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黃宇興 Huang Yuxing b.1975 距離(一組兩件) The Range of the Universe (set of two pieces)
香港
2024年04月07日 开拍 / 2024年04月05日 截止委托
拍品描述
壓克力彩 舊衣 舊雙人床木板(左件)與壓克力彩 畫布(右件)
Acrylic and clothes on wooden panel (left piece); acrylic on canvas (right piece)
二〇一四年作
Painted in 2014
150 × 190 cm. (左件) 45 × 61 cm. (右件);59 × 74 3/4 in. (左件) 17 3/4 × 24 in. (右件)
款識 Huang Yuxing 2014(左件中下、右件左下) 出版 2014年,《黃宇興》,天線空間,上海,第98至99頁 2015年,《沖積——黃宇興2005-2015》,上海民生現代美術館,上海,第140至141頁
Signed in pinyin and dated on lower center (left piece) & Signed in pinyin and dated on the bottom left (right piece) LITERATURE 2014, Huang Yuxing, Antenna Space, Shanghai, p. 98-99 2015, Alluvial – Huang Yuxing 2005-2015, Shanghai Minsheng Art Museum, Shanghai, p.140-141
展覽 2014年6月28日至8月26日,「越界」,滬申畫廊,上海 2014年9月13日至10月20日,「河流吞噬了樹叢|接著吞噬你——黃宇興」,天線空間,上海 2015年9月5日至10月4日,「沖積——黃宇興2005-2015」,上海民生美術館,上海 來源 2017年6月19日,中國嘉德春季拍賣會,拍品編號174 亞洲重要私人收藏 星光燦爛,形影不離 黃宇興色譜裡的天地人間 黃宇興1975年出生於北京,是中國七〇後藝術家中最受矚目者之一。自幼熱愛繪畫的他2000年畢業於中央美術學院壁畫系,期間在1996年的行旅中與西藏結下不解之緣,而後入鄉隨俗學習藏語,旅居佛教寺院。2008年他因言論發表而受留禁,人生及創作進入低谷,隔年的喜馬拉雅之旅將他拉出陰霾,並成為其創作轉捩點。他自此突破內心束縛,回歸自我與天性,自由創作,不打草稿,以視覺衝擊力極強的色彩構造表達他對生命與時間的理解。2011年他開始以橢圓形、錐形等幾何符號代替具象圖景,重塑出一幀幀讓人過目不忘的抽象風景畫,誕生了極具個人特色的「光芒」、「棲息地」、「河流」等系列繪畫。2015年他受邀成為余德耀項目室的首位客座藝術家,曾於北京、上海、台北、東京、倫敦等地舉辦個展,2020年成為藍籌畫廊阿爾敏·萊希(Almine Rech)代理藝術家,近三年屢次刷新拍賣紀錄。而去年上海龍美術館更為其舉辦大型回顧展「穹宇之下」,可見其卓絕不凡。 星垂平野闊,月湧大江流 「我們看到的從很遠星系來的光, 是在幾百萬年之前發出的,在我們看到的最遠的物體的情況下,光是在80億年前發出的。當我們看宇宙時,我們就是在看它的過去。」 ——英國物理學家霍金(Stephen Hawking)《時間簡史》 在黃宇興的創作系列中,始於2012年的「河流」始終別具意義。他曾言該系列定義了其心目中時間的形狀:「河流是有指向性的,它是我最初對時間的理解和認知。隨著對時間進一步的了解,發現在宇宙中並不是所有的時候時間都是指向一個方向,時間有時像河流裡的水分子一樣重新回到任意的一個節點。」而畫中細節常如顯微鏡下的細胞,此消彼長般融合再現,其中的重要符碼「氣泡」喻示宇宙的生命輪迴,「旋渦」則表達人與人交往的點滴,「寶藏」代表人類文明。每一走筆彷彿藝術家內心與時間的碰撞,將現實中人類無力控制的時間流逝,定格在畫中每一個永不破滅的螢光氣泡裡,正如我們看到的最遠天體,實為80億年前的星光,時間雖滔滔不息,但光卻能讓生靈萬物相對靜止,化為永恆。人類用時間量化生命,而我們相距宇宙與塵埃永遠處於無窮盡的時空幻象裡。這正是藝術家在本次春拍呈現的《距離》深蘊的哲學思考,作品曾先後展出於黃宇興2014及2015年「河流吞噬了樹叢 接著吞噬你」及「沖積」個展中。跳脫了傳統畫布媒材,其以耐人尋味的「雙人床板」為畫材,床板本身帶有歷史及生活的記憶及使用的歲月痕跡,展現的溫度與人情都被黃宇興刻意保留下來成為作品的思想載體。據可考出版,其至今以床板為媒材,以近乎「裝置」概念所做的平面繪畫僅只三件,集中在2013至2014年中,本作便為其一,且為其中尺寸最大者,突顯其特出性。 相去咫尺,浮生若夢 「螢光色是我們這個時代特有的顏色,它的顏色的跳躍性是之前的色彩體系無法提供的,有一種特別的意味,像是一種被濃縮、被激發出來的生命力。」 ——黃宇興 《距離》由兩幅一大一小的畫作組成,大畫以一張舊雙人床板與舊衣物織布拼貼為媒材,藝術家先用透明度高而飽和度低的螢光色打底,如修行般不斷疊加相對厚實的色彩,以多圖層牽制跳脫的螢彩。並巧妙利用床板拼接的縫隙作為海天相接的「視平線」,將畫面一分為二。青白的天空中,罕見地糅合了一段耐人尋味的英文敘述,以如日記般的書寫,闡述著世間的距離:「最近的星系距離我們1022米,宇宙的範圍是1026米,最近的恆星距離地球1016米,太陽距地球與月球距地球是108米,地球的實際半徑是107米,鉛筆芯的最大半徑是10-3米,人類頭髮的最大半徑10-4米,肥皂泡最大厚度是10-7米,原子核的大小為10-13米,質子大小為10-15米,基本粒子的大小為……」展現藝術家對人與宇宙、物我之間關係的思考。而在畫面的蒼穹之下,大小不一的卵石狀橢圓反復出現,閃爍著夢幻螢光,似隕石、漩渦、氣泡,相互堆積碰撞形成河流的流動之勢,藝術家援引物理中「膜」的概念,以光圈表達氣泡的升騰,暗喻人類的生存空間。畫面整體如浩瀚星河裡的漫天星光,抬頭仰望時若能將之盡收眼底,實際上,它們離我們神秘遙遠而自在璀璨。而在畫面中央黃宇興刻意以七顆釘子固定著一塊舊衣布縷,若浪漫地示現北斗七星連成的星譜。藍綠斑駁的底色下,白色的水珠聚攏跳動,咫尺之距,一塊佈滿粉彩氣泡的正方形畫布奪目而出,極強的生命力和邊界感與舊衣物和床板形成鮮明反差,不禁讓觀者聯想到舊床板承載著的生命故事,及曾經在床板上那些具親密關係的故人,若感慨著生命無常及塵俗間人情的變化。 相較黃宇興其他「河流」系列作品狂野炫目的用色,本作的螢光色溫柔厚實,結合工筆畫法的細膩,藝術家所有元素清晰可見,每個氣泡被螢光五色粉、綠、黃、藍、紫如光暈般平鋪徜徉,河面上,七束水柱從氣泡中升騰而出指向天空,顏色漸變清透,宛如水氣升騰與生命的流逝。順勢而上,隱藏在空中一左一右的兩顆「寶石」若隱若現,與水中的寶石一深一淺,相互對應。 浮光躍金,洞悉生命本源 緊挨著主畫的是一幅溫潤如澤的寶石小畫,構圖簡潔清澈,大畫中奔騰的色彩在此處變成了被水晶體鎖住的琉璃世界,似穹宇之下的一顆小行星,上半部分橫平豎直的幾何構造如若人類建築的縮影,與晶體下半部分的氣泡漩渦形成反差。兩幅作品如被置於不同時空,緊緊相連又相對獨立,給人無限遐想。如藝術家自言:「對我而言,當作品中那些與色彩和情感相連結的形狀被深刻地呈現出來時,是能夠打動人心的。」作品通過微觀的幾何元素闡述宏大的生命議題,描繪著萬物間的距離,同時亦引導觀者深思,人之於宇宙雖似蜉蝣於天地,而正如美國物理學家克勞斯(Lawrence M. Krauss?)所述的「宇宙中的原子並不會湮滅」,渺小絢爛的生命會化為星河裡的塵埃,終究會聚在一起。
