Lu Yang 陆扬
178 ×138 cm
对于一个艺术家来说，再次出道代表着什么样的意义？势必要以另外一种形象出现跌破众人眼镜，在过去他曾经以某种过于鲜明的形象出现于公众的视野，重新出道后必然颠覆既有的刻板印象， 必然让人耳目一新。这次陆扬在全新创作的系列架上纯手绘作品中，即将展示出艺术家不为人知的一面，绘画重新燃起了艺术家幼年时渴望成为一名创作者的激情 。在这系列创作中出现的元素看似陌生却又似曾相识，主要来自于流行文化与亚文化 。陆扬在前阵子刚发表的游戏作品中把自己过去录像中的主要角色集结起来组成了一队英雄联盟；反之，在新创作的绘画中，他把自己改造成荧光怪兽，组成了一组邪典（cult）联盟，一起捣蛋。善与恶在陆扬的认知中，本就不是二元对立的，颠覆好人与坏人的形象对他而言只是趣味的角色扮演与幽默的戏谑模仿（parody），艺术家让观者在面对艺术时能自由地感受并自行调整其态度。
Lu Yang: Debut
Is a “second debut” an oxymoron? What does it mean to an artist? To his/her audience, an artist lives inside a box – a public image based on the works he had created, and the works he/she “should” be making. A second debut topples the box over. In this latest solo exhibition, Lu Yang makes a second debut as an artist, and this time as a painter. Taking visual elements from popular and sub-culture, Lu Yang’s new body of work reflects themes familiar throughout his practice. In many paintings, Lu Yang reincarnates himself as demons or monsters that conjure a cult of annihilation – a direct reference to a recent video game work where characters from his past videos gather as a superhero alliance to fight evil. In Lu Yang’s universe, good and evil are not polemic. By subverting this dichotomy, Lu Yang tips over the balanced and the normative with a wicked sense of humor. Like a good parody, Lu Yang’s paintings are loud and border on absurd, but make enough room for his audience to react and shift their attitude towards art and an artist’s second debut.
Text by Ida Yang
Tianzhuo Chen 陈天灼
Aluminum panel, inkjet print, oil stick
Tianzhuo Chen: Backstage Boys
As the artist and director, Tianzhuo Chen has only seen his performance work from backstage. He is, to quote himself, a “backstage boy”. A good backstage boy disappears into his own work: he is part of the stage direction, lighting design, and sound composition. From the conception of a new work to its avatar characters and prop design, Chen likes to visualize his ideas through hand made sketches. The performance, to an extent, is a continuation of his works on paper. In his first painting showcase, the backstage boy steps onto the stage. The act of painting, though private, is performative in itself and for the very first time, he will be seeing his works front-stage, as an audience.
Paintings included in “Backstage Boys” give motifs from Chen’s past performance work a second life. His early drawings on Hell Bank Notes (a psychic medium in Asian culture) meditate on an image’s transcendence beyond life and death, and catapult his painting practice into a new material realm. In “Backstage Boys”, Chen continues his experimentation with various painting surfaces. Still images from past performances are printed on aluminum panels or rendered sculpturally as reliefs on density fiberboards, and then painted over with oil stick or charcoal. Chen’s painterly strokes furthers the lifespan of his avatars by taking their absurdity and romanticism beyond the limitations of live performances. In some cases, Chen evokes the uncanny by painting on his own skin – scanned and flattened as canvases. As a painting showcase, “Backstage Boys” begins with representation, but lands on musings over idolatry and iconophilism embedded in Tianzhuo Chen’s practice.
Xin Bi, co-founder of MondayOFF
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