唐人曼谷 | 全新VIP空间6月15日推出“凌健个展”

凌健个展  

Ling Jian Solo Exhibition

开幕 Opening: 2019.6.15  6pm

展期 Duration: 2019.6.15 - 7.6

地址 Location: 泰国曼谷孔堤区素坤逸路24巷49号萨海大厦 

SAHAI PLACE, No.49, soi 24 sukhumvit Rd , Klong Toey, Bangkok 10110, Thailand

当代唐人艺术中心荣幸地宣布，将于2019年6月15日在泰国曼谷新开设的VIP空间，推出艺术家凌健的个展。在这一批展示的绘画作品呈现出与以往不同的面貌与探索方向。艺术家将故宮珍藏鸟谱，工笔与现实主义画法的女性肖像并置亦或相互交叠。两种看似有着极大差异的语言方式经过艺术家的个人体悟与提炼，在画面的视觉表达与审美感受上达到了臻至和谐。

凌健新作灵感源自一次音乐与绘画的偶然撞击。著名的德国乐队Rammstein（战车）有一首歌曲叫“Ohne Dich (如果没有你)"，这首重金属音乐的主题关于爱与死亡，其中一句歌词是 “Ohne Dich Das vogel singen nicht mehr（如果没有你鸟也不叫了）”。凌健听着这首歌曲在旧货市场闲逛，偶然间发现了一本故宫收藏的鸟谱。画集中的工笔鸟与战车的歌曲在时空中瞬间撞击、交融，产生了特殊的情感联系。借由这次偶然，凌健选择了把工笔鸟谱融入当代绘画，继续近年来在艺术问题上的尝试。

坠落的故鸟，布面油画、丙烯 | Falling Ancient Birds, Oil and Acrylic on Canvas | 190×130cm 2016

《坠落的故鸟》中堆叠交错的鸟的形象都是从康熙、雍正年间宫廷画师所绘画谱中选取。不同种类的鸟的羽毛向不同方向延展开来，似乎从故宫的静谧时光中瞬间穿越至此，击中现实主义人像从而产生新的语境。从中透出艺术家在创作时刻所体会到的冲突与融合，超越了时间交替的逻辑。

贯休-黑，布面油画、丙烯 | Guanxiu: Gold, Oil and Acrylic on Canvas | 180×120cm 2016

本次展览中的一组作品《贯休-黑》、《贯休-金》，作品名称中的贯休是唐末五代时期的画僧、诗僧，以《十六罗汉图》为其代表作。《益州名画录》记载：画罗汉十六帧，庞眉大目者，朵颐隆鼻者，倚松石者，坐山水者，胡貌梵相，曲尽其态。或问之，云：“休自梦中所睹尔”。在中国绘画史中，贯休的作品最为打动凌健，引发他的共鸣。在这两幅作品中遮盖着人像头部的黑色与金色，既是贯休袈裟的表征，也是被凌健抽象化的澄澈的生命体悟。作为主体的人像将身体的背影与正面的胳膊融合，如同青州佛教造像。此时，身体已经超越了凌健以往肖像作品所强调的人与性，变为传统文明与宗教、个人体悟与抽象概念的共同载体。

重生，布面油画 | Rebirth, Oil on canvas | 250×180cm 2009

从古典文化中寻找当代艺术创作的新启发点，也是凌健从2011年在北京尤伦斯当代艺术中心个展《水调歌头》起一直思索的问题。几年来他不断地从中国传统文化中吸收与汲取养分，无论是审美感受还是技术表现上，都将传统与当代的命题恰到好处地融合，转化成属于他自己的绘画语言。这一创作状态始终开放，“故鸟”飞抵当下鸣唱出康熙与战车的旋律。

个展“水调歌头”展览现场，尤伦斯当代艺术中心，北京，2011 | Exhibition view, Prelude to Water Melody-Moon in Glass, UCCA, Beijing, 2011

凌健以超现实和夸张的风格展现一系列女性形象：宽阔的额头、狭窄的下巴、丰满的嘴唇和大大的眼睛，反映着现代审美标准以及文化认同的影响，成为一个日益抽象的时代的信息载体……在充满诗意的舒缓和宁静之中，凌健想要我们体验到映射与循环的微妙关系。所谓的永恒，就是现在；所谓的的无限，源于有限。

——杰罗姆·桑斯

凌健作品展出于第二届当代艺术三年展，比利时博福特现代艺术博物馆，2006 | Exhibition view, Beaufort 2nd Triennial of Contemporary Art, PMMK_Mus`ee d Art Moderne, Beaufort, Belgium, 2006

凌健一直将自己的观看视野保持全新的状态，并在创作中反映为一种“图像的真实”。他的创作也充分反映了中国当代艺术对图像时代的回应。凌健从艺术创作的最初就加强了对文化内涵的把握和提升，巧妙地借用了传统文化中的一些视觉符号，这样做不仅可以凸显艺术创作的文化语境,同时显示了艺术家在时间意识与当代意识之间的双向理解力度。凌健通过大众在拜物主义的心理模式下流露出的世俗虚荣的审美趣味与现实态度进行嫁接，完成了对历史文化的解构、对所谓意义的消解。

