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Vanguard 画廊 | 宋元元：The Park

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The Park

艺术家: 宋元元

开幕: 6月6日，16:00-19:00

展期: 2020年6月6日- 2020年8月29日

地点: 上海市莫干山路50号4号楼A座204

电话: +86 21 52522551

www.vanguardgallery.com

Vanguard画廊将于6月6日呈现宋元元个展《The Park》，展览将持续至8月29日。这是宋元元在Vanguard画廊的首次个展。去年宋元元在双人展览《叛逆者诗歌》中展出了部分新系列的作品，而这次个展中，宋元元将会以更为成熟的语言来诠释他这一新的系列。

随着现代都市的拓展以及生活方式的巨大改变，公园，渐渐成为一个很容易被忽视的城市设施存在着，公园的气氛也变得抽象，像正在进行中的一幅画。尤其是在艺术家生活的城市，沈阳，这个在新中国成立之初作为“共和国长子”的地方，有着辉煌历史的铁西区曾是计划经济时代斯大林工业化的最典型代表，这里有市里百分之九十的工厂，五十年代政府修建了大型的工人村和公园。九十年代末工厂从城市逐渐消失，公园被拆除了围墙，却始终是人们最喜爱的去处。

这个公园，被剥离了曾经的表象，其边界和功能得以无限的发展。它已然成为了一个象征，像一块巨大的广告牌，吸引周围的人。对于这些人来说，公园是他们展现自己和自我的唯一场所：在特定的区域里，他们以特定的方式在作业；当然，这一切对于他们来说都是正经事。黑压压的人群形成帐篷，老头子们评论社会时事，回忆当年的激情；彩票站门口挤满了人，满地烟头，墙上黑白格里的数字指代命运和未来。平面化和符号化的公园，成为现实的一个缩影；它主题单一，尴尬却也和谐。人们的噪音、神采和情绪形成一个悬浮的球，挤压下面的空气，形成黑色的压力场，在其反射中艺术家看到自己的每一个可能性。他逐渐难以分辨人群是在消遣还是在集体搞破坏，并开始对自我认知的界限产生怀疑。他猜想自己是另一类人，是辉煌和暗淡的双子星，一颗在“公园”内，一颗是“公园”外的。

以公园为半径，宋元元探讨在同一个物理空间中，形式上的解放和集体主义行为方式的延续产生的自相矛盾。他跟随着这种宏观的矛盾，利用平庸通俗的环境、事物以及两者之间的关系为线索，逐步展开他对个体精神自由和自我主义的追求和联想。

Bad Apple 纸上油彩,木炭,铅笔,油漆，Charcoal,pencil, paint and acrylic on the paper，54.5x39.5xcm，2019

关于艺术家

宋元元，1981年出生于沈阳。2005年毕业于鲁迅美术学院摄影系，现居住工作于沈阳。他的绘画以影像、照片和各式图像作为其灵感的参照来源，作品中现实与幻影交织重组，互斥的两者使得画面产生极具冲突感的魅力。他的艺术语言源自那些充斥周遭的日常风景，有些仅是极端平庸通俗的环境，又或空洞地记载人们活动后遗留的残余痕迹。宋元元的绘画抛弃了叙事性和对空间感的营造，他试图使用现代诗歌的碎片式的叙事方式，通过有意识的生硬的物的拼贴置换来表达一种情绪，将诗歌用文字传达情绪的方式转化为图像的排列，并探讨其中匿名携带的美感暴力。近期个、群展览包括：“农场”，Chi K11 艺术空间，沈阳，中国（2020），“叛逆者诗歌”，Vanguard 画廊，上海，中国（2019），“配角登场“，站台中国当代艺术机构，北京，中国（2016）。

We are pigs 纸上油彩,木炭,铅笔,油漆，Charcoal, pencil, paint and acrylic on the paper，39.5 x 57.5 cm，2019

The Park

Artist: Song Yuanyuan

Vernissage: June 6th, 16:00-19:00

Duration: 2020/6/6- 2020/8/29

Venue: Room 204, Bldg 4A, 50 Moganshan Rd, Shanghai, China

Tel: +86 21 52522551

Vanguard Gallery is pleased to present Song Yuanyuan’s first solo exhibition at the gallery: The Park, from June 6th, 2020 to August 29th, 2020. Last year, Song exhibited some of his new works in the dual solo exhibition Poetry of the Rebels, this time, he will bring the whole collection with a much more mature tongue.

With the expansion of modern urbanization and massive change in people’s lifestyle, park, is slowly becoming a overlooked infrastructure in the city. The atmosphere in the park thus becomes abstract, like a painting in progress. In the city where the artist is based and born, Shenyang, was once known as the “eldest son of the republic”, of which Tiexi district was the most typical example of Stalinist industrialization under planned economy.It contained 90% of the city's factories, large workers' villages and parks built by the government in the 50s.By the late 1990s, factories were disappearing from the city, leaving the parks with their walls torn down, remained as people’s favourite haunt.

This park, stripped from previous appearance, it develops limitlessly in terms of boundary and functionality. It has become a symbol, like a giant billboard, magnetizing the people around it. For these people, the park is the only place for them to express themselves and their ego: they operate in a specific way within a specific area; of course, for them all these are serious. The concentrated crowd looks like a tent, where the old men babble on the current social events or sink in nostalgia about their passion in the past; the lottery stand is always full of people and cigarette ends, the numbers in the black-and-white check box on the wall speak for their fate and future. The flattened and symbolized park, becomes a miniature of the reality; its singular theme is awkward, but not less harmonious. The noise, expression and emotion of the crowd grow up into a floating ball, squeezing down the air underneath, eventually form a black force filed, in the reflection of which, the artist sees each possibility of his alter ego. Slowly, he can’t tell whether they are entertaining or destructing collectively, he starts to question the frontier of his own consciousness. He suspects that he is another kind of people, the brilliant and bleak Gemini, one inside of the park, the other outside of it.

Within the park, Song Yuanyuan explores the contradiction between the formative liberation and the continuance of collective behavior in the same physical space. He follows the macro-contradiction, using common and often grotesque environments, the objects and subjects in the environments and the relation between them as clue, progressively elaborates his pursue and associate of individual spiritual liberation and egoism.

宋元元近照（自拍）Recent self-potrait of Song Yuanyuan

About the Artist

Song Yuanyuan, born in Shenyang,China in 1981. Graduated from Department of Photography, Luxun Academy of Fine Arts in 2005.Drawing inspiration from images, photos and pictures, his works embody the desire and lure for reality and illusion and the contradictions, which the juxtaposition of these two might create. Song’s artistic language is based on his perceptions and feelings when confronted with everyday spaces, common and often grotesque environments, miserable places where all that has been left behind are marks of human presence. Abandoned traditional narrativity in his paintings with a diminishing attempt in portraying a three dimensional space, Song tries to depict a sense of emotion through collaging objects.He strives to employ the fragmental expression of modern poetry and transform the words into images, offering an anomalous aesthetic with a violent approach to the representation. Recent solo and group exhibitions include: "Farm", Chi K11 Art Space, Shenyang, China(2020); "Poetry of the rebels", Vanguard Gallery,Shanghai,China(2019);"Downstage,Upstaged", Plateform China Contemporary Art Institute, Beijing,China(2016).