雅昌首页
求购单(0) 消息
首页展览正文

“探索与启示”中德国际当代艺术展

  • 展览海报
  • 《贮藏45 Stockage45》 露西亚·西蒙斯 Luzia Simons 250x150cmx3 2006年 喷墨打印、亚克力玻璃 Lightjet Print、acrylic glass
  • 《贮藏57 Stockage57》 露西亚·西蒙斯 Luzia Simons 180x300cm 2008年 喷墨打印、亚克力玻璃 Lightjet Print、acrylic glass
  • 《贮藏84 Stockage84》 露西亚·西蒙斯 Luzia Simons 100x100cm 2010年 喷墨打印、亚克力玻璃 Lightjet Print、acrylic glass
  • 《贮藏105 Stockage105》 露西亚·西蒙斯 Luzia Simons 100x100cm 2010年 喷墨打印、亚克力玻璃 Lightjet Print、acrylic glass
  • 《贮藏142 Stockage142》 露西亚·西蒙斯 Luzia Simons 直径150cm Diameter150cm 2014年 喷墨打印、亚克力玻璃 Lightjet Print、acrylic glass
  • 《贮藏145 Stockage145》 露西亚·西蒙斯 Luzia Simons 205x150cm 2010年 喷墨打印、亚克力玻璃 Lightjet Print、acrylic glass
  • 《贮藏164 Stockage164》 露西亚·西蒙斯 Luzia Simons 205x150cm 2011年 喷墨打印、亚克力玻璃 Lightjet Print、acrylic glass
  • 《飘浮的花朵 The flowers in the clouds》 罗发辉 Luo Fahui 400x200cm 2017年 布面油画 Oil on Canvas
  • 《盛开的玫瑰 Blooming rose》 罗发辉 Luo Fahui 直径180cm Diameter180cm 2017年 布面油画 Oil on Canvas
  • 《夜下的玫瑰花 Rose under the night》 罗发辉 Luo Fahui 120x120cm 2017年 布面油画 Oil on Canvas
  • 《紫色大花 Big purple flower》 罗发辉 Luo Fahui 直径180cm Diameter180cm 2017年 布面油画 Oil on Canvas
  • 《仙境No.3 Fairyland No.3》 罗发辉 Luo Fahui 120x120cm 2010年 布面油画 Oil on Canvas
  • 《墙内的玫瑰 Roses in the wall》 罗发辉 Luo Fahui 120x60cm 2017年 布面油画 Oil on Canvas
  • 《阳光下的花朵 The flowers under the sun》 罗发辉 Luo Fahui 400x200cm 2017年 布面油画 Oil on Canvas
展览时间:
2018-01-21 - 2018-05-20
开幕时间:
2018-01-21 16:00
展览城市:
海南 - 三亚
展览机构:
三亚·海棠湾·艺海棠·三亚当代艺术馆
展览地址:
林旺大道和海岸大道交叉口西北侧
策 展 人:
特雷莎·德·阿鲁达
主办单位:
三亚当代艺术馆
参展人员:
露西亚·西蒙斯 罗发辉
展览备注:
策展助理:Kenna
展览统筹:陈然
出品人:王赫
艺术总监:京奇

展览介绍

我非常荣幸应邀在三亚当代艺术馆策划本次展览。展览将于中国新春到来之际举办。春天象征着万象更新、重生与创新。这恐怕也是呈现一组升华自然的艺术作品的最好时机。在万物生发的春天,鲜花是不可或缺的。在艺术中,有的艺术家忠实地表现花朵,有的则充满隐喻。我为了应对这一挑战,邀请了露西亚·西蒙斯(Luzia Simons)和罗发辉两位艺术家参展。他们的创作都以花为主题而闻名国际。鲜花的表象似乎只是视觉的诱惑,但深入观察他们的作品,我们会发现其中再现了不同社会文化的无数个面貌。

选择这两位艺术家并非偶然,而是我十多年来关注他们的艺术创作、无数次到他们的工作室、展览和其他场合访问、观摩他们的作品、与他们对话的结果。两位艺术家也是通过这些场合彼此了解到对方和对方的创作。这也令策划这个展览的挑战更加耐人寻味了。

挑战是思想和行动的推进器。没有挑战,人类的进化将停滞不前,桎梏于一成不变和预设的藩篱与文本之中。本次展览特别推出露西亚·西蒙斯和罗发辉,他们的艺术,特别是其当代艺术作品致力于建立一种新的、混血的、跨界和跨学科的文化遗产。

