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拍賣 2024年3月29日
\n香港時間下午2:00
\n

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香港九龍西九文化區柯士甸道西8號西九文化區管理局大樓G/F（地圖）
\n

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預展 2024年3月20至29日
\n星期一至日上午11:00-下午7:00
\n

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參閱富藝斯業務規定 >
\n

\n","auctionDetailsSmall","香港拍賣 2024年3月29日","extraInfo","

田天
\nNew Now 拍賣主管暨副專家
\n香港二十世紀及當代藝術部
\n+852 2318 2058
\nAngelaTian@phillips.com
\n

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荊智勇，《海風》，2023年作
\n估價：50,000 - 80,000港元/6,400 - 10,300美元

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水在滔滔不絕的藝術探索中扮演著火炬手的角色，以多變的形態編織著變化與恒久的故事。從海浪的嫵媚，以至抽象逃離和數碼瀑布，每件作品掀起一個全新章節，在水的查究中聯繫短暫和永恒。

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teamLab，《水粒子的世界—金色》，2016年作
\n估價： 1,300,000 - 2,300,000港元/167,000 - 295,000美元
\nNew Now，3月29日

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來自創新藝術團體teamLab的《水粒子的世界—金色》巧妙地結合藝術、科技和大自然，堪稱數碼藝術的巔峰。作品在三維空間中展現不斷演變的虛擬瀑布，其中數之不盡的水滴也是演算法所創，根據物理定律呈現最真實的水流。閃閃發亮的水滴瀰漫金黃色調，讓人聯想到江戶時代的美學元素。在《水粒子的世界—金色》中，teamLab選了金色和強調簡單線條來凸顯水的流動，不只捕捉了流動性的精髓，更向東方文化哲學的理念致敬，頌揚禪宗和神道教的深度

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「透過數碼媒體探索藝術……創造一個讓眾人合作的空間，一同探究科學、科技與藝術的不同領域。」 — 豬子壽之
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《水粒子的世界—金色》不僅是一場視覺盛宴，更是技術應用的大師級示範。拍品運用了五個螢幕連結展示，尺寸依裝置硬體各異，最小可於3.5米高的等液晶螢幕上展現，亦可使用投影機投影成15米高。此作品可適應科技的發展：隨著技術演進，teamLab將更新軟體，讓作品能以未來的操作系統展示。

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teamLab的作品具衝擊力，富開創性，以及高超的美感，被譽為「後網路藝術運動」之先鋒，分別藏於：洛杉磯當代藝術館、悉尼新南威爾斯州美術館、阿德萊德南澳洲藝術館、三藩市亞洲美術館、紐約亞洲協會藝術館、伊斯坦布爾Borusan當代藝術收藏、墨爾本維多利亞國家美術館、赫爾辛基Amos Rex等。

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亞歷克斯·伊斯雷爾，《海浪》，2020年作
\n估價： 300,000 - 400,000港元/38,500 - 51,300美元
\nNew Now，3月29日

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伊斯雷爾於 1982 年誕生於洛杉磯，他的創作反映了該城市的風景、明星文化和電影世界。

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大自然的美態與洛杉磯的活力在《海浪》中渾然一體，而拍品也是對典型加州生活方式的現代致敬。漸層色彩柔和動人，猶如光線和紋理的微妙相互作用，散發著極簡主義的優雅。伊斯雷爾超越了純粹的美學，在觀者與廣闊寧靜的加州海岸線之間建立了深刻的關聯。

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拍品一眼就讓人想起享譽世界的葛飾北齋名作《神奈川衝浪裡》。葛飾北齋標誌性的木版畫捕捉了大自然的神聖力量，白沫翻滾的爪狀波浪似乎將要吞噬富士山下的船隻；相比之下，伊斯雷爾的「波浪」則提供了一種現代的、風格化的重塑。伊斯雷爾的波浪以柔和的漸變色彩呈現，給人一種恬靜之感。

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貢坎，《透過雙眼》，2022年作
\n估價： 160,000 - 260,000港元/20,500 - 33,300美元
\nNew Now，3月29日

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貢坎的《透過雙眼》體現了藝術家對於疏離經驗和聯繫社會的普世慾望之精湛探索。

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畫布漂浮在黑暗背景之上，其中橢圓形的「洞」象徵著逃離社會束縛和通往自由的門戶。畫面中央的人物在上述空間把手伸向對方，似是不同個體已被廣闊水域分隔，但又努力維持聯繫。同時，水的流動性反映了人際關係和情感的流動性。《透過雙眼》深入探討了孤立與希望之間的對比，兩名畫中人向彼此伸出援手，體現了一種既個人又普世的渴望。

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這位泰國藝術家畢業於泰國藝術大學藝術學院和裝飾藝術學院，深受繁華的城市景觀和多元化的文化環境啟發。

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珍娜·格里本，《龜池》，2010年作
\n估價： 400,000 - 600,000港元/51,300 - 76,900美元
\nNew Now，3月29日

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珍娜·格里本的作品《龜池》描繪了一對人物浸在池塘共享寧靜的時刻，展現了她對凝視親密行為的關注。池水清楚地倒映著大自然，為畫面增添了一層重要的深度，反映了作品的內省本質。這種倒影強調了兩名畫中人之間的親密關係，創造了隱喻的鏡子，不僅複製了他們的形象，而且倍添親密之感。

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格里本生於 1978 年，在一次學校旅行中她邂逅了印象派，從此展開捕捉短暫瞬間之創作歷程。她的筆觸富有印象派大師的技巧，對作品對象的刻畫低調但有力地展示了主體性，畫中人全情投入當下體驗，沒有直接面對觀者。畫中情侶與周圍環境的和睦融合，暗示了人與自然和諧共處。這種流暢的融合讓人想起十八世紀歐洲的浪漫主義風景畫，並且體現了格里本意圖挑戰藝術史中廣泛存在的傳統色情凝視。

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蓋·亞奈，《沒有我的賴奧爾》，2020年作
\n估價： 150,000 - 250,000港元/19,200 - 32,100美元
\nNew Now，3月29日

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蓋·亞奈的《沒有我的賴奧爾》瞬間將觀者帶往心曠神怡的法國南部海濱賴奧爾卡納代寧靜而田園詩般的美麗海景。作品以藝術家流暢而支離的標誌筆觸和鮮豔色調繪製，重構寧靜一刻。畫中兩扇滑動門通向景緻開揚的露台，而藝術家糅合幾何抽象色塊和像素化紋理，精妙地捕捉了極樂生活的情致，致令水的本質成為靈感和反思的泉源。

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走近畫面細看，觀者會不自覺將目光聚焦於畫面的像素化部分；從遠處觀看時，毗鄰的筆觸碎片則連貫形成一幅視覺快照，邊緣處的茂密綠葉環繞著奪目海景，蔚藍的天空與波光粼粼的水面互相交織。

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亞奈曾在世界各地舉辦多個個展，以及參與多個群展，包括柏林和紐約等地，其中藝術家最新畫作剛在Larsen Warner畫廊〈The Body Electric〉群展中展出。他的作品亦被納入以下公共及私人收藏：海法藝術博物館、特拉維夫藝術博物館、紐約雷馬·霍特曼基金會，以及倫敦Wassenaar and Anita Zabludowicz Collection等。

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基蒂·納羅德，《五彩繽紛的泳池》，2019年作
\n估價： 80,000 - 120,000港元/10,300 - 15,400美元
\nNew Now，3月29日

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《五彩繽紛的泳池》是基蒂·納羅德藝術哲學的闡述，引人注目。畫中呈現了一個和諧共存、沒有障礙和仇恨的想像世界。與他大部分作品一樣，畫作將個體置於象徵平等和普世人性的中立空間之中。從池中的構圖可見，人物悉數混為一體，沒有衝突，反映了抽象表現主義作品的流動和相互聯繫，強調多樣性的統一。

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這位泰國藝術家轉化以上願景為上乘藝術品的能力不僅贏盡讚譽，而且取得可見的成功：兩幅類似畫作在2023 年以遠高於估價的價格成交，其中一幅以港元609,600成交（估價為港元250,000-350,000）。

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荊智勇，《海風》，2023年作
\n估價：50,000 - 80,000港元/6,400 - 10,300美元
\nNew Now，3月29日

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《海風》繪有廣闊寧靜的景觀，畫中的恬靜大海與遼闊天空形成海天一色，營造出不太自然的安寧氛圍。然而，這種寧靜卻與陰險元素有趣並置：白色的牆壁佈滿了紅色的血跡，以及一個黑暗的神秘入口。一名孤獨的釣魚人物增添了不安和神秘感，邀請觀者思考更有深度的敘事，尤其交織在寧靜卻又令人不安的場景之中。

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荊智勇是一位駐北京的傑出藝術家。他的作品遊走於夢想、希望和神秘世界之間，微妙平衡，其中藝術家以流暢夢幻的性質描繪該神秘世界。荊智勇畫過他所謂的「充滿夢想、希望和荒誕的世界」，讓人聯想到馬格利特的超現實主義和德基里科的形而上景觀。

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憑藉網上影響力，荊智勇在Instagram積累超過 156,000 名粉絲，並於去年發布一本藝術書籍，繼續以上佳敘事能力風靡全球。

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潔西·華萊斯，《漁夫》，2022年作
\n估價： 180,000 - 280,000港元/23,100 - 35,900美元
\nNew Now，3月29日

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具有生物心理學背景的洛杉磯藝術家潔西·華萊斯帶來《漁夫》一作，其中精巧地捕捉了心靈與實體表達之間的複雜關係。華萊斯的藝術以擁有誇張特徵和敏銳目光的孤立人物見稱，反映出藝術家對於人類心理和孤獨的迷戀。在畫中，與畫同名的漁夫通過超大的面部特徵和內省的凝視，體現了一種與沉鬱環境分離的辛酸感。

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華萊斯的風格獨特，獲邀在世界各地的著名畫廊舉辦個展，包括上海Carl Kostyál畫廊和巴黎Stems畫廊。《漁夫》曾於米蘭PlanX畫廊展出，其後被現藏者納入收藏。拍品是華萊斯的創作典範，彰顯藝術家將實體扭曲與情感深度融為一體的能力，讓觀者參與有關內省和孤獨的無聲對話之中。

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New Now 香港拍賣
\n3月29日
\n2pm HKT

\n","publishDate","2024-03-25T05:16:31.000000Z","authorCredit","Veronica Chow","coverPosX",50,"coverPosY",0,"articleUrl","https://www.phillips.com/article/141954357/ebb-and-flow-hong-kong-new-now-cn","displayOrder",3,"auctionEditorialID",7971,"editorialID",4487,"flocklerID",141954357,"https://flockler.com/thumbs/sites/889/195147_scf_uc930205-1-d6a23edc-afdc-4211-87d1-85d62deaec15_s600x0_c1565x916_l0x426.jpg","In the currents of creativity, Phillips’ New Now Auction showcases the profound depths and serene surfaces inspired by water’s enduring allure.","Ebb and Flow: Water as Muse in Contemporary Art","

Jing Zhiyong, Sea Breeze ,2023
\nEstimate: HK$ 50,000 - 80,000/ US$ 6,400 - 10,300

\n\n

Water emerges as a lightbearer in the vast expanse of artistic exploration, weaving stories of change and constancy with its mercurial strokes. From the caress of waves to the abstract portals of escape and digital cascades, each piece unfolds a chapter that bridges the ephemeral with the eternal in a tapestry of liquid wonder.

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teamLab, Universe of Water Particles – Gold, 2016
\nEstimate: HK$1,300,000 - 2,300,000/ US$ 167,000 - 295,000
\nNew Now, 29 March

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Universe of Water Particles – Gold, crafted by the innovative collective teamLab, stands as a pinnacle of digital artistry, marrying the realms of art, technology, and the natural world. At its heart lies a captivating virtual waterfall, depicted in a lush three-dimensional space. The waterfall, composed of countless algorithmically generated droplets, flows with a precision that honours the laws of physics, each droplet shimmering in golden hues reminiscent of the Edo period. This choice of colour, coupled with the simplicity of the lines used to portray the dynamic motion of water, not only captures the essence of fluidity but also pays tribute to the rich cultural and philosophical lineage of Eastern philosophies, drawing from the depths of Zen Buddhist and Shintoist traditions.

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“To explore art through digital media…to create a place where people could collaborate and explore across the different fields of science and technology and art.” — Toshiyuki Inoko
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Beyond its visual allure, Universe of Water Particles – Gold is a masterclass in technological adaptability. This innovative 5-channel piece, adaptable in scale, can be exhibited on LCD screens at a minimum height of 3.5 meters or magnified to 15 meters using projectors. Engineered to evolve with technological advancements, teamLab offers a unique warranty to update the software, ensuring the artwork remains compatible with future operating systems.

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Impactful, ground-breaking and aesthetically powerful, the collective’s works have been heralded as the vanguard of post-internet art. Works are in the permanent collection of the Museum of Contemporary Art, Los Angeles; Art Gallery of New South Wales, Sydney; Art Gallery of South Australia, Adelaide; Asian Art Museum, San Francisco; Asia Society Museum, New York; Borusan Contemporary Art Collection, Istanbul; National Gallery of Victoria, Melbourne; and Amos Rex, Helsinki, among others.

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Alex Israel, Wave, 2020
\nEstimate: HK$ 300,000 - 400,000/ US$ 38,500 - 51,300
\nNew Now, 29 March

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Born in 1982 in Los Angeles, Alex Israel makes art that often reflects the city's landscape, celebrity culture, and cinematic world.

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Wave stands as a modern tribute to the quintessential Californian lifestyle, seamlessly marrying the beauty of the natural world with the vibrant energy of L.A. The artwork is characterized by its gentle pastel gradients and minimalist elegance, orchestrating a subtle interplay of light and texture. Israel goes beyond mere aesthetics, creating a profound connection between the viewer and the expansive, peaceful stretches of the California coastline.

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This piece positions itself as a tranquil response to the dynamic and formidable depiction of the natural world as seen in Hokusai's The Great Wave off Kanagawa. While Hokusai captures the formidable power of nature with his iconic woodblock print, featuring frothy, claw-like waves ready to engulf the boats beneath Mount Fuji, Israel's Wave offers a modern, stylized iteration — his “waves” rendered in pastel gradients evoke a sense of calm.

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Gongkan, Through the Eyes, 2022
\nEstimate: HK$ 160,000 - 260,000/ US$ 20,500 - 33,300
\nNew Now, 29 March

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Gongkan's Through the Eyes presents a vivid exploration of alienation and the universal desire for connection.

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Set against a dark backdrop, the ovals symbolise portals to freedom, depicting escapes from societal constraints. The figures in the artwork, reaching out towards each other across these portal-like spaces, evoke the image of individuals separated by vast, watery expanses, yet striving to connect. The fluidity of water mirrors the fluid nature of human relationships and emotions. Through the Eyes delves into the contrast between isolation and hope, with figures reaching out towards each other, embodying a longing that is both personal and universally relatable.

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A graduate of Kasetsart University Laboratory School and Silpakorn University, the Thai artist drew profound inspiration from the vibrant cityscapes he grew up in and their rich cultural diversity.

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Jenna Gribbon, Turtle Pond, 2010
\nEstimate: HK$ 400,000 - 600,000/ US$ 51,300 - 76,900
\nNew Now, 29 March

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Jenna Gribbon's Turtle Pond is a tender portrayal of a shared moment within the tranquility of a pond, deeply exploring the nuances of observation. The reflective nature of the pond adds a significant layer of depth to the artwork, mirroring the introspective essence of the piece. This reflection emphasises the intimacy shared between the two figures, creating a metaphorical mirror that not only duplicates their image but also doubles the intimacy.

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Born in 1978, Gribbon’s passion for Impressionism was sparked during a school trip, a revelation that set her on a path to capture the ephemeral nature of moments. Employing a masterful Impressionist technique inTurtle Pond, she imbues the subjects with a quiet sense of autonomy. Absorbed in their own world, the figures are depicted as being entirely engrossed in their shared experience, oblivious to the viewer's gaze. This method of portrayal achieves a fusion that goes beyond mere representation, signifying a profound unity with the surrounding environment. This connection not only recalls the romanticized landscape art of 18th-century Europe but also engages in a subtle critique of the traditionally eroticized gaze that has dominated much of art history.

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Guy Yanai, Rayol Without Me, 2020
\nEstimate: HK$ 150,000 - 250,000/ US$ 19,200 - 32,100
\nNew Now, 29 March

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Guy Yanai's Rayol Without Me transports viewers to the serene and idyllic coastal landscape of Rayol-Canadel-sur-Mer in Southern France. Through his signature style of smooth yet fragmented strokes and a vibrant palette, Yanai captures a moment of blissful tranquility. Featuring a pair of sliding doors that glide open to an expansive balcony vista, the geometric abstraction and pixelated texture merge to form a harmonious vista that speaks joie de vivre, embodying the essence of water as a source of inspiration and reflection.

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Upon close inspection, observers are drawn to fixate their gaze on the pixelated segments of the composition. When viewed from afar, these fragments adjoin harmoniously to conjure a visual snapshot that is bordered by lush foliage, encompassing a striking seascape where the azure sky meets the glistening ripples of the water.

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Yanai's art has graced prominent solo and group worldwide exhibitions, from Berlin to New York, with his most recent participation in "The Body Electric" at Larsen Warner. His works are celebrated in collections worldwide, such as the Haifa and Tel Aviv Museums of Art, and private collections including those of the Rema Hort Mann Foundation in New York and the Anita Zabludowicz Collection in London.

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Kitti Narod, Diversity in the Pool, 2019
\nEstimate: HK$ 80,000 - 120,000/ US$ 10,300 - 15,400
\nNew Now, 29 March

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Diversity in the Pool is a compelling articulation of Kitti Narod’s artistic philosophy, where he imagines a world of harmonious coexistence, free from barriers and hatred.This painting, like many of his works, places individuals in a neutral space symbolizing equality and shared humanity. The composition within the pool scenes, where individuals intermingle without conflict, mirrors the flow and interconnectedness of an Abstract Expressionist piece, emphasizing unity in diversity.

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The Thai artist’s ability to translate this vision into art has not only garnered acclaim but also tangible success, with two similar paintings by him sold well over their asking price in 2023 — one for $609,600 against an estimate of $250,000 - 350,000.

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Jing Zhiyong, Sea Breeze,2023
\nEstimate: HK$ 50,000 - 80,000/ US$ 6,400 - 10,300
\nNew Now, 29 March

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Sea Breeze features a vast, tranquil landscape — a serene sea meets an expansive sky, crafting an unnaturally peaceful ambiance. Yet, this tranquility is intriguingly juxtaposed with insidious elements: a white wall marred by red, blood-like stains and a dark, enigmatic entrance. A solitary figure fishing adds layers of unease and mystery, inviting viewers to ponder the deeper narratives interwoven into the serene yet unsettling scene.

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A distinguished artist based in Beijing, Jing delicately balances his work between dreams, hope, and an enigmatic world that he paints with a smooth, dreamlike quality. He has painted what he calls “Dreams, hopes and absurd world”, subtly evoking the surrealism of Magritte and the metaphysical landscapes of De Chirico.

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With a significant online presence, amassing over 156,000 followers on Instagram and having released an artbook last year, Jing continues to captivate a global audience with his profound narratives.

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Jess Valice, The Fisherman, 2022
\nEstimate: HK$ 180,000 - 280,000/ US$ 23,100 - 35,900
\nNew Now, 29 March

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The Fisherman by Jess Valice, an artist with a background in biopsychology from Los Angeles, masterfully captures the complex relationship between the mind and its physical expression. Valice's art, characterised by isolated figures with exaggerated features and penetrating gazes, reflects a deep fascination with human psychology and solitude. In this painting, the titular fisherman, with his oversized facial features and introspective stare, embodies a poignant sense of detachment from his dreary surroundings.

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Valice's distinctive style has led to solo exhibitions in prestigious galleries worldwide, including Carl Kostyál in Shanghai and Stems Gallery in Paris. The Fisherman, showcased at PlanX Gallery in Milan before its acquisition, is a compelling example of Valice's ability to blend physical distortion with emotional depth, engaging viewers in a silent dialogue about introspection and loneliness.

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New Now
\n29 March
\n2pm HKT

\n","2024-03-22T07:42:53.000000Z","https://www.phillips.com/article/141765828/ebb-and-flow-hong-kong-new-now",2,7970,4486,141765828,"https://flockler.com/thumbs/sites/889/whatsapp-image-2024-03-27-at-17-32-32-31064797-862d-43de-ac9f-824f5f428d2f_s600x0_c1046x612_l98x390.jpeg","著名當代藝術家的作品饒富遠見，而富藝斯以此為題，搭建穿越文化深度的對談。","畫布以外的先鋒夢想家","

KAWS，《CHUM (KCO15)》，2016年作
\n估價：3,800,000 – 5,500,000港元 / 487,000 – 705,000美元
\nNew Now，3月29日

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富藝斯香港New Now拍賣深入探討當代藝術的前沿，蒐羅跨越文化界限、媒材和視野的多樣化作品。從KAWS的代表性流行文化人物，到卡普爾的內省導向作品，本次拍賣呈現有關現代存在的複雜性之獨特視角，從而凸顯全球文化交流的豐富內涵。

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藝名KAWS 的Brian Donnelly 以橫跨美術與街頭藝術的跨界實踐而聞名，被廣泛認為是當代最重要的藝術家之一。在布魯克林工作的KAWS才華橫溢，不僅是公認的藝術家，還是卓有成就的設計師、企業家和收藏家。

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《CHUM (KCO15)》呈現了KAWS 對於形態和色彩的鮮明探索，其中人物主體平面用上光滑的蔚藍色繪製，邊緣一圈奪目的群青藍色，顯然是向伊夫·克萊因（Yves Klein）所創造的「國際克萊因藍」（International Klein Blue）致敬。藝術家精確而篤定的黑色線條所勾勒之輪廓強化了人物的主體形狀。 KAWS 圍繞角色輪廓製作了形狀一致的畫布，為《 CHUM (KCO15)》注入了無窮能量與動態韻味。CHUM 被視為藝術家的標誌性卡通角色之一，並已成為 KAWS 在流行文化、動畫和塗鴉等領域之探索的代名詞，強調了他作為大眾媒體的批判性觀察者和積極參與者之雙重角色。

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CHUM以藝術家代表性的顱骨及交叉眼面貌呈現，配以廣受喜愛的米其林輪胎人的圓潤身軀，再次展現了KAWS 對於商業符號的再語境化和重新詮釋，技藝精湛。《CHUM》的特色「XX」雙交叉符號足以顯示藝術家的細緻工藝，展示了他對流行文化史的把握，以及與當代藝術實踐的無縫結合。

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Mr. ，《無題》，2020-2023年作
\n估價：1,000,000 – 2,000,000港元 / 128,000 – 256,000美元
\nNew Now，3月29日

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日本藝術家Mr.的作品《無題》是一場色彩、角色和文化的視覺盛宴，濃縮了青春文化的熱情和東京都市的活力。Mr.出生於 1969 年，也是正值人類發展里程碑和巨大文化演變的一年。藝術家在動漫世界中長大，從此深遠地影響了他的藝術方向。他的創作深入探討禦宅族次文化與日本的卡哇伊美學，既體現了懷舊與創新的微妙融合，又捕捉了當代日本生活的精髓。Mr.的藝術承續了超扁平運動的影響和村上隆的指點，明顯展現於其扁平化的畫面，以及多樣文化的無縫融合。

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畫面中心的角色擁有一頭引人注目的藍髮，他的稚氣和魅力體現了卡哇伊風格。他不僅僅是一個角色，而是作為情感通道反映了天真並喚起類似moe（萌）的感覺。中心人物四周是由小型人物和圖案組成的萬花筒圖樣，每處細節都經過精心描繪，表現了禦宅族文化的精彩紛呈。

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畫面穿插英文和日文文字，形成更深層的敘事，而這些敘事反映了全球和當地文化的相互聯繫。

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MADSAKI，《夢 2》，2017年作
\n估價：500,000 – 700,000港元 / 64,100 – 89,700美元
\nNew Now，3月29日

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MADSAKI 將街頭藝術的原始性與藝術史的技巧性合二為一，在《夢 2》中重新詮釋了巴勃羅·畢加索（Pablo Picasso）的名畫《夢》（Le Rêve），引人入勝。藝術家的創作以毫不妥協地糅合高端和街頭文化見稱，將其多元文化成長經歷，以及在大阪和新澤西度過童年的影響融會貫通。這件作品見證了MADSAKI從自稱「飢餓的藝術家」一躍成為全球公認的當代藝術人物之心路歷程，體現了他以既虔誠又反傳統的方式融入經典藝術著作的雄心。

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雖然 MADSAKI對這幅著名作品的演繹似乎緊密遵循了原作的精髓，但藝術家以噴漆、模板蓋、鮮豔色彩為該畫注入全新活力，而這種噴漆美學給本來靜態的肖像意帶來了一絲動態與粗獷。畢卡索用祥和的氣氛渲染繆斯女神的面相，MADSAKI則大膽重構了這張臉，彰顯藝術家自身與藝術和身份認同的關係之評論。MADSAKI用凹陷的雙眼和假笑取代本來的面相，鼓勵觀者重新思考拍品與原作的相似度，既是一項致敬，同時呈現了紮根於21 世紀有關藝術挪用和文化混雜性的對話。

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薩爾沃，《八月》，2009年作
\n估價：400,000 – 600,000港元 / 51,300 – 76,900美元
\nNew Now，3月29日

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在《八月》中，意大利藝術家薩爾沃再次引領我們欣賞地中海風景的精髓，而只有本身深植該景的人才能繪出如此崇敬之情。作品中有著光與影、色彩和形態之間的互相輝映，而此種呈現方式也定義了薩爾沃後來的作品。薩爾沃以其故鄉西西里汲取靈感，呈現了當地溫暖的八月，從畫面可見地中海的靈魂深植其中。作品不僅超越了單純的景觀呈現，也是一種思考時間的冥想。這幅畫捕捉著片刻記憶，而畫布豐富的溫暖色調喚起意大利八月的慵懶與炎熱，邀請觀者進入薩爾沃記憶中的永恒時刻。

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薩爾沃原名Salvatore Mangione，生於意大利萊昂福爾特，早年接觸了貧困藝術，並且邂逅了概念巨擘。直至1970年代，藝術家才重新回歸繪畫。儘管薩爾沃的作品體現喬治．德．基里科（Giorgio de Chirico）的超現實風景，甚至文藝復興大師的敘事深度，卻又保留自己的別樹一格。薩爾沃的風景畫不僅是地點的表面呈現，也涵蓋對於記憶、身分和時間流逝的細緻探索，展露著概念性的深度。《八月》畫中的樹木和房屋，色彩濃郁且極具風格，同時滿載情感，也是藝術家思考存在本質的渠道。

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《八月》是薩爾沃藝術哲學的上乘範例：畫中並無人物，將地點本身作為主角描繪，鼓勵觀者走進一個平靜而複雜的世界，而八月寧靜省思的氛圍在當前風景下顯而易見。薩爾沃透過個人十分欣賞的意大利風景，讓觀者進行時間、記憶、自身的對話。如《八月》的作品所見，薩爾沃呈現了一趟心靈和思想上的自我省思之旅，讓我們記得每次日落皆反映出轉瞬即逝的美麗和人類生存的普世價值。

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teamLab，《水粒子的世界 —金色》，2016年作
\n估價：1,300,000 – 2,300,000港元 / 167,000 – 295,000美元
\nNew Now，3月29日

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嶄新開創之作《水粒子的世界 —金色》來自國際跨領域藝術團體teamLab。他們的協作實踐位於藝術、科技和大自然的交匯處，成就多項獨特沉浸式體驗。teamLab於 2001年由豬子壽之創立，由藝術家、程序員、工程師、CG動畫師、數學家和建築師組成，旨在以創新藝術探索自我與世界間的關係。

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《水粒子的世界 —金色》的虛擬瀑布由複雜的演算法所創，運用多個螢幕連結展示其中光影與動態，令人嘆為觀止。拍品最小可於3.5米高的等液晶螢幕上展現，亦可使用投影機投影成15米高。這件臻品從大自然和日本的豐富藝術史中汲取靈感，以金色展示水的流動之美。此作品可適應科技的發展，其中軟體、裝置均可不斷進化，奠定 teamLab 對數碼藝術和永續發展的承諾，呈獻與其媒材共同成長的作品。

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teamLab採用金色的選擇不僅向江戶時代的奢華美學致敬，也象徵著大自然在藝術世界的持久相關性。單在創作過程期間，teamLab已經挑戰了人類對於空間和時間的認知，邀請觀者進入藝術與環境的融合空間，置在一場多重感官的盛宴之中。

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New Now 香港拍賣
\n3月29日
\n2pm HKT

\n","2024-03-27T04:30:29.000000Z","https://www.phillips.com/article/142092662/visionaries-beyond-the-canvas-newnow-hk-cn",7973,4491,142092662,"https://flockler.com/thumbs/sites/889/whatsapp-image-2024-03-27-at-17-32-32-0be4f375-7c96-4dc7-85b7-5ff0ce233bd5_s600x0_c1046x611_l104x371.jpeg","Traversing cultural dialogues through the visionary works of celebrated contemporary artists.","The Vanguard Visionaries beyond the Canvas","

KAWS, CHUM (KCO15), 2016.
\nEstimate HK$3,800,000 – 5,500,000/ US$487,000 – 705,000.
\nNew Now, 29 March.

