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\nSpecialist, Head of Evening Sale
\n+852 2318 2027
\ndanielleso@phillips.com
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Making her first major auction debut, the Russian, New York-based artist, Ebecho Muslimova achieved recent acclaim after her solo exhibition with David Zwirner in London and her first institutional show at The Drawing Center in New York in 2021. Born in Dagestan, Russia, Muslimova received her BFA at Cooper Union in 2010.

\n\n

During her time as an undergraduate, the artist created Fatebe (Fat + Ebe [her nickname])—initially conceived as a caricature of herself to reflect the artist’s state of mind and the world around her. In her current practice, Fatebe has matured beyond a simple self-portrait. The artist explains: ‘She began as a carnivalesque caricature of myself at a moment in my life. The tension at the time inspired a spill-over into this larger-than life character. She is of me, but her essence is an amplified version of my own character and personality. At times she is both an aspiration and a fear—like I am equally wishing to be able to confront life like her, and simultaneously horrified at this urge and possibility. She is a type of self-portrait, just not of me.’ ⁱ

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Placed in absurd, and at times, abject situations and environments, Fatebe is the artist’s sexually and bodily liberated alter-ego, touching upon anxieties, sexuality, femininity and vulnerability. The present work was first exhibited in May 2020 for her solo exhibition with Galerie Maria Bernheim: FATEBE: EBECHO MUSLIMOVA. The show was centered around the idea of the danse macabre: ‘FATEBE interacts with skeletons and churches, stripping and playing in compositions that continue to defy received societal ideas of taste and decorum.’ ⁱ

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Painted in 2020, FATEBE SINKHOLE, is a sardonic display of the female nude. Contorting forms and figure, Mulimova's treatment of her character is nothing short of generous: the figure’s legs stretch around the table—seemingly both pulling it apart and holding it together—while she hides the rest of herself beneath it. She clasps her hands around her mouth, looking directly up at the viewer, in horror, in secrecy, in fear—as if we’ve witnessed a moment, straddled between being caught and hidden. The scene is further distorted with a pattern of vertical stripes over the image, acting as a veil or curtain between the subject and viewer.

\n\n

“Throughout the history of figuration the veiled female subject has signified … the impression of something behind the veil—that there is a secret pleasure hidden, a forbidden truth.… In contrast, Fatebe occupies an overabundant, visible, spectacular, and maximal body. In ‘lifting’ this veil, she embodies a pure plentitude of unbridled presence.”
\n— Marie Heilich, Unrealism: New Figurative Painting

\n\n

A Nod to Op Art

\n\n

The rise of the Op art movement in the 1960’s was championed by artists like Bridget Riley, Victor Vasarely, and Josef Albers. Its beginnings can be traced back to the Renaissance, when artists were experimenting with perspective and thus gave birth to the use of trompe l’oeil within art. Much like trompe l’oeil paintings, the Op art movement was driven by investigating various perceptual effects and optical illusions using light, color, and form.

\n\n

\"\" — Bridget Riley, *Achaian*, 1981
\nCollection of the Tate, London
\nArtwork: © Bridget Riley

\n\n

Both Op art and trompe l’oeil paintings were concerned with manipulation of sight—also much like Muslimova’s use of these technical and formal devices to emphasize a latent psychological illusion at play. The illusion within FATEBE SINKHOLE are twofold: to conceal and to reveal. The vertical stripes along the work function as screen-like veils that simultaneously distort and emphasize—have the blinds been drawn on us or have we drawn the blinds on the scene presented?

\n\n

“What is seen of the screen is so manifestly shown...the extreme contrast between the darkness in the auditorium (which also isolates the spectators from one another) and the brilliance of the shifting patterns of light and shade on the screen helps to promote the illusion of voyeuristic separation. Although the film is really being shown, is there to be seen, conditions of screening and narrative conventions give the spectator an illusion of looking in on a private world.”
\n— Laura Mulvey, ‘Visual Pleasure and Narrative Cinema'

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The Naked and the Nude

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While exploring themes of sexuality and gender through her practice—for Muslimova, Fatebe’s brazen display of the body seems to be the most modest aspect of the work. In this case, it is not Fatebe’s nudity that delivers a sense of humor or discomfort, but it is rather in the act of being caught within the figure’s nakedness, in which viewer’s gaze is held. In ‘Ways of Seeing’, John Berger makes a distinction between nakedness and nudity: ‘A naked body has to be seen as an object in order to become a nude. (The sight of it as an object stimulates the use of it as an object.) Nakedness reveals itself. Nudity is placed on display...To be on display is to have the surface of one’s own skin, the hairs of one’s own body, turned into a disguise which, in that situation, can never be discarded. The nude is condemned to never being naked. Nudity is a form of dress.’ ⁱⁱⁱ

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\"\" — Titian, *Venus of Urbino*, 1534
\nCollection of the Uffizi Gallery, Florence

\n\n

\n",{"_518":75,"_528":541,"_530":542},19445,"

\"\" — Édouard Manet, *Olympia*, 1863-65
\nCollection of the Musée d'Orsay, Paris

\n\n

\n",{"_518":75,"_528":544,"_530":545},19444,"

\"\" — Jean Auguste Dominique Ingres, *Grande Odalisque*, 1814
\nCollection of the Louvre Museum, Paris

\n\n

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In the slightest of moments, Muslimova has so wonderfully captured the tension, the vulnerability, the fear, the horror, the humor, the joy, and the fantasies of being a woman on display. And whilst we decode the scene before us, Muslimova furtively presents a far more complex reversal of roles—a subversion of Berger’s nude.

