[lang_zh]水主宰的世界(装置影像展)Kay S Lawrence (澳大利亚)[/lang_zh][lang_en]My Body is Mostly Water by Kay S Lawrence[/lang_en]

poster海报[lang_zh]

Eco AiR program-苔画廊生境艺术驻地项目

水主宰的世界(装置影像展)
Kay S Lawrence (澳大利亚Australia)
展期:2013.11.29 -12.07

开幕酒会:2013.11.29, 16:00-21:30

中国昆明金鼎山北路15号,金鼎1919艺术园,A区,苔画廊
开放时间: 每天10-22:00
+86 871 65385159
www.943studio.cn
contemporaryyunnan@gmail.com
@weibo.com/943gallery

 

昆明驻地时间:2013.11.01–12.08
项目支持:Greening the Beige(点废成绿) 该机构邀请艺术家参与研究环保问题,通过艺术的方式为当地的环境提供多元思考。项目以艺术家驻地,讨论,讲座,工作坊,展览的方式呈现。

关于项目和作品(艺术家自述)
我的创作游走于自然和文化的边界,以及研究相关的时空错位和自然环境所依赖的脆弱平衡等。利用光纤维和多媒体的视觉来呈现21世纪的生态、社会和文化问题,我尤其关注生命的必需:水。
人性是一种活跃的生态机构,由于人类强烈的自我意识而产生的所作所为正深刻地影响着这千变万化的现实。 在21世纪,我们很有必要仔细斟酌自己与这个星球共处的方式,并重新探讨自然与文化的关系。纺织业与数字媒体的并存对于我们解决当前环境和可持续发展问题的方式有着隐喻的指导意义——我们需要在过去与现在的科技与知识之间找到平衡。 我的环境研究中包含了根植于这些空间中的文化和社会记忆。行为作品和摄影,一直秉持以人为中心的社会理念的创作。人体在我的作品中是不可或缺的元素。通过材料和技术等与人体有关的形式,我直接或间接地表达出这个意象来。我利用布料的隐含关联来唤醒人们的记忆,用认知和文化的关联来使这些作品能与观者产生一种高于视觉层面的交流。
之前在亚洲的驻地经历已经证明以开放的心态吸收和反映文化社会差异的重要性。当与本地社区,而不仅限于与艺术社区或组织机构互动时,这样的经验将被放大。驻留期提供了研究、思考和创作的时间,并强化了有意义多层次的文化交流以及融入另一种文化的重要性。驻地期间的经验有利于我们了解在这个以人为中心的世界中,人们在可持续发展以及环境保护中到底做得如何。
我的驻留经验让我发现作品总是有鲜明的地域特性:创意折射着人们对所处环境的观察。因此任何计划终将被修改。之前我在北京,是研究特定蓝藻、微囊藻的环境问题的。我看到这一物种在昆明附近的滇池,与水葫芦反映出了同样的问题,目前大量的工作都围绕水质纯化。

www.kaylawrence.net

[/lang_zh]

 

[lang_en]

Eco AiR program-at Tai Project

My Body is Mostly Water
Kay S Lawrence (澳大利亚Australia)
2013.11.29 -12.07

Reception:2013.11.29, 16:00-21:30

Tai Project, A zone, Jin Ding 1919•Loft, North JinDingShan Lu No.15, Kunming, China
Open Hours: Mon-Sun10-22:00
+86 871 65385159
www.943studio.cn
contemporaryyunnan@gmail.com
@weibo.com/943gallery

 

Residency duration:2013.11.01–12.08

Support by Greening the Beige(点废成绿)

 

About the Work/ Artist Statement
Kay S Lawrence’s work addresses the boundaries of nature and culture, developing parameters and perspectives that embrace fractures and dislocations of time/space continuum and the precarious balance in which our fragile natural environment resides. She uses the visual and other sensual qualities of fibre and digital media to address ecological, social and cultural issues of the21st Century.

Humanity is an active ecological agent impacting on this volatile situation, due to our overwhelming anthropomorphic-centric behaviours. In the 21st Century it is imperative that we critically evaluate the ways in which we interact with our planet and that the relationships between nature and culture be renegotiated. The juxtaposition of textiles and digital media is metaphoric for the approach required to current environmental concerns and sustainable practices; the need to find a balance between old and new technologies and knowledge. In my investigations of environments, I embrace the cultural and social memories embedded in those spaces. I move from two dimensional and three dimensional works through performative photographic works to create works that reference the notion of our anthropomorphic-centric society. The body is an integral element in my works, depicted either directly or indirectly, through forms, materials and techniques that have a link to the human body. I use the metaphoric associations of cloth to evoke memories, perceptions and cultural associations to enable the works to create dialogue with viewers on more than a visual level.

Previous residencies in Asia have demonstrated the importance of an open mind to absorb and reflect on cultural and social differences. The experience is magnified when there is interaction with the local community, not just the art community or host organisation. Residencies have provided time for research, reflection and production and emphasised the importance of meaningful and multi-layered cultural exchange and immersion into another culture. Residencies help understand the level of commitment to sustainable practices and environmental protection in our anthropomorphic-centric world.

My experience of residencies indicates that works produced are always very site-specific: ideas crystallise through observation when in residence. Accordingly any plan would be subject to revision. Previously in Beijing, I worked with environmental issues concerning cyanobacteria, specifically, Microcystis. I see that this same species is problematic in Dian Chi as is water hyacinth. At the present time, I can envisage a number of works focusing on water purity. To help identify the specific focus for the residency, I am currently examining other invasive and endangered species and reports of the Yunnan Environmental Court as I am keen to follow any recommendations they may have concerning topical issues requiring immediate attention.
www.kaylawrence.net[/lang_en]

[lang_zh]展览作品:[/lang_zh]

[lang_en]Exhibition Works[/lang_en]

Kay S Lawrence 云南之水Yunnan water影像Video Length 1min3s 2013 (2)      Kay S Lawrence 云南之水Yunnan water影像Video Length 1min3s 2013 (1)      Kay S Lawrence 响沙Squeaky Sand Length 30s影像Video 2013Kay S Lawrence 饰羊Acting the Goat #1艺术微喷 archival digital print 29.7 x 42cm 2013 (3)      Kay S Lawrence 饰羊Acting the Goat #1艺术微喷 archival digital print 29.7 x 42cm 2013 (2)      Kay S Lawrence 饰羊Acting the Goat #1艺术微喷 archival digital print 29.7 x 42cm 2013 (1)Kay S Lawrence 表面之外Beyond the Surface 艺术微喷archival digital print on linen 39x89.5cm 2013      Kay S Lawrence入侵Invasion艺术微喷archival digital print on linen 39x89.5cm 2013      Kay S Lawrence 长江YangZi River 丝绸,棉线,毛发Silk, Cotton threads, Human Hair 66x150cm 2013Kay S Lawrence 水主宰的世界My body is mostly water 铁丝,化纤面料,缠绕wire, synthetic fabric, hand dyed indigo thread 可变尺寸variable size 39x89.5cm 2013      Kay S Lawrence 遥远的地平线Far Horizon 艺术微喷archival digital print on linen 39x89.5cm 2013      Kay S Lawrence 沙溪之夜Sha xi Evening 艺术微喷archival digital print on linen 39x89.5cm 2013      Kay S Lawrence 洱海Lake Er Hai 艺术微喷archival digital print on linen 39x89.5cm 2013

[lang_zh]之前作品:[/lang_zh]

[lang_en]Previous Works[/lang_en]

Kay-S-Lawrence_A-singular-bind Kay-S-Lawrence_Mending_1 Kay-S-Lawrence_Microcystis Kay-S-Lawrence_microcystis-video-still Kay-S-Lawrence_Penitence Kay-S-Lawrence_Tree-lines_1-(1) Kay-S-Lawrence_your-silence-gives-consent

 

[lang_zh]Krzysztof Debicki(加拿大)昆明建筑群走访记录[/lang_zh][lang_en]Krzysztof Debicki(Canada)Kunming Building Research[/lang_en]

[lang_zh]Krzysztof Debicki(加拿大)昆明建筑群走访记录

展期:2013.08.23–29

开幕酒会:2013.8.23,16-21:30

开放时间:每天10-22:00 中国昆明金鼎山北路15号,金鼎1919艺术园,A区,花朵画廊(原苔画廊)

+86 871 65385159

www.943studio.cn

contemporaryyunnan@gmail.com

@weibo.com/943gallery

 

