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【博而励纽约】群展“远跡”将于3月15日开幕

2018-03-09 博而励画廊


BRUSH AND BEYOND
WU DAYU, YU YOUHAN, ZHANG WEI

curated by GAO MINGLU
March 16 - April 28, 2018

Opening Reception: Thursday, March 15, 4-7pm
24 East 81st Street, NY 10028


远跡

吴大羽,余友涵,张伟

策展人:高名潞

2018年3月16日至4月28日

 

开幕接待:3月15日下午4-7点

纽约曼哈顿,东81街24号


博而励画廊荣幸地宣布,由高名潞策划,集合吴大羽、余友涵和张伟的抽象画群展《远跡》,将于3月15日于画廊的纽约空间开幕。各自作为久负盛名的画家,集合了中国的传统及西方的艺术语言,这三位艺术家的作品展示了中国当代抽象画的演变进程。展览将呈现吴大羽作于上世纪五十年代至八十年代的布面油画及纸本画作,张伟绘制于八十年代的油画和近期新作,以及余友涵的最新抽象布面油画。

 

展览作品以抽象为主线,其创作来源于艺术家个人的生活经历及其对艺术的哲学思考。在中国的传统绘画转嫁于油画的过程中,吴大羽、余友涵和张伟的作品挑战西方艺术史上提出的一个悖论,即绘画作为一种视觉语言对立于它本身的物理属性。他们的笔触一如艺术家的内在心声,邀请观者与其对话,感受艺术家对自由与创造力的渴望,同时是他们深层的叛逆与独立精神,抵制固有的范式与框架。

 

绚烂的色彩铺满吴大羽的绘画,超现实的景观,扭曲的人体,以及夸大的静物,通过他的后印象、立体派合成的手法转述成其特有的抽象画面。余友涵的“圆圈”系列呈现的是一种宏观与微观并置的世界:观者徜徉其中会发现小桥、瀑布、流水、树林等传统山水元素;其细致入微的笔触及富有韵律的排布,喻以共生于一个世界的事物,生命的形式与能量的转移浓缩在这一圆圈之中。这是余友涵基于老子思想的视觉化思考:“道生一,一生二,二生三,三生万物”。策展人高名潞曾经评价道:“艺术家的关注点是‘无’或‘空’,区别于西方与古典写实二元对立的抽象概念,其抽象是邀请他者进入的,是‘笼天地于形内,挫万物于笔端’的道。而在张伟的作品中,观者看到的是宽大而信手拈来的笔触,方式惊人的色彩泼溅,在画布上涂以两三种颜色的胆识,时而渗透和扩大效果从而营造一种视觉张力。他借助画笔、利用摩托车轮,或是从上方几米的位置滴落来运用颜料的轻快动作,一切都显而易见,观众可由此想象制作过程中的瞬间。


吴大羽 / Wu Dayu

无题 128 / Untitled 128

1980

布面油画 / oil on canvas

41.5x32.5cm


生于中国不同时期的社会变迁阶段,这三位画家代表自二十世纪初的中国现当代艺术史的三代先锋艺术家。吴大羽在15岁时离开家乡宜兴来到上海,正值五四青年运动的前一年,时兴民主、平等和科学等西方概念以建设现代化中国。由此,吴大羽有机会赴往巴黎学习艺术,当时同行的知识分子与艺术家,包括邓小平,周恩来,林风眠,徐悲鸿等。作为第一代旅法艺术家,吴大羽在巴黎高等艺术学院师从布尔东学习西画,同时钻研毕加索、马提斯等后印象、立体、野兽派等风格。1927年回到上海后,吴大羽执教于杭州国立美校直到1937年日军第二次侵华战争爆发。赵无极、朱德群、吴冠中都是他当时的学生。他始终相信艺术是真理、道德和信仰的融合。在文化革命时期,他依然坚持个人的创作实践,秘密保存其作品直到八十年代后期才公开展出。因此,他的后期作品通常为小本开面;在今天存世的2000件作品中,包括150幅油画,其余的均为纸本画作,无一签名或注明日期。


