站台中国20周年｜线上展览回顾：2020
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Yan Bo – Yan Bo Solo ExhibitionAcademic Director ：Bao Dong
在度过混乱的少年时代，开始从事艺术的时候，闫博首先进入的是一种抒情的现代主义传统：他用明确的笔触去分解那些世俗生活的物象与场景，再于画面上重新结构安排它们的平面关系，这些不脱再现性但又富有表现性的绘画，使他获得了初步的声誉；紧随其后，他又创作了一批享乐主义的，也略带儿童气的绘画，把抒情性融在了图像/意象中。After getting through his chaotic teenage years and starting to engage in art, Yan Bo first stepped into a lyrical modernist tradition: He used definite brushstrokes to break down the objects and scenes of secular life and then restructured and arranged their planar relationships on the canvas. These paintings, which were still representational yet full of expressiveness, earned him an initial reputation. Soon after that, he created a batch of hedonistic and somewhat childish paintings, integrating lyricism into the images/imagery.
闫博，无题，综合材料，245x135x13cm，2019
Yan Bo, Untitled, Integrated materials
界画式微，而凌海鹏的工作方式是否生成了新的可能性？与传统经验截然不同的是，他在主题上放弃了对具象景观的描绘，转向对抽象空间的建构。在他的画面中，坐标、透视、消失点、数字汇聚在一起，构成了绘画的空间关系，也凝聚成一股形而上的牵引力。这是凌空之思与缜密匠心的合而为一，以形而上的美学追求对话古典文人的尚意情怀，将界画技艺从审美区隔的限制中抽离，从而拓展了语言的表现力。那么它是否应该参照西方艺术史的形式谱系来找到它的价值坐标呢？他和“冷抽象”绘画之间存在怎样的关系？从荷兰风格派到俄国至上主义，再到极简主义，我们看到一个极尽形式提炼与消解的过程，世界的物象化约为冰冷的几何直至取消意义，但凌海鹏的绘画却与这条西方艺术史脉络保持着距离。若按方法论逻辑来看，凌海鹏的绘画保留了一定程度的自动书写性，他在初步的预设下便开始工作，然后诉诸感知的延展来勾画细节，并试图梳理和定义出每一种图形组合的指向。因此凌海鹏的绘画是在视觉感知的编码与写码中持续推进着，并预示着一个正在生成的符号系统。同时他在用点线面等抽象要素来构建一个与其精神呼应的冥想场域，在凌海鹏那里，创作、冥想、日常生活已经变得互相交织，浑然而难以厘清。另一点上，一种感性的文字出现在他的画面之中，陈述、判断、定义、感怀，文字显露出作者的认知与心理变化, 它们成为了凌海鹏对中国画的题记传统的回访, 也成为了理解其创作理念的通道。
As ruler painting fades away, has the working method of Haipeng LING generated new possibilities? Distinctively from traditional experience, he has given up the description of figurative landscape from theme, and turned to construct abstract space. Coordinates, perspectives, end points and figures gather together in his frames and constitute the spatial relationship of painting. They also condense to a kind of superorganic tractive force. This is the integration of soar idea with rigorous originality and the meaning-valuing feeling of pursuing for talking with classic scholars with superorganic aesthetics. The ruler painting technique is dissociated from the restriction of aesthetic segment, so as to expand the expressive force of language. Then, should it refer to the form spectrum of western art history to find its value coordinates? What is the relationship between itand “cold abstract” painting? From the Dutch style to Russian conciliarism, and then to minimalism, we can see the process of form extraction and erasion to the largest extent, and the image of the world reduces to cold geometry until there is no meaning left. But the paintings of Haipeng LING maintain distance from this vein of western art history. Based on the logic of methodology, we can find that the paintings of Haipeng LING have reserved certain degree of automatic writing, and he started work under initial presupposition, resort to the extension of perception to draw the outline of details, and tried to summarize and define the direction of each kind of graphic combination. Therefore, the paintings of Haipeng LING are constantly promoted in the coding of visual perception, and indicate a symbol system that is generated. In the meantime, he builds a meditation field corresponding to his spirit via point, line, plane and other abstract factors. For him, creation, mediation and daily life have been intertwined with each other, and it is difficult to clarify completely. In addition, perceptual words appear in his paintings. The words of statement, judgment, definition and reminiscence disclose the cognition and mental change of the author, and become the return visit of Haipeng LING to the inscription tradition of Chinese painting and also the channel to understand his creation idea.
