胶囊上海｜Art SG艺博会

陳麗同（1984年出生于香港）的雕塑结合城市残片、历史文物、自然材料、工业制品和日常物件来营造耐人寻味的视觉冲突，令这些物品自由穿行于过去、现在和未来之间，反映她周身环境中香港城市变迁的纤毫。通过对于材料的亲密触碰和对工艺的不断试验，陳麗同对其创作的原材料作出精心的改造，尝试突破它们的物理极限，探寻抽象语言的边界。她的作品映照出人造环境的诗意。艺术家本能的对未知的探索充盈着她对于城市化、建筑、物质文化、手工艺和古董的兴趣。作品中抽象的形式、精巧的细节和出其不意的材料运用召唤观者亲身的体验，并鼓励一种新的观看和感受的方式。

陳麗同2006年从芝加哥艺术学院获艺术学士学位，于2009年从美国罗德岛设计学院获油画系艺术硕士学位。2020年，她荣获第九届宝马艺术之旅奖项。陳麗同的个人项目包括："Antinomies"，Klemm's，柏林（2022）；"凝伫之盘（重现）"，香港巴塞尔艺术展艺术探新板块，由胶囊上海呈现（2021）；"核心样本"，胶囊上海，上海（2019）。曾参与群展："诗意遗产"，大馆当代美术馆，香港（2021）；"溢流地"，Para Site，香港（2021）；"KölnSkulptur #10"，Skulpturen Park Köln，科隆（2020）；"终端 >_How Do We Begin?"， X 美术馆，北京（2020）；"圣青苔"，刺点画廊，香港（2019）；"真新镇日志"，UCCA沙丘美术馆，北戴河（2019）；"Hysteresis"，Downs & Ross，纽约（2019）；"懒音"，Mine Project，香港（2019）；"排演"，大馆当代美术馆，香港（2018）等。陳麗同的作品由M+ 美术馆（香港）、Skulpturen Park Köln（德国）、摩根大通艺术收藏（香港）和Kadist 艺术基金会（巴黎/旧金山）收入永久馆藏，并受到《Frieze》《艺术论坛》《Mousse Magazine》《亚太艺术杂志》《金融时报》和《Ocula线上平台期刊》等媒体的报道。

Leelee Chan (b. 1984, Hong Kong) makes enigmatic sculptures that incorporate urban debris, ancient artifacts, natural materials, industrial and mundane products, generating visual paradoxes in which these objects move seamlessly between past, present and future. Reflecting the shifting urban fabric in her immediate surroundings in Hong Kong, Chan's sculptures undergo an elaborate transformation through tactile experimentation with materials and processes. The artist pushes the limits of her objects' physicality and expands the possibilities of the language of abstraction. Her sculptures provoke a particular atmosphere and feeling that conjure ambient poetry of the built environment. Chan's visceral exploration of the unknown encapsulates her interest in urbanism, architecture, material culture, craft, and antiquities. Her interplay of abstract forms, intricate details, and unexpected materials calls for a physical experience and encourages a new way of seeing and perceiving.

Chan received her MFA in painting from the Rhode Island School of Design, in 2009, and her BFA from the School of Art Institute of Chicago, in 2006. In 2020, Chan was the recipient of the ninth BMW Art Journey. Previous solo exhibitions include: Antinomies, Klemm's, Berlin (2022), Pallet in Repose (Resurfacer), Discoveries, Art Basel Hong Kong (presented by Capsule Shanghai) (2021); and Core Sample, Capsule Shanghai, Shanghai (2019). Her selected group exhibitions include Poetic Heritage in Tai Kwun Contemporary, Hong Kong (2021); Liquid Ground in Para Site, Hong Kong (2021); KölnSkulptur #10 in Skulpturen Park Köln, Cologne (2020); How Do We Begin: X Museum Triennial 1st Edition in X Museum, Beijing (2020); Holy Mosses in Blindspot Gallery, Hong Kong (2019); Notes from Pallet Town in Ullens Center for Contemporary Arts Dunes, Beidaihe (2019); Hysteresis in Downs & Ross, New York (2019); Scaffolds of Meaning in Mine Project, Hong Kong (2019); Rehearsal in Tai Kwun Contemporary, Hong Kong (2018). Chan's work can be found in the permanent collections of M+, Hong Kong; Skulpturen Park Köln, Cologne; J. P. Morgan Chase Art Collection, Hong Kong and Kadist Art Foundation, Paris/San Francisco. Her work has been featured in Frieze, Artforum, Mousse Magazine, Art Asia Pacific, the Financial Times, and Ocula, among others.

“梅夫拉纳·利普（1989年出生于德国科隆，现工作生活于杜塞尔多夫）着迷于纯粹状态的自然世界，以及自然在人类想象中的演绎。于他而言，藤蔓的卷须、饱满的种荚、海百合摇曳的羽翼都是人类语言之外的符号，象征着复杂的情感和经历。符号隐喻和原始生物交融形成了利普作品中的有机体系，它们悄然跨越时空和意识的界限相互低语，呢喃着一切的起始。”

- Layla Leiman，《ArtMaze Magazine》，2019

利普的个展包括"触觉记忆"（2022，胶囊上海，中国上海），“Pacific”（2021, Plus One Gallery，比利时安特卫普）和“Fluidum”（2020, Andersen's Contemporary: The Other's Space，丹麦哥本哈根）。群展机构包括PM/AM Gallery，英国伦敦（2022）；The Hole，美国洛杉矶（2022）；Workplace Gallery，英国伦敦（2021）和Tick Tack Gallery，比利时安特卫普（2020）等。

Mevlana Lipp (b. 1989 Cologne, Germany. Lives and works in Düsseldorf, Germany) is deeply fascinated by the natural world in its pure state, as well as in the space it occupies in the human imagination. To Lipp, the curling tendril of a vine, the rounded form of a seed pod or the gentle swaying feathers of a crinoid become signifiers of complex sets of emotions and experiences, communicated in a language outside of human linguistic codes. Part semiotic metaphor part primordial creatures from the deep, the organic organisms in Lipp's artwork reach out across time and consciousness to whisper about where all things began.

