巴塞尔艺术展香港展会 2026
ART BASEL HONG KONG 2026展位 BOOTH3C11板块 SECTOR艺路回声 EchoesYan Xinyue 闫欣悦Leelee Chan 陈丽同Elizabeth Jaeger 伊丽莎白·耶格光映现场 FilmLucy McRae 露西·麦克雷贵宾预览 VIP PREVIEW周三 03.25, 12:00 - 20:00周四 03.26, 12:00 - 16:00周五 03.27, 12:00 - 14:00周六 03.28, 12:00 - 14:00周日 03.29, 11:00 - 12:00开幕 VERNISSAGE周四 03.26, 16:00 - 20:00公众参观 PUBLIC HOUR周五 03.27, 14:00 - 20:00周六 03.28, 14:00 - 20:00周日 03.29, 12:00 - 18:00地址 ADDRESS香港会议展览中心 Hong Kong Convention & Exhibition Center
胶囊将在巴塞尔艺术展香港展会的艺路回声板块与Klemm’s 联合呈现女性艺术家陈丽同、伊丽莎白·耶格（Elizabeth Jaeger）与闫欣悦的最新创作。三位艺术家的实践根植于不同的地理语境与审美感知，却不约而同地流露出对“所处之地”及其情感张力的敏锐体悟。
Leelee Chan 陈丽同 | Sensitive Circuit 感应之回路 | 2026 | found stone and lost-wax cast bronze 拾得石头和失蜡法铸造黄铜 | 105 x 38 x 13 cm
陈丽同（1984年生于中国香港）的雕塑延续了她对于工业基础设施与有机生长之间流动边界的持续探究。在《树层漫游者》（2024）中，艺术家将一块拾得的塑料运输托盘切割并塑形成神秘的墙面遗迹，其间盘绕交织着青铜野花、虬结根系与琥珀色树脂。作品的灵感源于树木的形成层——树皮之下负责生长的活跃组织，同时也来自香港城市环境中蜿蜒蔓生、重夺空间的树根，在托盘所承载的全球商品流通和地下根系网络之间建立起一种隐喻的平行关系。新作《感应之回路》（2026）同样以拾得运输托盘碎片为原型，通过失蜡法铸造而成。陈丽同进一步探究隐匿的系统，以及自然与人造之间的物质联结。作品借鉴菌根网络（树木赖以彼此传递信息的地下真菌系统），使之与维系全球经济运转的地表基础设施形成呼应。
伊丽莎白·耶格（1988年生于美国旧金山）的黑色陶瓷与金属花瓶雕塑以加州、斯里兰卡、威尼斯等地的墓园命名，散布于展位之中，将空间变为一方超现实花园。形式简洁的陶瓷容器亭立于纤细的黑钢支架之上，富有端庄的建筑气息。容器的开孔中长出一枝枝深色修长的花朵，静默挺立，凝固在盛放的瞬间。作品统一的黑色为整个场景赋予了一种末世的静谧气息。这座精神花园中点缀着老鼠形态的小型雕塑——这些聪明的城市清道夫以人类活动留下的残渣为食。一件小鸟陶瓷雕塑落在墙面高处，俯视着观者，在不经意的对视中倏然唤起自我意识。耶格的作品凸显了不同生命形态之间流动而模糊的边界，引人思考生命的脆弱与坚韧。
Yan Xinyue 闫欣悦 | The answer is blowing in the wind #2答案正在风中飘#2 | 2026 | oil on canvas 布面油画 | 175 x 125 cm
闫欣悦（1992年生于中国）的绘画并不锚定在任何可辨识的具体场景中，而是构建了当代都市生活的情绪氛围。在《答案正在风中飘》#2 和 #3 中，朦胧的背景上枝条舒展，树影摇曳。叶片在依附与脱离之间悬停，变幻的色彩与模糊的轮廓暗示着暧昧的不确定性和悄无声息的转变。闫欣悦并不描绘具体的风景，而是呈现一种情绪气候——那些感知流淌、时间松动的瞬间。《我的小宇宙》（2026）从飞行的体验展开对时空交叠的遐想。个体的主观时间与宇宙的宏大尺度在此重合，一种无限之感悄然而生。三位艺术家对场域的刻画超脱了固定的地点，将其理解为由个人记忆、物质流通和心理投射共同塑造的一种处境。
Capsule and Klemm’s jointly present a group project that showcases the latest works by women artists Leelee Chan, Elizabeth Jaeger and Yan Xinyue. Though rooted in divergent geographies and aesthetic sensibilities, their practices intersect through a shared sensitivity to placeness and its underlying emotional intricacy.
