展览时间:2019.11.01——2019.11.07

开幕时间:2019.11.01(星期五)下午2:30

策展人:赵凤杰

艺术家:邓岚天 / 李可 / 刘忱 / 张超

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Date:2019.11.01 —— 2019.11.07

Opening Reception: 2:30pm,November 1,2019(Fri.)

Curators:Zhao Fengjie

Artists:Deng Lantian / Li Ke / Liu Chen / Zhang Chao

 


 

INSIDE

/前言

交差点

众生万象,从自然景观到人文风貌,事物复杂又同一化地存在于这颗悬浮在太阳光中的星球之上。事物的关系不外如此,有人认为所有事物的意义都不在事物本身,而在此事物与周围事物的差异上。这种差异现身于多元媒介与多重价值的当代艺术语境中则尤为重要,在差异中求同一,同样的艺术形式可以有多样化的表达。艺术观念的表达重点不仅仅在于结果,更在于不同的人拥有的不同的生活体验,从而得出的不同的感悟。基于这种感悟,因此艺术家们所创作的作品呈现千差万别又无比和谐的效果。

此次展览中的四位艺术家分别是李可、邓岚天、刘忱与张超,他们对待艺术创作都有着自己的心得体会。通过对生活细节的搜集和挖掘与再创造,转译成不同媒介上片段式的重组与概括。其中李可对这一意象进行了分析与整合,将它作为过去与未来的连接介质,通过科技复刻名画中人物的手,企图讨论科技给人性和传统文化带来的机遇与挑战。邓岚天在意的更多是生活里瞬间的诗意,带着女性艺术家独有的浪漫,将细节从鲜 为人发觉的角落里拖行至画布的正中央,辅以低饱和度的色调、用极少的笔触还原出模糊的熟悉。刘忱则探讨了他心中的废托邦,用隐喻的色彩加之潇洒的笔触,充斥着对未来的臆想,将个体化的经验和体会全数倾注在画布上,于现实中体现幻象的史诗。比起其他三位,张超的作品则显得更加务实与单纯,着力探索时间与空间在二维平面中的戏剧表达,运用超现实的手法,实现对自我的内省。值得注意的是这四位艺术家或理性或感性,但作品中却共同体现出时间特性。这些作品中描绘了不同维度下不同时间的瞬间平切面,带着艺术的细菌,向周围扩散开来。

他们带着彼此的差别相遇,像四条各自游走的迷走神经,偶然的碰撞在一起,彼此相融之后可能又转身离开。视角不停转换,仅仅为在差异中寻找契机留下各自的痕迹,这四位艺术家仿佛置身在十字路口的不同支路,观察、对视、攀谈、了解,如同几何学上的交差点,不论线条如何由来与前进,此时的他们相聚一点,带着各自不同的经验和体会,或有预谋般地在差异中求一个和谐。

赵凤杰

2019年10月

 

/Foreword

The Crossing Point

All things or phenomena inside and outside the universe, from the natural landscape to the humanity style, complicatedly and identically exist on the planet hovering in the sunlight. The relation of things is like this, someone thinks that the significance of all things is not in themselves but in the difference between the thing and things around. It’s extremely important for this kind of difference to show in the context of contemporary art of multimedia and multivalue, and the same artistic form may express in the diversity while the same is sought in the difference. The key to expressing the artistic concept is not only in the result but also in the different people having the different life experiences, then the different understandings, based on the understanding, so the work created by the artists will present the extremely different and incomparably harmonious effect.

Four artists in the exhibition are Li Ke, Deng Lantian, Liu Chen and Zhang Chao respectively who have their own experiences for their artistic creation. The episodic restructure and summarization is translated into the different medium through the collection, mining and recreation of the life details. Of which, Li Ke has analyzed and integrated the image, considered it as the connection medium between the past and the future and reproduced the hand of figure in the renowned painting through the technology to attempt to discuss the opportunity and the challenge for the people and the traditional culture that the technology brings about. What Deng Lantian is more caring about is the instant poetic meaning in the life full of the unique romance of female artists to drag the the details from the rarely found corner to the right center of the painting canvas, supported by the lowly saturated color tone to restore the obscure familiarity with the rather few brushwork. However. Liu Chen has discussed his Dystopia in his heart,devoted all his individualized experience and experiences to the canvas by his metaphorical color and stylish brushwork filled with the assumption for the future and presented the fantastic epic in the reality. Compared with the other three, Zhang Chao’s is much more pragmatic and naive, and greatly striving to explore the dramatic expression from space and time in the 2D plane to realize the self-reflection through the surreal method.It’s worthwhile to note that the time characteristics show together in the work although these four artists are rational or perceptual. The sliced plane with the artistic bacteria is described in these works in the different dimension and time to spread all around.

