Art Basel Hong Kong 2019 巴塞爾藝術博覽會 - 香港站

Art Basel Hong Kong 2019 was the 7th edition in Asia and their Hong Kong show was held at Wan Chai in Hong Kong Convention and Exhibition Centre. Art Basel opened to the public for three days from Friday to Sunday. It features more than 240 top international galleries from all around the world. My first visit to Art Basel was nine months ago in Basel, Switzerlands, June 2018. I think their Hong Kong show was actually quite similar to the Basel one. They were both huge and busy all the time... although the one in Basel was much bigger. I enjoyed my visit very much. I loved the work this year even more. Let's see what I've found there!


香港巴塞爾藝術博覽會來到了第七屆了,今年同樣也是在灣仔會議展覽中心舉行。這次來自世界各地的參展藝術館超過240間,三月的最後三天便是開放給公眾參觀的。回想第一次到 Art Basel 已是在九個月之前的瑞士站了,基本上香港的跟瑞士的沒差很多,都挺大,人挺多的,只是當然瑞士的巴塞爾藝術博覽會更大。這次我更喜歡,看到了更多喜歡的作品,現在就跟大家分享一下吧!



Notice-Forest (David Morris) (2014), Yuken Teruya, David Morris paper bag, 48w x 44-53d x 12h cm

Yuken Teruya (1973) created a series of work Notice-Forest which shows us a delicate tree stands inside carrier paper bags. He works on objects that connects to everyone and reminds us to think about how all these little things matters. We shall slow down a bit from our busy lives from now on. I was so impressed how he could make such a delicate piece from an everyday seen object, trying to show us how an ordinary thing could also be extraordinary.


Yuken Teruya (1973) 的作品 Notice-Forest 利用購物紙袋,在裡面展示了一棵用剪紙做該紙袋出來的樹。他的作品是圍繞著大家經常會用到的一些東西,讓我們知道這些小東西的重要性和存在感。他希望我們都能夠細看現在,不要讓忙碌的生活成為主導。我覺得這作品很特別,讓一個被世人遺忘的普通購物紙袋,變成了一件讓人好好思考的藝術作品。

Untitled (1996), Rivane Neuenschwander, Garlic peel on fabric, 140 x 250 x 7cm

I found the above work from a distance and I was like 'What could that be?' so I walked closer and closer to the piece. It was so impressive that I couldn't believe they were all garlic peels, things (I might even call it rubbish) that I always threw away immediately. Rivane Neuenschwander (1967) is a Brazilian artist who explores and works with nature and the passage of time. She used organic materials, in this one she used garlic peels, to explore the nature of time, where we could see different ages of garlic peels, from the newest to the oldest, from the left to the right. Her work has a sense of humour. I love this playful artwork very much.


我在遠處看到了這個作品,我在想這會是用什麼做成的,所以我就慢慢地走過去看看,結果發現全是大蒜皮⋯⋯ 真的沒想到這些我一直都視作垃圾的大蒜皮也可以做出藝術作品的!巴西藝術家 Rivane Neuenschwander (1967) 的作品都是探索自然和時間的流逝。她利用有機的材料,就好像這個作品,用上了大蒜皮,從左到右,新到舊的,展現出自然時間的流逝。她的作品絕對是帶著一種幽默感,更令我喜歡上她的作品!

Flea Market Lady (1990), Duane Hanson, Bronze, polychromed in oil, mixed media, with accessories, Overall dimensions variable

I've seen this 'lady' before when I was in New York. And now she flew all the way to Art Basel Hong Kong. I was standing on the left side, overhearing what others discussed about this artwork, some of them asked if this was a performance art, while some of them asked whether she was real or not. You could actually tell... from the label of the work. LOL Duane Hanson (1925-1996) was a sculptors who made realist sculptures with found objects from everyday observations. His work explores different cultures and cliches from what he saw every day. So this could be one of the scenes that he had seen in his life before, and that 'lady' is just a sculpture that made with bronze and other materials.


之前我在紐約的時候便見過了這位「女士」,這次我們在香港又遇上了!她很受歡迎,所以我便站在一旁,偷偷地聽著大家的對話,有人問說這是不是一個表現藝術,也有人直接便問她到底是不是真人來的。其實只要看一看作品的標籤,很容易便知道這些答案了。Duane Hanson (1925-1996) 是一位雕塑家,專做超真實的人物雕塑,以每日的所見所聞作題材,配上收集回來的物件,做出不同的文化的日常情景。這個作品便可能是他以前看過的一個情景了,而這位「女士」,也只是他用銅和其他材料做出來的雕塑。



Why Not Hands Over a “Shelter” to Hermit Crabs? (2009-on going project), Aki Inomata, Resin, 3D printing

I think this is my favourite pieces from the whole show this year. Aki Inomata (1983) made "shelters from around the world" for hermit carbs while they change their shells as they grow. From this exhibition, Inomata displayed 8 "shelters" from eight different cities from Europe and Asia to South and North America. This brings to our mind that migrants changed their nationalities as they immigrated to a new country; does that mean that the people themselves had also changed? Nope, they had just changed their "shelters", they are still them. This piece of work explores how our own self-identity does not affect by the changes of the places where we live.


我想這應該是我在這一年找到最喜歡的作品了!Aki Inomata (1983) 做了多個來自世界各地的「避風塘」,讓那些寄居蟹能換上「新裝」。這次的展覽,她便展出了八款不同的避風塘,每款都是代表著歐洲,亞洲,或是南北美洲的地區。這作品讓我們聯想到新移民搬到了另一個國家定居,便得到了一個新的國民身分。這是不是代表了新移民不再屬於本來的地方?不,他們只是轉換了一個新的居所,他們仍舊是他們。這作品告訴了我們,即便有些東西不一樣了,我們自身的價值不變。


What's your favourite from this show? Tell me!


你們喜歡的又是哪一個作品呢?告訴我吧!


#HongKong #WanChai

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