龚剑、郭鸿蔚新展《正艳》6月5日开幕丨飞地艺术空间

 

飞地新展

正艳 Classical Gaudiness

艺术家 Artists
龚剑 Gong Jian
郭鸿蔚 Guo Hongwei

策展人 Curator
鲍栋 Bao Dong

展览总监 Exhibition Director
全荣花 Jeon Younghwa

开幕时间：2021年6月5日下午5点

展期：2021年6月5日—7月25日

Opening: 2021.6.5 5:00pm
Duration: 2021.6.5 - 7.25

展览地点：飞地艺术空间-深圳市南山区华侨城创意园北区B4栋1楼东

Exhibition Adress: Enclave Contemporary, OCT-LOFT North District, B4, 1F eastside, Nanshan, Shenzhen

海报作品：龚剑, 睡前故事(局部),  布面丙烯, 220×165cm, 2021

海报作品：郭鸿蔚, 她最时尚(局部), 布面油画, 200×150cm, 2018

正艳

鲍栋

龚剑与郭鸿蔚这几年巨大的转变是都从“影像”转成了“构型”，他们放弃了一系列来自摄影的视觉经验，比如对照片素材的依赖、一种成像法下的绘制方式、一种对视觉再现性的追求、对绘画物性的刻意显露，以及一种无机性……等等这些粘连的特征都被逐渐或突然消除，而我们现在看到的是一种形式、图像与意义之间的有机结构。如果一定要打比方：他们的绘画从线性的短文变成了立体的诗歌。
 
方法上的转变也带来了题材类型的变更，龚剑从风景画转到了历史画，郭鸿蔚从静物画转为了风俗画，而一种在句子、段落与叙述中浮现的现实，也逐渐演化成了一种在对偶、押韵与比喻中被构筑的现实。当我们不放弃建立绘画与世界之关系的时候，一种异质的美学必须被牵连出来，然而在此处，那些颓废、粗俗、艳丽的趣味被用果断的手法创造出来，并带来了他们绘画中与众不同的现实感。

郭鸿蔚描绘着底层舞厅里的男女、公园里健身娱乐的大爷大妈、劳动中的园林工人，与之前描绘档案、标本不同的是，他移情入其中，并唤出了一种情动化的形式（王音难道不正做着同样的工作吗？）。龚剑把历史与当代的图像符号再剪辑成了一种兼有戏谑、辛辣与咸湿的寓言，再把它们在绘画的形象与形式中反复排演、接续，近乎一场场绘画活报剧（正如王兴伟的有些绘画）。

最有趣的是这些绘画中的张力：一种民间采风与经史品评的绘画，却长着宫体诗的面目，雕藻浮艳、绮言妖姿，古之正与今之艳，野之质与史之文，似乎在这些作品中活生生的、带着镬气地被翻炒到了一起。似乎回到了乐府的传统，也似乎是被今日僵化尤甚的绘画所激，亦为今日奇诡的话语景象所感，龚、郭二人各从理、情，皆使人耳目一振。

Classical Gaudiness

Bao Dong

Gong Jian and Guo Hongwei’s art practices shifted from creating "images" to "composing forms" in recent years. They left behind a series of visual experiences based on photography, such as relying on photographs, a way of drawing in the logic of imaging, the pursuit of visual representation, and a deliberate appeal to the materiality of painting, even the inorganic. These congealed features are gradually or suddenly eliminated from the artists’ practices, and what we see now is an organic structure between form, image, and meaning. Should one make an analogy about their works, then the works on canvas are akin to a transformation from linear essays to three-dimensional poems.

The shift in approach also brought about a change in the subject matter. Gong Jian moved from landscape painting to history painting and Guo Hongwei from still life painting to folklore painting, allowing reality to surface in sentences, paragraphs, and narratives and evolve into a constructed one in parallels, rhymes, and metaphors. When we do not give up on establishing the relationship between painting and the world, a roster of aesthetics should be implicated. A kind of decadent, vulgar, and gaudy taste is created decisively and brings about a distinctive sense of reality in their paintings.