Leelee Chan’s (b. 1984, Hong Kong) sculptures investigate the porous boundaries between industrial infrastructure and organic growth. In Cambium Wanderer (2024), a found plastic shipping pallet is transformed into an arcane wall relic entwined with root forms, bronze wildflowers, and amber resin. Drawing on the cambium—the living layer beneath a tree’s bark responsible for growth—as well as from the sprawling tree roots that reclaim the urban environment in Hong Kong, the work evokes parallels between subterranean root systems and the global circulation of goods that pallets enable. In her new work Sensitive Circuit (2026)–cast in lost wax from manipulated fragments of found shipping pallets–Chan further explores hidden systems and the material interconnections between the natural and the artificial, referencing mycorrhizal fungal systems that allow trees to communicate underground while echoing the above-ground infrastructures that sustain global economies.
Elizabeth Jaeger 伊丽莎白·耶格 | Borella 波雷拉 | 2024 | ceramic, blackened steel 陶瓷，黑钢 | 167.6 x 34.3 x 40.6 cm
Titled after cemeteries in California, Sri Lanka, Venice, and beyond, Elizabeth Jaeger’s (b. 1988, San Francisco) black ceramic and metal sculptures of flower vases are scattered across the booth, transforming the space into a mildly surreal garden. Compact ceramic vessels rest atop slender blackened steel legs, elevating them into poised, almost architectural presences. From their apertured surfaces rise bouquets of darkened, attenuated flowers, their forms restrained and upright, frozen in a moment of bloom. The works’ uniformity in black renders the scene with a postapocalyptic tranquility. This psychological garden is interspersed with small sculptures of rats–intelligent urban scavengers that feed on and clean the remnants of human activity. A ceramic sculpture of a bird rests high on the wall, gazing downward at viewers and evoking an unexpected sense of self-awareness. Jaeger’s work foregrounds the fluid boundaries between beings, inviting a meditation on life’s vulnerability and endurance.
Yan Xinyue’s (b.1992, China) paintings rarely anchor themselves in a recognizable setting; instead, they conjure the emotional atmospheres of contemporary metropolitan life. In The answer is blowing in the wind #2 and #3, branches extend across softly modulated grounds as foliage drifts, dissolves, or hovers in suspension. The leaves appear caught between attachment and release, their shifting colors and blurred contours evoking states of uncertainty and quiet transition. Rather than depicting specific landscapes, Yan renders psychological weather—moments where perception feels fluid and time unsettled. In My Little Universe (2026), the experience of flight becomes a meditation on the convergence of time and space. The subjective sense of time overlaps with the vast scale of the universe, where a sense of infinity gently unfolds.Rather than depicting site as a fixed location, each artist approaches place as a condition shaped by memory, material circulation, and psychological projection.
