ArtSlant - Recently added http://www.artslant.com/cn/Events/show en-us 40 Gao Mingyan, Liu Fei, Hsu Che-Yu, Xiao Jiang and Zhang Lehua - Vanguard Gallery - March 28th - May 10th <p style="text-align: justify;">Vanguard Gallery this year&rsquo;s <em>Warehouse Story IV</em> will exhibit paintings and videos from artists Gao Mingyan, Liu Fei, Hsu Che-yu, Xiao Jiang and Zhang Lehua. 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。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 08:09:11 +0000 http://www.artslant.com/cn/Events/list http://www.artslant.com/cn/Events/list 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 http://www.artslant.com/cn/Events/list http://www.artslant.com/cn/Events/list 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 http://www.artslant.com/cn/Events/list http://www.artslant.com/cn/Events/list 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 http://www.artslant.com/cn/Events/list http://www.artslant.com/cn/Events/list 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 http://www.artslant.com/cn/Events/list http://www.artslant.com/cn/Events/list - Pace Beijing - March 20th - April 17th Wed, 01 Apr 2015 07:46:33 +0000 http://www.artslant.com/cn/Events/list http://www.artslant.com/cn/Events/list as Huang Daozhou, Lin Yutang, Lin Lin, Shen Yaochu, Shen Fuwen, Shen Roujian, Shen Xichun, Zhou Bichu - National Art Museum of China - March 25th - April 6th <p style="text-align: justify;">Culture is prosperous and a large numbers of outstanding people come forward in the history of Zhangzhou. There are leading figures in painting and calligraphic field in different period of its history, including an array of great masters in art circles such as Huang Daozhou, Lin Yutang, Lin Lin, Shen Yaochu, Shen Fuwen, Shen Roujian, Shen Xichun, Zhou Bichu and so on. This exhibition will have 3 topics: works of The Influential Older Generation Artists of Zhangzhou will be shown in hall 2, works of overseas members of Chinese Calligraphers Association and Chinese Artists Association with Zhangzhou as ancestral home will be shown in hall 3, works of member of Chinese Calligraphers Association and Chinese Artists Association will be shown in hall 4.&nbsp;</p> <p style="text-align: justify;">The works of this Beijing show focus on depicting the historic culture, natural condition and social customs of Zhangzhou, which is hailed as a garden city and an ecological city. The exhibits inherit and carry forward artistic culture of older generation artists, reappear art history of prosperous and beautiful Zhangzhou since the reform and opening up, with the aim of creating a well cultural ambience in Zhangzhou and encouraging contemporary artists to create more high-quality works with contemporary spirit. We expect the exhibition will promote sound progress of Zhangzhou&rsquo;s culture industry and art exchange.</p> <hr /> <p style="text-align: justify;">漳州市历代文风鼎盛,人才辈出,历史的不同时期,都有书画艺术领域的领军人物,涌现出黄道周、林语堂、林林、沈耀初、沈福文、沈柔坚、沈锡纯、周碧初等一大批文坛画坛巨匠。这次活动,展出三个主题,2号厅展出&ldquo;漳州市老一辈有影响的书画家&rdquo;,3号厅展出&ldquo;漳州籍旅外的中国书协、中国美协会员&rdquo;,4号厅展出&ldquo;在漳州的中国书协、中国美协会员&rdquo;。</p> <p style="text-align: justify;">  本次晋京展的作品,着重描绘漳州&ldquo;田园都市、生态之城&rdquo;的历史文化、风土民情,传承及弘扬老一辈书画艺术家的艺术修养,系统梳理,再现改革开放以来&ldquo;富美漳州&rdquo;的人文历史,营造漳州的文化气息,为实现中国梦激发当代艺术家创作出更富时代风貌的好作品。通过文化活动,推进漳州文化产业与艺术交流的良性发展。