凌海鹏，浮标 2，宣纸水墨，68×68cm，2019
Ling Haipeng, Buoy 2, Chinese Ink on Paper
Platform China’s 15th Anniversary Special Exhibition 艺术家：丁立人、袁运生、宫立龙、马可鲁、谭平、吴杉、赵刚、刘港顺、王音、杨茂源、王兴伟、马轲、秦琦、贾蔼力、孙逊、赵赵、毕建业、付经岩、傅饶、葛辉、黄亮、金闪、娄申义、邱瑞祥、亓文章、宋元元、汤大尧、童昆鸟、萧搏、许成、肖江、闫博、周轶伦、张业兴Artists：Ding Liren, Yuan Yunsheng, Gong Lilong, Ma Kelu, Tan Ping, Wu Shan, Zhao Gang, Liu Gangshun, Wang Yin, Yang Maoyuan, Wang Xingwei, Ma Ke, Qin Qi, Jia Aili, Sun Xun, Zhao Zhao, Bi Jianye, Fu Jingyan, Fu Rao, Ge Hui, Huang Liang, Jin Shan, Lou Shenyi, Qiu Ruixiang, Qi Wenzhang, Song Yuanyuan, Tang Dayao, Tong Kunniao, Xiao Bo, Xu Cheng, Xiao Jiang, Yan Bo, Zhou Yilun, Zhang Yexing
2005年5月7日，站台中国正式举办了草场地空间的第一个展览，我们将在线上逐年分享站台中国成长的十五年历程，并在线下同步予以展示，感谢这十五年来所有相伴的你们。主体空间呈现了曾经深度合作的16位艺术家作品，同时在其中一个主要墙面上轮流展示18位艺术家作品，每两天更换一次。您可关注我们的官方微博和ins，了解每位艺术家的参展作品。
On May 7, 2005, Platform China officially held the first exhibition in Caochangdi village. We will share the 15-year growing history of Platform China online by year after year and present it in the exhibition. Thanks for all the accompanying through 15 years.The main space presents the works of 16 artists who had been in deep cooperation with us. At the same time, the works of 18 artists will be alternately displayed on one of the main walls, changing every two days. You can follow our official Weibo and Instagram to learn more about the art works.
袁运生，马拉松，麻布油彩，180x250cm，2010
Yuan Yunsheng, Marathon, Oil paint on linen
王兴伟，在圣彼得堡涅瓦河边 2，布面油画，200x200cm，2013-2015Wang Xingwei, By the River Neva in St. Petersburg No.2, Oil on Canvas
王音，夏素狄，布面丙烯，90×60cm，2019
Wang Yin, Xia Sudi, Acrylic on Canvas
宫立龙，白，布面油画，33x53cm，2006
Gong Lilong, White, Oil on Canvas
秦琦，咬春，纸本油画，55x80cm，2020
Qin Qi, Biting Spring, Oil on Paper
丁立人，静物， 布面油画，60x60cm，2014
Ding Liren, Still Life, Oil on Canvas
吴杉，画眉序，大漆、麻、木板，60x50cm，2016
Wu Shan, Hua Meixu, Lacquer、Hemp、Board
马轲，彼岸，布面油画，254x200cm，2014
Ma Ke, The Other Shore, Oil on Canvas
谭平，无题，布面丙烯，50×80cm，2008
Tan Ping, Untitled, Acrylic on Canvas
马可鲁，啊打白，布面油画，146x146cm，2017
Ma Kelu, Ada White, Oil on Canvas
刘港顺，不要放弃这艘船，布面油画，180x210cm，2015
Liu Gangshun, Do Not Give Up This Ship, Oil on Canvas
杨茂源，2020.3.1，布面油画，92x135cm，2019-2020
Yang Maoyuan, 2020.3.1, Oil on Canvas
孙逊，鸱吻之泪：凤，手工树皮纸, 金粉、矿物粉、 墨汁、 阿拉伯胶，310x127cm，2016
Sun Xun, The Tears of Chiwen: Phoenix, Handmade bark paper, gold powder, mineral powder, ink, gum arabic
Shen Zhenglin : Green Flash
沈正麟个展《绿光》串联了《虚拟圣殿》与《Mnemosyne》（记忆女神）两个系列的作品，试图以绘画图像间的互文关系来建构一次悠远的时空对话，探讨了人工神话、仪式场域、情境冥想等相关问题。而新的主题也激发了艺术家在绘画形式语言上的推进。The exhibition Green Flash: Shen Zhenglin connects two series of works "Virtual Sanctuary" and "Mnemosyne" (Goddess of Memory) of Shen Zhenglin, trying to construct a long-distance space-time dialogue based on the intertextual relationship between the painting images. It discuss artificial myths, ritual fields, situational meditation and other related issues. The new theme also inspired the artist's advancement in the modal language of painting.沈正麟，Virtual Sanctuary NO.11，布面油画，150x200cm, 2019Shen Zhenglin, Virtual Sanctuary NO.11, Oil on Canvas沈正麟，Mnemosyne 191201，布面油画，50x40cm，2019Shen Zhenglin, Mnemosyne 191201, Oil on Canvas
