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G/F & 3/F, WKCDA Tower, West Kowloon Cultural District, No. 8 Austin Road West, Kowloon, Hong Kong (map)
\n
\nView Conditions of Sale >

\n","auctionDetailsSmall","Hong Kong Auction 27 May 2025","extraInfo","

Cindy Lim
\nSenior Specialist, Head of Evening Sale
\nModern & Contemporary Art, Hong Kong
\n+852 2318 2091
\ncindylim@phillips.com
\n
\nRebecca Hu
\nSpecialist, Head of Sale
\nModern & Contemporary Art, Hong Kong
\n+852 2318 2028
\nrebeccahu@phillips.com
\n

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Wei Jia, Say Goodbye VI, 2007. Modern & Contemporary Art: Evening & Day Sale Hong Kong.

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中文閱讀

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A remarkable breadth of contemporary art has emerged from China in the past half century, with significant growth in both global reach and artist recognition. Across work that ranges from the figurative to the abstract, conceptual to realist, Chinese contemporary artists represent a visual exploration of cultural change that we're only beginning to unpack.

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Here, discover eight works in our upcoming Hong Kong Modern & Contemporary Art: Evening & Day Sale in Hong Kong that should be on your radar.

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Wei Jia

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Wei Jia, Say Goodbye VI, 2007. Modern & Contemporary Art: Evening & Day Sale Hong Kong.

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When encountering Wei Jia’s Say Goodbye VI, our eyes first notice the remarkable detail of the larger-than-life owl figure seen from behind — a symbol of solitude and wisdom. The texture and shadow push the animal closer to us, and we sense this owl has joined us as we both gaze out into the horizon. The picture plane itself that cuts us out as we realize this masterfully executed scene is at once a depiction of emotional release, individual growth, and the sense of alienation that often comes with these insights. Wei once explained that this work reflects his “lonely, proud swordsman” state of mind — a sense of detachment where past regrets are released, but a distance from reality always lingers.

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Born in 1975 in Chengdu and now based in Chongqing, Wei Jia is a highly respected contemporary Chinese artist and is currently the president of Sichuan Fine Arts. In 1999, he graduated from the Printmaking Department of the Central Academy of Fine Arts in Beijing. Between 2003 and 2004, he began experimenting with acrylic painting, which allowed him to incorporate elements from his printmaking into his paintings, creating a unique fusion of the two mediums.

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From December 2024 to March 2025, Beijing’s Song Art Museum held the artist’s largest solo exhibition to date, Wei Jia: Fantasy and Inebriety. This acclaimed exhibition showcased his seamless creative development across 80 works from his early to recent periods. His works are in the collections of prominent institutions worldwide, including Long Museum, Tank Shanghai, Yuz Museum in Shanghai, Song Museum in Beijing, HE Art Museum in Shunde, DSL Collection in France, and White Rabbit Gallery in Australia.

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Jia Aili

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Jia Aili, Untitled, 2008. Modern & Contemporary Art: Evening & Day Sale Hong Kong.

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Born in 1979 in Dandong, Jia Aili is a leading figure among a new generation of Chinese artists whose practice interrogates painting’s boundaries while synthesizing art historical traditions and contemporary existential inquiry. In Untitled, Jia precisely renders a jet engine, forming a dynamic interplay with the ghostly white figure in the foreground: the former embodies technological rationality, the latter a disciplined corporeal specimen. Jia deftly weaves personal memory into the fabric of collective trauma — jet engines that once served as symbols of progress are now rusted metallic skeletons, mirroring Northeast China's industrial workers' trajectory from “the Republic's eldest sons” to “industrial cast-offs.”

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A graduate of Lu Xun Academy of Fine Arts, Jia gained international recognition after his 2007 solo exhibition The Wasteland, and his epic We Are from the Century in November 2008 cemented his reputation for merging Socialist Realist technique with Taoist-inspired metaphysics. Over the past decade, his monumental canvases have been exhibited at major institutions, including the Singapore Art Museum, Venice’s Teatrino di Palazzo Grassi, and Centro de Arte Contemporáneo de Málaga, with solo shows at Gagosian (2019) highlighting his 2019 Sonatine series. His recent exhibitions include: On Sabbatical (2020, West Bund Museum, Shanghai), Duration: Chinese Art in Transformation (2020, Kiang Malingue), and Jia Aili (2017, Centro de Arte Contemporáneo, Málaga).

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Wang Guangle

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Wang Guangle, Untitled 20070812, 2007. Modern & Contemporary Art: Evening & Day Sale Hong Kong.

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For Wang Guangle, light and time are two sides of the same dimension. His process-based works meticulously layer paint to create glowing, often monochromatic paintings that belie the flatness of their surface — you can peer into their depths for hours and never find the end. 20070812 is perfectly emblematic of this aspect of his approach and obsession with the passage of time, the phenomena of light and colour, and spiritual practice.

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Born in 1976 in Fujian, Guangle is a key figure in contemporary Chinese conceptual and abstract painting. He graduated from the Central Academy of Fine Arts (CAFA) in Beijing in 2000. In 2003, he co-founded the N12 artist group with fellow CAFA graduates, which sought to broaden the scope of contemporary Chinese painting beyond the prevailing Social Realist aesthetic.

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His recent solo exhibitions have included Wang Guangle (2024, Pace Gallery, Seoul), The Dao Way (2025, Fosun Foundation, Shanghai), and Faded Colours (2022, Pace Gallery, London). His work is held in several notable institutional collections, including M+ in Hong Kong, the Long Museum in Shanghai, the Rubell Museum in Miami, the Museum of Contemporary Art in Tokyo, and many more.

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Liang Yuanwei

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Liang Yuanwei, Piece of Life 9, 2006–2007. Modern & Contemporary Art: Evening & Day Sale Hong Kong.

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Liang Yuanwei looks deeply at the details, translating her rational observations of daily life into striking and often experimental works that always make us look twice. Her Piece of Life series stands out as a moment when the artist simplified her language, homing in on the details of daily life and the labour of painting.

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Encountering Piece of Life 9 from a distance, a soft gradient is seen, texturized by a faint pattern. Up close, intricate palm trees are revealed to pulse across the canvas, reminiscent of domestic wallpaper. Her process is painstaking and meditative, taking the artist up to eight hours per section. These patterns are first etched into the wet ground and then filled with colour. With the painting measuring nearly one and a half meters tall, this diligent practice is nothing short of impressive.

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Born in 1977 in Xi'an, Shaanxi province, Liang Yuanwei has emerged as one of the most prominent female artists of her generation. Her recent solo and group exhibitions include Wu Se Tu (2024–2025, DRC No. 12, Beijing, China), Sailing Home (2024–2025, Zhoushan Art Museum, Zhongshan, China), and Liang Yuanwei (2022, Beijing Commune, Beijing). Her works are also held in prominent institutional collections, including M+ in Hong Kong and the Long Museum in Shanghai.

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Ma Ke

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Ma Ke, Theatre, 2012. Modern & Contemporary Art: Evening & Day Sale Hong Kong.

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Born in 1970 in Zibo, Shandong, and currently based in Beijing, Ma Ke’s artistic path began with early training from his father in traditional Chinese oil painting and Russian social realism. He began to incorporate influences of Western modern and contemporary art during studies at the Tianjin Academy of Fine Arts and the Central Academy of Fine Arts in Beijing. Today, he is revered for a distinctive visual language that merges the traditional and contemporary, exploring identity and collective culture through expressive figurative paintings.

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Across his works, basic visual dimensions from point to line, stroke, and colour block are reinterpreted in exciting new ways, and we find a constructed reality that can help us make sense of our own. The present lot shows a subject that proves to be fruitful ground for the artist. After all, the art form of theatre is a constructed reality itself, with the gaze of the audience and players reflecting upon each other in a dynamic that mirrors our daily consideration of reality.

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Ma Ke’s recent solo exhibitions include Ma Ke: Contemporary Chinese Painting (2024–2025, Moscow Museum of Modern Art), Ma Ke: Monkey and Beetle (2022–2023, PIFO Gallery, Beijing), and Ma Ke: Journey To The West (2022, Galerie Rüdiger Schöttle, Munich, Germany).

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Yan Bing

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Yan Bing, Mushroom No. 30, 2020. Modern & Contemporary Art: Evening & Day Sale Hong Kong.

