【SPURS 新展】黄锐：无言之门

黄锐：无言之门

2023年2月18日至3月26日

Gallery I & II｜SPURS Gallery，北京朝阳区酒仙桥路二号院798艺术区D-06

马刺画廊很荣幸将于2023年2月18日推出艺术家黄锐的个展“无言之门”。作为开年首展，此次展览也是继2016年展出的“黄锐：空间－日本时期”多年后黄锐于画廊空间的全新呈现。Gallery I & II的双层展厅空间将分别展出他的新作品“迷乱之局”系列和“荒原”系列，以及“诗人之墙”和有关于《今天》杂志的珍贵文献资料。

黄锐的艺术探索始于上个世纪70年代末，是前卫艺术小组“星星画会”的主创人员之一，以1979年的“星星”美展作为契机正式发表作品。“星星”通过艺术的形式宣传社会进步思想与形态之前，1978年黄锐同北岛和芒克一起创办了地下文学诗歌杂志《今天》。语言和诗歌作为那个时代先锋的力量对黄锐的影响贯穿了他的整个艺术生涯，展览题目“无言之门”就来自北岛的新诗《歧路行》的第十二章。对黄锐来说，这里所说的静默与表达共同享有强大的精神力量，语言对现代社会的影响与结构性的构建也是将展览贯穿起来的线索之一。

占据一楼展厅空间的是四件大型绘画装置，来自“迷乱之局”系列。扩展了对“道”的探索与“空间”实验，画布背后的支撑结构进一步将“阴阳”空间化；光线从各个角度穿过画布与切割后的支架上规则排列的圆洞，落在了地上，与画面上的图像相互映射，似乎是另一个层面上静止与运动的平衡。作品棋子般落在地面黑白两色错乱的棋盘上，如同秩序与伦理置于看似规律，但实则从根本上无法解开的棋局中，是黄锐与当下现实的交涉。四周展墙呈现的“荒原”系列是艺术家于2011年至2013年期间创作的关于英籍美国诗人T.S.艾略特和他的诗歌作品的延续，在空间的探索之外，这一系列的作品体现的是黄锐对时间的感悟——以不同的月份来命名，镂空的符号与不同色彩交织的抽象画面体现的更是一种即时的情绪表达。

展览以倒叙的方式将黄锐对语言和图像的实践串联起来，二楼展厅展出了他几十年间与文字和绘画互相构建的线索。1981年创作的《诗人之墙》是黄锐人生中最珍视的绘画作品之一，曾参加过2005年日本东京国立近代美术馆的重要展览“亚洲的立体主义绘画展”和2021年沙特阿拉伯首个当代艺术双年展“迪里耶当代艺术双年展”。从《诗人之墙》到2012年的组画《顾城-血液有悲哀的蓝色》，再到2023年的《艺术-诗歌-音乐》等，这些作品组成的“诗人之墙”与展厅中间有关“星星”和《今天》的珍贵文献档案汇聚一地，凝练地描绘出了一个持续为个体与艺术的自由奋斗的群体，即使从当下回望也可以感受到其警醒的力量和深远的影响。

展览将持续至2023年3月26日。

黄锐，《荒原—5月》，2013—2023，布面油画，120 × 120 cm｜Huang Rui, Wasteland - May, 2013–2023, oil on canvas, 120 × 120 cm

Huang Rui: The Gate of Silence

18 February – 26 March 2023

Gallery I & II | SPURS Gallery, D-06, 798 Art Zone, 2 Jiuxianqiao Rd, Chaoyang District, Beijing

SPURS Gallery is honored to present “The Gate of Silence”, the solo exhibition of artist Huang Rui on February 18, 2023. A remark to the beginning of a new year, this exhibition is also a fresh presentation of Huang Rui’s works at the gallery years since his previous solo show, “Huang Rui: Space – Japan Period” (2016). In both Gallery I & II, Huang will showcase his new series, “Mad Games” and “Wasteland”, as well as Democracy Wall amongst the cherished documentations of the Today journal, respectively.

Huang started his artistic exploration in the late 1970s. As one of the initiators and co-organizers of the avant-guard art group, the Stars Art Group, he forged ahead and made the first public appearance of his works in the first “Stars Art Exhibition” in 1979. In fact, before using art to promote social ideologies and advancements, Huang co-founded the underground literary and poetry journal Today, with Bei Dao and Mang Ke in 1978. Language and poetry converged as a pioneering force for that era and left a long impact on Huang throughout his art career. “The Gate of Silence” - this exhibition was titled after Chapter 12 from Bei Dao’s new poem, Qi Lu Xing. For Huang, “silence” shares the equally powerful spiritual strength with expressing with words in his language system; the influence and structural construction of language on society make one of the clues that run through the entire exhibition.

Four large-scale painting installations from the “Mad Games” series take up the space in Gallery I. While expanding the exploration of “Dao” and experimentation of “Space”, the support structure behind the canvas is a further step to spatialize his “yin-yang”. With this support structure, light shines through arrays of round holes on both the canvas and the back support, lands on the ground, and responds to the images of the painting, resembling the balance of stillness and motion on another level. Four painting installations outgrowing the black-and-white tiled ground floor are alike the stones scattered on a go board, or rules and ethics upon a seemingly orderly yet fundamentally unresolvable game, a bargaining game that Huang Rui plays with the current reality. The surrounding walls re-examine the “Wasteland” series, originally created between 2011 and 2013 based on the reflection to American-British poet T. S. Eliot and his poetry. In addition to space, they manifest Huang’s reflection on “time”. Named after the months, these hollowed symbols and abstract imagery with intertwined colors serve the immediacy of Huang’s emotions.

The exhibition runs a thread of flashbacks through Huang Rui’s practice of language and image. Gallery II shows the decades-long accumulation of clues remarking on the mutual construction of the artist and both media – text and painting. Democracy Wall (1981) will be presented here, one of Huang’s most cherished paintings in his life, was exhibited at the significant “Cubism in Asia” group show at the National Museum of Modern Art in Tokyo, Japan 2005, and the first Diriyah Contemporary Art Biennale, the first contemporary art biennale of Saudi Arabia, in 2021. From Democracy Wall to the serial paintings from Gu Cheng - The Blood Has a Sad Blue Color (2012), then ART-POEM-MUSIC (2023), these works do form a “democracy wall” that joins the assembly of the precious archives of the Stars and the Today journal, concisely contouring the profile of a group of people that had been striving for the freedom of individuals and art likewise – even looking back from this day still feels their awakening power and far-reaching impact.

The exhibition is on view until March 26, 2023.

黄锐，《诗人之墙》，1981，布面油画，157 × 194 cm｜Huang Rui, Democracy Wall, 1981, oil on canvas, 157 × 194 cm

SPURS 即将展出

黄锐：无言之门

2023年2月18日至3月26日

Gallery I & II｜SPURS Gallery，北京朝阳区酒仙桥路二号院798艺术区D-06

长按二维码关注

↓ 点击“阅读原文”，进入SPURS Gallery官方网站