BANK | 展位 1D31 | 香港巴塞尔艺术展 2024 Art Basel Hong Kong | 3.26-3.30

宋怀桂 Song Huai-Kuei

无题4 Untitled 4

        山羊毛 Goats Wool

153 x 153 cm

1977

在世时人称宋女士的宋怀桂（1937–2006）是1980至1990年代中国精英文化圈中的传奇人物。冷战时代的中国长期几近与世隔绝，宋怀桂与丈夫、来自保加利亚的壁挂艺术家万曼（1932–1989）一起，担当起联系东西方的桥梁，为中国引入与国际接轨的现代生活方式。 

宋怀桂中学毕业后考入中央美术学院油画系，其间与来自东欧社会主义国家保加利亚的留学生万曼（Maryn Varbanov，1932–1989）相恋。1958年，宋怀桂随万曼带着女儿定居保加利亚首都索非亚，并开始一同创作。这对艺术夫妻以巴尔干半岛历史悠久的壁挂为艺术媒介，展开现代主义艺术的实验，将这种传统工艺从平面扩展成立体装置，并在机缘巧合之下，得以穿过冷战铁幕，参加洛桑国际壁挂双年展（Lausanne International Tapestry Biennial）等现代艺术展览，后于1975年移居巴黎。 

1980年代宋怀桂回到中国, 帮助法国时装设计师皮尔·卡丹（Pierre Cardin，1922–2020）开拓中国的商业版图，由此活跃于时尚界，并将巴黎著名餐厅马克西姆（Maxim’s de Paris）的分店开到北京。宋怀桂频频担当模特和时装比赛的评审而被传媒誉为“中国时尚教母”。她更为中外文艺精英的交流穿针引线，促成了品牌克里斯汀·迪奥（Christian Dior）对中国第五代导演米家山（生于1947年）拍摄轻喜剧《顽主》（1988）的支持，也出演了贝纳多·贝托鲁奇（Bernardo Bertolucci，1941–2018）《末代皇帝》（1987）中隆裕太后一角。

← EN

万曼 Maryn Varbanov

圆柱 Column (purple grid)

低反射UV打印 UV print on low-reflection acrylic

染色羔羊毛毡 Felted Dyed Lambs wool

240 x 56 cm

1977

万曼 (Maryn Varbanov，1932年出生，保加利亚，1989年去世，北京)是一位享有盛誉的艺术家，他的影响力广泛，从故乡索非亚到第二故乡巴黎，以及对中国八五新潮美术的影响之深远。上世纪六十年代席卷欧洲的总体艺术，利用自然和新的纤维材料，形成空间化、雕塑化的现代壁挂艺术，在这样的契机下万曼来到中国，将中国当代的纤维艺术扶植，在材料上的突破和空间形态的突破催生了一种“软雕塑”，建立了现代造型艺术与建筑设计的新的生命联系，在北京/杭州的工作室除了培养了出一批极具创造力和才能的艺术家之外，极大启发了中国早期的装置艺术创作，在重精神影响的“八五新潮”这段时间乃至八十年代后期整个中国艺术界的发展，从道德及精神意义上都带来重大影响。 

万曼与他的妻子，活跃于中国艺术、电影、音乐、时尚等领域的宋怀桂女士(1937–2006)，在1980-1990年代的中国共同创造了一个前瞻性的国际化场景。

← EN

多媒体艺术家陆扬创作了许多奇幻、病态和令人震撼的图像，这些图像代表了宗教、哲学、神经科学、心理学和现代技术的跨学科融合，以及对真实生命形式和神灵的神经结构的幻想。陆扬的艺术实践涵盖游戏引擎、3D动画影像、视频游戏装置、全息影像、动作捕捉表演、VR和程序操作。陆扬的作品涉及与著名科学家、心理学家、表演艺术家、舞蹈家、实验作曲家、音乐制作人、机器人公司和偶像明星的频繁合作。 

