作為2011年合作項(xiàng)目的延續(xù)，Arthub Asia今年帶來全新的“新水墨”展覽，試圖重新審視當(dāng)代藝術(shù)實(shí)踐中對(duì)于中國傳統(tǒng)文化中水墨的運(yùn)用，以及對(duì)水墨畫和書法的藝術(shù)化處理。展覽邀請(qǐng)18位中外藝術(shù)家，通過當(dāng)代的藝術(shù)語言和表達(dá)方式來呈現(xiàn)對(duì)于“新水墨”的理解。
“水墨”一詞如今已包含越來越豐富的文化內(nèi)涵，其定義涉及多樣化的藝術(shù)形式。一方面，它植根于傳統(tǒng)水墨畫的技巧，另一方面，它也融合了現(xiàn)代水墨中突破筆墨局限的多樣化探索。不僅如此，新水墨已超越了對(duì)水、墨、紙的程式化運(yùn)用，轉(zhuǎn)而更深層次地關(guān)注中國水墨傳統(tǒng)中存在的問題，并將他們?nèi)谌氲疆?dāng)代的藝術(shù)表現(xiàn)形式中。例如在此次展覽中，藝術(shù)家們廣泛運(yùn)用了行為藝術(shù)、舞臺(tái)表演，儀式進(jìn)程，空間干預(yù)，行為記錄等表現(xiàn)手法。
展覽的另一側(cè)重點(diǎn)在于東西方關(guān)系，直擊在跨文化交流的過程中，中外藝術(shù)家如何在西方語境中重新解讀和發(fā)展中國水墨藝術(shù)，而發(fā)展而來的新水墨又如何重新適應(yīng)中國和東南亞的文化語境。
中國水墨畫的未來不僅在于傳承筆墨的技巧，保存記錄對(duì)水墨的使用，及其對(duì)于豐富文化內(nèi)涵的意義，更重要的是，進(jìn)一步開發(fā)和利用中國繪畫中尚未被發(fā)掘的傳統(tǒng)和資源。通過不斷結(jié)合新媒體和當(dāng)代藝術(shù)的實(shí)驗(yàn)性嘗試，中國水墨畫一定能夠突破傳統(tǒng)和固有文化的束縛，引發(fā)新一輪的藝術(shù)討論。無獨(dú)有偶，在關(guān)注印度板塊中，印度藝術(shù)家也大量運(yùn)用新興的技術(shù)手段和獨(dú)特視角來對(duì)水墨這一課題進(jìn)行思考，揭示了水墨未來發(fā)展的各種可能性。
今年Arthub Asia特別邀請(qǐng)了策展人兼學(xué)者項(xiàng)麗萍，Rachel Marsden和Diana Campbell，協(xié)同Davide Quadrio(樂大豆)，Defne Ayas和邱志杰一同策劃了這場(chǎng)展覽，共同完成對(duì)“新水墨”的全新解讀。
Chen Chun Hao陳浚豪
Born in 1971, lives and works in Taipei.
Represented by Tina Keng Gallery, Taipei and Beijing.
1971年出生，生活并工作于臺(tái)北
代理畫廊：耿畫廊，臺(tái)北與北京
The Chinese landscape (shan shui), constructed by pieces of mosquito nail, mark Chen’s return to Eastern art traditions whilst representing his interest in Western painting techniques. The mosquito nails, at times grouped together, but at other times showing the small specks of ink from the original landscape paintings, produce effects of light, shadow, and water vapour, seen in such works as Kuo Hsi’s Early Spring. Chen, through the act of “copying,” absorbs and learns from the masters of landscape painting and, in doing so, he injects them with a contemporary interpretation of Chinese landscape (shan shui).
陳浚豪使用數(shù)以千記的不銹鋼蚊釘，巧妙地刻畫出一幅山水圖景，同時(shí)展現(xiàn)出他對(duì)東方藝術(shù)傳統(tǒng)的回歸以及對(duì)西方繪畫技巧的濃厚興趣。這些蚊釘時(shí)而大片聚集歸攏，時(shí)而又被散落擺放，細(xì)致地表現(xiàn)出繪畫原作上的微小墨點(diǎn)，營造出光、影的效果，以及出如郭熙《早春圖》中霧氣一般的意境。陳浚豪通過“臨摹”，吸收學(xué)習(xí)了中國水墨畫的精華，并注入他對(duì)于中國山水獨(dú)特的當(dāng)代解讀。
Imitating Red Cliff by Wu Yuan Zhi in Jin Dynasty 臨摹金代武元直赤壁圖
Chen Chun Hao 陳浚豪|mosquito nail, canvas, wood 不鏽鋼蚊釘.畫布.木板|2012|128 x 345cm
Rohini Devasher
Born in 1978, lives and works in Mumbai.
Represented by Creative India Foundation for SH Contemporary 2012.
