艺凯旋艺术空间将于12月2日至12月31日举办“仙境—梁缨个展”，本次展览是梁缨既14年“梁缨日记”后，在艺凯旋举办的第二次个展，展览将展出梁缨15年、16年的作品共计26件，为观者进一步了解梁缨的创作提供了机遇。

梁缨早期的作品当中的意境饱含对中产及以上阶级的讽刺与挖苦，例如描绘桃树下或花园中散步的女人。当你近距离观看作品当中的人物时，这些肖像并不像是正在被赞美，而更像是在遭受嘲讽。我记得一张她作品中的绝妙描绘，一个裸体的中国女子正躺在树下的石头上，手中的羽毛正在挑逗着自己的下体。这种中国传统水墨绘画的经典样式被她用德式的幽默感狠狠的嘲讽了一回。她最新的作品推进到了一个更深的层次，并且看起来更加晦暗。你可以清晰的感受到作品在微妙的发酵推进，苦乐参半的中国社会召唤起了来自于她作者性中更深入的批判。她进一步的批判中国当下无效的水墨实践，已达近乎于浪费纸张的程度。例如，作品中鬼怪们进行着对话，亦梦亦真，但并不像是当代艺术中心常见人物被扭曲后的鬼怪喻像，她的鬼怪形象全然来自于中国民间神话故事当中。我并没有询问过她画这些鬼怪的原由，但是却能让我真切地感受到一种人性的疏离。在其他作品中，还有像是被上下颠倒的金鱼以一种超现实的姿态置身于情景之中。在此，她用绘画中人物不合时宜的姿态挑战着中国传统绘画，你会在阅读她的作品时被她误导，又或是一种矫正。她的用色系统也在发生着作用，根本原因是她早期在西方的学习，避免了一味地顺延中国的传统水墨绘画体系。

当代艺术的根本属性是对既有定式进行解构，表象都是暂时的。梁缨的作品告诉你事实就是如此。展览展期将持续至12月31日，欢迎莅临参观。

Triumph Art Space is to present "Heavenly Landscape--Solo Exhibition of Liang Ying," featuring a total of 26 works bythe artist from the past two years. Her second solo at Triumph Art after Liang Ying Diary in 2014 offers a great opportunity for audience to better know her creations.

Among her early works is a satiric portrayal of the upper-middle class imagery of a woman working within the peach trees, or in a flower garden. When you look at the figures closely, they are not laudatory portraits of beauty, but instead have more irony than beauty. I remember one of her paintings was a very nicely drawn, naked Chinese women, holding a quill, brushing her vagina, laying on a rock under a tree. She had used the typical composition of classical ink painting—a choice in which a German sense of humor could be seen clearly. Her new body of work has developed more depth and looks into the darker side of art making. You can clearly see she
has developed more nuances, as well as set a critical distance from her audience in a way that recalls the bittersweetness of the Chinese society. She further critiques the Chinese ink paintings as a senseless practice, a waste of paper. For instance, in her portrait of the Chinese folklore, ghostly figures enter a dialogue of sorts between dream and reality. Instead of the contortion of human beings in contemporary art, she uses the image of ghosts from Chinese folklore. It is an element about which I have never asked her why, but I can only read from a distance. Other paintings of upside down goldfish become more surreal than they are meant to be in their environments. With these, she challenges traditional Chinese ink painters, putting her figures in the most awkward of positions, in which your reading of her work could be mislead, or completely correct. Also at play is her use of color, ultimately derived from her early studies in the West, not the stupid lines and brushstrokes of typical Chinese ink painting.

Contemporary art, in its essence, deconstructs the paradigms and the temporal appearances, a truth that Liang Ying tries to convey through her works. The exhibition will last till Dec. 31th, and we warmly welcome your presence