‘Her Song: Abstract Compositions By Tina Buchholtz And Tsang Chui Mei’ Exhibition Catalog

HER SONG: ABSTRACT COMPOSITIONS

BY TINA BUCHHOLTZ AND TSANG CHUI MEI

她的歌: 抽像構造 Her Song: Abstract Compositions by Tina Buchholtz and Tsang Chui Mei

她的歌: 抽像構造 2020

Cover image

HER SONG: ABSTRACT COMPOSITIONS

BY TINA BUCHHOLTZ AND TSANG CHUI MEI

TINA BUCHHOLTZ

9th January to 22nd February 2020

Sky And Earth Bowl

pigments and glass on canvas, 50 x 50cm, 2019

INTRODUCTION

引言

Karin Weber Gallery is proud to announce its first exhibition for 2020, a dialogue on abstraction between two female artists from different cultural backgrounds. ‘Her Song: Abstract Compositions by Tina Buchholtz and Tsang Chui Mei’ celebrates the artists’ respective journeys towards abstraction as their chosen form of artistic practice. Although both artists draw from the school of ‘Western’ abstraction in their formal education and still reference key American artists such as Jackson Pollock and Joan Mitchell today, there is equal recognition of the presence of similar themes and philosophies in much of traditional Chinese painting.

凱倫偉伯畫廊很榮幸呈獻2020年的首次展覽，來自不同文化背景的兩位女藝術家之 間圍繞抽象的對話。「她的歌: 抽像構造」歌頌了藝術家們各自選擇邁向抽象藝術作 為她們實踐創作的旅程。雖然藝術家從傳統教育學習得來的“西方”抽象藝術汲取靈 感，並借鑒著名的美國藝術家傑克遜·波洛克和瓊·米切爾等，但傳統中國畫的元素 和理念也被運用。

Having commenced her career as a figurative painter, German Tina Buchholtz began to ‘dissolve’ her landscapes in favour of colour fields and textures roughly twenty years ago. Whilst nature remains a primary influence, Buchholtz’ works respond to current events and frequently reflect her own emotions and memories; a balancing act between reflecting on external influences and an entirely personal, internalised subjectivity. For this show, we are excited to feature a range of works that engage directly with Chinese themes — a colour palette and creative process that stems directly from classic Chinese ceramics and gives this very special line of work a uniquely Asian twist.

Hong Kong artist Tsang Chui Mei also looks back over a similar time period for a process of blurring boundaries between elements of surrealism and abstract expressionism, more aligned with allegedly ‘Western’ traditions, and the multiple perspectives and freedom of form that denotes free-style Chinese painting. Yet Tsang retains minuscule, delicate references to natural subjects in her work — icicles, mountains and natural structures serve to anchor a viewer in each work, yet also underline their independence from naturalist visual references.

來自德國的Tina Buchholtz初期擅長人物畫。大約20年前，她開始以色塊和紋理來 構造畫面。儘管自然依然是主要的靈感，Buchholtz的作品回應時事，經常反映自己 的情感和記憶——在反思外在影響與完全個人的內在主觀之間取得平衡。我們很高興 今次展覽能展示一系列與中國主題相關的作品——源於傳統中國陶瓷的色板和創作過 程。 香港藝術家曾翠薇試圖模糊超現實主義和抽象表現主義之間的界限，聯繫所謂的“西 方”傳統及中國寫意畫中的多點透視和形態的自由奔放。曾氏的作品中保留了對自然 中衍生之微妙、細緻的參考。冰柱，山脈和自然結構不僅在每件作品中吸引觀眾，同 時也突顯了他們與自然主義視覺參照物的獨立性。 畫筆早已不再是Tina Buchholtz和曾翠薇的主要創作工具，相反刮刀、皺紋膠紙和塑 型膏有助她們追求構圖的和諧和獨特個性。對Buchholtz和曾氏來說，這次展覽絕對 是她們給觀眾沉浸並參與其中的一個邀請。

Both Tina Buchholtz and Tsang Chui Mei have long departed from the paintbrush as their primary artistic instrument — spatulas, masking tape, modelling paste and water jets provide important tools in their ongoing quest for harmony and a sense of unique personality in their compositions — for Buchholtz and Tsang, ’Her Song’ is confidently her own, an invitation for the viewer to immerse themselves and participate.

