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「松」展览｜欧阳春：重构一个承载集体记忆的孤岛

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「松」夏日大展进入尾声，20家画廊20位艺术家共同呈现“2020”。展期内，我们会逐一为您解读这20位艺术家及其作品，本期带来由香格纳画廊推荐的欧阳春带来的艺术作品。

松美术馆展览现场

画廊推荐语

艺术家欧阳春将这些保留着生活痕迹的旧物如积木般装配拼搭，在展厅中重构了一个承载着集体记忆的孤岛。在缅怀一群“凡夫俗子”被边缘化的际遇同时，也记叙着现代社会中许多群体曾被放逐过的沉默过往。当历史的尘埃散去，质朴和自由的力量依然熠熠生辉。

Through the assembly of these objects, like building “Lego” pieces, Ouyang Chun creates a world within the exhibition hall that revives the collective memory of a group of mortal men’s marginalized past, but also epitomes the lives of many who have been quietly exiled within modern Chinese cities. As the dust of ages scatters away, the unadorned strength of mortal lives remain luminous.

松美术馆展览现场

作品《凡夫俗子》系列的素材来自欧阳春少时居住的西安理工大学家属大院。

2017年5月至2018年3月之间，欧阳春曾三次前往西安，在居民楼拆迁之前寻找素材，并拣选十二吨居民们搬家遗弃的旧物运回北京。六十年代末，那里的居民曾因政策原因随校由北京迁至西安，之后的数十年间便一直居住在此。来自五湖四海的他们与西安当地的生活格格不入，并置身文化心理的冲突及边缘地带，他们的生活就像“一座与世隔绝的孤岛”。

欧阳春｜OUYANG Chun

《无题No.12》｜Untitled No.12

2018

实物装配：现成品（包括谷物、香料等）｜Assemblage ：Found objects (including grains and spices etc.)

195(H) cm × 81(W) cm × 81 cm

松美术馆展厅

欧阳春｜OUYANG Chun

《猛犸》｜Mammoth

2018

实物装配：现成品｜Assemblage：Found objects

184(H) cm × 240(W) cm × 125 cm

松美术馆展厅

欧阳春观察和收集他们曾经的生活痕迹，并将这些满载时光和记忆的物件带回北京。通过未经加工即进行实物装配的形式，已过不惑之年的欧阳春重走了一遍他二十多岁时的“拾荒之路”，并重返儿时记忆中那个“孤寂的岛”。

欧阳春｜OUYANG Chun
《愿今年更美好》｜Wishing for a better year
2017
实物装配：现成品、石头｜Assemblage ：Found objects, stones
153(H) cm × 150(W) cm × 180cm

松美术馆展厅

欧阳春｜OUYANG Chun

《无题No.8》｜Untitled No.8

2018

实物装配：现成品｜Assemblage：Found objects

237(H) cm × 362(W) cm × 171 cm

松美术馆展厅

The raw materials Ouyang Chun used for “The Mortals” come from the old employees’ residence buildings of Xi’an University of Technology, where he lived with his parents in the 1980s. From May 2017 to March 2018, he went to Xi’an three times to look for materials before the whole compound was demolished. He collected nearly 12 tons of living rubbish deserted by the old residents, and carried them back to Beijing. In the late 1960s, the previous version of the university and its faculty members moved to Xi’an from Beijing due to political policy; they continued to live in that city for several decades. As they come from different areas in China, living in Xi’an became a challenge for them. Situated in the relatively conflicting and marginal area of the cultural psychology, they were living on “an isolated island”. Fully loaded with time and memories, these traces of the past were brought back to Beijing by Ouyang Chun. By assembling these objects without any artificial processing, Ouyang Chun, who was already over “Bu Huo Zhi Nian” (forty years old), retraced the previous “scavenging road” in his twenties, and revisited the “isolated island” sealed in his childhood memory.

