Karin Weber Gallery Art Central E-catalog 'In The Moment'

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New Works by Annie Wan Lai-Kuen & Zhu Jingyi ART CENTRAL Hong Kong Harbourfront, Central 23-26 March, 2016, Booth F6


In the Moment: New Works by Annie Wan Lai-kuen and Zhu Jingyi Hong Kong-based ceramic artist Annie Wan Lai-kuen and Shanghai-based “ink” artist Zhu Jingyi both began their artistic journeys under the spell of artistic tradition. Today, both artists challenge the very nature and intention of their respective mediums by breaking with tradition.


hu and Wan work in tandem conversing with and reinventing their respective media. By broadening the language and possibilities of their artistic endeavors, they secure its relevance, identity and value in a contemporary world. In the moment of creation, both artists seek a tangible outcome equal in measure and delivery to its conceptualization. It is at this moment of equivalence that the work of these two artists is fully realized.

Annie Wan Lai-Kuen Annie Wan Lai-kuen uses various clay moulding methods to capture the forms of everyday objects: food tins, radios, vintage texts and, for this exhibition, contemporary magazines and novels. In the process and with photographic-like intimacy and exactness, the artist reveals the minutest details and imperfections of these well-handled articles. Wan’s moulding technique and the malleability of clay facilitate a process which the artist refers to as “mapping reality.” By pressing clay directly to the object, she renders it with the exactitude of a fingerprint. These are direct impressions of a moment in time in which her objects are temporarily suspended, frozen in place along the timeline of their existence. One of the artist’s signature works, “Looking for Poetry in Wan Chai,” exemplifies her artistic practice. In a local bookshop, Wan came across a Tangera poem and sought to rejuvenate its appeal for a new generation. But as is always the case with Wan, a depth of complexity slips in. In the dead of night and with the assistance of clay


moulds, Wan “borrowed” characters from classic Hong Kong commercial signs under threat of redevelopment. At dawn she retrieved her moulds, which she later assembled into a singular calligraphic work. While ancient in origin, the original poem takes on new meaning and relevance under Wan’s spell. This ability, which Wan has perfected, capturing innumerable layers of meaning in a single object while traversing time and space, is a remarkable feat. The resulting forms are touch-inducing, beautiful in their hue, texture, simplicity and refinement. She is a master of balancing concept and aesthetic concerns. Says Wan, “The nature of ceramics is making singular objects by hand with raw materials and craftsmanship, yet the development of contemporary art has moved away from the hand to the brain, from raw material to found object, and from singularity to a multiplicity of information. The contemporary world is full of simulacra, as if nothing is physical and singular. I am interested in investigating this distance from the simulacrum-discourse and bringing it closer to the material reality.” In this exhibition, Wan explores contemporary culture’s rapid adaptation to a digitized world. Books and magazines are now downloaded into devices that mimic the movement of page turning. In the process, however, convenience has taken precedence over the very human desire for tactility. In turning her attention to this phenomenon, Wan transforms magazines and novels into vessels of nostalgia and longing for the familiar and the intimate. Says Dr. Yeewan Koon, Associate Professor in

the Department of Fine Arts at the University of Hong Kong, about Wan’s works: “Her books, dipped in white ceramic slips, bare traces of pages turned and thumbed. But they are also “silent” books that can no longer be read, because through the firing process of the books, the pages disintegrate leaving behind hollow forms. Literally emptied of words, they become ceramic pieces, laid down tomb-like. But there is a sense of living too, because, they remain in the shape of bound pages, objects that we love, even as our world of digitalization are rendering books defunct as concrete objects. Aestheticized literally by casting a new skin, we have to admire them in their new coats as ceramic art. The clean smooth surface entices us to touch, tempt us to weigh how heavy or light these new forms are.” Wan holds a Master of Fine Arts from Chinese University of Hong Kong, a Bachelor of Arts in Fine Arts from Chinese University of Hong Kong, and a Higher Certificate in Studio Ceramics from Hong Kong Polytechnics, in addition to a Diploma of Design.