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Delving into the forefront of contemporary art, the Phillips New Now auction in Hong Kong showcases a diverse array of pieces that cross cultural boundaries, mediums, and visions. Highlighting artworks from KAWS' iconic pop culture figures to Kapoor's introspective pieces, this collection offers distinct perspectives on the intricacies of modern existence and accentuates the rich tapestry of our global cultural exchange.

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Brian Donnelly, a seminal figure in the contemporary art landscape who is known in the art world as KAWS, stands as a testament to the fluid intersection of high art and urban culture. Brooklyn-based, his multifaceted career encompasses roles as artist, designer, entrepreneur, and avid collector.

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CHUM (KCO15) emerges as a vibrant exploration of form and color, with the animated cerulean blue figure enveloped in an ultramarine hue that pays homage to Yves Klein's International Klein Blue. The artwork vibrates with energy and motion, accentuated by KAWS's meticulous application of black lines and the innovative shaping of the canvas to echo the character's outline. CHUM, a recurring motif in KAWS’s body of work, signifies the artist's enduring fascination with the symbols of popular culture, animation, and graffiti. This underscores his dual role as a critical observer and active participant in the vernacular of mass media.

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The fusion of the artist's emblematic skull and crossbones motif with the iconic figure of the Michelin Man in CHUM illustrates KAWS's masterful recontextualization and reinterpretation of commercial icons as profound artistic expressions. The work's detailed craftsmanship and characteristic "XX" eyes speak to KAWS's incisive engagement with the annals of pop culture and its intersections with the realm of contemporary art.

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Mr., Untitled, 2020-2023.
\nEstimate HK$1,000,000 – 2,000,000/ US$128,000 – 256,000.
\nNew Now, 29 March.

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In Untitled, Japanese artist Mr. weaves a tapestry of visual intrigue that encapsulates the vibrancy of youth culture and the pulsating energy of urban Tokyo. Born in 1969, a year marked by monumental achievements and cultural shifts, Mr. grew up immersed in the worlds of anime and manga, which have profoundly influenced his artistic direction. His work is a celebration of the otaku subculture and the enchanting aesthetic of kawaii, embodying a blend of nostalgia and innovation that captures the essence of contemporary Japanese life. Mr.'s artistic approach, influenced by the Superflat movement and mentored by Takashi Murakami, is evident in his mastery of blending cultural references across a flattened pictorial space.

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Untitled features a character adorned with striking blue hair, embodying the innocence and charm central to the kawaii phenomenon. This character is not merely a figure but a conduit of emotion, reflecting the innocence and evoking affection that is synonymous with the idea of “moe.” Around this central character is a swirling kaleidoscope of smaller characters and motifs, each meticulously rendered, offering a narrative on the bustling nature of otaku culture.

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The integration of both English and Japanese script throughout the piece adds layers of meaning, making the canvas a narrative field that speaks to the interconnectedness of global and local cultures.

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MADSAKI, Le Reve 2, 2017.
\nEstimate HK$500,000 – 700,000/ US$64,100 – 89,700.
\nNew Now, 29 March.

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In Le Reve 2, MADSAKI offers a captivating reinterpretation of Pablo Picasso's 1932 masterpiece, Le Rêve, through the lens of his distinctive aesthetic that marries the rawness of street art with the finesse of art history. Known for his unapologetic blending of high and low culture, MADSAKI channels his multicultural upbringing and the influences of his youth — spent between Osaka and New Jersey — into his art. This piece stands as a testament to his journey from a self-described "starving artist" to a globally recognised figure in contemporary art, embodying his ambition to engage with the canon of art history in a manner that is both reverential and iconoclastic.

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The painting retains the structural essence of Picasso's original, yet MADSAKI infuses it with a new vitality through his use of spray paint, stenciled caps, and vibrant colors. This technique not only introduces a sense of movement and spontaneity but also transforms the serene depiction of Picasso’s muse into a commentary on the artist’s own relationship with art and identity. The hollowed eyes and exaggerated smiles crafted by MADSAKI challenge the viewer to reconsider the familiarity of Picasso's work, presenting an homage that is deeply rooted in the 21^st century's dialogue on appropriation and cultural hybridity.

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\n\n

Salvo, Agosto, 2009.
\nEstimate HK$400,000 – 600,000/ US$51,300 – 76,900.
\nNew Now, 29 March.

\n\n

In Agosto, the Italian artist Salvo captures the quintessence of the Mediterranean summer with a reverence that only someone deeply rooted in the landscape could achieve. This painting embodies the harmonious dance of light and shadow, color and form that characterizes Salvo's later works, drawing deeply from his Sicilian heritage to portray the August warmth that is emblematic of the region. The piece transcends mere representation, becoming a meditation on time itself, encapsulated through the ephemeral nature of memory. The rich, warm palette evokes the languorous heat of an Italian August, inviting the viewer into a moment suspended in the amber of Salvo's memory.

\n\n

Salvo, born Salvatore Mangione in Leonforte, navigated the realms of Arte Povera and conceptual art before reaffirming his commitment to painting in the 1970s. His work, while hinting at the influences of Giorgio de Chirico's surreal landscapes and the narrative depth of Renaissance masters, remains unmistakably unique. Salvo's landscapes are not simple depictions of place but are imbued with a conceptual depth that explores the relationship between memory, identity, and the passage of time. The stylized elements of his paintings, such as the exaggerated trees and houses in Agosto, laden with color and emotion, serve as vessels for Salvo's contemplation of the nature of existence.

\n\n

Agosto is a profound expression of Salvo's artistic philosophy, where the absence of human figures emphasizes the landscape's role as the protagonist. This choice invites the viewer into a serene yet complex world where the landscape itself communicates the quietude and introspection of the season. Salvo's work is a dialogue with time, memory, and the self, rendered through the lens of the Italian landscape he so adored. Through paintings like Agosto, Salvo invites us on a journey into the introspective landscapes of the heart and mind, where each sunset reflects life's fleeting beauty and the universality of human experience.

\n\n

\n\n

teamLab, Universe of Water Particles – Gold, 2016.
\nEstimate: HK$1,300,000 – 2,300,000/ US$167,000 – 295,000.
\nNew Now, 29 March.

\n\n

Universe of Water Particles – Gold, a seminal creation by the interdisciplinary collective teamLab, fuses art, technology, and nature into a singular, immersive experience. Founded by Toshiyuki Inoko in 2001, teamLab comprises a diverse group of artists, engineers, CG animators, mathematicians, and architects, all united in their pursuit to dissolve the barriers between the self and the world through innovative art.

\n\n

Rendered through a complex algorithm, Universe of Water Particles – Gold is a digital waterfall that cascades across screens in a breathtaking display of light and motion. This dynamic artwork, capable of being exhibited on scales ranging from 3.5 to 15 metres, showcases the fluid beauty of water in golden hues, drawing inspiration from the natural world and the rich history of Japanese art. The piece’s adaptability to future technological advancements further underscores teamLab's commitment to evolution and sustainability within digital art, offering a piece that grows alongside its medium.

\n\n

The choice of gold not only pays homage to the luxurious aesthetics of the Edo period but also symbolizes the enduring relevance of nature in art. In its execution, teamLab challenges our perceptions of space and time, inviting viewers into a space where art and environment coalesce, creating a profound, multisensory experience.

\n\n

New Now
\n29 March
\n2pm HKT

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There is no restoration apparent under Ultraviolet light. This work is not framed.",{"_147":148,"_149":150},"•","https://assets.phillips.com/auctions/HK010324/200420_002.jpg","https://assets.phillips.com/auctions/HK010324/200420_003.jpg",{"_147":148,"_602":150,"_603":662,"_605":663},[656,657,658,659,660,661],{"_147":619,"_602":620,"_603":672,"_605":673},{"_147":618,"_602":618,"_603":670,"_605":671},{"_147":614,"_602":615,"_603":668,"_605":669},{"_147":610,"_602":611,"_603":666,"_605":667},{"_147":606,"_602":607,"_603":664,"_605":665},{"_147":148,"_602":150,"_603":662,"_605":663},80000,50000,13700,8500,10300,6400,9400,5900,9000,5600,8000,5000,79,{"_592":698,"_594":699},"https://www.phillips.com/detail/aa-maan/200788","79","1-8TYJVF","《樂音》",31785,"阿曼",28000,50800,"款識：Aa Maan 2020（左下）","121 x 90 公分 (47 5/8 x 35 3/8 英寸)","油彩畫布裱於木板","2020年作","亞洲私人收藏（直接購自藝術家）","literature","吳放編，《小丑：阿曼的異想世界》，台北，2024年，第100、48頁（圖版）","https://assets.phillips.com/auctions/HK010324/200788_001.jpg",[695,696,697],"This work is in very good condition overall. Upon close inspection, there are hairline craquelures throughout the work, and pinpoint studio marks on the lower right quadrant of the work, attributed to the artist's chosen medium and working methods. There is no restoration apparent under Ultraviolet light. This work is framed in a painted bronze wooden frame. Please note, this work has not been checked outside of its frame.",{"_147":148,"_149":150},"https://assets.phillips.com/auctions/HK010324/200788_002.jpg","https://assets.phillips.com/auctions/HK010324/200788_003.jpg","https://assets.phillips.com/auctions/HK010324/200788_004.jpg",{"_147":148,"_602":150,"_603":706,"_605":707},[700,701,702,703,704,705],{"_147":619,"_602":620,"_603":714,"_605":715},{"_147":618,"_602":618,"_603":712,"_605":713},{"_147":614,"_602":615,"_603":710,"_605":711},{"_147":610,"_602":611,"_603":709,"_605":608},{"_147":606,"_602":607,"_603":666,"_605":708},{"_147":148,"_602":150,"_603":706,"_605":707},60000,40000,6900,7700,7100,4700,6800,4500,6100,4000,78,{"_592":735,"_594":736},"https://www.phillips.com/detail/michael-lau/200794","78","1-8TYJUS","《TATTO —花園人系列》",20785,"劉建文",69850,"款識：Michael Lau（右下）","160 x 39 公分 (62 7/8 x 15 3/8 英寸)","壓克力滑板","2013年作","香港私人收藏（直接購自藝術家）\r\n現藏者購自上述來源","https://assets.phillips.com/auctions/HK010324/200794_001.jpg",[734],"This work is in very good condition overall. Upon close inspection, there is minor paint loss under the left screw hole. This and any other surface irregularities are attributed to the artist's chosen medium and working methods.",{"_147":148,"_149":150},"https://assets.phillips.com/auctions/HK010324/200794_002.jpg",{"_147":148,"_602":150,"_603":743,"_605":744},[737,738,739,740,741,742],{"_147":619,"_602":620,"_603":751,"_605":752},{"_147":618,"_602":618,"_603":749,"_605":750},{"_147":614,"_602":615,"_603":747,"_605":748},{"_147":610,"_602":611,"_603":746,"_605":710},{"_147":606,"_602":607,"_603":745,"_605":668},{"_147":148,"_602":150,"_603":743,"_605":744},85000,55000,14600,10900,10000,6500,9700,6200,8600,5500,{"_592":763,"_594":764},"https://www.phillips.com/detail/michael-lau/200793","77","1-8TYJU4","《BB —花園人系列》","https://assets.phillips.com/auctions/HK010324/200793_001.jpg",[762],"This work is in very good condition overall. Upon close inspection, there is a small area of lifted paint surrounding the top left screw hole. This and any other surface irregularities are attributed to the artist's chosen medium and working methods. There is no restoration apparent under Ultraviolet light.",{"_147":148,"_149":150},"https://assets.phillips.com/auctions/HK010324/200793_002.jpg",{"_147":148,"_602":150,"_603":743,"_605":744},[765,766,767,768,769,770],{"_147":619,"_602":620,"_603":751,"_605":752},{"_147":618,"_602":618,"_603":749,"_605":750},{"_147":614,"_602":615,"_603":747,"_605":748},{"_147":610,"_602":611,"_603":746,"_605":710},{"_147":606,"_602":607,"_603":745,"_605":668},{"_147":148,"_602":150,"_603":743,"_605":744},76,{"_592":807,"_594":808},"https://www.phillips.com/detail/kasing-lung/197230","1-8TYJT5","《我們製造混亂第2號》",23163,"龍家昇",35000,63500,"Chinese","款識：KASING 2019（中下）","40.8 x 28.8 公分 (16 1/8 x 11 3/8 英寸)","馬克筆紙本","2019年作","上海，Dahood\r\n香港，富藝斯，2022年6月21日，拍品編號300\r\n現藏者購自上述拍賣","https://assets.phillips.com/auctions/HK010324/197230_001.jpg",[805,806],[791],"This work is in very good condition overall. There is no restoration apparent under Ultraviolet light. The work is framed under acrylic in a wooden frame. Please note, this work has not been checked outside of its frame.",{"_147":148,"_149":150},{"_792":101,"_793":794,"_795":796,"_16":797,"_798":799},"isActive","componentType","RichText","componentId",17491,"DETAIL-HEADER-DISABLED 11250","componentItems",[800],{"_792":101,"_801":802,"_803":804},"componentItemId",21229,"htmlCaption","

龍家昇是一位出生於香港的藝術家，以插畫和藝術玩具領域的作品而聞名。他通常被公認為當代藝術玩具運動的領導者之一。龍家昇曾在比利時接受教育，影響了他的藝術風格，使他的作品融合了東西方文化的元素。拉布布是凱爾特民間傳說中的一個人物，據說會帶來好運和厄運，這已成為他作品中的標誌性圖案。

\n\n

在《我們製造混亂 2》中，拉布布睜大眼睛，咧嘴大笑，身穿阿迪達斯品牌 T 卹，再次出現在人們面前。這件作品充滿了俏皮和混亂的活力，大膽的黑色墨水線條和散落的文字元素在整個作品中都得到了強調。 “MONSTERLAND"、"STARS"、"ULTRA"、"ENERGY "以及 "Gravitational Potential Energy "等字眼躍然紙上。整體效果是一種可控的混亂，具有街頭藝術或塗鴉般的美感。

\n\n

2022 年，龍家昇再次回到日本，在 KaiKai KiKi 畫廊舉辦了名為"-+"的個展。這次展覽展出了一個三米高的拉布佈人像和其他 25 件作品，顯示了新作品的大量展示。他最近的個展 "雲 "於 2023 年 4 月在東京 Hidari Zingaro 舉行。他的作品，尤其是拉布布，已成為標誌性作品，並以各種顏色、大小和形狀製作，顯示了他在各種平台和媒介上的多才多藝和吸引力。

\n","https://assets.phillips.com/auctions/HK010324/197230_002.jpg","https://assets.phillips.com/auctions/HK010324/197230_003.jpg",{"_147":148,"_602":150,"_603":815,"_605":663},[809,810,811,812,813,814],{"_147":619,"_602":620,"_603":820,"_605":673},{"_147":618,"_602":618,"_603":819,"_605":671},{"_147":614,"_602":615,"_603":817,"_605":818},{"_147":610,"_602":611,"_603":670,"_605":667},{"_147":606,"_602":607,"_603":816,"_605":665},{"_147":148,"_602":150,"_603":815,"_605":663},70000,11900,8200,5800,7900,7000,75,{"_592":841,"_594":842},"https://www.phillips.com/detail/mr/198636","1-8TYJRU","《我們可以！》",3383,"Mr.",210000,355600,"款識：Mr. 2019（右中和右下）","75.5 x 56.5 公分 (29 3/4 x 22 1/4 英寸)","壓克力鋼筆絲網印刷紙本","東京，Kaikai Kiki 畫廊\r\n現藏者購自上述來源","https://assets.phillips.com/auctions/HK010324/198636_001.jpg",[838,839,840],"This work is in good condition. The left and right edges of the paper are deckled, attributed to the artist’s choice of medium and working methods. Upon close inspection, the sheet undulates slightly. There is also a minor tear on the lower left edge of the work, measuring approximately 0.5 x 0.5 cm. There is no restoration apparent under Ultraviolet light. This work is framed under acrylic in a painted white wood frame. Please note, this work has not been checked outside of its frame.",{"_147":148,"_149":150},"https://assets.phillips.com/auctions/HK010324/198636_002.jpg","https://assets.phillips.com/auctions/HK010324/198636_003.jpg","https://assets.phillips.com/auctions/HK010324/198636_004.jpg",{"_147":148,"_602":150,"_603":849,"_605":850},[843,844,845,846,847,848],{"_147":619,"_602":620,"_603":859,"_605":860},{"_147":618,"_602":618,"_603":857,"_605":858},{"_147":614,"_602":615,"_603":855,"_605":856},{"_147":610,"_602":611,"_603":853,"_605":854},{"_147":606,"_602":607,"_603":851,"_605":852},{"_147":148,"_602":150,"_603":849,"_605":850},500000,300000,85900,51500,64100,38500,59000,35400,56800,34100,50400,30300,74,{"_592":876,"_594":877},"https://www.phillips.com/detail/arkiv-vilmansa/200863","1-8TYJRJ","《到了我在太陽下的日子》",29146,"阿基夫·維曼薩",65000,114300,"款識：ARKIV VILMANSA 2021（畫背）","150 x 150 公分 (59 x 59 英寸)","壓克力畫布","https://assets.phillips.com/auctions/HK010324/200863_001.jpg","This work is in good condition. Upon close inspection, there is an accretion located near the lower left edge and a shallow cut measuring approximately 1.5 cm. on the yellow painted area in the lower right quadrant, likely to have originated from the artist's studio. There is no restoration apparent under Ultraviolet light. This work is not framed.",{"_147":148,"_149":150},{"_147":148,"_602":150,"_603":884,"_605":885},[878,879,880,881,882,883],{"_147":619,"_602":620,"_603":894,"_605":895},{"_147":618,"_602":618,"_603":892,"_605":893},{"_147":614,"_602":615,"_603":890,"_605":891},{"_147":610,"_602":611,"_603":888,"_605":889},{"_147":606,"_602":607,"_603":886,"_605":887},{"_147":148,"_602":150,"_603":884,"_605":885},130000,90000,22300,15500,16700,11500,15300,10600,14800,10200,13100,9100,73,{"_592":914,"_594":915},"https://www.phillips.com/detail/felix-treadwell/200580","1-8TYJQL","《蛇頸》",28044,"菲力斯．崔威爾","British","款識：《Snake Neck》Felix Treadwell 2021（畫布邊緣）","99.8 x 129.9 公分 (39 1/4 x 51 1/8 英寸)","壓克力鉛筆畫布","2021年作，並附 DOPENESS ART LAB 畫廊所簽發之保證書。","臺北，DOPENESS ART LAB 畫廊\r\n現藏者購自上述來源","https://assets.phillips.com/auctions/HK010324/200580_001.jpg",[912,913],{"_147":148,"_149":150},"https://assets.phillips.com/auctions/HK010324/200580_002.jpg","https://assets.phillips.com/auctions/HK010324/200580_003.jpg",{"_147":148,"_602":150,"_603":662,"_605":663},[916,917,918,919,920,921],{"_147":619,"_602":620,"_603":672,"_605":673},{"_147":618,"_602":618,"_603":670,"_605":922},{"_147":614,"_602":615,"_603":668,"_605":669},{"_147":610,"_602":611,"_603":666,"_605":667},{"_147":606,"_602":607,"_603":664,"_605":665},{"_147":148,"_602":150,"_603":662,"_605":663},5700,72,{"_592":944,"_594":945},"https://www.phillips.com/detail/robert-nava/198236","1-8TYJPS","《粉紅色恐龍及小丑》",19786,"羅拔·拿華",105000,215900,"artistBiography","

Robert Nava (b. 1985) is a contemporary artist based in Brooklyn, New York. Using a rough and
\nfree-flowing hand, Nava recreates the innocent and unlearned art of childhood. His works are
\n“carefully done wrong,” subverting the rigid fundamentals of painting and conventions of
\ncompleteness that Nava learned as an MFA student at Yale University. Nava’s paintings often
\nfeature imagined mythological figures and histories of the artist’s creation whose drama is
\nbrought to life with the frenetic energy of the artist’s brush.

\n\n

\n","款識：Nava 20 (右下)","76 x 56 公分 (29 7/8 x 22 英寸)","壓克力蠟筆油蠟筆紙本","紐約，佩斯畫廊\r\n現藏者購自上述來源","https://assets.phillips.com/auctions/HK010324/198236_001.jpg",[942,943],"This work is in very good condition overall. The vertical edges of the sheet are deckled. Upon very close inspection, there is a pinpoint accretion near top centre of the work. There is no restoration apparent under Ultraviolet light. The work is framed under acrylic in a wooden frame. Please note, this work has not been checked outside of its frame.",{"_147":148,"_149":150},"https://assets.phillips.com/auctions/HK010324/198236_002.jpg","https://assets.phillips.com/auctions/HK010324/198236_003.jpg",{"_147":148,"_602":150,"_603":952,"_605":953},[946,947,948,949,950,951],{"_147":619,"_602":620,"_603":962,"_605":963},{"_147":618,"_602":618,"_603":960,"_605":961},{"_147":614,"_602":615,"_603":958,"_605":959},{"_147":610,"_602":611,"_603":956,"_605":957},{"_147":606,"_602":607,"_603":954,"_605":955},{"_147":148,"_602":150,"_603":952,"_605":953},250000,150000,42600,25500,32100,19200,29200,17500,28100,16900,24900,15000,71,{"_592":983,"_594":984},"https://www.phillips.com/detail/jose-parla/198836","1-8TYJP2","《單傳輸無題》",1184,"何賽．帕拉",42000,"American","61 x 76 公分 (24 x 29 7/8 英寸)","壓克力紙本","2017年作","香港，蘇富比，2017年12月8日，拍品編號988\r\n現藏者購自上述拍賣","https://assets.phillips.com/auctions/HK010324/198836_001.jpg",[981,982],"This work is in good condition. Upon close inspection, there are minor creases at the centre of the top edge, and both lower corners are slightly dog eared. There is no restoration apparent under Ultraviolet light. The work is framed under acrylic in a wooden frame. Please note, this work has not been checked outside of its frame.",{"_147":148,"_149":150},"https://assets.phillips.com/auctions/HK010324/198836_002.jpg","https://assets.phillips.com/auctions/HK010324/198836_003.jpg",{"_147":148,"_602":150,"_603":662,"_605":706},[985,986,987,988,989,990],{"_147":619,"_602":620,"_603":672,"_605":991},{"_147":618,"_602":618,"_603":670,"_605":712},{"_147":614,"_602":615,"_603":668,"_605":820},{"_147":610,"_602":611,"_603":666,"_605":709},{"_147":606,"_602":607,"_603":664,"_605":666},{"_147":148,"_602":150,"_603":662,"_605":706},6000,70,{"_592":1011,"_594":1012},"https://www.phillips.com/detail/alan-chan/200983","1-8TYJO8","《我17歲時 —第21號》",31801,"陳幼堅",22000,38100,"款識：Alan Chan 5/11/2023（右下）","102 x 102 公分 (40 1/8 x 40 1/8 英寸)","2023年11月5號作","藝術家私人收藏","https://assets.phillips.com/auctions/HK010324/200983_001.jpg",[1009,1010],"This work is in very good condition overall. Upon close inspection, there are minor rubbings to all corners and on the lower edge. There is no restoration apparent under Ultraviolet light. This work is not framed.",{"_147":148,"_149":150},"https://assets.phillips.com/auctions/HK010324/200983_002.jpg","https://assets.phillips.com/auctions/HK010324/200983_003.jpg",{"_147":148,"_602":150,"_603":663,"_605":604},[1013,1014,1015,1016,1017,1018],{"_147":619,"_602":620,"_603":673,"_605":621},{"_147":618,"_602":618,"_603":922,"_605":609},{"_147":614,"_602":615,"_603":669,"_605":616},{"_147":610,"_602":611,"_603":667,"_605":612},{"_147":606,"_602":607,"_603":665,"_605":608},{"_147":148,"_602":150,"_603":663,"_605":604},69,{"_592":1049,"_594":1050},"https://www.phillips.com/detail/joey-leung-ka-yin/200747","1-8TYJNH","《日日做之睡》",23803,"梁嘉賢","Chinese (Hong Kong)","款識：Ka（畫心左下）","55 x 90 公分 (21 5/8 x 35 3/8 英寸)","水墨水彩紙本","2008年作","香港，嘉圖現代藝術\r\n現藏者購自上述來源","preface","羅啟妍收藏","https://assets.phillips.com/auctions/HK010324/200747_001.jpg",[1046,1047,1048],[1039],"This work is in good condition. Upon close inspection, there are gentle foxing dots scattered throughout; most noticeable on the upper half of the sheet. There is no restoration apparent under Ultraviolet light. This work is framed under acrylic in a black painted wood frame. Please note, this work has not been checked outside of its frame.",{"_147":148,"_149":150},{"_792":101,"_793":794,"_795":1040,"_16":1041,"_798":1042},17471,"DETAIL-HEADER-DISABLED 90776",[1043],{"_792":101,"_801":1044,"_803":1045},21206,"

出生於1976年的梁嘉賢是一名中國當代藝術家，現於香港工作及生活。梁嘉賢於香港中文大學獲得學士和碩士學位，從1998 年起開始學習工筆畫，她在創作中融入現代精神，同時貫徹工筆畫傳統中的「寫實」技法，發展出自己專屬的視覺語彙。

\n\n

在當前作品中，女子以側臥姿態進入安睡。她身上蓋的毯子猶如一片起伏的群山，《日日做之睡》展示了梁嘉賢將中國傳統工筆畫價值觀與流行文化兩相結合的爐火純青。她的創作源自於個人城市生活經驗，作品充滿了敘事性，敦促觀眾同時從文字和圖像中獲取意義。中心人物的肢體語言展現了自然、放鬆的狀態，與作品左上角韻律分明的詼諧打油詩形成情感呼應。這首詩描繪了日常生活的平凡一刻，並加以梁式常見的俏皮調侃，表達了時間的流逝以及斜倚女子一幅無所謂的狀態。這或許反映了梁嘉賢本人對當今社會的感受。

\n\n

「一日一日復一日，人生如此有一年，終有一日麈歸土，傷神動腦無謂做。」
\n—— 梁嘉賢

\n\n

羅啟姸和她的收藏之旅

\n\n

羅啟姸生於香港，多才多藝的她是著名珠寶設計師、文化歷史學家、策展人，也是一名狂熱收藏家。豐富的人生經歷造就了她雅緻的藝術品味，這些過往經歷直到今天仍持續影響著她的創作之旅。羅啟妍不但因以自家珠寶品牌及向中國歷史致敬的設計而聞名，亦在創意領域贏得無數讚譽。最值得一提的是，羅啟姸於1992年在大英博物館為現代大師吳冠中策劃了一場開創性的個展，這在當時非常難得，反映了她以融合東西方文化遺產來超越傳統藝術界限的願景。

\n\n

羅啟姸的諸多社會貢獻展示了她對促進中外文化溝通的熱忱。羅啟姸現為M+及香港設計中心董事局成員，泰特現代藝術館亞太藝術收藏委員會成員，並於倫敦中央聖馬丁藝術與設計學院及北京中央美術學院任客座教授。

\n","https://assets.phillips.com/auctions/HK010324/200747_002.jpg","https://assets.phillips.com/auctions/HK010324/200747_003.jpg","https://assets.phillips.com/auctions/HK010324/200747_004.jpg",{"_147":148,"_602":150,"_603":706,"_605":707},[1051,1052,1053,1054,1055,1056],{"_147":619,"_602":620,"_603":714,"_605":1058},{"_147":618,"_602":618,"_603":708,"_605":1057},{"_147":614,"_602":615,"_603":710,"_605":711},{"_147":610,"_602":611,"_603":709,"_605":608},{"_147":606,"_602":607,"_603":666,"_605":708},{"_147":148,"_602":150,"_603":706,"_605":707},4600,4100,68,{"_592":1085,"_594":1086},"https://www.phillips.com/detail/antony-gormley/200746","1-8TYJMI","《心靈場 I》",1773,"Antony Gormley",88900,"款識：《Mindfield I》Antony Gormley 2008（畫布標簽）","18.7 x 27.9 公分 (7 3/8 x 10 7/8 英寸)","碳筆酪蛋白紙本","巴黎，Thaddaeus Ropac 畫廊\r\n現藏者於2012年購自上述來源","https://assets.phillips.com/auctions/HK010324/200746_001.jpg",[1083,1084],[1076],"This work in very good condition overall. The sheet undulates slightly and all edges of the sheet are deckled. There is no restoration apparent under Ultraviolet light. This work is framed under glass in a light wood frame. Please note, this work was not checked outside of its frame.",{"_147":148,"_149":150},{"_792":101,"_793":794,"_795":1077,"_16":1078,"_798":1079},17468,"DETAIL-HEADER-DISABLED 27246",[1080],{"_792":101,"_801":1081,"_803":1082},21203,"

