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高维艺术八月展讯 | 三尺之外 Three Feet Away

2019年8月3日 9:00 ~ 2019年10月15日 17:30

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    三尺之外 


    出 品 方:高维艺术

    策 展 人:蒋还还

    展览时间:2019.8.3—2019.10.15  9:00—17:30

    (周三及法定节假日闭馆)

    艺术家见面会:2019.8.10  14:30—17:00

    展览地址:杭州市赞成大厦3号楼3楼


    Three Feet Away


    Producer: GalwayArt

    Curator: Jiang Huanhuan

    Exhibition time: 2019.8.3—2019.10.15  9:00—17:30

    (Closed on Wednesday and legal holidays)

    Artists Meet-up:2019.8.10  14:30—17:00

    Exhibition address: 3F, No.3 of Zancheng Building, Hangzhou



    参展艺术家 Artists


    毛宗种 Mao Zongzhong

    傅文伟 Fu Wenwei 

    洪丹 Hong Dan




    尺,一种源于远古的长度单位,现今三尺为一米。众所周知,画面都具有长和宽,这个二维面是最容易被观者捕捉的。除此之外,绘画还具有一定的厚度和肌理,它是作品的第三个维度。凡是占据特定三维空间的客观物体都具有明确的边界。那么架上绘画的边界该如何定义,所谓的边界又在哪里?


    毛宗种、傅文伟和洪丹三位艺术家用各自的绘画语言对这一问题展开探索。


    Feet is a unit of length originating from ancient times. Today, three Feet is approximately one meter. As is known to all, a picture has both length and width, and the two-dimensional plane is the easiest to be captured by the viewer. In addition, the painting also involves a certain thickness and texture, which is the third dimension of a work of art. Every objective object that occupies a specific three-dimensional space has a clear boundary. So how do we define the boundary of easel painting? Where is the so-called boundary?


    Three artists, Mao Zongzhong, Fu Wenwei and Hong Dan, explored this problem in their respective painting languages.



    毛宗种  Mao Zongzhong


    根据其性质,边界分不同种。人们通常所谓的边界,比如画框以及物体轮廓,都只是物理边界。对于毛宗种而言,艺术要反映的是艺术家的精神边界。因此,对象不应拘泥于外在的形态和轮廓;同样地,画布作为意识的载体虽然是有限的,但承载了内容的作品(画面)却不应止于画框。绘画与文学等其他艺术形式之间的显著区别之一在于,文学的核心是内容,而绘画的形式和内容却是紧密依存,甚至互相转化:内容即形式,形式即内容。


    According to its nature, the boundary is divided into different types. The so-called boundaries, such as picture frames and object contours, are merely physical boundaries. In the viewpoints of Mao Zongzhong, art should reflect the artist's spiritual boundary. In view of this, the object should not be confined to the external form and outline. In the same way, the canvas is confined as a carrier of consciousness, but the works or pictures that carry the content should not stop at the frame. One of the significant differences between painting and other art forms, such as literature, is that the core of literature is content, while the form and content of painting are closely interdependent and may even be mutually transformed, as the content is the form while the form is the content.



    (以下为展出的部分作品)

    微信图片_20190729095248.jpg

     云上的日子 5,Days in the clouds No.5

    100 × 100 cm

    2018 - 2019



    微信图片_20190729095239.jpg

     云上的日子 9,Days in the clouds No.9

    30 × 30 cm

    2019



    正因如此,如何突破形式的束缚,在有限的画布上以特定的形态表现无限的可能就成了摆在艺术家面前的一道难题。“云上的日子”系列延续了毛宗种对“天空”这一母题不变的热爱。天,浩大无边,云,瞬息万变。它们都不具有绝对的形或边界。将二者共同呈现在一张画布上,思绪如淡淡的色彩蔓延。此时,“虚”和“实”、“有”和“无”之间的界限已不知不觉被打破;“存在”,成为了支配一切的中心,终极的意义所在。毛宗种的作品,天然地带有国画的气韵,咫尺千里,却又大胆地向抽象迈进一步,成就了属于他个人的独特风格。


    For this reason, how to break through the shackles of form and display infinite possibilities in a specific form on a limited canvas has become a difficult problem for artists. The painting series, "Days in the clouds", continues Mao Zongzhong's constant love for the theme "The Sky". The sky is vast and boundless, while the clouds are constantly changing. Neither of them has an absolute shape or boundary. Presenting the two together on a canvas, the thoughts will spread like light colors. At this moment, the boundaries between "virtuality" and "reality", "existence" and "nothingness" have been unconsciously broken. "Existence" has become the center of everything and the ultimate significance. Mao Zongzhong's works of art are born with the artistic conception of traditional Chinese painting, while the works are physically close but actually distant, and take a bold step toward abstraction, which helps to develop his own unique style.



