Artists 参展艺术家 Riccardo Bandiera 里卡多·班迪拉
pag.08
Peter Binz 彼得·宾兹
pag.16
Feng Yan 冯嫣
pag.24
Francesco Gioacchini 弗朗切斯科·乔亚基尼
pag.32
Heikedine Günther 海基丁·冈瑟
pag.40
Hildegarde Handsaeme 希尔德加德·汉森
pag.48
Michael Koerner 迈克尔·科纳
pag.56
Kojo Marfo 科乔·马尔夫
pag.64
Josip Rubes 约瑟夫·鲁布斯
pag.72
Ruthorn Rujianurak 鲁索恩·鲁吉阿努拉克
pag.80
Alexander Saner 亚历山大·桑纳
pag.88
Eduard Zentsik 爱德华·曾兹
pag.96
From June 6 to July 18 2020, Independent & Image Art Space is glad to present the online exhibition “Re-see”. We showcase artworks of painting, photography, sculpture and digital art created by 12 artists from different places in the world, in response to the exhibition theme “Re-see”. In a certain sense, art calls on people to "re-see" constantly. The masterpieces of art in the museum attract generation to generation of viewers to appreciate and taste them again and again. They are mirrors for people understanding the past. For artists, artistic creation is also some kind of "resee". Learn mature art skills and integrate them into your own creation; get creative inspiration from the works of previous art masters; transform your personal experience, memory, etc. into artworks; express your personal reflection about history, present, and future in an artistic language... Of course, there are many ways to "re-see".
2020 年 6 月 6 日 -7 月 18 日，独立映像艺术空间推 出线上展览“重看”。来自世界各地的 12 位艺术家 以绘画、雕塑、摄影、数字艺术等艺术媒介、从不 同的角度回应了“重看”这一展览主题。 艺术在某种意义上，召唤人们不断地“重看”。美 术馆的艺术杰作是一代又一代的观众反复品味、欣 赏的对象，是了解过去的一面镜子。对于艺术家而言， 艺术创作在某种意义上，也是一种“重看”。学习 成熟的艺术技法，融入自己的创作；从某些艺术前 辈的作品中，获得创作灵感；把个人的亲身经历、 记忆转换为艺术创作；把个人对历史、当下、未来 的思考想法，用艺术语言表达出来；当然，“重看” 的方式还有很多。 艺术家去“重看”，并不是为了因循守旧，他们往 往会在当下的文化语境中，提出新的阐释和解读。 没有旧，何来新。看不到“旧”，怎能看出“新”。 “重看”是回溯，更是出发；是回头看到过去，更 是以新的维度、视角看向未来。
For artists, to “re-see” doesn’t mean to follow the old rules. They often propose new readings and interpretations in the current cultural context. If there are no old things, how can the new things come. If one doesn’t know the “old”, how can he/ she discover the "new". "Re-see" is to look back, but also to start off; it is about looking at the past, but more about looking into the future with new dimensions and perspectives. 6
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Riccardo Bandiera 里卡多·班迪拉
The representation of the binomial woman/flowers has therefore been present in western painting for centuries, both in the most common portraits and in historical or allegorical representations, where botanical outfits meet muses for a result of ecstatic clamor. Bandiera's work is freely inspired by this pictorial practice, in an intertwining of reminiscences and cinematic references of Hopper's memory, it reflects its depth and aesthetics. In this project, past and present meet, the images of an ancient memory find a new life, opening up to new possible narratives. 对于女性与花朵的表现在西方绘画中已经有着几百 年的历史，在最普通的肖像画中可以看到，在历史、 寓言类绘画中也不乏身影，植物与女神的相遇激发 出心醉神迷的喜悦。 班迪拉的作品受到这一绘画传统的启发，个人记忆 与霍普赋有电影感的场景交织在一起，展现出思想 的深度与美感。过去与当下在这组作品相遇，久远 的记忆在图像中找到了新的生命，开启了新的叙事 可能。
Clorofilla 006, digital photo, 75x50 cm, 2020, ed.1/9 《叶绿素 006》数码照片 75x50cm 2020 版数 1/9 8
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Clorofilla 004, digital photo, 42x75 cm, 2020, ed.1/9 《叶绿素 004》数码照片 42x75cm 2020 版数 1/9 10
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Clorofilla 003, digital photo, 50x50 cm, 2020, ed.1/9 《叶绿素 003》数码照片 50x50cm 2020 版数 1/9 12
Clorofilla 004, digital photo, 75x50 cm, 2020, ed.1/9 《叶绿素 004》数码照片 75x50cm 2020 版数 1/9 13
