胶囊上海｜2024 Liste 艺术博览会
Capsule Shanghai is excited to participate in Liste Art Fair Basel 2024 at Stand 30.
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胶囊将于2024年在巴塞尔Liste艺博会上呈现艺术家陈丽同（Leelee Chan, 1984年生于香港）、克里斯·吴（Chris Oh, 1982年生于俄勒冈州）和蔡泽滨（Cai Zebin, 1988年生于汕头）的三人联展。他们将艺术、自然和人类社会历史中的物品与图像巧妙地融入作品，将永恒与瞬间交织，激发出对时间的全新感知，用历史的线索编织当代叙事。
陈丽同的小型雕塑作品来自她持续创作的“现代遗迹”系列。她将有机材料和当代现成物与公元4至10世纪的陶瓷冥器（中国古代随葬器物）碎片并置。这些作品以陈丽同独具风格的拼贴并置手法，带领我们穿越时空，回溯她的个人历史。她儿时在父母经营的香港的一家古董店中习得了历史遗器的鉴赏与修复。无名工匠制作的古代器物、艺术家自己拾得的贝壳、漂流在全球供应链中的五金配件……她巧妙地将这些来源不明的材料结合在一起，探究世界的物质构成，挖掘物质表面下的诗意。这些雕塑陈列于形态自然流畅的多层展台，观看作品的体验仿佛考古般充满了惊喜与发现。
陈丽同的小雕塑旁，展位中央的另一个展台上，是克里斯·吴的作品。艺术家借鉴了北方文艺复兴时期的作品，将其刻画在精心挑选的材料上，如贝壳、鸸鹋蛋、紫晶洞、树瘤板，每种有机材料都带有自身生命周期的烙印。他将艺术史上的人物和场景重现，点燃超脱于时间和环境之外的人类情感火花。《涟漪》（2024）中，大天使加百利的特写从流光溢彩的贝壳中浮现。这一形象的原型出自弗兰德大师扬·凡·艾克的绘画《天使报喜》（Annunciation, 1434 – 1436）。贝壳的光晕萦绕着大天使的脸庞，昭示着加百利向圣母玛利亚宣布她将孕育上帝之子的喜悦。《内殿》（2024）中，紫晶洞环抱着抹大拉的玛丽亚（耶稣的追随者之一）。这一形象出自于15世纪荷兰画家罗吉尔·凡·德尔·维登的绘画《圣母怜子图》（Pietà, 约1441年）。晶石龟裂的纹理蔓延到玛丽亚的脸上，地质的生命周期与人类的历史洪流在此交叠，激起隽永的悲悯。在克里斯·吴的作品中，久远的面容、姿态和风景从天然材料中浮现，如同遗迹上的图腾，闪耀着时间的莫测光晕。
与克里斯·吴的文艺复兴幻影相呼应的是蔡泽滨的绘画。他沿着超现实主义的脉络触达艺术史上的经典主题，同时展现了自己在当下作为一位画家的亲身体验。《编造的形象—鱼的魔法师（稿）》（2023）向罗马尼亚艺术家维克多·布劳纳（Victor Brauner, 1903 – 1966）和瑞士裔的德国籍画家保罗·克利（Paul Klee, 1897 – 1940）的作品中鱼的形象致敬，同时反映了蔡泽滨在其居住的海滨小城对“魔法师”这一历久弥新的主题的思考。《午夜困惑3（稿）》（2023）对无头骑士进行了轻松奇趣的重新诠释，而《疲倦的肖像（稿）》（2023）则描绘了一个被折叠的纸人夜晚回到家中，任由白蚁涌入窗内的疲惫。这又何尝不是对我们所有人在面对如纸般脆弱的生命时感到无力的内心写照？这些作品不仅揭示了艺术家的个人与职业生活，也开启了当代画家与历史上伟大艺术家之间跨越时间和空间的对话。
Capsule is pleased to present a three-person exhibition by artists Leelee Chan (b. 1984, Hong Kong), Chris Oh (b. 1982, Oregon) and Cai Zebin (b. 1988, Shantou) at Liste Art Fair Basel 2024. Inlaid with objects and images from the history of art, nature and human society, the paintings and sculptures interwind transience and immortality to inspire an alternative perception of time, and weave a contemporary narrative through the lens of history.
