Art Basel Hong Kong 2015

ART BASEL HONG KONG 2o15

约翰·阿姆雷德

JOHN M ARMLEDER

生命是一张长椅 （家具装置), 2014 (JA 2014/031) 布面丙烯, 木长椅 (设计: 马丁·维瑟 Martin Visser,1960-61, 为阿姆斯特丹市立博物馆 Stedelijk Museum Amsterdam设计) 240 x 260 x 80,4 cm 孤品 艺术家签名认证

自二十世纪七十年代以来，约翰·阿姆雷 德的家具雕塑作品也许可以被视为他最重 要的作品系列。这些作品的灵感来自于激 浪运动，它们不仅暗示着对于将绘画作品 挂于墙上作为家具的背景陪衬的这种传统 方式的一种评介，而且让人们联想到欧洲 先锋艺术的美学底蕴。

《生命是一张长椅 》是由一件家具和一 幅绘画作品组合而成的。座椅由荷兰设 计师马丁·维瑟Martin Visser在1960 年为阿姆斯特丹市立博物馆Stedelijk Museum Amsterdam设计；绘画作品 上的几何图案就是对长椅的图案的精确复 制。阿姆雷德在此把在“真实”世界中具 有功能的物体转化成艺术品，一件雕塑。 作品题目“生命是一张长椅”也常常印在 滑板选手们的T恤上因为他们常常会坐在 一条长椅上看着自己的同伴竞技。

Life is a bench (Furniture Sculpture), 2014 Acrylic on canvas, wooden bench (Design: Martin Visser, 1960-61, for the Stedelijk Museum Amsterdam) Overall: 240 x 260 x 80.4 cm / 94.5 x 102.4 x 31.7 in Unique piece Certificate signed by the artist

Started in the 1970’s, the Furniture Sculptures by John Armleder may perhaps be considered as his most important group of works. Inspired by the Fluxus movement, these works not only imply a comment on the conventional practice of dealing with paintings–hung on walls, often serving as a backdrop for some piece of furniture– but also call to mind the aesthetic heritage of European avant-garde art.

Life is a Bench is the combination of a bench designed in 1960 by the Dutch designer Martin Visser for the visitors of the Stedelijk Museum Amsterdam and a painted geometric composition that is the exact replica of the pattern of the bench. Armleder has provoked in this piece a shift of the functional object which leaves the „real“ world to enter the artistic one, becoming a sculpture. The title Life is a Bench can also be found on T-shirts worn by skateboarders and relates to them as they sit down on a bench to watch their companions competing…

Traumatic, 2014 Mixed media on canvas 140 x 90 cm 55.12 x 35.43 in Unique piece Signed verso, upper right: Traumatic, John Armleder 2014

In his paintings, John M Armleder uses existing forms as quotes in order to focus on the semantic shift of the once radical avant-garde concepts and techniques in the era of postmodernism. Being part of the Neo-Geo movement in the early 1980's, Armleder surprised the art world shortly thereafter with very expressive paintings in the style of American artist Larry Poons (1912-1962). In his Pour Paintings Armleder pours different kinds of colours and lacquers onto a tilted canvas, using both randomness and control, hence referring to Abstract Expressionism while neglecting its underlying existential content.

The title Traumatic is inspired by a cartoon published in the International New York Times, a favourite newspaper of the artist.

创伤, 2014 (JA 2014/002) 布面混合材料 140 x 90 cm 孤品 作品反面右上部签名: Traumatic, John Armleder, 2014

约翰·阿姆雷德在他的作品中引用已经存 在的形式目的在于聚焦后现代主义中对于 激进的先锋观念和技术的语义上的转换。 作为在八十年代初期新几何运动 (NeoGeo movement) 的代表，阿姆雷德很 快以美国艺术家拉锐·彭斯Larry Poons (1912-1962) 的风格震惊了世界画坛。 在阿姆雷德的作品《倾倒绘画》中，他把 不同颜色的颜料和油漆全部倾倒在倾斜的 画布上，运用这些颜色混合在一起时的偶 然性与可控制性在忽略其表面下存在内容 的同时指向抽象表现主义。 该作品的标题取名为《创伤》，其灵感源 自于艺术家最喜欢的《国际纽约时报》上 的一幅漫画作品。

汉斯-彼得·费尔德曼

HANS-PETER FELDMANN

Seated Women Triptych Offset and digital prints on paper, push-pins, wood 162 x 205 x 22 cm 63.78 x 80.71 x 8.66 in

Hans-Peter Feldmann’s Seated Women Triptych is an example of the artist’s way of transposing his broad visual collection. A winged altar dedicated in its entirety to the cult around the portrayed women. Countless pictures of dressed, nude, beautiful or less attractive women are gazing at the viewer. In this collage, which fully draws upon the female image in art history, Feldmann pays homage to these women that shaped our visual memories over centuries.

