亞洲藝術文獻庫周年籌款 | ASIA ART ARCHIVE ANNUAL FUNDRAISER 2020

亞洲藝術文獻庫(「文獻庫」)慶祝踏入二十周年,於2020年的周年籌款拍賣會呈獻逾30件由藝術家、收藏家及畫廊慷慨捐贈的作品。本年度拍賣會囊括海內外多位著名藝術家的作品,包括周綠雲、丁乙、草間彌生、李昢、 Eddie Martinez、石家豪、沈遠和黃永砯、張洹等。

Marking its twentieth anniversary, Asia Art Archive (AAA) will offer over thirty works, generously donated by artists, collectors, and galleries, at the 2020 AAA Annual Fundraiser auction. This year’s auction features work by artists including Irene Chou, Ding Yi, Yayoi Kusama, Lee Bul, Eddie Martinez, Wilson Shieh, Shen Yuan and Huang Yong Ping, Zhang Huan and more.

文獻庫一直致力建立館藏,讓公眾免費查閱資料,並就有關亞洲近代藝術史中仍被忽略的範疇推動更多研究及教育活動。籌款的所有收益將直接用於文獻庫的營運,是尤其重要資金來源。

The fundraiser is an essential source of funding for the independent non-profit in building collections on the history of contemporary art in Asia, as well as keeping the materials free and accessible for research and education. All proceeds from the fundraiser will go directly towards supporting the work of AAA.

拍賣會與佳士得香港合作,於10月13至16日進行預展,歡迎公眾參觀。展品的網上競投於10月13日至30日開放,請於競投期間瀏覽網頁 www.aaa2020auction.com

Continuing the long-standing partnership with Christie’s, a preview of the artworks will be exhibited at Christie’s Hong Kong from 13–16 October, with a live auction taking place on 30 October. The artworks will be available for bidding online at www.aaa2020auction.com from 13–30 October.

展品精選 | AUCTION HIGHLIGHTS

周綠雲
《無垠的時空》
約1988–89年 
紙本水墨、設色
47.4 x 53.5 cm (圖像); 154 x 78 cm (紙本)
獨一無二
由漢雅軒慷慨捐贈

Irene CHOU
Infinity Landscape
circa 1988–89
Ink and colour on paper
47.4 x 53.5 cm (image); 154 x 78 cm (paper)
Unique
Generously donated by Hanart TZ Gallery

香港新水墨運動的前驅藝術家周綠雲以力與韻律揮筆,為她的作品賦予音樂感及引起共鳴。《心靈的畫像》是周綠雲拖筆之生動例子,並能看到周深受傳統水墨的潑墨及破墨啓發。藝術家專注於用筆的禪修,為《心靈的畫像》裏呈現的不受拘束和無限的内在世界,賦予無窮的生命力。

One of the leading figures of the New Ink Painting movement in Hong Kong, Irene Chou used the power and rhythm of her brushstrokes to create a sense of musicality and emotional resonance in her works. Infinity Landscape is a vibrant example of Chou’s sweeping strokes inspired by the traditional Chinese technique ‘pomo’ or broken ink. Through her focus on zen brush handling, Chou brought to life an internal universe within Infinity Landscape that is both uninhibited and limitless.

丁乙
《十示2020-C6》 
2020年
混合媒介、椴木
45 x 30 cm
獨一無二
由藝術家慷慨捐贈

DING Yi
Appearance of Crosses 2020-C6 
2020
Mixed media on basswood
45 x 30 cm
Unique
Generously donated by the artist

著名前衛派藝術家丁乙早於1980年代後期於其作品使用交叉,表達宇宙間的運行及從現實世界中的掣肘中解放。

《十示2020-C6》 是藝術家的富代表性作品中的最新迭代,亦是其運用木材進行混合媒體創作探索的重要例子。他透過刮掉油漆及刨木材以創立自己獨特的格子。這些各種形狀和紋理反映了他對藝術變革可能性的追求。

丁乙最近從教學中退休,將自己的精力完全投入到他的藝術中,並持續在為他的創作探索新方向。

Renowned avant-garde artist Ding Yi began using crosses in his work during the late 1980s as a way to reflect on the organisation of the universe and to free himself from the constraints of immediate reality. 

