首页 > 数码 > 草场地“进行时空间”6月17日“我叫野丙—邓猗夫个展”开幕式值得期待

草场地“进行时空间”6月17日“我叫野丙—邓猗夫个展”开幕式值得期待

关于進行時空间 

進行時空間专注于推广以风景与静物为主的中西文化结合、且中国文化特点显著的当代艺术作品。着重发掘当下人文环境下的艺术家对于生存环境的独特表述,我们称之为对景致的探索。完全以当下人的视角看待我们的日常事务、所处环境,摆脱既定的“经典”路线。力图展现一种真实的状态,而非从画面上展示我们应该怎样生活,所以景致是现实主义的,甚至是实用主义的,绝非理论的、观念的图式,是一种全新的且需要引导的受众观赏体系。我们要表达的内容都在艺术品本身,而这就需要艺术家是思考型的、具有丰富的人生阅历、有读书习惯、庞大的阅读量,具备独立的思想体系。艺术家首先是思想家,这是我们选择合作艺术家的最重要的标准。我们的这个理念试图以泛文化的概念探索更多可能性,通过更多的艺术形式佐证我们的态度。同时以具有实验性、独立性、专业性的先锋戏剧、音乐、诗歌、出版等文化项目的互动搭建起中欧文化艺术交流的桥梁。而桥梁的建设则是空间的第二个课题,我们希望能够通过空间既定的体系,不断完善不断扩大交流的能力,无论是泛文化的、还是地域性质的交流。

2016年,進行時空間会陆续推出饶松青、郎小杞、于东升、雷燕等多位艺术家的个展。在展览期间,空间会同时邀请收藏家及评论家做相关学术主题的沙龙。目前,進行時空間正在和北欧的艺术项目负责人洽谈中欧艺术家交流进驻事宜,空间希望能够推荐优秀的中国艺术家去北欧,也将优秀的北欧的艺术家邀请来中国,该项活动预计会在下半年全方面展开。除此以外,空间也将会不断地开展诗歌研讨会、现代音乐演出、小型实验戏剧等活动。


 展览名称:我叫野丙—邓猗夫个展 | I am Yebing---Solo Exhibition of Deng Yifu

艺术家: 邓猗夫

Artist: Deng Yifu

策展人: 梁健华

Curatar: Liang Jianhua

出品人: 艾艾

Producer:Lareina

开幕时间:2016年6月17日16:30-18:00

Opening Time: 16:30pm-18pm, 6.17, 2016

展览时间:2016年6月17日-2016年7月2日

Exhibition Dates: 6.17-7.02, 2016    
       

叫野丙——邓猗夫个展

文/梁健华


    邓猗夫被叫做“野丙”是他还在广州时候就在朋友间叫起,名字究竟来自哪就只能问他自己了。他2000年开始从事独立创作的那个时期广州还没有面向他们的艺术系统。与其说广东有关涉及社会的艺术传统,还不如说在艺术家和日常之间并没有一个艺术系统作为中介,创作中更多是出于一种自发,以及在直接回应周围。邓猗夫的工作里,也直接面向日常的习惯。因此在早期的作品里无论是平面作品和装置,作为小镇青年,世界工厂、世俗生活的皎洁仍然是他工作的关键词。

 

    2006年移居到北京后,作为一个有地方根底的艺术家,这种视角仍在延续。因此在迷彩系列作品里,我们很难将它们看作是一个纯粹的绘画创作。作品的生产方式也允许他人代劳。邓猗夫一直强调这些迷彩画面不是一般意义上的绘画。他公开强调这是“生产”出来的,不存在那个把自己延伸到笔触、造型上的主体。作品更多是通过机械劳作与自身艺术经验建立一个距离。让图像和绘制过程变得可被观察或感知。这些检视除了面对周围,也涉及到他的教育经历:如何成为一个画家,即艺术家。

 

    当邓猗夫把工作指向绘画训练中最基本的范本时。绘画教育和他的复杂关系才得以被察觉。这其中关涉了在平面中如何构造一个可信的形体、如何把自身投射在画面中等等曾经被迅速抛弃的经验。这些检索不同于历史学的研究,艺术家并不会得出某种真相,而是逐渐建立出对绘画的好奇。它包含着跃跃欲试和动手去证明些什么的冲动。

 

