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惦记/Lifetime | 东京画廊+BTAP第二回展

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惦记 / Life Time

2003.2/2 - 3/21


参展艺术家:白宜洛、洪浩、蒋志、刘野、杨福东

Artists:Bai Yiluo, Hong Hao, Jiang Zhi, Liu Ye, Yang Fudong


策展人:张离

Curator:Zhang Li



惦记/Lifetime


有一种情绪,或大或小的事情让人不能忘怀,一种没来由的轻微的焦虑,一种下意识的想法,存在心里挥之不去,总要做点什么。这种情绪中留有对过去的记忆,影响着将来的漫漫岁月。你总要抓住些时机,在有生之年作一个交待,完成和满足这一生一世的渺小的愿望。事物都有一个有效的时间限度,其中特别短暂的有时会成为我们的机会或运气,也有的会成为遗憾和追悔。也有的不是那么短暂,但是我们需要花费很长的时间才会了解它,这就是命运吧。


我们没有常见革命领袖的肖像已经二十几年了。在白宜洛的照片中,他们的影像模糊地从两千多个男女老幼的脸上浮现。这是岁月使他们渐渐消退,还是他们难以从人们的生活中完全隐去?也许他们会相安无事吧。白宜洛花了三年的时间才将这一作品找到了恰当的形式制作出来。两千一百个人物形象是他请朋友在他的家乡洛阳附近拍摄的。



阮玲玉是三十年代上海的电影明星,自杀是她留给今天的人们直接的印记。在刘野的画中,阮玲玉的肖像是画家借以仿制生活的题目,这个“生活”当然是画家自己的。时代的隔离使追忆成为主观的精神养生,画像是经过长期形成的画家自身风格所生产的子女中的一个。艺术家从他所接触的事物中最终感受到的是自我,他将这种归结再现在作品中,就是作品“烟”中的红色,松树,太阳,和吸烟的女孩。



“木木”是蒋志创造的一个玩偶的形象,是他无数的遐想中的主角。在那些想象中蒋志一定幸福地体验着另一个世界的喜怒哀乐。现在,她已经从一个几寸高的小天使变成了一个人类,并且来到了城市中,来到了城乡结合处的空地,但依然沉醉于自导自演的梦境。蒋志从现实的边缘纠缠着自己的情绪,“木木”的生活形成了不同的版本,这是蒋志尝试多重生存的一个途径。



杨福东在《陌生天堂》中塑造的人物柱子看似无所事事,但我们能感觉到他的真切,好像认识了他,窥探到了他的内心。柱子总惦记着自己的健康,频繁地去医院检查。这似乎是为一种心态和情绪寻找理由。还有他与女友的相处,我们能感到他无法说清楚的意愿和态度。然而他实在是一个清醒的人,他看到了这个世界和每天的生活,懂得了自己,这样,他已经不再年轻了。



洪浩在他描绘世界地图的版画中将陆地变成了海洋,海洋变成了陆地;他还把海洋和陆地的轮廓反转过来,我们仍然可以享受观看地图所具有的乐趣。轮廓和图形无法对应世界的样子,生息变化中的世界人们在主人和客人之间徘徊。而在我们的有生之年,我们的机会都有有效的那一刻。时间因为生命才有意义。


张离

2003-2-20



Lifetime


There is a kind of emotion, things that are unforgettable no matter how large or small, a mild angst without any cause, a subconscious belief, hidden in the heart, always wanting to do something. This emotion contains memory of the past, and influences every year of the future. You always want to seize these opportunities, use them while you are alive, completing and fulfilling the miniscule hopes and dreams of a life, a generation. Things always have an effective time limit, and the incredibly brief among them will sometimes become our opportunities and lucky shots, or perhaps our regrets and afterthoughts. Some are not so brief, but we need to expend a lot of time before we can understand them, and these we call fate.


We have rarely seen revolutionary leader portraits in the last twenty-some years. In Bai Yiluo's photographs, these portraits vaguely take shape out of the faces of more than 2000 men, women,   children, and elders. Is it that the years have made them gradually fade away, or that they will never completely disappear from people's lives? Perhaps they can live in peace with each other.   Bai Yiluo worked on this piece for three years before finding a suitable form for it to take. The 2100 people presented were photographed at Bai Yiluo's request by friends living in his hometown near Luoyang, Henan province.


