2023 Para Site Benefit Auction

Para Site 2023 Benefit Auction

Trevor Yeung 楊沛鏗

Live

b. 1988 in Guangdong, China; lives and works in Hong Kong

Lot

1

Yeung’s sculpture Night Mushroom Colon (my old work desk) comprises electrical converters and mushroom night lights, inhabiting an unassuming and dark corner of the room.

Reminiscing a bygone era, the piece pays homage to a time when Yeung worked at Para Site (2009–2013), referring to the quiet socket beneath his old work desk. Yeung uses botanic ecology, horticulture, aquarium system, and installations as metaphors that reference the emancipation of everyday aspirations towards human relationships. Yeung draws inspiration from intimate and personal experiences, culminating in works that range from image-based works to large-scale installations. Yeung currently has a solo exhibition at Gasworks London, marking his first institutional solo exhibition in the United Kingdom. He has also been nominated for the Sigg Prize 2023. In 2024, Yeung will represent Hong Kong at the 60th Venice Biennale. Previously he has participated in Singapore Biennale (2022); Kathmandu Triennale (2022); la biennale de Lyon (2019); the 4th Dhaka Art Summit (2018); and the 10th Shanghai Biennale (2014). Yeung has also exhibited at M+, Hong Kong (2023); Blank Canvas Penang (2023); Musée d’Art Moderne de Paris (2022); Tai Kwun Contemporary, Hong Kong (2022); Jameel Arts Center (2022); Para Site (2020, 2018, 2017, 2015, 2014); Museum of Modern Art, Warsaw (2018); and OCAT Shenzhen (2016).

Night Mushroom Colon (my old work desk) 2023 Night lamp, plug adaptors 21 × 17 × 17 cm Unique Estimate: HK $ 70,000–90,000 Generously donated by the artist and Blindspot Gallery

Cecilia Vicuña

b. 1948 in Santiago, Chile; lives and works in Santiago, Chile and New York, United States

Sol y dar y dad 1974/2016 Screenprint 66.04 × 96.52 × 4.12 cm Edition 3 of 10 Estimate: HK $ 60,000–80,000 Generously donated by the artist and Lehmann Maupin, New York, Hong Kong, Seoul, and London

Lot

2

Para Site 2023 Benefit Auction

In Sol y dar y dad (1974/2016), Vicuña looks to language as she considers notions of truth and community, playing on the Spanish words solidaridad (solidarity), sol (sun), and dar (to give). Just as Vicuña emphasises the capacity of words to cause violence and destruction, she also suggests that they can be potent tools of reconciliation and understanding. Throughout her prolific career spanning five decades, Vicuña integrates practices of poetry, performance, Conceptualism, and textile craft in response to pressing concerns of the modern world, including ecological destruction, human rights, and cultural homogenisation. Born and raised in Santiago, Chile, she was exiled during the early 1970s after the violent military coup against President Salvador Allende. This sense of impermanence, and a desire to preserve and pay tribute to the indigenous history and culture of Chile, have characterised her work throughout her career. Recent solo exhibitions of her work include those at Tate Modern, London (2022); Solomon R. Guggenheim Museum, New York (2022); Witte de With Center for Contemporary Art, Rotterdam (2019). Recent group exhibitions featuring her work include the 59th Venice Biennale (2022); the 13th Shanghai Biennale (2021); and the 13th Gwangju Biennale (2021). Her work is in numerous international private and public collections, including Guggenheim Abu Dhabi; the Museum of Modern Art, New York; Solomon R. Guggenheim Museum, New York; and Tate Modern, London. Vicuña received the Golden Lion for Lifetime Achievement at the 59th Venice Biennale.

Hourglass continues Zhang’s practice of combining painting and printmaking, deconstructing and reconstructing the field of the human body. She sees the body as the vessel holding both spirituality and biological existence. This work compresses the entanglement of relationships between bodies into an hourglass shape, alluding to the connection between space and time in the body. The formal composition evokes the 19th-century ukiyo-e master Utagawa Kuniyoshi’s stylized stacked bodies that form into recognisable shapes such as a man’s face, whereas the black-and-blue of the skin tone can perhaps be connected to the works of Francis Bacon and Lucien Freud’s manipulation in their figurative paintings. Zhang Mingxuan graduated from Central Saint Martins College of Arts and Design in the UK with a bachelor’s degree, and in 2023, she obtained a master’s degree from the Royal College of Art in the UK. She participated in the group exhibition Tate Exchange at Tate Modern, London (2019).

Zhang Mingxuan 張銘軒

Live

b. 1998 in China; lives and works in Hong Kong and London, United Kingdom

Hourglass 沙漏

2023 Mixed media on canvas; 150 × 120 cm; Unique Estimate: HK $ 80,000–100,000 Generously donated by the artist and Hive Center for Contemporary Art

Lot

3

Wai Pong Yu 韋邦雨

b. 1982 in Hainan, China; lives and works in Hong Kong

Lightwave Memory 15 念念浮光15

2019 Ballpoint pen on paper 68.3 × 100 cm Unique Estimate: H K $ 100,000–150,000 Generously donated by the artist and Grotto Fine Art

Lot

4

In this painstaking ballpoint pen on paper work, Wai seeks a distant dimension which he can call home, while visualising the invisible strings that tether him to other life forms. Using a freehand drawing technique, Wai traces the trajectories of a mass migration that ostensibly continues beyond the edges of the paper. As the artist’s pen travels along, blots of ink accumulate, serving as markers of the flowing lines’ unbounded journey. Since graduating from the Fine Arts Department of the Chinese University of Hong Kong in 2006, Wai has developed a unique style of ballpoint pen paper work that contemplates notions of the cosmos, times, and nature. He has participated in exhibitions including the Kathmandu Triennale 2077 (2022); Macao Museum of Art (2022); Para Site, Hong Kong (2020); and Guangdong Museum of Art (2020). Wai’s work is collected internationally including by M+ Museum, Hong Kong; the Asian Art Museum of San Francisco; and the Ashmolean Museum at the University of Oxford.

Para Site 2023 Benefit Auction

Oliver Osborne

Live

b. 1985 in Edinburgh, United Kingdom; lives and works in Berlin, Germany

Lot

5

Untitled Osborne has been painting rubber plants for over a decade, using the process of repetition, subtle tweaks in composition and chiaroscuro to remove subjects from their initial context, whilst retaining a deep art historical consideration. Each rubber plant painting, although detailed and precise in nature, becomes an abstraction. The interplay between these different genres and histories form part of Osborne’s ever widening network of references that exemplify his interests in how the viewer read and perceive painted images. Osborne was the subject of a solo exhibition at Bonner Kunstverein, Bonn (2018), and was included in group exhibitions at Hamburger Kunsthalle, Hamburg (2020); Royal Botanic Garden, Edinburgh (2017); and the German Embassy, London (2017).

2023 Oil on herringbone linen 26 × 22 cm; 39 × 35 cm (framed) Unique Estimate: HK $ 110,000–130,000 Generously donated by the artist

Vivien Zhang 張月薇 Acid Alluvium, Cosmic Dunes 2020 Oil and spray paint on canvas 170 × 150 cm Unique Estimate: H K $ 250,000–300,000 Generously donated by the artist and Pilar Corrias, London

Lot

6

b. 1990 in Beijing, China; lives and works in London, United Kingdom

This is an example of Zhang’s algorithmic approach to painting through her grid method. The background is formed by flooding the canvas with diluted paint; she leaves the colours to bleed and dry overnight and the final formation of colour is left to chance. Broad shapes in the background reference images of sand dunes and glaciers on Mars, which provides a glimpse into Zhang’s exploration of landscape and alternative geographies.

The hovering symbols in the painting are arranged using a basic mathematical grid system. A repetitive motif, the Gömböc, balances with an organic arrangement of pebbles. The Gömböc has been used to decode the geology of Mars and is a shape which will always correct itself when placed on a flat surface. Zhang’s paintings present a cultural and geographical fluidity which interrogates the palimpsestic nature of contemporary culture and the paradoxes of our information age. As a digital native, Zhang assumes the role of a passive recipient in a digitally mediated world, and makes apparent the fragmented and sporadic ways in which we consume information. Her work has been recently exhibited at CAPC musée d’art contemporain de Bordeaux (2022); and Hayward Gallery, London (2021). Her paintings are in the collection of Arts Council England; ICA Miami; K11 Art Foundation, Hong Kong; and Sammlung Goetz, Munich.

Para Site 2023 Benefit Auction

Xie Nanxing 謝南星

Live

b. 1970 in Chongqing, China; lives and works in Beijing and Chengdu, China

The Portrait of Undressing

Xie is a leading experimental painter from his generation who challenges the traditions and conventions of painting taught within art schools. Portraiture is where the artist is at his most playful and experimental. The painting is part of a significant ongoing series of portraits that Xie has been working on for the past ten years. He renews the traditional portrait genre by illustrating their personality through a narrative. Xie’s approach differs between each portrait based on his subject. His interest in psychology motivates him to inquire beyond what meets the eye. He has exhibited widely internationally with solo exhibitions at UCCA Center for Contemporary Art, Beijing (2018); Kunstverein Hamburger Bahnhof, Hamburg (2005); and Manchester Art Gallery (2003). In 2023 he was nominated for the Sigg Prize. Recent and notable group exhibitions include those at Art Museum of Sichuan Fine Arts Institute, Chongqing (2021); The Warehouse Dallas (2020); Württembergischer Kunstverein Stuttgart (2019); Today Art Museum, Beijing (2016); Shanghai Minsheng Art Museum (2015); OCT Contemporary Art Terminal (OCAT), Shenzhen (2014); Centro di Cultura Contemporanea Strozzina (CCCS), Palazzo Strozzi, Florence (2010); documenta 12, Kassel (2007); and the 48th Venice Biennale (1999).

Lot

2019 Oil on canvas 110 × 90 cm Unique Estimate: HK $ 400,000–600,000 Generously donated by the artist and Galerie Urs Meile

7

Zheng Guogu 鄭國谷

Symbol and Incantation Computer Controlled by Pig’s Brain No.9 豬腦控制電腦符與咒之九

2018–2019 Oil on silk fabric, mounted on canvas / Computer cut texts, oil on canvas A set of 2: 60 × 60.5 cm; 30 × 42 cm Unique Estimate: H K $ 250,000–300,000 Generously donated by the artist and Vitamin Creative Space

Lot

8

b. 1970 in Yangjiang, China; lives and works in Yangjiang, China

Zheng’s multimedia practice expresses the diverse ideas he develops in response to the daily processes of life. In 2000, Zheng initiated The Age Of Empire (2012–present, The Liao Garden), a constantly evolving utopian domain that provides a setting for his experimentations rooted in Chinese philosophy but anarchically constructed outside of legal parameters. The project integrates complicated spatial modalities and social relations, combining the dwelling in a physical space, from the conceptual ideal, to the practical implementation, and to day-to-day living. In his recent works based on the research on the energy of life forms, Zheng tries to reveal the energy flow lurking in the process of perception: the vibration of colour frequencies is closely related to the workings of human arteries and veins, as well as the operation of the universe. Zheng’s solo exhibitions include those at MoMA PS1, New York (2019); Mirrored Gardens, Guangzhou (2017); and OCAT Xi’an (2015). He has participated in international exhibitions and biennials including The 9th Asia Pacific Triennial of Contemporary Art, Brisbane (2018); the 10th Shanghai Biennale (2014); the 3rd Guangzhou Triennial (2008); documenta 12, Kassel (2007); and the 50th Venice Biennale (2003). He received the Best Artist Award by Chinese Contemporary Art Awards in 2006.