    微信图片_20190729095233.jpg

     云上的日子 25,Days in the clouds No.25

    60 × 60 cm

    2018



    微信图片_20190729095229.jpg

     云上的日子 26,Days in the clouds No.26

    60 × 60 cm

    2018



    傅文伟  Fu Wenwei


    当然,物理边界本身也可以成为研究对象。傅文伟就将目光聚焦于此。他为所展出的这套作品取名“square”系列。“square”直译为“方”,却又可以引申为“广场”。方,以横平竖直的四边定义,明确的边界是“方”的本质;而广场,顾名思义,是指一片开阔的场地,广阔是它的首要特征。从这个意义上讲,“square”这个英文单词,可谓矛盾的统一,可以说是对艺术家这一些列作品的最好概括。


    Of course, the physical boundary itself can also be the object of study. Fu Wenwei focused his attention on this. He named the work on display "Square". In Chinese, square can be literally translated as "Fang" (方), or may be extended to "Guang Chang"(广场). On the one hand, Fang is defined by the four sides in horizontal and vertical directions, and its essence is a clear boundary. On the other hand, Guang Chang, as its name implies, refers to an open area, where the primary feature is its vastness. From this point of view, the English word "square" is a unity of contradictions,, which can be said to be the best summary of the series of works of artists. 



    (以下为展出的部分作品)

    微信图片_20190729095223.jpg

     方块 03,Square No.03

    18 × 18 cm

    2018



    既然要探究物理边界,就不能仅停留在它的二维层面,深入挖掘第三个维度就成为了艺术家的主要任务。人们通常认为,边界的意义在于隔绝,像是一道门,决绝而又神秘。但是在傅文伟的“square”系列里,艺术家巧妙地引导观者的视线在作品的三维空间内来回移动,任由观者肆意“窥伺”作品的边界。他甚至模糊了表面和边界的界限,每一件作品的边界都形成一个独立而完整的画面,扩充(而不是限定)着其画面的内涵和外延。


    Since we want to explore the physical boundary, we can not just stay in its two-dimensional space, but it has become the primary task for artists to conduct in-depth research on the third dimension. It is generally believed that the meaning of boundary lies in isolation, like a door, which is resolute and mysterious. But in Fu Wenwei's works named "Square", he skillfully guides the viewer's vision to move back and forth in the three-dimensional space of the work, allowing the viewer to wantonly "spy" on the boundary of the work. He has even  blurred the dividing line between the surface and the boundary, so that the boundary of each work forms an independent and complete picture, expanding the connotation and extension of its picture, rather than limiting.



    微信图片_20190729094742.jpg

     方块 05,Square No.05

    19.5 × 28 cm

    2018



    微信图片_20190729094751.jpg

     方块 16,Square No.16

    18 × 18 cm

    2018



    洪丹  Hong Dan


    如果说毛宗种和傅文伟都是试图打破作品的硬边界(物理边界),那么洪丹则是力求在纵深上打开画面自身这道屏障。这个边界是非线性的,是一整个平面。洪丹喜欢现实“体肤”上的伤疤,时不时恶作剧般地揭开一处,貌似不经意地揭露出那藏匿于表象之下暗流的痕迹、胶着的难堪和灰暗的底色。


    If Mao Zongzhong and Fu Wenwei are both making attempts to break the hard boundary (physical boundary), Hong Dan is making every effort to open up the barrier of the picture itself from the perspective of the depth. This boundary is non-linear and is a whole plane. Hong Dan prefers the scars on the "real body skin", and then he mischievously uncovers a scarfrom time to time , while it seems that he inadvertently reveals the traces of undercurrent hidden under the surface, the embarrassment of gluing and the gloomy background. 



