碰撞
第二篇 — 屠龙纪：杨泳梁 装置展
展期： 二零零八年九月七日 至 十一月六日
开幕式： 二零零八年九月六日 周六 下午四点
参观时间：每周一周二休息，周三至周日上午十时至下午六时，每周四晚至九时
Tel：6466 2940 fqprojects@gmail.com
*请预约参观展览
Collision
Part II – Tu Long Ji: Installation Yang Yongliang
07 Sep – 06 Nov 2008 / FQ Projects
Opening Reception: Sep 6 Sat 4pm
Opening hours: Wed – Sun 10-6 Thursday late night till 9pm
Tel：6466 2940 fqprojects@gmail.com
*Please make appointment before visit
Yang Yongliang
非青计划很高兴带给公众一个和上海艺术家杨泳梁合作的装置作品：屠龙纪。这个令人咋舌的装置是一条被拦腰斩断的垂死之龙，高两米、长六米，全身由白腊覆盖，内脏由瓷器、绢丝、书法、中医图解等具有中国传统文化表征的材料制成。作品名字亦由中国武侠小说变异而来。这个作品秉承了艺术家一贯的艺术语言和创作动机，但在内容和形式上做了新的尝试。
“屠龙纪”取直白，单刀直入式，但在形态和意义上都很沉甸。杨泳梁运用龙负载中华民族的文化，以“屠龙”这个对中国人而言极端的视觉及至情感的挑战，赤裸裸地揭示了中国目前—尤其在年青人一代里，对传统文化的传承遗失问题。龙的逼真形态和体量造成观者生理上对其真实感的接受度；一刀斩断的极端及全白色调的恐怖则不留余地地使观者在心理上感到骚扰和不安。而这恰是艺术家在警示国民如果再不清醒可能会出现文化断层的遗憾。在日益全球化，科技化的今天，如何保护并发扬发展本国传统文化、哲学思想是杨泳梁的艺术作品一直关切的主题。他通过自己的艺术创作来呼吁更多的人看到、意识到这个问题的严重性而加以思考和行动。在艺术语言上，它仍旧将古典传统的审美标准和当代艺术的手法结合，融入蜡、绢、麻、瓷器等材料到雕塑装置中，既有别于中国历代对龙的工艺性创作手法，又避讳了现当代雕塑的简约和金属感。
杨泳梁自06年开始艺术创作后已经取得了骄人的成绩。他的作品大部分以现实影像为素材，中国传统艺术、文化、思想为参照物，娴熟精良地运用电子合成技术来反映艺术家关忧的当代社会问题并提出质疑和思考。之前的“蜃市山水”系列受到广泛关注，作品几乎全数被收藏，其中不乏在多家国内外美术馆的展览和收藏。他的近作“天空之城，止水之上”渐渐向戏剧化的大场面发展，和“蜃市山水”比较隐讳抒情的手法不同，直指全球化的环境大问题。此次装置是非青计划和杨泳梁合作刚刚完成的新作，并衍生了照片，雕塑及扇面作品。
非青计划为了帮助新锐艺术家实现一些商业上潜力不高但具有学术内容和意义的艺术项目，每年将挑选1－2位艺术家进行合作并以淮海坊76号为展地举行项目展。非青计划自今年三月成立以来，成功举办了两个主题展览，这是计划的第一个项目展。
Yang Yongliang
FQ Projects is proud to collaborate with the talented Shanghai artist Yang Yongliang and bring to the public an exciting installation work. TU LONG JI, an altered name after Jin Yong’s martial arts novel is a very direct, perhaps shocking work of art, heavy in both form and significance. It is a two-meter-high, six-meter-long slaughtered dragon all-covered-by-wax sculptural installation. The exposed internal viscera of the dragon are made of porcelain, silk, calligraphy and Chinese medical illustrations, elements representing Chinese traditions. It builds on Yang’s body of work interpreting traditional Chinese concepts with an uncompromisingly contemporary perspective by challenging the traditional revered status of the dragon in Chinese society.
By slaying the dragon Yang presents an extremely challenging work for most Chinese both visually and psychologically. The figurative likeness of the dragon and its volume suggest the ‘real’ feeling to the audience; yet the absolute breaking of the body and an overall white tone normally suggesting death provides an uneasy and disturbing perspective. Yang uses the Dragon to symbolize the Chinese culture and this work to reveal the disappearing Chinese traditional cultural heritage in younger generation. The shocking reaction is just what the artist wants the audience to have to realize how regretful it would be if not take any action on this problem. With globalization and development of hi-technology, how to protect and develop one country’s own culture becomes Yang’s theme for his art work. He uses his art creation to recall the awareness of the issue and its consequence.
In terms of the language, it continues the combination of classic aesthetics and contemporary art methods of his previous work. By using wax, silk, linen and porcelain china etc in a sculptural installation, it avoids the simplified lines, forms and metal feel that are common in modern contemporary sculpture works.
Yang Yongliang has achieved a great success since he started art career from 2006. Most of his works uses photography as material, Chinese traditional art, culture, philosophy as references, with his excellent digital manipulation skills to reflect his concerns of today’s society and raise questions. Phantom Landscape series has received a great attention. Almost all the works have been collected. Some of them have been exhibited and collected in various museums both nationally and internationally. His latest work “On the Quiet Water, Heavenly City” appears to be more theatrical and dramatic. Differ from the Phantom Landscape series’ lyrical subtlety, it points directly to the environment global issue. This new work from Yang Yongliang is a collaboration work with FQ Projects, along with the derivative work of photography, sculpture and fan leaf.
FQ Projects aim to support and realize those commercially risky but academically interesting and significant art projects from young or new artists. Each year FQ will hold 1-2 collaborative project exhibitions or specifically commissioned works with selected artists. TU LONG JI is the first project exhibition after two thematic exhibitions since FQ founded in March this year.
