夏季群展
SUMMER GROUP SHOW
开幕时间：七月二十三日 週三晚间六时至八时
OPENGING: Wednesday, 23 July, 2014, 6 – 8pm
展览日期：2014.07.24 – 09.04
July 24 – September 04, 2014
展览地点：香港皇后大道中30号娱乐行15楼C
15C Entertainment Building, 30 Queens Road Central, Hong Kong.
联系方式：info@pacehongkong.com, +852 2608 5065
For more work and gallery information, please contact info@pacehongkong.com, +852 2608 5065please contact info@pacehongkong.com, +852 2608 5065
佩斯香港荣幸地宣佈将于7月24日推出夏季群展，此展览将包含艾格尼丝·马丁，阿尔弗雷德·延森，杉本博司，洪浩，李松松，刘建华，罗伯特·欧文，尹秀珍与张洹，并将持续到9月4日结束。
以其抽象作品而饱受好评的阿尔弗雷德·延森(Alfred Jensen)将在本展带来一件融合了西方与东方智慧的独特作品，一件创作于七零年代的仿河图洛书。河图洛书本是源自中国河洛文化时期流传下来的古老的汉族数学系统，艺术家借鉴了其形式智慧，通过对数字和对称性的强调打造出一种介于抽象与波普艺术之间的独特风格。同延森严谨的抽象理性形式不同，张洹则是以其独特的、集结了强烈视觉衝突的艺术语言，来诠释已成为艺术家标志的以香灰为媒介的历史题材绘画, 更引人注目的艺术家的油画新作中，来自西藏宗教和文化的灵感为画面带来了表现力超凡的幻象与狂乱之景。
与之形成对照的，是九零年代的抽象表现主义大师艾格尼丝·马丁(Agnes Martin)的作品，她的风格简单纯粹，受到中国道教与东方哲学影响。其作品裡常见的“网格”代表道教的静心思考。她认为这些作品所关注的人类内心的感情世界，表现一种虽然具备完美表像，但却无法真正得到平静与满足的心理状态。而杉本博司(Hiroshi Sugimoto)此次展出的闪电与海景作品中，则包含东方文化的禅意，在看似永恒静止的画面背后，是一种平静却饱含力量，指向寂灭与永恒的时间长度。
李松松则是透过解构后再次重建原先带有政治、时事、历史色彩的公共图像，来追寻一种新的社会文化诠释，将图像的现实内涵与抽象语言进行互为表裡的转换和重置。而罗伯特·欧文(Robert Irwin)在他的装置艺术中充分发挥了灯光与抽象形式的美学，这位长期致力于探索感知和体验主题的艺术家，通过质疑现实和幻觉的界限，来改变观众对于方向的先见，模糊了错觉与现实之间的分界。与欧文的“简”相对的，艺术家洪浩则透过将物件扫描并进行平面转化和提炼的过程，颠覆物质本身所被赋予的社会价值，为日常物赋予美学的转化。
专注于陶瓷媒介的艺术家刘建华则是发挥了瓷器所蕴含的抽象和纯粹的潜质，著手进行一种东方“极简”美学的尝试，通过颠覆传统的“器”的概念，将物品的文化意涵与现实功能性进行充满智慧的倒转。女性艺术家尹秀珍则通过亲自收集的二手衣物来表现一种具体的人类身体、温度乃至经验的存在，通过脆弱温暖的织物拼出一个时代和社会的变迁，以及人们的切肤体验。
Pace Hong Kong is pleased to announce the opening of summer group show at Entertainment building on Queens Road Central, Hong Kong, from 24 July through 04 September 2014. The show will comprise the works of Agnes Martin, Alfred Jensen, Hiroshi Sugimoto, Hong Hao, Li Songsong, Liu Jianhua, Robert Irwin, Yin Xiuzhen, and Zhang Huan. Opening Reception will be held at gallery on Wednesday, 23 July from 6 to 8 PM.
The exhibition will showcase a painting by Alfred Jensen from the 1970s depicting Lo Shu Square, a traditional Chinese numerical system passed down from Lo Shu Era in China. As Jensen juxtaposes numbers with graphs, an exquisite symmetry is formed. The clash of conceptual and visual depth reveals Jensen’s distinctive style, wavering between abstract and pop art. By overlapping Eastern and Western wisdom, a new perspective is introduced in Jensen’s painting; his paintings are sublime in conception, colour and extreme complexity. In dialogue with Jensen’s painting, Zhang Huan’s painting stands out with an extraordinary, bold visual language. Inspired by Tibetan religion and culture, Zhang renders his emotions into hysterical, whimsical landscapes on canvas. Not only does Zhang work with oil paint, he also incorporates the sacred medium of incents into his historical drawings, attaining a high level of spirituality.
Conversely, Agnes Martin speaks with her minimalistic style; influenced by Daoism and Chinese philosophy. The legendary abstract painter blends in ‘nets’ into her paintings; a symbol of quiet thoughts in Daoism. Martin’s work revolves around the idea of inner emotions, displaying a state of emotional perfection yet unable to achieve wholeness in tranquility and satisfaction. Hiroshi Sugimoto also utilizes Eastern values in his photographs. A lightning bolt and sea horizon photograph will be exhibited in this show, both signifying Zen. The stillness of the image conveys the power of calmness and explores the eternality of time.
Li Songong deconstructs China’s political and historical landscapes, in search for a new cultural social identity. Li translates factual reality in the image into an abstract language on the canvas, revealing a new perspective on the story. Simultaneously, Robert Irwin narrates the aesthetics of light and philosophy through his installation. Irwin explores the notion of senses and experience in virtue of blurring the boundaries between reality and imagination. Irwin and Hong Hao place in dialogue two and three-dimensional objects. Through the act of scanning, Hong transforms three-dimensional objects into two-dimensional objects, challenging the social values bestowed upon them and modifying aesthetics of the mundane.
Liu Jianhua will display a series of ceramics, exerting the potential of complexity and purity in the medium. Liu challenges conventional ideas on tools, he emphasizes on their cultural significance instead of its functions. While Yin Xiuzhen works with clothes collected from people, as she sees them as a ‘second skin’ of each person. The amalgamation of fabrics stitched together discloses memories and affections carried on them.
