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陆地和声 — 吴达新个展

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展览介绍

我们荣幸地宣布将于2019年3月22日举办吴达新最新个展“陆地和声”,这是艺术家在艺·凯旋画廊首度举办个展。展览由国际策展人法比奥·卡瓦卢奇(Fabio Cavallucci)担纲策划,将呈现艺术家为本次展览特别制作的四件重要新作。
泉州籍艺术家吴达新在国际艺坛享有声誉,他的创作长期关注经济飞速发展的时代中传统中国文化的衰落和消失。社会物质条件的进步一方面为人们的生活带来了舒适,一方面,它也在抹杀着历史与传统中许多珍贵之物。
We are pleased to present the first solo show of Wu Daxinat the Triumph Gallery in 798 Art Zone in Beijing, entitled Terrestrial Harmonies on March 22, 2019.Curated by the international curator Fabio Cavallucci, the exhibition presentsfour new major works created for the occasion.
Wu Daxin, an artist from Quanzhou with international experience, has for several years been dealing with issues related to the disappearance of traditional Chinese culture due to fast economic growth. On the one hand progress creates a sense of comfort; while on the other it erases many aspects of history and tradition.

展览将从一条龙开始。作为中华神话的典型形象,龙也是天人合一的象征。不过,展览中的龙是用稻草和泥这样简陋的材料制作的,暗示着当下价值的颓败。
进入下一间展厅,目光所及将是一尊巨大透明的佛像头部雕像。而只有当他们走到极近的距离,才会发现这尊佛头其实是用无数空药瓶组成的。这件作品背后其实深藏了一个严肃的现实指涉:就在不久前,一些无良的药商用水灌注到注射瓶中,假充给儿童使用的疫苗,售卖给医疗机构。腐败和贪婪裹挟着这片土地,即使是佛陀那普度众生的圣容也不能避免侵蚀。
The exhibition begins with a dragon, a typical Chinese mythical figure and a symbol of the unity between man and nature. Unusually however it is made of straw and mud, both poor materials, which are a metaphor for the decadence of current values.
After this we are surprised by a giant head, recognisable as a Buddha's bust, that on closer inspection is seen to be made of empty medicine bottles. There is a direct reference to anews story in this work; not long ago people did not hesitate to produce counterfeit children's vaccines, selling bottles containing water rather than medicine. Corruption and the thirst for money creep in everywhere, even in the reassuring face of a Buddha.
第三间展厅的作品体现了吴达新的典型风格与技法,细钢丝经心手相应盘绕出似涂鸦又似草笔的画意,呈现为各种形象与符号。在这里,艺术家编制出巨大的象形文字,并将之扩展为三维存在,将图像与文字之间永恒的相依在画廊空间中展现。

In the third room there is a work created using a typical Wu Daxin technique, with thin steel rods which create doodles and hovering drawings which form figures and signs. This time he creates large ideograms, the eternal cohabitation between images and words, which in this case also assumes a three-dimensional form.

在最后一间展厅里,位于中央的是一件类似钟表的机械装置。它由许多转动的齿轮构成,共计7层、49级,500个齿轮。“七重”的塔状结构来自佛教经典,象征着生命之树。而它的造型灵感则来自吴达新家乡泉州的两座古代石塔的塔顶,对当地人来说,这两座塔既代表着神圣的结构,又承担着世俗的功能,既是宗教建筑,也是为港口水手指引航程的灯塔。
In the last room, at the centre of the space, there is a structure with moving cogwheels, a large clock mechanism consisting of 7 levels, 49 floors, 500 gears. A sort of Buddhist prayer machine, a tree of life. It is inspired by the spires of the two stone towers from the artist's city of Quanzhou, which are both heavenly and terrestrial structures, both Buddhist temples and ancient lighthouses for sailors.

在吴达新的作品中,始终贯穿了一个伦理的向度:后者体现为重归和谐的渴望, 但“进步”以其最残酷的方式在扰乱和抹除着事物的秩序。或许,艺术是一种能够重建秩序,再现和谐的巨大力量,和谐存在于人类所栖居的这片土地上,而非理想的天国。
There is therefore an ethical dimension running through the work of Wu Daxin, an aspiration to rediscover harmony, relationships between things which progress with its abrupt interventions often tends to obliterate. Art is perhaps the great force capable of achieving this renewal, of rediscovering a harmony which resides on earth for humankind and not in the celestial spheres of Nirvana.