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“调调”2018王艺研究展

  • 展览海报
  • 《合影》 王艺 300x1000cm 2017年 不锈钢
  • 《合影》(局部) 王艺 300x1000cm 2017年 不锈钢
  • 《疲惫不堪》 王艺 500x218x84cm 2018年 玻璃钢烤漆
  • 《疲惫不堪》(局部) 王艺 500x218x84cm 2018年 玻璃钢烤漆
  • 《让我们一起快乐地玩耍1》 王艺 H175cm 2018年 玻璃钢烤漆
  • 《让我们一起快乐地玩耍1》(局部) 王艺 H175cm 2018年 玻璃钢烤漆
  • 《让我们一起快乐地玩耍2》 王艺 H175cm 2018年 玻璃钢烤漆
  • 《让我们一起快乐地玩耍2》(局部1) 王艺 H175cm 2018年 玻璃钢烤漆
  • 《让我们一起快乐地玩耍2》(局部2) 王艺 H175cm 2018年 玻璃钢烤漆
  • 《小号研究6》 王艺 49.5x29.9cm 2018年 金属
  • 《小号研究6》(局部) 王艺 49.5x29.9cm 2018年 金属
观看全景
展览时间:
2018-09-26 - 2018-11-18
开幕时间:
2018-09-26 15:30
展览城市:
北京 - 北京
展览机构:
北京民生现代美术馆
展览地址:
北京市朝阳区酒仙桥北路9号恒通国际创新园-C7
策 展 人:
夏可君
学术主持:
范迪安
主办单位:
中国民生银行 北京民生现代美术馆
协办单位:
北京民生文化艺术基金会
参展人员:
王艺
展览备注:
总策划:周旭君

展览介绍

调节生命的语调:王艺的金典

Modification of the Tonality in Life: Wang Yi's Essential Thoughts

在一个已经脱节的时代,在一个已经失调的世界,艺术的责任就是去调整与调节我们生命呼吸的调性。艺术家王艺以其敏感与勇气,围绕存在的情调、作品的语调、艺术的转调与伦理的调节,特别是在调调(Tiao/Diao)这汉语特有的“双关”调性中展开,这既是一种独特的个体风格“调调”(Diaodiao),也是一种调调(Tiaodiao)的艺术行动。

In a disconnected time and a world out of tune, the responsibility of art is to modify and modulate the tonality of life. With sensitivity and courage, artist Wang Yi is devoted to the sentiment in his works, the tonality of works, the modulation of art and the adjustment of ethics. His exhibition centers on the opposite tonalities of Tiao/Diao, a unique homograph in Chinese, which means not only a special individual style known as "Diaodiao" (unique tonality and tone) but also an artistic practice regarded as Tiaodiao (modulation of tonality).

本次展览呈现了王艺的三个系列:“新波普”的玩偶系列,推进了对政治波普的生命原理与伦理姿态的反思,拓展了波普艺术的精神深度与人类心理学强度;“新雕塑”的小号研究系列,既是乐器也是军号,在结构与解构之间,既有巴别塔的反讽寓意,又传达出存在的消隐或无声之音;“新绘画”既有面孔重复导致个体迷失的眩晕体验,尤为了不起的不锈钢浅浮雕绘画系列,还以其厚重质感传达出朦胧虚淡的东方诗意。

This exhibition presents three series composed by Wang Yi: "Neo Pop" puppets series, which reflects on the life principles of political pop and ethics, and also enhances the spiritual depth of pop art and the strength of psychology; "Neo Sculptures" series of Study on Trumpet, which takes trumpet as both a musical instrument and a war bugle. Being between structure and deconstruction, it conveys both the irony of Babel, as well as the existing sound that has faded away or cannot be heard; "New Painting" embodies retrospection on the loss of individual caused by repeated faces. The particularly marvelous stainless bas-relief painting series delivers vague oriental poetic beauty with its thick texture.