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Born in 1980, Yan Bing’s artistic talents vaulted him from an impoverished childhood in Gansu province to art school in Beijing by the early 2000s. It was there that his artistic aspirations were confronted with the realities of survival. “I saw poverty’s splendour, and splendour’s poverty,” he recalls. The artist began to translate his experience into works that elevate the everyday objects of subsistence in northwest China to the subject matter of his primal and spiritual painting practice. His works are now lauded for their restrained palette and monumental scale, evoking a sacred quality that bridges personal history with broader existential themes.

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The Mushroom series marked a turning point for Yan Bing, growing out of his Potato series and bringing deeper psychological depth to his practice’s concentration on memory, labor, and rural life. The series stems from the shock of memory the artist felt as he encountered the mushrooms he bought as a child in a market later in life. In other works from the series, the mushrooms are detached from the earth and rendered in ambiguous space, seemingly as consumable products. But Mushroom No. 30 depicts the fungi firmly rooted, distilling a connection to the earth that harkens back to the rugged delicacy of men from the artist’s home.

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Yan Bing graduated from the Third Studio of the Oil Painting Department at the Central Academy of Fine Arts (CAFA), Beijing, in 2007 and currently lives and works in Beijing. His recent solo exhibitions include: Yan Bing: Pear Blossom Turns White (2022, Guangdong Museum of Art), Yan Bing: Suddenly, Everything Became Clear (2021, ShanghART Gallery, Shanghai), Apple Orchard (2024, START Museum, Shanghai).

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Xia Yu

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Xia Yu, The Tower of Triumph, 2019. Modern & Contemporary Art: Evening & Day Sale Hong Kong.

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Xia Yu portrays glances of contemporary urban life through his signature tempera medium, creating chalky, opaque surfaces that evoke faded photographs. This tension between the tangible and the ephemeral calls to mind Gerhard Richter’s photo-paintings, but Xia Yu’s practice is less focused on the mechanically mediated nature of photography. For him, it is the photographic appearance that lends a conflicting sense of reality to the dreamlike impossibility of his amalgamations. In Tower of Triumph, for example, the artist interrogates the visual markers of identity and the roles we play in society, revealing their fragility and pointing out the power of the image to reveal practically anything.

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His recent exhibitions include Subjunctive Mood (2019, Hive Center for Contemporary Art, Shenzhen), where the present lot was exhibited, Glittering Light and Sunken Jade (2023, Song Art Museum), and Golden Hour, (2024, K11 MUSEA, Hong Kong).

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Ding Shilun

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Ding Shilun, The Dispute (After La Sylphide), 2021. Modern & Contemporary Art: Evening & Day Sale Hong Kong.

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“I consider all the figures in the paintings as the embodiment of myself,” Ding Shilun explains. “They’re all telling a story about me.”

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Ding Shilun’s works wander fluidly between the visual languages of Japanese manga, Western popular culture, and Chinese tradition. The Dispute (After La Sylphide), created while he was still a student, shows his exploration of what would become the seed of his hallmark style: the tensions between the classical and the surreal. The romantic ballet La Sylphide is one of the first examples of the genre, telling a tragic story of the relationship between humans and spirits. In Ding Shilun’s reinterpretation, this idea is transformed into another kind of tension: two characters stand in close proximity but are unable to connect. Their bodies are elongated, their backs folded at nearly a right angle, their twisted postures impart the sensations of detachment in contemporary life — anxiety, desire, and resistance.

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Born in 1998 in Guangzhou, Ding Shilun now lives and works between London and Guangzhou. In March 2025, the Institute for Contemporary Art, Miami presented his first solo exhibition in the United States — Ding Shilun: Janus. Other notable recent solo exhibitions include Mirage (2024, Bernheim Gallery, London), Invites: Ding Shilun (2023, Zabludowicz Collection, London), and Paradiso (2022, Bernheim Gallery, Zurich).

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Discover more from Modern & Contemporary Art: Evening & Day Sale Hong Kong >

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Recommended Reading

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Art's Ever-Evolving Forms >

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Looking Beyond the Moment >

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Seven Things to Know About Sanyu >

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\n","publishDate","2025-05-16T16:44:13.000000Z","authorCredit","Jesse Limbacher","coverPosX",50,"coverPosY",0,"articleUrl","https://www.phillips.com/article/158490914/chinese-contemporary-art-is-thriving-hong-kong-auction-may-2025","displayOrder",5,"auctionEditorialID",5009,"editorialID",4963,"flocklerID",158490914,"https://flockler.com/thumbs/sites/889/condo-lead-8184516d-b36c-467a-a640-0aee756d614a-d1f13297-2a40-415f-b266-dc73ac85a816_s600x0.jpg","藍籌當代藝術作品持續展現市場活躍與強勁韌性。 ","凝視未來","

喬治·康多《F藍調》（局部）2021年作品。現代及當代藝術：晚間和日間拍賣。

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根據《2025年巴塞爾藝術展與瑞銀藝術市場報告》指出，2024年戰後及當代藝術依然穩居全球藝術拍賣市場的最大板塊，按總成交額計佔比達52%，成交量亦佔全球市場的54%。隨著這一領域的持續拓展，其中逐漸涵蓋更多新銳當代藝術家，亦不乏活躍於當下的在世藝術家。

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在此聚焦五位已建立穩固市場地位的當代藝術家。透過剖析他們即將於香港拍賣亮相的重要作品，或可窺見他們藝術語言的深度，理解當中歷久不衰的原因。

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赫南·巴斯

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赫南·巴斯《案例研究（哈維，手相師/手套收藏家）》2014年作。現代及當代藝術：晚間和日間拍賣。

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美國藝術家赫南·巴斯已成為當代繪畫中最具辨識度的聲音之一，他透過獨特視角重新詮釋了受納比派啟發的創作理念。此次拍品《案例研究（哈維，手相師/手套收藏家）》展現藝術家探索青年時期臨界狀態的典型創作，畫面中人物遊走於純真與世故之間，上演著自我探索的戲劇性儀式。透過豐潤細膩的構圖、寫實色調與動感筆觸，藝術家創造了一個可供無限詮釋的場景。

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巴斯的近年個展包括：〈需要與不需要之間的微妙地帶〉，立木畫廊，首爾（2025）；〈赫南·巴斯：概念主義者〉，巴斯藝術博物館，邁阿密（2023-2024）；〈赫南·巴斯：選擇你的冒險〉，Space K，首爾；余德耀美術館，上海西岸（2021-2022）；〈赫南·巴斯〉，魯貝爾博物館，邁阿密（2020-2022）。作品被紐約現代美術館、惠特尼美術館、赫希洪博物館、舊金山現代美術館等主要機構收藏，2014年Rizzoli專書鞏固其藝術地位。巴斯繪畫因能橋接歷史宏偉與當代顛覆而產生共鳴，成為追求挑釁性、敘事驅動藝術的收藏家不可或缺之選。

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喬納斯·伍德

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喬納斯·伍德《潘奇與朱迪》2015年作。現代及當代藝術：晚間和日間拍賣。

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被譽為「當代繪畫霸主」的喬納斯·伍德遊走於怪誕與熟悉間的邊界，處理來自日常領域卻充滿情感張力的素材。伍德曾在達拉斯藝術博物館等頂尖機構舉辦個展，作品獲古根漢美術館、漢默博物館等重要機構收藏。他的作品由高古軒畫廊代理，而該畫廊在2015年首度為藝術家舉辦個展。

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伍德對於家居空間與物件的獨特重詮之作品最為備受推崇。本次拍品《潘奇與朱迪》展現了他將平凡題材注入個人意義，同時與藝術史傳統對話的雙重能力。作品體現其標誌性的空間構圖手法——透過平面化視角與刻意形體扭曲，將寫實元素轉化為嶄新視覺語彙。

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喬治·康多

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喬治·康多《F藍調》2021年作。現代及當代藝術：晚間和日間拍賣。

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喬治·康多的《藍調繪畫》（Blue Paintings）系列，為其持續探討音樂與繪畫之間複雜關係的歷程奠定了跳板與起點。正如藝術家所述：「這些作品如同視覺化的藍調樂章——在既定結構中即興發揮。你必須掌握所有技法規則，然後故意打破它們。那些『錯誤』的筆觸往往最真實，就像藍調音樂裡的『走音』反而成就了靈魂。」

