松美术馆跨年展览“绿色”展示了艺术家赵赵2016年至2019年间的精彩艺术创作,这是个足够浪漫的开场,我们的目光,随着题材的变化而游弋。
自画像成了最初自我隐喻的源头,那个托腮的人用眼睛检视着之后的题材。
竹笋在破土之前的沉闷,桃子和寿星的亦正亦邪,恶人在其中脱颖而出,感知与妄想接连而至。
像是《父与子》中不断重复的形象,复杂而又分裂的多种情形。有时只是一瞥,百态的人物,便在赵赵的笔下不断生长:笑傲的女孩,荒诞惊异的歌手,有敏感者,也有脱敏者和迟钝者。有时,它们更像是细胞,不断生长变异,在展厅中克隆出一个多元,撕裂,如影随形的虚像世界。
《父与子》系列作品,松美术馆展厅
在这个世界中,万事万物皆有其精神和欲望的象征,它可以咏物,言志,移情。只是,这些风物在变成绘画之后,有着跃动的生命和现代诗的忧伤,像是弗朗西斯.培根画面中狰狞的欲望,扭曲的表现,波德莱尔诗歌中晃动不安的身影。
(文/崔灿灿)
Such a romantic opening. Our eyes wander with stories ups and downs.Self-portraits become the origin of the initial self-metaphor. The man cupping his head stares at the upcoming stories. Immature bamboo shoots keep silent. Peaches and the god of longevity seem serious and facetious at the same time, while the villain suddenly stands out. There are full of sensations and illusions.
It reminds us of the recurrent figures in Father and Child, which burst into complicated and divided variations. Sometimes, only at a glance, Zhao can create different types of characters, such as unrestrained girls, absurd singers, sensitive persons, desensitized persons, and insensitive persons. Sometimes, they are more like growing and dividing cells, re-creating a virtual world in the gallery, which is diversified and tearing, like a phantom.
松美术馆展厅
Everything on earth has a symbol of its spirit and desire. It can praise for things, express wills, and empathize with others. However, when shown in paintings, things are endowed with vigor and poetic melancholy, like hideous desires and distorted appearances in Francis Bacon’s paintings, or unsettled figures in Baudelaire’s poems.
(Cui Cancan)
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