現在/即將進行 current/upcoming exhibition:
展覽現場 installation view:
個人展覽 solo exhibitions:
《山水重構 — 熊輝水墨計劃》— 熊輝個人展覽
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變法——熊輝水墨畫個人展覽
Movement – Hung Fai 展覽日期：2014 年 4 月 24 日至 5 月 10 日
開放時間：早上 11 時至晚上 7 時 (週日及公眾假期休息) 展覽地點：嘉圖現代藝術 Grotto Fine Art–中環雲咸街 31 號 C-D 2 樓 開幕時間：2014 年 4 月 23 日 (三) 下午 5 時 30 分至 8 時 Date: April 24 – May 10, 2014
Venue: Grotto Fine Art Ltd, 2/F 31C-D Wyndham Street, Central, Hong Kong Hours: Monday – Saturday: 11am – 7pm (Closed Sunday & public holidays) Artist Reception: 5.30pm – 8pm, April 23, 2014 (Wed) » 繼續閱讀/continue reading |
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精選聯展 selected group exhibitions:
似重若輕：M+ 水墨藏品
The Weight of Lightness: Ink Art at M+
「水墨」泛指亞洲傳統書法及山水畫，但M+ 的思維更廣：水墨不單為媒介，也是當代視覺文化中重要的美學。過去六十多年間，藝術家紛紛重新審視書法和山水畫兩大傳統水墨主流的實踐和概念。他們受時代背景影響，並融會個人經驗，發展出新的表現方式和技巧。故水墨美學的詮釋與應用，因人因地，產生不同風貌。
「似重若輕」展出1960年代至今，42位藝術家約60件繪畫、書法、裝置、攝影及流動影像作品。他們來自香港、內地、台灣、日本、南韓、印度、美國和西班牙等10多個地區，充分展現M+水墨藏品的跨國界及跨媒介特色。
「似重若輕」意指水墨物質及精神層面間的張力，貫透展覽的三大主題：
- 「字跡、符號、筆劃」探究藝術家如何透過叛離、重新詮釋與創造，從事書寫或塗繪點和線，直接或間接地與書法及繪畫對話。
- 「山水的念頭」，表現山水和它所啟發的形形色色當代藝術表達。
- 「物．外」探討藝術家研究墨、水和紙的物質性，進而追求精神性而富於想像力和詩意的作品。
開放時間：
2017年10月13日至2018年1月14日
(12月25日及1月1日閉館)
上午11時至下午6時
星期三至星期日及公眾假期
地點：
西九文化區M+ 展亭
While ink art generally refers to visual works with lineage to ink painting and calligraphy in the Asian tradition, M+ is taking a more expansive view with The Weight of Lightness, which will present a transnational, interdisciplinary perspective on ink art from the 1960s to the present day. Throughout this period, artists have examined the practices and concepts of traditional ink art to develop new expressions and techniques influenced by their environments, personal experiences and artistic tendencies from outside their own cultures. These experimentations have resulted in varied applications and interpretations of the ink aesthetic, blossoming in different geographic locations and under different political, social and individual circumstances.
The Weight of Lightness explores how ink art is not only a medium, but also a crucial aesthetic in contemporary visual culture. Featuring works in various media including painting, calligraphy, installation, photography and moving image that demonstrate artists’ diverse explorations. Nearly 60 works by 42 artists from more than 10 regions – representing Hong Kong, Mainland China, Taiwan, Japan, Korea, India, the US, Spain and more – will be on display.
The exhibition’s title illustrates the tension at the core of ink art between the material and the spiritual. This relationship permeates the three thematic sections of the exhibition:
- ‘Scripts, Symbols, Strokes’ showcases how artists channel their communicative impulses through writing, gesturing and mark-making in direct or implicit dialogue with the arts of calligraphy and drawing.
- ‘Desire for Landscape’ studies how landscape, arguably the most explored genre of the East Asian painting tradition, continues to inspire a wide range of artistic expressions.
- ‘Beyond Material’ focuses on the notions of transformation and transcendence by showing artistic investigations in the materiality of ink, water and paper, and by exploring the emotional and philosophical dimensions of ink beyond the physical world.