</p> <p>&nbsp;</p> Wed, 01 Apr 2015 07:42:48 +0000 http://www.artslant.com/cn/Events/list http://www.artslant.com/cn/Events/list Liu Yi - National Art Museum of China - March 31st - April 9th <p style="text-align: justify;">Autumn water is the god comes from Su Shi&rsquo;s poem &ldquo;autumn water is as immaculate as divinity&rdquo;. The autumn water is stainless, crystal clear and looks attractive. Liu Yi loves the romantic charm of autumn water and integrates it into the calligraphy creation.</p> <p style="text-align: justify;">This exhibition will display 140 pieces of Liu Yi&rsquo;s work and tens of books and reference materials. Venation is used to guide the exhibition arrangement from both horizontal and longitudinal perspective. On horizontal aspect, the show covers both chirography and form. On longitudinal aspect, it reveals both inheritance and innovation. According to this principle, the exhibition arrangement is like this: Regular and running script works are on show in hall 13. Regular script is the basic training and running script is compulsory for a calligrapher. Full cursive script and small cursive script works are on show in hall 15 and hall 17. Small cursive script shows literary grace and full cursive shows temperament of the calligrapher. Zhangcao is on show in hall 14 and album, hand scroll and background materials in hall 16. Zhangcao shows regression and sublimation. There is both difference and connection among the exhibition halls, which constitutes a venation whole.</p> <hr /> <p style="text-align: justify;" align="justify">&ldquo;秋水为神&rdquo;取自苏轼诗句&ldquo;秋水为神不染尘&rdquo;。秋水一尘不染,清澈见底,令人神往。刘艺先生喜爱秋水之神韵,并融入其书法创作中。  </p> <div> <p style="text-align: justify;" align="justify">&nbsp;&nbsp;&nbsp;&nbsp;此次展出刘艺先生的书法作品140件,图书资料数十种,跨越三十多年。展览借用脉络一词整理归纳,从横向纵向两方面梳理。横断面包括书体与形式;纵断面包括继承与创新。落实到展厅的分配布置,13号厅是正书、行书作品,正书是基础,行书是必修。15、17号厅是大草、小草作品,小草是文采,大草是性情。14号厅是章草作品,章草是回归是升华。16号厅是册页、手卷与资料。各厅有区别又有联系,形成脉络状的整体,力求表现作者书法之全貌。</p> </div> <p>&nbsp;</p> Wed, 01 Apr 2015 07:41:03 +0000 http://www.artslant.com/cn/Events/list http://www.artslant.com/cn/Events/list Zhao Wangyun - National Art Museum of China - April 1st - April 20th <p style="text-align: justify;">Zhao Wangyun(1906-1977, from Shulu of Hebei province, distinguished artist of traditional Chinese painting in modern China, one of founders of Chang&rsquo;an School of Chinese painting. From sketching to rural areas to establishing Chang&rsquo;an school, Zhao Wangyun opens up a creation course of rooting his art in life and tradition. Sketching plays an extremely important role in Zhao Wangyun&rsquo;s art career. Taking the nature as his teacher all his life and trekking on the long road of sketching, Zhao Wangyun seeks and pursues unremittingly and finally becomes a master of art and founder of a painting school. This exhibition carefully selects excellent sketches of Zhao Wangyun, including works created on way to Egypt where Zhao went to attend an international art conference, as well as those painted on his sketching journeys to northwest regions, Yumenkou of Yellow River, construction site of Sanmenxia Reservoir, forest area of Qinling Mountain and Qilian Mountains. Zhao Wangyun is good at discovering meaningful pictures from grass-root laboring people and their living surroundings, presenting a unique perspective of a painter. With painting style natural and simple, brushwork bold and forceful, his works are full of strong vitality and vivid period feel.