Andrew Luk, Chu Teh-Chun - Shifting Landscapes

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Andrew Luk & Chu Teh-Chun Shifting Landscapes

de sarthe




Content Press Release Artist Statement by Andrew Luk Haunted, Salvaged Dipole Antenna Soft Gray Underbelly Andrew Luk Bio & CV Chu Teh-Chun Bio & CV

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Andrew Luk & Chu Teh-Chun Shifting Landscapes

de Sarthe is pleased to announce Shifting Landscapes , a presentation of artwork by the contemporary Hong Kong-based artist Andrew Luk (b.1988) and the Post-war master Chu Teh-Chun (1920-2014). The artworks were respectively intended for the Encounters sector and Galleries sector at the canceled Art Basel Hong Kong 2020. In Shifting Landscapes, these works are reconsidered within the gallery’s own context during the Covid-19 crisis. Redeveloped for the gallery space, Andrew Luk’s large-scale installation Haunted, Salvaged is a giant suspended mobile with disfigured orb-like objects hanging from steel branches that stretch outwards above a sea of expanding spray foam. Constructed using layers of carved and corroded extruded polystyrene foam, the orbs are arranged to compose an artificial constellation of imagined psycho-geographic entropic accumulation. Underneath the swiveling orbs, cement totems rise from a an eight-by-fivemeter bed of stainless steel mesh, each of which is interjected with copious amounts of exposed, cactus-like, tumorous blobs of dried spray foam. Closer inspection also reveals that many of the protrusions are built using concrete artifacts of recently antiquated devices, such as Walkmans and Gameboys – remnants of civilization embedded within a futuristic past-present wasteland. In aggregate, the installation is a floating, fictitious representation of an urban landscape filled with anthropogenic contamination. The installation binds the natural and the man6

made together, owing to the artist’s realization that not only is humanity a part of the natural world, the entities and forces of humanity are as well. For example, despite culture and technology being implements for contemplation and actualization, their organic development acts biologically with inherent needs. They exert effects as well as create byproducts. Contained in these entities is also the capacity for self-destruction, an inevitable stage in the cyclical progression of nature and evolution. As humans, we are both participants and subjects of this process. On the other side of the gallery, Chu Teh-Chun’s broad expressive brush strokes elicit vast unexplored landscapes that are illustrated through a deeply rooted consideration of the traditions of Chinese painting and calligraphy. Nature unfurls within Chu Teh-Chun’s canvases by distorting the viewer’s expectation of horizon and perspective. His poetic expression of natural expanse uncovers realms of the abstract form and in doing so conjure an alternative interpretation of the medium and its capabilities. His artwork is immersed in the core of nature and landscape while remaining true to abstraction.


陸浩明&朱德群 地勢轉移


德薩畫廊榮幸地呈獻《地勢轉移》–是次展覽包括駐香港當代藝術家陸浩明(生於1988年)和戰後大師 朱德群(1920–2014)的作品。作品分別原定在現取消的香港巴塞爾藝術展2020中的「藝聚空間」和 「藝廊薈萃」部分展出。在新型冠狀病毒的危機下,《地勢轉移》將這些作品在畫廊的環境中重新定義。 為畫廊空間而重新配置,陸浩明的《產物,殘物》是一個巨大的懸掛式移動裝置於一系列雕塑的上空向外 延伸。懸掛裝置的鋼肢上掛著大小不一,凹凸不平的球體,這些球體以一層層經過雕刻和腐蝕的聚苯乙 烯砌成,其排列構成藝術家所想像中心理地理的能量退化而累積成的人造星空。在旋轉球體的下方, 一尊尊光滑整潔的水泥雕塑和不鏽鋼條從地面冒出,水泥塊之間的狹縫逼出猶如腫瘤般,仙人掌狀的膨脹 泡沫。仔細一看,每件雕塑都以混凝土製造而近來荒廢的電子裝置,如Walkman和Gameboy等產品,建 構。這些過時的產品如文明的文物般,在藝術品中被埋沒在一片帶有未來色彩,過去和現在的荒地中。 總體而言,這大型浮動裝置作品描繪著一片充滿人為污染的虛構城市景觀。這裝置作品將自然和人造物 融合, 闡明不單只人類是大自然的一部分,而人類衍生出來的產物和動力亦同屬自然界的一部分。比如文 化和科技,儘管被視為實踐思考的工具,但它們的發展也如生物般,既有需求、也會發揮作用和造就副 產品。這些生存特質亦包含自我摧滅的能力,而這也是自然進化的循環式過程中必然的階段。作為人類, 我們活躍參與這個過程,同時亦被這個過程牽引。 在畫廊的另一端,朱德群的作品運用獨特的技巧創作色彩濃烈的寫意風景畫,朱德群粗獷舒展的筆觸亦反 映自身對傳統中國繪畫和書法的思考和承傳。大自然的力量填滿他的畫布,畫面扭曲著觀看者的視覺感 知。他對廣闊自然詩意綿綿的表達令他能在表現形式內另闢蹊徑,並對物料和技巧的運用提出新的演釋。 他的畫作沈浸於大自然和風景之中的同時,仍然忠於抽象繪畫。



