[lang_zh]像外之象 ——绘画.图片.影像展[/lang_zh][lang_en]Manifestation of Images–An exhibition of painting, photograph and video[/lang_en]

[lang_zh]
策展人:和丽斌
艺术主持:王煜
展览助理:沙玉蓉

艺术家
绘画雷提契亚(奥地利)、杨文萍(北京)、赵刚(昆明)
图片:郭鹏(北京)、卢彦鹏(北京)、杜天荣(昆明)、胡群山(昆明)
影像:章水(英国)、盛春宇(昆明)

开幕酒会:2011年4月16日 晚20:00
展览地点:昆明顺城k座5楼味彩顺城“框余画廊”
展期:2011年4月16日——5月16日

主办:框余画廊
协办943小组  昆明具像文化传播有限公司

联系电话: 400—887—1911

前言

此次展览将向大家推出盛春宇、章水(英国)、胡群山、杜天荣、卢彦鹏、郭鹏、赵刚、杨文萍、雷提契亚(奥地利)9位艺术家,展览的作品形式涉及绘画、影像和摄影。在此次展览中,艺术家们的作品带来的不仅是一场纷繁的视觉盛宴,在作品语言上还呈现出一种深度的思考与新意。

展览中真正的展现不再是绘画、影像和摄影表象本身,而是在每幅作品中产生的空间关系以及如何使之发生关联的可能。其中摄影并不独立存在了,它已成为一个全新虚拟世界的某个局部。每位艺术家的作品在不同的维度上向我们展示这种解读的概貌。同时,这些作品也向我们呈现出一种清晰的和模糊的,弱化的和极度锐利的图像之间彼此相互依存的辩证关系。艺术家们多种不同创作策略的运用引发了审美和伦理判断上概念的差异。

本次展览得以顺利的举办,首先要感谢茴香集团的鼎力支持;其次,感谢各位参展艺术家大力支持;感谢石明先生、罗菲先生、曾杨先生向我们推荐了许多优秀艺术家;最后,要特别感谢展览助理沙玉蓉女士,为此次展览所付出的诸多努力和悉心安排。

仅以此画册献给所有关注、支持中国当代艺术以及味彩和框余画廊的朋友与同道们!

王煜
2011年4月5日 昆明

像外之象  ——艺术中的观看之道

从文明出现始,人类对世界的探究就从没停止过,早期的绘画作为记录世界的手段之一,承载着人类对世界的观看角度与解读方式,在早期的洞窟壁画、教堂壁画中,平面化的构图呈现了一个人、神共存的世界,人类通过模拟世界的绘画行为,试图建立起一个与世界共存的精神图像。公元14世纪,焦点透视法开始在欧洲的教堂壁画中出现,历经14—16世纪文艺复兴时期的绘画,建立起以焦点透视为核心的写实绘画体系,绘画的记实功能抵达顶峰。1839年,法国人发明的照相术,依循古典写实绘画的焦点透视法的成像原理,而记实记录功能却比绘画更为迅速和方便,写实绘画受到前所未有的挑战。1676年,牛顿发现太阳光由红、橙、黄、绿、青、蓝、紫七种光谱色组成,他著述《光学》一书对色彩的产生作了科学阐释。近代的色彩理论家歌德、荣格、叔本华、奥斯瓦尔德、门塞尔、谢福勒尔、阿恩海姆、伊顿等人先后发表了各自的色彩学专著,共同完善了当代公认的色彩学理论系统,科学上的发现被19世纪后期的印象派画家们所运用,他们在绘画实践中发现了照相术所不能替代的另一种新绘画的可能性,色彩成为绘画的主角,甚至突破了形的束缚发展为后来的抽象绘画。而绘画的另一系统写实绘画却在照片的影响下发展,20世纪50年代萌发于英国、鼎盛于美国的“波普艺术”,直接利用图片拼贴与绘画相结合,创造了一种自由的、多中心的艺术形式,波普艺术的代表艺术家安迪•沃霍尔用丝网印刷的方式大批量复制图片上的新闻事件、明星等,但他并非关注图片中的意义,而仅仅是喜欢大批量的、可复制的、廉价的图像而已。盛行于70年代的照相相写实主义绘画,则直接以照片为摹本,描绘复制巨大的、甚至比照片还要细致逼真的图像,提供了一种客观、漠然的对世界的观看角度。1925年,苏格兰人贝尔德制造出了世界上最原始的电视摄影机和接收机,这两项科技上的重大发明对人类的影响是巨大、深远的。人类越来越习惯于通过图片、影像、电视等来观看和了解世界,窥望身体不能抵达的远方,世界的距离缩小了,时间的跨度缩短了,同时,心灵的空间亦缩小了,人类沉陷于被信息和图像包围的世界中。德国哲学家海德格尔早已预感到了图像世界的到来,他在《世界的图像时代》中指出:“‘世界图像’不是指一幅关于世界的图像,而是指世界被构想和把握为图像了……世界并非从一个以前的中世纪图像变成了一个现代的世界图像;母宁说,根本上世界变成了图像,这样一件事件标志着现代之本质”。德国艺术家里希特在绘画中践行了这一理念,他从60年代开始画了大量的象照片一样的绘画,除尺寸的不同外,观众很难看出这些绘画和照片的区别,里希特认为他的绘画不是在复制照片,而是在画一幅照片,世界就是一幅幅转瞬即逝的图片,他的绘画总让人产生时光流逝,人生如梦的疏离感。相比绘画,图片和影像仍然更多的承载了纪录的功能,因为图片和影像比之绘画带有更多的随机性和便捷的复制性,而绘画中的图像,则是艺术家深思熟虑后的结果。

今天,绘画、图片、影像的互相影响越来越深入,还有一些艺术家自如地运用几种艺术形式创作作品,甚至相互交叉融合,以求在媒材语言边界的实践中寻求突破。重要的是,图像、影像经验虽然影响了绘画,但有意味的绘画永远不会停留于图像的表皮,而是关心图像背后能让艺术家沉迷、对话的世界本质。反之,绘画之于图片、影像亦然。本文试图通过下述有价值的艺术家个案来呈现这一互相影响的过程。

奥地利艺术家雷提契亚的绘画灵感来自于一些发黄、破落的老照片,她用素描的手法重新描述它们,并在叙述的过程中一点点过滤了多余的元素,使画面更趋单纯、宁静,黑白灰的单色调子笼罩着追忆逝水流年的感伤,那些模糊的图像如同褪色的记忆,共同构成了她对过往时光的追忆文本。

杨文萍的绘画初看之下很像被处理过的图片作品,细看之下才发现细节都是通过细致的笔触层层堆积出来的,这种对图像的复写与覆盖赋予作品一种介于图片和绘画之间的奇异感觉。荷花、玩偶、草丛……混沌的色块与笔触游离于图像之中和之外,构成具象与抽象相融相斥的观看情境。

赵刚的绘画亦取自翻拍或下载的网络图片、杂志新闻照片等。他有意味地选择那些含义模糊的图片,又通过绘画的方式进一步模糊与放大,使荒诞的氛围更加强烈。模糊化的处理,使这些荒诞的图像欲说还休,更突出了瞬间的不可捉摸的不安氛围。

郭鹏的图片作品一直追求早期照相术的手工方式,手工洗相、手工染色。这一繁复漫长的手工过程使艺术家的情绪得以渲染与再现,近期作品则是把他自己所拍的图片数倍放大,再在其上染色,手绘上色的过程被进一步放大了,如他自己所言,试图通过这种方式,诱出他所读解到的诗意世界。郭鹏的作品实则是对图片的提炼与升华,在他按动快门的一瞬间,他一定是读解到了被摄物像的诗性存在,而手工染色则把这种诗性更强烈地带出来。郭鹏把原始图片与放大渲染的图片并置展出,明晰呈现了这一带出的过程。

