拍賣 2020年7月9日

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1:30pm HKT

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香港JW萬豪酒店
\n金鐘金鐘道88號 (地圖)

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公眾預展7月4至7日

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10am – 7pm

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國際精選巡展

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上海

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6月12至13日, 11am – 6pm

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嘉佩樂酒店

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上海徐匯區建國西路480號

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台北

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6月13至14日, 11am – 6pm

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BELLAVITA 寶麗廣塲B1《藝文空間》

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台北市信義區松仁路28號

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台中

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6月16日, 11am – 6pm

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台中日月千禧酒店23樓2301千禧套房

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台中市西屯區市政路77號

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丹尼爾·阿瑟姆《藍色方解石風化水晶Vogue時尚雜誌》2019年作

\n","version","1591305855",{"_563":3349,"_3344":3350,"_3346":3351},"https://assets.phillips.com/auctions/HK010120/3a_hi.jpg","

克萊恩·佩特森《夜行者》2015年作

\n","1591306026",{"_563":3353,"_3344":3354,"_3346":3355},"https://assets.phillips.com/auctions/HK010120/4a_hi.jpg","

奧斯丁·李《鬧劇 (行動繪畫)》2012年作

\n","1591306092",{"_563":3357,"_3344":3358,"_3346":3359},"https://assets.phillips.com/auctions/HK010120/5a_hi.jpg","

蒂姆·諾布爾和休·韋伯斯特《黃金雨》2000年作

\n","1591640992",{"_563":3361,"_3344":3362,"_3346":3363},"https://assets.phillips.com/auctions/HK010120/6b_hi.jpg","

KAWS 及坎帕納工作室《BFF粉紅椅》2018年作

\n\n

\n","1591306258",{"_563":3365,"_3344":3366,"_3346":3367},"https://assets.phillips.com/auctions/HK010120/7a_hi.jpg","

KAWS 及坎帕納工作室《BFF粉紅椅》2018年作

\n","1591719395",{"_563":3369,"_3344":3370,"_3346":3371},"https://assets.phillips.com/auctions/HK010120/8a_hi.jpg","

奈良美智《浪遊浮世系列（十六張一組）》1999年作 ©Yoshitomo Nara

\n\n

\n","1591383596","articles",[3374,3395,3405,3415,3425,3435,3445,3455,3465,3475,3485,3496,3506,3516,3526,3536,3546,3556,3566,3576,3586],{"_3375":3376,"_3377":231,"_3378":3379,"_3344":3380,"_3381":3382,"_3383":3384,"_3385":1619,"_3386":473,"_3387":3388,"_465":473,"_3389":3390,"_3391":3392,"_3393":3394},"coverUrl","https://flockler.com/thumbs/sites/889/175_001-03e59c9e-0e02-45df-a969-5f891cba5eb1_s600x0.jpg","section","summary","As street art continues its rapid ascent into the ranks of the blue-chip, we explore works coming to auction from the genre’s biggest names such as KAWS and Cleon Peterson. ","Street Art: Who to Know","body","

Invader Alias HK_43, 2015. Estimate: HK$450,000-650,000.

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中文閱讀

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INVADER

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French artist Invader is internationally celebrated for his pixelated ceramic mosaics that are found over the walls of cities across the globe. Working under a pseudonym inspired by the widely popular 1978 Space Invader arcade game, the artist's instantly recognizable practice yields rich, nostalgic interpretations of our digital world. Although Invader is undoubtedly considered to be among the most respected street artists around the world, his legendary oeuvre has been brought inside to numerous prominent venues that have honored the artist with solo exhibitions, including Wipe Out at the Hong Kong Contemporary Art Foundation in 2015. The exhibition showcased the mosaic compositions by Invader that had survived the artist’s third “invasion” of the city after authorities controversially cleared the majority of them away. Originally installed in January 2014 on a concrete pillar located at Upper Albany Road in Central, Alias HK_43 was one of the unique preserved works that remained.

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KAWS

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\n\n

KAWS UNTITLED, 2013. Estimate: HK$3,000,000-5,000,000.
\n20th Century & Contemporary Art Evening Sale, Hong Kong.

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As one of the most prolific and innovative artists of our present age, KAWS has experienced a meteoritic ascent to international acclaim for his legendary practice that has avidly caught the attention of prestigious institutions, collectors, and industry giants worldwide The American artist is widely celebrated for exploring the visual language of mass media and popular culture in his oeuvre, building a unique visual lexicon through his playful and subversive compositions.

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Fresh to the market and showcasing his instantly identifiable aesthetic that straddles both traditional illustration and expressive abstraction, the above work, UNTITLED is a compelling example from the artist’s celebrated tondo series. Deriving from the Italian rotondo, or “round,” the Renaissance term “tondo” refers to a circular work of art that historically allowed painters to emphasize the center of an image by containing a scene within a frame, thereby separating it from its environment. KAWS subverts the traditional characteristic of tondo compositions in the present work, as his spherical canvas seemingly offers a closely cropped focal lense into what appears to be a much larger cartoonish subject. As bulging eyes and colorful teeth fill the frame, the viewer is left to imagine for themselves how the monumental creature’s form would extend beyond the constraints of the canvas and into the room.

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KAWS UNTITLED (MBFI10), 2014. Estimate: HK$2,000,000-3,000,000.

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Drawing from the nostalgic potency carton heroes, KAWS appropriates characters from popular culture, inventively modifying their relatable and timeless appearances with grungy, brushstroke-free line and a monochromatic palette. In this case, UNTITLED depicts a well-known character from one of the world's best-known comic strips. Having expressed how he "found it weird how infatuated a cartoon could become in people’s lives, the impact it could have" (KAWS, quoted in Murray Healy, ‘Graffiti Artist Turned Gallery Artist Turned Art Toy Maker: KAWS’, Pop, February 2007, pp. 260-265, online), KAWS employs the pervasive universality of this image to perfectly embody the notions so central to the artist’s exploration.

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KAWS AT THIS TIME, 2016. Estimate: HK$800.000-1,200,000.

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AT THIS TIME presents one of the most beloved figures within KAWS’ visual lexicon – a stand-alone COMPANION with his head tilted backwards and his eye sunk in his hands. The COMPANION’s posture conveys a myriad of contradicting emotions - spanning disbelief, rest, isolation and playfulness. Simultaneously endearing and sinister, the figure is captured in a state of loneliness on the opposite side of companionship, appearing sad and in despair. Nonetheless, KAWS’ signature playfulness is not lost as the character’s posture reminds the viewers of the childhood game of hide-and-seek. Conjuring a poignant vulnerability that summons universal empathy, the domestic-sized sculpture invites viewers into a visual universe infused with KAWS' instantly recognizable imagery.

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MADSAKI

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MADSAKI Les Demoiselles d'Avignon II, 2016. Estimate: HK$2,000,000-3,000,000.

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Taking Picasso’s words quite literally, in the present lot the rising Japan-born visual artist MADSAKI repurposes the modernist’s famed 1907 painting, Les Demsoiselles D’Avignon, and drags it into the 21^st Century with his trademark combination of spray paint as a fine art medium, and tongue in cheek interpretation of art history itself. In Picasso Avignon, the artist retains the same angular, proto-cubist nude women and the patchwork of contrasting colors utilized by Picasso in his original composition, but replaces their African masks with spray-painted smiley faces, intentionally oversaturated as to let the paint drip down the as to stamp his own creative style on the masterpieces, almost as an anarchist signature. Gone is the sinister sexuality that is present throughout the original, stemming from Picasso’s paranoia of venereal disease, and in its place is a playful yet nostalgic atmosphere, one that seeks to amuse rather than forewarn while also presenting a classic painting within a contemporary street aesthetic. Like MADSAKI, Warhol also reinterpreted classical paintings, specifically Leonardo Da Vinci’s Last Supper, in a similar exploration of the sanctity of tradition and heritage – though in his case it was religion rather than perceived artistic worth that was challenged. However MADSAKI is in fact more meticulous than his predecessor, recreating his paintings to their originals’ exact sizes and compositions.

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MADSAKI White Center II (Yellow, Pink and Lavender on Rose), 2015. Estimate: HK$500,000-700,000.

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Particularly known for his Wannabe series, of which the present work is part of, the artist replicates and transforms some of history’s most famous artworks, paying homage to the old masters through his trademark grungy imitations. The geometric composition of the present work is instantly recognizable as one of Mark Rothko’s signature color field paintings. Depicting Rothkos’ renowned work, White Center (Yellow, Pink and Lavender on Rose) (1950), the artist installs the canvas at a tilted angle, as opposed to the vertically straight orientation of the original work, drawing the viewer’s attention to its uncanny resemblance yet revealing an entirely different painted texture upon closer inspection. Imbuing the original work with a witty attitude that is unique to MADSAKI, the artist provocatively “[adds] his own flavor” to the rectangular panes of pink, white, black, and lemon yellow, demonstrating a masterful control of his aerosol can medium (MADSAKI quoted in MADSAKI: If I Had a Dream, exh. cat., Galerie Perrotin, Hong Kong, 2019, online). Forcing viewers to engage with it from a new perspective, MADSAKI ingeniously claims the work as his own in his satirical yet sentimental version, as he introduces new interpretations through distinct differences in execution, tone, and feeling.

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Futura

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Futura Untitled, 2019. Estimate: HK$180,000-280,000.

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Coined as the godfather of contemporary graffiti, Futura, also known as Futura 2000, defined the graffiti movement of the 1970s through introducing abstraction to an entirely letter-based medium. He transitioned from making New York-based subway graffiti to exhibiting at the Fun Gallery in the 1980s alongside contemporaries such as Jean-Michel Basquiat, Keith Haring, and Kenny Scharf. Striking examples of the artist’s unique aesthetic across two different mediums, Untitled and FL-003 are a testament to the artist’s ability to break down and blur the boundaries between hip hop culture, graffiti, high art, punk and avant-garde, forming a microcosm of his own.

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Executed and finished during a two-week residency at The Culture Story in Singapore in May 2019, Untitled was part of 30 works exhibited as part of Constellation at the Gillman Barracks, marking the artist’s debut showcase in Southeast Asia. Rendered in bright green and red hues, Futura demonstrates deftness in deploying impossibly thin aerosol lines on canvas, juxtaposing them on thicker areas of paint yet retaining a sense of balance amidst this highly retro-futuristic composition. It is particularly fitting that this piece was created site specifically, calling to mind the artist’s earliest live-painting sessions in the 1980s during British punk rock band The Clash’s concerts. Furthermore, Untitled then went on to be exhibited alongside the relaunch of his streetwear Futura Laboratories at Dover Street Market Singapore in June.

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Futura FL-003, 2019. Estimate: HK$38,000-58,000.

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Futura’s pioneering art practice also extends to his sculpture as seen in FL-003. Meticulously cast in bronze with a baking finish, this work was unveiled as part of various other figures in the Generation Z exhibition at The Mass in Harajuku, Tokyo. Similar to his iconic Pointman figure, FL-003 is a brand new character “39Meg” from an edition of 40, instantly recognizable and carrying a sense of futurism.

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Cleon Peterson

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Cleon Peterson CP006 The Converter, 2015. Estimate: HK$150,000-250,000.

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The lawless world depicted in Los-Angeles-based artist Cleon Peterson's critically acclaimed practice is one where deviance has become the norm, inhabited by anonymous protagonists who clash in scenes of combat that are equally as mesmerizing as they are disturbing.

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Cleon Peterson The Nightcrawler, 2015. Estimate: HK$300,000-500,000.

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Executed in 2015, The Convertor and The Nightcrawler both featured as part of the artist’s inaugural solo exhibition in Hong Kong, hosted by Over the Influence in 2016. Purity showcased a series of paintings that in the artist’s own words, portrayed “our new reality, a world where humanity is divided by war and chaos [where] at the heart of all of this is an impulse to make the world PURE.” Masterfully composed in the artist’s signature style of threatening mercenaries rendered in flawless line against a nondescript flat background, both works are bold and emotive, and immediately draw the eye in. Whereas The Nightcrawler is strictly black and white, depicting a victorious brute sat atop a horse with his conquest slain in pooling blood below, The Convertor’s color-palette of scarlet and black recalls both ‘80s punk, and the “authoritarian colors used in propaganda, uniforms and symbols from the past.” (Cleon Peterson quoted in “Cleon Peterson’s new exhibition Blood & Soil attacks American politics head-on,” It’s Nice That, 6 July 2018, online). Sophistically executed, both The Convertor and The Nightcrawler are compelling examples from Peterson’s instantly recognizable oeuvre that showcase his continuous investigation into the darkest recesses of mankind.

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\n","publishDate","2020-07-01T20:22:20.000000Z","coverPosX","coverPosY","articleUrl","https://www.phillips.com/article/60021280/street-art-contemporary-hong-kong-auction-kaws","auctionEditorialID",880,"editorialID",3063,"flocklerID",60021280,{"_3375":3396,"_3377":231,"_3378":3397,"_3344":3398,"_3381":3399,"_3383":3400,"_3385":1619,"_3386":473,"_3387":3401,"_465":229,"_3389":3402,"_3391":3403,"_3393":3404},"https://flockler.com/thumbs/sites/889/175_001-335cad82-12f6-454f-b549-0a7f687032c4_s600x0.jpg","隨著街頭藝術迅速崛起成為藍籌級類別，我們在此探討KAWS和克萊恩·佩特森等知名街頭藝術家","您必須認識的街頭藝術家","

INVADER《別名：香港34號》2015年作，估價450,000-650,000港元
\n二十世紀及當代藝術和設計日間拍賣, 香港

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Invader

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法國藝術家Invader國際知名，其像素風格馬賽克瓷磚畫遍佈世界各大城市的牆壁。他的藝名來自1978年流行的電子遊戲Space Invader，他的藝術創作也識別度極高，是對數碼世代的一種懷舊詮釋。雖然 Invader 無疑是現今國際上最受尊崇的街頭藝術家，他的作品還是被帶入了許多知名機構，舉行個展，包括2015年在香港當代藝術基金會的「Wipe Out」展。該展呈現藝術家第三次「入侵」香港得以保存下來的馬賽克作品（大部分作品已被當局有爭議性的清除）。此次作品《別名：香港43號》原本於2014年1月裝置於中環雅賓利道的混凝土柱子，是一件罕有得以保存的作品。

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KAWS

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KAWS《無題》2013年作，估價 3,000,000 - 5,000,000港元
\n二十世紀及當代藝術晚間拍賣, 香港

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美國當代視覺藝術家、國際文化現象級人物KAWS憑藉極具玩味和趣味的風格迅速崛起，在當代藝術辭典中牢固的建立了他的地位。此幅作品首次進入拍賣市場，具有KAWS即時可辨的獨特美感，並涵蓋了傳統插畫和富有表現力的抽象手法，是藝術家著名的「Tondo」系列中一個有力的例子。源自意大利語Rotondo，意為「圓形」，沿用了文藝復興時期的術語Tondo，這類圓形的藝術品允許藝術家將場景置於圓形畫框內來強調畫面的中心，從而於周圍的環境分離開。KAWS在這幅作品中顛覆了傳統圓形畫的構圖特徵，他的球形畫布像是將一個更大的卡通主題人物裁剪後呈現出的聚焦鏡頭。鼓出的眼睛和彩色牙齒填滿畫框，令觀眾自行想像這個巨大的生物如何超越畫布的局限而延伸至房間。

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KAWS《無題 (MBFI10)》2014年作，估價2,000,000-3,000,000港元
\n二十世紀及當代藝術和設計日間拍賣, 香港

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KAWS從復古卡通英雄的影響力中汲取靈感，挪用流行文化中的人物形象，用灰暗、無筆觸的線條和單色色調，創造性地修飾了他們本來具有親和力且一成不變的形象。這件作品《無題 (MBFI10)》描繪了著名的可爱卡通人物。這部連環畫於1950至2000年間持續連載，在75個國家積累了3.55億的讀者。KAWS曾表示，他「發現一部漫畫能讓人們在生活中如此迷戀，影響如此之大，這很神奇」（KAWS，引自Murray Healy，「塗鴉藝術家變畫廊藝術家變藝術玩具制造商：KAWS」，《流行》，2007年2月，第260-265頁，截自網路），KAWS利用卡通人物的普遍性，完美地體現了藝術家探索的核心理念。

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KAWS《此時》2016年作，估價800,000 - 1,200,000港元
\n二十世紀及當代藝術和設計日間拍賣, 香港

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《此時》代表了KAWS藝術詞彙當中最受歡迎的形象之一；一個頭向後仰、以雙手遮蔽雙目的「同伴」(Companion)。這位「同伴」的姿勢表達出一種自相矛盾的情緒，混和了難以置信、停歇、分離，以及玩味，其呈現出來的寂寞感與「同伴」一詞剛好相反。然而同時， KAWS這件作品亦令觀者聯想到小時候玩捉迷藏的時光。作品透過表達一種酸楚的脆弱，來換取普世共鳴，並以其小巧尺寸，廣邀觀者進入KAWS易於辨識的影像視覺時空。

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MADSAKI

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MADSAKI《亞維農的少女2號》2016年作，估價2,000,000 - 3,000,000港元
\n二十世紀及當代藝術晚間拍賣, 香港

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逐字體現了畢卡索的名言，生於日本的視覺藝術家 MADSAKI 通過使用自己標誌性的噴漆作為藝術媒材和對藝術史自身反諷式的詮釋，將這位現代主義畫家1907年的著名畫作《亞維農的少女》帶入二十一世紀，進行重新演繹。在《亞維農的少女2號》中，藝術家保留了具有稜角的前立體主義裸女，以及畢卡索在原作構圖中對比色和補色的運用，但以噴繪的笑臉取代了非洲面具，並故意以過度飽和的處理，使滴落的顏料在大師傑作上留下他自己藝術風格的標記，一種近乎無政府主義式的標誌。原作中出於畢卡索的性病妄想症而縈繞的不祥性意味已然不再，取而代之的是一種戲謔卻懷舊的氛圍，這種氛圍旨在博人一笑而非預警，同時以街頭美學風格來呈現經典畫作。與 MADSAKI 一樣，沃荷亦曾對傳統和遺產的至高無上地位進行類似的探視，對古典繪畫重新演繹，尤其是對李奧納多·達文西的《最後的晚餐》— 僅管他所挑釁的是宗教而非對藝術價值的認可。然而，MADSAKI 較之前人則更為細緻，在其重新演繹中完全遵循了原作的準確尺寸和構圖。

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MADSAKI《白色中心II（黃色、粉色及玫瑰紫）》2015年作，估價500,000 - 700,000港元
\n二十世紀及當代藝術和設計日間拍賣, 香港

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《白色中心II（黃色、粉色及玫瑰紫）》出自於其知名之《想成為》系列，藝術家透過複製及轉化一些史上著名的藝術品，以個人獨具之粗獷風格模仿並對前輩致敬。本幅作品呈現幾何性構圖，讓人立即能辨識出馬克．羅斯可標誌性的色域繪畫。當重新繪製這位前輩大師1950年經典之作《白色中心（黃色、粉色及玫瑰紫）》時，他將畫作傾斜而置，於原作垂直的方向大不相同，兩幅畫作之間與眾不同的相似性，吸引觀者注意，但在仔細觀察後，會發現其實全然不同的繪畫肌理。MADSAKI獨特地把諧趣機智的態度注入原作，為長方形畫布上的粉紅、白、黑及檸檬黃，「添加了自己的風味」，展現他對於噴漆媒材表現的高度掌控力(摘錄自MADSAKI於《MADSAKI：如果我有個夢想》，展覽目錄，貝浩登畫廊，香港，2019年)。MADSAKI的作品既諷刺又感性，迫使觀者以新的視角去觀看，同時也透過大相逕庭的創作手法、調性及情感的差異，引入了嶄新的詮釋。

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Futura

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FUTURA《無題》2019年作，估價180,000-280,000港元
\n二十世紀及當代藝術和設計日間拍賣, 香港

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Futura 又名 Futura 2000，是當代塗鴉藝術之父，在1970年代重新定義了塗鴉運動，在本是以文字為主的媒介加入抽象元素。他從紐約為根據的地鐵塗鴉，發展至1980年代在Fun畫廊舉行的展覽，與同代藝術家巴斯基亞、凱斯·哈林、肯尼·沙佛等人作品同台。本次兩件不同媒材的作品《無題》和《FL-003》呈現了藝術家獨有的美學，也見證了他分解和模糊了嘻哈文化、塗鴉、高級藝術、龐克、前衛藝術等概念的界限，形成屬於自己的一方天地。

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《無題》是藝術家2019年5月在新加坡 The Culture Story 為期兩周的駐場期間創作完成的，也是其東南亞首次展覽，在 Gillman Barracks 舉行的「Constellation」展覽中三十件作品之一。作品呈鮮明的綠色和紅色調，展現了藝術家以高超的噴罐塗鴉技法，創作出的纖細線條遊走於畫面之中，並與厚重的顏料層共置，在這幅復古未來主義的構圖中保持著平衡。本作品更是為該場地特別創作的，與藝術家在1980年代初於英國龐克搖滾樂隊 The Clash 演唱會中的現場繪畫作出呼應。另外，《無題》也於當年六月在新加坡 Dover Street Market 重新推出的街頭時裝品牌 Futura Laboratories 活動中覽出。

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FUTURA《FL-003》2019年作，估價38,000-58,000港元
\n二十世紀及當代藝術和設計日間拍賣, 香港

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Futura 的雕塑作品《FL-003》充分展現了其前衛的藝術創作。作品以青銅鑄造，外層烤漆，與其他公仔作品出現在東京原宿 The Mass 舉辦的「Generation Z」展覽中。《FL-003》很像 Futura筆下的經典尖頭人物，屬於「39Meg」系列的新角色，一版共40件，帶著點未來主義的情懷，是極具標識性的 Futura作品。

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克萊恩·佩特森

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克萊恩·佩特森(Cleon Peterson)《CP006 The Converter》2015年作，估價150,000 - 250,000 港元
\n二十世紀及當代藝術和設計日間拍賣, 香港

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在偏差為常態的世界中，不知名的人物在畫布上打鬥征戰，既蠱惑人心，又令人惶惶，洛杉磯藝術家克萊恩．佩特森正是以描繪這樣的法外之地廣受讚譽。

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克萊恩·佩特森(Cleon Peterson)《夜行者》2015年作，估價300,000 - 500,000港元
\n二十世紀及當代藝術和設計日間拍賣, 香港
\n
\n2016年，Over the Influence畫廊於香港策劃佩特森首度個展《純粹》，展出其2015年創作的《轉化器》與《夜行者》。佩特森表示《純粹》展出的一系列作品描述「我們的新現實將是在分裂人性的戰爭與混亂中，創造『純潔』的一股衝動」。兩件作品巧妙地展現佩特森的獨特風格，在素面背景上以乾淨線條勾勒懾人戰士形象，承載大膽而豐富的情感，引人入勝。《夜行者》以黑白兩色呈現，刻畫座騎上得勝的野蠻士兵揮斬全身淌血的手下敗將；《轉化器》則以紅黑色調讓人憶起「80年代龐克風」與「舊時獨裁政府的政治宣傳、制服及符號」。(摘錄自《克萊恩・佩特森新展覽「鮮血與土壤」直擊美國政治》， It’s Nice That 網站， 2018年7月6日，截自網路)。《轉換器》和《夜行者》精確地展現佩特森別具一格的畫風，還有他對人性最黑暗面的持續探究。

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\n","2020-07-03T03:32:30.000000Z","https://www.phillips.com/article/60037909/street-art-contemporary-hong-kong-auction-kaws-zh",881,3069,60037909,{"_3375":3406,"_3377":231,"_3378":3407,"_3344":3408,"_3381":3409,"_3383":3410,"_3385":1619,"_3386":473,"_3387":3411,"_465":385,"_3389":3412,"_3391":3413,"_3393":3414},"https://flockler.com/thumbs/sites/889/danielarsham_car_uc303061april27_full_small-846b91ba-be96-4e19-a045-0c8c45db40e5_s600x0.jpg","Across Arsham's oeuvre, the artist revisits themes of history, decay and archeology in works that attempt to bridge the gap between art and artifact. ","Daniel Arsham's Revisionist Future","

Daniel Arsham Ash & Pyrite Eroded Porsche, 2019.
\n20th Century & Contemporary Art Evening Sale, Hong Kong.