Appearance of Crosses 2020-C6 is the latest iteration of these iconic works and is an important example of his mixed-media explorations with wood. He creates his distinctive grids by gouging out the paint and the wood. These various shapes and textures reflect his search for the transformative possibilities of art.  

After his recent retirement from teaching, Ding has directed his energies fully into his art and has been exploring new directions for his work. 

草間彌生
《Mt. Fuji of my heart speaks》
2014年
彩色木刻版畫
42.5 x 28 cm(圖像); 51.7 x 35.7 cm (紙本)
版數 72/120
由Yayoi Kusama Studio Inc. 慷慨捐贈

Yayoi KUSAMA
Mt. Fuji of my heart speaks 
2014
Polychrome woodblock print
42.5 x 28 cm (image); 51.7 x 35.7 cm (paper)
Edition 72 of 120
Generously donated by Yayoi Kusama Studio Inc.

一次日本高山的旅程啟發了草間彌生創作《 Mt. Fuji of my heart speaks》,作品為一系列罕有印刷品的一部分,亦是其版畫實踐的獨特迭代。浮世繪的印刷方式讓草間彌生充分在紙上展現富標志性的鮮艷顔色和圓點圖案,呈現她朝聖時所經歷的深刻感受。富有詩意的作品標題象徵富士山的崇高地位,於日本文化中儼如通往另一個世界的階梯,以及通往神靈的門戶。

A visit to the venerated Japanese mountain inspired Yayoi Kusama to create Mt. Fuji of my heart speaks as part of a series of rare prints that represent a unique iteration of her printmaking practice. The ukiyo-e process allowed Kusama to saturate the paper with her signature vivid colours, highlighting her iconic dot patterns, and conveying the deep emotions she experienced on her pilgrimage. The work’s poetic title alludes to the significance Mt. Fuji has in Japanese culture as a stairway to another world and a portal to the divine.    

李昢
《Study for Civitas Solis IV (Object #17) 》
2016年 
不銹鋼倒模
10 x 15 x 9.8 cm (雕塑品); 30 x 30 cm (底座)
版數1/3及1 AP(藝術家保存版)  
由Studio Lee Bul 及Lehmann Maupin畫廊(紐約、香港和首爾)慷慨捐贈 

LEE Bul
Study for Civitas Solis IV (Object #17)
2016
Cast stainless steel
10 x 15 x 9.8 cm (sculpture); 30 x 30 cm (base)
Edition 1 of 3 + 1 AP
Generously donated by Studio Lee Bul and Lehmann Maupin, New York, Hong Kong, and Seoul

國際知名的藝術家李昢其視覺極富震撼力的「Civitas Solis系列」受經典烏托邦小説《City of the Sun》啓發,呈現糅合軀體與建築形態的理想式風景。

《Civitas Solis IV》尤其是一座複雜的微型城市,通過在兩面鏡中的反射,展現出一個完整的圓圈,並通過將想像與真實結合而成,實踐理想全貌。 《Civitas Solis IV》思量烏托邦式的意識形態和美學如何透過建築物言喻,更指出夢想和願景在創建理想社會中所扮演的角色,以及其逼切性。

Acclaimed artist Lee Bul’s visually immersive Civitas Solis series is inspired by the classic utopian novel City of the Sun, presenting idealised landscapes that bring together the body and architectural forms.  

 Civitas Solis IV in particular is a complex miniature city that becomes a complete circle through its reflection in two-way mirrors, referencing the attainment of an ideal through a blend of the imagined and the real. A meditation on how utopian ideology and aesthetics may be manifested through landscape, Civitas Solis IV makes tantalising suggestions about the role of dreams and visions in creating an ideal society. 

