动态 | 邢万里参加北京时代美术馆群展“返场时代”
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2024-06-26 16:00
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可以画廊艺术家邢万里参展6月8日于北京时代美术馆开幕的群展“返场时代”。作为今年北京当代艺博会的策展单元「艺述」，《返场时代》由北京当代艺博会携手北京时代美术馆联袂呈现。另外参展的艺术家有边云翔、蔡坚、陈抱阳、陈俊江、费亦宁、高露迪、葛宇路、共代谢:杨亚非 张宁、胡为一、黄冰洁、经傲、Kiiss Shao、李汉威、刘亚洲、马灵丽、能尖日、蒲英玮、佘璐芸、孙玛侬、童昆鸟、童文敏、王芮、王梓全、吴凌昊、吴思林、武子杨、夏乔伊、云永业、张季、张文智，展览将持续至9月1日。《返场时代》旨在扩大讨论90后艺术家语境，从上世纪八十年代末至今的时代背景下，分别从艺术及文化史背景、技术推动力及影响、社会现场与议题、美学革新及反叛等四个维度给出观察的坐标。展览也由此分为四个单元：永别了，现代；未来原住民；社会的田野；多巴胺归来，从这四个彼此交叠的线索与板块去叙述中国最年轻一代艺术家们的创作。KeYi Gallery artist Xing Wanli participated in the group exhibition "ERA OF ENCORE" which opened on June 8th at the Times Art Museum in Beijing. As the curatorial unit "Story" of this year's Beijing Contemporary Art Fair, "ERA OF ENCORE" is jointly presented by the Beijing Contemporary Art Fair and the Times Art Museum. Other participating artists include Bian Yunxiang, Cai Jian, Chen Baoyang, Chen Junjiang, Fei Yining, Gao Ludi, Ge Yulu, Cometabolism Studio: Yang Yafei, Zhang Ning, Hu Weiyi, Huang Bingjie, Jing Ao, Kiiss Shao, Li Hanwei, Liu Yazhou, Ma Lingli, Neng Jianri, Pu Yingwei, She Luyun, Sun Manon, Tong Kunniao, Tong Wenmin, Wang Rui, Wang Ziquan, Wu Linghao, Wu Silin, Wu Ziyang, Xia Qiaoyi, Yun Yongye, Zhang Ji, and Zhang Wenzhi. The exhibition will run until September 1st."ERA OF ENCORE" aims to expand discussions on the context of post-90s artists, examining observations from four dimensions: historical and cultural backgrounds in art, technological drivers and influences, social scenes and issues, aesthetic innovations, and rebellions. Consequently, the exhibition is divided into four units: Farewell, Modernity; Future Aboriginals; Fields of Society; Dopamine Returns, weaving together these overlapping clues and sections to narrate the creative works of China's youngest generation of artists.
The artworks by Xing Wanli exhibited in "ERA OF ENCORE"Image provided by Times Art Museum邢万里在“返场时代”中带来两件新作：《童年的终结I》与《童年的终结II》。他的作品指向文学作品中的非线性叙事结构，并引用符号学中对能指的物质性和所指的心理表象之间的关系进行图像处理。他借由现实生活中的体验将这些文字重组转换成以“记忆”为母题的场景。其画面注重对文字的呼应与感性的体验，碎片化的元素和生活中的灵感一一对应，构建出一系列从现实到预设再记录转化过程的开放性图式。In "ERA OF ENCORE," Xing Wanli presents two new works: "Childhood's End I" and "Childhood's End II." His works point to the non-linear narrative structure of literary works and invoke the semiotic image processing of the relationship between the materiality of the referent and the mental representation of the referent. He uses real-life experiences to reorganize and transform these words into scenes with "memory" as the main theme. His images emphasize the echoing of words and sensual experience, and the fragmented elements correspond to the inspirations in life, constructing a series of open-ended schemas that transform from reality to preconception and then record the transformation process. 童年的终结I / Childhood's End I童年的终结II / Childhood's End II艺术家表示：“在这两幅画的绘制过程中，我没办法预测下一笔的呈现效果，我能做的最要紧的事情就是让眼睛完全集中在落笔处周边的一小块区间里，用笔触紧随着下一步的未知的造型趋向来及时跟进，期盼着我所画的区域是否在整体画面中可以成立，整个过程往往需要折返数次。然而，通过反复涂抹形成的这些形象大多令我感到头痛。我在画布上花费了大量时间来调整它们，使其看起来更为合理，但大多数情况下都以失败告终。因此，我不得不重新寻找和垒砌那些关于“形象”的基石。从另一个更积极的角度来看，这些色块之间纠缠的路径是复杂多变的，而每个短暂定格的瞬间会引发我对一些未知图形的联想。