艺术档案 > 展览档案 > 展讯发布 > [北京]“自然基准”群展

[北京]“自然基准”群展

2019-09-12 22:35 来源: artda.cn 艺术档案 作者:


 

自然基准

Nature as Measure

Artist: Jenny Perlin, Mary Simpson, Ryan Mrozowski, Cui Fei, Zhao Zhao, Julia Bland

Curator: Candice Madey

展览时间:2019年9月21日– 2019年10月27日

开幕式:2019年9月21日(周六)下午3: 00

地点:北京前波画廊

地址:北京市朝阳区草场地红一号D座,邮编100015

联系电话:+86 (10) 5237 0742

Exhibition Time: Sep 21, 2019 – Oct 27, 2019

Opening Reception: 3 pm, Sep 21, 2019

Venue: Chambers Fine Art

Add: Red No.1 – D, Caochangdi, Chaoyang District, Beijing 100015, China

Tel: + 86 (10) 5237 0742

前波画廊荣幸地宣布将于2019年9月21日举办艺术家群展《自然基准》,展览囊括了六位艺术家包括崔斐、Jenny Perlin、Julia Bland、Mary Simpson、Ryan Mrozowski和赵赵,他们都是以自然的规律和结构作为作品内容的来源。尽管他们对于网格和参数的运用,使得作品富有理性、规律且有序的结构,本次展览在面对人工设计的不合理性的同时,也探索了日常自然规律中所带有的政治和社会意识。在这里,对系统的运用实际上是对于艺术界及其它领域的理性美学和有序系统带有一贯优越性的质疑。这次展览也可以被称为“自然文化”,因为每位艺术家都通过对自然环境的研究,发出了对跨文化,永恒和人类活动的思考。该展览与维斯•杰克逊(Wes Jackson)的书籍同名。作为可持续农业发展运动的先驱,杰克逊在1967年创立了土地学会。在这本书籍中,他探讨了生态的自我调节与农业所需的人为调节之间的紧张关系。

此次展览由来自纽约Stellar Projects 的Candice Madey策展。Candice Madey于2008年在纽约下东区创立了On Stellar Rays画廊,且在近十年来一直致力于为绘画、摄影、雕塑、行为艺术、声音和视频领域的艺术家提供资源,增强国际认可。由于与其他领域经常进行互动,使得她的展览与音乐、诗歌和文学进行独特的对话。Madey于2018年停止了画廊的相关工作,并创立了Stellar Project,一个策展与艺术咨询的平台,且更多地与艺术家和收藏家进行更加实验性的与场地和内容更相关的策展计划。2019年,作为创始董事会成员,她被任命为坐落于纽约哈德逊山谷新成立的River Valley Arts Collective的第一位策展人。Madey先前在韦克斯纳艺术中心和佳士得拍卖行任职,并多次为私人收藏和企业提供咨询。她拥有法语和艺术史学士学位以及俄亥俄州立大学工业管理硕士学位。

▲ Cui Fei 崔斐 (b. 1970)

Manuscript of Nature V_006 4自然的手稿之五(006)4, 2016

Tendrils, pins on panel 藤枝

148 x 88 cm (58 1/4 x 34 3/4 in)

崔斐的作品始于自然。她将在野外大量收集的石头、荆棘、种子和藤蔓卷须带回工作室,并将这些材料转变为雕塑,装置,纸上作品,甚至进一步地融入到单板印刷和筑模中。崔斐在她具有重复特性的作品中遵循了中国书法及其他象形文字的模式,然而,通过这些常见的自然物件,作品意义却不局限于每一特定的国家,种族和文化。崔斐毕业于浙江美术学院(现中国美术学院),并于2001年在印第安纳宾夕法尼亚大学获得硕士学位。她目前生活和居住在纽约。最近的展出包括美国康涅狄格学院(2019),纽约华人美术馆(2018),纽约前波画廊(2017,2016,2013),瑞士雷特博尔格博物馆(2016),纽约素描中心(2013)等。其作品被美国普林斯顿大学美术馆、普林斯顿大学唐中心、纽约Art Omi收藏、锡拉丘兹Light Work及中国美术学院等机构收藏。