卢彦鹏的图片内容大多取自自然山川,取景构图别具匠心,一山一树、一石一水……在银灰色的雾气笼罩下,神秘而悠远,卢彦鹏还通过电脑对图片进行再度处理,赋予图像特别的、朦胧虚幻的意味,贴近中国传统文人所向往的境界,清凉而逍遥。

杜天荣是新中国建国后云南第一代摄影人,在他的镜头下,昆明作为曾经的田园都市散发着别样的诗意与魅力,他拍摄于50年代的翠湖、篆塘、海埂、滇池……在大气氤氲的氛围中,美得令人心醉,恍如梦境。杜天荣一定深谙西方古典绘画的美学精神,他的图片取景构图都非常讲究,近景、中景、远景、光线、透视都如古典绘画的经典构成,而云南高原特有的强烈光线亦在他的镜头下再现,让人不由联想到60、70年代活跃于昆明市区和郊外的“外光画派”。

纪实摄影是照相术出现至今摄影艺术中一个重要的流派,它体现了摄影艺术擅长于记录、记实的重要一面。20世纪70年代后期,美国南加州的一群艺术家发起了新记实摄影运动,影响力波及到后来的许多摄影人,其中最为人知的是当亚历克•苏斯,他于上世纪90年代拍摄的《眠于密西西比河畔》,呈现了密西西比河沿岸普通人的生存境况。与传统的记实摄影不同,新记实摄影更强调拍摄者个人的内心感受,在看似随意、漫不经心的镜头后,蕴藏着创作者个人强烈的理念诉求,以及与被拍摄者的互动与对话,镜头不再是被动地对世界浮光掠影地捕捉与记录,镜头具有了导演和再造的力量,艺术家试图通过这种自由的编排与取舍,深刻揭示出超越图像的自然或社会中那个与创作者心灵对应的存在。

20世纪90年代以后,中国的一些年轻摄影人开始了新记实摄影的创作。生于70年代的胡群山作为云南的新一代摄影人,她的关注点有别于大多数同龄艺术家,她把镜头对准岔河这样一个名不见经传的山村,岔河住于云南会泽县马路乡海拔1800米的半山坡,土质严重的石漠化和常年干旱缺水,村民需经过悬崖峭壁下到2公里以下的牛栏江中取水。2000年以来,胡群山多次深入岔河,每次都与村民吃住在一起数月,她试图通过反复长达数年的拍摄,把个人强烈的关注渗入到村落的深处。在她的镜头下,环境的严酷、生存的困境、生活的无奈与坚持在一幅幅图片中显现,而她则象一个不动声色的记录者,隐匿于图片之后。

摄像技术最早出现于20世纪20年代,1965年激浪派艺术家白南准创作的录像装置则使录像成为一种新的艺术形式。录像中移动的画面是摄影技术的延伸与升级,早期的摄像主要作为记录功能而存在,而在艺术家手中,则赋予了它叙事和造梦的魔力,艺术家们通过主观化的导演与叙事编排,以移动的画面呈现给观者强烈的观看经验。作为声画合一的、动态的艺术形式,录像艺术具有绘画、图片所不具备的对观众的煽动性和感染力,但同时录像艺术亦时时从绘画和图片中吸取经验,以求使影像画面更具经典性与永恒性。

英国艺术家章水一直进行抽象绘画的实践,而他的影像作品则象是把抽象绘画的过程解密与放大,当那些颜料流淌的过程被强度关照与放大后,产生了奇幻的魅力,缓慢流淌的颜色如同清晨树叶上的露珠,自在、呼吸……一个遗忘的世界被敞开、显现出来。

盛春宇的影像作品《忘川》借鉴了图片的构图原则,安静的画面象一幅幅定格的图像,而这许多幅定格的图像组合成了她作品叙事的基调,在缓慢递进的画面后,人生的美好与残酷、恒定与无常、欢乐与忧伤在宁静的音乐中流淌、弥漫开来。

绘画、图片、影像的出现与递进关系,构成了20世纪以来最为壮观的文化现象,它们作为人类观看与探索世界的记录与存在,见证着人类探索世界永不停歇的脚步,在这一进程中,是否会有一种新的艺术方式诞生呢,我们拭目以待。
 

和丽斌

2011年4月4日于昆明

 

部分展出作品: [/lang_zh]

[lang_en]Curator: He Libin
Artistic Director: Wang Yu
Assistant: Sha Yurong

Participant artists:
Painting: Letizia Werth (Austria), Yang Wenping (Beijing), Zhao Gang (Kunming)
Photograph: Guo Peng (Beijing), Lu Yanpeng (Beijing), Du Tianrong (Kunming), Hu Qunshan (Kunming)
Video: Jonathan Kearney(UK), Sheng Chunyu (Kunming)

Opening: April 16, 8:00pm, 2011
Venues: Shuncheng Kuang Yu Gallery, 5th Floor of Kunming Shun Cheng K Building
Duration: Apr. 16—May. 16, 2011

Hosted by: Kuang Yu Gallery
Co-host: 943 Studio, Kunming Ju Xiang Culture Communication Co., Ltd

Tel: 400-887-1911

Preface  by Wang Yu

This exhibition is going to introduce nine artists: Sheng Chunyu, Jonathan (U.K.), Hu Qunshan, Du Tianrong, Lu Yanpeng, Guo Peng, Zhao Gang, Yang Wenping and Letizia Werth (Austria). The exhibition involves painting, video and photography. These artworks bring not only a visual feast, but also a presentation of deep thinking and innovation in artistic diction.

This time, the actual presentation in the exhibition is no longer painting, video and photography themselves, but the spatial relationships derived from each artwork and the possibility of making them connected. Photography is no longer an independent being; it has been a part of a brand new virtual world. Every artist is trying to reveal the profile of their interpretation from different dimensions in their works. At the same time these works also present an interdependent dialectical relationship among images, which is clear but obscured, weakened but extreme sharp.

For the success of this exhibition, we firstly acknowledge the great support from Huixiang Incorporation; we are also grateful to every artist for your participation; we appreciate Mr. Shi Ming, Mr. Luo Fei and Mr. Zeng Yang who recommended so many excellent artists. And lastly, we specially give thanks to Ms. Sha Yurong, assistant of this exhibition who has contributed a great deal of effort to the exhibition.

This picture-album is to be dedicated to those who keep concerning and supporting Chinese contemporary art, and the friends of Taste & Color Gallery and Kuang Yu Gallery.

April 5, 2011
In Kunming

 

