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站台中国20周年｜线上展览回顾：香港空间特辑

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2012.05.17 - 07.15

贾蔼力个展《哈利路亚》

Hallelujah — Jia Aili’s Solo Exhibition

站台中国香港空間的首展将由贾蔼力的項目「哈利路亚」揭开序幕。这个展览结合了贾蔼力的绘画与装置，展現出他独特的美学視點。

作为新一代的杰出年輕艺术家，贾蔼力通過他的精湛的繪畫創造力和由繪畫延展而出的其他媒介的艺术實踐，不断地质疑以及探究人類社會及个体有关物質存在、理想追求和精神歸宿的问题，并尝试在当代世界中寻找它们的位置。贾蔼力最有代表性的艺术语言就是显著的异化感和超現實的荒誕感，透過一股强烈的精神氣場存在於完美与缺陷之中，以及介于理想与现实之间。

贾蔼力的「哈利路亚」维持个体化和内省的方式，讨论着我们所处的这个世界，正无望地朝向精神终结推移。他那同时清澈而又暧昧的语汇，就彷如介于个体和历史、进步和颓败之间的悖论。他用陰鬱而深奧的语言，阐释了无论何种价值判断都不過只是相对关系。

以本展作为站台中国在香港的起点，贾蔼力的作品提供了一抹如何思考「信」的微光。同時，站台中国也意圖通過這個展覽，呈現我們香港新空間的重要特徵——作为一种新形態的空间模式，专注发展更具创意和灵活性的艺术实践与沟通平台。

← EN

Platform China HK’s inaugural show features a new project by leading Chinese artist Jia Aili titled “Hallelujah”, an event specific work combining painting and installation to present a unique aesthetic of its genre.

Genius of his age, Jia Aili emerges from a younger generation of artists whose investigations develop and foster existential issues regarding the individual and society at large. Through his extraordinary pictorial creativity and his ability of developing alternative artistic techniques, Aili is seeking for perfection and a sense of belonging, while trying to find his position in the contemporary world. Jia Aili’s artistic language is characterized by an evident discrepancy, a tension between perfection and imperfection, between realism and imperfect realism. The depth of his art is evident in the absurd hyperrealism and feeling of alienation that often conveys.

Jia Aili’s “Hallelujah” addresses to the world around while remaining personal and introspective; the simultaneous bluntness and ambiguity of the work epitomize the relationship between the individual and his history, between progress and decay, moving towards a hopeless end of the spiritual world. The darkness and profundity of his language is nothing more than a state of being of which any judgment is nothing but relative.

Inaugurating the beginning of Platform China in Hong Kong, Jia Aili’s work offers a glimmer for thinking: “belief”. It also highlights the new and alternative direction of the gallery, the focus of which aims to evolve around innovative formats of creative production and critical communication of art practices.

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展览现场

Exhibition view

贾蔼力，哈利路亚，综合媒材，2012

Jia Aili, Hallelujah, Mixed Media

2012.09.26 - 11.30

《D for Drawing》

D for Drawing

参展艺术家：贾蔼力、马轲、秦琦、孙逊、周轶伦

Artists: Jia Aili, Ma Ke, Qin Qi, Sun Xun, Zhou Yilun

「D for Drawing」是一个针对纸上绘画的群展，参展艺术家贾蔼力、马轲、秦琦、孙逊和周轶伦是目前活跃在中国及国际上的优秀年轻艺术家的代表。展览透过聚焦观察这个艺术家们共通的介质，充分展现出了个体艺术家自身对绘画的中心内涵是如何诠释、转化以及实践的。

展览以不同的角度切入，涵盖了从丰富活泼的色彩构成，至安宁而沈静的黑、灰、棕色画面; 它提供了一个新鲜而开创的全览，让观众从这些中国当代年轻艺术家的创作中，一窥当代的绘画面貌，并且也进一步认识到“纸上绘画”不仅是一种艺术的媒材，同时也能深入的涉及意义的探究和开拓性的概述。D for Drawing强调的是当代艺术家创作中原创和革新的精神，他们勇于尝试和实验多元化的风格及类型，并藉此提醒我们纸上绘画仍然在艺术创作中占有本质而主要的地位：它们建构了一个满载各种情绪、超越现实的限度的世界。

← EN

D for Drawingis a group project featuring works on paper by Jia Aili, Ma Ke, Qin Qi, Sun Xunand Zhou Yilun. Focusing on a technique the artists share in common, the show reflects thecentrality of drawing in each of their different practices as an essential and innate action.

Showcasing different standpoints, the show expands from colourfully designed sets to mutedcombinations of blacks, greys and browns. It offers a fresh and pioneering overview of thecurrent state of drawing among a curate selection of young Chinese artists underlying thesignificance of drawing as an artistic medium. D for Drawing highlights the originality andinnovation with which contemporary artists in the genre experiment with a diversity of stylesand statements, reminding us that drawing nonetheless is primary in the necessity of framingany reality, be it emotional or even fabricated.

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展览现场

Exhibition view

秦琦，无题，80.5x111cm ，纸本油画
Qin Qi, Untitled, Oil on Paper

马轲，游戏1，109.5x79cm，纸本油画，2012
Ma Ke, Game 1, Oil on Paper

周轶伦，女头像王妃，木板油画，41x31cm，2012
Zhou Yilun, Female Portrait Princess, Oil on Board

2012.12.08 - 2013.02.24

孙逊《昨夜》

Last Night — Sun Xun’s Solo Exhibition

孙逊的“ 昨夜”项目早在2010年北京已经开始，作为他在香港的首次个展，这个项目也宣告圆满完成。

作为艺术概念或者个体经验的延伸抑或只是单纯地对模拟现实事物，孙逊都沉醉于发掘身边对他具有吸引力的题材。

因此，他的故事版，他画中那些将诗句与创作概念完美结合的图像，将观者搅进黑暗的，带有表现主义色彩的世界，这个世界无疑凌驾于我们日常生活那个疯狂的现实世界之上。

← EN

The project first started in 2010 in Beijing, today, Sun Xun’s “Last Night” finds its completion on occasion of the artist’s first solo show in Hong Kong.

