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作为窄门的绘画：80后艺术家邀请展

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作为窄门的绘画：80后艺术家邀请展

Painting as Strait Gate: Post-80s Artists Invitation Exhibition

 

 

 

 

 

艺术家| Artists:

蔡磊、陈飞、陈朗慕、高露迪、龚辰宇、顾亮、郝量、侯虹旭、季鑫、简策、鞠婷、冷广敏、李平、李青、李文光、陆超、吕松、倪有鱼、钱佳华、宋朋、宋易格、王一、夏禹、肖旭、闫珩、杨伯都、臧坤坤、翟倞、赵新宇、周思维（按姓氏拼音排列）

Cai Lei, Chen Fei, Chen Langmu, Gao Ludi, Gong Chenyu, Gu Liang, Hao Liang, Hou Hongxu, Ji Xin, Jian Ce, Ju Ting, Leng Guangmin, Li Ping, Li Qing, Li Wenguang, Lu Chao, Lu Song, Ni Youyu, Qian Jiahua, Song Peng, Song Yige, Wang Yi, Xia Yu, Xiao Xu, Yan Heng, Bodu Yang, Zang Kunkun, Zhai Liang, Zhao Xinyu, Zhou Siwei ( by alphabetical order)

 

策展人|Curator：

夏季风|Xia Jifeng

 

特邀评论家| Special Invited Critics:

鲍栋、戴卓群、鲁明军、卢迎华、夏季风、朱朱

Bao Dong, Dai Zhuoqun, Lu Mingjun, Carol Yinghua Lu, Xia Jifeng, Zhu Zhu

 

开幕时间| Opening: 2016. 8. 26  16:00

展览时间|Exhibition Dates: 8.26- 9.24.2016

 

 

 

继“编辑景观：媒介化之后的个体与工作方式”大型群展(2015)之后，蜂巢当代艺术中心再度推出以1980年后出生的一代艺术家作为考察对象的系列项目“作为窄门的绘画：80后艺术家邀请展”，本次展览邀请三十位年轻艺术家参展，并特别邀请鲍栋、戴卓群、鲁明军、卢迎华、夏季风、朱朱六位艺术策展人、评论家为参展艺术家撰文评述。展览由夏季风担纲总策划，将于2016年8月26日以蜂巢当代艺术中心全展厅规模推出，并展出至9月24日。

 

蜂巢当代艺术中心曾于2015年推出“编辑景观：媒介化之后的个体与工作方式”大型群展，意欲呈现在当代艺术开放性的框架内，尤其是在观念艺术和新媒体得以普遍运用之后，年轻一代艺术家创作的多重走向；本次推出的“作为窄门的绘画：80后艺术家邀请展”则针对这个群体，试图系统性梳理以绘画作为主要创作手段的部分艺术家现状。

 

 

自达盖尔发明摄影术后，有关“绘画已死”的宣称不绝于耳。作为一种纯粹的传播、记录的手段和方法，绘画的确丧失了存在的必要，照片前所未见的精准替代了它的这一部分功能。绘画貌似进入了一道“窄门”。但有意思的是摄影术出现后，随之而来的图像文化迅猛发展，成为人们日常生活中不可或缺的组成部分，事实上非但没有让绘画消失，反倒促进了架上绘画的多样性发展。特别是信息时代的来临，泛滥在现实社会和互联网上的无限图像，既让人震撼又让人绝望，利用照片还是完全依赖照片，似乎才是现在艺术家所面临的难题。

 

另一方面，装置、影像等新媒体艺术的兴起，也并未对绘画构成严重的挑战，至少到现在为止，只是在众多已有的创作媒介和手法中，增加了一种新的艺术表现的选择而已。绘画艺术仿佛具备某种惊人的自我疗伤和再生能力，在意识到自身的疆域和功能受到挤压，反而进一步开始思考自身的存在意义和价值，无形中拓展了绘画的固有边界。

从某种意义上说，与其说绘画趋于终结或者式微，不如当代艺术的逻辑进入了一个新的系统这种说法更准确，尤其是一些传统的针对绘画的价值评判原则和标准正在发生改变。在摄影术和新媒体之后的绘画艺术，不仅材质与手法空前丰富，同时不知不觉中也改变了艺术家的创作思维模式，进而为观众提供了一种新的观看之道。

