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“丝路艺栈”库尔班江·吾拉木的西部艺术

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展览时间:
2019-12-06 - 2020-01-05
开幕时间:
2019-12-07 15:00
展览城市:
北京 - 北京
展览机构:
798 ICI LABAS 艺栈
展览地址:
798东街 #D10号
参展人员:
库尔班江·吾拉木

展览介绍

图像的分离与图画的构建

在绘画艺术创作中,能够秉持自己的个性与个人生长环境所形成族群特性和后天培养的文化积淀,是不可或缺的重要因素。此种最初的艺术萌芽及其学理体系建构所形成的复合素质,倾注在作品的表现之中,即是作为艺术家的最佳状态。因为很多情况下,绘画创作会被不断学习获取的信息叠加,使个人的话语初态受到覆盖而形成我们惯常所见的“学院”模式。

然而,库尔班江的绘画创作和学习艺术的过程,始终凸显着强烈的个性特征。他的画语和话语总是带着浓郁的民族性格,非但没有陷入风情画的情调里面,更是超越了风情画的艺术格调,毫无羁绊地切入了当代艺术视觉的营造之境。

当代绘画所面临的问题是前所未有的。从绘画自身的发展演变而言,比较重要的是图像与图画的分离与影响。我们面对的是一个图像拥挤的时代,绘画如何在图像泛滥的时代强调主观意识和观念,并能够造型画意从而生成有意味的形式,是现实给当代绘画艺术出的一道难题。库尔班江用自己的实践给出了自己的答案,如他所展示的这批系列作品。在这批作品中,他很直接果断地压缩空间与图像,进入到二维时空的拼接方式,强烈的色彩对比呈现出平面中的空间视觉和秩序与节奏感。我想,这与他经历的视觉经验和对当代新具象绘画艺术的研究、汲取是分不开的。

我们今天面对的现实,条条绘画之路都被各种风格样式语言所建立的高墙所拦截,让后学者不得不绕道而行。因此在这艰辛的艺术之路上寻觅属于自己的坐标非常不易。由此而观看库尔班江的绘画就有不同寻常的意义。他将自己身边的生活图像进行处理转换,提炼夸张,组装整合,把图片信息变为绘画语言。在与图像分离以及图画建构过程中,库尔班江践行着自己的艺术之路。在这条艰难与快乐相伴而行的道路上,他正持续不断地将自己视野开阔的关注和思考,勤奋地转移到画布上。

邢俊勤

2019年

De-constructing the Image, Re-constructing an Experience

In the creation of artwork such as paintings, it is important for any artist to be able to retain: the ethnic characteristics of one's upbringing; the personal growth he or she may have experienced; and the assimilation of a cultural context accumulated over the artist's lifetime. The best productive state for an artist is where the above personal characteristics are combined with a comprehensive understanding of an academic system of painting. Then, in the performance of making the work, synthesis happens, producing a creative and original artistic vision.

However, in many cases, the making of a painting, the image created, will supplant the actual experience of the scene and the experience of it by the artist. In this way an 'academy model' is what we are left to contemplate. Artist, Kurbanjan Gulam has a strong personality, which he expresses in both verbal and visual languages. This can be seen in his individualistic paintings which defy classification into a particular style or genre. His artworks depict a strong regional character. So much so that the paintings transcend our expectations of the conventions of visual language, making instead, original interpretations of his people, land and landscapes. And as a result, the artwork of Kurbanjan can claim to be highly contemporary of his time and place, now.

The challenges of contemporary art, painting in particular, are unprecedented. From the history and evolution of painting as the privileged image making technique, to today where a flooding of images originals and reproductions, are ubiquitous to our daily lives. We are experiencing therefore an era of image saturation. So how might we make, identify and interpret a deeper subjective consciousness through visual art in this time of image flooding? This is a difficult problem for contemporary painting.

Kurbanjan has made his own individualistic response as demonstrated by the works in this exhibition. He directly and decisively compresses objects and space into a two-dimensional plane, splicing together space with a moment in time. The strong color contrasts emphasize the equal status of each element of the spatial arrangement. This harmonic rhythm, reduced back to 2 dimensions, captures Kurbanjan's powerful visual experience of growing-up where the patterns were more important than a subject, where the whole was more important than any particular part. This shows the artist's sensibilities being almost overwhelmed by 'place' and the relationship of its component parts.

The reality artists face today, is that every approach to painting has been thoroughly explored, through historical examples and by recent developments. Therefore, by what variations can an artist today make an original contribution? This is no easy task. However, the paintings by Kurbanjan have achieved this originality, evoking as they do a unique sense of place, a particular feeling for one's homeland. It is his strength of feeling for his region that has enabled him to see with refinement, to feel where there should be emphasis and to assembled and finally integrate his vision through the act of painting. In this way, it can be argued that Kurbanjan has achieved a paradoxical shift in meaning. That is, in de-constructing the image of his homeland through flattening and abstracting the component parts, he has in fact re-constructed a more powerful experience of place. An experience that comes not from the superficiality of a fleeting vision but from the combined power of looking, feeling and knowing. The resulting paintings demonstrate this more complex vision of an inner-experience of colour, textures, patterns and atmosphere that can only come from the heart.

XING Junqin

2019.

translated by JIN Hua

proof read by Ian Howard

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(责任编辑:张鑫)

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