TANG ZIYONG
唐自勇
热望山丘
2024/7/20（周六），15：00
孟禄丁Meng Luding / 徐赫 Xu He
孔孔 Kong Kong / 晓君 Xiao Jun
美博美术馆 Mei Bo Art Museum
Mei Bo Art Museum, No. 88 Liming Rd, Minhang District, Shanghai![]()
《持火把的人》50×140cm 布面油画 2023年
猫、犬、鹿、马、牛、鹅、狮子和人——它们是绘画所指涉的具体概念对象，亦或是一堆由点、线、色块所组成的聚合物，唐自勇将这两种对象学悬置，并将想象力推进至一切事物产生联系以前，即在它们表象出意义或呼唤某种未知之前，混沌的内在能量首先占据或包裹整个内感官，然后，田园神话的意境才降临至心灵。这类似于加斯东·巴什拉所说的“回荡”，对生活的经验性总结并不产生诗意，而是透过诗意象才使得生活的全部细节轰然回响。显然，唐自勇在画面中并不试图展现图像的成功学逻辑，而是像一个清贫乐道的孤家寡人，用真诚而热烈的笔触抵抗拟像，呼吁人们重返内在的真实，就像夏日之炎与心之热忱同构为一张画布中的重叠色，这是纯粹情感的至上精神——画面中那些似有形的人物、动物与山丘并非某种叙事逻辑下的有意操弄，也绝非对历史风格的攀附，而是艺术家精神乐园的自行置入并显现，而这种精神乐园就是对整个生成式的由虚拟媒体所拟造之世界的田园式出走，带着一股热忱去回归真实的人与人、人与物的情感。《不速之客》135×120cm 布面油画 2020年
Cats, dogs, deer, horses, cows, geese, lions, and humans—are they the specific conceptual objects referred to in painting, or merely a cluster of dots, lines, and color blocks? Tang Ziyong suspends these two object theories and pushes his imagination to the time before things are connected, that is, before they manifest meaning or call for some unknown. First, the chaotic inner energy occupies or envelops the entire inner senses, and then, the artistic conception of pastoral mythology descends upon the soul. This is similar to Gaston Bachelard's "reverberation," where it is not the empirical summary of life that generates poetry, but rather the poetic image that makes all the details of life resonate loudly. Clearly, Tang Ziyong does not attempt to display the logic of image success in his paintings. Instead, like a solitary person who is content with poverty but joyful in his pursuits, he uses sincere and passionate strokes to resist simulation and calls for people to return to inner truth. It is like the heat of summer and the sincerity of the heart being fused into overlapping colors on a canvas, representing the supreme spirit of pure emotion. The seemingly tangible figures, animals, and hills in the paintings are not intentionally manipulated under some narrative logic, nor are they an imitation of historical styles. They are the self-insertion and manifestation of the artist's spiritual paradise, which is a pastoral escape from the entire generative world created by virtual media, carrying a passion to return to the authentic emotions between people and things.《采果》180×160cm 布面油画 2023年
我曾经被自勇绘画里若隐若现的形而上气息迷惑，感觉自勇似乎有意在形式上召唤马列维奇的抽象性，实际上确实是有些相似的，它们都弥漫着一种遥远的熟悉性，一个外人无法穿越的地带，色块与色块被切割出一个个并不和谐但却相互倾诉陌生感的区域，对比分明，亮部略显苍白又有些混沌的色彩经过干燥笔触的摩擦摆动，形成砂纸般的苦涩质感，这些被自勇强行拼合在一起的区域，坚固而孤寂，它们被赋予一种不容置疑的绝对性，这确实和现代主义抽象绘画中的纯粹性很相像，但很快我便发现，它们作为身体想象的赋予物被凝滞在作者的某个类乌托邦的时间和空间里，形象作为象征是作者理想与现实扯不断理还乱的符号借喻——乡村、城市、狗猫马、一个或几个形影相吊的人，它们是一群被异质化的景观和生物，有时像一群囚徒，有时像个小镇文艺青年，沉默地在牧歌田园诗般的困境里期冀着不可能到来的奇迹破开空间拯救僵化的模型。显然，自勇十分清楚自己面临的困境，很难描绘这种感觉，从排斥更加新颖充满变化的形式方面来看，他拒绝融入当下流光溢彩的社会情境，因此自勇的绘画在当下显得极其格格不入，也许在自勇的潜意识里，现在大多数的所谓追逐形式的变化，更多的是行为的模仿，它们失去了内部，将形式变成了一具没有灵魂的躯壳，但我们似乎又可以从反面去观看，自勇并不在意形式的新颖有趣，却相当形式化，他所塑造的形体去掉了肉身的热度和真实事物的原态，语言的可能性被封闭在一种连续的同质化状态里，我们在形式里感受不到热情，这使得意义，概念等等我们依赖的知识经验在作品的每一个缝隙里几近于无，剩下的是空间、物质、厚度以及寄托在其中积郁的精神和情感。《眺望》160×130cm 布面油画 2022年
