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Marc Newson

May 23–July 27, 2019
Hong Kong

Installation view Artwork © Marc Newson. Photo: Martin Wong

Installation view

Artwork © Marc Newson. Photo: Martin Wong

Installation view Artwork © Marc Newson. Photo: Martin Wong

Installation view

Artwork © Marc Newson. Photo: Martin Wong

Installation view Artwork © Marc Newson. Photo: Martin Wong

Installation view

Artwork © Marc Newson. Photo: Martin Wong

Installation view Artwork © Marc Newson. Photo: Martin Wong

Installation view

Artwork © Marc Newson. Photo: Martin Wong

Installation view Artwork © Marc Newson. Photo: Martin Wong

Installation view

Artwork © Marc Newson. Photo: Martin Wong

Installation view Artwork © Marc Newson. Photo: Martin Wong

Installation view

Artwork © Marc Newson. Photo: Martin Wong

Works Exhibited

Marc Newson, Cloisonné Black Blossom Lounge, 2017 Cloisonné enamel and copper, 30 × 69 ¾ × 30 ¾ inches (76 × 177 × 78 cm)© Marc Newson. Photo: Xiangzhe Kong

Marc Newson, Cloisonné Black Blossom Lounge, 2017

Cloisonné enamel and copper, 30 × 69 ¾ × 30 ¾ inches (76 × 177 × 78 cm)
© Marc Newson. Photo: Xiangzhe Kong

Marc Newson, Cloisonné Blue Desk, 2017 Cloisonné enamel and copper, 29 ½ × 76 ⅜ × 31 ½ inches (74.9 × 194 × 80 cm)© Marc Newson. Photo: Xiangzhe Kong

Marc Newson, Cloisonné Blue Desk, 2017

Cloisonné enamel and copper, 29 ½ × 76 ⅜ × 31 ½ inches (74.9 × 194 × 80 cm)
© Marc Newson. Photo: Xiangzhe Kong

Marc Newson, Cloisonné White Magnolia Chair, 2017 Cloisonné enamel and copper, 26 ⅛ × 40 ¼ × 37 ¼ inches (66.5 × 102 × 94.5 cm)© Marc Newson

Marc Newson, Cloisonné White Magnolia Chair, 2017

Cloisonné enamel and copper, 26 ⅛ × 40 ¼ × 37 ¼ inches (66.5 × 102 × 94.5 cm)
© Marc Newson

Marc Newson, Chair, 2017 Cast glass, 29 ⅛ × 27 ¼ × 21 ⅝ inches (74 × 69 × 55 cm)© Marc Newson. Photo: Jaroslav Kvíz

Marc Newson, Chair, 2017

Cast glass, 29 ⅛ × 27 ¼ × 21 ⅝ inches (74 × 69 × 55 cm)
© Marc Newson. Photo: Jaroslav Kvíz

Marc Newson, Aikuchi, 2017 Urushi, wood, brass, steel, and ray skin, installation dimensions variable, edition of 6© Marc Newson

Marc Newson, Aikuchi, 2017

Urushi, wood, brass, steel, and ray skin, installation dimensions variable, edition of 6
© Marc Newson

About

I’m always looking for processes and techniques that are completely anachronistic. I love recontextualizing these things in a modern time.
—Marc Newson

Gagosian is pleased to present new works by designer Marc Newson. This is Newson’s first exhibition of limited-edition furniture in China.

From the outset of his singular career, Newson has pursued parallel activities in limited and mass production of functional design objects. With inspirations ranging from popular culture to traditional crafts from around the world, he approaches design as both an exploratory technical exercise and a process of conceptual, aesthetic, and physical refinement. Employing sculptural principles to address issues of efficiency, luxury, and use value, Newson has produced a broad array of highly crafted objects—watches, footwear, luggage, furniture, transport—upholding the principle that engineering and aesthetics are inseparable.

Revisiting his roots as a jeweler and silversmith, in this exhibition Newson explores increasingly rare decorative processes at an unconventionally large, even unprecedented, scale. He has long been drawn to the streamlined, simple beauty of Asian art and design: from his Aikuchi swords made in the renowned Tōhoku region of Japan to, most recently, his furniture created using the ancient technique of Chinese cloisonné—an enameling technique that originated in the eastern Mediterranean more than three thousand years ago and spread to China around the fourteenth century.

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不斷尋找已經過時的工序和技術,喜歡將這些元素重新融入現代語境
—馬克·紐森

高古軒欣然呈獻設計師馬克‧紐森(Marc Newson)的新作,這次更是紐森首次在中國展出其限量版傢具。

自投身藝術創作之初,紐森同時製作限量版及大規模生產的實用設計。他從流行文化以至世界各地的傳統工藝尋找靈感,將設計視為探索技巧的練習,以及提升概念、美學及作出實際改進的過程。紐森運用雕塑原理處理效率、奢華與使用價值等議題,至今已創作出一系列工藝精湛的腕錶、鞋履、行李箱、傢具及運輸工具等,體現機械與美學密不可分的原則。

透過是次展覽,紐森重返他熟悉的珠寶設計及製銀工藝,以異常巨型甚至前所未見的規模探索益發罕見的裝飾工序。他一直深受亞洲藝術及設計的簡約美學吸引,從他在日本著名東北地區製造的Aikuchi日本刀,以至近期利用中國古老掐絲琺瑯工藝(源於3,000多年前地中海東部的琺瑯工藝,並於14世紀左右傳至中國)製作的傢具便可見一斑。

這種複雜工序常用於製作珠寶、小雕像及花瓶,但紐森在北京近郊一座掐絲琺瑯工廠監督修建一座巨型新窯,可同時燒造多張桌椅及躺椅。製成品介乎於雕塑、傢具與裝飾藝術之間,猶如經放大的珠寶。作品採用紐森的特色「orgone」圖案,以及源自中國傳統花卉圖案的紋飾,例如白底大木蘭花,或不透明黑色琺瑯配櫻花枝椏。

展覽亦帶來紐森精製的壓鑄玻璃椅,這些於捷克共和國製造的椅子由兩個空心的四分之一球體組成,採用對稱設計。色彩奪目的上半部置於透明底座上,後者則吸收陰暗內側反射的部分色彩,效果更會隨著觀賞角度而出現微妙變化。由於玻璃和琺瑯都是極不穩定材料,紐森的新傢具突破物理上的限制,是多年實驗和改進的結晶。然而,儘管涉及大量人力和研究,作品卻猶如流暢光滑的組件,簡單的形態背後承載有關勞力、工藝與美學的複雜歷史。

媒體查詢

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盧靜敏
carol@suttonpr.com 
+852 2528 0792

高古軒
presshk@gagosian.com
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News

Marc Newson, Cloisonné Yellow Chair, 2017 © Marc Newson

Tour

Marc Newson

Saturday, June 29, 2019, 4pm
Gagosian, Hong Kong

Gagosian Senior Director Han-I Wang will lead a tour of Marc Newson’s first exhibition of limited-edition furniture in China. This presentation explores Newson’s use of increasingly rare decorative processes at an unconventionally large, even unprecedented, scale, as well as his curiosity with the streamlined, simple beauty of Asian art and design. From cloisonné to cast glass chairs to Aikuchi swords, Wang will take a closer look at how the artist blurs the boundaries between sculpture, furniture, and the decorative arts. To attend the free event, RSVP to hktours@gagosian.com. Space is limited.

Marc Newson, Cloisonné Yellow Chair, 2017 © Marc Newson