丘山：艺术即提及

在亚洲当代绘画中以多元不限定题材来探索绘画语言的艺术家不多，丘山属于少数选择这种方向的画家，他拒绝被任何形式内容标签，在其独特的风格之下，他将自己的一部分形象化身为修女、乞丐、精灵、阿拉伯议会议员、新郎、法老、拳击手甚至是一堵墙、一张地毯、一台提款机、两只长得像地球的果子。丘山的绘画穿过现实生活这张过滤网后异形于一个难以形容的象征世界之中，在那里狂飙、迷恋、疏远、颠倒、侘寂、锐减、暧昧、恐惧。此外他的绘画风格复杂灵活，结合了文艺复兴前期、二十世纪末后现代主义和文学，受到皮耶罗·德拉·弗朗切斯卡、玛玛·安德森、尼奥·劳赫、卡夫卡、陶渊明的影响。作为年轻的艺术家他始终坚持不断探索绘画语言的有效性，多种手法之间的转换既惊人又诚恳。

Within the Asian contemporary art scene, few artists are exploring the painterly practice and language through a variety of themes and subject matter. Qiu Shan is one of the few painters who chose this direction. He refuses any label to describe his artistic practice. Characterized by a very distinctive and unique expressive style, his painterly repertoire is populated by nuns, apes, elves, Arabs, the bridegrooms, Pharaohs, boxers but also walls, carpets, cash machines and two fruits that look like the Earth. Qiu Shan's paintings present an unfathomable symbolic world that transcends real life. His works often depict improbable scenes where the connection between the different visual elements of the image loses any rational connotation. The relationship between the images is blurred and the pictorial composition is characterized by a silent, obscure, fascinating, and fearful atmosphere. Besides, his painting style is sophisticated and multifaceted: he combines iconographic characteristics of pre- Renaissance and postmodern art with visual elements and references of the artistic and literary movements of the end of the 20th century. His sources of inspiration are Piero de la Francesca, Mama Anderson, Neo Rauch, Kafka, Tao Yuanming. As a young artist, he focuses on a constant exploration of the expressive possibilities of painterly practice, experimenting with different techniques in a very impressive and genuine way.

丘山《情人》17 x 15,5cm，板上油画，2018

Qiu Shan The Lover, 17 x 15,5cm, Oil on board, 2018

此次展览呈现丘山6件不同时期作品。小尺寸的《情人》为2018年艺术家于独立艺术空间M Studio做的个人项目《SECOND-HAND KNELL》的系列作品之一。画中两个的人脸诞生于混乱的笔触，存活在交错的空间之中，黑洞似的不规则圆盘吸收着其余的痕迹。丘山巧妙地运用画面空间，且刻意回避了人脸的性别特征，使画面传递出一种永恒感。

The exhibition presents Qian Shan's six works from different periods. The small-size work The Lover belongs to the series of Second-Hand Knell. Qiu Shan worked on this painting in the independent art space M Studio in 2018. Two faces appear among the chaotic brushstrokes: irregular discs, like black holes, dominate the rest of the painterly composition. Qiu Shan adds no gender connotation to the faces which convey a sense of timelessness.

丘山《声音》50 x 60cm, 布面油画，2015

Qiu Shan The Sound, 50 x 60cm, Oil on canvas, 2015

作品《声音》，画中法老的形象来自一具公元前525年古埃及雕塑，具体身份不明。艺术家将它的形象置于拳击场内，身后拳击手的一记重拳即将挥在他的脑袋上，低暗度的色彩构成一幕紧张的气氛，这幅画的标题“声音”在这里指向的是拳头的呼哧声？观众的呐喊声？还是被击碎的法老雕塑的崩裂之音？都有可能。但从该法老的眼神来看，似乎这个声音并非和拳击场内有关，而是来自某个更高的维度，它使他感到恐惧，而这个恐惧感甚过拳头带来的疼痛。我们能看见的是他的恐惧，但难以解释的是，我们看不见他害怕的是什么。

In The Sound, the image references the iconography of Pharaoh from the ancient Egyptian sculptural tradition (525 BC). The artist incorporates the image of a Pharaoh in the boxing ring: the Pharaoh’s head is about to be punched; colors are not intense and they contribute to creating an atmosphere of tension and suspense. What does the title The Sound refer to? The swing of the fist, the cheer from the audience, or the sound of the shattered Pharaoh statue? It could have many different interpretations. However, from the Pharaoh’s eyes, it seems that the sound does not correlate with the surrounding environment. It seems to come from another dimension: there is something that terrifies the Pharaoh even more than the pain caused by the punch. We can see his fear, but we cannot explain what he is afraid of. 

