正在展出｜北京公社正在展出杨心广个展“春风”

春风 Winds of Spring

杨心广 Yang Xinguang‍‍‍

展期：2023年3月11日-2023年5月11日

杨心广在北京公社的第五次个人展览《春风》于2023年3月11日正式开幕，展出艺术家在过去两年中开启的探索与最新创作。展览将持续至2023年5月11日。杨心广近些年的创作延续着对于自然物的使用与一种“自然而然”的态度，自然材料与工业物料被艺术家交缠、叠加、并置使用，成为某种意义上当代景观的抽象描摹：草木泥石作为主体，在其工作中以极具生命性的姿态反向侵入和颠覆着现代发展观的叙事逻辑。

勇士一号 _ Warrior No. 1

展览标题“春风”以一种明媚的词汇印象邀请人们走进，扑面而来的却并不是那般和煦——也许正如北京的春日。高低胖瘦的野草“军团”正在展厅中央集结，这些植物雕塑是杨心广最新的“勇士”系列，作为形形色色的生命个体，他们以各种造型与姿势伫立于此。“春风”系列作品中，泥土以其最原生的状态成为画面本身，并将动态的力刹然凝结。土壤不再留在地面，成为垂面。切片式的土壤深处、动物爬行留下蜿蜒痕迹的土壤表面，多幅“春风”系列绘画被悬挂在展厅四周，成为某种已知与未知并存的生态学留证——正如艺术家认为土壤对照于平滑而干净的虚拟世界，是一种赤裸的真实——在此之上，一切活动都将留下物质化的记忆。

春风拂过，新生在地表下涌动，在泥土中更替着死亡。枯枝杂草正在被环卫工人清理，这城市之中人工酝酿的绿化植被又将崭新如故。现代城市的扩张将植物从绝对的野生驯化成均一化的风景，而在杨心广看来，那些活跃在城市边缘未被认养的野草经历了被排挤的历史，在破土动工的地带展现出顽强的斗志，像游击队一样充满了野性的活力。作为植被中强有力的物种，它们在这块阵地上显得格外英勇。他希望一切不会随春风飘散，于是挑选了几种自己居住城市（北京）中特别典型的杂草，将这些在路旁与街角偶遇的“勇士”以钢筋缠绕，以清漆凝固，让它们不屈的生命力得到表彰──这些“勇士”本身便是其生命力的纪念碑。而在其“春风”系列绘画作品中，扭动着的微小肉体揭示着风景之外，翻腾的某种张力早已扎根于土壤深处──正如从字形的角度所看到的“蠢蠢欲动”。这种形态与语言之间的互文在杨心广手中早就轻车熟路，以至于当我们讨论视觉时，常常忘记了这种心理层面的双重映射。在自然与城市对抗与挤压下的生存体验中，杨心广与万物感同身受，自然物于他，不是材料而是演员，是与人平等共存的表达个体。他们自有其生机勃勃的主体性，人对这种物的审美本身就是一种人与物的生命交融，人也在万物之中。

春风五号 _ Winds of Spring No. 5

Beijing Commune is pleased to announce the opening of Yang Xinguang's fifth solo exhibition “Winds of Spring” at the gallery on March 11, 2023, presents the artist's explorations and latest creations that have been initiated in the past two years. The exhibition will run until May 11, 2023.

Yang Xinguang's works in recent years have continued the use of natural objects and a relaxed attitude towards nature. Natural materials and industrial materials are intertwined, overlapped and juxtaposed by the artist, becoming a sort of abstract portrayal of the contemporary landscape: In his work, whether grass or soil, are living subjects equal to human beings, they invade and subvert the narrative logic of the modernized development view in their own gestures in reverse.

勇士九号 _ Warrior No. 9‍

The title of the exhibition, "Winds of Spring,” gives people a bright association on a linguistic level, inviting them to enter the exhibition. But the space was not filled with the warm spring wind you might expect — Perhaps it is closer to the sometimes dusty spring days in Beijing. The “weed legion" is assembled in the center of the exhibition hall. These plant sculptures are Yang Xinguang's latest "Warriors" series, standing in various shapes and postures, like living individuals of all sorts.In the "Winds of Spring" series of works, the soil becomes the painting itself with its most original state, and condenses the dynamic force. The soil leaves the ground and becomes paintings that are hung around the exhibition space — he paints deep slices of soil, and also depicts the surface of the soil where animals crawl and leave sinuous traces. They became a sort of ecological evidence of the coexistence of known and unknown. The artist views the soil as the naked truth against a virtual world of smooth and clean. The soil is the place where all activities will leave a materialized memory.

