站台中国十五周年|展览线上回顾-【2017】
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（For English version please roll down）2005年的5月7日，站台中国正式举办了草场地空间的第一个展览，我们在此分享站台中国成长的十五年历程，按年度推出十五期展览回顾，感谢这十五年来所有相伴的你们。此次展览由站台中国当代艺术机构主办、北京 798 文化创意产业投资股份有限公司合办，为观众呈现艺术家近年来“想的美”、“迷人”、“米老鸭和唐老鼠”、“名少年”、“辉煌”等十多组艺术创作系列，涵盖水彩，丙烯，古董，玻璃等多种综合材料表现媒介。本次展览由策展人鲁明军策划，在他看来，艺术家三年来的“重复劳作”创作过程中，寻找着一种可能的“新意”，这种“新意”的参照不是别的，其实就是他自身。邱瑞祥 巢穴（大） 2013-2016 布面油画 150x250cmQiu Ruixiang, Den(big), Oil on canvas艺术家邱瑞祥（左）与策展人鲁明军（右）为媒体进行导览本次展览是艺术家继2010年后，对近期作品的梳理和集中展示，主要呈现近几年的“剑客”、“读书”与“人体”三个系列。本次展览由汪民安担任学术主持，在他看来，艺术家的创作是一种对绘画的“亵渎”，这里的“亵渎”是为了将绘画从神圣领域解脱出来。许成的绘画就是一种“解脱手段”，也可以视为一种“游戏手段”。许成 我的幸福生活充满每一天 2001 布面油画&丙烯 170x140cmXu Cheng, Every Day Life is My Happy Time, Oil on canvas & acrylicXu Cheng, Untitled, Acrylic on paper王恩来的创作材料主要来源于生活中的现成品。现成品作为工业社会的产品天然地带有符号意义，然而艺术家的作品弱化了材料的社会符号性而从物理层面切入关注于物质材料本身的特性。作品中的现成品一一组合，形成悖论式的绝配，这种绝配体现着构成意义上的临时性的关系。而媒介本身的物质特性引发的消解趋势终将使这一意识形态的临时关系付诸外化实践。此次展览中，电风扇、轮胎、玻璃、灯泡......这些现成品在艺术逻辑中被解构和重组，而形成不同维度、不同意义上的“临时关系”。荒诞与魔幻、乡土与质朴、现实与现实主义、绘画的现代性进程以及与绘画史的互动，一直存在于亓文章的创作中,构成其独有的视觉叙事与绘画理念。
然而，熟读绘画史，亓文章愈发体会到绘画中更重要的东西在此之外。绘画的核心或许并非题材、风格或观念，而在于颜料与形体之间尚未抵达的某处。而其绘画的初衷正在于此，以探索绘画的内在性为航向，游弋于激烈的现实之中。亓文章 杯子和花 2017 布面油画 20x30cmQi Wenzhang, Glass and Flower, Oil on canvas亓文章 丽达与鹅 2016 布面油画 120x150cmQi Wenzhang, Lida and Goose, Oil on canvas亓文章 肉与鸟 2017 布面油画 130x160cmQi Wenzhang, Meat and Bird, Oil on canvas吴维佳的艺术创作跨越油画、中国画、书法等诸多领域，在多年的艺术实践中，吴维佳有意打破不同艺术形式之间的界限，找到东西方绘画的共同特点，主张在画面空间中加入线性表达，强调作品表现中的书写性，从而营造自己独有的艺术本体。吴维佳 防冷涂蜡 2017 布面油画 176x280cmWu Weijia, Antifreezing Wax, Oil on canvas吴维佳 扫水 2017 布面油画 190x240cmWu Weijia, Sweep Water, Oil on canvas吴维佳 圣斗士 2017 布面油画 155x220cmWu Weijia, Saint Seiya, Oil on canvas吴维佳 正反的思辨 2015 纸本综合材料 100x100cmWu Weijia, The Thought of the Pros and Cons, Mixed media on paper
艺术家：毕建业、段建伟、段建宇、付经岩、葛辉、宫名、贺勋、贾蔼力、季鑫、黄亮、梁硕、廖斐、林枞、刘聪、刘港顺、刘晓辉、娄申义、马轲、秦琦、邱瑞祥、亓文章、沈正麟、宋元元、孙逊、孙一钿、汤大尧、唐晖、谭平、仝天庆、王音、王志渊、吴维佳、萧搏、许成、徐大卫、杨茂源、叶庆、喻兴、张业兴、赵刚 、赵汀阳、赵赵、周轶伦寻常——古代的长度单位，八尺为“寻”，十六尺为“常”。寻在词义的演化中已经变为一个动词。而常则延伸为一个更为复杂的维度，比较模糊难以澄清，它有时候表示长或多，有时候表示短或小，但在漫长的词义演化中，它变成了一个形容词，日常、无常、异常、通常、失常、经常、平常、寻常、常识、常态、常理等等——既不是过多也不是过少，既不是过大也不是过小；它不是处在极端的状态。关于常，它时常作为一个状态的边界，指涉着标准、维度、准则、时间、空间、永恒等，“常”在我们的判断系统中它往往成为支点。秦琦 藏人 2016 布面油画 100x100cmQin Qi, Tibetan, Oil on canvas段建宇 姨妈的表姨夫是厨师 2012 布面油画&丙烯&剪裁 90x120cmDuan Jianyu, NO.1 Mother's Sister's Mothers Cousin's Husband is a Chef No.1, Oil & acrylic & tailoring on cancas贾蔼力 劫夺吕西普斯的女儿 2017 布面油画 220x180cmJia Aili, The Rape of the Daughters of Leucippus, Oil on canvas王音 无题 2012 布面油画 210x100cmWang Yin, Untitled, Oil on Canvas刘港顺 1984 2015 布面油画 50X70cm Liu Gangshun, 1984, Oil on canvasDuan Jianwei, Child, Oil on canvas邱瑞祥 固定 2011-2012 布面油画 35.5x27.5cmQiu Ruixiang, Fixation, Oil on canvas孙逊 基督教 2017 木版综合材料 111x91cmSun Xun, Chrismon, Mixed media on wood赵刚 达摩 2015 布面油画 190x100cmZhao Gang, Dharma, Oil on canvas谭平 向罗斯科致敬 2015 布面丙烯 120x120cmTan Ping, A Tribute to Mark, Acrylic on canvas刘晓辉 无题-远山 2017 布面油画 60x80cmLiu Xiaohui, Untitled-Distant Hill, Oil on canvas毕建业 丹东海鲜王 2017 布面油画 150x120cmBi Jianye, Dandong Seafood King, Oil on canvas杨茂源 日夕里亚 No.3 2015 纸本油画 52x38cmYang Maoyuan, Decorative Pattern No.3, Oil on paper葛辉 被阳光晒过的女孩 2017 布面油画 100x125cmGe Hui, A Sunburnt Girl, Oil on canvas赵汀阳 我的边疆 2011 纸本素描 19.8x14.8cmZhao Tingyang, My Borderland, Sketch on paper宋元元 唯一的头 2017 布面油画 160x210cmSong Yuanyuan, The Only Head, Oil on canvas孙一钿 我 2014 布面油画 120x120cmSun Yitian, Me, Oil on canvas本展览是刘港顺迄今为止规模最大的展览，也是策展人崔灿灿对策展语言的全新尝试，亦为站台中国在2017年底推出的跨年重要举措。