Lucy McRae 露西·麦克雷 | Delicate Spells of Mind 纤巧的心灵咒语 | 2022 | color digital video 彩色数码影像 | 11' 28'' | 由 Arts House Limited 和 Singapore International Festival of Arts 委任创作。首映于 Life Profusion 2022，新加坡。
闫欣悦（1992年出生于黑龙江，成长在广东）目前常驻于上海与洛杉矶之间。她于2018年取得比利时安特卫普皇家美术学院（Royal Academy of Fine Art Antwerp）绘画专业的硕士学位。闫欣悦的作品关注着飞速发展的城市化下的人群和他们的状态。她习惯以戏剧化的形式来表达日常城市生活。闫欣悦的绘画里交织着不同的空间层次和力量，她无意将她的绘画置于明确的叙事里，而是邀请观者去解读，进入一个更开放的想象空间。闫欣悦坚持对绘画本身的可能性的探索，同时她的画面总以戏谑的态度使观者在严肃的当下现实中挣脱开来，在令人沉思的语境下寻找一丝玩趣。闫欣悦的个人和双人展览包括“重游”， 胶囊上海，上海（2024）；“A Prayer for the Sunset”，Sans Titre，巴黎（2023）；“To look Is to Eat”，Jack Barrett Gallery，纽约（2023）；“夏日迷雾”，胶囊上海，上海（2020）。群展包括在C L E A R I N G，洛杉矶（2024）；Public Gallery，伦敦（2023）；Harper's，洛杉矶（2023）；Sans Titre，巴黎（2022）；Current Plans，香港（2021）；胶囊上海，上海（2019）；A+亚洲当代艺术空间，上海（2019）；De Brakke Grond弗拉芒文化中心，阿姆斯特丹（2018）等。
Yan Xinyue (b.1992) is a Chinese artist who's currently based between Shanghai and Los Angeles. She graduated from the Royal Academy of Fine Art Antwerp (Belgium) with an MFA in painting in 2018. Yan's work portrays the tension in everyday life in the context of rapid urban development. She manipulates objects and subjects into different painterly forms - reality and fantasy are mixed on the same canvas, and the dynamic and the tranquil are blended - revealing the conflict between being a part of society and being an individual. The irony and humor in her paintings invite viewers to escape the solemnity of reality and enter a universe of imagination and possibilities.Yan Xinyue's solo and two-person exhibitions include Revisit, Capsule Shanghai, Shanghai (2024); A Prayer for the Sunset, Sans Titre, Paris (2023); To look Is to Eat, Jack Barrett Gallery, New York (2023); Summer Mist, Capsule Shanghai, Shanghai (2020). Her work has also been shown in group exhibitions at C L E A R I N G, Los Angeles (2024); Public Gallery, London (2023); Harper's, Los Angeles (2023); Sans Titre, Paris (2022); Current Plans, Hong Kong (2021); Capsule Shanghai, Shanghai (2019); A+ Contemporary, Shanghai (2019); De Brakke Grond - Flemish Cultural Center Amsterdam (2018), among others.
陈丽同的雕塑中，城市残片、古代器物、自然材料和工业制品糅合交织，形成充满张力的视觉悖论。作品无法被归于任何固定的地质、文明或工业的时间维度，而是在过去、现在与未来之间自由流动。各式元素在此形成对话，探讨物质性、瞬时性和蜕变，揭示材料与人类历史的勾连，进而对人本位视角下的进步和发展提出质疑。这种探究植根于她所处环境中不断变迁的城市纤毫。陈丽同通过与材料的亲密触碰和对工艺的不断试验，尝试突破它们的物理极限，延伸抽象语言的边界，实现从原材料到雕塑的蜕变。作品散发出遗迹般的气韵，昭显了人造环境的潜藏诗意。通过身体力行的探索，艺术家积累了对于材料的智识和敏锐，对其曲折的旅程进行反思——材料的文化起源、全球流通，和不断变化的象征意义。作品中的抽象形式、精微细节、节律动感和出人意表的材料选择共同营造出一种富有实感的观看体验，引导观者以新的方式去感知，消解二元对立的思维定式，滋养对不确定性的开放态度。陈丽同（1984年生于香港）2006年从芝加哥艺术学院获艺术学士学位，2009年从美国罗德岛设计学院获油画系艺术硕士学位。2020年，她荣获第九届宝马艺术之旅奖项。2025年，她参加了意大利翁布里亚 Civitella Ranieri 基金会驻地。个展包括：“叠层志”，和美术馆，佛山（2026）；“萦绕记事”，Klemm's，柏林（2025）；“斯璃鉲草原”，胶囊上海，上海（2023）；“Antinomies”，Klemm's，柏林（2022）；“凝伫之盘（重现）”，巴塞尔艺术展香港展会艺术探新板块（由胶囊上海呈现，2021）；“核心样本”，胶囊上海，上海（2019）。她曾参与双个展：“Chrysalis Spectre”， Matthew Brown Gallery，洛杉矶（2023）；“嬑形陌客”，Para Site，香港（2023）。群展包括：“根系比罗盘更清楚方向”，和美术馆，中国佛山；“悬停”， 胶囊威尼斯，意大利威尼斯（2024）；“山鸣水应”， M+ 博物馆，香港（2024）；“When We Become Us²”， 胶囊威尼斯，意大利威尼斯（2024）；“险境集”，美凯龙艺术中心，中国北京（2024）；“米罗的诗想日常”，香港艺术馆，香港（2023）；“诗意遗产”，大馆当代美术馆，香港（2021）；“溢流地”，Para Site，香港（2021）；“KölnSkulptur # 10”，Skulpturen Park Köln，科隆（2020）；“终端 >_How Do We Begin?”， X 美术馆，北京（2020）；“圣青苔”，刺点画廊，香港（2019）；“真新镇日志”，UCCA沙丘美术馆，北戴河（2019）；“Hysteresis”，Downs & Ross，纽约（2019）；“懒音”，Mine Project，香港（2019）；“排演”，大馆当代美术馆，香港（2018）等。陈丽同的作品由 Yves Saint Laurent Collection（巴黎）、Tanoto Art Foundation（新加坡）、龙美术馆（上海）、UBS Art Collection（香港）、M+ 美术馆（香港）、Skulpturen Park Köln（德国）、摩根大通艺术收藏（香港）和Kadist 艺术基金会（巴黎/旧金山）收入永久馆藏，并受到《Frieze》《艺术论坛》《Mousse Magazine》《亚太艺术杂志》《金融时报》和《Ocula线上平台期刊》等媒体的报道。
