站台中国当代艺术机构马可鲁个展《自述》于2019年9月27日盛大开幕。马可鲁早期作为无名画会的主力成员之一，是70年代末艺术回归本体思潮的重要实践者。而之后的旅美经历又为他的艺术实践带来深厚、丰富、宽广的面貌。本次展览以其抽象风格的生成与发展作为脉络，在其跨度30多年的实践中，整理并选取20余件典型作品，以此构架起对应展览主题的视觉表述。此次展览由王将策划，将持续到2019年11月10日。Platform China Contemporary Art Institute is honored to present SELF-STATEMENT, a solo exhibition by Ma Kelu. As one of the key early members of No Name Group, a circle of underground Chinese artists active between the 1960s and 1980s, Ma Kelu is a crucial practitioner during the current of “Return Art to Ontology” in the end of the 1970s. Afterwards, his experience in the United States further brought profoundness, richness and broadness to his art practice. Centering on the generation and development of his abstractionist style, the solo exhibition selects over 20 representative works of Ma over his practice of three decades, and thereby visualizes the theme of this exhibition. The exhibition is curated by Wang Jiang, and will last untill Nov.10th, 2019.
马可鲁 Ma Kelu 啊打(红) Ada(red) 2017
布面油画 Oill on canvas 80x60cm绘画中不可知的吸引力，艺术情感上的吸引力，对于绘画自身自由生成的可能性的好奇心，因此而产生的吸引力，对于绘画的无意义、无解说、无责任、无既定艺术标准、远离东西方的纠结、维护个体主义以及重回浪漫的吸引力，这一切，使我决定重新开始。今天我看到了自己未来探险的潜能、活力以及可能获得的自由的宽容度。于是，我的现实主义又一次败给了自己，败给了浪漫的艺术激进与形式的保守主义，败给了四十年以来的决绝主义。The attraction from the unknowable in painting, the attraction in artistic emotions, the curiosity about the possibility of free generation of paintings and the resulting attraction, and the attraction from the paintings free from meaning, interpretation, responsibilities, established artisticcriteria, and Western-Oriental controversy but with the protection for individualism and returning to romance. All the above factors pushed me tore-start. Today, I saw the potential, the energy, and the toleration from the probable freedom of my future adventure. Thus my realism was once again defeated by myself, by the romantic radicalism of art and the conservatism of forms, and by the resolution over four decades.
作 品 现 场
平行于艺术家主体性的语言自述，是作品的自述与展览的自述。这些作品也在与观众进行着一对一的隐秘对话——关于作品自述的比喻只是一种拟人化修辞，它背后的是关于 “观者性意义”相较于 “作者性意义”的思辨。也许试图对任何抽象艺术的解码都是在证实艺术作品内涵的开放性，实际上并不存在任何艺术家主体性的强权。而展览本身作为这些作品自述的现场，也必然在自述它的整体意义。作为一个艺术家个展，包括这篇展览陈述文本，都在试图让观众更加看清艺术家创作的独特价值与工作系统，甚至在观看艺术家的个人创作历史中理解他逻辑与矛盾的二元共生与双向转化，艺术家、作品、展览，三层意义的互相渗透与互为文本，构建出理解《自述》不同层面的维度。(节选）
The linguistic autobiography parallel to the artist's subjectivity alsorepresents the autobiography of his works, and of the exhibition itself. In the meantime, these creations are having covert and biunique communications with audience. The metaphor about the autobiography of works is just the personification, and what lies behind the rhetoric is the critical thinking of “significance toaudience” over “significance to the creator”. Maybe any attempts to decodeabstractionist arts are manifesting the openness in the connotation of arts, and there is no hegemony from artists subjectivity at all. This exhibition itself, as the field of these self-statements, is also narrating its overall meaningfulness. This solo exhibition and the statement you are reading both attempt to help audience better perceive the unique value and working system of this artist's creation, and then to comprehend the dualism and bi-directionalconversion between his logics and contradictions. The triple significance of the artist, creations, and exhibition, by interpenetration and acting as eachother's interpretation, provides the different perspectives of SELF-STATEMENT.excerpt from Preface by Wang Jiang
