Wednesday, 1 June 2022

The 2022 edition of Art Basel Hong Kong concluded with surging optimism

The 2022 edition of Art Basel Hong Kong brought together 130 leading international 
galleries from 28 countries and territories at the Hong Kong Convention and 
Exhibition Center (25-29 May). Though a pared-down version compared with previous editions before the global pandemic, the show concluded with strong sales across different gallery sectors. Surging enthusiasm in the NFT art market also contributed to an optimistic outlook, signalling a buoyant new normal.

Installation view, Hauser & Wirth, Art Basel Hong Kong 2022.

However, its organizers definitely confronted more challenges than their counterparts in Basel and Miami. Whereas most travel restrictions are lifted in the west, stringent hotel quarantine measures for inbound travellers (from 7 to 14 days) deter overseas collectors from flying to Hong Kong. Moreover, coincided with the severe lockdown in Omicron-strained Shanghai and later Beijing during the fair period, many affluent collectors cooped up in Mainland China did fail to turn up in person.

Installation view, Kaikai Kiki Gallery, Art Basel Hong Kong 2022.

An increasing number of collectors particular millennials are growing more adaptive to the hybrid format, i.e. online viewing digital platforms alongside the physical show. The so-called satellite booths, trialled last year to circumvent travel restrictions, have become the norm. 

This year's event had 75 galleries from mainland China and overseas, up from 57 last year, and attended by docent-like local assistants recruited by Art Basel to greet booth visitors. Accompanied by immediate Whatsapp, Wechat or Zoom meetings with the oversea gallerists, making a deal was not impossible. 

Installation view, Tang Contemporary Art Hong Kong, Art Basel Hong Kong 2022. 

After all, there were some outstanding booths and works which deserved a mention.

David Zwirner, with a setup in Hong Kong since 2018, juxtaposed late minimalist master Dan Flavin's sombre fluorescent light sculpture with the cheerful paintings of Katherine Bernhardt. Crescent Lunge and Warrior II, made with colourful spray paint in 2021, imagined a mischievous Pink Panther practising yoga poses. Elsewhere in the booth, paintings of Nate Lawman, Oscar Murillo, Jordan Wolfson and Lisa Yuskavage extended this mood of contemplation and resilience. 

Installation view, David Zwirner, Art Basel Hong Kong 2022. 

In Lehmann Maupin's booth, a nearly 33-foot-high stainless steel sculpture of American artist Tom Friedman's Looking Up stood at a prominent corner. Visitors were invited to scan a QR code and activated an interactive augmented reality (AR) experience with the futuristic sculpture. The application helped to ignite passion and joy while walking through the halls and encountering new art pieces. Following this AR debut in Art Basel, the gallery will launch a series of multi-city and multi-venue presentations of the artist's sculptural work. 

Installation view, Lehmann Maupin, Art Basel Hong Kong 2022. 

In its satellite booth,  Neugerriemschneider curated a three-artist show, exploring the interwoven issue of sustainability, social interaction and human dialogues. Acclaimed Thai artist Rirkrit Tiravanija's Ping-pong table silkscreened with "Tomorrow is the question" in Chinese text (明天才是問題) occupied the centre of the booth. The playful installation is a new edition to his ongoing series referencing Slovak artist Július Koller's 1970 work Ping-Pong Society which celebrates human interactions. Adjacent to this work, Thomas Bayrle's print on canvas displaying small iterations of the table tennis game was discovered only after careful scrutiny. Tomás Saraceno's spider web prints symbolized the fragility of nature's ecosystem. Resonating with each other, their works contemplated our way forward in troubled and turbulent times.

Installation view, Neugerriemschneider, Art Basel Hong Kong 2022.

Another highlight was Axel Vervoordt Gallery's Norio Imai solo show. The Japanese artist was the youngest member of Gutai, the most influential avant-garde collective of the postwar era from 1954 until its demise in 1972. Imai's multidisciplinary conceptual works — video, sculpture, photography — inform viewers of time and human existence as a material for art, signifying Gutai's impact on his art practice. "Daily Portraits" (1979 — ongoing) consists of his daily self-portrait taken with a polaroid camera, holding the picture from the previous day. His regular performance began in 1979 and continued as he aged and his hair turned grey. The artist is also synonymous with the immense white monochrome works symbolizing full emptiness. One can feel the experimental spirit and sublime beauty underpinning his works.

