'Conversations In Ceramic'

CONVERSATIONS IN CERAMIC 瓷中對談

Alice Chan 陳艮珊 Lau Yat Wai 劉逸偉

Ma On Yee 馬安兒 Ng Ka Ho 伍嘉浩

Conversations In Ceramic 瓷中對談

7. 1 - 8. 2. 2018

Alice Chan 陳艮珊 Lau Yat Wai 劉逸偉 Ma On Yee 馬安兒 Ng Ka Ho 伍嘉浩

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INTRO

As the third show in its occasional ‘Materials in Focus’ series, Karin Weber Gallery is delighted to present ‘Conversations in Ceramic’, a group exhibition of four ceramic artists, all emerging talents on the local Hong Kong arts scene. Scholars of the internationally renowned Hong Kong artist Annie Wan, these young artists have been able to establish and express their identity through a coherent body of artworks that redefine the handmade from a creative craft into a fine art. Each artist carries out their own dialogue and exploration with ceramics, not only as a material in its own right, but as an opportunity to capture and objectify their own, deeply personal conversations and investigations of themes as diverse as family, illness, mathematics, space and light and, above all, the self.

Ceramic compositions suit Alice Chan, who sees art as therapy and part of an individual’ s healing process. Visually engaging ceramic spikes are prominent in her creations and appear simultaneously delicate and confrontational. Lau Yat Wai’s works subtly recall the memory attached to objects. They contain an unmistakable air of intimacy and challenge the idea of public and private space. Ma On Yee combines printmaking and ceramics to document the artist’s relationship with her Alzheimer – suffering grandmother. Ng Ka Ho’ s delicate installations, often using black clay, explore the materiality of objects and their relationship with space. An observer of Ng’s works cannot help but ponder the endless variations of light, shade and movement.

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前言

作為「材料聚焦」系列的第三個展覽，凱倫偉伯畫廊誠意呈獻「瓷 中對談」，由四位致力於陶瓷創作的新晉藝術家聯合展出。四位年 輕藝術家均為國際知名藝術家尹麗娟的學生，他們透過持續的創 作，建立各自的風格，把陶瓷由工藝轉化成藝術，並從新定義陶 瓷。藝術家們不僅把陶瓷當作材料，他們更與之對話及探索，從而 掌握並具體化自身感受，為主題作出深入研究，包括家庭、疾病、 數學、空間及光線，尤其是自我。 陶瓷上的發揮組合非常適合陳艮珊的創作，她把藝術創作視為治療 和自我康復的過程。陶瓷制成的尖刺於視覺衝擊下非常吸引，它們 除了精緻，還帶有對抗感。劉逸偉透過陶瓷創作，巧妙地帶出附於 物件上的回憶。作品蘊含著物件之間的親密關係，並挑戰了公共與 私人空間的概念。馬安兒結合了版畫和陶瓷，記錄了與患上阿茲海 默症祖母的關係，情感及生活片段。伍嘉浩的裝置藝術經常使用黑 色粘土去探索物的本質與空間之間的關係。在觀賞他的作品時，令 人不禁去思考變幻無盡的光、影及動態。

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ALICE CHAN 陳艮珊

I regard ceramic creation as a form of self healing therapy and find peace of mind in producing and arranging a multitude of ‘spike’ shapes. The production process may seem repetitive but clay finely records my emotional state. Each time this changes, so will the arrangement.

Spikes represent my creative side and are designed to be confrontational. Once they are finalised by high temperature firing, they are sharp but look as soft as grass. This contradiction often appears in my works.

I see the unstable firing process as both the limitation and the joy of making ceramics. There is always a degree of uncertainty in the outcome. Instead of trying to be perfect, I prefer to present my work with honesty, which also reflects my attitude towards myself.

White porcelain is commonly used in my ceramics. Its meticulous texture and translucent quality projects my self image. The title Calming the Waves is from a Chinese poem written by Su Shi (1037-1101) and expresses the mindset of the writer when faced with turmoil in life.

Calming the Waves consists of an installation of more than twenty pieces in various shapes. This set of work carries an emotional state from peaks and troughs, up and down, to nothingness. Calming the Waves is an exploration into form, texture, visual and my own self.