Manifestation of Image      — Artistic approaches of viewing
by He Libin

Human beings have never stopped exploring the world since the beginning of civilization history. The drawing in early time, as a measure of recording the world, played a role of viewing the world from different angles and interpreting these sights. Ichnographic composition in early cavern fresco and chapel fresco presented a world in which humans and the gods existed together. Humans at that time attempted to establish a spiritual vision system paralleling with the material world through the creation of drawing and painting which imitates the realistic being. In the 14th century, the one-point perspective principle started to be applied in European chapel fresco. After its development during 14th-16th century’s renaissance, a realistic painting system centering on one-point perspective theory was established, and the recording function of drawing reached its peak. Photography, invented in France in 1839, also followed the principle of one-point perspective in classic realistic painting, but its function of recording and documenting were quicker and more convenient and greatly challenged the classic realistic painting. Isaac Newton discovered that sun light is composed of 7 spectral color—red, orange, yellow, green, cyan, blue and purple. He made a scientific explanation about the color phenomenon in his Photology. Latter-day color theorists such as Goethe, Jung, A. Schopenhauer, Ostwald, Mensel, R. Arnheim and Eton respectively published their own monograph about chromatology and all improved the chromatics theory system recognized in the contemporary era. Impressionists in latter part of the 19th century applied the scientific discoveries in their painting practice and then further developed a possibility of a new painting technique which cannot be replaced by photography. From then on, color became the leading factor of painting, and even broke through the restraint of form and developed into the abstract art. However the realistic painting, another branch of painting was still developing, influencing by photography. Popular Art, which is initiated in Britain in 1950s then thrived in America, directly combined the picture collage with the painting and created a new loose art form with multi-center. Andy Warhol, the representative artist of Popular Art, duplicated the news events and superstars on the picture in a large volume by the means of silk-screen printing. He didn’t care about the significance of pictures, but just liked those large quantities of duplicable and cheap pictures. Photo Realism painting, which was popular in 1970s, engaged in depicting and duplicating the huge images copied from photos. The duplicates are usually larger and more vivid than the original photos, providing a sort of objective and apathetic view of this world. In 1925, John Baird, a Scot invented the first TV camera and receiver. These two important scientific inventions significantly impacted on human beings. Human beings have been more and more used to watching and learning about this world, to look over the place where the visual organ cannot reach by picture, video and television. These technological means have shortened the geographical distance and time span, as well as psychic gap. Human beings were immersed into an overwhelming amount of information and image. Martin Heidegger, a German philosopher had predicted in his time the era of overwhelming images. He mentioned in his Era image of the world: Image of the world is not an image about his world, but refers to the fact that the world is constructed with and learned about as images…..the world did not just simply transform from the middle-ages image to a modern image; or rather, the world in fact has become images. This event symbolizes the essence of modernism. Gerhard Richter, a German artist practiced this concept in his painting. He created a number of paintings which look like photos since the 1960s. Except the size is different from the real photo, it is very difficult for audiences to distinguish these paintings from the real photos. However Gerhard Richter believed he was drawing a photo but not duplicating a photo. In his eyes, the world is a series of quickly shifting images. His painting always brings us a sense of alienation about time flying and that life is but a dream. Compared with paintings, pictures and videos are more functional at recording because pictures and videos are more random and are easily duplicated, while the image in a painting is a result of the artist’s deliberate thinking.

Today, the interaction between painting, picture and video becomes more and more profound. Some artists can freely apply these artistic approaches in their art work creation, and even intercross and incorporate them together, to pursue a breakthrough in the practice of media diction boundary. And it is important that the picture and video impact the painting, though, the significant painting always means much more than the form of image does. They care more about the world hidden behind images, with which the artists are fascinated and can dialogue. And painting to picture and video is vice versa. Here I attempt to interpret this interaction process through the following valuable artist’s case.

Letizia, an Austrian artist was inspired in her painting by some yellow-old photos. She depicted them with a sketching method, and gradually filtered out unwanted elements in the course of description so the painting tends to be more simple, pure and tranquil. Grey or white homochromy tones cultivated a sentimental sense of looking back to the past. These vague images, like washed-out memories, constituted her memory of the olden days.

At first glance, Yang Wenping’s painting looks like processed photography works. Only when you look at them carefully, can you find out their details are all piled up layer upon layer by delicate brushwork. This kind of duplication and overlay added to her painting works an amazing sense which is between the photo and the painting. The theme of her painting includes lotus flower, doll and tussock…… cloudy color and drawing drifting inside and outside of images and composing a special viewing situation in which the specific details incorporate with and reject from abstract.

Zhao Gang’s painting is also adopted from copied or downloaded pictures from Internet or news pictures on magazine. He significantly selected those cryptic pictures, then further obscured and enlarged them to make them more incredible. This obscuration processing brought to these images an effect of being told or untold and stressed a momentary unpredictable unease.

Guo Peng keeps pursuing the manual way, like photo developing and coloring, in early photography technique in his artworks. The artist’s emotion can be exaggerated and reappeared during this complicated and long manual process. His recent art works are enlargements of the pictures he took before in multiples, and then coloring them. The process of manual coloring is emphasized and exaggerated, as he said; he wants to interpret the poetic world he understood through this approach. In fact, Guo Peng’s work is abstraction and sublimation from pictures. We can believe at the moment when he pressed the shutter, Guo Peng already understood the poetry of the target. The process of manual coloring just illustrated this poetry. And this illustration is clearly presented when he put the original photo and the processed picture together for the exhibition.

Lu Yanpeng’s photography work mostly focuses on the natural mountains and rivers with distinctive framing and composition. A mountain, a tree, a rock or a river….., covered in a silver grey mist, all appear mysterious and distantly remote. Lu Yanpeng also processed pictures with the computer to add a special dim and visional sense. This kind of sense is cool, leisurely and carefree, close to the inscape for which traditional Chinese scholars were longing.

Du Tianrong was the first generation photographer in Yunnan province after the founding of P. R. China. In his camera lens, Kunming, as an ever pastoral city, was full of unique poetry and charm. Different scenic spots in his photography works such as Green Lake Park, Zhuangtang Park, Haigeng Park and Dianchi Lake……, with a dense misty background as in a dreamland, are charmingly beautiful. Du Tianrong must be familiar with the aesthetic spirit of classic western painting. Both the framing and composition of his photo are delicate. All close shot, middle shot, distant shot, ray, and perspective are as same as the authentic structure in classic painting. The distinctive intensive sun rays in Yunnan plateau also reappeared in his photography works and remind audiences of the Pleinairismus group which was popular in Kunming urban and suburban areas in 1960s and 1970s.

An important school in photographic art since it was invented is documentary photography. It highlighted the advantage of documentary and recording that photography is good at. In the late 1970s, a group of artists in southern California of the U. S. launched a new documentary photographic movement and it greatly influenced many photographers in later time. Alec Soth was the best-known one among them. His photographic work Sleep by the Mississippi River taken in the 1990s presented the ordinary people’s living situation by the Mississippi. Different from conventional documentary photography, the new documentary photography stresses more about the interior feeling of photographer. Behind those optional and careless scenes, there are always the photographer’s strong thought and interaction, dialogue with target objects. The camera lens then is no longer capturing and recording the world in a skimming over the surface way, but is empowered with a directing and rebuilding ability. Artists have been trying to profoundly disclose the natural or social being which is beyond the images and corresponds to the originator’s soul.

Since the 1990s, some young Chinese photographers started their creation of documentary photography. Hu Qunshan, born in the 1970s, as one of new generation photographers in Yunnan has a different focus in her photography from other photographers of her age. She chose Chahe, an unknown small village, as her photography target. Chahe village is located on a hillside with an 1800m altitude in Malu Township, Huize County, Yunnan province. The soil here is seriously deserted, and has always been short of water for years. The villagers have to go through a steep mountain track down to Niulanjiang River to get water. Since 2000, Hu Qunshan has been to Chahe village many times, and each time, she lived with the villagers for months. She attempted to commit her strong personal concern into this village through the means of photography year by year. With the camera, she presented the asperity of the environment, the hardship of life, the unavoidability and perseverance of living in her pictures. When she did it, she acted as a calm photographer hiding behind the pictures.

Videography technique came forth in 1920s. And in1965, Fluxus artist Bai Nanzhun created a video installation and made the video a kind of new art form. The moving scenes in the video are an extension and upgrade of photographic technique. The early videography was used for its recording function. But in the artists’ hand, it has a magic power of narrative and making dreams. Through subjective directing and narrative arrangement, artists present an intense watching experience with moving pictures. As a dynamic, audio and video synergetic art form, video art has special instigation and influences which painting and picture don’t have. In the mean time, video art also absorbs the experience from the painting and picture so that each frame of video can be classic and immutable.

Jonathan, a British artist has been practicing abstract painting all along. His video works seem to decipher and enlarge the process of abstract painting. When the process of the paint flowing is strongly focused and enlarged, a fantastic charm is produced. The slow flowing paint is like dew on the leaves in the morning, they are at ease and breathing…… a lost world is uncovering and emerging.

