【年代展讯】“色•域”桑火尧、史戴芬•安纳内尔艺术对话展预告
桑火尧
1963年生，中国艺术研究院中国画院副院长，国家一级美术师。中国美术学院国画系毕业，硕士学位。中国境象绘画艺术创导者。中国美术家协会会员。作品被今日美术馆，上海美术馆，广东美术馆，浙江美术馆，苏州美术馆等收藏。现工作生活于北京。
史戴芬·安纳内尔Stefan Annerel
出生于1970年，毕业于比利时根特高级视觉艺术学院，现居住创作于比利时安特卫普。
桑火尧
桑火尧雅致的水墨绘画并未体现出当代的、政治的、社会的，或者说来自这个现实世界的任何信息--不管是横还是竖构图，他的作品没有透视灭点，没有对自然元素的假设，没有描绘任何一座池塘、一棵孤寂的树，或是跨越水面的一座码头（就如蒙德里安的《构图10，码头和海洋》中一般，水面和码头结构缩减为一系列极简而断续的线条，却依然彻底还原了对象的神采。在这个意义上，桑火尧也曾说过，在中国传统绘画的线韵之外，当代水墨对于平面的探究也是焦点之一）。确实，如果说桑火尧的作品中存在着任何来自客观自然的影响，也是非常微妙的。
桑火尧幸福的失落园1一6号 122cmx122cm 纸本水墨 2016
并不需要特别提醒，桑火尧的作品显然延自中国传统水墨的精神和二十世纪后期中国大量实践主义者的不懈努力。它也显示出吸收马奈将风景具象化空间转置为平面的西方绘画观念，用斑驳的灰色去关注更多关乎画面视觉中心和边缘的关系。另外，也许我们还会随时感受到极简主义“色域绘画”者马克·罗斯科的影响，特别是并不苛求对色彩的克制上。
“我们追求大的形态，因为它拥有最显著的影响力。”罗斯科和阿道夫·戈特利布在1943年写到。当桑火尧的作品具有罗斯科的创作尺幅时，他的水墨矩形并不呈现为“大的形态”。确实，罗斯科的矩形展示出其从主色彩基底中逐渐浮现出来的建筑感；而在桑火尧的某些作品中，那些薄如蝉翼的平面体漂浮在微生物般的液态效果中，而其他作品又浮现出一种消解的过程，那些融化着的和纠缠着的--试图都在提示，桑火尧汲取了罗斯科基于抽象形式的语言，而成就出一种“生物的意志力”，同时尽情渲染并使之形如现实--或许还可以从微生物走得更远，到达分子和量子的级别。
史戴芬·安纳内尔
当弗兰德艺术评论家安-玛丽·珀尔斯谈到史戴芬·安纳内尔的作品时，她回忆道“...我还记得这个实验：你重复一个词--比如椅子或者烟囱--直到它脱离自己的本意。这个词从此就不再依附于它原本的内容：变成了一个无意义的对象。”
正如这个在嘴边或者脑中不断重复词语，直到其失去字面意义的游戏一样，史戴芬·安纳内尔的作品也是通过类似的过程达到抽象层面。他的创作图像来源于从日常生活中提取的素材：便宜的布料、洗衣袋、胶带、杂志图片、照片、浴室瓷砖、一位足球运动员的T恤衫、各种公司标志，甚至木地板贴皮。
史戴芬·安纳内尔 百慕大 52×42 cm 丙烯，树脂，玻璃和木头 2015
一张张的索引卡片被视为作品分层的来源：一片木地板可以被用来当作品的基底层，第二层是纸张或者织物，然后是第一遍上色，上色后再添加一层胶片，之后覆盖更多的颜料。材料和媒介相互之间或扭曲，或放大，或压缩，作品呈现出一种夸张的视觉幻象。在深思熟虑间，艺术家完成错综复杂的拼贴，最后将树脂挤压进去。通常这一创作过程极其精准，但又多少存在着一点横直构图上的偶然性。整件作品脱胎于各种不同的原材料，最后形成完整的抽象图式体系。当平淡无奇的参照物伴随着艺术家精密的主观干预时：就升华为纯粹的抽象。成为一个无意义的对象，即无形。
我们今天所熟知的拼贴绘画形式，来源于20世纪早期由毕加索（Pablo Picasso）和布拉克（Georges Braque）开创的立体画派的萌芽，继而这种形式又以激进的态度对粗浅的文化形态和高端的艺术样式进行了融合（尽管现在很难理解，立体主义在当时也被看做是一种低端的艺术），再在现代派的努力下，持续探索并突破画布上被束缚的平面空间，去进入立体的视觉观念。
而安纳内尔的艺术实践，是通过运用立体层次搭建平面空间，打破了这种约束。从本质上看，由一系列平面图层形成一种立体的效果，既而逆转了立体主义者的窘境。深度和厚重的双重性填补了20世纪颓废的中产阶级视消费主义为治愈方式的诉求。
以西方的经典样式来看，桑火尧和安纳内尔两位都可以说是抽象艺术家。但是，任何尝试从统一视角来归纳他俩作品的努力，都非常困难；就好像试图在布拉克和罗斯科或者是蒙德里安和透纳之间找到具体的相似之处一样。然而，从类似观看频谱的二元视角去观察他俩的创作，会更容易一些。这些创作似乎都游刃于从微观到宏观，从卓越到平淡的两端。在这个意义上，他们已经触及到所谓“大的形态”比例，又同时消解在大象无形的境界之中。当你无论从非常远还是极其近的距离去观察，形式和质地正在逐渐变得模糊，唯一留下的，则是色域。
策展人：魏皓啟
The Matter of Color: The work of Sang Huoyao and Stefan Annerel.
The Flemish art critic, Anne-Marie Poels, while speaking of StefanAnnerel’s work, recalled “I remember this experiment: you repeated a word —e.g. chair or chimney — until it detached itself from its meaning. The wordthen no longer referred to its content: it had become a meaningless item.”
