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艺术家 | 毕蓉蓉、陈秋林、丛文佳、何多苓、庞茂琨、漆澜、王川、王绍强、杨述、翟倞、郑云瀚
Artists | Bi Rongrong, Chen Qiulin, Cong Wenjia, He Duoling, Pang Maokun,Qi Lan, Wang Chuan, Wang Shaoqiang, Yang Shu, Zhai Liang, Zheng Yunhan
贵宾预展（仅限邀请）｜VIP PREVIEW (INVITED ONLY)
2024.12.05, 14:00-21:00
公众开放｜PUBLIC DAYS
2024.12.06 10:00-19:00
2024.12.07 10:00-19:00
2024.12.08 10:00-17:00
深圳会展中心7.8号馆
Hall 7.8, Shenzhen Convention & Exhibition Center千高原艺术空间欣然宣布参加2024艺术深圳，将于2024年12月5日至12月8日在博览会呈现毕蓉蓉、陈秋林、丛文佳、何多苓、庞茂琨、漆澜、王川、王绍强、杨述、翟倞、郑云瀚共十一位艺术家的作品，展位A02。A Thousand Plateaus Art Space is pleased to announce its participation in Art Shenzhen 2024, presenting works by Bi Rongrong, Chen Qiulin, Cong Wenjia, He Duoling, Pang Maokun, Qi Lan, Wang Chuan, Wang Shaoqiang, Yang Shu, Zhai Liang, and Zheng Yunhan at the fair from December 5 to December 8, 2024, at Booth A02.
毕蓉蓉
Bi Rongrong
▲毕蓉蓉，平面生物——素描 II，铅笔，钢笔，墨，水彩，水粉，丙烯颜料，线，纸，80.5 × 121 cm，2021Bi RongRong, Flat Creatures - Sketch II, pencil, pen, ink, watercolor, gouache, acrylic, thread, paper, 80.5 × 121 cm, 2021
毕蓉蓉的创作以“纹样”和“编织”为人所知。她提取建筑，海报，动植物，风景，或者抽象物体的表面纹样，再将它们进行编织和组合。她的创作从绘画出发，不仅包含了绘画，影像，装置等媒介，还有她自己独特的编织手法。她运用基本的纺织工艺，将毛线，塑料，金属丝线等材料编织成采集的纹样，并呈现它们独特的肌理和质感。在这其中，她甚至会加入发光灯点，金属片等材料，构成一个综合性的平面结构。从另一个层面来说，毕蓉蓉也在用“编织”的手法来梳理自己的创作脉络，她的不同作品都像是编织过程中的丝线或者基底，这些作品以各自的方式延展，生长，又共同组成一个紧密交织的整体。通过重组，融合，以及冲突的过程，这些纹样暴露出原本深藏于视觉之下的，各自所属群体和地点所具备的文化，知识，社会，或者自然演变的脉络。正如策展人许晟所说：墙面是建筑的纹样，街道是城市的纹样，植物是自然的纹样，而服装的皱褶是生活的纹样……纹样往往是抽象的，沉默的，无表达的，但是，它们整体的形态，细腻的细节，肌理的材质，无不透露出暗藏于时光，生命，或者自然流转中的无形力量。对这些纹样的研究，观看，以及由此而来的冥思与想象，既是对时代大潮中纷繁复杂之表象的一种梳理，也是对古人所说的“格物致知”的实践。 Bi Rongrong's creation is known for "patterns" and "weaving". She extracts the surface patterns from buildings, posters, animals and plants, landscapes, or abstract objects, and then weaves and combines them. Her creation starts from painting, which not only includes painting, video, installation and other media, but also her own unique weaving craftsmanship. She uses basic textile techniques to weave wool, plastic, metal wire and other materials into collected patterns and present their unique detail and texture. Among them, she even adds materials such as luminous light points and metal sheets to form a comprehensive plane structure. On the other hand, Bi Rongrong is also using the "weaving" technique to comb her own creative journey. Her different works are like strings or bases in the process of weaving. These works extend and grow in their own ways, and together form a closely intertwined whole.Through the process of reorganization, integration, and confrontation, these patterns reveal the culture, knowledge, social, or natural evolution context of their respective groups and places that were originally hidden from the eye. As the curator Xu Sheng put it: the wall is the pattern of architecture, the street is the pattern of city, the plant is the pattern of nature, and the wrinkle of clothing is the pattern of life... The patterns are often abstract, silent, and expressionless, but their overall shape, delicate details, and texture materials all reveal the invisible power hidden in time, life, or natural circulation. The study and observation of these patterns, as well as the meditation and imagination that come from them, are not only a kind of sorting out the complicated appearances in the tide of the times, but also a practice of the ancestors’ saying "learning from the nature of things".
