雅昌首页
求购单(0) 消息

《极》丁设威尼斯展将于5月8日开幕

2019-05-02 20:43:20 来源: 雅昌艺术网 
    收藏 评论

摘要:《极》丁设威尼斯展与WeExhibitsrl联合主办和出品开幕时间2019年5月8日14:00展览时间2019年5月9日—6月30日开放时间上午10点至下午6点,周二闭展休息开幕式和展览均免费入场展览场馆PalazzoPisaniSantaMarina(皮萨尼圣玛丽娜宫)场馆地址Calledelle…

ldNeBbfARLLFv4DTDYCy5EpYuOYK2p726MMYBpmE.png

《极》丁设威尼斯展

与We Exhibit srl联合主办和出品

开幕时间

2019年5月8日 14:00

展览时间

2019年5月9日—6月30日

开放时间

上午10点至下午6点,周二闭展休息

开幕式和展览均免费入场

展览场馆

Palazzo Pisani Santa Marina (皮萨尼 圣玛丽娜宫)

场馆地址

Calle delle Erbe, Cannaregio 6104, 30121 Venice

我们可以通过两重“门”来走近丁设的艺术创作(丁设,1972年生于中国临海市):第一重也是最容易理解的门是中国的传统绘画艺术,以及通常被视作中国绘画中不可缺少的书法艺术。十分有意味的是中国的文字系统被称为象形文字,因为它们在视觉上更易被辨识或象征,而不是像罗马文字或者阿拉伯字母那样被“阅读”。如果允许悖论存在的话,丁设的符号似乎可以被解读为一种抽象的“象形文字”。

第二重不那么明显的门,指向了其作品与通过二进制代码转换的所有文字和数据,以及周遭各类事物与其所对应的条码符号之间的类比。在这些语言形式中,每个符号都有其精确价值。丁设的创作方式与此紧密相关,因而他的作品在视觉呈现上更具当代性。同时,其作品中的符号序列和节奏韵律存在着某种隐密的逻辑与精准性——即处于一种特定的节律中。在音乐中,当一种声音让位于连续节奏中的其他声音时就产生了“和声”,当同样的情形出现在文字中,那便是诗歌。在视觉艺术中,时常重复的符号则会形成一种完整感和美感。

然而,通过抽象的绘画语言来表现意识和美感并非易事。符号、图形和色彩的选择表面上看似简单,实质上却容易导致所需传达信息的误读与困惑,作品中的冲突、对比有其特定的用途与阐释。

艺术家选择抽象语言的原因——用他自己的话来说——“上海是一座巨大、拥挤且发展迅速的都市,”因此他无法通过现实的图像来记录它的不断变化。相反,他使用抽象的形式来记录他所看到和感受到的东西。

因此,在丁设驾轻就熟地把握着中国的艺术传统时(中国的艺术传统源自其悠久的历史以及在发展中不断吐故纳新能力),他还涉猎着抽象艺术洪流中诸多未知的领域。考虑到艺术家个性化的创作背景,我想指出这种选择的“危险性”,用以强调我对艺术家勇气的欣赏。他既是一位勇敢的艺术家,也是一位真诚的艺术家。

