CAM 展覽預告｜福善幻境：香港魔幻現實與江南的首次對視

當香港的魔幻現實

當香港的魔幻現實

遇見江南的運河氣韻

一場等待數年的重逢

即將啓幕

「 福善幻境 」

LUIS CHAN’S DREAMSCAPE

陳福善120週年大展

2026 年 1 月 9 日 至 2026 年 4 月 9 日

中心美術館

中國 杭州市 拱墅區 展覽東路150號 杭州中心 L3

　　他是被遺忘的香港 「水彩王」，也是香港西畫界「三劍客」中的靈魂人物。他的創作生涯跨越近一個世紀，卻始終保持著「素人般」的自由筆觸。

　　他畫夢境、畫異獸、畫茶餐廳、畫唐樓煙火，用看似鬆散的線條，構建出一個既真實又荒誕的香港。

　　他是 陳福善。

　　他的香港夢境伴隨這次大展終於再次渡海而來，停泊在杭州的運河邊。

130餘件作品，首次以全景式回顧展的規模登陸杭州。這不僅是一次展覽，更是一場中國現當代藝術敘事的重要補白。

　　陳福善的藝術，紮根於香港特殊的殖民語境與文化基因，卻超越了地域限制。他拒絕「畫得太像」，選擇 「藏技於拙」，在歪曲的輪廓、鬆散的構圖中，捕捉一座城市的呼吸與質感。他的魔幻現實主義，不是對西方的模仿，而是一種深植於東方美學精神的在地化轉譯。

從「水彩王」 到 「魔幻現實者」

從早期寫實的精湛技法，到後期看似隨意卻充滿力量的「素人風格」，完整呈現陳福善一生的藝術蛻變。他說：「畫得太像會桎梏思維。」 於是，他解放筆觸，讓畫布承載更真實的文化肌理。

從「水彩王」 到 「魔幻現實者」

　　在 《有飛蛾的風景》 中，漂浮的島嶼如同超現實的夢，卻延續著傳統水墨的留白意趣；《無題》 里異獸與植物共生，奇幻中透出 「氣韻生動」 的東方哲學。細節真實，整體荒誕——這是獨屬於陳福善的視覺語法。

香港市井的 「文化質感」

　　茶餐廳的煙火、老唐樓的市井味、街頭的文化碰撞……在他的畫里，香港不再是霓虹閃爍的刻板印象，而是一個有溫度、有故事、有矛盾的活生生現場。

－ 中國內地城市陳福善個展 －

　數年前，他的作品曾到訪內地；
　而今，我們以回顧的視角，與他重逢。
　這不僅是一場關於香港藝術的展覽，
　更是一次追溯中國現當代藝術多元脈絡的藝術漫遊。

2026元月，杭州，運河畔。
進入陳福善的幻境，
看見另一個香港。

－ 關於藝術家 －

陳福善（Luis Chan）生於巴拿馬，5歲定居香港。坊間人稱「福伯」。一生雖宅居香港，但其近一個世紀的藝術人生卻異常瑰麗奇幻。身兼設計師、評論家、作家、畫家、教育家、展人…在藝術傳播、教育、創作等各個維度耕耘、嬉戲。早年享「水彩王」之譽，55歲後，畫風幻變，自成一家，難以歸類，成為20世紀中國藝術史中一奇人。

Luis Chan, known as “Uncle Fu” was born in Panama and raised in Hong Kong since the age of 5. Chan was a complex and multifaceted talent: he worked as a designer, art critic, writer, painter, educator, and curator, as well as a painter. In the early part of his artistic career, Chan mastered realist watercolour painting, focusing on Hong Kong landscapes, and enjoyed the reputation of  “King of Watercolour”. After the age of 55, he developed a unique artistic language influenced by both contemporary western and traditional eastern aesthetics. Chan’s unique artistic journey and boundless, colourful oeuvre have made him a legend in Chinese art history of the 20th century.