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作品中的藍色調不僅呼應藍調音樂的憂鬱特質，更透過細膩的色階漸變與對比，創造出視覺化的「旋律線條」。康多對於音樂與視覺藝術關聯性的理解極具深度——他能精闢分析莫內印象派與德布西音樂的對應關係、德國表現主義與十二音列音樂的共鳴，或是波洛克抽象表現主義與邁爾斯·戴維斯（Miles Davis）爵士樂的內在連結。

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喬治·巴塞利茲

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喬治·巴塞利茲《玻璃彩繪鳥 II》1997年作。現代及當代藝術：晚間和日間拍賣。

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1997年創作的此次拍品《玻璃彩繪鳥II》完美體現了巴塞利茲標誌性的倒置策略。乍看之下，作品呈現為抽象的豐饒角：以手勢性紫色、白色與黃色筆觸構成的動盪背景匯聚於中心，其中大面積的鮮黃色佔據主導，邊角則環繞著漩渦狀的紫色漣漪。筆觸的不羈能量與流動形態暗示著非再現性研究——直到畫布被旋轉180度。突然間，混沌凝聚：鋸齒狀線條轉化為鳥喙、翅膀與利爪的銳利輪廓；明亮的黃色變形為鳥類羽毛覆蓋的胸部，顯露出一隻輪廓分明的禽鳥形象，驚險地棲息於欄杆上。

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作為當代藝術界的重要人物，喬治·巴塞利茲的作品在全球頂尖機構的大型展覽中備受推崇，尤其在德語世界引起深刻共鳴。近年重要展覽包括：蘇黎世美術館〈喬治·巴塞利茲：晚期作品〉（2023）；維也納阿爾貝蒂娜博物館〈100幅素描〉（2023）；以及維也納藝術史博物館〈裸體大師〉（2023）。此外，巴塞利茲的作品亦被眾多公共機構永久收藏，如巴黎龐畢度中心、巴塞爾貝耶勒基金會、科隆路德維希博物館、紐約現代藝術博物館、紐約大都會藝術博物館、舊金山現代藝術博物館費雪收藏、紐約所羅門·R·古根漢美術館、法蘭克福施泰德藝術館及倫敦泰特現代藝術館等。

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斯科特·卡恩

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斯科特·卡恩《在野外的影射》2005年作。現代及當代藝術：晚間和日間拍賣。

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美國藝術家斯科特·卡恩以獨樹一幟的美學語言聞名，創作深受現代主義遺緒啟發。他巧妙融合魔幻寫實與真實經歷，以個人記憶與想像力回應自然世界。《在野外的影射》正是精彩範例，彰顯了藝術家回顧自我創作歷程的渴望，並回應他的1984年鉅作《荒野中》——該作剛於富藝斯紐約成交。當前拍品充滿孤寂與寧靜的微妙氣息，幻化出一種超現實的夢境空間，彷彿將原作抽象化為潛意識中的未定之境，包含難以言喻的情感與詩意。

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卡恩1946年出生於麻省春田市，1967年獲賓夕法尼亞大學藝術學士學位，1970年於羅格斯大學取得藝術碩士學位，隨後於藝術學生聯盟深造。在此期間，他受教於抽象表現主義先鋒西奧多羅斯·斯塔莫斯（Theodoros Stamos），並與馬克·羅斯科（Mark Rothko）等第一代抽象表現主義藝術家相識。康恩憑藉其洗練的技巧與獨特的藝術語彙，贏得國際間的高度評價與廣泛關注。他曾於1986年及1995年獲得波洛克－克拉斯納基金會頒發獎項，並曾於愛德華·艾比基金會擔任駐留藝術家。他的作品亦被眾多重要私人與公共機構收藏，包括母校賓夕法尼亞大學。

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2021年7月，阿爾敏·萊希畫廊於其網上個展〈逐一：斯科特·卡恩〉獲得熱烈迴響後，正式宣布成為卡恩的全球獨家代理畫廊。自2018年已故藝術家王俊傑高度表揚卡恩的創作後，卡恩的市場關注度迅速升溫，且需求至今持續高漲，勢頭不減。

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瀏覽《現代及當代藝術：晚間和日間拍賣》香港拍賣詳情 >

\n","2025-05-19T08:19:04.000000Z","Veronica Chow","https://www.phillips.com/article/158723486/western-contemporary-cn",4,5008,4965,158723486,"https://flockler.com/thumbs/sites/889/condo-lead-8184516d-b36c-467a-a640-0aee756d614a_s600x0.jpg","Blue-chip contemporary art continues to show market strength and resilience. ","Looking Beyond the Moment","

George Condo, Blues in F (detail), 2021. Modern & Contemporary Art: Evening & Day Sale Hong Kong.

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中文閱讀

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Postwar and contemporary art remained the largest sector of the fine art auction market in 2024, representing 52% of global sales by value and 54% by volume, according to the 2025 Art Basel & UBS Art Market Report. As the postwar and contemporary sector has grown over time, it has evolved to include newer contemporary artists, including many living artists.

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Here, we highlight four living artists with well-established markets. A closer look at the artistic strengths of their works in our upcoming Hong Kong auction can show us why they have the potential to be so enduring.

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Hernan Bas

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Hernan Bas, Case Study (Harvey, Palmist/glove collector), 2014. Modern & Contemporary Art: Evening & Day Sale Hong Kong.

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American artist Hernan Bas has established himself as one of the most distinctive voices in contemporary painting with a unique perspective that redefines Les Nabis’ approach. Case Study (Harvey, Palmist/glove collector) exemplifies the artist’s exploration of the transitional space of youth, where figures hover between innocence and experience, engaging in theatrical rituals of self-discovery. Through lush, highly detailed compositions, realistic colors, and dynamic brushwork, Bas has created scenes that invite endless interpretation.

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The artist’s recent solo exhibitions include: The space between needful & needless (2025, Lehmann Maupin, Seoul), Hernan Bas: The Conceptualists, (2023–2024, The Bass Museum of Art, Miami, USA), Hernan Bas: Choose Your Own Adventure, Hernan Bas, (2020–2022, Rubell Museum, Miami, USA). With works held in major institutions (MoMA, Whitney, Hirshhorn, SFMOMA) and a 2014 Rizzoli monograph cementing his legacy, Bas’s paintings resonate for their ability to bridge historical grandeur with contemporary subversion, making them essential for collectors of provocative, narrative-driven art.

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Jonas Wood

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Jonas Wood, Punch and Judy, 2015. Modern & Contemporary Art: Evening & Day Sale Hong Kong.

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Known as the reigning prince of contemporary painting, Jonas Wood navigates the boundaries between the strange and the familiar, exploring the emotional nuance of everyday sights. He has held solo exhibitions at prestigious institutions, such as the Dallas Museum of Art, and his works have been collected by the Guggenheim and Hammer museums. He is represented by Gagosian Gallery, which presented their first solo exhibition of his works in 2015.

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Wood’s distinctive reinterpretation of domestic spaces and objects are among his most desired works. The present lot Punch and Judy demonstrates his ability to infuse ordinary subjects with personal significance while also engaging with art historical traditions. The work showcases his signature approach to spatial composition, where realistic elements are transformed through flattened perspectives and deliberate distortions of form.

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George Condo

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George Condo, Blues in F (detail), 2021. Modern & Contemporary Art: Evening & Day Sale Hong Kong.

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George Condo’s Blue Paintings series serves as a springboard for his ongoing exploration of music and painting’s intricate relationship. "These works are like visualized blues compositions — improvisation within a structure. You have to master all the technical rules, then deliberately break them,” Condo explains. “Those 'wrong' brushstrokes often become the most authentic, just like how 'off-notes' in blues music make its soul.”

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Equally rich in visual and sonic allusions, Blues in F has a palette that not only references the melancholy quality of blues music but, through subtle gradations and contrasts, creates visual melodic lines that contain tonal shifts of color. Condo's understanding of the relationship between music and visual art is remarkably nuanced — he can speak with equal authority about the relationships between Monet and Debussy's Impressionism, German Expressionist art and twelve-tone music, or Pollock’s Abstract Expressionism and the jazz of Miles Davis.

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Georg Baselitz

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Georg Baselitz, Hinterglasvogel, 1997. Modern & Contemporary Art: Evening & Day Sale Hong Kong.

