新国学网:“美好的状态”工作室画廊画廊空间开幕展_当代艺术-展览-画廊-作品-空间

编辑：王璐来源：雅昌网

　　工作室画廊很高兴地宣布我们将于2018年6月30日正式启用位于徐汇区兴国路上的画廊空间。

　　工作室画廊项目空间在过去的10个月时间里，先后运营了四位艺术家的驻地项目，多场艺术家座谈、创作体会分享，以及创刊艺术家讨论ARTIST TALK报纸等。旨在多维度、客观地呈现艺术家的真实工作状态及思考。

　　画廊空间将延续项目空间独立、客观、开放的艺术态度。未来将呈现一系列以艺术家工作思考为核心策展理念的展览。以此激励更多以踏实工作为基础，并积累了大量艺术思考的艺术家。

　　开幕首展《美好的状态》由雕塑家欧鸣担任策展，参展艺术家包括：刘家冬、李志维、文豪、周末以及张杨彪，展览媒介涵盖雕塑、新媒体和绘画。策展人以“美好的状态”这一主题作为回应前辈大师布朗库西毕生工作经验的感叹： “做雕塑并不难，难的是进入到一种恰到好处的状态去做它。”

　　开幕首展的酒会定于2018年6月30日(本周六)下午3点至7点，展览展期将从2018年7月1日持续至8月6日。我们真诚地希望观众们能从这次展出的作品中感受到参展艺术家们的美好状态与独特呈现。

　　Studio Gallery is pleased to announce the official opening of our Gallery Space on XingGuo Road, Xuhui District, this Saturday, June 30th.

　　In the past 10 months, our Project Space has successfully operated four Artists’ Residential Projects; many times Artist Panel Talks; Artist’s Work Presentations as well as launched ARTIST TALK NewsPaper, all of which aim to present the artist's real working state and thinking in a multidimensional and objective way.

　　The Gallery Space will continue the independent, objective, and open-minded attitude of our Project Space, showcasing a series of exhibitions focused on both artistic work and artists' thought processes. And in this way to encourage more artists who accumulated a lot of art thinking based on their solid work.

　　The opening exhibition, titled “The Right Mood” , was curated by sculptor Ou Ming. It will feature work by artists Liu Jiadong, Li Zhiwei, Wen Hao, Zhou Mo, and Zhang Yangbiao, including sculptures, paintings, and new media works. The curation was inspired by “the patriarch of modern sculpture,” Constantin Brancusi, and his core concept of “the right mood” which came from his life-time work experiences. “Sculptures are not difficult to make; what is difficult is putting ourselves in the right mood to make them.”

　　The opening reception will be held this Saturday, June 30th, from 3:00 to 7:00 pm, and the exhibition will be on show through August 6th, 2018. We sincerely hope the works on display will conjure a sense of “The Right Mood” in our visitors.

　　关于展览 About The Exhibition

　　《美好的状态》The Right Mood

　　"做雕塑并不难，难的是进入到一种恰到好处的状态去做它"。布朗库西的感叹犹如惊鸿一瞥，让在学生时代的我有种醍醐灌顶的滋味。它至少说明了两个层面的意思。首先做雕塑是关于人状态的问题;其次产生好的状态是有难度的。这么多年过去，我依然希望用美好的状态这一标题作为对前辈大师的回应。同时也希望大家能从这次展出的作品中感受到参展艺术家们的美好状态与独特呈现。

　　“Sculptures are not difficult to make. What is difficult is putting ourselves in the right mood to make them.”

　　The first time I encountered the quote above, I was taken aback by Brancusi’s conclusion; I had never considered sculpture’s greatest difficulty to lay in the attitude of its creator. Now, however, I believe the quote holds two different meanings: the first, that sculpture questions the conditions of being human, and the second, that it is difficult to find “the right mood” in which to create. Many years have passed since I first encountered Brancusi, and yet I still find myself hoping to use “The Right Mood” as a title, a homage to the great sculptural masters of my youth. Now, my hope is that the unique works and “The Right Mood” of the artists participating in this exhibition can be experienced by all.