Andrew Luk


Artist Statement

“Old things, vile things, broken things, tired things, things that make your ears burn with anger, things that make your palms sweat and mouth taste like stomach acid, things that remind you that life is finite. These are valuable. Discomfort and discord are important. Because the world will never be saved by the strength of a superhero, or the belief in some god, or the innovation of some technocrat, or some self-righteous war. At the very least, art that embraces this reality is like a vaccination. It is a taste of an uncomfortable bile-like future...”

Haunted, Salvaged is a floor and mobile installation primarily consisting of construction materials. The mobile constellations are comprised of steel rods, wire, sea glass, and extruded polystyrene (a product of petroleum, also known as pink foam). It was said the 20th century was built from steel, glass and brick. The 21st century has seen the addition of more complex, petroleum based materials to this narrative — materials that are primarily lightweight, cheap, and quick to manufacture; making them easily discardable and yet permanent fixtures on the earth’s surface. Utilising these materials and manipulating them within my installation synthesises the universal and integral in a precariously balanced, floating, fictitious representation of urbanity. By enmeshing material chronologies and filling the installation with anthropogenic contamination of dissimilar materials, an assemblage-constellation of a projected past-present arises. The constellation of pink foam and seaglass assemblages, hanging from steel rods and orbiting with planetary stealth, calmly weaves in and out of view. Each orb on this mobile resembles a city of catacombs turned inside out; the eye, having few to no references, is forced into a psycho-geographic escapade; tracing the surfaces of the rounded outer contours of the orb-like objects while traveling through their many cavernous interiors, inside of which are forms reminiscent of geological stalactites. These caverns reference the cliff face dwellings of our prehistoric ancestors, from which we have modelled modern day buildings. Floating in and out of view between the orbs are assemblages of cloudy


sea glass shards held together by transparent UV resin. Glass is originally made from sand, and when “returned” to the sea it splinters and then slowly erodes into a pithy semi-transparent gems, its surface and edges delicately rounded out against the sand and water. These are suspended in the process of dematerialising. Further, within the installation a landscape of stainless steel mesh is interjected by exposed cactuslike tumorous blobs of dried expanding-foam, creating a wasteland of disarray. Protruding upwards from this spray-foam desert are tediously assembled shrines of smooth cement moulded into the artefacts of handheld technological devices, from which polyurethane fungi emerge —ziggurats of a bygone technocentric era of acceleration, on which organic new life has taken refuge. Fundamental to the artwork is the realization that humanity is not only a part of nature, but by extension the entities and forces that humanity creates—such as culture and technology—are part of the natural world as well. For example, despite being implements for contemplation and actualization, culture and technology act biologically with inherent needs, exert affects, and engage in byproduct creation. Contained in these entities is also the fundamentally human capacity for selfdestruction. When scaled up and viewed from afar however, this potential for world destruction can merely be understood as an environment undergoing inadvertent changes.

The materials in the entire installation include extruded polystyrene foam, expanding spray foam, cement, concrete, stainless steel mesh, steel, polyurethane, sea glass, UV resin, acrylic, nylon : all of which are malleable man-made materials derived from natural resources through complex wprocesses requiring acrobatic imaginations. There is a strange plastic oddness about a thing formed by hand — the work relies on our current disassociation with material histories in order to present amorphic pseudo-natural forms that are simultaneously familiar and distant. The blurring realities and a trashlike future scape salvaged from here and now creates a kind of clue that reflects on current anthroposcenic phenomena. One such example are plastiglomerates in Hawaii : naturally occurring solid rocks created by geological forces such as wind and water and formed from a composite of plastic, sand, and coral that have washed up onto beaches. Alternatively, let us consider ourselves — a terraforming social species, possessing brains evolved over millennia of hunting and gathering with sticks and stones, attempting to come to terms with a world that was not inherited but transformed and accelerated by culture and technology in their own time — a world which creates immediate consequences to which we all must adapt. — Andrew Luk