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IN CONVERSATION WITH TINA BUCHHOLTZ On Her Personal Journey And Evolution As An Abstractionist “Painting has always been part of my life and whilst my background lies in figurative painting, the more I worked, the more I was fascinated with the subject of colour in its own right. Gradually, the landscapes dissolved, in favour of landscape-inspired colour fields and clouds. So I can honestly say that abstraction discovered me, rather than the other way around, perhaps as a logical conclusion of my own development and maturity. Having my own artistic ‘signature’ and unique style are non-negotiable for me - I developed my own techniques almost from the beginning as I began to experiment with my spatula tool.”

On Themes “Some of my works explore political developments (eg, Exodus, Ground Offensive), or emotions and memories, so a spectrum between relative objectivity and personal subjectivity. For me uniqueness, my own personal signature, is crucial, as is authenticity. I am also very excited about the interaction between a work and its viewer. A painting can trigger so many associations, link to music, personal memories and so much more. This is what I experience in conversations with viewers, collectors and mere onlookers.”

On Cross-Cultural Influences On Abstract Art “I don’t believe at all that abstraction is a Western concept. While I did engage with Jackson Pollock and some other artists they did not directly influence my style. Nature remains my greatest inspiration. I can easily be working in my garden and discover a fascinating structure, either by surface or by colour. This remains my strongest fascination.

On The Future “What comes next? - I am really not sure. All my (artistic) developments have been unplanned, such as new techniques and stylistic expressions. It always has to be unique to me. For sure, something will change again stylistically, What will never change is my expectation of highest quality, uniqueness and authenticity”

When I look at Eastern Abstract art, I am drawn to the historic references, to calligraphy as well as floral and occasionally ornamental themes. I find that these works exude a great sense of harmony, and stand out for their meticulous execution.

In Western abstraction, often there are more provocative, disturbing undertones.

This is not necessarily a differentiator of quality, but simply something that I notice.”

On Gender And Its Influence On Abstract Art “The influence of gender can be traced to the fact that female artists, especially women abstractionists, have not had an easy ride in the past and the present. So I feels that in their compositions, female artists have a deeper, more conscious, and possibly more serious, engagement with their own work. I personally don’t find female abstract art as ‘aiming to please’ or superficial. Don’t take this as a direct contrast to male artists, both sides will have certain tendencies either way.”

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與TINA BUCHHOLTZ對話 關於她作為抽象主義者的個人旅程與演變 「繪畫一直是我生活的一部分。雖然我初初擅長畫人物畫，但當我創作越多，我著迷於顏色 可以作為主題。漸漸地，景觀改變了，取而代之的是受景觀啟發的色域和雲層。老實說，是 抽像發現我，而不是我發現抽像。也許這是我自身發展和成熟的邏輯結論。我幾乎從一開始 就發掘了屬於自己的技術，因爲我初初嘗試使用的工具正正是繪畫角刀，而我獨特的藝術色 彩與風格是不可轉讓的。」 關於跨文化對抽象藝術的影響 「我不相信抽像是一個西方的概念。當我看傑克遜•波洛克和一些其他藝術家的作品，他們 並沒有直接影響我的風格。大自然仍是我最大的靈感。我最著迷的方式是我可以輕鬆地在自 己的花園里工作，並通過畫面或顏色發現迷人的結構 。

關於主題 「我的一些作品探討政治發展（例如《出埃及記》，《地面進攻》）， 情感或記憶，因此涉及相對 客觀和個人主觀之間的範圍。對我而言，個人風格很重要，呈現真實也一樣。我對作品與觀眾之間 的互動也感到非常興奮。一幅畫可以觸發許多的聯繫，連接音樂、個人記憶等。這是我在與觀眾， 收藏家和旁觀者交談過程中所經歷的。」 關於未來 「接下來會發生什麼？我真的不確定。我所有的藝術發展路程都是沒有預先計劃，例如新技巧和風 格的表達。它對我來說是獨特的。可以肯定的是，某些東西會在風格上再次產生變化，而不變的是 我對最高質量，獨特和真實的期望。」

