界之边缘——陈艺个展 Toggle

蓝顶美术馆驻留项目

Blue Roof International Artist-in-Residence Program

界之边缘——陈艺个展

Beyond The Boundary:Chen Yi's Solo Exhibition 


策展人 | 丁奋起

Curator: Ding Fenqi

艺术家 | 陈艺

Artist: Chen Yi

 

 

主办 | 成都蓝顶美术馆

Organizer: Blue Roof Museum of Chengdu

承办 | 蓝顶·顶空间

Supporter: Blue Roof ·Roof Space

支持单位 | 瑞士精英文化机构

Co supporter: Swiss Elites

 

开幕式 | 2018年4月14日16:00-19:00

Vernissage : 16:00-19:00, 14th April 2018

展览日期 | 2018年4月15日—5月6日

Duration: 15th Apr—6th May 2018

展览地点 | 蓝顶美术馆新馆·顶空间(成都)

Venue: Blue Roof Museum·Roof Space(Chengdu)




界之边缘——陈艺个展

/丁奋起

 

动物是陈艺作品中一个辨识度很高且反复出现的视觉形象。无论是在画面中作为被单独描述的对象:《玩币的狼》、《一只被抓住的鸟》、《小鸟系列》、《填鸭》、蜘蛛,还是在《不,NO.》系列作品中交替出现的,那些濒临灭绝的20种动物的类似“自然生态”主题。动物的形象从画面中单一被叙述对象的从属地位,反转而成为绘画主题(2014年夏天到2017年上半年),这种变化在《不,NO.》系列作品中十分明显,图像的观看从可视的形象递进到主题的可读性,使得观者与画面的互动不只停留在被观看的层面,它引导观者进入了一种阅读模式或者阅读的动作之中,画面愈发主动地趋向于自我意味的生成。


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小鸟032016 布上丙烯 180×150厘米 2016

A bird 032016 Acrylic on canvas 180×150cm 2016


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小鸟06042015  布上丙烯 180×150厘米 2015

A bird 06042015 Acrylic on canvas 180×150cm 2015


然而动物形象的数量增加以及在画面中满布绘画式的“排列组合”,并不是为了强调情节、叙事性、故事背景这些文学化的表征要素。绘画只是绘画本身,它从形象的起点出发,再归结于图像自身的叙事逻辑和表征的方法论,它面对着观众,自身并不会发出自我阐释的声音。而它的耐人琢磨的意味,恰恰隐藏在画面的背后,那个我们无法一眼望穿的背后。就像作者应该消失在作品背后那样,作品的所谓“意义归属”同样不应该干扰我们对画面的观看。在我们视知觉的感知过程中,形象只是一个具体化的剪影,一次对作品观看行为的源初映像,而图像代表着画面视觉信息源的场域综合效应,它依赖的是在阅读模式之下的整体性阐释与综合表达。


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不! 21072017 布上丙烯 160×200厘米 2017

NO! 21072017 Acrylic on canvas 160×200cm 2017


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不!27062017 布上丙烯 200×160厘米 2017  

No!27062017 Acrylic on canvas 200×160cm 2017


既然作品与所描绘的动物形象之间的关系并不是简单的还原论和再现事实,那么作品成立的意义,就必须在作为符号的图像和作为镜子的图像的范畴或边界之间,找到一个新的临界点,一个由众多的异质要素攒聚而成的视觉信息集合,从而将艺术家对于世界大视野的认知进行深度的图像阐释,“将图像表征看作是一个由异质成分组成的多维领域、一幅抽象拼贴画、或者一床用碎布拼缝起来的经年旧被”【1】。基于此,《爬行》和《分娩》也是非常值得讨论和分析的两件作品。这是两件有些许抽象气质、拼贴元素和物质主义审美趣味的综合材料作品。作品的绘画语言看上去具足完备:譬如鲜明而又丰富的色彩、饱满的画面空间、主体物剪影式的硬边处理手法。从画面的四角到中心被艺术家同等重视,甚至有点“面面俱到”的嫌疑。但恰恰这两件作品的内在结构是分裂的,甚至是碎片化的,艺术家将复杂的视觉要素并置一隅的手法,难道不是对复杂多变的生活体验的映现所提出的扣问吗?那些抽象而色调明丽的同心圆环、画面中心位置的向左运动的三个爬行物、拼贴在画面四周的物质主义审美象征的消费符号:跑车、游艇、豪宅、Visa Face ID、手机、手表、香槟、蛋糕、冰激凌,时装、珠宝、钻戒、口红、香水、高跟鞋……前一类是拜物教中偏向男性化的符号,至少是中性化的。而后一类物品则女性色彩十足。看到这些铺天盖地,令人炫目的物品不禁使人发问,究竟是物质主义美学分娩了我们的审美趣味?还是我们的物欲催生了消费社会?