Ruan Lingyu was a movie star in Shanghai in the 1930s, and her suicide is the direct impression she has left upon people living today. In Liu Ye's paintings, the painter borrows Ruan Lingyu's   portrait and models on it the title of life. This "life" is of course the painter's own. The distance between generations turns retrospection into a subjective preservation of spirit, and the painting   has come about in an individual style cultivated by the painter over a long time. From the matter with which he comes into contact, the artist finally draws a feeling of himself, he presents this sort of summation in his work "cigarettes", with the red colour, the pine trees, the sun, and the girl smoking.


"Mumu"is a toy that Jiang Zhi has created, the leading player in countless dreams of his. In these reveries, Jiang Zhi luckily experiences the complete range of human emotion in another world.   Now, she has turned from a tiny angel several inches tall into a person, and she has come to the city, to the place where city meets the country, still enmeshed in a dreamland of which she is both actor and director. Jiang Zhi plays with his own emotions from the edge of reality, and the life of "Mumu" exists in different editions. This is one way for Jiang Zhi to experiment with different types of existence.


In"An Estranged Paradise," Yang Fudong creates a character, Zhuzi, who looks idle. But we can feel his essence, as if we actually knew him, prying about inside his heart. Zhuzi is always thinking   about his health, continually going to the hospital for examinations. This is like finding a reason for a state of mind, an emotion. Then there are his interactions with his girlfriend,where we can sense the wishes and attitudes he never clearly articulates. However, he is still a level-headed person. He sees the world and its everyday life, he understands himself, and in this way, he is no   longer young.


In prints depicting the world map, Hong Hao turns land into sea and sea into land; he even reverses their outlines. But we can still enjoy the pleasure of looking at a map. The contours and pictures do not depict the real world, just as we, inhabitants of a changing world, are lingering somewhere between hosts and guests. And in the years we have to live, our opportunities all have an expiration date. Time is meaningful only because of life.


Zhang Li  

2003-2-20





人民No.3  127×470cm  数码照片  2002

The People No.3  127×470cm  digital photo 2002


人民No.3 (局部

The People No.3  ( detail )



白宜洛

1968生于河南洛阳,现居北京

参加展览:

2001  发光体/中国北京

2002  跑跳爬走/中国北京

中国的当代性/巴西圣保罗

Bai Yiluo

1968 Born in Luoyang, Henan Province, China, Lives in Beiing

Selected Exhibitions:

2001  Visibility, Bejjing, China

2002  Run Jump Crawl Walk, East Art Center, Beijing, China

China Contemporary Art, Sao Paolo, Brazil



作者自述:

1.一方水土养一方人。

2.据说人的身体含有的脂肪足以制成七块肥皂,人的身体含有的铁足以打制一根中号铁钉,含有的磷可以制成两千个火柴头。


self-description:

1. A kind of natural environment breeds a kind of person.

2. Lt is said that there is enough fat on a person's body to make seven pieces of soap, enough iron to make a medium-sized nail, enough phosphorus for two thousand matches...




藏经2123页 世界地貌新图  56×78cm  丝网版画  2000

Selected Scripture 2123 The New World Physical  56×78cm  2000



洪浩

1965生于北京

1985毕业于中央美术学院附中

1989毕业于中央美术学院版画系,现居北京

参加展览:

1993  后八九中国新艺术/香港 悉尼 伦敦

2000  上海双年展/中国 上海

2002  广州三年展/中国 广州

Hong Hao

1965 Born in Beijing

1985 Graduated from Attached School of Central Academy of Fine Arts

1989 Graduated from Central Academy of Fine Arts,lives in Bejjing

Selected Exhibitions:

1993  China 's New Art: Post’89 Hong Kong, Sydney, London

2000  Shanghai Biennale, Shanghai, China

2002  Guangzhou Triennale, Guangzhou, China



作者自述:

我对地图的兴趣由来已久,尤其是历史地图,因为它可以让我们的“习以为常”产生某种联想。此外,世界地图又是我们认识世界最直接最经济的方式,它规定了我们看待世界的角度与坐标,如“世界政区图”就是对不同文化与权利在地理上的规范,它的存在使其具有了合法的保证,同时在处理与他者关系时也具备了一份标准的视觉依据。这样人们的评判尺度就有了一种惯性模式, 当规则成习惯,习惯成自然时我便有了这样的逻辑,即:修改地图等于修正我们的世界观。


self-description:

I have been interested in maps for a long time, especially historical maps, because they have a certain relationship to our accustomed ways of seeing. Otherwise, we see world maps as the most direct and economical way to represent the world, they regulate our perspective and  coordinates in looking at the world. The world political map, for example shows how different cultures and powers regulate geography. The existence of these powers makes them legal and certain, and at the same time, it provides a kind of standard visual foundation for managing relations with others. In this way, people use the same critical yardstick, a kind of inertia, whereby regulations become customs, and customs become nature. My logic is thus: in revising the world map we revise our worldview.




