北京公社
刘建华个展
——简单、反介入、政治、社会视觉疲劳症结果
展览时间：2008年6月21日-7月31日
展览地点：北京朝阳区酒仙桥路4号798艺术区 北京公社
电 话： +86 10 8456 2862
电子邮件：[email]info@beijingcommune.com
网 站： [url]www.beijingcommune.com
北京公社继卢昊的"风景"展与海波的"太平山以北都是草原"展览之后，将于本月21日举办"刘建华"个展。这次的展览延续了之前两个展览中所关注的方向，即重新观照传统和传统艺术中的美学价值。卢昊以中国山水画的传统材料和技法绘制了商品堆叠的现代"风景"画；海波依然在他不变的拍摄地传达他对逝去历史的追忆。即将开幕的"刘建华"个展，将视野再次投向对历史和传统艺术的观照中，此次展览将展示一系列新作，这套瓷器作品融合了宋代瓷器的特征，作品透着简单、自然的灵韵。蕴涵着中国传统艺术所赋有的淡然与宁静、纯粹与天真的美感。
此次展览试图用经典的传统呈现方式让观众再次体验和关注艺术中有关形式的问题。在艺术的表达与评述日趋复杂而纷乱的环境中，此次展览却是在试图回归到一种单纯的形式，呈现一种简单与纯粹之美。或许观众可以从中体验到一种沉静。
[attachment=98210] [attachment=98211] [attachment=98212] [attachment=98213] [attachment=98214] [attachment=98215] [attachment=98216] [attachment=98217] [attachment=98218] [attachment=98219] [attachment=98220] [attachment=98221] [attachment=98222] [attachment=98223] [attachment=98224] [attachment=98226] [attachment=98227] [attachment=98228] [attachment=98229]
刘建华个展
——简单、反介入、政治、社会视觉疲劳症结果
展览时间：2008年6月21日-7月31日
展览地点：北京朝阳区酒仙桥路4号798艺术区 北京公社
电 话： +86 10 8456 2862
电子邮件：[email]info@beijingcommune.com
网 站： [url]www.beijingcommune.com
北京公社继卢昊的"风景"展与海波的"太平山以北都是草原"展览之后，将于本月21日举办"刘建华"个展。这次的展览延续了之前两个展览中所关注的方向，即重新观照传统和传统艺术中的美学价值。卢昊以中国山水画的传统材料和技法绘制了商品堆叠的现代"风景"画；海波依然在他不变的拍摄地传达他对逝去历史的追忆。即将开幕的"刘建华"个展，将视野再次投向对历史和传统艺术的观照中，此次展览将展示一系列新作，这套瓷器作品融合了宋代瓷器的特征，作品透着简单、自然的灵韵。蕴涵着中国传统艺术所赋有的淡然与宁静、纯粹与天真的美感。
此次展览试图用经典的传统呈现方式让观众再次体验和关注艺术中有关形式的问题。在艺术的表达与评述日趋复杂而纷乱的环境中，此次展览却是在试图回归到一种单纯的形式，呈现一种简单与纯粹之美。或许观众可以从中体验到一种沉静。
[attachment=98210] [attachment=98211] [attachment=98212] [attachment=98213] [attachment=98214] [attachment=98215] [attachment=98216] [attachment=98217] [attachment=98218] [attachment=98219] [attachment=98220] [attachment=98221] [attachment=98222] [attachment=98223] [attachment=98224] [attachment=98226] [attachment=98227] [attachment=98228] [attachment=98229]
重新回到历史的刘建华这次展出的作品是简单的，直接的，是对当代社会、政治视觉疲劳症的强烈反应，这批作品明确地用美的方式表达出反内容、反关系、反社会介入的态度与立场。
[attachment=98232] [attachment=98233]
[attachment=98232] [attachment=98233]
什么意思啊这是
[attachment=98285]
点击放大图片阅读！！
点击放大图片阅读！！
陶瓷挂件。
樱桃
顶老刘
很“聪明”的策略创作方式
这次老刘出彩了
跑到北京做的展览果然很北京 [s:325]
看了，也不美啊也不静
牛逼！皇帝的新装都敢玩了......
从“政治纯形式”到“形式纯政治”了，呵呵 [s:304]
很极简主义!
