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上海新展预告 | 韩家泉个人绘画项目「最后的消息」| 1月14日开幕

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上海新展预告 | 韩家泉个人绘画项目「最后的消息」| 1月14日开幕崇真艺客

展讯｜THE EXHIBITION

韩家泉 HAN Jiaquan

最后的消息‍‍‍‍‍

The Final Message

开幕式

2022.01.14 (Sat.), 17:00 - 19:00

展期

2023.01.14 (Sat.) - 2023.03.04 (Sat.)

地点

阿拉里奥画廊·上海

上海市徐汇区龙爱路7号芒果广场D栋一层

◆ 疫情期间观览须知

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阿拉里奥画廊欣然宣布将于1月14日至3月4日在阿拉里奥画廊上海全新空间推出韩家泉的个人绘画项目“最后的消息”。展览将展出艺术家近三年的创作，这些作品是韩家泉对于这一时期自身情绪所展开的更为敏锐的觉察与表达。

Arario Gallery Shanghai is pleased to present HAN Jiaquan's solo project "The Final Message" in the new space of Arario Gallery Shanghai from January 14th to March 4th. The exhibition features works by the artist created over the past three years about his subtle consciousness and expression of his own emotions as an individual.

韩家泉，“白光”，2022，布面油画，60 x 50 cm

HAN Jiaquan, White Light, 2022, Oil on canvas, 60 x 50 cm ⓒ Artist and ARARIO GALLERY

“最后的消息”是一个悬而未决的状态，是临近宣告前胶着的等待，是破晓前沉默的暗夜。艺术家坦言，这三年间，一切都是不确定的，而等待“最后的消息”似乎成为了生活的一部分——展期几经延后，随着时间的推移，对于作品的选择，艺术家也一再推翻之前的决定。“最后的消息”姗姗来迟，漫长的等待和悬置即将成为一次圆满的呈现。

"The Final Message" is a state of suspense and uncertainty, a stagnant waiting before the announcement, a gloomy night before dawn. In the past three years in China, everything has been uncertain, and awaiting "the final message" seems to have become a part of normality in our lives. In the course of time, the exhibition has been postponed numerous times, and the artist has repeatedly overturned the selection of works. "The Final Message" has been belatedly in the making, and it is about to become a reality after a long ride of waiting and suspension.

阔别三年多再次在阿拉里奥画廊举办个人项目，韩家泉的作品延续了其清晰的视觉特征，精致而克制。他依然偏爱绘画小尺幅的作品，而在色彩运用方面，他习惯于用无色系与简单的一两种亮色进行对比，这种克制让韩家泉在创作中建立了一种确信。简洁与繁琐、妖娆与沮丧、质感与不可名状，这种看似对立矛盾的关系一直是他喜欢表达的方向。

Returning to Arario Gallery for a soloproject after more than three years, HAN Jiaquan continues to develop a distinct visual identity of refinement and restraint in his works, manifested in the contrast of using colorless shades and one or two bright colors as a restraint that allows the artist to establish a sense of certainty in the adaptation of small-scale works. This seemingly antagonistic and contradictory relationship between simplicity and complexity, delightment and frustration, texture and inexplicability has always been the direction of HAN's artistic practice.

韩家泉，“花非花“，2020，布面油画，60 x 50 cm

HAN Jiaquan, Flower or Not, 2020, Oil on canvas, 60 x 50 cm ⓒ Artist and ARARIO GALLERY

但相较于以往的作品，他的创作语言还是发生了变化的，他不再只是热衷于描摹日常之物，以景寄情，他发现自己在观看现实以及图像时，时常会产生错觉与臆想，由此引发的意识流式的线性联想，远比一张现实的图像更加迷人。所以，他在创作的过程中开始更多地感受自己的情绪变化，并试图捕捉那些由日常什物或生活场景引发的联想，好似截取意识流变中的一帧成为画面。

The exhibition presents mundane objects and sceneries as an expression of HAN's emotions andas a setting for creating illusions and imagination, resulting in a sophisticated, linear connection of streaming consciousness that far surpasses a realistic representation. Compared to HAN’s previous works, these emotional changes and associations triggered by daily life have been captured in the stream of consciousness and transformed into paintings.

