洪浩*洪浩*洪浩*洪浩*洪浩*洪浩*洪浩*洪浩*洪浩*洪浩*洪浩
发起人:seveneleven  回复数:13   浏览数:5498   最后更新:2009/04/17 21:22:23 by guest
[楼主] seveneleven 2009-04-16 13:52:32


1965
生于中国北京

1985
毕业于中央美术学院附中

1989
毕业于中央美术学院版画系
现为职业艺术家

主要个展

2007
“洪浩之雅集”, 前波画廊, 纽约, 美国

2004
“阅览室”, 前波画廊, 纽约, 美国
“洪浩作品”, LOFT画廊, 巴塞罗那, 西班牙; 巴黎, 法国
“洪浩作品”, Base画廊, 东京, 日本

2003
洪浩作品在阿尔勒国际摄影节, 阿尔勒, 法国

2000
“《世说新语》及其他”, 精艺轩, 温哥华, 加拿大
“景象”, 四合院画廊, 北京, 中国

主要联展

2008
“图书馆”, 北京公社, 北京, 中国
“人民.历史- 20世纪中国美术研究展”, 中央美术学院美术馆, 北京, 中国 中南海特供, 英国, 伦敦, 红楼基金会
“执古御今”, 纽约皇后美术馆, 美国,
“我们的未来”, 尤伦斯当代艺术中心, 北京,中国
“中国金”, 马约尔博物馆, 巴黎, 法国
“北京— 雅典,来自中国的当代艺术展”, 国家当代艺术中心, 雅典,希腊
“都市镜像: 当代艺术邀请展”, 深圳美术馆, 深圳, 中国
“违章建筑”, 长征空间, 北京, 中国
“书/书架”, 纽约现代美术馆, 美国

2007
“政治纯形式”, 北京公社, 北京, 中国
“政纯办在上海”, 比翼艺术中心, 上海, 中国
“艺术激情”, ESSL博物馆, 维也纳, 奥地利
“旅程”, 大都会美术馆, 纽约, 美国
“网”, 前波画廊, 北京, 中国

2006
第五届亚太当代艺术三年展, 昆士兰美术馆, 昆士兰, 澳大利亚
“今日中国: 中国当代艺术的转世魅影”, ESSL博物馆, 维也纳, 奥地利
“2000年以来的版画艺术”, 现代美术馆, 纽约, 美国
“拾贰: 2006中国当代艺术奖”, 上海证大现代艺术馆, 上海, 中国
“H+Y 一件作品之泰康计划”, 泰康顶层空间, 北京, 中国

2005-2006
“麻将: 希克中国当代艺术收藏展”, 伯尔尼美术馆, 瑞士; 汉堡当代美术馆, 德国

2005
“只有一面墙”, 北京公社, 北京, 中国; Art Space, 悉尼, 澳大利亚
“永远的童话”, ARoS美术馆, 阿胡斯, 丹麦
广州国际摄影双年展, 广东美术馆, 广州, 中国
“城市皮肤: 当代都市影像的可能性研究”, 澳门塔石美术馆, 澳门; 深圳美术馆, 深圳, 中国“在边缘: 中国艺术家遭遇西方”, Cantor艺术中心, 斯坦佛大学, 美国


2004-2005
“聚焦: 中国当代摄影和录像”, 圣地亚哥美术馆, 美国; 上海美术馆, 上海; 中国美术馆, 北京, 中国

2004
“任何地方: 艺术, 移民,乌托邦”, 马其顿当代美术馆, 希腊
“过去将来: 中国当代摄影”, 国际摄影中心, 纽约, 美国
“中国人: 中国当代摄影和录像”, 沃尔夫斯堡博物馆, 德国
“年轻探索: 2004中日韩青年艺术家展”, 韩国国立现代美术馆, 汉城, 韩国
“龙族之梦: 中国当代艺术展”, 爱尔兰现代美术馆, 爱尔兰

2003
“中国极多主义”, 中华世纪坛艺术馆, 北京, 中国
“开放的时代”, 中国美术馆, 北京, 中国
“念珠与笔触”, 东京艺术工程, 北京, 中国
“幻影天堂: 中华当代摄影”, Rudolfinum美术馆, 布拉格, 捷克

2002
首届广州三年展, 广东美术馆, 广州, 中国
“北京•巴黎”, 卡丹中心, 巴黎, 法国
“金色收获: 中国当代艺术展”, 萨格勒布博览会, 萨格勒布, 克罗地亚
“红色大陆: 中国当代艺术展”, 光州美术馆, 光州, 韩国
ARCO艺术博览会, 马德里, 西班牙
“趣味过剩”, 3H艺术中心, 上海, 中国
平遥国际摄影大展, 平遥, 山西, 中国
“拱”之大展, 马德里, 西班牙

2001
成都双年展, 成都现代艺术馆,成都, 中国
洛山矶双年展, 洛山矶, 美国
“矛盾中: 来自北京的当代摄影和录像”, Oulu美术馆; 赫尔辛基摄影美术馆, 芬兰
“中国家庭照”, 尼斯博物馆, 法国
“虚拟未来”, 广东美术馆, 广州, 中国

2000
“海上, 上海: 2000上海双年展”, 上海美术馆, 中国
巴塞尔艺术博览会, 巴塞尔, 瑞士
中国前卫艺术家文献展, 福冈亚洲美术馆, 日本
“大都灵2000: 新星双年展”, 都灵, 意大利

