BETWEEN画廊设立上海新空间,首展金阳平 | 幕布绘画:宁心安神

2018-01-17 11:57:00 网易 分享
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金阳平 | 幕布绘画:宁心安神

   Jin Yangping’s Solo Exhibition Curtain Painting: Tranquilization

   展期 Duration

   2018/01/19 - 3/20 10 am - 10 pm

   开幕 Opening Reception

   2018/01/19(周五) 10 am - 10 pm

   地点 Location

   上海市金科路3057号汇智国际商业中心2楼 BETWEEN画廊

   BETWEEN ART LAB, Shanghai Huizhi International Business Center,No.3057, Jinke Road, Pudong District, Shanghai

   www.betweenartlab.com

   BETWEEN画廊于2018年新年伊始设立上海新空间,位于上海汇智国际商业中心,作为“中国硅谷”张江科学城的首家入驻画廊,BETWEEN未来将更多的关注艺术与科技的实验与探索。新空间开幕首展将推出艺术家金阳平个展《幕布绘画:宁心安神》,金阳平近期的作品以特写与放大镜头的手法,面对当下颇具魔幻与诙谐的现实艺术家通过幕布绘画的方式演绎着一幕幕人间剧场,此次展览将于2018年1月19日开幕并持续至3月20日。

   Between Art Lab will set up a new space in Huizhi International Commercial Center of Shanghai at the very beginning of 2018. The new space will launch the solo exhibition of Jin Yangping as its first step, that is, Curtain Painting: Tranquilization. Artist Jin Yangping has adopted the approaches of close-up and magnifying lens in his recent works. Confronted with magical and witty reality at present, the artist will interpret and perform the human scene plays through curtain painting. The exhibition will open to the public on January 19, 2018.

   Jin Yangping

   金阳平

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   我们生活在怎样的时代?这是艺术家金阳平一直思考的问题。作为中国美术学院的油画系教师,若以成见论,其作品极易被打上学院风格的固有标签,从而被归为精于技巧又囿于技巧的一类。但这只是成见,实际上他有趣的多,像是大巧若拙,放下所有的熟稔,以一种西西弗斯式的执拗去解构、去冒险。

   Jin Yangping has been all along considering such an issue about what kind of an era we live in. As a teacher at the Department of Oil Painting of China Academy of Art, Jin is much common to be labeled with excellent skills but restriction on skills because his works are likely to be categorized with a college style out of the masses’ stereotype. However, that only develops prejudice. As a matter of fact, like a great ingenuity, he is such an interesting person, puts aside all the familiarity and commonplace, and starts his sailing plans of deconstruction and adventure with Sisyphus’s stubbornness.

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Hitting Balloon 打气球 I Curtain Painting 幕布绘画 I 230 x 310 cm I 2015 局部

   这或许来源于时代造就的机敏, 出生于上世纪70年代的金阳平有着难以被划分代际的属性:前辈艺术家对于社会现状的强烈关注和天然参与感他有,后辈艺术家多元的视角与相对个体化的表达在他作品中同样得到体现 — 对他而言,营造强化局部的特写与魔幻式的沉浸感仅是服务于图像表现的需要,最终目的在于透过图像来审视“我”、“我们”及“我们的时代”。于是,观看成为了金阳平作品中重要的一环。近年来,金阳平的创作愈发跳脱出常规绘画材料的束缚,幕布、浴帘等因文明社会发展而附加了指向性意义的符号成为承托画面的背景,物质本身的信息属性与自我异化的图像叠加交织出错综复杂的视觉系统。

   Perhaps it’s the times that trigger the corresponding alertness. Jin Yangping, born in the 1970s, boasts hard-to-clarify attributes of intergenerational genre. In another word, deep concern for the status quo of the society, sense of natural participation of senior artists. and diverse perspectives and expression of relative individuality of younger artists are all reflected in his works. As far as he is concerned, enhancing a localized close-up and a magical immersion only satisfies the requirement of image performance, whereas the ultimate goal is to inspect such factors as “me”, “us” and “our times” through images. As a result, image viewing has become an important role in Mr. Jin’s works. In recent years, his creation has increasingly derailed with conventional painting materials. Such symbols as curtains, shower curtains that have been attached to the orientation due to the development of civilization have supported background of pictures. The informational nature of the material itself and the self-alienation image are intertwined to mix a complex visual system.

