贵宾预展（仅限邀请）｜VIP PREVIEW (INVITED ONLY)
2023.3.21 - 2023.3.22
开幕之夜｜OPENING
2023.3.22，17:00 - 21:00
公众日｜PUBLIC DAYS
2023.3.23 - 2023.3.25
香港会议会展中心，湾仔港湾道1号
Hong Kong Convention & Exhibition Centre
1 Harbour Road, Wan Chai, Hong Kong
千高原艺术空间欣然宣布参加2023巴塞尔艺术展香港展会，我们将于3月21至3月25日分别在主展区艺廊荟萃、策展角落、光映现场三大展区呈现何多苓、王川、杨述、漆澜、翟倞、陈秋林、陈萧伊共七位艺术家的作品。A Thousand Plateaus Gallery is participating in Art Basel Hong Kong 2023 from March 21 to 25 in the Galleries, Kabinett and Film sectors, showcasing the following seven artists: He Duoling, Wang Chuan, Yang Shu, Qi Lan, Zhai Liang, Chen Qiulin, Chen Xiaoyi.
Artists: He Duoling, Wang Chuan, Yang Shu, Qi Lan, Zhai Liang何多苓
He Duoling
▲何多苓，人在春山外，布面油画，200 × 300 cm，2022He Duoling, Far From Spring Mountains, Oil on canvas, 200 × 300 cm, 2022何多苓是中国当代抒情现实主义油画画家的代表。他的艺术具诗意的特质，重绘画性，唯美、优雅、感伤，他追求的是无拘无束的自由度。他的艺术造型功底坚实而全面，落笔之处，人物、景象充满生命活力。他在形式语言上所推崇的单纯感与中国传统水墨画具有异曲同工之妙，在洗练中见细致，于单纯中现复杂，表现出一种超然的精神境界和深层次的艺术追求。He Duoling is a representative of contemporary Chinese lyrical realism oil painting artists. He Duoling's art has poetic characteristics, emphasizes painterliness, estheticism, elegance and sentimentality. What he pursues is unrestrained freedom. His artistic modeling skills are solid and comprehensive. Where he writes, characters and scenes in his paintings are full of vitality. His sense of simplicity in formal language is similar to that of traditional Chinese ink painting. It is meticulous after refining and complex in simplicity, showing a detached spiritual realm and deep-seated artistic pursuit.王川
Wang Chuan
▲王川，深圳 No. 6，布面丙烯，120 × 140 cm，2022Wang Chuan, Shenzhen No. 6, Acrylic on canvas, 120 × 140 cm, 2022王川是“伤痕美术”的代表人物。他早年猎足写实绘画，并斩获颇丰，在1985年新浪潮时期转向抽象艺术的创作。90年代末，王川身患恶疾却实现了顿悟式的转折，将创作带到了另一高度。他近年的作品潜藏着能量底蕴，通过大小、虚实、粗细、点线面的对比及形态的呈现，往往给人们接近于精神体验般的感受。这种自省和治疗式的创作因艺术家的个人遭遇而起，却意外地让艺术家更为本能地接近深层文化的交流，尤其是对于东方哲学的体验。王川作品的创作灵感丰富而复杂。有些源自国画里的线条转化在布面油画上，也有涂画，有些既有抽象又有具象元素。如同王川怀疑抽象的纯洁性一样，他也怀疑写实的力量。Wang Chuan is a key figure in the Scar Painting movement. He began his early career as a successful realist painter and turned to abstract painting during the 1985 New Wave period. In the late 1990s, sudden illness brought Wang Chuan to a turning point that helped transform his practice. The energy at work in his more recent work arises from contrasts of scale, density, line and surface. This introspective and self-reflective way of working has enabled Wang Chuan to achieve insights, especially through the contemplation of oriental philosophy, The formal resources of his work are both rich and complex. There is the line as inherited from traditional Chinese art but transferred into oil on canvas; there is graffiti; doodling; drawing in paint; and there are elements of both abstraction and figuration. It is as if Wang Chuan is suspicious of the purity of abstraction and he is equally suspicious of the power of figuration.
