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2015 Asia Art Archive


亞洲藝術文獻庫 周年籌款

2015 Asia Art Archive

ANNUAL FUNDRAISER Celebrating 15 years

亞洲藝術文獻庫 周年籌款 慶祝十五周年


10 - 12 Nov . 11am - 7pm 13 Nov . 11am - 4pm


10 Nov . 6.30 - 8.30pm The Space, 210 Hollywood Road, Sheung Wan, Hong Kong The Space 香 港 上 環 荷 李 活 道 210號


30 Oct - 14 Nov Online via Paddle8 網 上 競 投 請 至 Paddle8 14 Nov Live 現場競投

Jumbo Kingdom 珍寶海鮮坊


Dear Friends, This year we celebrate the 15th anniversary of Asia Art Archive, and with this milestone in mind, we reflect on how the organisation has evolved and contributed to new thinking, scholarship, and understanding of the recent history of art in the region.To mark this occasion, our year-long programme 15 Invitations is well under way with notable practitioners responding to multiple facets of AAA—as an archive, a digital platform, a discursive space, a collection of material, and a node in a wider network. It is also a time for us to consider how the world around us has changed from when we first opened our doors. However uncomfortable the process may be, it is essential that AAA consistently asks tough questions to ensure it stays relevant and focused in a landscape that is constantly shifting. Art has never been so popular as demonstrated by the proliferation of both private and public interest and funding in the field.Yet there are still glaring gaps, especially when considering the need to open up lesser known histories, and new reference points and tools to enable the circulation of knowledge. Looking to the future, we are excited about our forthcoming refreshed digital platform and the prospect of a new home for our expanding collection and programmes. A new digital and physical infrastructure will provide greater open access to and circulation of the Archive’s collection, expanding our audiences and users, while offering new forms of collaboration and research. In an effort to support these new developments, AAA is holding this year’s auction and gala dinner at a bigger venue: the Jumbo Kingdom restaurant in Aberdeen, an iconic Hong Kong landmark. We are indebted to the incredible generosity of the artists, galleries, patrons, friends, and guests, old and new, without whom our work would not be possible. On behalf of the entire team at AAA, a sincere thank you,

Claire Hsu Asia Art Archive Co-founder and Director

親 愛的朋友們, 今 年正值亞洲藝術文獻庫的十五周年慶。立 足 當 下 的 同 時,我 們 持 續 反 思 文 獻 庫 可以 如 何進步,尤其是如何就啟 發新思維、策動 學 術 研 究、和 向 大 眾推 廣 當 代 藝 術 出 一

分 力。為標誌著這個重要的時刻,我們展 開了為 期 一 年 的 特 備 項目《15份 邀 請》,邀 請

一 眾知名的創意工作者及駐場藝術家,以另 類 方 式 勾 劃 出 文 獻 庫 的 緣 起 與 未 來 路 向。 此 時此刻,亦是時候思索過去十五年世 界 經 歷了什 麼 變 化。儘 管 過 程 叫 人 絕 不 輕 鬆,

文 獻庫必需時刻審時度勢,以確保我們的 工 作 能 夠與 時 並 進。今 天,藝 術 受 到 前 所 未 有 的 注目,無論是私人還是公眾 對藝術的興 趣 和 資 助 都比以往 顯 著 增 加。然 而,當 想 到

藝 術的歷史記述,特別是那些鮮為人知 的,卻 仍 然 有 待 發 掘,為 知 識 的 傳 承 提 供 更 新 更 多元的參考。 放 眼未來,文獻庫的館藏及公眾 活動將 與日俱 增,我 們 對 全 新 的 數 碼 平 台 和 館 舍 空 間

抱 著滿心期待:我們期望藉著這些新建 設,進 一 步 開 放 館 藏,擴 闊 觀 眾 和 使 用 者 層 面, 為 協作和研究提供新模式。

配 合這些未來的新計劃,文獻庫將於全新 且 具 地 標 性 的 場 地 舉 行 今 年 的 籌 款 拍 賣 及 晚 宴:香港仔珍寶海鮮坊。我們感謝藝術家、藝 廊、贊 助 人 士、朋 友 及 來 賓,不 論 舊 雨 新知,是 您 們讓我們可以把文獻庫的信念 逐 一 實 現。 謹 代表文獻庫團隊向各位致予衷心感謝。

亞 洲藝術文獻庫聯合創辦人及總監 徐 文玠


Asia Art Archive is an independent non-profit organisation initiated in 2000 in response to the urgent need to document and make accessible the multiple recent histories of art in the region. With an international Board of Directors, an Advisory Board made up of noted scholars and curators, and an in-house research team, AAA has collated one of the most valuable collections of material on contemporary art in the region—open to the public free of charge and increasingly accessible from its website. More than a static repository waiting to be discovered, AAA instigates critical thinking and dialogue for a wide range of audiences via public, research, residency, and educational programmes. 亞 洲藝術文獻庫(「 文獻庫」)為獨立運營 的 非 牟 利 機 構,成 立 於 2000年, 旨在 解決亞洲當代藝術史各方面的進展亟 待 記 錄 和 保 存 的 當 務 之 急, 並矢志將這些紀錄開放給廣大的使用者。文 獻 庫 的 董 事 會 匯 聚了全 球 的 菁英翹楚,並廣邀知名策展人和藝評人 加 入 其 學 術 諮 詢 委員會,內 部 設 多 個研究職位。文獻庫被譽為亞洲當代藝 術 珍 貴 的 公 共 資 源 之 一,所 有 館 藏 皆可在文獻庫的公共圖書館免費閱覽,或 隨 時 隨 地 通 過「線 上 館 藏」在 線 瀏覽。不限於一個靜態被動的資料庫,文獻 庫 致 力 為 廣 大 用 戶 提 供 交 流 與 反思的途徑,通過公眾節目、研究項目、駐 場 計 畫 及 教 育 活 動 促 進 各 方 面 的交流,力圖開闢一個富有成效的開放 空 間。 

Asia Art Archive15Milestones 亞洲藝術文獻庫 15 個里程碑

1. Home 大本營

2. Funding 資金

AAA opened its first home in 2001 in Wah Koon Building

Starting with the sale of 1000 copies of the catalogue

on Hollywood Road, moving to its current location six

China’s New Art, Post-1989 in 2001, the inaugural

years later to house a growing free library for the public

fundraiser auction dinner, and the first HKADC grant in

and to expand its research projects and programmes.

2002, AAA has successfully sustained its physical premise,

AAA has outgrown its current space and is searching

collection, research projects, public programmes, digital

for a permanent home to accommodate its evolving

platform, and operations through the generous support

collection and programmes.

of patron donations, project and venue sponsorship,

2001年,文 獻 庫 在 荷 李 活 道 華 冠 大 廈 設 立 首 個 大 本

government funds, and the annual fundraiser. With the

營,六年 後 移 師 現 址,以容 納 不 斷 擴 充 的 圖 書 館 館 藏,及開 拓 更 多 研 究 項目和 公 眾 活 動。隨 著 館 藏 及 項目與日俱 增,文 獻 庫目前的 空 間 已 不 敷 應 用, 現正物色一 個 永 久 館 址。

establishment of AAA’s endowment in 2007, Asia Art Archive in America in 2009, and Asia Art Archive in India in 2013, the organisation continually looks to develop diverse funding streams for long-term sustainability. 由最初在 2001年售出一千冊《後八九中國新藝術》、

2002年舉辦首屆拍賣籌款晚宴、以及同年獲香港藝 術 發展局首次撥出資助,文獻庫一直有賴贊助人的 慷 慨支持、項目及場地贊助、政府撥款和周年籌款 活 動,至今得以維持其館舍、文獻館藏、研究項目、 公 眾活動、數碼平台及日常開支。自 2007年成立基金 會、2009年和 2013年分別於美國和印度設立同樣以 亞 洲 藝術文獻庫為名、但獨立營運的辦公室,文獻庫 繼 續 從多方面開拓資金來源,為長遠發展鋪路。

3. Collection 館藏

4. Digital Future 數碼未來

A single bookshelf of reference books and catalogues has

AAA launched its first website in 2002 enabling users

grown to become a dynamic body of physical and digital

to search the collection catalogue online. The current

material widely regarded as one of the most valuable

website and digital platform were introduced in 2011

collections around recent art in the region—comprising

allowing online access to the AAA collection for the first

of over 60,000 records of which more than 20,000

time. To build upon this initial foundation, and provide an

are searchable online. As the collection grows, AAA

intuitive system that delivers content without barriers to

ceaselessly works to increase its accessibility online and

a wider audience, AAA is currently undergoing a major

invest in alternative ways to activate its collection through

digital revamp for 2016–2017 and views the digital as

its digital platform and public programmes.

essential to reaching AAA’s mission.

從一 個 盛 載 參 考 書 及 圖 錄 的 書 架 開 始,文 獻 庫 已 逐

文獻庫於 2002年推出首個網站,讓使用者透過互聯

漸演 變 成 一 個 包 羅 萬 有 的 實 體 及 數 碼 資 料 庫,更 被

網搜尋館藏目錄。現時的網站和數碼平台於 2011年

譽為 區 內 最 具 價 值的 當 代 藝 術 資 料 館 藏 之 一,藏 品

項目多 達 60,000件以上,其 中 有 超 過 20,000件 供 網 上

查 閱。隨 著 藏 品 數 量 不 斷 增 加,文 獻 庫 致 力 讓 公 眾 更

輕易在 網 上 翻 查資 料,並 透 過 數 碼 平 台 和 公 眾 活 動,

以不同 方 式 活 化 館 藏。

正式啟 用,首度讓公眾在網上查 閱館藏內容。文獻庫 將開發以使用者為本的系統,向更廣大的觀眾群發 放資訊內容,並籌備於 2016至 2017年推出全新的 數碼平台,進一步開放館藏。

Asia Art Archive15Milestones 亞 洲 藝 術 文獻庫 15 個里程碑

5. People 團隊

6. Research 研究

From one individual in the year 2000 to a team of 39

AAA’s first research posts were established in Hong Kong,

today, AAA is predominantly based in Hong Kong with

China, and Taiwan in 2002, extending to Singapore, Korea,

research posts in India and mainland China. The team is

Japan, Thailand, India, Pakistan, and the Philippines thereafter.

made up of passionate individuals dedicated to AAA’s

Research+ was formed in 2007 to manage research

mission working in an environment that encourages

projects and present discursive programmes. Since 2012,

individual growth and independence. AAA team

AAA has worked to refine its research focus and works

members are regularly invited as opinion leaders to

with diverse creative practitioners on specific projects

participate in and contribute to forums around the world

while also organising workshops, colloquiums, and symposia

that include exhibitions, symposia, and publications. AAA’s

such as ‘Locating Art Histories: Dialogues on Language,

Chair, Board of Directors, and Advisors play a crucial role

Writing, and Research in India’ (2014), ‘Innovation Through

in the organisation’s development and vision.

Tradition’ (2014), and ‘Sites of Construction: Exhibitions

由 2000年只得 一 人 獨 力 經 營,發 展 至 今 天 一 個由 39

and the Making of Recent Art History in Asia’ (2013). The

人組成的團 隊。文 獻 庫 紮 根 於 香 港,並 在 印 度 和 中 國 內地設有研 究 小 組。在 鼓 勵個 人 成 長 及 獨 立 性 的 氛 圍下,團隊 成員齊 心 肩負起文 獻 庫 的 使 命。團 隊 成員 同時是圈內 的 意 見 領 袖,經 常 應 邀 參 與 在 世 界 各 地 舉行的論壇、出 版、及 展 覽等。在 機 構 的 整 體 發 展 及 長遠願景上,文 獻 庫 主 席、董 事 局 及 顧 問 扮 演 著 舉 足 輕重的決策 角 色。

research team drives the Archive’s collection development while building a collaborative network of art professionals, organisations, and institutions. 2002年,文獻庫分別在香港、中國內地及台灣設立 第 一批研究職位,及後擴展至新加坡、韓國、日本、 泰 國、印度、巴基斯坦及菲律賓。研究+ 於 2007年 成 立,專責統籌研究項目及各類型公眾活動。文獻庫

自20 1 2 年 起 調 整 其 研究 定 位,並 與 不 同 範 疇 的

Archive, and the archive of Ha Bik Chuen. AAA aims

創意及 藝 術 工 作 者 合 作開 展 專 題 項目。與 此 同 時,

to balance both breadth and depth, and concentrate

文獻庫 舉 辦 座 談 會、工 作 坊、學 術 研 討 會 等 活 動, 包括: 「 Locating Art Histories: Dialogues on Language, 「繼 往 開 來」 Writing, and Research in India」( 2014)、 ( 2014) 、 「建 構 場 域:展覽 與 亞 洲 當 代 藝 術 史 編 寫」 ( 2013) 、及「彳 亍 —亞 洲 行 為 藝 術 之 實 踐 與 檔 存」

(2010)。研 究 小 組 在 拓展 館 藏 的 同 時,亦 建 立 一 個 促進藝 術 專 才、機 構 及學 院 協 作 的 網 絡。

on material around histories not easily accessible in the public domain, while offering a space where comparative regional research can take place. 文獻庫蒐集個人及機構的藝術檔案,並將檔案 數碼化,以建立數碼資料庫。文獻庫獲檔案捐贈者 允許公開這些數碼版本,從而鼓勵更多學術研究。 重點藏品包括: 《未來的材料紀錄:1980-1990中國 當代藝術 (文獻庫擁有這個時期最全面的典藏)、

7. Collection Highlights 重點館藏

《今生他世:Geeta Kapur及 Vivan Sundaram檔案》、

AAA has built its digital collection through research

《巴羅達檔案》、 《戴漢志檔案》、 《 Salon Natasha

and digitisation projects focused on individual and organisational archives with permission to make the digital copies of these archives accessible for further research and scholarship in the field. Highlights include China 1980s (the most comprehensive archive of this period), Another Life: The Digitised Personal Archive of Geeta Kapur and Vivan Sundaram, The Baroda Archives, Hans van Dijk Archive, Salon Natasha Archive, The Chabet

《The Chabet Archive》、以及《夏碧泉檔案》。 Archive》、 文獻庫以建立一個內容深入且廣泛的館藏為己任, 並發掘向來無法流通於大眾平台的歷史文獻,為區 域比較研究開闢一個充滿可能性的空間。

Asia Art Archive15Milestones 亞 洲 藝 術 文獻庫 15 個里程碑

8. Learning & Participation 學習及參與

9. Public Programmes 公眾活動

AAA’s Learning & Participation programme was

AAA is an active platform to discuss and explore art’s

established in 2007 to expand the possibilities for public

capacity to generate ideas. With hundreds of free public

interaction with the Archive. AAA launched Learning Labs

programmes since 2002, AAA is dedicated to reaching

in 2009 with the goal of providing tools and an alternative

out to audiences beyond art professionals with talks,

classroom for contemporary art education. Teaching Labs

workshops, exhibitions, symposia, screenings, residencies,

was simultaneously initiated to build a supportive learning

and AAA’s annual Open Saturday programme. Public

community through an annual professional development

programmes are also organised outside Hong Kong that

series in partnership with Hong Kong schools and

support emerging arts initiatives through AAA’s Mobile

educators. AAA is continually refining its Learning &

Library series with prior editions in Vietnam, Sri Lanka,

Participation programme to ensure it stays relevant to

and Myanmar to date.

the needs of teachers and students. Its first educator-

作 為一個主動引發討論、探索藝術新領域、和啟 發多

in-residence position was established this year. 2007 年開 設 的 學 習 及 參 與 項目,大 大 提 高了文 獻 庫 與公眾互 動 的 機 會。在 2009 年 推 出 的「實 驗 課 堂」, 旨在為當 代 藝 術 教 育 提 供 工 具 和 另 類 教 室。 「教 學 實 驗室」則旨在 建 立 一 個 互 助 的 學 習 社 群,並 每 年 與 香 港各大院 校 及 教 育 工 作 者 合 作,舉 辦 一 連串專 才 培 訓 活動。文 獻 庫 會 繼 續 在 項目策 劃 上 精 益 求 精,務 求 更 適切地回 應 師 生 需 要。今 年,文 獻 庫 增 設了首 位 駐 場 教育工作 者。

元 思維的平台,文獻庫自 2002 年起主辦了多項免費 的 公 開活動,包括講座、工作坊、展覽會、專題研討 會、放 映會、駐場計劃、以及一年一度的「開放週末」, 積 極 擴闊觀眾層面。文獻庫亦在海外舉辦公眾活動, 並 藉 此支持在當地萌芽中的藝術組織,例子如「流動 圖 書 館」,至今已足跡越南、斯里蘭卡及緬甸。

10. Network and Collaboration 網絡與協作


AAA believes in the importance of a shared platform


for building a foundation for a regional art history. As a


node in a much wider network, AAA is committed to collaborating with other art, educational, archival, and research institutions to share, activate, and circulate common areas of interest. AAA’s network and its potential for collaboration outside Hong Kong expanded with the establishment of Asia Art Archive in America (AAA in A) and Asia Art Archive in India (AAA in India). Based in New York, AAA in A offers a resource for researchers and actively organises public talks and panels with a focus on Asia; based in New Delhi, AAA in India presents collaborative opportunities to further develop and enrich AAA projects in India. 文獻 庫 深 信 一 個 有 效 的 交 流 平 台,對 建 構 地 區 藝 術 史尤 其 重 要。作 為 廣 大 網 絡 中 的 其 中 一員,文 獻 庫 與 多個 藝 術、教 育、文 獻 檔 存、以及 研 究 機 構 攜 手,就 共 同關 注 的 範 疇 緊 密 合 作。 隨著 駐 美 國 和 印 度 的 獨 立 營 運 辦 公 室 設 立,文 獻 庫 得以在 香 港以外 拓 展 其 網 絡 及 協 作 機 會。文 獻 庫 在 美國 的 辦 公 室 座 落 紐 約 市 中 心,除了為 研 究員提 供

11. Residencies 駐場計劃 AAA welcomed its first resident, curator Jasper Lau Kin Wah in 2007, and New Delhi-based Raqs Media Collective were the first artists-in-residence in 2009. With a recent expansion of the residency programme, a wider range of creative practitioners, including artists, academics, visualisers, and educators like Iftikhar Dadi, Ho Tzu Nyen, Amelia Jones, Marysia Lewandowska, Pak Sheung-chuen, Walid Raad, Song Dong, Wong Wai-yin, Ricky Yeung, and Young Hae Chang Heavy Industries have been invited to engage with AAA. 文獻庫於 2007年邀請劉建華為首位駐場策展人,並於

2009年邀請駐德里的藝術家組合Raqs Media Collective 為首個駐場藝術家單位。駐場計劃近年不斷擴展, 邀請單位所涉獵的範疇甚廣,由藝術家、學者、視覺 設計師、以至教育家。曾獲邀的人士包括:Iftikhar Dadi、 何子彥、Amelia Jones、Marysia Lewandowska、白雙全、

Walid Raad、宋冬、黃慧妍、楊秀卓、及張英海重工業 。

Asia Art Archive15Milestones 亞 洲 藝 術 文獻庫 15 個里程碑

12. DiAAAlogue and Field Notes 期刊

13. Grants 獎助金

Launched in 2003 with a regular column on

The first of its kind in the field, AAA grants offer

contemporary art activities in Asia contributed by

resources to individuals to conduct focused research

artists, writers, critics, curators, and art professionals,

projects in the region while simultaneously bringing in

DiAAAlogue published nearly 100 monthly newsletters

new material that address gaps in the AAA collection.

until 2012 when it was replaced by Field Notes, an

AAA has awarded The Robert H. N. Ho Family

e-journal providing in-depth reflection of current issues

Foundation Greater China Research Grant (2015),

in the field with Asia as a malleable anchoring point.

Archival Fellowship with India Foundation for the Arts

The four issues of Field Notes to date have inquired into

(2015), AAA Research Grant (2009 & 2011), and the

the contemporary within art, the archive as method,

Martell AAA Research Grant (2005).

mapping Asia, and exhibition histories.

文 獻庫首創藝術研究獎助金,支持有志從事專題研

以亞洲當代 藝 術 活 動 為 焦 點 的 每月通 訊 《 DiAAAlogue》自2003年 創 刊以來,文 獻 庫 慶 幸 獲得一群藝 術 家、作 家、藝評 人、策 展 人 及 藝 術 專才的持續 支 持 和 撰 稿,出 版 期 數 超 過 100份。

2012年改 版 為《搜 記》(Field Notes),是 一 份由亞 洲 出發並放 眼 世 界、深 入 探 討 當 代 藝 術 議 題 的 線 上 期刊。至 今 共 四 期 期 刊 所 涵 蓋 的 內 容 包 括:從 藝 術 探究當代、以文 獻 庫 為 方 法、拼 湊 亞 洲、以及 展 覽 歷 史。

究 的人士,同時亦為文獻庫蒐集更多新館藏。曾推 出 的相關計劃包括:何鴻毅家族基金中華研究獎助 金 (2013至 2015)、與印度藝術基金會聯合推出的文 獻 研究奬助金 (2015)、亞洲藝術文獻庫研究奬助金

(2009及 2011) 、以及馬爹利當代亞洲藝術研究獎助 金 (2005)。

14. Cultural Ecology – Hong Kong 香港的文化生態

15. Invitations 邀請

AAA has played an active role in Hong Kong’s rapid

Asia Art Archive marks its 15th year by extending 15

development into a global art centre as the educational

Invitations to creative practitioners to look within and

partner of Art HK and Art Basel Hong Kong. AAA

beyond the organisation as an archive, a collection

is dedicated to building a shared space for material

of material, a digital platform, and a node in a wider

and research on the recent history of Hong Kong art

collective network. The 15 Invitations will take various

by collaborating with institutions such as Hong Kong

sizes, forms, and directions—literary, polemic, political,

Museum of Art and University of Hong Kong. AAA is

sonic, physical, and digital—and function as a series of

uniquely positioned to bring Hong Kong art history in

‘drop pins’ to alternatively navigate where AAA

to dialogue with other histories of the region.

originated and where it may be going. Follow the

香港 近 年 迅 速 發 展 為 一 個 全 球 藝 術 中 心,文 獻 庫 在

programme online through AAA’s Field Notes blog

當中 擔 起了積 極 的 推 動 角 色:文 獻 庫 為 香 港 國 際 藝 術展 及 香 港巴塞 爾 藝 術 展 的 教 育 伙 伴;近 年,與 香 港 藝術 館 及 香 港 大 學 等 機 構 合 作,建 立 一 個 有 關 香 港 近代 藝 術 史 的 資 源 共 享 平 台,並 從 中 增 強 香 港 藝 術 史與 地 區 歷 史 之 間 的 聯 繫;此 外,文 獻 庫 團 隊 一 直 為 多個 本 地 機 構 擔 任 顧 問 和 協 作 者,例 子 如 香 港 藝 術 館、M+、Para Site藝 術 空 間、亞 洲 協 會 等。

over the next year. 踏入第十五個年頭,文獻庫邀請十五位創作人審視、 以至想像文獻庫所擔當的角色:它除了是一個資料 庫、數碼平台、更是一個策動多方面合作的網絡 樞紐。十五位創作人將會以不同規模、形式和方向, 包括文學、辯論、政治、聲音、實物文獻、以至數碼 媒體,如「大頭針」一樣勾劃出文獻庫的緣起與未來 路向。敬請密切留意我們未來一年在《搜記》博客就 相關活動的報導。

Asia Art Archive is a registered Hong Kong charity that relies on the generous support of government agencies, foundations/trusts, corporations, and individuals to fund our activities. In addition to these sources, our annual fundraiser — a dinner and auction of donated artwork from artists and galleries — is an essential part of sustaining the organisation as the contributions directly impact our work. By joining us as a sponsor or patron, you reinforce our mission to activate the collection through our public, research, residency, and educational programmes.You can also be a vital part of our future by contributing to our endowment campaign. To get involved, contact Diana Chiu at 亞洲藝術文獻庫是香港的非牟利註冊慈善 機 構,成 立以來 有 賴 政 府、 基金會∕ 信託、企業、及個別人士的贊助和 支 持。我 們 的 周 年 籌 款 拍 賣 及晚宴是文獻庫營運的重要資金來源,拍賣的 藝 術 作 品由藝 術 家 及 畫 廊 慷慨捐贈。我們誠邀閣下以資助者或贊助者的 名 義,支 持 我 們 的 公 眾

活動、研 究項目、駐場計畫及教育活動,讓我 們 藉 此 開 放 和 活 化 館 藏, 進一步實踐文獻庫的理念。閣下的支持將成為 我 們 未 來 發 展 的 關 鍵, 如欲支持文獻庫及查詢有關詳情,請聯絡邱瑩玲小姐(。   




Live Auction 現場競投 LOT 01 SONG Dong 宋冬

LOT 02 Wucius WONG 王無邪

LOT 03 Samson YOUNG 楊嘉輝 LOT 04 Nilima SHEIKH LOT 05 Map Office

LOT 06 FUNG Ming Chip 馮明秋

LOT 07 WANG Huangsheng 王璜生 LOT 08 WANG Dongling 王冬齡 LOT 09 XU Zhen 徐震

LOT 10 GAO Weigang 高偉剛 LOT 11 LEE Kit 李傑


LOT 13 Izumi KATO 加藤泉

LOT 14 Yoko ONO 小野洋子 LOT 15 ZHAN Wang 展望 LOT 16 LIU Wei 劉韡

LOT 17 ZHANG Xiaogang 張曉剛 LOT 18 Paul NOBLE

LOT 19 Ming WONG 黃漢明

LOT 20 Nobuyoshi ARAKI 荒木經惟 LOT 21 SUN Xun 孫遜

LOT 22 WANG Jianwei 汪建偉 LOT 23 Michael LIN 林明弘

LOT 24 ZHANG Enli 張恩利

LOT 25 WU Shanzhuan 吳山專 LOT 26 Danh VŌ 傅丹

Silent Auction 無聲競投 LOT 27 Nadim ABBAS 唐納天 LOT 28 AI Weiwei 艾未未

LOT 29 AU Hoi Lam 區凱琳 LOT 30 Sarnath BANERJEE

LOT 31 CHEN Chieh-jen 陳界仁

LOT 32 Heman CHONG 張奕滿

LOT 33 Tiffany CHUNG 蒂凡尼 · 鍾

LOT 59 Manisha PAREKH LOT 60 Dan PERJOVSCHI LOT 61 Sopheap PICH LOT 62 Poli Sheer Form Office



LOT 34 Jigger CRUZ

LOT 65 Mithu SEN

LOT 36 HO Sin Tung 何倩彤

LOT 67 Valerie SNOBECK

LOT 38 HU Yun 胡昀


LOT 35 FANG Lu 方璐

LOT 37 Sadaharu HORIO 堀尾貞治 LOT 39 HUANG Yan 黄岩

LOT 40 Norio IMAI 今井祝雄

LOT 66 Wilson SHIEH 石家豪 LOT 68 SONG Dong 宋冬 LOT 70 WU Shan Zhuan & Inga Svala


LOT 41 Suyoung KIM

LOT 43 KONG Chun Hei 鄺鎮禧

LOT 72 TSAI Charwei 蔡佳葳

LOT 42 KO Sin Tung 高倩彤


LOT 71 Wesley TONGSON 唐家偉


LOT 73 Eason TSANG Ka Wai 曾家偉

LOT 46 Lee Kwang-ho 李光鎬

LOT 75 WANG Guangyi 王廣義

LOT 45 Lindy LEE 李林迪

LOT 47 Kwangho LEE 李廣浩 LOT 48 LIN Yilin 林一林

LOT 49 LIU Jianhua 劉建華

LOT 50 LOU Shenyi 婁申義

LOT 51 LU Yang 陸揚

LOT 74 WANG Yi 王一

LOT 76 WONG Yahui 王雅慧 LOT 77 XU Bing 徐冰

LOT 78 XU Longsen 徐龍森

LOT 79 YAN Shanchun 嚴善錞

LOT 80 YANG Jiechang 楊詰蒼

LOT 52 Mudassar MANZOOR

LOT 81 Trevor YEUNG 楊沛鏗



LOT 54 Buddhadev MUKHERJEE LOT 55 Murad Khan MUMTAZ LOT 56 NIE Ou 聶鷗 LOT 57 Nor tse 諾次 LOT 58 Chris OFILI

LOT 83 YU Hong 喻紅

LOT 84 YU Youhan 余友涵

LOT 85 YUE Minjun 岳敏君

LOT 86 ZHOU Siwei 周思維


LOT 拍賣編號


Live Auction

A gift to celebrate the 15th anniversary of Asia Art Archive. During the winter of 2011 to 2012, Song Dong par ticipated in a residency programme with Asia Ar t Archive named ‘36 Calendars’. Song Dong embarked on a year-long project that ‘involved his re-writing the last 36 years of history—including socio-political history, personal experience, and ar t history—from a personal perspective in the form of 36 hand-drawn wall calendars.’ The entire project was presented as an exhibition—his first solo in Hong Kong—with a public and collective component in collaboration with M+.

SONG Dong 宋冬

Fifteen Sheets of White Paper 〈十 五 張白紙〉

2015 Xuan paper 宣紙

122 x 90 x 3.5 cm Bidding starts at $0

由 0元 起拍


Generously donated by the artist


Every blank piece of paper he created in Fifteen Sheets of White Paper has creases which delimited the days of the year on the paper—with some sheets representing 365 days while a few representing 366 days for the leap years. Song Dong offers 15 sheets of paper to symbolise the 15 years since the founding of Asia Ar t Archive. The deft minimal touch in the work points not only to a cer tain arbitrariness of calendrical time but also perhaps harks back to the ar tist’s earlier minimal performances about water and emptiness (Printing on Water, 1996).

作 為 祝 賀 AAA成 立 15周 年 的 賀 禮。

2011年 底 至 2012年 間,宋 冬 參 與了 亞 洲 藝 術 文 獻 庫 名 為「三 十 六 暦」的 駐 場 計 劃。宋 冬 利 用 他 在 港 的 留 居 時 間, 「開 始了為 期 一 年 的 項目。其 中 有 他 重 寫 近 36年 的 歷 史,包 括 社 會 政 治 史、 個 人 經 驗、及 藝 術 史,在 36張 手 繪 掛 曆 形 式 中 體 現 出 個 人 的 視 角」。該 項目以

展 覽 的 形 式 展 現 在 公 眾眼 前,這 是 藝 術 家 在 香 港 的 首 個 個 人 展 覽,以公 眾與

集 體 組 織 方 式 與 M+合 作。

作 品〈 15張白紙〉中 的 每 一 張 空白紙 張 上 的 褶 皺 界 定了紙 上 的 一 年 中 的日子, 一 些 紙 張 代 表了 365天,而 少 些 的 代 表 了 366天 的 閏 年。宋 冬 的 15張 紙 象 徵 着 亞 洲 藝 術 文 獻 庫 成 立以來 的 15年。作 品 中靈巧細微的處理表明的不僅僅是 曆 法 時 間 有 着「約 定 俗 成」的 性 質, 也 重 現了藝 術 家 早 期 關 於 水 和 空 虛 (〈印水〉,1996)的 極 簡 表 演 藝 術。

現場 競投

LOT 拍賣編號

Live Auction


Wucius WONG 王無邪

Shaanxi Impression #14 〈遊 情 小 品十四〉

2014 Ink on paper 水墨、宣紙

34 x 34 cm

Estimate 估價 HK$70,000 ­­– 90,000 US$9,000 ­­– 11,500 Generously donated by the artist


Throughout his life, Wucius Wong’s education and experiences have been closely connected to both Chinese and Western cultures. His paintings integrate elements of Chinese classical paintings, Chinese and Western literature, and Western graphic design. He is fond of painting landscapes from a bird’s eye view, a perspective unknown of in the classical era. Although Wong always uses Chinese ink, he incorporates in his compositions geometric images and lines that intervene with the traditional rules of scale and distance. This piece was the result of the Shaanxi Merchants Association inviting a group of Hong Kong ar tists to sketch and photograph the scenery in the Yellow Loess Plateau in the nor thern par t of Shaanxi Province.

王無邪所受的藝術培育和經歷與中西 文化緊緊相連。他的作品所揉合的, 是山水畫、中西文學、西方平面設計的 元素。王氏的畫作展現從高空下瞰所見 的自然風光,是古代書畫前所未見的 視覺觀感。雖用水墨創作,構圖中卻 常見幾何圖案和線條,衝破距離和比例 的傳統關係。這幅作品是於一群香港 藝術家受香港陝西商會之邀,前往陝北 黃土高原寫生攝影時所作。

LOT 拍賣編號


Samson Young combines his diverse exper tise into unique intermedia experiences. His works are fundamentally informed by an engagement with new culturaltechnological paradigms and yet are deeply grounded in the classical musical tradition. Young’s creative output spans a huge range, from composition for orchestra and Game Boys, to amusement-ride-turned-sound installations, to ensembles of iPads and iPhones and multimedia music theatre. Here, the quotations from Frantz Fanon are printed on the original manuscript of a musical composition by the ar tist. The composition in question is Chr ysanthemum Sigh for viola and cello, which received its premiere at the Musicarama Festival in 2005.


Samson YOUNG




To Fanon (“Mastery of language affords remarkable power” on Chrysanthemum Sigh for viola and cello [2005])

音樂傳統之中。楊氏的創作領域非常 廣泛,從為管弦樂隊和掌上遊戲作曲、 到機動遊戲機轉向聲音裝置、從 iPad和

iPhone的合奏、到多媒體音樂劇場。 這件作品中,一句來自弗朗茲•法農的 引文被印於出自藝術家之手的音樂曲譜 的原始手稿上。所涉及的曲譜是《菊嘆》 中的中提琴和大提琴部,這一樂曲曾在


2015 Silkscreen print on manuscript of original musical composition (ink on paper) 自創 音 樂 曲 譜(紙 上 墨 水)手 稿 上 絲 網 印 刷

29.7 x 42 cm each

A set of 3 prints 一套三版

Estimate 估 價 HK$70,000 –­­ 85,000 US$9,000 –­­ 11,000 Generously donated by the artist 由藝術家慷慨捐贈

現場 競投

LOT 拍賣編號

Live Auction


Nilima SHEIKH Sarhad 2 2014 Tempera on Sanganer paper 桑格內爾紙、 蛋彩繪畫

54.6 x 157.5 cm

Estimate 估價 HK$220,000 ­­– 280,000 US$28,200 ­­– 35,900 Generously donated by Gallery Espace and the artist

由 Gallery Espace和 藝術家慷慨捐贈

For the last 12 years, Nilima Sheikh has looked at the histories of Kashmir, as well as the lore and literature thereof, in order to inform and extend her range of expression. Sarhad 2 belongs to a series painted on Sanganer paper pasted on cloth, using pearlescent pigments along with colours, which align with the underplayed mood of what is really a highly emotive subject. The work was inspired by the contemporary novelist Mirza Waheed’s The Collaborator, which was written as a first-person account of a young Gujjar boy living in a village near the Line of Control between India and Pakistan, where daily life is inextricably enmeshed with the bloodied soil of the region.

在過去的 12年左右,Nilima Sheikh一直 關注克什米爾的歷史,包括當地的傳說 和文學,由此充實和擴展她的表達範圍。 〈 Sarhad 2〉屬於一系列先畫在桑格內 爾紙上、後黏貼在布料上的作品。作品 使用伴有色彩的珠光顏料去配合輕描 淡寫的心情,引發深厚情感的主題。 作品的靈感來自當代小說家 Mirza

Waheed的小說《合作者》。這本小說以 第一人稱的口吻描寫了生活在印巴管控 區附近小村莊里的 Gujjar族男孩,那裏 日常生活都與這塊血跡斑斑的土地千絲 萬縷地交錯着。

LOT 拍賣編號

Live Auction


Map Office Hong Kong Is Land 2014 Drawing printed on 350gsm Hahnemuhle 350gsm Hahnemuhle 紙本

A set of 8 drawings 一套八幅繪畫

45 x 90 cm each Edition 版 數 3/5 Estimate 估價 HK$90,000 ­­– 120,000 US$11,500 ­­– 15,400 Generously donated by the artists


Map Office’s oeuvre focuses on physical and imaginary territories created through direct and indirect human causation and intervention. Through varied means of expression including drawing, photography, video, installations, and performance, as well as literary and theoretical texts, their projects critique spatio-temporal anomalies and document how humans subver t and appropriate space. Hong Kong Is Land is an imaginative work that proposes to add eight new ar tificial islands to Hong Kong’s existing landscape of 263 islands. The project not only references the frenetic economic pressures of high proper ty values in the territory, compressed by natural and political geographies, but also reflects on climactic changes and

human-led upheavals in nature in the age of the Anthropocene. Through a reflexive look at car tography, the eight corresponding scenarios reflect on the possibility of global awareness of issues and universal values.

Map Office的作品通過直接和間接的 人類因果關係和干預,關注實際和想像 中的土地。通過各種不同的表達方式, 包括繪畫、攝影、視頻、裝置和行為藝 術、以及文學和理論文本,他們的項目 批判了時空的異常和記錄着人類如何 顛覆和佔用空間。 〈 Hong Kong Is Land〉 是一件富有想像力的作品,它提出在 香港已有的 263個島嶼景觀中加入 8個 新的人工島嶼。項目不僅回應由自然地 理和政治地理的壓縮導致的地產價值 狂熱的經濟壓力,也反應了在「人類世」 裏自然的氣候變化和人為劇變。通過對 地圖繪製的反思,八個相應的場景顯示 了全球對已存問題和普世價值已有 意識的可能性。

LOT 拍賣編號

Live Auction


FUNG Ming Chip 馮明秋

Observe Awareness, Rubbing Script 〈觀 識,拓 字〉

2014 Ink on Chinese Paper 水墨宣紙

61 x 122 cm

With two seals: ‘Practice a thousand times’ and ‘Four No Studio’ 印章兩個: 「千鍊」、 「四不館」

Estimate 估價 HK$150,000 ­­– 180,000 US$19,200 ­­– 23,100 Generously donated by the artist


The Hong Kong-based ar tist Fung Ming Chip first began working with calligraphy as a carver of stamps and seals. Since the mid-1990s, Fung’s analysis of and re-engagement with the structure and materiality of calligraphy has led to his creation of over 100 new styles of script. The nucleus of his ar t-making has been an exploration of the possibilities for expanding or reshaping the time-and-space elements inherent in this unique ar t form, that is at once visually progressive and literally narrative. In his works, the text is usually one of his own poems. Obser ve Awareness is rendered in Rubbing script. The calligraphy is executed with very pale ink, which is then submerged into an ‘ink bath’; together with the colophon in dark ink, this creates layers of space.

香港藝術家馮明秋最初以印章雕刻師 的身分接觸書法藝術。自 20世紀 90年 代中期,馮明秋通過對書法的結構和物 質屬性的分析,創造出超過百種書寫形 式。他的藝術創作核心是探索附着在這 一獨特藝術形式上的時空因素,對其拓 展或重塑的可能性。 〈觀識〉是在拓片

腳本上進行的著色。首先使用極淡的水 墨書寫書法,隨後將其浸入水墨浴,與 深色墨跡的版本紀錄一起創造出空間 的層次。

LOT 拍賣編號


Immersed in the ar ts from a young age, Wang Huangsheng was educated in traditional poetry and painting by his father, a literati painter and calligrapher. In recent years, Wang star ted the transition from expressive xieyi painting towards an exploration of pure formal elements in ink brush painting. From his Clue series (2009) to his Moving Visions series (2011), Wang’s rusty ink lines ‘break free’ from paper. These lines go beyond the limits between ‘void’ and ‘existence,’ and lead viewers into a dream-like space. While meditative, his work is not entirely detached. Instead, the inter twined complexity of lines reflects the rhythm of the world, directing viewers to respond to the fact that the world is always present.