因此邓猗夫在2012年左右逐渐转入真正意义上的绘画。不同于进化论式对“创新”迷恋,此时回到绘画会面对如何在画布上建立形体,它能意味着什么,如何从新找到那个让自己信服的意味。除了产生一个能被认出的形象外,一切携带在画面中的痕迹,应该如何安排?为什么这样的安排是“合适”的?需要重新建立。这时一个萝卜或者一个头部都可以在起点处被研究。进而原来不言自明的“能力”也变得岌岌可危。因此与其说邓猗夫不是在展现绘画能力,而是展现建立一种绘画能力的过程。

 

I am Yebing---Solo Exhibition of Deng Yifu

The nickname of “Yebing” was called by his friends when Deng Yifu was still in Guangzhou, but about the source of it, only he himself could give an answer. In 2000 when he began painting independently, there was not any art system oriented for him and his peers. It would be truer to say that there was not any art system as an intermediary between artists and daily life than that in Guangdong there was no art tradition related to society, and the creation of art was more spontaneous and directly responded to the surroundings. The work of Deng also directly responded to the daily habits. Therefore, in the early works, both graphic works and devices, of Deng, a youth in the township, the connection between world’s factory and secular life remained to be the keywords.

 

After he moved to Beijing in 2006 as an artist with grass-root basis, this perspective continues to exist. Therefore, in the works of camouflage series, we can hardly think of them as painting in pure sense. The production of works can also be entrusted to others. Deng Yifu has been emphasizing that these camouflage painting pictures are not painting in general sense. He stressed publicly that they were “produced”, and there was not such a subject that was extended to the strokes and the shape. The work is more like to create a distance by mechanical labor and the artist’s own artistic experience and make the picture and the drawing process able to be observed or perceived. The review is exposed to surroundings and also related to his educational experience: how to become a painter, i.e. an artist.

 

When Deng Yifu directed the work to the most basic example in the painting training, the complex relationship between painting education and him was able to be noticed. It has something to do with the experience on how to construct a credible body in the plane and how to cast himself in the picture and the like which has been quickly abandoned. The retrieval differs from that of history, as the artist does not reach some truth, but gradually establishes a curiosity to painting. It contains the itch to have a try and the impulse to prove something.

 

So, around 2012, Deng Yifu gradually shifted to painting in the real sense. Unlike such obsession in “innovation” in the evolution theory, coming back to the painting, you will be faced with how to create a body on the canvas, what it means and how to newly find the meaning that can convince yourself. In addition to working out an image that can be recognized, all the traces carried in the picture, how should they be arranged? Why such an arrangement is “proper”? Need to be re-established. Then a carrot or a head can be studied at the starting point. Furthermore, the original self-evident “capacity” will become precarious. So, Deng Yifu is more like to show a process to build the painting ability than to show the ability to paint.

    
黑日 110x81cm  布面油画 Oil on Canvas  2016        


拼搏 80x100cm 布面油画 Oil on Canvas  2012 
我叫刘德华  75x65cm  布面油画  Oil on Canvas 2013


戴礼帽的小贩100x55cm  布面油画 Oil on Canvas  2014

石膏像(维纳斯)三色迷彩布面丙烯200x135cm 2009隐士  77x65cm  布面油画  Oil on Canvas  2016制鞋厂里的两位女工 The Shoe Factory’s Two Woman Workers       数码迷彩布(ACU) 丙烯  Digital Camouflage Cloth(ACU),Acrylic 135 x200 cm  2007迎客松1  110x81cm布面油画 Oil on Canvas  2016
西瓜   数码迷彩布 丙烯 Digital Camouflage Cloth(ACU),Acrylic  78.5x99.5cm  2012
色彩静物(陶罐苹果和梨)Color life (jar and fruits) 数码迷彩布面丙烯  Digital Camouflage Cloth(ACU), 135x200cm 2009
几何体-1 Geometrical body 1 数码迷彩布面丙烯 Digital Camouflage Cloth(ACU),Acrylic 135x200cm  2009
风声    数码迷彩布 丙烯 100 x 140cm 2011



                     

Venue:進行時空間

       ING SPACE

Address: 北京市朝阳区草场地艺术区327号  

          NO. 327, CAO CHANG DI ART ZONE, CHAO YANG DISTRICT, BEIJING

Telephone: +86 (10)57153687 / +86 153-2139-4613

Opening Hours: wednesday-sunday, 10am-6pm

Curator: Lareina

Email: INGgallery@163.com



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