Sat. 17 August - Thu. 12 September 20192019年8月17日 - 2019年9月12日

Desert Garden沙漠花园

Akira the Hustler, Etsu Egami, Masanori Handa, Jong YuGyong, Nobuaki Takekawa, Guo-Liang Tan, ¥ouada, Zhou Yilun Akira the Hustler、江上越、半田真规、郑裕憬、竹川宣彰、陈国良、尤阿达、周轶伦
竹川宣彰, 猫的奥林匹克, 2019, 纸本水彩, 224 x 291 cm Nobuaki Takekawa, Cat’s Olympiad, 2019, watercolor on paper, 224 x 291 cm
上海大田秀则画廊荣幸地呈献来自中国、日本、韩国和新加坡的八位艺术家的群展"沙漠花园"。本次展览希望通过参展作品的多样化创造出一种新风景,一种可能的视角和美与想象之地。

尤阿达(生于1987)怪诞的仙人掌形雕塑由发泡胶、使用过的矿泉水瓶、可乐罐和艺术家用软饮罐重制而成的啤酒罐所作。与尤阿达的画作类似,这些作品是对其熟悉事物的再创作及对年轻岁月的追溯,并勾起怀旧之情。它们诱人且柔和的色彩给人一种安全可靠近的错觉,直到观众意识到黑色的刺危险地分散在整个作品上。另一边, 竹川宣彰(生于1977)使用亲切的视觉语言,例如动物与奥运会来阐述严肃议题。竹川为观众创造了一个将这场狂热的全球盛事视为人类挑战自身极限的平台,一个团结的场合,同时也是一个揭示社会深层复杂问题的活动机会。两位艺术家的作品中蕴含着对微妙社会文化变迁的敏感,从而引发出更深层的思考。

Akira the Hustler(生于1969)是一位受社会歧视情况激励并活跃于呼吁社会问题的艺术家。此次展览中,艺术家通过聚集他信念背后的民众来表达自己的决心。当他点燃熊熊燃烧的"篝火"时,他打破了封闭和被疏远群体之间的障碍,将不同意见的人们聚集在中心火焰的周围。郑裕憬(生于1991)的艺术实践来源于他对朝鲜、日本和韩国的探索,以找到自己在这些不同却又紧密相连的历史中所处的位置。在他的系列画作"为了唯一的国家"中,郑裕憬通过放大原始图像,添加视觉噪点和扭曲构图,来消解朝鲜政治宣传的意识形态。黑色的圆圈和明亮的颜色引用自波普艺术, 然而在生动图案的背后,是郑裕憬与他作为 "在日韩国人"(既不被视为日本人也不被视为韩国人)身份的抗争。当Akira the Hustler和郑裕憬尝试传达他们的想法时,观众们将会了解到他们对话中的斗争和力量。

江上越(生于1994)毕业于中央美术学院,师从中国著名艺术家刘小东。她用大胆的笔触和灰调所作的扭曲肖像,揭示了复杂的面部表情和独立个体面部的独特性。通过反复实验,江上希望在这个日益数字化、虚拟化的世界中发现间隙,聚焦现实与接受间的误差;被描述的是什么,而被接收到的又为何。在"无题"中,周轶伦(生于1983)将原始图片中的人物和物体还原为色块与线条。一种挥之不去的诡异感伴随着这幅黑暗而发人深思的画面,却没有给观众任何线索其所指为何。

"我们享受失去的爱"是新加坡艺术家陈国良(生于1980)的早期作品,陈国良引用了网上的传统静物图片,通过将花从原来的容器中移走,取代了其原本的语境。艺术家邀请我们重新审视绘画表层的概念与绘画的条件。植物群在"toononefurino nanamematsu"中继续呈现。通过对比色和多重线条,半田真规(生于1979)创作了一幅受大气、气候、心理地理和短暂邂逅所启发的图画景观。

上海大田秀则画廊诚邀观者加入我们,穿行于干燥纷繁的"沙漠花园"中,获得独特的感官体验。感受Akira the Hustler和郑裕憬的热烈与斗争,陈国良和半田真规作品中所绽放的动植物之美,以及尤阿达和竹川宣彰作品所雕琢之粗粝。最终,体会江上越和周轶伦作品中闪耀的朦胧灰调。
Ota Fine Arts Shanghai is delighted to present "Desert Garden", a group exhibition featuring eight artists from China, Japan, Korea and Singapore. Through the diversity of works presented, the exhibition hopes to create a new landscape, a possible horizon, and a place of beauty and imagination.

