2020 · 致幻
都市景观与抽象艺术

 主办 上海明圆美术馆 主办

策展人  |  了了
出品人  |  李松坚 凌菲菲

参展艺术家
陈墙、丁乙、潘微、黄渊青、张恩利、
薛松、李磊、曲丰国、丁设 、廖渊
（以年龄为序）

开幕时间：2020年9月5日 周六 16:00
展览时间：2020年9月5日--2020年12月20日

地点：上海明圆美术馆
（徐汇区复兴中路1199号A座5楼）

 

上海发展于19世纪40年代，因其特殊的历史背景，到20世纪30年代已经成为亚洲最有魅力的大都会，中国最大的城市。从上世纪纸醉金迷的十里洋场到如今浦江两岸的魔幻夜景，包容与多元的城市气质吸引、汇聚了全球各类文化艺术，兼容并蓄的海派风格铸就了上海全球化的独特烙印。当你乘坐高速电梯登临中国最高的建筑，俯瞰着令人震撼的都市幻境，一定会为之惊叹沉迷。辽阔无垠的地平线与高楼林立的水泥森林交相辉映，蜿蜒流淌的大江小河与错综复杂的交通道路纵横交错，这样非比寻常的城市景观，造就了上海独特的艺术样式与风格，并产生了独特的上海抽象艺术家群体。由于上海的抽象艺术产生先于国内其他城市，抽象艺术家数量也远远多于其他城市，且大多都是本土在地艺术家，因此，上海被誉为“中国的抽象之都”，抽象的基因也成为这座城市独立与先锋的气质。

陈墙  红黄蓝-白黄  布上宣纸、墨、油画
Chen Qiang,  Red yellow blue — white and yellow,  Rice paper on canvas, ink, oil
100 x 80 cm  2018
 

绘画也正是以它独有的方式对这种秩序所进行的记录与探索。尤其在古典绘画中，也会像生命那样努力建立严格的秩序，视熵增为一个不得介入的禁区。但由于它对秩序的重复性复制，已经不能满足现代生活的内在需求。--陈墙
Painting is the record and exploration of this order in its unique way. Especially in classical painting, we will try our best to establish a strict order like life, and regard entropy increase as a forbidden area. However, due to its repeated reproduction of order, it can no longer meet the internal needs of modern life. --Chen Qiang

丁乙  十示 2018-11  椴木板上综合材料
Ding Yi,  Appearance of Crosses 2018-11, Mixed media on basswood
120 x 120 cm  2018
 

丁乙的艺术创作针对的是个人存在与现实处境的无限冲突，而他在这一交互依存的关系里，通过创造“十示”符号的“+”与“x”，成为他个人对现实生存实在属性的感触，以及他的艺术标示。 -- 冯博一
Ding Yi's artistic creation aims at the infinite conflict between personal existence and realistic situation. In this interdependent relationship, Ding Yi creates the "+" and "X" of the "Ten Signs", which becomes his personal feeling on the real attribute of real existence and his artistic symbol. -- Feng Boyi


现代科技和经济体系造就了繁华的国际都市，改变了都市人的生存空间和生活方式，同时带来了丰裕的物质及诸多崭新的感性体验。城市的结构和变化背后往往有着错综复杂的因素，上海抽象与城市表面的分离性与本质的关联性，使两者相互关照、相互作用。艺术家敏感地关注到这一点，将都市景观作为审美和文化观照的对象。从社会发展的角度来看，抽象艺术不仅体现了现代工业文明的社会转型，也是人们在历史中通过无数次价值判断与文化抉择而形成的产物。上海站在中国改革开放的最前沿，上海抽象艺术家始终关注着城市的脉动，其全球化的视野也与上海城市文化精神与国际风尚一以贯之。在面对不断扩容拔高的都市景观时，艺术家们不仅要思考观察方式、审美趣味等问题，更要考量艺术语言、风格样式、文化观念等诸多问题，同时还要放眼看世界，在文化的共性中探寻国际都市人所共通的精神感受。这就使得艺术家们在选择视觉的形而上，以文化自觉来回应变化又多元的都市景观。

潘微  年、月、日  大漆混合材料
Pan Wei, Year, month, day,  Lacquer mixed material
40 x 40 cm 2020
 

所谓的抽象艺术有两层意思；一层意思是指特定时期的一个流派，由康定斯基、蒙德里安等人为代表；另一层意思是现代主义时期多种流派所提炼出的色、形、线等等迥异于此前造型而无视实物再现方式的属于20世纪的造型语言，总体上它们都是“抽象的”。--马钦忠
“Abstract Art” has two meanings: one is a school in a specific period, represented by Kandinsky and Mondrian; the other is the colors, shapes, lines, etc. that were refined by various schools in the modernist period which are quite different from the previous ones and ignore the representation of objects. Generally speaking, they are "abstract". --Ma Qinzhong

黄渊青  2019-1  丙烯油彩、亚麻布
Huang Yuanqing, 2019-1, Acrylic paint, linen
210 x 170 cm  2019
 

