许成个展将于5月2日开幕
发起人:platformchina  回复数:0   浏览数:1387   最后更新:2017/04/23 17:27:14 by platformchina
[楼主] platformchina 2017-04-23 17:27:14


许成个展

Solo Exhibtion of Xu Cheng

学术主持 | Academic Host:汪民安 | Wang Minan

开幕 | Opening :2017.5.2 16:00

展期 | Duration :2017.5.2–6.11

展览 | Venue : 站台中国当代艺术机构(北京798艺术区中二街D07)

Platform China Contemporary Art Institute(D07 Main 2nd Street, 798 Art District, Beijing, China)


站台中国很荣幸向您宣布,我们将于5月2日带来艺术家许成的个展。本次展览是艺术家继2010年后,对近期作品的梳理和集中展示,主要呈现近几年的“剑客”、“读书”与“人体”三个系列。本次展览由汪民安担任学术主持,在他看来,艺术家的创作是一种对绘画的“亵渎”,这里的“亵渎”是为了将绘画从神圣领域解脱出来。许成的绘画就是一种“解脱手段”,也可以视为一种“游戏手段”。


在近期的创作中,许成将各式各样的人体画在一块块瓦楞纸板上,有时候粗糙的纸板改变了某些笔触的走向,有时候故意在纸板上画一些直线,状似折痕,真假折痕混淆,令人产生一种错觉感,像一场绘画的游戏。而在他的绘画中,游戏无处不在。“关于理想和爱情我知道的就这么多”,在某张贴有马克思肖像的纸板上,许成写道。广义的“理想”和“爱情”,是他持续探求的主题,这种求索或许显得不合时宜,他不在意,而是跳出来——回到画布上,将自己的“理想”用戏谑的方式表达出来,读书、剑客、女人体、大腿、面包、玻璃杯中的茄子、扬尘而去的马.....“理想”在此,“爱情”也在此。


在许成的作品中,没有争论,只有游戏与亵渎。“亵渎绘画不是坏画——坏画是以一种美学或价值观来诋毁另一种美学、另一种价值观;而亵渎的绘画相反,它是取消绘画的各种价值观,同时取消好绘画和坏绘画,就像同时取消人体的色情感和美感一样。”汪民安写道,“许成的亵渎并不想提出什么新的绘画法则或者绘画美学,而是瓦解既定的绘画美学。它让绘画的各种体制崩溃,让绘画能够自由地无拘无束地运转。既然人毫无神圣可言(即便是甘地这样的圣人在此也以一种粗俗的形象出现,更不用说其他人了),既然最粗俗之物都能占据画面的中心,既然廉价而易碎的瓦楞纸板都能作为绘画的布景,那么,绘画的神圣教条何在?许成的充满强烈挑衅色彩的绘画就在于对此的质疑。 ”



许成,关于理想和爱情我知道的就这么多,书、纸本丙烯,2014Xu Cheng, I Know Very Little About Ideal and Love, book, acrylic on paper, 50×50cm, 2014


Platform China is honored to announce that we will bring out the solo exhibtion of artist Xu Cheng in 2, May. Since 2010, this is the first exhibition to represent Xu Cheng’s current works, which includes three parts, “Swordsman”, “ Reading” and “Body”. Wang Minan is the academic host of the exhibition, in his opinion, the creation of Xu is profane painting, which is in order to liberate painting from the realm of the sacred. Xu Cheng's painting is precisely this means of liberation, also, it can be regarded as a playful approach.


In recent works, Xu Cheng paints all kinds of figures on corrugated cardboards, sometimes coarse cardboard changes the direction of painting brush, sometimes he paints some straight lines deliberately, which stands in for the creases in the cardboard itself, and are often mistaken as such. In this way, the painting attempts to gain a sense of illusion, feeling like a game of painting. In his painting, games exist everywhere. “About Dream and Love, I Know Very Little”,  on a cardboard which pasted the portrait of Marx, he wrotes. Generalized “Dream” and “Love” is the topics he constantly explores. Such exploration may seem out of season, he does not mind, instead, he jumped out, stepping back to his canvas, expressing his “dreams” in a sportive way, reading, swordsman, woman figure, legs, bread, eggplant in the glass, horse rushed away etc. “Dream” lies here, “Love” lies here as well.