Attributing meanings to plants and flowers is a custom that is lost in the mists of time. Today, even more, given the times we are living in, Nature has become a symbol of life and death, of loss and disappearance, above all of great strength, never before has the call to it attracted Man with such energy. 将意义赋予植物和花朵是一种习俗，而如今这种习 俗已经消失在在时间的迷雾之中。今天，乃至整个 我们生活的时代，自然成为了生与死、失落与消失， 甚至强大力量的象征，它以一种能量前所未有地呼 唤人类。
Riccardo Bandiera was born in 1973 (in Imperia, Italy) and lives a stone's throw from the sea in Liguria and discovered photography by chance after technical studies and a job as an engineer. For several years is a freelance photographer, professional signed at TAU Visual, alternating commercial work and art exhibitions. He has exhibited in Barcelona, Brussels, Arles (Rencontres), Turin (Paratissima), Genoa (Galata Museo del Mare), Rome, in collective and personal. 里卡多·班迪拉 1973 年生于意大利因 佩里亚，现生活在意大利利古里亚的海 边。他曾经是一位工程师，偶然发现了 对摄影的兴趣。多年来，专注于自由摄 影师的工作，是意大利职业摄影师协会 会员，作品在意大利热那亚海事博物馆、 法国阿尔勒摄影节、都灵 Paratissima 艺术博览会等地展出。
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Peter Binz 彼得·宾兹
I have been working with digital technology for 20 years. I would like to continue the work of the great Bauhaus artists, now with the technology of today. The works shown here are digital studies and I will build some of them as real sculptures. 我使用数字技术进行艺术创作已经有 20 年的时间了。我希望延续包豪斯艺术家的艺术精神，将它与当下的科技相结合。这 里展示的作品是一些数字艺术方面的研究，之后我会将它们打造成真实的雕塑。
Virtual sculpture with black shadows in a white room No.1, 42 x 59.4cm, DIN A2 on Hahnemühle Photo Rag Metallic 340gm2, ed. 2/3 《白色房间内的虚拟雕塑 No.1》 42x59.4cm 哈内勒姆金属照片纸 版数 16
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Virtual sculpture with black shadows in a white room No.2, 42 x 59.4cm, DIN A2 on Hahnemühle Photo Rag Metallic 340gm2, ed. 2/3 《白色房间内的虚拟雕塑 No.2》 42x59.4cm 哈内勒姆金属照片纸 版数 2/3 18
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Virtual sculpture with black shadows in a white room No.3, 42 x 59.4cm, DIN A2 on Hahnemühle Photo Rag Metallic 340gm2, ed. 2/3 《白色房间内的虚拟雕塑 No.3》 42x59.4cm 哈内勒姆金属照片纸 版数 2/3 20
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Virtual sculpture with black shadows in a white room No.4, 42 x 59.4cm, DIN A2 on Hahnemühle Photo Rag Metallic 340gm2, ed. 2/3 《白色房间内的虚拟雕塑 No.4》 42x59.4cm 哈内勒姆金属照 片纸 版数 2/3
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Peter Binz was born in 1948, working and living in Zurich, Switerland. Since 1995 he works as a freelancer artist with sculptures, photography and video. His works are in different collections, including Musée de l’Elysée in Lausanne (Switzerland), MoMa in New York (USA), Bibliothèque national de Paris (France), Yukyung Museum in Geoje (South Korea), Stiftung für Photographie Kunsthaus in Zurich (Switzerland). 彼得·宾兹 1948 年生，现生活在瑞 士苏黎世。从 1995 年开始，他作为 自由艺术家从事雕塑、摄影、影像 的创作。他的作品被众多艺术机构 收藏，其中包括爱丽舍博物馆（瑞 士洛桑）、巴黎国家图书馆（法国 巴黎）、巨济 Yukyung 博物馆（韩国）、 摄影艺术博物馆（瑞士苏黎世）。
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Feng Yan 冯嫣
Flowers and leaves past hope of texture and color: aged, withered, yet blooming. 失去质感和色彩的花与叶，日久了，枯萎着，盛开着。
Rhizome 3, acrylic on board, 60x40cm, 2020 《根茎 3》 木板丙烯 60x40cm 2020 24
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Rhizome 2, acrylic on board, 60x30cm, 2020 《根茎 2》 木板丙烯 60x30cm 2020 26
Five senses 1, acrylic on canvas, 110x110cm, 2020 《五感 1》 110x110cm 布面丙烯 2020 27
Wave- Sometimes 3, acrylic on canvas, 110x110cm, 2019 《涌 - 有些时候 3》 布面丙烯 110x110cm 2019 28