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我把陶創作視為自我療癒過程，透過重複製作尖刺及專注排列以達 到平靜狀態。持續重複製作過程是機械化的但陶泥能細緻真誠記錄 人投入的情感和狀態，排列也就著創作者狀態而有所不同，得到卻 是情感化的產出。 尖刺是創作元素，每根尖刺富有對抗和攻擊性但經過高溫燒製，它 們尖銳卻柔軟得像毛像草，這種矛盾常出現於其作品中。 我認為陶藝創作當中的限制和樂趣就是燒製過程的不穩定，作為創 作者也不能完全掌控燒製後的成果，造型出現拉扯變形甚至爆裂， 與其規範它完美，倒是尊重其特性自然坦誠呈現，檢視「自我」的 取態。 白瓷泥是陳氏常用於她的創作中，它除了有細緻的質感和純白剔透 的特點能有效表達「真我」的純粹和真摰。是次作品《也無風雨也 無晴》是借用於蘇軾《定風波》的一句詞作為主題，以詞中作者面 對逆境的豁達從容的人生態度作為對自身安慰和勉勵。 這組作品由廿十多個裝滿陶刺變形殘破的盒子散於地上組成。如果 說陶瓷是器皿，是盛載體，這組作品盛載著正是一種狀態，一種漸 漸由盛到衰到無的狀態，獨立來看每個盒子就像話匣子，透過燈 光、質感和陶刺顏色讓每個盒子也在訴說每種不同的狀態。這組作 品同時對造型、質感、視覺聲音及自我的探索。

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Calming the Waves 1 也無風雨也無晴 1 porcelain, light bulb 瓷泥、燈泡 7.5 x 7.5 x 7.5cm 2017

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Calming the Waves 2 也無風雨也無晴 2 porcelain, light bulb 瓷泥、燈泡 10 x 10 x 10cm 2017

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Calming the Waves 3 也無風雨也無晴 3 porcelain 瓷泥 12 x 7 x 7cm 2017

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Calming the Waves 4 也無風雨也無晴 4 porcelain, light bulb 瓷泥、燈泡 12 x 12 x 12cm 2017

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Calming the Waves 5 也無風雨也無晴 5 porcelain, light bulb 瓷泥、燈泡 11.5 x 11.5 x 11.5cm 2017

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Calming the Waves 6 也無風雨也無晴 6 porcelain, light bulb 瓷泥、燈泡 8 x 8 x 8cm 2017

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Calming the Waves 7 也無風雨也無晴 7 porcelain, light bulb 瓷泥、燈泡 8.5 x 8.5 x 8.5cm 2017

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Calming the Waves 8 也無風雨也無晴 8 porcelain 瓷泥 13 x 11.5 x 11.5cm 2017

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Calming the Waves 9 也無風雨也無晴 9 porcelain 瓷泥 10 x 12 x 11cm 2017

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Calming the Waves 10 也無風雨也無晴 10 porcelain 瓷泥 6.5 x 6.5 x 6.5cm 2017

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Calming the Waves 11 也無風雨也無晴 11 porcelain 瓷泥 7 x 7 x 9cm 2017

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Calming the Waves 12 也無風雨也無晴 12 porcelain 瓷泥 7 x 7 x 9cm 2017

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Calming the Waves 13 也無風雨也無晴 13 porcelain 瓷泥 5.5 x 5.5 x 5.5cm 2017

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Calming the Waves 14 也無風雨也無晴 14 porcelain 瓷泥 10 x 10 x 12cm 2017

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Calming the Waves 15 也無風雨也無晴 15 porcelain, light bulb 瓷泥、燈泡 8 x 8 x 10cm 2017

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Calming the Waves 16 也無風雨也無晴 16 porcelain 瓷泥 4.5 x 4.5 x 4.5cm 2017

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Calming the Waves 17 也無風雨也無晴 17 porcelain, light bulb 瓷泥、燈泡 6 x 6 x 6cm 2017

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Calming the Waves 18 也無風雨也無晴 18 porcelain, light bulb 瓷泥 、燈泡 9.5 x 9.5 x 13cm 2017

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Calming the Waves 19 也無風雨也無晴 19 porcelain, light bulb 瓷泥、燈泡 7.5 x 7.5 x 13cm 2017

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Calming the Waves 20 也無風雨也無晴 20 porcelain, light bilb 瓷泥、燈泡 7 x 7 x 13cm 2017

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Calming the Waves 21 也無風雨也無晴 21 porcelain, light bulb 瓷泥、燈泡 10 x 11 x 10cm 2017

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Calming the Waves 22 也無風雨也無晴 22 porcelain 瓷泥 5 x 5 x 5cm 2017

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LAU YAT WAI ĺŠ‰é€¸ĺ ‰

Every object carries with it its own memories, especially daily objects. Apart from storing private items, a cabinet possesses its own order, history, sense of security, memory and secrets.