　　《幻相》是用石膏粉压制成型。由于没有加入水，石膏并没有固化。我们看到的是不稳定的形象，非常的脆弱，微弱的力都能使造型破损。容易产生“一切象皆是虚幻”的佛系即视感。这件作品产生于作者无意间捏石膏粉的举动。身体产生的力传导到石膏粉上，形成一个个日常生活中的熟悉形象，从地面铺展开来，继续受到重力的影响，逐渐破碎，坍塌。简单的抓捏，使一个人的状态，以力的方式保留在石膏粉上，完成后继续受到重力的影响，不断变化。观众一直处于这两种力的联系与牵引中获得美妙的视觉体验。

　　“Illusion” was created by artist Wen Hao after filling a series of molds with plaster powder. Each structure is made completely of this powder; no water was added and the structures remain uncured. The resulting work is held together by the sheer pressure of the molds, leaving it incredibly fragile. Hao has recreated Buddha’s reasoning that “everything exists as an illusion” by producing these works

艺术家 Artist：文豪 Wen Hao

幻相 | illusion

石膏粉 | Plaster

尺寸可变 | Variable dimensions, 2010

　　inadvertently; no motion was intentional. Molded by the push and pull of the body, the plaster took on a familiar shape: that of a bottle. Gravity will eventually break the plaster apart, returning the material to its initial state. This simple act of molding has allowed Hao’s current mood to remain embedded within his work, even after gravity takes effect. The audience now has the pleasure of experiencing the visual joining of these two forces, of gravity and of the human body.

幻相 | illusion (作品细节图 | Detail View)

艺术家 Artist：张杨彪 Zhang Yangbiao

展览现场图| Exhibition view

　　《不锈钢杯子》体现了作者流畅，而娴熟的表现能力与技巧。对主题的表现性描述成为作者最大的驱动力。色彩与笔触的美感都基于这样的态度而存在。但《CD》是完全不同的。喷笔的运用使每一层的颜色如何叠加;如何相互作用变的清晰可见。过程的透明性清晰的反映出作者的状态。由此我们可以感受到，作者完全沉浸在制作一张绘画的过程和方法之中。并且画面中CD的尺寸就是真实CD的尺寸。而不是像《不锈钢杯子》去表现其中的主题。这种客观性使绘画更趋于是一个物件。与其说他在画画，不如说他在制作一个物体。因此，《CD》更像一个独立于描绘主题与作者之外的物体。

　　“Stainless Steel Cup” reflects the fluency, skill, and technique of its creator, whose driving force was to produce an expressive subject. This approach is best exemplified by their brushwork and choice of color. In comparison, “CD” differs completely. The use of an airbrush caused each color to be superimposed, making clear the interactions between layers. The transparency of this method reveals the painter’s mood, allowing the viewer to become completely immersed in their process. In addition, the size of the CD in the painting is equivalent to the size of an actual CD. This objectivity makes “CD” more of a “thing” than a painting, and in turn, perhaps the artist more of a “creator of the physical” than a painter. Better yet, “CD” is more an object than a depiction of the artist’s mood.

不锈钢杯子 | Stainless steel cup

木板油画 | Oil on board

24x30cm，2018

木板喷漆 | Spray Lacquer on board

20x20cm，2018

手 | Hands

油画板 | Oil on canvas panel

24x30cm，2018

　　《手》是一次传统绘画经历失败的结果。开始还是传统意义上的绘画实践。而后面的黑色线条，则是完全不同的态度。批改作业似的提示大家“刚才失败了”。这两种不同的状态统一在一张画面中，使得绘画游离在传统绘画实践与宣言似的态度之间，产生了独特的美感。因此《不锈钢杯子》《CD》《手》呈现了张杨彪在面对绘画时三种完全不同的状态。

　　“Hand” is a failure of traditional painting. The initial work was created using classical techniques, but the black lines that follow completely differ in mood. To point out these “mistakes” would be a reminder of the artist’s failure. These two opposing moods, of the “correct” and the “incorrect,” free the piece from the declarative attitude of traditional painting. United, they result in a unique type of beauty. “Stainless Steel Cup,” “CD,” and “Hand” represent the three moods of artist Zhang Yangbiao.

艺术家 Artist：周末 Zhou Mo

展览现场图 | Exhibition view

　　每个人都有幻想的时刻，自己成为明星，站在一个舞台上，万众瞩目。那是一种非常的时刻。幻想是一种营造。在自己没有，或不可能实现的领地添砖加瓦，营造出一个可能性的自我。周末的系列P图作品就是源自一个人正常而普通的需求。她把自己的头像拼贴进网络上无意间看到，却觉得有趣的图片中。

　　Everyone has imagined a moment in which they’ve become a star. Standing on a stage in front of oceans of people, all eyes trained on them, this moment is extraordinary. Fantasy is a kind of construction. In the areas of life one cannot reasonably fulfill, fantasy allows the construction of another self, one who can achieve the unlikely. Zhou Mo’s series of photographs originate from people’s ordinary, everyday needs. After accidentally Photoshopping her profile picture over a photo found on the internet, Zhou found the result quite interesting.