Jenny Perlin的作品涉及电影、视频、装置和绘画,对历史、文学和语言学进行了跨文化研究。在一系列用油画棒绘成的红色,橙色和黄色画纸上,Perlin表述了哲学家亨利•伯格森(Henri Bergson)的主张:橙色是红色与黄色之间的组成部分 。通过对色谱的隐喻,伯格森找到了一种方法来帮助他的读者视觉化地理解关于持续和直觉的复杂概念。通过Perlin的研究,其作品呈现了科学,语言系统形成的历史和文化因素以及我们对自然和人为环境的主观感知。影像作品《遗言》是由3000幅用记号笔在复印纸上手绘组成的动画片,也是Perlin对尚•考克多(Jean Cocteau)的著名电影《奥菲斯的遗嘱》(The Testament of Orpheus)(1960)中一个美丽场景的诗意翻拍。Jenny Perlin生活和居住在纽约。她于1993年在布朗大学学士学位,1998年在芝加哥艺术学院获得硕士学位,并于1999年参加了惠特尼独立研究项目。美术馆参展包括维也纳美术馆(2017)、洛杉矶LAXART(2017)、纽约惠特尼美术馆(2016)、克罗地亚里耶卡现代美术馆(2015)、俄罗斯圣彼得堡当代艺术车库美术馆(2015)、纽约古根汉姆美术馆(2011)、麻省现代美术馆(2011)、广州三年展(2008)。其作品被西雅图美术馆、纽约现代艺术博物馆、纽约惠特尼美术馆等美术馆收藏。

Julia Bland的绘画广泛地运用了传统和新兴的纤维和油画颜料技术。她裁剪、渲染、编制、涂抹、燃烧、拼贴和缝合她的画作,使其组合成一个复杂且与其形象密不可分的结构。她的作品通常包含着常见的可识别的图型,如船只,蛇和手。独特的自然环境常作用于她的色彩选择以及构图中,并将她对时间和地点的感官体验传达到她作品的图案和构图中。Julia Bland生活和居住在纽约,他于2008年在罗德岛设计学院本科毕业,并于2012年在耶鲁大学艺术学院研究生毕业。近期及未来的展出包括雪城埃弗森艺术博物馆(2020)、约翰•迈克尔•科勒艺术中心(2019)、纽约州河谷艺术合作社(2019)、芝加哥Andrew Rafecz (2019)、纽约Helena Anrather画廊(2019)、纽约Stellar Projects(2017)、纽约On Stellar Rays(2015)等。

▲ Mary Simpson(b.1978)

Off Hours闲暇时光, 2015

Oil on canvas 布面油画

167.5 x 155 cm (66 x 62 in)

Mary Simpson的绘画和水彩有关于古代神话与当代文化,她通过诗意的抽象来表达人体和自然形态。在2016年美国总统大选之后,她的作品转变为更具象的鲜花描绘,试图通过对美丽鲜花的展示来缓解令人不安的政治氛围。通过艺术家每天在工作室中进行的重复创作,对花朵的排序,这项正在进行中的水粉画和水墨画从此成了一种仪式性行为,也像是自发性的冥想。Mary Simpson生活和居住在纽约。她于2009年在纽约哥伦比亚大学获得硕士学位(2009),并于2010年参加了惠特尼独立研究项目。近期展出包括纽约Situations(2018)、纽约On Stellar Rays(2014)、纽约Rachel Uffner画廊(2015、2011)、纽约Simone Subal画廊(2014)、纽约Bortolami画廊(2012)、布鲁塞尔Almine Rech(2011)。影像展示、项目和讲座包括纽约歌德学院(2015)、纽约艺术家学院(2012)、纽约The Kitchen(2010)。

Ryan Mrozowski对人类怎样使用自然中的图形,以及这些图形怎样被人们的视觉感知所干扰,触发联想,及产生心理图像这类现象有着深厚的兴趣。他使用收集来的常见的植物和动物图片,游戏般地将他们配对,逆转,排列组合成令人意象不到的顺序。他的作品挑战了人们对感知是直接和不受外界影响这一固有认知,并且暗示了人类对自然世界构建中的主观和文化影响。Ryan Mrozowski生活和居住在纽约。他于2003年在印第安纳宾夕法尼亚大学获得学士学位,2005年在普拉特艺术学院获得硕士学位。近期展出包括纽约Chapter画廊(2019)、伦敦Simon Lee画廊(2018)、纽约Lyles & King画廊(2018)、柏林Nordenhake画廊(2017)、洛杉矶Hannah Hoffman画廊(2016)、伦敦Arcade画廊(2016)、纽约On Stellar Rays(2015)等。

▲ Zhao Zhao 赵赵

Control 控制,2019

Marble 大理石

赵赵热衷于利用各种艺术媒介对现实及其艺术形态传统惯例提出挑战,强调个体的自由意志。在近期的作品《控制》中,被人们所熟知的葫芦图像大量且频繁地出现。葫芦在中国有着古老的渊源,包括作为道家的法器和宝物,以及文人隐士们的精神寄托之所。随着近现代文明更迭与社会变化,葫芦的用途与寓意渐渐向现实与祈福靠拢。葫芦的生长因为地球的自转以及引力,自身已经拥有了对称性。但人们总是在追寻一种自以为终极的完美,从而形成了一种传统工艺——把成型的模具套在生长的葫芦上,以模具迫使葫芦依照人的意愿生长成形。幼小的葫芦被纳入模具中,随着时间逐渐长成一种大多数人们都普遍认可的状态,即绝对的对称,美丽和有型。《控制》这件作品是把时间投射在模具葫芦的生长过程中,它暗示了为迎合大众市场对完美商品需求的商业化行为,同时也质疑了对个体的强加处理而导致其独立性的丧失。生命的生长不受限制,而生命的形状却受到控制。 赵赵于1982年出生于中国新疆,于2003年毕业于新疆艺术学院。2014年被Modern Painters列为全球最值得关注的25位艺术家之一。近年来,赵赵已成为了80后当代艺术家中的先锋人物并赢得了国际艺术界的关注。其重要美术馆展览包括意大利罗马21世纪国家艺术博物馆(2019)、日本横滨三年展(2017)、北京民生美术馆(2016)、米兰当代美术馆(2016)、意大利米兰帕迪廖内当代艺术馆(2016)、上海民生美术馆(2015)、纽约现代艺术博物馆MoMA PS1(2014)、美国佛罗里达州坦帕美术馆(2014)、第十九届悉尼双年展(2014)、威斯康辛大学美术馆(2014)、尤伦斯当代艺术中心(2013)、乌克兰基辅平丘克艺术中心(2013)、荷兰格罗宁根美术馆(2013)、德国柏林亚洲艺术博物馆(2013)、西班牙卡斯特罗当代艺术中心(2011)等。

 

Nature as Measure
Curated by Candice Madey
Artists: Cui Fei, Jenny Perlin, Julia Bland, Mary Simpson, Ryan Mrozowski, Zhao Zhao
Date: September 21, 2019 – October 27, 2019
 
Nature as Measure considers artists who layer natural forms with systems and structures. Although the use of grids, parameters, and processes in making their work references a rational and ordered architecture, Nature as Measure challenges the hubris and folly of human design, while also exploring the political and social ideologies embedded in everyday representations of nature. Here, systems are appropriations, or illusions, that in fact question the idea of rational beauty and the superiority of ordered systems, artistic or otherwise. The exhibition could similarly be titled “Nature as Culture,” each artist examining a cross-cultural, timeless, and innate human drive to infer cultural and historic meaning from our natural environment. The exhibition title references an eponymously titled book by Wes Jackson—a pioneer of the sustainable agriculture movement who founded The Land Institute in 1976—in which he explores the tensions between a self-regulating ecosphere and the human drive to subject it to the demands of agricultural systems.
 
Nature as Measure is curated by Candice Madey of Stellar Projects—a curatorial and art consulting platform in New York. In 2008, Candice Madey founded the pioneering Lower East Side gallery On Stellar Rays and, for ten years, directed a program that garnered international recognition for a dynamic roster of artists working in painting, photography, sculpture, performance, sound, and video. Frequent collaborations with colleagues in other disciplines placed her exhibitions in a unique dialogue with music, poetry, and literature. Madey closed the gallery in 2018 and founded Stellar Projects, a curatorial and art consulting platform that engages more experimentally with artists and collectors, curating projects that response to site and context.  In 2019, she was a founding board member and appointed the first curator of the newly formed River Valley Arts Collective, an institution in the Hudson Valley, New York. Madey previously held positions at the Wexner Center for the Arts and Christie’s, and has consulted to numerous private collections and estates. She holds a BA in French and Art History and an MBA from The Ohio State University.
 
