ArtSlant - Recently added en-us 40 - Ullens Center for Contemporary Art - May 31st 2:00 PM - 4:00 PM <p style="text-align: justify;">UCCA invites curators Li Zhenhua and Liu Tian, as well as film historian/critic Marc Gl&ouml;de to discuss the responsibilities of curators and the existing problems relating to exhibition planning.<br /> <br /> Ticketing &amp; Participation: Free<br /> *Collect your ticket from reception 30 minutes before the event begins.<br /> * No late entry.<br /> <br /> Language:<br /> Both Chinese and English<br /> <br /> <br /> About the Speakers:<br /> <br /> <br /> Li Zhenhua<br /> <br /> Li Zhenhua has been active in the artistic field since 1996. His practice mainly concerns curation, art creation, and project management. Since 2010 he has been the nominator for the Summer Academy at the Zentrum Paul Klee Bern (Switzerland), as well as for The Prix Pictet (Switzerland). He was a member of the international advisory board for the exhibition "Digital Revolution" held at the Barbican Centre in 2014.<br /> <br /> Li Zhenhua has edited several artists' publications, including "Yan Lei: What I Like to Do" (2012), "Hu Jieming: One Hundred Years in One Minute" (2010), "Feng Mengbo: Journey to the West" (2010), and "Yang Fudong: Dawn Mist, Separation Faith" (2009). A collection of his art reviews has been published under the title Text (2013). <br /> <br /> <br /> Liu Tian<br /> <br /> Since 2006, Liu Tian has curated exhibitions, including &ldquo;Memorandum for Gaia&rdquo; The 1st PSA Emerging Curators Program (2014), &ldquo;What A Form: A Reportage-Wu Shanzhuan and Inga Svala Th&oacute;rsd&oacute;ttir&rdquo; (2013), &ldquo;West Bund 2013: A Biennial of Architecture and Contemporary Art&rdquo; (2013), and &ldquo;Cloud Theatre-Shanghai Odyssey&rdquo; (2013).<br /> <br /> <br /> <br /> Marc Gl&ouml;de<br /> <br /> Marc Gl&ouml;de is a film historian and critic who has curated various film series on the subject of film and art. He has authored several publications and has taught at the Free University of Berlin, the Dresden Art Academy, Columbia University, and is currently a lecturer at the ETH Zurich. Marc has curated the Art Basel Film program in Basel since 2008.</p> Wed, 27 May 2015 11:59:15 +0000 William Kentridge - Ullens Center for Contemporary Art - June 27th - August 30th <div class="tdiv ea21 tleft wordg"> <div class="tdiv"> <p style="text-align: justify;">Since William Kentridge (b. 1955, Johannesburg) first showed in the groundbreaking 2000 Shanghai Biennale, artists and critics throughout China have looked admiringly to his distinctive style of addressing social and historical themes through a particular formal, imagistic, and thematic language. Kentridge, for his part, has moved from an initial body of work addressing memory and history in his native South Africa through a wide-ranging set of meditations on themes including Enlightenment philosophy, revolutionary utopianism, and empiricist temporality.</p> <p style="text-align: justify;">&ldquo;Notes Towards a Model Opera&rdquo; is a constellation of key pieces spanning 25 years of William Kentridge&rsquo;s output, allowing viewers to understand the range and trajectory of both his artistic sensibility and humanistic concerns. From seminal early films and drawings featuring the semi-autobiographical figure of Soho Eckstein, the exhibition moves on to encompass major recent multimedia installations including <em>I am not Me, the Horse is not Mine</em>, <em>The Refusal of Time</em>, recent animations and paintings, and finally the titular project <em>Notes Towards a Model Opera</em>, a new work related to the particular aesthetics and ideals of socialist China. Originating at UCCA, the exhibition will subsequently travel to the National Museum of Modern and Contemporary Art, Seoul, and other venues throughout East Asia. As Kentridge&rsquo;s largest exhibition in East Asia to date, this comprehensive overview offers a pathway to understanding his work particularly suited to the Chinese context and its unique experience of modernity.</p> <hr /> <div class="tdiv ea21 tleft wordg"> <div class="tdiv"> <p>自威廉&middot;肯特里奇(1958年生于南非约翰内斯堡)参加2000年第一届上海双年展、首次在中国露面 开始,国内的艺术家和批评家一直在关注他处理社会和历史课题的方式:形式化、意象化和主题性的独特语言。对于肯特里奇来说,已经从最初有关南非本土历史与 记忆的创作中抽身,转向一系列关于启蒙哲学、革命乌托邦主义以及经验主义时间性等主题的思考。</p> <p>&ldquo;样板札记&rdquo;囊括了肯特里奇25年来的重要作品,可使熟知他作品的人以及新观众都能够理解其创作中的审美感知和人文关怀的范畴与轨迹。本展以早期颇 具创意的影片与绘画为开篇,围绕着半自传式人物&ldquo;索欧&middot;艾克斯坦&rdquo;展开叙述;随后是近期创作的大型多媒体装置,包括《我不是我,这匹马不是我的》、《拒绝 时间》以及近期的绘画与动画;最后以关注社会主义中国美学与理想的新项目《论样板戏》压轴。在UCCA首展后,&ldquo;威廉&middot;肯特里奇:样板札记&rdquo;还将在韩国国 立现代美术馆(首尔)等场馆巡回展出。作为肯特里奇在东亚最大规模的展览,这一全面的概述将在中国语境及其独特的现代性经验层面提供一个理解其作品的新路 径。</p> </div> </div> </div> </div> Tue, 26 May 2015 15:03:35 +0000 He Xiangyu - Ullens Center for Contemporary Art - June 11th - August 9th <p style="text-align: justify;"><strong>Expanding on UCCA&rsquo;s longstanding interest in emerging practices, &ldquo;New Directions: He Xiangyu&rdquo; begins a new series of exhibitions focused on young Chinese artists.</strong></p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">From June 11 to August 9, the Ullens Center for Contemporary Art (UCCA) begins the &ldquo;New Directions&rdquo; initiative with the solo exhibition of He Xiangyu, a presentation of 365 paintings from the artist&rsquo;s ongoing Palate Project. Part of UCCA&rsquo;s mission to present the diverse practices of emerging artistic talents from Greater China to wider audiences, &ldquo;New Directions: He Xiangyu&rdquo; is staged in the Long Gallery and will be followed by two subsequent shows featuring young Chinese artists later in the year, with further editions throughout 2016 and beyond.