4th NOV/ 31ST DEC
TRIPLE DOMES Works by Huang Zhe, Hong Dan & Yang Fang Tao Curated by Peng Jie 4 November - 31 December, 2016
‘Triple Domes’: Following the Artists’ Gaze Peng Jie resemble the electromagnetic and gravitational reactions between particles in the cosmos. The dazzling dawn of the image and its spectrum is one that is addictive and mesmerizing, and reminiscent of our fascination with the contemporary cityscape. To gaze at something is also a process of filtering. With the vast amounts of information bombarding us - be it images or incidents – every attempt to decode the meanings of ‘things’ is destined to disappear in eternal uncertainty and temporal distance.
In a philosophical chronology, only time can perpetuate the truth. We stand within the confine of an illuminated cube, under the sheltering presence of the heavenly dome above, experiencing the world as an illusion, and the endless reincarnation of its substances. A dome is the boundary between celestial bodies, We live and thrive under the all-encompassing dome surrounding our earth. A dome is also the psychological boundary of our multiple consciousnesses. Our different experiences of time and moments in memory, our different reactions to knowledge, and motivations for our actions, these are manifestations of our own, individualised domes. With the artists’ personalities permeating into their domes and magnifying the stream of time and moments of memory, images and signifiers cease to be dialectics. They transcend the cognitive boundaries between ‘things,’ scaling previously unknown heights. By skilfully combining painting and laser materials, Huang Zhe presents how multi-dimensional diffusion would appear when the spectrum of light is dissolved. On the laser material surface covering the canvas, a variety of spectra emanate from different points of reflection to 2
Hong Dan’s textual paintings are more narrative than illustrative. From a poetically archaeological perspective, he unearths the lively metaphors behind the old and the incomplete. Decay of the surface reveals the inner fabric of things, just as our perception is at its sharpest when it is not bounded by the sensorial. The interplay between materials and presentations give rise to a distinctive form of record reminiscent of the mutation, capturing the lives and thoughts of time past and present, the variation and manifestation of textures and colors. A thoughtful aftertaste of the images, the void left behind by the ink, the staccato of utterance and the rhythm of solitude and restive touches, all speak of the artist’s taste in rendering a beautiful mindscape. Yang Fang Tao’s works on paper are as agile as drones in capturing scenes, the changing of subject and scenes are seamlessly matched. Through the vast expanse of a mountain valley or narrow alleyways, artificial cityscape or natural landscape, the solitary boy in blue tirelessly runs, gazes upward and circles among maze-like paths in search of a secret passage to his own self under the dome of heaven. The perfect combination of watercolour and ink on canvas feels like warmth breaths from afar that are instantly surrounded by the crystal clear atmosphere, returning our gazes in a solitary still frame. 3
三重穹—關於藝術家的凝視之物 彭捷
在哲學時間中，唯有時間綿延真實。人在光的立方體中佇 立，地球天體以穹籠罩上方，感受世界幻象與物質的無盡循 環。穹的涵義，既指天體物理上的隔閡界分，人在地球立方 體無盡的穹下繁衍生息。又可指人自身多重意識下的心理狀 態的隔膜呼應，每個人對於時間和記憶瞬間的不同反應，每 個人在人格智識及動機行為的差異，都可看作是自己的一重 獨立穹體。而當藝術家的個體屬性參與其中，並放大到各自 綿延時間與瞬間記憶本身，圖像和一切表征的東西在穹體裏 終結凝視，物的體系已不復存在，一種未曾到達的邊界。
