ArtSlant - Recently added en-us 40 - Power Station of Art - March 28th - June 28th <p style="text-align: justify;">Established on Oct. 1st, 2012, the Power Station of Art (PSA) is the first state-run museum dedicated to contemporary art in mainland China. It is also home to the Shanghai Biennale.<br />&nbsp;<br />Standing tall by Shanghai&rsquo;s mother river, the Huangpu River, PSA now occupies an area of 42-thousand square meters. With an internal height of 27 meters, the museum now houses exhibition sections that add up to 15-thousand square meters, and its 165-meter chimney, being an independent exhibition space, has also become an integral part of Shanghai&rsquo;s world-famous skyline.<br />&nbsp;<br />Renovated from the former Nanshi Power Plant, PSA was once the Pavilion of Future during the 2010 Shanghai World Expo. The museum has not only witnessed the city&rsquo;s vast changes from the industry age to the IT era, but also provided a rich source of inspirations for artists with its simple yet straightforward architectural styles.<br />&nbsp;<br />And as Shanghai&rsquo;s generator for its new urban culture, PSA regards non-stopping innovation and progress as the key to its long-term vitality. The museum has been striving to provide an open platform for the public to learn and appreciate contemporary art, break the barrier between life and art, and promote cooperation and knowledge generation between different schools of art and culture.&nbsp;</p> <p style="text-align: justify;">Since 2013, the Power Station of Art has set &ldquo;architecture and space&rdquo; as an important academic research direction, presenting thematic exhibitions, symposiums and practice projects each year, and meanwhile preparing to establish an architecture document database. Piece by Piece: Renzo Piano Building Workshop is the second large-scale exhibition of this project, and also the first retrospective of this Pritzker Architecture Prize winner in mainland China. This exhibition not only explores the relations among material, structure, atmosphere and inhabitants, but also manifests the inexorable process of this master architect setting out from Milan modernism, exceeding traditions, infinitely approaching precision and freedom of poem. It&rsquo;s believed this exhibition would bring enormous enlightenment and inspiration to young Chinese architects.</p> Wed, 01 Apr 2015 10:08:52 +0000 Cheng Ran - Galerie Urs Meile Beijing - April 25th - July 12th Wed, 01 Apr 2015 10:04:43 +0000 Double Fly - Today Art Museum (TAM) - April 30th - May 6th <div style="text-align: justify;">The chicken or the egg was a question raised by ancient sages such as the Greek philosopher Socrates and the Chinese Confucian thinker Mencius. Double Fly Art Center poses this philosophical thesis about the origin of the world once again. As one of the late nine sages of ancient Greece, Double Fly does not leave any canon works. But their philosophical claims were discovered through documents and literature. Instead of explaining the origin of all matters in theological methodology, they consider "egg" to be the model of the origin of the universe. In Greek mythology, the goddess of love was born in an egg. In ancient Indian books, Brahma was born in an egg. The stories and totem of egg also appear in Japanese, Chinese, Slavic, Peruvian, Finnish and many other cultures. Such universal concept comes from the consanguinity recognition in the early phase of life's consciousness. It is a view of the universe shared by all mankind. Physicists believe that all matters in the world came from the egg of the universe in a big bang. Chinese mythology of Pan Gu opening the sky and earth also supports this concept of the universe was born in an egg. Biologists think that the origin of species starts from the mutation of genetic chains in an embryo. Geographic discoveries prove that the earth is an ellipse with an inner core. Egg is the uterus of everything in chaos. It contains everything and starts everything. From void to being, from zero to infinite.&nbsp;</div> <div style="text-align: justify;">&nbsp;</div> <div>Double Fly sets up the first Double Fly Egg-crushing Tournament at Today Art Museum. The project is planned by Fu Xiaodong and supported by the Space Station. The exhibition will hold a series of games of contest. They will be like the Olympic Truce, symbolic of equity and fairness. The games will expel bias and troubles in the minds and rebuild the link of peace and friendship.<hr /> <p style="text-align: justify;">&nbsp;&ldquo;先有鸡,还是先有蛋?&rdquo;继古希腊哲学家苏格拉底和儒学圣人孟子之后,双飞艺术中心再次提出了这个关于世界本源的哲学命题。作为古希腊后九贤的双飞,虽然没有留下什么著作,但是通过文献记载,发现了他们的哲学主张。