動態和記錄

六 2019

绘之手

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绘画是什么?英文中的drawing和painting在中西方的语境里是否有不一样的理解?绘画可以是立体的吗?绘画可以是动态的吗?……

绘画作为重要的艺术表现手法,其在艺术历史的舞台上呈现了多种多样的方式,如艺术书写、涂鸦、剪纸、折纸或艺术家笔下那些粗犷和细腻的线条,对绘画形式的探讨也是一个永恒的话题。而在当代艺术中,作为观念的表达,绘画更是一个具有无限形式的乐土,一个极其多样化的创作世界。

正如巴勃罗·毕加索所说:“显然我们永远都不会知道我们会画什么……但是当我们开始的时候,就会诞生一个故事,一个想法……就是这样”。

为从各种形式出发探讨绘画这一主题,唐妮诗画廊将展览《绘之手》作为长期展览项目,致力于展出各种形式的绘画作品,推动中外艺术家之间的交流,拉近彼此之间的关系,并碰撞出新的火花。

自2007年以来,《绘之手》现已成为画廊的标志性展览,在此前五次活动的成功基础上,于这个夏天在其上海空间举办第六届《绘之手》群展,再次为参观者呈现海量艺术家们的作品,深入探讨绘画这一主题。展览将于下周六6月22日开幕,展览将持续至8月31日,此次群展汇集的众多艺术家包括(排名顺序按照艺术家姓氏首字母排列):

aaajiao,Jef Aerosol,冰娜,Bianca Argimon,Tarek Benaoum,让·夏尔·德·卡斯泰尔巴雅克,陈萧伊,杜晨艳,Guillaume Barborini,陈英杰,Ben Edmunds,龚辰宇,Cecile Guettier,郝经芳 & 王令杰,Jean-Samuel Halifi,Julia Haumont,黄晓亮,金峰,阿布杜尔·拉赫曼·卡塔纳尼,Kim Laughton, 李吉英,李洪波,刘水洋,留意,刘真辰,Ludo,马立华,马良,马文婷,毛冠帅,Taras Milosevic,Salomé Partouche,查尔斯·佩逖伦,Etienne Pottier,塞巴斯蒂安·普雷绍克斯,蒲英玮,激进文献,雷米·瑞夫,乔治·鲁斯,安德烈·萨耶瓦,沈凌昊,沈玮, Siu,Soco,宋兮,孙彦初,王欣,夏弢,项昊,杨伊扬,游迪文,于朕,张翀,赵宏,张可可。

来自世界各地的艺术家 – 从Ludo到马良 -,每位艺术家都各自邀请了另一名艺术家参与其中。在此次展览中,我们不仅能发现丰富的图画语言,还能发掘随着“绘画”一词的多种解释而演变来的其他形式的作品,其中包括由线,深墨水,剪纸,折纸,书写等构成的作品,甚至是幽默呼应上世纪80年代出现的绘画工具(如魔法屏幕)的雕塑作品。《绘之手》提供了一幅关于这一主题完整而饱满的画像,给予了艺术家演绎作品的完全自由。

在画廊的白色墙壁上,作品在充满活力和侵略性的呈现方式下,互相碰撞、互相补充。 在这个展览中,观者需要想象作品之间以及艺术家之间的联系,尝试猜测谁是由谁邀请的…… 观者会不断地被意想不到的媒介所惊讶,或者被精致的铅笔线条所诱惑。绘画汇集了艺术家们不同的表达方式,作品们也相互呼应。

六 2019

Transmergence #01

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Transmergence est un nouveau format d’exposition du FRAC Alsace, qui veut rendre visible la scène artistique régionale et transfrontalière tout en questionnant sa définition et ses frontières.

L’exposition Transmergence #01 rassemble cinq positions artistiques complémentaires qui explorent le concept de Terre en tant que système
complexe et matière ayant pris forme.

Motivé(e)s par des approches biographiques ou géographiques, les artistes abordent le sujet de manière conceptuelle, formelle et intuitive,
en partant de la matière.

Les œuvres interrogent, recherchent et transforment la matière. Par la geste artistique, la pierre, le sel, le papier, le safran, le pollen de lotus, la chlorophylle, la lumière et l’eau parviennent à une morphologie surprenante, une nouvelle matérialité plastique et visuelle, une forme et une formulation propres.

De choses simples d’apparence émergent des enregistrements et dialogues complexes.

Avec les artistes
Guillaume Barth
Jingfang Hao & Lingjie Wang
Jochen Kitzbihler
Maren Ruben
Capucine Vandebrouck

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Transmergence bezeichnet ein neues Aussstellungsformat des FRAC Alsace,
welches die regionale, grenzübergreifende Kunstszene sichtbar machen möchte und zugleich ihre Definition und Grenzen hinterfragt.

Transmergence #01 versammelt fünf komplementäre künstlerische Positionen, die den Begriff der Erde als komplexes System, als Materie, die Form angenommen hat, untersuchen.