杨述
Yang Shu
▲杨述，S No. 1，布面丙烯综合材料，250 × 220 cm，2021Yang Shu, S No. 1, Mixed media and acrylic on canvas, 250 × 220 cm, 2021杨述是中国实验绘画早期的探索者。他天生的造型才华，以及扎实的学院写实功底帮助他建立了对抽象的结构与色彩的深入认知。从1990年代开始，杨述的创作就逐渐从受表现主义影响的非具象作品，发展为今天具有独特魅力的“杨述式”的视觉创造。他的创作不仅关注现实世界的变迁，还将批判精神和美学创造融为一体，将对平面结构的破坏转化为综合材料的重组，凝结出冷峻而富有爆发力的诗意。Yang Shu is an early explorer of experimental painting in China. His inherent styling talent and steady academic sketch helped him to form the deep cognition of abstract structure and color from the perspective of classical aesthetics. Since 1990s, Yang Shu’s work has been gradually transformed from the non-figurative art that influenced by the expressionism to the present visual creation with the unique “Yang Shu” glamour. His work not only sheds lights on the changes of the physical world, but also integrates the critical spirit and the aesthetic creation; it transforms the structural damage into the composite-materials reconstruction, and condenses the cold yet fully poetic explosive-force.
漆澜
Qi Lan
▲漆澜，三春 No. 2，劳森伯格皮纸综合材料，225 × 143 cm × 2
Qi Lan, Three Springs No.2, Mixed media on Rauschenberg paper, 225 × 143 cm × 2
漆澜早年熟读中国经典，对先秦诸子、诗经、楚辞及唐宋诗文的诵读和研习曾伴随了他的少年和青春时代。他的每一张作品都反复地推敲和质询，他利用高密度的语言和多变的修辞手法，在与古今中外的经典的对话、辩诘中，寻找语言机锋，借题发挥，推演出复杂多变的修辞方式和书写方式，并以多种介质、杂沓繁复的方式对抗机器成像的均质化。他强调手感和材料语言的肉身体验，长期潜心研究传统文人绘画和西方现代绘画，力求构想一种文人教养的书写自洽感，赋予传统书写语言以全新的当代视觉形态，并呈现出崭新的文化性格。漆澜的绘画在山水草木、流岚烟霞中寻求历史、理想和心灵的慰藉。
In his early years, Qi Lan read the Chinese classics and studied the poetry of the pre-Qin scholars, The Book of Songs, The Songs of Chu and the poetry of the Tang and Song dynasties throughout his youth. He emphasizes the physical experience of hand and material language, and has long studied traditional literating painting and Western modern painting, striving to conceive a sense of self-consistency in writing of literati cultivation, giving the traditional writing language a new contemporary visual form and presenting a novel cultural character. Qi Lan's paintings seek the comfort from history, ideal and soul in the landscape, vegetation, flowing haze and cloud.翟倞
Zhai Liang
▲翟倞，回信，布面油画，231 × 185 cm，2022Zhai Liang, The Answer, Oil on canvas, 231 × 185 cm, 2022知识作为绘画的养份，自然的闪现，抑或作为一个恰当的背景，激发出艺术家翟倞的想象力。一个故事，一个词语，都会成为这样的诱因。翟倞在他庞杂的知识系统里面，跳跃式的选择主题，根据所画出的作品推衍出下一个作品，形成了一个视觉逻辑，所以每个作品都很鲜活，反映了艺术家在处理新作品时的笨拙和朴素。而作品之间是在一个或大或小的，相同兴趣方向上的，慢慢的通过艺术家自己逐步地，言之有物地，切身体验的方式来建构一个自由的视觉体系。Knowledge serves as a nutrient for painting, flashing before us spontaneously, or acting as a suitable background that can incite the imagination of the artist. Whether it's a story or a word: eventually they all take on this role of incentive. Within his bulky, diversified knowledge system, Zhai Liang takes a hopping approach to his selection of themes. Based on a previous painting he then further infers how a new piece should be done, which results in a visual logic. Hence, every work is brimming with freshness and life, reflecting the clumsiness and modesty of the artist with respect to any new painting. As for the works among themselves, some are large and some are small, but all of them share a similar orientation of interest. By means of gradual, substantial and personal experience of the artist himself, his paintings contribute to the forging of an unbridled visual system.
