ArtSlant - Recently added en-us 40 Robin Rhode - Lehmann Maupin, Hong Kong - September 17th - November 8th <p><strong>Lehmann Maupin is pleased to present <em>having been there</em>, Robin Rhode&rsquo;s debut exhibition in Hong Kong.</strong> Continuing the artist&rsquo;s engagement with complex social and political issues, this exhibition also explores Rhode&rsquo;s notions of permanence and ephemerality as seen through his unique marks and gestures. In addition to a selection of photographic works and wall drawings, Rhode will premiere a new animation created specifically for his Hong Kong exhibition. <strong>The artist will be present for an opening reception on September 17, 6:30-8PM.</strong><br /> <br /> Rhode, who was born in South Africa and is based in Berlin, engages a variety of visual forms including photography, performance, drawing, and stop-motion animation to create engaging and poignant narratives. Rhode&rsquo;s experience as a member of one of the first post-apartheid generations in South Africa has been a major influence on his work, leading him to approach topics such as poverty and violence from a personal perspective. His work features imagery of everyday and consumer objects, such as paper clips, light bulbs, and champagne flutes, found in desolate urban settings as a reference to his upbringing, but also to broader universal ideas including desire, luxury, and the influx of consumerism into South African society. Working within the contexts of Johannesburg and Berlin&mdash;cities undergoing significant social and political changes&mdash;Rhode&rsquo;s artworks embrace a vibrant spontaneity and are infused with both the language of the street and the dynamics of body-based performance art of the 1970s.<br /> <br /> The exhibition title is a reference to a quotation of cultural theorist Roland Barthes who wrote, referencing the depiction of photographic subjects, &ldquo;photography set up, not a perception of the <em>being there</em> of an object...but a perception of its <em>having been there</em>.&rdquo; Rhode&rsquo;s photographs, in which he increasingly appears, though often in disguise, explore this idea further. By inserting himself into the photographic image and through his mark making, Rhode creates records and traces of &ldquo;having been there.&rdquo;<br /> <br /> In addition to photographic pieces, the exhibition includes a selection of wall drawings, created first in vinyl and subsequently drawn over in oil crayon. Highlighting Rhode&rsquo;s focus on spontaneity and gesture, these works capture the playful spirit of his practice. As with the photographs, these works reinforce the exhibition&rsquo;s central theme, replicating traces and references of the imagery featured in Rhode&rsquo;s photographs upon the gallery&rsquo;s walls.<br /> <br /> Rhode has also created a new animation that examines aspects of established Chinese myths, weaving a tale of struggle, of growth, and ultimately of evolution. Highlighting themes frequently referenced in the artists&rsquo; work such as reinvention and transformation, this animation refines Rhode&rsquo;s relationship to a medium with which he is often associated.