Unlike his previous depictions of archival sources and specimens, Guo Hongwei portrays men and women in the dance halls of the underclass, elderlies in the parks, and gardeners at work, adopting a form that evokes emotion (isn’t Wang Yin doing the same?) Gong Jian manipulates symbolic historical and contemporary images into parodies, spicy and salty allegories, and then rehearses and expands them in the image and form of painting, almost like a living newspaper drama (just like some of Wang Xingwei's paintings).

The most exciting aspect in these paintings is the pictorial tension: a hybrid that blends folk and historical genres, veiled with the poetries of imperial palaces, carved with sophistication and flamboyance, beautiful words and demonic postures, replete of the righteousness of the past and the beauty of the present, bewildering textures, and historical literature. These features seem to have come alive in these works on canvas, tossing and turning together. It appears to be a return to the tradition of folk poetry and invigorated by the rigidness of the current status of painting; in other words, both artists are compelled by the arbitrary discourse of the medium, their reasons, and emotions outlets refresh the senses.

Translated by He Xiao

艺术家

Artists

龚剑 Gong Jian

出生于1978年，2001年毕业于湖北美术学院，现工作生活于武汉。

龚剑的创作涉及绘画、摄影、装置等多样化媒介。不同于艺术市场中保守于风格程式的画家，龚剑始终在探索新的可能。从早期的“坏画”风格到观念主义抽象的尝试，发展到对前现代主义及早期现代主义作品的回溯，艺术家试图寻找有关一系列绘画基础性问题的启示。在中国当代绘画系统中，作为一个典型的个案，龚剑始终致力于在社会干涉和体裁进步方面建立自己的道路，将油画材料与前社会主义式的现实主义绘画风格相结合。近年来，艺术家又在此基础上尝试将历史思考和对地缘政治的观察带入绘画实践中。

“事件——影像”是龚剑绘画近作的重要图像资源和政治动因，如香港悍匪叶继欢、伊朗巴列维王后法拉赫、巴列维王朝第一位民选首相摩萨台、哈伦·法罗基影像《革命录影纪事》中的罗马尼亚革命等，都成为他描绘的对象。与此同时，他还调用了大量艺术史范本局部的技法语言和图像素材。龚剑在二者之间找到一个革命性的缝合，并由此投向或分离出一个新的自我。

主要个展包括：“从拜赞庭小区到东湖公园”，天线空间画廊，上海，2016；“什么都不重要”，博而励画廊，北京，2012；“你应该学会等待”，美术文献艺术中心，武汉，2009；“人民公园”，博而励画廊，北京，2008；“不高兴”，美术文献艺术中心，武汉，2007；等。

主要群展包括：“新通识”，南京艺术学院美术馆，南京，2021；“缪斯，愚公与指南针”，坪山美术馆，深圳，2020；“瞬息时代的诗歌——X美术馆馆藏展”，X美术馆，北京，2020；“变量与供养”，没顶画廊，上海，2019；“此地有狮”，剩余空间，武汉，2019；“绘画地图”，中国农业博物馆，北京，2018；“造物者”，chi k11美术馆，上海，2017；“我们的绘画”，央美术馆，北京，2016；“绘画札记”，蓝顶美术馆，成都，2015；“不想点别的事情，简直就无法思考”，时代美术馆，广州，2014；“ON/OFF 中国年轻艺术家的观念与实践”，尤伦斯艺术中心，北京，2013；“婚宴”，Para/site艺术空间，香港，2011；“两湖潮流——湖北·湖南当代艺术展1985—2009”，广东美术馆，广州，2009；“观念的形态——第二届美术文献展”，湖北美术馆/湖北美术学院美术馆，武汉，2007；等。

Born in 1978, he graduated from the Hubei Academy of Fine Arts in 2001 and now lives and works in Wuhan.