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中文閱讀

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New York-based multidisciplinary visual artist and architect Daniel Arsham has created a universe of the future – one that traverses the boundaries of archaeology and the passage of time. Pursuing an ongoing “inquiry into the fate of humanity,” which began with his iconic Future Relics series, Arsham re-imagines everyday objects as artifacts unearthed in a futuristic geological dig, years of material damage from the elements captured in ghostly, intricately crystalized erosions.

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Daniel Arsham Ash & Pyrite Eroded Porsche, 2019 (detail).

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With Ash & Pyrite Eroded Porsche, Arsham pays tribute to one of the most acclaimed sports cars of all time, the Porsche 911’s distinctive two-door, rear-engined silhouette, still instantly recognizable after more than three decades of modifications. Working with Porsche was a childhood dream come true for Arsham, which he recounted in a 2019 interview with GQ magazine:

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“You know, when I was a kid we all made drawings of certain things and I was often drawing sneakers and cars. I have these very old drawings of these Eighties 911s and I got connected with the brand through a friend of mine about a year and a half ago and I started thinking about posing this project to them.”

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Daniel Arsham Ash & Pyrite Eroded Porsche, 2019 (detail).

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Designed with volcanic ash, Arsham re-imagines the car as a witness to a devastating natural disaster, its ashy grey body abruptly gouged and delicately encrusted with Arsham’s signature crystal erosions. Like the victims of Pompeii, frozen in time under several feet of volcanic ash and debris when Mount Vesuvius erupted cataclysmically in A.D. 79, Ash & Pyrite Eroded Porsche is a reminder of when, as ancient historian Pliny the Younger recalled, “darkness fell, not the dark of a moonless or cloudy night, but as if the lamp had been put out in a dark room.”

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Enigmatic and ever-compelling, Arsham’s practice continues to explore dichotomies between reality and fiction, as well as destruction and creation in his apocalyptic world of the future. Ash & Pyrite Eroded Porsche was unveiled at The House by Daniel Arsham installation at London’s Selfridges’ Corner Shop in December 2019. Reimagining a typical family home in the distant year of 3019, Arsham collaborated with household brands as diverse as Rimowa, Wedgwood, Heinz and Dior Homme to create a dystopian, post-consumerist vision of domestic life.

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Daniel Arsham Blue Calcite Eroded Vogue Magazine, 2019.
\n20th Century & Contemporary Art and Design Day Sale, Hong Kong.

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Arsham’s sculptural works are a poetic juxtaposition of form and material. Created with materials such as volcanic ash, rose quartz, obsidian, and glacial rock, everyday objects of contemporary life and pop culture are imagined as if they have been ‘uncovered on some future archaeological site’. His work is almost universally devoid of color but relies solely on the physical manipulation of basic materials to confer new meaning.

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Daniel Arsham Seated Female Figure, 2016.
\n20th Century & Contemporary Art and Design Day Sale, Hong Kong.

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The present work was included as part of Arsham’s first retrospective Connecting Time at the Moco Museum in Amsterdam. It is an exemplary testimony to the artist’s mastery of this technique, depicting a realistic, seated female figure in contemporary dressing encrusted in black, glittering glass shards. Exploring the dichotomy between destruction and creation, in Arsham’s own words: “The glass is really about taking this broken useless material and reforming it back into something that has intention and purpose.”

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Arsham has been honored with solo exhibitions around the world, including most recently at the HOW Art Museum, Shanghai (2019). The past couple of years have also seen Arsham exhibit at venues including Galerie Ron Mandos, Amsterdam (2019), as well as Galerie Perrotin in New York (2018) and Tokyo (2018).

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\n","2020-05-04T20:41:27.000000Z","https://www.phillips.com/article/57569106/daniel-arsham-tca-contemporary-art-hong-kong-auction",818,2947,57569106,{"_3375":3416,"_3377":231,"_3378":3417,"_3344":3418,"_3381":3419,"_3383":3420,"_3385":1619,"_3386":473,"_3387":3421,"_465":98,"_3389":3422,"_3391":3423,"_3393":3424},"https://flockler.com/thumbs/sites/889/137463_uc303061-5740b14d-606c-4fba-be5c-dbcc4ada2a6a_s600x0.jpg","在多元藝術家丹尼爾·阿瑟姆（Daniel Arsham）的作品中，試圖從歷史、褪化和考古學的角度，重新審視並彌合藝術與人工製品之間的差距。","修正主義者的未來","

丹尼爾·阿瑟姆，《灰色透石膏侵蝕的保時捷》，
\n二十世紀及當代藝術晚間拍賣, 香港

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現居紐約的多元藝術家丹尼爾·阿瑟姆（Daniel Arsham）定義自己是一位未來考古學家，探討人類文明的脆弱和時間的稍縱即逝。他的美學圍繞其關於「虛構考古」的概念展開，平行時空下的過去、現在和未來，在藝術家的意志中共存。在他標誌性的「未來遺物」系列中，阿瑟姆以逼真的物體造型對建築空間的干預，吸引和誤誤導眼球。他專注但富有延展性的創作形式，使他成為當今最重要的藝術家之一，影響著設計、時尚和建築等多重領域。

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丹尼爾·阿瑟姆，《灰色透石膏侵蝕的保時捷》，2019年作（局部）

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這個《灰色透石膏侵蝕的保時捷》的作品，其實阿瑟姆一直都向最受歡迎的跑車致敬，保時捷911一眼即識的獨特雙開門和後輪驅動輪廓，經過30多年改良仍經久不衰。與保時捷的合作也讓阿瑟姆實現了孩童時代的夢想：「你知道，當我是小孩的時候我們都會畫各種各樣的東西，我總是在畫跑鞋和車子。我有一些描繪八十年代保時捷911的畫稿，大約一年半前，一個朋友幫我與品牌建立了聯繫，我就開始構思這個方案。」

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丹尼爾·阿瑟姆，《灰色透石膏侵蝕的保時捷》，2019年作（局部）

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火山灰的設計，使阿瑟姆重新將汽車構想為極具破壞性自然災害的見證者，它鑿壞的煙灰黑色車身上覆蓋著阿瑟姆獨特的晶體侵蝕手法，看起來十分脆弱。正如龐貝城的災民一般，被塵封在公元79年維蘇威火山噴發後數尺的火山灰和廢墟之下，《灰色透石膏侵蝕的保時捷》喚起了這樣的一段描述：「黑暗降臨了，黑得遠不像那沒有月光時或者陰天時的夜晚那樣，而是有如熄了燈的緊閉房間一般。」

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阿瑟姆的雕塑作品是型態和材料詩意的並置。運用火山灰、玫瑰石英、黑曜石和冰川岩等材料，將現代生活和流行文化中的日常物件，轉化成是在「未來考古遺址中的發現。」他的作品幾乎普遍缺少色彩，僅憑藉對基本材料的物理運用來賦予它們新的含義。

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神秘但愈發強而有力，阿瑟姆的作品中對現實和虛構，破壞和創造之間二元對立的持續探索，都展現在他對末日未來的構想中。《灰色透石膏侵蝕的保時捷》在倫敦賽爾福里奇百貨（Selfridge's）街角商店的「丹尼爾·阿瑟姆之家」裝置中亮相。阿瑟姆與不同品牌合作：包括日默瓦（Rimowa），瑋緻活（Wedgewood），亨氏（Heinz) 和迪奧男裝（Dior Homme）等，構想出3019年的一個典型的未來之家，帶有反烏托邦、後消費時代色彩的居家生活。

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丹尼爾·阿瑟姆，《藍色方解石風化水晶Vogue時尚雜誌》，2019年作
\n二十世紀及當代藝術和設計日間拍賣, 香港

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丹尼爾·阿瑟姆，《側坐女像》，2016年作
\n二十世紀及當代藝術和設計日間拍賣, 香港

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此件作品於阿姆斯特丹現當代博物館（Moco Museum）的阿瑟姆首次個人回顧展「時間聯結」（Connecting Time）中亮相。展現了藝術家重塑材料的精湛技巧：一個逼真的、坐立著的現代女子，身上被一層閃閃發光的黑色玻璃碎片包裹著。探討破壞與創造之間的二分法，阿瑟姆說：「玻璃其實是把這種破碎、無用材料重組恢復成具有意義和目的東西。」（丹尼爾·阿瑟姆引自Steven Matijcio，《丹尼爾·阿瑟姆：記住未來》，俄亥俄州，2015年，截自網路）。

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阿瑟姆受邀在世界各地舉辦個展，包括最近在上海昊美術館（2019年）的展覽。近兩年，阿瑟姆亦曾在阿姆斯特丹 Ron Mandos 畫廊（2019年）、紐約貝浩登畫廊（2018年）和東京（2018年）等地展覽。

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\n","2020-06-11T09:03:00.000000Z","https://www.phillips.com/article/59192003/daniel-arsham-tca-contemporary-art-hong-kong-auction-zh",829,3008,59192003,{"_3375":3426,"_3377":231,"_3378":3427,"_3344":3428,"_3381":3429,"_3383":3430,"_3385":1619,"_3386":473,"_3387":3431,"_465":188,"_3389":3432,"_3391":3433,"_3393":3434},"https://flockler.com/thumbs/sites/889/5_001-b97cafd2-b081-47a5-bae9-b5650ad6d9b0_s600x0.jpg","This season, Phillips is proud to present the works of thirteen women artists from a range of backgrounds and practices, who use diverse artistic lexicons to articulate their unique creative visions. ","Women Artists | Diverse Art Forms","

Nicole Eisenman 4:20, 2004. Estimate: HK$2,000,000-3,000,000
\n20th Century & Contemporary Art Evening Sale, Hong Kong

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中文閱讀

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As a socio-political movement, Feminism originated in the 1840s, at the time when men and male artists dominated the art world, and indeed the canon of art history itself. However as the following century progressed, figures like Georgia O’Keefe and Frida Kahlo carved their places and stamped their authority on domestic and international scenes, unapologetically demanding recognition and respect for their works. Now in the 21^st century, their foundations continue to grow stronger, with female voices becoming ever louder – exemplified by women artists holding huge exhibitions at eminent institutions and repeatedly achieving record auction results.

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With this spotlight, revel in the boundless energy and creativity of some of the world’s most important female contemporary artists.

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Nicole Eisenman Hunnenschlacht (The Battle of the Huns), 2001. Estimate: HK$800,000-1,200,000
\n20th Century & Contemporary Art and Design Day Sale, Hong Kong

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Leading the vanguard of the resurgence of American figurative painting, Nicole Eisenman was awarded the revered MacArthur “Genius Grant” award in 2015 for her achievements as a visual artist. Her work centers around the human body as a vehicle to tackle the pertinent social issues of today, while employing elements of allegory and satire in her compositions. Blending surrealism with social realism, Eisenman regularly pays tribute to the Renaissance tradition of encapsulating the gravity of history with an alleviating sense of humor – brilliantly showcasing her rich artistic prowess. Highly regarded by institutions and collectors alike, Eisenman is signed to international powerhouse Hauser & Wirth, and has exhibited at the likes of MOMA and the Whitney.

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Genieve Figgis Arty Party, 2019. Estimate: HK$550,000 - 750,000
\n20th Century & Contemporary Art Evening Sale, Hong Kong

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Genieve Figgis Ladies Picnic (Déjeuner sur l'herbe), 2014. Estimate: HK$200,000 - 400,000
\n20th Century & Contemporary Art and Design Day Sale, Hong Kong

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With a particular predilection for satirizing the social norms of centuries past, Genieve Figgis takes the classical genre of portraiture and reinterprets it into a contemporary context, using her distinct technique of impasto-laden acrylics. Distorting the bodily forms of her genteel subjects, she injects a sense of dark humor into these scenes of opulence and leisure, all the while reconstructing them in the formation of her unique painterly tenet.

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Having only appeared at auction in Asia last year, soon achieving auction records with Phillips, Figgis has become a darling of the auction world, her witty and subversive takes on art history masterpieces are hotly sought after by some of the most established collectors. This season, featured are three of the artist’s works – the highlight of which being Ladies Picnic (Déjeuner sur l'herbe) offered in the Day sale. While paying tribute to one of the most iconic paintings of the 19th century, Édouard Manet’s, Le déjeuner sur l'herbe (which sparked controversy and notoriety upon its unveiling the Salon des Refuses in Paris) Figgis’ macabre sense of humor navigates between the boundaries of the classical and the contemporary while positing herself as a worthy successor to the French realist.

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Christine Ay Tjoe Layer as a Hiding Place, 2013. Estimate: HK$4,000,000 - 6,000,000
\n20th Century & Contemporary Art Evening Sale, Hong Kong

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Christine Ay Tjoe is recognized internationally as perhaps the most prominent contemporary abstract artist. In recent years, her artistic endeavors have expanded from Asia to Europe and America.

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Painting in her now-signature medium of oil bar on canvas, each brushstroke takes on a life of its own – demonstrating her preternatural understanding of the relationship between line, space and color, with a kaleidoscopic labyrinth of textures and colors that ebb and flow across the canvas.

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A highlight from the Evening sale is one of Ay Tjoe’s most acclaimed works, Layer as a Hiding Place, a seductive work that embodies the raw depths of human emotion and vulnerabilities that form the hallmarks of her practice.

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Barbara Kruger, Untitled (Shove it, starve it, blind it, choke it, drown it, shame it, buy it, fuck it), 1986. Estimate: HK$ 2,000,000 - 3,000,000
\n20th Century & Contemporary Art Evening Sale, Hong Kong

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A leading figure in the feminist art movements of the 1960s and 70s, Barbara Kruger’s work primarily consists of photographs intertwined with bold text. Simultaneously challenging and subjugating the spectator, she uses her work to send a powerful rebuke to the positioning of the female subject within the discourse of patriarchal culture.

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Claire Tabouret, Les déguisements (Disguises), 2015. Estimate:HK$550,000 - 750,000
\n20th Century & Contemporary Art and Design Day Sale, Hong Kong

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A brilliant example of Claire Tabouret’s synthesis of the gestural and graphic, Les déguisements (Disguises) is a reinvigoration of the classical tradition of figure painting, encompassing the artist’s range of diverse influences which filter seamlessly into her compositions. The recipient of the Femmes D’Or prize in 2014, Tabouret has been honored with a raft of solo exhibitions at a number of distinguished institutions, cementing her position as one of the most important artists of our generation.

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Jenny Holzer Truism Footstool, 1988. Estimate: HK$150,000 - 250,000
\n20th Century & Contemporary Art and Design Day Sale, Hong Kong

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Jenny Holzer is a Feminist, Neo-Conceptual artist who has garnered swathes of international recognition for her large-scale installations of words and ideas within public spaces. Though LED signs have become her most visible medium, Truism Footstool is a more concrete manifestation of her original artistic vision. Composed of granite and covered with Holzer’s trademark truisms, the work invites us to walk around it, engaging with multiple viewpoints in the investigation of its inherent meanings as well as our own relationship to the space around it. Ultimately, Holzer provides us with a medium that provokes visceral responses in order to uncover the uncomfortable truths within ourselves.

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Firenza Lai Folding Arms, 2012. Estimate:HK$60,000 - 80,000
\n20th Century & Contemporary Art and Design Day Sale, Hong Kong

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Firenza Lai The Army, 2014. Estimate: HK$40,000 - 60,000
\n20th Century & Contemporary Art and Design Day Sale, Hong Kong

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Born and raised in Hong Kong, Firenze Lai largely turns to figuration in her body of work but refuses to coin her compositions as “portraits”. She examines the hidden collectiveness within individuality through skillfully rendering anonymous subjects in a localised setting - creating a psychological landscape that moves past the surface of human faces and into the realm of raw feeling and expression, which resonates with Francis Bacon’s emotionally charged canvases. Taking the seemingly ordinary aspects of Hong Kong as her main source of inspiration and meticulously ponders on the details in our everyday life, from the houses we live in, to the streets, the weather and the physical experience we encounter on a day-to-day basis - capturing the very essence of the city through the intimate spaces she creates.

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Rosemarie Trockel Ocean view, 2014. Estimate: HK$480,000 - 650,000
\n20th Century & Contemporary Art and Design Day Sale, Hong Kong

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Widely considered to be one of the most successful female artists of her time, Rosemarie Trockel became the first female to represent the German pavilion of the Venice Biennale in 1999. By integrating historically feminine domestic handicraft and labor within the praxis of fine art, Trockel thus develops a complex dialogue that touches upon questions of material sensibility and production modes, while simultaneously undermining the established ideals of outdated gender politics.

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Jennifer Guidi Eight of Wands (White Sand #9 Mandala, Rainbow Gradient), 2018. Estimate: HK$180,000 - 280,000
\n20th Century & Contemporary Art and Design Day Sale, Hong Kong

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Jennifer Guidi’s practice focuses on the vivid colors and textures of Maghreb textiles, inspired by their abstract stitchings and irregularities, and the childhood memories of being schooled by her grandmother at an early age how to sew and knit. In the following year she combined these new-found sensibilities with an inventive medium – sand – first applying a thick under layer onto the canvas, she then uses a dowel to make disciplined markings in repetitive motions, adding more sand and paint as she goes along. Rejecting photographs or preliminary drawings, these paintings are products of the artist’s raw psyche, and what comes out of this arduous process are forms and compositions that are hypnotic and mesmerizing.

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Paola Pivi Mama no more diapers, please, 2013. Estimate: HK$500,000 - 700,000
\n20th Century & Contemporary Art and Design Day Sale, Hong Kong

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Paola Pivi is an Italian-born artist whose work encompasses daring and visually striking range of forms and materials, including sculpture, photography and performance. She is most famously known for her sculptures of polychrome polar bears, inspired by a dream in which she was surrounded by a lagoon full of baby bears, eschewing geospecific rational. Each bear is inherently playful and humorous, made from urethane foam and adorned with painstakingly-installed turkey feathers, while suspended in acrobatic lunges or yoga poses. Indeed each sculpture is imbued with a certain sense of innocent spirituality, emphasized by their clever names, which are envisioned by the artist’s partner, Karma Lama, a composer of Tibetan music.

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Fresh from her recent exhibitions at Galerie Perrotin New York, as well as a major show at MAXXI, Rome’s Museo nazionale delle arti del XXI secolo, Pivi is undoubtedly a rising star in the international art scene.

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\nThough these artists come from all corners of the world, each with their own distinct artistic lexicons and rich creative energy, they share in an immutable ability to transcend borders, cultures and languages in the projection of their unique fantasies. Yet as Jean-Michel Basquiat once said, “I am not a Black Artist. I am just an Artist.”, and no more is this true than when considering these artists, as they should not be considered solely within, or defined by, their virtue of being women. Instead, they should be celebrated for what really defines them – the creation of magnificent works of art that are sure to remain at the cornerstones of public imagination and captivation for generations to come.