Installation view, Axel Vervoordt Gallery, Art Basel Hong Kong 2022.

 Norio Imai Daily Portrait, 1979 -- ongoing
Axel Vervoordt Gallery


Meanwhile, the large-scale installations were undertaken by artists from Mainland China, Taiwan and Hong Kong selected by a committee. Many works manifested a fine mix of traditional craftsmanship with contemporary art practices, such as performances with ink and the employment of cultural labour to manifest their conceptual work.

Acclaimed for his public art commissions,  New York-based Ming Fay from Alisan Fine Arts presented "Garden of Life" (2022) with the concept of the garden as a metaphor for Utopia. A legendary money tree symbolizing affluence hung mid-air alongside a cluster of monumental fruit sculptures. Active in Hong Kong as a professor and artist in the 1960s, Ming Fay's work was regarded as a celebration of life and positive energy galvanized through connecting with nature.

 Ming Fay Garden of Life, 2022
Alisan Fine Arts

The gallery also presented Angel Hui Hoi-Kiu's Embroidery on Plastic Bags: Hong Kong Goldfish Street 2 (2021), mimicking an explorative journey through Hong Kong's Goldfish Street. Inside glittering aquariums were eighteen embroidered goldfish stitched on quotidian plastic bags. Working with the women embroiders from mainland China, Hui rediscovers HongKonger's identity while deepening her appreciation of traditional Chinese handicrafts. 

Angel Hui Hoi-Kiu Embroidery on Plastic Bags: Hong Kong Goldfish Street 2, 2021
Alisan Fine Arts

Angel Hui's embroidery goldfish in close-up. 

De Sarthe gallery dedicated much of its booth to feature Mak Ying Tung or Mak2's "Home Sweet Home" (2022), a series of acrylic paintings that replicate and reconstruct the screenshots of the simulation game "The Sims". The paintings were undertaken by anonymous workers she found on China's e-shopping site Taobao. Despite the efforts to create an ideal home,  the rifts and flaws between the triptychs elucidate the inevitable disparity between fantasy and reality.  

Installation view, de Sarthe Gallery, Art Basel Hong Kong 2022. 

Mak2 Home Sweet Home: Gang 52022
de Sarthe Gallery

Some newcomer gallery's booths, like Hong Kong-based Lucie Chang Fine Arts,  were so jam-packed with local visitors that it was hard to walk through.

For its inauguration, its booth spotlighted Tsou Choi Tsang (1921-2007), the self-declared "Kowloon Emperor", with graffiti-style calligraphy signifying the urban cultural memory of Hong Kong. His enigmatic bold-stroked ink calligraphy on rice paper, sometimes in red or blue markers, repeatedly recounted his ancestral history of having righteous inheritance to the Kowloon peninsula, a major territory constituting Hong Kong. Mistaken as a street vandal and madman in the 1950s, Tsang was elevated to a cultural icon when his street calligraphy began to be displayed in exhibition spaces, including the resounding Venice Biennale in 2003.   

The booth reimagined Tsang's elderly home studio, bringing this great legend back to life with his brushes and ink buckets displayed.

Installation view, Lucie Chang Fine Arts, Art Basel Hong Kong 2022 (Photo: Courtesy LCFA) 

Installation view of the reimagined studio of Tsou Choi Tsang at Art Basel Hong Kong 2022(Photo: Courtesy LCFA) 

Another first-time participant Vin Gallery, from the Discoveries sector, unveiled Hanoi-based Vietnamese artist Giang Lê's works in a misty white setting. The artist's interpretation of the colonial history was told on bearly visible embossed prints, challenging the myth of a submissive exotic Indochina. A sound installation surrounded by a translucent tent with handmade embroidery painting, signature Vietnamese craft echoed such a note of resistance.

Installation view, Vin Gallery, Art Basel Hong Kong 2022.

Non-fungible tokens, or NFTs, a special digital certificate built on blockchain technology, have sparked much craze, particularly after the record-breaking $69 million Beeple's NFT sold at Christie in 2021.

It is noticeable that Pace has been committed to showcasing artists' NFTs projects. Their NFT highlights were unmissable as the hologram version of the Baton NFT was displayed in the booth to arouse interest and awareness.   Created by Glenn Kaino, the Pass the Baton project pays tribute to Tommie Smith, the 1968 Olympics medalist who saluted for human rights. In addition, NFTs from Chinese artist Zhang Huan's Celestial Burial series, which evolved from his 2002 meat bodysuit performance, were also a talking point in Pace's booth. 