童话木木在2002-2003年的深圳  垃圾烟  71×25cm  黑白照片 2002

Fairy Tale: Mu Mu in Shengzhen, 2002-2003, Smoke on Garbage   71×25cm  black and white photo  2002

童话木木在2002-2003年的深圳  空地  71×25cm  黑白照片 2002

Fairy Tale: Mu Mu in Shengzhen, 2002-2003, Vacant Land   71×25cm  black and white photo  2002



蒋志

1971生于湖南沅江,1995毕业于中国美术学院,现居深圳

参加展览:

1999 后感性一异形与妄想/中国北京  

2002 暂停/第四届光州双年展/韩国光州

2002 广州艺术三年展/中国广州


Jiang Zhi   

1971 Born in Yuanjiang, Hunan Province. 1995 Graduated from China Academy of Fine Arts, Hangzhou. Lives in Shenzhen.

Selected Exhibitions:

1999  Post-Sense Sensibility, Alien Bodies &Delusion, Beijing China

2002  The 4th Gwangju Biennale, Gwangju, Korea

2002  The 1st Guangzhou Triennale, Guangzhou,China



作者自述:

……仍是诗意状态的延续。但那时已体会到生活带来的刺痛感。木木也不像以前那样是一个甜美的小天使,而是一个深黑的影子,与完全没有柔情蜜意、风花水月的世界对望。一个不愿将面容露出来的影子,只能模糊着,对自己充满疑惑和迷茫。而所面对的世界清晰无比一意思是“她”想看到的那样。我现在生活在这个越来越熟悉的城市,不管它是一个什么样的城市,我的生活已经和它粘连一起了……我尤其喜欢那些戏剧性很强的情景,那些像舞台一样的空间,那些半真半假的场面。我真是忍不住要把那些影像存留在相纸上。


self-description:

It is still the continuation of this poetic state. But at that time she had already experienced the sting of life. Mumu is not a sweet angel as before, but a deep black shadow, looking at natural world completely without feelings. A shadow unwilling to expose her face, she can only be ambiguous, full of disbelief and confusion about herself. And the world she faces is clear beyond comparison-meaning, in the way "she” wishes to see it. I live now in this maturing city, and no matter what kind of city it is, my life is already tied to it...I really like those theatrical, very strong scenes, scenes that look like stages, half-real half-fake. I really can't tolerate leaving those images on printing paper.




烟 180×360cm  布面丙烯  2001-2002

Cigarette  180×360cm  acrylic on canvas  2001-2002


阮玲玉Ⅱ 60×45cm  布面丙烯 油彩 2002

Ruan LinyuⅡ 60×45cm  acrylic and oil on canvas 2002



刘野

1964生于北京,1989毕业于中央美术学院,1994毕业于德国柏林艺术学院,获硕士学位,现居北京

参加展览:

1995 世说新语/中国北京

1998 是我/中国北京

2002 当代中国艺术/意大利罗马


Liu Ye   

1964 Born in Beijing. 1989 Graduated from Central Academy of Fine Arts, Beijing. 1994 Graduated (MFA) Hochschule Der Kunst Berlin, Lives in Beijing.

Selected Exhibitions:

1995 New Anecdotes of Social Talk, Beijing,China

1998 It's Me, Beijing, China

2002 High Summer, Duisburg, Germany



作者自述: 

“每一幅带着感情作出的画都是画家的自画像,而不是模特儿的画像,模特儿只是偶然的临时的东西。画家在色彩斑斓的画幅上揭示的与其说是模特儿,毋宁说是画家自己。我之所以不愿把这画送去展览,就是因为我在画上泄露了我灵魂的秘密。” 

 一引自奥斯卡·王尔德的《道林·格雷的画像》


self-description:

“every portrait that is painted with feeling is a portrait of the artist, not of the sitter. The sitter is merely the accident, the occasion. It is not he who is revealed by the painter; it is rather the painter who, on the coloured canvas, reveals himself. The reason I will not exhibit this picture is that I am afraid that I have shown in it the secret of my own soul."