陆扬毕业于杭州中国美术学院新媒体艺术系，获学士和硕士学位。她的作品在众多国际重要博物馆和机构展出，陆扬也参展了2022年威尼斯双年展。近期个展包含：巴塞尔美术馆，巴塞尔，瑞士（2023）；Zabludowicz Collection，伦敦，英国（2022-23）；PalaisPopulaire，柏林，德国（2022-23）；ARoS 奥胡斯美术馆，奥胡斯，丹麦（2021-22）；Spiral，东京，日本（2018）；木木美术馆，北京，中国（2017-18）；克利夫兰当代艺术馆，克利夫兰，美国（2017）；尤伦斯当代艺术中心（UCCA），北京，中国（2011）；福冈亚洲美术馆，福冈，日本（2011）。近期参与的大型主题展览包括：2022 年第 59 届威尼斯双年展《梦之奶》、2021 年纽约亚洲协会三年展、巴黎蓬皮杜艺术中心（2020 年）、2018 年和 2012 年上海双年展、2018 年雅典双年展、2016 年利物浦双年展、2016 年蒙特利尔国际数字艺术双年展、2015 年第 56 届威尼斯双年展（中国馆）和 2014 年福冈亚洲艺术三年展。2019 年，陆扬获得了 "宝马艺术之旅"（BMW Art Journey）的奖项，随后开始委任制作名为“DOKU”的新数字作品。陆扬还获得了德意志银行 2022 年度艺术家奖。

← EN

Lu Yang has held exhibitions at Centre Pompidou-Metz, France (2023); Kunsthalle Basel, Switzerland (2023); Nxt Museum, Amsterdam (2023); Zabludowicz Collection, London (2023); the 59th La Biennale di Venezia, Venice (2022); PalaisPopulaire, Berlin (2022 - 23); ARoS Aarhus Art Museum, Denmark (2021– 22); Asia Society Museum, New York (2021); San Francisco Art Institute, California (2018); Ullens Center for Contemporary Art, Beijing (2011), and Fukuoka Museum of Asian Art, Japan (2011) among others. In 2022, Lu Yang was selected as Deutsche Bank’s Artist of the Year, Lu also received the BMW Art Journey Prize (2019), Asian Cultural Council Grant (2013), and the Focus on Talents Award, Today Art Museum (2011).

施慧，艺术家，中国美术学院教授，博士生导师。万曼壁挂研究所主任。

施慧1982年毕业于浙江美术学院（今中国美术学院）染织专业，获学士学位。1986年-1989年在“万曼壁挂研究所”研修当代纤维艺术创作。1987年，作品《寿》（合作）参加瑞士洛桑“第十三届国际壁挂双年展”，实现了中国当代壁挂艺术走向世界的零的突破。

施慧是上世纪80年代中国第一批从事当代纤维艺术的艺术家，她坚持纤维艺术在当代艺术中的创作方向，作品以棉、麻、宣纸、纸浆等纤维材料为特征，在当代艺术的层面上体现出东方精神的底蕴。作品先后参加国内外许多重要展览及提名展、双年展，引起广泛关注。

施慧持续使用中国宣纸和纸浆为主要媒介，在这种钟爱的后面，显然既是对媒介与自己心灵默契的那种特殊属性的体认，也是对中国传统媒介在当代的价值转换的信念。施慧的作品在中国当代艺术的图式中，呈现出独特的视觉特征，她将传统意义上的编织拓展为一种视觉空间的建构，编织的过程被作为经验的流程，而成为一种“后现代的万物有灵论”的图像演绎。

←EN

Shi Hui, artist, professor at the China Academy of Art, doctoral tutor. Director of the Wanman Wall Mount Institute. 

Shi Hui graduated from the Zhejiang Academy of Fine Arts (now China Academy of Art) in 1982 with a bachelor's degree in dyeing and weaving. From 1986 to 1989, she studied contemporary fiber art creation at the Wan Man Wall Institute. In 1987, the work "Shou" (cooperation) participated in the "13th International Wall Biennale" in Lausanne, Switzerland, and achieved zero breakthrough in the contemporary Chinese wall hanging art. 

Shi Hui was the first Chinese artist to engage in contemporary fiber art in the 1980s. She insisted on the creative direction of fiber art in contemporary art. The work is characterized by cotton, hemp, rice paper, pulp and other fiber materials, at the level of contemporary art. It reflects the essence of the oriental spirit. Her works have participated in many important exhibitions at home and abroad, as well as nomination exhibitions and biennials, which have attracted wide attention. Shi Hui continued to use Chinese rice paper and pulp as the main medium. 