1978年出生，生活并工作于孟買
由創(chuàng)意印度基金會(huì)為SH Contemporary 2012特別支持
Devashar’s artistic practice explores the interface between the underlying laws and processes, which govern growth and form in biological and physical systems and their mirroring in the digital domain. Standing at the threshold of art, science and fiction, her forms pulsate with primordial life, while simultaneously being precursors to a futuristic space. While closely resembling ink with tree-like forms widely found in Asian landscape paintings, Devasher’s work Arboreal was created through a deeply intuitive process that involved gradual manual layering of more than 700 individual layers of video. By gradually increasing the recursion level, the form slowly ‘grows’ and becomes more complex, engulfing the space. If we consider the video to be the archetype or ideal tree, its permutations create “a greenhouse of possibilities.”
Rohini Davashar的藝術(shù)作品探索支配生物生長體系的定律和過程，及其在電子領(lǐng)域的鏡像反映。同時(shí)結(jié)合藝術(shù)、科技和虛幻色彩，她的作品與生活的本質(zhì)相契合，同時(shí)也試圖探索未來空間。作品由超過700層影像截圖的手工堆疊制作而成，模擬了亞洲風(fēng)景畫中常見的樹的形態(tài)。隨著圖像的不斷疊加，樹木逐漸生長，越來越錯(cuò)綜復(fù)雜，直至撐滿整幅構(gòu)圖。如果我們將錄像視為樹的原型，那么錄像截圖的堆疊便創(chuàng)造了“可能性的溫室。”
Arboreal
Rohini Devasher |Single Chanel Video|2011 |duration 15 minutes
Image courtesy the artist and Project88
Dai Guangyu戴光郁
Born in 1955, lives and works in Beijing.
Represented by ifa Gallery, Shanghai.
1955年出生，生活并工作于北京
代理畫廊：藝法畫廊，上海
In this work, the artist captures Northern China during its typical cold winter weather with its frozen lakes. Here, two Song script characters for "Feng Shui (geomancy)" are hand-written in ink on the icy surface of Lake Houhai in central Beijjng. The characters, as part of the "fengshui landscape", are exposed between the banks of the lake which are lined with ancient architecture, where they eventually melt away, along with snow and ice during the warmer months that follow, so only water remains.
The artist makes use of the elements of nature to illustrate the evanescence and inevitable passing of all things, and the impermanence of human existence, thus questioning myths of the eternal.
在“風(fēng)水墨水冰水”這件作品中，戴光郁捕捉到了在中國北方典型的嚴(yán)冬中，由于嚴(yán)寒而凍結(jié)的河流。在北京市中心的后海結(jié)冰的表面上，藝術(shù)家用墨水書寫了宋體的“風(fēng)水”二字。后海的兩岸遍布了傳統(tǒng)建筑，而“風(fēng)水”兩字就靜靜地躺在湖面上，直到冬去春來，最終隨著冰雪的融化慢慢消失，只剩河水依舊。藝術(shù)家借用自然來表達(dá)萬物的短暫性和終將消失的命運(yùn)，同時(shí)也揭示了人類生命的短暫，并對(duì)永恒的存在表達(dá)質(zhì)疑。
Geomancy Ink Ice風(fēng)水-墨水-冰水
Dai Guangyu 戴光郁|Landscape Art 地景 |2004-2005
Nicholas Hanna
Born in 1982, lives and works in Los Angeles.
Special Commissioned Project for SH Contemporary 2012.
1982年出生，生活并工作與洛杉磯
SH Contemporary 2012特別委托項(xiàng)目
‘Water Calligraphy Device’ is a project created by the artist when he was living in Beijing in 2011. It is inspired by the Chinese custom of writing calligraphy with a water brush in public spaces as a contemplative and poetic act. He would watch the calligraphers, surrounded by a presence of onlookers, writing passages of poetry in Beijing parks. The device is mounted on a flatbed tricycle, which is a ubiquitous form of transportation in Beijing. Passages of Chinese characters are input to custom software on a computer, which processes and transmits them to an electrical system that actuates an array of solenoid valves. The valves then release droplets of water onto the ground as the tricycle moves forward, thus forming Chinese characters that slowly pool together and eventually completely evaporate. ‘Water Calligraphy Device’ combines the inherent beauty of an ancient form of writing and a refined public art practice with the mystery and magic of mechanisms.
“水書法器”是藝術(shù)家Nicholas Hanna在2011年北京生活期間所創(chuàng)作的藝術(shù)項(xiàng)目。藝術(shù)家發(fā)現(xiàn)中國民間喜歡用毛筆蘸水在公共空間的地面上書寫文章或詩歌，于是便產(chǎn)生了創(chuàng)作這件作品的想法。他經(jīng)常觀看那些書法愛好者，身邊簇?fù)碇鴩^的人，在北京公園的地面上用水書寫詩歌片段。于是藝術(shù)家創(chuàng)作了這樣一個(gè)裝置：他將設(shè)備安裝在平板三輪車這一北京地道的交通工具上，在電腦中錄入預(yù)先定制的中國漢字的程序，并通過電子系統(tǒng)來控制閥門。隨著三輪車的前行，閥門不斷釋放水滴，地面上便會(huì)逐漸出現(xiàn)“水書法器”的字樣。作品不僅展示了傳統(tǒng)書法的內(nèi)在魅力，同時(shí)也是一件充滿神秘感和精密機(jī)械運(yùn)作的公共藝術(shù)作品。
Water Calligraphy Device 水!法器
Nicholas Hanna |Flat-bead tricycle|2011
Takashi Ishida
Born in 1972, lives and works in Tokyo.