I reassemble cabinets to open up my heart to the viewers. The cabinets may appear sealed, but when viewers take a closer look through the many tiny holes, they see the invisible amidst the visible. Creating an imitation of an object replicates its form, but not its original content. This process surpasses the objective reality of the original and inspires the imagination.

A drawer symbolizes protection and security. It stores personal belongings and keeps them private. By revealing the interior of drawers in exhibitions, new open spaces convey my thoughts about something private.

I like to use clay to make the drawers because of the characteristics of this medium. On the surface of the works are many holes, made in the same size. Ceramic containers are placed within the drawers or boxes. It is like avoiding public attention but offering themselves to be discovered at the same time.

It has metaphorical meaning and carries both objective and subjective memory. Remembrance confronts forgetfulness of history and memories. By connecting the past and the present, the past becomes the present and vice versa. We understand the present through the past and project our own fear and anxiety into the future.

My cabinets are empty inside. I try to be as objective as possible to present and reflect the imagination beyond my personal influence and experience.

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每一件物件都承載着一些回憶，特別是日常生活中的物件。櫃子不 但是一件傢俬，貯存私人物件，而且是擁有主體的客體，擁有秩 序，擁有歷史，擁有安全感，擁有親切的記憶，擁有秘密感。 我以陶瓷重新建構描繪櫃子，以自我的藏身處，向觀者開啟自己的 心。它們看似封閉，但將其展示給觀者，在無數的孔，承現於隱藏 與顯現之間表現出難以捉摸。仿製出來作詮釋的物件帶有原來物件 的型態，但同時失去物件原來的真正內容，從而超越原來的物料的 客觀現實，令人對物其產生更多想象。 抽屜象徵保護、安全感。不但儲存私人物件而且保持私隱。當我把 抽屜內部空間承現在一個公共展覽空間，像一個新的空間向度開 啟－私密感的向度－說出我內心想法。 當一件原本有隱蔽放置在家中的家具在一個公共空間展示，同時運 用陶泥的特性，隱蓋的櫃子上有無數直徑一樣的孔子連接一些開口 的器皿。以一種迴避，但願意被發現的方式承現出來，令作品也具 有隱喻性的同時承載著客觀和主觀的記憶。回憶就是對記憶和歷史 的遺忘作猛烈的反抗，在時間線上，將”昔”及”今”兩個時間概 念融合起來，”昔”就是”今”，”今”就是”昔”。在對”昔” 的認知而對”今”的了解，從而對未來的想像產生恐懼感和不安。 而櫃子裡往往都是空空如也，想減掉所有主觀物質，純粹以一種客 觀的陳敘或事物的反映來突出個人意志和經歷以外更深的想象及延 展。

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Mute Tumult of Memories XI 回憶中的無聲喧嘩XI stoneware, glass 粗陶器、玻璃 23 x 23 x 17cm 2017

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Mute Tumult of Memories XII 回憶中的無聲喧嘩XII stoneware 粗陶器 31 x 23 x 17cm 2017

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Mute Tumult of Memories XIII 回憶中的無聲喧嘩XIII stoneware, glass 粗陶器、玻璃 21 x 16 x 16cm 2017

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Mute Tumult of Memories XIV 回憶中的無聲喧嘩XIV stoneware, glass 粗陶器、玻璃 23 x 21 x 21cm 2017

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Mute Tumult of Memories XV 回憶中的無聲喧嘩XV stoneware 粗陶器 35 x 19 x 14cm 2017

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Mute Tumult of Memories XVI: If the moon was half left, the moon is half left, the moon 回憶中的無聲喧嘩XVI: 如果月亮剩下一半，月亮剩下一半，月亮 stoneware, glass 粗陶器、玻璃 54 x 16 x 17cm 2017

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Mute Tumult of Memories XVII 回憶中的無聲喧嘩XVII stoneware 粗陶器 17 x 18 x 13cm 2017

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Mute Tumult of Memories XVIII: The Story of Sima Guang 回憶中的無聲喧嘩XVIII: 司馬光砸甕 stoneware, copper, glass 粗陶器、銅線、玻璃 28 x 28 x 28cm 2017

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MA ON YEE 馬安兒

Memory is the least trustworthy thing to Alzheimer patients.

