Beijing Contemporary Art Expo REUNION
艺术家 | 毕蓉蓉、何多苓、李昌龙、庞茂琨、饶维懿、王川、杨述、翟倞、郑云瀚
Artists | Bi Rongrong, He Duoling, Li Changlong, Pang Maokun, Rao Weiyi, Wang Chuan, Yang Shu, Zhai Liang, Zheng Yunhan
贵宾预展（仅限邀请）｜VIP PREVIEW (INVITED ONLY)
2023.4.28, 12:00-19:00
2023.4.29, 11:00-18:00
公众开放｜PUBLIC DAYS
2023.4.30, 11:00-18:00
2023.5.01, 11:00-18:00
全国农业展览馆11号馆
Hall 11, National Agricultural Exhibition Center, Beijing
千高原艺术空间欣然宣布参加北京当代 · 艺术博览会 — 重聚，我们将于2023年4月28日至5月1日在博览会呈现毕蓉蓉、何多苓、李昌龙、庞茂琨、饶维懿、王川、杨述、翟倞、郑云瀚共九位艺术家的作品，展位C3。A Thousand Plateaus Gallery is participating in Beijing Contemporary Art Expo REUNION from April 28 to May 1 in the galleries sector, showcasing works of the following nine artists: Bi Rongrong, He Duoling, Li Changlong, Pang Maokun, Rao Weiyi, Wang Chuan, Yang Shu, Zhai Liang, Zheng Yunhan. Booth C3.
毕蓉蓉
Bi Rongrong
▲毕蓉蓉，平面生物——素描 III，铅笔，钢笔，碳笔，墨，水彩，线，布上刺绣，纸，92 × 104 cm，2022Bi Rongrong, Animal in Two Dimensions—Drawing III, Pencil, pen, charcoal, ink, watercolor, thread, embroidery on cloth, paper, 92 × 104 cm, 2022毕蓉蓉近几年的作品与行走及采集紧密地联系在一起。毕蓉蓉认为，城市皮肤可以是雕琢在建筑物上的纹饰、包裹在身体上的织物的纹样、张贴于街头墙上的海报信息、扎根于城市角角落落的植被等等。毕蓉蓉将它们从不同的时间与空间中采集，汇入其独特的创作语境之中，并将它们经过手工或数码加工，从而形成了包括绘画，拼贴，织物，影像等，场域特定的装置等多种媒介在内的综合性创作手法。那些出现在她作品中的碎片化图案、纹样从原有的语境中抽离，以另一种方式自我生长，在新的空间中不断地转换成新的图像风景。Bi Rongrong's works in recent years are closely associated with walking and collecting. According to Bi Rongrong, urban skin can be carved on buildings, fabric patterns wrapped around the body, poster messages posted on street walls, and vegetation rooted in the corners of the city. Bi Rongrong collects them from different time and space, integrates them into her unique creative context, and processes them manually or digitally, thus forming a comprehensive creative technique including painting, collage, fabric, video, etc., field-specific installation and other media. The fragmented patterns that appear in her work are detached from their original context and grow themselves in another way, constantly transforming into new pictorial landscapes in new areas.何多苓
He Duoling
▲何多苓，近黄昏 No.4，布面油画，200 × 150 cm，2020He Duoling, Near Dusk No.4, Oil on canvas, 200 × 150 cm, 2020何多苓是中国当代抒情现实主义油画画家的代表。他的艺术具诗意的特质，重绘画性，唯美、优雅、感伤，他追求的是无拘无束的自由度。他的艺术造型功底坚实而全面，落笔之处，人物、景象充满生命活力。他在形式语言上所推崇的单纯感与中国传统水墨画具有异曲同工之妙，在洗练中见细致，于单纯中现复杂，表现出一种超然的精神境界和深层次的艺术追求。He Duoling is a representative of contemporary Chinese lyrical realism oil painting artists. He Duoling's art has poetic characteristics, emphasizes painterliness, estheticism, elegance and sentimentality. What he pursues is unrestrained freedom. His artistic modeling skills are solid and comprehensive. Where he writes, characters and scenes in his paintings are full of vitality. His sense of simplicity in formal language is similar to that of traditional Chinese ink painting. It is meticulous after refining and complex in simplicity, showing a detached spiritual realm and deep-seated artistic pursuit.李昌龙
Li Changlong
▲李昌龙，21克，布面油画，100 × 160 cm，2022Li Changlong, 21 Grams, Oil on canvas, 100 × 160 cm, 2022李昌龙的大型绘画作品源于他对全球性问题的思考，涉及身份、移民、地缘政治等当代复杂问题，他将历史与现实图像抽离成语言符号，在一种对抗性的结构张力下完成艺术语言的整合。不管是造型语言还是色彩的不断生成，李昌龙都并没有提前进行预设，相反，追求的是画面内部的自然生长。在“地缘政治山水”的名称下，我们还可以看到李昌龙力图将画面的形式表达、审美趣味与中国传统绘画的视觉结构与审美习惯联系起来。
Li Changlong's large-scale paintings are derived from his thinking on global issues, involving complex contemporary issues such as identity, immigration and geopolitics. He separates historical and realistic images into language symbols, and completes the integration of artistic language under a confrontational structural tension. Regardless of the continuous generation of modeling language or color, Li Changlong does not make presets in advance. Instead, he pursues natural growth inside the picture. Under the name "geopolitical landscape", we can also see that Li Changlong tries to connect the formal expression and aesthetic taste of the picture with the visual structure and aesthetic habits of traditional Chinese painting.
