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尹昌志 YIN CHANGZHI • EXHIBITIONS 展览(2017 ~ 2022)

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尹昌志 YIN CHANGZHI • EXHIBITIONS 展览(2017 ~ 2022) 崇真艺客




尹昌志,1984年出生于安徽东至;2005年毕业于安徽师范大学美术学院(B.A.);2009年毕业于中国美术学院油画系(M.A.);现生活、工作于安徽芜湖。


Yin Changzhi was born in China in 1984. He studied painting at Anhui Normal University in Hehei, China and further at China Academy of Art in Hangzhou, China. Currently, he lives and works in Wuhu, China.



尹昌志 YIN CHANGZHI • EXHIBITIONS 展览(2017 ~ 2022) 崇真艺客




2022

与材质和表情有关 · The Texture of Expression



尹昌志 YIN CHANGZHI • EXHIBITIONS 展览(2017 ~ 2022) 崇真艺客

尹昌志 YIN CHANGZHI • EXHIBITIONS 展览(2017 ~ 2022) 崇真艺客

尹昌志 YIN CHANGZHI • EXHIBITIONS 展览(2017 ~ 2022) 崇真艺客

尹昌志 YIN CHANGZHI • EXHIBITIONS 展览(2017 ~ 2022) 崇真艺客

“与材质和表情有关 · The Texture of Expression”

现场图片 installation view

OCAT西安馆 OCAT Xian

2022





尹昌志 YIN CHANGZHI • EXHIBITIONS 展览(2017 ~ 2022) 崇真艺客




2022

走步 · Walking with the Ball



丰塔纳手起刀落,划破的画布让人募然惊醒。一个虚幻的平面被拽入真实的时空,同时也打开了绘画的新路径。还能想到更多的画家,他们以任何裁判也叫不停的“犯规”动作,把绘画带到新的地带。尹昌志能持续地工作,很大程度上也得益于这种不断突入“禁区”带给他的心跳和激励。从某个获得自觉的时刻开始,尹昌志一直试图打破程式化的规则,在绘画的边界处寻找出口,以步步紧逼的方式直面绘画本身,对其物质化的肢体进行重新检验、解剖和缝合,并为之“量体裁衣”。


绘画工作的过程或静或动,且伴随着风险,因为在连续行动中需要随时立定,进行即时的观察和决断。通过不断拆解和建构特定的绘画框架,以摆脱平面的束缚,利用布料的重叠和错位,并且使用强烈的对比色来加强物料之间的冲突和对抗,使画面/画体处于某种新鲜的感知状态。同时,色层之间的相互干扰和避让,布料边缘的隐藏和外显,形成距离不定的临时组合,涂抹颜色的布料不再停留于单一空间的结构中,而是处于前后空间的拉扯中。物料在假定和直觉的驱动之下,经过反复挪移和走位来提示自身的不确定性和可能性。临时的动作和念头不断催生出新的局面,加速对现状和规则的重构。绘画不再沉迷一个稳固可靠的整体,而是围绕一个个实体生发出的各种关系的集合,是剪贴板上的聚集,是感性的若隐若现,也是随机的偶然选取,但在尹昌志决心收手的那一刻,眼前也确乎是个命中的事实,一个以作品名义存在的结果。


展览呈现作品,也关乎过程。此次展览取名“走步”,指涉了两个层面:一是对工作过程的直白表达 - “走一步,看一步”;二是关于工作方式及其结果,意在表明一种与常态相左的“违规”操作来实现对绘画目标的抵达。一个展览像是一个与自己,也是与观者的约定。尹昌志希望以一种非常规的方式来兑现关于感觉和智性的双重承诺,邀请观者在身临其境的当下体验它的物性和善变,以及它如何撩拨潜藏的绘画记忆,并与之游戏。



Fontana took a knife and cut the canvas , which woke people up. An illusory plane is dragged into real space-time, opening up a new path of painting. One can also think of more painters who bring paintings to new areas with any referee's constant "foul" action. Yin Changzhi's continuous work also largely benefited from the heartbeat and encouragement brought by this continuous penetration into the "restricted area". From a moment of consciousness, Yin Changzhi has been trying to break the stylised rules, finding an exit at the boundaries of painting, facing the painting itself step by step, re-examine, dissect and suture its materialised limbs, and "tailor-made".