   兼顾实证与批判的方法论似乎是金阳平作品真正的思维内核。不论是更倾向于戏剧场景营造和冲突感的《持刀者》、《围观》、《打气球》还是以象征构成主体而消解了时空关系的《佛口蛇心》、《福心高照》,它们之间都存在微妙的勾连:似在指涉现实,却又无法基于这些泛化形象建立与现实的明确对应关系;似从艺术家内心生发,却又在观看与被观看的循环中映射了整个时代 — 这就是作为后现代社会中的样本对社会生态进行的最佳阐释 — 虽不算社会底层也显然不是上流阶级的艺术家,内心有着并不为人所知的碎片式焦虑。尽管我们早已远离了那个以满足生存需求为唯一旨归的年代,但因文化需求而来的爆炸式信息冲击仍然将尚未寻找到“我之为我”主体性的人们裹挟,让·波德里亚(Jean Baudrillard)“摧毁性过度顺从”的元话语暗喻了社会性扩张导致的自我迷失,而吉尔·德勒兹(Gilles Louis Rene Deleuze)多元论的观念却又为我们开辟了新路:正是失序构建了这个时代的秩序,方向的解构成为了一种可能的探寻方向。

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Luck Gleaming 福星高照 I Curtain Painting 幕布绘画 I 230 x 310 cm I 2015 局部

   It seems that the methodology combining both empiricism and criticism constitutes the thinking essence of Mr. Jin’s works. Either some more prone to create play senses and conflict, such as the Blade Holder, Onlookers and Hitting Balloon ,or some presenting their subjects by symbols, but dissolve the spatio-temporal relationship, namely A Buddha’s mouth but a viper's heart and Luck gleaming. There exists subtle connection between them: it seems to refer to reality, but a clear correspondence with the reality can’t be established on the basis of these generalized images; it seems to be derived from the artist’s inner world, but the entire era is mirrored in the circle between viewing and the viewed. This serves as the best explanation of social ecology as a sample of postmodern society. The artists maintain an unknown level of fragmented anxiety in their innermost heart even though they are not positioned at the bottom or top of society. Although we are far away from the era only fulfilled the purpose of survival, the explosive information originated from cultural demands still threatens people who have not yet found the subjectivity of themselves. The meta-discourse of “destructive hyperconformity” proposed by Jean Baudrillard metaphorizes the self-disillusionment caused by social expansion, while the concept of pluralism of Gilles Louis Rene Deleuze paves the new way for us. That is to say, it’s the disorder that represents the order of this era, so deconstruction of direction has become a possible exploration way.

   实际上,我们无意探讨这是否是一个好的时代,但金阳平确实以自己的创作呈现了少数自觉者对于社会及自我表现出的高度敏感,正如马歇尔·麦克卢汉(Marshall McLuhan)在《理解媒介》中说“严肃的艺术家是仅有的能够在遭遇新技术时不会受到伤害的人,因为他们是认识感觉变化方面的专家”。而我们更愿意相信,秩序终将在这样的持续工作中浮现出来。

   In fact, we had no intention to explore whether this was a good era, but Jin indeed show, in his own works, a high degree of sensitivity to social and self-expression of a few conscious people. As Marshall McLuhan stated in Understanding Media that “The serious artist is the only person able to encounter technology with impunity, just because he is an expert aware of the changes in sense perception.” And we are more willing to believe order will emerge from continuous work eventually.

责编:李晓丹