axwyvhUhAXTGHIwEoK1fy2dI8bMsQqdUkSlWd102.png

105201901132250   69x138cm  纸本水墨  2018

iK3ASUqsFNKOlgqiUYeOVz4kr9m1cQszBXZnmDnA.png

200201806251030  40x110cm  纸本水墨  2018

丁设毫无疑问是个勇敢的人……因为选择艺术创作就意味着选择放弃其他可能更加有利可图的行当。就勇气而言,我想特别提及他曾长期在空军部队服役。相较于其他形式的现实主义艺术,他的抽象表现方式体现出一种由“速度感”形成的视觉张力,而作品中涉及的“叙述”则需要被观众“解读”,因此也需要相应的时间。我认为速度最重要的特点在于:在面临危险或关键抉择时,几乎是没有时间可以浪费的。我不知道是否“迅速”是他艺术创作方式中有意识的组成部分,但是通过观察他的作品,这一点非常显而易见。不同形式的符号紧密地重叠着,几乎就像是试图抹去或者纠正它们一样,仿佛有着速度印证般的轻盈,而又复杂地回归到已经完成的事物上。我们可以把这种意象与音乐作品中“乐句”的重复来进行类比:音乐作品可以进行不断扩展和变奏,并通过回旋而构成整体框架。这就是我们在整个音乐乐章中所记住的同类声音模式。有时我们会在音乐中点缀一些复杂的内容,有时我们也会喜欢旋律单独响起的时刻,这并不矛盾。这便是回旋在作曲家梵泰蒂尔的音乐中亦或是普鲁斯特另人沉醉的文字中的“小乐句”。通过回旋,即便不断地变化着,丁设的符号也不会自相矛盾,好像他正在修改着、替换着和纠正着自己的符号指示。而从另一方面,他的符号也得到了认可和加强。并且丁设的符号更为清楚地自我阐述,如同交响乐主题中回旋乐句。在循环往复中,符号的指示变得更为复杂。

回旋似乎意味着在纠正已经完成的事情,好像在承认错误一样。在丁设的绘画中,回旋反而意味着扩展和阐释。抒情诗常常被认为是一种极为简洁的诗歌形式,但也可以通过添加笔触、符号或者脚注来使其轻盈又完全抒情。

y3FmB1VF33Ddka226bqyk8RCOSZpedIS2pLCiVgv.png

105201811192005  55x205cm  纸本水墨  2018

YzB2ovKlJeBZtPNlejjVc9FQ2l9BVC4zpOepw9Xd.png

105201808312320  纸本水墨  90X200CM  2018

说到回旋结构与符号累积的价值,我想重新回到关于速度的思考。美国知名电影《速度与激情》(Fast and Furious)颂扬和表现了非常“现代的”速度神话,(主人公)过着危险生活并从不停下来思考,例如开着车毫发无损地从摩天大楼上速降到地面或飞跃至临近的大楼上……诸如此类,一旦遇到挑衅便立即采取行动。其实要做到这一点,要么必须非常具有攻击性,要么非常幸运且非常熟练地拥有着令人难以置信的神经反应速度……或者具备以上所有。当今世界所面临的环境问题促使我们追求一种放慢速度、节能减排的生活。速度有时看起来更像是一种与权力、浪费、傲慢相关的维度。相反,捍卫快速的观点也提醒我们,速度是自然界中最有效定义掠食者等级的标准。说到这里,为什么不能颂扬速度之美呢?虽然快速消耗石油燃料的形势很严峻,但是我们是否体验过在沿海岸线公路上瞬间加速的快感呢?快速行动回应了人类所面临的严峻问题“生命太短暂”,但不仅限于此,快速行动还需要智慧和技巧,大师们如此迅疾是因为他们知道如何追求自己想要的东西。 

为了在威尼斯皮萨尼圣玛丽娜宫的个展,丁设创作了一些装置和他标志性的水墨绘画,这些作品是抽象结构和艺术家个人情感的结合。在艺术家有趣的自述中这样诗意并直观地表达:“我会用手去思考。”这意味着对艺术家而言,技术和情感先于理性路径。并且,他还这样写道:“我曾尽力尊重我所经历过顿悟的每一刻。”

艺术家自述中提到了一个有趣的特点——“极”,即没有限制,或者表达为没有边界。在这一点上,为了理解和定义丁设的作品,我们讨论了各种方面:抽象艺术、速度、主题的重述,均有着危险的共性。我该如何表达:难道不是明确定义艺术品的特质——陈述表达中一丝不苟地精确——现实性、细腻性、温和的完成性,重建而非重复的措辞表达?那么永恒的无边界性(你我之间、国家之间、事物之间)如何使他的抽象作品更加具体化和易于辨识?原因在于无边界性是道德的维度,而不是审美的维度,艺术家经常将“极”定义为“共存、尊重、平衡和完美”(艺术家语)。无边界性是悖论的定义也是作品的界限。因此这可能是丁设作品的主要特征也是他的言下之意。

