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“临其境”梁伟个展

  • 展览海报
  • 《当下噪音 Noise of the Present Kind》 梁伟 150x200cm 2016年 布面丙烯,水墨,水溶笔
  • 《发生后的某一天 Some Time After It Happened》 梁伟 150x200cm 2017年 布面丙烯,水墨,水溶笔
  • 《关口附近 Near the Entrance》 梁伟 140x190cm 2016年 布面丙烯,水墨,水溶笔
  • 《临其境 Before Land》 梁伟 150x90cm 2017年 布面丙烯,水墨,水溶笔
  • 《现在或以后 Neither Now Nor Later》 梁伟 119x200cm 2016年 布面丙烯,水墨,水溶笔
  • 《从明天起》 梁伟 140x190cm 2018年 布面丙烯,水墨,水溶笔
  • 《发生的前一天》 梁伟 200x340cm 2017年 布面丙烯,水墨,水溶笔
  • 《记忆相遇》 梁伟 140x200cm 2017年 布面丙烯,水墨,水溶笔
  • 《临其境》 梁伟 90x150cm 2017年 布面丙烯,水墨,水溶笔
  • 《亦非留存》 梁伟 130x170cm 2017年 布面丙烯,水墨,水溶笔
展览时间:
2018-03-22 - 2018-05-06
展览城市:
北京 - 北京
展览机构:
魔金石空间
展览地址:
北京市朝阳区酒仙桥路2号798艺术区798东街
参展人员:
梁伟

展览介绍

魔金石空间十分荣幸地呈现艺术家梁伟的第二次个展“临其境”。

作为中国当代绘画的闪亮新声,梁伟一直在探索一种独一无二的抽象艺术形式。这一形式从现代与古典绘画传统中汲取养分。艺术家有意绕开以观念或主题为主导的构图,而是从大量物质对象中撷取出图像,将其拆解为碎片,再从想象出发重组为崭新的形态。由此,梁伟使用丙烯颜料、水墨与水溶笔等材料展开了严谨细腻的绘画过程,而其结果宛如一幅幅诡秘的地貌景象,并带有古典山水的幢幢影子。原图被摧毁的过程赋予了这些抽象地形无穷的吸引力。当我们的视线试图在画布上辨别抽象中的内容时,一些尚可识别的形状线索开始在眼前浮现,越来越多……最终,出乎意料的新形态似乎渐渐显现,又消失于混乱中。

梁伟所选择的源图像映照了她对历史、古典艺术与建筑、当下都市环境及电影的浓厚兴趣。每一件作品似乎都以其自身能量及存在理由构筑起一个异想世界。我们几乎能看清,隐蔽的众多现实正等待着从混沌中破壳而出,有如脑海中好几部电影同时闪过。梁伟的一些画作具有暴力与嬗变的两极特性,仿佛处于自我创造或毁灭的双重过程中,而另一些却体现出平衡,引发沉思。在本次呈现的新作中,梁伟制造出前所未见的陌生现实,它们源于我们自身,却与我们的经验格格不入。

关于艺术家

梁伟,是来自北京的绘画及影像艺术家,1999 年毕业于法国斯特拉斯堡大学造型艺术学院。主要个展:然前然后,魔金石空间,北京(2016);之间——梁伟个展,空间站,北京(2010)。重要展览:.com/.cn,K11 Art Foundation、MoMA PS1,上海(2017);.com/.cn,K11 Art Foundation、MoMA PS1,香港(2017),中国;歧义花园,四方美术馆,南京(2013);居住地——来自中国和巴西的艺术家,香格纳画廊,上海(2012);中国影像艺术1988-2011,上海民生美术馆,上海(2011);亚洲城市网络2007,首尔美术馆,韩国(2007);第12届加尔各达电影节,印度(2006);中国发电站,伦敦,英国(2005)。

Magician Space is pleased to present Before Itself, a second solo exhibition with the gallery by Beijing-based artist Liang Wei.

One of China’s most exciting new voices in contemporary painting, Liang Wei has been developing a unique form of abstract art that combines influences from both modern and classical traditions. Avoiding any conceptual or thematic approaches to painting, Liang’s compositions start by sourcing images from a large range of subject matter in order to tear them apart and reassemble them into new forms from her imagination. These compositions are the starting point of a meticulous painting process that uses a variety of materials such as acrylic paint, Chinese ink, and watercolour pencils. The resulting works feel like uncanny topographical visions haunted by echoes of classical Chinese landscapes. These abstract geographies are deeply immersing owing to the way original images have been deconstructed. Hints of recognizable forms appear and multiply as one scans the surface of the canvas as our eyes attempt to make sense of the abstraction. As a result, new and unintended forms seem to emerge and then disappear in the chaos.

The source images that Liang Wei uses mirror her interest in history, classical art and architecture, contemporary urban environments, and cinema. Each work seems to construct a separate imaginary world with its own energy and reasons for coming into being. One can almost discern hidden realities waiting to break out from obscurity into existence, like several films all happening at once in the background of our minds. There is a contrast between the violence and morphogenic qualities of these works, as some paintings seem to be in the process of self-creation or destruction, while others have found a contemplative sense of equilibrium. In these new paintings Liang Wei has created strange new realities that are based on, but alien to, our own.

Notes to the editors

Liang Wei is a painter and video artist based in Beijing. She graduated from L’Art Plastiques Universite des Sciences Humanines de Strasbourg, France in 1999. Widely exhibiting her work in China and abroad since her return to China, her work has been shown in .com/.cn, K11 Art Foundation, MoMA PS1, Shanghai (2017); .com/.cn, K11 Art Foundation, MoMA PS1, Hong Kong (2017); The Garden of Diversion, Sifang Art Museum, Nanjing (2013); Place of Residence-with Artists from Brazil and China, ShanghART H-Space, Shanghai (2012); Moving Image In China 1988 - 2011, Min Sheng Art Museum, Shanghai (2011); City Net Asia 2007, Seoul Museum of Art, Seoul, Korea (2007); The 12th Kolkata Film Festival (2006); China Power Station, Battersea Power Station, London (2005).

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(责任编辑:杨红柳)

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