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香港二十世紀及當代藝術部副專家

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+852 2318 2013

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hinhinwong@phillips.com

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日本藝術家井田幸昌1990 年出生於田園般的海濱小鎮鳥取市。他的作品以日本諺語，「一期一會」的概念為本，刻畫了人一生中千載難逢的一次邂逅，一個不可重複的時刻。此次拍品所屬的《今日終了》系列如藝術家的日記一樣，體現出他對「一期一會」的探索：「每天晚上11 點到凌晨 1 點之間，日期變換之時，我都要畫一幅畫。這是我給自己立下的規定，也是我將系列命名為《今日終了》的原因。」ⁱ

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這個概念強調了生命中時間流逝的雙面性：它雖然殘酷，卻也是淒美的。人生本身就是一場「一期一會」；時間稍縱即逝。我們一生中所遇之人和生活環境都是瞬息萬變的。

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「我們在日本有四個季節。春天時樹上會開滿鮮花，夏天綠葉生機勃勃。這些葉子在秋天會變成金黃色，然後在冬天，所有的顏色都消失了。這個世界的循環是我的概念：『一期一會』的根源；我相信這是人生的普遍真理，也是這個世界的真理。我們經歷的每一刻都是無可取代的、不可能再次經歷的；而這些時刻連接在一起，創造了世界。」

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—— 井田幸昌

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對於井田來說，記憶將生活中的現實轉化為平面的圖像。藝術家希望通過自己的作品去捕捉和投射這些電影般的圖像，彷彿將它們定格在永恆之中。畫中厚塗的顏料和粗糙的紋理將現實的細節掩藏在厚重的筆觸和絢爛的色彩之後。這些作品成功地捕捉住現實世界中的一瞬間，讓觀眾窺探到藝術家未經過濾的情感世界。

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\"\" — 此次拍品以及《今日終了》系列中的其他作品，藝術家 Instagram，2019年1月9日

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井田幸昌的作品被眾多名人收藏，其中包括前澤友作、村上隆、萊昂納多·迪卡普里奧和周杰倫等。藝術家近期的展覽包括〈結晶〉（東京，2020年）和此次拍品參展的〈狂想曲〉（倫敦，2019年）。他目前的個展〈此時此地〉於6月26日在芝加哥的 Mariane Ibrahim 畫廊開幕，並將持續到2021年8月14日。

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ⁱ 井田幸昌引述於〈藝術家訪談：井田幸昌〉，〈streetartnews〉，2020年5月13日，載自網絡

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「我認為我們都會嘲笑別人的痛苦。我們必須要注意一點：當我們在笑的時候，我們是在嘲笑某人或某事。無論是否帶有同情心，這總會有些殘忍。儘管如此，我知道如果我漫畫中的情況在現實中發生了，我根本不會笑。」—— 霍安·科內拉

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網絡紅人霍安·科內拉·巴斯克斯1981年在巴塞羅那出生，以他前兩個名字而廣為人知。他最早將六格形式的漫畫作品發表於 Facebook 上，並以其充滿諷刺意味的藝術作品而聲名鵲起。科內拉作品中的人物面部表情總是千篇一律的僵硬笑容；他採用簡單的視覺語言和大膽濃重的輪廓，讓作品中明亮的色調與內容的黑色幽默形成了鮮明的對比。畫中沒有任何對話，僅用簡單的視覺暗示傳達訊息。

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然而，將科內拉的藝術從血腥轉變為黑色幽默的是故事所表達出的人性。此次拍品中，一個小女孩向她的父親求助，希望他能幫她修理壞掉的黑膠唱片機。絕望的父親用自己的手指作為插頭，將唱片機連接到電源插座上。電流從他的身體穿過，他的頭上也冒出煙霧，臉上鮮血直流。雖然看似痛苦不堪，這位父親卻還是面帶一幅典型的科內拉式笑容。小女孩無視她的要求給他人造成的傷害，十分開心地開始唱歌和跳舞，享受著她的音樂，臉上也有著同樣僵硬的微笑。

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此次拍品的動畫版本：《RECCO》

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《無題 #1》也被製作成六格漫畫和動畫短片，對畫布作品的故事細節進行擴展補充。更為有趣的是，科內拉於 2019 年的父親節當天在 Instagram 上發布了這部漫畫並附言：「父親節快樂」，給作品添上一筆喜劇色彩。

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\"\" — \n
左：藝術家的 Instagram，2019年6月16日，父親節
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右：《無題 #1》的漫畫版本，印於藝術家圖冊《SOT》
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科內拉藝術世界中的各種不合常理的情形在最初雖然會讓人覺得不適，但是隨後這種反應就會被內疚的笑聲所取代。這些作品陶醉在自身的荒謬和不當之中，讓人聯想起同樣為黑色幽默的動畫系列，《開心樹朋友》。這類型的作品意在利用簡單粗暴的故事情節來故意挑釁群眾，喚醒人們心中的情感反應，認清自己心中的底線。然而最重要的是，科內拉想要用這種尖銳的手法批判社會中普遍存在的虛偽、不平等和殘忍的現象。

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霍安·科內拉在巴塞羅那生活和工作；他的作品曾在全球各地展出，其中包括首爾、台北、曼谷、香港、上海、巴黎、紐約和倫敦等。 2016 年 9 月，科內拉為芝加哥樂隊 Wilco 設計了專輯《Schmilco 》的封面，封面圖像受《無題 #1》啟發。

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\"\" — 樂隊 Wilco 的專輯，《Schmilco》，封面由霍安·科內拉設計

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出生於德國的當代畫家馬蒂亞斯·桑切斯現在塞維利亞居住。作品筆觸充滿張力，在抽象和具象之間取得了獨特的平衡，因而廣受推崇。桑切斯在作品中使用厚塗的筆法，像是在塑造泥土一樣，創造出立體厚實的肌理；每一幅作品都刻畫了藝術家腦海中異想天開的世界。

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《戲仿》以明亮的色調和蒼勁的筆觸，描繪了一個雜亂但有趣的場景，是桑切斯的精湛之作。藝術家邀請觀者參加一場猜謎遊戲，一起探索畫中的主題。與此同時，他也曾表明他認為作品的畫面本身比主題更能激發他的創作：

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「最重要的是那幅畫是如何繪製而成，以及它是如何吸引觀眾的。（藝術家）創作過程中對技巧和觀眾視角的把握；觀眾從何處進入畫內，穿過，然後走出來？這些東西能讓藝術作品永不過時。」—— 馬蒂亞斯·桑切斯

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桑切斯從倫勃朗、巴勃羅·畢加索、威廉·德·庫寧和弗朗茨·卡夫卡等藝術和文學大師的作品中汲取靈感，以自己帶有幽默和滑稽式的畫作向前輩們致敬。桑切斯的作品中充滿活力的各種人物形象與這些前輩們有相似之處；《戲仿》中留著濃密的鬍鬚的男士與畫家亨利·馬蒂斯一樣頭戴黑色圓頂禮帽。作品左下方的綠髮舞者像是一個歡快版的DC漫畫小丑。這些角色與畫面中其他露出牙齒的人物和一隻狡猾的老鼠一起形成了一場「視覺上的饕餮盛宴」，體現出桑切斯獨特的創作風格。

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\"\" — 香港 Art Central 藝博會，瓦爾德基興 Zink 畫廊，〈馬蒂亞斯·桑切斯：繪畫之樂〉展覽現場，2021年5月14-28日

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馬蒂亞斯·桑切斯由 Zink 畫廊代理，該畫廊是最早代理奈良美智和哈維爾·卡列哈的畫廊之一。該畫廊在香港2021年 Art Central 藝博會舉辦了桑切斯的個展，大受歡迎。桑切斯在該畫廊的瓦爾德基興的個展也將於2021年7月開幕。桑切斯的作品被西班牙馬拉加現代藝術博物館，南加州大學藝術博物館，西班牙 Benetton 藝術收藏，紐約 S. Goodman 收藏和巴黎 Luc Caurichon 收藏等各私人與公眾機構收藏。桑切斯最新的個展〈一眨眼的功夫〉於7月17日在 Zink 畫廊開幕，並將持續至2021年10月10日。

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ⁱ瓦爾德基興，Zink 畫廊，〈馬蒂亞斯·桑切斯：繪畫之樂〉，2021年5月，載自網絡

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「如果有人問我什麼時候開始或者為了什麼而開始畫畫，那是我無法輕易回答的。我可以說出如何以及在哪裡：用鉛筆和蠟筆，在觸手可及的每一面牆上、在馬哈達洪達的房子外面、在幼兒園的牆壁和行人道上。」—— 艾得佳·普連斯

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西班牙當代藝術家艾得佳·普連斯熱衷於街頭藝術，他的作品生動活潑，主要描繪了藝術家的「動物英雄」卡通人物。藝術家從兒童繪畫中的隨意性和活力中擷取靈感，創作的作品讓人聯想起尚·米榭·巴斯奇亞和賽·托姆布雷作品的風格特征，正如此次拍品中骷髏、骨頭和王冠的圖像等。普連斯將街頭藝術、漫畫書、插圖作品和動畫電影都列為他作品中的主要影響：「我一直喜歡街頭藝術、城市藝術。這種藝術非常自由，就像孩子們創作時一樣。我想將這種力量轉移到我的畫作當中」ⁱ。

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此次拍品《英雄或小人》中描繪了藝術家的標誌性英雄角色以及對漫畫文化中其他的流行人物，例如X 戰警、超人、布魯斯·韋恩（蝙蝠俠）和小丑。普連斯通常將他的個展命名為〈藝術筆記〉，因為他的多數紙上作品，如《英雄或小人》，都代表了大型的筆記本頁面。藝術家由此邀請觀眾與他一起探索他腦海中的思緒。這種放大的格式將內容從簡單的紙上筆記升華為藝術品，將觀眾包圍在他的思想世界之中。

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雖然普連斯筆下的蒙面英雄形象都有著天真、孩子氣的外表，但他們卻代表著更嚴肅和高尚的含義。藝術家希望通過他的作品來對當前社會中的不公和環保問題進行批判：

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「這些動物英雄源於我想要保護環境並譴責人類污染和破壞地球的行為的本意。這些英雄們擁有當今社會正在失去的最簡單的力量：團結、友誼、尊重……而（我想）通過這些動物英雄們的行動，重新引導人們。」—— 艾得佳·普連斯

\n\n

藝術家的這一意圖在此次拍品中也有體現，畫中諸如呼應作品名稱的「英雄或小人」和「喚醒你內心的英雄」等短語呼籲觀眾一起站出來反抗社會上讓人錯誤的行為。

\n\n

近年來，艾得佳·普連斯在國際上越來越受歡迎。他在 Almine Rech 畫廊巴黎 (2021) 和巴塞羅那的(2019) 空間都舉辦了個展，也在香港的 K11 Musea (2021) 和 WAREHOUSE 畫廊（2020）舉辦展覽。普連斯的作品也被 Caixa 基金會、Masaveu 基金會、Illuro 基金會、西班牙阿斯圖里亞斯美術博物館和古巴拉哈瓦那當代藝術博物館等公眾機構收藏。艾得佳·普連斯由巴塞羅那的 Alzueta 畫廊和紐約和莫斯科的 Padre 畫廊代理。

\n\n

ⁱ Edgar Plans 引用於他的藝術家頁面，Almine Rech 畫廊，載自網絡

\n",{"_306":307,"_413":309},{"_295":562,"_297":563,"_85":298,"_299":300,"_56":301,"_302":564,"_336":581,"_338":339,"_340":582,"_342":343,"_344":345,"_346":347,"_348":583,"_350":563,"_351":584,"_353":585,"_355":586,"_87":587,"_357":358,"_359":50,"_360":50,"_361":567,"_267":588,"_363":50,"_364":50,"_365":79,"_366":50,"_367":50,"_368":79,"_369":79,"_492":589,"_370":371,"_372":590,"_374":591,"_376":496,"_378":379,"_380":592,"_386":593,"_388":594,"_393":600,"_54":410,"_411":607,"_82":79},"157188",5,{"_304":565,"_314":568},{"_306":307,"_308":309,"_310":566,"_312":567},150000,100000,[569,571,574,577,580],{"_306":317,"_308":318,"_310":570,"_312":329},14000,{"_306":322,"_308":323,"_310":572,"_312":573},16400,10900,{"_306":327,"_308":327,"_310":575,"_312":576},17800,11900,{"_306":331,"_308":332,"_310":578,"_312":579},19200,12800,{"_306":307,"_308":309,"_310":566,"_312":567},"https://www.phillips.com/detail/maria-farrar/157188","5","1-4U2DDJ","《奶油蛋捲冰淇淋》",21657,"瑪麗亞·法拉","2021-07-30T10:04:00.000000Z",327600,"Filipino","款識：Mf 2018（畫背）","180 x 130 公分 (70 7/8 x 51 1/8 英寸)","都柏林，Mother’s Tankstation畫廊\r\n現藏著購自上述來源","https://assets.phillips.com/auctions/HK090221/157188_001.jpg",[595,596,597,598,599],"https://assets.phillips.com/auctions/HK090221/157188_002.jpg","https://assets.phillips.com/auctions/HK090221/157188_003.jpg","https://assets.phillips.com/auctions/HK090221/157188_004.jpg","https://assets.phillips.com/auctions/HK090221/157188_005.jpg","https://assets.phillips.com/auctions/HK090221/157188_006.jpg",[601],{"_396":79,"_397":398,"_399":602,"_401":402,"_403":603},4399,[604],{"_396":79,"_406":605,"_408":606},6870,"

\"The — 韋恩·蒂博，《展示櫃裡的蛋糕》，2011年作，2019年拍賣成交價8,464,800美元

\n\n

瑪麗亞·法拉的《奶油蛋捲冰淇淋》讓人如若身臨意大利 Pasticcerias（糕點店）和 Gelaterias（冰淇淋店）當中，將他們帶到展示著一系列美味甜點的櫃檯前並刺激著觀眾的感官。此次拍品讓人聯想到韋恩·蒂博類似主題的作品；這可能是受到藝術家在羅馬英國學校的旅居時期所啟發。當時，她於2016年獲得德里克·希爾基金會獎學金。的確，法拉的創作靈感皆來自日常生活或回憶中的片段，而此次拍品也是她對記憶中的羅馬生活場景的寫照。作品的標題指的是一種來自西西里島的傳統意大利甜點——一個塞滿冰淇淋的柔軟奶油蛋捲麵包；在畫作的右上角便可以看到兩件。

\n\n

畫中的櫃檯上精心佈置了各種甜點和糕點，它們粉嫩柔和的顏色十分誘人。法拉更描繪了令人垂涎欲滴的、由櫻桃點綴的黃色奶油多層蛋糕以及一塊塊香濃的巧克力，精緻的圓形綠色開心果，大型奶油蛋糕，和六塊很可能是意大利 Ricciarelli 的杏仁餅乾。在這幅畫的左上角，我們可以看到櫃檯後人物的淡藍色圍裙；她的手由畫筆輕輕勾勒而出，將一杯咖啡放在櫃檯上。藝術家在畫面前方輕盈地勾畫出一條狗的黑白色尾巴以及一條穿著高跟鞋的腿，藉此向觀眾表明他們並不是唯一一個在觀賞這些豐盛點心的人。

\n\n

瑪麗亞·法拉在《奶油蛋捲冰淇淋》中將明亮的顏料直接塗抹在麻布之上，是藝術家2018至2019年期間作品中出色的傑作。這一技巧充分突顯了作品的主題，讓甜點佔據觀者所有的注意力。此外，法拉畫中的筆觸和輪廓如素描般簡單有力，讓人聯想起亞洲書法。法拉將東方書法與西方油畫的技巧和元素融為一體，成就了當前的佳作。

\n\n

此次拍品於 2018 年在倫敦 Frieze 藝博會上由 Mother’s Tankstation 畫廊展出，是藝術家的重要展覽之一。法拉的重要個展包括：2017年5月的〈海峽〉（Mother’s Tankstation 都柏林畫廊），2018年6月的〈屋簷深深〉（Mother’s Tankstation 倫敦畫廊），以及新加坡大田秀則畫廊舉辦的〈回頭已晚〉（2019年）。作為一名藝術界的新星，瑪麗亞·法拉的作品《水手》在2021 年 6 月於香港富藝斯以超出預期的882,000港元成交。瑪麗亞·法拉1988年出生於菲律賓，自幼在日本下關市長大，現在於倫敦生活和工作。

\n\n

\"\" — 瑪麗亞·法拉，《水手》，2016年作，2021年6月7日於香港富藝斯售出，成交價882,000港元

\n",{"_306":307,"_413":309},{"_295":609,"_297":610,"_85":298,"_299":300,"_56":301,"_302":611,"_336":624,"_338":339,"_340":625,"_342":343,"_344":345,"_346":347,"_348":626,"_350":610,"_351":627,"_353":628,"_355":629,"_87":630,"_357":358,"_359":50,"_360":50,"_361":567,"_267":631,"_363":50,"_364":50,"_365":79,"_366":50,"_367":50,"_368":79,"_369":79,"_492":493,"_370":371,"_372":632,"_374":633,"_376":445,"_378":634,"_380":635,"_384":636,"_386":637,"_388":638,"_393":642,"_54":410,"_411":649,"_82":79},"156366",7,{"_304":612,"_314":613},{"_306":307,"_308":309,"_310":420,"_312":567},[614,617,619,622,623],{"_306":317,"_308":318,"_310":615,"_312":616},18600,9300,{"_306":322,"_308":323,"_310":618,"_312":573},21700,{"_306":327,"_308":327,"_310":620,"_312":621},23500,11700,{"_306":331,"_308":332,"_310":433,"_312":579},{"_306":307,"_308":309,"_310":420,"_312":567},"https://www.phillips.com/detail/okokume/156366","7","1-4U2DIS","《宇宙女孩：頭》",23225,"Okokume","2021-07-30T10:05:00.000000Z",403200,"款識：Okokume 2018（畫背）","79 x 90.9 公分 (31 1/8 x 35 3/4 英寸)","2018年作，並附藝術家簽署之JPS畫廊保證書。","香港，JPS畫廊\r\n現藏者購自上述來源","香港，chi K11藝術空間，〈宇宙女孩的到來〉，2018年6月8日-7月2日","https://assets.phillips.com/auctions/HK090221/156366_001.jpg",[639,640,641],"https://assets.phillips.com/auctions/HK090221/156366_002.jpg","https://assets.phillips.com/auctions/HK090221/156366_003.jpg","https://assets.phillips.com/auctions/HK090221/156366_004.jpg",[643],{"_396":79,"_397":398,"_399":644,"_401":402,"_403":645},4359,[646],{"_396":79,"_406":647,"_408":648},6830,"

