Art Basel Online Reviewing Room 

  • Artist: Duan Zhengqu Guo Cheng Guan Yong Liang Wei Shi Guowei Tang Yongxiang Wang Zhongjie Wu Chen

    Date: Mar. 18 - Mar. 20, 2020(Privateview:Mar. 18,2020)

    Magician Space is pleased to announce our participation at the first Art Basel HongKong online edition from 18th to 25th Mar 2020. Through the Online Viewing Room on Art Basel official website, we are presenting paintings and installations by 8 artists: Duan Zhengqu, Guo Cheng, Guan Yong, Liang Wei, Shi Guowei, Tang Yongxiang, Wang Zhongjie, and Wu Chen. 

    Viewers are welcomed to visit our Online Viewing Room via or Artbasel Mobile App. Should you have any inquiries or questions, please feel free to reach us through email:


    VIP Preview: 2020/03/18 6 pm - 2020/03/20 6 pm
    Public Days: 2020/03/20 6 pm - 2020/ 03/25 6 pm

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    Magician Space, HK Art Basel

    Duan Zhengqu

    Wine cup, 2011, oil on canvas, 130 × 110cm

    I have painted four works with the same size, which reference from my beloved ancient Chinese woodcuts. I always want to extract some subtle feelings from them: the far-reaching conception of rock and grass, even the gestures of the human body, whose artistic conception was way beyond our comprehension nowadays. Even though there were some specific patterns in them, without disturbing their perfection. I painted these four works with a great tone, and there are some connections between the compositions. Although the wine cup, the poet, the dried flower and the trotters were the homages to ancient people, some kinds of teasing were included.

    Guo Cheng

    A Still Life Sculpture(Huddled Man), 2016, 3D Printed Sculpture (full-color sandstone), unique,25 x 18 x 15cm

    A Still Life Sculpture (Huddled Man) is a full-color 3d printed sculpture. The model of the sculpture is reconstructed through a photogrammetry tool with a series of photos of a huddled man. However, the photos used were recreated and enhanced by Google DeepDream’s artificial neural network. This project takes advantage of the low-level layers analysis of DeepDream which are sensitive to basic features such as color and geometry-based features. Instead of interpreting original photos into conventional psychedelic and animal-like images( which is from medium-level and high-level layers analysis), the outcome in three-dimension presents a painting-like texture combined with a surreal form.

    Guan Yong

     The Characters and still lifes e, 2016, oil on canvas, 40 × 40cm

    Guan Yong’s practice originates from his experiences with reality. His works often trace back into the history of art, situated within the broader Chinese historical context to yield insights on how historical dispositions could act upon our current situations. Yet another focus of Guan Yong's works rests in the captivation of the instantaneous impression of reality: through transformations of personal memories, paranoiac repetitive painting of reoccurring themes, the artist explores new existential experiences. Guan Yong’s paintings embody intertwined temporal traits, exhibiting extreme oscillations of temporality and painting techniques that echo precisely our chaotic reality.

    Liang Wei

    Converted Instant, 2020, acrylic on canvas, watercolor pencil, ink pencil, 160×220cm

    Using oil, acrylic, and water-based colors, Liang Wei has created a body of work that is varied in form, method, and content – but nonetheless retains a coherent and rigorous personal voice throughout. Through the controlled chaos of her paintings, they convey the contrast between our inner selves and the outer world when our thoughts and feelings merge with and become altered by our surroundings – of social mores, regulations, commercialism, and urban development. The wide variation of formal sensibilities between her works is a reflection of the extensive source of images that she uses as their starting points. Whereas Liang Wei’s previous work primarily used the accumulated detritus of contemporary society, this has expanded in recent years to people, faces, landscapes, architecture, machines, as well as references to past works by the old masters. 

    Shi Guowei

    Painting From Nature C, 2019, Painting on photograph, 126 × 169cm

    The reason that I name these four pieces “Painting from Nature” is, the process of creating these four is similar to the process of sketching or painting from the landscape. I depict the nature honestly, the color scheme I choose is analogous to what the nature scene looks like, there is no emphasizing or exaggerating in particular. Therefore the sense of the entire project is composed of plain color and slightly abstracted nature scene. It's as simple as one “painting from nature” without any fancy tricks or imposed gimmicks. Recently my work has been focused on the landscapes, or to be precise, those ordinary landscapes, for they always remind me of some feelings which are inseparable from my past experiences. Since my inner voice has been raised by these ordinary landscapes, so I want to depict them to the fullest. I deprived the composition of anything that is irrelevant, which made the image purely conquered by the subject. Until the subject being fully depicted, the image might be considered as the spirit-abounding landscape; for myself, I just want to fully depict what I intend to present.

    Tang Yongxiang

     Many Circles, White Background, Some Blocks of Blue and Red Ochre, 2020, oil on canvas,50×60cm

    Tang wishes to rely more upon intuition, and through the repetition of layers, he in many ways also empties the background of the first layer. He resorts to making cuts, movement, addition, and duplication on existing images, redistributes parts in relation to a whole, and by doing so, frees negative form as well as the ambivalence between positive and negative forms, ultimately initiates a complex discourse on the irresolvable and ambivalent relationship between narrative and space. Tang intentionally leaves behind obstacles and creates ruptures within his compositions, which become the entry point into the imagining forms, leading towards an entanglement and struggle between subjective appearance and an illusory appearance. 

    Wang Zhongjie

    2018.9-2019.7, 2018-2019, oil on canvas, 80×100cm

    Since 2009 however, the narrative and figurative no longer appear in Wang Zhongjie's work. Instead, Wang’s interest has turned to such forms as the geometric structure of the frame and color halos, and he has continued these explorations for nearly ten years. Peeling away the shell of such “things” as story, plot, composition, and color, Wang Zhongjie attempts to inquire how we should respond to the external world, how an individual’s reality can be found amidst myriad phenomena, and what the tractive force behind things is. In his series of paintings, moody colors are a continuation of darker traits, while the monochromatic tone of the internal spaces spreads out like a fog, making the order of "shape" no longer clear. For Wang Zhongjie, what he is searching for is always the inner strength hidden under appearances, invisible and yet authentically present.

    Wu Chen

    Stander portrait, 2019, acrylic on canvas, 50 × 40cm

    The roughness of brushstroke was well preserved in Wu Chen’s paintings, they are managed to reach a relaxed appearance through appropriation and mash-up. His works based on the portraits of artists, classical illustrations from art history, added with Wu Chen’s inner feelings and the new perception of art history, finally found the unique painting language. The paintings of Wu Chen reveal a view of the artist's self-identity, a visual representation of wit coexisting with criticism.