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正在展出 | 杨光南：莫奈花园. 96区

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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。

杨光南的“莫奈花园”系列雕塑作品正是基于那些对西方进行仿造的建设所进行的创作。在该系列作品中，“模仿”是既定存在的建设模式，也是杨光南将其进行转化的所采用的方法。但“模仿”并不只意味着“复制”，在杨光南的“莫奈花园”里显然具备了内核与方法的双重实践：玻璃花窗、地砖的物质形态被翻制；废料被重新打磨、切割，再次成为了消费价值的依托；框架则限定、勾勒、或支撑着虚幻景象；树脂所凝结而成如玻璃或琥珀一般的机理，以清透包裹着混沌。杨光南以物质本体出发，通过材料与形式语言来调动我们对于这一现实的普遍认知。与此同时，它们传递出了一种浪漫、暧昧的视觉特质，重现了那些饱受诟病的虚假浮华的同时，更是暗含着个体对美好未来最为矛盾而真切的渴求。

“莫奈花园”伴随着1990年代中国社会的方兴未艾，是在体制与经济都在寻求出路时，社会自发形成的临时产物。它生硬而粗劣，显然也是失败的。而杨光南的“莫奈花园”更像是从集体回忆和想象中所拾得的残片。它们既像是某一建筑的局部物件，又像是显微镜下被放大数倍后的化石。那些欲望投射的宏大景观，被杨光南以侧写、聚焦的转换方式，凸显了宛如遗址中残存的被时代所抛弃的希冀，也成为了当下价值判断困境的映照。

Monet Garden is an ongoing thread in Yang Guangnan's art practice. Similar to 'Sunny Venice', 'Roman Garden', 'Central Park' these western names have been widely used in residential real estate and urban constructions in China. As a product of China’s economic reforms and market economy, ‘Monet Garden’ was particularly popular between the 1990s to 2000. This hybrid ‘Continental style’ mixed classical forms with modern architecture, that aspired to and imitated Western civilization, and even more so resolutely disregarded the collective and standardized aesthetics. These bootleg and unsophisticated generic construction are, in fact, fitting to the demands of the emerging Chinese middle class, where the barren landscape underscored broiling desires and the absence of spirituality. Driven by the individual’s or even the epochal desire for fortune and style, the one-dimensional imagination of what is considered 'international' manifests in a post-socialist reality where reverence for foreign things and respect for antiquity are in tandem.

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

杨光南，1980年出生于河北。2006年本科毕业于中国美术学院雕塑系，2009年硕士毕业于中央美术学院雕塑系，现生活工作于中国北京。她的作品曾在英国华人艺术中心、法国南特卢瓦河美术馆、墨尔本法国艺术中心、澳门当代艺术博物馆、台北国际艺术村、北京尤伦斯当代艺术中心、上海民生美术馆、中国美术馆等多处展出。

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。

About the Artist

Yang Guangnan, borns in 1980 in Hebei, China, Yang Guangnan graduated from the Sculpture Department of the China Academy of Art with B.A in 2006, and the Sculpture Department of Central Academy of Fine Arts with M.A in 2009. Currently she lives and works in Beijing. Her works have been shown at Centre for Chinese Contemporary Art, Manchester, UK; FRAC, Nantes, France; The France Art Center, Melbourne, Australia; Macao Museum of Art, Macao; International Art village, Taipei; UCCA, Beijing; Minsheng Art Museum, Shanghai; National Art Museum of China, Beijing, etc..

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.

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孙逊志 Xunzhi Sun

86 13629642754

xunzhisun@magician-space.com