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“hus the woman as icon, displayed for the gaze and enjoyment of men, the active controllers of the look, always threatens to evoke the anxiety it originally signified...”
\n— Laura Mulvey, ‘Visual Pleasure and Narrative Cinema’

\n\n

ⁱ Ebecho Muslimova, quoted in Sam Gaskin, ‘Ebecho Muslimova, Outré Artist Backed by Zwirner, Wins Borlem Prize’Ocula Magazine, 13 September 2022, online

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YOSHITOMO NARA No Means No, 2006

\n","version","1692626017",{"_598":1238,"_523":1239,"_1235":1240},"https://assets.phillips.com/auctions/HK010523/2_hi.jpg","

NICOLAS PARTY Still Life with an Olive, 2012-2013

\n","1692626030",{"_598":1242,"_523":1243,"_1235":1244},"https://assets.phillips.com/auctions/HK010523/3_hi.jpg","

LIU YE The End of Baroque, 1998

\n","1694591382",{"_598":1246,"_523":1247,"_1235":1248},"https://assets.phillips.com/auctions/HK010523/4_hi.jpg","

GERHARD RICHTER Abstraktes Bild (456-2), 1980

\n","1694999947",{"_598":1250,"_523":1251,"_1235":1252},"https://assets.phillips.com/auctions/HK010523/5a_hi.jpg","

LOIE HOLLOWELL Clouds, Cactus and Sun, 2016

\n","1697187070",{"_598":1254,"_523":1255,"_1235":1256},"https://assets.phillips.com/auctions/HK010523/6a_hi.jpg","

ZENG FANZHI Untitled 07-3, 2007

\n","1695369993",{"_81":1258,"_83":1259,"_85":1260,"_98":1261},"2023-09-27T16:00:00.000000Z","2023-10-05T16:00:00.000000Z",{"_87":306,"_89":318,"_91":319,"_178":320,"_321":322,"_93":323},[1262],{"_101":110,"_103":104,"_105":106,"_107":185},"articles",[1265,1289,1300,1310,1320,1330],{"_1266":1267,"_1268":255,"_1269":1270,"_523":1271,"_1272":1273,"_1274":1275,"_1276":1277,"_1278":1279,"_1280":481,"_1281":1282,"_472":481,"_1283":1284,"_1285":1286,"_1287":1288},"coverUrl","https://flockler.com/thumbs/sites/889/nara-article-lead-e7ddf429-e718-4760-be8e-e0a1e8463e2f_s600x0.jpg","section","summary","Discover the enticing layers and monumental scale of the esteemed Japanese artist’s work.","WATCH | Yoshitomo Nara: 'No Means No'","body","

Yoshitomo Nara, No Means No, 2006. 20th Century and Contemporary Art Evening Sale Hong Kong.

\n\n

Yoshitomo Nara’s seminal No Means No leads Phillips’ Hong Kong Evening Sale of 20th Century & Contemporary Art on 6 October.

\n\n

The 2006 work brilliantly displays Nara’s hallmark technique of partially obscuring gentle pastel strokes with a translucent film of frosted white. It features an iconic Nara girl staring ahead with massive eyes that twinkle like galaxies. In this context, the title carries anti-war undertones as is characteristic of the pacifist artist. Measuring 162.5 x 130.8cm, the large scale of No Means No distinguishes the piece from the majority of Nara’s work to come to auction.

\n\n

No Means No — A Timeline

\n\n

2003: Yoshitomo Nara and the design collective graf begin their collaboration.

\n\n

2006: Yoshitomo Nara paints No Means No, depicting an iconic Nara girl staring ahead with massive eyes that are executed with beautiful layers of floating iridescent colors.

\n\n

2007: No Means No is presented in Berlin at Yoshitomo Nara + graf: Berlin Baracke, hosted by Galerie Zink.

\n\n

2008: No Means No is shown at the BALTIC Centre for Contemporary Art which marked the first show at a major public gallery in the United Kingdon for Nara + graf.

\n\n

2023: No Means No to be offered for the first time at auction at Phillips Hong Kong.

\n\n

Discover More >

\n\n

\n","publishDate","2023-09-13T19:50:53.000000Z","authorCredit","Jesse Limbacher","coverPosX",50,"coverPosY","articleUrl","https://www.phillips.com/article/131246462/yoshitomo-nara-no-means-no","auctionEditorialID",1916,"editorialID",4320,"flocklerID",131246462,{"_1266":1290,"_1268":255,"_1269":1291,"_523":1292,"_1272":1293,"_1274":1294,"_1276":1295,"_1278":1279,"_1280":481,"_1281":1296,"_472":253,"_1283":1297,"_1285":1298,"_1287":1299},"https://flockler.com/thumbs/sites/889/nara-article-lead-e7ddf429-e718-4760-be8e-e0a1e8463e2f-9a88b19c-75d7-4ee8-bc64-c19eb105d483_s600x0.jpg","日本藝術家奈良美智受到萬人景仰，富藝斯誠邀閣下一同探索尺寸龐大兼具迷人層次的大師之作。","觀賞視頻 | 奈良美智《不就是不》","

奈良美智2006年作品《不就是不》。二十世紀及當代藝術晚間香港拍賣。

\n\n

本季富藝斯香港二十世紀及當代藝術晚間拍賣由奈良美智開創性傑作《不就是不》領銜，將於10月6日舉鎚。

\n\n

這件2006年作品採用藝術家標誌性的漸層畫法：細看為珍珠白的背景之中，隱藏著層層疊加的豐富筆觸構成的柔和粉彩。畫中的奈良女孩凝視前方，眼睛似有銀河繁星，點點閃爍。在此語境下，作品標題帶有反戰色彩，也是這位和平主義藝術家的特色之一。《不就是不》規模宏大，尺寸為162.5 x 130.8公分，與其他同類型拍賣作品無可比擬。