EXHIBITED 28 Jun - 26 Aug 2014, Present-ing Recital Louder than Paint, Shanghai Gallery of Art, Shanghai 13 Sep - 20 Oct 2014, The River’s Gobbled Up Trees and He’ll Shallow You Next, Antenna Space, Shanghai 5 Sep - 4 Oct 2015, Alluvial - Huang Yuxing 2005-2015, Shanghai Minsheng Art Museum, Shanghai PROVENANCE 19 Jun 2017, China Guardian Spring Auction, Lot 174 Important Private Collection, Asia Brilliant Starlight, Inseparable Companionship Huang Yuxing’s Spectrum of the World Born in Beijing in 1975, Huang Yuxing is one of the most prominent Chinese artists from the post-70s generation. After graduating from the Mural Painting Department of the Central Academy of Fine Arts in 2000, he developed an enduring connection with Tibet during his travels in 1996, delving into the Tibetan language and residing in Buddhist monasteries. In 2008, facing a downturn in his life and artistic career, a trip to the Himalayas the following year became a turning point, reigniting his creativity. Since then, he has returned to self-expression and free creativity, abandoning drafts and using visually impactful colour structures to document his understanding of life and time. In 2011, he began replacing representational scenes with geometric symbols such as ellipses and cones, reshaping abstract landscape paintings, and giving birth to series such as?Light,?Habitat, and?River. Invited as the first guest artist at the Yuz Museum Project Room in 2015, he has held solo exhibitions in Beijing, Shanghai, Taipei, Tokyo, and London, and, in 2020, became represented by Almine Rech, consistently setting auction records in the past three years. Last year, the Long Museum in Shanghai organized a large retrospective exhibition,?Under the Vault of Heaven, further highlighting his extraordinary talent. Stars Drape the Open Plain, Moon Surges in the River’s Rythm "The light that we see from distant galaxies left them millions of years ago, and in the case of the most distant object that we have seen, the light left some eight thousand million years ago. Thus, when we look at the universe, we are seeing it as it was in the past." ——Stephen Hawking, British physicist, A Brief History of Time In Huang Yuxing’s series of works,?River?in 2012 holds significant meaning. He mentioned that this series defined the shape of time in his mind, where details in the paintings resemble cells under a microscope, merging and reproducing like the flow of life. The important symbols in this series, such as "bubbles", symbolize the cosmic cycle of life; "vortices" express the minutiae of human interactions, and "treasures" represent human civilization. Each stroke seems to be a collision between the artist’s inner self and the passage of time, freezing the inexorable flow of time in each indestructible fluorescent bubble, just as the farthest celestial bodies we see emitted light 8 billion years ago. Time may be relentless, but light allows all living things to remain relatively still, transforming into the eternal. While humans quantify life with time, we exist in an infinite space-time illusion between the universe and dust. This is precisely the philosophical reflection deeply embedded in the artist’s work?The Range of the Universe, presented in this Spring auction. The artwork has been previously exhibited in the artist’s solo exhibitions in 2014 and 2015 titled?The River Gobbled up Trees and He’ll Swallow You Next?and?Alluvial. The work transcends traditional canvas media, as the artist employs intriguing a double bed board as the painting material. The bed board, with memories, as well as the traces of the passage of time, serves as a tangible representation of warmth and human emotions intentionally preserved by Huang Yuxing. According to available records, he has created only three pieces of flat paintings using this almost "installation" concept to date. These creations are concentrated in the period from 2013 to 2014, with the present work being one of them and notably the largest in size. Life’s