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Auction 26 November 10:30am HKT

\n\n

Mandarin Oriental Hong Kong
\n5 Connaught Road, Central, Hong Kong (map)

\n\n

Viewing 22-25 November

\nThursday-Friday 10am-6pm
\nSaturday 10am-7pm
\nSunday 10am-6pm

\n","auctionDetailsSmall","Hong Kong Auction 26 November 2018","extraInfo","Jonathan Crockett
\nDeputy Chairman, Asia and Head of 20th Century & Contemporary Art, Asia
\n+852 2318 2023\n
\n
\nIsaure de Viel Castel
\nHead of Department
\n+852 2318 2011\n
\n
\nCharlotte Raybaud
\nSpecialist, Head of Day Sale
\n+852 2318 2026\n
","enableHighlightsView","enableOnlineCatalogue","endSale",true,"hideSoldLots","isChineseTranslate","isExhibition","isLiveAuction","isMixedAuction","makeLive","showAdvanceBidButton","showArtCollector","showBuyButton","showCatalogueDownloadLink","showInquireButton","showPrintCatalogueSection","showRegistrationLink","showSaleOffers","showSoldPrice","lots",[217,218,219,220,221,222,223,224,225,226,227,228,229,230,231,232,233,234,235,236,237,238,239,240,241,242,243,244,245,246,247,248,249,250,251,252,253,254,255,256,257,258,259,260,261,262,263,264,265,266,267,268,269,270,271,272,273,274,275,276,277,278,279,280,281,282,283,284,285,286,287,288,289,290,291,292,293,294,295,296,297,298,299,300,301,302,303,304,305,306,307,308,309,310,311,312,313,314,315,316,317,318,319,320,321,322,323,324,325,326,327,328,329,330],"articles",[167,168,169],"departments",[160],"auctionCurrency",{"_157":72,"_158":159},"totalLotCount",114,"auctionMobilityAuctionRowId","1-1A54NZ","auctionUrl","https://www.phillips.com/auction/HK010418","currencyCode","currencySign","HK$",{"_161":162,"_163":164,"_165":166},"departmentId",1,"departmentName","Contemporary","departmentDisplayName","Modern & Contemporary Art",{"_170":206,"_172":166,"_173":207,"_16":208,"_176":209,"_178":210,"_180":211,"_182":212,"_184":213,"_186":162,"_188":214,"_190":215,"_192":216},{"_170":194,"_172":166,"_173":195,"_16":196,"_176":197,"_178":198,"_180":199,"_182":200,"_184":201,"_186":202,"_188":203,"_190":204,"_192":205},{"_170":171,"_172":166,"_173":174,"_16":175,"_176":177,"_178":179,"_180":181,"_182":183,"_184":185,"_186":187,"_188":189,"_190":191,"_192":193},"coverUrl","https://flockler.com/thumbs/sites/889/image-from-ios-5-1f8bdb3a-679f-44c5-a8e1-e52ecfe8dbb0_s600x0_c1600x934_l0x34.jpg","section","summary","Tour our November sales in this virtual reality walkthrough from the Mandarin Oriental in Hong Kong. On view: KAWS, Yun Gee, Yayoi Kusama, Banksy, Liu Ye and more alongside iconic design by Hans Wegner, Paolo Buffa and Angelo Lelii, among others.","VR Walkthrough: 20th Century & Contemporary Art & Design","body","

Explore a virtual reality walkthrough of our 20th Century & Contemporary Art & Design Evening and Day Sales.

\n\n

Travel through our galleries at the Mandarin Oriental in Hong Kong and browse our Evening Sale, featuring an exceptional group of masterworks by Wilfredo Lam, Yun Gee, Yayoi Kusama, Banksy and more.

\n\n

From our 20th Century & Contemporary Art & Design Day Sale , discover works by KAWS, Liu Ye, Takashi Murakami, Toomoo Gokita, George Condo and more alongside design pieces by Hans Wegner, Gio Ponti, Angelo Lelii, Paolo Buffa, among others.

\n\n

20th Century & Contemporary Art & Design is currently on view at the Mandarin Oriental, Hong Kong ahead of the 25 November sales.

\n","publishDate","2018-11-23T05:57:10.000000Z","coverPosX",51,"coverPosY",97,"articleUrl","https://www.phillips.com/article/38841548/vr-walkthrough-20th-century-and-contemporary-art-and-design-1","displayOrder",3,"auctionEditorialID",456,"editorialID",496,"flocklerID",38841548,"https://flockler.com/thumbs/sites/889/6_001-66436504-fbb9-4b8b-809e-9c01c48165bd_s600x0_c1500x875_l0x255.jpg","Our Hong Kong specialists explore the artist's unique usage of a color that continues to be emblematic of Chinese art, alongside influences like Oscar Wilde and Charlie Chaplin.","Liu Ye's Shades of Red ","

Liu Ye Untitled, 1997

\n\n

Known for adopting features of a chubby toddler and injecting his works with an innately cartoonish air, Liu Ye created Untitled in 1997, three years after his return from Berlin to China, just as the artist began to progress in his own terms by holding his first solo exhibition at the Ming Jing Di Gallery in Beijing.
\n
\nUpon Liu's return to Beijing in 1994, he began using the color red substantially in his works. Untitled comes from Liu's compelling body of works that feature an iconic motif – the red curtain. Painted with a delicate gradient of reds, the curtain dominates the canvas further and serves as the backdrop of the scene. A sense of volume is created through the precise, undulating use of light and shade.

