{{sindex}}/{{bigImglist.length}}
{{memberInfo.real_name}}
{{commentname}}
{{newsData.publisher_name}}
  • {{item.name}}

≡ 马凌画廊 上海 |“那个是用纱布做的一层模仿墙面的肌理”9月7日开幕!

{{newsData.publisher_name}} {{newsData.update_time}} 浏览:{{newsData.view_count}}
来源 | {{newsData.source}}   作者 | {{newsData.author}}




图片来自北京动物园夜行动物馆内景壁画

Image from Beijing Zoo Nocturnal Animals House

interior wall painting


新展开幕 Upcoming Exhibition

“那个是用纱布做的一层模仿墙面的肌理”

“That is a layer of gauze that 

mimics the texture of the wall”

王卫

Wang Wei

开幕 Opening:19.09.07 | 4-7 pm

展期 Duration:19.09.08 - 10.20

地点 Address:

马凌画廊 | 上海 | 龙腾大道2879号2202室

Edouard Malingue Gallery | Shanghai

2202, 2879 Longteng Avenue



(Scroll down for English version)

 

马凌画廊上海将于9月7日举办王卫个展“那个是用纱布做的一层模仿墙面的肌理”。艺术家早期的作品探讨一种即兴的、过程性的、现场创造及拆除的艺术体验,例如作品《临时空间》(2003年)、《越来越宽、越来越挤》(2005年)、《捕捉器》(2005年),关注空间规划中的权力意志和空间内的个体感知。近年来,他常常将现成的视觉元素和空间结构移植到展览现场,通过改变观看方式和观看地点,来探索观看对象的本质及其背后的社会和政治含义。其中北京动物园的壁画和产自中国广东的马赛克瓷砖是他最为常用的素材和材料。本次展览将展出王卫的三件近作。 


画廊里一道错位的白墙将空间按对角线一分为二,白墙压住一片同等面积的马赛克地面,这是《被压住的自然史4》。《自然史4》是王卫对东莞马赛克图案花纹直接挪用的一个作品系列。中国的东南沿海一带由于雨水丰沛通常在建筑物的外立面用马赛克瓷砖作为贴面,既可以保护建筑又兼具装饰性和廉价的优点。王卫在2012年初次造访东莞时便惊叹于这个被马赛克包裹的城市,图案与色彩或混杂突兀,或规整有序,花纹样式来源不明却有蔓延生长与演化的能力。这种基于实用主义精神而兀自发展起来的流行于市民阶层的空间装饰美学成为一道独特风景,一种逐渐凝固于城市中的人造的自然。王卫的《自然史4》系列可以被视作马赛克抽象绘画,马赛克是为颜料,东莞制造的图式是为笔触,通过抽离并转移其原有的语境,凸显一种被艺术家称之为“廉价审美”的属性,探讨这种视觉景观背后的个体意志。 


≡ 王卫 Wang Wei

正方形的自然史4 (No.4) Squared Natural History 4 (No.4), 2018

马赛克瓷砖,铝板 Mosaic tiles on aluminum board

148 x 148 x 2.5 cm

? 图片由马凌画廊和艺术家提供

Image courtesy of Edouard Malingue Gallery and the artist


展览现场围绕《被压住的自然史4》还散落了一地的建筑用水泥轻体砖,砖块上绘制了来自北京动物园夜行动物馆的星空壁画。轻体砖是一种通过增加孔洞和缝隙来实现体积大重量轻的墙体填充材料, 王卫自2018年起开始尝试在作品中使用这种极具简便灵活性的建筑材料,而这也是他今年第三次实施作品《全景3》(前两次分别在香港Parasite和上海外滩美术馆), 艺术家将此系列视为一个持续中的行动,每一次针对所处空间而作出不尽相同的现场呈现。动物园笼舍中的墙壁往往被绘制上蓝天、白云、大海、丛林等自然景观,弧形墙面、全景壁画的形式被经常用以制造一种沉浸式的视觉欺骗,但与其说是为了欺骗生活其中的动物们,不如说是给前往观看的游客做心理补偿:你看,它们就像生活在大自然中一样!绘画在此由装饰变成掩饰,一个真正虚伪的空间。王卫把动物园壁画移植到展厅,暧昧的空间感和错位的语境让观众思考我们究竟看到的是什么,我们是否可以相信我们所看到的。 


第三件作品是录像《街角》,它是作品《金句》的延续,后者于2018年年末实施于广州一家社区幼儿园的外墙上,这句“金句”出自艺术家早先解释自己一件与墙面有关的作品时候的一段私人对话:“那个是用纱布做的一层模仿墙面的肌理”。艺术家原希望通过剥离一层墙皮,露出墙面原始的米黄色瓷砖,让此段文字显现出来。但在作品实施的过程中发生了一系列干扰事件,因变故没有如预期的那样实现出来,但却以另外一种方式达到了作品内部的逻辑自洽,墙面被覆盖、揭示、再覆盖、再揭示, 文字与内容在这片属性模糊的地带不断脱离并重塑着现实。录像作品《街角》中,王卫在几个月后又回到这个地方,把镜头对准这个平静、紧张、暧昧的街角,现场只有一片未完成的残迹。


