【SPURS 新展】冯国东：1989—1999生活与工作
冯国东：1989—1999生活与工作
2021年9月25日至10月31日
SPURS画廊（Gallery II）| 北京朝阳区酒仙桥路二号院798艺术区D-06
SPURS Gallery隆重推出艺术家冯国东个展“1989—1999生活与工作”。展览由冯兮策划，将于2021年9月25日正式开幕，在Gallery II呈现艺术家在1989—1999年十年间生活和工作的变迁，包含了七年经营古玩店的经历与三年在北皋潜心创作木雕的生活。
1980年代末，冯国东在北京左家庄父母家中的一间卧室开始了小型木雕创作，这个摆放着床铺的狭小空间是他休息、工作的多功能“工作室”。在家中创作期间，他还收购了很多旧钟表，将其重新组合制作成装置《钟》（1988）系列作品。受栗宪庭邀请，《钟》参加了著名的“1989中国现代艺术展”。由于钟表虽旧但机械部分依然可以走动，展览期间冯国东每天去现场给它们上发条，这个行为与作品一起吸引了广泛关注。
后来，冯国东搬出了家，机缘巧合下于1989年9月在北京鼓楼市场租下了一间六平方米的铁皮屋，开办了自己的第一家古玩店。经营初期，店铺主要靠朋友们凑来的物件和自己的作品充实门面。随着经验增多，他开始购买真古董，但买到的往往都是残器，他就此开始了修补和改造的工作。凭借自己的美术功底和创作欲，他将各种古玩的残骸变成了类似装置的作品。而这些作品也随着古玩生意流通到了客户手里，“假作真时真亦假”，买家买到的可能是一件“假古董”，却是冯国东的“真作品”。直到1996年基本歇业，古玩店几经搬迁，还开设过分店。其间，冯国东一度在店铺中做起了木雕和带有情色意味的玻璃画——这时的木雕与之前不同，例如他有时会使用小木条拼接制作出较大型的装置。本次展览展出的《女音乐家》是在1995—1996年用了一年多时间制作完成的，艺术家将收购的留声机镶嵌在木雕的怀中，把木雕与古董结合为人形电话，找到了一种新的语言方式。
1996年，冯国东在北京亮马市场的古玩店出售了五件木雕给一位韩国人。借此收入，他将家搬到了一间位于北京北皋的出租院里，从此不再参与古玩店的经营，一心创作木雕，直到2000年初搬去了北京宋庄。这是冯国东人生中最快乐的几年，他深入简出很少参与其它活动，几乎每天日出而作日落而息。在制作木雕前，他绘制了大批手稿，在纸张上进行各种变形的尝试。从这些手稿中可以看出他制作木雕前的构思与推进，了解他当时的审美与观念。在此期间，冯国东的手曾被木雕凿子严重割伤，闲不下来的他重新捡起了素描，从头骨画起，完成了第一批自画像。这与他2005年去世前绘制的100多张自画像有着跨越时空的某种交流，同时也是完整地理解冯国东生活和艺术经历的路径之一。
2000年初，冯国东举家搬到了在北京宋庄购买的小院子，自此过上了另一种辛劳且孤独的日子。
展览将持续至2021年10月31日。
Feng Guodong: 1989–1999 Life and Work
September 25 – October 31, 2021
SPURS Gallery II | 798 Art District D-06, Jiuxianqiao Rd., Chaoyang District, Beijing
SPURS Gallery is pleased to present “1989–1999 Life and Work” an exhibition of works by Feng Guodong (1948–2005).
During his storied career, Feng Guodong, a multidisciplinary artist with a rare breadth, worked in a variety of mediums, including painting, sculpture, printmaking and prose. Curated by Feng Xi, the show will be on view starting on September 25, 2021, (in Gallery II) the transformation of the artist’s life and work within the ten years between 1989 and 1999, including seven years of running an antique shop and three years in Beigao dedicated to the practice of wood sculptures.
By the end of the 80s, Feng Guodong started making small wood sculptures in one of the bedrooms in his parent’s home in Zuojiazhuang, Beijing. The small space with a bed served as a multi-functional “studio” where he worked and lived. In the meantime, he purchased many old clocks from the flee market and rearranged them to make his serial installation work Alarm Clock (1988). Invited by Li Xianting, Alarm Clock participated in the famous China/Avant-Garde Exhibition. As the mechanical parts of the clocks would require winding, thus Feng would go to the venue to wind them up each day during the exhibition, an action that attracted much attention to the public.
