Isolation: The New Energy from Art Graduates 自转-新生代艺术群展

Isolation-cover-poster

CHEN Xiao Bing, DAI Jin Long, DENG Zi Long, GAO Si, LIANG Jun Zi, WANG Da Wei, XU Shi Jun, YU Li, ZHAO Wei, ZHOU Guang Neng 
Date: 6 Sep – 5 Nov 2009
Opening Reception: 6-8 pm Sat 5 Sep 2009
 
陈笑冰、戴金龙、邓子龙、高思、梁均梓、王大卫、徐世君、俞力、赵巍、周广能 
2009. 9.6-11. 5
开幕酒会:2009年9月5日 6-8点
 

FQ Projects is excited to showcase a group exhibition Isolation. Consisting of ten recently graduated post 80s art graduates. Their artworks are individual, fresh, natural, honest and distinct from the common themes of radical rebellion art. Ranging from oil on canvas, works on paper, printmaking, wood engraving, photography and installation, the viewers will be inspired by this energetic and evocative exhibition.

The Chinese post 80s generation is often described as “lacking a sense of responsibility”, “relationship abhorrence”, “beyond tradition”, “restless”. The artists from this generation as a new art wave has rapidly and aggressively joined the Chinese contemporary art world. Their outcomes are sometimes transparent, sometimes soft, sometimes sticky, sometimes elastic, and sometimes blue. They are ambiguously appearing fantastical, playful, isolative, and at the same time pre-maturely considered or aged. Because of the high-technology and social development, the relationship between social individuals has become more and more alienated, as one of the common characters shared in this exhibition’s works: the massive anxiety and disturbing emotional void is felt behind a seemingly cool status of a self oriented life style.

The artist Deng Zilong, born in the era of internet games and fascinated by historical Chinese military stories uses abstract yet realistic shapes to explore scientific links about orientation within online games and military maps. This playful attitude on serious subjects is one of the iconic forms in post 80’s artists’ art, in addition Deng has blurred the conventional methods of oil and paper based artworks to produce work with a fresh and exciting feel.

The all-pervasive computer and software applications are even more present in Gao Si’s self-portrait. This series of portraits is made entirely from computer software, but the message is timeless, Gao believes “people all have a dark side, we should remind ourselves that there is a ugly and decayed self watching us inside of our own.” As viewers of art we might also remind ourselves that the media itself is ignorant of what contemporary opinion considers art and who can be called artist, perhaps history alone can categorize, but we are excited about these works and their potential.

The black and white wood engraving work by Chen Xiaobing graphically depicts the boredom and repetition of a student’s life in university dorm. By threading sparkling and colorful sequins and beads into the work she reflects the juxtaposition between the optimism of youth in an advancing materialist consumer society and the boredom of actuality. Zhao Wei’s oil paintings are striking in their use of color and strident in their content, depicting girls with empty eyes amid an untidy room reflecting the ambivalence of being lonely and eager to seek comfort.

Wang Dawei’s ink on rice paper series “survival” depicts people from various social statuses. It projects the epitome of each type and the artist’s worry about people’s mentality of our times. In Liang Junzi’s large canvas work, there are frequent occurrences of dead weeds and scarecrow, flowers in full bloom and little jungle animals. These things are mixed together within one overall color tone on canvas, combining with his own techniques in using the paintbrush. As opposed to more popular political or cartoon themes art, his works are set in a poetic context of personal emotions and reflect upon urban life and society.

Zhou Guangneng and Dai Jinlong used mottled screen for their printmaking, but in different forms of techniques to express their feelings towards social responsibility. Zhou Guangneng’s installation work was inspired by his childhood memories in Leizhou where he grew up. The work is full of affection and respect for the rural farmers. The use of rusty metal spades as media is a metaphor for the fading and disappearing old agricultural life; From the same printmaking department graduate Dai Jinlong made a gradual disappearance of a tractor to bring the viewers to consider the process of social history – “Borrowing such an element of industrial machinery to re-examine our values towards the evolution”.

Yu Li depicts the most ordinary and popular objects of her time on a large scale with ultra-realistic style and bright colors. This allows the audience to re-examine these everyday objects and thus question the relationship between them and ourselves. The exaggerated brightness and joyful appearance makes people feel a hint of loss and helplessness, metaphoring the post 80s generation’s inner psychology of fear and vulnerability underneath the seeming happiness. The display of her “Candy” works on a table evokes memories of our childhood, recalling the warmth and fulfillment of our sweet old/young days.