The process of painting work is static or dynamic, accompanied by risks, because it is necessary to make immediate observations and decisions at any time during continuous operations. By constantly disassembling and constructing specific painting frames to get rid of the shackles of planes, taking advantage of the overlap and dislocation of cloth, using strong contrast colours to strengthen conflicts and confrontation between materials, the picture/body is in a fresh state of perception. At the same time, the colour layers interfere with each other and avoid each other, and the edges of the cloth are hidden and displayed, forming a temporary combination of uncertain distances. The coloured cloth no longer stays in the structure of a single space, but is in the tension of the front and rear spaces. Driven by assumptions and intuitions, materials are repeatedly moved and moved to indicate their own uncertainty and possibility. Temporary actions and ideas continue to lead to new situations and accelerate the reconstruction of the status quo and rules. Painting is no longer addicted to a stable and reliable whole, but a collection of various relationships around entities, a gathering on the clipboard, a looming sensibility, and random accidental selection. At the moment Yin Changzhi was determined to stop, it was indeed a hit fact in front of him, a result of existence in the name of the work.


Exhibition presents works, which is also related to the process. The exhibition is named "Walk with the Ball", which refers to two aspects: first, a straightforward expression of the work process - "step by step, look at one step"; second, about the working method and its results, which is intended to indicate a "violation" operation that is different from the norm to achieve the arrival of the painting goal. An exhibition is like an agreement with oneself and the viewer. Yin Changzhi hopes to fulfill his dual promise of feeling and intelligence in an unconventional way, inviting viewers to experience its material nature and fickleness in an immersive moment, and how it flirts with hidden painting memories and plays with it.




尹昌志 YIN CHANGZHI • EXHIBITIONS 展览(2017 ~ 2022) 崇真艺客


尹昌志 YIN CHANGZHI • EXHIBITIONS 展览(2017 ~ 2022) 崇真艺客


尹昌志 YIN CHANGZHI • EXHIBITIONS 展览(2017 ~ 2022) 崇真艺客


尹昌志 YIN CHANGZHI • EXHIBITIONS 展览(2017 ~ 2022) 崇真艺客


尹昌志 YIN CHANGZHI • EXHIBITIONS 展览(2017 ~ 2022) 崇真艺客


尹昌志 YIN CHANGZHI • EXHIBITIONS 展览(2017 ~ 2022) 崇真艺客


尹昌志 YIN CHANGZHI • EXHIBITIONS 展览(2017 ~ 2022) 崇真艺客


尹昌志 YIN CHANGZHI • EXHIBITIONS 展览(2017 ~ 2022) 崇真艺客


尹昌志 YIN CHANGZHI • EXHIBITIONS 展览(2017 ~ 2022) 崇真艺客

“走步 · Walking with the Ball”

现场图片 installation view

Gallery 55

2022





尹昌志 YIN CHANGZHI • EXHIBITIONS 展览(2017 ~ 2022) 崇真艺客




2020

安全距离 · Close Encounter



尹昌志 YIN CHANGZHI • EXHIBITIONS 展览(2017 ~ 2022) 崇真艺客

“安全距离 · Close Encounter"

现场图片 installation view

Gallery 55

2020






尹昌志 YIN CHANGZHI • EXHIBITIONS 展览(2017 ~ 2022) 崇真艺客

“安全距离 · Close Encounter"

现场图片 installation view

Gallery 55

2020






尹昌志 YIN CHANGZHI • EXHIBITIONS 展览(2017 ~ 2022) 崇真艺客

残余 Risidual

2019

布面丙烯 acrylic on canvas

100x80cm





尹昌志 YIN CHANGZHI • EXHIBITIONS 展览(2017 ~ 2022) 崇真艺客




2020

X / Y



展览取名“X/Y”,意在隐去某种因果关系。作品中可能潜藏的,或将要被发现的,在进入观看模式前,保持一种模糊状态。

 

