展览预告 Upcoming Exhibition｜变态者绘画指南
陈映舟 Chen Yingzhou
刘川 Liu Chuan
刘劲祎 Liu Jinyi
劳大伦 Lodtalad
吴凌昊 Wu Linghao
周轶伦 Zhou Yilun
变态者绘画指南
The Pervert's Guide to Painting
开幕式/Opening: 04月17日 Apr. 17
展览时间/Exhibition Duration: 2022.04.17 - 2022.05.16
地点/Address: 北京市朝阳区草场地艺术区241-8
241-8, Caochangdi Art District, Chaoyang, Beijing
由拉康绘制的「欲望曲线图」像极了在5.6亿年前寒武纪出现的三叶虫的外形。这化石般古老的幻象公式借由神经敏感的艺术家的技巧在绘画中显露，成为符号与想象之间的链接。从旧石器时代的洞窟壁画到文艺复兴时期的教堂天顶，绘画无休止地倾倒出神圣空间，只为将断裂性填补。无论是圣象中受难的耶稣，还是社会主义早期宣传画中工农兵结实硕大的拳头抑或现今数字媒体中充斥的广告与卡通图像，绘画作为一个凝视的陷阱，通过引入观者的目光，使人参与到理解意识形态与区别意义的互动中去。
就像无法超越模仿母亲面部表情阶段的儿童，画家——这种极端肉食性的「变态」艺术的生产者们无止境的在绘画中表达自己的欲望，以及对欲望对象的反叛。题材、媒介与形式框架不断随着时代的变化寻找新的孔隙，正如资本主义的标志性符号「可口可乐」的中译名那样。肉体的强烈欲望一次又一次的付出代价，疯狂投下筹码妄图捞回已无可挽救地输掉的赌局。而新的美学与行动的可能总是在意识形态破坏性的断裂中诞生：滑稽的消费符号、呆板木讷的CGI建模与屏幕上扭曲可怖的卡通形象统统被纳入这个经验的三维坐标系统，让现实纽结之下的真相显现。人类从绘画艺术的幻景中得到片刻的安抚，这是我们无意识欲望的主体茫然四顾的空虚时刻。所以，为什么需要「变态」的绘画？目的是从一整个僵死的现实秩序中获得片刻的自由。
The "Curve of Desire" drawn by Lacan resembles the shape of a trilobite worm that appeared in the Cambrian period 560 million years ago. This fossil-like formula of ancient visions is revealed in the paintings by the skill of the sensitive artist, serving as a link between signs and imagination. From Paleolithic cave paintings to Renaissance church ceilings, painting endlessly pours sacred space, only to fill in the fractures. Whether it is the crucified Jesus in religious images, the giant, solid fists of peasants and workers in early socialist propaganda, or the advertisements and cartoons that abound in today's digital media, painting serves as a trap for the gaze, engaging the viewer's attention in the interaction between understanding ideology and distinguishing meaning.
Like children who cannot transcend the stage of imitating their mother's facial expressions, painters - the manufacturers of this extremely carnivorous 'perverted' art - endlessly articulate their desires and rebellion against the objects of their desire in their paintings. The subject matter, media, and formal frameworks continue to find new loopholes with the changing times, just as the Chinese translation of the iconic symbol of capitalism, "Coca-Cola," does. The intense desire of the flesh pays the price repeatedly, feverishly throwing down chips to win back the gamble that has been irreparably lost. The possibility of new aesthetics and actions is always born out of a destructive ideological rupture: comical consumer symbols, dull and wooden CGI models, and distorted cartoon images on the screen are integrated into this three-dimensional coordinate system of experience, allowing the truth underneath the nexus of reality to emerge. Human beings get a moment of solace from the illusion of painting, a moment of emptiness when the subject of our unconscious desires is at a loss. Therefore, why do we need "perverted" paintings? The purpose is to obtain a moment of freedom from a whole rigid order of reality.
陈映舟
Chen Yingzhou
1995年出生于广东深圳，2019年毕业于中央美术学院雕塑系第三工作室，2021年毕业于马里兰艺术学院 Mount Royal School of Art (Multidisciplinary Art).
