贵宾预展（仅限邀请）｜VIP PREVIEW (INVITED ONLY)
2024.5.23 12:00 - 19:00
2024.5.24 11:00 - 18:00
公众日｜PUBLIC DAYS
2024.5.25 11:00 - 18:00
2024.5.26 11:00 - 18:00
展览地点｜Venue
北京全国农业展览馆11号馆
Hall No.11 of National Agricultural Exhibition Center, Beijing
何多苓
He Duoling
李昌龙
Li Changlong
李昌龙的大型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 large-scale 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.
漆澜
Qi Lan
▲漆澜，致杜甫—花径不曾缘客扫，劳森伯格皮纸综，含框：289 × 190 cm × 8 cm，2023
Qi Lan, To Du Fu - The flowery path will not be, Mixed media on Rauschenberg paper,w/Frame: 289 × 190 cm × 8 cm, 2023
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。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。漆澜的绘画在山水草木、流岚烟霞中寻求历史、理想和心灵的慰藉。
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".
王川
Wang Chuan
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.
薛若哲
Xue Ruozhe
在这个名为“YYYY-MM-DD”的系列中，遥远天体的转动和它几乎不可见的轨迹，经由一朵花的枯荣被保留和展露：每天，差不多同一个时刻，在同一瓶花的后面，薛若哲会支上画板，调好颜色， 写生其中一朵花，并在画面上标注这一天的日期。一天一朵，直至悉数画完。时间流逝，瓶中花在不停变化，花蕾绽放，花朵凋谢。薛若哲如实将它们的变化绘制在画布上，之前画好的则保留原样，并不加以覆盖。一瓶花画完后，他会再买一束新的鲜花插入瓶中 ，如此往复，日日如此。为了不让这个持续的行动被打断，他将画幅的大小设置为 50 x 40 cm，恰好可以放在旅行箱中，随身携带，各处迁徙。“YYYY-MM-DD”从薛若哲小女儿降生之日开始，它将持续到艺术家生命的尽头。
In this series named "YYYY-MM-DD", the rotation of distant celestial bodies and their almost invisible trajectories are preserved and revealed through the withering and blossoming of a flower: every day, at about the same time, behind the same vase of flowers, Xue Ruozhe will set up a drawing board, blend the colors, sketch about one of the flowers, and mark the date of that day on the screen. One flower a day until all are painted.Time passes, the flowers in the bottle are constantly changing, the buds bloom, and the flowers wither. Xue Ruozhe truthfully drew their changes on the canvas, while the previously drawn ones remained the same and were not covered. After painting a bottle of flowers, he would buy a bunch of fresh flowers and insert them into the bottle, repeating the sketching practice day after day. In order not to interrupt this continuous action, he set the size of the picture to 50 x 40 cm, which happens to fit in his suitcase and be carried around, migrating with him from place to place. From the birth of Xue Ruozhe's youngest daughter, 'YYYY-MM-DD' series will continue until the end of the artist's life.
杨述
Yang Shu
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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