Para Site 2023 Benefit Auction

大竹伸朗 Oku-Kei 6 憶景6

2017 Acrylic, ink, spray paint, dye, colour powder, photograph, printed matter, ink-jet print, screen print, cheesecloth, silk thread, urethane resin, sponge lichen, balsa wood, wood, Japanese paper, and paper in custom frame 53 × 38 × 3 cm Unique Estimate: HK $ 250,000–300,000 Generously donated by the artist and Take Ninagawa

Lot

Oku-Kei, or ‘memoryscape’, is a series of collages that incorporates scores of found family photos and printed ephemera that have been pasted into abstract compositions.

Ohtake’s process becomes comparable to producing landscapes out of empty space; a reverse archaeology. The layers of mass-produced images from bygone eras have been sourced from product catalogues, media reports, and illustrated textbooks. These reproductions become diluted in expressing their intent, and the artist is less interested in their content, seeing them as ambivalent attempts at capturing and conveying reality. Ohtake spent his formative years in the late 1970s and early 1980s in London and Hong Kong, where he began his Scrapbooks project (1977–present), participated in experimental noise performances, and discovered his montage-like approach to working with image, sound, and time as elements he puts together in his work across all mediums. He has exerted a profound influence on the current generation of artists in Japan through his collages, assemblages, sound works, kinetic sculptures, immersive environments, and writings. In 2022 he was the subject of a major retrospective organised by the National Museum of Modern Art, Tokyo.

He has had solo exhibitions at the Contemporary Art Museum, Kumamoto (2019); Contemporary Art Center, Art Tower Mito (2019); Artsonje Center, Seoul (2012); and the Institute of Contemporary Art, London (1985). He has participated in Hawaii Triennial (2022); Setouchi Triennale (2022, 2019, 2016, 2013, 2010); the Asia Pacific Triennial of Contemporary Art, Queensland Art Gallery, Brisbane (2018, 1993); the 55th Venice Biennale (2013); documenta 13 (2012); and the Gwangju Biennale (2010). His work is in the international collections of the Museum of Modern Art, New York; Minneapolis Institute of Art; M+, Hong Kong; and Victoria & Albert Museum, London.

Shinro Ohtake

Live

b. 1955 in Tokyo, Japan; lives and works in Uwajima and Tokyo, Japan

9

Guan Xiao 關小 Attack002 2022 Brass, burned acrylic, synthetic feather 45 × 30 × 25 cm Unique Estimate: H K $ 180,000–220,000 Generously donated by the artist and Antenna Space

Lot

10

b. 1983 in Chongqing, China; lives and works in Beijing, China

Guan rethinks the value of traditional objects, making futuristic, anthropomorphic sculptures. This work that resembles a twisted and gnarled tree trunk is inspired by the ancient Chinese tradition of root carving, a process of sculpting and polishing tree roots into chairs, tea tables, and other functional design objects that have continued well into today. Her visual language breaks through historical and cultural boundaries by establishing unconventional relationships between materials, fusing together the artistic and the industrial, and conflating polar-opposite binaries such as the digital and the analogue, and the natural and the artificial. Guan has participated in exhibitions around the world, including the 34th Bienal de São Paulo (2021); Bonner Kunstverein (2019); Contemporary Art Museum St. Louis (2019); the 57th Venice Biennale (2017); Jeu de Paume, Paris (2016). and the New Museum Triennial (2015).

Para Site 2023 Benefit Auction

William Lim 林偉而

Live

b. 1957 in Hong Kong; lives and works in Hong Kong

Lot

11 In this painting created specially for Para Site’s 2023 benefit art auction, Lim contemplates an alternative depiction of the female nude.

Lim is interested in the agency of his unnamed subject, who, contrary to being a passively posing figure, is captured at a moment of leisure and repose, seemingly oblivious to the gaze of the viewer. Lim received his MArch from Cornell University, and his interest in art and architecture informs his award-winning design practice CL3, known for its commissions such as H Queen’s and the West Kowloon Bamboo Theatre. In his visual art pursuits, Lim focuses on large-scale installations and paintings.

His work has been exhibited internationally, including at the National Museum of Modern and Contemporary Art, Deoksugung, Seoul (2019); Hong Kong & Shenzhen Bi-City Biennale of Urbanism/Architecture (2017, 2012, 2009, and 2007); and Venice International Architecture Biennale (2010 and 2006). He is currently on the Board of Trustees for Cornell University. He is also a member of Arts and Culture Council and Gallery Advisory Committee for Asia Society Hong Kong Center, and a member of Museum Expert Advisers for the Leisure and Cultural Services Department.

He was conferred an Honorary Doctorate degree by Savannah College of Art and Design (SCAD) in 2018.

Sorry You’ve Been Outbid By The Lady On The Phone 2023 Oil on canvas 40 × 50 cm Unique Estimate: HK $ 50,000–70,000 Generously donated by the artist

Samson Young 楊嘉輝

b. 1979 in Hong Kong; lives and works in Hong Kong

Starts with books ends with instrumentation

2023 Soft pastel, colour pencil, water colour, ink and stamps on paper 101 × 67cm Unique Estimate: H K $ 75,000–95,000 Generously donated by the artist and Kiang Malingue

Lot

12 The title of the work describes the rules of this series of process-based drawings.

The bounding boxes, which filled the space first, are outlines of recent books read by the artist. Short phrases that suggest instrumentation and/or performance techniques were then added to the composition. In 2017, Young represented Hong Kong at the 57th Venice Biennale. His solo and group presentations include those at Jameel Art Centre, Dubai (2021); Mori Art Museum, Tokyo (2020); Gropius Bau, Berlin (2019); the Solomon R. Guggenheim Museum, New York (2018); the 21st Biennale of Sydney (2018); M+ Pavilion, Hong Kong (2018); National Museum of Modern and Contemporary Art, Seoul (2017); documenta 14 (2017); Taipei Museum of Contemporary Art (2013); and Massachusetts Museum of Contemporary Art (2005). In 2020, he was awarded the inaugural Uli Sigg Prize.

Young was a Hong Kong Sinfonietta’s Artist Associate from 2008 to 2009. He received his PhD in music composition from Princeton University in 2013.

Para Site 2023 Benefit Auction

Hu Xiaoyuan 胡曉媛

Live

b. 1977 in Heilongjiang, China; lives and works in Beijing, China

Wooden Pestle 木杵

Lot

This sculpture is inspired by an anecdote Hu came across: a master took out an inkbrush and asked his apprentice what it was. One apprentice answered that it was an inkbrush, but when the master threw it to a dog and the dog began to gnaw at it, the master asked his apprentice again whether the inkbrush could still be called an ‘inkbrush’. For the artist, the definition of an object can be a constraint, and Wooden Pestle stems from the artist’s reflection on the Buddhist concept of śūnyatā (emptiness). Hu’s artistic practice often employs materials such as silk, xuan paper, hair, wood, and metal to explore time, space, consciousness, and existence through personal experiences. She recently held a solo exhibition at the West Bund Art Center, Shanghai (2022), part of a five-year collaborative project between the West Bund Art Center and the Centre Pompidou. Her work was included in the inaugural collection exhibition of the new M+ Museum in Hong Kong (2021); the 9th Taipei Biennial (2014); the 2nd New Museum Triennial, New York (2012); and documenta 12 (2007). Her work is in the collections of the Mannheim Kunsthalle; M+ Museum, Hong Kong; Power Station of Art, Shanghai; Hammer Museum, Los Angeles; Shanghai Museum of Contemporary Art; and Long Museum, Shanghai. In 2018, her latest English monograph titled States of Tension was published as part of the Flash Art Book series in Italy. In 2019, she was nominated by the M+, Hong Kong, for the inaugural Sigg Prize.

2023 Wood, ink, silk, lacquer, thread 5 × 6 × 39 cm Unique Estimate: HK $ 100,000–120,000 Generously donated by the artist

13

Zao Wou-Ki 趙無極 Sans Titre 無題

1988 Lithograph 67.5 × 49.5 cm Unique Estimate: H K $ 50,000–100,000 Generously donated by Villepin Gallery

Lot

14

b. 1920 in Beijing, China; d. 2013 in Nyon, Switzerland

This lithograph was donated to Para Site on the occasion of the opening of Zao Wou-Ki’s centennial exhibition at the China Academy of Art in Hangzhou in September 2023. This centennial memorial retrospective holds great significance as it marks the first comprehensive showcase of the artist’s works in China since his passing in 2013. Zao ventured into lithography at the workshop of Edmond Desjobert very soon after his arrival in Paris. These early works served as the catalyst for Zao’s distinctive lithographic technique, which he dedicated himself to honing and advancing throughout a remarkable 50-year period. The triumph and novelty of these initial experiments laid the groundwork for Zao’s subsequent artistic pursuits. Zao is considered to have been one of the most successful Chinese-born painters during his lifetime with his paintings being widely recognised as an exemplary reconciliation of Chinese and Western aesthetics, in which the language of modern Western abstraction is enriched

by Chinese calligraphy and ink painting rooted in the traditional Chinese literati sensibilities. His work has been exhibited around the world, including the Musée d’art moderne de la Ville de Paris (2018); the Asia University Museum of Modern Art, Taichung (2018); Colby College Museum of Art, Waterville, Maine (2017); and Asia Society Museum, New York (2016).

Para Site 2023 Benefit Auction

Jacqueline Kiyomi Gork

Live

b. 1982 in Long Beach, California, United States; lives and works in Los Angeles, California, United States

Lot

15

Noise Blanket No. 8 is an example of an ongoing series of functional sound-blankets produced by the artist for home installation. Literally sculpting the aural environment around them, sound blankets can create the impression that certain desirable types of noises (e.g. the human voice) are louder or clearer. Gork’s work amplifies the pervasive infrastructures of noise management, from building insulation and acoustic panelling to architectural geometries, that often unnoticeably structures our subjective experience. By refashioning these industrial textiles in hand-quilted pigmented silicone, Gork attempts to short-circuit the inherited histories of cybernetic and technological control, cautiously affirming the possibility of genuine agency in an administered world. Gork has been featured in group exhibitions at Instrument Inventors, The Hague (2022); Hammer Museum, Los Angeles (2021); SculptureCenter, New York (2019); and San Francisco Museum of Modern Art (2017). Their work is in the 13th Taipei Biennial, opening November 2023 and in 2024 they will present a solo exhibition at the Carpenter Center for Visual Arts at Harvard University.