\n\n

《不就是不》時序

\n\n

2003年：奈良美智與日本設計團體graf首次合作

\n\n

2006年：奈良美智完成《不就是不》，畫中描繪標誌性大眼睛奈良女孩凝視前方，以多層美麗虹彩浮現

\n\n

2007年：《不就是不》亮相於2007年德國畫廊Galerie Zink在柏林舉辦的《奈良美智 + graf：柏林巴拉克》展覽

\n\n

2008年：《不就是不》亮相於2008年波羅的海當代藝術中心，而這也是奈良與graf的首個英國主要公共藝術機構展覽

\n\n

2023年：《不就是不》首度現身拍賣市場，將於富藝斯香港舉鎚

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詳情 >

\n","2023-09-25T03:42:30.000000Z","Veronica Chow","https://www.phillips.com/article/131983897/yoshitomo-nara-no-means-no-cn",1920,4331,131983897,{"_1266":1301,"_1268":255,"_1269":1302,"_523":1303,"_1272":1304,"_1274":1305,"_1276":1277,"_1278":1279,"_1280":481,"_1281":1306,"_472":392,"_1283":1307,"_1285":1308,"_1287":1309},"https://flockler.com/thumbs/sites/889/cai-editorial-lead-167cf3eb-7b88-4a3f-864e-b027201509df_s600x0.jpg","The Artistry of Cai Guo-Qiang's Gunpowder in 'Ye Gong Hao Long' ('Mr. Ye Who Loves Dragons').","Cai Guo-Qiang: Explosive Alchemy","

Cai Guo-Qiang, Ye Gong Hao Long (Mr. Ye Who Loves Dragons), 2003.
\nEstimate HK$9,000,000 – 14,000,000
\n20th Century & Contemporary Art Evening Sale, Hong Kong.

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In the hallowed halls of artistic mastery, where imagination and innovation intertwine, few genres garner as much intrigue and captivation as Contemporary Art. At Phillips’ 20th Century & Contemporary Evening Sale, Cai Guo-Qiang’s Ye Gong Hao Long emerges as a paragon of explosive creativity and transcendent storytelling.

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Cai Guo-Qiang’s latest exhibit in Tokyo, Ramble in the Cosmos: From Primeval Fireball Onward, serves as a subtle yet profound testament to his ongoing journey through the dual realms of creation and destruction, using the unpredictable nature of gunpowder. This exhibit is a mere chapter in Cai’s illustrious narrative, following acclaimed exhibitions such as Odyssey and Homecoming at The Palace Museum in Beijing (2020–2021), The Transient Landscape at the National Gallery of Victoria (2019), and Gunpowder Art at the Ashmolean Museum at the University of Oxford (2019–2020).

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In every venue and context, a harmonious thread intertwines through his artworks: the elemental use of gunpowder. Cai finds gunpowder to be a tangible embodiment of Daoism, a poignant symbol of the cosmic forces that emerge from the intricate dance of opposing elements. Within this masterful work of art, the viewer is thrust into the mesmerising confluence of order and chaos, substance and flame, as the disintegration of gunpowder gives rise to exquisite forms. What emerges is a delicate balance, a sublime interplay between control and uncertainty, as the ethereal scorch marks gently embrace the more concentrated trails, akin to iron filings drawn inexorably toward a magnetic pole. In unison, they evoke an unparalleled and resonant aura, inviting us to marvel at the profound intricacies of this artistic revelation.

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Cai Guo-Qiang, Ye Gong Hao Long (Mr. Ye Who Loves Dragons), 2003.
\nEstimate HK$9,000,000 – 14,000,000
\n20th Century & Contemporary Art Evening Sale, Hong Kong.

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In January 2003, within the expansive Turbine Hall of Tate Modern, artist Cai Guo-Qiang birthed Ye Gong Hao Long by sprinkling gunpowder on xuan paper, depicting a dragon in a dance of creation and destruction. The piece unraveled threads of Eastern mythology and Western perceptions, revealing the intricate interplay of symbolism, myth, and history in Cai’s explosive artistry.

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As incense ignited the gunpowder, a symphony of sound, light, and smoke ensued, leaving behind the captivating image of a mid-air suspended dragon, rendered eternal on a 15-meter-long paper surface. The transient act of burning gunpowder finds permanence on Cai's xuan paper, encapsulating a tangible timestamp of materiality and temporality.

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“The aesthetics of explosions are always somewhat imperfect, which is a relief.”
\n—Cai Guo-Qiang
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Alchemy of Creation and Destruction

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Growing up in Fujian, a province famous for its manufacturing of fireworks, Cai became acquainted with gunpowder from a young age. Immersed in a cultural milieu where fireworks, symbolising celebration and commemoration, marked significant life events, Cai experienced the dichotomous nature of this “Fire Medicine” — both destructive and constructive. His adolescence, shaped by the tumultuous Cultural Revolution, was punctuated by the commonplace sounds of cannon blasts and explosions, further intensifying his connection with this volatile medium.

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A recurring motif in Cai’s oeuvre is the representation of the dragon, an icon that he navigates to both embrace heritage and explore interpretative flexibility. This frequent deployment of dragon imagery is a reflection of his observations on the variances in perception between East and West, particularly as a Chinese artist living in America. While dragons are celebrated as prosperous symbols in East Asia, they are often viewed as ferocious and malevolent through Western lenses.

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Cai Guo-Qiang, Ye Gong Hao Long (Mr. Ye Who Loves Dragons) (detail), 2003.
\nEstimate HK$9,000,000 – 14,000,000
\n20th Century & Contemporary Art Evening Sale, Hong Kong.

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"I am looking for the unchanging through the always changing. The changes in nature are always changing, but the fact of change or evolution never does."
\n—Cai Guo-Qiang
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The title Ye Gong Hao Long refers to an idiom from the Han Dynasty, unveiling the story of Mr. Ye, a proclaimed dragon lover, whose admiration was unmasked as fear when confronted with a real dragon.

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Cai Guo-Qiang, Ye Gong Hao Long (Mr. Ye Who Loves Dragons) (detail), 2003.
\nEstimate HK$9,000,000 – 14,000,000
\n20th Century & Contemporary Art Evening Sale, Hong Kong.

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A Prelude to Spectacular Displays: From Canvas to Grand Pyrotechnics

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Ye Gong Hao Long is one of two “gunpowder drawings” birthed during the Tate event, serving not only as a magnificent exemplar of Cai’s signature technique but also as a precursor to a grand outdoor pyrotechnic display of the same name, executed two days later. Commissioned by the Tate Gallery as part of the Tate & Egg Live program, Cai choreographed a thirty-second-long explosion that danced across the Millennium Bridge over the River Thames, culminating in a dragon-esque trail that embraced the museum façade, wrapping around its tower before dissipating into smoke. This explosive inauguration to 2003, with its captivating anticipation of Chinese New Year, heralded a year of prolific creativity for Cai, featuring two more major gunpowder commissions in New York’s Central Park and the Siwa Art Project in the Sahara Desert.