<br /> <br /> <strong>About the Artist</strong><br /> Robin Rhode (b. 1976, Cape Town, South Africa) was raised in Johannesburg and graduated from the South Africa School of Film, Television and Dramatic Arts Johannesburg in 2000. His first major museum solo show was at Haus der Kunst, Munich, Germany in 2007, and Rhode has since had major solo exhibitions at a number of important museums around the world including the Hayward Gallery, London (2008); the Wexner Center for the Arts, Columbus, Ohio (2009); the Los Angeles County Museum of Art, Los Angeles (2010); the National Gallery of Victoria, Melbourne, Australia (2013); and the Neuberger Museum of Art, Purchase, New York (2014). He has participated in notable group exhibitions including <em>New Photography</em>, The Museum of Modern Art, New York (2005; the 51st Venice Biennale (2005); <em>Staging Action: Performance in Photography Since 1960</em>, The Museum of Modern Art, New York (2011); and the 2012 Sydney Biennale. His work is included in numerous public collections, including the Castello di Rivoli, Turin; Centre Pompidou, Paris; The Hirshhorn Museum and Sculpture Garden, Washington, D.C.; Miami Art Museum, Florida; The Museum of Modern Art, New York; Solomon R. Guggenheim Museum, New York; and Walker Art Center, Minneapolis. The artist lives and works in Berlin, Germany. </p> Fri, 22 Aug 2014 00:53:45 +0000 Martin Parr - Blindspot Gallery - September 6th - November 1st <p>Martin Parr&rsquo;s first solo exhibition in Hong Kong is a diverse showcase of the work of Parr who is famous for his satirical and humourous social documentary on modern life. The exhibition spotlights select works from his recent <em>Hong Kong</em> project (2013) commissioned by Blindspot Gallery, alongside selections from two of his iconic past series, his first work in colour&nbsp;<em>The Last Resort</em> (1983 to 1985) and <em>Luxury</em> (1995 to present). An art book titled <em>Hong Kong Parr</em> will be launched at the opening with book signing.<br /> <br /> In collaboration with the Hong Kong International Photo Festival (HKIPF), a public talk on Parr's work will be held on 7 September at Hong Kong Central Library. In the talk, Parr will discuss his long career in photography and explain how both the world of photography and his practice have changed.&nbsp;<br /> <br /> <strong>About Martin Parr</strong><br /> Martin Parr is a pioneer of contemporary photographic culture, an avid photography book collector and the president of Magnum Photos. In addition to large-scale retrospectives of his work in the Barbican Art Gallery in London (2002), Haus de Kunst in Munich (2008) and other prestigious venues, Parr's accolades have included the Dr. Erich Salomon Award of the Deutsche Gesellschaft f&uuml;r Photographie (DGPh) (2006) and Photo Espania lifetime achievement prize (2008). He is the co-author of three volumes of the highly influential <em>The Photobook: A History</em>, and he is currently working on a book about the History of Chinese Photobook to be published in spring 2015. Parr has published over 80 books of his own work and edited another 30. &nbsp;</p> Fri, 22 Aug 2014 00:47:35 +0000 - Input/Output - August 1st - August 24th Wed, 20 Aug 2014 02:49:52 +0000 周中耀, 林湖奎, 吳齊鳴, 馮霖章, 胡振崑, 董仙舟 - Hong Kong Wan Fung Art Gallery - August 14th - August 27th <p>香港雲峰畫苑將於 8 月 14 至 27 日舉行 《夏日‧荷》 繪畫作品展,展出四十多幅以荷花為創作題材的作品。開幕酒會於展覽首日 8 月 14日下午 3 時正開始。</p> <p><br />最愛荷塘雨過時,流霧回風碰落珠。<br />層層青蓋張新綠,透水芙蓉瓣半舒。</p> <p><br />出自湖南畫家鄒傳安先生的一首題畫詩, 不論何時, 文人雅士對荷花情有獨鍾。盛夏是荷花的季節, 荷花的根莖雖然出自河塘底部的淤泥, 而葉和花等挺出水面的部分卻形態高雅, 故說蓮花出淤泥而不染。適逢夏天,雲峰畫苑精心挑選了近30 位畫荷高手, 包括湖南的鄒傳安、周中耀,香港的林湖奎、胡宇基,以及遼寧的董仙舟等的荷花作品與觀眾分享。一朵荷花,在不同的畫家筆下,會呈現出不同的藝術形態,也藏著不同的情感,有溫文靜態的,也有熱情活潑的。</p> <p><br />以工筆展現的荷花,感覺溫柔細膩,給人寧靜閒適的感覺;寫意潑墨的荷花大開大合,感覺開朗明快,給人感受到花的動感和生命力 。炎炎夏日,正好欣賞大師筆下的荷花作品。所有人仕免費參觀。