1999
“五大洲和一个城市”, 墨西哥城博物馆, 墨西哥
“北京在伦敦”, 当代艺术研究中心, 伦敦, 英国
“中国概要”, Otso美术馆, 埃斯波, 芬兰

1998-2000
“蜕变与突破: 中国新艺术展”, 亚洲协会美术馆, P.S.1当代艺术中心, 纽约; 旧金山现代艺术博物馆, 美国

1998
“空间与视觉: 北京都市生活嬗变之印象1998”, 当代美术馆, 北京, 中国

1997
“不易流行: 中国现代艺术与环境之视线”, 东京; 大阪; 福冈, 日本
“面孔与身体: 90年代的中国艺术”, Rudolfinum美术馆, 布拉格, 捷克; Otso美术馆, 芬兰

1996
“中国: 十五位艺术家的工作室”, 慕尼黑, 德国

1995
“变化: 来自中国的现代艺术”, 哥德堡艺术博物馆, 瑞典
“世说新语”, 北京国际艺苑美术馆, 北京, 中国

1993
后八九中国新艺术展, 香港艺术中心; 悉尼当代美术馆, 澳大利亚; 伦敦Marlborough画廊, 英国

1988
第十九届法国阿尔勒国际摄影节, 阿尔勒, 法国

Hong Hao

 

1965

Born in Beijing

 

1989

Graduated from Printmaking Department, the Central Academy of Fine Arts, Beijing, China

 

Current

Lives and works in Beijing

 

Selected Solo Exhibitions

 

2007

“Hong Hao's Elegant Gathering”, Chambers Fine Art, New York, USA

 

2004

“Hong Hao's Reading Room”, Chambers Fine Art, New York, USA

“Hong Hao”, LOFT Gallery, Barcelona, Spain; Paris, France 

“Hong Hao”, Base Gallery, Tokyo, Japan

 

2003

Hong Hao at Rencontres d’Arles 2003, Arles, France

 

2000

“Scenes from the Metropolis”, the CourtYard Gallery, Beijing, China

“Suspended Disbelief”, Art Beatus Gallery, Vancouver, Canada

 

Selected Group Exhibitions

 

2008

“Library”, Beijing Commune Beijing, China

“Downtown Production -An Exhibition of Chinese Urban Art”, Red Mansion Foundation, London, UK

“Reason's Clue”, Queens Museum of Art, New York, U.S.A.

“People.History-Studies of Chinese Art of the 20th Century”, China Central Academy of Fine Arts  Museum of Art, Beijing, China

“Our Future”, Ullens Center for Contemporary Art, Beijing, China

China Gold”, Maillol Museum, Paris, France

“City Image: Contemporary Art Invitation Exhibition”, Shenzhen Art Museum, Shenzhen, China

“Building Code Violations II”, Long March Space, Beijing, China

“Book/Shelf”, the Museum of Modern Art, New York, USA

 

2007

“Polit-Sheer-Form”, Beijing Commune, Beijing, China

“Polit-Sheer-Form Office in Shanghai”, BizArt Art Center, Shanghai, China

“Passion for Art”, ESSL Museum, Vienna, Austria

“Journeys: Mapping the Earth and Mind in Chinese Art”, the Metropolitan Museum of Art, New York, USA

“Net”, Chambers Fine Art, Beijing, China

 

2006

The 5[sup]th[/sup] Asia-Pacific Triennial of Contemporary Art, Queensland Art Gallery, Queensland, Australia

China Now”, ESSL Museum/ ESSL Collection, Vienna, Austria

“Since 2000: Printmaking Now”, MoMA, New York, USA

“Twelve: Contemporary Chinese Art Awards 2006”, Zhengda MoMA, Shanghai, China

“One Work: the Taikang Project of Hong Hao+Yan Lei”, Taikang Top Space, Beijing, China

 

2005-2006

“Mahjong”, Kunstmuseum Bern, Bern, Switzerland; Hamburg Contemperory Kunst Museum, Hamburg, Germany

 

2005

“Only One Wall”, Beijing Commune, Beijing, China; Art Space, Sydney, Australia

“Fairy Tales Forever”, ARoS Aarhus Kunstmuseum, Arhus, Denmark

China: Contemporary Art Perspectives”, Art Museum, Milan, Italy

Guangzhou International Photography Biennale, Guangdong Museum of Art, Guangzhou, China

“On the Edge: Contemporary Chinese Artists Encounter the West", Stanford University, USA
 

2004-2005

“Zooming into Focus: Contemporary Chinese Photography and Video”, San Diego Museum of Art, USA; Shanghai Art Museum; National Art Museum of China, China

 

2004

“Any Place - Any Art: Immigration, Utopia”, Macedonian Museum of Contemporary Art, Thessaloniki, Greece

“Between Past and Future: New Photography and Video from China”, International Center of Photography, New York; Museum of Contemporary Art, Chicago, USA

“The Chinese: Contemporary Photography and Video from China”, Kunstmuseum Wolfsburg, Germany

“Young Artists from China, Japan and Korea”, National Museum of Contemporary Art, Seoul, Korea

“Dreaming of the Dragon's Nation: Contemporary Art Exhibition from China”, Irish Museum of Modern Art, Dublin, Irish

 

