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CC知识共享协议

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除特别标明为他人作品外,本博客一切原创内容采用Creative Commons署名-非商业性使用-相同方式共享 2.5 中国大陆License共享。

艺术大展和基金会

威尼斯双年展

La Biennale di Venezia 1895

卡塞尔文献展

Documenta 1955

卡耐基国际展

Carnegie International 1896

惠特尼双年展

Whitney Biennial 1932

圣保罗双年展

Sao Paulo Art Biennial 1951

悉尼双年展

Biennale of Sydney 1973

伊斯坦布尔双年展

International İstanbul Biennial 1987

里昂双年展

Lyon Biennale of Contemporary Art 1991 

光州双年展

Gwangju Biennale 1995

横滨三年展

Yokohama Triennale 2001

瓦伦西亚双年展

Bienal de valencia 2001

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(2017-04-27 23:31)
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分类: 小悠盘点
小宝很爱的绘本之一
原文地址:好绘本共享作者:我是真龙念南

     “文化部原创动漫推广计划暨动漫文化普及推广活动”已经进入第二年,很多作品哦!今天发一个推荐作品大家共享



《京剧猫——长坂坡》

故事/熊亮  绘画/熊伟 吴翟   连环画出版社出版

  三更半夜,剧场里没有人,只有猫。“锵!锵!锵!”猫跑龙套,筋斗可漂亮了!黑脸猫大叫:“张飞在此,谁敢和我决一死战?”观众喝彩:“好!”这几只猫,没有亮嗓子,也没有硬身段,只有热爱京剧的心。锣鼓声中,他们粉墨登场,包办京剧四大行当──生旦净丑,真是空前绝后! 连台好戏!午夜开演,不收门票,人类止步,限猫入场,谢谢。

  这是一个京剧猫的世界,生来脸上有花纹的,就是京剧猫。没有斑纹的猫,就是观众。

  每天晚上,剧场空无一人时,他们就登上舞台,表演一出出精彩的京剧故事。

    


1、月圆之夜,三更过后,剧场里的人陆陆续续散尽。

    


2、一群野猫悄无声息地来到剧场,原来它们都是“京剧迷”!那生来脸上有花纹的猫,无需画脸谱便做了演员;生来脸上没有花纹的,跑跑龙套,或者坐在台下看戏也自在。



3、“锵!锵!锵!——”随着一阵过门的锣声,跑龙套的猫翻着筋斗量了相。



4、报幕猫登场,宣布今天的剧目是《长坂坡》。演的是在三国时代,曹操率雄兵百万剿刘备,刘备带着百姓一路奔逃。



5、长坂桥头张飞张翼德猫立马横矛,独立桥头:“百万大军算什么,我一个人就可以挡住他们!”。



6、曹操猫带着大小猫兵浩浩荡荡出场:“小的们,赶紧了,抓住刘备重重有赏。”



7、只见张飞一人站在桥头大喊了一声:“张飞在此!谁敢和我决一死战。”



8、曹操忙问身边的大将夏侯惇:“这个黑脸猫是谁?”“他叫张飞,四个莽撞的猫!”(特别提示:两匹似乎也在议论。)



9、曹操听了之后本来白色的脸更白了。“我听说他是一个盖世英雄,今天看见果然威风凛凛!”



10、这时张飞猫又大喊了一声:“张飞在此!谁敢和我决一死战!”只吓得曹操身边的夏侯杰当场昏死过去。



11、看到这一段,下面的看官也禁不住齐声喝彩——“好!”(特别提示:注意右上角,那是什么?)



12、张飞猫站在桥头,威风凛凛,他提了一口气,正准备吼第三声。忽然“吱呀呀”传来了推门声。



13、啊!原来是睡迷糊了的大妈错走到了剧场。



14、虚惊过后,演员和观众都重新回到自己的位置上。



15、张飞定定神,又提了一口气,叫出第三声:“张飞在此!谁敢和我决一死战?”可听起来颤抖抖的。虽然曹操猫战战兢兢念台词倒也没错,可张飞猫声音颤抖就太不像话了。



16、不买账的观众们纷纷退场。



17、报幕猫赶紧上来预告:“明天午夜猫剧场继续开演!请大家一定要来捧场哦!”大家还会来吗? 

作者简介

  熊亮是著名散文家、画家。自幼学习国画,绘画注重线条和墨色感,作品汲取中国传统艺术的精华,人物景致独特且充满诗意,以极富情感表现力的画面见长。文学作品和绘本都多次获得国际、国内大奖。他与熊磊(儿童文学作家)于2001年开始合作创作绘本。吴翟则毕业于北京服装学院。出身京剧世家,父亲在京剧团演奏京胡,母亲担任旦角演出。她从小耳濡目染,热爱戏曲。他们合作的本书获得了第十七届“金牛杯”优秀美术图书银奖和第二届亚洲青年动漫大赛暨“宏立城”中国(贵阳)卡通艺术节最佳作品奖,2008年被新闻出版总署列为向全国青少年推荐的百种优秀图书之一。

“天生脸上有花纹的猫就是“京剧猫”,可以粉墨登场,包办京剧的四大行当——生旦净丑,而脸上没有花纹的猫,就只能当观众了,这就是“京剧猫”世界的合理假设,显得既单纯又绝对。创作者将猫咪脸上的纹路与京剧脸谱巧妙的联结在一起,真是绝佳的创意手法,不落俗套的剧情发展,情感丰富的故事氛围,再搭配中国色彩浓厚的插画风格,不但将每只猫咪的表情和身段,表达的淋漓尽致,也营造出娱乐十足的舞台效果。”台湾辅仁大学儿童文学与家庭学系副教授吴幸玲这样评价《京剧猫——长坂坡》。

您对京剧的脸谱了解吗?您希望知道《京剧猫——长坂坡》演员猫脸谱特点吗?