</p> <hr /> <p style="text-align: justify;">赵望云(1906&mdash;1977),河北束鹿人,现代著名国画家,长安画派创立者与奠基人之一。从&ldquo;农村写生&rdquo;到&ldquo;长安画派&rdquo;,赵望云开拓了一条&ldquo;一手伸向生活,一手伸向传统&rdquo;的创作道路。写生在赵望云艺术道路中起到极为重要的作用,他一生拜自然天地为师,在写生之路上漫漫跋涉,不断求索,成为一代开宗立派的大师。此次展览粹选馆藏赵望云写生作品之精品,包括上世纪五、六十年代赵望云赴埃及参加国际艺术会议的沿途写生,和多次深入西北各地及黄河禹门口、三门峡水库工地、秦岭林区、祁连山脉等地的写生作品。他善于从底层的劳动人民和他们的生活环境中发现意味隽永的画面,呈现出画家独特的视角。其画风自然质朴,笔力苍厚,充满浓郁的生活气息和真切的时代感。</p> <p>&nbsp;</p> Wed, 01 Apr 2015 07:39:35 +0000 http://www.artslant.com/cn/Events/list http://www.artslant.com/cn/Events/list Su Tianci - National Art Museum of China - March 26th - April 6th <p style="text-align: justify;">As one of NAMOC&rsquo;s Classic Collection Exhibition Series, this exhibition displays the successful exploration of Su Tianci, an outstanding oil painter of China in the 20th century, on Chinese and Western art integration. It is a rare special academic show. His landscape oil paintings, which are mostly themed on natural scene of south China, express deep emotions to nature. With fresh oil painting language, bright and distinct colors, these works show strong Oriental implication and Chinese aesthetic approaches. The majority of the exhibits are donation of Su Tianci&rsquo;s family in 2008 and these valuable works have been permanently treasured by National Art Museum of China. The lofty spirit of selfless contribution of Mr. Su and his family is very admirable. In this early spring when the grasses are tall and the nightingales are in the air, let us review the art of Mr. Su. We believe that the status and cultural value of Su Tianci in history of modern Chinese oil painting will become even highlighted and have a profound and significant impact on later generations with &ldquo;Chinese spirit&rdquo; being more and more emphasized nowadays and in the future.</p> <hr /> <p style="text-align: justify;">此展是中国美术馆典藏活化系列展览之一,展示了20世纪中国杰出的油画家苏天赐先生在中西融汇方面所做出的成功探索,是一次难得的学术专题展。他的风景油画取材江南自然景物,抒发对自然的感怀,油画语言清新、色彩明快、表现出浓郁的东方意蕴和中国的民族的审美情调。展览中绝大部分作品来自于苏天赐先生的家人在2008年的捐赠,这批珍贵作品由中国美术馆永久珍藏,苏先生及其家属无私奉献的高尚精神令人钦佩。在这莺飞草长的早春时节,让我们重温苏天赐先生的艺术,相信苏天赐先生在近现代中国油画史中的地位及其文化价值,会随着当今以及未来越来越强调的&ldquo;中国精神&rdquo;而愈显其艺术的光亮,并将对后世产生深刻而悠远的影响。</p> <p>&nbsp;</p> Wed, 01 Apr 2015 07:37:33 +0000 http://www.artslant.com/cn/Events/list http://www.artslant.com/cn/Events/list Hua Tianyou - National Art Museum of China - April 1st - April 6th <p style="text-align: justify;">Hua Tianyou is a very important and representative artist in history of China&rsquo;s modern sculpture development. Born in Huaiyin of Jiangsu province in 1906, Hua Tianyou graduated from Department of Fine Arts of the 6th Jiangsu Provincial Teachers&rsquo; College and then repaired statues of Tang Dynasty in Baosheng Temple of Suzhou following sculptor Jiang Xiaojian. Going after Xu Beihong, Hua Tianyou went to France to study in 1933 and engaged in sculpture creation in Paris after graduation. His works had been selected by Spring and Autumn Salon Exhibition of France for several times and won copper, silver and gold award respectively. Hua Tianyou went back to China in 1948 and mainly worked on sculpture teaching. He participated in and organized relief creation of the Monument to the People's Heroes.</p> <hr /> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">滑田友是我国现代雕塑发展史上极具重要性与代表性的一位艺术家,他于1901年生于江苏淮阴。早年毕业于江苏省立第六师范美术系,后担任教育部&ldquo;保存甪直唐塑委员会&rdquo;技师,抢救修复了保圣寺唐代塑壁。1933年随徐悲鸿赴法留学深造,毕业后在巴黎从事雕塑创作,作品多次入选法国春、秋季沙龙展,分获铜、银、金奖。