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China

Hanart TZ Gallery

Exhibition Detail
Solo Exhibition
401 Pedder Building, 12 Pedder Street
Hong Kong
China


January 9th, 2013 - March 2nd, 2013
Opening: 
January 9th, 2013 6:00 PM - 8:00 PM
 
,
© Courtesy of Hanart TZ Gallery
> QUICK FACTS
WEBSITE:  
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hong kong
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(Mon-Fri) 10 am to 6:30 pm (Sat) 10 am to 6 pm (Suns & Public Holidays) Closed
> DESCRIPTION

「童年:一再被斬殺,我一再追回」

——劉大鴻

 

「人一生下來就會到處分發紅蛋報喜,意味著搗蛋童年開始了!人生離不開搗蛋,人生的價值取決於搗蛋的水平。這次展覽將從小搗蛋始,大搗蛋終,搗蛋貫徹其中。人的生機,人的創作都離不開搗蛋,唯一的例外也陷N是政府不能再搗蛋了,那可就要鬧病了。」(摘自劉大鴻《元旦·搗蛋》)

 

「大 鴻講的「童話」都是因搗蛋而撿拾回來的記憶,在不斷回想和陳述中,這些事物冉冉升揚,幻化為自己的神話。文革成長的一代人都有共通的童話,匯流一起就成了 時代的神話。那年代全民都參與造神的大事,大家都放下了失憶的遺憾,也都放下了記憶的包袱。劉大鴻就屬於沒有包袱的一代,他們要是有包袱就是要為我們留下 當年搗蛋的記憶,作為新一代失憶者的見證。被提昇成神話的記憶的法力是能夠消解遺憾症。搗蛋的神話讓人知道原來搗蛋作亂之前的天地是別有姿態的,由是在增 長記憶中增長了知識,增長了生命。」(摘自張頌仁《因為搗蛋,所以不朽》)

「劉 大鴻做「新中國的新主人」的方式,是畫畫,是以畫畫來「搗蛋」的;但這搗蛋不簡單:既要搗童年時產下來的蛋,又要搗現在時代的蛋。也就是說,搗著追憶著童 年的劉大鴻自己的蛋。……於是,對童年的「一再追回」就成了人間生存或與人鬥爭的重要依賴了:應該向童年的自己學習搗蛋,多多搗蛋。而且,原來這裏埋伏著 畫家在一開頭揭出的關於童年的冰冷的字眼:「一再被斬殺」——被自己斬殺,被現在斬殺;所有的倖存都關乎現在,所有的童年都是倖存。劉大鴻說對他而言「童 年是審美的法則,是尺度,是永恆的,童年的原則永存」,這裏是有藝術的戊猁滿F換言之,他的童年裏有著歷史的具體的藝術,而不是隻是一個空洞模糊的存在理 想觀念中的「審美的法則」。」(摘自孫善春《現在,讓我們講講童話……》)

 

“Whenever my childhood is annihilated, I succeed in recovering it.”

Liu Dahong

  “When a child reaches his or her first month’s birthday in China, there is a custom of the newborn’s parents handing out boiled eggs dyed red to friends and family; what this ancient ritual really signifies is the beginning of a life of troublemaking, literally, a life full of bad eggs. Causing mischief is essential to human life. The value of one’s life is determined by how much trouble one stirs up. This exhibition starts off with minor shenanigans and concludes with major monkey business, with the theme of insubordination running throughout. Human vitality and creativity cannot exist without a certain amount of naughtiness. There is, however, one exception to this rule: if the government starts acting up again, the situation is bound to get terribly messy.”  

(from Liu Dahong’s New Year’s Day: Make Trouble)

 

 “Liu Dahong’s Childhood Anecdotes are basically memorabilia from an age of troublemaking. As the stories get told and revisited, they slowly distill into personal myths. The generation that grew up during the years of the Great Proletarian Cultural Revolution has common stories to tell, and it seems to me the entire nation was mobilized at the time into the project of mythmaking; everyone put aside the guilt of amnesia as well as the burden of preserving the past. As a member of the burden-less generation, Liu Dahong’s legacy is to keep for us memories of troublemaking, and to bear witness against future amnesia. The magic of myth is that it cures amnesia. The myth of troublemaking reveals to us not just its own era, but also the world that came before revolution. In stretching back our memory it stretches knowledge, and life itself.”  

(from Chang Tsong-Zung’s Era of Troublemakers)

 

 “The way that Liu Dahong took to become “a new master of New China” was for him to become an artist, and by so doing to become a troublemaker, an “egg crusher,” an agent provocateur. But for Liu Dahong, stirring up trouble was not a simple matter. The targets and beneficiaries of Liu’s provocation were the legacy of Chinese childhood in the Cultural Revolution on the one hand, and the present day and age on the other. Liu Dahong also had to delve deeply into his own memories of his own childhood……Reclaiming childhood thus becomes a form of dependence for maintaining one’s own existence, or as a basis for struggling with others; one should become a troublemaker again by learning from one’s own childhood, and then go out and stir up more trouble. Here, the chilling words with which Liu Dahong begin his book, ‘Whenever my childhood is annihilated…’ come to mind. The risk lies in being annihilated by ourselves, or by the present. All survival depends on the present, and childhood is nothing more than survival. For Liu Dahong, ‘childhood is the standard of everything beautiful, the yardstick. Childhood is eternal, may the ideals of childhood reign forever!’ Only an artist can think that way. In other words, Liu’s childhood is a form of art, in the historical and concrete sense; not merely something vague, abstract and idealistic concept, the ‘standard of everything beautiful.’” 

(from Sun Shanchun’s Now, Lets Talk Kidspeak


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