巴西出生的艺术家露西亚·西蒙斯有着国际化的艺术生涯。她从1976年开始在欧洲生活和创作,先在法国生活了十年,后来又移居德国斯图加特。目前她在柏林生活。她的作品以摄影为基础,几十年来不断在个人和群体展览上展出,受到广泛推崇,已经被欧洲和巴西多个国家机构和私人收藏。

露西亚·西蒙斯在艺术创作中不懈地探索通过技术创造忠于内心想象、体验和期待的影像。她不走寻常路径,不断寻找实验性的解决方案,比如不用传统照相机而使用意想不到的其他工具捕捉图像。1996年,她创作了“贮藏”(Stockage)系列。此后不断用新的影像范式拓展这一系列作品。具体来说,这位艺术家可以说是一种扫描成像技术的先驱。这种技术用扫描仪捕捉图像,然后通过喷墨和激光打印出从小到大各种尺幅的图像。这种技术可以让艺术家以与普通摄影大不相同的方式再现花朵,可以从极端深度的视角捕捉细节、形状和颜色,令观众体验发人深思的细节和通过花朵体悟自然的独特方式。在这些照片中,不仅可以看到郁金香最美丽的状态,还能够体会到不可逆转的大自然内在的瑕疵与颓败等特质。

露西亚·西蒙斯的作品将鲜花的不同阶段并置在一起--衰败的、新鲜的或是仍处于含苞待放的--图像包含着生动的色彩、丰富的卷曲的花瓣,还常常带有扫描过程中沾染在表面的花粉颗粒。终将枯萎死去的花朵所蕴含的转瞬即逝之感跃然纸上,与此形成鲜明对照的是鲜艳的郁金香的形象。这些郁金香散发着永恒之美,令人想起那个它们因而著名的国度,充满诱惑。正如“贮藏”系列作品那样,郁金香以其个性和美丽独立于任何展示的场景和环境散发迷人的气质。

艺术家也关注到郁金香的历史背景:1554年,神圣罗马帝国皇帝费迪南德一世的大使奥吉尔·德·巴斯贝克将第一批郁金香球茎和种子作为送给奥斯曼土耳其帝国苏丹的礼物运送到维也纳。这个奢侈的植物不久就传到了安特卫普和阿姆斯特丹,引发了郁金香热。在荷兰的黄金时代,一些珍贵的郁金香球茎的合约价格飞涨,甚至引发了有史以来第一次投机泡沫。1637年2月郁金香球茎市场价格突然崩盘。经历了这段历史,郁金香在我们的印象中已经根深蒂固地成为荷兰的产物。而艺术家想要表达的则是郁金香的跨文化传播过程。这种迁徙和变迁之感细腻地体现在她的作品中。并且,她的作品带有不容忽视的强烈自传色彩。对于西蒙斯来说,“贮藏”是她个人的经历变迁、多元文化交汇和跨学科研究的里程碑。“贮藏”在各种情景中指涉了相关的历史、审美和观念内容。在后全球化的世界,分层化的文化积淀令创造并传播跨文化身份更有价值。西蒙斯特别为三亚当代艺术馆设计的展览期间的行为是作品的一部分,必将有利于将“贮藏”系列作品介绍到亚洲地区的新视野之中。

露西亚·西蒙斯作品中生动、鲜活、充满装饰性的元素在本次展览中充分呈现出来,具有独立的个性,从二维的平面呈现中跳脱出来。在影像作品“黑名单”(Blacklist)中,不同的花朵在一个平面上呈现出慢动作,强烈的背光突出了花瓣动作的精心编排。观众的注意力被这种鲜活的美感和自主的动态所吸引。“草地午餐”(Le déjeuner sur l'herbe)则是更独立、更自我的作品。这个作品由工业绳索组成,独立于任何背景环境而自然成为装饰性主体。它带着扩张与征服的内在需求无形中介入到公共和私人空间。

艺术家罗发辉具有非常独特的艺术个性,保持并拓展一种内省式的创作方法。在他的艺术早期,艺术家专注于通过绘画表现身边的天地。他从周遭可见的日常生活中寻找动机。自然、花朵和他的花园都成为创作的母题,不过这些常常带有对其创作探索过程中复杂经历的某种隐喻。

