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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。
“所有”是刘港顺迄今规模最大的展览，也是策展人崔灿灿对策展语言的全新尝试。继2017年第一部分“观念三要素”展出后，2018年继续展出第二部分——“历史的笔记”，讲述刘港顺20多年的创作历程，共100多件作品，涵盖了绘画、档案资料等媒介。历史的笔记既是评论，也是故事，也定义绘画者自身。当历史的笔记开始延展时，绘制便成了赋予经验以意义的漫长工作，探究现实，连接历史。刘港顺需要将他的历史经验层层叠加，串联个人经验给予的希望和失落，反复指涉，定义自身。
在这个定义的过程中，他需要不断地在是与不是，大与小，远与近之间做出选择。亦如我们在小说与电影中看到的画面，不断的接近、推远、置身事外，却又身临其境。在漫长的创作中，刘港顺不断地重复这些动作，历史经验与个人经验的距离逐渐缩短，愈发含混。最后，若是幸运的话，含混就会结出意义这个果实。
刘港顺 OOF 2007 布面油画 147.5x305cmLiu Gangshun, OOF, Oil on canvas刘港顺 礼物 2017 布面油画 152x112cmLiu Gangshun, Gift, Oil on canvas刘港顺 俄罗斯！2007 布面丙烯 136x136cmLiu Gangshun, Russia!, Acrylic on canvas刘港顺 星期二 2007 布面油画 147.5x198cm“所有”是刘港顺迄今规模最大的展览，也是策展人崔灿灿对策展语言的全新尝试。本次展览为第三部分——“午夜出版社”。80年代是一个普遍文化启蒙的开端，历史由所有人分享，但它无法满足对于自我和创造的渴望。刘港顺开始各种尝试，表现主义绘画、拼接艺术、现成品装置。他像那个年代的绝大多数艺术家一样，努力的参与运动，积极的吸取新知识，每日每夜聊着晦涩的学术，创造永远无法满足渴望。对观念艺术的偏爱，在那时就初见端倪，他从黄石出发，带着资料，拜访黄永砯、吴山专。他迫切需要交流，渴望世界的曲调与和弦。直到用一根绳子穿过一吨书之后，强烈的概念意识一而再，再而三的反复确认：《卫生卷筒的使用说明》，一篇新绘画的宣言，一本打不开的回忆录，一个颜料盒的商标。至此，关于绘画与真实、绘画与修辞、能指与可指的道路，逐渐开启。
刘港顺 午夜出版社 2004 布面油画 135x196cm
Liu Gangshun, Midnight Press, Oil on canvas
刘港顺 寻隐者不遇 2014 布面丙烯 100x100cmLiu Gangshun, After Missing the Recluse, Acrylic on canvas刘港顺 新小说作家 2005 布面油画 147.5x198cmLiu Gangshun, New Novel Writer, Oil on canvas刘港顺 福鲁克萨斯 2007 布面油画 198x147.5cmLiu Gangshun, Fluxus, Oil on canvas这个“世纪”同样是无法命名的。它不仅是超现实的，也是寓言性的。意味深长的是，一个来自青岛的中国艺术家，何以选择前往并留在德累斯顿，何以选择19世纪和二战时期的图像作为画面主要的母题来源，何以选择古代中国山水和德国浪漫主义和表现主义中西不同语汇的融合，又何以选择这样一种人鬼与神兽共处、自然与暴力并存、进化与末世交集的“大叙事”……或许，只有经由这样一个视角和路径，我们方可理解艺术家对于历史、现实与未来世界以及绘画本身的感知和想象。傅饶 世纪1 2018 纸本油画 175x240cm,Fu Rao, Century1, Oil on paper傅饶 家庭.Q. 2017 沥青纸本 50x44cmFu Rao, Familie. Q., Bitumen on paperFu Rao, Bicycle, Bitumen on paper傅饶 世纪10 2018 布面油画 80x120cmFu Rao, Century 10, Oil on canvas傅饶 随风 2014 纸本沥青和油画 153x118cmFu Rao, Follow Wind, Bitumen and oil on paper傅饶 架接地16 2017 沥青纸本 70x50cmFu Rao, Chimerica 16, Bitumen on paper付经岩的创作实践往往充满西绪弗斯式的反复与重置，借助于图像与材料做为载体所附加的隐喻，艺术家将若干看似无甚意义的形象及其关联选项衍生繁殖，将图像的元素尽情地分裂，并且让它们不断复制与变异。穿过身体的光芒，四十五度角的彩色条纹，貌似随意截取的图像与形象，隐匿的细节，生楞的风景、人物与静物，秩序与混沌。艺术家的方式并不在于探寻隐藏在混沌之后的秩序，而是探寻混沌自身的形式和可能，探寻无意识散射的歧感与偶然性规则。