Gong Jian's works span diverse media, including painting, photography, and installation. Unlike conservative painters in the art market who pride themselves on their formulaic styles, Gong Jian constantly explores new possibilities. From his early "bad paintings" to his attempts at conceptual abstraction to his revisit on pre-modernist and early modernist works, the artist seeks to shed light on a range of fundamental issues in painting. As a classic case in Chinese contemporary painting, Gong Jian has always been committed to establishing his path through social intervention and genre development, applying oil painting materials to a pre-socialist style of realist painting. Building on this foundation, the artist attempts to bring historical reflection and observation of geopolitics into his painting practice in recent years.

“Event-image" is a primary pictorial resource and political motivation for Gong Jian's recent paintings. It ranges from depicting the bandit Ye Jihuan of Hong Kong, Iranian Queen Farah of Pahlavi, Mossadegh, the first democratically elected prime minister of the Pahlavi dynasty, and Harun Farocki's video "Videograms of a Revolution" about the Romanian Revolution, etc., all became his subjects. At the same time, he also applies various templates from classic works throughout art history for their technical language and visual materials. Gong Jian discovers a revolutionary seam between the two, thus casting or isolating a new path for his practice.

The artist’s solo exhibitions include: From Byzantine Community to East Lake Park, Antenna Space Gallery, Shanghai, CN, 2016; Nothing Is Important, Boers-Li Gallery, Beijing, CN, 2012; You Should Learn to Waite, Fine Arts Literature Art Center, Wuhan, CN, 2009; People’s Park, Boers-Li Gallery, Beijing, CN, 2008.

His major group exhibitions include: New General Intellect in Art, Art Museum of Nanjing University of Arts(AMNUA), Nanjing, CN, 2021; Muses, Yu Gong and Compasses, Pingshan Art Museum, ShenZhen, CN, 2020; Collection as Poem in the Age of Ephemerality, X Museum, Beijing, CN, 2020; The Variable and The Generating, MadeIn Gallery, Shanghai, CN, 2019; Hic Sunt Leones, Surplus Space, Wuhan, CN, 2019; Painting Mapping, National Agricultural Center, Beijing, CN, 2018; Fantasy Creator, Chi K11 Art Museum, Shanghai, CN, 2017; Our Painting, YAM Museum, Beijing, CN, 2016; Notes on Paintings, Blue Roof Museum of Chengdu, Chengdu, CN, 2015; You Can Only Think About Something ∕ If You Think of Something Else, Times Museum, Guangzhou, CN, 2014; ON | OFF: China’s Young Artists in Concept and Practice, UCCA, Beijing, CN, 2013; The Wedding Banquet, Para/Site Art Space, Hong Kong, CN, 2011; Hubei and Hunan Chinese Contemporary Art 1985-2009, Guangdong Museum of Art, Guangzhou, CN, 2009; Forms of Concepts: The 2nd Documentary Exhibition of Fine Arts, Wuhan / Hubei Museum of Art, Wuhan, CN, 2007.

郭鸿蔚 Guo Hongwei

1982年生于四川，2004年毕业于四川美术学院，现生活和工作于北京。

郭鸿蔚的艺术实践涉及绘画、拼贴、影像、实验艺术及特定场域的艺术项目。2011年至2016年间，郭鸿蔚运营独立空间“分泌场”，以艺术家的视角尝试不同媒介的策划实验，探寻艺术自治的可能性。

郭鸿蔚的绘画创作题材多样，从对花鸟、矿石等自然历史对象的描摹到抽取短视频平台上占据流量的图像资源，亦或是对饮食男女、世间百态的洞察与描绘，艺术家探索着“观看”这一行为的多重意涵，以及视觉与幻想的互文指涉。通过对不同视觉系统的研究，在水彩、油画等介质间自由切换，艺术家努力寻找着绘画秩序中的范式差异。在拼贴、影像与装置作品中，郭鸿蔚则通过解构和重组图像，挪用西方当代艺术经典，嫁接不同的图像与情境系统，试图制造出新的表层逻辑和深层情绪。