1948年归国后主要从事雕塑教学,参与并组织了人民英雄纪念碑的浮雕创作工作。</p> <p style="text-align: justify;">  作为最早留学法国的中国雕塑家之一,滑田友的艺术造诣中西合璧,既吸收了西方雕塑的观念和技巧,又熔铸了中国传统文化的精神和气韵,二者有机融会,个性鲜明,在20世纪中国现代雕塑史上独树一帜。本次展览囊括了馆藏滑田友的全部重要作品,重温经典,我们能够更进一步地认识和感受一代雕塑大师的艺术探索之路和不朽成就。</p> <p>&nbsp;</p> <p>&nbsp;</p> Wed, 01 Apr 2015 07:36:10 +0000 http://www.artslant.com/cn/Events/list http://www.artslant.com/cn/Events/list Ma Changli - National Art Museum of China - April 1st - April 1st <p style="text-align: justify;">Ma Changli, born in Shanhaiguan of Hebei in 1931, stayed in China Central Academy of Fine Arts after graduation from the Painting Department in 1953, pursued his master&rsquo;s degree in the oil painting class of China Central Academy of Fine Arts, and served as teacher in the Oil Painting Department of China Central Academy of Fine Arts after graduation in 1963. Currently, he serves as professor of China Central Academy of Fine Arts,&nbsp;director of China Oil Painting Society and director of China committee of the promotion of the minority art.</p> <p style="text-align: justify;">While devoted to the cause of artistic education, he also create a number of oil paintings, lyrical landscape ones in particular. He has a profound understanding that landscape painting is the &ldquo;speechless poetry&rdquo; and the &ldquo;soul ballad&rdquo; of the painter, while painting is a process to reflect the artist&rsquo;s inner &ldquo;poetic atmosphere&rdquo;. He visited Qinghai, Tibet plateau and Daqing oil field in 1960s, headed to Xinjiang and Taihang Mountain in 1970s, sketched and created works to show the forceful landscape of North China in the suburb of Beijing, Hebei, Shanxi and Henan, sketched in South China for many times from 1980s to 1990s, and was fascinated by the beautiful scenery of Malaysia and Singapore to create oil paintings of diverse styles.</p> <hr /> <p style="text-align: justify;">马常利,1931年生于河北省山海关。1953年毕业于中央美术学院绘画系后留校,1961年在中央美术学院油画研究班读研究生,1963年毕业后留中央美术学院油画系任教。现为中央美术学院教授、中国油画学会理事、中国少数民族美术促进会理事。</p> <p style="text-align: justify;">  在从事艺术教育事业的同时,他创作了大量的油画作品,尤以抒情性的风景画见长。其深刻体会到风景画是&ldquo;无言的诗&rdquo;,是画家的&ldquo;心灵之歌&rdquo;,而绘画就是在描述自己内心中的&ldquo;诗境&rdquo;。自1960年代始远赴青海、西藏高原、大庆油田,1970年代至新疆、深入太行山腹地,也在北京郊区、河北、山西、河南等多地写生创作雄浑气魄的北方风景,1980年代至1990年又多次到南方写生,并留连忘返于马来西亚和新加坡的东南亚景色,创作了诸多不同风格类型的油画作品。</p> <p>&nbsp;</p> Wed, 01 Apr 2015 07:33:59 +0000 http://www.artslant.com/cn/Events/list http://www.artslant.com/cn/Events/list - Minsheng Art Museum - March 29th - June 28th <p class="A" style="text-align: justify;">Shanghai Minsheng Art Museum is pleased to present&nbsp;<em>The System of Objects</em>, a group show by Chinese contemporary artists. Featuring 44 artists whose practice varies from painting, sculpture, installation to video and animation, the exhibition shown on the ground floor of the museum will be open to public on March 29 and run through June 28, 2015.</p> <p class="A" style="text-align: justify;">During the past few years, object has triggered more and more discussion among the realms of cultural theory and contemporary philosophy. Such discussion could be generally categorized into two patterns. One is a cultural and political pattern, according to which the contemporary society has entered a stage of massive accumulation of objects. Being the most prominent sign of the consumer society, objects due to its strong autonomy are imposing substantial pressure on man, leading to the emergence of a new