Sheng Chunyu’s video work Forget the river uses the composing principle of the picture for reference. Tranquil scenes are like a series of fixed pictures, and these fixed pictures composed the narrative lines of her video work. Behind slowly going pictures, the goodness and cruelty, permanence and uncertainty, happiness and sadness of life is flowing out and permeated with a blue and peaceful musical background.

The emerging and development of painting, picture and video formed the most magnificent cultural manifestation since the 20th century. As beings and recording approaches of viewing and discovering the world, they are witnessing humanities’ never-ending step of exploring the world. Will there be a new artistic approach born in this course? Nobody knows. But we are looking forward to it.

April 4, 2011
In Kunming

Art works form the exhibition: [/lang_en]

                                                                               

[lang_zh]金蝉脱壳——中国新写实绘画展[/lang_zh][lang_en]Escaping by Crafty Scheme—A practice of new Chinese realistic painting[/lang_en]

[lang_zh]策展人:和丽斌
艺术主持:王煜
艺术家:杨一江(昆明)、陈流(昆明)、王继伟(昆明)、王洪云(昆明)、张春迎(北京)、张英楠(北京)、刘家华(重庆)

开幕酒会:2011年1月21日晚20:00
展览地点:昆明顺城k座5楼味彩顺城“框余画廊”
联系电话:400—887—1911

展期:2011年1月21日—3月21日
展览流程:2011年1月21日—2月16日,杨一江、王继伟、张春迎、张英楠联展
                2011年2月18日—3月21日,陈流、王洪云、刘家华联展

主办:框余画廊
协办:《向上》 重庆江山美术馆  943小组 

 

前言:王煜

继上一次“浪潮”之后,“金蝉脱壳”则又如一个浪潮的推进。这次展览是中国新写实绘画的一次实践。本次展览邀请的艺术家大都毕业于美术院校,是北京,重庆,云南艺术家们的一次汇合。具有充实的理论而能够运用洗练的技巧表现于画面上的这些艺术家们,都是自觉的追求着自我,而又不自觉地合成了某种绘画之流,甚至汇成了某一时代绘画的基调。

本次展览,是新写实主义绘画的一次实践。什么是新写实主义呢?本来,这是苏联画坛上最先提倡的一个画派。提起写实,我们会想起十九世纪中叶库尔贝的现实主义绘画,他补救了浪漫主义的空想的缺陷,以坚实的写实手法描写现实生活。但是写实主义的作品,内容局限,取检选择描写也过于繁琐,无论怎样忠实地描写,最多也不过自然表面的再现,不能满足我们对自然本质的探求。新写实主义是写实主义与现代主义诸流派的融合后产生的,它不单描写自然表面的现象,而且接触内在本质。

纵观这次展览的新写实主义作品,一方面是它在内容上勇于探索,勇于创造,另一方面则是它在形式上的突破,艺术家们运用油画语言去表现新的现实生活;他们一方面回归现实,但另一方面又运用油画语言中丰富表现力将现实提炼与夸张,并溶入了西方现代艺术色彩。他们的作品个人风格突出,但另一方面又充满了中国艺术家共有的民族情感,因此说明今天的新写实主义油画实质上已不再是过去意义上脱离显示生活的伪现实主义作品,而是深刻的烙有时代印记和画家个人思想意识感情标记的写实主义作品。

本次展览的举办感谢参展艺术家提供的精美作品,感谢茴香企业给予帮助,感谢重庆江山美术馆馆长雷勇斌先生的鼎力支持。

 

评论:和丽斌

西方写实绘画历史悠久,在意大利艺术家乔托绘制于14世纪初期的阿雷纳礼拜堂的壁画中,已显现出写实绘画的色彩、造型、空间、透视原则的雏形。15世纪,尼德兰画家凡·艾克兄弟发明了油画,使绘画的写实造型功能有了质的飞跃,油画在16世纪达到写实艺术的顶峰,由于受古希腊、古罗马人文主义的影响,艺术家们开始从描绘诸神的绘画中走向了反映平民的生活化、世俗化、写实化的绘画,写实绘画历经16世纪后期的样式主义、17世纪的巴洛克美术、18世纪的新古典主义、19世纪的现实主义等流派,一直在严谨、科学的透视学的基础上演变,直至印象派、野兽派等艺术潮流的出现,在色彩学、心理学的影响下,绘画不再局限于形体塑造,色彩超越了形,甚至成为独立的元素,绘画历经印象主义、野兽派、立体主义、未来主义、象征主义、超现实主义、达达主义、表现主义、抽象主义、极简主义等,写实绘画逐渐远离人们的视野,直至20世纪70年代照相写实主义的出现,写实绘画又再度登上艺术史的舞台。在现代主义主义众多艺术潮流的影响下,写实绘画出现了两个明显的分支,一种受象征主义、表现主义的影响,强调个人心理的、情绪的表达,注重画面心理情境的营造,另一类受照相术的影响,绘画以照片为摹本,主张完全客观的、不带任何情感地记录物像,有意隐藏了一切个性、情感、态度的痕迹,不动声色地营造画面的平淡和漠然。

西方绘画传入中国始于15世纪末西方传教士的引进,而真正被中国绘画界认可并完整的引进则是20世纪的事,五四时期徐悲鸿、刘海粟、徐志摩、李毅士等曾对西方文化与艺术的引进有过激烈的争论,最终西方的写实绘画系统还是在中国扎根并进入美院教学体系,是与当时整个文化界主张引进西学,以西方科技救国的背景相一致的。写实绘画在中国的美术学院教学中一直传承,至今天仍旧保留着最为完整的体系。与此同时西方现代艺术、后现代艺术思潮也在中国艺术高校和艺术界广泛传播,面对如此众多纷纭的艺术潮流和美学思潮,中国当代艺术家们如何应对,如何借用西方的绘画理念融入地域的文化背景与个人的美学经验中,“金蝉脱壳——中国新写实绘画”展览试图通过一些艺术家的个案来呈现这个沿袭与突围的过程。

杨一江的油画沿袭了欧洲古典写实油画层层推敲、反复塑造的绘画原则,也传承了古典油画静谧、高贵的气质,他的绘画宁静、典雅、纯净,无一丝浮躁之气,杨一江的绘画过程非常漫长,在反复的推演与塑造中,建立起与世界的对话,他的作品总有一种重叠的间离效果,在《镜像》系列中,镜面中折射的人与景与镜外的场景是错位的,勾起观者矛盾、疑惑的观看情境。在他的静物系列中,常把不搭介的两类物像并置于同一空间中,让其产生对照与对话,而他则像一个冷静的旁观者,隐秘地窥望这个世界。张英楠的绘画也具有一种荒诞的气质,他的画面描绘了一幅幅梦一样的场景,总有一种似曾相识的陌生感,而他越是逼真、细腻地描绘了人物与场景,这种逼真的陌生感就越强烈,建构起一个个真实的幻境。王洪云的绘画则有着浓郁的青春气息,不论是描绘自己生存情境的《我们不属于这里》系列,还是自然之中写生的风景,都弥漫着伤感、抒情、优雅的气息,他把画面的色彩控制在一个中性的灰调中,既不过度强烈,亦不过度轻盈,这种有节制的抒情颇似中国传统绘画的美学特征。

在面对西方文化与中国文化时,一些艺术家的方式巧妙而自然,张春迎运用西方坦培拉式的技法和色调,描绘的却是极具东方情境和个人情怀的画面,反复出现的渡船、莲花、悬浮的树………无不接近东方宗教式的人生感悟。王继伟运用西方油画纯正的写实技法和克拉瓦乔式的光影塑造,描绘中国古典京剧人物的形象,一颦一笑、一姿一容、一坐一行、表情手势皆颇具京剧的韵味,而与之呼应的山水场景,既像舞台又似现实中的景象,构成一个亦真亦幻的重构空间。陈流的绘画中描述的对象则直接取自中国传统寺院中的泥塑神像,也许他看重的就是这些人物形象身上介于市井与神性的气质,而陈流对这些形象与场景近乎显微镜式的微观描绘,反复提示着物的真实感与荒诞性,借古喻今,传递着他对今天世界的解读。