罗发辉1961年生于重庆。他曾于四川美术学院学习绘画,1985年毕业。小时候,他经历了中国社会发展的特殊时期。1978年,邓小平为中国注入新的法制,令那些无法融入体制,被贴上不受欢迎的标签的人有了对话的机会。艺术家此时已经成年,他通过创作反思了中国改革开放和在全球化背景下自我定位所触发的一些最初的变化。这个国家至今仍是个谜一样的存在,既有封建传统,又有新的法制体系,使得中国成为世界经济超级大国。国际著名艺术机构纷纷参与展示中国当代艺术,力图搭起与中国文化间的有效桥梁。在当前形势下,艺术家承载了过多的中间人角色,他们既要努力独立捕捉内容,又要审视自身历史,并通过作品将所有这些传递给观众。

罗发辉与他前卫的同行不同的是,他避开了很多艺术运动和常规职业发展道路,例如通过活跃在北京、上海乃至国外的艺术中心建立声望。尽管他的作品也在国内外广泛展览,但他仍决定留在四川,将其艺术中的经典作品留在成都。他在成都能够找到适合自己的创作条件和灵感。成都是中国四川省省会,拥有1400多万居民。它已成为中国西部的经济中心,艺术圈也非常活跃。四川美术学院成立于1940年,是中国最有声望的八大艺术院校之一。因此,许多著名艺术家在这个城市里生活,他们在艺术院校工作,通过实践活动和新的展览不断刺激当地艺术圈蓬勃发展。他们是这种环境的观察者、分析者和中间人,令我们看到当代中国文化更为灿烂的图谱,目击这个国家的当下。他们引导我们进行更深入的讨论,这对于东、西方文化和解进程是至关重要的。除了外国与中国的对话,在中国有关传统与创新仍然存在很大的争论。中国几十年来已经形成自己的文化和意识。这种文化和意识构成了其与全球化的世界保持较远距离的一种自我身份认同。

罗发辉主要从事油画创作,他的作品大多在无定形的灰色背景中呈现珍珠般的、肉质的花朵形象,花瓣上常常侵染着鲜血般的色彩。他的作品呈现的富有生机的宇宙-无论是人还是自然-并不一定是对自然本身的模仿,而是艺术家想象力和生命力的产物。精神分析学家C.G.荣格看到这些作品,或许会将其表象称作男性人格中的女性部分。根据荣格的理论,人的心理由男性和女性两方面组成。画面表现的结果在超现实、怪诞、媚俗、诗意和敏感之间摇摆。裸体似乎发生了变形,它们的形状和边境与所处的自然环境相结合。画面中的面孔极其抽象,没有表现出一丝模仿痕迹。与此同时,画面中的花朵是欲望、孤独和暴力的暗喻。它们生动的红色花瓣看起来像是抽象的印记。画面内容通过其体量、形态、质感、花瓣的开合与孔洞散发出一种性感。这只是因为自然本身就是独特的、原生的、肉欲美的源头。他画中花朵与人的形象对情色和生育的强调似乎让人忽视其中蕴含的理性。不论是否有意为之,画笔明亮的引导和柔和的色彩调和神奇地营造出一种美感。

罗发辉和露西亚·西蒙斯一样通过其作品创造了独特的个性,令我们在科学技术和工业主义主宰着人们生活和态度的时代重新发现自然的本质及其崇高的超然意义。两位艺术家对花的本质的再创作是生命中最有意义的象征--这种意义追随我们从出生到死亡--进而,在更深层次和观点上,这种创作也揭示了诸多意义和界面令人意外的多面性。这将是诱惑与启示之间持续的对话,东方与西方感性之间的对话。

特雷莎·德·阿鲁达
2017年12月于柏林

It is with great honor that I accepted the invitation to curate a show at Sanya Museum of Contemporary Art, during the period that marks the beginning of spring in China. For the arrival of one of the most desired seasons of the year, a moment that symbolizes renewal, innovation and revitalization, it is an almost obvious choice to present works of art that enhance nature. Flowers are virtually inevitable in this context; there are artists that represent them faithfully or full of metaphors. In response to this challenge, I invited two artists to participate in this exhibition - Luzia Simons and Luo Fahui - both internationally known for floral representation in their artistic production. What at first sight is merely seductive will, however, in a deeper appreciation, reveal to us countless facets of distinct societies and cultures represented by their works.

The choice of these two artists is not mere chance but a result of following their artistic production for more than a decade, through innumerous visits and conversations in their studios, exhibitions and other contexts where their works have been shown. It is also in these circumstances that the two artists became aware of the existence and production of each other, which makes this challenge somewhat more exquisite.

