≡ 马凌画廊 | 弗里兹线上展厅开放！

参展艺术家 Artists: 

周育正 Chou Yu-Cheng

王之博 Wang Zhibo

杨季涓 Yang Chi-Chuan

(Scroll down for English version)

马凌画廊很荣幸在2020伦敦弗里兹艺博会线上展厅展出来自周育正（中国台湾）、杨季涓（中国台湾）、王之博（中国）三位艺术家2019年至2020年间的最新创作。

Edouard Malingue Gallery is pleased to present at Frieze London Online Viewing Room new works created between 2019 and 2020 by Chou Yu-Cheng (b. 1976, Taiwan, China), Yang Chi-Chuan (b. 1985, Taiwan, China), and Wang Zhibo (b. 1981, China).

扫描下方二维码注册（或点击阅读原文）

搜索“Edouard Malingue Gallery”

进入马凌画廊弗里兹线上展厅

 Scan the QR code below for registration 

(or click Read more)

Search "Edouard Malingue Gallery"

enter Frieze Viewing Room

⬇️

(左右滑动查阅更多作品细节 Slide for more)

≡ 王之博 Wang Zhibo

脆弱 Fragility, 2020

布面油画和特殊铅笔  Oil on canvas and grease pencil

180×130cm

图片由艺术家和马凌画廊提供

 Image courtesy of the artist and Edouard Malingue Gallery

画面中的是瓷器，也是杂技演员；“易碎的”瓷器和“脆弱的”身躯在英文里面找到了同一个对应的单词“fragility”。杂技演员在表演中努力保持平衡的样子很像一具精美的瓷器处于随时可能发生危险的边缘。而杂技演员在表演中短暂达到的平衡同样是脆弱的，稍纵即逝，极易被打破。对于艺术家而言，她就像是那个杂技演员，必须在任何情况下都要保持平衡，如此才能成为高明的杂技演员。可是人有血肉之躯、七情六欲，携带着地域文化留下的烙印，如何能时刻保持平衡呢。一旦失去了平衡，就会像这瓷器，“咔嚓”一声碎满地。

Juxtaposed in this painting is a piece of porcelain and an acrobat, aiming to draw comparisons between the "fragile" nature of the object and the human body. The acrobat, which is struggling to maintain her balance in the performance, resembles the fine piece of porcelain, at the verge of danger at any moment. Likewise, the physical balance that the acrobat achieves during performance is fragile, fleeting, and easily disrupted. To the artist herself, she is like the acrobat, who has to keep her balance under any circumstances, so as to be a spectacular acrobat. However, we all are made of flesh and blood, lusts and emotions, we bear the imprints of regional cultures in our bodies - how can we keep balance at all times? Once you lose your balance, you might end up like the porcelain, which will shatter into pieces on the ground with a clatter.

(左右滑动查阅更多作品细节 Slide for more)

≡ 王之博 Wang Zhibo

15摄氏度，海边的民族主义乐观精神

15 ℃, Nationalistic Optimism by the Sea

2020

布面油彩及颜料墨水笔 Oil and pigmented ink pen on canvas

134×185cm

图片由艺术家和马凌画廊提供

 Image courtesy of the artist and Edouard Malingue Gallery

摄影 Photo: Andrea Rossetti

一到夏天就弥漫着一种情绪：大海，沙滩，冰淇淋带来的惬意愉悦，人们在海边一起享受欢乐的夏天，乐观的情绪下每个人的政治身份被深深隐藏。也许是激进的民族主义者，或是真正的种族主义者。如此一想这样的场景就显得很荒谬。艺术家在画面中的某些部分极力渲染了那种海边的氛围，却又故意在另一些地方露出马脚。

In summer, there’s a feeling in the air filled with pleasure brought by the sea, the beaches and ice-cream. People are enjoying the summertime together by the sea, with everyone’s political identities being hidden under their optimistic sentiments. On the beach, one could be a radical nationalist, or even a genuine racist. It became an absurd scenario when you think about it this way. In this painting, the artist makes an effort to render the optimistic atmosphere by the sea in some parts, while in other parts she deliberately gives away bits of information.

(左右滑动查阅更多作品细节 Slide for more)

≡ 王之博 Wang Zhibo

扑通，扑通，扑通 Thump, Thump, Thump, 2020

布面油画  Oil on canvas

180×130cm

图片由艺术家和马凌画廊提供

 Image courtesy of the artist and Edouard Malingue Gallery

摄影 Photo: Andrea Rossetti

艺术家某次在柏林的一家中餐馆就餐，几个小孩鱼贯而入，他们金色的头发在晦暗污浊的餐厅里显得明亮耀眼。被金色毛发吸引可能是身为亚裔人群特有的视觉关注点，艺术家试图抓住这一瞬间的感觉，因为金色毛发而突然对自己少数族裔身份的自我意识，而这个意识对搬迁至欧洲不久的艺术家而言可以说是崭新的。

One day, when the artist was dining at a Chinese restaurant in Berlin, a few kids filed in. Their blonde hair shined brightly in the dark and murky restaurant, and had attracted the artist’s attention, which may be a particular visual concern for Asians. The artist tried to grasp the feeling of this moment when her self-awareness of being an ethnic minority was triggered by the blonde hair. This realization is rather new to the artist for she had just moved to Europe recently.