西班牙藝術家 Okokume，又名 Laura Mas Hernandez，以她的代表性卡通人物宇宙女孩系列而聞名。宇宙女孩是 Okokume 於2015年時所創造出來的人物形象；她所存在的烏托邦 Cosmic World 是藝術家對未來生活的美好想像和寄望。宇宙女孩是一位擁有著一雙閃亮的眼睛、青綠色肌膚和一頭粉紅色長髮的小精靈；她夢幻版的外形源自日本漫畫、美國街頭文化和卡通中的視覺元素。這一系列作品以積極向上和樂觀親切的態度傳遞著正能量，並將觀者帶進一個繽紛絢麗的魔法世界中，也為 Okokume 帶來了人氣和國際藝壇上的人氣和認可。

\n\n

\"\" — Okokume 為此次拍品加上點睛之筆，藝術家 Instagram，2018年

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宇宙女孩在宇宙中穿行，負責在星際中傳遞愛護環境的訊息並幫助有需要的星球恢復生機。作為一隻夢幻可愛的守護精靈，她有著一顆溫暖積極的心。她從外太空來到地球，遇見本地白色皮膚的孩子們，並通過好朋友，一隻叫 Dino 蜥蜴來跟孩子們溝通。為了拯救病懨懨的地球，宇宙女孩召集風、火、水、土四位元素精靈，利用它們的魔法法令地球恢復健康，一起啟發人類創造一個無環境污染的美麗世界。

\n\n

藝術家希望通過她的作品來提高觀眾對當前地球環境狀況的了解和警惕性。為了吸引更年輕的觀眾，Okokume 親自編撰了一本由16幅畫作所組成的插圖故事書（文字由藝術家自己編寫），描繪了宇宙女孩前往地球的經歷，展現出她對於環境保護問題的熱衷。

\n\n

Okokume 1985年生於巴塞羅那，並從著名的西班牙藝術學校 Llotja Advanced School of Art and Design 畢業，現與拍檔 Okrabelo 居於巴塞羅那的工作室。她的作品在近年來備受關注，並曾在世界各地展出，其中包括香港、東京、台北、首爾、洛杉磯和柏林等。2018年，Okokume 於香港K11藝術商場舉行了至今最大型的個人展覽，其中便包括了此次拍品，《宇宙女孩：頭》。Okokume 現與拍檔 Okrabelo 居於巴塞羅那的工作室。

\n\n

\"\" — 此次拍品於〈宇宙女孩的到來〉展覽現場，香港chi K11藝術空間，2018年6月8日-7月2日

\n\n

\n",{"_306":307,"_413":309},{"_295":651,"_297":652,"_85":298,"_299":300,"_56":301,"_302":653,"_336":662,"_338":339,"_340":663,"_342":343,"_344":345,"_346":347,"_348":664,"_350":652,"_351":665,"_353":666,"_355":667,"_87":668,"_357":358,"_359":50,"_360":50,"_361":313,"_267":669,"_363":50,"_364":50,"_365":79,"_366":50,"_367":50,"_368":79,"_369":79,"_492":670,"_370":371,"_372":671,"_374":672,"_376":377,"_378":497,"_380":673,"_384":674,"_386":675,"_388":676,"_393":680,"_54":410,"_411":687,"_82":79},"157770",8,{"_304":654,"_314":655},{"_306":307,"_308":309,"_310":567,"_312":313},[656,658,659,660,661],{"_306":317,"_308":318,"_310":616,"_312":657},7400,{"_306":322,"_308":323,"_310":573,"_312":325},{"_306":327,"_308":327,"_310":621,"_312":329},{"_306":331,"_308":332,"_310":579,"_312":334},{"_306":307,"_308":309,"_310":567,"_312":313},"https://www.phillips.com/detail/todd-james/157770","8","1-4U2DJY","《雞手指》",23903,"托德．詹姆斯","2021-07-30T10:06:00.000000Z",138600,"American","款識：TODD JAMES（右下）；TODD JAMES 2014（畫背）","76.4 x 61.5 公分 (30 1/8 x 24 1/4 英寸)","香港，AISHONANZUKA畫廊\r\n現藏者於2017年購自上述來源","香港，AISHONANZUKA畫廊，〈Afternoon Delight〉，2014年9月12日-10月11日","https://assets.phillips.com/auctions/HK090221/157770_001.jpg",[677,678,679],"https://assets.phillips.com/auctions/HK090221/157770_002.jpg","https://assets.phillips.com/auctions/HK090221/157770_003.jpg","https://assets.phillips.com/auctions/HK090221/157770_004.jpg",[681],{"_396":79,"_397":398,"_399":682,"_401":402,"_403":683},4360,[684],{"_396":79,"_406":685,"_408":686},6831,"

「托德·詹姆斯是一個總是隨著自己的節拍而前進的人。你知道，他總是創作出一些超級有趣的繪畫和素描作品。他將你帶入他自己的世界。」 ——法瑞爾·威廉姆斯

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托德·詹姆斯以 REAS 的名號在紐約的地鐵站裡進行塗鴉，由此開展了他的藝術生涯，並被世人視為典型的美國街頭藝術家。自此，詹姆斯的設計和插畫作品都取得了巨大的商業成功，並與 Pharrell Williams、Eminem、Iggy Pop 和 Beastie Boys 等嘻哈音樂家進行合作。詹姆斯的作品風格粗糙歡快；他以其粗俗暴力的本質為榮，創造出毫無歉意卻引人矚目的作品。

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詹姆斯作品中的構圖、色調和扁平的線條讓人聯想到亨利·馬蒂斯後期的作品，而他選取的鮮豔色彩和作品主題中的流行文化則讓人想起彼得·索爾的超現實主義作品。詹姆斯通過將新與舊、塗鴉與抽象的結合，給觀者提供了一幅擁有無限含義的景觀，讓他們自由探索和闡釋。詹姆斯的作品將塗鴉、商業藝術和傳統藝術界之間的鴻溝連接起來。他的作品中充滿了從新聞和媒體中獲取的圖像，反映出當代信息量的大爆炸。作品畫面將各種以幻想、性、漫畫風格為主的意象結合，形成一出荒誕卡通鬧劇，是藝術家對美國文化的一種致敬。雖然詹姆斯堅持認為他的作品並不帶有批判性，但他作品中反復出現的主題，如裸體女性、坦克和戰鬥機，都暗示了當代社會的陰暗面。

\n\n

\"\" — 此次拍品於〈Afternoon Delight〉展覽現場，香港AISHONANZUKA畫廊，2014年9月12日-10月11日

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此次拍品描繪了曾在藝術家作品中多次出現的角色，Tit Wizard，並在其2014年香港 AISHONANZUKA 畫廊的個展中展出。畫中的人物肢體被重新排列，以供公眾觀賞。它用一雙詼諧的眼睛向觀眾投來質疑的目光，豎立的三角形巫師帽與圓形的胸部將畫面結構簡化為接近抽象的效果。同時，一隻細長的雞爪豎起了中指，像是挑釁一般，展現出詹姆斯的黑色幽默感。

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詹姆斯是《街頭市場》創作者之一，此作品於1999年在費城 ICA 首次亮相，是後塗鴉運動的重要作品。2000年，紐約 Deitch Projects 畫廊也曾展出它的拓展版本。十年以後，洛杉磯當代藝術博物館的開創性〈街頭藝術〉展覽也重新展出此作品。

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\"\" — 《街頭市場》，巴里·麥基、史蒂夫·鮑爾斯和托德·詹姆斯作，〈街頭藝術〉展覽現場，洛杉磯當代藝術博物館於，2011 年

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最近，托德·詹姆斯於2020年在馬德里哈維爾·洛佩茲和弗朗西斯畫廊舉辦了個展，並於2021年3月在紐約羅斯 + 克萊默畫廊舉辦了另一場個展。詹姆斯的繪畫和裝置作品曾在2001年和2015年的威尼斯雙年展中展出。此外，美國加利福尼亞州，舊金山的耶爾巴布埃納藝術中心、賓夕法尼亞州費城當代藝術學院、洛杉磯當代藝術館、和紐約布魯克林博物館都曾展出他的作品。他的作品也被許多重要的私人和公眾機構收藏，其中包括比利時布魯塞爾 MIMA 博物館。詹姆斯目前在紐約生活和工作，由 AISHONANZUKA 畫廊代理。

\n\n

\n\n

\n",{"_306":307,"_413":309},{"_295":689,"_297":690,"_85":298,"_299":300,"_56":301,"_302":691,"_336":709,"_338":339,"_340":710,"_342":343,"_344":345,"_346":347,"_348":711,"_350":690,"_351":712,"_353":713,"_355":714,"_87":715,"_357":358,"_359":50,"_360":50,"_361":694,"_267":631,"_363":50,"_364":50,"_365":79,"_366":50,"_367":50,"_368":79,"_369":79,"_370":371,"_372":716,"_374":717,"_376":718,"_378":446,"_380":719,"_386":720,"_388":721,"_393":724,"_54":410,"_411":731,"_82":79},"156280",9,{"_304":692,"_314":695},{"_306":307,"_308":309,"_310":693,"_312":694},500000,320000,[696,699,702,705,708],{"_306":317,"_308":318,"_310":697,"_312":698},47100,30200,{"_306":322,"_308":323,"_310":700,"_312":701},54500,34900,{"_306":327,"_308":327,"_310":703,"_312":704},59000,37800,{"_306":331,"_308":332,"_310":706,"_312":707},64100,41000,{"_306":307,"_308":309,"_310":693,"_312":694},"https://www.phillips.com/detail/mr/156280","9","1-4U2DL6","《快樂》",3383,"Mr.","2021-07-30T10:07:00.000000Z","款識：Mr. 2016（木底座）；《Happy》 Edition 5/30 （刻於鐵底座）","34 x 17.8 x 17.8 公分 (13 3/8 x 7 x 7 英寸)","聚氨酯漆壓克力強化纖維塑料雕塑\r\nConrian® 鐵木底座","東京，Anzai畫廊\r\n現藏者購自上述來源","https://assets.phillips.com/auctions/HK090221/156280_001.jpg",[722,723],"https://assets.phillips.com/auctions/HK090221/156280_002.jpg","https://assets.phillips.com/auctions/HK090221/156280_003.jpg",[725],{"_396":79,"_397":398,"_399":726,"_401":402,"_403":727},4398,[728],{"_396":79,"_406":729,"_408":730},6869,"

\n\n

Mr. 的《快樂》（2016 年作）是一件由強化纖維塑料、聚氨酯漆和壓克力所製成的彩繪雕塑。作品的人物形象為國際著名的美國歌手、作曲者、唱片製作人、時裝設計師和企業家，法瑞爾·威廉姆斯（Pharrell Williams）。 Mr. 擅於將兒童和青少年以漫畫式的描繪手法呈現出來；他以這些卡哇伊風格的作品而享譽藝術界，並使人聯想到超扁平運動和藝術界巨星，村上隆。

\n\n

Pharrell 不僅是塑造流行文化的引領者，也是一位當代藝術的收藏家和贊助人。長期以來，Pharrell 一直收藏 Mr. 各種慶祝日本青年文化的、色彩鮮豔的作品，與這位藝術家建立了深厚的友情。

\n\n

\n\n

在此次作品中，Mr. 將 Pharrell 變成了他雕塑的主題——作品中 Pharrell 經典的淺頂軟呢帽和領結讓人立即能夠認出這位歌手。此外，作品的名稱源自Pharrell的同名熱門歌曲《快樂》。這首歌自發行以來就掀起一陣文化潮流；它在 YouTube 上的觀看次數超過8.3億次，在音樂媒體網站 Spotify 上的播放量更是超過9.13億次。如此次拍品相同的另一版數作品於2015年在香港巴塞爾藝術展，貝浩登畫廊的展位展出。此作品被村上隆發佈於他的 Instagram，並被 ARTnews 譽為「展會上最引人注目的作品之一」，雖然它體積「不超過一盒牛奶」ⁱ 。就像《快樂》這首歌帶動了全世界數百萬人一起來跳舞一樣，觀眾可以與這個雕塑進行互動：只需輕輕一推，就可以使人物的頭部和臀部擺動。

\n\n

此後，Mr. 和 Pharrell 於2019年在巴黎吉美博物館舉辦了一場名為〈Carte Blanche 致 Mr. 和 Pharrell Williams：「行動呼籲」〉的展覽並大獲成功。他們在展覽中描繪了想象中未來將會接管世界的孩子們，將觀眾帶到另一個由孩子們主導的世界中。在這次由 Pharrell 發起的合作中，兩位藝術家運用漫畫中的圖像作為敘事手法，詢問觀眾希望子孫後代擁有什麼樣的世界，「呼籲」大家行動起來。

\n\n

\"\" — Mr. 和 Pharrell Williams 於他們合作的〈Carte Blanche 致 Mr. 和 Pharrell Williams：「行動呼籲」〉展覽現場，巴黎吉美國立亞洲藝術博物館，2019年7月10 日-9月23日

\n\n

ⁱ 莎拉·道格拉斯，〈Pharrell和快速銷售在香港巴塞爾藝術展繼續〉，〈ARTnews〉，2015年3月16日，載自網絡

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「我創作一直想說的一句話：以小成大。不積小流無以成江海。」—— 陳英杰

\n\n

陳英杰（又名：畫圖男）在作品中結合了中國水墨畫和西方塗鴉的技巧，以充滿觸感和動感的作品構圖來表現出澎湃激烈的情感。他拋棄了東方傳統水墨畫中使用的畫筆，轉而利用自身隨意的肢體動作，採用潑濺和噴灑的創作手法，藉此詮釋出陳式的當代山水意境。

\n\n

此次拍品來自藝術家的《重力》系列；陳英杰在此系列作品中採用更為西式的壓克力和噴漆等材料，創造出一幅充滿張力的生動畫作。藝術家希望通過畫面顏料的噴濺與碰撞來將人類與大自然之間的矛盾和衝突呈現在畫布上：「在大自然面前，人類是如此的微不足道，我們必須要敬畏自然。」2021年1月，陳英杰受上海當代美術館邀請，在上海南昌路創作壁畫作品《自然重力 41》，高達100米，長90米。作品受大自然的啟發，畫面與臨街的梧桐樹融為一體，順應大樹的生長形狀並完美展現出自然的光影變化。

\n\n

\"\" — 《自然重力 41》，位於上海市南昌路292號的壁畫作品，照片來自藝術家

\n\n

陳英杰1991年出生於中國佛山，畢業於新加坡萊佛士設計學院；現在在佛山生活與工作。藝術家曾於世界各地參展，其中包括巴黎、倫敦、香港、上海、北京及新加坡。收藏陳英杰作品的博物館及機構包括美國檀香山當代博物館、世界自然基金會香港分會、新加坡凱德集團。國際知名品牌如卡地亞（Cartier）、寶馬（BMW）及路易威登（Louis Vuitton）等亦曾邀請陳英杰聯名合作。去年，藝術家在台灣首次亮相，於台北白石畫廊的個展中展出「重力」系列中的12幅畫作。2021年7月17日，上海唐妮詩畫廊舉辦的陳英杰個展〈復甦〉已開幕，並將持續至9月4日。

\n",{"_306":307,"_413":309},{"_295":784,"_297":785,"_85":298,"_299":300,"_56":301,"_302":786,"_336":802,"_338":339,"_340":803,"_342":343,"_344":345,"_346":347,"_348":804,"_350":785,"_351":805,"_353":806,"_355":807,"_87":808,"_357":358,"_359":50,"_360":50,"_361":809,"_267":810,"_363":50,"_364":50,"_365":79,"_366":50,"_367":50,"_368":79,"_369":79,"_370":371,"_372":811,"_374":812,"_376":813,"_378":814,"_380":447,"_384":815,"_386":816,"_388":817,"_772":829,"_393":830,"_54":410,"_411":837,"_82":79},"151743",11,{"_304":787,"_314":789},{"_306":307,"_308":309,"_310":788,"_312":419},650000,[790,793,796,799,801],{"_306":317,"_308":318,"_310":791,"_312":792},60200,37000,{"_306":322,"_308":323,"_310":794,"_312":795},70700,43500,{"_306":327,"_308":327,"_310":797,"_312":798},76400,47000,{"_306":331,"_308":332,"_310":800,"_312":432},83300,{"_306":307,"_308":309,"_310":788,"_312":419},"https://www.phillips.com/detail/yue-minjun/151743","11","1-4U2DP0","《無題（微笑主義系列第1-28號）》",10975,"Yue Minjun","2021-07-30T10:09:00.000000Z",380000,567000,"款識各：Yueminjun（右下）；3/45（左下）","第1-6, 16, 23號 110 x 80 公分 (43 1/4 x 31 1/2 英寸)\r\n第7, 9, 24號 80 x 110 公分 (31 1/2 x 43 1/4 英寸)\r\n第10-14, 17, 18, 20-22, 26號 110 x 90 公分 (43 1/4 x 35 3/8 英寸)\r\n第8, 15, 19, 25, 27, 28號 90 x 110 公分 (35 3/8 x 43 1/4 英寸)","膠印版畫紙本","由紐約Art Issue Editions於2006年出版，共有45版，各為第3版。","紐約，Arario畫廊，〈岳敏君：微笑主義系列〉，2009年10月29日-2010年1月16日（同系列他版作品）","https://assets.phillips.com/auctions/HK090221/151743_001.jpg",[818,819,820,821,822,823,824,825,826,827,828],"https://assets.phillips.com/auctions/HK090221/151743_002.jpg","https://assets.phillips.com/auctions/HK090221/151743_003.jpg","https://assets.phillips.com/auctions/HK090221/151743_004.jpg","https://assets.phillips.com/auctions/HK090221/151743_005.jpg","https://assets.phillips.com/auctions/HK090221/151743_006.jpg","https://assets.phillips.com/auctions/HK090221/151743_007.jpg","https://assets.phillips.com/auctions/HK090221/151743_008.jpg","https://assets.phillips.com/auctions/HK090221/151743_009.jpg","https://assets.phillips.com/auctions/HK090221/151743_010.jpg","https://assets.phillips.com/auctions/HK090221/151743_011.jpg","https://assets.phillips.com/auctions/HK090221/151743_012.jpg",[774],[831],{"_396":79,"_397":398,"_399":832,"_401":402,"_403":833},4363,[834],{"_396":79,"_406":835,"_408":836},6834,"

