杨锋艺术与教育基金会| 逆光:双城取样
发起人:杨锋艺术与教育基金会  回复数:0   浏览数:128   最后更新:2018/01/04 18:19:08 by 杨锋艺术与教育基金会
[楼主] 杨锋艺术与教育基金会 2018-01-04 18:19:08

展览:  逆光:双城取样

展期:  2017年11月26日至2018年2月25日

地点:  有空间深圳市南山区蛇口南海意库2栋201

策展人:胡斌、武漠

主办:杨锋艺术与教育基金会

赞助:蓝海资本/优米金融


Exhibition Title: Against the Light: Sampling inTwo Cities

Duration: 26th Nov. 2017 to 25th Feb. 2018

ExhibitionVenue: YOU Space Room 201, Building 2, Nanhai E-cool, Shekou, Nanshan District,Shenzhen

Curators: HU Bin, WU Mo

PresentedBy: Frank F. Yang Art and Education Foundation

Sponsor:Blue Ocean CapitalGroup / Youmi Finance



逆光:双城取样

策展人:胡斌、武漠



在以往有关珠三角的展览中,对于此一区域的艺术已经有过多重层面的界定,比如从现代性、消费文化、身份意识、地缘关系等角度来考察。“逆光:双城取样”尝试以新的角度和方法来切入该区域青年艺术家的现时创作,那就是“光”。“光”及“逆光感”作为一种因习以为常而较少被在意的物理现象,实际上潜移默化地影响着自然和人的存在与行为方式。其照射角度、强度和时长是形塑区域面貌的重要因素。而当下,自然与各种人造“逆光”效果的交相辉映更构成了自然和城市环境的最新态势。我们将广州、香港这两座珠三角地区艺术生态较为完善的城市视作容器,以样本观察的方式切入,选取了陈丹笛子、邓国骞、冯火、邝镇禧、黎卓华和汤大尧六位艺术家/组合的作品来反映这一主题。


若以纵向的历史线索加以考察,“逆光”视角实则与珠三角区的艺术有着密切而特殊的联系。“文革”时期,广东的美术家曾用逆光手法很好地表现出广东的“阳光感”,既与“红色中国”的主流视觉表达相符,又独具特色地丰富了以“红光亮”为核心艺术语言的“全国模式”。与广东一水之隔的香港,在地理与气候环境和岭南地区相近,而创作环境较为自由的情况下,经常性的阳光强烈直射所形成的光影错落既形塑了艺术家们的内在体验,也成为他们观察世界的一个很自然的切入角度。


“逆光”与珠三角的地理气候环境有关,同时又构成这个区域视觉艺术的隐在线索。尽管我们习惯上将广东与香港作为某种文化共同体来描述,但随着时代变迁其整体性已经产生事实上的离散。然而,因地理、气候、与之相关的人的行为方式和城市景观的关系,他们的艺术还是表现出某种别样而共通的气质。“逆光”既具有历史纵深感,又有效对应着当下粤港当代艺术家所展开的有关“风光”、“日常”和新型媒介的创作。此外,“逆光”还蕴含着某种逆向的、区别于主流话语模式的象征意味。当然,在这里我们无意于提供一种全然的客观现实,而希冀以颇具弹性的方式激活对于这一区域当代青年艺术实践的认知。


陈丹笛子、冯火和汤大尧居于广州。陈丹笛子的作品赋予日常景观和生活以特殊的意义,并以独特的方式与之对话;冯火是一个基于自编刊物的泛组织,他们以刊物作为连接的纽带所展开的艺术实践带有个体生活史和“戏谑”社会学的色彩;汤大尧的作品在极具概括性和探究性的形体、色彩以及结构中体现出澄明的画面质感。


黎卓华、邝镇禧和邓国骞来自香港。黎卓华的画作富于轻盈、柔和而暧昧的美感,在她近期的创作实验中,视角、方法与媒介均开始超越绘画平面;邝镇禧擅长发现不同空间形式中不为人注意的物料细节,并以经过精细手工制作的纸本绘画、录像或装置形式加以呈现;传统的围村生活经验与其在香港都市中心来回游走的体验共同构成邓国骞创作中的主要关注点,他善于使用拼贴手法与现成品,在多样化的空间中进行在地制作。


六位艺术家/组合的作品与这个区域的光线构成复杂而多维的关系。闪烁的强光、夏日炎炎中娇翠欲滴的植被、笼罩着孤独者的夜色以及舞台剧照般的暴力城邦叙事等成为这几位广州艺术家各自切入主题的引线,并呈现出关于社会、生活与想象的不同面向的机趣表述。而都会文化与社会价值滋养了三位香港艺术家的创作,无论是逆向回溯私人与城市历史、大众传媒之视觉元素,抑或在寻常现象中撷取微妙“光晕”,他们以更具隐喻性的方式传达对于“逆光”的理解,并进一步引申出关乎物、身份、环境的沉思。