觀看東方抽象藝術時，我被歷史文獻中的書法、花卉和裝飾主題所吸引。我發現這些作品散 發出極大的和諧感，並以其一絲不苟的創作手法脫穎而出。在西方抽像中，通常存在更多挑 釁、令人不安的色彩。 我覺得這不一定是質量的差異 。」 關於性別和其對抽象藝術的影響 「性別的影響可以追溯到一個事實，當女性藝術家不論在過去或現在並不容易，尤其是女性 抽象主義者。亦因爲她們的處境，我覺得女性藝術家對自己的作品有更深刻及更認真的參 與。我個人並不認為女性抽象藝術為“旨在取悅”或是膚淺。不要將此與男性藝術家直接對 比，無論哪種方式，彼此都會有一定的傾向。」

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IN CONVERSATION WITH TSANG CHUI MEI On Her Personal Journey And Evolution As An Abstractionist “For me, the transition into abstracts began in the 2000s, when my works with textured brushwork intertwined with daily objects such as tiny chairs, a suspended window or plants to create imaginary scenes. I would describe my style as a hybrid of western surrealist and abstract expressionism that appropriates the visual language of “free-style” Chinese painting. Colours, lines, perspective and composition constitute for my forces capable of projecting emotions. My works speak often of a psychological intensity. The awareness of the transience in a fast-paced life makes things, whether material or mental, fragmentary.”

On Cross-Cultural Influences On Abstract Art “Abstract painting is a ‘Western’ concept in the context of Western art history.

But abstraction is a distinctive characteristic in freehand Chinese ink paintings where details are generally ignored. I feel that Contemporary Abstract art should be appreciated from a viewpoint devoid of geographical or cultural tethering.“ On Gender And Its Influence On Abstract Art “In my view, female artists approach abstraction in a different manner than their male counterparts. For example, Agnes Martin (1912 – 2004) created serene paintings composed of grids and stripes pared down to the most reductive elements to encourage a perception of perfection and to emphasize transcendent reality. One could feel a feminine sensibility in between her structural works.

However, I prefer to take an approach like Helen Frankenthaler (1928 – 2011), an American abstract expressionist female painter who stated: “For me, being a ‘lady painter’ was never an issue. I don’t resent being a female painter. I don’t exploit it. I paint.”

On Themes “My current works contain partial abstraction. Forms are still evident as many white lines and small patches represent the images of glass shards/ icicles, or debris scattered around. The forms of these lines bring “impulse” onto the canvas to conjure up a sense of space and rhythm. The repetition of these patches in random arrangements creates a kind of visual beat that captures a sense of movement and represents the dynamic forces in nature. There are symbolic associations e.g. like the wind blowing, sunlight sparkling in the sky and so on. It is a kind of imagery, not totally abstract which sometimes reflects extreme climatic conditions in vast, abandoned areas or scenes of explosion, erosion and melting representing destruction and decline.”

On The Future “My work develops and evolves over time... Hopefully it can speak for itself and express whatever it says to the viewer. In my current works, motif is the scene and it’s the recurring theme. It is the imaginative scene as a metaphor, full of fragmentary memories and fantasies. I will explore and research, interpret more about my belief in the balance between human existence and life, a realm of true-heartedness and sincerity from which one can emerge as a one with independent self-hood.”

I have been positioning my work as genderless, I have been seeking and eager to visualize a “correct balance” in my works. As I believe the importance of harmonizing opposite energies, which is inspired by the concept of positive and negative space and the principle of Yin and Yang.”

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與曾翠薇對話 關於她作為抽象主義者的個人旅程與演變 「對我來說，邁向抽象的過渡始於2000年期間。當時我的紋理筆觸作品與日常物件交織在一起， 例如小椅子，懸吊的窗戶或植物，以創造虛構的場景。我將自己的風格形容為中國寫意畫中的視 覺語言，西方超現實主義和抽象表現主義的混合體。顏色、線條，視角和構圖形成了我表達情感 的力量。我的作品經常談到一種心理強度。在快節奏的生活中，瞬態的意識使事物零碎，無論是 物質上還是精神上。」

