[北京]祖先的海——梁铨新作展现场

展览名称：祖先的海——梁铨新作展
艺 术 家：梁铨
策 展 人：黄笃
展览时间：2011年4月28日～5月29日10: 00～18: 00（星期一休息）
开幕酒会：2011年4月28日 16: 00～18: 00（星期四）
展览地点：偏锋新艺术空间-北京市朝阳区酒仙桥路798艺术区2号院B-11

偏锋新艺术空间很荣幸将于2011年4月28日至5月29日举办“祖先的海——梁铨新作展”，本次展览将展出梁铨抽象艺术作品近三十幅。

梁铨（1948—）于上世纪80年代出国，作为新中国第一代进行抽象艺术创作的艺术家，在当时中国抽象艺术处于空白的时期，通过他们的努力，使我们相信在辽阔的西方抽象艺术领域从事艺术创作，是完全可能的。梁铨能够把形式元素从具体生活和历史记忆中隔离出来，能够在所有的艺术实践层面上找到趣味要素和其他区别性单元。梁铨先生一直坚持简单、质朴、内心的艺术态度，几十年如一日的进行抽象艺术创作，在中西方抽象艺术概念的转换中，将“空”这样一个禅宗概念放入抽象水墨实验中，这样的立场或者出发点以中国的方式丰富了世界抽象艺术。
梁铨近年的新作探讨了细节的实在性，在对细节反复的琢磨和揣摩过程中，唤醒了对过去的记忆和情感。他在探索一种建构在细节趣味性上的综合精神。梁铨用传统的中国画的托裱方式将裁剪的宣纸一块块、一条条地反复叠加拼裱在亚麻布上，有时是水墨有时上色，而且让线条展开， 如此的拼贴叠加让平面一直保持了自身延展的可能性。同样这种态度彻底转换了传统平淡的创作方式，是对当代虚无主义的内在回应。梁铨的另外一些与茶有关的作品，更是对细节的深入强化，茶本身是需要品味的，它慢慢地渗透进身体之中，艺术家以这种知觉方式体现了文化的活泼、简单和活力。茶成为绘画的材料，它慢慢地渗透进宣纸中，形成了各种各样的印迹。在这些充满茶迹的作品面前，人们能够敏锐地感受到一种舒缓的节奏，一种婉转的抒情，梁铨创造了一种同现时代的快速相互抗衡的慢速度。
梁铨先生是中国抽象艺术和实验水墨两个领域中极其重要的探索者，是中国当代艺术不可或缺的一位艺术家。

Sailing~Afar——Liang Quan's New Works
Artist: Liang Quan
Curator: Huang Du
Duration: April 28th 2011～May 29th 2011 10:00～18:00(Except Monday)
Open Reception: April 28th 2011 16:00～18:00 (Thursday)
Address: PIFO New Art Gallery
          B-11, 798 Art Area,No.2 Jiuxianqiao Rd, Chaoyang District, Beijing, China
Tel: 86 13341168778, 86 10 59789562

Press Release
“Sailing ~ Afar — Liang Quan’s New Works” will be presented from April 28 to May 29, 2011 at PIFO New Art Gallery. Nearly 30 pieces of Liang Quan’s abstract works will be exhibited in this exhibition.
Liang Quan was born in 1948 and ventured abroad in the early 1980s. As the first generation of abstract artists and through their efforts, these artists make us believe that it is feasible to engage in the creation of art in the vast field of western abstract art during the blank period of Chinese abstract art. Liang Quan can isolate form elements from our concrete life and historical memory and find interesting factors and other different units through art practices. He has been persistent in his attitude and heart when engaging in the creation of art. In the conversion between the conception of oriental and western abstract art, he used the Zen concept of “emptiness” in the experiment of abstract ink paintings, which enriches the world of abstract art through this position or starting point in a Chinese way.
Liang Quan’s recent works creates a discussion and exploration of the reality of details. During the process of consideration and conjecture towards details, old memories and emotions return to his mind. He explores a comprehensive spirit on the interest of details. Liang Quan uses a traditional method to mount rice paper on linen piece by piece, sometimes using ink or dyeing, and allowing the lines to display one by one. This type of collage and overlapping maintains the possibility of self-expansion. Similarly, the traditional and simple method of creation is changed completely by this attitude. It is an inner response to contemporary nihilism. Other works by Liang Quan which uses the material of tea strengthens the details. Tea itself must be tasted and it will penetrate into your body slowly. The artist uses this conscious way to incarnate the loveliness, simplicity and vitality of culture. Tea, as a painting material, penetrates into the rice paper slowly and then forms various traces in the end.  When standing in front of a work of tea, people can keenly feel a relaxed rhythm and an unobjectionable expression. We can say that Liang Quan has created a slow-speed which can also contend with the rapid pace in modern times.
Liang Quan is one of the most important explorers in the fields of China abstract art and experimental ink and also an outstanding artist of contemporary art in China.

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