亚洲展讯 | 神游：管伟邦个展
Shén Yóu: Koon Wai Bong Solo Exhibition
展览时间/ Duration: 2019.3.9 (Sat.) - 2019.4.14 (Sun.)
开幕式/ Opening: 2019.3.9 (Sat.) 3:00pm
展览地点/ Venue: 亚洲艺术中心（北京）
Asia Art Center (Beijing)
北京市朝阳区酒仙桥路2号大山子798艺术区（周一休馆）
Dashanzi 798 Art District, No.2, Jiuxianqiao Rd., Chaoyang District, Beijing
神游：管伟邦个展
亚洲艺术中心荣幸地宣布将于2019年3月9日举办“神游：管伟邦个展”。此次展览，艺术家管伟邦以“神游”作为其创作思考的核心，串联“山林之游”、“时空之游”和“逍遥之游”为线索，阐释多年来的艺术实践。作为香港艺术家管伟邦在中国内地的首次个展，本展览将展出最新创作的水墨作品二十余件，展览将持续至2019年4月14日。
竹映馀晖 Glimmering in the Twilight
双屏十二组 12 Sets of Diptych 199.5x15cmx12
设色鸟の子金笺画卡 Colour on Gold Shikishi Cardboard
2018
“神游”，意谓“神游象外”，即透过艺术创作瞬间将观者从现实中转移至艺术家的精神世界，游历画作者与造物者所契合的山水意境。尽管管伟邦作品中的一竹一松，并非是现实的直接再现，但不难发现的是它们都诠释了艺术家对自然的仔细观察与世道的思想沉淀。画中的每道风景，皆表达了其对自然景观的认知与感受；透过绘画的过程，他不单志在于在纸面上建构眼中所见的事物，更是解构心中的景象，继而结合游历中的经验与其后诸般的联想，来重构自我的精神世界，亦即“意境”是也。因此，观者既可以将其作品看作成是一种传递个人内在感受的艺术手段，亦是一扇可以让观赏者进入艺术家精神世界的门道；进入之后，彼此将会一起遨游其中。
飒飒风声 Wispering Woods
五屏 Pentaptych 66x69cmx5
水墨设色纸本 Ink and Colour on Paper
2019
另一方面，神游亦意味着艺术家总是徘徊在时间和文化之中的个人际遇。在全球化的洪流中，各地的城市人群都继承了过去的文化传统，同时亦通过阅读、旅游、互联网，广泛地接触到自身以外的多种文化。管伟邦作为一位香港艺术家，与北京或台湾的艺术家无异，也均是从家庭、教育、社交圈子和自处的社会中汲取中国文化的精髓；但对于艺术思想的建构，关键之处还需有赖于其对当代艺术和日本美学等文化元素的接触与研究。管伟邦的作品中，书法的用笔和墨色的渲染均无疑地引领艺术家回到过去，与古人对话；作品也同时凸显着当代性的重要，故此他有意地把画面分拆成多个小屏，借此回应现代人在此时此刻的视觉经验。此种设定来源于现代人习惯以智能手机或数码相机来纪录旅游风光，又或在准备旅行时在网上浏览当地景致；在现代城市生活中，你我皆透过窗户、玻璃幕墙瞥见户外景色，屏幕上的图片框架与建筑物的结构方格皆无可避免地使我们以相当狭隘且有限的角度来感知世界。所以，将全景分拆成多个视觉片段，实际上不仅仅展现艺术家独特的作画风格，更彰显着我们现代人的视觉体验。除了传统笔墨和当代艺术的表现外，管伟邦笔下的山水也渗透着些许日本美学；例如以鸟の子金笺来展现的，就是日本艺术中的装饰效果，又或者那些重复又重复地刻划一种树法的表现，直以撷取事物的精髓，乃是企图让观者联想到极简主义和日本设计的一些概念。
空山清音 Reverberations in the Vast Mountains
双屏 Diptych L:27x24cm R:40x60cm
水墨设色鸟の子画卡 Ink and Colour on Shikishi Cardboard
2018
而“神游”的概念又与庄子的思想有所联结。道家庄子曾以庖丁解牛来说明“游”的概念；在庄子眼中，厨子优秀的屠宰不在于将牛宰切成块的技术，而在其“神”，使他能够于屠宰的过程中享受一种无拘无束的自在，实现一种悠然自得的超越。管伟邦认为，艺术家面对空白的画纸也好似庖丁一样，面对各种各样的艰难与挑战，并要寻求解决的方法，以突破概念与技术层面上的关口，最终把纸帛变成一件艺术品。书画中的“写意”，其实不单指“随手”的风格，更是一种“随心随性”的态度。艺术家可以不理会枷锁与障碍，达至逾越现实的意境；在艺术创作中，开展一段精神领域的旅程，就是“游”的意味所在。