2003

“Chinese Maximalism”, Millennium Art Museum, Beijing, China

“An Opening Era”, National Museum of Fine Arts, Beijing, China

“Prayer Beads and Brush Strokes”, Beijing Tokyo Art Projects, Beijing, China

“A Strange Heaven: Contemporary Chinese Photography”, Gallery Rudolfinum, Prague, Czech Republic

 

2002

First Guangzhou Triennial, Guangdong Museum of Art, Guangzhou, China

Paris - Pekin”, Espace Cardin, Paris, France

“Golden Harvest: Chinese Contemporary Art”, Zagreb Fair, Zagreb, Croatia

“Red Continent: China Contemporary Art Exhibition”, Gwangju Art Museum, Gwangju, Korea

ARCO Art Fair, Madrid, Spain

 

2001

Chengdu Biennale, Chengdu Modern Art Exhibition Hall, Chengdu, China

Los Angeles Biennale, Los Angeles, USA

“Cross-Pressures: Contemporary Photography and Video from Beijing”, Oulu Art Museum; the Finnish Museum of Photography, Finland

“L' Album De La Famille Chine”, Nice Museum, France

“Virtual Future”, Guangdong Museum of Art, Guangzhou, China

 

2000

Shanghai Biennale, Shanghai Art Museum, China

“From Inside the Body: Chinese New Photography and Video”, Ise Cultural Foundation, New York, USA
Basel Art Fair 2000, Basel, Switzerland

“Chinese Avant-garde Artists Documenta”, Fukuoka Asian Art Museum, Fukuoka, Janpan

“BIG TORINO 2000 Biennial of Emerging Artists”, Torino, Italy

 

1999

“Five Continents and One City”, Museum of Mexico City, Mexico

Beijing in London”, Institute of Contemporary Art, London, UK

“Chinese Maze”, OTSO Gallery, Espoo, Finland

 

1998-2000

“Inside Out: New Chinese Art”, Asia Society and P.S.1.Contemporary Art Center, New York; San Francisco Museum of Modern Art, USA

 

1998

“Impression of Transmuting Daily Lives in Beijing 1998”, Contemporary Art Gallery, Beijing, China

 

1997

“Immutability and Fashion: Chinese Contemporary Art in the Midst of Changing Surroundings”, Tokyo, Osaka, Fukuoka, Japan

“Faces and Bodies of the Middle Kingdom: Chinese Art of the 90’s”, Gallery Rudolfinum, Prague, Czech Republic; Otso, Finland



1995

“Changes: Modern Art from China”, Art Museum of Gothenburg, Sweden

“New Anecdotes of Social Talk”, Art Gallery of Beijing International Art Palace, Beijing, China

 

1993

“China’s New Art, Post-1989”, Hong Kong Art Center, Hong Kong, China; Museum of Contemporary Art, Sydney, Australia; Marlborough Fine Art (London) Ltd., UK

 

1988

19’es Rencontres Internationales de la Photographie, Arles, France


美国纽约现代美术馆                    
美国波士顿美术馆                                     
美国圣巴巴腊艺术博物馆                                     
美国,加利佛尼亚Berkley美术馆
英国大英博物馆                        
英国阿什莫林博物馆
奥地利维也纳 SAMMLUNG ESSL博物馆
加拿大国家美术馆
日本福冈亚洲美术馆
新加坡国立大学美术馆
澳大利亚昆士兰美术馆
比利时尤伦斯当代艺术中心
中国美术馆
中国上海美术馆
中国广东美术馆
香港艺术馆

公共收藏
美国联邦储备局
美国纽约市立图书馆
法国Issy市政府             
瑞士UBS银行香港分行
香港梁洁华基金会
中国泰康保险公司


Museum Collections  
 
British Museum,  U.K.
Ashmolean Museum, Oxford, U.K
SAMMLUNG ESSL Museum, Vienna, Austria
Museum of Modern Art, New York, U.S.A.
Boston Museum Of Fine Arts, Boston, U.S.A
Santa Barbara Museum of Art,  U.S.A
A
Berkley Museum, California,  U.S.A
National Gallery of Canada, Ottawa, Canada
Queenstand Art Gallery  Queenstand  Austria
Fukuoka Asian Art Museum, Fukuoka  Janpan
NUS Museum National University of Singapore  Singapore
Ullens Center for Contemporary Art, Beijing,   China
China National Museum of Fine Arts, Beijing  China
Shanghai Art Museum, Shanghai  China
Guangdong Museum of Art, Guangzhou  China
Hong Kong Museum of Fine Arts,  Hong Kong
Public Collections
New York City Public Library,  U.S.A
Federal Reserve,Washington DC, U.S.A
City Hall of Issy,  France
UBS BANK Swissland (Hong Kong Branch)
Annie Wong Art Foundation, Hong Kong

Award
2000  Honorable Mention of Contemporary Chinese Art Awards
2006  Honorable Mention of Contemporary Chinese Art Awards






博物馆收藏
[沙发:1楼] guest 2009-04-16 15:48:47
洪浩的作品图片在哪?
[板凳:2楼] seveneleven 2009-04-16 16:20:39