陈秋林
Chen Qiulin
▲陈秋林，溺（预告）， 肢体实验、声音行为，肢体表演者：郑媛芫，声音行为艺术家：陈弘礼，2021Chen Qiulin, Drown(Trailer), Body experiment, sound performance, Performancer: Zheng Yuanyuan, Sound performance artist: Chen Hongli, 2021当Covid-19在2020年初爆发时，没有人想到它将成为史无前例的全球性流行病，艺术家陈秋林也没有。疫情带来的恐惧与焦虑，冲突与争执，禁锢与对抗无形中揭露了人与当代社会的脆弱。陈秋林捕捉到这其中人与社会的极致脆弱。在她最新的综合媒介现场肢体项目《溺》（2021）中， 作为女性艺术家的陈秋林，沿用易碎的中国传统食材豆腐作为创作媒介，结合空间装置、肢体行为表演、现场声音创作以及影像输出等综合媒介，从直观展现人在禁锢下的脆弱与挣扎出发， 重省女性身份以及本地传统在全球化疫情以及地缘禁锢环境下的意义。不同于以往陈秋林的行为作品，《溺》是一件现场集体创作的公共项目，联合了现代舞蹈艺术家郑媛芫和声音艺术家陈弘礼。该项目也摒弃常规的现场配乐，而是加入声音行为艺术的方式：邀请声音艺术家通过对作品环境及现场的感受，用自己的身体以全息声的方式感知现场舞者带来的戏剧变化，和肢体语言产生互动关系，即兴捕捉和创作声音，最终形成《溺》作品现场声音的全息文本。
When covid-19 broke out in early 2020, no one, including artist Chen Qiulin, anticipated it would become an unprecedented global pandemic. The fear and anxiety brought by the pandemic aroused struggles and constraints and emphasized the conflicts and resistances. Chen Qiulin sees the fragility and vulnerability of humans and our contemporary society. In her most recent non-site-specific body experimental project Drown (2021), Chen uses tofu - a traditional Chinese food ingredient and a cultural symbol, fragile in nature - as her creative medium, combining installations, body performance, live sound creation, and video output to visually showcase the human presence. Through exploring fragility and struggle under the pandemic induced confinement, Chen Qiulin sets out to re-examine the reflections of female identity and local traditions in the context of a global epidemic which has highlighted and exacerbated geopolitical constraints and cultural conflicts.
Unlike Chen Qiulin’s usual solo performances, Drown (2021) is a collaboration with modern dance artist Zheng Yuanyuan and sound artist Chen Hongli. The performance abandons the conventional background music, but instead, the sound is captured and produced through a live sound performance - the sound artist is invited to use his own body to perceive the dramatic changes brought by the dancer, interact with body language, improvise on the sounds he collects onsite, and eventually compose the holographic sound for the Drown video piece.
