雅昌首页
求购单(0) 消息
首页展览正文

“脚踏何地”王璜生 王野夫 车建全 王绍强作品展 

  • 展览海报
  • 《风之痕系列》 王璜生 36×63cm 2020年 摄影
  • 《C-B-68》 王野夫 75×56cm 2018年 手工纸、石墨铅笔
  • 《六朝松 (二)》 车建全 210×90cm 2018年 布面油彩
  • 《车晓之二》 王绍强 58×50cm 2018年 纸本水墨
展览时间:
2020-06-13 - 2020-08-31
开幕时间:
2020-06-13 16:00
展览城市:
广东 - 广州
展览机构:
尚榕美术
展览地址:
中国广州市天河区程介西大田基南10号(员村二横路与临江大道交叉口南200米)
主办单位:
尚榕美术
参展人员:
王璜生,王野夫,车建全,王绍强
展览备注:
展览策划:常芳 韩亮
支持单位:东升实业集团 工美港国际数字创新中心 大美文投
赞助单位:子民茶业 青海新铠实业有限公司

展览介绍

在并不久远之前,“地球是平的”欢呼声响彻全球,它打开了一个无远弗届的天地,同时,也置我们于无枝可栖的荒原。即使越来越多的消费和娱乐暴力刷屏,仍然难以根绝我们的惶惑——人通过解放自己站在世界面前,却赫然发现世界之抽离与颓废已然无法逆转——伴随着工业化所致人的异化和国际化不断深入对古老结构的消解,人与人、人与自然日渐疏离,今天再没有一个令所有人都相信的“神话”,每一个个体都脚踏无地,仿佛无所逃于天地之间。

艺术作为时代的产儿,亦无例外。

自英国艺术评论家朱利安.斯塔拉布拉斯把1989年划为当代艺术发展里程碑,中国当代艺术在高速狂飙30年后,随着金色泡沫逐渐消退,呈现整体性失重和结构性焦虑。以对民族深层心理叩发和新文化语境的回应来面向世界并启示未来,一切堪称伟大的艺术都是如此——已步入而立之年的中国当代艺术,是时候追问——以何而立?

这是值得沉思的问题。艺术从何而来、通过什么它是其所是,并且如其所是地是——在这样的背景下,经历重重的自我否定和自行贬黜之后,依然要直面复杂的美学协商——中国的当代艺术如何在承继东方精神的同时与全球化的创作方法论以及时代气息相融合,在纷繁复杂的当下呈现自己的文化态度和身份,并能前瞻性地启示未来?

王璜生、王野夫、车建全、王绍强四位艺术家的创作实践,从生命与自然、个体与社会、当下与传统、人与自我、山水与时空,各有侧重又交织重叠的维度,呈现基于东方精神系统,又能对接世界语言的艺术探索和实践——如果细心品味展览脉络,其间不难发现,传统中国画的精神与西方语言之间,有不少在相对比较后重新启示我们的地方。千里走完单骑,总要回家——这次展览,希望以四位艺术家的艺术行动和实践作为个案样本,帮助我们厘清当代艺术之上的重重遮蔽,重新思考当代艺术的价值观以及建构维度,冀以澄明和深邃走向我们。

此外,艺术家的工作、生活状态会对创作产生直接的影响,本次展览的四位艺术家,分别有多元的社会角色,在繁忙的本职工作之外,他们依然保持对艺术的深度思考,并有起而行之的精彩表达,这让我们遥想文人画之所以成为精神冠冕的原因。也许,正是不同身份的视角转换,也使得四位艺术家的创作不囿于某种固有形式,而是通过不同媒介、材质或语言表达,这种思想的开放和自由也是艺术的可贵之处。

当下的中国艺术界,并不缺少惊世骇俗和标新立异,缺的是对艺术纯粹从容的态度,这个联展不因为任何表面的相似,而是他们的作品都含孕着“思考过”的气质,那是孤独凝练沉思得来的面貌,不追逐,不跟随,穿透浮华亮片,拥有更加坚韧的内在性力量。

艺术在于启发问题,而非给出答案,最好的艺术作品留给观众的往往是困境,是值得无限思索的问题,从来不是答案。

正因为他们不断的追问和行动,为我们提供了一条不遑栖住的或然路径。也让我们一窥,隐藏在作品中究竟是什么使得艺术成为不朽的原因。

文:常芳

It had not been a long time ago that the cheers of "the Earth is flat" resounded all over the world. It seems that we could reach everywhere in the world, while at the same time our souls feel nowhere to dwell. Our life is full of consumption and entertainment, which still could not help to eradicate our anxiety—we liberate ourselves standing in front of the world but to find the abstraction and decadence of the world can no longer be reversed—as a result of industrialization and internationalization, people are becoming increasingly alienated from each other and from the nature. Today there is no "myth" that everyone believes in. Every individual is struggling with their own identity, as if he does not belong to anywhere.

Art, as a by-product, is no exception.

Since British art critic Julian Stallabrass marked 1989 as a milestone in the development of contemporary art, Chinese contemporary art has experienced a rapid growth over the last three decades. As the art market bubble gradually subsided, it showed a weightlessness and structural anxiety. In order to respond to our national aesthetic, the new cultural context and to enlighten the future, this is the case for all great art—Chines contemporary art entering its thirties-it's time to ask what it has achieved so far?

This is a question worth pondering. Where did art come from, what makes it art, and why is it considered as art? It is against this background, through the self-denial and self-depreciation, that Chinese contemporary art has to face complex aesthetic consultations. How did Chinese contemporary art develop with its oriental spirit, while responding to the global creative methodology? Will it represent its own cultural attitudes and identities, and at the same time enlighten the future?

The creative practice of four artists Wang Huangsheng, Wang Yefu, Che Jianquan,and Wang Shaoqiang, focusing on the dimensions of life and nature, individual and society, present and tradition, man and himself, landscape and time and space—each has its own focuses and some of them overlaps-not only presents an oriental spiritual system but also connects to artistic exploration and practice of world languages. If you explore the exhibition carefully, it is not difficult to find new inspiration between the spirit of traditional Chinese painting and Western art languages. It's time to go back home after thousands miles of traveling. This exhibition hopes to use the artistic actions and practices of the four artists as case samples to help us clarify some debates on contemporary art, to rethink the values and construction and dimensions of contemporary art , and to allow us an in-depth thinking.

In addition, these four artists'work and life definitely have impact on their creation. They all have diverse social roles apart from their busy work, however, they still maintain in-depth thinking about art and carry out such splendid art works. This might explain the reason why the literati painting became the spiritual sustenance. Perhaps it is such different social roles that free them from the intrinsic form, and enable them with different media, materials or languages. This openness and freedom of thought is also very valuable.

The current Chinese art world is no shortage of sensational and innovative art works. But what is missing is a purely calm attitude towards art. Instead of any superficial similarities, it is such serenity and thoughtfulness in their works that bring these four artists together in this joint exhibition, where we will follow their independence and in-depth thinking to learn their inner strength.

Art is about inspiration, instead of giving answers. The best works of art often left the audience with dilemmas, endless thinking, but answers.

It is such continuous questioning and action that provides us with a probable path. Also it gives us a glimpse of what is hidden in the works that makes art immortal.

by Chang Fang

展开阅读

(责任编辑:陈思竹)

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
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
  • 艺术头条二维码
    艺术头条
返回顶部
意见反馈