In September 1989, he moved out from his parents’ place and by chance rented a six-square-meter flat in the Gulou market to open his first antique shop. At first, the shop relied on objects collected from his friends and his own works to enrich the inventory. As his experience accumulated, he started to purchase authentic antiques but ended up buying broken pieces whereby his work of restoration began. By virtue of his educational background in art and passion of making art, he turned these fragments of antiques into quasi-installation works, which ended up in the hands of his clients thanks to his business. Though buyers could have bought a “fake” antique piece, it was Feng Guodong’s recreation of an “authentic” work at the same time. The antique shop relocated several times and was finally closed down in 1996. In the meantime, Feng Guodong started to make wood sculptures and glass paintings with a touch of eroticism. His wood sculptures at the time differed from his previous works in that, for instance, he would create large sculptural works with small wooden slats. The Female Musician (1995–1996) exhibited in this show took him more than a year to complete. The artist mounted a bought gramophone in the arms of the wood sculpture to make it look like a human-shaped telephone, thus introducing a new language in his artistic career.
The show will be on view until October 31, 2021.
冯国东，1948年出生，2005年在北京逝世。他不曾在学院接受美术教育；1964年参加工作，开始自学绘画；1970年代参加北京劳动人民文化宫开办的美术学习班，结识钟鸣、马可鲁等众多好友；1979年参加最早的画家们自发组织的展览“新春画展”，此后还参加过举办该展览的民间画会“春潮画会”（后改名为“北京油画研究会”）举办的其他展览，以及1989年的“中国现代艺术展”；1981年他的文章《一个扫地工的梦——〈自在者〉》在《美术》杂志发表，一时间，对这篇文章的激烈批评将艺术家推到了当时的艺术讨论的风口浪尖……
冯国东可谓活跃于1980年代中国官方艺术机制之外的一代艺术家中最为特立独行的一位。他以其与生俱来的艺术天赋、大胆的创作态度，为我们留下了一系列风格独特的油画、水墨画、雕塑及素描。
Feng Guodong was born in 1948 and died in 2005 in Beijing. In 1964, he started working and began to learn painting by himself. In 1970s, he joined the Working People's Cultural Palace's art class and became friends with Zhong Ming, Ma Kelu, etc. In 1979, he participated in "Xinchun Huazhan" (Beijing New Spring Painting Exhibition) and afterwards participated in other exhibitions organized by the same painting group "Chunchao Huahui" (Spring Wave Painting Group) in the following years. The group was later re-named "Beijing Youhua Yanjiuhui" (Beijing Oil Painting Society). He was also invited to the well-known China/Avant-Garde Exhibition (1989). In 1981, he published "Yige Saodigong de Meng, Zizaizhe" (A Dream of a Sweeper, A Freeman) in the magazine "Meishu" (Fine Arts) and was thus positioned in the fierce artistic discourse...
Feng was one of the most idiosyncratic artists of a generation that was active outside the official Chinese art world in the 1980s. Gifted with strong talent and a courageous attitude, he developed a unique body of works, including oil and ink paintings, sculptures, and drawings.
关于策展人
冯兮，徘徊于系统边缘的业余策划人，有着区别于主流策展思想与方法的意识和实践。他善于将空间的物理属性进行重新地解构，试图转换出空间与作品之间新的展览语言，将其融入展览语境中与现实关系进行重新塑造，并努力掌握对展览之间上下文关系的理解与输出，使展览独立于审美性的展陈逻辑，拓宽理解展览语言与呈现方式的通道。同时，作为独立艺术空间实践者，曾分别担任外交公寓12号空间艺术总监、掩体实验空间主理人、车库实验空间展览总监。同时，担任单行道画廊、晨画廊、槐谷林当代艺术中心等艺术机构的艺术总监。中间艺术基金会下设“赵文量杨雨澍艺术中心“的学术委员和研究员。另外，于2017年加入策划实践小组孑孓社，以介于策展人与艺术家之间的身份和思考，将展览作为创作与实践的方法，成为三名小组成员之一。
As an amateur curator wandering in the edge of the system, Feng Xi has his awareness and practice that differs from mainstream curatorial thoughts and methods. He is adept at re-deconstructing the physical properties of space to transform a new exhibition language between space and artworks. He tries to weave it into the exhibition context to reshape the realistic relation and tries to master the understanding and output of the contextual relationship between exhibitions, which makes exhibitions independent of aesthetic exhibition logic and broadens the access to understanding exhibition language and presentation. Meanwhile, as a practitioner of independent art spaces, he has worked as the artistic director of DRC NO.12, the director of The Bunker, and the exhibition director of Garage Experimental Space. He is now an artistic director of the One Way Art Gallery, Chen Gallery and the Huaigulin Contemporary Art Center. He is also an academic committee member and researcher of Beijing Inside-Out Art Foundation Zhao Wenliang Yang Yushu Art Center. In addition, he joined the practicing group Jiejue Community in 2017 and became one of the three group members with the identity and thinking of being both a curator and an artist, using exhibition as a method of creation and practice.
SPURS 即将展出
Therefore, I am
2021年9月25日至10月31日
SPURS Gallery I | 北京朝阳区酒仙桥路二号院798艺术区D-06
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