Selected Scriptures, page 3305,
Which One
藏经3305 影法


Silkscreen print |
丝网版画
54 x 78 cm, Ed. 98
1996


Selected Scriptures, page 2123,
The New World Physical
藏经2123页 世界地貌新图


Silkscreen print |
丝网版画
54 x 78 cm, Ed. 82
2000


Selected Scriptures, page 95,
The Latest Practical World Map
藏经95页 最新实用世界地图


Silkscreen print |
丝网版画
54 x 78 cm, Ed. 37
1995


20 Selected Scriptures, page 2931,
Worldly Tales
藏经2931页 世说新语

Silkscreen print | 丝网版画
54 x 78 cm, Ed. 25
1995

Selected Scriptures, page 188,
The New Catalogue of the Holy Caves
藏经188页 圣窟近录图


Silkscreen print | 丝网版画
54 x 78 cm, Ed. 23
1996

Selected Scriptures, page 3561,
Postscript
藏经3561页 后记


Silkscreen print | 丝网版画
54 x 78 cm, Ed. 31
1995

Selected Scriptures, page 3305,
Which One
藏经3305 影法


Silkscreen print | 丝网版画
54 x 78 cm, Ed. 98
1996



Selected Scriptures, page 3535,
New World Geographic Map
藏经3535页 世界地域新览


Silkscreen print | 丝网版画
54 x 78 cm, Ed. 97
1996


Selected Scriptures, page 3155,
The Road to Success
藏经3155页 成功之路


Silkscreen print | 丝网版画
54 x 78 cm, Ed. 28
1996

Selected Scriptures, page 3085,
The New World Political Map
藏经3085页 世界政区新图


Silkscreen print | 丝网版画
54 x 78 cm, Ed. 82
2000

Selected Scriptures, page 2123,
The New World Physical
藏经2123页 世界地貌新图


Silkscreen print | 丝网版画
54 x 78 cm, Ed. 82
2000

Selected Scriptures, page 2001,
The World No.1
藏经2001页 世界地图A型


Silkscreen print | 丝网版画
54 x 78 cm, Ed. 75
2000

Selected Scriptures, page 1999,
The Memory of Millenni
藏经1999页 千年庆典纪念


Silkscreen print | 丝网版画
54 x 78 cm, Ed. 68
2000

Kassel City Defense Vertical View Map
卡塞尔城防鸟瞰图


Silkscreen print | 丝网版画
54 x 78 cm, Ed. 51
1997

Hair

color photo | 彩色照片
127 x 216 cm, Ed. 12
2002
[地板:3楼] seveneleven 2009-04-16 16:28:53

556.142.346.000

color photo | 彩色照片
175 x 280 cm, Ed. 6
2004

Congratulations 666

photo | 照片
127 x 216 cm, Ed. 9
2004 - 2005

Congratulations 888

color photo | 彩色照片
175 x 280 cm, Ed. 6
2004 - 2005

My things: About Circle No. 1

color photo | 彩色照片
120 x 210 cm, Ed. 9
2004 - 2005

55.976

color photo | 彩色照片
220 x 127 cm, Ed. 10
2004

My Things: About Circle No. 3

color photo | 彩色照片
165 x 270 cm, Ed. 6
2006

MyThings: Book Keeping of 06 A

color photo | 彩色照片
170 x 290 cm, Ed. 6
2006

My Things: About Circle No. 2

color photo | 彩色照片
165 x 270 cm, Ed. 6
2006

About Him No. 1

color photo | 彩色照片
160 x 315 cm, Ed. 9
2005

About him No. 2

color photo | 彩色照片
160 x 315 cm, Ed. 9
2005

My Things: Book Keeping of 06B

color photo | 彩色照片
170 x 290 cm, Ed. 6
2007

Things 2002

color photo | 彩色照片
64 x 111 cm, Ed. 15
2002

MyThings: Book - Keeping of 06C

color photo | 彩色照片
170 x 290 cm, Ed. 6
2007
[4楼] seveneleven 2009-04-16 16:32:33
镜中之境与像外之象——关于洪浩的艺术创作

冯博一




洪浩在我的印象中是属于具有智性品质的艺术家。这种智性品质是指体现在他的创作上与中国80年代艺术家的人文关怀过于沉重和理性不同,又与当下年轻的新新人类的激进、偏执相异。他的创作并没有延续启蒙传统的老路上去展开批判,而是趋向于使用后现代主义的方式进行戏谑和戏拟,在轻松的戏仿过程中达到对现实生存的质疑与批判。在表现语言的运用上也充分显示了他的才华和自由把握各种媒介的能力。

在一组以目前中国日常生活密切相关的日常物件为题材,题为《我的东西》的系列摄影作品中,洪浩特有的艺术直觉力和他的敏锐的观察得到了充分的体现。他在物件排列的装置、转换、重复之间找到了一个直接呈现的共有空间,仿佛我们生活于其中的物质世界是由物件和碎片构成的。繁复地组合混杂一起,强化了对现实生存的节奏和印象,这种印象背后的一个关键意向是物质的消费,而这恰恰是中国当下生活的基本状态和对物质的欲望转化到图像的真实体现。虽然欲望给我们的生活带来了表面上的斑斓色彩,但其深处却充满了无力之感。其主题思想也集中反思了后现代主义式的消费时尚文化在中国的困境与荒诞性。视觉的张力或谐谑或怀旧或时尚,不同的处理试图从当代生活的纷繁无序中整理出一种超现实的秩序,一种将物质的和技术的语言加以区分,但同时又让两者并置在一起且保持接触的形式感。