As the spring winds blow, the dead in the soil is nurturing the new life. In the cities, dry branches and weeds are cleaned up by the sanitation workers, and the artificially tree-lawn are as green as ever in this spring. The expansion of modern cities has domesticated the plants from wildness to homogenized landscapes, while in Yang Xinguang's view, those active and unrecognized weeds at the edge of the city have experienced an exclusion history. However, as powerful species in vegetation, they show a stubborn fighting spirit in the ground-breaking zone, like guerrillas filled with wild energy. Hoping that everything would not be dissipated with the spring winds, artist selected a few particularly typical weeds of Beijing, wrapped them in steel and sealed them with varnish. In this "monumental" way,  their indomitable life force is honored. In his "Winds of Spring" painting series, the tiny wriggling bodies reveal a tension that has long been rooted deep in the soil. Just like the Chinese idiom “蠢蠢欲动”, the form of the Chinese character itself can express the meaning of this word. This intertextuality between morphology and linguistics came so easily in the hands of Yang Xinguang long ago that when we discuss vision, we often forget this double imaging of the psychological dimension. In the confrontation and experience of survival between nature and the city, Yang Xinguang has empathized with all things. the natural objects are not materials but performers for him, and they are individuals of expression existing on an equal level with human beings, which have their own dynamic subjectivity. When humans share feeling with objects, The human-object relationship is no longer one of division, demarcation and conquest.

春风一号 _ Winds of Spring No. 1

关于艺术家 

杨心广1980年生于湖南，2007年毕业于中央美术学院雕塑系，获学士学位，现生活与工作于北京。杨心广的作品广泛于国内外展出，他曾参加的双年展包括第九届上海双年展（上海，2012）、首届蒙得维地亚双年展（乌拉圭，2012）、中央美术学院美术馆双年展（北京，2011）等，他的作品亦于北京尤伦斯当代艺术中心、重庆原美术馆、罗马国立现当代美术馆、格鲁吉亚国家美术馆、悉尼白兔美术馆、法国卢瓦河当代艺术基金会美术馆、新加坡美术馆、德国勒姆布鲁克博物馆、韩国光州国立亚洲文化殿堂、上海外滩美术馆等多家美术馆展出。他获得的奖项及入围奖项包括HUGO BOSS亚洲新锐艺术家大奖”（2015）、第九届AAC艺术中国年度青年艺术家（2014）、第二届华宇青年奖（2014）、新加坡SIGNATURE艺术奖（2011）、中国当代艺术金棕榈奖以及吴作人艺术奖提名奖（2010）等。 杨心广的作品被上海复星艺术基金会、上海龙美术馆、香港M+美术馆、法国卡蒂斯特艺术基金会、法国卢瓦河当代艺术基金会、广州三三艺术中心、上海玻璃博物馆、荷兰De Heus Collection、南京金鹰美术馆、澳大利亚白兔美术馆和法国DSL等美术馆及机构收藏。

About the artist

Yang Xinguang (b. 1980, Hunan) graduated from China Central Academy of Fine Arts with a Bachelor’s degree in 2007. He now lives and works in Beijing. Yang Xinguang has taken part in exhibitions such as “Super Organism CAFAM Biennale” (CAFAM, Beijing, 2011), “The First CAFAM Future Exhibition: Sub-phenomena: Report on the State of Chinese Young Art” (CAFAM, Beijing, 2012), “The 9th Shanghai Biennale” (Power Station of Art, Shanghai, 2012) and “The 1st Monte Video Biennial” (Urguay, 2012), etc. His works have been featured in many museums and institutions, such as Galleria Nazionale D’arte Moderna E Contemporanea, Italy; The National Gallery of Georgia; White Rabbit Museum, Australia; Frac des Pays de la Loire, France; Singapore Art Museum; Lehmbruck Museum, Germany; Ullens Center for Contemporary Art, Beijing; Rockbund Art Museum, Shanghai; Minsheng Art Museum, Beijing; and so on. He won the 2010 Chinese Contemporary Art Golden Palm and the Nomination Award in Wu Zuoren Art Awards. In 2011, he was nominated for the Signature Art Prize and his work was showcased in the eponymous exhibition at the Singapore Art Museum. He was nominated for HUGO BOSS Asia Prize 2015, “Young Artist of the Year” by the Award of Art China (AAC), and the 2nd Huayu Youth Award in the same year. His works have been collected by Fosun Art Foundation (Shanghai), M+ (Hong Kong, China), Kadist Art Foundation (Paris and San Francisco) and FRAC des Pays de la Loire (Nantes, France), etc.

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