新展预告丨有形的抽象：杰瑞米·加德纳的历史与地理绘画
![]()
{{newsData.publisher_name}}
{{newsData.update_time}}
浏览：{{newsData.view_count}}
来源 | {{newsData.source}} 作者 | {{newsData.author}}
Jeremy Gardiner: Concrete Abstraction, History and Geology of English Coast7月27日—10月20日
杰瑞米是享誉英国的著名艺术家，是英国皇家艺术学院的教授。他的画室坐落在海滨城市巴斯，每天都沐浴着海风、海浪与田野的风光。去年夏天去伦敦，他带我参观了他工作的学校，又带我们走过伦敦的街区，如数家珍地介绍每栋房子的名人典故。他在伦敦长大，对它的人文掌故无不知晓，是英国的文化滋养了他的艺术。杰瑞米的绘画一看即知是融合了现代主义精神的创作，不拘泥于一种材料的使用，也不担心画面的形式问题。他很自然地把英国的海边、丘陵、原野的景色给以自由的表现，用各种材料、媒介进行创作。论具象，有若隐若现的房舍、路径、海浪；论抽象，大片的空白、大块的色彩，不留任何痕迹，若寂静聆听，只有心念，无需言语。杰瑞米作品的这种吸附魅力是一种当代审美。它打破了单一的图像叙事传统，把抽象构成巧妙地融汇进来，又取材料媒介自身的色彩特质，与画面契合在一起。所谓感悟天地大美，就是艺术家可以随心所欲去表现自然，越是自由、自然，就越是通透脱俗；作为个体，对事物的领会就越是明了无碍。杰瑞米的画给了我们这样的视觉体验，看不一样的艺术作品，体会别样的心灵感动。事实上，杰瑞米的作品又另有深意，他是以多姿多彩的方式在勾勒、述说英国的自然历史与人文记忆。他的作品受惠于文化历史的丰厚，里面浸透着无尽的情感。面对每一个场景或每一次创作，艺术家内心都波澜起伏着历史情景的记忆。这一层层材质或一抹抹笔触或一块块色彩，满含着深情畅想，沉思与热情兼而有之。或曰，情感依然是艺术的底色。Jeremy Gardiner is a prestigious British artist and Professor of the Royal College of Art. His art studio is located in the coastal city, Bath, immersed in the bath of sunshine and sea breeze. We strolled around the streets when I visited his college in London over the summer of last year. London was where he grew up. He was familiar with the history of every house and stories of their inhabitants. He presented them to me as though they were his treasure trove. I knew his appreciation of art had been fostered by British culture.One can immediately identify the unquenchable spirit of modernism embedded in Jeremy's paintings. His art neither restrict itself to the use of any single material, nor the formal issues of the composition. Jeremy naturally renders the scenery of the coast, hills, and countryside with a sense of freedom in his artistic expression. He employs a variety of materials and mediums in his art-making: In terms of representational elements, such as houses, paths, and waves, they are faintly perceptible. On the side of abstraction, the vastly expanded blank space and broad swaths of color leave no trace behind, creating an experience of listening to the silence, where one only hears inner echoes rather than verbal voices.This enchanting attraction of Jeremy’s artwork is a sense of contemporary aesthetics. Jeremy's works break away from the traditional single-visual narrative, cleverly integrate abstract elements, and incorporate the inherent color qualities of the materials and media, which meld with the pictorial picture. I think that unrestricted depictions of nature are necessary for an artist to reach their ultimate goal of appreciating the beauty of the planet. The more natural the paintings are, the simpler and neater the expression becomes. Jeremy’s paintings are extraordinary. They touch our heart, allowing us to enrich our visual and spiritual experiences through different landscapes depicted.In reality, Jeremy's paintings hold deeper significance. Through various means, he captures and conveys the natural history and cultural memory of