韩家泉，“后窗“，2022，布面油画，30 x 26 cm

HAN Jiaquan, Rear Window, 2022, Oil on canvas, 30 x 26 cm ⓒ Artist and ARARIO GALLERY

“我想去接受这种观看中的偶发事件，不去预设是对意图进行瓦解的一种方式，也能去除单一观看时所需的不自然的克制。”作品《传说》、《鱼目和珠子》、《花式叠加》就是基于这样的创作方式，让不可预知进入了画面。而作品《盯着你》与《复眼》则是艺术家在面对一个盆形装饰物和一枚胸针架时，所产生的恍惚感受和心中浮想。

"I want to accept this kind of accidental event when viewing. Not presupposing is a way to disintegrate the intention, and it can also remove the unnatural restraint required for seeing." The featuring works "Legend", "Fish Eyes and Beads", and "Fancy Overlay" are based on such a creative approach, where unpredictability enters the picture. While "Staring at Me" and "Eyes" depict the artist's dazed sensations and floating thoughts as he examines a basin-shaped ornament and a brooch stand."

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上海新展预告 | 韩家泉个人绘画项目「最后的消息」| 1月14日开幕崇真艺客

韩家泉，“传说”，2022，布面油画，40 x 30 cm

HAN Jiaquan, Legend, 2022, Oil on canvas, 40 x 30 cm ⓒ Artist and ARARIO GALLERY

绘画系列作品《浪花》、《希望》以及《关于渔童的故事》，是艺术家对水珠与珍珠的美好遐想。无论是传说中维纳斯诞生时身上晶莹的水珠，还是记忆中渔童钓鱼时飞溅的水花，最后都变成了无暇的珍珠。这或许就是韩家泉在黎明的黑夜中寻找到的，并想带给所有人看一看的——微光。“如果有最后的消息那只能是希望。”韩家泉如是说。

In addition, the highlighted painting series "Wave", "Hope", and "A Story about a Fisher Boy" represent the artist's poetic reveries of water droplets and pearls. It is said that the crystal water droplets on Venus' body in the legend, or the splashes of water in the memory of the fisherman boy, turn into flawless pearls at the end of the story. This may be how HAN Jiaquan found the shimmering light in the darkness of dawn and wanted to bring this to the attention of everyone - the shimmering light that he was looking for. "If there is a final message that can only be hope."

韩家泉，“浪花（一）”，2022，布面油画，30 x 40 cm

HAN Jiaquan, Waves #1, 2022, Oil on canvas, 30 x 40 cm ⓒ Artist and ARARIO GALLERY

关于艺术家 ABOUT THE ARTIST

上海新展预告 | 韩家泉个人绘画项目「最后的消息」| 1月14日开幕崇真艺客

韩家泉，1972 年出生于中国浙江舟山，1998 年毕业于中国美术学院油画系，目前任教于东华大学。韩家泉的作品一直保持着跟客观世界的对话，用画面陈诉着对事物的感受和观点。其作品曾于多家重要机构展出，包括“上海迷宫”，出入画廊，宁波，2022；“长日将尽”，那画廊，南京， 2021；”红”，油罐艺术中心，上海，2021；“小满”，166艺术空间，上海，2021；“双重曝光”，莫邸画廊，上海，2021；“似水流年”，SNAP艺术中心，上海，2019；个人项目“地下”，阿拉里奥美术馆，塔洞影院馆，韩国，2018 ；“摆设” ，阿拉里奥画廊上海，2018，“亚洲之声”，阿拉里奥画廊上海，2017；“重置已知”，Mao空间，上海，2016；“我们”，chi K11美术馆，上海，2016等。

HAN Jiaquan (b. 1972, Zhoushan, China) graduated from the Department of Oil Painting of China Academy of Art, Hangzhou in 1998. He currently works as a lecturer at Donghua University, Shanghai, China. Han is interested in presenting his works by maintaining each element's unique characteristic but at the same time keeping the aesthetic stance neutral, as the artist sees the neutralizing process as a course of synthesis and adjustment. Han Jiaquan’s works have been shown in several major institutions, including “Lost in Shanghai” In&Out Art, Ningbo, 2022; “The Remains of The Day”, Nanotte Gellery, Nanjing, 2021; “RED” Tankshanghai, Shanghai, 2021；“Totally Small”, 166 Art Space, Shanghai, 2021; “Double Exposure”, MO Gallery, Shanghai, 2020; “Sooner/Later”, SNAP, Shanghai, 2019; Solo Project “Underground”, Arario Museum, Tapdong Cinema Korea, 2018; “Ornaments”, Arario Gallery Shanghai, 2018; “Voice of Asia”, Arario Gallery, Shanghai, 2017; “Self Reset”, Mao Space, Shanghai, 2016; “WE”, K11 Museum, Shanghai, 2016 and etc.