《归来》是艺术家毕建业在站台中国的第二次个展。展览汇聚了他的多个绘画系列，从不同面向呈现出毕建业近年来的探索性实践。他将对现实世界的复杂感受转化为巧妙的图像隐喻和主题叙事。作品中具有情绪力的内容和运动感的形式也标志着他在个人绘画线索上的最新推进。《归来》从何处而来？展览试图聚集艺术家笔下纷繁复杂的意象，并使用一种迷狂者式的叙述来揭开作品深处蕴藏的意义。诚然，它在拼合这些心灵片段般的图像之时，也搅合了行文者思绪中的黏液。面对毕建业的绘画，流于表面的观看会无法锚定其内在意义，只有更深入的诊视、分析、共情，才能真正理解其个人寓言式的创作。下文的篇章，可以比作一场通向心灵深处的探索之旅，将书写出艺术家在绘画实践中的启程、历险与归来。Return gathers a series of paintings by Bi to showcase his explorative practices over recent years from different facets. Through painting, Bi ingeniously translates his complex feelings about the real world into pictures containing metaphors and narratives for various subject matters. These works, bursting with emotions in content and dynamism in form, also symbolize the latest trail of his personal painting clue. Return, from where? The exhibition is an attempt to put together a variety of complicated images presented under the artist’s brush strokes and uncover the implications hidden in his works through a crazy fan-style narration. True, while amassing pictures giving a piece of the painter’s mind, the exhibition will inevitably absorb traces of the writer’s thoughts. From a viewer’s perspective, superficial observations are not enough for one to capture the essence of Bi’s paintings. Instead, only more thorough examination, analysis and empathy will bring a complete understanding of his allegorical creations. The writings below can be compared to a journey of discovery striking a chord deep into heart, unfolding the story of how the artist embarks on, ventures into and returns from his painting practice.毕建业，猎手1号，布面丙烯，240x200cm，2018-2019
Bi Jianye, Hunter No. 1, Acrylic on Canvas毕建业，楼顶，布面丙烯，213x183cm，2019Bi Jianye, On The Roof, Acrylic on Canvas
Liu Gangshun : A Personal Anthology
Academic Director：Lu Mingjun
刘港顺个展《自选集》的海报，以商务印书馆“汉译世界学术名著”的经典范式，巧妙的将我们带入刘港顺的工作系统，也引出百年来中国文化景观的输入与输出。“自选集”除了字面含义之外，更重要的是呈现刘港顺的关于自我生成与话语输出的内在逻辑，其作品构成了主体和信息关系的集合，在该层面上我们可以看到艺术家所独有的方法论，它们有时是清晰的、有时是疑惑的，甚至是混沌的、任性的，但我们会阅读出那个丰富而精彩的刘港顺。 The poster of Liu Gangshun's solo exhibition " A Personal Anthology ", using the classic paradigm of "Chinese Translation of World Academic Masterpieces" by the Commercial Press, cleverly brought us into Liu Gangshun's work system, and also led to the input and output of Chinese cultural landscapes in the past century. In addition to the literal meaning, " A Personal Anthology" is bound up to present Liu Gangshun's internal logic about self-generation and discourse output. His works create a collection of the relationship between subject and information. On this level, we can see the artist’s unique methodologies, they are sometimes clear, sometimes puzzled, even chaotic and wayward, but we will find a generous and wonderful Liu Gangshun eventually.