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\n","2020-06-24T08:53:23.000000Z","https://www.phillips.com/article/59721055/women-artists-hong-kong-july-auction",844,3041,59721055,{"_3375":3436,"_3377":231,"_3378":3437,"_3344":3438,"_3381":3439,"_3383":3440,"_3385":1619,"_3386":473,"_3387":3441,"_465":72,"_3389":3442,"_3391":3443,"_3393":3444},"https://flockler.com/thumbs/sites/889/5_001-f08e2d28-1c11-4a0d-bf62-fefec25398cb_s600x0.jpg","今季富藝斯拍賣將呈現13位女性藝術家的作品，她們成長於不同的文化，並以各自的藝術語彙創作出獨特個人風格。","女藝風華 | 從10位女性藝術家的作品感受多元文化","

妮可‧艾森曼, 4:20, 2004年作, 估價 2,000,000-3,000,000港元
\n二十世紀及當代藝術晚間拍賣, 香港

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女性主義這個社會政治運動於1840年代啟蒙，但當時主流藝術界仍由男性主導，讓女性藝術家面臨挑戰。隨著時代的進步，於二十世紀我們看到越來越多的女性在藝術圈大放異彩，例子有喬治亞·歐姬芙(Georgia O’Keefe)和芙烈達·卡蘿(Frida Kahlo)均在當地和國際藝壇奠定地位，作品備受注目和肯定。進入二十一世紀，這股藝術的女力依然越發蓬勃，她們的聲音更響亮，重要藝術機構為她們舉行大型展覽，女性藝術家的作品更屢創拍賣佳績。於今季拍賣展開前，讓我們先從十位女性藝術家的多幅作品感受她們的澎湃創作力。

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妮可‧艾森曼《匈奴之戰》2001年作，估價 800,000-1,200,000港元
\n二十世紀及當代藝術和設計日間拍賣, 香港

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美國當代視覺藝術家妮可‧艾森曼對美國具象繪畫之復興，有著舉足輕重的關鍵影響，她在2015年更獲麥克阿瑟基金獎學金「天才獎」。她的作品以人為主，常探討當代社會問題，並以寓言和諷刺的形式呈現。藝術風格多元，融合超現實主義、社會現實主義，時而向意大利文藝復興等傳統藝術致敬，時而具史詩格局，時而詼諧令人莞爾，展現出艾森曼渾厚的藝術能量。艾森曼的作品現時被許多公共機構所收藏，而今次在晚拍和日拍中呈現的拍品更是首度亮相亞洲拍場。

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珍妮維·菲吉斯《藝術派對》2019年作，估價550,000 - 750,000港元
\n二十世紀及當代藝術晚間拍賣, 香港

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珍妮維·菲吉斯《淑女們的野餐 (草地上的午餐)》 2014年作，估價200,000 - 400,000港元
\n二十世紀及當代藝術和設計日間拍賣, 香港

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珍妮維·菲吉斯去年首度現身亞洲拍賣，旋即由富藝斯創出世界記錄，她將古典藝術大師的作品進行幽默且具有顛覆性的闡釋，偏愛諷刺舊世紀的社會規則。她把古典之上流社會群像改編為當代作品主題，運用大量塗抺的壓克力顏料，讓畫中人物或場景像是融化一般扭曲，以暗黑幽默的風格重塑了奢華嬉戲的浪漫場景，形成獨特的繪畫風格。

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菲吉斯的作品受到眾多藏家追捧，今次拍賣亦將呈現三件菲吉斯的作品，當中日拍的《淑女們的野餐》更是向馬奈的《草地上的午餐》致敬，《草地上的午餐》作為19世紀最標誌性的作品，當時面世時引起了巨大爭議和惡評，菲吉斯以黑色幽默將馬奈的手筆推向新的層面，以諷刺而敏銳的眼光看待古典與當代之間的界限，足以定位她是馬奈的繼承人。

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克莉絲汀·艾珠《隱身於層層疊疊之間》2013年作，估價4,000,000 - 6,000,000港元
\n二十世紀及當代藝術晚間拍賣, 香港

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克莉絲汀·艾珠(Christine Ay Tjoe) 被視為當代最優秀的抽象藝術家之一，近年其藝術版圖已由亞洲擴散至歐美。運用油畫棒於布面創作已成為艾珠的標誌，每一筆觸中都有著自己的個性與生命，展示了她對線條、空間和色彩之間關係的深度理解，肌理和色彩翻滾起落於畫面之間。

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今次晚拍的焦點是克莉絲汀·艾珠最廣受讚譽一幅絕妙佳作《隱身於層層疊疊之間》，這幅作品盡現了她藝術實踐中充滿了深度與原始的至情至性。

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芭芭拉・克魯格, 《無題（推、餓、瞎、掐、淹、辱、買、操）》 1986年作，
\n估價 2,000,000 - 3,000,000港元
\n二十世紀及當代藝術晚間拍賣, 香港

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芭芭拉・克魯格(Barbara Kruger)於1960、70年代參與女權主義藝術運動，她的作品大多以黑白照片為底，並配以裝飾性文字。在她的代表作品中，Futura Bold Oblique和Helvetica Ultra Condensed兩款字體最為常見。她常常以You、Your、I、We、They等詞彙來表達自己對於藝術的觀念思想。

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克萊兒・塔伯芮《偽裝》 2015年作，估價550,000 - 750,000港元
\n二十世紀及當代藝術和設計日間拍賣, 香港

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克萊兒・塔伯芮以擅長跨越不同的風格聞名，往往將同樣的圖像不斷琢磨，直到她滿意為止。今次拍賣的其中一幅作品《偽裝》不僅深具表現力也帶著強烈圖像的魅力，更可視為塔伯芮為具象繪畫傳統重新註入活力的一幅佳作，揭示了她藝術創作進程中多元的靈感來源。塔伯芮曾於2014年獲金典女性大獎，並得到來自世界各地的個展邀請，無疑確立了她在藝術史上的地位。

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珍妮・霍爾澤《真理腳凳》1988年作，估價150,000 - 250,000港元
\n二十世紀及當代藝術和設計日間拍賣, 香港

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珍妮・霍爾澤以新觀念創作為主・她以獨特的語言使用和介入公共空間之手法，贏得國際藝術界的一致認同。這次拍賣的《真理腳凳》由花崗石打造，經久耐用的材質上銘刻宣言，讓觀者從四周完整欣賞並咀嚼其意義，加深作品的永恆性。如同大型刻石紀念碑能引起反思，霍爾澤在雕塑表面刻劃具爭議性的文字，形成有趣的並置，揭示不快的真相也發人深省。

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黎清妍《交叉雙臂》2012年作，估價60,000 - 80,000港元
\n二十世紀及當代藝術和設計日間拍賣, 香港

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黎清妍《軍隊》2014年作，估價40,000 - 60,000港元
\n二十世紀及當代藝術和設計日間拍賣, 香港

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黎清妍出生及成長於香港，其作品以人物為主，但拒絕把創作定義為「肖像」。她的作品描繪了匿名人物被置於具地方色彩的環境中，令觀者產生心理景觀，超越人物五官的表面，進入原始感覺和情感，審視個體中的集體性，令人想起弗朗西斯·培根筆下情感飽滿的畫作。藝術家視香港的生活為她創作的最主要靈感來源，細膩刻畫日常生活的微小細節，不論是我們居住的房屋、街道、天氣和每天的經歷，都在藝術家創造的小小空間中體現出城市的獨特精神。

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羅斯瑪麗·特洛柯爾《海景》2014年作，估價480,000 - 650,000港元
\n二十世紀及當代藝術和設計日間拍賣, 香港

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羅斯瑪麗·特洛柯爾(Rosemarie Trockel) 為藝術圈帶來更開闊的視野，廣泛被認為是同輩中最成功的女性藝術家之一。於1999年成為首位代表德國館參加威尼斯雙年展的女性藝術家，並在全球各地展出重要個展。特洛柯爾將傳統以來視為女性意味的家庭手工藝與當代藝術實踐相結合，她藉此創造出一個層次豐富的對話，檢視著媒材敏感性、創作模式，也同時去挑戰人們既定概念和過時的性別政治觀。

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詹妮弗·圭迪《八根魔杖 (白沙9號、曼陀羅、彩虹漸層)》2018年作，估價180,000 - 280,000港元
\n二十世紀及當代藝術和設計日間拍賣, 香港

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詹妮弗·圭迪(Jennifer Guidi)的創作題材著重以顏色絢麗、質感突出的北非馬格里布紡織品為靈感之風格，該種織品抽象且不規則的編織技術大大啟發了圭迪，並勾起她在幼時祖母教她縫紉和編織的回憶。在隨後一年，圭迪把她的新感悟和創新的「沙」媒材結合，先在畫布上塗一層厚重顏料，再用木釘以重複的動作刻上有條不紊的符號，過程中加上更多的沙子和顏料。藝術家捨棄攝影或繪畫初稿的過程，作品直接呈現她最原始的心理狀態，整個過程艱鉅耗時，最終的造形和構圖都令人著迷。

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波拉·彼薇《媽媽，請不要再給我尿布了》 2013年作，估價500,000 - 700,000港元
\n二十世紀及當代藝術和設計日間拍賣, 香港

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波拉·彼薇(Paola Pivi) 是一位意大利出生的藝術家，她的作品大膽鮮明，視覺衝擊力強勁，橫跨多種造形和媒材，包括雕塑、攝影和行為藝術。其最知名系列作品便是那些彩色北極熊的雕塑，靈感來自她一次夢見自己被一群熊寶寶圍繞，但作品並沒有地理環境的暗示。每隻熊看起來都十分逗趣幽默，用氨酯泡沫塑料製成，再一點一點插上火雞羽毛，北極熊靜止在雜技和瑜伽的動作中。每個雕塑都充滿純真的靈氣，尤其是它們巧妙的名字，那些都是藝術家的伴侶；藏族音樂家 Karma Lama 所命名的。彼薇剛在紐約貝浩登畫廊以及羅馬的國立二十一世紀藝術博物館展覽，無疑是當今國際藝壇一顆上升的新星。
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上述女性藝術家，成長於不同的文化，有著不同的藝術語彙，但都有著獨特的個人風格及豐富的創作能量，比起男性藝術家絲毫不遜色，巴斯奇亞(Jean Michel Basquiat) 對於外界評價，曾說：「我不是一個黑人藝術家，我就是個藝術家!」。女性、非洲藝術家是目前藝術市場盛傳的未來趨勢，其實性別及膚色的不同並不能用以判斷藝術的高低，但確實現在有越來越多的女性藝術家受到關注，顯現藝術欣賞品味的多元發展。

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\n","2020-06-24T11:33:23.000000Z","https://www.phillips.com/article/59724864/women-artists-hong-kong-july-auction-zh",843,3042,59724864,{"_3375":3446,"_3377":231,"_3378":3447,"_3344":3448,"_3381":3449,"_3383":3450,"_3385":1619,"_3386":473,"_3387":3451,"_465":697,"_3389":3452,"_3391":3453,"_3393":3454},"https://flockler.com/thumbs/sites/889/14_001-0d95acba-e77d-48bc-a1b0-ad45b38e2750_s600x0.jpg","Best-known for his delightful yet emotionally complex renderings of children, the Japanese Neo Pop artist has developed a unique iconography drawing from a variety of artistic traditions. ","Spotlight on Yoshitomo Nara","

Yoshitomo Nara Wisdom Tooth Fever, 1999. Estimate: HK$10,000,000-15,000,000.
\n20th Century & Contemporary Art Evening Sale, Hong Kong.

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中文閱讀

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The iconic works of cult artist Yoshitomo Nara, one of the leaders of Japan’s influential Neo Pop movement, reflect the experiences of a generation of artists who grew up during the post-World War II economic boom in Japan. Nara’s works are characterized by a search for identity amidst an influx of popular culture from the West, fusing Japanese visual traditions and Western popular culture to create adorable yet complex characters possessing a startling emotional intensity. Today Nara’s characters are as instantly recognizable as Warhol’s screen-printed portraits and Lichtenstein’s Benday-dotted heroines. This season at Phillips Hong Kong, we will be offering a cross-section of Nara’s entire oeuvre, with a number of key works spanning various media and eras in the artist’s practice.

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Nara was born in Hirosaki, a small town in rural Japan known for its traditional Edo Period architecture and cherry blossom trees. The youngest child of working parents, he experienced an intensely solitary childhood with only his imagination, comic books and family pets for company: “I was lonely, and music and animals were a comfort,” he admitted (Yoshitomo Nara, quoted in Gareth Harris, “Interview: Japanese artist Yoshitomo Nara,” Financial Times, 10 October 2014, online). Upon graduating from the Aichi University of the Arts, Nara moved to Germany to undertake a six-year artistic apprenticeship at Düsseldorf’s Staatliche Kunstakademie under the mentorship of the Neo-Expressionist painter A.R. Penck, before setting up a studio in Cologne between 1994 and 2000. Language barriers in Germany plunged Nara back into a period of acute solitude not experienced since his childhood.

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Seeing the children or animals as my other self, it signified me leaving the familiar confines of Japan and liberating myself from my surroundings.
\n— Yoshitomo Nara
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Seeking relief, Nara began plumbing the depths of his subconscious through his art, his profound sense of alienation during his years in Germany manifesting itself in his iconic sulky-child portraits. Wide-eyed and innocent at first glance, these kowa kawaii (“scary cute”) little children were depicted in poses reminiscent of the anime and manga cartoons Nara read as a child, yet each was underpinned by a sense of tension and unease evocative of traditional Japanese otafuku and okame theatrical masks. Beneath their luminous, almost comical faces lies a spirit of mutinous, childlike defiance; at other moments they betray a distinctly adolescent melancholy.

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Wisdom Tooth Fever, amongst the rarest works on canvas by Nara to come to auction, is one of the most accomplished examples of the artist's distinctive lyrical and abbreviated figurative language forged in those crucial years in Germany. Wisdom Tooth Fever was exhibited as part of the 1999 Nuremberg Kunsthalle group show Forget the ball and keep playing - the image of the child in contemporary art, featuring artistic reflections on children and childhood from 15 international artists including Julian Opie, Paul McCarthy and Martin Kippenberger. The concept of childhood, with its contradictory ideas of utopian purity and lost paradise, functions as a near-mythical space somewhere between fiction and reality. Nara explained at the time that Wisdom Tooth Fever meditated on the idea of childhood pain, where the pain becomes all-encompassing and displaces all other thoughts: “pain is everything - no other outer world or surrounding,” the work’s collector recalls Nara explaining of its subject. In Nara’s touching portrait of childhood, the face of a young child crowds the vast canvas, the faintest traces of a furrow between the squinted jellybean eyes and lips pursed mid-thought as he peers out. The emotional, dream-like mood is intensified by the subtle layering of thin, semi-translucent paint layers, a technique reminiscent of the acclaimed painter Peter Doig, who later became an influential tutor at the Kunstakademie Düsseldorf.

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Yoshitomo Nara Wheels Go Round, 1994. Estimate: HK$2,000,000-3,000,000.
\n20th Century & Contemporary Art and Design Day Sale, Hong Kong.

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Rendered in pastel hues of pistachio green, blush pink-toned cream and deep chocolate brown, Wheels Go Round is another exquisite example of Nara’s most acclaimed subject. Executed in 1994, the luminously-painted cartoonish head of a little cherub fills the frame in the present work, featuring Ukiyo-e style slanted eyes, a snub nose and slightly downturned mouth. Although this minimal aesthetic is reminiscent of traditional Japanese ink painting’s focus on the void, Nara’s influences are far-reaching, including children’s literary classics such as Antoine de Saint-Exupéry’s Le Petit Prince, and Japanese fairy-tales from the 1940s and 1950s. Ostensibly innocent at first glance, the child’s look is concurrently defiant and mischievous, calling to mind universal child memories and perfectly demonstrating the global allure of Nara’s most enduring motif.

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Yoshitomo Nara Miss Tannen, 2012 (detail). Estimate: HK$3,500,000-5,500,000.
\n20th Century & Contemporary Art Evening Sale, Hong Kong.

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Craving permanency in an environment overrun with instability and uncertainty, Nara transitioned his practice to include sculpture in the 2000s. The present work, Miss Tannen, was part of a series of bronze sculptures exhibited at his seminal 2012 exhibition, A bit like you and me, at the Yokohama Museum of Art. Unlike his instantly-recognizable portraits of menacing child-like figures, the work has a shy demeanor, one of quiet contemplation that echoes the spirituality seen in ancient Buddhist sculpture, such as the seventh-century Kadura Kannon, and the serenity of Jizo sculptures. Fittingly this lot, as well as others in the same series, was cast at a Buddhist foundry in Toyama, Japan. Through such experimentations with bronze, Nara is able to translate the emotional complexities present within his paintings into a more concrete medium, allowing for a longer-lasting manifestation of these fleeting sentiments. As with his paintings, Nara does not use models for his sculptures, instead drawing from his imagination in an unadulterated expression of his artistic ethos.

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Yoshitomo Nara Miss Tannen, 2012. Estimate: HK$3,500,000-5,500,000.
\n20th Century & Contemporary Art Evening Sale, Hong Kong.

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Standing at almost seven-feet tall, Miss Tannen holds a commanding, yet unobtrusive presence. The uneven surface of its conical hair, not dissimilar to the technique of Alberto Giacometti, bears traces of the artist’s hand, which provides a visceral and tactile insight into the creative process of the artist. With Miss Tannen, Nara presents us with a striking example of his mature, refined style; a towering vehicle of self-reflection and exploration, whilst drawing us into his own discourse between the physical and the invisible.

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Yoshitomo Nara In the Floating World (set of 16), 1999. Estimate: HK$800,000-1,200,000.
\n20th Century & Contemporary Art and Design Day Sale, Hong Kong.

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In the Floating World is the largest and most important complete portfolio of Nara prints to ever be offered at Philips. The present work presents the viewer with altered reproductions of sixteen famous woodblock prints from the traditional Japanese genre of Ukiyo-e. Widely popular during the Edo period (1603-1868), Ukiyo-e artists created works that showcased the people and environments of the cities’ pleasure districts. In particular, this included sumo-wrestlers, courtesans, warriors, teahouse mistresses and other characters from the literature and folklore of the time. Nara’s versions share unique tales of their own, as he infuses traditional aesthetics with his prolific artistic vision to offer new interpretations, such as in the reworked woodcut by Chōkōsai Eishō where the head of the courtesan Shiratsuyu is replaced with that of a mischievous child, and the courtesan’s hairpins have been substituted for nails dripping in blood. Some of the appropriated prints are humorous whilst others offer a more critical social comment, led by protagonists who are rendered in Nara’s signature cartoon-esque aesthetic, with looks of defiance, melancholy or confusion on their otherwise too-cute faces. As embodied in the playful nature of the present work, it is through these subjects that Nara has enthralled the imaginations and garnered the respect of museums, collectors, and a loyal following worldwide.

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\n","2020-06-15T20:27:54.000000Z","https://www.phillips.com/article/59425663/spotlight-on-yoshitomo-nara-japanese-contemporary-art-hong-kong-auction",819,3018,59425663,{"_3375":3456,"_3377":231,"_3378":3457,"_3344":3458,"_3381":3459,"_3383":3460,"_3385":1619,"_3386":473,"_3387":3461,"_465":722,"_3389":3462,"_3391":3463,"_3393":3464},"https://flockler.com/thumbs/sites/889/14_001-ba61fecc-c6b0-4772-be59-27ad1748cd8a_s600x0.jpg","奈良美智的作品融合了日本的視覺傳統和西方流行文化，塑造出可愛又複雜的人物，並且擁有強烈豐富的情感，他從多種藝術傳統中，創造出最具個人獨特風格的肖像畫。","聚焦奈良美智","

奈良美智《知慧熱》, 1999年作。估價10,000,000-15,000,000港元。
\n二十世紀及當代藝術晚間拍賣, 香港。

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備受追捧的藝術家奈良美智，是日本獨具影響力的新波普主義領袖之一，他最出名的作品反映了成長於日本戰後經濟騰飛時期的藝術家們的共同經歷。奈良的作品具備在西方流行文化洪流中對身份的探尋，融合了日本的視覺傳統和西方流行文化來塑造可愛又複雜的人物，並且擁有強烈豐富的情感。如今，奈良塑造的人物形象已如安迪·沃荷(Andy Warhol)的絲網印刷肖像以及李奇登斯坦(Roy Lichtenstein)的本戴點般被塑造成英雄角色一樣，具有極高的識別度。今季，富藝斯香港將呈獻奈良美智不同類型的創作，橫跨不同媒介和創作時期。

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奈良美智出生於弘前市，一個日本鄉下的小城鎮，以江戶時期的建築和櫻花聞名。作為家中最小的孩子，父母謀生忙碌，他經歷了一段非常孤獨的童年，只有想像力、漫畫書和家裡的寵物陪伴左右：「我當時很孤獨，音樂和小動物給我帶來極大的安慰」他承認道。「我可以和動物沒有語言的交流，比和人用語言交流更好」）。從愛知縣立藝術大學畢業後，奈良前往德國求學，在杜塞多夫藝術學院完成6年的學徒生涯，當時導師是新表現主義畫家 A.R. 彭克 (A.R.Penke) ，之後於1994至2000年期間他在科隆建立工作室。在德國的語言障礙讓奈良重新墜入自童年後便很少經歷的獨處時光。

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我只要將小朋友與動物視為另一個我，這讓我就好像能夠離開熟悉的日本，並將自己從周圍熟悉的環境中解放出來。
\n— 奈良美智
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為尋求寬慰，奈良開始在藝術創作中深入發掘自我潛意識的深度，並將他在德國時期感受到的強烈疏離感，呈現在他經典的悶悶不樂的孩童畫像中。寬寬的眼睛，乍看天真無邪，帶有 'kowa kawii' 特質的醜萌小孩，姿態令人想起奈良兒時看的動畫和漫畫，同時具有一種緊張與不安的感覺，令人聯想到日本傳統的阿多福（Otafuku）和阿龜（Okame）面具。在他們發著光，近乎滑稽的臉上帶有一種叛逆—孩子般的對抗；有時又展現出青春期獨有的憂愁。這段自省時期的記憶對奈良頗有意義，使他恢復了幾乎被遺忘的「一種真正的自我」。

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《知慧熱》是奈良美智在拍賣市場上極其罕見的帆布畫系列，屬於藝術家遊學德國時期，建立的獨特抒情和形象語言最成熟的案例。《知慧熱》於1999年在紐倫堡美術館的群展《忘記球繼續玩耍－當代藝術中的孩童圖像》中亮相，展覽主要關注藝術中反映出的孩子和童年，包含了來自15個國際藝術家的作品，包括朱利安．奧培(Julian Opie)、保羅·麥卡錫(Paul McCarthy)，、馬丁·基彭貝爾格(Martin Kippenberger)。童年的過程常充斥着相互矛盾的概念：純粹烏托邦和失落天堂，成長的痛苦以及夢想和希望的救贖，成為了介於虛構和現實之中近乎虛擬的空間。奈良在《知慧熱》中探討的童年之痛，這種痛苦覆蓋了全部，奪走了其他所有的想法，正如其藏家回憶起奈良對這幅作品的解釋是：「痛苦即一切，沒有別的外在世界或者環境。」在奈良動人的童年肖像中，孩子的臉覆蓋著諾大的畫布，瞇着豆豆眼，微微皺眉並撅着嘴，陷入思考地望向外面。富有情感，如夢般的狀態，在隱約的稀薄與半透明的塗層下強化，這種技法讓人想起了知名的藝術家彼得·多伊格(Peter Doig)，多伊格隨後成為了杜塞多夫藝術學院的導師。

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奈良美智《旋轉輪》1994年作。估價2,000,000-3,000,000港元。
\n二十世紀及當代藝術和設計日間拍賣, 香港。

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另一拍品《旋轉輪》運用柔和的淡色系描繪看似天真無邪的孩童，是奈良最受讚譽的孩童肖像作品中的典範。該作品創作於1994年，小女孩的額頭彷彿在發光，加上充滿了浮世繪風格的傾斜眼睛，柔和的鼻子和略微下垂的嘴巴，構成了本作品的框架。雖然這種細膩的美學使人聯想到日本傳統水墨畫對虛無的表達，但奈良美智的影響卻深遠，包括兒童文學經典，如安托萬·聖艾修伯里(Antoine de Saint-Exupéry)的《小王子》，以及1940年代和1950年代的日本童話。乍一看表面上天真無邪，同時又帶著對抗和頑皮，令人回想起共同的童年回憶，完美詮釋了奈良最經久不衰的主題魅力。

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奈良美智《樅樹小姐》(局部)2012年作。估價3,500,000-5,500,000港元。
\n二十世紀及當代藝術晚間拍賣, 香港。

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奈良美智在充滿變數與不確定的環境中，產生對恆久的一絲渴望；這一渴望創造了《樅樹小姐》，出自奈良在橫濱美術館2012年展覽「有點像你有點像我」的鑄銅雕塑系列。與奈良招牌的凶狠小孩形象不同，這件作品帶著內斂姿態，其靜思凝想狀與慈悲靈性，讓人想起七世紀的《百濟觀音》、地藏王菩薩塑像等佛像的寧靜祥和，而本拍品及同系列其他作品，均鑄於日本富山的佛像鑄造廠。奈良以嘗試將畫中表現的複雜情感移轉到更具體的媒材上，將這些稍縱即逝的情感永久保存下來。與奈良的畫做相同，他不使用任何模特，完全以獨特的想像力，純粹地表達其藝術精神。

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奈良美智《樅樹小姐》2012年作。估價3,500,000-5,500,000港元。
\n二十世紀及當代藝術晚間拍賣, 香港。

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這件作品也有獨特的個性，高近七尺的《樅樹小姐》莊嚴而不突兀。近似阿爾伯托·賈克梅蒂（Alberto Giacometti）的雕刻技巧，奈良任由自己「隨心所欲地雕刻」，以表面帶有刻痕的圓錐形頭髮，讓觀眾得以洞察創作過程並提供觸覺感知，充溢親密感。作為這一代當之無愧的著名藝術家之一，奈良美智曾在國際性藝術機構舉辦展覽，其作品亦被許多機構所永久收藏，而《樅樹小姐》展現其成熟、精煉的藝術風格，巍然出眾地傳遞藝術家的內省和探索，並將我們引入他所創造的有形與無形之間的語境中。

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奈良美智《浪遊浮世系列（十六張一組）》1999年作。估價800,000-1,200,000港元。
\n二十世紀及當代藝術和設計日間拍賣, 香港。

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在《浪遊浮世系列》中，藝術家從十六件著名的日本傳統浮世繪木刻版畫取材，再加上個人的詮釋。浮世繪盛行於江戶時代(1603-1866年)，畫師捕捉了都市生活的燈紅酒綠與及時行樂的生活態度，描繪相撲力士、遊女、武士、藝妓以及其他文學或民間故事角色。奈良結合傳統美學與自身見解，訴說另一組奇特故事並重新詮釋，譬如將鳥高齋榮昌(1700年代)的著名藝妓白露頭像，換成調皮小孩的模樣，又將藝妓的髮簪變成滴血的釘子。這些變奏的版畫有的詼諧，有的批判社會，畫中主角以奈良的招牌卡通風格呈現，可愛的臉上顯露叛逆、憂傷或迷惑的表情。正如同這批作品所呈現之趣味性，透過這些主題，奈良激發了觀者的想像力，也成功獲得美術館、收藏家及全世界忠實擁護者的愛戴。

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\n","2020-06-17T08:35:32.000000Z","https://www.phillips.com/article/59477030/spotlight-on-yoshitomo-nara-japanese-contemporary-art-hong-kong-auction-zh",826,3022,59477030,{"_3375":3466,"_3377":231,"_3378":3467,"_3344":3468,"_3381":3469,"_3383":3470,"_3385":1619,"_3386":473,"_3387":3471,"_465":740,"_3389":3472,"_3391":3473,"_3393":3474},"https://flockler.com/thumbs/sites/889/185_001-2fc3dc44-df16-4087-af7f-5c72b61f2081_s600x0.jpg","Connecting the dots between art and sex, love and eroticism, 'Playtime' spans our Evening (Lot 18) and Day Sales (Lots 180-195), encompassing mediums from painting and sculpture, to prints and photography. ","Playtime: A Vision of Innocence and Eroticism","

Liu Ye, Girl!, 2004, Estimate: HK$ 3,800,000-4,800,000
\n20th Century & Contemporary Art and Design Day Sale, Hong Kong

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中文閱讀

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Phillips Hong Kong is excited to bring to this season Playtime, a storied glimpse into the sexual intricacies and fantasies of artists like Liu Ye, David LaChapelle and Tomoo Gokita. Connecting the dots between art and sex, love and eroticism, this spotlight spans across our auctions while encompassing a range of mediums and practices, from painting and sculpture, to prints and photography.