开 幕 现 场
策 展 Curator | 王将 Wang Jiang展 期 Duration | 2019.09.27- 11.10(北京朝阳区酒仙桥路2号798艺术区中二街D07)Platform China Contemporary Art Institute (D07 Main 2nd Street, 798 Art District, Beijing, China)
马可鲁,1954年出生于上海，后迁居北京。1970年后马可鲁以具有印象派特点的风景画开始了他的艺术职业生涯。从文革时期到二十世纪八十年代间,独立于中国官方艺术实践,他开启了富有创新精神的艺术生涯，联合组织并参与了“无名画会”的创建。参加了1974年的地下艺术展和1979年无名画会的公开展。80年代初开始成为北京抽象艺术实验小组的一员。1988年他赴德国辗转瑞典丹麦，后定居纽约。次年获美国斯古海根绘画雕塑学校艺术基金会奖金赴缅因州创作。1989-1990年就学纽约州立大学帝国学院艺术系。2006年回国定居继续进行抽象绘画的创作。Ma Kelu was born in Shang Hai in1954, and moved to Beijing later. He launched his career in 1970 with the visual characteristics which closed to impressionistic variation of landscape painting, developing a rather innovative artistic career independent from the official Chinese art practice during the years of the Cultural Revolution and in the late years of the 1980s. Ma jointly organized and participated in “No Name Group.” He participated in the underground art exhibition in 1974 and the exhibition of the No Name Group in 1979 in public. In early 1980s, he became a member of Beijing abstract art experimental group. In 1988, he traveled to Germany, Sweden and Denmark, and then settled in New York. The following year, he won a prize from the Skohagen School of Painting and Sculpture Art Foundation. From 1989 to 1990, he studied in the Department of Art, Imperial College, New York State University. In 2006, he returned home and settled down, continued to produce abstract paintings.
王将，当代艺术策划人与创作者。2014年始致力于独立艺术空间的创建与运营，同时参与到美术馆和画廊项目的监制、策划、主持，即时展览的评论。王将的艺术观念深受皮埃尔·布尔迪厄的艺术社会学说影响，在策划与创作中通过调动自我身份的能动性与相对性来打破身份政治的囿限，并以怀疑主义作为辩证工具，运用丰富的形式和媒介向艺术系统的现实状况发问。其行动往往从艺术体制研究和文化区隔批判出发，试图衍生出能够作用于艺术系统的创新型实践。Wang Jiang，planner and creator of contemporary arts. He has been committed to the establishment and operation of independent art space since 2014，engaged in the supervision, planning, host of museum and gallery, as well as the instant comment of exhibitions. Wang Jiang’s art concept is deeply influenced by Pierre Bourdieu’s art sociology, breaking the limitations of identity politics in creation and curation by activating the initiative and relativity of self-identity. He uses skepticism as dialectical tool, employing rich forms and media to pose questions to the status quo of the existing art system. Most of his actions start from the criticism of art system and cultural distinction,, seeking for the creative practice that influences the existing art system.
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站台中国当代艺术机构（Platform China Contemporary Art Institute）于2005年在北京成立，2015年底搬入798艺术区。站台中国是一个具有实验性和开放性的平台。作为一个艺术的发现、推动和参与者，站台中国致力于优质艺术实践的推广和艺术生态的建设，持续推动着当代艺术国际间的对话与交流。是一个致力于当代艺术交流和研究的综合性艺术机构。
Platform China Contemporary Art Institute was founded in 2005 in Beijing, and moved into 798 area in the end of 2015. Platform China is an experimental and open platform. As a finder, pusher and participant of art, Platform China focuses on the promotion of the art practice and the construction of the art ecology, continually promoting the international communication on contemporary art.