“贮藏（2022）”展览项目系列推送「艺术家」之（十）韩梦云
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我们将于“贮藏（2022）”展览期间，按照作品在画廊展厅的陈列顺序进行参展艺术家系列推送。敬请关注!During
the exhibition, we will do a series of wechat posts of participating
artists according to the order in which the works are displayed in the
exhibition space. Stay tuned !
韩梦云 Han Mengyun
图像的起源 | L’origine de l’image2022
纸本水墨、丙烯及矿物颜料 |
ink, acrylic and mineral pigment on
paper76 × 29 cm（绘画 painting）
108.5 × 32 cm（带框 frame）
“贮藏（2022）”展览现场
麦勒画廊北京，2022
Exhibition view of A Place for Concealment (2022)
Galerie Urs Meile Beijing, 2022
《图像的起源》中，韩梦云使用了在印度收集的木刻印章来拓印图案。近年来大量的对中国、印度、伊斯兰、基督教的图像研究和整理，以及2020年在印度的采风，引发了她的一系列顿悟：装饰是人类从大自然里提炼出来的语言，是宇宙观的基本构成。
In L’origine de l’image, Han
Mengyun uses a woodblock from India to print a pattern. Extensive research of
Chinese, Indian, Islamic and Christian iconography in recent years, and an
exploratory trip to India in 2020, inspired a series of insights: decorative
motifs are language humanity has refined from nature, and are the basic
structure of the view of the cosmos.
韩梦云
Han Mengyun
艺 术 家
韩梦云，1989年出于武汉，现生活和工作于伦敦。其作品旨在寻求关于绘画和工艺艺术的非西方话语体系，以及在艺术中建立跨历史和跨文化对话来颂扬多元文化主义。她早年于中国和美国接受绘画教育，近年来着迷于印度和伊斯兰艺术，并在多地学习传统细密画技法，凭借植根于东方哲学的灵性和神秘主义来平衡西方美学传统中基于科学和理性的绘画准则。深入研究多个古代宗教及相关艺术风格后，她的作品继而从佛教经文、古典诗歌及文学、印度和波斯细密画、古代手抄本、以及中国和日本的木版印刷典籍中汲取灵感。她的艺术实践运用并结合多种媒介，从纸上水墨、布面油画、纺织艺术，到视频和建筑装置的陈布，并融合了多种传统手工艺。韩梦云从相互交织与混合的全球艺术史、考古学、宗教和文学中探索出极具个人特点的创作风格，并展开了跨越国界、文化和历史对话的艺术新征程。
韩梦云2012年获美国巴德学院艺术学学士学位，之后在京都大学等多所院校研习梵文研究，2018年获牛津大学美术学硕士，致力于古典印度学和印度美学理论的研究。她曾在大英博物馆和罗格斯大学任职。近期展览包括:《三镜亭》，“沙特阿拉伯迪里耶双年展：摸着石头过河”，迪里耶，沙特阿拉伯（2021）；“玉屑集”，千高原艺术空间，成都（2019）;“无定”，今日美术馆，北京（2013）等。
Han Mengyun, born in Wuhan in 1989, is an artist currently based in
London. Han’s practice extols multiculturalism by seeking alternative non-Western
discourses on painting and craftsmanship and forging a transhistorical and transcultural dialogue in art. Trained as a
painter both in China and the US, diversified by her study of Indian and
Islamic miniature painting in recent years, Han balances the opacity and
painterliness of the Western aesthetic tradition with the spirituality and
mysticism rooted in Eastern philosophies. After delving into various ancient
religions and arts, her works draw inspiration from Buddhist scriptures,
classical poetry and literature, Indian and Persian manuscript painting, as
well as Chinese and Japanese woodblock-printed books. The diverse materiality
of her work is manifested in her combination of various artistic traditions and
crafts in her contemporary interdisciplinary art practice that spans from ink
on paper, oil on canvas, woodblock printing on textile, to video and
architectural installations. Han Mengyun has forged her individual voice from
the amalgamation of global art histories, archaeology, religion and literature as she embarks on a
new excursion into a cross-cultural and transhistorical dialogue in art beyond
borders.
Han Mengyun received her B.A. in Studio Art from Bard College
in the US in 2012 and has pursued the study of Sanskrit at various institutions
such as Kyoto University before she completed her MFA at the University of
Oxford with a research focus on Classical Indology and Indian aesthetic
theories in 2018. She has worked at the British Museum and has previously taught
at Rutgers University. Recent exhibitions include: “The Pavilion of Three
Mirrors”, Ad-Diriyah Biennale: Feeling the Stones, Riyadh, Saudi
Arabia (2021); “Splinters of Jade”, A Thousand Plateaus Art Space, Chengdu
(2019); “In Between Islands”, Today Art Museum, Beijing (2013), etc.
本次展览将持续至2022年8月7日。
The exhibition will continue through August 7, 2022.
相关链接
“贮藏（2022）”展览项目系列推送「艺术家」之（九）唐永祥
“贮藏（2022）”展览项目系列推送「艺术家」之（八）闫冰
“贮藏（2022）”展览项目系列推送「艺术家」之（一）何迟
“贮藏（2022）”系列推送「文章」| 杨紫对谈王光乐：“路过缓慢的货架”
【展讯】麦勒画廊恢复开馆 | 当前展览“贮藏（2022）”已对外开放
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