「舊東西、惡劣的東西、破碎的東西、疲倦的東西、使您 的耳朵因憤怒而燃燒的東西、使您的手掌出汗和舌尖酸 澀的東西,這些東西都在提醒您生命是有限的。不適和 不和諧都是重要和有價值的。因為超級英雄的力量、對 某個上帝的信仰、科技的創新或自以為是的戰爭都永遠 無法拯救世界。接受這種現實的藝術就如疫苗一樣,讓 人一嚐不舒服,如膽液般噁心的未來⋯」














表面。通過運用這些材料並對其進行加工,我這件剛僅平衡、浮 動、描繪著一個虛構都市的裝置同時有著宏觀和基本的性質。











內外的地下墓穴。視線因找不到明顯線索而被迫逃進心理地理 的環境,追踪著球體的外部輪廓和表面的同時穿越其內部,令人













我們嘗試去接受我們的世界並非繼承的,而是被歷代的文化和科 技加速改造的—在一個會產生即時後果的世界,我們所有人都

此外,在這裝置中,地上一片由不鏽鋼網砌成的地形下逼出猶如 腫瘤般,仙人掌狀的膨脹泡沫,造成一片混亂的荒地。一尊尊如 神殿般的雕塑從這片泡沫沙漠中冒出,這些神殿都由一件件的手

必須學懂適應。 — 陸浩明

持電子裝置的水泥複製品搭建。利用聚氨酯造成的菌物從雕塑 中的夾縫延伸出來—新的生命在這些紀念著過去加速科技時代 的遺跡中得到庇護。



Andrew Luk Haunted, Salvaged 2020 Extruded polystyrene foam, paint thinner, expanding spray foam, cement, concrete, stainless steel mesh, stainless steel, steel, steel wire, polyurethane, sea glass, rotating motor, UV resin, aerosol paint, nylon 145 5/8 x 337 x 195 1/4 in. ¡ 370 x 856 x 496 cm 17











An extension of his large-scale installation Haunted, Salvaged , Andrew Luk’s Dipole Antenna is a self-contained equilibrial system made from anthropogenic materials. Built with concrete, cement, spray foam, steel, corroded polystyrene, and sea glass, the solitary sculpture rises from the ground first as bricks of recently antiquated electronic devices and is then surmounted by an antenna-like mobile. Assemblages of sea glass and disfigured orbs hang from its steel branches, completing what resembles a bodily-sized atomic or planetary model. 陸浩明的大型裝置《產物,殘物》所延伸出來的《偶極天線》是一件由人造材料建構,擁有自成體系平衡系統 的獨立雕塑。作品由混凝土、水泥、噴霧泡沫、不鏽鋼、經腐蝕的聚苯乙烯和海玻璃製成;在雕塑的底部,一 件件複製過時電子產品的水泥磚從地面搭起,雕塑的頂部則蓋上一個像天線的懸掛式移動裝置。利用鋼支造 成的天線上掛著凹凸不平的球體和海玻璃的組件,看似一個人體大小的原子或行星模型。

Andrew Luk Dipole Antenna 2020 Extruded polystyrene foam, paint thinner, expanding spray foam, cement, concrete, stainless steel, steel, steel wire, polyurethane, sea glass, UV resin, aerosol paint, nylon 82 5/8 x 73 1/2 x 73 1/2 in. · 210 x 187 x 187 cm 28









Andrew Luk’s Soft Gray Underbelly is composed of a piece of fragmented drywall with expanding spray foam bursting through its cracks. A paradox lies within the work – while the spray foam fractures the board, it is also the binding agent that holds together its fragments. A material that embodies opposing forces, breaking and repairing, violence and healing, all of which find their natural balance in the process of making. The painted black line that lies right-of-center within the work was present on the drywall material when it was purchased from a construction supply store. Luk asked the meaning of the black line upon purchasing the dry wall and was told, “it means nothing.”

