展讯Notice

 

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在社会文本之外

艺术家:李明昌,张近慧
策展人:樊林 
出品:坪山美术馆 
开幕:2021.03.28  17:30
时间:2021.03.28 - 06.20 
地点:深圳市坪山区汇德路  坪山美术馆公园馆 
主办:坪山区文化广电旅游体育局 
承办:坪山美术馆 



Beyond Social Text

Artists: Li Mingchang, Zhang Jinhui
Curator: Fan Lin
Producer: Pingshan Art Museum
Opening: 2021.3.28  7:30
Duration: 021.3.28-6.20
Location: Pingshan Art Museum Park Annexe  Huide Rd, Pingshan Dst, Shenzhen
Sponsor: Culture, Broadcast and Television, Tourism and Sports Bureau of Pingshan District
Organizer: Pingshan Art Museum



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李明昌  Li Mingchang

被分割的物体  Divided Object

布面油画  Oil on canvas

20×30cm  2017




李明昌、张近慧两位艺术家,都在用油画讲日常生活和象征的关系。这些作品,可能会被当作社会文本来阅读,社会文本是信号、符号和象征的结合。单纯从画面描述的对象、场景看,他们都讲了人与自然、人的劳作这样一些自古以来的样式,每一个事物都是一首歌的一部分。

有些劳作是神圣的,有些自然会被理解为神圣的力量。在自然形态之外,人类生活的不断改变往往被纳入合理性之中的进步逻辑。这样的进程中,人的价值观念与生产、生活方式关系必定密切,每当遭遇社会转型或者急速发展的阶段,这个关系常常被忽略。艺术家用自我的描述重新确认观念与生活之间的关系,既是使命也是宿命。

在目前的这个工业社会,农业伦理依然明显存在。这种共存,至少表现在我们对理想生活状况的向往,除了现代性的一面,依然会保持着对传统美学的描述:人们悠然自得地在乡间、山野和睦生活。这样的向往,外化为表征,就是关于田园生活、劳作场景的图像。这一类型的母题,在近年的绘画创作中,很容易受局限于艺术史上已经存在大量的描绘,往往以纪实摄影般的语言简单直白地呈现。劳作本身的价值与诗意,反而是艺术家难以通过描绘而获得的。

所幸,我们能遇到一些具体的个人,他们不约而同地坚持着一系列关于人类精神的价值观,关乎真实的生活,不以落后或先进关注人与人、人与自然的关系。从画面上,并不出现与一般意义上“写实语言”相关的表达。既不照相般描绘现实场景,也不展开宏大叙事。坚持拒绝对传统进行割裂式的切入以及肤浅的混装。李明昌、张近慧两位画家近年的创作都淡定自如地处理着内容与语言之间的关系。在他们的描绘里,劳作本身的价值与诗意得到了充分的内化。

樊林



Both Li Mingchang and Zhang Jinhui use oil paintings to illustrate the relationship between daily life and symbolism. These works may be perceived as social texts, which are combinations of signals, signs, and symbols. Simply looking at the objects and scenes described in these pictures, they’re all about the ancient styles of human, nature, and work, with everything being part of a song.

Some work is sacred, and thus will naturally be understood as the manifestation of sacred power. Beyond the natural forms, the continuous changes of human life are often incorporated into the progressive logic of rationality. In such a process, people's values must be closely related to production and lifestyle. This connection is often overlooked whenever we encounter a stage of social transformation or rapid development. Artists use their own descriptions to reconfirm the relationship between concept and life, which is both a mission and a destiny.

Even in the current industrial society, agricultural ethics clearly exists. This kind of coexistence is manifested at least in our yearning for an ideal life. The description of traditional aesthetics will still be maintained despite our modernity: people live in harmony in the countryside and mountains. This yearning, when externalized as a representation, is an image of pastoral life and work scenes. In recent painting creations, this type of motif is easily confined to a large number of depictions that already existed in the art history, but these depictions are often presented with simple and straightforward languages that share similarities with documentary photography. The value and poetry of the work itself are, on the contrary, difficult for the artists to obtain through depiction.