另一些艺术家对现世的解读则更加直观与强烈,他们的绘画兼具了写实主义与表现主义的特征,在西方绘画的谱系中,写实主义与表现主义是迥然不同的两种倾向,其美学追求亦大相径庭,一个追求严谨、科学的造型与透视原则,以求营造真实有序、可触可感的世界;一个追求内心情感的真实与宣泄,强调心绪与情感的直观、强烈流露,而这一切是通过强烈的色彩、笔触和对古典造型原则的颠覆来达到的,这一方面最为典型的是法国画家苏丁,他画面中所有的形象都是倾斜甚至颠倒的,世界混乱而疯狂。在刘家华的作品中,传统建筑与现代建筑交错重叠,如疯狂的植物无序生长,而它们却都是无根飘浮的……刘家华细致深入地描绘着这些场景,深入到建筑的每一个细节和质地、肌理,更加逼真地传递出这个世界的无序与混乱。

上述艺术家的作品是西方写实绘画在今天中国的情境的一个缩影,作为一种文化对另一种文化的解读,无论是深入其源头的学习及对其内在精神的传承,还是隔岸远观的误读,其实都不重要。就如同旧瓶新酒或新瓶旧酒,某种情境下它们的意义是相同的,只要真实传递了创作者此时此地的心境与思想,语言、技法、文化……皆只是借用的工具而已。

                                              2011年1月于昆明[/lang_zh]

[lang_en]Curator: He Libin
Artistic Host: Wang Yu
Artists: Jan 21- Mar 16(Yang Yijiang, Wang Jiwei; Zhang Chunying, Zhang Yingnan)
             Feb 18- Mar 21(Chen Liu, Wang Hongyun, Liu Jiahua)
Opening: 20:00, Jan 21, 2011
Duration: Jan 21- Mar 21, 2011
Place: Kuang Yu Gallery, 5th floor, Base K, Kunming Shun Cheng Block
Tel: 400—887—1911
Host:Kuang Yu Gallery
Co-organizer: Up, Chong Qing Jiang Shan Art Museum, 943 Studio 

Preface by Wang Yu

After previous “Wave Tide”, once again, we encounter another “wave tide”-Escaping by Crafty Scheme. This exhibition can be regarded as a practice of new realistic painting in China. Artist participants from Beijing, Chongqing and Yunnan are all graduated from different art academies. They are all with solid theoretical fundament and able to express their mind on their works with concise skill. Each of them self-consciously pursues their goal. In the same time, they unconsciously formed a sort of painting trend, and even a fundamental keynote of the painting in this age.
  
When we say this exhibition is a practice of new realistic painting, a question is raised: what is Neorealism (new realism)? Originally, it is a school of painting firstly proposed by artists of former Soviet Union. The word of “realistic” reminds us with those realistic paintings created by Gustave Courbet in middle of 19th century. He depicted real life with a stable realistic technique and filled up the vacancy of romanticism phantasy. But we have to agree that the realistic works are all limited of content, and depiction is too complicated and trivial. No matter how realistic the depiction is, it is merely a kind of representation of appearance of the nature. It can never content our desire of seeking essence of the nature. Neorealism comes from the combination of realism and modernism; it not only depicts appearance of the nature, but also touches on the essence of the nature.

As for the realistic works in this exhibition, on the one hand, they are all exploring and creative of content; on the other hand, they attempt to be breakthrough of the form. Artists express new real life with oil painting. At the same time, they also extract and exaggerate reality with abundant expressive force of oil painting, together with the color of western modern art. Their artworks are very distinctive with different personal styles, but also in common of national sensibility as Chinese artist. Therefore we can say that today’s new realistic paintings are no longer the old ones which is separated from real life, but some realistic works profoundly marked with the signs of this age and painter’s personal thought and sentiment.

We appreciate all artist participants for their perfect artworks involved in the exhibition; we are also thankful for great support from Mr. Lei Yongbin, the curator of Chongqing Jiangshan Gallery.

In Kunming

Jan.  2011

 

Escaping by Crafty Scheme by He Libin

The western realistic painting has quite a long history. Some prototypes of realistic color, realistic sculpt, realistic spaciousness and perspective principle could be found in the great Italian painter Giotto’s masterwork-the decoration fresco of Arena Chapel in Padua, completed around 1305. And then in 15th century, Van Eyck Brothers invented the oil painting technique and greatly developed the realistic and sculpt function of painting. The oil painting, as a realistic art form, reached its artistic peak in 16th century. Influenced by ancient Greek humanism and ancient Roman humanism, the artists started to bring their painting objects from religions rituals and services depiction to drawing accurately from earthly life, hence the realistic painting emerged. Throughout the historical evolvement of different artistic styles such as Mannerism in the later of 16th century, Baroque Art in 17th century, Neoclassicism in 18th century and Realism in 19th century, the realistic painting hadn’t changed its foundation of rigorous and scientific study of perspective until the emergence of other artistic trends, like Impressionism and Fauvism. Influenced by Color Theory and Psychology, the painting started to be beyond the shaping of figures. The color gradually exceeded the form and even acted as an independent element. These changes took place in the evolvement of Impressionism, Fauvism, Cubism, Futurism, Symbolism, Surrealism, Dadaism, Expressionism, Abstract Art, Minimalism, etc. Eventually, the realistic painting gradually faded out of our sight. It had not appeared in the art history until 1970s when Photographic Realism came forth. Influenced by numerous modernism art trends, realistic painting gradually divided into two branches: one was influenced by symbolism and expressionism and focused on the expressing of personal mind and emotion, emphasized on constructing an emotional scene on the image; another, influenced by photography, stood on the proposition of recording images by a fully objective, emotion-free mean and believed that the painting should be exact copy of the photo. Any trace of individuality, emotion and attitude was intentionally hidden. The purpose was just to create a plain and apathetic effect on the picture in a dispassionate way.    

The western painting was introduced into China by some missionaries in the later of 15th century; however, it hadn’t been officially recognized and introduced until 20th century. During the May Fourth period, Xu Beihong, Liu Haisu, Xu Zhimo, and Li Yishi…etc. once fiercely argued about the introducing of western culture and western art, and finally the western realistic painting was accepted in China and programmed into Chinese aesthetic education system. And that was in line with the context of introducing and promoting western academy and invigorating Chinese nation with western science and technology. Since then, realistic painting has been inherited all the time in Chinese aesthetic academic teaching, and still remain a very complete system today. In the same time, the thought of modern western art and post-modern art have been widely spread in Chinese art institutes, colleges and artists. But for contemporary Chinese artists, how to respond and reflect so many art trends and aesthetic thoughts, how to integrate western painting conception with geographical culture background and their own aesthetic experience? Escaping by Crafty Scheme—Exhibition of new Chinese realistic painting attempts to present this process of following and breakout through some individual artists’ cases.