王璜生的父親是一位文人書畫家。 在父親的培養下,他自幼學習傳統詩詞 書畫,備受藝術的薰陶。近些年來, 王氏逐漸從傳統的寫意手法轉向探究 水墨畫中純粹形式的元素。從他的《線 ( 2011)系列, 索》 ( 2009)系列到《遊象》 王璜生那略顯遲鈍的墨蹟線條「跳脫」 出了畫布,在無形與有形之間遊走, 在真實中引入夢一般的世界。在沉思 時,他的作品並未完全分離。相反,線條 的複雜交錯反映了這世界的旋律,引導 觀者去回應世界一直存在的事實。

WANG Huangsheng 王璜生

Moving Vision No. 108 〈遊 象No. 108〉

2012 Ink on xuan paper 宣 紙、水 墨

160 x 90 cm

Estimate 估 價 HK$300,000 –­­ 350,000 US$38,500 –­­ 44,900 Generously donated by Pearl Lam Galleries and the artist 由藝術門與 藝術家慷慨捐贈

現場 競投

LOT 拍賣編號

Live Auction


WANG Dongling 王冬齡

Le An 〈樂 安〉

2014 Ink on paper 紙本水墨

180 x 96 cm

Estimate 估價 HK$350,000 ­­– 450,000 US$44,900 ­­– 57,700 Generously donated by Hanart TZ Gallery and the artist

由漢雅軒和 藝術家慷慨捐贈

A prominent modernist Chinese calligrapher, Wang Dongling’s oeuvre is engaged in both gestural abstraction and with the pre-modern practice of embodied action and performance in Chinese calligraphy, together with a cer tain post-modern scepticism of language and power. Well known for his monumental, public performances of ‘mad’ cursive calligraphy, his works can be highly experimental. Wang’s calligraphic abstractions push at the boundaries of the calligraphic gesture, form, and space.

身為著名的現代中國書法家,王冬齡的 作品引入了姿態抽象、中國書法中的 象徵性行為和表演的近代藝術實踐, 以及一種質疑語言和權力的後現代態 度。王氏的作品極具實驗性,他以「狂 草」的公眾表演眾所週知。王冬齡的 抽象書法突破書法的姿態、形式和空間 的界線。

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Xu Zhen’s oeuvre employs a wide range of mediums, including paintings, on-site performances, photography, installations, and videos, in which he reflects his own distinctive personal experience as well as the state of society and politics in China. Spread is an independent ar t project that has been developed by MadeIn Company since 2009. Ideas and elements of car toons from all over the world are continuously selected and assembled into creative compositions in the form of collages on canvas, installations, paintings, animations, and so for th.

徐震的創作媒介非常廣泛,包括繪畫、 現場行為、攝影、裝置及錄像,並把他個 人的獨特體驗和對中國社會政治的姿 態反映其中。 《蔓延》項目是沒頂公司從 全球的各類漫畫中挑選、組合並創造性 地開發出了的一個獨立的藝術項目。 這個項目的原則是利用不斷出現的 全世界的漫畫作為材料,使用其中的 形像、內容和概念,用各種方式進行再 創造。此項目於 2009年啟動,並以 繪畫、裝置、拼貼、動畫等各種方式 呈現。

XU Zhen 徐震

Spread — Sashimi on the Run 〈蔓 延 - 暴 走 刺身〉

2013 Collage on canvas 布藝拼貼

140 x 140 cm

Produced by MadeIn Company 沒頂公司出品

Estimate 估 價 HK$320,000 –­­ 420,000 US$41,000 –­­ 53,800 Generously donated by MadeIn Company 由沒頂公司慷慨捐贈

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GAO Weigang 高偉剛

Fate 〈命〉

2013 Marble 大理石

38 cm

Edition 版 數 5/6 Estimate 估價 HK$80,000 ­­– 100,000 US$10,300 ­­– 12,900 Generously donated by Galerie Perrotin and the artist

由貝浩登畫廊和 藝術家慷慨捐贈

Gao Weigang is an intensely versatile ar tist with various mediums, including sculpture, installation, and painting. He is an exper t in raising contradictions in the material world through simple and pure ar tistic forms. This work, Fate, is a solid hear t carved out of a natural maroon marble, which universally symbolises feelings of sincerity, living, destiny, and so on. The ar tist takes advantage of the material’s inherent texture to transform the stone into an apparatus, infusing the contracted contours with concrete meanings. The work visualises an abstract concept, contrary to general ar t practice.

高偉剛的作品形式廣泛,涉及雕塑、 裝置、繪畫。他熟練地運用簡潔的藝術 形式去表達物質空間的矛盾。作品〈命〉 用天然紅色大理石雕刻成一顆簡潔的 立體心形。心形通常被賦予如真摯的感 情、生命、命運等含義。藝術家利用材料 固有的肌理,將石材轉化成擁有具體意 義、輪廓簡約的器官。有別於一般的藝 術實踐,藝術家通過這件作品把抽象的 概念具象化。

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Lee Kit’s practice is deeply rooted in his personal surroundings and experiences. Originally trained as a painter, he moved away from representation and from the limitations of the stretched canvas, highlighting mundane daily activities with much minimal poetry. His recent oeuvre combines objects, images, and mediums to form spacious yet intimate settings that suggest traces of immaterialised relationships. ‘It looks like a poster about Betty. And it was folded up.’—Lee Kit







式的局限,以極簡的詩歌凸顯着平凡的 日常生活。他近期的作品將物體、圖像 和媒體結合,形成闊落且親密的設置, 暗示着關係化為烏有的軌跡。 「它就像一張有關 Betty的海報。之前 還被摺起來。」—李傑

2015 Emulsion paint, inkjet ink, pencil, correction fluid, and sticker on lining paper 乳 膠 漆、打 印 機 墨、鉛 筆、 塗 改 液、貼 紙、紙 本

43.5 x 56 cm

Estimate 估 價 HK$60,000 –­­ 80,000 US$7,700 –­­ 10,300 Generously donated by Vitamin Creative Space and the artist 由維他命藝術空間和 藝術家慷慨捐贈

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Hajra WAHEED Recovery Modules 1–6 2015 Cut mylar, ink, and aquarelle pencil on paper 中幅切割麥拉片、 紙本墨水和水彩筆

27 x 38 cm each

Estimate 估價 HK$90,000 ­­– 110,000 US$11,500 ­­– 14,100 Generously donated by the artist


Prompted by news accounts and extensive research and also deeply embedded in personal experience and collective histories, Hajra Waheed’s mixed-media practice uses complex narrative structures to explore issues from security, surveillance, and our ever-growing aerial occupation to the traumas and alienation of displaced subjects via mass migration. Recover y Modules 1–6 is a series of captured documents from an estranged ex-flight engineer who has dragged something in—an eye lost from the sky. The compositions are often sparse and centred on images and text arranged as if in code. Driven by a tendency to catalogue, categorise, and reorganise selected fragments into multiple works within a series, her re-appropriation of found material often enables her to expose details that would have otherwise been lost.

透 過 新 聞 報 導 和 廣 泛 研 究 的 推 動、 以及 深 深 根 植 在 個 人 經 驗 和 集 體 歷 史 之 中,Hajra Waheed混 合 媒 介 的 藝 術 實 踐 使 用了複 雜 的 敘 事 結 構,探 索 不 同 的 議 題 — 安 全、監 控 和日益 嚴 峻 的 領 空 佔 領、以及 因 大 規 模 遷 徙 而 導 致 流 離 失 所 者 的 創 傷 與 疏 離。 《 Recovery

Modules 1-6》是 一 系 列 從 一 位 疏 離 的

前 飛 行 工 程 師 處 獲 取 的 檔案,他 將 某 些

東 西 帶 入 — 一 隻 丟 失 在 空 中 的 眼 睛。

構 圖 常 常 是 稀 疏 的,置 中 的 圖 像 和 文 字 似 乎以某 種 代 碼 方 式 佈置 的。在 對

編目、分 類 和 重 組 喜 好 的 驅 使 下,藝 術 家 將 選 出 的 碎片集 成 一 系 列 中 的 多 件

作 品。對 現 成 物 件 的 再 挪用,通 常 使 她

能 夠發 現 那 些 原 本 會 被 遺 忘了的 細 節。

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Comprised of motif and background, the human figures that reside in Izumi Kato’s new world featured bloated heads and feeble physiques. In his work, where ancient and modern times merge, as do intuition and intellect, body and mind are joined in the fluctuating forms and bursts of colour that punctuate these mysteriously human forms. The same goes for his sculptures, originally carved in wood and more recently made from soft vinyl, a material that allows the ar tist to paint, cut, and twist as his work progresses. Most of them are not self-standing, and so are stacked in a pile, hanged from a wall, or suppor ted by readymade furniture.


Izumi KATO





下、理智與直覺融合,身體與心靈在流 動的形式裏和色彩的迸發中結合,處處 強調着這些神秘的人體形式。在他的雕 塑中也是如此,最初是在木材上雕刻, 近來藝術家使用了能夠在創作過程中 對其進行繪畫、切割和扭曲的軟乙烯製 成。大多數的作品都無法獨自站立,因 此或堆成一堆、或掛在牆上、或者由現 成的傢俱支撐着。

〈無 題〉

2015 Wood, acrylic 木 材、塑 膠 彩

51 x 12 x 21.5 cm

Estimate 估 價 HK$100,000 –­­ 120,000 US$12,800 –­­ 15,400 Generously donated by Galerie Perrotin and the artist 由貝浩登畫廊和 藝術家慷慨捐贈

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Yoko ONO 小 野 洋子

touch me (edition) 2008 Primed canvas 底漆帆布

30.5 x 30.5 cm

Edition 版 數 5 / 21 Estimate 估價 HK$60,000 ­­– 80,000 US$7,700 ­­– 10,300 Generously donated by Galerie Lelong 由 Galerie Lelong 慷慨捐贈

Yoko Ono is a multi-media ar tist whose thought-provoking work challenges people’s understanding of ar t and the world around them. From the beginning of her career, she has been a conceptualist with work that encompasses performance, instructions, film, music, and writing. In 2008 Yoko Ono presented touch me in New York. A large canvas covered the entire width of the exhibition space with openings cut into the canvas, and viewers were invited to inser t body par ts through. Encompassed in this simple act are opposing elements of isolation, exposure, vulnerability, and defiance. touch me (edition) continues Ono’s notion of painting as twofold: instruction and realisation.

小野洋子是一位多媒體藝術家,她發人 深省的作品挑戰人們對藝術和他們周

圍世界的理解。創作生涯一開始,她就 是一位概念藝術家,作品涵蓋了行為 藝術、 「指示」、電影、音樂和寫作。

2008年小野洋子在紐約展示作品 〈 touch me〉。巨幅畫布覆蓋了展覽空 間的整個寬度,畫布上開有切口。觀眾 們被邀請插入身體的部位,包括在這簡 單行為中的是隔離、暴露、脆弱、和反抗 的對立元素。 〈 touch me (edition) 〉延 續了小野關於繪畫概念的雙重性:指示 與實現。

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Zhan Wang is a major, representative contemporary Chinese ar tist on the world stage. The forms of his work involve sculpture, installation, photography, and multi-media. In 1995 he began producing the Artificial Rock series. His rock works—made of steel —are rich in philosophical speculation; through Western techniques and modern materials, he deconstructs Eastern tradition. In the experimental process of replicating Chinese scholarly rocks, Wang’s works have shed their ties with nature and forged tight links with the structures of the modern metropolis. Through the ar tist’s devoted craftsmanship and polish, the steel Taihu rocks are no different in form from natural Taihu rocks, only that the material is tougher and brighter. The spirit given off by the sculpture has become utterly modernised.

展望是中國當代藝術家在世界藝壇的 的重要代表人物之一 。作品形式涉及 雕塑、裝置,攝影及多媒體等。從 1995年 他開始製造不銹鋼的《假山石》系列。 他的石頭作品充滿了哲學思辨,以西方 的手法和現代的材料重新解構了東方 傳統。經過了複製中國假山石的摸索 實驗,展望的《假山石》系列已經褪去和 自然的聯繫,進而與現代都市的架構 形成緊密地聯繫 。不銹鋼材質的太湖 石,經過藝術家悉心的手工打磨在造型 上與天然的太湖石無異,只是材質更加 硬朗並且具有光澤,此時雕塑散發出來 的氣息已完全現代化。

ZHAN Wang 展望

Artificial Rock No. A-67# 〈假 山 石 A-67#〉 2010 Stainless steel 不銹鋼

73 × 40 × 39 cm

Edition 版 數 1/4 Estimate 估 價 HK$180,000 –­­ 200,000 US$23,000 –­­ 25,600 Generously donated by the artist 由藝術家慷慨捐贈

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LIU Wei 劉韡

Untitled 〈無 題〉

2015 Mirror, metal 鏡子、金屬

60 x 60 x 170 cm

Estimate 估價 HK$850,000 ­­– 1,400,000 US$109,000 ­­– 179,000 Generously donated by Lehmann Maupin, White Cube, Long March Space, and the artist

由立木畫廊、白立方、 長征空間和藝術家 慷慨捐贈

Liu Wei’s multidisciplinary work is characterised by a sense of uncer tainty and subversion. Using unexpected materials in surprising configurations, Liu’s work engages with social and political questions that per tain to a swiftly expanding environment. With this work, Liu continues his exploration of the material nature of mirrors, first demonstrated in the exhibition ‘Colors’ at the Ullens Center for Contemporary Ar t in Beijing (2015). As the massive Puzzle (2014) included in the exhibition, the sculpture Untitled presented here uses a group of irregularly shaped, structured mirrors, and calls attention to the act of looking itself, per taining to the dichotomy of interiority and exteriority.

劉韡的跨學科作品充滿了不確定性和 顛覆感。劉氏使用讓人出乎意料的創作 材料進行驚人的構建,題材涉及在迅速 擴展的語境中的社會和政治問題。 通過這件作品,<無題>延續了始於 北京尤倫斯當代藝術中心《顏色》展覽 的鏡面材質探索。如大型鏡面作品 <迷局>( 2014)一般,在此呈現的 <無題>使用了一組不規則形狀的鏡面, 通過有著私密而公共意義的反射性材 質討論自我反思過程,以及內部-外部 兩分法的意義。

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Renowned for his haunting paintings of family photos, Zhang Xiaogang’s oeuvre engages with identity within collectivism in China. His figures are often exaggerated and distor ted, which adds to a cer tain tension, psychological or otherwise. This series of works is the ar tist’s first series of painted bronzes (originally presented at PACE New York); the characters in his paintings are now rendered in three dimensions, with unrealistic colouring inspired by Tang sancai and Egyptian ar t. After continual tries at the ar tistic form of ‘sculpture’, Zhang Xiaogang realised that he was still a painter, and that sculpture was, for him, a ‘canvas with form’. He is in search of another ‘form’ and another kind of ‘thing’ on this canvas with form.

ZHANG Xiaogang





Pink Boy Holding a Right Fist


〈粉 色 右 手 握 拳 的 男孩〉

此件作品是藝術家首次創造的着色 青銅雕塑系列(系列曾在紐約佩斯畫廊 展出),曾經出現畫作中的人物附著於



Painted bronze




70 x 44.5 x 29.5 cm


Estimate 估 價 HK$1,000,000 –­­ 1,200,000 US$128,200 ­­– 153,800 -

自己仍然是一位畫家,而雕塑對於他來 說就是「一個有形的畫布」。他在這有形 的畫布上尋找另外一種「形」、另外一種

Generously donated by the artist



Sample of an earlier painting by the ar tist 藝術家早期繪畫之一 Bloodline - Big Family: Comrades and Baby 〈血緣-大家庭:同志與嬰兒〉


oil on canvas 布面油畫 150 x 178cm

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Paul NOBLE Mrs Gate 2010 Pencil on paper 紙本、鉛筆畫

76 x 56.5 cm

Estimate 估價 HK$160,000 ­­– 200,000 US$20,500 ­­– 25,600 Generously donated by Gagosian Gallery


Paul Noble is probably best known for his monumental project of intricate graphite drawings Nobson Newtown. The project por trays a place of labyrinthine edifices and deser ted topography—and often with aspects of cannibalism, decapitation, and other horrors—and has been called an ‘impassioned satire of Britain’s new towns’. The ar tist depicts his vision of the place with a wealth of elaborate and phantasmagorical detail, visually ar ticulating the tensions between disorder, perversion, and logical schema. Guardians of the city, the Gates are a family (Mr, Mrs Gates etc); representing both entrance and exit, they offer and deny access, they assist and obstruct.

Paul Noble可能最為人熟知的便是 他非凡且錯綜複雜的石墨繪畫項目 《 Nobson Newton》。該項目描繪了 一個充滿迷宮般建築群和荒蕪地形的 地方—且常常帶着自相殘殺、斬首、 以及其他的恐怖之事—已被稱為「英國 新市鎮的激昂諷刺」。藝術家描繪了在 他眼中一個充滿複雜精巧卻變幻無常 細節的地方,直觀地闡述了無序、 墮落、以及邏輯架構之間的張力。作為 城市的守護者,Gates( 門)也是一個 家庭( Gates先生、夫人等)。他們同時 代表進入與退出,給予與拒絕,協助與 阻撓。

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Ming Wong builds layers of cinematic language, social structure, identity, and introspection through his re-telling of world cinema in his installations, video pieces, and performances. He deliberately ‘mis-casts’ himself and others in re-interpretations of iconic films and performances, often playing multiple roles in a foreign language. Persona Performa is inspired by Ingmar Bergman’s reflexive masterpiece Persona (1966), which is about an exchange of identities between an actress and her nurse on the remote Fårö Island. Like Bergman’s film, Wong’s piece is a powerful meditation on cinema and theatre. ‘Par ts of the shoot included me in a blonde wig and a white nightgown, standing on the rocks, channelling the spirit of Liv Ullman’s Elisabeth Vogler.’ —Ming Wong

黃漢明通過他對 世 界 電 影 的 重 述,在 他 的裝置、視頻作 品 和 表 演 中 建 立 起 電 影 語言、社會結構、身份 和 內 省 的 層 次。 在重新詮釋代表 性 的 電 影 和 表 演 時, 他會故意「錯誤 選 派」他自己和 其 他 人 扮演的角色,而 通 常 都 是 用 外 語 扮 演 多重角色。 〈假面表演〉的靈感 來自於 英 格 瑪 ·伯 格曼的反思經典 作 品〈假 面〉 ( 1966)。 原作是關於在遙 遠 的 法 羅 島 上 一 位 女 演員和 她的護士 之 間 的身份 交 錯 轉 變

的故事。如同伯 格 曼 的 電 影,黃 漢 明 的 作品是對電影和 戲 劇 強 有 力 的 沉思。 「部分的鏡頭包 括 我 頭 戴 金 色 假 髮 和 身着白色睡袍,站立在岩石邊,傳遞着麗 芙·烏曼扮演伊莉莎白·沃格斯的精神。」 —黃漢明

Ming WONG 黃漢明

Persona Performa 〈假 面 表 演〉

2011 C-print C 型沖印 100 x 150 cm

Edition 版 數 2/6 Estimate 估 價 HK$65,000 –­­ 80,000 US$8,300 –­­ 10,300 Generously donated by Vitamin Creative Space and the artist 由維他命藝術空間和 藝術家慷慨捐贈

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Nobuyoshi ARAKI 荒 木 經惟

Painting Flower 〈色 情 花〉

2004 / 2014 RP pro-crystal 專業晶彩紙、 樹脂膠彩色沖印

41.2 x 27.2 cm

Estimate 估價 HK$35,000 ­­– 50,000 US$4,500 ­­– 6,500 Generously donated by Taka Ishii Gallery 由 Taka Ishii畫廊慷慨捐贈

An incredibly prolific photographer, Nobuyoshi Araki’s practice has frequently involved Eros and Thanatos. His oeuvre manifests an abiding fascination with female genitalia, women’s bodies in Japanese bondage, flowers, food, his cat, faces, and Tokyo street scenes. Araki’s blooms present a strident ripeness that hints at decay as well as fer tility, but most of all, an ephemeral moment. Araki’s camera captures that moment, but simultaneously also summons up its loss.

作為一位富創造力的攝影師,荒木經惟 的藝術常常涉及到對性愛本能(「愛」) 與自我毀滅(「死」)的渴望。他的作品體 現了藝術家長久著迷着女性生殖器官、 日式緊縛的女性身體、花朵、食物、 他的貓、臉以及東京街景。荒木的花朵 呈現出一種尖銳的成熟,暗示着衰退, 也暗示着生育力,但最重要的是指向轉 瞬即逝的無常。荒木的相機捕捉了那一 瞬間,但同時昭示着它的遺失。

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Sun Xun’s strong scepticism of historical narratives along with his disillusionment with post-1949 ‘New China’ are reflected in the political and fanciful nature of his installations, drawings, and animations. His sequence animations are created by drawing, erasing, and recording individual frames and stringing them together to forge a complex narrative about an unidentified and ambiguous era. The ar tist remarks on this work: ‘This is a work that can be viewed by day and by night. Day and night are two works; history is not necessarily real, and thus what is viewed isn’t necessarily real either—just like how we have no way of seeing our own ears. This little drawing is the same: the night cannot see the day, nor can the day see the night. Then at this point, I made a drawing called American Emperor.’

孫遜對歷史敘事所抱持的強烈懷疑 態度,伴隨着他對 1949年後的「新中國」 的幻滅。這都在他的裝置、繪畫、以及 動畫的政治和幻想本質中反映出來。 他的序列動畫由繪畫、擦除、及紀錄 每一單幀畫幅並將其串連一起構建而 成,編造出一個關於未辨認且模糊時代 的複雜敘事 。 關於這件作品,藝術家如此描述: 「這 是一張白天和夜晚都可以觀看的作品, 白天和夜晚是兩張畫,歷史未必是真實 的,看到的也未必是真實的,而看不到 的未必就不存在,比如我們無法看到 自己的耳朵。這張小畫也是一樣,黑夜 無法看見白天,白天也無法看到黑夜。 想到這裏,我就畫了一張畫,名字叫 〈美國皇帝〉。」

SUN Xun 孫遜

American Emperor 〈美 國 皇 帝〉

2015 Ink on paper 紙本水墨

50 × 65 cm

Estimate 估 價 HK$80,000 –­­ 90,000 US$10,300 –­­ 11,600 Generously donated by ShanghART and the artist 由香格納畫廊和 藝術家慷慨捐贈

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WANG Jianwei 汪建偉

Surface XII 〈表 面 肖 像XII〉

2014 Acrylic and oil on canvas 塑膠彩、油畫

45 x 55 cm

Estimate 估價 HK$220,000 ­­– 250,000 US$28,200 ­­– 32,100 Generously donated by the artist


Surface XII is a process of rehearsal. Although Wang Jianwei focused on painting at China Academy of Ar t and even won the first prize at the ‘6th National Exhibition of Fine Ar ts’, the ar tist then dropped his easel, turning his focus on installation, video, and theatre. Retrospectively, one who knows Wang’s work could assume that he stopped seeing painting as a medium that was ‘uncer tain’. Some 20-odd years later, Wang has picked up painting once again. He experiments on the medium of painting, and he calls his methodology ‘rehearsal’. Every time facing the canvas is a process of rehearsing without intervals from the beginning to the end. The traces of time are evident at the surface of each painting.

〈表面肖像 XII〉是一個排演的過程。 雖然汪建偉在浙江美院就讀時主修 油畫,也曾在第六屆全國美術大展上 一舉獲得了金獎,但是他不久就放棄了 畫架,轉向裝置、錄影和劇場。或許因為 當時的他對繪畫這個媒介已經失去了 「質疑」的態度。二十餘年後,汪建偉 再度對繪畫質疑。他開始對繪畫這個 傳統的媒介進行實驗,這個實驗的方法 論藝術家稱作「排演」,每一次面對畫布 都是從頭開始一路排演到結束的過程。 在汪建偉的繪畫的表面上觀察得到 時間的痕跡。

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Michael Lin’s oeuvre is associated with relational aesthetics, but he is also concerned with regional cultural topography. Internationally known for his painted walls and floors with amplified traditional floral motifs, which are inspired by traditional textiles from various cultures, his installations are environments or aesthetic slices of life that invite the viewer to share the space of ar t. As Lin once explained: ‘I’m not an expressionist. I’m trying to bring about a collective work.’ His major works have involved the creation or transformation of a collective or public space. These include a bed he placed inside the Helsinki’s Kiasma Museum for visitors to use, the coffee shop he opened in the Palais de Tokyo in Paris, and the skateboard ramp he erected inside MoMA PS1.


Michael LIN





案繪製在展示空間。其大型公共藝術 作品與空間形成互補、相輔相成的 「合作關係」。將作品所在的空間轉化 成一種「狀態」,是藝術執行對話與日常 生活情景的對話。林明弘曾說過: 「我不 是表現主義藝術家。我在嘗試創作出 集體性的作品。」他的主要作品都涉及 集體或公共空間的創造或改造。其中 包括了他放置在赫爾辛基市奇亞斯瑪美 術館內的一張供參觀者使用的床、在法 國的巴黎東京宮內開設的咖啡館以及他 在紐約 MoMA PS1內建造的滑板坡道。

〈無 題〉

2010 Acrylic on canvas 畫 布、塑 膠 彩

70 x 70 cm

Estimate 估 價 HK$200,000 –­­ 250,000 US$25,600 –­­ 32,100 Generously donated by Eslite Gallery and the artist 由誠品畫廊和 藝術家慷慨捐贈

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ZHANG Enli 張恩利

Net No.4 〈球 網 4 號〉

2009 Oil on canvas 油畫

109 x 100 cm

Estimate 估價 HK$600,000 ­­– 1,000,000 US$77,400 ­­– 129,000 Generously donated by Yuz Foundation


For Zhang Enli, painting is a vital activity. He depicts the world in the perspective of daily life—the common, the unnoticed, the overlooked, objects, and people who make no great claim to grandeur or immor tality. His oeuvre exudes a specific texture and volume of a single object or a group through the transformation and conversion of lines and dimensions. His space painting installations also break the conventions of installation ar t, with ‘existence’ and ‘nothingness’ visualised in his paintings. Net No. 4 is par t of a series of works where he ostensibly por trays net-like objects, but by pushing the barrier between abstraction and figuration, Zhang is able to express a distinctive painterly aesthetic that does not give up on either.

對 於 張 恩 利 而 言,繪 畫 是 重 要 之 事。 他以日常 生 活 視 角 描 繪 世 界 — 常 見 的、 被 遺 忘 的、被 忽 視 的 物 件,以及 絕 非 偉 大 或 不 朽 之 人。借 助 線 條 和 尺 寸 的 變 化 轉 換,他 的 作 品 滲 透 出 單 一 物 件 或 一 個 群 體 特 殊 的 質 地 和 體 積。通 過 在 繪 畫 中 將「存 在」與「虛 無」具 體 化,張 恩 利 的 空 間 繪 畫 裝 置 打 破 裝 置 藝 術 的 慣 例。 〈網 球 4號〉是 他 表 面 上 刻 畫 網 狀 物 件 系 列 作 品 的 一 部 分。通 過 推 動 抽 象 和 具 象 間 的 界 線,張 恩 利 在 不 放 棄 兩 者 的 同 時,表 達 出 一 種 獨 特 的 繪 畫 美 學。

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One of the key figures of the 85 New Wave Ar t Movement in China, Wu Shanzhuan’s practice brings together street smar ts, intellectual experimentation, and the spirit of the absurd in contemporary ar t. Wu and his collaborator (since 1991) Inga Svala Thorsdottir do not just create visual spectacles, but rather over throw and discover truths and propositions, as well as counterfeiting ideologies and interpretations of everyday theology. Par t of a long-running series, the ‘butterfrog’ is a fictional species, a mixture of the butterfly and the frog. An emblem of asexual reproduction, it corresponds to the ‘rights of things’ as a self-breeding entity within the evolutionary chain, and echoes Daoist cosmological notions of spontaneous generation and the ultimate unity of all things.


WU Shanzhuan




Butterfrog Opened By An Umbrella

誕精神匯集。吳山專與他(自 1991年始) 的合作者英格‧斯瓦拉‧托斯朵蒂爾 不僅創造視覺景觀,而且推翻和發現 真理與命題、以及偽造的日常神學的 意識形態和闡述。作為長期系列作品的 一部分, 〈蝶蛙〉是糅合了蝴蝶和青蛙 的虛構物種。作為單性生物的標示物, 作為進化鏈上自我繁殖的實體,蝶蛙對 應着「物權」,回應道教的「道生萬物」 和「萬物齊一」的宇宙觀。

2014 Acrylic on canvas 畫 布、塑 膠 彩

100 x 140 cm

Estimate 估 價 HK$300,000 –­­ 350,000 US$38,500 –­­ 44,900 Generously donated by the artist 由藝術家慷慨捐贈

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Danh VO 傅丹

Looty 2013 Colour gravure, Somerset White Satin 300g 彩色照相凹印

Somerset White Satin 300克 49 x 37.5 cm

Edition 版 數 14 / 24 Estimate 估價 HK$80,000 ­­– 100,000 US$10,300 ­­– 12,800 Generously donated by Vitamin Creative Space

由維他命藝術空間 慷慨捐贈

Danh Vō’s practice explores appropriation and fragmentation in a high conceptualism that frequently involves minimalist, poetic personal reflections as well as references to his own biography. His recent work often straddles the line between ‘ar tist-ascurator’ and ‘exhibition-as-ar twork’. This piece depicts the original Bambridge por trait of Looty, the Pekingese dog brought to the West from the sacking of the Old Summer Palace in Beijing. The work is ‘an aptly chosen example of the expor tation and reclamation of culture, and the shifting and globalisation of local heritage.’

傅丹的藝術實踐探索挪用與分裂, 其高度概念主義常常涉及極簡主義、 詩意的個人反思以及其個人經歷的 參照。他近期的作品經常跨越了 「藝術家作為策展人」和「展覽作為 藝術作品」之間的界線。這件作品描繪 了 Bambridge拍攝 Looty的原作。Looty 就是那隻在北京圓明園被掠至西方的 北京狗。作品正是「文化輸出與再生、 以及地方遺產的變遷與全球化的適時 選擇的範例」。


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Nadim ABBAS 唐納天

Tetra-t-butoxysilan / Tetrahydrobiopterin / Tetra-(4-hydroxyphenyl) methane / Tetrazepam 2015 Set of 4 archival pigment prints (acrylic face mount) 四件套典藏數位印刷 (塑彩膠表面黏合裝裱)

40 x 40 cm each

Edition 版 數 1 / 4 +1AP Estimate 估價 HK$45,000 ­­– 55,000 US$5,800 ­­– 7,100 Generously donated by the artist


These prints from videos were first shown as par t of the larger installation Tetraphilia in spring 2013 in Singapore. In keeping with the paranoiac-critical logic of the exhibition, the prefix ‘tetra’ was mined here for its mathematical, biological, and chemical associations. Using graphic modelling software normally reserved for scientific research, the ar tist rendered a series of animations of tetra-grouped chemical compounds; specifically those consumed by humans (both knowingly and unknowingly). These include: tetracycline (a common antibiotic), tetrahydrocannabinol (the psychoactive constituent of marijuana), tetrahydrogestrinone (a performance enhancing steroid), and tetrasodium pyrophosphate (a food additive found in mass-produced marshmallows and chicken nuggets). The animations were superimposed onto video footage of aquariums (containing tetra-fish) and TV-snow, to be exhibited through face-up CRT monitors on custom-made dollies.

這些印刷作品來自藝術家於 2013年 春季在新加坡首次展出的大型裝置 〈四癖〉中的錄影作品部分。為了與展 覽本身帶有的批判偏執邏輯保持一致, (意為四)涉指 這裏使用的首碼「 tetra」 數學、生物和化學的關係。藝術家以科 研圖像模型軟體渲染了一系列「 tetra」 (四)的 化 學 元 素 組 合,特 別 是 那 些 能 被 人 體 消 耗 的(包 括 未 知 和 已 知 的)。 其 中 包 括:四 環 素(一 種 常 見 的 抗 生

素)、四 氫 大 麻 酚(大 麻 中 的 精 神 活 性 物質)、四 氫 孕 三 烯 酮(有 麻 醉 作 用 的

類 固 醇)和 四 鈉二 磷 酸(量 產 棉 花 糖 和

炸 雞 塊 中 含 有 的 食 物 添 加 劑)。這 些 動 畫 與 水 族 館(內 置 脂 鯉( tetra)魚 群)錄 影 和 電 視 雪 花 疊 加 一 起,放 置 於 訂 制 木 推 車 上 的 CRT顯 示 器 上 播 放。

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Ai Weiwei is one of the most renowned and iconic ar tists internationally. His early works combined Western minimalism and Chinese materials; his practice then took on a much stronger political over tone, ultimately leading to his detention by Chinese authorities in 2011. Hanger replicates the plastic hangers in his prison cell from this time, and is par t of a series of works that he has created in response to his captivity. Yet Hanger is far from a simple replication, for it also references many earlier pieces he created, which showed Marcel Duchamp’s profile twisted into a hanger. This work thus both highlights the ar tist’s own suffering and casts a look back to the earliest stages of his career.

艾未未是國際上最為人知的藝術家 之一。其早期作品將中國傳統材料與 西方極簡主義結合起來,隨後他的實踐 則含有更強烈的政治寓意,最終導致到

2011年中國大陸當局把他拘留。 〈衣架〉 複製了當時在他牢房內的塑膠衣架, 也是回應自己被拘留而所創作的一系列 作品之一。 〈衣架〉不僅是一次簡單的 複製,還回溯艾未未早期的創作作品, 那些彎折成杜象側面的衣架。因此這件 作品不僅突顯了藝術家自身經歷的 苦難,也轉向關注了其藝術生涯的 早期階段。

AI Weiwei 艾未未

Hanger 〈衣 架〉

2013 Stainless steel 不銹鋼

48 x 22 x 0.9 cm

Estimate 估 價 HK$80,000 –­­ 100,000 US$10,300 –­­ 12,800 Generously donated by the artist 由藝術家慷慨捐贈

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AU Hoi Lam 區凱琳

Date Unknown, Landscape 02 〈不 知 年 的風景( 二 )〉

2014 Acrylic on linen 亞麻本布、塑膠彩

61 x 122 x 5 cm

Estimate 估價 HK$40,000 ­­– 50,000 US$5,100 ­­– 6,400 Generously donated by Osage Gallery and the artist

由奧沙畫廊和 藝術家慷慨捐贈

Au Hoi Lam’s oeuvre has often focused on small details and subtlety in material, visuality, and text, evoking a touch of delicacy and pushing at the edges of what ‘painting’ is. As she has said, ‘If a work could be self-contained without clinging to literal interpretation, if a work could be an embodiment of the author, it should be very beautiful.’ ‘Can human existence be defined outside the constructs of time and space? Imagine living in a conceptual theatre unaffected by time, what do you see?’ —Au Hoi Lam

區 凱 琳 的 作 品 常 專 注 於 材 料、視 覺 與 文 本 的 細 節 和 微 妙 之 處,喚 起 繪 畫 的

精 緻、挑 戰 何 謂「繪 畫」的 極 至。正 如 她 所 言: 「如 果 一 件 作 品 仍 然 不 落 言 詮 而 獨 立自足,如 果 一 件 作 品 仍 然 能 夠作

為 作 者 生 命 的 化身,應 該 是 一 件 很 美 好 的 事。」 「人 在 怎 樣 的 狀 況,才 會 『 不 知 年 』?對 身處 何 年 何日何 地 不 再 在 意,不 受 『時 間 』拘 束,定 是 一自由自在 的 心 境。如 在 日常 現 實 生 活 中,偶 爾 持 着 這 心 境,我 們 會 看 到 怎 樣 的 風 景?」—區 凱 琳

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Sarnath Banerjee explores the idea of imperfect twins in his new, drawingbased project Bicarbonates. Using almost-identical pairs of drawings, he explores the idea of reverse animation, where the tiniest of interventions in the second drawing creates a large comment but no progression in time. This way, he goes against the very grain of animation. In Bicarbonates, the slightest change in the frame, rather than creating movement, creates an eerie stillness—perhaps a stillness craved by the citizens of a speed-boat nation, an active stillness that needs to be carved out of a hyper-kinetic world, where arresting motion is every bit as hard as producing it.

Sarnath Banerjee在以繪畫為基礎的新 項目《 Bicarbonates》中探索不完美的 「雙胞胎」。他通過幾乎完全相同成對 的筆觸,研究反向動畫。他在第二幅 繪畫中以極微小的干預製造出喧囂的 評論卻無時間性的進展,這樣一來違背 了動畫的本質。在《 Bicarbonates》中, 藝術家通過輕微的框架變化,而非創建 運動,製造出了可怕的寂靜。這也許是 快速地行走的民族公民所渴望的寂靜, 也許是需要刻劃出超動力世界的活躍 的寂靜,在那裏引人矚目的運動從頭至 尾都如產生它一般艱難。

Sarnath BANERJEE Flaneur 2011 Acrylic and ink charcoal on paper 紙 本 塑 膠 彩、墨 炭

A set of diptychs 一組雙連畫

54.3 x 74.9 cm each

Estimate 估 價 HK$90,000 –­­ 120,000 US$11,500 –­­ 15,400 Generously donated by Project 88 and the artist 由 Project 88和 藝術家慷慨捐贈

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CHEN Chieh-jen 陳界仁

Dysfunction No. 3 (Documentary Photograph) 〈機 能 喪 失第三號 ( 紀 錄 照)〉

1983 A set of 4 Inkjet prints 一套四張噴墨打印品

118 x 87 cm

Edition 版 數 1 AP / 5+2 AP Estimate 估價 HK$60,000 ­­– 80,000 US $7,700 ­­– 10,300 Generously donated by the artist 由藝術家慷慨捐贈

Although now best known for his photographic and video projects, in the 1980s Chen Chieh-jen was active in guerilla-style performance ar t during the Mar tial Law period in Taiwan. His actions sought to upset and intervene in the stability of a public space. In 1983, on a busy street in the Ximending area in Taipei, he performed Dysfunction No. 3 where the blind led the blind. ‘With black cloth wrapped around their heads, they marched forward and then prostrated on the ground, performing acts of struggle, pain, and repression.’ Under Taiwan’s strict controls at the time, they were interrogated by the police afterwards. The focus on the body and perception would remain in his later projects that dealt with margins, borders, and domination, using strategies of ‘re-imagining, re-narrating, re-writing, and re-connecting.’

陳 界 仁以其 攝 影 及 錄 像 作 品 著 稱,然 而 早 在 二 十 世 紀 八 十 年 代 台 灣 戒 嚴 期 間, 他 是 一 名 活 躍 的「游 擊 式」行 為 藝 術 家。他 的 舉 止 行 為旨在 干 擾、挑 動 公 共 空 間 既 成 的 穩 定。1983年,在 台 北 西 門 町 的 一 條 繁 忙 街 道 上,他 表 演了 〈機 能 喪 失 第 三 號〉。 「他 們 五 人 用 黑 布 罩 住 頭 部,在 西 門 町以縱 隊 前 進, 之 後 匍 匐 在 地,做 出 掙 扎、痛 苦、受 壓 迫 的 動 作。」台 灣 當 時 仍 處 在 戒 嚴 之

中,演 出 後,他 們 遭 到了警 察 的 盤 問。 對身體 與 感 知 的 關 注 延 續 在 他 之 後 的 創 作 中,以「再 - 想 像」、 「再 - 敘 事」、 「再 書 寫」與「再 - 連 結」的 策 略 探 討 邊 緣, 邊 界 與 支 配 等 議 題。

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Heman Chong’s conceptually-charged investigations into how individuals and communities imagine the future generates a multiplicity of objects, images, installations, situations, and texts. This work is a photograph of a £20 note, which highlights the Queen of England in all her blurry splendour. Located at the intersection between image, performance, situation, and writing, Chong’s work continuously interrogates the many functions of the production of narratives in our everyday lives.






Blur Queen

作品是一張 20英鎊紙幣的照片,在其 模糊的光環裏突顯着英女王。置於圖 片、表演、情境和寫作的交錯之間,張氏 的作品不斷地質疑我們日常生活中產生 記敘的多種功能。

2015 C-type print C 型沖印 46 x 61 cm

Edition 版 數 1/5 Estimate 估 價 HK$15,000 ­­­­– 25,000 US$1,900 ­­– 3,200 Generously donated by Wilkinson Gallery and the artist 由 Wilkinson畫廊和 藝術家慷慨捐贈

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Tiffany CHUNG 蒂 芬 妮·鐘

Fjf Daiei 2006

Paper collage 紙張拼貼

40 x 40 cm

Estimate 估價 HK$30,000 ­­– 40,000 US$3,800 ­­– 5,100 Generously donated by Galerie Quynh and the artist 由 Galerie Quynh和 藝術家慷慨捐贈

Tiffany Chung’s oeuvre deals with conflict, migration, and urban transformations in relation to history and cultural memory. Her car tographic drawings, videos, and photographs (among other media) explore spatial and socio-political transformations that are interwoven with the lingering echoes of historical trauma. At this year’s Venice Biennale, the ar tist’s maplike creations examine geographical shifts in countries traumatised by war, human destruction, or natural disaster. This earlier piece contrasts the almost claustrophobic process of compulsively drawing, cutting, and rearranging with the whimsy of colour and abstraction. As the ar tist notes, these ‘evoke the ecstatic, sublime nature by mimicking images of organic cells under the microscope and the ephemeral nature of air and water’.