關於主題 「我目前的作品包含部分抽象。因爲許多代表玻璃碎片/冰柱或碎屑圖像的白線和小塊散落在畫布上 面，所以形態仍然很明顯。這些線條的形態將一股推動力帶入畫面以喚起空間感和節奏感。隨機排 列而重複的碎片營造出一種捕捉生動効果並代表自然中動力的視覺節拍。也有象徵式的聯繫，如風 吹拂、太陽在天空閃閃發光等。這是一種不完全抽象的意象， 有時反映出廣闊無人地區的極端氣候 或代表破壞和衰落的爆炸、侵蝕和融化的場景。」

關於跨文化對抽象藝術的影響 「抽象繪畫在西方藝術史的上是『西方』的概念。但抽象是中國寫意畫中一個顯著特點，即通常 忽略細節。我覺得欣賞當代抽象藝術應該撇除地理或文化的束縛。」

關於未來 「我的作品會隨著時間發展和演變……希望它能為自己說話，並向觀眾表達任何它所表達的。在我 現在的作品中，場景是重複出現的主題。這是一個作爲比喻又富有想像力的場景，充滿了零碎的記 憶和幻想。我會探索、研究和詮釋更多我對人類生存與生活之間的平衡，對人們可以在一個真心誠 意的領域成為一個獨立自我的人的信念。」

關於性別和其對抽象藝術的影響 「我覺得女性藝術家以不同於男性藝術家所採取的方式對待抽象。例如，艾格尼絲•馬丁（19122004）創作由格子和條紋，到簡化到最少的元素組成的寧靜的畫作來以鼓勵人們對完美的感知和 強調超然現實。人們可以感覺到她作品結構之間的女性觸覺 。但我更喜歡美國抽象表現主義女畫 家海倫•弗蘭肯塔勒（ 1928-2011年）的方法，她曾說：「對我來說，成為女畫家從來不是問題。 我不討厭當女畫家。我更不會利用這個角色。我只會畫畫。」 我一直定位我的作品為無性別，並一直尋求和渴望可形象化我的作品爲「正確的平衡」。受到正 負空間概念以及陰陽觀念的啟發，我相信協調相反能量的重要性。」

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ARTWORKS TINA BUCHHOLTZ

Sky And Earth Bowl 天地碗

pigments and glass on canvas 50 x 50cm 2019

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Purple Bowl 紫碗

pigments and glass on canvas 50 x 50cm 2019

Green Bowl 綠色碗

pigments and glass on canvas 50 x 50cm 2019

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Close-up Detail 特寫細節

Starlight Bowl 星光碗

pigments and glass on canvas 50 x 50cm 2019

Heritage Bowl 文物碗

pigments and glass on canvas 50 x 50cm 2019

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Close-up Detail 特寫細節

Golden Sunset Bowl 金色夕陽碗 pigments and glass on canvas 50 x 50cm 2019

Landscapes Of Light 光之風景 pigments and glass on canvas 50 x 50cm 2019

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ARTWORKS TSANG CHUI MEI

Burn (1) 炙(一)

acrylic on canvas 40.5 x 30cm 2019

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Close-up Detail 特寫細節

Burn (2) 炙(二)

acrylic on canvas 30 x 40.5cm 2019

Close-up Detail 特寫細節

In The Deep Silence 悄冥冥 acrylic on canvas 122 × 183cm 2017

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Heavenly Dryness 天乾物燥 acrylic on canvas 122 x 180cm 2018

We’re Three 仨

acrylic on canvas 30 x 61cm 2019

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We’re Two 倆

acrylic on canvas 30 x 61cm 2019

Sultry 燠

acrylic on canvas 48 x 60cm 2019

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Roaring 吼

acrylic on canvas 61 x 122cm 2018

Stabbing 刺

acrylic on canvas 61 x 122cm 2018

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EXHIBITIONS

TINA BUCHHOLTZ Born in 1963, Berlin, Germany Currently lives and works in Berlin, Germany EDUCATION 2016 Member of German Database ‘Art in Public Spaces’ 2007 Member of the GEDOK 2006 Member of the Association of Fine Artists 1981 School-leaving examinations, main subject Art

