完颜小悠

展览时间： 2012-04-21——2012-05-06

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。

混沌迷茫时，

不知自由为何物

便心向往之，

愿以任何形式。

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。

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

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.11^th, at 16:00.

朝晖夕阴—蒋国蓉个展

Morning Sunlight--Nightfall Shade

Jiang Guorong Solo Exhibition

开幕 | Opening：2012/02/11 16:00

展览日期 | Exhibiting Time： 2012/02/11 -2012/03/03

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，

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

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.

第一周：广场——香港 600X250cm 2009

第二周：广场——埃及 500X300cm 2011

第三周：广场——柏林 500X300cm 2010

广场——北京 500X300cm 2009


广场-上海 600x250cm 2009

Berlin 现状

Berlin 克里斯托

克里斯托草图

Berlin 二战后

柏林 二战

Berlin 最初状态3

Berlin 最初状态2

Berlin 最初状态

Berlin 地图

表征

文|唐克扬

初次面对吕山川的《柏林广场》有一种"自动"的心理应激。虽然包括我在内的大多数人并不知道这幅画的详细背景，我们对于这样的情境并不陌生──广场两侧的高大建筑物当然是引人注目的，可是，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：那些高过手臂的海洋的文字里所读出的，是什么样的欢笑和呼喊？那些细小而如波涛的人形上承载着什么样的表情？我们"看"不清楚，也永远不可能"知道"了。艺术家选择的风格让这样的失落感变得尤为强烈，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。

作为一名受过历史学训练的建筑师，我一眼认出来这是德国国会大厦前的广场，但是却不能准确判读它的年代。也难怪，这座建筑的周遭在各个历史时期有着全然不同的面貌：十九世纪初建的时候它面对的是一片巴洛克风格的花园绿地，而如今的空场象征着民主和公平。在冷战的年代里，这里实际上是被荒置了，两个柏林的人都不再把它视为任何意义上的中心；事实上，国会大厦后是一堵著名的墙，随后墙的移去，并不能剥离出墙后饱胀的意义，这才有今天彻头彻尾的空旷的存在，柏林的苍穹下，是二十世纪逐渐被稀释的空间的演化史。

可是我猜吕山川对这样的事实并没有兴趣。他创作这样的画或许出于一种自我矛盾的意图：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──如何能断定，这样人潮汹涌的场面是1948年西德封锁柏林时期的聚会，还是今天"爱的天国"同性恋大游行？在前者，柏林市长Ernst Reuter曾经向聚集在这个广场的西柏林市民发表了著名的演讲，从而引起了西方世界对于"铁幕"的恐惧；后者是这个性别错落时代的光怪陆离。上个世纪九十年代，我第一次从我的德国同学那里看到这由刺青身体和塑料颜色汇集成的天堂，真地觉得是匪夷所思。可是今天想起来，它们其实是前一阵灰黑海浪的"里面"，柏林人对于政治的厌倦一如他们曾经对此的狂热，虽然出于不同的情境，爱和死一旦叠成排天怒涛时使人同样惊悸。虽然意义已经逆反，历史却总是在以雷同的方式重复着，起码，它们的表征（presentation）看上去是那么地相似。

吕山川的创作脉络在意义和现象的歧路中若隐若现。它们源自于两个互相联属的过程，其一是一种材料向另一种转译的过程，就像他将肖似真实的照片描摹为意会现实的油画，这个过程中，"准确"褪色为"神似"，可是构成社会认同感基础的每个人的面貌已经辨不清楚了──这其中便也牵涉到不同的阅读语境的纠结：是新闻纸，还是绘画？其二就是"个体"和"集体"的关系。画面中俯瞰的角度是冷静而外在的，它们用另外一种方式加强了转译的力度，并且进一步构成了悖谬的交叉：原本是个人视角在场的摄影，看起来可能倒是相对客观的，而艺术家貌似直抒胸臆，将盛大群集"传达"为"意义"的结果却是排除了个体。

艺术家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。作为画家，他并不是一个理论爱好者或热衷政治的人，既不喜读书也不爱上网，因此，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──对他而言，德国国会大厦前的旧影就是这么一种形象。

