EXHIBITIONS | TABULA RASA GALLERY

  • Planet Giegling Tour 2017 Beijing by Shadow Play

    2017.2.24
    In february we will take off for a two month adventure all together. this includes all the people that have beenwith us from day one: painters, light technicians, sculptors,musicians, curators, djs, dancers, friends and creators of all kinds will join to visit 18 cities all over the world, to come as close as possible.

    The tour will include seated concerts,silent discos, club nights, exhibitions, performances, sculptures, installations and many other surprises. all of this will take place in some of our favorite venues that will be transformed into planet giegling.

    On the whole journey all of us will participate in every event, either performing or through other creative contributions. the seated concerts will be dedicated to all the giegling non-dance music where all the live playing artists will join forces and collaborate and improvise as the giegling ensemble. the exhibitions will showcase a broad spectrum of what has been produced within the collective beyond music. therefore collective and individual works will cometogether to show the roots of that atmosphere and to explore new methods.

    For all of us this tour is the biggest challenge so far and we are hoping to see a lot of open and excited eyes, ears and hearts ready to dive deep into the forests of planet giegling.

    It is a return to the place we are coming from. and we are happy to take you there.

    But this as well is another beginning. it is the declaration of what and how we want to create, and a chance to explore all the unlived parts of this collective body.

    Taking off to planet giegling on febuary ,2017:

    ateq, birds&tapes,christian, dirk, dj dustin, edward, frauke, holger, kettenkarussell, konstantin, leafar legov, otto,schaaly, vril

    See you soon :);)
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  • Self portrait

    2016.09.24 - 2016.10.25
    Tabula Rasa gallery is pleased to announce artist Xiao Hanqiu’s solo exhibi-tion, Self-portrait on view from September 24th, 2016. This is her first solo show at the gallery, and exhibition will continue until October 25th, 2016.

    Reading Xiao Hanqiu's paintings is like following an anonymous climber traversing through steep cliffs in a rocky dreamscape. The artist projects all she knows about herself and the world onto her canvases.

    Xiao is attracted to the mystic symbols and the narrative-oriented composition of me-dieval alchemist illustrations. She employs various symbolic hand gestures to explain her intentions, to enhance a mystical sphere. Botanical Illustration also serves as an important source of inspiration for Xiao Hanqiu's painterly explorations, especially how illustrators of these flora and fauna specimens endeavored to maximize objective likeness and minimize subjective intentions. However, precisely because of this clini-cal and methodical approach to illustration, viewers of a botanical illustration can ap-preciate a variety of plant specimens, which in the natural world would live in wildly different locations, cohabiting harmoniously on the same page and not without of-fering a unique sense of aesthetic pleasure. Xiao brings this compositional relation-ship to her works as well. In Letter, she divides her canvas in four equal parts in which she painted a landscape, one open eye, one closed eye and a pearl. In Sphere, she juxtaposes two decorative cement spheres, a piece of silk ribbon and a magpie.

    This exhibition is called Self-portrait but an actual self-portrait is nowhere to be found. The artist has become spellbound to certain objects of fascination. Hair, fabric creases, rocks, the lawn... Xiao Hanqiu is intrigued by the dense and complex materi-ality of these things and they make regular appearances in her paintings. Cakes, choc-olate and apples - what many would consider comfort and happy food - come up in her works too. However this is not due to any sense of sweetness or pleasurable asso-ciations. On the contrary, the artist suffers from violent allergic reactions to them and cannot touch them in real live. She is fatally attracted these forbidden objects and feel compelled to paint them again and again. Over time, Xiao's allergens have become part of her symbolic language. Therefore it could be said that Xiao Hanqiu's paint-ings are a type of narrative self-portraits, just like her poems which serve as verbal self-confessions. In her poems, she is also good at listing unrelated but pleasing phrases together giving them a fresh linguistic relationship and readers a vast space for imagination.

    "That which embodies a mysterious and inspirational quality in its plainly recounted events is termed a story"

    “Your hair has become a sharp weapon

    Cutting through me lightly

    Precise, orderly, filled with love”

    “The tears of youth are like flower petal rain from hell”

    Her poems are presented along side her paintings in this exhibition forming what we call Self-portrait.