《藏经》系列版画作品是洪浩艺术创作中的主要代表作之一。“世界政区新图”、“世界地貌新图”是按中国传统书籍插图的样式,其背景是世界的不同区域,但它却不是可以按图索骥地去臻达某个地理空间,或者说这是一组假借地图的名义——所谓的以具体地理为背景的世界局势图。其创作的观念方式,按洪浩自己的解释是:确立一个“偏离了正常秩序的规则”。即先将文化资讯分解进行重新编码,使其失去在原有的规范与意义上的习惯性对应,然后再让这些被重新界定的语义通过重复加强等手段升值为经验,这样它们就会象古代经卷那样“道貌岸然”起来。他有意并随意地将地图的版式写真或主观地夸张、神秘的不可知以及转换的幻象等等拼贴结合起来,意在调节思维的角度和观看物质的眼光。比如“世界地貌新图”是将世界的海陆互换以及将地图反向处理。也许正是这些臆想的多元混合导致了结构及观看的某些复杂状况。他瑰奇的想象力使时间和空间、历史和现在及未来之间出现了一种混杂的关系。或许他并不想把主题弄得太明白太直露,不想把深刻的观念变得简单浅显。这可以理解为作者的苦心孤诣,也可以视为作者对那些有意改变世界地图形状结构中的连接方式的一种挑战。

在《我所认识的Mr.Gnoh》、《Yes,I'm Gnoh》中,洪浩试图把中国正在兴起的消费社会中的虚拟化的生活加以典型化处理,不仅把它们放大,尤其是也将自我的形象化妆、置换到自己营造的场景空间中,以凸现出其中的生动性和荒诞性,来表达他对当下社会生活的深刻关注。那些时尚的装饰本身就具有象征的表演性,更为重要的意义在于他用夸张的视觉效果生动的表现出这个时代精神崇拜的荒诞情境,戏谑的场景背后隐含的是对当代中国过度膨胀的时尚文化所进行的尖锐、严肃的反思。

物质的时尚消费对我们来说与其是一个场景,一种欲望,不如说是一种象征和隐喻。艺术家的敏感、锐利和积淀的独特而奇异的经验,他的反思和批判精神是值得关注的,他不仅为时代记录了精神的和情感的历史,更在于用一种新的视觉观念和方式表现了时代的文化特征。我以为这是艺术家的职责和一种所谓“现代性”的体现。


Scene in the Mirror and Image outside of the Object
– About Hong Hao’s art works
Feng Boyi


Hong Hao is an artist of intelligence in my impression. The intelligence I’m speaking of refers to the difference of his works from the overwhelming humanity of the artists in the 80’s, as well as from the revolutionary spirit and prejudice of contemporary ones. His works do not pursue the old tradition of the enlightenment period to criticize. By using post-modern satirical and mimic means, he questions and criticizes the real life. His talent and the ability to master different forms of media are also showed in his expressing language.
In a series of photos named “My Things” which is based on daily-life objects, Hong Hao expresses his unique artistic intuition and sharp observation. He finds a common space through positioning, transforming and repeating the arrangement of his objects, thus presenting us of a material world made up of small pieces and objects. The complex combination of the materials stresses the impression of the reality life pace, and under this impression is the key intention of material consumption. This is the image representation of China’s actual life situation and desires for materials. Although the desires bring us superficial colorful situation, it is powerless. Furthermore, The main idea of his works also reflects the difficult position and ridiculousness of post-contemporary consumption culture in China. The visual impressing, satirizing, past life remembering, and new life desiring, all those means adopted in his works are trying to find a way to create a surrealistic order out of the chaos of daily life, presenting us with a framework that separates the material and technical languages, but also let them be in contact with each other by arranging them together.
“Selected Scripture” engraving series is one of the main representatives in his works. “New World Political Map” and “New World Physical” are designed in the form of inserted pictures in books as Chinese traditional way. These works are based on the various regions all over the world, but it is unable to reach the places. It is just like a world situation chart with geography background by borrowing the name of the map. The motivation of the creation, according to Hong himself, is to “set up a rule which deviates the original way”, that is to separate the culture information and re-code it in order to re-define language meanings by means of repeatedly strengthening and upgrading to the experiences. In this way, they look like the old scriptures. He deliberately combined the geographical blocks using different styles such as actual description, subjective exaggeration, mysterious unknowing and convertible illusion, and so on. His purpose is to adjust consciousness and the view for materials. For example, in “New World Physical”, he treats the works in a reversing way, that is to exchange the positions of the oceans and the land, thus the abnormal changes lead to the fantasy and the complication of his creation. His extraordinary imagination produced a new relationship between the space, time, history, the present and the future. Probably it is not his motivation to make the theme too obvious and straightforward, nor to make the point of view too simple and superficial. It is a result of the artist’s deep contemplation, and it could also be regarded as the artist’s challenge to those who want to change the connecting forms of the world map structure.
In “Mr. Hong” and “Mr. Gnoh” series, Hong Hao treats typically the subjunctive life of consumption society in China nowadays. He not only amplifies it, but also makes himself up and put his own image on the scene to emphasize its vividness and absurdness. Thus expressed is his deep concern for the current social life. More meaningful is the fact that he presents these ridiculous situations worshiped by current spirit by the way of exaggerative visual effect, and expresses his penetrative and serious reflect concerning China’s current over-expanded fashion culture.