</p> Wed, 20 Aug 2014 02:45:33 +0000 Sterling Ruby - Gagosian Gallery Hong Kong - September 13th - October 25th <p><em>I live in the foothills of the San Gabriel Mountains and my studio is in downtown Los Angeles. My daily routine of driving back and forth is always a contemplative time. On these drives I often witness extremely vivid and colorful sunrises and sunsets, yielding horizon lines that transform the urban sprawl into a meditative celestial plane.</em><br />&mdash;Sterling Ruby</p> <p>Gagosian Hong Kong is pleased to present &ldquo;VIVIDS,&rdquo; an exhibition of new spray paintings by Los Angeles-based artist Sterling Ruby. This is Ruby&rsquo;s first exhibition with the gallery.</p> <p>Ruby engages a wide range of aesthetic strategies and mediums&mdash;glossy and color-saturated poured-polyurethane sculptures, drawings, collages, richly glazed ceramics, graffiti-inspired spray paintings, and video&mdash;maintaining a constant tension within a multitude of elements. His work engages with issues related to the violence and pressures within society, autobiography, and art history. Throughout he vacillates between fluid and static, minimalist and expressionist, pristine and dirty. Of the diverse forms that constitute his oeuvre the paintings are the most formally abstract. Ruby has long been influenced by the sociological implications of urban demarcation, vandalism, and the power struggles of gang graffiti. In his paintings, acts of defacement are transformed into a painterly sublime.</p> <p><em>VIVIDS</em>&nbsp;is a new suite of spray paintings in a vibrant, fluorescent pink palette. The resulting electric color fields are Ruby's ruminations on the shifting, multi-hued Los Angeles skies that he encounters en route to his studio. He engages the horizon as his subject using an approximate and speedy medium befitting the gritty urban context, fixing sprays into multiple dimensions&nbsp;<em>alla prima</em>, without pausing for touch-ups or to catch drips. Undelineated forms merge with hazy backgrounds and atmospheric magenta layers, producing meditations of uncontained voltage on an ever-shifting horizon line, which asserts its radiant presence beyond the physical picture plane.</p> <p><strong>Sterling Ruby</strong>&nbsp;was born on an American air force base in Bitburg, Germany in 1972, and lives and works in Los Angeles. Public collections include Solomon R. Guggenheim Museum, New York; Whitney Museum of American Art, New York; Museum of Contemporary Art, Chicago; Museum of Contemporary Art, North Miami; Museum of Contemporary Art, Los Angeles; Los Angeles County Museum of Art; Museum of Modern Art, New York; San Francisco Museum of Modern Art; Montreal Museum of Fine Arts; Moderna Museet, Stockholm; Centre Georges Pompidou, Paris; and Tate Modern, London. Solo exhibitions include &ldquo;CHRON,&rdquo; The Drawing Center, New York (2008); &ldquo;SUPERMAX 2008,&rdquo; Museum of Contemporary Art, Los Angeles (2008); &ldquo;Grid Ripper,&rdquo; Galleria d&rsquo;Arte Moderna e Contemporanea, Bergamo, Italy (2008-09); &ldquo;SOFT WORK,&rdquo; Centre D&rsquo;Art Contemporain, Geneva (2012, traveled to FRAC Champagne-Ardenne, Reims, France; Bonniers Konsthall, Stockholm; and Museo d&rsquo;Arte Contemporanea, Rome); &ldquo;CHRON II,&rdquo; Fondazione MEMMO, Rome (2013, traveled to Kunsthalle Mainz, Germany); &ldquo;Droppa Blocka,&rdquo; Museum Dhondt-Dhaenens, Ghent, Belgium (2013); and &ldquo;Sterling Ruby,&rdquo; Baltimore Museum of Art (2014). Ruby&rsquo;s work was included in the 2014 Whitney Biennial.