False Poster, 2020
布面油画，铅笔
Oil, pencil on linen canvas
150 x 150 cm
摄影 Photo: Gert Jan van Rooij
天线空间荣幸地宣布代理荷兰华人艺术家王伊芙苓韬程（Evelyn Taocheng Wang），并将于2021年秋季举办个展。王伊芙苓韬程 (Evelyn Taocheng Wang)，1981年出生于中国成都，现工作和生活于荷兰鹿特丹。2006年毕业于南京师范大学，2012年毕业于法兰克福Städelschule美术学院，现工作和生活于荷兰鹿特丹。2012年至2014年，作为驻地艺术家参与阿姆斯特丹的De Ateliers驻地计划。王伊芙苓韬程的个展“Reflection Paper 读后感”即将于2021年初于杜塞尔多夫美术馆开幕，她的作品亦将于2021年参与香港大館（Tai Kwun Contemporary）的群展。Antenna Space is pleased to announce our representation of artist Evelyn Taocheng Wang. Her solo exhibition will be presented at the gallery in Fall 2021.Evelyn Taocheng Wang was born in Chengdu, China, in 1981. Wang is a graduate of the Nanjing Normal University, Nanjing (2006), and the Städelschule, Frankfurt (2012). She currently lives and works in Rotterdam, Netherlands. From 2012 to 2014, Wang completed an independent artist residence program at the De Ateliers in Amsterdam. Wang's solo exhibition, Reflection Paper, will open at Kunstverein Düsseldorfsoon in Spring 2021. Wang will also participate in a group exhibition at Tai Kwun Contemporary in 2021.
△ 艺术家肖像 Artist portrait
王伊芙苓韬程的作品应当被视作一个整体的“星群”, 它们涵盖了众多既定艺术门类，包括绘画、书法文字、环境装置、录像短片、服装设计和表演。她的作品作为媒介、载体，为她所设定的多种主题服务，例如中国传统与现当代艺术、以及殖民历史、Queer酷儿、女性文化与女性主义运动等，并通过重叠混合，将这些相互独立的概念交融链接。由此，艺术创作对于王伊芙苓韬程而言，如同将自己投身于浩瀚星际的真空中，由内向外进行跨层面的思维编织与梳理，从而在针对身份认同的无尽质疑中，重识自我，重塑自我。然而在此过程中，王伊芙苓韬程始终要求自己保持一个较为疏离的工作状态。在不断迫使自身对“如何展开联想”这一问题追根溯源，并在引用材料之上赋予她个人色彩的同时，她反驳、挑战了“个人传记式”图像之定义，在繁琐重复的自我反思中蜕脱出所谓真实、原创与杜撰挪用之间不断变化的新界线。
Evelyn Taocheng Wang’s work is constituted by a “constellation” of sources that span over various defined categories of art, including painting, calligraphy, installation, video, fashion design and performance. Her work serves as a medium and agency for multiple themes that she has set up: traditional Chinese art, modern and contemporary art, colonial history, queer theory, femininity and feminism. Through overlay and hybridization, the artist arrives at a vocabulary that integrates and interconnects these seemingly autonomous notions. Therefore, Wang’s practice can be seen as a reminiscent of situating oneself in a vacuum of cosmic universe, weaving and organizing thoughts across different epistemological layers from within, while reconstructing a sense of self by persistent interrogation upon one’s identification. During this process, Wang works in a state of detachment. Probing the question of “how one should form associations,” and drawing materials from her personal experiences, Wang challenges the definition of “autobiographical” images in order to redraw new boundaries shifting among the real, the authentic and the appropriated from her self-reflection.