Material fashion consumption is a symbol and metaphor, rather than a kind of scene or a desire. Hong Hao’s own peculiar experience that is sensitive and sharp, should be put into attention, as well as his reflectiveness and critical spirit. He has not only recorded the spiritual and sensational history, but also demonstrated the cultural characteristics of this epoch with a new point of view and way. I think it is the obligation of an artist and also the embodiment of so-called “modernity”.


Feng Boyi is independent curator / editor based in Beijing
[5楼] seveneleven 2009-04-16 16:33:21
在策略中,… …
——洪浩《藏经》的意义
冷 林




“……,我更热衷于寻找某种具有独立意义上的‘似是而非’之物,某个偏离了正常秩序而又似既成事实的幻象,某处存在于万物两极之间的无限空间,……”
书是个有机可乘之物,它给人以既定事实的“真实感”,一种先入为主而圈出的地界让你随心遨游。
——摘自洪浩笔记


洪浩选择了一本精心绘制的旧书来确立一种独特的角度。这样,“先入为主”策略性筹划意识在他的绘画中就起了决定性作用。在我们“进入”他的世界时,他有意设置一道障碍(旧书),这道障碍以独有的历史性伪装使我们充分意识到世界中与我们个人密切相关的地理、民族、文化区别性特征。这一特征把我们放在了世界中一个明确的位置上,使我们的“随心遨游”不致迷失,并在这种限制性下具有“既定事实的‘真实感’”。当然“真实感”已不是物理性的感觉,它带有很强的文化特征,它是一种个人与民族之根,有明显历史主义意识的东西,它以文化、民族、地域的方式来表达区别于纯物理性的感觉。所以,相对于不加区别的客观之物,它是“具有独立意义上的‘似是而非’之物“。对于这个“物”的认识,洪浩提供了一个前提,这个前提是以旧书的形象表现出来,它牵制每一种冲向无限的企图,它使一切事物都在一种限制中呈现和补充谈论,任何东西都无法彼此超越、取得对本质的绝对权力。

由于本质的神话权威被取消了,那么,为了在一种本质名义下进行修正的一切创新就象自欺欺人的谎言。艺术不必和创新连在一起,它需要更加务实,它是文化的一种成分,这种成分因不同文化而有所不同。这里就涉及到不同文化所形成的历史与地域特征,涉及到不同文化形式、风格与意象特征。洪浩的绘画不再陷于苦苦寻求新的可能性的努力中,它只是在不断地调整和调动已有的形式、风格和意象,它有清楚明确的定位。它探索的东西已不是无差别的本质的证明,而是在一个特有的文化下面对文化融合可能性的新尝试。而这种探索一旦把眼光从未来的虚无缥缈中收回,本能的冲动和抽象的组合就会让位给已历史性的被处理过的图像与题材。历史与历史化的今天将得到明确化、具体化,用通俗的话说,今天对于我们生存的一切将变得肯定和熟悉,并且这一切对于我们每一个来说都非常亲切。在洪浩的绘画中,我们看不到创新形式的企图,看不到陌生化的图景,呈现给我们的都是我们身边所熟悉的东西,它包括我们身边所发生或正在发生的事情以及造成我们的今天生存状况的历史和文化,洪浩广泛采用二手的形式并借用已有的风格,把它们装进一本中国的书中去,这时值得注意的是旧书的形式也是一种借用的形式,这就是他的《藏经》系列。用“系列”一词无疑是想指出这些绘画既具有独幅绘画的意义,同时,在每一张独幅绘画中也暗示了一种独特形式所可能产生的基础支撑性作用。《藏经》不光以书的形式发出所指的信息,而且以书的每一页存在显示出一种能指的力量。它们以特有的方式形成了我们当今文化处境的一种基本态度,即在一定区域内的艺术在西方中心主义已事实性形成霸权的过程中,其可能的状态及其实现价值的途径。这种态度是产生一个问题的方式,而不是解决一个问题的的办法或指示。它只表明当今文化复杂性只有在策略中才能揭示。