</p> <p>Ruby will be featured in &ldquo;The Los Angeles Project&rdquo; at Ullens Center for Contemporary Art, Beijing (2014); &ldquo;Taipei Biennial 2014&rdquo; at Taipei Fine Arts Museum (2014); and &ldquo;Gwangju Biennale 2014: Burning Down the House,&rdquo; Gwangju (2014).</p> Wed, 20 Aug 2014 02:37:48 +0000 Larry Bell - White Cube Hong Kong - September 11th - November 15th <p>&lsquo;Everything is an experiment, a lesson, evidence of the investigation, nothing more or less.&rsquo;<br />Larry Bell</p> <p>White Cube is pleased to present an exhibition of new works by Larry Bell. This exhibition, his first in Hong Kong, will include a new series of sculpture and works on paper. Bell&rsquo;s career has spanned 50 years, but throughout he has focused on light and the interface of surface. A tireless experimenter, his methodology is characterised by spontaneity, intuition and improvisation evidenced in works that have ranged from the small scale to total environments and large installations.</p> <p>Bell began his career in the early 1960s as a painter but soon made constructions and then sculpture. It was through his sculptural practice that he discovered an industrial metallic plating process that produced gradient coated glass, paper and plastic surfaces, a process that could visually create virtual spatial volume and translucency of an object. This technique, which Bell continues to explore today, led him to create his key works, such as the signature glass &lsquo;Cube&rsquo; and &lsquo;Standing Wall&rsquo; sculptures. For this exhibition, Bell has created a new group of &lsquo;Light Knots&rsquo; which also utilise this process. These gravity-defying, weightless sculptures are formed from pliable, curvaceous-shaped sheets of polyester film that have been coated with various metals and quartz. The fluid sheets are then knotted to create complex spatial mirrored forms which transmit, absorb and reflect the light in their direct surroundings. Bell frequently hangs his 'Light Knot' sculptures from the ceiling, but in this case, they have been suspended or trapped within Optium cases. Their highly dynamic forms, frozen in motion like his graceful, three-dimensional &lsquo;Vapor Drawings&rsquo; seem to shift into multi-layers of shapes and light.</p> <p>Likewise, Bell&rsquo;s new series of collages on red Hiromi paper play with ideas of perception and notions of spatial ambiguity. Bell refers to the language of Cubism in these works &ndash; in particular to its dynamic collision of visual planes &ndash; through layered rectangles of mirrored materials placed on a vivid red background. While the works are purely abstract and two-dimensional, their forms reflect surfaces creating a shimmering vortex of depth and light, emitting a rainbow of colours that is made visible through the interference of light at various wavelengths hitting the work&rsquo;s surface.</p> Wed, 20 Aug 2014 02:24:44 +0000 Xiao Jiang - Vanguard Gallery - August 30th - October 19th <p>Along the Way&mdash;Xiao Jiang&rsquo;s solo exhibition will open on 30 Aug. 2014 at Vanguard Gallery and last to 19 Oct. The objects are nondescript, in Xiao Jiang&rsquo;s creation, some even unbearable like urinal, rubble, blot, bloodstain, butt, soil and so on. Covered with unnatural light and anamorphic color, the images originated from photos and movies are separated from daily experience.