艺术家自述

克里斯托弗对赋有建筑人文和历史感的空间感兴趣,尤其是那些受城市规划或房地产开发项目影响的区域。中国的城市化规模与发展速度创造着独特的实例。克里斯托弗驻留昆明花朵画廊(原苔画廊)期间,一直在走访这座城市日新月异的变迁,记录那些将在历史上消失地方性。 [/lang_zh]

 

[lang_en]Krzysztof Debicki(Canada)Kunming Building Research

 

Duration: 2013.08.23–29

 

Reception:16-21:30pm, August 23, 2013

Open Hours: Mon-Sun 10am-22pm

Address: ContemporaryYunnan, A zone, Jin Ding 1919•Loft, North JinDingShan Lu No.15, Kunming, China

+86 871 65385159

www.943studio.cn

contemporaryyunnan@gmail.com

@weibo.com/943gallery

 

Artist’s Statement

Krzysztof is interested in the spaces where architecture, humanity, and history meet, especially when they are influenced by large forces such as urban planning or the real estate market. In China, the scale and speed of urbanization is unlike anything the world has seen, creating unique instances of such spaces. While in Kunming as a guest artist at the Artist in Residency Program at Contemporary Yunnan, Krzysztof has been exploring and documenting sites of urban renewal in an attempt to portray a localized history at the moment it is being erased.

Documentation of the research: http://kunming-free-spaces.tumblr.com

Krzysztof’s website: www.debicki.net

[/lang_en]

photo by Krzysztof Debicki (5)      photo by Krzysztof Debicki (6)      photo by Krzysztof Debicki (3)photo by Krzysztof Debicki (9)      photo by Krzysztof Debicki (1)      photo by Krzysztof Debicki (8)

 

 

[lang_zh]王锐个展[/lang_zh][lang_en]Wang Rui Solo Exhibition[/lang_en]

Poster 王锐个展 海报

[lang_zh]王锐个展 

展期:2013.08.23–09.10

 

策展人:薛滔

开幕酒会:2013.8.23,16-21:30

开放时间:每天10-22:00

地址:中国昆明金鼎山北路15号,金鼎1919艺术园,A区,花朵画廊(原苔画廊)

+86 871 65385159

www.943studio.cn

contemporaryyunnan@gmail.com

@weibo.com/943gallery[/lang_zh]

 

[lang_en]Wang Rui Solo Exhibition

Curator: Xue Tao

Duration: 2013.08.23–09.10

Reception:16-21:30pm, August 23, 2013

Open Hours: Mon-Sun 10am-22pm

Address: ContemporaryYunnan, A zone, Jin Ding 1919•Loft, North JinDingShan Lu No.15, Kunming, China

+86 871 65385159

www.943studio.cn

contemporaryyunnan@gmail.com

@weibo.com/943gallery[/lang_en]

前言Forward by Xue Tao

薛滔

西方的绘画方式如何融入到东方的美学系统中,创造出既具备当下的时代特征又不失本土文化传承的新艺术,是一百多年来众多中国艺术家都在探讨的话题。

在众多艺术家的探索中,要么是一种形式上的生搬硬套,用油画材料来画水墨画,用油的滴淌来制造出水墨的湿润效果,一种纯形式的模仿,这是最缺乏想象力的一种方法,然而很多人乐此不疲。要么就是纯理论式的推进,用油画的写实语言来表达东方意境,来画东方样式。无论什么方式都逃不出西方现代主义的窠臼,前者近于表现主义,后者近于超现实主义或者趋于平面装饰画。

无论何时何地,这都是一个让人不会厌倦的问题。因为,至今没有人找出最佳答案,所以,这个问题还会在以后继续讨论下去。

在今天的云南,我们可以在王锐的绘画中继续讨论这个话题。王锐的画面让我获得一种清新的视觉,一种熟悉感,这种熟悉来自于传统中国山水画中的意境,而不是来自绘画方式。看王锐的画通常不会想到油画,尽管王锐是用油画颜料在油画布上完成的作品。他的作品给人的印象却首先是东方的,然后才是其它……

为何会这样,这源于王锐的农村生活经验。在来昆明上学之前,王锐一直生活在农村(重庆云阳县后叶乡),和中国的大多数农村一样,质朴是农村主要特征之一。他学习绘画的机缘很偶然。在高二的时候他堂哥带他去画室玩的经历,让他觉得有一件事情可以做了,于是拿上画笔。这样的经历多少让人觉得不够真诚,既无远大理想又无天才般的发现,一切都过于平淡无奇。就像他的画面一样,灰灰的,一点都波澜不惊。而正是这样,才契合了中国传统文化中最重要的一部分,谦和、平淡、质朴。这从弟子规的教训“衣贵洁,不贵华”,以及道家的“五音令人耳聋、五色令人目盲、五味令人口爽”,以及“菜根”哲学等等一系列的价值观、审美观中可以看出来。而这种审美观和人生哲学在文人画中的表现则是对水和墨(简单的黑白灰的丰富变化)的无比钟爱,以及对“梅兰竹菊”、“白菜萝卜”、“蔬菜水果”等题材的百画不厌。而中国传统的山水画则不但带有对家乡田园的向往更带有对国家民族的关爱。西方绘画中的风景画,把自然景观当作客观对象来描绘,而中国则把风景画叫做“山水画”。对于山水,中国人不仅仅把他当作客观自然对象来看待而是注入了对国家民族的深厚感情,“大好河山”、“千里江山”、“还我山河”这些词语是中国人对国家民族的特有表达方式。王锐质朴的画面,大多数描绘的是他老家的场景,这些场景陪伴他的成长,几乎成为他童年和青少年记忆的全部。如果没有对家乡浓厚的感情,是无法画出这样一批作品的。在中国这样一个反复经历“革命”洗礼的地方,传统文化几近荡然无存,作为传统的内涵,很多时候是在农村的生活哲学和生存技能中一直延续着,王锐的农村经历正好契合中国传统文化的原因正在于此。

另外,在众多艺术家中,王锐并不算是饱学多闻的类型,他甚至没有想到文化传承的命题,他只是觉得这样画舒服,于是就这样画了。正是这样轻巧的举动,解决了一些过于使力而无法解决的问题。确实,在文化融合问题上,以往的艺术家由于用力太重而失败的例子太多。很多东西,需要的是生长,而不是创造。生长是不能太用力的,只能顺其自然。王锐的画不是刻意制造出来的,正是自然生长出来的,所以,才会让我们感到轻松和熟悉。

花朵画廊在近期的展览中,不断遭遇文化选择与融合的问题。前一个展览《苏家喜个展》和这次的展览《王锐个展》都对这个问题作了很好的诠释,不过他们都是用各自不同的方式进行着。自由的表达,这也正是艺术的魅力所在,我们希望通过画廊的展览,能给大家一个开启思维和视野的契机,能够在繁忙的工作生活中给大家开启一扇思想的窗口,那就非常荣幸了。

                                                             2013年8月16日

[lang_zh]展览作品[/lang_zh]

[lang_en]Art Works[/lang_en]

Wang-Rui王锐-山顶风景Hilltop-Scenery布面油画Oil-on-Canvas70x100cm2012      Wang-Rui王锐-独自行走-Walking-Alone布面油画Oil-on-Canvas120X145cm2012      Wang-Rui王锐-大风景No.6--Scenery-NoWang-Rui王锐-飞了No.2-Fly-No      Wang-Rui王锐-春天的三棵树Three-Trees布面油画Oil-on-Canvas100X190cm2012      Wang-Rui-王锐--飞了No.1-Fly-NoWang-Rui王锐-那下山的路Path-to-the-Mountain-Foot布面油画Oil-on-Canvas80x100cm,2012      Wang-Rui王锐--枯山逢春-Dry-Spring-Hill布面油画Oil-on-Canvas90x160cm2012      Wang-Rui王锐-半山Half-Way-布面油画Oil-on-Canvas70X100CM2012

[lang_zh]苏家喜个展[/lang_zh][lang_en]Su Jiaxi Solo exhibition[/lang_en]

Poster海报

[lang_zh]苏家喜个展

展期:2013.07.06 – 07.26

策展人:薛滔
开幕酒会:2013.07.06, 16 – 21:30

营业时间:每天10-22:00
中国昆明金鼎山北路15号,金鼎1919艺术园,A区,花朵画廊(原苔画廊)

