Untitled 2013.14

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  • Condition Report

  • Provenance

    Acquired from the above by the present owner

  • Exhibited

    London, Pace, Liang Yuanwei: The Tension between a Bow and an Elephant, 21 March - 26 April 2014

  • Catalogue Essay

    Liang Yuanwei is one of China’s most influential young contemporary artists. Born in Xian in 1977 and based in Beijing, she is best known for her richly textured impasto canvases of intricately flowered cloth, an intimate artistic practice underpinned by her rich knowledge of both Chinese and Western art history.

    A graduate of Beijing’s renowned Central Academy of Fine Arts, Liang was a founding member of N12, a young Chinese art collective dedicated to exploring “all possibilities beyond the rules of the Academy” and motivated by a desire to break away from the rigid traditions of representational painting. Forbidden to study Fine Art by her father, who feared an unpredictable and unhappy life as an artist for her, she graduated instead from the School of Design, an unconventional path which would later prove key to forming her unorthodox approach to art.

    Persuading other students to show her how to stretch a canvas, Liang became a self-taught painter. She was introduced to the radical ideas of the German Fluxus conceptual artist Joseph Beuys in 1995 by some of the Central Academy tutors who had just returned from Berlin. Liang began working with found objects and non-art materials in her developing practice as an installation artist, and grew to realise that the ideas underpinning her work were as important as the media and techniques used. She explained: “Art practice is like building houses, where different people use many different materials and construction methods. My paintings are my own little universe of materials, purposes and techniques” (Liang Yuanwei, quoted in Luise Guest, ‘Between Fear And Trust: The Art Of Liang Yuanwei’, Culture Trip, 29 December 2016, online).

    The evolution of the present work, Untitled 2013.14, can be traced back to Liang’s first solo show, held at Boers-Li Gallery in 2008, where Liang unveiled a cycle of paintings each entitled Piece of Life. Pieces of fabric were collected from friends and relatives, some with a personal significance and others of a deliberately banal nature, for example clothing, furniture, curtains or fabric samples. Working slowly and laboriously in vertical five-centimetre strips - each requiring up to 12 hours of work - Liang painstakingly recreated the colours, patterns and textures of these fabrics. Like fellow N12 artist Wang Guangle, Liang adopts a predominantly conceptual and process-based approach to painting, taking approximately a month to complete each piece.

    Oil paints are applied with alternately delicate and forceful brushwork; thickly-applied layers of paint are scraped and overlaid with contrasting paints to form undulating peaks and valleys across each painting. With a deliberate and controlled sculptural sensibility, Liang constructs layered and textured surfaces that meditate on the nature of process, labour, repetition and chance in artistic creation, a tribute to the Chinese literati painters whose expressive works ‘borrowed’ shapes and forms as means to ‘satisfy the heart’. Liang commented: “In my own creative practice I imitate the world, thereby understanding the world, in order to create the world” (Liang Yuanwei, quoted in the exhibition press release for London, Pace Gallery, Liang Yuanwei: The Tension between a Bow and an Elephant, March – April 2014). Painted after almost a decade of oil painting, Untitled 2013.14 displays a subtle evolution in Liang’s work, with a confidence and complexity in composition and execution. The top half resembles a rich, supple and iridescent brocade, which progresses into darker visual relief at the bottom.

    Akin to the Rudolf Stingel’s iconic series of resplendent silver carpet paintings, Untitled 2013.14’s large scale and visual depth allows it at once to function as a self-reflexive object of reflection as well as a space for reflection. Liang’s paintings speak of the female experience and the unsung labour of generations of women across the East and the West, an homage to the groundbreaking work of women such as the Bauhaus textile artist Anni Albers, who blurred the line between traditionally ‘domestic arts’ such as weaving and contemporary art. Loïc Le Gall, curator at the Centre Pompidou, described Liang’s practice as “penetrated by feelings, combining conceptual rigour with an expression of intimacy” (Liang Yuanwei: Behind the Curtain, exh. cat., K11 Art Foundation and Palazzo Pisani, Venice, 2017, n.p.).

    Liang represented China at the 54th Venice Biennale, in 2011. She has been the subject of solo exhibitions at the Boers-Li Gallery, Beijing (2008), Beijing Commune (2010 and 2013) and K11 art Foundation Palazzo Pisani, Venice (2017), and her works have also been included in key publications such as ‘Vitamin P2: New Perspectives in Painting’ and ‘The Chinese Art Book’ by Phaidon Press, and ‘The Generational: Younger than Jesus’ by New Museum, New York.

