Auction 27 May 6pm HKT

\n\n

Mandarin Oriental Hong Kong

\n\n

5 Connaught Road, Central, Hong Kong (map)
\n
\nViewing Mandarin Oriental
\n24-25 & 27 May, 10am-6pm HKT
\n26 May, 10am-7pm HKT
\n5 Connaught Road, Central, Hong Kong (map)
\n
\nDedicated Preview H Queen's Atrium
\n'Pioneers of Modernism: A Selection from the Scheeres Collection'
\n24-27 May, 10am-6pm HKT
\nH Queen's Atrium, G/F, 80 Queen's Road Central, Hong Kong (map)

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WOU-KI 04.01.79, 1979","version","1234",{"_588":1965,"_1960":1966,"_1962":1963},"https://assets.phillips.com/auctions/HK010118/2_hi.jpg","ZHANG XIAOGANG Bloodline: Big Family No.9, 1996",{"_588":1968,"_1960":1969,"_1962":1963},"https://assets.phillips.com/auctions/HK010118/3_hi.jpg","GEORGE CONDO Black Standing Figures, 2000",{"_588":1971,"_1960":1972,"_1962":1963},"https://assets.phillips.com/auctions/HK010118/4_hi.jpg","FINN JUHL Important and early 'Chieftain' armchair, model no. FJ 49 A, 1950s",{"_588":1974,"_1960":1975,"_1962":1963},"https://assets.phillips.com/auctions/HK010118/5_hi.jpg","YAYOI KUSAMA Sea in the Evening Glow, 1995",{"_588":1977,"_1960":1978,"_1962":1963},"https://assets.phillips.com/auctions/HK010118/6_hi.jpg","CHRISTINE AY TJOE ...to See the White Land, 2012",{"_588":1980,"_1960":1981,"_1962":1963},"https://assets.phillips.com/auctions/HK010118/7_hi.jpg","LIU WEI Purple Air D1, 2008",{"_588":1983,"_1960":1984,"_1962":1963},"https://assets.phillips.com/auctions/HK010118/8_hi.jpg","NAM JUNE PAIK Big Shoulder, 1998",{"_588":1986,"_1960":1987,"_1962":1963},"https://assets.phillips.com/auctions/HK010118/9_hi.jpg","JONAS WOOD Untitled (Grid Pot), 2009",{"_588":1989,"_1960":1990,"_1962":1963},"https://assets.phillips.com/auctions/HK010118/9b_hi.jpg","HANS J. WEGNER 'Valet' chair, model no. JH540, designed 1953","articles",[1993,2015,2025,2035,2045],{"_1994":1995,"_1996":231,"_1997":1998,"_1960":1999,"_2000":2001,"_2002":2003,"_2004":1255,"_2005":2006,"_2007":2008,"_464":472,"_2009":2010,"_2011":2012,"_2013":2014},"coverUrl","https://flockler.com/thumbs/sites/889/img_6780-ebcaa3a3-8270-4bfa-8772-e7d09a977e15_s600x0_c4032x2352_l0x0.jpeg","section","summary","Tour our spring sales in Hong Kong in this virtual reality walkthrough from the Mandarin Oriental and HQueens. On view: Zao Wou-Ki, Zhang Xiaogang, Fang Lijun, Jean Dubuffet, Yayoi Kusama, George Condo, Hurvin Anderson and iconic design pieces by Paolo Buffa, Hans Wegner, Finn Juhl and more.\n","VR Walkthrough: 20th Century & Contemporary Art & Design ","body","

Explore a virtual reality walkthrough of our 20th Century & Contemporary Art Evening Sale preview in Hong Kong.

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Travel through our galleries at the Mandarin Oriental and browse our Evening Sale, featuring an exceptional group of masterworks by Zao Wou-Ki, Yayoi Kusama, KAWS, Nam June Paik, Jean Dubuffet, Hurvin Anderson alongside pieces by top designers Paolo Buffa, Finn Juhl, Max Ingrand, Gio Ponti and Hans Wegner.

