【艺·凯旋】 艺术家 | 许宏翔维也纳个展“One Night Hunting for Fearies"
▲ 展览现场 Installation view
Xu Hongxiang: One Night Hunting for Fearies
艺术家： 许宏翔 | Artist：Xu Hongxiang
策展人：亚历山大·格林姆 | Curator：Alexandra Grimmer
展览时间：2019年6月5日—7月13日
Duration: 05 June - 13 July, 2019
展览地点：维也纳Loft 8画廊 | Venue：Loft 8 Gallery, Vienna
地址 | Address: Radetzkystraße 4, 1030 Wien
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▲ 开幕现场：策展人 亚历山大·格林姆（中）、艺术家许宏翔（右）Opening scene: curator Alexandra Grimmer (middle), artist Xu Hongxiang (right)
▲ 开幕现场 Opening scene
许宏翔个展One Night Hunting for Fearies 已于2019年6月5日在维也纳Loft 8画廊开幕。此次展览是艺术家许宏翔在欧洲举办的首次个展，共展出9件创作于2018至2019年的作品。此次展出作品主要呈现了许宏翔近期创作的片段式的风景和身份不明晰的人物绘画。
▲ 展览现场 Installation view
The solo show of Xu Hongxiang entitled One Night Hunting for Fearies has opened on June 5, 2019 at Loft 8 Gallery in Vienna. This exhibition is the first solo show by Xu Hongxiang in Europe. “One Night While Hunting For Faeries“ forms a group of nine recent paintings from 2018 and 2019, which represents the main focus of his creation: parts of landscapes and figures without much information about their origin and personality.
在面对许宏翔的作品时，我们可以从三个侧面分析其创作：其一，艺术家选取的视野的发展；其二，艺术家在绘画中追求的可塑性；其三，他对光感的具体运用——这一点主要反映在他近几年的作品上，也启发了本次展览的标题。
▲ 许宏翔，《绿草》，2018年，布面油画，200×160厘米. Xu Hongxiang, Green Grass, 2018, oil on canvas, 200×160cm.
When we facing the works by Xu Hongxiang, three aspects in Xu Hongxiang’s work should be analysed: first, the development of the perspective that Xu Hongxiang takes; second, the plasticity that the artist is searching for in his images and third, the special light that he applies, mainly in his works of the recent years, which permits associations with imagined situations and which lead to the title of this exhibition.
特殊的视野
自2012年以来，许宏翔的油画就开始反复出现风景题材。场景中常常会有树枝、洒满阳光的林间空地或瀑布，这些元素被转置到一种特殊的氛围中。然而，这些油画没有一幅可以从中看见完整的风景：许宏翔每次都摘取某些片刻，和通过一扇小窗窥见的局限性视野相似。尽管观者仅能看见一片风景的有限部分，画家娴熟地以他自成一格的技法传达了某种感觉，使人只消一眼便能认出这是他的手笔。是先前已经有一个整体图景，艺术家只从中剪裁出他最偏爱的部分吗？抑或那图景仅仅就是呈现出来的具体视野呢？当我们探问许宏翔风景画的图景来源时，第二个问题随之产生。
▲ 展览现场 Installation view
A Specific Perspective
Since 2012, the subject of landscapes has regularly been reappearing in Xu Hongxiang’s paintings. There are often scenes with branches of trees, light-flooded forest glades or waterfalls, which have been transferred in a special atmosphere. However, there is never a whole landscape visible in one painting: each time, Xu selects particular moments, similar to a view that has been limited through a small window. Although it is only possible to see a limited part of a landscape, the painter masterfully succeeds in conveying a certain feeling with it, combined with his distinctive handwriting, which makes his paintings recognisable at first sight.
Did a whole image exist before, from which the artist cut out his favourite part? Or is the image nothing more than just this specific view? When asking the question of where Xu Hongxiang’s landscape parts originate, the second question arises.
▲ 许宏翔，《一个局部》，2018年，布面油画，200×160厘米. Xu Hongxiang, One Part, 2018, oil on canvas, 200×160cm.
可塑性
很可能是许宏翔在油画中创造并强调的各种强烈对比，带来了他作品的可塑性。当他被人问及画笔下的图景有何来源，艺术家否认那些风光是真实存在的东西。景色本身对于他的吸引力并不大。他的兴趣点在于某些树枝、草木中可以发现的形式特征，也在于其形状、外观在画面背景中造成的累积。进一步说，正是由于许宏翔孤立了他在自然环境或照片中找到的这种片刻，他才能够实现如此高度的可塑性。他别具只眼，总能选对细节，将它从图景整体裁切而出，转置到自己的绘画上来。
通常情况下，许宏翔并不提及关于所画风景的具体地点或其与自身的关系，无论是作品《绿草》、《一个局部》或是《白鸟》都只是单纯地展现了画家对于他认为的有趣的风景阐释。
▲ 展览现场 Installation view
Plasticity
The plasticity most likely results from the strong contrasts that Xu creates and accelerates in his paintings. When it comes to the origin of his images, the artist negates that it is a matter of real, existing landscapes. The sceneries themselves do not primarily interest him. What does interest him are the formal aspects that can be found in certain branches of trees, or the grass and how their shapes and physiognomies accumulating the background.
Furthermore, it is precisely by isolating such moments, which Xu Hongxiang found in nature or in photographs, that he achieves this high level of plasticity. He has a talent for choosing exactly the right detail and transferring it onto his image by cutting it out from the total image.