</p> <p style="text-align: justify;">Best known for sculptural works combining comedy and high concept, He Xiangyu here takes a solipsistic turn, revealing an inner topography depicted in a highly sensitive painterly language. During a brief stint in the U.S. where language barriers proved difficult to navigate, He Xiangyu began translating into images the ridges, bumps, and grooves of his palate through perceptions felt with his tongue. The act of translation, always aimed at demystifying the subject, here only seems to further complicate it. The phenomenological processes responsible for constructing a sense of interior space intrinsic to vocalization, the curl of the tongue that produces &ldquo;rat&rdquo; as opposed to &ldquo;that&rdquo;, become a function of He Xiangyu&rsquo;s body mapping, supplanting the oral, and aural, by reaffirming the centrality of visual representation.</p> <p style="text-align: justify;">Executed over the course of four years, Palate Project is composed of six groups of drawings and moves in a perennial display of watercolor, ink, and mixed media on paper. Identifiable anatomical structures dissolve and re-emerge, eventually evolving into color fields of yellow with only the slightest hints of form. Based on a seemingly obvious premise, Palate Project revels in a Cartesian split of mind and body, illustrating that, in spite of proximity to subject, art remains the annotation to a lost referent.</p> <p style="text-align: justify;">He Xiangyu (b. 1986) first garnered attention for Coca Cola Project, completed merely a year after his graduation from Shenyang Normal University. The piece, which has since been widely exhibited, required a long preparation period of hired workers boiling down 127 tons of Coca Cola. The application of intense heat resulted in two byproducts: an inky liquid and an earthy, dark precipitant. Fertile in its associative capacity, the virtual merde has been used for installations of varying of scale, at times filling entire rooms.</p> <p style="text-align: justify;">A tangential outgrowth, Tank Project was first featured in UCCA&rsquo;s exhibition &ldquo;ON | OFF: China&rsquo;s Young Artists in Concept and Practice&rdquo; (2013). Painstakingly sewn by an army of hands trained by the artist, the flaccid military machine is a life-size replica of a Soviet-style tank stitched from over 400 pieces of fine Italian leather. The material and temporal demands placed on the production of both Tank Project and Coca Cola Project, as well as the East-West dialectic conjured by He Xiangyu&rsquo;s premeditated choice of cultural symbols, are indicative of a larger trend among artists of his generation to interrogate, at times to comedic effect, the contradictory trends of institutionalization and commercialization of contemporary art.</p> <p style="text-align: justify;">He Xiangyu&rsquo;s solo exhibition, the first installment of the &ldquo;New Directions&rdquo; series, is accompanied by a monograph supported by Post Wave Publishing Consulting. &ldquo;New Directions&rdquo; is initiated by UCCA Director Philip Tinari. &ldquo;New Directions: He Xiangyu&rdquo; is curated by Guo Xi.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;"><strong>About the Artist</strong></p> <p style="text-align: justify;">He Xiangyu (b. 1986, Liaoning province) graduated from the Oil Painting Department of Shenyang Normal University and is currently based in Beijing and Berlin. Having first garnered attention for large-scale works like Coca Cola Project and Tank Project, He Xiangyu continues to defy commonplace notions carried toward young Chinese artists through a diverse body of works encompassing sculpture, painting, and performance. His major exhibitions include &ldquo;Fire and Forget&rdquo; (KW Institute for Contemporary Art, Berlin, 2015); &ldquo;Dotted Line&rdquo; (White Space Beijing, Beijing, 2014); &ldquo;He Xiangyu&rdquo; (White Cube, London, 2014); &ldquo;2014 Future Generation Art Prize &ndash; Finalists Exhibition&rdquo; (Pinchuk Art Centre, Kiev, 2014); &ldquo;28 Chinese&rdquo; (Rubell Family Collection, Miami, 2013); &ldquo;Crossed Beliefs&rdquo; (SCAI The Bathhouse, Tokyo, 2013); and &ldquo;ON | OFF: China&rsquo;s Young Artists in Concept and Practice&rdquo; (UCCA, Beijing, 2013). He Xiangyu has also been invited to participate in the 15<sup>th</sup> Lyon Biennale (2015); &ldquo;Social Factory&rdquo; 10<sup>th</sup> Shanghai Biennale (2014); and Busan Biennale 2014.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;"><strong>About &ldquo;New Directions&rdquo;</strong></p> <p style="text-align: justify;">&ldquo;New Directions&rdquo; 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 &ldquo;Curated By&hellip;&rdquo; series (2010-2012), &ldquo;New Directions&rdquo; 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.</p> Tue, 26 May 2015 15:02:20 +0000 Ming Wong - Ullens Center for Contemporary Art - June 11th - August 29th <div class="tdiv ea21 tleft wordg"> <div class="tdiv"> <p style="text-align: justify;">Ming Wong (b. 1971, Singapore) takes film and its histories as the staging ground for explorations of language, representation, identity, and ideology. In works that refigure an expansive and ecumenical range of world cinema&mdash;from Wong Kar-wai to Rainer Werner Fassbinder&mdash;Wong uses his own versatile, virtuosic capacity for role-playing to construct new personas. He samples gestures and facial expressions from the big screen in order to both expose film&rsquo;s mechanisms of artifice and to articulate a complex, transcultural subject position.</p> <p style="text-align: justify;">Ming Wong&rsquo;s solo exhibition at UCCA, his first in Beijing, presents a selection of his films and photographs alongside a newly commissioned installation and performance. Wong&rsquo;s new creations stem from his recent ongoing research on the modernization of Cantonese opera and the history of science fiction in formerly Communist countries, resulting in his recombination of films including <em>Last Year at Marienbad</em> and<em> Solaris </em>with this Southern Chinese vein of theater. By linking these traditional modalities with the outdated futurism of science fiction, Wong&rsquo;s exhibition outlines a trajectory of utopian imagery through two separate but interrelated systems of cultural production.