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“宫娥之卵”武宁亚创旦纪

  • 展览海报
  • 《论委拉斯凯兹的形式因——征服》 武宁亚 272x250x100cm 2018年 西班牙旧铁锚
  • 《阿尔卡萨宫》 武宁亚 层高600cm,面积120cm a 原物构件,镜像
  • 《阿尔卡萨宫》 武宁亚 层高600cm,面积120cm b 原物构件,镜像
  • 《富甲》 武宁亚 195x152x98cm 2014年 珍珠、贝壳、铜、铜网构件、石膏基底
  • 《宫巢》 武宁亚 560x420x380cm 2018年 不锈钢、人工水晶、机械装置、手工蛋
  • 《寂美》 武宁亚 240x260x150cm 2018年 香樟木碳化
  • 《沙器》 武宁亚 360x240cm 2018年 纯白海沙、沙漏、不锈钢构件
  • 《生存》 武宁亚 240x220x90cm 2018年 玉米、马铃薯、烟叶、铁
  • 《围城》 武宁亚 208x210x100cm 2018年 旧砖瓦,苔藓草本
  • 《武断宫娥》 武宁亚 208x235cm 2019年 油彩画布
  • 《血因》 武宁亚 219x337x200cm 2015年 蕾丝、绳编、电镀、丙烯
  • 《小孔成像暗箱》 武宁亚 393x120x200cm 复制原物
展览时间:
2019-04-20 - 2019-07-16
展览城市:
北京 - 北京
展览机构:
今日美术馆
展览地址:
北京市朝阳区百子湾路32号苹果社区4号楼
策 展 人:
高鹏
主办单位:
今日美术馆 北京曦空间
展览备注:
学术指导:王萌
执行策展人:杨嘎
展览统筹:徐韬

展览介绍

《宫娥之卵》系列灵感来源于西班牙画家委拉斯凯兹的名画《宫娥》。深受17世纪西班牙皇室赏识的委拉斯凯兹,作为一位伟大的写实主义画家,为彼时大师云集的欧洲画坛乃至后世都留下了卓越而不可替代的重大贡献。最知名的代表作《宫娥》更是被称为“世界三大名画”之一。画面中,画家巧妙利用镜像的反射打破了以往宫廷绘画固有的布局,新颖的构思营造的空间视角切换将观者置于一个“看与被看”的互动关系中,在画家精湛的画技下仿佛被卷进一场湍流多变的视觉漩涡。这场奇幻的视觉游戏也引发了一代又一代人持久而深入的探索,毕加索和达利等著名艺术家都曾对这幅画进行解构和重述。法国哲学家米歇尔·福柯在其著名的《词与物》一书中亦为这幅画书写注脚,指出艺术不仅是画面美感的展现,也是通过深入凝视而进入冥想思考的路径之一。让观者在欣赏画作获得精神慰藉后能够更进一步提出问题并思考,从而将绘画提升为一种非凡性的精神活动。这场横跨艺术与哲学的对话随着这幅作品几百年的重述浪潮蜿蜒起伏,如今,由武宁亚创作的作品《宫娥之卵》将承继起这幅艺术史经典作品不断的精神脉络。“卵”的元素取自于马佳莉塔公主蛋形的裙撑下摆,由于蛋所象征的生命和繁衍的意义,因此《宫娥之卵》可看做《宫娥》下的一枚蛋,即宫娥之卵,是致敬,亦是再述。

Inspirations of the series Menina was originated from Spanish painter Velasquez's famous painting Las Meninas. As a great realist painter who was deeply appreciated by the Spanish court in the 17th century, Velasquez has made remarkable and irreplaceable contributions to the master gathered European art scene and even later generations. In the picture, inherent rigid compositions of preexisted court paintings were subverted by artists' meticulous usage of mirror reflection. Through the novelly constructed space-perspective conversion, the specters were placed in an interactive relationship between "watching and being watched", and seems to be sank in a turbulent and changeable visual whirlpool under the painter's exquisite painting skills. The fantastic visual game of Las Meninas has triggered generations of persistent exploration and prestigious artists including Picasso and Dali's deconstructions and reiterations.