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Feng Yan was born in Changsha, Hunan (China) in 1999. Presently, a sophomore in the Printmaking Department of Central Academy of Fine Arts (CAFA). Her works are exhibited at Penn Wharton China Center, Art Museum of Fine Arts School Affiliated to CAFA, 77 Art Museum, 24th Guangzhou International Art Fair and more. 冯嫣，1999 年出生于湖南长沙，中央美术学院版画系在读。 作品曾在宾大沃顿中国中心、中央美术学院附中美术馆、 77 文创美术馆、第 24 届秋季广州国际艺术博览会等地展出。
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Francesco Gioacchini 弗朗切斯科·乔亚基尼
My canvases usually show an overlapping and stratification of different elements, dual, both from the point of view of the pictorial style and the media used. Sometimes the figures in the background are invaded and somehow challenged by the spray that "claims" its own space, its own presence, creating a conflict within the perimeter of the canvas; in other cases the image appears taped on the canvas, as a reference for a new work. 我的油画作品常常展现出不同元素的重叠、分层。 这里有两层含义，一层是从绘画的角度说，一层是 从媒介使用的角度说。有时，背景人物被掩盖了， 或者说在某种程度上受到来自喷漆的挑战，喷漆要 在空间内“宣称”它的存在，在油画布的范围内制 造一场冲突。在另外的一些情况下，图像好像被粘 贴在画布上，成了新作品的参考资料。
Bodies from art, oil on canvas, 60x50cm, 2020 《来自艺术的身体》布面油画 60x50cm 2020 32
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Two Kids (R Version), felt tip pen, oil and spray on canvas, 50x40cm, 2019 《两个小孩》（R 版） 油画布、签字笔、油性笔、喷漆 34
Two Kids (W Version) felt tip pen, oil and spray on canvas, 50x40cm, 2019 《两个小孩》（W 版）油画布、签字笔、油性笔、喷漆 35
My work is a reflection on the boundaries between painting and drawing, canvas and image, past and present. I am interested in what happens within the perimeter of the canvas, or rather, what could happen but has not yet happened. The boundaries of the painting are given by the painting itself and in this limited, circumscribed space, different physical, concrete and semantic elements coexist. I like to think that the canvas is there to give something more than being "just" a surface to cover. Starting from references linked to art history, literature and contemporary culture, I carry on a visual research made up of collisions of meanings and media. 我在作品中反思绘画与素描、画布与图像、过去与未来。 我喜欢画布范围内发生着的事情，又或者是，可能发生但 尚未发生的事。油画的界限是油画本身设定的，在被限定、 框取的空间内，物理的、实体的、语义的多种元素在这里 共存。我认为，画布在那里，不仅只是一张等待着被覆盖 的表面。从艺术史、文学和当代文化的种种参照出发，我 开始了一场视觉研究，意义与媒介的碰撞构成研究的主体。 We used to draw on the table (Moby Dick), oil, felt tip pen, marker, pastel, pen and oil stick on canvas, 50x70cm, 2020 《我们曾在桌上画画》（白鲸）油画布、油性笔、签字笔、 记号笔、蜡笔、钢笔和油画棒 50x70cm 2020 36
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Francesco Gioacchini was graduated from Academy of Fine Arts of Macerata (Italy). His works are widely exhibited in Europe, including at Fondazione Pescarabruzzo, Pinacoteca Civica Ascoli Piceno, Museo Archeologico Nazionale delle Marche. He was finalist for Regional Pavilions of Lynx Art Prize 2019. 弗朗切斯科·乔亚基尼毕业于意大利马切拉塔美 术学院。他的作品在欧洲有着广泛的展出，曾参 与在阿斯科利皮切诺市立美术馆、马尔凯国家人 类博物馆、佩斯卡拉布鲁佐基金会等举办的艺术 展览。2019 年获得意大利林克斯艺术奖。
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Heikedine Günther 海基丁·冈瑟
I take color inspiration from classic works of art and use them in my core paintings, charging them with new meanings relating to their prior context. I try to see the “core” in and of everything. So re-seeing is a big part of my artistic progress. 我从古典绘画中获得色彩运用的启发，并运用到我 的《核心》绘画中，赋予它们新的含义，同时与之 前的语境结合起来。我试着在所有事物中看到“核 心”，它存在于所有事物中。因此，重看是我艺术 历程的重要部分。