唐宋 1960年出生于浙江。八十年代毕业于浙江美术学院（今中国美术学院）中国画系。1978年入伍当兵，后从事野外测量工作。自称为“行动艺术家”，在艺术创作中致力于加入行动而非表演的元素。  

最知名的事件为在1989年应邀参加中国美术展举行的《中国现代艺术展》，协助艺术家肖鲁以开枪的形式完成肖鲁的装置作品《对话》。这一枪击事件被认为是中国现代艺术的重要转折，中国新潮美术的”临界点”。 

1989年12月与肖鲁移居澳大利亚，后回国在杭州创立工作室。作品曾在香港艺术馆，芝加哥文化中心，旧金山现代艺术博物馆，旧金山亚洲艺术博物馆，温哥华国家画廊，澳大利亚当代艺术博物馆，澳大利亚当代艺术中心等艺术机构展出。曾参加1993年《后八九中国新艺术(附一九七九至八九回顾展)》，1989年《蜕变突破：华人新艺术》等艺术展览，并多次参加中国、澳大利亚、韩国、日本、美国、荷兰等国际双年展。2007年与艺术家艾未未、张培力共同在杭州空谷艺术空间展出。

← EN

张移北，1992年生于大庆。现⼯作⽣活于上海。硕士毕业于英国皇家艺术学院雕塑系，本科毕业于英国伦敦艺术⼤学雕塑系。张移北曾获得2019年第七届明天雕塑奖，2021年入围华宇青年奖，并获选Longlati基金会2022-2023年度驻留艺术家。

近期重要展览包括：个展“所有东西凿出一个孔都可以成为花瓶”（BANK，上海，2021）；群展“第二届TAG新当代：离岸”（西海美术馆，青岛，2023）“应激之机”（泰康空间，北京，2023），“断裂的一代”（松美术馆，北京，2022），“日常的智慧—当代艺术邀请展”（银川当代美术馆，银川，2021），“第四届今日文献展（今日美术馆，北京，2019），“还要什么自行车”（德国文化中心·歌德学院，北京，2019）等。作品被松美术馆、Longlati基金会、北京泰康空间收藏。张移北从一个假定的命题出发，在介于艺术家、材料与观念三者关系的重新思考。在这种构思/反思过程中，艺术家和她的材料形成了实在世界，实在世界构成了观念世界，思维和材料共同构成了艺术家的意象，这种意象就像鸡与蛋的关系，通向了艺术家与材料之间的合作关系。因此，材料、艺术家和思想注定要共存。那么什么是材料，谁是艺术家呢？观念在哪里？我们也许可以认为，艺术家挑选她的材料，无论是石头、硅还是世界上已经存在的东西(现成物)，因为她把她的材料组合成她的潜意识的参考物体。这给移北提出了一个问题，即材料是否属于艺术家，或者反之亦然，即相对于材料，艺术家被选择、移动，或者对于艺术家来说，材料被移动、选择。

← EN

Yibei Zhang (b.1992, born in Heilongjiang, China) lives and works in Shanghai. Graduated from Royal College of Art MA Fine Art (Sculpture) 2017 and University of Arts London, Wimbledon College of Arts - BA Fine Art (Sculpture) 2015. Yibei has won 2019 Tomorrow Sculpture Awards and shortlisted by Huayu Youth Award in 2021. She is also the recipient of Longlati Foundation's Artist-in-Residence Program for the 2022–23 cycle. Her recent exhibitions include: solo exhibition “A Vase In Everything”(BANK/MABSOCIETY, Shanghai, 2021); group exhibitions “The 2nd TAG-New Contemporary: Seaward”(TAG Art Museum, Qingdao),“BODILY REACTION: VITALIZING THE BARE LIFE”(Taikang Space, Beijing, 2023),“The Disconnect Generation”(Song Art Museum, Beijing, 2022), “Wisdom of Everydau Life-Contemporary Art Invitation Exhibition”(Museum of Contemporary Art Yinchuan, Yinchuan, 2021), “The 4th Today’s Documents ”(Today Art Museum, Beijing, China, 2019), “Whatever Works, Whatever It Takes”( Goethe Institut, Beijing, China, 2019), etc. Her artworks have been collected by important insitituions, including Song Art Museum, Longlati Foundation, Taikang Space. 