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Discover Pioneers of Modernism: A Selection from the Scheeres Collection, on view at HQueens. From collector Nick Scheeres comes some of the most sought-after East and Southeast Asian artists including Zhang Xiaogang, Fang Lijun, Yue Minjun, Richard Lin and SANYU.

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20th Century & Contemporary Art & Design is on view at the Mandarin Oriental, Hong Kong. For Pioneers of Modernism, visit HQueens at 80 Queen's Road Central. Both viewings are open through 27 May ahead of our Evening Sale.

\n","publishDate","2018-05-25T11:55:04.000000Z","coverPosX","coverPosY",97,"articleUrl","https://www.phillips.com/article/32693555/vr-walkthrough-20th-century-and-contemporary-art-and-design","auctionEditorialID",341,"editorialID",367,"flocklerID",32693555,{"_1994":2016,"_1996":231,"_1997":2017,"_1960":2018,"_2000":2019,"_2002":2020,"_2004":1571,"_2005":472,"_2007":2021,"_464":229,"_2009":2022,"_2011":2023,"_2013":2024},"https://flockler.com/thumbs/sites/889/12_001-334ba3a2-b2e3-4a7e-a800-dcb546e144a4_s600x0.jpg","In our exclusive interview with Zhang Xiaogang, we talk to the artist about his seminal 'Bloodline' series, through which he uses personal memories to represent an entire generation.","Zhang Xiaogang: In Conversation","

Zhang Xiaogang Bloodline: Big Family 9, 1996

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This April at Phillips Hong Kong, we sat down with Zhang Xiaogang. The artist shared the inspiration and development behind Bloodline: Big Family No. 9, the influence it has had on his later works and the significance this seminal work has had on his career.

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Phillips: Mr. Zhang, the Bloodline series is considered to comprise some of your most important works. Can you enlighten us with regards to the story behind it and possibly share some of your memories with us?

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Zhang Xiaogang: I have been working on the Bloodline paintings on and off since 1994, so this series represents an important phase in my life. Overall, the Bloodline series contains some of my most representative works and, around a decade ago, its development came to a halt.

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P: We are curious about the photographs on which the Bloodline series are based and how old photos impact your work. You have cited Gerhard Richter as an artist who greatly inspires you; has his use and manipulation of photography influenced your work?

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ZX: In 1992, when I traveled throughout Germany, Richter inspired me the most as a contemporary artist. I was not expecting this; at the time, Richter had little exposure in China. It was also impossible to gauge his level of influence and social standing. When I was in Germany, where Expressionism prevailed, Richter's works were truly a breath of fresh air. In the past, artists used photographs in the painting process, but only as informational tools and reference points. Richter, however, looked at photos and saw their history and meaning, which greatly inspired me. I started to pay attention to the history, culture and aesthetics behind pictures and distilled these things into my own artistic language. Through old pictures, I was able to learn about the ideas of traditional Chinese aesthetics, including how people delighted in the process of taking and developing film. They also went to great lengths to beautify the subjects of their pictures, just like how we still are constantly refining history and polishing memories. I also went through my own process of refining old photos—though, my purpose was to reconstruct old memories. For me, the journey from old photos to my Bloodline series was a process of re-embellishing.

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The 'Bloodline' series represents one of the most important periods and turning points of my artistic career.
\n— Zhang Xiaogang
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P: In the 1990s you were part of several seminal Biennales, including the 1994 São Paulo Biennale and the 1995 Biennale. We would like to hear how these academically-important exhibitions affected your work in the 90s.

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ZX: My participation in these important international exhibitions came after the birth of my Bloodline series; it was like a door had opened for me. This is why the Bloodline series represents one of the most important periods and turning points of my artistic career. After my works were being offered on the art market, people started to interpret my work from different angles—some thought it was a political symbol—but none of that truly mattered. There are certain works whose meanings can only be understood through a unique historical context. The Bloodline series is bound to the times in which it was created; it is also the fruit of more than a decade's worth of artistic endeavors. Those who grew up in the West are able to separate themselves from politics if they so choose; this is impossible for someone who grew up in China. Starting in kindergarten, you are confronted by politics that permeate every aspect of your life. For Chinese people, politics is not an art form; it's daily life, it's something you face every day. So a Chinese person's memory is filled with politics.

