≡ 马凌画廊 | ART021 2021上海廿一当代艺术博览会 | 展位 E22
≡ 陶辉 Tao Hui
Smoke and Light, 2021
单频道彩色有声录像装置
Single channel video installation, color and sound
Video 录像: 12 min 36 sec
Monitor 屏幕: 22.1 x 110.1 cm
Image courtesy of the artist, Edouard Malingue Gallery and Esther Schipper Gallery
图片艺术家，马凌画廊和施博尔画廊提供
Shanghai Exhibition Center, No.1000 Middle Yan An Road, Shanghai
周育正 Chou Yu-Cheng
何意达 He Yida
刘晓辉 Liu Xiaohui
陶辉 Tao Hui
王之博 Wang Zhibo
杨学德 Yeung Hok Tak
于吉 Yu Ji
郑洲 Zheng Zhou
(Scroll down for English version)
马凌画廊荣幸在2021上海廿一当代艺术博览会上呈献周育正、何意达、刘晓辉、陶辉、王之博、杨学德、于吉和郑洲八位艺术家的作品。
≡ 周育正 Chou Yu-Cheng
水彩 #26 Watercolor #26, 2021
丙烯于纸上、聚苯乙烯、木结构
Acrylic on paper, polystyrene, wooden construction
62 x 48 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（1976年生）擅长处理美学与社会的双面操作，其近期实践体现了艺术家对环境污染问题的关注，批判性将其结合到艺术创作中。在延伸自渐层绘画的“水彩”系列中，有（无）机物、金属和矿物等提炼的颜料被视作一种污染物质，着色方式则参考了水和污染物经过长时间流动后的渐变色泽。“水彩”以两种以上相异性质的颜料混合溶解，透过流动产生相异性质色粉沉淀与分离于纸张上的自然现象，并由无数次反复操作成为渐变。作品借由颜料的物质特性而产生大地的光芒与时间的积淀，并在物质流变现象中产生物质的结晶结果。
何意达（1980年生）的艺术实践专注于这两点展示和表达：对于雕塑语言的探索，并用其对我们熟悉的认知进行重新审视，将“真实”和“假象”并列，去挖掘它们的相互关系。她对激光切割剩余的金属部分进行实验——将其负空间转移至塑料片、拍照并将照片以丝网印刷的方式转移至亚克力板上。作品《瘦图 （黑色）》（2021）所呈现的如同实验室载玻片中夹住的生物细胞，有一种液体流动的错觉。
≡ 刘晓辉 Liu Xiaohui
无题—红衣服的劳作者 Untitled – Laborer in Red, 2020
布面油画 Oil on canvas
140 x 120 cm
图片由艺术家和马凌画廊提供
Image courtesy of the artist and Edouard Malingue Gallery
对于刘晓辉（1975年生）而言，绘画和生活的融合已经成为他日常生活的一部分。那些琐碎而无关紧要的、不能称其为“事件”的小事件给予了艺术家灵感和滋养。他用极其自然的色彩向人们展示“寻常”的场景，回归绘画的基本要素和本质。绘画之于艺术家，更多的是一种每日例行的劳作。在《无题—红衣服的劳作者》（2020）中可见刘晓辉对于“劳作”这一朴素的日常行为的推崇。
陶辉（1987年生）的作品以影像和装置艺术为主，从个人记忆、视觉经验和大众文化中积累素材，通过借鉴与提炼形成崭新的叙事模式和影像风格。《类似装扮剧照》（2021）为《类似装扮》（2020） 系列短视频拍摄过程的记录。《类似装扮》共有五集，每一集都会呈现一个在不同时空环境下的人物状态。而交错时空中被切断的叙事路径可能会互相缠绕，拥有更多的可能性。陶辉借此重新思考“装扮”和“表演”在人们身份认同和转换中的作用。
≡ 王之博 Wang Zhibo
摇曳（冬天的故事）Sway (Winter Tales), 2021
布面油彩及丙烯 Oil and acrylic on canvas
131 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
王之博（1981年生）在其绘画中探讨了如何拉伸、浓缩、扭拽时间和空间的维度和复杂性，探索了绘画在表达多重维度时的可能性，以及人类视觉经验的演进在画面上的体现。王之博的作品从地理、历史、人类学和建筑学角度追寻关于现实的怪诞范畴。《摇曳（冬天的故事）》（2021）中的雪人在艺术家看来是一种“通灵之物”，它们可以是某个事件冷漠的目击者，或者在某段历史中充当被动的配角。
杨学德（1970年生）原为漫画家，于 2002年出版首本个人漫画集《锦绣蓝田》，近年转型至绘画创作。尽管这些绘画作品常常带有记述性质，但杨学德将漫画的戏谑带入其中——或朴素、或诡谲的画面、集体记忆的符号和虚构性质的配色。艺术家无意涉足历史叙事，因此事件的真实性不得而知。出现在《惺忪》（2021）和《月下谈心事》（2021）两幅作品中的灯光设备制造出电影般的镜头感，画面所指均为灯光之外的人、事、物。
≡ 于吉 Yu Ji
半皮半肉 Half Peel Half Pulp, 2020-2021
铅, 桦木板, 水泥, 黑金砂
Lead, birch, cement, black galaxy granite