光映现场 Film
放映地点 | 香港艺术中心古天乐电影院
艺术家：陈秋林、陈萧伊
Artists: Chen Qiulin, Chen Xiaoyi
陈秋林
Chen Qiulin
▲陈秋林，如影随形（预告）， 录像，8’18”，2019
Chen Qiulin, With Light With Shadow (Trailer), Video, 8'18", 2019在继2018年成都麓湖A4美术馆的肢体实验项目之后，新媒体艺术家陈秋林和舞蹈艺术家郑媛芫再度合作，将实验从成都搬到重庆，充分地挖掘了在地学员的肢体潜力，使他们自发地体验个人肢体的动感，思考从舞蹈出发的当代艺术新形式。
讨论以群舞的方式展开并配合着尖锐、刺耳和带有故事性的声效，通过“交换物品”这个简单的动作，将人与人之间的关系从陌生、尴尬、纠缠到融合，最后汇成一个集体的过程推向了高潮。《如影随形》也是艺术家陈秋林对当代社会中，人群彼此的身份映射、空间距离和相互依存的关系再次提出了强有力的质疑。Following the body experiment project at Luxelakes A4 Art Museum in Chengdu (2018), Chen Qiulin and the contemporary dancer Zheng Yuanyuan collaborated again, moving the experiment from Chengdu to Chongqing. Working with Chongqing local dance students, the project With Light With Shadow (2019) fully taps into the physical potential of the students - allowing them to spontaneously experience the movement of individual body parts and think about contemporary art through the lens of dance. The discussion unfolds in a group dance with a sharp, piercing and story-like sound effect. Through the simple action of "exchanging objects", the relationship between people in the video is changing - from strange and awkward, to entangled and merged - culminating into a collective process climax. With Light With Shadow (2019) is also a powerful question raised by artist Chen about identity mapping, physical distance and interdependence of people in our contemporary society.▲陈萧伊，当特提斯海向西退却，留下残响（预告）， 4K影像，彩色，24’52”，2022，Ed.3 + 2AP，声音：白水Chen Xiaoyi, When Tethys Sea retreats westward (Trailer), leaving the reverberation, 4K, Single channel video, Color, 24’52”, 2022, Ed.3 + 2AP, Sound: Baishui6500 万年前，欧亚板块与印度板块的挤压，古特提斯海退却，横断山脉由此诞生，那些古老的矿床都诞生于海洋中。在中国西南山地的藏族彝族的传说中，矿石是山神的食物，而谁能预料到，人类千百年来，就这样夺走了山神的食物，从而铺开了通往现代文明的道路。《当特提斯海向西退却，留下残响》是以在高海拔山区所崇尚的白海螺作为线索。影像在定格镜头中切换，都与“风景”有关，而这些风景聚焦于中国西南横断山脉废弃的矿区与山林。对应影像的文本和旁白，分别是一位尔苏族的老人在用他们即将消失的濒危语言，讲述古老的白海螺传说；另一部分改写自诺瓦里斯未完成的小说《Heinrich von Ofterdingen (1802)》，探讨由地下世界引发的感知与思考。在生命尺度的短暂性与土地恒久变迁的关系中，召唤一个远古的时空；就如同影像，虽拍摄于当下的矿区废墟、自然与山林，但所在文本的复调中，引起的想象是关于地层时间的堆栈。白海螺如同一个钥匙的存在，作为一种尺度对话之间的联结，是从现在到过去的一种时间推移，从山峰回到海洋，从人回到石头。65 million years ago, the Indian plate violently collided with the Eurasian plate from south to north and the Paleo-Tethys Sea retreated. This led to the birth of Hengduan Mountains. Hence, those ancient mineral deposits were born in the ocean. According to the legend of the Tibetan and Yi people in the mountains of southwest China, ore is the food of the mountain gods. But who could have ever predicted that for thousands of years, humans have been taking away the food from the mountain gods, for paving the way to modern civilization.When Tethys Sea retreats westward, leaving the reverberation (2022) is based on the white conch revered in high-altitude mountains. The moving-images are switched between freeze-frame shots, all related to "landscapes". These landscapes focus on the abandoned mining areas and the land in the Hengduan Mountains in southwest China. As for The text and narration corresponding to the video, one is from an old man of the Ersu ethnic group who is using their endangered language to tell the ancient legend of the white conch, and the other is adapted from Novalis's unfinished novel Heinrich von Ofterdingen (1802), which explores the human’s experience in the face of ore. In the relationship between the ephemerality of the scale of life and the permanence and change of the land, This work summons an ancient time and space. Although we can only see the current mining ruins, nature and mountain forests, through the polyphony of video and text in this work, the aroused imagination becomes a stack of geological layers. The white conch is like a key, acting as a link between the dialogues in different scales as well as a time passage from the present to the past, the mountain to the ocean, the person to the stone.