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Executed in 1997, Hinterglasvogel (Bird Behind Glass) exemplifies Baselitz’s distinctive inversion technique. At first glance, the artwork appears to be an abstract composition — a chaotic background filled with gestural strokes of purple, white, and yellow converges toward the center, where vibrant yellow takes center stage, framed by swirling violet eddies in the corners. The energetic brushwork and fluid forms suggest a non-representational piece — until the canvas is rotated 180 degrees. Suddenly, the chaos comes together. Jagged lines transform into the sharp contours of a bird’s beak, wings, and talons. The bright yellow shifts to reveal the creature’s plumed breast, unveiling a silhouetted bird perched precariously on a rail.

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As a prominent figure in the contemporary art scene, Georg Baselitz has been celebrated globally through major exhibitions at prestigious institutions, with a particular resonance in the German-speaking world. Some of his recent exhibitions include Georg Baselitz: Late Work (2023, Kunsthaus, Zurich ), 100 Drawings (2023, Albertina Museum, Vienna), and Nackte Meister (2023, Kunsthistorisches Museum Wien, Vienna). In addition, Baselitz’s work is also among the permanent collection of many public institutions, such as Centre Georges Pompidou, Paris; the Fondation Beyeler, Basel; the Museum Ludwig, Cologne; the Museum of Modern Art, New York; the Metropolitan Museum of Art, New York; the Fisher Collection at the San Francisco Museum of Modern Art, California; the Solomon R. Guggenheim Museum, New York; the Städel Museum, Frankfurt; and the Tate Modern, London.

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Scott Kahn

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Scott Kahn, Reflecting in the Wilderness, 2005. Modern & Contemporary Art: Evening & Day Sale Hong Kong.

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The American painter Scott Kahn is known for his singular aesthetics, which descend from a Modernist legacy. He masterfully merges magical realism with lived experience and engages nature with imagination and personal memory. Reflecting in the Wilderness stands out as a stellar example of his desire to revisit his own work, drawing upon his monumental 1984 work In the Wilderness, recently offered at Phillips New York. With a delicate sense of isolation and serenity, this work conjures a surreal and dreamlike spatiality, as if abstracting the original painting into an undefined, subconscious realm, infused with ephemeral and intangible emotions.

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Scott Kahn was born in 1946 in Springfield, Massachusetts. After receiving his BFA from the University of Pennsylvania in 1967, he went on to obtain an MFA from Rutgers University in 1970, followed by further studies at the Art Students League. There, he was mentored by Theodoros Stamos and met many of the first-generation Abstract Expressionist artists, such as Mark Rothko. His refined technique and distinctive repertoire have received international recognition and critical acclaim over the years, earning him a Pollock-Krasner Foundation award in 1986 and 1995, as well as a fellowship at the Edward F. Albee Foundation. His work has also been honoured in numerous major private and public collections, such as that of the University of Pennsylvania.

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In July 2021, Almine Rech gallery announced its exclusive representation of Kahn following its online solo exhibition of his works, One by One: Scott Kahn. Following an endorsement from the late Matthew Wong in 2018, collector interest in Kahn’s work has rapidly increased, and this demand shows no signs of slowing.

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Discover more from Modern & Contemporary Art: Evening & Day Sale Hong Kong >

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\n","2025-05-19T21:06:44.000000Z","https://www.phillips.com/article/158523575/looking-beyond-the-moment-contemporary-art-auction-hong-kong-may-2025",3,5007,4968,158523575,"https://flockler.com/thumbs/sites/889/hk-lead-ecde4d5d-53bd-4487-9bb3-92b7abd7ad24-06bb255a-7b54-458f-8059-e32834770466_s600x0.jpg","八件精選拍品彰顯當代中國藝術家的創意視野，即將於富藝斯香港拍賣隆重呈獻。","聚焦蓬勃綻放的中國當代藝術","

韋嘉《説再見 VI》2007年作。《現代及當代藝術：晚間和日間拍賣》。

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過去半世紀以來，中國當代藝術呈現的多樣性與活力令人印象深刻，不論在全球影響力或藝術家聲譽方面，皆取得顯著進展。從具象到抽象、從觀念至寫實，不同風格的創作共同構成一場描繪文化變遷的視覺探索，其深層意涵正待我們仔細發掘。

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富藝斯誠邀閣下細賞來自富藝斯香港《現代及當代藝術：晚間和日間拍賣》的八件焦點拍品，領略中國當代藝術創作的多元面貌。

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韋嘉

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韋嘉《説再見 VI》2007年作。《現代及當代藝術：晚間和日間拍賣》。

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甫一觀賞韋嘉的作品《說再見 VI》，目光首先被畫中象徵著智慧與孤獨的巨大貓頭鷹背影所吸引。筆觸與陰影極具質感，彷彿將這隻貓頭鷹推向觀者眼前，使我們感受到牠我並肩而立，共同凝望遠方。畫面的分層佈局使觀者意識到這幅技藝精湛的作品，實則描繪了情感釋放、個人成長與由此而生的疏離感。韋嘉曾坦言，這幅作品投射了他「孤傲的俠客」的心境——那是一種對過往遺憾已然釋懷，卻仍帶著淡淡疏離感的超然狀態。

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韋嘉1975年出生於成都，是為人熟知的中國當代藝術家。他目前居住與工作於重慶，並擔任四川美術學院副院長。在1999年，韋嘉取得了北京中央美術學院版畫系學位。在2003年至2004年間，韋嘉開始嘗試使用壓克力顏料進行繪畫，使他將版畫作品製作手法元素融入畫作之中，從而創造出兩種媒材獨一無二的融合。

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2024年12月至2025年3月，藝術家於北京松美術館舉辦了迄今爲止最大規模的個展〈韋嘉：醉與夢〉，完整展出了他早期至今共80件作品，創作脈絡一氣呵成，獲得極大回響。上海龍美術館、油罐藝術中心、余德燿美術館以及北京松美術館、順德和美術館、法國DSL藏品以及澳大利亞白兔畫廊均收藏其作品。

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賈藹力

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賈藹力《未命名》2008年作。《現代及當代藝術：晚間和日間拍賣》。

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賈藹力1979年生於中國丹東，是中國新一代藝術家中的領軍人物，其創作實踐既挑戰繪畫的邊界，又融合藝術史傳統與當代存在主義的哲思。在《未命名》中，賈藹力再現了噴射發動機，與前方的白色小人構成權力關係的視覺隱喻——前者是技術理性的具象化，後者則是被規訓的肉身標本。賈藹力巧妙地將個人記憶編織進集體創傷的經緯——噴射發動機從「翱翔藍天的心臟」蛻變為鏽蝕的金屬骸骨，恰似東北產業工人從「共和國長子」淪為「工業棄兒」的隱喻。

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畢業於魯迅美術學院的賈藹力，在2007年舉辦個展〈瘋景〉後獲得國際矚目，2008年11月創作的史詩級作品《世紀兒》更奠定其融合社會主義現實主義技法與道家玄學思想的獨特風格。過去十年間，賈藹力的作品陸續於新加坡美術館（2012）、威尼斯葛拉西宮劇場（2015）、西班牙馬拉加當代藝術中心（2017）等重要機構展出。2019年於高古軒畫廊的個展，特別呈現其《奏鳴曲》系列作品，展現藝術家最新突破。近年重要展覽包括：上海西岸美術館《靜默長假》（2020）、馬凌畫廊《綿延：變動中的中國藝術》（2020），以及馬拉加當代藝術中心《賈藹力》回顧展（2017）。

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王光樂

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王光樂《無題 20070812》2007年作。《現代及當代藝術：晚間和日間拍賣》。

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對於王光樂而言，光與時間是同一維度的兩個面向。他的創作深受過程導向，透過層層堆疊的筆觸，構築出閃耀而多為單色的畫面，看似平坦，卻蘊藏無盡深度——觀者可凝視許久，仍難以窺其盡頭。《20070812》正是以上手段對於時間流逝、光色現象、以及精神修行之執念的完美縮影。

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王光樂1976年生於福建，被認為是中國觀念和抽象繪畫的先驅。他於2000年畢業於北京中央美術學院。2003年，他與一眾中央美術學院畢業生創立N12藝術團體，帶領新一代中國藝術家，致力探索社會現實主義美學之外的所有可能性。