Yibei Zhang starts with a proposition, that is, a rethinking of the relationship between artist, material and ideation. In this rethinking, the artist and her materials form the entity world and the entity world frames the ideation world; ideation and material together compose the imagery of the artist and this imagery leads, chicken and egg-like, to the collaboration of artist and material. Material, artist and ideation are therefore fated to co-exist. What then is material and who is the artist? Where is ideation? We might deem that the artist picks her material, be it stone, silicon or things that exist in the world (found or sought objects), because she combines her materials as reference objects to her subconscious. This poses for Yibei the question of whether the material belongs to the artist or vice versa, i.e. relative to material, the artist is moved and relative to the artist, the material is moved.

文爵，2001年生于北京。2015年就读于巴黎大茅舍艺术学院，2016年进修于弗朗索瓦·勒朗德工作室，2019年成为法国泰勒艺术基金会终身会员，现居上海。他的创作围绕着对“油画”这种媒介的实验，通过颜料的物理质感堆积，令三维的类岩石和浅浮雕与二维绘画相互碰撞，产生出新的对话关系，赋予结构与图像以全新的定义。 

近期个展包括 “超体：丰饶角”（BANK，上海，2023）,“夏日弗拉明戈”（hiart space，深圳，2021），“我和我的…”（程昕东国际当代艺术空间， 北京，2020），也参与群展“梦之飞鸟”（ 当代唐人艺术中心·香港黄竹坑空间，香港，2023），“青春乐园 —— 中国新绘画案例研究展（一）”（又生空间，北京，2023）， “I Waited For You”（无事发生画廊，上海，2023），“春潮”（BLANKgallery ，上海，2022），“术士与猎犬”（HALF IMAGE ，上海，2022），“人间”（BLANKgallery，上海，2022），“经编机”（大气层空间，南京，2022）。

← EN

Wenjue was born in Beijing in 2001. He studied at the Académie de la Grande Chaumière  in Paris in 2015 and then at Atelier François Legrand in 2016. In 2019, he became a lifelong member of the Fondation Taylor.Wen Jue currently lives in Shanghai. His work revolves around the experimentation with the medium of "oil paints”. Through the physical accumulation of oil paints, he makes three-dimensional rock-like and bas-relief sculptures collide with two-dimensional paintings, creating a new dialogue and giving a new definition to structure and image.

His recent solo shows include: Supercalifragilisticexpialidociousism and The Horn of Plenty (BANK, Shanghai, 2023), Flamenco Summer (hiart space, Shenzhen, 2021), Me and My... (Xin Dong Cheng Space for Contemporary Art, Beijing, 2020). Recent group shows include Dream Bird (Tang Contemporary Art, Hong Kong Wong Chuk Hang Space, Hong Kong, 2023), Youth Paradise: A Case Study of Chinese New Painting I (CYCLE SPACE, Beijing, 2023), I Waited For You (Nothing Happened Gallery, Shanghai, 2023), Spring Blooming (BLANKgallery, Shanghai, 2022), Magician and Hound (HALF IMAGE, Shanghai, 2022), The Human World (BLANKgallery, Shanghai, 2022), TEXTRONIC (Atmosphere Space, Nanjing, 2022）

 白乂乂 Bai Yiyi

爱抚 Caress

布面丙烯 Acrylic on canvas

50 x 60 cm

2024

白乂乂，1992年出生于山西大同，现生活工作于上海。他刚结束于巴黎PACT画廊的个展，作品被PCP Collection、Nixon Collection、GECO基金会、北京时代美术馆等各大私人机构及美术馆收藏。 

白乂乂创作反映了工业化传播、影像空间技法对图像信息的皱缩、情愫与叙事。他的绘画来自于工业化的传播美学，反射着其对人群的身份与世界的关系的思考。画面中，颜色系统来自于电子屏幕、随处可见的胶片质感、用笔刷点彩技法模仿的广告胶印色点、类似视频中的雪花、还有放大的特写镜头、虚化的模糊效果等，艺术家通过寻找一种东方式线条韵律使这些特写来回穿插，并制造开放式的故事线索。 