他们不用宗教神学的方式来解释万物的起源,而是认为&ldquo;蛋&rdquo;是宇宙起源的模式。这在希腊神话中,蛋中诞生爱神;印度古籍中,蛋中诞生梵天;蛋的传说和图腾出现于早期日本、中国、斯拉夫、祕鲁、芬兰等多种文化之中。这种普世性意识,来自于早期生命意识的血缘体认,是全人类共有的宇宙观。物理学认为,大爆炸是从&ldquo;宇宙蛋&rdquo;中诞生一切,中国盘古开天也是撑起宇宙蛋的创世神话。生物学认为物种的起源来自于胚胎的基因链变异,地理学大发现也早已证实了地球是一个有内核的椭圆。蛋在混沌中孕育了一切,包涵了一切,也开启了一切,从无中生有,从零扩展到无限。</p> <p style="text-align: justify;">&nbsp; &nbsp; &nbsp; 双飞此次在今日美术馆正式创立&ldquo;双飞荒蛋奖&rdquo;,由付晓东策划,空间站协办。此展将开一系列竞技比赛,如同&ldquo;神圣的休战月&rdquo;象征平等公正的奥林匹克,比赛将抛去成见和烦恼,重建和平和友谊的连接。</p> </div> Wed, 01 Apr 2015 09:34:58 +0000 Zhao Lele - Today Art Museum (TAM) - April 24th - May 6th <div style="text-align: justify;">Since the society has been diversified, and the thought has also broaden extensively. Art, obviously, has been put into the most outstanding place.</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">The social structure of China has been over subverted in this 100 years, the ideology and aesthetic of the populace have been changed from single to variety, then to the single backing to the variety. After 2000 years, as material civilization dominates us. Lust has its full swing like a monster released from long years' imprisonment. No matter what it is, as long as it has a price it becomes merited.&nbsp;</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">They have grown up. Childhood of Post 80s and 90s generations is not bitter or miserable. What they have gone through is not capable of evoking praise or tears. In their memory, China has already been a great power, so they don't need to worship things foreign or fawn on foreign countries or to rejuvenate China.</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">Their works don't have to copy &lt;One Hundred Years of Solitude&gt;, and their movies are not produced for Oscar. Also their paintings won't be categorized into any doctrines. It's just a painting, isn't it? I paint; I am happy.&nbsp;</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">Zhao Lele is such a painter of post 80&amp;90, simple, shiny, bright......Her painting is herself,quite and still. Spectators enjoy her works, which seems like a stream running through the grassland. It "sounds" quiet and "smells" pleasant.</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">She lives a simple life, painting everyday; she lives a quite life, drawing everyday.&nbsp;<hr />当社会步入多元状态,思想被最大限度地解放开,艺术就当仁不让地站在了最显眼的地方。<br />&nbsp; &nbsp; &nbsp; 100多年来,中国社会机构一次次被颠覆,人民的意识形态和审美也随之一次又一次被改变,从单一到多元再到单一再到多元。2000年后,物质文明逐渐主宰了我们,贪欲像一只被囚禁了很多很多年的野兽获得释放,为所欲为,无论是什么,只要有一个价格就变成理所当然的事情,如果这个价格后面的零多一些的话,那么它就更加理直气壮。<br />&nbsp; &nbsp; &nbsp; 就在人们酸文假醋地感叹人心不古时,幸好有了八九零们,他们长大了。八九零们的童年时代没那么苦大仇深,他们的成长经历中也没那么多可歌可泣,从记事起中国就是世界强国了,所以她们既用不着崇洋媚外,也用不着一天到晚想着振兴中华。<br />&nbsp; &nbsp; &nbsp;他们创作的文学作品也不用在抄《百年孤独》了,他们拍的电影里不再为什么奥斯卡矫情了,同样他们的绘画里少了这派那派的主义了,不就是张画吗?高兴了就画画。<br />&nbsp; &nbsp; &nbsp; 赵了了就是这样一个八九零,简单、阳光、灿烂⋯她的绘画就是她自己,安安静静,窃窃私语。观众欣赏她的作品,就像在草地上经过一条河流,潺潺如歌,芬芳可闻。<br />&nbsp; &nbsp; &nbsp; 她的思想简单,每天在涂涂抹抹中度过,她的生活平静,每天都在涂涂抹抹中度过。</div> Wed, 01 Apr 2015 09:32:31 +0000 Cai Xiaohua - Today Art Museum (TAM) - April 25th - May 5th <div style="text-align: justify;">Painting needs to be restarted. As western painting is evolving toward the monochromic crisis of black and white, we need to consider how to kick start the possibilities of painting again. Cai Xiaohua's works give us a light of hope. Colors have never been a present existence in the paint tubes. They are the effusion of life's energy and the power of the spirit, the separation of textures in colors and an invisible force of tension. Such effusion has to be generated by an artist time after time.&nbsp;</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">The basic pattern of Cai Xiaohua's pictures is abstract monochromic. Yet such pattern has a metaphysical taste between the black and white. It follows the Taoist doctrine of Lao Zi and Zhuang Zi that "void allows for inspiration while fullness prevents creation." It awakes feelings toward colors such as cyan and beige that are part of Chinese tradition. They seem to be monochromic, yet the colors are not what they are. These are the false colors derived from the state of chaos. The feelings of the colors keep being nurtured and developed. They come with a blurred halo and suggest the omen and enlightenment of the world. The microcosmic power keeps effusing continuously as if innumerable dark matters are congregating in the picture. Yet they are self restrained and retain the emptiness and thinness of the surface itself. The blurred and chaotic micro particles grow into rich wrapped slurry colors that are very fascinating in the rise and falls, grandiose and solemn.