丘山《两个长得像地球的果子》50 x 60cm, 布面油画，2015

Qiu Shan Two Fruits Look Like the Earth, 50 x 60cm, Oil on canvas, 2015

“谁能看见绿光，谁便能获得幸福”。

——凡尔纳《绿光》（小说）

作品《两个长得像地球的果子》和一部由埃里克·侯麦执导的同名小说爱情片《绿光》有关。绿光是太阳下山前的最后一道光线，这不仅是浪漫的，更是含蓄的神秘。在艺术家看来，这个中性的光线既包含幸福，也包含幸福的反面。

The one who gets to see the green one will achieve happiness.

--- Verne The Green Ray

Two Fruits Look Like the Earth is related to The Green Ray which is a film by éric Rohmer and is adapted from the novel of the same name by Jules Verne. The Green Ray is the last light before the sun goes down. It is not only romantic but also subtle and mysterious. In the artist's view, this neutral light contains happiness but also unhappiness at the same time.

丘山《贞洁》60 x 50cm, 布面油画，2015

Qiu Shan Virginity, 60 x 50cm, Oil on canvas, 2015

《贞洁》是一幅意义朦胧的作品，象征贞洁的修女徒步经过一台ATM机，画面背景以发光似的绿色作为主调，整体的环境使观众引起一种对画中修女的身份或思想的对立性怀疑：她的内心在经历什么？欲望？犯罪？还是教义？怜悯？当然，我们无法得知。

Virginity is an artwork characterized by ambiguity and uncertainty. Dominated by the green background, it depicts the scene of a nun standing in front of an ATM. This improbable image generates bewildering in the viewers: what is in the nun mind? Money? Lust? Crime? Doctrine? Mercy? We can never know for sure.

丘山《漫谈下去》50 x 60cm, 布面油画，2015

Qiu Shan Ramble on, 50 x 60cm, Oil on canvas, 2015

《慢谈下去》来源于70年代的一张照片，在无法获得照片具体信息的情况下，图像以它自身记录的信息呈现出一种似是而非的记忆状态。类比的心理常常因此生效，通过画作我们获得的信息是关于一场会议，而它具体发生的时间似乎显得无关要紧，这种直接性恰好反映了全球化对当下人类经验不自觉产生的作用，在这件作品中，艺术家在背景墙面画上一个像海报或镜子的东西，其中似乎映照着会议场中一棵不存在的红色的树，由于无法判定这是否为一面镜子，我们也无法说这个超现实的物体是否存在， 当我们的思想滑移到这样的想象怀疑里时，会议仍在慢谈下去。

Ramble On is based on a photograph from the 1970s. The artist took inspiration from the photo because of the image quality: there is no specific information about the pictures nor particular concept behind it. Many analogies or hidden psychological connotations come to mind when we look at the painting. The main motive is a conference; however, the time this scene takes place seems to be irrelevant. This kind of direct mental connections and analogies reflect the impact of globalization on the current existential experience. In this work, the artist paints a poster or a reflecting mirror on the background wall, which seems to reflect a red tree that does not exist in the conference hall. Even though we cannot be sure that it is a mirror and we don’t know if these surreal objects exist, the conference still rambles on. We let our flow of thoughts get into this dimension filled with fantasy and uncertainty.

丘山《地粮》50 x 60cm, 布面油画，2015

Qiu Shan The Grain, 50 x 60cm, Oil on canvas, 2015

丘山借用90年代末卡带电子游戏的空间布局，作品《地粮》背景中一面写着“END”的墙提示着游戏的结束。两个裸体的小孩坐在墙下指着另一面我们看不见的墙，那边发生着什么呢？游戏是否会真正结束？艺术家把这个想象空间留给观众。

Inspired by the spatial layout of the video game in the late 1990s, in his work The Grain, the wall displaying the "END" in the background reminds the end of the videogame. We can see two naked children sitting under the wall pointing at the other invisible wall: what happens there? Will the game end? The artist invites the audience to image this fantastic result.

艺术家：丘山

生于广东，现生活工作于北京

2012年毕业于中央美术学院

Artist: Qiu Shan

Born in Guangdong, works and lives in Beijing

Graduated from CAFA in 2012

展览《勘测者的引言》持续进行中，展览带领您进入一个神秘的时空隧道，探索更多未知的故事。欢迎您来与我们分享对艺术的感悟。

The exhibition Explorer Preface is currently on. It will bring you into a mysterious space-time tunnel to explore more untold stories. We are pleased to invite you to share your insights on this exhibition.

芳草地画廊  Parkview Green Art

开放时间：全年开放 10:00-22:00

Opening Hours:  Every day 10:00-22:00 

【媒体垂询 I Media Contact】

Scarlett.Wang

Tel: (8610) 5662 8596

E-mail: scarlett.wang@parkviewgreen.com

www.parkviewgreenart.com