Exhibition period:
13 October 2017 – 14 January 2018
11 am – 6 pm
Wednesday to Sunday and public holidays
Closed on 25 December 2017 and 1 January 2018
Location:
M+ Pavilion, WKCD
影窟
Luminous Shadows
Luminous Shadows
《影窟》
2017年11月18日-2018年1月19日
墨齋，北京
秋麥、黃致陽、熊輝、洪強、李華生、李津、馬文、吳少英
策展人：楊浚承
紙上所繪之石如肉身溢血，顫抖的線條記錄冥想中的心理起伏，聖像的光暈發散自朝聖者的瞬速手跡。《影窟》引領觀者在感知體驗中，探索物質世界的靈性和神性。八位參展藝術家都著意喚起身體在時間和空間中的存在感，復原圖像被現代審美所壓抑的更多維度。藝術品在此被重新儀式化，成為救贖和覺醒的媒介、自覺的戲劇性幻想、經驗愉悅和傷痛的軀體、渴望與虔誠奉獻的物件。
本次展覽被佈置成了一系列神龕狀的密圍，靈感來自原始人類創造和觀看圖像的洞窟。洞窟為龐然巨物，卻又虛無飄渺，既啟發內觀和自省，又是一個夢境般的神思遊走之所，一扇超越此間世界的門。作為佛像的原型，釋加牟尼曾把自身投入懸崖上石窟之中，留下“佛影”。“佛在石內映現於外”，遠看明亮如鏡，近觀則消失於岩壁。本展作品運用了拓印、壁畫、音景、光線和視角轉換等方式，體現了洞窟在物質、感官與概念層面的曖昧性。
熊輝（1988年生於香港）在父親所繪的山石上重複儀式性的點墨動作，同時施行和消解了父權的暴力。李津（1958年生於天津）重繪了敦煌壁畫裡中佛陀前生慈悲捨身的故事，通過對原作風蝕表面的忠實重現，將虔誠的精神表達到了極致。洪強（1970年生於昆明）作為畫家中的禮佛者，以墨和手指捕捉自己與佛像之間稍縱即逝的邂逅。秋麥（1969年生於紐約）的沉浸式攝影裝置作品重現荒廢的佛像洞窟，將其不滅的靈光轉存到膠片和宣紙的質感上。
馬文（1973年生於北京）的墨池裝置裡，光與玻璃在鏡面倒影中交匯為山水景觀，又反復離析。吳少英（1966年生於澳門）的視頻以液體的流動編排一場光影戲劇，引人想像其中不可名狀的角色和敘事。黃致陽（1965年生於臺北）和他收藏的古代玉石進行薩滿式的溝通，並將其背後的神秘力量凝聚於繪畫和雕塑創作。李華生（1944年生於四川宜賓）受到西藏地理與宗教環境的啟發，創作巨幅手繪線格作品，把觀者置於抽離與沉浸、渺小與無限之間的微妙境界。
本展覽將記錄藝術家創作過程的影像記錄、文獻與作品一同展出，提出“佛影窟”典故中關於媒介和圖像本質的核心問題：圖像的力量究竟源自再現的物件、物質的構成、時空與儀式語境、還是作者和觀者的虔誠？它會否恰恰是其間一種不斷的徘徊和糾纏？
地址：中國北京市朝陽區機場輔路草場地藝術區紅一號B1, 郵編100015
開放時間：星期二至星期天（上午10:00-下午6：00）
2017年11月18日-2018年1月19日
墨齋，北京
秋麥、黃致陽、熊輝、洪強、李華生、李津、馬文、吳少英
策展人：楊浚承
紙上所繪之石如肉身溢血，顫抖的線條記錄冥想中的心理起伏，聖像的光暈發散自朝聖者的瞬速手跡。《影窟》引領觀者在感知體驗中，探索物質世界的靈性和神性。八位參展藝術家都著意喚起身體在時間和空間中的存在感，復原圖像被現代審美所壓抑的更多維度。藝術品在此被重新儀式化，成為救贖和覺醒的媒介、自覺的戲劇性幻想、經驗愉悅和傷痛的軀體、渴望與虔誠奉獻的物件。
本次展覽被佈置成了一系列神龕狀的密圍，靈感來自原始人類創造和觀看圖像的洞窟。洞窟為龐然巨物，卻又虛無飄渺，既啟發內觀和自省，又是一個夢境般的神思遊走之所，一扇超越此間世界的門。作為佛像的原型，釋加牟尼曾把自身投入懸崖上石窟之中，留下“佛影”。“佛在石內映現於外”，遠看明亮如鏡，近觀則消失於岩壁。本展作品運用了拓印、壁畫、音景、光線和視角轉換等方式，體現了洞窟在物質、感官與概念層面的曖昧性。
熊輝（1988年生於香港）在父親所繪的山石上重複儀式性的點墨動作，同時施行和消解了父權的暴力。李津（1958年生於天津）重繪了敦煌壁畫裡中佛陀前生慈悲捨身的故事，通過對原作風蝕表面的忠實重現，將虔誠的精神表達到了極致。洪強（1970年生於昆明）作為畫家中的禮佛者，以墨和手指捕捉自己與佛像之間稍縱即逝的邂逅。秋麥（1969年生於紐約）的沉浸式攝影裝置作品重現荒廢的佛像洞窟，將其不滅的靈光轉存到膠片和宣紙的質感上。
馬文（1973年生於北京）的墨池裝置裡，光與玻璃在鏡面倒影中交匯為山水景觀，又反復離析。吳少英（1966年生於澳門）的視頻以液體的流動編排一場光影戲劇，引人想像其中不可名狀的角色和敘事。黃致陽（1965年生於臺北）和他收藏的古代玉石進行薩滿式的溝通，並將其背後的神秘力量凝聚於繪畫和雕塑創作。李華生（1944年生於四川宜賓）受到西藏地理與宗教環境的啟發，創作巨幅手繪線格作品，把觀者置於抽離與沉浸、渺小與無限之間的微妙境界。
本展覽將記錄藝術家創作過程的影像記錄、文獻與作品一同展出，提出“佛影窟”典故中關於媒介和圖像本質的核心問題：圖像的力量究竟源自再現的物件、物質的構成、時空與儀式語境、還是作者和觀者的虔誠？它會否恰恰是其間一種不斷的徘徊和糾纏？
地址：中國北京市朝陽區機場輔路草場地藝術區紅一號B1, 郵編100015
開放時間：星期二至星期天（上午10:00-下午6：00）
Luminous Shadows