请听红泥巴村萝卜探长的介绍——

    京剧脸谱是指京剧里男演员脸部的化妆。这种脸部化妆主要用于京剧角色中的净(花脸)和丑(丑角)。形式、色彩和类型上有一定的格式。由于每个历史人物或某一种类型的人物都有一种大概的谱式,就像唱歌、奏乐都要按照乐谱一样,所以称为“脸谱”。

    京剧的角色“净”又称“花脸”,主要扮演性格、品质或相貌不同于一般、有突出特征的男性人物。这类人物性格有正直、刚毅、勇猛、威壮、粗犷、鲁莽、狡诈、残暴、愚蛮等。既有正面的,也有反面的,可以说是形形色色的人物。

    脸谱的来源,一般的说法是来自假面具。源于我国南北朝,兴盛于唐代的歌舞戏,是为了歌颂兰陵王的战功和美德而创作的。说的是兰陵王高长恭,勇猛善战,貌若女子,每次出战,均戴凶猛假面,屡屡得胜。人们为了歌颂兰陵王,创造了带面具的男子独舞。后来直接画到脸上。戏剧演员在舞台上勾画脸谱是用来渲染所扮演人物的性格特点、相貌特征、身份地位、实现丰富舞台色彩,美化舞台的效果。

    京剧脸谱色彩十分讲究,看来五颜六色的脸谱,品来却巨细有因,决非仅仅为了好看。不同含义的色彩绘制在不同图案轮廓里,人物就被性格化了。根据人物性格、品质、相貌的不同,和红、黑、白、黄、紫、绿、蓝等颜色搭配,按固定的图案进行面部化妆。



张飞是黑十字门蝴蝶脸,蝴蝶有飞的意思,取张“飞”之意,同时有豹头环眼之态,表现其凶猛、骁勇之相。更具特色的是张飞脸谱通常画有笑眼窝,翘嘴,以示其幽默色彩。而黑脸大多是表现性格严肃,不苟言笑、威武有力、粗鲁豪爽的人物。



曹操是白整脸(又称奸白脸),奸白脸勾半截,在白脸的眉间及眼角处,勾画多道细描的黑纹,以突出其老辣而奸滑的特征。白脸大多是表现阴险、凶残、狡诈,老奸巨猾的人物。

  


夏侯惇作战勇猛无比,一次战斗中眼睛被一箭穿伤,夏侯惇拔出箭头继续作战。所以要画上红点表示曾经受过箭伤。

  


张郃(曹操旁边脑门上带箭样图案的那位)在曹军中智谋双全、忠勇无比的将领。额头正中画有箭样图案。以喻诸葛孔明六出祁山时,张郃与之交战,死于箭下的结局。

  夏侯杰在三国中除了被张飞当场吓死之外,没有什么名气,所以在剧中就是个丑角,丑角一般在鼻梁上一块白就成了。以此类推,报幕猫也是个丑角吗!

 

 

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博客七周年

我的博客今天651天了,我领取了徽章.  

  • 2006.07.24,我在新浪博客安家。
  • 2006.01.12,我写下了第一篇博文:《天使在脱毛》。
  • 2006.07.27,我上传了第一张图片到相册。
  • 至今,我的博客共获得126,254次访问。

这些年,新浪博客伴我点点滴滴谱写生活!

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(2012-05-07 15:07)

展览时间: 2012-04-21——2012-05-06

展览地点:非画廊
艺术家:付艺霏 蔡玉珊

 

记忆让记忆疯长

 

郭芳

 

展览“1696千米的时间”——“1696千米”指的是台北到北京的地理距离,“时间”是这两位80后艺术家作品中的心理距离。如果说相同的成长时代应该给她们带来某些共性,从作品的面貌看,差别又是显而易见的。一些关于过去的个人的记忆,放到同一时间同一地点的公共环境与人分享,作品的意义会变成另外一些东西,不管我们是否竭力将他们与艺术家的真实感受对接在一起。

 

艺术家作为一个个体如何表达公众想要发现的内心?这个绝非个性、特立独行、惊世骇俗所能轻易触及,艺术家首先要先去发现他们自己。震撼有时只是意识的高点,吸引目光之后长久尘封的记忆不在少数。今日的中国社会时刻受到西方个人主义,自由思想的迅猛冲击,各种立场之间存在着太多令人着迷的混乱和不安,平庸可能招致多角度的嘲讽,生机勃勃的梦幻现实每日都在发生。有时还搞不清前方状况与我们有何干系,已见同僚朋友欢愉其中,说不出哪来的兴奋,也没有太多应该漠视的理由,选择性的参与便是。即使昨天发生的聚会次日醒来也如恍如隔世,久远的记忆却在一个或温暖或哀伤的独处中时隐时现。每天早出晚归,你只能惊叹于过去十年、甚至五年中,我们的周围发生了什么,多少个一夜之间建造的,庞大复杂的信息世界,符号系统,我们常常自发的牺牲休息时间,也要奋力跟上这个已经发生的世界。