Noise Blanket No. 8 2017 Poured silicone, artificial fur, nylon, and steel armature Armature: 72 × 65 × 106 cm, fabric: 225 × 82 × 2 cm Unique Estimate: HK $ 50,000–70,000 Generously donated by the artist and Empty Gallery, Hong Kong

Peng Wei 彭薇

Lot

16

Once Again— 1:09 After 2 Years 再一次– 2年後的1小時09分

Para Site 2023 Benefit Auction

2022 Colour ink on flax paper 39 × 39 cm Unique Estimate: HK $ 80,000–100,000 Generously donated by the artist and Tina Keng Gallery

b. 1974 in Chengdu, China; lives and works in Beijing, China

Live

Peng Wei 彭薇

Lot

17

Once Again— 1:59 After 3 Years 再一次– 3年後的1小時59分 2022 Colour ink on flax paper 36 × 36 cm Unique Estimate: HK $ 80,000–100,000 Generously donated by the artist and Tina Keng Gallery

When the artist found two of her old paintings from two, three years ago, she decided to paint over them once more and recorded the time she spent to complete the two paintings. Thus, two timestamps appear in the titles of the resulting new paintings. For the artist, this process serves as a measurement of the past, as well as a reminder of the mere hours and minutes it takes to supersede what has existed for years. Peng’s work combines classical Chinese painting with subjects that alter traditional and contemporary materials. She has focused much of her work on garments and embroidered shoes.

In recent years, she has expanded her practice by applying traditional Chinese painting to three-dimensional objects and installations, without losing the meaning and proficiency of traditional Chinese painting. Peng has exhibited her work at the Suzhou Museum (2017); the Wuzhen International Contemporary Art Exhibition (2016); and the National Museum of History, Taipei (2015). Her work is in public and private collections, including the Cleveland Museum of Art; Museum of Fine Arts, Boston; Asian Art Museum, San Francisco; Brooklyn Museum; M+, Hong Kong; and National Art Museum of China, Beijing.

Glenn Ligon 格蘭·里根

b. 1960 in New York, United States; lives and works in New York, United States

Lot

18

Study for Negro Sunshine #154 黑人陽光習作 #154

2023 Oil stick, coal dust, and gesso on paper 42.2 × 34.9 × 3.8 cm (framed) Unique Estimate: H K $ 250,000–400,000 Generously donated by the artist and Hauser & Wirth Para Site 2023 Benefit Auction

Ligon has always sourced his inspiration from American history and literature, looking for elements that distil the American experience. By repeatedly stencilling the letters making up ‘negro sunshine’ with oil stick on paper and applying coal dust afterwards to the still-wet surface, rendering the text increasingly illegible toward the bottom of the paper until it is just a dark smudge. ‘Negro sunshine’ is a phrase taken from Gertrude Stein’s experimental novella ‘Melanctha’ published in1909, in which Stein describes Black joy in the opening passage. While Ligon cannot be sure of Stein’s intention with her racialising language throughout the story, the phrase stayed with him. It is this ambivalence derived from Stein’s repetitive portrayal of racial stereotypes that shares the same abstraction in Ligon’s repetition of text until the words lose their meaning. Ligon’s early paintings built upon the legacies of such Abstract Expressionist artists as Philip Guston, Cy Twombly, Robert Rauschenberg, and Jasper Johns. Aside from using oil sticks to stencil text, his practice includes silkscreen, neon, and photography, employing the same philosophy of layering the meaning of the subject matter and the mediums he appropriates. His solo exhibitions have been held at Musée d’Orsay, Paris (2019); Baltimore Museum of Art (2017); Camden Arts Centre, London (2014); Whitney Museum of American Art, New York (2011); Los Angeles County Museum of Art (2011); and Modern Art Museum of Fort Worth (2011). In 2023 his work was in group exhibitions including at the Hammer Museum, Los Angeles; and the Solomon R. Guggenheim Museum, New York. His work is held in the collections of Art Institute of Chicago; Centre Pompidou, Paris; the Metropolitan Museum of Art, New York; the Museum of Modern Art, New York; Whitney Museum of American Art, New York; and Tate Modern, London.

Tiffany Chung

Live

b. 1969 in Đà Nång, Vietnam; lives and works in Ho Chi Minh City, Vietnam; and Houston, Texas, United States

Dega-Latinis: CEW Hypothetical Intersettlement Time Period 2 德加－拉蒂尼斯: 假想CEW跨定居點交流年代 2 2022 Oil and hand perforation on vellum and paper 56.7 × 37 cm; 69 × 51 cm (framed) Unique Estimate: HK $ 90,000–110,000 Generously donated by the artist and Kiang Malingue

Lot

This work is part of a series that draws from Chung’s inquiries into Neolithic circular earthworks (CEW, as referenced in the title) found by the Vietnam-Cambodia border. The same area was also home to rubber plantations established by French colonists in the 19th century, and subsequently a battle site in the 1972 Easter Offensive during the American-Vietnam War. In this series of work, the artist is interested in the region’s transformation through time, contemplating the entanglements of nature, culture, war, and state-making.

Chung is known for her research-based hand-drawn and embroidered cartographic works, multimedia installations, and performances that examine conflict, migration, and urban transformation through the lens of geopolitical and environmental traumas. She has exhibited at museums and biennials worldwide including Dallas Museum of Art (2023); British Museum, London (2022); M+, Hong Kong (2021); the Smithsonian American Art Museum, Washington D.C (2019); Gwangju Biennale (2018); the Museum of Modern Art, New York (2016); the 56th Venice Biennale (2015); and the 11th Sharjah Biennale (2013). Her work is held in public collections including Louisiana Museum of Modern Art, Humlebaek; San Francisco Museum of Modern Art; Minneapolis Institute of Art; M+, Hong Kong; Queensland Art Gallery, Brisbane; and Singapore Art Museum. Chung is a cofounder of Sàn Art, an independent artist space, in Ho Chi Minh City.

19

Yoo Geun-Taek 柳根澤

b. 1965 in Ansan, South Korea; lives and works in Seoul, South Korea

Fountain 2022 Black ink, white powder, tempera, and gouache on Korean paper mounted on wood 151 × 111 × 4 cm Unique Estimate: HK $ 250,000–300,000 Generously donated by the artist and Gallery Hyundai Lot

20

Para Site 2023 Benefit Auction

Yoo, a virtuoso artist who has been bridging the East Asian tradition of ink and colour painting on hanji (Korean traditional paper) with contemporary aesthetics over the last three decades, expands this storied genre into subjects of nature, the environment, everyday life, and society to craft a singular experimental art practice.

Fountain, one of the artist’s most iconic series, captures the moment where water reaches the peak only to soon fall back to the ground, hinting at the inevitability of being, the transience of human existence, and the finiteness of time itself. Yet, even facing its own dissolution, the forceful surge of water takes on a confident and tenacious attitude rather than one that is defeated and docile. Yoo’s recent solo exhibitions took place at the Daegu Art Museum (2022); Tama Art University Museum, Tokyo (2016); and OCI Museum of Art, Seoul (2014). He has participated in group exhibitions at the National Museum of Modern and Contemporary Art (MMCA), Seoul (2019); and Parkview Museum, Singapore (2019). His work is in the permanent collections of Leeum, Samsung Museum of Art, Seoul; MMCA, Seoul; Seoul Museum of Art; Gyeonggi Museum of Art, Ansan; and Busan Museum of Art.

Hung Fai 熊 輝

Live

b. 1988 in Hong Kong; lives and works in Hong Kong

Vessel VIII 源VIII

2021 Ink on paper 180 × 48 cm Unique Estimate: HK $ 90,000–110,000 Generously donated by the artist and Grotto Fine Art

Lot

21

For the Vessel series, Hung invited his mother to use xuan paper to fold into a ship—a metaphor for a vessel that carries a mother’s memory. He then flattened the ship gently along the fold marks, concealed it in additional layers of xuan paper, and soaked the pile in water. Using a ruler to quickly draw lines on the top layer of xuan paper, he created stuttering straight lines that symbolise the lapses in memory. By deconstructing traditional Chinese ink paintings and his training in the medium and the traditional techniques, Hung’s conceptual work reconstructs and experiments with the potential of ink painting. His thoughtful collaborations with his parents also highlight a generational shift in the centuries-long quest in modernising ink art in Hong Kong. Hung has exhibited at Kathmandu Triennale 2077 (2022); Para Site, Hong Kong (2020); Guangdong Museum of Art, Guangzhou (2020); and M+, Hong Kong (2017). Hung received the Liu Kuo Sung Ink Art Award Gold Prize (2022) and the 12th National Exhibition of Fine Arts Certificate of Merit (2014). His work is in the collections of M+, Hong Kong; and the Hong Kong Museum of Art.

Wang Gongyi ​​ 王公懿

b. 1946 in Tianjin, China; lives and works in Portland, Oregon, United States

Windsor Blue: Rhythm #6 温莎藍: 韵律 #6

2023 British watercolour, clamshell powder, ripe xuan paper 70 × 138 cm Unique Estimate: HK $ 200,000–250,000 Generously donated by the artist and Galerie du Monde

Lot

22

Para Site 2023 Benefit Auction

Live In 2005, Wang’s first experimentation with Winsor Blue was a revelation in her artistic practice. The artist finds that the unique watercolour manufactured by the British art supplier Winsor & Newton Co. is brilliantly alive on xuan paper. The subtle and delicate lines born out of the margins of the colour layering move on the paper like melodious musical notations, revealing the evocative traces of mountains, skies, water, and air. In 1980, Wang gained national recognition in China after being awarded first prize in the National Youth Fine Art Exhibition for her powerful suite of seven woodcuts depicting the Chinese revolutionary martyr Qiu Jin. In 1986, Wang was invited by the French Ministry of Culture as a visiting artist, and in 1992 she went to Aix-en-Provence and Lyon to further her studies in printmaking. She relocated to the United States in 2001. Select solo exhibitions include those at Portland Art Museum (2018), Zhejiang Art Museum, Hangzhou (2013), and Tianjin Academy of Art Museum (2007). Group exhibitions include those at National Art Museum of China, Beijing (2019); and Ashmolean Museum, Oxford (2007). Her work is held in the public collections of Ashmolean Museum, Oxford; China Academy of Art, Hangzhou; M+, Hong Kong; National Museum of Art of China, Beijing; and USC Pacific Asia Museum, Pasadena, among others.