Installation view, Pace Gallery, Art Basel Hong Kong 2022 (Photo: Courtesy Pace)

Blockchain technology has stimulated artists' experimental spirit in creating and owning art. Bank gallery's digital animation Take off,  by Chinese artist Sun Yitian, is another instance. The artist showcased her collaboration with BCA Labs to develop a narrative series based on her earlier diptych depicting the owl of Minerva, the Roman goddess of wisdom. 

Sun Yitian x BCA LABS Take Off2022
Bank gallery

In response to an explosion of interest in the NFT art market, Art Basel Hong Kong had included a third-party show -- "NFTs + The Ever-Evolving World of Art". The presentation, hosted by Tezos blockchain, had a separate entrance outside the fair zone. Entering the generative art gallery, visitors were guided to mint their first NFTs, which involved setting up a digital wallet to fund their initial investment. 

In response to an explosion of interest in the NFT art market, Art Basel Hong Kong had included a third-party show -- "NFTs + The Ever-Evolving World of Art". The presentation, hosted by Tezos blockchain, had a separate entrance outside the fair zone. Entering the generative art gallery, visitors were guided to mint their first NFTs, which involved setting up a digital wallet to fund their initial investment. 

Installation view, NFTs + The Ever-Evolving World of Art, Art Basel Hong Kong 2022

The covid pandemic has disrupted some established norms of the art fair. Yet, at the same time, a new era with flourishing digital art, abundant creative energy and ready-to-buy millenial collectors might be around the corner. 


Friday, 28 January 2022

M+開幕展 Top10 精選 (下篇)

由全球知名的建築事務所Herzog & de Meuron 設計的M+ 以倒置的「T」型屹立維港,混凝土結構以典雅陶瓦覆蓋,大樓的LED外牆晚間發放跳耀的動畫訊息,色彩媲美璀璨星光。M+開幕即風華正茂,更重要是源於2012年起建立、如今數量逾八千五百多件的豐富藏品(當中希克藏品佔1510件)。小妹繼續從六大展覽中挑選Top 10 值得細意欣賞的冷門亮點,以示對開幕展的回應,上篇已作介紹,本篇續談其餘五組。(按此看開幕展精華短片)。 

Top Six

山崎鶴子《作品》1967 Vs 池城良&元物《聲形地境:香港》2021

山崎鶴子《作品》1967 乙烯基漆布本  尺寸連框: 211 × 158 × 4.9 厘米

池城良&元物《聲形地境:香港》2021  按立體模型的顏色、形狀和構圖佈局,配上不同的現場收音片段。

這是觀賞活躍於五十年前的具體派 — 日本二戰後首個誕生的前瞻性藝術團體  — 與當代香港的對話。兩件作品相距五十四年,前者為源起,後者為回應。


身為具體派始創成員及中堅份子,山崎鶴子(Yamazaki Tsuruko, 1925-2019)最擅長在反光及金屬材料上添加合成顏料,化合物的最終氧化,能產生洋紅色和大地色調的絢麗色彩,展覽中的《錫罐》(1955) 為代表作。

同時展出的《作品》(1969) 是山崎鶴子在畫布上的創作,表現出具體派在抽象表現主義風格上力求進步,她將幾何圖案、條紋及幼線重疊、交錯,色彩上亦營造出相互碰撞及搏鬥的感覺,兼具視覺美感和張力。

現駐港的日本聲音藝術家池城良(Ryo Ikeshiro),受「具體派」跨媒介創新精神啟發而創作《聲形地境:香港》。他挪用山崎鶴子這幅斑爛奪目的抽象創作,製成平面擺放的3D 打印地形浮雕,參與者將手移放在不同圖形或位置,可感覺環繞香港特色景點的聲音。


(位置:南展廳 225)

Top Seven

張洹《為無名山增高一米》1995 攝影、行為展演  希克藏品

張洹《為無名山增高一米》1995  彩色照片  圖像尺寸(目測): 69 × 102.8 厘米





(位置:希克展廳 206)

Top Eight

約翰基治《不想談論任何有關馬塞爾的事》— 塑膠玻璃板印圖 1969


約翰基治《不想談論任何有關馬塞爾的事─ 塑膠玻璃板印圖二》 整體尺寸: 37 × 61 × 36.5 厘米 (Photo courtesy of Mplus)

