展览日期：2021/11/07 — 2022/01/09出品：千高原艺术空间策展人：何桂彦艺术家：庞茂琨作品媒介：绘画展览地点：四川省成都市高新区盛邦街，铁像寺水街南广场，千高原艺术空间电话：+ 86 - (0) 28 8512 6358邮箱：info@1000plateaus.org1980年代中后期，庞茂琨就致力于古典油画语言的研究与探索，在近40年的创作中，也是把源于古典语言的审美气质保持得最为完整的代表性艺术家之一。实际上，当我们谈“古典”时，它实质有宽泛的外延，不仅包含语言与创作方法，而且涉及视觉的再现与观看机制。就庞茂琨油画创作的语言轨迹来说，其古典之路的形成，至少有三种来源：一是得益于良好的学院训练，使其拥有高超的写实与造型能力；第二，从具象到图像，再发展成一种独特的图式。这个类型作品的基本特征是，艺术家借助后现代艺术的“挪用”“戏拟”等手法，对西方美术史上经典作品的画面结构与叙事方式进行“篡改”，在强化作品观念表达的同时，也使其具有西方经典绘画的图式外观。第三，不断为现实主义注入新的内涵。因此，进入庞茂琨的绘画世界，语言是最重要的入口。沿着语言这条通道，图像、叙事、景观接踵而至，水到渠成。虽然从语言出发，但语言并不是绘画的归属，对于庞茂琨来说，如何在古典的话语中融入当代人的视觉经验、观看经验、文化经验，使其水乳交融，才是真正的目的。
▲庞茂琨，格列柯的天空，布面油画，120×160cm，2017Pang Maokun, The Sky of EI Greco, Oil on canvas, 120×160cm, 2017
对于古典绘画来说，视觉再现系统的形成，以及营造一种独特的观看体验是至关重要的。众所周知，从意大利文艺复兴以来，因为“透视”的发明，于是，艺术家探索一套全新的观看机制成为了可能。“透视”的目的，一方面是在二维平面上，艺术家如何赋予所描绘的对象以视觉秩序。另一方面，是让观众与画面形成一种看与被看的关系，并且最终让观众能置身其中。于是，为了保持画面的完整性，古典时期的画家通过营造三维的幻觉空间让绘画处于一种恒久的状态。同时，利用视觉的焦点，观众就能发现画面的视觉中心，进而被画面的故事、情节所吸引。因此，在欣赏古典大师的作品时，观众首先看到的是画的内容，然后才是一幅画。正是从这个角度讲，古典艺术从文艺复兴以来建构的视觉——再现传统曾赋予观看以至高无上的权利，亦即是说，艺术家将追求完美的视觉再现作为最高的目的，倘若我们换一个角度理解，作品的意义生成也是取决于观看的。由于受到当代视觉文化研究与理论的影响，特别是在当代艺术的语境下，与古典时期比较起来，“观看”被赋予了更多的意义，如性别的、身份的、文化的，也包括看与被看背后隐含的权力话语。
▲庞茂琨，邂逅，布面油画， 80×65cm×2，2017
Pang Maokun, Serendipity, Oil on canvas, 80×65cm×2, 2017
在庞茂琨各个时期的绘画中，我们会注意到，艺术家会精心地赋于作品一种内在的观看逻辑。庞茂琨有时会借助西方美术史中经典作品的图式，通过“挪用”“戏拟”的手法，改变画中的人物与场景，使其呈现出一种新的视觉与画面秩序。有的时候，艺术家会巧妙地利用“镜子”，目的也是去揭示观看背后的逻辑。比如，以《被直播的现场》《证婚人》等作品为代表，庞茂琨将人物置身于一个具体的、日常的环境中。因为镜子的存在，画面的视觉机制实质形成了双重的观看。一个是画中人物与镜子构成第一个层面的观看，另一个是来自艺术家的凝视。事实上，“凝视”的力量远远大于“观看”，因为它能反映艺术家敏锐的洞察力，以及关照现实时的精神深度。最终，在面对完成的画作时，观众分享的是艺术家的审美与观看经验。
▲庞茂琨 ，被直播的现场，布面油画，280×230cm，2017Pang Maokun, Live Broadcast, Oil on canvas, 280×230cm, 2017
本次在千高原画廊展出的是庞茂琨近年创作的一部分人物和肖像作品，画中对象大多是艺术家的家人、身边的朋友和同事。其中，部分作品是现场写生。就这批作品来说，艺术家对现实的场景一般不做过多的交代，简化背景中的内容，摒弃过多的细节，相反，尽力捕捉人物在此情此景下的心理与精神状态。对于艺术家来说，所谓的“在场性”，实质是希望呈现，在特定的场景、时间与空间中，人物保持的一种“此在”状态。诚如前文所言，在欣赏一幅古典绘画的时候，观众首先看到的是画的内容，然后才是一幅画。事实上，古典绘画不仅需要观看，而且，还需要有一个合适的观看距离。唯其如此，观众与作品，作品与墙面，才都保持在一种最佳状态。于是，因为观看，观众与作品形成了一种视觉机制，而观看行为本身，也会带来一种仪式感。在本次展览中，我们希望营造一个特别的观看环境，让观众的观看也成为作品意义生成的一个组成部分。从这个意义上讲，“在场”也是针对观众的。（文/何桂彦）
Viewing, Gazing and Presence : Pang Maokun's Solo Exhibition
Duration: November 7, 2021 - January 9, 2022Organizer: A Thousand Plateaus Art SpaceCurator: He GuiyanArtists: Pang MaokunMedia: Painting Venue: A Thousand Plateaus Art Space, South Square, Tiexiang Temple Riverfront, Shengbang Street, High-tech Development Zone, Chengdu, ChinaTel: + 86 - (0) 28 8512 6358E-mail: info@1000plateaus.orgIn the middle and late stage of 1980s, Pang Maokun devoted himself to the research and exploration of classic oil painting language. In his recent 40 years of creation, he is also a representative artist who maintains the most complete aesthetic temperament derived from classical language. In fact, when we talk about "classic", its essence has a broad extension, including not only language and creative methods, but also the mechanism of visual reproduction and viewing. As far as the language track of Pang Maokun's oil painting