Art Basel Hong Kong

Over the past decade, Math Bass has developed a lexicon of symbols—letters, bodily forms, architectural fragments, animals, bones—arranged in a variety of scores, each symbol an empty space of meaning, filled in by the context in which it finds itself. Repetition of these symbols, rather than codifying them into one solid signification, exposes the difference at the heart of each iteration; there is always a gap in meaning, something unnamable left out of and left over in the viewer’s reading—a jouissance. That these symbols are familiar only heightens our unsettling; the negative space of these compositions, a major player in Bass’s practice, adds further to the gap.

在过去的十年中，巴斯开发了一套符号词典：字母、身体形态、建筑碎片、动物、骨骼、花朵以各种图像排列，每个符号都是一个留白的意义空间，仅由其所处的环境提供信息。艺术家对这些符号进行克隆和处理，激活了身份和解释的议题：重复使用的符号是否相同？比例、重复和语境的变化会影响其意义吗？我们能真正相信自己的解释吗？这些开放式的问题与艺术家自身的同性和变性身份相关联，马思·巴斯将创作坚持对身份的细微差别采取更加哲学化的态度。

Nathalie Djurberg and Hans Berg’s series of sculptural flowers offer a fragile beauty and an untamable, organic logic of their own. Constructed from mixed media – employing modeling clay, paint, fabric and resin – the sculptures recall real species of lilies or orchids as well as fantastical floral arrangements in other-worldly colors and forms. Flowers recur in Djurberg & Berg’s practice due to their abiding interest in the fleeting nature of human emotions and the shared symbolism for human themes of love, joy, desire, sadness and vulnerability. Representing the circle of life, from a shy bud to a beautiful blossom to a withering plant, the flower form has been a constant interest in Djurberg & Berg’s practice.

In 2009, the artists created their first major work inspired by flora and fauna, a subversively surreal and immersive Garden of Eden, entitled The Experiment, for the 53rd Venice Biennial, for which they were awarded the Silver Lion for best emerging artists.

艺术家组合纳塔莉·杜尔伯格和汉斯·博格的花卉雕塑系列具有脆弱的美感和难以驾驭的有机逻辑。这些雕塑采用混合媒介：模型粘土、颜料、织物和树脂制作而成，让人联想到真实的百合花或兰花，以及异世界色彩和形态的奇幻花束。艺术家作品中经常出现花卉造型，这是因为他们始终关注人类情感的短暂本质，以及爱、喜悦、欲望、悲伤和脆弱等人类主题的共同象征意义。花朵代表着生命的轮回，从羞涩的花蕾到绽放的花朵，再到枯萎的植物，花朵的形态一直是杜尔伯格和博格的创作兴趣所在。

在2009年，这对艺术家于第53届威尼斯双年展中创作并展出了首件重要作品 “实验”。以动植物为灵感，“实验”呈现出颠覆性 超现实、又犹如身临其境的伊甸园。此作品让他们在该节获得 银狮奖-最佳新锐艺术家的殊荣。

For the last decade, Olafur Eliasson has created glass works and watercolors inspired by the themes of color, transparency, and layering. He has long been fascinated by the visual ambiguity created by the ellipse, a shape that can appear either two-dimensional or as a circle viewed in perspective, depending on its context. 

For this work, colorful panes of silvered, hand-blown glass are arranged to suggest transparent, overlapping circles and ellipses. To him these are the simplest means for achieving a non-representational illusion of depth and movement in two dimensions, an alternative to the orthogonal conventions of Western perspective.

在过去的十年中，奥拉维尔·埃利亚松以色彩、透明度和层次感为主题，创作了玻璃为材质的系列作品和水彩画。长期以来，他一直对椭圆形状所产生的视觉模糊性所着迷。椭圆的形状可以是二维的，亦可以看作是透视的圆形，这取决于它的背景。

在这件作品中，色彩斑澜的银制手工吹制玻璃板排列成通透、重叠的圆形和椭圆形。对艺术家来说，他们都是在二维空间中实现深度和运动的非再现性幻觉的最简单方法，也是西方透视学正交惯例的替代方案。

Sphere for more corners of the world is from series of suspended geometric lamps that draw inspiration from different types of ancient polyhedrons known to be the only geometrical forms that can be produced using identical, regular polygons for faces. The forms – tetrahedron, octahedron, icosahedron, dodecahedron, and cube – have been accorded special significance in philosophy, religion, science, and alchemy over the millennia. The seventeenth-century astronomer Johannes Kepler, for example, proposed a model of the solar system, which he termed the harmony of the spheres, based on the five forms embedded concentrically around the sun.