Silent

b. 1980 in Taipei; lives and works in Paris, France

Charwei Tsai 蔡佳葳

Ancient Desires reflects on the devastations wreaked by constant dissatisfaction.

As an antidote to this ancient disease and as a way to restore collective consciousness and wellbeing, Tsai has been making offering vessels daily for a year. This pair of ceramic pieces is a part of a larger collection of over 200 pieces to be exhibited at ‘Making New Worlds: Li Yuan-chia and friends’ at Kettle’s Yard, University of Cambridge (11 November 2023–18 February 2024). Highly personal yet universal concerns spur Tsai’s multimedia practice. Recent solo exhibitions include those at Cité Internationale des Arts, Paris (2022); DRAC Occitanie, Toulouse (2022); Vernacular Institute, Mexico City (2021); and Philosophical Research Society, Los Angeles (2021). Recent group exhibitions include those at Gwangju Biennale (2023); Mori Art Museum, Tokyo (2023, 2022); Banff Art Centre, Canada (2023); SongEun Art and Cultural Foundation, Seoul (2023); Centre Pompidou, Paris (2022); and Tate Modern, London (2022). Her work is collected by Asian Art Museum, San Francisco; Kadist Foundation, Paris; M+, Hong Kong; Queensland Art Gallery, Brisbane; Sigg Collection, Zurich; and Tate Modern, London.

Ancient Desires 2023 Ceramic 9 × 7 × 7 cm; 8 × 8 × 8 cm Unique Estimate: HK $ 10,000–20,000 Generously donated by the artist

Lot

23

Para Site 2023 Benefit Auction

Keem Jiyoung

b. 1987 in Seoul, South Korea; lives and works in Seoul, South Korea

Lot

24

Glowing Hour 2020 Oil on canvas 112.1 × 112.1 cm Unique Estimate: HK $ 65,000–85,000 Generously donated by the artist and P21

Silent

In her ongoing Glowing Hour series, Keem attempts to capture the radiance and illumination of candlelight during different moments in paintings and drawings. Each frame zooms in on the candle’s wick to an extent where its form becomes abstract, yet a palpable warmth emanates reminiscent of sunsets and sunrises, accentuated by the intricate gradient that fills the canvas. Keem wishes to draw attention to the overlooked victims of human-made catastrophes in modern and contemporary Korea caused by reckless development. As if lighting a candle for those who were injured or lost with each work in the series, the artist wants the viewers to remember and learn from these tragedies. Using painting to delve into the dynamics between individuals and events, Keem scrutinises the structural issues behind these incidents and examines their wider societal consequences. Keem has participated in group exhibitions including at the Gyeonggi Museum of Modern Art, Ansan (2021); Korean Culture Center in Hong Kong (2020); and National Museum of Modern and Contemporary Art, Gwacheon (2019). Her work is included in the collection of Gyeonggi Museum of Modern Art, Ansan and National Museum of Modern and Contemporary Art, Seoul.

b. 1988 in Seoul, South Korea; lives and works in Amsterdam, the Netherlands

Mire Lee 李美來

Dreamcatchers: The Healing Machine #5 2023 Silicone, lead, threads, steel wires 15 × 20 × 70 cm Unique Estimate: HK $ 50,000–70,000 Generously donated by the artist and Tina Kim Gallery

Lot

25

Para Site 2023 Benefit Auction

Lee’s sculpture resembles a dreamcatcher and seemingly carries well wishes for the health and vitality of loved ones.

The sculpture is named after Emery Blagdon’s visionary work The Healing Machine, in which handmade objects are stacked, weaved, tangled, layered, and hung. Blagdon began his project after experiencing the death of his close family members and sought to channel the powers of the Earth with the potential to cure illnesses and alleviate pain. Lee’s series similarly celebrates the organic, accumulative, and obsessive nature of art, as well as of hopes and dreams. Lee is known for her kinetic sculptures that recall the fleshiness of limbs or the interiors of the human body employing materials such as motors, pumps, lubricants, metal, and silicone. Lee’s work challenges notions of selfhood, social acceptability, and cleanliness while engaging the senses in a visceral way beyond the realm of intellect and language. Her work has been the subject of several solo exhibitions including at New Museum, New York (2023); and Museum für Moderne Kunst, Frankfurt (2022). Lee has also participated in major international exhibitions including the 59th Venice Biennale (2022); the 58th Carnegie International (2022); and Gwangju Biennale (2018).

Jennifer Guidi 詹妮弗˙圭迪

b. 1972 in Redondo Beach, California, United States; lives and works in Los Angeles, California, United States

The radiating composition of Rainbow Orb 2 is characteristic of Guidi’s ongoing visual and tactile investigation into mysticism, spirituality, and meditative states of mind. The colourful abstraction emulates the textures of Guidi’s sand-encrusted canvases. She finds inspiration in traditions and tendencies distinguished by optical patterning, from Tibetan sand mandalas to West Coast abstraction. These references become powerful symbolism enmeshed in her vibrant palette. Following a 2012 visit to Morocco, she began to pursue a more abstract approach, drawing inspiration from the heavy stitching and irregular undersides of the country’s handmade rugs. Recent solo exhibitions include those at the Orange County Museum of Art, Costa Mesa (2023); the Long Museum, Shanghai (2022); and Museo d’arte Contemporanea Villa Croce, Genoa (2017). Recent group exhibitions include those at Museum of Contemporary Art, Los Angeles (2018); National Museum of Women in the Arts, Washington, D.C. (2016); and Hammer Museum, Los Angeles (2015). Her work is in the collections of the Solomon R. Guggenheim Museum, New York; Hammer Museum, Los Angeles; Rubell Family Collection, Miami; and Sammlung Goetz, Munich.

Lot

26

Rainbow Orb 2 2023 Archival pigment print with screen-printed varnishes and glass flock on Moab Entrada 290 gsm 52.1 × 41.3 cm Edition 31 of 35 + 3 APs & 2 PPs Estimate: HK $ 40,000–60,000 Generously donated by Gagosian

Silent

b. 1981 in Chongqing, China; lives and works in Beijing and Dali, China

Li Shurui 李姝睿 Love for a Minority No.3 少數愛No.3 2018 Acrylic on canvas on board Diameter: 30 cm Unique Estimate: HK $ 35,000–55,000 Generously donated by the artist and WHITE SPACE

Lot

27

Para Site 2023 Benefit Auction

The study of light and colour and their cultural connotations constitute the core of Li’s artistic practice, where she believes that light and colour can embody, record, and shape individuals’ needs and spirituality. In recent years, Li has drawn from her personal experiences to explore the boundaries of the painted medium, and the functional, social, and political nature of light and colour. Li’s solo exhibitions include those at Long Museum, Shanghai (2021); and Salt Projects, Beijing (2018). Recent group exhibitions include those at Yuz Museum, Shanghai (2019); Long Museum, Shanghai (2019); Palazzo Reale, Milan (2018); Georgian National Museum, Tbilisi (2017); National Museum of Women in the Arts, Washington D.C. (2016); and Shanghai Minsheng Art Museum (2016, 2015).

Lot

28

Silent

b. 1979 in Bangkok, Thailand; lives and works in Bangkok, Thailand

Yuree Kensaku 玉里˙坎薩庫

Across the Universe 2013 Woodcut 69 × 90 cm Edition 18 of 20 Estimate: HK $ 15,000–30,000 Generously donated by the artist

Para Site 2023 Benefit Auction

This woodcut print is an allusion to the moment when Eve offers Adam the Forbidden Fruit at the instigation of the Serpent, leading to the couple’s exile from the Garden of Eden. In the artist’s wry rendition of this well-known tableau, it is a beaver and a mole rat who commit the Original Sin of humankind. The work shares its title with a 1969 Beatles song and a 2007 musical romantic drama film directed by Julie Taymor that uses Beatles songs in its storyline. Kensaku’s playful, pastel-coloured allegorical retelling is thus underscored by the universal sorrow and joy experienced in love and the desire for peace and happiness in dark times as demonstrated in the song and the film. Kensaku is a Japanese-Thai artist known for her use of pop iconography to project a surreal world that reinterprets real-world events through vibrant colours, cartoon animals and characters, and a sense of dark humour. She completed artist residencies at Centre Intermondes, La Rochelle (2020) and the Yokohama Museum of Art (2007). She participated in Hawaii Triennale (2022); Bangkok Art Biennale (2021); Thailand Biennale (2018); and the 4th Moscow Biennale for Young Art (2014). Her work is in the permanent collections of Mori Art Museum, Tokyo; Singapore Art Museum; Yokohama Museum of Art; and MAIIAM Contemporary Art Museum, Chiang Mai.

Izumi Kato 加藤泉

b. 1978 in 1969 in Shimane, Japan; lives and works in Tokyo, Japan; and Hong Kong

Lot

29

Untitled 33 2018 Lithograph 78 × 58 cm Edition 23 of 36 Estimate: H K $ 18,000–28,000 Generously donated by the artist

Children with disturbing faces, embryos with fully developed limbs, ancestral spirits locked up in bodies with imprecise forms—the creatures summoned by Kato are as fascinating as they are enigmatic. Their anonymous silhouettes and strange faces, largely absent of distinct characteristics, emphasise forms and colours bringing to mind prehistoric art. The creature in Untitled 33 draws inspiration from totems and animist beliefs, embodying a primal form of humanity founded less on reason than on intuition.

Izumi Kato has held recent solo exhibitions at SCAD Museum of Art, Savannah (2021); Hara Museum ARC, Gunma, and Hara Museum of Contemporary Art, Tokyo (2019); and Red Brick Art Museum, Beijing (2018). Recent group exhibitions include those at Hawaii Triennial, Honolulu (2022); Centre for Heritage, Arts and Textile (CHAT), Hong Kong (2020); and the National Museum of Art, Osaka (2019). In 2007, he was invited to take part in the 52nd Venice Biennale, curated by Robert Storr. His work is held in the public collections of Long Museum, Shanghai; Museum of Contemporary Art Tokyo; the National Museum of Modern Art, Tokyo; and SCAD Museum of Art, Savannah, among others.