本次研究展将充分展示王艺作品的原创性,从广义的“雕塑性”也是生命的“可塑性”的哲学本体出发,围绕现代性社会关系中个体在群体中的迷失,规则绝对调控的不可能性,对孩童们玩耍的游戏暴力姿态还原,对现成品器具的结构与解构,体现出玩弄与被操控、规则与意外、秩序与失序之间的矛盾关系,而艺术作品就是在此张力中展开微妙的调节,这体现出王艺最为独特且最为迷人的个人调校,也倾听到时代艰难转型中,需要正义来调节的隐秘召唤。

The exhibition gives a full expression to the artistic creation of Wang Yi, which forms by proceeding from the generalized "sculpture", also known as the philosophical essence of life's "plasticity", focusing on individual's loss in modern social relations, shedding light upon the impossibility of absolute control, bringing to life the violent acts of children when they are playing, and conducting analysis on the structure and deconstruction. In doing so, it demonstrates the contradictory relations between teasing and being manipulated, rules and unexpectedness, and order and disorder. That is precisely how delicate plots of artistic works unfold in such diversity. It manifests the most unique and charming personal modification of Wang Yi, and also heeds the covert call for adjustment by justice in the bumpy transition of time.

围绕“调调”汉语特有的存在双关性以及作品中回响的生命音调,围绕调性的可调节性,王艺在两个对立的调性“之间”展开自己的创作,让我们看到也听到了存在本身的语调:1,小孩的天真与老道的狡黠。看似玩偶调皮实则暴力无比,看似调侃实则别有味道。2,复制与取消。无尽重复直到自我取消,绝对严整却必然有着例外破坏。3,世俗与庄严。看似世俗搞笑实则具有生命反思的彻底性与生命救赎的渴求。4,规则的操纵与危险的不可控。看似一切都有着严格的规则与秩序,实际上不可控的危险无处不在。

Wang Yi's works center on Tiao/Diao(modification/modulation), a unique duality in Chinese and a fugue that can be reverberated in foreign languages, and also features on the convertibility of tonalities. They are developed with two opposite tonalities, which make us see and hear the intonation of existence itself: 1, the innocence of children and the sophistication of the old – seeming to be dulls and naughty but in fact extremely violent, and children's postures in games are presented to two extremes. One leads to the reflection of social and historical violence, and the other returns to the primordial nature of life politics. 2, copying and cancellation – incessant repetition until self-cancellation and sound orderliness with inevitable exception. 3, secularity and solemnness – seeming to be mundane and funny but of radical reflection on life and aspiration for the redemption of life. 4, the manipulation of rules and uncontrollable danger. It seems that everything follows strict rules, but, in fact, uncontrollable danger is everywhere. This is the universal crisis of the existence of the world's order itself.

王艺这一批辉煌的作品,在一个人的成长经验,一代人的历史之痛,一个时代的错步,以及在当代艺术的想象力与新哲学的反思力上,不断地调节与重组,这不仅有助于理解我们当下生命的存在状态,也有助于我们理解中国当代艺术的未来方向,这将是一个可以进入艺术史的经典展览。

The works of Wang Yi are constantly adjusting and reorganizing, based on his personal experience, the pain of his generation, the feature of his time, the imagination of modern art language, and new philosophical contemplation. It helps us understand the form of our existence and the future orientation of modern art in China. This will be an iconic exhibition in the art history.

夏可君

Xia Kejun

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(责任编辑:陈思竹)

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艺术号客服2018-09-19 17:10:06
围绕“调调”汉语特有的存在双关性以及作品中回响的生命音调,围绕调性的可调节性,王艺在两个对立的调性“之间”展开自己的创作,让我们看到也听到了存在本身的语调
傲娇猫2018-09-19 16:08:54
虽然作品呈现的是有些滑稽可笑~但是莫名感觉有点悲凉
Lindaliiii2018-10-11 10:10:35
感觉挺有意思~
莫大1522018-09-19 09:39:20
喜欢这件作品,名字与实际的互相冲突,互相玩耍还是互相伤害?
已有4位网友发表评论
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