《画个“鸟”！》叶永青个展
展览时间: 2007.06.30-08.10
开幕酒会: 2007.06.30 16:00
展览地点: 北京方音空间
联系电话: +86 10 8459 9257
电子信箱: [email]info@funartspace.com
网站：Http:// [url]www.funartspace.com
叶永青的近期绘画很容易与“念经”、“打坐”联系起来，因为态度的明确与行为的简洁，草草涂鸦的“鸟”看上去生动之致，却是在恒定长期的填充之后出现的图形。它是一种逻辑上的颠倒，看起来是一个非常简单的、快的东西，实际上却是非常慢的、复杂的方式创作的。此次展览的题目《画个“鸟”》，意思可以理解为画个什么都不是，包含了一种对绘画的嘲讽。艺术家认同杜尚的观点，即认为一个人的生活在某种意义上就是艺术，这里没有谁比谁更重要。
叶永青的艺术历程开始胚胎于“85新潮”的思想解放运动的时期，这时期给予他浪漫和抒情的空间与心灵的准备。艺术家此时作品的特征为总是使用薄薄的颜料作画。89年后，叶永青的艺术与思想所针对的反思对象，开始切入具体的、个体的历史经验和视觉经验，并针对源于现实社会的“社会化”本身。90年代，叶永青建立了大字报的装置，融入了他从书刊报纸以及画册各个渠道得来的信息，它是一个特定时期的公共日记，曾经用纸张和毛笔以及墨汁就完成的文化与思想批判，在艺术家的作品里被转化为对历史和现实的调侃。 “大招贴”是一个过程，是艺术家通过画布、纸张、丝绸、毛笔、墨汁以及其他材料不断进行陈述的文章。从1994年开始，他在继续制作“大招贴”的同时开始书写自己的形象日记。有很长的时间里，叶永青退回到了传统文人的态度上，他对涂鸦乐此不彼。
从2000年开始，叶永青开始减少他作品中的内容，他抽取了那些涂鸦作品中的局部和个别符号，决定从两个极端入手：杜尚的认定立场和图式的文人化。他抽取一些符号、图形，经常是那些涂鸦作品中的鸟，先用铅笔自由地画在纸上，通过投影放大在画布上，在确定的迹印边界上填充，有时候，他会悄悄地强调那些毛糙的细节，让其在填充之后显得图形更加毛糙。不过，无论如何，艺术家采取的是尽可能减少的策略。所以，对于这部分新作品的理解和阐释不会有太多的美学负担，将它放在任何一个空间里都是可行的。画“鸟”也是艺术家联系过去、现在与未来的一个标志。
Newsletter
《Ｐaint a “Bird”!》Ye Yongqing Solo Exhibition
Time: 2007.06.30-08.10
Opening: 2007.06.30 16:00
Venue: FUN ART SPACE
Tel: +86 10 8459 9257
Email: [email]info@funartspace.com
Website：Http:// [url]www.funartspace.com
The Path of the “Bird”
Ye Yongqing’s Artistic Journey
Lü Peng
Translated by Jeff Crosby
A lonely tree stands in the winter
Who knows when
Those birds began to disappear
One by one.
I can’t say what love
Has come and gone;
I only know that once in summer
My heart did sing
Now, she has already
Gone silent
When the “New Image Painting Exhibition” was held at the Yunnan Provincial Library (October 1986), Ye Yongqing wrote this poem next to his painting. Maybe he was trying to let the audience know that those paintings on display were also poems telling of the artists’ journeys of the heart, though they were expressed through images. The poem is of a dejected mood. Such words as ‘lonely’, ‘winter’, ‘disappear’ and ‘come and gone’ rarely elicit excited or positive responses. They’re tied to the personal environment and the things that restrain people. But in the early days, Ye Yongqing hadn’t gone deeply into the minds of the ancients, and he was expressing a preconceived joy that he had found in western books.