The faces are made from a selection of colored glass and dichroic, color-effect-filter glass, a material that reflects certain wavelengths of light while allowing others to pass through it. As a result, the glass appears to be a different color depending on the angle at which the single interior light hits the glass and the position from which it is seen while casting light and shadow through the gaps of the frames.

“世界上更多角落的球体”是一系列悬挂式几何灯光装置作品中的一件，其灵感来自不同类型的古典多面体，众所周知，只有使用相同的规则多边形面才能制作出这些几何形状。千百年来，四面体、八面体、二十面体、十二面体和立方体在哲学、宗教、科学和炼金术中被赋予了特殊的意义。例如，十七世纪的天文学家约翰内斯-开普勒（Johannes Kepler）提出了一个太阳系模型，他称之为 "和谐球体"，其基础是围绕太阳同心嵌入的五种形式。

作品表面由精致的彩色玻璃和双色性效果过滤玻璃制成，这种材料可以反射特定波长的光线，同时允许其他波长的光线穿过。因此，根据室内光线照射到玻璃的角度，以及透过镜框缝隙投射光影时所处的位置，作品会呈现出灵动的光影变幻 

Over the last two and a half decades, Shilpa Gupta has developed a powerful interdisciplinary approach to challenging prevailing notions of individual and collective cultural identity. Through sculpture, installation, sound and drawing, she explores the potential of language - particularly as it has endured through generations - while also challenging the hegemony of language wielded by those in authority, ultimately returning it to the individual. Gupta’s Nothing Will Go On Record series speaks to marginalized, restricted voices by those in positions of power. By removing the outline of the figures, Gupta represents their censored voices and missing bodies.

过去的二十五年里，希尔帕·古普塔开发出一种强大的跨学科研究方法，挑战个人和集体文化身份的普遍观念。通过雕塑、装置、声音和绘画，她探索了语言的潜力，尤其是语言历经几代人的传承，同时也挑战了权威人士的语言霸权，最终将语言归还于个人。古普塔的 “没有什么会被记录在”（Nothing Will Go On Record）系列作品关注的是被边缘化、被权力者限制制裁的声音。通过去除人物的轮廓，艺术家表现了他们被审查的声音和被迫失踪的身体。

Liu Shiyuan’s gridded drawing series Cross Away follows a meticulous structure meant to embody an assembly-line work method as well as an investigation into color theory. Giving equal weight to each color, the series blends from one hue to the next. As individual works, they each represent one part of the larger whole, similar to an individual’s role in their community or culture. Together, these drawings create a sequence of color transition, bringing the micro and macro perspectives into kaleidoscopic focus. For Liu, the scale of the drawings are a reference to the scale of life - for being infinitely big, we must remember to scale down.

刘诗园的网格素描系列作品“穿越”采用一丝不苟的结构，既体现了流水线作业的工作方法，更是对色彩理论的研究。该系列中每种颜色的比重相同，从一种色调到另一种色调相互融合。作为单独的作品，它们各自代表了更大整体的一部分，类似于个人在其社区或文化中的角色。这些图画组合在一起，创造出一连串的色彩过渡，使微观和宏观视角成为万花筒般的焦点。对于艺术家来说，绘画的比例参照了人生的比例：因为世界无限大，我们必须记得按比例"缩小"——以成为整体的一部分。

Remarkable in execution and detail, Nightfall Scene was created within an intimate logic that has now become signature to Mark Manders' practice. The work appears to be made of fragmented canvas, but in actuality the sculpted face is made of bronze. The artist freezes a very specific moment in time, highlighting the fragility of every moment that passes, as well as questioning traditional methods of painting and sculpture. The manipulation of material generates a sense of puzzlement and awe, masterfully creating a sense of timelessness.

“夜幕降临”在构思执行和细节完成上都极为精湛，它是在一种亲密的逻辑中创作出来的，这种逻辑现已成为曼德斯作品的标志。作品看似由支离破碎的帆布制成，但实际上雕塑的脸部是由青铜制成的。艺术家将时间定格在一个非常特殊的时刻，突出了每一个瞬间的脆弱，同时也是对传统绘画和雕塑方法的质疑。对材料的处理产生一种困顿和敬畏感，又巧妙地营造出永恒感。

Early in his practice, Manders created his Notional Newspapers. He has recently completed his project to include every word in the English language—used only once and placed in random order. Rather than using real newspapers in his work, these non-sensical fragments have no connection to a specific place or time. Further, the newspapers' traditional purpose as a carrier of language and meaning is undermined and the material is repeatedly transformed. 