Represented by Taka Ishii Gallery, Tokyo.
1972年出生，生活并工作于東京
代理畫廊：Taka Ishii畫廊，東京
This series of frame-by-frame, hand-drawn animations depict the gradual progress of a painting and drawing. Ishida’s work extends beyond the conventional boundaries of animation and, indeed, film-making as a whole, through the documentation of live-painting performances and abstract animations. Undulating lines of different sizes criss-cross the screen, sometimes adroitly executing reverse pirouettes. The way the images of the performance are dramatically and dynamically layered and placed within different spatial contexts, show his unique expertise in rendering drawing through moving image, referencing progressing narratives, and flashbacks and shifts in the passage of time.
In this series of work, the use of light changes the artist’s usual monotonal output, showing his experienced skill in composing shots and in handling transitions, engendering cinematic depth. His works originate from the single visual source of the Japanese art of ‘emaki’or picture scroll-making, in addition to his practice as a painter, and are essentially a collective documentary of Ishida’s life showing his early interest in painting and live-painting performances, which he would facilitate in Tokyo’s shopping and nightlife districts.
Ishida的這部動(dòng)畫影片由手繪圖形一幀一幀拼湊起來，展現(xiàn)了一幅繪畫從無到有的過程。藝術(shù)家的作品超越了傳統(tǒng)意義上對(duì)于動(dòng)畫甚至是電影拍攝的定義，對(duì)于現(xiàn)場(chǎng)繪畫和抽象動(dòng)畫的過程進(jìn)行了全紀(jì)錄。大大小小的十字圖形不斷在屏幕上移動(dòng)，時(shí)不時(shí)靈巧地翻滾旋轉(zhuǎn)。這些圖形的變換如此精密而引人注目，與不同的空間背景相疊加，體現(xiàn)了藝術(shù)家在處理影像與靜態(tài)繪畫關(guān)系中獨(dú)特的天賦和技巧。在時(shí)間表達(dá)順序上，藝術(shù)家巧妙地運(yùn)用敘事，倒敘和轉(zhuǎn)換的方式。
在這一系列作品中，藝術(shù)家一改往日單調(diào)的光線方式，表現(xiàn)了其對(duì)于鏡頭和處理轉(zhuǎn)換的經(jīng)驗(yàn)和技巧，巧妙地營造出如電影院般的景深。作品的靈感來自于日本 “卷軸畫”，以及藝術(shù)家作為畫家的生活閱歷。這部影片本質(zhì)上是一部體現(xiàn)藝術(shù)家經(jīng)歷的紀(jì)錄片，展現(xiàn)其早年開始對(duì)于繪畫的濃厚興趣，以及他曾在東京購物區(qū)和夜生活區(qū)進(jìn)行現(xiàn)場(chǎng)手繪的經(jīng)歷。
A White Room
Takashi Ishida|Installation view, Taka Ishii Gallery|2012| Photo: Kenji Takahashi
Alexandre Joly
Born in 1977, lives and works in Geneva.
Represented by AroundSpace Gallery, Shanghai.
1977年出生，生活并工作于日內(nèi)瓦
代理畫廊：周圍藝術(shù)畫廊，上海
"Sound" has always been a predominant feature of Joly’s work, in recent years becoming one of the key "materials" that shape his practice. Since coming to China, Joly has worked with elements taken from visual tradition and craftsmanship, combining them with sounds in three dimensional and graphic elements. In this work-series ‘Absolute Sine’, he uses only bass frequencies to transform jet-black water into a fabric, by placing it in a large basin where its texture is changed with each impulse. The installation acts as a memento of the exploration of this new exchange in technique and history, whilst creating and changing the ambience of a room and architecture of the space.
在Alexandre Joly的作品，“聲音”一直扮演著極其重要的角色，尤其是在近年來的作品中，聲音更是成為其主要的表現(xiàn)素材。來到中國以后，藝術(shù)家巧妙地運(yùn)用視覺傳統(tǒng)工藝中截取的元素，將它們與三維的聲音和繪圖元素結(jié)合。在這組作品“絕對(duì)正弦”中，他在水池中盛滿黑色墨水，用低音頻率在水中創(chuàng)造花紋，水的材質(zhì)隨著音頻也發(fā)生了變化。這件裝置作品成為探索不同材質(zhì)轉(zhuǎn)換實(shí)驗(yàn)中里程碑式的作品，同時(shí)也對(duì)作品所處的空間和建筑產(chǎn)生了影響。
Absolute Sine 絕對(duì)正弦
Alexandre Joly |sound installation, metal, vibrating speakers, mp3 player, amplifier 聲音裝置,不銹鋼，振動(dòng)發(fā)聲器，MP3播放器，揚(yáng)聲器|2012|126x96x45cm
Manish Nai
Born in 1980, lives and works in Mumbai.
Represented by Creative India Foundation for SH Contemporary 2012.