I have once been captivated by the elusive metaphysical aura in Ziyong's paintings, sensing that he seems to intentionally evoke Malevich's abstraction in form. Indeed, there are striking similarities, both exuding a remote familiarity, a realm that outsiders cannot traverse. Blocks of colors are carved out into dissonant yet intimately confessing realms of strangeness, where contrasts are sharp, and the pale, slightly chaotic hues of the light sections, through the friction and sway of dry brushstrokes, take on a gritty, bitter texture akin to sandpaper. These forcibly juxtaposed areas, sturdy yet lonely, are endowed with an undeniable absoluteness, mirroring the purity found in modernist abstract painting. Yet, soon I realized that these forms, as embodiments of bodily imagination, are suspended within the artist's quasi-utopian time and space. The images—symbols of the artist's inextricably intertwined ideals and reality—portray landscapes and creatures rendered alien: countryside, cities, dogs, cats, horses, one or a few solitary figures. They resemble either a group of prisoners or small-town bohemian youth, silently yearning for an impossible miracle to breach their pastoral-idyllic predicament and redeem the rigid constructs.
Evidently, Ziyong is acutely aware of his predicament, and it's challenging to articulate this feeling. By eschewing more novel and dynamic forms, he refuses to assimilate into the current, effervescent social landscape, rendering his paintings conspicuously out of place. Perhaps, at a subconscious level, Ziyong views the prevalent pursuit of formal variation as mere behavioral mimicry, devoid of essence, reducing form to a soulless shell. Yet, paradoxically, though he does not prioritize novelty or playfulness in form, his work is deeply formalistic. The figures he sculpts divest themselves of fleshly warmth and the rawness of authentic objects, confining linguistic possibilities within a continuum of homogenization. Within this form, we encounter a dearth of passion, leaving knowledge, concepts, and the experiences we rely on nearly absent from every crevice of the work. What remains are space, matter, depth, and the pent-up spirits and emotions embedded therein.
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本次展览「热望山丘」将集中展示唐自勇2022 - 2024年创作的近30件油画作品，本次展览开幕时间2024年7月20日下午3点，展期至2024年8月18日。
This exhibition will showcase nearly 30 oil paintings created by Tang Ziyong between 2022 and 2024. The opening ceremony will be held at 3 pm on July 20, 2024, and the exhibition will run until August 18, 2024.
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Tang Ziyong
湖南株洲人，1998年大学毕业，先后就读于湖南工业大学美术系，广州美术学院，1999-2011年期间，主要从事于广告公司平面设计，报社美编，影视电视台美术指导等工作，2011年开始职业画家至今。现生活工作于上海。Tang Ziyong, was born in Zhuzhou, Hunan, graduated from university in 1998, majoring in Fine Arts at Hunan University of Technology and Guangzhou Academy of Fine Arts successively.From 1999 to 2011, Mr. Tang was mainly engaged in graphic design for advertising companies, art editor for newspapers, and art director for film and television stations. Since 2011, he has been a professional painter, and currently lives and worsk in Shanghai.
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| 开馆时间： 周二至周日
10:00 - 17:00（周一闭馆）
| 地址： 上海市闵行区黎明路88号 美博美术馆
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