刘港顺，怎样，布面油画，40.6x50.8cm，2018Liu Gangshun, How？ Oil on Canvas刘港顺，昼与夜，布面油画，152.4x152.4cm，2020Liu Gangshun, Day and Night, Oil on Canvas
Chen Dongfan : 2020 Forgotten Letters
一直以来，艺术家陈栋帆在他的绘画实践中展现出一种雄心。2018年8月，曼哈顿中国城的街头，陈栋帆沿着整条宰也街路面（Doyers Street）创作了《龙与花之歌》——一件长度61米，面积4800平方英尺的公共绘画。色彩、笔触、符号在日常空间中自由交织，透露着诗意的自然灵性，成为了一时惊现的城市奇观。公共绘画只是陈栋帆创作系统中的一个部分，他的架上作品则见证这种创作力的不断积蓄和绘画语言的深入推进，它们往往有着宽阔的尺幅、激烈的情绪、张扬的形式，正如他在纽约的新近个展《庇护所》（2020.1.30-5.1）中所表述的——他试图寻找“书法的气韵与涂鸦的破坏力之间的对抗和融合”。For long, artist Chen Dongfan has demonstrated great ambition in his painting practices. In August 2018, he created the Song of Dragon and Flower – a public painting that is 61 meters long and has an area of 4,800 square feet -- along Doyers Street, Manhattan Chinatown. Colors, brushworks and symbols are freely intertwined in the daily space, and disclose poetic and natural intelligence, becoming a wonder suddenly appeared in the city. Public painting is merely part of the creation system of Chen Dongfan, and his easel works witness the constant accumulation of creativity and the in-depth advancement of painting language. They often have broad size, intense emotion and high-key form just as his description in Refuge, his recent solo exhibition held in New York (January 30 to May 1, 2020) -- he tries to find the “confrontation and integration between the artistic conception of calligraphy and the destructive power of scrawl”.
陈栋帆，吟游诗人，纸本油画，28.5x19cm，2020
Chen Dongfan, Troubadour, Oil on Paper
陈栋帆，我是最伟大的!，纸本油画，28.5x19cm，2020Chen Dongfan, I'm the greatest! , Oil on Paper
Ma Kelu : TIME, SCENERY, LIGHT AND LIFE
站台中国当代艺术机构于2020年7月18日隆重推出艺术家马可鲁个展《光景》。展览将系统性地呈现马可鲁于1972-1984年间创作的风景作品。展题“光景”，试图提示观众，这些作品背后的社会文化情境。它们出离于那个时代的艺术体制与主流美学，是在一个特殊的历史时期中，艺术家对个人艺术理想的主动选择和勇敢实践，是新一轮艺术自由思潮孕育萌发中的个体显现。在艺术家的创作历程里，该阶段的风景作品超出了一般性的写生意义，其实践本身具有着鲜明的艺术主张、研究意识和工作方法。它们吸收了西方现代派的表现技巧，被倾注了中国艺术中的写意特质，追求符合生命真实体验的自由表达。艺术家在此中的收获与积累，不断地为其艺术生涯提供营养与动力。“光景”，亦是艺术家后续抽象创作演化的漫长前奏。于其中，观众可以探访到，一个中国当代抽象绘画个案的来处。The solo exhibition "Time, Scenery, Light, and Life" of artist Ma Kelu was launched on July 18, 2020. The exhibition will systematically present landscape works created by Ma Kelu between 1972 and 1984. The exhibition title "Time, Scenery, Light, and Life" tries to remind visitors of the social and cultural context behind these works. Deviating from the art system and mainstream aesthetics of that era, these works show the artist's active choice and brave practice of personal art ideals in a special historical period, and serve as a specific representative among the gestation and germination of a new ideological trend of artistic freedom. As for the artist's creative process, the landscape works at this stage go far beyond general paint from life. The artistic practice itself has distinct artistic propositions, research consciousness and working methods. They have absorbed the expression skills of Western modernism while brimming with the freehand features of Chinese art, in pursuit of free expression