【艺术家动态】超越：当代中国抽象水墨苏州音昱·水中天养生度假区水中天画廊_【北京艺门画廊】

超越：当代中国抽象艺术Beyond:NewAbstractArtFromChina展览时间：2...

超越：当代中国抽象水墨

Beyond: New Abstract Art From China

展览时间：2016年11月1日－ 2017年2月28日

Dates: Nov 1，2016 - Feb 28，2017

展览地点：苏州音昱·水中天养生度假区水中天画廊

地址：苏州市工业园区阳澄半岛阳澄环路199号

Venue: Suzhou Sangha Gallery

Add: Suzhou Sangha Gallery 199 Yang Cheng Ring RD, Yangcheng Peninsula Suzhou Industrial Park, Suzhou, China 215121

参展作品

Bai Yiluo 白宜洛 Song of The System 7 体制之歌 No. 7， Mixed Media on Canvas 布面混合媒材，Dia. 150 cm，2011

Huang Zhiyang 黄致阳，ZOON- Dreamscape No. 1214，密视 No. 1214，Ink and Mineral Pigment Print on Paper Mountedon Canvas，水墨，矿物颜料，宣纸，画布，200 x 240 cm，2012

Aniwar Mama 安尼沃尔买买提，Seeing without Seeing 看它不要只是看到它，170x 185 cm，Oil and Acrylic on Canvas 布面丙烯及油画，2012 - 2013

Mao Lizi 毛栗子，Ambiguous Flower Series No. 9 花非花 No.9，Oil on Canvas 布面油画，114 x 114 cm， 2016

Wesley Tongson 唐家伟，Mountains of Heaven (No. 79) 天界 (No. 79)， Ink and Color on Board 纸本设色， 66 x 96 cm， 2002

Suling Wang 王淑铃， Untitled 无题，Oil and Acrylic on Canvas 布面油画丙烯，200x 185 cm，2007

Wang Chuan 王川, Colorful Mist 彩烟, C - Print,180 x 120cm, 2010

Xu Zhenbang 徐振邦, SC·OTO·MA—02, Mixed Media on Canvas 布面混合媒材, 220 x 140 cm, 2015

Zhang Dali 张大力, Bamboo No. 2 竹子 No. 2, Cyanotype on Canvas 布面蓝晒, 240 x 168 cm, 2015新闻稿

音昱(LivingOctave)水中天画廊将很荣幸地举办其首场展览“超越:当代中国抽象艺术”。该展览由九位风格各异的艺术家的二十一幅作品组成,其中最年长的艺术家是毛栗子(1950年生于北京),最年轻的艺术家是徐振邦(1990年生于深圳)。我们遴选的这九位艺术家在地域认同、艺术风格、教育程度、个

人背景和专业兴趣方面各有不同,但他们身上一个共同特征就是在美学和技法上追求“抽象”或者“半抽象”,而不是追求“现实主义”的主题和实践。

这九位艺术家运用多样的艺术媒介,包括布面丙烯油彩、摄影和黑影照片以及宣纸水墨。他们代表了当代的艺术潮流和社会对抽象艺术作品的更大接受度。这是中国当代艺术话语和审美感受内在的必不可少的要求。

中国当代艺术最强大的根基仍然在于社会主义的现实主义主题以及传统山水画的情感旨趣。抽象艺术的接受并非很久以前的事,而且关注的重点是现代主义的技法试验和个人的自我表达。在“超越”中,我们力求呈现当今中国艺术界多样性的潮流,尤其是人们对抽象艺术之美与日俱增的追求。

在传统的独立体系的基础上,通过与其他文化的交流,中国当代艺术界继续发展其自身的品位标准。将抽象性作为一种美学选择加以探索仅仅是当今艺术家多种艺术考虑中的一种。我们在下文简要地描述和/ 或引述了每位艺术家的艺术选择。当然,归根结底,艺术选择是由每个艺术家自己决定的;他/她的最佳作品体现的是对生活的态度、对身边环境的反应、一种感情、一种情绪以及一种个人的——原创性的— —审美感受。

