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星汇当代美术馆常设展

时间2016-12-13

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星汇当代美术馆常设展 艺术家 / Artists: 蔡东东Cai Dongdong ／陈卫闽Chen Weimin ／Joe Venning （英国）／李强Li Qiang／李一凡Li Yifan／梁硕Liang Shuo ／林美雅Meiya Lin（荷兰）／杨健Yang Jian／余极Yu Ji／杨述Yang Shu／王海川Wang Haichuan

艺术总监 / Art Director:

杨述/Yang Shu

展览统筹 / Coordinator:

李丽 /Li Li

时间 / Duration:

2016年12月10号至2017年12月31号

Dec. 10th, 2016 to Dec. 31st, 2017

地址 / Venue:

重庆市两江新区星汇两江商业艺术中心3区星汇当代美术馆2楼5展厅

G5, F2, NO.5 The Galaxy Museum of Contemporary Art, Bloc 3, Xinghui Liangjiang Art Business Center, Liangjiang New District, Chongqing

开幕时间 / Opening Time:

2016年12月10号，16：00

16:00, Dec. 10th, 2016

主办方／Organized by:

GCA 星汇当代美术馆

The Galaxy Museum of Contemporary Art

特别鸣谢 / Thanks to:

重庆高科集团

星汇两江艺术商业中心

重庆HMD公司

参展艺术家及作品介绍

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艺术家李一凡，《乡村档案》，影像

Li Yifan, Chronicle of Longwang: A Year in the Life of a Chinese Village, Video

李一凡

1966年出生

1986年毕业于四川美术学院附中

1991年毕业于中国北京中央戏剧学院

作品《淹没》多次获国内外电影大奖

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艺术家李强，《天堂No.3》，布面油彩

Li Qiang, Paradise No.3, Oil on canvas

李强

生于1962年；

1981年毕业于四川美术学院附中，1985年毕业于四川美术学院绘画系油画专业；

现为四川美术学院油画系主任、教授。

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艺术家Joe Venning（英国），《座子上的凳子》，木头、瓷砖、轮子

Joe Venning, Stool on Plinth Wood, tiles, wheel

构成我们日常生活的事物需要融合并保持其功能。这些日用品见证而且创造社会互动，并附着了不可动摇的价值。我的工作涵盖了我所经历的来自国内外选定物品的高度关系，形成了个人的美学品味。我的实践的重点是关于它们的使用，将它们构建成一种新的形式，仔细观察这些以获取和更新专业知识。这些个人作品可以排除观众，但是旨在鼓励对我们日常生活中日用品的批判性反思。对这些物品进行细致的处理和记录的过程会导致广泛的参与。这种附加的人类存在被拟人化到日常物品中，这无疑放大了材料和我自己之间的相互关系。我对工艺的兴趣激发了自己的实践方法，这被改进成一个工具，促进了功能和装饰在我的日常用品之间的相互作用。The objects that make up our daily lives have a need to blend in and maintain their function. These commodities observe and create social interactions that attach an unshakable value onto them. My work encompasses this heightened relationship with selected objects that are charged by my experiences from home and abroad, ingraining an aesthetic personal taste. The focus of my practice is concerned with their appropriation, constructing them into a new form, scrutinizing these to gain and displace specialised knowledge. These personal works could exclude the audience, but are intended to encourage a critical reflection upon the objects that fill our daily existence. The meticulous processes of treating and documenting these objects led to an engrossing engagement. This attached human presence is personified in the object, amplifying the reciprocal relationship between the materials and myself. My interest in craft and workmanship has inspired my own practical approach, to be refined into a tool that stimulates the interplay between the functional and decorative in my objects.

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艺术家梁硕，《绵山图卷手稿》，纸本铅笔

Liang Shuo, The sketch of Scroll of Mountaim Mian, Pencil on rice paper

梁硕

1976 出生于天津蓟县

2000 毕业于中央美术学院雕塑系

现工作生活于北京

梁硕的作品区别于主流常见的精致、巧妙而呈现出一种“糙”，正是这种“渣式”的审美，为当代艺术的语言带来一种差异性、边缘式的思考。《绵山图卷》是梁硕在晋中绵山等地游历了半个月之后，以长卷的方式现场绘制的作品。在作品的空间观念上，他着意强调“洞天”——这一道教中位于地上被看做神仙居住的地方。按照道教的仙境谱系，五岳也包含在洞天之内，换言之，“洞天”也意谓山中有洞室通达上天，贯通诸山。在“洞天”中，一切都以非线性的叙事展开，他按照这一无中心、开放性、多变的空间意识去经营位置。在这样的设定下，画面中的空间秩序是混杂的，包含着进进出出、交错重叠的次序，观看的目光可在其中自由穿梭。在作品内部形象的选取上，梁硕依旧试图从“渣”中寻找启发，他所游历的绵山是一处被过度开发的旅游景点，遍地可见各类“渣式”建筑、雕刻、物品，它们在资本和意识形态的挤压和制作者的演绎和发挥下，以一条另类的线索蓬勃生长。他在搜集了感兴趣的素材后，呈现在《绵山图卷》作品中的丛林动物、真山假山、树洞标语、酒店寺庙......在“洞天”中蜿蜒展开。

Based on his own system, Liang Shuo tries to start from the dimension of traditional and lower-class humanity. The involving visual experience is undoubtedly unique and distinctive from delicacy in mainstream. In stead, the artist manages to present “coarseness” aesthetic, which brings different and marginal thoughts to contemporary artistic language. The Scroll of Mountain Mian is a long scroll created by Liang Shuo at the spot after he explored some places for more than half a month, including Moutain Mian in Jin Zhong. In terms of spacial concepts of works, he emphasizes “Dong Tian” on purpose, which is regarded as a residence for Chinese gods in accordance to the principle of Taoism. According to the pedigree of God’s residence in Taoism, sacred five mountains of China is also included in Dong Tian. In other words, “Dong Tian is a concept that a path in a mountain links to all other mountains and the heaven. In Dong Tian, everything is illustrated in a nonlinear way, which is a centreless, open and changeable spacial concept that Liang Shuo follows to set locations. Under this setting, the spacial orders in pictures including in-and-out orders and overlapping orders are miscellaneous, which allows your appreciating vision to explore freely.

