
杨光南的个展“莫奈花园. 96区”已于9月3日在魔金石空间正式开幕,展览将持续至2020年10月17日。
Yang Guangnan's solo exhibition "Monet Garden. 96 Dist" was officially opened in Magician Space on September 3rd and will last until October 17th, 2020.
“莫奈花园”是艺术家杨光南正在持续进行中的创作线索。如同“阳光威尼斯”、“罗马花园”、“中央公园”等词汇一样,这些欧化的命名方式曾一度风靡于中国的住宅楼盘与城市建设中。“莫奈花园”是中国改革开放与市场经济的产物,在1990年代至2000年前后尤为盛行。欧洲古典形式与现代建筑所杂糅而成的“欧陆风情”,既是对西方文明的追求与模仿,更是一种对集体主义、标准化美学的决绝摈弃。这些山寨而粗鄙的仿制建设,事实上符合了中国新兴中产阶层的需要,而景观的空洞显现出的是精神上的渴望和缺失。它们透露出个体乃至时风对财富与个性的渴望,对国际化的单向度想象,进而投射于一种后社会主义的崇洋尊古。
Yang Guangnan’s Monet Garden sculptures are rooted in these imitations of Western architecture. In this series, ‘imitation’ is as much about the existing architectural models, as the approaches Yang Guangnan has adopted to translate them. ‘Imitation’, however, does not suggest ‘replication’. Although Yang Guangnan’s Monet Garden includes the conceptual and methodical components in the work of art: the stain-glass window and floor tiles are reproduced; building scraps are polished, cut and repurposed for valuable apparatus; the framework sets up confines, contours or even supports the illusion; resin congeals into a glass or amber-like texture, encasing murkiness with clarity. Yang Guangnan begins with the object and mobilize our general awareness of this reality through material and formal language. At the same time, they convey a romantic and ambiguous visual quality, recreating the much-criticized faux glitz and glamour, while implying the individual's most contradictory and sincere desire for a better future.
Monet Garden, accompanied the rise of Chinese society in the 1990s, was a temporary product formed spontaneously when the system and the economy sought alternatives. It was crass and crude, and a failure apparently. On the other hand, Yang Guangnan’s Monet Garden is akin to the scraps gleaned from collective memory and imagination. They are partial objects of a particular building or fossils that have been magnified several times, seen under the microscope. Through Yang Guangnan’s profiling and zooming-in approach, those grand landscapes projecting a variety of desires highlight the remaining aspirations abandoned by the times in the ruins and the reflections of the current dilemma of value judgment.
关于艺术家
近期部分个人项目:“Nothing”,C5CNM,北京,2020;“盲区”,指纹画廊,北京,2019;“消化不良”,泰康空间,北京,2016。近期部分群展:“冷膨胀”,南山社,西安,2019;“我的风景”,常青画廊,北京,2018;“兴起:中国当代艺术中的女性声音”,英国华人艺术中心,英国,2017;“转向:2000年后的中国当代艺术趋势”,民生美术馆,上海,2016。
Selected solo exhibitions include: Nothing, C5CNM, Beijing, 2020; Blind Spot, Fingerprint Gallery, Beijing, 2019; Dyspepsia, Taikang Space, Beijing, 2016. Selected group exhibitions include: Cold Expansion, Nanshanshe, Xi’an, 2019; Inner Scapes, Galleria Continua, Beijing, 2018; NOW: A Dialogue on Female Chinese Contemporary Artists, Centre for Chinese Contemporary Art, Manchester, UK, 2017; Turning Point: Contemporary Art in China Since 2000, Minsheng Art Museum, Shanghai, 2016.
孙逊志 Xunzhi Sun
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xunzhisun@magician-space.com

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