2023艺术深圳
艺术家 | 毕蓉蓉、陈萧伊、李昌龙、黎朗、林羽龙、饶维懿、王俊、熊文韵、杨述、郑云瀚
Artists | Bi Rongrong, Chen Xiaoyi, Li Changlong, Li Lang, Lin Yulong, Rao Weiyi, Wang Jun, Xiong Wenyun, Yang Shu, Zheng Yunhan
贵宾预展（仅限邀请）｜VIP PREVIEW (INVITED ONLY)
2023.9.07, 14:00-21:00
公众开放｜PUBLIC DAYS
2023.9.08, 10:00-19:00
2023.9.09, 10:00-19:00
2023.9.10, 10:00-17:00
深圳会展中心6号馆
A Thousand Plateaus Gallery is participating in Art Shenzhen 2023 from September 7 to 10, showcasing works of the following 10 artists: Bi Rongrong, Chen Xiaoyi, Li Changlong, Li Lang, Lin Yulong, Rao Weiyi, Wang Jun, Xiong Wenyun, Yang Shu, Zheng Yunhan. Booth B21.
毕蓉蓉
陈萧伊
Chen Xiaoyi
陈萧伊的作品基于摄影并不局限在具体的媒介当中，通过生产图像的方式，关注于生命体的微妙感知，并不断挑战既定的逻辑、感知与想象来探讨存在本身的问题。在近年来持续进展的项目中，她关注过往历史中西部作为资源区，聚焦于横断山脉区域的矿山与开采遗迹为切口，持续地打捞那些失落的时间，自然与大地的迷团。从过去的采矿业到如今的山地生境，她在山脉的时空堆叠与土地关系中展开工作，并尝试通过更旷阔的叙事对西部山地进行 “影像的扫描”。
李昌龙
Li Changlong
李昌龙的绘画作品源于他对全球性问题的思考，涉及身份、移民、地缘政治等当代复杂问题，他将历史与现实图像抽离成语言符号，在一种对抗性的结构张力下完成艺术语言的整合。不管是造型语言还是色彩的不断生成，李昌龙都并没有提前进行预设，相反，追求的是画面内部的自然生长。在“地缘政治山水”的名称下，我们还可以看到李昌龙力图将画面的形式表达、审美趣味与中国传统绘画的视觉结构与审美习惯联系起来。
Li Changlong's paintings are derived from his thinking on global issues, involving complex contemporary issues such as identity, immigration and geopolitics. He separates historical and realistic images into language symbols, and completes the integration of artistic language under a confrontational structural tension. Regardless of the continuous generation of modeling language or color, Li Changlong does not make presets in advance. Instead, he pursues natural growth inside the picture. Under the name "geopolitical landscape", we can also see that Li Changlong tries to connect the formal expression and aesthetic taste of the picture with the visual structure and aesthetic habits of traditional Chinese painting.
黎朗
Li Lang
Today, I used my diary and photos taken in the office to reconstruct my work and life during that time. I also used the applied color blocks to connect the past and present together. Looking back on the past emphasizes the perception of the present and provides a clearer understanding of the changing life. The seemingly unchanged photographic images silently record the passage of time, and the subtle changes on the demolition site hide the game between interests, which cannot be directly viewed, and are even more difficult for the images to record. Facing the photo, I thought I saw everything, but the truth was unknown. The mundane and trivial diary records the details of my life, with complaints, disappointments, indifference, and more helplessness in the text. The color blocks applied to the photo are traces left every day and also pixels in the blurry image that evoke my memories. The combined color blocks are more like mosaic used to conceal the truth. The colorful squares adorn the boring life with richness and variety. Gradually, I got used to watching the surface, getting used to watching after being disciplined, accepting the fact that reality is colorful and gorgeous, so much so that I forgot the background color of life. It's really good for me to forget, live today, and keep tomorrows unknown.
—— Li Lang “Isn't this the last day?” (excerpt)
林羽龙
Lin Yulong
林羽龙使用不同形式线条的嵌套，排列出简单、合适、自然的整体感，准确表现出二维形态的通用性和复杂性。林羽龙始终遵循如科学实验般严谨、规律的创作程序，及恒定的“一片布”的形式。在物理现实与感知现实的空间中，重新觉察并更新绘画中形式与色彩的关系、思考艺术观念与实践的连接。
Using the nesting of different forms of lines, Lin Yulong creates a sense of integrated wholeness that is simple, proper, and natural, and provides an accurate presentation of the universality and complexity of two-dimensional forms. Lin has always followed a creative process that is as precise and regular as a scientific experiment, and the constant art form of “one canvas”. In the space of physical reality and perceptual reality, he re-perceives and renews the relationship between form and color in painting, while pondering the connection between artistic concepts and practices.