「我一直生活在一種無法言說的狀態裡，我賦予自己嬉笑怒罵、左右事物的特權，並看透了世上一切事物。我能夠在他們身上找到大笑的因素，在笑容的後面，有時隱藏著病情，是一種不由自主的，不能自控的強迫性笑臉。人在笑的時候是不思想的，從某種意義講，我畫的是幸福的、被驅使的人們。」 —— 岳敏君

\n\n

岳敏君以自我形象為本而創造的傻瓜式笑容而被世人所知；他畫作中的平板圖形和艷俗色彩給觀者帶來另類的審美體驗。藝術家以其格式化的大頭、咧嘴、細眼、碎牙形象和一種誇張、怪誕、冷嘲、反諷的手法，營造出自身獨特的藝術風格和戲劇化的作品語境。岳敏君與王廣義、張曉剛、方力鈞一起，成為二十一世紀初驅動中國當代前衛藝術市場的四股主力。

\n\n

此次拍品囊括了岳敏君全套28件版畫作品，涵蓋了藝術家筆下千姿百態的狂笑人形象，體現出一種被強迫的樂觀主義。藝術家的繪畫技巧與廣告宣傳海報中的技巧十分相似：輪廓清晰、色塊均勻，產生了強烈的視覺衝擊。畫中的人物有著媚俗的粉紅色皮膚，大得不成比例的嘴巴佔據了臉的絕大部分，與緊閉的雙眼形成了強烈的反差。

\n\n

1962年出生於黑龍江大慶市的岳敏君自幼時便跟隨父母遷徙全國各地，高中一畢業就成為一名電工，常年在海上的石油鑽井平台工作，環境封閉、與世隔絕，一做就是五年。為了逃避這個抑鬱的工作環境，岳敏君重拾少年時期熱愛的繪畫，於1985年考上了河北師大美術系，1989年畢業。

\n\n

早在1991年，岳敏君筆下的狂笑人物形象就開始出現。最初畫面上還有類似表現主義風格的筆觸痕跡，但到了1992、1993年後就徹底變成如今眼睛瞇起的狂笑自畫像。這個面目扭曲的形象原型可以追溯到耿建翌在80年代末的作品，《第二狀態》。在參觀了1989年中國美術館舉行的中國現代藝術展之後，岳敏君深受啟發，在自己的作品中將耿建翌的原型演變複製成無數咧著嘴癡笑的傻相，仿佛要滲出淚來。相比岳敏君，耿建翌的原型比較像是無聲的吶喊；但同樣地，笑容在此被賦予與日常中相反的含義。

\n\n

\"Geng — \n
耿建翌，《第二狀態》，1987年作，香港 M+ 希克藏品 © Geng Jianyi
\n

\n\n

岳敏君作品中的人物形象從表面而言是「紅、光、亮」，與早期宣傳畫中的工農兵造型有著相似之處。這兩種藝術形式中的人們有著同樣的、具有中國特色的燦爛笑容；而岳敏君的形象則多出了一份滑稽、無奈、和難以言表的意味。正如藝評家胡永芬闡述道：「這個形象之所以在藝術創作上獲得如此之多的共鳴與延伸，正是因為它既簡單直接、又複雜曖昧地，勾勒出很長一段時間以來（甚至到現在依然），所有中國人心中一篇一直不能說出口的內心獨白。」ⁱ岳敏君的笑容賦予人們一個打破無力感的方法，讓他們從無法解決的難題中找到解脫。

\n\n

\n「我的作品是在刻畫作為人類而言，最根本的生存之苦和生活在當今社會中的困惑感。」 —— 岳敏君

\n\n

\n\n

ⁱ 胡永芬，〈消解「偶像」的偶像——論岳敏君作品〉，〈玩笑——岳敏君藝術檔案〉，北京，2012年，第40頁

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「城市是現實；中國是一個正在建設中的城市，這當然也影響了我。」—— 劉韡

\n\n

《風景第2號》（2005年作）運用了劉韡典型的扁平化創作手法，描繪了一幅城市和自然景觀，表達了藝術家對人與環境之間關係的一種抽象探索。劉韡於2004年在上海雙年展創作《風景》，一幅引起國際關注的重要抽象山水作品。這件作品將中國傳統山水畫中的平面透視表現手法與電腦像素組成的抽象圖形相結合；畫面與劉韡的同代藝術家，蔣志的作品和西方油畫的抽象表現手法有異曲同工之妙。在《風景》中，劉韡將攝影作品中捕捉的男女形體拼接組合來表現出山川的形態，由此可見藝術家善於運用多種跨種類媒材。這在《風景第2號》中也得到了體現——劉韡在作品中同時運用了數字媒體和油彩以創造最終的作品。

\n\n

\"\" — \n
劉韡，《風景》，2004年作，香港 M+ 希克藏品，© 劉韡
\n

\n\n

劉韡1972年出生，自小在中國經濟改革和環境迅速城市化和工業化的背景下長大，在北京等大都市中感受到與大自然的遠離。儘管他早期接受過寫實繪畫的訓練，但劉韡的作品卻接近於抽象，畫面中佈滿了令人著迷的黑白灰色調。他先在電腦上進行設計，再將圖案轉移到畫布上。作品圍繞自然風景的主題，畫中的抽象圖形像是瀑布一般，形成飛流直下三千尺的景象；灰色天空上方的樹木高聳入雲。《風景第2號》中的佈局同時也喚起一幅幾乎像素化的幾何城市景象，促使觀眾去質疑自己對作品現實的認知。

\n\n

劉韡在國際上多處參展，例如1999年倫敦當代藝術學院的首次歐洲群展；2006年蘇黎世 Grace Li 畫廊的首次個展，《紫氣》，展出與此次拍品風格相似的系列作品，並一舉成名。此後，劉韡在世界各地舉辦了多次個展，包括2014年倫敦白立方的《命運》和2018年北京長征空間的《陰影》等。他的作品曾在多次雙年展中展出，如上海雙年展（ 2016、2010和2004）、里昂雙年展（2015和2007）、光州雙年展（2010）、廣州三年展（2012、2008、2005和2002）和威尼斯雙年展（2005）。

\n\n

劉韡的作品由全世界多處重要機構收藏，包括巴黎的DSL收藏、洛杉磯的漢默美術館，以及香港的M+希克收藏。今年，香港富藝斯以1,764,000 港元的價格售出《紫氣第5號》，證明了藝術家這些反映中國現代化進展的獨特作品在國際市場上的吸引力。

\n\n

\"\" — \n
劉韡，《紫氣第5號》，2006年作，2021年6月由香港富藝斯以1,764,00港幣售出
\n

\n",{"_306":307,"_413":309},{"_295":881,"_297":882,"_85":298,"_299":300,"_56":301,"_302":883,"_336":895,"_338":339,"_340":896,"_342":343,"_344":345,"_346":347,"_348":897,"_350":882,"_351":898,"_353":899,"_355":900,"_87":901,"_357":358,"_359":50,"_360":50,"_361":518,"_267":902,"_363":50,"_364":50,"_365":79,"_366":50,"_367":50,"_368":79,"_369":79,"_903":904,"_492":493,"_370":371,"_374":905,"_376":906,"_378":907,"_380":908,"_384":909,"_386":910,"_388":911,"_393":915,"_54":410,"_411":922,"_82":79},"155152",13,{"_304":884,"_314":885},{"_306":307,"_308":309,"_310":419,"_312":518},[886,889,891,893,894],{"_306":317,"_308":318,"_310":887,"_312":888},37200,27900,{"_306":322,"_308":323,"_310":795,"_312":890},32600,{"_306":327,"_308":327,"_310":798,"_312":892},35200,{"_306":331,"_308":332,"_310":432,"_312":529},{"_306":307,"_308":309,"_310":419,"_312":518},"https://www.phillips.com/detail/javier-calleja/155152","13","1-4U2DXT","《前言》",18367,"哈維爾·卡列哈","2021-07-30T10:11:00.000000Z",604800,"artistBiography","

Javier Calleja (b. 1971) is a contemporary Spanish artist living and working in
\nMalaga, Spain. Calleja is most known for his figurative style of cartoonish, doe-eyed
\ncharacters with exaggerated features. His style is influenced by the toys and comics
\nfrom his 70s and 80s upbringing. Calleja’s characters are often accompanied by text
\nthat contrasts the innocent and adolescent looking facial expressions of the
\ncharacters represented in the compositions. Calleja works in painting, sculpture,
\nand works on paper.

\n\n

Calleja holds a BFA from Granada University in Spain. His works have been exhibited worldwide and he is currently represented by Almine Rech.

\n","紙張 140 x 93.9 公分 (55 1/8 x 36 7/8 英寸)\r\n畫框 153.9 x 105.4 公分 (60 5/8 x 41 1/2 英寸)","壓克力紙本","2013年作，並附藝術家簽署之Yusto/Giner畫廊保證書。","馬貝拉，Yusto/Giner畫廊\r\n現藏者購自上述來源","馬貝拉，Yusto/Giner畫廊，〈零公里〉，2013年12月14日-2014年2月10日","https://assets.phillips.com/auctions/HK090221/155152_001.jpg",[912,913,914],"https://assets.phillips.com/auctions/HK090221/155152_002.jpg","https://assets.phillips.com/auctions/HK090221/155152_003.jpg","https://assets.phillips.com/auctions/HK090221/155152_004.jpg",[916],{"_396":79,"_397":398,"_399":917,"_401":402,"_403":918},4365,[919],{"_396":79,"_406":920,"_408":921},6836,"

「有時候，你在作畫，然後你的思想、你的情感，都融入畫中。這是你可以發現新事物的時刻。這是一個讓人感動的時刻。」 —— 哈維爾·卡列哈

\n\n

西班牙藝術家哈維爾·卡列哈近年來以其標誌性的雕塑、繪畫和素描而享譽國際。卡列哈的作品充滿孩子氣；畫中的可愛人物有著不成比例的大腦袋和圓潤而明亮的眼睛。藝術家憑藉他畫中的奇思妙想以及詼諧的口號，傳達了一種俏皮、懷舊的純真之情，激發了當代藝術界的想象力。

\n\n

卡列哈出生並居住在西班牙港口城市馬拉加，這裡也是西班牙藝術家，巴勃羅·畢加索的出生地。卡列哈的藝術風格受童年漫畫、卡通和玩具所影響。此次拍品《前言》和《索引》的名字便是向書中世界致敬，也是向那個奇妙的「創作過程之後的內省瞬間」ⁱ致敬。卡列哈的作品表面具有非凡的觸感：從天鵝絨般的腮紅到孩子們如玻璃一樣的深邃的眼睛——這是藝術家對各種繪畫技術和媒材進行長期探索的結果。他的作品包含各種大小，從大型裝置到小張紙本，令人印象深刻。

\n\n

人們曾將卡列哈筆下的人物形象與日本巨星奈良美智的作品相提並論。奈良甜美又狡詐的兒童和動物形象傳達出一種帶有喜感的憂鬱，反映了他孤獨的童年和在異國學習的經歷。但是卡列哈的作品則是在描繪一種毫無遮掩的快樂，深受他無憂無慮的童年時光和自身豐富的想像力所影響：

\n\n

「成長於七十與八十年代，我最大的影響來自於卡通和漫畫。尤其是《魔神Z》動漫和 Francisco Ibáñez Talavera 的漫畫。在這兩個系列作品的影響下，我從孩童時代就開始畫畫，而我的作品便是從那裡開始發展，至今還帶著一些那樣的特徵。」—— 哈維爾·卡列哈

\n\n

\n\n

過去幾年，哈維爾·卡列哈一直在國際各地舉行個展，備受讚譽；這其中包括他2019年在德國Zink畫廊的個展〈窗外的雲〉（Zink 畫廊也恰好是奈良早期的支持者）。此展覽以沙龍風格展示他的畫作，也運用了藝術家設計的大型古典畫框，並被稱為卡列哈「至今為止最好的展覽」ⁱⁱ 。卡列哈也曾在香港 AISHONANZUKA 畫廊 (2019) 和上海 Almine Rech 畫廊 (2021) 舉辦個展。

\n\n

ⁱ引述於展覽新聞稿：香港，AISHONANZUKA 畫廊，〈哈維爾·卡列哈：我做到了、我願意做、我會做到〉, 2019年11月15日-12月21日，載自網絡

\n\n

ⁱⁱ 薩沙·博戈耶夫，〈新視角：哈維爾·卡列哈在《窗外的雲》中引導觀眾〉，〈Juxtapoz〉，2019年6月10日，載自網絡

\n",{"_306":307,"_413":309},{"_295":924,"_297":925,"_85":298,"_299":300,"_56":301,"_302":926,"_336":938,"_338":339,"_340":939,"_342":343,"_344":345,"_346":347,"_348":940,"_350":925,"_351":941,"_353":899,"_355":900,"_87":942,"_357":358,"_359":50,"_360":50,"_361":518,"_267":943,"_363":50,"_364":50,"_365":79,"_366":50,"_367":50,"_368":79,"_369":79,"_903":904,"_492":493,"_370":371,"_374":944,"_376":906,"_378":907,"_380":908,"_384":909,"_386":945,"_388":946,"_393":950,"_54":410,"_411":957,"_82":79},"155151",14,{"_304":927,"_314":928},{"_306":307,"_308":309,"_310":419,"_312":518},[929,932,934,936,937],{"_306":317,"_308":318,"_310":930,"_312":931},37500,28100,{"_306":322,"_308":323,"_310":933,"_312":523},43700,{"_306":327,"_308":327,"_310":935,"_312":526},47400,{"_306":331,"_308":332,"_310":432,"_312":529},{"_306":307,"_308":309,"_310":419,"_312":518},"https://www.phillips.com/detail/javier-calleja/155151","14","1-4U2DZ3","《索引》","2021-07-30T10:12:00.000000Z",441000,"紙張 140.3 x 92 公分 (55 1/4 x 36 1/4 英寸)\r\n畫框 154.1 x 105.5 公分 (60 5/8 x 41 1/2 英寸)","https://assets.phillips.com/auctions/HK090221/155151_001.jpg",[947,948,949],"https://assets.phillips.com/auctions/HK090221/155151_002.jpg","https://assets.phillips.com/auctions/HK090221/155151_003.jpg","https://assets.phillips.com/auctions/HK090221/155151_004.jpg",[951],{"_396":79,"_397":398,"_399":952,"_401":402,"_403":953},4366,[954],{"_396":79,"_406":955,"_408":956},6837,"

「有時候，你在作畫，然後你的思想、你的情感，都融入畫中。這是你可以發現新事物的時刻。這是一個讓人感動的時刻。」 —— 哈維爾·卡列哈

\n\n

\n\n

ⁱ引述於展覽新聞稿：香港，AISHONANZUKA 畫廊，〈哈維爾·卡列哈：我做到了、我願意做、我會做到〉, 2019年11月15日-12月21日，載自網絡

\n\n

ⁱⁱ 薩沙·博戈耶夫，〈新視角：哈維爾·卡列哈在《窗外的雲》中引導觀眾〉，〈Juxtapoz〉，2019年6月10日，載自網絡

\n",{"_306":307,"_413":309},{"_295":959,"_297":960,"_85":298,"_299":300,"_56":301,"_302":961,"_336":972,"_338":339,"_340":973,"_342":343,"_344":345,"_346":347,"_348":974,"_350":960,"_351":975,"_353":899,"_355":900,"_87":976,"_357":358,"_359":50,"_360":50,"_361":518,"_267":362,"_363":50,"_364":50,"_365":79,"_366":50,"_367":50,"_368":79,"_369":79,"_903":904,"_492":493,"_370":371,"_372":977,"_374":978,"_376":979,"_378":980,"_380":981,"_384":982,"_386":983,"_388":984,"_393":987,"_54":410,"_411":995,"_82":79},"157935",15,{"_304":962,"_314":963},{"_306":307,"_308":309,"_310":693,"_312":518},[964,966,968,970,971],{"_306":317,"_308":318,"_310":965,"_312":888},46500,{"_306":322,"_308":323,"_310":967,"_312":890},54300,{"_306":327,"_308":327,"_310":969,"_312":892},58700,{"_306":331,"_308":332,"_310":706,"_312":529},{"_306":307,"_308":309,"_310":693,"_312":518},"https://www.phillips.com/detail/javier-calleja/157935","15","1-4U2DZZ","《你好》","2021-07-30T10:13:00.000000Z","款識：《Hi》2017 Javier Calleja（背面背板）","紙張 18.8 x 14.7 公分 (7 3/8 x 5 3/4 英寸)\r\n畫框 25.1 x 20.9 公分 (9 7/8 x 8 1/4 英寸)","水彩鉛筆紙本裱於藝術家畫框","2017年作","香港，AISHONANZUKA畫廊\r\n現藏者購自上述來源","香港，AISHONANZUKA畫廊，〈你好〉，2017年5月13日-6月10日","https://assets.phillips.com/auctions/HK090221/157935_001.jpg",[985,986],"https://assets.phillips.com/auctions/HK090221/157935_002.jpg","https://assets.phillips.com/auctions/HK090221/157935_003.jpg",[988],{"_396":79,"_397":398,"_399":989,"_401":990,"_403":991},4368,"DETAIL-HEADER-DISABLED 23130",[992],{"_396":79,"_406":993,"_408":994},6839,"

