东画廊 | ART021 当代艺术博览会 | 展位 W14

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东画廊 | ART021 当代艺术博览会 | 展位 W14 崇真艺客

021 艺术博览会  | ART021 SHANGHAI

东画廊展位 W14 |  Don Gallery Booth W14

参展艺术家 | Artists

曹再飞  CAO Zaifei、常陵 CHANG Ling

郭海强 GUO Haiqiang、胡子 HU Zi

九九 Kumi Usui、李珊 LI Shan

刘任 LIU Ren、吕松 LU Song

曲丰国 QU Fengguo、王宁德 WANG Ningde

向振华 XIANG Zhenhua、章佩芸 ZHANG Peiyun

张如怡 ZHANG Ruyi、张云垚 ZHANG Yunyao

 藏家预览 | VIP Preview

2021/11/11 - 2021/11/12

公众开放 | Public Days

2021/11/13 - 2021/11/14

地址 Location:

上海展览中心 延安中路1000号

Shanghai Exhibition Center

No.1000 Middle Yanan Road 

曹再飞  |  CAO Zaifei

东画廊 | ART021 当代艺术博览会 | 展位 W14 崇真艺客

The Wanderer Above the Clouds 云端旅行者, CAO Zaifei 曹再飞, 2021. Oil on canvas 布面油画, 80 × 100 cm

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CAO Zaifei said, "In my life, I am a simple and easy-going person, often accommodating, compromising, and even incompetent with the world, but in art, I like to smash myself, and even don't care about the eyes of others. I have been fighting alone for a long time, free from all circles. Formed my own unique perspective and thinking, not only maintaining rational restraint, but also fond of mysticism, looking for a balance between seriousness and irregularity. The subject matter is all well-known statues, famous paintings and everyday things. With a casual movement, they changed their original meaning and formed my personal grammar. For me, the simpler and simpler the painting language is, the better, even mixed with blunt and clumsy, a bit of FanWei’s rustic humor style, and also with a sense of joy.”

常陵  |  CHANG Ling

东画廊 | ART021 当代艺术博览会 | 展位 W14 崇真艺客

2012 Missile Vehicle 2021 导弹车, CHANG Ling 常陵, 2015. Oil on canvas 布面油画. 180 x 130 cm

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该作品出自常陵《大玄玄社会》系列。“大玄玄社会” 延续了常陵对社会现实的关照,但这类现实更加内化而深入,是常陵用情感和记忆堆砌而成的时代幻像。在“大玄玄社会”系列的创作中,常陵提出并践行艺术的 “恰恰” 精神。他鼓励创作者摒弃逻辑的束缚,仅仅将作品看做是自身情感的流露和精神世界的外化。

This piece of work is from CHANG Ling’s Illusion Society series. Illusion Society is a continuation of CHANG Ling’s preoccupation with society’s realities, while also representing a deepening of exploration into such realities – an epochal illusion borne of CHANG Ling’s accumulated emotions and memories. Through the Illusion Society series, CHANG Ling raises and practices “precision” in art. He encourages creators to abandon the constraints of logic, to view art as an externalization of the spiritual and an unveiling of emotion. 

郭海强  |  GUO Haiqiang

东画廊 | ART021 当代艺术博览会 | 展位 W14 崇真艺客

2021.4.5, GUO Haiqiang 郭海强, 2021. Oil on canvas, branch 布面油彩, 树枝, 58 × 70 cm

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GUO Haiqiang said, “I like to temper the language of painting through sketching, and then by incorporating my experience with sculpture, the composition exudes a sense of body and material. In bringing together color and shape through this most humble and direct methods, traditional techniques are integrated with a contemporary understanding of painting. I pass through each season of the mountains, painting the warmth of spring, the summer sun, the chill of autumn, and the retiring winter. Day after day, I labor as my mother and father labored all their lives in the earth of those mountains.”

