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IN THE MOMENT:ART CENTRALHong Kong Harbourfront, Central

New Works by Annie Wan Lai-Kuen

23-26 March, 2016, Booth F6

& Zhu Jingyi

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hu and Wan work in tandem convers-ing with and reinventing their respective

media. By broadening the language and pos-sibilities of their artistic endeavors, they secure its relevance, identity and value in a contem-porary world. In the moment of creation, both artists seek a tangible outcome equal in mea-sure and delivery to its conceptualization. It is at this moment of equivalence that the work of these two artists is fully realized.

Annie Wan Lai-Kuen

Annie Wan Lai-kuen uses various clay mould-ing methods to capture the forms of everyday objects: food tins, radios, vintage texts and, for this exhibition, contemporary magazines and novels. In the process and with photograph-ic-like intimacy and exactness, the artist re-veals the minutest details and imperfections of these well-handled articles.

Wan’s moulding technique and the malleabil-ity of clay facilitate a process which the artist refers to as “mapping reality.” By pressing clay directly to the object, she renders it with the exactitude of a fingerprint. These are direct impressions of a moment in time in which her objects are temporarily suspended, frozen in place along the timeline of their existence.

One of the artist’s signature works, “Looking for Poetry in Wan Chai,” exemplifies her artis-tic practice.

In a local bookshop, Wan came across a Tang-era poem and sought to rejuvenate its appeal for a new generation. But as is always the case with Wan, a depth of complexity slips in. In the dead of night and with the assistance of clay

moulds, Wan “borrowed” characters from clas-sic Hong Kong commercial signs under threat of redevelopment. At dawn she retrieved her moulds, which she later assembled into a sin-gular calligraphic work. While ancient in ori-gin, the original poem takes on new meaning and relevance under Wan’s spell.

This ability, which Wan has perfected, cap-turing innumerable layers of meaning in a single object while traversing time and space, is a remarkable feat. The resulting forms are touch-inducing, beautiful in their hue, texture, simplicity and refinement. She is a master of balancing concept and aesthetic concerns.

Says Wan, “The nature of ceramics is making singular objects by hand with raw materials and craftsmanship, yet the development of contemporary art has moved away from the hand to the brain, from raw material to found object, and from singularity to a multiplicity of information. The contemporary world is full of simulacra, as if nothing is physical and singular. I am interested in investigating this distance from the simulacrum-discourse and bringing it closer to the material reality.”

In this exhibition, Wan explores contemporary culture’s rapid adaptation to a digitized world. Books and magazines are now downloaded into devices that mimic the movement of page turning. In the process, however, con-venience has taken precedence over the very human desire for tactility. In turning her at-tention to this phenomenon, Wan transforms magazines and novels into vessels of nostalgia and longing for the familiar and the intimate.

Says Dr. Yeewan Koon, Associate Professor in

the Department of Fine Arts at the University of Hong Kong, about Wan’s works: “Her books, dipped in white ceramic slips, bare traces of pages turned and thumbed. But they are also “silent” books that can no longer be read, be-cause through the firing process of the books, the pages disintegrate leaving behind hollow forms. Literally emptied of words, they be-come ceramic pieces, laid down tomb-like. But there is a sense of living too, because, they remain in the shape of bound pages, objects that we love, even as our world of digitaliza-tion are rendering books defunct as concrete objects. Aestheticized literally by casting a new skin, we have to admire them in their new coats as ceramic art. The clean smooth surface entices us to touch, tempt us to weigh how heavy or light these new forms are.”

Wan holds a Master of Fine Arts from Chinese University of Hong Kong, a Bachelor of Arts in Fine Arts from Chinese University of Hong Kong, and a Higher Certificate in Studio Ce-ramics from Hong Kong Polytechnics, in addi-tion to a Diploma of Design.