2020 ‘Her Song: Abstract Compositions By Tina Buchholtz and Tsang Chui Mei’, Karin Weber Gallery, Hong Kong 2019 ‘20/20’, Karin Weber Gallery Anniversary Exhibition, HK ‘Hideaways’, Galerie Art Center Berlin, Germany ‘Wintersalon 2019/2020’, Galerie Kristine Hamann, Germany Museum Villa Rot, Burgrieden, Germany 2018 ‘Wind Of Change’, Art Center Berlin, Germany 2017 ‘Light and Shadow,’ Galerie zet, Czech Republic ‘Sleeping Giants,’ Art Center Berlin, Germany Art Fair Villa Rot, Burgrieden, Germany 2016 Art Nanjing, China ‘Shifting Surfaces’, Karin Weber Gallery, HK Affordable Art Fair Hamburg, Germany 2015 ‘Concealed Spaces,’ Karin Weber Gallery, HK Affordable Art Fair, Hamburg, Germany Art Center Berlin dat Galerie, Berlin, Germany Galerie Lendelhaus, Werder, Germany Art Canton 2015, 6th Canton International Art and Collection Fair, Guangzhou, China Art Fair Kölner Liste, Cologne, Germany 2014 Art Center Berlin ‘A Trove of Small Treasures’, Karin Weber Gallery, HK

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2013 ‘From Coast to Coast’, Karin Weber Gallery, HK Royal College of Arts London, One Day Exhibition Shooting Star Chase, London, UK Art Center Berlin Albemarle Collective, Albemarle Gallery, London, UK ‘Light Revealed’, Karin Weber Gallery, HK Art exhibition at UNITY, Berlin-Mitte, Germany 2012 ‘New Works’, Art Seefeld Gallery, Zurich, Switzerland ‘KunsTraeume’, Frankfurt, Germany Albemarle Gallery, London/Mayfair, London, UK ‘Licht und Schaffen’, Hennigsdorf, Berlin, Germany ‘ARTSeefeld Review 2012’, Art Seefeld Galley, Zurich, Switzerland ‘Light Revealed’, Karin Weber Gallery, HK 2011 ‘Untold Stories’, Gallery Gallerati, Rome, Italy Gallery Apolloneun, Hamburg, Germany 2010 ‘Between The Lines’, Karin Weber Gallery, HK ‘Berlin Air’, Karin Weber Gallery, HK ‘Review’, Art Seefeld, Zurich, Switzerland 2009 Art Expo India, Mumbai, India ‘Defining Urban Life’, Karin Weber Gallery, HK ‘Good Times, Bad Times’, Karin Weber Gallery, HK Art Seefeld Galley, Zurich, Switzerland ‘Innehalten’, Gallery Frenhofer, Berlin, Germany Art Center, Berlin Gallery Helmut Junger, Berlin, Germany Green-Wood Gallery, Melbourne, Australia 2008 Galleria Gallerati, Rome, Italy Grand Art Exhibition Villa Kobe, Halle, Germany see301 / Art Seefeld, Zurich, Switzerland Das Verborgene Museum, Berlin, Germany Art Center Berlin Keystyle Gallery, Berlin MIC Private Clinic Art & Management Berlin

2007 Verborgenes Museum, Berlin, Germany Art Center Berlin Keystyle Gallery, Berlin, Germany MIC Private Clinic Hardenberg Concept, Event agency of Isa, Countess of Hardenberg Art & Management Berlin Gallery Helmut Junger, Berlin, Germany AWARDS/DISTINCTIONS 2000 Tempelhof Art Prize, Berlin, Germany 1991 Second place, Berlin für Olympia, Germany COLLECTIONS (SELECTED) German Parliament Art Collection SimbaDickie Group, Dubai SAP, Walldorf, Germany Hasso-Plattner-Institute, Potsdam, Germany Hasso-Plattner-Foundation André Heller Art Collection, Austria ECOLAB Inc., Zurich, Switzerland MIC Private Clinic Bertelsmann AG Inline GmbH Berlin, Germany Private collections (USA, Japan, China, Hong Kong, Switzerland, Italy, Dubai, Shanghai, Austria and many others)

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TINA BUCHHOLTZ 1963 年生於德國 現生活並工作於德國

學歷 2016 德國Database ‘Art in Public Spaces’ 成員 2007 傳統著名藝術家協會 GEDOK成員 2006 藝術家協會成員，德國柏林 1981 離校考試，主修藝術