晚竹鸳鸯 Bamboo & Coffee/Tea
双屏 Diptych L: 160x4.6cm R: 161.7x4.6cm
水墨茶或咖啡纸本 Ink and Tea or Coffee on Paper
2019
「鸳鸯」是香港一种独特且流行的饮料。它实际是港式奶茶与咖啡的结合，隐藏着香港中西文化身分的特色。是对作品，背景各自渲染了一层沉着的赭墨，调子不一；左边的是云南进口的普洱茶，右边的则是意大利浓缩咖啡，加起来则散发出香港的文化情怀。
此次展览为亚洲艺术中心（北京）2019年新年首展，亦是继2017年管伟邦在亚洲艺术中心（台北）举办“清风徐来 – 管伟邦个展”之后于亚洲艺术中心举办的第二次个展。希冀通过此展览呈现水墨艺术更为多样的表现形式，探索水墨艺术在当代语境中的有效表达以及更多的可能性。
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关于艺术家
管伟邦，1974年出生于香港，香港中文大学文学学士、艺术硕士，澳大利亚皇家墨尔本理工大学艺术博士；现担任香港浸会大学视觉艺术院助理教授。
重要个展：“神游：管伟邦个展”（亚洲艺术中心，北京，2019）、“清风徐来- 管伟邦个展”（亚洲艺术中心，台北，2017）、“此时彼地 - 管伟邦当代水墨展览”（嘉图现代艺术，香港，2013）、“TRANSpose: Contemporary Ink Paintings by Koon Wai Bong （仅供英文题目）”（巴斯东亚艺术博物馆，巴斯，2013）、“流连：管伟邦国画创作展”（香港浸会大学，香港，2011）、“过去转成现在”（香港科技大学，香港，2009）、“管伟邦：经典再造”（蓝莲画廊，香港，2009）、“向高山举目”（香港中文大学，香港，2002）。
重要联展：“虚异 · 京港澳#水墨新媒体@2018”（炎黄艺术馆，北京，2018）、“图绘香港：香港当代水墨画”（香港科技大学，香港，2017）、“似重若轻：M+水墨藏品”（M+视觉文化博物馆，香港，2017）、“东方墨韵”（刘海粟美术馆&徐州美术馆，上海&徐州，2016）、“情系双城 - 沪港名家书画展”（香港艺术中心，香港，2015）、“时间游人”（香港文化博物馆，香港，2015）、“港水港墨”（关山月美术馆，深圳，2014）、“上海·香港·澳门当代水墨画联展”（上海中国画院，上海，2014）、“台北国际现代水墨双年展”（中正纪念堂中正艺廊&万能科技大学创意艺术中心，台北&桃园，2012）、“水墨对水墨”（上海美术馆&香港艺术馆，上海&香港，2010）。
获奖： “香港当代艺术双年奖，2009”、“第十届全国美术作品展览优秀奖，2004”、“香港艺术发展局艺术新进奖，2003”、“当代香港艺术双年展许让成艺术收藏奖，1996”。
公共及私人收藏：旧金山亚洲艺术博物馆（美国）、洛杉矶郡艺术博物馆（美国）、阿什莫林考古与艺术博物馆（英国）、新加坡 J. Safra Sarasin Group（新加坡）、M+视觉文化博物馆（香港）、香港艺术馆（香港）、香港中文大学文物馆（香港）、香港九龙仓集团（香港）。
Shén Yóu： Koon Wai Bong Solo Exhibition
Asia Art Center is pleased to announce the opening of Shén Yóu: Koon Wai Bong Solo Exhibition on March 9th, 2019. In the exhibition, artist Koon Wai Bong takes Shén Yóu as the kernel of his creation, and associates Travelling in Landscape, Travelling through Time and Cultures and Travelling in an Untrammelled Mind as the clues to explain his years of art practice. This exhibition is Koon's first solo exhibition in mainland China. It will be on view till April 14th, 2019.
