巴塞爾藝術展香港展會
劉蘇：哎呦，哎呦
Antone LIU: Well, well
香港會議展覽中心
香港灣仔博覽道一號
Hong Kong Convention and Exhibition Centre
1 Harbourd Road, Wan Chai, Hong Kong
For more information and previews, please contact:
文：奧古斯丁·帕雷德斯 (Augustine PAREDES)
LINSEED非常高興將在2026年巴塞爾藝術展香港展會“艺术探新”單元呈現劉蘇（b.1999, 中國遼寧）的個人項目「哎呦，哎呦 Well，well」，展位1C33。通過由絹構成的中空雕塑，展覽探討悖論與材料的顛覆性轉化，這些作品在文化傳統、民間敘事與身份經驗的共同塑造之下生成。展覽以「井」的詩性鏡像為線索，對「空缺」這一主題展開視覺性的分析——在其中，歸屬處於永恆的流動之中，而「可見性」則始終停留在一種尚待抵達的渴望之上。
劉蘇 Antone LIU
無肉令人瘦，無竹令人俗 Fragile Beauty，2026
絹本設色 Mineral pigment on silk
210 × d. 16.5 cm
事物將化作其缺失的功能而存在。1
在追求深遠的平靜的過程中，劉蘇構建出一種悖論。在柔軟和堅硬、輕與重、移植和收穫之間，他迫使傳統材料脫離其慣常的形態與功能。這些意圖最終匯聚為一種精確的「空」，進而為他的「幽靈」提供棲息之所；也讓觀者看到一個個空缺，並遐想其中的填充之物。
藝術家不斷演進的創作實踐中融合了時尚、雕塑和繪畫。他從工筆畫、西方裝裱和十字繡中吸取靈感，並將這些傳統的技法調和成了和諧的視覺語言，使日常物品轉化為量身定制的結構骨架。
劉蘇 Antone LIU
一瓶不容二虎 One bottle cannot hold two tigers, 2026
絹本設色 Mineral pigment on silk
60 × 45 × 2.5 cm
缺失：
（結構 - 包裹）+ 移除
通過編排材料被「遺棄」的過程中，劉蘇強化了其中的悖論。這種方式呼應了喬治·巴塔耶（Georges Bataille）的思想，即詩性的形式會將彼此分離的事物混合與交融，從而消解了他們之間的邊界。2
這次的核心作品借鑒了井的形式。井底由石墨而畫成的「水面」，凝結為了一種詩意的幻影。
劉蘇 Antone LIU
井花水月 Well, well，2026
絹本設色 Mineral pigment on silk
55 × 55 × 36cm
劉蘇的那些隱晦的指代和中國悠長的歷史相呼應，個人經驗成為一種方向的指引。這個軌跡可以借助柄谷行人的「跨躍性批評」（Transcritique）來理解3，這是一種通過在不同立場之間不斷移動而產生的強烈視差的觀看方式。預示著真正的風景，只能被那些不將目光向外投射的人所發現。自我，即是風景的鏡像。
這一視角框定了藝術家與法蘭克福翻新的中式園林「貝特曼公園」（Bethmann Park）的相遇經歷，他將其視為一種文化摩擦的場域。通過十字繡繪畫，劉蘇描繪了花園生態中的權力關係，刻畫著這片離散世界中對於「可見性」的追求。這些故事逐漸展開為一種廣泛的內省，質詢著「懷舊」這一危險的文化母題，並指出：對於可見性的渴望，或許比可見性本身更為重要。
劉蘇 Antone LIU
蛇吻 French Kiss，2026
絹本設色 Mineral pigment on silk
90 × 65 × 8 cm
這些堅韌的作品需要通過一個激烈的過程打造。絹被施加於雕塑表面，承受極度的張力；當內部結構被移除後，只留下空心的形體，顯現深刻的缺席感。懸停於悖論中的這些空殼，被排列成一條蛇的姿態，環繞在一口雙井旁。石墨繪出水之幻影，靜靜地倒映著民俗傳說的逸聞。這些密集勞動所留下的細微痕跡，成為了一個個空心的居所，而藝術家創造的幽靈徘徊其中。
劉蘇 Antone LIU
蛇詩慢 Serpent Psalm，2026
絹本設色 Mineral pigment on silk
32 × 37.5 × 8 cm
劉蘇既渴望被閱讀、被看見，又同時拒絕著它；在逐漸變得可見的過程中，他反而使自己隱形。終點因此轉化為渴望。一種「去身份化」（disidentification）漸漸形成——在離散的經驗中，適應和妥協，使他的創作更加強調過程而非結果。
標題「Well, well」構成一個語義上的轉折點：它既是表示深度的名詞（井），也是一種停頓式的語氣詞。這個重復的短語同時指向民間傳說與園林意象，也暗含一種潛在的張力。劉蘇尋找著這種張力的臨界狀態，一種他願意棲居其中的「煉獄」。在材料和映像之間，歸屬始終處於流動之中。他打造了一個循環，抵抗著終結，也拒絕著簡單的結論。這種對於可見性的慾望因此始終停留在地平線之上：一直可以被看見，但永遠無法抵達。
劉蘇 Antone LIU
媽咪 mami，2026
絹本設色 Mineral pigment on silk
25 × 47.5 × 8 cm
「哎呦，哎呦 Well，well」要求觀看者不帶懷舊心情地凝視它，而不是將其視為一段離散的記憶。它追尋的是對於複雜慾望進行一種幽微而細膩的探究。通過創作，藝術家希望觀者看到的恰恰不是他所展現的，而是他如何接受那些他所無法展現的部分。
1 Lacan, J.（1991）。The Seminar of Jacques Lacan: Book II. The Ego in Freud's Theory and in the Technique of Psychoanalysis, 1954–1955（《拉康研討班 II：弗洛伊德理論與精神分析技術中的自我（1954–1955）》）。（J.-A. Miller 編，S. Tomaselli 譯）。New York：W. W. Norton & Company。（原著出版於1978年）
2Bataille, G.（1986）。Erotism: Death and Sensuality（《情色：死亡與感官性》）。（M. Dalwood 譯）。City Lights Books。（原著出版於1957年）
3 柄谷行人（2005）。Transcritique: On Kant and Marx（《跨批判：論康德與馬克思》）。（S. Kohso 譯）。The MIT Press。（原著出版於2003年）