</p> <hr /> <p>黄汉明(1971年生于新加坡)将电影及其历史作为探讨语言、再现、身份与意识形态的阵地。他曾翻拍多部著名电影&mdash;&mdash;王家卫、法斯宾德和帕索里尼的作品均在其列&mdash;&mdash;并亲自担纲多角,以自身脸孔的绝对他性,在重蹈既有角色的覆辙之余,试图说明一种复杂的、跨文化性的主体性。</p> <p>本展是黄汉明北京首次个展,将呈现其全新作品。黄汉明近年潜心研究科幻电影的历史和粤剧的现代化过程,一方面展开对&ldquo;未来&rdquo;的考古,另一方面追溯传 统戏曲人物在视觉文化系统中的嬗变,以空间展示非线状的多重时间性。艺术家把美术馆的甬道改造成舞台,好莱坞电影史中太空舱的空间结构在此与中国传统宇宙 观的美学融合。黄汉明的全新录像作品《明天》将在本展作全球首映,重新演绎阿伦&middot;雷乃的经典电影《去年在马里昂巴德》。展览中乌托邦意象的生成轨迹和碎片 化的时间在黄汉明的各种形象和身姿中互相质疑又重合,延续艺术家作品对身份和差异的诘问。</p> <p>本展为尤伦斯当代艺术中心亚洲艺术家个展系列&ldquo;不明时区三部曲&rdquo;第一部。</p> </div> </div> Tue, 26 May 2015 15:01:12 +0000 Etel Adnan - White Cube Hong Kong - June 4th - June 29th <div class="expandable"> <div class="text ff"> <p style="text-align: justify;">White Cube is pleased to present an exhibition of new paintings by Lebanese-born writer and artist Etel Adnan, her first in Hong Kong. Born in 1925 in Beirut, Adnan is widely known for her poetry, novels and plays and moves fluidly between the disciplines of writing and art. Her drawing, painting and writing traverses cultures and disciplines, taking inspiration from a deep engagement with literature, philosophy and the natural world.</p> <p style="text-align: justify;">Adnan began painting her small, intensely coloured abstract works in the early 1960s, when, already a published writer, she was teaching Philosophy of Art and Aesthetics at Dominican College in San Rafael, California. She places her canvases flat, laid out on a table, and using a palette knife applies the paint in firm swipes across the picture&rsquo;s surface. Displaying both a charged colour and dynamic energy, her paintings relate strongly to early Modernism, in particular to the late French landscapes of Russian artist Nicolas de Sta&euml;l, or the paintings of Paul Klee.</p> <p style="text-align: justify;">Adnan has said that &lsquo;colors exist for me as entities in themselves, as metaphysical beings&rsquo; and in these new, small-scale canvases, all completed in 2014&ndash;15, she continues to explore its emotive potential in pared down, abstract compositions which take landscape as their point of departure. Several works, for example, use primal, overlapping shapes and horizontal bands of colour, pointing to the shapes of mountain ranges or the separation between earth, sea or sky. Here, however, they are reduced to zones of pure, undifferentiated colour. In one painting, a series of mountain-like forms is anchored by the central motif of a single peak, rendered as a solid mass of flesh-like colour, recalling Adnan&rsquo;s many depictions of Mount Tamalpais in California, an immutable reference point in her work for many years. In other works, geometric blocks of different shapes and sizes are overlaid to create compositions that create a sense of compression. These works seem evocative of dense urban centres where streets, buildings, sunlight and shadows dissolve into schematic blocks of expressive colour.</p> </div> </div> Wed, 27 May 2015 11:59:17 +0000 Duncan Campbell, Lia Forslund & Franek Wardynski, Ximena Garrido-Lecca, Han Ishu, Toril Johannessen, Gabriel Kuri, Joao Vasco Paiva, Heidi Voet, Hannes Zebedin - Edouard Malingue Gallery - June 4th - July 18th <div style="text-align: justify;">As part of its curatorial projects, Edouard Malingue Gallery is pleased to present &lsquo;Balance Sheets&rsquo;, a group exhibition curated by Kit Hammonds. Bringing together works by Duncan Campbell, Lia Forslund &amp; Franek Wardynski, Ximena Garrido-Lecca, Han Ishu, Toril Johannessen, Gabriel Kuri, Jo&atilde;o Vasco Paiva, Heidi Voet, Hannes Zebedin, the exhibition explores the relationship between art and economics.</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">&ldquo;Balance Sheets is an international group show that draws out relationships between ideas of balance in aesthetics, economics and ecological thinking.</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">Taking its title from accountancy, Balance Sheets takes looks at how we measure value between different fields &lsquo;on paper&rsquo;. In finance the balance sheet has a sort of virtual aesthetics, a &lsquo;correct&rsquo; and stable form of representation where business income and expenditure of resources are presented as equal &ndash; even if this includes a surplus or profit. This notion of balance is equally a vital element in formal and traditional artistic composition. Its value has been displaced from visual perfection of the golden section in painting, or the contra-posto in sculpture, and now resides in a conceptual realm &ndash; a move that is traced through modernist abstraction, minimalist and conceptual practices. While this history rejects composition in form, there remains a sense of balance between visuality and artistic process and materials.<br /><br /></div> <div style="text-align: justify;">The artists proposed move between these areas of material production and intellectual or conceptual work. Their works on paper move between the representational value of the materials &ndash; paper money, business reports, or charts &ndash; to emphasise these process of exchange of values between language and representation &ndash; that is working drawings or sculptural work related to the themes. This further reflects on another notion of balance that is in common currency &ndash; that of &lsquo;precarity&rsquo;.&rdquo; &ndash; Kit Hammonds</div> <p style="text-align: justify;">&nbsp;</p> <div style="text-align: justify;">Duncan Campbell (b. 1972, Born and lives in Ireland) will present his film work &lsquo;Arbeit&rsquo; (2011). Exhibited within an immersive installation, it holds a mirror to the palsied world economy, in particular the crisis facing the euro. It does this through a biographical account of its ostensible subject, the German economist Hans Tietmeyer, one of the chief technocrats of the monetary union.