Leelee Chan’s latest wall-mounted sculpture, Ode to Hilma, is a tribute to Swedish painter Hilma af Klint (1862-1944), and a testament to the late artist’s inspiring courage in capturing the present moment by merging elements from the past through the future. Af Klint fused complex ideas and belief systems - from nature, religion, and language, to folk, art, science, and the occult - into a radical visual vocabulary of symbols, geometric shapes, ambiguous life forms, and representational motifs. Inspired by Af Klint’s visionary paintings that have been described as “a form of time traveler”, Chan’s sculpture conveys an elasticity of temporality and an openness to connect by reincarnating objects with new meanings, purposes and value. Through her fusion of architectural and biomorphic forms, urban detritus and organic materials, natural and manipulated surfaces, she embarks on a search on how to materialize life force through the process of making.
Chan’s small sculptures from her on-going series “Present Relics” juxtapose organic materials and contemporary readymade objects, with mingqi fragments (ancient Chinese burial objects) of pottery figurines dating from the 4th to 10th centuries AD. Chan’s idiosyncratic assemblies take us on a journey through time and her personal history, revisiting her childhood upbringing in her parents’ antique shop in Hong Kong, where she observed and practiced the connoisseurship and restoration of historic debris. By integrating materials from ambiguous sources – from ancient artifacts made by unknown craftspeople and seashells scavenged by the artist to urban detritus and industrial materials spurned out from the global supply chain – Leelee Chan probes into the physical composition of the world we live in and concocts the poetry underneath the material surface. Presented on an organic form multilevel plinth, the sculptures conjure a sense of wonderment and exploration like relics unearthed from land formations.
Chris Oh 克里斯·吴 | Cella 内殿 | 2024 | acrylic on geode 紫晶洞上丙烯设色 | 27.9 x 17.8 x 12.7 cm
Adjacent to Chan’s tabletop sculptures, in the center of the booth sits another plinth that presents the delicate works by Chris Oh. Appropriating Northern Renaissance paintings on organic materials that each signifies a unique life cycle, such as seashells, emu eggs, geodes and burl slabs, Oh revives figures and scenes from the past to rekindle sparks of human emotions that transcend times and circumstances. The close-up of Archangel Gabriel in Ripples (2024) – originally depicted in Flemish master Jan van Eyck’s painting Annunciation (1434 – 1436) – emerges from the iridescent surface of a seashell, commemorating the blissful moment when the Archangel announces to the Virgin Mary that she will bear the son of God. In Cella (2024), a geode cradles the figure of Mary Magdalen, originating from 15th-century Netherlandish painter Rogier van der Weyden’s painting Pietà (c. 1441). The spathic texture sprawls onto Mary Magdalene’s face; geological life cycle of the earth hereby overlaps with the history of human society, creating a timeless resonation of lamentation and compassion. In Oh’s work, the portrayed faces, gestures and landscapes emerge from natural objects like totems imprinted on relics, shimmering in an aura of time and mystique.
Echoing Chris Oh’s Renaissance phantoms, Cai Zebin’s painting harkens back to the lineage of surrealism, and delves into art history’s time-honored subjects to reveal Cai’s first-hand experience of being a modern-day painter. Fictional Image - Ichthyic Magician (Manuscript) (2023) pays homage to Romanian artist Victor Brauner’s (1903 – 1966) and Swiss-German painter Paul Klee’s (1879 – 1940) works that depict the motif of the fish while reflecting Cai’s contemplation on the subject of “the conjurer” amidst the seaside town where he lives. Confusion at Midnight 3 (Manuscript) (2023) is a whimsical reinterpretation of the Headless Horseman, whereas The Burned-Out Portrait (Manuscript) (2023) is a psychological portrait of us all who, at one point or another, felt powerless in the face of life’s fragility, or simply collapsed at the end of the day, letting termites swarm through an open window. The works offer a glimpse into the artist’s personal and professional lives, and open dialogues between the contemporary painter and his great predecessors across time and space.
胶囊上海当前展览
胶囊威尼斯当前展览
Current Exhibition at Capsule Venice
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