文学艺术

当前位置:澳门新葡8455最新网站 > 文学艺术 > 从历史意识和个人经历出发文学艺术,论黄钢抽

从历史意识和个人经历出发文学艺术,论黄钢抽

来源:http://www.tao803.com 作者:澳门新葡8455最新网站 时间:2019-11-30 17:47

黄钢方今的写作将她自家推向国际关爱的规范,他前日涉企了数十次至关重要的展览及在拍卖场上打响赢得收藏人的亲睐。他前不久的编慕与著述主要包罗了山茶花,菩提树,旧皮箱子,五角星体系。作者感觉她的作品首要搜求了画饼充饥艺术的本源:生龙活虎、艺术典礼化,二、艺术物质化,并且具备特种的妙法和气魄。

从历史意识和个体资历出发 黄钢个人展览馆开幕前言 高 岭

“Perception precedes knowledge. If we learn before we perceive, there will not be perception as such.”1

空间的光阴感 Upon Time and Space

其风度翩翩展览的支柱黄钢,是二个怀有抓牢家学熏陶和多年收藏经历况且大胆尝试的美学家。鹅黄和土浅莲红调笼罩下的镜头,透流露大器晚成种难以阻止的仪仗力量,它们相互独立又相互照料,营造出任何展览大厅恢弘大气的氛围。佛经印版、喇嘛僧性格很顽强在艰难险阻或巨大压力面前不屈、鎏金五指橘这几个宗教法物,老旧皮箱、织布梭子这一个古老装备,还会有火车的前驱徽和旗杆标枪这么些政治意味﹒﹒﹒全体这一切,都被他英勇并且自信地运用为艺创的中坚资料。它们或作为宗教精气神儿力量的表示,或当做人类生活活动的古迹,或作为特定历史政治的隐喻,在镜头上可能空间里与丙稀和植物透明大漆等材料意气风发并,复合、幻化出通过历史和政治的辎重与苦恼,应接艺术自由的意气风发种新的形象。

Both knowledge and art come into existence after humanity. People always perceive €€€€€€ at least to a certain degree €€ regardless of the questions concerning "who," "where," or "what." It can be done consciously or unconsciously. Throughout history humans have accumulated vast knowledge, and yet there lingers the philosophical enquiry as to whether to learn first or to perceive first. Often what we deem familiar is actually veiled; what we consider unknown has long left its traces in our subconsciousness.

黄钢将抽象艺术辅导到重申社会性,批判性,远隔了重申色彩,线条等情势语言的视觉与心境成效;他的著述超过纯粹抽象,用东方的悬空语言延展了画饼充饥美术的含义。他从2002年起来就每每地在画抽象画,对他来讲,赵无极是他十二分向往的抽象派大师,他对赵的在用笔中休戚与共中国书法工夫和在对镜头经营上使用中中原人民共和国式宇宙观非常赏识,对他的著述上深入分析,赵无极如同有心或无意的熏陶了他对抽象画的概念,但就自己看来,他的文章相比较赵却越来越中中原人民共和国式也越来越的西格局。他对空中的创设更立足于再次出现中国式的宇宙观,这种意见是发源于她遭到中华夏族民共和国武周山水画的意象及东方美学思想的熏陶。

黄钢文章的影像,克制了前几日抽象艺创领域概念化、理念化的肤浅和虚玄,将抽象的心情和饱满与作为物质性的器、形、色和空中关系构成起来,达到了旺盛与物质再三回还、涵咏的程度,是风度翩翩种内在的意象。他的著述的形象,虽多起步于久远的知识或教派遗存物甚至席卷特依期期的政治象征物那样的现有品材质,但却逃脱了及时风靡的社会内容符号化和表明性的视觉图像描画。不容置疑,黄钢对待质感的法子是回溯性的,但他的视界却未曾因循守旧,亦非隔开分离于当下的切实可行,他的个人成长和方式推行阅历告诉要好,真正的艺术形象应该是生机勃勃种新的内在于人心灵的小象,它是在维持历史和切实的一些物质性图像成分底蕴上赢得的。形象有形有色,但大象无形无色,无形无色不等于空白无物,而是依托于形色。

In collaboration with the Je Fine Art Gallery, the Fubon Bank is pleased to present Familiar Scenery, an exhibition that gathers nine influential artists from China: Sun Liang, Huang Yuanqing, Xue Song, Han Shaoguang, Zhao Zhengrong, Sun Yao, Pang Hailong, Luo Wei, and Ke Ming. Belonging to four generations , they have witnessed different eras and contributed in their own way to the development of contemporary Chinese art.