Yang Yijiang’s oil painting is following the principle of classic European realistic oil painting which is refined layer upon layer and heavily sculptured, and with a character of peaceful and noble. His painting works are tranquil, elegant and pure, without any flippancy. Yang Yijiang always creates oil painting with a quite long time. He establishes dialogue with the world through reiterative refining and sculpturing. His works always experiences an overlapping estrangement effect. In his Mirroring series, the figures and scenes reflecting by the mirror are dislocated from the ones outside of the mirror; there is no connection between the real objects and their reflection in the mirror. This will bring audiences a feeling of contradiction and confusion. In his Still Life series, he often put two irrelevant objects together in one space to produce contrast and dialogue, while he himself is a calm observer who is secretly watching this world. Zhang Yingnan’s painting also presents a ridiculous character. His works depict dreamily scenes with which you might feel familiar. And more realistically and finely he depicted the figures and scenes, stronger you would feel this kind of vivid strangeness. By this way a real dreamland is established. As for Wang Hongyun, his paintings are full of youth spirit. Either in his We are excluded from here series which describes his own living circumstance, or sketches of natural landscape, a temperament of sentimentality, emotionality and elegance is strongly expressed. He restrains the color to a neutral gray, which is neither too strong, nor too light. This sort of modest expression is somewhat characteristic of traditional Chinese painting.  

In the face of western culture and Chinese culture, some artists can always chose a smart and natural approach in their artwork creation. Zhang Chunying applies western Tempera skill and color-tone to depict very eastern and very emotional scenes, such as ferry, lotus and floating tree…etc. which appearing many times. None of them is far away from eastern religion-like life inspiration. Wang Jiwei applies authentic realistic skill of western oil painting and Caravaggio’s Tenebrism to portray classic Beijing Opera figures. Different slight emotional expressions and gestures of these figures which demonstrate the charm of Beijing Opera, together with those corresponding landscape, compose a real but illusive reconstructed space-time, shifting between stage and reality. The objects in Chen Liu’s painting are inspired by josses in traditional Chinese temple. Perhaps what he focuses on is the temperament of these josses, which is in-betweens of urban people and gods. Chen Liu’s vivid portrait of these figures and scenes indicates again and again its sense of reality and absurdity. He attempts to interpret his understanding about today’s world through those “ancient stuffs”.      

Other artists have more stronger and intuitionistic understanding about today’s world. Their paintings have character of both realism and expressionism. In western painting system, realism has widely different trend from expressionism. Their aesthetic orientations are also widely divergent: realism follows the principle of rigorous and scientific sculpts and study of perspective to construct a real, ordered and sensible world, while expressionism pursues sincerity and catharsis of emotion, emphasize on strong and intuitionist outpouring of temper and sentiment, which can only be achieved by strong color, strong drawing style and overthrow of classic sculpt principles. Chaim Soutine, a famous French painter, is the best representative of expressionism. All objects in Soutine’s painting are inclined or even upside-down. The world in his eyes is chaos and crazy. In Liu Jihua’s painting, conventional building and modern building are staggered and overlapping, like wild plants growing disorderedly, but they are all floating without roots… Liu Jiahua precisely and deeply depicts every detailed character and textures of these scenes to reflected the disorder and chaos of this world.

The artworks of above artists are miniatures of current situation of the western realistic painting in China. As an interpretation which bridges two different cultures, it is not important either to study its origin and inherit its spirit, or to interpret it from a distance. It is the same as filling new wine with old bottle or filling old wine with new bottle. They have same meaning in some extent as far as the painters can express their own emotion, thought, language, skill and culture… the rest factors are nothing but tools. 
                                                    
In Kunming

Jan. 12, 2011[/lang_en]

[lang_zh]参展作品[/lang_zh][lang_en]Artworks from exhibition[/lang_en]

  

                                                         

[lang_zh]浪潮 当代艺术展[/lang_zh][lang_en] Wave Tide – Contemporary Art Exhibition[/lang_en]

[lang_zh]策展人:和丽斌
艺术主持:王煜
艺术家:周钲淸 李瑞 常熊 荀贵品 石志民 尹雁华 苏家寿 陈长伟 张华(以上排名不分先后)
开幕酒会:2010年11月12日晚20:00
地点:昆明顺城购物中心k座5楼味彩顺城“框余画廊”(400—887—1911)
展期:2010年11月12日——12月12日

主办:框余画廊
协办:943小组 《向上》

评论:和丽斌

红土高原的云南,一直是产生神话和梦想的地方,一批又一批艺术家从这里出发走向全国、走向国际。借景抒情、以景言志一直是云南几代艺术家延续至今的传统,从上世纪60、70年代的“外光派”、70年代末80年代初的“申社”、80年代中期的“新具象”及“西南艺术研究群体”、2001年以后的“创库艺术主题社区”的艺术家群落、以及现在更为年轻的70、80后艺术家,风景与乡愁是一代代艺术家挥之不去的情结。在年轻一代的艺术实践中,不仅依然延续着云南特有的自然赋予的梦幻、神秘、质朴的气息,也融入了当下流行的卡通、动漫的元素,使他们的作品更加多元和鲜活,表现出迥异于上一代艺术家的生活态度与美学经验。这个展览所呈现的,就是这一潮流中有代表性的艺术家及其作品。

周钲清的绘画融合了表现主义和原始主义的美学风格,狂乱的线条、粗砺的笔触与浓烈对比的色彩下,万物杂乱无序、恣意生长,呈现出他眼中的那个原始、野蛮的自然。李瑞的绘画充满了自由的构成与想象,在一祯桢梦境般如同伊甸园的画面中,独行的小人一如他自身的写照,徜徉于自我编织的梦境与诗意中。常熊的绘画亦有着强烈的梦境的氛围,不同之处是他取材的场景更多介于城市与乡村之间,迷蒙而恍惚,如同现实世界被抽空了存在的实感,只剩下无所栖居的飘荡的灵魂。荀贵品笔下的自然真实而质朴,他用反复堆积、错落的笔触与色块,一次又一次的贴近和触摸自然,讴歌和表现他所热爱和敬畏的世界,造物的奥秘就隐含在一次次细微的触摸与对话中。石志民的绘画融合了个人想象与大理变化万千的自然景致,《冰河》系列描述了他所断想的几百万年前的自然,晶莹剔透,万物尚在混沌的孕育之中,这是一个远离了文明与喧嚣的世界,遥远而清凉。同样来自大理的艺术家尹雁华的作品亦有着诗性的气息,他笔下的拇指人纤小而轻灵,他喜欢把它构想安排在不同的叙事场景中,轻灵的拇指人在不同的时空穿越与漫游,构建起一幅幅当代版本的“逍遥游”图景。同为80年代生艺术家,苏家寿的作品更多的有着今天都市发展所派生出来的“都市诗学”的美学倾向,无尽的疏离与落寞弥漫在他每一阶段的作品中,而近期的影像绘画的叙事风格更强化了上述特征。

云南的雕塑家们亦有着迥异于其它地区的审美趣味与造型追求,陈长伟的雕塑放弃了传统雕塑中对体、块、面的塑造,混沌起伏的弧面无始无终,循环往返,放弃的是形,却捕捉了永恒流变的时间与空间。张华的雕塑也采取了反向于传统雕塑的造型理念。在传统的雕塑造型中,无数艺术家穷尽一生反复实践和琢磨形体外部的构造,而张华则反其道而行之,他进入形体的内部,推想抽空内部之后外部的变化,如果内与外是对应的,外部的存在缘于内部的存在,那么抽空了内部,一切物像都只剩一副躯壳。张华的雕塑正是塑造了这一变化的瞬间。《珠穆朗玛峰》、《花》、《雷锋》……,万物被抽走了灵魂,如同泄气发皱的皮球,这些形象幽默而荒诞,却发人深省。

上述艺术家代表了云南当代艺术中的某种倾向,但并非全部。云南,这个中国地理版图上的“后花园”,在过去与今天一直是艺术家们生活与创造的沃土,满园春色、生机盎然,令我们对未来满怀希望与憧憬。

2010.11.4  昆明

前言:王煜

很长时间以来我们都习惯于把“浪”和“潮”这两个字联成一个词来说,这样做虽然产生出一种新的含义,但是却限定了这两个字作为单独的汉字本来的意义。现在在这里把这个两个字拆开来重新整合,使它们各自相对独立存在,又有着一定的联系。于是这两个汉字在这就成为了对于事实上总是联系在一起,而法理上又应该互相独立看待的两个个体。应该说这种微妙的变化的产生是很有些趣味的。而这种趣味也恰恰是这次的展览想要表达的东西。