In The Order of Things: An Archaeology of the Human Sciences, French philosopher Michel Foucault devoted the opening chapter to an analysis of Las Meninas. Foucault points out that art is not merely the display of the aesthetics, but also one of the paths to meditation through in-depth gaze. While the specters are spiritually consoled after appreciating the painting, they are triggered to further question and consideration, which elevates the painting to spiritual activities. Such interdisciplinary dialogue across art and philosophy has been redounded for centuries. Now, Wu Ningya's Egg of Menina will inherit the spiritual thread of this art-historical classic. The element of "eggs" were inspired by the pendant of Princess Margarita's egg-shaped court dress. Since eggs has been considered as the embodiment of life and reproduction, Egg of Menina can be regarded as an egg lay by Las Meninas, which is a tribute and a reinterpretation.

《宫娥之卵》,西班牙语Menina(意为年轻的侍女)。武宁亚作为一名往返于中国和西班牙的华人艺术家,对于《宫娥》的再阐释像是时空安排的某种巧合。在面对西方中心主义的艺术史领地,武宁亚以一名华人艺术家的视角介入,将西方艺术放入东方的格局中去审视,而不再囿于福柯的“凝视”和“再现”论述,《宫娥之卵》的最终呈现不仅连接了中西方,在古典与当代间架起了对话与交流的桥梁,同时体现了艺术家在全球当代艺术中的参与,更折射出一名华人艺术家在全球视野下的当代艺术观。同时,武宁亚身上“局外人”的标签也是我们不能忽视的。作为非学院派艺术家群体的一员,武宁亚代表着中国当代艺术的一股新浪潮,他们是时代的产物,同时也影响着中国当代艺术的时代走向。或许正是“局外人”的身份赋予他们非凡的勇气,这让他们创作的作品往往有着能够“以卵击石”的力量。本次展览除了呈现武宁亚作品《宫娥之卵》外,还有大量艺术大师围绕经典作品《宫娥》作品的再创作被展出,因此本次展览是一次向西方艺术及大师的致敬,是一次对《宫娥》主题作品的系统梳理,更是艺术家对近百年来东西方艺术交融困惑的一次宣言。此外,艺术家会对美术馆空间进行与展览内容相呼应的艺术化改造,将空间本身与其中的观者打造为装置本身的一部分,美术馆本身也将成为像《宫娥》作品一样,处在一种“看与被看”的互动关系中。

As a Chinese artist who travels between China and Spain, Wu Ningya's reinterpretation of Las Meninas seems to be a coincidence in the arrangement of time and space. In the western-centralized realm of art-history, Wu Ningya intervened from the perspective of a Chinese artist and thus put western art into reexamination within the Eastern context, instead of being confined to Foucault's preoccupation of "gaze" and "reproduction". The final presentation of Egg of Menina not only connects China and the West, but also establishes a bridge of dialogue between classical and contemporary, and embodies art.

At the same time, It is impossible to ignore Wu Ningya's artistic identity of "outsider". As a member of the non-academic artists group, Wuningya represents a new wave within Chinese contemporary art. They are the product of the times, but equipped with the potential to subvert Chinese contemporary art. Perhaps it is the "outsider" status that gives them extraordinary courage, which makes their works often contain the power to "hit the pebble with the egg". Besides Wu Ningya's Egg of Menina, the exhibition will display a large number of artists' re-creation around the classic work Las Meninas. Therefore, this exhibition is a tribute to Western art and masters, a systematic retrospection of the works inspired from Las Meninas, and a manifestation of artists' confusion about the fusion of eastern and Western art in the past hundred years. In addition, the artists will transform the gallery space in accordance with the contents of the exhibition, thus forge the space and specters as components of a whole installation. Resembles Las Meninas, the Gallery will state in an interactive relationship of "watching and being watched".



高鹏

今日美术馆 馆长

Gao Peng

Curator of Today's Art Museum

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(责任编辑:张鑫)

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