艺访单元
Visiting Sector
艺术家 | 饶维懿、王俊
Artists | Rao Weiyi, Wang Jun
展期｜DURATION
2023.5.26 - 2023.6.11, 10:00 - 18:00
地址 | VENUE
北京市朝阳区酒仙桥路2号798艺术中心，一层
1st Floor, 798 Art Center, 2 Jiuxianqiao Road, Chaoyang District, Beijing
A Thousand Plateaus Gallery is participating in Gallery Weekend Beijing 2023 from May 26 to June 11 in the on the first floor of 798 Art Center in Beijing, showcasing Tangible maze of images: Double Solo Exhibition of Rao Weiyi & Wang Jun.
迷宫大致可以分为两种，一种是平面的，比如印在书上，人在其外拿着一只笔，寻找路线；一种是立体的，比如人工建设的高耸的树丛，人需要在其中走动。图像的迷宫更像后者。迷宫总有出路，即便原路返回也是一种，不然就不会让人迷失其中。迷宫让人着迷，并非因其结果，而是人在其中经历的过程，就像人生也是如此，两者都是形而下的，具体的。（文/许晟）
Tangible maze of images: Double Solo Exhibition of Rao Weiyi & Wang Jun
Since the Dada Movement, the collage and deconstruction of images have widely entered the vision of artists and audiences; This process can also be traced back to prehistoric art. Various forms and medias of images weave a large web together, which resembles the boundaries that modern people's spiritual life cannot escape; It also seems to be the cornerstone of contemporary memory and experience. In recent years, the development of electronic image technology has added fictional seeming documentary images to it. The image is indeed becoming more and more like a maze.
Rao Weiyi and Wang Jun have both constructed their own image mazes through years of creative experience. Rao Weiyi's maze is based on the online world and electronic vision , which is the most familiar element in contemporary life; Wang Jun's maze stems from the longer and more personalized relationship between painting and images. Their attitude towards the maze of images is ambiguous and cannot be called resistance or obedience; They are more like looking for a way out in order to preserve a pure realm for the 'self' in the contemporary experience of image composition. The premise of all this is that they see the big web of images. More importantly, they understand the characteristics of this web: it does not adhere to any metaphysical norms and laws, but rather exhibits its disorderly and infinite vitality in the life experience and social changes beneath it. In that case, individual experience still holds the possibility of extracting uniqueness from it - although this process is very difficult.
饶维懿
Rao Weiyi
▲饶维懿，天堂的颜色，布面丙烯，180 × 140 cm，2023
Rao Weiyi, The Crown, Acrylic on canvas, 180 × 150 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".
王俊
Wang Jun
Wang Jun, Sketching practice 2023.1, Acrylic on canvas, 200 × 150 cm, 2023
Wang Jun's creation includes paintings and installations. As a typical skeptic, his creation does not follow simple linear development. He changes mediums constantly artistic in order to break things that are solidifying and to establish his own logic. He hopes that his clues of creations can emerge independently, or have collisions and interactions between them. Wang Jun has always regarded "painting" as a vocabulary, aiming to have his creation unfolded in a path of continuous self-doubt, he takes the initiative to create deliberate maneuver and moments that are out of control. His recent works are related to "landscape"—the“plein-air”and the production of its images. He rejects to translate the image directly and simply. Instead, he tries to get closer to a perceptual reality through constant denial, coverage, and reconstruction to fight against inertial experience, making the "method" he practiced by becoming the "content".
王俊，1974年生于重庆， 2005年毕业于四川美术学院版画系，获硕士学位。王俊的创作方式主要涉及到绘画和装置，作为一个不可救药的怀疑论者，他的创作不是按单一的线性在发展。他不断地转换媒介，不断地去搅拌快要凝固的一些东西，去打乱并重建自身的逻辑，他希望作品的线索可以独自生发，也可以适时相交，彼此碰撞，相互成为追逐的对象。近年来绘画在王俊的创作中占有很大的比重，他将绘画视为一个词汇，是一个中性的对象，在遮蔽与敞开交替往复的挣扎中，去制造一个让观看欲望不断落空的现场。王俊在意的是作品与作品之间可能建立起来的结构关系——一种“探讨性的观看”。
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..
▲向下滑动查看更多
更多讯息请关注