Eddie MARTINEZ  
《Fine Ants (Black Out) 》
2018年 
石版畫 
78 x 62.3 cm (圖像); 91.5 x 70 cm (紙本)
版數27/28 
由藝術家和 Perrotin慷慨捐贈 

Eddie MARTINEZ
Fine Ants (Black Out) 
2018
Lithograph
78 x 62.3 cm (image); 91.5 x 70 cm (paper)
Edition 27 of 28
Generously donated by the artist and Perrotin

前塗鴉藝術家Eddie Martinez的《Fine Ants》系列探究抹除一舉如何構成畫作的關鍵部分。石版畫《Fine Ants (Black Out) 》創造靈感源自其同系列畫作《Whitewash Fine Ants》,並展現Martinez具代表性而朝氣勃發的顔色和質感。Martinez向觀衆揭示隱藏在一抹顔料下的形狀和構圖如何呈現出生命力與獨有的形態。在這個過程中,Martinez展示了抹除與創造之間的張力。

Former graffiti artist Eddie Martinez’s Fine Ants series examines how erasure can be an integral part of constructing a painting. Inspired by his Whitewash Fine Ants painting from this series, the lithograph Fine Ants (Black Out) demonstrates Martinez’s signature energetic blocks of colour and vigorous use of texture. Martinez reveals how shapes and compositions can take on a life and form of their own when partially hidden underneath a layer of paint. In the process, Martinez shows how the act of obliteration can intersect with the act of creation. 

石家豪
《尖沙咀鐘樓》
2020年 
水墨、水彩、丙烯水粉、絹布
79 x 60 cm(圖像); 100 x 81.5 cm(紙本)
獨一無二
由藝術家慷慨捐贈

Wilson SHIEH
Tsim Sha Tsui Clock Tower
2020
Chinese ink, watercolour and acrylic gouache on silk
79 x 60 cm (image); 100 x 81.5 cm (paper)
Unique
Generously donated by the artist

備受敬重的香港藝術家和亞洲藝術文獻庫摯友石家豪致送給文獻庫一份獨特的禮物,度身訂造作品《尖沙咀鐘樓》,祝賀文獻庫創立二十周年。此作品為其另一份作品《鐘樓》的放大版本,現屬於香港藝術館的永久館藏。

這幅絹畫延續石家豪廣受歡迎的「建築系列」,將富標志性的香港建築物化身為女性的衣裳。當我們邀請藝術家挑選一個能呼應當下的主題,石家豪選擇向九廣鐵路總站唯一僅存的建築物致敬。

石家豪向我們介紹:「鐘樓是香港極度重要的文化古跡建築物。總站原屬鐵路,於1915年由滿清政府和英屬香港政府建成。鐘樓一直迎望維多利亞海港,並見證一個世紀的種種歷史變化。」

A personal gift from beloved Hong Kong artist and Asia Art Archive supporter Wilson Shieh, Tsim Sha Tsui Clock Tower was specially made for AAA’s 20th anniversary. The work is an amplified version of Clock Tower, which is in the permanent collection of Hong Kong Museum of Art. 

The painting continues Shieh’s popular Architecture Series, wherein female figures are depicted wearing iconic Hong Kong buildings as clothing. Asked to select a subject that he felt was meaningful to him at this moment, the artist chose to pay homage to a structure that is the only surviving remnant of the Kowloon-Canton Railway terminus station. 

Shieh says: “The Clock Tower is an important heritage structure in Hong Kong. The terminus station belonged to the railway, which was built in 1915 by the Qing Dynasty and the British Hong Kong government. The Clock Tower has been standing by Victoria Harbour and witnessing all the changes through a century.” 

沈遠和黃永砯
Shen Yuan and Huang Yong Ping

《Sketch for Project O, Expo 2010, Shanghai》  
2010年, 水彩紙本, 57 x 76 cm 
獨一無二, 由藝術家慷慨捐贈

Sketch for Project O, Expo 2010, Shanghai 
2010, watercolour on paper, 57 x 76 cm
Unique, generously donated by the artist

《Sketch for Terminal, 1996,  Kunstlerhaus Bethanien, Berlin》
1996年, 混合媒介、紙本, 65 x 50 cm 
獨一無二, 由藝術家的遺產管理人慷慨捐贈

Sketch for Terminal, 1996, Kunstlerhaus Bethanien, Berlin
1996, mixed media on paper, 65 x 50 cm
Unique, generously donated by the artist