 

但是,此次展览的两位艺术家不约而同的选择了另一种绘画的“复古”路线——重现真实的记忆。无论是艺术家还是每个观众,都有他们各自的记忆,以及当记忆被触及再次生发出来的感受与理解。艺术不是一激动便能输出的情绪表达,艺术家从接收信息,感受,思考,整合,再到提炼,凝聚,具体化,选择某种方式某种程度的表达,更简单或者更复杂,单枪匹马还是暗度陈仓。记忆像种子埋藏在灵魂各处,种种的温存与狂喜,矛盾与纠结,碰撞和选择,记忆所涉之处自行发芽长大,有一天,一个故事被娓娓道来,或者残存停格的片段,散落在生活各处。记忆不但是对过去的倾诉,也是对现实的解读,对未来的生产。能够让“真实的我”找到真实灵魂实在的“安身立命之处”显得愈发迫切。这样看来,两位艺术家同样选择关于记忆和时间的话题既是巧合也属本能。

 

即便是同一命题下的表达,两位艺术家在审美趣味及作品的表述方式也远为不同,付艺霏是向外撷取的盗梦空间,蔡玉珊是向内探询的心智角力。付艺霏不仅对唯美自然的原貌充满兴趣,还会将令人激动的片刻带给我们:迤逦黄昏,曼妙夕阳,云海一色,芊芊百草……忽而闪现的灵光,是记忆照进记忆的生化反应。艺术家似乎在告诉我们,生命中那些深刻地住在我们内心的东西,一直都是活的,连同我们不断经历的生命,在心灵深处的后花园里肆意疯长,草长莺飞之处,可能繁茂,也可能寂静。蔡玉姗记忆里的记忆就属于后者,像是一头钻进了童年的母贝壳,在漩涡里做着“记忆手工”,试图给生命中某些生涩的童趣重放颜色:寄予希望的千纸鹤,动漫附身才愿念及的小秘密,钴蓝的天际中盘旋的呓语,拒绝又渴望拥抱的面具下的人……既有梦境醒来的神伤,也有现在顿悟到的真实自我,和那些还未镌刻便已流走的意味深长。

 

凡此种种,如果仅将解读的目光集中于一些“画面”,一个“符号”,将其背后种下的记忆种子隐晦地被覆盖,无所指涉地被强调,这样的视觉语言未免显得缺乏诚意,但是,恰恰正是这种平面化叙事性的图媒,或单纯到可以随时被自行理解的对象,观众携带的个体记忆将会迅速被扩散转载,匿名收藏,使个体化的解读和艺术化的生发成为可能。

 

 

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(2012-03-14 12:36)
标签:

完颜小悠

情感

分类: 跟真的似的

混沌迷茫时,

不知自由为何物

便心向往之,

以任何形式。

骄纵任性,傲慢自负,胆大妄为,

尝试眼前一切未曾体验过的,

每一次都

千疮百孔

那些小小的失败和巨大的成功,

失落或者高兴,人来疯
各个如同弃婴,

莫名的欢腾,

虚拟的拥抱,

遥远地点头或微笑……

 

千帆过尽,

依然潇洒年轻,

了无牵挂,不知去处。

停留的看客,

无终点的旅程,

有人想回去,

有人必须继续,

所有的过程已是剧终,随时随地。

 

 

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空间站 诚邀您莅临“物拓图—申亮个展“展览开幕式 2012.3.10  16:00

Space Station cordially invites you to the opening of  Material,Engraving,Picture—Shen Liang Solo Exhibition  on Saturday, March.10th, at 16:00.

 

 



物拓图——申亮个展

Material,Engraving,Picture——Shen Liang Solo Exhibition


策展人:鲍栋 | Curator:Bao Dong

开幕| Opening::2012/03/10  16:00

展览日期 | Exhibiting Time: 2012/03/10—2012/03/31

地点| Venue:空间站北京市朝阳区酒仙桥路4号798艺术区中一街 Space Station,NO.4 Jiuxianqiao Rd,798 Art District,

Beijing 100015   T: +86 10 59789671 W: www.space-station-art.com E: spacestationart@163.com

 

 

2012年3月10日由鲍栋策划的申亮个展“物拓图”将于空间站开幕。此展览集中展示了N12的成员之一申亮近2年最新的油画作品。展览现场,将构建游廊般的呈现方式,迂回曲折的呈现着艺术家对那些陈年旧物的怀恋。黑灰厚重的颜色与遮蔽与敞开的展墙之间,营造穿梭于日常物的历史碑林之感。

 

自2000最初几年以来,“影像绘画”或“图像绘画”的潮流在区别于写实主义绘画的同时,也形成了一种狭窄的美学趣味。在这股潮流中出现的艺术家也形成了某种共性,如何超越这种共性并继续推进其艺术实践,则成为了他们正在面对的问题。