Against the Light: Sampling inTwo Cities

Curators: HU Bin, WU Mo


In the past, artexhibitions about the Pearl River Delta have defined the region on variouslevels;for instance, this subject matter has been surveyed from the perspective of modernity, consumer culture, identity awareness, andregional politics. Againstthe Light: Sampling in Two Cities attempts to adopt new angles and perspectives inits enquiries into the current art practices of young artists in this region,which may be considered “the light”. We often overlook the natural phenomenonof the “light” and the “backlight” because of its ubiquity, when in fact theseare elements that subtly impact nature and human experience and behavior. Itsangle of projection, luminosity and duration are critical components that shapethe impression of this region. In addition, at present, the mutually-enhancing effects of nature and various sources ofartificial “backlight” engender a new construct of nature and the urbanenvironment. We considerGuangzhou and Hong Kong–—these two developed art ecologies–— as the containersfor six artists and artist collectives, namely CHEN Dandizi, FONG Fo, KONG ChunHei, TANG Dayao, TANGKwok Hin, and Sarah LAI Cheuk Wah, and take their practices as points of entryto project this subject matter.


If our inquisition wereto intercept from a historical framework, the perspective of “Backlight” isintimately tied to the art of Pearl River Delta region. During the CulturalRevolution period, Guangdong artists adopted the notion of “backlight” to represent the “sense of natural light” in Guangdong, whichresonated with the mainstream visual expression of “Red China” while enrichingthe “model forthe whole country” of central visual rhetoric established on the characteristics “redbright and magnificent”. Separated by Victoria Harbor, the geological andecological environment of Hong Kong is akin to the rest of the Lingnan region,yet under the relatively liberal condition of artistic practice, theoverlapping lights and shadows formed by constant and strong overhead sunshineshape the artists’ inner experiences, as well as offer a logical point of entryfor observing the world.


“Backlight” pertains tothe geographical climate of the Pearl River Delta region and accounts for theconcealed cues of the visual art in this region. Although we tend to portrayGuangdong and Hong Kong as certain cultural commonality,with the passing of time, its uniformity has been in fact been disintegrating.Yet, because of their geography, climate and the specificity of their people’sbehaviors and their urban relationships, works from both areas still representa certain special yet common quality. “Backlight” not only embodiesa retrospective sense of history, but also effectively responds to the subjectsof “scenery”, the “quotidian” and new forms of media art practice in which Guangdong and Hong Kong contemporary artists are engaged. Moreover,“Backlight” also projects certain symbolic significance that is subversive toand differentiated from the mainstream mode of discourse. “Backlight” is not intendedto provide any subjective reality; rather, it aims to enhance the understandingof the practices among young artists in this region withelasticity.


CHEN Dandizi, FONG Fo, and TANG Dayao live inGuangzhou. CHENDandizi’s worksassign special meanings to the everyday spectacle and life and establish uniqueways of dialoging; FONGFo is agroup of artists loosely affiliated through self-publishing whose publicationsserve as the points of connection from which artistic practices convey the lifeof the individuals and sociological “banter”; and TANG Dayao’s works present aclarity of visual texture with his highly concise and explorative forms, colorsand structure.


LAI Cheuk Wah, KONG Chun Hei and TANG Kwok Hin are based in Hong Kong. LAICheuk Wah creates her paintings with an ethereal, delicate and ambiguous senseof beauty. In her recent experimentation, her perspective, method and mediumbegan to reach beyond the surface of the painting. KONG Chun Hei is keen oninteracting with various spaces and spatial dimensions in order to discover thesubtle details in the textures, which are presented through drawings onsophisticated hand-made paper, video or installation. The experience of havinglived in a walled village and his traversing through Hong Kong’s urban hubsconstitute the primary focus of TANG Kwok Hin’s artistic practice. He’sinclined to use collage and the ready-made objects to produce site-specificworks in diversified spaces..


The works of these six artists/artist collectives have established a complex anddiverse relationship with the construct of light in this region. As the beamingsun beats on the delicate foliage in fervid summer, is enshrouded in the lonelynight, and iterates a violent metropolitan narrative in forms of stage shots,Guangzhou artists take these points of entry to expand their subject matter asthey reveal various façades and interesting narratives about society, life andtheir imagination. While metropolitan culture and social value nurtured theartistic practice of their peers from Hong Kong, their works, whether throughretrospection on personal and urban histories, visual elements in mass media,or attempts at discovering the subtle “aura” in the common phenomenon, conveyan understanding of the “backlight” from a more metaphorical approach, and aimto provoke further reflections on objects, identity and the environment.




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