劉蘇 Antone LIU | Photo by Augustine PAREDES
劉蘇（Antone LIU）1999年生於中國遼寧，2021年畢業於北京服裝學院服裝設計專業，現於法蘭克福造型藝術學院（Hochschulefür Bildende Künste–Städelschule）威廉·德·羅伊（WillemDe Rooij）工作室深造，目前生活工作於法蘭克福和無錫。劉蘇的藝術實踐根植於跨文化敘事與設計製造史的對話，通過研究與創作揭示世界觀感知的不穩定性與範式遷徙。他擅於在動態演進的路徑中捕捉微妙關聯，以舉重若輕的幽默感，在似是而非之間營造虛實交織的體驗場域。劉蘇以精密的工藝將尋常物件轉化為手工鍛造的表演性界面，探索不可見性與日常性的相遇時刻——當認知的裂隙被偽飾的完美表面撬動，既定感知範式便面臨溫柔的爆破。
其近期個展包括：“Well, well“，2026，巴塞爾藝術展香港展會，LINSEED，香港（即將展出）；“四眼井”，2025，啥空間，杭州；“Antone Liu in Temple”，2024，Temple，奧芬巴赫；“Skin, Participatory Art, Intimacy Series”，2021，崑山杜克大學人文研究中心，蘇州。其近期群展包括：“城中有座山”，2025，杭州博物館，杭州；“四位藝術家步入一間酒吧”，2025，Constellations，華沙；“夜巡”，2025，LINSEED，上海；“Quvering Bloom”，2025，Stichting Perdu，阿姆斯特丹；Open Studio，2024，HIAP Gallery Augusta，赫爾辛基；“Playing in the Dark: Side B”，2024，Uncharted Collective，釜山雙年展，釜山；“Hairpin Beneath”，2024，TROPEZ，柏林；“The Sound of Defiance”，2024，Paludo S. Antonio Bridge Rio Dei Giadini，威尼斯；“cā biān”，2024，Hafenplatz 1-3，奧芬巴赫；“Rundgang Städelschule”，2024，法蘭克福；“Symposium”，2023，Netzwerk Sellerie，法蘭克福。
劉蘇 Antone LIU
燕遇 Flash Affair，2026
絹本設色 Mineral pigment on silk
31 × 42.5 × 8 cm
Text by: Augustine PAREDES
LINSEED is thrilled to present “Well, well,” by Antone LIU (b. 1999, Liaoning), at booth 1C33 in the Discoveries section of Art Basel Hong Kong 2026. The exhibition explores paradox and material subversion through hollowed-silk sculptures shaped by heritage, folklore, and identity. A poetic mirroring of a well and a visual analysis of voids, in which belonging is in perpetual flux, and visibility remains an aspiration.
Being comes into existence as an exact function of this lack.1
In his pursuit of monumental quietude, Liu orchestrates a paradox. Between soft and rigid, light and weight, transplant and harvest, he compels traditional materials to abandon their usual forms and functions. These intentions are consolidated by a precise hollowness, creating a home for his ghosts to inhabit; for us to see a void and wonder what fills it.
Liu’s evolving studio practice consolidates fashion, sculpture, and painting. Drawing upon Gongbi Painting, Western framing, and cross-stitching, he appropriates traditional techniques into a harmonious language that enables a pivot from using everyday objects to sculpting bespoke armatures.
TO LACK：
（STRUCTURE - WRAPPING) + REMOVAL
By orchestrating the abandonment of his chosen materials, Liu exemplifies a paradox. An approach that connects Georges Bataille’s philosophical idea that forms of poetry blend and fuse separate objects, dissolving boundaries between them.2
The centerpiece borrows the form of a well. Inside is a graphite drawing of water, providing a poetic mirage.