 

申亮的这些近作正好隐含着一种转变的契机。他在使用老照片图像时突出了图像的实存性,图像本身以一个物质客体的身份参与到了画面这一物质平面的结构组织之中。照片与画面的关系更像是“原本”与“拓本”的关系,一种近似于身体与笔触之间的物质性关联。浮雕般颜料的厚度掩盖了老照片的图像性,并打开了一种物质本身的纪念性。

 

申亮的这些作品即是图又是物,既指向某种怀旧情感与审美氛围,又拒绝任何意义的解读;既需要一种专注的凝视,又期待着一种游荡的目光。其中包含着某种进一步思考绘画与图像、艺术与器物之间关系的可能。

 

 

Material  Engraving  Picture——Shen Liang Solo Exhibition

 

Shen Liang’s“Material, Engraving, Picture” Solo Exhibition planned by Bao Dong will be presented by Space Station on 10th March, 2012. The exhibition will display up-to-date oil paintings created by member of N12-Shen Liang in the past two years. At the exhibition, a veranda-like mode of appearance will be structured to circuitously present the fondness of the old things by artists. Among dark colour and indistinct walls, a feeling of shuttling between usual objects and ancient stone tablets is built.

 

From the early years of 21st Century, the trend of“Photographic Painting”or “Graphic Painting”formed a kind of limited aesthetical interest while distinguishing from realistic painting. Artists emerged from the trend shape a sort of generality, and how to surpass the generality and propel artistic practice becomes the major problem they are facing.

 

Shen Liang’s recent works just implicate the opportunity to change the situation. He highlighted the existence of pictures when using old photos, and involved the picture itself in the structure of plane of existence as material objects. The relationship between photos and pictures is more like the relationship between “original” and “rubbed”, a physical connection between body and brush stroke. The thickness of relief sculpture like pigment covered the graphic character of old pictures, and released the memorial character of the object itself.

 

These art works created by Shen Liang are pictures as well as objects. They not only pointed to certain nostalgic feeling and aesthetic atmosphere but also declined any possible interpretation; they need concentrated gaze while in the meantime expecting vagrant sight. The possibility of considering the relationship between painting and picture, art and object is also involved.

 

 

 


 小燕子 布面油画 200cm x 200cm  2011

 

 

  

  物拓4   50 x 60cm


 

 


 

空间站 | Space Station

 

T: +86 10 59789671

W: www.space-station-art.com

E: spacestationart@163.com  info@space-station-art.com

地点:空间站北京市朝阳区酒仙桥路4号798艺术区中一街

 

Venue: Space Station,NO.4 Jiuxianqiao Rd,798 Art District,Beijing 100015

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空间站 诚邀您莅临“朝晖夕阴—蒋国蓉个展“展览开幕式 2012.2.11 16:00

Space Station cordially invites you to the opening of Morning Sunlight--Nightfall Shade—Jiang Guorong Solo Exhibition on Saturday, February.11th, at 16:00.




朝晖夕阴—蒋国蓉个展

Morning Sunlight--Nightfall Shade

Jiang Guorong Solo Exhibition

 

开幕 | Opening2012/02/11 16:00

展览日期 | Exhibiting Time2012/02/11 -2012/03/03

地点 | Venue空间站 北京市朝阳区酒仙桥路4798艺术区中一街 Space Station,NO.4 Jiuxianqiao Rd798 Art District

Beijing 100015 T: +86 10 59789671 W: www.space-station-art.com E: spacestationart@163.com

 

“朝晖夕阴—蒋国蓉个展” 新闻稿

 

空间站将于2012211日举办朝晖夕阴——蒋国蓉个展。此展览集中了蒋国蓉2009年以来的系列风景绘画,这些明朗的风景呈现出他坦率自然、天然华美的绘画风格。他遁入自然,好奇而审慎的观察荒野之间隐而未现的联系,用探索性的态度,记录了那些自然的晨昏暮霭,山林野风。“自然”在这里既是一个名词,指具有无穷多样性的一切存在物;也是一个形容词,既天然,不做作,不拘束,不呆板,不勉强,无为而治,平淡天真的“自然”。

 

蒋国蓉用塞尚式的还原几何形体的方式分析眼前的一切事物,建立物体和形体之间的关系。通过深入研究绘画语言的基础问题,打通了个人化的系统脉络,这使他的作品,即有别于传统,又不过于夸张。他让三维的现实场景与二维的抽象平面并存,让自然造化中完美的景物于画面之上自自然然。

 