Ye Yongqing (b. 1958), came up in Kunming, where the seasons are always mild. Unlike Mao Xuhui, Ye Yongqing didn’t have an angry cynical appearance or demeanor. In his 1993 The Heart’s Travels, Ye Yongqing wrote a detailed account of his youth, describing his natural sensitivity to painting: “Aside from a few scribbles in the mud with a lump of clay, there will never be anything that possesses me to paint like a stand of trees under an overcast sky or a sunset burning across the shores of Lake Dian.” In his writings he also explained that such foundational books as A Letter to Beginners, How to Sketch, and The Early Rising Sun served as his maxims. “In those old, poorly printed and almost illegible pages, I picked up a murky idea of the wanderer school and the Renaissance.” Like the majority of those born in the 50’s, his most lucid memories occurred during the Cultural Revolution. Hence we will see that the content of Ye Yongqing’s visual memory would become the source for his imagery, and that his training in painting also began in just such an environment.
Back then most of the images I saw were the likes of those propaganda posters and magazines such as Workers Peasants and Soldiers Pictorial. At the time, the big criticizing headlines of the model operas and propaganda posters were all tools, red and glorious political myths. All forms and methods of art were molded to the common culture of the masses, and painters of my generation are all critics and subversives raised in this mass culture. At Kunming No.1 Middle School and in the local exhibitions I started to paint the big character slogans, holiday columns and propaganda posters, basically things like men and women with heads held high, Tiananmen Gate, Sunflowers and red lanterns. Though there’s not much in common with the current way of art or my personal experience, in some ways it would still pull me in on a certain level, to the point that I would feel the joy of a game if I could copy an eight meter propaganda poster all by myself. It was in front of these blackboard notices and big posters that I really started to walk down the path of a painter.
Ye Yongqing didn’t go through the “educated youth” experience. He was slated for employment after middle school. In the roughly two years that followed, he worked as a construction worker, animal keeper, cook, substitute teacher, farm watchman, etc. In the city, he may have had more opportunities than the educated youths in the countryside to read and hear Russian (Swan Lake, Nutcracker, Mazurkas) and Chinese (Liang Zhu) traditional music. In a historical period marked by monotonous tastes, such music full of melodic changes and complex emotional states had a profound effect on people: “I can never forget those times and that music; they became a piece of my youth.”
Ye Yongqing has a detailed sensitivity to his experiences from this period. In his memoir we read a lot of trivial nouns and phrases: tomato, hot pepper, chopped celery, tofu, sweet potato liquor, cricket, pine forest, water celery, hazel tree, photinia tree, “the annoying old duck”, “warm excrement on an ancient bird’s nest”, “In the blue summer night, I stepped on the low grass, following the path, the grains stabbed at my feet”… In reality, these different details had a definitive influence on Ye Yongqing. They would become the spiritual content and formic details of the artist’s works.