一个小抱歉 A Small Sorry, 2020
墨水，色彩，生宣纸
Ink and color on raw rice paper
48 x 48 cm
OllieBolly! OllieBolly! ( Mondriaan Oliebollen of Trashy Mondriaan), 2020宣纸上油墨，丙烯及水彩
Acrylic, ink, watercolor on rice paper98 x 89 cm
摄影 Photo: Gert Jan van Rooij
布面油画，铅笔
Oil, pencil, on linen canvas60 x 80 cm
摄影 Photo: Gert Jan van Rooij
Medusa is Having Hard Time., 2020
布面油画，丙烯及塑料漆Oil and acrylic, plastic paint, on cotton canvas120 x 100 cm
摄影 Photo: Gert Jan van Rooij
中国传统书画元素贯穿王伊芙苓韬程的创作，她对该媒介的研习即成为了她理解自身文化背景与历史的通道，又促使她在真实的书画经验下调集美学通感，引发其对文化记忆的杜撰与身体文化的假设，从而在身心合一的境界中领悟中国传统书画中每一笔、每一整体间所蕴含的力与美。而在王伊芙苓韬程的美学中，“美”无需完美，她极为珍视创作过程中的“错误”，每一个痕迹皆是情绪调动下身体动态轨迹的映射，亦是对“已发生”的记录。正因如此，王伊芙苓韬程的创作超越了“使一画面在视觉上吸引人”这一常规又单一的目的。她以“不完美”的笔触，以她自称为“缺乏安全感”的创作过程，突破中国古典绘画史所象征的男权历史在当下遗留的男性樊笼。
Elements from traditional Chinese paintings play a key role throughout Wang’s practice— Her research of the medium provides her an access to her cultural background and Chinese history, while her empirical knowledge of paintings and calligraphy conjures an aesthetic synesthesia, evoking a hypothesis of make-believe cultural memories and body discourses. By reaching a unifying harmony of body and mind, she finds power and beauty embedded in each stroke and each composition. In Wang’s aesthetics, “beauty” never needs to be perfect. She treasures every “mistake” within her creative process, and she sees every trace as a reflection of her choreographic body mobilized by emotions, a record of “what has happened.” Therefore, Wang’s works transcend the singular yet conventional goal of being “visually attractive.” In her words, through her “imperfect” brushstrokes and her “insecure” creative process, Wang achieves to break free from the judgment of masculinity which is often connotated by the patriarchal history of classical Chinese paintings.
Dutch Window and Spring, 2020布面丙烯，宣纸，油墨，胶水，黑铅
Acrylic, rice paper, ink, glue, graphite on canvas100 x 100 cm
摄影 Photo: Gert Jan van Rooij
False Poster Banner, 2020宣纸上水墨，矿物颜料，丝绵纺织物
Ink, mineral color, cotton silk blend fabric, rice paper摄影 Photo: Gert Jan van RooijCopy of Mrs.Dalloway, 2020宣纸上油墨，水彩及丙烯
Ink, watercolor, acrylic, on ripe rice paperMounted on cotton fabric, sewed on cotton light purple fabric摄影 Photo: Gert Jan van Rooij王伊芙苓韬程的美学在一方面将根植于中国古典艺术中独有的美与西方现当代艺术中迸发着的思想性相结合，而在另一方面她从未停止对前者的挑战与再定义。王伊芙苓韬程是一位艺术的习作者，在现有信息所建构的丛林中，她汲取养分又不断自我切断其供给，从而将创作从所谓描摹与复制中剥离，使其依托于自我每一个阶段的直觉，由此得以回归心、艺术与创作的本真境界。On the one hand, Evelyn Taocheng Wang finds her aesthetic roots in the beauty of classical Chinese art, which she combines with the philosophy of Western modern and contemporary art. On the other hand, she never ceases to challenge and redefine the former. Wang is a practitioner of art — In the forest of existing knowledge, she absorbs yet constantly cuts off her sourcing, in order to isolate her creation from imitation or reproduction, and to rely on her intuitions in stages instead. In this regard, Wang finds her way back to the pure, undisturbed state of heart and mind, art and creation.
Untitled, 2020
布面油画，丙烯及塑料漆
Oil and acrylic, plastic paint, on cotton canvas
120 x 100 cm
摄影 Photo: Gert Jan van Rooij
Dutch Window No.4 / 7 Layers, 2020
布面油画摄影 Photo: Gert Jan van Rooij
Dutch Window No.2 / 7 Layers, 2020
布面油画100 x 140 cm
摄影 Photo: Gert Jan van Rooij 正在展出 | Ongoing Exhibitions
群展 Group Exhibition：传统的频率 Frequencies of Tradition
策展人 Curator：金炫辰 Hyunjin Kim
@ 广东时代美术馆 Guangdong Times Museum
2020.12.12 - 2021.02.07
个展 Solo Exhibition: 朝花夕拾 Petal fell in dawn, picked it up in dusk.