Core No. 265, oil on canvas, 90x110cm, 2019 《核心 No.265》 布面油画 90x110cm 2019 40
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I have been studying classic art while developing my own artistic practice and got a strong passion for manuscripts and gold panel paintings. I am a book lover and collect primitive art and oceanic objects. My own works of art benefit from my broad knowledge of traditional old master’s techniques and my dedicated interest in polycultural symbols. 我学习古典艺术的同时，发展出自己的艺术实践，同时， 对手稿和金板画兴趣浓厚。我是一个书迷，收集原始艺术 品和海洋物品。我自己的艺术作品得益于我对传统大师技 艺的广泛了解，和对多元文化符号的专注。
Core No. 272, oil on canvas, 130x110cm, 2019 《核心》No.272 布面油画 130x110cm 2019 42
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My leitmotif is the “core”, encompassing everything between microcosm and macrocosm. I express my research into the theme of the core in paintings between abstraction and natural forms. 我的主旋律是“核心”，涵盖了微观和宏观之间的一切。 我以介于抽象和自然形式之间绘画的研究“核心”这一主题。
Core No. 304, oil on fleece, 165x110cm, 2019 《核心 No.304》 布面油画 165x110cm 2019 44
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Heikedine Günther is an abstract painter living in Basel and Stalden, Switzerland. Working on this she has spent several years developing a unique style of multilayered painting in her remote studio in the Swiss alps. Her paintings were presented at numerous exhibitions, including Art Paris Art Fair (Grand Palais, Paris), Historical Museum Basel, (Barfüsserkirche, Basel), Centre d’art contemporain (Meymac). 海基丁·冈瑟，抽象画家，生活在瑞士巴 塞尔和斯塔尔登。在她位于阿尔卑斯山区 的偏远工作室里，她花费多年时间，发展 出独特的多层绘画风格。她的绘画作品在 巴黎大皇宫、巴塞尔历史博物馆、梅马克 当代艺术中心等机构组织的艺术展览中展 示。 Core No. 305, oil on fleece, 165x110cm, 2019 《核心 No.305》 布面油画 165x110cm 2019 46
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Hildegarde Handsaeme 希尔德加德·汉森
Simply and honestly Hildegarde gives us the message of love and tenderness which should be shown to each individual. In a pictorial equilibrated and harmonic way she knows how to remind us of the glamorous intuition of woman. (F. De B. 1997). 希尔德加德以淳朴、诚实的方式向我们传递着 爱与柔情的信息，应该展示给每一个人。通过 平和、协调的绘画，她向我们展示出女性富有 魅力的直觉。（F. De B. 1997）
Lekiss, acrylic on canvas, 70x50x4cm, 2020 《吻》布面丙烯 70x50x4cm 2020 48
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Etude, acrylic on canvas, 100x80x4cm, 2011 《研究》布面丙烯 100x80x4cm 2011 50
L'Oiseau de Liberté, acrylic on canvas, 100x80x4cm, 2016 《自由鸟》布面丙烯 100x80x4cm 2016 51
Flying Lovers, acrylic on canvas, 100x80x4cm, 2011 《飞翔的爱人》布面丙烯 100x80x4cm 52
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Born in Kortrijk, Hildegarde Handsaeme resides and works in Terlanen (S.E. of Brussels). With an articulate preference for the figure and the nature of woman she went the self-teaching way in the plastic art form. The sensitive approach of this theme remains her source of inspiration which is utterly inexhaustible. The recognition of her artistic plastic language was a fact a couple of years ago when she obtained the third international prize for painting in Libramont. 希尔德加德·汉森，比利时艺术家。作品多表现女性的人 物和特征，她曾自学造型艺术。对这一母体的敏感度为她 提供了源源不断的灵感，作品曾在荷兰 CODA 博物馆展出。
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Michael Koerner 迈克尔·科纳
I am exploring tactually how we as humans play an active or passive role in what we personally or as a culture lose. 我实际上是在探索，我们作为人类如何在我们 个人或文化损失中扮演积极或消极的角色。
Patience, Series: Things We Will or Have Already Lost, ink pen & digital drawings, archival pigment prints, 50.8x50.8cm, 2016, ed.11/50 《耐心》属于《我们终将失去或已失去的东西》系列 墨水笔 & 数码绘画 收藏级彩色打印 50.8x50.8cm 2016 版数 11/50 56
