Sat. 20 January - Sun.18 March 20182018年1月20日―3月18日

Gallery Collection画廊收藏

Ay Tjoe Christine, Chen Wei, Uuriintuya Dagvasambuu, Monir Shahroudy Farmanfarmaian, Yayoi Kusama, Dennis Oppenheim, Wang Yahui, Saskia Olde Wolbers艾珠·克里丝汀、陈维、Uuriintuya Dagvasambuu、蒙妮尔·法曼法玛妮、草间弥生、丹尼斯·奥本海姆、王雅慧、萨斯奇雅·奥尔德沃尔贝斯
陈维 在浪里 #5 2013 收藏级喷墨打印 150x187.5cm 版数6 Chen Wei In the Waves #5 2013 Archival inkjet print 150 x 187.5 cm Edition of 6
上海大田秀则画廊荣幸地呈献由来自中国、印度尼西亚、日本、蒙古、荷兰和美国的八位艺术家所参与的群展----"画廊收藏"。这些来自不同背景的艺术家运用着多元化的媒介:绘画、摄影、视频到雕塑,他们之中的每一位都在切实影响与推进着当代艺术的轨迹与发展。

艾珠·克里丝汀在她起初的艺术家生涯中主要使用蚀刻工艺,随着时间发展,她从蚀刻版画转为使用固体油画颜料在画布上创作。 本次展出中的 "我是自由没有身份的 #03" (2015) 即是固体油画颜料所做。笔触大胆,颜色多变,画面中喧噪与寂静并存,营造出完美的平衡,走近距离细细观察,更有着生命蕴藏在表面之下。艾珠·克里丝汀相信人性中蛰伏着的动物本能既能从善,也能作恶。而那生命即是这种本能的实体化,也是艾珠对她所体验过的作为人的挣扎,痛楚,抑郁的表达。在Uuriintuya Dagvasambuu的 "没有语言的世界" (2011) 中,则更多的使用了隐含着的意象,这幅画中新颖的构图与借鉴了东方和中亚审美中的传统蒙古图腾的设计。画布之上,无数人类的面部与身体组成一株鲜活的菊花,背景中,白色的云层层聚集有规则的铺过深蓝色平面。

陈维现居北京,在此次作品中通过他所建构的舞台,以夜店景象内在的虚无来记录人的欲望与价值观,"在浪里#5" (2013) 展示了一副梦幻般的静止画面:夜店的聚光灯下,年轻人迷醉的舞动着。陈维认为这反映了中国年轻人的现实:他们通过跟随社会浪潮获得解脱与愉悦,但被这浪潮冲走也同时是他们挥之不去的恐惧。作为大地艺术与概念艺术的先驱, 丹尼斯·奥本海姆因将工程师的理念与平面图纳入他的作品中而闻名。 在"沼泽草地记录的等高线"(1968) 中,他结合了康涅狄格州纽黑文市区域的照片和卫星图像。这些图像揭示了在人为干预和自然天气现象之下,土地随着时间的推移所呈现的变化。
在陈维和丹尼斯·奥本海姆用摄影来描绘着各不相同的现实之时,另一边王雅慧则以摄影为媒介来测试视觉感知的边界。"光的倾斜#2" (2015) 吸引着观众上前,在这里, 观众介入艺术家的视角,思绪被引诱着去越过面前的黑暗,进入半透明窗帘后被光照亮的的空间。在此,一个人对虚与实、内与外、正与负的空间感知将被挑战,最终引导着观众重新审度他们对空间的概念。

蒙妮尔·法曼法玛妮 在此次作品中运用了16世纪伊朗装饰形式"aineh-kari", 在当时从欧洲进口的玻璃经常到达地点时已经是碎裂的,她将这一运用碎玻璃进行装饰的古老的工艺带回今日,并在当代艺术的语境中探讨与挖掘这种形式的可能性。"Toury" (2009) 和 "Hendacagon" (2008) 两幅作品在视觉和空间体验上进行融合,破碎的镜子残片拼在一起组成精巧的的形状, 当光线从作品表面反射出来时所现的无数几何形状的光斑,将平面的镜像转化为三维的体验。在"Toury"之中,也有着伊斯兰传统建筑的元素。坐落于展厅中心的"红色的花"(1980),这尊引人注目的红色软雕塑是草间弥生使用填充棉花的手套所做。花的主题从其艺术生涯的开始便是她的精神意象的一部分,根植在她的童年记忆之中,追溯回她在父母的苗圃的所度过的时间。在这里,花茎与绽放的花盘有着生殖器崇拜一般的生物形态,展现给我们草间弥生经验之下的自然与宇宙中的事物。

萨斯奇雅·奥尔德沃尔贝斯的"空想性错视"(2011) 是在大学演讲厅、剑术馆和日本各种传统内室的搭景内拍摄的。视频中的液体影像则是通过视觉模拟与手工修制,将现存的事物形态,骨骼结构和建筑形式或漆满颜料或浸没在水下融合。当这些材料和元素相互碰撞时,所产生的图像在表象与抽象之间摇摆不定,旁白中的叙述以虚构的一位译者的视角出发,讲述日本剑术大师与他的德国学徒,以及译者的另一人格,一只鸟。

