自然基准
Nature as Measure
Artist: Jenny Perlin, Mary Simpson, Ryan Mrozowski, Cui Fei, Zhao Zhao, Julia Bland
Curator: Candice Madey
展览时间:2019年9月21日– 2019年10月27日
开幕式:2019年9月21日(周六)下午3: 00
地点:北京前波画廊
地址:北京市朝阳区草场地红一号D座,邮编100015
联系电话:+86 (10) 5237 0742
Exhibition Time: Sep 21, 2019 – Oct 27, 2019
Opening Reception: 3 pm, Sep 21, 2019
Venue: Chambers Fine Art
Add: Red No.1 – D, Caochangdi, Chaoyang District, Beijing 100015, China
Tel: + 86 (10) 5237 0742
前波画廊荣幸地宣布将于2019年9月21日举办艺术家群展《自然基准》,展览囊括了六位艺术家包括崔斐、Jenny Perlin、Julia Bland、Mary Simpson、Ryan Mrozowski和赵赵,他们都是以自然的规律和结构作为作品内容的来源。尽管他们对于网格和参数的运用,使得作品富有理性、规律且有序的结构,本次展览在面对人工设计的不合理性的同时,也探索了日常自然规律中所带有的政治和社会意识。在这里,对系统的运用实际上是对于艺术界及其它领域的理性美学和有序系统带有一贯优越性的质疑。这次展览也可以被称为“自然文化”,因为每位艺术家都通过对自然环境的研究,发出了对跨文化,永恒和人类活动的思考。该展览与维斯•杰克逊(Wes Jackson)的书籍同名。作为可持续农业发展运动的先驱,杰克逊在1967年创立了土地学会。在这本书籍中,他探讨了生态的自我调节与农业所需的人为调节之间的紧张关系。
此次展览由来自纽约Stellar Projects 的Candice Madey策展。Candice Madey于2008年在纽约下东区创立了On Stellar Rays画廊,且在近十年来一直致力于为绘画、摄影、雕塑、行为艺术、声音和视频领域的艺术家提供资源,增强国际认可。由于与其他领域经常进行互动,使得她的展览与音乐、诗歌和文学进行独特的对话。Madey于2018年停止了画廊的相关工作,并创立了Stellar Project,一个策展与艺术咨询的平台,且更多地与艺术家和收藏家进行更加实验性的与场地和内容更相关的策展计划。2019年,作为创始董事会成员,她被任命为坐落于纽约哈德逊山谷新成立的River Valley Arts Collective的第一位策展人。Madey先前在韦克斯纳艺术中心和佳士得拍卖行任职,并多次为私人收藏和企业提供咨询。她拥有法语和艺术史学士学位以及俄亥俄州立大学工业管理硕士学位。
▲ Cui Fei 崔斐 (b. 1970)
Manuscript of Nature V_006 4自然的手稿之五(006)4, 2016
Tendrils, pins on panel 藤枝
148 x 88 cm (58 1/4 x 34 3/4 in)
Jenny Perlin的作品涉及电影、视频、装置和绘画,对历史、文学和语言学进行了跨文化研究。在一系列用油画棒绘成的红色,橙色和黄色画纸上,Perlin表述了哲学家亨利•伯格森(Henri Bergson)的主张:橙色是红色与黄色之间的组成部分 。通过对色谱的隐喻,伯格森找到了一种方法来帮助他的读者视觉化地理解关于持续和直觉的复杂概念。通过Perlin的研究,其作品呈现了科学,语言系统形成的历史和文化因素以及我们对自然和人为环境的主观感知。影像作品《遗言》是由3000幅用记号笔在复印纸上手绘组成的动画片,也是Perlin对尚•考克多(Jean Cocteau)的著名电影《奥菲斯的遗嘱》(The Testament of Orpheus)(1960)中一个美丽场景的诗意翻拍。Jenny Perlin生活和居住在纽约。她于1993年在布朗大学学士学位,1998年在芝加哥艺术学院获得硕士学位,并于1999年参加了惠特尼独立研究项目。美术馆参展包括维也纳美术馆(2017)、洛杉矶LAXART(2017)、纽约惠特尼美术馆(2016)、克罗地亚里耶卡现代美术馆(2015)、俄罗斯圣彼得堡当代艺术车库美术馆(2015)、纽约古根汉姆美术馆(2011)、麻省现代美术馆(2011)、广州三年展(2008)。其作品被西雅图美术馆、纽约现代艺术博物馆、纽约惠特尼美术馆等美术馆收藏。
Julia Bland的绘画广泛地运用了传统和新兴的纤维和油画颜料技术。她裁剪、渲染、编制、涂抹、燃烧、拼贴和缝合她的画作,使其组合成一个复杂且与其形象密不可分的结构。她的作品通常包含着常见的可识别的图型,如船只,蛇和手。独特的自然环境常作用于她的色彩选择以及构图中,并将她对时间和地点的感官体验传达到她作品的图案和构图中。Julia Bland生活和居住在纽约,他于2008年在罗德岛设计学院本科毕业,并于2012年在耶鲁大学艺术学院研究生毕业。近期及未来的展出包括雪城埃弗森艺术博物馆(2020)、约翰•迈克尔•科勒艺术中心(2019)、纽约州河谷艺术合作社(2019)、芝加哥Andrew Rafecz (2019)、纽约Helena Anrather画廊(2019)、纽约Stellar Projects(2017)、纽约On Stellar Rays(2015)等。
▲ Mary Simpson(b.1978)
Off Hours闲暇时光, 2015
Oil on canvas 布面油画
167.5 x 155 cm (66 x 62 in)
Ryan Mrozowski对人类怎样使用自然中的图形,以及这些图形怎样被人们的视觉感知所干扰,触发联想,及产生心理图像这类现象有着深厚的兴趣。他使用收集来的常见的植物和动物图片,游戏般地将他们配对,逆转,排列组合成令人意象不到的顺序。他的作品挑战了人们对感知是直接和不受外界影响这一固有认知,并且暗示了人类对自然世界构建中的主观和文化影响。Ryan Mrozowski生活和居住在纽约。他于2003年在印第安纳宾夕法尼亚大学获得学士学位,2005年在普拉特艺术学院获得硕士学位。近期展出包括纽约Chapter画廊(2019)、伦敦Simon Lee画廊(2018)、纽约Lyles & King画廊(2018)、柏林Nordenhake画廊(2017)、洛杉矶Hannah Hoffman画廊(2016)、伦敦Arcade画廊(2016)、纽约On Stellar Rays(2015)等。
▲ Zhao Zhao 赵赵
Control 控制,2019
Marble 大理石