庞茂琨
Pang Maokun
▲庞茂琨，布拖彝女之一，布面油画，60 × 50 cm，2020Pang Maokun, One of the Yi women of Butuo, Oil on canvas, 60 × 50 cm, 20201980年代中后期，庞茂琨就致力于古典油画语言的研究与探索，在近40年的创作中，也是把源于古典语言的审美气质保持得最为完整的代表性艺术家之一。实际上，当我们谈“古典”时，它实质有宽泛的外延，不仅包含语言与创作方法，而且涉及视觉的再现与观看机制。进入庞茂琨的绘画世界，语言是最重要的入口。沿着语言这条通道，图像、叙事、景观接踵而至，水到渠成。虽然从语言出发，但语言并不是绘画的归属，对于庞茂琨来说，如何在古典的话语中融入当代人的视觉经验、观看经验、文化经验，使其水乳交融，才是真正的目的。In the mid to late 1980s, Pang Maokun has devoted himself to the research and exploration of classical oil painting language. In his nearly 40 years of creation, he was also one of the representative artists who maintained the most complete aesthetic temperament originating from classical language. In fact, when we talk about "classicism", it essentially has a broad extension, not only including language and creative methods, but also involving visual reproduction and viewing mechanisms. Language is the most important entrance to Pang Maokun's painting world. Along the channel of language, images, narratives, and landscapes come to the audience one after another, becoming a natural outcome. Although starting from language, language is not the end of painting. For Pang Maokun, the true goal is to integrate contemporary visual, viewing, and cultural experiences into classical discourse, so that they blend together seamlessly.饶维懿
Rao Weiyi
▲饶维懿，我们不在一起漫游，布面丙烯，150 × 180 cm，2022Rao Weiyi, We wander, in separate worlds, Acrylic on canvas, 150 × 180 cm, 2022饶维懿一直力图在图像泛滥的后网络时代，重建一条经典绘画与不断自我意义解构的消费性图像之间“和谐共处”的方法通道，以解决多元文化、多重叙事对绘画造成的表达不适和意义缺失。作为年轻一代的新锐画家，饶维懿将网络图像的独特质感转换为实验性的绘画语言，从网络图像独有的清晰度缺失，拼贴，以及荒诞当中，凸显碎片化的视觉逻辑。同时，他用绘画的方式还原图像的电子质感，用笔触和颜料复制像素的视觉特征，带来不同以往的色彩，肌理，以及构图的组合，由此将绘画变成一种创造性的视觉“复制品”。
Rao Weiyi has been striving to rebuild a "harmonious coexistence" method channel between classic painting and consuming images that constantly deconstruct their own meanings in the post internet era where images are rampant, in order to solve the expression discomfort and lack of meaning caused by multiculturalism and multiple narratives in painting. As an emerging painter of new era, Rao Weiyi transformed the unique texture of network images into experimental painting language, highlighting the visual logic of fragmentation from the characteristic feature such as lack of clarity, collage, and absurdity of network images. At the same time, he restores the electronic texture of images through painting, using strokes and pigments to replicate the visual features of pixels, bringing different combinations of colors, textures, and compositions, thus turning painting into a creative visual "replica".
