Page 227 - 亚洲二十世纪及当代艺术
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˜Ңʔซ፹ཀ୚ጰٙ͛ݺ຾᜕dவ݊࿁ݺഹ                      ԨІ͛͟ڗfਿ׵࿁٤ගၪܓٙן࢝ձ˚੬͛ݺ
        ٙɓ၇׀༐ձ৛Ӌf™                              ˪ݬٙ౜ᅛdίҁϓ׵ 2015 ϋٙض૱ၠЍٙ
                                                Ӊ༸БԐ‘ʕdɓˀᖵஔ࢕εᅰЪۜ੬Ԉٙ܃ʫ
                                      {{⯵ഛා
                                                ಅЍሜdӼԈή˸૶อٙᔝၠЍ੹ਿሜ౜ᖭഹ˒
        ڶ਷ࡪኪ࢕ԓဧ̵௛˃౶€Nikolay Chernyshevsky      ̮౳ഄʘ౻dνΝίࢀ˚ٙ๮๮ձࠬʕd੭Ըɓ
        ಀԊj˜͛ݺd̥Ϟί̻૱ೌբٙɛ޶Ըʑ݊٤                   കʲᇮٙ૭จdމᝈ଺яତɓᙦᛌ̋ഹତྼઋբ
        ൈϾ̻૱ೌբٙf΂Оԫيdɭ݊࿎ᜑ͛ݺdא                   ձซ൥ٙᒻݺࣛ٤ྡ౻f
        ԴҢࡁซৎ͛ݺٙdک݊ߕf ™˸ԓˤה౤̈ٙ                  ర੬ٙڢ੬ʘߕd̻ɭٙʔɭʘЍ
       ˜ߕ݊͛ݺ™ٙࡪኪᙄᕚd׳ί 1991 ϋ̈͛ٙ
        ࠰ಥڡϋᖵஔ࢕⯵ഛාԒɪd௰൨ʲʔཀf͛                   ˜ν؈Ыॆ͍ᆠฌІ್dԟჿЫί΂Оή˙ே
        ڗίɛԸɛֻٙᐿശே̹d⯵ഛාˀϾίЪۜʕ                   ึ೯ତߕf™
        ࢝ତ̈ɓٰᗭঐ̙൮ٙ˜᎑ं™d˼˸̻ɭ͛ݺ                                    {{૕৷€Vincent van Gogh)
                                                                                           ᖵஔ࢕⯵ഛා׵ʈЪ܃
        މᔝ͉dீཀ௴Ъܱઢ̈ɓ၇ዹतٙ˜ʫൖช™f                  ߐض૱ၠЍٙӉ༸БԐ‘ʕdᖵஔ࢕̷Ѷή˸
        ί˼଻ʕdԟԬ˜޶Ч̻૱ʔ੄ϞሳٙࣛՍֻֻ                   ޚᆨீ׼ݴᘆٙሯชd͂ிᔝЍໝή೿ί܃ʫ̮
        ึ஗Ңࡁהׁൖ™dۍ͍݊ˏৎ˼ᝈ࿀eܠϽձ                   ٙΈᅂ؟ఖd̷Ѷήਗ਼ʔΝၪܓٙ٤ගe౻ي஫                      “I don’t want to miss out
        ౜ᅛٙጳሳהίj˜Ңࡁ݊νОจึ޶Ցٙي൥d                  ஷɓंdᘱϾ༧ᎇЍ੹ձഅᙃٙݴਗ஼န቗࢝ක                      on the subtle experiences
        Ңࡁ݊ஈ׵ɓࡈܣჿᅵًٙ࿒̘ə༆ၾي൥ٙ                    ԸdϾί೥ࠦʕːٙ˴ɛʮ{{уЪ٫͉ɛdϤ                      of life, it is a loyalty and
                                                                                           pursuit to being alive.”