&nbsp;</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">Cai Xiaohua discovered the tragic nobleness that dissolves the abstract expressionism in the United States as existing between Barnett Newman and Mark Rothko. His colors are the splendidness in ordinariness as described in the Chinese tradition. This blurred color of wrapped slurry is a convergence of multiple timeliness. Both the layers of grain overlaid during the painting process and the breathing energy that incorporates a micro world in the inner space are a true breakthrough to the monochromic minimalistic painting!</div> <div style="text-align: justify;">&nbsp;</div> <div>Cai Xiaohua's works allow us to feel once again that the realm of these infinite false colors is the true celebration of a splendid inner world!<hr /> <p style="text-align: justify;">&nbsp;绘画有待于重新开始,在西方绘画走向黑色与白色的单色危机之后,如何重新开始绘画的可能性?蔡小华的作品让我们看到了希望的曙光。颜色从来不是一种现存的颜料,而是生命能量与精神强度的倾吐,颜料质感的分离与不可见显现的张力,有待于艺术家每一次以新的原理生发出来。</p> <p style="text-align: justify;">&nbsp; &nbsp; &nbsp; 蔡小华以抽象单色为基本图像,但却以黑白的形而上学意味,以老庄的&ldquo;虚室生白,吉祥止止&rdquo;的原理,重建了一种新的微观形而上学。唤醒中国传统的青绿、米黄以及赭色等等色感,看似单色,但色已非色,因为这是在混沌中涌现出来的&ldquo;虚色&rdquo;,让色感一直氤氲化生,带有浑化的色晕,暗示世界显现的端倪与征兆。微茫的力量在无休止涌现,画面上似乎有无数的暗物质在聚集,但又含蓄内敛,保持平面本身的虚薄,混芒的微颗粒在隐秘起伏中生成为迷人的&ldquo;包浆色&rdquo;,华美而庄严。</p> <p style="text-align: justify;">&nbsp; &nbsp; &nbsp; &nbsp;蔡小华找到了化解美国抽象表现主义在纽曼与罗斯科的悲剧崇高感,是中国传统所言的平淡之中的绚烂,这虚化的&ldquo;包浆色&rdquo;聚集了多重的时间性,无论是绘画制作过程反复叠加的颗粒厚度,还是内在融合了微观世界的呼吸能量,有着对单色极简主义绘画真正的突破!</p> <p style="text-align: justify;">&nbsp; &nbsp; &nbsp; &nbsp;蔡小华的作品让我们再次感受到这一片无尽的虚色即是内心世界灿烂美好的节日!</p> </div> Wed, 01 Apr 2015 09:29:47 +0000 Wu Shaoxiang - Today Art Museum (TAM) - April 9th - April 21st <div style="text-align: justify;">Contemporary sculpture is an important component of Chinese contemporary art. Although the boundary between sculpture and installation art or other art forms has become increasingly blurred, sculpture always has its own distinct characteristics. Since the &ldquo;85 New Wave Movement&rdquo; thirty years ago, Chinese contemporary art stands out conspicuously with its special visual strength and artistic language. Being rebellious against and critical of the idea that art should serve politics, &ldquo;85 New Wave Movement&rdquo; sends a refreshing breeze to the ideological emancipation. It has a great influence on the enlightenment of Chinese modern art.&nbsp;</div> <div style="text-align: justify;"><br />During the 1980s, Wu Shaoxiang is the most active and influential sculptor in China. He is the first artist who has the courage to rose in rebellion. With strong visual ignition and explosive mental power, he enlightens the benighted people who live in the apathetic atmosphere in which &ldquo;ten thousand horses were all muted&rdquo;. His early works, simple and abstract, have brand-new connotations and vitality. During the time when people desire novelty and pursue liberation of mind, he catches people&rsquo;s eye and amazes them with his uniquely designed works and rebellious spirit. His unique sculpture language and the visual impact of his works make him the most representative sculptor in the &ldquo;85 New Wave Movement&rdquo;. Together with other advanced sculptors, he sets a precedent for modern Chinese sculpture.&nbsp;</div> <div style="text-align: justify;"><br />&ldquo;Desire Scenery&rdquo;, as the first research exhibition of the book History of Chinese Contemporary Sculpture, will show Wu Shaoxiang&rsquo;s artistic exploration from 1982 to 2014, especially those remarkable works and historical materials in &ldquo;85 New Wave Movement&rdquo;. Audience could learn about the basic condition of China&rsquo;s modern sculpture in 1980s, and view Wu&rsquo;s key works of different times after his emigration to Austria in 1990s, thereby get to know Wu Shaoxiang&rsquo;s artistic experience in the past thirty years and see the continuous exploration and innovation of this internationally acclaimed artist. The exhibition is a review of Wu Shaoxiang&rsquo;s personal artistic experience and an individual case study of the development of Chinese contemporary sculpture. Therefore, it will provide us a profound way to look back upon and a vast space to think about the achievement of &ldquo;85 New Wave Movement&rdquo; nowadays &ndash; thirty years after the movement.</div> <div style="text-align: justify;"><br />Many thanks to Today Art Museum(Beijing), Singapore Contemporary Art Museum and Linda Gallery(Beijing) for providing us strong support and help. As this year&rsquo;s first important academic exhibition of Today Art Museum(Beijing), it is academically supported by the famous art critics &ndash; Li Xianting, curated by Yin Shuangxi, a famous art critics and professor of Central Academy of Fine Arts, and me. We also got support and encouragement from Gao Minglu, Liu Xiaochun, Peng De, Zhu Qingsheng, Wang Mingxian, Feng Boyi, Bao Pao, Lu Hong and etc. during the preparation of this exhibition. Our sincere thanks to all of them.