付经岩 人物2 2018 布面丙烯 120x90cmFu Jingyan, Figure 2, Acrylic on canvas付经岩 人物6 2018 布面油画 180x160cmFu Jingyan, Figure 6, Oil on canvas付经岩 寿 2017 布面丙烯 150x120cmFu Jingyan, Longevity, Acrylic on canvas艺术家：闵希文，王川，闫冰，段建伟，贾蔼力，廖国核，刘港顺，刘野，秦琦，亓文章，宋元元，谭平，王兴杰，王兴伟，王音，萧昱，杨茂源，张恩利，张业兴，赵刚本次展览共邀请20 位艺术家。展览希望通过对艺术家作品的呈现，来感知艺术家对寻常之物的转化。这是一次以群展方式串联起来的对于艺术家工作方式的个案呈现。展览希冀勾连起作品与艺术家、艺术家与其工作系统的关系。群展将展现艺术家们各异的视角以管窥当代艺术的背景和肌理。贾蔼力 无题 2018 布面油画 263x203cmJia Aili, Untitled, Oil on canvasQin Qi, Cactus, Oil on canvas赵刚 无题 1995 布面油画 110x150cmZhao Gang, Untitled, Oil on canvas刘野 竹子的构图4号 2011 布面丙烯 50x70cmLiu Ye, Composition with bamboo No.4, Acrylic on canvas刘港顺 爵士 2018 布面油画 130x90cmLiu Gangshun, Jazz, Oil on canvas张恩利 弹力 2 2013 布面油画 230x280x5cmZhang Enli, Elasticity II, Oil on canvas王兴伟 四个半石榴 2018 布面油画 60×90cmWang Xingwei, Four and a half Pomegranate, Oil on canvas王音 风景习作 2013 纸本水彩 24x19cm Wang Yin, Landscape Study, Watercolour on paperMin Xiwen, still life of blue and white flowers段建伟 炊具-1 2009 布面油画 50x60cm Duan Jianwei, Cookers-1, Oil on canvas宋元元 The bad power 2018 布面油画 200x150cm Song Yuanyuan, The bad power, Oil on canvas廖国核 无题（p33）2010 纸上丙烯 38x52cmLiao Guohe, Untitled (p33), Acrylic on paperQi Wenzhang, Morning, Oil on canvas杨茂源 2015-3-18 PM6:30 2015 收藏级喷绘和手绘 13x10.5cmYang Maoyuan, 2015-3-18 PM6:30, Collect grade spray painting and hand painting张业兴 无题-2017.01.16 2018 布面油画 150x220cmZhang Yexing, Untitled-2017.01.16, Oil on canvasYan Bing, White clouds, Oil on canvas“模数”在谭平的作品中反复出现，它形成了创作的基本语法。他为许多作品都设计了一个模数，使用哪个模数的规则，是事先想好的，而形式只是执行的手段。例如，关于画面内部和时间的模数，作品《60×60》，按照60cm或它的倍数切割，所有的尺寸皆可以除尽；彩色木刻系列，按二分之一或其倍数标准裁切，用多种组合方式，重叠的印刷。《彳亍》以每张两分钟的原则进行绘制；《一杯》，相同的墨水，保持一致的角度两百次倾倒。谭平 窗前的石膏像 1984 布面丙烯 36x27cmTan Ping, Plaster model in front of the window, Acrylic on canvas谭平 一分之一 2012 套色木刻 78.5x120cmTan Ping, One first, Coloured woodcutTan Ping, Balance, Oil on canvasTan Ping, Go out, Mix media
现场：谭平 时间 1993 装置 40x1000cmLocale: Tan Ping, Time, equipment
“欲望天堂”，既属于一个躯体的符号轮廓，也属于一个梦境的反复叠加。在不堪重负的崩塌之时，形象出现了——野蛮的巨人、空虚的男人、娇羞的女人，他们不再属于任何阶层，也不说明任何苦难或欢愉。他们在迎接和等待着什么，或是作出了一个永不再有交流的决定。葛辉说，“梦中的事物都是恍惚的，可以变幻的，只能以欲言又止的方式呈露出来，也是回到生命最初想象。” 那种野蛮的生长，自由的胜利和伟大的无知，那种通过欲望本能诉说出来的东西，不就是天堂吗。葛辉 被阳光晒过的女孩 2018 布面油画 120x150cmGe Hui, A Sunburnt Girl, Oil on canvas葛辉 三十六支花 2016-2018 布面油画 250x300cmGe Hui, Thirty six flowers, Oil on canvas葛辉 女神 2017 布面油画 100x125cmGe Hui, Goddess, Oil on canvas葛辉 从来就没有准备一则故事 2018 布面油画 150x200cmGe Hui, Never prepared any story, Oil on canvas吴杉从早期现代主义语言入手，几乎恒久地保持着对现代主义法则探究的热衷，在他的近作中，线条的价值逐渐地突显出来，变成了最核心的语言。这种从线条出发的绘画，也呈现出了一种线性的生长逻辑，时时都构成着机缘，特别是在他的纸本素描中，他并不设定最终的形式，而是从任意一根线条开启的结构可能性开始，逐步把那些互相扭结依存的形状铺满画面的中央，并用最终形成的有机整体轮廓试探性的触碰着矩形画面内沿的空白。