Even a healthy person like me cannot fully rely on memory.

When it comes to unpleasant events, people tend to intentionally forget them. Memories of these events are incomplete and abstract. From the very beginning of my creative process, I, as an observer, have been using ceramic tiles to document my shattered memories about my grandmother’s normal, everyday life. In recent years, her ill health is hardly ‘normal’. Not only is she unable to talk and walk, she is also deprived of cognitive ability. My ceramic tiles record all the changes in her.

At the moment, the biggest change to granny’s life is her clothes, as well as things such as patterns, creases and the buttons of her clothes. I erase all those I want to forget, leaving behind my impression of her clothes and their colours, everything trivial, alongside her unyielding body.

Photography represents the environment, events and people surrounding grandma. Painting captures her essence as my main subject. Together with different colours of glaze, I try to portrait her in her own world. Ultra-thin porcelain is the vessel to illustrate how fragile and hollow her personal world is.

Certain processes in creating porcelain must be repeated over and over again. It helps me deal with my sorrow. I press objects onto the surface of ceramic before firing to create pattern and texture. These objects are in daily use by grandma, such as bracelets and slippers. From 2015, I started using porcelain to record grandma’s clothing as alternative memory.

I feel like I am making new clothes for her with every new work made.

Lithography on clay requires repeated experiments to transfer the image. During the process, I deliberately make the image imperfect as this is the nature of our memory.

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對於阿茲海默症患者，記憶是最不可靠的東西；就算自身日常，我 也不盡信記憶。面對不快樂的事情，人會自動刪減一點半點，導致 腦內記憶支離破碎，既抽象也模糊。創作至今，瓷片一直被我視為 破碎記憶的載體，以旁觀者身分默默畫下嫲嫲沈悶又重複的生活日 常。直至這幾年間她經歷一場又一場大病，其狀況根本談不上「日 常」，對話能力失去，認知能力也失去，走動能力亦失去，瓷片可 記錄的事情也有所不同。 如今嫲嫲「日常」最大的變換就是其衣服和留在衣服上的紋飾、皺 摺、鈕扣等等，我刪去其餘不想記下的，留下衣服的印象和色彩， 以及一些有的沒的物件和她僵硬的身體動作。 照片誠實地把她周遭的環境、人、事清晰呈現，利用畫作可以更集 中展現嫲嫲作為主體的神髓。畫面的世界配上釉色的變化正是我認 為她正處於的「只她一人」的世界。而用極薄瓷片作為載體就更能 表現該世界空洞輕薄的質感，也表現出個人失去記憶力和對人事麻 目的脆弱無力感。 創作瓷片的過程間，一些工序需要反複地做，那重複的經驗可以把 悲傷情緒沉澱下去。陶瓷未燒成前能壓印物件紋理上表面，促使我 把嫲嫲往日常用的物件，如手鍊、拖鞋等現成物印上去，製造與嫲 嫲間的另類回憶，也令作品富記錄意味。直至2015年尾，開始把嫲 嫲的整件衣物，如上衣、內襯衣、褲子等分成好幾片瓷片記下，再 以釉藥上色，製好一件衣服感覺就如同送她一件新衣裳。 陶瓷用的版畫方法(Lithography)和色粉移印技術需不斷試驗才能清 晰轉印，有時會於移印畫像的過程中刻意留下一些缺憾，讓畫像帶 有一點破損痕跡，刻意打造記憶模糊的印象。

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Under The Wrinkles No.1 藏在皺褶下之一

paper porcelain, glaze, stain 紙瓷泥、釉、色粉 62 x 51 x 0.6cm 2017

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Under The Wrinkles No.2 藏在皺褶下之二

paper porcelain, glaze, stain 紙瓷泥、釉、色粉 27.5 x 27.5 x 0.3cm 2017

Under The Wrinkles No.3 藏在皺褶下之三

paper porcelain, glaze, stain 紙瓷泥、釉、色粉 27.5 x 27.5 x 0.3cm 2017

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NG KA HO 伍嘉浩

Showcased in this exhibition, my Insight series will demonstrate the relationship of objects and space, the interaction between artist and materials, and also the materiality between artist and ceramics.

The object or vessel looks empty, yet through the holes covering it all over, something untouchable seems to exist inside it.

I try to use ‘nothingness’ to present a ‘something’.

I want to emphasise the form and changes in light and shadow of the environment. Drilling holes on the vessel surface opens and connects its inner and outer spaces. The space inside the vessel and the space beyond become visible.