</div> <div><br />We hope everybody could, through this exhibition, hear the echo of contemporary sculpture in the corridor of Chinese history, and sense the artistic value and significance of Wu Shaoxiang&rsquo;s sculpture.<hr /> <p style="text-align: justify;">当代雕塑是中国当代艺术的重要组成部分,尽管今天的雕塑艺术与装置艺术等艺术门类有渐趋模糊的势头,但雕塑艺术自身始终有其明晰的界限。从三十年前的&ldquo;85美术新潮&rdquo;运动开始,中国当代雕塑艺术以其独有的视觉张力和艺术语言显现出特有的光芒。&ldquo;85美术新潮&rdquo;的雕塑艺术以对文艺为政治服务思维方式的反逆和批判而成为思想解放运动中的一股清风,对中国社会的现代艺术启蒙发挥了重要作用。&nbsp;</p> <p style="text-align: justify;">&nbsp; &nbsp; &nbsp; 吴少湘是八十年代中国雕塑界最为活跃和有影响力的雕塑家。是首位勇于打破时代禁锢,在万马齐喑的年代以强烈的视觉创燃点和精神爆发力给人以振聋发聩的艺术家。其早期作品以简约、抽象的表现形式,赋予了作品崭新的雕塑内涵,给抽象的形体以生命和运动的活力,在渴望新鲜事物,&nbsp;追求思想解放的年代以独特、惊艳的造型图式和反叛精神使人的瞳孔快速放大,叹奇。其独特的雕塑语言和视觉震撼力使他成为85新潮艺术运动中最有代表性雕塑家。他与其他前卫雕塑家们共同开启了中国现代雕塑艺术的先河。&nbsp;</p> <p style="text-align: justify;">&nbsp; &nbsp; &nbsp;&nbsp;本次展览是编撰《中国当代雕塑艺术史图鉴》一书的首个研究性展览。将集中展示吴少湘先生1982年至2014年以来艺术探索的历程。特别是&ldquo;85美术新潮&rdquo;时期引发中国雕塑界特别瞩目的重要作品和历史文献资料,大家可以看到八十年代时中国现代雕塑艺术的基本情况,以及九十年代吴少湘移居奥地利后在海外不同时期的重要作品,从而扫描出三十多年来吴少湘雕塑艺术创作的足迹。从中看到一位在国际舞台上广有赞誉的艺术家不断探索、刻苦创新的轨迹。展览既是吴少湘个人雕塑艺术历程的回顾,亦是中国当代雕塑艺术发展的个案梳理。因此,本展览将为我们在30年后的今天回溯&nbsp;&ldquo;85&rdquo;美术新潮运动的成就提供了一个深度的观看方式和广阔思维空间。&nbsp;</p> <p style="text-align: justify;">&nbsp; &nbsp; &nbsp; 非常感谢北京今日美术馆和新加坡当代美术馆及北京林大艺术中心对本次展览给予的大力支持和帮助。本次展览作为今日美术馆本年度推出的重要学术展览,由著名美术批评家栗宪庭先生担任学术主持。著名美术批评家、中央美院教授殷双喜和我担任策展人。展览筹备期间得到了高名潞、刘骁纯、彭德、朱青生、王明贤、冯博一、包泡、鲁虹等人提供的支持和鼓励,在此一并致谢。</p> <p style="text-align: justify;">&nbsp; &nbsp; &nbsp; 通过这个展览,希望大家能体会到中国历史长廊里当代雕塑艺术的回声。同时,感知吴少湘雕塑艺术的艺术价值和时代意义。</p> </div> Wed, 01 Apr 2015 09:27:20 +0000 Wang Jin - Today Art Museum (TAM) - April 8th - April 20th <p style="text-align: justify;">In her own eyes, Wang Jin's works are about love. She is an &ldquo;observer&rdquo; and a &ldquo;participant&rdquo;, examining and prying into the details, all thanks to her excellence in perception, observation and imagination. To her, painting is something to be treated with discretion, which requires a painter to capture hidden emotions and desires, and understand the differences between human emotions and the reality. There are beautiful hopes, and at the same time, impractical illusions. In her works, she is more willing to tell the others about her life instead of trying to respond to a grand cause that lives up to the artistic traditions. She paints about her own feelings and life. To her, it is perhaps due to a need of &ldquo;self-reflection&rdquo; in essence, displaying the feelings which are complex and ambiguous, some even contradictory and inexpressible. That is why she uses &ldquo;graphology&rdquo; strokes that leave sparse openness in her works, which brings a sense of calmness against the use of intense colors. The West Lake is where the stories take place, which makes a metaphor of space to some extent. A &ldquo;theater-like&rdquo; atmosphere reminds the audience of Antoine Watteau&rsquo;s f&ecirc;te galante paintings, a French painter whose paintings belonged to Rococo Art. What is beneath all the gracefulness is actually sadness. It seems that the sensual pleasure is not at all real. It is also why her paintings carry a special sense of &ldquo;poetry&rdquo;.&nbsp;</p> <hr /> <p style="text-align: justify;">在王瑾看来,自己的绘画是与爱情有关的,其既作为&ldquo;观看者&rdquo;也是&ldquo;参与者&rdquo;,是审视也是窥探,都有赖于其细腻的感知力、洞察力和想象力。对于王瑾而言,绘画是一件很严肃的事情,要捕捉到其中很隐秘的情绪和欲望、人与人在情感和现实之间的隔阂,有美丽的憧憬也有不切实际的想象。在王瑾的创作观念中,并没有预设去回应一个宏大的艺术史传统的愿望,而是更愿意尝试描述一种个体的生活经验,意即用绘画的语言记述自身的所知所感,对其而言这种状态关乎一种秉性之中的&ldquo;自我观照&rdquo;,描述一种复杂而不确定的,有些甚至是自相矛盾的、悖论性的、若隐若现的、莫可名状的情绪。因此王瑾的绘画中出现一种疏放而松动的&ldquo;书写性&rdquo;用笔,热烈的色彩中是沉郁的冷静和通透,微妙的情绪在景物之间弥散开来。西子的湖山和草木作为叙事的场景,其&ldquo;剧场&rdquo;般的氛围使观者很容易回想起洛可可时期法国艺术家华托的&ldquo;游乐画&rdquo;,在优雅的底下默默流淌的更多是伤感,似乎寓意着一切感官的愉悦都是值得怀疑的,也赋予了绘画一种特殊的&ldquo;诗&rdquo;的意味。</p> <p>&nbsp;</p> Wed, 01 Apr 2015 09:21:07 +0000 Fan Yaping - Today Art Museum (TAM) - April 2nd - April 25th <div style="text-align: justify;">To Fan Yaping, her art is a way of free thinking about the life and the universe. It is a figurative face from the real world which carries the expression of her multi-dimensional thinking about the infinite life. To quote Nietzsche in Philosophy in the Tragic Age of the Greeks, "the spirit always does whatever it wants. All its acts, including the primitive acts, are acts of the 'free will'..."</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">Your own character is easy to be seen while the wisdom of a Buddha is rare to be found. Life is a fragile being. While art is doing the most profound thinking in such fragility. Fan Yaping switches such hidden impulse in life to a metaphysical perspective and poses it face to face with existence and death. Hence the Life and Death series.