≡ 崔新明 Cui Xinming
风俗画研究十 - 授降 Genre Painting Study 10 - Surrender
2019
布面油画 Oil on canvas
280 x 210 cm
©图片由马凌画廊和艺术家提供
Image courtesy of Edouard Malingue Gallery and the artist
新展开幕 Upcoming Exhibition
“没有太阳”
“Sans Soleil”
开幕 Opening: 19.03.22 | 4-7 pm
展期 Duration: 19.03.22 - 05.05
地点 Address:
马凌画廊 | 上海 | 龙腾大道2879号2202室
Edouard Malingue Gallery | Shanghai
2202, 2879 Longteng Avenue
(Scroll down for English version)
如果说古典画家的使命是把事物描述得尽量有说服力，让画作给人身临其境般的感染力，那么，当代画家譬如此次展览中的五位，他们更愿意去描述那些不可描述的东西，那些时空不明、虚实难辨的东西，从而转译人与世界的关系。形式及观念各异，这五位艺术家的作品都极具主观性和实验性，把他们放在一起，会发现无法找到任何既有的概念或词汇可以用来概括他们的创作，这正好证明了绘画仍然充满了生命力和可能性，抛开表面的技巧与风格，绘画可以夹带的狡黠的评论，私密的隐喻，古怪的癖好，画家尽可以在其中畅所欲言，无穷无尽。
与其它四位相比，孙逊很少被称为“画家”，虽然他有大量的水墨画、炭画、版画等各类媒材的绘画作品，但在一般印象中他的身份更接近一个电影导演。本次展览，孙逊展出一组黑白水墨画屏风装置，其中奇幻的意象及晦涩的叙事一直都是孙逊爱用的修辞，谎言与真理相互交织，人神鬼兽难分难解，突显出历史与个人回忆之间的荒谬矛盾，尤其关注历史如何被操纵，探寻权力机构、政治家和官方媒体的叙事，与处于非政治中心的普通人的叙述之间的差异。
≡ 孙逊 Sun Xun
来自中国的美丽谶语 Beautiful prediction from China
2018
绢本水墨、纸制鱼形雕塑、灯
Ink on silk, paper fishes sculptures, lights
每件屏风 Each screen: 212 x 169 x 2 cm
(三件独立屏风 three separate screens)
每扇屏风 Each panel: 212 x 84.5 x 2 cm
纸鱼 1 Paper fish 1: 143 x 50 x 26 cm
纸鱼 2 Paper fish 2: 165 x 36 x 23 cm
©图片由马凌画廊和艺术家提供
Image courtesy of Edouard Malingue Gallery and the artist
郑洲的绘画是对外界刺激的本能反馈，这种本能反馈被他称之为“天意”。他依靠直觉收集来自外界的信息，转换成图像呈现在画布上，并在这个过程中尽力抛开一切的技巧、审美趣味及道德评判等附加之物。在这一次展出的作品中，郑洲借助神话找到了关于死亡和怪物的意象，《白蛇传》的传说源远流长，是几百年来被不厌其烦的传颂着的爱情悲剧，郑洲再拾这一主题，看到爱情以外的人性、欲望、因果，作品中充满了一种幽邃感。
≡ 郑洲 Zheng Zhou
白素贞与小青系列: 水乳交融
Bai Suzhen and Xiaoqing: Mixed well like milk and water
2018
布面丙烯与油彩 Acrylic and oil on canvas
210 x 154 cm
©图片由马凌画廊和艺术家提供
Image courtesy of Edouard Malingue Gallery and the artist
袁远的画神似古典绘画：细节具体而丰富，无人的建筑物或室内场景隐约透露出永恒感。细看之下，却发现其实他对画中细节处理不旨在追求精确，往往只是轻描淡写。挤满画面的旁枝末节，不是炫技的手段，而是主题本身。不妨如此想像：在一个没有他人、没有行动的情景中，画家没有选择走向内心回忆，而是温和地让眼前的一切细节逐渐变得清晰，没有目的，而仅仅为了对面前一切尽可能的了若指掌，就好比去整理一屋杂物，只是并非物理意义上的整理，而是感知意义上的整理。在很大程度上，袁远的实践上承了杜塞尔多夫摄影学派、尤其是Candida Höfer，及文学中的阿兰·罗伯-格里耶等显赫先驱所开创的探索，这场探索远远没有结束，因为其理想绝非去制造某种令人震惊的形式，而是通过观察和整理以求达致主体性和客体世界之间的完美平衡。
≡ 袁远 Yuan Yuan
赫兹的晚餐 Hearst's dinner
2017
亚麻布面油画 Oil on linen
60 x 135 cm
©图片由马凌画廊和艺术家提供
Image courtesy of Edouard Malingue Gallery and the artist
与袁远正好相反，崔新明的画中充满了行动。他的绘画往往看似一张新闻图片，或一帧电影画面，但被置换了其中某个人物，或被换了装束，或赋予其魔幻的色彩，各种来自历史事件、社会现实和美术史中的图像元素，被拼贴其中，令画面获得一种全新的逻辑。这种工作方式刚好是郑洲的反面。虽然崔新明不认为他的作品具有任何的批判性，但这种主观性极强的绘画行动本身已经表明了作者的态度。回到最初的这张新闻图片，这一帧电影画面，往往是一张极具政治意识形态的宣传图像，作为接收对象的艺术家也曾深受其影响，绘画给了崔新明一次拨乱反正和自我审视的机会。