kind of fetishism. Under the influence of commodity fetishism by Marx, Walter Benjamin and Georg Luk&aacute;cs in early 20<sup>th</sup>&nbsp;century and Roland Barthes and Jean Baudrillard in late 20<sup>th</sup>&nbsp;century all treated object as an important topic of study. The other is a philosophical pattern. For long philosophy has considered objects as a realm intricately and inevitably connected with man. When talking about objects, we refer to objects from the perspective of man. It&rsquo;s pointless to talk about objects if not taking man into consideration. Such is the simplest description of the relation between man and object since Kant and Heidegger. However, today&rsquo;s young and radical philosophers put forward &ldquo;Speculative Realism&rdquo;, advocating that objects have their own domain and can be liberated from man&rsquo;s perspective and its connection with man. Objects have the domain, destiny and noumenon of their own. An object-oriented ontology is under formation.</p> <p class="A" style="text-align: justify;">In&nbsp;the&nbsp;light&nbsp;of&nbsp;the&nbsp;above&nbsp;theory&nbsp;and&nbsp;with&nbsp;an&nbsp;insight&nbsp;into&nbsp;the&nbsp;development&nbsp;of&nbsp;Chinese&nbsp;contemporary&nbsp;artistic&nbsp;practice&nbsp;concerning&nbsp;&ldquo;object&rdquo;,Shanghai Minsheng Art Museum selected some of the most representative object-related artworks created by Chinese contemporary artists during the past two decades. Collectively they compose the &ldquo;system of objects&rdquo; of Chinese contemporary art, casting light on artists&rsquo; pondering on objects, changes in people&rsquo;s view about objects, the development and destiny of objects in contemporary Chinese society, and most fundamentally, how man manages to establish his own image through his connection with objects.</p> <p class="A" style="text-align: justify;">In conjunction with the exhibition, talks and lectures under the theme of &ldquo;object&rdquo; will be presented. Moreover, an international symposium under the name of &ldquo;Theories of Objects&rdquo; will be organized during the exhibition.</p> <p class="A" style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">Founded by China Minsheng Bank and open to the public in 2010, Minsheng Art Museum in Shanghai is committed to the promotion of Chinese contemporary art and the presentation of the trends and status quo of Chinese contemporary art. The exhibition intends to further the development of contemporary art in China and present a big picture of the ongoing evolution of today&rsquo;s contemporary artistic practice.</p> <hr /> <p class="A" style="text-align: justify;">上海民生现代美术馆荣幸带来中国当代艺术群展&ldquo;物体系&rdquo;(The System of Objects)。展览将贯穿美术馆的一楼展厅,展出44位艺术家的绘画、雕塑、装置、录像、动画等多种媒介形式的作品。展览将于2015年3月29日开幕,持续至2015年6月28日。</p> <p class="A" style="text-align: justify;">晚近以来,物在文化理论和当代哲学的领域得到了越来越广泛的讨论。大体而言,对物的讨论有两种模式。一种是文化政治的模式,即认为当代社会已经进入到了一个大规模的物的累积阶段,物是消费社会最显赫的标志,一个新的拜物教正在形成,物以其强烈的自主性对人构成了重重挤压。这个讨论受马克思的商品拜物教理论的影响,从二十世纪早期的本雅明、卢卡奇到中后期的罗兰&middot;巴特和鲍德里亚都将物作为重要的研究对象。另一种模式是哲学的模式。长期以来,哲学一直将物看作是与人相关联的领域,物总是人视野中的物,离开了人谈论物是没有意义的。这是自康德到海德格尔以来的所谓人和物之间的关联主义最简单的表述。但是,今天最激进的年轻哲学家提出了思辨实在论(Speculative Realism),即主张物有自己的独特领域,物可以从人的视野中,从与人的关系中解脱出来。物有自己的领域、命运和本体,一种以物为导向的本体论(Object-oriented Ontology)正在形成。</p> <p class="A" style="text-align: justify;">基于上述理论及中国当代艺术中对&ldquo;物&rdquo;的关注与创作的现状,上海民生现代美术馆选取了最近二十年中富有代表性的与物有关的艺术作品。