著名美國前衛藝術家約翰基治(John Cage, 1912-1992) 是「博物館之夢」展覽中呈現的四位概念大師之一(其餘是馬塞爾杜尚、小野洋子、白南準)。基治最眾所周知的身分是作曲家,這件作品則是他早期的平面設計,靈感呈現「易經」之影響,極堪細味。

四十年代初,年紀輕輕的基治便與年長40多歲的杜尚(Marcel Duchamp, 1887-1968 ) 相識交流,早於1913至14年,杜尚無論在音樂及藝術創作已開始加入了「隨機」概念,唯基治不為所動,直至1950年,當他收到學生送來的一本「易經」,研讀之下才開始改變了創作理念。

在杜尚身故後的一年,他完成了這件貌似墓碑的悼念作品 — 「塑膠玻璃板印圖」— 包括共64塊由八座、每座均由八幅嵌在一起的「塑膠玻璃板」組合而成,反映造型上受《易經》八卦的基本概念所啟發;每幅塑膠玻璃板上,顯現出從字典隨機抽選的數字、文字和圖像碎片,目的是讓銘文不預設任何特定含意,讓創作結果保留不可知性。他還借用了Jasper Johns 在杜尚逝世當時所說的一句話:「I don’t want to say anything about Marcel.」(關於馬塞爾我無話想說)為作品命名,委婉幽默地向杜尚致敬。

(位置:合院展廳 228)

Top Nine

王度《紙上談兵》1999  裝置  希克藏品

王度《紙上談兵》1999  著色石膏、塑膠及紙   尺寸可變

這個大型裝置帶我們重回1998年「科索沃戰事」的舞台。戰場之組成除了坦克、軍艦,戰機等塑膠小玩具,還有排山倒海、砌成戰壕的報章雜誌,令這場戰事增添兒嬉與荒誕感;事實上,以美國為首的北約之空軍介入,促使勝負迅速定斷,含有大量阿爾巴尼亞族裔的科索沃,很快成功地脫離塞爾維亞而獨立。當時兩大政治陣營巨頭 –- 俄羅斯總統葉利欽與美國總統克林頓 – 正幕後主宰著小國存亡的命運。他倆的半身像屹立於在戰場上,儼然發施號令,甚具諷刺意味。

王度 (b. 1952) 於1990年移居法國巴黎,是當代少數積極批判文化、社會、政治及歷史事件的藝術家。在《紙上談兵》創作期間,他蒐集大量從大眾傳媒得來的報章雜誌及時事分析,發現西歐與南斯拉夫的傳媒報導大不相同— 前者集中報導逃離科索沃之阿爾巴尼亞難民,後者則集中於科索沃被轟炸的場景,因動機迴異而呈現不同的「真相」,對他帶來極大衝擊。



Top Ten

黃楚喬 《大選美 》約1997年  彩色照片

黃楚喬 《大選美 》約1997年  彩色照片 圖像尺寸: 118.4 × 87.7 厘米

這是一幀關於政權移交、隱喻香港九七回歸的作品 -- 來自攝影師黃楚喬(Holly Lee b. 1953) 之「Hollian Thesaurus」一系列創造於九七前後的數碼合成攝影作品。肖像中的女士,是香港小姐冠軍與英女皇伊利沙伯二世的合體,背景置入郎世寧(Giuseppe Catiglione 1688-1766)所繪的《乾隆觀馬術圖》摹本,再添加細致裂紋,修飾成一幅仿如十五世紀歐洲文藝復興時代的肖像油畫。

自幼習畫的郎世寧於清康熙五十四年(1715年) 由意大利本欲來華傳教,後成為清廷康熙、雍正、乾隆三帝器重的宮廷畫家,他將西方透視質感畫法融入於追求平面的中國畫裡,象徵中西美學之相互交匯與磨合。

黃楚喬於八、九十年代的香港與丈夫李家昇開設攝影工作室,同為概念攝影藝術的先行者。一反背景簡約的肖像拍攝風格,黃氏此系列意像豐富,含意深邃,喻意重重,相信欲特別為九七這個歷史時代留下印記。《大選美》凸顯香港中西融合的流行文化之都美譽,又以一絲不苟的英女皇造型象徵告別英殖時代,東方臉上之莞爾一笑,宛如達文西的蒙娜麗莎般引人入勝; 整體的處理又模仿一張陳年舊照,激起思考歷史與未來的聯想。