Ye Yongqing tested into the Sichuan Academy of Fine Arts in 1978. He traveled to Mt Guishan for the first time with Mao Xuhui and a few other young artists in 1979. This is a village that Yunnan artists often visited to paint scenery. This time, Ye Yongqing journeyed there with the memories of the barbizon school and Isaak Levitan. This was right when the influence of ‘scar’ painting was becoming widespread. In the very least, the painters of the wanderer school such as Repin and Surikov were having a dominant influence over the Sichuan Academy: strong forms, literary imagery and grayish tones became the elements that young artists were interested in, as they were after painting elements that totally differed from the ‘red and glorious’ aesthetic of the Cultural Revolution. In College, Ye Yongqing became familiar with the barbizon school painters and their artistic style. He loved them, but he couldn’t understand the impressionists and Van Gogh or Gauguin, and he had an “unforgettable impression” of poor prints of traditional paintings. Nevertheless, he quickly accepted the influences of modern painting. He was jealous of Zhou Chunya’s innocent colors, and he often went with Zhang Xiaogang to the school library to imitate the masterworks of World Art Encyclopedia in paste paints. Beginning in the summer of 1980,
展览时间: 2007.06.30-08.10
开幕酒会: 2007.06.30 16:00
展览地点: 北京方音空间
联系电话: +86 10 8459 9257
电子信箱: [email]info@funartspace.com
网站：Http:// [url]www.funartspace.com
叶永青的近期绘画很容易与“念经”、“打坐”联系起来，因为态度的明确与行为的简洁，草草涂鸦的“鸟”看上去生动之致，却是在恒定长期的填充之后出现的图形。它是一种逻辑上的颠倒，看起来是一个非常简单的、快的东西，实际上却是非常慢的、复杂的方式创作的。此次展览的题目《画个“鸟”》，意思可以理解为画个什么都不是，包含了一种对绘画的嘲讽。艺术家认同杜尚的观点，即认为一个人的生活在某种意义上就是艺术，这里没有谁比谁更重要。
叶永青的艺术历程开始胚胎于“85新潮”的思想解放运动的时期，这时期给予他浪漫和抒情的空间与心灵的准备。艺术家此时作品的特征为总是使用薄薄的颜料作画。89年后，叶永青的艺术与思想所针对的反思对象，开始切入具体的、个体的历史经验和视觉经验，并针对源于现实社会的“社会化”本身。90年代，叶永青建立了大字报的装置，融入了他从书刊报纸以及画册各个渠道得来的信息，它是一个特定时期的公共日记，曾经用纸张和毛笔以及墨汁就完成的文化与思想批判，在艺术家的作品里被转化为对历史和现实的调侃。 “大招贴”是一个过程，是艺术家通过画布、纸张、丝绸、毛笔、墨汁以及其他材料不断进行陈述的文章。从1994年开始，他在继续制作“大招贴”的同时开始书写自己的形象日记。有很长的时间里，叶永青退回到了传统文人的态度上，他对涂鸦乐此不彼。
从2000年开始，叶永青开始减少他作品中的内容，他抽取了那些涂鸦作品中的局部和个别符号，决定从两个极端入手：杜尚的认定立场和图式的文人化。他抽取一些符号、图形，经常是那些涂鸦作品中的鸟，先用铅笔自由地画在纸上，通过投影放大在画布上，在确定的迹印边界上填充，有时候，他会悄悄地强调那些毛糙的细节，让其在填充之后显得图形更加毛糙。不过，无论如何，艺术家采取的是尽可能减少的策略。所以，对于这部分新作品的理解和阐释不会有太多的美学负担，将它放在任何一个空间里都是可行的。画“鸟”也是艺术家联系过去、现在与未来的一个标志。
Newsletter
《Ｐaint a “Bird”!》Ye Yongqing Solo Exhibition
Time: 2007.06.30-08.10
Opening: 2007.06.30 16:00
Venue: FUN ART SPACE
Tel: +86 10 8459 9257
Email: [email]info@funartspace.com
Website：Http:// [url]www.funartspace.com
The Path of the “Bird”
Ye Yongqing’s Artistic Journey
Lü Peng
Translated by Jeff Crosby
A lonely tree stands in the winter
Who knows when
Those birds began to disappear
One by one.
I can’t say what love
Has come and gone;
I only know that once in summer
My heart did sing
Now, she has already
Gone silent
When the “New Image Painting Exhibition” was held at the Yunnan Provincial Library (October 1986), Ye Yongqing wrote this poem next to his painting. Maybe he was trying to let the audience know that those paintings on display were also poems telling of the artists’ journeys of the heart, though they were expressed through images. The poem is of a dejected mood. Such words as ‘lonely’, ‘winter’, ‘disappear’ and ‘come and gone’ rarely elicit excited or positive responses. They’re tied to the personal environment and the things that restrain people. But in the early days, Ye Yongqing hadn’t gone deeply into the minds of the ancients, and he was expressing a preconceived joy that he had found in western books.
