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2024.3.26 12:00 - 20:00
2023.3.27 12:00 - 16:00
2023.3.28 12:00 - 14:00
2023.3.29 12:00 - 14:00
2023.3.30 11:00 - 13:00
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2024.3.27 16:00 - 20:00
公众日｜PUBLIC DAYS
2024.3.28 - 2024.3.30
香港会议会展中心，湾仔港湾道1号
Hong Kong Convention & Exhibition Centre
1 Harbour Road, Wan Chai, Hong Kong
漆澜
Qi Lan
▲漆澜，致杜甫—晓看红湿处，手工皮纸综合材料，275.7 × 179.5 cm，含框 281 × 185.5 × 8 cm，2024
Qi Lan, To Du Fu - Morning flowery road after rainy night, Mixed media on handmade bast paper, 275.7 × 179.5 cm, w/frame 281 × 185.5 × 8 cm, 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。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。
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.
杨述
Yang Shu
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.
周春芽
Zhou Chunya
Zhou Chunya regarded as a leading figure in the industry, he is esteemed as one of the artists with the most exceptional command of color in the realm of contemporary Chinese art. Over the course of more than four decades of creative practice, he has persistently pursued change and innovation. His works have been acquired by significant institutions worldwide and exhibited in numerous international exhibitions. The “Taihu Stone Series” initiated in the early 1990s, infuses traditional Chinese literati rock elements with a new expressionist color palette, establishing a distinctive artistic style. The “Peach Blossom Series” which commenced around 2005, is among the artist’s most renowned series, conveying his fresh mindset and aspirations towards life and art. The widely recognized “Green Dog Series” serves as a symbolic representation, embodying the purity of primal emotions, and personifying the relationships between individuals, societal roles, and authentic personalities. His recent works reflect the artist’s ongoing exploration and newfound insights into traditional Chinese art and culture. Within the realm of contemporary painting, he effectively merges traditional temperament with modern concepts, positioning himself as one of the most significant figures in the historical development of “New Painting.” His highly individualistic color expressions, avant-garde yet subtly imbued with the spirit of traditional Chinese painting and a pursuit of nature, have established him as one of the most prominent and acclaimed artists in contemporary China.
毕蓉蓉
Bi Rongrong
The installation began with a pattern on a 16th century Italian bronze door that I collected at the V&A Museum, which spreads out in different directions from the cross/four (petal) leaf pattern in the center. Interestingly, the cross or four (petal) leaf pattern appeared on pottery in the Neolithic period in China, as well as in the ancient Assyrian civilization, which may have been a symbol used by the people of that time to express the four directions of the sun's irradiation, or the plants of the sunflowers.This commonality of patterns and their subsequent transmission, development, and change in different nation and boundaries reminds me of the intricate communication between human beings and the fact that patterns are constantly exchanged, reproduced, and born as a language.I expressed these associations in this group of works that combine the media of textile, animation, metal and painting, from the four-leaf pattern to the Bao Xiang pattern, to the landscape around me, as I unfold them strand by strand, hey may fall into chaos again, sometimes I am swallowed up by this infinite chaotic space, and sometimes my thoughts wrap around this infinite space.
光映现场 Film
放映地点 | 香港会议及展览中心一楼演讲厅N101B
Place | Lecture Hall N101B, 1 / F, Hong Kong Convention and Exhibition Centre
放映时间 | 2024年3月28日（星期四）下午5时50分至6时50分
Time | Thursday, 28 March 2024, 5:50pm - 6:50pm
艺术家：陈秋林
Artist: Chen Qiulin
陈秋林
Chen Qiulin
Chen Qiulin, The Garden(Trailer), Single-channel video, 14' 45'', 2007, Ed.5
陈秋林的作品《花园》（2007）探索万县拆迁后的在地内涵。作品中，几十位农民工搬着塞满大花瓶的鲜艳的塑料牡丹穿越城市。通过他们不断的行走和徒劳的寻找，城市的废墟、半拆除的建筑物和在建的工地相互重叠，扩展出一个与现实同步的景况。徒劳的运送任务，不仅擦除了这些空间类别的差异，还讽刺地解释了他们之间的怪诞共性。通过这一辨证的视觉方式，艺术家意图在都市毁坏、再建和乌托邦式的想象中呈现一个循环。通过捕捉其中的往复性和关联感，陈秋林的作品超越了单纯的反映社会现实或个体痛苦层面，到达新的节点，成为当代中国的一个视觉寓言。
Chen Qiulin’s work, Garden (2007), explore the dialectal potentials in the post-demolition setting of Wanxian. The work presents dozens of peasant workers traversing the cityscape to deliver huge vases stuffed with gaudy plastic peonies. Through their repetitive walking and fruitless searching, the urban ruins, semi-demolished buildings, and new sterile constructions are overlapped into an expanded field of simultaneous reality. The futile task of delivery not only erases the differences of these spatial categories, but also ironically reveals the eerie resemblance between them. In a dialectic fashion of visualization, the artist renders the present as a circular movement between urban destruction, creation, and utopian imagination. It is this newly-acquired sense of circularity and interconnectedness that propels Chen Qiulin’s works beyond a singular reflection of social reality or personal anguish, and thus gains critical potentials as a visual allegory for contemporary China.
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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