</p> Wed, 20 Aug 2014 02:19:44 +0000 Kathryn Andrews, Aaron Curry, Alex Israel, Matthew Monahan, Sterling Ruby, Ryan Trecartin, Kaari Upson - Ullens Center for Contemporary Art - September 13th - November 9th <p>In a critical examination of one of the most important art centers in the Western world, UCCA will dedicate its entire exhibition space to an anthology of seven shows of contemporary artists living and working in Los Angeles. They are Kathryn Andrews, Aaron Curry, Alex Israel, Matthew Monahan, Sterling Ruby, Ryan Trecartin, and Kaari Upson.</p> <p>These seven artists represent a generation of creative practitioners drawn to a global nexus, one whose rich cultural legacy and robust network of art schools, galleries, and institutions act a magnet for top talents in the field of contemporary art. Outside of Hollywood, specific cultural connections between Los Angeles and Beijing have&nbsp;been lacking despite their imagined proximity as Pacific Rim cities. Los Angeles has long been imagined as a &ldquo;city of the future&rdquo; in much the same way that urban development in China has unfolded against the backdrop of an implicit utopianism. Ultimately, the story of LA is an optimistic one&mdash;a city that has conquered its smog and stayed globally central amidst massive worldwide change. As China&rsquo;s creative scene matures into a multipolar terrain of geographies, contexts, and subjectivities, Los Angeles and its cultural topography become especially relevant to Beijing and its current position as the mainland&rsquo;s creative capital.</p> <p>Rather than a thematic group show, The Los Angeles Project at UCCA uses the Center&rsquo;s wide range of spaces to juxtapose a set of positions with regard for the individual character of each artist&rsquo;s practice. Accompanying the show is a publication in the form of a collection of seven distinct artist books, as well as a range of multidisciplinary public programs. The UCCA exhibition is the first showing in China for most of the participating artists as well as the first time the art of Los Angeles has been comprehensively presented in the region.</p> Wed, 20 Aug 2014 02:15:19 +0000 Wang Youshen - ShanghART Gallery Beijing - September 14th - October 20th <p>ShanghART Beijing is pleased to present Wang Youshen&rsquo;s solo exhibition &lsquo;Per Square Meter&rsquo; on 13th September, 2014. This is the first solo exhibition with Wang Youshen in ShanghART Beijing space, and also the first solo exhibition in Beijing after a lapse of 20 years.<br /><br />&lsquo;Per Square Meter&rsquo; is an exhibition about an &lsquo;event&rsquo;: Artist twice experienced the process of constructing to dismantling of his studio from 2007 to 2011.<br /><br />Two Studios in five years, from sign a contract, start construction to demolition, from blossom to fade. Time and space are compressed, everything running in a absurd way. A "Rashomon" story is completed, which recorded a "uncontrolled" daily behavior.<br /><br />&lsquo;Per Square Meter&rsquo; describes an extension of a physical unit of space related to a social event or an art event. The whole process is consisted of installation, picture, sound, documentary and paperwork, the multiple visual relationship paves an interesting path to the explanation.<br /><br />The recent four years after 2011, Wang started the project &lsquo;Per Square Meter&rsquo;, in the process of deconstruction and reorganization, he tries to complete a unrealistic reconstruction. A &ldquo;uncontrolled&rdquo; daily behavior and social event switched into a &ldquo;controllable&rdquo; art production and artistic event, everything seems never happened, everything from realistic physical world changed into a illusive mental world.