坐着的女士们三联画 (HPF 2011/043) 胶版 、数码印刷, 图钉, 木，纸 162 x 205 x 22 cm

汉斯-彼得·费尔德曼的《坐着的女人们 三联画》展现一种以艺术家的方式来收藏 的辽阔视野。折翼般的祭坛致力于对绘画 中的女性的崇拜。许许多多穿着衣服的， 全裸的，美丽的或缺乏吸引力的女性在注 视着观者。在这幅拼贴作品中博采了艺术 史中的女性图像，费尔德曼对这些自几个 世纪以来建构于我们视觉记忆之中的女性 形象致以敬意。

小影子戏 (HPF 2015/001) 四台在木桌上的机械转盘, 灯具, 各种物品 133 x 102,5 x 81,5 cm 艺术家签名认证

在过去的十年里，汉斯-彼得·费尔德曼 的《小影子戏》已成为他标志性的系列代 表作品。他的作品在世界各地展览，部分 作品也在国际上被各种各样不同的重要公 共机构和私人收藏。这件作品汇集了许多 各种各样的物品，从工具到玩具都有被环 绕地安放在转盘的四周，它们在罐状射灯 的照射下重复旋转，投影到墙上。整个装 置看起来像即兴创作，但实际上却是经过 精确设计的。它让我们会联想到在某个星 期日或某天的深夜里，一个充满激情的男 人在他家的地下室中不停地组装和调试他 的作品。此外，这种来自作品之中单纯的 魔力将不可避免地创造出诗歌或梦幻般的 场景。在这里，汉斯-彼得·费尔德曼第 一次为大家呈现这种便携版的影子戏。这 件作品被放置在一个箱子里，只需将其连 接到插座，就能够活动起来。

Small Shadow Play 4 mechanical rotating discs on a wooden table, lamps, various objects 133 x 102.5 x 81.5 cm 52.3 x 40.3 x 33 in Certificate signed by the artist

Hans-Peter Feldmann’s Shadow Plays have become an iconic group of works over the last 10 years. They were exhibited all over the world and became–in different versions–part of several important international collections, public and private. The work consists of an agglomeration of very different objects, from tools to toys on and around several turntables, their circular movement being projected onto a wall with the help of spotlights made out of cans. The entire installation seems rather improvised, but is in fact precisely designed. It reminds us of a man with a playful hobby, creating settings in the basement of his house on a Sunday or late at night. But beyond this the simple magic of the piece inevitably provokes a moment of rare poetry or a dreamlike situation. Here for the first time Hans-Peter Feldmann is presenting a portable version of his Shadow Plays, contained in a crate and coming alive by connecting it to a plug.

N. DASH 恩·达诗

无题, 2015年 (ND 2015/001) 粘土，油画，丙烯，亚麻，黄麻和木 208 x 91,4 cm 孤品 艺术家在作品背面右下方签名： N.Dash 2015

在不断地把样布摩挲于手中，达诗通过她 指尖对织物的磨损和油和污垢的残留物将 编织转化为雕塑。将材料摩挲于手中有一 种生成的目的。这对于她来说揭示了自 然物体的本质，这种潜质在她的大幅作品 中产生了共鸣。她让材料在作品中自己说 话,发出一种近于矛盾的分歧；原色绘出 精致的色块；基于形式的排列和各部分的 互换性，赋予作品一种静静等待被观看 的感觉。

《无题》（2015）由三部分组成。最上 方是一块没有装裱过的亚麻布被钉在墙上 与下面装裱的油画布相接。两种材料都被 支撑在一块挂在墙上的粘土板上。

Untitled, 2015 Adobe, oil, acrylic, linen, jute and wood support 208 x 91.4 cm 82 x 36 in Unique piece Signed verso, lower right: N. Dash 2015

With the constant act of handling a swatch of fabric, Dash transforms the weave into sculpture through wear and the residue of the oil and dirt from her fingertips. The handling of the material has a generative purpose.

