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站台中国20周年｜线上展览回顾：2016

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站台中国20周年｜线上展览回顾：2016 崇真艺客

2016.03.05 - 04.10

汤大尧个展《陌生来客》

Strange Guest -- Tang Dayao’s Solo Exhibition

策展人：鲁明军

Curator: Lu Mingjun

“陌生来客”是汤大尧一张新画的名称。画面描绘的是他记忆和经验中的一个日常情景：去年春节回湖南老家休假，有一天，他看到一个衣衫褴褛的人站在门口，院里的小狗叫了起来，他哥习惯性地出门呵斥小狗……这应该是一个再平常不过的生活场景，但却勾起了他童年的某个记忆。他记得小时候，家里很冷清，他总是渴望热闹，盼着有人来家里作客。后来到广州读书，才渐渐习惯了独处和一个人生活。此时，画面就定格在这一既陌生又熟悉的片刻，而他是试图将“生活在别处”的这一心理意象和经验感知带进他的绘画实践中。

在这之前，汤大尧更多是将视角置于欧洲当代绘画系统，不难看出图伊曼斯（Luc Tuymans）等人对他的影响。然而近两年来，他重返绘画史，重新检视和发现委拉斯贵兹、库尔贝、马奈、塞尚等经典艺术家作品中那些微妙的塑造方式和认知结构。与此同时，他以自身的生活和心理经验代替知识作为绘画的起因和动力，几乎所有作品的图像母题都来自他的生活和记忆，只是在描绘中，他参照并援引了艺术史上的一些“鲜为人知”或不被看重的技法和手段。在这组新作中，画面一如既往的概括和洗练，但视觉结构、形式关系以及笔触和色彩的层次等都比之前显得更加丰富和生动。在他看来，这些手法本身也是他对于这些经验和自我的一种意识、思考和感知。就像“陌生来客”一样，事实上，汤大尧真正要传达的是一种目光与经验之间的心理距离。对他而言，真实的并非是画面，而是这一内部的间距。

← EN

Strange Guest is the title of a new painting by Tang Dayao. It depicts an everyday scene from his memory and experience: last year, he returned to his hometown in Hunan Province for the Spring Festival holiday. One day, he saw a person in rags standing at the gate. The dog in the courtyard began to bark, and Tang’s brother, out of habit, came out to scold the dog. This ordinary scene rekindled a memory from his childhood. He remembered that when he was young, his home was always quiet. He yearned for activity, and hoped a guest would come. Later, when he went to Guangzhou to study, he grew accustomed to the solitary life. At this moment, the picture fixes a moment that is at once familiar and strange as he attempts to draw the psychological imagery and experiential perception of “living elsewhere” into his painting practice.

In the past, Tang Dayao’s vision was mainly focused on the European system of contemporary painting. It is not difficult to find the traces of such artists as Luc Tuymans in his works. In the past two years, however, he has returned to the history of painting, where he has reexamined and rediscovered the subtle modeling techniques and cognitive structures in the works of such classical artists as Diego Velazquez, Gustave Courbet, édouard Manet and Paul Cézanne. Meanwhile, he has replaced knowledge with his own living and psychological experiences as the root and impetus of his painting. Almost all of his image motifs are rooted in his life and memories, except that as he depicts them, he references and draws from certain “little known” or overlooked techniques and methods from art history. In this new series of paintings, the picture is simplified and concise as in the past, but the visual structure, formal relationships and layering of brushstrokes and colors appear richer and more vibrant than before. For him, these techniques are themselves a way of awareness, pondering and perception of these experiences and the self. As is the case with Strange Guest, what Tang Dayao truly wishes to convey is a psychological distance between the gaze and experience. For the artist, the truth is not necessarily the image, but this inner interval.

