在纸上

在纸上

展览日期
2018年1月20日 - 3月18日
开幕时间 2018年1月20日, 16:00, 星期六
展览馆 博而励画廊 (中国 北京市)
艺术家 冯国东黄锐廖国核铁鹰叶凌瀚
主办方 博而励画廊

博而励画廊将荣幸地呈现群展“在纸上”,参与展览的艺术家包括:冯国东、黄锐、廖国核、铁鹰、叶凌瀚和张伟。本次展览涵盖了艺术家创作的素描、水彩、水墨画、蜡笔和丙烯作品,旨在为观众提供一次难得的机会,透过纸这一媒介,一窥艺术家的创作世界。

尽管,艺术史常常忽视了纸上作品的重要性,但这一媒介却是许多艺术家视觉语言的核心基础。对于一部分艺术家而言,纸上作品是一种最直观的眼心手合一的转译,是他们构图画布内容前记录灵感的手段;另一些艺术家把纸上创作视作是展开其他媒介创作前的必要过程;当然,纸张这一材料本身的独特性,也为不少艺术家提供了开展实验的场域。

黄锐 / Huang Rui

紫色与灰色的太极 / Taiji (Purple and Grey)

2014

纸上色粉笔 / oil pastels on paper

54.5x79cm

黄锐的24件纸上作品,按年代顺序勾勒了艺术家过去四十年的创作历程。从上世纪七十年代末创作的技艺精湛的人物素描,到八十年代初的水墨画和蜡笔画,再到近期的作品,这些不同阶段的纸上画作,清晰地显现了与艺术家的布上实验之间关系——无论是立体主义风格的构图,还是之后抽象绘画先知先觉的预设。作为独立的艺术作品,黄锐所使用的材料之多样性,也铺展开了艺术家创作机制的纬度,其对各种媒介使用得流畅与自如,也持续推进着艺术家对于个人实践的反思。

张伟 / Zhang Wei

Z-AC1757

2017

宣纸油画 / oil on rice paper

82x150cm

对于张伟而言,纸张的特性令他格外感兴趣,特别是在中国传统水墨画之中,墨汁在宣纸上渗透所制造的独特视觉效果。当西方抽象主义在八十年代初被引入中国,张伟敏锐地将这一视觉表现元素与他自身的传统美术背景相结合,形成了极具个人特征的抽象表达——东方与西方的美学传统在此交融。本次展览难得地呈现了艺术家自七十年代末至今的一系列作品。这些作品涵盖了水墨宣纸的实验, 也有油画,丙烯在硬纸板上的创作,展现了艺术家技法在不同纸本上的可交换性,而呈现出迥然不同的视觉效果。

廖国核 / Liao Guohe

无题(纸本29) / Untitled (p29)

2010-2012,

纸上油画 / oil on paper

38x52cm

廖国核的纸上作品,可以算是艺术家在创作大尺寸油画作品之前的灵感记录。这部分作品绘制在艺术家等同尺寸的速写本上,一系列标志性的独特图案、图示和图像之间的内在关系从中浮现。其中的一些作品是艺术家的先行研究,另一些则是图样或大尺寸油画的细节阐释。

铁鹰 / Tie Ying

XXX系列 / XXX Series

2016

纸上水彩 / watercolor on paper

39x54cm

铁鹰的纸上作品为观者提供了理解艺术家实践的私密体验。这些小尺寸作品不但呈现了与他的布面作品截然的视觉效果,也通过一系列如情色的主题方便观众更加近距离地以个人化的视角观看。

冯国东 / Feng Guodong

自画像 2005.7.22 / Self Portrait 2005.7.22

2005

纸上圆珠笔 / ball point pen on paper

36x25cm

当然,纸上作品可以说是最为个人化的创作媒介之一。冯国东的自画像完成于他生命的最后一年,投射了艺术家对自我最为坦诚的省思。当艺术家的身体状况不断恶化,纸与笔便成为了最直接的自我表达材料。

叶凌瀚 / Ye Linghan

LUCY-X-005

2017

纸上丙烯 / acrylic on paper

77x57cm

然而,对于年轻一代的艺术家而言,他们的创作从一开始就涉及到跨媒介实践,因此他们没有对油画材料给予特殊对待,而是以更平等的方式对观念进行视觉化呈现。正如罗莎琳•克劳斯(Rosalind Krauss)提出的“后媒介状况”(Post-Medium Condition),任何艺术媒介都可以相互替换应用。在叶凌瀚的“Lucy-X”系列中,艺术家在绘画中融入了他所谓的“数码图层的逻辑”,即人们在日常使用电脑软件时所得到的图像的绘画方式。这组作品便是艺术家将搜索“Lucy”所得到的图像层层叠加的结果。