1980年出生，生活并工作于孟買
由創(chuàng)意印度基金會(huì)為SH Contemporary 2012特別支持
Nai’s sculptures, drawings, and photographs harness humble materials with high technology to provide new ways of looking at the constantly changing Indian landscape. Nai’s process is similar to the state of contemporary India, where cottage industries and simple materials support and co-exist with technological expansion. Nai makes minimal interventions onto everyday surfaces, inviting viewers to look deeper. Nai has received renown in India for his wall murals, which subtly use ink (with the help of photoshop) to create the effect of scratches into the wall, and organic growth out of the wall. Such effects happen naturally on walls in India, where the three-month monsoon season facilitates new types of growth (some of which is unwanted). In his new series of photographic works, Nai continues his work on walls, transforming photographs of walls in India with ink, strategically placing his carefully painted lines (with the help of photoshop) in ways that create an artificial sense of depth and frame nature’s interventions on the urban landscape.
Manish Nai善于在雕塑、繪畫和攝影作品中通過高科技手段處理看似簡單的素材，為觀眾提供一個(gè)全新的視角來觀看印度不斷變化的城市景觀。藝術(shù)家這種處理材料的過程與當(dāng)今印度國家的狀態(tài)非常類似：在農(nóng)業(yè)和輕工業(yè)依舊支持著國民經(jīng)濟(jì)發(fā)展的同時(shí)，高科技產(chǎn)業(yè)快速擴(kuò)張。藝術(shù)家在印度一些隨處可見的表面上做了一些細(xì)微的藝術(shù)介入，幫助觀眾做更深層的觀察。藝術(shù)家的壁畫在印度已極具知名度，他用極少的顏料(在photoshop的幫助下)創(chuàng)造出了墻面如同刀削般的效果。而這種效果會(huì)隨著印度每年三個(gè)月的雨季發(fā)生自然的變化(有些變化甚至出乎意料)。在Nai的這一系列全新的攝影作品中，Nai繼續(xù)其在墻面上的創(chuàng)作，在墻面的照片上運(yùn)用墨水和photoshop小心的刻畫出線條，從而人為地創(chuàng)作出墻面的立體感，在城市景觀中融入自然的元素。
Untitled
Manish Nai | digital archival print with hand applied watercolour onHahnemuehle paper|2012|68.5 x 91.4 cm - 27 x 36 in (x2)
Image courtesy the artist and Galerie Mirchandani and Steinruecke
Moataz Nasr
Born in 1961, lives and works in Cairo.
Represented by Galleria Continua, San Giminiano and Beijing.
1961年出生，生活并工作于開羅
代理畫廊：常青畫廊，圣吉米那諾，北京，穆琳
The feeling of belonging to a specific geopolitical and cultural context, and the need to maintain a link with his homeland are key elements of Nasr’s work. Showing current complex cultural relationships in the Islamic world, the work of Nasr surpasses idiosyncrasies and geographical limits, voicing the worries and torments of Egypt and the African continent. He focuses on the region’s colours, traditions and people, without applying stereotypes, exoticism or creating distance from its origin. On the contrary, the works appear close to people’s understandings, where Egypt becomes a background, a territory inhabited by human beings, whose fragility is universal, showing indifference, powerlessness, solitude and weaknesses inherent in human nature.
Moataz Nadr的作品大多反映了對(duì)于某種特定政治和文化背景的歸屬感，并強(qiáng)烈表達(dá)了他對(duì)于自己祖國的眷戀。在如今伊斯蘭世界復(fù)雜多變的文化關(guān)系背景下，Nasr的作品沖破了世俗和地理上的局限，直抒胸臆地表達(dá)了埃及和非洲大陸的憂慮和痛苦。藝術(shù)家專注于表現(xiàn)該地區(qū)的色彩，文化傳統(tǒng)和人民，避免了模式化的表達(dá)方式，也拒絕借鑒外來語言以免產(chǎn)生與原本文化的距離。相反，他的作品有一種異常的親切感，在他的作品里，埃及變成了一種背景，這里的人們與世界各地的人們有著相同的脆弱，冷漠，無權(quán)勢(shì)，孤獨(dú)和無力感，這些都是在人性中與生俱來的特性。
Series 7 系列7
Moataz Nasr |7 ceramic vases |2012 | variable dimensions from left to right (33 x 16 x 16 cm, 16 x 22 x 22 cm, 38 x 20 x 20 cm, 17 x 20 x 20 cm, 30 x 20 x 20 cm, 22 x 20 x 20 cm, 38 x 20 x 20 cm) Weights: 2.1 Kg, 2.1 Kg, 2.7 Kg, 2 Kg, 2.4 Kg, 1.9 Kg, 2.1 Kg
Ni Youyu倪有魚
Born in 1984, lives and works in Shanghai.
Special Commissioned Project for SH Contemporary 2012.
1984年出生，生活并工作于上海
SH Contemporary 2012特別委托項(xiàng)目
Thanks to an artistic strategy of shifting contexts, Ni successfully combines the traditional past with the present. His installation, ‘Galaxy’, comprises several hundred coins, which have been hammered flat and then adorned with miniature shanshui-style landscapes. Having levelled out all the various coinages and denominations, Ni invested them with a new and different value system, by using them as supports for tiny shanshui drawings, of no more than two or three centimetres in diameter, applied with miniature brushes to their surfaces. The objects are transformed by two radically different techniques - violent destruction and artistic embellishment - thus becoming a metaphor for the idea that the traditional and the modern are in fact two sides of the same coin.