Hong Hao has chosen a meticulously crafted old book to establish his unique perspective. In this way, he consciously employs a strategy against "first mover advantage," a strategy that plays a determining role in his works. As we "first move" into his work, we encounter a first obstacle (the old book). This obstacle manifests itself as a unique even if contrived historicism that makes us sense the differentiating characteristics that distance us from the rest of the world, in geographical, national and cultural terms. It is precisely these characterics that provide us with a clearly demarcated place in the world, markers that keep us from going astray as we somewhat carefreely swim about. And within these limitations, there exist a "sense of reality" that derives from "certain facts." Of course, this "sense of reality" has little to do with physical reality, but is rather tied to certain cultural traits, something that is rooted both in the individual and the people, something that derives from historical consiousness. This "sense of reality" employs notions of culture, nation and place to differentiate itself from pure physical reality. Thus, compared with physical objects that might otherwise be undifferentiated, this "sense of reality" remains, in a unique sense, something that is "present, but not present." With regard to how we should read this "something," Hong Hao puts forth a pre-condition. This pre-condition is expressed through the old book, which serves to constrain any attempt to rush into the sublime and which makes all things manifest, complimenting discourse, a place wherein no thing can transcend another and achieve a position of authority.
In as much as the mythical authority of essentialism has been invalidated, thus all forms of creation that undertake departure in the name of essentialism are nothing but self-deceptive. Art does not need to be tied to creation, it needs rather to be more grounded. It represents a component of culture, a component which differs from culture to culture. This touches on the fact that different cultures spring from different histories and different characteristics of place. Art involves different cultural forms, styles and concepts. Hong Hao's works are not mired in the struggle to realize the potentiality of the new. He has made his position clear and unequivocal by constantly working with existing forms, styles and concepts.
What he seeks is not to uncover evidence of an undifferentiated essence, but within the limits of his own culture, to experiment within the possiblities inherent in the cultural hybridity with which he is faced. And, as his quest retracts its gaze from an unseeable and unknwoable future, instinctual impulses and reworkings of abstraction give away to historical materials and images that he can re-work. History and the historicized present achieve clarification and specificity. In plain talk, everything in our present existence achieves confirmation and is familiarized and, as far as each and every one of us is concerned, all becomes exceptionally intimate and personal. In Hong Hao's works, we don't see any attempt to create new forms, nor do we see faraway images or scenery. What is manifest before us are things that seem familiar and tangible, including things that happen or are happening around us everyday, the history and the culture that form the basis of today's existential conditions. Hong Hao makes use of second-hand forms. He borrows pre-existing forms and puts them in Chinese books. Particularly noteworthy is the borrowed form of an old book that he uses in his "Selected Scriptures" series. By using the term "series", he is without a doubt underscoring the fact each work possesses all of the meaning of an individual artwork. At the same time, in each work he seems to hints at a fundamental handmade quality that can result from such a unique art form. "Selected Scriptures" employs the form of a book not only for the purposes of directing our attention to the work's inherent meaning, but also, by revealing to us but one page from the book, sheds light on the power underlying the ability to be able to direct another's attention. In this regard, his chosen methodology highlights a fundamental aspect of our present cultural condition - namely the way in which an artwork from a particular region achieves tangible value within the hegemonic processes of western logo-centrism. His approach serves to raise questions rather than supplying answers or solutions while making it abundantly clear that only through strategizing such as this can we lay bare some of the complex issues of today's culture.
Excerpted from "Strategizing, ...The Meanings in Hong Hao's 'Selected Scriptures'" by Leng Lin
[6楼] seveneleven 2009-04-16 16:34:11
洪浩的作品吸收了消费社会的语言、商业及大众媒介中使用的形象与标记。在他早期丝网作品中应用了独特的形象,把历史的、革命的以及世界的形象糅合为一体,悉心安排中极尽讽刺意味,令人拍手称奇。洪浩把本人化妆自拍像置于现代广告中,也就把自身悬置于现实中的自我与一个商业化的走向市场的形象之间,并进而质疑身份的问题及其我的社会中的变化,这不正是中国当代艺术家们所探索的根本问题吗?艺术家们怀疑身份,寻求解答最恰当有效的方式莫过于摄影。越来越多的艺术家走出了传统记实方式以及艺术摄影的围城,去探索,走出了一条新路。我们暂且把这种新体裁称为观念艺术摄影。

引自候瀚如《2000年第二届CCAA评审委员会的声明》

Appropriating the language of the consumer society, its commerce and mass media images and signs, in his earlier silkscreen works, Hong Hao used computer-generated images to update his amazingly shrewed and ironic overlapping of historic, revolutionary and global images and subjects. Staging his self-portraits in the mode of advertisements, he suspends himself betweeen the real Hong Hao and a commodified, marketable image, questioning the notion of identity and its metamorphosis in the new society: a fundametanl question for the Chinese artists today .

Excerpted from An Alternative View from the Jury, Hou Hanru, published in CCAA 2000 catalog, CCAA Asssocation.

Hong Hao, in the late 90's, focused a portion of his work on consumer culture, using photography and the computer to create "Yes, I'm Gnoh", in which he used the computer to give himself blond hair and blue eyes and turned his name "Hong" around into the unpronounceable "Gnoh." "This attempt to combine Chinese and Western culture turns out to be very awkward", he notes. "Hello Mr. Hong" appropriates the lifestyle propagated by contemporary advertisements. In it, a successful man standing in his magnificent house makes up the image. "This attempt to mix these unrelated concepts shows the distancing effect on people in this environment and the awkward effect on art", the artist has said. From the 90's as China's consumer culture flourished, the media and advertisements sketched out a prosperous current reality and outstanding future prospects, while the reality that people actually experienced was about soaring prices, failing industries, corrupt officials and myriad societal upheaval. This kind of dramatic difference pushes people towards the edge of collapse. It can be said that the false luxury of Chinese real estate advertisements is a type of satirical parody.

