ArtSlant - Recently added en-us 40 Group Show - Ben Brown Fine Arts Hong Kong - December 2nd - February 4th, 2016 Wed, 25 Nov 2015 18:15:04 +0000 Ruisheng Hong - National Art Museum of China - November 21st - November 29th <p style="text-align: justify;">Ruisheng Hong, male, was born in 1940 in Gulangyu and graduated from the Oil Painting Department, China Central Academy of Fine Arts. He lives in a beautiful and colorful place. He came from Southern China, studied in Northern China and is back again to paint in Southern China. </p> <p style="text-align: justify;">There are three types of works on display: expressing his feelings to Gulangyu,praising the fishermen in southern Fujian and describing his life experiences. </p> <p style="text-align: justify;">He loves the meaning, personality, color and oil painting specialty. He makes efforts to create artworks containing Chinese feelings and Chinese art elements but not making publicity. For decades he has been exploring how to improve the value of color and searching the performance of the texture of oil painting layers, to turn &ldquo;oil painting&rdquo; into &ldquo;oil painting specialty&rdquo; and &ldquo;color&rdquo; into &ldquo;color and light&rdquo;. He hopes the color of his paintings can diffuse sparkling light. </p> <p style="text-align: justify;">Using the richness, warmness and subtleness of the red color, he expresses the &ldquo;Minnan Red&rdquo; in the hearts of himself and Southern Fujianese.He sticks to his aesthetic goal of truth, goodness and beauty, the academic principles of innovation, life and tradition, and the academic standard of creation. He believes that "art is a slow process." </p> <p style="text-align: justify;">The solo exhibition will show about 71 pieces of oil paintings.</p> Fri, 20 Nov 2015 14:41:04 +0000 Zhang Hongbing - National Art Museum of China - November 21st - November 29th <p style="text-align: justify;">Zhang Hongbin&rsquo;s creation often takes point, square and short line as the basic elements of styling. With intertwined lines and colors as supplement, different subject matters such as idyllic scenery, dwellings and villages, beautiful urban scenery, figure, flowers and still life and etc. are depicted accordingly, in which he makes his choice resolutely and creates style with general trend. He is unwilling to follow the beaten track on his own road of art. In his art creation for more than ten years, he never stops at certain stage of his own. Instead, he continuously has thinking and makes breakthrough based on ego, and seeks innovation in idea, subject matter, form, language and etc. in order to adapt to such overwhelmed visual world and the exploration of his own mind, and establish a unique art world accordingly. It can be seen from sorting out the context of Zhang Hongbing&rsquo;s paintings, he changes his own understanding and perception of contemporary society, realistic scene and ideology into the art form with unique individual characteristics, seek appropriate joint point of both, and open a unique road for his own art creation accordingly.</p> Fri, 20 Nov 2015 14:40:03 +0000 Dai Jiancheng - National Art Museum of China - November 22nd - November 29th <p style="text-align: justify;">Dai Jiancheng, born in Nantong, Jiangsu in 1954, joined the army in 1972, and was transferred to civilian work to another place in 1992. He has studied photography for more than 40 years. The Black-and-White South Pole photographic works exhibition covers top works selected from his published photographic albums. </p> <p style="text-align: justify;">Dai Jiancheng uses camera to record peculiar landscape of Antarctic continent with black-and-white images vividly. The works to be exhibited this time include fantastic icebergs, penguins full of intelligence and the footprints of explorers. &ldquo;After watching the exquisite black-and-white photograph beyond compare taken by Mr. Dai, we enter the mysterious scene unconsciously, and appreciate astonishing miracles.