展览日期 | 2023/03/11 — 2022/04/23艺术家 | 卜萱、曹根、侯逸杰、黄杰、
刘珂旺、刘诗琪、刘唯一、朱鑫
策展人 | 许晟
作品媒介 | 绘画
展览地点 | 四川省成都市高新区盛邦街，铁像寺水街南广场，千高原艺术空间
展览日期 | 2023/02/25 — 2022/04/09 作品媒介 | 绘画
展览地点 | 四川省成都市高新区盛邦街，铁像寺水街南广场，千高原艺术空间
千高原艺术空间 | A Thousand Plateaus Art Space千高原艺术空间2007年创立于中国成都，是致力于展示并推进中国当代艺术的专业性画廊，设有艺术作品展示厅，影像资料收藏和放映室。主要研究、展示和推动与中国当代艺术文化相关的优秀作品和实验性主体项目，积极开展国内、国际的合作项目。千高原艺术空间主要展示和推出成长中的有突出才能和价值的艺术家的作品和项目，并发现和推动新的有创造力的艺术家，迄今主要代理和合作的老中青三代艺术家超过20位。通过展览、博览会、学术讨论活动、出版等方式，致力于构架艺术家和社会、机构、收藏者之间的沟通渠道，提供包括艺术作品销售、量身定做的艺术项目、收藏品咨询管理、艺术教育项目以及展览策划。除了在超过1000平方米的画廊空间的展览项目，千高原艺术空间亦积极参加国际国内的重要艺术博览会，包括香港巴塞尔艺术展 (Art Basel HK)、香港国际艺术展(ART HK)、艺术登陆新加坡(Art Stage Singapore)、今日亚洲 | 巴黎亚洲艺术博览会 (Asia Now | Paris Asian Art Fair)、上海廿一当代艺术博览会(ART021)、上海西岸艺术与设计博览会（West Bund Art & Design）、艺览北京 JING ART、艺术成都 Art Chengdu、上海艺术影像展(Photo Shanghai)、西班牙路普艺术节（Festival LOOP）、Paris Internationale 、LISTE in Basel等等。A Thousand Plateaus Art Space was founded in 2007 in Chengdu, China. It is a professional gallery committing to presenting and promoting China’s contemporary art. Equipped with exhibition halls for artworks and collections and a screening room for videos and discussions, it focuses on researching, presenting and promoting outstanding works and experimental projects of China’s contemporary art and culture by carrying out domestic and international projects.A Thousand Plateaus Art Space devotes itself to presenting works by emerging artists who have outstanding talent and merit, and to discovering and promoting new creative artists. To date, it has represented and cooperated with over 20 artists of all ages. Using exhibitions, art fairs, academic discussions, publications and so forth, it is dedicated to establishing the communication channels between artists and the society, institutions and collectors. The gallery also organizes artwork sales, tailored art projects, collection management consultings, art education projects and curatings.In addition to the exhibitions and events in the over 1,000 square meters gallery space, A Thousand Plateaus Art Space also takes an active part in important international art fairs including Art Basel in HK, Art Hong Kong, Art Stage Singapore, Asia Now | Paris Asian Art Fair, ART021, West Bund Art & Design, JING ART, Art Chengdu, Photo Shanghai, Festival LOOP and Paris Internationale, LISTE in Basel etc..
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千高原艺术空间 A THOUSAND PLATEAUS ART SPACE开放时间：周二至周日（周一闭馆），11:00-18:30地址：中国. 四川省成都市高新区盛邦街，铁像寺水街南广场
