界之边缘——陈艺个展 Toggle

界之边缘——陈艺个展


2018年4月14日,蓝顶美术馆驻留项目《界之边缘——陈艺个展》于蓝顶·顶空间举办,展现了旅居瑞士的艺术家陈艺的一系列布面丙烯作品。

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观众

开幕现场人气满满,嘉宾、观众和媒体人士纷纷走进展厅,一边欣赏画作,一边探讨与交流。艺术家陈艺站在展厅中央,耐心地向朋友们介绍发生在作品背后的生活和故事,并热情地与大家合影留念。

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近距离欣赏

艺术家陈艺的艺术之路让许多人既佩服又羡慕,按她自己的话讲,出身法学与艺术专业,专职翻译工作,最后又“皈依”了纯艺术。在瑞士工作、创作这么多年,让她接触到国际上最新鲜的艺术资讯和现场,同时也促使她深入探索用视觉图像表达个人世界观的无限可能。本次展出的作品反映了她对生态环境、消费社会、女性身份等诸多问题的思索与感性流露。这样一些乍看有点涂鸦意味和波普色系的作品,融入了艺术家最为直观和强烈的体验,毫无迂回地直指观者内心,打开一个富有情性张力的世界。

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现场交流

从整个展览中,我们也可以约略感受到艺术家的探索路径和工作方式,并不遵循绝对规则,同时又充满创造性。正如策展人丁奋起所言:“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。”这样的展览无疑具有开放性与启发性,为到场的观者和艺术从业者提供了跨地域的视角和经验。

本次展览一直持续到五月上旬。

展览空镜图

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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|201841416:00-19:00

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

展览日期|2018415—56

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)

 

部分作品赏析


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囚犯022017 A prisoner 022017 布上丙烯 Acrylic on canvas 180×160cm 2017

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小鸟032016 A bird 032016 布上丙烯 Acrylic on canvas 180×150cm 2016

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爬行03122017 Crawl 03122017 布上丙烯 Acrylic on canvas 200×160cm 2017

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不! 21072017 NO! 21072017 布上丙烯 Acrylic on canvas 160×200cm 2017

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玩币的狼062014 A wolf playing with coins 062014 布上丙烯 Acrylic on canvas 200×100cm 2014



 

 

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,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,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

 

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

 

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

 

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

 

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

 

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

 

2018326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),389 )


Boundary—Individual Exhibition by Chen Yi

By Ding Fengqi 

 

Animal is a highly recognizable and repeated image in Chen’s works, including the single illustrated images in Playing Wolf, A Caught Bird, Bird Series, Duck Stuffing, Spider, as well as the repeated images similar to natural ecology for 20 kinds of endangered species in No. Series. Animal images have become the themes (summer 2014 to the first half of 2017) from subordinate illustrations. Such a shift is quite obvious in No. series, in which the visible images are transformed into the readability of themes. The interaction between the viewer and the picture is more than the visual aspect, which leads the viewers into a reading mode or a reading process. The pictures tend more actively to self-generate.

 

The increased number of animal images and the arrangement in paintings are not about literature elements such as emphasis on plot, narration, background. Paintings are just paintings themselves, starting from images and returning to the narrative logic and representative methodology. It won’t self-explain when faced with audience. The implications in depth are just hiding behind the picture, which we cannot see through. Just like the author hidden behind the works, the so-called meaning should not interfere with the viewing of the paintings. During the process of sense and vision, images are just specific snapshot and original reflection about the viewing of the works. Images represent the field comprehensive effect of picture view source, which depend on the integral explanation and comprehensive expression in reading mode.

 

Since the relation between works and the animal image is not a simple recurrence of fact, the meaning for a piece of works should be a new boundary between symbolic images and reflective images. Such a visual information fusion will provide an in-depth visual illustration of world view. Image representations are viewed as a multi-dimensional field, an abstract collage, or an old quilt. Based on this, Crawling and Giving Birth are two pieces worth discussing, which are synthetic works with abstractness, collage and materialism tastes. The paintings are complete, with various and bright colors, fulfilled space and silhouette-style. The artist pays equal attention from corners to the center, while producing a broken or even fragmental structure for the two pieces. Isn’t he combination of complicated visual elements in the same place a questioning towards the complex life experiences? Those abstract and bright concentric circles, three crawlers in the center and the symbols for materialism tastes: sport car, yacht, mansion, Visa, Face ID, watch, champagne, cake, ice cream, fashion, jewelry, diamond ring, lipstick, perfume, hi-heel shoes. The first half of these symbols are masculine or neutral at most while the latter ones are feminist. These overwhelming and dazzling objects make people want to ask whether the materialism gives rise to our aesthetic taste or vice versa.

 

If we try to use key words to identify artists or their works, such as expression, abstractness or sketch, it will be really hard. The narration of the exhibition is not to reconstruct the logic between different styles and make it flawless. What we try to do here is to connect the creative pursuit and the spirit of surpassing. From summer in 2014 to now, the works by Chen Yi have been various, connected by a seemingly passive logic—the connection of art exploration, the care for nature, attention to environment and humanistic care. These common emotional pursuits are recurring during these years in the works of Chen Yi. Playing Wolf is a fun piece, in which wolf is the symbol of wildness and nature and coin is a measurable object that human is subject to. In the painting, wolf and the viewer are viewing each other in equal stands. The coins at play are just below our sight. Although seemingly touchable, will the wildness in these objects be accessible to us? The different angles provide and difference in dispositions are put together, which combines two seemingly irrelevant images into each other.

 

This reminds me of British artist David Hockney, German artist Martin kippenberger, French artist Francis Picabia. These artists are symbols of variety and creativity in art history. The inner spirit of the works is about the variety in style and freedom of form. The way of change is the only thing true in art and also the cultural value in artist community.

 

The exhibition shows the works of Chen Yi from 2014 to present, together with its changes along the way. The styles and tastes never apply to such kind of artists. Paints leaves artists a narrow pathway for one only, in terms of media, style and material. The possibility space exists only in neighboring fields or boundaries.  

 

March 26th, 2018, in Zhizi Lane, Chengdu

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