≡ 马凌画廊 | 巴塞尔艺术博览会巴塞尔展会 | 展位 P15
≡ 鲍蔼伦Ellen Pau
两头唔到岸 Diversion, 1990
单频录像，彩色，有声
Single-channel video, colour and sound
时长 Duration: 5 min 30 sec
Messeplatz 10, 4058 Basel, Switzerland
赵容翊 Cho Yong-Ik
周育正 Chou Yu-Cheng
何子彦 Ho Tzu Nyen
许鹤溪 Brook Hsu
刘晓辉 Liu Xiaohui
鲍蔼伦 Ellen Pau
黄炳 Wong Ping
于吉 Yu Ji
袁远 Yuan Yuan
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马凌画廊首次参加巴塞尔艺术展巴塞尔展会，展出赵容翊、周育正、何子彦、许鹤溪、刘晓辉、鲍蔼伦、黄炳、于吉及袁远的作品。从1970年代韩国抽象艺术杰作，有激进政治意义或带有强烈黑色幽默意味的影像作品及虚拟现实环境作品，再到不同地区跨代际艺术家群体的新近抽象及具象绘画作品，马凌画廊旨在于巴塞尔艺术展巴塞尔展会呈现众多杰出代理艺术家创作实践的多元特质。
赵容翊（1934年生）被广泛视作是韩国最为重要的绘画艺术家之一。其1970年代“刮痕系列”绘画展现了其以富有韵律的笔触处理绘画表面的独特技法。在创作此系列时，艺术家用拇指刮掉第一层颜料，揭露画面的双重底色。《74-114》（1974）及《76-728》（1976） 揭示了艺术家对创作过程、绘画行动以及艺术的“呼吸”冥想意义的深入关注。周育正（1976年生）近期“Moody”系列作品是多张弥漫氤氲的绘画：层叠的渐变色彩及扁平的笔触催生了一种带有强烈数码感的轻盈“情绪”，而每一件作品均是艺术家细密衡量推敲的结果。何子彦（1976年生）的深邃艺术实践调用了庞杂的历史叙事、戏剧化的音乐元素以及有强烈寓言意味的光影形式。《R代表回响》（2019）是围绕锣这种东南亚地区传统乐器发展的故事。艺术家不以文字讲述锣的故事，而是通过创造在虚拟现实中的旅途让观众得以在庞大系列的“虚拟物件”中游弋。这些“虚拟物件”以丰富奇幻的方式发展叙事及想象。
觅食者—午餐 Forager - lunch, 2020
桦木板，树脂，石膏，珊瑚，水泥，黄沙，蜡，铅，木头，水，汁液，干果，玻璃
Birch, resin, plaster, coral, cement, sand, wax, lead, wood, water, juice, dry fruit, glass
104 (H) x 330 (W) x 170 (D) cm
许鹤溪（1987年生）的艺术实践集中检视前基督教神话、历史、当代文学、电影及个人历史叙事。她创作的既迷幻又宁静的艺术作品揭示了既有叙事在当代时期催生恐惧、焦虑、喜悦及悲怆情感的方式。艺术家旨在通过绘制肖像作品以塑造人类形象，而在不同影片中扮演各色角色的演员们为其提供了开放、自然的创作切入点。刘晓辉（1975年生）在过去的二十余年时间内创作的绘画作品持续凝视生活的点滴，铺陈动人的故事。在《无题—擦的动作》（2017-2020）中， 艺术家描绘了一位女性擦拭玻璃的情景。画面上可见多方位劳动的缓急韵律，以及主体人物在进行劳动时即兴发挥的曼妙舞蹈式姿态。此件绘画作品具有代表性意义：刘晓辉在其中明确指出了绘画的时间维度，也通过将其绘画姿态与女性的肢体运动相映衬呈现了作为关于绘画的绘画的劳动隐喻。通过在各个创作时期紧密关注当代技术发展，香港艺术界翘楚鲍蔼伦（1961年生）以结构复杂的作品体系探索视觉艺术语言的潜能。鲍蔼伦的《两头唔到岸》（1990）是有代表性意义的早期影像作品，使用了包括1960年代由香港官方主持的维多利亚港游泳比赛影像记录等多种素材，将游泳塑造为僭越运动的隐喻。
渔市 Fish Market, 2021
亚麻布面油画 Oil on linen
180 x 203 cm
黄炳（1984年生）通过既耸动又诙谐的视觉语言讨论其对当代社会的长期观察。在《狮子胯下》（2011）中，丑角式的人物在美丽小岛上跳绳嬉戏，而一只如狮子般的外星生物突然出现在他们面前。作品肆意挪用了多个代表了香港文化史的经典符号，探讨了这座城市日益加剧的社会不公状况。于吉（1985年生）是其世代最为优秀的艺术家之一，她创作雕塑、装置、影像及行为表演作品，并频繁将展览环境转变为异质场址：工作室、花园、废墟以及岛屿。《觅食者—午餐》（2020）以诡谲的方式集结了多种形象及物件：错落安置在不规则手工制作桌子上方及周围的，包括大小不一的石膏、珊瑚、水泥、沙、蜡、铅、木材质的物件，以及果汁和干果。袁远（1973年生）聚焦于探索经典及当代建筑主题，以精湛绘画技艺呈现独特观看视角。来自其新近绘画系列的《窗帘后面的声音》（2020）基于艺术家多年前于香港拍摄的照片描绘了既通彻又闭塞的中间地带空间。占据了整个画面的窗棂氤氲且富有穿透性，让空气和光影得以在画中自在飘浮流动。艺术家一丝不苟的点线笔触让人想起某种有密集恐惧意味的图景，也让画中空间矛盾地显得幽闭困顿。
无题—擦的动作 Untitled – The Movement of Wiping, 2017-2020
布面油画 Oil on canvas
120 × 140 cm
Participating in Art Basel in Basel for the first time, Edouard Malingue Gallery is pleased to present artworks by artists including Cho Yong-Ik, Chou Yu-Cheng, Ho Tzu Nyen, Brook Hsu, Liu Xiaohui, Ellen Pau, Wong Ping, Yu Ji, and Yuan Yuan. From masterpieces of 1970s Korean abstract art, to politically-charged, awe-inspiring and humorous videos and virtual reality environments, and recent bodies of abstract and figurative paintings by artists across generations and regions, Edouard Malingue Gallery’s Art Basel debut celebrates the diversity and brilliance of its expanded roster.