陈映舟致力于结合互联网网民制作图像的思维和传统架上绘画的绘制思维来创作作品，尝试使用meme（梗文化），trolling（巨魔），mash-up（杂糅）， kitchen sink（厨房下水道式的）等早期互联网内容创作思维来消解政治意识形态，热点时事议题，哲学宗教等的宏大叙事。作品形式类似讽刺漫画，波普艺术。手工模仿电脑电子绘图效果，结合漫画，插图的视觉元素。
参展经历：“夹山改梁 第一期”，中央美术学院版画系展厅，2017；“夹山改梁 第二期”，花家地北里小区某二居室，2019；“刚刚骑车突然有人问路，问：前有公园吗”，可以画廊，2019；“绿厂艺术节”，深圳绿厂，2019；“Nose Art Project 群展｜姑且相信”，凹凸空间，2019；“动情，1949后变局中的情感与艺术观念”，中间美术馆，2019；“绘画是观念艺术家的通行证，观念是绘画艺术家的墓志铭”，线上展览，2019；“大老黑”，上海某别墅，2019；“无论盛开还是不盛开，花都是”，可以画廊，2022。
Chen Yingzhou, born in 1995 in Shenzhen, Guangdong, graduated from the Third Studio of the Sculpture Department of the Central Academy of Fine Arts in 2019 and Mount Royal School of Art (Multidisciplinary Art) of the Maryland Institute College of Art in 2021.
He is dedicated to creating works that combine the thinking of Internet users in making images and the traditional drawing thinking of easel painting, employing meme, trolling, mash-up, kitchen sink, and other early Internet concepts to dissolve political ideologies, timely subjects, philosophies, religions, and other grand narratives. His works are similar to satirical cartoons and pop art, handcrafted to imitate the effect of computer graphics, combining the visual elements of comics and illustrations.
Exhibition experience: "Jasagala Phase I," Exhibition Hall of the Department of Printmaking, Central Academy of Fine Arts, 2017; "Jasagala Phase II," a two-bedroom apartment in Huajiadibeili community, 2019; "I was riding my bike, and suddenly someone asked for directions and asked: Is there a park in the front? " Keyi Gallery, 2019; "Green Factory Art Festival," Green Factory, Shenzhen, 2019; "Nose Art Project Group Exhibition｜Temporarily Believe," Aotu Space, 2019; "Moving Emotions, Emotions and Artistic Concepts in the Post-1949 Change", Middle Art Museum, 2019; "Painting is the Pass of Conceptual Artists, Concepts are the Epitaph of Painting Artists," online exhibition, 2019. "Big Old Black," a villa in Shanghai, 2019; "Whether blooming or not, the flower is," Keyi Gallery, 2022.
刘川
Liu Chuan
1991年生于吉林，现居燕郊。2012年毕业于鲁迅美术学院国画系。2018年毕业于中央美术学院版画系。
Liu Chuan, born in 1991 in Jilin, now lives in Yanjiao. He graduated from the Department of Chinese Painting of Luxun Academy of Fine Arts in 2012 and the Department of Printmaking of Central Academy of Fine Arts in 2018.
刘劲祎
Liu Jinyi
1995年生于中国北京，目前生活于纽约。他2018年在马里兰艺术学院获得学士学位（Maryland Institute College of Art），研究生目前就读于纽约视觉艺术学院纯艺专业 （School of visual art, MFA）。
刘劲祎的作品是对艺术创作和日常生活的玩味解读。关注互联网时代的文化性冲突，以及文化冲突背后相互对抗又相互依存的共存关系。艺术家认为，我们当前的信息环境已经超出了人类的感知能力。图像、视频和图形嵌入并不断的增生，迅速的占据了在线世界的每个角落，其数量似乎无穷无尽。“我从这个网络宇宙中收集图片。电子游戏、漫画、流行音乐和网络小说。我将它们作为一个象征性的图像与我的绘画痕迹结合起来。用它们来制造一些充满误解但同时具有乐趣的对话和叙事。”艺术家采用了生物学上有机结合的概念。他把源自不同文化的不同符号看成是生物细胞，并让它们在他的画作中有机的结合，转化为全新的语言和叙事。
近期展览：“变态者绘画指南”，拟像空间，北京，中国，2022；“热烈的共舞于街中”，弥金画廊，上海，中国，2022；“Conceive：怀耘构月”，Latitude Gallery，纽约，美国，2022；“成对的破坏者”个人项目，盘子空间，北京，中国，2021；“No Theater” 放映厅，喜马拉雅美术馆，上海，中国，2021；“正在重新规划路线”，树美术馆，北京，中国，2021。
Liu Jinyi (b. 1995, Beijing, China) is an artist currently living in New York. He received his bachelor's degree (Maryland Institute College of Art) in 2018, and his graduate degree is currently studying at the School of Visual Art (MFA) in New York.