此獨特的一對渲染圖是來自藝術家及藝術家的遺產管理人的禮物,並能一窺兩位具前瞻性的概念藝術家的藝術實踐。

這幅繪畫作品展現先驅概念藝術家沈遠其富標志性的水彩畫作,扣連她和Project O在《The Sculpture Project of the Expo Boulevard World Expo Shanghai (2010)》的參展。沈遠的雕塑裝置藝術最爲人熟悉,此作品充分顯露藝術家如何將三次元空間展現於二次元平面上,重現一個富震撼性的視覺體驗。

《Sketch for Terminal, 1996, Kunstlerhaus Bethanien, Berlin》是黃永砯為裝置作品《Terminal》而畫的草稿圖。儘管作品最後於1996年未能在鹿特丹自然史博物館面世,他原先希望將活昆蟲置放於狀似阿姆斯特丹史基浦機場的玻璃盒。黃永砯是中國前衛藝術最具影響力的前驅,他以藝術創造探索世界的恆久混沌,並將遠古神話與現代社會並置。

Personal gifts from the artist and artist’s estate to Asia Art Archive, this unique pair of renderings offer rare insight into the artistic practices of two pioneering conceptual artists.  

A wonderful example of pioneering conceptual artist Shen Yuan’s watercolours, this painting relates to her participation in The Sculpture Project of the Expo Boulevard World Expo Shanghai (2010) with Project O. Best known for her sculptural installations, this work exemplifies Shen’s ability to express three-dimensional space on a two-dimensional surface to create an immersive visual experience. 

Sketch for Terminal, 1996, Kunstlerhaus Bethanien, Berlin is a sketch by Huang Yong Ping for his installation Terminal. Although it was eventually not realised at Natuurhistorisch Museum Rotterdam in 1996, Huang had intended to place living insects inside the glass case shaped like Amsterdam Airport Schiphol. One of the most influential proponents of the Chinese avant-garde, Huang used his works to examine the permanent chaos of the world, drawing parallels between ancient myths and modern societies. 

張洹
《向北》
2020年
香灰、麻畫布
90 x 100 cm
獨一無二
由藝術家慷慨捐贈

HANG Huan
Northward
2020
Incense ash on linen
90 x 100 cm
Unique
Generously donated by the artist

中國著名當代藝術家張洹於2005年離開紐約回到中國,遂開始以香灰進行藝術創作。他在上海的寺廟收集燒香拜佛積累成堆的香灰,並在他的工作室將香灰按深淺分類,將社會大眾的祈禱和願望以嶄新的樣貌展現。

《向北》呼應著國畫中展翅翱翔的鳥,代表和諧和希望。畫面中的海鷗亦象徵著獨特和足智多謀。此作品是來自藝術家的一份禮物。張洹特意挑選《向北》,祝賀亞洲藝術文獻庫創立二十週年,並獻上祝福予香港的朋友。

One of the most renowned Chinese contemporary artists, Zhang Huan began creating ash paintings after leaving New York to return to China in 2005. He has contracts with temples in and around Shanghai, to gather ashes from burnt incense sticks. At his studio, he sorts them according to shade, using them as material to give fragile shape to society’s collective wishes, dreams, and prayers.   

Northward alludes to the use of birds in Chinese painting—representing harmony and hope. The seagull, as depicted in the work, is also a symbol of uniqueness of character and resourcefulness. A special gift from the artist, Zhang personally chose Northward as a celebratory tribute to Asia Art Archive on its 20th anniversary, and to the people of Hong Kong. 

Preview Dates:
2020.10.13 (Tue) 12:00-20:00
2020.10.14 (Wed) 10:30-20:00
2020.10.15 (Thu) 10:30-17:00
2020.10.16 (Fri) 10:30-15:00

Opening Day:
2020.10.13 (Tue) 16:30-20:00

Venue: 佳士得藝廊,香港中環遮打道 18 號歷山大廈 22 樓
Christie’s Hong Kong, The James Christie Room, 22/F Alexandra House, 18 Chater Road, Central

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