吴杉 驻马听 2015 大漆、麻、木板 30x25cmWu Shan, Zhu Mating, Lacquer、hemp、board吴杉 喜迁莺 2011 大漆、麻、木板 120x80cmWu Shan, Xi Qianyin, Lacquer、hemp、board
吴杉 出队子 2016 大漆、麻、木板 60x50cmWu Shan, Chu Duizi, Lacquer、hemp、boardVenue: Platform China Contemporary Art Institute (Beijing）"Notes of History" are comments, stories, and the definition of the artists themselves. When notes begin to stretch, drawing turns into a long-term work with experience and significance, which will explore the reality while connecting the history. Liu needs to search references repeatedly and define himself by layering together his historical experience and connecting hope and frustration brought by his personal experience.
During the process of definition, he needs to constantly choose between yes and no, great and small, far and near, which is similar as the images we have seen in the novels and films. We keep approaching, pushing away and staying way while immersing ourselves in the scene at the same time. During his long-term creation, Liu repeated these actions, to gradually shorten the distance between historical and personal experience which finally turned increasingly vague. At last, if he is lucky enough, he will find out the true meaning from the vague.
Venue: Platform China Contemporary Art Institute (Beijing）The 1980s is the start of common culture enlightenment. History is shared by all, but it cannot meet the aspirations for ego and creation. Liu Gangshun began to try everything from expressionist painting, mosaic art to ready-made article and device. Like most of the artists at that era, he industriously participated in movements, actively took in new knowledge, talked about obscure scholarism every night and every day, yet the creation can never meet the aspirations. His preference in conceptual art began to take shape back then. He left Huangshi, took materials with him and visited Huang Yongping and Wu Shanzhuan. He was in sore need of communication, longing for the melody and chord of the world. Until a ton of books was connected by a rope, the strong conceptual awareness was repeatedly confirmed: Roll Toilet Paper Instruction, declaration of a new painting, a copy of memoirs that cannot open, and trademarks in a paint box. Thus far, the road about painting and reality, drawing and rhetoric, signifier and the denotable was open gradually.
