艺术家| Artist: 宋朋| Song Peng

策展人| Curator: 杨鉴| Yang Jian

开幕时间| Opening：2017.3.4  16：00

展览时间| Exhibition Dates：3.4 - 4.7.2017

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 |艺术家| Artist: 宋朋| Song Peng

策展人| Curator: 杨鉴| Yang Jian

开幕时间| Opening：2017.3.4  16：00

展览时间| Exhibition Dates：3.4 - 4.7.2017

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3月4日至4月7日在B/C厅推出“伪证与创生：宋朋个展”。展览由青年策展人杨鉴策划，将呈现艺术家宋朋近年的绘画创作。

1983年出生于山东青岛的宋朋，2008年本科毕业于中国美术学院。他的创作没有迎合固有的经验性的问题，而是在个人经验的基础上对一些颇具历史与政治意味的二手图像信息进行废黜与重构。艺术家在破碎的信息中挖掘一种可读性，竭力靠近追问他所感知的要害，但并不为之命名，因为对于过去我们无法重演，对于未来也不能预设，能做的是在黑暗中摸索，寻找个体价值的光亮。

宋朋作品中的大量图像挪用自影像与摄影中出现过的历史人物与新闻事件，艺术家如同一个起义者，对于一些特性显著的历史形象，往往使用一种接近黑白或单色图像的介入方式，形成对图像原有意义的遮蔽或否决。宋朋的画面时常显露一种空间纵深感，这或许来源于他的建筑学背景，他将人、事、物错落有致地置入画面空间，融入人造光线，制造出强烈的剧场真实。宋朋成长的青岛是过去的“老工业基地”，那个曾经笃信“真理”的时代，留下的是计划经济崩塌之后破败的工厂与环境，也是艺术家个人史中不可磨灭的成长记忆。艺术家在阴影中试图去证明、陈述、鉴定、记录、翻译曾经，追问当时的非正确性，去创造“伪证”，这是宋朋绘画所提供的命题之一。对于历史而言，主观的审查得到的必定是伪证，但是艺术家本不想去证伪历史，画面中无法摆脱的政治意味就像艺术家无法摆脱成长环境的影响，艺术家意图利用这样的图像符号与个人经历的某种同源性，激发自身深层次的感性力量。

宋朋绘画提供的另一个命题是“创生”，即是要创造一种存在的形式，并赋予它意义。宋朋自大学毕业后便回到青岛老家，进入一种孤立的创作状态，在长达十余年的时间当中鲜与所谓的艺术圈交流，更像是在一种野生的生态环境当中坚持创作。基于自身具有表现主义特质的绘画方式，他的绘画形式开始以一种极度紧缩、堆积、重叠的形式出现，通常情况是，所有的激情、悲喜和光线凝结为一个支离破碎或者模糊的形象，几张难辨的面孔，或被图像切割的肢体。然而这一系列仿若能穿透时空的静穆悠远却有着另一种截然相反的表达层面：当所有的屏气凝神、压抑克制一旦爆发于某一个契机，便开始永无止境的絮絮叨叨，举止怪诞。绘画过程中的宋朋，一脚深踏在剥去了理性外壳的面目不清的泥沼之中，而另一只脚，则在试探着理性的底线。艺术家这么做既是在辨认自身，将开放的外部世界改造，也是对个人化的时空与绘画语法的创生。可以说，宋朋用伪证与一个原本看似顺理成章一切自洽毫无罅隙的世界彻底告别；又在创生中寻找一种对生命本体生效，能够接触自己精神困境的工作方式，与自己杂糅不清的情绪寻求和解。

Hive Center for Contemporary Art will present Perjury & Genesis: Song Peng Solo Exhibition from March 4th to April 7th at hall B/C. The exhibition is curated by Yang Jian, and presents Song Peng's recent works.

Song Peng's art practice doesn't cater to some inherent empirical problems, but based on personal experience, repealed and reconstructed the second-hand images which contained historical and political meanings. The artist likes this process, that is, digging a readability among fragmented messages, making his endeavors to search for the key to the question, but not named for it, the reason for that is one cannot repeat the past as well as predicting the future, what people can do is to grope in the dark for the light of individual value.

A large number of image appropriations in Song Peng’s works are derived from the historical figures and news events in videos and photos. Like a rebel, the artist often uses nearly black-and-white or monochromatic images to intervene in as a treatment of some historical images with outstanding traits, and such an original image-processing approach renders a sense of distance and security of expression, and meanwhile it blocks or vetoes the original meaning of images. Song Peng has an architectural background, which frequently offers his images a sense of space, and when the characters, things and objects are put into this space in decent proportion and illuminated by intensified artificial light, the painting feels like a theater. Song Peng grew up in Qingdao, an “old industrial base” scattered with the factories and industrial landscapes left over by the old times that once believed in “the truth” but ended up with a collapse of planned economy, and this very place has made inerasable imprints of growth in the artist’s personal history. The artist is trying to prove in the shadows to prove, state, identify, record, and to translate the past, to create perjury, This is one of Song Peng's Subject. History proves that the yield of such an examination is nothing but a perjury, but the artist does not want to falsify history. The political suggestions in his paintings are as inextricable as the impact made by the artist’s growth environment. The artist’s intention is, by using the certain homology of such pictorial symbols and personal experience, to stimulate the sensitive power within.

The other subject is Genesis，To create is to invent a form of existence, and to give it meaning. After graduating from college, Song Peng went back to his hometown Qingdao, started making art alone, and had barely any contact with the so-called art circle in over 10 years which witnessed his persistence in art more as in a wild ecology. Equipped with an expressionist painting approach, his painting style now starts to become extremely tight, stacked and overlapping, often with all the passion, sadness and joy and light condensed into a fragmented or blurred image, with a few undistinguished faces, or limps and trucks cut by images. However, this series of solemnity and tranquility seemingly capable of penetrating time and space tells something totally different: when all breath-holding and mind-concentrating and depression and restraint outbreak at their time, there come never-ending rambles and behavior grotesques. Song Peng while painting is with one foot deep in the obscure mud shielded by the shell of rationality, and the other foot undoubtedly feeling out the bottom line of ration. By doing so the artist not only recognizes himself and transforms the open external world, but also creates the personalized time-and-space and painting grammar. Song Peng takes perjury to completely bid farewell to a world that appears logical, all self-consistent and gapless. Then in creation, he looks for a working method that is ineffective for life ontology and can reach his own spiritual plight, so as to reconcile with his own entangled feelings.