(位置:地下大堂展廳 102)


Thursday, 27 January 2022

M+開幕展 Top10 精選 (上篇)

籌劃多年的M+於2021年11月正式揭開神秘面紗。世事無常,早在建館之初,那能預料開館之時,正值全球置身後疫情時代,滿懷俗倦,而每日吸引逾萬人到訪,相信是值得鼓舞的數字。經過幾番仔細琢磨,小妹從六大展覽中挑選Top 10 值得細意欣賞的冷門亮點,作為個人對開幕展的積極回應;本篇介紹首五組。(按此看開幕展精華短片)

Top One

繪造社 《在空中、在陸上、在海裏》2020  數碼繪圖   M+委約創作


來自北京的繪造社成立於2003年,是一個揉合建築、藝術、設計、城市研究、流行文化的創作平台,並以建築用的「軸測圖」(Axonometric Drawing )電腦繪圖方式記錄城市故事。「軸測圖是唯一攝影無法呈現的一種圖紙。」繪造社創始人李涵說。這繪圖法以45度直角透視街道景色,讓裡內裡外得以清晰呈現,無分遠近。

M+ 特別委約繪造社,以此別樹一幟的手法呈現24項分佈亞洲地區的標誌性建築項目,構成一幅內容充實、色彩燦斕奪目的大型壁畫,這些建築分佈海陸空,融合過去與未來,交織夢想與真實,構圖細密,我根據導賞圖指示看圖索冀,在重重疊疊的影像中找到了建築師羅發禮的「OPod 水管屋」、黒川紀章位於東京銀座的「中银膠囊塔」、黃國才的《漂流家室》、柬埔寨和孟加拉的高腳屋、還有香港特式以竹竿搭建的戲棚等等,有如上了寶貴的建築課,有興趣的你快來接受挑戰。

(位置:東展廳 215)

Top Two

溫普林 《七宗罪—89中國現代藝術展上的七個行為》 1989–2009  錄像 片長:52分

八九美術大展 — 象徵「八五新潮運動」的最高峰

「八九美術大展」(The China/Avant-Garde Exhibition) — 1989年2月於北京中國美術館舉辦的「中國現代藝術展」,對當時繪畫、裝置及雕塑等形式尚可接受,然而具顛覆及叛逆意味的行為藝術卻被拒諸門外。這部由藝術家和製片人溫普林拍攝的錄像影片,是至今唯一將被禁止的七項行為藝術,以紀實角度拍攝,並戲謔之為「七宗罪」的滄海遺珠。片中逐一介紹這七宗罪— WR小組身披白布在《吊喪》、吳山專搞賣蝦《大生意》、以武林裝束出現的王浪自稱《浪子》、李山以印有列根頭像的塑膠盆《洗腳》、王德仁作品《致日神的?》在美術館內扔避孕套、張念在《等待》孵蛋;最後,女藝術家肖魯在《對話》中對著電話亭裝置開了兩槍,導致展覽瞬即被終止,隔了數天才重開。


據知希克博士(Dr Uli Sigg) 於2003年從參展藝術家王魯炎手上購得的一批「八九大展」繪畫,被視為希克藏品中最具份量的珍藏,當中包括王廣義的《後古典— 馬拉之死》、張培力《X? 》一系列描繪手套的寫實油畫,更是希克的至愛。觀此影片,猶如重溫八五新潮至八九大展這段劃時代的歷史。

(位置:希克展廳 202)

Top Three

江康泉《海市鏡花》(Flower in the Mirror) M+委約創作  單頻道錄像裝置  片長 : 6分44秒



江記(b. 1977) 在裝置上採用了「鏡屋」構思,在色彩艷麗的動畫兩側、天花和地下,圍繞著鏡子,透過鏡子之倒影,影像不斷重復和延展,閃現仿如萬花筒的視覺震撼,為觀眾帶來片刻的心靈治癒。事實上,這件沉浸式創作,呈現故事脈絡 — 經歷刧後餘生般的人物,游走於奇幻莫測的城市之間,接著兩位淪落天涯的人相知相遇,互相交換頭顱,各自上路。



(位置:地下大堂展廳 102)