此“金句”亦成为了这次展览的展题。这句看似絮叨的说明其实正是他近年之艺术探索的本质:艺术模拟现实,令现实变得可疑,从而思考现实的本质。展览中的三件作品也确实都与“墙面”有关:被彻底揭露的“墙面”(《被压住的自然史4》);被全面覆盖的“墙面”(《全景3》);以及一块处于被遮盖与被揭示之间的中间状态的“墙面”(《街角》),墙面的不同形态在同一个空间里并存,三者在内容上的潜在联系形成了一种互文关系,在场与缺席在此共构着一个矛盾且荒诞的 “存在”。  


(艺术家手绘效果图 Sketch effect)

≡ 王卫 Wang Wei

全景 3 Panorama 3, 2019

水泥轻体砖上丙烯绘画 Acrylic painting on CMU bricks

尺寸可变 Dimensions variable

? 图片由马凌画廊和艺术家提供

Image courtesy of Edouard Malingue Gallery and the artist


Edouard Malingue Gallery (Shanghai) is pleased to present Wang Wei’s solo exhibition “That is a layer of gauze that mimics the texture of the wall” on 7th September. Wang Wei’s earlier works explore artistic experiences that are extemporaneous, procedural, site-specific and de-constructivist. For instance, works such as Temporary Space (2003), Ever Widening Ever Narrowing (2005), and Trap (2005) focus on the individual’s awareness of place and status in relationship to spatial planning and an individual’s sensibility. In recent years, his practice has seen transplanting found visual elements and existing structures into the exhibition space. By altering the mode and position of viewing, Wang Wei explores the essence of the object and its implied social and political significance. Among the most frequently adopted resources and materials he uses include murals of the Beijing Zoo and the mosaic tiles manufactured in Guangdong, China. “That is a layer of gauze that mimics the texture of the wall” presents Wang Wei’s three most recent works.  

 

A free-standing white wall diagonally divides the gallery space in half. The wall stands on an equal area of mosaic floor, entitled Suppressed Natural History 4. Wang Wei has appropriated a mosaic pattern found in Dongguan for this series of works, Natural History 4. The regions along the Chinese Southwest sea board are known for their wet weather, and fa?ades of the buildings are often covered in mosaic tiles, to protect and decorate the buildings with inexpensive materials. Upon Wang Wei’s first visit to Dongguan in 2012, he was amazed with this city enwrapped in mosaics, where patterns and colors were either chaotic and random, or neat and orderly. Although the origins of these patterns unknown, they are readily adopted and continue to evolve. This kind of aesthetics for public décor - grounded on a combination of practicality with mainstream popularity – has become a unique landscape, an artificial nature that gradually saturates the urban landscape. Wang Wei’s Natural History 4 series can be comprehended as abstract paintings, rendered in mosaic tiles, where the material itself acts as the surface decor and the Dongguan-made pattern becomes its brushwork. The extraction and displacement of the mosaic tiles’ original context highlights what the artist refers to as “inexpensive aesthetics,” addressing the desires that motivate such a spectacle.  


The CMU bricks used in building construction are scattered around Suppressed Natural History 4 in the gallery space. Each brick is painted with the mural of a night constellation, found in the pavilion for nocturnal animals in the Beijing Zoo. The CMU brick is a substance which is light-weight and makes large volume buildings possible. Since 2018, Wang Wei has adopted this convenient and versatile construction material to his work. This marks his third execution of Panorama 3 (previously mounted at Parasite in Hong Kong and Rockbund Art Museum in Shanghai). The artist considers this series an ongoing action, whose every presentation varies in its site-specificity. The walls inside the cages of the zoo are often painted with natural scenes of blue skies, white clouds, oceans, and forests. The zoo’s curved wall surfaces and panoramic murals are techniques for creating an immersive visual deception. However, rather than considering them as a deceit to the animals, they serve as psychological compensation for zoo visitors who are likely to comfort themselves with the idea that the animals are “living in nature.” Painting here disguises rather than decorates a deceptive space. Wang Wei’s transplanting of the murals, from the zoo to the exhibition space, confuses the sense of space and displaces its context, urging the viewer to wonder what they are actually looking at, and whether or not to believe what they see? 


(录像静帧 Video still)

≡ 王卫 Wang Wei

街角 Corner, 2019

单频录像 Single channel video, 5 min

? 图片由马凌画廊和艺术家提供

Image courtesy of Edouard Malingue Gallery and the artist


The third work, Corner, is a video that expands from Wang Wei’s previous work, Famous Last Word. The latter was realized on the outer wall of a community kindergarten in Guangzhou at the end of 2018. The sentence depicted on the wall comes from a private conversation in which the artist explained one of his wall related artworks, “That is a layer of gauze that mimics the texture of the wall.” The artist had initially hoped to peel off a layer of the wall to expose its pale-yellow bricks underneath, as the phrase implies. However, in the course of realizing the work, a series of unexpected events aborted the original plan. Fortunately, the alternative still resonated with the internal logic of this work – the wall was covered, then revealed, covered up again, and revealed again. In other words, the ambiguous qualities of text and content are constant departing from and reshaping reality. For Corner, Wang Wei returns to the location of the work a few months later, and points his camera lens at this quiet, intense, ambiguous street corner, where the site remains a pile of unfinished rubble.  