Leelee Chan’s enigmatic sculptures weave together urban debris, ancient artifacts, natural materials, and industrial products into dynamic constellations where these objects move seamlessly between past, present, and future, traversing geological, cultural, and industrial timeframes. By bringing these disparate elements into dialogue, her sculptures explore materiality, temporality, and transformation, capturing the complexity of how materials are intertwined with human history, and challenging human-centric constructs of advancement and growth.
This inquiry is rooted in the shifting urban fabric of her immediate surroundings. Chan’s sculptures undergo an elaborate transformation through tactile experimentation with objects and processes. The artist pushes the boundaries of her objects’ physicality and expands the possibilities of abstraction. Her relic-like sculptures provoke a particular atmosphere and feeling that conjure the ambient poetry of the built environment.
Through this visceral exploration, Chan articulates a material intelligence and reflects on the complex journey of materials—their cultural origins, shifting symbolic meanings, and global movements. Her interplay of abstract forms, intricate details, unexpected objects, and movement ultimately calls for a physical experience. It encourages a new way of seeing and perceiving that resists binary thinking and nurtures ambiguity.
Chan (b. 1984, Hong Kong) received her MFA in painting from the Rhode Island School of Design, in 2009, and her BFA from the School of Art Institute of Chicago, in 2006. In 2020, Chan was the recipient of the ninth BMW Art Journey, and in 2025, the Civitella Ranieri Fellowship. Her solo exhibitions include: Hybrid Palimpsests, He Art Museum, Foshan, (2026); Spiral Diaries, Klemm's, Berlin, (2025); Silica Meadows, Capsule Shanghai, Shanghai (2023); Antinomies, Klemm's, Berlin (2022); Pallet in Repose (Resurfacer), Discoveries, Art Basel Hong Kong (presented by Capsule Shanghai, 2021); andCore Sample, Capsule Shanghai, Shanghai (2019). Her duo exhibitions include Chrysalis Spectre, Matthew Brown Gallery, LA (2024); Strange Strangers, Para Site, Hong Kong (2023). Her selected group exhibitions includeThe Roots Know More, He Art Museum, Foshan, China (2025); Hovering, Capsule Venice, Venice, Italy (2024); Shanshui: Echoes and Signals, M+ Museum, Hong Kong (2024); When We Become Us², Capsule Venice, Venice, Italy (2024); An Atlas of the Difficult World, Macalline Center of Art, Beijing (2024); Joan Miró–The Poetry of Everyday life, Hong Kong Museum of Art, Hong Kong (2023); Poetic Heritage, Tai Kwun Contemporary, Hong Kong (2021); Liquid Ground, Para Site, Hong Kong (2021); KölnSkulptur # 10, Skulpturen Park Köln, Cologne (2020); How Do We Begin: X Museum Triennial 1st Edition, X Museum, Beijing (2020); Holy Mosses, Blindspot Gallery, Hong Kong (2019); Notes from Pallet Town, Ullens Center for Contemporary Arts Dunes, Beidaihe (2019); Hysteresis, Downs & Ross, New York (2019); Scaffolds of Meaning, Mine Project, Hong Kong (2019); Rehearsal, Tai Kwun Contemporary, Hong Kong (2018). Chan's work can be found in the permanent collections of Yves Saint Laurent Collection, Paris; Tanoto Art Foundation (TAF), Singapore; Long Museum, Shanghai; UBS Art Collection, Hong Kong; M+, Hong Kong; Skulpturen Park Köln, Cologne; J. P. Morgan Chase Art Collection, Hong Kong and Kadist Art Foundation, Paris/San Francisco. Her work has been featured in Frieze, Artforum, Mousse Magazine, Art Asia Pacific, the Financial Times, and Ocula, among others.