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Job, Series: Things We Will or Have Already Lost, ink pen & digital drawings, archival pigment prints, 50.8x50.8cm, 2016, ed.11/50 《工作》属于《我们终将失去或已失去的东西》系列 墨水笔 & 数码绘画 收藏级彩色打印 50.8x50.8cm 2016 版数 11/50 58
Sight and Sound , Series: Things We Will or Have Already Lost, ink pen & digital drawings, archival pigment prints, 50.8x50.8cm, 2016, ed.11/50 《视听》属于《我们终将失去或已失去的东西》系列 墨水笔 & 数码绘画 收藏级彩色打印 50.8x50.8cm 2016 版数 11/50 59
Pulse, Series: Things We Will or Have Already Lost, ink pen & digital drawings, archival pigment prints, 50.8x50.8cm, 2016, ed.11/50 《脉动》属于《我们终将失去或已失去的东 西》系列 墨水笔 & 数码绘画 收藏级彩色打印 50.8x50.8cm 2016 版数 11/50 60
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Michael Koerner was graduated from Edinburgh College of Art – MFA in Painting. Since 2014, he teaches at Indiana University Kokomo, as Assistant Professor of New Media. His works are widely showed in the United States, such as Visual Arts Center at Marshall University School of Art & Design, The Louise Hopkins Underwood Center for the Arts, Reece Museum at Eastern Tennessee State University, Rochester Contemporary Art Center. 迈克尔·科纳毕业于爱丁堡艺术大学，2014 年起作为新媒 体副教授执教美国印第安纳大学科科莫分校。他的作品在 美国广泛展出，曾在马歇尔大学艺术与设计学院视觉艺术 中心、路易斯·霍普金斯·安德伍德艺术中心、东田纳西 州立大学里斯博物馆、罗切斯特现代艺术中心等地举办的 展览上为公众所知。
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Kojo Marfo 科乔·马尔夫
Rather than painting likenesses of real people, my paintings are focused on figures from my dreams and childhood memories, so that I can create characters removed from reality. I paint in this way, not only to pay respect to the visual memories of my childhood that were rooted in Akan cultural images but also because I wanted the themes explored in the paintings to be more accessible to viewers. In our world, where reality breathes life to so many divisions, an un-reality is needed to emphasize the universality of our human desires, needs, and fears and create an environment where we can better see that what drives us is what drives all humans. I feel that this separation from reality is needed to tackle our uncomfortable social, cultural, and political realities and bond through our universal human experiences. 我的绘画不是人物肖像，我画的是我梦中和小时候的 记忆，因此我创造了远离现实的人物。以这种方式作 画，我想向童年记忆里的非洲阿坎文化图像致敬，同 时让绘画主题更加贴近观看者。在我们的世界里，现 实生活存在太多分歧，在非现实、想象的世界里应该 强调人类欲望、需求和恐惧的普遍存在，创造出一种 氛围让我们认识到，激发我们前进的也是激发全人类 前进的。我认为，这种与现实的割裂可以应对现实中 社会、文化、和政治上的不适，通过人类共同的经验 将大家团结起来。
Divine Energy, acrylic on canvas, 120x160cm, 2020 《神力》布面丙烯 120x160cm 2020 64
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Guardians, acrylic on canvas, 130x140cm, 2019 《守护者》布面丙烯 130x140cm 2019 66
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Mirror of Broken Dreams, acrylic on canvas, 130x160cm, 2020 《梦碎的镜子》布面丙烯 130x160cm 2020 68
Royal Blood, acrylic on canvas, 130x140cm, 2020 《皇室血统》布面丙烯 130x140cm 2020 69
Kojo Marfo is a Ghanaian artist based in England. Inspired by an upbringing surrounded by traditional African artifacts, he approaches his work as a craftsman approaches the artifacts that are his trade. His vibrant works juxtapose his past experiences with his present life, incorporating visions from his childhood into his current reality, as a part of his constant drive to grow and evolve with authenticity. His work has been exhibited internationally in Paris, Tokyo, Amsterdam, New York City, Barcelona, and London. “For