－ 展覽信息 －
「 福善幻境 」
LUIS CHAN’S DREAMSCAPE
陳福善120週年大展
 
展覽日期
2026 年 1 月 9 日 至 2026 年 4 月 9 日
 
展覽地點
中心美術館
中國 杭州市 拱墅區 展覽東路150號 杭州中心 L3
 
 
出品人：高世強
總顧問：李凱生
策展人：王岩、張頌仁
展覽執行：中心美術館團隊
 
 
主辦單位：
中心美術館
杭州中心
中國美術學院媒體城市研發中心
中國美術學院跨媒體藝術學院
 
 
協辦單位：
中國美術學院藝術教育基金會
 
 
支持單位：
中國美術學院

The 2nd Hengshan Calligraphy Biennale: Calligraphy in Movement: From Literati’s Desk to People’s Streets
Hengshan Calligraphy Art Center

Dates
2025/12/20 – 2026/04/13

Venue
Hengshan Calligraphy Art Center

Overview

This year’s Hengshan Calligraphy Biennale begins by reflecting on the contemporary tendency to view calligraphy mainly as a visual or formal art. Instead, it returns to the essence of calligraphy as an act of writing, and reexamines its many dimensions between daily life and artistic creation. By weaving together both “professional” and “non-professional” practices, the exhibition moves beyond technique- or style-based appreciation, inviting visitors to understand how calligraphy continues to grow, spread, and sustain its vitality across different contexts.

Through a dialogue between past and present, the exhibition features works ranging from Wang Duo of the Ming dynasty, to Edo-period Japanese monks Hakuin Ekaku, Ryōkan, and Sengai Gibon, and extending to contemporary calligraphers, literati, artists, thinkers, writers, designers, and social advocates. The works span many forms—from traditional hanging scrolls, handscrolls, letters, and poetry drafts, to cross-disciplinary collaborations such as modern dance and film posters, and even calligraphy used as a medium for public engagement—revealing the diverse possibilities of calligraphy today.

More than an exhibition, this Biennale is a cultural experiment. By placing professional and non-professional works, art and everyday writing, the classical and the contemporary side by side, it opens a space to reflect on the many possibilities of writing, and on calligraphy as a profound expression of being human.

Curator: Lin Chun-chen

Consultants: Gong Jow-Jiun, Tanigawa Masao, Ohara Toshiki

Artists by birth year

Wang Duo, Hakuin Ekaku, Sengai Gibon, Ryōkan, He Shaoji, Miwada Beizan, Iwaya Ichiroku, Tomioka Tessai, Kusakabe Meikaku, Yang Shoujing, Nakamura Fusetsu, Yu Youren, Kumagai Morikazu, Hsiung Shih-li, Hu Shih, Loa Ho, Peng Chun-shih, Suda Kokuta, Inoue Yuichi, Chou Meng-tieh, Yeh Shih-Chiang, Chen Kun-yi, Chou Yu, Li Min-yong, Qiu Zhenzhong, Chiang Hsun, Xiao-Yu, Tu Chung-kao, Li Yu-chou, Le Xinlong, Shu Kuo-chih, Paelabang Danapan, Ro Boku, Bai Qianshen, Tanigawa Masao, Liu Kai, Zeng Xiang, Pu Tze, Chen Yung Mo, Shih Chun-chi, Wada Hiroyuki, Li Ken-cheng, Xue Longchun, Ho Chia-hsing, Hu Po-chieh.

The solo exhibition of Fang Lijun, The Light of Dust will be on view on 4 March 2023 in the Macao Museum of Art.

Exhibition venue: Macao Museum of Art
(Av. Xian Xing Hai, Macao)
Exhibition Period: 2023.03.04-06.11

Hong Kong Arts Centre

《歡樂今宵：陳福善的藝術　旗艦展覽》開幕
日期：2022.12.09
時間：18:00 – 20:00
開幕式：18:30
地點：香港藝術中心包氏畫廊五樓

「歡樂今宵：陳福善的藝術」為香港藝術中心四十五週年旗艦展覽，以主題式研究探討陳氏的藝術傳奇歷程，包括他對日常都市戲劇性和身份的敏銳描繪，對敘事和故事的熱愛，以及在動蕩的二十世紀中展現的不懈精神。
歡樂今宵：陳福善的藝術　旗艦展覽

地點: 香港藝術中心包氏畫廊
日期: 2022.12.10 – 2023.01.18

Initiated and empowered by Ms Cissy Pao
Supported by Luis Trust
主辦：香港藝術中心
客席策展人：黃熙婷小姐
關於藝術家
陳福善（1905-1995）原藉廣東，出生於巴拿馬，五歲隨家人來香港定居。自學成才的他二十到六十年代以英國風景水彩畫的高超技巧赢得同儕冠以「水彩王」之美譽。他的風格隨著香港半個世紀以來的變化而不斷創新。六十年代後，其繪畫仿若夢境，描繪城市的潛意識生活和戰後一代人的心理。他獨特的藝術成為現代百年歷程的見證，属現香港華洋雜處商阜的風貌。