It reveals something essential to her about the nature of the object, the essence of which resonates in her large scale works. She allows the materials in the paintings to speak for themselves, emanating near-contradictory dichotomies: the careful casualness of their construction; the use of raw pigments and paint that result in refined fields of colour; the play upon format and the interchangeability among parts, though fixed, lends each work the sense that it is patiently at rest just for the moment when it is viewed.

Untitled (2015) is composed of three parts. At the top, an unstretched painted linen is affixed to the wall with staples, underneath of which an oil painted stretched linen emerges. Both elements are propped on an adobe panel, which is hung directly on the wall.

Untitled, 2015 Adobe, oil, acrylic, canvas, linen, jute and wood support 228.6 x 152.4 cm 90 x 60 in Unique piece Signed verso, lower right: N. Dash 2015

With the constant act of handling a swatch of fabric, Dash transforms the weave into sculpture through wear and the residue of the oil and dirt from her fingertips. The handling of the material has a generative purpose.

It reveals something essential to her about the nature of the object, the essence of which resonates in her large scale works. She allows the materials in the paintings to speak for themselves, emanating near-contradictory dichotomies: the careful casualness of their construction; the use of raw pigments and paint that result in refined fields of colour; the play upon format and the interchangeability among parts, though fixed, lends each work the sense that it is patiently at rest just for the moment when it is viewed.

The large unstretched canvas anchors to the wall two contiguous but separate elements; to the left is a painted stretched linen and on the right is an adobe panel. While the unstretched canvas largely masks the underlying parts, the mind’s eye puzzles together the possibilities of its construction. The composition as a whole speaks to the nocturnal tones of natural light.

无题, 2015年 (ND 2015/002) 粘土，油画，丙烯， 亚麻布面，亚麻，黄麻和木材 228,6 x 152,4 cm 孤品 艺术家在作品背面右下方签名： N.Dash 2015

在不断地把样布摩挲于手中，达诗通 过她指尖对织物的磨损和油和污垢的 残留物将编织转化为雕塑。将材料摩 挲于手中有一种生成的目的。这对于 她来说揭示了自然物体的本质，这种 潜质在她的大幅作品中产生了共鸣。 她让材料在作品中自己说话,发出一 种近于矛盾的分歧；原色绘出精致的 色块；基于形式的排列和各部分的互 换性，赋予作品一种静静等待被观看 的感觉。 大幅的没有装裱的油画布锚在墙上； 两个相连但又分离的元素；左边是装 裱的绘画的亚麻布，右边是一块粘土 板。当没有装裱的油画布覆盖了其下 的部分，观者迷惑于它的结构的可能 性。这种组合好像夜晚的自然光的 色调。

塞尔维·芙尔瑞

SYLVIE FLEURY

Jane Fonda's Original Stepper, 2014 Bronze 20 x 65 x 42 cm 7.8 x 25.6 x 16.5 cm Edition of 8 + 2 A.P.: 2/8 Signed underside: SF 2/8 Sylvie Fleury's work focuses, amongst other things, on superficiality in our contemporary culture and its importance in our modern society.

Re-casting the works of famous male artists with a touch of femininity, custom cars or esoteric attributes, she pushes the male-dominated creative world towards new angles of reflection, often reorienting our sense of high and low by examining concepts of art and eternity through the lens of the latest colours in fashion of the season.

“Whether it’s the shopping bags, the Mondrian in fake fur, or the Fontana in denim, all involving key works; emblematic works by ‘male’ artists, my work involves the insertion of a feminine element.”

In the early 1980’s Jane Fonda’s aerobic lessons and videos marked the beginning of a kind of “democratisation” of sport culture and its particular fashion. Being healthy, having a beautiful body, ageing well are all themes occupying a dominant place in our society. The accessories that have accompanied this evolution became iconic, and the stepper of Jane Fonda appears to be one of them. It has a typical design of that period and may be seen as a plinth for the perfect body and mind, even reminding us of antique Greek sculpture and their classical presentation...

简·方达的脚踏板, 2014 (SF 2014/004) 青铜 20 x 65 x 42 cm 共8版＋ 2版艺术家证明：2/8版 艺术家在底部签名: SF 2/8

