雅昌首页
求购单(0) 消息

“倪军个展 : 还是海” 11月12日将于沪申画廊SGA 开幕

2016-11-08 17:15:58 来源: 雅昌艺术网专稿
    收藏 评论

摘要: 展览时间:2016年11月12日-2017年1月7日 开幕酒会:2016年11月12日,星期六,下午5-7点 展览地点:外滩三号沪申画廊(上海市黄浦区中山东一路三号三楼) 还是海 海,是一份上苍赐予的存在,同时上苍也赋予了属于海自己的神话和文明。海分割了我们生存的大陆,同时也联系着我们。我们面对着…

  展览时间:2016年11月12日-2017年 1月7日

  开幕酒会:2016年11月12日,星期六,下午5-7点

  展览地点:外滩三号沪申画廊(上海市黄浦区中山东一路三号三楼)

  还是海

  海,是一份上苍赐予的存在,同时上苍也赋予了属于海自己的神话和文明。海分割了我们生存的大陆,同时也联系着我们。我们面对着几个意义上的海:自然的海、神话的海以及欲望的海。由海的自然本体延伸出来的这三个维度立体地展现了海的两个阶段:一个是我们赖以生存的海,一个是我们为之喋血的海;后者一经开端即演绎着福柯所说的人类大陆间‘洲际交流’以来的现代历史。海的无际、神秘,一直在刺激着人类去探索和征服海的欲望。航海时代的开启,海面上不再平静了。近代世界秩序的建立,肇始于欧洲人在1494年划定的一条地球子午线,它就是著名的《托尔德西拉斯条约》(Treaty of Tordesillas)。

  该条约是哥伦布发现美洲大陆两年后葡萄牙与西班牙两国之间签署的一项双边条约。凭借这个条约,欧洲人第一次在地球版图的意义上对世界进行了势力范围的划分。此事具有重大的历史意义,因为正是《托尔德西拉斯条约》所规定的地球子午线,开启了现代世界秩序的地缘政治。自此,一个双重结构的地缘政治,开始浮现在人们的视野之中:这是一个以地球的空间并同时以地球上的人心为轴线的双重结构(刘禾语)。其后,英国于1651年颁布的《航海法案》(Navigation Acts)更是如一剂春药,彻底揭开了欧洲各国疯狂掠夺海外殖民地资源的序幕。自此,关于海的政治以及与海洋有关的利益分配率正式进入人类的知识范畴。倪军迷恋海,更钟情于地缘政治和由此产生的权力构成、权利中心以及权利斗争等话语的研究。作为一个自由主义的知识分子、观念艺术家,倪军展出的作品试图通过海与人的面孔及神情来展示欲望的海;利用与海相关的事件和器物来链接人的欲望是如何作用到自然的海的。

  倪军 Ni Jun | 印度洋 (局部) Indian Ocean (detail) | 200 cm x 400 cm | 油画 Oil on canvas | 2016

  展览《还是海》是一个基于原创性的研究的汇合,内容涵盖了原始现场的器物、录像、装置和绘画。倪军把自己的思想和作品的能指/所指,对历史和人类经历及面对的问题的诠释,都准确地嵌入了我们身边这个黑暗的江湖,或者说纳入了广义上海所代表的语境。海不仅仅是一个载体,海也是门,进去后还要出来;海是边界,是起点,也是终点。是一个和我们生命一样的过程。这是解读倪军作品内涵以及理解这个展览主旨的钥匙。艺术家创造、挪用的各类元素在这个体量巨大的漏斗里,经过过滤和沉淀、最终流淌出来的不仅是他身心的焦虑,也是一个怀疑主义者对于人性和文明的质疑。倪军在艺术图像中的漏斗式分析和今天全球化语境中传统意义上的权力和文明的螺旋式下降将会产生的结果,在多大程度上的吻合并非本次展览的目的;他的诉求是要和观众一起寻找新的视角,对现实的海和抽象的海,在宏观意义上的解读上的方法,特别是对今天中国自身的处境和未来有一个更加合理的判断——是重走列强的旧路,还是能在发展的方式上有智慧的提升。

  倪军的作品长期与海水的意象与修辞有关。他关注中国绘画中海洋题材的缺失与断裂,同时强烈地纠结于中国之外海洋题材艺术的累积与话语力量。具体地说,他从“鲁荣渔2682号”惨案中看到了人类面对的共同问题,从“金色冒险号”搁浅纽约皇后区海滩事件中看到了中国人的偷渡精神,从土耳其难民皮艇在地中海的命运解读地球人的未来。倪军除了大量绘画外,还有他在比利时列日大学门口独自宣读对以色列轰炸巴勒斯坦的抗议书(录像)以及用大量摄影记录的他的个人观察和独特生活。天津人倪军从小生活于一个海洋城市,后来又长期徜徉于纽约、洛杉矶和地中海沿岸。今天,他要在上海述说他对海一般欲望的爱恨情仇、展现他通过海水以及人物刻画出来的艺术气息,达到与观众互动和分享的目的。在沪申画廊,倪军将把黄浦江上的汽笛声变成每一位参观者的心脏律动,让我们从康拉德的黑暗之心再次走出来,走向对海洋的渴望,走向面对恐惧之后的对大海的永恒拥抱……

