【媒体报道】杨牧石|frieze展评

2019-04-10 16:44 浏览:313 A+ | A-


【媒体报道】杨牧石|frieze展评,杨牧石,frieze,麦勒画廊,霓虹灯,霓虹,Illuminating,白色,灯管,黑色,建筑


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麦勒画廊的面被白色霓虹灯制作而成的雕塑装置照亮。在中国青年艺术牧石之前的两个展中,全部是黑的雕塑及装置作品,而一系列作品意味着其在作中的一次美学向。新的系列作品“照明”(2018) 由明亮的霓虹灯管弯折成的几何形状及案构成。这次展览只展出了其“黑色”系列(2016至今)中的三件作品,然而杨牧石仍在继续探索旧工具、弃木材及建筑垃圾等材料在作中的多可能性。比如作品“剥离-片”(2017)呈了200件由弃建筑沙雕刻而成的不同图式的星状物件,在精心排列下呈现出一种统一的错觉。

 

白色霓虹灯为观者带来了全新的视觉体验,与此同时,也延续着杨牧石创作中的意识形态基调:正如“黑色”系列的名称及材料指涉的是手工劳作,“照明”系列受到了普通人面对的日常现实和挑战的启发。使用白色霓虹灯的灵感来自于在中国十分常的窗户栅栏以及商用于招揽消费者的招牌。杨牧石作品中这一白色的单调性使人想起办公室和工厂中常用的冷荧光灯。


尽管《照明3》(2018)等作品中霓虹的明亮和谐设计可能会唤起一种美感甚至是怀旧之情,但对杨牧石而言,这只是一种幻觉。弯曲的霓虹灯管被置于铁板之上,上漆后的纹理呈现出如石质般的粗糙质感。对于这一只有近距离打量才能观察到的粗燥、不规则背景的设计,艺术家意在暗示某种更为尖锐的现实。毕业于北京中央美术学院,杨牧石现在的工作室在上海,他对这两个超级大都市都很熟悉。他见证了在这些一线城市中,随着人口控制措施的推进,农民工被迫返乡,不仅建筑消失了,人也消失了。这也是此次展览名称“原地消失”的灵感来源之一。就像霓虹灯装置“照明”系列作品,并非一切都是鲜亮的:仔细观察,你就会发现你正置身于让你深感不安的问题之中。


经过反复试验并用最为纤细的霓虹灯管进行尝试,杨牧石达成了非常紧凑的设计,比如作品《照明5》(2018)。精心扭折的霓虹灯管形态各异,不同角度观察到的图案都是不同的。这些形式对于“扭曲”概念的戏谑或许也暗示着当代社会的阴影面。

 

 《照明》系列是杨牧石艺术创作中的一次探索转变,但与其之前的作品之间仍有连续性且互为补充及呼应。使用木材变换出的形态由霓虹灯做出了新的诠释:例如《照明6》中的六边形形态及纵向垂直的设计与《叠置-支》(两件作品均创作于2018年)是一致的。后者是由废弃的木质栅栏切割而成,象征性地抹除了材料的历史并将其重新组装成崭新之物。由黑色喷漆覆盖的栅栏尖看上去相当危险,防御性十足。霓虹灯管当然不可能有如此锋利的边缘,但一些作品的金属背板上却出现了锯齿状的尖刺——比如《照明1》和《照明7》(均创作于2018年)——从而显现出作品视觉及情感上的连续性。


展出完全不同的作品是需要勇气的。经过两年不断的试验,杨牧石的勤奋与坚持再次带来了令人信服的作品,他做到了。



Sculptural installations, forged out of white neon lights, illuminate the walls of Galerie Urs Meile. The works denote a significant aesthetic departure in the practice of the young Chinese artist Yang Mushi who, in his two previous solo shows, exhibited sculptures and installations in pureblack. The new series, ‘Illuminating’ (2018), is characterized by brightly lit geometric shapes and patterns, rendered by narrow, twisting neon rods. Only three works from his ‘Dark’ series (2016–ongoing) form part of this current show, although Yang continues to investigate the possibilities of materials such as old tools, discarded wood and construction waste. Amongst these earlie pieces is Peeling Off – Piece (2017), made of discarded building models and featuring 200 delicate and variously shaped stars, carefully arranged to give the illusion of uniformity.