    (以下为展出的部分作品)

    微信图片_20190729094804.jpg

     记忆空间,Memory space

    200 × 60 cm

    2015



    微信图片_20190729094810.jpg

     面具 1,Mask No.1

    25 × 25 cm

    2013



    他在不同的作品中运用不同的方式去给现实“起底”:有的集中而露骨,有的全面却有所保留。很多时候他的作品会给人以朦胧和浪漫的感觉,然而这正是他惯用的伪装。殊不知要从纵深上打开画面,让脆弱而不堪的“伤口”生发出一种绘画的诗意,这不仅需要浪漫,更需要深刻。毫无疑问,洪丹构建画面的过程同时也是打破边界的过程。破得毫无戾气,立得清新脱俗。


    In his different works, he reveals what is hidden behind the reality in different ways, some of which are concentrated and explicit, while some are comprehensive but reserved. In many cases, his works make people feel somewhat vague and romantic, but it is a method of camouflage that has been consistently used by him. It is hardly realized that we should open the picture from the depth, and form a poetic quality of the painting arising from the fragile and unbearable wound, which needs not only romance, but also profundity. There is no doubt that Hong Dan is creating an image while breaking the boundary. The boundary is broken without any disharmony while the image is created free from vulgarity. 



    微信图片_20190729094817.jpg

     面具 2,Mask No.2

    25 × 25 cm

    2013



    三人的答案是显而易见的:物理边界绝不该成为艺术的羁绊。通过弱化它——转而强调精神边界,放大它——从而模糊和画面的界线,抑或是打开画面本身,作品边界的定义在被补充和改写。对于毛宗种,边界在于精神共鸣波及的最远处,是一种无形的存在;对于傅文伟,边界与画面并非绝对对立,因此可以说并不存在绝对的边界;而对于洪丹,画面就在边界的去留之间。


    The answer of the three artists is so evident that physical boundaries should never be the fetters of art. By weakening the physical boundary and emphasize the spiritual boundary, enlarging the physical boundary to blur the boundary line of the picture, or opening the picture itself, the definition of the boundary of the work is being supplemented and rewritten. For Mao Zongzhong, the boundary lies in the farthest reaches of spiritual resonance, which is an invisible existence; for Fu Wenwei, the boundary is not absolutely opposite to the picture, so there is no absolute boundary; for Hong Dan, the picture is between the deletion and retention of the boundary.



    回到这次展览的名称。三尺,在古代还有一意,是为律法。三位艺术家在艺术之路上长年耕耘、潜心创作、孜孜以求。他们虽都身处“体制内”,却能大胆突破“三尺”,否定传统,从而独辟蹊径,实属可贵。我与他们虽只是几面之缘,却能清晰地感受到他们超脱的气质和淡然的生活态度。他们一方面有着很强的现实感,对现世都有深刻的体察;另一方面又与现实划出一段安全边界,既不甘独善其身,也不至深陷泥潭。这与其说是出于理想和情怀,不如归因于艺术家对名利的淡泊。正如他们的作品揭示了边界的延展性和模糊性,三位艺术家也用生活诠释了三尺之外的处世哲学。正所谓,“结庐在人境,而无车马喧。问君何能尔,心远地自偏。”艺术,意在三尺之外方得自由;生活,处之三尺之外才能豁达。


    Let's go back to the name of the exhibition. Three feet, in ancient China, also means the law. The three artists have worked hard, devoted themselves to creation and diligently pursued the road of art for many years. Despite the fact that they are all within the system, they can boldly break through "the three feet", and negate the tradition, thus developing a new road for themselves, which is indeed of great value. Although I just met them several times, I can clearly perceive their detached temperament and indifferent attitude towards life. On the one hand, they have a strong sense of reality, and have a profound understanding of the world; on the other hand, they delimit a security boundary with reality, as they are neither willing to be righteous alone in the society, nor to sink into the mire. It is not so much out of ideals and feelings as due to the artists' indifference to fame and wealth. Just as their works reveal the extensibility and ambiguity of boundaries, the three artists also use the life to interpret the philosophy of life beyond three feet. As the lines in Drinking Wine by Tao Yuanming go, "In people's haunt I build my cot; Of wheel's and hoof's noise I hear not. How can it leave on me no trace? Secluded heart makes secluded place." Art is meant to be free beyond three feet, while life is meant to be open and clear only when a person is three feet away.  





    观展交通指引

    微信图片_20190729094825.jpg


    杭州市上城区赞成大厦3号楼3楼 高维艺术空间



    地铁站:4号线 南星桥站 CE/A口出,沿飞云江路步行约300米

    公交车站:钱江路飞云江路口, 13路/113b线/116路/176路/178路/195路/b支3c线/b支3路

    停车场:赞成大厦停车场/赞成中心停车场

    开馆时间:9:00-17:30,周三公休





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