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展览现场

Exhibition view

汤大尧，浪子回头，布面油画，200x180cm，2015

Tang Dayao，The Return of Prodigal Son，Oil on Canvas

汤大尧，陌生来客，布面油画，200x150cm，2015

Tang Dayao，Strange Guest，Oil on Canvas

汤大尧，回忆，布面油画，70x100cm，2015

Tang Dayao， Memory，Oil on Canvas

2016.04.17 - 05.22

童昆鸟个展《梦地球》

Dreaming an Earth -- Tong Kunniao Solo Exhibition

策展人：汽水

Curator: POP

童昆鸟的言论折射着自身对社会的整体认知，麻木、腐朽、滑稽，在他的意识中，社会以啼笑皆非的形状蔓延在人类周围。他擅于将有意无意积攒而来的物什变做创作材料，马路超市的橡胶鸡，稠滑暧昧的硅胶乳房，纯洁的液态牛奶，都能被赋予调侃嘲趣的古怪意味，陌生的快意和痛感刺激着观者的知觉。这些特点构成了童昆鸟独特的创作语言。

围绕“梦地球”创作出来的一系列作品是童昆鸟由其无时无刻所处的周遭环境，亦即社会状况下的直观映射。橱窗的人体模特、铜制乐器、布偶罗宾、塑胶椰子树等带有使用痕迹的现成品被重新整合成装置，信息时代下类符号性的手机QQ与emoji表情交应其间，原始的社会存在和秩序在新的空间环境内打散，在冲破人们对原始物品思维桎梏的同时，再塑了一场形诞乖张的异世界。

← EN

Tong Kunniao’s perceptions reflected his perceiving of the society. In his consciousness, the society sprawls out with ridiculous shapes around human. He is good at his in inadvertently collected things into a creative material, such as the supermarket rubber chicken, ambiguous silicone breast, pure liquid milk, etc. His works contained interesting wacky means, such strange pleasure rush and painful sensation stimulating the consciousness of his audience. These features constitute the unique creative language of the artist.

Tong Kunniao created a series of works around the “Dreaming an Earth” which reflected the surrounding environment. Window mannequin, brass instruments, puppets Robin, plastic palm tree… they are used to re-integrated into the device as ready－made , and mobile QQ/Emoji expression, that combine a new space environment where the original social and order are scattered. To set up a strange world at the same time, break the viewer’s concept.

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展览现场

Exhibition view

童昆鸟，钓鱼，装置，尺寸可变，2016
Tong Kunniao，Fishing，Installation，Variable size

童昆鸟，瞌睡龙，装置，195x55x288cm，2016
Tong Kunniao，Sleepy Dragon，Installation，Variable size

2016.05.28 - 07.03

《马轲个展》

"Ma Ke" solo exhibition

策展人：崔灿灿

Curator: Cui Cancan

相比马轲以往的个展，本次展览打破常规的展览形式，通过叙事的方式呈现出一场类似于电影的时空线索。展厅以马轲作品的不同侧面和观念框架之间的关系做为主结构，不单单选择展示全新的作品，也抽取部分旧作，展出时间跨度为2001-2016年近30余幅作品，并以《酒神》、《彼岸》、《蜘蛛》为主线，穿插着《仪式》、《证据》等故事转折。作品通过不同形式摆放，每件作品独立存在但却彼此暗合有序，相同题材的反复绘制呈现出一致的精神指向。马轲做为这场“电影”的故事主角，将自身以不同的形象凝聚在作品中，即为艺术家对于自身的描述与觉醒。

← EN

This time, a movie-like temporal and spatial personality in narratives is presented to disrupt the usual displaying of Ma Ke’s works. The room showcases over 30 works created between 2001 and 2016, old and new, and structures on the relationship between different facets and conceptual frames, with Bacchus, Realm and Spider acting as the central thread while Ceremony and Evidence weaving through as the turning points in the story. Every art piece, independent of each other and colluding in an obscure order, has its distinct layout and serves to reveal a one-pointed spirit with thematic repetitions. As protagonist in this “movie,” Ma Ke has been integrated into his works assuming a number of forms, providing representations of the artist’s self-awakening.