&rdquo; (President of Contact Press Images, Robert Pledge), &ldquo;His works feature to be magnificent, of great momentum and very strong visual impact&rdquo; (Documentary photographer Wang Fuchun): The photography master Li Shaobai also evaluates him like this, &ldquo;The greatest temptation of Black-and-White South Pole created by Mr. Dai Jiancheng to me is that the South Pole ice and snow in the picture is not the evidence of great scenery, but the clue to pursue the kingdom of poetry&rdquo;.</p> Fri, 20 Nov 2015 14:38:32 +0000 GuChangwei - National Art Museum of China - November 22nd - November 29th <p style="text-align: justify;">GuChangwei, born in Xi&rsquo;an, Shaanxi in 1957, graduated from the Department of Photography of Beijing Film Academy, Chinese film director and photographer, one of the representative figures of &ldquo;the fifth generation of directors&rdquo;. Since 2014, GuChangwei has created a series of art works with RMB 100 as the subject matter. From the perspective of Renminbi, every piece of works is endowed with brand new life. GuChangwei who pays continuous attention to social issues and the living state of ordinary people, makes use of his unique angle of view to change ordinariness into miracle, and extend microscopic parts in RMB 100 to be amazing and extraordinary art works. GuChangwei makes use of &ldquo;money&rdquo; to expresses the reality of China today, the things that harass the tranquility of people, the things to create miracle, the aesthetics of money, and the desire for money. At the exhibition, through image, video, appliance, sculpture and etc., it demonstrates the reflection of artists on realistic social issues in China, and stimulates people&rsquo;s limitless imagination with his unique angle of view.</p> Fri, 20 Nov 2015 14:37:44 +0000 - National Art Museum of China - November 22nd - November 29th <p style="text-align: justify;">The creation of Zhoushan fisherman paintings was started in early 1980s, and spreads throughDinghai, Putuo, Daishan, Shengsi and etc. In 1987, Zhoushan modern folk painting exhibition was on show at National Art Museum of China in Beijing, and obtained unanimous good reputation from the artists in Beijing. In 1988, four counties(regions) including Dinghai, Putuo, Daishan and Shengsi subordinate to Zhoushan were named &ldquo;the hometown of modern Chinese folk paintings&rdquo; by the Ministry of Culture. </p> <p style="text-align: justify;">Zhoushan fisherman paintings originate from sea, are cultured by sea, and are developed from sea. The contents mostly describe the production and labor scenes of fishermen, seaside customs, folklore of sea islandsand etc., attach importance to regional characteristics, and maintain &ldquo;the fishy smell&rdquo; and &ldquo;the uniqueness&rdquo; to the greatest extent. With untruthfulness in artistic means and truthfulness in life details, intensive contrast is formed through exaggerated and casual style and exquisite production. Besides, it has won over favor from experts and audience at home and abroad with such kind of exaggerated, passionate and dreamlike artistic charm.