many years, I realized that I entered the studio with a picture of myself and a vision for my painting, which can be an obstacle. How do I not lose myself and still discover something new? This might seem like it has nothing to do with painting but how I begin is important to me. If I stick with what I know I usually get the same results. I can always paint a clever picture, but that’s not my goal. I’m trying to make something with heart and authenticity, tackle uncomfortable politics, experiment, and discover.” 科乔·马尔夫来自加纳，在英国生活和工作。受到周 围非洲传统人工制品的启发，他如工匠对待手工艺品 一般来从事自己的工作。他充满活力的作品将过去的 经历与现在的生活并置在一起，将童年时代的想象和 记忆融入了当下现实，作为他的艺术不断发展的一部 分。他的作品已在巴黎、东京、阿姆斯特丹、纽约、 巴塞罗那和伦敦举办的国际展览中展出。“多年来， 我意识到，进入工作室时带着对自己的固有认识和绘 画愿景，这可能是一个障碍。我怎样才不会迷失自我， 仍然能够发现新事物？这似乎与绘画无关，但是如何 70
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Josip Rubes 约瑟夫·鲁布斯
Geometric abstraction provoked positive reactions in me after I got acquainted with the works of famous painters (Kandinsky, Malevich, Mondrian, Stella, Albers, Benjamin….) Impressed by this style of painting I gradually began to paint geometric abstraction with a lot of love and enthusiasm. I want my painting to be well received by paintings fans. 我从康定斯基、马列维奇、蒙德里安、斯特拉、亚伯斯、 本杰明这些艺术家身上获得启发，对几何抽象产生了强烈 的兴趣。之后，怀着爱与热情，我画了很多几何抽象类型 的作品。我希望人们能喜欢我的画。
Geometric abstraction, oil on canvas, 100x120cm, 2020 《几何抽象》布面油画 100x120cm 2020 72
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Geometric composition 2, oil on canvas, 80x100cm, 2020 《几何构成 2》布面油画 80x100cm 2020 74
Geometric composition 3, oil on canvas, 80x100cm, 2020 《几何构成 3》布面油画 80x100cm 2020 75
Geometric abstraction, oil on canvas, 80x100cm, 2020 《几何抽象》布面油 画 80x100cm 2020 76
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Josip Rubes was born in Jastrebarsko, Croatia, in 1942. He is a retired doctor. He graduated from the Arthous College of Visual Arts in Ljubljana, Slovenia with the theme of Jackson Pollock and his influence on the Croatian painter Edo Murtić. Since 2008, the image has been abstract styled by the inspiration of J. Pollock's painting and has been absorbed by geometric abstraction for the last few years. He has made 80 solo exhibitions and has participated in around 300 collective exhibitions in Croatia and abroad. 约瑟夫·鲁布斯 1942 年生于克罗地亚，曾是一位医 生。而后，毕业于斯洛文尼亚卢布尔雅那的阿瑟斯 视觉艺术学院，受到杰克逊·波洛克和克罗地亚画 家艾多·穆迪克的影响。从 2008 年开始转向抽象风 格，专注于几何抽象作品。在克罗地亚国内外举办 了 80 余场个展，参加了超过 300 场群展。
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Ruthorn Rujianurak 鲁索恩·鲁吉阿努拉克
I always think of painting as paint or thing on the surface. So my work is about a question of what is paint and what is a surface. What is different between them. And how to blend this. My work has nothing to do with the conceptual or emotional idea. It is only about painting itself. Then for me, the word re-see is something you need to apply to see painting nowadays. Because contemporary art trend to build on an external art world idea. But painting is a standstill since modern art. So, in my opinion, we as a painter should focus on what going on in the painting and that will be the way to connect the standstill painting to the present art world. 我一直认为，绘画是关于绘制的，关于表面的。因此， 我的作品在探讨，什么是绘制，什么是表面，它们 的区别是什么，如何结合二者。我的作品与观念表 达或情感表达无关。它只是关于绘画本身。 对我而言，“重看”是当今的人们所需要的、审视 绘画的一种方式。因为当代艺术的趋势是构建一套 建立在艺术外表之上的理念。而绘画从现代艺术时 期起就停滞了。所以，我认为，我们作为画家应该 关注绘画中发生着什么，这才能让停滞的绘画与当 今的艺术世界连接起来。
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Untitled 18, acrylic and collage on plywood, 61x60cm, 2020 《无题 18》丙烯、胶合板上的拼贴 61x60cm 2020 81
