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胶囊｜陈丽同｜近期动态

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Leelee Chan 陈丽同: Spiral Diaries, Klemm's, Berlin, Germany, 德国柏林, 2025. Courtesy of the artist and Klemm's, Berlin. 致谢艺术家及Klemm's（柏林）. Video 视频 ?? Charlotte Walter

Leelee Chan 陈丽同: Spiral Diaries

solo exhibition 个展 @ Klemm's

2025.05.02 - 06.06

“Spiral Diaries”是陈丽同在Galerie Klemm’s的第二次个展，呈现的最新雕塑作品延续了她长期以来对材料、时间性与转化过程的探索。陈丽同将各类物件如繁星般散布在空间中，横跨地质、文化与工业的时间维度，远古遗迹、当代制造和自然现象凝聚为充满生命力和自主性的雕塑。她的雕塑既是自成一体的形式，也构成一条持续演进的思维链条，其中显露出的对于物质的敏锐和通达贯穿了艺术家的个人经历与早期作品，并在她当下及未来的艺术实践中持续进化。

Spiral Diaries marks Leelee Chan’s second solo exhibition at Galerie Klemm’s, presenting a new body of sculptures that continue her exploration of materiality, temporality, and transformation. Chan fuses objects into dynamic constellations that span geological, cultural, and industrial timeframes, forging a practice in which ancient relics, contemporary manufacturing processes, and natural phenomena converge into autonomous sculptural entities. Her sculptures function both as self-contained forms and as part of a continuous stream of thought, articulating a material intelligence that weaves through her experience and early work, evolving into her current and future practice.

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展览现场

Installation Views

Installation View 展览现场，Leelee Chan 陈丽同：Spiral Diaries, Klemm's, Berlin, Germany 德国柏林，2025. Courtesy of the artist and Klemm's, Berlin. 致谢艺术家及Klemm's（柏林）

Leelee Chan 陈丽同 | Peculiar Pyramid | 2024 | Tang dynasty (618 - 907) pottery horse fragment and earth spirit fragment, found aluminum components, stainless steel mirror, epoxy clay 唐代（618-907年）马和镇墓兽陶俑碎片，拾得铝制零件，不锈钢镜子，环氧粘土 | 16.5 x 24.1 x 21 cm

Leelee Chan 陈丽同 | Wood Wide Web (Unearth) 菌根网络 | 2025 | unique patinaed bronze 失蜡铸造青铜 | 145.5 x 62 x 54.2 cm

Leelee Chan 陈丽同 | Shapeshifter (Mitridae) 变型体（笔螺科）| 2025 | onyx and 3D printed stainless steel 缟玛瑙、3D 打印不锈钢 | 59 x 23 x 18 cm

Leelee Chan 陈丽同 | Moth 蛾 | 2023 | found plastic shipping pallets, petrified wood, stainless steel hardware, epoxy, pigment 拾得塑料运输托盘、木化石、不锈钢硬件、环氧树脂、颜料 | 113 x 12 x 28 cm

Leelee Chan 陈丽同 | Maker’s Egg Cases 创造者的蛋壳 | 2025 | zinc plated aluminum hex nuts, tempered and tinted glass, bath stone powder 镀锌铝六角螺母、钢化有色玻璃、巴斯石粉 | 330 x 110 x 38 cm

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Leelee Chan in her temporary workspace at Klemm’s, Berlin, 陈丽同在柏林 Klemm’s 画廊的临时工作室, 2025. Photo 图片 ? Diana Pfammatter

在 2025 年柏林画廊周，常驻柏林的摄影师 Diana Pfammatter 以镜头捕捉艺术家在工作室或布展过程中的瞬间，呈现艺术创作幕后鲜为人知的一面。

For Gallery Weekend Berlin 2025, Berlin-based photographer Diana Pfammatter offers a rare glimpse into the often-hidden processes of artistic creation by documenting artists in their studios or during the installation of their exhibitions.

Leelee Chan 陈丽同 | Endless Consumption 无尽的消耗 | 2015-2017 | Found polystyrene packagings, seashell, cosmetic compact mirror, artificial plant, Aqua-Resin, fiberglass, plaster, wood, metal, epoxy putty and pigment dispersion 拾得聚苯乙烯包装、贝壳、掌上化妆镜、人造植物、液态树脂、玻璃钢、石膏、木头、金属、环氧油灰和色素 | 218.4 x 17.8 x 12.7 cm | M+, Hong Kong | M+ Council for New Art Fund, 2020.

