陈督兮：动静等观 · Chen Duxi : Two Sides of A Coin

陈督兮：动静等观

开幕：2016年12月10日 · 15:00-18:00

展期：2016年12月10日 - 31日

五五画廊荣幸地宣布，艺术家陈督兮在上海的首个个展“动静等观”将于12月10日下午开幕。此次展出的十件“持颐”系列作品，都是陈督兮新近完成的。

水是中国传统中的深层文化象征。陈督兮描绘的水在探索和延续古人对于水与身体之间的契合。陈督兮长期实践着关于水的“持颐”系列的创作。他观察水的经验部分来自听觉，或者说他的绘画来自对水的节奏与速度变化的体察。而此次展览，是他进一步从听觉经验的描绘，深入到用笔（身体运动的节律）和自然（流水）的相互匹配。

“持颐”的主体是一位年长的渔父。在传统文化语境中，渔夫又具有非常特殊的象征意义。作为长年在水上的职业，渔夫对水有着独到的观察。在陈督兮的绘画实践中，试图把自己化作一位摇橹的渔夫，用笔与千姿万态的水流进行对峙，在行进与流变中探索画面与身体的张力。几层动静关系的相互叠加，是陈督兮创作中体悟的核心。笔迹之间本就有动静的秩序，透过笔墨又要追溯水气的乾旋坤转。观者透过画面，就能体会到绘画过程中运笔的节律。各种形态的水流变化的内在根源，使得笔墨与水流流动达到“神妙万物”境地。

陈督兮的绘画既然不单是对水之形态的审美，可那又是什么？西游记第一章中，众猴喊道：“这股水不知是哪里的水？”于是去寻个源头。孙猴立了大志，将身一纵，冲破了瀑布飞泉，进去发现无水无波，却打开了新的空间。陈督兮体会画水的历程却可能比孙猴的一跃要来的艰辛，但同样是一股未发而威的气势，试图冲破各种形态的水流，打开“花果山福地，水帘洞洞天”的新天地。（赵楠）

陈督兮1983年出生于四川成都；2006年毕业于四川音乐学院成都美院；2008年毕业于中央美术学院油画进修班；现生活、工作于北京。

陈督兮近年来参加的主要展览包括：“非想非非想”（2016年，北京艺术8）；“秋毫之末”（2015年，北京艺术8，个展）；“无常之常 - 东方经验与当代艺术”（2014年，北京元典美术馆/德国波恩当代艺术中心）；“备忘录”（2013年，北京空白空间）；“留住的时间”（2010年，香港艺术公社），等。

Chen Duxi: Two Sides of A Coin

Opening: 15:00 - 18:00 · 10 Dec. 2016

Dates: 10 - 31 Dec. 2016

Gallery 55 is proud to present Beijing based artist Chen Duxi's first solo exhibition in Shanghai "Two Sides of A coin" from the 10th through the 31st of Dec. 2016.The exhibition comprises ten newly created pieces from the "chi yi" (focus on serenity) series.

Water is an important symbol of culture in Chinese tradition. Under Chen Duxi's brush, it is an exploration and continuity of agreement between water and body. "chi yi" is a series of creation Chen has long practiced about water. His experience of observing water comes partly from hearing, the observation of the rhythm and the change of speed of the water. In this exhibition, Chen deepens his description from auditory experience to the match of pen (rhythm of body movement) and the natural (flowing water).

The main body of "chi yi" is a fisherman, which has a very special symbolic meaning in Chinese traditional cultural context. As a profession, fisherman remains long time in the water and has an unique observation of it. In his practice of painting, Chen tries to turn himself into a fisherman who was shaking oars, confronting the flow of water with his brush, exploring the tension between the picture and the body in advancement and rheology. The superimposed of relationship between layers of the dynamic and the static is the core of creation Chen has comes to realization. Apart from the order of movement of penmanship, the rotation of water steam also needs to be traced through the brush and ink. Viewers could appreciate the rhythm of brush works from observing the painting. The changes of internal root cause of various forms of water flow make the brush/ink and water flow reach a wonderful state.

If Chen Duxi's painting is not only about the aesthetic of the form of water, what else could it be? In the first chapter of the popular Chinese novel Journey to the West, the monkeys shouted: "Where does this water come from?" Then they went to find the source. The monkey king jumped over the waterfall and found no water but opened a new space. The process of Chen's appreciation of painting water may be harder than the monkey king's jump of finding water. The momentum is the same: trying to break through various forms of water and open up a new world.(Zhao Nan)

Chen Duxi was born in China in 1983. He holds a B.A. in Painting from Chengdu Academy of Fine Arts in China. He attended a Master Class at Central Academy of Fine Arts in Beijing in 2008. Currently he lives and works in Beijing, China.

Chen Duxi's recent major exhibitions include: "Etre en ne pas etre" (2016, Art 8 in Beijing, China); "Petcheur solitaire" (2015, Art 8 in Beijing, China, solo); "Confronting Anitya - An Oriental Experience in Contemporary Art" (2014, Yuandian Art Museum in Beijing, China / MoMA in Bonn, Germany); "Memo" (2013, White Space in Beijing, China); "The Time Being Kept" (2010, Art Commune in Hong Kong); etc.