</div> <p style="text-align: justify;">&nbsp;</p> <div style="text-align: justify;">Lia Forslund (b. 1984, Sweden) &amp; Franek Wardynski (b. 1989, Poland) are London-based artists whose collaborative work explores dystopian ideas of &lsquo;value collapse&rsquo;. Their collaborative work is a &lsquo;critical text machine&rsquo; that prints on demand a short narrative text based work set in the lead up to the 2007 economic crisis that draws on the jargon of financial industry.</div> <p style="text-align: justify;">&nbsp;</p> <div style="text-align: justify;">Ximena Garrido-Lecca (b. 1980, Born and Lives in Lima, Peru) creates work that finds symmetries between the forms of conceptual and post-conceptual art with vernacular architectures and hand-crafts found in indigenous Andean cultures. A Gross of Chullos is a series of 144 drawings (shown in units of 6 or 12) of traditional hats made from hand coloured photocopies on accountancy paper.&nbsp;Each is the same but unique (as are the hats themselves) due to the possible number of colour variations.</div> <p style="text-align: justify;">&nbsp;</p> <div style="text-align: justify;">Han Ishu (b. 1987, China. Lives in Japan) creates drawings, made of coins replacing pixels, related to local economies and political issues. The two works exhibit relate to protests in Fukushima and Taiwan.</div> <p style="text-align: justify;">&nbsp;</p> <div style="text-align: justify;">Toril Johannessen (b. 1978, Born and Lives in Norway) makes use of analogies between both the scientific and capitalist market interpretation of expansion and abstraction. Through graph plots, such as in her Expansion in Finance and Physics series, she shows how these very words are used in various economic, physics and art historical documents.</div> <p style="text-align: justify;">&nbsp;</p> <div style="text-align: justify;">Gabriel Kuri (b. 1970 Mexico. Lives in USA) creates visually refined sculptures, collages, installations, and photographs, working from repurposed natural, industrial, and mass-produced objects. On display will be two &lsquo;coin and cigarette butt board&rsquo; works, which combine assembled coins and cigarette butts delicately imbricated into sober formal sculptures that play on the codes of minimalism..</div> <p style="text-align: justify;">&nbsp;</p> <div style="text-align: justify;">Heidi Voet (b. 1972, Belgium, lives between Brussels and Shanghai) looks at the relationship of multitudes presented in anti-formal sculptures and installations. Voet will present Stars and Constellations, an installation of coins from various global economic centres &ndash; Germany, UK, Hong Kong &ndash; that are spread on the floor of the gallery. Among them are &lsquo;token&rsquo; euros commissioned by the artist. These faceless coins represent the dislocation of capital from its location within globalized finance. These tokens tread the line between forgery and reproduction.</div> <p style="text-align: justify;">&nbsp;</p> <div style="text-align: justify;">Hannes Zebedin (b. 1976, Austria) uses the forms of conceptual art and protest to make installations and interventions in public space. Zebedin&rsquo;s installation Zweifelscontinuum consists of copies of the International Monetary Fund&rsquo;s report on global economics stacked floor to ceiling in the gallery, and allowed to collapse under its own instability. It is combined with an &lsquo;energy loss&rsquo;, system, such as an air conditioning system. This reference to natural seasons is a relationship between seasonal change and economics drawn from Karl Marx&rsquo;s theories on capital.</div> <p style="text-align: justify;">&nbsp;</p> <div style="text-align: justify;">Hannes Zebedin (b. 1976, Austria) uses the forms of conceptual art and protest to make installations and interventions in public space. Zebedin&rsquo;s installation Zweifelscontinuum consists of copies of the International Monetary Fund&rsquo;s report on global economics stacked floor to ceiling in the gallery, and allowed to collapse under its own instability. It is combined with an &lsquo;energy loss&rsquo;, system, such as an air conditioning system. This reference to natural seasons is a relationship between seasonal change and economics drawn from Karl Marx&rsquo;s theories on capital.</div> <p style="text-align: justify;">&nbsp;</p> <div style="text-align: justify;">Kit Hammonds (b. 1975, UK, lives London &amp; Taipei) is an independent curator whose practice includes exhibition and event-making, education, as well as critical and creative writing. His recent projects include Co-Curator of the CAFA Museum Biennale, Beijing; curator of Blue Lines, Red Threads, Serralves Museum, Porto; Co-Founder of Index Art Book Fair, Guadalajara &amp; Mexico City; and Director-in-Residence at the Taipei Contemporary Art Center (all 2014). From 2007-2015 he held the position of Senior Curator in Curating Contemporary Art at the Royal College of Art, London and in 2015 was a recipient of the Taiwan Fellowship, 2015.