标签为 “书法” 的文章

  • Visual Essay: Tools – 视觉散文:工具

    2018.08.05 · 发表评论

    The artist Simon Starling photographs Giorgio Griffa’s studio in TurinThis visual essay is the continuation of a collaboration with the Turin-based painter Giorgio Griffa, which began last year following the discovery of a very particular brush at an urushi [lacquer] workshop in Wajima, Japan. Only 5 cm wide with a flat wooden handle, the brush is employed to apply the critical final coat of lacquer to tableware and furniture in this painstaking, and seemingly anachronistic, process, which dates back to the prehistoric Jomon period (14,000–1,000 BCE). Crucially, its bristles are made from the hair of Japanese women pearl divers or ama. I purchased one of these highly evocative objects with the intention of using it in an artwork yet, for some time, I was daunted by the idea of making marks with it. In May last year, however, I found myself sitting with Giorgio at a dinner to celebrate his participation in the Venice Biennale and realized there and then that I should ask him to collaborate on the work. There seemed to be something in the nature of the brush that aligned with his measured yet exuberant (and often calligraphic) mark-making. His generous response consisted of three cypher-like, ink-on-paper works organized within a grid of folds that led, in turn, to a series of similarly gridded annotations on my part – annotations which reconnected that very particular tool to its origins.

    When I arrived with my 8 x 10-inch plate camera to photograph Giorgio’s studio in late December last year, I found a small trestle table in the middle of the main space with a pile of neatly folded canvases sitting on top. (The artist has used exclusively unstretched, unprimed pieces of canvas, burlap and linen as supports for his paintings since the mid-1970s.) This modest stack – no higher than 30 cm – would comprise, I was told, the entirety of his forthcoming solo exhibition at Camden Arts Centre, London. In folded form, the paintings asserted a quiet materiality; the textiles – in a range of white, cream and brown hues – often frayed at the edges. Even when hung, simply with pins along the top edge, the works retain a sense of being objects that exist resolutely in time and space. Seeing this little stack of paintings and, later, the studio’s remarkable archive – which houses much of the artist’s output from the last 40 years or more – in geological strata-like piles, I realized that I’d brought the right tool to photograph the space. The slowness (exposures can last many minutes), insistent materiality and process-oriented nature of large-format, silver-based photography rhymed with Giorgio’s practice in ways that I hadn’t fully anticipated: even the camera’s gridded, ground-glass focus screen seemed to echo his paintings’ structuring folds. The resulting images are, I hope, a celebration of the lean economy and subtle materiality of these extraordinary artworks.  – 艺术家西蒙·斯塔林拍摄Giorgio Griffa的工作室在TurinThis视觉散文是继续与都灵的画家吉奥吉奥格里夫合作,从去年开始发现一个非常特别的刷子在乌鲁木齐[漆]车间在日本轮岛。只有5厘米宽,有一个扁平的木制手柄,刷子被用来将油漆的最终涂层涂抹到餐具和家具上,这是一种痛苦的,似乎是过时的工艺,可以追溯到史前的乔门时期(14000—1000 BCE)。最重要的是,它的鬃毛是由日本妇女珍珠潜水员或AMA的头发制成的。我买了其中的一个高度唤起的对象,目的是使用它在一个艺术品,但有一段时间,我感到害怕的想法做标记与它。然而,去年5月,我发现自己和吉奥吉奥坐在一起庆祝他参加威尼斯双年展,并意识到我应该请他在这项工作上合作。在画笔的本质上似乎有一些东西与他测量的,但仍然旺盛的(通常是书法)标记相一致。他慷慨的回应包括三个类似于Cyfer-Script的墨水,在一个折叠的网格中组织起来,这导致了一系列类似的网格注释在我的部分-注释中重新连接了一个非常特殊的工具到它的起源。

  • The Vengeful Genie: a Report from the Inaugural Lahore Bie …

    2018.08.04 · 发表评论

    Grouping 50-plus artists from across the subcontinent and beyond, LB01 brought to light the charged links between art and politics – 将50个以上的艺术家从整个次大陆以及其他地区分组,LB01揭示了艺术与政治之间的联系。

  • 枪炮玫瑰——沈敬东个展 (个展)

    2018.07.27 · 发表评论

    芳草地画廊荣幸宣布,《枪炮玫瑰——沈敬东个展》将于2018年8月5日在北京侨福芳草地内的空间开幕。

  • 戈子馀 (个展)

    2018.07.27 · 发表评论

    EGG画廊很荣幸地宣布,戈子馀个展将于2018年8月26日开幕,这是戈子馀在EGG画廊的第二次个展。

  • 蒲英玮——宛若真实 (个展)

    2018.06.18 · 发表评论

    J: GALLERY 荣幸宣布,蒲英瑋最新个展“宛若真实”即将於 6 月 23日在法国巴黎 萨托画廊(Galerie Sator)开幕。本次展览将是艺术家在法国举办的首次个展,同时也是J: GALLERY与萨托画廊展开全面合作的新篇章。

  • 付小桐——蔓延 (个展)

    2018.06.17 · 发表评论

    前波画廊诚挚地宣布将从2018年6月7日起举办《付小桐:蔓延》。这将是前波为她举办的第三次展览。付小桐1976年出生于山西,2000年从天津美术学院取得学士学位,并在接下来的十年里主要从事绘画创作。在对今后的发展方向感到迷茫时,她进入了中央美术学院实验艺术系继续深造并于2013年毕业。

  • 应该还还是不应该还?这是个问题

    2018.04.19 · 发表评论

    台北历史博物馆于2017年举办的常玉画展影响极广。当年8月,自称已故知名画家常玉侄子的常锦茂隔海指控中国台湾地区“教育部”和台北历史博物馆侵占他伯父常玉42幅画作长达54年,要求返回这批画作。虽然法庭上台北历史博物馆提交的所谓内部文件语焉不详。

  • 开成石经:儒家经典的国家正本

    2018.04.19 · 发表评论

    《开成石经》始刻于文宗大和七年十二月(834年),开成二年(837)完成。依次计有《周易》《尚书》《诗经》《周礼》《仪礼》《礼记》《春秋左传》《春秋公羊传》《春秋谷梁传》《孝经》《论语》《尔雅》等12种儒家经书,另有《五经文字》《九经字样》附于《春秋左传》之末。共刻114块碑石,每石两面刻,每碑上下分为8段,每段中每行刻10字,共刻经文650252字。碑石高约2.16米,面宽71-97厘米不等。下设方座,中插经碑。原碑立于唐长安城务本坊的国子监内,宋时移至府学北墉,即今西安碑林。《开成石经》是中国古代保存最早、最完好的儒家刻经,堪称中华文化的原典。

  • 触碰于可能的形状——杨劲松作品(2016-2018) (个展)

    2018.04.14 · 发表评论

    由白盒子艺术馆主办,冯博一策划的“触碰于可能的形状——杨劲松作品(2016-2018)”展览,将于2018年4月28日-5月22日在白盒子艺术馆举行。15幅绘画作品呈现了杨劲松近两年油画创作的最新探索与样貌。