在陸浩明的《灰色腹部》中,膨脹噴霧泡沫從一塊爆裂的石膏板上的裂縫逼出來。作品中的物料存在著矛 盾 – 泡沫膨脹使石膏板破裂,卻同時黏合著其碎片;一種擁有著對立力量的物質,破壞的同時在修復,同時象 徵著暴力和療癒,而這些力量都在製作過程中找到自然平衡。在購買石膏板時,其中心的黑色顏料已經被建 築材料供應商塗上。當被問到黑線的含義時,供應商回答:「毫無意思的」。

Andrew Luk Soft Gray Underbelly 2020 Spray foam, drywall, drywall screws, pigment, wood frame 49 1/8 x 96 3/8 x 1 1/8 in. · 125 x 245 x 3 cm




About Andrew Luk



Born in 1988 in the USA, Andrew Luk was raised in Hong Kong. His work has been exhibited internationally including in Next Act, Asia Society, Hong Kong, China (2020); Very Natural Actions, Tai Kwun Contemporary, Hong Kong, China (2019) ; Serious Games, HOW Art Museum, Shanghai, China (2019) ; Appropriate Responses for Featherless Bipeds with Broad Flat Nails, chi K11 art museum, Shanghai, China (2018) ; A Tree Fell in the Forest, and No One’s There, Power Station of Art, Shanghai, China (2018) ; Practice, de Sarthe Gallery, Hong Kong, China (2017) ; and At Wits’ End, Kula Bazaar ACC, Gwangju, Korea (2016). His work is included in public collections worldwide, including: Smart Museum of Art, Chicago, IL, USA; Frank. F. Yang Art and Education Foundation, Shenyang, China; University of Chicago, Booth School of Business, Chicago, IL, USA; and K11 Art Foundation, Hong Kong, China. He is the recipient of the 2016 Project Grant from the Hong Kong Arts Development Council and the 2014 Emerging Artist Grant from the Hong Kong Arts Development Council. Andrew Luk graduated from the New England School of Art and Design (NESAD) in Boston, Massachusetts with a BFA in 2010. In the same year, he also graduated from Suffolk University in Boston, Massachusetts with a BA in European History. Andrew Luk lives and works in Hong Kong.

陸浩明1988年出生於美國新澤西的薩米特市,在香港長大。 陸浩明的作品曾於國內外展出,當中包括:《續章》,亞洲協會,香港,中國(2020) ;《藏木於林》,大館當代美 術館,香港,中國(2019);《嚴肅遊戲》,昊美術館,上海,中國(2019);《予有著扁平趾甲的無毛兩足 動物的恰當回應》,上海 chi K11 美術館,上海,中國(2018) ;《林中樹倒下而沒有人在》,上海當代美術博物 館,上海,中國(2018) ;《練習》,德薩畫廊,香港,中國(2017) ;《百思不得其解》,國立亞洲文化殿堂 Kula 市場,光州,韓國(2016)。 他的作品亦被納入各地的公共收藏,包括楊鋒藝術與教育基金會,瀋陽,中國;芝加哥大學布斯商學院, 芝加哥,美國;Smart美術博物館,芝加哥,美國;香港K11藝術基金會,香港,中國。另外,他於2016年榮獲香 港藝術發展局授予的「計劃資助」,於2014年榮獲香港藝術發展局授予的「新苗資助」。 陸浩明於2010年畢業於新英格蘭藝術與設計學院(NESAD),獲藝術學士學位,同年還獲得了薩福克大學的 文學士學位,主修歐洲史。 陸浩明現工作並定居於香港。


Andrew Luk

Solo Exhibitions

Group Exhibitions and Projects

Public Collections




b.1988 born in Summit , New Jersey , USA ; Currently works and lives in Hong Kong , China 2010 2010 2005

B. F. A New England School of Art and Design (NESAD), Boston, USA B. A. European History, Suffolk University, Boston, USA The Penn Summer Art Academy, University of Pennsylvania, Pennsylvania, USA

2018 2017 2015

Appropriate Responses for Featherless Bipeds With Broad Flat Nails, chi K11 Art Museum, Shanghai, China Practice, de Sarthe, Hong Kong, China No Fixed Abode, Videotage, Hong Kong, China


