教堂空间 Church Space
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策展人:

徐化宁

艺术家:

陈澈
戴丹丹
丁辉
康学儒
宁长亮
王冬梅
王楫
吴鹏
夏洛特(德)
杨威&王旭

Curator(s):

Huaning Xu

Artist(s):

Charlotte Eschenlohr (Germany)
Chen Che
Dai Dandan
Dinghui,
Kang Xueru
Ning Changliang
Wang Dongmei
Wang Ji
Wu Peng
Yangwei & Wang Xu

天涯若比邻 A Bosom Friend Afar Brings A Distant Land Near

新闻稿
徐化宁

北京: 在3画廊很荣幸的宣布,我们将于2017年1月14日至2月14日举办新展——群展天涯若比邻》,展出挑选的于黑桥艺术区二道八号院(苗圃艺术区)创作并居住的10位艺术家(含小组)——陈澈、戴丹丹、丁辉、康学儒、宁长亮、王冬梅、王楫、吴鹏、夏洛特(德)及杨威&王旭(小组)的若干件作品。本次展览从作品跃动的创作题材、迥异的表达风格与多元的素材媒介中,暗涌出“城乡一体化进程中”黑桥艺术地区亚群体鲜明的生存活力,是对黑桥二道八号院即将成为“过去时”的事件的微观、诗意的回应。本次展览的开幕酒会将于2017年1月14日下午5点至8点在在3画廊举行。

艺术家陈澈为我们带来了他的“自然生长”系列作品。他从自然中提取了一些元素,如细胞、神经、水、枝茎以及一些生物的形象,然后进一步把它们抽象化,符号化。通过表现性的抽象挥洒和严密精心的细节描绘,作品将抽象维度与具象的图式融合在了一起;并结合扎实的材料运用与个体对自然的经验审视,探寻了外部自然景观与内在心灵图示的关系。他的作品建构出了一个个多元、多层次的自然系统,原始的生长、建构、聚集、变化、分离、瓦解、消失以及循环都在这个系统中有机的进行着。

戴丹丹使用找到的现成织物和长条彩带构造出了复杂的作品。这些作品与艺术史中硬边抽象达成了呼应,也同时强调了她独特的个人方法。通过作品中醒目规则的几何图形和她本人直觉的完美结合,丝带自身缎面所携带的图形“闪耀雀跃”,为内部较硬的几何结构带来了柔软感。“编织物系列”则展现出更为简洁、彻底的特性,蕴含了更多明亮、疯狂的能量。艺术家建立的个人视觉系统不断地挑战着编织的几何接缝处——被随机的线条与形状切割,也似乎让我们看到了这位才华出众的女性艺术家如何通过自身的敏锐,利用装饰材料中的电子元色以及“廉价”色彩的组合和图示,挑战着男性艺术家诸如弗兰克·斯特拉。

丁辉的绘画中,线条贯彻了意志,在木板上平静的流动。在他所创造的看似纯粹的形式之物中,手工打磨而成的颜色柱成为线条色彩附着的基石,通过轻微不易察觉的弯曲、遮盖与错合,形成了独特的肌理感与平面视错觉。线条的蔓延、推进,让手工感表达一种存在的可能,同时也赋予了观看本身以心理空间。丁辉的作品表达了人性本身的丰富变化,探索 “不可知性”,试图用时间作为一种消耗过程,生成一种新的可能性。康学儒唯一一件参展作品“花格子”,“花朵”巧妙的“安藏”于类似于皮特·蒙德里安的格子中,体现了他风格鲜明、准确的绘画观念——在这里,艺术史仿佛被置换成一个丰富的语汇库,前卫艺术与民间艺术在他的重新提问下,拓展出一个前所未有的表达形式。