    Xiao Hanqiu (b.1986, Beijing) received her master degree from Chelsea College of Art and Design, London, UK in 2011. Her recent solo exhibitions include, Self-portrait, Tabula Rasa gallery, Beijing, China (2016); Xiao Hanqiu, Yifan House, Bei-jing, China (2014). From 2009 to 2014, Xiao Hanqiu also participated in several group exhibitions in China and overseas, such as Spotlight, Bund 18 gallery, Shang-hai, China (2012); From Zero to Hero, Star gallery, Beijing, China (2009); Independent Media Exhibition, L.I.M.E., London, UK (2008).
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  • CONTEMPORARY ART FAIR

    2016.11.10 - 2016.11.13
    Yuan Yuan and Wang Ziyue, a painter and a video artist, both born in 1980s. Through completely different methods and styles, the works of both artists reflect two major themes concerning young artists today: Yuan Yuan is almost exclusive introspective, making an explicit point of not caring the outside world; Wang Ziyue on the other hand, acting as an artist and dramatist, investigates urban relocation and WWII veteran issues, diving right into some of the toughest of our social problems. Through presenting these two artists, we hope to bring something new and push the boundaries of the art system.

    Yuan Yuan, born in 1984 and studied oil painting with Yu Hong at CAFA. She had her first solo exhibition True False Objects in UCCA in 2009, soon followed by another solo exhibition A World of yesterday and tomorrow at Chambers Fine Arts in 2010 and Yuan Yuan:New Works in Beijing Commune. In 2015, Yuan Yuan had her recent solo exhibition Half-way into the Garden in Tabula Rasa Gallery. Yuan’s works are often interpreted as refined, exquisite with a particular brand of melancholy. Since her completion of MFA in 2015, figures started to disappear from her paintings, often hidden in outdoor scenes, or blown up to a detail occupying an entire canvas. Yuan’s works echoes some of the Epicurean themes in that the inner peace and balance outweighs one’s social responsibilities and ambitions.

    Wang Ziyue, born in 1988, studied with Qiu Zhijie at China Academy of Art, and participated in the Shanghai Biennials in 2010 and 2012. Since 2011, her creative focus has been on the topic of urban relocation, creating works through her long-time interest in social theatre productions. The work we propose to present Floating Life in Crevice, was presented in Shanghai Biennials. Wang is a rare example of video artist with a keen interest in social issues. It takes her up to two years to complete a project as she tirelessly researches and investigates her topics. Wang is also a remarkable curator, the 2015 exhibition 30 Years of Experimental Theatre in Shanghai Ming Yuan contemporary art museum was curated by her.

    www.art021.org/index.asp
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  • Elemental Landscape

    2016.07.16 - 2016.09.16
    The concept of landscape is rich and plural, rendering its meaning in a constant state of flux. As an object in artistic creations, landscape has never failed to inspire and contribute to boundless materials and imagination into the realm of Chinese and Western art. As artists carry out the application of photography, landscape possesses a significant organization mode resulted from the interaction between given external and internal factors, which shows complex relations between artists and the world, between landscape and artists.

    The cultural differences between Chinese and Western landscape art in contrary, proves to be the catalyst in promoting creation and thinking towards photographic practice and research on the theme of landscape. In Chinese culture, the art of Shan Shui(mountain-water) represents the interactions between the universe and all living things, along with Chinese traditional philosophy and spiritual thoughts exerted an imperceptible and profound influence on some of the works of the budding young photographers.

    By employing landscape as the theme, the Elemental Landscape has decided to display the works of Chen Xiaoyi, Lin Shu, Lu Yanpeng and Xu Hao to show how aesthetics, traditional philosophy and literal moral in Chinese Shan Shui paintings play their parts in the process of these reproductions. Despite the differences in forms and ways of expression among theses four artists, the essence of Chinese aesthetics and western mediums permeating with each other, however, is revealed at the same time. The exhibition seeks to stimulate audiences’ perception of landscape by applying the interactions between images, different materials and installations, propelling the mind into the distance, the universe of ever-changing landscape.
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  • Almost Art Project 2016

    2016.06.09 - 2016.06.19
    We are pleased to announce the Almost Art Project 2016 is coming back to 798 art district, Beijing. it will be hold in Tabula Rasa gallery, Linda gallery, and Ming Xuan art space. 45 Chinese outsider artists and 20 comic artists will be presented.