有别于前两次展览,尹昌志此次展览的主题是关于绘画构建逻辑的思考。通过在矩形主框架的内部,增设更多的次框架,在框架之间穿插多个布面,框架和布面被单纯而鲜亮的颜色统一在一起,成为一个个看似单色画的框架体。无论是侧面增加的厚度,还是正面出现的斜度和弧度,都在一定程度上“应需而设”,框架和布面因此形成了一种有别于常规的逻辑关系。

 

通过在多变的框架上包裹布面,以此获得对绘画平面性的保留,附着颜料痕迹的多层布面试图在指认这种常规范式时,摆脱现代主义绘画经典范式的约束。当一切被实体功能化后,透过空隙形成的多维空间层次制造出一个多变的框架体结构,由此生成平面性与空间性同时并存的双重属性。绘画各部件之间在反复变更中也形成了一种更为紧密又相分离的矛盾关系。此时,材料的属性依赖于观看逻辑,而观看逻辑则依赖于构建逻辑。观看不再停留于平滑的表面,而是环绕于结构之间。 

 

随着脚步的挪移,观看的过程即是发现和确认的过程。



The title of the exhibition, "X/Y," is meant to imply some kind of causation. What may be hidden in the work, or will be discovered, remains in a vague state until it enters viewing mode.

 

Different from the previous two exhibitions, the theme of Yin Changzhi's third solo exhibition is thinking about the logic of painting construction. By adding more sub-frames inside the rectangular main frame, and interspersing the frames with multiple cloth surfaces, the frames and cloth surfaces are unified with pure and bright colors to form a seemingly monochromatic frame body. Whether it is the increased thickness of the side, or the slope and radian of the front, to a certain extent, are "should be set". The frame and cloth surface thus formed a different logical relationship from the conventional.

 

By wrapping the cloth surface on the changeable frame, the flatness of the painting can be retained. The multi-layer cloth surface with pigment marks tries to get rid of the constraint of the classical paradigm of modernism in identifying this conventional paradigm. When everything is functionalized by entities, a changeable frame structure is created through the multi-dimensional space level formed by the void, thus generating the dual properties of planeness and spaciousness. In the process of repeated changes, the various parts of painting also form a closer and more separate contradictory relationship. At this point, the properties of the material depend on the viewing logic, while the viewing logic depends on the construction logic. The view is no longer on a flat surface, but around the structure.

 

As the feet move, the process of watching is the process of discovery and confirmation.




尹昌志 YIN CHANGZHI • EXHIBITIONS 展览(2017 ~ 2022) 崇真艺客


尹昌志 YIN CHANGZHI • EXHIBITIONS 展览(2017 ~ 2022) 崇真艺客


尹昌志 YIN CHANGZHI • EXHIBITIONS 展览(2017 ~ 2022) 崇真艺客


尹昌志 YIN CHANGZHI • EXHIBITIONS 展览(2017 ~ 2022) 崇真艺客

“ X / Y ”

现场图片 installation view

Gallery 55

2020





尹昌志 YIN CHANGZHI • EXHIBITIONS 展览(2017 ~ 2022) 崇真艺客




2019

从一个到另一个 · From One to Another



某日,挂在尹昌志工作室墙上的一幅画跌落下来,被桌角戳破了。原本绷紧的画布变得松弛,破口处撕裂出毛边,背后的框条也暴露出来。面对这幅已经“破相”的作品,尹昌志募然发现一贯秉持的观看规则失效了,材料好像一下子从绘画的“表面”魔咒里解禁出来,画布破洞和裸露的木质支架让这件曾被视为“绘画”的东西变得如此鲜活、生动,富于启示性。