KDPHh1I1a5kSEBWwFY4PC9LEDYCRdIa6tWYgG41C.png

105201808191715  60x160cm  纸本水墨  2018

难题仍然存在。我们真的看懂丁设的作品了吗?我们可以从他的技艺性自信和真诚的创作初衷中寻到答案。丁设在创作中意义深远地交替采用着不同的材料(金属、帆布、纸和多种类型的颜料),这展现了其掌握技艺的广博。至于内涵与意义,正如我们已定义的,他创作的动因真诚,他自由挥洒又精准的风格毫无疑问地源于他希望为观众提供内在的轻盈和快乐。 

艺术家这样写道:“当我的作品被贴上简朴的标签时,我感到了极大的满足,因为这正是我希望它成为的样子。”然后,它的简朴性也受其自身规则的制约。

丁设的作品融合了其自身的经历、学习与工作经验,以及其背后古老的艺术传统和其艺术创作中显而易见的当代性。我们如何定义一件艺术品为“当代”?显然仅凭它被“创作于当下”是远远不够的。当艺术作品体现并反映出当下的生活方式和意义,或者有助于观众去理解它时,这就是“当代性”。丁设的作品展现出一种无可质疑的优雅,他所秉承的伟大的东方传统以及他谦逊且不失自信的身份性使人印象深刻。他用一种简单、直接的方式来进行创作,因而获得了国际观众对其作品的理解力。我想这些都是准确定义其作品当代性的切入点。 

文/策展人 维托里奥·乌巴尼(Vittorio Urbani)

伊斯坦布尔  

2019年4月16日

GgzlABCwiwhYXZ43PflX1QrrJJ3EKCYXLDADJlMt.png

心迹  尺寸可变  纸本水墨  2017

gALePpPq1gVL6cnaXBvURRZQGZODDwbnUQJARWxy.png

心迹 局部

SHER DING

Boundlessness

Organised and produced in collaboration with We Exhibit srl

Opening: 8 May 2019, 2 pm

9 May 2019 – 30 June 2019

Opening times: 10 am to 6 pm, closed on Tuesdays

Admission to the opening and the exhibition is free

Palazzo Pisani Santa Marina

Calle delle Erbe, Cannaregio 6104, 30121 Venice

It is possible to approach the art of Sher Ding (Linhai, China, 1972) through two “doors”: the first and most accessible one is that of traditional Chinese pictorial art, including calligraphy which is often an integral part of painting. It is after all interesting that some elements of Chinese writing are called pictograms as they are recognised visually just as logos or symbols instead of being “read” like letters of the Roman or Arabic alphabets. His signs could therefore be read as abstract pictograms, if you will allow the paradox.

The second, less obvious door leads to analogies between his work and current modes of transcription of all words or numbers through the binary code, electronic transcriptions of data and even the barcode that marks today every single existing items except (so far) human beings. In these forms of language every sign has a precise value. Sher Ding’s way has to do with this all, thus making the visual aspect of his work more contemporary and providing it with a secret logic and exactness that appears in the sequence and frequency – that is, in the rhythm – of signs in his paintings. In music, when sounds give way to other sounds in a sequential rhythm we get harmony, when this happens with words, we have poetry. In visual arts, the regular repetition of signs will result in a sense of completion and beauty.

However, it is not easy to reach sense and beauty through the abstract pictorial language. The apparent simplicity of signs, shapes, choice of colour can lead to a bewildering generality of the message, suitable for all uses and interpretations, even when opposed.