饶维懿
Rao Weiyi
饶维懿一直力图在图像泛滥的后网络时代，重建一条经典绘画与不断自我意义解构的消费性图像之间“和谐共处”的方法通道，以解决多元文化、多重叙事对绘画造成的表达不适和意义缺失。作为年轻一代的新锐画家，饶维懿将网络图像的独特质感转换为实验性的绘画语言，从网络图像独有的清晰度缺失，拼贴，以及荒诞当中，凸显碎片化的视觉逻辑。同时，他用绘画的方式还原图像的电子质感，用笔触和颜料复制像素的视觉特征，带来不同以往的色彩，肌理，以及构图的组合，由此将绘画变成一种创造性的视觉“复制品”。
Rao Weiyi has been striving to rebuild a "harmonious coexistence" method channel between classic painting and consuming images that constantly deconstruct their own meanings in the post internet era where images are rampant, in order to solve the expression discomfort and lack of meaning caused by multiculturalism and multiple narratives in painting. As an emerging painter of new era, Rao Weiyi transformed the unique texture of network images into experimental painting language, highlighting the visual logic of fragmentation from the characteristic feature such as lack of clarity, collage, and absurdity of network images. At the same time, he restores the electronic texture of images through painting, using strokes and pigments to replicate the visual features of pixels, bringing different combinations of colors, textures, and compositions, thus turning painting into a creative visual "replica".
王俊
Wang Jun
王俊的创作方式主要涉及到绘画和装置，作为一个不可救药的怀疑论者，他的创作不是按单一的线性在发展。他不断地转换媒介，不断地去搅拌快要凝固的一些东西，去打乱并重建自身的逻辑，他希望作品的线索可以独自生发，也可以适时相交，彼此碰撞，相互成为追逐的对象。王俊一直将“绘画”视为一个词汇，其创作以一种持续自我怀疑的、主动去制造蓄谋与失控并行的方式展开。他近期作品关涉“风景”——“写生”及其图像的生产。他不满足于直接或简单地对图像进行转译，而是尝试通过不断的否定、擦拭、重建去靠近一种感知的真实，以此和惯性的经验作斗争，并努力让自己践行的创作方法凸显成为“内容”。
Wang Jun's creation includes paintings and installations. As a typical skeptic, his creation is not simple linear development. He changes constantly artistic creation medium in order to break something solidifying and establish his own logic. He hopes that his creation lines can emerge independently, or have collision and interaction between them. Wang Jun has always regarded "painting" as a vocabulary, making his creation unfolded in a way of continuous self-doubt and initiative to create deliberate and out of control. His recent works related to "landscape" -- the“sketching”and the production of its images. He rejects to translate the image directly and simply. Instead, he tries to get closer to a perceptual reality through constant denial, coverage, and reconstruction to fight against inertial experience, making the "method" he practiced become "content".
熊文韵
Xiong Wenyun
Xiong Wenyun, The Flowing Rainbow, Cabin on Sichuan-Tibet Road—Zheduo Mountain No.19, Giclee Print, FibaPrint Warm Cotton Gloss 315g, 46 × 58 cm, 1999
熊文韵运用在色彩心理实验中形成的微妙和充实的情感形式，在藏区做了一系列的艺术实验，结束了学院化的表达方式，而彻底地开始建立个人心灵与广阔的自然和社会的对话。她开始探讨人工化与自然的冲突，以及达成和谐的过程。她用序列性的色彩装饰川藏沿途为汽车加水和修理的小屋，以及对山石、溪流、房屋帐篷等进行各种色彩表现的实验。高原艰苦的生存条件和脆弱的生态环境使她的艺术探索直接与当地的自然和人文环境联系起来，在不断提炼和纯化之后，熊文韵把公路线以及流动的运输卡车和狭小的石头和土坯房子作为艺术表现的载体，用彩色蓬布替换了老式的厚帆布车蓬，以及用单纯的色彩装饰房门。她以高原雪域的巨大舞台展现一种单纯的形式，恰当、贴切地将艺术有机地融入当地的自然和人文环境。
Using the subtle and substantial emotional forms formed in color psychological experiments, Xiong Wenyun made a series of artistic experiments in Tibetan areas, ended the academic expression, and thoroughly began to establish a dialogue between the individual soul and the vast nature and society . She began to explore the conflict between artificiality and nature, and the process of achieving harmony. She used sequential colors to decorate the huts for watering and repairing cars along the Sichuan-Tibet route, and experimented with various color expressions on rocks, streams, houses and tents. The harsh living conditions and fragile ecological environment on the plateau make her artistic exploration directly connected with the local natural and cultural environment. After continuous refinement and purification, Xiong Wenyun uses highway lines, moving transport trucks and narrow stone and adobe houses as The carrier of artistic expression replaces the old-fashioned thick canvas canopy with colorful tarpaulins, and decorates the door with simple colors. She presents a simple form on a huge stage in the snowy plateau, appropriately and aptly integrating art into the local natural and cultural environment.
杨述
Yang Shu
郑云瀚
Zheng Yunhan
In addition to the exhibitions and events in the over 1,000 square meters gallery space, A Thousand Plateaus Art Space also takes an active part in important international art fairs including Art Basel in HK, Art Hong Kong, Art Stage Singapore, Asia Now | Paris Asian Art Fair, ART021, West Bund Art & Design, JING ART, Art Chengdu, Photo Shanghai, Festival LOOP and Paris Internationale, LISTE in Basel etc..
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