「這些作品試圖將身體變作一個場域，並將身體當作生成中的主觀空間、而非當作可知對象來感受。」

\n\n

—— 安東尼·葛姆雷

\n\n

安東尼·葛姆雷以探索人體與空間關係的雕塑、裝置及公共藝術作品著稱，並以此確立了他在全球藝術界最重要英國雕塑家的地位。葛姆雷的作品飽含創新、發人深省，試圖挑戰關於空間、時間及個人在社會中的位置的傳統理念。除探索身體與其所在空間的關係之外，藝術家亦通過創作實踐探討了一系列其他主題，包括人類的普遍經驗、時間的流逝以及在場與缺席之間的相互作用。

\n\n

在《心靈場 I》中，葛姆雷捕捉了一個眺望廣闊海景的人物剪影，以此探究人類的存在、脆弱性、以及我們與自然世界的聯繫等主題。本作品讓人想起葛姆雷在馬蓋特的標誌性雕塑《ANOTHER TIME》，邀請觀眾思考人物與其所在環境的關係。《心靈場 I》用壓倒性的黑暗喚起了一種渴望，和一種憂鬱的莊嚴感。潮汐漲落，人物隨之被部分淹沒，進一步強調了人體形態本質上的瞬時性。

\n\n

\"\" — 安東尼·葛姆雷在馬蓋特的雕塑作品《ANOTHER TIME》
\n特納當代美術館提供圖像

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羅啟姸和她的收藏之旅

\n\n

\n","https://assets.phillips.com/auctions/HK010324/200746_002.jpg","https://assets.phillips.com/auctions/HK010324/200746_003.jpg",{"_147":148,"_602":150,"_603":1093,"_605":662},[1087,1088,1089,1090,1091,1092],{"_147":619,"_602":620,"_603":1098,"_605":672},{"_147":618,"_602":618,"_603":1097,"_605":670},{"_147":614,"_602":615,"_603":1096,"_605":668},{"_147":610,"_602":611,"_603":1095,"_605":666},{"_147":606,"_602":607,"_603":1094,"_605":664},{"_147":148,"_602":150,"_603":1093,"_605":662},120000,20500,15400,14100,13600,12000,67,{"_592":1124,"_594":1125},"https://www.phillips.com/detail/antony-gormley/200745","1-8TYJLX","《呼吸空間XXIX》",127000,"款識：《Breathing Room》Antony Gormley 2010（畫背）","77 x 109.5 公分 (30 3/8 x 43 1/8 英寸)","水墨漂白水紙本","2010年作","意大利， Continua 畫廊\r\n現藏者購自上述來源","https://assets.phillips.com/auctions/HK010324/200745_001.jpg",[1122,1123],[1115],"This work is in good condition. All edges of the sheet are deckled, with slight undulation to the top edge and lower left corner. The darker colours are fading slightly overall, with minor studio marks on the upper right quadrant of the work, all attributed to the artist's working method. There is no restoration apparent under Ultraviolet light. This work is framed under glass in a wooden frame. Please note, this work has not been checked outside of its frame.",{"_147":148,"_149":150},{"_792":101,"_793":794,"_795":1116,"_16":1117,"_798":1118},17467,"DETAIL-HEADER-DISABLED 29766",[1119],{"_792":101,"_801":1120,"_803":1121},21202,"

\n\n

「該物件徘徊在建築與建築的圖像之間。對於觀眾來說，無論是觀看繪畫還是裝置作品，都會陷入一種透視視角的不確定性。」
\n—— Anna Moszynska

\n\n

當前作品創作於 2010 年，是藝術家極具開創性的大型裝置作品《呼叫室》系列的前期草圖。《呼叫室 XXIX》由相互連接的建築形式框架構成，捕捉了發光的鹵素燈在漆黑的畫廊中與周圍環境所產生的明暗對比。葛姆雷在反思自身創作時如此評論，稱作品「促進了集體和個人的本體感受。這些作品使用時間作為矩陣，時間的重要性並不亞於空間……冥想與拷問之間的間隔，光在時間中創造以及質疑的幻象，使這裡成為經驗的『試驗場』。」[i]當前作品展示了葛姆雷裝置中的線條網格及相互連接的空間框架。為了達到作品效果，藝術家用一把細刷蘸上家用漂白劑，擦掉紙托上的墨水，創造出暗室背景下發光的負輪廓。《無題》對身體與建築環境的互動進行了審視，並探索了使用大型物理結構為人體型態進行「測繪」的潛力。

\n\n

\"\" — 當前拍品陳列於羅啟姸香港家中一角
\n圖片：Berton Chang

\n\n

安東尼·葛姆雷《呼叫室III》展覽視頻，2010年

\n\n

福爾林登美術館提供視頻

\n\n

羅啟姸和她的收藏之旅

\n\n

ⁱ 安東尼·葛姆雷引述於《安東尼·葛姆雷論建築》，倫敦，2015年，第185頁

\n","https://assets.phillips.com/auctions/HK010324/200745_002.jpg","https://assets.phillips.com/auctions/HK010324/200745_003.jpg",{"_147":148,"_602":150,"_603":1132,"_605":1093},[1126,1127,1128,1129,1130,1131],{"_147":619,"_602":620,"_603":1137,"_605":1098},{"_147":618,"_602":618,"_603":1136,"_605":1097},{"_147":614,"_602":615,"_603":1135,"_605":1096},{"_147":610,"_602":611,"_603":1134,"_605":1095},{"_147":606,"_602":607,"_603":1133,"_605":1094},{"_147":148,"_602":150,"_603":1132,"_605":1093},180000,30800,23100,21100,20300,18100,66,{"_592":1163,"_594":1164},"https://www.phillips.com/detail/santiago-parra/200780","1-8TYJL3",12969,"Santiago Parra","Colombia","款識：Parra（左下）","110 x 164.8 公分 (43 1/4 x 64 7/8 英寸)","單色壓克力畫布","哥倫比亞，El Sextante 畫廊\r\n現藏者購自上述來源","https://assets.phillips.com/auctions/HK010324/200780_001.jpg",[1161,1162],[1154],"This work is in very good condition. Upon close inspection, there are minor air bubbles on the black painted areas, attributed to the artist’s chosen medium and working methods. There is no restoration apparent under Ultraviolet light. This work is not framed.",{"_147":148,"_149":150},{"_792":101,"_793":794,"_795":1155,"_16":1156,"_798":1157},17484,"DETAIL-HEADER-DISABLED 86572",[1158],{"_792":101,"_801":1159,"_803":1160},21219,"

聖地亞哥·帕拉的藝術承載著抽象畫派的印象派能量，宏大且富有爆發性，並以個人獨特的表達方式所呈現。畫中粗重龐大的黑色弧形、蜿蜒的曲線和微小的飛濺相互羈絆、碰撞、並存，優雅中的張力絕非刻意：共時性的畫作是藝術家在恍惚的瞬間以一筆完成。

\n\n

藝術家述說他只會「在全神貫注並關閉意識，從無意識中解放的時候才開始畫畫」ⁱ，因此他能毫無停頓或遲疑地以一筆完成作品，而每次的作品都是絕無僅有：儘管以黑色單調作畫，畫作中的每一根線條、每一層、每一個微小的斑點卻蘊含著當下驚人的力量和變化，造就了每幅畫作的獨一無二。

\n\n

帕拉在靈感豐富的藝術教育生涯中讓其創作得以實踐。他原本主修的是文學，並在那裡發現了超現實主義者的自發性寫作。相比傑克遜·波洛克或弗朗茨·克萊恩的意識創作，這更貼近帕拉的創作模式：有限的筆觸和色調與書法有著明顯的相似之處，卻又不失本身的意義。他於23 歲時售出第一幅畫作，此後的展覽遍布世界各地，光是過去三年就在倫敦、紐約和瑞士舉辦了個展，從而受到更多啟發和影響。例如，最近在威尼斯看到波洛克的《炎熱中的眼睛》激勵他去延續「一首世代傳唱的長歌」ⁱⁱ，同時在他的即興創作中繼續保留個人的節奏和力量。該作品標誌著藝術家在亞洲的首次拍賣，帕拉的最高拍賣紀錄最近由菲利普斯於2021 年在倫敦富藝斯拍賣的一件對比作品《無題》（2021）創下，該作品以買家佣金成交，成交價近30,000 英鎊。這位藝術家的第二高拍賣紀錄最近也由紐約富藝斯於 2023 年 3 月創下。

\n\n

1986 年出生於波哥大，帕拉主修文學，其後在哥倫比亞國立大學和舊金山藝術大學接受藝術教育，以單色的抽象繪畫風格，直覺性從內醞釀出創造力。由 JD Malat 畫廊代理，他最近於 2023 年在綫上舉辦了展覽：聖地亞哥·帕拉：本能，於2023年7月9日至8月9日展出，聖地亞哥·帕拉：無意識，於2022 年9 月至10 月1 日在紐約畫廊展出。JD Malat 目前正在倫敦為聖地亞哥·帕拉舉辦一場個展，展覽將持續至 2024 年 4 月 6 日。

\n\n

i JD Malat 紐約畫廊聖地亞哥·帕拉：無意識展覽新聞稿，2022年9月9日至10月1日

\n\n

ii JD Malat 倫敦畫廊聖地亞哥·帕拉：火花展覽新聞稿，2024年3月7日至4月6日

\n","https://assets.phillips.com/auctions/HK010324/200780_002.jpg","https://assets.phillips.com/auctions/HK010324/200780_003.jpg",{"_147":148,"_602":150,"_603":953,"_605":1171},[1165,1166,1167,1168,1169,1170],{"_147":619,"_602":620,"_603":1179,"_605":747},{"_147":618,"_602":618,"_603":1177,"_605":1178},{"_147":614,"_602":615,"_603":1175,"_605":1176},{"_147":610,"_602":611,"_603":957,"_605":1174},{"_147":606,"_602":607,"_603":1172,"_605":1173},{"_147":148,"_602":150,"_603":953,"_605":1171},100000,25600,17100,12800,17600,11700,17000,11300,15100,65,{"_592":1208,"_594":1209},"https://www.phillips.com/detail/kim-tschangyeul/195998","1-8TYJK6","《水滴》",4199,"金昌烈",120650,"款識：T. Kim 82（右下）","53 x 20 公分 (20 7/8 x 7 7/8 英寸)","壓克力印度墨報紙","1982年作","巴黎，阿爾敏·萊希畫廊\r\n現藏者購自上述來源","https://assets.phillips.com/auctions/HK010324/195998_001.jpg",[1205,1206,1207],[1198],"This work is in very good condition overall. There is no restoration apparent under Ultraviolet light. This work framed under acrylic in a light wood frame.",{"_147":148,"_149":150},{"_792":101,"_793":794,"_795":1199,"_16":1200,"_798":1201},17463,"DETAIL-HEADER-DISABLED 60842",[1202],{"_792":101,"_801":1203,"_803":1204},21198,"

《水滴》中，謎團般引人矚目的水滴散落於以賽車文章為背景的畫面，體現了金昌烈對標記製作的迷戀，及其藝術生涯中獨一無二的標誌主題。錯視畫中用壓克力和印度墨完美呈現的每一滴水滴都擁有獨特的存在狀態：剛跌落的水滴就像熠熠發光的珍珠般點綴著大部分畫面；一些水滴開始向地面滑落；其他一些則已併成一處小水漥。栩栩如生的水滴凝集在1981 年法國報紙的一篇報導之上，在時光中凍結，畫筆勾勒的水滴陰影遮擋並模糊了部分文字，與現實中的物理世界一模一樣。如現實主義攝影般逼真的畫面在真實與虛幻之間搖擺，使人不禁意欲觸摸這些不存在的水滴，同時給予觀眾一種寧靜之感。

\n\n

\"\" — \n
金昌烈，《費加羅報》，1975年
\n\n
藝術品：© 金昌烈
\n

\n\n

金昌烈在繪畫實踐中融入報紙、探索文本與其標誌性的水滴之間的關係—— 1975 年，他把水滴繪於法國報紙《費加羅報》的頭版版面之上，這是他第一幅以文字為背景的作品。

\n\n

\n\n

新聞文章呈現真實，與之相反，水滴的超寫實喚起超現實之感，其富含光澤和觸感的表面散發著空靈。每一滴水滴獨立存在，而它們濟濟一堂的密集構圖則觸及瞬時性、合一、水的意義等東方哲學概念。這些輕盈、寧靜、純粹的水滴進一步揭示了藝術家本人的內心情感。金昌烈這樣解釋他的意圖，「我繪畫水滴是因為想要將一切溶於水滴之中，然後讓它們變成透明的虛無。當我們將憤怒、不安和恐懼轉化為虛空時，我們就能體會到平靜與和諧。」因此，水滴畫不僅蘊含了美學的考慮，亦是藝術家從過去的創傷中自我療癒的過程。這些轉瞬即逝的圖案在永恆中懸置，將無常與韌性巧妙結合，引發我們關注自然界中集脆弱與複雜為一身的物事。

\n\n

ⁱ 金昌烈，引述於Andrew Russeth，《金昌烈91歲與世長辭；繪製水滴畫富含深意》，《紐約時報》，2021年1月15日，載自網絡

\n","https://assets.phillips.com/auctions/HK010324/195998_002.jpg","https://assets.phillips.com/auctions/HK010324/195998_003.jpg","https://assets.phillips.com/auctions/HK010324/195998_004.jpg",{"_147":148,"_602":150,"_603":1093,"_605":1171},[1210,1211,1212,1213,1214,1215],{"_147":619,"_602":620,"_603":1098,"_605":747},{"_147":618,"_602":618,"_603":1217,"_605":1218},{"_147":614,"_602":615,"_603":571,"_605":1176},{"_147":610,"_602":611,"_603":1095,"_605":1174},{"_147":606,"_602":607,"_603":1216,"_605":1177},{"_147":148,"_602":150,"_603":1093,"_605":1171},20400,13500,11200,64,{"_592":1235,"_594":1236},"https://www.phillips.com/detail/hyunjin-kwon/200868","1-8TYJJY","《視覺詩歌像素系列第696號》",25734,"權賢珍",95250,"

Hyunjin Kwon (b. 1980) is a contemporary painter based in Seoul, South Korea. Her works are non-representational and abstract. She is known for her series “Visual Poetry”, where she illustrates through painting the sensation and illusions that occur when one closes their eyes and glances into the light. The artist uses a variety of materials, such as urethane and ink, to achieve the effect of her compositions. The artist has shown works at Ujung Art Center in Seoul, Korea.

\n\n

\n","South Korean","款識：KWON, HYUN JIN《VISUAL POETRY PIXEL SERIES #696》2021 KwonHyunjin（畫背）","165.5 x 136.8 公分 (65 1/8 x 53 7/8 英寸)","綜合媒材畫布","私人收藏（直接購自藝術家）\r\n首爾，首爾拍賣，2022年5月24日，拍品編號73\r\n現藏者購自上述拍賣","https://assets.phillips.com/auctions/HK010324/200868_001.jpg",{"_147":148,"_149":150},{"_147":148,"_602":150,"_603":1242,"_605":1171},[1237,1238,1239,1240,1241],{"_147":619,"_602":620,"_603":1246,"_605":1247},{"_147":618,"_602":618,"_603":1245,"_605":1178},{"_147":614,"_602":615,"_603":1243,"_605":1244},{"_147":610,"_602":611,"_603":1172,"_605":1174},{"_147":148,"_602":150,"_603":1242,"_605":1171},200000,23600,11800,22600,19800,9900,63,{"_592":1268,"_594":1269},"https://www.phillips.com/detail/ni-zhiqi/200064","1-8TYJJE","《格子系列》",31646,"倪志琪",124460,"款識：《格子》NI ZHIQI 2020（畫背）","100.7 x 80.7 公分 (39 5/8 x 31 3/4 英寸)","2020年作，並附藝術家簽署之藝術門畫廊保證書。","上海，藝術門畫廊\r\n現藏者於2021年購自上述來源","https://assets.phillips.com/auctions/HK010324/200064_001.jpg",[1267],"lotSymbols",[1266],"This work is in very good condition. Any surface irregularities observed are in line with the artist's chosen medium and working methods. There is no restoration apparent under Ultraviolet light. This work is not framed.",{"_147":148,"_149":150},"Ж","https://assets.phillips.com/auctions/HK010324/200064_002.jpg",{"_147":148,"_602":150,"_603":662,"_605":706},[1270,1271,1272,1273,1274,1275],{"_147":619,"_602":620,"_603":672,"_605":991},{"_147":618,"_602":618,"_603":670,"_605":712},{"_147":614,"_602":615,"_603":668,"_605":820},{"_147":610,"_602":611,"_603":666,"_605":709},{"_147":606,"_602":607,"_603":664,"_605":666},{"_147":148,"_602":150,"_603":662,"_605":706},62,{"_592":1294,"_594":1295},"https://www.phillips.com/detail/josh-sperling/198833","1-8TYJIE","《海浪第1號》",16916,"喬希·斯博林","款識：Sperling '19（畫背）","314 x 28 公分 (123 5/8 x 11 英寸)","壓克力成形畫布","布魯塞爾，Sorry We're Closed 畫廊\r\n現藏者購自上述來源","https://assets.phillips.com/auctions/HK010324/198833_001.jpg",[1291,1292,1293],"This work is in very good condition overall. Upon close inspection under Ultraviolet light, there is an area of restoration measuring approximately 2 cm., previously refinished under the supervision of the artist's studio. This work is not framed.",{"_147":148,"_149":150},"https://assets.phillips.com/auctions/HK010324/198833_002.jpg","https://assets.phillips.com/auctions/HK010324/198833_003.jpg","https://assets.phillips.com/auctions/HK010324/198833_004.jpg",{"_147":148,"_602":150,"_603":1132,"_605":1093},[1296,1297,1298,1299,1300,1301],{"_147":619,"_602":620,"_603":1137,"_605":1098},{"_147":618,"_602":618,"_603":1136,"_605":1097},{"_147":614,"_602":615,"_603":1135,"_605":1096},{"_147":610,"_602":611,"_603":1134,"_605":1095},{"_147":606,"_602":607,"_603":1133,"_605":1094},{"_147":148,"_602":150,"_603":1132,"_605":1093},61,{"_592":1324,"_594":1325},"https://www.phillips.com/detail/ma-sibo/198557","1-8TYJHE","《旋轉木馬》",15686,"馬思博",152400,"China","款識：馬思博 MA Sibo 2011（畫背）","100.2 x 100.2 公分 (39 1/2 x 39 1/2 英寸)","油彩畫布","2011年作","香港，德薩畫廊\r\n現藏者購自上述來源","北京，德薩畫廊，〈藝術家在玩兒〉，2015年8月15日-10月16","https://assets.phillips.com/auctions/HK010324/198557_001.jpg",[1322,1323],[1266],"This work is in very good condition overall. There is no restoration apparent under Ultraviolet light. The work is framed in a light grey painted wooden tray frame.",{"_147":148,"_149":150},"https://assets.phillips.com/auctions/HK010324/198557_002.jpg","https://assets.phillips.com/auctions/HK010324/198557_003.jpg",{"_147":148,"_602":150,"_603":662,"_605":706},[1326,1327,1328,1329,1330,1331],{"_147":619,"_602":620,"_603":672,"_605":991},{"_147":618,"_602":618,"_603":670,"_605":712},{"_147":614,"_602":615,"_603":668,"_605":820},{"_147":610,"_602":611,"_603":666,"_605":709},{"_147":606,"_602":607,"_603":664,"_605":666},{"_147":148,"_602":150,"_603":662,"_605":706},60,{"_592":1350,"_594":1351},"https://www.phillips.com/detail/laure-marycouegnias/194845","1-8TYJGP","《離巴黎一小時》",28611,"Laure Mary-Couégnias",33020,"款識：《An Hour From Paris》2020 Laure Mary-Couégnias（畫背）","65 x 92 公分 (25 5/8 x 36 1/4 英寸)","聖莫妮卡，Richard Heller 畫廊\r\n現藏者於2021年購自上述來源","聖塔莫尼卡，Richard Heller 畫廊，〈逃生道〉，2021年6月26日-8月1日","https://assets.phillips.com/auctions/HK010324/194845_001.jpg",[1348,1349],"This work is in very good condition overall. Upon close inspection, there is minor rubbing to the top corners. There is no restoration apparent under Ultraviolet light. This work is not framed.",{"_147":148,"_149":150},"https://assets.phillips.com/auctions/HK010324/194845_002.jpg","https://assets.phillips.com/auctions/HK010324/194845_003.jpg",{"_147":148,"_602":150,"_603":815,"_605":663},[1352,1353,1354,1355,1356,1357],{"_147":619,"_602":620,"_603":820,"_605":673},{"_147":618,"_602":618,"_603":819,"_605":671},{"_147":614,"_602":615,"_603":817,"_605":818},{"_147":610,"_602":611,"_603":670,"_605":667},{"_147":606,"_602":607,"_603":816,"_605":665},{"_147":148,"_602":150,"_603":815,"_605":663},59,{"_592":1374,"_594":1375},"https://www.phillips.com/detail/francelise-mcgurn/198716","1-8TYJFJ","《彷徨無魂》",23026,"法蘭斯-莉絲．麥格恩",101600,"款識：《No Soul Led》FLMCG 2020（畫背）","60 x 50 公分 (23 5/8 x 19 5/8 英寸)","倫敦，Simon Lee 畫廊\r\n現藏者購自上述來源","https://assets.phillips.com/auctions/HK010324/198716_001.jpg",[1373],"The work is in very good condition overall. Upon close inspection, there are minor studio marks in the upper left quadrant of the work. There are also hair accretions near the lower right edge under the varnish layer, likely to have originated from the artist's studio. There is no restoration apparent under Ultraviolet light. This work is not framed.",{"_147":148,"_149":150},"https://assets.phillips.com/auctions/HK010324/198716_002.jpg",{"_147":148,"_602":150,"_603":953,"_605":1171},[1376,1377,1378,1379,1380,1381],{"_147":619,"_602":620,"_603":963,"_605":747},{"_147":618,"_602":618,"_603":961,"_605":1178},{"_147":614,"_602":615,"_603":1175,"_605":1176},{"_147":610,"_602":611,"_603":957,"_605":1174},{"_147":606,"_602":607,"_603":1172,"_605":1173},{"_147":148,"_602":150,"_603":953,"_605":1171},58,{"_592":1396,"_594":1397},"https://www.phillips.com/detail/oh-de-laval/200250","1-8TYJEY","《即使我下地獄至少我會與我的朋友們一起》","款識：《If I go to hell at least I will be with all my friends》歐·德·拉瓦爾 2018（畫背）","76 x 61 公分 (29 7/8 x 24 英寸)","2018年作","倫敦，Unit London 畫廊\r\n現藏者購自上述來源","https://assets.phillips.com/auctions/HK010324/200250_001.jpg",[1395],"This work is in very good condition overall. Upon close inspection, there are minor rubbings on all corners. There is no restoration apparent under Ultraviolet light. This work is not framed.",{"_147":148,"_149":150},"https://assets.phillips.com/auctions/HK010324/200250_002.jpg",{"_147":148,"_602":150,"_603":1171,"_605":662},[1398,1399,1400,1401,1402,1403],{"_147":619,"_602":620,"_603":747,"_605":672},{"_147":618,"_602":618,"_603":1178,"_605":670},{"_147":614,"_602":615,"_603":1176,"_605":668},{"_147":610,"_602":611,"_603":1174,"_605":666},{"_147":606,"_602":607,"_603":1173,"_605":664},{"_147":148,"_602":150,"_603":1171,"_605":662},57,{"_592":1423,"_594":1424},"https://www.phillips.com/detail/jess-valice/200417","1-8TYJE2","《漁夫》",25392,"謝斯·華利斯",165100,"款識：JESS（右下）","101 x 101 公分 (39 3/4 x 39 3/4 英寸)","2022年作","米蘭，Plan X 畫廊\r\n現藏者購自上述來源","https://assets.phillips.com/auctions/HK010324/200417_001.jpg",[1420,1421,1422],"This work is in very good condition overall. Upon close inspection, there are hairline craquelures along all four turnover edges, attributed to the artist's chosen medium and working methods. There is no restoration apparent under Ultraviolet light. The work is framed in a gold painted wood frame. Please note, this work has not been checked outside of its frame.",{"_147":148,"_149":150},"https://assets.phillips.com/auctions/HK010324/200417_002.jpg","https://assets.phillips.com/auctions/HK010324/200417_003.jpg","https://assets.phillips.com/auctions/HK010324/200417_004.jpg",{"_147":148,"_602":150,"_603":1431,"_605":1132},[1425,1426,1427,1428,1429,1430],{"_147":619,"_602":620,"_603":960,"_605":1436},{"_147":618,"_602":618,"_603":1435,"_605":1136},{"_147":614,"_602":615,"_603":1434,"_605":1135},{"_147":610,"_602":611,"_603":1433,"_605":1134},{"_147":606,"_602":607,"_603":1432,"_605":1133},{"_147":148,"_602":150,"_603":1431,"_605":1132},280000,47900,35900,32800,31600,18000,56,{"_592":1454,"_594":1455},"https://www.phillips.com/detail/thomas-houseago/200701","1-8TYJCJ","《電光夜—月出—紅浪》",817,"湯馬斯·豪斯亞高","款識：Thomas Houseago 2020（右下）","76.2 x 57.2 公分 (30 x 22 1/2 英寸)","布魯塞爾，Xavier Hufkens 畫廊\r\n現藏者購自上述來源","https://assets.phillips.com/auctions/HK010324/200701_001.jpg",[1451,1452,1453],"This work is in very good condition overall. All edges of the sheet are deckled. There is no restoration apparent under Ultraviolet light. This work is framed under glass in a wooden frame. Please note, this work has not been checked outside of its frame.",{"_147":148,"_149":150},"https://assets.phillips.com/auctions/HK010324/200701_002.jpg","https://assets.phillips.com/auctions/HK010324/200701_003.jpg","https://assets.phillips.com/auctions/HK010324/200701_004.jpg",{"_147":148,"_602":150,"_603":1462,"_605":1431},[1456,1457,1458,1459,1460,1461],{"_147":619,"_602":620,"_603":1468,"_605":960},{"_147":618,"_602":618,"_603":1467,"_605":1435},{"_147":614,"_602":615,"_603":1465,"_605":1466},{"_147":610,"_602":611,"_603":1464,"_605":1433},{"_147":606,"_602":607,"_603":1463,"_605":1432},{"_147":148,"_602":150,"_603":1462,"_605":1431},480000,82100,61500,56400,32900,54300,48200,55,{"_592":1485,"_594":1486},"https://www.phillips.com/detail/buyankhishig-unurbayar/200315","1-8TYJBD","《迷霧》",31764,"Buyankhishig Unurbayar","Mongolian","款識：《Mist》Buyankhishig Unurbayar 2021（畫背）","100 x 120 公分 (39 3/8 x 47 1/4 英寸)","https://assets.phillips.com/auctions/HK010324/200315_001.jpg",[1483,1484],"This work is in very good condition. Upon close inspection, there are minor brush hair accretions in the upper half, likely to have originated from the artist's studio. There is no restoration apparent under Ultraviolet light. This work is not framed.",{"_147":148,"_149":150},"https://assets.phillips.com/auctions/HK010324/200315_002.jpg","https://assets.phillips.com/auctions/HK010324/200315_003.jpg",{"_147":148,"_602":150,"_603":1093,"_605":662},[1487,1488,1489,1490,1491,1492],{"_147":619,"_602":620,"_603":1098,"_605":672},{"_147":618,"_602":618,"_603":1217,"_605":670},{"_147":614,"_602":615,"_603":1096,"_605":668},{"_147":610,"_602":611,"_603":1095,"_605":666},{"_147":606,"_602":607,"_603":1094,"_605":664},{"_147":148,"_602":150,"_603":1093,"_605":662},54,{"_592":1511,"_594":1512},"https://www.phillips.com/detail/jordy-kerwick/200716","1-8TYJAJ","《沒有香煙》",22992,"Jordy Kerwick","Australian","circa","款識：《SANS CIGARETTE》JORDY 2019（畫背）","100.2 x 80 公分 (39 1/2 x 31 1/2 英寸)","油彩壓克力畫布拼貼畫布","東京，MAKI 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/HK010324/200716_001.jpg",[1510],"This work is in good condition. All collage elements adhere well to the underlying support. There are surface irregularities of uneven impasto throughout, deemed inherent to the artist's chosen medium and working methods. Upon very close inspection, there is minor rubbing to the lower corners and a minor scuff to the upper left corner. Upon very close inspection, there is a pinpoint area of paint loss in the lower right quadrant in the pink element, close to the edge of where the pink and black areas meet, attributed to light wear and handling. There is no restoration apparent under Ultraviolet light. This work is not framed.",{"_147":148,"_149":150},"https://assets.phillips.com/auctions/HK010324/200716_002.jpg",{"_147":148,"_602":150,"_603":1242,"_605":1171},[1513,1514,1515,1516,1517,1518],{"_147":619,"_602":620,"_603":1523,"_605":1524},{"_147":618,"_602":618,"_603":1521,"_605":1522},{"_147":614,"_602":615,"_603":1243,"_605":1244},{"_147":610,"_602":611,"_603":1172,"_605":1174},{"_147":606,"_602":607,"_603":1519,"_605":1520},{"_147":148,"_602":150,"_603":1242,"_605":1171},34400,17200,22800,11400,20100,10100,53,{"_592":1545,"_594":1546},"https://www.phillips.com/detail/ryan-schneider/198834","1-8TYJ8D","《灰飛煙滅》",29460,"瑞恩·施奈德","款識：Ryan Schneider 2019（底部邊緣）","133.9 x 21.5 x 23 公分 (52 3/4 x 8 1/2 x 9 英寸)","油彩木雕","哥本哈根，V1 畫廊\r\n現藏者購自上述來源","https://assets.phillips.com/auctions/HK010324/198834_001.jpg",[1540,1541,1542,1543,1544],"This work is in good condition. The work is structurally sound; all elements are well intact and secure. Upon very close inspection, there are two chipped areas on the reverse measuring approximately 2.5 and 3.5 cm respectively. This and any other surface irregularities are in line with the artist's chosen medium and working methods. There is no restoration apparent under Ultraviolet light.",{"_147":148,"_149":150},"https://assets.phillips.com/auctions/HK010324/198834_002.jpg","https://assets.phillips.com/auctions/HK010324/198834_003.jpg","https://assets.phillips.com/auctions/HK010324/198834_004.jpg","https://assets.phillips.com/auctions/HK010324/198834_005.jpg","https://assets.phillips.com/auctions/HK010324/198834_006.jpg",{"_147":148,"_602":150,"_603":1242,"_605":1171},[1547,1548,1549,1550,1551,1552],{"_147":619,"_602":620,"_603":1523,"_605":747},{"_147":618,"_602":618,"_603":1245,"_605":1178},{"_147":614,"_602":615,"_603":1554,"_605":1176},{"_147":610,"_602":611,"_603":1172,"_605":1174},{"_147":606,"_602":607,"_603":1553,"_605":1173},{"_147":148,"_602":150,"_603":1242,"_605":1171},34200,23500,52,{"_592":1574,"_594":1575},"https://www.phillips.com/detail/aboudia/200251","1-8TYJ74","《觀察者》",14898,"阿布迪亞",170000,"款識：ABOUDIA 18（左下方）","109.5 x 128.5 公分 (43 1/8 x 50 5/8 英寸)","壓克力油畫棒畫布","2016年作","紐約，Ethan Cohen 畫廊\r\n現藏者購自上述來源","https://assets.phillips.com/auctions/HK010324/200251_001.jpg",[1572,1573],"This work is in very good condition overall. Upon close inspection, there are hairline craquelures throughout the canvas, most noticeable along the edges and corners, attributed to the artist's chosen medium and working methods. There is no restoration apparent under Ultraviolet light. This work is not framed.",{"_147":148,"_149":150},"https://assets.phillips.com/auctions/HK010324/200251_002.jpg","https://assets.phillips.com/auctions/HK010324/200251_003.jpg",{"_147":148,"_602":150,"_603":1582,"_605":1583},[1576,1577,1578,1579,1580,1581],{"_147":619,"_602":620,"_603":1591,"_605":1592},{"_147":618,"_602":618,"_603":1589,"_605":1590},{"_147":614,"_602":615,"_603":1587,"_605":1588},{"_147":610,"_602":611,"_603":1586,"_605":1133},{"_147":606,"_602":607,"_603":1584,"_605":1585},{"_147":148,"_602":150,"_603":1582,"_605":1583},350000,240000,59800,41000,44900,41100,28200,39600,27100,35100,24100,51,{"_592":1609,"_594":1610},"https://www.phillips.com/detail/michael-kagan/200871","1-8TYJ69","《站在月球上》",18534,"米高．卡根","款識：Michael Kagan 2019（畫背）","152.5 x 114.5 公分 (60 x 45 1/8 英寸)","東京，Over the Influence 畫廊\r\n現藏者購自上述來源","https://assets.phillips.com/auctions/HK010324/200871_001.jpg",[1607,1608],"This work is in good condition. There are areas of paint separation and lifted paint throughout the canvas, most noticeable on the figure, and are in line with the artist's chosen medium and working methods. There is no restoration apparent under Ultraviolet light. This work is not framed.",{"_147":148,"_149":150},"https://assets.phillips.com/auctions/HK010324/200871_002.jpg","https://assets.phillips.com/auctions/HK010324/200871_003.jpg",{"_147":148,"_602":150,"_603":1242,"_605":953},[1611,1612,1613,1614,1615,1616],{"_147":619,"_602":620,"_603":1523,"_605":1179},{"_147":618,"_602":618,"_603":1245,"_605":1177},{"_147":614,"_602":615,"_603":1554,"_605":1175},{"_147":610,"_602":611,"_603":1172,"_605":957},{"_147":606,"_602":607,"_603":1553,"_605":1172},{"_147":148,"_602":150,"_603":1242,"_605":953},{"_592":1641,"_594":1642},"https://www.phillips.com/detail/joyce-pensato/200571","1-8TYJ5I","《銀色小丑》",10699,"Joyce Pensato","款識：Joyce Pensato 2011 《SILVER CLOWN》（畫背）","228.7 x 182.7 公分 (90 x 71 7/8 英寸)","瓷漆金屬漆麻布","紐約，Petzel 畫廊\r\n紐約私人收藏\r\n香港，富藝斯，2023年3月31日，拍品編號156\r\n現藏者購自上述拍賣","紐約，Petzel 畫廊，〈蝙蝠俠歸來〉，2012年1月12日-2月25日","https://assets.phillips.com/auctions/HK010324/200571_001.jpg",[1640],[1633],"This work in in good condition. Upon close inspection, there is minor rubbing and slight buckling at all 4 corners. Upon very close inspection, there are several minor abrasions near the two bottom corners. These and any other surface irregularities are in line with the artist's chosen medium and working methods. There is no restoration apparent under Ultraviolet light. This work is not framed.",{"_147":148,"_149":150},{"_792":101,"_793":794,"_795":1634,"_16":1635,"_798":1636},17461,"DETAIL-HEADER-DISABLED 16473",[1637],{"_792":101,"_801":1638,"_803":1639},21196,"