蒂 芬 妮· 鐘 的 作 品 涉 及 與 衝 突、移 民 和

城 市 轉 型 相 關 的 歷 史 和 文 化 記 憶。她 通 過 地 圖 繪 製、視 頻 和 照片等 作 品,探 索 與歷史創傷揮之不去的回聲交織在一 起 的 空 間 轉 型 和 社 會 政 治 變 革。在 今 年 的 威 尼 斯 雙 年 展 中,藝 術 家 地 圖 狀 的 創 作 審 視 在 不 同 國 家 裏,由戰 爭、人 類 破 壞 及自然 災 害 帶 來 的 創 傷 所 引 起 的 地 理 變 遷。這 件 早 期 作 品 將 幾 乎 是 幽 閉 恐 懼 症 般 的 強 迫 性 繪 畫、切 割、重 新 排 列 的 過 程,與 色 彩 和 抽 象 體 的 奇 思 妙 想 作 對比。正 如 藝 術 家 所 言,這 些 作 品「通 過 模 仿 顯 微 鏡 下 的 有 機 細 胞 和 空 氣 與 水 的 短 暫 特 性,激 發 出 令 人 著 迷、崇 敬 的自然」。

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Jigger Cruz explores the primitive memory of the figurative in contemporary painting. The paintings rework many of the stylistic quirks and formal concerns of classical painting, employing their basic composition and approximating their processes. His pursuit of the idea that a painting is also an installation results in exposing the canvas stretcher bars and revealing all aspects and surfaces in the final ar tworks. His ar tistic approach plays with ideas of defacement and vandalisation. The traditional painted landscapes that are visible underneath Cruz’s layers of pastos oil and spray paint give the impression of an old master painting having been destroyed—which becomes integral to our aesthetic understanding of the piece. His works thus become assemblages of recognisable objects and obscure shapes, which interlace, envelope, and unfurl within one another.

Jigger Cruz探究 當 代 繪 畫 中 具 象 的 原 始 記憶。他的繪畫使 用了古 典 繪 畫 的 基 本 結構並靠攏 它們 的 步 驟,重 造 古 典 繪 畫 的個性化風格和形 式 問 題。他 所 追 求 的 「繪畫也是裝置」的 理 念,使 他 在 最 終

的藝術作品中裸露 出 畫 布 框 榫頭 並 顯

現各種外貌。他的 創 作 方 式 玩 味 着 損 毀 與破壞。在 Cruz層 疊 的 帕 斯 托 油 畫 顏 料 和噴漆之下,傳統 筆 法 下 的 風 景 畫 明 顯 可見。這給人留下 繪 畫 大 師 的 作 品 被 破壞的印象,也 成 為 我 們 對 作 品 審 美 理 解不可或缺的一 部 分。所以,他 的 作 品 成為了可識別物 體 的 組 合 和 在 彼 此 間 交錯、包裹和展 開 的 模 糊 形 狀。

Jigger CRUZ Untitled (from the series Deep Flesh on Flesh) 2015 Oil and spray paint on paper 紙 本 油 畫、噴 漆

54 x 38 cm

Estimate 估 價 HK$45,000 –­­ 65,000 US$5,800 –­­ 8,300 Generously donated by ARNDT and the artist 由 ARNDT畫廊和 藝術家慷慨捐贈

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FANG Lu 方璐

Straight Outta HK 〈直 出 香 港〉

2006 Video (1 min 48 seconds), sound, 4:3 錄像( 1分 48秒)、 聲音,4:3

Edition 版 數 AP 1 / 5 Estimate 估價 HK$65,000 ­­– 75,000 US$8,300 ­­– 9,600 Generously donated by the artist


Working primarily in video, Fang Lu’s oeuvre is at times involved with restaging media and the everyday. This work, made when Fang was living in San Francisco, is a music video of the song of the same name by the San Francisco-based, Chinese-American Canto-core rock band, Say Bok Gwai. The video is set in San Francisco’s Mission District and intersperses footage of both Say Bok Gwai’s band members, a Chinese immigrant drinking bubble tea, and an Oakland-based hyphy rapper, Keldamuzik, and her crew. The video mixes together different racial and culture roles, and gets the hip-hop singer Keldamuzik to learn and interpret Say Bok Gwai’s Cantonese song Straight Outta HK.

方 璐 主 要 進 行 錄 像 創 作,時 常 重 新 排 演 媒 體 與日常 生 活。藝 術 家 於 旅 居 三 藩 市 時 期 創 作 此 作 品,也 是以美 國 三 藩 市 華 裔 硬 核 搖 滾 樂 隊「死白鬼」的 同 名 歌 曲 為 本 創 作 的 音 樂 錄 像。場 景 設 於 三 藩 市

Mission區 內,錄 像 中 有「死白鬼」樂 隊 成員,一 個 喝 珍 珠 茶 的 女 孩,說 唱 女 歌

手 Keldamuzik和 她的 說 唱 組。錄 影 把 這


置 在 一 個 表 演 的 情 景 中,Keldamuzik在 拍 攝 現 場 學 唱 和 演 繹「死白鬼」的 廣 東 話 歌 曲〈直 出 香 港〉。

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Ho Sin Tung’s two-dimensional works predominantly use pencil, graphite, and watercolour in combination with found and ready-made images—including the use of stickers, maps, char ts, rubber-stamps, and timelines. These are reinterpreted to narrate stories of places, relationships, and periods of time often within a considered, objective historical setting. Ho also creates video ar t and process-led projects that interpret and extend different narrative frameworks. Her ar tworks are sometimes exhibited, sometimes collected, sometimes abandoned. This work is a cheque drawn by the ar tist as her way of donating money to Asia Ar t Archive.

何倩彤的平面作 品 常 將 鉛 筆、石 墨 和 水彩與現有的圖 案 混 合,包 括 使 用 拾 得 及現成的貼紙、地 圖、圖 示、橡 皮 印 章 和年表。在經常 被 視 為 客 觀 的 歷 史 背 景 下,藝術家以重新 詮 釋 的 方 式 敘 述 那 些 地點、關係和時 間 的 故 事。何 倩 彤 亦 有 創作錄影作品及 透 過 不 同 專 案 闡 釋 和

擴展不同敘事的 構 架。她 的 作 品 有 時 被 展出、有時被收 藏、有 時 被 遺 棄。

這件作品是藝術 家 繪 製 的 一 張 支 票, 向亞洲藝術文獻 庫 捐 款。

HO Sin Tung 何倩彤

A Cheque to AAA 〈給 亞 洲 藝 術 文 獻 庫 的 支 票〉

2015 Pencil and ink on paper 紙本鉛筆和水墨

16 x 8.3 cm

Estimate 估 價 HK$8,160 US$1,000 Generously donated by the artist 由藝術家慷慨捐贈

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Sadaharu HORIO 堀 尾貞治

Untitled 〈無 題〉

1989 Water paint on paper, relined on canvas 紙本水性顏料、畫布

63 x 46 cm

Estimate 估價 HK$45,000 ­­– 60,000 US$5,800 ­­– 7,700 Generously donated by Axel Vervoordt Gallery 由 Axel Vervoordt畫廊 慷慨捐贈

A relatively late member of the Gutai movement, Sadaharu Horio has kept up with their avant-garde spirit. His practice involves turning all actions— from the moment he wakes up until he goes to sleep—into ‘ar t’. Horio calls these actions ‘ordinary things’; yet even ordinary things, when continued every day, become no longer ordinary. As Atsuo Yamamoto, the curator of the Museum of Modern Ar t in Shiga, Japan, notes, ‘The idea of creating so many drawings are connected to the issue of life and time. All his works are done under the one theme: to make “invisible” visible. He always tries to grasp air (emptiness) or time, so essential for human beings and yet hard to recognise.’

作 為「具 體」藝 術 運 動 後 期 的 成員,堀 尾 貞治 依 舊 保 持 着 他 們 的 前 衛 精 神。他 的 實 踐 包 括 將 從 醒 來 到 入 睡 之 間自己所 有 的 行 動 都 納 入 到「藝 術」中。堀 尾 把 這 種 行 為 稱 為「普 通 之 事」。然 而 儘 管 是 普 通 之 事,當 每 天 持 續 便 不 再 普 通。 正 如日本 滋 賀 縣 立 近 代 美 術 館 的 策 展 人 山 本 篤 夫 所 言: 「創 作 如 此 之 多 繪 畫 的 想 法 與 生 活 和 時 間 密 切 相 關。他 所 有 的 作 品 都 在 一 個 主 題 之 下 完 成:使『不 可 見』可 見。他 總 是 嘗 試 抓 住 空 氣(空 虛)或 是 時 間,它 們 對 人 類 而 言 是 如 此 的 至 關 重 要 卻 依 舊 難以辨 識 。」

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Hu Yun, a young Shanghai-based ar tist, has a diverse ar tistic practice ranging from graphite and watercolours to performance, video, and installation. He is fascinated by the ways in which museums embrace to bring the audience back to cer tain contexts, which frequently leads him to borrow from museological techniques in order to prompt people to reflect on the relationship between the objects displayed and themselves. Adept at mobilising various personal and historical experiences, he frequently incorporates previously produced materials into his ar tworks; as a consequence, it is impossible to consider any of Hu’s works in isolation since they all share a common theme, an element of foreshadowing, and they are all conceptually interconnected.

來自上海的年輕 藝 術 家 胡 昀 具 有 多 元 化的藝術實踐,從 繪 畫、水 彩、到 行 為、 錄像和裝置。藝 術 家 非 常 關 注 博 物 館 將觀眾 帶回某個特 定 語 境 的 方 式, 通常他會借用博 物 館 學 的 展 示 技 巧, 來促使人們反思 展 品 與自身間 的 聯 繫。 他擅長調動來自個 人 和 歷 史 的 經 驗, 常常納入以往製作 過 的 材 料。因 此 無 法

HU Yun 胡昀

Buy us, Burn us, Free us 〈買 下 我 們,點 燃 我 們,解 放 我 們〉

2011 Matches, wax, iron plate 火柴、蠟、鐵板

孤立地看待胡昀 的 每 一 件 作 品。他 們 都

15 x 15 x 15 cm

享有共同的話題,他 們 都 是 有 所 預 設、

Edition 版 數 9 / 50


Estimate 估 價 HK$10,000 –­­ 20,000 US$1,300 –­­ 2,600 Generously donated by the artist 由藝術家慷慨捐贈

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HUANG Yan 黄岩

Porcelain Skull 2006 Yellow/multi-coloured hand-painted porcelain 黃色/混合色手繪瓷器

14.5 x 16 cm

Estimate 估價 HK$20,000 ­­– 30,000 US$2,600 ­­– 3,900 Generously donated by Pékin Fine Arts


Well-known for drawing upon the techniques and aesthetics of ancient Chinese traditions, Huang Yan’s contemporary ar tistic practice frequently involves the body. The ar tist had earlier created a series of landscape paintings on the human body entitled Chinese Landscapes; these were photographed, therefore creating a performance, painting, and photograph all in one. The work here, par t of his Skulls series, has floral patterns and landscape imagery similar to Ming dynasty porcelain ware, but the objects Yan has painted imply a stark contrast to the decorative bowls and dishes of the Ming.

眾 所 週 知,黃 岩 善 於 運 用 中 國 古 代 技 藝 和 美 學 傳 統。他 的 當 代 藝 術 實 踐 常 常 涉 及身體。藝 術 家 早 期 曾 在 人 體 上 創 作了一 系 列 題 為《中 國 風 景》的 繪 畫 作 品,進 行 攝 影 記 錄,由此 進 行了行 為、 繪 畫 及 攝 影 為 一 體 的 創 作。這 件 作 品 是 藝 術 家《顱 骨》系 列 的 一 部 分,上 面 的花卉圖案與景觀意境與明代瓷器上 的 相 似。然 而,黃 岩 所 繪 之 物 卻 與 明 代 裝 飾 性 的 碗 碟有 着 鮮 明 的 對比。

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The youngest member of the Gutai group, Norio Imai is known for his all-white works where he stretched canvases tautly onto frames, covering objects that were only sometimes recognisable and giving a restless energy to the works. Imai was inspired by discarded, cone-shaped metal moulds that were used to create speaker housings. He also created smaller paper reliefs in a similar style, manipulating the surface by embossing and punching holes into the paper. The work here is a significant piece that has never been seen in public before; The work was framed by the ar tist.

作為「具體美術 協 會」最 年 輕 的 成員, 今井祝雄因他全白的 作 品 而 出 名。在 這 些作品中,他把 畫 布 緊 緊 地 繃 在 畫 框 上,布面上覆蓋 着 是 有 時 可 依 稀 辨 識 的 物體,這帶給作 品 無 盡 的 能 量。今 井 的 靈感來自於曾被 用 於 打 造 音 響 外 殼 的、 被丟棄的錐形金 屬 模 子。他 巧 妙 地 在 紙張表面壓花和 打 孔,創 作了相 似 風 格 的小型紙質浮雕。這 件 作 品 是 從 未 在 公開場合展現過 的 優 秀 作 品。作 品 也 是 由藝術家鑲框的。

Norio IMAI 今井祝雄

White Piece – M 1967 Embossing and punching on paper / 1 piece / 1 hole 紙 上 壓 花、打 孔 / 一件/一個洞

22 x 27.1 x 3.3 cm

Estimate 估 價 HK$40,000 –­­ 60,000 US$5,100 –­­ 7,700 Generously donated by Parkview Art Hong Kong 由香港芳草地當代藝術 畫廊慷慨捐贈

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Suyoung KIM 金壽映

Plants Drawing 03 2003 Oil on paper 紙本油畫

36 x 34.9 cm

Estimate 估價 HK$20,000 ­­– 30,000 US$2,600 ­­– 3,800 Generously donated by ONE AND J. Gallery and the artist 由 ONE AND J. Gallery和 藝術家慷慨捐贈

Suyoung Kim’s oeuvre frequently involves large-scale paintings of highrise buildings and apar tments with repetitive reflections and colours. Their lack of proper perspective and geometrical lines creates planes with conceptual signs that offer a compelling interplay between the concrete and the abstract. The abstract depiction of light and the reflection results in changing perceptions via the ar tist’s subtle use of colour. Despite the flatness, this work here succeeds in creating an expansion of new space.

金壽映的作品常常是高層建築和公寓 的 大 幅 繪 畫,有 着 重 複 的 反 射 和 顏 色。 它們缺乏的正確視角和幾何線條卻 創 造 出 充 滿了概 念 符 號 的 平 面,恰 恰 又 呈 現 出 具 象 與 抽 象 間 引 入 注目的 互 動。借 助 藝 術 家 對 色 彩 的 巧 妙 使 用, 光 線 的 抽 象 描 述 和 反 射 導 致了感 受 的 變 化。儘 管 它 是 平 面 的,作 品 成 功 地 擴 展了新 空 間。

LOT 拍賣編號


Ko Sin Tung is an emerging ar tist who investigates—through a myriad of mediums and materials—the shifting values of domesticity and private objects, fleshing out their psychological impact and idiosyncratic functions. The sun is not here is an archival inkjet print of an aggrandised and purposely pixelated black and white picture, showing a centrally-figured sunrise. Using a computer mouse, the ar tist depicts an expansive cross that takes the centre of the sun as its axis, thus rendering the manual act of depiction inaccurately circuitous and ambiguous. A response to contemporary social phenomena, the work follows the ar tist’s interest in light and yet presents an alternative to her focus: paradoxical to its omnipresent significance as a symbol of hope, the sun now manifests a vulnerable futility in this specific context.

高倩彤是一位新 晉 香 港 藝 術 家。透 過

不同的媒材,她探 究 生 活 與 私 密 物 品 之 間互相形塑的價 值 觀、它 們 在 人 們

身上所投射的心 理 作 用、以及 個 人 賦 予 物品的特殊功能。她的 新 作〈太 陽 不 在 這裏〉是一幅經 放 大 和 刻 意 像 素 化 的 黑白收藏級噴墨 打 印 作 品,呈 現 一 個 置中的日出。藝 術 家 運 用 電 腦 在 圖 像 上 繪畫上一個交叉,並以太 陽 的 軸 心 為 交叉定位。透過 滑 鼠 去 繪 畫,令 手 的 操作變得間接而 不 確 定。作 品 是 藝 術 家 對現時社會狀況 的 一 種 回 應,一 如 概 往 的是她 對「光」的關 注,但 與以往 藝 術 手法迴異之處在 於 新 作 所 呈 現 的 悖 論 : 日出貫切了它象 徵 希 望 的 普 遍 意 義, 卻在特定的場景 下 變 得 脆 弱 無 力。

KO Sin Tung 高倩彤

The sun is not here 〈太 陽 不 在 這 裏〉

2015 Archival inkjet print 收藏級噴墨列印

78 x 108 cm

Estimate 估 價 HK$35,000 –­­ 50,000 US$4,500 –­­ 6,400 Generously donated by Edouard Malingue Gallery and the artist 由馬凌畫廊和藝術家 慷慨捐贈

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KONG Chun Hei 鄺鎮禧

Brick VII 2015 Ink on paper mounted on board 紙本水墨、硬紙板

21.5 x 9.8 x 6 cm

Estimate 估價 HK$35,000 ­­– 45,000 US$4,500 ­­– 5,800 Generously donated by Gallery EXIT and the artist 由安全口畫廊和藝術家 慷慨捐贈

Kong Chun Hei’s practice rejects the conventional perspective on reality. His monochromatic drawings of everyday objects are not mere imitations but are reflective of a state of mind. The ar tist lets the subjects dictate the markings on paper and the pen strokes, derived from his strenuous scrutiny of the details. In the process of delineation, the ar tist enters an alien territory that permits a relearning of the object with a detached spirit. Every peculiarity is recorded in an attempt to liberate the subject from symbolism. When discussing the Brick series, Kong says: ‘It is not meant to be possessed, nor to be superimposed with anything. That is just an object without depth.’

鄺鎮禧的藝術實踐通過拒絕傳統的 角 度 來 展 現 現 實。他 的 單 色 畫 作 中 的 日常 生 活 事 物 不只是 模 仿 真 實,而 是 一 種 心 理 狀 態。藝 術 家 讓 他 的 物 件 主 題 決 定 畫 紙 上 和 筆 畫 上 的 線 條 及 細 節。 在 描 繪 的 過 程 當 中,藝 術 家 走 進 另 一 個 空 間,用 分 離 的 態 度 重 新 體 會 物 體。 每一個特點都被仔細的紀錄作為一種 企 圖 把 事 物 從 象 徵 意 義 中 解 放 出 來。 鄺 鎮 禧 曾 就 這 件 作 品 說 過: 「不 是 把 甚 麼 擁 為己有,也 不 是 要 帶 給 它 們 一 些 甚 麼,那 是 沒 有 深 度 的 物 體。」

LOT 拍賣編號


Il Lee’s limited edition prints have been created in discrete sets with themes that build on diverse explorations of mark-making. PDG2 is evocative of II’s signature monumental ballpoint work. As his large-scale works on canvas and on paper suggest at once the monumental and the fundamental dynamism of nature, these prints convey scale and movement beyond the possibilities their modest formats suggest.

基於創作痕跡多 樣 化 探 索 的 主 題,

II Lee的限量版版 畫 形 成了離 散 式 的 集合。 〈 PDG2〉喚 起了 Lee標 誌 鮮 明、 大型的原子筆作 品。雖 然 他 的 大 幅 油畫布上和紙上 作 品 即 刻 顯 示 出

大自然不朽且根 本 的 動 力,這 些 版 畫 則傳播了超越其 不 張 揚 形 式 揭 示 可 能 性之外的規模和 運 動。

Il LEE PDG2 2011 Etching on paper 紙本蝕刻

Image size 圖 像 尺 寸 32.4 x 62.9 cm Paper size 紙 張 尺 寸 56.8 x 74.9 cm Edition 版 數 6 / 20 Estimate 估 價 HK$35,000 –­­ 40,000 US$4,500 –­­ 5,100 Generously donated by Art Projects International and the artist 由 Art Projects International 和藝術家慷慨捐贈

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Lindy LEE 李林迪

Flowers Fall 〈花 落〉

2009 Bronze 青銅

160 x 125 cm

Estimate 估價 HK$120,000 ­­– 140,000 US$15,400 ­­– 17,900 Generously donated by 10 Chancery Lane Gallery and the artist 由 10號贊善里畫廊和 藝術家慷慨捐贈

For Lindy Lee, the use of materials, images, and processes in her work can be seen as a metaphor for the porous nature of ‘being in the world’. In Flowers Fall, she throws molten bronze to create a kaleidoscope of objects somehow both figurative and abstract, in a way that references the traditional splashing of ink on paper. The metal splats form a balance mirrored by their imperfections, seemingly pushing and pulling each other within their composition. ‘The fire of the dragon is the “Treasure of Infinite Potentiality”—it is also the fire of being. In my latest works, I use fire to invoke something direct and elemental about our existence. We are accustomed to thinking of ourselves as outside the laws of nature because to a cer tain degree we can control her laws to our advantage but in reality we can never step outside. The laws are fabric to what we are.’ — Lindy Lee

對 李 林 迪 而 言,她 作 品 中 使 用 的 材 料、 圖 像 和 過 程 可以被 看 作 對「存 世」鬆 散

性 的比喻。在 作 品〈花 落〉中,她用 熔 融 的 青 銅「潑」出 一 個 總 是 時 而 具 象、時

而 抽 象 的 萬 物 萬 花 筒,以某 種 方 式 連 繫 水 墨 畫 的 傳 統 潑 墨。這 些 金 屬 熔 塊 形 成 的 平 衡,反 映了它 們 組 合 中 彼 此 拉 鋸 的 不 完 美 性。 「龍 之 火 是『無 限 潛 能 之 財 富』— 它 也 是 存 在 之 火。在 我 最 新 的 作 品 中,我 使 用火喚起某些關於我們存在的直接的 和 最 基 本 的 事 物。我 們 習 慣 性 地 認 為 我 們自身處 於自然 法 則 之 外,因 為 在 某 種 程 度 上 我 們 能 夠控 制 她的 法 則 來 為 我

們 所 用,而 事 實 上 我 們 無 法 置身世 外。 自然 之 法 是 構 成 我 們 之 物。」— 李 林 迪

LOT 拍賣編號


The paintings in this series depict winter landscapes in Gotjawal Forest on Jeju Island. Coupled with his disciplined process of observing his subject and a keen eye for detail, Lee has mastered a highly refined method of applying paint using quick brushstrokes and overlapping touches, in addition to using a broad spectrum of unique tools such as knives and needles to alternately smooth and scrape the paint on the canvas. His works reveal sublime moments, eliciting a personal response in each viewer.

這一系列繪畫作 品 中 描 繪 的 是 濟 州 島 谷沯 凹樹林冬季的 景 觀。憑 着 他 觀 察 對象的嚴格過程以及 對 細 節 苛 求 的 眼光,李光鎬掌 握了使 用 快 速 筆 畫 和 交疊筆觸的高度 精 細 的 繪 畫 方 式。 藝術家使用不同 的 獨 特 工 具 如 小 刀 和 針頭,在畫布上 交 替 地 抹 勻和 刮 去 塗

料。他的作品揭 示 着 莊 美 的 時 刻,引 發 出每個觀者個人 的 回 應。

LEE Kwang-ho 李光鎬

Untitled 0808-1 〈無 題 0808-1〉

2014 Oil on canvas 畫布油畫

60.6 x 72.7 cm

Estimate 估 價 HK$35,000 –­­ 50,000 US$4,500 –­­ 6,500 Generously donated by Kukje Gallery and the artist 由 Kukje畫廊和 藝術家慷慨捐贈

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Kwangho LEE 李廣浩

The Moment of Eclipse 2014 Authentic Korean enamel 正宗韓國琺瑯

30 x 5.5 cm

Estimate 估價 HK$20,000 ­­– 30,000 US$2,600 ­­– 3,800 Generously donated by ONE AND J. Gallery and the artist 由 ONE AND J. Gallery和 藝術家慷慨捐贈

This work creatively utilises authentic Korean enamel and copper. Kwangho Lee is well known for his unique manipulations of everyday objects and natural materials such as Styrofoam, PVC pipes, hemp, garden hoses, and electric wires. Heavily influenced by his grandfather, who invented handmade household items from leftover materials from his farm, Lee’s practice emphasises the integration and exploration of multiple mediums. This work is from his beautiful series utilising traditional Korean lacquer on natural materials.

這 件 作 品 通 過 創 意 的 手 法,運 用 正 宗 的 韓 國 琺 瑯 和 銅 製 作 而 成。李 氏以對日常 物 件 和自然 材 料(如 發 泡 膠、PVC管 材、 麻、橡 膠 軟 管、以及 電 線 等 材 料)獨 一 無 二 的 處 理 手 法 而 著 稱 。他 的 祖 父 總 是用農場找到的廢棄材料創造出很多 手 工 家 居 用 品,李 廣 浩 深 受 其 影 響。 他的藝術實踐強調多種媒介的融合與 探 索。這 件 作 品 來自他 把自然 材 料 和 傳 統 韓 國 漆 結 合 的 系 列。

LOT 拍賣編號


Lin Yilin’s conceptual practices have always been an energetic and witty mingling of social architecture and everyday life. He is recognised for a practice that embraces sculpture, installation, and photography, to live action and video featuring outdoor performances. This piece was made in the Civitella Ranieri during his time there as an ar tist-in-residence. It serves to reflect on the situation of intellectuals in history and in current society through connecting Eastern and Western architectural elements —inspired from the merging of the cultures of feudal society, the Chinese Cultural Revolution, and the culture of globalisation. The plaque imitates the one at the Mountain Resor t in Chengde, the Qing Dynasty’s summer palace. The performance is very simple: the ar tist just stands in the middle balcony of the front of castle with a large plaque hung on his neck.

林一林的觀念實 踐 總 能以一 種 充 滿

LIN Yilin

活力又機智的方 式 將 社 會 結 構 與日常


生活結合起來,他 使 用 的 創 作 媒 介 包

Mountain Resort

括雕塑、裝置、攝影、現場行為以及記錄 戶外行為作品的 錄 像。這 件 作 品 是 藝 術家在 Civitella Ranieri作 駐 場 藝 術 家 時 的創作作品。作品 從 封 建 社 會、中 國 的 文革、以及當代 全 球 文 化 的 交 融 中 獲 得 靈感,通過連結東 西 方 建 築 元 素 來 反 映 知識份子在歷史和 當 下 社 會 中 的 境 遇。 牌匾是依承德清代 皇 帝 的 夏 季 行 宮 「避暑山莊」而 複 製。行 為 非 常 簡 單: 藝術家獨自站立 在 城 堡 正 面 中 間 的 陽台,用繩索把 牌 匾 掛 在自己的 頸 上。

〈避 暑 山 荘〉

2013 Chromogenic colour print C 型沖印 90 × 60 cm

Estimate 估 價 HK$50,000 –­­ 65,000 US$6,400 –­­ 8,300 Generously donated by the artist 由藝術家慷慨捐贈

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LIU Jianhua 劉建華

Regular Fragile — Still Objects 〈日常 · 易碎—靜物〉

2002–2003 Porcelain 陶瓷

72 x 43 x 30 cm Unique edition 獨版

Estimate 估價 HK$120,000 ­­– 140,000 US$15,400 ­­– 17,900 Generously donated by the artist


A renowned sculpture and installation ar tist, Liu Jianhua references economic and social changes in China. His Regular Fragile series, first shown at the Chinese Pavilion in the 50th Venice Biennale in 2003, was composed of porcelain replicas of familiar objects that privilege appearance and symbolism over function. With this earlier work, the displacement of such everyday objects into an ar tistic context creates a different background, space, and viewing experience, triggering various emotions such as happiness, anguish, excitement, illusion, mystery, fear, and so for th. Moreover, the hard and yet fragile surface of the ceramic hints at the transitory nature of forms and ideals in the real world, a world full of uncer tainty and illusion.

作 為 著 名 的 雕 塑 和 裝 置 藝 術 家, 劉建華時刻回應着中國經濟和社會的 變 革。2003年 首 次 在 第 五 十 屆 威 尼 斯 雙 年 展 中 國 館 中 展 出 的《日常 ·易 碎》 系 列 作 品 中,藝 術 家 將日常 用 品 複 製 成 為 外 表 和 象 徵 意 義 大 於 實 用 性 的 物 品。 這 件 較 早 期 的 作 品 將日常 生 活 用 品 重 新 放 置 在 藝 術 語 境 中,創 造 出 不 同 的 環 境、不 同 的 空 間 和 不 同 的 觀 者 體 驗, 又 產 生 出 截 然 不 同 的 感 受:快 樂、 痛 苦、興 奮、夢 幻、隱 密、恐 懼 等。同 時, 瓷 器 表 面 堅 硬 且 易 碎 的 特 性,似 乎 意 味 着現實中各種方式和幻想轉瞬即逝的 性 質,以及 一 個 充 滿了不 確 定 性 和 虛 幻 的 世 界。

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As a careful observer of the world and an introspective thinker, Lou Shenyi’s creative work has evolved accordingly with his experience of truth unchanged. Lou adopts all kinds of creative forms to get closer to the real world, the recognition of ordinary things, and expectations of the unknown life. ‘The dragon is an animal to be highly respected. In fact, in ancient China, the dragon was very auspicious and a symbol of good luck; when engraved in fossils, it becomes a treasure. Painted in watercolour, it shows harmony with the landscape and the high stature of its nature.’— Lou Shenyi

婁申義是一名會 悉 心 觀 察 周 遭 世 界 的 藝術家,更是一 位 隨 時 的 思 考 者。 因此,他的創作 雖 然 經 歷 過 形 式 風 格 的 變化,但對真實 的 體 驗 卻 從 未 改 變。 他採用各種創作 方 式 描 述 對 現 實 現 象 的審視,對平凡 事 物 的 再 認 識 和 對 生 活 未知可能的期許。 「九龍為尊,中國古 代 吉 祥 之 極 瑞, 刻雕以神氣化石,為 公 填 之 寶。水 彩以 繪之,與景園相 諧,靈 氣自成。」 —婁申義

LOU Shenyi 婁申義

Nine Dragon Rock 〈九 龍 石〉

2014 Watercolour on paper 紙本水彩

78 x 56 cm

Estimate 估 價 HK$20,000 –­­ 30,000 US$2,600 –­­ 3,800 Generously donated by Platform China and the artist 由站台中國和藝術家 慷慨捐贈

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LU Yang 陸揚

Reverse Monitoring — The Ultimate Learning Terminal 〈 BCMI 逆向監控- 究 極 學習終端〉

2010 Inkjet print on canvas 畫布噴墨

106.5 x 170 cm

Edition 版 數 3/8 Estimate 估價 HK$70,000 ­­– 85,000 US$9,000 ­­– 10,900 Generously donated by Beijing Commune and the artist

由北京公社與藝術家 慷慨捐贈

Lu Yang is a talented young ar tist who draws from Japanese manga and anime, digital technology, online gaming culture, neuroscience, religion, and other fields, to create fascinating but disturbing visions of the world. Her various works—didactic-looking posters that turn out to be gruesome, happyseeming videos dealing with death, animated uteruses in contor ted bodily masses—frequently tell twisted tales in a nonchalant way. Here, this work showcases the use of non-intrusive BCI (Brain Computer Interface) technology to monitor a subject’s brain activities during the learning process. Punishment is inflicted in order to develop a conditioned reflex to the point where discipline is achieved quite automatically. The work is thus a product of the ar tist’s interests in biology, technology, and bio-politics.

陸 揚 是 一 位 有 才 華 的 年 輕 藝 術 家,

她 汲 取日本 漫 畫 和 動 漫、數 碼 科 技、

網絡遊戲文化、神經學、宗教、以及其他 領 域,創 造 出 引 人 入 勝 卻 令 人 不 安 的 世 界 景 象。她 的 各 種 作 品 常 常以冷 淡 的 方 式講述怪異的故事─看似說教的海報

成了令 人 毛 骨 悚 然 的 告 示、似 乎 快 樂 卻 討 論 着 死 亡 的 錄 像、肉 體 扭 曲 的 胞 胎 成 為 動 漫 的 主 角。這 件 作 品 展 示了

使 用 非 入 侵 式 的 BCI(腦 機 接 口)技 術, 監 視 測 試 者 在 學 習 過 程 中 的 大 腦 活 動。 施以懲 罰,為 在 可 完 全自動 建 立 起 秩 序 的 節 點 處 形 成 條 件 反 應。因 此 這 件 作 品 是 藝 術 家 對 生 物 學、科 技 和 生 物 政 治 產 生 興 趣 的 產 物。

LOT 拍賣編號


The medium and technique in Mudassar Manzoor’s work are traditional, gouache on wasli, but his theme is current and the size of his works completely different from traditional Mughal and Persian miniatures. Manzoor’s work is large-scale; he wants to engage viewers immediately, from a distance, not just close up. ‘The conversation should begin at a distance and continue as the work is enjoyed at close quarters,’ Manzoor says. As Salima Hashmi notes: ‘The palate takes its cue from the artist’s intent. It is gently articulated, with tonal gradations, culminating in the “shock of red”. The use of red is symbolic here. Its seductiveness plays a crucial role, indicating blood and continuity.’

Mudassar Manzoor在 作 品 中 使 用 傳 統 的 媒介和技術,即 於 wasli紙 上 創 作 水 粉 畫,但他的主題 卻 是 當 下 的。作 品 的 尺 寸與傳統的蒙兀 兒 和 波 斯 細 密 畫 也 截 然不同。Manzoor的 作 品 是 大 型 的,他 希望能夠 立刻吸引 觀 眾的目光,從 遠

: 話 處而不是近距離。Manzoor說 過「對 應從相應的距離 之 外 就 開 始 並 繼 續, 就如同近距離欣 賞 作 品 一 樣。」正 如

Salima Hashmi指出: 「色 彩 取 決 於 藝 術 家的意圖。它輕輕 地 表 達 着 、伴 隨 着 漸 變的色調,最終 形 成了『紅 色 震 撼』。紅 色的使用在此是 富 象 徵 性 的。它 的 誘 惑力起了至關重 要 的 作 用,暗 示 血 液 和 連續性。』

Mudassar MANZOOR Untitled 〈無 題〉

2007 Gouache on wasli paper 水 粉、wasli 紙 本 48.26 x 50.8 cm

Estimate 估 價 HK$35,000 –­­ 45,000 US$4,500 –­­ 5,800 Generously donated by Gandhara-Art 由 Gandhara-Art慷慨捐贈

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Naeem MOHAIEMEN At Susan B Anthony’s Grave 2014 Digital C print C 型沖印 36 x 28 cm

Edition 版 數 1/3 Estimate 估價 HK$10,000 ­­– 20,000 US$1,300 ­­– 2,600 Generously donated by the artist


Naeem Mohaiemen researches postcolonial markers through essays, films, and mixedmedia installations about borders, war, and belonging. In The Young Man Was project, he explores the tragic utopia of 1970s revolutionary movements.Various chapters include ‘United Red Army’, ‘Afsan’s Long Day’, and ‘Last Man in Dhaka Central’; the latest chapter, presented at the 56th Venice Biennale (2015), follows a Dutch journalist jailed after the 1975 soldiers’ mutiny in Bangladesh, and is regarded as a ‘second wave of history writing’ about Bangladesh. This work At Susan B Anthony’s Grave looks into the American social reformer and feminist who played a pivotal role in the women’s suffrage movement. Stumbling on an iconic feminist’s grave while in upstate New York. I say stumbled because there were barely any announcements. Our tour guide did not think it important enough. At least she still merited a whisper. Frederic Douglas grave did not even rate a mention. Did I remember to speak out loud the name of the cemetery? It is Hope. Mount Hope.

Naeem Mohaiemen通過文章、影片和混合 介質的裝置,就關於邊界、戰爭及歸屬感 研究後殖民時代的里程碑。在《The Young

Man Was》項目中,他探索了二十世紀七 十年代革命運動的悲劇烏托邦。各個章節 包括了〈United Red Army〉、 〈Afsan’s Long

Day〉、以及〈Last Man in Dhaka Central〉。 2015年威尼斯雙年展中展出了項目的最新 章節,追蹤了一名在1975年孟加拉國軍人 譁變後被監禁的荷蘭記者,這被視為孟加 拉國「歷史書寫的第二次浪潮」。作品〈At

Susan B Anthony’s Grave〉審視了一名美國 的社會改革者和一名在婦女投票權運動中 扮演了舉足輕重角色的女權主義者。 在紐約北部,偶遇女權主義代表人物的墓。 我說是偶遇,因為那裏幾乎看到不到任何公告, 我們的導遊認為它無足輕重。 至少她低語,弗雷德里克•道格拉斯的墓都沒 提及。 我記得大聲說出墓地的名字了嗎? 是希望。 希望之山。

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Buddhadev Mukherjee uses drawing as his primary medium. During an artist residency in China he explored Chinese xuan paper and the specific form of working with it. He uses Chinese ink and watercolour for his drawings and is highly interested in traditional Chinese art, its two-dimensionality and figuration. In crafting his figures, Mukherjee explores his socio-cultural environment: ‘The gestures, postures, and the physicality of my figures certainly have a deep connection with the observation of my own culture and people,’ he says. ‘They are full of hidden dramas. Through the “body language” of my drawings, I explore those hidden dramas and perhaps the complex psyche of my people.’

Buddhadev Mukherjee使 用 素 描 作 為 他 主要的創作媒介。在 中 國 的 駐 場 藝 術 家 計畫期間,他鑽研了中 國 的 宣 紙 及 其 獨 特的使用方式。他 開 始 在自己的 素 描 中 使用中國水墨和水 彩,並 對 中 國 傳 統 藝 術的二維性和圖案 表 現 法 有 着 極 高 的 興趣。在起草形象 時,他 深 究自己的 社 會文化環境: 「我 的 人 物 的 手 勢、姿 勢 和身體特徵,一定 與 我 對自身文 化 和 同 胞的觀察有着密不 可 分 的 聯 繫。他 們 的 背後隱藏着許多故 事。通 過 我 素 描 中 的 『身體語言』,我 發 掘 着 那 些 隱 藏 的 故事,這也許反 映 我 同 胞 們 的 複 雜 心理。」

Buddhadev MUKHERJEE Man 9 (left) Man 11 (right) 2013 Chinese watercolour, ink, and gold dust on Chinese xuan paper 中 國 水 彩、水 墨、 宣 紙、金 粉

20.3 x 20.3 cm

Estimate 估 價 HK$6,000 –­­ 10,000 US$800 ­­– 1,300 Generously donated by Galerie Mirchandani + Steinruecke and the artist 由 Galerie Mirchandani + Steinruecke 和藝術家 慷慨捐贈

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Murad Khan MUMTAZ Ghosts XI 2013 Natural pigments and opaque watercolour on dollar bill 美元紙鈔、天然色素和 不透明水彩

6.35 x 15.56 cm

Estimate 估價 HK$15,000 ­­– 25,000 US$1,900 ­­– 3,200 Generously donated by Tracy Williams Ltd and the artist 由 Tracy Williams Ltd和藝術 家慷慨捐贈

Murad Khan Mumtaz’s work addresses themes of Western powers, globalisation, and colonialism through both miniaturist paintings and interventions on culturally significant objects. In his Ghosts series, Mumtaz paints directly on dollar bills. These works manifest as imagery that simultaneously present an imagined past and future. They speak to the reduction of Native American history to a romanticised narrative, the existence of the sacred in the visual language of symbols, and shared traditions between different cultures. Mumtaz connects history to the present, reflecting on the omnipresence of Western power across the world and the way it relates to globalisation and neocolonialism.