Top Four


策展人將三部影片密集式置於一個展廳, 衝擊觀者的思緒。

九十年代的中國實行經濟改革,大批離鄉別井、從農村出來的民工及下崗工人湧到城市找工作,生活壓力,思鄉之情,加上城市的喧鬧擠逼,讓人倍添鬱悶與孤單之感。特別讓人注目是希克藏品中這三齣同處於一室的錄像:按時序是(一)朱加(b. 1963) 影像不斷打滾的《永遠》(1994)、(二)徐震(b.1970)攝於上海街頭的《喊》(1998)、(三)艾未未 (b. 1957) 拍製長逾10小時的《長安街》(2004)。


(位置:希克展廳  207)

Top Five

Tiffany Chung 《漂泊者》2015-2016 多媒體裝置


這件作品除了敍述越南難民投奔怒海、寄居於香港難民營的故事,更是香港人一個集體回憶。出生於越南蜆港的美藉藝術家Tiffany Chung (b. 1969),特別邀請新一代的越南藝術家,按照新聞檔案照片繪出二十八幅水彩畫,配上四十段各階段的香港難民政策文本,再附以兩段重訪萬宜羈留中心及屯門望后石難民中心的片段,呈現活生生的人物經歷事跡、回顧唏噓的真實歷史。

當年香港面對人道危機與現實管治的困境,自1979 年9月被聯合國列為「第一收容港」,難民入境人數激增,惟香港地少人多不勝負荷;自從1988年6月16日起實施嚴格甄別及強迫遺返政策後,禁閉營裏不斷發生示威、絕食抗議、自殺反抗等事件,造成不少困擾,直至1998年「第一收容港」政策被取消,香港的越南難民問題才續步解決。


(位置:地下大堂展廳 102)


Saturday, 23 October 2021


「足足等咗四年,終於都回到香港了」今次於萬聖節十月舉行的伊藤潤二體驗展成了粉絲們在社交媒體上的熱話。碰著疫情困在香港,益發多人有興趣去體驗。記得那年的「伊藤潤二恐怖美學體驗大展」(PMQ 2017年2 月)以AR體驗(Augmented Reality —  擴增實境科技) 作點子,觀眾透過使用AR實境眼鏡,可以在定格漫畫看到會郁動的簡單動畫,今日看來,當然不再覺得新奇了。同類的效果,現在可以利用下載手機app來觀看,更為方便了。



首先,今次南豐紗廠特別在十月萬聖節前夕推出恐怖大師特備項目,大抵有試金石之意,一方面旨在創造 Blockbuster show 的轟動效果,在藝術館日益增多的本地藝術市場,建立口碑及到訪習慣,提高企業的形象,都是藉得的嘗試!另一方面,項目入場費(每張$180 x 30人一場,每天至少11場 x 31天 ) 收益粗略估計過百萬,雖未必能賺大錢,亦可平衡支出,又可增加整個商場人流。公營與的藝術館之間可以互補不足,藝術與商業兩者毋需互相排斥,這是我向來的看法。

日本恐怖大師在香港第二次登場 — 入口處。

對這位號稱為日本恐怖大師在香港第二次登場,我會視之為體驗2.0, 帶著點點期望,在日漸數碼化的年代,尋找「實體展」比較起網上展、虛擬展優越之處 。被名為「走進伊藤潤二的詭異世界 」的體驗展,英文稱 "Immersive Journey of Junji Ito",體驗之旅是否達到 immersive(沉浸式)?相信亦是主辦者的期望。


提到「沉浸式體驗展」非限指視覺或聽覺的感受,而是儘量與觀者身體的全面感觀接觸—  multisensory —  可觸碰、帶氣味、剌激腦電波、喚醒記憶,透過電腦程式塑造互動的體驗。近年多個主辦團體分別全球巡迴展出梵高沉浸式體驗展 (Immersive experiential art),數千幅畫作投影覆蓋展場,延展至天花及地面、配合音樂與聲效,提供了沉浸式的夢幻環境,讓人全方位感受色彩與節奏。梵高之後,莫奈也接棒登場,可見藝術娛樂化之市場正陸續展開。此外,室內空氣裡濕度及溫度的改變,人羣的觸碰,散發的溫度,也會達至不同的色彩及畫面的變動效果,產生猶如一生一次「一期一會」的奇妙偶遇,一如日本殿堂級 teamLab 的體驗式互動展,令人大開眼界,口碑載道。