每当我们被给予观看艺术家的纸上作品时,都是能够对作品背后的创作者有更加深入的了解机会。这些纸上作品为我们呈现了艺术家不同创作阶段的平行世界,勾勒出他们所生活的世界,以及他们诠释周遭世界的独特方式。从抽象到具象,从各种材料到不同材质的纸本,“在纸上”旨在为观众呈现多面多元的视角,提供一场丰富而珍贵的视觉体验。

Boers-Li Gallery is pleased to present the group exhibition, “On paper” by artists, Feng Guodong, Huang Rui, Liao Guohe, Tie Ying, Ye Linghan and Zhang Wei. The works on view, comprised of sketches, drawings, watercolors, ink paintings, pastel and acrylic paintings, wish to offer a rare glimpse into these artists’ inner working through the medium of paper.

Works on paper have been historically under valued, while this type of artworks lay down the foundation of an artist’s visual language. To some, these works can be a direct way of translating the mind through their hand onto paper, a means by which to document ideas before staging them on canvas, to others, it’s a procedural practice hitherto gets adopted in other mediums of their practice, or the materiality of paper becomes a playground for their artistic experimentation.

Huang Rui’s 24 works on paper outline a historical chronology of the artist’s practice spanning the last four decades. From his virtuoso sketching techniques of portraits in the late 1970s, to the ink paintings and pastel drawings in the early 1980s, to his recent works, each stage offers discerning relationships to the artist’s experimentation on canvas let it be his Cubist approach to composition, or prescient inclination towards abstraction. In their own right, the diversity of materials applied among these works conveys the spectrum of the artist’s inner workings. He demonstrates a fluidity and ease with the respective mediums, and a parallel world into the artist’s continuous reflection on his practice.

For Zhang Wei, the characteristic of paper, in particular, the permeation of ink on rice paper is a unique visual effect found in traditional Chinese ink painting, intrigued the artist. With the introduction of Western notions of abstraction in the early 1980s, the artist adroitly adopted this element of visual representation from his own traditional background into the formulation of what uniquely defines his abstraction – one that integrates elements from both traditions, the East and West. On view in this exhibition, we are given the rare opportunity to present works from the late 1970s to the present, in which the interchangeability of his techniques is adapted for rice paper and cardboard, painted in either ink or acrylic, that resulted in disparate visual effects.

Liao Guohe’s works on paper can be considered as the documentations of ideas prior to working them into large dimensional oil paintings. Among these works, painted on his sketchbook of the same dimension, we see the recurrence of a number of his signature idiosyncratic motifs, icons and their inner relationships. Some of them are the artist’s preemptive studies, while others are vignettes or details of appropriated in later painting.

Tie Ying’s works on paper present the viewer an intimate experience of the artist’s practice. These works not only unveil a different visual effect of his works on canvas at a much smaller scale, but also let the viewers in on subject matters such as eroticism, more suitable for the up-close and personal viewing experience.

Of course, works on paper is one of the most personal mediums. In the case of Feng Guodong’s self-portraits, done throughout the last year of the artist’s life, projected the artist’s most honest introspection of the self. As the artist’s health deteriorated, pen and paper were the most accessible materials for self-expression.

To a younger generation of artists however, whose practice have been cross-disciplinary on the get-go, they do not necessarily discriminate the painting material, instead take on the democratic approach to visualize their conceptual notions. Particularly in what Rosalind Krauss calls the “Post-Medium Condition”, any artistic medium can be interchangeably applied to the others. In Ye Linghan’s “Lucy-X” series, the artist’s paintings adopt what he defines as “the logic of digital layering”, one that is drawn from our everyday use of computer software, in which the generation of the image is stacked based on search results of the term “Lucy”.

Any time we are given the opportunity of looking at the works on paper of an artist, we are given the opportunity to see who they are as artists. In addition, through these works, we grasp a sense of the stage of their artistic practice, the world they live in, and the ways in which they interpret the world. With the versatility of the works on display, from abstraction to figuration, across materials and mediums, we hope “Works on Paper” will afford the viewers a rare and satisfying visual experience.

即将展出 | Up-coming Exhibition

On Paper

在纸上

20 Jan., 2018 - 18 Mar., 2018

Qiu Anxiong: of Mountains and Seas

邱黯雄:新山海经

28 Jan. - 3 Mar., 2018


ARThing 追踪|Tracking - 1 /1
  • 在纸上



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