Zhu Jingyi

Zhu Jingyi dismisses the brush in order to re-imagine his traditional medium as “Standing Ink.” He provocatively refers to his works as “ink,” even as gravity-defining resin is really at play. In so doing, the artist is deliberately chal-lenging preconceived notions of ink painting (in the traditional sense) by questioning the very methods and materials that make up its DNA.

Zhu takes as his subject matter all that is fa-miliar in the genre—forests, mountains, trees,

and rocks—and lends fortification with the ap-plication of three-dimensional structure using nothing more than rudimentary tools. The re-sulting effect is akin to space trusses or lattice shells, as the quick-drying medium requires swift handwork and a certain level of sponta-neity in order to create the artist’s lyrical forms.

Says Dr. Yeewan Koon, Associate Professor in the Department of Fine Arts at the Universi-ty of Hong Kong: “Against the washes of ink, Zhu’s wiry forms flow in and out of the pic-ture as low-relief textures, creating surfaces of depth that also distorts our sense of the picturing of scenery. His works are all about space and how he endows space with weight that can hold onto form. But what is most intriguing is how his method of working can be adapted into many different forms – as standalone works, as low-relief images, or as abstract woven forms. They take on an over-powering sense of “aliveness” with his entan-gled webs of lines.”

Spiritually connected to ink traditions, but materially allied with contemporary art mak-ing, the artist has added yet another layer to contemplate in the great tradition of ink painting appreciation.

Zhu is a graduate of Nanjing Normal Univer-sity, Department of Fine Arts. He also holds a Master of Museum Management from the Central Academy of Fine Arts, Beijing [CAFA]. Prior to becoming an independent artist, Mr. Zhu served as an academic researcher at Zen-dai Museum of Modern Art and Academic Di-rector at Duolun Museum of Modern Art, both based in Shanghai.

In the Moment: New Works by Annie Wan Lai-kuen and Zhu JingyiHong Kong-based ceramic artist Annie Wan Lai-kuen and Shanghai-based “ink” artist Zhu Jingyi both began their artistic journeys under the spell of artistic tradition. To-day, both artists challenge the very nature and intention of their respective mediums by breaking with tradition.

Z

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尹麗娟和朱敬一與陶瓷和水墨在交流之中，重塑了陶瓷和水墨之為藝術的本質。通過拓闊藝術語彙及創作的可能性，他們讓傳統藝術在當代世界有所回響，鞏固了它的身份與價值。在創作的當下，兩位藝術家追尋的是把胸臆中的意念，不差不減的賦形。在理與形同步的當下，他們的藝術品真正完滿。

尹麗娟

尹麗娟用不同的泥範來捕捉日常事物的形態：食物盒、收音機、舊書，還有是次展覽的當代雜誌與小說。在創作過程和高度的仿真下，藝術家揭示了尋常事物的微細瑕疵。

尹氏的泥範技巧和陶土的可塑性，使藝術家稱之為「展拓真實」的過程得以成立。她透過把陶土直接壓在物件之上，來傳擬模寫一切物象。這是時光的拓印，她的物象，在時光中靜止，停頓。

尹氏的藝術意趣，在她的代表作《在灣仔尋找詩意》中，最能表現出來。在一個本地書店，尹氏偶然讀到一篇唐詩，於是她嘗試去使詩篇重生，令新一代都會覺得吸引。尹氏的創作，都有典型的深度。在夜深無人的舊區，她用泥範在重建陰霾下的舊廣告招牌「借」字。日出之時，她把泥範收好，之後再重組成一件饒富書法意味的作品。詩雖然古老，但在尹氏巧手之下，有了新意。