Silent

b. 1985 in Tokyo, Japan; lives and works in New York, United States

Taro Masushio 增鹽太朗

Lot

Untitled 18

30

2020 Silver gelatin type LE print 57 × 46.6 × 2.6 cm Edition 1 of 3 Estimate: HK $ 25,000–40,000 Generously donated by the artist and Empty Gallery, Hong Kong

Para Site 2023 Benefit Auction

Untitled 18 is part of a series of work centred around Junichi Enya, who was one of the first Japanese underground homoerotic photographers. Juxtaposing two matchboxes from businesses in Tezukayama, Enya’s former Osaka neighbourhood, this still life evokes Enya’s life in the after hours. Submerged in pitch black, the two matchboxes—one from an izakaya and the other a Chinese restaurant—imagine Enya’s private life unbeknownst to those who knew him as a father, husband, and photo lab technician. Harkening back to an era before internet communication, the artist considers how nightlife meeting points were a pivotal part of forging kinship and intimacy. Masushio was named the 2022/2023 City Artist in Residence at Internationales Atelierstipendium Mönchengladbach and had a solo exhibition at BIS Center, Mönchengladbach. He has participated in group exhibitions at Hordaland Kunstsenter, Bergen (2023); The Clemente Soto Vélez Cultural & Educational Center, New York (2023); and Bonner Kunstverein (2021). He has held teaching positions at University of California Berkeley and New York University.

Ku Fu-sheng 顧福生

b. 1935 in Shanghai, China; d. 2017 in Rancho Cucamonga, California, United States

Lot

31

Ku-16 1997–1998 Glaze on porcelain plate Diameter: 26.5 cm Unique Estimate: HK $ 8,000–16,000 Generously donated by ESLITE GALLERY

Silent

Ku Fu-sheng 顧福生 Ku-25 1997–1998 Glaze on porcelain plate Diameter: 26.5 cm Unique Estimate: HK $ 8,000–16,000 Generously donated

by ESLITE GALLERY

Lot

32

He was especially mesmerised by the 1984 Los Angeles Olympics, and his dynamic brushstrokes passionately convey the chiselled figures striving for speed and excellence, as seen in the ceramic plates Ku-16 and Ku-25. Throughout his prolific career spanning over fifty years, Ku indulges in the subconscious world between reality and unreality, allowing his fantasies and dreams to freely roam. His works come naturally, drawing inspiration from anything and everything. He expresses his inner feelings and uses any time, place, object, colour, or line as a means of expression. He employs a diverse and rich array of materials at hand, showcasing his whimsical and sense of imagination. His work was recently included in the exhibition ‘Spectrosynthesis—Asian LGBTQ Issues and Art Now’ at the Museum of Contemporary Art, Taipei (2017).

His work can be found in the collections of National Taiwan Museum of Fine Arts, Taichung; Taipei Fine Arts Museum; Kaohsiung Museum of Fine Arts; and M+, Hong Kong.

Para Site 2023 Benefit Auction

As an early member of the Fifth Moon Group, Ku was among the pioneers of the modern art movement in postwar Taiwan. From a young age he studied ink painting under the master Huang Junbi and learned Western art foundation from Chu Teh-Chun, and soon realised his preference for the freedom he found in abstraction. He started exploring the male body in the late 1950s while in university, but the gaunt, constrictive, mouthless figures from this period reflected the suffocation he felt under the authoritative and conservative regime and curriculum, where his conflicting identity as the gay son of a KMT general and uncategorisable artistic pursuits didn’t belong. He relocated to Paris in 1961, where he went through a phase of pure abstraction in search for a personal style. It was in New York, starting in 1963, where he rediscovered his language for the figurative, finding inspiration from athletes and dancers, capturing the aesthetics of power and grace through the contours of these trained, moving bodies.

Simryn Gill

b. 1959 in Singapore; lives and works in Port Dickson, Malaysia; and Sydney, Australia

Lot

33

Midden Mother 2020 Collage 23 × 15 cm Unique Estimate: HK $ 30,000–50,000 Generously donated by the artist and Jhaveri Contemporary

Silent

Midden Mother is characteristic of Gill’s diverse art practice, and her works often focus on gathering and transforming found objects to create new associations, and examining the relationships between culture, knowledge, and place.

Her practice encompasses photography, drawing, objects and collections, and writing. Gill’s work has been shown in numerous solo and group exhibitions, most recently at Gropious Bau, Berlin (2020); Drawing Room, London (2019); TarraWarra Museum, Victoria (2019); Met Breuer, Metropolitan Museum of Art, New York (2019); National Gallery, Singapore (2018); Kohta, Helsinki (2018); Lunds Konsthall, Lund (2017); Museum of Fine Arts, Ghent (2016); NTU Centre for Contemporary Art, Singapore (2015); and Museum of Modern Art, New York (2014). Gill represented Australia at the Venice Biennale in a solo presentation in 2013. She has exhibited in documenta 12 and 13 (2007, 2012), and in biennales that include Sydney Biennale (2018) and Moscow Biennale (2013).

Gill also writes and makes artist books. Her most recent publication is Becoming Palm, with Michael Taussig, published

by NTU CCA Singapore and Sternberg Press in Berlin.

b. 1975 in India; lives and works in Singapore

Shubigi Rao 舒比吉˙拉奧

Lot

34

Circular Stories 2016 Ink on Fabriano Artistico paper 66.4 × 50.5 cm Unique Estimate: HK $ 90,000–110,000 Generously donated by the artist and Rossi & Rossi

Para Site 2023 Benefit Auction

In her ink-based works, Rao encapsulates the overarching issues that humanity faces through her signature wit. Weaving together the enduring prevalence of currency, the never-ending troubles that brew in the world, and the pervasive attitude toward bottom lines. Rao is known for her long-term, multidisciplinary projects, comprising layered installations of books, etchings, drawings, pseudo-scientific machines, metaphysical puzzles, video, ideological board games, garbage, and archives. Her interests include archaeology, neuroscience, libraries, archival systems, histories and lies, literature and violence, and ecologies and natural history. Rao has held a solo exhibition at Künstlerhaus Bethanien, Berlin (2017). She participated in group exhibitions at Weserburg | Museum für moderne Kunst, Bremen (2022); the 59th Venice Biennale (2022); the 4th Kochi-Muziris Biennale (2018); the 10th Taipei Biennial (2016); and the 2nd Singapore Biennale (2008). Her work is in the collections of Kadist, Paris and San Francisco.

Silent

b. 1976 in Saigon, Vietnam; lives and works in Ho Chi Minh City, Vietnam

Tuan Andrew Nguyen

Unexploded Ordnance, 16in. 50 caliber, Sông Ngân hamlet, Linh Thu’o’ng Village, Gio Linh district, Quang Tri January 14, 2021

35

Para Site 2023 Benefit Auction

This work belongs to a photographic series that explores the relationship between landscape, trauma, and memory. The North Central Coast region of Quang Tri, where this image was shot, was one of the most heavily bombed areas in modern history, and its residents have for generations lived with the physical residue and lingering trauma of war. These images document the disposal of a 15-inch, 50-calibre artillery shell shot from a US Naval ship during the American-Vietnam War that failed to detonate upon impact. Landmine and unexploded ordnance pollution has especially affected rural populations, leaving a dramatic trail of fatalities and amputated limbs, and those populations must be liberated from the threat of death that lies beneath the surface. ​​ Nguyen uses strategies of remembrance to highlight unofficial and suppressed histories. Interweaving the factual and the speculative and often employing mythologies of otherworldly realms, Nguyen’s oeuvre reworks dominant narratives into stories that propose creative forms of healing for the intergenerational traumas of colonialism, war, and displacement. The artist held his first US solo museum exhibition titled ‘Radiant Remembrance’, at the New Museum in New York earlier this year. Nguyen’s work has been included in major international exhibitions including the 12th Berlin Biennale (2022); Aichi Triennale (2022); Asian Art Biennial, National Taiwan Museum of Fine Arts, Taichung (2021); San Francisco Museum of Modern Art (2019); and Sharjah Biennial (2019). Nguyen is the recipient of the 2023 Joan Miró Prize. His work is included in the permanent collections of Queensland Art Gallery, Brisbane; San Francisco Museum of Modern Art; Philadelphia Museum of Art; Asia Society Museum, New York; the Museum of Modern Art, New York; Solomon R. Guggenheim Museum, New York; and the Whitney Museum of American Art, New York.

Lot

2022 Pigment print on Hahnemühle paper 66.2 × 100 cm Edition 1 of 5 + 2 APs Estimate: HK $ 40,000–60,000 Generously donated by the artist and James Cohan, New York

Enzo Camacho + Ami Lien 連潔 Hunger Leaf (flesh wounds) 2023 Watercolour, gouache, wax, abaca, pulp, cogon grass, cilantro, leek, spring onion, and taro shoots 64.8 × 58.4 cm; 67.9 × 61.6 × 11.4cm (framed) Unique Estimate: H K $ 90,000–110,000 Generously donated by the artists and 47 Canal, New York

Lot

36

Enzo Camacho—b. 1985 in Manila, Philippines; lives and works in Berlin, Germany Ami Lien—b. 1987 in Dallas, Texas, United States; lives and works in New York, United States

This drawing on handmade paper is comprised of natural fibres gathered during the artists’ field research in Negros, Philippines. In the artists’ words, the series of handmade paper works, which this piece is a part of, gestures toward alternative landscapes and prompt viewers to contemplate the dynamic interplay of different elements within the land in both vibrant and inflammatory ways. Camacho and Lien are artists and writers; together, they have an artistic practice that addresses localised iterations of labour and capital from the perspective of imperial damage. They have had solo exhibitions at Para Site, Hong Kong (2023); Kunstverein Freiburg (2018); and Hessel Museum of Art, Bard College, Annandale-on-Hudson (2018). Their work has been included in recent group exhibitions at Tai Kwun Contemporary, Hong Kong (2022); the 10th Asia Pacific Triennial, Queensland Art Gallery, Brisbane (2021); the 5th New Museum Triennial, New York (2021); the Drawing Center, New York (2020); the Kuandu Museum of Fine Arts, Taipei (2019); the NTU Center for Contemporary Art, Singapore (2018); UCCA Center for Contemporary Art, Beijing (2017); Jim Thompson Art Center, Bangkok (2017); and Green Papaya Art Projects, Manila (2009).

From 2021 to 2023, Camacho and Lien were fellows at the Graduate School of the Universität der Kunste, Berlin.

Silent

b. 1980 in Orange County, California, United States; lives and works in Berlin, Germany

Christine Sun Kim Small Echo 2022 Charcoal on paper 43.2 × 43.2 cm Unique Estimate: HK $ 55,000–75,000 Generously donated by the artist and François Ghebaly

Lot

37

employs elements from various information systems. By combining aspects of graphic and musical notation, body language, and ASL, she uses these systems as a means to expand what each is able to communicate and to invent a new grammar and structure for her compositions. She has exhibited and performed internationally, including at the Gwangju Biennale (2023); Queens Museum, New York (2022); the Whitney Museum of American Art, New York (2019); the Art Institute of Chicago (2018); San Francisco Museum of Modern Art (2017); De Appel Arts Center, Amsterdam (2017); Berlin Biennale (2016); Sound Live Tokyo (2015 and 2013); MoMA PS1, New York (2015); and the Museum of Modern Art, New York (2013). Kim was awarded an MIT Media Lab Fellowship and a TED Senior Fellowship and has presented at numerous conferences and symposia. She received her MFA in Music/Sound from Bard College in 2013.