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Your personal life and petty emotions become insignificant in the presence of greater times. I am more concerned with personal memories. I believe that large memories are accumulated from small memories, and that is why I chose to approach my work from a familial angle. Families are basic units of little memories, but they contain the memories of the entire nation and its people. The '90s were a very different era from the present. At the time, having just lived through the '80s, Chinese artists were immediately confronted with new issues of self-identity and contemporary art knowledge — issues that were relatively focused and simple. As a result, artists had to assume strong and distinguishable characters that left little room for ambiguity. In retrospect, I realize that you need to know exactly what you want to express.

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Zhang Xiaogang Genesis Number One, The Birth of a Republic, 1991

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Zhang Xiaogang Red Baby, 1993. Collection of Johnson Tsong-zung Chang

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P: Let's return to Bloodline: Big Family No. 9. You created this work in 1996, and it is deeply connected to your family. Could you perhaps expand on the story behind the work?

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ZX: Specifically, the material for this painting came from a family photo. The photo shows my parents and my older brother — the first child of my family — and was taken to celebrate his hundredth-day birthday. When my brother was a child, he was a bit cross-eyed, so that adds a certain liveliness to the picture. I selected this picture from a pile and changed the child in the photo to one that represents our generation. I painted the child red to symbolize the "Second-generation Reds," the product of new China. The image of every figure in my Bloodline series is a variation of my mother — and because they are all the same person, I do not assign a sex to them.

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P: Your work represents an entire generation instead of individuals.

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ZX: Yes, it was part of my thinking to see myself within a larger cultural context, so what I portray is not individuality.

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Zhang Xiaogang's elder brother with their parents, on the occasion of his 100th Day Celebration

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P: The current collector of Bloodline: Big Family No. 9 has been in possession of the work for many years. He also stated that this piece has special meaning to you.

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ZX: I believe that this piece is very representative of my work. I still remember painting it and recall each detail vividly along the way. Halfway through the process, Wei Guangqing, Wang Guangyi and Fang Lijun came to visit me in my studio. Wei asked me how I treated the relationship between the characters and their background. I had completed several pieces in my Chengdu studio, all of which are among my most important works. I remember feeling a particular connection to this piece. I can't quite remember if I started out working on it in my Chongqing studio and finished it in my Chengdu studio or if it was the other way around. Either way, I created this piece between the two studios. The timing was also interesting because I painted it in 1995-96 when I was still teaching at the China Academy of Art.

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P: We touched on the fact that your previous works were more expressionist, which is quite different from your current works. How have you altered your subject matter, content and artistic language, and what is the relationship between these factors?

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ZX: It all started with The Birth of a Republic, which was the first time I used a photograph in my painting process; it was the spark that gave me a clue and a reason to use photos in my future practice. I was gathering information in the library and randomly came across an old photo of senior Communist members during the Republic of China. I found it an attractive image and decided to use it — to make it the cultural background of my painting. It wasn't until the end of 1993 that I truly started to read and learn from old family photos. That was the moment when I realized that everything I needed was right there. I set everything else aside and completely shifted my focus to studying pictures, which led to the subsequent creation of my Bloodline series. In the following years, I would keep a record of all the ideas that came to mind. I had always been intrigued by memories, but studying photos really enhanced this interest and allowed me to translate old emotions onto canvas. In recent years, my methods have changed; what has remained the same is my quest for finding possibilities within memories.

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Collector Nick Scheeres with Zhang Xiaogang in front of Bloodline: Big Family 9, 1996

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P: There is still much Romanticism in your work. In terms of your methods, when we were going through your work, we noticed the extremely delicate way that Bloodline: Big Family No. 9 was rendered — the gentle brushstrokes, the background clouds, and drops of water on the faces. We'd love to know more about your special techniques and how you employ them.

