EXHIBITION TITLE 展览名称
纷扰的世界 The Out-of-Joint World
卢昊 Lu Hao
苏伟 Su Wei
Chaoyang District, Beijing
凯旋画廊荣幸宣布将于2024年3月16日至4月30日期间，推出艺术家卢昊在画廊空间的首次个展「纷扰的世界」。展览由苏伟担任策展人，展出艺术家作品30余件，包括最新完成的绢本作品及早年的重要手稿文献。
本次展览着重呈现艺术家以建筑为主题的一系列新作。卢昊用水墨颜料和类似界画的方法勾勒异域建筑物的外貌，但又使人看不到技术的痕迹。他痴迷于物的细节、物体身上多种元素的组合，只不过刻画这些细节和元素不是为了写实服务，而是赋予画面一种暧昧的、介于插画和连环画之间的语调，这种语调使得艺术家可以在离意义相对更远的位置进行表达。
画里面都是情绪、感触，或者说来自远处的近邻的心声。延续以往作品的语言，卢昊尝试不脱离这个多变而令人不安的时代。在经历了艺术世界全球主义的起伏后，他仍然期待往昔之中平面而多元的世界。凭借这种情感，他调用并且继续相信自己曾经的创作经验。同时，他似乎也在完成一项容易被忽略的工作，即对被赋予不同立场的事物的如实描述。对于卢昊来说，他的当代感觉就蕴含在这种描述之中。
倾颓之际，艺术家往往用 “丑拙”曲折地表达立场与自我的位置。卢昊的方式是，不必解释美与丑、和平与暴力这些本就无需解释的事物，而是透过凝视，沉默地面对这个世界。
TRIUMPH GALLERY is pleased to announce The Out-of-Joint World, the artist Lu Hao’s first solo exhibition with the gallery, from March 16 to April 30, 2024. The exhibition, curated by Su Wei, features more than 30 pieces of the artist's work, including recently completed works on silk and important manuscript documentation from the early years.
This exhibition focuses on a series of new works by the artist on the theme of architecture. Lu Hao employs mediums such as Chinese ink and mineral pigment and technique akins to the mode of “Jiehua” (boundary-painting, a traditional mode of Chinese “Gongbi” painting) to delineate the contours of the exotic architectures in his works, but in a way that removes any traces of techniques. He remains invested in the detail of objects depicted and the amalgamation of various visual elements seen on them. The depiction of these details and elements, however, is not to fulfill any realist endeavors but to bestow the composition an ambiance that oscillates between illustration and “Lianhuanhua” (linked picture, a form of picture book popular in 1920s China), allowing the artist to come up with an expression that circumvents narratives and meanings.
Embedded within his paintings are emotions, sentiments, and inner voices of neighbors from afar. Continuing to polish his artistic language, Lu Hao and his works have never attempted to detach themselves from this ever-changing and anxious era. After experiencing the rise of globalism in the art world, he remains faithful to the flat yet multifaceted aesthetic of the past. With this emotion, he utilizes and continues to believe in his previous creative experience. At the same time, he seems to be tackling something that has often been overlooked—the truthful depictions of things that have been given different positions. For Lu Hao, the contemporary lies within the delineation of such things.
At a time of despair, artists tend to express themselves and their position through an “ugly and naïve” mode. Lu Hao’s approach is not to illustrate the difference between self-explanatory dichotomies such as beauty and ugliness, peace and violence. Instead, he decides to confront the world by observing it in silence.
纷扰的世界 No.18 勃兰登堡门 The Out-of-Joint World No.18 Brandenburg Gate
绢本设色 Ink and color on silk, 80×80cm, 2024
卢昊，1969年生于北京，1992年毕业于中央美术学院。2009年担任第53届威尼斯国际艺术双年展中国馆策展人，同年亦担任法拉利跑车全球限量版唯一设计师，2009年至2013年任巴黎市政府外方艺术顾问。现生活工作于北京。
Lu Hao was born in Beijing in 1969, graduated from the Central Academy of Fine Arts in 1992. He served as the curator for the Chinese Pavilion at the 53rd Venice International Art Biennale and also became the exclusive designer for a limited edition Ferrari sports car in 2009, he held the position of foreign art consultant for the Paris City Government from 2009 to 2013. Currently lives and works in Beijing.
苏伟是生活在北京的策展人、艺术史研究者。
苏伟最近几年的工作聚焦于对中国当代艺术历史的再叙述和想象，探索其全球语境中的合法性和断裂性的根源。这一工作的核心，是重新提取“1949后“当代情境中的艺术生产，描述其衰颓与虚无双重面貌下的限度、情境线索和无意识的能量，从而批判性地展开反制度的实践，重新定义艺术在今天的立场及可能性。
Su Wei's work in recent years focuses on re-constructing the narrative—and radical imagination—of contemporary Chinese art history, and explores the roots of the legitimacy and rupture of contemporary Chinese art history in a global context. Pivotal to his work is the attempt to take the “post-1949” as the key in understanding artistic production in a contemporary situation, and in so doing he seeks to re-define the stance and possibilities of art in nowadays China. He thus engages in an anti-establishment critical practice by mapping the limits, contextual clues and unconscious energies of the post-1949 art production, which figures the dual presence of decay and emptiness.