白乂乂的绘画作品更像是一个快速的电影情节。这来自于社交网络的视觉快感，关注并放大某个镜头中的特写，使整个场景与空间在视觉上产生收缩。这种观看方式就像你在打量一个人，却只关注他身上某个特别的饰品一样。当视觉数据的排列达到一定密度之后，这些不断堆叠的镜头得以消解，从而得到一个更感性的情愫与叙事。身为大数据与社交网络影响下的新人类的一员，白乂乂通过持续的混合与视觉上的加速，将自身作为一个载体，输出对新人类群体的“神性”所进行的融合式写生。

← EN

Bai Yiyi was born in Datong, Shanxi in 1992 and now lives and works in Shanghai. He recently had his first solo exhibition at Galerie PACT in Paris. His works have been collected by PCP Collection, Nixon Collection, GECO Foundation, Beijing Times Art Museum, and other major private collections and institutions. 

Bai's works reflect the industrialized communication, the crumpling of image information by spatial techniques of video, sentiment and narrative. His paintings come from the aesthetics of industrialized communication, reflecting his thoughts on the relationship between the identity of the crowd and the world. In the images, the color system comes from the digital screen, the texture of film is everywhere, the color dots of the advertisement offset printing imitated by the brush pointillism technique, the snowflakes similar to those in the video, as well as the zoomed-in close-ups, the blurring effect of bokeh, and so on. The artist intersperses these close-ups back and forth and creates the open-ended story clues by searching for the rhythms of an Eastern style line. 

孙一钿 Sun Yitian

庇护所 Sanctuary

布面丙烯 Acrylic on canvas

205 x 158 cm

2024

孙⼀钿,1991年⽣于中国浙江，2015年毕业于中央美术学院油画系，并于2018年获得同系硕⼠学位，现于清华⼤学⼈⽂学院攻读博⼠学位。她的作品涉及绘画、装置、⾏为、时装跨界。她的作品以“物”为切⼝⼜暗喻背后的劳动与⽣产，揭示消费社会的内在机制。孙⼀钿的作品通常以照⽚写实的⽅式来审视诱惑和恐惧，⼆者之间的秘密、⽇益脆弱的联系，以及雕塑性的「物质」，共同构成了她的创作主题。 

孙一钿曾入选2023福布斯中国当代青年艺术家榜单和2019年亚洲福布斯30岁以下杰出青年，荣获WSJ中文版2022-2023“年度出色创作者”以及罗博之选The Best of Best 2022“年度青年艺术家”奖项。作品曾在BANK画廊、 施博尔画廊（柏林）、香港 Mine Projects、阿尔敏·莱希(上海) 、柏林狮子行宫、巴黎莎玛丽丹、澳门艺术博物馆、UCCA尤伦斯当代艺术中心、伦敦弗里兹艺博会和巴黎国际当代艺术博览会等国内外各大机构展出。作品已被纳入国内外各大机构的收藏，包括白兔美术馆，悉尼；福尔林登美术馆，瓦塞纳尔；天目里美术馆，杭州；Longlati基金会，上海；木木美术馆，北京；余德耀美术馆，上海；四方当代美术馆，南京；龙美术馆，上海等。 

近期参加的展览包括：“跨界：可能与回响”，余德耀美术馆，上海，2023；“流光”，四方当代美术馆，南京，2023；“年年：动物的能与术”，德基美术馆，南京，2023；“无尽的交谈”—2022首届北京艺术双年展“共生”，国家对外文化贸易基地，北京，2022；“22年夏”（Summer '22），施博尔画廊，柏林，2022；“集光片羽”，UCCA Edge，上海，2022；“艺术的语言，艺术家的游戏”，OCAT深圳馆，深圳，2022；“断裂的一代”，松美术馆，北京，2022。

← EN

Sun Yitian (b.1991, Zhejiang, China) graduated from the Painting Department of China Central Academy of Fine Arts, Beijing (CAFA) in 2015 and earned her Master Degree in 2018. She is now completing her doctorate of Literature at the School of Humanities at Tsinghua University, Beijing. Her practice, which spans painting, installation, performance, and fashion, employs material objects as metaphors of labor and production to reveal the inner mechanisms of our consumer society. Sun's often photo-realist works examines the secret, increasingly tenuous connection between seduction and fear as well as the sculptural 'thingness' of her subjects. 