羊芳濤的紙本作品，如同無人機的鏡頭般靈活自若，主角個 體與場境轉換的關系如影隨形。無論是開闊山川還是狹密巷 陌，人造景觀還是自然原態，那個身著連體藍衣的靜默男 孩，不知疲憊地在穹頂之下奔跑、仰望、回旋，棋盤分叉變 化的路徑中如何尋回自身的秘密歸途。畫面水彩和墨韻的精 細銜接融繪，像來自遠方的股股暖流，又即時被清冽的空氣 所包裹，在孤單靜止的定格中折返於凝視。
黃喆通過材料與繪畫相結合，呈現光譜消解後的多維散射效 果。作品底層覆蓋的鐳射材料表面上，不同的光折射點產生 的光譜，類同宇宙萬物粒子間電磁、引力等的相互作用，在 註視中散發圖像與光譜的炫目光暈，一種特別的迷戀和眩暈 狀態，接近當下社會景觀的某種交流迷狂。凝視亦等於濾 鏡，面對洶湧的圖像信息和事件感知通道，一切物的意義上 的描繪，最終消解於永恒的不確定性和時間距離感。 洪丹的文本繪畫，圖示性退避於書寫性，以一種詩意的考古 學視角，挖掘出古舊殘缺的物象背後生活化的隱喻。萬物褪 去表皮而露出內在肌理，人的感知觸覺在出竅狀態下顯靈。 變形記般的獨特記錄，多種材質手法交替使用，如同日記或 冊頁記錄彼刻此時的呼吸和默想，不同的色感與質感呈現。 物的出神暗影，墨的透氣留白，言無盡而言又止，冷寂和歇 息之間的筆觸律動，顯示出藝術家潛心造境的品味意趣。
4
5
HUANG ZHE
Carl Sagan’s Footsteps Series
Gravitation Series
In accordance with Carl Sagan’s (American astroscientist, 1934-96) thinking, all occurrences in the universe can be explained in a way that is comprehensible to all. When looking up into space, one can easily conceive the minuteness of the self, and the infinite loop of physical existence. At that point, celestial bodies barely differ from the microscopic particles which constitute the material universe. Even the earth becomes the “pale blue dot” described by Sagan. 1
Behind each dazzlingly luminous work, a study of materials and their condition can be found. Calmness and turmoil exist side by side. What may appear exquisite on the surface may constitute an illusion. This also illustrates the emotional attachment between human beings and things
The subject of a painting can be expressed in particle form via a combination of medium and painting. Dots and lines intersect to resemble electromagnetic and gravitational forces amongst particles. Combined with the scattering effects of the spectrum, each work resembles ‘nothingness.’
As Jean Baudrillard (French sociologist and philosopher, 1929-2007), observed, there is a hyperreality that is created as society slowly gives way to an excess of information and communication. When the world around us becomes too conspicuous, its absurdity becomes bewildering. My experience of the present is better expressed by ‘gaze’. A spectrum makes the depiction of meaning redundant.
‘Pale Blue Dot: A Vision of the Human Future in Space’, Carl Sagan, 1997.
1
6
7
HUANG ZHE
《卡爾．薩根的腳步》系列
《萬有隱力》系列
基於卡爾．薩根的研究態度，宇宙間所有發生的事都可以用 每個人都能理解的方式來解釋。仰望太空，感受渺小與物質 的無盡循環。宇宙天體與構成物質世界的微觀粒子相似。地 球也成為了薩根書中的“暗淡藍點”。
炫目、散發光暈的作品背後，有著對物像與狀態的考量。喧 囂卻更平靜；隱秘而又躁動。想要捕捉，看似斑斕卻有時如 泡沫般當下生活圖景背後那份對人與事執著的情感。如波德 裏亞所指，存在著一種特別的迷戀和眩暈狀態，社會景觀正 逐步被侵蝕,暴露於信息和通訊的無情燈光下。一種眩暈狀 態，一切太過可見，即陷入了交流的迷狂。終結凝視的概念 也是我感受的當下，終結凝視圖像和一切表征的東西。利用 材料與繪畫結合,意義上的描繪被光譜消解。一切開始於物， 但物的體系已不復存在。
通過材料與繪畫結合，把描繪的事物粒子化。點線的鋪疊反 復如同粒子間電磁、引力等的相互作用，協同材料的光譜散 射效果，呈現出“無“的狀態與精神性的隱喻。
8
9
Cryptic Gravity Series No.6 mixed media 140 x 196 cm 2015
Carl Sagan’s Footsteps Series No.3 mixed media 90 x 60 cm 2016
《萬有隱力》系列No.6 綜合材料 140 x 196 厘米 2015
《卡爾．薩根的腳步》系列No.3 綜合材料 90 x 60 厘米 2016
10
11
Cryptic Gravity Series No.3 mixed media 85 x 60 cm 2015
Photo Album mixed media 40.5 x 50 cm 2015
《萬有隱力》系列No.3 綜合材料 85 x 60 厘米 2015
相簿 綜合材料 40.5 x 50 厘米 2015
12
13
Plant mixed media 22.5 x 14 cm 2015 植物 綜合材料 22.5 x 14 厘米 2015 14
15
HONG DAN
In my world, when painting, one should abandon the earthly significance of concreteness. Even simple brushstrokes can make sense. Memory and imagination cannot always be replaced by concrete objects. Sometimes, in order to overcome this predicament, you have to make choices. Follow the heart and let go. The brush will find its own path.