Hence, “That is a layer of gauze that mimics the texture of the wall” became the title of this exhibition. This seemingly garrulous statement is in fact the essence of his artistic exploration in recent years, for whom art mimics reality and makes it questionable, compelling its viewer to reflect on the essence of reality. The three works in this exhibition are indeed about the walls: the entirely exposed wall (Suppressed Natural History 4); the fully covered wall (Panorama 3); and the walls in-between state of being covered and revealed (Corner). The formal variations of the wall exist within the same space, where their underlying contents resonate with each other, so presence and absence engender a contradictory yet absurd existence.  



艺术家简介 About the artist


王卫1972年出生于北京,1996年毕业于中央美术学院壁画系,目前在北京生活与工作。 


王卫是一位多领域的装置艺术家,关注物理空间的引导性如何标示出人们自身的生活现实,通过使用细微和出人意料的补充物或借用不同来源的风格去改造现有建筑的结构,王卫发展出一套强有力的介入实践,旨在扰乱人们对于空间的普遍认知,同时开启关于建造,劳动和观看方法之间的对话。  


参加过的主要展览包括:泰国双年展(泰国甲米,2018),银川双年展(银川当代美术馆,2018),加利福尼亚太平洋三年展(美国橘郡美术馆,2017),第十二届威尼斯建筑双年展中国馆(威尼斯,2010),深圳香港双城双年展(深圳,2009),真实事件(利物浦泰特美术馆,2007),有异物(维也纳美术馆项目空间,2007),第二届广州三年展(广东美术馆,2005),布拉格双年展(捷克国家美术馆,2005),在过去与未来之间-中国新影像(纽约国际摄影中心,2004),首届广州三年展(广东美术馆,2002),后感性-异形与妄想(北京,1999)  

? 图片由马凌画廊和艺术家提供

Image courtesy of Edouard Malingue Gallery

and the artist


Wang Wei was born in Beijing, China 1972. In 1996, he was graduated from Central Academy of Fine Arts. Now he lives and works in Beijing.  


Wang Wei is a multidisciplinary installation artist who looks at how the navigation of physical spaces can inform us about our own lived reality. Through modifying existing architectural structures with subtle, surprising additions or appropriating stylized features from disparate sources, Wang Wei has developed a strong practice around interventions that are aim to disrupt human perceptions of space while opening a dialogue about construction, labor and ways of seeing. 

Wang Wei’s work has been exhibited in series of important exhibitions including: Thailand Biennale (Krabi, Thailand 2018); The Second Yinchuan Biennale (MOCA Yinchuan, China 2018); 2017 California-Pacific Triennial (Orange County Museum of Art, USA 2017); Pavilion of China at 12th International Architecture Exhibition -La Biennale di Venazia (Venice, Italy, 2010); 2009 Shenzhen Hongkong Bi-City Biennale of Architecture and Urbanism (Shenzhen, China, 2009); The Real Thing: Contemporary Art From China (Tate Liverpool, 2007); Foreign Objects (Kunsthalle Wien Project Space, Vienna 2007); Beyond: The Second Guangzhou Triennial (Guangdong Museum of Art, China 2005); A Second Sight: International Biennale of Contemporary Art (National Gallery in Prague, 2005); Between Past and Future: New Photography and Video from China (International Center of Photography, New York 2004); The First Guangzhou Triennial (Guangdong Museum of Art, China 2002); Post-sense Sensibility: Bodies and Delusion (Beijing, China 1999)  





新展开幕 UPCOMING EXHIBITION:


   香港 Hong Kong

   “折纱

   "Fold Veil"

   艾斯特·弗莱克纳 Ester Fleckner 

   邝镇禧 Kong Chun Hei 

   赖志盛 Lai Chih-Sheng 

   刘茵 Liu Yin 

   法比安·梅洛 Fabien Mérelle 

   张如怡 Zhang Ruyi

   19.09.06 - 10.19




{{flexible[0].text}}
{{newsData.good_count}}
{{newsData.transfer_count}}
Find Your Art
{{pingfen1}}.{{pingfen2}}
吧唧吧唧
  • 加载更多

    已展示全部

    • 点赞
    • 评论
    • 分享
    • 客服
    • 顶部
    {{layerTitle}}
    使用微信扫一扫进入手机版留言分享朋友圈或朋友
    长按识别二维码分享朋友圈或朋友
    {{item}}
    {{btntext}}
    艺客分享
    {{mydata.real_name}} 成功分享了 文章
    您还可以分享到
    加载下一篇
    继续上滑切换下一篇文章
    提示
    是否置顶评论
    取消
    确定
    提示
    是否取消置顶
    取消
    确定
    提示
    是否删除评论
    取消
    确定
    微信客服
    使用微信扫一扫联系客服
    点击右上角分享
    按下开始,松开结束(录音不超过60秒)