透過微型繪畫和針對重要文物的介 入,Murad Khan Mumtaz的 作 品 探 討 西 方 列 強 的 勢 力、全 球 化 和 殖 民 主 義 的 議 題。在《 Ghosts》作 品 系 列 中,Mumtaz 直 接 在 一 美 元 紙 幣 上 作 畫。這 些 作 品 以同 時 展 現 想 像 的 過 去 和 未 來 的 圖 像 形 式 呈 現。他 的 作 品 涉 及 不 同 的 議 題, 包 括:把 北 美 原 住 民 的 歷 史 簡 化 為 浪 漫 主 義 化 的 敘 述,視 覺 語 言 符 號 中「神 聖」的 存 在,以及 不 同 文 化 間 共 有 的 傳 統。Mumtaz將 歷 史 與 現 況 連 接,反 映 世 界無所不在的西方勢力和它涉及全球 化 和 新 殖 民 主 義 的 方 式。

LOT 拍賣編號


Nie Ou is an ar tist living in Beijing noted for her Chinese ink paintings, which primarily focus on peasant life. Por traying the lively countryside and amiable villagers, the ar tist draws from her real-life experience in the countryside in the 1970s during the Cultural Revolution. Her technique merges traditional ink methods and landscape elements with hardworking villagers. Twilight is one of Ou’s rare oil paintings, a medium she first encountered as a student at the Beijing Youth Palace. Here the ar tist demonstrates unwavering maternal love: the mother and child at the bottom right of the painting suggest a joyous relationship in a self-contained world, while the haystack and donkey complete the rustic scene. A mood of calm nostalgia pervades the rich, dark painting, with occasional touches redolent of a sensibility usually found in ink paintings. 

聶鷗是一位居住 在 北 京 的 女 性 藝 術 家, 以中國水墨畫聞名。作 品 主 要 關 注 農 民

的生活。對生動 的 鄉 村 和 友 善 的 村 民 們 的刻畫,是藝術 家 對自己 20世 紀 70年 代

文革中的真實鄉 村 生 活 經 歷 的 描 繪。 她的技藝融合了傳 統 水 墨 畫 法、風 景

元素以及勤勞的村 民 們。 〈 Twilight〉是

聶鷗少有的油畫 作 品 之 一,她 當 初 讀 書 時在北京少年宮 初 次 接 觸 到 油 畫。

在這裏,藝術家 展 示了強 烈 的 母 愛: 畫中右下角的母 親 和 孩 子 顯 示 出 在 這 個獨立世界裏的 愉 悅 關 係,而 草 堆 和 毛驢使質樸的場 景 變 得 完 整。平 靜 的 懷舊情懷瀰漫在 濃 郁、幽 深 的 筆 觸 中, 偶有幾筆散發出 水 墨 特 有 的 感 性。 這件作品展示出 聶 鷗 除了中 國 傳 統 繪畫技藝之餘,也 輕 鬆 拿 捏 油 畫 繪 畫。

NIE Ou 聶鷗

Twilight 1991 Oil on canvas 油畫

50 x 60 cm

Estimate 估 價 HK$40,000 –­­ 50,000 US$5,100 –­­ 6,400 Generously donated by Red Rock Studio 由石紅齋慷慨捐贈

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Nortse 諾次

MANDALA II 〈曼 荼 羅(二)〉

2014–2015 Mixed media 混合媒介

100 x 100 cm

Estimate 估價 HK$45,000 ­­– 60,000 US$5,800 ­­– 7,700 Generously donated by Rossi & Rossi and the artist

由羅西畫廊畫廊和 藝術家慷慨捐贈

Nor tse’s oeuvre tackles issues that may not be unique to Tibet: global warming, environmental degradation, overpopulation, youth alcoholism, the erosion of culture and tradition, and the desire to establish one’s own identity in a world of mass media. Given the recent history of Tibet, however, these issues are addressed with extra urgency and poignancy. Throughout his career, Nor tse has manipulated a range of ready-made objects in order to work through the effects of cultural change and industrialisation. His new focus— very cheap cutlery made from a toxic porcelain-like plastic material—draws our attention to the damage inflicted by mass production and consumer culture on the well-being of humanity. In Mandala II, a Tibetan cosmic diagram is subdued under the forces of a series of geomantic lines, revealing a new world order where malign, mass-produced products dominate.

諾次的作品所涉及的問題並不僅是西 藏 獨 有 的:全 球 氣 候 暖 化、環 境 惡 化、

人 口 過 剩、青 少 年 酗酒、文 化 和 傳 統 的

被 侵 蝕、在 充 斥 着 大 眾媒 體 的 世 界 而 建 立自我身份 的 渴 望。然 而 鑑 於 西 藏 近 期

的 歷 史,這 些 問 題 有了更 強 烈 的 緊 迫 感 和 尖 銳 性。在 他 的 創 作 生 涯 中,諾 次 廣 泛地使用現成物品來探索文化變遷和 工 業 化。他 新 的 關 注 點 是 廉 價、有 毒 仿 磁 塑 膠 餐 具,讓 我 們 意 識 到 大 量 生 產 的 消 費 文 化 正 破 壞 着 人 類 的 福 祉。在 作 品 〈曼 荼 羅(二)〉中,一 幅 西 藏 佛 教 壇 城 圖 被 一 系 列 的 幾 何 線 條 壓 制 在 下。藝 術 家 藉 此 揭 露 全 新 的 世 界 秩 序,其 中 有 害 的、大 量 生 產 物 的 傳 統 已 成 為 主 導。

LOT 拍賣編號


Chris Ofili rose to prominence in the early 1990s with richly orchestrated paintings which combine rippling dots of paint, drifts of glitter, collaged images, and elephant dung—in a complex narrative about African culture, black stereotypes, history, and exoticism. The limited edition print Study for Ovid— Windfall is taken from a watercolour, charcoal, and pastel drawing for Ofili’s large painting Ovid—Windfall (20112012). For the project, Ofili produced many works alongside choreographers and dancers from The Royal Ballet on sets and costumes for the ballet Diana & Actaeon. The print is accompanied by a special edition ar tist’s book that includes the whole Ovidian series— works on paper, watercolours, and paintings.

二十世紀九十年 代 早 期 克 里 斯 ·歐 菲


利聲名鵲起。他 精 心 繪 製 的 畫 作 結 合


了蕩漾的點點油 彩、閃 爍 的 飄 移、拼 貼

Study for Ovid – Windfall

的圖像和大象的 糞 便 — 都 是 為 詮 釋 關 於非洲文化、對 黑 人 的 成 見、歷 史 和 異 國情調的複雜敘 述。 〈 Study of Ovid—

Windfall〉的限量 印 刷 版 源自於 水 彩、炭 筆和蠟筆的繪畫 作 品〈奧 維 德 - 天 降 驚 喜〉 ( 2011-2012)。該 作 品 曾 在 倫 敦 的 國家美術館展出。針 對 這 個 項目,歐 菲 利跟隨皇家芭蕾 舞 團 的 編 舞 和 舞 蹈 演 員,創作出很多 幅 關 於 芭 蕾 舞 劇《黛 安 娜與阿克泰翁》的 布 景 和 服 裝 的 作 品。 打印作品附有畫 家 的 特 別 版 書 籍,其 中 包括整個奧維德 系 列 — 紙 上 繪 畫、 水彩畫和油畫。

2012 Giclée on paper 紙本藝術微噴

48.5 x 31.5 cm

Edition 版 數 92 / 175 + 25 AP The limited edition print is accompanied by a special edition artist’s book. 限 量 打 印 版,附 有 藝術家的特別版書籍

Estimate 估 價 HK$8,000 –­­ 10,000 US$1,000 –­­ 1,300 -

Generously donated by Victoria Miro 由 Victoria Miro畫廊 慷慨捐贈

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Manisha PAREKH Untitled (Pattern 1) (left) Untitled (Pattern 3) (right) 1995 Ink on paper 紙本水墨

20.3 x 35.5 cm

Estimate 估價 HK$10,000 ­­– 20,000 US$1,300 ­­– 2,600 Generously donated by Aicon Gallery 由 Aicon畫廊慷慨捐贈

Manisha Parekh has a varied ar tistic practice that includes minimal, skilfully executed works in ink and gouache, intricate layered pieces on board, or more ambitious works in the area of conceptual, site-specific installations. The essence of Parekh’s works has always been the fluid rhythmic structure she creates though her use of harmonious forms. These two abstract minimal works are executed in ink in Parekh’s signature, intricately layered style. Exploring the densities, opacity, and transparency of inks and papers, she is fascinated by the life they take on when in contact with various surfaces, seeming almost as if to animate them.

Manisha Parekh的 藝 術 實 踐 涉 獵 廣 泛, 包 括 從 製 作 精 細、簡 潔 的 水 墨 和 水 粉 創 作、板 上 錯 綜 層 疊 的 作 品、及 更 宏 大 及 具 概 念 性 的 特 定 場 域 藝 術 裝 置。通 過 使用和諧的方式而創造出流暢韻律的 結 構 是 Parekh作 品 的 精 髓。這 兩 件 抽 象 簡 潔 的 作 品 用 水 墨 精 巧 地 表 現 Parekh 標 誌 性、錯 綜 層 疊 的 風 格。藝 術 家 探 索 不 同 水 墨 和 紙 張 的 密 度、不 透 明 度 和 透 明 度。當 水 墨 和 水 粉 與 不 同 的 表 面 接 觸 時,這 些 媒 介 仿 如 變 得 活 生 生 起 來。 它 們 所 承 載 的 生 命 令 藝 術 家 著 迷。

LOT 拍賣編號


Dan Perjovschi is an ar tist whose performative and often site-specific drawings blend car toons, graffiti, and commentary on current political, social, and cultural issues. Taking inspiration and material from local popular media, he touches upon the most trying and significant issues that mark our time—economic instability, religious fanaticism, terrorism, nationalism, and consumerism. The drawings here are impressions of Hong Kong in the style of Dan Perjovschi.

作為藝術家,Dan Perjovschi在 其 表 演 性和經常因地制 宜 的 素 描 中 結 合了 卡通、塗鴉、以及 對 當 下 政 治、社 會 和 文化問題的評論。從 當 地 大 眾媒 體 中

獲取靈感和材料,Dan Perjovschi觸 及 標誌我們這個時 代 的 最 困 難 和 最 顯 著 的問題—經濟不 穩 定、宗 教 狂 熱、恐 怖 主義、民族主義、以及 消 費 主 義。這 件 素描作品是 Dan Perjovschi風 格 之 下 對香港的印象。

Dan PERJOVSCHI Hong Kong Drawings, C1 (left) Hong Kong Drawings, C2 (right) 2014 Marker on preprinted graph paper 圖表紙馬克筆素描

21.1 x 29.8 cm

Estimate 估 價 HK$20,000 –­­ 30,000 US$2,600 –­­ 3,800 -

Generously donated by Jane Lombard Gallery and the artist 由 Jane Lombard畫廊和 藝術家慷慨捐贈

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Sopheap PICH Black Blue Relief 2013 Bamboo, rattan, wire, burlap, plastic, bees wax, damar resin, charcoal, natural pigment, oil paint 竹、藤、線材、粗麻布、 塑料、蜂蠟、達瑪樹脂、 炭粉、天然色素、油畫

61 x 60.5 x 5 cm

Estimate 估價 HK$80,000 ­­– 100,000 US$10,300 ­­– 12,800 Generously donated by the artist


Born in Cambodia, Sopheap Pich left the country with his family for the United States as a refugee at the end of the Khmer Rouge’s reign. Returning to Cambodia in 2002, Pich draws his materials—primarily rattan and bamboo—from indigenous sources and uses a traditional weaving technique, constructing organic, open-weave forms that are solid and ethereal, representational and abstract. Blue Black Relief is a continuation of works he star ted in 2012, loosely referred to as Relief and first shown at dOCUMENTA (13), Kassel, Germany. In an effor t to simplify and shed the narratives he had been working with as a sculptor, he focused on the grid as a framework but used natural and ar tificial pigments, combined with beeswax and damar resin, to give textures which evoke different emotions.

Sopheap Pich出身在柬埔寨,和家人 在赤柬政權末期時以難民身份移民 美國。2002年回到柬埔寨後,Pich創作 使用的材料主要是來自本土資源的藤 和竹,運用傳統的編織技藝,設計出有 機的稀鬆織法形態,堅固而縹渺、具 象又抽象。 〈 Blue Black Relief〉延續藝 術家 2012年開始的創作,籠統地稱為 (浮雕)。作品首次在德國第 「 Relief」 十三屆卡塞爾文獻展( 2012)中展出。 藝術家努力簡化和擺脫一直作為雕塑 家的敘述方式,他專注於作為框架的網 格上,使用天然和人工的色素,與蜂蠟 和達瑪樹脂混合,創造喚起不同情感 的紋理。

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Polit-Sheer-Form Office (PSFO) is a China-based ar t collective that imagines a new socialism based on the expansive possibilities of shared experiences. The group’s multi-disciplinary projects address the idea of ‘we’ in a ‘me’ world. They think, talk, travel around, have fun, and so for th, trying to transform political, cultural, economic, everyday life into pure forms by their boundaryblurring practice. PSFO carries on their discussions in factories, farms, schools, famous sites from China’s civil war, ar tist studios, galleries, museums, railway stations, docks, airpor ts, hotels, restaurants, teahouses, and temporary stalls.

政治純形式辦公 室( PSFO)是來自中國 的一個藝術小組。在 共 同 經 驗 的 廣 闊 可 能性基礎上,他 們 想 像 着 新 的 社 會 主義。小組通過 多 學 科 項目在 一 個「我」 的世界中反思「我 們」的 含 義。他 們 思 考、聊天、周遊世界 並 尋 找 快 樂 等 等。 通過界線模糊的 藝 術 實 踐,他 們 試 圖 將 政治、文化、經濟、以及日常 生 活 轉 變 成 純粹的形式。政 純 辦 在 工 廠、農 田、 學校、中國內戰 的 著 名 景 點、藝 術 家 工作室、畫廊、美術 館、火 車 站、碼 頭、 機場、賓館、飯店、茶 館、臨 時 攤 位 等 延續着他們的討 論。

Polit Sheer Form Office 政純辦

Polit-Sheer-Form-18 〈政 治 純 形 式 18〉

2007 Oil on canvas 畫布油畫

150 x 200 cm

Estimate 估 價 HK$190,000 –­­ 240,000 US$24,500 –­­ 31,000 Generously donated by BANK and the artists 由 BANK和藝術家們 慷慨捐贈

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Arin RUNGJANG The Living Are Few But The Dead Are Many 2013 Digital colour photograph 數碼彩色照片

59.4 x 84.1 cm

Edition 版 數 4 / 5 + 1AP Estimate 估價 HK$8,000 ­­– 12,000 US$1,000 ­­– 1,500 Generously donated by Future Perfect and the artist 由 Future Perfect和藝術家 慷慨捐贈

One of Thailand’s most outward-looking and politically conscious ar tists, Arin Rungjang is acutely aware of how social and economic transformation intersects with the private struggles of individuals. Rather than sketching the bigger picture, he is drawn to detail: shadowing the general through encounters with the par ticular. This project concerns 13 orphaned youngsters, born in Kigali during the Rwandan genocide in 1994. In 2011 the ar tist visited them and recorded video interviews about their lives, pasts, present, and futures. The project was commissioned for the 2012 Biennale of Sydney, ‘All Our Relations’.

作為泰國最具開放意識和政治意識的 藝 術 家 之 一,Arin Rungjang敏 銳 地 意 識 到社會和經濟上的變化與私下的個人 奮 鬥 間 的 相 互 交 錯。與 其 描 繪 更 大 幅 的 畫 面,他 沈 溺 於 細 節,遮 蔽 整 體 於 局 部 間 的 衝 突。該 項目涉 及了 1994年 盧 旺 達 大 屠 殺 時 出 生 在 基 加 利、卻 成 為 孤 兒 的 十 三 位 青 年。2011年 藝 術 家 拜 訪了 他 們,用 錄 像 方 式 記 錄 下了關 於 他 們 的 生 活、過 去、現 在 和 未 來 的 採 訪。這 一 項目被 納 入了 2012年 悉 尼 雙 年 展 主 題 《我 們 的 一 切 關 係》。

LOT 拍賣編號


Pinaree Sanpitak’s work explores the female body, distilled to its most basic forms and imbued with an ethereal spirituality. The quiet, Zenlike abstraction of her work owes something to her training in Japan and sets it somewhat apar t from the colourful intensity of much Thai ar t. Her oeuvre is varied and is explored through a variety of media—painting, drawing, sculpture, textiles, ceramics, performance, and culinary ar ts, to name a few. The prints here were created in Darwin, Australia; the print studio invited non-printmakers and included projects with female Aboriginal ar tists. The ar tist created a series of works based on her sculpture installation Womanly Bodies (1998–1999) and one based on a painting Smiling Body (1997). Her experiences with working on different printing plates have led her to explore a variety of materials since then.

Pinaree Sanpitak的 作 品 探 索了女 性身 體,化為極其簡練 的 形 態,透 着 空 靈 飄 渺的神韻。得益於 在日本 的 修 學 經 歷,

她的作品呈現出 一 種 近 乎 禪 修 的 沉靜, 這也使她 的作品在 色 彩 濃 烈 的 泰 國

藝術中顯得別具 一 格。她 的 創 作 多 樣,

Pinaree SANPITAK Smiling Body (left) 1999

Lithograph 平板印刷

56.5 x 48.5 cm

探索了廣泛媒介,諸 如 繪 畫、雕 塑、

Edition 版 數 AP 1 / 20, AP 2

批版畫創作於澳 大 利 亞 的 達 爾 文,

Womanly Body (right)

布藝、陶瓷、表演與 烹 飪 等 等。眼 前 這 這家版畫工作室 邀 請了多 位 非 版 畫 創作者在當地駐 留、工 作,其 中 也 包括邀請當地女 性 土 著 藝 術 家 參 與 的


Lithograph 平板印刷

項目。Sanpitak創 作了基 於 其 雕 塑 裝 置

56.5 x 38.5 cm

《 Womanly Bodies》( 1998-99)的 一 系

Edition 版 數 9 / 25

列版畫作品,另 有 一 件 源自她 的 繪 畫 作 ( 1997)。從 那 時 起, 品〈 Smiling Body〉

她 將藝術實踐延展 到了多 樣 的 版 畫 創

作中,並由此探 索了大 量 的 不 同 材 料。

Estimate 估 價 HK$$80,000 –­­ 120,000 US$10,300 ­­– 15,500 Generously donated by the artist 由藝術家慷慨捐贈

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Mithu SEN No Title 1 2013 Original lithograph 原版平板印刷

Printed on 250g Velin d’Arches paper 250克 阿奇士數位 板 畫紙

70 x 50 cm each

Edition 版 數 7 / 85 Estimate 估價 HK$5,000 ­­– 10,000 US$600 ­­– 1,300 Generously donated by the artist


A painter and a poet, Mithu Sen creates delicate and yet provocative drawings that centre on the space between utterance and comprehension, the void between language and meaning. Her practice stems from a conceptual and interactive drawing background that has extended into video, sculpture, installation, poetry, sound, and performance; she also engages with the language of visual poetry to construct and deconstruct the idea of identity. This limited edition lithograph was produced during a residency at Edition Copenhagen in 2013. Compiled of seven layers, these prints take on a fine draftsmanship spirit and appear as delicate wisps of line embodying the two forms that seem surreally conjoined. 

既 是 畫 家 也 是 詩 人 的 Mithu Sen創 造 精 緻 卻 也 有 挑 釁 的 繪 畫,圍 繞 着 表 達 與 理 解 間 的 空 間、語 言 與 意 義 間 的 空 隙 創 作。藝 術 家 的 實 踐 出自概 念 和 交 互 式 繪 畫 的 背 景,擴 展 至 錄 像、雕 塑、裝 置、 詩 歌、聲 音 和 行 為。她 也 採 用 視 覺 詩 的

語 言 構 建 和 解 構身份 的 概 念。這 一 限 量 版 的 平 版 印 刷 是 藝 術 家 2013年 駐 場 在

Edition Copenhagen工 作 室 時 的 創 作。 作 為 七 層 的 疊 加,這 些 版 畫 呈 現 出 良 好 的 製 圖 精 神,體 現了精 緻 細 膩 的 線 條, 讓 兩 種 形 式 超 現 實 地 連 結 在 一 起。

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Wilson Shieh began his ar tistic practice in the Chinese gongbi (meticulous fineline) style of figure painting, presenting sexuality, role play, costume play, and cultural symbols with contemporary panache. He has in recent years explored other media such as printmaking, acrylic painting, drawing, and collage. This piece, from the Fitting Room series, is a collection of four rock-’n’-roll legends. The paper dolls are old-time toys for girls but here also serve to reminisce on the past. Taking on the theme of the loss of death, these amusing items of enter tainment are transformed into cult relics.

石家豪的藝術實 踐 始 於 工 筆,作 品 內 容 則以當代議題為主,涵 蓋 性 別、角 色、 服裝及文化符號 等 素 材。近 年 創 作 媒 介 包括版畫、塑膠 彩、素 描 及 拼 貼 等。這 件取自《 試身室 》系 列 的 作 品以四 位 搖 滾傳奇為題。穿 衣 紙 偶 是 舊 時 女 孩 們 的 玩具,如今也成了追 懷 傷 逝 之 物。巨 星 之死是作品的主 題,這 些 趣 味 玩 具 也 被 逼變為身亡證書。

Wilson SHIEH 石家豪

Where did you die? 〈你 們 死 在 何 處?〉

2010 Collage and colour pencil on cardboard 紙板彩色鉛筆與拼貼

40 x 100 cm

Edition A Estimate 估 價 HK$50,000 –­­ 70,000 US$6,400 –­­ 9,000 Generously donated by Osage Gallery and the artist 由奧沙畫廊和藝術家 慷慨捐贈

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Valerie SNOBECK Stripped and Blushing (Shelled) 2014 Partially removed print 部分被移除的版畫

121.3 x 84.1 x 4.8 cm

Estimate 估價 HK$100,000 ­­– 120,000 US$12,800 ­­– 15,400 Generously donated by Simon Lee Gallery and the artist 由 Simon Lee畫廊和藝術家 慷慨捐贈

Valerie Snobeck’s intricate, ambitious practice explores our cultural landscape while utilising techniques such as layering, fragmentation, and deconstruction. A representative of a younger generation of conceptual ar tists, the sensual and formal dimensions of her work expose the transcendental qualities of objects and materials. In this work, the coloured image is transferred to sheets of plastic by a process of lamination and separation in recurrent instances of dismantling and depletion. This peeled sheet of plastic with remains of photographic material is a mix of pictorial tropes, containing subtractions as much as accumulations of imagistic information, questioning what constitutes a picture, a photograph, a sculpture, and how a situation is framed and presented.

Valerie Snobeck經 常 利 用 分 層、片段 和 解 構 等 技 法,通 過 錯 綜 複 雜 且 雄 心 勃 勃 的 藝 術 實 踐 探 索 我 們 的 文 化 景 觀。作 為 年 輕 一 代 概 念 藝 術 家 的 代 表,她 作 品 的 感官和外形尺寸顯露出物體和材料的

超 凡 品 質。在 這 件 作 品 中,在 不 斷 反 復 的 拆 解 和 損 耗 的 情 況 下,通 過 層 壓 和 分 離 的 過 程 將 上了色 的 圖 像 轉 印 到 塑 膠 板 上。這 件 被 剝 落 的 塑 膠 板 帶 有 殘 留 的 照 相 感 光 材 料。它 是 形 象 化 的比 喻, 包含着同樣的形象化資訊的減少和 累 積,質 疑 着 是 什 麼 構 成了圖片、 照 相、雕 塑,以及 情 境 是 如 何 勾 畫 並 呈 現 出 的。

LOT 拍賣編號


As a pioneer of contemporary Chinese ar t, Song Dong explores the impermanence and the transience of human endeavour, ranging from performance and video to photography, theatre, and sculpture. Song’s creations have never towered over his life as a normal man. On the contrary, he believes that ‘ar t is life’, where problems of livelihood can turn into works of ar t with distinctive personal features. At the same time, using forms of traditional culture is one of Song’s ways of ‘playing’ as he puts a lot of effor t in revealing himself in many means. In his view, his statements will eventually dilute in daily life. Therefore, Song Dong has a mantra, ‘That which goes undone goes undone in vain. That which is done is done still in vain. That done in vain must still be done.’

作為中國當代藝 術 的 先 鋒,宋 冬 從 表 演 和錄像到攝影、戲 劇 和 雕 塑 中 探 究 人類努力的無常 與 短 暫。宋 冬 的 藝 術 創作從來不高踞 於 他 作 為 普 通 人 的 生活,相反的他 認 為「藝 術 就 是 生 活」, 吃喝拉撒睡都可以被 轉 換 成 個 人 化、 特徵鮮明的藝術 作 品。借 用 傳 統 文 化 形式只是宋冬的 一 種 遊 戲 方 式,正 如 他 的作品努力對很 多 意 義 方 向 揭 露自身。 對他而言,他的 表 述 最 終 都 會 稀 釋 在 生 活之中。所以,宋冬 有 一 句 口 頭 禪 「不 : 做白不 做,做了也白做,白做 也 得 做。」

SONG Dong 宋冬

Fried Paper Crane with Soy Sauce 〈醬 煎 紙 鶴〉

2015 Fried xuan paper with glutinous-rice soup, soy sauce, corn oil, rice vinegar on bamboo paper 元 書 紙、宣 紙、 糯 米 湯、老 抽 醬 油、 玉 米 油、米 醋

75 x 52 x 3 cm

Estimate 估 價 HK$50,000 –­­ 60,000 US$6,400 –­­ 7,700 Generously donated by Pace Gallery 由佩斯畫廊慷慨捐贈

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Vivan SUNDARAM Exchanging Looks 2004 Pigment print 塗料印花

58 x 125 cm A set of triptych 一套三折畫

Edition 版 數 4 / 10 Estimate 估價 HK$75,000 ­­– 85,000 US$9,600 ­­– 11,000 Generously donated by the artist


Left Teacher’s Wife, Jaisalmer, Rajasthan (1978), by the Australian photographer Max Pam. In Strip Tease, 2002. Inset: Amrita Sher-Gil (1937) by Barada Ukil. Centre One Day (Diptych), by Daniel Blaufuks from Por tugal, in Collected Short Stories (2003). Inset: Guddo (1980), by Vivan Sundaram. Right Big Shanti (1985), painting based on photograph by Vivan Sundaram. Inset: Detail of photograph OneDay, by Daniel Blaufuks.

A prolific artist, Vivan Sundaram has worked on a range of media from painting to sculpture, installation, photography, and video. Political motivations form his thematic concerns along with a lifelong fascination with his aunt Amrita SherGil. He has a knack for exaggerating and experimenting with his choice of materials in a grandiose manner to prove a point. His re-combinations of images collapse time and space, making fact and fantasy collide.

左 澳 大 利 亞 攝 影 藝 術 家 Max Pam〈老 ( 1978)。 師 的 妻 子 Jaisalmer, Rajasthan〉 〈 In Strip Tease〉 ( 2002)。插圖:Barada ( 1937)。 Ukil〈 Amrita Sher-Gil〉 中 葡 萄 牙 藝 術 家 Daniel Blaufuks 〈一 天(雙 折 作 品)〉,收 錄 在《短 篇 故 事 集》 ( 2003)。插圖:Vivan ( 1980)。 Sundaram〈 Guddo〉 ( 1985),基於 Vivan 右〈 Big Shanti〉

Sundaram攝 影 作 品 的 繪 畫。插 圖: Daniel Blaufuks攝 影 作 品〈一 天〉的 細 節。 作 為 一 名 多 產 的 藝 術 家,Vivan Sundaram的 創 作 涉 及 眾多 形 式,從 繪

畫 到 雕 塑、裝 置、攝 影以及 視 頻 等。政 治 動 機,以及 他 終 生 對 他 姑 姑 Amrita

Sher-Gil的 興 趣,形 成了他 的 主 題 要 素。 他 有 訣 竅以堂 而 皇 之 的 方 式 誇 大 和 實 驗 所 選 的 材 料 證 明 一 個 觀 點。他 對 圖 像 的 重 組 讓 時 間 和 空 間 崩 潰、使 事 實 和 幻 想 碰撞。

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Inga Svala Thorsdottir and Wu Shanzhuan have collaborated together since 1991. Wu’s extreme complexity of thought is mirrored in Thorsdottir’s extreme purity, a polarity that is evident in the insight and perspective that they bring to their works. They have both explored commodification as well as single-mindedly reduced objects to the same powder form (with Thor’s Daughter’s Pulverizing Ser vice; 1993– present). The Little Fat Flesh relief print series are coloured according to the colours of the rainbow; however, the ar tists settled for only six of its colours, as the Chinese and the rest of the world could not come to an agreement on the seventh.

英格 • 斯瓦拉 • 托 斯 朵 蒂 爾 和 吳 山 專 從 1991年開始合作。吳 氏 極 致 複 雜 的

思想反映在托斯 朵 蒂 爾 極 致 的 純 潔 性 之中,他們帶入 到 作 品 中 的 洞 察 力 和

前瞻性彰顯着對 立 的 兩 端。他 們 都 在 探索商品化以及率 直 地 將 物 質 縮 減 至 粉末形式(英格 創 立 的《雷 神 女 兒 粉 化 《 Little Fat Flesh》 服務》,1993-至 今)。 凸版印刷系列是 依 據 彩 虹 的 顏 色 而 上 色的。然而藝術 家 僅 用了其 中 的 六 個 顏色,因為中國 和 世 界 其 他 國 家 無 法 為第七種顏色達 成 一 致。

Inga Svala THORSDOTTIR & WU Shanzhuan 英 格 •斯 瓦 拉 • 托 斯 朵蒂 爾 & 吳 山 專

Seven Circles Little Fat Flesh, Indigo 2014

Watercolour on paper 紙本水彩

56 x 76 cm

Estimate 估 價 HK$60,000 –­­ 80,000 US$7,700 –­­ 10,300 Generously donated by the artists 由藝術家們慷慨捐贈

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Wesley TONGSON 唐家偉

Spiritual Mountains 6 〈靈 山 6〉

2010 Ink on paper 紙本水墨

178 x 97 cm

Estimate 估價 HK$60,000 ­­– 75,000 US$7,700 ­­– 9,600 Generously donated by the family of the artist


This painting is a superb example of Wesley Tongson’s mature, signature style when he largely abandoned the brush and used his fingers and nails instead. Signed in the lower right quadrant with his sobriquet (hao) ‘Mountain Taoist’ (Shandou Daoren) and dated age 53, its many lines and energetic dots are achieved with fingers and nails. Dense, dark ink defines the mountain forms; sweeping clouds in tones of black and grey pulsate with energy.

這 幅 畫 是 唐 家 偉 作 品 的 顯 著 的 代 表 作, 展 現 他 拋棄了畫 筆 而 用 手 指 和 指甲

作 畫 的 創 作,風 格 成 熟 而 具 標 誌 性。 在 中 右 下 部 簽 有 他 的 外 號「山 斗 道 人」 以及 年 齡 53歲,很 多 線 條 和 有 力 的

點 都 是由手 指 和 指甲畫 出 的。縝密、

深 色 的 水 墨 勾 勒 出 山 的 模 樣,掃 過 的 黑 灰 色 調 雲 彩 充 滿 能 量 地 跳 躍。

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Charwei Tsai’s work meditates on a culture that revolves closely around nature, and considers the complex relationships between indigenous beliefs, the spiritual realm, and impermanence. The Lanyu series, created in collaboration with the Tibetan director Tsering Tashi Gyalthang, consists of ten photographs taken in the Lanyu Island of Taiwan, and examines the lives of the Tao tribe from the island. The Buddhist classic text Heart Sutra is inscribed on a series of photographs, which captures the different states of the sea after a devastating typhoon in summer 2012, highlighting the beauty and sensation of the sublime that the sea invokes.

蔡氏的作品對緊 緊 圍 繞 着自然 的 文 化 進行深思,並思 索 着 土 著 信 仰、精 神 境 界和無常之間複 雜 的 關 係。 《蘭 嶼》系 列是蔡佳葳 與藏族 導 演 次 仁 ·札 西 ·建 塘( Tsering Tashi Gyalthang)合 作 創 作 的,由十幅在台 灣 蘭 嶼 島 拍 攝 的 照片組 成。作品審視着 島 上 達 悟 族( Tao)部 落 的生活。佛教經 典 文 本《心 經》被 刻 在 一系列的照片上。這 些 照片捕 捉了

2012年夏天一場毀 滅 性 颱 風 之 後 大 海 的不同姿態,凸顯 着 大 海 喚 起 的 崇 高 的 美麗與感動。

Charwei TSAI


Lanyu VIII

〈蘭 嶼 VI I I〉

2012 Hand-inscribed photograph 手 工 刻 寫 的 照片

120 x 150 cm

Estimate 估 價 HK$70,000 –­­ 85,000 US$9,000 –­­ 10,900 Generously donated by TKG+ and the artist 由 TKG+畫廊和藝術家 慷慨捐贈

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Eason TSANG Ka Wai 曾家偉

Floral Fabric No.1 〈花 布 1〉

2013 Archival inkjet print 收藏級噴墨打印

117 x 117 cm

Edition 版 數 2 / 6 + 2 AP Estimate 估價 HK$20,000 ­­– 30,000 US$2,600 ­­– 3,800 Generously donated by Blindspot Gallery and the artist

由刺點畫廊和藝術家 慷慨捐贈

A young photographer who has been focusing on personal photography projects since 2011, Eason Tsang Ka Wai has taken inspiration from the urban density of Hong Kong as well as from everyday items. One previous series, Rooftop, involved the ar tist sneaking up onto rooftops and capturing bird-eye views of surrounding buildings. In Floral Fabric, Tsang transforms the patterns on daily objects into an installation before restoring them to graphic form through photography. The work is an exploration into the ‘re-manifesting’ nature of photography.

作 為 年 輕 的 攝 影 藝 術 家,曾 家 偉自

2011年以來 一 直 專 注 於 個 人 的 攝 影 項 目。他 從 香 港 的 城 市 密 度 和日常 生 活 物 件 中 擷 取 靈 感。在 先 前 的 一 個 系 列《天 台》中,藝 術 家 潛 入 一 些 天 台 並 俯 視 拍 攝 周 圍 建 築 的 景 色。在《花 布》系 列 中, 曾 氏 將日常 生 活 物 件 上 的 圖 案 轉 化 成 裝 置,而 後 再 透 過 攝 影 將 裝 置 變 回 平 面。作 品 意 在 探 討 攝 影 的「再 現」本 質。

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Wang Yi explores the deconstruction and reconstruction of a specific space while at the same time searching for eternity and serenity in his abstract paintings. With the use of only two or three colours in a work, he deploys nearly transparent paints and overlays the thin paint, finally creating a retinal game all the while treating painting itself as a ritual. Shifting from his earlier figurative style to absolute abstraction, Wang’s recent works are imbued with minimalist and yet strictly ruled details, which for him serve to represent the structure of society as well as the relationship between experience and reality between the par t and the whole.

王一探索着特定 空 間 的 解 構 與 重 構,


而同時也在他的 抽 象 畫 中 尋 找 永 恆 和


寧靜。他僅運用 兩 三 種 顏 色,在 平 面 上

Overlapping 2015-15

展開近乎是透明 的 顏 料,並 反 覆 覆 蓋 上 薄層的顏料。在 對 待 繪 畫 本身如 儀 式 的 過程中,藝術家 最 終 創 作 出 一 場 視 網 膜 遊戲。從他早期 的 具 象 風 格 到 絕 對 抽 象 的轉換,王一的 近 期 作 品 充 滿了極 簡 抽 象主義,但依然 嚴 守 細 節。對 於 王 一 而 言,這是用於描 繪 社 會 的 結 構以及 經 驗 與現實、局部與 整 體 之 間 的 關 係。

〈重 叠2015-15〉

2015 Mixed media on aluminium


60 x 60 cm

Estimate 估 價 HK$30,000 –­­ 40,000 US$3,800 –­­ 5,100 Generously donated by Aike Dellarco Gallery and the artist 由艾可畫廊和藝術家 慷慨捐贈

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WANG Guangyi 王廣義

Great Criticism— Wang Guangyi 〈大 批 判 — Wang Guangyi〉

2008 Serigraphy 石印版畫

EP (Experimental Proof) 實驗版

120 x 79.5 cm

Estimate 估價 HK$70,000 ­­– 85,000 US$9,000 ­­– 10,900 Generously donated by the artist


Great Criticism (1990—2007) is a cycle of oil paintings on canvas in which Wang Guangyi has juxtaposed images from political propaganda manifestos of the Cultural Revolution with the most famous Western commercial logos. The figures, while reflecting the political imaginary of ordinary people in a socialist society, thus interact with the most recognised symbols of Western consumerist society. Great Criticism is a neutral presentation of visual, ideological, economic, social, and cultural images that seem incompatible, but that in the 90s began to live sideby-side in Chinese society, generating inevitable psychological conflicts. Wang’s interest here is aimed at the ability of commercial logos and propaganda images to affect human behaviour with their powers of persuasion, as if they were endowed with a sacredness that requires subservience and obedience.

《大 批 判》 ( 1990-2007)是 王 廣 義 的 一 系 列 布 上 油 畫 作 品,作 者 將「文 革」似 的政治招貼和西方消費廣告並置於畫 面 中,使 得 這 些 社 會 主 義 社 會 中 普 通 百 姓的政治形象與西方消費社會裏最著 名的符號進行互動。 《大批判》以中立的 態 度 展 現了意 識 形 態、經 濟、社 會 和 文 化 等 不 同 視 野 的 碰撞,它 們 似 乎 不 可

調 和,然 而 卻 從 上 世 紀 九 十 年 代 起 在 中 國 社 會 共 存,不 可 避 免 地 帶 來了心 理 沖 突。在 這 個 系 列 中,王 廣 義 的 興 趣 聚 焦於商業標識和招貼形象關於改變人 類 行 為 的 能 力 上,它 們 有 着 強 大 的 說 服 力,甚 至 具 有 一 種 神 聖 性,它 使 人 們 屈 服、順 從。

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Wang Yahui’s work draws the spectators’ attention to what is often overlooked, rendering the quotidian uncommon. The photographs, videos, and installations urge for different ways to reflect and reconnect the deep relationship between personal life and nature in classical Chinese philosophy. In this photographic series, Wang builds a memory for the future city—the result of her collection of weeds and wild flowers from a construction site near her apar tment. She then invited a flower arrangement instructor to a workshop and along with students they created the flower arrangements that appear in the photographs from the series.

王雅慧的作品會 引 起 觀 眾去 注 意 各 樣

通常被忽視了的 事,令日常 司 空 見 慣 的 事物變得不尋常。照片、錄 像 和 裝 置 都 竭力主張用不同 的 方 式 來 反 思 和 重 構 個人生活與中國 古 典 哲 學 裏 的自然 之 間深層次的關係。在 本 攝 影 系 列 中, 王雅慧為未來城 市 建 造了一 次 記 憶 — 這是從她 公寓附近 的 建 築 工 地 收 集 的

雜草和野花的成 果。她邀 請了一 位 插 花 師到工作室,和 學 生 們 一 起 打 造 出了

這些呈現在照片系 列 中 的 插 花 造 型。

WANG Yahui 王雅慧

A Work for a Building Plot: Make a Flower Arrangement for Me 〈荒 地 計 畫: 為 我 插 一 盆 花〉

2011 Digital print 數位列印

120 x 180 cm

Edition 版 數 2/3 Estimate 估 價 HK$60,000 –­­ 75,000 US$7,700 –­­ 9,600 Generously donated by TKG+ and the artist 由 TKG+畫廊和藝術家 慷慨捐贈

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XU Bing 徐冰

Phoenix 2015 Draft 〈鳳 凰 2015草 圖〉

2015 Print on paper 紙本印刷

38.1 x 30.48 cm

Edition 版 數 AP Estimate 估價 HK$50,000 ­­– 70,000 US$6,400 ­­– 9,000 Generously donated by the artist


A pioneering Chinese contemporary ar tist, Xu Bing’s ar t powerfully subver ts systems of language and cognitive structures. He famously invented an indecipherable script in Book from the Sky and also an English-Chinese hybrid in New English Calligraphy. In May 2015 Xu Bing unveiled his new Phoenix at the 56th Venice Biennale. Located over the water between two boathouses at the Arsenale, it was composed of the detritus of urban construction. The work symbolises utopian aspirations, destruction, and rebir th. The ar twork submitted is a print on paper, a piece of the ar tist’s draft of Phoenix 2015 and is signed by the ar tist.