creation is concerned, the formati n of his classical road comes from at least three sources: first, thanks to good college training, he has superb realistic ability; Second, from concrete to image, and then to schema. The basic feature of this type of works is that with the help of the techniques of "misappropriation" and "juxtaposition" of postmodern art, artists "tamper with the picture structure and narrative mode of classic works in the history of Western art, which not only strengthens the expression of works' ideas, but also makes them have the schematic appearance of western classic paintings. Third, constantly inject new cores into realism. Therefore, language is the most important entrance into Pang Maokun's painting world. Along the channel of language, images, narration and landscape come one after another. Although starting from language, language is not the ownership of painting. For Pang Maokun, how to integrate contemporary people's visual experience, viewing experience and cultural experience into classical discourse is the real purpose.▲庞茂琨，斜倚的妮娜，布面油画，120×150cm，2020Pang Maokun, Reclining Nina, Oil on canvas, 120×150cm, 2020For classical painting, the formation of visual reproduction system and creating a unique viewing experience are very important. As we all know, since the Italian Renaissance, because of the invention of "perspective", it has become possible for artists to explore a new viewing mechanism. The purpose of "perspective" is, on the one hand, how artists give the painted objects visual order on a two-dimensional plane. On the other hand, it is to let the audience form a relationship between seeing and being seen with the picture, and finally let the audience be in it. Therefore, in order to maintain the integrity of the picture, painters in the classical period made the painting in a permanent state by creating a three-dimensional illusion space. At the same time, using focus perspective, the audience can find the visual center of the picture, and then be attracted by the story and plot of the picture. Therefore, when appreciating the works of classical masters, the audience first sees the content of the painting, and then a painting. It is from this perspective that the visual reproduction tradition constructed by classical art since the Renaissance once gave viewing the supreme right, that is, artists take the pursuit of perfect visual reproduction as the highest purpose. If we understand it from another perspective, the significance of works depends on viewing. Due to the influence of contemporary visual culture research and theory, especially in the context of contemporary painting, compared with the classical period, "viewing" has been given more meaning, such as gender, identity and culture, including the power behind seeing and being seen.In Pang Maokun's paintings of various periods, we will notice that the artist will carefully endow his works with an internal viewing logic. In his specific creation, Pang