  倪军 Ni Jun | 海岛 (局部) Island (detail) | 150 cm x 255.5 cm | 油画 Oil on canvas | 2016

  他近年还从视觉图像分析的角度探讨了二战时期德国与英国海军的大西洋海域和挪威海域的绝命厮杀,深入到欧洲人意识形态中对海洋霸权的漫长历史争夺……这一切都和他很小的时候随母亲去看的一部电影《海魂》有切不断的拉康式心理关联。他自幼在心里就开始了对这些碎片的整合、拼贴:船、海、人,人的欲望,认知的境界和驾驭船及武器的能力,共存共荣和战争厮杀的技巧…… 这一切都从他的展览里,对“鲁荣渔2682号”事件的解读上找到深层的线索。

  曹维君

  2016年10月

  艺术家简介:

  艺术家倪军1963年出生于天津市,他以绘画、摄影、录像等手段表现当代生活和他对世间哲学的思考,多次举办个展,长期在美国和国内的艺术院校讲学,上世纪九十年代初毕业于美国罗格斯大学艺术研究院前曾就读于中央美术学院附中和中央工艺美术学院壁画专业,对油画、公共艺术、现代艺术理论和我国古代文明有深入研究。倪军最新个展《还是海》将于今年11月到2017年元月在上海沪申画廊举办。

  The Deep Blue Sea

  The sea is abequeathed existence from the heaven, bestowed with its own legends and civilization. While the seas segregate the continents where we inhabit and seek survival, they are also the means that keep us connected. Our conception of the sea manifest on three levels: the natural, the legendary and the desirable. These three parameters derived from its physical existence give dimension to two phases that characterize our relationship to it: one we relied on for survival, and the other causes our bloodshed. The latter was inferred to as what Michel Foucault claimed as modern history marked by the “establishment of continental communication” of mankind. The boundlessness and enigma of the seas have always stimulated the human desire to explore and overcome it. Since the beginning of the Age of Discovery, the seas have lost their tranquility. The establishment of world order of the modern era is commenced with the Europeans’ designation of the first global meridian line in 1494, known as the famous Treaty of Tordesillas.

  倪军 Ni Jun | 穿越英吉利海峡 (局部) Passing through the English Channel (detail ) | 190 cm x 400 cm |油画 Oil on canvas | 2016

  This treaty was a bilateral agreement signed by Portugal and Spain two years after Columbus’ discovery of the Americas. Based on this treaty, for the first time, the Europeans demarcated world power on the continental plates. It is an event of great historical significance, because of the meridian line delineated in the Treaty of Tordesillas, geopolitics of the modern world order surfaced. With which, a dual structure of geopolitics began to emerge on the horizon: where the global space coincided with social spaces of the people living on the continents (Lydia Liu). Thereafter, Great Britain issued the Navigation Acts in 1651 that further appealed to the explorers, unveiling the thirst for foreign colonies and their resources amongst the European nations. Henceforth, politics and distribution ratio of interests related to the seas officially entered people’s field of knowledge. Ni Jun is fascinated with the sea. He is even more passionate about geopolitics, and the research on the discourse of power constituents, centers and struggles engendered thereof. As a liberal intellectual and a conceptual artist, the works Ni Jun presents attempt to unveil a desire for the sea through its affect on the faces and in the spirits of those who have experienced it; the exhibition adopts events and objects related to this subject to liaise with the effects of people’s desires on the natural sea.

  The exhibition, The Deep Blue Sea is put together through merging original research, and its content comprises of objects from primitive sites, video, installation and  paintings. Ni Jun takes his thoughts, the signifier/signified of his artworks, and his interpretations on history and the human experiences and the issues confronted, accurately threw them into the dark mundane world around us, or adopted them into the discourse of what the sea represents in general. The sea is not only a vessel, it’s also a door, where you may enter and then exit; it represents boundaries, points of inception and end. Like the process of our lifetime, this is a key in understanding the meaning of Ni Jun’s work and the central goal of this exhibition. The artist creates and appropriates various elements in this vast funnel, through filtering and precipitation, what eventually comes out is not only his anxiety, but also a skeptic’s doubt on human nature and civilization. Ni Jun’s deductive analysis of visual culture, and the outcome engendered by the dwindling power and civilization in traditional notion in today’s global discourse, the degree of which these two aspects synchronize is not necessarily the goal of this exhibition, rather his aim to search for a new perspective with the viewers on the real and the abstract conceptions of the sea, to find ways of interpreting it in a broader sense. In particular, in grasping a more logical perception of China’s conditions in the present and for the future – by which to contemplate whether it should choose the old path of becoming the great powers or to improve with wisdom by taking different approaches to development.