Sun was selected for the Influential 2023: Forbes China Contemporary Young Artists and Forbes 30 Under 30 Asia Class of 2019, and received the WSJ China's ON THE FIELD Creator of the Year Award and "BOB Best of the Best" 2022 Young Artist Award. Her works have been exhibited at BANK Gallery, Esther Schipper, Mine Projects, Almine Rech, Paris and major organizations such as the Lion Palace, Berlin; Samaritaine, Paris; Macao Museum of Art; UCCA Edge, Shanghai, as well as Frieze London and FIAC. Her work is held in the following collections: White Rabbit Gallery, Sydney; Museum Voorlinden, Wassenaar; By Art Matters, Hangzhou; Longlati Foundation, Shanghai; M WOODS, Beijing; Yuz Museum, Shanghai; Sifang Art Museum, Nanjing and Long Museum, Shanghai, etc. 

Recent exhibitions include Bordercrossing: Possibilities and Interactions, Yuz Museum, Shanghai (2023); Projection, Sifang Art Museum, Nanjing (2023); Nián Nián :The Power and Agency of Animal Forms, Deji Art Museum, Nanjing (2023); The Infinite Conversation: 2022 Beijing Biennial "Symbiosis", National Base for International Cultural Trade, Beijing (2022); "Summer 22", Esther Schipper, Berlin (2022); The Pieces I Am, Shanghai, UCCA Edge (2022); "Art's Language, Artists Game", OCAT Shenzhen, Shenzhen (2022); The Disconnected Generation, Song Art Museum, Beijing (2022).

梁浩，1988年⽣于⼴东。2012年毕业于清华⼤学美术学院绘画系，⽬前⽣活和⼯作于上海。其艺术实践以绘画为主，并涉及不同的媒介。他围绕着⼿、凝视和思想之间的动态关系展开创作，通过构建技术⽣产的幻景，亦或对⽂字与艺术史上图像的引⽤，来重新考虑⼿的技术性，以及流转于其中的情感意识。 

梁浩的个展包括：“替身”和美术馆，广东（2023）；“高手”BANK画廊，上海（2023）；“重现” ⽟兰堂，北京（2022）；“时间的褶皱” 10号赞善⾥画廊，⾹港（2020）；“⼀种⽬光” ⽟兰堂，上海（2019）；“映像与猎场” ⽟兰堂，北京（2017）。

他的作品亦在不同机构参与展出，其中包括纽约 Art OMI艺术中⼼、韩国Daechumoo Fine Art、上海⺠⽣现代美术馆、北京今⽇美术馆、冰岛Offshore Project Space、北京中央美术学院美术馆。他曾参加美国纽约Art OMI（2016年）和冰岛塞济斯菲厄泽Island Iceland Offshore Project（2015年）的艺术家驻地项⽬，并于2018年和2016年⼊围“约翰‧莫尔绘画奖”。

← EN

Liang Hao (b. 1988, Guangdong Province) currently lives and works in Shanghai. He graduated from the Painting Department of the Academy of Arts and Design at Tsinghua University, Beijing, in 2012. His practice focuses on painting while extending to other media. He is interested in the dynamics between the hand, gaze and mind, reconsidering the technicality of the hand and the affects that flow through it by constructing illusions of technical production and making references to images in art history or texts. 

His recent solo exhibitions include: Doubled Bifurcation(He Art Museum, Guangdong, 2023); Gesture and Speech (BANK, Shanghai, 2023); Present, Again (Line Gallery, Beijing, 2022); Unfolding into the Expanse (10 Chancery Lane Gallery, Hong Kong, 2020). His work has been exhibited in worldwide institutions that include: Art OMI, New York; Daechumoo Fine Art, Korea; MinSheng Art Museum, Shanghai; Today Art Museum, Beijing; Offshore Project Space, Iceland; CAFA Art Museum, Beijing. His past artist residencies include: Art OMI International Artist Residency (New York, 2016); Island Iceland Offshore Project (Seydisfjordur, 2015). His award nominations include: John Moores Painting Prize (2018,2016).

