Zi 字媒體

開幕時間 Opening Reception2017.9.8 (Fri) 4-7pm展覽時間 Duration2017.9.8 (Fri) - 2017.10.22 (Sun)展覽地點 Venue阿拉里奧畫廊 上海市 徐匯區 龍騰大道2879號1層Arario Gallery Shanghai, 1F, No. 2879 Longteng Avenue, Xuhui District, Shanghai, China參展藝術家 Artists陳光武 Chen Guangwu黃淵青 Huang Yuanqing馬可魯 Ma Kelu祁海平 Qi Haiping譚平 Tan Ping余友涵 Yu Youhan策展人Curator李旭 Li Xu阿拉里奧畫廊榮幸的宣布將於2017年9月8日舉辦《塗繪與書寫：抽象藝術六人展》。本次展覽中所呈現的六位藝術家，分別是余友涵、馬可魯、祁海平、譚平、黃淵青和陳光武，他們的年齡跨越了40、50、60后的不同代際，每一位藝術家都是以各自不同的目的、方式、姿態和立場介入書寫式抽象的。 「塗繪與書寫」包含了兩種最基本的繪畫動作，「塗繪」是指類似於塑造物象的繪畫式動作，往往與在平面上充分展開的色彩與空間有關；而「書寫」則是指類似於寫字的書法式動作，更多見於各種筆觸所形成的線條式運動痕迹。在文化屬性方面，「塗繪」更接近西方式的藝術表達，有著「塗鴉」般的、隨機而偶發的自由；而「書寫」則更接近東方化的視覺創造，有著「書法」式的、規則而可控的法度。試圖把「塗繪」與「書寫」等量齊觀，是為了在重新審視古代「書畫同源」理論的同時，繼續探討東西方抽象藝術殊途同歸的可能性。 六位參展藝術家對於個人藝術觀念長期自覺的塑造，以及對形式語言的多年淬鍊和發掘，已經令他們的表達都顯現出異常特立獨行的態度，他們的作品也因而成為體現「塗繪與書寫」內在精神的極佳範例。余友涵的抽象創作起源於他1980年代初對「石鼓文」的研習，三十多年來，他在自己久負盛名的具象系列之外持續創造出了一個以《圓》系列為代表的精神化的抽象世界。馬可魯在1980年代中期開始抽象實驗，後來曾經在美國生活、創作了十多年，他的抽象作品一直保持著心理和形式上的直覺，以及濃烈的中式美學和書寫趣味。在油畫界的同齡人中，祁海平的書法水準是非常專業的，他對書寫式抽象的研究和探索正是建立於如此堅實的基礎之上，行書與草書的內在美感是構成他個人語言的重要元素。譚平在1980年代末赴德國留學，歸國后的二十多年來他一直堅持抽象創作，多層覆蓋兼線性書寫的繪畫手法是他洋溢著「物性」和「手感」的標誌性表達。黃淵青的視覺創作最初起步於現代書法，對筆觸、色彩、節奏、韻律和布局的研究令他的畫面成為一幅幅精妙的塗鴉，充滿當代文人式的智慧和趣味。陳光武同樣是一位重要的現代書法家，他的作品至今仍介於書法與繪畫的中間地帶，那些源於書法中點畫線條的視覺能量，成為他個人美學取向不斷深化前行的重要根源。 源於書法美學的書寫式抽象，應該是抽象藝術未來發展可能性中最重要的發展方向之一。當書法的點畫和線條脫離了漢字外形的局限之後，「塗繪」與「書寫」就可以體現出充分獨立的形式感、運動感和空間感。一旦將局部視為整體，將過程變為目的，這種全新的書寫式抽象就會變得更加自由與奔放，同時還具備了傳統書法心手如一、千變萬化的節奏與韻律。捨棄書法藝術固有的表意功能，轉而重視「象外之意」，進而「得意而忘象」，這應該是抽象藝術可以將傳統資源進一步發揚光大，並持續進行當代化創造的價值觀。本次展覽儘管規模有限但意義深遠，對已經潛行多年的中式書寫性抽象進行了一次集中的概括式呈現。Arario Gallery is pleased to announce the opening of a group exhibition titled Graffiti and Calligraphy: 6 Abstract Artists in China on September 8, 2017. The exhibition presents 6 established Chinese artists, including Yu Youhan (余友涵, b.1943), Ma Kelu (馬可魯, b.1954), Qi Haiping (祁海平, b.1957), Tan Ping (譚平, b.1960), Huang Yuanqing (黃淵青, b.1963) and Chen Guangwu (陳光武, b.1967). From various generations of 40s, 50s to 60s, each exhibited artist enters into the calligraphic abstraction via their different opinions, approaches and viewpoints. With devoting themselves to shape their own artistic value and refine their artistic language continually, their works simultaneously embody the essence of 「Graffiti and Calligraphy」, but maverick approach from others. Containing two fundamental motions ofpainting, 「Graffiti」 refers to the painterly gestures of figuration, generally associating with unfolding colors in space. While 「Calligraphy」 refers to the gestural movements of calligraphy, most often be seen as linear movements from various types of brushworks. In terms of cultural attribute,「Graffiti」 is closer to western artistic expressions, with