蒋国蓉在江苏乡村度过自由的童年,又在成都这个轻松,闲适,而又充满想象的城市生活,他一直在寻找内心真实的表达。成都让他进入状态,充满了创作的素材。他热情的对自然进行观察、分析、提炼,执着于大自然中的树木、藤蔓、蓝天、鸟鸣……,直觉性的选择他喜爱的微妙而丰富的色彩。在绘画语言上,通过精细的描绘,大胆的铺陈,收放之间,控制着颜色的冷暖、明暗、色域的面积,密集的笔触,质地的肌理等。他使得绿色本身的特质,得到最大限度的发挥。画面中的那深浅不同绿色的对比,释放出某种神奇的透亮,散发着诱人凝视的光辉。艺术家赋予了绿色以特殊而明快的个人化风格。他仅仅使用风景绘画中的形状和色彩关系的组合,便成就出一种怪异,一种新的关系上的特殊,使观众跌入一种当下感之中。他用一种不表达的表达,洗净种种对于意义的勒索,沉浸于树影,光斑,时间,光线的存在之中,在错动和震颤之中,让观者在绘画面前体验绘画,在风景面前体验风景,进入到此时此刻的沉思之中。蒋国蓉使用他的画面,不仅仅提示了美,而且提示了如何观看生活。当你从展厅离开之时,你会发现,他所提供的是另外一条进入生活之路。

 

Morning Sunlight Nightfall Shade—Jiang Guorong Solo Exhibition

 

“Morning Sunlight--Nightfall Shade” Jiang Guorong solo exhibition will be presented by Space Station on 11th February 2012. The exhibition puts together landscape painting series created by Jiang Guorong since 2009, these bright landscapes present his frank, natural and gorgeous painting style. He flights into the nature, curiously and cautiously observes the hidden connection within the wilderness, records the morning light and evening mist in wild mountains with exploratory attitude. “Nature” here is not only a noun refers to everything existed with boundless diversity but also an adjective represents the natural, unmannered, uninhibited, not stiff, unstrained, flat and innocent “Natural”.

 

Jiang Guorong introduces Cézanne's style using planes of colour and small brushstrokes that build up to form complex fields. Through thoroughly researching the basic problems of painting language, he is able to open up the personal system venation. As a result, his art works are different from traditions and not too exaggerating. He makes the three-dimensional real scene and two-dimensional abstract plane coexist, and the perfect view in nature appear on the pictures.

 

Jiang Guorong spent his free childhood in the countryside of Jiangsu Province and lives in the relaxed, leisurely and imaginative city of Chengdu. He is always seeking the true expression_r in his inner heart. Chengdu makes him enter the status of creation and fills him with abundant creative sources. He passionately observes, analyzes and refines the nature, be obsessed with the trees, vines, blue sky and bird tweet in the nature, and chooses the delicate and rich colour he loves with instinct. In terms of painting language, he controls the cold and warm, bright and dark of the colour, the area of colour gamut, and intensive brush stroke using meticulous description and bold narrate in detail. He makes the peculiarity of green colour elaborate to its maximum limit. The contrast of deep and light green in the picture releases magic bright and distributes attracting splendor. The artist endows green with special and sprightly style. He merely uses the combination of shape and colour to involve audience in the real scene. His unassertive expression_r washes out the restriction of presenting concrete meaning, immersed in the existence of tree shadow, flare, time and light. His art works enable audience to experience the picture in front of the picture and experience the landscape in front of the landscape, and finally lost in thought. Jiang Guorong prompts not only the beauty but also the perspective of life. When you leave the exhibition hall, you will definitely find that what the artist offers is an alternative way to experience life.

 

--

空间站 | Space Station

T: +86 10 59789671

W: www.space-station-art.com

E: spacestationart@163.com info@space-station-art.com

地点:空间站 北京市朝阳区酒仙桥路4798艺术区中一街

 

Venue: Space StationNO.4 Jiuxianqiao Rd798 Art DistrictBeijing 100015

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后视·境|张轮
REARVIEW·CIRCUMSTANCES | ZHANG LUN
策展人:付晓东 | Curator:Fu Xiaodong
开幕 | Opening:2011/12/10 16:00
展览日期 | Exhibiting Time:2011/12/10 -2012/02/07
地点 | Venue:空间站 北京市朝阳区酒仙桥路4 号798 艺术区中一街
Space Station,NO.4 Jiuxianqiao Rd,798 Art District,Beijing 100015
T: +86 10 59789671
W: www.space-station-art.com
E: spacestationart@163.com

“后视·境 | 张轮" 新闻稿 

 

文|郭芳


空间站将于2011年12月10日开幕张轮个展“后视·境”,这是她在国内的首次个展,将展出她近三年
创作的绘画作品。展览将持续到2012年2月7日。


2008年春天,张轮拥有了她的小MINI,每天从家往返于工作室的途中,她发现了一个后视镜中——
向后飞奔或在前方召唤的世界,张轮时常幻想:“我没开车,是这个世界在往后跑,不是我在往前走。
我们倒着走,所以永远没有人能赶上我们。”不同于铺设在面前的观看经验,一个悖论的产生也引
发了张轮更为广泛的观看:反相的世界,映像和现实并置的世界,前方凝视的世界,后退炫目的速
度。方寸之地的孤独自处,即将消逝的瞬间,莫名记忆的闪回,人们先天认知记忆能力的局限,在
此时变成了艺术家定格的映像。作品呈现为有关艺术家日常生活、飞逝而去的个人记忆和将梦将醒
步调迟疑的蒙太奇,生命崭新的意义和感受方式就此展开。