黄渊青在1990年完成了他的首件抽象作品。自那时起，强烈的情感投射包裹起他的艺术，一众基础要素共同构成了他的作品。 -- 保罗·穆尔豪斯
Huang Yuanqing finished his first abstract work in 1990. Since then, his art has been wrapped up by strong emotional projection, and a number of basic elements together constitute his works.  -- Paul Moorhouse


言及致幻与观照，千人千意。以海德格尔的观点来看，“在场”的东西并不比“不在场”的东西更真、更美，以此来论证致幻的意象这种“在场”可以用来反映“不在场”的蕴意。若用庄子用做梦来比喻人的沉沦于世，那常人的一生迷惑而致真致幻，却自以为很充实，这里表达的便是现实社会对人的精神的压抑以及精神解脱的艰难。而道家则孜孜不倦地追求精神自由，他们在现实世界与精神世界中往返回旋，讨论“人生如梦”的启示。致幻意象是形而上的，引发了存在性、精神性和审美性三个具有代表意义的美学思想。

张恩利  尼龙绳 (一)  布上油画
Zhang Enli, The nylon rope (1), Oil on canvas
100 × 100 cm 2014
 

“每当我开始创作空间绘画，我便思考它与我身处之城市的关联，所有城市或许都有某种类似的氛围，但各自有其细微的不同。我观察这些细致幽微，并希望捕捉它们的美。”--张恩利
"Whenever I start to create spatial painting, I think about its relationship with the city I live in. All cities may have some similar atmosphere, but each has its own subtle differences. I look at these details and I hope to capture their beauty. "--Zhang Enli

薛松  无题  布面丙烯综合材料
Xue Song， Untitled， Acrylic on canvas and mixed media
100 × 120 cm  2020
 

薛松是一个相当能在画室里“寄居”的人。只要在上海，他基本每天都会在工作室里“磨时间”。虽然薛松的作品，没有明确而强势的“个性抒发”，但是每个挑选和制作得来的碎片、环环相扣的阶段，都能或多或少的感受到他倾注在作品中的情感和表达。--黄晟骎
Xue Song is quite able to "live" in the studio. As long as he was in Shanghai, he would " grind time" in his studio every day. Although Xue Song's works do not have a clear and strong "personality expression", but each selected and produced fragments, linked steps, can more or less feel the emotions and expressions he poured into the works.--Huang Shengli


对于上海的抽象艺术家而言，致幻是直接的感受，观照方式虽在途径和目的上均有不同，在过程上却包含了观察。观察是艺术家们共同的要务，因为他们既要体察生存环境状貌的变化，又要辨析现代生活人性的变革，思考人与城市、与社会的关系；既要探求传统精神天人合一的境界，又要审视现代都会物我两分的现实。

李磊  养云9  布上丙烯
Li Lei, Yangyun 9, Acrylic on canvas
150 x 100 cm 2018
 

李磊的抽象绘画自有他自己独特的精神气象。他的抽象绘画总体风格非常明显，尽管不同时期他的作品有一些变化，但都是在基本旋律基础上的变奏与转换。--周宪
Li Lei's abstract paintings have his own unique spiritual atmosphere. The overall style of his abstract paintings is very obvious. Although there are some changes in his works in different periods, they are all variations and transformations based on the basic theme.--Zhou Xian

曲丰国  四季 小寒  布面油画
Qu Fengguo, Four seasons-Lesser Cold, Oil on canvas
145 × 220 cm 2014
 

所谓季节，是光、空气、大地、植物、城市、土地、大海等形形色色要素的集结，在曲丰国的绘画中，包含了使季节这一现象得以成立的所有诸要素，尽管矩形画布是有限的，但超越它的框架，无限的时空就此展开。--清水敏男
The so-called “season” is a collection of various elements such as light, air, earth, plants, city, land, sea and so on. Qu Fengguo's paintings contains all the elements that make season a phenomenon. Although the rectangular canvas is limited, his painting transcends its framework,  thus infinite time and space is unfolded.--Toshio SHIMIZU


上海的抽象艺术试图在城市景观的复杂多变中去揭示城市的浮华表象下隐匿的事物本真。上海抽象艺术家群体所体现的不仅是绘画性，还有置身于现代都市下，面对纷繁复杂的社会现实，当代人的焦虑、忧思与茫然，表现出现代都市景观下人们的社会心理特征，全面而立体的反映出上海这一特殊地域下的时代特征，这就是人们关注的当代性。本次展览邀请十位上海抽象艺术家，对其个案分析、研究、展示，代表了上海抽象艺术的别样风貌。尽管十位艺术家的艺术表达各异，但他们对艺术的坚守、对内在表现形式的积极探索和独特的艺术创作语言，使他们的创作表达出对城市、社会的深切思考，并为中国当代艺术持续增温和推动砥砺前行。

丁设  105202008011020  纸本水墨
Sher Ding, 105202008011020, Ink on paper
138 x 69 cm  2008
 