</div> Tue, 26 May 2015 14:25:42 +0000 Pan Jian - 10 Chancery Lane Gallery - June 18th - August 15th <p style="text-align: justify;">10 Chancery Lane Gallery is pleased to present <em>Shadow of Light</em>, an exhibition of new work by the young Chinese artist Pan Jian from June 18 - August 15. </p> <p style="text-align: justify;">Pan Jian presents his most recent series of 2015, <em>Shadow of Light</em>. A continuation of his exploration of shadow, the artist distills the relationship between light and dark to its purest form, resulting in an arresting body of work that challenges the viewer&rsquo;s eyes to adjust to the dim silhouettes and wander through the monochromatic night-time scenes. Pan Jian&rsquo;s artistic process first draws inspiration from actual landscapes, gradually transforming what he has seen into the imagined scenes that he presents on each canvas. The landscapes are therefore both real and imagined, a dichotomy that is reflected in the concept that although a shadow has no tangible content, the image presented is still able to move the viewer, provoking an emotional response. </p> <p style="text-align: justify;">Drawing inspiration from traditional Chinese landscape paintings, Pan Jian&rsquo;s nightscapes are striking in their detail and meticulous brushwork. Pan Jian is unique in his ability to provide both a contemporary style of Chinese landscape painting as well as being reminiscent of the work of the Chinese literati, or scholar-artists, whose landscapes represented a retreat from the burdens of daily life. Each painting is an invitation by Pan Jian to take sanctuary in the dusky forest scenes, questioning the viewer&rsquo;s sense of illusion and reality and drawing on a person&rsquo;s natural curiosity to decipher the images set before them.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;"><span style="text-decoration: underline;">About the artist</span></p> <p style="text-align: justify;">Pan Jian (b. 1975 Shandong) is a young and committed painter who currently lives and works in Beijing &amp; Xi&rsquo;an. He graduated from the Oil Painting Department of Xi&rsquo;an Academy of Fine Art where he is now a teacher. His work is included in numerous collections including the DSL collection, The Uli Sigg Collection, The Yuz and is well supported by the Yuz Foundation in Jakarta.</p> Tue, 26 May 2015 14:15:30 +0000 Liu Shiyuan - White Space Beijing - April 25th - June 7th <p style="text-align: justify;">&ldquo;Lost in Export&rdquo; intentionally defies labels and unceasingly questions the substitution of the current moment. In this 33 minute, 43 second piece, a beautiful and highly idealized ideology of art emerges: emotion, romanticism and universal values etc. Liu Shiyuan is using classic elements of cinematography as her mold for images, thus investigating it&rsquo;s validity and artificiality. Images of mountains, beaches, deserts, cosmos, and the heavens above, provide corresponding reference to the subconscious messaging conveyed by contemporary popular culture, and its consistent hunger for narratives. In the film, the narrator - a plausible merging of the main characters and its writer voice - follows the thread of a relationship from the first encounter, to falling in love, and finally, to it&rsquo;s end. The film&rsquo;s protagonists are four people, whose lives both parallel and intersect with one another. The timeline experiences multiple flashbacks and disjunctures; different cultures and emotions meet and collide, further adding layers of doubt. <br /> <br /> Liu Shiyuan continues with her research-heavy methods, consulting precedents in cinematographic history to construct the building blocks of her own film. With her playful approach to the conventions of narratives, diction, her manipulations of landscapes, mixture of still images with film, and sometimes-odd framings, Liu Shiyuan enhances the sense of a glitch in the larger common psychological system of interpretation within cinematography. The artist makes use of routinely utilized symbolic elements to turn around and question clich&eacute;s in cinematography, thus examining the way in which our view is conditioned by commercial and institutionalized paradigms of observation. It is within this inherent subjective transformation of objectivity, that Liu Shiyuan&rsquo;s film poses it&rsquo;s main question: how is the film industry as part of popular culture influencing our emotions, and even further, the way in which we feel that we are expected to experience, and interpret our own emotions? This film&rsquo;s seemingly didactic message regarding beauty and romanticism, effectively validates the viewers&rsquo; expectations for something sincere, as well as speculation about the current relevance of these &ldquo;classical&rdquo; demands towards art. <br /> <br /> Liu Shiyuan was born in Beijing in 1985. She graduated in 2009 from the Central Academy of Fine Arts in Beijing, China with a degree in New Media Art. In 2012, she received her MFA in Photography from the School of Visual Art, New York, USA. Liu Shiyuan now lives and works in Beijing and Denmark. Her most recent exhibitions include &ldquo;Beyond the Pale&rdquo;, Andersen&rsquo;s Contemporary, Copenhagen, Denmark; &ldquo;My Paper Knife&rdquo;, ET AL. GALLERY, San Francisco, USA; &ldquo;The 2nd CAFAM Future Exhibition Observer - Creator-The Reality Representation of Chinese Young Art&rdquo;, CAFA Art Museum, Beijing, China.</p> Tue, 26 May 2015 14:08:23 +0000 Qin Jun - White Space Beijing - April 25th - June 6th <p style="text-align: justify;">We are very pleased to announce the opening of Qin Jun&rsquo;s first solo exhibition at WHITE SPACE BEIJING on April 25th. He will be showcasing his most recent works in painting and sculpture. As a rising artist, Qin Jun attempts to alternate his concepts between spatial cognition, and a kind of generalized plane of consciousness by using abstract visual forms. For Qin Jun this study has been an ongoing process, which he developed during his education as a sculptural artist. Whether through sculpture or painting, Qin Jun&rsquo;s work always follows a strict set of particular preordained rules regarding form. However, within this self-limiting framework, he still manages to bring forth a kind of visual structure that is both rich in emotion and possesses an inherent intensity. Qin Jun&rsquo;s sculptural work utilizes basic geometric principals like rectangular, spherical, and triangular shapes. The modular representation suggested by his work follows a kind of standardized of installation method which links the elements of his pieces together. Although the relationships between elements in his work appear random, they are joined under the premise of a kind of modern socialized production; the flexible surface of his work is