    This year, the comic section is again curated by artist Yan Cong, under the scene poster. breaking out from a single exhibition space, this year AAP will unite three galleries in 798 art district, more exhibition space means we can present outsider art on a larger scale, and showcase their creativities in more comprehensive manner. Outside of 798 art district, the Huang Jia Di store of One Way Space is also taking part of AAP, hosting outsider artist Wang Hua solo exhibition.

    On the opening day, the 2nd edition of our publication, ART SU 2016 will be available for sale at the exhibition. On June 11th, a public comic drawing event will be hosted at Ming Xuan gallery, organised in conjunction with Vice China.

    A panel discussion on outsider art will be hosted on June 14th at the UCCA, titled Brut Force. A panel of international experts will discuss the current state and development of outsider art as part of our culture ecosystem.

    In the west, galleries and art fairs dedicated to outsider art have existed for decades, forming a mature market system, in China, the discovery, promotion and sale of outsider art had been a blank until the creation of Almost Art Project in 2015. Commenting on the awkward position of outsider art, the founder of AAP Sammi Liu says” in China, we desperately lack of people who can discover artists, document their works, conduct research, present exhibition, and promote their works to art market, we have to start from ground zero.”

    The found of AAP has filled this urgent blank, we will continually to find outsider artist, to promote their works and lead the conversation on outsider art.

    ARTISTS:

    A Lan,Chen Ni'er,Feng Cangyu,Guo Xiurong ,Jiang Xiaorong,The King of Kowloon,Lai Saji ,Li Qing,Li Zhongdong,Liu Xiufen ,Julia Long,Nathan Zhou ,Shao Bingfeng,Shidan Zhenpengcuo,Tang Meng,Tang Suyun,Wan Tiejuan,Wang Baozhu,Wang Hua,Wang Jiuqin,Wang Zhen,Wei Erqiao,Xia Weilun,Xiaozi ( Yichao Chai ),Yang Yang ,Zha Ba ,Zhu Jianhua,Nanjing Outsider Art Center,Jin,小龙花,怪猴TKL,Wang Hang,Huo Xiaozhi,pigao,anusman,能尖日,tantan,李九九,Liao Chen,贰叔树,左新,象牙塔,Tao Benyuan,Si Wei,Yan Cong,Mengli Qi
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  • Zero for Conduct

    2016.04.22 - 2016.05.29
    Since the word “future” entered exhibition titles and news headlines, people in the art world started to feel anxious about their next exhibition, instead of what’s for lunch. We always ex-pect too much creativity from artists; however, the over-consumption of “newness” and the unconditional embrace of crossovers with broader fields are in fact proof of the creative ener-gy deteriorating inside. Media and the exhibition cycle only exacerbate the anxiety. It appears that the whole art world is going through a slow phase, all we see are “bad students”.

    The freedom and instant nature of sharing information changed the cognitive behavior of a generation. The strong thirst for knowledge and anxiety for being unique, are disappearing; Therefore, we expect a clear and effective discussion on behavior of time creation. Hereon, Zero For Conduct is neither a test nor a judgment. I want to appropriate the name of Jean Vi-go’s movie to intimate an interaction between individual and system; at the same time, providing a response to the so called “attention economy”. When the self-creation of pio-neers begins to normalize, verging into banality, how should we look at the end of subjectiv-ity in art?

    The cross-over between dance, body performance and visual art has become a classic way to collaborate. In “Peep Stream”, live performance evolves into an instant “watching-performing” loop. Under the framework of “exhibitionism”, a breakthrough of time space is achieved by live streaming on the Internet, subconscious act is revealed and intersected inside different “windows”, thus fundamentally changing the binary distinction between real life and performance.

    Shenli is an architect and an active blogger on Tumblr. His photography is based on the in-vestigation of material and space. Proposing a discussion of “superflat” in three-dimensional space, Shenli has found a solution in photography: By using one material to mimic the other, under a specific lighting, the physicality of object has been transformed.

    Kim Laughton is an artist living in Shanghai. To him, language is an estrangement of infor-mation, the unreadable Chinese characters become a visual element, which attracts him. Like some kind of ambiguous graffiti, they act like symbols in his images. Kim Laughton is ob-sessed with the abstraction and malleability of of images. He scanned all sorts of parapherna-lia from his daily life, recombined them on a computer and then rendered them in lifelike 3D.

