香港巴塞爾藝術展
Art Basel Hong Kong
Booth 3D08
胡項城 HU Xiangcheng
菠蘿核 BOLOHO
邱世華 QIU Shihua
陳福善 Luis CHAN
葉世強 YEH Shih-Chiang
2026 3.25-29
香港會議展覽中心
HK Convention & Exhibition Centre, Wan Chai
Encounter: Inga Svala THÓRSDÓTTIR & WU Shanzhuan 吳山專 與 英格ㆍ斯瓦拉ㆍ托斯朵蒂爾
Encounter: EN9
Working together since the early 1990s, Inga Svala Thórsdóttir and Wu Shanzhuan’s partnership reflects a symbiotic, creative dialogue. Their individual practices merge to reflect one artist’s complexity and the other’s purity, with a polarity that is evident in this work. The wooden architecture offers the audience passage for activation. It is also a cosmic site for contemplation and intimacy. The artists invite you to move through the environment to experience it from alternative perspectives, both introspectively and alongside the pauses and transits of others. Questioning the very nature of being, the duo offers a sacred space for worship, or a place of meeting to reflect and breathe – inward and outward.
Constellation Forest is a series of arches constructed by the principle of “the perfect bracket” and “little fat flesh”, geometric forms the artists invented as a homage to Plato. But their geometry refers to impossible forms that can only belong to transcendent metaphysical spaces. Wu claims: “The very fact that thought has to produce visible evidence spells out its tragedy, for truth has been murdered by its medium.” Here lies the irony for the visual artist, whose very task should be the ideal Platonic form. It is from this ironic position Inga and Wu launch their radical critique of modernity, which includes the artwork “Things’ Rights” that subverts the 30 Articles of “Human Rights” by expanding these principles from humans to all “things”, and exposes with humour the anthropocentric prejudice of the Enlightened modern man. The arches of the “Constellation Forest” invite the visitor to stand under a space where he or she may speculate upon the task of art-making as world-creation.
The radicality of their approach to art-making is impressive, which perhaps reflects the context of their backgrounds. For Inga whose home is Iceland, one speculates on the utopic constitution of Iceland’s geography and its intimate society. For Wu whose home is Zhoushan Island near Shanghai, one cannot but be reminded of the radical experimentation of Mao’s politics. Wu grew up in the turbulent years of the Cultural Revolution when an adolescent believed every aspect of the social world could be challenged and the human being transformed.
Inga Svala Thórsdóttir was born in Iceland in 1966. She graduated in 1991 from the Painting Department of the Icelandic School of Arts and Crafts, and in 1995 from the Hochschule für bildende Künste in Hamburg. In 1993 she founded “Thor’s Daughter’s Pulverization Service”, and in 1999 she founded “BORG”. Wu Shanzhuan was born in China in 1960. He graduated from the Zhejiang Academy of Fine Arts in 1986, and in 1995 from the Hochschule für bildende Künste in Hamburg. In 1985 he founded “Red Humour”, and in 1990 he founded “Red Humour International”. Since 1991 Thórsdóttir and Wu have been working and exhibiting collaboratively. They live and work in Hamburg, Shanghai and Reykjavík.
漢雅軒｜台北當代
《葉世強與葉偉立：兩個世代的藝術交匯》
地點：南港展覽館1館4樓，台北市南港區經貿二路1號
展位：D 03
貴賓預展 (憑邀請函入場)：1月16日 [週四] 下午2時至5時
開幕酒會 (憑邀請函/預售票入場)：1月16日 [週四] 下午5時至9時
公眾開放時間：
1月17日 [週五] 上午11時至下午6時
1月18日 [週六] 上午11時至下午6時
1月19日 [週日] 上午11時至下午5時30分
葉偉立（生於1971）近幾年的主要創意在發掘葉世強（1926-2012）生活中蘊藏的藝術智慧。今年年中，在水湳洞的葉世強故居將陸續完成基本改建。位於九份山下的礦工老厝，東望太平洋、龜山島，在這裡葉世強下半生的藝術思維醞釀成形。葉世強故居奠定了台灣東北角的一個文化風水穴位。
「葉世強+葉偉立」大型圖錄稿也將在藝博會首次展示。兩代藝術靈光的薪傳，是葉偉立參詳歷史運轉，切入世變契機的創作方法。
前輩葉世強（1926~2012），出生於廣東韶關書香世家，在廣州藝專高劍父校長的鼓勵下與友人離校壯遊，未料捲入大時代的顛沛流離，輾轉進入台灣師大美術系，並於台灣終老一生。葉世強受教於現代美術學院，但不囿限於中國傳統與西方新流派，一生卓立獨行，以崇敬自然與清朗的心性，以一方景致靈視萬物天地。
當代藝術家葉偉立（生於1971），自2015年起，從新店灣潭到東北海濱的水湳洞，以緩慢與細膩的挖掘考古式創作方法，探索前輩藝術家葉世強隱於山林海隅的歲月痕跡。葉偉立的系列攝影作品，彷彿是整地鬆土、埋下種子再漫長等待的過程；不求光影綻放，而候獵心弛神往的靈光乍現。自2019年起，葉偉立親自為這位前輩畫家製作木畫框，作為儀式性的致意，同時為觀賞與凝視葉世強作品築構了新契機。
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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.
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上海西岸藝術中心 展位：N111
貴賓預覽: 2018年11月07日（週三）
公眾參觀: 2018年11月08日（週四）至 11月11日（週日）
地點: 上海西岸藝術中心
展位: N111
藝術家: 徐龍森
美國芝加哥藝術博物館剛於今年春季舉辦徐龍森的大型個展，是美國當代藝術館水墨個展的重要里程碑。漢雅軒於2018年「西岸藝術與設計博覽會」延續推薦徐龍森作品，呈現畫家如何以尺度宏偉的創作介入當代建築空間。
徐龍森糅合傳統筆法和當代繪畫的語境，擺脫水墨畫伏案創作的尺度局限，進而挑戰建築空間，開拓了山水畫的新局面。
關於徐龍森
二零一八年春季，美國芝加哥藝術博物館舉辦《天境之光：徐龍森作品展》，這是美國當代藝術館水墨個展的重要里程碑。徐龍森對應博物館的建築空間創作巨型山水裝置，靈感來自富於神話典故的崑崙山。
中國藝術自古罕見這等宏偉尺度的創作和展示方式，徐龍森建構「山水」這個精神家園的雄心無法不令觀者讚歎。他曾在多家重要美術館展示其巨幅山水，包括比利時布魯塞爾皇家法院（二零零九年）和意大利羅馬古文明博物館（二零一一年） 等。二零一三年，徐龍森受美國納爾遜 · 阿特金斯藝術博物館邀請，以其長達二十六米的巨幅山水和博物館聞名的宋元典藏一起展出，進行跨越時空的對話。
徐龍森一九五六年出生於中國上海，一九七六年畢業於上海工藝美術學校，現居北京創作。
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香港會議展覽中心 展覽廳3 展位：J1-J3
貴賓預展 及 開幕酒會: 2018年9月28日（週五）
展期: 2018年9月28日（週六）至10月2日（週二）
地點: 香港會議展覽中心 展覽廳3
展位: J1-J3
藝術家: 曹曉陽
漢雅軒在「水墨藝博2018」呈現曹曉陽個展。
曹曉陽一直專注以紙本木炭作為媒材探索其「山水」世界。本展覽將展示畫家十多年來的精品，包括2018年完成，高達2.5米的巨幅新作。
關於曹曉陽
曹曉陽， 1968年出生於江蘇鎮江，1994年及2002年分別取得中國美術學院版畫系學士和碩士學位。2010年任中國美術學院版畫系副主任，2012年起至今出任中國美術學院專業基礎教學部主任。
曹曉陽在2014年於漢雅軒舉辦首次香港個展《二十四節氣：曹曉陽繪畫》，2016年受邀參加《跨越地球：U3 第八屆斯洛文尼亞當代藝術三年展》和杭州公望美術館的開館大展《山水宣言》。2017年於中國美術學院舉辦大型個展《咫尺之間：曹曉陽紙本繪畫》。
畫家自述
「山水」對於我來說是兩個不同層面的提問與工作。我的作品大致分為兩個類型，一類是實境寫生，另一類是默寫，是對「山水」的背臨。我常常一張實景寫生要畫三、四天，所面對的那座山在一天中不同時段裡，不斷地、持續地展開一個個玄機復又隱蔽至渾然一體。山形結構隨雲起煙散而神形萬變，它生機盎然，連綿不絕。這連綿不絕不是指全景式的山水結構，而是觀草木順勢而長，察萬物依理而生，是隨山起水落的心念明滅。所以「山水」從來就不是一個風景的問題，不是僅從「山水畫」的歷史經驗及生產機制中來探討的。對於無法回到洪荒的我們來說，「山水」不是被文化過的「符號」與「圖示」，而是我們對這個世界的持續關注，是一直在發生著的對生活的理解與對生命的實驗。
「二十四節氣」是人與天地自然間的坐標，它以四季更替引導著我們對生活的理解與對生命循環往復連綿不絕的實驗。我的作品大都以「二十四節氣」這個主題展開，描繪我所關注的天地人事及其生發關係，並以這個人間萬象共同演練的「山水」劇場構成我回應這個世界的態度與工作方法。
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Booth T7, Hall 2.1 Messe Basel, Messeplatz 10, 4005 Basel, Switzerland
Art Basel 2018
Booth T7, Hall 2.1
WEST HEAVENS: Nilima Sheikh and Qiu Zhijie
The exhibition recalls China’s ancient reference to India as the ‘West Heavens’, presenting a visual dialogue between India and China. The evoked imagination of unified national culture and its relationship with a dominant international sphere has characterised many aspects of political, technological, cultural and artistic histories.
Private Days
June 12-13, 2018, 11am to 8pm
Public Days
June 14-17, 11am to 7pm
Venue
Messe Basel, Messeplatz 10, 4005 Basel, Switzerland
Nilima Sheikh
Born in Delhi in 1945, Nilima Sheikh is one of India’s most celebrated artists. Over the last five decades, Sheik’s oeuvre has embraced multiple universes, composed in a unique visual language drifting between human journeys, landforms, and states of belonging. Her practice above all reflects a strong feminist commitment to representing the many facets of womanhood, in the realms of the sacred and the biographical, and as a social subject. She utilizes a variety of media and techniques, including paper, installations, large scrolls and screens, illustrations for children’s books, and theatre set designs. First exhibiting her work 1969, Sheikh has participated in numerous exhibitions world wide, including most recently documenta 14 (Athens and Kassel, 2017).
Qiu Zhijie
Born in Fujian Province, China, in 1969, Qiu Zhijie has created a formidable career and presence as a multidisciplinary artist, critic and curator. The encyclopaedic vision Qiu brings to his imaginative mappings of the human world, creating fantastic mind-scapes crossing categories cultural, political, institutional and more, open up systems of knowledge that invite the participation of all imaginative minds. Qiu’s recent projects include his curation of the Chinese Pavilion of the 57th Venice Biennale in 2017, and his commissioned project for the Solomon R. Guggenheim Museum in New York, for which he created a site-specific six-panel map as part of the exhibition Art and China after 1989: Theater of the World. Qiu is also currently a professor at the Central Academy of Fine Arts in Beijing, one of the country’s most prestigious art academies.
Hanart TZ Gallery
+852 2526 9019 hanart@hanart.com www.hanart.com
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Manarat Al Saadiyat, Saadiyat Cultural District, Abu Dhabi
MEMORY OF PLACE –
Works by QIU Shihua, ZHENG Li, FENG Mengbo, and SHAGDARJAV Chimeddorj
Modern & Contemporary Sector: X3-03
Artists: QIU Shihua, ZHENG Li, FENG Mengbo, SHAGDARJAV Chimeddorj
Exhibition Period: 8 – 11 November 2017
Venue: Manarat Al Saadiyat, Saadiyat Cultural District
Exhibition Description
This exhibition of paintings and objects depicting different insights into the world of nature, by a diverse of group contemporary artists across generations and media, illuminates important the enduring power of landscape as a source of creative inspiration.
For our booth at the Abu Dhabi Art fair, Hanart TZ Gallery has curated a special exhibition featuring the work of three powerful Chinese contemporary artists and one of Mongolia’s most outstanding contemporary artists. These include the pastoral landscapes of QIU Shihua, the meditative gardens of ZHENG Li, the digital landscape paintings using classical tempera base by FENG Mengbo, and the inspiring, wide vistas of SHAGDARJAV Chimeddorj. Each artist’s work in its own distinctive way illustrates how a heightened awareness of one’s own inner experience of the world may arise from the quiet appreciation of nature. For each artist, nature is both a realm of experience and a locus of memories of place.
Special Project
Hanart TZ Gallery is also pleased to announce that, at the invitation of the Department of Culture and Tourism, artist FENG Mengbo has collaborated on a special project with Khalifa University, a leading technology university in the United Arab Emirates, connecting students further with art and encouraging creative experiment in the integration of art and science. In a one-week workshop taking place in mid-October this year, Feng Mengbo guided the students in extensive research into sound and the use of the oscilloscope as a creative visual instrument. In the final project, minimalist electronic music was composed and fed into a hardware oscilloscope, generating beautiful abstract moving images on a live feed, projected through video. Laser technology has inspired Feng’s concept of presenting the sensation of meditation through an electronic art form, and as Feng stated, ‘the compositional structure of the soundscape was inspired by the great spirit of Arabian traditional music and calligraphy.’
The finished work will be displayed at the Abu Dhabi Art fair in November 2017.
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