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ZX: It took me about a year of continual trial and error before I was able to perfect the techniques I used in the Bloodline series. At the time, I rather enjoyed the cryptic meanings hidden beneath a seemingly tranquil atmosphere. In February of 1994, I started to hone my techniques and explore my understanding of shapes (I had always striven to establish my own system for understanding and using shapes) by repeatedly painting the same painting. That year, I studied every detail and minutiae in my paintings, and through repeated experimentation, I found that creating multiple layers was essential for achieving the desired effect. I also aspired to capture light in my paintings — especially soft light — which is often observed in old photos. Soft light gives a sense of history, of changing times and of poetry. Creating multiple layers was a painstaking and time-consuming method, but I came to the conclusion that at least three layers were needed — black, white and grey — to achieve the effect I wanted. Suffice it to say that I was overjoyed when I finally perfected this technique.

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P: This has been very enlightening, Mr. Zhang. Thank you very much for the in-depth explanation of your work.

\n","2018-05-15T18:05:47.000000Z","https://www.phillips.com/article/32296875/zhang-xiaogang-in-conversation",326,353,32296875,{"_1994":2026,"_1996":231,"_1997":2027,"_1960":2028,"_2000":2029,"_2002":2030,"_2004":1571,"_2005":472,"_2007":2031,"_464":385,"_2009":2032,"_2011":2033,"_2013":2034},"https://flockler.com/thumbs/sites/889/luk_3551-bb518e8d-9f43-4316-b0f7-fe6e1054d0b5_s600x0.jpg","Standing at an impressive height of two-and-a-half meters, '04.01.79' is a rare and large-scale work by one of the greatest modern Chinese masters.","Zao Wou-Ki: A Triumph Over Adversity","

Zao Wou-Ki 04.01.79, 1979, as seen on view in Taipei

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Executed in 1979, 04.01.79 from our Hong Kong Evening Sale of 20th Century & Contemporary Art & Design embodies the pivotal stylistic transition from the artist's middle-to-late period of abstract paintings. The largest painting from the 1970s by the artist to ever come to auction, as well as one of his ten largest works on the market, 04.01.79 is presented to the public for the first time. In this video with Jonathan Crockett, Deputy Chairman of Asia, discover the painting's intersection of traditional Chinese ink painting and European abstraction.

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Around that time 04.01.79 was created, Zao Wou-Ki had gained full control of a new stylistic endeavor in conveying a heightened sense of spontaneity and calm in his paintings. As exemplified in this masterwork, Zao's portrayal of tranquillity and elegance in nature is unrivaled. This new stylistic phase is highly connected to events that had occurred during that period of his life. The illness and eventual passing of Zao's second wife in 1972 had left Zao in mourning. Following a period of personal loss and turmoil, it was through this ordeal that the artist started to reconnect with the study of ink wash painting. He resumed painting again in 1973 and began working on large format paintings circa 1977.

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Artist in his studio, 1982 © Martin Franck/Magnum Photos

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Large zones of dark wash call to Zao's exploration of the ink medium, at the same time pinpointing the painting to this specific phase in the artist's life from 1973 to 1980. Zao himself had said that his style underwent a new transformation from 1973 onwards—he regained peace in his works as compared to the deliberate control depicted in earlier abstract works; he had achieved a state of spontaneity and calm. The year that 04.01.79 was executed can hence be seen as a period of triumph in reaching a new climax in his artistic pursuits.

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Zao Wou-Ki 04.01.79, 1979, as seen on view in Singapore

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Zao's work very much instantiates the beauty of simplicity that informs Chinese ink painting in its colors and spatial arrangement, depicting energetic brushwork that pulsates along the canvas and, in turn, conveys the artist's sensibilities derived from his connection towards this Eastern art form. Zao had also stated in his autobiography that he was a great admirer of Rembrandt and was highly inspired by the Western master's wet-on-wet technique. In re-exploring the intricacies of the Chinese ink, Zao Wou-Ki contemplated how these practices could be blended with the expressive modality of abstract painting. 04.01.79 is a perfect example of Zao's re-articulation of the ancient spirit onto the canvas. In this piece, the artist had added turpentine to thin out the heavy consistency of his oil paints; the diluted paints offered greater freedom in allowing the artist to generously set down highly translucent washes or layers to create a visual effect akin to the flowing smoothness of ink applied by the ancient literati painters onto rice paper.