塞尔维·芙尔瑞的这件作品和其他作品关 注我们当代文化的浅薄和它在我们现代社 会的重要性。在著名男性艺术家的经典作 品中用女性的独特触觉进行再次创作，特 制的汽车或深奥的属性，她将男性主导创 造的世界推向了一个新的反思角度，常常 透过当季最流行的时尚色彩来检验艺术和 永恒的概念来重塑我们的感官意识。“无 论是购物包, 蒙得里安的假皮草还是封塔 纳的牛仔布, 所有作品里都有它关键的作 品; 象征着男性艺术家的作品，我的作品 涉及女性元素的嵌入。” 在二十世纪八十年代初期，简·方达的有 氧健身课程和录像标志着一种“民主化” 运动和它的特殊风尚。健康的体魄，漂亮 的身材，美丽地老去，所有这些在人们的 生活中占有重要的位置。随之而来的健身 器材则成为这种潮流中标志，简·方达的 踏步器便是其中之一。它在设计上有强烈 的时代感，并被看作为一个让身心健康的 完美基座，它又能使人们联想到古希腊的 雕塑和它的经典呈现。

凯莉包, 2013 (SF 2013/002) 青铜镀铬 31 x 34 x 11,5 cm 共8版＋4版艺术家证明：2/8版 艺术家在作品底部左侧签名: S. Fleury

把奢侈品凝固为永久的纪念碑似的物品， 塞尔维·芙尔瑞的作品开启了日新月异的 时尚界的肤浅美学。艺术家的这件铜雕塑 作品来自于对一个爱马仕鳄鱼皮的“凯 莉”包的塑造（由格蕾丝·凯莉在《生 活》杂志的封面上炫耀它而得名)，聚焦 于当今文化对极具诱惑力的闪闪发光的包 的崇拜，在它半镀金的形式中表面的肤浅 和某种永恒相遇。芙尔瑞用铜塑造那些九 十年代肤浅却无处不在的生活时尚品牌， 展现了我们赋予物质和品牌的价值。

Kelly Bag, 2013 Chromed bronze 31 x 34 x 11.5 cm 78.74 x 86.36 x 29.21 in Edition of 8 + 4 A.P.: 2/8 Signed underside, left: S. Fleury

Cementing luxury objects into enduring physical monuments, Sylvie Fleury’s work edifies the surface aesthetics of the ever-changing world of fashion.

The artist’s bronze sculpture, cast from the Hermès crocodile leather “Kelly” handbag (named when Grace Kelly sported it on the cover of LIFE magazine), zeroes in on the exact allure of shiny bags worshipped in modern day culture, which in their semi-gilded form come across as both superficial and somewhat timeless. Fleury, who began casting bronzes of seemingly superficial yet ubiquitously recognised lifestyle brands and status symbols in the 90’s like Nike shoes or Evian bottles, exhibits the value we place on material objects and iconic brands.

Front cover 封面: Sylvie Fleury 塞尔维·芙尔瑞 WOW, 喔 2007 (SF 2007/004) Bronze 青铜 30 x 74 x 36 cm; 11.81 x 29.13 x 14.17 in Edition of 8 + 2 A.P.: 1/8

This catalogue was published on the occasion of

共8版＋2版艺术家证明: 1/8版

– also available as eBook on www.mehdi-chouakri.com

Certificate signed by the artist

Art Basel Hong Kong March 13 to 17, 2015 Booth 1D40

艺术家签名验证

Booth design by David Saik, Berlin Title page 扉页: John Armleder 约翰·阿姆雷德 Autralian Pontoon, 2012 (detail) 澳洲二十一点牌 （局部） Acrylic on canvas 布面丙烯 90 x 90 cm; 35.43 x 35.43 in Unique piece 孤品 Signed verso: John Armleder, Australian Pontoon, 2012 背面签名：John Armleder, Australian Pontoon, 2012

Photographs by Nat Ward, New York Jan Windszus, Berlin Annick Wetter, Geneva Jens Ziehe, Berlin

Opposite page 对页: Hans-Peter Feldmann

1000 copies Printed by Spree Druck, Berlin

The gallery would like to thank Saâdane Afif, Drew Hammond, Jia Han and Gerd de Vries All works © the artists and courtesy Mehdi Chouakri Gallery

汉斯-彼得·费尔德曼

Board with magnet couple 板和一对磁情侣 Lacquered metal, wood, magnet, felt 漆金属，木，磁，毡

110 x 151.5 cm; 43.31 x 59.65 in Back cover 封底: Hans-Peter Feldmann 汉斯·彼得·费尔德曼

Small Shadow Play (detail) 小影子戏 （局部）

Galerie Mehdi Chouakri Invalidenstrasse 117 10115 Berlin T + 49 30 28 39 11 53 F + 49 30 28 39 11 54 galerie@mehdi-chouakri.com www.mehdi-chouakri.com

MEHDI CHOUAKRI ART BASEL HONG KONG 2o15