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展览现场

Exhibition view

马轲，彼岸，布面油画，254x200cm，2014

Ma Ke, The Other Shore, Oil on Canvas

站台中国20周年｜线上展览回顾：2016 崇真艺客

马轲，号角，布面油画，300x245cm，2012

Ma Ke, Horn, Oil on Canvas

站台中国20周年｜线上展览回顾：2016 崇真艺客

马轲，酒神 5，布面油画，60x50cm，2016

Ma Ke, Dionysus 5, Oil on Canvas

马轲，无题，布面油画，40x50cm，2014
Ma Ke, Untitled, Oil on Canvas

2016.07.09 - 09.03

张业兴个展《Hunting in Dreamland》

Hunting in Dreamland — Zhang Yexing Solo Exhibition

张业兴的作品体现了作为生长在北方的艺术家长期以来对“前苏联的现实主义”技术系统的延续，以及对全球经济中外来文化的迅速接纳的双重状态。新作中反射和映照了现实环境下自我对个体位置和理想维度的探寻和审视；对成长记忆与现实落差的阵痛和惊醒；对体制文化与外来文化相互交融的发酵和反应，使得张业兴的作品不仅凝重、质朴，且有无处措置感。张业兴以一位劳作者的姿态，试图营造一种梦幻般的现实。而这种梦幻也映射着社会对个体生活遭遇所带来的无奈与苦恼，尝试与改变，反复与历练，也正是张业兴不断“反刍”生活和在创作过程中搜索，追寻，印证，与之对话的反应形态。

← EN

Zhang Yexing' works embody the dual state of how an artist growing up in the northern part of China has long been trying to continue working in the technical system of "the realism of the former Soviet Union", and how he quickly embraced foreign cultures in the age of global economy. His latest works reflect various efforts and reactions: a self searching and examining its individual position and ideal bearing in the reality; labour pains and sudden awakenings brought about by the memory of one's growing experiences and the discrepancy between the reality and the dreams; and the fermentation and inter-reaction in the blending of the institutional culture and the foreign cultures. As a result, his works are not only stately and unaffected, but have an air of "no place to settle". With the stance of a laborer, Zhang Yexing tries to create a dreamlike reality. This dreamland also reflects the helplessness and vexation, attempts and changes, as well as reversals and tempering imposed on individual lives by the society. The dreaming is the way the artist reacts: in his constantly "chewing the cud" of life, in his searching, seeking, confirming and dialoguing with it through his creative activities.

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展览现场

Exhibition view

张业兴，Hunting in dreamland 7，布面油画，215×221cm，2016
Zhang Yexing, Hunting in dreamland 7, Oil on Canvas

张业兴，Hunting in dreamland 4，布面油画，303×300cm，2014-2016
Zhang Yexing, Hunting in dreamland 4, Oil on Canvas

张业兴，Hunting in dreamland 2，布面油画，150×122cm，2016
Zhang Yexing, Hunting in dreamland 2, Oil on Canvas

张业兴，Hunting in dreamland 6，布面油画，200×307cm，2016
Zhang Yexing, Hunting in dreamland 6, Oil on Canvas

2016.09.10 - 10.23

王兴伟个展《荣与耻》

Honor and Disgrace — Wang Xingwei’s Solo Exhibition

站台中国荣幸地宣布，艺术家王兴伟个展“荣与耻”将于2016年9月10日在站台中国当代艺术机构开幕，展览将持续至10月23日结束。这是王兴伟自2013年在北京尤伦斯当代艺术中心成功举办同名个展之后的首次个人展览项目。站台中国作为协办方，非常高兴同主办方麦勒画廊一起合作本次展览。

此次展览的作品、布展方式、画册都经过艺术家本人的深思熟虑，是艺术家自2008年来北京之后所涉及课题的一次集中的大胆表现和能量释放。

艺术家本人认为，这个展览无须艺术家提供看画指南，现场直面作品是最佳方式。

← EN

Platform China has the honor to announce artist WANG Xingwei's solo exhibition Honor and Disgrace which will be presented and opened on Saturday September 10th, 2016 at Platform China Contemporary Art Institute. As the supporter of this exhibition, we are very pleased to work with the organizer Galerie Urs Meile to hold this exhibition.

The selection of works, manner of installation, and exhibition catalogue have all been chosen with careful deliberation from the artist himself. It is a courageous expression and large release of energy encapsulating the artist’s career since moving to Beijing in 2008.

The artist thinks that there is no need to provide the audience with any extra information from himself, as simply facing the works is the best way to experience this exhibition.