「我只愛看美國卡通。我認為放入卡通的元素都很簡單——眼睛、嘴巴、鼻子，你可以通過這些有所表達……80 年代給了我工作的自由。我專注於畫畫、漫畫和黑白，接受了自己是誰，而不是試圖像其他人一樣繪畫。」
\n—— 伊斯·佩扎羅

\n\n

出生並駐紮於布魯克林的藝術家伊斯·佩扎羅對美國流行文化角色十分迷戀，並受啟發對該主題展開探索，形成了暨可愛與邪氣為一身的具高度辨識度的創作風格。她的人物畫中展示的角色總是呈現令人不安的心理狀態，但無須將這些精於表面的卡通臉譜解讀為對美國文化的批評。創作於 2011 年的《銀色小丑》是一副頗具表現力、極盡怪誕之能事的典範之作，指涉了長久以來廣受歡迎的卡通人物小丑波佐。畫面主角有一隻大得不成比例的鼻子、無比燦爛的笑容和一對濃密的眉毛，彭薩託為該人物注入了一絲幽默感，或許是對當代流行文化底層的黑暗與復雜性的遮掩。為了達到特定的視覺效果，彭薩托放肆地施展畫技，她使用粗獷的線性筆觸，通過即興潑濺與反覆擦除的手法在畫面上肆意擺弄商店購買的黑色琺瑯漆與一道道金屬銀色顏料，形成我們眼前的《銀色小丑》。

\n\n

伊斯·佩扎羅（1941–2019）的作品曾被廣泛展出。她曾在以下場所舉辦個展：洛杉磯 Grice Bench 畫廊；紐約佩策爾畫廊；芝加哥當代藝術博物館；奧地利因斯布魯克文化館；德克薩斯州沃斯堡現代藝術博物館等。該藝術家的作品亦被以下機構永久收藏：巴黎龐畢度中心；紐約現代藝術博物館；洛杉磯漢默美術館；以及德克薩斯州達拉斯藝術博物館。

\n\n

伊斯·佩扎羅在其布魯克林工作室接受採訪，2017年

\n\n

Louisiana Channel提供視頻

\n","https://assets.phillips.com/auctions/HK010324/200571_002.jpg",{"_147":148,"_602":150,"_603":1649,"_605":849},[1643,1644,1645,1646,1647,1648],{"_147":619,"_602":620,"_603":1657,"_605":1658},{"_147":618,"_602":618,"_603":1655,"_605":1656},{"_147":614,"_602":615,"_603":1653,"_605":1654},{"_147":610,"_602":611,"_603":1652,"_605":853},{"_147":606,"_602":607,"_603":1650,"_605":1651},{"_147":148,"_602":150,"_603":1649,"_605":849},700000,119000,85200,89700,81800,58400,78700,56200,69800,49900,49,{"_592":1677,"_594":1678},"https://www.phillips.com/detail/tom-sachs/196428","1-8TYJ4I","《再見兄弟》",7698,"Tom Sachs",140000,"款識：《再見兄弟》（日文）；Tom Sachs 2001《Good Bye Brother》（畫背）","172.3 x 122.1 公分 (67 7/8 x 48 1/8 英寸)","2001年作","亞洲私人收藏（直接購自藝術家本人）\r\n倫敦，蘇富比，2022年6月30日，拍品編號310\r\n現藏者購自上述拍賣","https://assets.phillips.com/auctions/HK010324/196428_001.jpg",[1675,1676],"This work is in good condition. Upon close inspection, there are faint hairline craquelures near the corners. There are also light signs of wear and handling, most noticeable on the lower half of the work located near the figure's shoes and on all corners. There is no restoration apparent under Ultraviolet light. This work is not framed.",{"_147":148,"_149":150},"https://assets.phillips.com/auctions/HK010324/196428_002.jpg","https://assets.phillips.com/auctions/HK010324/196428_003.jpg",{"_147":148,"_602":150,"_603":850,"_605":1242},[1679,1680,1681,1682,1683,1684],{"_147":619,"_602":620,"_603":1688,"_605":1523},{"_147":618,"_602":618,"_603":1687,"_605":1245},{"_147":614,"_602":615,"_603":1686,"_605":1554},{"_147":610,"_602":611,"_603":854,"_605":1172},{"_147":606,"_602":607,"_603":1685,"_605":1553},{"_147":148,"_602":150,"_603":850,"_605":1242},51300,35200,33900,30100,48,{"_592":1703,"_594":1704},"https://www.phillips.com/detail/nicasio-fernandez/198835","1-8TYJ3Y","《做得好！》",25612,"尼卡西奧·費爾南德斯","款識：《Nailed It!》Nicasio Fernandez '19（畫背）","167.8 x 130 公分 (66 1/8 x 51 1/8 英寸)","油彩水鑽畫布","https://assets.phillips.com/auctions/HK010324/198835_001.jpg",[1702],{"_147":148,"_149":150},"https://assets.phillips.com/auctions/HK010324/198835_002.jpg",{"_147":148,"_602":150,"_603":662,"_605":706},[1705,1706,1707,1708,1709,1710],{"_147":619,"_602":620,"_603":672,"_605":991},{"_147":618,"_602":618,"_603":670,"_605":712},{"_147":614,"_602":615,"_603":668,"_605":820},{"_147":610,"_602":611,"_603":666,"_605":709},{"_147":606,"_602":607,"_603":664,"_605":666},{"_147":148,"_602":150,"_603":662,"_605":706},47,{"_592":1727,"_594":1728},"https://www.phillips.com/detail/todd-james/198635","1-8TYJ30","《霓虹夜鶯》",23903,"托德．詹姆斯","款識：TODD JAMES 2018 (右下)","152.3 x 152.3 公分 (59 7/8 x 59 7/8 英寸)","東京，NANZUKA 畫廊\r\n現藏者購自上述來源","https://assets.phillips.com/auctions/HK010324/198635_001.jpg",[1725,1726],"This work is in very good condition overall. Upon very close inspection, there are minor areas of pinpoint paint loss on the extreme corners, attributed to wear and handling but does not affect the overall image of the work. There is no restoration apparent under Ultraviolet light. This work is not framed.",{"_147":148,"_149":150},"https://assets.phillips.com/auctions/HK010324/198635_002.jpg","https://assets.phillips.com/auctions/HK010324/198635_003.jpg",{"_147":148,"_602":150,"_603":1093,"_605":662},[1729,1730,1731,1732,1733,1734],{"_147":619,"_602":620,"_603":1098,"_605":672},{"_147":618,"_602":618,"_603":1097,"_605":670},{"_147":614,"_602":615,"_603":1096,"_605":668},{"_147":610,"_602":611,"_603":1095,"_605":666},{"_147":606,"_602":607,"_603":1094,"_605":664},{"_147":148,"_602":150,"_603":1093,"_605":662},46,{"_592":1750,"_594":1751},"https://www.phillips.com/detail/peter-mcdonald/200061","1-8TYJ25","《派對上的交談》",5448,"彼得·麥當勞","款識：《Party Mingle》2021 Peter McDonald（畫背）","51 x 40 公分 (20 1/8 x 15 3/4 英寸)","壓克力水粉閃粉顔料金屬箔畫布","倫敦，Kate MacGarry 畫廊\r\n現藏者購自上述來源","https://assets.phillips.com/auctions/HK010324/200061_001.jpg",[1749],{"_147":148,"_149":150},"https://assets.phillips.com/auctions/HK010324/200061_002.jpg",{"_147":148,"_602":150,"_603":815,"_605":663},[1752,1753,1754,1755,1756,1757],{"_147":619,"_602":620,"_603":820,"_605":673},{"_147":618,"_602":618,"_603":819,"_605":671},{"_147":614,"_602":615,"_603":817,"_605":669},{"_147":610,"_602":611,"_603":670,"_605":667},{"_147":606,"_602":607,"_603":1098,"_605":665},{"_147":148,"_602":150,"_603":815,"_605":663},45,{"_592":1774,"_594":1775},"https://www.phillips.com/detail/scout-zabinski/198837","1-8TYJ1O","《用小調歌唱的生活》",28047,"史巧·薩賓斯基",99060,"152 x 91 公分 (59 7/8 x 35 7/8 英寸)","香港，Over the Influence 畫廊\r\n現藏者購自上述來源","香港，Over the Influence 畫廊，〈朋友和陌生人〉，2021年7月6日-8月12日","https://assets.phillips.com/auctions/HK010324/198837_001.jpg",[1773],"This work is in very good condition. There is no restoration apparent under Ultraviolet light. The work is not framed.",{"_147":148,"_149":150},"https://assets.phillips.com/auctions/HK010324/198837_002.jpg",{"_147":148,"_602":150,"_603":706,"_605":707},[1776,1777,1778,1779,1780,1781],{"_147":619,"_602":620,"_603":714,"_605":715},{"_147":618,"_602":618,"_603":712,"_605":713},{"_147":614,"_602":615,"_603":710,"_605":711},{"_147":610,"_602":611,"_603":709,"_605":608},{"_147":606,"_602":607,"_603":666,"_605":708},{"_147":148,"_602":150,"_603":706,"_605":707},44,{"_592":1802,"_594":1803},"https://www.phillips.com/detail/javier-calleja/198634","1-8TYJ0L","《就是這樣》",18367,"哈維爾·卡列哈",1016000,"

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","款識：2018 Javier Calleja（底部邊緣）；《So it Is》（畫背）","65 x 54 公分 (25 5/8 x 21 1/4 英寸)","哈維爾·卡列哈，《爲何不？》，東京，2023年，第453、144頁（圖版）","https://assets.phillips.com/auctions/HK010324/198634_001.jpg",[1798,1799,1800,1801],"This work is in very good condition overall. There is no restoration apparent under Ultraviolet light. The work is framed under acrylic in a white painted wood frame.",{"_147":148,"_149":150},"https://assets.phillips.com/auctions/HK010324/198634_002.jpg","https://assets.phillips.com/auctions/HK010324/198634_003.jpg","https://assets.phillips.com/auctions/HK010324/198634_004.jpg","https://assets.phillips.com/auctions/HK010324/198634_005.jpg",{"_147":148,"_602":150,"_603":1649,"_605":849},[1804,1805,1806,1807,1808,1809],{"_147":619,"_602":620,"_603":1657,"_605":1658},{"_147":618,"_602":618,"_603":1655,"_605":1656},{"_147":614,"_602":615,"_603":1653,"_605":1654},{"_147":610,"_602":611,"_603":1652,"_605":853},{"_147":606,"_602":607,"_603":1650,"_605":1651},{"_147":148,"_602":150,"_603":1649,"_605":849},43,{"_592":1836,"_594":1837},"https://www.phillips.com/detail/en-iwamura/200120","1-8TYIZM","《思考者》",20517,"岩村遠","46.5 x 25 x 22.5 公分 (18 1/4 x 9 7/8 x 8 7/8 英寸)","陶瓷","紐約，Ross + Kramer 畫廊\r\n現藏者購自上述來源","波莫納，美國陶瓷藝術博物館，〈岩村遠：避難所中的遺產〉，2019年4月20日-6月30日","https://assets.phillips.com/auctions/HK010324/200120_001.jpg",[1833,1834,1835],[1826],"This work is in very good condition. The work is structurally sound; all elements are well intact and secure. Any surface irregularities observed are in line with the artist's chosen medium and working methods. There is no restoration apparent under Ultraviolet light.",{"_147":148,"_149":150},{"_792":101,"_793":794,"_795":1827,"_16":1828,"_798":1829},17477,"DETAIL-HEADER-DISABLED 46255",[1830],{"_792":101,"_801":1831,"_803":1832},21212,"

「我的工作技術稱為線圈構建。一層一層地，我可以看到線條的出現。一層一層地，我有機會決定我想要走的方向。」
\n—— 岩村遠

\n\n

岩村遠解釋他的陶瓷雕塑背後的概念

\n\n

影片由岩村遠

\n","https://assets.phillips.com/auctions/HK010324/200120_002.jpg","https://assets.phillips.com/auctions/HK010324/200120_003.jpg","https://assets.phillips.com/auctions/HK010324/200120_004.jpg",{"_147":148,"_602":150,"_603":1171,"_605":815},[1838,1839,1840,1841,1842,1843],{"_147":619,"_602":620,"_603":747,"_605":820},{"_147":618,"_602":618,"_603":1178,"_605":819},{"_147":614,"_602":615,"_603":1176,"_605":817},{"_147":610,"_602":611,"_603":1174,"_605":670},{"_147":606,"_602":607,"_603":1173,"_605":1098},{"_147":148,"_602":150,"_603":1171,"_605":815},42,{"_592":1872,"_594":1873},"https://www.phillips.com/detail/yoshitomo-nara/197166","1-8TYIYO","《手持滑雪杖的基特曼》",4450,"Yoshitomo Nara",635000,"款識：《手持滑雪杖的基特曼》（日文）；‘奈良美智 ’95‘（右下）","39.7 x 29.7 公分 (15 5/8 x 11 3/4 英寸)","彩色鉛筆紙本","1995年作，此作被收錄於奈良美智線上作品全集之中，登記號碼為YNF7630。","名古屋，Hakutosha 畫廊\r\n現藏者購自上述來源","https://assets.phillips.com/auctions/HK010324/197166_001.jpg",[1869,1870,1871],[1862],"The work is in very good condition overall. Upon close inspection, the sheet undulates slightly towards the lower half, attributed to the chosen method of mounting. Both lower corners are also slightly dogeared. There is no restoration apparent under Ultraviolet light. The work is framed under acrylic in a wooden frame. Please note, this work has not been checked outside of its frame.",{"_147":148,"_149":150},{"_792":101,"_793":794,"_795":1863,"_16":1864,"_798":1865},17476,"DETAIL-HEADER-DISABLED 29273",[1866],{"_792":101,"_801":1867,"_803":1868},21211,"

「我最喜歡的顏色是白色。這可能是因為我在雪國長大。我對肉眼看不見的東西的感知能力可能來自於童年時代，那時我喜歡無休止地凝視窗外的雪景，想像隱藏在白雪之下的看不見的物體和顏色。」
\n—— 奈良美智

\n\n

這幅名為《手持滑雪杖的基特曼》的作品創作於 1995 年，作品中的人物充滿童趣，這也是奈良美智這段時期作品的特色。這個人物可能被命名為 Kitman，他的畫風簡潔而富有表現力，一雙大眼睛和嘟起的小嘴傳達出天真無邪和微妙的反抗。人物手持滑雪杖，為畫面增添了嬉戲或冒險的元素。人物頭戴白色小帽，身穿帶有淺藍色條紋的白色連身裙，這與奈良美智對白色的熱愛不謀而合。與奈良美智作品的典型風格一樣，背景非常稀疏，將觀眾的注意力集中在人物本身。這幅畫的簡潔性與人物表情所暗示的情感深度相結合，體現了奈良美智透過看似簡單的圖像喚起複雜情感的能力。

\n\n

1990 年代中期，奈良美智的作品開始在國際上廣受認可。奈良美智這段時期的作品反映了他自己的童年經歷以及疏離和叛逆等更廣泛的主題。奈良美智成長於戰後的日本，受到日本傳統和西方流行文化（尤其是音樂和電視）的影響。他的藝術作品捕捉了普遍的童年焦慮和反抗意識，因此引起了不同文化背景的廣大觀眾的共鳴。奈良美智以繪畫為主要表現形式，展現了他的機智和自我反思能力。這次大型個展將展出 200 多幅紙上作品：展覽將於 2023 年 11 月 16 日至 2024 年 2 月 29 日在Pace畫廊日內瓦展出。

\n\n

ⁱ奈良美智，《加泰隆尼亞先鋒報》採訪，2020 年，來自網路。

\n","https://assets.phillips.com/auctions/HK010324/197166_002.jpg","https://assets.phillips.com/auctions/HK010324/197166_003.jpg","https://assets.phillips.com/auctions/HK010324/197166_004.jpg",{"_147":148,"_602":150,"_603":1880,"_605":1881},[1874,1875,1876,1877,1878,1879],{"_147":619,"_602":620,"_603":1889,"_605":1890},{"_147":618,"_602":618,"_603":1887,"_605":1888},{"_147":614,"_602":615,"_603":1885,"_605":1886},{"_147":610,"_602":611,"_603":1884,"_605":1685},{"_147":606,"_602":607,"_603":1882,"_605":1883},{"_147":148,"_602":150,"_603":1880,"_605":1881},600000,400000,102000,68100,76900,70100,46700,67500,45000,59900,39900,41,{"_592":1916,"_594":1917},"https://www.phillips.com/detail/mayuka-yamamoto/197200","1-8TYIY8","《小貓頭鷹男孩》",14169,"山本麻由香",406400,"JAPANESE","款識：《little owl boy》Mayuka 2018（畫布邊緣）","44.5 x 33.2 公分 (17 1/2 x 13 1/8 英寸)","台灣，琢璞藝術中心\r\n現藏者購自上述來源","https://assets.phillips.com/auctions/HK010324/197200_001.jpg",[1915],[1908],"This work is in very good condition overall. There is no restoration apparent under Ultraviolet light. This work is framed in an acrylic box frame. Please note, this work has not been checked outside of its frame.",{"_147":148,"_149":150},{"_792":101,"_793":794,"_795":1909,"_16":1910,"_798":1911},17464,"DETAIL-HEADER-DISABLED 9723",[1912],{"_792":101,"_801":1913,"_803":1914},21199,"

「我認為，我開始畫兒童畫的主要原因是，我透過我的育兒經歷回憶起了我的童年。我覺得這讓我想起了自己當時的感受，例如害怕，想要被溫暖和毛茸茸的東西保護。在畫完這些畫後，或是在畫這些畫的時候，我覺得那時候的記憶透過畫又回到了我的腦海裡。」
\n—— 山本麻友香

\n","https://assets.phillips.com/auctions/HK010324/197200_002.jpg",{"_147":148,"_602":150,"_603":952,"_605":953},[1918,1919,1920,1921,1922,1923],{"_147":619,"_602":620,"_603":1929,"_605":1179},{"_147":618,"_602":618,"_603":1928,"_605":1177},{"_147":614,"_602":615,"_603":1926,"_605":1927},{"_147":610,"_602":611,"_603":956,"_605":957},{"_147":606,"_602":607,"_603":1924,"_605":1925},{"_147":148,"_602":150,"_603":952,"_605":953},42900,25800,29500,17700,28400,25200,40,{"_592":1955,"_594":1956},"https://www.phillips.com/detail/yoshitomo-nara/197990","1-8TYIXH","《少女》",762000,"款識：Yoshitomo Nara '99（日文）（右下）","20.7 x 14.7 公分 (8 1/8 x 5 3/4 英寸)","馬克筆彩色鉛筆紙本","1999年作，此作被收錄於奈良美智線上作品全集之中，登記號碼為YNF2542。","東京，The Market 拍賣，2009年7月11日，拍品編號74\r\n現藏者購自上述拍賣","https://assets.phillips.com/auctions/HK010324/197990_001.jpg",[1953,1954],[1946],"This work is in good condition. Upon close inspection, the sheet undulates slightly, attributed to the chosen method of mounting. There is no restoration apparent under Ultraviolet light. This work is framed under acrylic in a light wood frame. Please note, this work was not checked outside of its frame.",{"_147":148,"_149":150},{"_792":101,"_793":794,"_795":1947,"_16":1948,"_798":1949},17472,"DETAIL-HEADER-DISABLED 5424",[1950],{"_792":101,"_801":1951,"_803":1952},21207,"

「我喜歡聽民謠。固然我的作品總是與知名龐克專輯封面相關，但民謠音樂唱片封面也很重要。我長大的地方沒有博物館，因而專輯封面成了我的藝術初體驗。」
\n—— 奈良美智

\n\n

奈良美智創作於1999年的作品《無題》描繪了一名撇著嘴的大頭小女孩。她眼角向下掃視，表情帶著輕蔑或些許惱怒。女孩擁有時尚的金色髮型，以誇張的樣式掃向一邊。她似乎正孤身沈浸於某種安靜的活動，迷失於屬於自己的世界。作品中的音符表明女孩要麼在哼唱，要麼在聽音樂，直接指涉了奈良美智喜歡在創作時聽音樂及將音樂元素融入藝術作品的習慣。

\n\n

奈良美智 1959 年出生於日本弘前市，其融流行文化、龐克搖滾及童年意象為一身的獨特創作風格於20 世紀 90 年代受到廣泛關注。他以繪畫作為展示詼諧及自我反思能力的主要表達方式。該作品是奈良美智探索兒童內心情感世界的一幅典範，揭示了孩童天真的外表下所隱藏的情感深度與複雜性。2023 年 11 月 16 日至 2024 年 2 月 29 日，包括 200 多件紙上作品的大型個展〈Yoshitomo Nara: The Bootleg Drawings 1988 – 2023〉在日內瓦佩斯畫廊舉行。

\n","https://assets.phillips.com/auctions/HK010324/197990_002.jpg","https://assets.phillips.com/auctions/HK010324/197990_003.jpg",{"_147":148,"_602":150,"_603":849,"_605":850},[1957,1958,1959,1960,1961,1962],{"_147":619,"_602":620,"_603":1658,"_605":1965},{"_147":618,"_602":618,"_603":1656,"_605":1964},{"_147":614,"_602":615,"_603":1654,"_605":1591},{"_147":610,"_602":611,"_603":853,"_605":854},{"_147":606,"_602":607,"_603":1651,"_605":1963},{"_147":148,"_602":150,"_603":849,"_605":850},51100,33700,29900,39,{"_592":1991,"_594":1992},"https://www.phillips.com/detail/yoshitomo-nara/197991","1-8TYIWK",490000,1651000,"款識：Yoshitomo Nara '95（日文）（右下）","24.6 x 35.4 公分 (9 5/8 x 13 7/8 英寸)","1995年作","私人收藏\r\n東京，The Market 拍賣，2009年7月11日，拍品編號73\r\n現藏者購自上述拍賣","https://assets.phillips.com/auctions/HK010324/197991_001.jpg",[1988,1989,1990],[1981],"This work is in very condition overall. Upon close inspection, there are artist pinholes at the top corners, and the lower left corner is slightly deckled. There is no restoration apparent under Ultraviolet light. This work is framed under acrylic in a dark green painted wood frame. Please note, this work was not checked outside of its frame.",{"_147":148,"_149":150},{"_792":101,"_793":794,"_795":1982,"_16":1983,"_798":1984},17475,"DETAIL-HEADER-DISABLED 73277",[1985],{"_792":101,"_801":1986,"_803":1987},21210,"

「我的家鄉青森以嚴寒和大雪著稱。你只能忍受這個令人沮喪的季節。等啊等，終於等到了春天，你才知道，只有熬過了難熬的季節，快樂的季節才會到來。你每年都要重複這樣的經歷，你的身體就會記住這個教訓：『只要你忍耐，春天就一定會到來。』」
\n—— 奈良美智

\n\n

奈良美智的《無題》（1995 年）描繪了一個閒散地站在仙人掌旁的孩子。他的表情中性而沉思，凝視著遠方，同時呼出一口熱氣。畫面呈現出鮮明的對比：孩子穿著一雙靴子，一身冬裝，厚厚的帽子遮住了耳朵，暗示著寒冷的季節。另一方面，右邊矗立著一棵高大的仙人掌，仙人掌有多條手臂，通常與炎熱的沙漠環境有關，冬天的服裝與之格格不入。仙人掌或許反映了孩子內心對冬天結束的渴望。

\n\n

奈良美智 1959 年出生於日本弘前市，他以繪畫為主要表現形式，展現自己的機智和自我反思能力。這些作品奇妙地融合在一起，引發人們對我們所處的環境以及人物在這環境中的經歷性質的思考。《奈良美智：1988 - 2023 年的藏品繪畫》將於 2023 年 11 月 16 日至 2024 年 2 月 29 日在佩斯日內瓦展出，這是一場大型個展，展出了 200 多件奈良美智的紙上作品。

\n","https://assets.phillips.com/auctions/HK010324/197991_002.jpg","https://assets.phillips.com/auctions/HK010324/197991_003.jpg","https://assets.phillips.com/auctions/HK010324/197991_004.jpg",{"_147":148,"_602":150,"_603":1999,"_605":1649},[1993,1994,1995,1996,1997,1998],{"_147":619,"_602":620,"_603":2004,"_605":2005},{"_147":618,"_602":618,"_603":1882,"_605":2003},{"_147":614,"_602":615,"_603":2002,"_605":1463},{"_147":610,"_602":611,"_603":2001,"_605":1652},{"_147":606,"_602":607,"_603":2000,"_605":1093},{"_147":148,"_602":150,"_603":1999,"_605":1649},900000,154000,115000,106000,79000,90200,70200,38,{"_592":2027,"_594":2028},"https://www.phillips.com/detail/yue-minjun/200252","1-8TYIV3","《兵馬俑第10號》",10975,"Yue Minjun",533400,"款識：NO 10 2/25 yue minjun 2007（底座背面）","192 x 100 x 56 公分 (75 5/8 x 39 3/8 x 22 英寸)","銅雕","2007年作，共有25版，此為第2版。","https://assets.phillips.com/auctions/HK010324/200252_001.jpg",[2023,2024,2025,2026],[1266],"This work is in good condition. The work is structurally sound; all elements are well intact and secure. The varying textures on the surface and wax residue in the seams are aligned with the artist's choice of medium and working methods. There is no restoration apparent under Ultraviolet light.",{"_147":148,"_149":150},"https://assets.phillips.com/auctions/HK010324/200252_002.jpg","https://assets.phillips.com/auctions/HK010324/200252_003.jpg","https://assets.phillips.com/auctions/HK010324/200252_004.jpg","https://assets.phillips.com/auctions/HK010324/200252_005.jpg",{"_147":148,"_602":150,"_603":2035,"_605":1583},[2029,2030,2031,2032,2033,2034],{"_147":619,"_602":620,"_603":2042,"_605":2043},{"_147":618,"_602":618,"_603":1685,"_605":2041},{"_147":614,"_602":615,"_603":2039,"_605":2040},{"_147":610,"_602":611,"_603":2038,"_605":1133},{"_147":606,"_602":607,"_603":2036,"_605":2037},{"_147":148,"_602":150,"_603":2035,"_605":1583},450000,77300,41300,57700,53100,28300,27300,45300,24200,37,{"_592":2075,"_594":2076},"https://www.phillips.com/detail/zhang-xiaogang/200424","1-8TYIU2","《血緣系列第28號》",10979,"張曉剛",560000,"

Relying on memory and inspired by family portraits from the Chinese Cultural Revolution, Zhang Xiaogang creates surreal, subtle artworks that explore the notion of identity in relation to the Chinese culture of collectivism. Using a muted, greyscale palette, Xiaogang repeatedly depicts a series of unnervingly similar figures, often dressed in identical Mao suits, to create an endless genealogy of imagined forebears and progenitors. Their somber, melancholy gazes are interrupted only by thin red bloodlines intimating familial links as well as occasional pale splotches of color resembling birthmarks.