Liu’s opaque references are anchored in China’s rich history, using the personal as a compass. This trajectory is defined by Kojin Karatani’s "transcritique3, ” an intense parallax produced by the continual movement between distinct positions. Suggesting that a landscape can be discovered only by those who do not turn their gaze outward. The self mirrors a landscape.
This perspective frames Liu’s encounter with the restored Chinese garden in Bethmann Park, Frankfurt as a site of cultural friction; by painting cross-stitched scenes of power in garden ecologies, he depicts the pursuit of visibility within the diaspora. These stories become expansive introspections that interrogate the dangerous trope of nostalgia, asserting that the yearning for visibility is more important than visibility itself.
His unyielding sculptures demand an intense process. Silk is subjected to extreme tension over sculptures that are eventually removed, leaving hollow forms that manifest a profound sense of absence. Suspended in a paradox, these empty frames are arranged in a serpentine pattern near a well. A mirage of water, in graphite, offers a quiet reflection of folklore. These subtle traces of intensive labor become a hollowed dwelling for the ghosts Liu leaves behind.
TO ASPIRE:
PROCESS - OUTPUT
Liu desires to be legible and visible, yet refuses it; becoming invisible in the very process of becoming visible. Transforming destination into aspiration. A disidentification is shaped by a diasporic impulse to adapt and compromise, resulting in a practice that prioritizes process over outcome.
The title “Well, well” operates as a semantic pivot, shifting from a noun of depth to a verbal pause. While the repetition references the folklore and the garden, the phrase also signals tension. Liu seeks the liminality of that tension, a purgatory he desires to inhabit. Between materials and reflections, belonging is always in motion. He constructs a loop, resisting finality and refusing a simple conclusion. This desire for visibility remains a horizon: always in view, yet unreachable.
“Well, well” demands to be looked at without nostalgia, to be regarded beyond a diasporic memoir. It seeks a delicate, nuanced study of complex desires. Through his artistic practice, Liu asks not to be perceived through what he reveals, but through the way he accepts what he cannot.
References:
1 Lacan, J. (1991). The seminar of Jacques Lacan: Book II. The ego in Freud's theory and in the technique of psychoanalysis, 1954–1955 (J. -A. Miller, Ed., S. Tomaselli, Trans.). W. W. Norton & Company. (Original work published 1978)
2 Bataille, G. (1986). Erotism: Death and sensuality (M. Dalwood, Trans.). City Lights Books. (Original work published 1957)3 Karatani, K. (2005). Transcritique: On Kant and Marx (S. Kohso, Trans.). The MIT Press. (Original work published 2003)
About the Artist
Antone LIU was born in 1999 in Liaoning, China. He obtained his BA in Fashion Design from the Beijing Institute of Fashion Technology in 2021, and is currently pursuing his Meisterschüler in the class of Willem De Rooij at Städelschule in Frankfurt am Main. He currently lives and works in Frankfurt am Main and Wuxi. Deeply invested in transcultural narratives and the history of design and manufacturing, his research and works tickle the precariousness and shifts in the perceptions of worldviews. Liu repeatedly deliberates and finds unexpected intersections among these evolving paths. His works capture liminal intersections within evolving trajectories, constructing specious experiential fields where humor becomes a Trojan horse for cognitive intervention. LIU creates performative surfaces with handcrafted practice, and gentle detonations of perceptual norms occur when cracks in reality’s cosmetic surface are pried open by the crowbar of precision craftsmanship.
His selected solo exhibitions include:“Well, well”, 2026, Art Basel Hong Kong with LINSEED, Hong Kong （Upcoming); “Four Apertures”, 2025, Schein Space, Hangzhou; “Antone Liu in Temple”, 2024, Temple, Offenbach; “Skin, Participatory Art, Intimacy Series”, 2021, Duke Kunshan University Humanities Research Center, Suzhou. His selected group exhibitions include: "A Mountain Within the City", Hangzhou Museum, Hangzhou; “Four Artists Walk Into A Bar”, 2025, Contellations, Warsaw; “Nocturnal Animals”, 2025, LINSEED, Shanghai; “Quvering Bloom”, 2025, Stichting Perdu, Amsterdam; Open Studio, 2024, HIAP Gallery Augusta, Helsinki; “Playing in the Dark: Side B”, 2024, Uncharted Collective, Busan Biennale, Busan; “Hairpin Beneath”, 2024, TROPEZ, Berlin; “The Sound of Defiance”, 2024, Paludo S. Antonio Bridge Rio Dei Giadini, Venice; “cā biān”, 2024, Hafenplatz 1-3, Offenbach; “Rundgang Städelschule”, 2024, Frankfurt am Main; “Symposium”, 2023, Netzwerk Sellerie, Frankfurt am Main.
For more information and previews, please contact:
