高露迪 | 个展“1:1”即将于乔空间开幕
我们高兴地宣布，高露迪在乔空间的个展“1:1”将于2020年11月11日开幕，并将持续至2021年1月31日。本次展览除布面丙烯作品外，还将首次完整展出名为“现实”系列（2017-2020）的木板上综合材料作品。
展厅中央，临时建筑现场集结起“现实”系列创作。该系列的前身可追溯至艺术家从2010年开始的小尺寸木板上综合材料的实验；从2017年开始，这一类别的实践以“现实”为题，发展成为如今颇具复杂度的整体面貌。在此系列中，艺术家的工作如同反复游走在画家、编辑者与规划师三者之间。他常选择一块大小适中且趁手的画布或木板，由此作为展开工作的界面或谋划蓝图的城池限界。随后推敲、选择与画面接壤的物体材料。这些来源于日常现实、饱含着群体性智慧的工业或消费材料，明艳且高纯度的色彩与时常平滑的质地保持了高度的时代特性，其完美的几何形态又具备了隽永的结构和意味。材料自身的具体尺度、色彩、质地为整幅作品的开展提供了指导性的方向、边界与结构。进而，艺术家通过颜料、画笔构造色彩、线条、形态、笔触对其加以回应，以此往复交缠。
现实 No.32 Reality No.32，2020，木板丙烯，金属，塑料，泡沫，海绵，毛毡，纱，纸 acrylic, metal, plastic, foam, sponge, felt, yarn and paper on board，145×115 cm
此外，物体材料的特定厚度与造型在光线照明下自然地形成明暗的界别，但整体上保持了相当的克制，使得观者在远近、左右、高低不同的观看中，于颇具欺骗性的“平面”与立体间游移摆荡；物体材料或细腻或粗粝的质感与画笔创造的笔触肌理相互冲撞、呼应，塑造出富于动态而跳跃的节奏。在这样的反复进退与斟酌中，二维的平面被牵引跃升，三维的形体却被拉扯陷落——两者仿佛展开了一场于绘画“立面”上的左右互搏，共同推进着与“现实”共谋的全新绘画语言构建。由此，材料在艺术家的截取、打磨、涂抹、嫁接等动作中丧失了原本的实用属性，却也由此于绘画中获得了解放与重生；意识复写于意象，带动着色彩、笔触、意涵突破平面，于视觉和心理的空间中扰动、生长，踏入诗性的范畴，释放出崭新“现实”的潜能。
分布于展厅周遭的丙烯绘画，同样按照1:1的比例攫取亭台、窗格等与艺术家生命经验相关的平凡生活意象，并使其降维般封印于画面之中；却与“现实”系列的“拿来主义”有所不同，它们基于一种眼光、身体和日常性周遭的共情、共感的方式达成，并通过高露迪高度个人化的视觉系统转译至平面之上。由此，墙面上的布面丙烯创作与展厅中央的木板上综合材料作品形成了高度的绘画性、观念性层面的互文与对位关联，并以此展开对绘画、摄影、电子图像、雕塑、建筑等不同领域的共同视觉经验及其历史遗产的裂变、聚变之可能的探讨。
院子里的木梯 Log Ladder in the yard，2020，布面丙烯 acrylic on canvas，200×150 cm
高露迪，1990年出生于河南郑州。2013年于首都师范大学美术学院油画系获得学士学位。近期的个展包括：1：1，乔空间，上海，中国（2020）；果实，空白空间，北京，中国（2018）；相簿，Ibid画廊，洛杉矶，美国（2018）；高露迪：瞎画，或，深渊运动史，怀俄明计划，北京，中国（2017）；高露迪，空白空间，北京，中国（2016）。近期的群展包括：2020 — 松美术馆邀请展，松美术馆，北京，中国（2020）；漫游者之歌，空白空间，北京，中国（2019）；一沙艺世界：探索社会几何形态，三亚·亚特兰蒂斯，三亚，中国（2018）；我们的绘画，央美术馆，北京，中国（2016）。入选2019年福布斯亚洲“30位30岁以下精英”榜单。高露迪现生活和工作在北京。
两幅画与一把椅子 Two Paintings and A Chair，2020，布面丙烯 acrylic on canvas，200×150 cm
We are glad to announce Gao Ludi’s solo exhibition, 1:1 at QIAO SPACE, opening on November 11, 2020, and continues to January 31, 2021. Other than acrylic works on canvas, this exhibition will comprehensively unveil the Reality series (2017-2020), mixed media on wooden panels.