&nbsp;<br /><br />Our individuals are like plural &lsquo;per square meter&rsquo;, keep the constant melting and reconstructing.</p> Wed, 20 Aug 2014 02:08:57 +0000 Thilo Heinzmann - Galerie Perrotin - August 28th - September 27th Wed, 20 Aug 2014 01:55:20 +0000 Ye Hongxing - Art+ Shanghai Gallery - September 7th - October 26th <p>"Everybody must have a fantasy." &ndash; Andy Warhol</p> <p>Contemporary China exists in a state of fantasy, and artist Ye Hongxing is no exception. Art+ Shanghai Gallery's exhibition&nbsp;<em>The Fantasy Factory: New Works by Ye Hongxing</em>explores the creative process of fantasy and the fantastic through mixed media works of stickers on canvas. Beijing-based artist Ye Hongxing plays with the world she perceives around her, injecting pop culture and a sense of sardonic humor into her works like a modern-day female Andy Warhol. At once whimsical and witty, her works cannot help but tease: What's real and what's fantasy? Do you ever know for sure?</p> <p>Ye Hongxing's exhibited works feature stickers &ndash; little images of smiling blue bunnies, fluffy cupcakes, and so forth that capture the innocence of childhood and resonate regardless of culture or generation. Ye Hongxing mosaics these bright, playful pieces of pop culture into compositions of contemporary confusion, using stickers as a gateway into the realm of environmental pollution, fading traditional cultures, and the glossy glamorization of a consumer society.&nbsp;<em>The Fantasy Factory</em>&nbsp;is the tedious production of hundreds of stickers on canvases and the bold open-ended statements that beg for discussion among exhibition-goers. Fantasy is ideological flight of fancy, but more fundamentally, it is the re-contextualization of the real in a fantastical mode. Fantasy is not devoid of reality; it is an extension of it. The fantastical is that which commands awe and captivates thought, where menageries of images, thoughts, and discoveries battle harmoniously in rich compositions, and where the mythical melds with problem-riddled reality. There is a sense of playful layering and weaving, blurring boundaries between fact and fiction, sight and illusion, smiles and smirks, to be simultaneously individual and universal.</p> <p>Part ideal, part statement, and part provocation, Ye Hongxing's&nbsp;<em>Fantasy Factory</em>&nbsp;mixes bits of her Beijing surroundings with a healthy dose of imagination and mindful creativity to be relatable to a wide audience and wonderfully immersive in both conceptual depth and contemporary commentary. Gas masks, kama sutra, models, tigers, stilettos, oh my. Mingling across her canvases, these alluring images of polluted skies and over-the-top fashions are at once real and fantastical, playing off the real yet surreal world of contemporary China. We welcome you into her world, to get lost in&nbsp;<em>The Fantasy Factory</em>.</p> <p>&nbsp;</p> <p>&ldquo;每个人都必须怀有幻想。&rdquo;&mdash;&mdash;安迪&middot;沃霍尔</p> <p>当代中国处于一种幻想状态,艺术家叶红杏也不例外。艺术+上海画廊&ldquo;幻工厂:叶红杏新作展&rdquo;通过综合材料的布面拼贴,探索了制造梦幻的过程与精彩。叶红杏生活在北京,她每天与感知世界打交道,将流行文化元素和冷幽默注入艺术创作,像是个当代女版&ldquo;安迪&middot;沃霍尔&rdquo;。她的作品天马行空、风趣诙谐,让人不禁产生疑问:究竟什么是真实?什么是虚幻?你真的分得清吗?</p> <p>此次展出的作品以拼贴为主,微笑的蓝兔子,蓬松的杯子蛋糕等小图案,这些都能唤起人们儿时的童真,并产生内心的共鸣,这种怀旧情怀无关国界,无关岁月。叶红杏将流行文化的明快嬉闹的一面嵌入其现代迷津的作品中,她使用贴纸的方式探讨了环境污染、衰退的传统文化精神及物质社会的光怪陆离。