</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">The wisdom of Buddha is eternal. It is a kind of faith. Faith is what is absent in our society. The artist calls upon people to think about faith with her works. It might be true that only few of us could be completely enlightened spiritually and find a faith on the metaphysical abstract level. The yearning to become one of the few drives her to a greedy state like someone lost in a desert is suddenly served with a table of food. Oil painting and sculpture become her best way of expression. In her own disposition lies the wisdom of Buddha. When she bows down and takes mercy in life as an artist, she encounters this wisdom. Fan Yaping takes some time every year to meditate in seclusion. Thus can she have more quiet time and stay away from the hustle bustle of urban life to practice herself in silence, create art in silence. It is like the way Winckelmann described the ancient Greek sculptures: "noble simplicity and quiet grandeur"...<hr />对于范娅萍来说,她的艺术就像是一场对生命宇宙的自由思考。通过现实世界的具象面孔,来表达她多维的对无限生命的思考。诚如尼采在《希腊悲剧时代的哲学》所说&ldquo;精神是随心所欲的,它的一切行为,包括原始运动这个行为,都是&lsquo;自由意志&rsquo;的行为&hellip;&hellip;&rdquo;<br />&nbsp; &nbsp; &nbsp; 自性可见,佛性难寻。生命就像是一种脆弱的存在,而艺术却在这种脆弱中做了最深刻的思考,范娅萍将这种隐藏在生命内潜在的冲动切入到一个形而上的视角,直面存在与死亡,即生与死系列。<br />&nbsp; &nbsp; &nbsp; 佛性是永恒,也是是信仰,当下社会信仰的缺失,艺术家通过作品唤起人们对信仰的思考。或许,只有少数的个人能在精神上洞彻和形而上抽象的精神信仰,这种冲动使她像个沙漠里饥渴的人遇到美食,而油画和雕塑成了她最好的表达方式。自性中本身就潜藏着佛性,当她以艺术家的姿势躬身放下、悲悯生命的时候,便不小心与佛性遇见了!每年的闭关禅修让艺术家范娅萍更多的沉静的时间,远离了都市的繁华,寂静修行,寂静的创作,诚如温克尔曼描述古希腊雕塑,&ldquo;高贵的单纯,静默的伟大&rdquo;&hellip;&hellip;</div> Wed, 01 Apr 2015 09:18:24 +0000 Wang Hao - Today Art Museum (TAM) - April 2nd - April 18th <p style="text-align: justify;">As a representative of new-ink painting in contemporary China,Wang Hao skillfully combined the western abstractionism with the eastern image, creating a kind of ink colour that shapes forms without strokes and displays richness in the blank. With the deconstructive and abstract nature of contemporary vocabulary, he reconstructs the ink images, and breaks the boundaries between painting categories. His willful liberty with brush strokes on the paper usually strikes audience with its defiance of existing aesthetic common sense and order.</p> <div><br />---- ALEX GAO Ph.D(DIRECTOR of TODAY ART MUSEUM )<hr /> <p style="text-align: justify;">作为中国当代新水墨代表人物之一的王灏,将西方抽象主义与东方意象相结合,创造出一种&ldquo;有形无迹,虚中润实&rdquo;的墨色。利用当代语言的解构与抽象性质,重新塑造水墨意象,模糊画种的界限,突出笔墨挥洒于纸上的肆意与自由,打破了原有的审美常识与秩序。</p> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">&mdash;&mdash;高鹏博士(今日美术馆馆长)</div> </div> Wed, 01 Apr 2015 09:15:39 +0000 Santiago Villanueva - Today Art Museum (TAM) - April 2nd - April 18th <div style="text-align: justify;">The exhibition "Fragile" presents a set of five installations by the renowned Spanish sculptor Santiago Villanueva (Madrid, 1964) carried out between 2012 and 2015, summarising the variation in his recent creation.</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">Working with moulding, casting and finishing techniques, Villanueva confers an organic or mineral imagery to his objects, which is especially evident in the spherical or tubular shapes of his choice, such as antennae, tears or stalactites, but above all it is the transitional forms, those which are in a frozen moment of change into a new composition, that are the most abundant and striking in the work of the artist.</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">Appealing to the sensory aspects of the artist's works, as well as the reflection on sculpture as the medium that they convey, the curator M&oacute;nica &Aacute;lvarez Careaga suggests that we contemplate it in the most na&iuml;ve way possible, and, at the same time, the loftiest, invoking metaphysical polarities such as absence and presence, stability and change, matter and imagination.</div> Wed, 01 Apr 2015 09:12:50 +0000 Gao Mingyan, Liu Fei, Hsu Che-Yu, Xiao Jiang, Zhang Lehua - Vanguard Gallery - March 28th - May 10th <p style="text-align: justify;">Vanguard Gallery this year&rsquo;s Warehouse Story IV will exhibit paintings and videos from artists Gao Mingyan, Liu Fei, Hsu Che-yu, Xiao Jiang and Zhang Lehua.&nbsp;</p> <p style="text-align: justify;">Gao Mingyan&rsquo;s creation is daily life-oriented. He is good at discovering fresh elements from ordinary; his perspective is smooth and mild, give the perception of the nature and the expression without deliberately. By questioning and thinking the neglected or common things in our life, he presented us a brand new view, he is trying to&nbsp;arouse people&rsquo;s understanding of &ldquo;daily&rdquo;. This exhibition will show his video work.