Xiaogang investigates how to express individual histories within the strict confines of a formula. His sitters, while appearing muted and compliant, are given physical exaggerations: oversized heads, tiny hands and long noses. These distortions imply stifled emotions and give a complex psychological dimension to the artist's work.

","artistBirthYear",1958,"款識：張曉剛 1997 (畫背)；28（畫布邊緣）","40.5 x 30 公分 (15 7/8 x 11 3/4 英寸)","1997年作","香港，少勵畫廊\r\n紐約，蘇富比，2006年9月20日，拍品編號155\r\n香港，佳士得，2018年5月27日，拍品編號179\r\n現藏者購自上述拍賣","香港，少勵畫廊，〈8+8-1 15當代藝術家油畫選集〉，1997年6月19日-7月12日","重要亞洲收藏","https://assets.phillips.com/auctions/HK010324/200424_001.jpg",[2074],[1266],[2067],"This work is in very good condition overall. Upon close inspection, there are scattered specks of uneven colour, most noticeable in the lower centre, likely to have originated from the artist's studio. There is also minor surface dust on the lower half. There is no restoration apparent under Ultraviolet light. This work is not framed.",{"_147":148,"_149":150},{"_792":101,"_793":794,"_795":2068,"_16":2069,"_798":2070},17485,"DETAIL-HEADER-DISABLED 83387",[2071],{"_792":101,"_801":2072,"_803":2073},21220,"

「從表面上看，這些肖像中的面孔平靜如水，但底下卻情緒如波濤洶湧。這些晦澀和模糊的命運在這種矛盾的狀態中代代相傳。」
\n—— 張曉剛張曉剛在許多層面被認為是以編年方式闡述中國身份的史學家，以著名的《血緣》系列微妙闡述血統以及自我認同。當前的作品是《血緣》系列中具開創性的作品，透過深刻的象徵意涵和精湛的畫面處理刻畫出許多中國家庭羈絆間的張力。

\n\n

《血緣系列第28號》中記憶與文化傳承皆以明暗對比的方式呈現在畫布上。張曉剛利用單色背景以及柔和的色調，帶出舊時代攝影美學的構圖。孩子的臉龐閃爍著微妙的光芒和寧靜，彷彿超越了時間，訴說著更深層的故事。

\n\n

獨特紅色的「血緣」既是張曉剛作品的標誌也是關鍵的視覺元素。紅線由畫中孩子的臉上延伸，暗示著看不見家庭羈絆和註定好的人生道路。紅色象徵著血，也呼應著中國格言中的「血濃於水」，深刻提醒人們血緣關係和家庭羈絆的力量。值得注意的是，張曉剛作品中反覆出現的血緣主題讓人想起弗里達·卡羅的超現實主義作品，該畫家以紅色血管象徵作品人物與過去的聯結。

\n\n

\"\" — 弗里達·卡羅，《兩個弗里達》，1939年作。墨西哥現代藝術博物館收藏。圖片：© 2024 墨西哥銀行迭戈·裡維拉·弗里達·卡洛博物館信託基金，墨西哥 / 藝術家權利協會 (ARS)，紐約

\n\n

張曉剛在藝術旅程中不斷探索著自身文化的底蘊。青年時期文化大革命所帶來的動盪奠定著他探索中國社會的集體和個人領域的基礎。「85美術新潮」也推動著張曉剛和與他同時代的人重新定義藝術，以敘事為主題的中國現代藝術因而崛起。

\n\n

受歐洲之行和格哈特·里希特以攝影技巧創作的影響，張曉剛的作品轉而追求內在——他將目光放在家庭照片中所蘊含豐富卻常被忽視的歷史。這些影像是傳統、家庭羈絆和美學的寶庫，也成為《血緣》系列的催化劑。藝術家試圖透過藝術重建和提煉這些遺跡以重新想像過去，並將其轉化為記憶與重新修飾過的對話。

\n\n

《血緣系列第28號》中孩子平靜的表情下藏著情感。他象徵著中國幾代人願望的燈塔，體現先輩們默默的耕耘與盼望，同時也代表著新的開始以及還未訴說的故事。

\n\n

張曉剛的《血緣系列第28號》本質上是對個體與集體間錯綜複雜關係的共鳴。藝術家的每個筆觸皆構築著一個故事，既是過去的反思，也是對未來的思考。作品邀請觀眾思考自身的血緣、銘刻在身體特徵上的無聲故事，以及定義彼此可能連結著、無法磨滅的共同遺產。

\n\n

《血緣》系列創作於1993年，使張曉剛在國際藝壇聲名鵲起。1994年6月，其中四幅畫作在聖保羅雙年展上首次亮相並為藝術家贏得銅牌。次年，張曉剛在威尼斯雙年展上展出了13幅《大家庭》畫作，標誌著其傑出而多產的藝術生涯的開端。張曉剛的作品被國際機構永久收藏，包括：上海昊美術館；上海龍美術館；香港M+博物館希克收藏；紐約古根海姆博物館；巴黎路易威登基金

\n\n

會；首爾國立現代美術館；日本沖繩縣立博物館和美術館；以及坎培拉澳大利亞國家美術館等。

\n","https://assets.phillips.com/auctions/HK010324/200424_002.jpg",{"_147":148,"_602":150,"_603":2082,"_605":2083},[2077,2078,2079,2080,2081],{"_147":619,"_602":620,"_603":2088,"_605":2089},{"_147":618,"_602":618,"_603":1093,"_605":2087},{"_147":614,"_602":615,"_603":2085,"_605":2086},{"_147":610,"_602":611,"_603":2000,"_605":2084},{"_147":148,"_602":150,"_603":2082,"_605":2083},1200000,800000,103000,133000,88400,79800,114000,76300,36,{"_592":2108,"_594":2109},"https://www.phillips.com/detail/fan-zhen/199965","1-8TYISZ","《幸運花》",30803,"范禎","款識：范禎《幸運花》，二〇二二年四月，一（上畫布畫背）；范禎《幸運花》，二〇二二年四月，二（下畫布畫背）","各 121 x 121 公分 (47 5/8 x 47 5/8 英寸)\r\n共 242 x 242 公分 (95 1/4 x 95 1/4 英寸)","壓克力畫布裱於藝術家畫框（一組四件）","https://assets.phillips.com/auctions/HK010324/199965_001.jpg",[2105,2106,2107],[1266],"This work is in good condition. Upon very close inspection, there are pinpoint accretions towards the upper edge of the right panel, and towards the upper right edge of the lower panel. Minor surface dirt is present on the extreme lower left edge of the lower panel, and on the lower right edge of the left panel. There is also a hair accretion located approximately 10 cm. from the lower left edge of the left panel. There is no restoration apparent under Ultraviolet light. This work is framed in an artist's frame.",{"_147":148,"_149":150},"https://assets.phillips.com/auctions/HK010324/199965_002.jpg","https://assets.phillips.com/auctions/HK010324/199965_003.jpg","https://assets.phillips.com/auctions/HK010324/199965_004.jpg",{"_147":148,"_602":150,"_603":1242,"_605":1171},[2110,2111,2112,2113,2114,2115],{"_147":619,"_602":620,"_603":2118,"_605":1524},{"_147":618,"_602":618,"_603":2117,"_605":1522},{"_147":614,"_602":615,"_603":1243,"_605":1244},{"_147":610,"_602":611,"_603":1172,"_605":1174},{"_147":606,"_602":607,"_603":2116,"_605":1520},{"_147":148,"_602":150,"_603":1242,"_605":1171},34300,22700,20200,35,{"_592":2135,"_594":2136},"https://www.phillips.com/detail/zhao-zhao/198405","1-8TYIRN","《天空第6號》",19971,"趙趙","款識：趙趙 2014（畫背）","2014年作","洛杉磯，Roberts ＆ Tilton 畫廊，〈趙趙：無所不在〉，2015年1月10日-2月21日","https://assets.phillips.com/auctions/HK010324/198405_001.jpg",[2134],[1266],"This work is in very good condition overall. Upon close inspection, there are short hairline craquelures along the edges and some faint scuffs in the lower right quadrant. There is no restoration apparent under Ultraviolet light. This work is not framed.",{"_147":148,"_149":150},"https://assets.phillips.com/auctions/HK010324/198405_002.jpg",{"_147":148,"_602":150,"_603":1881,"_605":1242},[2137,2138,2139,2140,2141,2142],{"_147":619,"_602":620,"_603":2146,"_605":2118},{"_147":618,"_602":618,"_603":2145,"_605":2117},{"_147":614,"_602":615,"_603":2144,"_605":1243},{"_147":610,"_602":611,"_603":1685,"_605":1172},{"_147":606,"_602":607,"_603":2143,"_605":2116},{"_147":148,"_602":150,"_603":1881,"_605":1242},68700,47200,45400,40400,34,{"_592":2174,"_594":2175},"https://www.phillips.com/detail/ding-yi/197605","1-8TYIR1","《十示2019-15》",15721,"丁乙","款識：Ding Yi 2019.（沿右下邊緣）","120 x 120 公分 (47 1/4 x 47 1/4 英寸)","綜合媒材椴木板","曼谷，Nova Contemporary 畫廊\r\n現藏者購自上述來源","曼谷，Nova Contemporary 畫廊，〈十示〉，2020年1月10日-3月14日","https://assets.phillips.com/auctions/HK010324/197605_001.jpg",[2172,2173],[1266],[2165],"This work is in good condition overall. Upon very close inspection, there are four minor areas of paint loss along the top edge; each measuring approximately 3-4 mm, attributed to light wear and handling. The aforementioned not affect the overall image of the work. There is no restoration apparent under Ultraviolet light. This work is not framed.",{"_147":148,"_149":150},{"_792":101,"_793":794,"_795":2166,"_16":2167,"_798":2168},17460,"DETAIL-HEADER-DISABLED 24463",[2169],{"_792":101,"_801":2170,"_803":2171},21195,"

「我最初將網格和十字符號用作一種自由但有序的自我表達方式——為了逃避充滿壓迫的社會標準——但現在它們已經成為我獨特的藝術語言，使我能更深入地進入畫面。」
\n—— 丁乙

\n\n

1962 年出生於上海的丁乙被認作中國抽象藝術的先驅。過去數十年間，這位藝術家以十字符號和網格圖案的標誌性風格在藝術界獲得廣泛認可。丁乙自 20 世紀 80 年代末以來就在部分實踐中反覆使用這些主題，精心在畫布上繪製「+」或「x」形圖案。

\n\n

\n\n

當前作品出自丁乙於2020年在泰國諾瓦當代藝術畫廊舉辦的個展《十示》上展出的系列作品《十示》。丁乙使用包括尺子、膠帶和繪圖筆等工具細緻作畫，繪製出獨樹一幟的高精細畫面，仿如機械印刷。儘管作品主題看似簡單，畫面本身極具複雜性，每幅作品皆需大量勞作，通常需持續六個月每天工作 15 個小時才能完成一幅畫。

\n\n

\"\" — 當前作品（右）在《十示》展覽現場，2020年1月10日至3月14日，泰國諾瓦當代藝術畫廊。
\n圖片：諾瓦當代藝術畫廊

\n\n

這些作品讓人想起藤條、蘇格蘭式格子呢、二維碼和十字架等各種物體和符號，但它們並非為迎合觀眾視角的象徵性闡釋而作。丁乙用單色及螢光色調、以鮮豔色彩和強密度繪製出既簡單又繁複的幾何圖案。這樣的矛盾性對他的藝術至關重要，主題的簡約與整體畫面的錯綜複雜形成鮮明對比。當前作品中，深淺不一的紅色形成了強烈的視覺效果，表現了超越主流文化價值觀的具普世意義的人文主義主題。

\n\n

丁乙的十字圖案不僅僅是一種圖案，更是針對中國城市化與社會轉型的沈思。它們邀請觀眾放下先入為主的闡釋，專注觀看畫面本身。他的作品是對其獨特的當代抽象藝術語言的不斷拓寬，預示了其標誌性十字畫的持續發展。這位著名藝術家日前在浙江華茂藝術教育博物館和寧波美術館舉辦個展《丁乙：故鄉與旅程》，展期持續至2024年3月。

\n","https://assets.phillips.com/auctions/HK010324/197605_002.jpg","https://assets.phillips.com/auctions/HK010324/197605_003.jpg",{"_147":148,"_602":150,"_603":2182,"_605":1649},[2176,2177,2178,2179,2180,2181],{"_147":619,"_602":620,"_603":2186,"_605":1657},{"_147":618,"_602":618,"_603":2185,"_605":1655},{"_147":614,"_602":615,"_603":2184,"_605":1653},{"_147":610,"_602":611,"_603":2183,"_605":1652},{"_147":606,"_602":607,"_603":1562,"_605":1650},{"_147":148,"_602":150,"_603":2182,"_605":1649},1000000,128000,117000,112000,99800,33,{"_592":2215,"_594":2216},"https://www.phillips.com/detail/lin-tianmiao/200063","1-8TYIQ0","《棉花糖》",8888,"林天苗",245000,"141.3 x 116.2 x 31.2 公分 (55 5/8 x 45 3/4 x 12 1/4 英寸)","彩色絲線聚脲鐵絲木框","2013年作，並附藝術家簽署及核發之保證書。","現藏者於2020年直接購自藝術家本人","https://assets.phillips.com/auctions/HK010324/200063_001.jpg",[2212,2213,2214],[1266],[2205],"This work is in good condition. The work is structurally sound; all elements are well intact and secure. Upon close inspection, there is discolouration on the work's border, possibly due to the adhesive utilised by the artist. There is no restoration apparent under Ultraviolet light. The work is framed in an acrylic case.",{"_147":148,"_149":150},{"_792":101,"_793":794,"_795":2206,"_16":2207,"_798":2208},17469,"DETAIL-HEADER-DISABLED 40498",[2209],{"_792":101,"_801":2210,"_803":2211},21204,"

「我相信材料是有屬性、有性別的；材料可以分雌雄，我們通常可以通過藝術完全改變材料本身的身份，或者改變用戶添加到材料中的內容。」
\n —— 林天苗

\n\n

林天苗被公認為當今最具創新性和概念性的中國當代女性藝術家之一，她的作品探討了關於性別、身份和人類狀況等主題。她常在創作過程中融入縫紉和刺繡等傳統工藝技術。《棉花糖》的靈感源自她對線的終生迷戀，展示了林天苗對紡織品和線的精湛運用。對藝術家來說，綑綁的行為反映了女性在日常家務勞動中經歷的一種體罰。在人們的刻板印象中，縫紉是一種「女性」手工藝，她採用線材和日常生活用品作為自己的視覺語言，對女性、母性和美等規範觀念作出挑戰。繞線的過程對林天苗來說是非常私人的，反映了她幫母親縫補和製作衣服的童年記憶。藝術家喜歡在作品中融入的物體包括骨頭，這一元素代表了人類的普世性。它們可以作為作為社會政治和文化概念解讀，代表了兩性及所有族群的共性。

\n\n

\n\n

為了實現當前拍品的效果，藝術家將彩色絲線、聚脲、金屬絲等多種材質精心縫製在一起進行編織。乍看之下，柔軟的粉紅色絲線就像一朵飄逸的棉花糖。然而，仔細觀察能看到表面覆蓋了錯綜複雜、層次分明的細節，為林天苗的作品進一步增添了多重意義與背景。《棉花糖》透過邊界隆起的細節元素誘發了一種潛在的陰森。這些動物骨頭和顱骨的仿製品表現了藝術家對生命脆弱性的探索。

\n\n

林天苗出生於1961年，現於北京生活和工作。藝術家曾在中國、歐洲和美國舉辦多次個展。她的作品亦曾在紐約所羅門·R·古根漢美術館備受矚目的大展〈1989年後的藝術與中國：世界劇場〉中展出，並於其後送往西班牙畢爾包古根漢美術館。林天苗先後參加了一系列國際雙年展，作品亦被以下機構收藏：紐約布魯克林博物館、紐約現代藝術博物館、澳洲國家美術館、加利福尼亞三藩市現代藝術博物館；香港 M+博物館；新加坡美術館。

\n","https://assets.phillips.com/auctions/HK010324/200063_002.jpg","https://assets.phillips.com/auctions/HK010324/200063_003.jpg","https://assets.phillips.com/auctions/HK010324/200063_004.jpg",{"_147":148,"_602":150,"_603":2223,"_605":1582},[2217,2218,2219,2220,2221,2222],{"_147":619,"_602":620,"_603":2229,"_605":1591},{"_147":618,"_602":618,"_603":2227,"_605":2228},{"_147":614,"_602":615,"_603":2226,"_605":1587},{"_147":610,"_602":611,"_603":2225,"_605":1586},{"_147":606,"_602":607,"_603":2224,"_605":1584},{"_147":148,"_602":150,"_603":2223,"_605":1582},550000,94000,70500,64500,62100,39500,55100,32,{"_592":2263,"_594":2264},"https://www.phillips.com/detail/chiharu-shiota/199976","1-8TYINR","《生存的狀態（鑰匙）》",13643,"鹽田千春",571500,"Japanese","款識： CS（背面右下）","80.3 x 45 x 45.6 公分 (31 5/8 x 17 3/4 x 17 7/8 英寸)","壓克力玻璃紅線鑰匙","2015年作，並附藝術家簽署及核發之保證書。","巴黎，Templon 畫廊\r\n現藏者購自上述來源","https://assets.phillips.com/auctions/HK010324/199976_001.jpg",[2256,2257,2258,2259,2260,2261,2262],[2249],"This work is in very good condition. The work is structurally sound; all elements are well intact and secure. There is no restoration apparent under Ultraviolet light.",{"_147":148,"_149":150},{"_792":101,"_793":794,"_795":2250,"_16":2251,"_798":2252},17474,"DETAIL-HEADER-DISABLED 44329",[2253],{"_792":101,"_801":2254,"_803":2255},21209,"

「鑰匙是我們熟悉且非常有價值的東西，可以保護我們生活中重要的人和空間。鑰匙亦激勵我們打開未知世界的大門。」
\n—— 鹽田千春

\n\n

鹽田千春的《生存的狀態》出自藝術家最具代表性的作品系列，以其標誌性的紅色纏繞絲線為媒介，對記憶空間這一主題進行了有力探索。人們可以在作品的網狀結構中觀察到纏繞其中的鑰匙，若隱若現地散佈在整個作品之中。這些鑰匙在鹽田千春地作品中反覆出現，可能代表記憶、機會、生活中被鎖定或隱藏的面向，或是通往個人及重要意義的途徑。

\n\n

\n\n

鹽田千春另外一件最為著名的作品之一《手中的鑰匙》同樣以鑰匙為核心物件， 2015 年第56 屆威尼斯雙年展期間，她在日本館展出該作品。在這一裝置中，鑰匙同樣被紅線懸掛和固定，象徵了社會中錯綜複雜的連結。

\n\n

鹽田千春談論她為 2015 年威尼斯雙年展日本館製作的裝置作品《手中的鑰匙》

\n\n

無限覆蓋的絲線裝置或代表了一種陷阱或限制的形式，反映了記憶和過去給個體造成的侷限性。同時，絲線的相互纏繞強調了這樣一種觀念：所有存在都是一個更浩瀚的、相互關聯的整體的一部分，暗示了團結與歸屬感。

\n\n

「我想像這些線索描繪了一個個人空間或一個普世化的空間。它讓人想起血液，暗示了血統、我們追溯祖先與起源的生理學方式、以及社會內部的所有相互聯繫。通常這些關係是人眼無法看見的，但一旦我們嘗試用紅線讓它們可視化，我們就可以看到眾多關係的總和。」
\n—— 鹽田千春

\n\n

日本裝置藝術家鹽田千春以其錯綜複雜的大型作品聞名，她將織線、家居用品和雕塑元素融入創作，探索記憶、夢想、焦慮以及過去與現在間的複雜關係等主題。鹽田千春1972 年出生於日本大阪，現已成為當代藝術領域的重要人物，目前在德國柏林生活及工作。她目前的個展〈A Tide of Emotions〉正在VCCA 當代藝術中心展出，展期至2024年3月30日。

\n","https://assets.phillips.com/auctions/HK010324/199976_002.jpg","https://assets.phillips.com/auctions/HK010324/199976_003.jpg","https://assets.phillips.com/auctions/HK010324/199976_004.jpg","https://assets.phillips.com/auctions/HK010324/199976_005.jpg","https://assets.phillips.com/auctions/HK010324/199976_006.jpg","https://assets.phillips.com/auctions/HK010324/199976_007.jpg","https://assets.phillips.com/auctions/HK010324/199976_008.jpg",{"_147":148,"_602":150,"_603":1649,"_605":849},[2265,2266,2267,2268,2269,2270],{"_147":619,"_602":620,"_603":2005,"_605":2273},{"_147":618,"_602":618,"_603":2003,"_605":1465},{"_147":614,"_602":615,"_603":1463,"_605":2272},{"_147":610,"_602":611,"_603":1652,"_605":853},{"_147":606,"_602":607,"_603":1093,"_605":2271},{"_147":148,"_602":150,"_603":1649,"_605":849},85500,58700,50100,29,{"_592":2301,"_594":2302},"https://www.phillips.com/detail/takashi-murakami/200704","1-8TYILW",31,10897,"Takashi Murakami","

Takashi Murakami is best known for his contemporary combination of fine art and pop culture. He uses recognizable iconography like Mickey Mouse and cartoonish flowers and infuses it with Japanese culture. The result is a boldly colorful body of work that takes the shape of paintings, sculptures and animations.

In the 1990s, Murakami founded the Superflat movement in an attempt to expose the "shallow emptiness of Japanese consumer culture." The artist plays on the familiar aesthetic of mangas, Japanese-language comics, to render works that appear democratic and accessible, all the while denouncing the universality and unspecificity of consumer goods. True to form, Murakami has done collaborations with numerous brands and celebrities including Kanye West, Louis Vuitton, Pharrell Williams and Google.