November 18, 2017 - January 19, 2018
INK studio, Beijing
Michael Cherney, Huang Zhiyang, Hung Fai, Hung Keung, Li Huasheng, Li Jin, Cindy Ng
Curator: Alan Yeung
A painted rock bleeds as living flesh across sheets of paper. A quivering line gives form to the nuances of meditative experience. The veiled light of an icon radiates through the near-instantaneous marks by a pilgrim’s hand. The group exhibition Luminous Shadows explores spirituality and transcendence in the sensory engagement with the material world. Each of the eight participating artists calls attention to the embodied experience of space and time, recuperating dimensions of art repressed by a modern aesthetics of detached contemplation. The work of art is here ritualized anew as a vehicle for salvation and awakening, a self-conscious theatrical illusion, a sensuous body of pleasure and pain, and an object of pious devotion and yearning.
Organized as a series of shrine-like enclosures, Luminous Shadows is inspired by the cave as a primordial site of image-making and beholding. At once concrete and ethereal, the cave both heightens interiority and encourages dream-like wanderings into worlds beyond. It is an archetypal space of the Buddhist icon: Shakyamuni once miraculously imprinted his own “shadow image” in a cliff-side grotto. Radiant and reflective like a mirror from afar, this image would disappear into the blank rocky surface upon approach. Encompassing rubbing, wall painting, soundscape, and manipulations of perspective and light, the works in Luminous Shadows draw on the physical, sensorial, and conceptual ambiguities of the cave.
Hung Fai (b. 1988, Hong Kong) ritually enacts and dissolves the violence of patriarchal authority in his laborious stippling of a rock painted by his father. Li Jin (b. 1958, Tianjin) reproduces a Dunhuang mural depicting compassionate self-sacrifice, expressing his own piety through utmost faithfulness to its weathered surface and faded pigments. The pilgrim-painter Hung Keung (b. 1970, Kunming) captures his fleeting encounters with enshrined icons with ink-stained fingers. Here presented as an immersive installation, Michael Cherney’s (b. 1969, New York) photographs reconstruct auratic ruins of Buddhist grottos through the material artifacts of film and xuan paper.