The reason why the artist has chosen the abstract language is – in his own words – that “Shanghai is crowded, huge and fast”, therefore he cannot register its changes through realistic images. Rather, he has to use the abstract way to register what he sees and feels.

zBepEXSlrZMAwHWdDhi4ZG2AdUB2e6goi0qdaCOL.png

201706182210  90x120cm  镜面亚克力  2017

XdnNkzB76FA4rF8A9JNKTz1MAjQzGwO9Jz0ke956.png

201706182210 局部

Therefore, while Sher Ding navigates with great ease Chinese artistic tradition (which is remarkable in its ability to welcome new variations on its centuries-long themes), he charters unknown waters when he tackles the wild flood of abstract art, considering the precious background of his individual personality as an artist. I would like to point out the “danger” of this choice in order to appreciate the artist’s courage. And a brave artist is also a sincere artist.

Sher Ding is without a doubt a brave person … because creating art means choosing to renounce other, perhaps more lucrative, activities. As far as courage is concerned, I am tempted to remind you of his long career with the Military Air Force of the People’s Republic of China. The abstract way is constitutionally faster (also in the way the visitor looks at it) as compared to other forms of realistic art which deal with a narrative that needs to be “read” by the visitor, thus requiring time. Speed’s most essential trait is that very little time can be wasted on making dangerous and critical choices. I do not know whether “fast” is consciously part of his way of creating art, but it becomes obvious by observing his works.

Signs that overlap nervously with other signs, almost as if to cancel or correct them, always with a lightness that seems to us the daughter of speed, returning complicatedly on what has already been done. We can compare this to the repetition of a “phrase” in a musical composition that expands and changes rhythm, and that, by returning, makes up its framework. It is the same sound pattern, which is all we remember from a whole musical page, that sometimes embellishes some event in our lives and that we love even when we hear it isolated from the rest. It is the “petit phrase” that returned in Vinteuil’s music and obsessed Proust. By returning, even though constantly changing, Ding’s sign does not contradict itself as if it were being modified, substituted, corrected. On the other hand, it is endorsed and reinforced. And it explains itself more clearly, like the musical phrase that returns in the body of the symphony. In going and coming, it grows in complexity. But returning could appear to mean correcting what has already been done, as if admitting a mistake. In the case of Ding’s paintings, instead, returning means expanding, explaining. Lyric poetry is often considered an extremely concise form of poetry, but also operating with lightness by adding brush strokes, signs or notes is entirely lyrical.

TYdJ8bxT4AHkx6nnB1rq0cafKgj0kpPVCIF2OjfE.png

ML9qzOKfOFplZs7GtpNP9XLZk8WsHhxUQ35ubuJ0.png

Having said this on the value of returning and accumulating signs, I would like to newly approach the“problem” of speed. A famous American TV show – Fast and Furious – celebrated the very “modern” myth of speed, of living dangerously, of not stopping to think. Like throwing oneself from a skyscraper in a car to land on the nearby skyscraper with virtually no damage at all … things like that. Action immediately ensues from provocation. To act like that, one must either be very aggressive or possess incredible speed of neural transmission or be very lucky and also very capable … or all of the above together. In a world in which environmental concerns try to encourage us to lead a slower, less consumerist way of life, speed appears like a dimension linked with power, waste, arrogance and therefore to negative, overpowering male themes. It is not hard for me, instead, to defend the fast dimension by reminding you about how speed is one of Natural Selection’s most potent instruments in defining hierarchies among predators. Having said this, why not celebrate the beauty of speed? I know it is not positive to consume fossil hydrocarbons, but have you really never accelerated suddenly and with subtle pleasure while driving along a coastline road? Acting fast answers the grave human problem of “life being too short”, but not only this. Acting fast requires wisdom and technique: masters are fast because they know how to be.

For his solo exhibition in Venice at Palazzo Pisani di Santa Marina, Ding has produced installations and his typical works called ink-wash paintings, a combination of abstract constructs and individual emotions.

An interesting note by the artist poetically intuits: “I will think with my hand”. This means that technique and emotion will precede the rational path. And also: “I have tried to respect each moment of epiphany that I have experienced”.