“镜子”作为现实世界里的映像,穿越人类的记忆和感受,以现实存在的映像摆在我们面前,试图
将这些形象整合到某一历时连贯的排布,或趋向统一的视觉结构是没有太大意义的。基于后现代主
义排斥“整体”的观看方式,每个定格瞬间的特殊性和唯一性将被强调。空间站此次再度尝试了新
的布展方式,类似晶体结构的“八面墙”将展厅变成一个丛林巷道,宽度最多允许一个人驻足另一
个人从身边经过,观众没有一定的观看路线,可以在每幅作品前来回穿行。镜子是走过一段境遇之
后,灵魂和精神受到煎熬,经历洗礼后所看到的映像:他其实是精神性的,主体对因果关系和真理
的探索、信仰与梦想通过挥之不去的映像反映出来,艺术家把它们描述的时而梦幻细腻,时而可爱
坦率,他们定义了我们每天要面对的,布满缺陷的生活,可是,无论怎样的琐碎世俗,我们都奋不
顾身的陷入。


张轮有时还重复表现不同时间里的同一瞬间,既有物是人非的感慨,也有“同床异梦”的别样情趣,
看似相同的主题通过闪回和闪前持续推进,又通过类似负片的色彩转换得以彰显。这种对同一境遇
的循环,反映出艺术家疏离的格调和情感的自觉。


空间短墙的分隔布阵也呼应了这种气质,把时间逻辑从中抽离。后现代主义的初衷并未使布展陷入
无限多层面各自发声的嘈杂氛围,使观众在每幅作品微妙的细节间行走,不同的个体是否也会留存
趋同的记忆?我们每个人所经验到的阅历、知识与幻想,确实存在于它醉人的美与真挚的渴望中,
甚至也存在于此时和艺术家记忆的短暂交流中。

 

 

 


“REARVIEW·CIRCUMSTANCES|ZHANG LUN” Press Release

 

By Guo Fang


“Rearview circumstances” Zhang Lun solo exhibition will be presented by Space Station
in 10th December 2011, and lasts until 7th February 2012. As her first demestic solo
exhibition, this one will include art pieces she created over the past three years.


In summer 2008, Zhang Lun drove her MINI commuting between home and studio. She
found, on her way, a distinct world that either flying backward or waiting ahead in her
rear-view mirror. Accordingly, Zhang Lun kept having an illusion. “I’m not riding forward.
It is the world which running backward. When I moving in reverse, no one can ever catch
me up.” Here, a paradox, different from usual experience, attracted her intensive attention:
a world where reflection parallels reality, concretion collates with overleap. In a confined
dimension, when Zhang Lun observes disappearing moments and flashing memory, she
also notices the limitations of innate human ability in cognition and memory. Then, she
unfolds the brand new meaning of life and way of experience in a montage, composing
artist’s daily life, gliding personal memory and subtle hesitation.


As reflection of the real world, “mirror” connects human memory and emotion with
reality. However, it is meaningless to arrange these reflections in diachronic order or
integrated vision. In a post-modernist view which excluding unity, it is the moment that
would be emphasized. Space Station tries a new exhibiting layout in crystal structure, which
allows only one person standing and watching, and another one piercing through the
“eight-edged jungle” at the same time. Without settled routine, audience can shuttle
from one artwork to another. In the mirror, audience witnesses spirit undergoing the test of
suffering, exploring truth and causation, dicovering belief and dream. When alternates
spiritual nature between minute, dreamlike and ingenuous description, Zhang Lun also
defines our flawed daily life. Yet no matter how trifling our life is, we all lapse into it.


Sometime, Zhang Lun would repeat the alike occasion happened at different moments.
The circular context, advancing in diverse direction and transforming into colors like that of
negative film, highlights her alienated taste and emotional self-consciousness.


The separation matrix orderly echoes each other by discarding time logic from the layout.
Audience probably will keep converging impression when digesting sutble details of every
piece. In this way, we can identify that individual experience, knowledge and illusion do
exist in its own desire for truth and sincerity, even in our instant exchange with memory of
the artist.

 


后视镜NO.15 布面油画铅笔 张轮 30.4x54cm 2010

 


后视镜NO.21 张轮 布面油画铅笔 30.4x54cm  2009

 


后视镜NO.13 张轮 布面油画 30.4x54cm 2011

 


后视镜·窗外NO.11 张轮 布面油画铅笔 30x30cm 2011

 


后视镜NO.10 张轮 布面油画铅笔 30.4x54cm 2011


 

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内部的次方——王俊个展
INWARD METHOD—— Wang Jun Solo Exhibition
策展人:鲍栋 | Curator:Bao Dong
开幕 | Opening:2011/11/05 15:30
展览日期 | Exhibiting Time:2011/11/06 -11/27
空间站 | Space Station
 



内部的次方”新闻稿


空间站将于2011年11月05日举办 “内部的次方”——王俊个展。此次展览集中了王俊2008年以来的代表性绘画作品,这些黑白单色的作品呈现出他内省的绘画方法与内修式的艺术态度。从08年到11年,艺术家从犹豫迟疑到愈加果断肯定,几乎完全跳脱对具象结果的被动描摹,有的作品将局部解析、放大、深化、裂变……使观众通过一个暂时假设的通道,进入到一个多维制衡的内部视觉结构中。而展览以 “内部的次方”为主题,就是为了命名这种对绘画内部问题的不断思考与多维表达。