Maokun sometimes changes the characters and scenes in the painting by means of "misappropriation" and "Parody" with the help of the schema of classical works in the history of Western art, so as to present a new visual and picture order. Sometimes, artists will skillfully use the "mirror" to reveal the logic behind viewing. For example, represented by works such as live broadcast and marriage witness, Pang Maokun places the characters in a specific and daily environment. Because of the existence of the mirror, the visual mechanism of the picture essentially forms a dual viewing. One is that the characters and mirrors in the painting constitute the first level of viewing, and the other is the gaze from the artist. In fact, the power of "gaze" is far greater than that of "watch", because it can reflect the artist's keen insight and the spiritual depth when taking care of reality. Finally, when facing the completed paintings, the audience shares the artist's aesthetic and viewing experience.▲庞茂琨，子夜，布面油画，150×100cm+150×160cm+Pang Maokun, Midnight, Oil on canvas, 150×100cm+150×160cm+150×100cm, 2015This time, some figures and portraits created by Pang Maokun in recent years are displayed in the thousand plateau art space. Most of the characters in the paintings are the artist's family, friends and colleagues. Among them, some works are live sketching. For these works, artists generally do not give too much explanation to the real scene, simplify the content in the background and abandon too many details. On the contrary, they try their best to capture the psychological and mental state of the characters under this situation. For artists, the so-called "presence" is essentially a "here" state of the characters in a specific scene, time and space. As mentioned above, when appreciating a classical painting, the audience first sees the content of the painting, and then a painting. In fact, classical painting needs not only viewing, but also a suitable viewing distance. Only in this way can the audience and works, works and walls be kept in a best state. Therefore, because of the viewing, the audience and the works form a visual mechanism, and the viewing behavior itself will bring a sense of ritual. In this exhibition, we hope to create a special viewing environment so that the audience's viewing will also become an important part of the significance of the works. In this sense, "presence" is also aimed at the audience.( Text / He Guiyan)鉴于近日疫情情况反复，根据疫情防控工作需要，为避免人员聚集引发交叉感染，即日起，前往千高原艺术空间看展须提前一天进行电话预约。入馆请佩戴口罩、出示健康码并配合工作人员进行体温检测。
庞茂琨，1963年生于重庆，1978年至1981年就读于四川美术学院附中，1981年至1988年就读于四川美术学院油画系并获油画专业硕士学位，现为中国美术家协会副主席，四川美术学院院长、重庆文联副主席、重庆美术家协会主席，中国美术家协会油画艺委会主任,上海大学美术学院博士生导师，西安美术学院博士生导师。多年来，他一直坚持探索古典油画语言在当代文化情境的表达与呈现，将个人的艺术创作熔铸在当下社会现实之中，他总是以凝视的视角来描述现实本身，原本静穆的古典画风也被他赋予了一种别样于日常的陌生感和距离感，而这样的艺术气质不仅仅代表着个人化风格的建构与完整，更能由此衍生出油画艺术在当代艺术中的价值和意义。作品多次参加国内外的艺术展览，并被海内外多个艺术机构以及私人收藏。代表作品有《苹果熟了》、《彩虹悄然当空》、《一个满地金黄的夏天》、《模糊系列》、《虚拟时光系列》、《巧合系列》、《光耀系列》、《游观系列》、《折叠的肖像》系列等。