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分娩14072017 布上丙烯 200×160厘米 2017

Delivery 14072017 Acrylic on canvas 200×160cm 2017



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爬行03122017 布上丙烯 粘贴的图片 200×160厘米 2017

Crawl 03122017 Acrylic on canvas, pasted pictures 200×160cm 2017


如果我们试图用两三个关键词或者诸如表现、抽象、写意之类即有的风格样式来归类艺术家或界定艺术家的作品,无疑将是一件非常困难的事情。展览的叙事结构也并非要重构不同作品风格之间的逻辑关系,使其环环相扣而又无懈可击。我们只是试图用一根线,即对创造性的追求和超越这种精神的线索将展出的作品相互关联起来。从2014年夏天直至今日,陈艺的作品风格多变,不同系列作品之间是一种看似被动的逻辑关联,即关于艺术探索精神的联结,对自然的关照、环境问题的关注、人文关怀这些朴素的人类共同体的情感诉求,贯穿在近年的创作过程始终,且反复交替地进行,自由自在,若婴儿然般地表达。《玩币的狼》也是一件轻松而有趣的作品:狼是自然和野性的象征,钱币是被人类规定或用来规训人类的一个可供量化的物品。画面中狼与观者之间是平视的角度,在画面内外相互对视着对方。而被它所玩弄的钱币在我们的“鸟瞰”之下,看似触手可及,但它们各自的野性我们又能驾驭几何?平视和俯视的不同视角,野性与训诫的气质差异,艺术家用并置的手法,将两个原本毫不相干的形象柔和地相互渗透在了一起。

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玩币的狼062014 布上丙烯 200×100厘米 2014

A wolf playing with coins 062014 Acrylic on canvas 200×100cm 2014


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沐浴062014 布上丙烯 180×150厘米 2014

A shower 062014 Acrylic on canvas 180×150cm 2014


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一根羽毛072014 布上丙烯 180×150厘米 2014

A feather 072014 Acrylic on canvas 180×150cm 2014


这使我想起了英国艺术家大卫•霍克尼、德国艺术家马丁·基彭伯格、法国艺术家弗朗西斯·比卡比亚。这些大师无一不是风格多变、创造力旺盛的美术史典范。其作品的精神内涵:风格多样而不囿于形式本身。变化之道亦是艺术唯一不变的真理,也是艺术家在整个社会共同体中的文化价值所在。


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iPad 19082016 纸本水彩 38.4×28.6厘米 2016

iPad 19082016 Watercolor on paper 38.4×28.6cm 2016


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无题19082016 纸本水彩 28.1×27.7厘米 2016

No title 19082016 Watercolor on paper 28.1×27.7cm 2016


展览呈现的是艺术家陈艺2014年至今的创作思路及其变化。作品风格样式或者审美趣味的刚性界定对这一类艺术家无从生效。从媒介到手法、从风格到样式、从绘画语言到材料特性,绘画留给艺术家的是一个仅供一人通过的狭窄路径,它的可能性空间仅仅存在于相邻的场域或界限的边缘。

 

2018年3月26日于成都栀子街

 

【1】W·J·T·米歇尔著,陈永固,胡文征译,《图像理论》(北京:北京大学出版社。2006年),第389 页


Beyond the boundary - Yi Chen’s Solo Exhibition

 

 

By / Fenqi Ding

 

 

Animals are the visual icons easily identified and frequently found in Yi Chen’s paintings. Whether portrayed as a singular subject in Wolf Playing CoinsA Captured BirdSmall Birds SeriesStuffed DuckSpider, or appeared alternately in No series, they are the primary subjects of “natural ecology”.  No series specially concerns the 20 types of animals facing extinction. The iconography of animals shifted from a subsidiary position to being the protagonist among her paintings (from the summer of 2014 to the first half of 2017), and this transformation is particularly apparent in No Series, where the perception of the image evolves from visible forms to readable subjects. In other words, the interaction between the viewer and the image does not only take place on the level of viewing, but steers the viewer into a mode of reading, or to the action of reading, which proactively generates meaning in itself.  

 

However the increase in the number of animals and  the “orderly permutations and combinations” of which that filled the canvas is not to emphasize on the details, narratives, or the background from which these literary features are drawn. Painting is only painting itself. It begins with an iconography, then returns to a narrative logic and methodology of representation itself , it faces the viewer without voicing any self-explanation. While what it is worth deciphering is often hidden behind the canvas, one that we cannot see through at first glance. Like a writer should fade behind one’s work, the “taxonomy of meaning” in a work of art likewise, shouldn’t interrupt our perception. In this process, the image is only a concrete silhouette, the original projection of the first viewing of the work, while the image represents an integral effect of the scope of its visual information as it relies on an overall explanation and integrated expression under the mode of reading.