黄钢使用了压克力颜料,结合中华夏族民共和国有意识的透明植物大漆,用专门渲染的方法数次丰裕。他用文章材质来创设出西汉山水画中的朦胧空间感,形成视觉上对空中的不鲜明性,进而爆发了空间感,他在画面上也大批量选用湿笔等中华门槛待干之后再持续一再的覆盖上去,生机勃勃层又蓬蓬勃勃层,不经常候他也会将已成功的有些除去,再重复来贰次,最终使颜色之间一贯不明显的交接线。他所表现的空间感因而是近于中黄炎子孙民共和国式的自然观望而不一致于西格局的重申视觉透视。

于是乎,这么些承载着超级多和尚工匠情绪工夫的经版,那一个记录上游牧民族历史变化的皮箱,那几个充满了几代人革命热情的徽标,重新开动了它们原本的语意,在镜头上和空间里既互相对话,也与现行反革命的小编黄钢彼此推手,更与展览大厅中客官产生相互。黄钢文章的股票总市值在于,他从个人的资历出发,找到了大器晚成种视觉化的确立历史与后天、将来与前途之内关系的点子,令人信服地看来了炎黄作风的当代艺术后生可畏种新的也许;黄钢的孝敬在于,他挑起了客官尘封的纪念,展开了粉丝想象之门,历史、政治、宗教和文化古板,不断地与实际实行对位和比较,此消彼长,难以释怀。

1Sun Liang

黄钢对镜头空间的创设招致他发出了大器晚成种新鲜的用笔,他偏心应用大笔,侧锋重申画面包车型大巴饱满而非细节。他编写时更重申应用画笔的力量和用笔的速度和平运动动方向。他的用笔形成了半空中的流动感,更就此加深了半空中的不明确性,轻巧察觉黄钢对画笔的运用基于他持久对中华书法的问询和实践,与其说她的著述是画出来的,倒不比能够说她的作品是写出来的,笔者感到他的创作中空间感的复发是格外独特何况是一定浓烈的。他的空间感并非视觉的重现,而是经过画笔的运动印痕对观者所端来的时间感,进一层来讲,他所创设的空间感是由岁月将所重现出来的是黄金时代种观者感知上的照射,基于小编的分析,大家便轻易领会为啥客官在饱览黄钢的文章画面时会感到画面在不停的变动,像是一幅活的画,充满智慧。作者个人感觉黄钢的创作反映了中华伊斯兰教式的宇宙观,宇宙是浮动不断的,就像是由连绵不断的技巧所衍生而来。那也正是干吗本人以为黄钢的小说比赵无极的创作更具中华夏族民共和国式的描绘表现及宇宙观,是依赖深远的明白之上的优异实施。

2008年10月19日


方法法力 The Magic of 阿特

From Historical Consciousness and Personal Experience ---Prologue to the Opening of Huang Gangs Solo Exhibition

1957 Born in Hangzhou

就生龙活虎边来讲,小编感觉黄钢对抽象画和西方抽象画大师康丁斯基的著述爆发一定有含义的对话,门到户说,康丁斯基为架空画的先驱大师,对他来讲,抽象画的含义不单是视觉形象上的单纯化,而是生机勃勃种精气神层面上的求偶,他的主干着作计算了抽象画中所表现的视觉能量,对康丁斯基来讲,抽象画中更珍视是说籍由这种能量,观众能够由画面体会到如宗教般的精气神力量,这种对抽象画的驾驭救助大家讲授了黄钢抽象画的另风姿浪漫层触及到的意义。