",1962,"款識：Takasm 2016（畫布邊緣）","141 x 120 公分 (55 1/2 x 47 1/4 英寸)","壓克力畫布裱於鋁畫框","貝浩登畫廊\r\n現藏者購自上述來源","https://assets.phillips.com/auctions/HK010324/200704_001.jpg",[2299,2300],[2292],"This work is in good condition. Upon very close inspection, there are pinpoint areas of paint loss on the right edge of the work and near the top right corner. Upon close inspection, there are faint surface marks throughout, most noticeable towards the left and lower edges of the work. There are also specks of discolouration on the overlap of the work, which has been stabilised and does not affect the image of the work. There is no restoration apparent under Ultraviolet light. This work is not framed.",{"_147":148,"_149":150},{"_792":101,"_793":794,"_795":2293,"_16":2294,"_798":2295},17481,"DETAIL-HEADER-DISABLED 17495",[2296],{"_792":101,"_801":2297,"_803":2298},21216,"

村上隆被譽為「日本的沃荷」，他的作品往往讓人聯想起現代東京生活中的一道閃電——富有生動、狂熱、又大膽的當代感。此次拍品《無題》繪畫了無數堆積如海的紅色骷髏頭，並展現了讓村上隆在當代藝術界享負盛名的獨特流行文化風格。

\n\n

《無題》呈現了村上隆具標誌性的藝術風格：它是一幅看似單調卻又矛盾地深奧的畫作，每個骷髏頭都帶有日本卡哇伊文化的俏皮色彩。這就好像藝術家正在鼓勵我們在恐懼中尋找快樂，在死亡中看見生命，在面對自身的憂慮時保持微笑。畫作的紅色背景強烈而富有情感，它喚起了能量、激情又帶有一絲危險，使其成為一幅不容忽視的作品。骷髏頭於此背景中更顯突出——畫作幾乎就像在挑戰觀眾，要他們注示骷髏頭的眼窩並找出它們的意義。這也是村上隆的標誌性舉措：將具有深厚文化內涵的東西轉化為全新的事物。

\n\n

\n\n

骷髏頭以其柔和的輪廓和不同的表情與方向，在深紅色的基礎上創造出一種旋律。這種顏色能夠象徵生與死、強度和慶賀。此次拍品體現了有趣與深刻、短暫與永恆之間的平衡。

\n\n

此畫作不僅是顯示村上隆藝術實力的傑出例子，也是對生命的循環本質和我們在日常生活中無所不在的死亡的複雜評論。它反映了村上隆的「超扁平」美學，也顯示著藝術家對塑造了現代日本的社會文化議題的深入參與。此次拍品與村上隆的整體風格有著深刻的聯繫——它繼續定義和擴展當代藝術的界限。

\n\n

藝術家於2023年9月至2024年2月期間在三藩市亞洲美術館舉辦了名為〈村上隆：陌生的人——怪物化的人類自我意識的膨脹〉的個展。近期，他也在京都市京瓷美術館舉辦了其大型個展，以慶祝美術館成立90週年。這是村上隆時隔八年後首次在日本舉辦的大型個人展覽。

\n","https://assets.phillips.com/auctions/HK010324/200704_002.jpg","https://assets.phillips.com/auctions/HK010324/200704_003.jpg",{"_147":148,"_602":150,"_603":2082,"_605":2083},[2303,2304,2305,2306,2307,2308],{"_147":619,"_602":620,"_603":2314,"_605":2315},{"_147":618,"_602":618,"_603":2310,"_605":2313},{"_147":614,"_602":615,"_603":2311,"_605":2312},{"_147":610,"_602":611,"_603":2000,"_605":2084},{"_147":606,"_602":607,"_603":2309,"_605":2310},{"_147":148,"_602":150,"_603":2082,"_605":2083},207000,138000,142000,94600,91800,122000,81100,28,{"_592":2343,"_594":2344},"https://www.phillips.com/detail/takashi-murakami/198649","1-8TYIKB",30,455000,"87.1 x 68.8 x 47 公分 (34 1/4 x 27 1/8 x 18 1/2 英寸)","強化纖維塑料聚氨酯漆不鏽鋼木","2020年作，共有20版及1版藝術家試作版和2版特殊試作版，此為第11版。","巴黎，貝浩登畫廊\r\n現藏者於2021年購自上述來源","巴黎，貝浩登畫廊，〈Baka〉，2019年10月16日-12月21日","https://assets.phillips.com/auctions/HK010324/198649_001.jpg",[2339,2340,2341,2342],[2332],"This work is in good condition. The work is structurally sound; all elements are well intact and secure. Upon very close inspection, an area measuring 0.1 x 0.5 cm. located on the reverse of the figure's right leg (close to the edge of where the pink and white areas meet) has been consolidated but there is no further evidence of restoration under Ultraviolet light.",{"_147":148,"_149":150},{"_792":101,"_793":794,"_795":2333,"_16":2334,"_798":2335},17465,"DETAIL-HEADER-DISABLED 91132",[2336],{"_792":101,"_801":2337,"_803":2338},21200,"

村上隆在全球藝術界的地位無需贅述，他因充滿活力和異想天開的藝術作品而廣受讚譽。這位藝術家開創了超扁平運動，以其扁平美學聞名於世——其風格來源既參考了日本傳統藝術，亦援引了如動漫和漫畫等2D 圖形文化。《無題》超越了畫布的限制，以 3D 形式呈現，生動展現了村上隆備受推崇的主題所具有的獨特個性和品質。

\n\n

「有時他頑皮又可愛。有時他卻很可怕。有時所有外在力量都能影響他。有時他卻甚至能創造出一些反映個人與藝術困境的情緒和想法，並且傳遞給DOB 先生。」
\n—— Michael Darling 談村上隆和 DOB 先生

\n\n

《無題》中的 DOB 先生站姿僵硬，彷彿被時間凍結，釋放一種不適與失去意識的感覺。 DOB 先生被催眠般的藍眼睛直視觀眾，臉上掛著令人不安的獰笑，讓觀眾產生思考，反映了村上對當今消費社會的不滿。經過完美拋光的作品表面散發著光澤，吸引觀眾繞作品環行觀看。字母 D、O 和 B清晰可見，藝術家將D和B印在玩偶雙耳，並利用其圓臉暗示字母O，作為名字的展示。DOB先生的形象於 1994 年首次亮相，他的名字源自日語「 dobojite 」，日語俚語中的意思是「為什麼」——表達了藝術家對西方主導的藝術世界作出的對抗。觀看村上隆的作品，我們會看到藝術家通過對高雅藝術的僭越用崇高遮蔽了商業性，作品體現了藝術家的先驅地位，他用革命性的方法展示了當今觀眾對全球化當代文化的理解。

\n\n

如當前拍品所見，DOB 先生是藝術家眾多繪畫和雕塑創作中的核心人物，已成為村上隆作品的代名詞。這一充滿趣味的形象在村上隆的創作中反覆出現，象徵了日本流行文化、消費主義及藝術家自身對當代社會的詮釋的完美融合。受米老鼠、哆啦A夢和刺猬索尼克等標誌性卡通人物的啟發，DOB 先生可被進一步理解為村上隆本人的另一個自我，體現了其不斷發展的藝術身份的複雜與微妙。

\n\n

村上隆談論其標誌性角色DOB先生背後的創作發展進程與靈感來源

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視頻來自芝加哥當代藝術博物館

\n\n

藏家之選

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村上隆 1962 年生於東京，於東京藝術大學學習日本繪畫，1986 年獲美術學士，1993 年榮獲博士學位。
受過日本傳統繪畫訓練的村上隆後來成為超扁平運動的主要倡導者。超扁平是一種當代混合藝術表現形式，從日本畫傳統與日本流行文化元素中汲取靈感。他於2001 年創立了藝術製作公司 Kaikai Kiki Co., Ltd.，辦事處設於東京和紐約。
村上隆對藝術與商業世界之間的關係很感興趣，經常與時尚及設計品牌合作：他最著名的藝術合作夥伴包括 Supreme、優衣庫、Crocs、路易威登和卡西歐。
村上隆的作品被著名機構收為公共館藏並享譽盛名，如：紐約現代藝術博物館；洛杉磯舊金山現代藝術博物館；洛杉磯 The Broad藝術館；芝加哥當代藝術博物館；巴黎路易威登基金會；奧斯陸阿斯楚普費恩利現代藝術博物館；阿布達比古根漢美術館；首爾三星美術館；上海龍美術館；香港M+美術館和香港大館等。

\n\n

\n\n","https://assets.phillips.com/auctions/HK010324/198649_002.jpg","https://assets.phillips.com/auctions/HK010324/198649_003.jpg","https://assets.phillips.com/auctions/HK010324/198649_004.jpg","https://assets.phillips.com/auctions/HK010324/198649_005.jpg",{"_147":148,"_602":150,"_603":2351,"_605":2352},[2345,2346,2347,2348,2349,2350],{"_147":619,"_602":620,"_603":851,"_605":2359},{"_147":618,"_602":618,"_603":2357,"_605":2358},{"_147":614,"_602":615,"_603":1171,"_605":2356},{"_147":610,"_602":611,"_603":2354,"_605":2355},{"_147":606,"_602":607,"_603":2353,"_605":2185},{"_147":148,"_602":150,"_603":2351,"_605":2352},850000,650000,146000,109000,83300,76500,97900,74900,65700,26,{"_592":2388,"_594":2389},"https://www.phillips.com/detail/katherine-bernhardt/197397","1-8TYIIK","《綠色》",5416,"Katherine Bernhardt",736600,"

Katherine Bernhardt, whether in her paintings or make-shift Moroccan rugs, is rapt by neons and geometries. The artist, who works in New York, takes an almost hasty-flick of a brushstroke that lands as a jagged architectural form — figures cut in space and in buzzing colors that leave a mental trace.

Seemingly each month, multiple galleries, museums or art fairs across the world exhibit Bernhardt's large-scale fantasies and rug-centric installations, as seen in 2017 at Art Basel and with a solo retrospective at the Modern Art Museum of Fort Worth, Fort Worth. "I think the best painters don't intellectualize their own art—they just make stuff," she says; but with sharks circling trash in the water in today's climate, as is depicted in Sharks, Toilet Paper and Plantains, it's not hard to see Bernhardt's deeper meanings.

",1975,"款識： Katherine Bernhardt 2019（畫背）","243.8 x 304.8 公分 (95 7/8 x 120 英寸)","壓克力噴漆畫布","紐約，Art Omi 畫廊\r\n香港，富藝斯，2021年6月7日，拍品編號127\r\n現藏者購自上述拍賣","紐約，Art Omi 畫廊，〈凱瑟琳·伯恩哈特，金〉，2019年3月16日-5月18日","https://assets.phillips.com/auctions/HK010324/197397_001.jpg",[2387],[2380],"This work is in very good condition. Upon close inspection, there are surface irregularities and areas of paint separation visible throughout the canvas due to the artist's chosen medium and working methods. There are some hairs stuck to the canvas, as well as studio marks visible along the edges of the canvas. There is no restoration apparent under Ultraviolet light. This work is not framed.",{"_147":148,"_149":150},{"_792":101,"_793":794,"_795":2381,"_16":2382,"_798":2383},17459,"DETAIL-HEADER-DISABLED 25193",[2384],{"_792":101,"_801":2385,"_803":2386},21194,"

「我一般喜歡粉紅色，粉紅色和淡紫色是我最喜歡的顏色。我用幾種深淺不一的粉紅色粉刷了新房子的背面，我有很多粉紅色的T恤，我在後院種了很多櫻花，目前開出了粉紅色的花，我總是塗抹同色調的啞光粉色口紅，我被粉紅豹吸引可能是因為它的粉紅色，我喜歡畫神奇寶貝裡的百變怪，因為它的造型是一團粉紅，可以變身作不同的粉色型態。粉紅色對我而言是一種溫暖而有趣的顏色。」
\n——凱瑟琳‧伯恩哈特

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凱瑟琳·伯恩哈特出生於密蘇裡州，現居布魯克林，創作於2019年的《綠色》是代表了其充滿活力與俏皮的美學風格的鮮明典範。藝術家在畫布上呈現了一座充滿視覺刺激的遊樂場，兼具熱帶地區的勃勃生機和都市中的酷炫塗鴉藝術。她以厚塗繪製的雜誌模特兒人像畫闖入當代藝術舞台，亦受到非洲紡織文化的啟發，後者也許影響了她的大型繪畫創作。她在一次超現實的夏威夷之旅結束後開始畫卡通人物粉紅豹，成為最常被其畫作引用的角色之一。到達粉紅宮殿酒店後，她留意到夏威夷軍事領袖卡美哈美哈一世的巨大雕塑上披了巨大的豔粉色蘭花花環。飯店提供粉紅毛巾、粉紅床單、粉紅睡眠面膜、粉紅地毯、粉紅沙灘椅、粉紅沙灘巾、粉紅文具、粉紅日落、粉紅煎餅，還有電視裡的粉紅豹。

\n\n

\"\" — 當前拍品（左）在展覽現場，〈GOLD〉，紐約Art Omi，2019年3月16日—5月18日

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作品中看似隨興的形式組合之下是精心編排的色彩與形狀。伯恩哈特使用負空間和非傳統色彩組合，突破了傳統人物畫的界限。《綠色》中，色彩的滴落及融合傳達了一種動態，彷彿這幅畫處於一種生成中的狀態，一直不曾固定或完成。這種流動性是伯恩哈特的標誌風格，反映了構成她靈感來源的流行文化與時尚的持續流變。粉紅豹脫離了原本的卡通語境，成為懷舊和現代性的象徵，體現了我們的鍾愛之物所包含的短暫性。

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然而，伯恩哈特的獨特之處在於她能夠使用壓克力噴洗畫布，快速創建流暢、周詳的噴漆畫面，最關鍵的是富含其毫不掩飾的趣味性。伯恩哈特說，她「在地板上作畫，這樣[她]可以使用大量液體顏料而不會滴落，而是在地面形成水窪。」藝術家特別喜歡這種方法打造的顏料水流及水窪，為畫面帶來更柔和的邊緣、漸變分層和運動感。她的作品打破了傳統藝術世界與流行文化領域之間的分界，創造出使人易懂、容易共情、充滿歡樂和不屑一顧的作品。伯恩哈特的《綠色》是對色彩、圖案和流行圖像的致敬，邀請觀眾進入融有趣與深刻於一體的藝術世界。

\n\n

\"\" — \n
凱瑟琳‧伯恩哈特，《陷入迷宮中》，2019年，藝術品：© 凱瑟琳‧伯恩哈特
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富藝斯紐約拍賣會以成交價$107,950售出
\n

\n\n

\n","https://assets.phillips.com/auctions/HK010324/197397_002.jpg",{"_147":148,"_602":150,"_603":2182,"_605":1649},[2390,2391,2392,2393,2394,2395],{"_147":619,"_602":620,"_603":2186,"_605":1657},{"_147":618,"_602":618,"_603":2185,"_605":1655},{"_147":614,"_602":615,"_603":2184,"_605":1653},{"_147":610,"_602":611,"_603":2183,"_605":1652},{"_147":606,"_602":607,"_603":1562,"_605":1650},{"_147":148,"_602":150,"_603":2182,"_605":1649},25,{"_592":2427,"_594":2428},"https://www.phillips.com/detail/madsaki/197824","1-8TYIH4",27,"《夢2》",18022,"MADSAKI","Japan","款識：Madsaki 2017（畫背）","130 x 97 公分 (51 1/8 x 38 1/4 英寸)","東京，貝浩登畫廊\r\n現藏者於購自上述來源","曼谷，尚泰領使購物中心，〈Combination Platter〉，2018年5月8日-6月3日","顯赫私人收藏","https://assets.phillips.com/auctions/HK010324/197824_001.jpg",[2424,2425,2426],[2423],[2416],"This work is in very good condition. Upon close inspection, there is minor paint separation on areas of thicker impasto in the upper half, attributed to the artist's chosen medium and working methods. There is no restoration apparent under Ultraviolet light. This work is not framed.",{"_147":148,"_149":150},{"_792":101,"_793":794,"_795":2417,"_16":2418,"_798":2419},17458,"DETAIL-HEADER-DISABLED 36752",[2420],{"_792":101,"_801":2421,"_803":2422},21193,"

藝名MADSAKI的日本視覺藝術家因其獨特的當代藝術創作享譽全球。藝術家發展了一種結合大眾文化與藝術史的非傳統風格，對持續定義了美術的長期傳統進行了大膽的重新審視。 MADSAKI的童年在新澤西度過，受他所熟悉的街頭藝術和塗鴉所影響，選擇採用噴漆創作自發性繪畫。他將模板蓋安裝在噴漆罐上，創造出繁複的組合，鮮豔色彩和街頭藝術氣質的結合可以被視為他對多元文化中成長的早期歲月的擁抱。MADSAKI 的藝術方式反映了他的個人經歷，特別是源於他作為1980 年代初第一代移民的身份以及他於2004 年返回日本的經歷。在親眼觀察到這些文化差異和社會問題後，藝術家試圖擁抱不同文化之間的相互關聯性。文化並透過他的作品拒絕任何形式的界線。

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「有一天我想知道：我為什麼要畫畫？我想到我對藝術史的欽佩如何鼓勵我擺脫迄今為止的艱難日子。這就是我開始我的《Wannabe》系列的方式，在這個系列中我擁抱藝術史本身，或者試圖與之融為一體。」
\n——MADSAKI

\n\n

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MADSAKI 在 Wannabe 系列中重新詮釋了貫穿藝術史的古典與當代傑作，本次作品亦同樣致敬了巴勃羅·畢加索及其 1932 年的畫作《夢》。雖然 MADSAKI 對這幅著名作品的演繹似乎緊密遵循了原作的構圖、色彩和形式，但藝術家標誌性噴漆美學所繪製的線條和潑濺給靜態肖像帶來了一絲動態與粗獷。畢卡索用祥和的氣氛渲染繆斯女神的面相，MADSAKI則大膽重構了這張臉，用凹陷的雙眼和假笑取而代之。該致敬之作雖與原作十分近似，但它牢牢立足於21 世紀，鼓勵觀眾用自己的方式與藝術家的創作建立聯繫，從他多產的創作中發現作品的意義與潛台詞，並重新思考藝術挪用在全球化日益加重的世界中所具有的價值。用藝術家自己的話說：

\n\n

「我完全不認為複製傑作和著名漫畫人物是對它們的侮辱，反而我是在將其重新闡釋為俚語。我在美國這個大熔爐長大，扁平化使一切都被相同看待，所以我認為，無論是兔八哥還是畢加索，都是一樣的。」
\n——MADSAKI

\n\n

MADSAKI 1974 年出生於大阪，在美國長大，1996 年畢業於紐約帕森斯設計學院。藝術家對藝術史和流行文化毫不妥協的剖析贏得許多粉絲的讚賞，日本偶像村上隆不但對這位年輕藝術家的「無限才華」表示褒賞，且購買了數十件作品加入其個人的超扁平收藏陣列。 MADSAKI 現由貝浩登和Kaikai Kiki 等國際藝廊代理，曾先後舉辦許多個展，包括2023 年、2022 年分別在東京Kaikai Kiki 畫廊舉辦的〈This Used to be My Playground〉和〈Island Love〉，2021年在紐約貝浩登舉辦的〈Hello Darkness, My Old Friend (I’ve come to talk with you again)〉。

\n","Ο","https://assets.phillips.com/auctions/HK010324/197824_002.jpg","https://assets.phillips.com/auctions/HK010324/197824_003.jpg","https://assets.phillips.com/auctions/HK010324/197824_004.jpg",{"_147":148,"_602":150,"_603":1649,"_605":849},[2429,2430,2431,2432,2433,2434],{"_147":619,"_602":620,"_603":2225,"_605":859},{"_147":618,"_602":618,"_603":2436,"_605":2437},{"_147":614,"_602":615,"_603":2435,"_605":855},{"_147":610,"_602":611,"_603":1652,"_605":853},{"_147":606,"_602":607,"_603":1093,"_605":851},{"_147":148,"_602":150,"_603":1649,"_605":849},82600,79700,57000,24,{"_592":2467,"_594":2468},"https://www.phillips.com/detail/ayako-rokkaku/197740","1-8TYIFN","《無題 ARP1》",15568,"六角彩子",1400000,1524000,"款識：2007 Rokkaku Ayako（日文）（右下）","300 x 190 公分 (118 1/8 x 74 3/4 英寸)","2007年作","阿姆斯特丹，Delaive 畫廊\r\n現藏者於2007年購自上述來源","阿姆斯特丹，Delaive 畫廊，〈雲端漫步〉，2007年2月3-27日","https://assets.phillips.com/auctions/HK010324/197740_001.jpg",[2464,2465,2466],[2457],"This work is in very good condition overall. Upon very close inspection, there is a pinpoint accretion on the lower right petal of the flower next to the figure. There is no restoration apparent under Ultraviolet light. This work is not framed.",{"_147":148,"_149":150},{"_792":101,"_793":794,"_795":2458,"_16":2459,"_798":2460},17473,"DETAIL-HEADER-DISABLED 53952",[2461],{"_792":101,"_801":2462,"_803":2463},21208,"

「我喜歡在比我本人大得多的畫布上創作。在如此大型的畫布的角落之間來回移動讓我覺得顏色仿佛在我的身體裡流動。」
\n—— 六角彩子

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六角彩子的《無題》創作於2007年在Delaive 畫廊舉辦的個展《雲間漫步》現場，是拍賣市場上她最早、最重要的作品之一。畫作描繪了一位小女孩，她那雙極富表現力的大眼睛攫取了觀眾的注意力，在人們心中喚起一種純真感與好奇心。圍繞女孩的花卉元素充滿動態感，使為畫面更添生機。藝術家手指作畫的技法在紋理筆觸與顏料的塗抹中展露無遺，使畫面飽含觸感。溫暖明豔的色調營造出歡樂的氛圍，不規則地散落各處的花朵則釋放了一種自由和即興的感覺。這件作品可以被理解為紀念童年的單純與美妙，寄寓了藝術家渴望重拾年輕時曾體驗的純粹創作樂趣的意圖。

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作為一名自學成才的藝術家，六角的技法非常獨特，她於20歲時開創了用手指繪畫的方法。她放棄了傳統的繪畫工具，直接用手指和手掌塗抹顏料，與畫布產生了更緊密、更直接的連結。這種身體性的創作為她的作品帶來了一種自發性和原始能量。她用手指繪製的紋理和圖案獨一無二，是畫筆所無法複製的，蘊含了她與材料的身體性互動的直接印記。六角不曾受系統性學術訓練的影響，她的藝術無拘束而充滿個性。她的方法與她的理念一致：捕捉童年時期的創造力和未經教化的表達，人在童年階段不受規則束縛，往往是經由玩樂性的試探找到自己的技法。

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\"\" — 六角彩子於 Delaive 畫廊創作此次拍品。圖片：Delaive 畫廊，\n\n
阿姆斯特丹
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六角彩子對大型畫布的偏好是其藝術創作的重要面向。她特意選擇寬闊的畫布，享受以非常動態的方式進行創作。大尺寸畫布為她提供了自由移動的空間，可以施展各種手勢，將自身能量直接引向畫布。她嬌小的身影與畫布規模形成鮮明視覺對比，突出了創作過程的沈浸式本質。在如此大規模的畫布上創作亦包含一種表演元素，讓觀眾見證創作過程，將繪畫行為變成現場藝術表演。

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\"\" — 六角彩子在〈雲端漫步〉個展現場創作此次拍品，2007年。
\n圖片：© Gallery Delaive，阿姆斯特丹

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\"\" — 傑克遜·波洛克，《Number 16》，1950年作，私人收藏
\n藝術品：© 2023 Pollock-Krasner Foundation / 藝術家權利協會(ARS)，紐約

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透過直覺進行繪畫的六角受抽象和表現主義藝術家傑克遜·波洛克、恩斯特·路德維希·基爾希納、讓-米歇爾·巴斯奎特和塞‧湯伯利等同行啟發，與這些藝術家的表達風格及其透過抽象形式傳達情感的方式共鳴。抽象表現主義運動的先驅傑克遜·波洛克通過非具象形式傳達情感與思想，如《Number 16》（1950年）所示，藝術家用無法辨認主題的各色壓克力圖案填滿畫布。波洛克意識到，無意識的思想是藝術創作的主要力量，創作由自發性與即興引導——六角完全認同這樣的創作過程。六角的畫是高度直覺性的，不被傳統繪畫規則所束縛、亦沒有既定計畫，她全身心沉浸於繪畫過程中。這使她的主題在繪畫過程中成型，繪畫行為變得具有表演性。

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「如果不用手直接觸碰到顏料，我就不覺得自己真的在畫畫。那樣創作更好玩。」
\n—— 六角彩子

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當前主人公一襲粉紅色連衣裙，與周圍鮮豔的動植物相得益彰，她幾乎就是日本動畫電影《千與千尋》（2001年）中的主角荻野千尋，同樣在花團錦簇的小徑中穿行。兩位女孩與其周遭的互動方式都體現了一種與更廣闊、甚或具有神奇力量的環境的關聯。這種主題上的相似在六角的藝術創作與深受觀眾喜愛的動畫角色之間架起了一座橋樑，喚起與電影故事相似的懷舊、驚奇及成長旅途上的百感交集。

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宮崎駿電影《千與千尋》中荻野千尋穿越花田，2001 年

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六角採用的美學形式直接參考日本動漫風格，這類作品中亦常見擁有碩大閃亮眼睛的可愛角色。她的作品融合了來自藝術世界不同角落的多樣風格，同時保留童趣、年輕與天真——藝術家嘗試返璞歸真的思想境界：「我在繪畫時試圖尋回孩提時代的感覺——你可以說是回到我的起點。每個人小時候都經歷過一個為繪畫全然癡迷的階段。孩子們可以完全沉浸在他們的圖畫中。我想也許我的畫作有助於觀眾重溫當時那種感覺。」ⁱ六角試圖透過藝術重新連結自己的童年感受，相信自己的作品也會在他人心中喚起類似的記憶和感觸。

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藏家之選

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六角彩子1982年出生於日本千葉，2002年剛滿二十時開始了她的藝術生涯。2006年，六角參加了由藝術巨星村上隆創建的Kaikai KiKi工作室籌辦的第9屆Geisai藝術節並獲得了著名的Akio Goto獎，由此迅速確立了自己在國際藝術界中的地位。
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2018 年，六彩的作品首次通過富藝斯香港的展售會〈色彩無盡：山姆．弗朗西斯、丁雄泉及六角彩子〉進入市場，並於展售會發布當天售罄。此後，國際上對該藝術家的需求呈爆炸式增長。六角的作品被中國寶龍美術館、韓國世華美術館、日本金澤 21 世紀美術館和荷蘭 Voorlinden 博物館等機構永久收藏。
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藝術家最近的展覽包括柏林國王畫廊的個展〈生於蓬鬆旅歷〉(2021 年）及千葉縣立美術館的公立展覽〈藝術之手〉（2021 年）。六角目前在多個城市生活與工作，往返於波爾圖、柏林、東京和阿姆斯特丹之間。她由阿姆斯特丹Delaive畫廊代理。
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ⁱ Somese Naoto，《六角彩子：世界就在這位藝術家的指尖》 nippon.com, 2011年10月3日, 載自網絡

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\n\n","https://assets.phillips.com/auctions/HK010324/197740_002.jpg","https://assets.phillips.com/auctions/HK010324/197740_003.jpg","https://assets.phillips.com/auctions/HK010324/197740_004.jpg",{"_147":148,"_602":150,"_603":82,"_605":2475},[2469,2470,2471,2472,2473,2474],{"_147":619,"_602":620,"_603":2484,"_605":1242},{"_147":618,"_602":618,"_603":2482,"_605":2483},{"_147":614,"_602":615,"_603":2480,"_605":2481},{"_147":610,"_602":611,"_603":2478,"_605":2479},{"_147":606,"_602":607,"_603":2476,"_605":2477},{"_147":148,"_602":150,"_603":82,"_605":2475},2000000,511000,341000,385000,256000,351000,234000,337000,225000,299000,23,{"_592":2507,"_594":2508},"https://www.phillips.com/detail/yoshitomo-nara/197985","1-8TYIEQ",1905000,"33.2 x 24 公分 (13 1/8 x 9 1/2 英寸)","2007年作，此作被收錄於奈良美智線上作品全集之中，登記號碼為YNF4555。","香港，Burger COLLECTION\r\n日本私人收藏\r\n現藏者購自上述來源","https://assets.phillips.com/auctions/HK010324/197985_001.jpg",[2505,2506],[2498],"This work is in very good condition overall. Upon close inspection, the sheet undulates slightly, and the top left corner is slightly lifted, attributed to the chosen method of mounting. The lower right corner is also slightly dogeared. There is no restoration apparent under Ultraviolet light. This work is framed under acrylic in a wooden frame. Please note, this work has not been checked outside of its frame.",{"_147":148,"_149":150},{"_792":101,"_793":794,"_795":2499,"_16":2500,"_798":2501},17466,"DETAIL-HEADER-DISABLED 1188",[2502],{"_792":101,"_801":2503,"_803":2504},21201,"

「我並沒有刻意去畫某個特定的女孩。我想透過描繪眼睛、鼻子和嘴巴等表象特徵來表達更深層次的東西。這種深層次的東西無法用語言描述。然而，人們會理解的。」
\n—— 奈良美智

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這幅作品中的孤獨人物是一位正在前行的少女，她低垂的雙眼和緊皺的眉頭訴說著觀眾內心的沉重。奈良美智的作品經常強調我們與童年的密切聯繫，而童年往往既與毫無防備的純真有關，也與那些 ‘罪惡記憶’的形成有關。這件作品充滿活力和質感，既令人懷念，又刺痛人心，在藝術家的回憶和觀眾的自我反思之間架起了一座橋樑。

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人物下方潦草地寫著「必須是航行者......」，這是對自我發現和接受之旅的淒美提醒。奈良美智的藝術作品雄辯地揭示了我們複雜的內心世界，有時是黑暗和動盪的。

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奈良美智的人物畫從東西方藝術傳統中汲取養分，既讓人聯想到日本傳統浮世繪版畫的專注孤寂，又體現了西方現代主義的內省探究。在這幅作品中，人物周圍的巨大空虛感強調了她的孤獨，同時也暗示了一個充滿可能性的世界和人類心靈的廣闊。

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這幅作品充分體現了奈良美智透過簡潔迷人的主題表達孤獨、叛逆和尋找自我等共同體驗的能力。他的作品不僅融入了日本文化的肌理，也是廣受國際認可的基石。他的藝術作品通常是情感探索的容器，為觀眾提供了一面鏡子，照出奈良美智作品中不那麼明顯的自我體驗。

\n","https://assets.phillips.com/auctions/HK010324/197985_002.jpg","https://assets.phillips.com/auctions/HK010324/197985_003.jpg",{"_147":148,"_602":150,"_603":2082,"_605":2083},[2509,2510,2511,2512,2513,2514],{"_147":619,"_602":620,"_603":1093,"_605":2087},{"_147":618,"_602":618,"_603":2518,"_605":885},{"_147":614,"_602":615,"_603":1666,"_605":2517},{"_147":610,"_602":611,"_603":2000,"_605":2084},{"_147":606,"_602":607,"_603":2515,"_605":2516},{"_147":148,"_602":150,"_603":2082,"_605":2083},204000,136000,93500,135000,22,{"_592":2544,"_594":2545},"https://www.phillips.com/detail/mr/197823","1-8TYID5",1206500,"款識：Mr. 2020-2023（左側邊緣）","108 x 86 公分 (42 1/2 x 33 7/8 英寸)","壓克力絲網印刷畫布","2020-2023年作","卓越私人收藏","https://assets.phillips.com/auctions/HK010324/197823_001.jpg",[2541,2542,2543],[2534],"This work is in very good condition overall. Upon close inspection, there are short hairline craquelures along the edges, likely attributed to the stretching of the canvas. There is no restoration apparent under Ultraviolet light, The work is framed under acrylic in a white painted wood frame. Please note, this work has not been checked outside of its frame.",{"_147":148,"_149":150},{"_792":101,"_793":794,"_795":2535,"_16":2536,"_798":2537},17486,"DETAIL-HEADER-DISABLED 84632",[2538],{"_792":101,"_801":2539,"_803":2540},21221,"

「我出生於 1969 年，史上第一位人類（阿波羅 11 號）登陸月球的那一年，當時動漫是日本電視上很受歡迎的節目。因此，作為一個小孩的我看了很多電視節目，並受啟發畫下了我看到的人物。我還超愛看漫畫。」
\n— Mr.