actually subject to a kind of linear logic. Meanwhile, in contrast to the diffused sense of space that his sculptural works create, Qin Jun&rsquo;s paintings display an inward sense of contraction. Although his two sets of paintings were made according to different formal rules, they still share similarities. Broken up into basic, two-dimensional elements, Qin Jun&rsquo;s paintings interpret color as punctuation of sorts for shadow and volume. He thus takes sculpture&rsquo;s spatial sensibility and projects it onto a two-dimensional surface, rupturing the spatial conventions of painting and reshaping our notions of gravity and observation. Qin Jun was born in 1987 in Liaoning Province. In 2010 he graduated from the Dalian Polytechnic University, Dalian, China with a degree in Sculpture. In 2012, he received his MFA in Fine Arts from the University of Southampton, London, UK. Qin Jun now lives and works in Beijing.</p> Wed, 27 May 2015 12:01:29 +0000 Ying Tianqi - Today Art Museum (TAM) - June 13th - June 29th <div class="text" style="height: auto;"> <div class="inner"> <div style="text-align: justify;">Ying Tianqi began to collect old bricks from the&nbsp;relics of the ancient town in Wuhu City in 2012.&nbsp;He then grounded these bricks and created an&nbsp;installation weighing 600 kilograms with all the&nbsp;powder he got. This is the work he brought to&nbsp;the 13th Architecture Biennale in Venice.In 2014, the artist went back to Wuhu, Anhui Province again. He lead nearly ten thousand&nbsp;local residents who have suffered house&nbsp;demolition issue in China.The individual brick&nbsp;collecting act turned into a group of thousands&nbsp;people. The protection of the heritage and&nbsp;rebuilding of the hometown transformed into a&nbsp;collective revolutionary cause of the artist and the public.<br /> <br /> Inquiry of the Brick &ndash; the Exhibition of the&nbsp;Contemporary Art of Ying Tianqi is to be held at Beijing Today Art Museum in 2015.Ying Tianqi has gone through an artistic&nbsp;exploration of nearly 30 years. He carried&nbsp;out the research of the ancient architecture&nbsp;in "Xidi Village" at the end of last century.&nbsp;Then the artist turned his attention to the&nbsp;exploration of walls in "Traces of a Century".&nbsp;Now he landed at the analysis and inquiry into&nbsp;the elementary cells of ancient architecture&nbsp;&ndash; the bricks. This exhibition consists of series&nbsp;of installations, videos and oil paintings with&nbsp;different materials. And the works are presented&nbsp;in parallel comparison to the works from three&nbsp;architects respectively from Japan, Taiwan and&nbsp;the mainland. The exhibition focuses on Ying&nbsp;Tianqi's latest accomplishments in contemporary&nbsp;art under the subject of the culture of relics.<hr />从2012年应天齐在芜湖古城废墟里捡拾古砖,把这些砖块碾成粉末,制成重600公斤的古砖装置,踏进了第十三届威尼斯建筑双年展。2014年艺术家回到安徽芜湖古城废墟,率领着近万名拆迁地的原住民踏进被毁坏的家园,从一人捡砖变成万人捡砖,保护遗存,再生家园,已成为一种艺术家和民众共同的革命行动。 <div style="text-align: justify;"><br /> &nbsp; &nbsp; &nbsp; 2015年,在北京今日美术馆举办的《砖问》应天齐当代艺术展,是艺术家探索的新成果。从上一个世纪末对《西递村》古建筑的探究,到《世纪遗痕》对墙的探寻,再进入到对古建筑的细胞&mdash;砖块的剖析和叩问,应天齐走过了近三十年的探索历程,该展将以装置、影像、材料油画作品为主体并与三位来自日本、台湾、大陆的建筑师作品以对比展方式呈现,集中体现应天齐以废墟文化为主题,在当代艺术领域新的探索结果。</div> </div> </div> </div> Tue, 26 May 2015 13:59:38 +0000 Zou Cao - Today Art Museum (TAM) - June 1st - June 22nd <div class="text" style="height: 273px;"> <div class="inner"> <div style="text-align: justify;">China's contemporary art has accomplished two tasks in the years since 2000: one is the construction of its own lingual system and proactive pursuit of further expansions; The other is a reflection of the habitual thinking models formed since the 1990s, and the gradual liberation from the "post-colonialist" order in international context, furthermore the structuring of its own value dimensions. In the new historical and cultural context of today, the artists wish to follow the cultural logic and pursuit of modernity generated locally in the homeland and actively transforms the traditional visual resources to give them new cultural connotations. The theme "Farewell at the Mountain of Clouds" is a manifest of the inner connection between the exhibition and traditions. The "Farewell" is an emphasis of artist's transformation in the artistic methodology and wisdom.</div> <div style="text-align: justify;"><br /> Over the past decade, Zou Cao used the fingerprint as a symbolic language and carried out a number of experiments in contemporary painting. He established a unique and rich systematic series of the "Fingerprint" paintings, which is highly individual in style. Zou's latest works do not restrict to paintings. They expand to installations, video and conceptual works. All follow the personal conceptual path of the artist. Although Zou takes up such various forms, he is consistent in emphasizing the "post-tradition"in the "new context" in his works. It is the endeavor in the transformation and translation of traditional visual and cultural resources with a new methodological consciousness.Through this exhibition,ZouCao demonstrated his unique understanding of traditional and contemporary art byhis personal creative ideas and wisdom, and also provides a fine example of more possibilities of contemporary art.<hr />新世纪以来,中国当代艺术一方面是完成了自身语言学的建构,并积极寻求新的拓展;另一方面是反思20世纪90年代以来艺术创作中形成的惯性思维,逐 渐摆脱在国际语境中所形成的&ldquo;后殖民&rdquo;话语,更重要的是建构自身的价值尺度。在这个过程中,&ldquo;传统&rdquo;又回到了许多当代艺术家的视域。不过,和80年代普遍 流露出的对&ldquo;传统&rdquo;的批判已有本质的不同,今天,在一个新的历史与文化情景之下,艺术家希望按照本土的文化逻辑与现代性的诉求,积极地转换传统的视觉资 源,并赋予其新的文化内涵。此次展览以&ldquo;云山诀&rdquo;为题,在于凸显展览与传统的内在关联,其中的&ldquo;诀&rdquo;更多地强调的是艺术家的创作智慧与方法论方面的转变。 <p style="text-align: justify;">&nbsp; &nbsp; &nbsp; 在过去十年的创作中,当代艺术家邹操通过以&ldquo;指纹&rdquo;作为符号语言,在当代绘画领域做了诸多的尝试,建立起一个独特而丰富的&ldquo;指纹&rdquo;作品体系,形成了自己的 个人风格。不过,邹操近年的作品不再限囿于绘画,而是按照自己的个人创作轨迹不断地予以推进,创作了一批装置、影像与观念作品。这些作品尽管在形态媒材上 有所不同,但其内在的观念仍在于强调&ldquo;新语境&rdquo;之下的&ldquo;后传统&rdquo;,即以新的方法论意识,致力于传统视觉与文化资源的转换与转译。通过此次展览,邹操以个人 化的创作观念与智慧,诠释了他对传统和当代的独特理解,为当代艺术创作更多的可能性提供了一个不错的范例。