展期 Period：
2024.6.10—2024.6.16
艺术家 Artist：
赵容翊 Cho Yong-Ik、周育正 Chou Yu-Cheng、蒂梵妮·钟 Tiffany Chung、许鹤溪 Brook Hsu、敬美 Kyung-Me、赖志盛 Lai Chih-Sheng、刘茵 Liu Yin、陶辉 Tao Hui、特罗拉马 Tromarama、黄炳 Wong Ping、山冈嘉里 Carrie Yamaoka、山下纮加 Hiroka Yamashita、袁远 Yuan Yuan、郑波 Zheng Bo
参展商 Exhibitor：
地点 Venue：
巴塞尔展览中心 Messe Basel
⇨展品清单 Works List
前言 Introduction：
马凌画廊于巴塞尔艺术展巴塞尔展会呈现赵容翊、周育正、蒂梵妮·钟、许鹤溪、敬美、赖志盛、刘茵、陶辉、特罗拉马、黄炳、山冈嘉里、山下纮加、袁远及郑波的多件绘画、雕塑、影像及装置作品。亮点作品包括周育正及许鹤溪新近创作的绘画作品，以及蒂梵妮·钟、敬美及山下纮加的新作。
除「折纸」系列的最新成果《折纸 #60》（2023）之外，周育正还将呈现名为《想像的身体 #1》（2024）的全新系列首作。此幅作品同样使用了周育正标志性的柔和色谱，以其独特的渐变绘画技法描绘了尤为有机的型态。蒂梵妮·钟的「红土地CEW研究」牛皮纸上绘画探索了越南西南部的平隆-福隆区域的三个历史维度：在公元前2300至300年建立并使用的新石器时代圆环状土建工程；在1897年由法国殖民者率先建立的庞大橡胶种植园网络；以及蒂梵妮·钟的父亲作为一名南越直升机驾驶员在战争时期频繁往返的多个荒废军用机场。蒂梵妮·钟认为，回顾新石器时代圆环状土建工程意味着去想像不同的可能性——在一种假想式的历史发展轨迹中，建立了这些土建工程的族群从未进入新的社会—经济—政治体系，而是选择维系被艺术家称作「反叛孤独」的状态。
许鹤溪自2023年以来创作了一系列大尺幅的文字绘画作品；她最新的文字绘画《帕索里尼七次》（2024）直接表达了对义大利导演帕索里尼的崇敬。通过以特殊的手写字体在大尺幅画面上重复书写帕索里尼的名字七次，这幅作品标志了与长期绿色绘画系列的分离，既坦露了许鹤溪对帕索里尼艺术及政治遗产的痴迷，也展示了她对在绘画中图像化诗意处理文字的兴趣。山下纮加的三幅新作探索了人与自然的联系：《三桠》（2024）描绘的主体是一种在古代制纸过程中使用到的植物；《天象指引》（2024）探讨了以星群为指引及灵感的生活方式；《羊水》（2024）描绘了两个身体的纠缠关系——母亲与孩童通过羊水在物质及精神层面进行交流。
刘茵的《贤者时间 III》（2024）持续探索一种罕见的虚空画形式：其中的生死象征是有自我意识的并饱含感情。另一幅《桃子》（2024）虽然构图相似，却完全取消了叙事元素，其中的可爱桃子直接以桀骜不驯的姿态回望观者。敬美的纸上黑白绘画作品具象化了艺术家对空间秩序的痴迷：在高度对称的构图中，半封闭的空间彼此裹挟，渲染出一种既静谧又让人不安的气氛。陶辉受阿那亚艺术中心委托创作的新近影像作品《拍摄之夜》（2022）建构了一个完整的电视节目拍摄现场，揭露了拍摄工作的幕后逻辑，质询了电视制作团队、台前参与者及台下观众之间的微妙关系。
在「光映现场」单元，郑波将呈现曾于柏林格罗皮乌斯美术馆首映的影片《植物的政治生活》（2021-2023）。该作品聚焦于德国布兰登堡州的远古山毛榉森林——格鲁姆辛森林。郑波把森林视作是一种酷儿集合体，当中的植物以其独特的超越人类型态进行议会政治。
在「城艺之旅」单元，特罗拉马将于Volkshaus Basel展出《异中求同》（2024），一件与推特标签#nationality相关联的音乐装置作品。软件实时读取以#nationality为标签的推特文章，将文章转换为二进制编码，而各个高音竖笛将以此为基础进行演奏。充满玩乐意味又富有严肃气息，《异中求同》考虑了民族主义在当下的意义，也回顾了特罗拉马团体成员的童年经历——他们在小学毕业之时必须学会用高音竖笛吹奏国歌。
Kiang Malingue presents at Art Basel in Basel a group presentation of paintings, drawings, sculptures, videos and installations by Cho Yong-Ik, Chou Yu-Cheng, Tiffany Chung, Brook Hsu, Kyung-Me, Lai Chih-Sheng, Liu Yin, Tao Hui, Tromarama, Wong Ping, Carrie Yamaoka, Hiroka Yamashita, Yuan Yuan and Zheng Bo. Highlights include recent paintings by Chou Yu-Cheng and Brook Hsu, as well as new works by Tiffany Chung, Kyung-Me and Hiroka Yamashita.
