【展讯】“趣味与现实”艺术展

欢迎大家关注本周五即将开幕的展览!

“趣味与现实”艺术展
策展人:罗菲
参展艺术家(按姓氏汉语拼音顺序排列):
刘邓、李凡、李纪华、雷炜、严仁奎、严琳骁、张兴旺
展览开幕酒会:2010年9月17日星期五20:00
展览时间:2010年9月17日——10月2日
展览地址: 昆明西坝路101号,创库艺术家社区,TCG诺地卡画廊
网址:www.tcgnordica.com
电话:0871-4114692
邮件:info@tcgnordica.com

2010年9月17日星期五晚8点,昆明创库艺术主题艺术区TCG诺地卡画廊将举办刘邓、李凡、李纪华、雷炜、严仁奎、严琳骁和张兴旺等7位云南本土艺术家的作品展。他们作为云南70后艺术家中坚力量的一部分,将向公众呈现一个名为“趣味与现实”的艺术展,题材涉及童年记忆、寓言故事、都市生活、身体经验、游戏等。此次展出作品总共20余件,囊括15余件油画作品,1组录像装置作品,和4件雕塑作品。

阅读相关展评文字:http://blog.luofei.org/archives/2771

Taste And Reality – Art Exhibition

Taste And Reality – Art Exhibition

Curator: Luo Fei
Artists: Liu Deng, Li Fan, Li Jihua, Lei Wei, Yan Renkui, Yan Linxiao, Zhang Xingwang
Opeing: 2010. 9. 17 Fri 20:00
Duration: 2010.9.17-10.2
Address: TCG Nordica, Loft, Xi Ba Road NO.101, Kunming
Web: www.tcgnordica.com
Tel: 0871-4114692
Email: info@tcgnordica.com

TCG Nordica gallery is going to present 7 local artists’ works in this weekend, they are Liu Deng(刘邓), Li Fan(李凡), Li Jihua(李纪华), Lei Wei(雷炜), Yan Renkui(严仁奎), Yan Linxiao(严琳骁) and Zhang Xingwang(张兴旺), all of them were born in 1970s. The exhibition theme is about Taste And Reality. They will present more than 20 pieces art works in this exhibition, include oil paintings, drawing, sculptures and video installation. The art works relate to the childhood memory, allegory, urbanism, bodily experience, games and abstract art. We invite you to attend the exhibition opening at 20:00, Friday, 17th of September. Thank you!

About the Taste and Reality Art Exhibition

By: Luo Fei

In 2006, seven artists Liu Deng, Li Fan, Li Jihua, Lei Wei, Yan Renkui, Yan Linxiao and Zhang Xingwang came to Kunming Mayuan Art Community one after another. That was in 2009 when Manyuan Art Community was about to be tore down according to the city planning that they decided moving to the “City of Tomorrow” Residential Quarter, where the rent back to then was cheaper. Before long, City of Tomorrow became the largest local artists studio community in Yunnan with approximately 50 local young artists, which is quite phenomenal in recent years.

Meet up for painting, drinking wins as well as tea, footballing, randomly talking, why not having an exhibition too? Simple, that’s a normal motive for artists coming together for an art exhibition in Yunnan, which is rare in other cities in China. An exhibition is to reflect and review one’s own works after a period of time, as well as to meet some more friends and have a bit of more sharing.

On this exhibition, we noticed some interesting details from the works of these seven artists. The dimensions of tastes and attentions given to the reality were artistically conveyed by the materials used, the way expressed as well as the theme chosen.

Taste was initially a concept about morality, rather than an aesthetic one. In the history of aesthetics, David Hume, a 18th century British empirical aesthetician, was the first person explicitly stated the idea of “taste”. The appeal for taste also has its profound lineage in China’s traditional poems and paintings. By the time when Liang Qichao looked at it, taste was not merely about aesthetic appreciation. It was uplifted to the very level of ontology and axiology where humanity finds its fundamental meaning. Taste is to be understood as lofty as life itself, is to be perceived from every specific life practice of one person. Regarding aesthetics as one’s real situation of living, a state of life, that is one of the most distinctive features of China’s traditional aesthetic approach. Thus, the spirit of Chinese aesthetics is that of the aesthetics of humanity and life. That is what you will find from the artists of current younger generation. Art is to achieve a unique life situation, experience and state. China is currently experiencing a very unique situation in her transition. Not every artist can just focuses on his/her own tastes and develop them into a way of living. The anxiety towards the cold reality keeps us from ignoring it exclusively. That was what we saw from the exhib that some artists made their addresses to the reality readily observable. On the exhibition, a proper balance was well maintained between the taste and reality, yet also perfectly communicating their individual way of looking at the world.

In the paper paintings by Liu Deng and Li Jihua, we found that two of them were practicing and cultivating in the stillness of night. A sense of form featuring lines and dots was presented either intentionally or unintentionally. One can sniff their taste for the preciseness and form from the liveliness in every detailed tittle and jot. The differences? Liu had his every painting well craftily designed which brought out the originality of a gardener; while Li’s were almost as if precisely duplicating the microorganism proliferation under the microscope.

Li Fan’s oil painting creatively blended the historical scenes and the fashionable beauty contest into a suspended sand table. A cruel war battle was put on like a puppet show that gave us so much to ponder upon. The history is presenting right in front every audience like a screen pulled down showing a 3 D movie. And fashion is no more than a palm-size showplace where people got entertained. People of all generations, ancient in the past as well as present right now, have been in the eyes of an Another, being presented to, being watched by.

Lei Wei’s sculpture grafted a flower onto the shoulders of a sexy woman. A body of flirting signified the ever-present temptation posed to the lust of the flesh in our city life. Having a city life full of lusts and flesh, are we more satisfied and comforted spiritually, or are we caught up in the crisis of moral corruption. Probably, that is a subjective question left for the audiences by the artist.