While the white neon provides a fresh visual experience, Yang’s work retains the same ideological footing: like the ‘Dark’ series, whose titles and materials make reference to manual labour, ‘Illuminating’ is informed by the everyday realities and challenges faced by ordinary people. The use of white neon, for instance, is inspired by both the domestic window grills frequently seen in China as well as by the signage on commercial premises seeking to lure in consumers. In limiting his palette to white, Yang reminds us of the cold fluorescent lights commonly found in offices and factories.


Although the bright, harmonious designs of the neons in works such as Illuminating 3 (2018) might evoke a sense of beauty, or even of nostalgia, to Yang this is only an illusion. The bent neon tubes are mounted on iron sheets carefully coated with textured paint to leave a rough, stone-like surface. By adding a coarse irregular background, only visible from up close, the artist hints at something harsher. A graduate of Beijing’s Central Academy of Fine Art, with his studio now based in Shanghai, Yang is familiar with both mega-cities. He has been observing a growing trend towards uniformity in these first-tier metropolises, where not only buildings but also people disappear, as rural workers are forced to move back to their hometowns under population-control measures. This is one of the concerns that inspired the show’s title,‘Vanishing into Thin Air’. Like the neon installations of ‘Illuminating’, all is not bright: look more closely and you’ll find yourself confronting some deeply unsettling problems.


Through repeated experimentation and by employing the narrowest neon tubes available, Yang has been able to achieve some exceptionally compact designs, as in Illuminating 5 (2018). Carefully contorted, the neons permit a multitude of configurations that, when viewed from different angles, reveal yet more patterns. A play on the notion of ‘twisted’, these forms might also suggest the shadowy sides of contemporary society.


While the ‘Illuminating’ works signal a shift in Yang’s practice, there is continuity with the earlier series and they complement and inform one another. Shapes conjured in wood are re-interpreted in twisted neon: Illuminating 6, for example, has the same hexagonal shape and displays the same long vertical lines as Overlaying – Branch (both 2018). The latter is fashioned from discarded wooden fences that were cut up, thereby symbolically erasing their history, and reassembled into something new. Covered with black lacquer, the fenceposts’ pointed ends look menacing and retain their defensive quality. Neon tubes inherently do not allow for such sharp edges, yet jagged spikes appear on the metal backplates of some pieces—Illuminating 1 and Illuminating 7 (both 2018), for instance—allowing for visual and emotional continuity between them.


Exhibiting a radically different body of work takes courage. Yet Yang, who is renowned for his industry and persistence, has succeeded, after two years of diligent experimentation, in creating another compelling addition to his already impressive body of work.

 

文/Nooshfar Afnan

译/麦勒画廊

 

本文刊登于《frieze》杂志4月刊,欢迎点击“阅读原文”了解更多信息。

The text is published in the April issue of frieze magazine. Please click "read more" to get more info.




杨牧石个展“原地消失”于2019年1月12日-3月3日在麦勒画廊北京展出。

Yang Mushi's solo exhibition "Vanishing into Thin Air" was held at Galerie Urs Meile Beijing from January 12 till March 3.


【媒体报道】杨牧石|frieze展评,杨牧石,frieze,麦勒画廊,霓虹灯,霓虹,Illuminating,白色,灯管,黑色,建筑

【媒体报道】杨牧石|frieze展评,杨牧石,frieze,麦勒画廊,霓虹灯,霓虹,Illuminating,白色,灯管,黑色,建筑

【媒体报道】杨牧石|frieze展评,杨牧石,frieze,麦勒画廊,霓虹灯,霓虹,Illuminating,白色,灯管,黑色,建筑



Galerie Urs Meile 798


【媒体报道】杨牧石|frieze展评,杨牧石,frieze,麦勒画廊,霓虹灯,霓虹,Illuminating,白色,灯管,黑色,建筑



麦勒画廊 北京

Galerie Urs Meile Beijing


地址:北京市朝阳区酒仙桥路2号798艺术区798东街D10,邮编100015

Add: D10, 798 East Street, 798 Art District, No. 2 Jiu Xianqiao Road, Chaoyang District, 100015 Beijing, China


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开放时间:周二至周日,上午11:00 – 下午6:30

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