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废墟般的阴暗景象并非此意,乐观与生机从中显露。来自记忆或看似梦境中的碎片,在这混杂不可定义的时空中显得异常和谐,一切画面在艺术家的安排中都显得额外的整体合理,虚构如此日常。
This is not the intention of the dark scene of ruins, from which optimism and vitality are revealed. Fragments from memories or seemingly dreams are extremely harmonious in this mixed and undefinable time and space, and all the pictures seem extra overall reasonable in the arrangement of the artist, and the fiction is so daily.

是关于人与自然,还是关于当今时代的碎片混沌?当我们正想努力从中获得明确概念定义的时候,一切将感到远离原初,寻不到任何答案。艺术家独特且诗一般的艺术语言在其中更为主要,故事和观念在其中显得尤为隐晦且没有形态。在展览呈现时,我们必然会被艺术家带进非概念性的交流语境,消解我们试图用任何形式语言解释的意图。一切都不可言,犹如这段文字般空泛而无力。
Is it about man and nature, or about the fragment wonton of our time? When we are trying to get a clear definition of the concept, everything will feel far away from the original, can not find any answer. The artist's unique and poetic artistic language is more important, in which stories and ideas are particularly obscure and have no form. When the exhibition is presented, we are bound to be brought into the non-conceptual context of communication by the artist, dispelling our intention to try to explain in any form of language. Everything is unspeakable, as vague and powerless as this paragraph.

上述是面对艺术家的以往作品的个人感言。在这次驻留期间艺术家来到了与往常不同的社会语境,由熟悉到陌生的生活场域及人际网络,由私密到公共的创作环境及交流语境,这都会影响着艺术家观察视角和表现形式的新变化。这次展览艺术家将更浸入内心情绪波动的抽象表达,这些碎片将从画面拓展到公共空间中,穿过、交换、仰望、窥视,变化的是观者与作品对话方式的改变,不变的是这些意象依旧虚构且日常,一种原生于人内心中超逻辑语言的精神交互。
The above is a personal speech in the face of the artist's previous works. During this stay, the artist came to a different social context, from familiar to unfamiliar life fields and interpersonal networks, from private to public creative environment and communication context. This will affect the new changes in the artist's perspective and form of expression. In this exhibition, the artist will be more immersed in the abstract expression of inner mood fluctuations, and these fragments will expand from the picture to the public space, passing through, exchanging, looking up and peeping, and what will change is the change in the way the viewer talks with the work. What remains unchanged is that these images are still fictional and everyday. This will be a spiritual interaction of illogical language.


 -  何京 Jing He



2019 复归 • 长江国际黄桷坪文化艺术季
2019 REVIVAL • YANGTZE INTERNATIONAL HUANGJUEPING CULTURE AND ART FESTIVAL
城市记忆-社会景观与社群风景
CITY MEMORY - Society Spectacle and Community Scenery


《痕迹》 - 个人作品展

< Vestige >  - Solo Exhibition


开幕时间 | Opening Time:2019.12.18(周三 | Wad.)19:30

展览周期:2019.12.18 - 12.29(周五至周日14:00-18:00)

Exhibition Time: 2019.12.18 - 12.29(Fri.-Sun.14:00-18:00)


地点 | Venue:重庆 黄桷坪 十方艺术中心
Dimensions Art Center, Huangjueping, Chongqing


艺术家:张龙(中国)
Artist :  Long Zhang (CN)

策展人:曾途
Curator : Tu Zeng

执行策展人:何京

Executive Curator: Jing He


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《等待》,布面油画 ,"Waiting", canvas painting,200x300cm

 

在以往的作品中,以绘画作为主线,从城市的现代生活中提取元素,来组建与拼凑一个看似正常又非正常的空间。画面类似于一个沙盘游戏《我的世界》,画面中充满了自由和开放的形式空间,戏剧化的色彩构成。将日常景观布置在自然景观之中,对其间相互关系进行探索并人为地制造出一个全新的、可供游览的、充满怪诞的世界。本次的驻留,我将目光关注于社会空间与人内心活动,调研这个城市生态、人文、历史等层面,重新探索这个城市,并重新梳理自身与社会的关系,探究社会属性与人性的行为。这个阶段的作品将会更多元,并不仅限于架上绘画,希望能与社会、公众更多地发生关系。

In previous works, take painting as the main line, extract elements from the modern life of the city, to form and piece together a seemingly normal and abnormal space. The picture is similar to a sand table game "my World", which is full of free and open form space and dramatic color composition. Put the daily landscape in the natural landscape, explore the relationship between them and artificially create a new, sightseeing and grotesque world. During this stay, I will focus on social space and human inner activities, investigate the ecological, humanistic and historical aspects of the city, re-explore the city, and re-comb the relationship between itself and society. Explore social attributes and human behavior. The works at this stage will be more yuan, not limited to easel painting, hoping to have more relations with the society and the public.


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《仪式》,布面油画,"Ceremony", canvas painting,200x360cm



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《无题》,布面油画,"Untitled", canvas painting,200x300cm 

 

绘画作品中始终围绕自我与社会身份的割裂展开,画面中的座椅代表着某种身份,它与错位放置的动物、植物、星球杂糅,而又始终存在在尴尬的处境,人与万物间的关系在画面的组合排列与错综复杂的线条和色彩中展开。
The painting always revolves around the separation of self and social identity, and the seat in the picture represents a certain identity, which is mixed with misplaced animals, plants and planets, and always exists in an awkward situation. the relationship between people and all things unfolds in the combination of pictures and intricate lines and colors.



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《路遇荆棘》,布面油画," Meeting thorns on the road ", canvas painting,80cmx160cm

 

《路遇荆棘》系列作品将动物的家园作为描绘场景。这组作品于自身的心理状态相关,自我身份在社会中的缺失,使得将这种焦虑通过塑造动物家园来得到归宿,当我们刻意逃避现实安于现状的时候,可能对自身来说就是荆棘缠身。
The series of works "meeting thorns on the road" depict the home of animals as a scene. This group of works is related to their own psychological state, and the lack of self-identity in society makes this anxiety end-result by shaping animal homes. When we deliberately escape from reality and be content with the status quo, it may be full of thorns for ourselves.



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