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生生如環:周力个展 The Ring of Life:

展览介绍

生生如環:周力个展

The Ring of Life: Zhou Li Solo Exhibition

 

 

 

艺术家| Artist: 周力| Zhou Li

策展人|Curator: 王嘉骥| Chia Chi Jason Wang

 

开幕时间 | Opening: 2017.9.10 16:00

展览时间 | Exhibition Dates: 9.10 - 10.15.2017

 

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)当代艺术中心荣幸地宣布,2017年9月10日将以全部五个展厅推出周力的大型个展“生生如環”,展览由著名学者、策展人王嘉骥(Chia Chi Jason Wang)先生担纲策划,将呈现艺术家近几年来多个系列的架上作品以及最新装置。“生生如環”也是继“白影”个展(余德耀美术馆,2017)之后,周力的又一次大型个展,其中长达20.6米、宽8.3米、高5.5米的展览同名巨型装置作品,将首次在蜂巢北京的主厅展出。本次展览将持续至10月15日。

艺术家周力,1969年出生于湖南。1991年毕业于广州美术学院油画系,1994年赴法国生活,2003年回国于深圳居住和创作,现为广州美术学院油画系教授。周力的创作从个人的直观出发,她以多维度的立体化线条,构建了一个又一个超脱物理逻辑和表象的抽象寰宇——除了有个人心境的写照、感情的表抒,也勾唤生命记忆。 她的创作不以现象世界的实景或实境为文本,绘画性和书写性兼而有之。情感内蕴于身体,具体而柔性;记忆也与此有关,却可能随着时间,而渐变为一种朦胧、依稀的类抽象。一圈圈的如幻之圆,宛若透明的时空通道,提供跳跃与穿越的联想——记忆在此徘回,往返,甚至依依不舍。就此而言,周力的作品犹如自画像一般,也可以看成她个人情感与记忆的混合书写。

 “线”是周力创作构形的核心,一如其作品命名。周力的线条富于自觉,也从中国传统的艺术和美学当中汲取可供转化的资源,周力作品中所见的表现性的自由线形,体现的正是中国书画的“用笔”。她的线条回旋、转折、穿越、交错;并在运腕转笔的过程中,跌宕起伏,赋予了线条丰富的形式变化,隐喻多重空间。听任身体及感性知觉的运作,周力在揣摩作品空间性的过程中,同步彰显了时间性。不定形但有形状的线,在透明的虚空或静谧的水界之中生长,形成高下相倾的波形,蔚为如環无端的幻形循環,漫游在通透、有色,然却无名的空界之中,且与时间共存。

尽管中国书画传统的“用笔”对周力影响颇深,是她线条美感的源头之一,但她也解放了笔法原本用以结字和写象的实际功能,让线条回归为纯粹的造形艺术。如何为抽象的用笔赋予形状与空间,自明性和精神性具足,藉以表意、写情、叙事,或是表述世界,揭露宇宙本体之真实等,都是周力创作中的重要课题。她在确立“线”的形式自律性的同时,也在探索将“线”的精神能指和所指,与作品本身的内在结构联系起来,以超脱形式主义的窠臼。

周力作品的造形虽无定形,却有暗示的能力,引人精神性的联想。以她反复一再勾勒的不规则弧圈和变形的圆为例,那些透明形体,彷佛造型化的气泡,也如薄膜(membrane)一般,看似吹弹或穿刺即破,却又具备包覆、保护和孕育生命的能力,隐喻着生命无尽往复与轮回的能力。虽不刻意,听任内在的自然声息,周力个人的抽象图像学已经卓然有形。

Hive Center for Contemporary Art (Beijing) is pleased to announce the opening of The Ring of Life: Zhou Li Solo Exhibition on 10th Sept., 2017. Curated by Chia Chi Jason Wang, the exhibition will show Zhou’s paintings of the recent years and her latest installations. The Ring of Life is, after White Shadow (Yuz Museum, Shanghai, 2017),  another exhibition of great scale, on which the installation with length of 20.6m, width of 8.3m and height  of 5.5m, will occupy Hive’s main hall. The exhibition will last until 15th Oct., 2017.

Born in 1969 in Hunan province, Zhou Li was graduated from Oil Painting department of Guangzhou Academy of Fine Arts, she moved to France in 1995 and came back to China in 2003, currently Zhou lives and works in Shenzhen.

Zhou’s creations set out from direct, individual perception, and do not follow the reality or spectacle of the phenomenal world. The painterly and the writerly exist in tandem as she uses multidimensional lines to simulate an abstract cosmos that escapes from physical logic and appearance—beyond a portrait of an individual mindset and expression of emotions, it also awakens living memory. Emotion lies within the body, concrete yet soft. Memory is also connected to this, though with time's passage, it gradually turns into a hazy, indistinct pseudo-abstraction. A series of almost illusory loops resemble transparent channels through space and time which call to mind leaping and traversing—here, memory hesitates, turns back, and struggles to let go. In this regard, Zhou Li's art can be seen as a hybrid writing of individual emotion and memory, almost a self-portrait.

The line is the formal core for artist Zhou Li, just as it also forms the titles of her artworks. Zhou Li’s lines are replete with awareness, and they absorb resources for transformation from Chinese traditional art and aesthetics. The expressive, free linear shapes we see in Zhou Li's works are precisely an embodiment of this “brushwork” from Chinese calligraphy and painting. Her lines twist and turn, penetrate and intersect, and in the process of curving the wrist and moving the brush, they undulate, giving the lines rich formal changes that allude to multiple spaces. Listening to the operations of the bodily and emotional awareness, Zhou Li manipulates the spatial aspects of the artworks while also revealing their temporal aspects. Undefined yet tangible lines grow within a transparent void or tranquil liquid realm, forming waves that converge on high, endless illusory loops drifting through an open, colored yet unnamed space, and coexisting with time.

Never compromising with reality, Zhou Li follows her consciousness, the depths of an invisible other space to illuminate extraordinary scenes and ponder extraordinary realms. Sometimes, the semblances of familiar landscape scenes or people suddenly emerge in her paintings, at once revealing her traditional roots, while also illuminating the depths of her consciousness, and her perceptions of life. The other things viewers perceive in her works are often beyond the phenomenal realm. The linear time and space she creates is also in a state of persistent flow and transmutation, neither fixing a fleeting moment nor presenting the final view.

Though the forms in her works do not possess the shapes of written characters, they do possess the ability of allusion, which give rise to spiritual associations. Zhou Li’s transparent shapes are like membranes. They appear prone to popping, but also possess the ability to embrace, protect and nurture life. These curved, circular or bubble structures resemble arrangements of cells as well as nurturers of organic life, and metaphors for the unending cycle of life. Though not consciously so, when you listen to the inner breath of nature, Zhou Li’s individual abstract iconography is quite tangible indeed.

 

 

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