 |  HU Zi

东画廊 | ART021 当代艺术博览会 | 展位 W14 崇真艺客

夜巡 (摹伦勃朗) #1 The Night Watch (after Rembrandt) #1, HU Zi 胡子, 2021. Oil on canvas 布面油画, 46 × 61 cm

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“胡子画中的线条有棱有角,直来直去。画中人物的边缘轮廓粗钝差互,这种线条强化了画中人物个性的暗面。如果借用贡布里希 ‘图式与修正’(schema correction)的说法,那胡子对西方肖像画“图式”的重访,也即她以自己独特的视觉语言对其所作的 ‘修正’。贡布里希在《艺术与错觉》一书中写道:‘艺术家的创作不可能无中生有,但可以对前辈们评头画足。’ 这些自画像等待着后世艺术家的 ‘修正’,一如她‘修正’了十六十七世纪的这些历史肖像。光明与黑暗,昼与夜,阴与阳贯穿着人类的全部历史,也潜含于人类存在的本质,一同溶解在了胡子的暗面中”,Andy Cohen说。

“HU Zi’s lines are angular, and straight forward. The jagged-edged outlines of her subjects’ physical features reinforce the dark sides of their personalities. HU Zi’s renderings of these icons engage in a sort of ‘schema correction’ — to borrow a phrase from EH Gombrich--of western canonical images (the schema) that results in her own original, visual language (the correction). As Gombrich wrote in Art and Illusion, ‘The artist cannot start from scratch, but he can criticize his forerunners.’ HU Zi leaves plenty in her self-portrait for future artists to ‘correct’, as well as in her rectified portraits of historical icons from the 16th and 17th centuries. Light and darkness are as common to every period of human history as they are to each day and night — the Yin to the Yang. HU Zi’s latest body of work embraces the underlying bipolar nature of human existence as well as society’s need to whitewash its dark side. ” (Andy Cohen)

九九  |  Kumi Usui

东画廊 | ART021 当代艺术博览会 | 展位 W14 崇真艺客

Drawing & Drawing (on canvas) 2021 #18 埋头画画 (布面) 2021 #18, Kumi Usui 九九, 2021. Acrylic on canvas 布面丙烯, 70 × 65 cm

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Kumi Usui’s work involves acrylic on paper, painting with mixed media, and installation. Her conceptual practice centres on everyday life and emotions. In the series of I’m Drawing & Drawing, she tries to return to the pure state by blurring the boundary between art and life when creating aimless paintings, questioning the meaning of drawing, the truth of life, and the connotation of self.

李珊  |  LI Shan

东画廊 | ART021 当代艺术博览会 | 展位 W14 崇真艺客

Somnambulating at Ruins of Gaochang (Turpan) 梦游高昌故城 (吐鲁番), LI Shan 李珊, 2021. Oil on paper 纸上油画, 22.5 × 28 cm

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As an ‘unofficial’ artist, LI Shan joined the underground exhibition of the painting society in 1974 and, later on, in 1979 a less clandestine, more openly public exhibition as a relatively relaxed political atmosphere began to emerge after the Cultural Revolution. Trees, flowering plants, and the landscape are among the motifs which the artist has long embraced; the elegant plum blossom or noble chrysanthemum as personal portraits or reflections on the artist’s own psychological reality. In the recent paintings of LI Shan, many of the compositions and scenes derive from the artist’s extensive travels abroad. Tranquil landscapes contrast the hustle and bustle of city life. Compared to her earlier works from the 1970s, the palette of LI Shan’s new paintings is brighter while retaining the nuanced singularity of her brushwork.