The work of Cui Fei begins in the wild, accumulating large quantities of stones, thorns, seeds, or vine tendrils that, when returning to the studio, are incorporated into sculpture, works on paper, installations or further integrated into unexpected monoprinting and casting processes. The repetition of form in Cui Fei’s work follows the patterns of Chinese calligraphy and other pictograph-based languages, however, its meaning transcends the specificity of nation, culture or ethnicity in favor the universally accessible natural forms. Cui Fei was born in Jinan, China, in 1970. She received her MFA in painting at Indiana University of Pennsylvaniain in 2011, and her BFA degree from the China Academy of Fine Arts. Currently lives in New York. Cui’s work has been exhibited at the Connecticut College, USA (2019); Museum of Chinese in American, NY (2018); Chambers Fine Art Gallery, New York (2017, 2016, 2013); Rietberg Museum, Zurich, Switzerland (2016), and the Queens Museum of Art, NY 2013(). Her work is included in the permanent collections of the Princeton University Art Museum; The Tang Center for East Asian Art at Princeton University, and Light Work at Syracuse, etc.
 
Jenny Perlin’s work in film, video, installation and drawing emerges from interdisciplinary research in history, literature and linguistics. In a series of red, orange, and yellow oil stick works on paper, Perlin addresses philosopher Henri Bergson’s assertion of orange as ‘the component part’, a space of connection and sympathy with its component parts, red and yellow. Perception of orange is in reality a variety of shades – in turn Perlin has employed three different brands of cadmium orange (R&F, Windsor & Newton, Sennelier) in order to illustrate the breadth of our individual intuition. As in much of Perlin’s practice, these works on paper render visible cultural and historic factors that underlie scientific and linguistic systems and our perception of natural and built environments. Jenny Perlin (b. 1970, Massachusetts) currently lives and works in New York. She received her BA from Brown University in Literature and Society, her MFA from the School of the Art Institute of Chicago in Film, and postgraduate studies at the Whitney Independent Study Program, New York. Her films have been shown at numerous venues including the Guggenheim Museum, New York; Mass MoCA, Massachusetts; MoMA, New York; Guangzhou Triennial, Canton: IFC Center, New York, Berlin and Rotterdam film festivals, the Drawing Center, New York; and The Kitchen, New York. Artist residencies include IASPIS Sweden, Wexner Center, Civitella Ranieri, ISCP, and commissions from Bard College CCS, Aldrich Museum, BAC Geneva, The Queens Museum, and Expo 02, Switzerland. Perlin’s work is in public collections including MoMA, Seattle Art Museum, the Five Colleges, MA, the School of the Art Institute of Chicago and numerous private collections.
 
Julia Bland’s paintings are created through a wide range of traditional and invented techniques of working with fiber and oil paints. She cuts, dyes, weaves, paints, burns, collages and stitches her works in beautifully complex structures that are inseparable from their image—often suggesting universally recognizable archetypal forms such as vessels, serpents or hands.  The color palettes and compositions are influenced by unique natural environments, and channel her sensory experiences of time and place into the patterns and architecture of her work. Julia Bland (b.1986) grew up in California, and earned her B.F.A. from the Rhode Island School of Design in 2008 and her M.F.A. from Yale University in 2012. She has been an artist in residence at The MacDowell Colony; The Shandaken Project; Sharpe-Walentas Space Program; Lighthouse Works, Yaddo; Woodstock Byrdcliffe Guild; and the Skowhegan School of Painting and Sculpture, and was honored with the Milton and Sally Avery Fellowship; Carol Scholsberg Memorial Prize; Jacques and Natasha Gelman Trust Travel Fellowship; and the Florence Leif Award. The artist currently lives and works in Brooklyn, NY.
 