作 為 中 國 當 代 藝 術 家 的 先 鋒,徐 冰 的 藝 術 有 力 地 顛 覆了語 言 系 統 和 認 知 結 構,發 明了著 名 而 無 人 能 懂 的 文 字 《天 書》,以及《英 文 方 塊 字》的 中 英 混合文字。2015年 5月,徐冰在五十六屆 威 尼 斯 雙 年 展 中 首 次 展 出《鳳 凰》系 列 的 最 新 作 品。作 品 被 放 置 在 軍 火 庫 兩 座 船 屋 間 的 水 面 上。作 品由城 市 建 築 中 的 碎 石 組 成,象 徵 着 烏 托 邦 式 的 願 望、 毀 滅 與 重 生。提 交 的 藝 術 品 是 藝 術 家 作 品〈鳳 凰 2015〉設 計 草 圖 的 印 刷 圖 紙,上 有 藝 術 家 的 親 筆 簽 名。

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Xu Longsen constructs his own primaeval world through his monumental landscape practice. Even though the elements of nature illuminated within this world are par t of a communal environment—the public domain of modern exhibition practice—Xu’s realm of landscape is completely different from those realms created by traditional landscape ar tists, which can be ‘roamed through and inhabited’. Xu is also good at bringing this sense of monumentality into his smaller-scale works, so that even a fan painting of a landscape seems to evoke the weight and beauty of a majestic mountain.

徐龍森通過巨幅的山水畫實踐構建自 己的原始世界。即使在這一世界裏描繪 的自然元素是公共環境的一部分—現 代展覽實踐的公共領域—徐氏的山水 意境與傳統山水畫家創造出的「可徜徉 和駐步」的境界卻完全不同。徐龍森也 擅長將這種紀念碑般的性質帶入其小 幅的作品之中,因此即使是一幅扇面 山水畫似乎也喚起了雄偉山峰的厚重 與美麗。

XU Longsen 徐龍森

Return to the Ancient No.20 〈古 意 之 二 十〉

2013 Ink on gold paper 水 墨、金 紙

50 x 30 cm

Estimate 估 價 HK$98,000 –­­ 128,000 US$12,600 –­­ 16,500 Generously donated by Hanart TZ Gallery and the artist 由漢雅軒畫廊和 藝術家慷慨捐贈

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YAN Shanchun 嚴善錞

2014 Copper plate etching 銅板版畫

1.West Lake—Yang Gong Causeway 01 〈西湖•楊公堤01〉

2.West Lake—Yang Gong Causeway 02 〈西湖•楊公堤02〉

3.West Lake—Qi Xia Mountain 01

A set of 8 pieces

〈西湖•棲霞嶺 01〉

29 x 20 cm each

〈西湖•棲霞嶺 02〉


Edition 版 數 AP 3 / 30 + 8 AP Estimate 估價 HK$45,000 ­­– 55,000 US$5,800 ­­– 7,1000 Generously donated by Chambers Fine Art and the artist

由前波畫廊和藝術家 慷慨捐贈

4.West Lake—Qi Xia Mountain 02 5.West Lake—Qi Xia Mountain 03 〈西湖•棲霞嶺 03〉

6.West Lake—Ti Yun Mountain 01 〈西湖•梯雲嶺 01〉

7.West Lake—Ti Yun Mountain 02 〈西湖•梯雲嶺 02〉

8.West Lake—Ting Zi Harbor 01 〈西湖•亭子港 01〉 Well-known for his paintings inspired by West Lake in Hangzhou, Yan Shanchun has recently produced a considerable body of etchings. Using a mixture of sulfur and olive oil to produce recesses on the copper plate, and printing on Japanese

ganpishi paper, Yan creates prints that he describes as having ‘a luminous, silver-print photography effect, lending the image a heavy, metallic feel similar to how I feel about the West Lake: clear, remote, tempered, and classic.’ Like the paintings, the etchings are inspired by West Lake but the focus is on evocative details rather than a broader view of the expanse of the lake. 眾 所 週 知,嚴 善 錞 繪 畫 的 靈 感 來自於 杭 州 西 湖,他 最 近 創 作了數 量 相 當 的

銅 板 版 畫。他 用 硫 和 橄 欖 油 的 混 合 物 在 銅 版 上 腐 蝕 出 凹 陷 紋 理,然 後 印 刷 在 日本 雁 皮 紙 上。嚴 氏 創 作 出 的 作 品, 正 如 他 所 描 述 的 有 着「閃 閃 發 光 的、 銀 版 印 刷 照片般 的 效 果,給 圖 像 添 加了 厚 重、金 屬 般 的 質 感,就 如 同 我 感 受 到 的 西 湖 似 的:清 澈、疏 遠、溫 和 和 古 典」。和 繪 畫 一 樣,他 的 版 畫 也 受 西 湖 啟 發。但 是 聚 焦 之 處 是 讓 人 回 味 的 細 節,而 不 是 西 湖 更 浩 瀚 廣 闊 的 視 野。

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Yang Jiechang often employs Chinese ink and calligraphy painting—which, after studying as a child, played a large role during his formal ar t training as a student in Guangzhou—to promote his subversive messages. Yet his style is also influenced by his encounters with European ar tists and ideas. During this visit, Yang was inspired by Gallen-Kallela’s national Finnish style and por trayals of his local landscapes, as well as by the ar tist’s struggle with what he saw as the ‘Russianisation’ of Finland at the time. Similarly, Yang fears the ‘Mandarinisation’ of southern China, which may destroy the linguistic and cultural diversity Yang believes enriches the region and China in turn.

楊詰蒼常採用中 國 水 墨 畫 和 書 法 繪 畫。

YANG Jiechang

作為一名廣州的 藝 術 學 生 時,其 孩 童 時


期的學習起了重 要 的 作 用,藝 術 家 利 用


傳統書畫宣傳了他 顛 覆 性 的 訊 息。然 而 他的風格也受到了他 所 接 觸 的 歐 洲 藝 術家和思想的影 響。在 這 次 訪 問 期 間, 卡倫 • 卡勒拉的 芬 蘭 民 族 風 格 和 對 當 地風景的描繪給了楊 氏 靈 感,以及 從 卡倫 • 卡勒拉與 當 時 所 見 的 芬 蘭「俄 國 化」的鬥爭中獲 得 啟 示。同 樣 地,楊 氏 也對中國南部的「普 通 話 化」擔 憂。

這可能會破壞語 言 和 文 化 的 多 樣 性, 而楊詰蒼相信這 些 多 樣 性 反 而 會 令 地區以及中國更豐 富、更 多 元。

2008 Ink and acrylic on canvas 畫 布、水 墨 和 塑 膠 彩

59 x 40 cm

Estimate 估 價 HK$50,000 –­­ 70,000 US$6,400 –­­ 9,000 Generously donated by the artist 由藝術家慷慨捐贈

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Trevor YEUNG 楊沛鏗

White Board (Prince Edward) 〈招 紙(太 子)〉

2015 Archival inkjet print, plant 收藏級噴墨印刷、植物

Plant size variable 植物尺寸可變

42 x 62 x 3 cm

Edition 版 數 1/3 Estimate 估價 HK$38,000 ­­– 42,000 US$4,900 ­­– 5,400 Generously donated by Blindspot Gallery and the artist

由刺點畫廊和藝術家 慷慨捐贈

Trevor Yeung’s practice uses botanic ecology, hor ticulture, photography, and installations as metaphors that reference the emancipation of everyday aspirations toward human relationships. The Enigma series invites thinking about the act of viewing and transforms a one-way viewing experience of ar t into a par ticipatory one. Plant or fabric is placed in front of the image in order to imitate how one’s view is often obstructed by other objects in real life. As the viewers navigate the space for a better view of the image behind the fabric or the plant, it induces spontaneous seeing and reveals another dimension of the relationship between the viewer and that being viewed.

楊 沛 鏗 的 藝 術 實 踐 採 用 植 物 生 態、

園 藝、攝 影 和 裝 置 來 隱 喻對 人 際 關 係 的

日常 訴 求 的 釋 放。 《扭 擰》系 列 引 起 觀 眾 對「觀 看」的 思 考,也 將 單 向 的 觀 看 式

的 藝 術 體 驗 轉 化 成 參 與 性 藝 術 體 驗。 植 物 或 布 料 被 放 置 在 影 像 前 方,模 擬 着 現實生活中觀看時視線常被其他物件 阻 擋的 情 況。當 觀 者 在 布 料 或 植 物 後

移 動以獲 得 較 佳 觀 賞 視 角 時,這 正 誘 導 自發 性 的 觀 看 行 為,及 揭 示 觀 者 與 被 觀 者 間 另 一 維 度 的 關 係。

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MM Yu’s works, striking in their visual clarity, echo themes of urbanity that the ar tist routinely explores, providing us with an efficacious reflection of our changing times. Her tendency to frame enchanting scenes out of overlooked subject matters and random relations between disparate things speaks of her innate ability to discern resonances in colour, pattern, and whimsical features. As she captures coincidental curiosities and instances that are intrinsic to the local culture, she draws us to see the remarkable bursts of colour amidst the concrete maze of her home, a city that is in constant development.

MM Yu的作品有着 讓 人 震 撼 的 視 覺 清

晰度。作品呼應 她 時 常 探 討 的 都 市 性 主 題,反映了我們 這 個 時 代 的 變 遷。她 傾 向從被忽略的事 物 中 勾 勒 出 明 媚 的 景

色、找出不同事 物 間 的 隨 機 關 係,顯 示 出她 在色彩、圖案 和 異 想 天 開 的 特 徵 中 辨識共振的天賦 才 能。當 她 抓 住 當 地 文 化內在巧合的好 奇 和 實 例 時,在 她家 所

在那個不斷發展 的 城 市 中,她 讓 我 們 看

到混凝土迷宮中 引 人 注目的 色 彩 迸 發。

MM YU underconstruction (rust and bricks) 2014 Ink on metal 金 屬、水 墨

30.48 x 38.1 cm

Estimate 估 價 HK$10,000 –­­ 20,000 US$1,300 –­­ 2,600 Generously donated by Silverlens and the artist 由 Silverlens畫廊和藝術家 慷慨捐贈

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YU Hong 喻紅

Jellyfish Flow 〈水 母 流〉

2013 Glass, glass pigment colour 玻璃、玻璃顏料

34 x 38 x 5 cm

Estimate 估價 HK$50,000 ­­– 65,000 US$6,400 ­­– 8,300 Generously donated by the artist 由藝術家慷慨捐贈

Yu Hong centres her practice on her experience as a woman, taking inspiration from both her own life and the lives of others around her. The world that she creates through her ar t encapsulates a sense of time and memory that is intermingled in the delicate, often domestic scenes that she por trays, resulting in largescale works that are personal and emotionally reflective. Influenced by the social, cultural, and political changes taking place around her in China, Yu Hong seeks to por tray a realistic representation of the everyday experiences which challenge women in China today, exploring how they endure the fragile relationship between tradition, career, family life, and social expectations.

喻 紅以女 性 視 角 進 行 創 作,從 她自己

和 周 圍 的 人 獲 取 靈 感。透 過 她的 藝 術,

她 創 造 的 世 界 概 括了時 間 觀 念 和 記 憶, 這 些 都 融 合 於 她精 緻 地 描 繪 且 經 常 涉

及 家 庭 的 場 景,形 成了表 達自我 反 省 和 情 感 反 射 的 大 幅 作 品。在 國 內,受 到 她

身邊 的 社 會、文 化 和 政 治 變 化 的 影 響, 喻 紅 試 圖 把目前 挑 戰 着 中 國 女 性 的 每

日經 歷 真 實 再 現,探 索 她 們 是 如 何 承 受 著 介 於 傳 統、事 業、家 庭 生 活 和 社 會 期 望 之 間 的 脆 弱 關 係。

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One of the major ar tists associated with Political Pop in the 1990s, Yu Youhan’s earlier work was directly influenced by his experiences during the Cultural Revolution, with prominent imagery of political propaganda and socialist realism. His work unravels and reconstructs the meandering histories of diverse environments; the ar tist employs an aesthetic methodology that blends and exceeds seemingly contradictory visual traditions. Yu achieved fame with his highly acclaimed Mao por trait series, which is not only decorative but also an attempt to humanise the late leader.

作為九十年代「政 治 波 普」最 具 代 表 性 的藝術家之一,余 友 涵 的 早 期 作 品 受 到 他在文化大革命 中 親身經 歷 的 直 接 影響,利用來自政 治 宣 傳 和 社 會 現 實 主義的創作鮮明 的 圖 像。他 的 作 品 拆 解 並重構了善變環 境 下 迂 迴 的 歷 史。藝 術 家採用的美學方 法 論 混 合、超 越了看 似 對抗的視覺傳統。著 名 的《毛 澤 東》 肖像系列讓余友 涵 獲 得 極 高 的 聲 譽。 這一系列並非只是 擺 出 粉 飾 的 姿 態, 而是嘗試將這位 已 故 的 領 導 人 顯 得 更 人性化。

YU Youhan 余友涵

Wave Hands to the Future 〈向 未 來 招 手〉

2011 (original artwork 原 作 1992 – 94) Silk screen printing 絲綢版畫

70 x 52 cm

Edition 版 數 46 / 56 Estimate 估 價 HK$45,000 –­­ 65,000 US$5,800 –­­ 8,300 Generously donated by the artist 由藝術家慷慨捐贈

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YUE Minjun 岳敏君

Artist Box 藝術盒

30 x 24.5 cm

Edition 版 數 51 / 99 Estimate 估價 HK$90,000-120,000 US$11,500-15,400 Generously donated by Ms Joyce Liu

由劉紀紅小姐 慷慨捐贈

Created by the renowned contemporary Chinese ar tist Yue Minjun, this special ar twork box is produced as a limited and numbered edition of 99 pieces and is manufactured by Elie Blue. The image is in the style of Yue’s iconic figures with wide smiles and gaping mouths—figures which in his paintings often enact poses from the Western canon. The ar tist’s signature surrealist influences and pop techniques made him a key member of the Cynical Realist movement in 1990s China, with serious political criticism and social commentary underneath the surface masks of the smiling faces.

由中 國 著 名 當 代 藝 術 家 岳 敏 君 創 作、Elie Blue特 別 製 作,這 個 藝 術 盒 全 球 限 量 僅 有 99件。圖 案 風 格 是 岳 敏 君 標 誌 性 的 大 張 嘴巴、笑 容 可 掬 的 人 物 形 象—這些形象在他的繪畫中常常擺著 出自西 方 經 典 的 姿 勢。藝 術 家 的 超 現 實 主 義 影 響 和 波 普 技 巧、以及 在 那 些 笑 臉 面 具 之 下 嚴 肅 的 政 治 批 判 和 社 會 評 論, 使 他 成 為了二 十 世 紀 九 十 年 代 中 國 玩 世 現 實 主 義 運 動 的 關 鍵 性 人 物。

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Zhou Siwei’s practice frequently includes repetitive patterns and predetermined sets of colours, forms and sequences, par ticularly primary colours added layer after layer on top of each other. He views this process as a cyclical journey of replication, evolution, and progression, adopting an identical method for all the pieces simultaneously, so that each work is the beginning and the end of another. In this work, Zhou shot the core element of the original charge-coupled device (CCD) of a digital camera. More precisely, he photographed the colourful light reflection of the CCD, which was captured by another camera’s CCD, turning it into an electrical signal, and then recording it as digital code. This is akin to one mirror reflecting another mirror. The focus is not, however, the content of the reflection, but the blockages of the process—such as the effects from blemishes, the nicks and distor tion from the mirror.

周思維的作品總 是 重 複 着 一 些 模 式, 他習慣於在預設 好 的 顏 色、形 式 和 工 作順序中,特別 是 在 底 色 上 反 覆 地 一 層 又一層的塗抹。他 將 繪 畫 過 程 看 作 複 製、進化、發展的循 環 進 程。在 同 一 時 間和相同工作方 式 的 框 架 內 創 作 這 些 作品,每一件作 品 即 是 另 一 件 作 品 的 終 點也是起點。在 這 件 作 品 中,周 思 維 拍 攝了數碼相機的 核 心 原 件 電 荷 耦 合 原 件( CCD)。更確切 地 說,他 拍 攝了 CCD 反射出的五彩光 線,這 些 光 被 另 一 部 數碼相機的 CCD捕 捉,轉 換 成 電 信 號, 再被紀錄為數字 代 碼。這 好 似 鏡 子 在 另一面鏡子中的 反 射。然 而 聚 焦 之 處 並非反射的內容,而 是 反 射 過 程 中 的 鏡子裏那些斑點、劃 痕以及 模 糊 痕 跡 之類的「障礙」。

ZHOU Siwei 周思維

CCD—Photo 02 2013 Digital print and aluminium back

媒體數碼印刷及 鋁合金背板

62 x 100 cm

Edition 版 數 2 / 6 + 1 AP Estimate 估 價 HK$20,000 –­­ 30,000 US$2,600 –­­ 3,800 Generously donated by Galerie Urs Meile and the artist 由麥勒畫廊和藝術家 慷慨捐贈

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Artist Profiles


Wucius WONG

b. 1966, Beijing, China. Lives and works in Beijing. 1966年出生於北京,現居北京。

b. 1936, Guangdong, China. Lives and works in Hong Kong. 1936年出生於廣東省東莞,現居香港。


Song Dong emerged from a strong Chinese avant-garde performing arts community and developed since the 1990s into a significant contemporary art figure in the progression of Chinese conceptual art. Song has been the focus of many solo and group exhibitions around the world. He has presented his works at the Museum of Modern Art, New York (2009), and was also included in dOCUMENTA 13, Kassel, Germany (2012); Venice Biennale (2011), Gwangju Biennale, Korea (2006, 2002 and 1995), Sao Paolo Biennale (2004); Asia-Pacific Triennial, Australia (2002); and Taipei Biennale (2002). In 2011–2012, Song Dong took part in a residency with Asia Art Archive and produced 36 Calendars, which was shown at ArtisTree, Hong Kong (2013).


宋冬從中國強大的先鋒行為藝術群 體中脫穎而出,並發展成為自九十年 代以來中國概念藝術發展歷程中一 位卓著的當代藝術家。在世界各地 眾多的個展和聯展中,宋氏的作品 總是焦點所在。除了紐約現代藝術

博物館(2009)外,他的作品也曾被列 入德國卡塞爾第十三屆文獻展 (2012)、威尼斯雙年展(2011)、 韓國光州雙年展(2006、2002和 1995)、聖保羅雙年展(2004)、澳大 利亞亞太三年展(2002)、台北雙年展 (2002)。2011-2012年,宋冬參與了 亞洲藝術文獻庫的駐場計畫,並創 作了在ArtisTree展出的作品《三十六 曆》 (2013)。

Wucius Wong moved to Hong Kong from Guangzhou in 1946. Fond of literature and art, he started learning Western painting on his own in 1956. From 1961 to 1965, Wong studied in the United States. He received the John D. Rockefeller Fund Grant in 1971, and the Emeritus Fellowship of the Hong Kong Arts Development Council in 1998. The Hong Kong Museum of Art presented his retrospective exhibition in 2006. The Hong Kong SAR Government honoured him with the Bronze Bauhinia Star Medal in 2007. 王無邪於1946年從廣州移居香港。因 喜愛文學和藝術,1956年他開始自學 西方繪畫藝術。1961至65年留學美國 攻讀藝術。1971年獲美國紐約洛克菲 勒三世基金會藝術研究獎助、1998年 獲香港藝術發展局藝術成就獎,2006 年香港藝術館主辦其五十年藝術回 顧展。2007年獲香港特區政府銅紫 荊星章。

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藝術家 簡介

Samson YOUNG


b. 1979, Hong Kong. Lives and works in Hong Kong. 1979年出生於香港,現居香港。

b. 1945, Delhi, India. Lives and works in Vadodara and Delhi, India. 1945年出生於印度德里,

楊 嘉輝

The sound artist and composer Samson Young studied music, philosophy, and gender studies at the University of Sydney and holds a PhD in music composition from Princeton. The inaugural winner of the Art Basel—BMW Art Journey Award, in 2013 he was also named ‘artist of the year’ (media art) by the Hong Kong Arts Development Council and received an honorary mention at the digital music and sound art category of Prix Ars Electronica. His solo exhibitions have been held at TKG+ Gallery, Taipei (2015); and a.m. space, Hong Kong (2015). Group exhibitions have taken place at Asia Triennial Manchester 14, United Kingdom (2014); Moscow Biennale of Young Art (2014); Hong Kong Arts Centre (2014); and Kunsthalle Winterthur, Switzerland (2013), among others. Samson Young was invited to be one of the artists included in ’15 Artists’, a programme celebrating Asia Art Archive’s 15th anniversary (2015-16).

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現居印度巴羅達和德里。 聲音藝術家和作曲家楊嘉輝在悉尼 大學學習了音樂、哲學以及性別研 究,並擁有普林斯頓大學音樂創作博 士學位。他是「巴塞爾藝術展—寶馬 藝術之旅大獎」的首屆獲獎者。 2013年,楊氏被香港藝術發展局授予 了「年度最佳藝術家」 ( 媒體藝術界) 獎。他還獲得奧地利電子藝術大獎數 字音樂與聲音類榮譽提名。 他的個展曾於台北TKG+畫廊 (2015)、香港a.m.空間(2015) 舉辦過。參與的聯展包括英國曼徹 斯特亞太三年展14(2014)、俄羅斯 莫斯科年輕藝術雙年展(2014)、香 港藝術中心(2014)、瑞士Kunsthalle Winterthur(2013)等。楊氏曾獲邀 參與亞洲藝術文獻庫十五周年特備 節目《15份邀請》 ( 2015-2016)。

Nilima Sheikh studied history at Delhi University (1962-65) and Painting at the Faculty of Fine Arts, M.S. University of Baroda, Vadodara (1965-71). Her art practice of more than four decades covers a wide range of works in diverse formats, sizes, and media. Her solo and group exhibitions have been held at National Museum of Modern and Contemporary Art, Seoul (2013); the ‘Contemporary Art from West Heavens to Middle Kingdom’ project, Shanghai (2011); and Gallery Espace, New Delhi (2009), among others. Nilima Sheikh曾在德里大學學習 歷史(1962 -1965),隨後在巴羅達 Mahara Sayajir大學美術學院學習繪 畫(1965 -1971)。她從事藝術實踐

超過四十年,作品涉獵廣泛,包括各 種不同的形式、尺寸和媒介。她的個 展和聯展曾在首爾國立現代美術館 (2013)、上海《從西天到中土》項目 (2011)、新德里Espace畫廊(2009) 等多個地方舉辦。

LOT 拍賣編號


Artist Profiles

Map Office

FUNG Ming Chip 馮明秋

Laurent Gutierrez 古儒郎 b. 1966, Casablanca, Morocco. Lives and works in Hong Kong. 1966年出生於摩洛哥卡薩布蘭卡,

Valérie Portefaix 林海華 b. 1969, Saint-Étienne, France. Lives and works in Hong Kong. 1969年出生於法國聖艾蒂安,



Map Office is a multidisciplinary platform devised by Laurent Gutierrez and Valérie Portefaix, who have both been based in Hong Kong since 1996. Map Office projects have been exhibited in major international art, design, and architecture events including at the Ullens Center for Contemporary Art, Beijing (2013); 7th Asia Pacific Triennial (2012); 1st Kiev Biennale (2012); 6th Curitiba Art Biennale (2011); 7th, 11th, and 12th Venice Architecture Biennale (2000, 2008, 2010); 7th Gwangju Biennale (2008); 10th Istanbul Biennial (2007); 52nd Venice Biennale (2007); and 15th Sydney Biennale (2006). Their latest research project Hong Kong Is Land was exhibited as part of ‘Uneven Growth’ at the Museum of Modern Art in New York and the MAK in Vienna (2014–2015).

Map Office是由古儒郎和林海華發 起的一個跨學科創作平台,兩人現 居香港。Map Office的作品曾參與眾 多重要的國際藝術、設計和建 築 展 覽 活 動,包括:北京尤倫斯當代藝 術 中 心( 2013)、第七屆亞太三年展 (2012)、第一屆基輔雙年展(2012)、 第六屆古里提巴藝術雙年展(2011)、 第七、十一和十二屆威尼斯建築雙年 展 (2000、 2008、 2010) 、第七屆光州雙 年展(2008)、第十屆伊斯坦布爾雙 年展(2008)、第五十二屆威尼斯藝 術雙年展(2007)和第十五屆悉尼雙 年展(2006)。Map Office的最新研究 項目《Hong Kong Is Land》於2014至

b. 1951, Guangdong, China. Lives and works in Hong Kong. 1951年出生於中國廣東,現居香港。 Fung Ming Chip is a self-taught artist based in Hong Kong who has also lived in New York and Taiwan since 1977. His works have been exhibited extensively around the world and are in the public collections of the Metropolitan Museum of Art, New York; Princeton University Art Museum, New Jersey; Asian Art Museum, San Francisco; Harvard University Art Museum, Cambridge; Ashmolean Museum, Oxford, United Kingdom; White Rabbit Collection, Sydney; Israel Museum, Jerusalem; Hong Kong Museum of Art; and the Ju Ming Foundation, Taichung, Taiwan.




家,1977年以來曾於紐約和台灣生 活。他的作品被多家美術館收藏, 其中包括:紐約大都會美術館、 新澤西普林斯頓大學美術館、舊金山 亞洲藝術美術館、美國哈佛大學 美術館、英國牛津阿什莫林博物館、 悉尼白兔中國當代藝術收藏、耶路 撒冷以色列博物館、香港藝術館和 台灣朱銘美術館。

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LOT 拍賣編號


藝術家 簡介

WANG Huangsheng

WANG Dongling

XU Zhen

b. 1956, Shantou, Guangdong, China. Lives and works in Beijing. 1956年出生於中國廣東汕頭,

b. 1945, Rudong, Jiangsu, China. Lives and works in Hangzhou. 1945年出生於中國江蘇如東,

b. 1977, Shanghai, China. Lives and works in Shanghai. 1977年出生於上海,現居上海。

王 璜生




Wang Huangsheng is currently a professor at the Central Academy of Fine Arts (CAFA) in Beijing and Director of the CAFA Museum. In addition to being an artist and professor, Wang acted as Director of the Guangdong Museum of Art, where he promoted large-scale events such as the Guangzhou Triennial and the Guangzhou Photo Biennial. Recent exhibitions have taken place at Pearl Lam Galleries, Shanghai (2015); Sishang Art Museum, Beijing (2014); and Zhejiang Art Museum, Hangzhou (2013). He has also shown his works in a solo exhibition at the National Art Museum of China (2006).

Wang Dongling is currently the Director of the Modern Calligraphy Study Center at the China Academy of Art, Hangzhou. He graduated from the calligraphy department of the China Academy of Art in 1981. He has exhibited three times at the National Art Museum of China in Beijing (1987, 1997, 2007) and at the China Academy of Art (1987). His work has been presented at the Guggenheim Museum, New York (1998); British Museum, London (2002); Metropolitan Museum of Art, New York (2006, 2014); Louisiana Art Museum, Denmark (2007); and the Hong Kong Museum of Art (2014), among others. His works can be found in many collections around the world.


Xu Zhen is an artist, curator, and the founder of MadeIn Company. Over his career as an artist, Xu has exhibited internationally at museums and biennales, such as the Venice Biennale (2001, 2005); The Museum of Modern Art, New York (2004); and Tate Liverpool (2007), among others. In 2004, he won the prize for Best Artist at the China Contemporary Art Award. Recent exhibitions have take place at Long Museum, Shanghai (2015); ShanghART Gallery, Shanghai, (2014); ‘14 Rooms’, Basel, Switzerland (2014); Ullens Center for Contemporary Art, Beijing (2014); 12th Biennale of Lyon, France (2013); and Hayward Gallery, London (2012). 徐震是中國當代藝術年青一代的領

王璜生現為北京中央美術學院教授, 並任中央美術學院美術館館長一職。





















藝術博物館(2007)、以及香港美術館 (2014)等其他眾多地方亮相。王冬

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各地被廣泛展出,包括威尼斯雙年展 (2001、2005)、紐約現代藝術博物館 (2004)、利物浦泰特美術館(2007)。徐 震於2004年獲得CCAA中國當代藝術 獎「最佳藝術家」的獎項。最近的展覽 包括:上海西岸龍美術館(2015)、上 海香格納畫廊(2014)、瑞士巴塞爾的 《14個房間》 (2014)、北京尤倫斯當 代藝術中心(2014)、法國里昂第十二 屆里昂雙年展(2013)、倫敦Hayward


美術館( 2012)。

LOT 拍賣編號

LOT 拍賣編號



Artist Profiles

GAO Weigang



b. 1976, Heilongjiang, China. Lives and works in Beijing. 1976年出生於中國黑龍江,

b. 1978, Hong Kong. Lives and works in Hong Kong and Taipei. 1978年出生於香港,

b. 1980, Calgary, Canada. Lives and works in Montréal. 1980年出生於加拿大卡爾加里,






Gao Weigang is a versatile artist whose works have been exhibited throughout Hong Kong, China, the United States, and Europe. Solo exhibitions have been held at Galerie Perrotin, Hong Kong (2015); Espace Louis Vuitton, Singapore (2014); Shanghai Gallery of Art (2013); Platform China, Beijing (2012); and Taikang Space, Beijing (2012). He has also taken part in group exhibitions at Long Museum, Shanghai (2014); and Sean Kelly Gallery, New York (2013), among others.

Lee Kit is an artist who studied at the Chinese University of Hong Kong. In 2013, he represented Hong Kong at the 55th Venice Biennale. Solo exhibitions have been held at Lombard Fried, New York (2014, 2011); Minsheng Art Museum, Shanghai (2012); Osage Gallery, Hong Kong (2011, 2009); Para Site, Hong Kong (2007). Notable international exhibitions include the Shanghai Biennale (2012); Vitamin Creative Space, Guangzhou (2012); Sharjah Biennale, UAE (2012); New Museum Triennial, New York (2012); and the Hong Kong Arts Centre (2010), among others.

Hajra Waheed is a mixed-media artist who graduated from the Art Institute of Chicago and McGill University. She received the Victor Martyn Lynch-Staunton Award for outstanding achievement as a Canadian mid-career visual artist in 2014. Her solo and group exhibitions have taken place at KW Institute for Contemporary Art, Berlin (2015); La Biennale de Montréal, Canada (2015); Darling Foundry, Montreal (2015); Center A, Vancouver (2013); and Green Cardamom, London (2012). Her works are collected by the Museum of Modern Art, New York; the British Museum, London; and the Burger Collection, among others.

高偉剛是一位多才多藝的藝術家, 他的作品在香港、中國大陸、美國及 歐洲廣泛地展出。個人展覽舉辦地點 包括: 香港貝浩登畫廊(2015)、新加 坡路易威登藝術館(2014)、上海滬申 畫廊(2013)、北京站台中國(2012)、 北京泰康空間(2012)。他參與的 聯展包括上海龍美術館(2014)、 紐約西恩•凱利畫廊(2013)。

李傑是曾就讀香港中文大學的藝術 家。2013年他代表香港參加第五十 五屆威尼斯雙年展。他的個展曾 在紐約Lombard Fried畫廊(2014、 2011)、上海民生美術館(2012)、 香港奧沙畫廊(2011、2009)、香港 Para Site藝術空間(2007)舉辦過。 參與的著名國際展覽包括:上海雙 年展(2012)、廣州維他命藝術空間 (2012)、阿拉伯聯合酋長國沙迦 雙年展(2012)、紐約新美術館三年 展(2012)、香港藝術中心(2010) 等。

Hajra Waheed是一位多媒體藝術家,


大學。作為有傑出成就的加拿大職業 中興視覺藝術家,她於2014年獲得

維克多•馬丁-林奇-斯湯頓獎。她已在 柏林 KW 當代藝術中心(2015 )、加

拿大蒙特利爾雙年展( 2015 )、蒙特 利爾 Darling Foundr y( 2015 )、溫 哥華 Center A(2013 )、倫敦 Green

Cardamom 畫廊(2012 )舉辦過個



Collection 等機構收藏。 LOT 拍賣編號


LOT 拍賣編號


LOT 拍賣編號


藝術家 簡介

Izumi KATO

Yoko ONO


b. 1969, Shimane, Japan. Lives and works in Tokyo. 1969年出生於日本島根縣,

b. 1933, Tokyo, Japan. Lives and works in New York. 1933年出生於日本東京,現居紐約。

b. 1962, Beijing, China. Lives and works in Beijing. 1962年出生於北京, 現居於北京。

Yoko Ono is a multi-media artist known for her groundbreaking conceptual work, performance pieces, experimental films, and music. In the late 50s she became part of New York’s vibrant avantgarde scene, participating in a series of radical performance works throughout the next two decades. Ono’s creative influence and prolific artistic output continues to inspire new generations. Her work has been the subject of numerous museum exhibitions including the 2015 exhibition, ‘Yoko Ono: One Woman Show, 1960-1971’ at the Museum of Modern Art, New York.

Zhan Wang is a major Chinese artist whose pseudo-scholarly rocks have won him great acclaim. He has taken part in numerous exhibitions in China and around the world. Solo exhibitions have been held at Long March Space, Beijing (2014, 2012); Singapore Tyler Print Institute (2011); Ullens Center for Contemporary Art, Beijing (2011); Eslite Gallery, Taipei (2010); and Hanart TZ Gallery, Hong Kong (2005). His works have been included in collections in China and around the world.

加 藤泉


Izumi Kato graduated from the Department of Oil Painting at Musashino Art University in 1992. Since the 2000s Kato has garnered attention as an innovative artist through exhibitions held in Japan and across the world. Exhibitions have been held at Galerie Perrotin, Paris and Hong Kong (2014); Museum of Contemporary Art Tokyo (2014); 21st Century Museum of Contemporary Art, Kanazawa, Japan (2013); and ARATANIURANO, Tokyo (2011, 2010, 2007). In 2007 he was invited to the 52nd Venice Biennale.


加藤泉1992年畢業於武藏野美術大 小野洋子是一位多媒體藝術家,以其















展望是中國重要的藝術家,他的假 山石為他贏得巨大聲譽。他參加了





曾在北京長征空間(2014,2012)、新 加坡泰勒紙印藝術學院(2011)、尤倫 斯當代藝術中心(2011)、台北誠品畫 廊(2010)、香港漢雅軒(2005)。他的 作品也在中國和世界各地被收藏。

一代。她的作品早已被眾多博物館展 出,其中包括紐約現代藝術博物館的 《小野洋子:一個女人的獨角戲, 1960-1971》 (2015)。

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LOT 拍賣編號


LOT 拍賣編號


Artist Profiles


ZHANG Xiaogang


b. 1972, Beijing, China. Lives and works in Beijing. 1972年出生於北京,現居北京。

b. 1958, Kunming, China. Lives and works in Beijing. 1958年出生於中國昆明,現居北京。

A major mid-career artist in China, Liu Wei graduated from the China Academy of Art in Hangzhou in 1996. In 2008 he won the CCAA Award for Best Artist. Solo exhibitions have been held at White Cube, Hong Kong (2015); Ullens Center for Contemporary Art, Beijing (2015); White Cube, London (2014); Lehmann Maupin, New York (2013); Long March Space, Beijing (2012); and Almine Rech Gallery, Paris (2012). He has also participated at group shows at Minsheng Art Museum, Shanghai (2015); Long Museum, Shanghai (2014); Rubell Family Collection (2013); Sharjah Biennial, United Arab Emirates (2013); and Hanart TZ Gallery, Hong Kong (2013).

Zhang Xiaogang grew up during the tumult of the Cultural Revolution, after which he studied at the Sichuan Institute of Fine Arts. Select solo exhibitions have been held at Daegu Art Museum, Korea (2014); PACE Hong Kong (2014); PACE New York (2013); PACE Beijing (2012, 2009); Queensland Art Gallery, Australia (2009); and Hong Kong Arts Centre (2004). He has participated in group exhibitions at Foundation, Denmark (2014); Hanart TZ Gallery, Hong Kong (2014); Power Station of Art, Shanghai (2013); Minsheng Art Museum, Shanghai (2012); and Ullens Center for Contemporary Art, Beijing (2008).

b. 1963 in Northumberland, United Kingdom. Lives and works in East London. 1963年出生於英國諾森伯蘭郡,








博物館 (2014) 、 香港佩斯畫廊 (2014) 、


紐約佩斯畫廊 (2013) 、 北京佩斯畫廊


(2012,2009) 、澳大利亞昆士蘭藝術館


(2009) 、香港藝術中心(2004) 。他曾




A draughtsman and sculptor, Paul Noble is known in particular for his 15-year monumental drawing project, Nobson Newton. He has had solo exhibitions at Gagosian Gallery, Athens (2013); Gagosian Gallery, London (2011); The Migros Museum, Zürich (2005); and Whitechapel Art Gallery, London (2004); among others. He took part in the 8th Istanbul Biennial (2003) and was nominated for the Turner Prize in 2012. Noble is also a founding member of City Racing, an influential cooperative artists’ space in London. 作為一名繪畫者和雕塑者,Paul Noble 因為其持續15年的非凡繪畫項目

(2012)、巴黎Almine Rech Gallery 畫廊










《Nobson Newton》而出名。他已在 雅典高古軒畫廊(2013)、倫敦高古 軒畫廊(2011)、蘇黎世The Migros美術 館(2005)、以及倫敦白教堂藝術畫 廊(2004)等地方舉辦過個人展覽。 他還參加了第八屆伊斯坦布爾雙年 展(2003),並於2012年獲特納獎提 名。Noble同時還是倫敦有影響的 藝術家合作空間City Racing的創始 成員之一。

雅軒(2013)的聯展。 LOT 拍賣編號


LOT 拍賣編號


LOT 拍賣編號


藝術家 簡介


Nobuyoshi ARAKI


b. 1971, Singapore. Lives and works in Berlin, Germany. 1971年出生於新加坡,

b. 1940, Tokyo, Japan. Lives and works in Tokyo. 1940年出生於日本東京,

b. 1980, Fuxin, Liaoning, China. Lives and works in Beijing. 1980年出生於中國遼寧省阜新,




Ming Wong is an artist who intervenes in the collective memory of cinema as a way of connecting gender, representation, culture, and identity. He has held solo exhibitions around the world, including at Ullens Center for Contemporary Art, Beijing (2015); carlier | gebauer, Berlin (2014, 2012); REDCAT, Los Angeles (2012); and Vitamin Creative Space, Guangzhou (2011). Group shows have been held at the 8th Asia-Pacific Triennial, Australia (2015); Para Site, Hong Kong (2014, 2013); Shanghai Biennale (2014); Biennale de Lyon, France (2013); among others. Ming Wong represented Singapore at the 53rd Venice Biennale (2009).

Nobuyoshi Araki completed his studies at Chiba University with a focus on the study of film and photography. His photographic project Satchin earned him the prestigious Taiyo Award in 1964, shortly after which he joined the advertising agency Dentsu, where he worked until 1972. He has since had numerous exhibitions around the world, including exhibitions at Shiseido Gallery, Tokyo (2014); Taka Ishii Gallery, Tokyo (2011, 2014); Izu Photo Museum, Japan (2012); Barbican Art Gallery, London (2005); MoCA, Tokyo (1999); and Fondation Cartier, Paris (1995).

黃 漢明


荒木經惟在千葉大學完成了他的學 作為一名藝術家,黃漢明介入電影的








斯當代藝術中心(2015)、柏林carlier |



生堂畫廊(2014)、東京的Taka Ishii畫

REDCAT畫廊(2012) 、中國廣州維他命


Sun Xun is an impressive artist who graduated in 2005 from the Printmaking Department of the China Academy of Art. In 2006 he established � Animation Studio and in 2014 he received the Award of Art China (AAC The Award for Young Artist of the Year). He has also received the Chinese Contemporary Art Awards (CCAA Best Young Artist). In 2012 his latest wood printing animation film Some Actions Which Haven’t Been Defined Yet in the Revolution was nominated by the Berlinale Shorts 2012 Jury at the 62nd Berlin International Film Festival. Merely two years after Sun Xun’s work 21G entered the Venice Film Festival in 2010, the artist was once again bringing animation work into a leading international film festival.