Evolving around the idea and experience of the space as a ‘stage’ or simply an imitation of reality, the artist seeks to engage with what is around him.

Hence, his story board, or what we read in his drawings which combine messages of text and image, haunt the viewer in a dark, expressionistic atmosphere reflecting upon the human condition and this mad world.

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展览现场

Exhibition view

站台中国20周年｜线上展览回顾：香港空间特辑崇真艺客

孙逊，布面油画，19 件纸上绘画，2010

Sun Xun, Oil on canvas，19 paper drawing

2013.05.11 - 06.30

周轶伦个展项目《谁带我们飞上太空》

Who’s Taking Us Outer Space — Zhou Yilun Solo Project

这是周轶伦在站台中国香港空间的首个个展，它根据空间量身定做，灵感来源于对探索外太空技术的追求。周轶伦安排了一系列的场景和细节，仿佛科幻电影中独特的风景，使主题和内容的融合在绘画和油彩中表现出来，这反映了他个人的想法和对他所生活世界的态度。

“谁带我们飞上太空”，在人类拥有飞上太空能力的时候，手艺已经被科技取代，国王已经被商人取代，艺术其实早已被遗弃，所剩下的只有对过去美好时代的眷恋。所以，别在乎什么该被放弃，什么又该被坚持。早已没有规则了,需要被放弃的早已被放弃了，需要被坚持的也早已被坚持过。（周轶伦，2013年4月）。

绘画和艺术创作是一项有趣的活动，周轶伦对传统绘画语言进行分离和重构，以不同的媒介和视觉语言形式赋予了它们新的可能性。

这个展览是站台中国在北京和香港两个平台同时进行的年度项目“丛林II”的一部分。“丛林II”旨在通过一系列的展览和活动，包括座谈会和放映会等来关注、分析并探讨新的艺术生成机制，记录它们并最终以文献形式保存下来。

← EN

On occasion of his first solo show at Platform China HK, Zhou Yilun (1983) creates a site-specific installation inspired by space and society’s obsessed quest for technology improvements to reach outer space. Reflecting on his personal response and attitude towards the world he lives in, Yilun arranges a series of objects and accessories as if taken from science fiction movies to create one unique landscape where subject and content merge together with the drawings and paintings on display.

”Who takes us to outer space” now that we, people on Earth are capable to fly into space, artisanship has been replaced by technology, kings replaced by businessmen, and art has long been abandoned. All that is left is a yearning for beautiful old times. So, never mind what we have to give up to and what we shall keep. There are no rules, and what we will give up has been already given up, and what we will keep forever has already been kept.” (Zhou Yilun, April 2013)

Considering painting and making art as a playful activity, Zhou Yilun epitomizes a sense of disjunction with traditional pictorial language and gives birth to compositions born from a processing of visual information and mass media, reinterpreted in a new format.

The show is part of the larger project titled “Jungle II” developing over the course of one year at both Platform China Beijing and Hong Kong. “Jungle II” seeks to redefine, investigate, and document process of creating art and invent a new methodology of exhibiting, through a number of exhibitions and events including round-table discussions and screenings, which will be all documented as an archive.

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展览现场

Exhibition view

站台中国20周年｜线上展览回顾：香港空间特辑崇真艺客

周轶伦，Completely Fabricate ，布面油画，120x150cm，2013

Zhou Yilun, Completely Fabricate, Oil on Canvas

2013.09.06 - 10.26

马轲个展《证据》

Evidence —Ma Ke’s Solo Exhibition

在本能和强大的情感的推动下，马轲的作品寻求瞬间的强度，并表达出一种内在的世界的综合体，一种他自己都无法用语言去描述的综合体。“尝试着去描述自己的作品，我才明白文字有它无力的一面，其实对画作没有丝毫加分。”不需要去描述，一件艺术品的本质就是它自己。

这个新系列的作品，带领观众穿越画布进入一个发现的旅程。人物，风景和合理的目的给人以勇气的表达，和在没有限制的情况下获得力量。

“证据”，马轲的在香港的首次个展，这是他才华的深度体现，他的思想的体现，也是极度边缘的人类生活的体现。

← EN

Driven by instinctive and powerful emotions in his practice, Ma Ke’s paintings seek to seize moments of intensity, and express a synthesis of this inner world, which he himself is unable to describe the extent of in words. “In attempting to describe my work, I’ve come to understand that words can be weak, and do not actually add anything to the painting. Words fall short to describe it.” Needless to say, the utmost essence of an artwork is the artwork itself.

This new series of works takes visitors on a journey of discovery across the canvas. Figures and landscapes portrayed and the rational intention that engendered them become secondary, giving place to an expression of courage and the power achieved through the absence of limits.

“Evidence”, Ma Ke’s first solo show in Hong Kong, is the materialization of Ma Ke’s profound élan, of his spirit and mind as well as of the most intense peripheries of human existence.