Huang Gang, the leading role of this exhibition, is an artist born in a literary family. He has many years experience of collecting, and is very daring to practice. Enveloped in gray, brown and terracotta, these paintings give out a somewhat irresistible ritualistic power. They are independent while interactive, and together create the grand atmosphere of the exhibition hall. Old artifacts like Buddhist scriptures on printing forme, old cassocks, old leather suitcases and shuttles, and political symbols such as the badge of locomotives, masts and javelinsall of these elements are adopted by him, and become the basic material of his art creation. Either representing some religious power, or acting as the trace of human life or specific historical and political metaphor, they are combined with acryl and zapon lacquer on the paintings or in the space, and magically changed into new images that traverse the melancholy of history and politics and embrace the freedom in art world.

1982 Graduated from the Shanghai Institute of Light Industry, the Fine Arts and Design Department

小编们都领会黄钢的编写来源很超越1/2是根于他对四川禅宗长久的上学和清楚,从材质的话,他近期创作是选自黑龙江的印版经和旧皮箱子,他将印版经或旧皮箱子拼在一同作为画板,从构图来讲,他取材于藏传东正教中的玉茗花为情势,是风姿浪漫种佛教的价值观。除此而外,籍由康丁斯基对抽象画的通晓,我们今后能够回味到他著述花月宗派的涉及表未来本人上述聊起的她创作所发生能量上,在这里边,黄钢和康丁斯基对摄影的打听不是花样或视觉地复出而是观众冥想的三个视窗,从章程理论的角度来讲,有大家就把艺术感到是意气风发种法力,不是意气风发种视觉幻觉,而是根植于人类在物质条件中的宇宙生成未知的、原始的、永世的幸存。

The images of Huang Gangs works get rid of the barrenness and mystification of conceptualization and ideologism in the abstract art creation in recent years. He combines the abstract idea and spirit with material devices, shapes, colors and space, so that his artworks have reached a highness that spirit and material interacts thoroughly with each other. Although most of the images of his works are existed materials that generate from cultural or religious relics in ancient time or even political symbols in some specific period, they avoid depicting the symbolized social content and illustrative visual content. Undoubtedly, the way Huang Gang treats his objects is retrospective, but his vision is by no means rigid or isolated. His own life experience and art practice tells himself that true art should be the grand images existing in peoples inner world. Its generated from some historical and realistic material imagery elements. An image has its shape and color while the grand image doesnt. However, it doesnt mean void when we talk about shapelessness and colorlessness. The grand image exists on the basis of shape and color.

Sun Liang is one of the first Chinese artists who made an early appearance in the international art world and who participated in important exhibitions such as the Venice Biennale in Italy and Documenta in Kassel, Germany. Sun Liang’s styles are well varied and constantly evolving; since his early exploration of jade carving and traditional Chinese painting , he has experienced different artistic phases, from his experiments in ink to expressionism , from mysticism to abstraction , from the style of “diffusion” to his experiments in materials . His art can transcend generations and has a sense of eternity in it. He only lives in his own world and creates his own art.

物质化的点染 Materialized Painting

Therefore, the scripture bearing the affection and skill of countless monks and craftsmen, the leather suitcases that recording the historical changes of nomadic people, and the badges that filled with the revolutionary enthusiasm of several generations, regenerate their original meaning. They talk to each other on the paintings and in the space, counterplay with their creator Huang Gang, and even involve the viewers. The value of Huang Gang's artwork lies in his way of representation. Based on his personal experience, he found a visualized way to link history and present, and present and future, making us see a new possibility of Chinese contemporary art. The contribution Huang Gang made to the art world is that he aroused the sealed memory of the viewers, and opened the door of the viewers' imagination. History, politics, religion and culture tradition ceaselessly encountered and compared with reality, waxed and waned reciprocally, and made the viewers hard to forget. Gao Ling October 19, 2008