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Image of Ye Gong Hao Long (Mr Ye Who Loves Dragons): Explosion Project for Tate Modern, London.
\nTate Modern, 29 January 2003
\nArtwork: © Cai Guo-Qiang

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A Legacy of Timeless Artistry

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Cai’s works, a harmonious blend of the transient and the eternal, have been exhibited globally and are part of prestigious collections, including Faurschau Museum, Uffizi Galleries, MoMA, Solomon R. Guggenheim Museum, Pinault Collection, M+ Museum, and Tate Collection.

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Discover More from 20th Century & Contemporary Art >

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\n","2023-09-25T17:51:16.000000Z","https://www.phillips.com/article/132016930/cai-guo-qiang-auction-hong-kong-explosive-alchemy",1925,4333,132016930,{"_1266":1311,"_1268":255,"_1269":1312,"_523":1313,"_1272":1314,"_1274":1315,"_1276":1295,"_1278":1279,"_1280":481,"_1281":1316,"_472":142,"_1283":1317,"_1285":1318,"_1287":1319},"https://flockler.com/thumbs/sites/889/cai-editorial-lead-167cf3eb-7b88-4a3f-cc458975-54c9-4254-94ba-85f5fa65d9a9_s600x0.jpg","在藝術大師的神聖殿堂中，想像力與創新性相互交織，蔡國強是爆炸性創意與超凡敘述的典範。","蔡國強 - 藝術界的火藥煉金術師","

蔡國強《葉公好龍》2003年作
\n估價 9,000,000 – 14,000,000 港元
\n二十世紀及當代晚間拍賣, 香港

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在藝術大師的神聖殿堂中，想像力與創新性相互交織，甚少流派能像當代藝術般誘發好奇心和吸引力。芸芸富藝斯二十世紀及當代晚間拍賣作品之中，蔡國強的《葉公好龍》成為了爆炸性創意與超凡敘述的典範。

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蔡國強一直以火藥的偶然性質，穿越破壞和建設的雙重領域，而東京的最新展覽《宇宙遊——從「原初火球」出發》更是上述探索之旅的印證，既微妙又深刻。這次展覽只是蔡氏輝煌敘事的章節之一，此前還有北京故宮博物院的《遠行與歸來》（2020 - 2021年）、維多利亞國家美術館的《蔡國強：瞬間的山水》（2019年）和牛津大學阿什莫林博物館《蔡國強：火藥藝術》（2019 - 2020年）等備受讚譽的展覽。

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縱使他的藝術作品遍佈不同場地和語境，它們都以同一主題貫穿：基本的火藥應用。蔡國強將這種媒材視為道教的體現，以及宇宙中對立事物相遇所產生的能量。在這件傑作中，觀者被帶入秩序與混亂、固體物質與火焰的迷人融合之中，就像拆解火藥便能創作獨一無二的形態。當中所得的結果是微妙的平衡，在於控制與未知之間；羽毛狀的焦痕集中環繞，產生一種能量共鳴，就像鐵屑靠在磁極周圍。它們一致地共同換出獨特的一圈光環，讓觀者對於這種藝術啟示的奧妙複雜性大為驚嘆。

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蔡國強《葉公好龍》2003年作
\n估價 9,000,000 – 14,000,000 港元
\n二十世紀及當代晚間拍賣, 香港

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2003年1月，在泰特現代美術館渦漩廳裡，蔡國強創作了《葉公好龍》。他將火藥撒在宣紙上，一條飛龍亦在破壞和建設之中誕生。作品既有東方神話和西方觀念的線索，也揭示了蔡氏爆炸性藝術中象徵主義、神話和歷史之間的相互牽引。

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隨著線香將火藥引爆，巨響、光芒、濃煙同時協奏，留下了一條懸在半空中的龍，永久烙印在15米長的紙本之上。

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短暫的火藥燃燒在蔡國強的宣紙上永恒保留，轉化為時間和物質的實體標記。

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「爆炸的美學總是有些不完美，這是種解脫。」— 蔡國強
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破壞和建設的煉金術

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蔡國強在以煙火製造聞名的福建省長大，從小就熟悉火藥。作為中國文化的重要層面，煙火被用來紀念各種重要社交場合。經歷過「文化大革命」，炮聲和爆炸在藝術家青少年時期生活中也屢見不鮮，也讓他經歷了火藥的二元性：破壞和建設，進一步加強蔡國強與這種易揮發媒材的聯繫。

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龍是蔡國強作品中反覆出現的主題，而藝術家以這個標誌來擁抱傳統和探索詮釋的靈活性。作為一位生活在美國的華裔藝術家，頻繁使用龍的主題反映了他對東西方認知差異的觀察。儘管東亞將龍視為繁榮的象徵，但西方觀眾卻認為龍既兇猛又邪惡。

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蔡國強《葉公好龍》2003年作
\n估價 9,000,000 – 14,000,000 港元
\n二十世紀及當代晚間拍賣, 香港

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「我在不斷變化的事物中找尋不變。大自然以變應萬變，但不變的卻是永遠都在變化或進化的事實。」— 蔡國強
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拍品標題《葉公好龍》是漢朝的諺語。葉公聲稱自己喜歡龍，然而當他面對真龍時，卻慌忙逃跑，意指昔日所謂欽慕原為恐懼。

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蔡國強《葉公好龍》2003年作
\n估價 9,000,000 – 14,000,000 港元
\n二十世紀及當代晚間拍賣, 香港