王川
Wang Chuan
▲王川，幻景，布面丙烯，100 × 100 cm，2022Wang Chuan, Vision, Acrylic on canvas, 100 × 100 cm, 2022王川是“伤痕美术”的代表人物。他早年猎足写实绘画，并斩获颇丰，在1985年新浪潮时期转向抽象艺术的创作。90年代末，王川身患恶疾却实现了顿悟式的转折，将创作带到了另一高度。他近年的作品潜藏着能量底蕴，通过大小、虚实、粗细、点线面的对比及形态的呈现，往往给人们接近于精神体验般的感受。这种自省和治疗式的创作因艺术家的个人遭遇而起，却意外地让艺术家更为本能地接近深层文化的交流，尤其是对于东方哲学的体验。王川作品的创作灵感丰富而复杂。有些源自国画里的线条转化在布面油画上，也有涂画，有些既有抽象又有具象元素。如同王川怀疑抽象的纯洁性一样，他也怀疑写实的力量。Wang Chuan is a key figure in the Scar Painting movement. He began his early career as a successful realist painter and turned to abstract painting during the 1985 New Wave period. In the late 1990s, sudden illness brought Wang Chuan to a turning point that helped transform his practice. The energy at work in his more recent work arises from contrasts of scale, density, line and surface. This introspective and self-reflective way of working has enabled Wang Chuan to achieve insights, especially through the contemplation of oriental philosophy, The formal resources of his work are both rich and complex. There is the line as inherited from traditional Chinese art but transferred into oil on canvas; there is graffiti; doodling; drawing in paint; and there are elements of both abstraction and figuration. It is as if Wang Chuan is suspicious of the purity of abstraction and he is equally suspicious of the power of figuration.杨述
Yang Shu
▲杨述，S No. 25，布面丙烯综合材料，240 × 160 cm，2021Yang Shu, S No. 25, Mixed media and acrylic on canvas, 240 × 160 cm, 2021杨述是中国实验绘画早期的探索者。他天生的造型才华，以及扎实的学院写实功底帮助他建立了对抽象的结构与色彩的深入认知。从1990年代开始，杨述的创作就逐渐从受表现主义影响的非具象作品，发展为今天具有独特魅力的“杨述式”的视觉创造。他的创作不仅关注现实世界的变迁，还将批判精神和美学创造融为一体，将对平面结构的破坏转化为综合材料的重组，凝结出冷峻而富有爆发力的诗意。Yang Shu is an early explorer of experimental painting in China. His inherent styling talent and steady academic sketch helped him to form the deep cognition of abstract structure and color from the perspective of classical aesthetics. Since 1990s, Yang Shu’s work has been gradually transformed from the non-figurative art that influenced by the expressionism to the present visual creation with the unique “Yang Shu” glamour. His work not only sheds lights on the changes of the physical world, but also integrates the critical spirit and the aesthetic creation; it transforms the structural damage into the composite-materials reconstruction, and condenses the cold yet fully poetic explosive-force.翟倞
Zhai Liang
▲翟倞，小礼物，布面油画，105 × 80 cm，2023Zhai Liang, Little Gift, Oil on canvas, 105 × 80 cm, 2023知识作为绘画的养份，自然的闪现，抑或作为一个恰当的背景，激发出艺术家翟倞的想象力。一个故事，一个词语，都会成为这样的诱因。翟倞在他庞杂的知识系统里面，跳跃式的选择主题，根据所画出的作品推衍出下一个作品，形成了一个视觉逻辑，所以每个作品都很鲜活，反映了艺术家在处理新作品时的笨拙和朴素。而作品之间是在一个或大或小的，相同兴趣方向上的，慢慢的通过艺术家自己逐步地，言之有物地，切身体验的方式来建构一个自由的视觉体系。Knowledge serves as a nutrient for painting, flashing before us spontaneously, or acting as a suitable background that can incite the imagination of the artist. Whether it's a story or a word: eventually they all take on this role of incentive. Within his bulky, diversified knowledge system, Zhai Liang takes a hopping approach to his selection of themes. Based on a previous painting he then further infers how a new piece should be done, which results in a visual logic. Hence, every work is brimming with freshness and life, reflecting the clumsiness and modesty of the artist with respect to any new painting. As for the works among themselves, some are large and some are small, but all of them share a similar orientation of interest. By means of gradual, substantial and personal experience of the artist himself, his paintings contribute to the forging of an unbridled visual system.