Untitled |Oil on canvas | 80 x 80 cm | 2017

中华夏族民共和国现代艺术近来的迈入已伊始谋求朝气蓬勃种新的法门概念和美学以退出自80年份以来以西方情势和图像为主流的景色。这一面是缘于艺术市镇上不断求新求变的市集逻辑,其他方面更是源于音乐大师对笔者创作的必要与满意感,黄钢对这几天多少个类别反映了他对新的法子时髦的深究。他的文章重申了架上美术的技能、本领和生活性,他将长年收罗到的甘肃宗教及生活素材加以加工组合,同期也重申这么些资料在生活中的时间性和精神性。他就如想籍因此将中国的架上油画拉回到越来越精气神的写作层面上,而非主流中的重申概念及图像相通应用,也便是说,油画的意思不是在编写后的视觉再次出现而是包括了编写中的创作进程和行文前质地的选用,美术的庐山真面目目是和物质紧凑地结合在协同的,因为这几个素材具有宏大的能量,经过时间和空间的转移,这几个能量被音乐家放大,释放出来。黄钢的重申美术的物质性和中华今世音乐大师反摄影物质性有宏大的差别。黄钢小说的风味受到他的资历的震慑。黄钢毕业于中央工艺美院环艺系,从高校的教练中,他对资料的认知和接收比水墨画职业的更深厚。由此在她的创作中他更期望是选择现存物。籍由对现存物的主意管理,语言转换,使其独具的动感能量根据歌唱家的创造思想去发展,他的艺术能将那几个现存物所怀有的精气神儿力量和章程发生生机勃勃种关系。

编辑:admin

Illusion|Screenprint | 50 x 60 cm | 2016

黄钢对宗教力量的搜求也体现到了政治层面上,在她今日的文章五星连串中,大家得以开掘,他将革命五角星或毛泽东的写真和她的中华夏族民共和国式美学及辽宁印经版并置,直接的发出了那一个革命优良标志和宗派符号的自己检查自纠,前面叁个是直接的,色彩显然的;后面一个是直接的,颜色温和的。黄钢适逢其会能够将那二者的歧异藉由视觉效果表现出来,但本身认为,他的文章此外首要的是在表现两者的协作性别。藉由并置政治和宗派那看似不相干的观念来特邀粉丝探求两岸的关联,结果是天下闻名的,正如他的著述玄妙地展现。那三种思维都以后生可畏种精气神力的创作物,都以风姿洒脱种信仰。五角星是常并发在社会主义社会的政治符号,但它更常代表黄金年代种风尚力量的显现,它意味着反叛、革命的力量,对理想主义的最高追求,这种追求不正是和宗教所倡导的理想主义有协同性别吗?所以本人感觉黄钢对政治和宗派的取材不是单独的驻留在格局主义上,而是越来越深风度翩翩层的探求两岸背后的深层意义。

2Huang Yuanqing

结论 Conclusion


在中原今世美术师的著述核心中,除了我们熟谙的政治难题或是开支知识符号外,中中原人民共和国的公元元年从前文化也是生机勃勃局地画师较为关切,极度以外国极为国际盛名的音乐大师为主,如徐冰使用中夏族民共和国的印制术,蔡国强借用中华夏族民共和国烟火,黄永砯选取中夏族民共和国民间宗教及巫术。他们的编写会引起国内外关注的根本原因是他们有系统地、奇妙地将中华古老智慧转变成了现代艺术方式,那既是华夏的,又是世上的,既是远古的,也是现代的,正是这种多元性或是冲突性呈现了她们艺术的真相,而自作者以为黄钢的创作也放在这里一脉络来研商,并为其艺术找到多少个学问上的定位,他借用作品来表述中华夏儿女民共和国式的世界观,藉由抽象艺术的言语来公布风姿罗曼蒂克种无形的振作感奋及能量。

1963 Born in Shanghai

但本人感觉黄钢的小说不但于此,他还要也藉由小说来搜索生龙活虎种归于中中原人民共和国雅人式的现代艺术。黄钢出生和成年人在京城,从小生长在全数深厚中国知识历史底子的家中,他心爱收藏艺术品,无论是今世艺术或是古董,他对艺术具备敏锐而深厚的洞察力。在此么扎眼的华夏知识薰陶下,对她来讲,美学家不是七个事情,更不是意气风发种专门的学业,而是风华正茂种生活方法和对事物观察的本能,约等于生机勃勃种任其自流的审美技能和对事物重现技巧的落到实处。在中华夏族民共和国今世艺术中,这种对音乐家个人的认知是很根本的事。中黄炎子孙民共和国书法和绘美学家讲求与自然、山水的万众一心与对话,而写作是依附此的拉开,相对于西方艺术来讲,美术师较重申概念的复出。黄钢的架上水墨画是在双边兼有中展现出其独本性和创作性。