通過藝術(shù)化手段轉(zhuǎn)換創(chuàng)作語境，倪有魚成功地將傳統(tǒng)與當(dāng)下緊密結(jié)合。他的裝置作品“銀河”由成千上萬枚硬幣組成，他將這些硬幣捶打壓扁，并小心地在其表面上繪制迷你尺寸的山水畫。藝術(shù)家精心收集了來自不同國家各個(gè)面額的硬幣，但卻跳脫出硬幣作為貨幣的正常價(jià)值體系，取而代之的是用極小的毛筆在這些直徑不超過二三厘米的硬幣上描繪小型山水畫。這些硬幣先后經(jīng)歷了兩種截然不同的轉(zhuǎn)變，一是暴力的摧毀，另一個(gè)卻是藝術(shù)化的修飾潤色，該作品也揭示了傳統(tǒng)和現(xiàn)代無非是一枚硬幣的兩個(gè)面而已。
GALAXY 2012 銀河2012
Ni Youyu 倪有魚|Mixed Media 綜合材料|2011-2012|variable sizes coins from 1.1mm to 3.8mm
Gyan Pachal
Born in 1973, lives and works in Paris.
Represented by Creative India Foundation for SH Contemporary 2012.
1973年出生，生活并工作于巴黎
由創(chuàng)意印度基金會(huì)為SH Contemporary 2012特別支持
By making sculpture as a way of asking the material if it still bears the traces of its own story, Pachal sees sculpture as an unresolved question. Through his works, he asks what link there is between a synthetic fabric and a natural pigment, and what interpretations can be constructed from their abstract relationship. By confronting the material with its origin and its making, it is his intention to articulate the language of the element before it was standardised. In Pelom 2, Panchal examines a piece of discarded green marble. Upon close inspection, he realizes that the jewel-like green tone is not the stone’s actual color, but rather an ink stain applied with cloth to the natural stone. Panchal rubs away this colorful mask, revealing hints at the stone’s original form while also exposing the fingerprints of the workers who first touched it.
Gyan Pachal通過雕塑來質(zhì)疑所用材料是否依舊保留其本質(zhì)。在作品中，藝術(shù)家試圖研究人造材料和自然色彩之間的關(guān)系，并對(duì)這種抽象關(guān)系背進(jìn)行更深層的解讀。藝術(shù)家樂于還原雕塑作品的原始狀態(tài)和它的制造過程，展現(xiàn)出這些材料在被標(biāo)準(zhǔn)化加工之前的元素特征。在這件作品中，藝術(shù)家選擇將一塊被丟棄的綠色大理石作為研究對(duì)象。通過仔細(xì)的觀察，他意識(shí)到這塊看上去如寶石般的石頭，其實(shí)是被人工染色的。于是Panchal小心地擦去了大理石表面覆蓋的染色，將石頭原本的顏色形態(tài)表現(xiàn)出來，與此同時(shí)工人在加工石頭時(shí)所留下的指印也隨之清晰可見。
Pelom 2
Gyan Pachal |marble, ink |2012|69 x 58 x 1.5cm
Image courtesy the Artist and Jhaveri Contemporary
Shan Fan單凡
Born in 1959, lives and works in Hamburg.
Represented by Galerie Urs Meile, Beijing and Lucerne.
1959年出生，生活并工作于漢堡
代理畫廊：麥勒畫廊，北京與盧森
For three decades, bamboo painting has been part of Shan’s everyday life. He first became familiar with the techniques of traditional Chinese painting as a student in China, but when he moved to Hamburg, Germany, in the mid-1980s, his study of abstract western art altered the way he viewed his own traditions. Whether in ink on rice paper, in oil on canvas, in copying a traditional classic, or in the medium of performance, Shan’s work reflects upon and transforms the medium of bamboo painting, which already has potentially abstract characteristics. For him, lines become planes and seconds become hours, representing entropy becoming a physical experience. For ‘Painting the Moment’, Shan invented hundreds of compositions for the subject matter of bamboo in Chinese painting by referring to Bauhaus theories, here placed adjacent to three more enlarged and abstract representations of the same theme.
三十年以來，單凡每天的生活都幾乎離不開畫竹。單凡第一次接觸中國傳統(tǒng)繪畫的技巧還要追溯到他幼年時(shí)在國內(nèi)的學(xué)習(xí)生涯。上世紀(jì)八十年代，藝術(shù)家來到德國漢堡，開始學(xué)習(xí)西方抽象繪畫，這段學(xué)習(xí)經(jīng)歷也完全改變了他審視中國傳統(tǒng)文化的方式。單凡的藝術(shù)表現(xiàn)方式多樣，從水墨紙本，到布面油畫，從臨摹傳統(tǒng)經(jīng)典，到行為藝術(shù)表演，他的作品無不嘗試改變竹子繪畫的方式和形態(tài)，因此從在他的作品中已可隱約感受到一絲抽象意味。對(duì)于藝術(shù)家來說，線條成為了平面，時(shí)間變得緩慢，對(duì)于代表不可逆轉(zhuǎn)性的“熵”的表現(xiàn)成為了一種身體的感受和體驗(yàn)。在“瞬間制作”中，藝術(shù)家采用了上百種不同的構(gòu)圖方式，盡管繪畫主體仍中國繪畫中竹子的意象，但卻融入了西方的包豪斯理論。這里呈現(xiàn)的便是對(duì)于竹子所呈現(xiàn)的三種截然不同的抽象解讀。
Painting Slowness 緩慢之作
Shan Fan 單凡| oil on canvas 畫布|2009|3 x 2m x 2m
Shen Fan申凡
Born in 1952, lives and works in Shanghai.