+86 871 65385159

www.943studio.cn
contemporaryyunnan@gmail.com
@weibo.com/943gallery

[/lang_zh]
[lang_en] Su Jiaxi Solo Exhibition

Duration: 2013.07.06–07.26

Curator: Xue Tao
Reception:2013.07.06, 16 – 21:30
Open Hours:Mon-Sun 10am -22pm

Address: ContemporaryYunnan, A zone, Jin Ding 1919•Loft, North JinDingShan Lu No.15, Kunming, China
+86 871 65385159
www.943studio.cn
contemporaryyunnan@gmail.com
@weibo.com/943gallery[/lang_en]

前言/Forward by Xue Tao
苏家喜是非常少见的云南画家,他对绘画的理解和其他画家对绘画的理解差别很大,在他看来绘画是一种修行的过程。当然,很多艺术家都会说艺术或者绘画是一种“修行”,但真的把修行从说法落实到行动,把修行变成具体的艺术实践在作品中呈现出来,则是非常困难的事情,这不但需要勇气还需要智慧。所以尽管大家都会这么说,而实际上真这么做的还是比较少的。而我了解的苏家喜,就真的把“修行”实践于他的绘画中。因为他认为,在绘画中获得心灵体验的重要性远远大于获得一种视觉。而云南大多数画家都在沉迷于创造让人赞叹的视觉图像,或者苦于锤炼自己的图式语言,或者沉浸于表现个人的某种思绪和情感。这些理解绘画的方式,是云南艺术家的普遍特征。他们对绘画的理解更多在绘画的物质属性方面,无论是从个人情感表现还是从美术史线索的探索和延续,都难以离开绘画的物质属性方面,都把绘画当作外在的“对象”来看待。尽管有人会说他在绘画过程中是全身心的投入,并已经达到物我两忘的地步,但这个忘却身心的过程其目的是为了实现一件好作品。也就是说,获得一件好作品这个目的成为他们绘画行动的最初愿望和最终结果。而苏家喜画画的目的和结果并不注重于获得一件作品,而是朝着通过绘画过程来获得心灵体验这一特殊的方向前进的。

刚开始时,绘画是一种接近人类本能的事物,后来变成了艺术,后来又变成了一项复杂的专业技艺,我们今天接触的绘画,是一种专业的技艺,相距本能与艺术已经相当的遥远。在激进的艺术家眼里,技术成了思想保守缺乏想象力和创新勇气的象征,这时绘画就变得相当的无趣。而事实上,云南大多数画家都不太思考这些问题,他们凭着本能的惯性和冲动在挥洒着他们所能够掌握的绘画技艺。绘画是什么,或者艺术是什么这些成了被忽略的问题。

出于对绘画的特别理解,致使苏家喜创作出一些不一般的图像,他的作品穿过个人情绪,绘画语言,图式哲学等等。他做出的这些图像对于不了解的人来说,可能会过于一般和平淡。对于习惯从绘画中获得视觉享受的人来说,他的作品甚至会索然无味。而如果我们改变对绘画的惯性理解,或者放下通过绘画去获得视觉预期的话,我们就会在苏家喜平淡的作品中看到奇妙无穷,看到无限。

通常对绘画的思考使绘画无法超越绘画,这是非常遗憾的事。熟读《金刚经》的苏家喜把这种现象称为着“有”。对绘画的思考导致最终离开绘画,或者对艺术的思考导致艺术离开艺术,这被称为着“空”。无论着“有”还是着“空”都是需要非常警惕的。“空”“有”两边都不“着”,“中”亦不“住”,才是究竟之道。所以尽管苏家喜画画的目的和结果是朝着通过绘画过程来获得心灵体验这一特殊的方向前进的,也并不代表苏家喜就是一个行为艺术家,或者观念主义者。因为这两者都背离了绘画,都着了“空”。而如何在绘画中却又超越绘画本身,既做艺术又不被艺术形式所束缚,实现心灵和形式的完全自由,这才是苏家喜所追求的终极目标。

不善言辞的苏家喜实际是一个喜欢思考的人,对于绘画的理解或者对于艺术的思考,除了从他的作品中可以看到,他的日记也给我们提供了了解他作品和思想的重要线索。看他的日记,让我有一种说什么都显得多余的感觉。所以,我建议大家在看苏家喜作品时,别忘记看他的日记。

薛滔
2013年6月20日

Su Jiaxi 苏家喜 《不规则的风景》,纸本丙烯,2012 高18cm,      Su Jiaxi 苏家喜 《椭圆的风景》,纸本丙烯,21x17cm,2013      Su Jiaxi 苏家喜《方形的风景》,纸本丙烯,13.5x4.5cm,2012Su Jiaxi 苏家喜 直径17cm至10cm, 2012      Su Jiaxi苏家喜《椭圆的风景》纸本丙烯,26X37cm, 2011      Su Jiaxi 苏家喜小画-纸本丙烯 4x5cm至11x18cm, 2010-2012Su Jiaxi苏家喜《树》,纸本丙烯,70cmX50cm, 2012      Su Jiaxi 苏家喜《摇漾春如线》50cmX70cm-纸本丙烯-2012      Su Jiaxi 苏家喜《无题》202cmX314cm纸本丙烯2012Su Jiaxi 苏家喜《无题》05,纸本丙烯,100X70cm,2012      Su Jiaxi 苏家喜《无题》04, 纸本丙烯,70x52.5cm,2011      Su Jiaxi 苏家喜《水》51.5x150cm,纸本丙烯,2011
苏家喜日记节录 Diary from Su Jiaxi 

2010,12,30大风
当画入佳境时,你会感觉犹如识破天机,浑身通透。

2012,4,24雨
纯粹是一种难度极大的减法,单纯到近于“零”点,抛弃一切多余的部分,而“形象”只是一个进入的通道,没有“物象”的所指,而是成为形而上的存在。

2012,5,24晴
人们习惯用既有的知识结构,概念,理论逻辑去解读作品,所谓的艺术家也善于找“说法”来解释作品。太在意了,就掉陷阱里了。
作品的动人之处,某些力量和味道,来自感觉与才情,与空洞的概念无关。

2012,6,8晴
“是”与“非”之间的临界点,不是控制之内的理性逻辑推演,也非全部的混沌与未知,而是有方向的向某个极点的无限接近。

2012,6,16晴
艺术就是“一口气”,达到某个临界点时,就有了一个进入感,进出自由,这样的作品气就通了。

2012,6,18多云
绘画的纯粹性,不靠“题材”,“对象”,和“图像”暗示,她本身就是一个独立的语言方式,画什么都无所谓。她很宽泛,超越狭窄的“趣味”。

2012,7
形式的出现是依附在“内核”上的,“内核”来自生存体验的所得,这是活的自成系统的整体。
知识性的概念能通过学习得以了解,如果形式只是在解释概念的话,那无疑只能是空洞的,触碰不到那些心领神会的“切肤”之感。
材料本身从视觉,手感,甚至嗅觉上都有一种气息,对这种气息的把握让你和它之间更能相互照应,而不是相背而行。由此产生一种别的人和方式替代不了的整体性,这是由物的性格和人的气息揉在一起的,它甚至有一种呼吸感。

克制,是冷静下来的热情,是一种向内强勇的观心的修炼方式。

“临界点”是个很微妙的状态,既不混沌,也不明晰,但又无比真实,它类似一把万能钥匙,无所不开。

以审美体验为诉求的创作就如只在意好玩,过瘾等因人而异的口味。在这样的诉求里,包括终极,信仰也成为了趣味把玩的对象,呈现的只有空洞的形式和飘渺的说辞。

绘画不再是“批判,抒情,弘扬,叙事,表达,审美”等主观判断的预期图像效果的手段时,它就成为“无为”的体验过程,同时从狭隘的主题中脱身出来,对象具有的定义性认知就被消解,知识性解读即会失效。不再是通过描绘特指对象传递某种情感活动,而是在形象的画的过程中体会抽象的“道”本身。这是个观心的过程。一切言辞与教义都替代不了体验本身。

我希望作品能穿透理论和说辞,直接抵到“内容”,有一种实在感,这种实在感并非视觉感官或物理性的,而是一种心理上的超验存在的具体体验。也就是“终极实在”的内容化,它不再是空洞的名词或符号式的审美趣味。

 

[lang_zh]落纸云烟 – 孙瑾个展[/lang_zh][lang_en]Paper Memory by Sun Jin[/lang_en]

poster海报

[lang_zh]策展人:薛滔

开幕酒会:2013.05.25, 16 – 21:00
展期:2013.05.25 – 06.15

营业时间:周二-周日13-21:00
中国昆明金鼎山北路24号,金鼎1919艺术园,A区,苔画廊

+86 871 65385159
www.943studio.cn  
contemporaryyunnan@gmail.com
@weibo.com/943gallery