这些作品构成了中国当代艺术中的&ldquo;物体系&rdquo;,它们以不同的方式表达了艺术家对物的思考、人们有关物的观念的变迁、物在中国当代社会中的进程和命运,以及最根本的,人是如何在和物的关联中来确定自身的形象的。</p> <p class="A" style="text-align: justify;">此外,展览期间将会举办以&ldquo;物&rdquo;为主题的系列讲座,还会召开一次名为&ldquo;物的理论&rdquo;的国际学术研讨会。</p> <p class="A" style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;"><strong>上海民生现代美术馆</strong>由中国民生银行发起成立,&nbsp;2010年正式对外开放,一直致力于推动中国当代艺术的发展,积极反映中国当代艺术的潮流和现状。本次展览是民生现代美术馆对当下的艺术实践及其发生的变化进行的一次系统而集中的展现。</p> <p>&nbsp;</p> Wed, 01 Apr 2015 07:30:17 +0000 http://www.artslant.com/cn/Events/list http://www.artslant.com/cn/Events/list Timur Si-Qin - Magician Space - April 3rd - May 17th <p style="text-align: justify;">Magician Space is very pleased to present &lsquo;Biogenic Mineral&rsquo;, the first exhibition in China by Berlin-based artist Timur Si-Qin. Informed by the qualities and form of rock minerals, the exhibition presents &lsquo;Truth by Peace&rsquo;, a brand released by the artist for this exhibition under the banner of which includes an installation of sculpture and photography. Geological transformation is used as&nbsp;a metaphor for a consumer culture heated, pressurized and compressed in order to generate new patterns and forms.<br /><br /></p> <p style="text-align: justify;">Timur Si-Qin&rsquo;s work revolves between the transformation of material&nbsp;and matter. This body of recent work explores more closely inspiration taken from China, a place&nbsp;he shares a blood relationship with,&nbsp;envisioning the&nbsp;country as an immense super processor - one&nbsp;that incessesantly draws&nbsp;raw material from all&nbsp;over&nbsp;the&nbsp;word&nbsp;transforming them&nbsp;into other material forms.<br /><br /></p> <p style="text-align: justify;">In previous projects, the artist has regularly adopted&nbsp;contemporary modes of commercial operations such as branding, commercial photography, and advertising. &lsquo;PEACE&rsquo; is a brand the artist initiated in recent years for&nbsp;his exhibitions, the brand image incorporates the PEACE slogan with a white and grey Taoist Taiji symbol. For his solo exhibition in Beijing, Si-Qin mimics New York fashion brand Hood by Air's sub-brand HBA, creating his own&nbsp;TBP (Truth by Peace) evoking K-Pop culture, as well as the production of large-scale commercial images. For Si-Qin, the adaptation of the brand undergoes a transformation&nbsp;</p> <p style="text-align: justify;">similar to metamorphic processes found in the natural world &ndash; they all derive from matter shifting through phase transitions from one attractor to another.<br /><br /></p> <p style="text-align: justify;">Constituting the major component of the TBP brand in material form, the main hall&nbsp;features a set of rock-like sculptures fabricated in a factory located in Heiqiao Village, Beijing. Similar to how marble is the metamorphic version of limestone composed of ancient sea life, in the broader sense, minerals can also be regarded as a product of geological evolution &ndash; a movement undergoing stages of heat and pressure through prolonged periods of time in order to yield a new form. The artist regards transformation within culture (with brands as a concrete example) as similarly a result of these complex movements compressed together by metamorphic processes. With this sculpture installation in the main hall, the artist has also fabricated octagonal structures lined with an LED light system &ndash; combining traditional and contemporary structures, these elements together play the role of &lsquo;visual attractors&rsquo;, directing the movement&nbsp;of culture or a &lsquo;phase transition&rsquo;.