Para Site 2023 Benefit Auction

In American Sign Language (ASL), a rebounding sound—the echo—is indicated by using the fingers of one hand to reach out, touch, and then glide back from the palm of the other upheld hand. The phenomenon of the echo metaphorically occurs in the relationships and communications between people who work with sign language interpreters. In Small Echo, Kim wonders if it is truly possible to convey and repeat individual nuance, the personal quality of speech, in another language—let alone from a visual to auditory communication— without distorting what is being said. In her work, Kim, whose first language is ASL, approaches the concept of sound via deconstructive exercises, experiments, and observations through drawing, painting, and performance. Over the course of developing her own visual language, Kim explores and

Paul Pfeiffer 保羅·費弗

Four Horsemen of the Apocalypse (20, 21, 22) 2006 Colour inkjet prints 33 × 15.9 cm; 10.2 × 15.2 cm (each) Edition 9 of 30 Estimate: H K $ 25,000–45,000 Generously donated by the artist and Paula Cooper Gallery

Lot

38 Pfeiffer’s groundbreaking work in video, sculpture, and photography uses recent computer technologies to dissect the role that mass media plays in shaping consciousness. In a series of video works focused on professional sports events, Pfeiffer digitally removes the bodies of the players from the games, shifting the viewer’s focus to the spectators, sports equipment, or trophies won.

Presented on small LCD screens and often looped, these intimate and idealised video works are meditations on faith, desire, and a contemporary obsession with celebrity. The first large-scale retrospective of his work in the US opens at The Museum of Contemporary Art, Los Angeles in November 2023. He has had solo exhibitions at the Hamburger Bahnhof, Berlin (2009); the National Gallery of Victoria, Melbourne (2005); the Museum of Contemporary Art Chicago (2003); and the Whitney Museum of American Art, New York (2001).

Pfeiffer was also the subject of a retrospective at Sammlung Goetz in Munich (2011). His work is in the permanent collections of the Museum of Modern Art, New York; the Whitney Museum of American Art, New York; Inhotim Museu de Arte Contemporanea, Belo Horizonte; the Pinault Collection, Venice; Hamburger Bahnhof, Berlin; and Pinakothek der Moderne, Munich.

b. 1966 in Honolulu, Hawaii, United States; lives and works in New York, United States

Silent

b. 1992 in Heilongjiang, China; lives and works in Shanghai, China; and Los Angeles, United States

Yan Xinyue 閆欣悅

2020 Oil on paper 24 × 33 cm each, set of 2 Unique Estimate: HK $ 18,000–24,000 Generously donated by the artist and Capsule Shanghai

39

Para Site 2023 Benefit Auction

Yan’s work portrays the tension in everyday life in the context of rapid urban development. She manipulates objects and subjects into different painterly forms; reality mingles with fantasy on the same canvas, where the dramatic and the calm coexist. Her paintings thus distils the tug of war in human existence between individuality and assimilation from the gregarious herd mentality. The irony and humour in her paintings invite viewers to enter a universe of imagination and possibilities. Yan has participated in group exhibitions at Current Plans, Hong Kong (2021); Kunstpodium T, Tilburg (2019); Flemish Cultural Center De Brakke Grond, Amsterdam (2018); Royal Academy of Fine Arts Antwerp (2018); and Boxes Art Museum, Shenzhen (2015).

Lot

love the way I arrive

Michael Ho 何麥克

b. 1991 in Arnhem, the Netherlands; lives and works in London, United Kingdom

Lot

40 And It Holds Like a Kiss 2023 Oil and acrylic on canvas 20 × 30 × 2.5 cm Unique Estimate: H K $ 40,000–60,000 Generously donated by the artist and Gallery Vacancy, Shanghai

As a second-generation immigrant from China, Ho is interested in investigating the notions of the Chinese diaspora, cultural mismatch, and subsequently cultural rediscovery through his painting practice. Ho’s unique process involves producing negatives, or perhaps more accurately, making tableaux from stains. He begins by pushing paint through the back of an unprimed canvas in mostly abstract patterns which harden to an unabsorbent ground. Once the canvas is reversed, these forms act as a kind of stencil, occluding figures which the artist first renders digitally and then onto the front of the painting in oils applied by hand. Each work is thus partially a mirror image, Ho’s critical engagement with the orientalist images and tropes is multifold: from the playful to the political and from the erotic to the domestic. From 2020 to 2022, Ho worked with Chiyan Ho (1993–2022) as an artist duo. His film projects have been screened at Piccadilly Circus, London; ICA, London; and Nottingham Contemporary. Ho’s works are in the collections of Asymmetry Art Foundation, London; Domus Collection, New York; Labora Collection, Dallas; Tanoto Family Collection, Singapore; and X Museum, Beijing.

Silent

b. 1997 in Hong Kong; lives and works in Hong Kong

The painting belongs to an ongoing series focusing on adulthood from the perspective of a younger, relatively inexperienced person, using cartoon-like silhouettes and vibrant, matte fields of colours in seemingly simplistic compositions. In this humorous, whimsical painting, two people gather over a shared meal, while one of them has a black cat sitting atop their head instead of hair. The animal patterns that decorate the table all seem to be offering commentaries on the absurdity of this event, and the artist inserts herself as the two white figures escaping from the dining table. The work highlights the artist’s unique analysis of her surroundings and her subconscious, while emphasising her inclination to distance herself from conventional perspectives. Leung’s artistic practice is an attempt to study the peculiar creatures she sees in daily life and those birthed from her imagination.

Leung Po Ying Agnes 梁寶瀛

Serious Adult’s Dining Room 認真的大人聚餐

2023 Acrylic on canvas 100 × 100 × 3.7 cm Unique Estimate: HK $ 30,000–50,000 Generously donated by the artist and Contemporary by Angela Li

Lot

41

Para Site 2023 Benefit Auction

Lulu Ngie 倪鷺露

b. 1972 in China; lives and works in Hong Kong

Lot

42

Follow the emotional tone 跟隨情緒的調子

2022 Oil on linen 82 × 60 cm Unique Estimate: H K $ 60,000–80,000 Generously donated by the artist and Gallery EXIT

The dancing figures in the painting evoke fluctuating emotions, as they appear confused and slightly awkward. The work depicts a moment in which the artist finds herself led by her emotions. The artist has observed that human behaviour is often dictated by emotions, where the physical is heavily influenced by the psychological. In her work, Ngie uses simple lines to depict gestures and movements, deliberately erasing the background. She syncs her brushstrokes with her breath, recording her emotions, and in turn her paintings become documentations of her internal negotiations of control between the mental and the physical. She has participated in group exhibitions at Para Site, Hong Kong (2022); Korea Cultural Center in Hong Kong (2021); and Hong Kong Arts Centre (2017). Her work is in the collection of M+ Museum, Hong Kong.

Silent

b. 1950 in London, United Kingdom; lives and works in London, United Kingdom

Antony Gormley

‘These open silhouettes suggest human spaces in space.

This work was originally made as a single puddle of coffee.

It runs through the bodies and, like blood, pools, coagulates, and dries. The pandemic, a time of enforced isolation, has also been one of inspired and connected care: unity in separateness…We are part of a united system of life, we are together.’ —Antony Gormley

Together 2020 Photopolymer gravure on Somerset 300 gsm textured paper 40 × 59 cm Edition of 250 + 10 APs Estimate: HK $ 20,000–40,000 Generously donated by the artist

Lot

Gormley is widely acclaimed for his sculptures, installations, and public artworks that investigate the relationship of the human body to space. His work has developed the potential opened up by sculpture since the 1960s through a critical engagement with both his own body and those of others in a way that confronts fundamental questions of where human beings stand in relation to nature and the cosmos.

Gormley continually tries to identify the space of art as a place of becoming in which new behaviours, thoughts, and feelings can arise. He has had solo exhibitions at the Royal Academy of Arts, London (2019); Uffizi Gallery, Florence (2019); Philadelphia Museum of Art, Philadelphia (2019); Zentrum Paul Klee, Bern (2014); and Centro Cultural Banco do Brasil (2012).

Several of Gormley’s public works are permanently installed around the world, including at the Massachusetts Institute of Technology, Cambridge. Gormley won the Turner Prize in 1994 and has been a member of the Royal Academy since 2003.

He was made an Officer of the British Empire in 1997 and knighted in 2014.

43

Para Site 2023 Benefit Auction

Ding Zhi 丁至

Untitled 無題

2023 Oil on linen Diptych: 12.7 × 12.7 cm each Unique Estimate: H K $ 15,000–20,000 Generously donated by the artist and MOU PROJECTS

Lot

44

b. 1992 in Jiujiang, China; lives and works in New York, United States

A miniature diptych exploring childhood memories, Ding’s Untitled (2023) features a pair of enigmatic yet captivating figures against deep ochre and burgundy hues. In the left panel, Ding portrays an intriguing scene where her childhood self gazes into a mirror, as if reflecting on her own existence.

On the right, Ding depicts her father from his back, a perspective she has always held of him. This juxtaposition represents her progress in navigating and shaping her own identity and provides a glimpse into the strained familial dynamics, expressing a romanticised sense of despair. Ding encapsulates moments of vulnerability, melancholy, and nostalgia in her portable, miniature paintings, evoking the fragmented impressions of her daily life. With a delicate and poetic approach to painting, Ding explores the intricate realm of the collective and intricate human emotions through her seemingly simple yet enigmatic compositions. Ding received her MFA from the School of the Art Institute of Chicago in 2023, and BS in mathematics and statistics from the University of Pittsburgh in 2017.

Silent

b. 1975 in St. Louis, Missouri, United States; lives and works in St. Louis, Missouri, United States

Katherine Bernhardt

Pikachu 2022 Ten-colour lithograph on Somerset paper 136.5 × 91.4 × 5.7 cm (framed) Edition 40 of 65, 18 AP, 2 PP, 1 BAT Estimate: HK $ 75,000–95,000 Generously donated by the artist and David Zwirner © Katherine Bernhardt.

Courtesy the artist and David Zwirner

Lot

45

Para Site 2023 Benefit Auction

Bernhardt’s boundless visual appetite has established her as one of the most energetic artists working today. Featuring a fierce-looking Pikachu, vibrant colours, and recognizable symbols from the Pokémon universe, this large-scale lithograph, which resembles a supersized Pokémon card, is rendered in Bernhardt’s signature exuberant style. As with her painting practice, the artist approaches printmaking instinctively, embracing mis-registrations, ink splashes, and other incidental byproducts of the printing process. Her work has been included in group exhibitions at Jewish Museum, New York (2020); Brant Foundation Art Study Center, Greenwich, CT (2017); Rubell Museum, Miami (2015); and Ukrainian Institute of Modern Art, Chicago (2002). Her work is in the collections of public and museum collections, including Carnegie Museum of Art, Pittsburgh; Fondazione Sandretto Re Rebaudengo, Turin; High Museum of Art, Atlanta; Hirshhorn Museum and Sculpture Garden, Washington, DC; Portland Museum of Art, Maine; Rubell Museum, Miami; and San Antonio Museum of Art, Texas.