1985 Graduated from Shanghai University of Science and Technology

杨心一

1989 Graduated from Shanghai Normal University, the Fine Arts Department

On Huang Gangs Creativity of Abstract Painting Shinyi Yang

Huang Yuanqing is one of the leading figures of Chinese abstract art. His works have been exhibited in the Los Angeles International Biennale, Grosse Kunst Ausstellung in Düsseldorf, Germany, and Chinese Contemporary Art Exhibition in Tokyo. Huang has been active in Hong Kong, Tokyo, and Shanghai, all of which are important artistic centers in East Asia. With an academic background in science and engineering, Huang created artworks balanced by logic and reason. His art also integrates qing with li €€ the former stressed by traditional Chinese art while the latter evident in the Western development of art.

Huang Gangs recent artwork has made him a major/chasing/catchy focus under international spotlight, along with participating in many significant exhibitions and receiving great attention by art collectors in auction. His recent works mainly contain elements like Mandala, Pipal, old luggage case, and star. His works have explored the origin of abstract art, including its ritualization and materialization, as well as developing his own technique and style.

Poem |Handmade paper from Tibet| 19 x 24 cm | 2016

Upon Huang Gangs abstract painting, he has led art from depicting conventional artistic language the color and lines to a stage that emphasizes more on the society and criticism. With Eastern abstract language, Huangs work transcends pure abstract painting and extends its meaning. In fact, he has been working on abstract painting since 2002, and has always considered Zao Wou-Ki as a great master. The way that Zao blends writing skill of Chinese calligraphy into brushwork and the cosmic arrangement on the canvas both consciously or unconsciously affect Huang Gangs creation upon abstract painting. But to me, he presents both more of Chinese and Western styles in his own work. The spatial construction is built to represent Chinese conception on cosmos which he derived from Chinese landscape painting and Eastern aesthetics.

Excerpt from WuDeng Hui Yuan| Xuanpaper |110 x 35 cm | 2015

Huang Gang adopts lacquer, a special transparent material extracted from Chinese lacquer, to combine it with acrylic and then paints over and over. The texture in work is created in a misty, airy atmosphere which provides spatial uncertainty. On the other hand, he would use lots of wet strokes and then repeatedly covers paints on where he has drawn before. Sometimes he would even discard the finished part just to start it all over again. Thus, the space he presents is close to natural observation of Chinese style, instead of Western perspective.

3Xue Song

The way that Huang Gang creates space naturally constructs his own painting skill. He prefers to use big brush so that the side tip could express dynamic momentum. In addition, he emphasizes much on power, speed, and direction of brushwork in order to give painting a sense of floating. It is clear that Chinese calligraphy has planted deeply in Huang Gangs mind and has further influenced his creation. In a sense, I think the work tends to be finished through writing rather than painting, and the representation of how he constructs space in painting is indeed extraordinary and profound. To discuss more specifically, the space is projected by the time feeling when audience looks at the painting. Therefore, Huang Gangs work seems to be moving lively and vividly with spirit. Last but not least, it well-presents Taoist cosmic conception that the universe never stops changing or providing energy. And this is why I consider Huang Gangs work manifests more Chineseness than Zao Wou-Kis work.


Looking from another aspect, I think Huang Gangs work also generates some very interesting interaction with Wassily Kandinskys painting. To a master of abstract painting like Kandinsky, the significance of abstract painting does not merely lie on simplifying what we see for images. It is human beings pursuit for spiritual strength that better explains. According to Kandinskys published writings, abstract painting delivers visual energy. And whats more important is that visual energy enables audience to experience a religion-like power. As a result, Kandinskys interpretation helps us to excavate into a deeper level in Huang Gangs creation.