此次展览将以“正在进行的未完成”为出发点,未完成的画,未完成的空间结构,未完成的布展……将引领观众进入对王俊绘画及他的艺术方法的内部,这里面既有假设,也有结果,既有状态,也有未分化的过程。这些对于绘画本体的探讨看起来细微精确,又显得迷离恒常,不是抽象也不是具象。多重记忆的重叠,现实短暂认知的闪回,线条、色调、笔触与肌理构成的画面,又时常让人进入一个对无限细节凝视的无我状态,这听起来像是一个形而上的问题,但实际上又是视觉观看与绘画本体的基础性命题。

策展人鲍栋在其文章中讨论王俊作品的核心究竟是什么:“是时间吗?他的绘画经常是一个耗费时间的过程,一些画甚至始终无法完成,而他从局部入手的方式也有着很强的时间刻度感,更不用提那些高密度的线条与笔触,人们常常视其为一种时间的痕迹。不过,时间感对王俊来说只是一个副产品,与极多主义的那种单维的,依靠数量积累的工作方法不同的是,王俊的绘画并不是单维的,它们总是陷入绝境,因而不得不跳出本来的维度。有时候,他甚至不惜在一张画上自我否定,打断那种顺畅感,因为‘明确的语言容易激起观看之乐而阻碍观看之思……’他绘画中的艰涩感常常是来自于此。王俊真正在把握的绘画内容实际上是他的绘画方法,更具体的说,是其心、眼、手、身之间的相互关联,以及彼此的省思与调整。”

展览将持续到11月27日。



INWARD METHOD MEDIA RELEASE

On November 5, 2011, Space Station will host "Inward Method," a solo exhibition of Wang Jun''''s monochromatic paintings made between 2008 and 2011. As embodiments of his introspective method and meditative attitude, the works from this period are characterized by a growing sense of decisiveness demonstrated by the artist''''s departure from passive imitation to processes of deconstruction, magnification, deepening and diversification, which allows a transient hypothetical entrance into a multivalent visual structure. Thus the theme "Inward Method" identifies a critique of painting, itself, through his persistent thinking and diversified expression_r.

Taking the spectator inside the artist’s methodology, where hypothesis, result, transition, and unitary processes converge, the theme of the current exhibition is that of "incompletion in progress" bringing together unfinished work, spatial structures and curation. This mode of investigation seems subtle, precise, elusive yet eternal in its manifestation, blurring the boundary between the abstract and the figurative. The intertwining of memories, a flashback of fleeting perceptions, and the constitution of the image through lines, colors, brushwork and texture, all culminate in a state of selflessness in which the beholding of infinite details reigns supreme. Even though this appears to be a metaphysical question, in essence it is the fundamental proposition of what painting, in itself, is.

In discussing Wang Jun''''s work, the curator Bao Dong asks: "Is it time that lies at the core of his work? His painting is certainly time consuming to such an extent that some of his works are ultimately left unfinished, his localized approach also leaves a strong impression in relation to the “measuredness” of time, not to mention the extremely dense lines and brushwork which have often been considered to be traces of a temporal dimension. Yet, for Wang Jun, the sense of time is only a byproduct. His work is distinguished from the one dimensional accumulative approach characteristic of Maximalism, instead, Wang''''s painting often ends in an impassive desperation from which the artists must escape. Sometimes he even negates himself on the canvas in order to break the sense of a smooth flow, because ''''clear linguistic formulations tend to arouse the pleasure of seeing which in turn obstructs the thinking demanded by beholding...'''' ; the ''''abstruseness'''' of his paintings comes directly from this concern. What Wang Jun intends to engage through painting is therefore a method, or more precisely, the interrelation between one''''s mind, eyes, hands, body, and their reciprocal meditation and adjustment."

The exhibition will be held until November 27,2011.

 

 

空间站 | Space Station
 

T: +86 10 59789671 

W: www.space-station-art.com 

E: spacestationart@163.com  info@space-station-art.com 

地点:空间站 北京市朝阳区酒仙桥路4号798艺术区中一街

Venue: Space Station,NO.4 Jiuxianqiao Rd,798 Art District,Beijing 100015


 

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空间站诚邀您莅临"现·场"——吕山川个展 开幕式 2011.10.8 16:00

Space Station cordially invites you to the opening of REPRESENTING THE SQUARE ——Lv Shanchuan Solo Exhibitionon this Saturday, Oct.8th, at 16:00.

