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展览导言|曲丰国:2020 Exhibition Preface | Qu Fengguo : 2020

(中/EN)


是全世界的红,是全世界的绿。今年立夏之时,德玉堂画廊荣幸带来了中国艺术家曲丰国的个展「2020」。本次展出的作品中除了全新「四季」系列春、夏、秋、冬外,还带来了二十四时节与气候的更多作品,将二〇二〇年四时八节完整呈现于展厅之中。让世界“停摆”的“二〇二〇”使曲丰国深刻地反思全球环境与人类命运,因此特别为这颓丧不振的一年以全新创作手法留下一个记忆点。尝试以几何图形方式交错堆叠于先前所描绘的线性时间中,突破了传统按客观时序反映生活的局限,同时也反映出这个被打乱时序、猝不及防的一年。通过多层次、多变化的时空组织,表现人们隐秘复杂的内心生活,进而为整个展览创造多维感知体验。


每一条线无限绵延于时空,一条条平行的线、一些些斑驳的色块。重复,再重复,直到你悸动,直到色彩绚烂到眼睛发痛。然后再从下一层开始。曲丰国对自然与生命极其恐慌,甚为凄凉。他认为在五彩斑斓的视觉感知中附带着一种悲剧性,是存在,也是失去。「四季」系列作品表达了艺术家对时间流逝的不能自拔与惴惴不安。「时间是走出来的。」曲丰国说道,让人不禁想起亚里士多德(Aristotle)最早对时间概念所提出有系统的分析及讨论─一切变化和运动都在时间里。以及而后康德(Kant)提出的时间作为自我感觉的主观性存在,但却也为所有的主观性提供了客观沟通的可能。曲丰国有意识地在创作中加入时间性,谨然为自己记下每幅作品的起止时间,那是一段段流逝的碎片与日常,流逝的部分他为之感动,但同时也在宏观的视界里客观感受。


相较于德国当代抽象艺术家阿斯特丽•斯托佩尔(Astrid Stoeppel)在白色与黑色背景上一系列强烈色 彩的清晰、有条理,反映着自身的活力。曲丰国则是浸淫于一种「偶然性」之中,侧重于色彩「线」与时间「性」 是如何脱离它的轮廓,并作为一个独立多彩的表面或多维层面而存在。他也更坚信抽象不限于形式元素本 身的审美性,也不单纯是艺术史层面对现代主义的延续,更多映照着个体的精神、艺术语言及人生哲学。 如同美国彩色场画家吉恩•戴维斯(Gene Davis)曾经高度关注和研究的特定颜色的重复几何节奏以及抽 象线条艺术如何被重新定义。曲丰国认为抽象这个词或许并不够精确,仅能浅尝辄止,更多应该关注的是 中国抽象艺术家逐渐在以另一种姿态与角度与之对话。


没有简单的方法可以控制线性形状,若涉及重力甚至更加棘手。二十一世纪初,曲丰国放弃了绘画的传统工具,包括所有的技艺、技巧,以及对社会的认知。仅用吸管在布面上挤颜料,挤完后再刮掉,逐渐形成了自己“画抽象画的方式”。而线条即是时间的过程,重新定义了色带之间的关系,色彩在形制规整及抽象几何的线条前行中遇到了不可控的偶然,如同不可控的人生,于是便在此留下时光的痕迹。愿我们也能一同在曲丰国的时空色彩中,体会命运的变化、反复的期待。


--(EN)


They are the colors of the world. At the beginning of summer in the Chinese calendar, Matthew Liu Fine Arts is pleased to announce “2020” , a new solo exhibition by Chinese artist Qu Fengguo. In addition to works about spring, summer, autumn, and winter, which belong to his new “Four Seasons” series, the exhibition also brings more works from the 24 Solar Terms by the artist, showcasing the full seasons and climate of 2020. The “shutdown” in “2020” motivated the artist to deeply reflect on the global environment and the destiny of mankind, so he adopted new painting techniques to specifically mark the year. Qu tries to use interleaved geometric figures and stack them onto conceptions of linear time depicted earlier, breaking the limitation of chronological representation, reflecting on this disturbing time in history, a year which caught us off guard. His works reveal people's intimate and complicated inner world through the multi-level and variable textures of space and time, thereby creating a multi-dimensional perceptual experience for the entire exhibition.


Qu's parallel lines alongside with mottled color blocks extend infinitely in space-time, repeating until the bright colors hurt your eyes. Then it starts over again from the next level. Qu Fengguo is poignantly anxious about nature and life. He believes that there's a kind of tragedy in our colorful visual perception, which is being, and loss. The Four Season series expresses the artist's obsession and uneasiness with the passage of time. Qu said, “Time is walked through by people.” This idea reminds us of Aristotle's first systematic analysis and discussion on the concept of time—time is the measure of change. Later, Kant's idea of time as the “subjective constitution of the mind” also provides the possibility of objective communication for all subjectivity. Qu intentionally introduces timeliness into his creation and carefully records the start and end time of each painting. These fragments reflect the passage of daily life, and the ways that we are moved by its passage.


In contrast to the German contemporary abstract artist Astrid Stoeppel's clear and explicit series of strong colors against white and black backgrounds, reflecting their own vitality, Qu Fengguo is immersed in a kind of “contingency” . He emphasizes how the colored “lines” and time “lines exist as an independent and colorful surface or at a multi-dimensional level. Qu also firmly believes that abstraction is not limited to the aesthetic nature of the formal elements themselves, nor is it simply the continuation of modernism at the level of art history, but rather reflects the individual spirit, art language and philosophy of life.American Color Field painter Gene Davis was once highly concerned with and researched the repetitive geometric rhythm of certain colors and how to define abstract line art. Qu considers that the term “abstraction” might not be precise enough but superficial. Chinese abstract artists like Qu are gradually approaching painting with alternative attitudes and angles.


There is no easy way to control a linear shape, and it is even trickier when gravity is involved. At the beginning of the 21st century, Qu Fengguo abandoned the traditional tools of painting, including learned skills, techniques, and social cognition. He simply utilized straws to squeeze pigments onto cloth, and scraped it off after squeezing, gradually forming his own “method of drawing abstract paintings” . These lines signify the very process of time, redefining the relationship between the colored bands. The color encounters uncontrollable contingency in the advancement of regular and abstract geometric lines, just like life, so the track of time is left here. Experience the changes of fate and repeated expectations in the time and space created by Qu Fengguo.



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