1965 Born in Anhui

It is widely known that the origin of Huang Gangs creation derives from years of learning for Tibetan Buddhist knowledge. Upon material, he selects Tibetan Buddhist scriptures and old luggage case, and then combines them to become painting board. Upon structure, he adopts Mandala, a Buddhist cosmic conception, to form the major image. And through Kandinskys statement, we experiences that religion-like energy for both Huang Gang and Kandinsky regard painting not as a representation about form or vision, but a window for audience to think and meditate. Hence, there are some scholars consider art to be a kind of magic magic that has long existed in human beings materialized environment.

1988 Graduated from Shanghai Theater Academy, Stage Art Department

In recent years, the development of Chinese contemporary art has begun to seek a brand new artistic conception and aesthetics so as to getting rid of the dominant form and image of Western mainstream since 1980s. The phenomenon is caused from the idea that art constantly seeks for changes, and artists never stop pursuing more self-fulfillment for creating. For example, Huang Gangs recent series show out his exploration on new artistic trend. It emphasizes technique and life. Moreover, the combination of Tibetan objects also explains how important these materials are in the meaning of time and spirit. It seems that he tries to lead Chinas current creation onto a more substantial aspect, instead of keeping using mainstreams concept. In other words, the meaning of artwork is not only how a painting looks after creation, but includes the creating process and the selection of material. The essence of painting is closely connected to materials for they possess enormous energy to be released by artists. In fact, what Huang Gang emphasizes the materiality of painting has a very huge difference with what Chinese contemporary artists oppose. Huang Gang graduated from the Department of Environmental Art (the Central Academy of Arts and Design) where he received much more trainings and application on material than oil paint. Therefore, he tends to utilize the ready-made in his artwork. By transforming the meaning of the ready-made, their spiritual energy is able to develop in the way Huang Gang conceives, so that the spirit poses a connection with his art.

Xue Song is one of the most important “Chinese pop” artists. He adventurously explored cross-field collaborations with Salvatore Ferragamo, Johnnie Walker, CasaBella, and Chevrolet €€ its cars featured in the touring exhibition of Andy Warhol. Xue appropriates the Western technique of collage to make art that is unbounded by materials. He deconstructs traditional cultures through the process of burning and reconstructs popular elements through that of collage. His art reconstructs and narrates the chaotic world that has metaphorically experienced “burning.” The hardship that he went through in life has shaped his firm attitude towards both traditional shanshui painting and Western art.

Furthermore, Huang Gangs exploration on religious energy also reflects political circumstances. In his recent star series, he puts red star or portrait of Mao Tse-Tung together with the Buddhist scripture, causing contrast in boldness and moderation, eye-catchy color and mild tone. It is evident that Huang Gang, through visual effect, skillfully presents differences between the two components, but it is more important that he shows their mutuality. The two ideologies are the products representing spirit and belief. The red star is a political symbol commonly seen in socialist society, but it has a more crucial meaning standing for avant-garde thinking. It represents rebellion, revolution, as well as the supreme status of idealism, which happens to meet the same idealism of religion. This is why I believe Huang Gang does not simply go for formalism when he selects political and religious subjects, but explores deeper meaning behind them.

Symbol Series No.8 |Acrylic on canvas、mixed media| 100 x 80 cm | 2004

Among Chinese contemporary artists creating subjects, there are commonly-used political issue, consumerist symbol, as well as Chinese ancient culture. The last one, in particular, provokes unique creativity by overseas artists. Works like Xu Bings printmaking, Cai Guo-Qiangs gunpowder, Huang Yong-Pings adoptation from folklore belief and witchcraft become great examples of this type. Their creation rouses attention from all over the world mainly because they, systematically and artfully, transfer ancient Chinese wisdom into contemporary art form. This new art is presented in both Chinese and global style, ancient and modern look. And it is the kind of diversity, or contradiction, that manifests what their art is. In this way, Huang Gangs work is suitable for placing into this genre, and suitable for defining it in academic research.