</p> Fri, 20 Nov 2015 14:36:18 +0000 Wang Linyi, Wang Henei - National Art Museum of China - November 28th - December 21st <p style="text-align: justify;">The couple, Wang Linyi and Wang Henei were the famous Chinese sculptors in the 20th century. Wang Linyi studied in France in his early years. After he came back to China, he made significant contributions to the development of modern sculpture and sculpture education in China. His wife Wang Henei (former name Renee Nikel) was French with Chinese nationality. With true love for China, the country with ancient civilization, she spent her remaining years till death in China. The married couple engaged in art went through countless hardships and trials, but they still insisted on creation, spent their life with mutual help and relief in humble circumstances, and left numerous works with very high artistic value and historical significance for us. </p> <p style="text-align: justify;">At the exhibition, with artistic creation of both in different periods of their artistic career as the clue, in three parts including the Purity of Love(1928-1953), the Monument of Love(1953-1955)and the Permanence of Love(1955-1997), through the exhibition of more than 300 pieces of sculptures, painting manuscripts, image literatures, historical data and etc., it demonstrates the touching love of the couple Wang Linyi and Wang Henei as well as the true artistic feelings and the meaningful artistic charm of the couple. Besides, it is desired that more in-depth researches and discussions can be made towards Chinese sculpture history in the 20th century through the exhibition.</p> Fri, 20 Nov 2015 14:34:36 +0000 - National Art Museum of China - November 28th - December 10th <p style="text-align: justify;">Shanxi Art Academy was established in the autumn of 1985, the year of ox, and now it has gone through 30 years. Style of Tang Dynasty &amp; Charm of Jin Dynasty &middot;Rivers and Mountains in Pen and Ink----Art Exhibition for the 30th Anniversary of the Establishment of Shanxi Art Academy is an achievement exhibition of hardworking creation made by the painters of Shanxi Art Academy as well as a report to the society. More than 200 pieces of works to be exhibited will demonstrate the quality of the academy that it not only inherits historical context, but also has the courage to make exploitation and innovation, not only features to be strict and conscientious, but also features to be vivacious and romantic. These works reflect the consistent tradition that artistic creation of Shanxi Art Academy goes deep into life and get rooted in the people. The works not only shows the spirit of the times, but also contains local cultural characteristics in Shanxi. It reflects academic pursuit, innovation vitality and aesthetic orientation of each contemporary artist in the selection of subject matter, art language, form characteristic and technique expression, and demonstrates the artistic sensitivity that &ldquo;Pen and ink should follow the times&rdquo; and the forward-looking feature of exploration and practice of artists.</p> Fri, 20 Nov 2015 14:33:21 +0000 Shu Jian xin - National Art Museum of China - November 22nd - December 28th <div class="text"> <div class="Custom_UnionStyle"> <p style="text-align: justify;">There is one ancient business road on the Silk Road starting from Yunnan and communicating trade contacts in Eurasia---the Ancient Tea Route. As the road for external exchange in Yunnan which has gone through several thousand years, the Ancient Tea Route carries long and profound historical culture and religious belief of all the nationalities in southwest region. </p> <p style="text-align: justify;">Shu Jianxin takes a temporary post for six years and stays here