陈秋林
Chen Qiulin
▲陈秋林，无题三，摄影，艺术微喷，德国哈内姆勒摄影纯棉硫化钡收藏级纸张，94 × 126 cm，2005，Ed.8Chen Qiulin, Untitled No.3, Photography, Giclee Print, hahnemuehle photo rag baryta, 94 × 126 cm, 2005, Ed.8
这是陈秋林继短片《别赋》后，再一次前往三峡拍摄的内容。拍摄《别赋》时，正值三峡工程前期的拆迁和移民阶段。时隔两年多，陈秋林再次来到三峡，看到的是沿岸一马平川的工地以及江水依旧如故。几年之后，这些地方将林立现代化的码头和城市高楼。因此，她选择将拍摄背景设定在这样一个正在建设的工地中。她这样做有三方面的原因：一是三峡工程是近年来中国的大事件，二是它代表了中国正在建设中的一种现状，三是作为她作品一个延续的线索。片中川剧表演和记录的现场融合在一起，工地与舞台在一起，过去与现在在一起，时间与场景交错。这些构成了陈秋林对三峡二期工程的记忆。This was Chen Qiulin's return to the Three Gorges after her short film Farewell Poem. During the filming of Farewell Poem, the Three Gorges Dam construction was in its early stages, marked by demolitions and mass migrations. Over two years later, Chen revisited the site to find vast, flat construction sites along the riverbanks, with the same unchanging river flowing by. A few years later, these areas would rise with modern docks and urban skyscrapers. She chose to set the background of the filming in these construction sites for three reasons: first, the Three Gorges Dam project is a significant event in modern China; second, it reflects the development process underway in the country; and third, it continues the thematic thread of her work. In the film, Sichuan opera performances blend with real-life scenes, construction sites coexist with stages, the past intersects with the present, and time intertwines with space. These elements form Chen Qiulin's memory of the second phase of the Three Gorges Dam project.
丛文佳
Cong Wenjia
▲丛文佳，不和梦交易，布面丙烯，160 × 120 cm，2023Cong Wenjia, No Trade with Dreams, Acrylic on canvas, 160 × 120 cm, 2023
1994年出生的年轻艺术家丛文佳曾荣获第三届宝龙艺术大奖金奖。她的创作旨在现实图像中去想象和探索未知奇幻的世界 ，作品画面纯粹而自然，营造出一种灰色地带般的模糊的氛围感，透露出“没有着落”的错觉，并以这种“错觉”糅合一切看似无关联的图像。与此同时，“光”作为一个恒定的元素，持续出现在她的画面中，以平静而温和的形象调和了画面的情绪。Born in 1994，young artist Cong Wenjia have won the third Baolong Art Gold Award . Her creation is to explore the influence of mechanical images processed by digital technology, artificial intelligence and other technologies on painting technology. The picture of her work is simple and natural, creating a vague sense of atmosphere like a gray zone, revealing a kind of "unsettled" illusion, and blending all seemingly unrelated images with this "illusion". At the same time, "light", as a constant element, continues to appear in her frame, harmonizing the mood of the picture with a calm and gentle image.
