艺术粮仓 | 于洋 Yu Yang

自述

文/ 于洋

一种方法和一种语言对我来说组成“杂·物”。

杂，在汉字的演变中形成了三种意义：第一，是次要的、非主流的。第二，是动词，混合、混杂，有“先王以土与金木水火杂，以成百物”。恰巧，“杂”的方式，符合了我在制作过程中与材料的直接对话以及用时间培养出来的情感表达，来完成了对于“他们”的错置，最终构成了“恰当的无关联”。第三，是作为不纯正的，有别于标准的来讲述。那么，不同材质和不同形状的混杂所创作的作品必定是“不纯正的”。以往的美学是纯正的、标准化的、中心式的，而在当下那些混杂的、不纯正的、不标准的、去中心化的“美学”正在铺天盖地而来。

杂·物，木、铁，240x35x140cm，2019

Miscellaneous Objects，wood，iron，240x35x140cm，2019

物，在海德格尔那里是消融在时间和空间这两种抽象容器之中的世界象征，因此随处可见，在眼前也在我们的身后，远离我们同时也亲近我们，所以他进行了“物的追问”并且没有尽头。

至于雕塑，劳伦斯用“物体在空间中的分布”来阐述了现代主义雕塑到极简主义出现是如何进行了长达半个多世纪的变革，而就是这一次又一次的变革，让“物性”在弗里德的“实在主义”中产生了区别于形式主义的核心价值。杂物，那些次要的、非主流的、零碎并且包围着我们生活的物品。这里我更加的愿意，将物品替换成物体，因为那样，物品的功能性便消失了，留下来的大概就是存在于雕塑范畴中的“元语言”。

“杂·物”是我用感性的方式将那些散落在我工作室里的“单元物体”以混杂的方式整理成的，组合成的，构建成的，我满意的“杂物”。

来广营的三棵树，木、石，215×110×30cm，2018

Three Trees in Lai Guangying，Wood，Stone，215×110×30cm，2018

曲线1号，木、铁，64×38×18cm，2018

Curve No. 1，，Wood, Iron，64×38×18cm，2018

情感激发物性的释放

文/ 裴刚

于洋的作品经过叙事性的写实阶段和超现实语言构成的多元实践，进而逐渐剥离出情感、现场、物性三者共同作用的潜在力量。他常常被寻常之物“刺激”，因而有了一件件“偶发”的作品。

他试图把一段段丢失在时间之海中的记忆与当下正在身处其间的现场，形成与未来对话的关系。在于洋而言，那些木、石、铁、线皆因“制”而勾联了时间、空间之网，当偶然相见的物与之相遇时，关于形色、体量、冷暖等趣味的重组与调度，轰然重启。

把不同体量、温度、质感、色彩、线条的物，“制”作重构，最终“置”于相互作用的空间，呈现出作品的精神性。

在他的创作实践中被弯曲的金属，破碎的石板，重新拼接的树枝，如同闪烁在时间、空间之网中的情感归属物，不仅是创造的原动力，同时也是对物性的释放。

于洋作品中不确定性、偶发性的线索离不开情感的作用，这也把他的作品与单纯的形式变化和物性的直白铺陈形成了根本的差异。

钢筋曲线，铁板、钢筋，160×151×4cm，2018

Reinforced Steel Curve，Iron Plate, Rebar，160×151×4cm，2018

Self Description

Yu Yang

A method and a language form "miscellaneous-thing" for me.

Miscellaneous, in the evolution of Chinese characters, has developed three meanings: First, it is secondary, non-mainstream. Secondly, it is a verb, to mix, to mingle, as in "the first king mixed earth with gold, wood, water and fire to form a hundred things". Coincidentally, the way of "mingling" is in line with my direct dialogue with the materials in the process of making and the emotional expression cultivated by time, to complete the misplacement of "them", which finally constitutes the "proper unrelatedness ". Third, it tells as impure and different from the standard. Then, the work created by the mixture of different materials and shapes must be "impure". The aesthetics of the past was pure, standardized, and centralized, but in the present time the mixed, impure, non-standard, and decentered "aesthetics" are coming all over the place.

The object, in Heidegger's case, is a symbol of the world dissolved in the two abstract containers of time and space, and is therefore everywhere, in front of us and behind us, far away from us and close to us at the same time, so he engages in an "inquiry of objects" without end.