&nbsp;</p> <p style="text-align: justify;">Liu Fei&rsquo; s paintings seldom express the beauty of art or the concept, but play a game, which seems teasing and practical joke, with the current authority through art. Liu Fei is bold and skilled in using of various materials and playful visual language. He has always maintained a rebellious attitude and an anti-trendy painting style. He doesn&rsquo;t want to be labeled, nor does he want stick to the same fashion every time he paints. &nbsp;</p> <p style="text-align: justify;">Hsu Che-yu is more focused on image, real events happened in life is his starting point, often combing animation figures with real scene in life to create an illusion between false and true. This exhibition will show selected works from his &ldquo;The Black Dahlia&rdquo;collection, each piece relates to a real news event. In these works, artist tried to erase the events, and just leaving little symbols and clues to show the pure image and emotion. He erased not only the description of the event, but also the reality.&nbsp;</p> <p style="text-align: justify;">Xiao Jiang&rsquo;s creation often comes from daily life experience. His outdoor landscape paintings do not contain any emotion or symbolic meanings, appearance and implication are mixed together. Visible scenery and invisible emotion, the visual power of concretization and abstract evokes strong sympathy. Xiao Jiang change his and audience&rsquo;s standpoint, we walk into the landscape as intervened bystander.</p> <p style="text-align: justify;">Zhang Lehua is good at capture rudiment of an idea in daily life inadvertently, his &ldquo;art thinking&rdquo;seems always able to lift this rudiment ideas. He tries to make his artwork look serious and harmony, as if he&rsquo;s trying to preach. But there&rsquo;s always self-mockery behind them. This exhibition will showcase video which is the second episode of <a>, as well as the paintings extended from it. To teach people how to make a Chinese traditional art form and watch it in an interactive way.&nbsp;</a></p> <p style="text-align: justify;">This exhibition will open on March 28th 2015 in Vanguard Gallery, and last till May 10th.</p> <hr /> <p style="text-align: justify;">Vanguard画廊今年的《仓库总动员(第四回)》将展出艺术家高铭研、刘非、许哲瑜、肖江、张乐华的绘画、录像等作品。</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">高铭研创作的题材和方向多来自于日常,他擅长从平凡中发现细微之处的趣味,视角细腻温和,透出自然的感知和非刻意的表达。他通过观察那些我们容易忽视的,思考那些我们已经习以为常的,来提出质疑,引发思考,打开一个全新的视野,唤起人们对&ldquo;日常&rdquo;的再理解。此次展览展出高铭研的录像作品。</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">刘非的绘画很少表现艺术的美和观念本身,而是以绘画这个方式与当下时代做一场调侃、戏虐和恶作剧式的游戏。他经常使用一些大胆的材料和颜色并运用嬉戏般的视觉语言。不愿意固定一张面孔,形成某个商标性风格,逆潮流而动,是刘非在创作中一直坚持的。</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">许哲瑜的创作以影像为主,现实中发生的真实事件是他的创作出发点,常以动画人物结合现实场景,构建居于虚实之间的幻觉情境。此次展出的作品节选自许哲瑜的&ldquo;黑色大理花&rdquo;系列,每幅绘画都对应一个真实的新闻凶杀案事件,但在作品中,艺术家刻意的抹除事件性,只留下些微的符号与线索,以及纯粹的图像与情绪。被消除的不只是事件的叙事,更是事件的现实。</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">肖江的创作多来源于日常生活的个人体验。他的户外风景画不轻易表露任何情绪和象征意义,其中表象和意味的融合,看见的风景与看不见的人的情感联系,具象与抽象的交融及其视觉力量,引起我们强烈的共鸣。肖江自觉地改变了自己及观众的立场,在画面的这一端,我们走向画中风景,是&ldquo;介入的&rdquo;旁观者。</p> <p style="text-align: justify;">张乐华善于在日常生活的不经意处敏锐而机巧地抓住观念的雏形,他的&ldquo;艺术思维&rdquo;似乎总能把这些观念雏形进行有效提携。他力图让作品看起来很严肃、和谐,如同说教一般,但背后却总带着一种自嘲式的纠结,以及偷偷试探规则底线的少年心理。此次展出的录像作品是他继《喊叫绘画速成教学》的第二集艺术科教片《脸书艺术教学示范》,以及从中延伸出的绘画作品,艺术家提供给观众一条捷径来创作、赏玩&ldquo;脸书&rdquo;这种少为人知的艺术。</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">本次展览将于2015年3月28日在Vanguard画廊展出,持续至5月10日。</p> Wed, 01 Apr 2015 09:39:05 +0000 Li Jin, JIN Weihong - Today Art Museum (TAM) - March 15th - April 4th <div>In actual fact, "Male- Female" exhibition&rsquo;s subject is the possibilities of contemporary ink art. What makes it &ldquo;contemporary&rdquo;? What are its means of expression? What are its subject matters? Where is its rightful place in the vast array of today&rsquo;s Chinese and world art? The exhibition is conceived as a meeting of two important contemporary ink artists. It intends neither to confront nor provoke a dialogue. It is sounding out the possibilities of contemporary ink painting from a female and male perspective.</div> <div style="text-align: right;">&mdash;&mdash;Curator Michael Kahn-Ackermann<hr /> <div style="text-align: justify;">&ldquo;男&middot;女&rdquo;展览真正的主旨,是在于提出一系列问题:当代水墨艺术的能力是什么?什么是水墨艺术的&ldquo;当代性&rdquo;它依靠什么样的审美观念?它表现的对象是什么?在今日中国乃至世界艺术领域纷杂繁复的当代艺术全景图中,水墨艺术处于什么样的位置?该展览的构思,意在策划两位当代重要的水墨画家的相遇,既不要求他们的作品产生对立,也不期待两者间对话发生, 而是从男性和女性的视角同时探寻当代水墨画发展的可能性。