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壯觀表演的序幕：從畫布到大型煙火

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泰特美術館的〈Tate & Egg Live program〉邀請蔡國強創作，他在泰晤士河的千禧橋上表演了一場長達三十秒的爆炸。《葉公好龍》是當日活動期間創作的兩幅「火藥畫」之一，不僅是蔡國強有名方法論的精彩呈現，更與兩天後的同名大型戶外煙火活動直接相關。這條像龍一樣的軌跡一路延伸並開始環繞博物館的外牆，盤旋在塔樓周圍後燃燒成煙霧。2003年一聲巨響為始，標誌著這位成功藝術家碩果累累一年的開始，他隨後為紐約中央公園和撒哈拉沙漠的錫瓦藝術項目策劃了另外兩個大型火藥藝術計畫。

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〈《葉公好龍》：泰特現代美術館引爆計畫〉創作當下照片，倫敦泰特現代美術館，2003年1月29日
\nArtwork: © Cai Guo-Qiang

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永恒的藝術傳奇

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蔡國強的作品結合短暫與永恒，呈現兩者之間的和諧交融，曾於全球多處展出，以及獲無數知名機構納入收藏，包括：紐約林冠博物館、佛羅倫斯烏菲茲美術館、紐約現代美術館、紐約古根漢美術館、巴黎皮諾美術館、香港M+博物館和倫敦泰特美術館等。

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二十世紀及當代晚間拍賣相關詳情 >

\n","2023-09-29T06:48:59.000000Z","https://www.phillips.com/article/132211231/cai-guo-qiang-auction-hong-kong-explosive-alchemy-cn",1927,4340,132211231,{"_1266":1321,"_1268":255,"_1269":1322,"_523":1323,"_1272":1324,"_1274":1325,"_1276":1277,"_1278":1279,"_1280":481,"_1281":1326,"_472":212,"_1283":1327,"_1285":1328,"_1287":1329},"https://flockler.com/thumbs/sites/889/lead-specialist-picks-hk-tca-eve-8aa635bf-564f-4aa4-883e-99ae8cb1982d_s600x0.jpg","Where every canvas is a gateway to diverse realities.","Specialist Picks: A Ride through Transformative Narratives ","

Nicolas Party, Still Life with an Olive, 2012 - 2013
\nEstimate HK$26,000,000 – 40,000,000
\n20th Century & Contemporary Art Evening Sale, 6 October

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At the 20th Century & Contemporary Art Evening Sale in Hong Kong, a journey unfolds through transformative narratives of recent decades, showcased by a curated ensemble of artworks. Each artistic expression serves as a mirror to its time, collectively rendering a timeless tableau. Handpicked pieces from renowned artists by the likes of Nicolas Party, Liu Ye, Gerhard Richter, and Zao Wou-Ki orchestrate an intriguing conversation, inviting contemplation on the ways in which art reflects and shapes the passage of time.

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Nicolas Party

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Nicolas Party, Still Life with an Olive, 2012 - 2013
\nEstimate HK$26,000,000 – 40,000,000
\n20th Century & Contemporary Art Evening Sale, 6 October

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In the domain where stillness whispers tales of vibrancy, Nicolas Party’s Still Life with an Olive unveils a canvas where reality pirouettes with the surreal, breathing life into inanimate whispers of existence.

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Unveiled in 2013 at The Modern Institute of Glasgow, this masterpiece marked one of seven pieces created for Party’s solo exhibition, his only show featuring oil on canvas works, offering a glimpse into the artist's exceptional venture into a medium requiring greater manipulation, demonstrating his refinedness. This canvas echoes the dichotomy of life and stillness, nature and fantasy, while standing as a testament to Party’s innovative approach to “re-working,” having been meticulously crafted over the course of 10-20 months.

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Still Life with an Olive is one of the artist’s few oil compositions to feature both fruits and flowers and to ever be offered at auction. It displays a vibrant dialogue where fruits and flowers narrate tales of silent eloquence, combining geometric forms and rich arrangements. Party’s unique training in 3D animation breathes life into mundane subjects, creating paradoxical tapestries of creativity. His smooth contours and clear lines play with flatness illusion, enhancing their artificiality, making them appear larger than life.

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“Life is not still and nature is not dead, but maybe a painting can be.”
\n—Nicolas Party
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The masterpiece echoes René Magritte's enigmatic storytelling, transforming everyday objects into symbols of healing, fertility, and hope. The olive, pears, and tulip resonate with the transient nature of human life and the timeless allure of the familiar. Party believes in the enduring conversation between art and observer, past and present, reality and illusion.

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Party’s creations continue to captivate audiences, earning acclaim as treasures among collectors. His art is featured in over 30 public collections globally, a testament to the strength of Party’s presence in the market and his innovative reinterpretation of the still life genre. These pieces are far more than mere paintings; they represent a poetic convergence of two opposite notions, a mesmerising dance of nature and fantasy, a timeless dialogue between the artist and the canvas, a masterpiece that continues to re-enchant a utilitarian reality.

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Liu Ye

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Liu Ye, The End of Baroque, 1998
\nEstimate HK$18,000,000 – 28,000,000
\n20th Century & Contemporary Art Evening Sale, 6 October

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Liu Ye’s monumental painting, The End of Baroque, is a symphony of symbolism and metaphor. Measuring a rare 200 x 170 cm, it captures the dramatic image of a ship ablaze against an orange sky, bathed in the fiery glow of a setting sun.

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Created in 1998, the painting marks a pivotal moment in Liu Ye’s artistic journey, reflecting on his return to China and his time spent training at Amsterdam’s Royal Academy of Fine Arts. The burning ship, a recurring motif in Liu’s work from the ‘90s, stands as a potent symbol of journeys travelled, marking the close of one era and the dawn of another.

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The painting’s visual narrative is rich and layered, framed surrealistically by white windows that swing open towards the outside world. This window motif, prevalent in Liu's work since the ‘90s, is indicative of his lineal precision and his admiration for Piet Mondrian's grid compositions.

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In The End of Baroque, Liu Ye masterfully straddles the line between realism and surrealism, creating a visual lexicon that is neither a direct portrayal of life nor a return to early Renaissance realism. Instead, it’s a vibrant blend of postmodern and surrealist elements, capturing a state or feeling that exists in the ethereal space between the two.