Meist biographisch- geographisch motiviert, vom Material ausgehend, nähern sie sich dem Thema konzeptuell, formal und intuitiv.
Die Werke befragen, erforschen, und transformieren.

Durch die künstlerische Geste finden Stein,Salz, Papier, Safran, Lotuspollen,
Chlorophyll, Licht und Wasser zu überraschender Morphologie, zu neuer plastischer und visueller Stofflichkeit, zu Form und Form-ulierung.

Es entstehen Aufzeichnungen und Dialoge des Komplexen im scheinbar Einfachen.

Mit :
Guillaume Barth
Jingfang Hao & Lingjie Wang
Jochen Kitzbihler
Maren Ruben
Capucine Vandebrouck

五 2019

漫游者之歌

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漫游者之歌 | A White Space Odyssey

5.25 – 7.14, 2019

艺术家:高磊、高露迪、何翔宇、简策、郝经芳 & 王令杰、Christine Sun Kim、李燎、李姝睿、刘诗园、刘文涛、刘辛夷、钦君、石至莹、谭天、童文敏、Ignacio Uriarte、王强、王海洋、王拓、谢帆、杨健、翟倞、张子飘

策展人:沈宸

“当你启程前往伊萨卡,但愿你的道路漫长,充满奇迹,充满发现。”

1911 年,希腊离散文学作家卡瓦菲斯以《伊萨卡》为题,写下了这样的诗句,抒发对于故土的怀念与对漫漫人生的感慨。作为多重意义上的离散者,他远离当时的潮流,创造属于自己诗歌的独特精神世界。卡瓦菲斯在诗中提及的岛屿,正是 24 卷本史诗《奥德赛》(Odyssey)中英雄奥德修斯的故乡。于史诗中,奥德修斯历经 10 年海上历险回归伊萨卡,其名于古希腊语中意为“精神之路”。

时至今日,离散被赋予了更多崭新而复杂的现实涵义。在政治经济全球化的背景下,在去中心化和由网络链接的世界里,离散亦可被视为一次自主的前往和自我意志的选择——正如在另一则以“奥德赛”为母题的经典文本《2001:太空漫游》(2001: A Space Odyssey)中,困顿的海上归途转化为一次主动探究宇宙奥秘的征程。于这样的世界中,空白空间的 24 位艺术家,其出生、求学以及工作生活的地点也在漫长的道路中不断流转。而我们更在意的是,路途中的幸福、喜悦、迷茫、险阻,以及每每迎面而来的真实生活,曾给他们的精神世界与艺术创作带来怎样的变迁?

展览“漫游者之歌”(A White Space Odyssey)试图为空白空间 24 位艺术家的创作之旅进行一次“中途曝光”。通过选取贯穿于他们创作中的“线索性”作品,重返不断指向其各自艺术母题的精神家园。“线索性”作品并不一定是艺术家在过往的创作中最为人所熟知的,却从某个角度彰显或印证着艺术家在命题、观念、方法上的个人化实践及探索。在作品的时间层面上,有的艺术家将展示早期的作品,意在探讨蕴藏其中的方法对后续实践所起到的重要影响;有的则选取了新近的创作,提示着艺术家在当下的重要转变,并对此前的工作加以回应。从作品的精神层面来看,有的艺术家向内进发,探索内部经验的意义;有的则积极与外部世界发生关联,试图对激荡的现实加以回应——尽管在更多情况下,两者是缠绕在一起的。这些选择基于艺术家当下的工作及其阶段性状态进行,也都展现出艺术家一以贯之的批判性思考以及身体力行的工作。

展览无意展现一种普遍化的经验,而是希望回到每位艺术家自身,去关照他们的成长与来路,追溯个体意志、思考、判断与选择的价值;并以这些个体生命的多样性和复杂性,去织构交相辉映的星丛与通往未来彼岸的可能。

四 2019

获奖 Contemporary Talents, François Schneider 基金会

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The call for applications for the 8 th edition was held from 1 st September to 1 st November 2018. The names of the 47 finalists of the competition chosen by 4 Expert Committees were announced in February 2019 and a booklet with 47 pre works -selected has just been published.

The final selection will take place on 4 April 2019 at the grand jury meeting in Wattwiller.
The selection of the winners will be announced on April 5 at 11 am at the François Schneider Foundation by Jean-Noël Jeanneney, President of the Grand Jury.