何多苓
He Duoling
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▲何多苓，Inside Richter No.1, 布面油画，200 × 150 cm, 2019He Duoling, Inside Richter No.1, Oil on canvas, 200 × 150 cm, 2019何多苓是中国当代抒情现实主义油画画家的代表。他的艺术具诗意的特质，重绘画性，唯美、优雅、感伤，他追求的是无拘无束的自由度。他的艺术造型功底坚实而全面，落笔之处，人物、景象充满生命活力。他在形式语言上所推崇的单纯感与中国传统水墨画具有异曲同工之妙，在洗练中见细致，于单纯中现复杂，表现出一种超然的精神境界和深层次的艺术追求。He Duoling is a representative of contemporary Chinese lyrical realism oil painting artists. He Duoling's art has poetic characteristics, emphasizes painterliness, estheticism, elegance and sentimentality. What he pursues is unrestrained freedom. His artistic modeling skills are solid and comprehensive. Where he writes, characters and scenes in his paintings are full of vitality. His sense of simplicity in formal language is similar to that of traditional Chinese ink painting. It is meticulous after refining and complex in simplicity, showing a detached spiritual realm and deep-seated artistic pursuit.
漆澜
Qi Lan
▲漆澜，晓看红湿处（三），手工皮纸综合材料，129 × 87 cm，2023-2024Qi Lan, Morning Flowery Road After Rainy Night III, Mixed media on handmade bast paper, 129 × 87 cm, 2023-2024
漆澜早年熟读中国经典，对先秦诸子、诗经、楚辞及唐宋诗文的诵读和研习曾伴随了他的少年和青春时代。经年累月的文字诵读与绘画训练不断对流交融，在现代的文化情境中互相冲突、左右互搏，形成了独特的具有压迫性和叛逆性的绘画语言。绘画创作对于他来说，是知识、经验和思想的辩诘与重建。他的每一张作品都反复地推敲和质询，他利用高密度的语言和多变的修辞手法，在与古今中外的经典的对话、辩诘中，寻找语言机锋，借题发挥，推演出复杂多变的修辞方式和书写方式，并以多种介质、杂沓繁复的方式对抗机器成像的均质化。他强调手感和材料语言的肉身体验，长期潜心研究传统文人绘画和西方现代绘画，力求构想一种文人教养的书写自洽感，赋予传统书写语言以全新的当代视觉形态，并呈现出崭新的文化性格。In his early years, Qi Lan read the Chinese classics and studied the poetry of the pre-Qin scholars, The Book of Songs, The Songs of Chu and the poetry of the Tang and Song dynasties throughout his youth. The long years of literal reading and painting have constantly intermingled, clashing with each other in the modern cultural context, forming a unique oppressive and rebellious painting language. Painting is for him a debate and reconstruction of knowledge, experience and thought. Each of his works is repeatedly debated and questioned. Using high-density language and variable rhetorical techniques, he searches for rhetorical opportunities in dialogues and debates with the classics of the past and present, drawing on them to deduce complex and varied rhetorical and writing styles, and to counter the homogenization of machine imaging with a variety of mediums and a miscellany of complexities. He emphasizes the physical experience of hand and material language, and has long studied traditional literati painting and Western modern painting, striving to conceive a sense of self-consistency in writing of literati cultivation, giving the traditional writing language a new contemporary visual form and presenting a novel cultural character.