Zhu Jingyi Zhu Jingyi dismisses the brush in order to reimagine his traditional medium as “Standing Ink.” He provocatively refers to his works as “ink,” even as gravity-defining resin is really at play. In so doing, the artist is deliberately challenging preconceived notions of ink painting (in the traditional sense) by questioning the very methods and materials that make up its DNA. Zhu takes as his subject matter all that is familiar in the genre—forests, mountains, trees,

and rocks—and lends fortification with the application of three-dimensional structure using nothing more than rudimentary tools. The resulting effect is akin to space trusses or lattice shells, as the quick-drying medium requires swift handwork and a certain level of spontaneity in order to create the artist’s lyrical forms. Says Dr. Yeewan Koon, Associate Professor in the Department of Fine Arts at the University of Hong Kong: “Against the washes of ink, Zhu’s wiry forms flow in and out of the picture as low-relief textures, creating surfaces of depth that also distorts our sense of the picturing of scenery. His works are all about space and how he endows space with weight that can hold onto form. But what is most intriguing is how his method of working can be adapted into many different forms – as standalone works, as low-relief images, or as abstract woven forms. They take on an overpowering sense of “aliveness” with his entangled webs of lines.” Spiritually connected to ink traditions, but materially allied with contemporary art making, the artist has added yet another layer to contemplate in the great tradition of ink painting appreciation. Zhu is a graduate of Nanjing Normal University, Department of Fine Arts. He also holds a Master of Museum Management from the Central Academy of Fine Arts, Beijing [CAFA]. Prior to becoming an independent artist, Mr. Zhu served as an academic researcher at Zendai Museum of Modern Art and Academic Director at Duolun Museum of Modern Art, both based in Shanghai.



香港陶瓷藝術家尹麗娟和上海水墨藝術家朱敬一,兩者都被藝術傳統深深吸引而踏上藝 術之道。今日,他們突破傳統,從而顛倒創作媒介本身的意趣。

尹麗娟和朱敬一與陶瓷和水墨在交流之中, 重塑了陶瓷和水墨之為藝術的本質。通過拓 闊藝術語彙及創作的可能性,他們讓傳統藝 術在當代世界有所回響,鞏固了它的身份與 價值。在創作的當下,兩位藝術家追尋的是 把胸臆中的意念,不差不減的賦形。在理與 形同步的當下,他們的藝術品真正完滿。

尹麗娟 尹麗娟用不同的泥範來捕捉日常事物的形 態:食物盒、收音機、舊書,還有是次展覽 的當代雜誌與小說。在創作過程和高度的仿 真下,藝術家揭示了尋常事物的微細瑕疵。 尹氏的泥範技巧和陶土的可塑性,使藝術家 稱之為「展拓真實」的過程得以成立。她透 過把陶土直接壓在物件之上,來傳擬模寫一 切物象。這是時光的拓印,她的物象,在時 光中靜止,停頓。 尹氏的藝術意趣,在她的代表作《在灣仔尋 找詩意》中,最能表現出來。在一個本地書 店,尹氏偶然讀到一篇唐詩,於是她嘗試去 使詩篇重生,令新一代都會覺得吸引。尹氏 的創作,都有典型的深度。在夜深無人的舊 區,她用泥範在重建陰霾下的舊廣告招牌「 借」字。日出之時,她把泥範收好,之後再 重組成一件饒富書法意味的作品。詩雖然古 老,但在尹氏巧手之下,有了新意。 尹氏在一件作品之中,穿梭時空,捕捉不同 層次的意義的能力,叫人嘆服。作品感人細 膩、色澤觸感,簡約優雅,一應優美。她對