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The artist’s works have been exhibited globally in the Long Museum in Shanghai, the M+ Sigg Collection in Hong Kong, and the Today Art Museum in Beijing.

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Gerhard Richter

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Gerhard Richter, Abstraktes Bild (456-2), 1980
\nEstimate HK$ 7,500,000 – 12,000,000
\n20th Century & Contemporary Art Evening Sale, 6 October

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Distinguished as one of the most influential figures in contemporary art, Gerhard Richter’s Abstraktes Bild (456-2) is a testament to his innovative and pioneering spirit. Painted in 1980, four years after the birth of the Abstraktes Bild series, this piece stands as the second proper squeegee painting ever made, following Abstraktes Bild 456-1. This extraordinary work was notably exhibited in the 1982 show Abstrakte Bilder 1976-1981 that travelled across Germany and was featured on the cover of the exhibition catalogue.

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Richter’s exploration into abstraction marked a shift from his earlier focus on browns and greys, ushering in an era of bold, bright colours. His masterful manipulation of these hues creates a dynamic interplay of depth, tone, form, and perception, blurring the boundaries between representation and abstraction. As he puts it, “With abstract painting we create a better means of approaching what can neither be seen nor understood.”

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Abstraktes Bild (456-2) captures the essence of Richter’s artistic evolution, showcasing the experimental approach to colour and technique he pioneered in the 1980s. It is a visual symphony of spontaneity and orchestration, a testament to the artist’s technical brilliance and relentless pursuit of innovation.

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Zao Wou-Ki

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Zao Wou-Ki, 10.05.76, 1976
\nEstimate HK$12,000,000 – 20,000,000
\n20th Century & Contemporary Art Evening Sale, 6 October

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Born in Beijing as the son of a successful banker, Zao Wou-Ki chose art over the expected path, immersing himself in Paris’s vibrant art scene. Rising to prominence through his unique synthesis of Eastern and Western artistic traditions, he became one of the most important Chinese painters of his generation.

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His painting, 10.05.76, stands as a testament to his mesmerising fusion of Eastern heritage and Western avant-garde, a vibrant symphony transcending cultural boundaries. Crafted during a pivotal period of personal turmoil and transformation following the passing of his second wife, this piece signifies a significant shift in Zao’s artistic journey, encapsulating his unique experience and diverse influences.

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The painting is an exquisite dance of light and shadow, where gestural brushstrokes capture ephemeral moments of brilliance, creating a sense of movement and depth that is both theatrical and serene. The rich palette of colours, layered with meticulous precision, results in soft tonal gradations that evoke the delicate washes of traditional Chinese ink paintings. His clever use of empty space, sophisticated colours, and virtuosic brushwork captures a striking impression of nature, a testament to his unique fusion of Western modernism and traditional Chinese aesthetics.

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Zao’s legacy continues to inspire generations of artists. His works, held in over 150 public collections globally, serve as enduring reminders of his unparalleled contribution to contemporary art.

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Discover More from 20th Century & Contemporary Art Evening Sale >

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\n","2023-09-28T15:27:35.000000Z","https://www.phillips.com/article/132176052/art-auction-hong-kong-specialist-picks-a-ride-through-transformative-narratives",1924,4338,132176052,{"_1266":1331,"_1268":255,"_1269":1332,"_523":1333,"_1272":1334,"_1274":1335,"_1276":1295,"_1278":1279,"_1280":481,"_1281":1336,"_472":70,"_1283":1337,"_1285":1338,"_1287":1339},"https://flockler.com/thumbs/sites/889/lead-specialist-picks-hk-tca-eve-8aa635bf-564f-4aa4-883e-99a-6c84bf4e-8aa3-4176-83eb-12d4605e990a_s600x0.jpeg","每幅畫布都是通往不同現實的門戶。","專家精選：通往超現實之藝術門","

尼古拉斯·帕爾蒂, 《靜物與橄欖》, 2012 - 2013年作
\n估價26,000,000 – 40,000,000港元
\n二十世級及當代藝術晚間拍賣，10月6日

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富藝斯香港二十世級及當代藝術晚間拍賣將會通過一系列精心挑選的藝術品，展開一段變革性敘事的旅程。每種藝術表現皆是一面時代的鏡子，共同呈現出永恒的畫面。來自尼古拉斯．帕爾蒂、劉野、格哈德．里希特和趙無極等藝術大師的精選拍品，合奏一場精彩對話，引發觀者思考藝術如何反映和塑造時間的流逝。

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尼古拉斯．帕爾蒂

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尼古拉斯·帕爾蒂(Nicolas Party), 《靜物與橄欖》, 2012 - 2013年作
\n估價26,000,000 – 40,000,000港元
\n二十世級及當代藝術晚間拍賣，香港 10月6日

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尼古拉斯．帕爾蒂作品《靜物與橄欖》在寂靜中暗藏活力，可見現實與超現實的完美交融，為本無生命的存在低調地注入生命。

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《靜物與橄欖》於2013 年在格拉斯哥現代藝術學院中首次亮相，也是為帕爾蒂為個展專門創作的七件作品之一，而該展覽是他唯一的布面油畫展。這是藝術家對多需操控的媒材之冒險，而拍品讓觀者一睹本次實驗和他的精湛技藝。這幅畫布呼應了生命與靜物、自然與幻想的二分法，同時也是帕爾蒂創新繪畫方式「再創作」的上佳例證，創作過程歷時十至二十個月不等。

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《靜物與橄欖》是帕爾蒂極少數曾現身拍賣會的油畫作品之一，屬於他為數不多的同時繪製水果和花卉的作品。它展示了一場活力澎拜的對話，猶如水果和花卉無聲地雄辯著不同故事，同時結合了幾何形狀和豐富構圖。他之前接受過3D動畫培訓，擅於為平凡的物品注入生命，也是藝術家獨有的矛盾創意。其平滑的精準輪廓、清晰的線條和虛幻的扁平感增強了人造感，令水果和其他靜物比起它們的現實尺寸看似更大。