落纸云烟-孙瑾个展
2013年苔画廊将不断推出云南青年艺术家“个展计划”,85后孙瑾个展是该计划的第三个展览,呈现艺术家随心所欲的一些日常纸本作品和手稿。
艺术家的创作通常会在一种很正式的状态下完成,特别是在画布上创作的时候这种“正式感”更加明显,创作者容易进入比较严谨和正式的状态,对画面进行更多计划和控制。而面对随处可抓拿到的纸张和速写本上随时随地纪录只言片语的情绪时则天马行空,无比松弛。这种松弛感会让创作者进入到比较自由、自然的表达之中,而呈现出一些非常鲜活和灵动的事物。
孙瑾喜欢漫画,漫画思维一直影响着她,并且成为无法舍弃的一部分。同时它也使孙瑾的思维潜移默化受到日本式的禁锢,有一部分成为习惯,有一部分被职业的艺术创作吸收 。漫画思维成为她观察事物的一种方式,她喜欢这种方式,并因此获得一种捕捉和描绘生动形象的方法,同时还由此具备了对事物特有的敏锐的感知能力。大家可以从这些作品中进行各自不同的想象和体验。
这些随意灵动的手稿,将折射出她心中隐密的不易被人觉察的思维片段,这是一次能够触摸到真实心灵的纸上旅途。
 
薛滔
2013年5月[/lang_zh]
 

[lang_en]Curator: Xue Tao
2013.05.25 – 06.15
Reception:2013.05.25, 16 – 21:00
Open Hours:周二-周日Tue-Sun 13-21:00

ContemporaryYunnan, A zone, Jin Ding 1919•Loft, North JinDingShan Lu No.24, Kunming, China
+86 871 65385159
www.943studio.cn  
contemporaryyunnan@gmail.com
@weibo.com/943gallery

Paper Memory – Sun Jin solo exhibition
By Xue Tao

Contemporary Yunnan has been promoting a Solo Exhibition Program for local Young artists within 2013. Sun Jing’s solo exhibition, as the third one involved in this program, presents some daily routines works and sketches she created casually.

Usually, an artist works and accomplishes the art work creation in a formal state, especially when they use canvas for their painting, this “formal” sense becomes more evident and the artist can easily enter into a state of preciseness and control and  arrange the painting appropriately. On the contrary, with a piece of paper, which can be grabbed anywhere, or a sketch book use for recording their instant ideas and inspiration, in hand, they can relax them into an unconstrained woolgathering state. This relaxation may inspire the artist with some free and natural thoughts, and then result in appearing vivid and lively objects on the paper.

Sun Jin likes cartoon. The cartoon thinking has been affecting her all the time, and has already become an inseparable part of her. In the same time, Sun Jin’s thinking has been invisibly and formatively influenced by this Japanese style cartoon. And this influence resulted partially in some habits, and partially in reflection through her professional art creation. Cartoon thinking has been a style she views the world. She enjoys this style and even developed a special approach to catch and depict a vivid image, and also thereout be equipped with a unique sensitivity and perception. Different individual imagination can be experienced on her works in this exhibition.

These arbitrary but mysterious manuscripts in exhibition are reflecting her secret and imperceptible thinking segments. It is a journey on the paper, through which one’s real spirit can be touched.

May, 2013[/lang_en]

[lang_zh]作品[/lang_zh][lang_en]works[/lang_en]

孙瑾 SUN JIN 褪 Shed 纸本水墨Ink on Paper 29.5x44cm  2013      孙瑾 SUN JIN 瞥 A Quick Glance 纸本水墨Ink on Paper 29.5x44cm 2013      孙瑾 SUN JIN 木 Tree 纸本水墨Ink on Paper 29.5x44cm 2013孙瑾 SUN JIN 泥 Mud 纸本水墨Ink on Paper 29.5x44cm 2013      孙瑾-SUN-JIN-蚓-Earthworm-纸本水墨Ink-on-Paper-29.5x44cm-2013      孙瑾 SUN JIN 眼 Eye 纸本水墨Ink on Paper 29.5x44cm 2013孙瑾 SUN JIN 蝇Fly 纸本水墨Ink on Paper 17x23cm 2012      孙瑾 SUN JIN 墨 Pitch-dark 纸本水墨 Ink on Paper 29.5x44cm 2013      孙瑾 SUN JIN 虫 Insect 纸本水墨Ink on Paper 29.5x44cm 2013

 

[lang_zh]即兴舞蹈工作坊-Vangelis Legakis (希腊)[/lang_zh][lang_en]Improvisation Dance Workshop by Vangelis Legakis[/lang_en]

poster

[lang_zh][苔画廊国际艺术家驻地项目]

即兴舞蹈工作坊
授课艺术家:Vangelis Legakis (希腊)
时间:2013年5月10,17,24,31日 19 -21:30
费用:¥420 单次¥120
*年龄与学员人数限制:无任何年龄、资历背景限制,每堂人数20人,额满为止
工作坊以英語進行,輔以中文翻譯

地址:昆明金鼎山北路24号,金鼎艺术园A区苔画廊(昆明市氧气厂上行300米)
报名电话:65385159 contemporaryyunnan@gmail.com
www.943studio.cn

Vangelis Legakis 是位希臘舞蹈家,英國 The Van-L 舞蹈團的藝術總監。他曾在歐洲、拉丁美洲、亞洲(包括中國和印度等)表演、編舞及教學。他目前應邀在昆明苔画廊驻地创作,这次即兴舞蹈工作坊Vangelis将教授基于东西方哲学的能量梳理、舞蹈构成的一些重要原则,融合佛赛即興及武術動作,包括日本的Budo、Kundalini 瑜珈、Forsythe即興技巧,不單是一種新鮮技巧的訓練,同時也是探索结合情感、感觉和冥想的身体运作。他将和无任何舞蹈资历背景的朋友们一起来增强身体的意识、能量的流动、感觉和感受,身体的意图、意识、知觉,让你无忧无虑地在人群中舞蹈![/lang_zh]

[lang_en]Improvisation Dance Workshop by Vangelis Legakis
Date: May 10, 17, 24, 31, 19-21:30pm
Fee: ¥420 (¥120 per time)
Workshop is conducted in English with Chinese translation
Booking: 65385159 contemporaryyunnan@gmail.com
www.943studio.cn
Venue:ContemporaryYunnan Gallery, A zone, Jin Ding 1919•Loft, North JinDingShan Lu No.24, Kunming(650031),Yunnan, China

Vangelis will teach principles of dance and energy work focusing on the six senses, the feeling of the present, dance and choreography so as to fuse spirituality with performance and dance. The participants will have the chance to explore creative movement to find individual voices, communicate and express their inner emotions. The workshop is open to all disregarding their professional background and/or art discipline.

The sessions will be focused on energy work through Kundalini Yoga, meditation and Reiki to enhance energy levels and awareness. Special focus will be given to the heart energy center to dance out of love and compassion. Vangelis will incorporate improvisation and dance coordination methodologies that are accessible to all, and analyse the structure of emotions and feelings to reach a deep meditative dance practice.

The workshop aims to enhance performance, creativity, expression through dance, awareness, spirituality and develop perception and consciousness in performance and everyday life.