漂亮女孩 | pretty girl

收藏级艺术微喷 | Collectible-class giclee print

60x40cm，2016.08.12

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收藏级艺术微喷 | Collectible-class giclee print

50x40cm，2016.09.17

唱歌的女孩 | singing girl

收藏级艺术微喷 | Collectible-class giclee print

57x40cm，2016.11.08

　　《唱歌的女孩》原图来自一个电影中的女主角，她把自己的头像覆盖在女主角的头上。自己成为了那个人。看起来有点自信，游离在主流价值之外，且独立的一个人。她说那个女孩的发型和她很像，而且自己也喜欢唱歌，才产生了P图的动机。大大的头，小小的身躯，除了比例的不协调;还有原图本身具有的戏剧感和自己头像所蕴含的日常语境的冲突。这一切共同营造出了一个幻想出的自我存在语境。这个语境被我们看到，非常强烈，让我也开始了幻想。

　　In her piece “Singing Girl,” the original image was sourced from a movie, but Zhou covers the head of the movie’s heroine with her own. The result is someone with self-confidence, someone outside the mainstream, someone who’s independent, and someone who is neither Zhou nor the original character. Zhou says her motivation for the piece came from the similarities between herself and the heroine: they have the same hairstyle and both love to sing.

艾玛周 | Emma Zhou

收藏级艺术微喷 | Collectible-class giclee print

49x40cm，2016.06.10

　　《艾玛.周》的原图是一个明星。她认为明星以日常生活的姿态示人是很少见的。原图本身的魅力促使她把自己的眼睛替换了上去。《漂亮的女孩》是因为她认为图片中人物的身材很好。这样的作品还有很多。我从周末的作品中看到了她的敏感，从一张张网络图片中，发现了人的某种可能性的存在状态。并用自己的形象使人可能性的存在状态清晰的揭示出来。

　　Another work, titled “Pretty Girl,” showcasing a woman with incompatible body proportions, embodies a sense of drama, one created by the oddness of the original photograph combined with the everyday context of Zhou’s profile picture. The shared construction between these images creates a strong fantasy of the self, one that when seen, allows the viewer to take part in the illusion. Zhou has many pieces like this one, which was created out of admiration for the subject’s figure. The original photograph used in “Emma Zhou” is of a celebrity. Zhou believes it rare for stars to reveal their daily lives to the public, and thus felt compelled to replace the woman’s eyes with her own. From Zhou’s work, one can see the sensitivity of her subjects; she’s discovered a new kind of person, a new kind of mood, through her fusion of the public and the personal.艺术家 Artist：李志维 Li Zhiwei

艺术家 Artist：李志维 Li Zhiwei

展览现场图 | Exhibition view

　　李志维的作品很小，玲珑而别致;空间感非常的细腻。这种精细体现在空间结构的准确上。两个啤酒瓶口的碎片被倒插在一起，使本身的空间被相互的穿插这一摆放而变的清晰可见。最上面细长的玻璃瓶碎片，也更加使空间的节奏变的丰富而优美。啤酒瓶口的工业生产痕迹和破碎的裂痕很自然的统一在一起。

　　Li Zhiwei’s work is small, unique, and exquisite; her sense of space is incredibly delicate. This meticulous attitude is reflected in the accuracy of her spatial reconstructions; the fragments of two beer bottles joined in such a way that their mouths seem woven together, the most slender piece of each bottle mounted on top of the other. She’s created a rich, beautiful rhythm, fluidly unifying the traces of artificial manufacturing with the bottle’s natural cracks.