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「生活並非靜止、自然也沒有死亡，但或許一幅畫可以。」— 尼古拉斯．帕爾蒂
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這件傑作呼應了雷內．馬格里特謎題般的故事敘述，將日常物品轉化為治癒、生育力和希望的象徵。橄欖、梨子和鬱金香意在描繪人類生命的短暫本質，與熟悉的永恒魅力產生共鳴。帕爾蒂相信藝術與觀者、過去與現在、現實與幻想之間的恒久對話。

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帕爾蒂的作品魅力不減，曾在全球30多個公共收藏中展出，被譽為藏家珍品。如此美譽不僅奠定藝術家的市場實力，更是他嶄新地重新詮釋靜物的認可。這些作品不單是繪畫，更代表了兩種對立概念的詩意糅合：自然與幻想的精湛結合、藝術家與畫布之間的永恒對話、重塑功利主義現實的傑作。

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劉野

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劉野 《最後的巴洛克》，1998年作
\n估價：18,000,000 - 28,000,000港元
\n二十世級及當代藝術晚間拍賣，香港 10月6日

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劉野的鉅作《最後的巴洛克》猶如一部象徵主義與隱喻的交響曲。它的尺寸為200 x 170公分，大型罕見，捕捉到一艘著火的船身及被火焰染成橙色的天空，兩者與日暮互相輝映的光景。

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此畫於1998年創作，標誌著劉野藝術之旅的關鍵時刻；彼時劉野已回國數年，這一年起他在阿姆斯特丹皇家美術學院學習，流露出個人的反思。火燒船是藝術家九十年代作品中反覆出現的主題，象徵旅程，同時代表著一個時期的結束以及新時代的開始。

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拍品展現了豐富而層次多樣的視覺語言，被超現實主義的白色窗戶所框定，而窗子向外敞開。自1990 年代起，窗戶是劉野作品中長盛不衰的主題，揭示了他對直線精確性的偏好，以及藝術家對皮特．蒙德里安網格構圖之熱愛。

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在《最後的巴洛克》中，劉野巧妙地遊走於現實主義和超現實主義之間的界限，創造了一種視覺語匯，既不是描摹現實，也不是文藝復興早期現實主義的回歸。相反，它是後現代主義和超現實主義元素的靈活融合；空靈空間存在於兩者之間，而藝術家捕捉了其中的狀態或感覺。

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劉野的作品在全世界廣泛展出，包括：上海龍美術館、香港M+希克藏品、北京今日美術館等。

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格哈德．里希特

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格哈德．里希特(Gerhard Richter) 《抽象畫（456-2）》
\n1980年作
\n估價：7,500,000 - 12,000,000港元
\n二十世級及當代藝術晚間拍賣，香港 10月6日

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作為當代藝術最具影響力的人物之一，格哈德．里希特的《抽象畫（456-2）》彰顯了他的創新和開拓精神。這幅作品於1980年創作，也是《抽象畫》系列誕生四年後，成為繼《抽象畫（456-1）》後第二幅真正的刮除繪畫。這件頂級作品特別收錄在1982年德國全國巡迴展覽《抽象畫 1976至1981年》之中，並且登上展覽圖錄封面。

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里希特對抽象的探索標誌著他從早期棕色和灰色的重心，轉向一個大膽明亮色彩的時代。他對這些色調的巧妙運用，創造了箇中深度、色調、形態和感知之間的相互作用，模糊了表現與抽象之間的界限。如他所述：「通過抽象繪畫，我們創造了一種更好的方式，接近不能看見或無法理解的事物。」

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《抽象畫（456-2）》捕捉了里希特藝術演變的精髓，展示了他在 1980年代開創的實驗性方法，尤其在用色和技術方面。這是自發性和編排性兼具的視覺交響曲，屬於藝術家洋溢才華和不懈追求創新的佐證。

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趙無極

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趙無極 《10.05.76》，1976年作
\n估價：12,000,000 - 20,000,000港元
\n二十世級及當代藝術晚間拍賣，香港 10月6日

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趙無極生於北京，是為銀行家之後；他並無繼承父業，而是選擇了藝術，沉浸在巴黎充滿活力的藝術氛圍中之。他融合東西方藝術傳統的方式獨一無二，因而聲名鵲起，成為這一代最重要的華裔畫家之一。

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他的畫作《10.05.76》足證他將東方根源與西方前衛的迷人糅合，成為超越文化界限的交響曲，氣勢磅礡。這件作品創作於第二任妻子去世後，也是趙無極個人轉變的關鍵時期，標誌著其藝術之旅的重大轉變，濃縮了他的獨特經歷和不同影響。

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拍品是一場精緻的光影之舞，動勢筆觸捕捉到轉瞬即逝的輝煌，營造出一種既戲劇性又寧靜的動感和深度。其豐富的色盤與一絲不苟的精確分層，產生柔和的色調層次，讓人想起中國傳統水墨畫的細膩。他靈巧地運用空白的空間、細緻的色彩和精湛的筆法，捕捉到了令人印象深刻的大自然，呈現出西方現代主義與中國傳統美學絕無僅有的融合。

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趙無極的傳奇繼續激勵著一代又一代的藝術家。他的作品遍及200多個國家，由150多個公共機構納入館藏，提醒世人有關他對當代藝術的無比貢獻。

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二十世級及當代藝術晚間拍賣詳情 >

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A Nod to Op Art

The Naked and the Nude

No Means No — A Timeline

《不就是不》時序

Cai Guo-Qiang, Ye Gong Hao Long (Mr. Ye Who Loves Dragons), 2003.\nEstimate HK$9,000,000 – 14,000,000\n20th Century & Contemporary Art Evening Sale, Hong Kong.

Alchemy of Creation and Destruction

Cai Guo-Qiang, Ye Gong Hao Long (Mr. Ye Who Loves Dragons) (detail), 2003.\nEstimate HK$9,000,000 – 14,000,000\n20th Century & Contemporary Art Evening Sale, Hong Kong.

Cai Guo-Qiang, Ye Gong Hao Long (Mr. Ye Who Loves Dragons) (detail), 2003.\nEstimate HK$9,000,000 – 14,000,000\n20th Century & Contemporary Art Evening Sale, Hong Kong.