Mary Simpson’s paintings, watercolors, and drawings have long alluded to mythologies of ancient and contemporary culture, referencing the human and natural forms through poetic abstractions. Following the 2016 U.S. presidential election, the work turned to more representative depictions of flowers in an attempt to address an unsettling political climate with blatant acts of beauty.  The ongoing series of watercolors and ink drawings have since become a ritual-like act, or active form of meditation—whereby each day the artist is performing, replicating, and sequencing floral images in the studio. Mary Simpson was born in Anchorage, Alaska and currently lives in New York. She received an MFA from Columbia University in 2009 and attended the Whitney Independent Study Program in 2010. Her work has shown at Bortolami, On Stellar Rays, Rachel Uffner and Simone Subal, all New York; David Petersen, Minneapolis; Almine Rech, Brussels; Hilary Crisp, London; Seattle Art Museum; Boise Art Museum. Film Screenings, projects and lectures include the Artists Institute, The Kitchen, both New York; Henry Art Gallery, Seattle; CAM2, Madrid. She teaches at Cooper Union and Columbia University.
 

Ryan Mrozowski is interested in how natural imagery is adopted for human use and the optical systems that connect, or disrupt, visual activity and mental images. Mrozowski approaches his work with a sense of play, using found and familiar images of plants and animals in unexpected sequences, pairings and inversions. His paintings and oil stick drawings challenge the notion that perception is ever direct or unmediated, and by extension, suggest the subjective and cultural nature of human-constructed designs of the natural world. Ryan Mrozowski was born in 1981 in Pennsylvania and lives and works in Brooklyn, New York. Mrozowski’s work has been shown internationally and has been the subject of numerous solo exhibitions, including shadow nor prey, Galerie Nordenhake, Berlin, Germany (2018); Ryan Mrozowski, Hannah Hoffman Gallery, Los Angeles, CA (2017); Numb Tongue, Arcade Gallery, London, UK (2016); Open, Other, End, On Stellar Rays, New York, NY (2015); Flotsam, The Gardens, curated by Art in General, Vilnius, Lithuania (2014); A mouth that might sing, Pierogi, Brooklyn, New York, NY (2012). His work is part of the Schwartz Art Collection (Harvard Business School), Progressive Collection, the Vulcan Art Collection, the Eric Fischl Private Collection, and the Adam Clayton Private Collection.

Zhao Zhao has frequently used repeated forms or actions in his work as a form of insistent social and political commentary. In his recent project Control, the familiar gourd is shown in great numbers, a crop and a symmetrical form with great significance in traditional Chinese culture, most notably as an auspicious object and ritual instrument among Daoists and a vessel symbolizing spirituality among literati in the past, and now a token suggesting good fortune and blessings. However, here the gourds are shown growing in formed molds, revealing the commercial growing industry that attempts to create the perfect product for the mass markets. Far removed from its natural, or even a normal agricultural environment, Zhao Zhao questions the effects of forced conformity and commercialization on blessed objects, seeing a parallel to how human beings, both individually and collectively, are shaped by the authoritative power. Born in Xinjiang, China, in 1982, Zhao Zhao graduated with a BFA from the Xinjiang Institute of Arts from the department of Oil Painting in 2003. He was named one of the 25 Artists to Watch by Modern Painters in 2014. In recent years, Zhao Zhao has become a pioneer among the post-80s contemporary artists and won the attention of the international art community. Major exhibitions include the 21st Century National Museum of Art in Rome, Italy (2019), Yokohama Triennial Exhibition, Japan (2017); Beijing Minsheng Art Museum (2016); Galleria d'Arte Moderna in Milan(2016); PAC Padiglione d’arte Contemporanea, Milan, Italy (2016); Shanghai Minsheng Art Museum, China (2015); MoMA PS1, New York, USA (2014); Tampa Museum of Art, FL, USA (2014); 19th Biennal of Sydney, Australia (2014); Crossman Gallery, University of Wisconsin-Whitewater, Whitewater, USA (2014); Ullens Center for Contemporary Art, Beijing, China (2013); ); Pinchuk Art Center, Kyiv, Ukraine (2013); Groninger Museum, Groningen, Netherlands (2013); Museum für Asiatische Kunst, Berlin, Germany (2013); Contemporani Diputació de Castelló, Spain (2011), etc.

 

 

【声明】以上内容只代表原作者个人观点,不代表artda.cn艺术档案网的立场和价值判断。

 

上一篇:[北京]2019当代中..    下一篇:“迁徙的途径”莫..

相关主题:

网友评论