Represented by ShanghART Gallery, Shanghai and Beijing
1952年出生，生活并工作于上海
代理畫廊：香閣那畫廊，上海與北京
In 1990, the Shanghai Stock exchange was established, introducing the composite index mode in 1992. Since 2011, Shen has collected the index statistics each day, each week, each month and each year and has used them as the basis for this landscape series. Through the river paths and mountain peaks, the black and white paintings embody the curves of the Shanghai stock exchange, representing 19 years of China’s development. The landscape epitomises the spiritual landscape that is controlled and distorted by the material life. It is a symbol of the developing nation and history of individuals, where “economic development is the priority” and has turned into being a common goal therefore, showing the world has long been under the control of all kinds of “curves”. It is not only a timeline of China’s political and economic development but also a set of criteria to measure individuals’ success. The fluctuation in curves mark all walks of life, with the abstract lines and texture that create the landscape having a say in how happy one is, being there to remind everyone of each others’ presence and that the gap between us and the landscape is extremely significant.
1990年上海證券交易所正式掛牌成立， 至1992年首次引入上證綜合指數(shù)。2011年起，申凡開始收集自92年起每日,每周,每月,每年的指數(shù)數(shù)據(jù)，并將這些數(shù)據(jù)轉(zhuǎn)化為這個(gè)風(fēng)景系列畫的基本構(gòu)圖。這些黑白起伏的山峰溪流代表著上海股市交易的走勢(shì)曲線，展現(xiàn)了19年來中國的發(fā)展脈絡(luò)。此處的山水儼然成為了每個(gè)個(gè)體被物質(zhì)生活所控制而扭曲的精神山水。這是這個(gè)發(fā)展中的國家和生活在其中的人們的縮影，在“經(jīng)濟(jì)發(fā)展是第一要?jiǎng)?wù)”的鼓吹號(hào)召下，對(duì)金錢的渴望支配著人們的生活，成為他們最重要的追求，而與此同時(shí)，世界早已被各種曲線所掌控。山水系列所記錄的這十九年，不僅僅是一條中國政治經(jīng)濟(jì)的發(fā)展脈絡(luò)，更是衡量每個(gè)個(gè)體是否成功所建立的標(biāo)準(zhǔn)。曲線的起伏代表著各行各業(yè)人們的生活，這些抽象的線條決定了每個(gè)人實(shí)在的幸福指數(shù)，又極度荒唐的提醒著每個(gè)人：我們離山水是那么的遙遠(yuǎn)。
Landscape 9210 風(fēng)景 9210
Shen Fan 申凡|Oil on canvas畫布|2011-2012|19 pieces, each 88cm x 88cm
CharweiTsai蔡佳葳
Born in 1980, lives and works in Taipei and Paris.
Represented by Gallery TKG+, Taipei and Beijing.
1980年出生，生活并工作于臺(tái)北和巴黎
代理畫廊：TKG+，臺(tái)北與北京
Tsai utilizes a variety of media through her politically, socially and spiritually-engaged, performative practice. Highly personal yet general in concern, she grounds herself and her art practice in a sense of National-Taiwanese identity with consequent implications, drawing on her personal interest in calligraphy and Buddhism, specifically notions of transcience and impermanence that are at the heart of Buddhist philosophy. She explores the cyclical relationship between nature, art, politics, geography religion, culture, symbolism and ethics, encouraging active participation outside the usual confines of how art is viewed. In this “dual” performance, Tsai covers the surface of objects with hand-written calligraphy to create a rich, textured landscape, reiterating the idea of change and impermanence, fundamental to her practice. The choice of materials reflects the location in which the work is made creating intimate and direct connections with the viewer, as they engage with the written text like a secondary performance.
蔡佳葳善于運(yùn)用各種媒介來表達(dá)她的藝術(shù)作品，融合了她對(duì)于政治、社會(huì)和精神世界的思考。藝術(shù)家的作品非常個(gè)人化又具有普遍意義的，著力表現(xiàn)她對(duì)于書法和佛學(xué)的興趣，尤其是佛教哲學(xué)中有關(guān)短暫和無常的核心理念。她試圖通過藝術(shù)手段挖掘自然、藝術(shù)、政治、地緣宗教、文化、符號(hào)和倫理之間的循環(huán)關(guān)系，打破人們慣常對(duì)于如何欣賞藝術(shù)的觀念性束縛。在這件影像作品中，藝術(shù)家在被拍攝的物體表面手寫書法字體，從而營造出了一幅豐富具質(zhì)感的風(fēng)景畫，再次表現(xiàn)了有關(guān)變化和無常的中心思想，這也是她創(chuàng)作的核心內(nèi)容。被書寫材料的選擇大多與創(chuàng)作作品的地點(diǎn)有關(guān)，這樣做可以拉近與觀眾的距離，從而使得在物體上寫字的過程被視為一種再創(chuàng)作。
Bonsai Series III
Charwei Tsai 蔡佳葳|Black ink on lithographs, Living bonsai 墨水、版畫|2011|26 x 31 cm each, 9 prints
Wang Xieda王燮達(dá)
Born in 1968, lives and works in Shanghai.