</p> </div> </div> </div> Tue, 26 May 2015 13:57:08 +0000 Group Show - Today Art Museum (TAM) - May 30th - June 14th <p style="text-align: justify;">Due to the ancestor-worshiping tradition resulted by the traditional patriarchal clan system and family system throughout the Chinese history, Chinese Painting undertakes a mode of teaching and learning. Up to now, although the tradition is opened up from the strict mentoring system, it left different unique traditions and correspondences to different collages around. The 80s Commune as an art community showing respect to the previous masters, aiming to make dialogues with the artists in their 80s from the last generation and the rising artists born after the 1980s so as to trace out the track of the 87-year history of the China Academy of Art.</p> <div style="text-align: justify;">Comparing to the western painting which describes objection to the maximum, Chinese Painting has an abstract and poetic interpretation to figures. The &lsquo;excellent likeness&rsquo; aesthetic and pursuing of the Chinese Painting is in relation with philosophy and literature, for which draws great importance of teachers&rsquo; precept. In spite of accumulation on basic abilities, it is more useful and meaningful that the students understand the spiritual pursue of the predecessors rather than merely the painting skills.</div> <div style="text-align: justify;"><br /> Through the exhibition the 80s Commune is willing to display two different 80. On one hand shows the art career of the artistic predecessors, on the other hand the artistic faith and ideal of the rising artistic youth. Involving many art fields such as Chinese Painting, oil painting, sculpture, installation, animation and calligraphy, the exhibition provides record and appreciation to the art memory from the perspective of inheritance.&nbsp;</div> <div style="text-align: justify;">&nbsp; It is not absolutely antagonistic between tradition and contemporary, a balance of inheritance suggests from the exhibition.<br /> <div style="text-align: right;">&mdash;&mdash; Alex Gao<hr />&nbsp;传统的宗法制度和家族制度造就了中国古代思想中崇师敬祖的价值取向,而中国绘画也因此有了&ldquo;师徒相授&rdquo;的传统模式。时至今日,这样的传统虽然逐渐 从&ldquo;艺不外传&rdquo;的严格宗法制度规范下解放出来,各个艺术学院却肩负了不同地区在不同历史背景下造就的独特情怀与艺术特色。捌零社作为一个尊重师承脉络的艺 术团体,意图借由八十多岁的学院老一辈书画家和八零后新一代艺术家作品的对话与共鸣,梳理出中国美术学院八十七年校史的轨迹。 <p style="text-align: justify;">&nbsp; &nbsp; &nbsp;&nbsp;相较于西方的绘画那样注重客观的再现,中国传统对于&ldquo;意向&rdquo;的体悟是 抽象的、象征的。中国画&ldquo;似与不似&rdquo;的审美取向,宁静凝神、气韵生动、形神兼备的艺术追求使美术与哲学、文学息息相关。亦因此,老师的口传心授,言传身教 就显得尤其重要。除了苦练功底,学生更要用心体悟前人画作的意韵,学到的不仅仅是画笔之功,更是作画之心。</p> <p style="text-align: justify;">&nbsp; &nbsp; &nbsp;&nbsp;借由这一次展览,捌零社希望能带给观众两个不一样的捌零。一方面是老一辈艺术家的艺术人生,另一方面则是青年艺术家们的艺术理想与信念。本次展览涉及中国画、油画、雕塑、装置、动画,书法等多个艺术领域。带着对于传承文化的敬意,纵观时间流淌下艺术的记忆。</p> <p style="text-align: justify;">&nbsp; &nbsp; &nbsp;&nbsp;传统与当代并非对立,而是一种传承的延续。</p> <div style="text-align: justify;">&mdash;&mdash;策展人 高鹏</div> </div> </div> Tue, 26 May 2015 13:55:16 +0000 Benjamin Teare - Today Art Museum (TAM) - May 25th - May 31st <div style="text-align: justify;">A talented artist trained at prestigious institutes in Britain and France</div> <div style="text-align: justify;">A crossover enthusiast who ventures into theatre, music and literature</div> <div style="text-align: justify;">An inspiring teacher who commits to Beijing after years of globetrotting&nbsp;</div> <div style="text-align: justify;">Come</div> <div style="text-align: justify;">Explore the new territory of performing arts! &nbsp;&nbsp;</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">Belonging to a steady movement of actors and directors of theatre and film in China conscious of the visual appeal of the actor, and building on his training at the Jacques Lecoq school in Paris, Benjamin Teare researches and develops acting through movement in this seven day workshop.</div> <div style="text-align: justify;">&nbsp;</div> <div>Rendering visible and playful is a core principal in physical theatre. A space, a conflict, an emotion becomes visible when it is played out in the body, using rhythm, tension, attitudes, breath etc. You and I can play if we react to one another and both know the rules of the game. It is precisely in this alchemy - the space between you and I, between an action and it's reaction &ndash; that theatre can happen.<hr /> <div class="text" style="height: auto;"> <div class="inner"> <p style="text-align: justify;">一个学艺于英法顶尖演艺殿堂的艺术家</p> <p style="text-align: justify;">一个游走在剧场、音乐和文字的跨界人</p> <p style="text-align: justify;">一个走遍世界后以北京为家的创意导师</p> <p style="text-align: justify;">邀请你来</p> <p style="text-align: justify;">探索表演新大陆!</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">&nbsp; &nbsp; &nbsp; 源于中国剧场及电影导演、演员对于视觉美感不断深化的追求,结合巴黎贾克乐寇戏剧学校的肢体训练方法,英国表演艺术家本杰明将通过七天工作坊与15位职业演员共同研究探讨如何通过肢体练习丰富创作以及表演。</p> <p style="text-align: justify;">&nbsp; &nbsp; &nbsp;&nbsp;视觉呈现和幽默是肢体剧场的核心元素,空间、冲突、情绪都可以通过肢体动作与节奏、张力、以及情绪来呈现。当演员在共识的规则间互动,一个空间就诞生于两人之间,动作与反应之间&mdash;&mdash;戏剧就在此发生了。</p> </div> </div> </div> Tue, 26 May 2015 08:26:49 +0000 Chen Zhiguang - Today Art Museum (TAM) - May 23rd - June 4th <p style="text-align: justify;">Chen Zhiguang (b. 1963) makes two kinds of ant with stainless steel: the ant as a group creature so as to accentuate its collectivity; the ant as singular individuals, with each of the body details being augmented and sometimes even animated. To put clothes on these individualized ants and to animate them amount to making them deities, whose significance is similar to those local deities crucial to the Southern Fujian identity. Chen Zhiguang combines the characters of the ant with his own personality, yoking the worldliness of the images with the industrial characters of the medium. These works are of the &ldquo;aesthetics of experience,&rdquo; converting the artist&rsquo;s own and contemporary Chinese experiences of survival into the looks of the ants and contemplating on the relationship between the ants and their surrounding environment. The ants can be individuals, as embodiments of Chen Zhiguang&rsquo;s own personality, as a part of the collective whole, or as representatives of the Chinese people. In whichever variety, the ant reveals Chen Zhiguang&rsquo;s strong desire to respect individuals, traditions, and lives. The stainless steel theater stage he has created has this inscription at the top: With Dignity. To a great extent, &ldquo;with dignity&rdquo; is synonymous with artistic representation: we must use the dignity in representation to call for and anticipate the possibility that every individual achieve dignity in the real life.