(左右滑动查阅更多作品细节 Slide for more)

≡ 王之博 Wang Zhibo

猪猡，思乡病和巨嘴鸟

Piggy, Homesickness and Toucan

2020

布面油画 Oil on canvas

180×130cm

图片由艺术家和马凌画廊提供

 Image courtesy of the artist and Edouard Malingue Gallery

摄影 Photo: Andrea Rossetti

作品的背景是中国大陆随处可见的公共建筑空间。前景中衰老的面庞被扣在年轻的身体上，突兀的样貌是艺术家对自己未来样子的幻想。同样格格不入的还有长着一张假嘴似的巨嘴鸟。艺术家用夸张的黄色来强调人物的肤色，是因为来欧洲之后对“猪猡”这个词的新认知。这个移民时代早期经常被提及的歧视性文字，如今也有了别的意思。在柏林，被思乡的情绪笼罩着，却又早已无法回头，艺术家把在各种时间和空间里的体验连接在了一起。

The background of the painting is some sort of public architectural space which can be seen everywhere in China. In the foreground, an aged face is placed on top of a young body. This abrupt appearance is what the artist imagines herself to look like in the future. Meanwhile, also looking odd in the image is a toucan with a seemingly fake beak. The exaggerated yellow the artist uses to emphasize the skin colour comes from her new perception of the word “piggy” after having moved to Europe. This discriminatory word which was often used back in the early times of immigration, now has new meanings. In Berlin, the artist is haunted by nostalgia. But there’s no way back. So she ties together her experiences of various times and spaces.

(左右滑动查阅更多 Slide for more)

≡ 杨季涓 Yang Chi-Chuan

Plastonki, 2020

声音（20min），陶瓷，沙，树干

Audio recording (20 min), ceramic, sand, trunks

尺寸可变 Dimensions variable

Künstlerhaus Bethanien展览现场，2020

Installation view at Künstlerhaus Bethanien, 2020

图片由艺术家提供

Image courtesy of the artist

在生态与生命的演化过程中，地景、气候与生物样貌三者之间相互钳制、影响彼此的状态与生存方式，发展至近代工业由开采、提炼到化合，人造材质的时代大幅度地扰动了地景、气候与生物。杨季涓的新项目《Plastonki》由口述声响与手作陶土构成。口述声响以科学论述做为引言，结合拟人化的寓言故事，围绕于知识与反讽之间，并借此故事描绘出各式生物：鱼、海藻、珊瑚，直至沙滩、石头....等等在生态循环下的变异样貌与自然地景的成因；而文本中，现代化产物的替身Plastonki，它突兀又离奇的身世，暧昧游走于自然、神话与信仰之间。

陶土的造型叠合了海岸边自然与人为痕迹，一些经由海岸冲刷后形变的器具、塑料、石块、贝壳、珊瑚、树枝、骨骸、或是其结合物，这些色彩斑斓的物件散落于海砂中，如同孩童游戏沙坑里未收拾即离去的一地玩具。攀附在墙面的作品，概念则是来自于攀岩场的塑料造型石头，这些石块即是在这样自然与非自然的概念下，生产、造景而成，与“Plastonki”故事中对石头生成的疑惑有着不谋而合的相似概念。

正如艺术家所说：“Plastonki代表了新的知识和可能性，同时也代表了某种邪恶力量。”

In the evolutionary process of ecology and life, landscape, climate, and biological outlook mutually restrain and affect each other’s state and mode of existence. The development of modern industry from mining, refining to compounding, ushers in the age of artificial materials and has greatly caused disruption. The project “Plastonki” consists of a recorded narration and handcrafted clay. The recorded narration begins with a scientific introduction, combined with anthropomorphic fables, alternating between knowledge and satire, illustrating various living organisms: fishes, seaweeds, corals, beaches, stones etc., their transformations in the ecological cycle and the causes of natural landscapes. In the story, Plastonki, synonym of the product of modernisation, its sudden and mysterious existence manoeuvers ambiguously between Nature, myth and belief.

The form of the handcrafted clay is a combination of the natural and artificial remains on seashores, such as tools, plastics, stones, shells, corals, branches, bones deformed by coastal erosion, or their mixtures. These colourful objects are scattered on the sand, like toys forgotten in sand dunes made by children. The artwork, placed on the wall, originates from the plastic rocks in a rock climbing gym. These rocks are, under the concept of natural/unnatural, produced and landscaped, mirroring the “Plastonki” story where there is a doubt regarding the formation of the stone.

As the artist says, “Plastonki represents new knowledge and possibility but also an evil force.”

