展览现场 Part 1 | 当怪奇成为新日常

正在展出 Exhibition On View:

芳草地画廊正在呈现群展“当怪奇成为新日常”。怪奇(Grotesque)是耽于空想、稀奇古怪，是不协调与不适宜，是反自然与超现实。兴许它曾经意味着非常态，作为少数客体被边缘化和批判；现在一场病毒颠覆世界的运行秩序，“紧急状态”提示人类文明与社会生活的重要意义。走出家门，在日光下的柏油马路看见神的影子，接收植物无声的讯息，追随真挚与爱意的蝴蝶，进入怪奇大剧场——当人们拒绝对自己说谎，勇于面对怪石嶙峋的内心渴望，剥离怪奇作为“正常”对立面的身份，视残缺、滑稽与不和谐为值得被接纳和赞美的现实……

When the Grotesque Becomes the New Normality features more than forty works by 15 artists working with a wide range of media spanning paintings, sculptures, installations, and videos. The representation of unknown species and their charming appearance convey intriguing narratives. The grotesque, while expanding the boundary of our vision and experience, generates new ideas through metamorphosis and juxtaposition. In this process, the burden of our daily life that could not be eased in the past, might acquire a new sweetness. 

部分参展艺术家作品:

Works Featured-Part 1

“这一系列作品当中的素材大多都是在生活中拍摄采集的一些物体，这些物体的安排和摆放并非经由我主观操控，而是客观的存在。我通过我自己的方式进行客观的记录和再次呈现，没有过多地去调控构图和绘画性。目的在于使观者在这样一个仪式感的场域中生成某种观察揣测的互动。将我的观察视角原始地展示到第三方面前，也是为了梳理呈现一个特别的观察路径以及新的对话状态。“ (吕喆)

Most of the materials in this series of works are objects captured and collected in daily life. The arrangement and placement of these objects is not subjective, but it reflects an objective dimension of existence. Through an objective record and representation of scenes of daily life and by limiting my own intervention, I arrange the pictorial structure and the visual composition in my works. My aim is to provide the viewers with a space characterized by a ritualistic dimension and to enable them to observe possible interactions between different elements. The purpose of presenting my perspective of observation to the viewers is to open up to new forms of analysis and dialogue. 

吕喆将静物“去客体化“，隐藏观看者的主体性。在他的作品前，许多观众会驻足停留良久，表情看起来超越了纯粹欣赏，更像在研究什么。他描绘的物件无论体积大小都散发引人注目的光芒，构图好比将平凡的物件放置在舞台中央并以聚光灯照亮，在光下，物件之间的关系和平面的张力营造缓慢流逝的时间景观，物物之间上演叙事性情节，无关台下观众。

Lv Zhe’s objectification of still life conceals the subjectivity of the viewers.  Many viewers will stop and look at his works for a while, as if they were not just appreciating the aesthetic quality of the piece of art but also closely analyzing each detail of the work. The objects depicted by the artist are extremely eye-catching, regardless of their size. The ordinary objects depicted by the artist are placed at the centre of the visual composition, illuminated by a spotlight. Under the light, the relationship and the tension between the objects reproduce the passing of time: the narrative elements of the plot determined by the interaction of different elements represented by the artist seem to have no relationship with the viewers. 

1984 生于陕西

2008 毕业于北京林业大学设计系

现工作生活于北京

1984 born in Shaanxi

2008 graduated from the Design Department of

Beijing Forestry University

currently lives and works in Beijing

△ 药店 Chemist 布面油画 oil on canvas

130 × 100 cm 2012

"My friend went out to buy medicine late at nightand she saw an acupuncture prosthetic hand. She held the prosthetic hand abovea basin without a faucet, and the tattoo on her wrist seemed to have a meaning." said Wang Jian.

Wang Jian is interested in intuitive and sensorial experience rather than in the indirect one. He attempts to express all sorts of temporary experiences and the emotions they generate through his works. In the work Chemist, the prosthetic hand, the wrists with the strange tattoo, and the basin without faucet are elements rarely seen in daily life and they are all placed in the same visual field. Apparently meaningless, they in fact provide the audience with the joy of exploration and interpretation. This is the essence of daily life that the artist wants to share and to convey.  