New Shanghai |Screenprint | 80 x 105 cm | 2007

In general, Huang Gang expresses Chinese cosmic conception through artwork, realizing intangible spirit and energy through abstract art language. Meanwhile, he tries to search an exclusive feature of contemporary art that belongs to Chinese literati. To analyze Huang Gangs background, he is an artist born in Beijing and he personally also likes to collect artwork, whether contemporary art or antique. The way that he was raised in a family deeply soaked in Chinese culture cultivates him to possess a keen, profound perception toward art. Under such circumstance, it is very natural that being an artist is neither a career, nor a job. To him, it is a life style, an instinct of observing the world, as well as a practice of representing beauty. When traditional Chinese painters stress on the interaction between the nature and human being, Western artists focus on individual concept. Therefore, Huang Gangs painting manages to balance between the two, showing his uniqueness and creativity.

4Han Shaoguang

编辑:admin


1959 Born in Liaoning

1988 Graduated from Northeast Normal University, Fine Arts Department

2001€€2002 Pursued further studies in oil painting at the Central Academy of Fine Arts in Beijing

In more than two decades, Han Shaoguang has been creating art that travels between the figurative and the abstract, between the “light” and the “shadow” of culture. He does not constrain himself to one style. His works frequently feature motifs of mountain, water, cloud, and people. He experiments with visual languages as a form of verbal language, bringing into play direct “quotations” and implicit “metaphors.” His attitude is one that “misses no past and anticipates no future.” To him, artistic creation follows a path of limited visibility; artists can only create art and life at the same time by going through dialectical enquiries and struggles. Only such creation can contain both warmth and depth.

Cigarette!! |Tobacco leaves, acrylic, and oil | 120 x 90 cm | 2017

They Explain Nothing |Acrylic, brick from theSong dynasty| 41 x 20 x 8 cm | 2014

5Zhao Zhengrong


1971 Born in Shanghai

1998 BFA in oil painting from the China Acadmey of Art

2005 MFA in oil painting from the Central Academy of Fine Arts

Zhao Zhengrong’s works depict the visual forms of cosmopolitan cities . He intends to communicate with such cities through the act of painting. His paintings direct us to our unquestioned viewing habits, and thus can be seen as a reflection on humans’ visual experience. To Zhao, painting is part of the mundane life. Born in Shanghai, having studied in Beijing, and having worked in Guangzhou, Zhao travels between big cities. He is a passenger who does not belong to a specific place; he records the poetics of cities, or, in other words, his own existence.

City No.1 |Oil on canvas | 70 x 160 cm

6Sun Yao


1974 Born in Shanghai

1998 BFA from the China Academy of Art

2001 MFA from the Shanghai Academy of Fine Arts, Shanghai University

2012 PhD from the China Academy of Art

Sun Yao’s artworks reveal a unique clash between “reality” and “fiction.” In the past decade, Sun has been exploring the relationship between human body and external nature. In terms of formal qualities, his use of daring composition and bold colors both leave a strong impression. Belonging to the generation born in the 1970s, Sun Yao has created works that are more faithful to his own feelings, that are more inquisitive about the chaotic universe, and that are more concerned with connecting the “self” with nature. His art presents a contemporary self-consciousness and records bodily movements.

Hidden Landscape No.1 |Oil on canvas | 120 x 120 cm | 2017

7Pang Hailong


文学艺术,1974 Born in Harbin

1998 Graduated from the Academy of Fine Arts of Harbin Normal University

2000 Graduated from the Academy of Fine Arts of Tsinghua University

Pang Hailong creates artworks using natural objects such as animal bones, which then become carriers of meanings. The natural forms of ox bones and horns gradually disappear while artificial traces increase after repetitive cutting, grinding, and assembling. In his installations, what was natural became artificial; became carriers of violence and clashes. Pang is experimental with materials. From his early series of dust to the series of ox bones, he has been reflecting on reality and existing phenomena through the appearances of material forms. Pang tries to explore the meanings of certain visual appearances both in contemporary society and in history.