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日本藝術家Mr.的作品《無題》中，一場色彩、角色和文化的視覺盛宴席捲而來。藝術家這幅典型之作充滿豐富元素豐富，深入探討了禦宅族次文化與日本的卡哇伊美學。畫布濃縮了東京充滿活力的底色，交織了青春的能量與流行文化的激情。

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畫面中心的角色擁有一頭引人注目的藍髮，他閃亮的大眼睛和稚氣的五官體現了Mr.實踐中典型的卡哇伊風格。它不僅僅是一個角色，而作為情感通道反映了天真並喚起類似moe（萌）的感覺。中心人物四周是由小型人物和圖案組成的萬花筒圖樣，每處細節都經過精心描繪，表現了禦宅族文化的精彩紛呈。這些角色表情及活動各異，畫面穿插英文和日文文字，形成一幅文字與視覺的拼貼。來自不同敘事的角色共聚一堂，可能代表了日本都市生活的擁擠熱鬧，或是禦宅族躲進小樓成一統、填滿商品與回憶的庇護空間。

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畫面背景遍佈重疊的圖像和塗鴉般的潦草筆觸，使作品更顯豐富，體現了兼具公共性與高度個性化的環境。城市的影響是顯而易見的，讓人想起秋葉原或澀谷街道隨處可見的貼紙和海報，動畫及漫畫狂熱在這些區域的血管裡躍動。Mr.時常在作品中深情描繪此般地域風情，這些地區以青年文化及作為坐擁海量粉絲的動漫聖地的地位而遠近馳名。Mr.的調色盤不但提供了一場視覺饗宴，亦是一種敘事手段。明亮、近乎霓虹燈的色調十分吸睛，同時傳達了青春活力與東京城市景觀的數位光芒。

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Mr.在鳳凰城美術館的訪談「你可聽到這座城的歌聲」

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Mr.的藝術承續了超扁平運動的影響和村上隆的指點，明顯體現於其扁平化的畫面及高雅與流行文化的無縫融合。與此同時，Mr.的作品獨到地描繪了成功引起禦宅族共鳴的微妙情愫，使他脫穎而出。這件作品有力印證了視覺文化可以這樣塑造身份與社群文化。

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Mr.在當前作品中實現了完美平衡，創造了一個生氣勃勃與沈靜內省共存的空間。該藝術品在致敬禦宅族文化的同時，亦邀請我們探索更深層的敘事，這些敘事反映了我們的社會互動與個體孤寂。畫布成為一面鏡子，映射出觀者自身的歡樂與舊情，以及在不斷變遷的世界中對個人歸屬感的不懈追尋。

\n","https://assets.phillips.com/auctions/HK010324/197823_002.jpg","https://assets.phillips.com/auctions/HK010324/197823_003.jpg","https://assets.phillips.com/auctions/HK010324/197823_004.jpg",{"_147":148,"_602":150,"_603":2475,"_605":2182},[2546,2547,2548,2549,2550,2551],{"_147":619,"_602":620,"_603":2557,"_605":2558},{"_147":618,"_602":618,"_603":2556,"_605":2088},{"_147":614,"_602":615,"_603":2554,"_605":2555},{"_147":610,"_602":611,"_603":2479,"_605":2183},{"_147":606,"_602":607,"_603":2552,"_605":2553},{"_147":148,"_602":150,"_603":2475,"_605":2182},343000,172000,236000,118000,227000,202000,101000,21,{"_592":2577,"_594":2578},"https://www.phillips.com/detail/roby-dwi-antono/198638","1-8TYIC1","《姬拉》",21549,"羅比·德維·安東諾",444500,"款識：Roby 2020（畫背）","50 x 50 公分 (19 5/8 x 19 5/8 英寸)","新加坡，Yavus 畫廊\r\n現藏者購自上述來源","https://assets.phillips.com/auctions/HK010324/198638_001.jpg",[2574,2575,2576],"This work is in very good condition. Upon close inspection, there are hairline craquelures along all four turnover edges and corners. There is no restoration apparent under Ultraviolet light. The work is framed under acrylic in a white painted wood frame.",{"_147":148,"_149":150},"https://assets.phillips.com/auctions/HK010324/198638_002.jpg","https://assets.phillips.com/auctions/HK010324/198638_003.jpg","https://assets.phillips.com/auctions/HK010324/198638_004.jpg",{"_147":148,"_602":150,"_603":850,"_605":1242},[2579,2580,2581,2582,2583,2584],{"_147":619,"_602":620,"_603":1688,"_605":1523},{"_147":618,"_602":618,"_603":1687,"_605":1245},{"_147":614,"_602":615,"_603":1686,"_605":1554},{"_147":610,"_602":611,"_603":854,"_605":1172},{"_147":606,"_602":607,"_603":1685,"_605":1553},{"_147":148,"_602":150,"_603":850,"_605":1242},20,{"_592":2601,"_594":2602},"https://www.phillips.com/detail/thierry-noir/200858","1-8TYIAV","《色彩之舞》",23800,"Thierry Noir",177800,"款識：NOIR（右下）；《THE DANCE OF COLOUR》THIERRY NOIR 7 MARCH 2023（畫布邊緣）","120 x 150 公分 (47 1/4 x 59 英寸)","2023年3月作","https://assets.phillips.com/auctions/HK010324/200858_001.jpg",[2599,2600],{"_147":148,"_149":150},"https://assets.phillips.com/auctions/HK010324/200858_002.jpg","https://assets.phillips.com/auctions/HK010324/200858_003.jpg",{"_147":148,"_602":150,"_603":1132,"_605":1093},[2603,2604,2605,2606,2607,2608],{"_147":619,"_602":620,"_603":1137,"_605":1098},{"_147":618,"_602":618,"_603":1136,"_605":1097},{"_147":614,"_602":615,"_603":1135,"_605":1096},{"_147":610,"_602":611,"_603":1134,"_605":1095},{"_147":606,"_602":607,"_603":1133,"_605":1094},{"_147":148,"_602":150,"_603":1132,"_605":1093},19,{"_592":2627,"_594":2628},"https://www.phillips.com/detail/yang-hyun-jun/200102","1-8TYI9S","《大孩子（李小龍）》",30464,"楊賢俊","款識：《Adult Child (Bruce Lee)》2021（畫背）","117 x 91.2 公分 (46 1/8 x 35 7/8 英寸)","壓克力韓國紙","香港，知音畫廊\r\n現藏者購自上述來源","https://assets.phillips.com/auctions/HK010324/200102_001.jpg",[2624,2625,2626],"This work is in good condition. Upon very close inspection, there are light wear and handling marks around the edges, most noticeable towards the lower left corner and above the figure's head. There is surface dirt above the figure's right eyebrow and snot area. Visible under raking light and Ultraviolet light, an area of black paint fluoresces in the lower left quadrant next to the figure's left arm, likely to have originated from the artist's studio. This work is framed in a painted white wood frame. Please note, this work was not checked outside of its frame.",{"_147":148,"_149":150},"https://assets.phillips.com/auctions/HK010324/200102_002.jpg","https://assets.phillips.com/auctions/HK010324/200102_003.jpg","https://assets.phillips.com/auctions/HK010324/200102_004.jpg",{"_147":148,"_602":150,"_603":815,"_605":663},[2629,2630,2631,2632,2633,2634],{"_147":619,"_602":620,"_603":710,"_605":673},{"_147":618,"_602":618,"_603":819,"_605":922},{"_147":614,"_602":615,"_603":2635,"_605":669},{"_147":610,"_602":611,"_603":670,"_605":667},{"_147":606,"_602":607,"_603":1098,"_605":751},{"_147":148,"_602":150,"_603":815,"_605":663},8300,18,{"_592":2649,"_594":2650},"https://www.phillips.com/detail/kyne/200570","1-8TYI94",22649,"KYNE","款識：Kyne '19（畫背）","72.7 x 72.7 公分 (27 1/2 x 27 1/2 英寸)","東京，Target 畫廊\r\n現藏者購自上述來源","https://assets.phillips.com/auctions/HK010324/200570_001.jpg",[2648],{"_147":148,"_149":150},"https://assets.phillips.com/auctions/HK010324/200570_002.jpg",{"_147":148,"_602":150,"_603":849,"_605":850},[2651,2652,2653,2654,2655,2656],{"_147":619,"_602":620,"_603":2658,"_605":1688},{"_147":618,"_602":618,"_603":2657,"_605":1687},{"_147":614,"_602":615,"_603":2272,"_605":1686},{"_147":610,"_602":611,"_603":853,"_605":854},{"_147":606,"_602":607,"_603":2271,"_605":1685},{"_147":148,"_602":150,"_603":849,"_605":850},56500,50200,17,{"_592":2684,"_594":2685},"https://www.phillips.com/detail/jenna-gribbon/199243","1-8TYI7E","《龜池》",22568,"Jenna Gribbon",508000,"91.5 x 121.5 公分 (36 x 47 7/8 英寸)","私人收藏（直接購自藝術家本人）\r\n現藏者購自上述來源","https://assets.phillips.com/auctions/HK010324/199243_001.jpg",[2681,2682,2683],[2674],"This work is in very good condition overall. Upon close inspection, there are minor paint drippings on the lower side of the work and light accretions of brush hairs, likely to have originated from the artist’s studio. Upon very close inspection, there is a pinpoint accretion on the upper right quadrant of the work. There is no restoration apparent under Ultraviolet light. The work is framed under acrylic in a wood frame. Please note, this work has not been checked outside of its frame.",{"_147":148,"_149":150},{"_792":101,"_793":794,"_795":2675,"_16":2676,"_798":2677},17480,"DETAIL-HEADER-DISABLED 25991",[2678],{"_792":101,"_801":2679,"_803":2680},21215,"

「我一直對『看到人們被看到』這件事很感興趣。例如，觀察人們為了被看到而去自我展示，這和看到一個不希望被看到的人有所不同。」
\n—— 珍娜·格里本

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珍娜·格里本的這幅作品《無題》描繪了藝術家本人和一位男子（很可能是藝術家當時的伴侶）浸在池塘中，池水清楚地倒映著天空和附近的樹木。該作品是藝術家早期創作階段的一件矚目之作，展現了她對親密的凝視行為的關注。格里本的筆觸展現出女性印象派畫家描繪轉瞬即逝的情境時所傳達的流動性，例如瑪麗·卡薩特的作品《兩個女人坐在林地溪邊》。格里本的作品與眾不同之處在於將個人敘事融入創作。珍娜·格里本出生於 1978 年，在田納西州和喬治亞州度過了成長歲月。在一次學校旅行中她邂逅了印象派，這激發了她對捕捉飛逝時光中的短暫瞬間的長久迷戀。

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在某種程度上，格里本以親密而非物化的方式描繪了畫面中的場景，她也鼓勵觀眾以共享寧靜的方式參與這一時刻，而不是偷窺。畫面所捕捉的瞬間充滿了親密感和舒適感，人們可以從人物傳達的情感感受到這一點。觀眾幾乎也成為了畫面的一部分，與畫中人共享歡愉時刻。

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我們可以在畫布上看到格里本細膩而精確的描繪人物的技巧。她的調色板和諧地將環繞人物的水及天光樹影的自然主義色彩與畫作前景意外闖入畫面的樹枝結合在一起。這幅早期的畫作沒有使用她後期作品中常見的華麗粉紅，但我們已經可以感覺到格里本開始在鮮豔色彩中融入凝視概念的探索。

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「全神貫注或積極投入行動的人是最好的繪畫對象。」
\n—— 珍娜·格里本

\n\n

畫中情侶與周圍環境的和睦融合，暗示了人與自然和諧共處。這種流暢的融合讓人想起18世紀歐洲的浪漫主義風景畫。總體而言，當前拍品體現了格里本意圖挑戰藝術史中廣泛存在的傳統色情凝視。對作品對象的刻畫低調但有力地展示了主體性，畫中人全情投入當下體驗，沒有直面觀眾。這一場景以格里本鍾愛的方式顯得誘人，藝術家的涉入超越了單純的創作，使主動參與成為可能。

\n","https://assets.phillips.com/auctions/HK010324/199243_002.jpg","https://assets.phillips.com/auctions/HK010324/199243_003.jpg","https://assets.phillips.com/auctions/HK010324/199243_004.jpg",{"_147":148,"_602":150,"_603":1880,"_605":1881},[2686,2687,2688,2689,2690,2691],{"_147":619,"_602":620,"_603":2697,"_605":2698},{"_147":618,"_602":618,"_603":2695,"_605":2696},{"_147":614,"_602":615,"_603":2693,"_605":2694},{"_147":610,"_602":611,"_603":1884,"_605":1685},{"_147":606,"_602":607,"_603":2084,"_605":2692},{"_147":148,"_602":150,"_603":1880,"_605":1881},69000,71000,47300,69200,46100,60900,40600,16,{"_592":2717,"_594":2718},"https://www.phillips.com/detail/eliot-greenwald/195496","1-8TYI6H","《叢林蛋第1號》",23423,"艾略特．格連禾德","款識：《Jungle Egg 1》2021 Eliot Greenwald（畫背）","121.3 x 71.2 公分 (47 3/4 x 28 英寸)","油畫棒壓克力畫布","洛杉磯，M+B 畫廊\r\n現藏者購自上述來源","洛杉磯，M+B 畫廊，〈森林蛋〉，2022年1月29日-2月26日","https://assets.phillips.com/auctions/HK010324/195496_001.jpg",[2715,2716],"This work is in very good condition. There is no restoration apparent under Ultraviolet light. This work is not framed. Please note, upon close inspection to the reverse, there is a minor chip on the vertical bar of the stretcher, which does not affect the stability of the work.",{"_147":148,"_149":150},"https://assets.phillips.com/auctions/HK010324/195496_002.jpg","https://assets.phillips.com/auctions/HK010324/195496_003.jpg",{"_147":148,"_602":150,"_603":2725,"_605":1093},[2719,2720,2721,2722,2723,2724],{"_147":619,"_602":620,"_603":2729,"_605":1098},{"_147":618,"_602":618,"_603":2728,"_605":1217},{"_147":614,"_602":615,"_603":2727,"_605":571},{"_147":610,"_602":611,"_603":1588,"_605":1095},{"_147":606,"_602":607,"_603":2726,"_605":1216},{"_147":148,"_602":150,"_603":2725,"_605":1093},220000,37500,25700,24700,21900,15,{"_592":2750,"_594":2751},"https://www.phillips.com/detail/jonathan-chapline/200791","1-8TYI58","《電子遺物》",19028,"喬納森．查普林","106 x 81 x 58 公分 (41 3/4 x 31 7/8 x 22 7/8 英寸)","汽車漆塗層泡沫","紐約，The Hole 畫廊\r\n現藏者購自上述來源","紐約，The Hole 畫廊，〈材料記憶〉，2018年10月11日-11月11日","https://assets.phillips.com/auctions/HK010324/200791_001.jpg",[2745,2746,2747,2748,2749],"This work is in good condition. The work is structurally sound; all elements are well intact and secure. There are surface irregularities throughout, attributed to the artist's chosen medium and working methods. Three minor areas along the edges have been retouched by a professional conservator but there is no further evidence of restoration under Ultraviolet light.",{"_147":148,"_149":150},"https://assets.phillips.com/auctions/HK010324/200791_002.jpg","https://assets.phillips.com/auctions/HK010324/200791_003.jpg","https://assets.phillips.com/auctions/HK010324/200791_004.jpg","https://assets.phillips.com/auctions/HK010324/200791_005.jpg","https://assets.phillips.com/auctions/HK010324/200791_006.jpg",{"_147":148,"_602":150,"_603":1171,"_605":815},[2752,2753,2754,2755,2756,2757],{"_147":619,"_602":620,"_603":1524,"_605":710},{"_147":618,"_602":618,"_603":889,"_605":2758},{"_147":614,"_602":615,"_603":1244,"_605":817},{"_147":610,"_602":611,"_603":1174,"_605":670},{"_147":606,"_602":607,"_603":1520,"_605":1098},{"_147":148,"_602":150,"_603":1171,"_605":815},8100,14,{"_592":2772,"_594":2773},"https://www.phillips.com/detail/jonathan-chapline/200792","1-8TYI4O","《棕櫚泉》","款識：CHAPLINE（畫背）","71 x 89 公分 (27 7/8 x 35 英寸)","壓克力乙烯塗料木板","https://assets.phillips.com/auctions/HK010324/200792_001.jpg",[2771],"This work is in very good condition overall. Upon close inspection, there are pinpoint specks of paint loss throughout the work and edges, in line with the artist's choice of medium and working methods. There are also minor scuff marks on the lower corners, attributed to light wear and handling. There is no restoration apparent under Ultraviolet light. This work is not framed.",{"_147":148,"_149":150},"https://assets.phillips.com/auctions/HK010324/200792_002.jpg",{"_147":148,"_602":150,"_603":1093,"_605":662},[2774,2775,2776,2777,2778,2779],{"_147":619,"_602":620,"_603":1098,"_605":672},{"_147":618,"_602":618,"_603":1097,"_605":670},{"_147":614,"_602":615,"_603":1096,"_605":668},{"_147":610,"_602":611,"_603":1095,"_605":666},{"_147":606,"_602":607,"_603":1094,"_605":664},{"_147":148,"_602":150,"_603":1093,"_605":662},12,{"_592":2803,"_594":2804},"https://www.phillips.com/detail/alex-israel/198832","1-8TYI2S","《海浪》",12099,"Alex Israel","款識：Alex Israel '20（畫背）","61.8 x 61.8 公分 (24 3/8 x 24 3/8 英寸)","壓克力玻璃纖維","香港，高古軒畫廊\r\n現藏者購自上述來源","https://assets.phillips.com/auctions/HK010324/198832_001.jpg",[2802],[2795],{"_147":148,"_149":150},{"_792":101,"_793":794,"_795":2796,"_16":2797,"_798":2798},17482,"DETAIL-HEADER-DISABLED 91164",[2799],{"_792":101,"_801":2800,"_803":2801},21217,"

亞歷克斯·伊斯雷爾是一位多才多藝的知名藝術家、作家及企業家，其作品深度了融合洛杉磯的文化、意象和氛圍。伊斯雷爾於 1982 年誕生於洛杉磯，他的創作反映了該城市的風景、名星文化和電影世界，在當代藝術與好萊塢更寬廣的媒體景觀之間搭建了一座橋樑。伊斯雷爾的作品涵蓋繪畫、雕塑、電影與大型裝置等多種媒介，以鮮豔色彩、標誌性符號和代表洛杉磯娛樂產業精髓的元素為主要特徵。在當前拍品中，玻璃纖維出人意表的紋理如此誘人，充滿動態的光影互動使扁平的傳統繪畫黯然失色。柔和的漸層色彩美麗動人，與金屬畫布相得益彰。它們彷彿映射了一場加州日落，為當代藝術注入了新鮮、明亮的視角。

\n\n

當前拍品一眼就讓人想起享譽世界的葛飾北齋名作《神奈川衝浪裡》。葛飾北齋標誌性的木版畫捕捉了大自然的神聖力量，白沫翻滾的爪狀波浪似乎將要吞噬富士山下的船隻；相比之下，伊斯雷爾的「波浪」則提供了一種現代的、風格化的重塑。伊斯雷爾的波浪以柔和的漸變色彩呈現，給人一種相對寧靜和優雅的感覺，讓人想起當代加州的悠閒文化。葛飾北齋的作品細緻而充滿活力，暗示著運動和聲音，伊斯雷爾的詮釋則是流暢而幾乎靜態的，其極簡主義賦予大自然圖案寧靜與圖像化的品質。

\n\n

\"\" — 葛飾北齋，《神奈川衝浪裡》，亦以「巨浪」之稱聞名，冨嶽三十六景之一，約1830-32年作
\n圖片：© 大都會博物館，紐約，H. O. Havemeyer 收藏，H. O. Havemeyer 夫人遺贈，1929 年，JP1847

\n\n

藝術家的《海浪》系列作品之一出現在電視劇《就這樣…》一幕中。這一幕場景放大了藝術家及波浪系列在當代語境的相關性，在觀眾的目睹下，角色與藝術品的互動彌合了虛構敘事與現實世界藝術場景之間的距離。在《海浪》中，藝術家採用了流暢的圖像風格，將尖銳的現代設計與豐富的傳統繪畫相結合，致敬洛杉磯前沿視覺文化與經典魅力的融合。當前拍品是一件矚目的當代藝術力作，呼應了洛杉磯活力四射而又悠閒放鬆的都市美學。

\n\n

\n","https://assets.phillips.com/auctions/HK010324/198832_002.jpg",{"_147":148,"_602":150,"_603":1881,"_605":850},[2805,2806,2807,2808,2809,2810],{"_147":619,"_602":620,"_603":2814,"_605":1688},{"_147":618,"_602":618,"_603":2813,"_605":1687},{"_147":614,"_602":615,"_603":2812,"_605":1686},{"_147":610,"_602":611,"_603":1685,"_605":854},{"_147":606,"_602":607,"_603":2811,"_605":1685},{"_147":148,"_602":150,"_603":1881,"_605":850},68400,47000,45200,40200,11,{"_592":2830,"_594":2831},"https://www.phillips.com/detail/katherine-bradford/198840","1-8TYI21",13,"《水邊漫步》",17847,"Katherine Bradford","款識：K Bradford 2022（畫背）","40.6 x 50.8 公分 (15 7/8 x 20 英寸)","柏林，Haverkampf Leistenschneider 畫廊\r\n現藏者購自上述來源","https://assets.phillips.com/auctions/HK010324/198840_001.jpg",[2829],{"_147":148,"_149":150},"https://assets.phillips.com/auctions/HK010324/198840_002.jpg",{"_147":148,"_602":150,"_603":953,"_605":1171},[2832,2833,2834,2835,2836,2837],{"_147":619,"_602":620,"_603":963,"_605":747},{"_147":618,"_602":618,"_603":961,"_605":1178},{"_147":614,"_602":615,"_603":1175,"_605":1176},{"_147":610,"_602":611,"_603":957,"_605":1174},{"_147":606,"_602":607,"_603":1172,"_605":1173},{"_147":148,"_602":150,"_603":953,"_605":1171},10,{"_592":2863,"_594":2864},"https://www.phillips.com/detail/kitti-narod/190399","1-8TYI0J","《五彩繽紛的泳池》",23036,"基蒂·納羅德",254000,"款識：KITTI（右下）","100 x 100 公分 (39 3/8 x 39 3/8 英寸)","https://assets.phillips.com/auctions/HK010324/190399_001.jpg",[2859,2860,2861,2862],[2852],{"_147":148,"_149":150},{"_792":101,"_793":794,"_795":2853,"_16":2854,"_798":2855},17462,"DETAIL-HEADER-DISABLED 50751",[2856],{"_792":101,"_801":2857,"_803":2858},21197,"

「我總是在不同的場域內畫滿了人，這是一個政治問題，涉及在這個不平等的國家將各種類型的人聚集在一起。我想創造一個真正共享的公共空間。把每個人放在一個中立的空間裡，每個人都是平等的，每個人都是人。有些是我創造的，有些人是我認識的。」
\n—— 基蒂‧納羅德

\n","https://assets.phillips.com/auctions/HK010324/190399_002.jpg","https://assets.phillips.com/auctions/HK010324/190399_003.jpg","https://assets.phillips.com/auctions/HK010324/190399_004.jpg","https://assets.phillips.com/auctions/HK010324/190399_005.jpg",{"_147":148,"_602":150,"_603":1093,"_605":662},[2865,2866,2867,2868,2869,2870],{"_147":619,"_602":620,"_603":1098,"_605":672},{"_147":618,"_602":618,"_603":1217,"_605":670},{"_147":614,"_602":615,"_603":571,"_605":2871},{"_147":610,"_602":611,"_603":1095,"_605":666},{"_147":606,"_602":607,"_603":1216,"_605":1097},{"_147":148,"_602":150,"_603":1093,"_605":662},9300,9,{"_592":2890,"_594":2891},"https://www.phillips.com/detail/jing-zhiyong/195147","1-8TYHZR","《海風》",29869,"荊智勇","款識：Jingzhiyong. 2023（右下）；《Sea breeze》荊智勇 2023（畫背）","60 x 70 公分 (23 5/8 x 27 1/2 英寸)","2023年作","荊智勇，《荊智勇作品編2023年集》,北京，2024年，第180頁，124-25頁（圖版）","https://assets.phillips.com/auctions/HK010324/195147_001.jpg",[2888,2889],[1266],[651],{"_147":148,"_149":150},"https://assets.phillips.com/auctions/HK010324/195147_002.jpg","https://assets.phillips.com/auctions/HK010324/195147_003.jpg",{"_147":148,"_602":150,"_603":662,"_605":663},[2892,2893,2894,2895,2896,2897],{"_147":619,"_602":620,"_603":2758,"_605":608},{"_147":618,"_602":618,"_603":2900,"_605":818},{"_147":614,"_602":615,"_603":2899,"_605":669},{"_147":610,"_602":611,"_603":666,"_605":667},{"_147":606,"_602":607,"_603":2898,"_605":751},{"_147":148,"_602":150,"_603":662,"_605":663},13800,9500,9200,8,{"_592":2920,"_594":2921},"https://www.phillips.com/detail/gao-ludi/200739","1-8TYHYB","《P18》",30036,"高露迪",53340,"款識：Gaoludi 2018（畫背）","30 x 40 公分 (11 3/4 x 15 3/4 英寸)","北京，空白空間\r\n現藏者購自上述來源","北京，空白空間，〈果實〉，2018年8月28日-10月18日","https://assets.phillips.com/auctions/HK010324/200739_001.jpg",[2918,2919],[1266],"This work is in very good condition overall. Upon close inspection, there are scattered hairline craquelures throughout the work, attributed to the artist's chosen medium and working methods. There is no restoration apparent under Ultraviolet light. This work is not framed.",{"_147":148,"_149":150},"https://assets.phillips.com/auctions/HK010324/200739_002.jpg","https://assets.phillips.com/auctions/HK010324/200739_003.jpg",{"_147":148,"_602":150,"_603":706,"_605":707},[2922,2923,2924,2925,2926,2927],{"_147":619,"_602":620,"_603":991,"_605":715},{"_147":618,"_602":618,"_603":712,"_605":713},{"_147":614,"_602":615,"_603":820,"_605":711},{"_147":610,"_602":611,"_603":709,"_605":608},{"_147":606,"_602":607,"_603":666,"_605":712},{"_147":148,"_602":150,"_603":706,"_605":707},7,{"_592":2945,"_594":2946},"https://www.phillips.com/detail/ulala-imai/198838","1-8TYHXJ","《奶油多士》",25988,"今井麗","

Ulala Imai (b. 1982) was born in Kanagawa, Japan and currently lives and works in Tokyo. Her canvases are typically still life, showing familial life as well as well known imagery from popular culture. Though the objects she paints are personal to her upbringing and her own memories, they are relatable and nostalgic to the viewer as well.
\n

\n\n

Imai is a graduate of Tama Art University, Tokyo. Her recent solo exhibitions include Lulu, Mexico City (2021); Parco Museum, Tokyo (2021); Nonaka-Hill, Los Angeles (2021); Uncle Brother, New York (2021); Union Pacific, London (2020); Oil Gallery, Tokyo (2020); Tokyo Opera City Gallery, Tokyo (2020); and XYZ Collective, Tokyo (2019).

