三远当代艺术中心丨“秋豪之末”群展将于6月22日开幕

秋豪之末

Tip of an Autumn Down

2019.06.22 - 08.20

开幕 Opening丨2018.06.22, 4: 00PM

策展人丨戴卓群

艺术家丨段正渠  毛旭辉  王玉平 

Curator丨Dai Zhuoqun

Artist丨Duan Zhengqu, Mao Xuhui, Wang Yuping

 秋豪之末

“秋豪之末”是一个中国古代的譬喻，早见于《庄子·齐物论》，“天下莫大于秋豪之末，而太山为小”，字面意思是说，普天下再没有比鸟兽在秋天新生出的绒毛末梢更大的东西，相比起来，泰山却是小了。先秦的朴素本体论，无论秋豪抑或泰山，皆是表象，皆从本有而来。物理发于毫端，天地与我并生，而万物与我为一。神，生命力的发轫，往往隐匿在细微不可见的事物之中。

女孩 | Girl

150x180cm 

布面油画 | Oil on canvas 

2018 

段正渠、毛旭辉、王玉平，三位都属我心目中“最好的画家”之列，他们对绘画那种质朴的热忱、专注和沉迷，每每令人心有戚戚。在他们三位身上，绘画是身与心的事，心与意齐，意与笔齐，笔下涌动着他们的气血，元气淋漓，气韵生动。秋豪之末，用在他们三位身上，贴切不过。

此次展览，同时展出三位艺术家的布面绘画与纸本作品，似两条并行的线，练习或经营，轻松与审慎，彼此交织，相互映照。也给我们在更细腻的层面上进入画家隐匿的世界提供了多维的入口。

圭山写生·牧羊女 和木匠的儿子 | Sketches in Mount Gui, Woman Shepherd and the Son of a Carpenter

60x100cm 

布面油画 | Oil on canvas 

2013.2  

三位都爱自然，喜户外写生。段正渠的陕北麻黄梁，毛旭辉的圭山红土地，王玉平的景山前街，都已经被烙上了鲜明的个人色彩。

亦有新变。段正渠近年一改往昔沉朴具象又粗旷浓烈的画风，执迷于对形象、构图、形状和色彩更加偏向形式的研究，画面变得灵动和明快起来，令人耳目一新。作为85新潮西南新具象绘画的先锋，毛旭辉则似乎逐渐褪去对观念的热忱，圭山写生及创作，更加走向绘画自身的来处，卸下时代情绪沉重的负载，回归艺术语言的直觉与诗性。王玉平，一如既往，恬淡天真，喜欢他的不变，那份排绝外扰的定力，显露出画家疏离自在背后的绝对自我与坚韧，清高与自持。秋豪之末，除了展出王玉平最新的纸上组画《博斯普鲁斯海峡》外，还将展出四幅创作于1989年的油画《冥系列》，这是艺术家就读美院时的毕业创作，也是作品问世30年后的首次亮相。

文/戴卓群

N3 Contemporary Art is delighted to announce the opening of group exhibition “Tip of an Autumn Down”, on June 22. The exhibition will feature paintings and drawings by the reknowned painters Duan Zhengqu, Mao Xuhui, and Wang Yuping. The exhibition is curated by the aclaimed art curator Dai Zhuoqun, who will lead us looking into auro, sensitivity, and serenity in the realm of art.

 Tip of an Autumn Down 

“Tip of an autumn down” is a metaphor in ancient Chinese literary canon, first seen in the essay "The Adjustment of Controversies" in Chuang Tzu: “Under heaven there is nothing greater than the tip of an autumn down, and the Tai mountain is small.” From the point of view of the austere ontology of pre-Qin era philosophy, the autumn down and the Tai mountain are both representations stemming from the essence of nature. Laws of physics operate on a level as microscopic as the tip of a hair, the universe shares the same origin with human beings, and everything in the world identifies with “us.” Divinity, the inception of life, manifests itself in the minute and invisible details of things.

冥-1| Obscurity 1 

190x150cm 

布面油画 | Oil on canvas 

1989 

Duan Zhengqu, Mao Xuhui and Wang Yuping are among the best painters in my point of view. Their sheer devotion to, concentration on and obsession with painting has always been moving. For the three painters, painting is an act of mind and body, when the heart follows the mind, and the mind follows the paintbrush, the vital energy and blood would tumble as the paintbrush goes, so do the lively spirit, vigor, and charm. “The tip of an autumn down” here aptly delineates their painting practices.

The exhibition will be featuring the paintings on canvas and on paper by the three artists. The setting is like two parallel lines, weaving, engaging and mirroring each other, either at ease or with caution. They provide us with multidimensional entries into the subtleties of the painters’ inner world.

All three painters are fond of nature and love to paint from life. Scenes like Duan Zhengqu’s Mahuangliang of northern Shaanxi, Mao Xuhui’s red soil of Mount Gui, Wang Yuping’s Jingshan Front Street, are coated with a personal tint in the paintings. 

New potentials are also evident in those paintings. Recent years, Duan Zhengqu is shifting away from the figurative and bold style which he was known for, towards a formal study of imagery, composition, shape and color. The painterly image becomes more lucid and lively, a refresher for the eyes. As a pioneer of the new southwestern figurative painting during ’85 New Wave, Mao Xuhui has gradually stepped out of his enthusiasm for conceptualism, into the origin of painting per se with his new series of life paintings and drawings done in Mount Gui. It is a return to the intuition and poetics of the languages of art, after offloading the burdens of the sentiments of our time. Wang Yuping, as always, maintains the purity and naivete in his paintings. His steadfast stance and his anchoring power resist distractions from the outside. It is the manifestation of the insistence, tenacity, and aloofness of the artist consciously keeping a distance from the worldliness. “Tip of an Autumn Down” will include not only the new paper-based work Bosporus Strait, but also the four paintings of Obscurity series, finished in 1989, which are the thesis works for Wang’s study at CAFA, presented in this show as its public debut 30 years after completion. 

Dai Zhuoqun

 Translated by Feng Junyuan