来源：千高原

雨 & 光，杨述个展 | 30219天，黎朗个展 | 余极图画案 Rain & Shining, Yang Shu Solo Exhibition | 30219 Days, Li Lang Solo Exhibition | Yu Ji Drawing Plan · 开幕酒会：2014年6月21日下午3-6点 Opening Reception:3:00-6:00pm, June 21, 2014  (Saturday) · · ·· 雨 & 光：杨述个展 杨述（1965年出生于重庆）毕业于四川美术学院油画系，是一位具有20年职业艺术生涯的优秀艺术家，一直以来以具有涂鸦风格的表现主义绘画为业界所熟知和认同。在“雨&光”这个主题下呈现的新近完成的作品中，杨述展示给我们新的探索，它们与过去具有涂鸦风格的抽象绘画既有着深刻的联系，却是基于他的旅行照片创作的，因此这些作品也呈现给我们更多具象的符号和信息。它们像是一些旅行笔记，把旅途中一些碎片般的心情，用更加碎片化的方式展现出来，揭示出杨述对主题化的观念和叙事的一贯怀疑与破坏，以及对自由绘画的追求。杨述总是用出人意料的方式展示绘画的可能性，并传达出理想主义的信念。 ··· Rain & Shining: Yang Shu Solo Exhibition Yang Shu (b. 1965, Chongqing) was graduated from Sichuan Academy of Fine Arts, Department of Oil Painting. He is an excellent artist who has spent 20 years on the career, his graffiti-styled expressionism painting has been known and recognized by the art scene. Among his recent works presented under the theme of “Rain & Shining”, he shows us new clues. Although they have a profound connection with his early graffiti-styled works, they were created on the basis of Yang Shu’s travel photos, as a result, they present us more figurative symbols and information. Like traveling notes, they present the fragmented feelings in a more fragmented way. As a result, Yang Shu’s consistent doubt and damage to the themed concept and narrative is revealed. He always presents the possibility of painting in an unexpected way, and conveys his idealist faith. ··杨述，微笑服务，布面丙烯、树干、木条，360×250cm，2014 Yang Shu, Smiling Service, Acrylic, Tree Trunk and Battens on Canvas, 360×250cm, 2014 · · · ·· 30219天：黎朗个展 黎朗（1969年出生于成都）作为一位优秀的摄影艺术家在1990年代末为业界熟知和认同，他的著名的摄影作品“彝人”系列为他赢得过包括美国琼斯母亲国际报导摄影最高奖在内的广泛声誉，并在国内外的许多重要平台进行过展览，被许多重要的美术馆和私人收藏家收藏。在“30219天”这个由特别的数字命名的展览主题下，黎朗呈现给我们的是11件如同普通黑白照片一样的作品，能够看出这些黑白图像是一位老者的身体局部、用过多年的手环、手写的字条、或者一张老旧的青年男子照片……每一件作品的黑白图像上均笼罩了一层淡淡的薄纱——用铅笔书写的241752个数字，他们代表了30219天——1927年12月3日至2010年8月27日——这是黎朗父亲的一生。面对即将离去的父亲，黎朗放弃了作为职业摄影艺术家的所有图像逻辑思考，选择最平实的纪录方式留下这些属于他父亲的图像。然后，黎朗用了三年的时间，以重复书写的方式完成了这些非常私人的作品。他说：“以我的时间的消耗来构筑父亲生活过的时间的呈现，以满足我虚幻的臆想，从而把父亲的一生书写完整。” ··· 30219 Days: Li Lang Solo Exhibition Li Lang (b. 1969, Chengdu) is an excellent photographer. He began to be known by the art scene in the late 1990s. His famous photography series “The Yi People” has won many prizes for him, including the Motherjones International Fund for Documentary Photography Awards. His works have been exhibited in many important platforms at home and abroad, many important museums and collectors have collected his works. Under the special theme “30,219 Days”, Li Lang presents 11 seemingly ordinary black and white photographs. We can tell an old man’s body parts, an old bracelet, a handwriting note, or an old photo of a young man...each of the photographs has been  shrouded in a layer of gauze—the handwritten 241,752 numbers represent 30,219 days—From December 3rd,1927 to August 27, 2010, it’s the whole life of Li Lang’s father. Facing his dying father, Li Lang gave up all his thoughts about image logics, but chose the most plain way to record these images. After that, it costed him three years to complete these extremely personal works. He said:”I swap my time for the presentation of my father’s life experience, to satisfy my illusory surmise, so that I could make my father’s whole life completed by handwriting.” · 《父亲 1927.12.03-2010.08.27》之身体A，艺术微喷、铅笔书写，画心：107.8×106.6cm，外尺寸：111.5×110.2cm，2010-2013 “Father 1927.12.03 - 2010.08.27”, Body A, Archival Pigment Print with Pencil Writing, Internal Dimension: 107.8×106.6cm, External Dimension: 111.5×110.2cm, 2010-2013 ` · 余极图画案 余极（1965年出生于成都）毕业于四川美术学院，他的创作常常以关注历史变迁和社会心理的行为为主。他经常尝试跨媒介的实验，近年来，更借助对“投影”等对象的阐释，赋予一些日常事物全新的历史隐喻和文化内涵。在个人项目“余极图画案”中，他展示了一批纸上绘画。这些作品不是作为传统的绘画被创作和看待的，而是一种行动的痕迹，它们更像是一种搜索含有隐喻的形象的过程：当高山和历史人物的形象出现时，前者仅是一个意象生发，后者仅是符号而己，各异又互涉，它们就进入了余极对历史与当下社会现状诉说的嗟愕当中。 · Yu Ji Drawing Plan Yu Ji (b. 1965, Chengdu) was graduated from Sichuan Academy of Fine Arts, his works mainly focus on historical changes and social psychological behavior. He keeps on trying cross-media experiments. In recent years, he empowers the daily routines to bran-new historical metaphors and cultural contents with the interpretation of “shadow”. In his solo event “Yu Ji Drawing Plan”, he presents a series of paper works. These works were not created and considered as the traditional paintings, but as the traces of actions. They are more like the process of searching the metaphor of the images: once the high mountains and historical figures appear, while the former generated as images, the latter is no more than a symbol. Different but related, they enter Yu Ji’s sorrow over the history and the current social situation. 余极，Mt.1，纸本丙烯，50×40cm，2014 Yu Ji, Mt.1, Acrylic on Paper, 50×40cm, 2014