标签为 “书法” 的文章

  • 绘画与存在——中日韩顶级抽象绘画巡回展 | 群展

    2019.02.12 · 绘画与存在——中日韩顶级抽象绘画巡回展 | 群展已关闭评论

    当代唐人艺术中心荣幸地宣布将在香港空间呈现《绘画与存在 – 中日韩顶级抽象绘画巡回展》,将20世纪50、60年代亚洲代表性的日本「具体派」,韩国单色绘画,以及中国80年代晚期出现的抽象绘画相连接。

  • 春色如许——刘少白艺术沙龙 (个展)

    2019.01.23 · 春色如许——刘少白艺术沙龙 (个展)已关闭评论

    少白兄不日将在广州逵园艺术馆举办画展,听说开幕式上会有昆曲演出,这让我这个昆曲迷十分神往。逵园的远山近水、亭台楼阁,想必也会使展出的作品,更显俊朗清新、优雅从容。主办方的努力,令人想起了古人的诗画雅集。我们不禁心往神追昔日的文物之盛,也会在心里勾勒出一帧诗酒酬和、书画娱情的图景。

  • 罗威——溯游 (个展)

    2018.12.31 · 罗威——溯游 (个展)已关闭评论

    艺术一直是伴随人类循环往复的一个过程,不自觉、到自觉、又回归不自觉的创造,而这一切都是因为“我”的关系。21世纪的今天是一个多元意识并存的、碎片化的时代,也是更强调自我独特性与创造性的时代。一切的静止与变动,最终取决于“我”的抉择。

  • 陈可——和爸爸聊天才是正经事 (个展)

    2018.12.21 · 陈可——和爸爸聊天才是正经事 (个展)已关闭评论

    2018 年 12 月 22 日至 2019 年 3 月 24 日,余德耀美术馆项目空间将推出艺术家 陈可的个展“和爸爸聊天才是正经事”。在本次展览中,陈可将通过与父亲的对 话、对往日事件的考察以及对旧物的收集再创造呈现一系列综合材料绘画与装置 作品,以此探讨青春、个性、家庭和衰老等主题,再现她对于一个生命体的近距 离观察以及由此及彼的觉知。

  • 何岸个展——玉枝 (个展)

    2018.12.20 · 何岸个展——玉枝 (个展)已关闭评论

    当代唐人艺术中心荣幸宣布将于2018年12月22日在北京第二空间举办艺术家何岸个展“玉枝”。当代唐人持续致力于支持和推动中国最具实验性和创作力的艺术家。本次展览是画廊与何岸合作的第三个个展项目,展览延伸了艺术家以建筑原材料对空间进行即兴介入或干预的创造性实践。

  • 于洋——物极必反 (个展)

    2018.11.30 · 于洋——物极必反 (个展)已关闭评论

    HdM 画廊高兴地宣布我们即将于 12 月 8 日在北京空间举办艺术家于洋的个展《物极必反》,该展览为于洋和 HdM 画廊合作的第二次个展,也是在北京空间的第一次个展。届时将展出于洋最新创作的水墨装置作品。展览持续至 2019 年 1 月 12 日。

  • 姚海 (个展)

    2018.11.27 · 姚海 (个展)已关闭评论

    世界画廊欣然呈献多媒体艺术家姚海个展,以艺术家对「解构」的概念為出发点,延伸至《被打开之后的状态》、《缝合》和《花粉》系列,展出共21件作品,探索姚海对自身、社会、时间及现实的怀疑至消解怀疑的过程,直到「重构」。

  • 你先去看书法还是量血压 (群展)

    2018.10.19 · 你先去看书法还是量血压 (群展)已关闭评论

    三远当代艺术中心(N3 Contemporary Art)荣幸地宣布,我们将于10月27日举办阳江组合的最新展览“你先去看书法还是量血压”,本次展览由策展人戴卓群策划,将呈现阳江组合17件作品。

  • Visual Essay: Tools – 视觉散文:工具

    2018.08.05 · Visual Essay: Tools – 视觉散文:工具已关闭评论

    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。