组织机构 Organizer: The 9th ABN Amro Bank Art Award
策展人 Curator: Danila Cahen
@ Hermittage Museum Amsterdam
2020.09.03-2021.01.31
展览现场 Installation View
摄影 Photo: Gert Jan van Rooij 即将展出 | Upcoming Exhibition
个展 Solo Exhibition: 读后感 Reflection Paper
@ 杜塞尔多夫美术馆 Kunstverein Düsseldorf
作品图 Artwork images: courtesy of
the artist, Carlos/Ishikawa,
Galerie Fons Welters, and Antenna space
王伊芙苓韬程 (Evelyn Taocheng Wang)，1981年出生于中国成都。2006年毕业于南京师范大学，2012年毕业于法兰克福Städelschule美术学院，现工作和生活于荷兰鹿特丹。2012年至2014年，作为驻地艺术家参与阿姆斯特丹的De Ateliers驻地计划。
近期个展：“读后感”, Kunstverein Düsseldorf，杜塞尔多夫 (即将展出)；Sour Gnossiennes, Museum Abteiberg, 德国 (2020)；Het bloemblaadje, dat tijdens het ochtendkrieken was gevallen…, Hermitage博物馆，阿姆斯特丹 (2020)；ABN Armo Art Prize， Hermintage博物馆，阿姆斯特丹（2020）；Sour Gnossiennes，Abteiberg博物馆，门兴格拉德巴赫，德国（2020）；“传播优雅”，FRAC Champagne-Ardenne，法国（2019）；“下午无血”，卡洛斯/石川，伦敦（2019）；“他害怕什么？”，KW当代艺术学院，柏林（2018）；“他害怕什么？”，Company，纽约（2018）；“女性悲剧的四季”，Galerie Fons Welters, 阿姆斯特丹（2017）；“对于一个尴尬的人来说，总是很难避免尴尬的事情”，卡洛斯/石川，伦敦（2017）；“皱纹热浪”，Chateau Shatto，洛杉矶（2017）；“无常的寓言”，荷兰弗朗斯·哈尔斯博物馆| 哈伦哈勒姆博物馆，荷兰（2017）。
部分群展：|||：She spins the thread, she measures the thread, she cuts the thread, Nest，海牙，荷兰（2020）；“传统的频率”，广东时代美术馆，广东（2020）；Risquons-Tout，WIELS，布鲁塞尔，比利时（2020）；Global(e) Resistance，蓬皮杜中心，巴黎（2020）；“既不是黑/红/黄，也不是女人”，Times Arts Center，柏林（2019）；“在我的房间里”，天线空间，上海（2019）；Hollandse Nieuwe，阿姆斯特丹市立博物馆，阿姆斯特丹（2018）；“无常的寓言”，荷兰弗朗斯·哈尔斯博物馆| 哈伦哈勒姆博物馆，荷兰（2017, 个展）；It's Get Better V，ICA，伦敦（2017）；公共项目，卡塞尔文献展，卡塞尔（2017）；“野蛮人和哲学家：黄金时代的中国形象”，弗朗斯·哈尔斯博物馆，荷兰（2016）；惠特尼美术馆美国艺术独立研究项目，The Kitchen，纽约（2016）等。Evelyn Taocheng Wang was born in Chengdu in 1981. She graduated from Nanjing Normal University in 2006, and graduated from HBK Städelschule in 2014. She currently lives and works in Rotterdam, Netherlands. From 2012 to 2014, Wang completed an independent artist residence program at the De Ateliers in Amsterdam.Recent solo exhibitions: Reflection Paper, Kunstverein Düsseldorf (forthcoming); Sour Gnossiennes, Museum Abteiberg, Mönchengladbach (2020); Het bloemblaadje, dat tijdens het ochtendkrieken was gevallen…, Hermitage Museum (2020); ABN Armo Art Prize, Hermitage Museum, Amsterdam (2020); Sour Gnossiennes, Museum Abteiberg, Mönchengladbach, Germany (2020); Spreading Elegance, FRAC Champagne-Ardenne, Reims (2019); No Blood in the Afternoon, Carlos/Ishikawa, London (2019); What is he afraid of?, KW Institute for Contemporary Art, Berlin (2018); What is he afraid of?, Company, New York (2018); Four Season of Women Tragedy, Galerie Fons Welters, Amsterdam (2017); For An Embarrassed Person It is Always Very Difficult To Avoid Embarrassing Things, Carlos/Ishikawa, London (2017, solo); Heatweave Wrinkle, Chateau Shatto, Los Angeles (2017); Allegory of Transience, Frans Hals Museum | De Hallen Haarlem, Haarlem (2017).Selected group exhibition: |||：She spins the thread, she measures the thread, she cuts the thread, Nest, Den Haag, The Netherlands (2020); Frequencies of Tradition, Guangdong Times Museum, Guangdong (2020); Risquons-Tout, WIELS, Brussels (2020); Global(e) Resistance, Centre Pompidou, Paris (2020); Neither Black/Red/Yellow Nor Woman, Times Arts Center, Berlin (2019); In my room, Antenna Spacae, Shanghai (2019); Hollandse Nieuwe, Stedelijk Museum, Amsterdam (2018); It's Get Better V, ICA, London (2017); Public Programme, Documenta, Kassel (2017); Barbarians & Philosophers: Images of China in the Golden Age, Frans Hals Museum, Netherlands (2016); Whitney Museum of American Art Independent Study Program, The Kitchen, New York (2016).
11:00-18:30 (Tuesday to Saturday)Closed on Sunday(appointment only) and MondayE-mail: info@antenna-space.comWeb: www.antenna-space.com202, Building 17, No.50 Moganshan Road, Shanghai