Challenges are propellers of ideas and actions, without which human evolution would be stagnant and linked to the same existing and pre-established situations and contexts. This exhibition pays homage to the artists Luzia Simons and Luo Fahui, whose art, and especially the contemporary art they produce, takes on the objective of, and commitment to, a search for a new cultural legacy of miscegenation, the breaking of borders and interdisciplinarity.

The Brazilian-born artist Luzia Simons has developed a broad international artistic career, starting in Europe, where she has lived since 1976. She spent the first ten years in France and subsequently lived in Stuttgart in Germany. She currently lives and works in Berlin. Her work is fundamentally based on photography and has been widely revered for decades through its constant presence in individual and group exhibitions, and now forms part of several state and private collections in Europe and Brazil.

Luzia Simons' artwork originates from a relentless search for techniques to create images that are faithful to her imagination, experiences and expectations, following unusual paths that lead to experimental solutions, such as the use of unexpected tools to capture these images in ways other than via the conventional camera. She created the series Stockage in 1996 and, since then, has untiringly developed new pictorial modalities of the series. To elaborate her compositions, the artist is a precursor of the technique called scanography, making use of a scanner to capture the image, which is then printed by inkjet and laser in both small and monumental format. This technique allows the artist to reproduce flowers in a uniquely different way to a conventional photograph, capturing the details, shapes and colors with extreme depth perspectives, allowing the viewer to take a meditative dive into the details and providing a new way to look at the peculiarity of nature through these flowers. In these pictures not only does one see the tulips in their most beautiful state, but also the imperfections and decadence of irreversible nature.

During the production process, Luzia Simons juxtaposes flowers at different stages of their existence - aged, fresh or still in plump buds - vivid with color and abundant with curved petals, often accompanied by particles of pollen expelled during the manipulation of the flower on the scanner's surface. The transitoriness of a flower that will eventually wilt and die is visible, and presented in contrast to this are images of fresh tulips that impregnate their habitat, employing their supposed eternal beauty; seductive and tempting, as is the Stockage series, which fascinates and seduces by its beauty and originality, independent of the place and context where it is exhibited.

The historical background of the tulip also attracted the attention of the artist: the first tulip bulbs and seeds were sent to Vienna in 1554 as a gift from Ogier de Busbecq, the ambassador of Holy Roman Emperor Ferdinand I, to the sultan of Turkey during the era of the Ottoman Empire. Soon this luxury object spread to Antwerp and Amsterdam, where it led to Tulipmania; a period in the Dutch Golden Age during which contract prices for some bulbs provoked the first recorded speculative bubble and then dramatically collapsed in February 1637. Due to this historical background, the tulip is now rooted in our imagination as a genuinely Dutch product. It is precisely a nomadic and multicultural journey like that of the tulip that is the focus of the artist; migration and ephemerality appear subtly throughout her artistic production. The strong autobiographical nature of her work does not go unnoticed. For her, the work Stockage becomes a milestone of her own transitoriness, multicultural intersection and interdisciplinarity. Stockage imposes itself in various contexts related to historical, aesthetic and conceptual content. In a post-globalized world, the layered cultural accumulation is worthwhile to create and disseminate cross-cultural identity. Her performance in this exhibition, designed for Sanya Museum of Contemporary Art, is part of this process and will certainly reinforce the introduction of Stockage into new horizons throughout Asia.

The vivid, organic, ornamental elements that exist in Luzia Simons' work are also presented in this exhibition, where they gain an independent character and separate themselves from bidimensional representation. In the video Blacklist, different flowers lay on a surface and assume a slow-motion movement followed by a strong backlight, which accentuates the carefully composed choreography of the elements. The audience's attention is captured by the organic beauty and autonomy. Even more independent and self-sufficient is the object Le déjeuner sur l'herbe, formed by industrial rope intrinsically composed and released from any environment as a self-developed ornament. It invades public and private spaces with no formality, out of a necessity to expand and conquest.

Luo Fahui is an artist who has developed his own identity and working method, maintained and advanced by an introspective way of working. Early on, he made the decision to focus on his universe and to represent this mainly through painting. He seeks motifs from everyday life within the view of his surroundings. Nature, flowers and his garden are the leitmotifs of the images, but they are often metaphors for his complex experiences, collected during the course of his development.