While the clay object is between the ‘leather’ hard state and the ‘bone dry’ state, holes of different sizes are drilled over a 3-4 hour time limit. Then maintaining this level of concentration during the process is like putting the 3-4 hours of the artist’s life into the vessel.

I like to create objects which are not free standing; an object which is not affected by centre of gravity. Without it, there will be more possibilities for the form. A vessel covered with holes loses its original function, but transforms into a delicate and fragile cage holding invisible, untouchable things. Though the holes we can observe the inner side of the vessel, parts of the artist’s self, and the memory fragments of a short time period.

My work investigates the relationship between an object and space. Another word for space is ‘universe’. I want to see how my work looks if the space I create is linked with time. The time I want to create is physical. If I can make a static object move, my view of it will be changed forever.

If an essence of ceramics arts is making hollow objects, the hollow objects are like cages that contain imperceptible things.

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於此展覽出展的內觀系列將會探討作者對作品的行為、其物件與周 遭空間的關係、作者與陶瓷的物質性的關係。 器物的表面到處都佈滿了空洞，裡面空無一物，卻感到一些觸摸不 到的東西隱隱約約卻確實在裏面存在著。 作者嘗試藉著「無」去帶出「有」。 我主要想表現作品的形狀以及作品同周圍環境的光影變化。作者於 器物的表面鑽洞，打通其內外空間，使器物裏面與對面的風景可視 化。於黏土從半乾狀態到完全硬化，短短三至四小時的時間內把器 物鑽滿空洞。維持著極度集中的狀態尤如將鑽洞過程的三至四小 時，人生一小段時間放入其中。充滿空洞的器物失去其原本的功 能，化身成為纖細又脆弱的籠載著看不見、摸不到的東西。通過空 洞窺看其內部，存在的是作者的分身、是那短短時間的記憶片段。 我喜愛做無法自主直立的作品。我想擺脫地心吸力對作品的形態的 影響。若作品要好好的獨立地站立於桌上，就依從物件的承托力及 重心等等造型規則，出來的結果必定有既定的形狀。如果能擺脫它 的限制，它的造型或會有更多有趣的可能性。 我的作品多研究物件與空間的關係，說到空間，它的英譯為space， 是跟宇宙(universe)相通。宇宙，一詞字面中文解釋可細分為宇同 宙，亦即時間同空間。我所創造的空間如果能夠加上時間概念的 話，會變成怎樣? 如果一張圖片加上時間軸，它會變成動畫，從靜 止的狀態開始產生變化、移動，這從而使時間的概念更加鮮明。我 想造出的時間性並非意義上、思想上的時間性，而是物理上的時間 性。所以如果令一個靜止的物件，去動，會不會令我們對物件的觀 察或者會有新的看法。我於東京出展了的作品《薛丁格領域》入面 去做個小實驗。 如果陶瓷藝術的本質及物質性是創造空殼的話，那作者所創造的空 殼或許是能容下不能被感知的東西的籠。

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Insight : Border 內觀：邊界

black clay, oxidation firing 黑泥、氧化燒成 15 x 36 x 15cm 2017

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Insight : Equinox 內觀：此方彼方

black clay, oxidation firing 黑泥、氧化燒成 15 x 26 x 26cm 2017

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Insight : Message 內觀：信息

black clay, oxidation firing, synchronous motor, wire 黑泥、氧化燒成、同期摩打、魚絲 25 x 18 x 18cm 2017

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Insight : Vessel 內觀：器

black clay, oxidation firing, black lacquer 黑泥、氧化燒成、黑漆 34 x 20 x 20cm 2017

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Insight : Unidentified 內觀：正體不明

black clay, oxidation firing 黑泥、氧化燒成 15 x 50 x 30cm 2017

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ARTIST BIOGRAPHY

ALICE CHAN 陳艮珊 (b.1989) Education 學歷 2015 Bachelor of Arts (Hons) in Visual Art, Hong Kong Baptist University 畢業於香港浸會大學視覺藝術院獲學士學 位(榮譽)

Exhibitions 展覽 2018 ‘Conversations in Ceramic’, Karin Weber Gallery, Hong Kong 2017 Art Next Expo 2017 2016 ‘,Ceramic said.’, Koo Ming Kown Exhibition Gallery, Hong Kong 2015 2015 Contemporary Asian Ceramics Exchange Exhibition, China Academy of Art, Hangzhou 2018 「瓷中對談」，香港凱倫偉伯畫廊 2017 新藝潮，香港元創方 2016 「陶說」，香港浸會大學傳理視藝大樓，顧明均展覽廳 2015 「實驗室/新課題 - 亞洲現代陶藝交流展」，中國杭州美術學院