绿竹修修 Bamboo Groves in Mist
十屏 Polyptych of 10 Panels 40.8x31.7cmx10
设色鸟の子画卡 Colour on Shikishi Cardboard
2018
Shén Yóu, literally meaning ‘spirit travelling’, refers to teleporting from reality to mindscape, in which an ineffable connection with nature is built. Although none of the scenery in Koon Wai Bong's work is a direct record of any real-life scene, it is not arduous to conceive his interpretation of a bamboo stalk or a pine wood, for example, as a mixture of his close observation of nature and spiritual contemplation of the world. Thus, each landscape motif is intended to reveal the understanding of nature and his feelings towards the scenic sites he has visited. Through the process of painting, his intention is not simply to construct what he has seen, but to deconstruct the scenes in his head and reconstruct a ‘mental landscape’ based on what he felt during his travels and what he imagined afterwards. That's why Koon's paintings can be perceived as an artistic means of transmitting emotion from the innermost part of his mind, and as a portal through which you can enter his spiritual reality and travel with his imaginatively.
乍雨还晴 April Weather
119x84cm
水墨设色纸本 Ink and Colour on Paper
2019
我曾住在香港三门仔三年有多，十分着迷于夏季时八仙岭那边似山非山、似云非云的风雨景致。每当大雨暴至，我都会跑到户外用鼻孔去感受空气中的那份独特的清新，以心灵來欣赏大自然阴晴中那种瞬间变幻、无常不定的气息。
Shén Yóu also connotes the idea that Koon Wai Bong's personal experience of meandering around time and cultures constantly. Under the current of globalisation, city dwellers from all over the world inherit their own indigenous traditions from the past, and at the same time are exposed to a wide range of cultures via reading, travelling or networking on the Internet. As a Hong Kong-based artist, like those living in Beijing, Shanghai or Taiwan, Koon derives the essence of Chinese culture from his family, education, community and society. However, other cultural elements such as trends in contemporary art and Japanese aesthetics are also of paramount importance in the formation of his artistic thoughts. In his painting, the calligraphic expression of brushwork and the manifold layering of ink washing or colour tinting drive him to travel to ancient times and open a dialogue with the early masters. Nevertheless, he is concurrently conscious of a sense of contemporaneity and relish coming back to the present time, often by fragmenting his painting into multiple smaller panels. Modern people have become used to visualising their travel experience by taking pictures with smartphones or digital cameras, viewing scenery on the Internet when they prepare for a trip, or seeing landscapes through a window or a glass curtain wall in a modern city. The picture frames on screens or the architectural grids of a building inevitably offer a rather narrow and partial view of nature. Thus, the polyptych shattering a panorama into multiple visual fragments is not only an idiosyncrasy of his painting, but also an analogue of today's visual experience. Apart from riding a tandem of Chinese aesthetics and contemporary expression, his landscape painting is faintly redolent of Japanese sensibilities. For example, the shimmering of the golden shikishi cardboard reflects the decorative aesthetics of Japanese art. The repetition and reiteration of a single motif and the intention to strip things to their essentials are reminiscent of minimal art and some aspects of Japanese design.
绿竹青青 Eau de Nil
八屏 Octptych 35.5x35.5cmx8
设色纸本 Colour on Paper
2018
Moreover, Shén Yóu also related to the Daoist master Zhuangzi's idea. Once he illustrated the notion of yóu by telling a story about a cook butchering an ox. The excellence of butchering, in Zhuangzi's eyes, lay not merely in the cook's technique for chopping an ox into pieces, but in his shén (spirit), which allowed him to achieve a blissful transcendence and freedom from all restrictions during the chopping process. In Koon Wai Bong's point of view, an artist is like the cook, when facing a blank piece of paper, is encountering tremendous challenges and must seek out conceptual and technical solutions for subduing and overcoming all of the associated difficulties and problems and eventually turn the paper into an artwork. The term xieyi in Chinese painting is not only pertinent to the freehand style, but also suggests a ‘carefree and easy-going’ manner in which the artist can ignore limitations and transcend barriers, and then reach a spiritual realm that is beyond our reality. Travelling towards the spiritual realm during the process of art making is exactly what yóu means for him.