除了可憐的夕子外,還有其他怪異的人形雕像,分佈於其他房間之中,當中《富江‧鬼屋》由幾個富江人頭重疊組成,高達2.4米,女性殘肢與大的蚯蚓糾纏不清;額頭上長滿許多眼睛的偷窺狂少年,則取自《無街之城市》— 老實說,走完這個體驗展,沒有半點心驚肉跳,遑論毛骨悚然之感。未知其他進場者,是否有同感?假若想體驗一下被「嚇破膽」的刺激,相信需調低期望。


《富江》是伊藤漫畫中殺不死又最令人迷惑的角色 — 最美也最可怕,她的生命是死去、自體繁殖又重複增生— 不過鬼屋》卻不算是令我印象太深刻的作品。論及耐人尋味,無街之城市》本來思考私與開放兩者的取捨問題,頗堪細嚼,故事敍述受偷窺困擾的彩子逃避到一個怪異的無街之城,每人都被逼打開大門,讓別人經過,彩子如進了迷宮,找不到路口,看漫畫時深感詭異,但來到體驗展,揀選出來的一幕卻是怪異的偷窺少年,非感受被偷窺者的惶恐與不安。



巨形人像雕塑 營造壓逼感






體驗展不夠驚嚇 仍受歡迎

伊藤潤二(b.1963 日本歧阜縣中津川市)從事漫畫創作三十年之後,作了新突破,於2017年開始將其漫畫動畫化,2018年初起正式推出電視版本的動畫《伊藤潤二傑作集》,由他親自選出作品,在色彩製作及聲優方面下足功夫。輿論反應十分有趣,粉絲們指出動畫版富江之美貌,不及漫畫版的十分之一;之前伊藤的多部作品更早於2000年左右已經被改編成電影,亦未有如漫畫般深入人心。





日期:2021年10月1- 31日

地點:南豐紗廠M層The Annex at The Mills(荃灣白田壩街45號)

Saturday, 24 July 2021

王伊芙苓韜程 — M巾、留海、旗袍...

大館「墨城」群展臨近尾聲,展廳內陳列五十多件作品,一時叫人目不暇給。展覽之命名,源自以廣東藝術家陳劭雄(1962-2016)的 Ink City《水墨城市》(2005)。陳氏英年早逝,乃八、九十年代的地下及實驗藝術先鋒,以百幅水墨速寫,串連製成動畫影像,反映社會及時代的變革,難怪成了點題之作。展覽相關的論述文章,多審視畫作對社會之反思,並如何感悟社會變遷等情懷。

王伊芙苓韜程《Don't Take Painkiller》2018


然而,小妹將視線轉向較少被提及的八十後女性藝術家王伊芙苓韜程 (Evelyn Taocheng Wang) ,皆因作品豪放不覊,從不隱瞞人性、情慾與性取向十分吸精。且看這一幅拼貼  《Don't Take Painkiller》(2018) 宣紙上的畫面佈局耐人尋味 左邊出現一塊染血、比例大得異常的衛生巾,右邊留海束的半裸自畫像,對著鏡子自我審視,傍伴在側是笑意盈盈青蛙王子,水墨筆觸隨意即興而不失工筆畫的精細;還有,不難察覺置於邊陲、身上穿著旗袍的氏自拍— 她正襟危坐,顯現東方女子含蓄優雅的形象,卻與被視為猥褻的M性玩具並置,營造出意想不到的反高潮。




《Don't Take Painkiller》加插幽默文本。

氏作品的幽默意識,除了來自漫畫化的情境,還有幽默的文本,據知深受張愛玲的小說文字影響,此作也加插兩句精警對話  "You don't take painkiller?' "No, not really..." 當然,跨性別者,顯見無需忍耐月事之苦。


自少鑽研傳統中國書畫與文學,成長於四川成都,畢業於南京師範大學,2012年因參與阿姆斯特丹的De Ateliers駐場計畫而移居荷蘭,此後活躍於歐美多個城市作展覽。作為一位來自異郷的藝術家面對異國文化成見,已是一項挑戰;身為一位跨性別人仕,四方八面的衝擊及壓力迎面而來反而激化她肆意拋開忌諱,批判世俗的荒誕與成見。

王伊芙苓韜程《A Hongkong-Dutch Client Licking My Arm during the Massage Treatment (2015)