Shifting Landscapes, de Sarthe, Hong Kong, China Next Act, Asia Society, Hong Kong, China Very Natural Actions, Tai Kwun Contemporary, Hong Kong, China Serious Games, HOW Art Museum, Shanghai, China Scaffolds of Meaning, Mine Project Gallery, Hong Kong, China A Tree Fell in the Forest, and No One’s There, Power Station of Art, Shanghai, China Offline Browser, The 6th Taiwan International Video Art Exhibition, Hong-Gah Museum, Taipei, Taiwan Beckoning the Mutation, Club Pro Los Angeles, Los Angeles, USA Emerald City, K11 Art Foundation Pop-up Space, Hong Kong, China The Preservationists, Duddell’s, Hong Kong, China White Cell, WING Platform, Hong Kong, China Autosave: Redoubt, City University of Hong Kong, Hong Kong, China The Garden, chi Art Space, Hong Kong, China Debris Constellation, Neptune, Hong Kong, China LIGHT & SPACE, 10 Design Architect Studio, Hong Kong, China “,”, Blindspot Gallery, Hong Kong, China At Wits’ End, Kula Bazaar ACC, Gwangju, Korea The Imaginary Order, Gallery Exit, Hong Kong, China The Magnet Palace, Clockenflap, Hong Kong, China Change Seed: Contemporary art from HK & Beyond, Center on Contemporary Art, Seattle, USA ART MONEY, XXX Gallery, Hong Kong, China Cavity Lab, April 30th, 100 Condor st. East Boston, USA Springboard 2, The Adams Gallery, Suffolk University Law School, Boston, USA Fine Arts Senior Thesis Show, NESAD, Boston, USA

2019 2018


2016 2015 2011 2010

Frank F. Yang Art and Education Foundation, Shenyang, China University of Chicago, Booth School of Business, Chicago, USA Smart Museum of Art, Chicago, USA K11 Art Foundation, Hong Kong, China Project Grant, Hong Kong Arts Development Council, Hong Kong, China Emerging Artist Grant, Hong Kong Arts Development Council, Hong Kong, China Finalist - Photographer’s Forum Magazine, Annual College Photography Contest, USA Facebook Artist in Residence Program, Hong Kong, China Artist Residency, Centre For Chinese Contemporary Art, Manchester, UK Artist Residency, WING Platform, Hong Kong, China de Sarthe Artist Residency, de Sarthe, Hong Kong, China







駐留項目 44

1988年出生於美國新澤西薩米特市,現工作與生活於中國香港 2010 2010 2005

藝術學士,新英格蘭藝術與設計學院(NESAD),波士頓,美國 文學士,歐洲史專業,薩福克大學,波士頓,美國 賓州暑期藝術學院,賓夕法尼亞大學,賓夕法尼亞,美國

2018 2017 2015

《予有著扁平趾甲的無毛兩足動物的恰當回應》,上海chi K11美術館,上海,中國 《練習》,德薩畫廊,香港,中國 《居無定所》,錄映太奇,香港,中國


《地勢轉移》,德薩畫廊,香港,中國 《續章》,亞洲協會,香港,中國 《藏木於林》,大館當代美術館,香港,中國 《嚴肅遊戲》,昊美術館,上海,中國 《意義的絞刑台》, Mine Project畫廊,香港 ,中國 《林中的樹倒下而沒有人在》,上海當代藝術博物館,上海,中國 《離線預覽》,第六屆台灣國際錄像藝術展,鳳甲美術館,台北,台灣 《召喚突變》,Club Pro 洛杉磯,洛杉磯,美國 《翡翠城》,K11藝術基金臨時展覽空間,香港,中國 《今天是昨天的延續》,都爹利會館,香港,中國 《白細胞》,永天台,香港,中國 《自動儲存:地堡》,香港城市大學,香港,中國 《花園》,chi K11藝術空間,香港,中國 《碎片流域》,惑星海王,香港,中國 《光與空間》,拾稼設計建築工作室,香港,中國 《,》,刺點畫廊,香港,中國 《百思不得其解》, 國立亞洲文化殿堂Kula 市場,光州,韓國 《想像中的秩序》,安全口畫廊,香港,中國 《磁力宮殿》,Clockenflap音樂節,香港,中國 《變換種子:來自香港及其他地區的當代藝術》,西雅圖當代藝術中心,西雅圖,美國 《藝術貨幣》,XXX畫廊,香港 ,中國 空心實驗室,4月30日,康多街100號,波士頓東,美國 《跳板 2》,亞當斯畫廊,波士頓,美國 《藝術史系主題展》,新英格蘭藝術與設計學院,波士頓,美國