Britain. His artworks are infused with the richness of British cultural history and are imbued with a wealth of emotion. Each scene depicted and every moment of creation in his works evokes within the artist a tumultuous recollection of historical memories and settings. These layers of materials, brushstrokes, and swathes of color are imbued with deep contemplation and passionate expression. Alternatively stated, emotion remains the foundational undercurrent of the artist's craft.We hereby express our congratulations to Jeremy Gardiner on the successful hosting of his first solo exhibition in China! 9 July 2024
波白克岛单斜地, Purbeck monoclineCyanoacrylate epoxy infused powder based 3D print 
一个世纪前的鲁沃斯湾
At Lulworth Cove a Century Back, DorsetAcrylic and Jesmonite on poplar panel南福尔兰灯塔 III, Southforeland Lighthouse III
亚克力和石膏肌树脂手工棉布纸画
Acrylic on handmade cotton rag paper
30 x 42 cm，2024年
艺术家介绍
杰里米-加德纳 (Jeremy Gardiner) 出生于1957年，在纽卡斯尔大学（1975-1979）接受正规的艺术教育。他在位于伦敦的皇家艺术学院（1980-1983）完成学业后移居到美国（1984-1998）。加德纳曾在皇家艺术学院和位于纽约的普瑞特艺术与设计学院任教。1999 年，加德纳搬到英国巴斯的一间工作室里生活和绘画。他是伦敦大学伯克贝克学院的哈克尼斯研究员、丘吉尔研究员和副研究员。加德纳在威尼斯双年展、巴黎市现代艺术博物馆、伦敦维多利亚和阿尔伯特博物馆以及中国成都双年展等地举办过国际展览。目前已有两部关于他的作品的专著出版，分别是《Unfolding Landscape》（Lund Humphries，2013 年）和《South by Southwest》（Sansom & Co，2020 年），其中包括艺术史学家、策展人和评论家的文章。他的作品曾被《纽约时报》、《波士顿环球报》、《卫报》和《星期日泰晤士报》评论报道。加德纳的作品被维多利亚与阿尔伯特博物馆、政府艺术收藏、法国巴黎银行、品诚梅森法律公司和埃尼集团等公共机构和企业收藏。他已获得的奖项包括纽约艺术基金会奖金（NYFA 艺术家奖学金）以及格兰艺术委员会、英国文化协会和艺术与人文研究委员会的资助。纪录片《光柱》（Pillars of Light）在2016 年加利福尼亚州圣巴巴拉国际美术电影节上荣获艺术纪录片奖。Born in 1957, Jeremy Gardiner began his formal art training at Newcastle University (1975-1979) and went on to complete his education at the Royal College of Art in London (1980-1983) before moving to the United States (1984-1998).Gardiner has taught at the Royal College of Art and Pratt Institute of Art and Design in New York. In 1999 he moved to a studio in the city of Bath where he lives and paints. He has been a Harkness Fellow, Churchill Fellow, and Associate Research Fellow of Birkbeck, University of London.Gardiner has exhibited internationally, including at the Venice Biennale, the Musee d'Art Moderne de la Ville de Paris, the Victoria and Albert Museum in London, and the Chengdu Biennale in China. Two monographs have been published about his work, Unfolding Landscape (Lund Humphries, 2013) and South by Southwest (Sansom & Co, 2020), which include essays by art historians, curators and critics. His work has been reviewed in The New York Times, The Boston Globe, The Guardian and The Sunday Times.Gardiner's work is represented in both public and corporate collections including the Victoria and Albert Museum, Government Art Collection, BNP Paribas, Pinsent Masons and Ente Nazionale ldrocarburi. His awards include a New York Foundation for the Arts Fellowship and grants from Arts Council England, British Council and Arts and Humanities Research Council. Pillars of Light, a documentary film, was awarded the Fine Arts Documentary prize at the International Fine Arts Film Festival, Santa Barbara, California in 2016. 