 

Since the relationship between the work of art and the animals portrayed is not simply a repository or representation of factual information, then the legitimacy of the work must be validated between the image as an icon and the image as a mirror in order to discover a new threshold – one that’s put together from various disparate elements. Whereby, we would visually decipher the artist’s conception of the world at large, in “considering pictorial representation of a multi-dimensional or fields consist of heterogeneous components, a collage of abstraction, or an old quilt sewn together from pieces of rags.”【1】 Based on this notion, the works Crawling and Delivery are two works worthy of our discussion and analysis. These two mixed-material works have certain abstract qualities, elements of collage and the aesthetic tastes of materialism. These works are proficient in their language of painting, for example their distinct and rich colors, full space of painting and hard edge silhouette approach is used to execute the main subject. From all corners of the painting to the center of the canvas are given equal emphasis, to the extent of being “painstakingly well-rounded”. While the internal structure of these two works are disconnected, or even seems fragmented. Isn’t the artist’s adaptation of juxtaposing complex visual elements a way of enquiring our ever-changing of life experiences? Those abstract concentric rings in vibrant tones, the three crawlers at the center of the image moving towards the left, and the consumer icons collaged around the edges that demonstrate materialist aesthetics: race-cars, yachts, mansions, VISA Face ID, cellphones, watches, champagnes, cakes, ice-cream, fashionable clothing, jewelries, diamonds, lip-sticks, perfumes, stilettos… The objects in the former category are masculine, or at least neutral symbols of wealth of the material world; whereas the latter are typically feminine. Given these ubiquitous and appealing objects, we can’t help but to ask whether it was materialism that delivered our aesthetics or our desires for things catalyzed the formation of consumer society?

 

If we were to use three keywords such as expressionism, abstraction, Xieyi free hand style– the existing artistic styles – to categorize or define the work of the artist, then it would be a rather difficult task. In addition, the narrative structure of the exhibition does not necessarily attempts to reconstruct the logic behind the various styles of artworks, so they would be connected and become indisputable. Instead, we use a thread - the pursuit of creativity and a drive to transcend it - to connect the works in this exhibition. Since the summer of 2014, the styles in Yi Chen’s art practice have undergone various changes, while the logic among different series may seem passive, in other words, a way of connecting the artist’s spirit of exploration, her concern for nature, the environment and humanism - these most humble and essential sentimental necessities of all human beings have been present throughout the course of her art practice from the recent years. They appeared alternately, occurred freely and are expressed in a natural way like a baby itself. Wolf Playing Coins is a playful and mesmerizing work, in which, the wolf symbolizes nature and wilderness, whereas the coin is a quantifiable object that has been standardized by people, or used to regulate humanity. In the painting, the gaze of the wolf meets that of the viewer at a same level, so their staring into each other’s eyes would carry beyond the canvas. While the coins the wolf plays seen from our “bird-eye” perspective, seems within our reach, yet their respective unruliness seems nevertheless uncontrollable. Plane-level and bird-eye perspective, unruliness and regulated qualities, the artist have adopted these approaches by juxtaposing two formerly unrelated icons and allowed their symbolic meanings to permeate into each other.  

 

This reminds me of the British artist David Hockney, German artist Martin Kippenberger, French artist Francis Picabia. These masters are the indisputable representative examples in the history of art  for their varied styles and prolific creativity. Their works embody the spirit of variety of stylistic transformations unconstrained by formalism. The transformation is the only truth in art, and the cultural value of the existence of the artist in the whole social communities . 

 

 

This exhibition presents a paths of thoughts and transformations of Chen Yi’s artistic practice from 2014 to the present. It would not be useful to define this type of artist with any rigid affinities of either aesthetic tastes or styles. Whether it is the medium or technique, styles or genres, the language of painting or unique materials used,  for the artist, the painting is a narrow path through which only one person can traverse, the space of its  possibilities exists only in neighboring fields or the edge of its boundaries.

 

March 26, 2018

Gardenia Street, Chengdu


【1】W.J.T. Mictchell, trans. Chen Yonggu, Hu Wenzheng, Image Theory (Beijing: Peking University Press, 2006), p.389. 



艺术家 Artist

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陈艺(晟一)

Yi Chen


出生于成都,现生活与工作在中国和瑞士

Born in Chengdu, China

Live and work between in China and Switzerland

 

1993年 毕业于天津商业大学法政系经济法专业

1993 Graduated from the faculty of Law, Tianjing Commercial University, China

1997-2002年 毕业于瑞士日内瓦艺术与设计大学,视觉艺术系

1997-2002 Graduated from the faculty of visual arts, Geneva Art and Design University, Switzerland

 

个展

Solo exhibition

2009年 “春的序曲”,瑞士日内瓦州企业领导俱乐部艺术空间 (瑞士)

2009 Prelude in spring, art space of CDE Club , Geneva, Switzerland

2018年 “界之边缘”,成都蓝顶美术馆 (中国)

2018 Beyond the boundary, Blue Roof of Chengdu, China

 

群展

Collectif exhibition

2001年 日内瓦艺术与设计大学摄影展,日内瓦艺术与历史博物馆 (瑞士)

2001 Photograph exhibition of Geneva Art and design University, Museum of Art and History of Geneva, Switzerland



 

 

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