「我認為我的風格與我真正的起點，即我的童年，以及我當時創作的素描是緊密相連的。這就是為什麼我總覺得是這種風格找到了我，而不是我找到了它，而我仍在等待它的改變。我想要傳遞情感。愛、魔力或痛苦的感覺，我想要展現感受到所有這些情緒的那一刻。......我希望人們去體驗感受到魔力的那一刻的感覺。迷惘、困惑、心跳加速，我喜歡那種效果。」

\n\n

—— 哈維爾·卡列哈

\n",{"_306":307,"_413":309},{"_295":997,"_297":998,"_85":298,"_299":300,"_56":301,"_302":999,"_336":1017,"_338":339,"_340":1018,"_342":860,"_344":345,"_346":347,"_348":1019,"_350":998,"_351":1020,"_353":1021,"_355":1022,"_87":1023,"_357":358,"_359":50,"_360":50,"_361":1002,"_363":50,"_364":50,"_365":79,"_366":50,"_367":50,"_368":79,"_369":79,"_370":371,"_372":1024,"_374":1025,"_376":1026,"_378":1027,"_380":1028,"_386":1029,"_388":1030,"_393":1035,"_54":410,"_411":1042,"_82":79},"157403",16,{"_304":1000,"_314":1003},{"_306":307,"_308":309,"_310":1001,"_312":1002},350000,280000,[1004,1007,1010,1013,1016],{"_306":317,"_308":318,"_310":1005,"_312":1006},33000,26400,{"_306":322,"_308":323,"_310":1008,"_312":1009},38200,30500,{"_306":327,"_308":327,"_310":1011,"_312":1012},41300,33100,{"_306":331,"_308":332,"_310":1014,"_312":1015},44900,35900,{"_306":307,"_308":309,"_310":1001,"_312":1002},"https://www.phillips.com/detail/jonas-wood/157403","16","1-4U2E0Z","《爸爸的書房之二》",6240,"Jonas Wood","2021-07-30T10:14:00.000000Z","款識：《DAD'S STUDY 2》JBRW 2008（畫背）","紙張 33.2 x 33 公分 (13 1/8 x 12 7/8 英寸)\r\n畫框 43.2 x 43 公分 (17 x 16 7/8 英寸)","水粉彩色鉛筆紙本","2008年作","芝加哥，Shane Campbell畫廊\r\n洛杉磯私人收藏\r\n現藏者購自上述來源","https://assets.phillips.com/auctions/HK090221/157403_001.jpg",[1031,1032,1033,1034],"https://assets.phillips.com/auctions/HK090221/157403_002.jpg","https://assets.phillips.com/auctions/HK090221/157403_003.jpg","https://assets.phillips.com/auctions/HK090221/157403_004.jpg","https://assets.phillips.com/auctions/HK090221/157403_005.jpg",[1036],{"_396":79,"_397":398,"_399":1037,"_401":402,"_403":1038},4369,[1039],{"_396":79,"_406":1040,"_408":1041},6840,"

「你可以把（我的作品）稱為視覺日記，甚至是個人歷史。我不會畫任何與我無關的東西……會使我感興趣的東西都是我可以接近的東西，以便我誠實地去描繪它。」——喬納斯·伍德

\n\n

喬納斯·伍德出生於波士頓；他的繪畫主題大量借鑒了他自己的生活經歷，並將他生活中的掛毯、物品，運動，室內環境和人物等轉化成作品中純粹的線條和色彩。伍德的作品具有強烈的平面設計感，其特點是畫面中視角的轉變、拼貼的板塊和圖案的密集性，在畫像與攝影、具象與抽象之間。作品中視角的多樣性和色調的微妙變化讓人聯想起立體主義的破碎平面，其豐富的細節與其主題的平凡性形成了顯明的對比，從而打破了觀者對熟悉的事物的傳統認知。畫面中看似隨意擺放的物品散落在不同的角落，為原本空蕩蕩的室內景觀注入一絲溫暖和人氣，賦予這個空間一種獨特的個性和歷史。

\n\n

伍德的創作過程基於他對拼貼的研究；他將照片分解開，以紋理、形狀和顏色來重新組成多層次的圖案。正如《紐約客》所描述，伍德將生活中的平庸昇華成藝術：「（伍德的作品是）藝術創作的最佳狀態——它色彩繽紛、圖案豐富、充滿活力……將從亨利·馬蒂斯到斯圖爾特·戴維斯再到大衛·霍克尼等藝術大師（的特點）連接起來。」對伍德來說，藝術和生活密不可分。

\n\n

《爸爸的書房之二》將日常生活中能帶來情感共鳴的靜物以抽象的表現手法重新詮釋，是伍德的一幅傑作。作品中的藍色、粉色和米黃色竪條各自交錯，從而勾勒出桌子、文件、卡片和其他物品的輪廓。雖然畫面中缺少了人物的存在並因此帶來些許懷舊感，但是伍德所運用的明亮卻不失柔和的色調賦予作品一種生命力，引起觀眾對自身生活中類似的室內場景的聯想和心理共鳴。

\n\n

伍德的作品被洛杉磯哈默博物館、倫敦薩奇畫廊和紐約現代藝術博物館等機構永久收藏。

\n\n

ⁱ〈城裡的那些事〉，〈紐約客〉，2011年，載自網絡

\n",{"_306":307,"_413":309},{"_295":1044,"_297":1045,"_85":298,"_299":300,"_56":301,"_302":1046,"_336":1059,"_338":339,"_340":1060,"_342":860,"_344":345,"_346":347,"_348":1061,"_350":1045,"_351":1062,"_353":1063,"_355":1064,"_87":1065,"_357":358,"_359":50,"_360":50,"_361":1002,"_363":50,"_364":50,"_365":79,"_366":50,"_367":50,"_368":79,"_369":79,"_903":1066,"_1067":1068,"_492":670,"_370":371,"_372":1069,"_374":1070,"_376":1071,"_378":1072,"_380":1073,"_386":1074,"_388":1075,"_772":1078,"_393":1079,"_54":410,"_411":1087,"_82":79},"157411",17,{"_304":1047,"_314":1048},{"_306":307,"_308":309,"_310":693,"_312":518},[1049,1052,1054,1057,1058],{"_306":317,"_308":318,"_310":1050,"_312":1051},46300,27800,{"_306":322,"_308":323,"_310":1053,"_312":890},54400,{"_306":327,"_308":327,"_310":1055,"_312":1056},58800,35300,{"_306":331,"_308":332,"_310":706,"_312":529},{"_306":307,"_308":309,"_310":693,"_312":518},"https://www.phillips.com/detail/kaws/157411","17","1-4U2E24","《觀看》",4271,"KAWS","2021-07-30T10:15:00.000000Z","

To understand the work of KAWS is to understand his roots in the skateboard and graffiti crews of New York City. Brian Donnelly chose KAWS as his moniker to tag city streets beginning in the 1990s, and quickly became a celebrated standout in the scene. Having swapped spray paint for explorations in fine art spanning sculpture, painting and collage, KAWS has maintained a fascination with classic cartoons, including Garfield, SpongeBob SquarePants and The Simpsons, and reconfigured familiar subjects into a world of fantasy.

Perhaps he is most known for his larger-than-life fiberglass sculptures that supplant the body of Mickey Mouse onto KAWS' own imagined creatures, often with 'x'-ed out eyes or ultra-animated features. However, KAWS also works frequently in neon and vivid paint, adding animation and depth to contemporary paintings filled with approachable imagination. There is mass appeal to KAWS, who exhibits globally and most frequently in Asia, Europe and the United States.

","artistBirthYear",1974,"款識: 《SEEING》058/250 KAWS..18 ©KAWS..18（底部）","37 x 17.4 x 18.6 公分 (14 5/8 x 6 7/8 x 7 3/8 英寸)","合金陶瓷 LED 綜合媒材","2018年作，共有250版，此為第58版，並附香港All Rights Reserved之保證書、ID卡、手套及原裝木箱。","邁阿密，Carmichael畫廊\r\n現藏著購自上述來源","https://assets.phillips.com/auctions/HK090221/157411_001.jpg",[1076,1077],"https://assets.phillips.com/auctions/HK090221/157411_002.jpg","https://assets.phillips.com/auctions/HK090221/157411_003.jpg",[774],[1080],{"_396":79,"_397":398,"_399":1081,"_401":1082,"_403":1083},4370,"DETAIL-HEADER-DISABLED 90727",[1084],{"_396":79,"_406":1085,"_408":1086},6841,"

「KAWS 作品並不只是指向流行文化，其自身便是流行文化的創作者。」—— 麥克‧奧平

\n",{"_306":307,"_413":309},{"_295":1089,"_297":1090,"_85":298,"_299":300,"_56":301,"_302":1091,"_336":1104,"_338":339,"_340":1105,"_342":343,"_344":345,"_346":347,"_348":1106,"_350":1090,"_351":1107,"_353":1108,"_355":1109,"_87":1110,"_357":358,"_359":50,"_360":50,"_361":1001,"_267":442,"_363":50,"_364":50,"_365":79,"_366":50,"_367":50,"_368":79,"_369":79,"_370":371,"_372":1111,"_374":1112,"_376":1113,"_378":379,"_380":1114,"_386":1115,"_388":1116,"_393":1121,"_54":410,"_411":1128,"_82":79},"155441",18,{"_304":1092,"_314":1094},{"_306":307,"_308":309,"_310":1093,"_312":1001},450000,[1095,1097,1099,1101,1103],{"_306":317,"_308":318,"_310":1096,"_312":1005},42400,{"_306":322,"_308":323,"_310":1098,"_312":1008},49100,{"_306":327,"_308":327,"_310":1100,"_312":1011},53100,{"_306":331,"_308":332,"_310":1102,"_312":1014},57700,{"_306":307,"_308":309,"_310":1093,"_312":1001},"https://www.phillips.com/detail/takashi-murakami-virgil-abloh/155441","18","1-4U2E2Z","《花帶》",20359,"村上隆與維吉爾·阿伯拉赫","2021-07-30T10:16:00.000000Z","款識：\"VIRGIL\" © 2018 Takashi 2018（畫布邊緣）","畫布 57.7 x 49.1 x 5.1 公分 (22 3/4 x 19 3/8 x 2 英寸)\r\n皮帶 201 公分 (79 1/8 英寸)","熱昇華轉印 Off-White皮帶 Off-White拉鍊鏈條畫布裱於鋁畫框","高古軒畫廊\r\n現藏者購自上述來源","https://assets.phillips.com/auctions/HK090221/155441_001.jpg",[1117,1118,1119,1120],"https://assets.phillips.com/auctions/HK090221/155441_002.jpg","https://assets.phillips.com/auctions/HK090221/155441_003.jpg","https://assets.phillips.com/auctions/HK090221/155441_004.jpg","https://assets.phillips.com/auctions/HK090221/155441_005.jpg",[1122],{"_396":79,"_397":398,"_399":1123,"_401":402,"_403":1124},4371,[1125],{"_396":79,"_406":1126,"_408":1127},6842,"

「當未來的觀眾看見我們的作品時，我希望他們能聯想到另一個時代的終結：當時藝術還被保護在一個庇護所中，而我們不斷地努力將其帶到外面來。」—— 村上隆

\n\n

「在創作藝術的時候，我們被一種與生俱來的野心所驅使著，促使我們用不同的媒材來塑造出反映當今社會現象的作品，這些藝術品的存在會產生新的文化影響。」—— 維吉爾·阿伯拉赫

\n\n

\n\n

作為當代的時尚、藝術、和流行文化综合大師，村上隆和维吉爾·阿伯拉赫都曾被《時代》雜誌評為世界上最有影響力的人物之一。兩人第一次見面是在十多年前；當時他們為Kanye West的專輯，《畢業》封面進行了合作。阿伯拉赫和村上隆作為當代消費文化的引領者，將各自最知名的視覺符號——微笑的花朵，Off White的品牌標籤，以及阿伯拉赫著名的引號——在《「花」》和《花帶》等作品中結合起來，組合成一個由標誌組成的標誌。這些符號無疑是雙方作品中最具有代表性的圖標。村上隆和阿伯拉赫以流行文化為跳板，改變了當代藝術文化，同時也吸引了新的觀眾。二位在高古軒全球多個據點所辦的的合作展覽都有大量的追隨者；他們的作品將藝術與大眾、時尚和亞文化更緊密地聯繫起來。

\n\n

在2018年接受《安邸》採訪時，村上隆和阿伯拉赫談到了他們在比佛利山莊高古軒所舉辦的聯合展覽《AMERICA TOO》的合作經歷。

\n\n

安邸：Virgil，作為藝術家，你和 Takashi 都創造了自己的商標和標誌。將你們各自獨特的視覺語言結合起來是什麼感覺？

\n\n

維吉爾·阿伯拉赫：我認為這就是最初令人著迷的地方——視覺語言能融為一體嗎？這並不一定。我們創作的藝術品中所使用的符號是最容易被理解為能夠代替我們本人的符號（如果我們不存在的話），有點像當代意義上的。這次展覽《AMERICA TOO》證明了這兩種不同形式的身份可以同時存在。

\n\n

安邸: 能告訴我這次合作的靈感是從哪裡來的嗎？

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村上隆：這次合作的契機來自去年我在芝加哥MCA的展覽；當時Virgil來參觀，他自己的展覽也定在了下一年。我們二人的策展人，邁克爾·達林重新介紹我們認識。我們一起參加ComplexCon的座談會，在台上我加深了對他的創作理念和背景的了解。

\n\n

維吉爾·阿伯拉赫：靈感更像是對我們的時代和身份的研究。我們都有著活在當下、參與當下的渴望，我認為這次展覽就代表了這個。我們將自己的個性注入這些符號中；它們存在於當代社會的許多層面和不同領域中，但這個展覽卻將它們結合起來。

\n\n

安邸: Takashi，Virgil的作品受極簡主義和包豪斯主義影響，這跟你的風格背道而馳。跟一個與自己作品視覺上如此迥異的藝術家合作是一種什麼感覺？

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村上隆：Virgil 一直在關注和研究我的作品，正是因為他向我提到了這一點，我才提出了合作。我們過去也曾在 Kanye 的項目上一起工作過。所以我是開始合作後才發現我和他有著非常不同的視覺語言。另一方面，Virgil 的主旨在於不斷跨越建築、時尚、音樂等領域；而我的主旨是跨越動漫、亞文化、藝術、日本和西方；所以從這個意義上來說，我不認為我們是完全不同的——事實上，我們非常相似。

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點擊此處閱讀全篇採訪記錄。

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藏家之選

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維吉爾·阿伯拉赫是一位跨界的美籍藝術家；他的作品涉足時尚、商業、音樂和當代藝術等多種領域。自2018年起，阿伯拉赫擔任 Louis Vuitton 男裝創意總監，同時也是 Off-White 品牌的創始人。作為一名訓練有素的建築師和 Kanye West 的前創意總監，阿伯拉赫多年以來提煉出拿捏不同群眾的需求和慾望的能力，將自己塑造為當代消費文化的領導者之一。

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村上隆以其將當代藝術與流行文化結合的作品而聞名。 1990年代，村上隆發起了超扁平運動，試圖揭露「日本消費文化的膚淺空虛」。他在作品中利用了自己設計的經典圖像，例如 Mr. DOB 和卡通花朵等。這些花朵以為人熟悉的日文漫畫美學為基礎，使作品顯得更加平易近人，同時也在批判消費商品的普遍性和非特異性。村上隆曾與 Kanye West，Louis Vuitton，Pharrell Williams 和 Google 在內的眾多品牌和名人合作。

\n\n

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Anonymous street artist Banksy first turned to graffiti as a miserable fourteen year old disillusioned with school. Inspired by the thriving graffiti community in his home city, Bristol, Banksy's works began appearing on trains and walls in 1993, and by 2001 his blocky, spray-painted works had cropped up all over the United Kingdom. Typically crafting his images with spray paint and cardboard stencils, Banksy is able to achieve a meticulous level of detail. His aesthetic is clean and instantly readable due to his knack for reducing complex political and social statements to simple visual elements.

\r\n\r\n\t\t\t

His graffiti, paintings and screenprints use whimsy and humour to satirically critique war, capitalism, hypocrisy and greed — with not even the Royal family safe from his anti-establishment wit.

