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China

Hanart TZ Gallery

Exhibition Detail
BRUSHING THE TIDES
401 Pedder Building, 12 Pedder Street
Hong Kong
China


March 7th, 2013 - April 3rd, 2013
Opening: 
March 7th, 2013 6:00 PM - 8:00 PM
 
, Wang DonglingWang Dongling
© Courtesy of the artist & Hanart TZ Gallery
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> DESCRIPTION

漢雅軒畢打行首次書法個展《王冬齡:書海潮》訂於二零一三年三月七日(週四)開幕。

藝術家指,他的書法是一種“開放式的書寫”,面對當今的視覺世界。這次展覽是和

香港的一次結緣,除了書寫香港經典流行文字《獅子山下》、《女人花》,他還帶來

他的最新實驗作品“銀鹽書寫”。

Wang Dongling’s soloexhibition BRUSHING THE TIDES at Hanart TZ Gallery opens 7thMarch 2013 with new ink paintings.

Wang Dongling positions his calligraphy as an open writing form, aimed at engaging our contemporary visuality. This exhibition is a tribute to Hong Kong and it includes famous local writings such as “Under the Lion Rock” and “Woman Flower”. The artist will also be exhibiting his new experimental “silver salt” calligraphy.

「筆法功夫頗像武功,一落筆就知道是"地凍三尺",還是僅僅"下了點霜"」王冬

“Calligraphy is a form of Kung-fu, you can tell from a glance if you have struck an ice block or just touch some frosting.” Wang Dongling

 

許江(中國美術學院院長)

王 冬齡的大書寫,正是以其圓滿俱足的書的藝術,昭示著生命的「相忘而生」的領域。王冬齡的巨書,以自己的心息來承接這樣一個偉大的心息,以「遊」的氣格持續 的窺探或者傾聽這從至高的自然之境中徐徐傳來的召喚,並將之化為一個動人新心魂的過程。這個過程讓人、讓今日的城市人的人心追隨那活化的筆端,真切地體會 「技而近乎道」的自然之境界,體會那種「故」、「性」、「命」的互相交養、又匯通於生命的本有之境,並有可能真實地體悟一個真正的書者存持和展示中華書藝 精神的使命。

——許江《散懷逍遙神遊萬象——從王冬齡的巨書談書藝的當代使命》

 高士明(著名策展人)

王冬齡先生從原本安之若素的書法藝術的書寫狀態中出走,積極應對公共空間與展示制度的挑戰,進入與整個現代藝術史和當代藝術實踐的艱難對話之中。他以書法入得當代藝術的門庭,且在其中有所貢獻,開拓了書法的當代視野。可以說,王冬齡的作品,在當代藝術實踐中別開生面,不但為西方博物館的中國當代藝術收藏增添了書法這一篇章,也為全球性的書法史寫作增添了新的一頁。

——高士明《公共空間中的書法——論王冬齡的書法藝術》

張頌仁(香港漢雅軒藝術總監、著名策展人)

冬 齡兄於此大力拓展毛筆所長,除介入各種現代書法試驗之外,更在書法的傳統功能裡找尋在今天的生活體驗,並以推進書法的技法為修煉之途。書法既不在日常經驗 出現,於非常情境作非常之態就成為對書家的新的挑戰。冬齡兄的長幅擘窠榜書不僅發揮了技藝的極致,並且強烈刺激了當代藝術的視覺經驗,刷新了書法的當代藝 術形象。而若調轉歷史角度,改從書法史的長鏡審視今天,冬齡兄的「舞字」也是無愧古人的。

——張頌仁《現代時空中的書法——關於王冬齡近作的雜想》

 

Xu Jiang ( President of China Academy of Art)

In experiencing calligraphy, things become equalized and unified. Wang Dongling’s monumental writing offers a classic example. The meaningful world that he creates has no borders. In a state of wander and absorption, the artist and the universe, the traditional and modern come together to form a creative force.When our spirit is harmonized with nature, our life becomes vital and creative. With a profound understanding of this philosophy, Wang Dongling creates a compelling experience for the viewer to discover the essence of life and art in his monumental works. An earnest calligrapher, Wang considers the revitalization of Chinese aesthetics his mission. In his world, a direct, vital, and liberating experience with art takes precedence over fame, specific aesthetic principles, or moral concerns. His life and career is, indeed, an inspiration for many artists.

(Excerpt from Xu Jiang: A Wondrous WanderL Wang Dongling’s Large- Scale Calligraphy and the Mission of Contemporary Chinese Calligraphy)

Gao Shiming ( Curator)

The transition of Wang’s calligraphy from a private space to a public space is a difficult and remarkable process in which the artist actively responded to the challenges and opportunities in the exhibition system in modern and contemporary art discourse. By transforming Chinese calligraphy into a significant contemporary art category, Wang Dongling is creating an illustrious chapter in the history of calligraphy.

(Excerpt from Gao Shiming : Writing in the Public Space:Wang Dongling’s Art of Calligraphy)

 Chang Tsong-Zung Johnson ( Director of Hanart TZ Gallery, Curator)

Wang Dongling has explored various possibilities, testing the grounds for ‘modern calligraphy’ and looking for active elements in the tradition that are sympathetic to contemporary experience. Since calligraphy no longer plays a role in ‘normal’ life, the ‘exceptional’ in terms of experience and context becomes its new norm. What Wang Dongling has achieved with his large bang shu is more than a technical or physical breakthrough; he has galvanized the visual experience of calligraphy and reconstructed its image as a form of ‘contemporary’ art.  If we look at these works from the point of view of tradition, we can safely assume his ‘dance writing’ would find approval among the ancients. Wang Dongling’s large-scale renderings of Zhuangzi’s Wandering Beyond, Laozi’s The Way and Its Power and the Li Sao of Qu Yuan are unique masterpieces that deserve an enduring place in the history of Chinese calligraphy, as does their creator, whose life is one with that noble tradition.

 

(Excerpt from Chang Tsong-Zung: Calligraphy for the Here and Now: Random Thoughts on  Wang Dongling)


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