这个过程是不可预测的，就像云在天空中形成的各种形状一样。在某一时刻，它们可能唤起我对过去经历的记忆和体验。当然，这也许是我对某些形象的误读而做出的判断。不管怎样，我相信那些“恰当”的形象总是会伴随着某些意外而悄然到来。”The artist states, "During the creation of these two paintings, I cannot predict the outcome of the next brushstroke. The most crucial thing I can do is to focus my eyes entirely on the small area around where the brush is about to land. I must let the brush closely follow the trend of the unknown shape of the next stroke and yearn for the area I paint to fit into the overall composition. The entire process often requires multiple revisions.However, most of the images formed through repeated application of paint are frustrating to me. I spend a lot of time on the canvas trying to adjust them to make them look more reasonable, but most of the time they end up in failure. Therefore, I have to search and lay the foundation stones of "images" again. From another more positive perspective, the tangled paths between these color blocks are complex and ever-changing, and each brief moment triggers my imagination of some unknown shapes. This process is unpredictable, just like the various shapes formed by clouds in the sky. At a certain moment, they may evoke memories and experiences of my past. Of course, this may also be my judgment of certain images based on misinterpretations. However, I believe that those "appropriate" images will always come quietly with some surprises."
邢万里，1992年出生于河北承德，曾就读于四川美术学院、西安美术学院，现工作生活于成都。他的作品曾 被 X 美术馆等机构收藏，作品《刺杀骑士团长》入选“Cultural Cityof East Asia 2019 Toshima Award”。 他的个展包括：“事犹未了”，X美术馆，（北京 ，2024）；“遥远的绿洲”，可以画廊，（合肥 ，2021）；“故事的形状”，MOMO 艺术中心，（西安市， 2019），主要群展包括：“东南西北中”， 广州画廊，（广州，2023）；“作为意志和表象的世界”，可以画廊，（北京，2023）；“多少次呵，我离开了我日常的生活”，69 Art Campus，（北京，2022）；“斯普特尼克恋人”青矜计划，( 北京， 2020) 等。Xing Wanli, born in Chengde, Hebei in 1992, studied at Sichuan Fine Arts Institute and Xi'an Academy of Fine Arts, and now lives and works in Chengdu.His works have been collected by X Museum and other institutions，his work "Assassinating the Chief of the Knights" was selected into the "Cultural City of East Asia 2019 Toshima Award". His solo exhibitions include: "There Are More Things", X Museum,（Beijing, 2024）; "Far Oasis", KeYi Gallery,（Hefei, 2021）；"The Shape of Story", MoMo Art center,(Xi'an, 2019)，and major group exhibitions include：“TheWorld as Will and Representation”，KeYi Gallery（Beijing，2023)；east, south, west, north, and centre ”, Canton Gallery，（Guangzhou，2023）; “How many times，I have left my everdaylife”，69 Art Campus，（Beijing，2022）；Qingjin Plan of "Sputnik Lovers", (Beijing, 2020)，etc.
关于可以画廊 / About KeYi Gallery可以画廊 KeYi Gallery 是一间成立于2019年的当代新星空间，旨在为艺术家打造一个开放性的具有学术实验性的平台，致力推广多元独特的展览项目和艺术家作品，挖掘和培育年轻艺术家。可以画廊前身以私人收藏为主，20年间不断收藏那些具有一定学术价值的当代作品，并始终关注艺术当下及未来的发展趋势。
KeYi Gallery is a young contemporary art space established in 2019. It aims to create an open and experimental platform for artists and dedicates to promoting diverse unique art programs and works of art, exploring and developing young artists. KeYi Gallery gave priority to private collections previously and has been insisting on collecting contemporary artworks with high academic value while concentrating on art trends in the art world.