a graffiti type of spontaneity and freedom; whereas 「Calligraphy」 is approaching to the oriental visual composition within its own principles and controllable frameworks. To review the Chinese ancient theory of 「homology of calligraphy and painting」, this exhibition intends to equate 「Graffiti」 and「Calligraphy」, meanwhile, continues to reexamine the possibility of equifinality towards the abstract art between the Western and Eastern.Stemming from the aesthetics of Chinese calligraphy, the calligraphic abstraction is one of the most important future developing direction of Chinese abstract art. 「Graffiti」 and 「calligraphy」 would manifest their potenial independence on sense of form, sense of movement and sense of space, when calligraphy』s stipple and line break the limitation of its original shape. This new calligraphic abstraction is turning to be more untrammeled once the part is seen as entirety, and process as goal. In the meantime, it also has the variations in rhythm, together with its traditional perfectly skilled calligraphy. By abnegating the inherent ideographic function of calligraphy, to emphasis, the 「meaning beyond the image」, and 「conceive the meaning as we forget its form」 should be the core value for further prospering the traditional cultural resource of Chinese abstract art, as well as the continuous contemporary creation. Despite the limited exhibition scale, the exhibition emerges acomprehensive summarization for the Chinese calligraphic abstraction, yet expresses its far-reaching significance. Yu Youhan started to research 「stone-drum inscriptions」 (石鼓文) for his abstract creation since the 1980s. Circle Series become a representative as his spiritual in abstract art world as well as his prestigious figurative art series for more than 30 years. Ma Kelu』s abstraction experiment started in the middle of 1980s, his abstraction paintings always maintain the instincts on both psychological and formal aspects, with strong Chinese aesthetic and calligraphic interestingness. The artist also lived and persisted to create artworks in America for more than 10 years. Among Chinese oil painters with similar age, Qi Haiping's calligraphy has attained a professional level, based on which he researches and explores calligraphic abstraction. The inner beauty of running script and cursive script consists of his individual artistic language. Tan Ping studied in Germany in the late 1980s, he continued with his practice of abstraction over the last two decades upon his return to China, his multiple coating and fluid lines are his trademark painting approached to express the "nature of object" and "texture". Huang