奇科·达·西尔瓦 Chico da Silva

无题(鸟与虫) Untitled (bird and bug) 

布面水彩画 Gouache on canvas

56 x 76 cm

1970

奇科·达·西尔瓦（原名弗朗西斯科·达·西尔瓦）是最具影响力和广泛展出的巴西原住艺术家之一。他出生于被亚马逊雨林环绕的阿尔托·特茹，但当他还是个孩子的就搬到了巴西东北部的塞阿拉。1935年，他定居在福塔莱萨直至去世。

他的创作生涯始于自发地在普拉亚·福尔摩沙渔民的房屋墙壁上绘画。他的水粉画和绘画中主要描绘来自森林中的生物，例如亚马逊的鸟类和鱼类，以及奇特的物种，例如龙。这些以多色彩和充满细节的图像绘画为标志的作品，为巴西北部文化中的口述故事和神话赋予了具体的形象。

通过这些栖息着奇妙动物群的画作，我们看到了一个富有创造力的亚马逊人后裔。如今，随着地球上的成候问题变的越来越严峻，我们可以在奇科的描绘主题中发现惊人的相似之处。这些生物发出悲鸣哭声，让我们意识到需要知道如何与自然共处。被砍伐的森林正在导致物种的灭绝，这比奇科诗意的在作品中描绘的食物链所带来的死亡要致命的多。在艺术家的作品中，色彩发挥着神奇的作用，这些动物在我们看起来栩栩如生。

← EN

Chico da Silva (also known as Francisco da Silva) is one of the most influential and widely exhibited indigenous Brazilian artists. He was born surrounded by the Amazon rainforest in Alto Tejo, but while still a child he moved to Ceara, in northeastern Brazil. In 1935 he settled in Fortaleza where he lived until his death. He started his artistic production spontaneously by drawing and painting on the walls of fishermen's houses in Praia Formosa. In his gouaches and paintings, Chico da Silva represented mainly the creatures of the forest, such as Amazon birds and fish, as well as fanciful figures, such as dragons. His artworks give form to stories and mythologies from the oral tradition of Northern Brazilian culture, in compositions marked by rich polychromy and by the graphic details of the drawing, composed of colorful wefts and lines. We saw an Amazonian, creative and pure ancestry in the realization of his painting inhabited by a fantastic fauna. 

Today, with the climate issue on the planet becoming more and more worrying, we can find a surprisingly current parallel in the themes painted by Chico. A warning cry, coming from these beings, that we need to know how to live with nature. Beings are being extinguished by the felling of the forest, itself much more deadly than the death poetically represented in the food chains painted in his works. In the artist's work, colors play a magical role and the fauna comes to life in our consciousness.

博尼·拉米雷斯 Bony Ramirez

终于自由了? Finally Free？

水彩丙烯，彩色铅笔，软油彩，墙纸，金属链，金属挂锁，木板面布里斯托尔纸 

Acrylic, color pencil, soft oil pastel, Wallpaper, metal chain, metal padlocks, Bristol paper on Wood panel

50.8 x 50.8 cm

2022

博尼·拉米雷斯1996年出生在多米尼加共和国萨尔塞多的特纳雷斯。他目前在新泽西的泽西市生活和工作。他在多米尼加共和国的乡村长大，第一次接触到天主教的图像，他对意大利风格、文艺复兴时期的肖像画和儿童插图等不同的深厚兴趣。 

在他创造的虚构人物都与其周遭社会环境息息相关，艺术家的娴熟技法使得他画中的每个人物似乎都被移置到一个不断变化的象征性环境和背景的戏剧中。拉米雷斯在纸上创造了他的个人风格化、比例扭曲的人物，并将他们置于具有田园风光、加勒比图像的彩色背景的木板上。拉米雷斯的人物，分别和同时用油画棒、油漆和彩色铅笔呈现。在他的作品中出现，其他各种象征性的附属物也是如此。拉米雷斯在作品中使用了各种物件更进一步强化了他作品的俏皮和田园风格，如五彩缤纷的珠子，要么以暴力的方式穿透它，如刺入画布的真正的刀子。 