几个年轻的艺术家,作为个体来说,他们都是独立的,可是一旦当这个展览把他们联系到一起的时候,大家从某种程度上就构成了一种松散的结构,并由这个结构派生出一系列的想法。

一如这个展览的名称,“浪”代表一种汹涌起伏的状态,而“潮”则可以理解为新生代发展的某种现象。但是在这里这两个字合起来又远非平日里简单的用“浪潮”这个词可以诠释清楚的。

这种把简单的事物复杂化的做法既是一种想法,更是一种态度。为了追求复杂而去追求复杂,这也可以看作另外一种意义上的纯粹吧?至此,此次展览的目的——做一个纯粹意义上的艺术展览,也就自然而然的达到了。

最后,预祝展览圆满成功。

2010年11月4日 昆明[/lang_zh]

[lang_en]Curator: He Libin
Artistic Host: Wang Yu
Artists: Zhou Zhengqing, Li Rui, Chang Xiong, Xun Guipin, Shi Zhiming, Yin Yanhua, Chen Changwei, and Zhang Hua (Listed in no particular order)
Opening: 20:00, November 12, 2010
Place: “Wei Cai Shun Cheng”, 5th floor, Base K, Kunming Shun Cheng Block
Duration: November 12—December 12, 2010

Host: Wei Cai Shun Cheng
Co-organizer: 943 Studio, Up

Wave & Tide by He Libin

Yunnan on laterite plateau is always a place creating myths and dreams. Groups and groups of artists started from here, heading towards national and international stages. Using local sceneries and visions here as art creation subjects is always the tradition for generations of Yunnan artists. From “luminarist” in 1960s and 1970s, “Shen Association” in the end of 1970s and beginning of 1980s, “New Figuration” and “Southwest Art Research Group” in the mid 1980s, to “Loft” Art Community after 2001, and young artists who were born after 1970s and 1980s, sceneries and nostalgia are always the complex that generations of artists can hardly go without. In the art practice of young artists, they maintain and continue the mysterious and unadorned flavor endowed by nature in Yunnan, but moreover, they blend the elements of modern cartoon and anime, making their artworks more energetic and diversified. Their artworks also show unique attitude toward life and aesthetics experience, being different from last generation of artists. This exhibition presents those representative artists and their artworks.

The paintings of Zhou Zhengqing show the aesthetic style combining expressionism and primitivism. Among those wild lines, rough brushwork, and strongly contrasting colors, everything is growing in disorder, presenting that primitive and wild nature in his eyes. The paintings of Li Rui are full of free constitutions and imagination. In each frame of his dreamland picture, just as in the Garden of Eden, a person walks alone, just like his own portrait. Li Rui wanders joyfully in the dreamland and poetic atmosphere weaved by himself. Chang Xiong’s paintings are also with strong dreaming atmosphere, and the different point is he uses sceneries in between cities and countries more often, misty and dubious. His paintings are just like the actual world being evacuated of existing feelings, and only homeless souls are wandering there. Xun Guipin’s paintings are real, unadorned and natural. Piling up and ordered brushwork and colors are approaching and touching the nature, eulogizing and expressing the nature he reveres and is passionate about. The secret of creatures may hide in those delicate touch and dialogues. The paintings of Shi Zhimin mix personal colorful imagination and changing natural sceneries in Dali. Glacier Series depict the nature millions of years ago in his imagination, crystal clear, and everything is still in breed. That is a world far away from civilization and noise, distant and pure. Another artist from Dali, Yin Yanhua’s paintings are poetic. The thumbkins in his paintings are tenuous, gentle and smart. He would like to arrange those geniuses in different stories, and those tenuous thumbkins can pass through and roam in different space-times, constituting a contemporary vision of “Wonderland”. Another post-80s artist, Su Jiashou’s artworks are more inclined to the aesthetics of “Cosmopolitan Poetry” developed in today’s cities. Endless loneliness and desolation are disseminating in his artworks in every stage. And his recent image portrait emphasized more on the above mentioned characteristics.

Yunnan sculpture artists also have very different aesthetic interest and pursuit of sculpts. Chen Changwei’s sculptures give up the traditional emphasis on the body, piece and surface of sculptures. There is no beginning nor ending of his sculpture surface, which cycles and repeats. He gives up the shape, but seizes the eternal time and space. Zhang Hua’s sculptures also go against traditional ideas on the shapes of sculptures. In traditional ideas, many artists spent all their lifetime to practice and study the structure of sculptures surface, but Zhang Hua goes the other way round. He goes into the inside of sculptures, thinking what changes will happen if the inside is evacuated. If the inside and outside are corresponding, then the outside relies on the existence of the inside. While the inside is evacuated, everything is only left with the outer form. Zhang Hua’s sculptures are modeling that instant when such changes happen. Qomolangma, Flowers, Lei Feng together with many others are telling such a story. Everything is just like a ball with air leakage when the soul is gone. Such humor is of great absurdity, but sets people thinking.

All the above mentioned artists represent a certain inclination of the contemporary art in Yunnan, but not all. Yunnan, the backyard of China, has always been the fertile soil for the life and creation of artists in the past and present. Vivid, life, fertility and diversification of such a place give us hopes and visions for the future.

November 4, 2010

Forward by Wang Yu

For a very long time we are used to express the meaning of “wave” and “tide” as tide. By doing so some simplified meaning can be created but together with the limitation on the meanings of both separate characters. Now the two characters are taken apart and reintegrated, maintaining their independent existence and certain relationship. Therefore, these two characters turn to be two separate individuals interdependent with and independent from each other. The creation of such delicate change is interesting, and such interesting sense is exactly the thing trying to be expressed in this exhibition.

Several young artists are independent as individuals. But when this exhibition ties them together, they turned to be a certain loose structure. Moreover, a series of ideas are created from such structure.

Just as the name of this exhibition, “wave” represents a tempestuous status, while “tide” can be understood as the development of new generations. The two characters combined together here, but created a meaning much richer and more profound than the word “Tide” in our daily understanding.

Such complication of simple things is not only an idea but more importantly an attitude. Complicating things is in pursuit of complexion, and may this behavior be regarded as purity in another sense? Therefore, the purpose of this exhibition—an art exhibition in a very pure sense, is achieved naturally.

Last but not the least, I wish a great success of this exhibition.

November 4, 2010, Kunming [/lang_en]

[lang_zh]摊主征集令:2011第六届昆明创库创意集市(943创意集市)[/lang_zh][lang_en]Open Call for “The 6th Kunming Creative Fair (943 Creative Fair)”[/lang_en]

[lang_zh]时间:2011年7月23, 24日(周六-周日)11:00-22:00
地点:昆明市西坝路 101号,昆明市机模厂(创库内),TCG诺地卡

943小组这次将著名的台湾创意市集“摆摊人生”邀请至昆明与我们同乐,台湾创意市集“摆摊人生”是台湾最早最具人气的创意市集,来自台湾各个领域的将近40位创意人代表着宝岛手创界的最具活力的一群年轻人。943创意市集虽身处创意文化的边缘城市,但以纯粹而独立的姿态在今年全国创意市集年会上得到各方鼓励与关注。我们市集上出现的各种“天赋奇葩”和全民参与的娱乐精神,与同样很”HIGH”的台湾创意市集一拍即合。“摆摊人生”在大陆地区首次登陆就选择了“我们”,这让我们尤为兴奋,所以,本地的创意达人们,你们准备好迎接这场国内创意市集的交流盛宴了吗?