a Dream in Fleeting Seam "Fluorescent colours are unique to our era. The leaping nature of its colours is something the previous colour systems couldn’t provide——a concentrated and stimulated vitality." —— Huang Yuxing? The Range of the Universe?is composed of two paintings, one large and one small. The large painting uses an old double bed board and an old fabric collage as its medium. The artist first applies a fluorescent colour with high transparency and low saturation as the base, continuously layering relatively thick colours like a practice, restraining the jumping fluorescence with multiple layers. The gaps between the bed board joints are cleverly used as the "horizon" where the sea and sky meet, dividing the image into two. In the azure sky, an uncommon English narration of the distances in the world unfolds. The artist expresses his contemplation on the relationship between humans and the universe, between objects and us. Under the expanse of the sky, elliptical shapes of various sizes repeatedly appear, shimmering with dreamy fluorescence, forming the flowing movement of the river. The artist references the concept of "membranes" in theoretical physics, using circles to express the rising of bubbles, symbolizing the living space of humanity. The overall image resembles the starlight in the vast galaxy, and deliberately in the centre, Huang Yuxing uses seven nails to pull a corner of old cloth, reminiscent of the constellation formed by the Big Dipper. Under the mottled background of blue and green, white droplets gather and dance. A square canvas filled with colourful bubbles stands out, exuding strong vitality and forming a vivid contrast with the old clothes and bed board, making viewers think of the life stories carried by the old bed board. The fluorescent colours in this work are tender and solid, combined with the delicate and meticulous technique of fine brushwork. All the elements are clearly visible, with each bubble laid out in fluorescent five colours: pink, green, yellow, blue, and purple. On the river surface, seven water columns rise from the bubbles, gradually changing in transparency, resembling the ascent of water vapour and the passage of life. Rising upwards, the two "gems" hidden in the air, one on the left and one on the right, correspond to the gems in the water, varying in depth. Glistening with Golden Light, Insight into the Origin of Life Adjacent to the main painting is a small, glossy gem painting with a concise and clear composition. The dynamic colours flowing in the large painting are locked within a glass world here, resembling a small planet under the dome, where the geometric structure in the upper half seems like a miniature of human architecture, contrasting with the bubbles and vortices in the crystal lower half. The two works seem to be placed in different time and spaces, closely connected yet relatively independent, sparking infinite imagination. As the artist puts it,?"For me, when the shapes connected to colours and emotions in the artwork are profoundly presented, it has the power to touch one’s heart."?Through microscopic geometric elements, the work elaborates on grand life issues, depicting the distances between all things while guiding viewers to contemplate. Although humans may seem ephemeral in the vastness of the universe, as American physicist Lawrence M. Krauss said,?"You are all Stardust."

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价格信息

拍品估价:1,200,000 - 1,800,000 港币 起拍价格:1,200,000 港币  买家佣金:
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20,000,000 - 以上 14.00%

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