曾宏个展：红色笔记 即将开幕 | 今格空间 GINKGO SPACE
艺术家：曾宏
开 幕：2018年5月16日（周三）16:00
展 期：2018年5月16日-6月24日
今格空间将在5月16日开启艺术家曾宏的个人展览《红色笔记》，本次将展出2012年至今的数件装置、录像和绘画作品。艺术家将此次展览的工作线索放在库尔贝与罗德琴科在艺术史中的两个事件下来展开，去呈现自身在个人实践中的多重路径，并试图在政治学的“自然状态”与集体意识之间得到一种聚合。
当库尔贝有意识的在其现实主义绘画中体现他的激进政治之际，他采用直接绘画的方法去描绘普通的劳动者和真实的生活场面，决定这样政治立场的不仅仅是主题，也与其绘画所使用的方法相关，这二者使得他所创立的现实主义绘画在实践内容与语言形式上保持了一致。如他在1849年的《采石工》所描绘的那样: “我通过否定从一个理想派生出的理想和一切东西。我获得了个人的解放，最终获得了民主。现实主义本质上就是民主的艺术”。
1921年，罗德琴科用三张红黄蓝的画布定义了绘画，并声称“我将绘画还原到了它在逻辑上的终点”。他在此时将绘画还原到色彩、平面和空间中的物品。库尔贝和罗德琴科在不同历史时期的实践方式，通过质询已有的艺术体制，并根据艺术与世俗、社会实践的关系，来重新安置艺术的位置。前者想要去建立一种对“现实”的认知，来拒绝任何理想主义和超验的指向。而后者则建立了对“真实”的认知，并在“成为生活中的艺术”与“艺术作为对现实的抵抗”二者之间，达成了一致。
在《红色笔记》的展览中，曾宏希望通过自身的实践中去重建这样的联系，如果将绘画中所针对的平面、线条与形状也视作现实主义绘画当中的形体本身来塑造，而不仅仅是构成形体的抽象要素，那么这些要素同样也可以被视为一种实在之物。它将使绘画可以不通过任何符号与象征来获得被凝固的瞬间，并建立起与“坚固”之间的关系。同时，艺术家也将抽象的文字视为一种更广义的图像，在词语与现实世界之间建立起抽象的联系。这样的联系，在社会事件与历史的上下文关系中被塑造成为复杂的情境，并被指认成为一种难以描述的图景。
展览的作品并不试图去呈现一种完全统一的风格，它致力于艺术家工作中被隐藏起来的多重线索、以及激发工作的原点，这些线索与艺术家自身工作中的语言交锋相互作用，使得艺术的实践不仅仅在于激发一种新的审美体验，而是试图去建立一种被不同的空间、分裂的语言相互碰撞所激发出来的多重语义。如果将展览的空间视为任何一种建筑，而不仅仅是一个狭义的展示艺术作品的展厅，那么，这个空间里的所有被展示之物都应当早已在社会与历史当中。此时，相对于一个早已被固化的特定场域而言，它将被赋予更复杂的意义。
展览持续至6月24日。
曾宏1974年生于四川资阳，毕业于四川美术学院。现生活和工作于北京 。他曾在杨画廊（北京）、望远镜艺术家工作室（北京）、博而励画廊（北京）、Gibsone Jessop画廊（多伦多）举办个展。
Quaderni Rossi
Artist: Zeng Hong
Opening: 4pm, May 16th, 2018 (Wednesday)
Exhibition Period: May 16th - June 24th, 2018
Ginkgo Space is delighted to present Zeng Hong’s first solo exhibition with the gallery, Quaderni Rossi, on May 16, comprising of the artist’s installations, video art and paintings since 2012. The works in this exhibition unfold from two cases in the history of art, namely the practices of Gustave Courbet and Alexander Rodchenko. In presenting the various paths of the artist’s personal experiences, Zeng Hong tries to conjure the “natural state” of politics with the collective consciousness.
When Gustave Courbet consciously revealed his radical political position in his figurative paintings, he adopted the approach to paint directly onto the canvas in depicting the common labors and real life scenes. What determined his political position were not only the subject matter, but the painting approach he had adopted, these two components allowed the content and form of the realist painting Courbet established to align with each other. As he stated for The Stone Breakers (1849), “By rejecting the ideals and everything else by an idealist, I set myself free and achieved democracy. The essence of realism is democratic.”
In 1921, Alexander Rodchenko redefined painting with three canvases in red, yellow and blue and claimed, “I’ve restored painting to its logical finale.” It was then he restored painting about constituting colors, surfaces and objects in a physical space. In spite of the varying historical periods of Courbet and Rodchenko’s practices, both artists investigated one’s existing artistic system based on the relationships art with customary and social practices in order to reposition it. The former hoped to establish a perception of “reality” in order to reject any idealism and implications beyond experiences, while the latter set the perception of “truth”, by reaching an agreement between “art of the everyday” and “art as a resistance to reality”.
With the exhibition Quaderni Rossi, Zeng Hong hopes to rebuild this relationship through his art practice. Should the surface, lines and forms of painting be considered the figurations of realist paintings, instead of the abstract component that shape them, then these elements can be equally construed as substantial objects. They would allow painting to sublimate momentarily without inferring to any iconography or symbolism, which further “fortify” this relationship. At the same time, the artist considers abstract language as imageries in a broader sense, whereby abstract relationship between terminologies and the real world can be established. From which, the causalities between social events and history are rendered into complex scenarios, and identified as indescribable scenes.
The works on view do not attempt to present a homogenous artistic style, but serve as the cues embedded in the works of the artist, and the ones that stimulated his creativity. As the various directions of his practice are translated through the language he adopts, Zeng Hong’s artistic practice is not only to activate a new aesthetic experience, but also aims at generating diverse semantics as different spaces and disparate languages come together. If we were to conceive the exhibition like any kind of architecture, rather than a place where the works of art is shown, then what are on display must once be part of the social and historical context. Therefore, to a relatively fixed and specific site, it will be given more complex meanings.
The exhibition continues to June 24.
Zeng Hong, born in 1974, Ziyang, Sichuan Province, and graduated from the Sichuan Academy of Art, who currently lives and works in Beijing and Shanghai. His works have been the subject of solo exhibitions at Yang Gallery (Beijing), Telescope Artist Studio (Beijing), Boers-Li Gallery (Beijing), Gibsone Jessop Gallery (Toronto) and etc.
今格空间2014年在北京创立，作为一家将视野聚焦亚洲艺术生态的画廊，今格空间积极支持艺术家进入更为成熟和前瞻性的创作实践，帮助艺术家走向国际并建立其声望。我们的展览项目植根于对自身文化身份的探索与创新，亦关注艺术家在此领域与评论、策展和观者的深层对话。
Founded in 2014 Beijing, as an art gallery whose vision focuses on the ecosystem of Asia contemporary art, Ginkgo Space's mission is to provide active support to artists’ processes of developing and gaining greater perspectives on their artistic practices. With our collaboration, we hope to build the artist’s reputation and widen their international recognition. Our exhibition program is aimed at exploring and discovering the artistic practices that define our cultural identity, through which we are committed to setting up platforms for profound dialogues between the artists, critics, curators, and audiences of contemporary art.
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开放时间 10:30-17:30 周二至周六（Tues-Sat）
北京市朝阳区酒仙桥路4号院 798艺术区65幢
Address ＃65, 798 Art District, No.4 Jiuxianqiao Rd., Chaoyang Dst., 100015, Beijing, China