艺术粮仓 | 王成普 Wang Chengpu

记忆与艺术的关系自欧洲古典时代以来就在各种文献和作品中有明确的体现，古希腊神话中，象征艺术的九位缪斯女神的母亲谟涅摩绪涅（Mnemosyne）就是司管记忆和掌管时间的女神。从古代神话的渊源来看，艺术甚至源自于记忆，而记忆又与空间密切相连，有了特定空间的辅助，记忆可以重新编排并重组。

《空间分割No.105》230x140x150cm 树脂 2020

Space Division No.105" 230x140x150cm Resin 2020  

艺术家王成普长期在空间领域探索装置和绘画作品的构成秩序。近年来他的探索包括过往记忆与梦境中形象的抽象化表达，延续了他之前对空间秩序的思考。王成普的作品在记忆空间的基础上，将梦境的超现实形状，赋予抽象的形式之中。这其中，视觉假象和知觉的错误感知是王成普惯用的策略，他常常通过线的平面和空间存在之间的悖论，将形象重新编码，使作品呈现特殊的空间形态。他近期的思考加入了记忆的空间元素，将线性的抽象元素在空间中赋予叙事的意义，同时又利用数理逻辑实现了精确的定位。这种定位记忆的构建又与梦境类似，梦中的提示物或者触发与真实世界联系的事物往往是象征或者抽象化的，它们依靠人的联想能力完善，而记忆也依靠特定位置出现的象征物依次串联起来。

《空间幻想No.1》120cm 镜面不锈钢 2021

Space Fantasy No.1" 120cm mirror stainless steel 2021  

上述方式与欧洲中世纪时流行的“定桩记忆法”异曲同工，定桩记忆法即将特定的事物作为“记忆素”安插在想象出的建筑空间中的特定位置，在演说的时候再根据回忆，按照一定的次序将其从想象的空间中提取出来。古罗马时期的修辞学家昆体良描述了古代定位记忆法的原理。昆体良认为，为了在记忆中形成一系列的场景，记忆的宫殿必须足够宽敞，前庭、后院、客厅以及卧室和装点房间的雕像和绘画，应尽量错落且有变化。如此安排之后，当需要激活记忆时，从房子内依次取出放置的物品即可。这些象征性的物品即作为辅助回忆的“记忆素”而存在。这种空间中放置的记忆素必须依靠有秩序的场景来组织，如此看来，王成普作品中严密秩序感也可以被看作是构建记忆之宫的必要前提。

《空间分割No.101》尺寸可变 综合 2020

Space division No.101/Material: Comprehensive/Size: Variable size /Year: 2020  

《被打开的空间No.2》60×77×107cm 不锈钢、铝箔、树脂 2021

Opened Space No.2" 60×77×107cm Stainless steel, aluminum foil, resin 2021  

今天的一些艺术家的创作实践可以理解成一种为记忆编码的方式，他们往往通过形象或者符号的方式将想要留住的过往记录下来，但绝不是单纯的记录和对抗遗忘，而是将潜在的空间逻辑赋予形象，并通过多样化形象表现暗示某种空间方位信息。从这个角度看，王成普的作品似乎就是这种空间方位记忆法则的一种诠释。我们在王成普的形象构建和制作方式中，可以找到一条记忆术的隐藏脉络。这种对场景的符号化和抽象化处理，实际上正类似记忆之中的图景，它们由一系列空间中的框架所编码，同时又反复出现一些细节，而有些细节又要靠观者想象的添加。艺术家在依靠抽象形体标记特定场所的同时，也设定了记忆的“解码器”；在构建想象中“记忆宫殿”的同时，又提供了面向未来的视野和思想畅行的空间。

高远

艺术史研究者、策展人

中央美术学院博士，清华大学博士后

任教于北京工业大学艺术设计学院

《空间分割No.1002》85x43x33cm 不锈钢 2019

Space division No.1002/Material: Stainless steel /Size: 85 × 43× 33cm/Year: 2019

The relationship between memory and art has been evident in various texts and works since classical Europe. In ancient Greek mythology, Mnemosyne, the mother of the nine muses who symbolize art, was the goddess of memory and time. From the origin of ancient mythology, art even originating from memory, which is closely linked to space, and with the aid of a specific space, memory can be rearranged and reorganized.