≡ 崔新明 Cui Xinming
节日 - 动物园 3 Festival - Zoo 3
2019
布面综合材料 Mixed media on canvas
120 x 160 cm
©图片由马凌画廊和艺术家提供
Image courtesy of Edouard Malingue Gallery and the artist
王之博绘画的对象往往显得距离很近且富饱和感，就好像太过使劲地盯着某物看，直到它甚至有点变型。两张静物画，是一个构图的重复练习，是发生在厨房里的两个时刻。王之博似乎总是在探索绘画的元语言，她实验性地将对象放在不同的空间距离、不同的光线、不同的主观情绪下，让同一具身体呈现出尽可能不同的样貌。在《身体史，精神史》中，王之博完成了对同一个对象处于不同时刻和契机下的拼贴。
≡ 王之博 Wang Zhibo
身体史，精神史 The history of body, the history of sprite
2019
布面油彩、丙烯 Oil and acrylic on canvas
170 x 200 cm
©图片由马凌画廊和艺术家提供
Image courtesy of Edouard Malingue Gallery and the artist
展览题目“没有太阳”借用自法国导演克里斯·马克的名作。克里斯·马克用一封信，把一些旅行影像串联起来，创造成一部结构松散却富含哲思的散文电影。“没有太阳”是马凌画廊汇聚了画廊代理的五位绘画艺术家，呈现给观众的一次图像之旅，同样将主观性和虚构性作为切入点，一探当代绘画的使命和意义。
≡ 郑洲 Zheng Zhou
白素贞与小青系列: 山峰如岚
Bai Suzhen and Xiaoqing: Bodhi in blossom
2018
布面丙烯与油彩 Acrylic and oil on canvas
154 x 210 cm
©图片由马凌画廊和艺术家提供
Image courtesy of Edouard Malingue Gallery and the artist
If the task of the classical painter is descriptive persuasion, by which nature could be represented in a picture with an almost immersive accuracy, the five contemporary painters presented in this exhibition take the opposite approach, achieving the illusion of nature by describing that which cannot be described but spells out the relations between man and the world. Varying in style and concept, the works on display – equally subjective and experimental in nature – testify to the vitality of the genre in their seeming lack of curatorial connection. Untethered from the shackles of technique and style, these artists permit subtle hints of criticism, metaphor and eccentricity to grace their work, providing an articulation for a plethora of considerations.
Beyond a prolific painter across traditional ink, colour powder and woodcuts, Sun Xun is more often considered a film director. On display is an ink on silkscreen installation, replete with Sun’s signature ambiguity and phantasmagoria wherein intransigent conflicts and tensions fuse the line between deception and reality, scraping the uncontested surface of politicised truth. Sun’s art thus acts as a theatre of the power play between authority, government, media and, crucially, those outside of its periphery.
