亚洲展讯｜坐看云起——管伟邦个展（上海）

展名 / Title: 坐看云起——管伟邦个展

Watching the Clouds Roll By: Koon Wai Bong Solo Exhibition

艺术家 / Artist：管伟邦 Koon Wai Bong

展期 / Duration: 2021.4.10 (Sat) - 6.6 (Sun)

开幕 / Opening:  2021.4.10 (Sat) 4:00pm

地点 / Venue: 亚洲艺术中心（上海）

Asia Art Center (Shanghai)

上海市普陀区莫干山路50号7号楼106室（周一休馆）

Room 106, Bldg.7, 50 Moganshan Road, Shanghai

✦✦✦

亚洲艺术中心（上海）荣幸地宣布将于2021年4月10日至6月6日举办“坐看云起——管伟邦个展”。此次展览是继2017年亚洲艺术中心（台北二馆）“清风徐来--管伟邦个展”，及2019年亚洲艺术中心（北京）“神游：管伟邦个展”之后于亚洲艺术中心举办的第三次展览，也是艺术家的作品首次以个展的形式集结于上海。展览呈现了管伟邦近年的水墨创作，展出作品共计二十余件，为艺术家近年来不同形制的水墨作品，丰富地呈现了艺术家的创作与思考。

▲ 静水寒山 Wintry Mountains along with the Silent Waters

     2021

     水墨纸本｜Ink on Paper

     四屏｜Tetraptych

     34.5x34.5 公分[每屏]｜cm each

展览标题“坐看云起”出自唐代诗人王维的《终南山别》：“行至水穷处，坐看云起时”，东晋诗人陶渊明亦有诗云“云无心以出岫，鸟倦飞而知还”。古代士大夫崇尚幽深清远，林下风流，追求清静恬淡、超凡脱俗的自我觉察，审美情趣上更趋向于“清、幽、寒、静“，自然恬适，浑然天成。这在管伟邦的创作中极佳地体现。

行至展厅，首先映入眼帘的便是一系列以竹为主题的多屏作品：《绿竹青青》、《竹雨斑斑》、和《有斐君子》。管伟邦对画竹有所钻研思索：“写竹之窍门，在于用笔沉强厚重，但姿态优雅脱俗，风度翩翩；立干、出枝皆有篆意，撇叶则如行、楷，落笔须灵活而疾速”。艺术家运用凝练的笔法，提取出具象与抽象的平衡，带领观众往复于虚构与现实交融的山水意境之中。展厅右侧墙面的大型作品《菉竹猗猗》标题出自诗经中的“瞻彼淇澳，菉竹猗猗，有斐君子，如切如磋，如琢如磨”。竹子自古以来也是君子的精神象征，有崇高坚韧之节，虚怀若谷之心。这些作品并非作者对竹树的直接描写，而是在他脑际中构建出来的自然形象，同时也包含他过往多年游历自然之观察和体会。当观者立于九十六拼巨幅竹林之前，犹如置身于清幽无人之域，行走于万籁俱静之境。

▲ 绿竹青青 Eau de Nil

     2021

     设色鸟の子画卡｜Color on Shikishi Cardboard

     八屏｜Octptych

     32x32 公分[每屏]｜cm each

▲ 茕茕孑立 Bamboo in Solitude

     2020

     设色鸟の子画卡｜Color on Shikishi Cardboard

     十五屏｜Polyptych of 15 Panels 

     180x10 公分[每屏]｜cm each

“

“我的作品总是游走于古今中外，平衡各方：一方面，我追本溯源，浸淫于传统之中；另一方面，我则跨越书画，企图集结当代美学或其它文化于一身。”

——管伟邦 

”

古人多以“诗中有画，画中有诗”的标准品鉴艺术创作。如能寓诗于画、寓理趣于画，则更别具一格。在管伟邦的作品中，不止能看到三维空间之山水自然，同时也浸渍在时间之内。山水不是静态地被刻镂，而是动态地被把握。山水、烟雨、竹石，都被用来共同塑造这一空间交叠的主题。而未在画面中直接出现的意象，通过时间这一维度，被充盈、圆满。同时，艺术家使用多屏的方式来呈现其所描绘之物。都市人的当代生活无时无刻不被各种荧光屏幕充斥着。“刷屏时代”下，人类早已被动改变了其“观看之道”。管伟邦借此种观看方式重新审视山水之景，由古及今，将昔日景别带到当今生活体验中，令观者于画面之前可同时“踏入同一条河流”。这也是艺术家在创作过程中，将时间一维度溶于笔尖、于画面的彰显。在2021年新作《飒飒风声》中，左右一大一小的区块将画面进行裁割，打破传统水墨的观看方式，令观者顾盼流转，望而生辉。而“飒飒”二字，更为画面增加除了视觉之外的听觉体验，思绪随声音牵引，仿佛看到草木随风摆动，动静相衬，声画相宜，正如李白所云“飒飒风卷沙，茫茫雾萦洲”。