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艺术家林美雅（荷兰），《民间未来》，双屏影像

Meiya Lin, True Harmony, 2 channel video

林美雅（荷兰）

1979，生于福建厦门

2003-2005桑德伯格艺术研究院视觉艺术专业硕士学位，阿姆斯特丹，荷兰

1999-2003厦门大学艺术学院油画专业学士学位，中国

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艺术家杨健，《树的囚徒》，影像装置

Yang Jian Prisoners of Tree Video installation

杨健

1982年出生于中国福建 2004 年于厦门大学艺术学院美术系获文学学士学位 2007 年于厦门大学艺术学院美术系获文学硕士学位

3个高矮不同的人，脖子锁套在一棵树里，更糟的是最矮的人是在中间的位置，因此当三人行走时如果前后两人不稍屈膝，矮个的脖子就会遭罪。

拍摄时就像只是截取了这3人的没有执行人、没有限定牢狱范围的漫长刑期的一天。没有原因，没有结果，没有目的，3人就这样被强制的联系起来，在城市里漫游。

Three people with different heights are trapped in a tree with their necks locked together. The worst thing is that the shortest one is placed in the middle, so if other two don’t bend their knees while walking, the one in the middle will suffer.I chose to shoot one day out of their endless prison term. There’s no executor or determined prison area, no reason, no result or purpose, just three people linked compulsorily wondering in the city.

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艺术家蔡东东，《游击建筑》，数码打印

Cai Dongdong, Brutalist Architecture, Digital print

蔡东东

1978年出生于甘肃天水

1996年入伍

2002年就学于北京电影学院

获奖：

2015年中国TOP20---2015中国当代摄影新锐

中国摄影排行榜

2014年中国南方报业集团ART289 杂志2014年度新势力

2010年意大利“第三届特尔纳当代艺术奖”一等奖

2005 年中国“平遥国际摄影节优秀摄影师创作基金奖”

我的工作室北京郊区的黑桥村，由于拆迁的原因在北京已经换了好几个工作室，从搬入黑桥的那一刻起，也闹着拆迁，每日拆迁这个事总是离不开大家的谈论，成了一种常态。由于这样居住的不稳定性，流浪者的生活场景总是浮现在我眼前。也许每一个现代人心中都有一个流浪的场景。我臆想着自己的流浪场景，在黑桥村附近有一个巨大的废品回收站，我每天买回来一大堆可以搭建的材料，以每天搭建一个的速度，共搭建了15个。为了规避材料及结构的雷同，最后选择了这8件以摄影作品的形式呈现。

这算是我的一种建筑练习吧。

My studio locates in Heiqiao village, in the suburb in Beijing. I had to change the location of my studio due to the remove construction in Beijing. There were also rumors about the removal of Heiqiao when we moved in. We talk so frequently about the removal that it has become an important part of our daylily life. And because of this instability of living, visions of homeless people always hunt me. Nowadays, maybe everyone has a scene of tramp in his/her own heart. I imagine my own tramp scene: a giant waste recycling station near Heiqiao. I bought many materials to build this scene, and I built 15 of them day by day. To avoid similarity of the usage of material and construction of the building, I finally chose 8 of them, presented in photography, to face the public.

This is kind of construction practice for me.

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艺术家余极，《一条线段穿过光》，霓虹灯、布面丙烯

Yu Ji, A Segment of Time Bisects the Light, Neon tube, acrylic on canvas

余极

中国当代艺术家，也是中国重要的行为艺术家之一。

1965年出生于成都邛崃。1992年毕业于四川美术学院，获学士学位。

《一条线段穿过光》是从我的《忽北切》系列作品中所釆用的艺术史上显著的图形中再选择又截取出来的若干线段，分别由霓虹灯制成并构置于传统画布上，并随机涂抹一些素人式的颜色，让它与流光溢彩的氩氙冷光形成工业与手工的挫折感，让这种偏平的组合构成一个自为的线索，从原始文献的关系特征中独立出来，变成没有任何具体所指和明显隐喻的，有出处却不可辨析的彩色图形，一段抽象线段，进而形成一种尽量与图像底本无关，抽离图像母题的能量光芒，可能形成一种观看和认知经验的引力波。

“A segment of line bisects the light” is from my series work "Nothing to black", it used the way that reselecting the remarkable graphics and picking out some lines and segments in the history of art. It was made of neon light and placed on the traditional structures canvas, and random smeared some average people-like color to make it mixed up with bright colors of argon and xenon cold forming of industry manual frustration. It can make this bias level combination form a self clue, and being independent from the original characterized literature document, and turning out to be no specific meaning and obvious metaphors. It has its source and the discrimination of color graphics, an abstract line, and then tries to form a master copy that has nothing to do with the original image, and it takes out the energy light of image motif, and it may form gravitational waves which can be viewed and cognitive knowledge.

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