Liu Jinyi's works are playful interpretations of artistic creation and daily life. Focus on the cultural conflicts in the Internet age, as well as the mutual confrontation and interdependence behind the cultural conflicts. The artist believes that our current information environment is beyond human perception. Images, videos, and graphics are embedded and proliferated, rapidly occupying every corner of the online world in a seemingly endless number.
"I collect pictures from this cyber universe. Video games, comics, pop music, and web novels. I combine them as a symbolic image with my drawing traces. I use them to make something misunderstood but fun at the same time. Dialogue and narrative."
The artist adopts the concept of biological integration. He regards different symbols from different cultures as biological cells, and allows them to be organically combined in his paintings, transforming them into a new language and narrative.
Recent Exhibition: “The pervert’s guide to painting”, Simulacra art space, Beijing, China, 2022; “Romantic street dance”, Gene Gallery, Shanghai, China, 2022; “Conceive”, Latitude Gallery, New York, United State, 2022; “Pair of spoiler” solo project, Plate Space, Beijing, China, 2021; “No theater” video art screening, Himalayas museum, Shanghai, China, 2021; “Redirecting”, Tree museum, Beijing, China, 2021.
劳大伦
Lodtalad
劳家辉与虚拟人lodtalad结合而成的人类。母体生于中国广州，毕业于中央美术学院版画系。结业于中央美术学院城市学院未来媒体“国家艺术基金游戏人才培养项目”
策划展览：“洛德世界：起航”（海涵艺术空间，2021）。
主要个展包括：“劳大伦 LTLLL”（站台中国-dRoom，2021），“有个叫劳家辉的人开了个虚拟博物馆” （5art space，2019），“玩家的未来“ （C龙口空间，2018）。
主要群展包括：“劳家辉的自助庙宇”（扉美术馆，2018），“繁花六人展” （雅昌艺术中心，2021），“2021 迎春画展”（站台中国，2021） ，“黑白”（之谷空间，2022），“屏幕间100位艺术家礼物” （nextlab，2021），“一个好消息一个坏消息”（798艺术中心，2020），“亚洲当代艺术文献展” （坪山美术馆，2020），“视觉编码” （Kommnalen美术馆，柏林，2019），“后登场”（33当代艺术中心，2019）， “在网络的标志下-拼接与梗” （CLC Gallery Venture，2019），“在路上”（关山月美术馆，2018） ， “柳林风声”（C龙口空间，2018），“纽约艺术书展”（MoMA PS1 纽约，2018），“青衿计划” （北京正观美术馆，2018） “去碑营Ⅱ自我作古” （应空间 ，2018），“日落将至”（泰康空间，2017），“门闩肖像画的隐晦目的”（C龙口空间，2017），“Hello summer三人联展”（八大画廊，2016）， “常青藤中国青年艺术家年展”（天津美术馆，2016），“中国素描艺术大展”（中国美术馆，2016）LODTALAD
Lao Dalun, born in the virtual world, is a virtual person who crossed the dimension wall and parasitizes real human beings. Its mission is to promote and disseminate LOD aesthetics in the real world. Exists as an artist, painter, designer, writer, curator, genre originator, brand.
Lao Jiahui, the host of LODTALAD, lives and works in Beijing and Guangzhou. Graduated from Central Academy of Fine Art. Graduated from the future media "National Art Fund game talent training project" of City College of Central Academy of Fine Arts.
Curation: "LOD World: Set sail" (Haihan Art Space, 2021)
Solo Exhibition: “LTLLL” (Platform China-dRoom, 2021), “A Guy Named Locafine Owns a VirtualMuseum” (5art space, 2019), “Player’s Future” (C-Space+Local, 2018)
Group Exhibition: “Locafine Automatic Temple” (Fei Gallery, 2018), “Blossom” (Artron Art Center，2021), “Spring Fever 2021” (Platform China, 2021), “100 Artists / 100 Presents” (nextlab, 2021), “Good News and Bad News” (798 Art Centre, 2020), “Asia Contemporary Art Documenta” (Pingshan Art Museum, 2020), “Visual Coding” (Kommnalen Art Museum, Berlin, 2019), “Post-onstage” (33 Art Centre, 2019), “The Internet— Connections and Double Meanings” (CLC Gallery Venture, 2019), “On the Road” (Guan Shanyue Art Museum, 2018), “Wind In the Willows” (C-Space+Local, 2018), “New York Art Book Fair” (MoMA PS1, 2018), “Elite Youth Artists” (Beijing Zhengguan Art Museum, 2018) “Stéles II: Vire Sans Temps Mort” (Ying Space, 2018), “Bad New Days Ahead” (TAIKANG Space, 2017), “the latch” (C-Space+Local, 2017), “Hello summer” (PATA Gallery, 2016), “Ivy Art China Young Artists Annual Exhibition” (Tianjin Art Museum, 2016), “The National Art Exhibition of Drawing” (National Art Museum of China, 2016)
吴凌昊
Wu Linghao
1997出生于福州，2016-2020就读于天津美术学院。
个展有“如果他们给了你画好线的纸，不要按着线写”，五五画廊，上海，2021
曾参加群展：“变态者绘画指南”，拟像空间，北京，2022；“翻新 2”，五五画廊，上海，2022；“现实不似你所见”，三艺术空间，福州，2022；“五岁抬头”，绘画艺术坏蛋店，北京，2021；“青年艺术家驻留项目展”，四川美术学院美术馆，重庆，2021；“翻新 1”，五五画廊，上海，2021；“上海 021 当代艺术博览会”，上海展览中心，上海，2021；“天演”，悦美术馆，北京，2020；“摸骨”，天津美术学院美术馆，天津，2019。
Wu Linghao, born in Fuzhou in 1997, studied at Tianjin Academy of Fine Arts from 2016 to 2020.