2019 2018


2016 2015 2011 2010

楊鋒藝術與教育基金會,瀋陽,中國 芝加哥大學布斯商學院戴維和阿爾弗雷德 Smart 藝術博物館,芝加哥,美國 香港K11藝術基金會,香港,中國 獲得人,「計畫資助」,香港藝術發展局,香港,中國 獲得人,「新苗資助」,香港藝術發展局,香港,中國 入圍年度學院攝影大賽決賽,攝影師論壇雜誌,美國 臉書藝術家駐留項目,香港,中國 中國當代藝術中心藝術家駐留項目,曼徹斯特,英国 永天台藝術駐留項目,永天台,香港,中國 德薩藝術家駐留項目,德薩畫廊,香港,中國



Chu Teh-Chun


About Chu Teh-Chun



Chu Teh-Chun (1920-2014) was born in Baitu, China. He graduated from National College of Art (now China Academy of Art) in Hangzhou, China in 1941 under the teachings of Lin Fengmian. Chu Teh-Chun rose to international fame after a 1964 exhibition at Carnegie Museum of Art in Pittsburgh. His works have since been exhibited worldwide and collected by more than 50 major museums. A selection of Chu’s most important solo exhibitions in the last decade include: Colors/Forms: Chu Teh-Chun, National Taiwan Museum of Fine Arts, Taichung, Taiwan (2013); Chu Teh-Chun: Les chemins de l’abstraction, Pinacothèque de Paris, Paris, France (2013); Chu Teh-Chun: Nature in Abstraction, de Sarthe, Hong Kong (2012); Chu Teh-Chun, Retrospective, The National Art Museum of China, Beijing, China (2010); Of Snow, Gold and Sky Blue: Hand-painted Ceramics and Calligraphy by Chu Teh-Chun, Macau, China (2010); Chu Teh-Chun: De neige, d’or et d’azur, Musée Guimet, Paris France (2009); Royal Ueno Museum, Tokyo, Japan (2007); L’Image intérieure atteint sa plénitude dans l’Abstraction, Museum of Fine Arts, Shanghai, China (2005); Chu Teh-Chun: Large Gestures (Paintings), Macau Museum of Art, Macau, China (2004); Chu Teh-Chun: Paintings, Shanghai Museum, Shanghai, China (2000). In recognition of his artistic achievements, Chu was invited to become a lifelong member of l’Institute de France in February 1999, a nomination only given to the most significant living musicians, artists, architects and sculptors in France. In 2006, the European Union awarded him the European Gold Medal of Merit in Luxembourg. A major retrospective of his work will be unveiled at the National Art Museum of China, Beijing later this year.

法藉華裔藝術家朱德群(1920-2014)生於中國江蘇徐州。1941年在林風眠的教導下,畢業於中國杭州美國藝 術學院(現為中國美術學院)。在1964年,他因一次於匹茲堡卡內基美術館的展覽而蛻變成國際知名的藝術家 。他的作品曾於世界各地展出,並納入多於50間大型博物館的收藏。朱德群過去十年最重要的個展包括:《朱 德群:Les Chemins de l’Abstraction》,Pinacothèque de Paris,巴黎,法國(2013);《朱德群:自然抽象》, 德薩畫廊,香港,中國(2012) ;《朱德群回顧展》,中國美術館,北京,中國(2010);《金雪藍天:朱德群彩繪陶 瓷、書法作品》,澳門藝術博物館,澳門,中國(2010);《朱德群:Pintura reciente》,馬伯樂畫廊,馬德里,西 班牙(2007);上野森美術館,東京,日本(2007);《朱德群:油畫》,馬爾伯勒畫廊,紐約,美國(2006);上海美 術館,中國(2005);《大象無形:朱德群繪畫》,澳門藝術博物館,澳門(2004);《朱德群:油畫》,上海博物館, 中國(2000)。 為了表彰他的藝術成就,朱氏於1999年2月獲邀請成為法蘭西學院的終身會員,這項會藉只給予法國最具影響 力的音樂家、藝術家、建築師和雕塑家。朱氏更於2006年獲歐盟在盧森堡頒授歐洲成就奬金獎。 位於北京的中國美術館將於今年揭曉一個大型的朱德群 回顧展。



For information on the Chu Teh-Chun painting include in the exhibition, please contact the gallery.


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