≡ 孙逊 Sun Xun
来自中国的美丽谶语 (3号屏风)
Beautiful prediction from China(No.3 screen)
2018
绢本水墨、纸制鱼形雕塑、灯
Ink on silk, paper fishes sculptures, lights
屏风 Screen: 212 x 169 x 2 cm
每扇 Each panel: 212 x 84.5 x 2 cm
©图片由马凌画廊和艺术家提供
Image courtesy of Edouard Malingue Gallery and the artist
Zheng Zhou is a painter of instinct: straddling an epistemological outlet and what Zheng calls "the divine will" beyond technical, aesthetic and moral considerations, each painting acts as a canvased portal unto a segment of observations from the world. Presented is imagery of death and monstrosity conceived from The Legend of the White Snake, a Chinese romantic tragedy through which Zheng articulates tales of humanity, desire and fateful causality.
≡ 郑洲 Zheng Zhou
白素贞与小青系列: 菩提开花
Bai Suzhen and Xiaoqing: Bodhi in blossom
2018
布面丙烯与油彩 Acrylic and oil on canvas
210 x 154 cm
©图片由马凌画廊和艺术家提供
Image courtesy of Edouard Malingue Gallery and the artist
At a distance, Yuan Yuan’s elaborate oil on canvas paintings nearly resemble in their visual authority a photograph. His works, however, crucially do not represent reality per se. Rather, his protagonists – sumptuous yet depopulated interiors ranging between states of wealth and abandonment – are explorations of details, narrative threads rediscovered in the remembrance of things past. Charged by such sheer desire, or need to understand, Yuan’s paintings evoke the sensorial organisation of the glitches or shifts between actualities: what could have been, could still be, or will eventually be. Akin to the process of tidying one’s household, they reference the Düsseldorf School of Photography, in particular Candida Höfer, and French writer Alain Robbe-Grillet’s work, in the sense that finality is never fully achieved. One grasps that Yuan’s paintings are struck not with the sense of luxury and shock they appear to offer, but with the harmony between its subjective and objective actualities.
≡ 袁远 Yuan Yuan
博罗梅奥的书架 Borromeo's bookshelf
2017
亚麻布面油画 Oil on linen
110 x 130 cm
©图片由马凌画廊和艺术家提供
Image courtesy of Edouard Malingue Gallery and the artist
Marked by gestural vivacity, Cui Xinming’s phantasmal paintings resemble displaced news stories or film stills as if recalled from distant mnemonic incidents. Permeating Cui’s works is a pervasive sense of subjectivity and critique – a distinct pulse from Zheng and Yuan’s practice – augmented by a series of historical, social and art historical references. As such, Cui captures the spirit of an environment we are familiar with, but one that is under the undefined auspices of political and ideological flux.
≡ 崔新明 Cui Xinming
节日 - 同志 Festival - Comrade
2019
布面油画 Oil on canvas
200 x 150 cm 每幅 each, 两幅联 diptych
©图片由马凌画廊和艺术家提供
Image courtesy of Edouard Malingue Gallery and the artist
There is this experience, when we stare long enough at an object and its form unnervingly blurs. It represents the variances of our visual experiences when we approach Wang Zhibo’s paintings, whose protagonists, upon closer examination, are never depicted quite as they are. The two still life paintings which capture two distinct moments in an anonymous kitchen, for instance, present a compositional practice through which Wang explores the meta-language of painting, whilst The history of body, the history of sprite (2019) experiments with, and challenges, multiple manifolds of the body according to spatial, light and emotional variances.
≡ 王之博 Wang Zhibo
嘿，缪斯！ Hey Muse!
2019
布面颜料、油彩 Oil and pigment on canvas
120 x 160 cm
©图片由马凌画廊和艺术家提供
Image courtesy of Edouard Malingue Gallery and the artist
Ultimately, "Sans Soleil" is a pictorial travelogue, bringing together Edouard Malingue Gallery’s five painters to weave a meditative visual essay that harks back to French writer and director Chris Marker’s seminal piece of the same title. Taking subjectivity and fiction as a departure point, as does Marker, one is left privy to the nature and nuances of contemporary painting and how, as a result, the perception of personal and collective histories is affected.