</p> <div style="text-align: right;">&mdash;&mdash;Curator Xu Gang<hr />以创造不锈钢蚂蚁而著称的漳州艺术家陈志光,除了在创作的素材和媒质上有很大突破外,更是在作品的气质上体现深层的闽南特性。本次个展借陈志光大型近作, 深挖出陈志光体会到的闽南在其气候、风俗、语言、历史基础上形成的体面、坚韧、永不退却的蚂蚁性格。陈志光善于以传统的资源用当代的媒质进行置换,在蚂蚁 这样卑微而伟大的生物中灌注进多重的象征意义。他一方面做出大量的成群结队的蚂蚁,用来显示蚂蚁的集体性,而另外一方面他将单个的蚂蚁放大、甚至拟人化, 做成衣冠人类的神态,也就是将蚂蚁神化了。这些蚂蚁是陈志光的福建的本地神。他们可以是门神、也可以是账房先生、或者是王侯将相,充满世俗气息,却又因为 巨大的尺寸和亮闪闪的外表而让人肃然起敬。陈志光的作品可以说是&ldquo;经验的美学&rdquo;,从自身和中国当代民众的经验中化成蚂蚁的外观以及蚂蚁和周围环境的关系。 不论是蚂蚁作为个体、作为陈志光个人性格的表现、作为群体的一部分、还是作为中国当代民众的代表,陈志光都强烈表达出尊重个体、尊重传统、尊重生命的&ldquo;体 面地&rdquo;的意愿。他做的不锈钢戏台,上刻&ldquo;体面地&rdquo;三个大字,表达的就是尊重个体生命的意思。&ldquo;体面地&rdquo;同时也是闽南人对于戏剧表现的民间说法。&nbsp;在很大程 度上,&ldquo;体面地&rdquo;是艺术表现的同义词:我们必须要用艺术表现中的尊严来期盼每一个蚁族在现实中实现尊严的可能性。他的蚂蚁或者其它不锈钢作品,不仅以微小 的事物反映出巨大的变化,更是在每一个个体中都试图恢复完整的含义,让所有的个体都有自己的&ldquo;体面地&rdquo;。<br /> <div style="text-align: justify;">&mdash;&mdash;策展人 徐钢</div> </div> Tue, 26 May 2015 08:24:39 +0000 Jun MyungJa - Today Art Museum (TAM) - May 23rd - June 3rd <div class="text" style="height: 522px;"> <div class="inner"> <div style="text-align: justify;">For artists, controlling a color can be compared to chefs trying to find perfect seasoning. Sometimes, a minor difference could be the one by which the value of art is defined. At a glance, Jeon, Myeong-ja is an artist agonizing about color.&nbsp;</div> <div style="text-align: justify;">It seems that her affection for blue color has somewhat become a persistence.&nbsp;</div> <div style="text-align: justify;">With unique delicacy of female, she clearly expresses a dreamscape on canvas.&nbsp;</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">The value of traditional art has been defined by color, composition, technique and contents. But, thanks to development of arts, artists of current era have started to consider their emotion the most important element in arts. The emotion of artists and people can be connected via works of art which speak for artists&rsquo; emotion and thoughts.&nbsp;</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">Nevertheless, a color has been maintaining its position as basic principle of arts.&nbsp;</div> <div style="text-align: justify;">Figure, space, location, size and texture never exist without color.</div> <div style="text-align: justify;">Regardless of composition, solid or flat, everything cannot be free from color.&nbsp;</div> <div style="text-align: justify;">Human being began with self-awareness of color and color&rsquo;s effect on our mind. And, our arts of the day have found unique attraction for color and, especially, arrangement of colors.&nbsp;</div> <div style="text-align: justify;">Light coming from color which has different wavelength stimulates human being&rsquo;s visual organ, while the visual nerve delivers the information of color to the cerebrum. Based on memory and experience of the past, a sort of psychological action of color is made.Color itself has no temperature difference, such as cold and hot. But, its visual sense of color generates mental process in human being, making people remind of their memory. In that sense, now we can think that &ldquo;All color has its unique taste. Same color, different methods of expression and different exhibition methods can cause mental change&rdquo;. Jeon, Myeong-ja is an artist skilled in the use of color.&nbsp;</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">As a female painter, her touch is soft, and color is mild. Also, her paintings contain freshness only shown in Korean arts, while fantasy and reality are harmonized. &nbsp;With female artist&rsquo;s endemic soft touch, Jeon Myeong-Ja limits her arts to identical basic tone. Her novel fantasy, explaining harmonized relation of human being and nature, provides people with experience of artist&rsquo;s delicate and sensitive life. These kinds of arts are not easily found in these days. Her paintings do not contain too much content, but simply maintain warm and active energy, giving sense of calmness and peacefulness.</div> <div style="text-align: justify;">The arts derive from our life, while they also have impact on our life. There is a hope that art galleries can show this &ldquo;warmth&rdquo; to more people through works of art.<br /> <div style="text-align: right;">&mdash;&mdash;Alex Gao&nbsp;Director of Today Art Museum<hr />对于艺术家来说,色彩的控制就像是厨师对于调料的追求,细腻的差距却往往决定了作品的价值。全明子老师显然是一位执着于色彩的艺术家,她热爱蓝色,甚至达到了执拗的程度。用女性独特的细腻,清新勾勒出一幅幅梦想中的美好世界。&nbsp;&nbsp; <p style="text-align: justify;">&nbsp; &nbsp; &nbsp; 传统的艺术品价值体现在颜色、构图、技艺、内容之上,而今时今日,随着艺术的逐步发展,当代艺术开始将重心转移到情感上。通过艺术品衔接艺术家与观众的情 感,抒发艺术家的情绪与思考。而作为艺术设计的基础理论之一,色彩仍旧保持着它不可替代的位置。色彩不能脱离形体、空间、位置、面积、肌理等而独立存在, 无论立体或是平面构成都与色彩有着不可分割的关系。从人对色彩的知觉和心理效果出发,当代艺术逐渐发掘出色彩、尤其是配色的独特魅力。不同波长色彩的光信 息作用于人的视觉器官,通过视觉神经传入大脑后,经过思维,与以往的记忆及经验产生联想,从而形成一系列的色彩心理反应。色彩的本身并无冷暖的温度差别, 是视觉色彩引起了人们的心里联想。所以我们可以理解成,色彩都是有味道的,同样的颜色,不同的描绘方法和不同的展示方式往往能组合出奇妙的心理变化。全明 子老师显然是一位对色彩使用收放自如的艺术家。作为一名女性艺术家,笔触纤细,色彩糅合,有韩国艺术特有的清新感,童话与现实交错。</p> <p style="text-align: justify;">&nbsp; &nbsp; &nbsp; 女性特有的柔和,将全明子老师的作品限定在了同一个基调之下。清新的童话,讲述人与自然和谐共处的关系,带给观者艺术家纤细而敏感的生活体验。这样的作品 在当代艺术中是少见的,没有过多的作品内涵,简单的保持着一种高度温暖的向上能量,能让人平静又安逸。艺术源于生活,也作用于生活,作为美术馆我们也希望 将更多这样&ldquo;温暖&rdquo;的作品呈现给观众们。</p> </div> </div> </div> </div> Tue, 26 May 2015 08:22:22 +0000 iangSheng, Yue Yanna, Zhang Xianfei - Today Art Museum (TAM) - May 13th - June 10th Tue, 26 May 2015 08:19:15 +0000