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展览现场

Exhibition view

站台中国20周年｜线上展览回顾：香港空间特辑崇真艺客

马轲，画家，布面油画，200x150cm，2013

Ma Ke, Artist, Oil on Canvas, 2013

站台中国20周年｜线上展览回顾：香港空间特辑崇真艺客

马轲，盲人，200x200cm，2013

Ma Ke, Blind, Oil on Canvas, 2013

2013.10.31 - 11.23

丛林II -- 弥漫的形态 -- 年度項目

《曾經是現在，現在已結束，然而會再來》

以時間來命名的時間性藝術作品

Jungle II – A Thriving Morphology – One Year Project

“Once Was Now, Now is Over, Yet will Come”

Time-based art works themed around Time

参展艺术家：八木良太、飯川雄大

Artists: Lyota Yagi, Takehiro Iikawa

時間無處不在，把我們與歷史和遠古時代連接在一起。時間是物理性的，是數學性的，是宇宙的一部分，是殘酷而沒有人性的。與時間工作，你需要選擇一種具體的態度。這態度可以是浪漫的，可以是科學的，可以是社會性，也可以是哲學和其他的。本次展覽的重點在兩個藝術家八木良太和飯川雄大對空洞時間的理解。

在各自對時間的藝術實踐中，這兩位藝術家有著完全不同的取態。八木直接考慮具時間性的媒體，例如音樂和錄像。他操縱和歪曲在音樂和錄像內的時間，或用物料如光碟，黑膠唱碟和音樂帶。他把汽化鋁從光碟上剝下，貼在帆布上，創作“光碟”（2011）一系列作品。不論過往的內客如何，在光碟裡的回憶或音樂都存在於層層的鋁和像彩虹的帆布表面之間。

他的“乙烯基”（2005）作品是一張由冰制成的黑膠唱碟，展現在一個播放著很微妙的音樂的錄音器上。當時間流逝，唱碟的刻槽溶化，在觀眾沉浸于一段難以捉摸和短暫的旋律時，音樂消失而變成噪音。

在一個名叫“偷取時間”（2007）的錄像作品中，飯川挑戰人類對時間的觀念。所有在團隊中的人都被告知，除了一個玩家，他藉此偷取了這位玩家的時間。當五人制足球比平常更早地完結，他記錄每玩家的反應。我們可以從中看見人類對時間的觀念是不精確的。

在“實踐時間的時鐘”（2006）系列中，飯川制作了持續24小時的錄像，視覺上展示當時的時間。他的作品關注人與時間，自然與城市景觀的關係。

← EN

Time is something ubiquitous and connects us with history and ancient time. Time is physical, mathematical, a part of the universe, inhuman and cruel. To work with Time, you need to choose a concrete attitude. It can either be romantic, or it can be scientific, it can also be sociological, and it can be philosophical and so on. This exhibition focuses on the two perceptions of the Empty time by two artists, Lyota Yagi and Takehiro Iikawa.

The two artists have totally different approaches towards Time in their artistic practices. Yagi considers directly time-based media such as music or video. He manipulates and distorts time within music or video compositions, or uses physical media like CDs, LP records and music tapes. His series of work “CD” (2011) are created by peeling off vaporised aluminium from CD-R and sticking the pieces onto the canvas. Whatever the content used to be, the memories or the music from the CDs now exist between the fine layers of aluminium and canvas’ rainbow-like surface.

His piece “Vinyl” (2005-) is an LP record made from ice presented on a record player playing a very subtle kind of music. As time passes, the grooves of the record melt and the music fades away to become noise, while the audience enjoys an elusive and ephemeral melody.

In the video work “Stealing Time” (2007), Iikawa challenges human perceptions of time. Having informed everyone on the team except for one player, Iikawa "steals" this player's time. The artist records the player's reaction when the Futsal match unusually finishes twice as fast as usual. We see how the human perception of time is not precise.

In “The Clock for Practice of Time” (2006-) series, Iikawa made videos over the course of 24 hours, visually showing what time it was. His works are concerned with the relationship between people and time, nature and the urban landscape.

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展览现场

Exhibition view

站台中国20周年｜线上展览回顾：香港空间特辑崇真艺客

八木良太，Common Difference, Sea & Metronome，影像装置，2008

Lyota Yagi, Common Difference, Sea & Metronome, Video installation, 2009

站台中国20周年｜线上展览回顾：香港空间特辑崇真艺客

八木良太作品

Lyota Yagi's work

八木良太，Lento Presto，静帧

Lyota Yagi, Lento Presto, Screenshot

八木良太，Soundsphere，摄影：Ryota Atarashi

Lyota Yagi, Soundsphere, Photo by Ryota Atarashi

飯川雄大，Fade out, Fade up Panda in the Darkness，数码打印裱于亚克力板上，2012

Takehiro Iikawa, Fade out, Fade up Panda in the Darkness 2012 digital print, mounted on acrylic board

2013.11.29 - 2014.01.30

《独自入眠》

We all sleep alone

参展艺术家：杨沛铿、郭丽丽、陈翊朗、伦讼文

Artists: Trevor Yeung, Lyli Kwok, Oscar Chan Yik Long and Molly Lun

站台中国（香港）将展出一组本地年轻艺术家的作品，表现他们对独处作为人内在本质的沉思，这些艺术家是杨沛铿、郭丽丽、陈翊朗和伦讼文。作品的选取反映了艺术家通过内部对话的重新诠释和对自我与环境关系的创新探索而产生的个体存在的独特个人意念。

← EN

Platform China (HK) presents ‘we all sleep alone’ an exhibition featuring works by emerging Hong Kong artists Trevor Yeung, Lyli Kwok, Oscar Chan Yik Long and Molly Lun contemplating what it means to be alone as an intrinsic part of the human condition. The works selected reflect the artists’ unique individual notions of their own existence by exploring their creative re-interpretation of the internal dialogues and the way in which they (re-)associate themselves to their surroundings.