  倪军 Ni Jun | 穿越英吉利海峡 (局部) Passing through the English Channel(detail) | 190 cm x 400 cm | 油画 Oil on canvas | 2016

  Ni Jun’s works are often related to the impression and rhetoric of the sea. He’s been observing the absence, or at least, a disconnection on the subject of the sea in Chinese painting, at the same time, torn by amassing artistic subjects and power of discourse of the sea beyond China. In particular, he’s perceptive of the common issue confronted by humanity through the “Lurongyu 2682” massacre[i], and the mentality of the illegal Chinese human trafficking came forth on the capsized “Golden Adventure” off the shore of Queens, New York, and the fate of the Turkish life boats floating on the Mediterranean, in deciphering the future of the planet. Besides his numerous paintings, he has read a letter of protest (video) out loud on Israel’s bombing of Palestine at the front gate of the University of Liege in Belgium, as well as, taking a large number of photographs documenting his personal observations and unique ways of life. A native of Tianjin, Ni Jun has been living in the portal city since his childhood, later in his adult life, he traveled and lived in New York, Los Angeles, and off the shores of the Mediterranean. Today, he’d like to tell these tales of loves and passions through one’s desire for the sea, to reveal anartistic aura depicted through the sea and human figures in interacting and sharing with his viewers. At the Shanghai Gallery of Art, Ni Jun will tie the sound of steam whistles on the Huangpu River to the heart beat of every visitor, allowing them to come out again from Joseph Conrad’s Heart of Darkness, and turn toward the desire for the sea, to confront fear and to forever embrace the sea.  

  倪军 Ni Jun | 阿根廷 Argentina | 200 cm x 140 cm | 油画Oil on canvas  | 2016

  In recent years, from the perspective of visual analysis, Ni Jun has also explored the deadly battles under the Atlantic and Norwegian seas between the German and British Navy During WWII, diving into the long historical occupations of sea space, a deeply rooted impetus of the European ideology…this may have an inseparably Lacanian psychological relevance to the film Spirit of the Sea, he watched with his mother in his early childhood. He may have been piecing together these fragments in his mind since a very young age, the boats, the sea, people, their desires, the realm of knowledge, sailing and the power of weapons, the glory of cohabitation as well as techniques on the battlefield… all of which provide a deeper understanding through the “Lurongyu 2682” incident presented in this exhibition.

  Cao Weijun

  October, 2016

  (Translated from Chinese by Fiona He)

  [i] The “Lurongyu 2682” set out to the sea in December 2010 with 33 fishermen on board. On August 12, 2011, the Chinese Fishery Patrols brought the ship back to shore, only 11 members on the boat survived. With two years of prosecution, these 11 members were sentenced for having killed the other 22 colleagues. Lurongyu refers to the fishermen of Rongcheng Aquatic Product Company from Shandong Province.  

  Artist Profile

  Artist Ni Jun, born in 1963, Tianjin, who represents contemporary life and his thoughts on world philosophy through the mediums of painting, photography and video art. He has held many solo exhibitions, given lectures in art academies in China and the U.S. over the years. In the 1980s, prior to his graduation from the Mason Gross School of the Arts at Rutgers University in the U.S., he studied at the attached high school of the Central Academy of Fine Arts and at the Department of  Murals of the Central Academy of Arts and Design, focusing on oil painting, public art, modern art theory and the ancient civilization of China. Ni Jun’s most recent one-man exhibition, The Deep Blue Sea will be on view from November 2016 to January 2017 at the Shanghai Gallery of Art.

(责任编辑:熊晓翊)

注:本站上发表的所有内容,均为原作者的观点,不代表雅昌艺术网的立场,也不代表雅昌艺术网的价值判断。

推荐关键字 倪军
1

相关文章

收藏

我要评论

注:网友评论只供表达个人看法,并不代表本网站同意其看法或者证实其描述

已有位网友发表评论

作品推荐

展览推荐

拍卖预展

中国书画·近现代当代保真
北京赏苑文化发展有限公司
预展时间:2020年4月2日-5日
预展地点:预展网址:
西泠网拍·四月大拍
西泠印社拍卖有限公司
预展时间:2020年4月19日-24日
预展地点:www.yesauc.com
2020春季文物艺术品拍卖会
北京鼎兴天和国际拍卖有限
预展时间:2020年7月3日-4日
预展地点:北京亚洲大酒店二层

官网推荐

拍卖指数

比上一拍卖季:↑1%当前指数:6,230
国画400指数

每日推荐

每周热点

  1. 1 “老来红”的乔治•康多:他完整了美
  2. 2 易英:翻越阿尔卑斯山
  3. 3 写字不如画画
  4. 4 太和:守望诚信 播种理想
  5. 5 《我所理解的四川美术学院的传统》系
  6. 6 段炼:我的第一堂现代艺术课
  7. 7 不依靠传统,依靠创造力(三)
  8. 8 廖上飞:Venus
  9. 9 无主之地——岳敏君“名画系列”分析
  10. 10 今天不存在单纯的“水墨问题”

排行榜

论坛/博客热点

推荐视频

业务合作: 010-84599636-852 bjb@artron.net 责任编辑: 程立雪010-84599636-852

关于我们产品介绍人才招聘雅昌动态联系我们网站地图版权说明免责声明隐私权保护友情链接雅昌集团专家顾问法律顾问
  • 艺术头条App
    艺术头条App
返回顶部
意见反馈