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展位 Booth | C03
艺术家 | 陈秋林、何多苓、李占洋、庞茂琨、王川、王绍强、薛若哲、杨述
Artists | Chen Qiulin, He Duoling, Li Zhanyang, Pang Maokun, Wang Chuan, Wang Shaoqiang, Xue Ruozhe, Yang Shu
贵宾预展（仅限邀请）｜VIP PREVIEW (INVITED ONLY)
2023.09.14, 14:00-20:00
2023.09.15, 11:00-18:00
公众开放｜PUBLIC DAYS
2023.09.16, 11:00-18:00
2023.09.17, 11:00-18:00
深圳市当代艺术与城市规划馆 (MoCAPE)
No. 184 Fuzhong Rd, Futian District, Shenzhen
千高原艺术空间欣然宣布参加DnA SHENZHEN 2023，我们将于2023年9月14日至9月17日在博览会呈现陈秋林、何多苓、李占洋、庞茂琨、王川、王绍强、薛若哲、杨述共八位艺术家的作品，展位C03。A Thousand Plateaus Gallery is participating in DnA SHENZHEN from September 14 to 17, showcasing works of the following 8 artists: Chen Qiulin, He Duoling, Li Zhanyang, Pang Maokun, Wang Chuan, Wang Shaoqiang, Xue Ruozhe, Yang Shu. Booth C03.
陈秋林
Chen Qiulin
▲陈秋林，薄荷，胶片摄影，艺术微喷，德国哈内姆勒摄影纯棉硫化钡收藏级纸张，106 × 130 cm，2018，Ed.5+1APChen Qiulin, Peppermint, Film photography, giclee print, Hahnemuehle Photo Rag Baryta, 106 × 130 cm, 2018, Ed.5+AP“清爽的，干净的充满阳光的味道，是淡淡的薄荷的味道”，这是属于艺术家陈秋林关于武术、关于那些人、关于围绕着万州故事的回忆与想象，还有由此展开的无法预期的重逢与返回。陈秋林的作品“薄荷”回归于“人”：那些关于 “他们” 的回忆，以及鲜活的现在，借由“武术”被联系起来。可以说，这是属于陈秋林的怀念与执着，关于从前童年阶段习武生活中的自己，以及同样承载这段记忆的老师与朋友。相比于模糊的回忆，夹杂了重逢后的陌生与欣喜、彷徨与怀疑都在现场的影像与物件里显露出来，引导观众探索并深入。“Fresh, clean, sunny and peppermint-like”, this belongs to the artist Chen Qiulin’s imagination and memory of the story about Martial Arts, about those people, about Wan Xian and the unexpected reunion and return to the past. Chen Qiulin’s “Peppermint” returns to the "human being": those memories of "them", as well as their living now in the name of Martial Arts. It can be said that it belongs to Chen Qiulin's memory and persistence, about herself in the childhood learning Martial Arts, as well as the teachers and friends who also have always carried this memory. Compared with those vague memories, the strangeness and joy, hesitation and doubt after the reunion are revealed in the images and objects. It guides the audience to explore deeply to Chen Qiulin’s world.
何多苓
He Duoling
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▲何多苓，看花，布面油画，200 × 100 cm，2023He Duoling, Views of flowers, Oil on canvas, 200 × 100 cm, 2023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.
李占洋
Li Zhanyang
▲李占洋，桃，水晶，20 × 22 × 23 cm，2021，Ed.20Li Zhanyang, Peach, Crystal, 20 × 22 × 23 cm, 2021, Ed.20综观李占洋十几年来的雕塑作品，即使在系列化的作品中，他也不太追求风格的统一性。这一方面让他的“个人标签”从作品最外在的形态上难以辨识；但另一方面，又让人佩服他艺术素养的全面和对艺术语言的聪颖领悟、娴熟把握。他的作品，在具象雕塑语言方面有“百科辞典”之感，写实雕塑、欧洲中世纪雕塑、中国民间雕塑等手法，在他这里自如的随手拈来，并与绘画、装置等综合视觉方式轻松结合。
Looking at Li Zhanyang's sculpture works over the past ten years, even in serialized works, he does not pursue the unity of style. On the one hand, this makes it difficult to explain his "personal label" from the most external form of his works; on the other hand, on the other hand, it also makes people admire his comprehensive artistic literacy and his clever comprehension and mastery of artistic language. His works are like an "encyclopedia dictionary" in terms of figurative sculpture language. He freely uses techniques such as realistic sculpture, European medieval sculpture, and Chinese folk sculpture, and easily combines them with comprehensive methods such as painting and installation.
庞茂琨
Pang Maokun
▲庞茂琨，蓝裙尼娜，布面油画，140 × 120 cm，2023Pang Maokun, Nina in the blue dress, Oil on canvas, 140 × 120 cm, 20231980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，2022年第1号，布面丙烯，100 × 100 cm，2022Wang Chuan, 2022.No.1, Acrylic on canvas, 100 × 100 cm, 2022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
▲王绍强，亥时蓝溪II，纸本水墨，125 × 125 cm，2023Wang Shaoqiang, Blue Stream After Nightall II, Ink on papers, 125 × 125 cm, 2023基于对中国文化传统的热爱和信心，王绍强独具慧眼，逆流而动，观有品无，以一种打通中西古今艺术的胸怀和观今见古的文化立场，借鉴西方现代科学精神的利器，对中国水墨艺术、特别宋以后的文人画传统进行了系统的研究和反思，并在水墨艺术与地理学、地质学、人类学、考古学等学科的跨界互动和交融中，以当代艺术的视野从媒材、物理和制作性等维度，对传统进行了富于创造力和想象力的重构，发展出一套独特的视觉语言逻辑和艺术观看的工作方法。在王绍强的探索中，水墨文化传统的延续和激变在当下现实中构成了富有张力的两极。艺术家对世界的“观看”，也通过“仰观”与“俯察”的宇宙漫游，由神话进入历史，从仙境落入人间。
Based on his love and confidence in the traditional Chinese culture, Wang Shaoqiang cultivated a unique insight, which helped him move against all the obstacles, hence observing what is good and what is not. With a cultural stance of connecting ancient and modern art between China and the West, the present and the past, drawing inspiration from the spirit of modern Western science, Wang Shaoqiang has conducted a systematic study and reflection on Chinese ink art, especially the literati painting tradition after the Song Dynasty. He has also studied and reflected on the relationship between ink art and geography, geology, anthropology, archaeology and other disciplines. A creative and imaginative reconstruction of tradition has been carried out from the perspectives of contemporary art, including media, physics, and production, which helped him develop a unique set of visual language logic and artistic viewing methods. In Wang Shaoqiang's exploration, the continuation and upheaval of ink art culture tradition constitute a tense bipolar situation in current reality. The artist's ‘observation’ of the world is also achieved through the cosmic wandering of ‘looking up (to the universe)’ and ‘looking down (to the fine dust)’, entering history from mythology and falling into the human world from Utopia.
薛若哲
Xue Ruozhe
▲薛若哲，20230524-20230607，布面丙烯，50 × 40 cm，2023Xue Ruozhe, 20230524-20230607, Acrylic on canvas, 50 × 40 cm, 2023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
▲杨述，S No. 4，布面丙烯综合材料，220 × 180 cm，2021Yang Shu, S No. 4, Mixed media and acrylic on canvas, 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.
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