Invisible Force No.3 |Ox horn | 58 x 25 x 3 cm | 2017

8Luo Wei


1977 Born in Wuhan

2002 Graduated from the School of Fine Arts of Central China Normal University

Luo Wei chooses to focus on creatures that are deemed insignificant in life such as frogs, locusts, and mosquitoes, especially larvae of mosquitoes. They constitute a huge part of Luo’s art. His artworks attempt to promote democracy of universal value. They also represent the equality of all sentient beings in Buddhist scriptures. Luo’s art is a dialogue between the ambiguous and the definite, between the abstract and the figurative. It is the result of his artistic struggle and the clash between us and him. Individuals are on the one hand connected with society, and on the other hand independent of it.

Butterfly |Oil on canvas | 150 x 100 cm | 2016

9Ke Ming


1980 Born in Huangshi, Hubei

2005 Graduated from the Hubei Institute of Fine Arts, the Oil Painting Department

2007 Graduated from the Akademie der Bildenden Künste München

Well trained in German abstract art, Ke Ming has a profound understanding of modern abstract art. He is good at synthesizing external experiences and his own life experience, and integrating the elements into his artworks. His works therefore have both warmth and a sense of attitude. Belonging to the generation born in the 1980s, Ke is interested in social problems and contemporary humanist spirits. Meanwhile, he views nature with awe. He can always acquire certain energy from society and then transform the energy by flexibly employing various artistic media.

Untitled | Mixed media | 50 x 50 cm | 2017

The Fubon Bank aims to go beyond merely providing financial services by developing the concept of "Refined Service." It incorporates aesthetics of life into its philosophy of management, and actively explores the model of cross-field collaborations. A similar belief €€ art originates in life and returns to life €€ is held by the Je Fine Art Gallery. The collaboration between the two, as a result, leads to the presentation of a scenery that transcends both art and life.

1.Shi Tao huayulu [quotations from Shi Tao]

Art Project

_________________________________

熟谙的风景€€富邦华风度翩翩银行业代艺术项目

Familiar Scenery€€Fubon Bank Contemporary Art Project

2018.08.18 - 2018.12.30

设计Design:Corey Nicholaidis

About Fubon Bank

_________________________________

富邦华风流罗曼蒂克银行的前身华生机勃勃银行是首家由海峡两岸协同出资建立的商银,一九九七年三月,在法国巴黎浦东新区标准开始营业。长期以来,我行秉承“立足海峡两岸,积极劳动台湾商人”的立行大旨,并立足于“服务台湾商人,服务大陆实体经济”多少个本源,以宽广台湾商人为主导,用尽全力地为台湾资金集团提供增加援助与扶持,同不经常候致力于为中型Mini集团提供上乘的金融服务和财政和经济成品,助力中夏族民共和国陆上实体经济升高。我行多年来不断深耕大陆市集,以明显的市场一定、明显的事体个性、卓越的劳务质量和换代的营业运营方式获得了产业界的广大认可与积极性评价,不独有扮演着两岸三地资金流通的大桥,在增进两岸经济金融调换合营方面也义不容辞发挥成效。

Showroom

_________________________________

回想结晶学-关于时间沉淀的六项研商告诉

Memory Crystallography-Six Reports on Our Shared Memory

2018.08.02 - 2018.09.09

杜若云章 | About Us

______________________________

东京灏象文化传播有限公司二〇一六年创建于东京,旗下杜若云章艺术空间坐落于“穿行老洋房,睡闻梧桐香”的野史建筑区。通过与London妇孺皆知画廊Walter€€维克瑟 的联合合营,秉承着艺术就是在世的思想,大家从事于营造八个国际调换平台,提供正规的方法同盟咨询与策动。

"Strolling among the old villas and resting in the scent of plane trees," Je Fine Art Space is located in the French Concession right in the heart of Shanghai.As part of Shanghai Haoxiang Culture Communication Co. Ltd. Je Fine Art Space opened in 2014 in cooperation with the Walter Wickiser Gallery .Embracing the belief that 'life is art,' we devote ourselves to establishing a platform for cross-cultural discourse and providing professional art advice andplans.

本文由澳门新葡8455最新网站发布于文学艺术,转载请注明出处:从历史意识和个人经历出发文学艺术,论黄钢抽

关键词:

上一篇:当代艺术面临立异挑衅

下一篇:没有了