庞茂琨
Pang Maokun
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▲ 庞茂琨，斜倚的妮娜，布面油画，120 × 150 cm，2020Pang Maokun, Nina Leaning, Oil on canvas, 120 × 150 cm, 20201980年代中后期，庞茂琨就致力于古典油画语言的研究与探索，在近40年的创作中，也是把源于古典语言的审美气质保持得最为完整的代表性艺术家之一。实际上，当我们谈“古典”时，它实质有宽泛的外延，不仅包含语言与创作方法，而且涉及视觉的再现与观看机制。进入庞茂琨的绘画世界，语言是最重要的入口。沿着语言这条通道，图像、叙事、景观接踵而至，水到渠成。虽然从语言出发，但语言并不是绘画的归属，对于庞茂琨来说，如何在古典的话语中融入当代人的视觉经验、观看经验、文化经验，使其水乳交融，才是真正的目的。
In the mid to late 1980s, Pang Maokun has devoted himself to the research and exploration of classical oil painting language. In his nearly 40 years of creation, he was also one of the representative artists who maintained the most complete aesthetic temperament originating from classical language. In fact, when we talk about "classicism", it essentially has a broad extension, not only including language and creative methods, but also involving visual reproduction and viewing mechanisms. Language is the most important entrance to Pang Maokun's painting world. Along the channel of language, images, narratives, and landscapes come to the audience one after another, becoming a natural outcome. Although starting from language, language is not the end of painting. For Pang Maokun, the true goal is to integrate contemporary visual, viewing, and cultural experiences into classical discourse, so that they blend together seamlessly.
王川
Wang Chuan
▲王川，1995-No.2，纸本水墨，96.8 × 90.5 cm，1995Wang Chuan, 1995-No.2, Ink on paper, 96.8 × 90.5 cm, 1995王川是“伤痕美术”的代表人物。他早年猎足写实绘画，并斩获颇丰，在1985年新浪潮时期转向抽象艺术的创作。90年代末，王川身患恶疾却实现了顿悟式的转折，将创作带到了另一高度。他近年的作品潜藏着能量底蕴，通过大小、虚实、粗细、点线面的对比及形态的呈现，往往给人们接近于精神体验般的感受。这种自省和治疗式的创作因艺术家的个人遭遇而起，却意外地让艺术家更为本能地接近深层文化的交流，尤其是对于东方哲学的体验。王川作品的创作灵感丰富而复杂。有些源自国画里的线条转化在布面油画上，也有涂画，有些既有抽象又有具象元素。如同王川怀疑抽象的纯洁性一样，他也怀疑写实的力量。Wang Chuan is a key figure in the Scar Painting movement. He began his early career as a successful realist painter and turned to abstract painting during the 1985 New Wave period. In the late 1990s, sudden illness brought Wang Chuan to a turning point that helped transform his practice. The energy at work in his more recent work arises from contrasts of scale, density, line and surface. This introspective and self-reflective way of working has enabled Wang Chuan to achieve insights, especially through the contemplation of oriental philosophy, The formal resources of his work are both rich and complex. There is the line as inherited from traditional Chinese art but transferred into oil on canvas; there is graffiti; doodling; drawing in paint; and there are elements of both abstraction and figuration. It is as if Wang Chuan is suspicious of the purity of abstraction and he is equally suspicious of the power of figuration.
王绍强
Wang Shaoqiang
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▲王绍强，山林丘壑，纸本水墨，250 × 123 cm × 4，2023
Wang Shaoqiang, Woods and Valleys, Ink on paper, 250 × 123 cm × 4, 2023
山林丘壑系列作品既在传统绘画中得到养分，又从其中抽离出来。在水、墨与时间中流淌开来形成自然景观与当代图像，在线条跳跃中形成多层次的关系，更似乎包容在抽象表现主义的范畴之中。
画作以独特的布局和色彩运用，将观者带入一个静谧深邃的艺术世界。画面巧妙地将平面空间与视觉的律相结合，以视觉的理法统摄全局，使得整件作品既具有平面美感，又不失纵深的层次感;群山等画中元素被精心布局，形成了一种流动且和谐的视觉效果。在色彩运用方面，深蓝色调成为全画面的基调，近于单色的处理手法增强了画面的和谐统一与深度。而色彩的明暗对比和渐变，以及笔线的虚实变化与渲染的微妙差异,则营造出若隐若现的立体感和静穆的意境。
This series of works is both nourished and detached from traditional painting. It flows through water, ink and time to form natural landscapes and contemporary images, forming a multi-lay- ered relationship in the jumping lines, and seems to be contained in the category of abstract ex- pressionism.The painting, with unique layout and color application, takes the viewer into a quiet and profound artistic world. The painting exquisitely combines flat space with visual rhythm, using visual principles to control the overall arrange- ment, making the entire work both aesthetically pleasing and layered in depth; The elements in the painting, such as the mountains, the spring river, and the moonlight, are carefully arranged to create a flowing and harmonious visual effect. In terms of color application,dark blue creates the fundamental tone of the full image, and the technique of monochrome enhances the harmony, unity and depth of the image. The contrast and gradient of colors, as well as the subtle diffe rences between the virtual and real changes in brush lines and rendering, create a subtle sense of three dimensional sense and a serene atmosphere.