",1975,"British","款識：189/350（出版社壓印）（左下）","紙張 69.8 x 49.5 公分 (27 1/2 x 19 1/2 英寸)\r\n畫框 101 x 78.8 公分 (39 3/4 x 31 英寸)","彩色絲網版畫紙本","由倫敦Pictures on Walls於2005年出版，共有350版，此為第189版（此外還有350版藝術家簽署版），並附Pest Control工作室之保證書。","荷蘭私人收藏\r\n台北，富藝斯，2019年3月24日，拍品編號21\r\n現藏者購自上述拍賣","倫敦，HOFA畫廊，〈試著抓住我吧〉，2020年10月8日-15日（同系列他版作品）","https://assets.phillips.com/auctions/HK090221/157466_001.jpg",[1166,1167,1168,1169,1170],"https://assets.phillips.com/auctions/HK090221/157466_002.jpg","https://assets.phillips.com/auctions/HK090221/157466_003.jpg","https://assets.phillips.com/auctions/HK090221/157466_004.jpg","https://assets.phillips.com/auctions/HK090221/157466_005.jpg","https://assets.phillips.com/auctions/HK090221/157466_006.jpg",[1172],{"_396":79,"_397":398,"_399":1173,"_401":402,"_403":1174},4372,[1175],{"_396":79,"_406":1176,"_408":1177},6843,"

出生於布里斯托爾的班克斯雖然是一位匿名街頭藝術家，但他在國際藝術界上的聲譽已經無容置疑地達到了巔峰。縱觀班克斯的藝術生涯，《裁核運動軍人》是他最具標誌性的作品之一。這搶眼的畫作由模板和噴漆製成，描繪了蹲在地上、神情警惕的兩名士兵。位於他們上方的是一個還滴著顏料的紅色和平圖標；它與士兵身上的槍支以及他們所暗指的戰爭和暴力形成鮮明的對比，具有強烈的諷刺意味。然而，當觀者意識到右邊的士兵手持畫筆而不是武器時，才會恍然意識到正是他將這個和平標誌畫在墻上。由此，班克斯以其獨具一格的反諷手法營造出戲劇化的作品語境。

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《裁核運動軍人》被廣泛認為是班克斯最著名的反戰作品，其獨特的構圖充分展示了藝術家的反建制性風趣和黑色幽默感。此次拍品的原塗鴉於2003年首次出現在英國倫敦國議會的對面，後來被當局清除。當時，藝術家藉此作參與了英國和平運動家 Brian Haw 所發起反對英國介入伊拉克的長期抗議中——這是一場受數百萬人支持的抗議運動。

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\"\" — 《裁核運動軍人》原始噴漆塗鴉，倫敦英國國會對面，圖片由AOTS提供

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此次拍品中的紅色和平符號最初是作為英國裁核運動的標誌所設計的，後來則成為國際和平的象徵，並與作品的標題《裁核運動軍人》相呼應。標誌中鮮艷欲滴的紅色與背景的黑白色調形成鮮明的對比，聯合標誌下的士兵，讓人聯想起戰爭的殘忍與血腥。然而，當其中一名軍官手持步槍，做好準備時，另一位則面帶疑慮地拿著一支畫筆。班克斯將這兩名軍人描繪成了創作抗議性塗鴉的激進分子，以反諷的手法質疑政府在維和任務中所扮演的角色。的確，作為班克斯最著名的作品之一，《裁核運動軍人》傳達了一個普世價值，並包含希望的重要社會信息。

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「所有塗鴉都是小型的抗議，但模板塗鴉則有額外的歷史。人們曾利用它來發動革命和停止戰爭。」—— 班克斯

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班克斯現已成為一股不可阻擋的文化力量。他的作品被各著名博物館收藏，其中包括大英博物館、倫敦維多利亞和阿爾伯特博物館等。他極具挑釁性的塗鴉和表演作品為他贏得了世界各地眾多忠實的追隨者——他在 Instagram 上的一舉一動都受到一千多萬的粉絲的關注。班克斯獨特的創作風格為他贏得了國際讚譽。作為一名藝術先鋒，班克斯的作品不斷重新定義「藝術」本身，並啟發未來的藝術家們。

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「在我看來，藝術沒有界限。我並不是說我不想讓藝術界精英高興。但我也希望任何對我們的歷史一無所知的孩子，或者任何人，一個建築工人，還是其他人，都能看到一些藝術並受到啟發：看到一輛汽車駛過，開車經過一幅壁畫或其他任何東西——一些適合所有人的東西。」 —— 肯尼·沙夫

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自稱為「波普超現實主義者」的肯尼·沙夫是一位畫家和裝置藝術家，其獨特的塗鴉藝術作品和其色彩繽紛、活力四射的球形人物主題為他贏得了世界各地粉絲的追崇。沙夫1958年出生於洛杉磯，隨後移居紐約，就讀曼哈頓視覺藝術學院，與同時代的凱斯·哈林和尚·米榭·巴斯奇亞以及他的導師，安迪·沃荷一起活躍於1980年代紐約的藝術界，為人世人所知。目前，沙夫在洛杉磯生活和工作。肯尼·沙夫在從畫布到汽車，再到洛杉磯這個寬廣的城市中的各種混凝土牆上用噴漆來創作，成功地將藝術與流行文化融合在一起。

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\"\" — 此次拍品於〈肯尼·沙夫：MOODZ〉展覽現場，洛杉磯 Jeffrey Deitch 畫廊，2020年8月1日-10月31日

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《瘋狂》（2020年作）為肯尼·沙夫2020年期間所創作的250件圓形畫布作品之一，並曾參展藝術家2020年8月1日-10月31日於洛杉磯 Jeffrey Deitch 畫廊的個展：〈肯尼·沙夫：MOODZ〉。這一系列作品十分生動活潑，展現了不同的面部表情；它們千變萬化、大小不一，代表著藝術家自身的各種情緒：快樂、調皮、憤怒或疲倦。沙夫將自己的創作風格定義為「迷幻概念主義」，利用噴漆這種隨性的媒材和洒脱的運筆手法為作品注入了神采飛揚的活力。此次拍品光彩奪目，背景中濃郁的黃色和橙色與眼睛和嘴邊的鈷藍色和紅色形成強烈反差。畫中描繪的瘋狂的、略帶邪惡的滑稽笑臉以及其神秘的本質都吸引著觀者。

\n\n

\"\" — \n
Max Basch 與 Malia Scharf 導演紀錄片，《肯尼·沙夫：當世界碰撞時》，2021年4月
\n

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肯尼·沙夫1985年參加的惠特尼雙年展，自此開始他的國際藝術生涯，跨越數十年。他的作品曾參與世界各地的眾多個展和群展。沙夫2020年在紐約 Almine Rech 畫廊舉辦個展〈反烏托邦繪畫〉，隨後又在畫廊的巴黎空間舉辦了個展〈Vaxi 國度〉（2021年1月21日-3月6日）。2021年6月，藝術家的紀錄片，《肯尼·沙夫：當世界碰撞時》在各大網絡媒體上發佈；片中展現了藝術家的生活與工作日常，以及他獨特藝術風格的起源。今年，沙夫與迪奧聯名創作秋季男裝系列。藝術家將他卡通式的藝術風格與高級時裝結合，標誌著他職業生涯中的一個重要時刻。

\n\n

\"\" — 肯尼·沙夫，由 Harry Eelman 為迪奧 x 肯尼·沙夫拍攝，2021年秋季

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法國街頭藝術家 Invader 與 Banksy 一樣堅持匿名，只在晚上戴著面具創作以避免被認出。在此次拍品《TK-64》（2010年作）中，藝術家描繪了1978年的街機遊戲《太空侵略者》中極具標誌性的角色。自1998年起，藝術家就在巴黎街頭以這款遊戲為主題，創造了他的《入侵浪潮》系列作品。

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Invader 的作品由瓷磚製作而成，效果類似於馬賽克，並與西角友宏設計的遊戲中的像素化畫面相同，由此不難看出藝術家作品的靈感來源。《TK-64》最初於2001年9月11日安裝在東京代代木的一個環形交叉路口。作品中如寶石般明亮的翠綠色引人注目，使主角從背景中脫穎而出。雖然作品的畫面設計簡單，但其向一側看的眼睛卻充滿個性，帶著一絲好奇心或是狡詐心，十分神秘。

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Invader 將藝術帶到街頭，走出博物館和畫廊的大環境，創作適合所有大眾的作品。他獨特的瓷磚作品遍佈全球 33 個國家和地區的 65 個城市。香港為 Invader 自其職業生涯開始以來多次訪問的城市；2017 年 12 月，Invader 與海港城購物中心進行了前所未有的合作。藝術家在整個場地佈置了 18 件藝術品，其中也包含了與此次拍品相同的《太空侵略者》角色和《食鬼》中的著名形象。

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為了進一步加強他的街頭作品的互動性，Invader 開發了一款名為「Flash Invaders」的應用程式。這是一款實境遊戲，鼓勵參與者在街頭拍攝藝術家的作品並將其上傳到遊戲中，與國際上其他玩家在排行榜上一比高低，共同尋找世界各地更多的 Invader 作品。

\n\n

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「這並不只是單純的融合卡通形象和抽象概念，而是打破了兩者之間的界限，展現了卡通的抽象本質，以及抽象中的具象化可能性。」—— 麥克‧奧平

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\n",{"_306":307,"_413":309},{"_295":1308,"_297":173,"_85":298,"_299":300,"_56":301,"_302":1309,"_336":1325,"_338":339,"_340":1326,"_342":343,"_344":345,"_346":347,"_348":1327,"_350":173,"_351":1328,"_353":1329,"_355":1330,"_87":1331,"_357":358,"_359":50,"_360":50,"_361":693,"_267":1332,"_363":50,"_364":50,"_365":79,"_366":50,"_367":50,"_368":79,"_369":79,"_492":1333,"_370":371,"_372":1334,"_374":1335,"_376":1336,"_378":446,"_380":1337,"_386":1338,"_388":1339,"_393":1344,"_54":410,"_411":1351,"_82":79},"157771",{"_304":1310,"_314":1312},{"_306":307,"_308":309,"_310":1311,"_312":693},700000,[1313,1316,1319,1322,1324],{"_306":317,"_308":318,"_310":1314,"_312":1315},65600,46800,{"_306":322,"_308":323,"_310":1317,"_312":1318},76500,54600,{"_306":327,"_308":327,"_310":1320,"_312":1321},83000,59300,{"_306":331,"_308":332,"_310":1323,"_312":706},89700,{"_306":307,"_308":309,"_310":1311,"_312":693},"https://www.phillips.com/detail/madsaki/157771","24","1-4U2EEE","《向村上隆之花致敬》",18022,"MADSAKI","2021-07-30T10:21:00.000000Z",630000,"Japan","款識：madsaki 2016（畫背）","作品 45 x 45 公分 (17 3/4 x 17 3/4 英寸)\r\n畫框 56.2 x 56.2 公分 (22 1/8 x 22 1/8 英寸)","壓克力噴漆畫布","香港私人收藏\r\n現藏者購自上述來源","https://assets.phillips.com/auctions/HK090221/157771_001.jpg",[1340,1341,1342,1343],"https://assets.phillips.com/auctions/HK090221/157771_002.jpg","https://assets.phillips.com/auctions/HK090221/157771_003.jpg","https://assets.phillips.com/auctions/HK090221/157771_004.jpg","https://assets.phillips.com/auctions/HK090221/157771_005.jpg",[1345],{"_396":79,"_397":398,"_399":1346,"_401":402,"_403":1347},4377,[1348],{"_396":79,"_406":1349,"_408":1350},6848,"

「看卡通片和逛博物館讓我意識到我想創造出流傳千古的的作品。我想成為一名著名的藝術家，但我當時只是一個貧窮的畫家。所以，我想，讓我們假裝我是那個著名的傢伙。我們可以成為文森特·梵高，我們可以成為克勞德·莫奈。《Wannabe》就是這樣開始的。」—— MADSAKI

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MADSAKI 動感十足的塗鴉作品以他標誌性的簡陋笑臉和流淚的眼睛為特色，並由此將他推向了國際藝術舞台，贏得了各地收藏家和評論家的一致好評。 MADSAKI 1974 年出生於日本大阪，年輕時移居新澤西，1996 年畢業於紐約帕森斯設計學院。回到日本從事個人藝術生涯後，MADSAKI 將塗鴉和噴漆藝術作為一種快速、隨意的創作手段；從媒介出發，探索藝術的價值和意義。

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「在這個系列中，我特意選擇了適合所有人——即使是沒有受過藝術教育的人也能識別的藝術作品——那些經常被人複製的作品。」—— MADSAKI

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在 MADSAKI 最著名《Wannabe》系列作品中，藝術家運用自身獨特的塗鴉風格，重新解讀藝術史上最著名、最能被識別的大師級作品。 MADSAKI 用自己的作品對這些名作致敬，並將原作品的設計和構圖重置於21世紀的藝術語境之中。此次拍品《向村上隆之花致敬》就是 MADSAKI 對村上隆那著名的彩虹色花朵的新的詮釋。 MADSAKI 被村上隆在 Instagram 上發現後一舉成名，並在國際上展出，其中包括香港大館的《村上 vs. 村上》 (2019 年6月至9月1日）展覽。村上隆也曾購買 MADSAKI 的作品作為自己的收藏。由此可見，這件作品是 MADSAKI 和村上隆之間的師徒之情和友情的見證。

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在《向村上隆之花致敬》中，每一朵花朵的眼睛都帶著好奇的目光盯著觀眾，黑色的噴漆顏料從它們的眼睛中流出，是 MADSAKI 創作風格的重要標誌。正如村上隆的花卉版畫一樣，MADSAKI 也同樣採用了千變萬化的色彩，包括柔和的粉紅色、淡藍色、蜜黃色以及淡紫色和薰衣草色調等，將花朵的不同面孔包圍起來。

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\"\" — MADSAKI 與其他《向村上隆之花致敬》系列作品，東京 Hidari Zingaro 畫廊，《HICKORY DICKORY DOCK》，2016年8月27日-9月13日

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2016年，MADSAKI 的其他《向村上隆之花致敬》系列作品連同其他肖像和文字作品在東京 Hidari Zingaro 畫廊的《HICKORY DICKORY DOCK》展覽（8月27日-9月13日）展出。展覽上的作品迅速售罄，標誌著在村上隆將其帶入國際藝壇之後，MADSAKI 職業生涯的一個重要節點。《向村上隆之花致敬》系列作品在展覽中脫穎而出，以其近乎迷幻的視覺效果抓住了觀眾的注意力。

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MADSAKI 曾在世界各地多次舉辦個展，其中包括在香港貝浩登畫廊的《如果我有一個夢想》（2019年）；東京 KaiKai Kiki 畫廊的《 MADSUCKY WUZ HERE 》（2018 年）；巴黎貝浩登畫廊的《蛋黃醬炸薯條》（2018 年）；曼谷中央大使館的《組合拼盤》（2018 年）；首爾貝浩登畫廊的《 BADA BING，BADA BOOM 》（2017 年）；東京 Hidari Zingaro 畫廊的《 HICKORY DICKORY DOCK》（2016 年）；東京 Clear Edition 畫廊的《WANNABE》（2015 年）；以及洛杉磯 HVW8 藝術與設計畫廊《請不要在畫上吐口水》（2015 年）。去年，MADSAKI 在東京 Kaikai Kiki 畫廊展出了一系列由 Mattel 宇宙大師所啟發的新作品，展覽名為《1984》。今年，他的個展《黑暗，我的好朋友，你好（我又來跟你聊天了）》在貝浩登畫廊的紐約空間開幕（2021年4月29日至6月5日）。

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MADSAKI 認為「完的美藝術」很無聊並討論與村上隆的關係

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「我希望它能成為一種快樂的視覺語言，讓世界各地的人都可以享受並參與其中。」—— Mr Doodle

\n\n

Mr Doodle在過去的一年裡風靡藝術界。他的作品於2020年4月首次出現在拍賣會上，並於同年8月以破紀錄的102萬美元成交。這位27歲的英國藝術家以其卡通式的塗鴉作品而聞名；他曾將作品中不間斷的線條稱為「意大利麵塗鴉」。 Mr Doodle本名山姆·考克斯；他在布里斯托爾的西英格蘭大學學習插畫時，構思出他名為「塗鴉先生」的另一個自我。此後，Mr Doodle以他的大型壁畫項目以及與芬迪、三星等時尚和商業品牌的高調合作而聞名。

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《校園鬥毆》 (2018年作) 是Mr Doodle眾多壓克力畫布作品中一個生動的範例。作品採用了藝術家典型的單色色調；畫中心的兩個人物眼睛突出、露出牙齒、拳腳相向。藝術家在人物的周圍用白色的波浪線勾勒出人物的輪廓，與漆黑的背景形成了鮮明的對比。此次拍品畫面充滿動感、活力四射，是藝術家的傑出之作。

\n\n

「我希望我的作品能盡可能地去佔據地球上的空間。」—— Mr Doodle

\n\n

Mr Doodle 曾在倫敦舊街地鐵站附近的一所閒置的商店內，將所有表面用塗鴉覆蓋。紀錄其塗鴉過程的視頻引起了國際觀眾的注意，在社交媒體上風靡一時：Mr Doodle 擁有270 萬 Instagram 粉絲以及超過8萬 YouTube 訂閱者。更值得注意的是，藝術門畫廊自2021年4月以來代理 Mr Doodle，這對藝術家來說是一個重大成就和肯定，象徵著他在亞洲市場上極高的熱度。 2021 年春季，香港富藝斯以遠超於估價的1,890,000港元的價格將 Mr Doodle 的《格爾尼doodle》（2019年作）售出。由此可見，Mr Doodle 所創造的作品有著豐富的視覺表現能力，受世界各地的大眾所認可和青睞。