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展览现场

Exhibition view

Lyli Kwok, God Is Other People 3

Molly Lun, Lone Swimmer, we all sleep alone Opening, 2013

Oscar Chan Yik Long，救生员 2，铅笔绘画，2013

Oscar Chan Yik Long, Lifesavers 2, Pencil Drawing, 2013

2014.02.21 - 05.01

《創造即歡愉》

The Creative Mind is a Playful Mind

参展艺术家：畢建業、劉曉輝、趙趙、周軼輪

Artists: Bi Jianye, Liu Xiaohui, Zhao Zhao, Zhou Yilun

站台中國（香港）將呈現“創造即歡愉”群展，展出一些年輕藝術家的極具趣味和色彩特色的作品。

噢！青春的困境——大膽和無憂無慮的精神促使著新的發現、體驗與發明！在玩樂和體驗之中去創造，這些年輕人創造了圍繞著他們的世界和主觀世界的圖景。這種玩樂哲學也決定了他們的藝術創作態度。

爲了慶祝春天的到來，是次展覽成爲一個體驗真正創意的遊樂場，一個由有活力的頭腦所驅動的軌跡和景觀：超越國界，創造自我模式和獨有行動的代碼。四位朝氣蓬勃的藝術家以一個直接和風趣的方式回應藝術與生活。

風趣而幽默，畢建業、劉曉輝、趙趙和周軼輪將參與一次別開生面的對話，它不僅限于個人的藝術形式並由此引發新的問題。

← EN

Platform China (HK) presents 'The Creative Mind is a Playful Mind' a group exhibition high in colours featuring works by some of our most playful young artists.

Oh! The dilemma of youth – bold and carefree spirits chasing new discoveries, experiences, and inventions. Creative in the way they play, in the way they explore, youngsters create images of the world around them and the imaginary worlds in their minds. This playful philosophy also determines creative attitudes.

To celebrate the arrival of Spring, this show offers a playground to experience genuine creativity, a landscape whose trajectories are driven by lively minds: those that transcend borders, create their own patterns and disguise codes for secret movements. The four spirited artists respond to art and life in a straightforward and witty manner.

Mischievous and good humoured, Bi Jianye, Liu Xiaohui, Zhao Zhao and Zhou Yilun engage in a fresh discourse, which goes beyond their own individual artistic forms and instigate new questions, inviting spectators to join and play.

刘晓辉，Anna，木板油画，2013

Liu Xiaohui, Anna, Oil on Board

赵赵，碎片，雕塑，26x27x1cm，2012

Zhao Zhao, Fragments, Sculpture

周轶伦，人物，布面油画，100x140cm，2013

Zhou Yilun, Figure, Oil on Canvas

2014.05.08 - 07.01

赵赵个展《如何》

How — Zhao Zhao’s Solo Exhibition

关于“如何”

开始于2013年，该项目“如何”分三个阶段发展。现在作品将以在苏富比香港参与竞价销售为终点。赵赵、站台中国和苏富比香港拍卖公司将一起合作实现这个作品的最后阶段，其拍卖结果既宣布这个项目的结束。

第一阶段：

艺术家手记：

2013年9月29日自北京至山西晋城，游历约400余公里，偶遇200年前一释迦牟尼本尊木佛，跏跌端坐于莲花之上，佛陀略为俯首眼神下视，右手举于身侧，左手置左膝，全身泛著被岁月和过客摩挲之光，高2米15、宽1米81，或得或失的运数，或许都在这个范围之内。

2013年11月1日将木佛运往北京，动用木工7名，以锯、刨、打磨等手法将木佛切成若干几何形体，类似积木，后动用金箔工匠5名，沿用古代手工打制的方法,称作捶金箔,先将金锭打成薄片，逐层夹入乌金纸中，在青石砧上用铁锤锤击约三万多次,即成金箔，金箔厚度约为0.0003毫米，再以每块9.3x9.3厘米，总共45平米金箔拼贴覆盖于全部“积木＂表面，共耗时99天。上下四方六合之间，凡是神灵所生的万物，各有不同的形状，或是夭折、或是长寿，只有圣人才能懂得其中的道理。直至2014年4月20日作品得以完成。以上只不过是举其大端，其余琐碎之事，不值得一记。

－－赵赵2014年写与北京

第二阶段：

2014年5月，巴塞尔香港艺博会期间，在站台中国香港空间，该项目以《如何》命名正式对外展示。前期展览呈现为由258件被金箔贴覆的几何形体组成的装置，以及6张记录了获取、运输和分割佛像的照片组成。

第三阶段：

2014年8月，这件作品授权给予苏富比作为当代亚洲艺术拍卖的重要作品之一，参与定于10月6日在香港的秋季拍卖。2014年9月赵赵正式签署与苏富比的拍卖合约。合约、作品竞拍落锤的那一刻以及最终藏家购藏合约都将作为作品一部分，以照片的形式呈现。至此该项目正式宣告结束。

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ABOUT “HOW”

Started in 2013, the project “HOW” developed in three stages to end now with the participation of the artwork to the upcoming auction sales at Sotheby's HK. Platform China and Sotheby's have been collaborating with the artist in the realisation of this last stage, the result of which will determine the completion of the work. It follows a presentation of the artwork through its different stages.

FIRST STAGE

ARTIST’S STATEMENT:

On September 29th, 2013 I travelled for about 400 km from Beijing to Jincheng in Shanxi province, where I came across a Sakyamuni Buddha dating back to some 200 years ago, covered with the patina of time. Sitting on a Lotus flower, the Buddha was bowing his head a little, looking down. Holding his right hand next to his body, while putting his left hand on his left knee. The Buddha was about 2m15 tall and 1m81 wide: a set of numbers of destiny.

On November 1st, 2013 the Buddha was transported back to Beijing. With the help of seven woodworkers, we used method like sawing, planning and polishing to cut up the Buddha into geometric shapes, similar to children building blocks. Then we hired another five workers to reproduce the ancient handicraft method of making gold leaf. We first cut the gold ingot into thin pieces and then place them inside special leaves beating paper. Hence, we hammered the sheets on a bluestone for about thirty thousand times and finally obtained gold leaf. The thickness of the gold leaf is about 0.0003 mm the size of each is 9.3x9.3cm for a total of 45sqm of gold leaf which we used to cover the block pieces. It took another 99 days to finish.

All things are born from God. They come in different shapes, some live and some die, only saints can understand.