郭鸿蔚的近作聚焦于现实环境中符合规范、但又不合时宜的差异化情境。通过极具表现力的动态、曲线与色彩，艺术家捕捉着个体在世俗生活中寻求精神解放的一个个“入迷”瞬间，将“观看”再度深入转变为一种身心共振的行动，以此牵引出活泼生动、充满张力且百味杂陈的现实世界，郭鸿蔚将之称作“悦动现实主义”并沉浸其中。

主要个展包括：“活泼泼地”，魔金石空间，北京，2021；“郭鸿蔚：幻想性错视”，前波画廊，纽约，2020；“欢庆时间”，外交公寓12号，北京，2019；“郭鸿蔚: 造型天”，前波画廊，纽约，2017；“阿游小姐”，弗里兹纽约, 纽约，2014；“郭鸿蔚：编辑”，LEO XU PROJECTS，上海，2013；等。

主要群展包括：“比赛继续，舞台留下”，广东时代美术馆，广州，2019；“默化 ：古籍里的传统医学文化与当代生活、艺术的潜移”，四川省图书馆，成都，2019；“惠比寿映像祭”，惠比寿花园广场，东京，2016；“我们这一代：中国年轻艺术家”橙县艺术博物馆，新港滩，加利福尼亚州，2015，坦帕美术馆，圣彼得斯堡，俄克拉何马城美术馆，俄克拉何马城，2014；“精神：当代中国绘画”，米兰当代艺术馆，米兰，2015；“ON￨OFF：中国年轻艺术家的观念与实践”，尤伦斯当代艺术中心，北京，2013；“重新发电：第九届上海双年展”，上海当代艺术博物馆，上海，2012；等。

Born in Sichuan in 1982, Guo Hongwei graduated from Sichuan Fine Arts Institute in 2004 and now lives and works in Beijing.

Guo Hongwei's art practice involves painting, collage, video, experimental art, and site-specific art projects. From 2011 to 2016, Guo Hongwei ran an independent art space, "Gland," experimenting with various art media and exploring the possibility of artistic autonomy from an artist's perspective.

Guo Hongwei's paintings cover a wide range of subjects, including depicting natural and historical objects such as birds and flowers, stone and minerals, to extracting the image resources on popular short video platforms, as well as observing and portraying human conditions and instincts, the myriad world phenomena, the artist explores the multiple meanings in the act of "viewing" and the intertextual reference of vision and fantasy. By studying different visual systems and the freedom to interface between watercolor and oil paint, the artist strives to find paradigmatic differences in the order of painting. In his collage, video, and installation works, Guo Hongwei attempts to create new superficial logic and evoke deep emotions by deconstructing and restructuring images, appropriating Western contemporary art classics, and grafting different systems of images and contexts.

Guo Hongwei's recent works focus on the normative yet anachronistic and alienating situations of the real world. Through expressive motions, curves, and colors, the artist captures the “immersive” moment of fascination in the individual's quest for spiritual liberation in mundane life, transforming "viewing" into the action of physical and mental resonance. Guo brings out the lively, vibrant, intense realities of the world, which he refers to as "joyful realism,"  and immerses himself in it.

The artist’s solo exhibitions include: Guo Hongwei: The Place of Liveness, Magician Space, Beijing, CN, 2021; Guo Hongwei: Pareidolia, Chambers Fine Art, New York, US, 2020; Happy Hours, DRC No.12, Beijing, CN, 2019; Plastic Heaven, Chambers Fine Art, New York, US, 2017; Miss Oyu, Frieze New York, New York, US, 2014; Guo Hongwei: Editing, Leo Xu Projects, Shanghai, CN, 2013.