\n\n

\"\" — 《格爾尼doodle》，2019年作，由香港富藝斯於2021年6月7 日以1,890,000 港元賣出，遠超拍賣前估價

\n\n

\n",{"_306":307,"_413":309},{"_295":1390,"_297":1391,"_85":298,"_299":300,"_56":301,"_302":1392,"_336":1400,"_338":339,"_340":1401,"_342":343,"_344":345,"_346":347,"_348":1402,"_350":1391,"_351":1403,"_353":1404,"_355":1405,"_87":1406,"_357":358,"_359":50,"_360":50,"_361":420,"_267":1407,"_363":50,"_364":50,"_365":79,"_366":50,"_367":50,"_368":79,"_369":79,"_492":1408,"_370":371,"_372":1409,"_374":1410,"_376":1411,"_378":1412,"_380":1413,"_386":1414,"_388":1415,"_393":1422,"_54":410,"_411":1429,"_82":79},"156279",26,{"_304":1393,"_314":1394},{"_306":307,"_308":309,"_310":518,"_312":420},[1395,1396,1397,1398,1399],{"_306":317,"_308":318,"_310":931,"_312":1359},{"_306":322,"_308":323,"_310":523,"_312":524},{"_306":327,"_308":327,"_310":526,"_312":527},{"_306":331,"_308":332,"_310":529,"_312":433},{"_306":307,"_308":309,"_310":518,"_312":420},"https://www.phillips.com/detail/chiharu-shiota/156279","26","1-4U2EHU","《生存的狀態（孩童的鞋）》",13643,"Chiharu Shiota","2021-07-30T10:23:00.000000Z",504000,"Japanese","款識：Chiharu Shiota（背面）","30.4 x 30 x 30 公分 (11 7/8 x 11 3/4 x 11 3/4 英寸)","金屬框架舊兒童鞋子黑色線","2012年作，並附藝術家簽署之Mimmo Scognamiglio Artecontemporanea畫廊保證書。","米蘭，Mimmo Scognamiglio Artecontemporanea畫廊\r\n現藏者購自上述來源","https://assets.phillips.com/auctions/HK090221/156279_001.jpg",[1416,1417,1418,1419,1420,1421],"https://assets.phillips.com/auctions/HK090221/156279_002.jpg","https://assets.phillips.com/auctions/HK090221/156279_003.jpg","https://assets.phillips.com/auctions/HK090221/156279_004.jpg","https://assets.phillips.com/auctions/HK090221/156279_005.jpg","https://assets.phillips.com/auctions/HK090221/156279_006.jpg","https://assets.phillips.com/auctions/HK090221/156279_007.jpg",[1423],{"_396":79,"_397":398,"_399":1424,"_401":402,"_403":1425},4379,[1426],{"_396":79,"_406":1427,"_408":1428},6850,"

「我真的很喜歡紗線這種材料。它很柔軟；我將它視作一面反映出我的情感的鏡子。所以，當我有不好的預感時，它就打成結了。紗線就像人際關係一樣具有張力。一段關係可能很緊密，但它也可以纏繞起來，是由感情連接的。這就是我在作品中使用紗線和繩子的原因。」—— 鹽田千春

\n\n

日本藝術家鹽田千春錯綜複雜的裝置作品以其對生命、死亡、情感和記憶等基主題的探索而為贏得了國際讚譽。鹽田的作品以紗線為主，將她搜集的日常用品包裹纏繞，深入地探討人類生存的意義所在，以一種淒美的形式來敘述每個人心中複雜、辛酸的渴望和失落感。

\n\n

鹽田的作品大部分以黑、紅、白等單色為基調，像一個視覺漩渦一樣將觀眾的注意力集中在中心物體之上，讓他們在不受任何干擾的情況下去聆聽自己內心對作品的情感反應。紅色代表生命、身體和人際關係；黑色暗喻世界、宇宙；白色則意味著永恆、空白和純潔。如本次作品所示，黑色線條象征著宇宙的暗網：一件件物品懸浮其中，如浩瀚星空，璀璨閃爍。

\n\n

\n\n

「線賦予我探索空間的能力，它們一層一層堆積，像夜空一樣，逐漸擴展到宇宙中。」—— 鹽田千春

\n\n

藝術家的大型裝置作品通常以場域而特定，創造出通道或洞穴讓觀眾從中穿行，強調身心共同參與的過程。對鹽田來說，每一個絲線都像是畫中的線條，在空中起舞：「我在空中用線畫畫，有無限的空間。有了這種材料，我可以創造新的空間。雖然在展覽之後它們會被解構，但它們將永遠活在參觀者的記憶中」ⁱ。

\n\n

此次拍品中的紗線在一個立方體框架中圍繞著一雙鞋子纏繞，仿佛將其懸浮在特定的時間和空間當中，並在自己的小宇宙中被保護起來。藝術家各種裝置中的眾多物件——裙子、手提箱、鑰匙、鞋子——都代表著個人記憶以及他們的生活、慾望和夢想。它們周圍無數的線條隱喻著人類複雜的社交網絡。每一層紗線都溫柔地籠罩著中央的物品，保護著其中的故事和記憶，使得這些回憶變得具體化：「我可以通過這些物件看到人們。我可以通過這些用過的東西和看過的書認出這些人是誰，或他們以前是誰。人們移動、旅行、改變，但他們會在他們接觸和使用的一切事物：衣服、鞋子、家具、房子上留下某些痕跡——即便他們已經離開了」ⁱⁱ。每位觀眾都被邀請去思考一個物體本身及其激發想像力和深刻情感的力量。

\n\n

「現在沒有人在，但是有存在的痕跡。這便是我作品的主題。這裡同時有人卻又沒有人。而且，這些物品的舊主人所留下的使用痕跡也依然可見。」—— 鹽田千春

\n\n

2014年，鹽田千春在美國華盛頓特區史密森尼機構創作了一件由數千雙舊鞋和紅線組成的大型裝置作品。作品中的每一雙鞋都附有一張紙條，詳細地描述了原主人與它們相關的回憶。作為一個整體，這件作品代表了每個人已逝的回憶和時間，創造出一個極其私密的詩意空間。

\n\n

\"\" — \n
《在大陸之上》，2014年，美國華盛頓特區史密森尼機構，照片由史密森尼機構 Arthur M. Sackler 畫廊提供
\n

\n\n

常居柏林的鹽田千春在2015年代表日本參加威尼斯雙年展後贏得了國際藝壇的讚譽。她的重要回顧展：《撼動的靈魂》，目前在台北市立美術館舉行並於 2021 年 8 月結束。這是迄今為止藝術家規模最大的展覽，共展出了一百多件不同媒介的作品。這場展覽先前已於東京森美術館（2019年）和釜山美術館（2019-2020年）展出，並將繼續前往澳大利亞現代藝術畫廊和印度尼西亞 MACAN 博物館展出。鹽田千春由由 Templon 畫廊，König 畫廊和 Mimmo Scognamiglio Artecontemporanea 畫廊共同代理。

\n\n

鹽田千春講述她於2015年威尼斯雙年展日本展館的裝置作品，《手中的鑰匙》

\n\n

ⁱ TF 陳，〈與鹽田千春一起在家〉，〈Wallpaper〉，2020年6月1日，載自網絡

\n\n

ⁱⁱ 布蘭妮，〈縫合崇高：鹽田千春的時間線——採訪〉，〈Art Radar Journal〉，2015年7月24日，載自網絡

\n",{"_306":307,"_413":309},{"_295":1431,"_297":1432,"_85":298,"_299":300,"_56":301,"_302":1433,"_336":1449,"_338":339,"_340":1450,"_342":343,"_344":345,"_346":347,"_348":1451,"_350":1432,"_351":1452,"_353":1453,"_355":1454,"_87":1455,"_357":358,"_359":50,"_360":50,"_361":809,"_267":1407,"_363":50,"_364":50,"_365":79,"_366":50,"_367":50,"_368":79,"_369":79,"_370":371,"_374":1456,"_376":1457,"_378":1458,"_380":1459,"_384":1460,"_386":1461,"_388":1462,"_393":1466,"_54":410,"_411":1473,"_82":79},"157680",27,{"_304":1434,"_314":1436},{"_306":307,"_308":309,"_310":1435,"_312":809},550000,[1437,1439,1442,1445,1448],{"_306":317,"_308":318,"_310":1438,"_312":526},51500,{"_306":322,"_308":323,"_310":1440,"_312":1441},60100,41500,{"_306":327,"_308":327,"_310":1443,"_312":1444},65100,45000,{"_306":331,"_308":332,"_310":1446,"_312":1447},70500,48700,{"_306":307,"_308":309,"_310":1435,"_312":809},"https://www.phillips.com/detail/kohei-nawa/157680","27","1-4U2EJC","《PixCell - 瑪利亞第16號》",13448,"名和晃平","2021-07-30T10:24:00.000000Z","61 x 44 x 44 公分 (24 x 17 3/8 x 17 3/8 英寸)","綜合媒材","2015年作","紐約，Ierimonti畫廊\r\n現藏者購自上述來源","紐約，Ierimonti畫廊，〈名和晃平：PixCell - 瑪利亞〉，2016年4月21日-6月30日","https://assets.phillips.com/auctions/HK090221/157680_001.jpg",[1463,1464,1465],"https://assets.phillips.com/auctions/HK090221/157680_002.jpg","https://assets.phillips.com/auctions/HK090221/157680_003.jpg","https://assets.phillips.com/auctions/HK090221/157680_004.jpg",[1467],{"_396":79,"_397":398,"_399":1468,"_401":402,"_403":1469},4380,[1470],{"_396":79,"_406":1471,"_408":1472},6851,"

「令我感興趣的是一件物品本身和它成為 PixCell 作品後，它們之間的平行關係。我一直在思考人觀看作品時的過程和他們是如何感知和意識到圖像和物質的。我也在思考圖表和虛擬圖像，視覺和触覺上的麻痺。生命和它周圍的環境時我的作品的基礎。」—— 名和晃平

\n\n

《PixCell - 瑪麗亞第16號》是日本藝術家名和晃平作為對自然與人工、虛擬與物理空間、有機與無機、個體與整體、數字與現實、生與死等多重對等關係的探索，也是名和眾多跨媒介作品中的傑出之作。作品標題由英文單詞「像素」——數字圖像的最小單位，和「細胞」——生物物體的最小單位，組合而成。

\n\n

名和晃平的超現實、半抽象 Pix-Cell 系列作品將現成圖像和物體轉換為現實中的雕塑。名和首先找到一件物品的在電腦屏幕上的圖像——一組像素，再用一層半透明的玻璃珠將物體完全覆蓋。雕塑上的這些球體大小不一，對物體產生了不同程度上的放大效果，將物體原本的形象打破、扭曲，為觀者提供了不同的視角。名和在《PixCell - 瑪麗亞第16號》中以他獨特的創作風格重新詮釋了聖母瑪利亞的標誌性形象，讓觀眾可以同時從多個角度觀察圖像的各個細節，創造出一種具有獨特深度和連續性的視覺體驗。

\n\n

\"\" — 《大公的聖母》，拉斐爾，約1506-1507年作，佛羅倫薩烏菲茲美術館藏

\n\n

名和晃平希望通過 Pix-Cell 系列作品去探索電腦對當今社會的信息消費體驗的影響。名和解釋道：「......（我開始）認真思考為什麼人們會想去將某些東西轉化成信息並佔有它。為了將這個問題轉化成現實，我創建了 PixCell 系列雕塑格式。作品的製造過程涉及一個非理性的過程（直接用球面鏡覆蓋物體），這在電腦平台上永遠不會被普及。 PixCell 系列不僅是讓像素在雕塑中重獲新生；其實，它更是對物體與它自身（被望遠鏡、顯微鏡觀察後，或是相機拍攝後所產生）的照片和圖像之間的關係的一種詮釋。」 ⁱ

\n\n

名和晃平的多元創作被眾多著名藝術機構收藏，其中包括紐約大都會藝術博物館，東京都現代美術館，以及墨爾本維多利亞國家美術館。此外，名和晃平還獲得了無數享有盛譽的獎項，最近一次是在2019年獲得了第32屆京都藝術文化獎。該國際獎項旨在表彰在先進技術、基礎科學、藝術和哲學領域做出巨大貢獻的個人的最高成就，其中每一個類別僅授予一個獎項。名和晃平目前是京都藝術與設計大學的副教授。

\n\n

ⁱ名和晃平，引述於瑪麗-夏洛特·布拉特，〈訪談：名和晃平的泡泡內〉，〈pen〉，2021年2月26日，載自網絡

\n",{"_306":307,"_413":309},{"_295":1475,"_297":1476,"_85":298,"_299":300,"_56":301,"_302":1477,"_336":1488,"_338":339,"_340":1489,"_342":343,"_344":345,"_346":347,"_348":1490,"_350":1476,"_351":1491,"_353":1492,"_355":1493,"_87":1494,"_357":358,"_359":50,"_360":50,"_361":1495,"_267":1496,"_363":50,"_364":50,"_365":79,"_366":50,"_367":50,"_368":79,"_369":79,"_903":1497,"_1067":1498,"_492":1157,"_370":371,"_372":1499,"_374":1500,"_376":1501,"_378":1502,"_380":1503,"_386":1504,"_388":1505,"_393":1510,"_54":410,"_411":1518,"_82":79},"158266",28,{"_304":1478,"_314":1479},{"_306":307,"_308":309,"_310":1093,"_312":1134},[1480,1482,1484,1486,1487],{"_306":317,"_308":318,"_310":1481,"_312":1137},41900,{"_306":322,"_308":323,"_310":1483,"_312":1139},48900,{"_306":327,"_308":327,"_310":1485,"_312":1142},52900,{"_306":331,"_308":332,"_310":1102,"_312":1145},{"_306":307,"_308":309,"_310":1093,"_312":1134},"https://www.phillips.com/detail/damien-hirst/158266","28","1-4U2EJF","《米奇（藍色閃粉）》",10541,"Damien Hirst","2021-07-30T10:25:00.000000Z",260000,315000,"

There is no other contemporary artist as maverick to the art market as Damien Hirst. Foremost among the Young British Artists (YBAs), a group of provocative artists who graduated from Goldsmiths, University of London in the late 1980s, Hirst ascended to stardom by making objects that shocked and appalled, and that possessed conceptual depth in both profound and prankish ways.

\n\n

Regarded as Britain's most notorious living artist, Hirst has studded human skulls in diamonds and submerged sharks, sheep and other dead animals in custom vitrines of formaldehyde. In tandem with Cheyenne Westphal, former Chairman of Phillips, Hirst controversially staged an entire exhibition directly for auction with 2008's "Beautiful Inside My Head Forever," which collectively totalled £111 million ($198 million).

\n\n

Hirst remains genre-defying and creates everything from sculpture, prints, works on paper and paintings to installation and objects. Another of his most celebrated series, the 'Pill Cabinets' present rows of intricate pills, cast individually in metal, plaster and resin, in sterilized glass and steel containers; Phillips New York showed the largest of these pieces ever exhibited in the United States, The Void, 2000, in May 2017.

\n",1965,"款識：Damien Hirst 27/50（藝術家壓印）（畫背）","紙張 151.8 x 122.1 公分 (59 3/4 x 48 1/8 英寸)\r\n畫框 162.8 x 133.5 公分 (64 1/8 x 52 1/2 英寸)","絲網印刷閃粉紙本","由倫敦Other Criteria於2016年出版，共有50版及10版藝術家試作版，此為第27版。","私人收藏\r\n倫敦，TateWard Auctions，2019年10月1日，拍品編號254\r\n現藏者購自上述拍賣","https://assets.phillips.com/auctions/HK090221/158266_001.jpg",[1506,1507,1508,1509],"https://assets.phillips.com/auctions/HK090221/158266_002.jpg","https://assets.phillips.com/auctions/HK090221/158266_003.jpg","https://assets.phillips.com/auctions/HK090221/158266_004.jpg","https://assets.phillips.com/auctions/HK090221/158266_005.jpg",[1511],{"_396":79,"_397":398,"_399":1512,"_401":1513,"_403":1514},4381,"DETAIL-HEADER-DISABLED 39613",[1515],{"_396":79,"_406":1516,"_408":1517},6852,"

「關於米奇的特點是，儘管他在形式和延伸意義上經歷過許多變化，他的形象卻是永恆的。在某種程度上，他在21世紀的意義與幾十年前一樣。我小時候看他的動畫片，我的孩子也在看。他很重要，因為他的形象在文化里根深蒂固，而且他看起來仍然很好看……僅僅是簡單地運用色彩的力量就能精確的捕捉他的本質。他的形象令人印象如此深刻，只需要用十二個不同顏色的點就能讓人辨認出來，我十分喜歡。」—— 達明安·赫斯特

\n",{"_306":307,"_413":309},{"_295":1520,"_297":1521,"_85":298,"_299":300,"_56":301,"_302":1522,"_336":1533,"_338":339,"_340":1534,"_342":343,"_344":345,"_346":347,"_348":1535,"_350":1521,"_351":1536,"_353":1063,"_355":1064,"_87":1537,"_357":358,"_359":50,"_360":50,"_361":311,"_267":1286,"_363":50,"_364":50,"_365":79,"_366":50,"_367":50,"_368":79,"_369":79,"_903":1066,"_1067":1068,"_492":670,"_370":371,"_372":1538,"_374":1539,"_376":1289,"_378":1540,"_380":1541,"_386":1542,"_388":1543,"_393":1548,"_54":410,"_411":1556,"_82":79},"153312",29,{"_304":1523,"_314":1524},{"_306":307,"_308":309,"_310":1134,"_312":566},[1525,1527,1529,1531,1532],{"_306":317,"_308":318,"_310":1526,"_312":750},23400,{"_306":322,"_308":323,"_310":1528,"_312":572},27300,{"_306":327,"_308":327,"_310":1530,"_312":575},29600,{"_306":331,"_308":332,"_310":1145,"_312":578},{"_306":307,"_308":309,"_310":1134,"_312":566},"https://www.phillips.com/detail/kaws/153312","29","1-4U2EMB","《腳鍊》","2021-07-30T10:26:00.000000Z","款識：12/50 KAWS.. 17（右下）","紙張 147 x 147.5 公分 (57 7/8 x 58 1/8 英寸)\r\n畫框 153.1 x 153.3 公分 (60 1/4 x 60 3/8 英寸)","由紐約Pace Editions於2017年出版，共有50版，此為第12版。","美國私人收藏\r\n現藏者購自上述來源","https://assets.phillips.com/auctions/HK090221/153312_001.jpg",[1544,1545,1546,1547],"https://assets.phillips.com/auctions/HK090221/153312_002.jpg","https://assets.phillips.com/auctions/HK090221/153312_003.jpg","https://assets.phillips.com/auctions/HK090221/153312_004.jpg","https://assets.phillips.com/auctions/HK090221/153312_005.jpg",[1549],{"_396":79,"_397":398,"_399":1550,"_401":1551,"_403":1552},4384,"DETAIL-HEADER-DISABLED 61367",[1553],{"_396":79,"_406":1554,"_408":1555},6855,"