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Leading Playtime is rare piece by the eminent Chinese artist Liu Ye – Girl! (2004) – one of only six nude portraits produced in this period. Exhibited at his landmark 2007 solo exhibition at Kunstmuseum Bern, the work is a visual valentine for his lover and muse at the time; an ode to the mystical preoccupation with female beauty which in itself holds a myriad of subtleties and nuances. Employing a gentle yet sumptuous order of color and brushwork, Liu Ye builds a visceral narrative through the composition by presenting us with a single figure – a forlorn, almost surprised girl with wide-set eyes, her juvenile expression contrasting against her breasts and suggestive, simple outfit. Through this solitary figure, the artist coaxes us into a simple understanding of her innocence, though at the same time begs us to ponder her ambiguous whereabouts and true intentions – the wooden cane held behind her back perhaps indicative of something more sinister at play.

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Paola Pivi, Mama No More Diapers, Please, 2013, Estimate: HK$500,000 - 700,000
\n20th Century & Contemporary Art and Design Day Sale, Hong Kong

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However, Playtime is also injected with a sense of light playfulness with the work of Paola Pivi, an artist fresh to auction in Asia, and whose large teddy bears are the epitome of innocence and nostalgia. Embodying this section’s title quite literally, Mama No More Diapers, Please, is a reflection of the artist’s own personal narrative with motherhood, creating miniature bears fashioned in a brilliant palette of neon colors, all the while rollicking in acrobatic lunges or yoga poses. Layered with foam and feathers, the bear is imbued with a tactile quality of infantile playthings, as well as evoking the vivid kaleidoscopic colors of the Hindu festival Holi – itself a celebration of love, and fertility.

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Kohei Nawa, PixCell-Toy-Egg Plant,2006, Estimate: HK$90,000 - 120,000
\n20th Century & Contemporary Art and Design Day Sale, Hong Kong

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The work of Kohei Nawa is a further extension of these ethereal qualities. In PixCell-Toy-Egg Plant, Nawa employs his signature practice of covering found objects with intricate layers of glass beads, prisms, glue and plaster. Within its facsimiled forms the artist explores the perceptions of virtual and physical space, while investigating how a balance of the artificial and natural come together to form complex, cellular structures. Using refractions of light Nawa allows the sculpture to function as a real life analogue to a digital image.

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Barbara Kruger, Untitled (Shove it, starve it, blind it, choke it, drown it, shame it, buy it, fuck it), 1986, Estimate: HK$2,000,000 - 3,000,000
\n20th Century & Contemporary Art Evening Sale, Hong Kong

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By pairing found images with confrontational text, Barbara Kruger creates a powerful artistic vernacular; an ultimate critique of the Western system of sexism, corruption and consumerism. Untitled (Shove it, starve it, blind it, choke it, drown it, shame it, buy it, fuck it), the first of her work to be presented at auction in Hong Kong, is a resonating visual synergy whose lenticular dimensions chronical the darker aspects of female sexuality. Simultaneously challenging and subjugating the spectator, the interchanging messages of ‘if it screams’ and ‘shove it’ force us to question the tendency to silence a female voice when it becomes vocal and seen, while the words ‘choke it’, ‘shame it’ and ‘fuck it’ allude to the dominance, and supremacy of male sexuality in the modern world. In this piece, Kruger presents an empowering vehicle that bestows the all too often subjugated female voice with damning authority.

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Chen Tianzhuo, Asian Boy, 2014, Estimate: HK$20,000 - 40,000
\n20th Century & Contemporary Art and Design Day Sale, Hong Kong

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Perhaps the most sensuous of mediums, photography features heavily in Playtime, with works from the likes of Chen Tianzhuo, David LaChapelle and Nobuyoshi Araki providing a striking insight into the multifaceted lens of masculinity, homosexuality and sensuality. Fusing religious iconography and pop culture with drag and rave cultures in a kind of wild abandonment, Chen juxtaposes seemingly entirely opposite tendencies in his aim to transcend the superficial states of body and spirit – achieving what the artist refers to as a “state of madness”. His work, and its domestic and international celebration, is indeed a reflection of a Chinese society that is becoming more culturally flexible and open to distinct originality and individualism.

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Nobuyoshi Araki, Untitled (’67 Shooting Back), 2017, Estimate: HK$30,000 - 50,000
\n20th Century & Contemporary Art and Design Day Sale, Hong Kong

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Nobuyoshi Araki, Seven Works: (i) LM22871; (ii) LM22872; (iii) LM22873; (iv) LM22874; (v) LM22875; (vi) LM22876; (vii) LM22877, 2014, Estimate: HK$10,000 - 20,000
\n20th Century & Contemporary Art and Design Day Sale, Hong Kong

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If Asian Boy by Chen is a product of this cultural illumination, then the work of photographer Nobuyoshi Araki is a sharp denunciation of the suppression of sexuality in Japanese society. Contrasting the floral elegance of a kimono with the eroticism of kinbaku (the art of rope tying), Araki delivers in Untitled ('67 Shooting Back) an uncompromising vision of beauty and provocation, blending titillation and bondage in a fine art context. His astounding vision has led to widespread international acclaim and collaborations with Björk and Lady Gaga. With previous exhibitions at the Victoria and Albert Museum in London and the Caitlin Art Prize under her belt already, Zhu Tian is already an accomplished artist beyond her years. Balancing provocative and humor within her work, she intends to interrupt and disturb societal norms, in her words a kind of communal “hiccup”.

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Tomoo Gokita, Mask, 2010, Estimate: HK$500,000 - 700,000
\n20th Century & Contemporary Art and Design Day Sale, Hong Kong

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Further taken into consideration with the array of works is the portrayal of sex in the digital world, and how it is formed through the complexities of web-based lexicons. Known for his grey-scale paintings that combine abstract and figurative elements, Tomoo Gokita draws from an assortment of kitsch-pop references while deconstructing them into a compelling artistic vision. With Mask, Gokita lifts from his past as a commercial graphic designer to fashion a dark projection of a 60s-style femme fatale, with her youthful bob haircut contrasting against the metal grate superimposed over her face in a denial of the male gaze. Seductive and mysterious yet tempered with a kind of malevolent sensuality, in this work the artist delivers a startling inner vision of velvety forms, and nightmarish premonitions.

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Daido Moriyama, Tights in Shimotakaido, 2013, Estimate: HK$35,000 - 55,000
\n20th Century & Contemporary Art and Design Day Sale, Hong Kong

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Sharing in the monochromatic palette of his compatriot, Daido Moriyama refracts the fragmentary nature of modern life in the creation of a kind of Op-Art photograph. The seemingly computer-generated tessellations of the fabric’s interlocking hexagons lead our eye through the woman’s voluptuous forms in a dance between geometry, illusion and sexuality.

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David LaChapelle, Steroids Shrink Balls, 2004, Estimate: HK$80,000-120,000
\n20th Century & Contemporary Art and Design Day Sale, Hong Kong

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On the contrary, the bizarre, hyper-realistic style of David LaChapelle brings an explosion of color in Steroids Shrink Balls. In this photograph, he brings a dramatic, Baroquesque style of composition while referencing the sly subversion present in Cindy Sherman’s work. Fluorescent exercise balls are held between a heavily built man, the figures suspended in a kind of impossible surrealism that allows LaChappelle to question the supposed duality of masculinity and athleticism, especially within the LGBTQ community.

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Also included in Playtime are works by Ed Ruscha, Robert Indiana, Key Hiraga, Li Qing and a collaboration between Tim Noble and Sue Webster.

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\n","2020-06-23T08:38:08.000000Z","https://www.phillips.com/article/59683352/playtime-hong-kong-july-auction",836,3038,59683352,{"_3375":3476,"_3377":231,"_3378":3477,"_3344":3478,"_3381":3479,"_3383":3480,"_3385":1619,"_3386":473,"_3387":3481,"_465":770,"_3389":3482,"_3391":3483,"_3393":3484},"https://flockler.com/thumbs/sites/889/185_001-456bdfe0-f712-4816-aa1f-28c382c5ff97_s600x0.jpg","將藝術、性、愛情與情色串連在一起，《PlayTime》精選的藝術品橫跨晚間拍賣(拍品18)與日間拍賣(拍品180-195)，涵蓋繪畫、雕塑到版畫和攝影等創作媒介。","《PlayTime》：無罪與情色的美學","

劉野，《女孩!》, 2004年作，估價 3,800,000-4,800,000港元
\n二十世紀及當代藝術和設計日間拍賣, 香港

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富藝斯香港將於七月拍賣呈現一系列的《PlayTime》作品，此創新主題包含了劉野、大衛·拉切貝爾 (David LaChapelle) 和五木田智央等一眾國際藝術家的作品，以不同語彙將藝術、性、愛情與情色串連在一起，涵蓋繪畫、雕塑到版畫和攝影等創作媒介。
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\n劉野創作的《女孩!》是一件罕見的作品，為他的6件裸體肖像作品之一，與《誰怕L夫人》共同展出於2007年於伯恩美術館舉辦的具有里程碑意義的個展。與這一時期的許多作品一樣，劉野在這件作品中展現了他關注佛蘭芒傳統的影響，並定義了他的許多作品。劉野亦受到皮特·蒙德里安 (Piet Cornelies Mondrian) 作品的影響，（他本人也曾於荷蘭皇家視覺藝術學院參與進駐計劃），他甚至在自己的作品中融入了皮特·蒙德里安的畫作，以示敬意，可以看出他們的作品之間存在擁躉幾何學、理性與秩序的相似之處。在《女孩!》中，劉野用大面積的淡紫色和桃紅色包圍人物，給構圖註入了一種內在的溫和感與沈思著的寂靜感。不過這些色域並不是單片的大色塊，而是動感的、具有催眠效果的廣袤延展，包含了無數色調與質感的精妙變化，這讓他與西方繪畫大師的傳統不謀而合，比如透納和羅斯科。
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波拉・彼薇《媽媽，請不要再給我尿布了》2013年作，估價500,000 - 700,000港元
\n二十世紀及當代藝術和設計日間拍賣, 香港

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然而，《PlayTime》亦因為藝術家波拉·彼薇 (Paola Pivi) 的作品而為整個系列注入輕快而具玩味的元素。對於亞洲拍賣市場來說，彼薇是一個相當新鮮的名字，她創作的大玩具熊是純真和懷舊的縮影。從作品的命名《媽媽，請不要再給我尿布了》反映出藝術家具有母性的個人敘事方式，她創作出的熊雕塑採用絢麗的霓虹色設計，每隻熊都凝固靜止在雜技和瑜伽的動作中。大熊雕塑採用氨酯泡沫塑料製成、表面再加上羽毛，這些熊被注入了嬰兒玩物的特質、以及印度節日胡里節千變萬化的鮮豔色彩，它本身就是對愛情和生育的頌讚。

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名和晃平《 PixCell-玩物-茄子》2006年作，估價90,000 - 120,000港元
\n二十世紀及當代藝術和設計日間拍賣, 香港

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日本藝術家名和晃平 (Kohei Nawa) 的創作是對這些擁有精靈般生動的作品的延伸。在《PixCell-玩物-茄子》中，名和晃平運用他標誌性的獨特手法，採用錯綜複雜的玻璃珠、棱鏡、膠水和灰泥把物體覆蓋其中，以迷幻的形式，藝術家探索了虛擬和物理空間的感知，同時研究了人造和自然之間的平衡如何共同形成一個錯綜複雜的細胞結構。透過光線的折射，該件雕塑作品就像現實生活中的數碼圖像一樣，彷彿在與觀者對話。
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芭芭拉・克魯格《無題（推、餓、瞎、掐、淹、辱、買、操）》 1986年作
\n估價2,000,000 - 3,000,000港元
\n二十世紀及當代藝術晚間拍賣, 香港

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通過將圖像與具有對抗性的文字配對，芭芭拉·克魯格 (Barbara Kruger) 創造了強大的藝術語言，透過作品毫不保留地批評西方的性別歧視、腐敗和消費主義制度。此次克魯格的作品《無題（推、餓、瞎、掐、淹、辱、買、操）》是首度於香港的拍賣中亮相，作品具備視覺衝擊的相乘效果，從雙凸透鏡的透視中反映了女性性慾的黑暗面。作品中「如果尖叫」和「塞入」等可交互顯現信息，促使觀者去反思女性與男性所處地位的不平等，同時挑戰和征服觀眾。這暗示著當女性表達意見時，會被迫噤聲的現象。同時，它也為觀者提供了選擇如何解讀信息的權力，這也使克魯格能夠創造出一種賦權的裝置，為女性的聲音賦予權威。

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陳天灼《亞洲男孩》2014年作，估價20,000 - 40,000港元
\n二十世紀及當代藝術和設計日間拍賣, 香港

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攝影也許是最能夠帶來感官刺激的媒介。在《PlayTime》中，攝影作品佔有很大的比重，包括有陳天灼、大衛・拉切貝爾 (David LaChapelle) 和荒木經惟等藝術家的作品，以多面視角呈現出男性氣質、同性戀和性感的精髓。陳天灼的作品往往將將宗教肖像畫和流行文化、狂歡文化融合，旨在超越身體和精神狀態，從而實現藝術家「對瘋狂的定義」。他的作品及其在國內外的慶祝活動確實反映了中國社會的文化靈活性和開放性，並具有鮮明的獨創性和個人主義。

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荒木經惟《無題 ‘( 67 Shooting Back)》2017年作，估價30,000 - 50,000港元
\n二十世紀及當代藝術和設計日間拍賣, 香港

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朱田，7件作品: (i)《LM22871》、(ii) 《LM22872》、(iii) 《LM22873》、(iv) 《LM22874》、(v) 《LM22875》、(vi) 《LM22876》、(vii) 《LM22877》，2014年作
\n估價10,000 - 20,000港元
\n二十世紀及當代藝術和設計日間拍賣, 香港

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如果說陳天灼的《亞洲男孩》是照亮了這種文化的產物，那麼攝影師荒木經惟的作品就強烈譴責了日本社會對性愛的壓制。他的攝影作品將日本和服的優美高雅與具有色情意味的日式綁縛藝術 (kinbaku) 結合，產生強烈的視覺對比。在作品《無題 ‘( 67 Shooting Back)》中，荒木經惟毫不妥協地展現了他對於美的定義，在視覺上將挑釁與束縛融為一體。隨著他的驚人願景引起了國際社會的廣泛讚譽，及後更與國際著名歌手Björk和Lady Gaga進行藝術性合作。另外，曾於倫敦的維多利亞和阿爾伯特博物館 (Victoria and Albert Museum) 舉辦展覽，並獲得了凱特琳藝術獎 (Catlin Art Prize)的行為藝術家朱田，她在藝術界中已經是傑出的藝術家，她在作品中務求平衡挑釁性和幽默感，同時打破社會規範，以她的方式述說存在於群體之間的問題。
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五木田智央《面具》2010年作，估價500,000 - 700,000港元
\n二十世紀及當代藝術和設計日間拍賣, 香港

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另一系列作品還呈現出數字世界中對於性的刻畫，以及如何通過基於網絡詞彙的複雜性來形成這種對於性的描繪。五木田智央以融合抽象和比喻元素的灰色畫而著稱，他從各種媚俗的流行文化中汲取靈感，同時將它們解構成引人注目的藝術視野。五木田智央憑藉《面具》的創作，擺脫了他作為商業平面設計師的過去，轉而塑造出具有60年代風格的蛇蠍美人的深色投影，她年輕的鮑勃髮型與金屬花格形成對比，而金屬花格則掩蓋了男性對她的目光。誘人而神秘卻又帶有一種惡毒的性感，在這幅《面具》作品中，藝術家以柔軟的形式傳達出一種內在視覺，同時亦帶出有如噩夢般的預感。
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森山大道《下高井戶的緊身褲》 2013年作，估價35,000 - 55,000港元
\n二十世紀及當代藝術和設計日間拍賣, 香港

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同樣是以黑白色調進行創作的，還有森山大道創作的奧普藝術攝影作品，折射出現代生活零散的本質。他的攝影作品呈現出彷彿是電子系統自動生成的圖像效果，在《下高井戶的緊身褲》中，緊身褲織物呈現出相互交錯的六邊形棋盤格，引導我們的眼睛穿過女人的性感形態，在幾何形狀，幻覺和性之間跳動。

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大衛・拉切貝爾《類固醇讓球球縮小了》2004年作，估價 80,000-120,000港元
\n二十世紀及當代藝術和設計日間拍賣, 香港

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相反地，風格奇特怪異並具有超現實風格的大衛・拉切貝爾 (David LaChapelle)，他在《類固醇讓球球縮小了》中卻帶來了強烈而豐富的色彩。在這張攝影作品中，他採用了戲劇性的巴洛克風格的構圖，並參考了藝術家辛蒂·雪曼 (Cindy Sherman) 作品中呈現出的一種顛覆性：兩個熒光色的健身球被固定在一個身材高大的男人之間，作品中的人物好像懸浮在一種不可能的超現實場景之中，拉切貝爾透過作品質疑男性氣概和運動能力之間的雙重性，尤其是身處於LGBTQ的群體之中。
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\n《PlayTime》還包括國際藝術家埃德‧拉斯查 (Ed Ruscha)、羅伯特·印第安納 (Robert Indiana)、平賀敬 (Key Hiraga)、李青 (Li Qing) 以及提姆·諾貝爾和蘇·韋伯斯特 (Tim Noble and Sue Webster) 的作品。

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\n","2020-06-24T12:19:32.000000Z","https://www.phillips.com/article/59726565/playtime-hong-kong-july-auction-zh",842,3043,59726565,{"_3375":3486,"_3377":231,"_3378":3487,"_3344":3488,"_3381":3489,"_3383":3490,"_3385":2064,"_3386":473,"_3387":3491,"_465":3492,"_3389":3493,"_3391":3494,"_3393":3495},"https://flockler.com/thumbs/sites/889/dsc_4018-6538d15a-d804-4b86-b01e-ab84bae34385_s600x0.jpg","Join us for a virtual walkthrough from Taipei of our Hong Kong 20th Century & Contemporary Art Sales. On view: Zao Wou-Ki, Daniel Arsham, Eddie Martinez, Nicole Eisenman and more.","VR Walkthrough: 20th Century & Contemporary Art, Hong Kong","

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中文閱讀

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Travel through our Hong Kong 20th Century & Contemporary Art international preview in Taipei and browse highlights from our upcoming auction.

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Featuring sought-after works by Zao Wou-Ki, Daniel Arsham, Yoshitomo Nara, Genieve Figgis, Nicole Eisenman, Eddie Martinez and more.

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Our 20th Century & Contemporary Art Evening Sale and 20th Century & Contemporary Art and Design Day Sale will take place this July at the JW Mariott Hotel in Hong Kong.