刘任  |  LIU Ren

东画廊 | ART021 当代艺术博览会 | 展位 W14 崇真艺客

Panta Rhei-202110131450, LIU Ren 刘任, 2021. Silk screening on straw paper, gold foil 丝网草纸, 金箔, 40.5 × 36.5 × 4 cm 

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在这个系列中,刘任将草纸打成纸浆再重新塑形成厚如砖块的纸砖,当表面被压平与晾干后,再用丝网印刷的方式把颜色深浅不一的“Panta Rhei”字样描摹成海浪起伏的视觉形态,并且最终用金箔嵌入纸砖自然风干过程遗留下的裂隙。刘任动用众多反差性对峙的元素。譬如在直观的视觉感受上,用干枯的草纸去表现潮湿的洋流;在物质形态上,则是作为廉价快消品的草纸被转译为试图指向永恒的艺术品;而在至关重要的主题学范畴内,则是凝固的海与绵延的时间所形成的、互为隐喻的关系。

LIU Ren uses roughly textured straw toilet paper to create a mulch, and then presses the mulch into bricks of paper. After preparing a flat and dry surface on the straw paper bricks, LIU screen prints the words “Panta Rhei” in various shades to evoke the visual form of undulating waves. Lastly, he uses gold leaf to limn the cracks in the paper bricks which are left behind by the air-drying process. In terms of form, this process is like yet unlike painting. In this series, LIU often places elements in direct confrontation with each other. Visually speaking, dry paper is used to evoke the liquid currents of the ocean. While straw toilet paper -- one of the cheapest and most disposable consumer products -- is the chief material used in a work of art which strives at timelessness. In the crucial category of thematics, we find contrast in the mutually metaphorical relationship between the solidified sea and elongated time.

吕松  |  LU Song

东画廊 | ART021 当代艺术博览会 | 展位 W14 崇真艺客

Japanese Garden #9 日本花园 #9, LU Song 吕松, 2020. Acrylic on canvas 布面丙烯, 200 × 150 cm

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"What’s interesting is LU’s pursuit. He chases, seeks, and builds on the canvas. He lures the viewer’s gaze, he seeks it. He builds the 'lead' in his mind’s eye -- the component that captures the viewer’s eyes at once. Every painting leads the viewer’s eye down a different path. Though every painting in the Japanese Garden series is based on the same blurred and wrinkled photograph, every time LU paints that photograph, he constructs a wholly new 'Japanese garden'." 

"Each time, his depiction, his lead, his construction -- they all originate from singular moments in which his mental state, mood, and the way the canvas is responding determine his next steps and the steps after that. LU chases the paintbrush, the paintbrush constructs the storyline. Every image is an invitation, every Japanese Garden is a jaunt through the garden. The gaze follows the mood, just as the audience follows the actor...... LU had no script in the creation of Japanese Garden. Each new painting was a brand new chase, and a brand new storyline -- a most exhausting labyrinth. This is what excites him -- the unknown conclusion."

Adapted from “LU Song’s Japanese Garden and Friday’s Desert Island” by SHEN Qilan

曲丰国 |  QU Fengguo

东画廊 | ART021 当代艺术博览会 | 展位 W14 崇真艺客

Spring Commences, Four Seasons 四季 立春, QU Fengguo 曲丰国, 2020. Oil on canvas 布面油画, 80 × 100 cm

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“Four Seasons” by QU Fengguo stems from a sense of aesthetic judgment analogous to “mono- no-aware.” It is the unconscious capture of impermanence and ultimate emotions brought by the seasons as a natural kind. Seized with a sudden impulse and all the patience, the artist obtains extraordinarily deep insight and empathy into external objects that are changeable and unpredictable, as though the distance between persons and things is expanded into a fleeting moment. Abstraction is practiced as a habitus but not a scenario-based transcription in his composition. Though in recent practice of this series, the superposition of division and the division of superposition functions as a structural element occupying the very center of the image. A number of geometric motifs emerge, but the core of QU’s creative language is the disappearance of space and spatiality.