Along with Origami #60 (2023) from the acclaimed "Origami" series of paintings, Chou Yu-Cheng is also presenting Imaginary Body #1 (2024), the first large-scale painting from a new series. Just as gentle and vibrant in colour, the painting also makes use of Chou's unique gradation technique, dealing with forms and scenes that are particularly organic. Tiffany Chung creates paintings that inspect the terra rouge plateau of Bình Long–Phc Long in three distinct periods; she contends that revisiting Neolithic circular earthworks might lead us to imagine a different possibility—a hypothetical trajectory in which earthwork groups had never been incorporated into a new socioeconomic and political polity, but instead chosen to remain in what the artist calls "rebellious solitude."
Brook Hsu's latest ink-on-canvas piece from the large text painting series that commenced in 2023, Pasolini Seven Times (2024), directly expresses the artist's profound affection for the Italian director. By repeating in a special font Pasolini's name seven times across the large canvas, this painting marks a significant deviation from the ongoing green painting series, speaking of both an obsession with Pasolini's artistic and political legacies, and a subtle interest in turning texts into radically figurative compositions. Three new paintings by Hiroka Yamashita demonstrate the artist's interest in the connections between humans and nature: Mitsumata (2024) revolves around a unique, organic paper-making technique using a plant called mitsumata; Celestial Navigation (2024) speaks of the role of constellations as sources of guidance and inspiration; Like the sea water (2024) depicts a double-body scene: the title in Japanese explicitly references amniotic fluid, commonly known as waters—the fluid that facilitates physical and spiritual exchanges between a mother and her baby.
Liu Yin's Wisdom Time III (2024) continues to explore a new type of vanitas wherein the sign of vitality and death is sentient and charged with emotions. Comparable in composition, Peaches (2024) totally eschews narrative elements, dealing directly with returning the viewer's gaze in defiance. Kyung-Me's monochrome works on paper exalt in demonstrating the artist's fascination with spatial order. The highly symmetrical compositions unfold in the artist's distinctive style semi-enclosed spaces within one another, rendering an atmosphere that is at once silent and disquieting. Also on view is Tao Hui's latest film, The Night of Peacemaking (2022), commissioned by Aranya Art Center for the artist's survey exhibition in 2022. It constructs a TV production scene of a mediation show, exposing the backstage mechanism at work while questioning the veracity of the relationships between the producers, the participants, and the viewers.
In the Film section, Zheng Bo shows The Political Life of Plants (2021-2023), premiered at the Gropius Bau in Berlin in 2021. Set within the Grumsin forest, the film presents the forest as a queer assembly, where trees participate in a congress of their own "more-than-human" form.
In the Parcours section at Volkshaus Basel, Tromarama shows Bhinna (2024), a musical installation that responds to tweets posted online with the hashtag #nationality. The work decodes tweets into binary codes that correspond to the electrical features of the work, generating a procedural choir of sounds. At once playful and solemn, Bhinna ponders nationalism today, as well as going through childhood memories—as elementary school students, the members of Tromarama were required to play a national anthem in order to graduate.