In Yan Linxiao’s works, the classical poetries and poesies or doggerels were interpreted as a bunch of QR Codes with the employment of digital techniques. Being presented on the canvas, reading was encoded as merely a process of transmission and identification, and literature as the information, finally ended up to be some cold and abstract patterns made of QR Codes. The doggerels, normally a personal taste, is used for mocking or teasing, however, itself was translated into barely a series of identification codes by the artists in a digitized era. This is a unique taste that ingeniously mingles traditional cultures and digital information.

In the last two years, Yan Renkui has made the colors of his oil painting both elegant and graceful, and the shapes lighthearted. Allegorical stories featuring the relationship between human beings or that of the insects, as well as the interests mankind has for the future or the unknown have frequently themed his works, presenting a refreshing childhood taste and a good sense of humor which brought back our sweet memories for the carefree childhood and the simply life in the countryside.

Zhang Xingwang had the video installation covered with thin glasses of spumescence, right over the TV screen that broadcasting programs. The images from whatever programs running, may it be about politics, sports, economies or health, became blur and ambiguous. We became so strange to what used to so familiar with, the TV or its programs. What was communicating here was contemporary society has so much been influenced by the television culture. Bubble crisis is hidden in the imagery information in an ear where even media has been exalted and worshiped.

有关“趣味与现实”

刘邓、李凡、李纪华、雷炜、严仁奎、严琳骁和张兴旺7位艺术家于2006年陆续入驻昆明麻园村艺术社区,2009年,麻园村艺术社区面临拆迁,他们搬到了当时租金相对便宜的“明日城市”小区,而“明日城市”在很短时间内聚集了近五十位本土年轻艺术家,形成了近年来云南本土最大的艺术家工作室社群。

在一起画画、吃酒、喝茶、踢球、闲侃,所以要一起做个展览,这是云南艺术家一起邀约做展览的常见动机,这在许多城市已不多见。通过展览重新审视一个阶段的创作,通过展览与更多朋友见面,交流意见。

从此次展览的7位艺术家的作品中,我们留意到他们在使用材料、创造形式以及主题关怀等方面各自不同的趣味倾向,以及其中对现实的关注。

趣味概念最早是道德性的概念,而不是审美性的概念。在美学史上,第一个从理论上明确提出“趣味”问题的是18世纪英国经验主义美学家休谟。在中国传统诗词绘画里,对趣味的兴趣也有深远的传统,发展到梁启超那里,趣味不单是关乎审美的问题,他把趣味放置在对人生具有根本意义的本体论兼价值论视阈上。把趣味提到生命本体的高度、放置到人生实践的具体境界中来认识。而把审美当作人的一种生存状况,一种人生境界,是中国传统美学的一大特色。因此,中国美学精神可以说是一种人生美学精神。这种精神也同样在今天年轻一代艺术家身上有所延续,通过艺术来追求独特的人生境遇和境界。但在中国当下转型期的特殊情境中,并不是每位艺术家都能聚焦于自己独特的趣味样式,并将之发展为个人的生存境界,现实的焦虑叫人不能回避,因此在这个展览中,我们看到部分艺术家将对现实的关注放在更明确的位置,使得这个展览在趣味与现实之间,保留了一个较平衡的视野,看到艺术家们各自看待世界的方式。

在刘邓、李纪华的纸本绘画中,我们留意到他们二人在夜深人静时的修炼,有意无意间营造线条和点的形式感,细微之物的生机,显示出他们二人对严谨和形式的趣味。不一样的是,刘邓的画面幅幅几经设计营造,显出园艺者的别具匠心,而李继华的画面更近似显微镜下微生物的繁衍。

liudeng
刘邓作品

lijihua
李纪华作品

李凡的油画把历史场景和时尚选美搁置在一个悬空的沙盘上,残酷的战争被赋予玩偶般的小剧场感,别具玩味。历史被当作一匹正在播放三维电影的幕布呈现在观众面前,时尚亦被当作巴掌大的秀场供人娱乐。古往今来的世人在一个他者的视野下,被呈现,被观看。

lifan
李凡作品

雷炜的雕塑将花卉嫁接到性感女郎的头部,搔首弄姿的身体暗示着肉身欲望在都市生活中的试探无处不在。肉身化的都市生活是给人带来精神上的快感与慰藉,抑或是道德的危机?这或许是艺术家留给观众的主观题。

leiwei
雷炜作品

严琳骁的作品通过数字技术将自娱自乐的古典诗词或打油诗转译为QR码,并绘制在画布上,将阅读切换为传输和识别,将文学切换为信息,最终落实为冷抽象的QR码图案。打油诗作为一种个人趣味对当下的嘲讽揶揄,在数字时代的艺术家手里,被转译为识别码,显出艺术家善于糅合传统文化和数字信息的独特趣味。


严琳骁作品

严仁奎近两年的油画色彩雅丽,造型轻松,通过描绘寓言般的人与人、昆虫与昆虫的关系,以及人们对待未来和陌生事物的兴趣,呈现出清新的童趣和幽默感,勾起人们对童年生活和乡村生活的点滴记忆。

yanrenkui
严仁奎作品

张兴旺的录像装置将轻薄的泡沫状的玻璃,笼罩在正在播放的电视屏幕上,让正在播放的政治、体育、经济、健康等节目图像暧昧不明,原本熟悉的电视和节目显得陌生。艺术家试图借此指出电视文化对当代人的影响,在媒体信仰的年代,图像信息中暗藏泡沫危机。

zhangxingwang
张兴旺作品

以上文字为9月17日将在TCG诺地卡画廊开幕的“趣味与现实”艺术展的前言,提前预告,敬请关注!