Yuanqing initiates his creating from modern calligraphy. His delicate graffiti emphasized by the brushstrokes, color, rhythm and composition, emboding the wisdom and taste of contemporary literati. Chen Guangwu is also a renowned modern calligrapher. His creation blurs the boundaries between painting and calligraphy. The visual elements of calligraphy — stipple and line, result in his further exploration of individual aesthetics.陳光武 Chen Guangwu | Wang Duo "Imitation in Xie An's calligraphy" Yang, Wang Duo "Imitation in Xie An's calligraphy" Yin , 2017, Ink on Paper, 144 x 372cm x 2 panels,©️ Artist and ARARIO GALLERY黃淵青 Huang Yuanqing | Untitled 2014-2017, 2014-2017, Acrylic on Canvas, 110 x 130 cm,©️ Artist and ARARIO GALLERY馬可魯 Ma Kelu | Ada No. L-2, 2016-2017, Oil on Canvas, 290 x 400 cm,©️ Artist and ARARIO GALLERY祁海平 Qi Haiping | Blue Sky After Raining No.15, 2015, Acrylic on Canvas, 200 x 150 cm,©️ Artist and ARARIO GALLERY譚平 Tan Ping | Untitled, 2017, Acrylic on Canvas, 300 x 400 cm,©️ Artist and ARARIO GALLERY余有涵 Yu Youhan | 20170720, 2017, Acrylic on Canvas, 210 x 162 cm,©️ Artist and ARARIO GALLERYARARIO GALLERYShanghai | Seoul | CheonanE-mail：info@arariogalleryshanghai.com (CHINA) 正在展出 CURRENT EXHIBITION阿拉里奧畫廊上海 ARARIO GALLERY SHANGHAI亞洲之聲 VOICE OF ASIA2017 7 1-2017 8 27 上海市 徐匯區 龍騰大道2879號1層 2002321F, 2879 Longteng Avenue, Xuhui District, Shanghai, 200232阿拉里奧畫廊首爾 ARARIO GALLERY SEOULJANG JONGWAN 장종완 ORGANIC FARM2017 7 13 - 2017 8 27韓國 首爾特別市 鍾路區 北村路5路 84號 03053# 84 Bukchon-ro 5-gil, Jongno-gu, Seoul, Korea, 03053T. +82 2 541 5701阿拉里奧畫廊天安 ARARIO GALLERY CHEONANCI KIM 씨킴_논(㯎)-논다놀아2017 5 23 - 2017 10 15韓國 忠清南道 天安市 東南區 相遇路 43號 31120# 43 Mannam-ro, Dongnam-gu, Cheonan-si, Chungnam, Korea, 31120T.+82 41 551 5100即將開幕 UPCOMING EXHIBITION阿拉里奧畫廊首爾 ARARIO GALLERY SEOULSun Xun 쑨 쉰_Tears of Chiwen_2017 9 6 - 2017 11 5T. +82 2 541 5701阿拉里奧畫廊上海 ARARIO GALLERY SHANGHAI6 Abstract Artists in China_Graffiti and Calligraphy_2017 9 8 - 2017 10 22更補的媒體統籌（排名不分先後）：天涯藝術網、魅藝網、、今日頭條、百度、騰訊、搜狐、新浪、網易、雅昌藝術網、藝起來、藝術公社、藝術天成、5A畫廊、藝術網、美術網、寫意網、Art90藝術控、明星傳媒、終南畫譜、天津畫廊聯盟、寧夏日報藝術風尚、浙江藝術網、水墨時代、水墨視界、水墨前沿、今日鑒藏、牆藝術、99藝術網、央視網、月雅書畫、人民藝術、美術家網、學院藝術網、金石書畫網、新華網、網、中華網、鳳凰網、藝品投資網、藝術檔案網、藝術版權網、琉璃廠在線、書畫檔案網、藝術傳承媒體聯盟、水墨現場、國畫名家網、當代畫、當代書畫家網、北京時間、人民生活網、中華時訊網、人民美術網、中藝書畫網、東方藝術網、環球文化網、書畫網、北京文化藝術網、北京美術網、天津藝術網、藝美網、藝新網、藝美網、藝棧網、出山網、書畫圈、美術圈、宣和網、畫家村、畫廊網、藝術倉、拍賣網、新視點、大畫家網、水墨、美網、美意、文創在線、文化、印象、文脈、齊魯字畫網、藝海網、競友藝術網、翰墨書畫網、壹號收藏網、元鼎文化網、輝煌藝術網、翰墨千秋網、當代藝術網、一品字畫網、號外藝術網、道東藝術網、思潮藝術網、意致文化網、尚遠文化網、盤古收藏網、藝術山東網、西北翰墨網、聖美藝術網、上海文藝網、京津冀書畫網、江蘇美術家網、藝術之夢、伍佰藝書畫網、東方金典藝術網、時尚新聞網、眾森原創文化網、德藝雙馨藝術網、半畝方塘藝術網、華夏書畫藝術網、書畫研究網、時代藝術網、中藝博雅藝術網、藝術資訊網、文化藝術網、國家藝術網、藝術品理財網、產業經濟信息網、天津美術網、書畫報、美術報等微藝術館 | 更專業的網路展覽館文藝媒體聯盟 | 藝窩瘋 核心成員忠於好奇