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耿建翌 Geng Jianyi 1962-2017 無題 Untitled
香港
2024年04月07日 开拍 / 2024年04月05日 截止委托
拍品描述
水彩 紙本
Watercolour on paper
一九九三年作
Painted in 1993
72.5 × 52.8 cm. 28 1/2 × 20 3/4 in.
款識 耿建翌 1993 (右下)
Signed in Chinese and dated on bottom right
來源 上海香格納畫廊 亞洲重要私人收藏 浮生若夢中的塵世之相 耿建翌經典「受光部」肖像 「只希望用我的顏色和結構使人墜入夢鄉。」 ——耿建翌 中國當代先鋒藝術家耿建翌一生致力於消除觀眾和作品之間「距離」的藝術實踐,其理念前衛,畫語精練,擅用喜怒無形、神秘莫測的圖像敘事,讓觀者從不同形態的圖像符旨中連結自我。他在1962年生於河南一個軍人家庭,求學時便顯露出極高的藝術天賦,1981年考入浙江美術學院(現中國美術學院)油畫系,四年後在畢業創作發表中以《燈光下的兩個人》一舉成名。此作因藝術家「歡迎觀眾以各種戲劇方式解讀」的理念成為「八五新潮」中至關重要的標竿,而在此他也展露了對於「人物面部表情」的探索興趣。1986年,他加入前衛藝術組織「池社」,而後延續著對「觀眾與觀看」、「光源與受光」等課題的探討,長期通過實驗研究「人」的各種形態。一如英國藝評家史密斯(Karen Smith)所言:「耿建翌參加了八九十年代在中國和中國藝術家於國際上舉辦的幾乎所有展覽,奠定了他作為當代前鋒的地位」,如1993年他作為首批受邀參與威尼斯雙年展的中國藝術家,其創作風格自信大膽,用色時髦又內斂,媒介豐富,涉及繪畫、剪紙、攝影、行為、裝置,展現其洋溢的才華與哲思。其作品迄今為諸多海內外知名機構收藏,包括倫敦泰特美術館、芝加哥藝術學院、香港M+美術館等。2017年他因病離世,2022年其大型回顧展「他是誰?」先後在上海當代藝術博物館和北京尤倫斯當代藝術中心(UCCA)隆重登場,至今仍餘音繞樑。 你中有我,我中有你 《無題》出自其「受光部」系列,該系列創作於1990至2002年間,耿建翌反覆地提取不同人物形象的受光部位,將之重疊描繪,並讓具體的個別人物造型及形象消融,僅留下受光部與陰影,打破了傳統描摹的寫實語境,使對象物成為一個全然「新生而解放」的造型。2022年所舉辦的耿建翌大型回顧展便選用該系列之作做為海報,標示了此於藝術家創作中特出的地位與重要性。在《無題》靛藍色的背景下,可見如漣漪般的溫暖迷彩狀色塊中浮現了一張外輪廓模糊的臉,其五官由多個不規則狀如拼圖般交融而成,藝術家藉助「標準照」及「合照」格式,抽取多個人物在光影下的「受光面」,通過「受光—痕跡—重疊—溶解」的過程使原本具體人像消融,僅留下夢幻交錯下的浮光掠影,如同莊子所言的鏡花水月。作品細節繁複絢爛,畫面簡潔扁平,通過冷與暖、靜與動態的圖像糅合而出的極致色彩與線條,令人目眩神迷。耿建翌曾言:「當人物的相貌重疊在一起,就不再是某個具體的人。這種抽象是中國文化的本能—我們更習慣『你中有我,我中有你』的氛圍」。近觀此作,每處起伏如洶湧波濤,遠觀之,人物透露出波瀾不驚的強大氣場,給人以無以言說的戲劇性和故事感。這種從萬像中提煉與重構人像的方式,亦讓觀者從畫中尋找著自己的位置,正如藝術品正因融合著解讀者的想像,成就其意義,畫中之人既是藝術家,也是每一個觀畫的你我,引人深思。
PROVENANCE ShanghART Gallery, Shanghai Important Private Collection, Asia Life Is a Dream, a World of Dust It Seems Geng Jianyi's Classic?Interchange of Light?Portraits "I only hope to make people fall into a dream with my colours and structures." ——Geng Jianyi Chinese contemporary avant-garde artist Geng Jianyi devoted his life to the artistic practice of eliminating the distance between the audience and the artwork. His avant-garde philosophy, concise painting language, and adept use of intangible emotional narrative through images connect viewers to themselves through various forms of symbolic imagery. Born in 1962 into a military family in Henan, Geng revealed exceptional artistic talent during his studies. In 1981, he enrolled in the Oil Painting Department of Zhejiang Academy of Fine Arts (now China Academy of Art) and gained fame with his graduation works four years later. Geng's philosophy of welcoming viewers to interpret in various dramatic ways became a crucial benchmark in the "85 New Wave" movement, showcasing his exploration of the facial expressions of characters. As art critic Karen Smith stated, "Geng Jianyi participated in almost all exhibitions held in China and internationally by Chinese artists in the 1980s, 1990s, and 2000s, establishing his position as a contemporary avant-garde artist." In 1993, he was among the first Chinese artists invited to participate in the Venice Biennale. His works are now collected by numerous renowned institutions, including Tate Modern in London, the School of the Art Institute of Chicago, and the M+ Museum in Hong Kong. Geng passed away in 2017, and in 2022, his major retrospective exhibition?was showcased in Shanghai and Beijing's UCCA, continuing to show its unique value. You in Me, and Me in You The artwork?Untitled?is part of his?Interchange of Light?series, created between 1990 and 2002. Geng repeatedly extracts the illuminated parts of different figures, overlapping and depicting them, leaving only the areas receiving light and shadows. In 2022, this series was chosen as the poster for Geng Jianyi's major retrospective exhibition, emphasizing its significance in the artist's works. Against a deep indigo background in?Untitled, a warm, ripple-like camouflage pattern emerges with a blurred facial outline. The facial features are composed of irregular puzzle-like elements, as the artist extracts "illuminated faces" of multiple individuals in light and shadow, resulting in the process of "receiving light—traces—overlap—dissolution." The detailed complexity of the artwork contrasts with its simple and flat composition, blending cold and warm, stillness and movement, creating an ultimate fusion of colour and lines. Geng Jianyi once said,?"When the appearances of individuals overlap, they are no longer specific individuals. This kind of abstraction is instinctive in Chinese culture—we are more accustomed to an atmosphere of ‘You in me, and me in you.'"?This method of extracting and reconstructing portraits from myriad images allows viewers to find their own position within the painting. Just as the artwork incorporates the imagination of the interpreter, the figures in the painting are both the artist and every viewer, prompting deep reflection.

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