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他的近期個展包括：〈王光樂〉（2024年，首爾佩斯畫廊）、〈道路〉（2025年，上海復星藝術中心）、〈褪色〉（2022年，倫敦佩斯畫廊）。王光樂的作品被多個重要公共收藏機構收藏，如香港M+視覺文化博物館、上海龍美術館、邁阿密魯貝美術館、東京當代美術館等。

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梁遠葦

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梁遠葦《生活的片斷9》2006–2007年作品。《現代及當代藝術：晚間和日間拍賣》。

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梁遠葦擅於從日常細節中挖掘深意，將理性的觀察轉化為令人驚豔、時而帶有實驗性的創作，總能令觀者駐足再看一眼。《生活的片斷》系列標誌著她的語彙簡化，專注於日常生活的細微之處與勞作本身的探索。

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遠觀《生活的片斷》，畫面呈現柔和漸變，表面隱約可見紋理；近看則可發現細緻的棕櫚樹圖案在畫布上律動，讓人聯想到居家壁紙的肌理。創作過程冗長且冥想性十足，藝術家平均每一個部分·需耗時長達八小時完成。這些花紋需先在濕潤底層上刻劃，再逐步填色。畫作高近一米半，如此繁複且精確的實踐，無疑令人讚嘆。

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梁遠葦1977年生於西安，是中國最具影響力的當代女性藝術家之一。她的近期個展包括：〈五色土〉（2024–2025年，北京外交公寓12號空間）、〈共棲之舟〉（2024–2025年，舟山美術館）、〈梁遠葦〉〈2022年，北京公社）。梁遠葦的作品已被香港M+美術館和上海龍美術館等納入收藏。

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馬軻

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馬軻《戲劇》2012年作。《現代及當代藝術：晚間和日間拍賣》。

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馬軻1970年生於山東淄博，現居北京，自幼受父親啟蒙，修習傳統中國油畫與俄羅斯社會寫實主義，藝術之路由此展開；後於天津美術學院及中央美術學院深造，逐步融合西方現當代藝術的影響，發展出一套兼容傳統與當代的獨特視覺語言。馬軻現今以具象表現手法，探索個人身份與集體文化。

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在其創作之中，從點、線、筆觸至色塊等基本視覺構成元素皆被重新詮釋，轉化為富含張力的語彙，構建出一種映照自我感知的現實空間。當前拍品所描繪的主題，正是藝術家持續耕耘的沃土。畢竟，劇場本身便是一種建構的現實，其中觀眾與演員之間的視線交織，亦恰如我們日常對「現實」的反覆審視與自我映照。

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馬軻的近期個展包括：〈馬軻：當代中國繪畫〉（2024–2025年，莫斯科現代美術館）、〈西遊記與變形記〉（2022–2023年，北京偏鋒畫廊）、〈西遊〉〈2022年，德國慕尼黑Rüdiger Schöttle畫廊）。

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閆冰

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閆冰《蘑菇第30號》2020年作。《現代及當代藝術：晚間和日間拍賣》。

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閆冰1980年生於中國甘肅貧困山區，憑藉藝術天賦於2000年代初進入北京的藝術學府。步入所謂的藝術殿堂後，經歷生存的現實，因為太過貧窮而輕易被深深刺痛的時刻，回憶道：「我看到貧窮的繁華，也看到繁華的貧窮。」藝術家由此開始將自身經歷轉化為創作素材，將西北人日常生活的重要組成部分，從中提煉出樸素的精神性，成為原始繪畫實踐之核心。他克制的色調和宏偉的構圖喚起一種永恆的、幾乎神聖的品質，將個人歷史與更廣泛的存在主題連接起來。

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「蘑菇」是閆冰創作中「破土而出」的靈光時刻，也是重要的轉向節點，由「土豆」系列推衍而來，進一步深化了他對記憶、勞動與鄉土生活的心理層面探討。此系列源於藝術家某次偶然重逢童年時在市集購買過的蘑菇所引發的記憶衝擊。「蘑菇」系列中，許多蘑菇被採摘後懸置於畫面、姿態鬆散自由、更強調形式與氛圍感；與多數作品不同，《蘑菇第30號》與土壤相接處被細細描繪，紮實而富有力量，喚起藝術家家鄉、西北漢子特有的粗獷和細膩氣質。

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閆冰2007年畢業於北京中央美術學院油畫系第三工作室，現居住並工作於北京。他近期的個展包括：〈閆冰：梨花白了〉（2022年，廣東美術館）；〈閆冰：突然，一切清晰了起來〉（2021年，上海香格納畫廊）；〈蘋果園〉（2024年，上海START美術館）。

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夏禹

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夏禹《成功之塔》2019年。《現代及當代藝術：晚間和日間拍賣》。

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夏禹透過其標誌性的蛋彩畫媒介描繪了當代都市生活的面貌，創造出粉質厚重不透明感，使得畫面展現褪色照片的視覺效果。這種在具體與虛無之間游移的張力，可與格哈德·里希特（Gerhard Richter）的「照片繪畫」形成對話。但不同於里希特強調攝影中機械主導的特點，夏禹筆下的人物形象卻因其虛幻特質反而煥發出奇異的溫度與人性的微光。例如在《成功之塔》中，藝術家審視身份的視覺標誌，以及我們在社會中所扮演的角色，揭示其脆弱本質，並指出影像的力量幾乎能夠揭露一切。

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他的近期展覽包括：〈夏禹：虛擬語氣〉（2019年，深圳，此次拍品在此展出）、〈浮光與沉璧〉（2023年，松美術館）、〈光芒湧入〉（2024年，香港K11 MUSEA）。

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丁士倫

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丁士倫《爭執（仿《仙女》）》2021年作。《現代及當代藝術：晚間和日間拍賣》。

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「我將畫中所有的人物視為我自己的化身，他們都在講述關於我的故事。」—— 丁士倫

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丁世倫的創作在日本漫畫、西方流行文化與中國傳統的視覺語彙之間自如穿梭，而《爭執（仿《仙女》）》是丁士倫學生時期的重要探索，畫面所形成的古典與超現實之間的視覺張力正是他個人風格的萌芽。浪漫芭蕾舞劇《仙女》（La Sylphide）是同類型劇場的先鋒作品，講述了人類與精靈之間無法觸碰的悲劇。在丁士倫的重新詮釋中，這悲劇被轉化為另一種張力——兩個角色靠得極近，卻被無形的力量束縛，近在咫尺卻無法相通。畫中人物的身體被拉長，背部折疊成近乎九十度的角度，扭曲的姿態釋放出焦慮、慾望與抵抗。

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丁士倫1998年出生於廣州，目前於廣州和倫敦兩地居住與工作。2025年3月，邁阿密當代藝術學院隆重呈獻丁世倫於美國的首次個展〈丁世倫：傑納斯〉。其他重要個展包括：〈海市蜃樓〉（2024年，倫敦Bernheim 畫廊）、〈邀請：丁世倫〉（2023年，倫敦Zabludowicz 收藏館）、〈天堂〉（2022年，蘇黎世Bernheim 畫廊）。

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瀏覽《現代及當代藝術：晚間和日間拍賣》香港拍賣詳情 >

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\n","2025-05-17T09:16:37.000000Z","https://www.phillips.com/article/158646976/chinese-contemporary-art-is-thriving-hong-kong-auction-may-2025-cn",2,5006,4967,158646976,"https://flockler.com/thumbs/sites/889/short-ride-lead-image-e7e6534b-15b1-4939-b597-6d651d522d0c_s600x0.jpg","On the rapid transformation in art from the 1990s to now.","Art's Ever-Evolving Forms","

Nam June Paik, TV SERVICE ROBOT, 1997. Modern & Contemporary Art: Evening & Day Sale Hong Kong.

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It’s hard to find a buzzier word these days than “innovation.” Often used to describe the warp-speed advancement of recent technologies and the fortunes that came with it, there’s another angle worth considering. Namely, what does innovation mean in art?

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Artists have long taken advantage of technological innovations in their practices, incorporating new materials and mediums, or utilizing forgotten technologies in creative ways that question our assumptions about these tools and ourselves. They’ve also innovated in a deeper way, pushing the field of visual art forward conceptually and aesthetically. In the differences and subtleties between these approaches, we find a wellspring of creativity, expression, and invention — often within a single work.

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Here, glimpse the confluence of creativity and innovation within works in our upcoming Modern & Contemporary Art: Evening & Day Sale in Hong Kong.