尹昌志的绘画实践也许助长了这种对“意外”状态的敏感性,使他常常在日常事物的变化前停步,重新思考加之自身意识和行为中的习惯与法则。上述的意外即是其中一例,与其他类似的事件一起,“意外”推动了他对绘画材料实体性和功能性的反复审视,也让他与某种绘画传统形成互动。一直以来,尹昌志都喜欢从现实生活中找寻绘画的踪迹,例如那些包装货物的木质框架,会让他觉得与传统绘画支撑结构同源、同理,而各种用途的布料也与画布有着某种亲近的关系。依循这一路径,他尝试将这些朴素的结构和材料以一种非典型的方式进行自由和“意外”的组合,以日常的视角对待材料的物质属性,强调材料自身所携带的功用和潜质,或支开、或加固、或包裹、或拉紧,让材料在表层涂抹的颜色之间生成一种流动式的未完结状态。尹昌志逐渐意识到,绘画的传统意义上的整一性解体之后,局部之间的对话才能被解放出来,也才有可能产生新的整体,新的关系。


当绘画的支撑物从矩形转向异形,从单层转向多层,从墙面转向地面,曾经绝对重要的单一表面被肢解成若干大小、形状、色泽、质地不一的小块,散落于结构中,或连接,或分开,形成互相联系又互不支持的截面:一方面,自身的实体性被不断生成的关系性所干预,或是假定为支撑物的表面,或是假定成表面的支撑物,它们共同构建了一个可供绘画的“表面”抑或“平面”停留或短暂运行的临时空间结构;另一方面,摆脱悬挂式结构的支撑物以新的方式与重力达成平衡,其三维实体感与落地的置放增加了与雕塑的暧昧关系。通过清晰可变的形状与不确定的空间构造,尹昌志的实践意欲勾勒出一个自我解构又自我生成的场景,并且同时赋予形式以不可描述的临界状态。在如此场景和临界状态下,作品所展示出来的是自身的不可控性,任何观念与说道都可能成为一种误判,或是自以为“义”的改编。



One day, a painting hanging on the wall of Yin Changzhis studio fell down and was punctured at the corner of the desk. The canvas, which had been taut, was flabby, with raw edges torn at the seams and the back strips exposed. In the face of this painting which has been "disfigured", Yin Changzhi realized that the consistent rules of viewing were invalid. The material seemed to be suddenly released from the spell of the "surface" of painting. The broken canvas and exposed wooden trestles which were once considered as the "painting" stuff turned so alive, vivid and revelatory.

 

Yin Changzhis painting practice may contribute to this sensitivity to the "unexpected" state, which makes him often stop before the changes of daily things and rethink the habits and laws in his own consciousness and behavior. The accident mentioned above is one of them. Together with other similar events, "accident" promotes his repeated examination of the substance and functionality of painting materials, and also makes him interact with a certain painting tradition. All the time, Yin likes to find the traces of painting from real life. For example, those wooden frames packaging goods will make him feel that they are homologous with traditional painting supporting structures, and the fabrics of various uses also have a close relationship with canvas. Following this path, Yin tried to combine freely and “accidentally” these simple structures and materials in an atypical way, and treat the material properties from a daily perspective, emphasizing the function and potential carried by the material itself, or spread, or reinforce, or wrap, or tighten, so that the material in the surface coating between the colors would generate a fluid and unfinished state. Gradually, he realized that only after the disintegration of the whole nature in the traditional sense of painting, the dialogue between parts would be liberated, making it possible to produce new wholeness and new relations.


As the supports of the painting shift from rectangle to irregular shape, from single layer to multi-layer, from wall to ground, the once absolutely important single surface is dismembered into several small pieces of different sizes, shapes, colors and textures, either scattering in the structure, or connecting and  separating to form cross sections that are interrelated but not supportive. On the one hand, the entity of itself is interfered with by the relations which are continually generated, either on the surface of which it is supposed to be supported, or on the surface of which it is supposed to be supported. Together, they construct a temporary spatial structure for the "surface" or "plane" to stay or run briefly. On the other hand, the supports that get rid of the hanging structure balance with gravity in a new way. Its three-dimensional sense of entity and landing increases the ambiguous relationship with sculpture. Through clear and variable shapes and uncertain spatial construction, my practice aims to outline a self-deconstructed and self-generated scene, and at the same time endue form with an indescribable critical state. In such a setting and critical state, what the work shows is its uncontrollability. Any concept and explanation may become a misjudgment or an adaptation of "righteousness".