此次展览意在探索与诠释这八位艺术家作品的多样性和相互之间的联系,即便他们的起源不尽相同,在今天,之中每一位艺术家都在创造新的工作形式与理解当代艺术的新语境。
Ota Fine Arts Shanghai is delighted to present Gallery Collection, a group exhibition featuring eight artists from across the globe: China, Indonesia, Japan, Mongolia, The Netherlands and U.S.A. These artists are of diverse backgrounds working in a variety of mediums - painting, photography, video and sculpture. Each of them have been important in creating new contexts in contemporary art.

Ay Tjoe Christine began her career as an artist that worked with the dry point technique. Later on, she transitioned from dry point on paper to painting with oil bar on canvas.
"I'm Free Without Identity #03" (2015) is a painting done with an oil bar. Bold strokes, colourful shapes, and a perfect balance between positive and negative space marks the painting. Despite the initial impression of chaos and disorder, a closer look at the work reveals that there are 'creatures' hidden amidst. Ay Tjoe believes that there is a dormant animalistic instinct in every human being and the potential to do both good and bad. These creatures are a manifestation of those beliefs. They are also her expression of the emotions that she has experienced as a human being, struggle, pain, melancholy, etc. Uuriintuya Dagvasambuu's takes on a more figurative approach in her painting "The World of No Words" (2011). The work is characterized by its innovative composition and inspired by traditional Mongolian design and recognizable motifs from East and Central Asian aesthetics. A vivid chrysanthemum flower is accompanied by a trailing vine of human faces and figures. In the backdrop, an accumulative pattern of white clouds is painted over a flat plane of deep blue.

Beijing based artist Chen Wei documents human desires and values through his photographs of empty interiors, carefully crafted models, and staged nightclub scenes. "In the Waves #5" (2013) shows a dreamy still image of young people that are intoxicated and dancing under the spotlights in a nightclub. Chen expressed that it reflects the reality of young people in China: that it brings them much relief and pleasure to be floating in the waves of society, but there is the lingering fear of being washed away. A pioneer of earthworks and conceptual art, Dennis Oppenheim, was known for incorporating engineer's stakes and plan drawings into his artwork. In "Contour Lines Scribed in Swamp Grass"(1968), he has combined photographs and satellite images of a land area in New Haven, Connecticut. These images reveal the changes occuring to a land mass over time either as a result of human intervention or of natural weather phenomena.

While Chen Wei and Dennis Oppenheim use photography to depict different types of reality, Wang Yahui uses the medium of photography to test the boundaries of visual perception. Viewers are lured into Wang Yahui's "A Slant of Light #2" (2015). Here, one is tempted to go beyond the darker foreground into the light-filled background beyond a translucent curtain. One's spacial perception of the empty and solid, inside and outside, positive and negative space will be put to the test and made to rethink their concept of space.

Monir Shahroudy Farmanfarmaian draws upon a sixteenth century Iranian decorative form known as ainehkari, when glass imported from Europe often arrived broken. She takes the ancient craft into the now and explores the art form in a contemporary context. "Toury" (2009) and "Hendacagon" (2008) is characterized by a merging of visual and spatial experience, pieces of broken mirror are assembled together to form carefully constructed shapes. As light gets reflected off the surface of the work, infinite geometric forms are revealed transforming the flat mirrored work into a threedimensional geometric experience. "Toury" in particular also includes elements of traditional Islamic architecture. In the center of the room is "RED FLOWER" (1980), a sculpture in dramatic red created with stuffed fabric work gloves by Yayoi Kusama. The flower motif has been a part of Kusama's work since the beginning and finds its root in her childhood where she would spend time wandering in her parent's nursery. Here, soft phalliclike biomorphic forms line the stem and head of the blooming flower reminding us of things found in the natural world and of Kusama's accumulative universe.

Saskia Olde Wolbers' video "Pareidolia" (2011) was shot inside model sets of a university lecture theatre, an archery hall and various traditional Japanese interiors. The liquid visuals in the video are analogue and handcrafted by dipping living forms, skeletal objects and architectural forms in paint or by submerging them underwater. As these materials and elements collide, the resulting image is one that oscillates between representation and abstraction. The narrative in the background is told from the point of view of a fictional translator between a Japanese archery master, his German apprentice, and the translator's alter ego, a bird.

This exhibition reveals the diversity and interconnections between the works of these 8 artists, in spite of their origin. Each of these artists has been crucial in creating new modes of working and a new context to understanding contemporary art today.


展览详情Exhibition Information

开放时间 : 周二 – 周日 11:00 – 18:00
每周一与公共假日闭馆

会场 : 大田秀则画廊 OTA FINE ARTS
Opening Time : 11:00-18:00
Closed on Mon. & Public Holidays

Venue : OTA FINE ARTS SHANGHAI