On April 20th, 2014 the all process was completed. The above-mentioned are just a few of the tasks involved in the production of the work, the others are not worth mentioning.

-- Zhao Zhao, Beijing 2014

SECOND STAGE

In May 2014, Platform China invites Zhao Zhao to unveil the installation during Art Basel HK art fair. The work is presented as an installation made out of 258 geometrical shapes covered in golden leaves accompanied by 6 photos that document the process of acquiring, transporting and taking to pieces the sculpture.

THIRD STAGE

In August 2014 the work is agreed to be given to Sotheby's as highlight of the Contemporary Asian Art Sale scheduled for October 6th in Hong Kong. In September 2014 Zhao Zhao signs a contract with Sotheby's. The moment the installation is presented among the sales, the project enters the last part of its cycle. The result of the auctioning of the artwork determines the completion of the project.

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展览现场

Exhibition view

赵赵，如何，2014

Zhao Zhao, How

2014.07.11 - 09.06

《盛夏聯展》

Summer Heights Group Show

参展艺术家：高偉剛、金閃、王功新、王寧德、趙剛、周軼倫

Artists: Gao Weigang, Jin Shan, Wang Gongxin, Wang Ningde, Zhao Gang, Zhou Yilun

延續 Art Basel 過後的餘溫，踏人炎炎夏日，站台中國(香港)籌備的“盛夏聯展”將展出與本畫廊合作過的中國常代藝術家。當中包括高偉剛、金閃、王功新、王寧德、趙剛、周軼倫等人。這幾位藝術家對不同物料有其獨特的處理手法，並於作品中反映出他們對社會及世界的認知。是次展品由油畫、裝置、混合媒體及錄像作品組成，藝術家們將通過他們的作品，向觀眾呈現中國當代藝術的多樣性。

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Extending the excitement of Art Basel, Platform China organizes 'Summer Heights - Group show" toshowcase artists collaborating with the gallery including Gao Weigang, jin shan, Wang Gongxin, WangNingde, Zhao Gang, Zhou Yilun. Their unique treatments on various kinds of material reflect their personaexperience and cognition of surroundings. The exhibition comprises a wide range of works includingpaintings, installation, mixed media and video, which aim to reveal the diversity and dynamic of chinesecontemporary art.

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展览现场

Exhibition view

赵刚，公主，布面油画，95.5x100x4 .5cm，2013

Zhao Gang, Princess, Oil on Canvas

赵刚，洋太监，布面油画，100x95.5x4.5cm，2013

Zhao Gang, Abroad Eunuch, Oil on Canvas

王宁德，有形之光-理想天空滤色镜No.3，综合媒介，200X44cm，2013

Wang Ningde, Visible-light-ideal-sky-filters-No.03, Mixed Media

金闪，一个人的岛屿 1，录象，1'33，2009

Jin Shan, One Man's Island 1, video

王功新，关联-与“情”有关，影像装置，双屏录像装置，有声，1'00" ，2010

Wang Gongxin, Relating-It’s about Emotion / Video installation, 2-channels video installation, Sound

周轶伦，看书不是重要的，布面油画，170x120cm，2009

Zhou Yilun, Reading Is Not Important, Oil on Canvas

2014.09.25 - 11.15

婁申義個展《花兒為什麼這樣紅》

WHY FLOWERS ARE SO SPLENDID — Lou Shenyi’s Solo Exhibition

現實本來就帶有一定的虛幻性，對周遭的感受總伴隨著一堆由現實轉化而成的抽象景物。若將此情此景解讀後，被塑造的影像不但帶有客觀的現實原素，還會被一層抽象化的濾鏡濃罩著。在當代藝術的大氣候下，藝術作品概念化是常態，能如實將身體對周遭日常物的感知逞現則屬少數。中國畫家婁申義正是其中一員，他以繪畫他眼下真實去阻擋藝術概念化的洪流。站台中國（香港）呈顯「花兒為什麼這樣紅－婁申義個展」，精選了婁申義多樣風格的作品，顯示出他在媒體運用及視覺上的駕馭能力。

婁申義是一個會悉心觀察周遭世界的藝術家，更是一個隨時內省的思考者。他透過繪畫真實來與觀眾分享一趟夢幻旅程。在旅途中，他運用了各種風格去呈現世界的真實，以繪畫的方式描述著對世界本質的憧憬和體證、對大自然的審視，和對生活未知可能的期許。而展覽的主題：「花兒為什麼這樣紅」，這個跳躍的提問反映出畫家對美好生活的期盼。

他的畫作中沒有多餘的視覺原素，也不會被複雜的概念纏繞。他將多餘的細節省略及簡化，捕捉視覺及感觀上最精要的原素。婁申義所營造的畫面從一般美學中跳脫出來，側重於替畫面營造喜悅感覺，表達少年時代的美好幻想。這些油畫及水彩畫以最純粹的筆觸及技術來表達，再加插漫畫風格，營造出視覺上的純粹及幸福感。

是次展覽作品包含具像與抽象的意境，題材有燕子在色彩斑斕的湖景上飛揚、描繪卡通人物、女神及抽象化的九龍石景觀。這些空間和個體以不同形態及色彩呈現，而油彩及水彩不同質感的顏料也有助於表達畫家當下的精神面貌。透過對比其不同風格的畫作，令觀者在感受婁申義眼中的美好世界外，亦能透達畫家的創作脈絡及深度。

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Reality requires a certain deal of illusion. The emotional reaction in front of the physical surroundings is often accompanied by an abstraction from that reality in order for it to be experienced. Translating a scene we have lived in or a landscape we have passed through can only result into an image which combines its authentic reality filtered by the abstract imagination of it.

Chinese painter Lou Shenyi is one of the few exceptional individuals who has to cope with the challenge given by conceptual art when painting reality authentically. Platform China (HK) presents “Why flowers are so splendid? –Lou Shenyi’s Solo Show” in which a selection of Lou’s works realized in different styles reveal not only his mastery over the medium but also his power of visualization in picturing reality.