A Prelude to Spectacular Displays: From Canvas to Grand Pyrotechnics

Image of Ye Gong Hao Long (Mr Ye Who Loves Dragons): Explosion Project for Tate Modern, London.\nTate Modern, 29 January 2003\nArtwork: © Cai Guo-Qiang

A Legacy of Timeless Artistry

蔡國強《葉公好龍》2003年作\n估價 9,000,000 – 14,000,000 港元\n二十世紀及當代晚間拍賣, 香港

破壞和建設的煉金術

蔡國強《葉公好龍》2003年作\n估價 9,000,000 – 14,000,000 港元\n二十世紀及當代晚間拍賣, 香港

蔡國強《葉公好龍》2003年作\n估價 9,000,000 – 14,000,000 港元\n二十世紀及當代晚間拍賣, 香港

壯觀表演的序幕：從畫布到大型煙火

〈《葉公好龍》： 泰特現代美術館引爆計畫〉創作當下照片，倫敦泰特現代美術館，2003年1月29日\nArtwork: © Cai Guo-Qiang

永恒的藝術傳奇

Nicolas Party

Nicolas Party, Still Life with an Olive, 2012 - 2013\nEstimate HK$26,000,000 – 40,000,000\n20th Century & Contemporary Art Evening Sale, 6 October

Liu Ye

Liu Ye, The End of Baroque, 1998\nEstimate HK$18,000,000 – 28,000,000 \n20th Century & Contemporary Art Evening Sale, 6 October

Gerhard Richter

Gerhard Richter, Abstraktes Bild (456-2), 1980\nEstimate HK$ 7,500,000 – 12,000,000\n20th Century & Contemporary Art Evening Sale, 6 October

Zao Wou-Ki

Zao Wou-Ki, 10.05.76, 1976\nEstimate HK$12,000,000 – 20,000,000\n20th Century & Contemporary Art Evening Sale, 6 October

尼古拉斯．帕爾蒂

尼古拉斯·帕爾蒂(Nicolas Party), 《靜物與橄欖》, 2012 - 2013年作\n估價26,000,000 – 40,000,000港元\n二十世級及當代藝術晚間拍賣，香港 10月6日

劉野

劉野 《最後的巴洛克》，1998年作\n估價：18,000,000 - 28,000,000港元\n二十世級及當代藝術晚間拍賣，香港 10月6日

格哈德．里希特

格哈德．里希特(Gerhard Richter) 《抽象畫（456-2）》\n1980年作\n估價：7,500,000 - 12,000,000港元\n二十世級及當代藝術晚間拍賣，香港 10月6日

趙無極

趙無極《10.05.76》，1976年作\n估價：12,000,000 - 20,000,000港元\n二十世級及當代藝術晚間拍賣，香港 10月6日

Cai Guo-Qiang, Ye Gong Hao Long (Mr. Ye Who Loves Dragons), 2003.
\nEstimate HK$9,000,000 – 14,000,000
\n20th Century & Contemporary Art Evening Sale, Hong Kong.

Cai Guo-Qiang, Ye Gong Hao Long (Mr. Ye Who Loves Dragons) (detail), 2003.
\nEstimate HK$9,000,000 – 14,000,000
\n20th Century & Contemporary Art Evening Sale, Hong Kong.

Cai Guo-Qiang, Ye Gong Hao Long (Mr. Ye Who Loves Dragons) (detail), 2003.
\nEstimate HK$9,000,000 – 14,000,000
\n20th Century & Contemporary Art Evening Sale, Hong Kong.

Image of Ye Gong Hao Long (Mr Ye Who Loves Dragons): Explosion Project for Tate Modern, London.
\nTate Modern, 29 January 2003
\nArtwork: © Cai Guo-Qiang

蔡國強《葉公好龍》2003年作
\n估價 9,000,000 – 14,000,000 港元
\n二十世紀及當代晚間拍賣, 香港

蔡國強《葉公好龍》2003年作
\n估價 9,000,000 – 14,000,000 港元
\n二十世紀及當代晚間拍賣, 香港

蔡國強《葉公好龍》2003年作
\n估價 9,000,000 – 14,000,000 港元
\n二十世紀及當代晚間拍賣, 香港

〈《葉公好龍》：泰特現代美術館引爆計畫〉創作當下照片，倫敦泰特現代美術館，2003年1月29日
\nArtwork: © Cai Guo-Qiang

Nicolas Party, Still Life with an Olive, 2012 - 2013
\nEstimate HK$26,000,000 – 40,000,000
\n20th Century & Contemporary Art Evening Sale, 6 October

Liu Ye, The End of Baroque, 1998
\nEstimate HK$18,000,000 – 28,000,000
\n20th Century & Contemporary Art Evening Sale, 6 October

Gerhard Richter, Abstraktes Bild (456-2), 1980
\nEstimate HK$ 7,500,000 – 12,000,000
\n20th Century & Contemporary Art Evening Sale, 6 October

Zao Wou-Ki, 10.05.76, 1976
\nEstimate HK$12,000,000 – 20,000,000
\n20th Century & Contemporary Art Evening Sale, 6 October

尼古拉斯·帕爾蒂(Nicolas Party), 《靜物與橄欖》, 2012 - 2013年作
\n估價26,000,000 – 40,000,000港元
\n二十世級及當代藝術晚間拍賣，香港 10月6日

劉野《最後的巴洛克》，1998年作
\n估價：18,000,000 - 28,000,000港元
\n二十世級及當代藝術晚間拍賣，香港 10月6日

格哈德．里希特(Gerhard Richter) 《抽象畫（456-2）》
\n1980年作
\n估價：7,500,000 - 12,000,000港元
\n二十世級及當代藝術晚間拍賣，香港 10月6日

趙無極《10.05.76》，1976年作
\n估價：12,000,000 - 20,000,000港元
\n二十世級及當代藝術晚間拍賣，香港 10月6日

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Ebecho Muslimova

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