(左右滑动查阅更多 Slide for more)

≡ 杨季涓 Yang Chi-Chuan

东西变石头，石头变成沙

Things turn into stones, stones turn into sand

2019

人造石、沙子、陶 Artificial Stone, Sand, Pottery

大型 Large: 160 x 100 x 65 cm

中型 Middle: 90 x 70 x 50 cm

小型 Small : 85 x 70 x 25 cm

图片由艺术家和马凌画廊提供

Image courtesy of the Artist and Edouard Malingue Gallery

(左右滑动查阅更多 Slide for more)

≡ 杨季涓 Yang Chi-Chuan

东西变石头，石头变成沙（角钢 No.1）

Things turn into stones, stones turn into sand (Angle Steel No.1)

2020

陶土 Pottery

尺寸可变 Dimension variables

图片由艺术家和马凌画廊提供

Image courtesy of the Artist and Edouard Malingue Gallery

《东西变石头，石头变成沙》叠合了海岸边的自然与人为痕迹，透过手捏陶，制作出一些经由海岸冲刷后形变的器具、塑料、砖瓦、贝壳、珊瑚、树枝、或是其结合物...等等，这些色彩斑斓的物件散落于海砂中，也看似如同孩童游戏沙坑里未收拾即离去的一地玩具。其命名亦隐含着两个指向：东西变石头意即非理所当然的变化，指向人类生产的物质影响原生地质的样貌，产生了不同以往的地质型态或结合物；石头变成沙则是时间与物质理所当然的变化，逐渐消长而成的地貌景观。《东西变石头，石头变成沙》即交织于这两种合理与不合理的系统之间，结合而成的一个新自然系统。

"Things turn into stones, stones turn into sand" merges both the natural and artificial traces along the coast. Through pinching pottery by hand, some appliances, plastics, bricks, shells, corals, branches, or combinations, which are deformed after being washed along the coast, are produced. These colorful objects are scattered in the sea sand, which look like toys that are left unpacked in a children playground bunker. The title of the artwork suggests two implications: "things turn into stones" meaning the unnatural changes, referring to the artificial materials affecting the primary geological appearance, therefore producing new geology types or combinations that differ from the past; meanwhile "stones turn into sand" meaning the natural changes as results of time and matter, referring to the gradually formed geomorphic landscape. "Things turn into stones, stones turn into sand" is a new natural system, that merged by interweaving between such reasonable and irrational systems.

≡ 周育正 Chou Yu-Cheng

水，共时，沉积，物质，流动，历时，彩 #4

Water, Synchronous, Sediment, Substance,

Flow, Diachrony, Color #4

2020

 丙烯于纸上、纸裱贴于木板

Acrylic on paper, Paper mounted on high hardness MDF (black)

97 x 205 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 Chou Yu-Cheng

水，共时，沉积，物质，流动，历时，彩 #9

Water, Synchronous, Sediment, Substance,

Flow, Diachrony, Color #9

2020

 丙烯于纸上、纸裱贴于木板

Acrylic on paper, Paper mounted on high hardness MDF (black)

200 x 150 cm

图片由艺术家和马凌画廊提供

 Image courtesy of the artist and Edouard Malingue Gallery

作品参考于物质与水之间经过长时间流动后的渐变沉积现象，例如大自然的河床冲刷后的石头排序或是人为的工业废水排放的污染残留等现象，是一些经过时间堆积所产生的物质原生色泽，不同于荧幕上RGB或印刷CMYK的色彩系统。“水，共时，沉积，物质，流动，历时，彩”是由有机合成与矿物质颜料的融合，透过多次水流运动所产生的原生色泽，在物质与时间的不断交错作用下，最终形成物质与时间的聚积。

The work is referenced to the phenomenon of gradual sedimentation that occurs between the material and continuous water flow over a long period of time. For instance, the natural arrangement of rocks in the riverbed, or the anthropogenic pollution residue from industrial wastewater discharge. The colours of such materials produced from sedimentation over time are primordial, unlike those generated by the RGB colour systems on screen or the CMYK system for printing. The “Water, Synchronous, Sediment, Substance, Flow, Diachrony, Color” series is a mixture of organic synthesis and mineral pigments that produces primordial colours by undergoing repeated water flow, which eventually forms into an accumulation of material and time under the constant interplay of the two. 

正在展出 CURRENT EXHIBITION:

线上展厅 Online Viewing Room 北京当代艺术展 Beijing Contemporary Art Expo 2020 周育正 Chou Yu-Cheng 陶辉 Tao Hui 王之博 Wang Zhibo 郑洲 Zheng Zhou 20.9.25-10.24

即将展出 UPCOMING EXHIBITION:

线上展厅 Frieze Viewing Room 2020伦敦弗里兹艺博会 Frieze London 2020 周育正 Chou Yu-Cheng  王之博 Wang Zhibo  杨季涓 Yang Chi-Chuan 20.10.7-10.16