in line with the true experience of life. The artist's gains and experience accumulated therefrom have also continuously provided nutrition and motivation for his artistic career. "Time, Scenery, Light, and Life" is a long prelude to the evolution of the artist's subsequent abstract creation. During the exhibition, visitors have the chance to dig into the origin of a certain contemporary Chinese abstract painting.Ma Kelu, Flower Room, Oil on Paper马可鲁，紫竹院秋景，纤维板油画，39x56.5cm，1977-78Ma Kelu, Zizhuyuan Autumn view, Oil painting on fiberboard
Ma Kelu : Sacrifice of the Spring
《春之祭》将展出马可鲁在2006年归国后所创作的同名抽象系列。这些作品生成于艺术家个人命运的特殊时期，是他对“青春与生命”的感发和书写。显而易见，鲜亮透明的色彩、挥洒自如的笔触成为了这些画面的重要特征，深情与诗意充溢其间。而其中映现的“风景意象”，则回应了马可鲁艺术生涯早期的写生创作，显露出一种抽象绘画语言的来处。
本次展览与《马可鲁：光景1972-1984》平行呈现。它们提供了研究艺术家创作脉络的比较样本，揭示出具象与抽象在其作品中的辩证关系。Rite of Spring will put on display the same-name abstract works created by Ma Kelu after he returned to China in 2006. Created in the special period of the individual fate of the artist, these works demonstrate his feeling and description of “youth and life”. Notably, bright and transparent colors and free brushworks become the important features of the frames, overflowing with deep feeling and poetic flavor. Moreover, the “landscape image” reflected by the works respond to the paint from life creation of Ma Kelu in his early artistic career and show up the source of the abstract painting language.
This exhibition is presented in parallel with Ma Kelu: Time, Scenery, Light and Life 1972-1984. They provide the comparative samples for studying on the creation context of the artist and reveal the dialectical relationship between concretization and abstraction in his works.马可鲁，春之祭之五，画布油画，183x208cm，2009Ma Kelu, The Sacrifice of Spring No.5, Oil on Canvas马可鲁，春之祭之二，画布油画，208x183cm，2009Ma Kelu, The Sacrifice of Spring No.2, Oil on Canvas
汤大尧，史诗 1，布面油画，250x800cm，2018-2020Tang Dayao, Epic-1, Oil on Canvas汤大尧，史诗 2，布面油画，150x750cm，2019-2020Tang Dayao, Epic-2, Oil on Canvas
《帷幕》是张业兴在站台中国举办的第三次个展，将呈献其于2020年中新近完成的十余件绘画作品。它们是艺术家在其个人线索上的持续推进，延续了其早期作品中对人造空间的关注，并用一种节制的超现实风格构建出怪诞场景。于其中，多变的角色，不相称的布景，铺展开非诗性、戏剧性的视觉叙事。画家在作品中表现出对冲突形式的掌控力，他以出色的技艺驯服了所绘物象的异质性格，使其艺术语言获得了颇具内在张力的完满性。
缘由某些隐秘的心理动机，画家将其视觉记忆——包括社会生活中的所见和艺术历史中的图像——转译为这些绘画的主题。作品并不执意述说明确的故事，只为激发观者自然流淌的冥想，并试图揭示出世界的荒诞现实。As the third solo exhibition held by Zhang Yexing at Platform China, Curtain will put on display more than ten paintings recently completed by him in mid-2020. The works are the continuous promotion by the artist in terms of personal clue, extend the attention of his early works on artificial space and construct freak scenes with a sober surreal style. Changeable roles and inappropriate setting spread out visual narration that is non-poetic and dramatic. The painter showed his control over the form of conflicts in his works and tamed the heterogeneity of the images pained by him with outstanding skills, so as to empower the art language with completion full of inherent tension.