杨述
Yang Shu
▲杨述，S No.9，布面丙烯，喷漆，树脂，硅胶，碳笔，铅笔，杂志，220 × 180 cm，2021Yang Shu, S No.9, Acrylic on canvas, Spray painting, resin, silicone, charcoal pencil, pencil, magazine page, 220 × 180 cm, 2021
杨述是中国实验绘画早期的探索者。他天生的造型才华，以及扎实的学院写实功底帮助他建立了对抽象的结构与色彩的深入认知。从1990年代开始，杨述的创作就逐渐从受表现主义影响的非具象作品，发展为今天具有独特魅力的“杨述式”的视觉创造。他的创作不仅关注现实世界的变迁，还将批判精神和美学创造融为一体，将对平面结构的破坏转化为综合材料的重组，凝结出冷峻而富有爆发力的诗意。
Yang Shu is an early explorer of experimental painting in China. His inherent styling talent and steady academic sketch helped him to form the deep cognition of abstract structure and color from the perspective of classical aesthetics. Since 1990s, Yang Shu’s work has been gradually transformed from the non-figurative art that influenced by the expressionism to the present visual creation with the unique “Yang Shu” glamour. His work not only sheds lights on the changes of the physical world, but also integrates the critical spirit and the aesthetic creation; it transforms the structural damage into the composite-materials reconstruction, and condenses the cold yet fully poetic explosive-force.
翟倞
Zhai Liang
▲翟倞，面包会有的，布面油画，90 × 70 cm，2019Zhai Liang, There Will Be Bread, Oil on canvas, 90 × 70 cm, 2019
知识作为绘画的养份，自然的闪现，抑或作为一个恰当的背景，激发出艺术家的想象力。一个故事，一个词语，都会成为这样的诱因。翟倞在他庞杂的知识系统里面，跳跃式的选择主题，根据所画出的作品，推衍出下一个作品该怎么做，形成了一个视觉逻辑，所以，每个作品都很鲜活，反映了艺术家在处理新的作品时的笨拙和朴素。而作品之间是在一个或大或小的，相同兴趣方向上的，慢慢的通过艺术家自己逐步地，言之有物地，切身体验的方式来建构一个自由的视觉体系。Knowledge serves as a nutrient for painting, flashing before us spontaneously, or acting as a suitable background that can incite the imagination of the artist. Whether it's a story or a word: eventually they all take on this role of incentive. Within his bulky, diversified knowledge system, Zhai Liang takes a hopping/dipping approach to his selection of themes. Based on a previous painting he then further infers how a new piece should be done, which results in a visual logic. Hence, every work is brimming with freshness and life, reflecting the clumsiness and modesty of the artist with respect to any new painting. As for the works among themselves, some are large and some are small, but all of them share a similar orientation of interest. By means of gradual, substantial and personal experience of the artist himself, his paintings contribute to the forging of an unbridled visual system.