Excerpted from“Chinese Experimental Photography”By Li Xianting

洪浩的作品始终保持了作品的完美、精致和幽默感。早期的洪浩善于把传统的版画技艺运用于波普的创作中,既保持传统技艺的精湛和完美,又使作品充满了一种当代的幽默感,在当时的波普风潮中独树一帜。90年代中期,他创作了《世界地境新图》和《世界测绘新图》的 系列作品,他或者将世界各国的地理位置与国土形状给予置换和改变,同时以一些著名公司的名义增加了新的国家,或者世界地图的外形根据国家的强弱、地位加以变形,凡是发达国家和具有势力的国家一律都占据了相当的面积,而另一类的国家则很不显眼。从而对世界地理政治的概念进行调侃。这使我想起美国艺术家Peter Fan的作品,他也是重新划分世界地图,他认为传统的国家是在民族和地理生存中自然形成的,而如今的国家是一种强权政治的结果。而洪浩更幽默、更现实地面对国际政治局面。Peter Fan是对正确政治的向往,而洪浩的作品是对不正确政治的调侃。他或者干脆把世界的海陆位置互换,意在与人们对世界地图习以为常的思维角度和观看眼光开个玩笑。
栗宪庭
在21世纪的第二年,艺术家洪浩用现代数码技术作了现代版的"梦华录"。他将每天用的、凡与其生活工作有关的各种物品,牙膏、可乐罐,面包、油画色、香烟,铅笔,鼠标都放在扫描仪上扫入电脑。然后用电脑设计技术将这些物很齐整地排列成一幅幅的"抽象画"。远景是非常不具体的"形式感",近看则是请晰得有点"超现实"的、密密麻麻的"百件"或"千件"物。洪浩把它们称为《我的东西》。[彩页 ]洪浩在扫描,存入、取出、编排这些物时,已远离他用这些物时的感觉,这些"有用之物"现在成为"审美之物",成为艺术形式的元素,"色块"、"线条"。它们脱离了实用之物的属性(名称、材料、功能、信誉、价值等)而成为"千"、"百"件物中的毫无个性的一员,成为"极多"的"牺牲品"。但是,对中国人而言,抄录、摆弄、描绘、数算这些"物什"的过程本身即是一种乐趣,是一种"悟道"。

高名潞
Artist Hong Hao created a modern of A Dream Chronicle of Dong Jing by using digital technology in the second year the 21st century. Using a scanner, he scanned into his computer all the articles that he uses every day: toothpaste, Coca-Cola cans, bread, oil colors, cigarettes, pencils, computer mouse, etc. Then he arranged these articles into a series of “abstract paintings” through computer design technology. From a distance, the “paintings” are obscure with only arranged patterns remaining. Approached closely, they look like thickly dotted and surrealistically “painted” articles that number more than a hundred or a thousand. Hong call them My Things. He is divorced from the feeling of using them when he scanned, stored, retrieved and arranged these pieces. These “useful things” have become “aesthetic objects,” the elements, “color fields and lines” of artistic work.. Breaking away from their utilitarian nature (names, materials, functions, credit, values), they have become one of the undifferentiated member of hundreds of thousands of pieces of “things,” or the “victims” of Maximalism. But to Chinese, the process of copying, manipulating, describing and counting these “things” is a kind of pleasure in and of itself, an enlightenment of the way of truth, or wudao.

by Gao Minglu


Hong Hao's works boast perfection, delicacy and humour. Early on, he excelled at adapting traditional printing techniques to the contemporary "pop" demands of his compositions. In so doing, he retained the exquisite perfection of traditional technique while filling his works with contemporary humour. During the heights of the "pop" trend in China, he stood head and shoulders above the rest. In the mid-90s, he produced a series of silkscreen prints that include "A New World Typology" and "A New World Mapping." He changed the location of entire nations, altered borders and added new countries of his own invention that were named after companies. His world map was organised according to the power and status of different countries: developed and powerful countries were allotted a considerable land mass, whilst the weak ones are hardly discernible. Thus, he mocked geo-politics. His works are akin to the works of American artist Peter Fan, who also rearranges the world map to show how traditional countries formed naturally through ethnic and geographical development, while modern ones are the result of power politics. Hong Hao regards the world political situation in a more humorous and realistic way. Fan's works reflect a yearning for political correctness, while Hong Hao's are a mockery of incorrect politics.

by Li Xianting


洪浩敏感于传统文化与现代文明之间的关系,特别敏感于精神领域内的不和谐状态。出于对事物表象的幽默和文化深层意义的探究,他巧妙地运用了中国古版线装书之"壳",装进了现代文化之"躯",构成本来难以言传的文化时间差和空间差的视觉形象,在他的作品中,隐含了极有弹性的幽默。

洪浩的机智还体现在艺术语言上,只有他那种对艺术语言精益求精的专注和一丝不苟的态度,才能产生那些"乱真"的"古书"形象。在丝网版画的制作上,他极其考究细节与整体的关系,每幅画用十几个甚至几十个印版制造作品形象的质感。正是这种既符合艺术主题,又引人入胜、经得起琢磨的语言魅力,使洪浩的作品有了很高的艺术纯度。


选自范迪安《洪浩的机智》
[7楼] guest 2009-04-16 21:32:38
楼主太。。。学术了吧?来点八卦吧,也别老整英文。。。
[8楼] guest 2009-04-17 00:18:00
向洪浩问好
[9楼] walpugis 2009-04-17 11:26:33




 
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[10楼] guest 2009-04-17 14:18:57
洪浩笑一笑吗
[11楼] guest 2009-04-17 17:54:11
卖的好啊
[12楼] guest 2009-04-17 20:02:26
Andreas Gursky安德里亚斯 古尔斯基的模仿者,只不过仿的早,和画画的模仿里希特一样道理
[13楼] guest 2009-04-17 21:22:23

[quote]引用第12楼guest于2009-4-17 20:02:27发表的:
Andreas Gursky安德里亚斯 古尔斯基的模仿者,只不过仿的早,和画画的模仿里希特一样道理...[/quote]

又一个鉴定专家,你比外国人厉害多了,他们看中国水墨画还以为扬州八怪是一个人呢,你的眼力不得了啊。洪浩遇到你肯定惭愧死了,是吧~洪浩?
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