——张子康

凌健作品展出于路德维希博物馆，德国，2017 | Exhibition view, Ludwig Museum, Koblenz, Germany, 2017

关于艺术家

凌健1963年出生于中国山东，1986年毕业于中央工艺美术学院（现清华大学美术学院）获学士学位。他目前生活和工作在北京，柏林和香港之间。凌健于欧洲，美国，亚洲等多地举办过个展，他的个展包括在北京尤伦斯当代艺术中心，今日美术馆，当代唐人艺术中心（香港），凯尚画廊（纽约），Gana Art Gallery (首尔）等。近期的群展包括德国路德维希美术馆（科布伦茨德国），刘海粟美术馆（上海），中国国家博物馆（北京），侨福当代美术馆（新加坡），上海民生美术馆，米尔海姆美术馆（德国），马约尔美术馆（巴黎）以及第二届当代艺术三年展博福特现代艺术博物馆（比利时）。2006 年回到北京，凌健以其描绘的现实主义、形态夸张，刺激而又令人不安的女性肖像而著名。凌健通过这些诱人的肖像，来探索当代社会中文化以及个体认知的主题。

Ling Jian Solo Exhibition

Tang Contemporary Art is proud to announce the opening of a solo exhibition by artist Ling Jian on June 15, 2019 in its new VIP space in Bangkok. In this body of paintings, Ling will present a different style and direction from his previous work. In those paintings, Ling juxtaposes or layers images from bird painting manuals held at the Forbidden City with gongbi and realist portraits of women. After being tempered by the artist’s personal experience, these two seemingly disparate languages achieve immense harmony of visual expression and aesthetic sensibility.

合璧鸟, 布面油画、丙烯 | Kindred Birds, Oil and Acrylic on Canvas | Diameter 150cm, 2016

Ling Jian’s new works are inspired by chance encounters with music and painting. The German rock band Rammstein has a heavy metal song entitled “Ohne Dich" (“Without You”) about love and death. One of the lyrics is “Ohne dich…unddie vogel singen nicht mehr” (“Without you… the birds sing no more”). Ling Jian heard this song while shopping in a flea market, where he also chanced upon a bird painting manual from the Forbidden City. In that moment, the gongbi paintings of birds in this manual and Rammstein’s song collided and blended in time and space, producing a special emotional connection. With this unexpected encounter, Ling Jian chose to fuse gongbi bird painting with contemporary painting techniques, continuing his recent experiments with related artistic questions.

坠落的天使, 布面油画 | Falling Angel, Oil on canvas | Diameter 190cm 2010

In Falling Ancient Birds, the overlapping and intersecting forms of birds were drawn from painting manuals made by the masters of the Kangxi and Yongzheng reigns. The feathers of different types of birds extend in different directions, as if they were passing from the tranquility of the Forbidden City into a realist figure, in order to create a new context. This work embodies the conflicts and fusions that took place at the moment of creation, transcending the logic of time.

In this exhibition, Ling Jian presents Guanxiu: Black and Guanxiu: Gold. The works are named after Guanxiu, a monk, painter, and poet active during the late Tang Dynasty and the Five Dynasties. He was best known for his painting Sixteen Arhats. A Record of Famous Paintings of Sichuan (Yizhou Minghua Lu) described the piece: “His sixteen arhats had bushy eye brows, large eyes, sagging cheeks, and high noses.  They were seated in landscapes, leaning against pine trees and stones.  They looked and behaved like Hindus or Indians.  When someone asked where he had seen such men he answered: ”in my dream”. Of all the artists in the history of Chinese painting, Ling Jian was most moved by Guanxiu, whose work truly resonated with him. These two pieces feature blotches of black and gold covering the figures’ faces, which symbolize Guanxiu’s robe and a clear understanding of life produced through abstraction. The body of the figures is presented like the Buddhist sculptures of Qingzhou, with the viewer able to see the back of the body and the fronts of the arms simultaneously. At that moment, the body has already transcended the personalities that Ling Jian emphasized in his previous portraits, becoming a collective vehicle for traditional civilization, religion, personal experience, and abstract ideas.

净化器，布面油画 | Air Purifier, Oil on canvas | 200x180cm 2014

Ling also explored the link between classical culture and new inspirations for contemporary art in his 2011 solo exhibition “Moon in Glass” at the Ullens Center for Contemporary Art. In recent years, he has continued to draw nourishment from traditional Chinese culture; aesthetically and technically, he perfectly blends traditional and contemporary themes, transforming them into a painting style all on his own. He has always embraced an open creative state, in which “ancient birds” fly to the present and sing the melodies of Kangxi and Rammstein.

变迁，布面油画 | Time changed, Oil on canvas | 220x160cm  2006-2007

About the Artist

Ling Jian(b. 1963, Shandong Province, China) currently lives and works in Beijing, HongKong and Berlin. After receiving his degree from the Tsinghua University Academy of Art and Design (formerly the Central Academy of Art and Design) in1986, he lived in Germany for many years, returning to Beijing in 2006.

Ling’s work has been the subject of solo museum exhibitions including at Ullens Center for Contemporary Art, Beijing and at Today Art Museum, Beijing; Tang Contemporary Art , Hong Kong; Klein Sun Gallery , New York;Gana Art Gallery , Seoul. Recent group shows include Ludwig Museum, Koblenz, Germany, National Museum of China, Beijing; Liu Haisu ArtMuseum , Shanghai; Minsheng Art Museum, Shanghai; Kunstmuseum Muheinm an derRuhr, Mulheim, Germany; and Musee Maillol, Paris, France and Beaufort 2nd Triennial of Contemporary Art,PMMK _ Musee d’Art Moderne, Beaufort, Belgium .

Due to the realism of his depictions and the exaggeration of his forms, Ling Jian became known for his provocative and unsettling portraits of women. Through theseattractive portraits, Ling explores themes of culture and individual thought inmodern society. 

曼 谷 | 北 京 | 香 港

BANGKOK | BEIJING | HONG KONG

泰国曼谷孔堤区素坤逸路24巷49号，萨海大厦一层

SAHAI PLACE, No.49, soi 24 sukhumvit Rd , Klong Toey, Bangkok 10110,Thailand

+662 652 2732 | bkk@tangcontemporary.net

www.tangcontemporary.com