  • Catalogue Essay



    說服其他學生教她如何拉伸畫布,梁遠葦成為一名自學而成的畫家。1995年,中央美院剛從柏林回來的老師將德國激浪派藝術家約瑟夫.博伊斯的激進想法介紹給她。在她作為裝置藝術家的發展過程中,梁遠葦開始使用現成品和非藝術材質,並逐漸意識到那些支撐她作品的想法與所使用媒介和技巧同樣重要。她解釋說:「藝術實踐就像造房子一樣,不同的人使用不同的材料和建造方法。我的繪畫就是我自己的材料、目的和技巧的小小宇宙」(梁遠葦,摘自Luise Guest,《在恐懼與信任之間:梁遠葦的藝術》,Culture Trip,2016年12月29日,截自網路)。

    本件作品,《無題 2013.14》,其演變過程可以追溯到梁遠葦在在2008年於博而勵畫廊舉辦的第一個個展,梁遠葦呈現了一系列名為《生活的片段》之繪畫作品。從朋友和親戚處收集到的布料,有的具有個人意義,有的刻意的平庸尋常,比如衣服、傢俱、窗簾和織物碎屑。在5公分的垂直長條上緩慢而艱辛地繪畫——每一條需要長達12小時的勞作——梁遠葦用心地將這些布料的色彩、花紋和肌理進行重新創造。與N12的另一位藝術家王光樂一樣,梁遠葦在繪畫上採用觀念主導且強調過程的方法,每一件作品需要花費大約一個月時間來完成。

    以交替柔和與有力的筆法將顏料畫上去;在厚重層疊的顏料上刮擦和用對比色顏料進行覆蓋,在每一幅畫作上形成層巒疊嶂的形式。憑藉雕塑般恣意與控制的敏感,梁遠葦構造出層疊的和具有紋理的平面,來審視藝術創作中的過程、勞作、重複和偶然性的本質,向那些在充滿表現力的作品中通過「借用」形狀和形式作為創作手段來「滿足內心」的中國文人畫家致敬。梁遠葦說:「在創作中,我模仿世界,從而了解世界,最終創造世界。」(梁遠葦,摘自佩斯畫廊倫敦展覽新聞稿,《梁遠葦:弓象之間》,2014年3-4月)。繪於將近十年的油畫創作之後,《無題 2013.14》展現了梁遠葦作品中微妙的演變,在構圖和手法上所具有的信心和複雜性。上半部分如同豐富、柔和、斑斕的錦緞,而到底下則逐漸演變成為色彩較暗的視覺浮雕。

    與魯道夫·斯丁格爾標誌性的華麗銀色地毯系列繪畫有著相似性,《無題 2013.14》的大尺幅和視覺深度使之既可以作為具有反射性的自我反觀物件,又可以充當一個反射的空間。 梁遠葦的繪畫講述了女性的經驗,以及世代的東西方女性的無聲勞作,向包浩斯織品藝術家安妮·阿爾伯斯等女性的開創性創作致敬,後者打破了例如編織等傳統意義上的「家庭藝術」與當代藝術之間的界限。蓬皮杜藝術中心的策展人Loïc Le Gall將梁遠葦的實踐描述為「滲透著情感,結合了觀念上的強烈和個人化的表達」(《梁遠葦:勘玉釧》展覽畫冊,K11藝術基金和Palazzo Pisani,威尼斯,2017年,無頁碼)。

    梁遠葦於2011年代表中國參加第54屆威尼斯雙年展。她曾在北京博而勵畫廊(2008年)、北京公社(2010年和2013年),以及威尼斯K11藝術基金Palazzo Pisani(2017年)舉辦個人展覽,並且她的作品也被收錄在例如费顿出版社出版的《維他命 P2:繪畫新視角》和《中國藝術》,以及紐約新當代藝術博物館出版的《世代:比耶穌年輕》等主要的出版物中。

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Untitled 2013.14

signed with the artist's initials and dated 'LYW. 2013.14' on the reverse
oil on linen
140 x 120 cm. (55 1/8 x 47 1/4 in.)
Painted in 2013.

HK$1,200,000 - 2,200,000 

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Charlotte Raybaud
Head of Evening Sale, 20th Century & Contemporary Art

20th Century & Contemporary Art Evening Sale

Hong Kong Auction 24 November 2019