艺术家陈述/艺术品描述

白宜洛 (1968年生于河南) 使用圆形画布和丙烯酸颜料将不同的形式结合起来,让人不觉想起佛教中充满冥想意味的祈祷轮和富于对称性的曼荼罗,其纹样融合了非洲的纺织品设计和欧普艺术。白宜洛的杂糅美学捕捉到了中国与当今世界关系中的一种“时代感”。

黄致阳 (1965年生于台湾) 是一个富于创新精神的先锋试验派水墨画家,他将对技巧要求极高的宣纸水墨画与自由创作的鲜明态度结合起来,采用手调的矿物粉颜料和粗犷的水墨笔法进行试验创作。黄致阳将他的每一个笔触当作一种精神和生命力的象征,既具有先锋艺术气质又深深扎根于中国传统的书画美学。

安尼沃尔 (1962年生于新疆) 这位艺术家的抽象作品秉持一贯的极简风格,由色彩明亮、对比强烈的色带构成,摒弃更为流行的叙述和民俗主题,保留传统新疆地毯和纺织品设计中使用的鲜活的中亚色彩。安尼沃尔的色彩——源自维吾尔族的遗产——青睐更为明艳的色调。这些色调最早是在1000多年前由维吾尔地毯制造者经由丝绸之路引入中国。

毛栗子 (1950 年生于北京) 在他最新推出的半抽象单色画系列中,毛栗子继续了他对中国传统绘画语言的研究,但这一次他用布面油画的形式诠释了稀释水墨和水墨干笔的画法。毛栗子忠于自己的先锋价值, 坚持运用布面油画传递水墨画的精髓。这种尝试的结果是对半抽象意象——即自然界的阴影——的微妙和高度技巧化的诠释:他主要专攻那些乍看起来简单的形状,比如花瓣、水和风景。

唐家伟(1957-2012,香港) 禅宗哲学是唐家伟艺术一个永恒的灵感源泉。他曾经宣称:“过去这些年, 我从未停止创作,我每天都在工作,将自己投入到艺术和对禅宗哲学的学习之中。”绘画行为成为我比喻意义上的旅行的一种载体,他引用人们熟知的一则对山景(靈山)的描述表达自己的思想和情感。我们可以将他的风景画理解成将观众置于现实主义和抽象性之间的一系列脑内风景。

王淑铃 (1968 年生于台湾) 在这些布面油画和丙烯油彩画中,起点、位置和终点必须从抽象风景的空间和时间特点去理解。红色和品红色主导了宽色条中的流体组成,这些色条相互交织,在灰白的底色上形成一条条纵横交错的路径。这些绘画使用多个层面的曲线形式经过长时间层层叠加形成。这些象征性的形式看上去是在平面上展开、断裂和游移,其实是创造了一种(反)动感:一种推拉图像的张力,这与道家哲学以及艺术家在农村成长过程中受到的民俗影响不无关系。

王川 (1967 年生于北京) “我的一生见证了“从生活中绘画”这一艺术流派的式微。在这种流派的训练中,我们带上自己的写生簿去户外,练习如何将“眼睛-大脑-双手作用于纸上”。新技术产生后,照相机和电脑变得流行,“眼睛-大脑-机器”成为人们记录观察和审美视角时更青睐的手段”。王川运用像素和当代数码照片技术捕捉急剧现代化的过程中转瞬即逝的“古老中国”的证据。

徐振邦 (1990 年生于深圳) “作为当代社会的成员,我们有能力以极大的便利获取各种各样的信息。其结果是,我们形成记忆的方式以及我们对世界进行视觉化的方式发生了很大的变化。碎片化的回忆和万花筒般的网上“浏览”体验让我们意识到我们外在的、本体的存在和内在的自我认识。当我们在网上遨游,交替浏览不同主题,我们通过大量的碎片(视觉碎片、记忆的碎片、信息碎片,等等)编辑信息并重新建构我们的世界观。这些碎片随意地交织在一起,汇聚成为我们不断重塑和改造的新的实体。在这个过程中,我们形成了个性化的自我。这是一个回环往复的循环,是一系列震荡着的新起点。”

