德薩畫廊將舉辦一場名為「未售出≠無價值，視角轉換」的當代藝術展，邀請觀眾一同探索藝術的無限可能。本次展覽將呈現一系列未售出的藝術作品，這些作品雖然未被市場立即認可，但它們所蘊含的藝術價值和創意靈感卻不容小覷。展覽通過獨特的策展理念，引導觀眾從不同的視角欣賞這些作品，重新評估它們的藝術價值。展覽將展出多位香港藝術家的作品，這些作品展示了他們獨特的創作手法，更反映了他們對社會、文化、人性的深刻洞察。從抽象表現主義到超現實主義，從數字藝術到裝置藝術，多樣化的藝術形式將為觀眾帶來全新的視覺體驗。

De Sarthe Gallery will present an exhibition titled “Unsold ≠ Worthless, Shifting Perspectives,” inviting you to explore the boundless possibilities of art. This exhibition will feature a collection of unsold artworks, which, though not immediately recognized by the market, possess undeniable artistic value and creative inspiration. Through a unique curatorial concept, the exhibition guides viewers to appreciate these works from different perspectives, re-evaluating their artistic worth. The exhibition will showcase works by contemporary art masters from Hong Kong. These works not only demonstrate the artists’ exquisite skills but also reflect their profound insights into society, culture, and humanity. From abstract expressionism to surrealism, from digital art to installation art, the diverse forms of art will offer viewers a brand-new visual experience.

Why it matters:

近年來，當代藝術市場被捲進了投機者為追求短期經濟利益而掀起的風潮。德薩畫廊邀請觀者重新評估何謂藝術上的成功，審視藝術的終極意義不在其商業價值，而是其作為文化載體的重要性且必要性。藝術擔當著社會及文明進程中基礎的角色，是為文化與交流的紐帶，亦因而得以延續。藝術家常以其作品作為交流或概念表達的手段，創造作品是為了喚起對周遭世界的沉思，而非只有一瞬的迷戀。因此，德薩畫廊深信畫廊的角色與責任不應只是作為一個銷售點，而是作為協助藝術家開展其創作實踐及事業持續發展的合作夥伴，並提供一個能進行有意義對話與批判性討論的平台。展覽期間，畫廊內將播放根據本新聞稿生成的人工智能播客，介入展覽語境的討論。

In the recent past, the contemporary art market has been swept over and inflated by trends driven by speculators seeking to make quick financial gains. In this vital moment, DE SARTHE invites a reevaluation of what constitutes artistic success, a renewal of the notion that art’s greatest significance lies not on its commercial value, but its importance, even necessity, as agents of culture. By highlighting unsold works from our previous exhibitions, we aim to challenge the preconceived notions about the quality or appeal of these works, providing an opportunity to initiate a dialogue about the intrinsic worth of art. In that capacity, DE SARTHE believes that the role and responsibility of a gallery should be more than just a point of sale, but a collaborative partner that helps develop an artist’s practice, ensure the sustainability of an artist’s career, as well as provide a platform for meaningful conversations and critical discussions.  Additionally, an AI podcast discussing the context of the show, generated based on this press release, will be playing throughout the gallery.

4 Highlights:

• 觀望陳嘉翹的《After》（2024）窗戶發出的人造光芒，觀者會發現自己正面對完美無瑕的景色：一輪團圓皎月、綿延山脈，下方的湖面倒映出香草色天空。這幅數位拼貼是由藝術家從網絡上找到的圖片和人工智能生成圖像隨意拼湊而成，投射出的夢幻想像，誇張得令人難以置信，其描繪的景色顯然是純屬虛構。猶如舞台劇中的佈景，燈箱的景觀擁抱著海市蜃樓，讓觀眾得以窺視虛構的世界。某種程度上，陳的屏幕對照了我們日常生活中的屏幕，作為通往超乎我們想像宇宙的入口，或擺脫我們所知現實，而我們全心全意地迷失在其中。

• Looking at the manufactured glow of Chan Ka Kiu’s window After (2024), one will find themself face to face with the perfect view: a full bright moon, sprawling mountains, and the reflection of a vanilla sky from a lake below. This digital collage of found and AI-generated online images that the artist haphazardly put together project a dreamlike fantasy that is so incredibly exaggerated that the landscape depicted is bluntly fictitious. Like a theatrical scenery in a stage play, the lightbox views embrace the mirage and allow the audience to glimpse into make-believe. In a way, Chan’s screen mirrors the screens in our lives—portals to universes beyond our imagination, or escapes from reality as we know it, that we wholeheartedly get lost in and lean into.