Due to some secret mental motivation, the painter translates his visual memory, including what he saw in social life and the images in art history, into the themes of these paintings. The works do not resolutely tell specific stories; instead, they only aim to motivate the naturally flowing meditation of the spectators and try to reveal the absurd reality of the world.张业兴，有了结果的赌局，2020年，布面油画，52x40cmZhang Yexing, Gambling with results, Oil on Canvas张业兴，等待，2020年，布面油画，62x50cmZhang Yexing, Waiting2, Oil on Canvas
Wu Shan 2020
Academic Adviser：Wang Min’an / Liang Chao
站台中国当代艺术机构荣幸地宣布，将于10月17日向公众呈现艺术家吴杉个展《吴杉2020》，本次展览是吴杉继《曲径》之后在站台中国举办的第二次重要个展，将由3个独立单元组成其叙述结构，并邀请汪民安、梁超担纲学术主持。
吴杉（b.1960），上世纪80年代初毕业于浙江美术学院，后赴美求学，在芝加哥艺术学院研究院取得硕士学位。他曾定居美国生活工作20余年，潜心于绘画语言的研究与实践。在其创作中，吴杉一方面借鉴了盛期现代主义的形式法则，另一方面吸收和转化中国传统的美学经验，他在对大漆材料的实验中找到了链接其观念与美学的独特方式，形成了具有个人面貌的艺术风格。
为极力呈现吴杉艺术实践的脉络，站台中国将调用主空间与dRoom 来分别呈现展览的3个部分。
10月17日，站台主空间将呈现吴杉近期的漆画作品。这些作品显现出艺术家成熟完满的艺术风格。雅致的矩形色块里，匀称纤细的线条勾勒出抽象图形，或隐蔽，或显露，调动着特殊的视觉体验。这些图形往往是一个封闭而复杂的平面空间，形状的变化如同它用来命名的曲牌，呈现出一种优雅的律动，而大漆覆盖的表面亦使作品极具物的特质与魅力。展厅空间将规模化地陈列这些作品，不同的极简色块将构成剧场性的组合。吴杉如此描述它们:“我的画由于运用细线，游丝般缓慢地构成图形，又使用大漆的材质，没有一般表现主义式的情感性的抽象绘画语言激情，现在觉得挺好。以至于我更觉得自己是在制作一件艺术品，不是在画抽象画”。
10月17日， dRoom空间将平行展出吴杉的彩色纸本作品、早期漆画与少量手稿。这些作品从他漫长的时间线索中精选而出，是其艺术历程中的重要组成部分。它们为研究吴杉个案提供了一个作品图像志辑要。观众可以从中体会吴杉不同时期的实验方向，可以看到他从对西方现代艺术的接纳，逐渐转向为对中国美学的表达。值得注意的是，较近时期的水彩作品和主展厅中色块漆画组成一个不可分割的工作系统，呈现出吴杉近作的生成路径与逻辑。
11月28日，站台主空间将推出展览的第三个重要部分，呈现其跨度近三十年的素描手稿。这些手稿对他而言，犹如日课一般，既是吴杉对绘画最直接的思考，也是其私人情感的坦露。他在80年代初去了美国，在那漫长的二十余年里，既有枯燥，沉闷，也有刺激，好奇，悲伤，抑郁，欢快，迷茫，被抛弃，兴奋，迷幻。但生活的无常并没有消磨其坚强的个人意志，他以对艺术极度的信仰和依赖，积累下丰富的手稿——这是艺术家的心灵日记。展览希望通过这些日记去呈现那样一个人，而观众可以从中窥见那样一个时代。It is a great honor for Platform China Contemporary Art Institute to announce that “Wu Shan 2020”, the solo exhibition of artist Wu Shan, will be presented on October 17. As the second important solo exhibition of Wu Shan held at Platform China after Winding Path, this exhibition will have three independent units to constitute the narrative structure. Wang Min’an and Liang Chao will be invited to be the academic advisers of the exhibition.
Wu Shan (born in 1960) was graduated from the Zhejiang Academy of Fine Arts in the early-1980s. Later, he studied in the US and acquired the master’s degree from the Graduate School of the School of the Art Institute of Chicago. He lived and worked in the US for more than 20 years and was absorbed in studying on and practicing painting languages. On the one hand, Wu Shan took example by the principles of form of high modernism during his creation; on the other hand, he absorbed and transformed the aesthetic experience of Chinese tradition. He found the unique way of connecting his concepts and aesthetics in the experiment of lacquer materials and established the artistic style with personal features.
In order to intensively demonstrate the context of the artistic practices of Wu Shan, Platform China will separately display three parts of the exhibition at the principal space and dRoom.
On October 17, the principal space of Platform China will put on display the recent lacquer paintings of Wu Shan to show the mature and perfect artistic style of the artist. Well-balanced and slender lines draw the outlines of abstract images in elegant, rectangular color blocks. They mobilize the special visual experience either in the background or visibly. The figures often show a closed and complex planar space. Like the name used to denominate, the changes of shapes present elegant rhythm, while the surface covered by lacquer also renders the works with physical peculiarity and charm. The exhibition hall will display these works on a large scale, and different, extremely austere color blocks will constitute the theatrical combination. Wu Shan describe them in this way, “Due to the utilization of fine lines in my works, they form figures slowly like hairspring. I also use lacquer, so the works do not have the emotional passion of abstract painting like general expressionism. I believe they are so great that I feel I am creating an artwork rather than drawing an abstract painting.”