- Text by Layla Leiman in ArtMaze Magazine, 2019

His solo exhibitions include Haptic Memory (2022, Capsule Shanghai, Shanghai, China); Pacific (2021, Plus One Gallery, Antwerp, Belgium); Fluidum (2020, Andersen's Contemporary: The Other's Space, Copenhagen, Denmark). He has participated in group exhibitions at PM/AM Gallery, London, UK (2022); The Hole, Los Angeles, USA (2022); Workplace Gallery, London, UK (2021) and Tick Tack Gallery, Antwerp, Belgium (2020), among others.

张丰渊（1993年生于中国上海，目前在纽约生活，从事艺术创作事业）一向追求文化的自然流露。张丰渊通过编织的手法使得看似是“废弃物”的断头绒线重获新生，整个创作过程传递着“回收和再利用”的初衷。张丰渊最初的“回收和再利用”灵感来源于她的外婆。在上世纪物质生活极度匮乏的时代，她优雅的外婆不得不将孩子们的旧绒线衫拆开，利用这些旧材料为孩子们重新编织合身的新衣物，同时也不忘加入古灵精怪的造型设计和令人耳目一新的颜色。除了其中蕴含的“回收和再利用”的环保思想，更打动张丰渊的是，即使在困难时代，外婆也想方设法为孩子提供更好的生活。这不仅仅是关于“回收和再利用”想法的发扬，更是关于父母之爱，关于内在和外在美交融的过程。张丰渊的作品中充斥着半抽象的花园、不完全具象的风景、拟态化的动物剪影以及静谧的河流和层层叠叠的多彩山脉——这些意象都重新演绎并且强调渲染了关于生活和自然的神话。

在张丰渊的作品中，材料是第一顺位的，其次才是其中所传递的思想。张丰渊认为材料是神圣的创作实体，即她首先感受到材料的颜色、质感和温度，然后手中的羊毛会引导着她，为其线条倾注神秘主义的觉醒，将脑海中的思想和内心深处的灵感具象化。张丰渊的作品构建起了一座伊甸园：在这里，她沉溺于光怪陆离的色彩王国，再现沙漠的清凉夜晚，亦或是湖面上宁静的午后。意象透过每一寸针脚昭示着自我的存在，驱使张丰渊完善自己的表达。随后，她便用编织的方式延展其记忆宫殿，创造出一个亟待创作的平面。微小之物常常蕴藏着超乎想象的惊人力量——在经典的编织手法中，看似不起眼的毛线进化成纯粹颜色的物质载体，每一寸针线都变得弥足珍贵。张丰渊将她的作品描述为一个即兴创作的过程：如同中国水墨画一样，创作过程不设置修改和调整的空间。张丰渊的创作强调的是即时灵感和当下手法运用，自然传递了极具东方美感的艺术逻辑——她的作品不是为了展示东方而创作的，恰恰相反，其作品本身就是东方的。

张丰渊曾在胶囊上海（中国上海）、Mendes Wood画廊（巴西圣保罗，比利时布鲁塞尔）、Half 画廊（中国上海）、Halsey Mckay画廊（美国纽约）以及Dear Rivington画廊（美国纽约）举办个人展览。张丰渊的其它作品还曾在Mendes Wood画廊 （线上）和Chambers Fine Art画廊（美国纽约）参展。张丰渊曾荣获La Maison （摩洛哥艾地拉）的现代艺术项目荣誉，并且即将成为Arquetopia Foundation（墨西哥瓦哈卡州）的常驻艺术家。

Miranda Fengyuan Zhang (Shanghai, China, 1993, lives and works in New York City) embraces cultures and ties them together using fragments of wools. The concept of “recycling” what is considered abandoned is inspired by her grandmother, who, during difficult times, unraveled jumpers to knit new ones, creating interesting shapes and unexpected color palette, which goes beyond the idea of recycling, and speaks of parental love and the connection between external and internal beauty. In her work Zhang creates semi-abstract gardens, vaguely concrete landscapes, animal silhouettes, tranquil rivers and layers of colorful mountains, celebrating the mythology of life and nature.

In Zhang's work, material dominates, and ideas follow. She perceives the color, texture and temperature of the wool and lets the material tolled the way to mystical enlightenment. Her work creates a Garden of Eden, where she emerges herself in a kingdom of colors, cool evenings in the desert, or quiet afternoons over the lake. She further extends the palace of her memories to capture the hidden power within seemingly mundane objects. Like traditional Chinese ink paintings, Zhang’s way of working does not allow fixing or adjusting, but rather is an improvised process lead by momentary inspiration and technical skills. Although the works do not portray the east, her artistic thinking is innately eastern. 

Zhang has had solo shows at Capsule Shanghai (Shanghai), Mendes Wood (São Paulo, Brazil; Brussels, Belgium), Half Gallery (Shanghai), Halsey McKay Gallery (New York), and Dear Rivington (New York). Other exhibitions include: Mendes Wood Gallery (online) and Chambers Fine Art Gallery (New York). She has been the recipient of the La Maison de l'Art Contemporain residency in Asilah, Morocco and will be an upcoming resident at the Arquetopia Foundation in Oaxaca, Mexico.