尹昌志 YIN CHANGZHI • EXHIBITIONS 展览(2017 ~ 2022) 崇真艺客

浅绿上的柠檬黄 · Lemon Yellow on Light Green

2019

综合材料 mixed media

50x38x45cm






尹昌志 YIN CHANGZHI • EXHIBITIONS 展览(2017 ~ 2022) 崇真艺客

三角中的蓝 · Blue in the Triangle

2019

综合材料 mixed media

75x28x6cm






尹昌志 YIN CHANGZHI • EXHIBITIONS 展览(2017 ~ 2022) 崇真艺客

有紫红倾斜的表面 · Sloping Surface with Purplish Red

2019

综合材料 mixed media

50x54x25cm






尹昌志 YIN CHANGZHI • EXHIBITIONS 展览(2017 ~ 2022) 崇真艺客

尹昌志 YIN CHANGZHI • EXHIBITIONS 展览(2017 ~ 2022) 崇真艺客

尹昌志 YIN CHANGZHI • EXHIBITIONS 展览(2017 ~ 2022) 崇真艺客

尹昌志 YIN CHANGZHI • EXHIBITIONS 展览(2017 ~ 2022) 崇真艺客

尹昌志 YIN CHANGZHI • EXHIBITIONS 展览(2017 ~ 2022) 崇真艺客

尹昌志 YIN CHANGZHI • EXHIBITIONS 展览(2017 ~ 2022) 崇真艺客

尹昌志 YIN CHANGZHI • EXHIBITIONS 展览(2017 ~ 2022) 崇真艺客

尹昌志 YIN CHANGZHI • EXHIBITIONS 展览(2017 ~ 2022) 崇真艺客

尹昌志 YIN CHANGZHI • EXHIBITIONS 展览(2017 ~ 2022) 崇真艺客


尹昌志 YIN CHANGZHI • EXHIBITIONS 展览(2017 ~ 2022) 崇真艺客

“从一个到另一个 · From One to Another”
现场图片 installation view
Gallery 55
2019





尹昌志 YIN CHANGZHI • EXHIBITIONS 展览(2017 ~ 2022) 崇真艺客




2018

太多的太多 · MUCHTOOMUCH



尹昌志 YIN CHANGZHI • EXHIBITIONS 展览(2017 ~ 2022) 崇真艺客

“太多的太多 · MUCHTOOMUCH”
现场图片 installation view
Gallery 55
2018





尹昌志 YIN CHANGZHI • EXHIBITIONS 展览(2017 ~ 2022) 崇真艺客

倾斜的边缘 · Sloping Edge

2018

布面综合材料 mixed media on canvas

98x136x11cm






尹昌志 YIN CHANGZHI • EXHIBITIONS 展览(2017 ~ 2022) 崇真艺客

不确定的背景 · Uncertain Background

2018

布面综合材料 mixed media on canvas

80x110x10cm





尹昌志 YIN CHANGZHI • EXHIBITIONS 展览(2017 ~ 2022) 崇真艺客




2018

楔子 · Wedge 



尹昌志开始对绘画的常规属性进行再编辑,框条、边角料、布料这些绘画与日常生活中最朴素的物件被重新使用,或成为更具体感的实体中的部件,亦或处于分解的截面中。

 

某种意义上,绘画是带有身体性的“劳作”,而不仅仅被看成是“劳作的成果”。材料在重复的劳动中呈现出原初的特性,而参与其中的身体被调动起来,刺激并引发了材料间的连锁反应,并以单纯的方式被建造出来。而它与流动易变的现实形成呼应,始终处在动态中,进行着自我演化。涂抹单纯颜料的色层、半透明的棉布层通过反复拉扯制造一个略带错觉感的表面,以一种类似绘画又与其背道而驰的面貌存在。