</div> <div style="text-align: right;">&nbsp;</div> <div style="text-align: right;">&mdash;&mdash;策展人 阿克曼</div> </div> Wed, 01 Apr 2015 08:04:02 +0000 Zhao Mengge - Today Art Museum (TAM) - March 28th - April 8th <div style="text-align: justify;">If it can be justified that Zhao Mengge, in those past a few years, cared about the development of the freehand brushwork in her heart, the aim of her creation, when she has achieved her individualized style, passes to those subjects that has been being deliberated, and that is her ideal in life. She is determined to, in her art, &ldquo;create a wholly new world.&rdquo; She says in her poem, &ldquo;I am the God in my world. I create the heaven and earth according to my own will &rdquo;</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">In Zhao&rsquo;s recent works, women in her works emerged as subjects, to accomplish her conceptual narrative and exploring the plight of the human spirit and the ultimate question. It is due to her concept that an ideal world can be constructed in art that women are projected against natural sceneries.Her ideal world is close, in kinship, to Plato&rsquo;s Republic, Tao Yuanming&rsquo;s &ldquo;The Peach Garden,&rdquo; Thomas More&rsquo;s Utopia, and etc.</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">In the same way, Zhao Mengge, too, creates an &ldquo;ideal world&rdquo; of her own with her painting brush, Zhao has turned her focus from the depiction of her own individual experiences to the construction of a splendorous,grandiose spiritual kingdom.Her works ,gradually,are beginning to concentrate upon a kind of idealized narrative ,accompanied by an insight into humanities.&nbsp;</div> <hr /> <p style="text-align: justify;">&nbsp;如果说前几年赵梦歌的创作关注的中心是写意风格的建树,那么当她基本完成了个人风格建树以后,创作目标便明确指向她心中酝酿已久的主题,那就是她理想中的人生境界。她决心要在艺术中创造一个全新的世界,正如她诗中所写:&ldquo;在这里,我就是上帝,为了我的意愿创造天与地!&rdquo;<br />&nbsp; &nbsp; &nbsp;&nbsp;在她最新的这批作品中,赵梦歌让笔下的人物走出大自然,以主体的身份走到前台,来完成她的观念叙事,并借此探寻人类的精神困境和终极问题。其理念正在于她想在她的艺术中建构一个理想世界。这个理想世界,让我们不由联想到柏拉图的《理想国》、孔子的&ldquo;大同世界&rdquo;、陶渊明的&ldquo;桃花源&rdquo;、摩尔的《乌托邦》&hellip;&hellip;延随着先贤们的这种信仰,赵梦歌借助她的画笔创造着自己的&ldquo;理想国&rdquo;,她的关注点已慢慢从先前对自身经验的描述,转向去构筑一个辉煌而宏大的精神王国,开始让自己的作品转向一种理想化的叙事,并伴随着更深层次的人性思考。</p> <p style="text-align: justify;">&nbsp; &nbsp;《应许之地》是赵梦歌这个时期最有代表性的尺幅也是最大的一件作品,画面气势恢宏、构图饱满、层次丰富、人物众多,画家借用圣经典故按照自己的意愿和方式创造了一个为她神往的女性世界,这样的世界只存在于她的心中,这种内在的精神狂欢在压抑纠结的现实中是永远不可能看到的,是她的精神栖息地。那些充满生命张力的女人体,正是&ldquo;代表美好、温暖与和平的符号,是象征智慧、勇气、自由、独立的精神载体,是信仰的守护者。</p> <p style="text-align: justify;">&nbsp; &nbsp; &nbsp;赵梦歌在理想中创造,又在一步步逼近她的人生理想。</p> <p>&nbsp;</p> Wed, 01 Apr 2015 08:04:12 +0000 Cai Yuanhe, Gong Xu, Chai Chai, Sa Danjun, Ca Zhuxi - Space Station - March 15th - April 18th <p style="text-align: justify;"><span>Article: Fu Xiaodong</span></p> <p style="text-align: justify;"><span>Evil refers to sin and sacrilege. Any kind of evil can be expressed with symbol and to sully is the primal way of evil. If we go through the primitive symbol of evil, then our imagination of evil is the fear of causality and the inner feeling towards order. A whole set of blasphemous discourse is a symbolic experience with correlation, like unknown condemnation and ritual of sacrifice, eclipse and time fit for war, extremely dangerous course and observance of blasphemous ritual. After theology being completely defeated by the cognition of science, God and deity have been handed down as an imagination of facing the legislation and punishment of conscience. From the fear of vengeance to the love of order, let &ldquo;clear love dispel fear&rdquo; (New Testament); to use a new emotional experience to accept and reshape fear. The suffering that comes after evil behavior is just as punishment inevitably comes from sacrilege. Sacrilege is a notion that crosses nature, ethics and religion, and the natural phenomenon that it sullies is full of ethical meaning and religious nature.</span>&nbsp;</p> <p style="text-align: justify;"><span>In the exhibition, Satan has conducted a historical phenomenology research on evil, and it can be seen from the multi-layered description on ghost in the ancient documents that the devil feared in ancient times was people&rsquo;s fear towards supernatural powers and the switch of notion on historical framework. The work of Chairman Ca is full of the cult element in the two-dimensional subculture. By using computer painting suitable for replication and transmission, he stuns and subverts the subject that has long indulged in the mainstream interest in a cheap and vulgarly exaggerated manner. Gong Xu's work has mixed both eastern and western saints, and the holy items from different cultures. The "politician Q" is a spiritual monster which man becomes, and which is distorted, bizarre, and scary. It clearly reveals man's inner tension between the definition of evil and cognition, pondering upon what exactly evil is. Chaichai is the advancement of suffering, the expression of faith on bloodshed, foulness, murder, trauma, and physical pain. It comes from the individual experience of excavating the spiritual potential on pain and crime.Cai Yuanhe appreciates mechanically and soberly the dissected sections of the world and man, which scatter everywhere; everything will be destroyed just as the wrath of God. New images appear along with the collapse of the old ones; construction and destruction go simultaneously.