于是他下意识地寻找这样一类创作的对象。在传统的媒体那里，报纸大写的题头和耸人听闻的画面，都指向某种确凿无疑的意义，或者至少是它们的反面。可是画家完全把报纸的"图象"当做一个中性素材来看待，并为自己设置了一套呆板无趣的操作规则："喜欢的，我就当天把它画好，作品的日期就是新闻的日期"。这个随意指定的题目意在取消意义，它比新闻时间迟一天发生，因此它不是真正的记录而是转译，是间接的折光并不辨别来源，同时，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，无论渗透着什么样的国家性格和意识形态，这样的广场总有着两面性，既然倾向于"建立起权威的属性"，也就不免在不知不觉中将这种权威蚕食，任何现代国家的广场几乎都不能例外，甚至也和社会制度无关。比如他观察到同在巴黎："......东部的广场代表平民势力，西部的广场体现国家的权威"，艺术家依靠自己的直觉领悟到"一个广场是永恒的，每一个堆叠在广场里的故事却都是跳跃着变化的"，这两者之间原本是互相龃龉的。端庄的，空无的和缺乏变化的几何形状意欲吞噬其中的一切，却因其中心的地位和空洞的本性，最终不得不为各种事件所充满──不管它们是什么样的诉求，这样的事件永远在模糊着广场的面貌，使得永恒的意图让位于变幻的时间。对于涌入广场的人们而言，当他们争先恐后地企图发出自己声音的时候，他们也终将淹没在更多怀有同样想法的人们中间。

艺术家冷静地意识到这就是"媒体社会"。无限膨胀的信息规模和人心的尺度，造就了这样的社会的奇观，然而也切断了人们和身边事物的联系，即使对于那些身处在公共空间中的人而言，他们也不得不通过各种媒介来间接地认识世界，而无法真地身临其境的人，也许，却比那些编织在意义网罗中的人更直观地认识到这一切的无效性。迟缓的，通过艺术家之手完成的传达，并不是企图再造现实，而是对充满了"观点"和"事实"的现实的"消毒"。

虽然触及了当代"媒体"的某种本质，在画画的艺术家一定不喜欢别人把他叫做"媒体艺术家"。"图象"当然是吕山川是一个关键词，但是创生图像的"过程"对他而言似乎更为重要。今天有很多艺术家热衷于将绘画编码为图像，而吕山川似乎是在徒劳地逆反着这个过程，用严肃的方法一本正经地干着一件似乎无望的事，他告诉我们"很多艺术家时常希望自己的画面看起来不像一张画，但我恰恰相反，我很希望让本来不应该是一张画的图象，变成一张画"。时髦的数字化"媒体"使得经典的"媒介"变得轻薄了，可他偏偏希望这个以"媒介"的转置来解读"媒体"的过程有一种庄重感，"让它在博物馆和美术馆里出现，让人重新去解读新闻的视觉现场的各种可能感触"。

吕山川对于柏林广场的描绘契合他对于德国表现主义大师的喜爱，在诸多颜色缤纷的"广场"中，这张基本只有黑白两色的画作似乎仅仅是个巧合。然而，对于"不喜欢那些漂亮的干净的作品"的艺术家而言，把一张平常的新闻照片画成"苦涩，深沉，悲壮的"调子非常重要，它为一件反过来做的无聊事情平添了正面的意义。他说："我觉得当代艺术不在于技巧，但是......你用什么样的技巧把一个事情表述到你的最佳状态很重要。我没有自己的绘画语言。语言对我来说不重要。"

 


 


Representation

Text by TANG Ke-yang

 

People will respond to LV Shan-chuan's Berlin Square with immediate amaze at first glance. Although many audiences, including myself, have little knowledge of the background, we are no stranger to similar context conveyed by the painting—floods of heads rolling over a huge square flanked by giant buildings, which strike our eyes and subsequently lead us into further details. Yet we can never get close to the laughter and shout between those waves of lines, nor the expression_rs behind floods of people. Lv’s art style reinforces this sense of lost. Just like E．H．Gombrich mentioned in his “Art and Illusion” , that reality is both projected and overriden by extensive strokes combining highlight and nature of an object. Audience lost their way in recognizing individual which forms a basis for any potential meaning.

 

As an architect who have sufficient knowledge about history, I instinctly recognize the square as one standing in front of Germany Parliament House, though with no precise calculation of it’s age. These buildings witnessed totally diverse views across over long history, a baroque-style greenland in 19th century, a stretch of waste land ignored by both sides during the cold war, and a huge sqaure nowadays which speaks for democracy and equality. However, the fall of the Berlin Wall promises no further meaning than absolute emptiness under the sky. It’s a space with gradually diluted history in the twentieth century.