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Nam June Paik

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Nam June Paik, TV SERVICE ROBOT, 1997. Modern & Contemporary Art: Evening & Day Sale Hong Kong.

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In this 1997 work, Korean artist Nam June Paik — the father of video art — looks back at earlier innovations to investigate the pace with which technology renders itself obsolete. Cast as a humanoid-robotic form, the work forges a connection with viewers and their sense of their own bodies, but it also encourages us to consider our own role in the demise of the technologies we create and use.

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The screens display passages from the film Merce by Merce by Paik — a tribute to choreographer Merce Cunningham and the avant-garde master Marcel Duchamp. Paik himself is seen in these videos alongside collaborators, including Cunningham, John Cage, Jasper Johns, and Shigeko Kubota, as they raise questions about art, life, and time. Tying it all together, Paik’s manipulations of this footage cause these ideas to be layered upon themselves and transformed.

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From our vantage point today, Paik’s exploration of technology’s inevitable obsolescence rings with poignancy. For example, the glowing clock in this work was salvaged from the kind of New York City technology repair shop that no longer exists, and the old radio and television tubes that adorn the work are now difficult to find.

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David Hockney

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David Hockney, The Arrival of Spring in Woldgate, East Yorkshire in 2011 (twenty eleven) - 14 May, 2011. Modern & Contemporary Art: Evening & Day Sale Hong Kong.

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David Hockney’s iPad drawings showcase the artist’s unique willingness to apply his traditional artistic techniques to new technologies, opening the opportunity for new discoveries. Hockney explains: “Until I saw my drawings replayed on the iPad, I’d never seen myself draw.” This work, dating from 2011, was on the cutting edge of the era, as the iPad had only been released the year prior.

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Drawing on an iPhone or iPad is now part of Hockney’s daily practice — he often draws flowers each day and sends them to friends electronically. For Hockney, the innovation of the outside world brings a new capacity and dimension to the interiority of his personal Arrival of Spring series, but the artist is quick to point out that the technology itself is not the point for him. “I just happen to be an artist who uses the iPad, I’m not an iPad artist,” he explains. “It’s just a medium.”

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Lee Jin Woo

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Lee Jin Woo, Untitled, 2013. Modern & Contemporary Art: Evening & Day Sale Hong Kong.

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As one of the oldest technologies in the world, Korean Hanji paper dates to the 3rd or 6th century CE. Mineral pigments have been used since ancient times, and charcoal is as old as fire. Perhaps that’s why in Paris-based Korean artist Lee Jin Woo’s hands, these materials feel so timeless, even in such a strikingly contemporary work as 2013’s Untitled.

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By reconsidering these older materials and casting them as part of his contemporary practice, Lee Jin Woo opens a portal to a metaphysical plane. This work feels like a guide map to both the artist’s identity and our own capacities for perception. It shows us how a fresh, contemporary approach to older materials can represent a kind of innovation itself — an urgent message that rings loudly today. And so it comes as no surprise that the artist’s latest solo exhibitions — Inflowing Ground (2025, HdM Gallery, Beijing) and Lee Jin Woo (2024, White Cube, Hong Kong) — have been so well received.

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Anish Kapoor

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Anish Kapoor, Untitled (Organic Green / Apple Red), 2015. Modern & Contemporary Art: Evening & Day Sale Hong Kong.

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Anish Kapoor treats our perception like an object itself, sculpting how we observe form, space, and materiality. Innovation is his starting point, both materially and conceptually, and his 2015 work Untitled (Organic Green / Apple Red) is a prime example. Its use of vibrant colour and mirror-lacquered stainless steel creates a disorienting, upside-down reflection that manipulates our sense of space. Conceptually, the work also explores the dynamic between presence and absence in a manner that innovates beyond traditional sculptural concerns.

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Rashid Johnson

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Rashid Johnson, Untitled Escape Collage, 2017. Modern & Contemporary Art: Evening & Day Sale Hong Kong.

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Rashid Johnson’s innovation stems from his unconventional use of materials and his layered approach to exploring complex themes of identity, history, and cultural anxiety. He often combines a variety of everyday objects and materials that are charged with meaning. To see this, look no further than this 2017 work, Untitled Escape Collage. On a surface comprising ceramic tile, mirror tile, branded red oak flooring, vinyl, spray enamel, oil stick, black soap, and wax, Johnson embeds personal narratives within broader art historical and cultural contexts. This kind of web of associations lies at the heart of his practice, as he explained in a 2019 interview, his work is about “taking cultural materials and then allowing them to perform in very contemporary ways […] allowing them to become abstractions […] or tools […] while still having a really strong signifier relationship to its cultural underpinning and root.”

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Izumi Kato

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Izumi Kato, Untitled, 2022. Modern & Contemporary Art: Evening & Day Sale Hong Kong.

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Izumi Kato’s practice turns everything we know about making art upside down. Famous for his painting approach that eschews brushes in favor of his bare hands, the artist’s hybrid painted sculptures are a defining aspect of his practice, noted for their animalic figures that feel as ancient as they do otherworldly. His material exploration and rejection of traditional tools echo aspects of the Mono-ha group’s focus on material presence, but his approach is unique for its singular and recognizable motif of recurring figures with large vacant eyes.

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Yawanawa and Refik Anadol

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Yawanawa and Refik Anadol, Winds of Yawanawa #882, 2023. Modern & Contemporary Art: Evening & Day Sale Hong Kong.

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Ask any chatbot worth its salt what it thinks of AI art, and it will likely give you a surprising explanation — AI is simply a tool, and like any tool, its impacts can vary widely depending on how it’s used. When the pioneering New Media artist Refik Anadol uses these tools, his works reflect our culture back at us in new ways. They’re less a replacement for human-made art than a tribute to it. The art world has taken notice of his unique approach, evidenced by New York’s Museum of Modern Art’s acquisition of his work Unsupervised — Machine Hallucinations — MoMA, which marked the prestigious institution’s first inclusion of a tokenized artwork in its permanent collection.

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Like that work, which uses generative AI to interpret and transform the art in MoMA’s collection, Winds of Yawanawa merges weather patterns from the Yawanawa’s village in the Amazon rainforest with artworks by young Yawanawa artists. The result is a kind of collaboration between data and people that brings the nuances of Yawanawa culture to a broader audience, both human and otherwise.

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Discover more from Modern & Contemporary Art: Evening & Day Sale Hong Kong >

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Recommended Reading

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Looking Beyond the Moment >

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Chinese Contemporary Art is Thriving >

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Seven Things to Know About Sanyu >

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\n","2025-05-19T18:39:09.000000Z","https://www.phillips.com/article/158746931/arts-ever-evolving-forms-hong-kong-auction",5005,4969,158746931,"https://flockler.com/thumbs/sites/889/short-ride-lead-image-e7e6534b-15b1-4939-b597-6d651d522d0c-5c2b19b1-462f-467f-a993-f4d588a3c1a9_s600x0.jpg","環顧1990年代至今迅疾轉變的藝術形態。","藝術形態的無盡變奏","

白南準《電視服務機器人》1997年作。現代及當代藝術：晚間和日間拍賣。

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當今社會最常被提及的詞彙之一非「創新」莫屬。它往往用來形容近年科技以光速發展所帶來的變革與財富。然而，若將「創新」置於藝術脈絡之中，又將帶來怎樣的意涵？

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藝術家歷來擅長擷取技術進步的成果，不僅融入全新物料與媒介，也經常巧妙地重新激活被遺忘的技術，以挑戰我們對這些工具乃至自身的既定觀念。他們更在觀念與美學層面深耕細作，不斷推進視覺藝術的疆界。在這些不同層次的實踐中，藝術家於一件作品內融合多元路徑，激發出源源不絕的創造力與表現力。

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富藝斯香港《現代及當代藝術：晚間和日間拍賣》將會呈現出創意與開創精神交織而成的豐富圖景，尤見於以下拍品。

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白南準

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白南準《電視服務機器人》1997年作。現代及當代藝術：晚間和日間拍賣。

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在這件1997年作品中，被譽為錄像藝術之父的韓國藝術家白南準回望早期的技術創新，探討科技以驚人速度自我淘汰的現象。作品以機械人形態呈現，不僅與觀者產生肢體感知上的連結，也引導觀者思考我們在上述現象中的創造者與使用者之角色。