崔新明 Cui Xinming
崔新明（1986年出生，现居于重庆）毕业于四川美术学院。综观《记忆黑洞》系列至近作《一个梦游症患者的世界》和《东游记》，崔新明的作品传递了作为身处剧变年代的中国年轻人的各种纷杂的思考。最近获选参与2015罗中立奖学金十年回顾展的他亦曾在香港、伊斯坦堡、柏林、北京及成都等地举办个人展览。他的作品在不同媒体均有报导，包括南华早报、ARTINFO、The Art Newspaper、东方日报、Flash/On及雅昌等等。
© 图片由马凌画廊和艺术家提供
Image courtesy of Edouard Malingue Gallery
and the artist
A graduate from the Sichuan Academy of Fine Arts, Cui Xinming (b.1986) currently lives and works in Chongqing. From his early series ‘Black Hole of Memories’ to his more recent ‘A Sleepwalker’s World’ and ‘Journey to the East’, Xinming’s works express the tumultuous thoughts and reflections of a younger Chinese generation that is living through a period of constant change. Recently selected for the prestigious 2015 ‘Luo Zhongli 10 Years Review Exhibition’ at the Chongqing MOMA, he has previously held solo shows in Hong Kong and has been exhibited in Istanbul, Berlin, Beijing and Chengdu, among other locations. His work has been featured in multiple publications, including the South China Morning Post, Art Info, The Art Newspaper, Oriental Daily News, Flash/On, and Artron.
孙逊 Sun Xun
1980出生于中国辽宁省阜新，2005年毕业于中国美术学院版画系, 现生活并工作于北京。孙逊被广泛地认为是中国最具才华的青年艺术家之一。他在2010年分别获得中国当代艺术奖“最佳年轻艺术家奖”、台湾当代艺术连线新潮赏奖以及意大利CIVITELLA RANIERI 基金年度奖学金。孙逊曾多次在世界各地举办个展，包括哈墨博物馆（洛杉矶），巴塞尔乡村半州美术馆（巴塞尔），余德耀美术馆（上海）。他也曾参加诸多知名联展，包括古根海姆“何鸿毅家族基金会中国当代艺术计划”(纽约)、 大都会博物馆（纽约）、伯尔尼美术馆（伯尔尼）和国立台湾美术馆（台北）。此外，他的录像作品被广泛展出于包括德国、奥地利、瑞典、韩国、巴西和伊朗等各地的电影节上，曾入围第六十二届柏林电影节短片竞赛单元以及2010威尼斯电影节地平线单元。
© 图片由马凌画廊和艺术家提供
Image courtesy of Edouard Malingue Gallery
and the artist
Sun Xun was born in 1980 in Fuxin, Liaoning province, China. He graduated in 2005 from the Print-making Department of the China Academy of Art, currently lives and works in Beijing. Considered one of China’s most talented rising artists, Sun Xun has been granted several prestigious awards including the 2010 CCAA Best Young Artists award, Taiwan Contemporary Art Link Young Art Award (2010) and the Civitella Ranieri Visual Arts Fellowship (2011/2012). He has held multiple solo exhibitions around the world, most notably at the Hammer Museum, Los Angeles; Kunsthaus Baselland, Basel and Yuz Museum, Shanghai. His participation in numerous group exhibitions includes The Robert H. N. Ho Family Foundation Chinese Art Initiative at the Guggenheim, New York; The Metropolitan Museum of Art, New York; Kunsthalle Bern, Bern and Taiwan Museum of Fine Arts, Taipei among other locations. Furthermore, his video work has been widely exhibited at film festivals around the world, from Germany and Austria to Sweden, South Korea, Brazil and Iran. His film has been nominated by the Berlinale Shorts 2012 jury in 62nd Berlin International Film Festival，and has entered Venice Film Festival in 2010.