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The artist's concise brushwork reveals various techniques and sophisticated maneuvering of color. The scene ingeniously employs white space to construct a compositional conception of sky and land, while the breathtaking atmosphere of the work envelops viewers with its powerful immersive quality. Standing before 04.01.79, one detects elusive yet compelling traces of picturesque scenery, including mountains, creeks, green trees and scholar's rocks. Shrouded in a swirling mist, the mountains seem to undulate, the rivers seem to flow and the pathways beneath the cliff crisscross dynamically into each other. In a mere instant, a stunning and spectacular landscape painting reveals itself from the abstract painting.

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Detail from Zao Wou-Ki 04.01.79, 1979

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In the later works of Joseph Mallord William Turner, the English Romantic painter focused increasingly on the atmospheric qualities of sky, sea, wind and mist, or the rays of light from a flame, and gradually lessened his depiction of physical objects and their details. Critic John Ruskin observed that, in these later works, Turner was able to truly grasp hold of the vital pulse of nature. In these paintings, Turner paved the way for Impressionist theory.

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The 20th-century overseas Chinese artists, including Zao Wou-Ki, Chu Teh-Chun and T'ang Haywen (Zeng Haiwen), were all influenced by Turner. Zao's unique and captivating treatment of light and atmosphere, which began in the 1950s and continued on to his more energetic phase in the 1960s, is particularly entrancing. Later in the 1970s, Zao's works reveal a heightened manifestation of Taoist theories of nature and the spiritual qualities of water and air, a testament to the artist's focus of study during this phase of his career. 04.01.79 precisely embodies such preoccupations, evoking a vast, surreal sense of space while blurring the boundaries between myth and reality.

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Joseph Mallord William Turner Snow Storm: Hannibal and his Army Crossing the Alps, 1800s. Collection of Tate Modern, London

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While there was an abundance of imagination towards the East in the paintings of Western masters such as Eugène Delacroix, Vincent Van Gogh and Henri Matisse, such works were mostly interpretations and portrayals of superficialities— bits of Western modern art's summation of Orientalism. Zao Wou-Ki's achievement lies in the fact that he, as a Chinese brought up immersed in Eastern art, was able to draw from his own cultural foundation, and integrate seamlessly Chinese-style landscapes, ink wash painting as well as the xieyi approach, sensitivities and well-coordinated contrasts of traditional calligraphy with the boldness of Western modernism. To the Westerners, Zao's paintings had fulfilled their common expectations of the imagined East.

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At the same time, Zao was also celebrated by the Chinese as an 'Orientalist' of the artistic approach and interpretation of Western abstraction, one who unites the spirits of both worlds. Such artistic prowess that straddles both the ancient and the modern, the East and West, can only command our utmost admiration.

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\n","2018-05-21T21:09:59.000000Z","https://www.phillips.com/article/32590562/zao-wou-ki-a-triumph-over-adversity",335,361,32590562,{"_1994":2036,"_1996":231,"_1997":2037,"_1960":2038,"_2000":2039,"_2002":2040,"_2004":1571,"_2005":472,"_2007":2041,"_464":188,"_2009":2042,"_2011":2043,"_2013":2044},"https://flockler.com/thumbs/sites/889/33_003-17d17a6b-9f6a-4f50-aa43-c0f72af657b3_s600x0.jpg","Made from afrormosia hardwood sourced in Africa, cut in Amsterdam and hand-finished in Maastricht, 'FINAL DAYS' is a truly global character from KAWS' distinctive oeuvre.","Final Days: KAWS' Intrepid Icon","

Detail of KAWS FINAL DAYS, 2014. Executed in 2014 in afrormosia wood, this work is number 2 from an edition of 3 and 2 artist's proofs.

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Sculpted from a gorgeous dark brown African hardwood and weighing in at a half ton, FINAL DAYS is an exemplary work by the intrepid KAWS. The artist's classic revisions of iconic popular culture characters are not only immediately recognizable but also in the spotlight now more than ever.