藝術空間(2011) 。參與的聯展包括澳

(2012) 、倫敦巴比肯藝術畫廊(2005) 、

大利亞第八屆亞太三年展(2015) 、香


港Para Site藝術空間(2014、2013) 、上海


雙年展(2014) 、法國里昂雙年展


(2013)等等。黃漢明還代表新加坡參 加了第五十三屆威尼斯雙年展(2009) 。 LOT 拍賣編號


LOT 拍賣編號


LOT 拍賣編號


Artist Profiles

WANG Jianwei

Michael LIN

b. 1958, Sichuan, China. Lives and works in Beijing. 1958年出生於四川,現居北京。

b. 1964, Tokyo, Japan. Lives and works in Brussels, Belgium; Taipei, Taiwan; and Shanghai, China. 1964年出生於日本東京,現居比利時


孫遜是一位年輕藝術家,2005年 畢業於中國美術學院版畫系。次年, 孫氏成立�格動畫工作室。2014年, 孫遜獲得「第八屆AAC藝術中國 · 青年藝術家大獎」 ;2010年,孫遜 獲得中國當代藝術獎「最佳年輕藝 術家獎」。2012年,他以木刻動畫短片 《一場革命中還未來得及定義的 行為》 (2012)入圍第六十二屆柏林 電影節短片競賽單元。這是自作品 《21克》 (2010)入圍2010威尼斯電影 節地平線單元後,兩年內作品再次 入圍國際電影節。

Wang Jianwei has been a pioneer in Chinese contemporary art since the 1970s. Academically trained as a painter, he spent many years of experimentation with painting before shifting his focus to multimedia installation. Over the years his work has been exhibited in leading international art events such as dOCUMENTA, the Venice Biennale, Gwangju Biennale, and Sao Paulo Biennale, as well as at the Museum of Modern Art, New York. Solo exhibitions have included those at Walker Art Center, Minneapolis; Ullens Center for Contemporary Art, Beijing; and Guggenheim Museum, New York.



Michael Lin is an international artist who obtained his BFA and MFA in California in the United States. He has had numerous solo exhibitions, including at Tang Contemporary, Beijing (2013); Eslite Gallery,Taipei (2012); Rockbund Art Museum, Shanghai (2012); Leo Xu Projects, Shanghai (2012);Vancouver Art Gallery, Canada (2010); Kunsthalle Wien,Vienna (2005); PS1, New York (2004); and Palais de Tokyo, Paris (2003). Group exhibitions have been held at BANK, Shanghai (2014); Balice Hertling Gallery, Paris (2014); Singapore Biennial (2011); and Osage Gallery (2010), among others.

汪建偉從上世紀70年代起他開始 藝術的實踐,即被視為中國當代







當代唐人藝術中心(2013) 、台北誠品


畫廊(2012) 、上海外灘美術館(2012) 、


上海Leo Xu Projects(2012)、加拿大




館(2005)、紐約PS1( 2004)、巴黎東




了在上海BANK( 2014)、巴黎Balice

美國沃克藝術中心、北京尤倫斯當 代藝術中心、以及美國紐約古根漢

Hertling畫廊(2014)、新加坡雙年展 (2011)和奧沙畫廊(2010)等其他



LOT 拍賣編號

LOT 拍賣編號



藝術家 簡介


Inga Svala THORSDOTTIR &WU Shanzhuan 吳山專&英格 • 斯瓦拉 • 托斯朵蒂爾

b. 1965, Jilin, China. Lives and works in Shanghai. 1965年出生於中國吉林,現居上海。

b. 1966, Iceland. b. 1960, Zhoushan, Zhejiang, China. Both live and work in Hamburg, Germany; Shanghai, China; and Reykjavik, Iceland. 1966年生於冰島。1960 年出生於

張 恩利

A prolific painter, Zhang Enli graduated from the Arts & Design Institute of Wuxi Technical University in 1989. Solo exhibitions have taken place at MOCA Taipei (2015); ShanghART H-Space and Gallery (2015); Hauser & Wirth Somerset, United Kingdom (2015); K11 Art Foundation Pop-Up Space, Hong Kong (2014); ICA, London (2013); Minsheng Art Museum, Shanghai (2010); and Kunsthalle Bern, Switzerland (2009). He has also taken part in many group exhibitions, including at YUZ Museum, Shanghai (2015); Vancouver Art Gallery (2014); Ullens Center for Contemporary Art, Beijing (2014); Rubell Collection, Miami (2013); among others. Additionally, he has taken part in the Kozhi-Muziris Biennale, India (2012); Gwangju Biennale (2010); and Shanghai Biennale (2008).

畫家張恩利1989年於無錫輕工業大 學藝術學院畢業。他的個展曾在台 北當代藝術館(2015)、上海香格納 H空間及畫廊(2015)、英國Hauser & Wirth Somerset(2015)、香港K11藝術 基金空間(2014)、倫敦當代藝術中心 (2013)、上海民生美術館(2010)、瑞 士伯爾尼美術館(2009)舉辦。他也 參與了很多的聯展,其中包括上海 余德耀美術館(2015)、溫哥華美術 館(2014)、北京尤倫斯當代藝術中心 (2014)、邁阿密盧貝爾家族收藏美 術館(2013)等。此外,他還參加了 印度Kozhi-Muziris雙年展(2012)、韓 國光州雙年展(2010)、以及上海雙 年展(2008)。

中國浙江省舟山。他們現居德國 漢堡、中國上海、冰島雷克雅維克。

Inga Svala Thorsdottir graduated in 1991 from the painting department of the Icelandic School of Arts and Crafts. In 1995, she graduated from the Hochschule für bildende Künste in Hamburg.Wu Shanzhuan graduated from the China Academy of Art in 1986. In 1995 he also graduated from the Hochschule für bildende Künste in Hamburg. Since 1991 Thorsdottir and Wu have been working and exhibiting collaboratively. The two artists’ works have been exhibited at STPI, Singapore (2015); Long Museum, Shanghai (2014); Red Brick Museum, Beijing (2014); ShanghART, Shanghai (2012); Witte de With, Netherlands (2012); and Long March Space, Beijing (2011). 英格 • 斯瓦拉 • 托斯朵蒂爾1991年畢 業於冰島藝術學院繪畫系。1995年畢 業於德國漢堡藝術學院自由藝術系。 吳山專1986年畢業於中國美術學院師 範系,1995年也從德國漢堡藝術學院 自由藝術系畢業。從1991年托斯朵蒂 爾和吳氏開始一起合作和做展。兩位 藝術家的作品在新加坡泰勒版畫研究 院(2015)、上海龍美術館(2014)、北 京紅磚美術館(2014)、上海香格納畫廊 (2012)、荷蘭Witte de With( 2012)和 北京長征空間(2011)展出。

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Artist Profiles

Danh VO


AI Weiwei

b. 1975, Bà Rja, Vietnam. Lives and works in Mexico City. 1975年出生於越南巴地市,

b. 1980, Hong Kong. Lives and works in Hong Kong. 1980年出生於香港,現居香港。

b. 1957, Beijing, China. Lives and works in Beijing. 1957年出生於中國北京,現居北京。

Nadim Abbas is a visual artist from Hong Kong whose work explores technologies of perception, culminating in the construction of complex set pieces where objects exist in an ambiguous relationship with their own image, and bodies succumb to the seduction of space. Abbas was awarded with the Asian Cultural Council Altius Fellowship and the Hong Kong Arts Development Council Award (Young Artist / Visual Arts) in 2014. Recent exhibitions include: ‘2015 Triennial: Surround Audience,’ New Museum, New York; ‘Unseen Existence,’ Hong Kong Arts Centre (2014); and ‘Tetraphilia,’ Hermés, Singapore (2013).

Ai Weiwei is an internationally renowned artist based in Beijing. He moved to New York City in 1981 and returned to Beijing in 1993. His works have been exhibited all over the world. Recent solo exhibitions have been held at Galleria Continua and Tang Contemporary, Beijing (2015); Chambers Fine Art, Beijing (2015); Martin-Gropius-Bau, Berlin (2014); the German Pavilion of the 55th Venice Biennale (2013); ‘Ai Weiwei: Sunflower Seeds’ at the Tate Modern, London (2010); and Haus der Kunst, Munich (2009). Notable past group exhibitions include the Busan Biennale (2012); the 29th Sao Paulo Biennial (2007); and dOCUMENTA 12, Kassel (2007).


年移居紐約, 自1993年一直在北京居




An important conceptual artist, Danh Vō fled Vietnam with his family in a homemade boat at the age of four. The vessel was rescued by a Danish freighter, the nationality of which determined their asylum in Denmark.The artist has since gained renown, winning the Hugo Boss Prize (2012) and taking part in a number of important exhibitions, including at the Pavilion of Denmark at the 56th Venice Biennale (2015); the 55th Venice Biennale (2013); dOCUMENTA 13, Germany (2012). Other exhibitions have taken place at Sifang Museum, Nanjing (2015); Para Site, Hong Kong (2014); and the Guggenheim Museum, New York (2013). 作為一名重要的概念主義藝術家, 傅丹在4歲時和他的家人乘坐自製 的一艘小船逃離了越南。該船被丹 麥的貨輪搭救,這也讓他們成功尋 求丹麥的庇護。藝術家早已獲得聲 望,贏得了Hugo Boss大獎(2012)並 參與了一系列重要的展覽,包括在 威尼斯雙年展丹麥館(2015)、威尼 斯雙年展(2013)、德國卡塞爾第十 三屆文獻展(2012)。其他展覽還在 南京四方美術館(2015)、香港Para Site 藝術空間(2014)、紐約古根漢博

家。他的作品探索記憶和映射, 在形神之間的穿插:複雜的裝置 中,物件與其映射關係曖昧,形體 與空間交錯。2014年唐納天獲得 了亞洲文化協會藝術獎助金以及 2014香港藝術發展獎(新秀獎/視 覺藝術)的殊榮。他近期的展覽包 括:紐約新美術館《 2015三年展:圍 繞觀眾》、香港藝術中心《未見之存 有》、新加坡愛馬仕《四癖》 ( 2013)。

物館(2013)舉辦過。 LOT 拍賣編號



艾未未是國際知名的藝術家,於1981 住。他的作品在世界各地展出,近期重 要的個人展覽包括:北京長青畫廊和 唐人藝術中心《艾未未》 (2015)、北京 前波畫廊(2015)、柏林馬丁-格羅皮 尤斯展覽館《Evidence》(2014) 、威尼 斯第55屆意大利威尼斯雙年展德國館 展覽(2013)、倫敦泰特現代美術館 《葵花籽》 (2010)、慕尼黑藝術之家美 術館《深表遺憾》 (2009)。重要群展包 括:韓國釜山雙年展(2012)、巴西第 29屆聖保羅雙年展(2007)、德國第十 二屆卡薩爾文獻展(2007)。

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藝術家 簡介

AU Hoi Lam


CHEN Chieh-jen

b. 1978, Hong Kong. Lives and works in Hong Kong. 1978年出生於香港,現居香港。

b. 1972, Calcutta, India. Lives and works in Berlin. 1972年出生於印度加爾各答,

b. 1960, Taoyuan, Taiwan. Lives and works in Taipei. 1960年出生於台灣桃園,現居台北。

Au Hoi Lam graduated from the Chinese University of Hong Kong with an MFA in 2004 and an MPhil in 2009. She has been awarded the Hong Kong Arts Development Awards 2013 — Award for Young Artist (Visual Arts) from the Hong Kong Arts Development Council. She has exhibited her work with Osage Gallery, Hong Kong, as well as in Taipei, Shanghai, Moscow, and elsewhere. Her works are in the collections of the Hong Kong Museum of Art, M+, and private collectors.

After getting a degree in biochemistry, Sarnath Banerjee received an MA in Image and Communication from Goldsmiths College, London, and has written numerous graphic novels. Exhibitions have included a solo show at the Centre for Contemporary Arts, Glasgow (2012) and group shows at the Kochi-Muziris Biennale (2014); DAAD Galerie, Berlin (2013); and the Haus der Kulture der Welt, Berlin (2012). His works have also been shown at the Centre Pompidou, Paris; MAXXI, Rome; Kunstmuseum Bern; and Institute of Contemporary Arts, London.

區 凱琳


區凱琳在 2004及 2009年於香港中 文大學取得藝術碩士及碩士學位。 她曾獲香港藝術發展局的「香港




藝術發展獎 2013─藝術新秀獎(視





藝術中心( 2012)的個展,以及在




Chen Chieh-jen is a prolific artist from Taiwan who has achieved international renown, particularly for his video works that visualise contemporary reality and a people’s history obscured by neo-liberalism. Solo exhibitions have been held at MUDAM Luxembourg (2013); Long March Space, Beijing (2010); Taipei Fine Arts Museum (2010); Museo Nacional Centro de Arte Reina Sofia, Madrid (2008); and Asia Society, New York (2007). Major exhibitions include the Kochi-Muziris Biennale, India (2014); Shanghai Biennial (2014); Asia Triennial Manchester 14, United Kingdom (2014); Guangzhou Triennial, China (2012); Moscow Biennial (2011); Bienal de São Paulo, Brazil (2010); and the Asia Pacific Triennial, Australia (2009). He represented Taiwan at the 53rd Venice Biennale (2009).

印度科欽雙年展( 2014)、柏林 DAAD畫廊( 2013)、柏林世界文化

之家( 2012)的群展。他的作品也曾 在巴黎龐畢度藝術中心、羅馬國立 當代藝術博物館、伯恩藝術館和倫 敦當代藝術學院展出。

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Artist Profiles

Heman CHONG 張奕滿

b. 1977, Muar, Malaysia. Lives and works in Singapore. 1977年出生於馬來西亞麻坡, 現居新加坡。 享譽國際的台灣藝術家陳界仁創作 頗豐,尤以影像作品著稱。其影像創 作將當下的現實情況視覺化,揭示 出新自由主義遮蔽下的人類史。 他舉行過的個展包括:盧森堡 MUDAM美術館(2013)、北京長征空間 (2010)、台北美術館(2010)、馬德里 Reina Sofia國立美術館(2008)、紐約 亞洲協會(2007)。他的主要展覽經 歷包括印度科欽雙年展(2014年)、 上海雙年展(2014年)、曼徹斯特亞 洲三年展(2014年) 、廣州三年展(2012 年)、俄羅斯莫斯科雙年展(2011年)、 巴西聖保羅雙年展(2010年)、澳大 利亞亞太三年展(2009年)。他曾代 表台灣參加第五十三屆威尼斯雙年 展(2009)。

Heman Chong is an artist, curator, and writer. He received his MA in Communication Art & Design from The Royal College of Art, London, in 2002. Solo exhibitions have been held at Art Sonje Center, Seoul (2015); FOST Gallery, Singapore (2014, 2013); The Reading Room, Bangkok (2013); Wilkinson Gallery, London (2012); and Rossi & Rossi, London (2012). Chong has participated in major exhibitions including the Asia Pacific Triennial, Australia (2012); Performa 11, New York (2011); Manifesta 8, Spain (2010); 2nd Singapore Biennale (2008); Busan Biennale (2004); and the 10th India Triennial (2000). He represented Singapore in the 50th Venice Biennale (2003).

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張奕滿是一位藝術家、策展人及 作家。2002年他獲得倫敦皇家 藝術學院傳媒與設計專業碩士 學位。他曾舉辦的個展包括:首爾 Art Sonje藝術中心(2015)、新加坡 FOST畫廊(2014、2013)、曼谷The Reading Room文化空間(2013)、倫敦 Wilkinson畫廊(2012)、以及倫敦羅西 畫廊(2012)。他曾參與的重要聯展 包括:澳大利亞亞太三年展 (2012)、紐約表演藝術雙年展 Performa 11( 2011)、西班牙歐洲 雙年展Manifesta 8( 2010)、第二屆新 加坡雙年展(2008)、釜山雙年展 (2004)、第十屆印度三年展 (2000)。張氏曾代表新加坡參加第 五十屆威尼斯雙年展(2003)。

藝術家 簡介

Tiffany CHUNG

Jigger CRUZ


b. 1969, Da Nang, Vietnam. Lives and works in Ho Chi Minh City, Vietnam. 1969年出生於越南峴港市,

b. 1984, Malabon City, Manila, Philippines. Lives and works in Manila. 1984年出生於菲律賓馬尼拉馬拉翁,

b. 1981, Guangzhou, China. Lives and works in Beijing. 1981年出生於廣州,現居北京。



As a Vietnamese-American, Tiffany Chung returned to Vietnam in 2000. In 2007 she co-founded the non-profit art space Sàn Art in Ho Chi Minh City. The artist has shown internationally, including at the 56th Venice Biennale (2015). Select group exhibitions include: Sharjah Biennial (2013); Asia Pacific Triennial 7, Brisbane, Australia (2012); San Francisco Museum of Modern Art (2012); Kuandu Biennale, Taipei (2012); Singapore Biennale (2011); and Fukuoka Triennale, Japan (2005). Her works have also been exhibited at Tyler Rollins Fine Art in New York.

Jigger Cruz studied fine arts at the Far Eastern University in the Philippines and design at De La Salle-College of St. Benilde. Selected exhibitions have been held at ARNDT, Berlin (2015); the West Gallery, Quezon City, Philippines (2013); Primae Noctis Gallery, Lugano, Switzerland (2012); the Ayala Museum, Philippines (2010); 1:AM Gallery, San Francisco (2010); Tala Gallery, Tomas Morato, Philippines (2009), among others. Other exhibitions include ‘Swing’ at the Blanc Art Space, Makati City, Philippines (2008) and ‘Pink Fumes’ at the Pablo Gallery, Cubao, Araneta Center, Quezon City, Philippines (2007).

蒂 芬妮 · 鐘

作為美籍越南裔,蒂芬妮 · 鐘於 2000年回到越南。2007年她與其他

Jigger Cr uz曾在菲律賓遠東大學



藝術空間Sàn Ar t。鐘氏在國際上嶄




(2015)。重要的群展包括 : 沙迦雙



Noctis Gallery(2012) 、菲律賓阿亞




山1:AM 畫廊(2010)、菲律賓Tomas





年展(2005)。她還在紐約泰勒 · 羅 林畫廊舉辦過多次展覽。


Fang Lu received her BFA from the graphic design department of the School of Visual Art in New York in 2005, and her MFA from the new genres department at the San Francisco Arts Institute in 2007. Her work has been featured in solo exhibitions at Boers-Li Gallery, Beijing (2013); Pékin Fine Arts, Hong Kong (2013); Arrow Factory, Beijing (2012); Space Station, Beijing (2010); and Borges Libreria Institute of Contemporary Art, Guangzhou (2011). Group exhibitions have taken place at the Rubell Family Collection Museum, Miami (2014); Ullens Center for Contemporary Art, Beijing (2012); Shenzhen Sculpture Biennial (2012); and the ‘CAFAM Future Exhibition’ (2012), among others. She is also co-founder of Video Bureau, an independent video archive resource in Beijing and Guangzhou.

Blanc Art Space《Swing》 (2008)和菲律 賓奎松市Araneta Center, Cubao巴布 羅畫廊《Pink Fumes》的展覽。

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Artist Profiles

HO Sin Tung

Sadaharu HORIO

b. 1986, Hong Kong. Lives and works in Hong Kong. 1986年出生於香港,現居香港。

b. 1939, Kobe, Japan. Lives and works in Kobe. 1939年出生於日本神戶,現居神戶。

Ho Sin Tung began her artistic training at the age of three when she attended workshops in the studio of Hong Kong painter Gaylord Chan. She graduated with a BFA from the Fine Arts Department of The Chinese University of Hong Kong in 2008. She has had exhibitions at Hanart TZ Gallery, Hong Kong (2015, 2012, 2010); Duddell’s, Hong Kong (2015); SeMA Biennale Mediacity Seoul (2014); Witte de With, Rotterdam (2014); Para Site, Hong Kong (2013); Haus der Kulturen der Welt, Berlin (2013); Palais de Tokyo, Paris (2012); 9th Shanghai Biennale (2012); and Osage Kwun Tong, Hong Kong (2012).

Sadaharu Horio became a member of the Gutai Art Association in 1966, a period in which the spirit of the early Gutai was almost gone. But Horio is perhaps the only one who continued their experimental spirit. Horio presents hundreds of exhibitions and performances in a year and they are backed by a great number of drawings and acts of colouring objects, which he undertakes everyday. Recent solo and group exhibitions have taken place at Axel Vervoordt Gallery, Antwerp (2011); Palazzo Fortuny, Venice (2011, 2009); Yokohama Triennale (2005), among many others.








方璐於2005年在美國紐約視覺藝術 學院獲平面設計學士學位,2007年 獲美國三藩市藝術學院新類型系的 碩士學位。她曾舉辦的個展

包括:北京博而勵畫廊(2013)、 香港北京藝門畫廊(2013)、北京箭 廠空間(2012)、北京空間站(2010)、 廣州博爾赫斯書店當代藝術機構


美國盧貝爾美術館(2014)、尤倫斯 當代藝術中心(2013)、深圳雕塑雙

年展(2012)、中央美術學院美術館 《未來展》 (2012)等。方璐是錄影 局的共同創始人之一,這是位於北 京和廣州的獨立錄影檔案機構。

學士學位。藝術家曾在香港翰雅軒 (2015、2012、2010)、香港都爹利會

堀 尾貞治

唯一一位繼續着他們實驗精神的成 員。大量的繪畫加上他每日都在進



市雙年展(2014)、鹿特丹Witte de


With( 2014)、香港Para Site藝術空


間(2013) 、柏林Haus der Kulturen der

Axel Vervoordt畫廊(2011)、威尼斯

Welt(2013) 、法國巴黎東京宮(2012) 、





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藝術家 簡介

HU Yun


Norio IMAI

b. 1986, Shanghai., China Lives and works in Shanghai. 1986年出生於中國上海,現居上海。

b. 1966, Jilin, China. Lives and works in Beijing. 1966年出生於中國吉林,現居北京。

b. 1946, Osaka, Japan. Lives and works in Osaka. 1946年出生於日本大阪,現居大阪。

Hu Yun graduated from the China Academy of Art, Hangzhou, studying under the renowned artist Qiu Zhijie. He has had several solo exhibitions in Magician Space, Beijing (2010); Goethe-Institut, Shanghai (2012); and AIKE-Dellarco Gallery, Shanghai (2013). He has also taken part in group exhibitions, including ‘Just as money is the paper, the gallery is the room’, Osage Gallery, Shanghai (2014); the 7th Shenzhen Sculpture Biennale (2012); and the 4th Guangzhou Triennial (2012).

Huang Yan graduated from the Changchun Teachers Academy in 1987 and currently lectures at Changchun University in China. He has exhibited widely, including at the Metropolitan Museum of Art, New York (2014); Galerie Wilms, The Netherlands (2013); Ethan Cohan Fine Arts, New York (2012); Hong Kong Art Centre (2010); Israel Museum, Jerusalem (2007); and Hanart TZ Gallery, Hong Kong (2000), among others.

Born in 1946 Norio Imai is the youngest member of the Gutai group. He first showed his works in the 14th Gutai Art Exhibition in 1964 and has since shown around the world. Recent solo and group exhibitions have take place at Palazzo Fortuny, Venice (2015); Galerie Richard, New York (2014); Axel Vervoordt Gallery, Antwerp, Belgium (2013); ‘Gutai: Splendid Playground,’ the Guggenheim, New York (2013); Hauser & Wirth, New York (2012); and Stedelijk Museum Schiedam, the Netherlands (2011).






物館(2014)、荷蘭Galerie Wilms畫


廊(2013)、紐約Ethan Cohan Fine





就是幾間房》 (2014)、第七屆深圳雕






生於1946年的今井祝雄是具體美 術協會最年輕的成員。1964年他在 第十四屆具體美術展覽中首次展 出自己的作品,自此逐漸世界各地 參與展覽。近期的個展和聯展包括: 威尼斯Palazzo Fortuny( 2015)、紐約


Galerie Richard畫廊(2014)、比利時


安特衛普Axel Vervoordt 畫廊(2013)、 紐約古根漢博物館《具體美術:錦繡 遊樂場》 (2013)、紐約豪瑟沃斯畫廊 (2012)、以及荷蘭斯希丹市立博物 館(2011)。

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Artist Profiles

Suyoung KIM

KO Sin Tung

KONG Chun Hei

b. 1971, Seoul, South Korea. Lives and works in Seoul. 1971年出生於韓國首爾,

b. 1987, Hong Kong. Lives and works in Hong Kong. 1987年出生於香港,現居香港。

b. 1987, Hong Kong. Lives and works in Hong Kong. 1987年出生於香港,現居香港。

Suyoung Kim received her MFA from the Kunstakademie Dusseldorf, studying under Professors Siegfried Anzinger and Daniel Buren. Prior to that, she received her BFA from the Seoul National University. She has had solo exhibitions at ONE AND J. Gallery, Seoul (2013, 2011, 2008), and Kumho Museum of Art, Korea (2007), among other art spaces. Group exhibitions have also taken place at Gyeonggi Museum of Modern Art, Seoul (2013); Ilmin Museum of Art, Korea (2012); Seoul Museum of Art (2011), among others.

Ko Sin Tung is an emerging Hong Kong artist and a graduate from the Department of Fine Arts at The Chinese University of Hong Kong. She has held exhibitions at Gallery Edouard Malingue, Hong Kong (2015); AISHONANZUKA, Hong Kong (2015); Oi! Hong Kong, Hong Kong (2015); ‘2nd CAFAM Future Exhibition’, K11, Hong Kong and Beijing (2015); Gallery EXIT, Hong Kong (2014); 8th Vladivostok Biennale of Visual Arts, Russia (2013); Osage Gallery, Hong Kong (2012); and Para Site, Hong Kong (2012).

Kong Chun Hei graduated in Fine Arts from The Chinese University of Hong Kong. His exhibitions have taken place at Gallery EXIT, Hong Kong (2012, 2010); Cattle Depot Artist Village, Hong Kong (2012); Osage Gallery, Hong Kong (2010); and 1a space, Hong Kong (2008), among others.





了她的藝術碩士學位,師從Siegfried Anzinger教授和Daniel Buren教授。在

此之前,她於首爾國立大學獲得了藝 術學士學位。她曾在首爾ONE AND J.



鄺鎮禧畢業於香港中文大學藝術 系。他曾在香港安全口畫廊( 2012 、

2010)、香港牛棚藝術村( 2012)、 香港奧沙畫廊( 2010)、以及香港 1a 空間( 2008)等地方舉辦過展覽。

畢業於香港中文大學藝術系。她 已在香港馬淩畫廊(2015)、香港

AISHONANZUKA (2015)、油街實現 (2015)、中國北京及香港K11第二屆












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藝術家 簡介


Lindy LEE

LEE Kwang-ho

b. 1952, Seoul, South Korea. Lives and works in New York. 1952年出生於韓國首爾,現居紐約。

b. 1954, Brisbane, Australia. Lives and works in Sydney. 1954年出生於澳大利亞布里斯班,

b. 1967, South Korea. Lives and works in Seoul, South Korea. 1967年出生於韓國,

Critically acclaimed and widely exhibited, Il Lee is a Korean-born New York artist best known for his pioneering work with ballpoint pen that he began more than 35 years ago. His works are collected worldwide and in the permanent collections of major museums and institutions, including the Metropolitan Museum of Art; Leeum Samsung Museum of Art, Seoul; San Jose Museum of Art; Vilcek Foundation; and National Museum of Contemporary Art, Korea.



Lindy Lee is a Chinese-Australian artist who has exhibited extensively nationally and internationally, with many major public art commissions in China and Australia. Major exhibitions include Kochi Biennale, India (2014); ‘Dark of Absolute Freedom,’ UQArt Museum, Brisbane (2014); and at Museum of Contemporary Art, Sydney. She has also shown at 10 Chancery Lane, Hong Kong (2013) and the Rosyln Oxley9 Gallery, Sydney.

Lee Kwang-ho received his BFA in painting in 1994 from College of Fine Arts, Seoul National University, and an MFA in printmaking in 1999 from the same university. Solo exhibitions have been held at Kukje Gallery, Seoul (2014, 2010). He has also taken part in group exhibitions at National Museum of Modern and Contemporary Art, Seoul (2015); Gyeongnam Art Museum, Korea (2013); Saatchi Gallery, London (2012); Prague Biennale, Czech Republic (2009), among others. His works are included in the collections of several museums in Korea including the National Museum of Modern and Contemporary Art, Seoul Museum of Art, Gyeonggi Museum of Art, and Jeju Museum of Art.

韓國出生的紐約藝術家II Lee作品備 受好評並獲廣泛展出,他因35年前開 始進行、使用原子筆創作的先鋒作 品享譽世界。他的作品被納入世界 各地的收藏,包括主要的博物館和藝 術機構永久性收藏,如紐約大都會 藝術博物館、三星美術館、聖荷西美 術館、Vilcek基金會、以及韓國國立現 代美術館。


李林迪是一位澳洲籍華裔藝術家,她 在國內及國際廣泛地舉辦展覽,並

在中國和澳大利亞創作過多件主要 的公共藝術作品。主要的展覽包括: 印度柯欽雙年展(2014)、布里斯班 昆士蘭大學美術館的《絕對自由的黑 暗》 (2014)、以及在悉尼當代藝術館


(2013)和悉尼Rosyln Oxley9畫廊舉 辦展覽。


1994年李光鎬從韓國首爾國立大學 藝術學院獲得了藝術學士學位,1999 年又在同校獲得了版畫專業的藝術 碩士學位。他已在首爾Kukje畫廊 (2014、2010)舉辦過個人展覽。他參 加的聯展則包括了首爾國立現代美術 館 (2015) 、 慶南道立美術館 (2013) 、倫 敦薩奇美術館(2012)、捷克布拉格雙 年展(2009)等等。他的作品還被國立 現代美術館、首爾市立美術館、京畿道 美術館、濟州美術館收藏。

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Artist Profiles

Kwangho LEE

LIN Yilin

LIU Jianhua

b. 1981, Seoul, South Korea. Lives and works in Seoul. 1981年出生於韓國首爾,

b. 1964, Guangzhou, China. Lives and works in New York and Beijing. 1964年出生於中國廣州,

b. 1961, Jiangxi, China. Lives and works in Shanghai. 1961年出生於中國江西,現居上海。






Kwangho Lee obtained his Bachelor’s degree in metal and art design at Hongik University, Seoul, in 2007. In 2011 he received the Artist of the Year award from Korea’s Ministry of Culture. Solo exhibitions have been held at ONE AND J. Gallery, Seoul (2014); and Design Museum, Osaka, Japan (2013) among others. Lee has also taken part in group shows at Daegu Art Museum, Korea (2013); Gwangju Design Biennale, Korea (2011); Maison & Object, Paris (2011); and Saint-Etienne Design Biennale, France (2010). His works are in the collections of the M+ Museum, Hong Kong, and San Francisco Museum of Modern Art, among others.

Lin Yilin is a prominent Chinese artist who co-founded the Big-Tail Elephant group in 1990. Major exhibitions he has participated in include: ‘Cities on the Move,’ Austria (1997); 2nd Johannesburg Biennale (1997); 1st Taipei Biennale (1998); 4th Gwangju Biennale (2002); 50th Venice Biennale (2003); dOCUMENTA 12, Kassel, Germany (2007); 10th Lyon Biennale (2009); and the 12th Havana Biennale (2015). His works have been shown in Kunsthalle Bern; PS1 Contemporary Art Center, New York; Hayward Gallery, London; Asia Society Museum, New York; and the San Francisco Museum of Modern Art.

Liu Jianhua is one of China’s bestknown sculpture and installation artists. He lived for 14 years in Jingdezhen, learning the craft of ceramics and graduated in Fine Art from the Jingdezhen Ceramics Institute. His works have been exhibited worldwide, including at the 50th Venice Biennale (2003); 17th Biennale of Sydney; 1st Singapore Biennale; 6th Shanghai Biennale; Asian Art Museum, San Francisco; Mori Art Museum, Tokyo; Centre Pompidou, France. His works are in collections such as Yuz Foundation, Shanghai; Guggenheim Museum, New York; China Club; and Hong Kong New World, Hong Kong.











市》 (1997) 、 第二屆約翰內斯堡雙年展

系畢業。他也參與過多個展覽 ,


(1997) 、 第一屆臺北雙年展 (1998) 、


AND J畫廊(2014)、日本大阪設計


博物館(2013) 。李氏也曾參加很多聯



展,包括:韓國大邱美術館(2013) 、韓











術館、紐約PS1美術館 、倫敦Hayward



美術館 、紐約亞洲協會美術館和舊金





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藝術家 簡介

LOU Shenyi

LU Yang

Mudassar MANZOOR

b. 1973, Zhejiang, China. Lives and works in Hangzhou. 1973年出生於中國浙江,

b. 1984, Shanghai, China. Lives and works in Beijing and Shanghai. 1984年出生於中國上海,

b. 1979, Lahore, Pakistan. Lives and works in Lahore. 1979出生於巴基斯坦拉合爾,




Lou Shenyi is a renowned artist who graduated from the Central Academy of Fine Arts in Beijing in 1997 and now teaches at the China Academy of Art in Hangzhou. He has had exhibitions in China and around the region, including at Platform China, Beijing (2015, 2013) and Hong Kong (2013); Star Gallery, Beijing (2014); Liu Haisu Art Museum, Shanghai (2008); and Red Bridge Gallery, Shanghai (2010, 2008, 2007).

Lu Yang is a prominent young Chinese artist. She received her MFA in the new media art department of the China Academy of Art in 2010. Her works have been featured in important solo and group exhibitions including at the China Pavilion, 56th Venice Biennale (2015); 5th Fukuoka Asian Art Triennale, Japan (2014); 4th International Biennale for Young Art, Moscow (2014); Centre Pompidou, Paris (2013); Musée d’art contemporain de Lyon, France (2013); Shanghai Biennale (2012); and the Ullens Center for Contemporary Art, Beijing (2011).

Mudassar Manzoor received his Bachelor’s degree in Fine Arts from the National College of Arts, Lahore and has also taught there. He has had numerous exhibitions both solo and group in Pakistan and abroad, including at Artscene Gallery, Karachi, Pakistan (2014); Amdavad Ni Gufa, Ahmedabad, India (2013); International Creative Arts Center, Mumbai, India (2013); Rohtas II, Lahore, Pakistan (2011); Prince’s Foundation Gallery, London (2010); Gandhara Art Space, Karachi, Pakistan (2009); and the Hong Kong Arts Centre (2008).


Mudassar Manzoor從拉合爾國家


著名藝術家婁申義於1997年從北 京中央美術學院畢業,現於杭州 中國美院執教。他曾在中國及其周 邊地區舉辦展覽,包括站台中國 北京(2015、2013)和站台中國香港 (2013)、北京星空間(2014)、上海 劉海粟美術館(2008)和上海紅橋畫 廊(2010、2008、2007)。


她於2010年獲得中國美術學院新 媒體系碩士學位。她的作品曾

藝術學院獲得藝術學學士學位, 並曾在此任教。他在巴基斯坦和國





(2015)、 日本第五屆福岡亞洲藝術

Gallery( 2014)、印度艾哈邁德巴德


Amdavad Ni Gufa( 2013)、印度




巴基斯坦拉合爾Rohtas (2011) II 、

藝術館(2013)、上海雙年展(2012)、 北京尤倫斯當代藝術中心(2011)。

倫敦Prince’s Foundation Gallery (2010)、巴基斯坦卡拉奇Gandhara Art Space(2009)、香港藝術中心 (2008)。

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Artist Profiles



b. 1969, London. Lives in New York, USA, and Dhaka, Bangladesh. 1969出生於英國倫敦,現居美國紐約

b. 1976, West Bengal, India. Lives and works in New Delhi. 1976年出生於印度西孟加拉,



Naeem Mohaiemen is an artist and a PhD candidate in Historical Anthropology at Columbia University. He has participated in a range of events and exhibitions internationally. The latest chapter of The Young Man Was project, ‘Last Man in Dhaka Central’, was supported by a Creative Time Global Residency and a Guggenheim Fellowship, and premiered at the 56th Venice Biennale (2015). Previous chapters have been presented at Kiran Nadar Museum, Delhi (2013); Bangladesh Shilpakala Academy, Dhaka (2012); Sharjah Biennial, UAE (2011); and New Museum, New York (2011). Other exhibitions include the Kochi-Muziris Biennale (2015) and Kunsthalle Basel (2015). His work is in the collection of the Samdani Art Foundation, Bangladesh; the Tate Modern; and the British Museum.

Buddhadev Mukherjee has a graduate degree in painting from Kala Bhavan, Santiniketan and a Masters in printmaking from M. S. University, Baroda. In 2012 he spent a year at the China Academy of Art in Hangzhou on a Chinese Government scholarship. A two-person exhibition featuring his work titled ‘Body as Site’ opened in August 2015 at Galerie Mirchandani + Steinruecke in Mumbai. He has also shown at Galerie Dubois Friedland, Brussels, Belgium (2014); Ramybes Gallery, Lithuania (2013); Red Earth Gallery, Baroda (2012); and Aakriti Art Gallery, Kolkata (2010).

Naeem Mohaiemen是一位藝術家, 也是一位哥倫比亞大學歷史人類 學博士生。他參與了一系列國際性 的活動和展覽。項目《The Young Man Was》的最新章節〈Last Man in Dhaka Central〉獲得了創意時間的「全球居 住項目」和古根漢獎學金的資助, 並在2015年威尼斯雙年展上首次 展出。之前的章節在新德里克蘭納 達爾美術館(2013)、達卡Bangladesh Shilpakal Academy( 2012)、阿拉伯聯 合酋長國沙迦雙年展(2011)、紐約 新博物館(2011)中展出。其他參與 的展覽還包括科欽-穆吉里斯雙年 展(2015)、Kunsthalle Basel(2015)等。 他的作品被桑德尼藝術基金會(孟 加拉)、泰特現代美術館和大英博

Buddhadev Mukherjee從Santiniketan的


Kala Bhavan獲得油畫專業學士和巴羅 達Maharaja Sayajirao大學獲得版畫專 業碩士。2012年他因獲得中國政府獎 學金,在杭州的中國美術學院生活了 一年。2015年8月在孟買的 Mirchandani + Steinruecke畫廊一場雙人展開幕, 其中展出了他題為〈Body as Site〉的 作品。他還在比利時布魯塞爾Galerie Dubois Friedland畫廊(2014)、立陶宛 Ramybes畫廊(2013)、巴羅達Red Earth 畫廊(2012)以及加爾各答Aakriti Art畫 廊(2010)展出過。

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藝術家 簡介

Murad Khan MUMTAZ



b. 1980, Lahore, Pakistan. Lives and works in Charlottesville, United States, and Lahore, Pakistan. 1980年出生於巴基斯坦拉合爾,現居

b. 1948, Shenyang, Liaoning. Lives and works in Beijing. 1948年出生於遼寧省瀋陽市,現居北京。 Nie Ou is a well-known female artist noted for her figural ink paintings. Originally from Shenyang, she moved to Beijing with her family in 1953 and received her first art lessons at Beijing Municipal Youth Palace in 1954. Due to the Cultural Revolution (1966– 1976), she was sent to a small farm in Datong City, Shanxi, for re-education in 1969. After her return to Beijing, Nie Ou studied a postgraduate course of Chinese ink painting under the renowned painter Li Keran at the Central Academy of Fine Arts, Beijing in 1978. Nie Ou has had approximately 20 solo and group exhibitions in Mainland China, Hong Kong, Taiwan, Indonesia, the United States, and Switzerland.

b. 1963, Lhasa, Tibet. Lives and works in Lhasa. 1963年出生於西藏拉薩,現居拉薩。 Nortse has taken part in solo exhibitions at Rossi & Rossi, London (2008, 2012). He has also exhibited at group exhibitions in China, Europe, and the United States, including ‘Kora: A Meditation on Pilgrimage’ and ‘Anonymous’ at Queens Museum, New York (2014); ARNDT, Berlin (2014); Rossi & Rossi, London (2013); Kathmandu International Art Festival, Nepal (2012); Tel Aviv Museum of Art, Israel (2012); ‘Inside Out–Tibetan Contemporary Art’, Tibet Gedun Chöphel, Lhasa,Tibet (2007); ‘Waves on the Turquoise Lake: Contemporary Expressions of Tibetan Art’, CU Art Museum, Boulder, United States (2006).


