展讯 | 阿卡贝拉——国际青年艺术家交流系列展
阿卡贝拉
国际青年艺术家交流系列展
ACAPPELLA
International Young Artists Communication Exhibition Series
出品人｜杨羡
Producer_Yang Xian
学术主持｜隋丞
Academic Director_Sui Cheng
策展人｜甘挺 / 蒋祎祎
Curator_Gan Ting / Jiang Yiyi
展览统筹｜付水仙
Exhibition Manager_Fu Shuixian
展期｜2019.05.25-2019.08.31
开幕酒会｜2019年5月25日15:30
Duration_25th.May.2019-31th.Aug.2019
Openning Cocktail_3：30 pm.25th.May.2019
主办机构｜至美术馆 / 何止艺术
Organiser_Zhi Art Museum / Hezhi Art
合作伙伴｜半地下空间
Cooperate Space_Semi Space
地址｜深圳市宝安区松安路全至科技创新园至美术馆
Address_Zhi Art Museum, Quanzhi Technology Park,
Song an Rd, Bao an District, Shenzhen.
阿 卡 贝 拉
| 文：甘挺 / 蒋祎祎
“阿卡贝拉”是我们策划的“国际青年艺术家交流系列展”的第一个展，我们希望借由该系列展带动中国与不同国家和地区间青年艺术家的交流与发展，探索未来艺术的方向和价值。
阿卡贝拉（Acappella），无伴奏合唱。不加矫饰的干净。
我们借由两位青年艺术家最具东西方各自文化基因的作品（实验书法系列与抽象绘画作品）来打开我们对文化艺术多样性与差异性的认知。
在创作上，郑月圆与杰拉德很大程度上都显现了自身文化带来的洗礼。
东方文化象于形先，文字独立于语言且在语言之上。汉字由象形与会意生发而出，连通视觉感知系统，形体等同图像，字画一体，最为写意，这也解释了为何东亚的视觉审美客体里包含着书法艺术。西方文化形于象先，逻辑、律法、结构分明，精神超越且异于我，以基本字母构成方式捕捉万物所指的本体，而那一个个字母，仅为发声零件，它们本身并无意义，文化内核最为本质最为写实。
杰拉德·托雷斯的“绘画式绘画”，同样也是一种写抽象之“实”。他的作品是全然艺术本体的。杰拉德迷恋绘画的最初形式，他只在绘画的方圆里去寻求新的价值，他认为用理智去构思绘画并无意义，而绘画语言本身无法诉诸于人类理智语言，两者间距离清晰。例如，负数的平方根是一个复杂的、完全抽象和假想的数字，在数学世界以外的地方，我们找不到任何可以模拟的东西。因而从某种意义上讲，绘画与数学一样，或许是一种冥想工具或完美的观念游戏，而非仅仅是度量与造型工具。
创作中的杰拉德·托雷斯
受欧陆哲学影响，杰拉德表现出对海德格尔与鲍曼思想的强烈兴趣。凝固在瞬间的流动性与永恒的重力是他绘画中孜孜不倦的主题，在创作中，他平衡着一种关系：即他本人的意愿表达与与画作自身意愿表达的平衡。他思考着绘画的“物性”，绘画是控制的学问，但是它的本质是不可控，他追求绘画过程中随机性和误差带来的新景观。
杰拉德·托雷斯 《无题》 康颂纸上丙烯综合 54x39cm 2019
杰拉德·托雷斯 《无题》 纸上丙烯综合 78x54cm 2019
杰拉德·托雷斯 《绘画仍在进行中》 布上丙烯综合 40x30cm 2019
杰拉德·托雷斯 《无题》 康颂纸上丙烯综合 78x54cm 2019
单看郑月圆的创作载体，也许大多数人认为这是中国最传统的形式——书法，但事实上，她的创作缝合了自身所有的艺术经验——传统书画、版画、数字影像，令最后的成果具有非凡的张力，书法——行为艺术——影像装置，传统的内容得到了锐利的转化，书法逃逸而出，但同时具有神谕般的功能，变得极具当代性。郑月圆的作品献给客体世界，来源于对社会和人类的思考。
《消逝》（局部）
《白写练习-1》 丝网版 65cmx40cm 2018年
《白写练习-2》 丝网版 65cmx40cm 2018年
《白写练习-3》 丝网版 65cmx40cm 2018年
《白写练习-4》 丝网版 65cmx40cm 2018年
她只是通过艺术形式完成她对文明、现代化以及文化的质疑，借以传统的、司空见惯的方式反思整个人类的宿命。艺术家本人通过旷日持久的书法练习，同时反思着事件重复本身的意义何在，进而反思着文明进程中所有僵化重复行为的意义何在，在她的“白写”与“白费”系列尤为显著。“白写”锚住了传统书写在当代社会中的焦虑与失落感，不是没有目的，而是注定无法达到目的的浪费。“白费”中，一位神情呆滞的女子用双手托在胸前的方式漫无目的地搬运着一部空白之书，她出现在地铁、商场、街边小巷……宛若游荡在城市中的幽灵，没有目标，没有意义，空洞麻木，无处不至，像《千与千寻》中“无脸男”的存在。我们所有人从她身边穿梭而过，而如同房间中的灰犀牛，显然存在但不被任何人觉知，或者我们早已习惯视而不见，她是我们现代人精神内核的化身——手机和信息统治了我们，不管那些信息是多么庸常和无聊。她的观念性作品谕指着书本和文化、信息和文明是如何反噬人类，所谓最好的时代是如何摄走现代人最鲜活的灵魂。也许我们从未意识到，其实我们只是假装在活着，我们的生活充斥着种种假装，种种白费。
《白写练习》 影像截图
《白费》 影像截图
郑月圆和杰拉德之间，距离协调了对话和和声，他们没有接近过，他们相互割裂，却因为不同和变化得到了无限的回响。“阿卡贝拉”是我们对这种并置的设计——一种不统一，不同化，无对抗，无结盟，因其“异”而产生的特殊相遇。正如两个不同人声在同一个空间响起，大家听到一曲合奏，听到彼此激起的热情火焰，听到对话和互相回应，听到交汇的共同联系，和这段关系中心里的差异。
ACAPPELLA
Gan Ting / Jiang Yiyi
Acappella is the first exhibition of the “International Young Artists Communication Exhibition Series” that we planned. We hope that through this series of exhibitions, we will promote the exchange and development of young artists from China and different countries and regions, and explore the direction and value of the future’s art.
Acappella, a cappella chorus. Clean without any pretense.
Through the two young artists’works (experimental calligraphy series and abstract paintings) within the most Eastern and Western cultural genes,we open our understanding of the diversity of culture and art.
In the choice of creative language, both Zheng Yueyuan and Gerard have retained the baptism brought by their own culture to the greatest extent.
“Image goes first before Form”is notable features of eastern culture, and words are independent of language and above language. Chinese characters are produced by pictographic and intent, connected to the human’s visual perception system,words are equivalent to images, most freehand. This explains why the visual aesthetic object of East Asia contains calligraphy art. Western culture is “Form goes first before Image”, logic, law, structure is distinct, the spirit transcends and is different from human, capturing the ontology of all things in the form of basic letters, and the letters are only sound parts, otherwise, they are meaningless. The cultural core is the most essential and realistic.
Gerard Torres's “painting within painting" is also a kind of “abstract realism” . His work is artistic ontology. Gerard is obsessed with the original form of painting. He only seeks new values in the square of painting. He thinks that it is meaningless to use intellect to conceive painting. The painting language itself cannot appeal to human language, and the distance between them is clear. For example, the square root of a negative number is a complex, completely abstract and imaginary number. Outside of the mathematical world, we can't find anything that can be simulated. So in a sense, painting, like mathematics, may be a meditation tool or a perfect concept game, not just a measurement and modeling tool. Influenced by the European philosophy, Gerard showed a strong interest in Heidegger and Bauman's thought. The fluidity and eternal gravity of coagulation in the moment is his tireless subject of painting. In his works, he is balancing a relationship: the expression of his own wishes and the painting’s own wishes. He thinks about the "thinging" of painting. Painting is the subject of control, but its essence is uncontrollability. He pursues the new landscape brought about by randomness and error in the painting process.