她曾說:「陶瓷的本質,是用手和技巧,把 原材料陶塑成物件,但當代藝術的發展,卻 由手轉向了腦、由原料轉向拾來之物,由資 訊的單一轉向多元。當代世界充滿擬像,好 像再沒有物理性及獨一性。我對探討擬像與 論述之間的距離,和把它與現實拉近,很感 興趣。」 在這展覽中,尹麗娟探討當代文化對數碼世 界的急速靠攏。我們把書籍與雜誌,下載到 模仿揭頁的儀器,在這過程之中,便捷的考 慮,取代了人類對觸感的渴求。聚焦於這現 象之上,尹氏把雜誌和小說轉化成對熟悉親 密的追思與渴望的載體。

朱敬一捨棄了筆墨,把傳統的創作媒介重新 構思成為「立體的墨」。他以富質感的樹脂 創作,卻又大膽的稱之為「墨」。朱氏詰問 了傳統水墨的先決印象,顛覆了水墨的創作 手法和「墨」本身的意義。

香港大學藝術學系副教授官綺雲博士曾這樣 評論尹氏的作品:「她那些沈浸過在白色的 陶釉的書,承載著指尖曾經翻動過的書頁。 它們是不能再讀的,沈寂的書。在燒瓷的過 程,書頁揚為飛灰,剩下徒然的空殼。切實 的失語了,它們現在只是瓷器,如墳墓般靜 放著。但它們又是有生命的,繼續以冊頁的 形狀存在,以我們所愛的形態存在,即使我 們這個數碼化的世界,已慢慢令書本不再具 體的存在。鍍上既艾且新的外在,我們該當 在陶瓷的新衣之下欣賞它們。光滑潔淨的外 表,吸引著我們去撫摸,去稱一下這些新生 之軀的重量。」

山林樹石,一切山水畫中熟悉的物象,都可 見於朱氏的作品。輔以基本的工具,他築石 為山,建構出立體的形象。他們像桁架、像 網殼,快速凝固的樹脂,需要巧手靈心,才 能展現藝術家的詩意山水。

與了讓空間成形的質感。最引人入勝的,莫 過於這創作在不同形式:立件、淺浮雕、抽 象的編織,都一應合宜。」 與水墨傳統的精神契合之同時,在物質上又 接連著當代藝術創作,朱氏為水墨鑑賞的傳 統,平添多了一層玄想。 朱氏畢業於南京師範大學美術學院,並為北 京中央美術學院博物館管理學碩士。在成為 獨立藝術家前,朱氏曾經出任上海証大現代 藝術館藝術總監及上海多倫現代美術館學術 部主任。

香港大學藝術學系副教授官綺雲博士曾評論 說:「摒棄了水墨的渲染,朱氏的鐵劃銀鈎 以淺浮雕的形式從畫面中出入自如,在營造 空間深度的同時,又扭曲了我們對山水的感 觀認知。他的作品敘述了空間之為物,亦賦

尹氏為香港中文大學藝術系碩士及文學士, 並於香港理工學院修畢設計文憑及高級陶藝 課程。


Aged Gracefully《優雅地老去》

It’s a Wonderful World

Annie Wan Lai-kuen 尹麗娟

Annie Wan Lai-kuen 尹麗娟

Ceramics 陶瓷 10 pieces/Dimensions vary 十件,尺寸各異 2016 HK$120,000


Ceramics 陶瓷 150x216cm 2016 HK$450,000




The Tides of Time《順流逆流》

Stacked Books I,II

Annie Wan Lai-kuen 尹麗娟

Annie Wan Lai-kuen 尹麗娟

Video:1h 21m 24s, 1 edition 錄像:1小時 21分 24秒, 第一版 Ceramics 陶瓷 23x24cm 2015 HK$100,000 8