&ldquo;梦幻工厂&rdquo;是一部画布作品,由数百个贴纸组成,这种大胆的表现手法能够吸引参观者的关注和讨论。幻想是想象的意识之旅,更重要的是,它以梦幻的方式将现实重新情景化。幻想不是脱离现实,而是现实的延伸。幻象能够令人生畏,迷惑心智,在这些丰富多彩的作品中,动物形象、思想活动和探索穿插其中,既相互碰撞,又和谐共存,充满问题的现实画面与神秘意境交相融合。现实与虚拟、视觉与幻觉、真笑与假笑相互交织,难以捉摸,不禁让人感觉置身于广阔的空间。</p> <p>理想、言论、挑衅,&ldquo;梦幻工厂&rdquo;中,叶红杏加入了恰好的想象与精心考量的创造使观众陷入沉思,并在审慎着当代社会的方方面面。毒气面罩、印度圣经、模特、老虎、高跟鞋,这些物品一一浮现在她的画布上,让人瞠目结舌。被污染天空和浮夸的潮流尚品同时吸引着眼球,显得如此真实,但又如梦似幻,充分体现了当代中国真实且超现实的一面。欢迎来到叶红杏的世界,迷失在&ldquo;梦幻工厂&rdquo;。</p> Wed, 20 Aug 2014 08:32:19 +0000 - Shanghai Art Museum - August 1st - October 7th <p>&ldquo;我的孩子,春天来了&mdash;&mdash;德国绘画大师珂勒惠支作品展&rdquo;,展出了20世纪早期德国表现艺术绘画大师珂勒惠支的版画和雕塑作品。</p> <p>凯绥&bull;珂勒惠支这位广受爱戴和深被中国艺术家们所熟知的女性艺术家来说,她带给中国版画艺术和几代艺术家的深刻影响在艺术史上留有浓墨重彩的一笔。而她对学术界所产生的轰动自从上个世纪30年代鲁迅先生引进以来就从未停止。在今天,她的影响已渗透到我们文化的各个角落,这其中包括文化界、艺术界、哲学界等大家及学者。</p> <p>此次展览,以珂勒惠支作为对中国当代艺术影响的启蒙者,展出她三个系列的版画和雕塑作品。展览以&ldquo;我的孩子,春天来了&rdquo;(&ldquo;珂勒惠支日记&rdquo;1915年4月11日)为题,将从女性艺术家自身的独特角度来展现其不同的艺术面貌,作为对中国现当代艺术,特别是版画艺术影响最大的外国艺术家之一,其作品能让我们更加理性地重新审视近一个世纪中国当代艺术的发展历程。参观这些相对更加源头化的纯正作品,可以体会在那个时代特有的艺术环境下所充斥的浓烈的革命氛围,充分展示了这位从未远离过德国土地的艺术家,以自身特有的女性角度所带来的艺术张力,显示其富于情感的创作痕迹,展现出艺术所带来的前所未有的革命力量。</p> Mon, 18 Aug 2014 03:53:16 +0000 奥斯瓦尔多 瓜亚萨明 - Shanghai Art Museum - August 1st - October 7th <p>&ldquo;伸出你的拳头&mdash;&mdash;厄瓜多尔绘画大师奥斯瓦尔多&bull;瓜亚萨明画展&rdquo;分为&ldquo;等待&rdquo;系列、&ldquo;母亲&rdquo;系列和&ldquo;中国风景速写&rdquo;系列等内容。奥斯瓦尔多&bull;瓜亚萨明是拉丁美洲厄瓜多尔的国宝艺术家,著名的文化战士。早在20世纪50年代,奥斯瓦尔多&bull;瓜亚萨明就参加拉丁美洲革命,用作品反映人民疾苦,争取民族独立。他曾来过中国,受到毛泽东主席的接见。&ldquo;等待&rdquo;和&ldquo;母亲&rdquo;系列-瓜亚萨明的&ldquo;愤怒的时代&rdquo;奥斯瓦尔多&bull;瓜亚萨明7岁习画,12岁进入基多美术学院学习,自小他的创造能力和绘画天赋就得到老师和同学们的赞许,从美术学院毕业之前他就已经举办了第一次个展。之后,瓜亚萨明开始到美洲大陆探索,在那里他发现了居住在布拉沃河到巴塔哥尼亚土地上的盎格鲁人与原住民和混血种人的根本差别,即他们的土地。瓜亚萨明在完成他的第一部大型交响曲&mdash;&ldquo;乌阿卡伊南(Huacaynan,克丘亚语,其含义为&lsquo;泪之痕&rsquo;)&rdquo;等系列之前,他创作了各类主题创作。被基金会收藏的这一时期画作汇总构成了名为&ldquo;追溯&rdquo;的创作集成。瓜亚萨明将他的绘画和雕塑作品总分为三个阶段:&ldquo;乌阿卡伊南&rdquo;阶段,&ldquo;愤怒的时代&rdquo;阶段和&ldquo;温柔的时代&rdquo;阶段。他曾肯定地说,&ldquo;我的作品实际上就是三部交响曲,在年轻时已经设计好,现在我正完成它们的创作&rdquo;。瓜亚萨明的&ldquo;愤怒的时代&rdquo;七十年代充斥在南美大陆的战争冲突、政治压迫和社会不公现象,促使瓜亚萨明创作了&ldquo;愤怒的时代&rdquo;阶段。他在欧洲和美洲举办了一系列的展览,从罗马到圣地亚哥,从布拉格到墨西哥,从马德里到旧金山,这些展览上的画作充分显示了一个世纪的悲惨人类现状,揭露了战争、酷刑和独裁者造成的伤痛以及母亲们的悲伤,深深触动了公众的良心。&ldquo;愤怒的时代&rdquo;创作于1961年到1990年之间,由150幅大幅面画作构成。这一阶段作品都是同一主题系列的合集,例如&ldquo;手&rdquo;(12幅油画),&ldquo;哭泣的女人&rdquo;(7幅油画),&ldquo;等待&rdquo;(11幅油画),&ldquo;伤残者&rdquo;(6幅油画),&ldquo;五角大楼会议&rdquo;(5幅油画),&ldquo;血河&rdquo;(3幅油画)。&ldquo;等待&rdquo;系列这是反映第二次世界大战期间犹太民族艰辛与苦难的作品系列。全系列共11幅画作,描绘了受刑者在毒气室里等待死亡的那一刻,创作具体呈现了人们的脸庞、身体和情绪状态。绘画通过明显的灰色和黑色两种色调,表现出将死之人对自身的哀悼和命运的屈从。&ldquo;母亲&rdquo;系列&ldquo;母亲&rdquo;是瓜亚萨明作品中的常见主题,该系列通过不同视角展示了这一主题。随着&ldquo;愤怒的时代&rdquo;的创作时期,瓜亚萨明开始思考在这个不公平的社会里,&ldquo;母亲&rdquo;这一角色意味着什么。母亲是给予爱最多的人,也是遭受痛苦最多的人。对于瓜亚萨明而言,母亲就是社会的基础。数十年后首度公开露面的&ldquo;中国风景速写&rdquo;值得一提的是,&ldquo;中国风景速写&rdquo;系列虽然不是本次展览中最有冲击力的作品,但有趣的事实是它们属于&ldquo;从未发表&rdquo;作品。这些速写作品历经几十年风雨,一直静静摆放在瓜亚萨明博物馆里,从未外借出过任何国内或国际的公开展览中。此次瓜亚萨明基金会首度将该批速写作品带到中国巡展中,充分传达出此次展览对于合作双方的特殊意义。瓜亚萨明先生曾于1960年11月应中国政府邀请访问中国,在中国驻留的4个月内创作了这批速写作品,并将它们悉数带回国内珍藏在身边,从未公开展览过。在瓜亚萨明先生过世后,由于相关法律继承手续,他的住所关闭了13年之久,直到2012年11月,才以瓜亚萨明美术馆的全新面貌向世人开放。在工作人员整理并研究瓜亚萨明先生的遗作时,意外的在其大量创作手稿中发现这批速写作品,而在此之前,并没有人知晓他曾在中国之旅中带回这样一批速写作品。由于先人已逝,所以这批作品中每幅速写的具体名称也无从探究。而对于瓜亚萨明基金会来说,本次的中国巡展,无疑是多年来从未有过的呈现这批速写作品的最佳时机,也无疑是瓜亚萨明先生&ldquo;中国情愫&rdquo;的最好见证。&ldquo;人类殿堂&rdquo;-瓜亚萨明的艺术信仰1976年,瓜亚萨明与他的儿子开展合作,建立了一个以他的名字命名的&ldquo;瓜亚萨明基金会&rdquo;。瓜亚萨明基金会作为非盈利的文化机构,积极推广了他的作品、思想和信仰。最终,瓜亚萨明先生将自己全部艺术创作和私人文化财产都作为遗产交付到基金会,贡献给了自己的祖国厄瓜多尔。如今,瓜亚萨明基金会经营着首都基多的两家美术馆:&ldquo;瓜亚萨明之家&rdquo;和&ldquo;人类殿堂&rdquo;,两处建筑都位于一处叫贝拉维斯塔的幽静居民区内。这里环境优美,树立着瓜亚萨明的雕塑作品。1996年,瓜亚萨明开始打造他的建筑杰作&ldquo;人类殿堂&rdquo;,但在该项目尚未建完的1999年3月,他便与世长辞。