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Featuring KAWS' idolized alterations applied to a hatless Kurf, the sculpture features crossed-out eyes, bones imitating hair and ears, distorted mouth and impeccable fabrication—the traits that have come to define the artist's signature style. While known for his compelling cross-pollination of appropriated imagery, materials and cultural references, KAWS raises the stakes with this piece by using, for the first time, the extremely durable afrormosia wood, imbuing the sculpture with the spiritual energy of the historic lumber. This novel combination of timeless dark hardwood and contemporary iconography first debuted at the artist's major 2014 exhibition of the same name at the Contemporary Art Centre of Málaga.

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The charisma of FINAL DAYS emanates from its uncanny relatability and exploration into the inner-world of humanity. Lumbering towards the viewer with its arms held out, the monumental character adopts a gait and expression that distances the piece from associations with childhood and innocence and, instead, elicits sensations of melancholy and loss. Though KAWS states that his work "is a mirror of his own state of mind…and a way of understanding the world around him," as quoted by Arie Bouman for "KAWS at the Modern Art Museum of Fort Worth" in January 2007, he further elucidates, "it's not important for me to impose those thoughts on the viewer. I would much rather have the work find new meaning to the people that take the time to view it. I don't make work with any specific audience in mind."

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I appreciate his perfectionist mentality. It's so over the top.
\n— KAWS on Jeff Koons
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KAWS Final Days, 2013. 6 meters tall, this example was exhibited at Frieze Sculpture, London, 5 July-8 October 2017. Photo: Danielle So

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While the masterful Warholian-style re-appropriation of pop icons in FINAL DAYS emanate from the artist's early venture into the visual culture of New York street art, its deep-seated respect for craftsmanship and association with collecting as a mode of identity stem from the artist's first travels to Japan in 1996. When interviewed by actor Tobey Maguire for Interview Magazine in April 2010, KAWS described how "artists like [Takashi] Murakami…really opened up a lot of doors on acceptance and crossover projects" In response to the conventional distinction between 'toys' and 'sculptures', KAWS responded: "To me it's the same thing...I always thought it was funny how people like to put things in categories and label them...in the end, my thought process is the same."

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To create this larger-than-life wooden sculpture, KAWS had cut the wood pieces in Amsterdam before shipping them to Maastricht for hand-finishing, making FINAL DAYS a truly global work of art.

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This level of expertise and precision furthermore extends from the artist's admiration of Jeff Koons, whom KAWS commended in his interview with Maguire: "I appreciate his perfectionist mentality. It's so over the top."

\n","2018-05-22T19:14:57.000000Z","https://www.phillips.com/article/32616789/kaws-in-dark-wood",337,363,32616789,{"_1994":2046,"_1996":231,"_1997":2047,"_1960":2048,"_2000":2049,"_2002":2050,"_2004":1571,"_2005":472,"_2007":2051,"_464":72,"_2009":2052,"_2011":2053,"_2013":2054},"https://flockler.com/thumbs/sites/889/luk_3521-581dc343-6338-46e3-8963-50d212fa0226_s600x0.jpg","A pair of paintings by George Condo—on offer during this month's Evening Sale in Hong Kong—demonstrate the artist's influences and upbringing in New York and Paris.","Hong Kong Spotlight: George Condo Portraiture","

George Condo Writer, 2006, as seen on view in Taipei

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Situated in a non-specific yet playfully macabre landscape, George Condo's absurd and consciously lewd Writer confronts the viewer head-on.

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Carefully amalgamating a pantheon of stylistic references from the breadth of art history — from the Renaissance to Cubism — Condo turns the academic genre of portrait painting on its head, irreverently delving into modes of caricature and the grotesque. Painted in 2006, Writer can be seen as an extension of Condo's important series known as the existential portraits. By intercepting the genre of portraiture with fictive personas and surreally deformed figures, Condo provides provocative models of the social identities we create and live by. His figures are driven by basic instincts and primal desires.

