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“假言律令”张爱力作品展

  • 展览海报
  • 《现代诗0701》 张爱力 45×60cm 2019年
  • 《现代诗20180302》 张爱力 60×60cm 2018年 布面油画
展览时间:
2019-12-14 - 2020-02-15
开幕时间:
2019-12-14 16:00
展览城市:
北京 - 北京
展览机构:
Tong Gallery+Projects
展览地址:
北京市朝阳区酒仙桥路2号,798艺术区D区中二街D06,Tong Gallery+projects画廊
参展人员:
张爱力
展览备注:
开放时间:
周二至周日 10:00-18:00
周一闭馆 Closed on Monday

展览介绍

Tong gallery荣幸地宣布,将于2019年12月14日呈现张爱力首次个展《假言律令》。展览将集中呈现张爱力2017至今的作品,谨此诚邀您的莅临。

“假言律令”,也可以译作假言命令,出自康德提出的三个绝对道德律令,其前提是道德行为是自由的。在本次展览的语境中,“假言”的涵义更趋近于一个简单的“为什么”,艺术家试图通过绘画引出对于价值的追索,对于创作动机的思考。

展览呈现的金属和软管系列油画作品源于张爱力一段在工地做墙绘的经历。在孤立的钢架之上,面对巨大的墙面,手跟眼永远只能从局部开始;在不间断的劳作之中,专注的力量让身体似乎沉浸在某种奇妙的关联里。正是工地的材料和极致的专注,触碰到了艺术家潜意识里对绘画的欲望。

“将对象重复堆叠,以此在绘画中汲取专注力。”可以说是艺术家此次展览作品的绘画动机,而这种动机在充斥着生冷且无知觉的金属与软管的画面中展露无遗。艺术家在形式上试图抽象,却同时描绘着明确的对象:带着划伤感的金属表面以及似物似人的交织软管,增加了所感知的张力和混乱感。艺术家利用具象物体的堆叠抹去它原有的属性与意义,通过画面中非单点透视的展开与细节的深入,展现一场纯粹真实的观看体验。

专注的过程给予了张爱力绘画的满足,这些重叠交织的金属和软管也就此被赋予了新的寓意。

Tong Gallery is honored to announce that the first solo show of Zhang Ai-li -- Hypothetical Imperative will inaugurate on 14 December 2019. The exhibition will feature the creative works by the artist since 2017. We cordially invite you to join us!

"Hypothetical Imperative" is originally introduced in Kant's writing on three moral propositions with the preposition that moral behavior of human kind is free. Be it "Hypothetical" or "Categorical", an imperative is more like an opportunity for asking a simple question "why". The artist attempts to evoke the reflection upon values and the motivation of artistic practice.

The exhibition presents oil paintings with metal and hose. They originate from artist's experience of creating wall painting on a construction site, in which her hands and eyes could only begin with parts. During the process of uninterruptedly work, the body seems to connect with something, and it looks like the results are not that important. The materials on the construction site and the extremely absorptive behavior much inspired and fulfilled a return to painting itself.

"Repeat and pile up the objects, so that you acquire the concentration through painting." – One could say that this is the motivation of the artist in creating these exhibits. Only the cold and unconscious metal and hose appear repeatedly in her painting. She tries to make the forms abstract but meanwhile they are depiction of real object. For instance, the way she deals with metal tangent in the scenes increases the conceived tension and confusion; the interwoven hoses seem to be both object and figure. She erases the original attribute and meaning by piling up figurative objects. She presents a pure and real watching experience by bringing in the non-single point perspective and by investing in the details.

The process of concentration renders her much satisfaction in painting. These repeatedly intertwined metal and hose are then endowed with new meanings.

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(责任编辑:陈思竹)

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