Teppei Kaneuji 金氏徹平

b. 1978 in Kyoto, Japan; lives and works in Kyoto, Japan

Lot

46

Games, Dance & the Constructions #14 2012 Collage on photograph 55.5 × 76.6 × 4 cm Unique Estimate: H K $ 18,000–22,000 Generously donated by the artist and ONE AND J. Gallery

Kaneuji’s work incorporates elements of Japanese popular culture such as manga and toys. In the series Games, Dance, and Constructions he extracts segments of manga to create different shapes, then screen-prints those shapes onto paper, wood, or stuffed models, combining them randomly as a child would, without rhyme or reason. The resulting absurdity both strips away the original meaning in the visual references and magnifies the overproduction, overconsumption, and overstimulation of popular imagery in contemporary Japanese life that the artist grew up with. Kaneuji has had solo exhibitions at 21st Century Museum of Contemporary Art, Kanazawa (2020); Asia Culture Centre, Gwangju (2017); Ueno Royal Museum, Tokyo (2017); and STPI, Singapore (2014).

Select group exhibitions include those at Echigo-Tsumari Art Triennial (2018); and Peabody Essex Museum, Salem, Massachusetts (2018). His work is in the collections of Mori Art Museum, Tokyo; Yokohama Museum of Art; Hiroshima City Museum of Art; Queensland Art Gallery, Brisbane; Museum of Contemporary Art Tokyo; and National Museum of Art, Osaka.

Silent

b. 1951 in Osaka, Japan; lives and works in Osaka, Japan

A Little Requiem: Theater of Creativity / Self-portrait as Tezuka Osamu 2010 Photograph (diffusion transfer print) 13 × 10 cm; 32 × 28cm (framed) Unique Estimate: HK $ 20,000–40,000 Generously donated by the artist and ShugoArts

Lot

This is one of the works from the series Theater of Creativity in which Morimura disguises himself as representative artists of the 20th century.

In this work, Morimura became Tezuka Osamu (1928–1989), a Japanese manga artist and the creator of Astro Boy. Ever since Morimura created his first self-portrait, disguising himself as Van Gogh in one of his self-portrait paintings in 1985, the artist has incessantly produced ‘self-portrait-like artworks’ where he transforms himself into ‘others’ beyond time, race, and gender. While maintaining his practice to become someone other than himself, the artist gazes at the indisputable fact that he is still himself and continues to question its meaning. Understanding both the contemporary and historical framework and inserting his own analysis of others, their artistic achievements, and historical memories, Morimura continues to employ his own body as well as photography, video, and performance into his practice. Selected solo exhibitions include those at Kyoto City KYOCERA Museum of Art (2022); Hara Museum of Contemporary Art, Tokyo (2020, 2013); Japan Society, New York (2018); Pushkin Museum, Moscow (2017); National Museum of Art, Osaka (2016); The Andy Warhol Museum, Pittsburgh (2014); and Shiseido Gallery, Tokyo (2013). He opened his own museum, M@M, in Osaka in 2018.

Yasumasa Morimura 森村泰昌

47

Para Site 2023 Benefit Auction

Liang Hao 梁浩 Melencolia I 憂鬱之一

2023 Oil on linen 60 × 40 cm Unique Estimate: H K $ 60,000–80,000 Courtesy of the artist and BANK/MABSOCIETY

Lot

48

b. 1988 in Guangdong, China; lives and works in Beijing, China

Primarily a painter, Liang is concerned with the dynamic among the hand, the gaze, and the mind. He meticulously constructs hyperrealist paintings as if emphasising the technical precision while referencing art history. Melencolia I is read as a book here, referring to Albrecht Dürer’s 1514 print of the same title, one of three Meisterstiche (master engravings), each representing a virtue in mediaeval scholasticism—moral, theological, and intellectual—valued

by Dürer and his contemporaries. The fragmented image on the cover of the opened book in Liang’s painting is extracted from the upper-centre of the Dürer print, of a bowl of a balance scale hanging next to a head of curly hair that belongs to a chubby winged child-like figure. Melencolia I symbolises the intellect of the artist and therefore that of Dürer, and by extension of Liang. In mediaeval philosophy each person was supposed to have one of the four humours, with melancholy being the least desirable due to its link with insanity. By the Renaissance, melancholy became associated with creative genius, and in the Dürer print, Melancholy is surrounded by instruments of geometry, one of the seven liberal arts that underlies artistic creation. This was probably more important to Dürer than to his peers due to his high standard for his work.

Liang is perhaps subjecting himself to the same aspiration, with the other fictional titles stacked beneath on the canvas almost acting as hashtags under a social media post. Liang’s work has been exhibited at major private museums in China, including Shanghai Minsheng Art Museum, and Today Art Museum, Beijing. He has participated in artist residencies at Art OMI International Artist Residency, Ghent, New York (2016); and Island Iceland Offshore Project, Seydisfjordur (2015). He was nominated for the John Moores Painting Prize in 2018 and 2016.

Silent

b. 1988 in Hong Kong; lives and works in Hong Kong

Sarah Heller

Lot

49

Energy 2023 Watercolour and graphite on Canson Montval Acrylic 30 × 30 cm Unique Estimate: HK $ 25,000–45,000 Generously donated by the artist and Molde Fine Art

Para Site 2023 Benefit Auction

This multimedia work on paper is part of the artist’s series Sense of Language / Language of Sense, using the sensuous experience of wine as a starting point.

The composition creates a sense of dynamism and movement, echoing the fast evolving tactile, olfactory, and gustatory sensations in a wine deemed to have energy. The work references optical art, using the close juxtaposition of contrasting forms, tones, and hues to create visual energy while the overtly manual, imperfect medium—in contrast to much classic op-art, which appears almost machine-made— emphasises the natural, hand-produced qualities so prized in wine itself. Sarah Heller received a BA in fine art from Yale University and she has had solo exhibitions in Shanghai and Hong Kong. She created commissioned works for The Bourgogne Wine Board, The Barossa Grape, Winegrowers Association, Inter Rhône, and Biondi-Santi, among others. Her work is in the private collection of the Principe Pallavicini, Rome.

Nicholas Wong 黃裕邦

therefore, this note is not meant to (1) and (2) 2022 Carbon paper transfer and oil stick on paper (set of 2) 53.5 × 41 × 3.7 cm each (framed) Unique Estimate: H K $ 25,000–40,000 Generously donated by the artist and HART

Lot

50

b. 1979 in Hong Kong; lives and works in Hong Kong

Wong’s therefore, this note is not meant to series is the artist’s exploration of failures and a celebration of his transition from a text-based practice to visual art. Wong, an award-winning poet, put together a collection of over 300 rejections including those he had received from institutions and private correspondences, forming the foundation of this provocative body of work that dwells on the uncertainty and fragility of success, weighing public recognition against personal sense of accomplishment. In a departure from his literary expertise, Wong embarked on a visual arts practice as an artist-in-residence at HART in 2021. The works on paper within this series illuminate the interconnected dynamics between imagery and texture, and the interplay of tonality and medium. The process of writing on top of carbon paper becomes a revelation, symbolising Wong’s acceptance of the inevitable moments of falling and failure within life’s mundane experiences. Wong was included in ‘The Hong Kong Arcus Pride Art 2023’ curated

by Kalen Wing Ki Lee. His work has been exhibited at HART/H Queen’s, Hong Kong (2023) and is in the collection of Sunpride Foundation. He currently works as a Lecturer at the Education University of Hong Kong.

Silent

b. 1988 in Hong Kong; lives and works in Berlin, Germany

Chiyan Wong 王致仁

2023 Black ink on paper 14.5 × 10.3 cm Unique Estimate: HK $ 6,000–10,000 Generously donated by the artist

51

Para Site 2023 Benefit Auction

The artist made this drawing one evening after months of studying the works of the German-American expressionist painter Lyonel Feininger (1871–1956), and a quick encounter with the works of the German painter and photographer Alfred Otto Wolfgang Schulze (1913–1951), more popularly known by his pseudonym ‘Wols’. The title of the work is a portmanteau containing Wols’s name and the ending roda of many Thuringian towns (such as Gelmeroda or Vollersroda), which were a favourite subject of Feininger’s. Wong’s audacity and vision as a pianist have captivated listeners, with a repertoire ranging from the early Baroque to the 21st century. Having made his debut at prestigious venues such as the Salzburg Mozarteum and the Wigmore Hall, in which he gave an all-Liszt recital, Wong first came to international attention in earlier debuts at festivals such as the International Music Festival in Dinard, France; the Hong Kong Arts Festival; and the Singapore International Piano Festival. Wong completed his doctorate at the Royal Academy of Music in London.

Lot

Wolsroda

Qiu Xiaofei 仇曉飛

b. 1977 in Harbin, China; lives and works in Beijing, China

Lot

52 Snow house 雪屋

2023 Watercolour on paper 31 × 31 cm Unique Estimate: HK $ 35,000–55,000 Generously donated by the artist

For the artist, painting has always been a sensitive expression of human emotions and thoughts. Through the potential of self-experience in the process of painting, he consolidates the most intimate sensory experiences of human life—ageing, illness, and death—into the formal language of colour and lines, transforming them into images that intertwine and transform each other. In Snow house, the house morphs into a biological cavity. Similarly, trees and forests become metaphors, and the open spaces within the woods become places for contemplation and dreaming for both artist and viewer. Qiu is best known for his evocatively coloured paintings that fuse intuitive and playful forms. Using memory, allegory, and a dreamlike narrative, he draws on both Eastern and Western aesthetics. In recent years, Qiu has started to use traditional mineral colours, resulting in an organic texture that evokes a sense of the distant past. His dreamlike and enigmatic compositions often juxtapose abstract and representational elements, embodying the spirit of Chinese landscape painting that value the image of the mind as well as reproduction from nature. Qiu’s work has been featured in exhibitions internationally, including at the Central Academy of Fine Arts, Beijing (2018); Tampa Museum of Art (2014); UCCA Center for Contemporary Art, Beijing (2013); Tate Liverpool (2007); and Kunstmuseum Bern (2005). His work is in the M+ Sigg Collection, Hong Kong.