As for sculpture, Lawrence uses "the distribution of objects in space" to illustrate how modernist sculpture has been transformed for more than half a century to the emergence of minimalism, and it is this transformation that has allowed "objecthood" to emerge in Fried's It is this transformation that gives rise to the core value of "materiality" in Fried's "positivism" as distinct from formalism. Miscellaneous objects, those secondary, non-mainstream, fragmentary objects that surround our lives. Here I would prefer to replace objects with objects, because then the functionality of the object disappears and what remains is probably the "meta-language" that exists in the context of sculpture.

The "miscellaneous-objects" are the "miscellaneous-objects" that I am satisfied with, which are organized in a mixed way, assembled and constructed by the "unit objects" scattered in my studio in a sensual way. ".

曲线3号，木、铁，140×54×29cm，2018

Curve No. 3，Wood, Iron，140×54×29 cm，2018

 落日，木、石头，90x30x15cm，2018

Sunset ，wood，stone，90x30x15cm，2018

Emotion stimulates the release of object nature

Pei Gang

Yu Yang's works go through the stage of narrative realism and the multifaceted practice of surreal language composition, and then gradually divest themselves of the potential power of emotion, site, and materiality working together. He is often "stimulated" by ordinary objects, thus producing a piece of "episodic" works.

He attempts to bring together the memories lost in the sea of time and the present scene in which he is present, forming a dialogue with the future. For Yu Yang, the wood, stone, iron and wire are all connected to the net of time and space by the "system". When the objects that meet by chance meet with them, the reorganization and dispatching of the interest of form and color, volume, warmth and coldness, etc., restart with a bang.

The objects of different volumes, temperatures, textures, colors and lines are "made" and reconstructed, and finally "placed" in the space of interaction, presenting the spirituality of the works.

The bent metal, broken slabs, and reassembled branches in his practice is like emotional objects that flicker in the web of time and space, which are not only the driving force of creation, but also the release of materiality.

Indeterminate and episodic clues in Yu Yang's works cannot be separated from the role of emotions, which also form a fundamental difference between his works and the mere variation of forms and the straightforward laying out of materiality.

无题，木，50x34x12cm，2018

Untitled，wood，50x34x12cm，2018

 去往虚空，木，52x45x8cm，2018

Emptiness，wood，52x45x8cm，2018

于洋，

1986年生于河北。

2011年毕业于天津美院获学士学位，

2015年毕业中央美术学院获硕士学位，

2021年毕业于清华大学美术学院获博士学位。

近期主要展览：

恢复的真相，艺术粮仓，北京（2022）；

虚像，优山美地家美术馆，北京（2022）；

2020年 中国当代艺术年鉴展，平山美术馆 ；

杂·物，于洋个展，指纹画廊，北京（2019）；

嬗变-当代艺术邀请展，云艺术中心，上海（2019）; 

空间语法研究之一“基底”，朗空美术馆，北京（2019）；

置·制，于洋个展，成当代艺术中心，北京（2018）；

“雕塑四十年展·第一回展” 深圳当代艺术馆，深圳（2017）；

“明天雕塑奖作品展”，四川美术学院美术馆，重庆（2017）等。

Yu Yang.

Born in Hebei in 1986.

Graduated from Tianjin Academy of Fine Arts with a bachelor's degree in 2011.

In 2015, he graduated from Central Academy of Fine Arts with a master's degree.

In 2021, he graduated from Tsinghua University Academy of Fine Arts with a Ph.

Recent Major Exhibitions.

The Reality of Recovery, Art Granary, Beijing (2022).

Virtual Image, Yosemite Home Art Museum, Beijing (2022).

2020 Chinese Contemporary Art Yearbook Exhibition, Hirayama Art Museum.

Miscellaneous-Matters, Yu Yang Solo Exhibition, Fingerprint Gallery, Beijing (2019).

Transmutation - Contemporary Art Invitational Exhibition, Cloud Art Center, Shanghai (2019); 

Spatial Syntax Study, "Substrate", Langkong Art Museum, Beijing (2019).

Placement-System, Yu Yang Solo Exhibition, Cheng Contemporary Art Center, Beijing (2018).

"Forty Years of Sculpture - First Exhibition", Shenzhen Contemporary Art Museum, Shenzhen (2017).

"Sculpture of Tomorrow Award Exhibition", Sichuan Fine Arts Institute Art Museum, Chongqing (2017), etc.

【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

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