尹氏在一件作品之中，穿梭時空，捕捉不同層次的意義的能力，叫人嘆服。作品感人細膩、色澤觸感，簡約優雅，一應優美。她對

理念與美感，有高超的拿捏。

她曾說：「陶瓷的本質，是用手和技巧，把原材料陶塑成物件，但當代藝術的發展，卻由手轉向了腦、由原料轉向拾來之物，由資訊的單一轉向多元。當代世界充滿擬像，好像再沒有物理性及獨一性。我對探討擬像與論述之間的距離，和把它與現實拉近，很感興趣。」在這展覽中，尹麗娟探討當代文化對數碼世界的急速靠攏。我們把書籍與雜誌，下載到模仿揭頁的儀器，在這過程之中，便捷的考慮，取代了人類對觸感的渴求。聚焦於這現象之上，尹氏把雜誌和小說轉化成對熟悉親密的追思與渴望的載體。

香港大學藝術學系副教授官綺雲博士曾這樣評論尹氏的作品：「她那些沈浸過在白色的陶釉的書，承載著指尖曾經翻動過的書頁。它們是不能再讀的，沈寂的書。在燒瓷的過程，書頁揚為飛灰，剩下徒然的空殼。切實的失語了，它們現在只是瓷器，如墳墓般靜放著。但它們又是有生命的，繼續以冊頁的形狀存在，以我們所愛的形態存在，即使我們這個數碼化的世界，已慢慢令書本不再具體的存在。鍍上既艾且新的外在，我們該當在陶瓷的新衣之下欣賞它們。光滑潔淨的外表，吸引著我們去撫摸，去稱一下這些新生之軀的重量。」

尹氏為香港中文大學藝術系碩士及文學士，並於香港理工學院修畢設計文憑及高級陶藝課程。

朱敬一

朱敬一捨棄了筆墨，把傳統的創作媒介重新構思成為「立體的墨」。他以富質感的樹脂創作，卻又大膽的稱之為「墨」。朱氏詰問了傳統水墨的先決印象，顛覆了水墨的創作手法和「墨」本身的意義。

山林樹石，一切山水畫中熟悉的物象，都可見於朱氏的作品。輔以基本的工具，他築石為山，建構出立體的形象。他們像桁架、像網殼，快速凝固的樹脂，需要巧手靈心，才能展現藝術家的詩意山水。

香港大學藝術學系副教授官綺雲博士曾評論說：「摒棄了水墨的渲染，朱氏的鐵劃銀鈎以淺浮雕的形式從畫面中出入自如，在營造空間深度的同時，又扭曲了我們對山水的感觀認知。他的作品敘述了空間之為物，亦賦

與了讓空間成形的質感。最引人入勝的，莫過於這創作在不同形式：立件、淺浮雕、抽象的編織，都一應合宜。」

與水墨傳統的精神契合之同時，在物質上又接連著當代藝術創作，朱氏為水墨鑑賞的傳統，平添多了一層玄想。

朱氏畢業於南京師範大學美術學院，並為北京中央美術學院博物館管理學碩士。在成為獨立藝術家前，朱氏曾經出任上海証大現代藝術館藝術總監及上海多倫現代美術館學術部主任。

當下：尹麗娟與朱敬一近作香港陶瓷藝術家尹麗娟和上海水墨藝術家朱敬一，兩者都被藝術傳統深深吸引而踏上藝術之道。今日，他們突破傳統，從而顛倒創作媒介本身的意趣。

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Aged Gracefully《優雅地老去》Annie Wan Lai-kuen 尹麗娟Ceramics 陶瓷10 pieces/Dimensions vary 十件，尺寸各異2016HK$120,000

It’s a Wonderful WorldAnnie Wan Lai-kuen 尹麗娟Ceramics 陶瓷150x216cm2016HK$450,000

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The Tides of Time《順流逆流》Annie Wan Lai-kuen 尹麗娟Video：1h 21m 24s, 1 edition 錄像：1小時 21分 24秒, 第一版Ceramics 陶瓷 23x24cm2015HK$100,000

Stacked Books I,II 《堆放的書 I,II》Annie Wan Lai-kuen 尹麗娟Ceramics 陶瓷Dimensions vary 尺寸各異2016HK$20,000 each