Untitled 71, acrylic and collage on plywood, 40x40cm, 2020 《无题 71》丙烯、胶合板上的拼贴 40x40cm 2020 82
Untitled 76, acrylic and collage on plywood, 60x61cm, 2020 《无题 76》丙烯、胶合板上的拼贴 60x61cm 2020 83
Untitled 75, acrylic and collage on plywood, 80x80cm, 2020 《无题 75》丙烯、胶合板上的拼贴 80x80cm 2020 84
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Ruthorn Rujianurak (b.1994) is a Thai painter based in Bangkok. In 2016 Ruthorn moved to New York and worked there for almost two years. In 2018 He had his first solo exhibition at trendy gallery Bangkok. Ruthorn is a self-taught artist, whose works are collaged with a variety of surface, including cotton canvas, bristol paper, blotting paper, tissue paper and wood panel. 鲁索恩·鲁吉阿努拉克 1994 年生于泰国，目前 在曼谷工作生活。2016 年鲁索恩搬往纽约，在那 里工作了两年。2018 年曼谷的一家画廊举办了他 的首个个展。鲁索恩在作品中，拼贴了多种物体， 包括棉制油画布、布里斯托尔纸、吸墨纸、薄纸 和木板。
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Alexander Saner 亚历山大·桑纳
Following statements of creative personalities influenced my artistic work: “Art is the elimination of everything superfluous.” “The greatest complexity is the greatest simplicity.” “Clarity through simplicity.” “If nothing can be removed the work is completed.” 下列理念影响了我的艺术创作： “艺术消除一切多余的东西。” “最大的复杂就是最大的简单。” “通过简单获得明了。” “如果不能再减除什么，那么作品就完成了。”
Cut 11, 16x30x58cm, steel, 2016, unique piece 《切割 11》16x30x58cm 钢 2016 独件 88
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Tension 9, 28x70x80cm, steel, 2020, unique piece 《张力 9》28x70x80cm 钢 2020 独件 90
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Static 5, 35x51x37cm, steel, 2016, unique piece 《静止 5》35x51x37cm 钢 2016 独件 92
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Alexander Saner is a Swiss artist, autodidact, living in Breitenbach, nearby Basel. Since 1993, he has been working on three-dimensional art: sculptures, objects, photography. His works are exhibition worldwide, in the cities of Zurich, Lausanne, Rome, Vatican, Venezia, Tokyo, Miami, San Diego, New York, Shanghai.
Cut 7, 90x80x26cm, steel, 2015, unique piece 《切割 7》90x80x26cm 钢 2015 独件
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亚历山大·桑纳，瑞士艺术家，在巴塞 尔工作生活。1993 年开始，从事雕塑、 摄影等艺术创作。他的作品已在全球多 个城市展出，包括苏黎世、洛桑、罗马、 梵蒂冈、威尼斯、东京、迈阿密、圣地 亚哥、纽约、上海。
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Eduard Zentsik 爱德华·曾兹克
Each viewer can see their meanings to the symbols. And each time you can see new meanings. There is no clear reading. So come back and re-see. 每一位观众都能从符号中看到属于他 / 她的意 义。每一次你都能发现新的含义。没有一成不 变的解读。所以，不断地回来，不断地重看。
Dance, oil on canvas, 150×100cm, 2019 《舞蹈》布面油画 150x100cm 2019 96
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Reflection, oil on canvas, 70×100cm, 2019 《沉思》布面油画 70x100cm 2019 98
You are always few, oil on canvas, 100×150cm, 2019 《你总是少数》布面油画 100x150cm 2019 99
She and the hare, oil on canvas, 150×100cm, 2019 《她和野兔》布面油画 150x100cm 2019 100
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Eduard Zentsik was born in 1975 in Sillamae, Estonia. He is a prolific Estonianbased artist of many faces. He’s developed radically different artistic personas, refusing to link his name to a single signature style, technique, or theme. Instead, Zentsik mixes genres and media and playfully subverts the traditions of old. 爱德华·曾兹克，1975 年生，是一位多产的 爱沙尼亚艺术家，艺术面貌多样。他发展出 与众不同的艺术风格，他拒绝将自己的名字 与单一的艺术样式、技巧或主题联系起来。 相反，曾兹克融合了多种流派和媒介，并以 顽皮的方式颠覆着古老的传统。
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