《堆放的書 I,II》

Ceramics 陶瓷 Dimensions vary 尺寸各異 2016 HK$20,000 each





The Meeting of Wind and Clouds《風雲際會圖》

Landscape on the Horizon I,III & III《樹色平遠圖 I,III & III》

Zhu Jingyi 朱敬一

Zhu Jingyi 朱敬一

Resin on Canvas 畫布樹脂 120x300cm, 5 panels 五聯張 2016 HK$200,000


Resin on Canvas 畫布樹脂 40x160cm each 2015 HK$60,000 each


Overflowing 8《彌漫8》

Rock of Dawn《曉石》

Zhu Jingyi 朱敬一

Zhu Jingyi 朱敬一

Resin on Canvas 畫布樹脂 120X180cm 2014 HK$150,000 12

Resin on Canvas 畫布樹脂 120x90cm 2015 HK$120,000


Autumn Moonlight Stone《秋月石》


Zhu Jingyi 朱敬一

Zhu Jingyi 朱敬一

Resin, Wire, Plexiglass 樹脂、鐵線、塑膠 130x100x30cm 2015 HK$220,000


Resin on Plexiglass 塑膠 94x94x34cm 2016 HK$120,000


ANNIE WAN LAI-KUEN Born in Hong Kong Lives and works in Hong Kong 2016 1999 1996 1991 1982

Lecturer, Academy of Visual Art, Hong Kong Baptist University Master of Fine Arts, Chinese University of Hong Kong Bachelor of Arts in Fine Arts, Chinese University of Hong Kong Higher Certificate in Studio Ceramics, Hong Kong Polytechnic Diploma in Design, Hong Kong Polytechnic

Selected Exhibitions 2015 2015 2015 2015 2014

‘The Past is Continuing,’ Hong Kong Heritage Museum, Hong Kong ‘First, then and after”, Gallery Exit, Hong Kong ‘ICA Off-Site: Hong Kongese,’ Duddell’s, Hong Kong ‘Crush On My City,’ Karin Weber Gallery, Hong Kong ‘Lodge of Tranquility’, Karin Weber Gallery, Hong Kong

Collections Hong Kong Museum of Art, Hong Kong; Heritage Museum of Hong Kong, Hong Kong; Burger Collection, Switzerland; Time Capsule Collection, Zurich; New Taipei City Yingge Ceramics Museum, Taiwan; SUROYO Ceramic Creative School, Korea; Danish Museum of Guldagergaard, Denmark; Shigaraki Ceramic Cultural Park, Japan; Philippe Charriol Foundation, Hong Kong; Galerie Martini, Hong Kong; Habitus, Hong Kong; IWCAT, Tokoname, Japan; and private collections worldwide.

Visit karinwebergallery.com for complete biography 16

尹麗娟 生於香港 現居香港

2016 香港浸會大學視覺藝術學院講師 1999 香港中文大學藝術碩士 1996香港中文大學藝術學士 1991 香港理工學院高級陶藝課程 1982 香港理工學院設計文憑 部份展覽 2015 2015 2015 2015

《時間遊人》,香港文化博物館,香港 《First, then and after》, 安全口畫廊,香港 《ICA Off-Site: Hong Kongese》,都爹利會館,香港 《暗戀我城》,Karin Weber Gallery,香港

收藏 香港藝術館,香港;香港文化博物館,香港;保格藏品,瑞士;時間膠囊藏品,蘇黎世;新北 市立鶯歌陶瓷博物館,台灣;; SUROYO 陶瓷創作學校,韓國;高特格國際陶瓷研究中心,丹 麥;信樂陶藝之森,日本;夏利豪基金會,香港;馬丁尼畫廊,香港;Habitus,香港;常滑 市國際陶藝工作坊,日本;以及世界各地私人收藏

詳細藝術家履歷,請參閱karinwebergallery.com 17

ZHU JINGYI Born 1975, China Lives and works in Shanghai 2009-2011 Art Director, Zendai Art Supermarket 2005-2006 Academic Director, Shanghai Duolun Museum of Modern Art 2005 Academic Director, Zhu Qizhan Art Museum and Art Director, Beicangmen Art Center, Wuxi City 1998 Graduated from the Department of Chinese Arts, Nanjing Normal University Selected Exhibitions 2015 2014 2014 2014 2013 2013 2013