郑云瀚
Zheng Yunhan
▲郑云瀚，梳妆台，丙烯、帆布、水泥、木板、丙烯酸液、清漆、固化剂，185 × 100.5 cm，2020-21Zheng Yunhan, Dressing Table, Acrylic, canvas, cement, wooden board, acrylic acid, varnish, hardener, 185 × 100.5 cm, 2020-21郑云瀚创造了一个连接过去和当下的中介空间，使得不可见的，或者已经消失的过去变得重新可见和可感，从个体经历出发，触发人们内心深处的共同记忆，形成链接和共鸣。画完的图像被按照轮廓裁剪，嵌入到水泥之中，写实主义手法背后的集体性也被浇筑在墙上。随着他一张张绘画的制作，水泥中的图像也从显而易见到逐渐模糊，最后消失殆尽。只要我们在图像学层面上追根究底，就能从郑云瀚的图示背后找出各种不同的渊源，它们有机地融入于当下的主题，成就了对此时、此地、此事的独特表达。Zheng Yunhan has created an intermediate space that connects the past and the present, making the invisible or disappeared past becoming visible and perceptible again. Starting from individual experiences which trigger common memories in people's hearts, forming links and resonance. The finished image is cropped according to the contour and embedded in cement, and the collectivity behind the realism means is also sealed into the wall. As his painting creation goes on, the images in the cement gradually blurred from visible to visible, and finally disappeared completely. As long as we delve deeper in iconography, we can identify various origins behind Zheng Yunhan's illustrations, which are organically integrated into the current theme, achieving a unique expression of this moment, this place, and this matter.
展览地点：四川省成都市高新区盛邦街，铁像寺水街南广场，千高原艺术空间
千高原艺术空间 | A Thousand Plateaus Art Space千高原艺术空间2007年创立于中国成都，是致力于展示并推进中国当代艺术的专业性画廊，设有艺术作品展示厅，影像资料收藏和放映室。主要研究、展示和推动与中国当代艺术文化相关的优秀作品和实验性主体项目，积极开展国内、国际的合作项目。千高原艺术空间主要展示和推出成长中的有突出才能和价值的艺术家的作品和项目，并发现和推动新的有创造力的艺术家，迄今主要代理和合作的老中青三代艺术家超过20位。通过展览、博览会、学术讨论活动、出版等方式，致力于构架艺术家和社会、机构、收藏者之间的沟通渠道，提供包括艺术作品销售、量身定做的艺术项目、收藏品咨询管理、艺术教育项目以及展览策划。除了在超过1000平方米的画廊空间的展览项目，千高原艺术空间亦积极参加国际国内的重要艺术博览会，包括香港巴塞尔艺术展 (Art Basel HK)、香港国际艺术展(ART HK)、艺术登陆新加坡(Art Stage Singapore)、今日亚洲 | 巴黎亚洲艺术博览会 (Asia Now | Paris Asian Art Fair)、上海廿一当代艺术博览会(ART021)、上海西岸艺术与设计博览会（West Bund Art & Design）、艺览北京 JING ART、艺术成都 Art Chengdu、上海艺术影像展(Photo Shanghai)、西班牙路普艺术节（Festival LOOP）、Paris Internationale 、LISTE in Basel等等。A Thousand Plateaus Art Space was founded in 2007 in Chengdu, China. It is a professional gallery committing to presenting and promoting China’s contemporary art. Equipped with exhibition halls for artworks and collections and a screening room for videos and discussions, it focuses on researching, presenting and promoting outstanding works and experimental projects of China’s contemporary art and culture by carrying out domestic and international projects.A Thousand Plateaus Art Space devotes itself to presenting works by emerging artists who have outstanding talent and merit, and to discovering and promoting new creative artists. To date, it has represented and cooperated with over 20 artists of all ages. Using exhibitions, art fairs, academic discussions, publications and so forth, it is dedicated to establishing the communication channels between artists and the society, institutions and collectors. The gallery also organizes artwork sales, tailored art projects, collection management consultings, art education projects and curatings.
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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千高原艺术空间 A THOUSAND PLATEAUS ART SPACE开放时间：周二至周日（周一闭馆），11:00-18:30地址：中国. 四川省成都市高新区盛邦街，铁像寺水街南广场