Ye Yongqing (b. 1958), came up in Kunming, where the seasons are always mild. Unlike Mao Xuhui, Ye Yongqing didn’t have an angry cynical appearance or demeanor. In his 1993 The Heart’s Travels, Ye Yongqing wrote a detailed account of his youth, describing his natural sensitivity to painting: “Aside from a few scribbles in the mud with a lump of clay, there will never be anything that possesses me to paint like a stand of trees under an overcast sky or a sunset burning across the shores of Lake Dian.” In his writings he also explained that such foundational books as A Letter to Beginners, How to Sketch, and The Early Rising Sun served as his maxims. “In those old, poorly printed and almost illegible pages, I picked up a murky idea of the wanderer school and the Renaissance.” Like the majority of those born in the 50’s, his most lucid memories occurred during the Cultural Revolution. Hence we will see that the content of Ye Yongqing’s visual memory would become the source for his imagery, and that his training in painting also began in just such an environment.
Back then most of the images I saw were the likes of those propaganda posters and magazines such as Workers Peasants and Soldiers Pictorial. At the time, the big criticizing headlines of the model operas and propaganda posters were all tools, red and glorious political myths. All forms and methods of art were molded to the common culture of the masses, and painters of my generation are all critics and subversives raised in this mass culture. At Kunming No.1 Middle School and in the local exhibitions I started to paint the big character slogans, holiday columns and propaganda posters, basically things like men and women with heads held high, Tiananmen Gate, Sunflowers and red lanterns. Though there’s not much in common with the current way of art or my personal experience, in some ways it would still pull me in on a certain level, to the point that I would feel the joy of a game if I could copy an eight meter propaganda poster all by myself. It was in front of these blackboard notices and big posters that I really started to walk down the path of a painter.
Ye Yongqing didn’t go through the “educated youth” experience. He was slated for employment after middle school. In the roughly two years that followed, he worked as a construction worker, animal keeper, cook, substitute teacher, farm watchman, etc. In the city, he may have had more opportunities than the educated youths in the countryside to read and hear Russian (Swan Lake, Nutcracker, Mazurkas) and Chinese (Liang Zhu) traditional music. In a historical period marked by monotonous tastes, such music full of melodic changes and complex emotional states had a profound effect on people: “I can never forget those times and that music; they became a piece of my youth.”
Ye Yongqing has a detailed sensitivity to his experiences from this period. In his memoir we read a lot of trivial nouns and phrases: tomato, hot pepper, chopped celery, tofu, sweet potato liquor, cricket, pine forest, water celery, hazel tree, photinia tree, “the annoying old duck”, “warm excrement on an ancient bird’s nest”, “In the blue summer night, I stepped on the low grass, following the path, the grains stabbed at my feet”… In reality, these different details had a definitive influence on Ye Yongqing. They would become the spiritual content and formic details of the artist’s works.
Ye Yongqing tested into the Sichuan Academy of Fine Arts in 1978. He traveled to Mt Guishan for the first time with Mao Xuhui and a few other young artists in 1979. This is a village that Yunnan artists often visited to paint scenery. This time, Ye Yongqing journeyed there with the memories of the barbizon school and Isaak Levitan. This was right when the influence of ‘scar’ painting was becoming widespread. In the very least, the painters of the wanderer school such as Repin and Surikov were having a dominant influence over the Sichuan Academy: strong forms, literary imagery and grayish tones became the elements that young artists were interested in, as they were after painting elements that totally differed from the ‘red and glorious’ aesthetic of the Cultural Revolution. In College, Ye Yongqing became familiar with the barbizon school painters and their artistic style. He loved them, but he couldn’t understand the impressionists and Van Gogh or Gauguin, and he had an “unforgettable impression” of poor prints of traditional paintings. Nevertheless, he quickly accepted the influences of modern painting. He was jealous of Zhou Chunya’s innocent colors, and he often went with Zhang Xiaogang to the school library to imitate the masterworks of World Art Encyclopedia in paste paints. Beginning in the summer of 1980,
[img]http://hey.ionly.com.cn/attachment/Mon_0607/13_28343_7fe8dac0e73aa6e.jpg[/img]
怎么英文这么长，中文一点点阿。
[quote]引用第1楼guest于2007-06-25 15:48发表的 :
怎么英文这么长，中文一点点阿。[/quote]
英文太好，没办法；中文太长，怕大伙看得累[s:322]。
怎么英文这么长，中文一点点阿。[/quote]
英文太好，没办法；中文太长，怕大伙看得累[s:322]。