Meticulous observer of the world around and introspective thinker, Lou Shenyi shares with the audience a fantastic journey through his own figuration of reality. In this journey, Lou adopts different kinds of creative forms to picture the world’s reality and, by means of painting he reflects an examination of nature, his aspirations and the various expectations and possibilities in life. The exhibition title “Why flowers are so splendid” further reflects his positive attitude towards life.

His paintings skip excessive visual elements and are free from complex concepts. He removes excessive details by simplification, and captures the essence of vision and perception to reflect the purity of objects. Lou’s work emancipates from the bond of traditional aesthetic and focus in creating a delightful mood in his paintings. The oil paintings and water-colored drawings are characterized by very genuine strokes, which are to picture a visual happiness embedded by comic flavors.

The works in the exhibition portray both figurative and abstract landscapes; they describe flowers or swallows flying over a colorful lake, portray of cartoon characters or goddesses and dragon-like imageries etc. These spaces and individuals are presented in various forms and colors to express the state of mind of the painter. By juxtaposing different visual styles, Lou allows his audience to experience not only the blissful reality he sees, but he also contextualizes his practice and profundity in a fast changing world.

娄申义，12，16岁，布面丙烯，150x200cm，2014

Lou Shenyi, Twelve years old, Sixteen years old, Acrylic on Canvas

2014.11.29 - 2015.02.28

《香港動物寓言集－重新想像人與動物之間的微妙關係》

HONG KONG BESTIARY --‐ To rethink our relationship with animals

参展艺术家：林東鵬、李美娟、MAP Office、Cedric MARIDET、徐世琪、陳玉瓊、鄧國騫、黃國才、王浩然、楊沛鏗

Artists: LAM Tung Pang, Carol LEE, MAP Office, Cedric MARIDET, Angela SU, Yuk King TAN, TANG Kwok-hin, Kacey WONG, Adrian WONG, Trevor YEUNG

我們傾向將動物視為異者, 或是一種能以矛盾姿態反映我們自身和人類意義的絕對他者，反映彼此間的相異又相連的關係。因此，我們經常借用動物為我們發聲，去處理一些政治、社會或道德等議題。例如Pliny, Plutarch 也曾以動物與道德作為寫作題材，表現動物孤高和機智的特質。而寓言及現代作家如George Orwell都偏好運用動物題材，間接又有力地描寫人性和種種社會狀況。

我們模仿動物的禮節，規矩，階級及行為，去迎合人類的需要。或是讚頌其美態藉以歌頌大自然的美好。但我們可曾想過，倘若動物也能為自己發聲 ? 而我們又可否與牠們進行對等的交流，衝破彼此間的屏障？

除了展示動物外，是次展覽旨在探索動物的如何表現其獨立性：兔子、蟹、鳥類等，都有各有個性，拒絕成為物件或抽象的異類。藝術家專注於動物的表達技巧、動態、舞姿和創意等，觀察牠們的行為以發掘其獨特之處。他們嘗試審視動物看待我們的方式，了解牠們是如何運用自己的語言去回應，以修服一段持久又已逝的關係。

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We tend to consider animals as a kind of global and undefined entity, an Absolute Otherness in which we can mirrorourselves and define human beings in a paradoxical gesture, claiming both diference and kinship with themTherefore we usually exploit animals, asking them to speak for us to reflect our society, and to tackle political, sociaof moral issues. As an example, both Pliny and Plutarch have written about animals in terms of morality, highlightingtheir non-corrupted and wise nature, whilst fable makers of all throughout history, together with modern writerssuch as George Orwell have used animals in their works to say something about human nature or society in anindirect and yet forceful way. We imitate their rituals, rules, hierarchy or behaviour to serve our own humanpurposes, or magnify their beauty to glorify the splendour of nature.

But what if they could speak for themselves? What if we could restore an equal communication with them andbreak down the barriers that separate them from us?

More than just representing animals, this exhibition deals precisely with the manifestation and rise of anIndividuality among animals. rabbits, crabs or birds are here claiming their own personality and cease to be seen asobjects or abstract entities. The artists focus on their skills of expression, be they movements, dance or creativiylooking at that in their behaviour which makes them unigue. They actually even guestion how these animals look atus, how they respond to us in their own language, trying to restore a long-lasting but now extinct relationship.

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展览现场

Exhibition view

Adrian Wong, Telepathically Designed Bespoke Rabbit Warren I&II, A&B

Angela Su, Insect Series 2007, Ink Drawing on Draft Paper

Carol Lee, Golden Bird(2014), Paper, 79.5x110cm

Cedric Maridet Soft science cabinet, 2012

Lam Tung Pang, Deer(WIP), Charcoal on paper, 2014

MAP Off, Moving sideways-crab house

Tang Kwok Hin, The Spine Passerby 2010-201, Single channel film

2015.03.14 - 05.10

《亲爱的，为什么自由》

Dear, Why Freedom

参展艺术家：金闪、孙原&彭禹

Artists: Jin Shan, Sun Yuan & Peng Yu

适逢香港巴塞尔艺术展及柴湾尾艺术节，站台中国于香港空间筹备了「亲爱的，为什么自由」展览。透过中国艺术家金闪，孙原&彭禹的作品，建构出一个探讨具有观念的视觉世界，以触目的视觉效果诱导观者反思自由的概念。

自由这意识形态渗透在我们身处的现实中。自由与否，在于个人观感与经历。在不同的社会制度下，人们对自由的概念仍会有南辕北辙的解读，反映着概念的多向性。此外，自由洐生的行为也有误导的可能性，或是直率、或是欺压。同一件事能令人自由，亦能为别人添乱。文明社会下的社会规范，看似被约束的行为，是否一定等同干扰个人自由或将人性压抑？

