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正在展出 | 北京公社正在展出杨心广个展“土壤之上”

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正在展出 Currently

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杨心广

土壤之上

Yang Xinguang

Above the Soil

- 展期 - 2019.11.28 - 2020.2.5

*Please scroll down for English

展览场景_installation view

北京公社荣幸地宣布，我们已于2019年11月28日开启杨心广在北京公社的第四次个人展览《土壤之上》。展览呈现了艺术家近期的全新创作，将持续至2020年2月5日。

近年来，杨心广的兴趣总是生发于“土”。对树枝、树叶、狗尾巴草等“土壤之上”的自然材料的使用，延续了他以往创作中内在逻辑—依附于自然物的规律，顺势探求形式上的变化和更新。

展览场景_installation view

通过手工的方式对草木、枯叶等反复喷涂丙烯颜料这样的工业感材料，近年来也成为杨心广常用的创作方式。植物原本的自然属性逐渐消解，幻彩绿黄、粉绿、淡紫、淡蓝、彩虹铜等人工的、非自然的斑斓颜色给作品增添了一层社会属性，自然已被纳入了人类工业化的生产链条。鲜艳的色彩在浅色背景上的跳跃吸引着人的注意，但当其成为背景时反而黯淡下去，衬托着画面上的不规则色块。这种颜色凸显上的明暗对比与展墙背景的黑白分明形成呼应。

坚硬岩石可以是一些矿物颜料的来源，“土”也是岩石的碎屑，是自然作用下颗粒的集合，不埋没任何生命，也不拒绝任何生命。在本次展览中，深色岩石坚硬的本初面貌被放大，遍布于展厅的墙壁上，由自然物转变为与人生存相关的环境物。《土壤之上》系列作品的人工色彩强烈地提示着观众，这些“陌生化”了的风景已不再如传统创作那般由矿物颜料构成，但它的自然属性又可以是从此地生长甚至复归到自然中，只是因人的介入而变得不再“自然”，突兀的观感颠覆了所有材料原本的文化属性。

杨心广总是对自然溯源，但又试图追问此种本原状态在多大程度上能为艺术所转化。通过他的介入，新的风景在展厅中被创造出来，人们习惯的审美欣赏范式被打破，目光在空间中的游动取代了真正身处自然现实中游动，这又回归到杨心广一贯的立场，以当代人的身份将“传统”陌生化，并籍此重置自我与世界的关系。

展览场景_installation view

杨心广1980年生于湖南，2007年毕业于中央美术学院雕塑系，获学士学位，现生活与工作于北京。杨心广曾参加过“超有机：中央美术学院美术馆双年展”（中央美术学院美术馆，北京，2011）、“首届CAFAM未来展：亚现象-中国青年艺术生态报告”（中央美术学院美术馆，北京，2012）、“首届蒙得维地亚双年展”（乌拉圭，2012）、“第9届上海双年展”（上海当代艺术博物馆，上海，2012）等大展。他的作品亦在罗马国立现当代美术馆、格鲁吉亚国家美术馆、澳大利亚白兔美术馆、法国卢瓦河当代艺术基金会美术馆、新加坡美术馆、德国勒姆布鲁克博物馆、尤伦斯当代艺术中心、上海外滩美术馆、北京民生现代美术馆等多家美术馆展出。2010年他获得中国当代艺术金棕榈奖以及吴作人艺术奖提名奖，2011年入围新加坡SIGNATURE艺术奖，作品在新加坡美术馆参加同名展览，2015年入围“HUGO BOSS亚洲新锐艺术家大奖”，作品在上海外滩美术馆参加同名展览; 同年他还获得“第九届AAC艺术中国年度青年艺术家”提名奖及“第二届华宇青年奖”提名。他的作品曾被上海复星艺术基金会、M+博物馆（香港，中国）、卡蒂斯特艺术基金会 (巴黎和旧金山)、法国卢瓦河当代艺术基金会 (南斯，法国)等机构收藏。

展览场景_installation view

We are delighted to announce that Yang Xinguang's solo exhibition opened on November 28, 2019. As his fourth show at Beijing Commune, “Above the Soil” showcases the artist's latest works and will run until February 5, 2020.

Over the last few years, Yang Xinguang seems to always take “soil” as his starting point. Using natural materials like twigs, leaves and foxtails that can be found “above the soil”, the show maintains the internal logic that runs throughout the artist’s creative process, one in which he sets out to explore the changes and evolution of the form according to the order of nature.

One of Yang Xinguang’s recent experiments includes spraying acrylic paint onto dead plants and withered leaves, during which the natural quality of the plants is gradually replaced bya social quality brought by the various bright and artificial colors, ranging from iridescent green, yellow and copper to pastel green, violet and blue. As a result, nature is absorbed into the chain of production. While flamboyant colors stand out against the plain backdrop, they are nevertheless toned down to set off the irregular color blocks when being brought to the back. The color contrast nicely compliments the black and white exhibition wall.

展览场景_installation view

Rugged rocks store mineral pigments, and “soils” are essentially collective particles of the consolidated mineral mass. They neither bury nor reject any form of life. In this exhibition, dark and solid rocks are purposefully enlarged to spread the walls so that their natural status gives way to being part of the urban environment. The artificial colors in this new body of work serve to remind us that the “estranged” landscape is no longer made of mineral matter in a traditional way, albeit its natural elements could still grow locally and grasscycle after its demise. In the process, each material’s original cultural quality is subverted.

展览场景_installation view

Yang Xinguang strives to trace the origin of nature, whilst exploring to what extent this original state can be transformed by art. Through his intervention, a new landscape is unfolded in the exhibition space to challenge audience’s aesthetic appreciation. The eyes will step in for the body to ramble in the space. This returns to Yang Xinguang's consistent position as a contemporary person who would estrange “tradition" so as to reset the relationship between the self and the world.

Yang Xinguang (b. 1980, Hunan) graduated from China Central Academy of Fine Arts with a Bachelor’s degree in 2007. He now lives and works in Beijing. Yang Xinguang has taken part in exhibitions such as “Super Organism CAFAM Biennale” (CAFAM, Beijing, 2011), “The First CAFAM Future Exhibition: Sub-phenomena: Report on the State of Chinese Young Art” (CAFAM, Beijing, 2012), “The 9th Shanghai Biennale” (Power Station of Art, Shanghai, 2012) and “The 1st Monte Video Biennial” (Urguay, 2012), etc. His works have been featured in many museums and institutions, such as Galleria Nazionale D’arte Moderna E Contemporanea, Italy; The National Gallery of Georgia; White Rabbit Museum, Australia; Frac des Pays de la Loire, France; Singapore Art Museum; Lehmbruck Museum, Germany; Ullens Center for Contemporary Art, Beijing; Rockbund Art Museum, Shanghai; Minsheng Art Museum, Beijing; and so on. He won the 2010 Chinese Contemporary Art Golden Palm and the Nomination Award in Wu Zuoren Art Awards. In 2011, he was nominated for the Signature Art Prize and his work was showcased in the eponymous exhibition at the Singapore Art Museum. He was nominated for HUGO BOSS Asia Prize 2015, “Young Artist of the Year” by the Award of Art China (AAC), and the 2nd Huayu Youth Award in the same year. His works have been collected by Fosun Art Foundation (Shanghai), M+ (Hong Kong, China), Kadist Art Foundation (Paris and San Francisco) and FRAC des Pays de la Loire (Nantes, France), etc.

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