for eight years from 2007 till now. He has walked through every mountain and river, every village and stockade in Yunnan. In Chuxiong and Pu&rsquo;er, he walked several tens of thousands of kilometers along the ancient path to make inspection and investigation, went deep into the Ancient Tea Route with the vision of an artist, took it as the proposition, got to know its historical origin, investigated its national culture and religious customs. For eight years, he recorded natural landscape in different poses and with different expressions on the ancient path and the beautiful picture scroll of humanistic style with the paintbrush in his hand.</p> <p style="text-align: justify;">At the exhibition, 117 pieces of works are carefully selected, which covers the works of landscape paintings showing coexistence of human and the nature on the Ancient Tea Route and figure paintings characteristic of national customs.</p> </div> </div> Fri, 20 Nov 2015 14:31:19 +0000 KENNETH BLOM - Pékin Fine Arts (Hong Kong) @ Union Industrial Building - November 21st - January 9th, 2016 <p style="text-align: justify;">Born in 1967 in Roskilde, Denmark, Kenneth Blom moved to Norway as a child. He studied at the Statens Kunstakademi in Oslo (1990 -1994), as well as at the D&uuml;sseldorf Academy of Fine Arts (1994-1995). While in D&uuml;sseldorf artists such as Dan Flavin and Joseph Beuys inspired his work, and as a result, his painting became increasingly minimalistic. In fact for a period, he abandoned the paintbrush in&nbsp; favor of the airbrush and started to paint on aluminum in order to enhance the coolness and machine-like qualities in his treatment&nbsp; of the picture surface.&nbsp;</p> <p style="text-align: justify;">The paintings of Kenneth Blom employ a unique blend of architectural and figurative elements. His gestures are restrained and his&nbsp; spaces are intentionally vast, creating an overt sense of symbolism. While Blom&rsquo;s figures often seem to merge with their surroundings,&nbsp; they also appear forlorn and unfulfilled in the context of the world at large.</p> <p style="text-align: justify;">The audience follows the artist&rsquo;s footsteps through abstracted details, colorist investigations and tableaus from both the public and&nbsp; private sphere.&nbsp;</p> <p style="text-align: justify;">Through aesthetically processed and experimental reasoning, the answers emerge. Along the way one may observe a repertoire&nbsp; constantly expanding in terms of both color and composition.</p> <p style="text-align: justify;">Both his figurative works and his landscapes seem to explore the melancholy that has been such a preoccupation of Norwegian&nbsp; artists through the ages.</p> <p style="text-align: justify;">&nbsp; He has shown extensively in Europe, including as a featured artist at Sotheby&rsquo;s New Bond Street in London, major exhibition at&nbsp; Norway&rsquo;s premier museum, the Henie Onstad Kunstsenter in Norway, group exhibitions at Oslo&rsquo;s Astrup Fearnley Museum, and re- gularly at Jason McCoy Gallery in New York. He is the subject of the documentary Forventninger/Anticipation, a film by Tommy&nbsp; Normann, currently in production. Blom lives and works in Oslo.</p> Fri, 20 Nov 2015 07:25:05 +0000 Zhang Guangyu - Long Museum - West Bund - November 20th - December 20th <p style="text-align: justify;">由北京匡时、龙美术馆共同主办,辅仁书苑协办的「中国现代主义大师&mdash;&mdash;张光宇艺术展」将于2015年11月19日在龙美术馆(西岸馆)隆重开幕。<br /> <br /> 展览将展出张光宇先生的绘画、设计、插图、漫画、家具、动画等各类代表性作品300多件(组),其中包括《民间情歌》、《西游漫记》、《大闹天空》等,建 构了一个博物馆级的艺术人文宝库,全面呈现了这位二十世纪艺术大师的时代、艺术与人生。本次展览也是张光宇先生的作品首次在上海完整展出。<br /> <br /> 张光宇是中国现代漫画运动中的旗手和奠基人之一,他同时在工艺美术、出版、设计、动漫、美术教育等领域均有很深的造诣。