As with the game in which a word is repeated until its meaning is annihilated, at least inthe mouth and mind of the speaker, Stefan Annerel’s works pursue abstraction through a similar procedure.Anneral’s work obsessively pulls from commonsources: cheap textiles, laundry bags, painter’s tape, images from magazines,stock photographs, bathroom tiles, a footballer’s shirt, company logos, andfake timber veneers.
One could suppose that these source materials are cribbed at random, except they are chosen. He then makes a record ofeach, obsessively cataloguing them by making miniscule copies, measuring only afew centimetres square. Each are then applied to a series of index cards, which are then archived. This is the first step towards abstraction, a formula sointricate it resembles alchemy.
Each indexcard then becomes the source for a layering: a ground of timber is selected toreceive a first layer, then a second of paper or cloth, then paint, then afilm, more paint, each distorted, magnified or compressed, reproduced inexaggerated trompe l’oeil, then layered in elaborate and intricate collage,pressed beneath resin, usually on a strict, if somewhat haphazard,horizontal/vertical axis. The whole, separated from its multiple sources,resembles a family tartan, a wholly abstracted pattern. Once prosaic referencescombine in an attempt to distil alchemical purity: pure abstraction.Ameaningless item.
Collageemerged in the form that we are familiar with today early in the twentiethcentury in the germinal constructions of Picasso and Braque, in a then radicalmerging of low culture and high art (although, it is difficult to maintain theperspective today that cubism at that time was also considered a rather lowart) in the continued efforts of modernists to explore three-dimensionality while acknowledging the two dimensional stricture of the canvas surface.Annerel removes this constriction by building up layers as a set of flatmodels– essentially a series of two-dimensional layers result in a threedimensional assemblage, the result of which is a reversal of the Cubist’sdilemma. There is both a depth and a weight which speaks to the assembly ofdetritus pertaining to the twentieth centuries obsession with consumption as aform of therapy for the malaise of the idle middle class.