不会改变的市集宗旨:提倡创造力,艺术日常化,原创精神,严肃地对待玩乐,Do it yourself!!
市集内容:原创设计或手工制作之未知物品,旧物改造,玩具,插画,可穿戴之不明物质,声音,射线, 有趣好玩的东西……不限作品类型,皆可申请。
本届创意市集,继续向社会招募街头表演达人,原创乐队,街舞,各类奇术,角色扮演,活体雕塑…..欢迎有表演天赋或绝妙现场表现的玩家,加入创意市集大家庭。

本届创意市集对摊主的几点要求:
1.不接纳非原创产品,伪劣产品,抄袭产品慎入!!
2.递交申请时请附申请者本人照片(生活照即可),清晰产品实物照片至少6张,产品说明含主题和材料说明。(2人拼摊必须同时递交两人独立的作品)
3.以往参与过的摊主不得全部以重复作品继续申请,必须包含新作品。
4.请各位摊主注意作品申请截稿日期,逾期将不再接受申请。
5.申请市集的艺术家需递交个人简历及详细作品方案。行为,装置,声音艺术…..类型不限,须紧扣市集主题。

组织者: 943小组 www.943studio.cn 台湾希嘉文化有限公司www.campobag.com
设摊名额: 70摊位 (台湾摊主30位)

申请方式:
请将清晰产品实物照片至少6张,产品说明含主题和材料说明;附申请者本人照片(生活照即可),以及详细联系方式发送至 943studiokm@gmail.com

申请截止日期:2011年6月30日。申请结果将在2011年7月5日前以E-mail/电话通知申请者.

通过申请资格审核的摊主须知:
★每人只可申请一个摊位。范围不超过1.2平方米,不得将摊位转让、转售或分租其它人。小组方式申请限定最多不超过2人为一摊位。
★组织方持有最终决定权,摊位的审批及位置一律由组织方决定。
★创库创意集市为自筹资金,通过申请资格审核的摊主作品制作费用自理,每摊位集资人民币150元,为活动场地租用、海报、宣传等相关费用的支出。
★组织方不统一陈列方式,摊主发挥个人创意布置场地,需与组织人提前商议(如有特殊需求请事先告知)。
★摊位布置时间:2011年7月22日14:00—22:00
★活动期间,谢绝摊主自带任何食物入场。
★各摊主负责其摊位所有物品的保管,组织方不承担产品的遗失责任。活动期间摊主必须出席并向顾客介绍产品创意。
★摊主入场时间:创意市集当日11:00–22:00。摊位布置时不得在墙面使用泡沫胶,颜料,马克笔等无法清除的产品,造成空间损伤照价赔偿。
★未尽事宜请与组织者协商解决。[/lang_zh]

[lang_en]

When:11am-22pm, July 23-24, 2011. (Saturday and Sunday)
Where:Loft, TC/G Nordica, Xi Ba Road No.101, Kunming

This time, 943 Studio will invite CAMPO LIFE, the famous Taiwanese Creative Fair, to join in. Campobag is the earliest and the most popular Creative Fair in Taiwan. There will be nearly 40 participants come from many different fields in Taiwan, representing the most creative young groups. Despite it is located in such a marginalized city in the creative culture, 943 Creative Fair still drew a lot of attention and was encouraged on the annual conference of Chinese national wide Creative Fair for its fine and independent position. A variety of amazing talent and the entertainment spirit which involves all just happened to be similar to that “high” Taiwanese Creative Fair. It is really an excitement and an encouragement that Campobag chooses “us” as a partner when they come to the mainland for the first time. So, all the creative talents, are you ready for this coming wonderful Creative Fair?

Our never-changed vision:Encourage creativity, and let art become part of your daily life, to play earnestly…, do it yourself!

Bazaar products to sell:Original designs or handicrafts, you can use old things and materials to make something new and functional! E.g. toys, illustrations, things for wear, sound…..no limits!  If your idea is original, you can apply to participate!
Your idea must be original!!

Those performance talents are still welcome and encouraged, such as original band, hip-hop, jugglery, and role-play…etc. We will be pleased to have so many great players to join in this great Fair.

Please be informed:
1. Only originally creative product accepted!!
2. Please enclose your photo and at least six clear photos of your product, and a description of your product including the title and material as an application. (in case two applicants share one booth, independent products for each one are required to submit.)
3. Previous participants cannot apply for with all former products, there must be new created product/s.
4. Please be informed the deadline of the application. Overdue application will not be accepted.
5. For artist who wants to apply for artwork presentation on the Fair, a resume of the artist and a complete artwork scheme also need to submit. The artwork can be a performance art, installation, sound art… whatever, as long as it related to the theme of this Creative Fair.

Organizer: 943 studio  www.943studio.cn
The Campo Group Taiwan Campobag Culture www.campobag.com
Amount of booth: 70(30 booths for Taiwanese participants)

How to apply for: Email at least six clear photos of your products, description of the products (title and materials), your photo (can be a living picture), and your contact details to: 943studiokm@gmail.com

Deadline of the application: 30 June, 2011. You will be informed by email or phone call before July 5th, 2011 if your application is accepted.

Notice for those accepted applicants:
★ Each individual applicant can only apply for one booth(1.2㎡). And this booth is not allowed to rent or alienate to others. For group applicant, one booth can be shared by 2 persons as maximum.
★ The organizer has the right of final decision. Approval and location of the booth are determined by the organizer.
★ Participation fee: 150rmb/booth, for the expense of venue rent, promotion and poster.
★ You can set up your booth in your own creative way. If you need any special needs, please inform us in advance.
★ The time of preparing your booth: July 22nd, 2011, 14:00—22:00
★ No food allowed to bring to the Fair.
★ Participant shall be responsible for safekeeping of their products. During the Fair, participants have to be in presence to introduce their creative products to the customers.
★ Duration of Creative Fair: 11:00—22:00 of each Fair day. When setting up the booth, the materials that cannot be cleaned such as foam, glue, paint and mark-pen are not allowed to use on the wall. For any damage of Nordica’s facility by participant, participant shall pay back.
★ For anything we haven’t thought about, your comments are welcome.[/lang_en]

[lang_zh]“艺术与建筑”讲座-Jedsada Tangtrakulwong[/lang_zh][lang_en]Lecture“Art and Architecture”by JedsadaTangtrakulwong[/lang_en]

[lang_zh]

“艺术与建筑”学术讲座

主讲人:Jedsada Tangtrakulwong(泰国Mahasarakham大学实用艺术系讲师)
主持:和丽斌

时间:2011年5月9日(星期一) 晚上6:30—8:30
地点:云南艺术学院呈贡新校区公共教学楼一楼视听教室

主办:云南艺术学院美术学院 云南艺术学院外事办

协办:943小组

 

讲座议题:

1. 艺术&建筑

2. 建筑师转型艺术家

3. 艺术家转型建筑师

4. 合作作品

5. 艺术中的建筑理念体现

6. 建筑模型艺术

7. 现场特域艺术

8. 灵感 / 巧合 / 模仿

更多Jedsada Tangtrakulwong 的信息 [/lang_zh]

[lang_en]Lecture “Art and Architecture” by Jedsada Tangtrakulwong (Faculty of Fine and Applied Arts, Mahasarakham University, Thailand)
Host: He Libin
Address: audio-visual classroom, the first floor ofthe new teaching building, Yunnan Arts Institute, Chenggong, Kunming, China
Time: 18:30-20:30pm, May 9, 2011

Organizer: Fine Art College of Yunnan Arts Institute and Foreigner Affair office of Yunnan arts Institute
Co-organizer: 943 Studio

 

Lecture content:

1. Art & Architecture

2. Architect Turned Artist

3. Artist Turned Architect

4. Collaborative Works

5. Artist Take on Architecture

6. The Art of the Architectural Model

7. Site- Specific Art

8. Inspiration/ Coincidence/ Imitation

More information about JedsadaTangtrakulwong [/lang_en]