让我想到艾未未的油滴，而且油滴更好。
[quote]引用第13楼guest于2008-06-22 23:06发表的 :
让我想到艾未未的油滴，而且油滴更好。[/quote]
形式上的局部象而已，完全是两个概念，并且老刘这次的展示方式，非常好，个人比较喜欢的是头像部分。
让我想到艾未未的油滴，而且油滴更好。[/quote]
形式上的局部象而已，完全是两个概念，并且老刘这次的展示方式，非常好，个人比较喜欢的是头像部分。
[s:327]
不清楚这是什么，只是感觉很疲惫。
不清楚这是什么，只是感觉很疲惫。
挺无聊的，把自己当大师看了，以为信手拈来就是个东西了。这批作品不伦不类，只不过是换了个材料搞了一把形式构成而已，我对这样的作品只能说是艺术家的感觉已经愚钝了…整天去花天酒地去搞关系能做出惊讶的作品吗？
能把瓷烧得这么平,这么薄,相当不易的哇!
面积大小诂计已经是极限了.
面积大小诂计已经是极限了.
我也说不出什么，理由，直观感觉就是没什么意思，印象中是从05年开始，老刘一直在退步
[quote]引用第19楼guest于2008-06-24 09:48发表的 :
我也说不出什么，理由，直观感觉就是没什么意思，印象中是从05年开始，老刘一直在退步[/quote]
正好与你的相反。感觉老刘一直在进步！
我也说不出什么，理由，直观感觉就是没什么意思，印象中是从05年开始，老刘一直在退步[/quote]
正好与你的相反。感觉老刘一直在进步！
三维的东西在跟平面的东西较劲，，，而实际上这点小伎俩，，，还是平面玩得更溜。。。
吐了，，，真他妈是世风日下啊！！！
还鸡巴吹牛是什么宋代瓷器风骨呢，，我呸！！
[quote]引用第20楼guest于2008-06-24 10:36发表的 :
正好与你的相反。感觉老刘一直在进步！[/quote]
同意！
正好与你的相反。感觉老刘一直在进步！[/quote]
同意！
再发下前言
中国当代艺术的飞速发展使具有社会性的艺术获得充分发展的可能。在这种注重内容、地点性、充满文化交融与斗争的环境下，纯粹的美与关注形式的艺术已经被冲淡了。在当下，用一种历史态度重新将一种美与形式问题提出来，也是迫切需要的。
此次北京公社展出的刘建华的最新系列作品对上述问题提出了自己的态度和对策。刘建华在艺术创作的道路上，是一位不断探索的艺术家。多年来，其装置以及雕塑作品被许多艺术收藏机构收藏。2003年刘建华入选第五十届威尼斯双年展中国馆，并参加过多次国内外大型展览。这批作品虽然还是以其惯用的瓷作为介质，但艺术家从与之前作品完全不同的角度进行创作。作品在造型上将器物与人的外部形状再度形式化，以不断去除的方法突出“形”和“影”的特征。作品整体风格上吸收了宋代青瓷所蕴含的古朴与纯粹，诠释了一种传统美学语义中所追求的淡雅纯粹之美。在这组作品中，观者或许看不到当下艺术中错综复杂的观念性，也不会感受到触目惊心的感官刺激，取而代之的是充满了平淡天真的雅士趣味。刘建华试图通过这种方式摆脱政治、社会与艺术的相互介入，脱离目前当代艺术所追逐的观念性与叙事性，回到以纯形式和美感作为创作的原点的艺术。重新回到历史的刘建华这次展出的作品是简单的，直接的，是对当代社会、政治视觉疲劳症的强烈反应，这批作品明确地用美的方式表达出反内容、反关系、反社会介入的态度与立场。
现代社会的构成日益复杂而多元化，这使生活在其中的人容易陷入迷离与混乱的心灵状态。这次展出的刘建华作品中所透出的那种返璞归真的气质也是对外部社会逐渐失去真实感，越发变得错综复杂、扑朔迷离现状的一种抗拒。这一系列作品所要表达的 “静”与“简”的状态与社会、政治介入艺术的现状形成一种反照，这也是当代艺术与现代社会处于这种喧闹嘈杂的环境下所迫切需要的一种心境。我们需要这种宁静的艺术来制造一种距离，从而在这种距离中形成一种新的艺术态度与方向。
中国当代艺术的飞速发展使具有社会性的艺术获得充分发展的可能。在这种注重内容、地点性、充满文化交融与斗争的环境下，纯粹的美与关注形式的艺术已经被冲淡了。在当下，用一种历史态度重新将一种美与形式问题提出来，也是迫切需要的。
此次北京公社展出的刘建华的最新系列作品对上述问题提出了自己的态度和对策。刘建华在艺术创作的道路上，是一位不断探索的艺术家。多年来，其装置以及雕塑作品被许多艺术收藏机构收藏。2003年刘建华入选第五十届威尼斯双年展中国馆，并参加过多次国内外大型展览。这批作品虽然还是以其惯用的瓷作为介质，但艺术家从与之前作品完全不同的角度进行创作。作品在造型上将器物与人的外部形状再度形式化，以不断去除的方法突出“形”和“影”的特征。作品整体风格上吸收了宋代青瓷所蕴含的古朴与纯粹，诠释了一种传统美学语义中所追求的淡雅纯粹之美。在这组作品中，观者或许看不到当下艺术中错综复杂的观念性，也不会感受到触目惊心的感官刺激，取而代之的是充满了平淡天真的雅士趣味。刘建华试图通过这种方式摆脱政治、社会与艺术的相互介入，脱离目前当代艺术所追逐的观念性与叙事性，回到以纯形式和美感作为创作的原点的艺术。重新回到历史的刘建华这次展出的作品是简单的，直接的，是对当代社会、政治视觉疲劳症的强烈反应，这批作品明确地用美的方式表达出反内容、反关系、反社会介入的态度与立场。
现代社会的构成日益复杂而多元化，这使生活在其中的人容易陷入迷离与混乱的心灵状态。这次展出的刘建华作品中所透出的那种返璞归真的气质也是对外部社会逐渐失去真实感，越发变得错综复杂、扑朔迷离现状的一种抗拒。这一系列作品所要表达的 “静”与“简”的状态与社会、政治介入艺术的现状形成一种反照，这也是当代艺术与现代社会处于这种喧闹嘈杂的环境下所迫切需要的一种心境。我们需要这种宁静的艺术来制造一种距离，从而在这种距离中形成一种新的艺术态度与方向。