Vangelis, Greek – UK based, is a performer, choreographer and therapist. He has been teaching for many years in Latin America, Europe and Asia integrating dance with spirituality. He has originated novel ways to enhance performance and presence based on eastern and western philosophies – and on studies of emotions, feelings and human behaviour. www.thevanldancecompany.com[/lang_en]

[lang_zh]之前工作坊[/lang_zh]
[lang_en]Previous Workshop[/lang_en]

Vangelis Legakis previous      Vangelis Legakis previous workshop之前工作坊 (16)      Vangelis Legakis previous workshop之前工作坊 (15)Vangelis Legakis previous workshop之前工作坊 (13)      Vangelis Legakis previous workshop之前工作坊 (8)      Vangelis Legakis previous workshop之前工作坊 (7)Vangelis Legakis previous workshop之前工作坊 (6)      Vangelis Legakis previous workshop之前工作坊 (5)      Vangelis Legakis previous workshop之前工作坊 (3)Vangelis Legakis previous workshop之前工作坊 (1)

 

[lang_zh]石来运转 张华个人雕塑展[/lang_zh][lang_en] Stone Fortune – Zhang Hua Solo Exhibition[/lang_en]

 

 

[lang_zh]石来运转 张华个人雕塑展

策展人:薛滔

开幕酒会:2013年4月12日 周五 16-21点 展期:2013年4月12 日- 5月12日

地址:中国昆明金鼎山北路24号,金鼎1919艺术园,A区,苔画廊(邮编:650031)

电话:+86 871 65385159

www.943studio.cn

contemporaryyunnan@gmail.com

@weibo.com/943gallery

 

石来运转

薛滔

苔画廊近期推出张华的雕塑个展,将展示给大家生活在都市中的自然主义立场的艺术家对于雕塑创作所持的态度,一种接近艺术起源时的本能反应。

雕塑历史一般认为是从石器时代开始的。打磨石器被认为是人类主动认知体积的一种行为,而在动物牙齿上打洞则被认为人类对于空间的初次体验。随着人类文明逐渐形成和发展,科技能力的逐渐提高,雕塑材料从石头、木头变成了陶、金属、瓷等,一直到今天的塑料(树脂)和各种高科技媒材。这是通常认为的雕塑材料的发展进程。

张华的创作是一条逆向发展的雕塑史道路。他从艺术学院毕业,刚开始职业艺术家时所进行的大量创作是围绕着树脂与石膏展开的,大家在百度上了解到的张华基本上都与树脂有关。在进行了大量树脂作品创作后,张华对材料开始感到不满,于是进行了其它材料的尝试。大概有两年左右的时间,他在烧制土陶作品,但这并没有让他完全满意。据说,在他家附近,经常能捡到一些被人丢弃的石材,一些建筑用的边角料。这些被人用剩的遗弃在垃圾堆中的石头被张华带回家中,经过艺术家的手工打制后,便成为今天大家在画廊中看到的样子。

从树脂到陶再到石头,以及竹子和树枝,张华的雕塑创作道路,刚好与我们在课本上所看到的雕塑史进化道路相反,这是艺术家最有意思的地方。这条对于雕塑史逆向行进的道路呈现出艺术家对于人与自然之间应该保持的关系与态度。人类的城市发展是朝着背离自然的方向行进的,科技的发展特别是太空技术则指向让人类离开地球。这真的是一条能带给人类安全与幸福的道路吗?从张华的创作中让我产生出这样的联想。

张华近期的作品喜欢用手工的方式完场,他不使用打磨机等一些能够带来方便的机械,这强调出他对人类原动力的支持。同时他也告诉我们,只有通过手工的方式才能更直接的与材料进行交流,这也是能够深入了解材料,深入了解自然的方式。而且这也才能够真正体现对于自然的尊重和真诚。否则,会造成巨大浪费直至破坏。

对于材料和创作方式的了解,是在当代语境中了解一个艺术家比较有效的途径。很大程度上,从材料的使用就可以有效的了解到艺术家的价值取向和判断,材料的决定往往就已经表达出艺术家的创作态度。

2013年3月28日[/lang_zh]

 

[lang_en]Stone Fortune – Zhang Hua Solo Exhibition

Curator: Xue Tao

Reception: 2013.04.12, 16 – 21:00

Duration: 2013.04.12 – 05.12

Add:  A zone, Jin Ding 1919•Loft, North JinDingShan Lu No.24, Kunming(650031),Yunnan, China

Tel:+86 871 65385159

www.943studio.cn

contemporaryyunnan@gmail.com

@weibo.com/943gallery

 

Preface by Xue Tao

Zhanghua’s solo sculpture exhibition which will be presented soon in Contemporary Yunnan Gallery is going to interpreter an attitude of a metropolitan-based naturalism artist towards sculpture works creation, and an instinct response when approaching the genesis of art.

The history of sculpture usually is known initiated from the Stone Age. Stoneware honing is deem to be a positive recognition behavior for human being to learn the concept of volume, while hole-drilling on animals’ tooth was the first experience for human being to explore dimensional position. With the growing up and development of human’s civilization and science and technology, materials for sculpture also expanded from stone and wood to pottery, metal and porcelain, even to today’s plastic/resin and such high-tech materials. This is a widely acknowledged development process of sculpture material.

Zhanghua’s art creation, though, is a converse process to sculpture development process. Most of his early sculpture works were based upon the use of resin and gypsum in the beginning period of being a professional artist when he graduated from the art institute. All information about Zhanghua we can find from Baidu on the Internet is about resin works. After a plenty of resin sculpture work creation, he became unsatisfied with this material and started to attempt with the other materials. He even spent two years on ceramics but didn’t result in a big satisfaction. Ha said he could often gather some discarded stone materials and constructive materials near his house. These discarded stone materials collected from the waste heap were brought back home and then manually engraved by Zhanghua, and eventually became these amazing works exhibiting in this gallery now.

Zhanghua’s sculpture creation development, which transformed from resin to pottery, then to stone, and even to bamboo and tree branches, is just a reverse path of conventional sculpture history which we learned in academies. This is the most interesting factor of him. This reverse path presents the artist’s attitude to the relationship between human and environment. The direction of development of our city and urbanization is departing from the nature; science and technology, especially space technology are leading human being to depart from the earth. Is it really a right way that leads human being to safety and welfare? I myself was inspired to this kind of imagination by Zhanghua’s art works.

Zhanghua now likes working on his sculptures by hand. He doesn’t like any machinery which can bring convenience such as grinding machine. It reveals his preference and support to human’s prime power. At the same time, he attempts to prove the fact that the manual handling is the only way for artist to directly communicate with material and to learn more about material and the nature, and to show our respect and sincerity to the nature. Otherwise, we will gain nothing but a huge waste, even dreadful ruin.

One of the effective ways of learning about an artist in today’s context is to learn about the materials used in their art works and their manners of art creation. To a great extend, from the materials they are using, we can learn this artist’s value orientation and value judgment. The choice of material usually tells the attitude of this artist.

Ma.28th, 2013 [/lang_en]

[lang_zh]作品[/lang_zh][lang_en]Works[/lang_en]

Zhang Hua张华石来1 汉白玉White marble 18x12x12cm 2013      Zhang Hua张华 石来38 黄砂石Sandstone 20x10x14cm 2012      Zhang Hua张华 石来30 大理石Marble 26x9x11cm 2012Zhang Hua张华 石来34 鹅卵石 20x16x15cm 2011      Zhang Hua张华 石来21 海棠白Quartzite 17x20x22cm 2011      Zhang Hua张华 石来28 红砂石Sandstone 12x12x8cm  2012Zhang Hua张华 石来19 黄砂石Sandstone 12x12x19cm 2012      Zhang Hua张华 石来17 大理石Marble 23x12x9cm 2012      Zhang Hua张华 石来18  鹅卵石 27x14x12cm 2011Zhang Hua张华 石来11石林青石 Limestone 15x11x21cm 2012      Zhang Hua张华 石来7 红砂Sandstone 26x18x8cm 2013      Zhang Hua张华 石来12石林青石Limestone 8x8x32cm  2012Zhang Hua张华 石来4 海棠白Quartzite 18x12x12cm 2011      Zhang Hua张华 石来3 黄砂石Sandstone 28x16x18cm 2012      Zhang Hua张华 石来2 海棠白Quartzite 15x12x12cm 2012《总有一面是平的》10x12x8cmx无数颗20130408JPG      布展中      现场

 

 

[lang_zh]24小时漫画挑战[/lang_zh] [lang_en]24-Hour Comic [/lang_en]

comic_challenge-poster

[lang_zh]时间:2013年3月16日12:00-3月17日12:00

地址:昆明金鼎山北路24号,金鼎1919,A区,石榴

电话:0871-65385159

24小时漫画挑战是美国漫画家斯科特•麦克劳德Scott McCloud)发起的,请浏览www.scottmccloud.com 了解这个挑战的辉煌历史!