另一有趣作品選取自她標誌性的「Massage Parlor」《按摩店》(2015~)系列,取材於阿姆斯特丹一間華人按摩店打散工的經歷。雖沒受正統訓練,王氏卻依然獲聘,令人聯想到喜劇電影偷呃撞騙的神棍橋段,為怕得罪熟客,她只被安排服務遊客及新客,獲取微薄的拆賬酬勞。畫作構圖頗為諧趣,典型按摩店高至天花的布簾,一堆堆攣攣的毛髮在店內飛舞,繪形繪聲襯托來自五湖四海的顧客,亦象徵泛濫的情慾與汗水,好些男顧客視按摩店為紅燈區的性交易場所,借機親近。隱藏著變性人身份王氏,反能保持冷眼旁觀的角度,把這四個月的短工體驗轉化成創作的遐想,宣紙上繪畫按摩店的眾生相。其中一位愛毛手毛腳的顧客,竟是來自香港的荷蘭人,全球化的體驗躍然於畫面上,拉近了我們與作品的距離,也讓人忍俊不禁。

《A Hongkong-Dutch Client Licking My Arm during the Massage Treatment》 (2015)~Detail


墨城群展中的藝術家各施各法,王伊芙苓韜程的作品,讓人感受酷兒美學(Queer aesthetics)真摯的情感,刻意與傳統的美感決裂,卻以率真情懷,無所忌諱地揭露社會的偽善、人性情慾等種種矛盾,在此展覽賞析王氏作品,就像上了趣味盎然的一課。



日期:2021年4月23 日至8月1日

Tuesday, 25 May 2021

Art Basel HK with trailblazing new digital initiatives

Following last year’s cancellation due to the Covid-19 pandemic, Art Basel Hong Kong returned to the re-invigorated Asian metropolis from 19-23 May. Featuring 104 galleries, including a parallel online platform to complement the physical event, the fair managed to overcome a range of challenges presented by the global state of affairs.

Zhang Yanzi, Mask Series 2020

In order to circumvent lockdowns and travel restrictions, nearly half the exhibitors took part in the so-called satellite booths staffed by Art Basel representatives. As such, international galleries could still curate their Hong Kong booths remotely and connect with the robust regional art market.

Giulio Paolini, Hic et nunc 2020
Alfonso Artiaco | ITALIANS


The pandemic also helped foster a collaborative spirit as many galleries teamed up to share booths. ITALIANS, a personal highlight comprising a large booth of eight leading Italian galleries supported by the Italian Cultural Institute in Hong Kong, examined the evolution of Italian art from the post-war era to the present. It featured diverse works from exponents of Arte Povera Giovanni Anselmo and Michelangelo Pistoletto through to conceptual artists such as Giulio Paolini. Hic et nunc (Here and Now), a 2020 piece by Paolini, showcases an hourglass held by a male hand and there’s a glimpse of blue sky evoking timelessness.

Andrew Luk, Haunted, Salvaged 2020-2021
de Sarthe


With more booth space to display works this year, several exhibitors opted to curate solo and group shows simultaneously, and there was no lack of eye-catching monumental installations. Among these, US-born Hong Kong artist Andrew Luk’s post-apocalyptic landscape installation, Haunted, Salvaged, recently acquired by K11 MUSEA, HK’s leading cultural-retail destination, caught much of the public’s attention. Featuring large pink orb-like mobiles hovering over a wasteland populated with towers of old electronic devices stacked on top of one another, the work contemplates pollution such as electronic waste, climate change, and other human impacts on the environment.

Isamu Noguchi,  Mountains Forming, 1982-1983 (Left) 
Damien Hirst, Ordinance, 2018 (Right) 
White Cube

As travel restrictions also affected the arrival of overseas collectors, Online Viewing Rooms (OVRs) were set up to cater to these key players. Additional online initiatives of Art Basel Live included a range of daily broadcasts, live-streamed events, virtual VIP walkthroughs, and Conversations.

Martin Boyce,  Our Love is Like the Flowers, the Rain, the Sea and the Hours, 2003
Esther Schipper

Most visitors embraced the scaled down fair as they could spend more time browsing booths. After two years of separation and anticipation, everyone happily adjusted to the new digital normal, (scanning QR codes more than ever and instantly jumping onto a chat with the overseas gallerists through a standby Zoom meeting).

Drawings and paintings by David Shrigley
Stephen Friedman Gallery

In short, the Art Basel Hong Kong 2021 edition is a testament to the continued importance of cultural activities and the art market. The fair’s new trailblazing initiative also demonstrates its adaptability during this period of uncertainty and change.

Danh Vo, All work / ydob eht ni mraw si ti, 2015-2019
Take Ninagawa