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The Meeting of Wind and Clouds《風雲際會圖》Zhu Jingyi 朱敬一Resin on Canvas 畫布樹脂120x300cm, 5 panels 五聯張2016HK$200,000

Landscape on the Horizon I,III & III《樹色平遠圖 I,III & III》Zhu Jingyi 朱敬一Resin on Canvas 畫布樹脂40x160cm each 2015HK$60,000 each

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Overflowing 8《彌漫8》Zhu Jingyi 朱敬一Resin on Canvas 畫布樹脂120X180cm2014HK$150,000

Rock of Dawn《曉石》Zhu Jingyi 朱敬一Resin on Canvas 畫布樹脂120x90cm2015HK$120,000

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Autumn Moonlight Stone《秋月石》Zhu Jingyi 朱敬一Resin, Wire, Plexiglass 樹脂、鐵線、塑膠130x100x30cm2015HK$220,000

Whirlpool《漩渦》Zhu Jingyi 朱敬一Resin on Plexiglass 塑膠94x94x34cm2016HK$120,000

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2016 Lecturer, Academy of Visual Art, Hong Kong Baptist University1999 Master of Fine Arts, Chinese University of Hong Kong1996 Bachelor of Arts in Fine Arts, Chinese University of Hong Kong1991 Higher Certificate in Studio Ceramics, Hong Kong Polytechnic1982 Diploma in Design, Hong Kong Polytechnic

Selected Exhibitions

2015 ‘The Past is Continuing,’ Hong Kong Heritage Museum, Hong Kong2015 ‘First, then and after”, Gallery Exit, Hong Kong2015 ‘ICA Off-Site: Hong Kongese,’ Duddell’s, Hong Kong2015 ‘Crush On My City,’ Karin Weber Gallery, Hong Kong2014 ‘Lodge of Tranquility’, Karin Weber Gallery, Hong Kong

Collections

Hong Kong Museum of Art, Hong Kong; Heritage Museum of Hong Kong, Hong Kong; Burger Collection, Switzerland; Time Capsule Collection, Zurich; New Taipei City Yingge Ceramics Museum, Taiwan; SUROYO Ceramic Creative School, Korea; Danish Museum of Guldagergaard, Denmark; Shigaraki Ceramic Cultural Park, Japan; Philippe Charriol Foundation, Hong Kong; Galerie Martini, Hong Kong; Habitus, Hong Kong; IWCAT, Tokoname, Japan; and private collections worldwide.

Visit karinwebergallery.com for complete biography

ANNIE WANLAI-KUENBorn in Hong KongLives and works in Hong Kong

尹麗娟生於香港現居香港

2016 香港浸會大學視覺藝術學院講師1999 香港中文大學藝術碩士1996香港中文大學藝術學士1991 香港理工學院高級陶藝課程1982 香港理工學院設計文憑

部份展覽

2015 《時間遊人》，香港文化博物館，香港2015 《First, then and after》， 安全口畫廊，香港2015 《ICA Off-Site: Hong Kongese》，都爹利會館，香港2015 《暗戀我城》，Karin Weber Gallery，香港

收藏

香港藝術館，香港；香港文化博物館，香港；保格藏品，瑞士；時間膠囊藏品，蘇黎世；新北市立鶯歌陶瓷博物館，台灣；; SUROYO 陶瓷創作學校，韓國；高特格國際陶瓷研究中心，丹麥；信樂陶藝之森，日本；夏利豪基金會，香港；馬丁尼畫廊，香港；Habitus，香港；常滑市國際陶藝工作坊，日本；以及世界各地私人收藏

詳細藝術家履歷，請參閱karinwebergallery.com

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2009-2011 Art Director, Zendai Art Supermarket2005-2006 Academic Director, Shanghai Duolun Museum of Modern Art2005 Academic Director, Zhu Qizhan Art Museum and Art Director, Beicangmen Art Center, Wuxi City 1998 Graduated from the Department of Chinese Arts, Nanjing Normal University Selected Exhibitions