They are just like the vagus of four legs to migrate separately with their own differential meeting, and meet up with each other, then turn around to leave after meet together. The unceasing change of view is only to seek for the chance and leave their own traces in the difference, these four artists are likely to have themselves be in the different branch way at the cross intersection, watching, looking at each other, talking and understanding, just like the crossing point of geometry, at this moment, they are meeting at one point with their own different experience and experiences to seek the harmony in the difference or deliberately no matter where the curve comes from and moves forward.

Zhao Fengjie

November 2019

2017年攻读四川美术学院油画系硕士

作品阐述

我的画大多是对生活中瞬间的、角落的一些微小而不经意的点所作的描绘,尝试着表现出记忆里应该的形象和颜色。由于很多是闪现在脑海的散落的记忆碎片,画面大都被转译成一种比较模糊概括的片段式的图像。我试图将这些模糊的记忆重组,对我们曾经认识过的事物进行再次的描绘。

2017年攻读四川美术学院油画系硕士

作品阐述

作品名:《触》
作品形式:影像动画
文件类型:MP4
文件大小:145MB
时长:1分钟59秒

达芬奇在他的著作《绘画论》中曾一再强调:“艺术家的任务,是要找出符合人物心理活动的动作手势。”由古至今,艺术家对于手的描绘和刻画一直是以人物或者人物身体局部为主题的艺术创作不可回避的表现内容。不同历史时期艺术作品中对于人物手部细节、手势的表达不仅体现了艺术家自身艺术思想的深度性和精神的高度性,同时也反映了各个时代背景下的政治环境、社会关系以及人物的生存状态、精神世界和情感诉求,让观者产生对人性、社会、生命的深度思考。
“手”同样可以是连接过去和未来的媒介。就像阿道司.赫胥黎所描述的,在AI、人工智能、数字化等新兴科技迅速发展更新的当下,艺术和人文都面临着更新与迭代。我想通过三维影像动画的形式,以“手”的姿态为切入点,来探讨科技给人性和传统文化带来的机遇和挑战。盘根错节,早已扎根在历史深处的传统文化以及艺术表现形式必然会与科技带来的全新观念冲突、汇合,交融成某种难以预知的未来景象。这样的更迭就像一把双刃剑,当传统文化和艺术形式转化为大数据被灌输进科技,可能会营造出史无前例的绚丽光景,同时也可能将人性碾磨得灰飞烟灭。当下人类站在一个充满矛盾、诱惑和飞速进步的十字路口,疑惑终究只能被结果化解,而我们只能去享受当下的每分每秒。

2017年攻读四川美术学院油画系硕士

作品阐述

本次展览的两幅绘画作品的图像来自我对于反面乌托邦景象的臆想。主题上,有对权力和反抗的表达,也有对于科学、进步的思考。我感兴趣于画面中绘画本体所建构的超验性的视觉张力并强调作品的情绪感染力。希望自己的作品能给人带来某种心理反应,而不只是完成一次审美体验。

2017年攻读四川美术学院油画系硕士

作品阐述

我试图在作品中探索时间与空间在二维画面中的体现,运用超现实主义的表现手法,尝试人物不同情绪在统一时空中的戏剧化表达,作品表达的是对自我的种种反思。

/开幕现场回顾

在开幕式现场,策展人赵凤杰、艺术家邓岚天、张超、李可、刘忱相继致辞,并向各位工作人员与到场来宾致谢。开幕式之初,四位艺术家向观众分享了各自的创作心得与感想,接下来,几位艺术家对策展人赵凤杰代观众所提问的几个问题进行一一解答。在开幕式尾声,到场嘉宾韩国批评家协会会长朴天南先生进行发言(由白空间负责人白龙云先生进行翻译),并依次对四位艺术家的作品作出了评价。

策展人赵凤杰发言


艺术家邓岚天发言


艺术家张超发言


艺术家李可发言


艺术家刘忱发言


到场嘉宾韩国批评家协会会长 朴天南先生发言


发言现场


艺术家与众嘉宾合影


开幕式结束后,几位艺术家分别与到场嘉宾及观众细致讲解创作过程与灵感来源。


/部分展览作品

 


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