    Wang Newone is obsessed with building super realistic scenario in video works. The deli-cately designed figures look like characters in a video game. Their actions are absurd, pre-tending to do things against a backdrop of unrealistic objects coming and going. Artificial sound effects sometimes appear to interact with the imagery sometimes not, creating a virtual space based in reality. Aided by computer imaging, different materials came together to rep-resent a virtual but appreciable reality.

    In comparison to the embrace of technology in Kim Laughton and Wang Newone’s works, aaajiao ‘s creation is more like a nostalgic discussion of the death of pre-internet era or a re-examination of the fast evolving technology. Tennis for none found a rhythmic aesthetics in one of the earliest computer games. In When a website dies, a ghost like hands moving unin-tentionally. In some respect, the way these information appear to us is like ancient civilization to digital images, algorithm to AI, are all elegy of now expressed in future tense.

    With the advent of Pinyin input method, the action of writing down words has been trans-formed to a movement of fingers. Song Ta decides to pick up the discarded intermediary – pen, to figure out the meaning of handwriting today. The artist has researched the composi-tion, methods and strokes of traditional Chinese calligraphy, taking account of contemporary practices of calligraphers in China, Japan and South Korea, as well as combining lessons from graphic designs and typography, all in the service of creating a new system of making callig-raphy. Song Ta’s work, Gel Pen, calligraphy in the age of Mark Twain denies the cultural and social symbols of calligraphy, and promotes a democratization of the art form with an open attitude, cunningly escapes the constraint of the scholastic calligraphic tradition.

    Writing and dreaming take us away from our screens. Reading and looking create a channel for sensory experience in Wang Buke’s works. The wisdom of others form the base layer of his works. By a method akin to self-psychoanalysis, he creates the color of his dreams, trans-lating knowledge and experience to a visual presentation. Transient and subtle feelings, or uncategorizable sensory experience and expressed in an easily relatable way.

    In making this exhibition, I, the curator whose day job is a critic gets close and personal with the subject of my research. My method of evaluating art changes from the analytical, the sub-jective, ex post facto to one that is closely involved with the creative process. Curating moves a critic’s point of view closer to that of the artist.

    Writing is speech curtailed. Likewise, curators ought to stop before reaching a conclusion, yielding more space for the viewer to think. If every exhibition is a timed examination for the curator, this time, we are risking getting zero for conduct. Much remains unsaid.

    Mengsha Zhao

    About the Curator:

    The exhibition curator Zhao Mengsha is an art editor, writer and critic. She started writing about art in 2009 and now serves as senior editor for the Beijing-based bilingual art journal LEAP. Her interests include visual art, sound/performing art, contemporary art and media. Apart from media publishing and writing, she is also a singer/songwriter in her spare time. This exhibition originates from the curator’s observation and study of interdisciplinary art makers and subcultures.
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  • Walk Unafraid

    2016.03.05 - 2016.04.10
    Metal nails, ropes, threads, rice paper, gauze, and wax, these seemingly unrelated things are important materials in Xiao Hua’s works. She recombining them, sewing them onto fabric or paper, she is continually reopening her emotional scars and fixing them again. The neutral tones of gray, black and white in her works are like the ashes of exploded emotions, binding all of artist’s works together. Xiao Hua is not trying to render anything atmospheric, however, her process of repetition is a way to complete her self-cognition. Instead of the paint brush, sewing is what the artist considers to be the power, and in her own words “weakness is strength, and the strong is nothing”. Eventually the wrinkles and scars on the fabric and paper will show the delicate beauty of the sediments of time.

    Xiao Hua’s works manifests her obsession with materiality, the handmade, and pure visuality. As she says in her artist statement, “There is no politics or exalted feelings in my works, just my subjective expressions and soliloquize.” In preparation for the series From 1 to 1000 Meters, Xiao Hua was working day and night, sewing fishing lines and gauze onto the paper. Some pieces were shredded by the artist initially, with irregular edges showing the artist’s anxiety. Xiao Hua has unconsciously used up 1000 meters of fishing lines and decided to finish this series.