王宁德 |  WANG Ningde

东画廊 | ART021 当代艺术博览会 | 展位 W14 崇真艺客

Form of Light Water Ripples #30 有形之光 水纹 #30, WANG Ningde 王宁德, 2016. Honeycomb aluminum panel, acrylic, clear lightbox sheet 蜂窝铝板, 亚克力, 透明灯箱片, 198 × 141.4 × 6 cm. Ed 1/3

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WANG Ningde uses photographic processes without creating photographs by definition. The effect is closer to that of a camera obscura, an image or representation of reality hovering over reality itself. Furthermore, the gridded images, composed of hundreds of units, subvert the tendency of traditional photography towards the lone cropped image which we refer to as a photograph. WANG's method of composing these works eschews the chemical process of fixing an image to a surface, relying instead on an organized fragmentation of a singular image on a series of transparencies, which when exposed to a specific lighting, creates a composite shadow image. The end result is the artist quite literally drawing with light, creating ghostly images through a process that relies on both computers and the human hand. 

向振华 |  XIANG Zhenhua

东画廊 | ART021 当代艺术博览会 | 展位 W14 崇真艺客

Catalogue-CN05, XIANG Zhenhua 向振华, 2021. Digital Programming, video, 数码编程, 录像, 12:8'10'', 12小时8分钟10秒, dimensions variable 尺寸不定, loop 循环播放, 1Ed+1AP

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“像”是“素”在一个时间节点的汇合,一张⻓宽比例固定的画面里,构成“像“的便是这些“素”,往往我们看到的是最后成像的结果,其中有一个运行的规则,一旦运行,时间会介入,那么像素就如同鲜活的生命体,在这空间里面产生运动,时间也能变成可被感知的“像”的一种,那么元素、规则、时间、空间在一个浓缩的体系下运行的时候,我们所能感知的是否就也能超越“像”本身所给出信息意义? 像”是“机缘”,所有看似混乱的元素从抽象到具象再到抽象,从不可认知到可以识别,我们往往识别的是通过这个机缘运行而固定下来的某一帧画面,但在这之前所运行的成千上万步的过程和轨迹并不一定能够让我们清晰地看到这个机缘是按照怎样的规则进行,而恰巧能被显影在眼前的准确的“像”是在规则的运行下所有元素的集合,当然也包括出现在这“像”面前的观看者。


The images on the screen are mass-produced, updated, and finally submerged in new images. As viewers, we actively or passively select the images that appear in front of our eyes and comprehend the accurate information in these images. If not, we choose to scroll quickly. The image simulates the relatively stable form of reality. The precise and available concrete meaning disappears in the prescribed size, the image in pixels, immediately when the movement is involved. The size of these prescribed images become containers, and the “elements” that seem to wander in chaos can no longer be given any specific meaning when they are seen. In terms of time and space, the defined coordinates are different; the macroscopic "image" and the microscopic "elements" change from "visible" to "invisible", but they will be reread and produce new cognitions.

"Image" is the confluence of “pixels” at a time node. In an image with a fixed aspect ratio, these “pixels” form the "image". Often, what we see is the result of the imaging process. There is a rule of operation: once it runs, time will intervene. Then the “pixels” are like living organisms, producing movement in this space. Time can also become a kind of "image" that can be perceived. When the elements, rules, time, and space are operating under a condensed system, can what we perceive also surpass the meaning of the information given by the "image" itself? The “image” is "the rules by which things work". All seemingly chaotic “elements” go from abstract to concrete, then abstract, from unrecognizable to recognizable. What we often recognize is a specific frame fixed by these rules. But the thousands of steps and trajectories that have been run before does not allow us to see the rules. And the accurate "image" that happens to be visible in front of us is the collection of all the “elements” under the operation of the rules. Of course, it also includes the viewers in front of the "image".

"Image" is the result. When we face an image that has already been imaged, we can clearly perceive the specific content given by the image in front of us. Is it a figure, a scene, or a still life? Is it words, trademarks, or patterns? We can read the information given by the "image" in our minds immediately, so if it is the result, everything that appears around us that we can perceive can be regarded as this result. I choose the most familiar image symbols in daily life. These images quickly run into unrecognizable continuous pictures in the rules given by the program. Then the world that appears before our eyes and the "we" that appear in this world are, of course, recognized as the "image" only when this moment was formed in front of us. However, it is fleeting.

