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蜂巢将在2017年香港巴塞尔"亚洲视野"单元推出梁铨个展

2017-03-20 11:06:48 来源: 雅昌艺术网专稿
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摘要: 蜂巢将亮相 2017香港巴塞尔艺术展 HiveCenterforContemporaryArtwillattend 2017ARTBASELHongKong "亚洲视野"单元|Insights 蜂巢展位|Booth:3D35 梁铨个展 LiangQuan'sSoloExhibi…

  蜂巢将亮相

  2017  香港巴塞尔艺术展

  Hive Center for Contemporary Art will attend

  2017 ART BASEL HongKong

  "亚洲视野"单元 | Insights

  蜂巢展位| Booth: 3D35

  梁铨个展

  Liang Quan's Solo Exhibition

  即将开幕的2017香港巴塞尔艺术展,蜂巢当代艺术中心将在“亚洲视野”推出梁铨个展。出生于1948年的梁铨,是上世纪“文革”后首批留学国外的当代艺术家,也是中国当代艺术中最早从事抽象创作的重要艺术家之一。他于1981年留学美国旧金山,亲历了西方后期抽象表现主义思潮,从而使他的艺术风格糅合了中西方视觉文化的双重特征,创作语言是西方抽象主义的形式,但作品中体现出来的却是东方艺术的美学底蕴。梁铨在汲取西方现当代艺术经验的同时,通过语言和形式的途径,回归到自身深谙熟知的中国艺术传统,构建了一个既与中国本土艺术有别又和西方艺术保持着差异性的美学框架。

  此次推出的梁铨个展,呈现了艺术家自上世纪八十年代至今各个年代的创作,从中可以看出梁铨创作的脉络以及演变过程。特别是艺术家一批创作于“85新潮”前后的重要作品,也将在现场呈现。

  梁铨/ Liang Quan

  黑火/ Black Fire

  1986-1987

  色、墨、宣纸拼贴/ Ink, color and rice paper collage

  76×62cm

  梁铨/ Liang Quan

  儿子/ Son

  1989-1990

  色、墨、宣纸拼贴/ Ink, color and rice paper collage

  120×89cm

  梁铨/ Liang Quan

  妈妈/ Mama

  1989-1990

  色、墨、宣纸拼贴/ Ink, color and rice paper collage

  177×73cm

  1981-83年,梁铨赴美国求学期间,曾经在纽约大都会博物馆里流连,他在观赏馆中陈列的中国古代艺术品时,忽然觉得山水画的装裱本身可以视为一种“拼贴”语言:如天头、地脚、轴杆之类,与画心一起有机地构成作品整体。这是一个别具意味的时刻,我们知道,拼贴作为一种视觉世界里的语言存在,源自达达、立体派和超现实主义的合力缔造,而身为中国人的梁铨将古典形式翻译成了“外语”,这其实是经由他者的眼睛重新观看和想象传统;移除了社会主义现实主义的主体,沉浸于现代主义的洗礼,以致个人变成了一个充满张力的“接触地带”(contact zone) ,这大致可以描述远渡重洋的梁铨的状态。

  梁铨/ Liang Quan

  迹/ Traces

  2007

  茶、色、墨、丙烯、宣纸拼贴

  Ink, tea, color, acrylic and rice paper collage

  60×90cm

  梁铨/ Liang Quan

  无题/ Untitled

  2007

  茶、色、墨、丙烯、宣纸拼贴

  Ink, tea, color, acrylic and rice paper collage

  90×120cm

  梁铨在他的创作实践中似乎首先扮演了一个翻译者的角色,他试图借助于外语来解读“文言文”的原作,进而将它翻译至现代汉语的环境里来。一个文化河道内部的、古典与当代两岸之间的翻译者,这种角色听起来似乎荒谬,但意味着某个正当的、值得投身的“空隙”。在梁铨的成长环境里,“本族语言碰巧所处的状态”呈现出被官方意识形态长期绑架之后的僵滞感,重获表达可能的大多数水墨画家们在抒发性灵的道路上行之不远,就重新陷入程式化的窠臼。在这种背景里,把“装裱”变成“拼贴”,正好可以视为梁铨把古典汉语变成英语、法语或意大利语的练习,也是他的个人回环运动的前半段,在此后漫长的时光里,“拼贴”将会作为一种为他个人所逐渐汉化的语言,用于他对传统经典的翻译。当然,与这个运动过程相伴的不止于“拼贴”这种单一而孤立的西方资源,涂鸦、波普的现成品观念和抽象主义等等都在不断完善着他的词汇表及其背后的翻译法则,古代山水画的笔墨、结构和气韵因此重新相遇在一个面目全非、充满异质的语层(stratum)。