张大力 (1963 年生于哈尔滨) “在我的最新作品‘世界的阴影’(2009—至今)中,我使用了 150 多年前发明的影像制作过程:我将材料浸入化学配方中,在棉花、亚麻、纸或画布上制作黑影照片或蓝图。这些织物干燥之后,我将放在它们上面的物体拍摄成剪影;然后,在太阳下曝光几分钟,阴像或者说阴影就开始形成。没有暴露在阳光下的部分依然是白色,而暴露在阳光下的部分则根据不同物体不同的透光度呈现出不同的蓝色调。黑影照片是我制作不可更改、持久保存的图像的一种工具。我利用它记录工

作室周围的生活、人物以及日常生活中的物体。因为,就像我田地里的野草一样,他们也会很快消失或者换到新的社区。”

本展览所有艺术品尤北京艺门画廊提供。

Press Release

Living Octave’s Sangha Gallery is pleased to host its inaugural exhibition, Beyond: New Abstract Art From China, comprised of 21 artworks by a diverse group of nine artists, the eldest being Mao Lizi (b. 1950 Beijing) and the youngest, Xu Zhenbang(b. 1990 Shenzhen). The nine artists selected differ in regional identity, style, education, personal background, and professional interest. Their one common denominator is a preference for ‘abstract’ or ‘semi-abstract’ aesthetic and technical pursuits, rather than ‘realist’ pictorial traditions.

Using a variety of mediums: Oil and acrylic on canvas, photography and photograms, and ink on xuan paper, these nine artists reflect current trends, and a shift toward greater acceptance of non-representational abstract artwork as intrinsic and vital to the Chinese contemporary art discourse and aesthetic sensibility.

Chinese contemporary art has strong roots in the more literal subject matter of socialist realism, as well as the moods and sentiments of landscape painting tradition; and, has only recently embraced abstract art, with its emphasis on modernist technical experimentation and personal self-expression. The artists in Beyond, use abstractions as signifiers of individuality, reflections of the consumer digital age, gestural acts of modernist creation, and tools to manipulate the viewer’s perceptual experience. Each attests to the richly diverse perspectives and varied practices of Chinese artists today.

The Chinese contemporary art world continues to develop its own standards of taste, based on traditional independent systems as well as exchanges with other cultures. The exploration of abstraction as an aesthetic choice is just one of many routes available for today’s artists’ consideration.We have set out below brief descriptions and/or statements from each artist on his/her art choices. Ultimately, the choice is of course, up to each artist; and his/her best work embodies an attitude toward life, a response to his/her surroundings, a sentiment, a mood, as well as a personal – and authentic -aesthetic sensibility.

Artist Statements/Artwork Descriptions

Bai Yiluo (b 1968 Henan) uses circular canvases and acrylic paint to combine forms reminiscent of meditative Buddhist prayer wheels and the symmetry of mandalas, on top of which he then imposes patterns from African textile designs and op art. Bai’s hybrid aesthetic captures a“periodfeeling” of China’s relationship with the world today.

Huang Zhiyang (b. 1965 Taiwan) is an innovative and pioneering experimental ink painter, who combines the discipline of extremelyskilled ink brushwork on xuan paper, with a strong attitude of creativefreedom, in order to experiment with mineral pigment powder hand-mixed paintsand bold ink brush strokes. Huang describes each brushstroke as embodying aspirit and life force, that is both avant-garde as well as deeply rooted intraditional calligraphic sensibilities.

