杨牧石-原地消失
2019-01-04
浏览:156
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日  期 2019-01-12 ~ 2019-03-03
城  市 北京
地  址
北京市朝阳区草场地村104号
展览前言

麦勒画廊北京部荣幸地宣布我们即将举办年轻新锐艺术家杨牧石(生于1989年)的最新个展“原地消失”,这也是他在麦勒画廊举办的第三次个展。杨牧石从2013年至2016进行着“无效生产”,将收集而来的废旧工具通过各种生产方式锐化成为质感不同的黑色几何状物体。在2017年的个展“强制执行”中,他制造出更加精确的“错误”:即把处理后的材料经过各类计算后集合成为不同形态的单件。在“残躯败体”个展中,杨牧石在制作过程中重新审视工具作为城市的残躯,并以残缺的物质结果激发了观众对于城市的发展、变革以及生产关系的思考。

Galerie Urs Meile Beijing is pleased to announce Vanishing into Thin Air a solo exhibition of the young emerging Chinese artist Yang Mushi (*1989). In his third solo presentation afterIllegitimate Production and Compulsory Execution, during which the artist used various methods to grind found tools into an array of geometric shapes and textures, the artist furthers his meditations on such topics as urban development, evolution, and labor relations.


本次展览将聚焦杨牧石的全新霓虹系列作品《照明》(2018,白色霓虹灯管,铁皮,真石漆,尺寸从87.5 x 161.9 x 18 cm到163.6 x 114.5 x 18 cm不等)。艺术家用一组发光体填充展览空间,试图让空间更加明亮与温暖。霓虹灯是已被淘汰的传达广告和信息的工具,甚至是意识形态的装饰工具,而加热、弯曲则是制作霓虹灯的一种基本手段。透过对白色灯光的选取以及对限制的描绘,艺术家指向的是现实的扭曲、冲突以及刺眼的秩序。当落后的生产方式遭遇当下,并大规模地制造出新的失落时,结果变成了新的“扭曲”。

Illuminating (2018, white neon tube, iron sheet, stone-like coating, sizes varying from 87.5 x 161.9 x 18cm to 163.6 x 114.5 x 18cm), a series of neon light works, constitutes the main body of this exhibition. The neon light, a popular material once commonly used to convey advertisements and disseminate ideologies but now widely replaced by LED out of energy efficiency considerations, is generally fabricated through heating and twisting. Through the incandescent lighting and varying angles, the artist has turned the image to point at the individual in society being twisted by social rules or restrictions. As this defunct mode of production confronts the present and creates a new sense of loss on a large scale, a new “distortion” comes to fruition. Through a continual twisting motion, the artist screws together an unreasonable production, a backward production method, and the manufacturing work of consumption. The twisted light tubes emit a dazzling light into the space that is at once frivolous and pale.

与《照明》系列一并展出的还有杨牧石极具标识性的、具有几近严格的军事美学特征的黑色物质形态(尺寸从164 x 41 x 19 cm到244 x 121 x 9 cm不等)。这些黑色作品都以动词命名,诸如“消磨”、“刨除”、“切入”、“割离”、“侵蚀”,这似乎在暗示着,在制作尖锐木块的过程中,是动作给作为工作对象的物件蒙上了光晕。艺术家没有把自己的情绪塑造成一个特定的形象,或让形象成为情绪的象征,而是通过形象留下自己的思考轨迹。他的雕塑创作并非是再现已然成立的、宏大的、视觉形象,以及这种视觉形象所象征的“ 正确”意义。他作品中充斥的反纪念碑性,抽象地承载了极为个人的、微不足道却异常真实和切肤的伤痛。

The show also includes Yang Mushi’s Dark series (2016–2018, wood, lacquer, sizes varying from 164 x 41 x 19 cm to 244 x 121 x 9 cm) with their distinctive shape of strict aesthetics and a martial kind of beauty. These works in black are entitled with active verbs such asGrinding, Subtracting, Cutting, Peeling, Eroding, which seem to suggest that the actions are what cast the aura onto the objects in the process of working with sharp wooden pieces. The original form and function of the wooden materials are eliminated and thus new meanings emerged from the ordered formation and sharpened edges of the objects.

观看杨牧石的“黑色生产”时,我们能想象出,切割材料时,汗水裹挟着劳作的热能,弥漫到空气中,最终消散在他所积聚的社会现实间。这一“消散”的动作在“照明”系列中通过媒介的转换被强化。光是可见的,却不可触及,散发着热能,也传递着灼伤的疼痛。不过, 这一次,围绕在木质工具周围劳作的主体——那位辛苦流汗的艺术家,与产出的锐利形状合为一体,继续着自己散发热能的工作。或许,这隐喻着杨牧石自2013年以来打磨工具所产生的体会——自己与工作对象的那种亲密无间的关系。

Looking at Yang Mushi’s “dark production,” we can imagine the thermal energy, carrying the sweat from laboring over the division of materials, dispersing into the air that eventually vanishes into the social realities Yang has conjured. This “vanishing” act further enhances the artist’s appropriation of neon lights for the Illuminating series. Light is visible, yet intangible. It emits thermal energy while

conveying a burning pain. However, this time, surrounded by the subject of labor visualized through the wooden tools—we find the diligent artist becomes integrated with the sharp forms he produced as he continues to labor over an art practice he is passionate about. Perhaps, this is an analogy for Yang Mushi’s realization of sharpening tools since 2013—an intimate relationship between the self and the subject of his practice.


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