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开幕时间：2024/10/12（周六）15：00 - 18：00展览地点：四川省成都市高新区盛邦街，铁像寺水街南广场，千高原艺术空间电话：+ 86 - (0) 28 8512 6358
千高原艺术空间荣幸地宣布，艺术家王川个展“线的路径”将于2024年10月12日开幕，并持续至12月20日。
本次展览精选艺术家王川数十年来创作的纸本与布面作品，并将其对照，以“线”这一艺术表达形式之间共有的基础元素，作为此次展览的关键线索。纵观王川的作品，他的纸本线条与布面几何相互呼应，对“线”的反复习作始终贯穿和反映着他的创作脉络。![]()
▲王川，喜马拉雅，布面丙烯，46 × 61 cm，2006Wang Chuan, Himalaya, Acrylic on canvas, 46 × 61 cm, 2006
在这样一种互相表里的关系之中，展览全面呈现王川对 “画笔（brush）”/“毛笔（chinagraph）”、“布面（canvas）”/ “纸面（paper）”，“框架（frame）”/ “装裱（mounting）”等多元媒介的高层次实验，探讨东西方绘画上的疏离、互补、贯彻与相融，更是传达了艺术家力图离异中西概念、打破二元性幻相、尊重媒介平等，以线条的方式回归至对绘画本体的淳朴探究和个人意识上深层次的无为，让线条的属性脱离人为附加的观念，让线条成为一种快乐的游戏。 ▲王川，深圳5号，布面丙烯，120 ×140 cm，2022Wang Chuan, Shenzhen 5, Acrylic on canvas, 120 × 140 cm, 2022
罗杰· 弗莱（Roger Fried）曾将“线”分为“结构式（structural）”与“书法式（calligraphic）”。西方艺术家常以线条为“面”的转捩点，建构或分解一幅图画。它是结构式的、准确的、可修改的；而中国画中的“线”，更多的是笔触的自然推动，枯湿浓淡、起承转合，它是书法式的、自足的、不过分准确的、不可修改且不可复制的。诚然，中西对于“线”有着不同的认识，画家们都试图打破自己的茧室：将线与形的关系变得更加游离的同时，去找寻一个真正的结构与统一。王川多年来也一直尊重着这种结构，尊重着画面的四条边界，尽管他从不去指向一个具体的物。他沿着画框运行，对边界的认知增强了中心图像的冲击力。王川对结构的认知并不是来自于书法本身（calligraphy per se），而是一种书法风格（calligraphic fashion）。一是因为线条的流动性与书写有着天然的联系。王川的画面是由各种各样的点构成的，而点与点相连，使得线条在空间中具有不确定的动感。单性线条横跨整个绘画表面，若仔细观察，我们可以确定由点位带来的秩序。线条在空间中不断重叠、穿插与停顿都是随着身体气韵的变化而缓缓运动的，这都需要艺术家对结构有着整体把握。再来是王川认为书写的本质是由身体的动作来诉说内心的冲动，这种喷涌是一次性的、即时的。绘画于他而言甚至是一种生理驱动，长此以往保持着持续的动作，形成肌肉的记忆，回归至一种像极劳动的创作状态。因此，王川的书法性线条（calligraphic linearity）与书法本身并非必然的因果关系。▲王川，1997 No.2，纸本水墨，97 × 179 cm，1997
Wang Chuan, 1997 No.2, ink on paper, 97 × 179 cm, 1997
与此同时，于王川而言，几何文化亦和西方并无直接关联。简略来讲，水墨讲究路回锋转、中锋、侧锋这些笔墨上的东西，但在布面上的做线确实自由自在，其硬度和厚度都能够书写出来。相比之下，纸上的东西更讲究笔墨的厚度，所以把持这两个东西，主要还是取决于艺术家如何去思考绘画的可能性、语言的可能性。因此，粗略地将王川的创作风格归属于东或西、抽象或具象是没有意义的。他的艰苦习作是一种单纯的表达，力求一种无限接近于儿童的无意识状态。成人通过其繁复的经验主义和后天习得的概念说，来不断地纠正以获得内心的“正确”，而当下性却被视为一种错误，这正好与儿童世界里的原始生命力相悖。画是需要有鲜活感的，要深入就要超越，否则无法构成它的厚度。同时，在绘画的过程中，会释放出诸多私密的个人体验，而这种私密性也正是王川希望其作品所呈现的。
Wang Chuan’s Solo Exhibition:
The Path of Line
Duration: October 12, 2024 - December 20, 2024
Opening: October 12, 2024 15：00 - 18：00
Organizer: A Thousand Plateaus Art Space
Venue: A Thousand Plateaus Art Space, South Square, Tiexiang Temple Riverfront, Shengbang Street, High-tech Development Zone, Chengdu, China
Tel: + 86 - (0) 28 8512 6358
E-mail: info@1000plateaus.org
A Thousand Plateaus Art Space is pleased to announce the inauguration of Wang Chuan's solo exhibition, “The Path of Line” on October 12, 2024, and continuing through December 20th. The exhibition will feature a selection of Wang Chuan's works on paper and canvas created over the past decades, comparing them with each other, and using “line”, the basic element common to all forms of artistic expression, as the key clue of the exhibition. Throughout Wang Chuan's works, his lines on paper and geometry on canvas echo each other, and his repeated practice of “line” always runs through and reflects his creative vein. In such a mutual relationship, the exhibition comprehensively presents Wang Chuan's high-level experimentation in multiple mediums such as “画笔(brush)” / “毛笔(chinagraph)”, “布面(canvas)” / “纸面(paper)”, “框架(frame)” / “装裱(mounting)” and so on. It explores the alienation, complementarity, implementation and integration of Eastern and Western paintings, and conveys the artist's attempt to dissociate the concepts of East and West, break the illusion of duality, respect the equality of mediums, and return to the simple inquiry into the essence of painting and the deep-seated inertia of personal consciousness by means of lines. Therefore, the attributes of lines are free from the artificially-added concepts, and lines can become a kind of joyful game.