On October 17, dRoom Space will display the colorized paper works, earlier lacquer paintings and some manuscripts of Wu Shan simultaneously. Selected from his lengthy time clue, these works are important parts of his art course. They provide a summary of the image book of the works to study on the individual cases of Wu Shan. The audience can realize the experiment directions of Wu Shan in different periods, and can find that he has gradually shifted from the acceptance of western modern art to the expression of Chinese aesthetics. Noticeably, recent watercolor paintings and the color block lacquer paintings in the principal space constitute an indivisible work system, showcasing the generation path and logic of the recent works of Wu Shan.
On November 28, the principal space of Platform China will present the third important part of the exhibition, i.e., the sketches created in nearly thirty years. For him, the manuscripts are comparable to daily classes, demonstrate his most direct consideration of painting and reveal his private emotion. He went to the US in the early-1980s. In the lengthy time of 20-plus years, he experienced both bald and tedious life, and irritative, curious, sorrowful, depressed, lively, confused, abandoned, excited and illusive life. However, the changeable life did not wear down his tough individual will. Thanks to his extreme belief in and reliance on art, he accumulated abundant manuscripts – the spiritual diaries of the artist. The exhibition hopes to demonstrate the person through these dairies, from which the audience can get a glimpse of the era.吴杉，清江引，大漆+麻+木板，89x70cm，2016Wu Shan, Qingjiangyin, Lacquer hemp board吴杉，沽美酒，大漆+麻+木板，80x60cm，2019Wu Shan, Gumeijiu, Lacquer hemp board吴杉，纸本手稿 No.3，纸本水彩、铅笔，29.7x42cm，2015Wu Shan, Manuscript No.3, Watercolor, pencil on paper
Qi Wenzhang : Where are you going
你往何处去——是一个双重指向的设问。在这里，你，既指绘画，亦指画家自身。展览以设问为题，将引出亓文章的个体回应，表述他在不断的自审中所追寻的艺术目标。亓文章的绘画往往具有后现代文学般的叙事性，形象刻画追求陌异感。他在对现代主义形式经验的继承中发展个人的绘画风格。他善于将绘画史中的图像遗产进行转译与重构，从而生产新的意义。在其近期实践中，他的作品表现出更加鲜明的现实关切，对形式语言的实验也愈趋深入。
展览甄选的作品是其新近之作，多数为中小尺幅，它们是其艺术语言探索中的重要部分。不同于其大幅绘画的多重叙事性，这些小品在主题上朴素单纯，更具绘画本身的浓度，亦富含了画家对自身的认知与对现实的理解。展览作品主题丰富，展陈将突显出它们的内在联系，构建剧场性的对白关系。“Where are you going?” is a question with two connotations, among which, “you” means both the painting and the artist himself. The exhibition, themed by a question, will introduce individual responses of QI Wenzhang, presenting the artistic goals that he pursues in the continuous self-examination. The paintings of QI Wenzhang often feature narrativity in the style of postmodern literature, and the artist pursues strange feeling during the depiction of images. Through the inheritance of formal experience in modernism, he has developed his own style of painting. He is good at translating and reconstructing the pictorial heritage in painting history so as to produce new meanings. In his recent practice, his works display more distinct concerns about the realistic condition, and his experiments on formal language get more profound.
The works selected for exhibition are recently created by him, mostly in small and medium size, and they constitute an important part of his exploration of artistic language. Different from the multiple-layer narrativity of his large-sized paintings, these small-sized ones are simple and pure in theme, with more embodiment of the paintings themselves, as well as the painter’s cognition of himself and understanding of reality. Rich in the themes of the displayed works, the exhibition will highlight their internal relations and build a theatrical dialogue relationship.亓文章，你好，高更 1 ，布面油画，50x60cm，2020Qi Wenzhang, Bonjour, Gauguin 1, Oil on Canvas亓文章，箱子里的人，布面油画，65x80cm，2020Qi Wenzhang, The Man in the Box, Oil on Canvas
Images copyright ? Platform China & Artists20-year Exhibition History 
#时间的形状：20周年特展
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