Collections 收藏 Hong Kong Heritage Museum 香港文化博物館 Private Collection 私人收藏

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LAU YAT WAI 劉逸偉 (b.1985) Education 學歷 2011 Bachelor of Arts (Hons) in Visual Art, Hong Kong Baptist University 畢業於香港浸會大學視覺藝術院獲學士學 位(榮譽)

Exhibitions 展覽 2018 ‘Conversations in Ceramic’, Karin Weber Gallery, Hong Kong ‘Espresso And Cappuccino Cups’, MIDeC, Laveno-Mombello, Italy 2017 ‘Pray: Cherishing Life, Thematic Exhibition in Yeoju Gyeonggi International Ceramic Biennale 2017’, Korea 2016 ‘2016 Tea Ware by Hong Kong Potters’, Hong Kong Museum of Art, Hong Kong 2018 「瓷中對談」，香港凱倫偉伯畫廊 「Espresso And Cappuccino Cups」，意大利拉韋洛蒙貝洛MIDeC 2017 「2017京畿世界陶瓷雙年展主題展-敘事・歌頌人生」，南韓京畿陶瓷博物館 2016 「陶瓷茶具創作比賽展」，香港茶具文物館

Collections 收藏 Private Collection 私人收藏

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MA ON YEE 馬安兒 (b.1991) Education 學歷 2014 Bachelor of Arts (Hons) in Visual Art, Hong Kong Baptist University 畢業於香港浸會大學視覺藝術院獲學士學 位(榮譽)

Exhibitions 展覽 2018 ‘Conversations in Ceramic’, Karin Weber Gallery, Hong Kong 2015 2015 Contemporary Asian Ceramics Exchange Exhibition, China Academy of Art, Hangzhou Wood-Fired Ceramics Exhibition, AVA Kai Tak Campus, Hong Kong Baptist University ‘Glossy! Shiny! Fertility!, Starprojects, Shatin, Hong Kong ‘Pre Artist’, 1a Space, To Kwa Wan, Hong Kong 2018 「瓷中對談」，香港凱倫偉伯畫廊 2015 「實驗室/新課題 - 亞洲現代陶藝交流展」，中國杭州美術學院 柴燒陶瓷作品展，香港浸會大學視覺藝術院啟德校園 「光滑！明亮！繽紛！」，香港Starprojects 「Pre Artist」，香港1a空間

Collections 收藏 Private Collection 私人收藏

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NG KA HO 伍嘉浩 (b.1990) Education 學歷

Exhibitions 展覽

2017 Master degree of Mixed Media, Kyoto University of Arts and Design 2014 Bachelor of Arts (Hons) in Visual Art, Hong Kong Baptist University 2017 畢業於京都造形藝術大學取得碩士學位 2014 畢業於香港浸會大學視覺藝術院獲學士學位 (榮譽)

2018 Biwako Biennale, Japan ‘Conversations in Ceramic’, Karin Weber Gallery, Hong Kong 2017 UNKNOWN ASIA ART EXCHANGE 2017, Herbis Hall, Osaka SPIRAL INDEPENDENT CREATORS FESTIVAL 18, Tokyo 2016 2016 Asia Contemporary Ceramics Exhibition, Taipei 2018 日本琵琶湖雙年展 「瓷中對談」，香港凱倫偉伯畫廊 2017 大阪新世代藝術博覽會，大阪 SPIRAL INDEPENDENT CREATORS FESTIVAL 18，東京 2016 「 2016年度亞洲現代陶藝展」，台北

Collections 收藏 Hong Kong Baptist University 香港浸會大學視覺藝術院 Private Collection 私人收藏

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KARIN WEBER GALLERY

Established in 1999 by German-born Karin Weber and now in its 19th 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. Karin Weber Gallery has been named by BLOUIN ARTINFO as one of ‘500 Best Galleries Worldwide’ for two consecutive years in 2015 and 2016.

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. 凱倫偉伯畫廊在1999年由德國的Karin Weber女士創立，今年踏入 第19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及2016連續兩年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，使我們能夠幾乎遍布 世界各地為客戶提供服務並蒐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。

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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 © 2018 Karin Weber Gallery All Rights Are Reserved

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