郭桢作品,还要求他们真正了解中国文化中那些

无论是从人形,文字、标识到图案交织重叠的广告招贴状的波普处理手法转换,还是将象征中国古典文化的山水与西方文明标志嫁接的表现方式,周湧一直在寻求一种有当代文化针对性的中国式的水墨语言方式,可以说他正越来越贴近他所追寻的这个目标。周湧的水墨图式延续了传统水墨的内部性质和技术因素因而具有了相应的历史意蕴,同时他又将其纳入当下文化情境当中对现实问题给予严肃关注。《小家庭》是想通过对家庭日常生活及对话的通俗化描绘来揭示今日中国社会日益强化的个性化生存状态及其面临的问题,作品因而又浸染着明显的批判色彩。这就给意欲介入当代的水墨艺术家以启示在传统语境丧失殆尽、日益网络化信息化的时代,经过适当处理的水墨语言完全有可能具备承载当代文化内涵的能力,从而在当代艺术中获得一席之地。

(一)

灰,非黑非白,也有黑有白。它承载二者却又处于中立地带。即将在纽约法拉盛市政厅开幕的“灰色地带”当代水墨四人展以灰色象征中国当代水墨联接历史与当下,兼容东西方文化的特殊地位。

一摘自《水墨实验二十年》皮道坚

文化开放动摇了中国画传统的价值基础和形态结构,但它并没有也不可能中断这个传统;开放改变了旧的准则但又导致了一些新的准则,并相应地带来了一些新的问题和解决问题的方式,我们没有必要像文化保守主义者和文化虚无主义者那样以无奈和仇视的眼光去看待文化和艺术间的冲突和碰撞。我认为正是在与无数其他文明的交流和碰撞中,中国画这一日渐衰老的传统才有希望重获生机,老当益壮。也正是本着这样的认识,我以积极的态度看待周湧以及和他怀有相同的文化使命感的当代水墨画家们的努力,因为正是在他们身上我看到了在当代文化情境中中国画发展的许多潜在的可能性。

对于当代水墨的探索和争论一直未曾停止过,其中对于应该保留多少传统笔墨而仍然可以被视为中国水墨大概是最有争议的话题。

Zhou Yong keeps searching a way to add a contemporary pertinence into the traditional Chinese Ink Painting: from repeatedly lining the body-shape, characters, logos and patterns in a Pop way, to transplanting Chinese classic hills and water sights into a Western cultural symbols. And he is getting closer and closer to the goal. We can find historical taste from Zhou Yongs painting since he preserves the internal feature and traditional skill of Ink Painting. But Zhou also instills the concern about current issues in modern society into his works. A Small Family exactly unveils peoples problems faced nowadays in China. And there is no doubt that the work gains a critical role in reality. Zhou points a direction to other Chinese Ink painters: under a world when tradition is shrinking and information is swelling, Chinese Ink Painting can still find a position in contemporary art world as long as it gains a trait of new skill.

黄专

由纽约蓝蓝策划的“灰色地带”四人展意在展现传统水墨在海外的存在状态和探索当代西方艺术语境下中国传统水墨的未来走向。四位在纽约居住多年的中国艺术家分别以自己独特的艺术语言叙述了对于当代水墨的不同理解和走向。

-- from Twenty Years for Experiment Chinese Ink, Pi Daojian

金莎娱乐,The opening of culture fluctuates the value and morphosis of Chinese traditional paintings. Luckily it did not and could not perish the tradition. The Opening has changed the old standard and made some new ones, and thus bring some new problems and ways for solving problems. We dont have to treat the clash and confrontation like the conservational or nihilist. In my opinion, such clash between new and old makes a chance for the traditional Chinese paintings to revive. And that is why I treat artist Zhou Yong and other Chinese Ink painters like him in a optimistic way. They have committed themselves into the traditional painting. And through them I discover plenty of possibilities for the Chinese paintings under the context of contemporary art.