郑云瀚
Zheng Yunhan
▲郑云瀚，床，丙烯、帆布、水泥、木板、丙烯酸液、清漆、固化剂，200 × 280 cm，2020-2021Zheng Yunhan, Bed, Acrylic, canvas, cement, wood, acrylic liquid, varnish, curing agent, 200 × 280 cm, 2020-2021郑云瀚创造了一个连接过去和当下的中介空间，使得不可见的，或者已经消失的过去变得重新可见和可感，从个体经历出发，触发人们内心深处的共同记忆，形成链接和共鸣。画完的图像被按照轮廓裁剪，嵌入到水泥之中，写实主义手法背后的集体性也被浇筑在墙上。随着他一张张绘画的制作，水泥中的图像也从显而易见到逐渐模糊，最后消失殆尽。只要我们在图像学层面上追根究底，就能从郑云瀚的图示背后找出各种不同的渊源，它们有机地融入于当下的主题，成就了对此时、此地、此事的独特表达。Zheng Yunhan has created an intermediate space that connects the past and the present, making the invisible or disappeared past becoming visible and perceptible again. Starting from individual experiences which trigger common memories in people's hearts, forming links and resonance. The finished image is cropped according to the contour and embedded in cement, and the collectivity behind the realism means is also sealed into the wall. As his painting creation goes on, the images in the cement gradually blurred from visible to visible, and finally disappeared completely. As long as we delve deeper in iconography, we can identify various origins behind Zheng Yunhan's illustrations, which are organically integrated into the current theme, achieving a unique expression of this moment, this place, and this matter.
展览日期 | 2023/03/11 — 2022/05/21艺术家 | 卜萱、曹根、侯逸杰、黄杰、
刘珂旺、刘诗琪、刘唯一、朱鑫
策展人 | 许晟
作品媒介 | 绘画
展览地点 | 四川省成都市高新区盛邦街，铁像寺水街南广场，千高原艺术空间
千高原艺术空间 | A Thousand Plateaus Art Space千高原艺术空间2007年创立于中国成都，是致力于展示并推进中国当代艺术的专业性画廊，设有艺术作品展示厅，影像资料收藏和放映室。主要研究、展示和推动与中国当代艺术文化相关的优秀作品和实验性主体项目，积极开展国内、国际的合作项目。千高原艺术空间主要展示和推出成长中的有突出才能和价值的艺术家的作品和项目，并发现和推动新的有创造力的艺术家，迄今主要代理和合作的老中青三代艺术家超过20位。通过展览、博览会、学术讨论活动、出版等方式，致力于构架艺术家和社会、机构、收藏者之间的沟通渠道，提供包括艺术作品销售、量身定做的艺术项目、收藏品咨询管理、艺术教育项目以及展览策划。除了在超过1000平方米的画廊空间的展览项目，千高原艺术空间亦积极参加国际国内的重要艺术博览会，包括香港巴塞尔艺术展 (Art Basel HK)、香港国际艺术展(ART HK)、艺术登陆新加坡(Art Stage Singapore)、今日亚洲 | 巴黎亚洲艺术博览会 (Asia Now | Paris Asian Art Fair)、上海廿一当代艺术博览会(ART021)、上海西岸艺术与设计博览会（West Bund Art & Design）、艺览北京 JING ART、艺术成都 Art Chengdu、上海艺术影像展(Photo Shanghai)、西班牙路普艺术节（Festival LOOP）、Paris Internationale 、LISTE in Basel等等。A Thousand Plateaus Art Space was founded in 2007 in Chengdu, China. It is a professional gallery committing to presenting and promoting China’s contemporary art. Equipped with exhibition halls for artworks and collections and a screening room for videos and discussions, it focuses on researching, presenting and promoting outstanding works and experimental projects of China’s contemporary art and culture by carrying out domestic and international projects.A Thousand Plateaus Art Space devotes itself to presenting works by emerging artists who have outstanding talent and merit, and to discovering and promoting new creative artists. To date, it has represented and cooperated with over 20 artists of all ages. Using exhibitions, art fairs, academic discussions, publications and so forth, it is dedicated to establishing the communication channels between artists and the society, institutions and collectors. The gallery also organizes artwork sales, tailored art projects, collection management consultings, art education projects and curatings.In addition to the exhibitions and events in the over 1,000 square meters gallery space, A Thousand Plateaus Art Space also takes an active part in important international art fairs including Art Basel in HK, Art Hong Kong, Art Stage Singapore, Asia Now | Paris Asian Art Fair, ART021, West Bund Art & Design, JING ART, Art Chengdu, Photo Shanghai, Festival LOOP and Paris Internationale, LISTE in Basel etc..
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千高原艺术空间 A THOUSAND PLATEAUS ART SPACE开放时间：周二至周日（周一闭馆），11:00-18:30地址：中国. 四川省成都市高新区盛邦街，铁像寺水街南广场