他是中国现代重要的艺术活动家、出 版家,他在纷纭复杂的时代里的艺术活动,是研究1949年以前的中国现代文化史的一条线索;他是中国装饰性绘画的开拓者,标明了中国现代绘画发展的一个重 要走向;他是中国现代设计和设计思想的开先河者,在工艺美术和现代设计的许多领域硕果累累;他是中国动漫事业的先驱,引领着中国动漫走向世界。虽然他完成 了从现代主义艺术到后现代主义艺术过渡与延伸,但因时代潮流之变以及个人过早离世,没能让他真正的进入公众视野,同时也由于以往对于现代主义艺术的误解和 排斥,所以他在中国现代美术史上的表述中也是寂寂无名。<br /> <br /> 本次展览正是以&ldquo;中国现代主义&rdquo;为主题,一方面是要试图以现代主义的文化视角回望中国现代主义的发展道路,以面向世界、面向未来的学术观瞻,呈现中国式现 代主义的创造标志张光宇先生的艺术成就,揭示这位被遮蔽的中国现代主义艺术大师的光辉。另一方面也希望通过本次展览重新解读张光宇和他的时代,重估他在美 术史上的地位及其对中国现主义艺术与文化的价值与意义。展览分七个专题,多元立体地呈现了张光宇先生的艺术创作和历史地位,分别为:海上风情、时代新声、 艺术战士、中国包豪斯、东方迪斯尼、新中国美术设计师、光宇风格。</p> Fri, 20 Nov 2015 07:18:28 +0000 Kazuo Shiraga, ATSUKO TANAKA, Liu Wei, LUI Chun Kwong, Kohei Nawa, Yayoi Kusama, Yoshitomo Nara, Ma Junfu - Long Museum - West Bund - November 28th - February 28th, 2016 <p style="text-align: justify;">First part stats with the artists of war-time generation determined to forge a new and direct relationship between the canvas and the body including Kazuo Shiraga, Atsuko Tanaka, , et <br /> <br /> Second part of the exhibition would have the artists who approached to insight and how they sought epistemological proofs of their own relationship between the world and the self, through an intense focus on materiality, and the body including LeeUfan ,KishioSuga.<br /> <br /> Followed this concern ,in young upcoming artists including Liu Wei ,Lui Chun kwong ,KoheiNawa practices which present less-direct yet arguably equally profound relationships with the weight of corporeality and the digital environment. <br /> <br /> In the third part ,after Yayoi Kusama, Yoshitomo Nara and Ma Junfu open apertures leading from the imaginary to the actual, via subconscious image, amorphous indeterminate forms, and "children's", and vernacular perspectives, improvisation and seemingly off-handed, graffiti-like methods. <br /> <br /> In this contemporary Asian art presentation, beginning with a sense of corporeality, the intense sense of environment and temporality, the texture of the un-finished and improvisational, to stimulate the imagination of the viewer in fresh new forms.</p> <hr /> <p style="text-align: justify;">展览第一部分将聚焦白发一雄(Kazuo Shiraga)、田中敦子(Atsuko Tanaka)等一批活跃于二战期间的艺术家。他们致力于在画布与身体间构筑一种新的直接联系。<br /> <br /> 展览第二部分则将视线投向那些透过直觉和材料本身,去摸索自身与世界关联的认识论证明的艺术家们。呈现李禹焕(Lee Ufan)和菅木志雄(KishioSuga)等&ldquo;物派&rdquo;(Mono-ha)艺术家的作品。并依据这一线索,带来刘韡 (Liu Wei)、吕振光(Lui Chun kwong)、名和晃平(KoheiNawa)等一批亚洲当代年轻艺术家的创作。他们艺术理念中蕴藏着虽不如前辈明晰直接,却同样深刻可辨的,对当今物质 世界与数字环境关系的思考。<br /> <br /> 展览第三部分,草间弥生(Yayoi Kusama)、奈良美智(Yoshitomo Nara)、马君辅(Ma Junfu)通过潜意识的图像,不定的形式,童稚及本土化的视角,即兴与看似不拘的涂鸦笔法,打开一扇从想象通往现实的窗口。<br /> <br /> 本次龙美术馆亚洲当代艺术馆藏作品展,将从物质化的体验出发,通过强烈的环境性与时间性感受,未完成与即兴式肌理,激发观者全新的想象。</p> Fri, 20 Nov 2015 07:16:44 +0000 - CAFA Art Museum - December 4th - December 22nd <p style="text-align: justify;">作为2015年度中国画坛与美术教育界的重头展览,&ldquo;为中国画(第二回)&mdash;&mdash;中央美术学 院中国画学院教学与创作展&rdquo;将于2015年12月4日在中央美术学院美术馆开幕。这次展览是继2010年在中国美术馆举行的&ldquo;为中国画&mdash;&mdash;中央美院中国画 学院教师作品展&rdquo;之后,再次以同一主题举办的展览。本次展览由中央美术学院主办、中央美院中国画学院承办、中央美术学院美术馆承办,将展出中央美术学院中 国画教学、创作、研究的现状与全貌。<br /> <br /> 本次展览的另一层价值与意义在于,以美术馆展览的方式全方位地呈现中国画学科的学院教学,特别是中央美术学院中国画学院正式建院以来的十年征程。2005 年,在原中央美院中国画系的基础上,中央美术学院中国画学院正式成立,今年恰逢该学院建院十周年。为了集中而完整地展现这一学术历程,本次大展总策展人、 中央美术学院院长范迪安教授提出以&ldquo;起承转合&rdquo;作为展览的学术主题,在展现中国画学科特点的同时,梳理当下中国画教学、创作、研究的源与流、承与变、思考 中国画学院教学发展的过去与未来。<br /> <br /> &ldquo;起承转合&rdquo;作为艺术创作常用的结构技巧,本出自文学创作惯用的行文方法,后来逐渐泛指文章的写作手法。元代范德玑的《诗格》云:&ldquo;作诗有四法:起要平 直,承要舂容,转要变化,合要渊水。&rdquo;&ldquo;起承转合&rdquo;同时又暗合中国画创作的画理画法中章法图式的结构。中国画讲虚实、讲气势、讲经营、讲布局,讲位置。一 画一笔一点一线之间,也有起、承、转、合。尤在大幅画作中,更需体现明确的主题与清晰的章回段落,追求开篇起势,中段承势,尔后转势,最后合势。&ldquo;起承转 合&rdquo;亦是中国画创作、教学与研究的四个维度,&ldquo;起&rdquo;意味着起点、起立、起源,&ldquo;承&rdquo;意味着传承、承接,&ldquo;转&rdquo;意味着创新、转换、蒙养,&ldquo;合&rdquo;则指向了综 合、融合。