展覽（部份） 2020 「她的歌: 抽像構造」，香港凱倫偉伯畫廊 2019 「20/20」，香港凱倫偉伯畫廊周年紀念展覽 「Hideaways」，德國柏林Galerie Art Center 「Wintersalon 2019/2020」，德國Galerie Kristine Hamann 德國布爾格里登Museum Villa Rot 2018 「Wind Of Change」，德國柏林Art Center 2017 「Light and Shadow」，捷克共和國Zet畫廊 「Sleeping Giants」，德國柏林Art Center 德國Art Fair Villa Rot 2016 中國Art Nanjing 「Shifting Surfaces」，香港凱倫偉伯畫廊 德國漢堡Affordable Art Fair 2015 「隱蔽空間」，香港凱倫偉伯畫廊 德國漢堡Affordable Art Fair 德國柏林藝術中心 德國柏林dat畫廊 2015藝術廣東，中國廣洲 第六屆藝術廣東國際收藏品及藝術品博覽會 德國科隆Kölner Liste 藝術博覽

2014 德國柏林藝術中心 「小寶庫」，香港凱倫偉伯畫廊 2013 「From Coast to Coast」，香港凱倫偉伯畫廊 Shooting Star Chase展覽，英國皇家藝術學院，英國倫敦 德國柏林藝術中心 Albemarle Collective，Albemarle 畫廊，英國倫敦梅費爾 UNITY藝術展，德國柏林米特 2012 「New Works」，瑞士蘇黎世Art Seefeld畫廊 「KunsTraeume」，德國法蘭克福 Albemarle畫廊，英國倫敦梅費爾 「Light and Create」，德國柏林黑尼格斯多夫 「2012 ARTSeefeld 回顧」，瑞士蘇黎世Art Seefeld畫廊 「Light Revealed」，香港凱倫偉伯畫廊 2011 「Untold Stories」，意大利羅馬畫廊 德國漢堡Apolloneun 畫廊 2010 「Between The Lines」，香港凱倫偉伯畫廊 「Berlin Air」，香港凱倫偉伯畫廊 「Review」，瑞士蘇黎世Art Seefeld 2009 印度藝術博覽會，印度孟買 「Defining Urban Life」，香港凱倫偉伯畫廊 「Good Times, Bad Times」，香港凱倫偉伯畫廊 瑞士蘇黎世Art Seefeld畫廊 「Innehalten」，德國柏林Frenhofer畫廊 德國柏林藝術中心 德國柏林Helmut Junger畫廊 澳洲墨爾本Green-Wood畫廊 2008 意大利羅馬Gallerati畫廊 德國哈雷Grand Art Exhibition Villa Kobe 瑞士蘇黎世see301 / Art Seefeld 德國柏林Das Verborgene博物館 德國柏林藝術中心 德國柏林Keystyle畫廊 MIC私人診所 德國柏林Art & Management Berlin

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2007 德國柏林Verborgenes博物館 德國柏林藝術中心 德國柏林Keystyle畫廊 MIC私人診所 荷蘭哈登貝赫Hardenberg Concept 德國柏林Art & Management Berlin 德國柏林Helmut Junger畫廊 2006 德國柏林藝術中心 德國柏林meisterschueler畫廊 德國柏林Helmut Junger畫廊 荷蘭哈登貝赫Hardenberg Concept 2005 德國柏林Berlin Capital Club 2004 德意志銀行柏林中央辧工室 2002 「Berlin’s Largest Studio」，德國柏林Postbahnhof展覽中心 2000/2002 德國柏林Meyer畫廊 2000 德國柏林滕珀爾霍夫大會堂 1999 德國柏林Meyer畫廊 1998 德國柏林Dresdener銀行，滕珀爾霍夫 德國Reichenow Castle酒店

獎項 2000 德國柏林Tempelhof Art Prize 1991 Berlin für Olympia設計比賽亞軍

收藏（部份） 德國國會藝術收藏 仙霸集圑，杜拜 SAP，貴賓休息室，德國沃爾多夫 哈索•普拉特纳研究院，德國波茨坦 哈索•普拉特纳基金會 安德烈•海勒（Andre Heller）藝術收藏，奥地利 藝康集團，瑞士蘇黎世 MIC私人診所 貝塔斯曼集團（為Liz Mohn的柏林菩提樹下大街辦工室創作委託作品） Inline GmbH Berlin，德國柏林 私人收藏（美國，日本，中國，香港，瑞士，意大利，迪拜，上海，奧地利）