宁长亮的一组绘画作品,描绘了不同形状的铁圆环、半环、锤子、铁架、以及似是而非的废旧零部件。通过细致刻画的物体的锈迹、剥蚀感以及划痕,强化了物体的质感。表面上,艺术家敏感地将客观物以图像方式“输出”;本质上,他抽离了物体的物质性以及叙事性的符号,表达了一种对文化内涵 “线索“的寻找。 通过几何原则的结构形式的牵引,消解了原始形式,而以一种简单抽象的“形”在内心建立了一个新的秩序。正如康定斯基所说,“伟大的抽象与伟大的写实,第一种因素通过第二种因素表现出来。”王冬梅的作品取材于画报、新闻图片等,具有强烈的叙事性。在她扎实的基本功背后,反映对现实层面的关注。她用荒诞的手法将场景重组成新的画面,在那里各种人类欲望得以展现——世界每天上演的色情、暴力、杀戮及战争等等。王冬梅的作品无论从用色、绘画性到题材,都与德国的新莱比锡画派有不谋而合的对应——神秘的视觉效果下掩藏的一个无序而虚幻的时代。

艺术家王楫带来的作品,是色彩搭配令人颇为愉悦的几何色块系列。通过将自己从环境中抽离,她重新探索了空间构成的意义。在看似极简形式背后,是她清晰的删减过程。在王楫的绘画中,我们觉得那些颜色本来就应该是在一起的,颜色与空间也应该是那么分割。我们也期待观者从她绘画的组合中,找到与外部空间的对话关系。吴鹏的作品在用色上颇具个人特色。他的作品阐释的是当下个人的体验,对事物本身既不否定也不坚持。艺术家认为,自己作品中建构的碎片是对过去、未来及边界的冥想,它是简单朴素的但又是无序的,也没有贯穿到底的象征模式和隐喻——拂去经验与知识的灰尘便会感知它的纯在。

德国艺术家夏洛特于个展之后再一次参加画廊的群展,带来的是偏向女性图像挪用的系列。夏洛特观察敏锐,大胆使用拼贴手法整合了当今大众媒体中的女人形象。她们个个仿佛都是苗条身材、踩踏高跟鞋、前卫解放的爱与美的化身,连男人都忍不住掩面惊呼,但实际上这一切不过是商业社会打造的消费形象,这些形象不仅无益于女性地位的改变,反而使女性沦为被商品捕获的猎物。大众传媒的时代,商业文化炮制的神话泡影被夏洛特的Call the now戳破。白夜照相馆的杨威和王旭,此次作为一个艺术组合,为二道八号拍摄了一张“环湖而立”的宝贵合影,并同时展示了这张照片与照片灯箱。他们用商业传达日常关照,将生意本身当成作品,体现了清晰的生活即艺术的观念。

值得一提的是,此次展览距在3画廊举办 2014年黄敏个展《黑桥村:一种微观叙事》已时隔两年有余,是对黑桥地区特殊“社会”现象作出敏感探讨之后的又一次对特殊事件作出的行动上的回应。

 

 

Press Release
Huaning Xu

Beijing: Being 3 Gallery is pleased to announce the new group exhibition: A Bosom Friend Afar Brings A Distant Land Near, which will be on view from January 14 to February 14, 2017. The show features a good number of works from 10 artists/group working and living in Heiqiao-Miaopu Artist Village— Charlotte Eschenlohr (Germany),Chen Che,Dai Dandan, Dinghui,Kang Xueru, Ning Changliang, Wang Dongmei, Wang Ji,Wu Peng,Yangwei& Wang Xu (group). The exhibition, in terms of works from vivid creative subjects, varied expression styles to diverse material media,implicitly reflects the distinctive viability of artists as a subgroup living in Hei Qiao Artist Village under the "urban and rural integration process", and addresses the event that Heiqiao Art Village will cease to exist in a micro and poetic way. The opening reception will be held on January 14, 5-8 pm at Being 3 Gallery.

Artist Chen Che has brought us his "Natural Growth" series. He extracts from the natural elements, such as cells, nerves, water, stems and some biological forms, and further makes into forms of abstraction and symbolization. Through abstract expression and rigorous meticulous delineation, he combines abstract dimension with figurative schemata; through solid material application and individual's experience of nature, Chen explores the relationship between external natural landscape and inner spiritual spectacle. His works construct a multi-level /element natural system, where original growth, construction, aggregation, change, separation, disintegration, disappearance and circulation are organically carried on in this system.