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\n","2020-06-15T15:16:30.000000Z","https://www.phillips.com/article/59414940/vr-walkthrough-20th-century-and-contemporary-art-hong-kong",10,820,3016,59414940,{"_3375":3497,"_3377":231,"_3378":3498,"_3344":3499,"_3381":3500,"_3383":3501,"_3385":1619,"_3386":473,"_3387":3502,"_465":794,"_3389":3503,"_3391":3504,"_3393":3505},"https://flockler.com/thumbs/sites/889/dsc_4018-6538d15a-d804-4b86-b01e-ab84bae34385-6cfea00f-76a9-410d-a00e-9503827591e0_s600x0.jpg","與我們一起參與台北的虛擬實景展覽，欣賞香港二十世紀及當代藝術拍賣的精選，包括趙無極、丹尼爾・阿瑟姆(Daniel Arsham)、艾迪・馬汀尼茲(Eddie Martinez)及妮可・艾森曼(Nicole Eisenman)等的作品。","VR虛擬實景展覽：香港二十世紀及當代藝術","

瀏覽富藝斯於台北舉辦的「香港二十世紀及當代藝術」巡展，觀賞即將亮相７月香港拍賣的焦點拍品。
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\n展出的藝術家包括趙無極、丹尼爾・阿瑟姆(Daniel Arsham)、奈良美智(Yoshitomo Nara)、珍尼維・菲吉斯(Genieve Figgis)、妮可・艾森曼(Nicole Eisenman)及艾迪・馬汀尼茲(Eddie Martinez)等炙手可熱的作品。

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「香港二十世紀及當代藝術」晚間拍賣和「香港二十世紀及當代藝術和設計」日間拍賣將於7月8至9日在香港JW萬豪酒店舉行。

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\n","2020-06-17T08:44:53.000000Z","https://www.phillips.com/article/59479901/vr-walkthrough-20th-century-and-contemporary-art-hong-kong-zh",827,3021,59479901,{"_3375":3507,"_3377":89,"_3378":3508,"_3344":3509,"_3381":3510,"_3383":3511,"_3385":1619,"_3386":473,"_3387":3512,"_465":144,"_3389":3513,"_3391":3514,"_3393":3515},"https://flockler.com/thumbs/sites/889/144_001-bbc8a7b2-a0f3-40cb-93a4-0d9b00c83d7e_s600x0.jpg","Hong Kong-based collector Kai-Yin Lo amassed an extraordinary collection that reflects inspiration, innovation and scholarship. The collection of modern and contemporary design is global in its scope and vast in its chronological sweep.","A Century of Modern Design: the Collection of Kai-Yin Lo","

SHAO FAN 'King' chair, designed 1955. Estimate: HK$100,000 - 150,000.
\n20th Century & Contemporary Art & Design, Hong Kong

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中文閱讀

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A prescient collector, Kai-Yin Lo amassed a distinguished collection of antique Chinese furniture dating from the 17^th to 20^th centuries, before collecting both Scandinavian modern and contemporary design—a practice that foreshadowed now-commonplace academic and market trends. She acquired these pieces at auctions and from the most prestigious galleries in London, Paris, and New York as well as in Copenhagen, Helsinki, and Stockholm.

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EJNER LARSEN AND AKSEL BENDER MADSEN Rare ‘Metropolitan’ armchair, model no. 2842/L, designed 1949, executed circa 1961. Estimate:HK$80,000 - 120,000.
\n20th Century & Contemporary Art & Design Day Sale, Hong Kong

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Not only do the pieces in her collection have impressive provenance, but they also reflect her interest in the cross-cultural nature of design. As the first Professor of Cross Culture at Central Saint Martins, University of the Arts, London, this direction of inquiry has been at the core of her pursuit and practice. The chairs in her collection reveal compelling dichotomies between form and function, the hand and the machine, old and new, East and West, and illustrate the impact of Chinese furniture on modern and contemporary design. The collection of Kai-Yin Lo showcases how China became one of Modernism’s greatest sources of inspiration during the 20^th century.

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ALVAR AALTO Rare armchair, model no. 42, designed 1932, executed circa 1936. Estimate: HK$40,000 - 60,000.
\n20th Century & Contemporary Art & Design Day Sale, Hong Kong

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Chairs made in Imperial China exhibit a number of characteristics that would later become pervasive in furniture design around the world. Aesthetically, antique Chinese furniture embodied harmony, balance, and symmetry, and it also served an important practical purpose. Within a home’s arrangement of rooms and gardens, furniture demarcated areas with discrete purposes. Chairs such as the round back chair added beauty to the home through its simple, restrained forms and its use of high-quality wood. Made with the finest materials, these chairs often took on relatively simple and sophisticated forms with elegant proportions. Craftsmen developed innovative techniques from traditional design principles in constructing these chairs and often implemented complex joinery to create strong and long-lasting pieces.

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KAARE KLINT‘Faaborg’ armchair, designed for the Faaborg Museum, Denmark, designed 1914, executed after 1984. Estimate: HK$10,000 - 20,000.
\n20th Century & Contemporary Art & Design Day Sale, Hong Kong

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HANS J. WEGNER 'China' chair, model no. FH4283, designed 1943, executed 1969. Estimate: HK$40,000 - 60,000.
\n20th Century & Contemporary Art & Design Day Sale, Hong Kong

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This type of expert craftsmanship later became a hallmark of Nordic design. Scandinavian designers such as Kaare Klint and Hans Wegner looked to the construction of Chinese chairs as models for their own modern versions. Klint and Ole Wanscher, the forefathers of Danish Modern, designed early round back chairs that simultaneously broke with European design traditions and also harkened back to Chinese precedents. The same rigorous approach to excellent craftmanship, well-designed forms and innovation can be seen in the works of C.H. Brockmann-Petersen, Ejner Larsen and Aksel Bender Madsen, as well as Alvar Aalto, all designers whose work is represented in the collection of Kai-Yin Lo.

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HANS J. WEGNER Early swivel armchair, model no. JH502, designed 1955. Estimate: HK$100,000 - 150,000.
\n20th Century & Contemporary Art & Design Day Sale, Hong Kong
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The collection includes works by leading designers in each of their respective time periods. Designers such as Nendo and the Campana Brothers are at the forefront of contemporary design. Though much of contemporary design cannot easily be categorized aesthetically, we recognize that there are underpinnings that link contemporary design to the world of antique Chinese furniture.

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NENDO ‘Manga Chair (24)’, 2015. Estimate:HK$35,000 - 55,000.
\n20th Century & Contemporary Art & Design Day Sale, Hong Kong

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FERNANDO CAMPANA AND HUMBERTO CAMPANA, 'Sushi III' chair, 2012. Estimate: HK$70,000 - 90,000.
\n20th Century & Contemporary Art & Design Day Sale, Hong Kong

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One frequent aspect of contemporary design is the role of technology in design and fabrication. Chinese designer Zhoujie Zhang, for example, uses computer software that instructs a chair to “grow” from a two-dimensional plane into a three-dimensional fractal object. Although the computer originates the design, Zhang constructs the actual chair by hand. Contemporary designers around the world like Zhang are exploring the role that technology may play in creating customizable furniture. Just like Chinese artisans in the 18^th century developed complex joinery constructions and Danish furniture designers in the mid-1900s created novel construction methods, contemporary designers are propelling this conversation by utilizing the most innovative production techniques available.

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ZHOUJIE ZHANG‘SQN1-F2B-Brass’ chair, from the ‘Triangulation Series’, designed 2014, executed in 2015. Estimate: HK$50,000 - 80,000.
\n20th Century & Contemporary Art & Design Day Sale, Hong Kong

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In his “Chair” series, which began in 1995, contemporary Chinese painter and designer Shao Fan literally deconstructs antique Chinese furniture forms and incorporates visually contrasting materials into the design. In the “King” chair, he has taken a round-back chair, split it in half and between the two halves, inserted a black, rigid chair form. This series is meant to playfully explore the relationship between Chinese furniture from the Ming period with contemporary design, offering a visual expression of the cultural exchange that Kai-Yin Lo’s collection aptly represents.

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C.H. BROCKMANN- PETERSEN Sofa and armchair, designed circa 1956. Estimate: HK30,000 - 50,000.
\n20th Century & Contemporary Art & Design Day Sale, Hong Kong

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The connections between antique Chinese furniture, Scandinavian design, and contemporary design are both aesthetic and conceptual, and when put into context with one another, we learn more about the individual objects as well as their larger design context.

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OLE WANSCHER Armchair, model no. J2833, designed 1958. Estimate:HK$20,000 - 30,000.
\n20th Century & Contemporary Art & Design Day Sale, Hong Kong

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\nThe ability to make connections between different cultures and different time periods has never been more important. This unique collection reveals the power in melding these processes and cross currents.

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\n","2020-06-29T13:07:28.000000Z","https://www.phillips.com/article/59928360/a-century-of-modern-design-kaiyinlo",868,3053,59928360,{"_3375":3517,"_3377":231,"_3378":3518,"_3344":3519,"_3381":3520,"_3383":3521,"_3385":1619,"_3386":473,"_3387":3522,"_465":840,"_3389":3523,"_3391":3524,"_3393":3525},"https://flockler.com/thumbs/sites/889/website_michael_huang-08dae14f-4aad-4b43-899c-0f77cc5398e3_s600x0.jpeg","The eminent millennial collector shares his perspective on taking risks, selecting artists and making his mark in the museum world. ","Michael Xufu Huang on Collecting","

Michael Xufu Huang, Collector and X Museum Founder

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中文閱讀

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Michael Xufu Huang, a recipient of Forbes’ 30 under 30 in 2017, has become a legend in the field of contemporary art and amongst the international collecting community. Michael Xufu Huang began pursuing a career in the museum world at only 20 years old, and is now the founder of X Museum, a recently-opened institution in Beijing. “I am very free-spirited. My love for art and propensity for adventure brought me here today,” he reflected. Michael Xufu Huang originally started gaining attention for his personal collection and curated exhibitions. “I collected Amalia Ulman’s Excellences & Perfections and curated Nicolas Party’s first solo exhibition in a museum in China. Chinese collectors began to keep an eye out for artists I discovered, collected and promoted, including artists like Julie Curtiss, Austin Lee, Alex Gardner, George Rouy and Zhang Zipao.”

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Nicolas Party: Arches on view in Beijing.

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To make a name in the field as a young collector is not easy. “At the core, you need to have a collection that is one-of-a-kind and search for pieces that represent your personal taste. Likewise, if artists do not challenge the norm and create new visual experiences through their art, how can they make history?” he asked. Yet the young collector was once doubted and overlooked. With experience, he is now able to share his story with other new enthusiasts. “Do pay attention to artists that you can grow with. Rich art knowledge and experience are crucial to instantly distinguish young artists with the most potential. As you see and read more, you refine your aesthetics and can quickly identify a piece’s uniqueness. ‘Practice makes perfect’ does apply to art appreciation. With more practice, you can naturally decide whether to buy and collect new artists.”

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The Heart of Tin Man, featuring work by Amalia Ulman, on view in Beijing.

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Michael Xufu Huang believes in millennial collectors’ potential. “The Art Market, Art Basel and UBS’ annual global art market analysis published earlier has recognized our generation as the most influential collectors. At the current age of the internet, information is spread at an unprecedented speed. At the same time, it allows us to interact and resonate with artists around the globe. I trust that we can create an art market that is international and welcoming to new voices.”

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Exterior rendering, X Museum, Beijing.

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He additionally hopes to bring young art lovers together through X Museum, stating, “My goal when founding X Museum was to inspire young people to introduce art into their daily lives, as well as to promote young artists, ultimately building a new voice for millennials. I am glad that our board of directors is made up of millennial leaders from different sectors. Together, we are working to make X Museum the top art platform of our generation.”

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Sharing the same passion for innovative technology that he has for art, X Museum also offers a virtual museum experience facilitated by 3D virtual reality technology, which has been highly praised in the media and named as one of “The Three Must-See Museums in 2020” by Elle Japan. With the ever-curious public wondering about Michael Xufu Huang’s latest acquisitions, X Museum’s future projects might offer a hint on how his collection has grown.

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Learn more about X Museum >

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\n","2020-05-04T20:13:41.000000Z","https://www.phillips.com/article/57567510/michael-xufu-huang-millennial-collector-contemporary-art-china",786,2946,57567510,{"_3375":3527,"_3377":231,"_3378":3528,"_3344":3529,"_3381":3530,"_3383":3531,"_3385":1619,"_3386":473,"_3387":3532,"_465":862,"_3389":3533,"_3391":3534,"_3393":3535},"https://flockler.com/thumbs/sites/889/website_michael_huang-b150d5b4-96db-4760-9174-a742b5acafcb_s600x0.jpeg","傳奇千禧藏家黄勖夫向來勇於嘗試，並能準確識別具潛力的年輕藝術家，到今天在美術館領域大展拳腳，他的收藏故事就是與別不同。","黄勖夫的千禧收藏視野","

著名收藏家和X美術館始創人黄勖夫

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黄勖夫（Michael Xufu Huang）曾在2017年登上美國《福布斯30 Under 30》，被視為當代藝術和收藏界的傳奇， 20歲已參與創辦美術館，由他親自創立的X美術館亦在北京揭幕。「我是一個很free spirited的人，熱愛藝術、勇於放膽嘗試並捉緊面前機會，讓我走到現在。」黄勖夫是因為個人收藏和展覽開始受到外界注意，「我收藏了Amalia Ulman 的《Excellences & Perfections》系列，然後舉辦了Nicolas Party在中國的首個美術館個展。同時，很多中國藏家又會特別留意我對一些近期崛起的藝術家們如Julie Curtiss、Austin Lee、Alex Gardner、George Rouy和張子飄等的收藏和推廣。」

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《尼古拉斯·帕蒂：花花果果猫猫人人》展覽。

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作為一位年輕藏家能在藝術圈佔一席位也是得來不易。「最核心是你要擁有與眾不同的收藏，尋找能代表個人品味的作品系列。其實每個職業也應該如此，如果藝術家沒有透過作品挑戰常規或創造新的視覺體驗，又怎能在藝術史上留下名字呢？」黄勖夫也曾經歷過被人質疑的階段，現在他有更豐富的經驗可以與新晉藏家分享。「不妨多點關注一些能共同成長的藝術家。至於如何能快速識別最具收藏潛力的年輕藝術家作品，這就要靠吸取大量藝術知識和體驗。當你看得越多、讀得越多，不但能大大提升審美觀，而且能迅速鑑別藝術作品的獨特性。熟能生巧這個道理也可應用在藝術鑑賞之上。當你能做到這一點，就自然能對購藏新晉藝術家作品作出果斷決定。」

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《錫人的心臟》展覽展出了Amalia Ulman 的作品。

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黄勖夫認為千禧藏家極具潛力，「早前巴塞爾藝術展與瑞銀集團發表的《藝術市場報告》已經肯定了我們這一代是當下最重要的收藏群組。我覺得在網絡時代成長的我們能更快速地消化信息，同時能和全球各地的藝術家產生共鳴。所以我相信我們能為這個藝術市場締造一個非常國際化、新人湧現的盛世。」

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北京X美術館。

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黄勖夫同時希望透過X 美術館匯聚一群年輕藝術之士，「我創辦X美術館也是希望能帶領更多年輕人將藝術融入生活一部分，另外是推廣年輕藝術家，建立千禧一代的話語權。我也很開心我們的理事會都是由來自各個行業的千禧領袖組成，讓我們一起把X美術館打造成無可匹敵的新一代藝術平台！」

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藝術以外，黄勖夫對創新科技同樣感興趣，被藝術媒體列為「2020年最不可錯過的三家美術館」X美術館亦推出了虛擬美術館，採用3D界面和VR設備。外界一向對黄勖夫的最新收藏深感興趣，我們或可從X美術館的未來發展方向找到答案。

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更多關於X 美術館的詳情>

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\n","2020-05-07T20:35:04.000000Z","https://www.phillips.com/article/57706318/michael-huang-interview-x-museum-zh",828,2955,57706318,{"_3375":3537,"_3377":231,"_3378":3538,"_3344":3539,"_3381":3540,"_3383":3541,"_3385":1619,"_3386":473,"_3387":3542,"_465":886,"_3389":3543,"_3391":3544,"_3393":3545},"https://flockler.com/thumbs/sites/889/7_001-5636bf64-f560-4e1d-976f-3d7a46b42d6f_s600x0.jpg","We explore a group of four artists working today who have undeniably shifted the discourse around Chinese art and culture. ","Chinese Contemporary Art: A New Chapter","

Liu Ye Choir of Angels (Red), 1999. Estimate: HK$20,000,000-40,000,000.
\n20th Century & Contemporary Art Evening Sale, Hong Kong.

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中文閱讀

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In the post-Mao era, China’s peculiar social and political environment birthed a group of symbolic artists that would come to redefine Chinese art on the global stage. Among others, these artists include the core nucleus of Zeng Fanzhi, Liu Ye, Zhang Xiaogang and Yue Minjun. Most of these artists came of age in the wake of the state’s “Opening of China” period of the late 1970s and early 1980s, and their works from the following decades reflect on China’s evolving social and cultural traditions. These key Chinese contemporary artists have since become sought-after by established collectors, both in Greater China and abroad. In the last decade, a number of cultural institutions and private museums arrived in China, further elevating these contemporary works of art. With a growing understanding of their relevance, these works are becoming increasingly scarce. However, these blue-chip works still remain significantly undervalued compared to Western contemporary art. This season, Phillips Hong Kong offers an array of Contemporary Chinese Art across our Evening and Day auctions. Below, we explore just a few of the artists and works not to be missed.

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Liu Ye

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Liu Ye is well-known for his dreamlike imagery. This season, Phillips is honored to present a rare, fresh-to-market work - Choir of Angels (Red). It is one of Liu Ye’s earliest paintings and part of his iconic ‘red curtain’ series, which was executed shortly after his return from Europe to China. The curtain is a symbol with a dual meaning: it can both reveal and conceal. In this scene, the emotionless singing cherubs are arranged neatly to project a sense of order and discipline, rather unusual among a group of boisterous children. Rich in evocative mystery, the curtain becomes an enduring motif in Liu’s works, creating a profound sense of spatial and temporal dislocation. The interplay of truth and illusion teases with preconditioned perceptions of reality and conventional ways of seeing.

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The rich crimson red, which colors the backdrop and subjects of Choir of Angels (Red) adds another layer of meaning. A signifier of joy and luck in Chinese culture, the color red was also transformed irrevocably into an ideological color, monopolized by communist revolutionary propaganda. Liu recalled, “I grew up in a world that was covered up in red – the red sun, the red flag and red scarves. As for green pines and cedars, or sunflowers, they were usually just foils for the symbolism of red.” Associating the color red with the prevailing visual emblem of his childhood days, the singing cherubs in Choir of Angels (Red) subtly references the rosy-cheeked children featured in popular propaganda, while the stage setting and the deployment of a rounded spotlight dramatically amplify the theatrical effect of the imagery.

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I am open to interpretations of my work, and I welcome the layers of understanding diverse individuals might have.
\n— Liu Ye
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Choir of Angels (Red) does not exclusively dwell on the past. Liu’s time in East Berlin came at a crucial moment, allowing him to develop his work independently of the changing political situation in China. The stage, once associated with the plays of his father and subsequently the “red” propaganda of revolutionary operas, is instead concealed in Choir of Angels (Red) by a curtain which draws a symbolic close on history. Liu Ye liberates symbols of the past using the power of imagination and fairy tales, allowing new meanings and associations from both Eastern and Western cultural traditions to interact freely in the theatrical red-curtained setting. In this sense, Choir of Angels (Red) is a symbol for the artist himself – liberated to investigate the intersections of history and representation, Liu Ye has developed a distinct visual vocabulary that transcends traditional Eastern and Western art-historical categories. Explaining why he was drawn to these artists, Liu Ye elaborated: “In my earlier days, my art was more about the imaginary. Symbols present in my paintings are polysemous or ambiguous with no causality, which resembles surrealism.”

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Liu Ye Girl!, 2004. Estimate: HK$3,800,000-4,800,000.
\n20th Century & Contemporary Art and Design Day Sale, Hong Kong.

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Reflecting Liu’s propensity to straddle the divide between East and West, in January 2020 his solo show Storytelling opened at the Fondazione Prada in Milan, after originally being shown two years prior in Shanghai. His work can be found in the permanent collections of the China Art Museum, Shanghai, the M+ Sigg Collection, Hong Kong, and the Philadephia Museum of Art.

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Zhang Xiaogang

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Zhang Xiaogang Duplicated Space No. 14 (Divided Dream), 1990.
\nEstimate: HK$6,000,000-8,000,000.
\n20th Century & Contemporary Art Evening Sale, Hong Kong.

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Zhang Xiaogang’s exceptional portraits epitomize the development of Chinese Contemporary art, making him one of the most established artists of his generation. The political events at the conclusion of the 1980s shook Zhang Xiaogang out of a period of hermetic introspection. As a response, he created a series of works to reference the psychological impacts of such tumultuous times, which left him with an emotional void. In Duplicated Space No. 14: Divided Dream, the artist constructs an airless interior that is detached from reality. In the center atop the table, he places a truncated head with a pair of unusually large eyes, looking inexplicably empty and lost. The arrangement appears similar to ritualistic offerings at an altar, imbuing this somber scene with an unmistakable sense of mourning. A drastic change in the socio-political environment propelled Zhang to shift from his more romantic and fantastical themes, this profound emotional impact is first captured in the Black Trilogy: Terror, Mediation and Melancholy (1989). The present work belongs to a body of 13 works from the Duplicated Space series that serves as a continuation to Black Trilogy as the artist searched for the strength to overcome his own demons.

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Zhang Xiaogang Bloodline Series: Big Family No. 3, 2005.
\nEstimate: HK$10,000,000-15,000,000.
\n20th Century & Contemporary Art Evening Sale, Hong Kong.

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Our upcoming Evening Sale features another piece of Zhang Xiaogang’s work, Bloodline Series: Big Family No. 3. This piece depicts two adults and a child staring solemnly ahead toward the viewer, the vivid lighting effects illuminating the subjects against a flat background, deliberately reminiscent of carefully retouched black-and-white family photographs from the 1950s and 1960s. Although the group is situated together, confined within the parameters of the large rectangular canvas, they stand rigidly with vacant stares that emotionally isolate them from each other as well as from themselves. They are connected, however, via barely perceptible crimson bloodline threads that link the child to his parents behind him. The central child is rendered in a pronounced shade of brilliant red that starkly contrasts the greyscale pair behind. In exploring the notion of identity in relation to the Chinese culture of collectivism, as embodied in the present work, Zhang confronts the viewer with a strikingly archetypal face from a turbulent time of historical suffering.

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Zeng Fanzhi

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Zeng Fanzhi Untitled, 2005. Estimate: HK$6,000,000-8,000,000.
\n20th Century & Contemporary Art Evening Sale, Hong Kong.

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Among the most globally-collected Chinese contemporary artists, Zeng Fanzhi has created a diverse body of work that earned him the recognition and esteem from prestigious museums and collectors. Executed in 2005, Untitled marks the end of the Mask series as the artist started to create works with more unrestrained gestural movements. The present work depicts a girl apparently asleep at a table and resting her head on her hand, with skillful and concentrated oil strokes vividly outlining the ruddy complexions of her skin. The subject displays no clear countenance, without any contextual clues or references, a sense of mystery permeates the pictorial space, leaving the viewer to rely on his or her own visual instincts. Untitled reflects Zeng’s own endeavor in translating his growing understanding of human emotion as he transitioned from the Mask series to explore a new horizon in his aesthetic inspirations and artistic directions.

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Yue Minjun

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Yue Minjun Chimney, 1993. Estimate: HK$4,200,000-6,200,000.
\n20th Century & Contemporary Art Evening Sale, Hong Kong.