还有英文版 哈哈
Preface
The rapid development of Chinese contemporary art provides sufficient possibilities for art with social concerns. More and more artworks emphasize a specificity of location and are full of expression of cultural interactions and struggles. Under such circumstances, the pure beauty of art and works concerned primarily with form have been ignored. Rethinking the issue of beauty and form with a historical perspective is an urgent task that faces us.
Liu Jianhua’s newest series exhibited in his solo show at Beijing Commune responds to the above task with his own attitude and style. Liu Jianhua continuously explores new directions of his art. His works (installations and sculptures) have been collected by art museums and prestigious collections. He has participated in many important exhibitions in China and overseas, including the 50th Venice Biennale in 2003.
In this exhibition, Liu Jianhua again uses his favored medium, porcelain, but with a perspective very different from that seen in his earlier works. The works minimize the features of traditional Chinese porcelain wares and figurative profiles and formalizes them into abstract forms. With this approach, the characteristics of “form” and “shade” are highlighted. In using the color, technique, and style of Song dynasty celadon, the works evoke the elegant and simple beauty which was highly valued and pursued in traditional Chinese aesthetics. The audience can neither expect to find any complex concepts in the works, as in most contemporary art works, nor can they sense any visual shock. Instead, the traditional Chinese literati’s simple and pure taste is all that remains to experience. With such simple and pure forms, Liu Jianhua attempts to break the engagement between politics, society and art. The conception-ness and mode of narration of art which is popularly pursued now are abandoned by the artist here. The artist returns to the pure form and aesthetic feeling as the origin of his art. The simplicity and straightforwardness of the works are what the artist recovered from history. They are his strong reaction to social and political visual fatigue. In pure aesthetic forms, this series of artworks clearly presents the artist’s anti-content, anti-relation and anti-social-engagement attitude and position.