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SOLO EXHIBITIONS

TSANG CHUI MEI Born in 1972, Hong Kong Currently lives and works in HK EDUCATION 2004 Fine Arts Department (Master of Fine Arts), The Chinese University of Hong Kong 1996 Fine Arts Department (Bachelor of Arts), The Chinese University of Hong Kong

2015 ‘Some Landscapes’, Grotto Fine Art, HK 2013 ‘Hong Kong meets Istanbul: Tsang Chui Mei’s Fairytale’, International Izmir Biennial of Arts, Izmir, Turkey 2012 ‘An Empty Stage’, Grotto Fine Art, HK 2007 ‘The Journey of Spirit – Painting by Tsang Chui Mei’, 140sqm, Shanghai, China 2006 ‘The Seven Emotions: The Variations of Scene Paintings by Tsang Chui Mei’, Fringe Club, HK 2005 ‘Time and Consequence: Artist-in-Residence Program’, Graduate House, University of Hong Kong, HK 1998 ‘Transporting Mindscapes – paintings by Tsang Chui-mei’, Fringe Club, HK

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SELECTED GROUP EXHIBITIONS 2020 ‘‘Her Song: Abstract Compositions By Tina Buchholtz and Tsang Chui Mei’, Karin Weber Gallery, HK 2019 ‘20/20’, Karin Weber Gallery Anniversary Exhibition, HK ‘Under • Line, Rotterdam edition’, Wolfart Projectspace, Rotterdam, Netherlands ‘Under • Line | Second Destination at The Hague’, Quartair Contemporary Art Initiatives, The Hague, Netherlands ‘By The Window’, 1a space, HK 2018 ‘The Other Story’, Karin Weber Gallery, HK ‘Under-Line - an Exhibition in Search for Veins and Fringes’, Art and Culture Outreach 6/F Gallery, HK ‘Ink as an Exercise in Contemporary Art II’. a.m.space, HK 2017 ‘Ink Dynamics’, KC100, HK 2016 ‘Nurturing Creativity – Works by 35 artists from The Chinese University of Hong Kong’, The Rotunda, Exchange Square, HK ‘Asia Art Archive (AAA) Annual Fundraiser 2016’, Christie’s Hong Kong, The James Christie Room, HK ‘Lines of Flight’, Gallery Exit, HK 2015 ’Purple: Women of Mankind’, One East Asia, Singapore 2014 ‘/sic sic/ : Vivian Poon & Tsang Chui-mei’, Mur Nomade, HK 2013 ‘Painting On and On (2) – Automatic Banana’, Gallery Exit, HK ‘The Imperfect Circle’, Osage Kwun Tong, HK ‘A Game of Consequences – A program part of Le French May 2013’, Osage Atelier, HK 2012 ‘Hong Kong Invisible’, Schoeni Gallery, HK 2009 ‘Dwelling’, Osage Kwun Tong, HK 2008 ‘Hong Kong Unveiled – Contemporary Art in the SAR’, Atting House, HK ‘Lala-Land, a group exhibition with Lee Kit, Tsang Chui Mei and Cornelia Erdmann’.

Blue Lotus Gallery, HK

2007 ‘The Pivotal Decade: Hong Kong Art 1997-2007’, Chinese Art Centre, Manchester, UK ‘VISAGE’, summer exhibition 2007, O Gallery, Beijing, China 2006 ‘The Inner, Outer Sphere – Works from Eight Hong Kong Artists’, KX, Hamburg, Germany MoCA Envisage ‘Entry Gate: Chinese Aesthetics of Heterogeneity’, MoCA. Shanghai, China 2004 ‘Mapping Asia’ – 18th Asia International Art Exhibition (AIAE), Hong Kong Heritage Museum, HK 2003 ‘Corner of Dialogue – You Paint, I Paint’, 1a Space, HK 2002 The 17th Asian International Art Exhibition of the Federation of Asian Artists, Daejeon Municipal Museum of Art, South Korea 1998 Contemporary Hong Kong Art Biennial Exhibition. Hong Kong Museum of Art, HK AWARDS 2005 Philippe Charriol Foundation 20th Anniversary Competition 1998 Hong Kong Urban Council Fine Arts Award (Painting) Residency 2015 Cité Internationale des Arts, Paris, France Collections Hong Kong Museum of Art Fringe Club Philippe Charriol Foundation Hotel ICON Hotel Stage