伊丽莎白·耶格（1988年生于旧金山）现居纽约。耶格诗意而不和谐的雕塑作品无法被任何单一的存在类别所定义，其视觉上微妙的变换折射了现实本身的神秘混沌。她近期曾在Silke Lindner（美国纽约）、Klemm's（德国柏林）、Mennour（法国巴黎）、胶囊（中国上海）、Art Cologne（德国科隆，由Klemm's呈现）、Night Gallery（美国洛杉矶）、Jack Hanley Gallery（美国纽约）和Mister Fahrenheit（美国纽约）举办个展。她的作品曾在惠特尼美术馆（美国纽约）、FHEL （法国朗代诺）、Blickachsen （德国巴特洪堡）、Sprengel 博物馆（德国汉诺威）、MoMA PS1（美国纽约）、摩斯布洛赫美术馆（德国勒沃库森）、阿斯彭艺术博物馆（美国阿斯彭）、Callie's（德国柏林）、空白空间（中国北京）、里森画廊（美国纽约）、纽约雕塑中心（美国纽约）、胶囊威尼斯（意大利威尼斯）、Daniel Faria Gallery （加拿大多伦多）、马凌画廊（美国纽约）和Clima（意大利米兰）等机构和画廊的群展中展出。
Elizabeth Jaeger (1988, San Francisco) lives and works in New York. Jaeger's dissonant yet poetic sculptures inhabit the space in between ontological categories -- her subtle visual inflections resist definition and embrace the rich mystery and murkiness of our shared reality.
Recent solo exhibitions include: Silke Lindner, New York; Klemm's, Berlin; Mennour, Paris; Capsule, Shanghai; Klemm's, Art Cologne; Night Gallery, Los Angeles; Jack Hanley Gallery, New York; and Mister Fahrenheit, New York. Her work has been included in group shows at the Whitney Museum of American Art, New York; FHEL, Landernau, FR; Blickachsen, Bad Homburg, GR; Sprengel Museum, Hanover; MoMA PS1, New York; Museum Morsbroich, Leverkusen; Aspen Art Museum; Callie's, Berlin; White Space, Beijing; Lisson Gallery, New York; SculptureCenter, New York; Capsule Venice; Daniel Faria Gallery, Toronto; Kiang Miliange, NY; and Clima, Milan.
露西·麦克雷是一位英国出生的澳大利亚科幻艺术家、身体建筑师、电影制作人及 TED 研究员。她的装置涵盖影像、摄影、雕塑，以及可食用和可穿戴科技。麦克雷曾受过14年的古典芭蕾训练，这激发了她对于人体作为艺术媒介的兴趣。1999年，她于澳大利亚皇家墨尔本理工大学（RMIT）获得室内设计学士学位后，开始通过建筑、时尚和舞蹈的视角探索身体与其周遭环境之间的关系。她首次对未来的探索是在飞利浦（Philips）的远未来设计研究实验室设计能感知情绪的可植入、可穿戴科技，借助艺术激发新兴技术的可能性。
Lucy McRae is a British-born Australian science fiction artist, body architect, filmmaker and TED fellow. Her installations include film, photography, sculptures, and edible and wearable technology. Lucy’s fascination with the human body as an art medium began with 14 years of classical ballet training. After completing her Bachelor’s in interior design from RMIT Australia in 1999, McRae began to explore the bond between the body and its near environment through the lens of architecture, fashion, and dance. Her first foray into the future was designing implantable, emotion- sensing, and wearable tech at a far-future design research laboratory at Philips, using art to provoke emerging technologies.
