偏鋒 博覽會 | 香港巴塞爾 1C29

偏鋒畫廊

PIFO Gallery

@ 巴塞爾藝術展香港展會

@ Art Basel in Hong Kong

展位｜BOOTH

1C29

貴賓預展（僅限邀請）｜VIP PREVIEW

2023.3.21（星期二），12 AM - 8 PM

2023.3.22（星期三），12 AM - 5 PM

2023.3.23（星期四），12 AM - 2 PM

2023.3.24（星期五），12 AM - 2 PM

2023.3.25（星期六），11 AM - 12 AM

開幕之夜｜OPENING

2023.3.22（星期三），5 PM - 9 PM

公众日｜PUBLIC DAYS

2023.3.23（星期四），2 PM - 8 PM

2023.3.24（星期五），2 PM - 8 PM

2023.3.25（星期六），12 AM - 6 PM

香港會議展覽中心

灣仔港灣道1號

Hong Kong Convention & Exhibition Centre

1 Harbour Road, Wan Chai, Hong Kong

偏鋒畫廊將於2023年3月21日至25日參展巴塞爾藝術展香港展會「亞洲視野」單元（展位1C29），呈現鄔建安的個人項目，展出作品涵蓋了他的重要代表作品「化身」系列和「五百筆」系列。

鄔建安，1980年生於北京，現為中央美術學院教授，博士生導師。

鄔建安的藝術思辨和視覺創造，核心在於借助那些看似遠離今日生活的情境，表達人類文明歷史中永恆的部分，喚醒人內心感受中隱秘幽微卻宏大磅礡的潛意識，進而引發對時代和人的反思與觀照。如著名美術史學者、芝加哥大學教授巫鴻所言，「他的想象力總在幾個維度上同時進行，他的作品也總在幾個維度上同時刺激和擴展人們的藝術想象。他游走於文字和圖像之間，在抽象與具象之上又加上一個敘事維度...... 他馳騁於古今之間，把當下的人們在瞬息間帶往詭譎奇邈的洪荒時代。他跨越媒材和風格：繪畫、雕塑、剪紙、裝置提供給他多樣的語匯，但同時激起跨界、綜合、打亂、超越的慾望 。」

PIFO Gallery is proud to present solo project of WU Jian'an for Insight section at Art Basel in Hong Kong (Booth 1C29) from 21 to 25 March, 2023. Chinese artist WU Jian'an will show his well-konw works - "Incarnation" series and "500 Brushstrokes" series.

Wu Jian'an was born in 1980 in Beijing, China. He is currently a professor and Ph.D. degree tutor at the Central Academy of Fine Arts. 

The artistic logic and visual creativity of Wu Jian'an are rooted in his use of scenes that seem distant from contemporary life to express eternal threads that run through the history of human civilization. He awakens the hidden and subtle yet grand and majestic subconscious that lies within every human heart, inspiring the viewer to reflect on human nature and the times in which we live. As Professor Wu Hong from the University of Chicago said, "Wu's imagination has always operated simultaneously in multiple dimensions. Likewise, his works simultaneously expand the viewer's artistic imagination in various directions. He travels between words and images while adding a layer of storytelling above figuration and abstraction... He freely traverses temporal divides, instantaneously taking viewers from today's world back to mysterious primeval times. His art spans various media and styles: painting, sculpture, paper cut, and installation, all of which provide him with a varied vocabulary yet also arouse his desire to cross boundaries–tointegrate, transgress and disarrange."

「化身」是鄔建安具有代表性的系列之一，元素全部來自其2011年創作的大型裝置作品《七層殼》。在《七層殼》中，鄔建安創造了186種不同的形象，這些形象有的出自中國早期高深莫測的地理文獻《山海經》，他為這些稀奇古怪、流亡他鄉的怪獸「畫像」，同時，把它們與他創作的諷刺漫畫、對俚語的形象化、基督教、佛教和印度神話中的各種元素、塗鴉、T恤衫、卡通等形象匯合在一起。你能發現一件最簡單的東西一下子變成了非常錯綜複雜的創作，這些不同層次和大小的身體用無數雙眼睛注視著我們，或自管自地無視我們的存在，在形象的身體內部敞開不可思議的文化的外界……

以《七層殼》的構成元素為「字母表」，鄔建安創作了「化身」系列作品。作品中，成百上千個小形象彼此疊壓、交錯，呈現出標誌性的複雜絢麗的視覺肌理。個體在混沌擁擠的相互關係中，凝聚成為某種整體上的似是而非，鮮活生動的整體似乎不盡是預先設定，而是個體自在生長而成。

無論是借助生肖表達對時間和空間的理解，還是對古代希臘瓶畫形象和英雄故事的演繹，「化身」系列從民間工藝、經典文本、文人畫和西方現代主義藝術史的傳統出發，漸而拓展出複雜而富於獨特創造力的思維和表達體系，這種體系的建構以對視覺方式的革新為動力，在保留其作品奇異的視覺銳度和吸引力的同時，支持他將敘事性納入作品的語言系統，堅定對獨特世界觀的訴說和建構，對人類視覺和手工製作基本原理的不懈探索。

The Incarnation series is highly representative of Wu's work. The elements within come from his large scale 2011 installation Seven Layered Shells. In Seven Layered Shells, Wu Jian'an created 186 different forms, some coming from the mysterious ancient Chinese scripture The Classic of Mountains and Seas. He set out to create 「portraits」 for these grotesque and exiled monsters, while combining them with his other creations including satirical cartoons, physical embodiment of slangs, elements from Christianity, Buddhism and Hinduism, graffiti, T-shirt designs and cartoon characters. You would discover that something extremely simple suddenly becomes a very complex work of art, as these bodies of varying sizes and layers are staring back at us with countless pairs of eyes, while going about their own business and ignoring our presence, opening up to an unthinkable cultural externality within the confines of their physical likeness...

Wu Jian'an takes the elements that make up Seven Layered Shells as his 「alphabet」 to create this new Incarnation series. In these new works, thousands of miniature images are overlaid upon each other to create a complex and magnificent visual texture. He attempts to break this formulaic relationship between the individual and the collective: The individual coalesces within a condensed and chaotic intertwining formation to an ambiguous ensemble, whose colorful liveliness extends beyond any pre-destination, but rather growth of a self-determined individual.

Either in reflecting an understanding of time and space through the Chinese zodiac or interpreting ancient Greek vase paintings and narrating stories of heroism, the 「Incarnation」 series is firmly grounded in the traditions of folk craft, classic text, literati painting and the history of Western modernist art, which gradually expand into a complex, distinctive system of creative thinking and expression. The construction of the system is driven by innovation in visual approaches that retain the singular sharpness of vision and the aesthetic appeal of the artworks. Furthermore, while facilitating the incorporation of a sense of narrative into the linguistic system of the works, the system appears to be reconfirming the expression and construction of a distinctive worldview, constantly further exploring the fundamental principles of visual perception and craftsmanship.

作為將紙本水墨與剪紙拼貼、個人創造與社會參與相融合的新篇，「五百筆」系列成為鄔建安近年來最受關注的藝術創作計劃之一。

作品好似抽象的水墨、彩墨畫，或者動勢繪畫（gestural paintings）作品，畫面中游動著長線、折現、波紋、弧形以及各種不可名狀的飛濺的軌跡、擦塗的筆痕，它們爭奪又分享著同一方紙面空間，構成各種視覺秩序交織博弈的能量場。

事實上，畫面上的任何單元都不是直接「畫上去」的，隨著尺度的變化，一件作品可能容納了數十乃至數百個彼此獨立的剪紙拼貼單元，筆痕的色與墨，以及滴甩、噴濺、飛白、水漬等蛛絲馬跡，在剪刻的過程中都被小心地留存下來。在拼組這些畫面構件時，鄔建安對它們之間的位置關係投以十分的注力：這種關係不僅關乎二維空間的上、下、左、右，筆痕之間還要彼此疊壓、穿插、纏繞，而後者從各自的主體部分一直作用至張牙舞爪的邊緣。也即是說，三維空間和物質實在切實參與到了「平面」的構成之中。

同時，畫面整體的格局也始終充滿變動的可能性，因為新一筆的加入，動輒將細緻經營之下業已成形的某種節奏徹底改變，而局部變化的效力又如同漣漪般輻射全局。於是，作品由感覺與思辨、縝密規劃與自發選擇協同造就，創作的過程是緩慢、寂寞和磋磨的，儘管畫面最終往往呈現出某種快意瀟灑的結果。

「五百筆」有時甚至只因其繁復的創作程序和技巧引人注目，但作品本身並非以「凸顯手工製作的規模和技巧」為目的，而是創作觀念的直接導向——作品是對「局部與群體關係」模型的某種推演。無論來自藝術家在工作室中的實驗積累，還是受邀請參與筆畫製造者的特殊貢獻，以「一筆」和全然放鬆為必要條件，下筆時的思維狀態、情緒、身體習慣被宣紙和水墨敏感而包容的特質透現出來。如同「五百羅漢」各自對應著每一種證悟的方法，每一個筆畫也對應著特定狀態下的個體的人。讓單個筆畫從原始紙片上脫離，似乎象徵一種初次的自我覺醒，而將它們重新組合拼貼，則演繹著每個個體成為社會或任何群體組成部分的必然命運。當一個肌體展現為躍躍欲試的個體生命張力的聚合，個體並不能與他人調和，但原本的個性卻被語境重新表達，成為某種新秩序的特殊因子，與其環境中的全部個體共生長。

Bringing together ink on paper and paper-cut collage, and individual creation and social participation, the 500 Brushstrokes series is one of Wu Jian'an's most recognised art projects in recent years.

The works from this series resemble abstract ink and wash paintings and/or gestural paintings, where long lines, folds, ripples, arcs, and a variety of undefinable splash trajectories and erasure appear to be moving around. By competing for and sharing the same space on paper, all of them constitute an energy field in which various orders intersect and interplay in a visual manner.

To tell the truth, none of the elements of the paintings is a result of 「painting」 worked on paper. As the scale is not fixed and static, a single work of art may contain dozens or even hundreds of paper-cutting collages that are independent of each other. As found in the color and ink of the brushstrokes, the traces of dripping, splashing, 「flying white」(fei bai), and soaking, the process of cutting and carving has been carefully preserved. Crucial to the assembling of those components is that Wu Jian'an has devoted meticulous attention to the positional relationship, that is, the relationship is not only about the positioning of top, bottom, left, and right but also about the overlapping, interspersing, and intertwining of the brushstrokes with the latter actively seeking to expand into the sharp edges of the papers. That being said, the three-dimensional space and material reality have effectively involved themselves in the composition of the 「plane」.

At the same time, the overall structure offers endless possibilities for change due to the fact that an addition of a new brushstroke can rapidly change the already meticulously developed rhythm where the pattern of minor changes can determine the overall effect just like ripples expand across the water. Therefore, the artworks from the series can be said to be a combination of feelings and critical thinking, meticulous planning and spontaneous decision, which are created via a slow, difficult process marked by loneliness even though the images eventually present a sense of joyfulness and effortlessness.

1980年生於北京，現為中央美術學院教授，博士生導師。

2017年，鄔建安的作品代表中國參加第57屆威尼斯雙年展。近年來，作品先後參加【思維的線索：館藏中的行動抽象】（美國伯克利美術館及太平洋影像藝術中心，2022）、【超融體：2021成都雙年展】（中國成都天府美術館，2021）、【玻璃應力：未來之窗】（俄羅斯國立艾爾米塔什冬宮博物館，2021）、【開物：當代中國的日常與想象】（法國里爾伯爵夫人博物館，2021）、【生生不息——敘事的黃河】（銀川當代美術館，2020）、【紙上談繽】（意大利那不勒斯國家考古博物館，2019）、【越後妻有大地藝術三年展】（日本新瀉越後妻有，2018）、【蛇形】（日本東京森美術館，2019；新加坡藝術科學博物館，2017）、【亞洲藝術部成立百年慶典·猴年新春特別項目】（美國紐約大都會藝術博物館，2016）、【三十年的中國當代藝術：卡羅琳與雷內收藏展】（美國波士頓美術博物館，2015）、【大道之行：中國當代公共藝術展】（德國卡塞爾，2012）等重要展事，並在北京、上海、香港、紐約等地舉辦多次個展。

他的代表作品進入伯克利美術館及太平洋影像藝術中心、康奈爾大學赫伯特 F. 約翰遜藝術博物館、洛杉磯郡立藝術博物館、大都會藝術博物館、波士頓美術博物館、巴西奧斯卡·尼邁耶博物館、澳大利亞白兔藝術收藏、日本福岡亞洲藝術博物館、北京民生現代美術館、中央美術學院美術館、上海星美術館等美術館的館藏，現代傳播集團、匯豐尚玉中心、陳一丹基金會，以及愛馬仕、迪奧、寶格麗等亦收藏有鄔建安的作品。

2019年，鄔建安入選CCTV紀錄頻道出品的《中國想象力》，這也是他的首部個人紀錄片。他獲得的主要藝術獎項包括「2022年度卓越藝術人才獎助」（紐約亞洲文化協會），「2018年度40 Under 40亞洲卓越藝術家」（《視野》）、「2020 Best of the Best年度藝術家」（《羅博報告》）、「2017年度青年力量」（《南方人物週刊》）等。

Wu Jian'an was born in 1980 in Beijing, China. He is currently a professor and Ph.D. degree tutor at the Central Academy of Fine Arts.

关于画廊   

偏锋画廊坚持对中国当代艺术进程的洞察以及对欧洲及战后艺术大师的探索，并在两者的对话与碰撞中寻找各种可能的艺术力量。偏锋既是中国最早推动抽象艺术研究与发展的重要画廊，也是持续探讨具象绘画在当下多种可能性的主要机构。我们深信，艺术的体验产生于一个又一个的变革中创造的新世界；艺术家的作品正是探索世界的第三只眼睛。对于收藏家，偏锋为其提供专业知识，鼓励他们发掘个人独特的视角，只因两者的充分结合才能构建卓越的收藏。我们希望更多的藏家可以秉持鉴赏家的心态，更深入地理解当代艺术以及欣赏画廊发掘、重塑并坚信的艺术家。

About the Gallery

PIFO Gallery concentrates on the participation of the course of Chinese contemporary art and the exploration of post-war European master artists and seeking for all possibilities of art power in the dialogue and collision between the two aspects. As a major gallery in China specialized in the study and promotion of abstract art, and also the main institution to continuously explore the various possibilities of figurative art at present, PIFO is convinced that the experience of art emerges from the new world created by one revolution after another; The artist's work is the third eye to explore the world. For collectors, PIFO provides expertise and encourages them to explore their own unique perspective because only the combination of the two can make a great collection. We hope to see a growing number of collectors to take on the roles of a connoisseur, with a more in-depth understanding of Asian and Western contemporary art, and appreciate the artists discovered, reshaped and firmly believed in by the gallery.

其他垂询

All enquiries

王彧涵

Sophia Wang

sophia.wang@pifo.cn

M: +86 18210011135

孟玥辰

Meng Yuechen

mengyuechen@pifo.cn

M：+86 13466332576