16
對我來說繪畫「就是需要拋棄世俗意義上的像與不像，甚至只 取幾筆冷寂即可。記憶或是聯想都不盡其意能找到具象的東西 替代，要擺脫這種無力，有時就要放棄選擇。追隨心中浮沉一 刻的思緒，讓那一刻喘息定格，讓筆觸尋找到軌跡。」
17
White Object mixed media on canvas 25 x 25 cm 2010
Memory No.4 (upper) mixed media on paper 27 x 38 cm 2016
Memory No.6 (lower) mixed media on paper 27 x 38 cm 2016
白色物體 綜合布面 25 x 25 厘米 2010
記憶04 (上圖) 綜合紙本 27 x 38 厘米 2016
記憶06 (下圖) 綜合紙本 27 x 38 厘米 2016
18
19
Memory No.7 (upper) mixed media on paper 27 x 38 cm 2016
Memory No.8 (lower) mixed media on paper 25 x 38 cm 2016
記憶07 (上圖) 綜合紙本 27 x 38 厘米 2016
記憶08 (下圖) 綜合紙本 25 x 38 厘米 2016
20
21
YANG FANG TAO
Landscape Series is an extension of my previous Moyton Series. Most of Moyton did not consider the environment in which my subjects are situated, which spurred me to explore the relationship between those figures, people in real life and their environment. Landscape Series, emphasizes the emotions that are present in specific scenes. A place is needed for human beings to exist. It might be private or public, natural, or artificial, real or perceived. In anything they do, people will form a relationship with the space they are in. Simultaneously, the way people exist in a place will equally shape how the place influences them.
22
《風景系列》是我之前的作品Moyton系列的一個延伸， Moyton系列大多數沒有交代人物所處的環境， 這促使我開始思考作品中的人物， 甚至現實中的“人”與周圍環境的關系， 所以風景系列更側重於場景所體現的情緒。 人存在於世界，需要有一個場所作為基礎， 這個場所或許是私密的， 或許是開放的， 或許是天然的， 或許是人造的， 總之，它可以被感知，有一定的容量。 人在這個場所中做什麽，或者不做什麽； 路過，或者自始至終的存在，都會和場所產生關系。 人以什麽樣的方式處於場所中， 場所會以相應的方式影響於人。
23
The Curved Horizon watercolour on paper 26 x 37 cm 2013
Going Downhill Is A Delight watercolour on paper 56 x 76 cm 2015
弧形地平線 紙本水彩 26 x 37 厘米 2013
往下坡路跑是件很爽的事 紙本水彩 56 x 76 厘米 2015
24
25
Landscape No.10 mixed media on paper 52 x 77 cm 2015
Landscape No.28 mixed media on paper 64 x 80 cm 2016
風景-編號10 綜合紙本 52 x 77 厘米 2015
風景-編號28 綜合紙本 64 x 80 厘米 2016
26
27
Landscape No.32 mixed media on paper 60 x 90 cm 2016
Landscape No.33 mixed media on paper 46 x 60 cm 2016
風景-編號32 綜合紙本 60 x 90 厘米 2016
風景-編號33 綜合紙本 46 x 60 厘米 2016
28
29
Landscape No.35 mixed media on paper 60 x 100 cm 2016 風景-編號35 綜合紙本 60 x 100 厘米 2016 30
31
hUANG ZHE
Selected Exhibitions
2016 ‘Triple Domes’, Karin Weber Gallery, Hong Kong ‘Horizon And 8HZ’, Kè Fáng Art Space, Shanghai 2015 ‘Ocean Art Exhibition’, Shanghai 21st Century Minsheng Art Museum, Shanghai ‘Modern Times’, Big Space, Shanghai ‘The Opening of Lingang Contemporary Art Museum’, Lingang Contemporary Art Museum, Shanghai Born in Shanghai 1984
2014 ‘To Be Continued’, Dongchang Cinema, Shanghai
EDUCATION 2010 Master of Fine Arts, Major in Sculpture, China Academy of Art 2007 Bachelor of Arts, Major in Sculpture, The Fine Art College of Shanghai University Artist Residency, Cite International Des Arte, Paris
32