Represented at by James Cohan Gallery, New York and Shanghai.
1968年出生，生活并工作于上海
代理畫廊：科恩畫廊，紐約與上海
A new suspended sculpture and relief series is set alongside works from the ‘Sages’ Sayings’ series, which refers to the artist’s rigorous study of ancient Chinese pictograms or ideograms, in particular, fourth century Chinese calligraphy. The sculpture is to be seen as a further extension of ‘Sages’ Sayings’, to physically evoke drawing and an abstract aesthetic in the space. Facing the changes in the 21st century, each nation’s cultural traditions strive to find a new contemporary language to keep pace with developing artistic practice and aesthetic expressions. Wang’s ‘Sages’ Sayings’ series began in 2002 and embodies a fusion of cultural history whilst pursuing the common human aesthetic experience, to reiterate the past and reinterpret ancient language in today’s contexts and express his personal experiences and emotions.
在王燮達(dá)“子曰”系列作品的旁邊懸掛著其全新的雕塑作品和浮雕系列，這些作品來源于藝術(shù)家對(duì)中國傳統(tǒng)象形文字，尤其是公元四百年中國書法的深刻研究。這件雕塑可謂是“子曰”系列的延伸，創(chuàng)造出空間的抽象美學(xué)。面對(duì)二十一世紀(jì)的全球發(fā)展，各國的文化都試圖尋找的新的當(dāng)代語言來與發(fā)展中的藝術(shù)和美學(xué)表達(dá)相匹配。王燮達(dá)創(chuàng)作的“子曰”系列始于2002年，融合了文化歷史的同時(shí)追求人們普遍的審美經(jīng)驗(yàn)。作品重新審視過去，將古老的語言置于當(dāng)下的語境中重新解讀，同時(shí)表達(dá)了藝術(shù)家的個(gè)人經(jīng)驗(yàn)和情緒。
Sages' Sayings 0902 子曰0902
Wang Xieda 王燮達(dá)|Rattan, paper pulp, ink, silica gel, thread藤，紙漿，水墨，硅膠，絲|2009|65 x 125 x 52 cm
Wu Chi-Tsung吳季璁
Born in 1981, lives and works in Taipei.
Represented by Gallery TKG+, Taipei and Beijing.
1981年出生，生活并工作與臺(tái)北
代理畫廊：TKG+，臺(tái)北與北京
Wu believes in transparency. In his work using photography, light and video, he examines how images are created, and viewed, and the world is captured and re-imagined, revealing the mechanisms involved in seeing how illusions are created in an attempt to counteract the natural tendency to mistake them for reality. These experiments and manipulations exploit the alchemy inherent in chemical photography and the timing elements that are part of moving image creation and film-making, ultimately making reference to traditional picture-making processes of the past.
吳季璁對(duì)于透明的物體有一種信仰。通過攝影、光和影像，藝術(shù)家試圖研究圖像是如何被創(chuàng)造和觀看的，這個(gè)世界又是如何被瞬間捕捉和重新想象的，以此來揭示混淆人們對(duì)于現(xiàn)實(shí)判斷的幻覺產(chǎn)生的機(jī)理。藝術(shù)家借鑒了傳統(tǒng)攝影的工序，在此基礎(chǔ)上通過探索和實(shí)驗(yàn)挖掘出了攝影和影像中時(shí)間元素的的獨(dú)特魔力。
Landscape in the Mist002 煙林圖之二
Wu Chi-Tsung 吳季璁|single-channel video 單頻錄像 |2012|11”35”
Yu Ji于吉
Born in 1985, lives and works in Shanghai.
Represented by C-Space, Beijing.
1985年出生，生活并工作于上海
代理畫廊：C空間，北京
Central to the artistic practice of Yu Ji is the process of making and the use of traditional sculptural materials to articulate changing relationships between time, nature and space, such as light and architecture. She sees this not as a conceptual strategy but as a necessary process in order understand what art is, and means to her, as a process of practice and reflection. Placing emphasis on physical commitment and intensive labour and to Chinese craftsmanship, Yu examines these notions further through obsessive and repetitious performative action. In ‘Heat Up 0.2℃’, working silently, she controls the rhythm of her body whilst drawing a circle of 3.5m in diameter coloured in with white chalk in order to contain and represent the aura field of her body movements. It is placed in reference to ‘Smudgy 1205’ a wall-based sculpture, which combines two of the artist’s most used traditional materials of very different natures - wax made from oil, and plaster made with water. This creates simple geometric forms, where black is not made by a chemical colour but from burning white wax to form an ink-like finish, which is an integral part of this piece reflecting nature and China’s relationship with it.
