Mai 36 画廊和上海大田秀则画廊荣幸地呈献中国艺术家臧坤坤与新加坡艺术家陈国良的双人联展"飘渺机器"。
陈国良以避免直接接触的方式作画。颜料被稀释后得到了流动性，在绷紧的航空织物上扩散与蔓延，最终得出的成品是一种多孔且半透明的平面，布满了各种巧合之下造成的污点与痕迹，但实际上这种巧合却是通过类似于编排所谨慎构建出来的，通过运用多种身体动态----移动、倾斜和转动----他尝试着令片段交互并不给出一个确切的答案，允许开放式的可能性成型。这一效果在此次展览中的大型三联作品 "Peripheral Rituals" 中最为明显。三幅作品像是镜子一样相互映照，相互呼应，又因重复而偏离。在表面之外，观者也会开始注意到背景中心的实心支撑画框。在这里，表层与支撑的关系颠倒了，物质上的与抽象上的折叠成了一个奇异平面，同时吸引和排斥着观者。就如同臧坤坤的作品被视为在空间中的物体建立起一个舞台，并由此创造与毁灭我们对绘画的概念。
封面图片：臧坤坤, "调和 (XIV)", 2018, 布和木上丙烯和铜箔, 150.4 x 200.5 x 5.5 cm
Mai 36 Galerie and Ota Fine Arts Shanghai are delighted to present "Ethereal Machines", a dual exhibition that brings together Chinese artist Zang Kunkun and Singapore artist Guo-Liang Tan.
Strikingly different at first glance, Zang and Tan share more conceptual similarities that are awaiting to be discovered by its viewers, than initially expected. Several works in the exhibition play with the physicality of painting, both as material and as performance, while others put away traditional methods of production and display to consider the sculptural potential of painting.
Zang Kunkun graduated from the Painting Department of the Tianjin Academy of Fine Art in 2008 but has since moved past the rigid definitions of traditional media into an abstract sphere that challenges the idea of what constitutes painting or sculpture. He playfully reverses work and frame, elongates paintings into an installation, or elevates the meaning of throwaway items by making them the focus of attention.
With a keen eye for detail, Zang incorporates objects from daily life in his native surrounding into his work and by doing so, documents the course of China as a build-up nation. Whether it is a seemingly hastily grouped block of cement, a bag of wooden pegs that used to belong to old tea flasks, a group of seniors loosely gathered around open-air fitness machines - the motifs that have an air of bygone times always go beyond the figurative.
It is on a micro level where Zang meticulously works in a conceptual way that breaks with the ordinary, and results in works that carry different temporal layers, rendering them mature and multi-faceted. His strong relationship to materiality shows in the exceptional use of wood, cement, aluminium, sandpaper, leather and plastic - amongst others - gifting them a new perspective by a young curious individual. However, while his works cannot seem to shake off the hue of collective memory, they also indicate a future of total abstraction, of a void in a vacuum. A faint shadow manifested in acrylic here, a ray of light reflecting in the glimmering copper foil there, Zang's works subtly make way for hope and transformation.
Trained in Europe and working in Singapore, Guo-Liang Tan operates between different modes of painterly expression, forming new narratives out of painting's historicity. While his early work uses the conceptual framing of the still-life genre, his more recent paintings look to abstraction as a way to investigate gestures of touch and the transitory nature of mark making.
Tan paints by avoiding direct contact, paint is thinned and allowed to flow, diffuse and spread across a tightly stretched aeronautical fabric. The result is a porous, translucent surface marked by a variety of stains and marks that come across as coincidental but are in fact carefully constructed through a process that resembles a piece of choreography. By applying various bodily gestures -- shifting, tilting and turning -- he plays fragments against one another without complete resolution, allowing an open work to take shape. This effect is most apparent in the 3 large paintings in this exhibition, titled 'Peripheral Rituals'. These paintings are like mirrors, reflecting and echoing each other but also deviating through repetition.
Beyond their surface, one also begins to notice the solid stretcher frame in the background. Here, the relationship between surface and support is reversed, collapsing the physical and the abstract into a singular plane that simultaneously attracts and repels its viewer. As in Zang's work, these paintings are revealed as objects in space, setting the stage to enact and disrupt our idea of painting.
While Zang utilizes industrial materials to provoke our memory of China's industrial growth and past, Tan's quiet restraint from grand gestures and statements can perhaps be read in parallel to Singapore's relatively short and uneven history of painting as well as its transient nature as a place. The gaps and slippages in his paintings implore viewers to raise questions about what they see or do not see, and to experience moments of (un)making.
Ethereal Machines hopes to create an accelerated exchange of ideas on what constitutes painting and how paintings may function as soft engines that shape and shift our perception of history and memory in an expanded material form.
Cover image: Zang Kunkun, Reconcile (XIV), 2018, Acrylic and copper on canvas and wood, 150.4 x 200.5 x 5.5 cm
展覧会名 : 陈国良& 臧坤坤 | 飘渺机器
会期 : 2018年7月7日- 8月12日
开幕酒会 : 2018年7月7日 下午3 - 7时，星期六
地址 : 上海大田秀则画廊
Title : Guo-Liang Tan and Zang Kunkun | Ethereal Machines
Exhibition Period : Sat. 7th July - Sun. 12th Aug 2018
Opening Reception : Sat. 7th July 2018, 3 - 7 pm
Venue : OTA FINE ARTS Shanghai