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艺博会 | 杨福东“善恶的彼岸-真理之敌”| 西岸艺术与设计博览会 2019 - 香格纳画廊N205

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善恶的彼岸-真理之敌

Beyond GOD and Evil - Enemies of Truth


信仰是比谎言更危险的真理之敌。
Convictions are more dangerous foes of truth than lies.


善恶的彼岸-真理之敌 1 | Beyond GOD and Evil - Enemies of?Truth 1 | 2019 | 摄影 绘画 | 左:彩色喷墨打印,4毫米透光度20%黑色玻璃 | 右:丙烯绘于黑白喷墨打印照片,4毫米70%透光度玻璃 | 铝板装裱,不锈钢烤漆黑框 | Photography | Painting | Left: Colour archival inkjet print behind 4mm black glass with 20% transmittance | Right: Acrylic paint on B&W archival inkjet print behind 4mm green glass with 70% transmittance | Mounted on aluminum, stainless steel black frame | with frame 181.5×121.5×6cm (× 2 pieces)


香格纳画廊将在西岸艺术与设计博览会期间带来杨福东的个人项目“善恶的彼岸-真理之敌”,展位号N205。展呈空间内将展出7组摄影绘画作品。每组作品由“不可见的摄影”和尼采语录共同构成。


ShanghART Gallery will present Yang Fudong's solo project titled "Beyond GOD and Evil - Enemies of Truth" at N205 during West Bund Art & Design this year. Seven sets of photography painting will be unveiled from 7th to 10th Nov. Each set of work consists of the "invisible photograph" and Nietzsche's quotations. 


善恶的彼岸-真理之敌 2 Beyond GOD and Evil - Enemies of Truth 2 |  2019 | 左:彩色喷墨打印,4毫米透光度20%黑色玻璃 | 铝板装裱,不锈钢烤漆黑框 | Left: Colour archival inkjet print behind 4mm black glass with 20% transmittance |  Mounted on aluminium, stainless steel black frame | with frame 181.5×121.5×6cm | 局部 Detail(左 Left)


《善恶的彼岸-真理之敌》是德国哲学家尼采经典语录中极具对立与辩证的两句陈述。杨福东将二者合二为一作为其最新系列的作品标题。摘选出的语录有序地与最新创作的黑色玻璃下不可见的摄影并置,形成了模糊与鲜明的视觉观感。照片本身具有的清晰画面在黑玻璃的掩映下若隐若现,而观者的倒影成为了叙事最重要的旁白。每张被干扰的摄影在现代时态下与古代背景交织呈现。与此对应的尼采语录,从不同维度映射出对“人性、欲望、社会”等多个主题的探讨。
 
Beyond GOD and Evil - Enemies of Truth are two dialectical quotations from the German philosopher Nietzsche's classics. Yang Fudong combines the two terms into one as the title for his latest series of work. The selected quotes accordingly juxtapose with the unseen photographs under the black glass, which forms a vague and distinct visual perception. The bright image with photos looms in the shadow of the black glass, which results in constructing the crucial narrative voice-over by the mirror reflection of the audience. Every interfered photograph captured in the contemporary context that intertwines with the filming scene of the ancient Song dynasty. The associated Nietzsche's quotation reflects the discussion about "humanity, desire and society" from various perspectives.


 
善恶的彼岸-真理之敌 2 | Beyond GOD and Evil - Enemies of?Truth 2 | 2019 | 摄影 绘画 | Photography | Painting| 右:丙烯绘于黑白喷墨打印照片,4毫米70%透光度玻璃 | 铝板装裱,不锈钢烤漆黑框 Right: Acrylic paint on B&W archival inkjet print behind 4mm green glass with 70% transmittance | Mounted on aluminium, stainless steel black frame | with frame 181.5×121.5×6cm  | 局部 Detail (右 Right)


作为《善恶的彼岸》的系列之一,《善恶的彼岸-真理之敌》从《明日早朝-美术馆新电影计划》中选取照片,并深化了拍摄中唯一脚本——尼采语录的现实意义。艺术家杨福东于2018年初在上海龙美术馆完成拍摄 《明日早朝》“美术馆新电影计划”,他将电影的拍摄现场呈现在美术馆的公共空间中,让过程作为展出形式与表现内容。尝试打破电影、展览的观看方式以及创作者与观者之间的角色关系。并持续发生变化。过程即电影。


Beyond GOD and Evil - Enemies of Truth extends from Beyond GOD and Evil series, selects photos from Dawn Breaking - A Museum Film Project. The new series deepens the practical significance of Nietzsche's quotations which the only script adopted during the filming. In early 2018, Yang Fudong finished the shooting of "Dawn Breaking - A Museum Film Project" in Long Museum (Westbund) Shanghai. He unfolds the process of filming as the presentation of the exhibition and the original artwork in the museum. He endeavours to break the way we see films and exhibitions as well as relations between artist and audience. The project will be continuously developing. The process is the film.





杨福东 | Yang Fudong




杨福东,1971年生于北京。毕业于中国美术学院油画系,被誉为目前中国最成功和最有影响力的艺术家之一。从九十年代末起,杨福东就开始从事影像作品的创作。无论是摄影、电影还是装置,均以多重的文化透视、交错的时空体验形成独特的文化视觉诠释。他的作品具有明显的多重透视特征,其作品探讨着神话、个人记忆和生活体验中身份的结构和形式,每件作品都是一次戏剧化的生存经历,一次挑战。曾参加德国卡塞尔文献展、威尼斯国际艺术双年展、法国里昂双年展、亚太当代艺术三年展等多个重要的国际当代艺术大展。



Yang Fudong was born in Beijing in 1971, and now lives and works in Shanghai. He graduated from the Department of Oil Painting, China Academy of Art in Hangzhou. He is among the most successful and influential Chinese artists today. Yang has started to create video works since the late 1990s. His works form a unique cultural visual interpretation through multiple cultural perspectives interlaced with experiences of space and time with photographs, film and installation. They are all characterised by multi-perspectives, exploring the structures and forms of identities in myths, personal memories and life experiences. Each work considers both a dramatic lived experience and a challenge. Yang Fudong has participated in several prestigious international art events including Documenta in Kassel (2002), the Venice Biennale (2003/2007), the Asia Pacific Triennial of Contemporary Art (2006) and the Lyon Biennale of Contemporary Art (2013).


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