Modern society is becoming more and more complicated with people easily getting into a perplexed and chaotic state of mind. The works in Liu Jianhua’s solo show are in direct conflict to the status quo that society is becoming more and more unreal, complicated, and confusing. The tranquility and simplicity of the works are the reflection of the engagement of society, politics, and art. This is a much needed state of mind in such a “noisy” period of contemporary art and modern society. We need such tranquility to create distance, and hence from such distance there is a possibility to create a new attitude and direction for art.
Preface
The rapid development of Chinese contemporary art provides sufficient possibilities for art with social concerns. More and more artworks emphasize a specificity of location and are full of expression of cultural interactions and struggles. Under such circumstances, the pure beauty of art and works concerned primarily with form have been ignored. Rethinking the issue of beauty and form with a historical perspective is an urgent task that faces us.
Liu Jianhua’s newest series exhibited in his solo show at Beijing Commune responds to the above task with his own attitude and style. Liu Jianhua continuously explores new directions of his art. His works (installations and sculptures) have been collected by art museums and prestigious collections. He has participated in many important exhibitions in China and overseas, including the 50th Venice Biennale in 2003.
In this exhibition, Liu Jianhua again uses his favored medium, porcelain, but with a perspective very different from that seen in his earlier works. The works minimize the features of traditional Chinese porcelain wares and figurative profiles and formalizes them into abstract forms. With this approach, the characteristics of “form” and “shade” are highlighted. In using the color, technique, and style of Song dynasty celadon, the works evoke the elegant and simple beauty which was highly valued and pursued in traditional Chinese aesthetics. The audience can neither expect to find any complex concepts in the works, as in most contemporary art works, nor can they sense any visual shock. Instead, the traditional Chinese literati’s simple and pure taste is all that remains to experience. With such simple and pure forms, Liu Jianhua attempts to break the engagement between politics, society and art. The conception-ness and mode of narration of art which is popularly pursued now are abandoned by the artist here. The artist returns to the pure form and aesthetic feeling as the origin of his art. The simplicity and straightforwardness of the works are what the artist recovered from history. They are his strong reaction to social and political visual fatigue. In pure aesthetic forms, this series of artworks clearly presents the artist’s anti-content, anti-relation and anti-social-engagement attitude and position.
Modern society is becoming more and more complicated with people easily getting into a perplexed and chaotic state of mind. The works in Liu Jianhua’s solo show are in direct conflict to the status quo that society is becoming more and more unreal, complicated, and confusing. The tranquility and simplicity of the works are the reflection of the engagement of society, politics, and art. This is a much needed state of mind in such a “noisy” period of contemporary art and modern society. We need such tranquility to create distance, and hence from such distance there is a possibility to create a new attitude and direction for art.
其实还是没脱掉观念性！
作品很喜欢 [s:304]
可喜可贺，可嘉！问好刘兄
深圳艺术网\深圳艺术创库
好多马桶盖
现在当代艺术给我的感觉越来越麻木， 作品的观念性，再通过费解难懂的文字把作品变的更加“观念”，可是现代社会人们对艺术的审美需求到底转移到哪里去了呢？我想可能已经并不在“艺术”这个行业本身，似乎更多的是转移到商业设计广告传媒中去，人们在商业消费中，追求美的设计外形，并占为己有，而高雅的艺术早已下榻的那在过去高高在上的殿堂，变得人人都可以去做艺术家。艺术不在去追求高超的技术，美感形式的表现，却不断的去追求政治、社会、生活中的抽象的观念性的理念，作品的视觉效果已经不是艺术所最终追求的。在这样的局面，我想这是艺术顺其发展的必然结果，无可厚非。但是在艺术史中周而复始的复兴运动，我们也应该去思考，艺术的下一步将走向哪里，在现代社会，到底什么样的艺术才是真正需要的。如果需要突破观念性的魔咒，艺术是应该重提纯形式还是开创更新的理念，以及纯形式问题的提出真的还是意义上的“纯形式”吗？看了展览不免有这些疑问。不过，在798琳琳种种的展览中，这个展览倒是让人觉得很是清凉而单纯。
支持一下～顶下贴 [s:304]
支持一下～顶下贴 [s:304]