<br /><br /></p> <p style="text-align: justify;">Timur Si-Qin (b. 1984) is an artist of German and Mongolian-Chinese decent who grew up in Berlin, Beijing and in a Native Indian community in the American Southwest. Si-Qin lives and works in Berlin, and a leading figure in a new generation of artists associated with the contemporary philosophical movements of &lsquo;New Materialism&rsquo; and &lsquo;Speculative Realism&rsquo;. Growing up in a multi-cultural environment has helped&nbsp;</p> <p style="text-align: justify;">informed Si-Qin&rsquo;s unique sensitivity to materials, in addition to his interest contemporary discourses in philosophy and science, which together influence his artistic practice. He has shown internationally at Bonner Kunstverein, CCS Bard New York, Museum Fridericianum Kassel, the Taipei Biennial, and last year he participated in the Art Post-Internet group exhibition curated by Karen Archey and Robin Peckham at the UCCA in Beijing.</p> <p style="text-align: justify;"><br />This exhibition has been generously supported by Goethe-Institut China.&nbsp;</p> <hr /> <p style="text-align: justify;">魔金石空间很荣幸带来德国艺术家铁木尔&middot;斯琴在中国的首次个展&ldquo;生物基因岩&rdquo;。以岩石的形态和本质为主题,艺术家将在本次展览中发布一个品牌&ldquo;TBP(Truth by Peace)&rdquo;,并在旗下发布他在中国创作的一组雕塑、POP装置和摄影作品,以地质变化的过程隐喻文化的消费、消融、在压力下推进、挤压并生成新的形态的过程,并强调在其变形(或相变phase transition)中起到指导作用的&ldquo;视觉吸引子&rdquo;(visual attractor)。<br /><br /></p> <p style="text-align: justify;">铁木尔&middot;斯琴的创作惯常围绕着材料与物质状态的变化展开,此次展览的灵感更来自于艺术家对于中国&mdash;&mdash;他小半个血缘上的祖国&mdash;&mdash;的印象,即,作为一个超级处理器,中国无时不刻地输入着来自世界各地的数量惊人的原材料,并把它们转换为其他的物质形态;这个过程犹如物质在两个吸引子之间的相变。<br /><br /></p> <p style="text-align: justify;">在以往的展览及项目中,艺术家时常借用现代商业系统运作模式如品牌、商业摄影、平面广告等形式。&ldquo;PEACE&rdquo;是他在过去项目中用以发表新作的&ldquo;品牌&rdquo;,其商标形象为带有PEACE字样的灰白色太极符号。在本次北京个展中,斯琴戏仿纽约独立时尚品牌Hood by Air的潮流副牌HBA,推出PEACE的副牌TBP&ldquo;Truth by Peace&rdquo;,并参考韩国流行文化,制作了一组商业视觉大片。对艺术家而言,品牌的变形,犹如组织的变化,以及地质演变,都是从一个吸引子(attractor)到另一个吸引子的相变。<br /><br /></p> <p style="text-align: justify;">作为TBP的主要物质形态产品,展览的主空间将呈现一组在北京黑桥的雕塑工厂制作的岩石样貌的雕塑。犹如大理石是远古海洋生物遗骸所构成的石灰岩的一种形态,广义上的岩石作为地质变化的产物,是在漫长的地质运动的压力下消融、挤压、推进而产生的物质。艺术家视文化的变化(具体如品牌的演变)如同地质演变,也是压力下复杂运动的结果。在主空间的岩石雕塑上,艺术家还制作了一个八边形、镶有LED灯的不锈钢结构&mdash;&mdash;这些来自传统和当代的建筑和视觉元素,扮演着&ldquo;视觉吸引子&rdquo;的角色,提示着文化的运动或&ldquo;相变&rdquo;也受到特定目的的指引。<br /><br /></p> <p style="text-align: justify;">铁木尔&middot;斯琴于1984年生于德国柏林,德国与中国蒙古族混血,成长于柏林、北京和美国西南部的印第安人社区,目前生活和工作于柏林。多种文化的成长背景、以及对&ldquo;推断的唯实论&rdquo;等哲学以及科学理论的研究,使斯琴对事物的形态、变化与本质及精神层面充满兴趣同时拥有独特的理解,并且贯穿于他的艺术创作。斯琴的&nbsp;</p> <div style="text-align: justify;"> <p>作品曾展出于德国波恩艺术协会、纽约巴德学院、卡塞尔弗里德利希阿鲁门博物馆和台北双年展等国际知名机构,同时他也是2014年尤伦斯当代艺术中心群展&ldquo;后网络时代&rdquo;(策展人:Karen Archey、Robin Peckham)的参展艺术家之一。<br /><br /></p> </div> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">感谢歌德学院对本次展览的大力支持。</p> <p>&nbsp;</p> Wed, 01 Apr 2015 07:20:19 +0000 http://www.artslant.com/cn/Events/list http://www.artslant.com/cn/Events/list Emily Cheng - Hanart TZ Gallery - April 9th - May 2nd Wed, 01 Apr 2015 07:08:27 +0000 http://www.artslant.com/cn/Events/list http://www.artslant.com/cn/Events/list Tsang Chui-mei - GROTTO Fine Art - May 13th - June 6th Wed, 01 Apr 2015 06:36:31 +0000 http://www.artslant.com/cn/Events/list http://www.artslant.com/cn/Events/list