His major group exhibitions include: The Racing will Continue, the Dancing will Stay, Times Museum, Guangzhou, CN, 2019; Silent Transformation: Traditional Medical Culture in Ancient Texts and its Subtle Influence in Contemporary Art & Life, Sichuan Provincial Library, Chengdu, CN, 2019; Yebisu International Festival for Art & Alternative Visions, Yebisu Garden Place, Tokyo, JP, 2016; My Generation: Young Chinese Artists, Orange County Museum of Art, Newport Beach, CA, US, 2015; Jing Shen: The Act of Painting in Contemporary China, Padiglione d’arte Contemporanea, Milan, IT, 2015; My Generation: Young Chinese Artists, Tampa Museum of Art & Museum of Fine Arts, St. Petersburg; Oklahoma City Museum of Art, Oklahoma City, US, 2014; ON | OFF: China’s Young Artists in Concept and Practice, UCCA, Beijing, CN, 2013; REACTIVATION: The 9th Shanghai Biennale, Inter-city Pavilion Project, City Pavilion of Palermo, Power Station of Art, Shanghai, CN, 2012.

策展人

Curator

鲍栋 Bao Dong

鲍栋是中国新一代活跃的艺术评论家与独立策展人，“北京当代”艺术博览会创办人、艺术总监。他1979年出生于安徽，2006年毕业于四川美术学院艺术史系，现工作生活在北京。从2005年进入中国当代艺术界至今，他的评论文章广泛见于国内外艺术期刊，批评文集以及艺术家专著；他曾为众多国内外艺术机构策划展览，其中包括尤伦斯当代艺术中心、朱拉隆功大学艺术中心、广东时代美术馆、上海民生现代美术馆等等；2014年，他荣获亚洲文化协会（ACC）艺术奖助金；同年成为国际独立策展人协会（ICI）独立视野策展奖候选人。2016年他获得了“Yishu中国当代艺评和策展奖”。

Bao Dong is an art critic and independent curator based in Beijing，founder and art director of Beijing Contemporary Art Expo. In contributing essays to the artistic dialogue and other forms of involvement, Bao has established himself as a leading curator and critic of work by the new generation. His articles have been widely published in art journals and artist monographs both at home and abroad. He has curated many exhibitions for a wide range of art institutions including Ullens Center for Contemporary Art, the Art Center of Chulalongkorn University, Guangdong Times Museum, Shanghai Minsheng Art Museum, etc. He was awarded Asian Cultural Council (ACC) fellowship grant in 2014, and became a nominee of Independent Curators International’s (ICI) 2014 Independent Vision Curatorial Award. Recently he was awarded Yishu Awards for Curating Contemporary Chinese Art 2016.

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题图：郭鸿蔚, 她最时尚(局部), 布面油画, 200×150cm, 2018
责任编辑：阿飞

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作为飞地品牌旗下的全新画廊，飞地艺术空间ENCLAVE CONTEMPORARY立足中国大湾区深圳，以输出开创性的展览与内容为核心己任，与今天的艺术家和观众共同探讨全球语境和背景下的当代艺术如何参与社会与时代的激变和革新。除了为充满活力与独创性的艺术家们提供持续专业的代理、推广与学术研究工作，飞地艺术空间也将积极为全球视野下的艺术机构与收藏家提供具有建设性和前瞻力的咨询与服务。

As a new gallery under the Enclave flagship, ENCLAVE CONTEMPORARY, based in Shenzhen, an essential integral of the Greater Bay Area of China, whose core mission is to produce ground-breaking exhibitions and contents that explores the way in which contemporary art practices engage in radical changes and innovation in a global context, with the artists and audience. In addition to providing ongoing professional representation, promotion, and academic research for dynamic and unique artists, Enclave Contemporary will also actively offer constructive and forward-looking advice and services to art institutions and collectors with a global perspective.

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飞地艺术空间开放时间

周二-周日 10:00-19:00

周一闭馆