• 馬思博的《圍牆》（2018）是他2018年於畫廊展出期間幾乎售罄的作品系列之一。光線在馬思博的繪畫作品中扮演著主導角色。利用光影營造空間是繪畫永恆的魔力之一，而藝術家卻顛倒此一詮釋，其手法甚至可以視為通過空間和物件來建構光影。藝術家追求的並非古典之美，而是寂靜，這種隱而不見、閉而不宣的寂靜成為了馬的目的地。藝術家於畫面中，營造出一個抹去世俗喧囂的環境。展出的作品倚靠「空」為結構、釋放光的擴散，色彩呈現一種罕見的寧靜，紛紛迴盪至畫布之外。

• Ma Sibo’s Enclosure (2018) is a work from his near sold-out exhibition at the gallery in 2018. Light plays the lead in Ma Sibo’s paintings. While using light and shadow to create space is one of the everlasting magic powers of painting, the artist has an inverted interpretation, wherein his approach can even be seen as building light and shadow by space and objects. It is not classical beauty that the artist pursues, but silence, and this invisible and unspeakable silence becomes Ma’s destination. Within his imagery, the artist fosters an environment in which the noise of the world is removed. The exhibited artwork leans on the emptied structure for composition, liberating the spread of light, and the colors present a rare tranquility that echoes beyond the canvas.

• 麥影彤二透過其標誌性系列《美樂家園》（2019–）將自身的理想世界視覺化。每幅三聯畫皆利用流行生活模擬電子遊戲《模擬人生》（The Sims）創作而成，藝術家於遊戲中建構出她在現實生活中夢寐以求的超現實夢幻場境。她將創作的圖像切割成三等份，並交給從電子商務平台淘寶上聘請的三位不同畫匠繪製而成。麥影彤二的作品在所難免地在顏色、筆觸和排列上有所出入，不僅闡明了現實與幻想間無可避免的落差，更就數位作為逃避方式、創作本身和原創身份的邊界提出了一連串發人深省的探問。作為概念藝術家的麥影彤二，某程度上亦考慮了創作《美好家園》作為易於銷售的實體作品，體現了混集於藝術家一身的迥異幽默感、批判精神與好奇心。

• Mak2 visualizes her ideal version of the world in her iconic series Home Sweet Home(2019-). Each triptych is composed using the popular life simulation videogame, The Sims, wherein the artist constructs dream-like and surreal environments that she covets in real life. The imagery she crafts is then cut into thirds and sent to be produced by three different craftsmen hired from the e-commerce platform Taobao. Inevitably resulting in a triptych with discrepancies in color, texture, and alignment, Mak2’s artworks not only elucidate the unavoidable difference between reality and fantasy but initiates a series of thought-provoking questions regarding the boundaries of digital escapism, creation, and authorship. As a conceptual artist, Mak2 had also conceived Home Sweet Home partially as a means of creating sellable, physical artworks – exemplifying the artist’s unique blend of humor, critique, and curiosity. 

• 周文斗的作品《倒車系列2》（2014）通過對北京等大都市的交通及其污染的參照，對廿一世紀的社會存在物撰註評論。《倒車系列》是由機動車輛背光燈組成的雕塑作品。其抽象的外形在視覺上參照了北京駕駛者為之熟悉的景象 —模糊的紅色燈點閃爍於因汽車廢氣排放導致的霧霾之中。對藝術家而言，這種雙向關係與因果循環，正是人作為社會存在物最矛盾的表現。這是一種強迫性的狀態，且一個異化的世界。

• Zhou Wendou’s Reverse No. 2(2014) crafts a commentary on 21^st century social being through references to traffic and pollution in a major metropolis such as Beijing. Reverse is a sculptural amalgamation of backlights found on motorized vehicles. Its abstract form visually references a sight familiar to drivers in Beijing – the flickering of blurred red lights through foggy air caused by car’s gas emissions. To the artist, the bidirectional relationship and the repetition of cause and effect is the most paradoxical representation of people as social beings. It is a status of compulsion and a dissimilated world.

Background: DE SARTHE

德薩畫廊致力成為推動亞洲當代先鋒藝術的平台，展出反映 21 世紀複雜性之作品。畫廊持續尋求新晉藝術家，以及在日新月異的科技影響下，探討當代社會敘事的創作實踐。同時，德薩畫廊於 20 世紀現代及戰後藝術範疇亦保持相當的國際影響力，自 1977 年成立以來，持續建立不同博物館級的藝術藏品系列。自 2017 年起，畫廊更於每年夏季舉辦德薩藝術家駐留項目（deSAR）以支持本地藝術家。

DE SARTHE is a pioneering platform for boundary-pushing contemporary art from Asia striving to exhibit works that reflect the complexities of the 21st century. With a growing roster of emerging artists, the gallery continuously seeks to represent creative practices that investigate present-day social narratives conceived under the effects of new technology. The gallery also maintains an influential international presence in 20th century Modern and Post-war art and has been building museum quality art collections since its establishment in 1977. Since 2017, the gallery has also hosted an annual summer residency program (deSAR) in support of artists from the city.

Final tips:

反藝術市場其道而行，共同探究當下社會科技景觀中的變化與敘事。

Step into this unconventional art market, investigating the changes and narratives in our current socio-technological landscape.

「未售出≠無價值，視角轉換」｜Unsold ≠ Worthless, Shifting Perspectives: Group exhibition

Date:

2025.2.8 – 2025.3.15

Venue:

香港黃竹坑道54號萬事昌大廈26/F 德薩畫廊｜DE SARTHE Gallery, 26/F, M Place, 54 Wong Chuk Hang Road