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Very few artists in China today have managed to bring into existence an icon as captivating and universally-recognizable as the “smiling man” who populates Yue Minjun’s oeuvre. Chimney offers a particularly captivating example of Yue’s legendary line of work, featuring a battalion of frozen-faced clones, who bear a resemblance to the artist himself, staring out atop a towering brick factory chimney. Claustrophobically confined within the architectural structure of a factory tower, a symbolic image that both represents modernization and evokes the present painting’s title, the cloned portrait of Yue’s toothy alter-ego is duplicated across numerous rows. Their skin tone is articulated in a neutral tone of khaki that is reminiscent of the Terracotta Warrior army from the Han Dynasty (206 BC–220 AD), as well as the color scheme of Mao’s China, which saw the population uniformly dress in army green, navy blue, white, black and grey. Yue’s indistinguishable figures in Chimney, although smiling, appear to bear lock-jawed expressions that allude to a forced sense of happiness. The present work was created during a pivotal year in Yue’s esteemed oeuvre when the artist began including his signature smiling features regularly. Yue’s grinning protagonists, as embodied in Chimney and the later Self-portrait, below, “[laugh] to mask feelings of helplessness,” as they conceal the heavy shared burden of trying to make light of China’s deeply complex history. Self-portrait exemplifies the emotional ambiguity of Yue's work, as the figure's true state remains unknowable: Is he falling down or standing up? Laughing or grimacing?

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Yue Minjun Self-portrait, 2004. Estimate: HK$800,000-1,200,000.
\n20th Century & Contemporary Art and Design Day Sale, Hong Kong.

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The group of blue-chip Chinese contemporary artists has been acknowledged by both public and private collectors for their remarkable skill and command of narrative. The curated selection of paintings from these artists, offered at Phillips’ Spring sale series this July, is representative of the art world’s embrace of these key artists and the international appetite for exceptional examples of their work.

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\n","2020-06-15T19:43:20.000000Z","https://www.phillips.com/article/59423580/chinese-contemporary-art-liu-ye-zeng-fanzhi-zhang-xiaogang-yue-minjun-hong-kong-auction",834,3017,59423580,{"_3375":3547,"_3377":231,"_3378":3548,"_3344":3549,"_3381":3550,"_3383":3551,"_3385":1619,"_3386":473,"_3387":3552,"_465":906,"_3389":3553,"_3391":3554,"_3393":3555},"https://flockler.com/thumbs/sites/889/142001_reshoot_uc307308-01f4f006-a140-4db5-a0ac-8988ffe87c9d_s600x0.jpg"," 從四位中國當代藝術家的作品探討他們對中國藝術和文化發展的影響","中國當代藝術的新一頁","

劉野《天使合唱團(紅)》1999年作。估價 20,000,000-40,000,000 港元。
\n「二十世紀及當代藝術」晚間拍賣, 香港。

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中國的特殊社會環境在1980、90年代孕育出一群極具代表性的藝術家，當中包括曾梵志、劉野、張曉剛和岳敏君等，被視為藍籌中國當代藝術家。他們大部分成長於1970和1980年代的中國改革開放時期。他們在1980、90年代創作的著名作品以有力和引人入勝的敘事手法，反映當時社會和經濟的重大變化，別具歷史意義。他們備受藏家追捧，重要的藍籌作品相對稀有，隨著越來越多新買家進入市場和了解藝術品的重要性，加上在過去十年間，中國當代藝術發展迅速，各大藝術機構和私人美術館的成立，這群藍籌藝術家的作品價值只會不斷上升。今季拍賣，富藝斯香港將於「二十世紀及當代藝術」晚間拍賣和「二十世紀及當代藝術和設計」日間拍賣呈獻一系列中國當代藝術作品，讓我們從作品中感受藝術家們的創作力和細膩的敘事手法。

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劉野

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中國當代繪畫藝術家劉野以其創作的夢境般圖像而聞名，亮相去年富藝斯秋拍的《她不怯對蒙德里安》充滿了肖像學和隱藏的含義，最後以339萬美元成交。今季富藝斯呈獻的《天使合唱團(紅)》首度現身拍賣場，屬劉野的早期作品，來自他標誌性的「紅色帷幕」系列，創作於他從歐洲回到中國後不久。帷幕具有兩種象徵：「展現」和「遮蔽」。在這一幕中，面無表情地唱詩的天使整齊地列隊站立，投射著一種在活潑吵鬧的孩子身上少見的秩序感和紀律性，其意像如此協調卻更顯得具有欺騙性。帷幕是劉野的永恆主題，營造空間與時間上強烈的錯位感，真實與幻象的交互，挑逗著對現實和傳統觀看方式的預設感知。

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紅色在中國文化中像徵著喜福，亦是具有意識形態的顏色。劉野回憶道：「我在一個充滿了紅色的世界長大，紅太陽、紅旗和紅領巾，至於綠松樹、柏樹和向陽花，都只是紅色寓意的陪襯品罷了。」將紅色與他童年時代所主導的視覺標誌聯繫起來，《天使合唱團(紅)》中吟唱的天使微妙地指涉隨處可見的宣傳畫中那些臉頰紅潤的孩子，而舞台佈景和圓形聚光燈的設置則強烈地放大了圖像的戲劇效果。

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「我對作品的解讀是開放的，我歡迎不同的觀眾對我的作品有不同的理解。」
\n— 劉野
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有趣的是，《天使合唱團(紅)》中所渲染的紅色和藍色均表達了由童年記憶所喚起的視覺經驗，正如藝術家所回憶起的彩色鉛筆，然而《天使合唱團(紅)》並非停留在過去——劉野在柏林期間，中國現代史也進入了一個關鍵時刻，使他回國後在創作上的發展得以獨立於政治因素之外。劉野通過想像與童話故事的力量，打破了時代象徵的束縛，讓來自東西方文化傳統的全新意涵和關聯在戲劇化的紅色帷幕佈景中自由互動。在這一層面上，《天使合唱團(紅)》對藝術家本人也是一種象徵——在歷史與再現的交集中自由探索，劉野已然形成了一種超越傳統東西方藝術史範疇的獨特視覺語彙。至於作品中的各種隱喻，劉野有以下解釋: 「隱喻一直是我早期重要的工作方法，畫面中的符號都是多意的或含糊不清的，符號之間並沒有因果關係，這幾乎接近超現實主義。」

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劉野《女孩!》 2004年作。估價 3,800,000-4,800,000港元。
\n「二十世紀及當代藝術和設計」日間拍賣，香港。

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劉野的作品被許多公共機構所收藏，於2018至19年在上海Prada榮宅舉辦的個展更於今年在意大利米蘭的Prada Fondazione再度展出，展覽名稱為《Liu Ye Storytelling》。

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張曉剛

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張曉剛《重複的空間14號：分裂的夢》 1990年作。
\n估價 6,000,000-8,000,000 港元。
\n「二十世紀及當代藝術」晚間拍賣，香港。

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張曉剛憑藉其獨特立場向世人展示了中國當代藝術的發展，成為公認的這一代人中最著名的藝術家之一。 1980年代末張曉剛創作了一系列反映該動盪時期心理衝擊的作品，影射那一時代情感隔絕的狀態。在《重複的空間14號：分裂的夢》中，他構建了一個脫離現實的封閉空間。畫面中央的桌面上，一隻斷頭睜著大得異常的雙眼，目光帶著無以名狀的空洞和迷惘，佈局有如祭壇上的祭祀儀式，陰沉的畫面充溢著一種明顯的哀悼氛圍。社會政治環境的改變促使張曉剛告別早期偏浪漫、夢幻的主題，最初展現在《黑色三部曲：恐怖、冥想、憂鬱》。《重複的空間》是《黑色三部曲》的延續，系列共13幅作品，本件作品是為其中一幅。

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張曉剛《血緣：大家庭》（三人） 2005年作。估價10,000,000-15,000,000港元。
\n「二十世紀及當代藝術」晚間拍賣，香港。

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同樣亮相於本次拍賣的張曉剛作品《血緣：大家庭》（三人），描繪了兩名大人和一名小孩嚴肅地凝視著觀者的方向，製造出一種1950和1960年代黑白家庭老照片效果。僅管三人在大幅矩形畫框內緊靠在一起，但他們站姿生硬，目光空洞，與彼此和自身都表現出情感上的隔離。然而，在他們之間有一條幾乎難以察覺的深紅色血緣線，將孩子與其身後的父母聯繫起來。中間的孩子以鮮豔的紅色調渲染，與身後灰色調的兩人形成鮮明對比。作品所體現的，在對身分建構與中國文化中的集體主義之間聯繫的探求中，張曉剛向觀者展示的正是充滿傷痛的歷史洪流中極具代表性的面孔。

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曾梵志

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曾梵志《無題》 2005年作。估價6,000,000-8,000,000港元。
\n「二十世紀及當代藝術」晚間拍賣，香港。

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身為全球知名度最高的中國當代藝術家之一，曾梵志創作了一系列豐富而多元的作品，贏得了全世界重要美術館和收藏家的一致關注和讚譽。創作於2005年，《無題》標誌著《面具》系列的終結，他開始以更自由的姿態動作進行創作。本件作品描繪了一個顯然倚著桌子睡著的女孩，將頭靠在手上，通過精湛和濃重的油畫筆觸生動地勾勒出她紅潤的膚色。人物的面容並不清晰，不含任何環境上的線索或參照，圖像空間滲透著一股神秘的氛圍，任由觀者倚賴他們自身的視覺本能去做出判斷。作品同時見證了曾梵志的創作隨著他對人類情感狀態理解的深入在不斷發展。

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岳敏君

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岳敏君《大煙囪》 1993年作。估價4,200,000-6,200,000港元。
\n「二十世紀及當代藝術」晚間拍賣，香港。

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在當今中國，極少有藝術家的作品能像岳敏君的笑臉人物那樣家喻戶曉、俘獲人心，並成為大眾視野裡的文化經典。《大煙囪》是岳敏君的典範之作，呈現了一隊長相頗似藝術家本人的面孔僵硬的複制人，在一座高聳的磚砌工廠煙囪上瞪著雙眼。幽禁於工廠大樓的建築結構之上——既是現代工業化的象徵又是對這件畫作標題的指涉。他們的膚色被描繪成中性的暗綠色，讓人聯想起漢代的兵馬俑以及毛澤東時代中國的主色調。岳敏君在《大煙囪》中的一式一樣的人物形象，即使笑著，僵著下巴的表情，暗示著他們的強顏歡笑。創作於岳敏君的標誌性笑臉在其作品中反復出現的關鍵一年，正如這件作品所展示的，畫中咧嘴大笑的人物「用笑來掩蓋其無助」，去隱藏國家極為複雜的歷史給他們的命運所造成的沉重的集體負擔。

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岳敏君《自畫像》，2004年作。估價 800,000-1,200,000港元。
\n「二十世紀及當代藝術和設計」日間拍賣，香港。

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這群中國當代藝術家透過獨特的筆觸和敘事手法創作出極具感染力的作品，他們的作品被許多公共機構所收藏，在拍賣市場的驕人成績更加是有目共睹，出自他們手筆的一系列作品亮相富藝斯7月拍賣，將會再度成為藝術和拍賣界的話題。

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\n","2020-06-16T10:41:22.000000Z","https://www.phillips.com/article/59445075/chinese-contemporary-art-liu-ye-zeng-fanzhi-zhang-xiaogang-yue-minjun-hong-kong-auction-zh",833,3019,59445075,{"_3375":3557,"_3377":231,"_3378":3558,"_3344":3559,"_3381":3560,"_3383":3561,"_3385":1619,"_3386":473,"_3387":3562,"_465":928,"_3389":3563,"_3391":3564,"_3393":3565},"https://flockler.com/thumbs/sites/889/219_001-3db59cd7-a553-43dd-a6a3-ac69b499775a_s600x0.jpg","Phillips is delighted to offer a special curated selection from lots 217-230 with Design Trust, an initiative of the Hong Kong Ambassadors of Design, as part of the 20th Century & Contemporary Art & Design Hong Kong Day Sale. ","Phillips x Design Trust Charity Auction","

Michael Lau 1+1=3 (1969), 2019. Estimate: HK$120,000-180,000.
\n20th Century & Contemporary Art and Design Day Sale, Hong Kong.

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中文閱讀

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Phillips is delighted to offer a special curated selection from lots 217-230 with Design Trust, an initiative of the Hong Kong Ambassadors of Design, as part of the 20th Century & Contemporary Art & Design Hong Kong Day Sale. Since the establishment of the Design Trust initiative in 2014, the initiative continues to positively impact the design community in support to scholars, design researchers and practitioners. In providing fellowships with partnering overseas and local institutions, grant recipients expand their portfolios in the fields of research, skill-building or practice. In addition, Design Trust aims to actively accelerate the development of meaningful projects that advocate the positive role of design. Design disciplines can range from graphics, wearable technologies, product design, architecture to the built environment.

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MAP OFFICE Hong Kong Is Land (in 8 parts), 2014. Estimate: HK$100,000-150,000.
\n20th Century & Contemporary Art and Design Day Sale, Hong Kong.

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\nAs a dynamic platform, Design Trust provides responsive funding to develop design expertise, build research initiatives and content related to Hong Kong, expanding to the Greater Bay Area region and internationally. Grant recipients have opportunities to work on cross-disciplinary projects and exchanges as well as to showcase works at international exhibition venues, biennales or design festivals. For example, the first Feature Grant grantee MAP Office exhibited their project “Uneven Growth” at the MoMA in New York. Working closely with M+ museum and the Royal College of Art London on fellowship-programs, Design Trust continues to contribute to bodies of original knowledge relating to design and architecture in Hong Kong, the region and internationally.

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ANOTHERMOUNTAINMAN (STANLEY WONG) redwhiteblue / nowhere, now here , 2020. Estimate: HK$50,000-60,000.
\n20th Century & Contemporary Art and Design Day Sale, Hong Kong.

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To further advance their mission, Design Trust expanded their focus to grow the organization’s outreach by launching a new flagship program Design Trust Futures Studio in 2017, a new platform to give young, emerging designers and curators opportunities to work on projects mentored by leading designers and practitioners from industrial to landscape fields. The 2018 edition focused on notions of innovation, leisure and play, and demonstrated the importance of social impact of public space. The 2019 edition focused on the theme “Heritage is Innovation” and explored the role of contemporary design in culture through examining heritage, sustainability and conservation.

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MICHAEL YOUNG Pair of PETITE SERGENT ceiling pendants, 2014.
\nEstimate: HK$50,000-60,000.
\n20th Century & Contemporary Art and Design Day Sale, Hong Kong.

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The fundraising auction is part of our effort this year to raise funds for Grant programs. This unique section will feature 14 works generously donated by the design and cultural community, including works by Michael Lau, Stanley Wong (DTFS 2017, 2018 Mentor), Studio Swine (DTFS 2019 Mentor), Michael Young (DTFS 2019 Mentor), and MAP Office (Design Trust Feature Grantee), among others. All proceeds of this fundraising auction will go towards supporting DESIGN TRUST’s core mission and granting programmes to foster and nurture the design community in Hong Kong and the region, addressing the immediate impact of covid-19, as well as ongoing efforts of the realisation of DESIGN TRUST FUTURES STUDIO micro-parks across Hong Kong.

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Design Trust would like to extend sincere gratitude and appreciation to Phillips (auctioneers since 1796), the Design Trust Board, Benefit Committee Members, logistics partner Helu-Trans (HK) Pte Ltd., and all the generous auction lot donors for their patronage that will help to shape and set a positive momentum for Design Trust.

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Other highlights from this specially curated selection

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ADRIAN WONG Ultramarine Knob (circa 1975), 2017.
\nEstimate: HK$20,000-40,000.
\n20th Century & Contemporary Art and Design Day Sale, Hong Kong.

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MAK YING TUNG 2 Home Sweet Home: Rosy Drone, 2019.
\nEstimate: HK$80,000-120,000.
\n20th Century & Contemporary Art and Design Day Sale, Hong Kong.

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CAO FEI Prison Architect 13 (from Prison Architect Series), 2018.
\nEstimate: HK$120,000 - 180,000
\n20th Century & Contemporary Art and Design Day Sale, Hong Kong.

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HOI LAM AU Memorandum (December 2014), 2015.
\nEstimate: HK$60,000 - 80,000
\n20th Century & Contemporary Art and Design Day Sale, Hong Kong.

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THE HAAS BROTHERS A Unique hand-thrown Gnome Dome Solo accretion, 2014.
\nEstimate: HK$30,000 - 50,000
\n20th Century & Contemporary Art and Design Day Sale, Hong Kong.

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MICHAEL ANASTASSIADES Pair of Tip Of The Tongue Table Lamps, 2020.
\nEstimate: HK$18,000 - 22,000
\n20th Century & Contemporary Art and Design Day Sale, Hong Kong.

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ENRICO MARONE CINZANO Flat-Pack Qing Chair , 2020.
\nEstimate: HK$80,000 - 100,000
\n20th Century & Contemporary Art and Design Day Sale, Hong Kong.

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STUDIO SWINE Hair Highway, Comb (set of three), 2014
\nEstimate: HK$25,000 - 45,000
\n20th Century & Contemporary Art and Design Day Sale, Hong Kong.

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INGO MAURER XXL DOME HANGING LAMP, 1999
\nEstimate: HK$100,000 - 150,000
\n20th Century & Contemporary Art and Design Day Sale, Hong Kong.

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ZAHA HADID DESIGN NODE Vessel - Clear, 1999
\nEstimate: HK$45,000 - 65,000
\n20th Century & Contemporary Art and Design Day Sale, Hong Kong.

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ABOUT DESIGN TRUST

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Design Trust was established in 2014 by Hong Kong Ambassadors of Design, a registered charity in Hong Kong since 2007, as a grant-funding platform. Design Trust supports creative projects that develop expertise and build research initiatives and content related to Hong Kong and the Greater Bay Area. Working across a multiplicity of design disciplines from graphics, media, and architecture to the built environment, Design Trust aims to actively accelerate creative research, design, and the development of meaningful projects that advocate for the positive role of design.

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\n","2020-06-19T07:55:38.000000Z","https://www.phillips.com/article/59548476/phillips-x-design-trust-charity-auction",824,3028,59548476,{"_3375":3567,"_3377":231,"_3378":3568,"_3344":3569,"_3381":3570,"_3383":3571,"_3385":1619,"_3386":473,"_3387":3572,"_465":947,"_3389":3573,"_3391":3574,"_3393":3575},"https://flockler.com/thumbs/sites/889/219_001-fffa547c-75ca-4bc2-afe4-88c32a3ff8ae_s600x0.jpg","富藝斯香港很高興與信言設計大使攜手為7月舉行的二十世紀及當代藝術品拍賣帶來一系列精選作品(拍品217-230)。","富藝斯香港 x 信言設計大使慈善拍賣會","

劉建文《1+1=3 (1969)》, 2019年作。估價 120,000-180,000港元
\n二十世紀及當代藝術和設計日間拍賣, 香港。

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富藝斯香港很高興與信言設計大使攜手為7 月的二十世紀及當代藝術品拍賣帶精選拍品(拍品217-230)。信言設計大使為一個成立於 2014 年的專案資助平台，由 2007 年創立的本地註冊非牟利慈善團體「香港設計大使」創辦。與本地及海外機構合作，信言設計大使提供資助計劃，讓受益人能加強其研究、技能及從業資歷。信言設計大使旨於支持設計專案，推動專業知識、設計研究議題和創意項目，涉及多個設計領域，從平面設計、媒體、建築至生活空間。

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MAP OFFICE 《香港是陸地 (8件一組)》 2014年作。估價100,000-150,000港元。
\n二十世紀及當代藝術和設計日間拍賣, 香港。

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作為一個多元的平台，信言設計大使提供資助，協助受益人在香港、大灣區乃至國際間發展設計專業和研究內容。他們有機會探討跨界項目及交流，並於國際展覽、雙年展或設計節中展示他們的作品項目。第一位專題資助計劃受益人 MAP Office，以其「Uneven Growth」項目於紐約現代藝術博物館展出。信言設計大使亦長期與 M+ 博物館和英國皇家藝術學院合作推行研究資助計劃，鼓勵原創獨立或團體設計師進行關於香港、大灣區以至國際的設計及建築領域的研究。

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又一山人 (黃炳培)《紅白藍 / nowhere, now here》 2020年作。估價 50,000-60,000港元。
\n二十世紀及當代藝術和設計日間拍賣, 香港。

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為進一步實踐本會理念，信言設計大使於 2017 年推出全新旗艦計劃「未·共研社」。作為一個新的平台，讓年輕的新晉設計師和策展人有機會與從工業到景觀設計界別中首屈一指的設計師和從業員合作和學習。 2018 年本計劃旨在探索並促進城市中的創新、閒暇和娛樂，為香港的公共空間設計規劃作出正面貢獻。2019年，「未．共研社」的研究主題及概念聚焦在『創新的文化遺產』，通過研究文化古蹟和可持續性、保育等議題，探索當代設計在社會文化中的角色。

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邁克爾·楊《PETITE SERGENT 吊燈一對》 2014年作。估價 50,000-60,000港元。
\n二十世紀及當代藝術和設計日間拍賣, 香港。

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慈善拍賣是今年資助平台的重要資金來源。這部分將展出14件由設計界和藝術界人士慷慨捐贈的作品。包括劉建文，黃炳培（2017和2018年「未·共研社」導師），Studio Swine（2019年「未·共研社」導師），Michael Young（2019年「未·共研社」導師）和MAP Office （信言設計大使專題資助計劃成功申請人）等的作品。是次籌款拍賣會收益將會全數用作支持信言設計大使的資助計劃，在香港和以外地區培育設計界專業知識及人才，並推動研究議題和創意項目，以應對新冠肺炎疫情帶來的影響，以及在各區實踐「未•共研社」的微型公園設計概念。

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信言設計大使謹在此鳴謝富藝斯拍賣行，信言設計大使董事會成員丶委員會成員，物流合作夥伴Helu-Trans (HK) Pte Ltd.和所有慷慨捐贈予是次籌款拍賣會的人士，這無疑為機構帶來一股積極動力。

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本次慈善拍賣的其他精選拍品

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王浩然《群青旋鈕 (約1975年)》 2017年作。估價 20,000-40,000 港元
\n二十世紀及當代藝術和設計日間拍賣, 香港。

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麥影彤二《美好家園：玫瑰無人機》2019年作。估價80,000-120,000港元
\n二十世紀及當代藝術和設計日間拍賣, 香港。

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曹斐《監獄建築師13號 (《監獄建築師》系列)》 2018年作。
\n估價120,000 - 180,000港元
\n二十世紀及當代藝術和設計日間拍賣, 香港。

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區凱琳《備忘 (2014年12月)》2015年作。估價60,000 - 80,000港元
\n二十世紀及當代藝術和設計日間拍賣, 香港。

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哈斯兄弟《獨特手擲土地神穹頂堆積個體》 2014年作。估價30,000 - 50,000港元
\n二十世紀及當代藝術和設計日間拍賣, 香港。

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MICHAEL ANASTASSIADES 《舌尖檯燈一對》2020年作。估價18,000 - 22,000港元
\n二十世紀及當代藝術和設計日間拍賣, 香港。

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恩里科·馬羅內·沁扎諾《組裝式清椅》2020年作。估價80,000 - 100,000港元
\n二十世紀及當代藝術和設計日間拍賣, 香港。

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STUDIO SWINE 《Hair Highway 梳子 (三件作品)》2014年作。估價25,000 - 45,000港元
\n二十世紀及當代藝術和設計日間拍賣, 香港。

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英葛·慕勒《XXL圓頂吊燈》1999年作。估價100,000 - 150,000港元
\n二十世紀及當代藝術和設計日間拍賣, 香港。

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ZAHA HADID DESIGN 《NODE 容器 - 透明》 1999年作。估價45,000 - 65,000港元
\n二十世紀及當代藝術和設計日間拍賣, 香港。

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關於信言設計大使

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信言設計大使為一個成立於2014年的專案資助平台，由2007年創立的本地註冊非牟利慈善團體「香港設計大使」創辦。信言設計大使旨於支持香港及大灣區的設計專案，推動專業知識、設計研究議題和創意項目，涉及多個設計領域，從平面設計、媒體、建築至生活空間。信言設計大使旨於積極鼓勵創意研究、設計及別具意義的計劃發展，藉此提倡設計的正面價值。

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\n","2020-06-19T09:28:05.000000Z","https://www.phillips.com/article/59550654/phillips-x-design-trust-charity-auction-zh",825,3029,59550654,{"_3375":3577,"_3377":89,"_3378":3578,"_3344":3579,"_3381":3580,"_3383":3581,"_3385":1619,"_3386":473,"_3387":3582,"_465":972,"_3389":3583,"_3391":3584,"_3393":3585},"https://flockler.com/thumbs/sites/889/01-47a7f06f-3bea-44a9-a1b8-ae1070edaec9_s600x0.jpg","In anticipation of our 14-lot charity auction benefitting Design Trust, Hong Kong, we spoke with the organization's co-founder and executive director to learn more about their charitable mission. ","In Conversation with Marisa Yiu of Design Trust, Hong Kong","

Marisa Yiu, Co‐founder/ Executive Director, Design Trust.