Aniwar Mamat (b. 1962 Xinjiang) The artist’sabstract works are consistently minimalist,comprised of bright contrastingcolor bands, rejecting more popular narrative, folkloric motifs, while retaining the vivid Central Asian colors usedin traditional Xinjiang carpet and textile design.Aniwar’s colors – taken fromhis Uyghur heritage – embrace the brighter hues first imported to China byUyghur carpet makers over 1000 years ago via the Silk Road.

Mao Lizi (b. 1950 Beijing) In his latest series ofsemi-abstract monochrome paintings Mao Lizi continues his study of traditionalChinese painting language, this time rendering ink wash and ink dry-brushpainting techniques using oil on canvas. Remaining true to his avant-garderoots, Mao insists on employing oil on canvas to capture the spirit of inkpainting. The results are subtle and highly skilled renderings of semi-abstractimagery, shadows of nature: focusing mainly on deceptively simple shapes offlower petals, water and landscape.

Wesley Tongson (1957-2012, Hong Kong) Thephilosophy of Zen was a constant source ofinspiration for Tongson, who oncestated that, “All these years, I have never stopped creating,working every dayand dedicating myself to the arts and the study of Zen philosophy.” The act ofpainting became a vehicle for his metaphorical travel, using the depiction of afamiliar mountain scene (spiritual mountains/ lingshan 靈山) to express histhoughts and emotions. One could interpret his landscape paintings as a seriesof mindscapes that situate the audience in between realism and abstraction.

Suling Wang (b. 1968 Taiwan) In these oil andacrylic on canvas paintings, origin, location and destination are considered inrelation to the spatial and temporal qualities of an abstract landscape. Redsand magentas dominate the fluid compositions in broad swathes of colour, whichinterweave and create pathways across a pale ground. The paintings are built upin layers over a long period of time with curvilinear forms being defined andorganized on multiple planes. Appearing to unfurl, fracture and migrate acrossthe surface, these allusive forms create a kind of contra/motion: a push andpull of the image, which relates to Daoist philosophy and to the folkinfluencesof the artist’s rural upbringing.

Wang Chuan (b. 1967 Beijing) “In my lifetime, I’vewitnessed a move away from “paint from life” art school training where we tookour sketchbooks outdoors and practiced a system of “eyes - brains – hands ontopaper”. With new technology, the camera and computer prevail,and“eyes-brains-machines” is the favoured means of recording observations andaesthetic vision”.

Wang uses pixels and contemporary digital photo techniques to capture the fleeting evidence of“Old China” still present despite the race to modernize.

Xu Zhenbang (b. 1990 Shenzhen) “As members of contemporary society, we enjoy the ability toobtain all kinds of information with an extreme degree of convenience. As a result, considerable
change has occurred in the way we form memories and visualize our world. Fragmented recollections and kaleidoscopic on-line “browsing” experiences inform our external, ontologicalpresence, and internal self-knowledge. As we surf the Internet, trolling for subjects, we edit
information and reconstruct our world-view from a vast array of fragments (visual fragments, fragments of memory, fragments of information etc). These fragments, interlaced in random succession, come together as new entities that we continuously remold, reform, and reshape. In this process we constitute our individualized selves. It is a continuous cycle, an oscillation of new beginnings.”

Zhang Dali (b. 1963 Harbin) “In my latest works, World’s Shadows, (2009-preesent), I utilize a photo-image making process invented over 150 years ago: I make photograms or cyanotypes on cotton, linen, paper or canvas by soaking the material in a recipe of chemicals. After drying the fabric, objects placed on the fabric are captured in silhouette; and, within a few minutes ofexposure to the sun’s ray’s, negative images, or shadows start to form. Areas not exposed to light remain white while those exposed to the light result in different tones of blue, depending on the varying degrees of transparency of the objects. Photograms are my tool for creating non- alterable and lasting images. I documented the life around my studio, the people and objects of daily life, like the grass in my field they will also soon disappear and be moved to new neighborhoods.

What remains are shroud-like, semi-abstract shadowy images.”Artworks Courtesy of Pékin Fine Artswww.pekinfinearts.com

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