&ldquo;起承转合&rdquo;作为中国画人才培养和走向的路径,更揭示了中央美术学院中国画创作、创作与研究的特色。<br /> <br /> 本次展览同期还将举办以&ldquo;中国画教学与中国画发展&rdquo;为主题的学术研讨会、&ldquo;中国高等院校中国画教学&rdquo;交流座谈会,邀集国内相关领域具有影响力和代表性的艺术家、理论家与中国画教学领域的专家,共同研讨当代中国画教学、创作与研究之道。</p> Tue, 24 Nov 2015 11:20:13 +0000 - CAFA Art Museum - December 9th - April 24th, 2016 <p style="text-align: justify;">自2012年文化部艺术司发起全国美术馆馆藏精品展出季以来,我馆已连续三年推出&ldquo;馆藏 国立北平艺专精品陈列&rdquo;,分别是:&ldquo;馆藏国立北平艺专精品陈列&mdash;&mdash;西画部分&rdquo;,&ldquo;馆藏北平艺专精品陈列&mdash;&mdash;中国画部分&rdquo;,&ldquo;会师&mdash;&mdash;从北平艺专、延安鲁艺 到中央美院(1946-1953)&rdquo;,这三个展览很好地回顾和研究了北平艺专时期的中国画、西画教学和创作面貌以及解放前后北平艺专与鲁艺会师前后的美术 教育思想、教学结构,挖掘了北平艺专时期馆藏精品的历史价值和现实意义,梳理和深化了对北平艺专的研究与挖掘,完善了北平艺专的历史。这三个展览获得了良 好的社会反响,在学界影响很大。 <br /> 上述三个展览,不仅仅是对馆藏精品的主题性研究,还是对中央美院在20世纪中国美术发展历程中的历史性梳理和研究,延续至今年,应该将重点放在新中国成立 后至文化大革命开始前,新中国17年的美术发展状况的研究,即对于20世纪五六十年代中央美术学院参与建构20世纪中国美术发展历程的研究。<br /> <br /> 20世纪五六十年代,是新中国根据自身的政治诉求和意识形态需要而进行文化艺术建设的重要历史时段,不仅对传统意义上所谓纯艺术种类如国画、油画等进行全 面改造,而且对传统意义上所谓民间艺术种类如年画、连环画、壁画等进行新的认识。因此,尽管20世纪五六十年代只有短短17年时间,但是发生在这一历史时 段的中国美术的发展和变化却极为复杂,以至于这一历史时段已经成为20世纪中国美术史研究的一个重要历史时段,吸引了大批学者的研究热情。<br /> <br /> 而我们的研究切入点极为特殊,主要基于两个前提,一个是中央美术学院在20世纪五六十年代中国美术发展中的状况,一个是我馆在此时期的馆藏状况。为此,我们于2015年初对我馆20世纪五六十年代丰富的藏品进行了全面考察,从中确立了一个主题作为此次展览和研究的重点,即&ldquo;20世纪五六十年代中央美术学院对民族艺术传统的学习和转化&rdquo;。<br /> <br /> 此项展览,我们将继续对中央美术学院的历史进行梳理、对20世纪五六十年代的重要学者、艺术家和师生进行研究,旨在发现、完整和再现20世纪五六十年代中 央美术学院对民族艺术传统的学习和转化的史实和重要事件,美术教育思想、教学结构和艺术作品的历史价值和现实意义,继续深化对中央美术学院的研究与挖掘。 通过此项目,以展览、研讨、出版及更多公共教育的方式,让后辈学子了解历史、铭记历史,同时也为同道中人提供更多领域进一步研究的可能与资料。</p> Fri, 20 Nov 2015 07:10:40 +0000 - CAFA Art Museum - October 25th - December 25th <p style="text-align: justify;">&ldquo;历史的温度:中央美术学院与中国具象油画&rdquo;(以下简称&ldquo;历史的温度&rdquo;)大展是2014年即已启动的中央美术学院&ldquo;百年校庆&rdquo;工程的重要部分,旨在全面系统地梳理百年来&ldquo;央美&rdquo;及其前身国立北平艺专在20世纪中国美术发展历程中所取得的杰出成就。<br /> <br /> 油画西传而来,成为20世纪中国一道新的艺术与视觉文化的风景线。中国油画百年来的发展历程鲜明地彰显了几代油画艺术家的文化理想,他们在引进、普及与传 播油画的同时,注入了自己的文化追求,使油画不仅成为丰富中国美术构成的新的类型,更成为反映社会现实、呈现民族文化精神的载体。从&ldquo;油画&rdquo;到&ldquo;中国油 画&rdquo;,既在时间上穿越了世纪的长河,更在精神内涵上体现出中国文化借鉴、吸收、融合外来文化的强大的生命力。在中国油画的百年历程之中,中央美术学院&mdash;&mdash; 包括她的前身国立北平艺专和延安鲁艺&mdash;&mdash;在油画的研究、创作和教学上占有代表性的位置。穿越历史的帷幕,理性地梳理中央美术学院这所艺术学府与中国油画的 关联,展示中央美术学院几代油画家所做出的贡献,有利于对油画在中国的发展历程形成更透彻的认识,在当代文化条件下弘扬优秀的艺术传统,推动中国油画和中 国美术新的发展。<br /> <br /> &ldquo;历史的温度&rdquo;大展是从油画角度对美院百年历史的回顾和思考。大展的宗旨是:研究历史,继承传统,关注当代,放眼未来。从而确立中央美术学院在推动20世纪中国美术发展和建立&ldquo;央美油画学派&rdquo;的历史担当。<br /> <br /> &ldquo;历史的温度&rdquo;大展自从在上海中华艺术宫成功启动、紧接着又在北京劳动人民文化宫太庙艺术馆隆重开启全国巡展的第一站以来,该展览带着由京沪两地持续增加 的历史与当下的双重温度,如期巡展到有着深厚文化积淀与底蕴的&ldquo;六朝古都&rdquo;金陵。正如中央美术学院范迪安院长所言:&ldquo;作为现代中国美术和美术教育的重镇, 南京一度涌现出许多油画艺术名家。&rdquo;仅此次大展中与南京有密切历史渊源的油画大家就有20人之多。如严格意义上第一位留学日本习西画的李叔同,曾于 1915年任南京高等师范学校音乐、图画教师,并谱曲南京大学历史上第一首校歌;又如中国留学英国习西画的第一人李毅士,曾于1928年担任在南京成立的 国立中央大学(今南京大学)教育学院艺术专修科的首任主任,在此之前,李毅士一直任教于北平艺专;还有徐悲鸿,这位曾担任过北平艺专院长和中央美术学院首 任院长的著名画家,曾于1929年担任南京国立中央大学教育学院艺术科主任。徐悲鸿在南京国立中央大学任教时教过的学生在此次大展中就有10余位,分别 是:吴作人、萧淑芳、王临乙、张安治、冯法祀、艾中信、文金扬、孙宗慰、戴泽、俞云阶等,以及先后担任过国立艺专西画系主任、南京师范大学美术系主任,留 学法国习西画的秦宣夫。其中,参加过1929年在南京举办的中华民国第一届全国美展的油画家有:李叔同、李毅士、徐悲鸿等。并且,历史上有名的&ldquo;二徐之 辩&rdquo;(徐悲鸿于徐志摩)公案,即源于第一届美展。徐悲鸿更是因为在南京时期创作了许多重要代表性作品,而与张书旗、柳子谷三人被称为当时画坛的&ldquo;金陵三 杰&rdquo;。新中国成立后,由&ldquo;留学苏联&rdquo;时期培养出来的张华清、&ldquo;马训班&rdquo;培养出来的陆国英、中央美术学院油画系培养出来的毛焰,先后任教于南京的艺术院校。 此次大展中,还有三位出生于南京的油画家,他们是杨松林、曹力、袁元。可以说,以上20多位油画家,先后历经近百年的风云沧桑,穿越历史的重重帷幕,再次 回到&ldquo;六朝古都&rdquo;,也算是一次&ldquo;回乡之旅&rdquo;。<br /> <br /> 除了以上专门提及的于南京关系密切的20余位油画大家外,本次展览以中央美术学院收藏的20世纪具象油画珍品为主体,以及众多艺术家和家属、收藏家的藏品 共200余件。展览主题采用&ldquo;具象油画&rdquo;来替代常用的&ldquo;写实性油画&rdquo;的表述方式,策展人殷双喜教授解释道:&ldquo;新世纪以来,中国油画的发展十分迅速,面貌多 样,传统的&lsquo;写实性油画&rsquo;的概念外延有了很大的扩展,出现了象征性、超写实、超现实等油画样态,给中国油画的观察与研究带来了新的语境和难度,以&lsquo;具象绘 画&rsquo;来表述,更具有包容性和学术上的探索性。