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“妙谛因心”陈文令新作展

  • 展览海报
  • 《沐浴星光》 陈文令 585x225x125cm 2016年 不锈钢LED
  • 《手稿NO.1》 陈文令 28x20cm 2014年 纸本
  • 《手稿NO.2》 陈文令 28x20cm 1984年 纸本
  • 《手稿NO.3》 陈文令 28x20cm 2015年 纸本
  • 《手稿NO.4》 陈文令 28x20cm 2013年 纸本
  • 《手稿NO.5》 陈文令 29x21cm 2017年 纸本
  • 《手稿NO.6》 陈文令 29x21cm 2017年 纸本
  • 《手稿NO.7》 陈文令 28x20cm 2014年 纸本
  • 《随处可坐佛》 陈文令 140x70x205cm 2015年 不锈钢
  • 《你看到未必是真实的》 陈文令 1100x600x500cm 2009年 Painted Fiber Glass
展览时间:
2017-04-22 - 2017-05-21
展览城市:
北京 - 北京
展览机构:
白盒子艺术馆
展览地址:
中国北京市朝阳区酒仙桥路2号798艺术区797路B07号
策 展 人:
何桂彦
学术主持:
范迪安
主办单位:
白盒子艺术馆
参展人员:
陈文令

展览介绍

妙谛因心

白盒子艺术馆很荣幸的宣布将于2017年4月22日举办“妙谛因心——陈文令新作展”,本次展览由范迪安先生担任学术主持,何桂彦担任策展人,作为陈文令近年最为重要的学术新作展,将展出最新创作的五件雕塑作品以及最近十多年雕塑创作之余所积累的手稿精选。

最新雕塑作品在形式上与之前作品保持了一定关联性,但是在作品内核上拉开了距离。之前的作品一直与艺术家自身所处时代保持紧密关联与交流,但是其近期作品更多的是走向个人叙事,是艺术家陈文令对其生命体悟一种可视化再现。作品《行走的人》中头戴防毒面具,背负烂漫的桃花,怀抱一颗晶莹剔透看似水晶物体的纤瘦的行走中的人,体现的是陈文令对艺术的创作进入了对生命境遇理解的新境地,防毒面具所隐喻的社会病症给个体带来了痛楚,而背负的桃花象征了个人在颓败嘈杂环境中的诗意与光亮信心,无疑这件作品是陈文令的个人叙事,回归个体经验。

近十多年来,陈文令在雕塑创作之余,积攒了数千张手稿,这是其个人独处时的一种感情寄托,其内容涵盖了自己所观察的生活、艺术的各个方面,甚至是天马行空的想象。自由的勾勒出了雕塑创作之外的真切感受,并且在雕塑与纸本的切换中获得难得的畅快呼吸,也体现了陈文令多年来艺术历程中的默默孜孜,本次展览所精选的200余张手稿都是首次展出。
策展人何桂彦认为陈文令是雕塑创作领域的独具风格的艺术家,最新的雕塑作品与积累多年的手稿的共同展出,纵向时间线索与横向对比线索交汇于此,与白盒子艺术馆高旷的展厅和布局相呼应,为陈文令艺术创作的学术梳理提供了必要的条件。

本次展览是白盒子艺术馆与陈文令的首次个展合作,期待大家感受到陈文令作品中新的境界,展览将持续至5月21日。


Graces of My Heart

Whitebox Art Center is pleased to announce the exhibition, “Graces of My Heart – Chen Wenling’s New Works” opening on April 22, 2017. This exhibition is academically hosted by Mr. Fan Di’an, and curated by He Guiyan. Considered to be Chen Wenling’s most important solo exhibition in recent years, the show presents five new sculptures and drawings from the last decade.

Chen Wenling’s new works are formally relevant to an earlier period of his art practice, while the essential impetus of sculpture making has departed. His earlier works maintained a dialogue between the artist and the context of his time. In his recent works on the other hand, the artist shifts to an approach that adoptsthe personal narrative, articulating the artist’s visual representation on the understanding of life. Walking Manportrays a slander man wearing a gasmask, carrying peach blossom on his back, and embracing a crystal-like object, to conveythe artist’s new realm of understanding on art practice as part of life. The gasmask is an allegory for the pain brought by social symptoms, and the peach blossom on the man’s back symbolizes the lyrical and determination in a chaotic environment of decay – the work is undeniably Chen Wenling’s personal narrative in returning to one’s own experiences.

Over the last decade, other than his focus on making sculptures, Chen Wenling has accumulated over thousands of drawing and sketches, a way of releasing emotion in times of solitude. These works comprise of the various aspects he has observed in art and life, as well as his wild imaginations. Through his liberal depiction of one’s true sentiments, he discovered the rare moments to breathe smoothly as he translated his ideas between the two mediums: sculpture and works on paper, while they embody the artist’s unsung diligence throughout his artistic career. This exhibition presents for the first time, 200 meticulously picked drawings.

The curator of this exhibition, He Guiyan considers Chen Wenling to be an artist working with unique style in the field of sculpture. The presentation of his sculptures and drawings he had made over the years allow the viewer to review the chronology and diversity in his art practice. Resonating with the high ceilings and architectural features of the Whitebox Art Center, the exhibition provides a great opportunity to revisit Chen Wenling’s academic contribution to the field.

This exhibition is artist Chen Wenling’s first collaboration with Whitebox Art Center, and we hope our visitors will come and experience the artist’s new works. The exhibition will continue until May 21, 2017.

关于白盒子

白盒子艺术馆位于北京798艺术中心区,是1952年由前民主德国建筑机构负责建筑设计、施工的包豪斯建筑风格的工厂区。

艺术馆在保留原建筑的精神外,在废弃厂房的基础上重新设计,由白盒子(北京)文化艺术有限公司投资创建。拥有近840平方米的自由展示展览空间,主要举办中国当代艺术的展演活动,关注国内国际当代艺术的发展动向和最新思潮,推动中国当代艺术与国际文化艺术的交流。并将长期致力于跨界艺术的展览展示、学术推广、资源整合并强调国内外艺术交流的互动与传播,为艺术产业化的发展探索新路。

除展出国内外当代著名艺术家艺术作品外,还积极发现、培养、推出年轻的新锐艺术家。依据当代文化的多功能需求目标设计规划,阐释:艺术改变生活的主张。

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(责任编辑:张琦)

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