&ldquo;人类殿堂&rdquo;一期工程于2002年向公众开放,二期工程由联合国教科文组织宣布完工,并将其命名之为&ldquo;文化的先驱&rdquo;。教堂呈长方形,共分两层,由纹理丰富的石头建造而成。穹顶呈现一个小小的圆锥状,锥顶已被挫圆,从屋顶中心穿出,让人情不自禁联想到印加神庙。教堂内部装饰着各种鲜艳生动的色彩和大型的绘画作品,其中大部分是瓜亚萨明先生所作。&ldquo;人类殿堂&rdquo;环境安静,很容易让人肃然起敬。除本国外,不同国家如智利和玻利维亚等的文化机构都向该教堂捐献了艺术作品,另外其间一些展示作品则是由瓜亚萨明生前以个人名义捐献的。大量来自其他伊比利亚美洲的艺术家、歌唱家以及画家,都利用艺术作品或由音乐表演获得的赞助金向教堂做出了各种捐助。这座教堂竣工后,成为了纪念瓜亚萨明这位创作者的艺术胜地,同时也代表了瓜亚萨明对遭受不平等待遇及残酷剥削的拉美人民的伟大致意。1999年,联合国教科文组织正式请求国家元首和政府首脑峰会在古巴哈瓦那召开,宣布奥斯瓦尔多&bull;瓜亚萨明为&ldquo;伊比利亚美洲的画家&rdquo;,向他伟大的艺术成就致敬。</p> Mon, 18 Aug 2014 03:49:51 +0000 - Shanghai Art Museum - August 1st - October 7th <p>&ldquo;琳琅满天&mdash;&mdash;20世纪下半叶意大利表现性艺术展&rdquo;,集中推出了在欧洲艺术界举足轻重的意大利上世纪七八十年代的超前卫艺术风潮,也就是意大利新表现主义艺术。它的根本精神在于把绘画从各种艺术实验回归架上绘画。尽管这个流派中的每个画家的精神追求和艺术手法各不相同,但他们使架上绘画在意大利艺坛上获得了一次空前辉煌的复兴。从&ldquo;超前卫艺术运动&rdquo;的创始艺术家们开始,如桑德罗&bull;基亚、米莫&bull;帕拉迪诺、弗朗切斯科&bull;克莱门特和恩佐&bull;库基,他们已经成为了&ldquo;奥林巴斯国际艺术展&rdquo;的一部分,这个展会和已经进入艺术史的知名大师,如罗伯托&bull;巴尔尼等一起见证了&ldquo;超前卫艺术运动&rdquo;以及被称为&ldquo;不合时宜的对立派&rdquo;之间的联系,并且在八十年代,他们努力争取想成为人们关注的焦点,然而却无功而退。但最终这个焦点还是与绘画的回归和超前卫艺术家们联系在了一起。除此之外,其他艺术家也聚集在此,宣称要见证意大利创造力的丰富性。这些作品虽然几乎很难融入具体运动中,而创作理念一直在&ldquo;归属感&rdquo;和&ldquo;无政府思想&rdquo;之间徘徊。比如埃齐奥&bull;格瑞巴乌多,他之前凭借自己原创的&ldquo;罗国格瑞菲&rdquo;在威尼斯双年展大奖赛中获奖,或者马里奥&bull;思琪法诺,这也许是战后时期意大利最有天赋的艺术家和最无可争议的艺术大师之一,同时也是意大利艺术界最受欢迎的艺术家。又或者看似神秘的维托&bull;匹萨尼,他的画作对概念艺术进行了独特的审视,形成一种在绘画、雕塑、摄影之间摇摆的原创思想,而诗歌又使得绘画变得更加完整和与众不同,并使他置身于伟大的国际艺术家之列。&ldquo;新罗马&rdquo;流派,也被称为&ldquo;圣罗伦佐&rdquo;流派,也努力将意大利艺术推向诗意绘画,即&ldquo;超前卫艺术&rdquo;的前沿与意大利文艺复兴时期的冷静结合。事实上,&ldquo;新罗马&rdquo;流派通过缓慢,周到和不太冲动的图案形式,诗意地融入&ldquo;莫兰蒂式&rdquo;记忆的传统艺术方式,使得他们能够以新的和流行的方式重新审阅意大利绘画的伟大传统,而又丝毫没有过时艺术家们的过度自满。皮耶罗&bull;皮奇&bull;坎内拉、麦可&bull;泰尔里、约瑟夫&bull;加洛、詹尼&bull;戴斯,甚至包括排在该流派以外的阿尔坎&bull;杰罗,创作源泉其实都源自意大利艺术,即直接从皮耶罗&bull;德拉&bull;弗朗西斯到莫兰迪那里流传下来的艺术。&ldquo;记录自主的个性&rdquo;,和&ldquo;不纠缠于具体的动作和背景&rdquo;这两条主线,尽管依然完全镶嵌于意大利艺术的新时期,却随着瓦伊奈尔&bull;万加里的出现,使得意大利绘画从&ldquo;超现实主义&rdquo;的神奇风格转变为简洁的标志,以一种新的形式描绘生活。他的作品中的面孔和人物被字母和标志代替,不是为了隐藏,而是为了使它们更加突出和更显真实。最后,布鲁诺&bull;贝努兹在博洛尼亚学者城内自成一体,虽然也已融入了批评家雷纳托 &bull;巴瑞里的&ldquo;新--新理论&rdquo;中,但在我看来,却不属于任何一个特定的流派,而是他自身形成了一种独具一格的画风。他在材料和颜料运用方面独树一帜,冲出了传统框架,试图通过创造不确定的结构来定义自己的形象,并几乎成为了现代图标,其中还嵌入了一部分景观,而且是神秘世俗的那部分景观。上述描述的所有人物,将注定无法穷尽意大利艺术创造的丰富性,因为意大利艺术一直是世界艺术的思潮,意图和启示的重要源泉之一。</p> Mon, 18 Aug 2014 03:45:30 +0000 - Shanghai Art Museum - August 1st - October 7th <p>&ldquo;狂野的心&mdash;&mdash;20世纪60年代起的德国新表现主义艺术展&rdquo;,集中呈现了20世纪60年代德国艺术运动的兴起,以及新表现主义和新具象的发展,其中有中国观众耳熟能详的著名艺术家巴塞利兹、伊门道夫、安森&bull;基弗、格哈德&bull;里希特等的重要作品。历史上,德国作为一个文化大国,以其哲学和艺术具有对世界根本性的影响力。产生于20世纪早期的德国表现主义,拥有众多世界级的绘画大师,他们发展了来自法国的后印象主义的风格,加入德国精神,取得的艺术成就对世界艺术产生了深远的影响。德国新表现主义的创作手法采用了色面绘画的色面层次组织,也采用了最少派艺术的直接表现法和波普艺术的形象。他们的作品没有限定的题材内容,追求自由表现﹑自由联想,强调感情的率直﹑天真。他们的作品起到了恢复德国艺术影响力的作用,更重要的是反映了德国的文化精神。德国人认为,德国文化的独特使命就是发掘原始的、精神性的图像的意义,新表现主义的探索正是这一意义的体现。新表现主义绘画体现了德国绘画和文化的伟大历史传统,是真正具有德国性的艺术形式。可以说,通过此次展览充分展现了德国经典的表现主义艺术作品。</p> Mon, 18 Aug 2014 03:42:24 +0000 - Shanghai Art Museum - August 1st - October 17th <p>此在的绘画&mdash;&mdash;中国具象表现绘画二十年艺术展&rdquo;是具象表现绘画由法国引入中国后二十年来的艺术创作成果呈现展。中国具象表现绘画在对当代艺术的不断反思中,在现象学哲学理论的基础上发展出一整套绘画方法论体系,从上世纪末至今一直引导着一批艺术家进行艺术探索和实践,对中国当代艺术教学和创作产生了深远的意义和重要的影响。</p> <p>展览第一部分是&ldquo;溯源&bull;回归视觉&rdquo;,展出中国与法国具象表现画家的日常素描习作,也包括具象表现绘画自1990年代初由法籍华裔艺术家司徒立先生引入中国之后的发展历程的文献展示,呈现了法国与中国艺术家在这条道路上的同行之旅。展览的第二部分&ldquo;生机&bull;感性的完满&rdquo;展出19位中国具象表现画家的油画作品,集中体现了具象表现绘画强调现场直观的视觉真实和视域意义的感性构成的品格特征,以及艺术家立足自然的思想与创作姿态,以此来完成对&ldquo;此在的绘画&rdquo;这一展览主题的诠释。</p> <p>本次是在过往展出和开展《艺术在没落中升起&mdash;&mdash;当代艺术危机与具象表现绘画》研讨的基础上,再次呈现的增订版具象表现主义展览。展览还就&ldquo;艺术危机&rdquo;这个世界性命题及其在中国的反应,特别是中国当代具象表现绘画实践对此命题的回应等课题做出深度研讨。</p> Mon, 18 Aug 2014 03:39:23 +0000