王之博 Wang Zhibo
1981年生于浙江，毕业于中国美术学院，现生活和工作于杭州和柏林。王之博的创作实践探讨了绘画中如何拉伸，浓缩，扭拽时间和空间的维度和复杂性，借以探讨二维视觉在表达维度空间的可能性，以及人类视觉经验的演进在画面的体现。她的个展先后在纽约军械库（2013）；香港马凌画廊（2013,2016）展出；她的作品也曾在上海美术馆（2007）北京今日美术馆（2008），台北当代艺术馆（2008），悉尼Penrith Regional 画廊（2014），重庆美术馆（2015），巴黎Villa Vassilieff (2017)，广州时代美术馆（2017）展出。
© 图片由马凌画廊和艺术家提供
Image courtesy of Edouard Malingue Gallery
and the artist
Born in 1981, Zhejiang, graduated from China Academy of Art. Lives and works in Hangzhou and Berlin. Wang Zhibo's works explore the tangibility, complexity and distortion of time and space. Wang challenges the possibilities of these concepts not only within the two dimensional space, but also with the viewer's perception and participation with the work. Selected solo exhibitions include ‘Standing Wave’, Armory Show, New York, 2013; ‘There is a Place with Four Suns in the Sky-Red, White, Blue and Yellow’, Edouard Malingue Gallery, Hong Kong, 2016. Her works have also been exhibited at Shanghai Art Museum, Shanghai, 2007; Museum of Contemporary Art, Taipei, 2008; Penrith Regional Art Gallery, Sydney, 2014; Chongqing Art Museum, Chongqing, 2015; Villa Vassilieff, Paris, 2017 and Times Museum, Guangzhou, 2017.
袁远 Yuan Yuan
杭州艺术家袁远(1973年生于杭州)的创作独特，专注于描绘建筑主题，结合细腻的技巧，呈现一种独特的氛围，在国际艺圏屡获佳誉。其就读于杭州中国美术学院油画系，1996年获艺术学士学位，2008年获艺术硕士学位。袁远的绘画主题多为建筑物室内，有些是曾经辉煌、点缀着新古典风格的拱门及露台的大厅，有些是较为平实的老房子的入口及走廊。取景来自现实的中国风景，揉合不同的想像元素，创造为他个人的设计风格。袁远笔下的景观总带有一种被遗弃、濒临拆迁之感，透露点滴昔日的光辉。曾在意大利贝尔加莫特尔兹宫、法国巴黎Galerie Malingue、上海香格纳画廊等多地举办个展。群展包括第12届上海双年展、印尼ROH Projects、悉尼白兔画廊等。
© 图片由马凌画廊和艺术家提供
Image courtesy of Edouard Malingue Gallery
and the artist
Hangzhou-based artist, Yuan Yuan (b. 1973), has earned international critical acclaim through his distinctive paintings, executed with impeccable technique and conveying a unique atmosphere. He studied in the Oil Painting Department of the China Academy of Art in Hangzhou, where he gained a Bachelors and later a Master degree in Fine Arts in 1996 and 2008 respectively. His subjects are often interiors; some are grand structures such as great halls with neo-classical arches, others from more modest structures such as entrances and corridors of old apartment buildings. These are based on real places mainly in China, but with imaginary elements added to impose Yuan Yuan’s own system of design. All share a sense of abandonment, offering just a glimpse of their former glory. Yuan has had solo exhibitions at Palazzo Terzi, Italy, Galerie Malingue, Paris, and ShanghART, among others. Group exhibitions include The 12th Shanghai Biennale; ROH projects, Jakarta; and White Rabbit Gallery, Sydney, among others.
郑洲 Zheng Zhou
郑洲1969年出生于浙江温州，1990-1994年就读于浙江美术学院版画系，1994-1996在中国美术学院版画系工作，2000-2010年在中国美术学院附中工作。2013年至今，以自由艺术家身份生活及工作于北京。郑洲以画画反映思维永不停息的流动，对外界信息的接收及反馈，对内心幻想和隐秘欲望的剖析，皆以绘画为途径为出口。技巧上看似漫不经心、随心所欲，平面缺乏透视，颜色大胆线条狂乱，突破时间空间的逻辑，不受制约的纯主观性的东西，像意识流文学中对灵感、直觉和潜意识的表达，连绵、多变、跳跃。
© 图片由马凌画廊和艺术家提供
Image courtesy of Edouard Malingue Gallery
and the artist
Zheng Zhou (b. 1969 in Zhejiang, China) debuted by studying printmaking at the Zhejiang Academy of Fine Arts, which led to teaching positions at the Printmaking Department of the China Academy of Arts (1994-1996) and the China Academy of Arts Affiliated High School (2000-2010), before relocating to Beijing in 2013 to work as an artist. Conveying onto canvas a private stream of observational consciousness, as ad hoc as it may be, Zheng’s strokes – furtive yet decisive – depict an urgency to grasp, to depict and to capture that mesmeric multitude of the phenomena we, or more precisely he, is a witness to.