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展位 Booth | W05
艺术家 | 毕蓉蓉、陈秋林、丛文佳、何多苓、李昌龙、李占洋、庞茂琨、漆澜、饶维懿、王川、王绍强、薛若哲、杨述、翟倞
Artists | Bi Rongrong, Chen Qiulin, Cong Wenjia, He Duoling, Li Changlong, Li Zhanyang, Pang Maokun, Qi Lan, Rao Weiyi, Wang Chuan, Wang Shaoqiang, Xue Ruozhe, Yang Shu, Zhai Liang
贵宾预展（仅限邀请）｜VIP PREVIEW (INVITED ONLY)
2023.11.09, 13:00-20:00
2023.11.10, 13:00-20:00
公众开放｜PUBLIC DAYS
2023.11.11, 11:00-18:00
2023.11.12, 11:00-18:00
上海展览中心——延安中路1000号
Shanghai Exhibition Center No.1000 Middle Yanan Road
千高原艺术空间欣然宣布参加2023ART021上海廿一当代艺术博览会，我们将于2023年11月9日至11月12日在博览会呈现毕蓉蓉、陈秋林、丛文佳、何多苓、李昌龙、李占洋、庞茂琨、漆澜、饶维懿、王川、王绍强、薛若哲、杨述、翟倞共十四位艺术家的作品，展位W05。A Thousand Plateaus Gallery is participating in 2023 ART021 SHANGHAI Contemporary Art Fair from November 9 to 12, showcasing works of the following 8 artists: Bi Rongrong, Chen Qiulin, Cong Wenjia, He Duoling, Li Changlong, Li Zhanyang, Pang Maokun, Qi Lan, Rao Weiyi, Wang Chuan, Wang Shaoqiang, Xue Ruozhe, Yang Shu, Zhai Liang. Booth W05.
Yang Shu’s Solo Exhibition
杨述
Yang Shu
▲杨述，无题 2023 F3，布面丙烯综合材料，250 × 300 cm，2023Yang Shu, Untitled 2023 F3, Mixed media and acrylic on canvas, 250 × 300 cm, 2023▲杨述，无题 2023 F11，布面丙烯综合材料，150 × 120 cm，2023Yang Shu, Untitled 2023 F11, Mixed media and acrylic on canvas, 150 × 120 cm, 2023▲杨述，无题 Y4，布面丙烯, 树脂, 彩色泥，80 × 60 cm，2023Yang Shu, Untitled Y4, Resin, sugru, acrylic on canvas, 80 × 60 cm, 2023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.
Gallery Artists Group Exhibition
毕蓉蓉、陈秋林、丛文佳、何多苓、李昌龙、李占洋、庞茂琨、漆澜、饶维懿、王川、王绍强、薛若哲、翟倞
Bi Rongrong, Chen Qiulin, Cong Wenjia, He Duoling, Li Changlong, Li Zhanyang, Pang Maokun, Qi Lan, Rao Weiyi, Wang Chuan, Wang Shaoqiang, Xue Ruozhe, Zhai Liang.
毕蓉蓉
Bi Rongrong
▲毕蓉蓉，平面生物——风景 I，铅笔，墨，纸，150 × 115 cm，2021Bi Rongrong, Animal in Two Dimensions—Landscape I, Pencil, ink, paper, 150 × 115 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，树，胶片摄影，艺术微喷，120 × 80 cm × 3，2014-2016Chen Qiulin, Peppermint, Film photography, giclee print, 120 × 80 cm × 3, 2014-2016陈秋林在作品创作中注入了她细腻的观察和体会，发掘生活在这片土地上的女性淳良的秉性和她们对于传统的敬畏，并将这些特质集于片中的女主角，让她如空谷幽兰一般游走于村落小巷间，以玄秘的情景一幕幕展示了这里遗落在现代文明环境深处，被边缘化却无法摒弃的古老传统；通过录像、摄影、装置等多种媒介的结合，在幽暗的展厅中呈现了其对侗族女性生活的观察和思考——封闭的环境造就了生活于此的女性缄默的性格，单调的生活状态并非天意，却已成为一种难逃的宿命。
陈秋林用内敛，平实的创作方式，回应了全球当代艺术在面对社会，历史，与身份问题时惯用的，制造“奇观”的表现手法。这来自她对个体生活与生命的尊重：任何个体都不应该成为谈论身份问题的工具，而应该作为其本身被认知和表现。
Chen Qiulin puts her delicate observation and experience into her work. She discovered the women’s unsophisticated nature and awe for traditional norms on this land, and all these characteristics are endowed to them in the videos, which let the women like the orchids wandering in the streets. Qiulin uses the occult scenes to show the things that have been left by the modern civilization environment, also the old tradition that has been marginalized but hardly to be abandoned. Through the combination of video, photography, installation and other media, the exhibition presents the observation and reflection on the life of women from the Dong ethnic group -- the enclosed environment formed women’s silent character. The monotonous life state is not destined, but has become a kind of inevitable fate.
Chen Qiulin uses a restrained and plain way of creation to respond to the idiomatic artistic language "Spectacle" in global contemporary art when it comes to the social, historical, and identity problems. This comes from her respect for individual life: Any individual should not be a tool to speak of identity, but should be recognized and represented as itself.
丛文佳
Cong Wenjia
▲丛文佳，田园诗 2023，布面油画，80 × 60 cm，2023Cong Wenjia, Pastoral poem 2023, Oil on canvas, 80 × 60 cm, 20231994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。此次带来的作品《暖阳》、《向往》便反映她典型的创作风格。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. The works on show "Warm sun”and "Yearning" can reflect her typical creative style.
何多苓
He Duoling
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▲何多苓，原上草 No.2，布面油画，200 × 150 cm，2020He Duoling, Grass on the Meadow No.2, Oil on canvas, 200 × 150 cm, 2020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.
李昌龙
Li Changlong
▲李昌龙，特修斯之船，布面油画，160 × 100 × 3 cm，2022Li Changlong, The Ship of Theseus, 160 × 100 × 3 cm, 2022李昌龙的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 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.
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.
漆澜
Qi Lan
▲漆澜，清平调之二，手工皮纸综合材料，139 × 90 cm，含框尺寸：154 × 90 × 4 cm，含框尺寸：151.5 × 102 × 4 cm，2023Qi Lan, Pure Peace Tune II, Mixed media on handmade bast paper, 139 × 90 cm, w/Frame : 151.5 × 102 × 4 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。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.
饶维懿
Rao Weiyi
▲饶维懿，晚睡的稻子，布面丙烯，180 × 150 cm，2023Rao Weiyi, Later sleepers, Acrylic on canvas, 180 × 150 cm, 2023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
▲王川，宋庄之八，布面丙烯，150 × 200 cm，2022Wang Chuan, Song Zhuang No.8, Acrylic on canvas, 150 × 200 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，红岩IV，纸本水墨，69 × 61 cm，2023Wang Shaoqiang, Red Crag IV, Ink on papers, 69 × 61 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，20230830-20230924，亚麻布丙烯，50 × 40 cm，2023Xue Ruozhe, 20230830-20230924, Acrylic on linen, 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.翟倞
Zhai Liang
▲翟倞，在路上想象，布面油画，231 × 185 cm，2023Zhai Liang, Imagining on the road, Oil on canvas, 231 × 185 cm, 2023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.
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