▲ 飒飒风声 Whispering Woods 

     2021

     水墨设色纸本｜Ink and Color on Paper

     双屏｜Diptych

     41.5x38 公分[左]｜cm left

     41.5x68 公分[右]｜cm right

▲ 竹雨斑斑 Bamboo on a Rainy Day

     2018

     水墨设色纸本｜Ink and Color on Paper

     八屏｜Octptych

     30.5x30.5 公分[每屏]｜cm each

"坐看云起"一词提领起整个展览。“坐”和“看”都让我们感受到管伟邦作品中的清幽博远，臻微入妙；除此之外，更有着“山重水复疑无路，柳暗花明又一村”的豁达乐观。而艺术家探索的贯穿于画面之中的时空辩证，提醒着我们身处当代信息繁杂冗余的社会中，更应神往于山水间、于幽簧里，与自然悠然契合，活在当下，回归本真、回归自我。

▲ 乍雨还晴 April Weather

     2019

     水墨设色纸本  Ink and Color on Paper

     119x84 公分｜cm  

▲ 乍雨还晴（局部） 

April Weather（Detail）

▲ 墨团团 In Blackness

     2017

     水墨绢本｜Ink on Silk

     120.6x65.8 公分｜cm 

Asia Art Center (Shanghai) is honored to announce that a new exhibition entitled "Watching the Clouds Roll By: Koon Wai Bong Solo Exhibition" will be held from April 10, 2021 to June 6, 2021. It is the third time held by Asia Art Center, after the "In the Breeze: Koon Wai Bong Solo Exhibition" held by Asia Art Center (Taipei II) in 2017 and "Shén Yóu: Koon Wai Bong Solo Exhibition" held by Asia Art Center (Beijing) in 2019. As the first time Koon's artworks are gathered in Shanghai in the form of a solo exhibition, it consists of more than twenty ink works completed in recent years, presenting his new creation and thinking in a rich and comprehensive manner.

The title of the exhibition entitled "Watching the Clouds Roll By: Koon Wai Bong Solo Exhibition" is quoted from My Retreat in the Zhongnan Mountains by Wang Wei, a poet of the Tang Dynasty. As Wang wrote, "I'd stroll to seek the fountainhead, and there take a seat to admire the sky and watch clouds grow." The Eastern Jin poet Tao Yuanming also wrote that "there clouds idle away from their mountain recesses without any intent or purpose, and birds, when tired of their wandering flights, will think of home." At that time, ancient scholar-bureaucrats admired an atmosphere of deep and clear, the romantic under the forest, and pursed the self-awareness of tranquility and otherworldly. Their aesthetic appeal tends to be clear, secluded, cold, quiet and natural. These temperaments are perfectly reflected in Koon Wai Bong's artistic creations.

▲ 竹映余晖 Glimmering in the Twilight

     2018

     设色鸟の子金笺画卡｜Color on Gold Shikishi Cardboard

     十二屏｜Polyptych of 12 Panels

     199.5x15 公分[每屏]｜cm each

When you walked to the exhibition hall, you will see a series of polyptych works of bamboo, Eau de Nil, Bamboo on a Rainy Day, and Gentleman. Koon Wai Bong studied and thought about painting bamboo, as he states that "The trick of painting bamboo is to use the brush firmly, but the posture should be elegant and refined. The branches and trunks need to highlight the form as compiling words, whereas painting bamboo leaves as running and regular script in calligraphy." The artist uses condensed brushwork to extract the balance between concrete and abstract, and leads the audience back and forth in the artistic conception of landscape where fiction and reality blend. On the right side of the exhibition hall, the title of the large-scale work Luxuriant Greenery quotes from The Book of Songs, "Look at the meandering Qi Shui River, there grows alongshore a dense forest of green bamboos. The well-cultivated ruler was so assiduous as if he were cutting and grinding stones, so careful as if he were chiseling and polishing jade." In this regard, bamboo has also been a spiritual symbol of a gentleman since ancient times, who has a lofty and strong integrity with an imaginary heart. These works not only depict the author's direct description of bamboo trees, but also imply the natural image constructed in his mind, containing his observation and experience of traveling through nature in the past. When the viewer stands in front of the ninety-six artworks of large bamboo forest, it is as if they are in a quiet and uninhabited area, walking in a peaceful environment.