        ᗫڷ™d˜Ңซ͜་จٙՍ೥ԸҴИݴ஻ٙࣛග™f
                                                Ս͍ݟ޶˓ዚeᒕකӉͽdཫ௪̈ژ౳ӉdՉ೥
                                                                                                      {{ Chris Huen
        ኯᔟዹतٙ˜͛ݺݴ™ᖭ೥ࠬࣸd⯵ഛාІ                     ʕٙ੬܄{{ฌَ Balltsze̼℡ Mui Mui ޫʔ
        2013 ϋ࠰ಥʕ˖ɽኪଭุܝdک௔ᚃί࠰ಥτ                 ၡʔ࿔ή༧ᎇίɓࣙdᄣ૴əɓٰ๕Іତྼ͛ݺ                      Born in 1991, Hong Kong’s
        Όɹ೥఼ę̏یऎ೥఼eࡐ౱ Pilar Corrias ೥          ٙઋբfԐ̈܃ʫٙɽ˪૶૭ٙᔝd˴ɛʮ͍у                      young artist Chris Huen draws
        ఼e؇ԯɽ͞Ӹۆ೥఼ᑘ፬ࡈ࢝dԨਞၾیԯ̬                   ਗ਼ί༩ɹ̛ᔷeሸɝԟૢ૱ၠЍٙɛБ༸dίԟ                      inspiration from ordinary life
                                                                                           and through his art, seeks to
        ˙ߕஔ᎜ٙ˜ഒ࿁ϗᔛܸی™᎜ᔛ࢝dᐏऎʫ                    ༁d዆રഅٜ࣎ͭٙʃዓ͍ኧɢήΟഹၠ،dϓ                      discover a unique sense of
        ̮ᔛ࢕ᄿعᗫءfڐϋՉЪίשርఙ௪ա৛ડd                   ˪ٙণ໢ᝨᝨᇼᇼdਉᗙٙɛБ༸ᎇʘஷΣჃ                       “introspection”. In his eyes,
        2023 ϋྗᅃ݆שʕՉЪҢίஷψ൑ʮ෤‘˸                 ˙dҗֽ˾ڌഹ͊Ըʘ༩dɦҗֽ̥݊ర੬f                       those “seemingly mundane
        225 ຬಥ࿆ٙ৷ᄆՏอᖵஔ࢕שርߏ፽d࿎ᜑՉ                 ீཀவɓஹЕఙ౻ٙાԫ౜ᄳdᖵஔ࢕ӪӪήҴ                      and uninteresting moments
        ̹ఙᆠܓfϾՉЪۜ͵ᐏ੻଺εʮͭዚ࿴ڡຕd                   Иəࣛ٤ᔷ౬ٙɓᐛdۍίՉʕᘾᔛഹΈᅂeЍ                      are often overlooked by
        މ઄̵อی۾ဧɻߕஔ᎜eˋኇၾɧᖴ̹̔໛౶                   ੹ٙᐛࢹຬᜊdމவ޶Ч̻ɭٙࣛՍdءɝɓ၇                      us,”  but are precisely
        तᖵஔਿږึeɪऎЯᅃᘴਿږึe࠰ಥ K11                  ᔮޮٙͭ᜗ชdίర੬ʕdءɝəɓ၇йᅵٙ͛                      what piques his interest in
        ਿږึഃϗᔛf                                                                            observing, contemplating,
                                                ݺߕfᝈ٫ٙൖᇞdԨ༧ᎇԟ஺ᄳόٙݴ࿫അᙃ                      and portraying: “How do we
        ᒻݺഅจdڡᔝࢀ˚ٙ͛նྡ౻                          ɓΝৎႀd͟Ι൥̈೯d஼ᓃ஼അήᒔࡡഹাኳ                      perceive what we see? And in
        աෂ୕˥ኈ೥༶അٙ˙όᅂᚤd⯵ഛා੬˸ೲج                   ʕٙ೥ࠦj׼తٙΈᇞீཀژۃٙሌЍዓᓉdί                      what state do we understand
        όٙஹ஫೵അᇞૢяତՉ଻Ԉٙي൥dՉഅሜໍ                   ீᔝٙޚᆨɪҳ࢛ɨ౴ჶ௔ᕎٙၠЍࡀᅂdฆࠬ                      our relationship with them?”
