual cues encapsulates the experiences of the contemporary, giving a temporality its configuration. In the artist’s words, they are the “threshold” that renews and evolves with their perception.

His works have been collected by aZure collection, Monaco, Zurich, DSL Collection, Paris, France, Chinart Collection, Zurich, Switzerland, Prince Albert II, Monaco, PALM Collection, London, England, Barclays Wealth Monaco, Monaco, Marlborough Fine Arts Inc. New York, USA, etc.