展览分为三个部分——“观念三要素”、“历史的笔记”、“午夜出版社”，讲述刘港顺20多年的创作历程，100多件作品涵盖绘画、档案资料等媒介。分别于2017年12月23日、2018年1月20日与2018年3月3日举行三次开幕。刘港顺 不要停不要停不要停不要停 2012 布面丙烯 100x200cmLiu Gangshun, Don't Stop Don't Stop Don't Stop Don't Stop, Acrylic on canvas刘港顺 安全的唯一途径就是冒风险 2010 布面油画 160x200cmLiu Gangshun, The Only Way to Safety is at Risk, Oil on canvas刘港顺 古根海姆美术馆 2014 布面油画 100x75cmLiu Gangshun, Guggenheim Museum, Oil on canvasVenue：Platform China Contemporary Art Institute(Beijing)The opening reception is February 25, 2017, located in 798 Art Factory. This exhibition is organized by Platform China Contemporary ArtInstitute, supported by Beijing 798 Creative Industry Investment Co.,LTD, and will present artist’s over ten recent series works,including “Xiang De Mei”、“Charming”、“Mickey Duck and Donald Mouse”、MingPers”、“Glorious” and so on, covering watercolor, acrylic,antique, glass and mixed medium works. Qiu Ruixiang: Rabbit,Den and BarnVenue：Platform China Contemporary Art Institute(Beijing)The exhibition will be on view from March 17 through April 30, 2017. In the curator Lu Mingjun’s perspective, the artist has been seeking for a possible “idea” during the past three-year “repetitive labor work”. Such an “Idea” is not referring to others; it’s about himself.Venue：Platform China Contemporary Art Institute(Beijing)Since 2010, this is the first exhibition to represent Xu Cheng’s current works, which includes three parts, “Swordsman”, “ Reading” and “Body”. Wang Minan is the academic host of the exhibition, in his opinion, the creation of Xu is profane painting, which is in order to liberate painting from the realm of the sacred. Xu Cheng's painting is precisely this means of liberation, also, it can be regarded as a playful approach.许成 静物(面包) 2014 纸本油画 21x31cmXu Cheng, Still Life(Bread), Oil on paper许成 无题 2016 纸本丙烯 109x172cmXu Cheng, Untitled, Acrylic on paperVenue：Platform China Contemporary Art Institute(Beijing)Most of Wang Enlai’s creation materials are ready-made things. Ready-made thing inherently bears symbolic meaning. Nevertheless, works of the artist weakened the symbolic meaning of the material, while focused on the physical characteristics of the essence of the material. The ready-made things in his works are paired up into paradoxical perfect matches. This kind of perfect match represents a constructional temporary relation. On the other hand, the physical characteristics endow the works with a tendency of collapsing which will finally make this ideological temporary relation realized. In this exhibition, fan, tire, glass, bulb…these ready-made things are deconstructed and reconstructed, and hereby formed “temporary relation” in different dimensions and different meanings. 