Ryan Mrozowski is interested in how natural imagery is adopted for human use and the optical systems that connect, or disrupt, visual activity and mental images. Mrozowski approaches his work with a sense of play, using found and familiar images of plants and animals in unexpected sequences, pairings and inversions. His paintings and oil stick drawings challenge the notion that perception is ever direct or unmediated, and by extension, suggest the subjective and cultural nature of human-constructed designs of the natural world. Ryan Mrozowski was born in 1981 in Pennsylvania and lives and works in Brooklyn, New York. Mrozowski’s work has been shown internationally and has been the subject of numerous solo exhibitions, including shadow nor prey, Galerie Nordenhake, Berlin, Germany (2018); Ryan Mrozowski, Hannah Hoffman Gallery, Los Angeles, CA (2017); Numb Tongue, Arcade Gallery, London, UK (2016); Open, Other, End, On Stellar Rays, New York, NY (2015); Flotsam, The Gardens, curated by Art in General, Vilnius, Lithuania (2014); A mouth that might sing, Pierogi, Brooklyn, New York, NY (2012). His work is part of the Schwartz Art Collection (Harvard Business School), Progressive Collection, the Vulcan Art Collection, the Eric Fischl Private Collection, and the Adam Clayton Private Collection.
Zhao Zhao has frequently used repeated forms or actions in his work as a form of insistent social and political commentary. In his recent project Control, the familiar gourd is shown in great numbers, a crop and a symmetrical form with great significance in traditional Chinese culture, most notably as an auspicious object and ritual instrument among Daoists and a vessel symbolizing spirituality among literati in the past, and now a token suggesting good fortune and blessings. However, here the gourds are shown growing in formed molds, revealing the commercial growing industry that attempts to create the perfect product for the mass markets. Far removed from its natural, or even a normal agricultural environment, Zhao Zhao questions the effects of forced conformity and commercialization on blessed objects, seeing a parallel to how human beings, both individually and collectively, are shaped by the authoritative power. Born in Xinjiang, China, in 1982, Zhao Zhao graduated with a BFA from the Xinjiang Institute of Arts from the department of Oil Painting in 2003. He was named one of the 25 Artists to Watch by Modern Painters in 2014. In recent years, Zhao Zhao has become a pioneer among the post-80s contemporary artists and won the attention of the international art community. Major exhibitions include the 21st Century National Museum of Art in Rome, Italy (2019), Yokohama Triennial Exhibition, Japan (2017); Beijing Minsheng Art Museum (2016); Galleria d'Arte Moderna in Milan(2016); PAC Padiglione d’arte Contemporanea, Milan, Italy (2016); Shanghai Minsheng Art Museum, China (2015); MoMA PS1, New York, USA (2014); Tampa Museum of Art, FL, USA (2014); 19th Biennal of Sydney, Australia (2014); Crossman Gallery, University of Wisconsin-Whitewater, Whitewater, USA (2014); Ullens Center for Contemporary Art, Beijing, China (2013); ); Pinchuk Art Center, Kyiv, Ukraine (2013); Groninger Museum, Groningen, Netherlands (2013); Museum für Asiatische Kunst, Berlin, Germany (2013); Contemporani Diputació de Castelló, Spain (2011), etc.
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