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中文閱讀

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Phillips is delighted to offer a special charity auction benefitting Design Trust, an initiative of the Hong Kong Ambassadors of Design, as part of the 20th Century & Contemporary Art & Design Hong Kong Day Sale. Since the establishment of the Design Trust in 2014, the organization continues to positively impact the design community by providing fellowships with overseas and local institutions, helping grant recipients expand their portfolios in the fields of research, skill-building or practice. In addition, Design Trust aims to actively accelerate the development of meaningful projects that advocate the positive role of design. We had the opportunity to speak with Co-Founder and Executive Director Marisa Yiu to learn more.

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Design Trust advocates for the positive values of design, shaping a better city and region through the Design Trust Futures Studio programme. “Mobilepark” by Wendy Wu, Ricky Lai, Xavier Tsang as part of DTFS 2017. Mentor: Sam Jacob. Lead Curator: Marisa Yiu.

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PHILLIPS: Tell us briefly about Design Trust’s broader mission as an organization.

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MARISA YIU: As a dynamic platform, Design Trust provides responsive funding to develop design expertise, build research initiatives and content related to Hong Kong, the region and beyond. Since the establishment of Design Trust in 2014 by Hong Kong Ambassadors of Design, a registered charity in Hong Kong since 2007, the initiative continues to positively impact the design community to support scholars, design researchers and practitioners. Through the provision of fellowships with partnering overseas and local institutions, grant recipients expand their portfolios in the fields of research, skill-building and practice and with a goal to benefit the public. We support innovative, thought-provoking projects in various design disciplines including, but not limited to, graphics, media, wearable technologies, architecture and the urban environment.

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Through community events, design dialogues and public lectures, Design Trust encourages interaction, exchange and discussion on a wider community level.

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P: When did you first get involved with Design Trust? How has your role evolved since then?

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MY: I have been involved since 2007, when HKAoD was founded alongside other individuals from Hong Kong's business and design communities, and joined the Board of Directors. We spearheaded the first-ever design festival in Hong Kong called DETOUR, which subsequently became the first cultural event to take place in the former Police Married Quarters. For 2010 DETOUR, we were given access to the Central Police Station Victoria Prison site for a large scale design festival, which I was excited to catalyze. We also hosted the first-ever Pecha Kucha event series in Hong Kong as well as initiated the Designer’s Exchange program. In 2013, I have to admit I had an epiphany to transform our registered charity to raise design excellence and engage with more positivity around the values of design research, so I rewrote the mission, vision and proposed a strategy. A few key players like Alan Lo, Bonnie Chan-Woo, Lars Nittve, Eric Schuldenfrei to Su-Mei Thompson supported this vision and gave a lot of advice.

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Design Trust Grants support the development of research, design and culture of the Greater Bay Area and internationally. Grantee Elaine Yan Lin Ng conducted a heritage craft research initiative with an aim to preserve Guizhou textile heritage and to create a transferrable ecosystem. Image courtesy of Elaine Yan Lin Ng.

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In 2014, the DESIGN TRUST initiative was officially established as a grant funding platform, we had the first M+/ Design Trust Research Fellowship introduced to support projects on design and architecture in Hong Kong and at that time we still called the region “Pearl River Delta” region as a focus on our city in the context of neighboring cities like Shenzhen, Macau to even Guangzhou as sites of inquiry and collaboration. Throughout the years we have also strengthened our Advisory Committee and Trustee council, and continue to foster cultural exchange through local, regional and international partnerships, including the Design Trust / RCA Fellowship in Design Curation in London, aimed to address the burgeoning field of design curating in a global context, whilst bringing other NGOs locally and internationally like the influential 1982 non-for-profit Storefront for Art & Architecture based in New York to Hong Kong. We expanded the presence of Design Trust in Beijing and Shenzhen with programs in 2015. To date, we have supported over 125 grantees projects and collaboratives, and over 100 public events and workshops in the last few years.

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Dancing Phoenix by Elaine Yan Ling Ng, as part of Design Trust Futures Studio 2019 in collaboration with Tai Ping. Mentor: Lyndon Neri & Rosanna Hu. Lead Curator: Marisa Yiu.

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P: What are some of the projects you’ve helped execute at Design Trust that made you most proud?

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MY: With an aim to further advance our mission, we expanded our focus to grow the organization’s outreach by launching a new flagship program DESIGN TRUST FUTURES STUDIO (DTFS) in 2017, a new platform to give young, emerging designers and curators opportunities to work on projects mentored by leading designers and practitioners in the exploration of materials, production, and to put forth the positive value of design assets in Hong Kong and beyond. Under DTFS 2018, we were able to work with different communities, stakeholders, private and public agencies to policymakers, to rethink our public space through four pilot micro-parks conceptual designs with an aim to transform the micro-park designs into reality. I am pleased to share that two out of four of these pilot sites’ construction works are underway. On the patronage side, we are grateful to have so many dedicated supporters and engaged committee members who volunteer their time to support besides philanthropic acts. One of my proudest moments was when inspiring architects like Rem Koolhaas & David Gianotten (OMA) said yes to support and work alongside young experimental architects in HK to produce our annual flagship gala event in 2018, and last year 2019 ARCHIGRAM’s co-founders Sir Peter Cook and Dennis Crompton inspired and worked closely with our HK based grantees to create a special installation and shared their 1960s archives with us. This truly represents the generosity of our NGO, bringing designers, experts and patrons together collectively, and allow us to build a cultural ecosystem in a vibrant and open-minded manner.

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Addressing archival urgencies through Design Trust Seed Grant, grantees Brian Kwok and Anneke Coppoolse conserved 1,000 neon sign drawings from one of Hong Kong’s last remaining neon sign makers. Image courtesy of Brian Kwok and Anneke Coppoolse.

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P: How has your organization’s base in Hong Kong affected the work you do? What is special about being in that particular city?

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MY: With every challenge comes opportunities and potentials, Hong Kong’s urban density and smallness enable us to rethink how space is utilized and how we can create impact through smallness, through our DTFS 2017 program “Small is Meaningful” our designer mentees were pushed to think out of the box and explore the future of micro-living and the role of public space. Another interesting aspect of Hong Kong is its rich history, multi-cultural influence, and heritage, and how design can offer a critical lens into how we interpret heritage, making and craft. Through our DTFS 2019 program, a series of site-specific projects were created with new sustainable and material innovations at the backdrop of the 1930s Haw Par Mansion, opening up heritage sites in new and exciting ways whilst inspiring the public to join free to public programming. We have so much more to uncover in our incredible city of Hong Kong!

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Going beyond conceptual ideation, the aim is to transform the micro‐park designs into reality. Yi Pei Square Playground’s construction work is underway and to be carried out by Hong Kong public agencies.

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P: Of the works Design Trust is bringing to the auction, do you have any favorites? What would you want to keep for yourself?

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MY: Honestly speaking, all and each of them are special and unique in their own way, we are grateful to all the designers/ artists and collectors for their personal donations to our cause. The fundraising auction is part of our efforts this year to raise funds for our Grant programs. This unique section features 14 works generously donated by the design and cultural community, and include works by Michael Lau, Stanley Wong (DTFS 2017, 2018 Mentor), MAP Office (Design Trust Feature Grantee), Mak Ying Tung 2, Michael Young (DTFS 2019 Mentor), Zaha Hadid Design, Studio Swine (DTFS 2019 Mentor) to incredible pieces by Ingo Mauer, Enrico Marone Cinzano etc.

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If I had to hone in one, a piece that is extra special for DESIGN TRUST is the work of our first Feature Grant recipient MAP Office, whose project “Uneven Growth” was exhibited at the MoMA in New York in 2014, MAK Vienna 2015, and many other museums later. Their project explores the uneven growth and different forms of ecologies in Hong Kong. Adding eight new islands to the existing 263 islands in Hong Kong to address various communities and their culture and economy. Their work “Hong Kong Is Land” blends myths, fiction and history to construct new territories and atlases, with an aim to promote universal values and a global connectedness from Hong Kong to the rest of the world.

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All proceeds of this fundraising auction will go towards supporting DESIGN TRUST’s core mission and granting programs to foster and nurture the design community in Hong Kong and the region, addressing the immediate impact of covid-19, as well as ongoing efforts of the realization of DESIGN TRUST FUTURES STUDIO micro-parks across Hong Kong.

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Learn more about Design Trust HK >

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\n","2020-06-25T22:23:53.000000Z","https://www.phillips.com/article/59789280/design-trust-charity-auction-hong-kong-day-sale",867,3047,59789280,{"_3375":3587,"_3377":89,"_3378":3588,"_3344":3589,"_3381":3590,"_3383":3591,"_3385":1619,"_3386":473,"_3387":3592,"_465":991,"_3389":3593,"_3391":3594,"_3393":3595},"https://flockler.com/thumbs/sites/889/my-6c5174e2-edf2-4ea5-a23b-220e77393c7f_s600x0.png","富藝斯即將舉行的慈善拍賣當中，14件拍品的收益將會用作支持信言設計大使。熱切期待拍賣舉槌之際，我們與機構聯合創辦人暨執行總監Marisa Yiu (姚嘉珊)進行對話，了解更多他們的慈善理念。","與來自信言設計大使的姚嘉珊對話","

信言設計大使聯合創辦人暨執行總監 Marisa Yiu 。

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富藝斯香港很高興為7 月的二十世紀及當代藝術和設計拍賣帶來與信言設計大使攜手合作的慈善籌款部分，收益將全數用作支持其資助計劃。信言設計大使為一個成立於 2014 年的專案資助平台，多年來持續與本地及海外機構合作，透過提供資助計劃讓受益人能加強其研究、技能及從業資歷。信言設計大使旨於支持設計專案，推動專業知識、設計研究議題和創意項目。我們在此有機會與機構聯合創辦人暨執行總監Marisa Yiu對談，了解當中更多詳情。

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信言設計大使透過「未・共研社」設計的正面價值，並藉此塑造一個更佳的城市和地區。吳然、黎偉傑、曾首彥的作品《「遊」樂園》是信言設計大使「未・共研社2017」作品之一。導師:Sam Jacob。首席策展人: Marisa Yiu.

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PHILLIPS: 請簡介信言設計大使的機構理念。

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MARISA YIU: 作為一個多元的平台，信言設計大使提供資助，協助受益人在香港乃至更廣泛地區的發展設計專業和研究內容。信言設計大使為一個成立於 2014 年的專案資助平台，由

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2007 年創立的本地註冊非牟利慈善團體「香港設計大使」創辦。與本地及海外機構合作，信言設計大使提供資助計劃，讓受益人能加強其研究、技能及從業資歷。信言設計大使旨於支持設計專案，推動專業知識、設計研究議題和創意項目，涉及多個設計領域，從平面設計、媒體、建築至生活空間。

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透過舉行業界活動、設計對談會，以及公開講座，信言設計大使推動業內更寬廣層次的互動交流與討論。

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P: 您何時首次接觸信言設計大使？您在當中的角色發展又是如何？

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MY: 我於2007年首度與機構接觸，當時「香港設計大使」剛成立，我與其他香港商業及設計人士一起加入董事會。我們領軍舉辦香港首個設計盛事「DETOUR」，其後亦成為首個於前警察已婚宿舍（即現PMQ元創坊）舉行的文化活動。2010年的DETOUR，我們獲准於前中區警署建築群域多利監獄（即現「大館」）舉辦規模更大的盛典，對此我感到無比興奮。我們亦主辦了香港首屆「設計師交流之夜」（Pecha Kucha），以及積極推動本地設計師的海外交流機會。我於2013年感悟到要為我們的註冊慈善機構作出轉化，旨於將設計更臻完善，以及推廣設計正面價值；因此我為機構的理念與願景進行重寫，並提出策略。羅揚傑、陳胡德姿、Lars Nittve、Eric Schuldenfrei，以及周素媚等重要參與人士均表示支持並提供許多建議。

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信言設計大使旨於支持大灣區乃至海外的設計專案，推動專業知識、設計研究議題和文化項目。資助受益人吳燕玲進行的傳統工藝研究專案，就以傳承貴州紡織工藝及創建可轉移生態為主題。圖片鳴謝：吳燕玲

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信言設計大使於2014年正式成立，成為專案資助平台。我們推出首個「M+ / 信言設計大使研究資助計劃」，用作支持香港的設計及建築項目。當時我們仍稱該區為「珠江三角洲」地區，連同深圳、澳門以至廣州等鄰近城市，香港扮演著諮詢及協作的角色。多年來，我們不斷壯大顧問委員會及信託委員會，同時持續透過本地及地區性乃至國際性合作促進文化交流，當中包括「信言設計大使 / RCA設計策展資助計劃」，目的是在全球範圍內反映香港和其地區設計策劃的新興領域，同時將更多本地及國際非政府組織引入香港，例如1989年成立的紐約藝術及建築機構Storefront for Art and Architecture。2015年，我們將信言設計大使的項目覆蓋層面擴展至北京及深圳。迄今為止，在過去數年我們已經資助超過125個受益人項目及協作計劃，以及舉辦超過100場公眾活動和工作坊

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吳燕玲的《鳳凰舞動》，是信言設計大使與計劃夥伴太平共同舉辦的「未・共研社 2019」作品之一。導師：郭錫恩及胡如珊。首席策展人：Marisa Yiu

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P: 在眾多您為信言設計大使執行的項目當中，哪些令您最引以為傲？

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MY:為進一步推動我們的理念，我們將重心擴大至拓展業務範圍，於2017年推出全新旗艦計劃「未・共研社」，此嶄新平台讓年輕新進設計師及策展人有機會在資深設計師及業界人士指導下，進行物料及製作過程的探索項目，從而帶出香港及更多地區的設計正面價值。

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「未・共研社2018」讓我們得以與不同團體、持份者、私人及公共機構，乃至政策制定者一起合作，透過四個先導微型公園的設計概念，藉由將其落實發展，重新思考我們的公共空間設想。我很高興地告訴您，在這四個先導設計當中，已有兩個正在展開工程。在贊助人方面，我們非常感謝有許多忠實支持者和積極參與的委員會成員，義務貢獻他們的寶貴時間支持各項慈善相關以及其他活動。我最引以為傲的時刻之一，是著名創意建築師Rem Koolhaas和OMA董事合夥人建築師David Gianotten答應參與2018年的「信言設計之夜」，支持香港年輕實驗建築師人才發展；以及去年的「信言設計之夜2019」，Archigram的聯合創辦人Peter Cook爵士與Dennis Crompton為受惠於我們資助計劃的香港設計師帶來啟發，並共同合作創造一組特別的藝術裝置，同時分享了他們的1960年代作品。此項盛事體現出非政府組織之間的慷慨互助，讓設計師、專才以及贊助人共聚一堂，以活力及開放態度建構文化生態。

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透過信言設計大使種籽資助計劃，受惠者Brian Kwok 及 Anneke Coppoolse 帶出檔案保留及研究的迫切性；他們從香港少數倖存的霓虹燈製作工廠獲得 1,000 張霓虹燈設計圖，並對之進行保養。圖片鳴謝：Brian Kwok 及 Anneke Coppoolse。

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P: 機構位處香港，這點如何影響您的工作？身處這個城市，你又覺得有何獨特的地方？

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MY: 每個挑戰都帶來機會和潛力，香港是一個高度城市化的彈丸之地，促使我們重新思考如何充分運用空間，以及透過方寸之土帶來影響。我們的「未・共研社2017」主題正是「『細小』的威力」，設計師學員需要突破思維界限，探討微型生活的未來發展，以及公共空間的角色。香港的另一有趣之處是其悠久歷史、多元文化的影響力和文化遺產，以及設計如何為這些遺產、產生過程以及手工藝，提供重要的演繹視角。「未・共研社2019」帶來一系列圍繞1930年代歷史建築虎豹別墅的項目，就可持續性及物料實踐創新意念，並以嶄新及令人振奮的形式開放此歷史遺址，讓公眾免費參與各個公開節目。香港是個還有許多精彩事物尚待發掘的城市！

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超越概念構思，矢志將微型公園設計落實發展。二陂坊遊樂場的工程正在進行，並由香港公營機構執行。

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P: 信言設計大使將為拍賣帶來的作品當中，有沒有您的心儀之選？有哪件作品是您自己想收藏的嗎？

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MY:老實說，它們每一件都非常獨特、各具特色，對於每位捐贈其作品的設計師/藝術家，我們深表謝意。慈善拍賣是今年資助平台的重要資金來源，這部分將展出14件由設計界和藝術界人士慷慨捐贈的作品，包括劉建文，黃炳培（2017和2018年「未·共研社」導師），MAP Office （信言設計大使專題資助計劃成功申請人）、麥影彤二、Michael Young（2019年「未·共研社」導師）、Zaha HadidDesign、Studio Swine（2019年「未·共研社」導師），以及英葛·慕勒、恩里科·馬羅內·沁扎諾等的出色傑作。

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要是我必須挑選一件的話，首屆信言設計大使專題資助計劃成功申請人MAP Office 的作品，對我們來說是份外特別的。其項目「Uneven Growth」曾先後於2014年及2015年在紐約現代藝術博物館及維也納應用藝術博物館展出，其後也在不同博物館亮相。「Uneven Growth」探討香港的各種不均等增長，以及各式生態的模樣，並在香港現有的263座島嶼之上，加入8個新島嶼，展望各個社區及其文化經濟的未來發展。MAP Office的作品《香港是陸地》融會神話、小說及歷史，構築出新的邊界與地圖，並藉此宣揚普世價值以及香港與世界各地的全球聯繫性。

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是次籌款拍賣會收益將會全數用作支持信言設計大使的資助計劃，在香港和以外地區培育設計界專業知識及人才，並推動研究議題和創意項目，以應對新冠肺炎疫情帶來的影響，以及在各區實踐「未•共研社」的微型公園設計概念。

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認識更多信言設計大使的詳情>

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INVADER

KAWS

KAWS UNTITLED, 2013. Estimate: HK$3,000,000-5,000,000.\n20th Century & Contemporary Art Evening Sale, Hong Kong.

KAWS UNTITLED (MBFI10), 2014. Estimate: HK$2,000,000-3,000,000.

KAWS AT THIS TIME, 2016. Estimate: HK$800.000-1,200,000.

MADSAKI

MADSAKI Les Demoiselles d'Avignon II, 2016. Estimate: HK$2,000,000-3,000,000.

MADSAKI White Center II (Yellow, Pink and Lavender on Rose), 2015. Estimate: HK$500,000-700,000.

Futura

Futura Untitled, 2019. Estimate: HK$180,000-280,000.

Futura FL-003, 2019. Estimate: HK$38,000-58,000.

Cleon Peterson

Cleon Peterson CP006 The Converter, 2015. Estimate: HK$150,000-250,000.

Cleon Peterson The Nightcrawler, 2015. Estimate: HK$300,000-500,000.

Invader

KAWS

KAWS《無題》2013年作，估價 3,000,000 - 5,000,000港元\n二十世紀及當代藝術晚間拍賣, 香港

KAWS《無題 (MBFI10)》2014年作，估價2,000,000-3,000,000港元\n二十世紀及當代藝術和設計日間拍賣, 香港

KAWS《此時》2016年作，估價800,000 - 1,200,000港元\n二十世紀及當代藝術和設計日間拍賣, 香港

MADSAKI

MADSAKI《亞維農的少女2號》2016年作，估價2,000,000 - 3,000,000港元\n二十世紀及當代藝術晚間拍賣, 香港

MADSAKI《白色中心II（黃色、粉色及玫瑰紫）》2015年作，估價500,000 - 700,000港元\n二十世紀及當代藝術和設計日間拍賣, 香港

Futura

FUTURA《無題》2019年作，估價180,000-280,000港元\n二十世紀及當代藝術和設計日間拍賣, 香港

FUTURA《FL-003》2019年作，估價38,000-58,000港元\n二十世紀及當代藝術和設計日間拍賣, 香港

克萊恩·佩特森

克萊恩·佩特森(Cleon Peterson)《CP006 The Converter》2015年作，估價150,000 - 250,000 港元\n二十世紀及當代藝術和設計日間拍賣, 香港

Daniel Arsham Ash & Pyrite Eroded Porsche, 2019 (detail).

Daniel Arsham Ash & Pyrite Eroded Porsche, 2019 (detail).

Daniel Arsham Blue Calcite Eroded Vogue Magazine, 2019.\n20th Century & Contemporary Art and Design Day Sale, Hong Kong.

Daniel Arsham Seated Female Figure, 2016.\n20th Century & Contemporary Art and Design Day Sale, Hong Kong.