本次展览透过金闪的最新录像作品和孙原＆彭禹的精密装置作品，对自由一词作出提问。展览名字由两件作品的名字「亲爱的」和「为什么自由」组成，有引导思考的意味。金闪制造了荒诞和现实中不常出现的场景，以纪录片的手法，呈现了人类渴望被控制的欲望，侧面地探索自由的含义及所带来的价值。在孙原＆彭禹的精密计算下，物理空间中的碰撞和冲突透过潜在在日常的情境和结构展现出来，活像一个不听话的孩子。当观者步入展厅，随即感受视觉和心理上的暴力冲击。眼下的两件作品的冲撞和交流下，令整个空间弥漫着不自在和紧张的气氛，勾勒出自由的各种面貌及形态。

在当代艺术的语境下，此次展览对自由一词没有绝对的解读。观者有绝对的解读自由，与艺术家的意念在展览空间中融合，建构出专属于观者们的语言。

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Platform China (HK) proudly presents ‘ Dear, Why Freedom’ on the occasion of Art Basel Hong Kong and Chai Wan Mei Art & Design Festival 2015. Featuring works by Chinese artists Jin Shan and Sun Yuan & Peng Yu, “Dear, Why Freedom” considers and creates a visual construction that both engages and diverts meaning, creating a shocking visual sensation of freedom.

The concept of freedom is grounded in the realities we live in. Whether we are free or not it depends on how we conceive and experience it. The interpretations of freedom vary under different social systems, which reflect the multiplicity of the concept. Sometimes, the act of freedom can be misleading, it oscillates between passion and repression, what makes a person free could lead another to chaos. Whilst we are governed by morality in a civilized society, is such governance of behaviour an absolute restraint of personal freedom or a repression of humanity?

Titled after the name of two featured artworks ‘Dear’ and ‘Why freedom’, respectively Sun Yuan & Peng Yu’s highly technological installation together with Jin Shan’s newly realized video installation, the exhibition attempts to question the meaning of a concept. Jin Shan creates absurd and unexpected scenarios to reveal human’s desire of being controlled; through this he subtly explores the definition of freedom and its value derived. The meticulous settings by Sun Yuan & Peng Yu present collision and conflict in a physical space in something of the manner of an out-of-control child, revealing the hidden scenarios and structures of our daily life. When the audience enters the exhibition space one should feel its impact and violence both visually and psychologically. Through the interaction and dialogue of the two artworks, the show transmits a profound sense of inconvenience and discomfort which embodies the multiple facets and form of freedom.

In the context of contemporary art, the exhibition does not hold an absolute view on the concept of freedom. By confronting the artists’ ideas in a physical space, the viewer is invited to decipher the concept freely, establishing his own language to interpret and react.

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展览现场

Exhibition view

孙原&彭禹，亲爱的为什么自由

Sun Yuan & Peng Yu, Dear, why freedom?

2015.05.28 - 07.19

《邱瑞祥个展》

Qiu Ruixiang’s Solo Exhibition

邱瑞祥將於站台中國（香港）空間舉行他在香港首個個人畫展，展出他於2008年至2013年期間所創作的油畫及紙本作品。是次展覽展示出藝術家運用暗沉顏料的能力，營造出一個被迷霧籠罩著的神祕、孤寂、耐人尋味的世界。畫中帶有抽象意味的無名肖像，他們看似類同，然而各有個性。在邱瑞祥的筆下，他們的神態自若寧靜，一舉手一投足都散發著憂鬱的氣息…

邱瑞祥的作品帶有「與世隔絕」的意味，與當化藝術的風格保持距離。因此他的作品很難與任何一位藝術家有關聯。他每天花大量時間藉著畫畫與自己的內心對話，以不停繪畫的方式，讓過程牽引著視覺佈局，由物理實體主宰作品的意義。

他認為畫畫是通向內心最直接的方法，並運用肖像為載體來傳遞情感。在他的視覺世界中，這些肖像皆是在不知不覺之間創作出來的。在日常事物的影響及感覺驅使下，透過色塊的衝擊塑造了肖像的面容及姿態。他們獨自坐在陰暗的背景中，被孤獨感包圍，看似有點不知所措。縱然如此，這群從生活經驗中借鏡的無名氏們，與大眾想像是有著密不可份的關係。藝術家更認為，觀者從畫作中獲得的感受，往往比藝術家所賦予的更大。因此，即使藝術家沒法定義他們，這些無名肖像及視覺佈局依然是引人入勝，超越了表層的閱讀意義，延伸至意識及情感觸動，與觀者產生交流。

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Exhibiting for the first time in Hong Kong, Platform China’s represented artist Qiu Ruixiang is showing a curate selection of oil paintings and paper works realized between 2008-2013. The solo exhibition highlights the artist’s extraordinary skill in utilizing the darkest hue of pigments in creating setting pervaded by a gloomy mist, an enigmatic aura inhabited by solitary and intriguing figures. Each anonymous character in his painting bears some resemblance of others, however they are all unique individuals, caught in a pensive state often interspersed with silent emotions.

Qiu’s practice is distant from typical contemporary practices. One can hardly relates his work with Western or other Chinese painters in any period. The artist spends most of his time in his studio where he performs a continuous introspection through the process of painting. By painting continuously, he allows the process to determine the visual settings of the work, with the physical attributes to dictate the meaning of the work.

Portrait-depiction is regarded a vehicle for sentimental transmission, while he believes the process of painting is the best way to reach his innermost part. The artist unintentionally creates the figures inhabiting his visual world. Driven by daily surroundings and emotions, the clash of pigments shapes the appearances and gestures of these figures. Under the aura of solitude created by the dark abstract background, they seem lost and aimless. However, since these figures are reflections of our daily experience, they are intimately connected with collective reveries. Qiu believes the interpretation of viewers overrides the meaning given by the artist himself. Thus, even the artist refuses to define these anonymous figures, the visual combination of figures and background in the artist’s work is appealing and impactful for the ability to transcend superficial decipherment and provoke sentiments that enables a dialogue between the artist and viewers.