美术学博士，批评家，策展人，现为四川美院艺术人文学院教授，四川美院美术馆馆长，四川美院当代艺术研究所所长，硕士研究生导师，中国批评家年会学术委员，中国策展委员会委员，中国美术家协会会员，中国雕塑学会理事，重庆雕塑学会副会长。研究领域有欧美现当代艺术、艺术批评与展览策划、中国当代艺术思潮等。曾在国内学术期刊《文艺研究》、《美术研究》、《艺术当代》等发表批评文章70余篇，共50万字。2008年以来，先后出版个人著作与编著13本，如《走向后抽象》（河北美术出版社、2008年) 、《形式主义批评的终结》（文化艺术出版社、2009年）、《建构之维：当代艺术家个案》（副主编、中国青年出版社、2010年）、《清晰的地平线——1978年以来的中国当代雕塑》（河北美术出版社，2011年）、《社会风景：中国当代绘画中的风景叙事》（河北美术出版社，2014年）、《前卫的没落》（上海人民美术出版社，2015年）、《社会剧场：参与与共享》（副主编、重庆美术出版社、2017年）等。曾策划数十个当代艺术展。
展览日期 | 2021/11/02 — 2022/01/09策展人 | 鲁明军艺术家 | 陈秋林作品媒介 | 摄影、影像、装置、声音展览地点 | 四川省成都市高新区盛邦街，铁像寺水街南广场，千高原艺术空间
展览日期 | 2021/11/02 — 2022/01/09策展人 | 鲁明军艺术家 | 杨述作品媒介 | 绘画展览地点 | 四川省成都市高新区盛邦街，铁像寺水街南广场，千高原艺术空间
千高原艺术空间 | A Thousand Plateaus Art Space千高原艺术空间2007年创立于中国成都，是致力于展示并推进中国当代艺术的专业性画廊，设有艺术作品展示厅，影像资料收藏和放映室。主要研究、展示和推动与中国当代艺术文化相关的优秀作品和实验性主体项目，积极开展国内、国际的合作项目。
千高原艺术空间主要展示和推出成长中的有突出才能和价值的艺术家的作品和项目，并发现和推动新的有创造力的艺术家，迄今主要代理和合作的老中青三代艺术家超过20位。通过展览、博览会、学术讨论活动、出版等方式，致力于构架艺术家和社会、机构、收藏者之间的沟通渠道，提供包括艺术作品销售、量身定做的艺术项目、收藏品咨询管理、艺术教育项目以及展览策划。
除了在超过1000平方米的画廊空间的展览项目，千高原艺术空间亦积极参加国际国内的重要艺术博览会，包括香港巴塞尔艺术展 (Art Basel HK)、香港国际艺术展(ART HK)、艺术登陆新加坡(Art Stage Singapore)、今日亚洲 | 巴黎亚洲艺术博览会 (Asia Now | Paris Asian Art Fair)、上海廿一当代艺术博览会(ART021)、上海西岸艺术与设计博览会（West Bund Art & Design）、艺览北京 JING ART、艺术成都 Art Chengdu、上海艺术影像展(Photo Shanghai)、西班牙路普艺术节（Festival LOOP）、Paris Internationale 、LISTE in Basel等等。
A Thousand Plateaus Art Space was founded in 2007 in Chengdu, China. It is a professional gallery committing to presenting and promoting China’s contemporary art. Equipped with exhibition halls for artworks and collections and a screening room for videos and discussions, it focuses on researching, presenting and promoting outstanding works and experimental projects of China’s contemporary art and culture by carrying out domestic and international projects.
A Thousand Plateaus Art Space devotes itself to presenting works by emerging artists who have outstanding talent and merit, and to discovering and promoting new creative artists. To date, it has represented and cooperated with over 20 artists of all ages. Using exhibitions, art fairs, academic discussions, publications and so forth, it is dedicated to establishing the communication channels between artists and the society, institutions and collectors. The gallery also organizes artwork sales, tailored art projects, collection management consultings, art education projects and curatings.
In addition to the exhibitions and events in the over 1,000 square meters gallery space, A Thousand Plateaus Art Space also takes an active part in important international art fairs including Art Basel in HK, Art Hong Kong, Art Stage Singapore, Asia Now | Paris Asian Art Fair, ART021, West Bund Art & Design, JING ART, Art Chengdu, Photo Shanghai, Festival LOOP and Paris Internationale, LISTE in Basel etc..
千高原艺术空间 A THOUSAND PLATEAUS ART SPACE开放时间：周二至周日（周一闭馆），10:30-18:30地址：中国. 四川省成都市高新区盛邦街，铁像寺水街南广场电话： +86-28-8512 6358邮箱：info@1000plateaus.org网址：www.1000plateaus.org微信：千高原艺术空间
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