Antenna Space is delighted to announce our participation in Art Basel Hong Kong 2024 at booth 1B26. The exhibition will feature fifteen artists, including Allison Katz, Xinyi Cheng, Cui Jie, Cong, Guan Xiao, Hong Yan, Li Ming, Mire Lee, Owen Fu, Yu Honglei, Zhou Siwei, Evelyn Taocheng Wang, Joseph Yaeger, Stanislava Kovalčíková, Daniel Dewar & Grégory Gicquel. Booth No.1B26.

In Xinyi Cheng‘s paintings, there is a pervasive and subtle tension across the gaps of alienation and dynamic power between the subjects. As a refraction of inter-subjective relationships, the double portrait composition presents a gradual sequence in her paintings: in contrast to the usual intention, Brothers (2023) aims to depict the bond between people who share the same ideals and visions for the future. Joseph Jaeger‘s experiments with plaster casts acquire a differentiated texture from the flat images stripped from movies and streaming media. These bumps, drops, and tiny holes are a break from the homogeneity and coherence of the image and do not reproduce any specific episode. Evelyn Taocheng Wang explores the themes of cultural assimilation, gender and class expression with unique humor and poetry, leaving a little bit of tenderness and witticism in a non-confrontational way for the conflicted and fractured world, and unifying the language of painting and cross-cultural experience in the daily routine which filled with sensual energy.

Yu Honglei‘s creations construct an open visual culture system, using a varied symbolic system to convey the essence of the object; these sculptures refer to the physical sensation of any shape in space, they change in the sequence of the object and are not dependent on the text; the ambiguous gap between the signifier and the signified refers to the two at the same time is full of plasticity, and Yu Honglei maintain an open relationship between the visual form and the name of the work, thus extending the infinite space of interpretation.  Cong‘s individual experience is richly traced by herself, and her stay-at-home state of living allows to see the richness of the ordinary, while always maintaining a sense of clarity and prudence as she observes the chaotic and changing outside world.

Zhou Siwei‘s painting process summons and transforms those fragmented, non-linear and random experiences, creating an atmospheric color space in which images play with the viewer’s visual experience in a slow but direct manner. Owen Fu‘s three paintings seek emotional closeness within a limited color spectrum. These shapes and images, which lack traditional structure, are divided or connected by loose lines, thus constructing a fantastical experience of pareidolia that reveals the delirium of the banal everyday; unlike a dream, it is more like a kind of linguistic telepathy. Guan Xiao‘s visual language possesses a mesmerizing familiarity that ultimately frustrates the search for meaning; she is committed to exploring universal ways of communicating visually without being limited by comparable cultural frameworks——an inner understanding, a pleasure that can be perceived by any consciousness.

For Mire Lee, the vorarephilia and excretory desires that characterize her work seem like a confused romance; This sadomasochistic practice of flesh and bone transcends anthropocentrism and stretches to the frontiers of all creatures, creations, and entities, where the monster as a subject-negative type is resurrected from the dead in the restitched fragments of culture. Cui Jie‘s urban series of paintings combine the past and present visions of the city and transform them into her nostalgia for the past and her utopian vision of the future, thus triggering the viewer’s collective memory to a certain extent. Sculptures by Franco-British artists Daniel Duval and Gregory Giguere also examine the present in their abandonment of classic themes and traditional techniques. Allison Katz ‘s new work Between the Cock and the Bed (2024) talking with Edward Munch’s Painting Tradition and Jasper Jones’s exploration on the same subject, and thus conjuring up a conversation that spans the history of art.

Hong Yan specializes in capturing and depicting those moments of calm and dairy life that have yet to be penetrated. As far as she’s concerned, painting is like journaling, while language is meant to be condensed; the colors of the images change with the seasons and the surroundings, and the objects are unpolished, but they reveal the wisdom of living with the world. Stanislava Kovalčíková‘s paintings inherit the decorative traditions of Orthodox mysticism as well as the antiquity and patina of wet frescoes. The rusty, corrosive texture that permeates the bone marrow echoes the long period of creation and analogizes the process of reading: the thick layers of history and memory are peeled away by destroying, rewriting and repainting. Li Ming‘s works skillfully integrate performance, video and sound, analyzing the surrounding reality and cultural phenomena from a unique perspective; at the same time, throughout the chain of interaction between the individual, the camera and the viewer’s consciousness, extended to the study of social contexts, such as space, borders and exportations.