「年輕的時候，我不會去美術館，也不會去博物館 . . . . . . 有很多『這是美術』、或『這不是美術』；『這是商業』、『這是高級藝術』等言論。我覺得，藝術的目的是與人們交流和接觸。只要是能夠達到這個目的渠道，就是正確的選擇。」—— KAWS

\n",{"_306":307,"_413":309},{"_295":1558,"_297":1559,"_85":298,"_299":300,"_56":301,"_302":1560,"_336":1570,"_338":339,"_340":1571,"_342":343,"_344":345,"_346":347,"_348":1572,"_350":1559,"_351":1573,"_353":1574,"_355":1575,"_87":1576,"_357":358,"_359":50,"_360":50,"_361":469,"_267":760,"_363":50,"_364":50,"_365":79,"_366":50,"_367":50,"_368":79,"_369":79,"_370":371,"_372":1577,"_374":1578,"_376":1579,"_378":1580,"_380":1581,"_386":1582,"_388":1583,"_393":1588,"_54":410,"_411":1596,"_82":79},"158205",30,{"_304":1561,"_314":1562},{"_306":307,"_308":309,"_310":468,"_312":469},[1563,1565,1566,1568,1569],{"_306":317,"_308":318,"_310":472,"_312":1564},6500,{"_306":322,"_308":323,"_310":475,"_312":476},{"_306":327,"_308":327,"_310":1567,"_312":479},10600,{"_306":331,"_308":332,"_310":481,"_312":482},{"_306":307,"_308":309,"_310":468,"_312":469},"https://www.phillips.com/detail/ayako-rokkaku/158205","30","1-4U2EOL","《早出生：三月》",15568,"Ayako Rokkaku","2021-07-30T10:27:00.000000Z","款識：2017 六角彩子（日文）（右下）；16/66（左下）","紙張 44.3 x 59.5 公分 (17 1/2 x 23 3/8 英寸)\r\n畫框 54.3 x 70 公分 (21 3/8 x 27 1/2 英寸)","彩色絲網版畫瓦楞紙板","由東京Target畫廊和contrarede出版，共有66版，此為第16版。","東京，Oida-Art Ltd.\r\n現藏者購自上述來源","https://assets.phillips.com/auctions/HK090221/158205_001.jpg",[1584,1585,1586,1587],"https://assets.phillips.com/auctions/HK090221/158205_002.jpg","https://assets.phillips.com/auctions/HK090221/158205_003.jpg","https://assets.phillips.com/auctions/HK090221/158205_004.jpg","https://assets.phillips.com/auctions/HK090221/158205_005.jpg",[1589],{"_396":79,"_397":398,"_399":1590,"_401":1591,"_403":1592},4383,"DETAIL-HEADER-DISABLED 55391",[1593],{"_396":79,"_406":1594,"_408":1595},6854,"

「現實和情感可以在繪畫中找到在言語中所無法實現的表達方式。」—— 六角彩子

\n",{"_306":307,"_413":309},{"_295":1598,"_297":1599,"_85":298,"_299":300,"_56":301,"_302":1600,"_336":1609,"_338":339,"_340":1610,"_342":343,"_344":345,"_346":347,"_348":1611,"_350":1599,"_351":1612,"_353":1613,"_355":1614,"_87":1615,"_357":358,"_359":50,"_360":50,"_361":469,"_267":669,"_363":50,"_364":50,"_365":79,"_366":50,"_367":50,"_368":79,"_369":79,"_492":761,"_370":371,"_372":1616,"_374":1617,"_376":1336,"_378":1618,"_380":1619,"_386":1620,"_388":1621,"_772":1625,"_393":1626,"_54":410,"_411":1633,"_82":79},"157412",31,{"_304":1601,"_314":1602},{"_306":307,"_308":309,"_310":468,"_312":469},[1603,1605,1606,1607,1608],{"_306":317,"_308":318,"_310":1604,"_312":473},8500,{"_306":322,"_308":323,"_310":475,"_312":476},{"_306":327,"_308":327,"_310":1567,"_312":479},{"_306":331,"_308":332,"_310":481,"_312":482},{"_306":307,"_308":309,"_310":468,"_312":469},"https://www.phillips.com/detail/xu-qu/157412","31","1-4U2EQU","《貨幣戰爭 - 摩洛哥 20（舊）》",15684,"Xu Qu","2021-07-30T10:28:00.000000Z","款識：《Morocco 20 old》Xu Qu 2015（畫背）","158.5 x 150.1 公分 (62 3/8 x 59 1/8 英寸)","2014年作，並附Almine Rech畫廊之保證書。","布魯塞爾，Almine Rech畫廊\r\n現藏著購自上述來源","https://assets.phillips.com/auctions/HK090221/157412_001.jpg",[1622,1623,1624],"https://assets.phillips.com/auctions/HK090221/157412_002.jpg","https://assets.phillips.com/auctions/HK090221/157412_003.jpg","https://assets.phillips.com/auctions/HK090221/157412_004.jpg",[774],[1627],{"_396":79,"_397":398,"_399":1628,"_401":402,"_403":1629},4385,[1630],{"_396":79,"_406":1631,"_408":1632},6856,"

「世界以極快的速度運行，這對每個人都有著不可思議的影響。」 —— 徐渠

\n\n

《貨幣戰爭 - 摩洛哥 20（舊）》（2014年作）是中國當代藝術家徐渠著名的貨幣戰爭系列中的精湛之作。這一系列作品由幾何形狀組成、色彩鮮豔。藝術家將來自世界各地的新舊貨幣水印以放大的比例重新詮釋，給予這一原材料全新的面貌，為觀者呈現出不一樣的視覺體驗。

\n\n

雖然貨幣上的紋路被放大擴一種幾乎抽象的程度，但一旦每種貨幣的圖像設計被認出，觀者對這一系列作品的解讀便會發生變化。畫作中的幾何形狀是一種基於現實的抽象圖案，既熟悉又陌生。圖案與觀者之間建立起一種既親近又疏遠的連繫，巧妙地反映出金錢與社會之間驅動與被驅動之間，同樣忽近忽遠的權利關係。徐渠的貨幣戰爭系列安迪·沃霍爾於1960年代初構思的著名的美元鈔票系列有異曲同工之處。與沃霍爾相同，徐渠的作品直接從金錢的物圖案中汲取靈感，從而進一步反思藝術品為何會最終也如同貨幣一樣在消費主義社會中流通，與其他商品無異。

\n\n

\n\n

《貨幣戰爭 - 摩洛哥 20（舊）》作為當前作品的標題，暗指摩洛哥迪拉姆鈔票於1965年首次推出的設計圖案。徐渠運用明亮的洋紅色、深橙色、灰色、和白色條紋來描繪放大後的貨幣水印圖案。作品傳播出溫暖的意境，同時也讓人聯想起摩洛哥國內著名的紡織品圖案和建築特色。

\n\n

\n\n

徐渠在作品中對色彩、線條和空間的多元探索，可謂是一種對弗蘭克·斯特拉和肯尼斯·諾蘭等色域畫派畫家的致敬方式。同時，徐渠的作品與同時代藝術家劉韡的《紫氣》系列也同樣有可比之處。兩位藝術家的作品中共同選用了解構性構圖，運通幾何圖形和抽象的描繪手法來探索與世界全球化影響相關的主題。然而，劉韡的畫布呈現的是現代城市景觀的宏觀視角，而徐渠則更專注於驅使這些空間的運行系統和其核心符號。

\n\n

\"\" — 劉韡，《紫氣四第4號》，2007年作，2020年12月由香港富藝斯與保利拍賣聯合售出，成交價2,772,000港元

\n\n

徐渠曾在全球眾多重要場所舉辦展覽。其中包括他 2015 年在布魯塞爾 Almine Rech 畫廊舉辦的〈貨幣戰爭〉個展，以及他2016 年在巴黎路易·威登基金會的展覽，〈本土：激流和嬗變下的中國藝術〉。最近，徐渠當代唐人藝術中心的個展於2021年3月至5月在北京展開；他的作品也在香港當代唐人藝術中心空間2021年1月至2月）和台北亞紀畫廊（2020年）展出。

\n\n

\"\" — 《徐渠——貨幣戰爭》展覽現場，布魯塞爾 Almine Rech 畫廊，2015年10月8日-11月14日

\n\n

\n",{"_306":307,"_413":309},{"_295":1635,"_297":1636,"_85":298,"_299":300,"_56":301,"_302":1637,"_336":1645,"_338":339,"_340":1646,"_342":343,"_344":345,"_346":347,"_348":1647,"_350":1636,"_351":1648,"_353":1649,"_355":1650,"_87":1651,"_357":358,"_359":50,"_360":50,"_361":313,"_267":1652,"_363":50,"_364":50,"_365":79,"_366":50,"_367":50,"_368":79,"_369":79,"_492":761,"_370":371,"_372":1653,"_374":1654,"_376":496,"_378":497,"_380":1655,"_386":1656,"_388":1657,"_772":1660,"_393":1661,"_54":410,"_411":1668,"_82":79},"157413",32,{"_304":1638,"_314":1639},{"_306":307,"_308":309,"_310":311,"_312":313},[1640,1641,1642,1643,1644],{"_306":317,"_308":318,"_310":319,"_312":320},{"_306":322,"_308":323,"_310":324,"_312":325},{"_306":327,"_308":327,"_310":328,"_312":329},{"_306":331,"_308":332,"_310":333,"_312":334},{"_306":307,"_308":309,"_310":311,"_312":313},"https://www.phillips.com/detail/zhao-zhao/157413","32","1-4U2ESO","《天空13號》",19971,"趙趙","2021-07-30T10:29:00.000000Z",214200,"款識：赵赵 2014.（畫背）","150 x 150 公分 (59 x 59 英寸)","洛杉磯，Roberts & Tilton畫廊\r\n現藏者購自上述來源","https://assets.phillips.com/auctions/HK090221/157413_001.jpg",[1658,1659],"https://assets.phillips.com/auctions/HK090221/157413_002.jpg","https://assets.phillips.com/auctions/HK090221/157413_003.jpg",[774],[1662],{"_396":79,"_397":398,"_399":1663,"_401":402,"_403":1664},4386,[1665],{"_396":79,"_406":1666,"_408":1667},6857,"

趙趙以其不拘一格的藝術作品和其艾未未助手的特殊身份而在近年來逐漸受到國際上的認可和讚譽。2019年，趙趙在北京松美術館舉辦首場美術館個展。同年，他獲得了「AAC藝術中國年度藝術家大獎」。此前也曾於2017年被提名為「年度青年藝術家」。藝術家的《天空》系列作品於 2015 年首次亮相，此次拍品《天空13號》（2014年作）便是趙趙這一系列作品中的精湛之作。藝術家運用不同層次及色調的藍色油彩在亞麻布上捕捉了天空中雲卷雲舒的絕妙景象，美麗而近乎抽象。

\n\n

\"\" — 趙趙於北京當代唐人藝術中心舉辦的個展〈天空 · 星空〉中展出的《天空》系列作品，2017年10月7日至11月19日）

\n\n

這一系列作品是趙趙對北京空氣污染問題的回應，體現出他對罕見的藍天的思念之情。的確，畫面中滾滾的黑暗讓人聯想到濃密的煙霧；而隱約可見的陽光似乎難以穿透，只有幾片稀疏的藍色天空得以透出。因此，《天空13號》的創作語境建立在趙趙作為中國當代藝術家的身份背景之上。2017年（10月7日-11月19日），藝術家的《天空》系列也在北京當代唐人藝術中心舉辦的個展〈天空 · 星空〉中展出。

\n\n

趙趙於2003年畢業於新疆藝術學院，後進入北京電影學院學習，是一位跨越多個領域的藝術家。藝術家曾從事從紀錄片製作，同時也涉及雕塑、表演、及繪畫等，並參加世界各地的展覽。趙趙最具影響的個展包括2019年在北京宋美術館的〈綠〉；2019年由當代唐人藝術中心策劃的〈絕境——香港巴塞爾藝術展邂逅計劃〉，和2017年當代唐人藝術中心的〈新疆塔克拉瑪幹項目——2017年香港巴塞爾項目〉。

\n",{"_306":307,"_413":309},{"_295":1670,"_297":1671,"_85":298,"_299":300,"_56":301,"_302":1672,"_336":1680,"_338":339,"_340":1681,"_342":343,"_344":345,"_346":347,"_348":1682,"_350":1671,"_351":1683,"_353":1574,"_355":1575,"_87":1684,"_357":358,"_359":50,"_360":50,"_361":469,"_267":1685,"_363":50,"_364":50,"_365":79,"_366":50,"_367":50,"_368":79,"_369":79,"_370":371,"_374":1686,"_376":1687,"_378":1688,"_380":1689,"_386":1690,"_388":1691,"_772":1693,"_393":1694,"_54":410,"_411":1702,"_82":79},"157681",33,{"_304":1673,"_314":1674},{"_306":307,"_308":309,"_310":468,"_312":469},[1675,1676,1677,1678,1679],{"_306":317,"_308":318,"_310":472,"_312":1564},{"_306":322,"_308":323,"_310":475,"_312":476},{"_306":327,"_308":327,"_310":1567,"_312":745},{"_306":331,"_308":332,"_310":481,"_312":482},{"_306":307,"_308":309,"_310":468,"_312":469},"https://www.phillips.com/detail/ayako-rokkaku/157681","33","1-4U2ETU","《〈魔法之手〉展覽地毯》","2021-07-30T10:30:00.000000Z",176400,"直徑 195 公分 (76 3/4 英寸)","超細纖維印花地毯","由東京Gallery Target Editions於2020年出版。","東京，Gallery Target Editions\r\n東京私人收藏\r\n現藏者購自上述來源","https://assets.phillips.com/auctions/HK090221/157681_001.jpg",[1692],"https://assets.phillips.com/auctions/HK090221/157681_002.jpg",[774],[1695],{"_396":79,"_397":398,"_399":1696,"_401":1697,"_403":1698},4387,"DETAIL-HEADER-DISABLED 2975",[1699],{"_396":79,"_406":1700,"_408":1701},6858,"

\n\n

\n",{"_306":307,"_413":309},{"_295":1704,"_297":1705,"_85":298,"_299":300,"_56":301,"_302":1706,"_336":1717,"_338":339,"_340":1718,"_342":343,"_344":345,"_346":347,"_348":1719,"_350":1705,"_351":1720,"_353":1721,"_355":1722,"_87":1723,"_357":358,"_359":50,"_360":50,"_361":313,"_267":1685,"_363":50,"_364":50,"_365":79,"_366":50,"_367":50,"_368":79,"_369":79,"_903":1724,"_1067":1725,"_492":1726,"_370":371,"_1727":1728,"_372":1729,"_374":444,"_376":1730,"_378":1731,"_380":1732,"_386":1733,"_388":1734,"_393":1736,"_54":410,"_411":1744,"_82":79},"157193",34,{"_304":1707,"_314":1708},{"_306":307,"_308":309,"_310":567,"_312":313},[1709,1710,1712,1715,1716],{"_306":317,"_308":318,"_310":616,"_312":657},{"_306":322,"_308":323,"_310":1711,"_312":325},10800,{"_306":327,"_308":327,"_310":1713,"_312":1714},11800,9500,{"_306":331,"_308":332,"_310":579,"_312":334},{"_306":307,"_308":309,"_310":567,"_312":313},"https://www.phillips.com/detail/gerhard-richter/157193","34","1-4U2EUQ","《凱奇（P19-2）》",11026,"格哈特．里希特","2021-07-30T10:31:00.000000Z","

Powerhouse painter Gerhard Richter has been a key player in defining the formal and ideological agenda for painting in contemporary art. His instantaneously recognizable canvases literally and figuratively blur the lines of representation and abstraction. Uninterested in classification, Richter skates between unorthodoxy and realism, much to the delight of institutions and the market alike.

Richter's color palette of potent hues is all substance and "no style," in the artist's own words. From career start in 1962, Richter developed both his photorealist and abstracted languages side-by-side, producing voraciously and evolving his artistic style in short intervals. Richter's illusory paintings find themselves on the walls of the world's most revered museums—for instance, London’s Tate Modern displays the Cage (1) – (6), 2006 paintings that were named after experimental composer John Cage and that inspired the balletic 'Rambert Event' hosted by Phillips Berkeley Square in 2016.