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展览现场

Exhibition view

站台中国20周年｜线上展览回顾：2016 崇真艺客

王兴伟，济公，布面油画，240×200cm，2015

Wang Xingwei, Ji Gong, Oil on Canvas

站台中国20周年｜线上展览回顾：2016 崇真艺客

王兴伟，阿诗玛，布面油画，240x200cm，2014-2015

Wang Xingwei, Ashima, Oil on Canvas

2016.10.29 - 12.10

杨茂源个展《相形》

Eidos -- Yang Maoyuan’s Solo Exhibition

策展人：鲍栋

Curator: Bao Dong

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展览现场

Exhibition view

杨茂源，得，黑色陶土，2016

Yang Maoyuan, Implemen, Black China Clay

站台中国20周年｜线上展览回顾：2016 崇真艺客

杨茂源，得 No.2，黑色陶土，26.5x23.5x27cm，2016

Yang Maoyuan, Implemen No.2, Black China Clay

站台中国20周年｜线上展览回顾：2016 崇真艺客

杨茂源，日夕里亚，纸上油彩，52×38cm，2015

Yang Maoyuan, Decorative Pattern No.16, Oil on Paper

2016.12.17 - 2017.03.05

宋元元个展《配角登场》

Downstage, Upstaged -- Song Yuanyuan’s Solo Exhibition

策展人：赵梦莎

Curator: Zhao Mengsha

新作品依旧延续了“测试物”阶段的冰冷气质，而滑稽的变形与叙事性语言的加入却又像黑暗中的悲怆笑声，使作品产生了更为戏剧性的效果。艺术家针对不同对象选择对应的画法，也在语言方式上进行了更为丰富的探索。

在现阶段的创作中，宋元元越来越展现出一种现实主义绘画的倾向。他开始尝试一种脱离图像框架的工作，不再回避情感和叙事，用更为纪实的、不讨好的表达来关照他所身处的现实。在此之中，“配角”的概念似乎是一个可以通往这些纷繁线索的桥梁。

“配角”即是画面中的次要因素，不被主要聚焦，又是构成作品主体性的重要部分。通常意义上，配角的存在能帮助确立起一个故事的格局与世界观，让描述更趋合理。宋元元则将画面中原本不起眼的“物”拟人化，赋予其某种身份和精神意志：带有人脸的苹果、皮鞋房子以及金色雕像……宋元元从童话的语言方式中找到依托，赋予了这些物存在的合理性。而只有配角登场的画面主动缺省了语境，使得这些新作又如同一幕幕没有剧情的剧照，将解读和想象的权利最大限度地交还给观众。

在接下来的两个月半内，展览将通过周期性的内容更新生长，藉由作品间不同的排列组合方式交织上演。除绘画作品外，宋元元的素描和艺术家手记的读本也充当着展览结构中的配角，作为创作“脚本”的同时衍生出开放式阅读的可能。

← EN

His new works build on the moody temperament established in his “Examining Objects” series of absurdly disfigured forms laughing in the dark. The artist chooses different kinds of techniques to depict different objects, in order to explore more methodologies of painting languages.

Recently, Song began to incorporate realism in his paintings. Rather than hiding his emotion and narrative, he is trying to identify it, unusually, in the "minor characters" of the scenes we inhabit.

Minor characters are more likely seen downstage, away from the audience. They're not usually the main focal point, but Song brings them upstage, so we can get a better look. Those characters are a secondary element on the frame; yet they play a crucial role in making the piece whole. They help give the story context and establish the stakes of the action. Similarly, Song anthropomorphizes previously overlooked objects, instilling in them personality and spirit. A human face appears in an apple, a shoe serves as a house, and the golden statue…

Song looks to fairy tales – crammed with bowls of porridge, ruby slippers, and magical beans – for a language through which to understand these insignificant objects. And yet a scene filled with only minor characters eventually collapses back into context for something else. Like photos of empty stages, the works ultimately hand the power of interpretation and imagination to the viewer to complete the narrative.

Over the next two months, the exhibition will be periodically updated, with the pieces recombined and reorganized to suggest different storylines. In addition to paintings, Song’s sketches and his artist notes play minor roles in the exhibition, creating the possibility for open interpretation while serving as a loose script with which to read the artist’s work.

第一阶段

First Stage