▲ 有斐君子 Gentleman

     2017

     水墨纸本｜Ink on Paper

     六屏｜Hexaptych

     194x27 公分 [合共]｜cm in total

     上至下｜From Top to Bottom

     40x25 公分｜cm

     21.5x25 公分｜cm

     39.5x27.5 公分｜cm

     34.5x25 公分｜cm

     26.5x26 公分｜cm

     32x27.5 公分｜cm

▲ 菉竹猗猗 Luxuriant Greenery 

     2014

     设色鸟の子金笺画卡｜Color on Gold Shikishi Cardboard

     九十六屏｜Polyptych of 96 Panels

     280x600 公分 [合共]｜cm in total

▲ 菉竹猗猗（局部） 

Luxuriant Greenery （Detail）

The ancients mostly used the standard of "pictures in poems meanwhile poems in pictures" to appreciate artistic creations. Putting poems or embedding the truth and interest in the pictures seems even more unique. In Koon Wai Bong's works, you can not only see the natural landscape in three-dimensional space, but also immerse yourself in time. The landscape is not statically carved, but dynamically grasped. Landscapes, mists and rains, bamboos and rocks are all used to shape this overlapping theme of time and space. The imagery that does not appear directly in the picture is filled and completed through the dimension of time. At the same time, the artist uses a polyptych to present the objects he depicts. In this regard, the contemporary urban life is flooded with various fluorescent screens all the time. In today's high-speed Internet era, mankind has already passively changed the way of viewing. Koon Wai Bong re-examines the scenery of mountains and rivers in this way of viewing, bringing the natural memories of the past to the present life experience, from ancient to present, so that the viewer can step into the same river at the same time before this picture. This is also a manifestation of the artist's integration of time into the pen tip and the picture through the creation process. In 2021's new work entitled Whispering Woods, the picture has been cut into large and small areas on the left and right, breaking the traditional way of viewing towards ink and wash. The word: "whisper" adds to the picture an auditory experience other than vision, which let audiences feel the grass and trees with the wind. Therefore, the movement and the static are matched, meanwhile the sound and picture are suitable. It presents what poet Li Bai wrote, "With sand and dust, it is like a vast fog surrounding the land."

▲ 飒飒风声 Whispering Woods 

     2019

     水墨设色纸本｜Ink and Color on Paper

     五屏｜Pentaptych

     66x69 公分[每屏]｜cm each 

Exploring the term "Watching the Clouds Roll By", "sitting" and "watching" both let audiences feel the lightness, remoteness and nuance in Koon Wai Bong's work. In addition, his work also reveals Koon Wai Boon 's open-minded optimism, as it is said that "After endless mountains and rivers that leave doubt whether there is a path out, suddenly one encounters the shade of a willow, bright flowers and a lovely village". The time and space path that the artist explores through the painting reminds us that we are in a contemporary society with complex and redundant information, and we should still be fascinated by landscapes and nature, living in the present, returning to the true self.

▲ 潇湘夜雨 A Cloudburst in the Night

     2019

     水墨设色纸本｜Ink and Color on Paper

     80.5x53.5 公分｜cm 

▲ 一林竹影 Sihouettes of the Bamboo Trees 

     2017

     水墨设色纸本｜Ink and Color on Paper

     35x35 公分｜cm

关于艺术家

About Artist

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副教授。

重要个展：“坐看云起--管伟邦个展”（亚洲艺术中心，上海，2021）、“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 ”（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：“素描为本”（香港浸会大学视觉艺术院，香港，2020）、“原典变奏--香港视点”（香港艺术馆，香港，2019）、“港水韩山”（香港文化节，香港，2019）、“第十三届全国美术作品展览”（广州美术学院大学城美术馆，广东，2019）、“结队向前行：新亚七十艺术展”（香港 H Queen's，香港，2019）、“岛屿‧他方--台湾水墨 地景建构”（大观艺术空间，台北，2019）、“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）

。

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："Watching the Clouds Roll By：Koon Wai Bong Solo Exhibition" (Asia Art Center, Shanghai, 2021), "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：“Drawing as the Core” (AVA, HKBU, Hong Kong, 2020), “Classics Remix: The Hong Kong Viewpoint” (Hong Kong Museum of Art, Hong Kong, 2019), “Hong Kong Waters and Korean Mountains” (Hong Kong Culture Festival, Hong Kong, 2019), “National Exhibition of Fine Arts, China” (University City Art Museum of Guangzhou Academy of Fine Arts, Guangdong, 2019), “Together We March Forward: New Asia Seventieth Anniversary Art Exhibition” (H Queen's, Hong Kong, 2019), “The Islands and Other Places - The Geographical Structures of Ink Paintings in Taiwan and Hong Kong” (DaGuan Gallery, Taipei, 2019), “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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