展 期：2020年8月9日-23日
Date: 2020/8/9-8/23
展 厅：5、6、8、9号
Venue: Gallery NO.5/6/8/9

主办：广东美术馆
Organizer: Guangdong Museum of Art
策展人：吴洪亮
Curator: Wu Hongliang
艺术总监：王绍强
Artistic Director:Wang Shaoqiang

展览统筹：邵珊 胡锐韬
Exhibition Supervisor: Shao Shan, Hu Ruitao
展览负责：刘苑婷
Exhibition Manager:Liu Yuanting
展览组织：卢璐
Exhibition Assistant: Lu Lu
展览协调：严伍先
Exhibition Coordination：Yan Wuxian
展览陈列：袁喜明  熊莺  苏利民  苏锦昌
Exhibition Installation: Yuan Ximing, Xiong Ying, Su Limin, Su Jinchang
新闻推广：涂晓庞  曾睿洁
Media Promotion:  Tu Xiaopang, Zeng Ruijie
藏品管理：梁洁  黄亚群
Collection Management: Liang Jie, Huang Yaqun
公共教育：刘端玲 叶小青
Education Program：Liu Duanling，Ye Xiaoqing
视觉设计：Ten Buttons  李漾
Visual Design：TEN BUTTONS, Li Yang


“本之末”并非是对本与末问题的概念性解读，而是关注艺术家在两者之间游走与脱缰前行的内在逻辑。

杭春晖作为21世纪中国新一代艺术家群体里的一个非典型人物，其创作的发展轨迹颇有意味。他常被划入某些圈子，又仿佛身在其外，这正是其艺术的特殊性。水墨、雕塑、设计、美术学作为他创作的底色，使其成为一个思维缜密而又大胆践行的艺术家。从他早期工笔作品到最近的材料实验与社会学探求，彼此看似隔阂，其实却有着一条脉络清晰的内在线索。因此，本次展览不是作品的时间性罗列，而是以考古学的方法，以举证的手段来呈现一位艺术家创作的个人途径，引导观众走入艺术家思考模式的一次空间尝试。作品跨越杭春晖近15年的创作，甚至还有艺术家根据场地以及广东的在地感受，专为本次展览创作的作品。

创作实践与展览架构的结合，使艺术形式的本质与表现方式的外化，以及活跃的精微之末与冷静的视角之间，催化出值得玩味的博弈与多维的感受。

In Chinese, the “ben and mo” question refers to therelationship between the different parts of a plant, namely, its root and itsfoliage, a metaphorical saying of the fundamental-incidental relation. “TheIncidental of the Fundamental” is not a conceptual interpretation of therelationship between the two; instead, it focuses on the artist’s internallogic in wandering around or breaking away from the philosophy.

As an atypical figure among the new generation of artists in the 21st century, Hang Chunhui has an intriguing career throughout his artexploration. Due to his artistic uniqueness, he is often included in certainschools but not completely recognized as a representative of them. Basing ontraditional Chinese water-and-ink painting, sculptures, design and fine artsstudies, Hang becomes a meticulous and audacious innovator during his artproduction process. From his earlier traditional Chinese fine paintings to hisrecent experiments on the use of materialsas well as the sociological pursuits, we can feel the existence of a clue - adistinct and intrinsic clue that sustains all his works, which ostensibly showtremendous differences from each of them though. Therefore, we are not going tomake this exhibition a display of Hang’s works in chronological order. Instead, we aim to demonstrate the artist’s personalapproach to art production by exhibiting his art works with an archaeologicalmethod. In this way, we attempt to guide the audience into the artist’sthinking mode while appreciating his art pieces around the exhibition hall. In this exhibition, we have displayed Hang’s creations in the past 15years, together with Hang’s works specially made for this show upon the inspiration generated by the exhibition hall and the province.

Combining the practice of production with the layout of this exhibition,Hang has externalized the “fundamental” and presentation of arts while illustrating the dynamic “incidental”of arts from a static “God’s perspective”, the third person narrative. As a result, people can sense the originality ofthis exhibition from multi-dimensions.

部分作品欣赏
 

杭春晖 《造型与时间 2020-3》 56.5×66cm  综合材料 2020年
 

杭春晖 《彩虹2020-1》  纸本设色  83cm×157cm  2020年
 

杭春晖《确定与不确定的再现2019-5》  综合材料 100×80cm  2019年
 

杭春晖 《空间叙事——向贾德致敬》 301cm×106.5cm 综合材料 2019年
 

杭春晖 《黑珍珠-No.18 Black》 70cm×50cm　纸本浮雕 2018年