曼德斯在创作初期创作了他的 "名义报纸"（Notional Newspapers）作品。最近，他完成了这个项目，将英语中的每一个单词都收录其中并只使用一次，并以随机顺序排列。在他的作品中，这些无意义的片段与特定的地点或时间没有任何联系，既不是使用真实的报纸。另外，报纸作为语言和意义载体的传统目的被破坏，材料也被反复转换。

This recent work demonstrates Neto's use of crochet as a formal and symbolic element, transforming a small-scale artisanal craft into a large-scale sculptural action. The slow, collective activity is precisely planned yet organic, verging on ritualistic, as yet another powerful expression of Neto's enduring artistic inquiry. Here, a dynamic pattern emerges from an intricately crocheted web, traversing both two and three dimensional planes through the use of bamboo trusses. 

这件最新作品展示了埃内斯托·内托将钩针编织作为一种形式和象征元素，将一种小规模的手工艺转变为一种大规模的雕塑行为。这项慢速的集体活动计划严谨而又有机，近乎仪式感，是内托持久艺术探索的又一有力体现。在这里，一个动态图案从一个复杂的钩针网中浮现出来，通过使用竹桁架穿越二维和三维平面。

Analia Saban dissects and reconfigures traditional notions of painting, often using the medium of paint as the subject itself. Blurring the lines between painting and sculpture, imagery and objecthood, her work frequently includes plays on art historical references and traditions. Paintings expand to sculptural forms and sculptures are presented in two dimensions, using the process of trial and error with new techniques and technology. Her unconventional methods such as unweaving paintings, laser-burning wood and canvas and molding forms in acrylic paint remain central to her practice as she continues to explore art-making processes and materials in relation to her daily experience. Dealing with issues of fragility, balance, technique and experimentation, Saban's connection with everyday objects is at the forefront of her investigation of tangible materials and the metaphysical properties of artworks.

阿娜利亚·萨班剖析并重构了传统的绘画概念，经常将颜料媒介本身作为主题。她的作品模糊了绘画与雕塑、意象与对象之间的界限，经常借鉴艺术史和艺术创作传统。她将绘画作品扩展为雕塑形式，而将雕塑作品以二维的形式呈现，使用格新技术和工艺进行试验和试错。她不断探索艺术创作过程和材料与日常经验的关系，她的非传统方法，如编织绘画、激光灼烧木材和帆布以及用丙烯颜料塑形等，皆是她创作的核心。萨班通过创作处理易碎性、平衡、科技和实验等问题，她与日常物品的联系是她研究有形材料和艺术品的形而上属性的最前沿部分。

Informed by the worlds of art, architecture, natural sciences, and engineering, Saraceno's work invites viewers to consider geometries and phenomena of the natural world as adaptable models for the ways we live and interact. The piece is comprised of a complex geometric structure of translucent iridescent plexiglas that suggests the cell-like membranes of bubbles that emerge when oil is shaken with water. As in an organic system, this work is composed of many parts all similar but all different from one another, whose interconnected elements capture the iconic and intricate complexity of Saraceno's oeuvre.

Tomás Saraceno’s exhibition opens at the Red Brick Museum, Beijing on the 21st of March and will be on view until the 18th of August 2024. 

His exhibition, Live(s) on Air, is currently on view at our Los Angeles gallery until the 10th of May, 2024.

萨拉切诺的作品受到艺术、建筑、自然科学和工程领域的启发，邀请观者将自然界的几何图形和现象视为我们生活和互动方式的适应性模型。这件作品由半透明的炫光色有机玻璃组成，其复杂的几何结构让人联想到油与水摇动时产生的气泡细胞膜。如同一个有机系统，它由许多相似但又彼此不同的部分组成，其相互关联的元素捕捉到了萨拉切诺作品中标志性的错综复杂。

托马斯·萨拉切诺的大型机构展览于 3 月 21 日在北京红砖美术馆开幕，将持续至 2024 年 8 月 18 日。

他的最新展览 "Live(s) on Air "目前正在画廊洛杉矶空间展出，将持续到 2024 年 5 月 10 日。

Among the leading German artists of his generation, Thomas Scheibitz has developed his own conceptual language that bridges the realms of figuration and abstraction, at times dissolving them entirely. Drawing from classical painting and architecture, the contemporary urban landscape, and popular culture, Scheibitz deconstructs and recombines signs, images, shapes, and architectural fragments in ways that challenge traditional contexts and interpretations. While centrally concerned with principles of classification and systems of order, the artist’s paintings, sculptures and works on paper resist traditional categorization.

托马斯·舍比茨作为当代德国艺术家中的绘画大师，他发展形成自己的概念语言，在具象和抽象之间架起了桥梁，有时甚至将两者完全融为一体。舍比茨从古典绘画和建筑、当代城市景观和流行文化中汲取灵感，以挑战传统语境和解释的方式解构和重组符号、图像、形状和建筑碎片。在关注分类原则和秩序系统的同时，艺术家的绘画、雕塑和纸上作品也抵制传统的分类方法。