欧阳春｜OUYANG Chun

《捣毁雪人的小姐》｜The Lady Who Destroyed the Snowman

2017

实物装配：现成品｜Assemblage：Found objects

226(H) cm × 70(W) cm x 62 cm

松美术馆展厅

《捣毁雪人的小姐》局部，松美术馆展厅

“

在我长大的那个家属院

在那个时代

那些叔叔阿姨们

这些知识分子们混合了

大俗大雅真诚虚伪恬淡狂躁简率幽深

他们身上高级的睿智和原始的愚浊并存

极端炫目的理想光辉与恬不知耻的生存主义交峙

在这块斑驳不清的矛盾晶体里

我记忆中最珍贵的是那些总被他们匆匆带过的天真

要是问我他们最像谁

我觉得这是群沦落天涯的凡夫俗子…

要是让我为你们写诗

我允诺抑止悲伤

而如果让我给你们塑像

那我就一定给大家都插上鸟和天使才能拥有的羽翼翅膀

—— 欧阳春

”

艺术家简介

欧阳春在《2020》松美术馆展览现场，2020

欧阳春生于70年代。青少年时期在西安长大，游离在学院派教育之外的自我艺术教育经历造就了他独立多变的创作力。28岁来到北京成为职业艺术家以来，他创作的作品媒介囊括了绘画、装置和雕塑等多种形式，并从当代中国在剧变中产生的矛盾不安里汲取灵感。

欧阳春绘画的主题从早期的童话世界回归到自身经历，将虚构和真实的世界交替并置，在笔法上追求纯粹的绘画感受。同时，丰富的人生经历和对现实的眷恋塑造了他对物质世界的独特见解，复合的叙述性，以及对破碎与遗忘的感知力。无论是在绘画还是装置或雕塑作品中，欧阳春每每以朴实遒劲的笔触和被我们遗忘的物件堆砌出壮阔奇妙的景观与诗意。

Ouyang Chun was born in the 1970s and grew up in Xi’an. Having drifted away from the academic art education system, his experience of self-education determined his independent and versatile creative powers. Since becoming a professional artist in Beijing at 28, he has created works of painting, installation and sculpture, and draws inspirations from the contradiction and uneasiness brought on by the social upheavals of contemporary China.

The subjects of Ouyang Chun’s paintings returned from the allegorical worlds of the early years to his personal experiences, juxtaposing worlds of fiction and reality, while pursuing absolute painting experience with his brushstrokes. His complicated life experiences and affection for the reality have contributed to his unique insight into the material world, forming compounded narratives and a strong perceptiveness for the broken and left behind. In his works of painting, installation and sculpture, Ouyang Chun often uses his guileless and vigorous brushstrokes and the forgotten objects to construct magnificent and intriguing landscapes and poetry.

画廊简介

香格纳北京 ShanghART Beijing

香格纳画廊成立于1996年，是中国成立最早的当代艺术画廊之一，目前在上海、北京、新加坡均设立空间。二十多年来，香格纳画廊致力于中国当代艺术的发展，与60多位艺术家保持着长期紧密合作，持续呈现高品质的当代艺术展览和项目，并常年参加国际重要艺术博览会，与全球知名的艺术院校及机构保持良好的互动与合作。

于2008年开设的香格纳影像资料库（ShanghART Videotheque）发展至今，已收囊了近六百部当代影像艺术作品。位于上海西岸的香格纳图书馆，长期向大众开放香格纳画廊成立至今所收藏的艺术书籍，馆内同时展售上百种当代艺术图录和艺术衍生品。

Founded in 1996, ShanghART Gallery is one of the first contemporary art galleries established in China now maintaining spaces in Shanghai, Beijing and Singapore. For the past twenty years, ShanghART has kept devoting to the development of contemporary art in China and also kept close and long-term cooperation with more than 60 artists. Sustaining the highest-quality in presenting contemporary art exhibitions and projects, ShanghART regularly participates in the major international art fairs and collaborates with important art institutions in China and from all over the world.ShangART Videotheque, which was established in 2008 and has been developing till now, has included near 600 contemporary video art works. Located on Shanghai West Bund, ShanghART Library opens the collections of all the art books to the public for a long time which have been collected since the foundation of ShanghART Gallery, meanwhile, hundreds catalogs and related products both of contemporary art are also exhibited for sale at the gallery.

特别致谢

展览赞助：洪泰基金Aplus

媒体支持：时尚芭莎艺术 Hi艺术

设备技术支持：广州三信红日照明天地众行-艺术品服务

独家礼品赞助：Niganmane品牌

松美术馆当前展览“2020”

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