Artist Wang Chengpu has long explored the compositional order of installations and paintings in the field of space. His recent explorations include the abstract expression of images from past memories and dreams, continuing his previous thoughts on spatial order. Wang Chengpu's works are based on the memory space and gives the surreal shapes of the dream world into the abstract forms. In this, visual illusion and perceptual misperception are Wang Chengpu's usual strategies, and he often recodes the image through the paradox between the plane of the line and the existence of space, so that the work takes on a special spatial form. His recent reflections add the spatial element of memory, giving narrative meaning to linear abstract elements in space, while using mathematical logic to achieve precise positioning. This construction of locative memory is again similar to that of dreams, where the cues or things that trigger connections to the real world are often symbolic or abstracted, and they rely on one's ability to refine associations, while memory also relies on symbols that appear in specific locations to be strung together in sequence.

《空间分割No.106-2》300x240x150cm 青铜上色 2020

Space division No.106-2/Material: Bronze coloring/Size: 300×240×150cm/Year: 2020

The above approach is similar to the "staking mnemonics" popular in Europe during the Middle Ages, in which specific objects are placed as "mnemonics" in specific locations in an imaginary architectural space, and then extracted from the imaginary space in a certain order according to the recollection during the speech. It is then extracted from the imaginary space in a certain order based on recall. Quintilian, a rhetorician of the ancient Roman period, described the principles of ancient mnemonics. According to Quintilian, in order to create a series of scenes in memory, the palace of memory must be spacious enough, with a front garden, a back yard, a living room, as well as bedrooms and the statues and paintings that decorate the rooms, staggered and varied as much as possible. After this arrangement, when it is necessary to activate the memory, the objects placed inside the house can be taken out in order. These symbolic objects exist as "mnemonics" to assist in the recall. The mnemonics placed in this space must be organized by an orderly scene, so it seems that the sense of strict order in Wang Chengpu's works can also be regarded as a necessary prerequisite for the construction of a palace of memory.

《空间分割No.4》68x40x60cm 综合 2018

Space division No.4 Material: Comprehensive Size: 68 × 40 × 60cm Year: 2018

The creative practice of some artists today can be understood as a way to encode memory, they often record the past they want to keep by means of images or symbols, but never simply record and fight against forgetting, but give the potential spatial logic to images and suggest some kind of spatial orientation information through diverse image expressions. From this perspective, Wang Chengpu's works seem to be an interpretation of this law of spatial orientation memory. We can find a hidden vein of mnemonics in Wang Chengpu's image construction and production methods. This symbolic and abstract treatment of scenes is actually similar to the pictures in memory, which is encoded by a series of frames in space, while recurring details, some of which are aided by the viewer's imagination. While relying on abstract forms to mark a specific place, the artist also sets up a "decoder" of memory; while building an imaginary "memory palace", he also provides a future-oriented vision and space for thoughts to flow.

Gao Yuan

Art history researcher and curator

PhD from Central Academy of Fine Arts, Postdoctoral Fellow at Tsinghua University

Teaching at School of Art and Design, Beijing Institute of Technology

《束缚No.1》46x36x30cm 亚克力 2018

Bondage No.1 Material: Acrylic Size: 46 × 36 × 30cm Year: 2018 

王成普 

1987年出生于山东

2017 毕业于中央美术学院雕塑系

2015年参与组建 “桌面研究”艺术小组

现工作生活于北京 

个展

2020 规·则：王成普个展，ARTCLOUD艺术中心，深圳,中国；

2018王成普个展，瀚艺术空间，北京，中国 ;