    In the series of Time, People and Mountain and other large-scale canvas, the artist pushes her use of materials and minimalist aesthetics to the extreme. Starting around the end of 2015, the Wood Box series is a continuation and further experiment of extending her paintings to three-dimensional space. Meanwhile, Xiao Hua is creating an extremely large installation art at her Tabula Rasa gallery, finishing on the opening day.
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  • Half-way into the Garden

    2015.11.22 - 2016.01.03
    “Flight from the world in dark times of impotence can always be justified as long as reality is not ignored, but is acknowledged as the thing that must be escaped.” (Hannah Arendt)

    Garden is human order imposed on plants. A garden’s joy and beauty lies both in its realism to nature and its artificiality. In Yuan Yuan’s world, a garden is an escape from the noisy and the ugly. Only in a garden can she experience the disappearance of time, a pre-condition for her freethinking and imagination. In a way Yuan Yuan has found her way to Epicurus’ garden, because she concentrates on nature, on her independence and on the importance for her to determine and reach her inner peace and balance. Yuan Yuan’s canvases feel soothing and unaffected, but on closer examination, you find an emotion balanced on the edge of dreamy romance and isolated melancholy. Perhaps this is why her paintings can have such a strong force with viewers and have a lasting conversation with them.

    Yuan Yuan started painting girls she know both personally and online as early as 2009. Making art about youth and adolescent energy no longer interests the artist now. She is fascinated by painting close ups, because a particular part of a person can often be more powerful and more identifying than the whole. In this exhibition, these close ups are enlarged and juxtaposed in various garden scenes. The missing of full-body figures make us feel their presence ever more, an reaction carefully arranged by the artist.

    Yuan Yuan started experimenting with juxtaposing materials and images early on. This time she has used made objects to extend her paintings to the three-dimensional space. These color-coded objects correspond to different elements in her paintings, achieving a striking vibrancy and initiating a dialogue from her canvasses.
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  • Chang Xin Dian Project II

    2015.09.25 - 10.25
    On September 25, 2015, Tabula Rasa gallery is pleased to present two solo exhibitions: architect Li Mo + Kong’s Chang Xin Dian Project II and artist Wang Ziyue’s Relax, The Force Has Got Your Back. Each exhibition in their own way aims to break a homogenized understanding of urbanization. They are open until October 25, 2015.

    Li Mo + Kong chooses Chang Xin Dian, an old railway hub as their research subject. Located in the outskirts of Beijing and dissected by the railway, Chang Xin Dian has witnessed the development of China’s industrialization era. The five-mile-long Chang Xin Dian Street has been a commercial center for at least one century. Architect Li Mo + Kong maps the food stands along Chang Xin Dian Street in an ultra-realistic architectural drawing, and presents the area’s the development and social structure as a role playing board game.

    Chang Xin Dian Project II grew out of the art initiative Between the 5th and 6th Ring Road in Beijing, which is named after the area where over 40 artists conducted field investigations. This exhibition is an extension to their participation in the above initiative as Li Mo + Kong plans to develop the Chang Xin Dian Project on a long-term basis. A letter to their artist friend Zheng Bo included in the exhibition is an attempt to open up a new creative dimension between theory and practice.

    In China’s path towards modernization, the dichotomy between urban and rural areas has been discussed in areas such as law, economics, culture and social issues. An increasing number of artists are also getting involved in this topic, addressing issues such as housing demolition, migrant workers, urban slums etc.. Tabula Rasa gallery has selected two architects and an artist whose works on this topic serve as two significant examples of art intervenes in society.
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  • Relax, The Force Has Got Your Back

    2015.09.25 - 10.25
    On September 25, 2015, Tabula Rasa gallery is pleased to present two solo exhibitions: architect Li Mo + Kong’s Chang Xin Dian Project II and artist Wang Ziyue’s Relax, The Force Has Got Your Back. Each exhibition in their own way aims to break a homogenized understanding of urbanization. They are open until October 25, 2015.

    In Relax, the force has got your back, artist Wang Ziyue sets her eyes on the more public topic of housing demolition. It is an area where she has been working on since 2012. This exhibition presents her works from the last three years. Wang’s multi-screen video works show the evolution of the artist’s understanding of demolition as her involvement deepens. In her latest work Time Will Swallow Its Own Tail, she simulates the process of a demolition in a jocose way. The other two works Mist in Half Wall and Floating Life in Crevice first appeared in the Shanghai Biennale.