Xu usuallydoes not provide any information about the place or his relation to the context of the image. The Green Grass, One Part or The White Birds simply show the painter’s approach to his definition of an interesting landscape.
▲ 许宏翔，《重影No.1》，2018-2019年，布面油画，100×80厘米. Xu Hongxiang, Ghosting No.1, 2018-2019, oil on canvas, 100×80cm.
光感的运用
许宏翔作品最令人难忘之处，大概就是他给每一幅画所设定的、如影随形的特有气氛了。与暗箱照相机相似，画家仅从一个方向将光投射在图画的少数区域，让其余部分留在阴影中。他的作品有着西方人会分明解读为一种忧郁基调的东西，但这种特质也不妨界定为中国传统内的一种暧昧的意蕴。许宏翔所传达的感性能容纳不同角度的诠释。
观众的目光被领进作品之中，不由自主地被引向幽暗的所在，它与用漫射光处理的少数几个斑点相映成趣。画家借此迷住了观者的注视，从而成功传递出一种特别的氛围。由于许宏翔的经营，一种神秘莫测之感油然而生。许宏翔的场景中通常不会有直射光，而光感的运用在其创作上始终起着重要的作用。借助着戏剧性片刻和美感的融合，将气氛的张力推到极致。
▲ 展览现场 Installation view
The Use of Light
What is probably most remarkable about Xu Hongxiang’s paintings is the specific atmosphere he sets as a companion to every image. Similar to a camera obscura, the painter casts light only from one direction onto a few parts of the image, leaving the rest in shadow. What western people would clearly interpret as a melancholic keynote in his paintings might be defined as an ambiguous significance in the Chinese tradition. The feeling that Xu Hongxiang conveys can be interpreted from different perspectives.
The painter succeeds in transferringa specialambiancearound his forrest sceneries and his very particular protagonists that immediately succeedof putting the viewer under their spell. Xu manages to create a feeling of enigmatic mystery. There is usually no direct light in Xu’s scenarios which increases their tension with a mixture of dramatic moments and beauty.
▲ 许宏翔，《白鸟》，2018年，布面油画，200×160厘米. Xu Hongxiang, The White Birds, 2018, oil on canvas, 200×160cm.
▲ 许宏翔，《游戏》，2018年，布面油画，200×160厘米. Xu Hongxiang, Game, 2018, oil on canvas, 200×160cm.
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关于艺术家
About the Artist
许宏翔1984年生于中国长沙，2007年毕业于中央美院版画系，获学士学位，2011毕业于中央美院版画系，获硕士学位，现工作、生活于北京。他的作品以架上绘画为主，前期感兴趣于“绘画与图像之间的关系”，目前通过一些个人项目着重探讨“绘画和现实之间的关系”。
近期个人展览和个人项目包括：“Xu Hongxiang: One Night Hunting for Fearies”（Loft 8, Vienna, Austria)、 “黑夜未至-许宏翔个展”（艺•凯旋画廊，北京，2018）、“许宏翔作品展”（圣之艺术中心，北京，2014）、“下地”（湖南，2016）、“李强”（湖南，2016）等。
Xu Hongxiang was born in Changsha, Hunan province in 1984. He graduated from the printmaking department of China Central Academy of Fine Arts (CAFA) with a bachelor´s degree in 2007, and received the master’s degree from the same department in 2011. He currently works and lives in Beijing. Xu’s works are mainly easel paintings. In his prior phase, Xu is interested in “the relationships between painting and image”. Recently, Xu focuses on discussing “the relationships between painting and reality”through several individual projects.
His latest solo exhibitions and individual programs include: “Xu Hongxiang: One Night Hunting for Fearies”（Loft 8, Vienna, Austria)，“Not Dark Yet-Xu Hongxiang Solo Exhibition" (Triumph Gallery, Beijing, China, 2018), "Xu Hongxiang Solo Exhibition" (SZ Art Center, Beijing, China, 2014), "In the Field" (Hunan, China, 2016), "Li Qiang" (Hunan, China, 2016), etc.
正在展出
Current Exhibition
徐弘 : 其中有象
Xu Hong : The Space Inside Within
艺术家：徐弘 | Artist：Xu Hong
策展人：艾墨思 | Curator：Thomas Eller
展览时间：2019年5月24日—6月24日
Duration: 24 May - 24 Jun, 2019
开幕时间：2019年5月24日（周五）下午4点
Opening: 4pm on 24 May, 2019
展览地址：艺·凯旋画廊 | Venue：Triumph Gallery
艺·凯旋画廊
Triumph Gallery
艺·凯旋画廊于2007年在北京798艺术区创立至今。近十年来艺·凯旋画廊与泛亚洲地区的众多藏家和艺术机构建立了良好的关系。画廊依据二十世纪以来中国艺术发展的内在脉络以及美术史的传承和发展方向经纪代理了众多知名中青年艺术家。艺·凯旋画廊通过与策展人、美术馆及其他机构合作策划不同形式的展览和艺术项目从而帮助艺术家构建其艺术职业生涯。
Triumph Gallery was founded in 2007 in the heart of 798 Art Zone, Beijing and forms strong relations with Asian collectors since over 10 years. Triumph Gallery represents many established and emerging Chinese contemporary artists, according to the lineage of the development of Chinese art since the twentieth century. The mission of Triumph Gallery is to work on the careers of artists, by enabling collaborations with museums and institutions and by supporting projects outside of the gallery walls. Various exhibitions have been organized and curated by influential curators.
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