Fortunately, we can meet some specific individuals who unanimously adhere to a series of values about the human spirit, highly relevant to our life. They'll never perceive the relationship between people and nature as either backward or advanced. From the picture itself, there is no expression related to "realistic language" in the general sense. It neither portrays realistic scenes like photographs nor develops grand narratives with no crude cut-in and superficial mixing of traditions. Li Mingchang and Zhang Jinhui have handled the relationship between content and language calmly in their creations in recent years. In their depictions, the value and poetry of the work itself have been fully internalized.

Fan Lin



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李明昌  Li Mingchang

血食No.4  Blood Food No.4

布面油画  Oil on canvas

70×90cm  2017




李明昌, 1980 年生,现居广州。从事以架上绘画为主和以绘画展开的一系列相关工作,包括近现代微观历史的视觉与文本探究。 

部分个展:“地表”,广州画廊,广州,中国(2021);“边境线:李明昌”,Tong Gallery+Project,北京,中国(2018);“李明昌”,釜山国际艺术博览会,釜山,韩国(2018);“草蛇灰”,5楼空间,广州,中国(2017));“隐秘的感召”,L+SPACE机构,上海,中国(2016)。部分群展:“打尖”,太古美术馆,广州,中国(2020);“青年力量”,广东美术馆,广州,中国(2020);“低复线叙事”,21空间美术馆,东莞,中国(2018);“青衿计划”,正观美术馆,北京,中国(2018);“上海廿一当代艺术博览会”,兀维间,上海,中国(2017);“纸上-至上”,新造当代艺术中心,广州,中国(2017);“奇妙之年”第二回展,尚榕美术馆,广州,中国(2017);“桥段第二回”广东当代艺术邀请展,广州美术学院大学城美术馆,广州,中国(2017);“第二届广州美术学院青年教师提名展”,广州美术学院美术馆,广州,中国(2017);“ISGO 广州首展”,ISGO 画廊,广州,中国(2017);“视觉生产:艺术劳作见证时代变迁学术提名展”,广东美术馆,广州,中国(2016)

Li Mingchang was born in 1980, now based in Guangzhou. Engaged in a series of related work based on painting, including visual and textual exploration of modern micro-history.

Selection of solo exhibition: “Ground Surface”, Canton Gallery, Guangzhou, China (2021), “Edge Site Line: Li Mingchang”, Tong Gallery+Project, Beijing, China (2018), “Li Mingchang”, Art Busan, Busan, Korea (2018), “Floating as Latent, 5 Art Space, Guangzhou, China (2017), “Conceal Inspiration”, L+Space, Shanghai, China (2016), selection of group exhibition: “Da Jian”, Taigu Art Museum, Guangzhou, China (2020); “Young Power”, Gaungdong Museum of Art, Guangzhou, China (2020), “the Low Bifurcated Narrative”, 21 Space Art Museum, Dongguan, China (2018), “Elite Young Artists Program”, Right View Art Museum, Beijing, China (2018), Art 021 Shanghai Contemporary Art Fair, π Dimension, Shanghai, China (2017), On Paper Supreme, AT Center for Contemporary Art, Guangzhou, China (2017), The 2nd Exhibition of the year of magical experience: Boarding a New Ferry Boat, Shangrong Gallery Guangzhou, China (2017), Bridge Round Two: Guangdong Contemporary Art Invitational Exhibition, Ucity Art Museum of GAFA, Guangzhou, China (2017), The 2nd Young Teachers’ Nomination Exhibition of GAFA, Art Museum of GAFA, Guangzhou, China (2017), ISGO Gallery First Exhibition: Either Enjoyment or Freedom, ISGO Gallery, Guangzhou, China (2017).




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“坪山美术馆未来将不断举办高品质展览,推出有深度的研究课题,打造艺术品牌活动,持续积累藏品,契合深圳城市特色,集青春、活力、创意、国际、互动于一体,树立新时代新都市美术馆新标杆。坪山区美术馆的未来不仅仅是传统意义上的美术馆,而是由艺术家、艺术爱好者以及公众共同参与的舞台,一个社会公众可以在这里开展社会交往的客厅以及文化学习的课堂。”