Rm 101, Bldg No.10, Quantang Rd No.38, Haizhu Dist, Guangzhou, China
在某城中村的路边，他拉起一个临街铺位的卷帘门。比起四年前在大学城的出租屋，这个工作室地方略显逼仄、杂乱，但杨洋的状态比当时更放松。泡开一壶茶，他就讲起了他的作品。“不要扯那些大的，我害怕。”他特意叮嘱我。杨洋的作品常常有意无意地触及到某些话题；面对他的创作，我们当然也可以熟练地套用一些理论和术语，但这难免会让具体的作品变得抽象，而无益于进入这些近乎本能的创作。本次展览中的作品或虚构或写实，是从杨洋近年来一些创作的线索中截取的片段：在家乡内蒙所见，旅居西藏所闻，餐馆打工所遇……它们或是对其身边环境的回应，如《干净》；或是对远方事物的感触，如《熊熊大火》；又或是对偶尔遭遇的遐想，如《雪豹》。它们的共同点或许在于它们都由他在这些或远或近的人事物中找到与其自身细微的关联，转化而来。眼尖的人可能会发现，画布上那双发旧的皮靴子，原来就是他穿着在雪地上踩下一个个脚印的马靴。杨洋在回溯和理解自我身份认同的过程中收集起一些思绪，随意地涂抹在各处。如果不被眼前这些看似符号化的图像迷惑，我们还会发现别的藏在画面缝隙中的蛛丝马迹。说到底，他所害怕的，是大话说出来后，这些细碎的体感也会丢失在言语里吧。Yang Yang: Nowhere but Everywhere"I felt like I was looking at home when I scrolled through the old photos, but I saw nothing."Yang Yang pulled up the door of a storefront by the street in an unban. This studio is a little cramped and cluttered compared with the rented house in the Higher Education Mega Center four years ago, but Yang Yang looks more at ease. Making a pot of tea, he started to talk about his work."I'm afraid of those big concepts." He told me specifically. Yang's work often touches upon certain topics. We could, of course, apply those theories and terminology in describing his works. However, it would inevitably make these works abstract and, more importantly, trickier for people to grasp Yang's almost instinctive artistic practice.Fictional or realistic, the works in this exhibition are fragments of traces in Yang's recent creation: things and people he encountered in his hometown, Inner Mongolia, Tibet during his stay, or the restaurant he worked in… These works may be responses to his surroundings, like Clean; sentiments towards things far away, like Booming Fire; or reveries about occasional encounters, like Snow Leopard. What they have in common, perhaps, is that they are all transformed from the subtle connections the artist finds in things, near or far, with himself.An observant audience may notice that the pair of leather boots on the canvas turns out to be the same pair he wore to walk on the snow. Yang Yang collects bits and pieces when tracing back and comprehending his own identity and smeared them randomly. If one is not confused by these seemingly symbolic images in the works, he or she would find other clues hidden in the corners of the pictures. After all, what he fears, I guess, is that the "big concepts" would devour these bodily experiences in the language.
杨洋，1993年生于中国内蒙古。他这样描述自己的创作：“我的创作源于社会与生活中的审视、消解及转换、无用的“劳作”、自然与个体的关系，使用的媒介包括绘画、影像、工艺材料等，个人面临的现实在创作的过程中沉淀和延展。”曾参与展览“机构推荐”，盒子空间，深圳，中国（2020）；“卡拉卡拉大浴场”，广州画廊，广州（2019），“广州美术学院美术馆游戏：关于艺术的研究之模拟人生”，广州美术学院，广州，中国（2016），并入围2016 IMFW 内蒙古青年电影周纪录片短片单元。Yang Yang was born in Inner Mongolia, China, in 1993. He describes his creation as: "My work originates from scrutinizing, counteracting, and transforming my experience with the society and everyday life. I value useless “labor” in the process of making. I’m also interested in the relationships between the nature and individuals. Using painting, video, and different craft materials among others, I try to settle and extend the reality I’m facing in my artistic creation."Participated in the exhibition “Recommendation of Institution”, Boxes Art Space, Shenzhen, China (2020); “Bath of Caracalla”, Canton Gallery, Guangzhou, China (2019), "Art Museum Game of Guangzhou Academy of Fine Arts: Simulated Life of Art Research", Guangzhou Academy of Fine Arts, Guangzhou, China (2016), and shortlisted in IMFW Inner Mongolia Youth Film Week Documentary Short Film Unit in 2016.