DBuJ5gM86XrCed1qcCuHTlYdQV6i9OZiU2fOJlz3.png

7a9Fpu2gPwYf9JpKaktsjJ193KZLGhbvib7x2jL1.png

An interesting trait of his work, discussed by the artist himself, is boundlessness, that is being without limits – or better, without borders. At this point, in order to understand and define Sher Ding’s work, we have discussed a series of categories – abstract art, speed, the repetition of a theme – that share a dangerous generality. How shall I put it: aren’t the traits of a well-defined artwork – scrupulously exact in its statement – realism, a meticulous, slow execution, renewed instead of repeated phrasing? So how will the permanent cancellation of borders (between you and me, or this or that State, or this or that object) make his work more specific and recognisable, especially as it is abstract? The reason lies in the fact that being without borders is an ethical dimension, not an aesthetic one: the artist often defines boundlessness as “coexistence, respect, balance and perfection”. Being without borders is paradoxically a definition, a border of the work. Therefore, this is perhaps the main trait of the work and one that the artist suggests he can read. Freedom of expression while respecting borders which are open to dialogue and reciprocal understanding. Finally, freedom of doing.

The difficult question remains. Do we really need Sher Ding’s work? The answer can be found in his technical confidence and the honesty of his motivations. By significantly alternating different materials (metal, canvas, paper and several types of paint) Ding shows width of skills and mastery. As to the meaning, or as we have defined it, the honesty of his motivation, his free but precise style originates without a doubt from an inner lightness and joy that are thus offered to the visitor.

The artist writes: “I felt great satisfaction when my work was labelled as simple, because it is exactly like this that I want it to be”. However, it is a simplicity conditioned by its own rules.

Sher Ding’s work mixes biographical facts, his studies and work experiences, the ancient tradition that is behind him and the unmistakable contemporaneity of the artistic result. When can we say that an artistic work is contemporary? It is obviously not enough that it is “made now”. It is contemporary when it deals with, and interprets, the meaning of today’s way of life, also helping the visitor understand it. The unquestionable elegance of Sher Ding’s work, his speed (again, of the spirit and not necessarily of the execution), his humble but also proud identification in the great tradition he belongs to, but also his capacity to address with simple confidence an international audience knowing that he will be understood, these are the traits that precisely define the contemporaneity of his work.

Text by curator Vittorio Urbani

Istanbul, 16 April 2019

cpMK3xBXDYuJ3uKa1xe6nhl2fTPmX5EcD91iwyrA.png

Palazzo Pisani Santa Marina (皮萨尼 圣玛丽娜宫)

(责任编辑:江静)

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 威尼斯 展览 当代艺术

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

北京保利2019秋季邮品拍卖
北京保利国际拍卖有限公司
预展时间:2019年12月11日-13日
预展地点:新保利大厦云楼十层
北京保利2019秋季拍卖会
北京保利国际拍卖有限公司
预展时间:2019年11月29日至各
预展地点:全国农业展览馆
2019秋季艺术品拍卖会
北京宝瑞盈国际拍卖有限公
预展时间:2019年12月1日-3日
预展地点:北京四季酒店 二层

官网推荐

拍卖指数

比上一拍卖季:↓1%当前指数:6,140
国画400指数

每日推荐

每周热点

  1. 1 周文翰:当代艺术家的“鸡精”来了
  2. 2 画乡 博物馆 书 ( 9 )
  3. 3 画乡 博物馆 书 ( 8 )
  4. 4 吕胜中:关于“人文书”
  5. 5 再见传统——代序
  6. 6 華藝香港秋拍推石渠宝笈珍品董诰《金
  7. 7 低俗到极至—“春晚”与“二人转”
  8. 8 戴上绿帽子
  9. 9 段炼:浮世春宫与潇湘八景
  10. 10 【独家】2019年丽水摄影节11月8日来袭

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
返回顶部
意见反馈