张伟 / Zhang Wei

AC2

1984

布面油画 / oil on canvas

150x88.5cm


当四十年代共产党逐渐统一全国、毛主席当政之后,余友涵在上海出生和长大。原本五年的中央工艺美院的生涯因文化大革命拉锯到八年,其中包括一年的正规美术训练,以及数次上山下乡的学习旅途。因此,余友涵经历了整个毛泽东时代的中国,而毛主席肖像成为他记忆的一部分,是他第一手的生活经验素材。他对于西方的现代艺术认知最初来源于画册等印刷物,在七十年代初开始秘密绘制一些后印象派风景和肖像,1979年开始创作一些接近保罗·克利风格的抽象画。后在八十年代初有机会看到吴大羽和赵无极的画作,便开始思考中国抽象绘画的可能性。自八十年代的抽象实践后,余友涵开始创作其最富盛名的政治波普系列,即毛主席肖像并置于装饰性元素背景。直至最近,又重新回到抽象的绘画与探索。



余友涵 / Yu Youhan

抽象 2016.1 / Abstraction 2016.1

2016

布面丙烯 / acrylic on canvas

150x150cm


文化大革命带来的社会压抑同时激发了一批自学成才的青年画家们,他们来到北京近郊进行写生创作,互相讨论绘画技巧——张伟的绘画生涯就是这么开始的。由此,他与这些业余艺术家在七十年代初成立地下艺术家组织“无名画会”。在八十年代初,他开始探索抽象绘画。当时新政策的实施,国际关系与文化交流的增强,在全国范围内引发了新潮文化革命,出现了大批非官方的艺术家与艺术团体,如同是复活并延续二十世纪初五四运动的精神。在1986年,张伟获机参与纽约的《中国前卫艺术》展览。作为第二批旅美的中国艺术家,张伟曾长期住在东村,同时在街头绘制肖像画,结交各个文化背景的街头艺术家与社会活跃分子,直到2005年回到北京生活和工作至今。


Boers-Li Gallery is pleased to announce, Brush and Beyond, a group show of paintings by Wu Dayu (1903-1988), Yu Youhan (b.1943, Shanghai), and Zhang Wei (b.1952, Beijing), to be open on Thursday, Mar. 15th, at our New York location. Distinguished painters in their own rights, the three artists offer a case study of the evolution of Chinese contemporary abstract painting which embodies a dialogue with the tradition of Chinese landscape painting and the language of western art. This exhibition will include Wu Dayu’s oil paintings and works on paper from the 1950s, 1970s and 1980s, Zhang Wei’s oil painting executed in the early 1980s, as well as more recent pieces by Zhang and Yu Youhan.

 

Abstraction-themed, the paintings to be on view synthesize imageries forged upon the artists’ living experience and their philosophical understanding of art. Introducing the tradition of Chinese painting into the medium of oil, the three artists push the boundaries of painting as visual language vis-à-vis its own materiality. Inviting the viewer’s participation, their brush strokes speak for a shared aspiration towardsfreedom and creativity, resistance to order andlegibility,contestant with one’s impulsive rationale.

 

Composed of exuberant colors, Wu Dayu’s paintings register surreal landscape, distorted figuration, and blown-up still life in a post-impressionist-plus-cubist fashion. Yu Youhan’s celebrated Circle series present a worldview that is, at once, macroscopic and microscopic - while one identifies shapes of bridge, waterfall and tree contained within the circle, meticulously-applied strokes in rhythmic formation signify forms of life and energy coexisting in the world –a pictorial reflection on the Taoist proverb: “The one bears two. The two bear three. The three bear the ten thousand things”. Broad cursive strokes, splashes of paint in striking fashion,an audacity in applying two to three colors on canvas,at times, permeated and expanded upon impact tocreate a visual tension can be used to best describe theworks of Zhang Wei. His brisk movements in applying painteither through a brush, with his motorcycle wheels, orsimply dropped off from a few meters above are madevisible, allowing the viewer to imagine the moments oftheir executions.