\n\n

In spite of the many connotations one can associate with the red hue featured in Untitled, it is key to note that Liu's time in Berlin took the artist out of China at a pivotal moment in its recent history, allowing him to watch events unfold from a Western perspective and his work to develop independently from a political standpoint. Red thus serves as a color that Liu returns to in memory of his childhood, where it was once the only choice of color in a world of red leadership, yet through his painting, the shade of red attains freedom. It is no longer the political color it once was, but here it is treated abstractly in the form of a stage curtain, becoming a bearer of meanings from a wide sphere of time and space. Setting the scene upon a theatre stage, this locus rouses one's imagination as Liu Ye conjures up dreams and carries us away from reality. The theatre was an environment that Liu was closest with during his early childhood days: it served not only as the place where his father's plays for children were performed but was also used for red propaganda in the form of revolutionary operas or choir performances in a wider societal context.

\n\n

\n\n

Liu Ye Beijing Madonna, 1995

\n\n

The artist's earliest thematic treatments of the theatre's stage begin in Beijing Madonna (1995), featuring choir members as rounded cherubs with wings, performing in front of the red curtain with a distinct sense of order. Liu puts an emphasis on the children, placing them in the foreground of the composition and, in turn, giving the red curtain a role similar to that of a stage prop. We see more significance given to the red curtain in his naval ship series, Untitled (1997-98).

\n\n

\n\n

Liu Ye Untitled, 1997-1998

\n\n

However, it is in Untitled from our Hong Kong 20th Century & Contemporary Art Evening Sale that we see Liu's first real attempt in addressing the motif of the red curtain as an integral part of his composition and elevating it to assume the role of a protagonist in its own right. The depiction of a curtain is symbolic and can often be alluded to the act of concealing, but in Untitled we see a possibility of the artist's self-discovery. By playing with the circular shape of the spotlight against the squared composition, it creates spatial imagination, bearing resemblance to Tondo art, or black-and-white silent films, where a blackout would appear, leaving the main character in focus. The artist returns to this theme of the stage in Poet (1999). This period saw one of the artist's most important series with the frequent utilization of the color red since his return to Beijing. The motif of the curtain re-emerges in his works after 2000 but sees an artistic shift where he moves away from red and begins to use more bluish and greenish hues.

\n\n

\n
[The character of a young boy] represented his love for the comedic genre through his infatuation with actors such as Stephen Chow, Charlie Chaplain and Buster Keaton.
\n

\n\n

Untitled is a far more playful rendition of the stage theme compared to the other works in the series, where a spotlight highlights two little cherubic toddlers, sunglasses in place, poking their heads out from the curtain and mischievously sticking their tongues out; revealing a fragment of an outdoor scenery with a glimpse of blue and pink skies. Liu preserves his own image in Untitled in the form of a little boy on the left—bearing a striking resemblance to the artist. Liu first began incorporating the character of a young boy with sunglasses in the early 1990s, as seen in Interior (1993), which represented his love for the comedic genre through his infatuation with actors such as Stephen Chow, Charlie Chaplain and Buster Keaton. Liu's characters were dressed in striped shirts, suggestive of the attire that was very common for younger children in the west in the mid-to-late 1990s—the golden age of Disney films. The artist always had a fascination for the world of fairy tales, harkening back to his childhood days having been born to a father who was a children's playwright, and discovering a big black chest of Western storybooks under his bed. Perhaps the only glimpse of the outdoor scenery we have is, in fact, a window to the artist's discovery of self through a nostalgic looking back into his past.

\n\n

\n\n

Liu Ye Poet, 1999

\n\n

Born in Beijing in 1964 and growing up against the backdrop of the Cultural Revolution, Liu spent most of his childhood living a censored and audited life in the countryside with his father, but found freedom in the form of the storybooks hidden by his parents. He came to love Oscar Wilde's The Picture of Dorian Gray, which tells the story of an artist becoming infatuated with the youth and beauty of the subject of his full-length portrait, thereby selling his soul to ensure that the portrait, rather than himself, will age and fade. The story lays the seeds for Liu's artistic style in the years to come and is the very reason why Liu never fails to plant upon his characters a sense of eternal childlike innocence, with their rotund faces, ruddy cheeks and short statures—the cartoonish features of cherubic children. But beyond these childlike characteristics, Liu conveys an attitude of life. By returning to the imaginations and fantasies of his younger self through the little boy and girl in Untitled, Liu sheds the mask and outer garments of adulthood, restoring himself to the state of a dreamy child deep in thought.