There is no argument in Xu Cheng’s work, only game-playing and profanation. “Profane painting is not bad painting. If bad painting always uses one aesthetic or value to defame another, or replaces the “good” with the “bad,” then profane painting is the total opposite. Profane painting cancels out all forms of values in painting. It cancels out both good painting and bad painting simultaneously, just as it cancels out both pornography and beauty in the nude, “Wang Minan writes, “Xu Cheng's profanity is not aimed at proposing some new principles or aesthetics of painting, but instead at dismantling existing aesthetics of painting. It causes the various systems of painting to collapse, so that painting can revolve free and unfettered. When there is no sacredness at all to man (even such a venerated figure as Gandhi appears in crude form), and when even the crudest things can occupy the center of the painting, and cheap, fragile cardboard can serve as the backdrop, where is the sacred dogma of painting? This skepticism is where Xu Cheng's painting is truly provocative.”


许成,1968年生于上海,1991年毕业于中央美术学院壁画系第三工作室,1995年毕业于俄罗斯列宾美术学院梅尔尼科夫大型艺术工作室,现工作及生活与北京和沈阳。近年主要个展包括:《“许成”个展》站台中国当代艺术机构,北京,中国(2017);《许成个展》,高地画廊,北京,中国(2010);《我的幸福生活充满每一天》,高地画廊,北京,中国(2008)。近年主要群展包括:《格局》,久儷美术馆,沈阳,中国(2015);《人生路》,01100001画廊,北京,中国(2014);《目之所及》,艺术通道画廊,北京,中国(2011);《线法画》,01100001画廊,北京,中国(2010);《东北火锅-2009ACEA首展》,高地画廊,北京,中国(2009);《现实非现实》当代艺术展,高地画廊,北京,中国(2007)等。


许成工作照


Xu Cheng was born in Shanghai in 1968. In 1991, he graduated from Central Academy of Fine Arts, Beijing, China. Majored in Mural Painting, No.3 Studio. In 1995, he graduated from Repin Academy of Fine Arts, Saint Petersburg, Russia and studied at Melnikov Studio. Currently, he lives and works in Beijing and Shenyang China. Selected solo exhibitions: “Xu Cheng’s Solo Exhibition”, Gaodi Gallery, Beijing, China(2010); “My Everyday Life is Full of Happiness”, Gaodi Gallery, Beijing, China (2008). Selected group exhibitions: “Change”, Jolie Gallery , Shenyang, China; “My Way”, 01100001 Gallery, Beijing, China; “Where the Eyes Can See”, Art Channel Beijing, China; “Diorama on Wall”, 01100001 Gallery, Beijing, China; “Northeast Hotpot – 2009 ACEA 1st Exhibition”, Gaodi Gallery, Beijing, China; “Reality and Irreality”, Gaodi Gallery, Beijing, China; “Little Report”, Art documents Depot, Beijing, China; “Spiritual Portrait of Consumption Culture”, Shanghai, China; “CHINA 46 China Contemporary Art Exhibition”, Shanghai, Taipei, Melbourne; “Northeast Contemporary Art Invitation Exhibition”, Shenyang, China; “Dongyu Art Museum Collection Exhibition” Shenyang,China; “Failure, Self-help”, Lu Xun Academy of Fine Arts, Shenyang, China.



For more information, Please follow us

如需更多信息,请关注我们以下平台

官网 Website : www.platformchina.org

微博 Weibo : 站台中国

微信 Wechat : 站台中国 platformchina

Instagram : platform_china


站台中国当代艺术机构(Platform China Contemporary Art Institute)于2005年在北京成立,经过多年发展,其成为集实验性和开放性的当代艺术交流和研究的综合性艺术机构。作为一个艺术的发现者、观察者和参与者,站台中国一如既往的参与和支持艺术家的艺术实践和艺术生态的建设,积极并深入参与着中国当代艺术的发展进程,持续推动着当代艺术国际间的对话与交流。2015年底搬入798艺术区,并于2016年成立两个实验性艺术项目——“dRoom”和“艺术呕吐”(Auto Art Sale),通过项目力图尝试不同领域和媒介的连接测试机构本身及当代艺术的容量和可能性。


中国当代艺术的发现者、观察者和参与者
返回页首