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展览导言|"轻重"陈墙x黄渊青双人联展 Exhibition Preface | Chen Qiang x Huang Yuanqing Duo Exhibition

已更新:4月 20

(中/EN)


从信息接收到图文解构,从中国书法到绘画融合,不论文字还是图像,从来都只是一种沟通系统上的表现形式。而事实上,这种沟通的语言它可以是非线性的、不容被归类的,可以是无数次地如滴水涟漪般地意念乍现。


德玉堂画廊(Matthew Liu Fine Arts)上海空间荣幸宣布将于 2020年6月20日(周六)举办两位灸手可热的中国抽象艺术大师双人联展。在这为期二个月的展览中将完整呈现两位大师的全新力作,本展将透过这十八件作品,以两位大师独特的当代抽象姿态对语言的重新描绘,让观者的意识流于虚实之间,时而轻,时而重,企图带领大家轻旋于一场无时间性的语言迴圈裡。


1960年生于中国湖南的现代抽象艺术家陈墙,毕业于上海华东师范大学艺术系,现工作和居住于上海。他惯以一种去中心化“自然孕育”的绘画方式,让油彩水墨自由延展,使画面更加纯粹,并且同时驾驭着人类最为明澈清晰的视觉瞬间与内在感知。在陈墙画笔起身与落下的瞬间,点、线、面,那些无意识的”符号”投射完成了无数次信息量的堆积与相互连结,犹如细胞内的酵素校对着核苷酸,一种波波瓦解、层层堆迭的轻巧畅然,纵横于感知经验与动情之间。


在其中几件如地平线般地系列作品视觉空间裡,更是玩美诠释了美国抽象派画家马克•罗斯科(Marks Rothko)对”无意识”的兴趣。且无需如立体主义般地以三度空间画面归结成平面的方式来创作,也能营造出细腻别緻的明暗、光线与氛围。从本次所展出的多件作品中,可以窥见陈墙于创作过程中如同用以钩针细腻编织的那感性与理性的对峙与多重自我的复盖与消解。


艺术家黄渊青,1963年出生于上海,毕业于上海师范大学油画系,为中国抽象书法艺术界的领军人物之一。在他的抽象书法裡,文字、笔触、线条及色彩没有了时间的规范与界线。他将丙烯油彩用以点线笔触来回穿梭于重新架构的语言意识中,一笔一画看似是随意地投掷,其落点却十分巧妙。黄渊青的绘画深受其书法影响,上世纪80年代中期便以现代书法为主要创作。而后便对”传统”萌起了异念,尝试用自身书法领悟对其语言空间赋予全新辞彙,用其深远的书法逻辑韵律成画布上的点睛之笔触,以一种佯装失衡的形式来作文字的反描绘。


从他的绘画中能感觉到时而像是风中痴缠的灰林散叶,时而像是腾腾燃起的炽欲丛林,书法式的笔触中蕴含着一种李白与梁楷式的精緻洒脱。近观时犹如一体制下不安躁动的灵魂悠然摆盪,而远观一雅致清丽却俏然而至。是为一情感的外化,一自由精神的载体。而这次展出的即是让黄渊青走进抽象艺术最具代表性的系列作品,以传统中国书法与西方抽象表现绘画的美学与技法融合再解构、解构再重组,来作为抽象艺术的一新姿态。


当虚与实的感知体系被重组,当无时间性的语言被还原成点线面。人类学家克劳德•李维史陀(Claude Lévi-Strauss)曾说:「我们所感知到的外在世界,本质上是一个没有分别的整体。而这个把”整体”不断划分成”万物”的概念工具,就是语言。」不论是陈墙揭示人类感知的”符号信息”,还是黄渊青中国古代艺术的”书画同源”,皆以各自独有的绘画方式来回应抽象艺术,以一种对语言的恣意排列将其译为某种更属于人类感知的东西,犹如一场觉性幻现出的绘画语言之舞。


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From receiving the information to deconstructing text and images, from Chinese calligraphy to painting, text and images have always been just a form of expression in the communication system. In fact, the language of communication could be non-linear, non-categorical, could be a thousand ripples of thoughts.


Matthew Liu Fine Arts is pleased to announce the opening of a duo exhibition of two Chinese abstract artists on June 20, 2020. Through these 18 artworks, this exhibition will repaint the language with the unique contemporary abstract attitude of this two masters, making the viewer's consciousness flow between nothingness and reality, sometimes is a feeling of lightness, sometimes is a feeling of heaviness, this exhibition will lead you to spin in a timeless language loop.


Chen Qiang, was born in Hunan, China in 1960. He graduated from the Art Department of East China Normal University in Shanghai and now resides in Shanghai. He often paints in a decentralized "nature-bred" way and allows pigment to expand freely, which makes the painting looks more pure. At the same time, it also evokes the clearest visual moments and inner perceptions of human beings. The unconscious "symbols" of the dots and lines in his works accomplish the accumulation and interconnection of countless amounts of information, just like enzymes in cells proofread nucleotides. Collapse and stack again and again, move back and forth between people's sensory experiences and emotions.


The visual space of some of his paintings echoes the American abstract painter Marks Rothko's fondness for the “unconscious”. And these work do not need to be created with a three-dimensional concept like Cubism, but can also create delicate and unique light, shade and atmosphere. Through the multiple work exhibited in this exhibition, we can see the confrontation between sensibility and rationality, the covering and dissolution of multiple selves in Chen's creation process.


Huang Yuanqing, was born in Shanghai in 1963 and graduated from the Oil Painting Department of Shanghai Normal University. He is one of the leading figures in Chinese abstract calligraphy art. In his abstract calligraphy paintings, the words, strokes, lines and colors have lost the norms and boundaries of time. He flits acrylic paint back and forth through the restructured linguistic consciousness with dots and lines, each stroke seemingly thrown at random, but the placement is ingenious. Huang's paintings were deeply influenced by his calligraphy. In the mid-1980s, he mainly created modern calligraphy. Then, he began to think differently about the "tradition". He tried to give a new vocabulary to the language space with his own calligraphic insight, to transform his profound calligraphic logic into brushstrokes on canvas, and to repaint words in a form that pretended to be unbalanced.


From his paintings, sometimes it is like the scattered leaves in the dark forest entangled in the wind, and sometimes it is like the blazing forest of passion. The calligraphic brushwork contains a kind of delicate, free and easy style of Li Bai and Liang Kai. Up close, it is like a restless soul in a system, but from a distance, it is elegant and beautiful. It is the externalization of an emotion, the carrier of a free spirit. These works are the most representative, that let Huang walk into abstract art, combine the aesthetics and techniques of Chinese calligraphy and western abstract painting as a new attitude of abstract art.


When the perceptual system is re¬organized, when the timeless language is reduced to the dots and lines. As the anthropologist Claude Levi-Strauss once said, "The external world as we perceive it is essentially an undifferentiated whole, and the conceptual instrument that continually divides the whole into everything is language." Whether it's Chen's symbolic information or Huang's calligraphic paintings, both artists respond to abstract art in their own unique ways, to translate into something more belong to human perception, this exhibition will be like a dance of painting in an illusion.



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