王春辰，著名策展人、批评家，中央美术学院教授、博士生导师；现任中央美院美术馆副馆长，中央美院美术馆当代艺术批评与策展研究中心主任；中国美术家协会策展委员会委员，从事现代美术史及当代艺术理论与批评研究。2012年美国密执根州立大学布罗德美术馆特约策展人；2013年第55届威尼斯国际艺术双年展中国馆策展人；英国学刊Journal of Contemporary Chinese Art《当代中国艺术杂志》副主编(2014-2019)及德国斯普林格出版社《中国当代艺术丛书》主编；2015年英国泰特美术馆访问研究员。澳大利亚新南威尔士大学客座教授；西安美院博士生导师；四川美院、天津美院、首师大特聘教授。出版《1940年以来的艺术》、《艺术的终结之后》、《美的滥用》、《1985年以来的当代艺术理论》、《艺术史的语言》、《艺术简史》、《艺术史》（玛丽莲，2023，中信出版社））、《1945年以来的当代艺术指南》（2023，湖北美术出版社）等译著；2009年获得“中国当代艺术批评奖（CCAA）”并出版《艺术介入社会》。2013年出版《艺术的民主》、《图像的政治》、《艺术是一个问题》批评文集。Professor Wang Chunchen is a famous curator and critic, he is Deputy Directory and the Chief Curator the CAFA Art Museum at the Central Academy of Fine Arts in Beijing, China, also director of The Research Center of Contemporary Art Criticism & Curating of CAFAM; Member of the Curatorial Committee of China Artists Association.In 2012 he was an adjunct curator at the Broad Museum of Art, Michigan State University, USA. In 2013, he was appointed as the Curator of the Chinese Pavilion at the 55th edition of the Venice Biennale. Wang is also a Deputy Principal Editor of the UK-based Journal of Contemporary Chinese Art and Editor-in-Chief of The Chinese Contemporary Art Series published by Springer-Verlag, Germany. Wang has been invited to travel all over the world to participate in symposia and forums and to give lectures. In 2015, he was invited by Tate Research Center: Asia to be a Visiting Fellow.Visiting Professor of University of New South Wales. Also specially-appointed professor by Sichuan Academy of Fine Arts, Tianjin Academy of Fine Arts, Xi’an Academy of Fine Arts, and Beijing Normal University.Wang Chunchen has also greatly influenced Chinese contemporary art criticism with his translations of over ten books of art history and theory, such as After the End of Art (Arthur C. Danto), The Abuse of Beauty (Arthur C. Danto), Art Since 1940 (Jonathan Fineberg), The Language of Art History, Theory in Contemporary Art Since 1985, etc. In 2009, he was honored with the coveted Chinese Contemporary Art Awards – Critic Award, one of many awards he has received for his input in art criticism. This particular award led to the writing and publication of Wang’s book Art Intervenes in Society—A New Artistic Relationship. In 2013, Wang published his two volumes of essays, The Democracy of Art and The Politics of Images.
展览团队：
馆长：王春辰
馆务：宿晓霞
展览统筹：武月钦
平面设计：刘薇
空间设计：连晓琴
中文编辑：孙博文
文字翻译：王思雅、张翰诗、张子健
财务支持：侯晓春
行政支持：刘敏、赵文慧、许有天、阎真、傅伟
场馆维护：张鑫、周克嵩、刘润峰、黄宝琴、任爱荣
志愿者团队：张俊超、郭宇轩、尹瑜、刘也通、王亚宁、禹易非、刘进、唐安妮、李毅、吴丹丹、白迅恺、侯沛然、李昱瑶、赵一青、齐博琳
特别谢鸣：密封当代（张中术、杨云鬯）、中英文化连线基金、郑天卓
布展团队：山西大象文博科技有限公司
艺术运输：赛服展览服务有限公司
观展前请提前小程序扫码
<关于我们>
山西省当代美术馆系山西省文旅厅正式批准，经山西省民政厅注册成立的民办非营利性艺术机构。美术馆比邻督军府，地处市中心。其建筑是20世纪50年代初所建办公大楼,经改造，美术馆空间设在二层及三层，总面积2000余平米，五个展厅及书店、咖啡厅和艺术衍生品商店。
<开放时间>
周二～周日 10:00-18:00（17:00停止入场）
TEL+0351-2385660
山西省当代美术馆
{{flexible[0].text}}
{{newsData.good_count}}
{{newsData.transfer_count}}
分享