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曾翠薇 1972年生於香港 現生活並工作於香港

學歷 2004 香港中文大學藝術系藝術碩士 1996 香港中文大學藝術系文學士

個展 2015 「有些山有些景」，香港嘉圖畫廊 2013 「Hong Kong meets Istanbul: Tsang Chui Mei’s Fairytale」， 土耳其International Izmir Biennial of Arts 2012 「景無物」，香港嘉圖畫廊 2007 「魂遊 - 曾翠薇繪畫展」，上海140平方米畫廊 2006 「七情上面：場景變奏 - 曾翠薇繪畫展」，香港藝穗會 2005 「時與果」，香港香港大學賽馬會大樓 1998 「場景遷想 - 曾翠薇繪畫展」，香港藝穗會

聯展（擇錄） 2020 「她的歌: 抽像構造」，香港凱倫偉伯畫廊 2019 「20/20」，香港凱倫偉伯畫廊周年紀念展覽 「等待景至」，香港1a空間 2018 「知其二」，香港凱倫偉伯畫廊 「Under．Line - 曾翠薇x羅琛堡x何晉暐x李雪盈x馮程程/李慈湄」 ，香港艺鵠藝術空間 「墨色作為一種當代藝術的練習II」，香港a.m. space 2017 「墨動」，香港KC100藝術空間 2016 「創意培育」，香港中文大學文物館館友會 及 香港交易廣場中央大廳 亞洲藝術文獻庫2016周年籌款拍賣，香港佳士得中環畫廊 「逃逸線」，香港安全口畫廊 2015 「Purple: Women of Mankind」，新加坡One East Asia 2014 「『色色』：潘蔚然與曾翠薇作品展」，香港Mur Nomade畫廊 2013 「瘋景」，香港安全口畫廊 「圓未圓」，香港奧沙觀塘 「繪畫合併本 - 法國五月」，香港奧沙觀塘 2012 「香港再發現」，香港少勵畫廊 2009 「斗室」，香港奧沙觀塘 2008 「再發現 - 香港當代藝術」，香港安亭拍賣有限公司 「Lala-Land - 李傑、曾翠薇、泥人」，香港Blue Lotus Gallery 2007 「面值十歲 - 香港藝術 1997-2007」，英國曼徹斯特華人藝術中心 「『VISAGE』奧美零空間夏天展2007」，北京 2006 「球內 - 球外 - 香港八位藝術家的作品」，德國漢堡KX.畫廊 「入境：中國美學 - 上海當代藝術館文獻展」，上海中國上海當代藝術館 2004 「亞洲拼圖 - 第十八屆亞洲國際美術展覽會」，香港文化博物館 2003 「牆角落 - 兩個畫家，兩種態度」，香港1a空間 2002 「第17屆亞洲國際美展」，韓國大田市立美術館 1998 「當代香港藝術雙年展1998」，香港藝術館

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獎項 2005 夏利豪基金會二十週年藝術比賽冠軍 1998 香港市政局藝術獎（繪畫）

駐留計劃 2015 「Cité Internationale des Arts」法國巴黎三個月駐留計劃

收藏 香港藝術館 藝穗會 夏利豪基金會 香港唯港薈 香港登臺酒店

KARIN WEBER GALLERY 凱倫偉伯畫廊 Established in 1999 by German-born Karin Weber and now in its 21st 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.

As unique network of partners based in London, Mumbai and Berlin allows us to source emerging and established contemporary art from around the world. We are 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 21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。 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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Back cover image TSANG CHUI MEI

In The Deep Silence

acrylic on canvas , 122 × 183cm, 2017

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 © 2020 Karin Weber Gallery All Rights Are Reserved