        จeᒻݺdՈϞɓ၇Ⴠޮeݴਗόٙீंชձ͛                   Ⴠךගd௞˿ɛɓࣛʱʔ૶ዓٙॆྼᔳ༦iᇞݬ                      “I want to capture the passing
        նɢfೲݑ෩ЍٙҦجd࢝ତ̈ɓ၇ᓛᘚٙீ׼                   όٙഅᙃdઽቚࣉ࣍ഹಔي͛ڗٙ׻౮۶࿒dԨ                      of time through poetic
        ชd˿Ѝ੹ίΈᇞٙฆѶᜊʷʕdݴᚣɓٰ؇˙                   ί་จeݓձٙัݑʕdහΟ̈ዢዢٙၠจiϾ                      depictions.”
        അจٙᗲբd͵̙Ԉᖵஔ࢕࿁׵٤ගձࣛගٙᕐ                   ԟᅂᅂၞၞٙɛҖdЧɰϓމІ್ٙɓ௅ʱd˸                      With his unique painting
        ࠠࣉ࣍fϾ೥ࠦʕԟԬՍจवͣٙ٤ගdܸ߰ऒ                   Іίe׳ᕦٙᑹձːྤdБԐίІҢٙ༸༩ɪf                      style of focusing “flow of life,”
        ഹাኳʕԟԬ˜೹ᐽу஻ٙᐛග™d຾͟೥അٙ                   ዓᅂe൑༸eБɛeฌ˭dவԬ޶Ч̻૱ٙ౻ၾ                      since graduating from The
        ᇠᇠݴਗeݓழЍሜٙआဃ౤ᓃdϾΎܓओତd                   يdί฽Չ͛ݺʷٙՍᄳʕdಿ͛ഹ࿁͛ݺ͉ॆ                      Chinese University of Hong
                                                      ௰ਗɛٙ΍ჼfί⯵ഛා୚ጰٙ೥അɨd                   Kong in 2013, Chris Huen has
                                                      ˼ࡁ૩ೌ݂Ъ৷ଉٙ۶࿒d̥Ϟ๕Іॆ                    held solo exhibitions at the
                                                      ྼ͛ݺٙᔮᆗeፋʲdίவ̡٤Ԉ࿕ٙ                    Hong Kong Gallery Exit, Taipei
                                                      ˚੬ʕd࢝ତഹ࿁˜ϤࣛϤՍ™ٙޜ઎f                   Nangai Gallery, London Pilar
                                                                                           Corrias Gallery, and Tokyo
                                                      ίவဢဢᘖᘖٙᐿശே̹e৷ᏀϾӉᄵ                    Ota Fine Arts Gallery. He
                                                      ̎̎ٙ຅˾͛ݺʕd⯵ഛාމҢࡁ੭Ը                    has also participated in the
                                                      əɓכ࿙ᖀٙࢀ˚૭จdί˼೥ʕԟ͛                    Absolute Collection Guideline
                                                      ݺʕ਌ׁΈᅂٙઅ್ɓᐛd࢝ତٙ݊࿁                    exhibition at the Nanjing
        ⯵ഛාMuiMui ձ Haze‘dذ੹೥̺d  ୽քتήΛזٙйྨ‘dذ੹೥̺d   Ԓᗙ޶Ч̻ɭྼۆޜ൮ٙɛeԫeي௰                    Sifang Art Museum, receiving
        200Ò240 cmd2018 ϋЪf⯵ഛාਗ਼Ԓ  115Ò130 cmd1884 ϋЪdˋኇෳᒄ௹                                 widespread attention from
        ᗙٙɛeԫeيፄɝ௴ЪdՉֈɿeՉ͉     ي᎜ᔛ                    ॆʲٙઋชe᜗࿀ʿޜ઎f
        ɛٙ˚੬ݺਗޫ฽މ͛ਗяତߐض                                                                   collectors both domestically
        ૱ၠЍٙӉ༸БԐ‘ʕdί฽Չ͛ݺ                                                                   and internationally. In recent
        ʷٙՍᄳʕdಿ͛ഹ࿁͛ݺ͉ॆ௰ਗɛ
        ٙ΍ჼ                                                                                years, his works have been

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