Luo Fahui was born 1961 in Chongqing, Sichuan. He studied painting at the Sichuan Fine Art Institute and graduated in 1985. As a child, he experienced his country influenced by the principles of the Cultural Revolution, launched in 1966 and lasting until 1976. In 1978, Deng Xiaoping introduced new laws and developed dialogues with those unable to fit into the system who had been labeled as personae nongratae. As an adult, the artist reflected on the first changes initiated by the opening up of China and its re-positioning within a global context. This country is still a mystery; a nation where feudal traditions still exist in conjunction with the laws introduced by the Communist Party and which has become, at the same time, a world economic superpower. Renowned international art institutions are engaged in exhibiting Chinese contemporary art, in an attempt to build an effective bridge between Chinese culture and their own. In this current dynamic, artists have an excessive responsibility as mediators, trying to capture content themselves, review their own history and transfer all of this, through their works, to the audience.

Luo Fahui, in contrast to his avant-garde colleagues, avoided many of the artistic movements and career development paths, such as establishing a presence in art centers in Beijing and Shanghai or even abroad. Although he has shown his work extensively in China and overseas, he decided to stay in Sichuan and establish his artistic repertoire in Chengdu, where he discovered the appropriate conditions and inspiration for his work. Chengdu, a city with over 14 million inhabitants, is the capital of the Chinese province of Sichuan. It has become Chongqing's economic center in West China. It also maintains a very active art scene. Sichuan University of the Arts was founded in 1940 and is considered one of the eight most prestigious Chinese art colleges. As a result, there are many renowned artists living in the city, working at the art school and stimulating the local art scene, through internships and new exhibitions. They are the observers, analysts and mediators of this environment, leading us to the bright spectrum of contemporary Chinese culture and serving as witnesses to the country's present reality. They lead us to deeper discussions, which will be important components of the process of rapprochement of both cultures, East and West. Regardless of international dialogue with China, there is still a great deal of debate between tradition and innovation, as China has for decades developed its own culture and consciousness, which forms part of its identity, far away from the globalized world.

Luo Fahui works primarily in oil, and his paintings reveal images of pearly, fleshy flowers as bodies incorporated in an amorphous gray background with a touch of color and bloodshed on their forms. The organic universe represented by him - human or nature - is not necessarily the imitation of nature itself, but one composed by his imagination and anima, which the psychoanalyst C.G. Jung would assume to be the feminine part of a man's personality, composed of the male and female aspects of the psyche. The results oscillate between the surreal, grotesque, kitsch, poetic and sensitive. The naked bodies seem to be in metamorphosis, combining their shape and borders with nature where it is present. The faces are as abstract as possible, revealing no precise traces or mimicry. Meanwhile, the represented flowers are allusions to lust, loneliness and violence. Their vivid red petals look like abstract stains. The content exudes sensuality through its volume, guts, puddles, openings and orifices; simply because nature itself is the origin of a unique, native, sensual beauty. The erotic fertility of flowers and human beings emphasized in his paintings tend to blind the reason - conscious or not of their beauty, magically developed by the bright ductus of the brush and the softness of the delicate palette of colors.

Luo Fahui, like Luzia Simons, has created a unique signature through his work, which makes us rediscover the essence of nature and its sublime and transcendental significance at a time when technology, industrialism and science dominate our lives and attitudes. Their re-created floral nature is still a symbol of what is most meaningful in life - following us from birth till death - although, on the second viewing or layer, it reveals unexpected multifaceted meanings and interfaces. This continues to be a dialogue between seduction and revelation. Between Eastern and Western sensibility.

Tereza de Arruda
Berlin, December 2017

展开阅读

(责任编辑:张媛)

您可能感兴趣的展览

我要评论

已有0位网友发表评论
验证码

注:网友评论只供表达个人看法,并不代表本网站同意其看法或者证实其描述

已有0位网友发表评论

露西亚·西蒙斯

  露西亚·西蒙斯(Lu...

进入艺术家官网

罗发辉

  1961年出生于中国重...

进入艺术家官网

特雷莎·德·阿鲁达

  特雷莎·德·阿鲁达...

进入艺术家官网

相关文章

合作媒体机构

责任编辑:杨晓萌010-80486788-896exhibit@artron.net

关于我们产品介绍人才招聘雅昌动态联系我们网站地图版权说明免责声明隐私权保护友情链接雅昌集团专家顾问法律顾问
  • 艺术看展二维码
    艺术看展
返回顶部
意见反馈