諾次曾在倫敦的羅西畫廊 (2008,


2012)舉辦過個展。 他還參加了在中


國、 歐洲和美國舉辦的群展, 地點包


括:紐約皇后美術館 《Kora: A Meditation


Murad Khan Mumtaz was educated at Pakistan’s National College of Arts and Columbia University, New York. He is trained in the traditional art of Indian miniature painting. His work has been exhibited internationally, including solo presentations at Tracy Williams, Ltd, New York; and La Caja Blanca, Spain. Murad Khan Mumtaz曾就讀巴基斯坦 國立藝術學院和紐約的哥倫比亞大 學。他曾受印度傳統的微型繪畫藝 術的專業訓練。他的作品在國際上 被廣泛展出,其中包括在紐約Tracy Williams, Ltd.和西班牙La Caja Blanca 的個展。


(1966-1976)的原因,1969年她被派 遣到山西省大同市的一座小農場內


on Pilgrimage》 (2014) 和 《Anonymous》 (2014) 、 柏林ARNDT畫廊 (2014) 、


倫敦羅西畫廊 (2013) 、 尼泊爾加德滿


都國際藝術節 (2012) 、 以色列特拉維


夫藝術博物館 (2012) 、 西藏拉薩Tibet


Gedun Chöphel《Inside Out-Tibetan


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Contemporary Art》 (2007) 、 美國博

聶鷗曾在中國內地、香港 、台灣、印



on the Turquoise Lake: Contemporary


Expressions of Tibetan Art》 (2006) 。

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Artist Profiles


Manisha PAREKH


b. 1968, Manchester, United Kingdom. Lives and works in Trinidad. 1968年出生於英國曼切斯特,

b. 1964, Gujarat, India. Lives and works in New Delhi. 1964年出生於印度古吉拉特邦,

b. 1961, Sibiu, Romania. Lives and works in Bucharest, Romania. 1961年出生於羅馬尼亞錫比烏,

克 里 斯·歐菲利




The renowned painter Chris Ofili studied at the Chelsea School of Art and at the Royal College of Art. He won the Turner Prize in 1998 and represented Britain at the 50th Venice Biennale; his works were also shown in the 56th Venice Biennale in 2015. An extensive Tate Britain show was presented in 2010 while the 2014 New Museum exhibition reaffirmed his position as one of the leading voices in contemporary painting. Other shows have taken place at Tate Liverpool, United Kingdom (2015); Victoria Miro, London (2012); and Palais de Tokyo, Paris (2012), among many others.

Having the painters Manu and Madhavi Parekh for parents, Manish Parekh grew up surrounded by paints and brushes. She formalised her artistic upbringing with her studies in painting at the Faculty of Fine Arts at M.S. University in Baroda, and at the Royal College of Art, London on an INLAKS scholarship. She has had exhibitions around the world, including New York, London, Amsterdam, Mumbai, and New Delhi. Notable group exhibitions include the Havana Biennale (2001) and Istanbul Biennale (1999).

Dan Perjovschi received his MFA from George Enescu Conservatoire of Fine Arts in Iasi, Romania. He has since had many solo exhibitions, including at Lombard Fried Gallery, New York (2015); Kunsthall Trondheim, Norway (2015); Museum of Contemporary Art Kiasma, Helsinki, Finland (2013); Para Site, Hong Kong (2011); ROM Toronto (2010); Kunsthaus Baselland, Switzerland (2008); Museum of Modern Art, New York (2007); Tate Modern, United Kingdom (2006). He has also participated in group exhibitions around the world.

作為畫家Manu和Madhavi Parekh的 著名畫家克里斯 · 歐菲利曾就讀於

女兒,Madhavi Parekh是在顏料和畫

Dan Perjovschi從位於羅馬尼亞雅











五十六屆威尼斯雙年展中展出。2010 年曾在泰特英國美術館舉行過一次 大規模的展覽,而2014年在新當代 藝術博物館的展覽再次肯定了他作 為當代繪畫中的領軍人物之一的地


包括紐約、倫敦、阿姆斯特丹、孟買和 新德里。她參加過的重要聯展包括哈

個展,包括:紐約Lombard Fried畫廊

(2015)、挪威Kunsthall Trondheim畫

廊(2015)、芬蘭赫爾辛基 Kiasma當 代藝術博物館(2013)、香港Para Site 藝術空間(2011)、多倫多皇家安









敦Victoria Miro畫廊(2012)、巴黎東京


宮(2012)。 LOT 拍賣編號


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藝術家 簡介

Sopheap PICH

Polit-Sheer-Form Office 政純辦

b. 1971, Battambang, Cambodia. Lives and works in Phnom Penh, Cambodia. 1971年出生於柬埔寨馬德望市,

b. 1975, Bangkok, Thailand. Lives and works in Bangkok. 1975年出生於泰國曼谷,


Sopheap Pich is an internationallyrenowned artist from Cambodia who studied in the United States. Notable group exhibitions include those at the Singapore Art Museum (2015); Centre for Contemporary Art, Singapore (2014); the Moscow Biennale (2013); dOCUMENTA 13 (2012); Singapore Biennale (2011); Fukuoka Asian Art Triennial, Japan (2009); and the 6th Asia Pacific Triennial, Brisbane, Australia (2009). He has also had solo exhibitions at the Metropolitan Museum of Art, New York (2013); and Tyler Rollins Fine Art, New York (2013, 2011, 2009).



Polit-Sheer-Form Office (PSFO) is an art group founded by the artists Hong Hao, Xiao Yu, Song Dong, Liu Jianhua, and the curator and critic Leng Lin in 2005. That same year, PSFO had their first exhibition at Beijing Commune, and in 2006 it travelled to Art Space, Sydney. The art group has since shown at Taipei MOCA (2015); Queens Museum of Art (2014); Ullens Center for Contemporary Art, Beijing (2014); Power Station of Art, Shanghai (2013); Shanghai Gallery of Art (2011); and the Shenzhen and Hong Kong Bi-City Biennale of Urbanism/ Architecture (2009).

Sopheap Pich是享有國際盛譽的柬埔

Since graduating with a Bachelor of Fine Arts from Silpakorn University in 2002, Arin Rungjang has been recognised as a pioneer of installation practice in Thailand, exhibiting extensively abroad since 2006 and representing his country at the 55th Venice Biennale (2013). His works have been presented at the Jeu de Paume, Paris (2015); 4th Asian Art Biennale, Taichung, Taiwan (2013); and Osage Gallery (2012). He has also participated in the 18th Biennale of Sydney (2012) and the Bandung ‘City Pavilion’ at the Shanghai Biennale (2012). 自2002年從泰國藝術大學獲得藝術



學士學位畢業後,Arin Rungjang已成














翌年,他們在悉尼的Ar t Space展出






(2015) 、 紐約皇后美術館(2014)、








(2013)、紐約泰勒•羅林斯畫廊(2013, 2011,2009)和西雅圖亨利藝術畫廊 (2011-2012)舉辦過個展。

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滬申畫廊(2011)、以及深港城市/ 建築雙城雙年展(2009)舉辦過 展覽。

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Artist Profiles


Mithu SEN

Wilson SHIEH

b. 1961, Bangkok, Thailand. Lives and works in Bangkok. 1961年出生於泰國曼谷,現居曼谷。

b. 1971, West Bengal, India. Lives and works in New Delhi. 1971年出生於印度西孟加拉邦,

b. 1970, Hong Kong. Lives and works in Hong Kong. 1970年出生於香港,現居香港。

Pinaree Sanpitak is a Bangkokbased artist. In 2007, she was the recipient of the Silpathorn Award. Her work has been shown in Thailand and around the world, with group exhibitions at the Asian Art Museum, San Francisco (2015); Musée d’art contemporain de Lyon, France (2015); Singapore Art Museum (2014); 18th Biennale of Sydney (2012); 2nd Fukuoka Asian Art Triennale, Japan (2002). Solo exhibitions have taken place at Tyler Rollins Fine Art, New York (2015, 2012, 2010), and the Los Angeles County Museum of Art (2013).

Mithu Sen is a New Delhi-based artist. She received the SKODA award for best contemporary artist in India in 2010 and a Prudential Eye Award for contemporary Asian art in drawing in 2015. Her solo exhibitions have been held at Galerie Krinzinger, Vienna; Eli and Edythe Broad Art Museum, Michigan; and Gallery Nathalie Obadia, Paris. Her works have also been exhibited in group exhibitions around the world, including the Tate Modern; Daimler Chrysler Collection, Berlin; Galleria Contina, Les Moulins, France; and Queens Museum, New York.



Pinaree Sanpitak是一位常駐曼谷 的藝術家。她於2007年榮獲了

Mithu Sen於2010年獲得了印度最佳




舊金山亞洲藝術館(2015)、法國 里昂當代藝術館(2015) 、新加坡藝 術館(2014) 、第十八屆悉尼雙年展 (2012) 、第二屆福岡亞洲藝術三年 展(2002) 。個展包括:紐約Tyler Rollins

當代藝術家SKODA獎、2015年因當 她的個人展覽曾於維也納Galerie

Krinzinger畫廊、密歇根Elli and Edythe

Wilson Shieh is a Hong Kong-based artist who received a BA degree (fine arts) and a MFA degree from the Chinese University of Hong Kong in 1994 and 2001 respectively. His solo exhibitions have taken place at Osage Kwun Tong and Osage Solo, Hong Kong; Eslite Gallery, Taipei; Singapore Tyler Print Institute; and Osage Shanghai. He has also taken part in ‘Hong Kong Eye’ at ArtisTree, Hong Kong, and Saatchi Gallery, London. 石家豪在1994年及2001年獲得香 港中文大學藝術系學士及藝術碩 士學位。他曾舉辦的個展包括:奧 沙畫廊(香港觀塘和上環SOHO及 上海)、台北誠品畫廊、新加坡泰勒 版畫研究院。他的作品也曾在香港 ArtisTree的展覽《香港眼》與倫敦的 薩奇畫廊展出。

Broad Art Museum、巴黎Gallery

Nathalie Obadia畫廊舉辦。她的作品


Fine Art(2015、2012、2010) 、洛杉磯

特現代美術館、戴勒姆 · 克萊斯勒收


藏、法國Les Moulins長青畫廊、和紐 約皇后區美術館。

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LOT 拍賣編號


LOT 拍賣編號


藝術家 簡介



b. 1980, Wadena, Minnesota, United States. Lives and works in New York. 1980年出生於美國明尼蘇達州沃

b. 1943, Simla, India. Lives and works in New Delhi. 1943年出生於印度西姆拉,



Valeria Snobeck graduated with an MFA from the University of Chicago. She participated in the Whitney Biennial (2014) and has had solo exhibitions throughout the United States and Europe including at Wallriss Kunstraum, Fribourg, Switzerland (2015); Simon Lee Gallery, London (2014); Smart Museum of Art, University of Chicago (2013); Le Consortium, Dijon, France (2012); and Essex Street Gallery, New York (2012). Group exhibitions have taken place at carlier | gebauer, Berlin (2014); Gemeentemuseum, The Hague, The Netherlands (2013); and Marianne Boesky Gallery, New York (2013), among others.

Vivan Sundaram studied painting at the Faculty of Fine Ar ts, M.S. University, Baroda in the 1960s. Since 1990, he has focused on sculpture, installation, photography, and video. His work has been exhibited at the Biennale of Sydney (2008); Taipei Biennial (2006); Sharjah Biennial (2005); Shanghai Biennial (2004); Havana Biennial (1997); and the AsiaPacific Triennial, Australia (1996). Sundaram has also par ticipated in group shows at Mori Ar t Museum, Tokyo (2008); Haus der Kunst, Munich (2006); the Queens Museum of Ar t, New York (2005); Tate Modern, London (2001), among others. In 2010 Asia Ar t Archive digitised Vivan Sundaram’s personal archive.

Valeria Snobeck畢業於芝加哥大學,


雙年展(2014)並在美國國內以及歐 洲舉辦了多次個人展覽,包括在瑞 士佛裡堡Wallriss Kunstraum(2015)、 倫敦Simon Lee畫廊 (2014) 、 芝加哥大 學Smart Museum of Art (2013) 、 法國第 戎Le Consortium(2012)、紐約Essex


在柏林carlier | gebauer畫廊(2014)、荷

蘭海牙市立博物館(2013)、和紐約 Marianne Boesky畫廊等舉辦的展覽。

LOT 拍賣編號


LOT 拍賣編號


在二十世紀六十年代,Vivan Sundaram曾於印度巴羅達大學 學習繪畫。從九十年代起,他開始 專注於雕塑、裝置、攝影、以及視頻 創作 。他的作品曾於多個展覽展 出,包括: 悉尼雙年展 (2008) 、 台北 雙年展(2006) 、沙迦雙年展(2005) 、 上海雙年展(2004)、哈瓦那雙年 展(1997)、以及澳大利亞亞太三年 展(1996)。孫達拉姆也參加過東 京森美術館(2008)、慕尼黑藝術 之家(2006)、紐約皇后區藝術博 物館(2005)、倫敦泰特現代美術 館(2001)等地方的聯展。亞洲藝 術文獻庫於2010年建立了Vivan Sundaram個人文獻的數碼典藏。

Artist Profiles


Charwei TSAI

Eason TSANG Ka Wai

b. 1957, d.2012, Hong Kong. 1957年出生於香港,逝於2012年。

b. 1980, Taipei, Taiwan. Lives and works in Taipei and Ho Chi Mihh City, Vietnam. 1980年出生於台北,現居台北、

b. 1986, Hong Kong. Lives and works in Hong Kong. 1986年出生於香港,現居香港。


Wesley Tongson was enchanted with ink, dedicating his life to exploring its many methods and effects. The artist studied under Madame Koo Tsin-yaw and Harold Wong, and was inspired by many great ink artists of the past. His work has been shown in numerous solo and group exhibitions, most recently at his retrospective at the Hong Kong Arts Centre (2014). His work is included in collections including the Hong Kong Museum of Art, Morgan Stanley Asia Limited, First Eastern Investment Group as well as numerous private collections worldwide. 唐家偉癡迷於水墨畫,盡其一生



Charwei Tsai is an artist who studied art in the United States and France. She has exhibited internationally, including at Sharjah Biennial, UAE (2013); Yokohama Triennale, Japan (2011); Ruhrtriennale, Germany (2011); and the 6th Asia Pacific Triennial, Australia (2009). Exhibitions of her work have also taken place at Mori Art Museum, Tokyo (2015); TKG+, Taipei (2014); Singapore Art Museum (2014); Centre Pompidou-Metz, France (2014); Edouard Malingue Gallery, Hong Kong (2013); Osage Gallery, Hong Kong (2013); and Sherman Contemporary Art Foundation, Sydney (2009), among others.

探索有關水墨的畫法和效果。 他師從顧青瑤女士和黃仲方,並從 過去許多偉大藝術家獲得靈感。他 的作品在無數個個展和群展中展 出。他最近的回顧展在香港藝術


Eason Tsang Ka Wai graduated from the School of Creative Media of City University of Hong Kong with a major in photography in 2013. He has been working on various personal photography projects since 2011. Tsang was shortlisted in the Hong Kong Contemporary Art Awards 2012 with his Rooftop series. His works have been shown in exhibitions around the world, such as Museum Folkwang, Essen, Germany (2015); Blindspot Gallery, Hong Kong (2014); Hong Kong Museum of Art (2013); and 10 Chancery Lane Gallery, Hong Kong (2013). 曾家偉於2013年自香港城市大學創 意媒體學院畢業,主修攝影。自2011


過的藝術家。她在國際上廣泛展出, 包括阿拉伯聯合酋長國沙迦雙年展 (2013) 、 日本橫濱三年展 (2011) 、 德國

年以來,曾氏積極進行個人攝影項目 創作。他憑《天台》系列入圍2012年 香港當代藝術獎。他的作品已在世界 各地展出,如德國埃森弗柯望藝術館







還有東京森美術館(2015)、台北 TKG+畫廊(2014) 、 新加坡美術館




(2014) 、 法國龐畢度藝術中心 (2014)、香港馬淩畫廊(2013)、香港 奧沙畫廊(2013)、悉尼謝爾曼當代藝 術基金會(2009)等。 LOT 拍賣編號


LOT 拍賣編號


LOT 拍賣編號


藝術家 簡介


WANG Guangyi

WANG Yahui

b. 1991, Shanghai, China. Lives and works in Shanghai. 1991年出生於中國上海,現居上海。

b. 1957, Harbin, China. Lives and works in Beijing. 1957年出生於中國哈爾濱,

b. 1973, Taipei, Taiwan. Lives and works in Taipei. 1973年出生於台灣,現居台北。


Wang Yi graduated from the China Academy of Art in Hangzhou. His recent solo exhibitions have been held at Hadrien de Montferrand Gallery, Hangzhou (2014), and J:Gallery, Shanghai (2012). His group exhibitions have taken place at SPSI Art Museum, Shanghai (2015); Hive Center for Contemporary Art, Beijing (2015); Sishang Art Museum, Beijing (2014); Aike-Dellarco Gallery, Shanghai (2014); OCAT Shenzhen (2013), among others. 王一畢業於杭州中國美術學院。 他近期在杭州和維畫廊(2014)和 上海J:Gallery畫廊(2012)舉辦了 個展。他曾參與多個聯展,展出的 地方包括上海油畫雕塑院(2015) 、 北京蜂巢當代藝術中心(2015)、 北京寺上美術館(2014)、上海艾可 畫廊(2014)和深圳當代藝術中心 (2013)等等。



Wang Guangyi graduated from the China Academy of Art in Hangzhou in 1984. He has participated in the 45th Venice Biennale (1993) and the 22nd Sao Paulo Biennale (1994). His solo exhibitions have been held at Museo di Villa Rufolo, Salerno, Italy (2014); and at Today Art Museum, Beijing (2012), among others. His work has also been shown at the Asian Art Museum, San Francisco; Ullens Center for Contemporary Art, Beijing; and Chengdu Contemporary Art Museum, China (all 2011). His works are in the M+ museum collection.


Wang Yahui is an artist from Taiwan who has had numerous exhibitions around the world. Solo exhibitions have taken place at TKG+, Taipei (2012); Tomio Koyama Gallery, Tokyo (2012); Galerie Grand Siècle, Taipei (2009); and National Taiwan Museum of Fine Arts, Taichung, Taiwan (2008). Group exhibitions of her work have been held at Dr. Bhau Daji Lad Museum, Mumbai, India (2014); MOCA Shanghai (2013); Taipei Fine Arts Museum (2013); MOCA Taipei (2012); and Kunsthalle Budapest (2011). She also took part in the Taipei Biennale (2010).

王廣義於1984年畢業於浙江美術學 院油畫系,曾參加多個重要國際展 覽,包括:第四十五屆威尼斯雙年展 (1993)和第二十二屆聖保羅雙年


世界各地進行了多次的展覽。她曾 在多個地方舉行個人展覽,包括



Museo di Villa Rufolo(2014)和北京今日




的藝術機構包括: 舊金山亞洲藝術 博物館、北京尤倫斯當代藝術中心 和成都當代美術館(2011)。他的作 品由香港M+博物館收藏。

術館(2008)。她的作品參與的聯 展有印度孟買Dr. Bhau Daji Lad

Museum(2014)、上海當代藝術館 (2013)、台北市立美術館(2013)、 台北當代藝術館(2012)、以及布達



LOT 拍賣編號


LOT 拍賣編號


LOT 拍賣編號


Artist Profiles

XU Bing

XU Longsen

b. 1955, Chongqing, China. Lives and works in Beijing, China, and New York, USA. 1955年出生於中國重慶,

b. 1956, Shanghai, China. Lives and works in Beijing. 1956年出生於中國上海,現居北京。


Xu Longsen is an artist who breathes new life into the essential characteristics of Chinese shanshui painting by applying the techniques of ink and brush on a vast scale. He graduated from the Shanghai Arts and Crafts College in 1976 and since then has had many shows around the world, including at The Brunei Gallery, London (2011); Museum of Roman Civilization, Rome (2011); Today Art Museum, Beijing (2007); Shanghai Art Museum (2004); and the Liu Haisu Art Museum, Shanghai (2002), among others.


A Chinese artist acclaimed internationally, Xu Bing came to prominence in Beijing in the late-1980s and New York in the 1990s. From 2008 to 2014, Xu served as the Vice President of the Central Academy of Fine Arts (CAFA) and is now a professor at CAFA, advising PhD students. Solo exhibitions of his work have been held at the Museum of Modern Art, New York; The Metropolitan Museum of Art, New York; the Arthur M. Sackler Gallery, Washington DC; the New Museum of Contemporary Art, New York; the British Museum, London; the Victoria and Albert Museum, London, among other major institutions. Additionally, Xu Bing has shown at the 45th, 51st and 56th Venice Biennales.


作為一名在國際上備受讚譽的中 國藝術家,二十世紀八十年代後期 徐冰開始在北京嶄露頭角,九十年 代開始在紐約聲名鵲起。從2008年 到2014年,徐冰曾任中央美術學院 副校長,現任中央美院教授、博導。 他的作品已在紐約現代美術館、紐 約大都會博物館、華盛頓賽克勒博 物館、紐約新當代美術館、倫敦大 英博物館、倫敦維多利亞和阿爾伯 特博物館等以及其他主要機構中 展出。此外,徐冰還參與了第四十 五屆、五十一屆和五十六屆威尼斯 雙年展。

作為一名藝術家,徐龍森在巨幅畫 中筆墨技藝的運用,讓中國山水畫 之本質特徵煥發新生。徐氏1976年 畢業於上海工藝美術學校,並自此 開始了在世界各地的展覽,其中包 括倫敦The Brunei畫廊(2011)、羅馬 古文明博物館(2011)、北京今日美 術館(2007)、上海美術館(2004)、 上海劉海粟美術館(2002)等。

LOT 拍賣編號


LOT 拍賣編號


藝術家 簡介

YAN Shanchun

YANG Jiechang

Trevor YEUNG

b. 1957, Hangzhou, China. Lives and works in Hangzhou. 1957年出生於中國杭州,

b. 1956, Foshan, China. Lives and works in Paris, France, and Heidelberg, Germany. 1956年出生於廣東省佛山,現居法國

b. 1988, Guangdong, China. Lives and works in Hong Kong. 1988年出生於中國廣東省,

嚴 善錞


Yan Shanchun graduated from the printmaking department of the China Academy of Art in 1983. Active as a scholar, painter, and printmaker, he is currently Deputy Director of the Shenzhen Fine Art Institute and curator of the Shenzhen International Ink Painting Biennale. Solo exhibitions have been held at Chambers Fine Art, New York (2015); Osage Gallery, Hong Kong (2007); and Hanart TZ Gallery, Hong Kong (2005, 2004). His works have also been exhibited in numerous group shows in China and around the world.



Yang Jiechang is a Chinese artist living in Europe who often employs Chinese ink and calligraphy in his works. His works have been staged in numerous group exhibitions, including at the Rockbund Art Museum, Shanghai (2014); Times Museum, Guangzhou (2013); the Hong Kong Museum of Art (2013); the Metropolitan Museum of Art, New York (2013); Shanghai Biennale (2012); Palazzo Grassi, Fondation François Pinault, Venice (2011); Lyon Biennial (2009); and 3rd Guangzhou Triennial (2008), among many others.




Trevor Yeung graduated from the Academy of Visual Arts at Hong Kong Baptist University in 2010. He has had solo exhibitions at Zürcher Hochschule der Künste, Zurich (2015); Gallery EXIT, Hong Kong (2014); and Observation Society, Guangzhou (2013), among others. Group exhibitions have also taken place at MKM Museum Küppersmühle für Moderne Kunst, Germany (2015); Para Site, Hong Kong (2015); CAFA Art Museum, Beijing (2015); Shanghai Biennale (2014); Platform China, Hong Kong (2014); Eslite Gallery, Taipei (2014); and Witte de With, Rotterdam (2014).


















(2015)、香港奧沙畫廊(2007)、 香港漢雅軒(2005,2004)舉辦過個人 展覽。他的作品也參與了國內和世界 各地眾多的聯展。


博物館(2015)、香港Para Site藝術






港站台中國(2014)、台北誠品畫廊 (2014)、鹿特丹Witte de With當代 藝術中心(2014)。

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LOT 拍賣編號


LOT 拍賣編號


Artist Profiles


YU Hong

YU Youhan

b. 1978, Manila, Philippines. Lives and works in Manila. 1978年出生於菲律賓馬尼拉,

b. 1966, Xi’an, China. Lives and works in Beijing. 1966年出生於西安, 現居北京。

b. 1943, Shanghai, China. Lives and works in Shanghai. 1943年出生於上海,現居上海。

Yu Hong is a renowned figural painter based in Beijing. She studied oil painting at the Central Academy of Fine Arts in Beijing during the 1980s, where she continues to teach. Her work has been shown extensively in China and abroad, including at Long Museum, Shanghai (2014); Long March Space, Beijing (2013); Ullens Center for Contemporary Art, Beijing (2011); Guangdong Museum of Art (2009); 5th Shanghai Biennale (2004); the 47th Venice Biennale (1997) and the 45th Venice Biennale (1993).

One of the major artists associated with political pop in the 1990s, Yu Youhan graduated from the Central Academy of Art and Design, Beijing, in 1973. His work has been shown widely internationally, including at Osage Gallery, Shanghai (2014); Long Museum, Shanghai (2014); Ullens Center for Contemporary Art, Beijing (2014); Yuan Space, Beijing (2013); and ShanghART, Singapore (2012). He has also exhibited in the 22nd Sao Paulo Biennale (1994); the 45th Venice Biennale (1993); and the 1st Asia Pacific Triennial of Contemporary Art, Brisbane, Australia (1991).


MM Yu is a photographer and visual artist. She has exhibited actively in Singapore and Manila. She won the Ateneo Art Awards in 2007 and the CCP Thirteen Artists Award in 2009; she was a finalist for the Sovereign Asian Art Prize in 2010. Exhibitions of her work have taken place at Silverlens, Manila and Singapore (2014, 2012); West Gallery (2013, 2010); Metropolitan Museum of Manila (2014); He Xiangning Art Museum, Shenzhen (2013); Queens Museum of Art, New York (2012); Osage Gallery, Hong Kong (2011); and Yerba Buena Center for the Arts, San Francisco (2008).




二十世紀八十年代她在北京中央 MM Yu是一位攝影師和視覺藝術家, 活躍於新加坡和馬尼拉舉辦展覽。 她贏得了2007年菲律賓Ateneo藝術




























屆威尼斯雙年展(1993)、和澳大利 亞布里斯班第一屆亞太地區當代藝




LOT 拍賣編號


LOT 拍賣編號


LOT 拍賣編號


藝術家 簡介

YUE Minjun

ZHOU Siwei

b. 1962, Daqing, Heilongjiang, China. Lives and works in Beijing. 1962年出生於黑龍江省大慶市,

b. 1981, Chongqing, China. Lives and works in Beijing. 1981年出生於重慶, 現居北京。

岳 敏君



Yue Minjun is an important member of the Cynical Realist movement in 1990s Chinese art. His iconic images have been shown all around the world. Recent exhibitions have taken place at How Art Museum, Wenzhou, China (2014); China Art Museum, Shanghai (2014); Fukuoka Art Museum, Japan (2013); Galerie Daniel Templon, Paris (2013); Harbour City, Hong Kong (2012); the 7th Shanghai Biennale (2008); Hamburger Kunsthalle, Germany (2008); Queens Art Museum, New York (2007); and Beijing Commune (2007). 岳敏君是二十世紀九十年代 中國藝術玩世現實主義運動的 重要成員。他標誌性的形象曾在 世界各地出現。近期舉辦過的 展覽包括: 溫州昊美術館(2014)、 上海美術館(2014)、日本福岡市 美術館(2013)、巴黎Galerie Daniel

Zhou Siwei graduated from the Sichuan Fine Arts Institute in Chongqing, China, in 2005. Selected exhibitions include those at Galerie Urs Meile, Lucerne, Switzerland (2015); Aike Dellarco, Shanghai (2014); White Space Beijing (2013); Gallery Yang, Beijing (2013); Space Station, Beijing (2012); ‘Twilight’, 82 Republic, Hong Kong (2007); and ‘Archaeology Of The Future’, the 2nd Triennial Of Chinese Art, Nanjing Museum (2005). 周思維於2005年畢業於中國重慶 的四川美術學院。被選入的展覽 包括:瑞士盧森麥勒畫廊(2015)、 上海艾可畫廊(2014)、北京空白空 間(2012)、北京楊畫廊(2013)、北 京空間站(2012)、香港82 Republic 《晚霞》 (2007)、南京博物館第二 屆中國藝術三年展《未來考古學》 (2005)。

Templon(2013)、香港海港城 (2012)、第七屆上海雙年展 (2008)、德國漢堡美術館(2008)、 紐約皇后區藝術博物館(2007)、 北京公社(2007)。

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LOT 拍賣編號



Gallery Profiles

10 Chancery Lane Gallery

Aicon Gallery

Aike Dellarco



Tel. +852 2810 0065

Tel. +1 212 725 6092

Tel. +86 21 52520010

10 Chancery Lane, Central, Hong Kong

35 Great Jones Street, New York, NY 10012, USA

102, Building 0, 50 Moganshan Road, Shanghai 200060, China

10 號贊善里畫廊


中國上海市莫干山路 50號0號樓102室

10 Chancery Lane Gallery is a pioneering gallery in the Hong Kong art scene. Founded in 2001 the gallery presents emerging and historically important movements in art across the Asia-Pacific, supporting the development of the careers of the most exciting artists in the region. The gallery is committed to documenting the development of the highest quality art in the region through survey exhibitions, talks, forums, and publishing. 10號贊善里畫廊是香港藝壇的先

Aicon Gallery’s vision begins in the Indian subcontinent but extends internationally from there, providing a unique platform for South Asian artists to exhibit in the United States and Europe. Alongside in-depth, focused solo shows, the gallery presents a programme of curated group exhibitions that are international in their scope and ambition. 艾康畫廊的理念雖始於印度次大 陸,卻已從此延展全球,為南亞藝術 家在美國和歐洲搭建一個獨特的







最激動人心的藝術家的發展。通過 對展覽、講座、論壇和出版的調查, 畫廊致力於記錄該地區高品質藝 術的發展。

Aike Dellarco opened in Italy in 2005 and opened a branch in Shanghai in 2008. The gallery now has two spaces in Shanghai within the Moganshan Road 50 art district, devoted to showcasing emerging Chinese contemporary artists with the aim of promoting them in China and the rest of the world. The gallery also occasionally hosts artist-inresidence programmes for European and American artists in China. Since 2008, the gallery has been showing artists such as Lee Kit, Li Ran, Chen Zhou, Jiang Pengyi, Li Shurui, Hu Yun, and Lui Chun Kwong. 艾可畫廊在2005年創立於意大利, 在2008年於上海開設首個空間。 如今,艾可畫廊在上海莫干山五十 號藝術區擁有兩個空間,畫廊致力 展示新銳中國當代藝術家的作品, 並在中國和國際進行推廣。艾可畫 廊不定期為居住中國的歐美國藝術 家主辦藝術家駐留計劃。自2008年 起,艾可畫廊曾展出李傑、李然、 陳軸、蔣鵬弈、李姝睿、胡昀、呂振光 等藝術家。

畫廊 資料


Art Projects International

Axel Vervoordt Gallery

Tel. +49 30 2061 3870

Tel. +1 212 343 2599

Potsdamer Strasse 96, Berlin 10785, Germany

Ground Floor, 434 Greenwich Street, New York, NY 10013, USA

Tel. +852 2503 2220 / +852 2503 2331 Unit D, 15th Floor, Entertainment Building, 30 Queen’s Road Central, Hong Kong 香港中環皇后大道中30號娛樂行 15樓D室

Established in 1994 as one of the first contemporary art galleries with an international profile in former East Berlin, ARNDT expanded its operations to the vibrant art landscapes of Asia—particularly Southeast Asia and the Pacific region. In its premises in Berlin and Asia’s new art hub Gillman Barracks in Singapore, ARNDT presents its international and Asian programme through solo exhibitions and curated shows of established and emerging artists. 成立於1994年的ARNDT畫廊是 前東柏林的首間具有國際資歷的 當代畫廊,現已向充滿活力的亞洲 藝術景觀擴展--重點關注東南亞 和亞太地區。ARNDT在柏林空間和 新加坡吉爾曼藝術區的空間運營, 積極推廣國際及亞洲項目包括新 銳、知名藝術家的個人展覽和 策劃群展。

Established in 1993 by Jung Lee Sanders, Art Projects International is a contemporary art gallery and art consultancy based in New York City, with over 20 years of experience of working with a global network of artists, art professionals, and collectors. Works by gallery artists are represented in major collections and museums worldwide. Art Projects International於1993年由 Jung Lee Sanders在紐約成立,是一家 當代藝術畫廊與藝術諮詢機構,二 十餘年來為國際範圍內的藝術家、 從業者與藏家提供交流的平台。畫 廊藝術家的作品被多家重要博物館 和文化機構收藏。

Axel Vervoordt Gallery, with venues in Antwerp and Hong Kong, provides a neutral platform for both established and emerging contemporary artists who tend to explore concepts about void, universality, or infinity. Axel Vervoordt畫廊在比利時安特衛 普和香港都擁有空間,為那些致力於 探索虛無、普世和無限概念的著名 和新興的當代藝術家提供一個中立 的平台。

Gallery Profiles


Beijing Commune

Blindspot Gallery



Tel. +86 021 63013622

Tel. +86 10 8456 2862

Tel. +852 2517 6238

1st Floor, 59 Xianggang Road, Shanghai, China

798 Art Zone, No.4 Jiuxianqiao Road, Chaoyang District, Beijing 100015 China

15th Floor, Po Chai Industrial Building, 28 Wong Chuk Hang Road, Wong Chuk Hang, Hong Kong






BANK is housed in the former Bank Union Building (est. 1925) in Shanghai’s historic Bund area. BANK functions as the offices and studio of MABSOCIETY, an international curatorial and contemporary firm, and is dedicated to an exhibition programme that engage with international issues of contemporary art and culture. Our projects are research-based and meant to provoke issues of cultural history(s), global interests, and attitudes, especially as it pertains to China in the 21st century. BANK位於上海歷史悠久的外灘地 區,是一家的藝術空間,設立在前銀 行工會大樓內(始建於1925年)。BANK

Beginning with a core list of established artists, Beijing Commune has maintained an unparalleled awareness of developments in the community and has responded by infusing young artists and new topics of discussion into its programming. It fosters a space where the most influential figures in the Chinese arts scene have launched the watershed solo exhibitions in their careers while simultaneously serving as an incubator for emerging artists. 從建立之初,北京公社就以闡釋和 推動中國當代藝術的發展為己任。 中國當代藝術的代表藝術家都曾在 北京公社舉辦過他們藝術中生涯極 為重要個人展覽。畫廊一直對當代









項目以研究為基礎,意在引起對文 化歷史、全球利益與態度,特別涉及 到對二十一世紀中國的關注。

Blindspot Gallery is set up to bring contemporary photography, an art form that has entered the blind spot of the Hong Kong art scene, to a higher degree of visibility. The gallery features both established and emerging photographers and artists, mainly from the region but also beyond. 當代攝影彷如進入了香港藝術圈的 盲點,刺點畫廊的創辦目的是提高 當代攝影這個被忽略的藝術媒介的 可視度。我們展出知名與新銳藝術 家的作品,主要是來自亞洲地區,但 亦有海外的藝術家。

畫廊 資料

Chambers Fine Art

Edouard Malingue Gallery

Eslite Gallery




Tel. +1 212 414 1169

Tel. +852 2810 0317

Tel. +886 2 8789 3388

522 West 19th Street, New York, NY 10011, USA

6th Floor, 33 Des Voeux Road Central, Hong Kong

5th Floor, No. 11, Songgao Road, Taipei 11073, Taiwan

1D, Caochangdi, Chaoyang, Beijing



Established in 2010, Edouard Malingue Gallery was founded to show emerging and established contemporary artists. In addition to presenting dynamic solo exhibitions, the gallery pushes the boundaries of art in public spaces and actively collaborates with curators and collections worldwide. Following the success of these four years, the gallery expanded and moved in January 2015.

Eslite Gallery was founded in Taipei in 1989. Since its establishment, Eslite has dedicated itself to contemporary and modern Chinese art in Taiwan. It has always been at the forefront of representing and promoting the most relevant artists from Greater China, including Xu Bing, Liu Xiaodong, and Michael Lin.

北京市朝陽區草場地紅一號 D座

Chambers Fine Art is a gallery specialising in contemporary Chinese art and is located in New York and Beijing. It was established by Christophe Mao in 2000. Since then, Chambers Fine Art has become an essential destination for all those interested in the latest and best coming out of China. 前波畫廊是一家致力推廣中國當 代藝術的國際畫廊,在北京和紐約 均設有空間。畫廊由茅為清先生在 2000年創立,現已成為展示中國最 新和最好藝術的主要地點。

馬凌畫廊成立於2010年,旨於為世 界各地新晉和資深當代藝術家舉辦 展覽。除了致力呈現個人展覽外,畫 廊亦多次走到室外,與藝術家合作 展出公共藝術作品,並與世界各地 的策劃人舉辦藝術對談。隨著成立 以來四年間的成果,畫廊於2015年 1月遷往新址以擴充其展覽空間。

誠品畫廊1989年在台北創立。自建 立伊始,誠品畫廊就致力於台灣的 中國現當代藝術。一直以來它都在 最前沿代理和促進來自大陸最重要 的藝術家,其中包括徐冰、劉曉東 和林明弘。

Gallery Profiles

Future Perfect

Gagosian Gallery

Galerie Lelong


Tel. +65 9835 8271

Tel. +852 2151 0555

Tel. +1 212 315 0470

117 Clementi Road, #17-11Block H Kent Vale, Singapore 129800

7/F Pedder Building, 12 Pedder Street, Central, Hong Kong

528 West 26th Street, New York, NY 10001, USA

香港中環畢打街 12號畢打行 7樓

Future Perfect is a contemporary art gallery and project platform in Singapore. Working with an international roster of artists, the gallery also provides research and advice for institutions and collectors, drawing on its directors’ extensive experience and expertise in contemporary art from Asia, Australia, and beyond. Future Perfect是來自新加坡的當代藝 術畫廊和項目平台。在於世界範圍 內的藝術家合作的同時,畫廊也利 用其管理者們從亞洲、澳洲以及更 廣範圍內獲得的有關當代藝術的豐 富經驗和專業知識,為機構和收藏 家們提供研究和諮詢服務。

Gagosian Gallery is a leading international gallery for modern and contemporary art, with thirteen exhibition spaces in New York, Los Angeles, London, Rome, Athens, Paris, Geneva, and Hong Kong. Founded by Larry Gagosian in 1980, the gallery represents some of the most important living artists in the world, including Andreas Gursky, Jeff Koons, Takashi Murakami, Richard Prince, and Zeng Fanzhi. Gagosian also represents the estates of Alberto Giacometti, Roy Lichtenstein, Pablo Picasso, Robert Rauschenberg, Cy Twombly and Andy Warhol, among others.

Galerie Lelong opened in New York in 1985. The gallery’s focus is in international contemporary art, representing artists and estates from the United States, South America, Europe, and the Asia-Pacific region. The gallery has a long history of working closely with museums and public institutions from around the world to support the placement of permanent commissions and the creation of monographic exhibitions and publications on its artists. It is affiliated with Galerie Lelong Paris, one of Europe’s most distinguished galleries of modern and contemporary art.