  梁铨/ Liang Quan

  星的空间之二/ The Space of Stars Ⅱ

  2009-2011

  色、墨、宣纸拼贴/ Ink, color and rice paper collage

  200×140cm

  梁铨/ Liang Quan

  桃花源记之二/ Chronicles of Peach Blossom Spring Ⅱ

  2014

  色、墨、宣纸拼贴/ Ink, color and rice paper collage

  50×40cm

  梁铨在2000年后转变的风格,大致上可以概括为繁华落尽,灿烂翻为萧瑟,躁动归于静寂。这一时期的作品标志着他与养育他的古老文化在现实世界中的实际相遇,真切踏上了一条东方绘画诗学的归途。这一切没有惊奇感,也没有晦涩含糊的纠结,只有久违的归属感带来的澄明与宁静。手工制作的过程感,优雅的梦想,换言之,语言与形式的探寻在他那里总是占据着上风,“向传统致敬”也一再地成为母题,围绕这些顽念展开的实践一步步地将他引向 “纯语言”的追求。梁铨对纯语言的“意译”,则像河中的一叶“虚舟”渴望划向绝对的彼岸 ,而他深知怀乡的前提在于要呈现我们与家园之间漫长的距离,他对距离的度量首先从语言开始,也将在语言中获取缩短它的机会。

  梁铨/ Liang Quan

  参观范宽后的联想之一

  The Association After Visited Fan KuanⅠ

  2015

  色、墨、宣纸拼贴/ Ink, color and rice paper collage

  120×90cm

  梁铨/ Liang Quan

  玉兔图/ The Jade Hare

  2015

  色、墨、宣纸拼贴/ Ink, color and rice paper collage

  90×60cm

  梁铨/ Liang Quan

  湘妃竹/ Mottled Bamboo

  2016

  色、墨、宣纸拼贴/ Ink, color and rice paper collage

  160×122cm

  Liang Quan is the one of the first Chinese contemporary artists who studied in America after Chinese Cultural Revolution. Also he is one of the first Chinese artist who have engaged in abstract works. The utilization of the rhetoric of dual East-West cultural heritage and intertextuality became the crux of establishment of Liang’s artistic style. This exhibition will show Liang's contribution and practice in translating the Western Abstract language to the East using Liang's masterpieces from different phases.

  In 1981 to 1983, while studying in America, Liang was attracted by "collage "technique  in Modern art, because this language is rooted in the combined forces of Dadaism, Cubism and Surrealism, which was attractively for a Chinese artist who have just come into contact with various western schools of art in a short period of time. Therefore, Liang sensitively connected in the mind that the mounting of SHANSHUI landscape paintings could itself be seen as a language of “collage;” elements such as the upper and lower boundaries and the wooden core work together naturally with the painting to form a completed artwork. Liang translated a classical form into a “foreign language,” which is in effect the viewing and imagining of tradition through the eyes of others. Liang’s condition, far off across the seas, could be described as the one who is removed from the main stream of the Socialist Realism and steeped in modernism to the point that he became a contact zone full of tension.

  In his creative practice, Liang seems to have first played the role of translator, attempting to use a foreign language to interpret an original work in “classical Chinese,” and then to translate it into the environment of modern Chinese. The role as a translator in the stream of cultures by, translating the contract of classic and contemporary, may sound rather absurd, but it implies a “gap” that is correct and worthy of our efforts. In the environment in which Liang was raised, the “state in which his own language happens to be” appeared long ossified in a rigid framework of official ideology. Most ink painters who regained the possibility of expression were unable to go far along the path of spiritual expression and again fell into the trap of formulaic creation. Overcoming this backdrop, the act of turning “mounting” into “collage” can be seen precisely from Liang practicing the translation of classical Chinese into English, French or Italian, and as being the first half of his winding return motion. In the long period that followed, “collage” would become a personal language that he would gradually Sinicize for use in his translation of traditional classics. Surely, this movement processes did not include the solitary Western resource of “collage” alone; others, such as graffito, Pop readymade concepts and abstraction all served to constantly improve his translation vocabulary, so that the brushwork, structures and atmosphere of ancient SHANGSHUI painting meet up with a new encounter with an unrecognizable, alien stratum.

  Liang Quan’s shift in style after 2000 can be briefly summarized as the return of silence. In a sense, Liang’s creations at this period encounter with old culture, which raised him from child, in the real world. The sense of process in the manual production approach produces a dream of elegance. In other words, explorations of language and form are always dominated his practice. “Salute to tradition” becomes a recurring motif, yet the practice that emerged from this nostalgic rumination gradually led to a pursuit of “pure language.” Liang’s “conceptual translation” of pure language is a leaf-like “empty boat” floating in the middle, yearning to paddle to the absolute other shore. Liang knows that to evoke nostalgia, one must first convey the great distance between us and our homeland. Liang's measure of distance begins with language, and in language, he explores a way to shorten it.

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