≡ 许鹤溪 Brook Hsu
菲 Faye, 2021
布面墨水 Ink on canvas
200 x 160 cm
Cho Yong-Ik (b. 1934) has been highly lauded as one of South Korea’s most important painters. The Scratch Series from the 70s shows his rhythmic gesturing across the canvas, as he pressed off the top layer of paint with his bare thumb to reveal the alter undertone. Revealed in the two major pieces of work 74-114 (1974) and 76-728 (1976), is the artist’s emphasis on process and action, and the meditative, ‘breathing’ moment of art. Chou Yu-Cheng's (b. 1976) recent Moody paintings are gradient and atmospheric compositions; both the intricately layered, juxtaposed gradation and the flattening gesture nurture a ‘mood’ that is digital and weightless in appearance, but is in fact meticulously articulated and rendered. A plethora of historical references dramatised by musical scores and allegorical lighting make up the pillars of Ho Tzu Nyen’s (b. 1976) complex practice. R for Resonance (2019) is a story of the musical instrument gong in Southeast Asia, told not through words, but as a journey in virtual reality, in which one experiences a sequence of “virtual objects”, by which narratives and speculations permeate.
R代表回响 R for Resonance, 2019
360度虚拟现实录像、混合立体声头戴耳机
VR Video 360 degrees, ambisonic sound through headphones
时长 Duration: 15m 30s
Brook Hsu’s (b. 1987) art focuses on examining pre-Christian myths, histories, modern literature, films and personal histories. At once psychedelic and tranquil, it reveals ways in which existing narratives can induce fear, anxiety, joy and sadness in the contemporary time. Hsu is interested, by embarking on portraiture, to paint the human form, and the actors in character provide an open form for her to work with. For more than two decades, Liu Xiaohui (b. 1975) creates paintings that commemorate quotidian movements and tell captivating stories. In Untitled - The Movement of Wiping (2017-2020), the artist depicts a woman wiping glass. Visibly discernible are the varied speeds and directions of the labour, and the beauty of this impromptu choreography. This artwork in particular is an occasion on which Liu Xiaohui directly points out the temporal aspect and the mise en abyme element that is at work in his oeuvre: as she goes up and down, the woman becomes the bodily metaphor for the act of painting. A seminal figure in the Hong Kong art scene, Ellen Pau’s (b. 1961) body of work has been an exploration of possibilities in visual art languages by always sticking closely to the current technological developments at the time. Diversion (1990) is exemplary of Ellen Pau’s earlier works. The Victoria Harbour swimming contests of the 1960s hosted by the Hong Kong Government are re-staged as an absurd metaphor for transgression.
Moody #3, 2021
丙烯于纸上，纸裱贴于画布
Acrylic on paper, paper mounted on canvas
200 x 160 cm
Wong Ping (1984) uses a visual language that sits on the border of shocking and amusing, and discusses his observations of society. In the music video Under the Lion Crotch (2011), little people are skipping rope on a beautiful island when they are suddenly confronted by an alien that looks like a lion. The work engages with Hong Kong’s rising social inequality issue and plays freely with classic icons of the city. One of the most acclaimed artists of her generation, Yu Ji (b. 1985) creates sculptures, installations, videos and performances, and frequently transforms exhibition environments into its other: studios, gardens, abandoned sites, and islands. Forager - lunch (2020) is an uncanny assembly of figures and things: on top of and beneath the hand-made, irregular and slanted table is a collection of plaster, corals, cement, sand, wax, lead, wood, water, juice and dry fruits. Yuan Yuan (b. 1973) focuses on tackling classic and contemporary architectural subjects, executed with impeccable technique from a remarkably distinct perspective. The voice behind the curtain (2020) belongs to a recent series that departs from a set of photographs the artist took in Hong Kong years ago. The window scene is plainly ambient and porous, as air and light flows freely on the canvas; yet the artist’s meticulous dotting and lining — reminding one of a trypophobic imagery — also manages to render it cramped and claustrophobic.
狮子胯下 Under the Lion Crotch, 2011
单频动画录像
Single channel video animation
时长 Duration: 4 min 38 sec
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