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Grimacing with a protruding jaw and bulbous red cheeks, Writer bears all the hallmarks of Condo's iconic figurative vocabulary. Notably, brushwork is particularly expressive, creating a dynamic surface that vibrates with the raw aesthetic impulses of the artist—a fitting stylistic choice given that the subject parodies the idea of the over-confident, creative individual. Above all, it is Condo's ability to capture the spectrum of human emotions, psychological states and the existential plight of humanity that has made him one of the most revered painters of his generation.

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Brushwork is particularly expressive, creating a dynamic surface that vibrates with the raw aesthetic impulses of the artist.
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George Condo Writer, 2006

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Having once worked in Andy Warhol's factory as a writer and silk screener, Condo's journey to notoriety began in the New York art scene in the 1980s. Having befriended the most important new artists of that time, including Jean-Michel Basquiat and Keith Haring, Condo was determined to carve out his own unique aesthetic idiom. Unlike his contemporaries, rather than looking to the streets and urban life for inspiration, he turned to art history. Among Condo's greatest influences are Old Masters painters such as Diego Velázquez, Neoclassicists such as Jean-Auguste-Dominique Ingres and, above all, the great Cubist Pablo Picasso. It was in the 1980s that Condo began using the terms 'psychological Cubism' and 'artificial realism' to define his approach to art.

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Also on offer as part of our Hong Kong Evening Sale of 20th Century & Contemporary Art & Design, the artist's Black Standing Figures from 2000 engulfs the viewer: stretching over two meters wide and nearly life-sized in height, this large-scale painting resembles a wall filled with frenetic graffiti. Approaching the work from a distance, the viewer realizes that the largely black-and-white painted canvas is filled with an immense variety of texture and impressive range of color. This palimpsest-like composition more closely recalls the energy of paintings by Condo's friends and fellow artists from New York—Basquiat and Haring. Simultaneously, it pays tribute to Brassaï's celebrated photographs of street art from mid-twentieth-century Paris.

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Condo's ability to cannibalize a range of artistic and conceptual influences, transforming them into something new, is a hallmark of his work.
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George Condo Black Standing Figures, 2000

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Condo chose to abandon the New York of Haring and Basquiat by spending a number of years in Paris, immersed in the wealth of the European canon and tradition of visual culture. These he absorbed, eventually processing them and imbuing them with the new, vigorous energy that is so apparent in Black Standing Figures. Condo has depicted these massed figures with a manic edge that is heightened by the fragmentary, elusive appearance of the people themselves: here, a hand is glimpsed, there, hair, elsewhere, breasts, all coalescing to give the impression of a crowd facing us. Condo depicts this crowd with disjointed and distorted features in a manner that recalls his now-iconic 'pods', or 'antipodal beings', a notion taken from Aldous Huxley's Heaven and Hell. Looking at Black Standing Figures, there is a clear sense of hallucinatory power to the image; it continues the distortions of 'psychological Cubism' for which he is famous while introducing a new, raw mentality.

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Stylistically, Black Standing Figures appears to compress a range of influences. As well as the graffiti of Haring or the paintings of Matta, there is a clear tribute to Pablo Picasso, and in particular to the works of the post-war period when Picasso was in a relationship with fellow artist Françoise Gilot. Comparisons can also be made to Jean Dubuffet, the French painter and sculptor and founder of the Art Brut movement, whose dark, heavily textured canvases are among the defining hallmarks of early 20th-century art.

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Left: George Condo Diaries of Milan, 1984. Collection of The Museum of Modern Art, New York © 2018 Georges Condo / Artists Rights Society (ARS), New York; Right: Jean Dubuffet Large Black Landscape, 1946. Collection of the Tate Modern, London © 2018 Artists Rights Society (ARS), New York / ADAGP, Paris

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Discussing his own work, Condo has said: "I like to think about Picasso… because he took a bicycle seat and a pair of handlebars and made a bull's head: he reconfigured a manmade thing into a natural thing. What I've done is the reverse: I've turned it back into the bicycle."

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Walasse Ting

《小雨點》

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Walasse Ting