Page 236 - 二十世纪及当代艺术

艺术家简历 ARTIST BIOGRAPHIES

菲利克斯·崔德威尔（b.1992） 1992年出生于英国，2015年在坎伯维尔艺术学院获得绘画艺术学士学位。不久之后，在2018年，他获得了
FELIX TREADWELL 皇家艺术学院的绘画艺术硕士学位。他目前在伦敦生活和工作。
个人展览：2022年 "Carl Kostyál"，Hospitalet，斯德哥尔摩；The Hole NYC，纽约；2021年 "Buff Titan"，
Lot 1633
L21画廊，Palma，西班牙；2020年 "FEELO"，L21画廊，帕尔马，西班牙；"Dominion"，Dopeness艺术实验
室，台北；"FEELO"，L21画廊，帕尔马，西班牙。群展：2021年 “WOP"，Woaw画廊，香港；2020年"台北
艺术博览会"，Dopeness艺术实验室展位，台北；”DONTGIVEADAMNS"，Marian Cramer画廊，阿姆斯特丹

Born in the United Kingdom in 1992, Felix Treadwell received his Bachelor of Arts in Painting
from Camberwell College of Arts in 2015. Soon after, in 2018, he earned his Master of Arts in
Painting from the Royal College of Art. He cur-rently lives and works in London.
SOLO EXHIBITIONS: 2022 "Carl Kostyál", Hospitalet, Stockholm; The Hole NYC, New York; 2021
"Buff Titan", L21 Gallery, Palma, Spain; “Dominion", Dopeness Art Lab, Taipei; 2020 “FEELO",
L21 Gallery, Palma, Spain,GROUP EXHIBITIONS: 2021 “WOP", Woaw Gallery, Hong Kong; 2020
"Art Tai-pei", Dopeness Art Lab booth, Taipei; “DONTGIVEADAMNS", Gallerie Marian Cramer,
Amsterdam;

冯国东（1948-2005） 出生于1948年，2005年逝世。是1980年代活跃于中国官方艺术机制之外的一代艺术家中最特立独行的一
FENG GUODONG 位。他不曾在学院接受艺术教育，1964年参加工作，在北京帆布厂当扫地工，同时自学绘画。1970年代
中期，他参加了北京市劳动人民文化宫开办的美术学习班，在那里结识了钟鸣、马可鲁、王鲁炎等无名画
Lot 1547
会、星星画会的艺术家，他与这些画会有着比较密切的来往，但并没有成为其成员。1979年，他参加了最
早的艺术家自发组织的展览“新春画展”，此后还参加了北京油画研究会举办的其他展览。1981年，他的
文章《一个扫地工的梦》在《美术》杂志发表，文章谈到了他作为一名业余画家生存和创作的艰难，引起
了很大反响。1980年代，他逐渐和马可鲁、秦玉芬、张伟、朱金石等较早地探索抽象艺术的北京艺术家走
到一起，作品也越来越抽象，同时显示出中国传统水墨的影响。1980年代中期，他还开始创作木雕。1989
年，他参加了著名的“中国现代艺术展”，展出了装置作品《钟》系列。1990年代，他一边经营古玩生
意，一边出售经自己改造过的“古玩”，也创作木雕、玻璃画等。个展：2021，冯国东 1989—1999生活与
工作，马刺画廊，北京；2015，冯国东在现当代艺术的交叉口，马刺画廊，北京。

Feng Guodong was one of the most idiosyncratic artists of a generation active outside the
official Chinese art world in the 1980s. Born 1948, he began to learn painting by himself in
1964 while working as a cleaner in a textile factory. In the mid-1970s, he was enrolled in the
art training class at the Beijing Working People’s Cultural Palace, where he met Zhong Ming,
Ma Kelu, Wang Luyan, and other artists from the No Name and Stars groups, whose circles
he frequented without joining. He took part in the 1979 New Spring Art and then the Beijing
Oil Painting Research Association exhibitions, and in 1981 published a much-discussed
article in the magazine Meishu, titled “A Sweeper’s Dream,” in which he told of his difficulties
surviving as an amateur painter and the danger of losing his work over his passion for art.
Leaving behind different manners of post-impressionist, post-cubist, and symbolist styles, his
work became fully abstract in the early 1980s, influenced by traditional Chinese ink painting.
During this time he was part of the Beijing Abstractionist movement that included Ma Kelu, Qin
Yufen, Zhang Wei, and Zhu Jinshi. By mid-decade, he was making his first wood sculptures,
and when he participated in the China/Avant-Garde exhibition in Beijing’s National Art Gallery
in 1989, he showed sculptures that resembled gutted and abstracted clocks. In the 1990s he
turned to figurative wood sculpture, freely reshaping the human body often with a touch of
eroticism. He sold antiques along with his art from a market stall, made new sculptures by
reworking the antiques, and also took up glass painting. He died 2005 in Beijing, leaving behind
a multidisciplinary oeuvre whose breadth and vision is increasingly being recognized.Solo
Exhibition:2021, Feng Guodong | 1989–1999 Life and Work, Spurs Gallery, Beijing; 2015, On the
Cross-Road of Modernism and the Contemporary, Spurs Gallery, Beijing.