Leelee Chan’s Exploration into Overconsumption and Waste

陈丽同与“无用之物”──过度消耗所留下的足印

2025.04.25

Text by Chloe Wong / 文：黄家彦

M+ magazine

"Endless Consumption" is currently on view in the Shanshui: Echoes and Signals exhibition until 2026

“无尽的消耗”正于“山鸣水应”中展出，展期将持续至2026年

艺术家陈丽同透过检视社区中的废弃物，收集这些“无用之物”并加以创作，发掘其内在价值。

物料在不同城市的运用及废弃方式，皆反映并塑造各地域的不同风貌。在经济发展迅速和消费主义盛行的香港，许多物料常在短暂使用后，被丢于街角之间。被标榜为可回收的物料亦然。这驱使艺术家陈丽同积极检视并收集社区旧物——不论是家用垃圾或工业废料。她在持续钻研雕塑工艺的同时，探索现成物的物质性，透过重新组合城市和大自然里的“无用之物”，创作出细致的立体作品。

Taking a close look at the detritus in urban communities, artist Leelee Chan gathers and reinterprets so-called ‘useless objects’ to uncover their inner value.

The way materials are used and discarded often reflects and shapes a city’s characteristics. In Hong Kong—which is known for its rapid economic development and fervent consumerism—manufactured products and consumables, often made from recyclable materials, are commonly briefly used before being tossed out. Driven by this phenomenon, artist Leelee Chan examines and collects all types of community debris, including domestic and industrial waste. While reinforcing her sculptural practice, Chan explores the materiality of these readymade objects and creates intricate three-dimensional works that combine ‘useless objects’ from urban and natural contexts.

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Photo 图片 ?? Saffron Liberty

向工匠与建造之神祈祷：与陈丽同的香港一日

Praying to the Gods of Builders and Makers: A Day in Hong Kong with Leelee Chan

《Elephant》杂志副主编 Emily Burke 在香港与雕塑艺术家陈丽同共度一日。

Elephant‘s Associate Editor, Emily Burke, spends the day in Hong Kong with sculptor Leelee Chan.

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Civitella Ranieri Foundation 基金会

陈丽同荣获2025年 Civitella Ranieri 奖助金，将于9-10月参加意大利翁布里亚的驻留项目。

Leelee Chan Awarded 2025 Civitella Ranieri Fellowship, Will Join Residency in Umbria, Italy, From September to October.

关于艺术家

ABOUT THE ARTIST

陈丽同（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，陈丽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。

陈丽同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。陈丽同的个人项目包括：“Spiral Diaries”，Klemm's，柏林（2025）；“斯璃鉲草原”，胶囊上海，上海（2023）；"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）。曾参与双人展：“Chrysalis Spectre”， Matthew Brown Gallery，美国洛杉矶（2023）； “嬑形陌客”，Para Site，香港（2023）。陈丽同参与的群展项目包括：“悬停”，胶囊威尼斯，意大利威尼斯（2024，由玛瑙策展）；“山鸣水应”， M+ 博物馆，香港（2024）；“When We Become Us2”，胶囊威尼斯，意大利威尼斯（2024，由玛瑙策展）；“险境集”，美凯龙艺术中心，中国北京（2024）；“Breathing with the World”， Trieste International Biennale of Contemporary Art, 意大利（2024）；“米罗的诗想日常”，香港艺术馆，香港（2023）；"诗意遗产"，大馆当代美术馆，香港（2021）；"溢流地"，Para Site，香港（2021）；"K?lnSkulptur #10"，Skulpturen Park K?ln，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。陈丽同的作品由龙美术馆（上海）、UBS Art Collection（香港）、M+ 美术馆（香港）、Skulpturen Park K?ln（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. Her solo exhibitions include: Spiral Diaries, Klemm's, Berlin (2025), Silica Meadows, Capsule Shanghai, Shanghai (2023), 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 duo exhibitions include Chrysalis Spectre, Matthew Brown Gallery, LA (2024); Strange Strangers, Para Site, Hong Kong (2023). Her selected group exhibitions include Hovering, Capsule Venice, Venice, Italy (2024, curated by Manuela Lietti); Shanshui: Echoes and Signals, M+ Museum, Hong Kong (2024); When We Become Us2, Capsule Venice, Venice, Italy (2024, curated by Manuela Lietti); An Atlas of the Difficult World, Macalline Center of Art, Beijing (2024); Joan Miró – The Poetry of Everyday life, Hong Kong Museum of Art, Hong Kong (2023); Poetic Heritage in Tai Kwun Contemporary, Hong Kong (2021); Liquid Ground in Para Site, Hong Kong (2021); K?lnSkulptur #10 in Skulpturen Park K?ln, 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 Long Museum, Shanghai; UBS Art Collection, Hong Kong; M+, Hong Kong; Skulpturen Park K?ln, 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.