 

Born at disparate stages of the social transformation undergoing in China, the three painters represent three generations of Chinese artists who led the development of Chinese modern and contemporary art since the early twentieth century. Wu Dayu arrived in Shanghai at the age of fifteen, one year before The May Fourth Movement, a.k.a. New Culture Movement, which calls for a modernizationlooking towards the West for cures (democracy, equality, science, etc.). In parallel, the nationalist government initiated educational programs which financed several intellectuals and artists to study abroad, including Zhou Enlai, Deng Xiaoping, Lin Fengmian, Xu Beihong, as well as Wu Dayu.As the first generation of Chinese artists who left for Paris in the 1920s, Wu Dayu studied paintings with Rouge and later sculpture with Bourdle at the École nationale supérieure des Beaux-Arts, and found himself immersed into avant-garde paintings by Picasso and Matisse, just to name a few. Returning back to Shanghai in 1927, Wu taught at the National Academy of Art in Hangzhou till 1937 when Sino-Japanese War broke out. Among his students are later-renowned painters including Zao Wou-Ki, Chu Teh-Chun, and Wu Guanzhong. Although Wu resumed his teaching position after the establishment of People’s Republic of China in 1949, he kept distance from the institution and its ideology, believing in art as embodiment of truth, integrity, and faith. In order to save his free-spirited works during the Cultural Revolution, Wu kept them off sight from the public until the late 1980s. Thus, his late paintings are mostly small-scale; regardless of the missing and destroyed works, Wu left behind about 2000 pieces - 150 oil paintings and the rest are works on paper, none of which was signed and dated.  

 

In the 1940s when the Communist Party took over the country and Mao came into power, Yu Youhan was born and raised in Shanghai. The Cultural Revolution turned his supposedly five-year training at the Central Academy of Art and Design into eight years includingone-year formal education and several group expeditions to rural China. Thus, Yu witnessed the whole Maoist era of China, and hence, the portrait of Mao is integrated in his memory and treated as visual material of his first-hand living experience. Educating himself about the western modern art mostly through reproduction, Yu was privately painting post-impressionist landscapes and portraits during the Cultural Revolution, and moved on to Klee-like abstraction in 1979. In the early 1980s, paintings by Wu Dayu and Zao Kou-ki caught his attention in exploring the possibilities of abstract paintings. After experimenting with abstraction in the 1980s, Yu focused on painting satirical imageries of Mao, his most-renowned series associated with Political Pop. Not until recently has Yu returned back to abstraction and come to terms with its core.

 

Alternatively, the social repression during the Cultural Revolution enticed several young liberals in Beijing to make sketches of their surroundings in open air – this is how Zhang Wei started to learn about paintings. Zhang began to paint en-plein-air in the early 1970s with a group of self-taught artists later to be known as the “No Name Group”. Falling out from the group, Zhang started exploring abstraction with some other artist fellows in the early 1980s. Following the fall of Mao, the new regime opened up cultural, social and economic policies, leading to a nationwide New Wave Movement when non-official artists and artist groups came into proliferation. As a return to and continuation of the May Fourth Movement, the revolutionary spirit was in the air towards the late 1980s. In 1986, Zhang Wei got a chance to participate in the exhibition, Avant-Garde Chinese Art, in New York. Among the second wave of Chinese artists travelling to the West, Zhang has lived in East Village and Staten Island, trying to make both ends meet by selling paintings on the streets. Appalled by the Tian An Men Incident in 1989, Zhang went to protest in front of the United Nations, along with other Chinese expats, and local intellectuals. Not until 2005 has he returned back to Beijing where he currently lives and works.


特别鸣谢 | Special Thanks







正在展出 | Current Exhibition 


北京 Beijing

On Paper

在纸上
20 Jan., 2018 - 18 Mar., 2018


纽约 New York

Qiu Anxiong: of Mountains and Seas

邱黯雄:是山海

28 Jan. - 11 Mar., 2018


即将展出 | Up-coming Exhibition


北京 Beijing

5 x Berlin
Thomas Kiesewetter,Jonathan Meese,Anselm Reyle,Thomas Scheibitz,Katja Strunz

Mar. 23th - Apr. 29th  2018.


纽约 New York

Brush and Beyond

远跡

Wu Dayu, Yu Youhan, Zhang Wei

吴大羽,余友涵,张伟

Mar. 15th - Apr. 28th 2018.


Tel: +86-10-6432-2620
Email: info@boersligallery.com

Wechat: Boersligallery

Weibo: BoersLiGallery 798 



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地点:美国, 字数:34758, 关于:美国 新闻, 次数:3



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