规则来自斯科特(活动须知):

•参与者必须在24小时内完成24页的漫画书;

•动笔即开始计时,24小时时间到必须停止,不能再做修改。故事内容、对白、上色、校稿等工作必须在24小时规定时间内完成。(电脑动漫现场创作规则也一样);

•挑战开始之前不能提前起画稿、设计、构思故事情节等准备。但准备食物,音乐和画材等除外;

•计时是一直持续的,其间你也可以小睡一会儿。24小时结束后,不管你的作品最后已完成还是未完成,都是24小时持续漫画创作的精神所在。所以希望每位作者最好在一开始就本着真诚的态度开始创作;

•电脑漫画创作:上述规定适用于印刷漫画。在线漫画注意:最后作品完成也必须在24小时内完成。

 

此次昆明“24小时漫画挑战”由美国漫画家Kaytea Petro 和高毓林发起,希望和当地漫画爱好者们一起创作交流。更多关于她的信息这儿[/lang_zh]

 

 

[lang_en]Time: 12pm, March 16 – 12pm, March 17

Address: Livstone Houese, A zone, Jin Ding 1919•Loft, North JinDingShan Road No.24, Kunming(650031)Yunnan, China

Tel:0871-65385159

 

The original 24-Hour Comic was created by Scott McCloud. Visit www.scottmccloud.com for a wonderful history of the 24-Hour Comic, 24-Hour Comics Day and much more! From Scott McCloud:

THE DARE:   To create a complete 24 page comic book in 24 continuous hours.   That means everything: Story, finished art, lettering, color (if applicable), paste-up, everything. Once pen hits paper, the clock starts ticking. 24 hours later, the pen lifts off the paper, never to descend again. Even proofreading has to occur in the 24 hour period. (Computer-generated comics are fine of course, same principles apply).

No sketches, designs, plot summaries or any other kind of direct preparation can precede the 24 hour period. Indirect preparation such as assembling tools, reference materials, food, music etc. is fine.

Your pages can be any size, any material. Carve them in stone, print them with rubber stamps, draw them on your kitchen walls with a magic marker. Whatever you makes you happy.   The 24 hours are continuous. You can take a nap, but the clock keeps ticking. If you get to 24 hours and you’re not done, either end it there (“the Gaiman Variation”) or keep going until you’re done (“the Eastman Variation”). I consider both of these “Noble Failure” Variants and true 24 hour comics in spirit; but you must sincerely intend to do the 24 pages in 24 hours at the outset.   THE ONLINE VARIATION: The above applies to printed comics or online comics with “pages” but if you’d like to try a 24-hour Online Comic that doesn’t break down into pages (like the expanded canvas approach I use in most of my own webcomics) then try this: At least 100 panels AND it has to be done, formatted and ONLINE within the 24-hour period![/lang_en]

 

[lang_zh]隐语-杨剑波个展[/lang_zh][lang_en]Brushing Words by Yang Jianbo[/lang_en]

poster-海报

[lang_zh]开幕酒会:2013年3月1日 周五 20:00

展期:2013年3月1—31日

策展人:薛滔

学术主持:和丽斌

地址:中国昆明金鼎山北路24号,金鼎1919艺术园,A区,苔画廊

特别感谢:李建波,张雪梅,王浩,罗元园,胡美林

+86 871 65385159
www.943studio.cn
@weibo.com/943gallery[/lang_ch]

[lang_en]

Curator: Xue Tao

Academic Host: He Libin

Reception:2013.03.01, 20:00

Duration:2013.03.01—31

Venue: Contemporary Yunnan, A zone, North Jindingshan Lu No.24, Kunming, China

+86 871 65385159   www.943studio.cn

@weibo.com/943gallery[/lang_en]

 

[lang_zh]部分展出作品和手稿[/lang_ch][lang_en]Works  and Draft from the exhibition[/lang_en]

Yang Jianbo《隐去的2011-7》-纸面、碳笔、树脂-直径70cm-2011年      Yang Jianbo《隐去的2011-11》-纸面、碳笔、树脂-直径70cm-2011年      Yang Jianbo《隐去的2011-12》-纸面、碳笔、树脂-直径70cm-2011年Yang Jianbo《隐去的2011-16》-纸面、碳笔、树脂-直径70cm-2011年      Yang Jianbo《隐去的2011-17》-纸面、碳笔、树脂-直径70cm-2011年      Yang Jianbo《隐去的2011-18》-纸面、碳笔、树脂-直径70cm-2011年Yang Jianbo 手稿19-1      Yang Jianbo 手稿20-1      Yang Jianbo手稿21-1

 

 

[lang_zh]转制之痛

薛滔

“体制”在中国这几十年来是一个特别的词语,在一段特别的历史时期有人因此锦衣玉食,有人因此家破人亡。特别的历史时期酿造出“体制”在中国无以伦比的强大威慑力和影响力,从民国末年到现在,“体制”影响着几代中国人的灵魂并控制着中国人在现实生活中的成长。这段历史形成的原因及其复杂,其根源可追溯到五四运动、辛亥革命、洋务运动、太平天国,或者天地会、满清入关等等。数百年的新仇旧恨最终凝结成如今的“体制之痛”,这是众业所感而成。

艺术上的“体制”指的是美协、画院、艺术院校等拿国家工资的文化事业单位。在相当一段时期内,艺术体制同样具备强大威慑力和影响力,它同样影响着几代中国人的灵魂并控制其成长,它不但能让艺术家获得精神上的支撑同时还能获得幸福生活的物质保障,并引领着社会前进的方向,这是无比光明和荣耀的事业。

体制的这种现象,从“改革开放”以后发生变化,中国社会各行各业在那个著名的“春天的故事”以后发生巨变。艺术上则是从“85”到“圆明园”再到“798”经历了三次革命性的变革。85带来现代主义启蒙,圆明园开启了艺术家真正独立的创作和自由生活的方式,随着798的诞生,中国则进入了狂飙突进的艺术市场化时代。艺术市场的到来让艺术家不但能独立的创作生活,还能靠艺术发家致富名利双收。在经历了这三次艺术变革之后,中国的艺术体制已失去往日的辉煌,伴随着中央文化事业机构改革的各种文件,“体制”不再能带给艺术家安全和荣耀,更不能让艺术家获得生命的价值和意义。这时很多体制内艺术家开始进行反思,开始寻找新的方向。什么才是艺术的使命?什么样的艺术才能带来内心的真正满足?如何做艺术才能真正体现出生命存在的意义?当然,提出这样的问题,进行这样的思考需要具备独立思维的能力。

对艺术和生活的反思,让众多的艺术家开始做出新的选择,并在创作中出现新的变化,这种现象在进入21世纪以后尤其明显。从首都到地方,从八大美院到各地艺术学院都已经形成不争的事实。此时,在云南,从杨剑波的画面上,同样让我看到了这种现象,看到了这种对体制的反思。

无论什么人,身处何处,何种行业,如果缺乏反思的能力,那么将失去进步的力量,我是这样认为的。所以,我认为能进行反思的艺术家是幸运的,这意味着他将获得进步的力量。而墨守成规,依然在体制惯性内昏沉度日,则是一件非常危险的事情。纵观历史不难发现,从来没有一劳永逸之事,规则一直在变。不断反思,不断学习,才比较有可能实现一段饱满和精彩的人生。

从杨剑波的作品中,我们可以看到他在绘画上所作出的努力,犹如史诗般的《隐去的2011——33》表现出他优秀的绘画能力与气势。同时也能看到在中国,在体制之下变革之中艺术家个体对待艺术的普遍状态,面对不断变化的社会规则所产生的焦灼和无所适从。对于他的反思和改变,我认为非常明智。这样说并非怂恿剑波去摆脱体制,恰恰相反,我认为剑波的反思结果既可以是对过去艺术方式的放弃也可以是继续坚持。无论方向如何,反思后的决定终是可以信赖的。而通常情况下,中国的艺术界常常把体制的对立面称为江湖,江湖中的艺术往往立足于对体制的批判和反思,批判和反思的结果便是否定体制肯定江湖。如果反思和批判的结果是只出现一种声音的话,那么这样的反思是非常遗憾和无效的。只有多种声音并存,才能更加彰显出彼此的精彩,也才能实现更加文明和进步的生态。只是无论各自坚持什么,必然要经过反思找出其坚持的理由和依据,而不是随波逐流的惯性使然才好。

对于坚持多年的创作方式的反思和改变,必然不是一件轻易的事情。超越惯性,突破成规是非常痛苦的经历,这需要强大的勇气与智慧。杨剑波在近年来的创作中一直试图超越自身十多年来形成的思维模式,力图发现一些新的能够更加激发起创作动力的方式。不论材料试验还是画面图像的更新,都在努力寻找新的创作状态,通过状态的调整来重新认识艺术认识创作,从而获得一种更好的与艺术相处的能力。尽管他还在调整的过程之中,但对于一个已过不惑之年的人来说,做出改变的决定已经是非常不容易了。