By comparison, Sang Huoyao’s delicate water ink paintings seem totally unconcernedwith any allusions to the contemporary, political, social, or indeed the concrete world – there is neither horizontal or vertical axis, no vanishingpoint, no indelible illusion to the natural elements, nothing that woulddelineate a pond, a desolate tree, or a pier over a body of water (as with Mondrian’sComposition 10, Pier and Ocean, wherewater and structure are reduced to a series of minimal, broken lines which,while utterly reductive, still spoke to their natural inspiration. Even thismost basic means of representing three dimensional space is denied Sang, who said, "…contemporary water ink paintings must focus on planes, not lines…").Indeed, if there is any influencefrom the natural world, it seems microscopic.
His paintings appear as if a gossamer tissue dipped in ink was repeatedly laiddown, if only for a fractional moment, over and over, on a bed of white, untilan inky impression remained on the whole, lighter in the centre than at theperimeter, which is then delineated by a soft brush. Aesthetically, they readlike multiplying organisms in a petri dish, a bacterial kaleidoscope, perhap saided by being painted on silk, which gives the whole the effect of being litfrom within, creating a subtle, oscillating quality of liveliness. If Annerel’spaintings can be described as constructions, then Sang’s may be calledcreations.
It barelyneeds mentioning that Sang’s work is obviously a product of Chinese traditionalink painting and its emergent experimentalists of the late 20thCentury, but it also owes a debt to Manet in its reduction of pictorial spaceto a flat plane, acknowledging little more than centre and margin, usually invariegated hues of grey. It also owes a debt, perhaps most immediately, to the minimalist color fields of Mark Rothko, specifically in the restrained paletteif not the manner of application.
“We are for the large shape because it has the impact of the unequivocal.” wrote Rothko and Adolph Gottliebin 1943. While Sang’s works compete in scale with that of Rothko’s, his inkyrectangles do not assume the ‘large shape’. Indeed, Rothko’s rectangles appearmanifestly architectural, softly merging with the main ground, whereas in some of Sang’s works,his gossamer planes float upon a bacterial soup, in others, the yappear in the process of breaking down, dissolving or entangling – it is tempting to suggest that Sang has taken Rothko’s words regarding abstract forms being “organisms with volition”, and rendered it true - perhaps moving beyond the bacterial, to the molecular, to the quantum.
While both Annerel and Sang can be said to be, in the Western canonical sense, Abstractartists, any attempt to unify their work in a wholly cohesive way should be resisted, in as much as it would be to draw a long bow to make concrete parallels between Braque and Rothko, or Mondrian and J.M.W. Turner. Instead, it is perhaps more helpful to look at their work as being at the two ends of a particular spectrum, from the micro- to the macroscopic, from the sublime to the prosaic.In this sense, they can be said to be at once reaching the proportions of the‘large shape‘, while also flatly dissolving into meaningless items. As when one looks from a very far distance, or much too closely, the form and matter blurs,and one is only left with the matter of color.
Hutch Wilco, Curator.
【年代美术馆】
年代美术馆，坐落于温州鹿城区南塘白鹿洲公园。是一家民营美术馆，致力于当代艺术的推广与普及，自去年6月开馆以来，已经举办了8个大型艺术展览和100多场次公共教育活动。
如果你是年代美术馆的会员，可以携带2位朋友免费无限次观展，和你的朋友一起在美术馆摇起来、动起来！
成为年代美术馆会员，除了可以无限次地观看展览，您还能优先参与到年代主办的各类课堂、讲座与主题活动中。除了“看画”，您还能有机会同艺术家、名师面对面，接受美的教育；可以参加成人艺术工坊，让没有绘画基础的你也能尝试“大师之作”；可以带着孩子来美术馆参加少儿艺术课，让孩子从小就接受艺术的熏陶；可以来美术馆听一场交响乐、看一场昆剧表演、听一次诗歌朗诵。成为我们的一员，让来年代美术馆成为您的一种习惯、一种时尚、一种生活方式！
艺术，其实是看世界的一种方式
艺术，可以温暖一座城市
一座城市需要多元的艺术表达
来看展览吧，这也是一种支持的力量！