‘Ink Lodge,’ Karin Weber Gallery, Ink Asia, Hong Kong ‘Lodge of Tranquility’, Karin Weber Gallery, Hong Kong ‘Nearly Everything,’ Pudong International Airport, Shanghai, China ‘When Returning to the Mountain,’ RNP Art Space, Shanghai, China ’Exploration,’ Karin Weber Gallery, Hong Kong ‘Peach Blossom Spring,’ Galerie Junger Gallery, Berlin ‘Chinese Zodiac,’ Villach, Austria


朱敬一 生於1975年,中國 現居上海

2016 香港浸會大學視覺藝術學院講師 1999 香港中文大學藝術碩士 1996香港中文大學藝術學士 1991 香港理工學院高級陶藝課程 1982 香港理工學院設計文憑 部份展覽 2015 2015 2015 2015

《時間遊人》,香港文化博物館,香港 《First, then and after》, 安全口畫廊,香港 《ICA Off-Site: Hong Kongese》,都爹利會館,香港 《暗戀我城》,Karin Weber Gallery,香港

收藏 香港藝術館,香港;香港文化博物館,香港;保格藏品,瑞士;時間膠囊藏品,蘇黎世;新北 市立鶯歌陶瓷博物館,台灣;; SUROYO 陶瓷創作學校,韓國;高特格國際陶瓷研究中心,丹 麥;信樂陶藝之森,日本;夏利豪基金會,香港;馬丁尼畫廊,香港;Habitus,香港;常滑 市國際陶藝工作坊,日本;以及世界各地私人收藏

Today Art Museum, Beijing; Shanghai Himalayas Museum, Shanghai; and private collections worldwide

Visit karinwebergallery.com for complete biography 18

詳細藝術家履歷,請參閱karinwebergallery.com 19

Karin Weber Gallery Established in 1999 by German-born Karin Weber and now in its 17th year, Karin Weber Gallery is one of Hong Kong’s oldest contemporary art galleries. Situated on Aberdeen Street, in the heart of SoHo, the gallery presents a year-round program of curated exhibitions, talks, and collector events. In 2015, BLOUIN ARTINFO added Karin Weber Gallery to the list of ‘500 Best Galleries Worldwide.’ The gallery’s unique network of partners based in London, Mumbai and Berlin allows it to source emerging and established contemporary art from around the world. Karin Weber Gallery is equally passionate about presenting works by local artists. The gallery assists artists through exhibitions, art fairs, and residency programs throughout the world. Small in size, yet global in outlook, Karin Weber Gallery is one of Hong Kong’s truly international boutique galleries.

凱倫偉伯畫廊 於1999年由德國的Karin Weber 女士創立。今年踏入第17年,是香港其中一間最具歷史的 當代藝術畫廊。畫廊位於蘇豪區鴨巴甸街,我們每年策劃不同的展覽、講座及活動給藏家參 與。畫廊很榮幸獲選為2015年 BLOUIN ARTINFO「全球500最佳畫廊」。 我們的合夥人於倫敦、孟買和柏林有辦事處,使我們能夠幾乎遍佈世界各地為客戶提供服務 並搜尋新晉和有豐富經驗的藝術家。我們熱愛把香港本地的藝術推介給全球的藏家。 我們畫廊也致力協助香港藝術家。代表的藝術家通過藝術博覽會,與其他畫廊的交流,還有 駐留計畫發展自己的事業。面積雖不大,但放眼全球,凱倫偉伯畫廊是香港真正國際化的精 品畫廊之一。

Karin Weber Gallery 凱倫偉伯畫廊 20 Aberdeen Street, Central, Hong Kong

香港中環鴨巴甸街20號地下 +852 2544 5004 karinwebergallery.com art@karinwebergallery.com



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