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“阴阳造物”南超×木美

  • 展览海报
  • 《禅心之笼-黑色幽默》 南超 60x15x15cm 2018年 综合材料
  • 《佛灯尘2018》 南超 1270x280x280cm 2018年 综合材料
  • 《意浮沉-No.8》 南超 52x53x16cm 2018年 综合材料
展览时间:
2018-12-01 - 2019-01-12
开幕时间:
2018-12-01 16:00
展览城市:
北京 - 北京
展览机构:
成当代艺术中心
展览地址:
北京朝阳区酒仙桥路798艺术区创意广场B01
主办单位:
成当代艺术中心
参展人员:
南超

展览介绍

阴阳造物

——在静寂中重燃鲜活,在永生里回溯遗忘

简内

南超×木美是艺术家南超先生与中国原创设计品牌木美创始人陈大瑞先生在展览语境下的一次深度合作,是当代艺术介入美学空间的一次全新尝试。让我感兴趣是,此前我也曾见过当代艺术与家具的联合展览,但家具更多的是作为一种铺垫或陪衬,艺术品更像是陈设品。而在这个展览里,南超以家具为载体从艺术的角度进行了重新创作,使家具与南超的作品构成了一种全新的装置形态,共同完成了不同时空间的转换与对话,这也是南超先生在他艺术生涯中再次跳出常规的一次冒险。

站在南超的作品前,往往生出彼和此的虚幻。南超用他的智慧及修为为观者呈现了前世及今生之间的某种隐秘线索,循著这条暗道,我们或许可以回到中国传统文化的核心——阴阳,以现世者的身份和彼岸展开对话。阴阳是中国古代文明中对蕴藏在自然规律背后的、推动自然规律发展变化的根本因素的描述,是各种事物孕育、发展、成熟、衰退直至消亡的原动力,是奠定中华文明逻辑思维基础的核心要素。阴阳是天地间化生万物的两大对立面,阴阳和则万物得。

南超显然不是造物者,但他的作品却为当下语境下普遍的迷失者提供了一种观照和对比的可能。他的创作仍然基于中国传统艺术的元素:单纯、象征及自然性,但在精神情趣上,他把历代士大夫所追求的隐逸延伸放大,又通过当代材料及新技术把这种虚渺的情趣冰封固化,形成了一种独特的艺术体验,同时也在当代艺术和传统艺术貌似神离的对话中找到了融合的可能。作品蕴含的飘渺与家具制式的理性让我有了“限制的欢愉”的理解。这里的欢愉包涵了生死、东方和西方、当代传统等相对的阴阳概念,这些阴阳相对的概念很多时候是矛盾的,但它们在南超的作品里却出乎意料地高度融合,在这个意义上,南超或许就是个造物者。

南超的展览沿袭了其作品里一贯的传统意趣:在静寂中重燃鲜活,在永生里回溯遣忘。当然,这种意趣的底色是悲寂的,不同于其最初师法的士大夫的隐匿意趣。从《游山玩水》到《阴阳造物》我们看到的不仅是南超在《穿透水墨再造空间》里从平面到立体的技术反复运算,还有一条更加明晰的精神嬗变:从传统山水逸情与当代艳色视觉符号的嫁接到物哀的默语,进而在时空里以封尘的形式呈现出一种崭新的作品语言;这既是南超艰难的水墨当代化探索,也是其思想体系的成型标志。

中国传统水墨的表达形式和语言因长久的固化而行成了一套完整的体系,比之西画,多了妙趣横生,但也难以突破。南超几年来的实验,虽然在形式上有了崭新的方向,最大的变革恰在其意趣上的突破,在动静间完成了全新的阐释,方寸之地里,以当代的思维革新了中国传统文化里有关生死和动寂的语义指涉,最重要的是,无论在形式还是内核上,这种革新依然有着传统山水景观的隐逸,以当代和与时的姿态进入观者的视界,却未见实验艺术普遍存在的突兀痕迹。

展览呈现的主题很中国,要讨论的是在传统与当代、东方与西方之间更多的融合共生地可能性。此次与中国原创设计品牌木美的合作,也开启了南超对于日常空间和实用审美的深度介入。融合、美、极致,一直是设计师陈大瑞先生所秉持的理念,2010年他创立了独立设计师品牌木美,意在通过平台探索与创造真正独特、富于灵感的当代中国设计,此次与艺术家南超的合作正是对“融合”理念的充分诠释。在“阴阳造物”的主题下,艺术家与设计师共同雕琢的展览空间本身已然成为一件具有完整意义的装置作品。可居、可游、可观、可探的空间里,作品所折叠而成的复合文化空间,在观者的脚步下徐徐延展,静寂中鲜活重燃,永生里遗忘回溯。