The 2019 grand jury, chaired by Jean-Noël Jeanneney , is composed of renowned personalities from the world of the arts:
Felizitas Diering (FRAC Alsace Director)
Alfred Pacquement (Heritage Curator, France)
Ernest Pignon Ernest (artist, France)
Fabrizio Plessi (artist , Italy)
Roland Wetzel (Director of the Tinguely Museum, Switzerland)

Meeting in Wattwiller on April 4th, the grand jury chose 7 artists of 4 nationalities as winners of the 8 th edition of the contest.
> Rachael Louise Bailey (United Kingdom) Global, 2018 . Sculpture, 3m in diameter.
> Guillaume Barth (France) The Second World, Elina, 2015. Video, 4mn41.
> Olivier Crouzel (France) 18 curtains, 2015. installation, 11,520 x 3,240 cm.
> Hao Jingfang and Wang Lingjie  (China – France) Over the rainbow, 2016. Installation, variable dimensions.
> Eva Nielsen (France)Zode IV , 2018. Painting, 200 x 180 cm.
> Capucine Vandebrouck (France) Puddle , 2017. Installation, variable dimensions.
> Wiktoria Wojciechowska (Poland – France) Short Flashes , 2013. Photography, 80 x 768 cm.

The works of the laureates will be presented in a collective exhibition at the Foundation’s art center and will be part of their collection. Over the years, a unique set of forty pieces has been created by the acquisition of the works of the laureates – drawings, paintings, sculptures, videos, photos or installations – illustrating the theme of water from different angles (scientific, political, ecological, philosophical, etc.) and testifying to the diversity of artistic practices of the 21st century.

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四 2019

Cosmos:2019

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Cosmos : 2019
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Curator : Valerie Perrin
From 13th April till 20th July 2019

In the era of new technologies and the exploration of Mars, how do contemporary artists view, appropriate, interrogate the cosmos? Has the development and accessibility of certain data, initiated new artistic practices, new fantasies, new “alien” encounters? These are the questions that the exhibition’s Cosmos: 2019 would like to ask.
With : Susan Hiller, Cécile Beau, Venzha Christ, Guillaume Bertrand, les Éditions à Mort, David Guez, Jingfang Hao & Lingjie Wang, Esther Hunziker, Marie Lienhard, Silvi Simon, RYBN.ORG.

During the 1960s at the time of the Cold War, Space was an issue of national prestige, power and rivalry between the United States and the U.S.S.R. In reaction to the U.S.S.R. sending the first man into space (1961), the United States, sent the first man to the Moon. So, on July 20 1969, during the Apollo XI mission, man took his first step on the moon.
This historical event was broadcast globally, live via satellite, over television and radio, and reached an audience of more than 500 million people on this Blue Planet. A landmark event in media history, these images sparked a fertile imagination of space travel, confirming the aesthetic intuition of Stanley Kubrik’s film 2001 : A Space Odyssey, which had been released one year earlier. Where fiction anticipates reality…
Fifty years later, space became less about national conquest, more about scientific research and technological development with international collaborations like the International Space Station. Their images inundate the Internet and are quite accessible to all.
In the era of new technologies and the exploration of Mars, how do contemporary artists view, appropriate, interrogate the cosmos ? Has the development and accessibility of certain data, initiated new artistic practices, new fantasies, new “alien” encounters? These are the questions that the exhibition’s Cosmos: 2019 would like to ask.
Cosmos: 2019 is introduced by two codes: first, ‘Binary Stele’ by David Guez, which imprints the binary code of the iconic photo of man’s first steps on the moon onto material, thus retaining this image for eternity, second, an installation by Guillaume Bertrand, of the navigation software for the Apollo XI program, remembers Margaret Hamilton, the woman who created this software yet remained unknown for forty-seven years and because of whom, men were able to walk on the Moon.
The art works presented in the exhibition Cosmos: 2019 propose another journey in space: in the literal sense by experiencing flight with Logics of Gold by Marie Lienhard, and also by discovering the poetic and fictitious galaxies of Cécile Beau, solar and martian traces of Jinfang Hao and Lingjie Wang, Ester Hunziker and Silvi Simon. Cosmos: 2019 is also an opportunity to meet those who observed unidentified flying objects in the sky through the installation of Susan Hiller, the pop up book of Editions à Mort which gives a voice to ufologists. And, with the researches of Venzha Christ and RYBN.ORG to ask whether the cosmos might now be a new territory for intervention by artists.
Cosmos: 2019 towards another space conquest?
Opening on Saturday 13th October at 5 p.m in Espace multimédia Gantner

二 2019

COCOSMO

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Les recherches de Jingfang Hao et Lingjie Wang sont le fruit d’une « exaltante alliance des contraires ».

Leurs oeuvres puisent aux racines de la culture chinoise et sont nourries de références à l’histoire de l’art occidentale. A la fois
conceptuelles et sensuelles, objet et processus.

Cette bipolarité, que l’on retrouve dans le taoïsme mystique originel sous la forme du Yin et du Yang, est davantage une façon d’être au monde qu’un système.

Chacune de leurs oeuvres repose sur un dialogue entre une conception cartésienne et mathématique, héritée de leur formation d’ingénieurs et d’un intérêt pour l’art conceptuel occidental, et une vision sensuelle et poétique du monde et de la nature liée à leur culture chinoise et à leur connaissance de la matière qui compose les objets qui nous entourent.