Qi Wenzhang Solo ExihibitionVenue：Platform China Contemporary Art Institute(Beijing)Absurdity and Fantasy, local colorism and undornated style, reality and realism, the modernity process of painting and the interaction with the history of painting always consist in Qi Wenzhang’s works, constructing his unique visual narrative and theory of painting. However, throughout the history of painting, Qi Wenzhang found that the core of painting lay beyond all these. The core of painting may not dwell in theme, style or concept but somewhere between pigment and form, somewhere still left untouched. This is just the motivation of his painting. He takes the intrinsic nature of painting as his heading, sailing in the stormy reality. 亓文章 礼物 1 2017 布面油画 60x50cmQi Wenzhang, Gift 1, Oil on canvas亓文章 画家与模特儿 2017 布面油画 120x150cmQi Wenzhang, Artist and Model, Oil on canvasVenue：Platform China Contemporary Art Institute(Beijing)Wu Weijia’s creation spans many fields like oil painting, Chinese painting, and calligraphy. In many years’ practicing of art, Wu Weijia intends to break the boundaries between these different art forms and to find the common feature that shared by both the eastern painting and the western painting. He tries to apply linear expression into the space of painting to present the art of calligraphy in the works, in order to build up his own entity of art.吴维佳 假面 2016 布面油画 200x160cmWu Weijia, Masquerade, Oil on canvas吴维佳 小周天 2016 布面油画 100x80cmWu Weijia, Small Heavenly Circuit, Oil on canvasArtist(s)：Bi Jianye , Duan Jianwei , Duan Jianyu , Fu Jingyan , Ge Hui , Gong Ming , He Xun , Jia Aili , Ji Xin , Huang Liang , Liang Shuo , Liao Fei , Lin Cong , Liu Cong , Liu Gangshun , Liu Xiaohui , Lou Shenyi , Ma Ke , Qin Qi , Qiu Ruixiang , Qi Wenzhang , Shen Zhenglin , Song Yuanyuan , Sun Xun , Sun Yitian , Tang Dayao , Tang Hui , Tan Ping , Tong Tianqing , Wang Yin , Wang Zhiyuan , Wu Weijia , Xiao Bo , Xu Cheng , Xu Dawei , Yang Maoyuan , Ye Qing , Yu Xing , Zhang Yexing , Zhao Gang , Zhao Tingyang , Zhao Zhao , Zhou YiluVenue：Platform China Contemporary Art Institute(Beijing)Common, in Chinese, “Xún Cháng”, are 2 length measurement units in ancient China. 8 feet means "Xún", 16 feet means “Cháng”. The meaning of “Xún” has gradually evolved from a noun into a verb. And “Cháng” extended to a more complex dimension, the meaning is hard to clarify, sometimes it means long or many, sometimes it means short or small, but over the evolvement of its meaning, it is now used as an adjective, with different combination such as Ri Chang meaning Daily, Wu Chang meaning Uncertain, Yi Chang meaning Unusual, Shi Chang meaning Not performing well, Jing Chang meaning Often, Ping Chang meaning Ordinary, Xun Chang meaning Common, Chang Shi meaning Common Sense, Chang Tai meaning Common Status, Chang Li meaning Common Knowledge and so on. So, the meaning of “Cháng” is not simply many or few, neither big or small; It means not being fixed in an extreme condition. As for “Cháng”, it often represents the border of status, stands for standard, dimension, principle, time, space and eternity. Hence, “Cháng” has become a standing point in our judgment system. 
贺勋 关于转动的争论（平面）2015 木板油画 100x80cm He Xun, An Argument about Rotating(flat), Oil on woodHuang Liang, Shell, Oil on canvasJi Xin, Portrait, Oil on canvas刘聪 柔软的三角 2017 布面油画 80x110cmLiu Cong, Soft Triangle, Oil on canvas叶庆 足球篮球1 2016 布面油画 60x80cmYe Qing, Football and Basketball 1, Oil on canvasVenue：Platform China Contemporary Art Institute(Beijing)This exhibition is by far the largest scale ever on Liu Gangshun’s works, and it is also a brand new attempt on the expression of exhibition by curator Cui Cancan, furthermore, it is Platform China’s biggest move to embrace the coming new year at the end of 2017. The exhibition consists of 3 parts: “Three Elements of Conception”, “Notes of History”, “Midnight Press”, covering 20 years of the creative journey of Liu Gangshun, also over 100 works including paintings, files and so on. 刘港顺 笨蛋 2017 布面油画 110x100cmLiu Gangshun, Fool, Oil on canvas
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