 

利用布与框的自由组合制造并分解出若干斜面,试图对原有的绘画平面系统进行新的功能补足,而一幅画的边界在不同的经纬关系中被拉扯、拓宽或折叠,生长出更多的细致末梢。构建的过程既作为行动上的自定义,又是观看上的自定义。在这个语境下,作品试图通过对绘画常规属性的再编辑,以一种临时性的行动策略来松绑作品与观众之间的关系。而画布附着的半透明状的色层与框架之间形成互相映照的关系,它们在反复查看的过程中不断修正,边界再次被打开,其物质部件也经过重新组装构建出新的基底和结构,而那些机动的插件在各种版本里所携带或旁逸出的混杂语气最终渲染了绘画陌生的空间层次与感知肌理。



Yin Changzhi tries to make up the new form and functional complement of the original painting plane system by using cloth and free combination of frame to manufacture and decompose into several bevels. The boarder of a painting is pulled in different warp / weft relations, widen or folded, producing more joints, tendons and skin. The process of building is a customization of the action as well as viewing. In this sense, the artist attempts to loosen the rigid relationship between the art work and the audience with a temporary action by reediting the conventional properties of painting. Eventually, the translucent color layer and frame attaching to the canvas become the inside and the reflection. They are continually corrected in the process of reviewing. The border is open again. Its material components construct a new base and structure after reassembling. The flexible plug-ins finally render the unfamiliar spatial hierarchy of painting and texture perception.


Yin Changzhi creates around the painting frame, plane and space structure, breaking through the history of painting practice, such as:  from the plane to the solid; from the solid outspreading to the real space; from the rectangular frame to the irregular framework; from the center to the edge; from the front to the side; etc. Yin Changzhi unifies these factors together either by interspersing each other or through the structure of the knot. On the processing of color, Yin Changzhi abandons the original academic gray, beginning to use pure color and the color of the simple harmonic, sometimes in order to unify, sometimes to separate, seeking the unexpected without losing the balance, keeping color relations the audience is close and attracted to. Yin Changzhi's creation is anti-narrative, which is both anti-narration in the picture, and in the process of painting behavior and concept. His creation is an "implementation" of a material form, not a "reproduction" or "representation". 




尹昌志 YIN CHANGZHI • EXHIBITIONS 展览(2017 ~ 2022) 崇真艺客异状切口 · Incision of different Shape

2017

综合媒介 mixed media

35x49cm






尹昌志 YIN CHANGZHI • EXHIBITIONS 展览(2017 ~ 2022) 崇真艺客

蓝绿构造 · Blue & Green Construction

2018

布面丙烯 acrylic on canvas

150x150cm






尹昌志 YIN CHANGZHI • EXHIBITIONS 展览(2017 ~ 2022) 崇真艺客

反面 · The Reverse

2018

布面综合媒介 mixed media on canvas

164x126cm






尹昌志 YIN CHANGZHI • EXHIBITIONS 展览(2017 ~ 2022) 崇真艺客

红色房间 · The Red Room

2018

布面综合材料 mixed media on canvas

150x200cm






尹昌志 YIN CHANGZHI • EXHIBITIONS 展览(2017 ~ 2022) 崇真艺客


尹昌志 YIN CHANGZHI • EXHIBITIONS 展览(2017 ~ 2022) 崇真艺客

“楔子 · Wedge”

现场图片 installation view

Gallery 55

2018





尹昌志 YIN CHANGZHI • EXHIBITIONS 展览(2017 ~ 2022) 崇真艺客




2017

太多的爱 · Art is much Splendid a Thing



尹昌志 YIN CHANGZHI • EXHIBITIONS 展览(2017 ~ 2022) 崇真艺客

“太多的爱” · Art is much splendid a thing

现场图片 installation view

Gallery 55

2017








尹昌志 YIN CHANGZHI • EXHIBITIONS 展览(2017 ~ 2022) 崇真艺客
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