 

这次展览试图以“窄”的形式呈现绘画自身的“宽”，虽然艺术家受邀参展的作品都是架上绘画，但在“80后”这一代艺术家身上，我们看到，他们在掌握图像文化所带来便捷的同时，也在有效地消弭不期而至的负面效应；他们承受着绘画步入“窄门”的可能，事实上却拓展了绘画本身蕴含着的无限宽广和丰饶。

 

 

 

 

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Following last year’s large-scale group exhibition “Editing the Spectacle: The Individual and Working Methods Post-Mediatization”, another project of the series “Painting as Strait Gate: Post-80s Artists Invitation Exhibition” now launched by Hive Center for Contemporary Art also studies the artists born in the 1980s. The exhibition invites 30 young artists of the generation to participate, and especially invites Bao Dong, Dai Zhuoqun, Lu Mingjun, Carol Yinghua Lu, Xia Jifeng and Zhu Zhu as guest critics. Curated by Xia Jifeng, The exhibition will be on show at the total five halls of Hive Center Aug. 26, and will last until Sep. 24.

 

The group exhibition "Editing the Spectacle "(2015) was held by Hive Center in order to view the multiple art-making directions of this generation’s young artists within the open-ended framework of contemporary art, especially after conceptual art and new media started to be widely applied, while the new project tries to systematically examine the present situations of this group of artists who mainly adopt painting in their practice.

 

It is well known that the claims about “Painting is dead” have never ceased ever since Daguerre invented photography. Painting becomes really impotent in communicating and recording, compared with the unprecedented accuracy of photography which has already replaced painting in this aspect. Seemingly painting has entered by a “strait gate”. Interesting enough the booming of image culture ushered in by the birth of photography has become an indispensible part of people’s daily life, which actually doesn’t eliminate painting but instead propels the diverse development of easel painting. It’s really amazing but also desperate when the innumerous images flourish in the real society and on the Internet along with the arrival of the information age, and now the dilemma for artists is either to use photos or to totally depend on them. 

 

Meanwhile, the rise of installation, video and other forms of new media art, at least until now, hasn’t seriously challenged painting yet, but only added more options of artistic expression to the existing art-making mediums and techniques. Painting art as if amazingly capable of self-healing and regenerating starts to further think about the meanings and values of its own existence, after realizing its own territories and functions have been squeezed, thereby virtually expanding the previous boundaries of painting.

 

In a sense, it’s better and more accurate to say that the logic of contemporary art has entered a new system rather than to say painting is dying or declining, especially when the traditional principles and criteria that evaluate paintings are changing. The painting art after photography and new media not only possesses so many materials and techniques that have never been seen before, but has also unconsciously altered the thinking patterns of the artists, and then offers a new way of viewing for audience.

 

The exhibition attempts to present painting’s “wideness” in the form of “narrowness”, so although all the participating works from the artists invited are easel paintings, we still can see that the artists of the “post-80s” generation effectively eliminate the unexpected negative impacts when they are reigning over the convenience brought by image culture. They are facing the likelihood of painting entering by “the strait gate”, yet as a matter of fact they have expanded the infinity and diversity inside painting. 

 

 

系列项目 | Exhibition Related ：

编辑景观：媒介化之后的个体与工作方式

Editing the Spectacle: the Individual and Working Methods Post-Mediatization

艺术家|Artists：

蔡东东、程然、高磊、郭鸿蔚、郝量、冷广敏、李燎、李明、李姝睿、林科、刘月、倪有鱼、钱佳华、塔可、杨心广、臧坤坤、张鼎（按姓氏拼音顺序）

Cai Dongdong, Cheng Ran, Gao Lei, Guo Hongwei, Hao Liang, Leng Guangmin, Li Liao, Li Ming, Li Shurui, Lin Ke, Liu Yue, Ni Youyu, Qian Jiahua, Taca Sui, Yang Xinguang, Zang Kunkun, Zhang Ding

策展人|Curator：

朱朱|Zhu Zhu

展览时间| Exhibition Dates： 2015.10.17-11.16