In Jennifer Ma’s (b. 1973, Beijing) installation, light and glass repeatedly coalesce into an illusionary landscape before dissolving in a reflective ink pool. Cindy Ng’s (b. 1966, Macau) video presents a theater of liquid traces, inviting and frustrating the desire for narrative and character. A shamanistic connoisseur of archaic stone and jade artifacts, Huang Zhiyang (b. 1965, Taipei) channels in painting and sculpture their mystical energies. Inspired by the landscape and religiosity of Tibet, Li Huasheng’s (b. 1944, Yibin, Sichuan) vast hand-drawn grids and lines oscillate between surface and depth, the infinite and the infinitesimal.
Accompanied by video and material documentation of the artists’ processes, Luminous Shadows presses on the question of agency and medium at the heart of the Shadow Cave lore. Does the power of images derive from material constitution, spatial and ritual context, the object of representation, or the devotion of the maker or beholder? Or is it precisely the indeterminacy between them?
Red No. 1-B1, Caochangdi, Chaoyang District, Beijing, China 100015
Tuesday - Sunday 10.00am - 6.00pm
November 18, 2017 - January 19, 2018
INK studio, Beijing
Michael Cherney, Huang Zhiyang, Hung Fai, Hung Keung, Li Huasheng, Li Jin, Cindy Ng
Curator: Alan Yeung
A painted rock bleeds as living flesh across sheets of paper. A quivering line gives form to the nuances of meditative experience. The veiled light of an icon radiates through the near-instantaneous marks by a pilgrim’s hand. The group exhibition Luminous Shadows explores spirituality and transcendence in the sensory engagement with the material world. Each of the eight participating artists calls attention to the embodied experience of space and time, recuperating dimensions of art repressed by a modern aesthetics of detached contemplation. The work of art is here ritualized anew as a vehicle for salvation and awakening, a self-conscious theatrical illusion, a sensuous body of pleasure and pain, and an object of pious devotion and yearning.
Organized as a series of shrine-like enclosures, Luminous Shadows is inspired by the cave as a primordial site of image-making and beholding. At once concrete and ethereal, the cave both heightens interiority and encourages dream-like wanderings into worlds beyond. It is an archetypal space of the Buddhist icon: Shakyamuni once miraculously imprinted his own “shadow image” in a cliff-side grotto. Radiant and reflective like a mirror from afar, this image would disappear into the blank rocky surface upon approach. Encompassing rubbing, wall painting, soundscape, and manipulations of perspective and light, the works in Luminous Shadows draw on the physical, sensorial, and conceptual ambiguities of the cave.
Hung Fai (b. 1988, Hong Kong) ritually enacts and dissolves the violence of patriarchal authority in his laborious stippling of a rock painted by his father. Li Jin (b. 1958, Tianjin) reproduces a Dunhuang mural depicting compassionate self-sacrifice, expressing his own piety through utmost faithfulness to its weathered surface and faded pigments. The pilgrim-painter Hung Keung (b. 1970, Kunming) captures his fleeting encounters with enshrined icons with ink-stained fingers. Here presented as an immersive installation, Michael Cherney’s (b. 1969, New York) photographs reconstruct auratic ruins of Buddhist grottos through the material artifacts of film and xuan paper.
In Jennifer Ma’s (b. 1973, Beijing) installation, light and glass repeatedly coalesce into an illusionary landscape before dissolving in a reflective ink pool. Cindy Ng’s (b. 1966, Macau) video presents a theater of liquid traces, inviting and frustrating the desire for narrative and character. A shamanistic connoisseur of archaic stone and jade artifacts, Huang Zhiyang (b. 1965, Taipei) channels in painting and sculpture their mystical energies. Inspired by the landscape and religiosity of Tibet, Li Huasheng’s (b. 1944, Yibin, Sichuan) vast hand-drawn grids and lines oscillate between surface and depth, the infinite and the infinitesimal.
Accompanied by video and material documentation of the artists’ processes, Luminous Shadows presses on the question of agency and medium at the heart of the Shadow Cave lore. Does the power of images derive from material constitution, spatial and ritual context, the object of representation, or the devotion of the maker or beholder? Or is it precisely the indeterminacy between them?
Red No. 1-B1, Caochangdi, Chaoyang District, Beijing, China 100015
Tuesday - Sunday 10.00am - 6.00pm