无题 | Untitled

玻璃瓶 | Glass bottle

10x4.5x3cm，2015

无题 | Untitled

玻璃瓶 | Glass bottle

11.5x9x5cm，2015

无题 | Untitled

玻璃瓶 | Glass bottle

12.5 x 5 x 3 cm

到角落里去 | Go To The Corner

现成品 | Ready-made objects

尺寸可变 | Variable dimensions， 2015

　　一包包如同垃圾一样的包裹堆在墙角，很不起眼。这是刘家冬的作品《到角落里去》。他在自己的工作室中常常处于焦躁的状态。面对材料，他的诉求很强烈，感觉可以做点什么，但时常又是无计可施。久而久之，人处于一种极度的焦躁状态。直到有一次他拿起扫把，把工作室里的碎片，小的材料，垃圾，统统集中起来，包裹在一起。工作室瞬间变的整齐而有序。看着快速整理出的包裹，又把它们转移到角落，他的内心才获得了一种平静。通过一个行为，状态被改变。

　　Bags of rubbish-like parcels are piled on top of one another in the corner, rending the structure almost unnoticeable. This is Liu Jiadong’s “Go to the Corner.” Liu often finds himself in an anxious mood when working: sometimes he confronts his material and is filled with inspiration, and other times he finds himself powerless in the face of his work. Over time, one may find themselves so filled with anxiety that, like Liu, they reach for a broom and sweep their studio clean, gathering together all the garbage and spare material scattered across the floor. The result is a neat, orderly studio. But only after placing each parcel of rubbish into one of the room’s corners did Liu finally feel at peace. He shows that through actions, one can change their mood.

艺术家 Artist：刘家冬 Liu Jiadong

展览现场图 | Exhibition view

　　《无题》是他十一年前的作品。显然作品的特点与《到角落里去》截然不同。《无题》中的报纸，雨伞，凳子等等，这些材料具有双重的身份和语境。它们不像《到角落里去》是一个行为的结果，并且有缓解焦躁的功效。它们更像空间中的诗歌，具有象征性。这两件作品呈现了作者艺术语言的变化。

　　“Untitled” is a work Liu created eleven years ago. The characteristics of the piece differ greatly from those of “Go to the Corner,” clearly displaying newspapers, an umbrella, and a stool. In “Untitled,” these materials hold multiple identities and contexts. They do not relieve anxiety like “Go to the Corner,” but rather create poetry out of space, assigning beyond-ordinary meanings to each object. These two works represent how Liu’s language as an artist has changed.

无题 | Untitled

现成品 | Ready-made objects

尺寸可变 | Variable dimensions, 2007

　　回到我们之前所说，“恰到好处的状态”。反过来想，人的状态并不是时刻都是美好的，恰到好处的。我们可以猜想，文豪在无意之间捏石膏粉前一定有大量失败的尝试。张杨彪可能到现在也不觉得《手》是一件严肃的作品。那种体验可能还不符合他既有的对绘画的理解。周末在大量阅读网络图片时，突然产生P图的动机时，她究竟感受到了什么?李志维是在什么状态下?把我们司空见惯的碎玻璃酒瓶营造出丰富而细腻的空间感受。刘家冬在经历打扫卫生似的行为过程后，所获得的内心平静，完全改变了他一贯对待雕塑的看法。这些疑问和思考，正是我想通过这次展览带给大家的。

　　Returning to “The Right Mood,” we realize that people do not always feel “just right.” It’s safe to assume that Wen Hao experienced many failures before accidentally shaping a piece of plaster correctly. Zhang Yangbiao may not have felt his piece “Hand” was a serious work of art until now, simply because the experience of creating the piece was inconsistent with his understanding of traditional painting. What did Zhou Mo feel when, after looking at numerous photos online, was suddenly inspired to create her series of Photoshopped images? What mood is Li Zhiwei currently in? Using something as common as broken glass, she created a rich, yet delicate spatial experience. After cleaning, Liu Jiadong experienced a sense of inner peace that completely altered his view of sculpture. These questions and reflections are exactly what I hope to evoke in this exhibition’s visitors.

　　文/欧鸣

　　Article/Ou Ming

　　Translated by Ellie Locke

　　开幕现场 Opening Day

　　2018年6月30日，工作室画廊_画廊空间开幕首展《美好的状态》如期开幕。新空间的开幕，也意味着工作室画廊在继项目空间和艺术家讨论版块之后又多了一个让更多人可以加入进来，共同找到“美好状态”的精神家园。

　　这也是工作室画廊_画廊空间选择这样一个主题作为开幕首展最主要的诉求，因为我们相信：艺术最重要的不只是技术，更不只是某个重要的艺术家，而是一个人如何能进入一种美好的状态去真诚投入地工作!