松山烟云 Pines Shrouded in Mist
六屏 Hexaptych 60x40cmx6
水墨鸟の子画卡 Ink on Shikishi Cardboard
2018
This exhibition is the first exhibition of the Asia Art Center (Beijing) in 2019. It is also the second time of holding a solo exhibition for artist Koon Wai Bong after In the Breeze - Koon Wai Bong Solo Exhibition hold by Asia Art Center (Taipei) in 2017. Asia Art Center Hopes to present more diverse format of ink art and explore more effective expression as well as possibilities of ink art in contemporary context through this exhibition.
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About Artist
Koon Wai Bong was born in Hong Kong in 1974, B.A. and M.F.A. of the Chinese University of Hong Kong; D.F.A. of Royal Melbourne Institute of Technology; He is currently Assistant Professor in Academy of Visual Art of Hong Kong Baptist University.
Selected Solo Exhibitions："Shén Yóu：Koon Wai Bong Solo Exhibition" (Asia Art Center, Beijing, 2019), "In the Breeze: Koon Wai Bong Solo Exhibition" (Asia Art Center, Taipei, 2017), "Now and Then: Koon Wai Bong" (Grotto Fine Art, Hong Kong, 2013), "TRANSpose: Contemporary Ink Paintings by Koon Wai Bong" (Museum of East Asian Art, Bath, 2013), "Sauntering around…: Chinese Paintings by Koon Wai Bong" (Hong Kong Baptist University, Hong Kong, 2011), "Past Becomes Present" (Hong Kong University of Science and Technology, Hong Kong, 2009), "Koon Wai Bong: Reworking the Classics" (Blue Lotus Gallery, Hong Kong, 2009), "Lift up My Eyes to the Mountain" (The Chinese University of Hong Kong, Hong Kong, 2002).
Selected Group Exhibitions：“虚异·京港澳#水墨新媒体@2018 (Chinese Title Only)” (Yan Huang Art Museum, Beijing, 2018), "Picturing Hong Kong" (Hong Kong University of Science and Technology, Hong Kong, 2017), "The Weight of Lightness" (M+ Museum of Visual Culture, Hong Kong, 2017), "Oriental Charm" (Liu Haisu Art Museum & Xuzhou Art Museum, Shanghai & Xuzhou, 2016), "A Tale of Two Cities" (Hong Kong Arts Centre, Hong Kong, 2015), "The Past is Continuing" (Hong Kong Heritage Museum, Hong Kong, 2015), "Hong Kong Water and Ink" (Guan Shanyue Art Museum, Shenzhen, 2014), "Shanghai ‧ Hong Kong ‧ Macau：Exchange Exhibition of Modern Chinese Ink Painting" (Shanghai Chinese Painting Academy, Shanghai, 2014), "Taipei International Modern Ink Painting Biennial" (Chiang Kai-shek Memorial Hall & Vanung University, Taipei & Taoyuan, 2012), "Ink Art vs Ink Art" (Shanghai Art Museum & Hong Kong Museum of Art, Shanghai & Hong Kong, 2010) .
Awards： "Hong Kong Contemporary Art Biennial Awards, 2009", "Merit Award from The Tenth National Exhibition of Fine Art, China, 2004", "Rising Artist Award from Hong Kong Art Development Council, 2003", "Y. S. Hui Arts Collection Award from Contemporary Hong Kong Art Biennial, 1996".
Public and Private Collections：Asian Art Museum, San Francisco (US), Los Angeles County Museum of Art (US), Ashmolean Museum of Art & Archeology (UK), J. Safra Sarasin Group (Singapore), M+ Museum of Visual Art (Hong Kong), Hong Kong Museum of Art (Hong Kong), Art Museum, The Chinese University of Hong Kong (Hong Kong), Wharf Group (Hong Kong).
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