收起

推荐作品
蜂巢当代艺术中心
积分:0
加关注
  • 资质:
  • 评分:
    1分 2分 3分 4分 5分 6分 7分 8分 9分 10分 8.4
  • 印象:
    美术馆级别 展厅一流 展览的确好 作品不错 艺术家很牛 添加
    确定
  • 经营时间:
    9年
  • 展厅面积:
  • 地    区:
    北京-朝阳
您所在的位置:蜂巢当代艺术中心>展览>展览详情

四叠半:王豪个展

展览介绍

四叠半:王豪个展

Yojouhan: Wang Hao Solo Exhibition

 

 

 

艺术家| Artist:王豪| Wang Hao

 

开幕时间 | Opening:2017.7.15 16:00

展览时间 | Exhibition Dates:7.15 - 8.20.2017

 

地点|Venue

蜂巢(北京)当代艺术中心| Hive Center for Contemporary Art (Beijing)

地址|Add.

北京市酒仙桥路4号798艺术区E06 |

E06, 798 Art Distrct, Chaoyang Distrct, Beijing, China

 

 

蜂巢(北京)当代艺术中心即将于2017年7月15日至8月20日于B厅呈现艺术家王豪2013年以来的新近创作。

王豪,1976年出生于青岛,2011年获中央美术学院博士学位,现工作生活于北京。王豪的作品曾获中央美术学院美术馆、上海世博会英国馆、北京时代美术馆、宇辰美术馆等多个公共艺术机构及私人收藏。

具有建筑背景的王豪,常以水泥综合材料介入艺术创作,“水泥”这一特定元素因其在空气中硬化后的坚硬性和可塑性获得了在建筑世界中的物理质量和功能语义,同时也是以“重”得“轻”,在“物性”提纯与转化的过程中,实现个体化的轻松突围。近两年王豪也开始尝试以纸板上水性颜料为媒介,来提炼更“轻”质的感知体验,但同时作品又不失古朴沉稳的质感,王豪似乎抽离了两种形而上的元素,又以悖论的概念使其浑然一体。新作中主要的三个系列分别由艺术家命名为“寂”、“朴”、“远”,展览名称“四叠半”取自典型和式房间面积的一种表示方式,日式茶室通常会采用四叠半的结构,故而这一概念既与王豪作品的建筑结构感有所吻合,也饱含了小中见大的禅意。

王豪艺术形态的界面自始就对应了“抽象视觉”,排除了带有沉重学院传统的“再现主义”和“人造论争”的干扰,王豪的艺术语言从一开始就具备了一种内在的通畅和带有“直接感”的顺畅品质。确保了他的作品从“物理之重”的起始得以试验“视觉之轻”的“非常规”结果。王豪能够在艺术的敏感境态中将材质的“原质”内涵提纯转化,从而实现在审美世界获得与之“原意”相比得以扩大和超越的视觉体验。

艺术家的探索方向大致是一种由“过多”向“纯粹”的转换,给人一种“极少感”甚至貌似“冷抽象”的外壳经验,但实质上,王豪的转换没有止步于作为一般艺术知识的“色域绘画”、“硬边抽象”,尤其没有迎合目前效力强大的“极少主义”以来艺术思潮的惯性。灰质的水泥在“模具”造型的瞬间产生了“微变”的体验,从初始就进行了物性的可触摸感向可视性的转换。进而,在遵循事物“基本要素”(basics)的精神下,王豪将水泥的物性感受从触觉的感知提纯出来,将其导入一种由“净寂”与“新清”所构成的“平和节奏”。无论是将其“水纹化”、“条块化”,还是与水性颜料的“色域”(Color-field)形成某种视觉关联,都在那种质朴基调的灰白感中,加入了翠青、橙黄、幽蓝甚至铂银的律动,从而使视觉起飞而获得“人性的温度”。

王豪的创作在今天“抽象”的“视觉概念”被打开和重新激活的特定形势下,在其作品的视觉之“壳”中,输入了内容。以批评的眼光看,其“壳”内之“质”不是走向和归向过多的形而上学,而是在纯粹性的“视觉体验”的崭新地平线上,调入了四两拨千斤式的智慧(其中不乏禅意的性情),与作为艺术个体“所在”真实文化情境的土壤形成了“个体自觉”的相应性并追寻表达权,以其个体的实践进入到21世纪艺术家“个体语境”给予者与践行者的行列。

 

Hive Center for Contemporary Art (Beijing) will present Wang Hao’s works of recent years from 15th Jul. to 20th Aug.,2017.

Born in 1976 in Qing Dao, Wang Hao was graduated with Doctor’s Degree from Central Academy of Fine Arts in 2011. Currently, he works and lives in Beijing. His works have been collected by Museum of China Central Academy of Fine Arts, Shanghai World Expo UK Pavilion, Beijing Times Art Museum, Yuchen Art Museum,etc., as well as private collections.

With an architectural background, artist Wang Hao is walking in a direction which is beyond either physics or spirit. He found his starting point, which the artist overcame from the inverted aesthetics of the German word Hausbau (which means construction of house) and tried to discover his own artistic direction through his background and personal spirit, which was also what motivated him to begin his art works.

When talking about Wang Hao’s work, it would be easy to draw a direct link to the abstract vision instead of the restrictions of traditional aesthetics from the Academy of Fine Arts. Getting rid of the interference of rigid, man-made discussions, Wang Hao’s works have the directness of inner flow from the very beginning of his creations. This ensures that his works are able to experiment with unconventional results, from the weight of physics to the lightness of vision. No matter if they are flat or bumpy, constant or changing, all are combined into comfortable artistic control. It is not just an experiment in the subtle power of textures, forms and the color spectrum. It is also a transparent temperament in between his works.

Wang Hao’s working process is also the transformation from “too much” to “purity”. People will experience the change from minimalism to cold abstraction. But actually, his works are not limited to a general color gamut or hard edge, and they do not cater to the popular minimalism trend. He does not follow the principle of “cancelling the working state of self-expression to achieve non-content, non-theme and an objective” to show an existing object order and its visual ethics but instead he randomly injects the “instant feeling of an artist” into his works. The gray cement model causes a change of experience, meaning he conducts a transformation from the sense of touch to a visual experience. Then, by following the basics of objective spirit, Wang Hao refines the physical features of cement from a tactile sense and imports them into a harmonious rhythm of tranquility and purity. Regardless of the visual connection of waves, blocks, or color-fields, by the use of water colors, they are all mixed with the rhythm of green, orange, deep blue or silver which release our visual experiences and acquire the temperature of human nature. It leads to a huge conceptual overcoming of existing spiritual boundaries in minimalism and then finding the rights to a free breath.

Abstract works have now been redefined. Beyond the visual “surface”, Wang Hao puts many meaning into his pieces. Wang Hao’s works have a style of their own and they shine like stars. From the perspective of a critic, the underlying meanings of his works are metaphysical and meditative. Viewers will have experiences other than just purely visual ones. He is a practitioner of the individual art language and he has become the giver of that language for the 21st century.