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當前拍品播放的是白南準錄像作品《白南準：梅斯 X 梅斯》，也是一部向編舞家梅斯‧康寧漢及前衛藝術大師馬素‧杜尚致敬的影片。白南準本人亦在影像中現身，與康寧漢、約翰‧基治、賈斯培‧瓊斯與久保田成子等合作夥伴一同探討藝術、生命與時間等議題。透過對於素材的操控與重組，白南準將這些思想層層堆疊、再行轉化，呈現作品之中。

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從現今觀點回望，白南準對「技術逃不過被淘汰的命運」之預示格外引人共鳴。例如，作品中閃爍的時鐘來自已消失於紐約街頭的特定修理店，而其餘的古董收音機與電視管，如今也難覓其蹤。

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大衛·霍克尼

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大衛·霍克尼《春至，東約克郡禾德蓋茲，2011年—5月14日》2011年作。現代及當代藝術：晚間和日間拍賣。

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大衛·霍克尼的iPad繪畫展現獨具一格的藝術實踐精神——勇於將傳統繪畫技法應用於當代科技之上，從而開啟一扇全新探索之窗。霍克尼曾言：「我從未真正看過自己作畫，直至到我觀看自己的繪畫過程在iPad上重播。」而這件拍品創作於第一代iPad問世僅一年後的2011年。

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使用iPhone或iPad作畫如今已經成為霍克尼每日創作的一部分——他偶然畫花，然後透過電子方式傳送給朋友。對霍克尼而言，外部世界的技術革新為《春至》系列注入了嶄新的視覺容量與內在深度。然而，霍克尼亦明確指出科技並非他創作的主體，並坦言：「我恰好是一位使用iPad的藝術家，並非所謂的『iPad藝術家』，而iPad對我只是一種媒介。」

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李鎮雨

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李鎮雨《無題》2013年作。現代及當代藝術：晚間和日間拍賣。

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作為全球最古老的技術之一，製造韓紙的歷史可追溯至公元三至六世紀；礦物顏料自古即有，而木炭的使用更與火的發現幾乎同時發生。也正因如此，當這些媒材經由駐巴黎韓裔藝術家李鎮雨的重新演繹，它們依舊有如跨越時代的經典，就如同當前2013年作品《無題》一樣極具當代感。

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李鎮雨在創作中重新審視這些古老媒材，並將其納入當代語境，猶如開啟了一扇通往形而上世界的門扉。這件作品既可被視為通往藝術家個人身分的地圖，也像是一種召喚，引領觀者重新探索自身感知的可能性。透過對於傳統媒材的當代詮釋，李鎮雨傳遞出一種信念：有時重塑古老素材的潛能亦為創新，也迫切明確地回應了當代社會。如此當下之作致令藝術家近期兩場個展——2025年北京HdM畫廊舉辦的〈地中流〉和2024年香港白立方畫廊同名個展——同樣廣獲好評。

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安尼施·卡普爾

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安尼施·卡普爾《無題（有機綠／蘋果紅）》2015年作。現代及當代藝術：晚間和日間拍賣。

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安尼施·卡普爾將感知本身視為一種可被雕塑的對象，重新塑造我們觀看形態、空間與物質性的方式。對他而言，創新是出發點，不論媒材還是觀念層面皆是如此。2015年作品《無題（有機綠／蘋果紅）》即為此一理念的鮮明體現。作品採用鏡面拋光不鏽鋼，結合鮮明色彩，營造出一種顛倒視角的反射效果，使觀者對空間的感知產生錯位與迷失。在觀念層面上，作品進一步探討了「存在」與「不存在」之間的張力，以極具創造性的方式超越我們有關雕塑的慣常思維。

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拉希德·約翰遜

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拉希德·約翰遜《無題逃脫拼貼》2017年作。現代及當代藝術：晚間和日間拍賣。

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拉希德·約翰遜的創新來自於他對物料的非傳統運用與多層次的創作方式，而透過這種手法，他深刻探討身分認同、歷史記憶與文化焦慮等複雜主題。他經常選用日常物件與富含文化意涵的媒材進行創作，並在其中注入強烈的個人敘事與集體歷史交織的張力，而2017年作品《無題逃脫拼貼》正是上乘範例。作品以瓷磚、鏡磚、品牌紅橡木地板、乙烯基、噴釉、油畫筆、黑皂與蠟等媒材構成畫面，而這些元素更承載了個人記憶與文化象徵的多重語境。如此緊密交織的網絡構成其藝術實踐的核心。如他在2019年受訪所言：「取用文化材料，並讓它們以當代表現方式發揮作用……讓它們成為抽象概念……或工具……同時依然緊密聯繫著其文化根基與意涵。」

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加藤泉

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加藤泉《無題》2022年作。現代及當代藝術：晚間和日間拍賣。

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加藤泉的創作實踐顛覆了我們對藝術創作的既有認知。他以捨棄畫筆、直接用手塗抹顏料著稱，而這種混合塗抹的雕塑作品則成為其創作語彙中的代表元素。這些雕塑經常呈現帶有動物性特質的人形，既原始又神秘。在媒材的探索與拒絕傳統工具的層面上，加藤的創作呼應了「物派」對於物料本體性的關注。然而，他的創作語言自成一格，其中最鮮明的標誌便是反覆出現、擁有空洞大眼的人物。

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亞瓦納瓦與雷菲克·阿納多爾

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亞瓦納瓦與雷菲克·阿納多爾《亞瓦納瓦之風第882號》2023年作。現代及當代藝術：晚間和日間拍賣。

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如若問到任何一個稱職的聊天機器人對於人工智能藝術的看法，閣下或許會聽到出人意表的回答：人工智能不過是一種工具，而如同其他工具一樣，它的影響力實際取決於使用者的應用。當新媒體藝術先鋒雷菲克·阿納多爾採用這些工具時，他的作品並非取代人類創作的藝術，而是對其致敬，並以全新方式將我們的文化折射回觀者自身。藝術界已對阿納多爾的獨特方法表示高度關注，其中紐約現代美術館便已將其作品《無監督—機械幻覺—紐約現代美術館》納入館藏，也是該館首件以代幣形式存在的永久藏品。

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如同透過生成式人工智能解讀並轉化紐約現代美術館館藏的《無監督》一樣，《亞瓦納瓦之風》則將亞馬遜雨林中亞瓦納瓦部落的氣候數據與年輕部落藝術家的創作融合。這項作品實現了一種由數據與人類共同完成的協作，不僅將亞瓦納瓦文化的細緻紋理傳遞至更廣泛的觀眾群體，也啟發我們重新思考「觀眾」本身是否只限人類。

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瀏覽《現代及當代藝術：晚間和日間拍賣》香港拍賣詳情 >

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聚焦蓬勃綻放的中國當代藝術 >

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關於常玉的七件事 >

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"I consider all the figures in the paintings as the embodiment of myself…They’re all telling a story about me.”
\n— Ding Shilun

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The Dispute of the ‘Body’: A Stage Play about Perception and Affect

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As a rising star born in the late 1990s, Ding Shilun’s creations often wander between Japanese manga, Western popular culture, and Chinese tradition. The titles of the paintings point to the source of inspiration - the romantic ballet La Sylphide, which premiered in 1832 and tells the tragic story of the unreachable relationship between humans and spirits. In Ding Shilun’s reinterpretation, this is transformed into another kind of tension - two characters standing extremely close, yet bound by invisible forces, near yet unable to connect.

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The Affected Body

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Deleuze, continuing Spinoza’s thought, once proposed: ‘What can the “body–art” do?’ Ding Shilun explores the potential of ‘body–art’ with this painting. The figures’ bodies are elongated, their backs folded at almost a ninety-degree angle; the twisted postures release anxiety, desire, and resistance. The characters’ hands either hold a book or are placed behind their backs, the entire movement frozen in an unfinished moment, neither a beginning nor an end. As Deleuze called the ‘body without organs,’ the figures in Ding Shilun’s work detach from representationalism, becoming a field of distorted forces, challenging normative aesthetics through struggle and generation - they are generators of affect.