剑波是中国众多出生于文革后期艺术家中的一个缩影,尽管从他过去的经历上看,他简直就是让人嫉妒的时代宠儿,但从中仍然难免这一代人在社会剧烈变革中所经历的阵痛和隐忧,这是整整一代人都必须面对的结果,而这种隐忧也许才刚刚开始,也许由来已久……

2013.1.31

旷野里的挽歌 ——杨剑波的绘画

和丽斌

旷野、枯树、断崖、残缺的躯干、飘零的落叶、倾斜的路标、静默的面孔……这些梦一般的场景反复在杨剑波的绘画《隐语》(系列)中出现,似乎在诉说相同的故事,却又欲说还休,隐没在背景茫茫戈壁中。

或许画面中不断出现的法文短句是解开画面谜题的钥匙之一,这些短句来自不同的文学家和诗人,内容涉及自然、社会、情感等各个方面,它们组成了《隐语》中不可或缺的内容,并赋予作品文学和叙事的广联。在艺术史上,文学和绘画的关系渊源已久,欧洲文艺复兴时期的许多写实绘画的巅峰之作,无一不是绘画与文学故事、宗教故事融合的结果,并造就了米开朗琪罗、伦勃朗、包西、格列柯、戈雅、普桑、大卫等艺术大师,近现代的巴比松画派、现实主义、浪漫主义、象征主义、超现实主义、表现主义等艺术流派的代表画家米勒、库尔贝、德拉克罗瓦、高更、蒙克、莫罗、契里柯、梵高等,他们的创作更是受到现代文学、诗歌的影响和启发。在中国的水墨绘画中,诗画结合的传统从古至今从未改变过,文以载道,文人画家们借用绘画和诗歌的结合来抒发自己的人生理想与政治抱负。与上述现象不同,剑波是生活在当代中国的艺术家,他的作品中文学与绘画的结合既不像西方绘画那样直观,也不像以往的中国文人画家那样文以载道,而是更接近个人内心世界的呢喃低语,这既与他隐忍含蓄的性格有关,也与他创作《隐语》这个系列的初衷有关,如他自己所言,个人的隐秘经历,更适合隐秘的方式表达,这也构成了剑波作品的一大特点,不断出现的诗句既是画面的题眼,又与画面保持着距离,文字与画面互为广联又彼此独立,画面中古树、枯藤、断壁、残垣、旷野、戈壁的意象如同不同时间的记忆的碎片,被突兀地镶嵌在同一个时空里,组合成哀婉动人、欲说还休的挽歌。

不惑之年的剑波,并未随着年龄的增长而不惑,相反,他的迷惑更多了,这并非个案,而是这一代人的普遍境遇。作为时代的亲历者,艺术家最大程度地感知着时代的变革与阵痛带来的种种结果,并通过艺术作品真实地反映出来。同为70年代生人,我和剑波都经历和见证了中国社会的许多重大变化,文革、改革开放、85思潮、学潮、民运、市场经济、城市化、乡村的消失、城市人口剧增、生态污染……目睹了传统价值观在今天的分崩离析,新的价值观的错乱与信仰的缺位,众声喧哗,纷乱无序。生活在其中,没有人能逃离影响,艺术家则比普通人更为敏感,一如剑波的绘画,他的哀伤无法诉说,只能以绘画的方式表达,他的绘画也并非要故弄玄虚设置谜题,而实在是不能说、不可说,就如同画中反复出现的枯树,交错的枝桠,延伸向不同的方向,似乎暗示着各种不同的路径与可能,却又未有明晰的答案。而旷野中星星点点的绿洲,明丽动人却又如梦似幻,它是过去时代的远景,终究要离我们而去。

在此以剑波作品中引用的法国作家古斯塔夫•福楼拜的诗《寂静》作为本文的结尾,以此告别曾经的诗意的时代:

天空如洗

万里无云

海面

田野

万籁俱寂

一片悲凉!

没有了

小鸟的歌唱

乌鸦的啼鸣

铁犁耕地的声响……

2013.2.16

 

杨剑波  

1972 生于云南昆明

毕业于西南师范大学美术系油画专业,现任教于云南大学艺术与设计学院

 

展览 (部分)

2013  “与此同时”,云南省博物馆,昆明

2012  “携手2011”,云南油画学会第二届作品展,伍集成会堂,昆明

           第三届昆明油画风景双年展,昆明

2011   云南水彩画名家作品展,宁波

2010  “合订本-2009”,昆明

2009  “情感圭山”油画作品展,昆明

            “毛旭辉、唐志冈提名云南青年艺术家作品展”,昆明

2008  “再度圭山”庆祝联合国成立63周年油画作品展,北京

2006   中国美协第十八届新人新作展,无锡

2005   首届昆明油画风景双年展,昆明

2004   第十届全国美展,广州

2003   第三届中国油画展,北京

            重庆市首届油画展,重庆

1998   首届云南风景油画展,昆明

1997   九七云南油画作品展,昆明

[/lang_zh]

 

 

[lang_en]The anguish of system transformation

By Xue Tao

“System” has been a very special term during the past decades in China. Within such a special period, someone preferentially benefited from this system and achieved a wealthy and decent life, while the others had their family and life ruined because of the “system”. The special historical period gave “system” an overriding power and influence in China. From the Republic of China up to now, the “system” has been impacting the soul of Chinese people and controlling their growth experience generation by generation. The cause of forming this historical period is quite complicated. We can trace back its root reason to the May 4th Movement, the 1911 Revolution, the Westernization Movement in later Qing Dynasty, the Taiping Rebellion, or even Tiandihui Rebellion and Manchu troop invading into Shanhaiguan pass. Old and new factors from several centuries finally developed and strengthened this system, and people from different industries have been suffering from it.

In China, the “system” in art territory implies to these government-supported cultural institutions such as Artists Association, Painting Academy and art academies for which people work can get salary from the government. During a considerable long period, this art system also had a mighty power and influence. It played a very important role in Chinese art development. It provided not only spiritual sport but also a well-off and decent material life, and even guided the direction of social development. It was really a bright and honorable undertaking in China.

However, the magnificence of system started to be changed since the implementation of China’s “reforming and opening” policy. All professions and trades in Chinese society underwent tremendous change after that notable “Spring Story” took place in 1993. The Chinese art territory experienced three revolutionary change, they are: the 85 Trend of Thought, Yuanmingyuan Artist Camps, and “Beijing 798 Artist Center”. The 85 Trends of Thought was an enlightenment of modernism for Chinese art, Yuanmingyuan Artist Camps enabled the Chinese artist an independent art creation and a lifestyle at liberty; the establishment of Beijing 798 Art Center initiated and accelerated the marketization of Chinese Art works. The art market provided the possibility that the artists can not only live and work on their art creation independently but also become well-known and prosperous through their art work. After these three transformations, the Chinese art system has no longer been glorious as before. With the institutional reform in the cultural departments from the central government down to grass-root level, this sort of “system” could no longer bring artists any security and glory, let alone any other value or achievement. It made some “in the system” artists start to rethink their position and mission, and then to seek a new direction for themselves. They thought about the questions like: what is the mission of art and artist? What kind of art can bring an inner satisfaction? How to engage in the art creation to demonstrate the significance of human being’s existence? But to be able to reflect with these questions, one needs to be equipped with ability of independent thinking.

A number of artists made their new choices after rethinking about the art and the life, and reflected new thinking in their art creation. This phenomenon became so obvious particularly when it came into the 21st century. It’s already been an unquestioned fact within both the up-top national art academies and low level art schools. Here in Yunnan, Yang Jianbo’s painting illustrates the fact of reflection on the “system” once again.

Anyone who lacks of ability of reflection will not be able to move forward no matter who, where or what profession. This has been my understanding all the time. I believe those artists who can reflect are lucky, for they can be motivated with a self-driven progressive force. On the contrary, it is very dangerous to be conservative and just spend the day in a muddle. We can easily find in history that there is no solution that hold good for all time. Rules keep changing all the time. Only through continuous reflection and constant learning, can one have a full and wonderful life.

