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钱佳华:翕动

展览介绍

钱佳华:翕动

Qian Jiahua: Breathe

 

 

 

 

艺术家| Artist: 钱佳华| Qian Jiahua

策展人|Curator: 赵小丹| Zhao Xiaodan

 

开幕时间 | Opening:2017.9.16 16:00

展览时间 | Exhibition Dates:9.16 - 10.29.2017

 

主办|Organizer:

蜂巢(深圳)当代艺术中心| Hive Center for Contemporary Art (Shenzhen)

地址|Add:

深圳南山区华侨城创意园北区A4栋1-5号

1-5Block A4,North Zone OCT, ,Nanshan District, 518053 Shenzhen, China

 

 

蜂巢(深圳)当代艺术中心荣幸地宣布,2017年9月16日将推出青年艺术家“钱佳华:翕动(Qian Jiahua: Breathe)”个展,也是继“自由扩散”(蜂巢北京,2014)个展之后,艺术家钱佳华近两年来创作的集中呈现。除公众熟知的抽象绘画之外,本次展览亦涉及其新近创作的综合材料、影像及空间互动装置作品。此次展览由青年策展人赵小丹策划,将持续至10月29日。

钱佳华,1987年出生于上海,2011年毕业于中国美术学院,现工作生活于杭州。是中国新一代年轻艺术家代表人物之一,她的创作以抽象艺术作为主线,一直以来引人瞩目。

体察佳华的创作脉络,她确乎是在探查现代绘画的可行路径,立体主义作为其创作介入的切口,在某种程度上成了其知觉依据的逻辑起点。自然,这一起点无论是出自她对格林伯格言辞的理解,甚或对于立体派绘画的视觉体察,终究要归诸切近其自身意趣的直觉推演。此外在创作间隙不断建构的个体经验,与具有先验意味的形式和结构认知不断融入其创作的内在体系。同时,个体日常体验所延伸出来的情节与情绪的部分则在画布平面性这一范畴内提供了某种特殊面向。

而在此次以“翕动”命名的展览所涉及到作品中,如《移》、《开合》、《聚合》等与其早先的作品在纯粹形式的层面相关联,尽管在后两件作品当中有以实在物来进行画布表面质感替换的尝试;而与艺术家意向思维相关的比如《鳃》和《弹起抓夜空》叙述的是由“鳃”引发的呼吸感,以及当线条本身成为一种力的显现,如何在具有局限性的情境当中释放能量的问题。另外在具有材料感的实验作品中,比如《保护你,贴近我》,有一个与作品材料相关的具体故事,大致是在获取铝片之前有人被划伤,于是在这件作品中钱佳华试图以一种海绵保护铝片四周来作为已经发生的现实境况的一种象征,当然重要的并不是这个故事的内容,而是通过材料之间质感的关联,所透露出的试图保护的情绪。可以说,钱佳华通过在画面中创造具体的情境,可能是一种叙事,可能是一种情绪,也可能是某些对于现实感的象征,但是在形象的呈现上,是抽象的。

对于佳华而言,创作是创造可被体验的存在的先导,立足于其自身的体验和经验。于是当我们直面她的作品,作品本身提供的质感、线条、作为观察者的视角以及具有情绪投射的颜色均服从于一种情景的创建。似乎这样便产生了一种自在体的循环,体验上升到经验与现实和知觉均脱不了干系,在这样一个混合体中,或者是在体察这些“情境”叙述的间隙,我们也能够管窥佳华创作的整个方向。于是在理解作品原意的过程当中,观看者同时也是体验者亦在关涉主体思维的逻辑中完成了一次排演。

 

Hive Centre for Contemporary Art (Shenzhen) is pleased to announce the opening of “Qian Jiahua: Breathe” on 16th September 2017. Born in 1987 in Shanghai, Qian Jiahua was graduated from China Academy of Art in 2011, currently she lives and works in Hangzhou. Curated by Zhao Xiaodan, the exhibition will present the artist’s latest experiments after “Free Diffusion” exhibition in 2014, at Hive Beijing. Except paintings in abstract form as she always works in, creations on easel of mixed media, video and space interactive installation will also be displayed. The exhibition will last until 29th October.  

Observing the venation of works of Jiahua, she is indeed exploring the feasible paths of modern painting, and Cubism, as the opening where her artistic creation cuts in, has, in one way or another, become a logical origin of her perceptions. This departure point, resulted from her understanding of Greenberg’s words, or from her visual observations over Cubist painting, eventually will be attributed to the intuitive deduction out of her own interest. In addition, her personal experiences accumulated during her art-making intervals, along with the transcendental knowledge of form and structure, continuously integrate into the internal system of her creation. At the same time, the plots and emotions extended by her daily experience provide some special facet into the flatness of canvas.

Taking the works in this solo show “Breathe” to illustrate: “Moving”, “Open and Close”, “Aggregation” are the follow-ups of her previous works in terms of pure form, though the last two pieces experiment with real object as a replacement for the texture of canvas surface. The works related with Jiahua’s intention-thinking are for example “Gills” and “Bounce and Grab the Night Sky”, which narrate respectively the sense of breath caused by “gills” and how a line releases energy when it becomes an incarnation of strength but gets limited in confinement. Among other experimental works that have a sense of material, “Protect You, Close to Me”, for example, implies an incident about the material--aluminum, where someone got scratched by the piece of aluminum before the artist acquired it. That’s why in this work Jiahua tries to symbolize the situation in the incident with a piece of aluminum surrounded by sponge. Of course, what matters is not the content of the story, but the attempt to protect revealed through the correlation between the texture of the materials. At this point, it can be roughly concluded that Jiahua creates certain concrete scenario in her picture, a narrative or some feeling perhaps, or maybe symbols of reality, yet her presentation of images is abstract.

For Jiahua, to make art is to create guidance for experience-able existences, which, in her case, is also based on her own feelings and experience. So when viewing her works, we find the texture, the lines, the viewing angles of being the observer and the colors that project emotions are all subject to the creation of the situation. It seems that this has produced a cycle for a thing-in-itself, where feeling, with the inevitable involvement of reality and perception, condenses into experience. And in such a mixture, or in the gaps of interpreting these narratives of “situations”, we can also peep at the overall direction of Jiahua’s artistic creation. That is, such a production provides a field that can be experience, so when grasping the original meanings of the work, the viewer--the experiencer simultaneously, has completed a rehearsal dependent on the logic of the subject.