 


 

·场——吕山川个展

REPRESENTING THE SQUARE—— Lv Shanchuan Solo Exhibition

策展人:唐克扬|Curator:Tang Keyang

开幕 | Opening:16:00 Oct.8,2011

展览日期 | Exhibiting Time:2011/10/08 -10/30

地点 | Venue:空间站Space Station 北京市朝阳区酒仙桥路4号798艺术区中一街

 

 

新闻稿

“现·场”——吕山川个展

 

    空间站将于2011年10月08日举办 “现·场”——吕山川个展。这是参加过2009年上海双年展的吕山川的第三次个展,展出艺术家近2年创作的“广场系列”的大型绘画作品。曾任威尼斯建筑双年展国家馆策展人的唐克扬先生担任此次展览的策展人,从建筑历史的角度对艺术家的作品做出阐释。三周的展期内,将每周更换一张艺术家作品,展示此一系列中的不同作品,同时还将展示一些相关建筑文献图像的背景资料。

    初次面对吕山川的《广场》有一种"自动"的心理应激。海涛般的人浪席卷过巨大的广场,为我们带来了更强的视觉震撼,并将我们的眼光导向深入的细节。这些建筑的周遭在各个历史时期有着全然不同的面貌,它们构成了二十世纪逐渐被稀释的空间的演化史。吕山川创作这样的画或许基于一种自我矛盾的现象:一方面所有的“输入”都来自现实,另一方面,这些“现实”却有着自我取消的倾向。

    吕山川过去生涯中对于新闻"事件"的兴趣,以相似的手法和"广场"系列不谋而合。对他而言,报纸上那些日常生活中的语词一方面自然组成一种"意义的拼图",同时它们的形态和涵义之间又是种彼此竞争的关系──具体地说来,就是构成意义的元素越多,它们表面的多样性越纷繁,当它们被转置于一个中性的情境中时,这些元素向反面转化的可能也就越大。2005年他在德国的一段生活更戏剧化地凸显了这种矛盾,也构成了一个中国人对于欧洲政治历史的独特视角:在海外艺术家不得不依赖于报纸获得新闻资讯,而且在那里只有有限的一些中文报纸。对他而言,类似于"超女"这样使人眼花缭乱的新词汇兼具陌生感和亲切感,他不理解它们的意义,但是亲切的是它们独立成立而合在一起又缺乏意义的形象。油画语言的表现性和物质性,使它产生出了一种不真实的确凿,"某种属于视觉(其实还有心理)上的现场感"。

    他的"广场"系列以同样的方式重复了"事件"的悖谬。在其中艺术家意识到了一种结构与个体,表达与表现之间深层的矛盾。就像贡布里希在《艺术与幻觉》里多次提到过的那样,把事物的“高光“和它的物理“本性”一笔绘出的粗放笔法,不仅仅是令人信服地描绘了“真实”,也同时遮没了它,因为在总体的印象里,你实际上辨别不出构成意义基础的真正的个体。

 

MEDIA RELEASE

REPRESENTING THE SQUARE

Lv Shanchuan solo exhibition

 

REPRESENTING THE SQUARE— Space Station will present Square Series, Lv Shanchuan’s recent oil paintings, on October 8th, 2011. This is going to be the third solo show of the artist, who has participated in the 2009 Shanghai Biennale. Tang Keyang, the curator of 2010 Venice Architectural Biennale, collaborates with the artist for an in-depth interpretation of his works. In the three-week exhibition, content of the show will be weekly rotated with different works in the same series and Space Station will also exhibit some contextual materials including relevant documents and images.

 

People will respond to Lv's Berlin Square with immediate amaze. The crowd roll over a large square, covering the attraction of numerous buildings which bring our eyes a stronger shock and lead us into further visual details. Scenarios emerged around these buildings made different faces for the Square over a long history. This history is about an evolution of the public space with their dilute meaning in the 20th century. Interestingly, Lv might be self-contradictory while painting works like these: on one hand, all inputs come directly from reality. On the other hand, the reality as depicted tends to be self-defying.

 

The artist's passion for visualizing "events" in his earlier works corresponds with his "Square" series in many aspects. For him, the daily words on newspapers compose some kind of "Puzzles of Senses" because there is a competition between its form and norm. In details, the more blocks one “Puzzle of Senses” has, the more diversity it gets. When they are transplanted into a neutral yet alien context, the original implication will be readily turned upside down. In 2005, the artist had lived in Germany for some while. And this foreign experience gave a vivid presentation of “Puzzle of Senses.” It also enables the Chinese artist to cut an unique slice into the Western history and politics. During his German days Lv had to rely on a few local Chinese newspapers for updates. For him, fresh new-generation jargons like "Super Girls' Voice" were both strange and tangible. These self-containing words could register to an equally self-containing image that was immediately recognizable, though they also felt distanced for their lack of precise meanings. While there are no legible faces and signs, the strong materiality that oil paint embodies endows Lv's work with a surrealist feel as if you were "at the scene." (In Chinese the phrase "at the scene" also literally means "representing the Square" )

 

In a similar way, his “square” series repeat the "event" series, visualizing an “event” simultaneously in its visual and semiotic context. By doing so, the artist is fully aware of a deep contradiction between structure and individual, representation and presentation. As repeatedly mentioned by E. H. Gombrich, a seemingly cursive stroke is composed of both the physical “nature” of a thing and its highlight. With the masterpiece of Renaissance artists, the deliberate optical illusion both convincingly depicts the “truth” and places it under shadows. That is because you can only come to the "truth" in a general yet total impression but could never not tell which is the real “individual” – as the acclaimed basis for the “whole” meaning.

 

广场—香港 600cm x 250 cm

Square—Hong Kong 600cm x 250 cm

 

广场—柏林 500cm x 300cm

Square—Berlin 500cm x 300cm

 

 

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