Venue: Platform China Contemporary Art Institute (Beijing)This “Century” also cannot be given a name. It is not only surreal, but also allegorical. The deep meanings behind are some whys that need to be explored. As a Chinese artist from Qingdao, why he chose to go and stay in Dresden, why he chose the images from 19th century and WW II as the source of his paintings, why he chose to combine the ancient China’s landscape, the German Romanticism and the different languages between China and western expressionism, and why he chose to use such a way of “large narrative” of the co-existence of man, ghost, god and beast, nature and violence, revolution and world’s end. Maybe, only through such a perspective and path, can we comprehend the artist’s perception and imagination of history, reality, future world and his paintings.Fu Rao, Untitled1， Oil on board傅饶 乡路2 2018 布面油画 170x120cm Fu Rao, Dorfweg 2, Oil on canvasVenue: Platform China Contemporary Art Institute (Beijing)Fu's creative practice is often filled with Sisyphus-styled repetitions and resettings. With the help of implied meanings carried by images and materials, the artist splits images into as many elements as possible and allows those seemingly meaningless figures and relevant items to replicate and mutate. Rays of light that penetrate the body, color stripes posing at a 45 degree angle -- it seems that such pictures and images are randomly cut out, with hidden details, disharmonious landscape, an integration of people and still life, and a combination of order and chaos. Artist do not explore order hidden under chaos，while study the form and potential of chaos itself, as well as the dissensus and accidental rules revealed unconsciously.付经岩 街头 2018 布面油画 230x211cmFu Jingyan, Street, Oil on canvasGroup Exhibition In Summer Common ObjectArtist(s)：Duan Jianwei, Jia Aili, Liu Ye, Liao Guohe, Liu Gangshun, Min Xiwen, Qi Wenzhang, Qin Qi, Song Yuanyuan, Tan Ping, Wang Chuan, Wang Xingjie, Wang Xingwei, Wang Yin, Xiao Yu, Yan Bing, Yang Maoyuan, Zhang Enli, Zhang Yexing, Zhao GangVenue: Platform China Contemporary Art Institute (Beijing）The group show aspires to portrait not only how things or objects of ordinary purpose are depicted through artists’ eye but also visualize the crucial moment of making the transformation. Though arranged in a case by case style, the group exhibition, wants to showcase a total relation between artist, artworks and their methods. By this means, the develop and background of contemporary art from China will be told in different voices and the unique texture of the story will be felt.谭平 溃疡2号 2008 布面丙烯 40x55cmTan Ping, Ulcer No.2, Acrylic on canvas萧昱 幸福指数 2008 绘画 68.5x58cmXiao Yu, Happiness index, Painting王川 盒子之四 2015 布面油画 80x100cmWang Chuan, Box NO.4, Oil on canvasWang Xingjie, Oil painting barrel, Oil on canvasTan Ping 1993：The Beginning of Two ModulesVenue: Platform China Contemporary Art Institute (Beijing)“Module”, an element repeatedly occurring in the works of Tan Ping, forms the basic grammar in his creation. He devised a module for many of his works. Whichever module with distinctive rules will be employed is based on the preconceived notion, and forms only serve as a means to execute the module. For example, his work 60×60 is cut in measurements of different proportions ranging from 60cm to its integer multiples; and the color woodcut series, the wood is cut by a standard proportion of one second or the multiples of one second before being printed on the paper with numerous combinations that are mutually overlapped; Follow my line (《彳亍》) comes as a collection of several hundred sketches, with each sketches drew within two minutes; One Cup (《一杯》) is finished by pouring ink of the same full cup for two hundred times from the same angle.Tan Ping, Untitled, Acrylic on canvas谭平 炭笔素描 2014 78.7x109.2cmTan Ping, Charcoal SketchesVenue: Platform China Contemporary Art Institute (Beijing)"Heaven of desire” not only belongs to an outline of bodily symbol, but also belongs to a complex superposition dream. When it breaks on account of overburdened, the figure starts to appear, the savage giant, the inane man and bashful woman, they won’t belong to any class and it’s not a demonstration of any pine or joy. What are they waiting for? It seems that they’ve made a decision of making no conversations anymore. Ge Hui said “everything in dream is very foggy and unstable. It only could be presented in the way of saying in front of the door. It’s like coming back to the original imagination of life.” This is the barbaric growth, the triumph of freedom and the great ignorance. This is the instinctive way to speak, to create. This is paradise.葛辉 气力 2017-2018 布面油画 300x250cm Ge Hui, Strength, Oil on canvas葛辉 慵懒的姑娘 2018 布面油画 40x30cmGe Hui, Lazy girl, Oil on canvas葛辉 至此等待 2017 布面油画 200x250cmGe Hui, Right Here Waiting, Oil on canvasVenue: Platform China Contemporary Art Institute (Beijing)Starting from the language of early modernism, Wu Shan has had a keen interest in exploring the principles of modernism. In his recent works, the value of lines is reflected in a more independent manner and becomes the most central language. The paintings starting from lines also present a kind of linear growth logic and make up opportunity at all time. In particular, he does not set the final form in his line drawing on paper; rather, he begins with the possibility of structure initiated by any single line, gradually uses the mutually twisted and dependent shapes to overspread the centre of the picture, and tentatively touches the blank part of the inner edge of the rectangular picture with the organic overall outline shaped finally.
Wu Shan, Si Kuaiyu, Lacquer、hemp、board吴杉 收江南 2011 大漆、麻、木板 80x60cmWu Shan, Shou Jiangnan, Lacquer、hemp、board
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