\n\n

Untitled is an exceptional early work in the artist's oeuvre and references one of Liu Ye's most iconic images. It stands alone with the artist's most personal vision eloquently laced with the political environment that he grew up in, yet fully shows his first-hand understanding of Western art and culture. We would like to thank Liu Ye for his assistance with this article.

\n","2018-11-09T16:01:48.000000Z",82,80,"https://www.phillips.com/article/38254024/liu-yes-shades-of-red",2,455,480,38254024,"https://flockler.com/thumbs/sites/889/17_001-6dca1f66-7553-4a73-b671-fb7a7ac9e42a_s600x0.jpg","Working almost exclusively in black and white, Tokyo-born artist Tomoo Gokita is a master manipulator of monotone.","Tomoo Gokita: Shades of Gray ","

Tomoo Gokita Waiting Game, 2007

\n\n

Tomoo Gokita is an anomaly in the Japanese contemporary art world saturated with loud, neon colors and manga imagery. Working almost exclusively in monotone, his works ensnare their viewers into the underground subculture realms of abstraction, surrealism and film noir — subtle and magnetic.

\n\n

Having shown at a few galleries in Tokyo, Gokita's career breakthrough came in 2005 when New York-based artist Taylor McKimens discovered a book of his work Lingerie Wrestling (2000) in the New Museum bookshop and invited him to take part in Stranger Town, a group show at Dinter Fine Art in New York. The exhibition presented eight American and Japanese artists whose work traversed painting, comics, illustration and music. Following the success of the exhibition, many galleries approached him, and Gokita started exhibiting solo shows in New York's ATM Gallery, Tokyo’s Taka Ishii Gallery and Los Angeles' Honor Fraser Gallery. Portrait of an Insomniac Junior-High Student was included in the first European solo show for the artist at Aliceday gallery in Brussels in 2010. Titled Funland, the exhibition consisted of hundreds of drawings and a dozen of paintings—the present work one of the only two close-up portraits that were exhibited.

\n\n

\n\n

Tomoo Gokita Portrait of an Insomniac Junior-High Student, 2010

\n\n

In Portrait of an Insomniac Junior-High Student, Gokita tackles one of the most representative and iconic subjects of contemporary Japanese society: the student. Presented in the format of a school ID or yearbook photo, a Japanese boy is outlined by a sliver of white negative space. Gokita removes the typifying features of a face and replaces them with terse, painterly gestures. Subtle shifts in tonality form the murky shadow of a nose, and two downward curving black strokes emerge in place of eyes and eyebrows. The viewer is given the framework of a familiar subject but denied the assurance of knowing his identity. There is an undeniable sense of illumination, but shadows and highlights do not appear from any logically perceivable source of light, resulting in a colorless fluorescence perhaps describable as neo-chiaroscuro. In the creation of the portrait, with clean crisp lines of the collar of his school uniform juxtaposed by a bold, black, bowl-cut hairstyle, Gokita takes an iconographic archetype, wipes out his face and abstracts it—a unique characteristic that separates his earlier body of works up until 2015 to more recent ones when he progressed to painting facial features.

\n\n

\n\n

Tomoo Gokita Cheap Sensation, 2007

\n\n

In Cheap Sensation, Gokita renders a female figure in a multi-layered A-line dress, a grey 'V' indicative of her cleavage. With structured layers and a string of pearls lining her waist, the figure is heavily inspired by the vintage film noir pin-up girl. This recognizable archetype acts as a visual anchor to the work, while the viewer attempts to process the billowing amorphous shapes that engulf her head, torso and parts of her dress. Though she has no face, no hands and no feet, the subject is still and poised, her outstretched arms recognizable up to the point where her hands morph into mere brushstrokes and shapes. The artist's use of high contrast chiaroscuro conveys a substantial sense of heft to these organic forms; as a result, these bulbous shapes seem to sit on the figure as if they were meant to be part of her. Gokita's background in illustration comes through in his placement of the subject into a flat negative space, further emphasizing the depth of tones in his composition. Using varying shades of gray and deliberate use of solid blacks and whites, the artist's skilled manipulation of shade and light is key in lending the work its sensuous, glowing atmosphere. Beautiful, whimsical yet somewhat simultaneously grotesque, the product of Gokita's creative process seems to be all about this psychologically disquieting push-pull experience between his paintings and the viewer.
\n
\nThe silent, dramatic quality of the work is highly seductive—the directness and structure in using a monochromatic palette a feast for the eyes. And yet it also draws a sense of unease through the viewers' inability to logically process the subject as a beautiful woman. Viewers end up getting caught in this ride of both pleasure and distaste, unable to move away. As the title suggests, perhaps this is what the artist dubs as a "Cheap Sensation."

\n\n

\n\n

Earlier this month, Tomoo Gokita's Club Mature set a new record for the artist at auction, selling at Phillips New York for $807,000.

\n\n

Some critics have labeled his work post-conceptual, due to its lack of readily visible concept or idea. Yet quite precisely, the fantastical dreamscape energy of Gokita's works is thanks to his focus on formal techniques, fluidly merging neo-expressionist gestures, surrealist aesthetics and pop graphics to create direct-yet-emotionally-complex portraits.

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彼得洛·基耶薩