高古軒畫廊是在現代和當代藝術中 具領導地位的畫廊,在紐約、洛杉

Galerie Lelong於1985年在紐約創立,


主要專注國際當代藝術, 代理來自








合作關係, 以支持畫廊藝術家的






巴黎Galerie Lelong的附屬空間,





畫廊 資料

Galerie Mirchandani + Steinruecke


Galerie Perrotin

Galerie Quynh

Tel. + 91 22 2203030 / 3434

Tel. +852 3758 2180

Tel. +84 3824 8284

2 Sunny House, 16/18 Mereweather Road, Colaba, Mumbai 400 001, India

17th Floor, 50 Connaught Road, Central, Hong Kong

151/3 Dong Khoi Street, District 1, Ho Chi Minh City, Vietnam


Galerie Mirchandani + Steinruecke was established in Mumbai in 2006 by Usha Mirchandani and Ranjana Steinruecke, and has played a key role ever since in discovering and nurturing new positions in contemporary Indian art. From 1997-2003 they also ran a branch in Berlin, organising solo exhibitions by some of the most influential artists from the subcontinent. 自2006年Usha Mirchandani和Ranjana Steinruecke在孟買成立了Galerie Mirchandani + Steinruecke,該畫廊在 印度當代藝術的發掘和培育新定 位中扮演著重要的角色。從1997至 2003年,他們在柏林開設分畫廊,為 來自次大陸最具影響力的藝術家主 辦個人展覽。

Galerie Perrotin is a contemporary art gallery founded by Emmanuel Perrotin in 1990. In addition to its two spaces in Paris, in 2012 it opened a space in Hong Kong, followed by a space in New York in 2013.The gallery began representing two of its most well-known artists, Maurizio Cattelan and Takashi Murakami, very early on in their careers, along with French artists Jean-Michel Othoniel and Xavier Veilhan.Today, the gallery continues to represent younger generation artists like KAWS, JR, and Ryan McGinley.

Established in December 2003, Galerie Quynh is the leading contemporary art gallery in Vietnam. Working with a select group of emerging, mid-career, and established Vietnamese artists, the gallery also exhibits the work of distinguished artists from around the world. In keeping with its mission to support education and develop an infrastructure for the arts in Vietnam, the gallery collaborates with artists, curators, and art spaces locally and internationally to organise talks and lectures as well as to produce publications in English and Vietnamese.



















如尚·米歇爾·區托尼耶、夏維耶·魏漢 等知名藝術家合作。如今,貝浩登也 代理年輕一代藝術家包括 KAWS、JR 和 Ryan McGinley。

Gallery Profiles

Galerie Urs Meile

Gallery Espace


Gallery EXIT 安全口畫廊

Tel. +86 (0)10 643 333 93

Tel. +91 11 26326267/ 26922947

Tel. +852 2541 1299

104 Caochangdi, Chaoyang District, Beijing 100015, China

16 Community Centre, New Friends Colony, New Delhi 110025, India

3rd Floor, 25 Hing Wo Street, Tin Wan, Aberdeen, Hong Kong

中國北京市朝陽區草場地 104號,

香港香港仔田灣興和街 25號


大生工業大廈 3樓

Since its establishment in 1992, Galerie Urs Meile has contributed to the presentation and dissemination of contemporary art. While its centre of operations is based in Lucerne, Switzerland, the Beijing gallery—located in the art district Caochangdi—has established itself as an international meeting place for collectors, curators, artists, and aficionados of the arts. The gallery represents established artists such as Ai Weiwei, Wim Delvoye (in Asia) and Xie Nanxing, as well as emerging artists such as Yan Xing, Cheng Ran, and Andreas Golder. 麥勒畫廊成立於1992年,一直致力 於展示和傳播當代藝術,涵蓋繪 畫、雕塑、影像、裝置及行為等多 種藝術創作形式。畫廊總部設於瑞 士盧森,位於北京草場地藝術區的 空間已成為收藏家、策展人以及藝 術愛好者熟知的國際聚集場所。麥 勒畫廊代理的知名藝術家包括艾 未未、Wim Delvoye ( 亞洲區域)、謝 南星、邱世華、Not Vital、王興偉以及 Anatoly Shuravlev,也包括鄢醒、程然、 李鋼、Christian Schoeler、Julia Steiner 和Andreas Golder等新銳藝術家。

Gallery Espace has constantly traversed borders and boundaries, currently representing artists who choose to question and focus on materiality and to redefine the vocabulary of contemporary art in India. The gallery represents stalwarts like Zarina Hashmi and Nilima Sheikh, along with younger talents such as Chintan Upadhyay, Manjunath Kamath and GR Iranna. Gallery Espace不斷地衝破邊界和 界線,目前代理那些選擇質疑和 專注在物質性、重新定義印度當 代藝術詞彙的藝術家。畫廊代理 如Zarina Hashmi和Nilima Sheikh的中 堅力量畫家,以及年輕的新秀,如 Chintan Upadhyay、Manjunath Kamath和 GR Iranna。

Gallery EXIT was established in 2008 to present conceptually-grounded artworks that are not afraid of being subjective and even beautiful. The gallery emphasises new artists of all media who articulate the dynamic contemporary experience of living in East Asia. 安全口畫廊創立於2008年,旨在展 示以觀念為基礎的,大膽自主甚至 美麗的藝術作品。畫廊展示的作品 不以媒介為限制,主要關注表述東 亞充滿動態的當代生活經歷的新 銳藝術家。

畫廊 資料


Hanart TZ Gallery 漢雅軒

Tel. +852 9268 6258 / +852 2592 9763 (Hong Kong) +92 21 3582 1462 / +92 300 3618 501 (Karachi)

Tel. +852 2526 9019

Hong Kong Office: 21/F, Sunshine Plaza, 353 Lockhart Road, Hong Kong

香港中環畢打街 12號畢打行 401室

401 Pedder Building, 12 Pedder Street, Central, Hong Kong

香港駱克道 353號三湘大廈 21樓

Karachi Office: F-65/2 Kehkashan, Clifton Block-4, Karachi, Pakistan Gandhara-art is a curatorial and art publishing organisation, showcasing the work of Pakistan’s pioneering modernist artists, and introducing cutting edge art by the country’s contemporary artists. The organisation documents activities in Pakistan’s visual arts sector through its publishing initiatives. It runs a regular gallery programme in Karachi, and an exhibition programme in Hong Kong. Gandhara is a supporter of visual arts initiatives and has supported exhibitions at Para Site, Hong Kong and the Herbert F. Johnson Museum, Cornell University, United States (with Green Cardamom, United Kingdom). It offers on-going support to Asia Art Archive, Hong Kong; the National College of Arts, Lahore; and Vasl Arts Collective, Karachi, and collaborates with artists to showcase video, installation, and performance art.

Gandhara-Art是一間展覽策劃和 藝術出版機構,致力於展示巴基斯 坦現代先鋒藝術家,介紹最前沿的 當代藝術。機構通過出版項目以 紀錄巴基斯坦的視覺藝術界活動, 並在卡齊拉設有一個定期畫廊 項目,同時在香港有一個展覽 項目。Gandhara是視覺藝術活動的 支持者, 曾支持香港Para Site 藝術空間、美國康乃爾大學Herbert F. Johnson博物館(與英國Green Cardamom聯合贊助)。機構為亞洲 文獻庫、拉合爾國立藝術學院和

Hanart TZ Gallery has been a pioneer in exploring the Chinese cultural map. The gallery opened in 1983 as a venue to view art unfamiliar to the Hong Kong public and in time became a locus of emerging Chinese artists.The gallery has served as a significant link with the international art world with a critical role in mounting landmark iconic exhibitions, such as ‘The Stars 10 Years’ (1989) and ‘China’s New Art Post-1989.’ In 2010 the gallery opened Hanart Square, a new space for experimental art and installations. More recently, Hanart has begun to extend its focus to contemporary art in the wider Asian region.

卡齊拉Vasl Arts Collective提供 長久性支持,也與藝術家合作



先鋒畫廊。成立於1983年,漢雅軒主力 推介香港大眾不大熟悉的現代藝術, 逐漸成為華文世界的新銳藝術家陣 地。漢雅軒是中國藝術界與國際間的 重要紐帶,所推出的里程碑展覽包括 1989年的《星星十年》與《後八九中國 新藝術》。2010年,畫廊成立漢雅立方, 是專為實驗藝術與裝置藝術所設的展 覽空間。近年來,畫廊對當代藝術的關 注點開始拓展到更廣泛的亞洲地區。

Gallery Profiles

Jane Lombard Gallery

Kukje Gallery

Lehmann Maupin 立木畫廊

Tel. +1 212 967 8040

Tel. +82 2 735 8449

518 W. 19th Street, New York, NY 10011, USA

54 Samcheong-ro, Jongno-gu, Seoul, 110-200 Korea

Jane Lombard Gallery has a rich 20 years of history developing the careers of artists who work under a global perspective, in media ranging from painting and sculpture to photography, video, and film. The gallery has played a critical role in introducing international artists to a US audience and in supporting new projects created by artists for biennials, museums, and other cultural institutions around the world. The gallery was formerly Lombard Freid, founded in Soho in 1995.

Since its inception in 1982, Kukje Gallery has maintained an unparalled reputation for having introduced many of the most critically-acclaimed international artists to Korea, while at the same time nurturing and fostering the careers of the most promising Korean artists. The gallery continues to play a key role in developing the domestic art market, promoting Korean artists, and showcasing the international contemporary art scene. 從1982年成立之始,Kukje畫廊一直

Jane Lombard畫廊擁有20年的豐富












Tel. +852 2530 0025 407 Pedder Building, 12 Pedder Street, Hong Kong 香港中環畢打街 12號 407室 536 West 22nd Street, New York, NY 10011, USA 201 Chrystie Street, New York, NY 10002, USA Since its establishment in 1996 by Rachel Lehmann and David Maupin, Lehmann Maupin has identified and cultivated the careers of an international roster of visionary and historically significant artists, working across disciplines and with new and challenging forms of creative expression. The gallery has spaces in New York and Hong Kong. 立木畫廊(Lehmann Maupin)由樂睿 昕(Rachel Lehmann)和慕德偉(David Maupin)於1996年攜手創辦,一直致力 提攜風格迥異的國際知名藝術家, 其合作夥伴包括嶄露頭角的藝壇 新貴,也有聲明顯赫的重量級藝術 家,作品類型變化多端,創作媒體更





身是1995年在紐約蘇豪區創辦的 Lombard Freid。

畫廊 資料

Long March Space

ONE AND J. Gallery


Osage Gallery 奧沙畫廊

Tel. +86 10 5978 9768

Tel. +82 2 745 1644

Tel. +852 2389 8332

798 Middle First ST, 798 Art Zone, 4 Jiuxianqiao Road, Chaoyang District, Beijing, China 100015

31-14 Bukchon-ro. Jongno-gu, Seoul 110-260 Korea

4th Floor, 20 Hing Yip Street, Kwun Tong, Kowloon, Hong Kong 香港九龍觀塘興業街 20號 4樓

ONE AND J. Gallery was established in 2005 and has developed into a leading platform for the advancement of contemporary Korean art.

Osage Gallery is devoted to the exhibition and promotion of Asian contemporary visual arts. Osage Gallery represents some of the most exciting and significant artists in the region. The gallery works closely with international curators and critics to present exhibitions and projects that address themes and issues relevant to our times.

中國北京市朝陽區酒仙橋路 4號

798藝術區中一街,10015 Founded by Lu Jie in the 798 Art District of Beijing in 2002, Long March Space plays a vital role in pursuing new avenues of production, discourse, and promotion of contemporary art in China. With over 90 exhibitions and projects in its 13-year history, the gallery represents artists who are considered to be at the forefront of contemporary art, working in diverse mediums. Long March Space shows actively in local and international art fairs, including Art Basel, Art Basel Miami Beach, Art Basel Hong Kong, as well as Frieze New York. 長征空間由盧傑於2002年在北京 798藝術區創建,畫廊致力於中國當 代藝術領域的創作、對話和推廣,在 尋找新途徑的歷程中舉足輕重。十三 年來,畫廊已成功舉辦了近百次的展 覽和藝術項目,也代理中國當代藝術 領域最前沿的藝術家,涉及各種不同 的藝術媒介,從繪畫、雕塑、裝置、錄 像到行為藝術。長征空間都積極參與 本地和國際性藝術博覽會,包括瑞士 巴塞爾藝術展、邁阿密海灘巴塞爾藝 術展、香港巴塞爾藝術展、以及紐約 斐列茲藝術博覽會。

ONE AND J.畫廊成立於2005年, 並發展成為了韓國當代藝術前沿 中的領先平台。

奧沙畫廊致力於展出並推廣亞洲 當代視覺藝術,畫廊代理地區內最 令人振奮的和最重要的藝術家。畫廊 與國際藝評人,策展人緊密合作發展 展覽和項目,以探討與我們時代有關 的事件和主題。

Gallery Profiles

PACE Gallery

Parkview Art Hong Kong

Pearl Lam Galleries




Tel. +852 2608 5065

Tel. +852 2413 0028

Tel. +852 2522 1428

15C Entertainment Building, 30 Queens Road, Central, Hong Kong 香港中環皇后大道中 30號娛樂行

27 Old Bailey Street, Central, Hong Kong

601-605 Pedder Building, 12 Pedder Street, Central Hong Kong


香港中環畢打街 12號畢打行 6樓

15樓 C PACE is a leading contemporary art gallery representing many of the most significant international artists and estates of 20th and 21st centuries. Founded by Arne Glimcher in Boston in 1960, PACE has been a constant vital force in the art world and has introduced many renowned artists’ work to the public for the first time. PACE has ten locations worldwide: four galleries in New York, two in London, a 25,000 square-foot gallery in Beijing and recently opened exhibition spaces in Hong Kong, Menlo Park, California and Chesa Büsin in Zuoz, Switzerland. 佩斯畫廊是一間代理20及21世紀眾 多享譽世界的藝術家及作品的領先 畫廊。由Arne Glimcher於1960年在波 士頓創立,佩斯畫廊是藝術世界的 常青樹,也曾為許多知名藝術家舉 辦過首個展覽。佩斯在全球擁有十 間空間:紐約四間,倫敦兩間,兩萬 五千尺的北京空間且最近在香港和 瑞士Chesa Busin開設的新空間。

601-605號 Parkview Art Hong Kong specialises in Chinese, Asian, and international contemporary art, as well as in bringing museum-quality exhibitions of modern masters. The gallery promotes both emerging and established artists from the primary and secondary market. Our services include art consulting, art rental, advisory on art collecting, and investment.

Pearl Lam Galleries is a driving force within Asia’s contemporary art scene. With more than 20 years of experience exhibiting Asian and Western art and design, it is one of the leading and most established art galleries to be launched out of China. Pearl Lam Galleries is dedicated to championing artists who re-evaluate and challenge perceptions of cultural practice from the region.















畫廊 資料

Pékin Fine Arts

Platform China



Tel. +852 2177 6190

Tel. +852 2523 8893

Tel. +91 22 2281 0066

16th Floor, Union Industrial Building, 48 Wong Chuk Hang Road, Wong Chuk Hang, Hong Kong 香港香港仔黃竹坑道 48號 聯合工業大廈 16層 Pékin Fine Arts is a Beijingbased contemporary art gallery representing international artists, focusing primarily on artists from China, Japan, Korea, Indonesia, Hong Kong, and Taiwan. Established by 20year China resident Meg Maggio in 2005, the three main exhibit spaces are housed in No.241 Caochangdi Village, in over 600 square metres, designed by Beijing-based artist/ architect Ai Weiwei. In 2012, Pékin Fine Arts opened its Hong Kong gallery branch in Aberdeen’s Wong Chuk Hang district.

Unit 601, Chai Wan Industrial City Phase 1, 60 Wing Tai Road, Chai Wan, Hong Kong 香港柴灣永泰道 60號柴灣工業城 第一期 601室 Platform China is one of the most innovative and alternative art spaces in China. Based in Beijing and Hong Kong, the gallery is recognised for its activity dedicated to the development and promotion of contemporary art, with a specific focus on young and emerging artists.

BMP Building, N.A. Sawant Marg,Volaba, Mumbai 400 005, India

北京藝門是一間北京的當代畫廊, 致力於代理國際藝術家,尤其是來 自中國、日本、韓國、印尼、香港及台 灣的藝術家。畫廊於2005年由已在 中國定居20年的馬芝安女士創建。 三個展覽空間位於草場地村241號, 佔地超過600平方米,由藝術家、 建築師艾未未設計。2012年,北京 藝門於香港黃竹坑開設空間。

Project 88

From its inception in 2006, Project 88 has developed a context for the exhibition of experimental and ambitious work in all media by artists who are some of the most thoughtful and exciting artists working in the Indian subcontinent today. Many of its artists are in major international collections.

站台中國是國內最具創新活力的 另類藝術空間之一,分別在北京與

自2006年成立至今,Project 88致力






具實驗性與開拓性的作品逐步構建 語境。旗下藝術家多有作品被國際 機構收藏。

Gallery Profiles

Red Rock Studio Collection

Rossi & Rossi

ShanghART Gallery



Tel. +852 3575 9417

Tel. +86 216 359 3923

Unit 3C, Yally Industrial Building, 6 Yip Fat Street, Wong Chuk Hang, Aberdeen, Hong Kong

Bldg 16, 50 Moganshan Road, Putuo District, Shanghai, 200060 China

香港黃竹坑業發街 6號



Red Rock Studio is a private collection based in Hong Kong. 石紅齋是一間設於香港的私人 收藏。

益年工業大廈 3樓 C室

Founded in 1985, Rossi & Rossi has been working since 2005 with contemporary Asian artists, with a special focus on Tibet. The gallery’s deep interest in the vibrant and innovative art being produced today is reflected in its diverse programme. Rossi & Rossi opened its Hong Kong branch in 2012. Rossi & Rossi畫廊於1985年在倫敦 創立。自2005年起,畫廊開始與 亞洲當代藝術家合作,並尤其關注 西藏藝術。畫廊對現今充滿活力及 創造力的藝術興趣濃厚,並將其反 映在不同的項目中。2012年Rossi & Rossi在香港設立分畫廊。

中國上海市普陀區莫干山路 50號

ShanghART Gallery was initiated in 1996 in Shanghai. It has since grown to become one of China’s most influential art institutions and a vital resource to the development of contemporary art in China with spaces in Shanghai, Beijing, and Singapore. ShanghART was the first gallery from China to participate in major international art fairs such as Art Basel and FIAC Paris. ShanghART also enjoys the great respect of being among the 75 most influential galleries according to the publication International Art Galleries: Post-War to Post-Millennium. 香格納畫廊於1996年在上海創立,以 其對於藝術的創新、完整及堅持以高 品質呈現中國當代藝術而在過去的 十多年中享有盛譽。香格納畫廊目前 在上海、北京和新加坡都設立了空間。 香格納畫廊不僅作為參加了許多國際 知名的藝術博覽會如巴塞爾國際藝 術博覽會、法國國際現代藝術博覽會 以及邁阿密巴塞爾國際藝術博覽會 的首批中國當代藝術畫廊,香格納畫 廊也是中國唯一一家被選入《國際畫 廊:從戰後到新千年後》一書的畫廊。

畫廊 資料


Simon Lee Gallery

Taka Ishii Gallery

Tel. +63 2 816 0044

Tel. +852 2801 6252

Tel. +81 (0) 3 6434 7010

2nd Floor, YMC Building, II Don Chino, Roces Ave. Ext., Makati City, 1231, Philippines

304, 3F, The Pedder Building, 12 Pedder Street, Central, Hong Kong

3-10-11 B1 Sendagaya Shibuya-ku Tokyo 151-0051, Japan

中環畢打街 12號畢打大廈

3樓 304室 Silverlens has earned recognition from both artists and collectors as one of the leading contemporary art galleries in Southeast Asia. Through its exhibition programme, artist representation, art fair participation, and institutional collaboration, it aims to place its artists within the broader framework of international contemporary art dialogue. Silverlens participates annually in key international art fairs.

Simon Lee Gallery represents conceptual artists of diverse generations with multi-disciplinary practices. Founded in 2002 in Mayfair, London, Simon Lee Gallery has since expanded to Hong Kong in 2012 and opened an office in New York City, as the gallery continues to grow a conceptual programme that explores global tendencies in contemporary art, including historical and curated shows.


Simon Lee畫廊代理多位代表不同世














Taka Ishii Gallery opened in 1994 with an exhibition programme devoted to exploring the conceptual foundations and implications of contemporary (photo) graphic practice.The gallery has since exhibited and published the work of contemporary master Japanese and foreign artists as well as supporting the development of younger artists. In 2011 the gallery inaugurated Taka Ishii Gallery Photography / Film, a second exhibition space located in the Roppongi district of Tokyo; which serves as a forum for the presentation of a focused programme of lesser-known pre- and post-war Japanese photographers, among others. Taka Ishii畫廊於1994年創立,最初的 展覽項目是致力於探索當代(照 片)平面藝術實踐的概念基礎和意 義。畫廊自建成以來展覽和出版了 日本及國外的當代藝術大師的作 品,同時也支持年輕藝術家們的發 展。2011年,畫廊在東京六本木開設 了第二個展覽空間「Taka Ishii畫廊攝 影/ 膠片」空間。這個空間將作為一 個論壇空間,展示那些和鮮為人知 的戰前及戰後日本攝影家有關的重 點專案。

Gallery Profiles


Tracy Williams, Ltd.

Victoria Miro 維多利亞米羅

Tel. +886 2 2659 079

Tel. +1 212 229 2757

B1/F, 15, Lane 548, Ruiguang Road, Neihu District, Taipei, Taiwan

55 Hester Street, New York, NY 10002, USA

台灣台北市內湖區瑞光路548巷 15號B1

TKG+, the contemporary platform of the Tina Keng Gallery, opened its expansive space in the Neihu District of Taipei in October 2009. Its mission is to promote and support the most interesting and significant contemporary art from the region. As its name suggests, TKG+ believes in the exponential growth and possibility of art in the 21st century.

Since opening in 2004, Tracy Williams, Ltd. has forged a path slightly apart, offering a compelling and intellectually rigorous programme featuring emerging and mid-career national and international artists working in all mediums, and focusing on exhibiting and building their careers globally.

Tel. +44 0 20 7336 8109 / + 44 0 20 3205 8910 16 Wharf Road, Islington, London N1 7RW, UK 14 St George Street, Mayfair London W1S 1FE, UK Victoria Miro is now in its 30th year and remains one of London’s premier galleries. One of the largest commercial spaces in the city, Victoria Miro occupies 11,800 square metres across three buildings, two of which are in Islington, and the third in Mayfair. 維多利亞米羅迎接第三十個年頭,

創立於2004年的Tracy Williams畫廊已


建立起獨特的風格。畫廊提供有趣 作為耿畫廊的當代藝術平台,TKG+










具有潛力的當代藝術為重要使命, 開啟更多藝術對話與實驗空間。如 TKG+的+指數所象徵的,21世紀的 當代藝術充滿了無限可能性與發 展空間。  

畫廊 資料

Vitamin Creative Space

White Cube


Wilkinson Gallery


Tel. +86 20 8429 6760

Tel. +44 20 8980 2662

29號 301室

Tel. +44 (0) 207 930 5373 / +852 2592 2000 144–152 Bermondsey Street, London, UK 25–26 Mason’s Yard, London, UK 50 Connaught Road, Central, Hong Kong

Founded in 2002, Vitamin Creative Space explores an alternative working mode, specifically geared to the contemporary Chinese context and constantly inspired by the confrontation between contemporary life and ancient Chinese philosophy. In order to operate independently from institutionalised funding, it is active both as an independent art space and as a ‘commercial’ gallery. Vitamin Creative Space actively challenges preconceptions by merging these two traditionally opposed strategies for supporting and presenting contemporary art, targeting the search for new Chinese contributions within the new global context.

The first of White Cube’s galleries to be located outside of the United Kingdom, White Cube, Hong Kong is situated at 50 Connaught Road, in the heart of Hong Kong’s Central district. Since its inception in March 2012, the gallery has hosted a varied programme of exhibitions including Gilbert & George, Anselm Kiefer, Damien Hirst, and Cerith Wyn Evans.The gallery provides an interior exhibition space of 550 square metres (6,000 square feet), which is set over two floors, and has a ceiling height of over 4.5 metres.The building is designed by Robert A.M. Stern Architects, and the gallery space is designed by Maybank and Matthews.

Established in 1998, Wilkinson Gallery is owned and run by Amanda and Anthony Wilkinson. The gallery presented the first London solo exhibitions by key female artists such as Joan Jonas (2004), Dara Birnbaum (2009), and Laurie Simmons (2011), and was also the first to work with the Estates of Jimmy De Sana (2009), and Derek Jarman (2013). In 2007, the gallery moved to a new and larger space, and the programme has expanded to include artists working in new and artists from Asia.






國當代環境所設置 的, 並不斷地受









外運作, 維他命藝術空間作為一個獨






面積550平方米(6000平方尺), 分為兩

對的策略去支援和展示當代藝術, 並

層, 層高4.5米, 所在大樓由 Robert A.M.


Stern建築師設計, 畫廊空間由倫敦建


築師Maybank & Matthews設計。

Room 301, No. 29 Heng Yi Jie, Chi Gang Xi Lu, Guangzhou, China 中國廣州市赤崗西路橫一街


50-58 Vyner Street, London E2 9DQ, UK

成立於1998年,威爾金森畫廊由阿 曼達和安東尼·威爾金森擁有和經 營。画廊舉辦了關鍵的女性藝術

搬遷到更大的新空間,項目也延展 至包括在新空間工作的藝術家和來 自亞洲的藝術家。

Gallery Profiles

Yuz Foundation 余德耀基金會

Tel. +86 21 64261901 35 Fenggu Road, Xuhui District, Shanghai, China 200232 中國上海市徐匯區豐谷路 35號

Yuz Foundation was founded in 2007 by Budi Tek, a ChineseIndonesian entrepreneur, philanthropist, and collector. The Foundation is dedicated to contemporary art from China and the rest of the world and aims to popularise international contemporary art through its ideas, collections, museums, sponsorship, and academic projects. 余德耀基金會由印尼華人企業家、 慈善家及收藏家余德耀於2007年創 辦。基金會一直致力於促進國際及 中國的藝術發展,通過思維、館藏、 藝術館、贊助、及學術項目,增進 公眾對國際當代藝術理解和欣賞。

畫廊 資料


In 2014, AAA raised funds to extend its global reach in its goal to expand the educational potential of the archive and redefine the way worldwide audiences learn about contemporary art. Thanks to the incredible support of artists, galleries, individual donors, bidders, and all others who have made our annual fundraiser possible, AAA was able to raise HK$11 million to support the operation costs and endowment for 2014-2015.

FANG Lu 方璐




FUNG Ming Chip 馮明秋 GAO Weigang 高偉剛 Giovanni OZZOLA HE Xiangyu 何翔宇

Heman CHONG 張奕滿 HO Siu Kee 何兆基 Il LEE JIA Aili 賈藹力


João Vasco PAIVA 周奥




Jonas WOOD

的款項已投放於 2014至 2015年度的營運支出及文獻 庫基金會。

Koki TANAKA 田中功起

KONG Chun Hei 鄺鎮禧

KOON Wai Bong 管偉邦

KWAN Sheung Chi 關尚智 Frog King 蛙王 (郭孟浩) Artworks were generously donated by 藝術品由以下人士慷慨贊助

aaajiao 徐文愷

LAM Tung Pang 林東鵬,林靜山 LAN Zhenghui 藍正輝 LEE Bul 李昢 LEE Kit 李傑

LEUNG Kui Ting 梁巨廷


LIN Jingjing 林菁菁


LIU Ding 劉鼎

Arnold CHANG 張洪

Manjunath KAMATH

Angela SU 徐世琪 anothermountainman 又一山人 (黃炳培) CAO Fei 曹斐

Cédric MARIDET CHEN Fei 陳飛

CHENG Chi Fai 鄭子輝

CHENG Yee Man (Gum) 鄭怡敏(阿金) Clara CHEUNG 張嘉莉 Chihoi 智海

CHOI Yan Chi 蔡仞姿

LIN Tianmiao 林天苗 LIU Jianhua 劉建華 MAP Office

MIAO Xiaochun 繆曉春 Nadia KAABI-LINKE NG Joon Kiat

Nicole WONG 王思遨 PENG Wei 彭薇

QIU Deshu 仇德樹

QIU Shihua 邱世華

Risham SYED Rodel TAPAYA

RongRong & inri 榮榮與映里 OH Seung Yul 吳承烈

Shinro OHTAKE 大竹伸朗 Shio KUSAKA Simryn GILL

Blindspot Gallery 刺點畫廊

Chambers Fine Ar t 前波畫廊 Chemould Prescott Road

De Sar the Gallery 德薩畫廊

Edouard Malingue Gallery 馬淩畫廊 Experimenter

Gagosian Gallery 高古軒畫廊

Sopheap PICH

Galerie Perrotin 貝浩登畫廊

TANG Dixin 唐狄鑫

Galleria Continua 常青畫廊

CHEUNG Szelit 張施烈 TSANG Chui Mei 曾翠薇 WANG Gongxin 王功新 WANG Guangyi 王廣義 WANG Keping 王克平 WANG Tiande 王天德 WENG Fen 翁奮

WONG Wai Yin 黃慧妍 XIE Molin 謝墨凜 CHOI Xooang

YAN Xing 鄢醒

YANG Jiechang 楊詰蒼 YANG Jun 楊俊

YANG Yi-Shiang 楊依香 YANG Yongliang 楊泳梁 Yeesookyung 李受經 YU Peng 于彭

YUAN Goang-Ming 袁廣鳴 ZHANG Jianjun 張健君

ZHANG Xiaogang 張曉剛 ZHENG Guogu 鄭國谷

10 Chancery Lane Gallery 10號贊善里畫廊

Aike Dellarco 艾可畫廊 Anna Schwar tz Gallery Arndt Ar t Projects International

Galerie Urs Meile 麥勒畫廊 Gallery Espace

Gallery EXIT 安全口畫廊 Galerie Lelong Gandhara-ar t graywall

Grotto Fine Ar t 嘉圖現代藝術 Hanar t TZ Gallery 漢雅軒 Kukje Gallery

Lehmann Maupin 樂曼慕品 Leo Xu Projects One and J Gallery

Osage Gallery 奧沙畫廊 Pace Gallery 佩斯畫廊

Platform China 站台中國 Project 88

Red Rock Studio 石紅齋 Rossi & Rossi 羅西畫廊

Shanghai Gallery of Ar t 滬申畫廊 Taka Ninagawa Talwar Gallery TKG+ 耿畫廊

Tracy Williams, Ltd. Vadehra Ar t Gallery

Vitamin Creative Space 維他命藝術空間 White Cube 白立方


Board Of Directors 董事會成員 Joseph Y. Bae 裴容範 Mimi Brown 貝明湄 Monique Burger

Winnie & Winfried Engelbrecht-Bresges Anjali & Gaurav Grover Peter Guenthardt

William Zhao 趙令勇 & Claude Haberer

Benjamin Cha 查燿中

Laura & Aron Harilela

Paul Chen 陳煥彪

Ken Hitchner

Johnson Chang Tsong-Zung 張頌仁 Jane DeBevoise 杜柏貞

Oscar Ho Hing-Kay 何慶基 Eunei Lee

William Lim 林偉而 Anupam Poddar

Sir David Tang 鄧永鏘爵士

John (Jack) S. Wadswor th, Jr. 韋仕華

Yasmin Bokhary & Chris Heady Tami & Carl Huttenlocher Shanyan & Matthew Koder Vivian & Jason Lee Wendy Lee & Stephen Li Lisina & Nicolas Leung Lavina & William Lim Yana & Stephen Peel Sonia & Paulo Pong

Benefactors 個人捐助人

Christy & Nick Powell

Janice Lee & Joseph Y. Bae 裴容範先生夫人

Michelle & Derek Sulger

Johanna & Ronald Arculli 夏佳理先生夫人

Stefan Rihs

Monique & Max Burger

Hsueh Sung 宋學仁

Ann & Paul Chen 陳煥彪先生夫人 Jane DeBevoise 杜柏貞

Mimi Brown & Alp Ercil Eunei & Ron Lee Elaine & Anto Marden Jennifer Woo & John Mclellan Mrs Chantal Miller Susy & John (Jack) S. Wadswor th, Jr.

Benjamin Vuchot

Contributors 個人獻款人

Ann & Ben Cha 查燿中先生夫人 Christina Chang

Reina & Kevin Chau Jennifer & Adrian Cheng Stephen Cheng


Jennifer Cheung & Canute Dalmasse

Patrons 個人贊助人

Jackie & Sean Fitzpatrick

Emma & Moon Askari Guy d’Auriol Dana & Angad Banga Serenella & David Ciclitira Andrew Cohen Kristine & Tim Dattels Sylvie & Pascal De Sar the

Sophie & Laurent De Rougemont Mimi & Chris Gradel Ling Pong & Brian Li Joyce Liu

Yenn Wong & Alan Lo 黃佩茵及羅揚傑 Chrissy & Michael Lynch Ada Loi & Vineet Mitera Audry & Tom Morrow

Amna & Ali Naqvi

Elaine Ng 伍穎瑜 & Fabio Rossi Mina Park Lisa R. & Herve Pauze Dee Poon 潘楚頴

Brigitte Schlaikier & Simon Powell Ivan Pun Serge Pun Shaiza Rizavi Susan & James Roth

Sponsors 公司贊助人 Avantha Group

Bloomberg L.P. 彭博有限合夥企業 Christie’s 佳士得

De Sar the Gallery Foundation for Ar ts Initiatives (FfAI)* Home Affairs Bureau 民政事務局 *

Hong Kong Ar ts Development Council


Long March Foundation, New York

Evan Lau & Walid Sarkis


David Solo

The C. K. & Kay Ho Foundation*

Ming Ho & Sherman Tang

The NY Community Trust & The

Diane & Stephen R. Volk

Alexandra Munroe Fund*

Francesca & Nick Whyatt

The Rober t H. N. Ho Family Foundation

Nancy & XD Yang Xiaoming Zhang Laura Zhou Hugh Zimmern Friends & Young Supporters 文獻庫之友及青年文獻庫之友

Andrew Corey Barr Ben Falloon Khadinn Khann Pi Li 皮力

Lesley Ma Doreen Merkel Amanda Pratt David Zwirner Library & Office Space 文獻庫圖書館及辦公室空間

Special thanks to Kerry Proper ties and Sino Group for sponsoring our library and office space. 特別鳴謝信和集團和嘉里建設之贊助


The S. H. Ho Foundation Ltd.


UBS 瑞銀集團

Van Cleef & Arpels 梵克雅寶 Institutional Partners 機構合作夥伴

American Institute of Pakistan Studies Central Saint Mar tins Centre for Studies in Social Sciences, Calcutta Draw Together 香港齊齊畫

Hong Kong Ar ts Centre 香港藝術中心*

Hong Kong Museum of Ar t 香港藝術館* ifva of Hong Kong Ar ts Centre 香港藝術中心 ifva

India Foundation for the Ar ts* Indonesian Visual Ar t Archive Kochi-Muziris Biennale Museum of Modern Art’s C-MAP Initiative Myanmar Art Resource Centre and Archive

Power Institute for Ar t & Visual Culture

Sky Yutaka Ltd. 天之豐設計有限公司

- The University of Sydney

Telford International Company Limited

Samdani Ar t Foundation* Spring Workshop* Sterling and Francine Clark Art Institute* Taipei Contemporary Ar t Center


The China Club 中國會

Walk-in Hong Kong 活現香港*


Annual Fundraiser Donations

Media Partners 媒體合作夥伴

AAA would like to thank the ar tists and galleries for their suppor t. Please see full list on our website.

West Heavens 西天中土

Ar tAsiaPacific

Bazaar Ar t China 芭莎藝術 Hong Kong Tatler International New York Times Milk Magazine

Modern Media Group 現代傳播集團 TAKE on ar t Timable Time Out Hong Kong Yishu: Journal of Contemporary Chinese Ar t 典藏國際版 Partners 合作夥伴

Ar t Basel 巴塞爾藝術展 Ar t Dubai

AXA 安盛—藝術品保險 Charitable Choice* Choy, Cheung & Co (in association with Han Kun Law Offices)

蔡蔣律師行 (與漢坤律師事務所聯營)

Helu-Trans Pte. Ltd.

Jebsen & Co Ltd. 捷成洋行有限公司 Keyway Management & Secretarial Services Limited KplusK Architecture Ltd. Milkxhake

Pico Group 筆克集團


文獻庫在此感謝藝術家及畫廊支持周年 籌款。詳細名單可參閱網頁 。

Material Donations 圖書館捐贈

AAA would like to thank all material donors. Please see full list on our website and on the board inside the library.

文獻庫在此感謝所有捐贈人士。詳細名單 可參閱網頁及圖書館內的告示 。

*Indicates a government body, foundation or charitable organisation *代表政府部門、基金會或慈善機構

AAA TEAM 文獻庫團隊

Co-Founder & Director Claire HSU 徐文玠

Strategy & Special Projects Chantal WONG 黃子欣 OPERATIONS Finance Director Sally LEE 李江潤冰

Head of Operations

Susanna CHUNG 鍾玉文 Head of Development Diana CHIU 邱瑩玲

Communications Manager

RESEARCH & PROGRAMMES Head of Research & Programmes Hammad NASAR Head of Learning & Participation Susanna CHUNG 鍾玉文

Public Programmes Curator Ingrid CHU 朱珮瑿

Learning & Participation Coordinator Chloe TING 丁可兒

Research & Programmes Coordinator Vivian POON 潘蔚然

Christy LI 李卓婷

Senior Researchers

Managing Editor


Lucia KIM 金世熹

Anthony YUNG 翁子健

Chinese Editor / Writer


(Part-Time) Janet CHAN 陳靜昕

XIE Congyang 謝從暘

Assistant Editor

Michelle WONG 黄湲婷

(Part-Time) Nicola ROBB Development Coordinator Erin LI 李伊寧

Fundraiser Coordinator Holly LEUNG 梁皓涵

Administrative Assistant / Assistant to Executive Director Hazel KWOK 郭樞棋 Accountant

Kathleen HO 何麗珠 Office Assistant

CHEUNG Shuk Ha 張淑霞


Project Researcher Rachel ZHANG 張若含

Research Project Assistants Peggy LEE 李碧琪

Angela SU 徐世琪 DIGITAL Head of Digital David SMITH IT Officer

Paco MA 馬啟洭 Assistant IT Officer Mark DEQUITO

LIBRARY Head Librarian

Lydia NGAI 危轉娣 Collections Coordinator Elaine LIN 林亦凌

Library Coordinator Stephen LAM 林兆輝

Digital Collections Coordinator Nicole LAI 黎原

Media Coordinator

Gabrielle CHAN 林陳基寶 Library Projects Linda LEE 李綺華

Library Assistant Suki CHING 程曉君

SIU Wan Chi 蕭韻之

Daniel SUEN 孫卓衡

Special Thanks To 特別鳴謝


Table Buyers


Johanna & Ronald Arculli

Michael Friedman



Monique & Max Burger Benjamin Cha, Grosvenor


Ming Wong 黃漢明 Design & Printing

Credit Suisse 瑞信


Guy D’Auriol


Jane DeBevoise 杜柏貞 Mimi Brown & Alp Ercil K11 Ar t Foundation Eunei & Ron Lee Wendy Lee 利宛虹 Vivien & Jason Lee Joyce Liu Jennifer Woo & John McLellan Yana & Stephen Peel

Project Managers 項目策劃

Diana Chiu 邱瑩玲 Holly Leung 梁皓涵 Project Assistants 項目助理

Hazel Kwok 郭樞棋 Christy Li 李卓婷

Michelle & Derek Sulger

Erin Li 李伊寧

The Empty Gallery

Catalogue Editor

White Cube 白立方 Auctioneer 拍賣官

Francois Curiel 高逸龍 Chairman of Christie’s Asia Pacific 佳士得亞太區主席


Daniel Szehin Ho 何思衍 Lucia Kim 金世熹 Catalogue Copy Editor 拍賣目錄校對

Clare Tyrrell-Morin

Special Thanks To

Mr & Mrs Hans Michael Jebsen

Media Sponsors

Asia Art Archive 11/F Hollywood Centre 233 Hollywood Road, Sheung Wan, Hong Kong 亞洲藝術文獻庫 香港上環荷李活道 233號 荷李活商業中心 11樓

+852 2844 1112

Asia Art Archive Annual Fundraiser 2015  
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