",1932,"German","circa","2006/2020年作","款識：200/200（出版社壓印）（畫背）","水晶裱數位版畫鋁塑板","由倫敦 HENI Editions 於2020年出版，共有200版，此為第200版。","倫敦，HENI Editions\r\n現藏著購自上述來源","https://assets.phillips.com/auctions/HK090221/157193_001.jpg",[1735],"https://assets.phillips.com/auctions/HK090221/157193_002.jpg",[1737],{"_396":79,"_397":398,"_399":1738,"_401":1739,"_403":1740},4388,"DETAIL-HEADER-DISABLED 756",[1741],{"_396":79,"_406":1742,"_408":1743},6859,"

「我想畫出一張計劃以外的作品。這種帶有任意性、偶然性、靈感和破壞的方法可能會衍生出某種特定類型的畫面，但這個畫面是永遠無法預測的。每張圖片都必須從一種繪畫或視覺上的邏輯中演變出來：從一個不可避免的過程中出現。我希望通過不去做任何計劃而達到與大自然（或現實）中相同的，始終存在的一種客觀性結果。當然，這也是一種盡可能將潛意識融入創作過程的方法。我只是想從中得到一些比我自己想象中更有趣的東西。」—— 格哈特‧里希特

\n\n

格哈德·里希特開創性的「凱奇」系列畫作以美國極簡主義作曲家約翰·凱奇的名字命名。里希特非常欽佩凱奇——他的音樂對里希特2006 年的創作影響極深。1960年代，凱奇在杜塞爾多夫學院（里希特在曾在這裡就學）演奏了一曲作品。凱奇把筆連接到麥克風上，將筆在紙上移動時產生的刮擦聲放大播出。2006 年，里希特在與策展人漢斯·烏爾里希·奧布里斯特 (Hans Ulrich Obrist) 的採訪中探討了凱奇的作品中機會和巧合的概念對抽象繪畫和里希特自己的畫作所產生的影響：「儘管我擁有豐富的技術經驗，但我還是始終無法精確地預測當我用刮刀塗抹或去除大量油漆時，結果會是什麼。令人失望的或者快樂的驚喜不斷地出現；在任何情況下這些驚喜都代表著作品在改變——在我繼續之前，我必須首先在腦海中消化這些變化」ⁱ。

\n\n

ⁱ 格哈特‧里希特引述於格哈特‧里希特、迪特瑪·埃爾格與漢斯·烏爾里希·奧布里斯特編，〈文本：1961-2007 年的著作、採訪和信件〉，倫敦，2009年，第531頁

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《森子》（2012年作）是奈良美智為數眾多的雕塑作品之一，其天真無邪的外表囊括了奈良藝術生涯中最為核心的童年記憶、孤獨等主題。這件以藝術家特有的卡哇伊風格所塑造的奈良式小女孩有著卡通般的大眼睛、和含蓄可愛的笑容。她的頭髮像樹上的葉子一般，發尾輕盈外翹，在光綫照射下會折身出斑駁的翠綠、棕黃，散發著快樂的療癒氛圍。奈良企圖以孩童純真的角度，跳脫以往作品中詼諧、諷刺的口吻，轉而回歸單純、平靜的自然之境。

\n\n

奈良自幼在日本北部的農業小鎮青森長大，從小就被環繞在大自然當中：

\n\n

「它在一個農業區，不是你對日本的平常想像中，像東京這樣的大城市。那裡既沒有藝術，也沒有可以一起探討藝術的朋友。我太孤單了，周圍只有蘋果樹……除了大自然，我無法與任何人交談。所以我和樹木、狗和豬交談……所以我對大自然有了這種特殊的感知能力，很多年後我認為這是一件好事。」 —— 奈良美智

\n\n

奈良單以樹木和動物為伴，在藝術和大自然中尋求庇護。由此可見，《森子》便可能是藝術家將想像中的童年朋友重新塑造出來的形象。作品將藝術家作品中獨特的心靈和自傳性質完美詮釋，訴說著人們心裡可能早已被遺忘的童年記憶和情感，深入觀眾的內心。

\n\n

奈良美智不久之前舉辦了國際巡迴之回顧展，該展始於洛杉磯郡藝術博物館（2021年4月1日-7月5日），並將緊接至上海的余德耀美術館、畢爾包古根漢美術館和鹿特丹當代藝術博物館。他目前在台灣的關渡美術館（2021年3月12日-6月20日）個展獲得了廣泛好評；同時，德克薩斯州的達拉斯當代藝術博物館（2021年3月20日-8月22日）也在舉辦奈良的大型美術館展覽。奈良美智由赫赫有名的 Blum & Poe 畫廊及佩斯畫廊代理。

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網上拍賣 2021年7月21-30日

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開始00:00 香港時間，2021年7月21日
\n結束18:00 香港時間，2021年7月30日

\n\n

精選拍品香港預展

\n\n

2021年7月21-23日，早上10時至晚上6時
\n2021年7月26-30日，早上10時至晚上6時

\n\n

只限預約請電郵至clientserviceshongkong@phillips.com進行預約。

\n\n

24/7是一場網上拍賣，展示來自當代藝術界最炙手可熱以及新興藝術家的當代藝術、限量版畫和雕塑作品。

\n\n

所有競投在富藝斯網上拍賣業務規定下進行，可瀏覽如何參與競投獲取更多詳情。

\n\n

請注意網上拍賣正式開始後，所有出價不得取消。

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陳英杰 《自然重力 70》，2021年作

\n","1626145709",{"_1849":2192,"_401":2193,"_2157":2194},"https://assets.phillips.com/auctions/HK090221/10_hi.jpg","

劉韡《風景第2號》，2005年作

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JBS Brian. Photo: Pak Khei

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中文閱讀

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Skateboarder, entrepreneur, entertainer — in Hong Kong, few people are as synonymous with local street culture as Julian Brian Siswojo, also known as JBS Brian.

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The Indonesian-born triple threat has been a fixture in the Hong Kong street scene since he moved to the city as a teenager and started skateboarding. Today, he’s the owner of skate shop 8FIVE2 (named after Hong Kong’s area code) and the retro barbershop Handsome Factory. He also acts, raps and is one-sixth of the hip-hop group 24HERBS. He’s worked with the likes of Nas and Snoop Dogg, he’s done tie-ups with Vans, Thrasher and Carhartt, and he is an avid collector of sneakers and streetwear.

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In this interview with Phillips, JBS Brian talks about his influences, the intersection between contemporary art and street culture, and what it means to be a collector. He also shares some of his favorite artists from our 24/7 Online Auction.

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PHILLIPS: You’re a fixture in the Hong Kong street scene. Can you talk a bit about how you got into street culture?

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JBS BRIAN: I started skateboarding in 1988. It’s the street skateboarding style that I am into and live my life around. The clothing, the magazines, the videos, the music that I listen to revolve around the skateboarding culture. Skateboarding culture and street culture will always come hand in hand because we skated on the streets on a daily basis.

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JBS Brian says skateboarding was his entry point into street culture.

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P: There are increasingly collaborations between street culture and contemporary art. I’m thinking Trevor Scott x George Condo, Takashi Murakami x Virgil Abloh, and street artists like Invader and KAWS. What’s your view on this intersection between street culture and art?

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JBS: Many of these artists are from the streets. That’s why they can all connect. Not to sound biased, but skateboarding is the greatest thing ever to exist, and that’s why all creatives are drawn to it.

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KAWS, SEEING, 2018
\nEstimate: HK$300,000-500,000 (US$38,500-64,100)
\nLot 17, 24/7: Online Auction, July 21-28

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P: 8FIVE2, Handsome Factory, 24HERBS — they’re all very different ventures. How do you see them fit together?

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JBS: They’re all related. I opened 8FIVE2 in 1999 and through the shop, I met a lot of like-minded people. In 2002, Conroy Chan, now one of the members of 24HERBS, came to the shop looking for me to set up a federation for us all to promote more skateboarding, surfing and BMXing in Hong Kong. There wasn’t much hip-hop in Hong Kong at the time, so I approached Conroy to start a hip-hop group. Hence, 24HERBS was born in 2006.

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In 2015, my partner and I decided to open a barbershop because Hong Kong didn’t have any proper classic barbershops at the time. I contacted my friend Kenta, who’s a skateboarder from Canada, and he introduced me to Jon Roth, the owner of Crows Nest, the most amazing barbershop in Canada.

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Jon helped us out immediately, and later, we found out that he knew of me from 8FIVE2 because Jon is a skateboarder himself and also a professional snowboarder. So all these three things — 8FIVE2, 24HERBS and Handsome Factory — have come into fruition from my skateboarding lifestyle.

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The 8FIVE2 skate shop in the Mong Kok neighborhood of Hong Kong.

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P: What do you collect? Can you share your collecting journey with us?

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JBS: I collect sneakers, skateboards, caps/hats and skate videos. As a skateboarder, you always go through your shoes very quickly, so it’s a habit in the beginning to always have two to three pairs for skateboarding. But my love for sneakers started when my mom bought me my first pair of Nike Vandal Supremes in 1984. I was in awe. I remember the Nike shoebox had “Pronounced Nai Ki” written on it, and I was drawn to it.

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I had always wanted to buy sneakers when I was 14, 15 years old but couldn’t afford it, and when I started 8FIVE2 in 1999 and started making some dough, I went nuts, buying around 30 pairs a month, no joke. My craziest point was owning more than 1,000 pairs of shoes.

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JBS Brian’s personal sneaker collection.

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A few years ago, I had to donate around half of them due to lack of space. That’s one bad thing about collecting stuff and living in Hong Kong is we don’t have enough space. Right now, I have about 600 pairs and counting.

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The one thing I never threw away is my skate video/DVD collection. I have maybe 90% of skateboard videos made worldwide because whenever I travel, I always buy local skate videos, whether it’s in Japan, South Korea or Thailand. I always support skateboarding videos no matter what because I know they put their blood, sweat and tears into making a skate video.

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Invader, TK-64, 2010
\nEstimate: HK$220,000-320,000 (US$28,200-41,000)
\nLot 21, 24/7: Online Auction, July 21-28

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P: Who are some of the artists in our 24/7 sale that inspire you the most and why?

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JBS: Jonas Wood, Invader, Murakami. Banksy, for sure. I am a huge fan of Banksy because he’s extremely creative with great messages in his art.

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And KAWS because of his earliest work where he took the Calvin Klein ad with Kate Moss on it and put his own twist on it. Then he put the ad back to where it belonged — on the streets of New York. Genius.

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Discover More from our 24/7 Online Auction >

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Recommended Reading

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Alice Neel at The Met: In Conversation with Curators Kelly Baum and Randall Griffey >

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How to Read Art Like a Tarot Card >

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\n","publishDate","2021-07-22T08:11:50.000000Z","authorCredit","Gavin Huang","coverPosX",62,"coverPosY","articleUrl","https://www.phillips.com/article/80198605/in-conversation-hong-kong-street-legend-jbs-brian-on-collecting-and-community","auctionEditorialID",1330,"editorialID",3607,"flocklerID",80198605,{"_2199":2223,"_2201":59,"_2202":2224,"_401":2225,"_2205":2226,"_2207":2227,"_2209":2228,"_2211":2229,"_2213":358,"_2214":2230,"_350":74,"_2216":2231,"_2218":2232,"_2220":2233},"https://flockler.com/thumbs/sites/889/jbs_210330-1cbbb402-776d-4a63-bea1-a2b31b307461_s600x0.jpg","香港街頭文化傳奇JBS Brian身兼rapper、演員和企業家多重身份，他跟我們分享了對他影響深遠的人事物，以及收藏對他的意義，並在24/7 網上拍賣挑選最喜歡的幾位藝術家。","與JBS Brian談藝術、滑板和收藏","

JBS Brian。圖片鳴謝: Pak Khei

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集滑板手、企業家、藝人多重身份於一身；在香港，很少有人能像李凱賢（別名JBS Brian）那樣成為本地街頭文化的代名詞。

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這位涉獵甚廣的全方位人才生於印尼，自十幾歲移居香港並開始玩滑板以來，就一直在香港街頭文化界佔一席位。時至今日，他是滑板店8FIVE2（以香港電話國際區號命名）和復古理髮店Handsome Factory的創辦人。他亦參與演戲、rap，也是六人嘻哈組合「廿四味」的成員之一。他曾跟Nas和Snoop Dogg等人合作，又與Vans、Thrasher和Carhartt這些品牌推出聯乘商品，本身更加是球鞋和街頭服飾的狂熱收藏家。

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在這次跟富藝斯的訪問中，JBS Brian談到了對他影響深遠的人事物、當代藝術和街頭文化的交匯之處，以及作為一個收藏家的意義。他還分享了富藝斯24/7：網上拍賣中最喜歡的幾位藝術家。

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PHILLIPS: 作為於香港街頭文化的重要人物，你是如何開始涉足這種文化？

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JBS BRIAN: 我從1988年開始玩滑板；我喜歡的是街頭滑板風格，而我的生活也圍繞著它。我的服裝、雜誌、短片，還有聽的音樂都是以滑板文化為核心。滑板文化和街頭文化將永遠並行前進，因為我們踩著滑板每日穿梭的場景就是街頭。

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JBS Brian表示滑板運動是他接觸街頭文化的起點。

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P: 街頭文化和當代藝術之間的合作越來越多。我想到的有Trevor Scott x 喬治·康多，村上隆x 維吉爾·阿伯拉赫(Virgil Abloh)，以及Invader、霍帕雷和KAWS等街頭藝術家。你對街頭文化和藝術之間的這種交匯有什麼看法？

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JBS: 這些藝術家當中有好幾位都是來自街頭，這就是為什麼他們之間能有所關連。我不想講出帶有偏見的說話，但滑板真的是有史以來最偉大的東西，這也是為什麼所有的創作人都被它吸引。

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KAWS，《觀看》，2018年作
\n估價300,000 - 500,000港元
\n拍品17, 24/7: 網上拍賣, 7月21-28日

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P: 8FIVE2、Handsome Factory，還有「廿四味」，它們都是類型非常不同的事業。你如何看待它們之間的關係？

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JBS:它們都是相關的。我在1999年開設8FIVE2，我透過這家店認識了很多志同道合的人。現在「廿四味」的成員之一陳子聰，在2002年來到店裡找我，表示希望能一起為大家建立一個聯盟，在香港推廣更多滑板、衝浪和BMX運動。當時香港還沒有太多的嘻哈音樂，所以我與陳子聰成立了一個嘻哈團體，「廿四味」由是於2006年誕生。

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到了2015年，我和我的夥伴決定開一家理髮店，因為當時香港沒有得體的舊式傳統理髮店。我聯絡我的朋友Kenta，他是來自加拿大的滑板運動員，然後他把我介紹給Jon Roth，他是加拿大最棒的理髮店Crows Nest的老闆。

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Jon立即向我們提供協助，後來我們發現他是因為8FIVE2而認識我，因為他本身就是一位滑板運動員，也是一位專業滑雪板運動員。因此，8FIVE2、「廿四味」和Handsome Factory這三件事，都是因為我的滑板生活而得以成就的結果。

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位於香港旺角的8FIVE2滑板店。

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P:你收藏些什麼？能和我們分享你的收藏之旅嗎？

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JBS: 我收藏球鞋、滑板、帽子和滑板短片。作為一個滑板運動員，鞋履總是消耗得很快，所以我從一開始就有一個習慣，總是準備兩至三對鞋子專門用來踩滑板。但我對球鞋的熱愛，是始於1984年我媽媽送的第一對Nike Vandal Supremes，它令我充滿敬畏。我記得Nike鞋盒上寫著「請讀出 Nai Ki」，我就這樣被它吸引了。

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我在14、15歲時總是很想買球鞋，但買不起。當我在1999年創辦8FIVE2並開始賺到一些錢時，我瘋了，每個月買30對左右，真的不是開玩笑。我最瘋狂的時候，擁有超過1,000對鞋。

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JBS Brian的個人球鞋珍藏。

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幾年前，由於收納空間不夠，我不得不捐出大約一半我的球鞋珍藏。這就是在香港收藏東西的一個問題，空間總是不夠。現在我有大約600對，而且持續增加中。

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有一樣東西我從來沒有扔掉過，那就是我的滑板短片/DVD收藏。我大概擁有全球各地製作的所有滑板短片當中的九成，因為我每次旅行都必定會購買當地的滑板短片，不論身處日本、韓國還是泰國。不管如何，我都會堅定不移支持滑板短片，因為我知道他們為製作滑板短片所付出的血汗和淚水。

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Invader, TK-64, 2010年作
\n估價 220,000-320,000 港元
\n拍品21, 24/7: 網上拍賣, 7月21-28日

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P: 在我們的24/7: 網上拍賣中，有哪些藝術家對你的啟發最大，原因又是什麼？

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JBS: Jonas Wood、Invader、村上隆。還有班克斯，這點毫無疑問。我是班克斯的超級粉絲，因為他非常具有創造力，他的藝術作品總是承載偉大涵義。

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還有KAWS，對他的喜愛源於其最早的作品，他把Calvin Klein的廣告和Kate Moss放在一起，再加入自己的巧思。然後他把這個廣告放回它原來的地方，亦即紐約街頭。真是天才。

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\n瀏覽24/7: 網上拍賣詳情 >

\n\n

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藏家之選

JBS Brian says skateboarding was his entry point into street culture.

KAWS, SEEING, 2018\nEstimate: HK$300,000-500,000 (US$38,500-64,100)\nLot 17, 24/7: Online Auction, July 21-28

The 8FIVE2 skate shop in the Mong Kok neighborhood of Hong Kong.

JBS Brian’s personal sneaker collection.

Invader, TK-64, 2010\nEstimate: HK$220,000-320,000 (US$28,200-41,000)\nLot 21, 24/7: Online Auction, July 21-28

JBS Brian表示滑板運動是他接觸街頭文化的起點。

KAWS， 《觀看》，2018年作\n估價300,000 - 500,000港元\n拍品17, 24/7: 網上拍賣, 7月21-28日

位於香港旺角的8FIVE2滑板店。

JBS Brian的個人球鞋珍藏。

Invader, TK-64, 2010年作\n估價 220,000-320,000 港元\n拍品21, 24/7: 網上拍賣, 7月21-28日

KAWS, SEEING, 2018
\nEstimate: HK$300,000-500,000 (US$38,500-64,100)
\nLot 17, 24/7: Online Auction, July 21-28

Invader, TK-64, 2010
\nEstimate: HK$220,000-320,000 (US$28,200-41,000)
\nLot 21, 24/7: Online Auction, July 21-28

KAWS，《觀看》，2018年作
\n估價300,000 - 500,000港元
\n拍品17, 24/7: 網上拍賣, 7月21-28日

Invader, TK-64, 2010年作
\n估價 220,000-320,000 港元
\n拍品21, 24/7: 網上拍賣, 7月21-28日