Overall 整体: 29.5 x 24 x 13 cm
图片由艺术家和马凌画廊提供
Image courtesy of the artist and Edouard Malingue Gallery
于吉（1985年生）以多样且具实验性的实践闻名，创作包括雕塑、装置、影像及行为表演作品。于吉艺术实践的核心是对雕塑艺术的重新审视，对其三维立体属性的拓展，以及对雕塑与身体、语境及叙事之间关系的协调。无论是塑造肢体部分，或是勾勒身体躯干外形，于吉创作的雕塑作品均带有一种细腻而沉重的特质，既像是精细解剖学的分析结果，又带有暧昧不清的形态，给观者带来一种奇异的松脱感。
郑洲（1969年生）以绘画反映思维永不停息的流动，对外界信息的接收及反馈，对内心幻想和隐秘欲望的剖析，皆以绘画为出口。技巧上看似漫不经心、随心所欲，平面缺乏透视，颜色大胆线条狂乱，突破时间、空间的逻辑，不受制约的纯主观性的东西，像意识流文学中对灵感、直觉和潜意识的表达，连绵、多变、跳跃。
Edouard Malingue Gallery is pleased to present at 2021 ART021, works by Chou Yu-Cheng, He Yida, Liu Xiaohui, Tao Hui, Wang Zhibo, Yeung Hok Tak, Yu Ji and Zheng Zhou.
≡ 周育正 Chou Yu-Cheng
水彩 #27 Watercolor #27, 2021
丙烯于纸上、聚苯乙烯、木结构
Acrylic on paper, polystyrene, wooden construction
62 x 48 cm
图片由艺术家和马凌画廊提供
Image courtesy of the artist and Edouard Malingue Gallery
Chou Yu-Cheng (b. 1976) is adept at the dual manipulation of aesthetics and social critique. The artist’s recent paintings integrate his environmental awareness. Derived from the gradient paintings, the “Watercolor” series treat pigments extracted from organic/inorganic chemicals, metals or minerals as a pollutant. The coloring process refers to the gradations of color that occur over time as a result of the movement of water and materials. By mixing and dissolving two or more dissimilar pigments and letting them flow on the paper, “Watercolor” produces a natural phenomenon where dissimilar colors precipitate and separate. A color gradient results from the repetition of such operation. As such, by the material properties of the pigments, the "Watercolor" series brings the light of earth and the accumulation of time, and the crystallization of matter resulting from material rheology.
≡ 何意达 He Yida
瘦圖（黑色）Thin Image (Black) , 2021
亚克力，丝网印
Acrylic, screen printing
80 x 50 x 2 cm
图片由艺术家和马凌画廊提供
Image courtesy of the artist and Edouard Malingue Gallery
He Yida’s (b. 1980) art practice probes into the language of sculpture, and re-examines our cognitive process of familiar urban elements. By juxtaposing the “real” and the “fake”, the artist attempts to explore their interrelationship. She plays with a metal part left by laser cutting – transforming the negative space to a plastic sheet, photographing it and screen printing the photo on an acrylic sheet. Thin image (Black) (2021) is presented as cells sealed in slide glass, showing an illusion of flowing fluid.