\n\n

\n","款識：2020《BUTTER TOAST》ulala Imai（畫背）","24 x 33 公分 (9 1/2 x 12 7/8 英寸)","洛杉磯，Nonaka-Hill 畫廊\r\n日本私人收藏\r\n現藏者購自上述來源","https://assets.phillips.com/auctions/HK010324/198838_001.jpg",[2943,2944],"This work is in very good condition overall. There is no restoration apparent under Ultraviolet light. This work is framed under acrylic in a wooden frame. Please note, this work has not been checked outside of its frame.",{"_147":148,"_149":150},"https://assets.phillips.com/auctions/HK010324/198838_002.jpg","https://assets.phillips.com/auctions/HK010324/198838_003.jpg",{"_147":148,"_602":150,"_603":1093,"_605":662},[2947,2948,2949,2950,2951,2952],{"_147":619,"_602":620,"_603":2955,"_605":2758},{"_147":618,"_602":618,"_603":2898,"_605":2900},{"_147":614,"_602":615,"_603":2954,"_605":2899},{"_147":610,"_602":611,"_603":1095,"_605":666},{"_147":606,"_602":607,"_603":2953,"_605":2898},{"_147":148,"_602":150,"_603":1093,"_605":662},20700,14200,12200,6,{"_592":2969,"_594":2970},"https://www.phillips.com/detail/ulala-imai/198839","1-8TYHWU","《兄弟》","款識：2020《BROTHERS》ulala Imai（畫背）","37.5 x 45.3 公分 (14 3/4 x 17 7/8 英寸)","https://assets.phillips.com/auctions/HK010324/198839_001.jpg",[2967,2968],"This work is in very good condition overall. Upon very close inspection, there are hairline craquelures along the turnover edges and corners, attributed to the artist's chosen medium and stretching methods. There is no restoration apparent under Ultraviolet light. This work is framed under acrylic in a light wood frame. Please note, this work has not been checked outside of its frame.",{"_147":148,"_149":150},"https://assets.phillips.com/auctions/HK010324/198839_002.jpg","https://assets.phillips.com/auctions/HK010324/198839_003.jpg",{"_147":148,"_602":150,"_603":953,"_605":1171},[2971,2972,2973,2974,2975,2976],{"_147":619,"_602":620,"_603":2979,"_605":1524},{"_147":618,"_602":618,"_603":2978,"_605":889},{"_147":614,"_602":615,"_603":1927,"_605":1244},{"_147":610,"_602":611,"_603":957,"_605":1174},{"_147":606,"_602":607,"_603":2977,"_605":1520},{"_147":148,"_602":150,"_603":953,"_605":1171},25900,17300,15200,5,{"_592":2999,"_594":3000},"https://www.phillips.com/detail/atsushi-kaga/200569","1-8TYHVE","《檸檬，馬卡龍和一隻黑貓》",24257,"加賀溫","款識：《Lemons, macarons and a black cat》Atsushi 2019（畫背）","72.3 x 53.2 公分 (28 1/2 x 20 7/8 英寸)","壓克力木板","東京，Maho Kubota 畫廊\r\n現藏者購自上述來源","https://assets.phillips.com/auctions/HK010324/200569_001.jpg",[2995,2996,2997,2998],"This work is in very good condition overall. There is minor rubbing to the corners of the work, attributed to light wear and handling. There is no restoration apparent under Ultraviolet light. This work is not framed.",{"_147":148,"_149":150},"https://assets.phillips.com/auctions/HK010324/200569_002.jpg","https://assets.phillips.com/auctions/HK010324/200569_003.jpg","https://assets.phillips.com/auctions/HK010324/200569_004.jpg","https://assets.phillips.com/auctions/HK010324/200569_005.jpg",{"_147":148,"_602":150,"_603":849,"_605":850},[3001,3002,3003,3004,3005,3006],{"_147":619,"_602":620,"_603":2658,"_605":1688},{"_147":618,"_602":618,"_603":2657,"_605":1687},{"_147":614,"_602":615,"_603":2272,"_605":1686},{"_147":610,"_602":611,"_603":853,"_605":854},{"_147":606,"_602":607,"_603":2271,"_605":1685},{"_147":148,"_602":150,"_603":849,"_605":850},4,{"_592":3030,"_594":3031},"https://www.phillips.com/detail/kasing-lung/197899","1-8TYHTM","《Mon》",330200,"款識：《Mon》Kasing 2021 NOV（畫背）","190 x 150.2 公分 (74 3/4 x 59 1/8 英寸)","2021年11月作","https://assets.phillips.com/auctions/HK010324/197899_001.jpg",[3027,3028,3029],[3020],{"_147":148,"_149":150},{"_792":101,"_793":794,"_795":3021,"_16":3022,"_798":3023},17490,"DETAIL-HEADER-DISABLED 91203",[3024],{"_792":101,"_801":3025,"_803":3026},21228,"

「我大部分的故事都想講關於人性的故事。精靈和人一樣，都會有例如是希望、失望和愛的故事。」
\n—— 龍家昇

\n\n

此次拍品中龍家昇的《Mon》讓人沉浸在奇幻的世界中。瀰漫著活力與歡樂的氣息，他所創造的精靈人物在這裡栩栩如生。出生於香港，後來隨家人移居至荷蘭，其獨特的成長背景影響了他的創作，把歐洲古老傳說的奇思怪想與孩子即興任意的想像力融為一體。

\n\n

\n\n

《Mon》體現了最廣為人知的精靈角色 Labubu以及他的族群同伴們。在龍家昇筆下誕生的每一個角色都被賦予獨特的故事力，同時亦展示出街頭藝術的視覺魅力。畫作背景環抱觀者，營造出既誘人又親密的氛圍，就像一幅通過現代寓言家來幻想構建的全家福。

\n\n

龍家昇對繪畫的探索讓其以插畫家和玩具設計師的身分享譽國際。Labubu的魅力穿透畫布並帶給觀者歡樂，奠定了龍家昇在當代藝術界的地位。他筆下的人物雖然有著扁平化的風格，但卻具有生動立體的性格，體現了古老傳說和童話故事在我們集體童年回憶中長久的吸引力和重要性。

\n\n

值得注意的是，龍家昇將於3月26日至4月17日在香港置地廣場舉辦個展〈Everybody Knows〉。作品曾在著名畫廊展出，包括〈這就是它的感覺〉，Hidari Zingaro 畫廊，2020年。他的創作令人為之著迷，模糊了商業和藝術創新之間的界線。

\n\n

\"\" — 龍家昇, Everybody Knows, 香港置地廣場
\n圖片由藝術家 Instagram提供

\n\n

\n","https://assets.phillips.com/auctions/HK010324/197899_002.jpg","https://assets.phillips.com/auctions/HK010324/197899_003.jpg","https://assets.phillips.com/auctions/HK010324/197899_004.jpg",{"_147":148,"_602":150,"_603":3038,"_605":1431},[3032,3033,3034,3035,3036,3037],{"_147":619,"_602":620,"_603":1000,"_605":960},{"_147":618,"_602":618,"_603":3041,"_605":1435},{"_147":614,"_602":615,"_603":3040,"_605":1466},{"_147":610,"_602":611,"_603":3039,"_605":1433},{"_147":606,"_602":607,"_603":868,"_605":1432},{"_147":148,"_602":150,"_603":3038,"_605":1431},380000,48700,44600,43000,{"_592":3067,"_594":3068},"https://www.phillips.com/detail/gongkan/198626","1-8TYHSM","《透過雙眼》",30794,"貢坎",279400,"款識：Gongkan 2022（右下）","100 x 150 公分 (39 3/8 x 59 英寸)","巴黎，Over the Influence 畫廊\r\n現藏者購自上述來源","巴黎，Over The Influence畫廊，〈獻給討厭彩虹的人〉，2022年9月9日-10月10日","https://assets.phillips.com/auctions/HK010324/198626_001.jpg",[3065,3066],[3058],"This work is in very good condition. There are pinpoint studio marks near both horizontal edges. Upon very close inspection, there are very light rubbings on the extreme top left and right corners. There is no restoration apparent under Ultraviolet light. This work is not framed.",{"_147":148,"_149":150},{"_792":101,"_793":794,"_795":3059,"_16":3060,"_798":3061},17479,"DETAIL-HEADER-DISABLED 59908",[3062],{"_792":101,"_801":3063,"_803":3064},21214,"

「我的作品旨在再現心靈傳送，標誌著克服障礙的旅程。」
\n—— 貢坎

\n\n

貢坎畢業於泰國農業大學附設中小學和泰國藝術大學，後赴紐約SVA展開更豐富多彩的藝術之旅。受紐約繁華的城市景觀和多元化的文化環境啟發，他創作了著名的「傳送藝術」系列，該系列作品在美國和亞洲都獲得了廣泛關注。

\n\n

「『傳送藝術』源自我的抑鬱症，個人經驗以及性別不平等和人權問題等相關社會議題。在紐約的整個階段，我一直奮力創作藝術並積極尋找代理畫廊，後來我到了一個極限。由於語言障礙、我的種族身分以及與他人缺乏聯繫，我在各方面都感到與社會隔絕。從那時起，我開發了『傳送藝術』，在畫中用黑洞來代表自由。『傳送藝術』表達了人們對現狀的不滿，以及對一種不一樣的、更美好的生活的希冀。對自身現狀不滿的人也許會問，「我該去哪裡？」它是一種逃避黑暗與悲傷的方式。」ⁱ

\n\n

最近，富藝斯有機會與貢坎就本次拍品進行了交流。

\n\n

\n富藝斯：你想向凝視這件作品的觀眾傳達什麽直接信息？
\n貢坎：享受生活，坦然面對周圍的一切。
\n
\n富藝斯：您能否談談本次拍品構圖背後的思想，以及這與作品標題的關系？這與兩個人物凝視對方的眼睛有關嗎？

\n\n

\n貢坎：這件作品以各種方式描繪了人與人之間的關系，而這種關系在當今的現代社會中是無法定義的。畫面通過兩個人相互凝視的聯系，在色彩和不同維度的境界中展現出無窮的動感。

\n\n

富藝斯：藍色背景下的點狀水池令人著迷，你能詳細說明這些點狀水池代表了什麽，以及你選擇這種色調的原因嗎？

\n\n

\n貢坎：各種顏色表達了不同的情感和無限的思緒。這是一種自由，是一種明亮而充滿活力的美。

\n\n

\n富藝斯感謝貢坎撥冗受訪。

\n\n

當前拍品是貢坎創造複雜視覺敘事的精湛才能的一副典範，體現了藝術家個人的疏離經驗和對連結的普世慾望。這幅畫充滿活力四射的色彩，漂浮在黑暗背景之上的彩色橢圓象徵著孤立與希望的情感交織。這些橢圓形的「洞」象徵著貢坎的「傳送」理念——它們是逃離社會束縛和通往自由的門戶。畫面中央的人物以漫畫的扁平筆觸呈現，他們的輪廓呼應了貢坎作品中的超現實主義特質。這些人物似乎把手伸向對方，喚起好奇和渴望的感覺。

\n\n

\"\" — 貢坎《逃避》，200 x 300 cm, 78 ¾ x 118 1/8 in
\n照片由藝術家Instagram提供

\n\n

貢坎認為自由源自一顆自由的心，自由始於當一個人開始思考或夢想成就更偉大的自我。然而，他也承認社會和成長過程會給個人帶來許多挑戰和限制。他試圖透過藝術表達想法及表達自我，以及激勵其他人也這麼做。

\n\n

\n
\n
$\"\"$ \n
當前作品在〈貢坎：獻給討厭彩虹的人〉現場展出，巴黎Over the Influence畫廊，2022年9月9日—10月10日
\n照片由畫廊Instagram提供
\n
\n
\n\n

\n

\n\n

Kantapon Metheekul 以貢坎為藝名，是一位1989 年出生於曼谷的泰國藝術家，目前在曼谷生活及工作。他先於曼谷泰國藝術大學藝術學院畢業，隨後於 2011 年從該大學裝飾藝術學院畢業，並於畢業後在廣告和平面設計領域展開了成功的職業生涯。為了獲取更多的知識和技能，貢坎搬到紐約市學習了三年美術，專注於繪畫。正是在紐約，他構思了「傳送藝術」這一獨特的藝術形式，以超現實風格描繪人類由黑色門中出現和消失而廣獲知名度，象徵了穿越多重維度的旅行。他最近的個展包括2023年巴黎 Over The Influence畫廊〈Monsters in You〉; 2023年首爾當代唐人藝術中心〈貢坎：Public but Private〉； 2022年北京當代唐人藝術中心〈貢坎：心境〉； 2022年巴黎Over the Influence畫廊〈貢坎：獻給討厭彩虹的人〉； 2021年泰國曼谷當代唐人藝術中心〈貢坎：自省〉；2021年洛杉磯Over the Influence畫廊〈冰山一角〉。即將舉辦的展覽：藝術家的首個美術館個展將於 2024 年 4 月在中國長沙芒果美術館亮相。藝術家曾與 DDT Store、Casetify和Lomography進行合作。

\n\n

ⁱ 貢坎，引述於《Thanarat Asvasirayothin與泰國當代藝術家貢坎對談》，MADE IN BED雜誌，2022年7月。

\n","https://assets.phillips.com/auctions/HK010324/198626_002.jpg","https://assets.phillips.com/auctions/HK010324/198626_003.jpg",{"_147":148,"_602":150,"_603":3075,"_605":3076},[3069,3070,3071,3072,3073,3074],{"_147":619,"_602":620,"_603":3083,"_605":3084},{"_147":618,"_602":618,"_603":3082,"_605":1137},{"_147":614,"_602":615,"_603":3080,"_605":3081},{"_147":610,"_602":611,"_603":3079,"_605":1094},{"_147":606,"_602":607,"_603":3077,"_605":3078},{"_147":148,"_602":150,"_603":3075,"_605":3076},260000,160000,44500,27400,33300,30500,18800,29400,26100,16100,{"_592":3111,"_594":3112},"https://www.phillips.com/detail/salvo/200253","1-8TYHRM","《八月》",10188,"薩爾沃",1079500,"款識：《Agosto》Salvo（畫背）","70.8 x 50.6 公分 (27 7/8 x 19 7/8 英寸)","2009年作，此作登錄在都靈藝術家文獻庫，編號S2009-81，並附都靈藝術家文獻庫所發之保證書。","米蘭私人收藏\r\n米蘭，Dep 藝術畫廊\r\n現藏者購自上述來源","https://assets.phillips.com/auctions/HK010324/200253_001.jpg",[3108,3109,3110],[3101],"This work is in very good condition. There is no restoration apparent under Ultraviolet light. This work is framed in a painted white wooden tray frame.",{"_147":148,"_149":150},{"_792":101,"_793":794,"_795":3102,"_16":3103,"_798":3104},17478,"DETAIL-HEADER-DISABLED 69162",[3105],{"_792":101,"_801":3106,"_803":3107},21213,"

「對我而言，繪畫能夠快速與現實建立連結，儘管有記憶這面濾鏡……我所畫下的一切同時也是一幅自畫像，畫中包含了我自己、我的歷史、我的身體等等。這樣也就不再需要直接描繪我自己了。」
\n—— 薩爾沃

\n\n

當前拍品《八月》中，薩爾沃再次引領我們欣賞義大利風景的精髓，這是畫家職業生涯中珍惜並頻頻回歸的主題。該作品中有著光與影、色彩和形式間的相互作用，此種呈現方式也定義了薩爾沃後來的作品。薩爾沃以其故鄉西西里汲取靈感，呈現了當地溫暖的八月，地中海的靈魂深植其中。作品中光影的相互作用不僅描繪了特定的時間，也令人以更廣泛的思考時間本身。這幅畫如同其他以季節或時間命名的畫，捕捉著記憶片刻。畫布以豐富、溫暖的色調喚起義大利八月的慵懶與炎熱，此時的陽光彷彿能將瞬間延至永遠。

\n\n

\n\n

《八月》證明了薩爾沃在當時藝術界的獨特地位。畫中色彩濃郁且極具風格的樹木和房屋，展露著概念性的深度，而非表面呈現的那樣簡單。薩爾沃的作品體現喬治．德．基里科的超現實風景、卡洛．卡拉的活力，甚至文藝復興大師安布羅吉奧．洛倫澤蒂的空間敘事。然而，薩爾沃自己的特色仍然清晰，開闢了既不完全遵循也不完全抗拒前人風格的道路。

\n\n

薩爾沃生於義大利萊昂福爾特，早年接觸了貧困藝術並邂逅了都靈的概念巨擘：索爾．勒維特、羅伯特．巴里和約瑟夫．科蘇斯，使他對藝術哲學有了深刻理解，並為後來的作品奠定基礎。1973 年薩爾沃以嶄新的熱情重新擁抱繪畫。這次回歸並不背離他原本的概念，而是一種演變，藝術家將當時的前衛思想編入豐富的繪畫表達中。

\n\n

1980年到2011年間薩爾沃完善作品的視覺語言，創造充滿活力和發人省思的風景。當前拍品中極度飽和的色彩和圓形圖案是畫家的標誌性風格，與20世紀80年代流行的美學形成鮮明對比。薩爾沃的風景畫不僅是記憶再現，也有著對地點和時間的細緻探索，讓想像如物理現實一樣真實。

\n\n

「繪畫必須記住生活和世界中的所有日落。」
\n—— 薩爾沃薩爾沃的風景畫邀請觀眾走進一個時間變慢的世界，在這個世界裡心與物質同樣重要。《八月》這幅畫中並無人物，這是薩爾沃作品的特色，將地點本身作為主角描繪。這幅風景講述八月所賦予這片土地的，這種寧靜和省思的氛圍在厚重、有質感的顏料呈現下顯而易見。

\n\n

薩爾沃透過《八月》這幅作品讓觀眾進行超越時間和空間的對話。這幅畫是了解薩爾沃源源不絕靈感的門戶：不斷變化卻永恆的義大利風景，他在畫面上巧妙表達記憶和時間的流逝。薩爾沃的作品有著對自我省思意念，每次欣賞皆是進入心靈和思想上的旅程。

\n","https://assets.phillips.com/auctions/HK010324/200253_002.jpg","https://assets.phillips.com/auctions/HK010324/200253_003.jpg","https://assets.phillips.com/auctions/HK010324/200253_004.jpg",{"_147":148,"_602":150,"_603":1880,"_605":1881},[3113,3114,3115,3116,3117,3118],{"_147":619,"_602":620,"_603":3122,"_605":2814},{"_147":618,"_602":618,"_603":3121,"_605":2813},{"_147":614,"_602":615,"_603":3119,"_605":3120},{"_147":610,"_602":611,"_603":1884,"_605":1685},{"_147":606,"_602":607,"_603":2084,"_605":2811},{"_147":148,"_602":150,"_603":1880,"_605":1881},70400,46900,67800,60200,{"_592":3147,"_594":3148},"https://www.phillips.com/detail/guy-yanai/194844","1-8TYHQK","《沒有我的賴奧爾》",13589,304800,"Israeli","款識：guy yanai 2020（畫布邊緣）","160 x 120 公分 (62 7/8 x 47 1/4 英寸)","紐約，Miles McEnery Gallery 畫廊\r\n現藏者於2020年購自上述來源","https://assets.phillips.com/auctions/HK010324/194844_001.jpg",[3145,3146],[3138],"This work is in very good condition overall. Upon close inspection, there is a pinpoint area of paint loss on the lower extreme edge near the right corner. There is no restoration apparent under Ultraviolet light. This work is not framed.",{"_147":148,"_149":150},{"_792":101,"_793":794,"_795":3139,"_16":3140,"_798":3141},17457,"DETAIL-HEADER-DISABLED 40920",[3142],{"_792":101,"_801":3143,"_803":3144},21192,"

創作於 2020 年的《沒有我的賴奧爾》引人望向內心深處，作品心曠神怡的畫面在瞬間將觀眾帶往純粹極樂之境。作品以蓋·亞奈標誌性的流暢而支離的筆觸繪製，兩扇滑動門通向景緻開揚的露台，俯瞰法國南部濱海賴奧爾卡納代那寧靜而田園詩般的美麗海景。藝術家以用鮮豔的幾何色塊重構寧靜風景而著稱，細緻運用調色刀和筆觸，創造出與扁平化畫面形成鮮明對比的景深錯覺。亞奈用明媚的粉色調呈現畫面，精妙地捕捉了極樂生活的情致。走近畫面細看，觀者會不自覺將目光聚焦於畫面的像素化部分；從遠處觀看時，毗鄰的筆觸碎片則連貫形成一幅視覺快照，邊緣處的茂密綠葉環繞著奪目海景，蔚藍的天空與波光粼粼的水面互相交織。

\n\n

亞奈曾舉辦多個個展，包括〈In the Shadow of young girls in Flower〉，柏林國王畫廊（2022 年）；〈The Things of Life〉，紐約 Miles McEnergy 畫廊（2021 年）。藝術家最新畫作於2024 年1 月20 日至3 月16 日在Larsen Warner畫廊〈The Body Electric〉群展中展出。他的作品亦進入以下公共及私人收藏：海法藝術博物館、特拉維夫藝術博物館、紐約雷馬·霍特曼基金會、何塞·穆格拉比私人藏品、上海M藝術中心、Drake Collection、倫敦Wassenaar and Anita Zabludowicz Collection。

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6EX","2026-10-29T00:00:00.000000Z","2026-11-04T00:00:00.000000Z",{"_136":3410,"_137":3411,"_139":3412,"_145":3402,"_3268":3413},[3418,3419],{"_224":3280,"_226":227,"_228":3281,"_230":3420},{"_224":225,"_226":225,"_228":3278,"_230":3420},"18:00:00",{"_152":181,"_154":3401,"_156":3401},"NY011726",2107,"Rema Hort Mann Fund 30th Anniversary Auction: Launching Artists Living With Cancer Grant","LIVE","https://www.phillips.com/auction/NY011726","2026-10-19T16:00:00.000000Z","2026-10-29T02:00:00.000000Z",[3431],"https://assets.phillips.com/image/upload/t_Website_AuctionPageHero/v1/auctions/NY011726/NY011726.jpg",{"_152":153,"_154":155,"_156":157},"NY031026",2098,"Editions & Works on Paper: No Reserve Online 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teamLab，《水粒子的世界—金色》，2016年作\n估價： 1,300,000 - 2,300,000港元/167,000 - 295,000美元\nNew Now，3月29日

亞歷克斯·伊斯雷爾，《海浪》，2020年作\n估價： 300,000 - 400,000港元/38,500 - 51,300美元\nNew Now，3月29日

貢坎，《透過雙眼》，2022年作\n估價： 160,000 - 260,000港元/20,500 - 33,300美元\nNew Now，3月29日

珍娜·格里本，《龜池》，2010年作\n估價： 400,000 - 600,000港元/51,300 - 76,900美元\nNew Now，3月29日

蓋·亞奈，《沒有我的賴奧爾》，2020年作\n估價： 150,000 - 250,000港元/19,200 - 32,100美元\nNew Now，3月29日

基蒂·納羅德，《五彩繽紛的泳池》，2019年作\n估價： 80,000 - 120,000港元/10,300 - 15,400美元\nNew Now，3月29日

荊智勇，《海風》，2023年作\n估價：50,000 - 80,000港元/6,400 - 10,300美元\nNew Now，3月29日

潔西·華萊斯，《漁夫》，2022年作\n估價： 180,000 - 280,000港元/23,100 - 35,900美元\nNew Now，3月29日

teamLab, Universe of Water Particles – Gold, 2016\nEstimate: HK$1,300,000 - 2,300,000/ US$ 167,000 - 295,000\nNew Now, 29 March

Alex Israel, Wave, 2020\nEstimate: HK$ 300,000 - 400,000/ US$ 38,500 - 51,300\nNew Now, 29 March

Gongkan, Through the Eyes, 2022\nEstimate: HK$ 160,000 - 260,000/ US$ 20,500 - 33,300\nNew Now, 29 March

Jenna Gribbon, Turtle Pond, 2010\nEstimate: HK$ 400,000 - 600,000/ US$ 51,300 - 76,900\nNew Now, 29 March

Guy Yanai, Rayol Without Me, 2020\nEstimate: HK$ 150,000 - 250,000/ US$ 19,200 - 32,100\nNew Now, 29 March

Kitti Narod, Diversity in the Pool, 2019\nEstimate: HK$ 80,000 - 120,000/ US$ 10,300 - 15,400\nNew Now, 29 March

Jing Zhiyong, Sea Breeze,2023\nEstimate: HK$ 50,000 - 80,000/ US$ 6,400 - 10,300\nNew Now, 29 March

Jess Valice, The Fisherman, 2022\nEstimate: HK$ 180,000 - 280,000/ US$ 23,100 - 35,900\nNew Now, 29 March

Mr. ，《無題》，2020-2023年作\n估價：1,000,000 – 2,000,000港元 / 128,000 – 256,000美元\nNew Now，3月29日

MADSAKI，《夢 2》，2017年作\n估價：500,000 – 700,000港元 / 64,100 – 89,700美元\nNew Now，3月29日

薩爾沃，《八月》，2009年作\n估價：400,000 – 600,000港元 / 51,300 – 76,900美元\nNew Now，3月29日

teamLab，《水粒子的世界 —金色》，2016年作\n估價：1,300,000 – 2,300,000港元 / 167,000 – 295,000美元\nNew Now，3月29日

Mr., Untitled, 2020-2023.\nEstimate HK$1,000,000 – 2,000,000/ US$128,000 – 256,000.\nNew Now, 29 March.

MADSAKI, Le Reve 2, 2017.\nEstimate HK$500,000 – 700,000/ US$64,100 – 89,700.\nNew Now, 29 March.

Salvo, Agosto, 2009.\nEstimate HK$400,000 – 600,000/ US$51,300 – 76,900.\nNew Now, 29 March.

teamLab, Universe of Water Particles – Gold, 2016.\nEstimate: HK$1,300,000 – 2,300,000/ US$167,000 – 295,000.\nNew Now, 29 March.

羅啟姸和她的收藏之旅

羅啟姸和她的收藏之旅

羅啟姸和她的收藏之旅

藏家之選

藏家之選

teamLab，《水粒子的世界—金色》，2016年作
\n估價： 1,300,000 - 2,300,000港元/167,000 - 295,000美元
\nNew Now，3月29日

亞歷克斯·伊斯雷爾，《海浪》，2020年作
\n估價： 300,000 - 400,000港元/38,500 - 51,300美元
\nNew Now，3月29日

貢坎，《透過雙眼》，2022年作
\n估價： 160,000 - 260,000港元/20,500 - 33,300美元
\nNew Now，3月29日

珍娜·格里本，《龜池》，2010年作
\n估價： 400,000 - 600,000港元/51,300 - 76,900美元
\nNew Now，3月29日

蓋·亞奈，《沒有我的賴奧爾》，2020年作
\n估價： 150,000 - 250,000港元/19,200 - 32,100美元
\nNew Now，3月29日

基蒂·納羅德，《五彩繽紛的泳池》，2019年作
\n估價： 80,000 - 120,000港元/10,300 - 15,400美元
\nNew Now，3月29日

荊智勇，《海風》，2023年作
\n估價：50,000 - 80,000港元/6,400 - 10,300美元
\nNew Now，3月29日

潔西·華萊斯，《漁夫》，2022年作
\n估價： 180,000 - 280,000港元/23,100 - 35,900美元
\nNew Now，3月29日

teamLab, Universe of Water Particles – Gold, 2016
\nEstimate: HK$1,300,000 - 2,300,000/ US$ 167,000 - 295,000
\nNew Now, 29 March

Alex Israel, Wave, 2020
\nEstimate: HK$ 300,000 - 400,000/ US$ 38,500 - 51,300
\nNew Now, 29 March

Gongkan, Through the Eyes, 2022
\nEstimate: HK$ 160,000 - 260,000/ US$ 20,500 - 33,300
\nNew Now, 29 March

Jenna Gribbon, Turtle Pond, 2010
\nEstimate: HK$ 400,000 - 600,000/ US$ 51,300 - 76,900
\nNew Now, 29 March

Guy Yanai, Rayol Without Me, 2020
\nEstimate: HK$ 150,000 - 250,000/ US$ 19,200 - 32,100
\nNew Now, 29 March

Kitti Narod, Diversity in the Pool, 2019
\nEstimate: HK$ 80,000 - 120,000/ US$ 10,300 - 15,400
\nNew Now, 29 March

Jing Zhiyong, Sea Breeze,2023
\nEstimate: HK$ 50,000 - 80,000/ US$ 6,400 - 10,300
\nNew Now, 29 March

Jess Valice, The Fisherman, 2022
\nEstimate: HK$ 180,000 - 280,000/ US$ 23,100 - 35,900
\nNew Now, 29 March

Mr. ，《無題》，2020-2023年作
\n估價：1,000,000 – 2,000,000港元 / 128,000 – 256,000美元
\nNew Now，3月29日

MADSAKI，《夢 2》，2017年作
\n估價：500,000 – 700,000港元 / 64,100 – 89,700美元
\nNew Now，3月29日

薩爾沃，《八月》，2009年作
\n估價：400,000 – 600,000港元 / 51,300 – 76,900美元
\nNew Now，3月29日

teamLab，《水粒子的世界 —金色》，2016年作
\n估價：1,300,000 – 2,300,000港元 / 167,000 – 295,000美元
\nNew Now，3月29日

Mr., Untitled, 2020-2023.
\nEstimate HK$1,000,000 – 2,000,000/ US$128,000 – 256,000.
\nNew Now, 29 March.

MADSAKI, Le Reve 2, 2017.
\nEstimate HK$500,000 – 700,000/ US$64,100 – 89,700.
\nNew Now, 29 March.

Salvo, Agosto, 2009.
\nEstimate HK$400,000 – 600,000/ US$51,300 – 76,900.
\nNew Now, 29 March.

teamLab, Universe of Water Particles – Gold, 2016.
\nEstimate: HK$1,300,000 – 2,300,000/ US$167,000 – 295,000.
\nNew Now, 29 March.