韩鸿阳 Han Hongyang

1994 出生于黑龙江哈尔滨

2017 毕业于北京化工大学公共艺术学院

现工作生活于北京

1994 born in Harbin, Heilongjiang

2017 graduated from the School of Public Art,

Beijing University of Chemical Technology,

currently works and lives in Beijing

△ 大剧场 Grand Theatre 综合材料 Mixed media

13.5 × 36 cm 2019

△ Blue Sperm 综合材料 Mixed media

20 × 10 cm 2020

Han Hongyang’s Grand Theatre series includes eight installations and a ten-minute experimental film: the world is a huge circus full of chaos, anxiety, lies and legends, and the world is like thousands of tiny theatres connecting one secret story after another. These small theatres, grafted in tiny places, through assembling different scenes and fragments, present the chaos, the void and the non-sense of reality as depicted in T.S. Elliott’s TheWaste Land. 

The experimental film Grand Theatre 2021-1 is the artist’s re-elaboration of a wide range of written and visual material. These fragments are not organized in a liner structure; on the contrary, the artist arranges them following a natural flow. These fragments are combined with symbolic images of religion, war, literature, and theatre and they are arranged through a unique and personal style within a narrative space filled with poetic connotations. 

值得一提的是影像的配乐之一：瓦格纳著名戏剧《Tristan und Isolde 特里斯坦与伊索尔德》，叔本华的哲学观念串联尼采、福科、海德格尔的学说，歌剧里伊索尔德式身死求爱的强力意识也许正是大剧场中荒诞现象的共同根源。

△ Infinite 1/2 布面油画 oil on canvas

100 × 70 cm 2015

△ Infinite 2/2 布面油画 oil on canvas

100 × 70 cm 2015

章逸雄的作品始于“感觉的逻辑”。伍尔夫式的意识流联想表现出无规律和无序，不断在多个事物间跳跃逗留，这也是作品中呈现看似毫无关联的意象的原因。艺术家通过作品提醒观众，在现实空间里，眼前出现的客观事物可能激发新的思绪与浮想，接着又被取代。

△ 帆布画面上的巴拿马库那族莫拉手绣：螃蟹

Panama embroidery on the canvas: the crab

△ 此刻相拥 Embracing each other now 铸铜 cast copper

9 × 11 × 13.5 cm 2020

△ 憩 Have a rest 铸铜 cast copper

27 × 7 × 14 cm 2020

△ (左)父与子 (Left)Father and son (右)一朵 (Right)Yi Duo

铸铜 cast copper 17.5 × 10.5 × 10 cm, 11.5 × 11.5 × 8 cm 2020

于忠清创作的雕塑有介于人兽之间的形象，长着耳朵、尾巴与特殊形状的手脚。铸铜带来视觉上的厚重和光泽感，更使观众将这些慵懒随性的小生物与原始状态的自然生活联系起来。除生活方式之外，艺术家借助小生命之间的温馨互动让人回味亲情、友情、爱情栖息于生活的美好瞬间。

介隐建筑是一家创新而务实的设计事务所。专注于重塑传统空间活力，致力传统村镇、历史街区等在新产业功能要求下的适应性改造设计；再造新型空间载体，尝试现代的建筑空间和行为组织形式，从材料、构造等层面与新科技、多媒体结合，寻找并再造新的广义空间场域。

Zen-In Architects is an innovative and pragmatic design firm, whose main work’s direction revolves around two key words: Renewal and Innovation. The group is devoted to the adaptable transformation design of old cities, traditional villages and towns and industrial heritage areas under the requirements of new industrial functions. Zen- In Architects attempts to find new spatial forms and behavioral organization in order to reconstruct new broad space fields.

△  墨·瓦 Mo Wa 

中国传统文化在当下被重新解读和定义之后，以一种新的面貌出现在生活中。基于这些现象和线索，介隐建筑开始思考怎样将传统文化的精神内涵和表现形式融入现代生活、赋予时代属性，这是墨·瓦创作的起因。他们选取传统水墨技法和传统青瓦材料，融合形成作品的主题——墨·瓦，使其既有水墨的自由流动，又有瓦片的静谧坚固。

Chinese traditional culture appears in contemporary life with a new look after being re-defined and re-interpreted. Based on these phenomena, Zen-in Architects began to think about how to integrate the spiritual connotation and expressive forms of traditional culture into modern life and how to enrich traditional elements with attributes of contemporary times. This is the conceptual framework of Mo·Wa. The team of Zen-in Architects applies traditional ink and wash techniques to the traditional tile, creating a new product-Mo(ink)Wa(tile), while preserving both the free flow of ink and the firmness of tiles.

制作过程中，墨汁与颜料自由融合或排斥，在瓦片上自由流淌，形成流线型、点状图案，甚至随机而连续地呈现山川、河流、丘陵。这种有机自然、灵活多变的创作形式，拓展了瓦片本身的应用场景与功能特性。