 章佩芸 |  ZHANG Peiyun

东画廊 | ART021 当代艺术博览会 | 展位 W14 崇真艺客

IThe Garden #4 在园中 #4, ZHANG Peiyun 章佩芸, 2021. White clay, wood, gesso 白泥, 木, 绘画底料, 101.5 × 113.5 × 17 cm

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From the initial understanding of the meaning of light and shadow, the viewing of nature and polyphonic imitation, ZHANG Peiyun's works gradually form a group of abstract and figurative images with reference to nature and art history. ZHANG does not stick to any single intellectual position. In her view, the sense of order in different eras constitutes different types of knowledge, and the perception of a distinct sense of order must be based on love. What is essential in painting is not the rationality represented by the sense of order but how the artist and the audience perceptually express and experience the sense of order classified as rational.

张如怡 |  ZHANG Ruyi

东画廊 | ART021 当代艺术博览会 | 展位 W14 崇真艺客

Individual Plant-UG 一株-UG, ZHNAG Ruyi 张如怡, 2021. Concrete, pigment, ceramic tiles, wood panel, metal 混凝土, 色粉, 瓷砖, 木板, 金属, 53 × 30 × 20 cm

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A dysmorphic cacti made out of concrete is situated on a tiled pedestal, petrified as a plant specimen. The sculpture is carrying forward the artist’s thinking upon natural objects being disciplined by the environment in her early paper works. ZHANG Ruyi draw on materials and objects from daily life, referencing their simultaneous strength and vulnerability in the face of a changing environment.  She collects rubble in the ruins of urban demolition, under the reality, these artificial rough stones have rough texture, dark colour, but unique sense of weight, they were “fossils” witnessing the changes of The Times.

张云垚 |  ZHANG Yunyao

东画廊 | ART021 当代艺术博览会 | 展位 W14 崇真艺客

Study for A Portrait 肖像习作, ZHANG Yunyao 张云垚, 2020. Graphite and pastel on paper 纸上石墨色粉, 9 × 7 cm

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Study for A Portrait series started in early April 2020. ZHANG Yunyao said that I clearly remember that I was in a state of anxiety and loneliness in Paris. At that time, the apartment I lived in was not big enough. There was no suitable environment for my creation, so the concept of adapting to local conditions came into my mind. I began to collect the packaging of various daily necessities bought from the supermarket, and coloured pencils were purchased at the Monoprix supermarket near where I lived. These are the materials that contributed to the birth of this series. These sketches on paper are about "ambiguity, utopian fantasy and gender ambiguity." I must admit that before the pandemic, I was impressed by many beautiful and handsome faces when I was walking in Paris. Observing them made me accumulate a lot of visual impressions. These impressions inspired me to express myself through simple sketching techniques. Therefore, I appropriated black and white romantic erotic photography from the end of the 19th century to the 20th century. In my opinion, the atmosphere created by these photographs (the islands of southern Europe surrounded by the warm sun of the Mediterranean Sea) resonated strongly with me. I paint these beautiful human bodies, portraits and landscapes by hand. These portraits and human body sketches have been erased from the time by me. These unique works on paper carried my feelings in Paris.


Current Exhibition

东画廊 | ART021 当代艺术博览会 | 展位 W14 崇真艺客


东画廊 | ART021 当代艺术博览会 | 展位 W14 崇真艺客

参观时间  |  Opening Hours

周二 Tue-周六 Sat | 10AM-6PM

周日 Sun | 1PM-6PM 

地址 | Address


2555-9 Longteng Avenue, West Bund, Shanghai

联系方式 | Contact

T: +86 21 6473 1533

E: info@dongallery.com.cn

ins: dongallery

东画廊 | ART021 当代艺术博览会 | 展位 W14 崇真艺客

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