Solo exhibition "If they give you paper with lines on, don't write on the lines," 55 Gallery, Shanghai, 2021.
Participated in group exhibitions: "The Pervert's Guide to Painting," SIMULACRA Space, Beijing, 2022; "Renovation 2", 55 Gallery, Shanghai, 2022; "Reality is not as you see it," Three Art Space, Fuzhou, 2022; "Five Years Old Raise Your Head," Painting Art Badass Store, Beijing, 2021; "Young Artist Residency Program Exhibition," Sichuan Fine Arts Institute Art Museum, Chongqing, 2021; "Renovation 1," 55 Gallery, Shanghai, 2021; "Shanghai 021 Contemporary Art Fair," Shanghai Exhibition Center, Shanghai, 2021; "Heavenly Performance," Yue Art Museum, Beijing, 2020. "Touching Bones," Tianjin Academy of Fine Arts Art Museum, Tianjin, 2019.
周轶伦
Zhou Yilun
出生于1983年，2006年毕业于中国美术学院油画系。现生活和工作于杭州。
周轶伦的作品包含绘画、装置、雕塑等多种媒介，他通过拆分、重组、模拟等多重手法，延展日常材料的可能性，自由地从唾手可得的物件中汲取灵感，构建了一个充斥着经典与街头、史前史与未来，甚至不同经济形态下的物质生态，让艺术的创作充满突破边界的趣味，平衡着手感与工业生产的审美张力。
他的作品曾于广东和美术馆（2022）、阿那亚艺术中心（2021）、山中天艺术中心（2021）、ROOM6X8、上海油罐艺术中心（2019）、南京四方美术馆、上海当代艺术馆艺术亭台（2018）、北京金杜艺术中心（2018）、Nicodim画廊、北京站台中国当代艺术机构、杭州清影当代艺术空间、北京央美美术馆（2016）、成都蓝顶美术馆（2015）、佩斯画廊（2014）、美国坦帕美术馆（2015）、美国橘郡艺术博物馆（2015）、美国圣彼得堡美术馆（2014）以及瑞士IAAB项目空间（2012）等多处展出。
Zhou Yilun was born in 1983 and graduated from the Oil Painting Department of the China Academy of Art in 2006. He currently lives and works in Hangzhou.
Zhou Yilun's works encompass a variety of media such as painting, installation, and sculpture. Through diverse techniques such as dismantling, reconstructing, and simulating, he extends the possibilities of everyday materials and freely draws inspiration from objects at his fingertips, building a physical ecology flooded with classical and street, prehistory and future, and even under different economic forms, making the creation of art full of boundary-pushing playfulness and balancing the aesthetic tension between hand and industrial production.
His works have been exhibited at Guangdong He Art Museum (2022), Aranya Art Center (2021), Wind H Art Center (2021), ROOM6X8, Shanghai Oil Tank Art Center (2019), Nanjing Sifang Art Museum, Shanghai Museum of Contemporary Art, MoCA Pavilion (2018), Beijing KWM Art Center (2018), Nicodim Gallery, Platform China Contemporary Art Institute, Qingying Contemporary Art Space, Hangzhou, Beijing (2016), Central Academy of Fine Arts, Beijing (2016), Blue Roof Art Museum, Chengdu (2015), Pace Gallery (2014), Tampa Museum of Art, USA (2015), Orange County Museum of Art, USA (2015), St. Petersburg Art Museum, USA (2014), and IAAB Project Space, Switzerland (2012), among many other venues.