</span></p> <hr /> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">恶指罪和亵渎,任何恶都可以用象征表示,玷污就是恶的最初的形式。如果我们穿越恶的原始象征,对恶的想象是一种对因果关系的恐怖,一种内心对秩序的感受。一整套亵渎的语言都是具有关联性的一种象征性中的体验,比如无名的天谴与祭祀的礼仪,日蚀月蚀与战争的时刻,非凡危险的事业与谨守亵渎的礼俗。在科学的认知全面战胜神学之后,上帝和神依然以一种面对良心的立法和惩治的想象被延续下来。从怕报复到爱秩序,用&ldquo;澄明的爱驱散害怕&rdquo;(《新约》),将害怕用一种新的情感体验去接受和改造。受难依附着行为的罪恶,就如同惩罚必然出自亵渎。亵渎是一种穿越自然、伦理和宗教的价值观,其所染指的自然现象充满了伦理的意义和宗教的属性。<br />在展览中,撒旦君做了一个关于&ldquo;恶&rdquo;的历史现象学考据,在古代文献中对于鬼的多重描述可以看到古代害怕的恶魔是对超常力量的惊恐和历史框架性价值观的转换。擦主席的作品充满二次元亚文化中的cult元素,他以适合复制和传播的电脑绘画的方式,以价值低廉和粗俗夸张的方式对长期侵淫与主流趣味的主体进行震惊与颠覆。龚旭的作品揉合了东西方的圣贤与不同文化中的圣物,&ldquo;政治家Q&rdquo;是人成为精神的怪物,扭曲、怪异、恐怖,清晰的揭示了人的内在的对于恶的界定与认知的紧张关系,碾压到底什么是&ldquo;恶&rdquo;?柴柴则是一种对受难的升华,对流血、污秽、谋杀、创伤、肉体病痛的信念上的表达,来自于一种个体体验的对痛和罪的精神潜力的挖掘。蔡远河用机械而冷静的方式欣赏着四处横飞的这个世界和人的解剖截面,如同上帝震怒一般,一切必将毁灭。图像覆灭的同时又出现新的图像,建立和毁灭同时进行。</p> Wed, 01 Apr 2015 07:57:20 +0000 Shao Yi - ShanghART Gallery Beijing - April 13th - May 17th <p style="text-align: justify;">ShanghART Gallery Beijing is pleased to present SHAO Yi Solo Exhibition: <em>Totem Producing</em> from April 12th to May 17th 2015, which is his first solo in Beijing. The exhibition will show the artist&rsquo;s latest installation works.&nbsp;<br />&nbsp;&nbsp;&nbsp;<br /><em>Totem Producing</em> is the artist&rsquo;s ideas about &lsquo;object&rsquo;, production and the spiritual image of &lsquo;object&rsquo;. Shao Yi uses realistic rules and materials that generated by &lsquo;object&rsquo; and &lsquo;reality&rsquo; as the production source and place them into his symbolized system. At the same time, he sets requirements for distillation and transformation.<br /><br />Totem is an imaginary image that produced to meet people&rsquo;s need for spiritual materialized symbol and hope. This image as a carrier of ideology and realistic rules, often presents certain richness. However, Shao Yi&rsquo;s totems comes from his sensibility and imagination of &lsquo;human producing objects&rsquo;. These objects which house the nature of reality may be the products of industrial civilization, or certain damaged material form that have been produced by accident. Or it might even be his original &lsquo;form&rsquo;. However, the emerging aesthetics, after spiritual transformation, are being continuously extracted during the producing process. These &lsquo;human producing objects&rsquo;, possessing the characteristic of totem, have abundant values in terms of aesthetics and texture, which can reinforce and strengthen the &lsquo;object&rsquo; by converting the production.<br /><br />Shao Yi was born in Hangzhou in 1967, he lives and works in Hangzhou and Shanghai now. His recent exhibitions include: Time of the Dragon - Contemporary Art from Shanghai, Rauma Art Museum, Finland (2012); Pulse Reaction, An Exchange Project on Art Practice, Times Museum, Guangdong (2012); Elementary Spectacle - Exhibition with Shi Qing &amp; Shao Yi, ShanghART H-Space, Shanghai (2010); Bourgeoisified Proletariat, Contemporary Art Exhibition in Songjiang, Songjiang Creative Studio, Shanghai (2009); Light Fogging - Shao Yi Solo Exhibition, BizArt, Shanghai (2008).</p> <p style="text-align: justify;"><strong><span style="font-size: large;">(Closed on Apr. 5, 2015)</span>&nbsp;</strong></p> <hr /> <p style="text-align: justify;">香格纳画廊北京空间将于2015年4月12日隆重推出艺术家邵一的个展《造图腾》。这也是邵一在北京的第一个个展,本次展览将展出艺术家最新创作的装置作品。<br /><br />《造图腾》是艺术家对于&ldquo;物&rdquo;,造物以及物的精神化形象的思考。邵一以所有的&ldquo;物&rdquo;和&ldquo;现实&rdquo;所产生的现实的规则和材料为对象,把它们置入邵一的象征体系中并且提出升华和转换的要求。<br /><br />图腾是为满足人精神物化象征和寄托需求而被臆造出来的形象。这些形象作为意识形态和现实规则的载体,面貌往往呈现出某种丰富性。而邵一的&ldquo;图腾&rdquo;则来自于他对于人造物的敏感和因此而产生的想象。这些具备实际现实属性的&ldquo;物&rdquo;,可能是工业文明的产物,或者不经意间产生的被破坏过的物质形态,或者甚至就是他的原始形态。但是对于这些材料进行精神转化嫁接之后的美感,在作品的形成过程中被不断的提炼萃取出来。这些带有&ldquo;图腾性&rdquo;的人造物有着丰富的形式美感和材料质感,将这些&ldquo;物&rdquo;通过创作的转换,直到强化,坚固。<br /><br />邵一1967年生于杭州,他目前在杭州和上海两地生活和工作。最近的展览包括龙时代 - 来自上海的当代艺术,RAUMA美术馆,芬兰(2012);脉冲反应:一个关于艺术实践的交流项目,时代美术馆,广东 (2012);低级景观&mdash;&mdash;石青、邵一双人展, 香格纳H空间,上海(2010);资产阶级化了的无产阶级, 当代艺术展在松江, 松江创意工房, 上海(2009);走光,比翼艺术中心,上海(2008)。</p> <p>&nbsp;</p> Wed, 01 Apr 2015 07:49:08 +0000 - Pace Beijing - March 20th - April 17th Wed, 01 Apr 2015 07:46:33 +0000