2012 ‘Noblesse’ Five Years Retrospective of “Creative M50”, M Art Space, Shanghai ‘Youthing8090‘ Young Artists Group Show, Ninbo Museum of Art, Ningbo ‘Lao Wai’, KRAINE GALLERY, New York ‘ ”John Moores” New Painting Competition Exhibition’, SPSI Art Museum, Shanghai
33
awards
2009 First Prize of CREATIVE M50 Competition
Collections
2007 Sculpture titled “The Morning Rhythm Of Shanghai” was collected by UBS 2005 Sculpture titled “Challenge Yourself” was collected by the senior designer Zhitian Liang 2002 Sculpture titled “The Portrait Of Old Lady” was collected by The Fine Art College of Shanghai University
34
35
黃喆
展覽
1984 年上海出生
2016
學歷 2010 中國美術學院雕塑系碩士 2007 上海大學美術學院雕塑系學士 法國國際藝術交流中心駐地藝術家
「三重穹」，香港凱倫偉伯畫廊 「穹界與8Hz」，上海Kè Fáng Art Space 2015 「憶．尚海」海洋藝術展，上海21世紀民生美術館 「摩登時代」，上海Big Space 「臨港當代美術館開館展」，上海臨港當代美術館 2014 「未完待續」東昌電影院藝術計劃，上海浦東東昌電影院 2012 「望」Creative M50創意新銳評選五年回顧展，上海M藝術空間 「我們的獻禮」8090浙江當代青年美術大展，寧波美術館 「老外．FOREIGNER」青年藝術家邀請展，紐約KRAINE GALLERY 「英國約翰莫爾繪畫比賽入圍展」，上海油畫雕塑院美術館
36
37
獎項 2009 「評委會大獎」CREATIVE M50 2009年度創意新銳評選
收藏 2007 雕塑《上海晨曲》被瑞士銀行收藏 2005 雕塑《挑戰自己》被香港著名設計師梁誌天先生收藏 2002 雕塑《老婦頭像》被上大美術學院雕塑系收藏
38
39
hong dan
Selected Exhibitions
2016 ‘Triple Domes’, Karin Weber Gallery, Hong Kong ‘‘HONGDAN’ Solo Exhibition, Van Art Space, Hang Zhou, China ‘Annals of Floating Island’, Hanart TZ Gallery, Hong Kong
Born in Pujiang, Zhejiang 1982 EDUCATION 2014 Master of Fine Arts, The Fifth Studio of the Department of Oil Painting, The China Academy of Art 2004 Bachelor of Arts, Major in Oil Painting, Academy of Fine Arts of Zhejiang Normal University
40
41
洪丹
展覽
1982 年浙江浦江出生
2016
學歷 2014 中國美術學院油畫系第五工作室碩士
「三重穹」，香港凱倫偉伯畫廊 「洪丹」個展，中國杭州梵耘藝術空間 「浮島誌」當代藝術展，香港漢雅軒
2004 浙江師範大學美術學院油畫專業學士
42
43
Yang Fang Tao
Selected Exhibitions
2016 ‘Triple Domes’, Karin Weber Gallery, Hong Kong ‘Place Never Reached’ Exhibition by Fitlea Yang, Guangzhou, China 2015 ‘Micro-universe’ Group Exhibition, Guangzhou, China 2014 ‘Moy with you’ Exhibition of Illustration Works, Guangzhou, China Born in Shantou, Guangdong 1985 2012 EDUCATION 2008 Bachelor of Arts, Major in Printmaking, Guangzhou Academy of Fine Arts
‘WE’ Exhibition of Cicinnus X Artits, Guangzhou, China 2011 ‘Do You Remember?’ Solo Exhibition of Illustration, Guangzhou, China 2010 ‘Get It Louder’, Beijing & Shanghai, China
44
45
羊芳濤
展覽
1985 年廣東汕頭出生
2016
學歷 2008 廣州美術學院版畫系
「三重穹」，香港凱倫偉伯畫廊 「未曾到達的地方」羊芳濤個人作品展，廣州 2015 「小宇宙」群展，廣州 2014 「Moy仔陪你」插畫展，杭州 2012 「WE」聯展，廣州 2011 「你還記得嗎？」個人插畫作品展，廣州 2010 「大聲展」，北京、上海
46
47
KARIN WEBER GALLERY Established in 1999 by German-born Karin Weber and now in its 17th 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 凱倫偉伯畫廊在1999 年由德國的 Karin Weber 女士創立，今年踏入 第17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」。
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
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。
Designed by Micky Law Publisher Karin Weber Gallery © 2016 Karin Weber Gallery All Rights Are Reserved
48