&rdquo;</p> Fri, 20 Nov 2015 07:08:39 +0000 Li Ming - Ullens Center for Contemporary Art - October 30th - January 3rd, 2016 <p style="text-align: justify;"><span style="font-size: small;"><strong>Li Ming&rsquo;s video-installation <em>MEIWE</em> addresses art&rsquo;s capacity to unify and divide.</strong></span></p> <p style="text-align: justify;"><span style="font-size: small;">On 30 October, the Ullens Center for Contemporary Art (UCCA) presents &ldquo;New Directions: Li Ming,&rdquo; a project turning the Long Gallery into a site-specific video-installation entitled <em>MEIWE</em>. Based on critic Guo Juan&rsquo;s short essay &ldquo;The Appearance and Disappearance of a Group of People&rdquo;, the installation delves into the psychology of several imagined characters while addressing art&rsquo;s capacity to unify and divide.</span></p> <p style="text-align: justify;"><span style="font-size: small;">The Long Gallery is transformed into a simulation of a road, a visual metaphor alluding to the mental journey to be assumed by viewers, with asphalt laid directly on the museum floor. The familiar texture, strange in its new context, mobilizes viewers through a disorienting passage of elements that include sound, video, text, and the flashing <em>MEIWE</em> logo.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Images of runners are projected onto the entry of the space, illustrating Li Ming&rsquo;s belief that &ldquo;there is no &lsquo;I&rsquo;; it is merely an illusion of existence.&rdquo; Shared by an increasing number of &ldquo;health enthusiasts&rdquo;, running is both public and private, motivated by forces unclear to an outside observer. At the opposite end of the Long Gallery, the alternating voices of six mentally distressed characters can be heard. While some are confirmed <em>hikikomori</em> [sufferers of acute social withdrawal], others have been outcast since youth, victims of unrealistic standards of beauty or success. The archetypes they address are immediately identifiable, and as each relates his/ her plight, viewers are encouraged to navigate the length of the hall, forming groups of two, three, four, five, and six.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Li Ming&rsquo;s personal involvement with the art collective Double Fly Art Centre provides insight into the aspects of &ldquo;me&rdquo; and &ldquo;we&rdquo; explored in the exhibition. As viewers maneuver his installation, the process of individual autonomy submitting to collective intention moves to the fore, broadening relations between artist, artwork, and audience before and eventually collapse once again.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>About the Exhibition</strong></span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>New Directions: Li Ming</strong>, the third installment of the New Directions series, is accompanied by a monograph supported by Post Wave Publishing Consulting. Barco is the video equipment sponsor; GENELEC is the exclusive sound equipment support. Additional support comes from Antenna Space for the production of <em>MEIWE</em>. New Directions is initiated by UCCA Director&nbsp;Philip Tinari. &ldquo;New Directions: Li Ming&rdquo; is curated by Zoe Diao.