For Liu Xiaohui (b.1975), the organic fusion of painting and life has become a part of his daily life. Tivial, insignificant, ‘uneventful’ events inspire and nurture his art. The extremely natural colors are used to depict ‘mundane’ scenes, and arrive at basic elements and radical nature of painting. Painting to the artist is like everyday labor. Embedded in Untitled - Laborer in Red (2020) is the artist’s passion for labor, a simple and mundane practice as it is.
(左右滑动查看更多 Slide for more)
≡ 陶辉 Tao Hui
Smoke and Light, 2021
类似装扮剧照 Similar Disguise Stills, 2021
收藏级艺术微喷，裱于博物馆级卡纸
Archival Pigment Print, mounted on museum board
一组6张，每张各 30 × 45 cm (横幅) 或 45 × 30 cm (竖幅)
A set of 6, each 30 × 45 cm (horizontal) or 45 × 30 cm (vertical)
图片艺术家，马凌画廊和施博尔画廊提供
Image courtesy of the artist, Edouard Malingue Gallery and Esther Schipper Gallery
Working with video and installation, Tao Hui (b.1987) draws from personal memories, visual experiences and popular culture to weave an experimental narration and visual style. Similar Disguise Stills (2021) is created during the filming of the short video series Similar Disguise (2020). Similar Disguise consists of five episodes, each of which presents a character in a different time and space environment. The narrative paths that have been severed in the intervening time and space may intertwine, creating new curves and pointing to new possibilities. Here, Tao Hui rethinks the role of "dressing" and "performing" in people's identity and transformation.
Wang Zhibo‘s (b.1981) paintings explore the tangibility, complexity and distortion of time and space. Wang challenges the possibilities of these concepts not only within the two-dimensional space, but also with the viewer’s perception and participation with the work. Her practice surveys the absurd spectrum of what is real - geographically, historically, ethnographically and architecturally. The snowman in Sway (Winter Tales) (2021) is a ‘psychic object’ for the artist. It could be the indifferent witness to an event or a submissive role in a period of history.
≡ 杨学德 Yeung Hok Tak
月下谈心事 Let’s Go Talk at the Moon, 2021
布面丙烯 Acrylic on canvas
122 x 91.5 cm
图片由艺术家和马凌画廊提供
Image courtesy of the artist and Edouard Malingue Gallery
Yeung Hok Tak (b.1970), previously a cartoonist, has in recent years worked towards shifting his career to painting. He published his first, personal graphic novel, How Blue was my Valley, in the year 2002. Although Yeung’s paintings are often documentary, he brings the playfulness of comics into them - the ordinary or bizarre scenes, the symbols of collective memory, and the imaginary color arrangement. The validity of any event becomes unclear as the artist has no intention to involve historical narratives. The light equipment that appears in Drowsy (2021) and Let’s Go Talk at the Moon (2021) creates cinematic shots, pointing to people, events and objects beyond the light beam.
Yu Ji (b.1985) is known for a varied and experimental art practice that spans between sculpture, installation, video and performance. A revisitation of sculpture, an extension of its three dimensionality and attunement to body, context and narrative, is at the heart of Yu’s practice. The cast of a limb, the outline of a body part – Yu Ji creates sensitive yet weighty anatomical and amorphous objects that evoke a sense of eery mechanical disengagement.
≡ Zheng Zhou 郑洲
疫情期间的肖像系列之二 Portrait Series During the Pandemic Two, 2020
布面丙烯及油彩
Acrylic and oil on canvas
154 x 174 cm
图片由艺术家和马凌画廊提供
Image courtesy of the artist and Edouard Malingue Gallery
Delineated contours, a subconscious blur of decipherable imagery and extraneous elements, a wistful expressive tide between the figurative and the abstract; Zheng Zhou (b. 1969) 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.
{{newsData.good_count}}
{{newsData.transfer_count}}
{{item.good_count}}k
已展示全部
{{item.publisher_name}} 发布了 文章
{{item.title}}
更多功能等你开启...
分享