2015 ‘Ink Lodge,’ Karin Weber Gallery, Ink Asia, Hong Kong2014 ‘Lodge of Tranquility’, Karin Weber Gallery, Hong Kong2014 ‘Nearly Everything,’ Pudong International Airport, Shanghai, China2014 ‘When Returning to the Mountain,’ RNP Art Space, Shanghai, China2013 ’Exploration,’ Karin Weber Gallery, Hong Kong 2013 ‘Peach Blossom Spring,’ Galerie Junger Gallery, Berlin2013 ‘Chinese Zodiac,’ Villach, Austria

Collections

Today Art Museum, Beijing; Shanghai Himalayas Museum, Shanghai; and private collections worldwide  

Visit karinwebergallery.com for complete biography

ZHU JINGYI

Born 1975, ChinaLives and works in Shanghai

朱敬一 生於1975年，中國現居上海2016 香港浸會大學視覺藝術學院講師1999 香港中文大學藝術碩士1996香港中文大學藝術學士1991 香港理工學院高級陶藝課程1982 香港理工學院設計文憑

部份展覽

2015 《時間遊人》，香港文化博物館，香港2015 《First, then and after》， 安全口畫廊，香港2015 《ICA Off-Site: Hong Kongese》，都爹利會館，香港2015 《暗戀我城》，Karin Weber Gallery，香港

收藏

香港藝術館，香港；香港文化博物館，香港；保格藏品，瑞士；時間膠囊藏品，蘇黎世；新北市立鶯歌陶瓷博物館，台灣；; SUROYO 陶瓷創作學校，韓國；高特格國際陶瓷研究中心，丹麥；信樂陶藝之森，日本；夏利豪基金會，香港；馬丁尼畫廊，香港；Habitus，香港；常滑市國際陶藝工作坊，日本；以及世界各地私人收藏

詳細藝術家履歷，請參閱karinwebergallery.com

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Karin Weber GalleryEstablished in 1999 by German-born Karin Weber and now in its 17th year, Karin Weber Gallery is one of Hong Kong’s oldest contemporary art galleries. Situated on Aberdeen Street, in the heart of SoHo, the gallery presents a year-round program of curated exhibi-tions, talks, and collector events. In 2015, BLOUIN ARTINFO added Karin Weber Gallery to the list of ‘500 Best Galleries Worldwide.’

The gallery’s unique network of partners based in London, Mumbai and Berlin allows it to source emerging and established contemporary art from around the world. Kar-in Weber Gallery is equally passionate about presenting works by local artists. The gal-lery assists artists through exhibitions, art fairs, and residency programs throughout the world. Small in size, yet global in outlook, Karin Weber Gallery is one of Hong Kong’s truly

international boutique galleries.

凱倫偉伯畫廊於1999年由德國的Karin Weber 女士創立。今年踏入第17年，是香港其中一間最具歷史的當代藝術畫廊。畫廊位於蘇豪區鴨巴甸街，我們每年策劃不同的展覽、講座及活動給藏家參與。畫廊很榮幸獲選為2015年 BLOUIN ARTINFO「全球500最佳畫廊」。

我們的合夥人於倫敦、孟買和柏林有辦事處，使我們能夠幾乎遍佈世界各地為客戶提供服務並搜尋新晉和有豐富經驗的藝術家。我們熱愛把香港本地的藝術推介給全球的藏家。

我們畫廊也致力協助香港藝術家。代表的藝術家通過藝術博覽會，與其他畫廊的交流，還有駐留計畫發展自己的事業。面積雖不大，但放眼全球，凱倫偉伯畫廊是香港真正國際化的精品畫廊之一。

Karin Weber Gallery 凱倫偉伯畫廊

20 Aberdeen Street, Central, Hong Kong

香港中環鴨巴甸街20號地下

+852 2544 5004karinwebergallery.comart@karinwebergallery.com