博尼·拉米雷斯曾在 Bradley Ertaskiran（蒙特利尔）、Franqois Ghebaly（洛杉矶） 、BANK画廊（上海）、 Jeffrey Deitch（纽约）等画廊及机构展出，并于2023年入选Forbes 30 Under 30 艺术与时尚类榜单，且于2021年入选The Artsy Vanguard 2021。他的作品最近被迈阿密当代艺术学院、波士顿美术博物馆、西雅图弗莱艺术博物馆、迈阿密佩雷斯艺术博物馆以及北京X美术馆永久收藏。

← EN

Bony Ramirez was born in 1996 in Tenares, Salcedo, Dominican Republic. He currently works in Jersey City, New Jersey. His rural upbringing in the Dominican Republic, his first encounters with Catholic imagery, and his deep interest in sources as varied as Italian mannerism, Renaissance portraiture, and children’s illustrations reverberate within and around the fictional characters he creates. 

If each figure appears to be transposed into a changing theatre of symbolic surroundings and backdrops, it is the artist’s technique that renders this possible. Ramirez creates his heavily stylized, proportionally distorted figures on paper, and adheres them onto wood panels featuring idyllic, colourful backdrops of Caribbean imagery. As Ramirez’s characters, developed separately and simultaneously in oil stick, paint, and coloured pencil, make their way onto his works, so too do various other symbolic appendages. 

Bony Ramirez has exhibited at Bradley Ertaskiran (Montreal), François Ghebaly (Los Angeles), Bank/Mabsociety (Shanghai), Jeffrey Deitch (New York), among others, and was recognized in the Forbes 30 Under 30 Arts & Style category in 2023, and The Artsy Vanguard 2021. His work has recently been acquired by the permanent collection of the Institute of Contemporary Art Miami, as well as the Boston Museum of Fine Arts, the Frye Art Museum, the Perez Art Museum Miami, and the X Museum in Beijing.

郑庆和 Ching Ho Cheng

无题(石头系列，绿色) Untitled (Stone Series, Green) 

Gouche on rag paper 棉浆纸面水粉画

36.8 x 41.9 cm

1979

郑庆和（1946-1989），是一位华裔的美国艺术家，出生在古巴哈瓦那，他的父亲在1940年代在那里担任外交职务。1980年埃弗森艺术博物馆馆长 Ronald Kuchta 说：“郑庆和是第一个在这个国家得到认可的美国华人画家。” 

郑庆和1968年毕业于库珀联盟艺术学院。那一代人倡导和平与和谐、公共生活、艺术和实验性，以及使用精神元素，他早期的迷幻作品就是来源于此。在生命的后期，郑庆和迷上了道教和形而上学，并将其融入自己的生活。他的作品被分为四个时期，反映了他在个人和艺术上成熟的哲学。一个不变的因素是贯穿郑庆和的所有画作的红线，连接着他普遍的艺术理念。 

郑庆和是波拉克·克拉斯纳奖的获得者。著名的艺术史学家 Gert Schiff 和大都会艺术博物馆的馆长 Henry Geldzahler 都写过关于他的文章。他在国内和国际上都举办过展览，作品被多家企业收藏，并被惠特尼艺术博物馆、史密森尼美国艺术博物馆、克利夫兰艺术博物馆、布鲁克林艺术博物馆等博物馆收藏。

← EN

Ching Ho Cheng (1946-1989) was an American artist of Chinese ancestry, born in Havana, Cuba where his father held a diplomatic post in the 1940s. In 1980, Ronald Kuchta, Director of the Everson Museum of Art where Cheng had his first solo museum exhibition, stated “Ching Ho Cheng was the first known Chinese American painter to receive recognition in this country.” 

Cheng graduated in 1968 from the Cooper Union School of Art. Cheng’s generation were advocates of peace and harmony, communal living, artistic and sexual experimentation, and the use of recreational drugs and his early psychedelic works celebrate this. Later in life, Cheng became fascinated with Taoism and the metaphysical, incorporating it into his life. 

Cheng is the recipient of the Pollack-Krasner Award. Renowned art historian Gert Schiff and Curator Henry Geldzahler of the Metropolitan Museum of Art have written about him. Cheng has exhibited both nationally and internationally. His work is in several corporate collections and collected by museums such as Whitney Museum of Art, Smithsonian American Art Museum, Cleveland Museum of Art, Brooklyn Museum of Art and others.

 - 即将展出 Upcoming -