丹尼爾·阿瑟姆，《灰色透石膏侵蝕的保時捷》，2019年作（局部）

丹尼爾·阿瑟姆，《灰色透石膏侵蝕的保時捷》，2019年作（局部）

丹尼爾·阿瑟姆，《藍色方解石風化水晶Vogue時尚雜誌》，2019年作\n二十世紀及當代藝術和設計日間拍賣, 香港

丹尼爾·阿瑟姆，《側坐女像》，2016年作\n二十世紀及當代藝術和設計日間拍賣​​​​​​​, 香港

Nicole Eisenman Hunnenschlacht (The Battle of the Huns), 2001. Estimate: HK$800,000-1,200,000\n20th Century & Contemporary Art and Design Day Sale, Hong Kong

Genieve Figgis Arty Party, 2019. Estimate: HK$550,000 - 750,000\n20th Century & Contemporary Art Evening Sale, Hong Kong

Genieve Figgis Ladies Picnic (Déjeuner sur l'herbe), 2014. Estimate: HK$200,000 - 400,000\n20th Century & Contemporary Art and Design Day Sale, Hong Kong

Christine Ay Tjoe Layer as a Hiding Place, 2013. Estimate: HK$4,000,000 - 6,000,000\n20th Century & Contemporary Art Evening Sale, Hong Kong

Barbara Kruger, Untitled (Shove it, starve it, blind it, choke it, drown it, shame it, buy it, fuck it), 1986. Estimate: HK$ 2,000,000 - 3,000,000\n20th Century & Contemporary Art Evening Sale, Hong Kong

Claire Tabouret, Les déguisements (Disguises), 2015. Estimate:HK$550,000 - 750,000\n20th Century & Contemporary Art and Design Day Sale, Hong Kong

Jenny Holzer Truism Footstool, 1988. Estimate: HK$150,000 - 250,000\n20th Century & Contemporary Art and Design Day Sale, Hong Kong

Firenza Lai Folding Arms, 2012. Estimate:HK$60,000 - 80,000\n20th Century & Contemporary Art and Design Day Sale, Hong Kong

Firenza Lai The Army, 2014. Estimate: HK$40,000 - 60,000\n20th Century & Contemporary Art and Design Day Sale, Hong Kong

Rosemarie Trockel Ocean view, 2014. Estimate: HK$480,000 - 650,000\n20th Century & Contemporary Art and Design Day Sale, Hong Kong

Jennifer Guidi Eight of Wands (White Sand #9 Mandala, Rainbow Gradient), 2018. Estimate: HK$180,000 - 280,000\n20th Century & Contemporary Art and Design Day Sale, Hong Kong

Paola Pivi Mama no more diapers, please, 2013. Estimate: HK$500,000 - 700,000\n20th Century & Contemporary Art and Design Day Sale, Hong Kong

妮可‧艾森曼《匈奴之戰》2001年作，估價 800,000-1,200,000港元\n二十世紀及當代藝術和設計日間拍賣, 香港

珍妮維·菲吉斯《藝術派對》2019年作，估價550,000 - 750,000港元\n二十世紀及當代藝術晚間拍賣, 香港

珍妮維·菲吉斯《淑女們的野餐 (草地上的午餐)》 2014年作，估價200,000 - 400,000港元\n二十世紀及當代藝術和設計日間拍賣, 香港

克莉絲汀·艾珠《隱身於層層疊疊之間》2013年作，估價4,000,000 - 6,000,000港元\n二十世紀及當代藝術晚間拍賣​​​​​​​, 香港

芭芭拉・克魯格, 《 無題（推、餓、瞎、掐、淹、辱、買、操）》 1986年作，\n​​​​​​​估價 2,000,000 - 3,000,000港元\n二十世紀及當代藝術晚間拍賣​​​​​​​, 香港

克萊兒・塔伯芮《偽裝》 2015年作，估價550,000 - 750,000港元\n二十世紀及當代藝術和設計日間拍賣, 香港

珍妮・霍爾澤《真理腳凳》1988年作，估價150,000 - 250,000港元\n二十世紀及當代藝術和設計日間拍賣, 香港

黎清妍《交叉雙臂》2012年作，估價60,000 - 80,000港元\n二十世紀及當代藝術和設計日間拍賣, 香港

黎清妍《軍隊》2014年作，估價40,000 - 60,000港元\n二十世紀及當代藝術和設計日間拍賣, 香港

羅斯瑪麗·特洛柯爾《海景》2014年作，估價480,000 - 650,000港元\n二十世紀及當代藝術和設計日間拍賣, 香港

詹妮弗·圭迪《八根魔杖 (白沙9號、曼陀羅、彩虹漸層)》2018年作，估價180,000 - 280,000港元\n二十世紀及當代藝術和設計日間拍賣, 香港

波拉·彼薇《媽媽，請不要再給我尿布了》 2013年作，估價500,000 - 700,000港元\n二十世紀及當代藝術和設計日間拍賣, 香港

Yoshitomo Nara Wheels Go Round, 1994. Estimate: HK$2,000,000-3,000,000.\n20th Century & Contemporary Art and Design Day Sale, Hong Kong.

Yoshitomo Nara Miss Tannen, 2012 (detail). Estimate: HK$3,500,000-5,500,000. \n20th Century & Contemporary Art Evening Sale, Hong Kong.

Yoshitomo Nara Miss Tannen, 2012. Estimate: HK$3,500,000-5,500,000.\n20th Century & Contemporary Art Evening Sale, Hong Kong.

Yoshitomo Nara In the Floating World (set of 16), 1999. Estimate: HK$800,000-1,200,000.\n20th Century & Contemporary Art and Design Day Sale, Hong Kong.

奈良美智《旋轉輪》1994年作。估價2,000,000-3,000,000港元。\n二十世紀及當代藝術和設計日間拍賣, 香港。

奈良美智《樅樹小姐》(局部)2012年作。估價3,500,000-5,500,000港元。\n二十世紀及當代藝術晚間拍賣, 香港。

奈良美智《樅樹小姐》2012年作。估價3,500,000-5,500,000港元。\n二十世紀及當代藝術晚間拍賣, 香港。

奈良美智《浪遊浮世系列（十六張一組）》1999年作。估價800,000-1,200,000港元。\n二十世紀及當代藝術和設計日間拍賣, 香港。

Paola Pivi, Mama No More Diapers, Please, 2013, Estimate: HK$500,000 - 700,000\n20th Century & Contemporary Art and Design Day Sale, Hong Kong

Kohei Nawa, PixCell-Toy-Egg Plant,2006, Estimate: HK$90,000 - 120,000\n20th Century & Contemporary Art and Design Day Sale, Hong Kong

Barbara Kruger, Untitled (Shove it, starve it, blind it, choke it, drown it, shame it, buy it, fuck it), 1986, Estimate: HK$2,000,000 - 3,000,000\n20th Century & Contemporary Art Evening Sale, Hong Kong

Chen Tianzhuo, Asian Boy, 2014, Estimate: HK$20,000 - 40,000\n20th Century & Contemporary Art and Design Day Sale, Hong Kong

Nobuyoshi Araki, Untitled (’67 Shooting Back), 2017, Estimate: HK$30,000 - 50,000\n20th Century & Contemporary Art and Design Day Sale, Hong Kong

Nobuyoshi Araki, Seven Works: (i) LM22871; (ii) LM22872; (iii) LM22873; (iv) LM22874; (v) LM22875; (vi) LM22876; (vii) LM22877, 2014, Estimate: HK$10,000 - 20,000\n20th Century & Contemporary Art and Design Day Sale, Hong Kong

Tomoo Gokita, Mask, 2010, Estimate: HK$500,000 - 700,000\n20th Century & Contemporary Art and Design Day Sale, Hong Kong

Daido Moriyama, Tights in Shimotakaido, 2013, Estimate: HK$35,000 - 55,000\n20th Century & Contemporary Art and Design Day Sale, Hong Kong

David LaChapelle, Steroids Shrink Balls, 2004, Estimate: HK$80,000-120,000\n20th Century & Contemporary Art and Design Day Sale, Hong Kong

波拉・彼薇《媽媽，請不要再給我尿布了》2013年作，估價500,000 - 700,000港元\n二十世紀及當代藝術和設計日間拍賣, 香港

名和晃平《 PixCell-玩物-茄子》2006年作，估價90,000 - 120,000港元\n二十世紀及當代藝術和設計日間拍賣, 香港

芭芭拉・克魯格 《 無題（推、餓、瞎、掐、淹、辱、買、操）》 1986年作\n估價2,000,000 - 3,000,000港元\n二十世紀及當代藝術晚間拍賣, 香港

陳天灼《亞洲男孩》2014年作，估價20,000 - 40,000港元\n二十世紀及當代藝術和設計日間拍賣, 香港

KAWS UNTITLED, 2013. Estimate: HK$3,000,000-5,000,000.
\n20th Century & Contemporary Art Evening Sale, Hong Kong.

KAWS《無題》2013年作，估價 3,000,000 - 5,000,000港元
\n二十世紀及當代藝術晚間拍賣, 香港

KAWS《無題 (MBFI10)》2014年作，估價2,000,000-3,000,000港元
\n二十世紀及當代藝術和設計日間拍賣, 香港

KAWS《此時》2016年作，估價800,000 - 1,200,000港元
\n二十世紀及當代藝術和設計日間拍賣, 香港

MADSAKI《亞維農的少女2號》2016年作，估價2,000,000 - 3,000,000港元
\n二十世紀及當代藝術晚間拍賣, 香港

MADSAKI《白色中心II（黃色、粉色及玫瑰紫）》2015年作，估價500,000 - 700,000港元
\n二十世紀及當代藝術和設計日間拍賣, 香港

FUTURA《無題》2019年作，估價180,000-280,000港元
\n二十世紀及當代藝術和設計日間拍賣, 香港

FUTURA《FL-003》2019年作，估價38,000-58,000港元
\n二十世紀及當代藝術和設計日間拍賣, 香港

克萊恩·佩特森(Cleon Peterson)《CP006 The Converter》2015年作，估價150,000 - 250,000 港元
\n二十世紀及當代藝術和設計日間拍賣, 香港

Daniel Arsham Blue Calcite Eroded Vogue Magazine, 2019.
\n20th Century & Contemporary Art and Design Day Sale, Hong Kong.

Daniel Arsham Seated Female Figure, 2016.
\n20th Century & Contemporary Art and Design Day Sale, Hong Kong.

丹尼爾·阿瑟姆，《藍色方解石風化水晶Vogue時尚雜誌》，2019年作
\n二十世紀及當代藝術和設計日間拍賣, 香港

丹尼爾·阿瑟姆，《側坐女像》，2016年作
\n二十世紀及當代藝術和設計日間拍賣, 香港

Nicole Eisenman Hunnenschlacht (The Battle of the Huns), 2001. Estimate: HK$800,000-1,200,000
\n20th Century & Contemporary Art and Design Day Sale, Hong Kong

Genieve Figgis Arty Party, 2019. Estimate: HK$550,000 - 750,000
\n20th Century & Contemporary Art Evening Sale, Hong Kong

Genieve Figgis Ladies Picnic (Déjeuner sur l'herbe), 2014. Estimate: HK$200,000 - 400,000
\n20th Century & Contemporary Art and Design Day Sale, Hong Kong

Christine Ay Tjoe Layer as a Hiding Place, 2013. Estimate: HK$4,000,000 - 6,000,000
\n20th Century & Contemporary Art Evening Sale, Hong Kong

Barbara Kruger, Untitled (Shove it, starve it, blind it, choke it, drown it, shame it, buy it, fuck it), 1986. Estimate: HK$ 2,000,000 - 3,000,000
\n20th Century & Contemporary Art Evening Sale, Hong Kong

Claire Tabouret, Les déguisements (Disguises), 2015. Estimate:HK$550,000 - 750,000
\n20th Century & Contemporary Art and Design Day Sale, Hong Kong

Jenny Holzer Truism Footstool, 1988. Estimate: HK$150,000 - 250,000
\n20th Century & Contemporary Art and Design Day Sale, Hong Kong

Firenza Lai Folding Arms, 2012. Estimate:HK$60,000 - 80,000
\n20th Century & Contemporary Art and Design Day Sale, Hong Kong

Firenza Lai The Army, 2014. Estimate: HK$40,000 - 60,000
\n20th Century & Contemporary Art and Design Day Sale, Hong Kong

Rosemarie Trockel Ocean view, 2014. Estimate: HK$480,000 - 650,000
\n20th Century & Contemporary Art and Design Day Sale, Hong Kong

Jennifer Guidi Eight of Wands (White Sand #9 Mandala, Rainbow Gradient), 2018. Estimate: HK$180,000 - 280,000
\n20th Century & Contemporary Art and Design Day Sale, Hong Kong

Paola Pivi Mama no more diapers, please, 2013. Estimate: HK$500,000 - 700,000
\n20th Century & Contemporary Art and Design Day Sale, Hong Kong

妮可‧艾森曼《匈奴之戰》2001年作，估價 800,000-1,200,000港元
\n二十世紀及當代藝術和設計日間拍賣, 香港

珍妮維·菲吉斯《藝術派對》2019年作，估價550,000 - 750,000港元
\n二十世紀及當代藝術晚間拍賣, 香港

珍妮維·菲吉斯《淑女們的野餐 (草地上的午餐)》 2014年作，估價200,000 - 400,000港元
\n二十世紀及當代藝術和設計日間拍賣, 香港

克莉絲汀·艾珠《隱身於層層疊疊之間》2013年作，估價4,000,000 - 6,000,000港元
\n二十世紀及當代藝術晚間拍賣, 香港

芭芭拉・克魯格, 《無題（推、餓、瞎、掐、淹、辱、買、操）》 1986年作，
\n估價 2,000,000 - 3,000,000港元
\n二十世紀及當代藝術晚間拍賣, 香港

克萊兒・塔伯芮《偽裝》 2015年作，估價550,000 - 750,000港元
\n二十世紀及當代藝術和設計日間拍賣, 香港

珍妮・霍爾澤《真理腳凳》1988年作，估價150,000 - 250,000港元
\n二十世紀及當代藝術和設計日間拍賣, 香港

黎清妍《交叉雙臂》2012年作，估價60,000 - 80,000港元
\n二十世紀及當代藝術和設計日間拍賣, 香港

黎清妍《軍隊》2014年作，估價40,000 - 60,000港元
\n二十世紀及當代藝術和設計日間拍賣, 香港

羅斯瑪麗·特洛柯爾《海景》2014年作，估價480,000 - 650,000港元
\n二十世紀及當代藝術和設計日間拍賣, 香港

詹妮弗·圭迪《八根魔杖 (白沙9號、曼陀羅、彩虹漸層)》2018年作，估價180,000 - 280,000港元
\n二十世紀及當代藝術和設計日間拍賣, 香港

波拉·彼薇《媽媽，請不要再給我尿布了》 2013年作，估價500,000 - 700,000港元
\n二十世紀及當代藝術和設計日間拍賣, 香港

Yoshitomo Nara Wheels Go Round, 1994. Estimate: HK$2,000,000-3,000,000.
\n20th Century & Contemporary Art and Design Day Sale, Hong Kong.

Yoshitomo Nara Miss Tannen, 2012 (detail). Estimate: HK$3,500,000-5,500,000.
\n20th Century & Contemporary Art Evening Sale, Hong Kong.

Yoshitomo Nara Miss Tannen, 2012. Estimate: HK$3,500,000-5,500,000.
\n20th Century & Contemporary Art Evening Sale, Hong Kong.

Yoshitomo Nara In the Floating World (set of 16), 1999. Estimate: HK$800,000-1,200,000.
\n20th Century & Contemporary Art and Design Day Sale, Hong Kong.

奈良美智《旋轉輪》1994年作。估價2,000,000-3,000,000港元。
\n二十世紀及當代藝術和設計日間拍賣, 香港。

奈良美智《樅樹小姐》(局部)2012年作。估價3,500,000-5,500,000港元。
\n二十世紀及當代藝術晚間拍賣, 香港。

奈良美智《樅樹小姐》2012年作。估價3,500,000-5,500,000港元。
\n二十世紀及當代藝術晚間拍賣, 香港。

奈良美智《浪遊浮世系列（十六張一組）》1999年作。估價800,000-1,200,000港元。
\n二十世紀及當代藝術和設計日間拍賣, 香港。

Paola Pivi, Mama No More Diapers, Please, 2013, Estimate: HK$500,000 - 700,000
\n20th Century & Contemporary Art and Design Day Sale, Hong Kong

Kohei Nawa, PixCell-Toy-Egg Plant,2006, Estimate: HK$90,000 - 120,000
\n20th Century & Contemporary Art and Design Day Sale, Hong Kong

Barbara Kruger, Untitled (Shove it, starve it, blind it, choke it, drown it, shame it, buy it, fuck it), 1986, Estimate: HK$2,000,000 - 3,000,000
\n20th Century & Contemporary Art Evening Sale, Hong Kong

Chen Tianzhuo, Asian Boy, 2014, Estimate: HK$20,000 - 40,000
\n20th Century & Contemporary Art and Design Day Sale, Hong Kong

Nobuyoshi Araki, Untitled (’67 Shooting Back), 2017, Estimate: HK$30,000 - 50,000
\n20th Century & Contemporary Art and Design Day Sale, Hong Kong

Nobuyoshi Araki, Seven Works: (i) LM22871; (ii) LM22872; (iii) LM22873; (iv) LM22874; (v) LM22875; (vi) LM22876; (vii) LM22877, 2014, Estimate: HK$10,000 - 20,000
\n20th Century & Contemporary Art and Design Day Sale, Hong Kong

Tomoo Gokita, Mask, 2010, Estimate: HK$500,000 - 700,000
\n20th Century & Contemporary Art and Design Day Sale, Hong Kong

Daido Moriyama, Tights in Shimotakaido, 2013, Estimate: HK$35,000 - 55,000
\n20th Century & Contemporary Art and Design Day Sale, Hong Kong

David LaChapelle, Steroids Shrink Balls, 2004, Estimate: HK$80,000-120,000
\n20th Century & Contemporary Art and Design Day Sale, Hong Kong

波拉・彼薇《媽媽，請不要再給我尿布了》2013年作，估價500,000 - 700,000港元
\n二十世紀及當代藝術和設計日間拍賣, 香港

名和晃平《 PixCell-玩物-茄子》2006年作，估價90,000 - 120,000港元
\n二十世紀及當代藝術和設計日間拍賣, 香港

芭芭拉・克魯格《無題（推、餓、瞎、掐、淹、辱、買、操）》 1986年作
\n估價2,000,000 - 3,000,000港元
\n二十世紀及當代藝術晚間拍賣, 香港

陳天灼《亞洲男孩》2014年作，估價20,000 - 40,000港元
\n二十世紀及當代藝術和設計日間拍賣, 香港

荒木經惟《無題 ‘( 67 Shooting Back)》2017年作，估價30,000 - 50,000港元
\n二十世紀及當代藝術和設計日間拍賣, 香港

朱田，7件作品: (i)《LM22871》、(ii) 《LM22872》、(iii) 《LM22873》、(iv) 《LM22874》、(v) 《LM22875》、(vi) 《LM22876》、(vii) 《LM22877》，2014年作
\n估價10,000 - 20,000港元
\n二十世紀及當代藝術和設計日間拍賣, 香港

五木田智央《面具》2010年作，估價500,000 - 700,000港元
\n二十世紀及當代藝術和設計日間拍賣, 香港

森山大道《下高井戶的緊身褲》 2013年作，估價35,000 - 55,000港元
\n二十世紀及當代藝術和設計日間拍賣, 香港

大衛・拉切貝爾《類固醇讓球球縮小了》2004年作，估價 80,000-120,000港元
\n二十世紀及當代藝術和設計日間拍賣, 香港

EJNER LARSEN AND AKSEL BENDER MADSEN Rare ‘Metropolitan’ armchair, model no. 2842/L, designed 1949, executed circa 1961. Estimate:HK$80,000 - 120,000.
\n20th Century & Contemporary Art & Design Day Sale, Hong Kong

ALVAR AALTO Rare armchair, model no. 42, designed 1932, executed circa 1936. Estimate: HK$40,000 - 60,000.
\n20th Century & Contemporary Art & Design Day Sale, Hong Kong

KAARE KLINT‘Faaborg’ armchair, designed for the Faaborg Museum, Denmark, designed 1914, executed after 1984. Estimate: HK$10,000 - 20,000.
\n20th Century & Contemporary Art & Design Day Sale, Hong Kong

HANS J. WEGNER 'China' chair, model no. FH4283, designed 1943, executed 1969. Estimate: HK$40,000 - 60,000.
\n20th Century & Contemporary Art & Design Day Sale, Hong Kong

HANS J. WEGNER Early swivel armchair, model no. JH502, designed 1955. Estimate: HK$100,000 - 150,000.
\n20th Century & Contemporary Art & Design Day Sale, Hong Kong
\n
\n

NENDO ‘Manga Chair (24)’, 2015. Estimate:HK$35,000 - 55,000.
\n20th Century & Contemporary Art & Design Day Sale, Hong Kong

FERNANDO CAMPANA AND HUMBERTO CAMPANA, 'Sushi III' chair, 2012. Estimate: HK$70,000 - 90,000.
\n20th Century & Contemporary Art & Design Day Sale, Hong Kong

ZHOUJIE ZHANG‘SQN1-F2B-Brass’ chair, from the ‘Triangulation Series’, designed 2014, executed in 2015. Estimate: HK$50,000 - 80,000.
\n20th Century & Contemporary Art & Design Day Sale, Hong Kong

C.H. BROCKMANN- PETERSEN Sofa and armchair, designed circa 1956. Estimate: HK30,000 - 50,000.
\n20th Century & Contemporary Art & Design Day Sale, Hong Kong

OLE WANSCHER Armchair, model no. J2833, designed 1958. Estimate:HK$20,000 - 30,000.
\n20th Century & Contemporary Art & Design Day Sale, Hong Kong

Liu Ye Girl!, 2004. Estimate: HK$3,800,000-4,800,000.
\n20th Century & Contemporary Art and Design Day Sale, Hong Kong.

Zhang Xiaogang Duplicated Space No. 14 (Divided Dream), 1990.
\nEstimate: HK$6,000,000-8,000,000.
\n20th Century & Contemporary Art Evening Sale, Hong Kong.

Zhang Xiaogang Bloodline Series: Big Family No. 3, 2005.
\nEstimate: HK$10,000,000-15,000,000.
\n20th Century & Contemporary Art Evening Sale, Hong Kong.

Zeng Fanzhi Untitled, 2005. Estimate: HK$6,000,000-8,000,000.
\n20th Century & Contemporary Art Evening Sale, Hong Kong.

Yue Minjun Chimney, 1993. Estimate: HK$4,200,000-6,200,000.
\n20th Century & Contemporary Art Evening Sale, Hong Kong.

Yue Minjun Self-portrait, 2004. Estimate: HK$800,000-1,200,000.
\n20th Century & Contemporary Art and Design Day Sale, Hong Kong.

劉野《女孩!》 2004年作。估價 3,800,000-4,800,000港元。
\n「二十世紀及當代藝術和設計」日間拍賣，香港。

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