Using lengths of found fabrics and strips of coloured ribbon, Dai Dandan constructs intricate works that reference the history of hardedge abstraction while also forging her unique position within this ouvre. Through compelling mix of geometry and intuition evident in the works, satin sheen of the ribbon shimmers across the surface of the pictures, lending softness to the harder geometric constructions within them. In the Braid Series, a much more frenetic energy is apparent. The visual system that the artist has set up is constantly threatening to burst at the seams as intersecting geometric forms are interrupted by random lines or shapes, and seemingly brings us to see how this female artist, challenges male artists such as Frank Stella by the use of electric colour and tacky colour combinations and graphs found in traditionally decorative materials, in the pursuit of the objective.

In Ding Hui's paintings, the lines carry a will and flow peacefully on the board. In a seemingly pure form that the artist has set up, hand-polished columns become the cornerstone of lines' coloring; with a slight imperceptible curvature, covering and misfitting, creating a unique sense of texture and a planar illusion. The lines spread and promote, offering handmade value a possibility of existence, allowing a psychological space to the viewers. Ding Hui's work expresses change of the abundant human nature, explores "the unknowable" and creates a new possibility in an attempt to use time as a consuming process. “Flowers and Grid” is the only work of Kang Xue Ru exhibits this time. "Flowers" are skillfully hidden within the similar grids of Piet Mondrian, reflecting his distinctive style and accurate concept - here, the art history is as if replaced by a rich lexical glossary; by re-questioning avant-garde art and folk art, he has developed an unprecedented form of expression.

Ning Changliang’s paintings depict different shapes of iron ring, semi-circular ring, hammer, iron frame, and some waste parts. Through the detailed depiction of the object's rust, denudation and scratches, it strengthens the texture of the object. Apparently, the artist has sensitively “output” the images of objects; essentially, he pulled out the materiality and narrative symbols from the object, in an attempt to find a cultural "clues". Through the traction of the structural form of the geometrical principle, the primitive form is dispelled; instead, a new order is established with a simple abstract "form". As Kandinsky puts it, "among the great abstraction and the great realism, the first factor is manifested by the second one.” Wang Dongmei's works are based on pictorials, news pictures, etc., with a strong sense of narrative. Behind her solid painting skills, she expresses concern about the reality. Using an absurd way, she reconstructed scenes into new images, where various kinds of human desire are revealed - pornography, violence, murders and wars. From the use of color, painterly to the subject, her works have all coincided with the German New Leipzig painting - a mysterious visual effect hidden under a disordered and illusory era.

Artist Wang Ji brings works that are with a very pleasing geometric color. By pulling herself away from the environment, she re-explores the meaning of spatial composition. Behind the seemingly minimalist forms, the works reflect a clear deletion process. In her paintings, the colors are supposed be together; the color and space are supposed to be segmented in that way. We also expect the viewers to find a dialogue between the external space and the combination of her paintings. With strong personal characteristics in the use of color, Wu Peng’s works illustrate his current personal experience, neither denying nor adhering to the issues. The artist believes that the fragments constructed in his work are meditations on the past, the future, and the boundary. It is simple and plain, but disorganized, and it has no symbolic pattern and metaphor that run through it—a pure existence will be aware of after flicking away the dust of experience and knowledge.

After a successful solo show in 2016 at Being 3 Gallery, Charlotte Eschenlohr (Germany) joins the group show as a foreign artist working at Miaopu artist village. We selected her latest series of works Call the Now.With an acute observation, Eschenlohr uses collage as the method, boldly borrowing from the chaotic form of daily life and the cheesy images of mass media, and edits them together without any beautifying or judgmental alteration. With slender figures and high heels, all of these female figures are an embodiment of the liberated concept of love, beauty, and the avant-garde – even men can’t help but cover their eyes and exclaim – but the truth is they are nothing but an image for consumerism produced by the commercial society we live in. This image is not only useless in improving the social status of women, but actually degrades women as the prey of commodity. In this time of mass media, the myth concocted by consumerist culture is torn up in Eschenlohr ‘s Call the Now. 

Yang Wei and Wang Xu, by taking a valuable photo of the last generation of the artists living in the miaopu artist Village, express their business philosophy of a day-to-day care and making art out of daily life. This exhibition has once again brought about the sensitive discussion In response to the special event of Heiqiao Village and it has been more than two years since the first exhibition based on the theme of Hei Qiao Village in 2014: Huang Min Solo Exhibition "Black Bridge Village: a micro-narrative".