Silent

b. 1995 in Shenyang, China; lives and works in Shenyang, China

Ziping Wang 王子平

Each cursed seed is another pearl 2023 Oil on panel 30 × 24 cm Unique Estimate: HK $ 35,000–55,000 Generously donated by the artist and Galerie Marguo

Lot

53

Para Site 2023 Benefit Auction

This dizzying painting explores the overwhelming experience of living within the attention economy in the digital era, in which everyone with access to the Internet sifts and wades through endless pop-ups, notifications, reels, photos, and refreshing feeds. Drawing from the graphic language of advertising and merchandise design, the composition flattens the hierarchy of disparate, competing images and flits between the familiar and the dissonant. Rendered from no preliminary sketches or preselected imagery, the painting features oneiric interior landscapes; and compositions of forms and colour that each obey their unique laws of space, contained by borders, windows, and cels. Her playful paintings filled with Gen Z daily visual references have been exhibited at WT Foundation, Kyiv (2021); and Shanghai Minsheng Art Museum (2017). Wang was the recipient of the First Prize of the 12th Annual Juried Exhibition at Archway Gallery, Houston (2020), and she was shortlisted in Forbes’s ‘30 under 30’ (2022). Her works are in the collections of the ICA Miami; Zhuzhong Art Museum, Beijing; X Museum, Beijing; and Le Consortium, Dijon.

Hejum Bä

b. 1987 in Seoul, South Korea; lives and works in Seoul, South Korea

Lot

54 Enclosure 2023 Oil on canvas 72.8 × 53.2 × 4 cm Unique Estimate: H K $ 35,000–55,000 Generously donated by the artist and MASSIMODECARLO

Silent

This painting playfully combines vivid shades of pink, orange, yellow, purple, and green, illustrating a curiosity the artist harbours for her subconscious journey leading to the destined composition.

Bä sees her painting process not as addition but deduction, eliminating the excess and maintaining the desired balance. Bä’s paintings and drawings are the results of contemplation and cogitation. Though the images are stationary by nature, Bä’s delicate handling of the brush and use of contrasting colours animate the forms she depicts, revealing the passage of time in the observation and production of her work. Bä has had solo exhibitions including those at Kumho Museum of Art, Seoul (2021); and OCI Museum, Seoul (2018); and group exhibitions including at the National Museum of Modern and Contemporary Art, Gwacheon (2021); and at Queens Museum, New York (2015).

b. 1986 in Đak Lak Province, Vietnam; lives and works in Ho Chi Minh City, Vietnam

Tru’o’ng Công Tùng 張公松

Dust 03…

(Remembering and Forgetting) 2023 Vietnamese lacquer on wood 45 × 40 × 5 cm Unique Estimate: HK $ 25,000–45,000 Generously donated by the artist

Lot

55

embodied in the morphing ecology, belief, and mythology of a land. He is a member of Art Labor (founded in 2012), a collective working between visual art and social and life sciences to produce alternative non-formal knowledge via artistic and cultural activities in various public contexts and locales. Truong has exhibited extensively internationally as a solo artist and as part of Art Labor Collective, including at MAIIAM Contemporary, Chiang Mai (2020); Kunsthall Trondheim (2019); Sàn Art, Ho Chi Minh City (2019); Bangkok Biennale (2018); Para Site, Hong Kong (2018 and 2017); Museum of Modern Art, Warsaw (2018); Dhaka Art Summit (2018); The Secretariat & Myanm/art Gallery, Yangon (2018); Kadist Foundation, San Francisco (2016); Taipei Biennial (2016); and Seoul Mediacity Biennale (2014).

Para Site 2023 Benefit Auction

This work is made using archival images from forest fires and artificial explosions that occurred around the world as a starting point for a series of paintings using Vietnamese lacquer. During the painting process the imagery has completely transformed into a language of abstraction. The technique of lacquer painting requires layer upon layer of lacquer applied, dried, and polished, before finally carving and burnishing from the top layer to reveal the desired colours and patterns underneath. Truong grew up in Dak Lak among various ethnic minorities in the Central Highlands of Vietnam. With research interests in science, cosmology, philosophy, and the environment, Truong works with a range of media, including video, installation, painting, and found objects, which reflect personal contemplations on the cultural and geopolitical shifts of modernisation, as

Rosamond Brown

b. 1937 in United Kingdom; lives and works in Hong Kong and London, United Kingdom

Lot

56 Trawling near Macau 2020 Watercolour on paper 50 × 70 cm Unique Estimate: H K $ 10,000–15,000 Generously donated by the artist and Ben Brown Fine Arts

Brown’s meditative watercolours are composed of swathes of colour gently washing into one another, aligning her with Western postwar Abstract Expressionists and Colour Field painters, while her immersion in Asia and direct exchange with Chinese artists bring elements of calligraphy to her brushwork. Brown arrived in Hong Kong in 1964 and has lived and worked here since. Upon her arrival, she forged a bridge between Eastern and Western artists in Hong Kong, joining the local avant-garde, including artists Gaylord Chan, Cheung Yee, and Hon Chi-fun, collaborating on group exhibitions and exchanging ideas and artistic approaches. She held solo exhibitions in 1964 and 1966 at the Chatham Gallery, Hong Kong’s first permanent exhibition space for artists. In 1978, Brown had a solo exhibition at the British Embassy in Beijing, marking the first exhibition of contemporary Western art in post-Cultural Revolution China, drawing curious artists and dignitaries who were staggered by her semi-abstraction and loose-brushed painting techniques. Her work has been exhibited at the Hong Kong Arts Centre, Seoul Metropolitan Museum of Art, the Hong Kong Museum of Art, and Fukuoka Art Museum. Brown studied at Belgrade University, Yugoslavia, and Central School of Art and Design (now Central Saint Martins), London, and has taught at Hong Kong University.

Silent

b. 1995 in Hong Kong; lives and works in Hong Kong

Like many of Cheng’s paintings, Drifting Sentry Box invites the audience to peer into her psychological landscape that stems from her urban experience. Cheng’s works mirror her careful observations of daily life in Hong Kong, the fleeting exchanges she shares with strangers, and the internal dialogues she has with her surroundings. Her highly stylised paintings serve as a visual diary of her perception of the city and its people, reflecting a sense of temporality and nostalgia. Cheng participated in the Gil Artist Residency programme in Iceland in 2018.

Un Cheng 鄭燕垠 Drifting Sentry Box 飄流保安亭

2022 Oil on canvas 26 × 20.5 × 3.8 cm; 29.1 × 23.2 × 3.8 cm (framed) Unique Estimate: HK $ 30,000–50,000 Generously donated by the artist and Blindspot Gallery

Lot

57

Para Site 2023 Benefit Auction

Syaiful Aulia Garibaldi

b. 1985 in Jakarta, Indonesia; lives and works in Bandung, Indonesia

Irmo Ehoor #13 2023 Ink on paper 140 × 97 cm Unique Estimate: H K $ 35,000–55,000 Generously donated by the artist and ROH Projects

Lot

58

Silent

For his six-week residency in Kyoto, Garibaldi collaborated closely with the natural environment and community surrounding the residency site while developing a new body of work. For the Irmo Ehoor series, Garibaldi worked with Japanese ink-based pigments and various artisanal papers sourced from Kyoto that were new to him. These works on paper are decidedly monochromatic in nature, and are saturated in greyscale, accentuated by subtle variations in natural colours. Garibaldi previously pursued an education in agronomy before pivoting to fine arts, where he applies his scientific background to create a conceptual foundation. His creation of an immersive environment was sparked by his interest in the networked and interconnected nature of ecologies, and the evocative power of microorganisms as symbols of death and decay, as well as life. Infusion between art and science transcends his work and gives way to new knowledge, which is illuminated within his prints and installations.

Garibaldi has been invited to present a solo exhibition at Mind Set Art Center, Taipei (2018). He has taken part in major group exhibitions including at West Bund Art Centre, Shanghai (2017); Sea Plus Triennale at National Gallery, Jakarta (2016), and Art Science Museum, Singapore (2015). He completed residencies at ABC Learning Town, Siheung (2015); and Centre Intermodes, La Rochelle (2014). He was the recipient of the Bandung Contemporary Art Award (BaCAA) in 2013.

Plantation × Para Site

Lot

59 Special tasting inspired by ‘Enzo Camacho and Ami Lien: Offerings for Escalante’ Suggested value: Priceless Generously donated by Nana Chan and Plantation

Inspired by the events and philosophy behind Para Site’s current exhibition ‘Offerings for Escalante’ featuring the works of Enzo Camacho and Ami Lien (on view at Para Site through 8 February 2024), Plantation has worked with Para Site to create a unique tea tasting experience at Plantation Tea Bar for an exclusive group of up to ten people. Plantation’s tea master will guide the winning bidder and their guests on a flavour journey that reveals the varied personas of one type of tea. As the experience unfolds over four courses, with cold brew versions, sparkling versions, infusions and edible pairings, a whole new perspective of tea will emerge.

Para Site 2023 Benefit Auction

Plantation founder Nana Chan has always had in mind the environmental and social impact of her establishment since she opened the popular tea and cake shop Teakha in 2012 on Taipingshan Street, a stone’s throw from Para Site’s old Po Yan Street space (1997–2015). While Chan decided to close Teakha in 2021, she opened Plantation Tea Bar to continue sharing her love for tea and its culture, while working with small farmers around the world and supporting these small communities, many run by women.

Doreen Chan 陳泳因

b. 1987 in Hong Kong; lives and works in New York, United States

Lot

60 A cocktail based on a dreamer’s dream Suggested value: Priceless Generously donated by the artist

Silent

Turn your dream content into a cocktail with artist Doreen Chan.

Inspired by Chan’s ongoing participatory project HalfDream, this lot offers a unique and artistic mixologist experience created by the artist based on the winning bidder’s dream. Chan will design a cocktail (or mocktail) recipe with elements that reflects the scenes, persons, and emotions from the bidder’s dream. The successful bidder will be invited to enjoy the drink in person and chat with the artist as she adds the final touches making it a truly intimate recipe. The in-person experience will be hosted in a designated location in Hong Kong or New York in 2024 subject to the artist’s schedule. The winning bidder will also receive a drawing of the recipe and a photo of the drink by the artist.

A mixed-media artist with a social-centred practice, Chan re-examines the tension between interpersonal relationships to create her subjects.

Through collection, selection, and reorganising fragments from everyday life, she explores how individuals interact with collective and personal memories. In 2023, her commissioned project, Sipping Dreams, was the first to be exhibited at the V Hall at Tai Kwun Contemporary, Hong Kong. The same year, she was listed as ArtReview China’s Future Greats. She has exhibited internationally including Para Site, Hong Kong (2023, 2017); the Arts Electronica Festival 2022, Linz (2022); UCCA Center for Contemporary Art, Beijing (2020); Times Museum, Guangzhou (2019); and Art Omi, Ghent, New York (2018).

Para Site 2023 Benefit Auction