郭桢作品

Huang Zhuan

早年毕业于中国美术学院国画系的郭桢 有极为扎实的传统国画功底,在其最新作品中大胆剥离具象,使用了全抽象的形式,但充分利用水墨特质,完整保留了中国水墨的情趣与特色。

(二)

<冬临荷塘> 大泽人作品

周湧的水墨画所关注的是每一个严肃的当代艺术家都会关注的课题:中国画艺术到底具不具备对当代文化问题和社会问题发言的权利和能力。这个课题的艰巨性在于它不仅要求艺术家真正掌握中国画这门语言的历史属性,还要求他们真正了解中国文化中那些真正具有价值的当代问题。周湧的艺术表现出了对这个课题的富有挑战性的热情和智慧。一方面他坚持在中国画内在的语言气质和技术方式中去寻找解决问题的理性基础,这使他的作品充满着极强的历史意识;另一方面,他又坚持将水墨艺术纳入到当代文化问题的思考过程当中,这又使他的作品具有极强的批判色彩。当然,也正是因为这种艺术态度,使他的作品中存着一些十分强烈和矛盾的美学因素,从而为我们提供了种富于挑战性的视觉经验。

理论体系完整的大泽人则在西方当代艺术的历史进程中寻找突破点,善用层次丰富的笔墨直接表达借鉴西方造型的各种对象,形成颇具个人风格的中西合璧画面。

文化开放动摇了中国画传统的价值基础和形态结构,但它并没有也不可能中断这个传统;开放改变了旧的准则但又导致了一些新的准则,并相应地带来了一些新的问题和解决问题的方式,我们没有必要像文化保守主义者和文化虚无主义者那样以无奈和仇视的眼光去看待文化和艺术间的冲突和碰撞。我认为正是在与无数其他文明的交流和碰撞中,中国画这一日渐衰老的传统才有希望重获生机,老当益壮。也正是本着这样的认识,我以积极的态度看待周湧以及和他怀有相同的文化使命感的当代水墨画家们的努力,因为正是在他们身上我看到了在当代文化情境中中国画发展的许多潜在的可能性。

陈向东作品

黄专

版画出身的陈向东以水墨为实验媒介,借鉴西画之光影明暗,构图打破传统国画格局,作品当代感极强却又保留了的传统水墨里的雅趣和意境。

周士凌作品

书法博士周士凌以自己擅长的书法为切入点,突出文字的符号性和线条的多种运用,模糊了书与画,东与西的界限。

此次画展旨在引起各方对当代水墨的关注和学术上的探讨,希望对于推动海外当代水墨能起到一定的积极作用。

Introduction

Grey: a color neither black nor white, yet stands as a neutral color containing both. Grey Zone Contemporary Ink Art Exhibition uses the color grey as a symbol to represent the special position of Chinese contemporary ink art--connecting both the past and present, yet including both Western and Eastern culture.

The exploration and discussion about contemporary ink never stops. Among all arguments, the most controversial topic is likely to be how much traditional ink skills should be retained in a piece to still be called Chinese ink.

Grey Zone Contemporary Ink Art Exhibition attempts to exhibit the current state of Chinese ink art overseas, as well as explore the future possibilities under the influence of Western art. Four Chinese artists, all long time residents of New York, express their understanding and art direction using their own distinct art language.

Zhen Guo  graduated from the Chinese painting department of China Art Academy many years ago, which gives her very strong skills in Chinese traditional ink. However, in her latest works she completely abandons realism, instead choosing abstract forms while still capturing the distinguished features of traditional ink.

Q.X.Wang, an artist with deep understanding at art theory, gets his inspiration from the Western contemporary art history, good at creating all the objects with Western art influence using very rich ink brushes skills, forms his unique style.

Xiangdong Chen, an artist with a background in wood block printing, selects Chinese ink as his new medium to explore. You can spot Western painting concepts in his works, such as light, shadow, three dimensionality, etc. He also evolved from the traditional Chinese painting composition, creating a very contemporary sense yet keeping the elegance and spirits of Chinese tradition.

Siling Zhou, who has a PhD in calligraphy, started with Chinese calligraphy—which he is very skilled in. He explores new forms of art, focusing on the multiple uses of script symbols and lines, blurring the lines between character and painting, West and East.

The purpose for this exhibition is to spark attention and exploration towards contemporary Chinese ink in a larger crowd. We hope to have a positive impact in the development of Chinese contemporary ink art overseas.

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