¥ouada's (b.1987) whimsical cactus-shaped sculptures are made of expanding foam, used mineral bottle and coke cans, and beer cans that he has re-fashioned from soft drink cans. Similar to ¥ouada's paintings, these works are a re-creation of objects that are familiar and reminiscent of his youthful days, invoking feelings of nostalgia. Their inviting pastel colors give the illusion that it is safe to approach only for audiences to realize that coated black thorns are dangerously strewn across the work. Elsewhere, Nobuaki Takekawa (b.1977) addresses weighty issues with the affectionate visual language of animals and the Olympic Games global event. Takekawa creates an opportunity for viewers to look at the frenetic global event as a platform for the human race to challenge its own limits, as a unifying occasion and yet also as an event that reveals complex underlying issues in society. Embedded in their works are a sensitivity to subtle socio-cultural shifts, provoking deeper considerations.

Akira the Hustler (b. 1969) is an artist who is active in championing social issues and is motivated by discriminatory social happenings. In this exhibition, he expresses his determination by rallying the masses behind his beliefs. As he sets the blaze aflame in "Bonfire", he breaks down the barriers of closed and alienated communities, gathering people with differences around a central flame. Jong YuGyong's (b.1991) practice stems from his exploration of North Korea, Japan and South Korea to find where he stands amidst their differentiated yet conjoined histories. In his painting series "For One and Only Country", Jong dissolves the ideological notions of North Korea's propaganda by enlarging the original images, adding visual noise and distorting the compositions. Black circles and bright colors proliferate the canvas, with references made to Pop art. Yet, behind the lively image lies Jong's struggle with his identity as a "Zainichi" -- a person who is treated as neither Japanese nor Korean. As Akira and Jong seeks to voice out their thoughts, audiences are privy to the struggles and power of their dialogue.

Etsu Egami (b.1994) graduated from the Central Academy of Fine Arts, China and studied under established Chinese artist, Liu Xiaodong. With her bold brushwork in pastels and grey hues, her distorted human portraits reveal intricate facial expressions and the uniqueness in every individual's facial make-up. Through trial and error, Etsu hopes to discover the gaps in this increasingly digitalized and virtualized world, to highlight the differences between reality and reception; what is being depicted and what is received. In "Untitled", Zhou Yilun (b.1983) has reduced human figures and objects of the original pictures to color blocks and lines. A lingering sense of eeriness accompanies this dark and thought-provoking image but gives its audience no clue as to what it may or may not represent.

"We Feast On Love Lost" is an early work by Singapore artist, Guo-Liang Tan (b.1980). Tan has referenced images of traditional still life online, and by removing the flowers from their original containers, has displaced them from their original context. He invites us to re-look at the notion of the painted surface and the condition of painting. Flora continues to present itself in "toononefurino nanamematsu". With contrasting colors and multi-fold lines, Masanori Handa (b.1979) creates a pictorial landscape that is inspired by atmosphere, climate, psychogeography and fleeting encounters.

Ota Fine Arts Shanghai invites you to join us for a unique sensory experience as we navigate the arid complexities in a "Desert Garden"; to experience the heat and struggle of Akira and Jong, the beauty of flora and fauna blooms in Tan and Handa's works, the polished ruggedness of ¥ouada and Takekawa, and finally, the grey and misty hues found in Etsu and Zhou's works.

展览详情Exhibition Information

展览名称 : 沙漠花园

展期 : 2019年8月17日 - 9月12日

地址 : 上海大田秀则画廊
Title : Desert Garden

Exhibition Period : Sat. 17 August - Thu. 12 September 2019

Venue : OTA FINE ARTS Shanghai