于吉?jiǎng)?chuàng)作的核心是利用傳統(tǒng)雕塑材料來表現(xiàn)時(shí)間、自然和空間之間時(shí)時(shí)變化的相互關(guān)系。在她的眼中，這個(gè)創(chuàng)作過程并非是一種觀念上的策略，而是幫助她理解 “藝術(shù)是什么”，及“對(duì)她意味著什么”所必經(jīng)的過程。藝術(shù)家的作品關(guān)注身體的勞動(dòng)和中國式的手工藝，通過如著迷般的重復(fù)運(yùn)動(dòng)進(jìn)一步探討這些觀念。在“上升0.2攝氏度”這件作品中，她無聲地控制著身體的韻律，并用白色的粉筆在地上畫就了一個(gè)直徑3.5米的圓，將自己的身體律動(dòng)包含并呈現(xiàn)其中。“污垢1205”是一件墻上雕塑，使用了藝術(shù)家最慣用的兩種雕塑材料——油蠟和石膏。于吉運(yùn)用這兩種材料創(chuàng)造出了簡單的幾何圖形，其中黑色并非是化學(xué)調(diào)和出的顏色，而是燃燒白色油蠟后而產(chǎn)生出的類似墨水的效果，這件作品本質(zhì)上反映了中國與自然之間的關(guān)系。
Heat up 0.2℃上升0.2攝氏度
Yu Ji 于吉|Video視頻|2010|60 minutes
Smudgy 1205污垢1205
Yu Ji 于吉|Wax and plaster蠟，石膏|2012|60 x 60 x 3cm
Zhang Jian-Jun張建軍
Born in 1955, lives and works in New York.
Special Commissioned Project for SH Contemporary 2012.
1955年出生，生活并工作于紐約
SH Contemporary 2012特別委托項(xiàng)目
Drawing attention to ink and water as fundamental elements of Chinese cultural identity, Zhang views ink as a medium, which when combined with water creates a temporal dialogue between ancient Chinese cultures and a post-modern Western influence, creating an acculturation encompassing the whole world. This performance combines projected images of water paintings (culture), which span centuries and cultures, from the works of Monet, Van Gogh and Seurat, to traditional Chinese Song Dynasty, the Five Dynasties period and others, to contemporary artists, alongside videos of flowing water (nature), with the artist’s real-time brushwork on rice paper. The rice paper is mounted against a black wall so that his wet brushwork appears as black ink-like strokes fleetingly capturing outlines of the projected images as they appear on video. As the video changes, the brushwork lingers, superimposed on a new image from a different time and culture. This creates a brief dialogue across time, history, culture, nature, traditional and contemporary, Eastern and Western where it did not exist before, all flowing as a river in the process. The brushwork finally disappears altogether to make way for a new cycle of juxtaposition. Ultimately, it embodies the concept of time, evoking the Chinese concept of a calm and free-flowing spirit (Yi 逸), central to Zhang’s work.
張建軍一直將水墨視為中國傳統(tǒng)文化中不可或缺的元素，他將墨水視為一種媒介，而水與墨的結(jié)合便創(chuàng)造出了傳統(tǒng)中國文化與后現(xiàn)代西方影像的對(duì)話和碰撞，也隨之創(chuàng)造出全球的文化滲透及融合。藝術(shù)家此次的行為藝術(shù)作品結(jié)合了代表文化的繪畫作品投影和代表自然的流水影像。繪畫作品橫跨不同的時(shí)間和文化領(lǐng)域，從莫奈、梵高、修拉到中國宋朝及更早的五代十國時(shí)期，再到當(dāng)代藝術(shù)家們的作品。在投影和錄像不斷變化的同時(shí)，藝術(shù)家將宣紙固定在黑色墻面上，用毛筆蘸水在紙上進(jìn)行創(chuàng)作，產(chǎn)生如同用墨水在投影畫面上繪畫一般的效果。投影的畫面時(shí)時(shí)發(fā)生著變化，但墨跡般的筆觸卻依舊在畫面上徘徊逗留，疊加到迥然不同的時(shí)間和文化畫面上。這樣的錯(cuò)落疊加創(chuàng)造出了一種前所未有的跨越時(shí)間、歷史、文化、自然、傳統(tǒng)與當(dāng)代、東方與西方之間的對(duì)話，如同流水般連綿不絕。藝術(shù)家的作品完美展現(xiàn)了時(shí)間元素，呼應(yīng)起中國傳統(tǒng)文化中“逸”的觀念，這也是張建軍作品的核心理念。
Vestiges of a Process: Chant of Rock Play with Water 過程的瞬間：吟石戲水
Zhang Jian Jun 張建軍|Water, Chinese ink, rice paper, images, silicone rubber, goldfish, stone, performance, time 水，墨，宣紙，影像, 硅膠，魚, 石，人的參與，時(shí)間|2012|300 cm x 1700 cm x 650 cm.
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SH Contemporary 2012 ——熱點(diǎn)版塊
【編輯：文凌佳】
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