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▲王川，深圳，深圳！，布面丙烯，200 × 150 cm，2022
Wang Chuan, Shenzhen, Shenzhen! Acrylic on canvas, 200 × 150 cm, 2022
Roger Fried has categorized “line” into “structural” and “calligraphic”. Western artists often use line as a turning point for “surface” to construct or break down a pictorial plane. It is structural, accurate and modifiable, whereas the “line” in Chinese painting is more of a natural push of the brushstrokes, withered and wet, thick and thin, starting and ending, it is calligraphic, self-contained, not overly accurate, non-modifiable and non-replicable. It is true that both the Chinese and the Western have different perceptions of “line”, and painters are trying to break out of their cocoons: to find a true “structure” and “unity” while making the relationship between line and form more fluid. Wang Chuan has also respected this structure and the four borders of the picture for many years, although he never points to a specific object. He runs along the frame, and his awareness of boundaries enhances the impact of the central image. Wang Chuan's perception of structure does not come from calligraphy per se, but rather a calligraphic fashion. One reason is that the fluidity of lines is naturally linked to handwriting. Wang Chuan's images are composed of a variety of dots, and the dots are connected to each other, giving the lines an indeterminate sense of movement in space. The singular lines span the entire surface of the painting, and if we look closely, we can determine the order brought about by the dots. Lines overlap, interpenetrate and pause in space as the body's rhythm changes and moves slowly, all of which require the artist to have an entire master of the structure. Then there is Wang Chuan's belief that the essence of handwriting is the movement of the body to tell the inner impulses, and that this outpouring is one-time and instantaneous. Painting is even a physiological drive for Wang Chuan, maintaining a constant movement over time, forming a muscle memory and returning to a state of creation that requires extreme labor. Therefore, Wang Chuan's calligraphic linearity is not necessarily causally related to calligraphy per se. ![]()
▲王川，2014-No.19，纸上水墨，68 × 69.5 cm，2014
Wang Chuan, 2014-No.19, Ink on paper, 68 × 69.5 cm, 2014
At the same time, for Wang Chuan, geometric culture is not directly related to the West. Briefly speaking, the ink wash is concerned about the back and forth of the tip of the brush, such as zhongfeng technique (literally as “centered-tip”) and cefeng technique (literally as “slanted-tip”). However, drawing or painting the line on canvas can be really free and easy, and its hardness and thickness are able to write out. In contrast, things on paper are more concerned about the thickness of the ink and brush, so how to master these two things mainly depends on how the artist thinks about the possibility of painting, the possibility of language. Therefore, it is meaningless to roughly attribute Wang Chuan's creative style to East or West, abstract or figurative. His painstaking exercise is a pure expression that strives for a state of unconsciousness that is infinitely close to that of a child. Adults, through their elaborate empiricism and acquired conceptualizations, are constantly corrected to achieve inner “rightness,” while immediacy is seen as an error that contradicts the primordial vitality of the child's world. Painting requires a sense of vividness, and to go deeper you have to go beyond, otherwise you can't constitute its thickness. At the same time, the process of painting releases many private personal experiences, and this privacy is exactly what Wang Chuan wants his works to present.
王川，1953年生于四川成都，1982年毕业于四川美术学院中国画系。现工作生活于北京、深圳、纽约。
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。这也让他的绘画变成个人心灵的修行。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。这种经验是我们仅在艺术史或者其他任何艺术动机状态下无法获得的。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。王川曾在中国大陆、美国、德国以及台湾多次举办个展。他的艺术创作被收录于中国众多知名艺术评论家如高名潞、栗宪庭、巫鸿、吕澎、潘公凯以及西方评论家Robert Morgan的著作中。他的作品被众多机构收藏，包括大英博物馆、旧金山亚洲艺术博物馆、洛杉矶郡立美术馆、美国赫夫纳美术馆、芬兰赫尔辛基国家美术馆、法拉利现代美术馆、尤伦斯当代艺术中心、民生现代美术馆、香港艺术馆、亚洲艺术文献库、香港M+博物馆、民生现代美术馆、刘海粟美术馆、龙美术馆、多伦美术馆、广东美术馆、何香凝美术馆、OCT当代艺术中心、深圳美术馆、关山月美术馆、湖北美术馆、上海龙美术馆等。
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