Creation by Yin and Yang

--Renewing life in silence and tracing back the forgotten in eternal life

By Johnell

Nan Chao x Maxmarko is an in-depth cooperation in the context of exhibition between artist Nan Chao and Mr. Chen Darui, the founder of Chinese original design brand Maxmarko. It is a new attempt for contemporary art to intervene in the aesthetic space. What interests me is that I have seen joint exhibitions of contemporary art and furniture before, in which furniture is more of a staffage, and artworks are more like furnishings. However, in this exhibition, Nan Chao recreates from the perspective of art with furniture as the carrier, which makes the furniture and Nan Chao's works form a new device form, completing the transformation and dialogue of different time and space, which is also an adventure that Mr. Nan Chao once again jumps out of his routine in his artistic career.

Standing in front of Nan Chao's works, there would often be the illusion of that and this. With his wisdom and cultivation, Nan Chao presents some hidden clues between the past and the present life for the viewers. By following this secret path, we may be able to return to the core of Chinese traditional culture -- Yin and Yang, and start a dialogue with the other side as a secular person. Yin and Yang are the fundamental factors in ancient Chinese civilization that are behind the laws of nature and to promote the development and change of natural laws. They are the driving force of the gestation, development, maturity, decline and demise of various things, and are the key elements of laying the foundation for the logical thinking of Chinese civilization. Yin and Yang are the two opposites of the metamorphosis of everything between heaven and earth, if Yin and Yang are harmonious, all things will flourish.

Nan Chao himself is obviously not a creator, but his works provide a possibility of reflection and contrast for the lost people in the current context. His creation is still based on the elements of Chinese traditional art: pure, symbol and natural, but in the spirit temperament, he extends and amplifies the seclusion pursued by the ancient literati, solidifies this insubstantial interest through contemporary materials and new technologies, and forms a unique artistic experience. At the same time, he has found the possibility of integration in the dialogue between contemporary art and traditional art. The ethereality of his works and the rationality of furniture make people have the understanding of "limited pleasure". The joy here includes the relative concepts of life and death, the east and the west, contemporary and traditional, etc. These concepts are often contradictory, but they are unexpectedly highly integrated in the works of Nan Chao, in this sense Nan Chao may be a creator.

Nan Chao’s exhibitions all follow the interest of traditions of his works: renewing life in silence and tracing back the forgotten in eternal life. Of course, the background of this interest is sadness, different from the occult interest of the literati he first learned from. From "Colorful Landscape" to "Creation of Yin and Yang" , we can not only see Nan Chao's technological iteration from plane to three-dimensional in "Penetrating Ink and Rebuilt Space ", but also a clearer spiritual evolution: From the grafting traditional landscape painting and contemporary visual symbols of beauty onto the silent language of the sorrows of the object, then presents a brand new work language in the form of dust seal in time and space. This is not only a difficult exploration of contemporary, but also the forming symbol of Nan Chao’s ideology system.

The traditional Chinese ink forms and languages have become a complete system because of long-term fixed form. Compared with the Western paintings, they are more colorful and enjoyable, but they are also hard to break through. Nan Chao’s Experiments over the past few years have taken a new direction in terms of form. However, I believe that the biggest change is just breaking through its own interest and completing a completely new interpretation between the activity and inertia. In a limited space, he uses the contemporary thinking to reform the semantic reference to life, death, activity and silence in Chinese traditional culture. Above all, in the form and the core, this kind of innovation still has the seclusion of the traditional landscape and enters the audience’s view in a contemporary and timely manner, but without the unexpected traces which most of the experimental ink have.

The theme of the exhibition is very Chinese, discussing the possibility of the symbiosis between the traditional and the contemporary, the east and the west. This cooperation with the original Chinese design brand Maxmarko has also initiated Nan Chao's deep involvement in daily space and practical aesthetics. Integration, beauty and perfection have always been the philosophy of Mr. Chen Darui. In 2010, he founded the independent designer brand Maxmarko, aiming to explore and create truly unique and inspiring contemporary Chinese design through the platform. This cooperation with artist Nan Chao is the full interpretation of the concept of "integration". With the theme of "Creation by Yin and Yang", the exhibition space created by the artist and the designer has become an installation work with complete significance. In a space where people can live, visit, observe, the complex cultural space folded by the works expands slowly under the feet of the audience, renewing life in silence and tracing back the forgotten in eternal life.

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(责任编辑:杨红柳)

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lucky122018-12-13 22:13:40
不知道为什么 就是觉得还挺好看的
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责任编辑:杨晓萌010-80486788-896exhibit@artron.net

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