At the center of the exhibition hall, a temporary building brings together the Reality series on site. This series's former incarnation traces back to the artist's experimentation with mixed materials on small-sized wooden panels in 2010. Since 2017, this genre of works, under the titled Reality, has developed to today's complexity level. In this series, the artist’s work is to switch between the roles of a painter, an editor, and a planner. He often chooses a medium-sized canvas or board at hand and uses it as an interface of his work or the parameter of the plans he conspires. He then refines and selects the materials that are fitting to the image. The industrial or consumer materials of everyday reality, as the embodiments of collective wisdom, and the glistening and pure colors and smooth textures, exhibit a contemporary quality, while their perfect geometric forms embody timeless structures and meanings. The specific dimension, color, and texture of the materials provide the direction, boundary, and structure that determine the work's development. In turn, the artist responds to these qualities by constructing colors, lines, forms, and brushstrokes with paint and brushwork, and in so doing, to integrate these elements.
现实No.24 Reality No.24, 2019, 木板丙烯，海绵，金属，塑料，珍珠 acrylic, sponge, metal, plastic and pearl on board, 20×20 cm
In addition, the given thickness and shape of the material and the object under the illumination naturally distinguish light and shade while maintaining considerable restraint for its overall presentation that would allow the viewer to swing between the deceptively "flat" and "three-dimensional" when viewed them from far and near, left and right, and at different heights. The texture of the object’s material, delicate or coarse, clashes and resonates with those painted by the brush, affording the work a dynamic and skittish rhythm. In this repeated progress and deliberation, the two-dimensional plane is pulled and elevated. In contrast, the three-dimensional form is pulled and sunken - the two notions seem to engage in an "oppositional" struggle with painting while advancing in conspiring with the "reality" in the building of new painting language. Hence, materials lost their former practicalities through the artist's extraction, polishing, smearing, and grafting, while in the process, they have been liberated and reborn. Meanwhile, the artist's consciousness is written into the imagery. With colors, strokes, and connotations to break through the plane, stirring and growing in the visual and psychological dimensions, stepping into poetic realms and releasing the potential of new "reality.”
The acrylic paintings distributed around the exhibition hall also take images from everyday life, including pavilions and window panes related to the artist's life experience. The painted form seal these objects into the two-dimensional surface in a 1:1 ratio. Unlike the “adopted” Reality series, they are grounded on the consensus and empathy of the gaze, the body, and everyday environment and translated onto the picture plane through Gao Ludi’s highly personalized visual system. As such, the acrylic works on canvas on the surrounding walls and the mixed material works on wooden panels at the center of the gallery form an intertextual and referential relationship with regards to painterliness and conception. These works explore the common visual experience and the possibility of fission and fusion in the different fields of painting, photography, digital image, sculpture and architecture, and their historical heritage.
Gao Ludi (b. 1990, Zhengzhou, Henan Province, China) received his BFA in Oil Painting at the Institute for Fine Arts at Capital Normal University (Beijing) in 2013. Recent solo exhibitions include 1:1, QIAO SPACE, Shanghai, China (2020); Juicy, WHITE SPACE BEIJING, Beijing, China (2018); Album, Ibid Gallery, Los Angeles, USA (2018); Gao Ludi: Painting Blind, or, a History of Abyssal Movements, Wyoming Project, Beijing, China (2017); Gao Ludi, WHITE SPACE BEIJING, Beijing, China (2016). Recent group exhibitions include: 2020 – Song Art Invitation Exhibition, Song Art Museum, Beijing, China (2020); A White Space Odyssey, WHITE SPACE BEIJING, Beijing, China(2019); A World in a Grain of Sand: Mapping Shapes and Sites for Social Deometries, Atlantis Sanya, Sanya, China (2018); Our Painting, Yang Art Museum, Beijing, China (2016). He was featured on the list of "30 Under 30 Asia 2019" by Forbes. Gao Ludi currently lives and works in Beijing, China.
现实 No.33 Reality No.33，2020，木板丙烯，金属，塑料，胶合板，泡沫，毛毡，布 acrylic, metal, plastic, plywood, foam, felt and fabric on board, 145×115 cm
关于乔空间 About QIAO SPACE
乔空间是藏家乔志兵先生的私人展示空间，位于上海西岸龙腾大道。旨在通过不定期的展览项目，呈现优秀的国际当代艺术家以及中国活跃的当代艺术家的作品，亦结合他的私人收藏，将当代艺术当下的面貌与广大艺术爱好者分享。
QIAO SPACE is a private exhibition space owned by collector QiaoZhibing, situated on Longteng Avenue on the West Bund, Shanghai. Through exhibitions with no fixed time frame, QIAO SPACE aims to present work from outstanding contemporary artists, both international and those active within china. Combined with his private collection, Mr. Qiao looks to share the magic of contemporary art with the rest of the art-loving population.