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从马王堆到山水赋——顾黎明艺术语言的转换

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参展艺术家:顾黎明
展览作品

    展览介绍

    展名:从马王堆到山水赋-顾黎明艺术语言的转换
    学术主持:张晓凌
    展期:2017年8月5日-9月23日
    开幕:2017年8月5日 下午16:00

    GU LIMING: Transformation of Abstraction
    Academic Chair: Zhang Xiaoling
    Exhibition period: August 5 - September 23, 2017
    Opening event: August 15, 2017, 16:00 pm


    展览评论

    二十世纪90年代初顾黎明在汉代马王堆服饰的图片及年画上看到了抽象语言的新方向,进而创作了《汉马王堆》系列和《杨家埠门神》系列,以此构筑起全新的当代文化意识,开启他重新寻找艺术语言和价值的逻辑起点,力图在西方当代艺术话语和意识形态之外的地方重建出归属于个人的、具有历史感的本土现代艺术语言。我们应该把顾黎明的作品放置在中国现当代文化艺术的发展历程中加以审视,则会显示的更清晰和重要。他始终如一地从文化格局中反思、探索自身的艺术境遇,并赋予建设性的启示作用,确立了他在中国当代艺术发展进程中重要的方位。

    In the early 1990s, Gu Liming observed a new direction for abstract language in the pictures and new year pictures decorating Mawangdui wardrobes from the Han Dynasty.  This prompted him to create the two series, Han Mawangdui and Yang Jiabu Door Deities.  Constructing a new contemporary cultural consciousness from this, Gu launched a logical starting point from which to rediscover artistic language and value.  He attempted to reconstruct a personal, historically relevant, local, and modern artistic language that did not invoke the discourse or ideology of Western contemporary art.  We should further review Gu Liming’s works in the context of the development of Chinese contemporary art and culture to further clarify and highlight their importance.  He has always reflected from the midst of cultural patterns, exploring his own artistic situations and providing constructive inspiration.  This has established a position of importance for him in the course of development of Chinese contemporary art.  

    近年来,顾黎明的艺术语言实验一直围绕这样的思考进行,创作出《山水赋》系列,使中国传统山水绘画的理学成为他面向当下自然的追问。这暗含着传统自然观的失落,也意味他通过多重叠加式的艺术语言揭示着当代历史观的破碎。无论顾黎明选择什么样的体裁,始终运用自己独特的抽象性的艺术语言形式来保持其内在的逻辑一致性,让作品中挟裹着历史感与现实性,即使那些狂乱的线条也兼具了传统文人艺术用笔的空灵蕴藉,民间艺术勾线的古朴稚拙与西方抽象表现性线条的放达不羁,把传统的传意和西方即兴再场性表现作了令人难以察觉的综合,呈现出具有历史含义和现实文化生存价值,又同时是全新的当代视觉图式。

    In recent years, Gu Liming’s art language experiments have revolved around this thinking, resulting in the creation of the Landscape-Fu series.  This has allowed the science of traditional Chinese landscape paintings to become part of his line of questioning regarding nature at the moment.  This not only implies the loss of a traditional view of nature, but also means that he reveals the fragmentation of contemporary historical perspectives through multiple superpositions of artistic languages.  Regardless of what kind of themes Gu chooses, he always utilizes his own unique abstract form of art language to maintain an internal consistency of logic, so that his works may include a sense of history and reality.  Even those frantic lines embody the eternal implications found in the brushstrokes of traditional literati art.  With the quaint and simple lines of folk art and the uninhibited qualities of Western abstract lines, he produces a combination of traditional transmissions and Western improvisational expressions that is difficult to detect.  In this way, he displays a value of survival embodying historical meaning and actual culture that also serves as an all new contemporary visual schema.

    顾黎明不动声色地完成了上述转换,和过去那个躁动、激进和愤世的斗士相比,他今日更像一个机智而沉稳的谋略家,随时都可能超越现有的语言实验范畴和成就。

    With a calm and collected composure, Gu Liming completes the transformation described above.  Compared to that restless, radical, and cynical warrior in the past, he is more like a witty and steady strategist who is able to transcend all existing language experimental scopes and achievements at any time.

    中国国家画院副院长、著名美术评论家 张晓凌   2017、7、17
    Vice Dean of China National Academy of Painting, Art Critic Zhang Xiaoling 2017、7、17