Yang Jianbo’s art works show us his effort put on the painting. The epic the Fading Year of 2011-33 demonstrates his excellent painting skill and great vigor. It also illustrates a universal situation of the individual artist and their art creation in the process of Chinese system transformation, and their anxiety and the confusion of having nothing to follow when they encounter never-ending changing rules. I personally appreciate his wisdom about his reflection and changing. It doesn’t mean that I instigate him to get rid of the system. Quite the opposite, I agree that the result of Jianbo’s reflection can be either a giving up or perseverance in his previous art style. No matter what the new direction is, the deliberated determination is reliable. Usually, in Chinese art territory, the opposite of the “system” is known as Jianghu. The art in Jianghu tends to criticize and examine the system. And the result of criticizing and examining is to decry the system and to support Jianghu. But if there is only one voice for this result of reflection and criticizing, it would be a pity and very ineffective. Only when different voices are all heard, can a better and more prosperous art kingdom be achieved. The point is, whatever we persevere in, we have to source out its reason after serious consideration, instead of just following with the stream.

Of course, it is not easy at all to reflect and even change an art style developed through many years. It might be a very difficult and painful experience to exceed old habit and break through convention. It requires big wisdom and courage. Yang Jianbo has been attempting to exceed his own thinking pattern finalized during past decade, and to explore some new methods that are more inspired for art creation motivation. Either in experimental materials or in refreshing the picture image, he keeps seeking the best condition for his art creation, keeps renewing his cognition about art and art creation through proactive adjustment his own state and achieve a sophisticated dealing with art. Although he is still in the process of self-adjustment, it is already a big step for a person in the age of 40s to make a decision of changing.

Jianbo is an example of those artists born in the later years of the Cultural Revolution. Throughout his growth experience, we can find he is an age-beloved of which the people will be envious; we can also discover some anguish and secret worry. It is the consequence that the entire generation has to undergo. This secret worries maybe just starts, maybe has been long-standing……

January 31, 2013

 The elegy in the wild field       

                              –For Yang Jianbo’s painting                                      

By He Libin

The wild field, dried trees, precipice, fragmentary torso, falling leaves, declining road sign, silent face… these dream-like scenes continuously appear in Yang Jianbo’s painting works—Brushing Words (series). It seems to tell the same story, but would not have it told. They somehow immerge in the background of the vast desert.

The French phrases in the frame of pictures play a key role of explaining the meaning of the picture. These French phrases come from different literatures and poets, involving the topic of the nature, society, and sentiment. They are indispensable for the painting series, and offering the literary and narrative connection to the painting works. Literature and painting have been incorporating with each other for such a long time throughout the art history. Almost all master pieces of realistic painting created in the renaissance Europe are the fruits of compromise between painting and literature narration, between painting and religious stories. This sort of incorporation also brought up so many maestros such as Michelangelo, Rembrandt van Rijn, Bosch Hieronymus, El Greco, Francisco Goya, Nicolas Poussin and David, and those great artists such as Francois Millet, Gustave Courbet, Eugène Delacroix, Paul Gauguin, Edvard Munch, Gustave Moreau, Chirico, Vincent Willem van Gogh from different modern and contemporary art schools who represent Barbizon School, realism, romanticism, symbolism, surrealism and expressionism. Their art creation were all influenced and inspired by modern literature and poetry. In the Chinese water-ink painting, the tradition of combination between painting and poetry has never been changed. It is commonly believed that literature is used to convey and express ideas and proposals. The Chinese scholars used to express their ideal and political ambitions via the combination of painting and poetry. Nevertheless, Jianbo is a contemporary artist who lives in modern China and his case is different from above phenomenon. The connection of literature and painting in his art works is neither as same direct as that of the western artists, nor like the ancient Chinese scholars did, but much more about personal interior monologue. It partially derived from his tolerant and veiled personality, and also related to the original intention of creating this series of Brushing Words. Like what he said, his own secret experience is more suitable for revealing through a covert method. This is a distinctive point of Jianbo’s works. These constantly appearing French phrases are the key points of the pictures, but keep a distance from the pictures. Word characters and the pictures are independent from one another, but relevant with one another. The old trees, dried vines, broken cliffs, the ruins, wild land, and desert in the pictures, symbolizing the fragments of different time and memories, are incongruously set up in one space to compose a pathetical and shyly spoken-out elegy.

Jianbo now is in his 40s. In Chinese culture, this is an age when one begins to understand the world. However, Jianbo seems to be not so clear about the world, on the contrary, he has many more confusions about the world. In fact, this is not special. It is a common state for one generation. As a witness of this dramatically changing age, artists have to be affected by the changing and transforming times and reflect different fruits and consequences of the times through their art works. Jianbo and I are a same group born in 1970s, we all experienced and saw major event and transformation took place in China, such as the Cultural Revolution, Reforming and Opening policy, the 85 Trend of Thought, Student Agitation, Democracy Movement, the Market Economy, urbanization, disappearing of the village, urban population explosion, ecological crisis… etc. We saw our traditional value was collapsed, and new value is being established but disordered, and the lack of common belief. This is a noisy, chaotic and disorganized world. Nobody can get away from it. Usually, the artists is more sensitive than ordinary people, Jianbo can be a representative of them. He has no way to pour out his grief but present through his painting. His paintings is not deliberately mystifying or intentionally setting up puzzle. It is because he can’t and is not allowed to say directly. Like those interlaced branches of the old trees appearing in the pictures, which extending to different direction, there are many different paths and possibilities, but without a definite answer. The tiny spots of Greenland in the wild land, they are so bright and attractive, but somewhat dream-like and illusion. They are some sights of the past time and will leave from us in the end.

To farewell to the poetry era in the past, I would like to cite a poem-Silence, by Gustave Flaubert, a French writer, to end up this essay.

So clean the sky Cloud disappear All is silent The sea, The field, Comes melancholy! There isn’t any more The bird’s singing The raven’s crow And the sound of plough…

February 16, 2013

 

Yang Jianbo

1972 Born in Kunming, Yunnan.

Graduated from the Oil Painting of Fine Art Department of Southwest Normal University, professor of Art and Design collage of Yunnan University

 

Exhibition (Selection)

2013   Meantime, Yunnan Provincial Museum, Kunming

2012   Hand in Hand 2011: The 2nd Yunnan Oil Painting Association Exhibition, Kunming

The 3rd Kunming Oil  Biennial, Kunming

2011   Yunnan Watercolor Exhibition, Ningbo

2010   Collaborated Art Book Project, Kunming

2009   Guishan Sentiments, Kunming Mao Xuhui,Tan Zhigang – Nomination Exhibition of Young Artists in Yunnan, Kunming

2008   Back to Guishan – The 63 Anniversary of United Nation Found, Beijing

2006   The 18th China Artists’ Association Exhibition, Wuxi

2005   The First Kunming Oil Landscape Painting Biennial, Kunming

2004   The 10th National Art Exhibition, Guangzhou

2003   The 3rd China Oil Painting Exhibition, Beijing

The First Chongqing Oil Painting Exhibition, Chongqing

1998   The First Kunming Oil Landscape Painting Biennial, Kunming

1997  1997 Yunnan Oil Painting Exhibition, Kunming

 

[lang_en]

 

 

 

[lang_zh]Carissa White (澳大利亚)[/lang_zh][lang_en]Carissa White (Australia)[/lang_en]

[lang_zh]驻留时间:2013年1月1日-31日

开放工作室时间: 2013年1月26,13:00-22:00

 

关于艺术家:

澳大利亚艺术家CarissaWhite的创作主要为雕塑和装置,同时也通过声音和影像探索雕塑的潜在特性。她的作品与自然界中的图案有关,典型的形状和天然材料的结合使她更能展现出自然界和人类的相互影响。在云南驻地的时间,她将以天然材料来重新诠释从一个状态到另一个状态下的属性,创造一个充满诗意的作品。

 

之前作品:[/lang_zh]

[lang_en] Residency period: January 1-31, 2013

Open Studio: 13-22pm, January 26, 2013

 

About the artist:

Australian artist Carissa White works predominately within sculpture and installation whilst also exploring sculptural objects potential through sound and video. Her work plays with the notion of patterns within nature and the interplay between nature and humans through a merging of archetypal shapes and natural materials. Within her time in Yunnan she will be working closely with natural materials to reinterpret and translate their properties from one state to the next whilst creating a poetic model.

Previous work:[/lang_en]

Balance-平衡,-Wild-rice-and-white-sand-野稻米和沙,2012      Beeswax-蜂蜡,2012      Cluster-簇,-sand-沙,2011Homely-家,stones-and-gauze-石头和纱,-2012      Existence-in-Space-太空中的存在,Beeswax-蜂蜡,2012      Mapped-地图,white-rice-and-red-dye-染色大米,2011Patterns-图案,-wood-and-wild-rice-木头和野稻米      Patterns-图案,-wood-and-wild-rice-木头和野稻米,2011      Shapely-型,木头和铁丝,2012