    In China’s path towards modernization, the dichotomy between urban and rural areas has been discussed in areas such as law, economics, culture and social issues. An increasing number of artists are also getting involved in this topic, addressing issues such as housing demolition, migrant workers, urban slums etc.. Tabula Rasa gallery has selected two architects and an artist whose works on this topic serve as two significant examples of art intervenes in society.
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  • Orientation and Transportation

    2015.10.31 - 11.15
    2015年10月31日 Tabula Rasa 画廊为台湾现代绘画运动的重要参与者与代表性人物——李锡奇先生举办其大陆首个回顾展“本位与变异”。展览邀请台湾艺术史学者萧琼瑞策划,从早期版画、中期漆画以及近期水墨三个部分展开,回溯李锡奇先生近60年的创作轨迹,并由此带出整个台湾现代艺术发展的脉络。

    本次展览展出李锡奇的早期版画包括“时光行”、“本位新发”、“后本位”,这些作品既是个人艺术语言的探索,也是台湾现代艺术的最初尝试。作为台湾最早运用民间元素进行后现代表现的艺术家,“本位新发”及“后本位”系列作品皆是东方意象波普风格的展现。 “时光行”则兼备浪漫、怀古、轻灵与厚重并置的多元美感,又有着书法顿挫扬的呼吸,以及彩带舞动飘扬的律动,是李锡奇版画创作的一再变调与超越。

    李锡奇的漆画创作则是对中国古老传统展开的一系列新探索。策展人萧琼瑞认为这个系列作品“巧妙地运用漆画光滑与皱纹的对比,赋予漆画新生的力量,时而如风起云涌的山川气晕,时而如汉彩本位的富丽堂皇,是艺术家在当代艺坛最耀眼的创作类型。”本次展出的“风起、水涌”正是其中代表作。

    第三部分水墨作品“墨语”则是艺术家进入成熟阶段后的又一次的创作飞跃。李锡奇巧妙地利用水性与油漆交叠相斥的原理,透露出宣纸底下木板与底漆的质感,显示出一种岁月流浪,记忆斑驳的历史沧桑感。

    正如策展人萧琼瑞所言:“版画、书法、漆画、水墨……,都是传统的老东西,那是一种文化‘本位’的坚持,但李锡奇在坚持‘本位’的不变立场中,又以他非凡的创意、敏锐而果敢的行动,在本位/变易/超越的路径中,闯荡出崭新的现代面貌;书法已非书法、漆画已非漆画、水墨更非水墨,但书法、漆画、水墨仍在,这正是李锡奇成功的关键。在‘传统←→现代’的繁复辩证、拉距中,李锡奇以他丰美的作品,提出了最具典范性的贡献,也成为战后台湾现代艺术运动中最具生猛活力与创意思维的一位杰出艺术家。
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  • Inframinc - Aura of Nature

    2015.10.31 - 11.15
    2015年5月30日,Tabula Rasa画廊迎来其首展,“虚薄艺术:让自然的灵晕显临”。Tabula Rasa源于拉丁语,意指被书写的石板在擦拭和磨白后重新开始的状态,画廊借用此概念正是为了表达我们希望颠覆已有的观看经验,力图为新的艺术实验提供可能性的理想。首次展览我们选择了尚扬,邱世华、梁铨、刘国夫、姜吉安、沈勤六位艺术家的新作,意在表达这样的主题。邱世华看似空白的画布实际上是抽象的写意作品,它在不同空间和光线下呈现的无穷变化不仅恢复了中国画“游”在其中的观看方式,也扩展了平面绘画的纬度。尚扬将树脂材料用于山水则将瓷器温润的历史感带入了架上绘画之中。这几位艺术家并不年轻,却在中国山水画与西方媒介之间寻找到了某种新的表达方式。

    正如策展人夏可君所说:“自从波德莱尔发现现代性的根本问题在于面对短暂无常与永恒持久之间的矛盾以来,西方现代艺术后来的发展,不过是对二者更为彻底地分裂,缺乏一个连接的中介环节;而本雅明指出现代艺术受到机械复制或者电子虚拟技术的影响,光晕或者灵晕不再,只是偶像明星与商业广告的虚幻闪现,尽管他偶尔思考过自然启示灵晕的时机,但基本上被遗忘;直到阿多诺试图从自然中发现未被人化的救赎的密码,重新发现自然美,即让自然成为有限与无限断裂的连接中介,自然的灵晕才约有显露。但除非我们回到中国艺术的自然化精神,如同董其昌所指出的:’以自然之蹊迳论,则画不如山水;以笔墨之精妙论,则山水决不如画。’重新召唤自然的灵晕,才有着美学的新方向与艺术的可能性,走出艺术终结的危机。”
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