群展

2020

 “紧急迫降”EMERGENCY LANDING，木星美术馆，深圳，中国；

“这不可能”——FAS潮流艺术文化展，今日美术馆，北京，中国；

2019 

“视觉编码”——第五届德中青年艺术家发展基金联展，Kommunale Galerie Berlin 美术馆，柏林，德国；

“隐私与忆库”陶瓷媒介学术邀请展，隆福文化中心，北京，中国；

2018

观塘艺术季“桃花源” 公共艺术展，观塘美术馆，北京，中国；

艺术北京Art Park公共艺术展, 农业展览馆，北京，中国；

2017

看不见的世界Ⅱ，艺术+ 上海画廊，上海，中国；

新雕塑2017 ，Hi艺术中心，北京，中国；

在路上 —— 中国青年艺术家作品巡展（北京），大千当代艺术中心，北京，中国；

2016

第三届CFAM双年展，中央美术学院美术馆，北京，中国；

Wang Chengpu

1987 Born in Shandong

2017 Graduated from Central Academy of Fine Arts , Department of Sculpture

2015 Formed the "Desktop Research" art group 

Now works and lives in Beijing

Solo Exhibition

2020 Rules and Regulations: Wang Chengpu Solo Exhibition, ARTCLOUD Art Center,, Shenzhen, China;

2018 Wang Chengpu Solo Exhibition, Han Art Space, Beijing, China;

Group exhibition

2020

 "Emergency Landing" EMERGENCY LANDING, Jupiter Museum of Art, Shenzhen, China;

"It's Impossible" - FAS Trend Art and Culture Exhibition, Today Art Museum, Beijing, China;

2019

"Vision Code" - The 5th German-Chinese Young Artists Development Fund Joint Exhibition, Kommunale Galerie Berlin, Berlin, Germany;

"Privacy and Memory" Ceramic Media Academic Invitational Exhibition, Longfu Cultural Center, Beijing, China;

2018

Kwun Tong Art Season "Peach Blossom Garden" Public Art Exhibition, Kwun Tong Art Museum, Beijing, China;

Art Beijing Art Park Public Art Exhibition, Agricultural Exhibition Hall, Beijing, China;

2017

Invisible World II, Art + Shanghai Gallery, Shanghai, China;

New Sculpture 2017, Hi Art Center, Beijing, China;

On the Road - Chinese Young Artists Tour Exhibition (Beijing), Daqian Contemporary Art Center, Beijing, China;

2016

The 3rd CFAM Biennale, CAFA Art Museum, Beijing, China;

【恢复的真相：规则、感官与无限性】

【The Reality of Recovery ：sensation, regularity and infinity】

策展：张涛

学术主持：徐薇

Curator: Zhang Tao

Academic Chair: Xu Wei

展览时间 | Exhibition time

3.20-4.20

开幕时间 | Opening time

3.20  3:00pm Sun.

Address | 展览地址

北京市朝阳区草场地100号艺术粮仓

Art Granary, No.100 Caochangdi, Chaoyang District, Beijing

艺术粮仓 Art Granary 

艺术粮仓一直致力于将中国文化艺术—水墨艺术融入当代语境，以严谨的学术态度，联合策展人、评论家共同策划呈现中国当代水墨系列展览及大量学术研讨活动。作为国内前沿的艺术机构，艺术粮仓通过与艺术家的深度合作，系统的呈现了中国当代水墨的当代性、国际性、未来性，力求让世界更好地认识到中国当代艺术的东方气质和艺术价值。同时在多年的艺术运营推广和资源方面积累了丰富的经验，参与策划并执行了诸多公共艺术项目，打磨了一个较为成熟的艺术项目团队。欢迎国际艺术家和艺术机构到中国来展览，与艺术粮仓展开深度密切的合作，期待您的复函！

 

Art Granary has been committed to integrating Chinese culture and art-ink art into the contemporary context. With a rigorous academic attitude, Art Granary jointly plans and presents a series of exhibitions and numerous academic seminars on Chinese contemporary ink and wash with curators and critics. As a cutting-edge art institution in China, Art Granary systematically presents the contemporary, international and future nature of Chinese contemporary ink and wash through in-depth cooperation with artists, striving to let the world better recognize the oriental temperament and artistic value of Chinese contemporary art. At the same time, we have accumulated rich experience in art operation promotion and resources for many years, participated in planning and executing many public art projects, and polished a more mature art project team. We welcome international artists and art institutions to come to China to exhibit and start a deep and close cooperation with Art Granary, and look forward to your reply!

北京市朝阳区草场地100号艺术粮仓

郵箱：coop@artgranary.cn

聯繫電話：18810289856