丁设的作品融合了其自身的经历、学习与工作经验，以及其背后古老的艺术传统和其艺术创作中显而易见的当代性。 -- 维托里奥·乌巴尼
Sher Ding's works mix biographical facts, his studies and work experiences, the ancient tradition that is behind him and the unmistakable contemporaneity of the artistic result. -- Vittorio Urbani

廖渊  河图200701  墨、茶、矿物质颜料、宣纸
Liao Yuan, River map 200701, Ink, tea, mineral pigments, rice paper
135 x 180 cm 2020
 

廖渊以“河图”为主题的绘画艺术，正是对中国传统文化的回望与致敬，也是对中国传统文化在当代社会的遭遇的反思，更是对传统的重塑、激活。在这个意义上，我认为廖渊的“河图”是在见证“黄河文明”的“涅槃”重生.--克劳迪娅 · 晒佛
In his exploration of the uniqueness of Chinese traditional art, Liao Yuan plays the role of an "inheritor", and actively incorporates the ideas and concepts of modern art with an open mind.--Claudia Schaefer
 

策展人  Curator
 

了了  Liao Liao
 

了了，1973 年生于中国四川，中国著名当代艺术家，国家美术杂志主编，曾在中国、美国、欧洲、日本等地举办展览，现工作生活于上海。
Liao Liao borns in 1973 in Sichuan, China, famous contemporary artist in China, editor-in-chief of national art magazine, he has held exhibitions in China, the United States, Europe and Japan, now working and living in Shanghai.


 

2020·Psychedelic
Urban Landscape and Abstraction

Sponser: MYAM

Curator  |  Liao Liao
Organizer  |  Li Songjian, Ling Feifei

Artists
Chen Qiang, Ding Yi, Pan Wei, Huang Yuanqing, Zhang Enli, Xue Song, Li Lei, Qu Fengguo, Sher Ding, Liao Yuan
(in chronological order)

Opening time: 16:00, Sat, 5th of Sep, 2020
Exhibition time: 2020/9/5-2020/12/20

Address：Shanghai MingYuan Art Museum
5Th floor, Block A, No. 1199 Fuxing Middle Road, Xuhui District, Shanghai

Audience limit of 120 (free)
We invite you to the opening of our new exhibition

Shanghai has developed into one of the most charismatic metropolitan city in Asia and one of the biggest city in China from 1840s to 1930s due to its special historical background. The grandeur of the Bund and the river sides, the diversity and welcoming characters of this city have attracted art forms from all over the world for centuries, constructed a special globalism of the "Shanghai School". The astonishing skyscrapers, networks of highways and rivers and the exquisite city landscape inspired the unique artistic style, thus the Shanghai Abstract Artists Group was established. Because the formation was earlier and the number of artists is way more than other cities in China, most are locals, Shanghai is also called "The City of Chinese Abstraction".

Metropolitan is built on modern technol ogy and economical system. It changes space and ways of living, brings material wealth and perceptual experience. Artists who were sensitive to this change, turn the urban landscape into the subject of aesthetic to represent and reflect on modernity. From the perspective of social development, abstract art not only suggests the transformation of modern industrial society, but also present a product of cultural evaluations. Shanghai, as the frontline of "Reform and Opening-up", artists here not just concern about the ways of observation and aesthetic issues, also reflect questions such as artistic languages, style and form, cultural concepts, meanwhile seeking for the common emotions of urban citizens. These require artists to be visually metaphysic, to respond to multi-elements of the fast-changing urban landscape.

Psychedelic and observation are both personal in terms of interpretation. According to Martin Heidegger, objects that are Anwesen (present) are not more authentic than those who are not present, therefore the idea of psychedelic can be explained as using Anwesen (present) to represent vacancy. Philosophy of Zhuang Zi compare dream to the confusion of life and human existence. That is a metaphor of depression in society and the difficulty to break through the boundary. Taoism search for mental freedom, they discuss "life as a dream" between dream and reality. Psychedelic is metaphysical idea that inspired the crucial aesthetic thinking: existential, aesthetic and spiritual approaches.

For artists in Shanghai, psychedelic is a direct emotional experience. Though methods and purposes of observation may differ, the process includes the observing action. To research is a common duty of artists. They ought to observe the changes of living environment, while analyzing the relationship between humanity and society; they need to explore the traditional spiritual idea of harmony between human and nature while surveying the real life division between ego and superego.

Shanghai abstraction is intending to reveal the authenticity of life under the rapidchanging city landscape. Abstract artists group is not just painterly. Their works also show the role of artists in a metropolitan cultural context, reflect the contemporaneity of Shanghai as a special platform. This exhibition invite ten abstract artists in Shanghai, demonstrate and research their works as case studies that represent the overall characters of Shanghai abstract art. Although the artistic expression of the ten artists is different, their special visual language and their deep thoughts about the city and the society all significantly contribute to the development of Chinese Contemporary Art.