 

Yet I suspect Lv has no interest in historical account. There maybe an ambivalent intention held by Lv, that is input draw from reality on one hand, and a tendency of self-defying on the other hand. In other words, how can we tell the scene presented was happened in 1948 during the Berlin Block, rather than these days when the pride march was demonstrating? The former one represents fear that western world once harbored about the iron curtain, espcially that aroused by the famous speech once delivered by Berlin mayor Ernst Reuter exactly here. While the later, a grotesque picture of current age. The first time for me to experience such odd scene composed by tattoo and plastic color was in 1990s. But it comes to me today as the internal power of a happening. Berlin people possess as much boredom to politics as frenzy they once had toward it. A collection of love or death, dispite different origin, can cause equal astonishment. And histoy always repeats itself in such a similar way, that it takes a parallel presentation. 

 

Lv presents his concept in a subtle interaction of sense and presentation. For one, he interprets a certain image into another language which drops precise individual identity in the authentic picture. For another, Lv knits individualism and collectivism together into a paradox. The calm and objective bird-eye-view adopts by the painting transforms artistic emotion into a great occasion discarding individuality.

 

Sharing the same interest in news, Lv’s privious art pieces “Events” correspond to “Square” serie. As an artist tastes neither theory, politics, books nor the internet, Lv naturally regards information appeared on the newspaper as a kind of “Jigsaw of Sense”. For him, the more pieces a jigsaw has the more diversity it gets, which finally indicate further reverse propositions when they are installed in neutral context. Lv’s own experience of living in Germany in 2005 also underlined the above contradiction, and enabled him to cut an unique slice into Europe. Depending on limited newspaper in Chinese, Lv was informed of dazzling new words like “Super Girl”, words both familiar and strange while lack of sense when assembled. This is exactly what Lv felt over the famous wall behind Germany Parliament House.

 

Subconsciously focusing on these objects, Lv sperates sensational connotation from its authentic image. And by transmitting them into totally neutral material, Lv set for himself a suit of dull rule. “I will finish it on that day if I like the material. Date of the work will be the date of that news.” Occuring a day later with a random appointed name, Lv aims at removing the sense and makes his work an interpretation or reflection, rather than a site record. Meanwhile, the strong materiality, as well as representability that oil painting embodies, brings a flavor of surrealism out of his works. It is a visual sense of being at the scene, covering a psychological sense of participation. 

 

Lv displays the same paradox in both “Events” and “Square” series. Among them, the artist realises a contradiction between structure and individual, presentation and representation. No matter what kind of national character or ideology a square may convey, it always permeate two-sidedness. That is a nature of establishing authority versus decaying of it. This can be applied to any modern national square, concerning no social system. For example, the square in east Paris stands for civilian power while that in west for national authority. The artist instinctly senses the eternal square confronting with momentary events. And no matter what appeal those events may have, they continue to cause square to be obscured within a changing time. For people flooded into square and tried to have their own say, they have already been buried in the crowd which appeal the same thing.

 

Here, the artist calmly recognizes a “media society”, a contemporary spectacle fostered by indefinitely expanding information and human mind. This media society not only cut off the link between man and public space, but exploits the context for truly understanding the world. On the other hand, the gradually recreated expression_r by artist, instead of carring information, possessing “disinfection” of ideas and facts.

 

However, Lv is unwilling to bear the name of “media artist”, though he do get to certain essence of contemporary media. With artistic key word “presentation”, Lv places more importance on the process of creating image. Currently, many artists are high on encoding painting into presentation, while Lv seems to rebel the fashion in vain. “Many artists often hope their paintings do not appear like a painting. But what I do is quite the opposite. I’d like to turn presentation into painting.” The trend of digital media sharply squeezes the importance of the classic one. But Lv carries out efforts to produce an exchanger to interpret media with solemnity. “I expect these works to appear in museum and gallery, to remind the public all potential feelings of a visual news-site.”

 

Lv’s illustration of Berlin Square agrees with his favor over German Expressionist, though this black and white painting seems more than a coincidence out of many fanciful square. But, “for those artists who have dislike for any beautiful and clean artworks, it is important to attach an atmosphere of bitterness, fullness and grief on a painting. It endows positive meaning to a common behaviour.” Besides, he mentioned that, “contemporary art lies in no technique but......What matters is to express yourself to the most ideal extent. I do not have my own mode of painting language. And it doesn’t matter.” 


 

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.8^th, at 16:00.

 

 

现·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

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

 

 

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