更多⋯

1901 Convention Center Drive Miami Beach, USA

Solo Presentation
of
XU Longsen
at
Art Basel Miami Beach
with
Moon Jar by Young Sook PARK

Booth No.: N7, HANART TZ GALLERY
Venue: 1901 Convention Center Drive, Miami Beach, USA
Date: December 5-9, 2018

In spring 2018, the Art Institute of Chicago presented XU Longsen’s solo exhibition “Light of Heaven”, marking their first exhibition of contemporary ink art. 

At Art Basel Miami Beach 2018, Hanart TZ Gallery is pleased to present a collection of works by XU Longsen (徐龍森 b. 1956, Shanghai, China) that further explore the artist’s key contribution to the evolution of landscape art. XU’s own concept of ‘monumentality,’ which is deeply immersed in China’s painting tradition, at the same time he brings to it a sense of grandeur and time immemorial. His monumental installations have been exhibited to great acclaim at the Palace of Justice in Belgium (2009), Museum of Roman Civilization in Itay (2011), Nelson-Atkins Museum of Art in USA (2013), and the Manarat Al Saadiyat in UAE (2015).

Hanart TZ Gallery is also proud to feature a majestic “Moon Jar” by celebrated ceramic master Young Sook PARK (朴英淑 b. 1947, Kyongju, Korea). 

PARK’s versatility and precision reflect long-lost artistic traditions infused with a contemporary aesthetic, evidence of her unyielding efforts to challenge the technical boundaries governing both clay and glaze. Her work is in the permanent collection of Asian Art Museum of San Francisco, Philadelphia Museum of Art, Harvard Museum of Art, Seattle Art Museum, Victoria and Albert Museum, and British Museum of Art, etc.

Press Enquiries
E. hanart@hanart.com
T. +(852) 2526 9019
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ILLUMINATED PRESENCE
Yeh Wei-Li: Interpretive+ Yeh Shih-Chiang
Booth 825, Pier 94, 711 12th Avenue at 55th Street, New York City

The project brings together photography-installation artist Yeh Wei-Li (b.1971) and late master painter Yeh Shih-Chiang (1926-2012). One part of this project was shown at the recent Taipei International Biennale 2016, and another detail was selected for the Slovenia International Triennial of Contemporary Art in 2016.

Yeh Wei-Li’s “on-site archeology” turns artistic practice into methodology of research. Through imaginative engagement he breathes new life into “historical remains” of Yeh Shih-Chiang’s life and art. The project includes a physical renovation of the older master’s abandoned residence, and inventive interpretation of his archive and “relics”. In so doing, he transformed the spirit and atmosphere of the world inhabited by Yeh Shih-Chiang into a physical experience in the here and now. Yeh Wei-Li has now developed this work into an on-going long term project for the foreseeable future.

In his lifetime the reclusive Yeh Shih-Chiang (1926-2012) was widely known for his enigmatic presence and uncompromising character. He rejected the academic art institution, refused compromise between art and society, and rejected all gain from art. In his refusals, he elevated art into an uncorrupted faith.

Of this on-going project of creativity and interpretation, Yeh Wei-Li said: “It is a daunting task to excavate ‘Greatness’…it propels one forward, in continuum, without knowing; endless questions arise, they beckon, and you dig, you mine deeper, you surrender, then enter subterranea where magic overflows…”

Yeh Wei-Li utilizes his customary approach of gradualness and penetrating observation over extended periods of time, to depict the slow mining of the remains of things used by the old master and their eventual transformation. It is precisely this extensive labor of the hand and unflinching spirit and belief in what is necessary to achieve lasting presence and memory of places and a life lived that binds the two artists’ works together. Through Yeh Wei-Li’s installation and time-based photographic tableaus is constructed a layered dialogue with the elder artist that elucidates the two corresponding lives and practices, while illuminating and giving sense to both.

Press Enquiries

E. hanart@hanart.com
T. +(852) 2526 9019