Looking at Zheng Yueyuan's creative carrier alone, perhaps most people think that this is the most traditional form of Chinese - calligraphy, but in fact, her works have stitched all of her artistic experience - traditional paintings, prints, digital images, and the final results have extraordinary tension, calligraphy - performance art - video installation, the traditional content has been sharply transformed, calligraphy escapes, but at the same time has a miraculous function, becoming very contemporary. Zheng Yueyuan's works are dedicated to the object world, from the rethinking of society and humanity. She only completed her questioning of civilization, modernization and culture through art form, and reflected the fate of the entire human race in a traditional, common way. Through the prolonged calligraphy practice, the artist herself reflects on the significance of the repetition of the event itself, and then reflects on the significance of all the rigid and repetitive behaviors in the process of civilization, especially in her series of “Writing in Vain” and “In Vain”. "Writing in Vain" anchors the anxiety and loss of traditional writing in contemporary society. It is not without purpose, but is a waste that is doomed to fail. In the “In Vain", a woman with a dull expression carried a blank book with her hands above her chest. She appeared in the subway, shopping malls, street alleys... just like a quiet ghost wandering in the city.no goals, no meanings, emptyness, numbness, but everywhere, like the existence of "faceless man" in Spirited Away. All of us are passing by her, and like the gray rhinoceros in the room, it is obvious but not recognized by anyone, or we are used to turning a blind eye. It is the embodiment of the core of our modern human spirit - mobile phones and information had ruled we, no matter how ordinary and boring the information is. Her conceptual works point to books and culture, how information and civilization counteract humans, and the best times how to take away the most vivid souls of modern people. Maybe we never realized that we are just pretending to be alive, and our lives are full of all kinds of pretend and wasting.
Between Zheng Yueyuan and Gerard, the distance coordinated the dialogue and harmony, they are never close, they are separated from each other, but because of differences and changes have received an infinite repercussions. "Acappella" is our design for this setting - a special encounter that is not uniform, no confrontation, no alliance, and the meeting only because of its "extra". Just as two different vocals rang in the same space, everyone heard an ensemble, heard the enthusiasm of each other, heard the dialogue and responded to each other, heard the common connection of the intersection, and the difference in the relationship’s center.
关于 郑月圆
1991年出生于山西
2013年毕业于深圳大学师范学院美术系国画专业获学士学位
2016年深圳大学艺术学院版画与数字图像研究方向硕士研究生
广东省书法家协会会员
展览与获奖：
2018年 参与深圳市文化基金项目版画《深圳·深圳》创作
2015年 入展深圳书法篆刻年度展览
2015年 入展广东省第五届书法“南雅奖”
2015年 入展第七届“观音山杯”全国书法艺术大展
2015年 国画作品入展展望未来国际青年艺术家交流展览
2014年 入展广东省第六届广东新人新作书法展
关于 杰拉德·托雷斯 Gerard Torres Sanmartí
Gerard Torres Sanmartí is a Licenciate in Painting by the Faculty of Fine Arts of the University of Barcelona (2013) and graduated in the ocial Master of Production and Artistic Research for the Faculty of Fine Arts of the University of Barcelona (2016).
Currently directs and produces the radio program “El Cub Blanc” to Ràdio Sabadell 94.6
The first exhibition is “Formless color” to the Impaktes Visuals gallery in 2008 and “Explorations” to the Academy of Fine Arts Foundaition’s Sabadell in 2013.
In 2016 he obtained a residence to Estruch Factory of Creation and show the project to the Art Mu- seum of Sabadell “Sabadell Obert 15/16” exhibition curated by the artist Marc Vives, ins the same year, exhibited to Center of Contemporary Arts Fabra i Coats, Barcelona titiled name, “Cohabitar”.
In 2018 he inaugurated an individual exhibition “Paintorama” at the H10.
▏来源：至美术馆
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