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展览现场

Exhibition view

邱瑞祥，单人游戏, 布面油画，54x73cm，2010-2011

Qiu Ruixiang, Single player Game, Oil on Canvas

2015.09.17 - 10.17

《形状─杨茂源的秘密》

Form — Yang Maoyuan’s Secret

站台中国（香港）将与chi art space联合推出杨茂源的个人作品展“形状─杨茂源的秘密"，集合并展示艺术家早期和近期的作品。

本次展览选取了壹批以古希腊和罗马雕塑头像为原型的雕塑、绘画、泥塑和墙纸作品，旨在讨论艺术、艺术史对当今文化的影响和历史沿革中东西方文化间的不断渗透与交流。

进入展厅，观者的视线首先停留在展厅内大片的壁纸图案上。壁纸上的图案创意来源于青花瓷—蓝白相间的瓷器，这个特殊的图案来自由中国工匠创造的某种用以迎合欧洲购买者的喜好的特定母题。作为历史演变和文化交融的承载者，在整个展览中，这个图案一直作为一种祷文而不断被重复着。

展出的部分纸上作品是艺术家重现的工作室背景墙的场景。作品以拼贴的形式呈现和展示了其创作过程中的灵感和创意来源，包括作为背景的墙纸图案，肖像画、侧面像、头像雕塑的手稿以及艺术家旅行过程中抓拍的快照等元素结合而产生。这些头像作品图示了艺术家基于艺术性与个人性陈述而产生的对“圆”的研究。“圆”是一个被艺术家广泛分析的圆度美学概念，在深层次上和“和谐”的概念产生共鸣。这不仅让人回忆起东方的古典哲学，而且会联想到西方，尤其是列奥纳多·达·芬奇的名画《维特鲁威人》所表达的比例原则。在此之外，他旅行过程中创作的图像，反映了特定生活经历对他的艺术实践的影响：对深埋在塔克拉玛干沙漠下的楼兰古国文明遗址的探访实际上是他的许多装置作品的强烈的灵感来源。

杨茂源从他的学术经历中选取元素：这些希腊罗马式的头像和半身雕塑像部分来自于他在中国接受的艺术教育，强调临摹经典作品，此次在这里展出了六尊用大理石和黄铜制做的原始头像和新创作的陶瓷人像作品。出于重新解读西方象征的含义的努力，他打磨经典雕塑的面部、鼻子、嘴唇和耳朵。从最东方文化视角来看，这种打磨结果使人更趋近“圆”的概念。通过修改，艺术家不仅再次表现出在他学生时代形成的复杂的情绪，而且也实现了推陈出新的目的。本次展出的陶器作品也展现的是面向圆形碗的头像。之选择陶土作为创作的原材料，其原因是与艺术家对人类的起源的思考相关，而碗这一器型则再次使观者联想到圆形元素。

总而言之，在整个展览的空间里，这种蓝白相间的图案就好像一个中介体，把雕塑和绘画联系起来的同时也跨越时空，把它们放在同一个开放的对话中，作为传统和个人信条之间，理论和实践之间的客观化产物。杨茂源把他的个人经历和作品中固有的概念结合起来，通过他的艺术语言为观者构造出一次奇妙的艺术之旅。

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Platform China (HK) and chi art space will jointly present Yang Maoyuan’s solo exhibition “Form—The Secret of Yang Maoyuan,” showcasing a collection of the artist’s early and recent works. The exhibition features sculptures, paintings, clay works, and wallpaper pieces inspired by ancient Greek and Roman sculptural heads, exploring the influence of art and art history on contemporary culture, as well as the historical permeation and exchange between Eastern and Western civilizations.

Upon entering the exhibition hall, viewers are immediately drawn to the expansive blue-and-white wallpaper patterns adorning the walls. These motifs are derived from traditional Chinese blue-and-white porcelain—a visual language historically crafted by Chinese artisans to cater to European tastes. Serving as both a historical witness and a cultural bridge, the repetitive pattern acts as a meditative mantra throughout the space, symbolizing the interplay of cross-cultural dialogue.

A series of paper-based works recreate scenes from the artist’s studio backdrop, presented in collages that reveal his creative process. These pieces interweave elements such as the wallpaper patterns, portrait sketches, sculptural head drafts, and travel snapshots. Central to these works is Yang’s exploration of “roundness”—an aesthetic concept that harmonizes Eastern philosophy, exemplified by classical notions of balance, and Western ideals of proportion, notably evoked by Leonardo da Vinci’s Vitruvian Man. The artist’s travels, including his visit to the buried ruins of the Loulan Kingdom in the Taklamakan Desert, further inform his practice, inspiring installations that merge personal experience with archaeological imagination.

Yang Maoyuan recontextualizes his academic training—rooted in the Chinese tradition of replicating classical works—through six marble and bronze Greco-Roman heads and newly crafted ceramic figures. By sanding down the facial features of classical sculptures, he reshapes their Western symbolism into forms that align with the Eastern ideal of “roundness.” This act of modification not only revisits the emotional complexities of his student years but also bridges tradition and innovation. The ceramic works, featuring heads oriented toward circular bowls, reflect his contemplation of human origins. Clay, as a primal material, echoes this theme, while the bowl’s shape reinforces the recurring motif of circularity.

Throughout the exhibition, the blue-and-white pattern serves as a visual mediator, linking sculptures, paintings, and temporal narratives into an open dialogue. It becomes an objectified intersection of tradition and personal belief, theory and practice. By synthesizing his lived experiences with conceptual depth, Yang Maoyuan crafts a transcendent artistic journey, inviting viewers to traverse the fluid boundaries between cultures, histories, and artistic expression.