In Xu Shijun’s beautiful and poetic photographic works, he discusses the relationship between people and universe, faith and soul. Once again they reveal the mental state of that generation that has a strong feeling of isolation.

非青计划隆重推出80后艺术家群展自转,十位参展艺术家大都刚踏出校门, 其创作清新、自然、不造作、不反叛但富有个性,让人眼前为之一亮。 作品媒材跨越油画,纸本,版画,摄影及装置,观者可以通过作品感受到他们充满活力和新意、呼之欲出的奇思妙想。

80后一代经常被评论为 “缺乏责任感”,“痛恨人际关系”,“不囿于传统”,“叛逆”,“不安分”,80后艺术家作为新生代崛起的新势力正以迅速并凌厉的攻势涌进当代艺术的洪流。他们的产物时而透明 ,时而柔软,时而粘稠,时而略带弹性,时而忧虑。 这个艺术群以一种幻想的,游戏的,隔离的,同时又深思审虑的偏安状态出现。 由于高科技的社会发展,个体和个体之间的距离越来越疏远, 就象这次展览中显现的一个共性:自顾自存在的冷静背后充斥着虚空和不安的情绪。

邓子龙生于互联网游戏时代,又热忠于研究中国的军事历史。 他以抽象但具形的绘画语言,对线上游戏和军事地图进行个人化的探索从而对方位路线中认知某种科学的内在联系。 这种以游戏的心态和历史博弈正是80后新生代艺术表现形式代表之一。他模糊了纸上和布面作品的常规运用手法,使作品产生一种有趣新鲜的感觉 ;电脑游戏感更强的作品是高思的自画像,他这个系列的作品是完全由电脑来完成,但是内容主题却很永恒。 他认为“人都有阴暗的一面,要提醒自己在灵魂深处有个腐烂变质的丑陋自我时刻在注视着自己“。这个媒材本身已经是对世俗何为艺术和艺术家看法的不屑。这个可能只有时间和历史来解答归类,但他的作品及其潜力让观者感觉兴奋。

陈笑冰的黑白木刻作品中所描述的百无聊赖的大学生寝室生活状态,配以拼贴上的闪亮彩色珠片、珠管等装饰材料,映衬出繁华物质世界中空虚迷惑的心灵;赵巍画作中的眼神空洞的女孩和杂乱的房间,结合他独特的用色,体现出这一代人身体孤单、心中又渴望寻求慰藉的矛盾心理。王大卫水墨作品《生存》,带状排列的表情不一的人物,是各种社会人的缩影,投射出艺术家参与社会意识形态改造或多或少的忧虑心态。

梁均梓的大幅画面中经常出现枯萎的杂草和颓靡的稻草人,同时又有盛放的花朵与丛林动物。他将这些事物混合在同一个色调的画布中,并结合他自创的用笔技法。相对于现在比较流行的政治、卡通题材,梁的作品是在一种诗情画意的情境下体现出个人情感与对社会及都市生活的反思。

周广能和戴金龙同时采用斑驳的画面来创作版画,不过用了两种不同的版画技术及表现形式来表达他们一代对社会责任的认识。周广能的装置作品创作来源于他从小生长的雷州景象。作品饱含他对于家乡的感情和对农村、农民怀有的敬意,用斑驳生锈的锄头作为载体的目的正是为了印衬农作生活中已经逝去或正在消逝的记忆;同为版画系毕业的戴金龙在作品中用一台东方红拖拉机的慢慢消失的过程来反思社会历史和优胜劣汰的问题——“借用这样一个工业机器为元素来还原我们对人、对事、对世界的重新审视与价值观”。

俞力的作品直接明了,对我们习以为常的事物以超写实的视角描述和亮丽的色彩运用使观者对他们赋予新的思考和审视。夸张夺目的单纯和明快让人隐约感觉到一种失落和无奈,体现了80后一代表面上对于现实的欣然接受但内心的恐惧及脆弱心理。希望这次将一颗颗“糖果”放在小时候常用的八仙桌上作为展示方式能够引领大家回到我们温暖殷实的“小时候”;徐世君在其摄影作品中以唯美孤单的画面讨论人和宇宙、信念和心灵的关系,再次体现了年轻一代与世隔绝的清高和患得患失的孤独感。

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