HdM·展览 ｜杨茂源个展《双重风景》

“物的特性让人们丧失对熟悉事物的注意力与新鲜感，我要保留更多精力面对新的刺激。”——杨茂源

杨茂源的作品着迷于不同美学之间的转化和结合，以独特、暧昧的方式将世界各地让他产生共鸣的形象或主体融合在一起。他常自由地引述艺术史，以自我的方式从根本改变着所谓“经典”的语境和感知，从而引导观者激发起自我思考的确定性。这种创作手法使杨茂源的作品充满了幽默与沉思，避免被任何“概念”所限制和定性，着重于艺术实践的过程，并试图从中提出容易被忽视的问题。

©杨茂源工作室

在“风”字出现约 1600 年之后，作为单一词组的“风景”才出现，“风”与“景”的本义都是自然现象，“风”是流动空气，“景”为日光，“风景”即为“物”的受光面及其影子。无论影子表面多遵守简单的光学法则，其表象仍然让我们难以捉摸，影是光的一部分，在光的视野中出现又消失，易逝又善变；光与影，互为投射，如影随形。“双重风景”一方面指涉了光和影的双重关系（事物的阴阳关系），另一个层面也暗示了艺术家看待事物的包容性。《双重风景》中两个重要的新作品系列分别是《石头脚》和《摩登时代》。在《石头脚》这组作品中，笨拙的脚上背着形态各异、“从天而降”的“石头”很容易让观众接近欧洲神话故事中的天神扛着星球等经典形象，石头的纹理使人联想到遥远的地质时期，在此，脚和“奇石”不可能的相遇形成一种史诗般的浪漫关系，给人一种强烈而直接的感受；同时这种“双重性”也强调了杨茂源工作方式中一直存在的“无目的的目的性”，他用一种不真实的方式塑造了一处超现实“风景”。如果说《石头脚》以及之前更多带有“口音”的作品都涉及到关于不同“空间”和“地理”之间的讨论，那么《摩登时代》这件作品则更多穿透了一种对时间概念的思考，乍看之下令人忍俊不禁的笑脸实际上是在过去每一个时代和地域都不自觉流传下来的同构性面孔。人类在认知和表达世界的时候，不同时代能流传下来的“物“都产生了相似性和永恒性，“摩登时代”此时并不是一个具体朝代，也不是具体时间概念；正是一些来自古代、现代、当代、未来的永恒在杨茂源看来才是生生不息的摩登时代。

©HdM GALLERY

《石头脚 01》，混凝土，19.5x13.5x11.5cm，2022

杨茂源 1966 生于中国大连市，1989 年毕业于中央美术学院版画系，同年参加中国现代艺术大展。2002 年获 CCAA 中国当代艺术奖，并在 2011 年作为代表艺术家参加了第 54 届威尼斯 双年展中国馆的展览，现工作生活在北京。杨茂源是一位充满创造力的艺术家，他的作品涉及绘画，雕塑，装置，摄影等不同媒介，曾多次在国内外重要机构展出，包括:波兰华沙国 立艺术博物馆，巴黎蓬皮杜中心，湖南省博物馆、今日美术馆，马丁 - 格罗皮乌斯博物馆， 鄂尔多斯美术馆，帕多瓦 VILLA BREDA 博物馆，美第奇 · 里卡尔迪宫等;他的作品也被世界各地重要私人藏家、美术馆和机构收藏。

Exhibition: Yang Maoyuan | Double Landscape

Opening: 2022.06.18 (Sat.), 16:00 - 18:00

"The nature of things takes away the attention and novelty of the familiar, and I want to reserve more energy to face new incentives."  ——Yang Maoyuan                                                            

Yang Maoyuan is a Chinese contemporary artist producing sculptures, installations, drawings and paintings. He is principally interested in the combination and transformation of different aesthetic genres, often mixing western and eastern objects or forms and approaching one with the other's perspective. Fond to quote freely from art history, Yang frequently stirs his audience to come to grips with their own certainties by fundamentally altering the both the context of famous icons and the manner in which they are perceived. This often results in idiosyncratic pieces that are both humorous and meditative. Eschewing the application of any overarching "concept", Yang Maoyuan's artistic practice consists in practical experiments that are conducive to more profound questions.

©HdM GALLERY

Stone Feet 70, concrete, 19.5x13.7x12.9cm, 2022

About 1600 years after the word "wind" appeared, the nomenclature "scenery" appeared as a single word. The original meanings of "wind" and "scenery" are natural phenomena. “Wind" means flowing air and the Chinese word for "scenery" means sunlight. "Landscape" in Chinese is the light-reflecting surface of the “object” and its shadow. No matter how much the shadowy part of the surface obeys simple optical laws, its appearance is still elusive for us. Shadow is a part of light, which appears and disappears concomitantly with light. On one hand, "Double Landscape" refers to the dual relationship between light and shadow (the yin and yang relationship of things), and on the other hand, it also implies the artist's inclusiveness in viewing things. The "Double Landscape" show will include two important new series: “Stone Feet" and "Timeless Era". In the “Stone Feet" series, the clumsy feet carrying "stones" of various shapes "falling from the sky" easily remind the audience of classic images such as gods carrying planets in European mythology. The impossible encounter with "Qi Shi" has become an artificial romance, which gives people a strong and direct feeling; at the same time, this "dual nature" also emphasizes the "random purpose" that has always existed in Yang Maoyuan's style; he created a surreal "landscape" in a real way. If "Stone Feet" and previous works with a "voice" involve discussions between different "spaces" and "geography", then " Timeless Era" is more a kind of penetrating meditation about the concept of time, in which the smiling faces that at first glance make people laugh are actually isomorphic faces that have been passed down unconsciously in every era and region in the past. When human beings envisage and express the world, the "things" that can be handed down from different eras are the products of similarities and timeless characteristics. " Timeless Era" is not a specific dynasty within a chronology, nor is it a specific concept of time; In Yang Maoyuan's view, the eternity of ancient times, of modern times, of contemporary times, and the future are the ever-growing components of a timeless era.

©HdM GALLERY

Infinite Growth No.2, titanium-plated on stainless steel, 150x52cm, 2022

Born in Dalian in 1966, Yang Maoyuan graduated from the Central Academy of Fine Arts in Beijing and currently lives and works in Beijing. He has been exhibited in important institutions within China and abroad, representing China at the 54th Venice Biennale and participating in exhibitions at the National Gallery in Warsaw, Poland, Pompidou Centre in Paris, Dresden Art Center, Hunan Provincial Museum, Today Art Museum, Martin Gropius Museum, Ordos Art Museum, VILLA BREDA Museum in Padua, Medici Ricardi Palace, etc.