-From Oscar Wilde's "The Picture of Dorian Gray




陌生天堂 35mm  黑白影片  76分钟  1997/2002

An Estrange Paradise  35mm film  76 minutes  black and white  1997/2002



杨福东

1971生于北京  

1991毕业与中央美院附中,1995毕业于中国美术学院油画系,现居上海

参加展览:

1999 后感性 异形与妄想/中国北京

2001 横滨三年展/日本横滨

2002 第十一届文献展/德国卡塞尔


Yang Fudong

1971 Born in Beijing.

1995 Graduated from China Academy of Fine Arts, Hangzhou. Lives in Shanghai

Selected Exhibitions:

1999  Post- Sense Sensibility, Alien Bodies& Delusion, Beijing China

2001  Yokohama Triennale, Yokohama, Japan   

2002  Documenta 11, Kassel,Germany



作者自述: 

……小文人电影就是下雨天在雨中走。就是你当时的心情,是你耿耿于怀的梦;就是你的一点一滴;就是你认为的生活;就是你读过的书。也许它还是一顶帽子;是不是有那么一点钱,有那么一点欲望,有那么一点文化,有那么一点梦想,就是“小文人电影 ……

……我就很喜欢雨季,湿湿的。一切都被雨气罩着。这个电影在时间上给我一种距离感,我觉得它好像是一个没有时态的东西,很恍惚。我自己觉得这并不仅仅因为它是五年前拍的。这也是我当时想要的感觉之一吧。就给一个梅雨季节,不给哪一年,也不给对方的身份。这样的季节,每一年都会有,但每个人每一年到这个时候都会有一些感慨。你惆怅也好,开心也好,你也不用期待。年复一年,它都会在这时候扣你的心,没法儿严格说它是一种什么影像。但说到底它还是一部此时此刻的电影,非要说的话,你觉得在哪种意义上它和时间又有种确定性呢?起码和我们这一拨的成长会有一些关系吧,心态呀,经历呀,这种感觉挺像的。抽离,所谓陌生,英文的词,estranged直译的话就是疏远,疏离。有点像住在这儿,但是不认识。


 self-description:

....Petty literati movies are like walking in the rain on rainy days. It is your emotion at that time, the dream you are troubled to leave; it is every bit, every drop of your being; it is the life you believe; it is the books you have read. Perhaps it is not a hat; whether it has a bit of money, a bit of desire, a bit of culture, a bit of fantasy then it is a "petty literati movie,"...

.... I love the rainy season, so wet, everything covered in mist. In terms of time, this movie gives me a feeling of distance. I feel like it is something without tense, a trance. And I don't think this is because the it was shot five years ago. This is the feeling I was going for at the time. To present a rainy season, but not present a year, and not reveal the character's identity. This kind of season belongs to every year, but when this time comes, everyone still feels a sigh of emotion. You can be melancholy or happy, but you don't have to expect it. Year after year, it will break your heart at this time. There's no way to say what kind of image it is. But as to whether this is after all a movie set in the present, something that must be said, in what sense do you think it has any definite relationship to time? At the very least it has connection to those of us who grew up in this generation, our emotions, experiences, a range of similar feelings. Moving on, the English word "estranged" translates directly into the Chinese word "shuyuan,"which means alienated. It's a bit like living here, but not knowing it.



翻译 | 田霏宇

Translator | Phlip Tinari



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[展览回顾待续]



Tokyo Gallery+BTAP invites you to celebrate

东京画廊+BTAP即将展出:《王舒野个展 

未始有物 未始有封 - 裸视时空的无差别观看

参展艺术家:王舒野

2019.9.20 — 10.30




更多精彩内容请关注东京画廊


Tokyo|Japan

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Tel: +81-3-3571-1808 Fax: +81-3-3571-7689


Beijing|China

北京市朝阳区酒仙桥路4号798艺术区内陶瓷三街E02

Ceramics Third Street, 798 Art ZoneE02

4 Jiu Xian Qiao, Rd., Chao YangDistrict, Beijing,

Tel: +86-10-5978-4838

Mail: info@tokyo-gallery.com、btap@tokyo-gallery.com

Web: www.tokyo-gallery.com



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