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Surrealism on Stage

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This work, completed in 2021, was an important exploration during his student years. The visual tension formed between the classical and the surreal is precisely the germ of Ding Shilun’s personal style. He uses moist and light oil painting brushstrokes, employing dilution and layering to create the translucent texture of traditional Chinese figure painting. The cold grey of the ground, the fur of the squirrel, the strands of hair - all demonstrate exquisite control. Yet this delicacy of the image is deconstructed by modern composition and absurd content, evoking traditional visual experience while playfully questioning its logic.

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A Dialogue with the Art History of Affect

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Ding Shilun’s work goes beyond personal emotional expression; it actively embeds itself in a lineage of art history concerning 'affect.' If Caravaggio’s Boy Bitten by a Lizard captures the truthful instant of pain, then Ding Shilun creates a more complex 'perceptual delay' and 'affective suspension.' The painting uses a black background, with white wrought-iron railings enclosing a closed space. The figures either bow their heads or gaze into the distance, avoiding the viewer’s eyes, cutting off communication. If Munch’s The Scream materialises loneliness through swirling colours, then Ding Shilun lets the image itself bear the process of emotional production and dissolution. The characters’ weightless bodily movements detach from functional direction, generating unease between softness and strangeness. The bodies in the painting transcend individual experience, transforming into nodes of flowing image power, bearing conflict and guiding the viewing path. Affect here is no longer surface emotion but a perceptual movement resonating between viewer and image.
\n

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\"\" — Caravaggio, *Boy Bitten by a Lizard*, 1593–1594
\nNational Gallery, London
\nImage: Giorgio Morara / Alamy Stock Photo

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This work leads us into a seemingly familiar ballet scene, but we quickly discover the collapse of logic and the slippage of meaning within. The stage no longer carries narrative but becomes a 'monument' of sensation. Ding Shilun, with delicate brushwork and absurd arrangement, allows the body to explode with dynamism in stillness, to release freedom within constraint, ultimately asking: how do we redefine the possibilities of the body through art?

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Collector’s Digest

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Since completing his MA at the Royal College of Arts, London, in 2022, Ding Shilun has been the subject of several solo shows internationally, notably at ICA Miami in 2024, at Zabludowicz Collection in London, at Bernheim Gallery in Zurich and London.
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His works are in the collections of renowned public and private institutions such as The Institute of Contemporary Art, Miami; The Nancy A. Nasher and David J. Haemisegger Collection of Contemporary Art, Dallas; High Museum of Art, Atlanta; Albertina Museum, Vienna; Museu Inima De Paula, Belo Horizonte, Brazil; Asymmetry Art Foundation, London, or Dallas Museum of Art, Dallas.

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Wei Jia

Wei Jia, Say Goodbye VI, 2007. Modern & Contemporary Art: Evening & Day Sale Hong Kong.

Jia Aili

Jia Aili, Untitled, 2008. Modern & Contemporary Art: Evening & Day Sale Hong Kong.

Wang Guangle

Wang Guangle, Untitled 20070812, 2007. Modern & Contemporary Art: Evening & Day Sale Hong Kong.

Liang Yuanwei

Liang Yuanwei, Piece of Life 9, 2006–2007. Modern & Contemporary Art: Evening & Day Sale Hong Kong.

Ma Ke

Ma Ke, Theatre, 2012. Modern & Contemporary Art: Evening & Day Sale Hong Kong.

Yan Bing

Yan Bing, Mushroom No. 30, 2020. Modern & Contemporary Art: Evening & Day Sale Hong Kong.

Xia Yu

Xia Yu, The Tower of Triumph, 2019. Modern & Contemporary Art: Evening & Day Sale Hong Kong.

Ding Shilun

Ding Shilun, The Dispute (After La Sylphide), 2021. Modern & Contemporary Art: Evening & Day Sale Hong Kong.

赫南·巴斯

赫南·巴斯《案例研究（哈維，手相師/手套收藏家）》2014年作。現代及當代藝術：晚間和日間拍賣。

喬納斯·伍德

喬納斯·伍德《潘奇與朱迪》2015年作。現代及當代藝術：晚間和日間拍賣。

喬治·康多

喬治·康多《F藍調》2021年作。現代及當代藝術：晚間和日間拍賣。

喬治·巴塞利茲

喬治·巴塞利茲《玻璃彩繪鳥 II》1997年作。現代及當代藝術：晚間和日間拍賣。

斯科特·卡恩

斯科特·卡恩《在野外的影射》2005年作。現代及當代藝術：晚間和日間拍賣。

Hernan Bas

Hernan Bas, Case Study (Harvey, Palmist/glove collector), 2014. Modern & Contemporary Art: Evening & Day Sale Hong Kong.

Jonas Wood

Jonas Wood, Punch and Judy, 2015. Modern & Contemporary Art: Evening & Day Sale Hong Kong.

George Condo

George Condo, Blues in F (detail), 2021. Modern & Contemporary Art: Evening & Day Sale Hong Kong.

Georg Baselitz

Georg Baselitz, Hinterglasvogel, 1997. Modern & Contemporary Art: Evening & Day Sale Hong Kong.

Scott Kahn

Scott Kahn, Reflecting in the Wilderness, 2005. Modern & Contemporary Art: Evening & Day Sale Hong Kong.

韋嘉

韋嘉《説再見 VI》2007年作。《現代及當代藝術：晚間和日間拍賣》。

賈藹力

賈藹力《未命名》2008年作。《現代及當代藝術：晚間和日間拍賣》。

王光樂

王光樂《無題 20070812》2007年作。《現代及當代藝術：晚間和日間拍賣》。

梁遠葦

梁遠葦《生活的片斷9》2006–2007年作品。《現代及當代藝術：晚間和日間拍賣》。

馬軻

馬軻《戲劇》2012年作。《現代及當代藝術：晚間和日間拍賣》。

閆冰

閆冰《蘑菇 第30號》2020年作。《現代及當代藝術：晚間和日間拍賣》。

夏禹

夏禹《成功之塔》2019年。《現代及當代藝術：晚間和日間拍賣》。

丁士倫

丁士倫《爭執（仿《仙女》）》2021年作。《現代及當代藝術：晚間和日間拍賣》。

Nam June Paik

Nam June Paik, TV SERVICE ROBOT, 1997. Modern & Contemporary Art: Evening & Day Sale Hong Kong.

David Hockney

David Hockney, The Arrival of Spring in Woldgate, East Yorkshire in 2011 (twenty eleven) - 14 May, 2011. Modern & Contemporary Art: Evening & Day Sale Hong Kong.

Lee Jin Woo

Lee Jin Woo, Untitled, 2013. Modern & Contemporary Art: Evening & Day Sale Hong Kong.

Anish Kapoor

Anish Kapoor, Untitled (Organic Green / Apple Red), 2015. Modern & Contemporary Art: Evening & Day Sale Hong Kong.

Rashid Johnson

Rashid Johnson, Untitled Escape Collage, 2017. Modern & Contemporary Art: Evening & Day Sale Hong Kong.

Izumi Kato

Izumi Kato, Untitled, 2022. Modern & Contemporary Art: Evening & Day Sale Hong Kong.

Yawanawa and Refik Anadol

Yawanawa and Refik Anadol, Winds of Yawanawa #882, 2023. Modern & Contemporary Art: Evening & Day Sale Hong Kong.

白南準

白南準《電視服務機器人》1997年作。現代及當代藝術：晚間和日間拍賣。

大衛·霍克尼

大衛·霍克尼《春至，東約克郡禾德蓋茲，2011年—5月14日》2011年作。現代及當代藝術：晚間和日間拍賣。

李鎮雨

李鎮雨《無題》2013年作。現代及當代藝術：晚間和日間拍賣。

安尼施·卡普爾

安尼施·卡普爾《無題（有機綠／蘋果紅）》2015年作。現代及當代藝術：晚間和日間拍賣。

拉希德·約翰遜

拉希德·約翰遜《無題逃脫拼貼》2017年作。現代及當代藝術：晚間和日間拍賣。

加藤泉

加藤泉《無題》2022年作。現代及當代藝術：晚間和日間拍賣。

亞瓦納瓦與雷菲克·阿納多爾

亞瓦納瓦與雷菲克·阿納多爾《亞瓦納瓦之風第882號》2023年作。現代及當代藝術：晚間和日間拍賣。

閆冰《蘑菇第30號》2020年作。《現代及當代藝術：晚間和日間拍賣》。

1

Ding Shilun

The Dispute (After La Sylphide)

Further Details

Full-Cataloguing

Ding Shilun