</span></p> <p style="text-align: justify;"><span style="font-size: small;">&nbsp;</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>About the Artist</strong></span></p> <p style="text-align: justify;"><span style="font-size: small;">Currently based in Hangzhou,<strong> Li Ming</strong> (b. 1986, Hunan) graduated from the China Academy of Art, New Media Art Department in 2008. A member of the art collective Double Fly Art Center, his works have been shown at Contemporary Arts Museum Houston, Eli and Edythe Broad Art Museum, Michigan State University, Fremantle Arts Centre, Ullens Center for Contemporary Art, Beijing, China Central Academy of Fine Arts Museum (CAFAM), Beijing, Iberia Center for Contemporary Art, Beijing, Himalayas Art Museum, Shanghai, MOCA Shanghai, and Today Art Museum, Beijing. Li Ming&rsquo;s works are in public collections including Rubell Family Collection, Miami, Spencer Museum of Art, University of Kansas, and White Rabbit Collection, Sydney.</span></p> <p style="text-align: justify;"><span style="font-size: small;">&nbsp;</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>About New Directions</strong></span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>New Directions</strong> is an ongoing series of project-based exhibitions by young artists from Greater China. Planned for an initial run of ten periodic installments, the series offers a platform for artists to realize a first institutional solo exhibition and bilingual monograph. Building on UCCA&rsquo;s longstanding commitment to emerging practices, pioneered by shows including &ldquo;ON | OFF: China&rsquo;s Young Artists in Concept and Practice&rdquo; (2013), &ldquo;Breaking Forecast&rdquo; (2009), and the <strong>Curated By&hellip;</strong> series (2010-2012), New Directions aims both to broaden the institutional exhibition system for new art in China today, and to highlight its richness and complexity for audiences in Beijing and beyond.</span></p> <hr /> <p style="text-align: justify;"><span style="font-size: small;"><strong>李明的录像装置《MEIWE》呈现了艺术聚合和分裂的能力。</strong></span></p> <p style="text-align: justify;"><span style="font-size: small;">10月30日尤伦斯当代艺术中心(UCCA)呈现新展&ldquo;新倾向:李明&rdquo;,将UCCA长廊改造成在地影像装置作品《MEIWE》。该装置基于评论人、作家郭娟的文章《人群的出现与消失》,在探究几位虚拟人物心理的同时,强调了艺术家对于群体与个体的思考。</span></p> <p style="text-align: justify;"><span style="font-size: small;">李明在美术馆地面直接铺设柏油,将长廊转化成道路所形成的视觉隐喻,旨在引导观众完成一段内心的旅程。熟悉的材质在新语境中产生陌生的质感,会促使观众进入充斥声音、影像、文字、闪烁的&ldquo;MEIWE&rdquo;灯光的迷径。</span></p> <p style="text-align: justify;"><span style="font-size: small;">展厅入口处以&ldquo;跑&rdquo;为主题的视频可以看作是艺术家所言&ldquo;我(I)这个词并不存在,它只是一种存在的幻觉&rdquo;的图解。随着&ldquo;健康爱好者&rdquo;的增加,&ldquo;跑&rdquo; 既是公众的,又是个体的,由外部不可知的缘由所激发。而在长廊的另外一端,可以听到6段病态心理者的自述。其中有人离群索居,有人自幼被遗弃,他们均是异 常美丽与成功的受害者,而听众几乎立刻可以猜出这些声音的原型。从他们的境遇出发,《MEIWE》鼓励观众沿着展厅的长度探索不同数目人群的形成。</span></p> <p style="text-align: justify;"><span style="font-size: small;">双飞艺术中心成员的身份使李明对《MEIWE》中对&ldquo;我&rdquo;与&ldquo;我们&rdquo;生发出自己的思考。当观众在他的装置中漫步,个体自主与群体意识融为一体,艺术家、作品、观众之间的关系也同步建立,又最终坍塌。</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>关于&ldquo;新倾向&rdquo;</strong></span></p> <p style="text-align: justify;"><span style="font-size: small;">&ldquo;新倾向&rdquo;是针对大中华地区青年艺术家展开的持续性个展项目。十场周期性展览作为该项目的启动系列,为艺术家提供举办其首家机构个展和出版首本双语 专著的平台。&ldquo;新倾向&rdquo;延续UCCA一贯的展览愿景&mdash;&mdash;UCCA长期致力于展示和推广脱颖而出的新兴艺术实践,曾举办的相关展览包括&ldquo;ON | OFF:中国年轻艺术家的观念与实践&rdquo;(2013年)、&ldquo;中坚:新世纪中国艺术的八个关键形象&rdquo;(2009年)、&ldquo;由&hellip;&hellip;策划&rdquo;系列展 (2010-2012)等,意在扩展当今中国新兴艺术的机构展览系统的同时,向北京内外的观众集中展示当代艺术的丰富性与复杂性。</span></p> <p style="text-align: justify;"><span style="font-size: small;">&nbsp;</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>关于艺术家</strong></span></p> <p style="text-align: justify;"><span style="font-size: small;">现工作并居住于杭州的李明(1986年生于湖南沅江)2008年毕业于中国美术学院新媒体系。作为&ldquo;双飞艺术中心&rdquo;的成员,其本人作品在美国休斯敦 当代美术馆、伊莱和伊迪特-布罗美术馆、密歇根州立大学、弗里曼特尔艺术中心、北京尤伦斯当代艺术中心、北京中央美术学院美术馆、北京伊比利亚当代艺术中 心、上海喜玛拉雅美术馆、上海当代艺术馆、北京今日美术馆等机构均有展出。作品由美国迈阿密鲁贝尔家族、美国斯宾塞美术馆、堪萨斯大学、澳大利亚白兔美术 馆等机构和个人收藏。</span></p> Fri, 20 Nov 2015 07:02:43 +0000