展览评论 | 朱朱:《对立》

2018-10-11 15:35 浏览:162 A+ | A-

©HdM GALLERY 伦敦

展览现场,钱佳华 | 对立,2018


对立


文:朱朱,2018 年 10 月


“对立”(Antithetical),并非强调对抗、冲突之意,而是达致平衡之前所有因素的相互作用:线和影子,线和面,面和面,色层和色层……虽已落实为一幅画但不静止,它们处于僵持之中,以张力对应动态,画面空间里有既已隐藏就不再言明的叙事,也有瞬间的捕捉与领悟,譬如一道闪电般的线撕裂整个块面的戏剧感,也许,她的每一幅作品都可以视为平衡之前那个漫长过程的定格。

钱佳华,《对立》,布面丙烯,120×90cm&100×70cm,2015,展览评论 | 朱朱:《对立》,朱朱,钱佳华,绘画,伦敦,布面丙烯,诗集,London,HdM,块面,具象©HdM GALLERY

钱佳华,《对立》,布面丙烯,120×90cm&100×70cm,2015


钱佳华是近年涌现出来的抽象画家之一,在她这一代之前,虽然中国已经形成了一个抽象的小传统,但并没有太多的艺术家投入其中,抽象也并非绘画领域的主导,艺术家和观众更多地迷恋于具象绘画里的故事、形象和符号,这样的集体趣味在最近十年逐渐淡化,抽象赢得了更大的舞台,同时,也构成了一场残酷的竞争:年轻的抽象画家们总是渴求生产出具有辨识度的个人图式,然而,图式一旦成形,就意味着危险:惯性和惰性很容易以此为温床自我孵化——这种到不了终点的成功逻辑在具象领域里已经上演过一遍,今天,我们的审视和期待都变得更为强烈。

展览评论 | 朱朱:《对立》,朱朱,钱佳华,绘画,伦敦,布面丙烯,诗集,London,HdM,块面,具象©展览现场,钱佳华 | 对立,2018


钱佳华以一道纤细而锋利的线在面和空间里的历险,让人记住了她。她独特的语言手法还在于块面的组合关系,带有一种地壳运动式的撞击感,能迅速打开观众的心理空间,同时,她也有意并用强烈的对比色,来造成一种矛盾的整体,且通过细节进行巧妙的自洽。相较于前辈对崇高感和纪念碑性的风格追求,她的想象力混合了精灵般的天真和狡黠,致力于为自己的情感找到一个带有幻想出口的安放之处,如她自己所言:

把一个圆柱形蛋糕切成一块块锥形却不分给大家,留着切痕也留着原来的样子,同时还在等待被分食的临界氛围。

钱佳华,《透气》,布面丙烯,70×60cm,2016-2018,展览评论 | 朱朱:《对立》,朱朱,钱佳华,绘画,伦敦,布面丙烯,诗集,London,HdM,块面,具象©HdM GALLERY

钱佳华,《透气》,布面丙烯,70×60cm,2016-2018


已有不少的评论者注意到,钱佳华的构图有着利落的边缘切割,她自己给出的解释之一是,作为独生子的一代习惯与他人保持清晰的边界关系,事实上,这还是她的出生地上海在人际方面的传统,在密集、逼仄的居住环境里,彼此尤其敏感于隐私空间和心理距离的设立,其中也植入了殖民地文化的自我意识。对她来说,成长环境的影响还不止于此,在这座城市高度秩序化的空间格局里,“楼房边长出的植物、风从楼间刮过的刹那、每一间窗户的边缘是否与墙面平行、走过每一幢高楼下的压迫感,以及陌生人的行走速度……”,这些受挤压的细节在记忆的反刍中反而显得柔韧而鲜明,并且在她的绘画中得到暗示和回应。 

©HdM GALLERY,展览评论 | 朱朱:《对立》,朱朱,钱佳华,绘画,伦敦,布面丙烯,诗集,London,HdM,块面,具象

©HdM GALLERY

钱佳华,《摩天轮》,布面丙烯,200×160cm,2016-2018


以这些绘画内外之事,钱佳华揭示抽象可以具体而微,并非一定要攀附宇宙或道的臆想,攀附有时只是在掩饰内心的空洞,相比而言,找到一条属于自己的小径反倒更能接近真实。钱佳华时常警醒于自己不要落入空洞的形式构成,她更愿意在自己画出的一道线上左右摇摆,渴望平衡又享受随时要坠落的刺激。


*朱朱  诗人、艺术策展人、艺术评论家。1969 年生于中国。曾获安高(Anne Kao)诗歌奖,中国当代艺术奖评论奖(CCAA),胡适诗歌奖。著有诗集、散文集、艺术评论集多种,其中包括法文版诗集《青烟》(2004年,译者Chantal Chen—Andro),《灰色的狂欢节——2000 年以来的中国当代艺术》(2013 年广西师范大学出版社“理想国”书系,2016 年台湾典藏出版),英文版诗集《野长城》(2018 年,美国 Phoneme Media 出版社)。



钱佳华|对立

策展人:朱朱

展览时间:2018 年 10 月 4 日 - 11 月 5 日

展览地点:HdM 伦敦 | 42 Conduit Street, Mayfair, London W1S 2YH


关于艺术家

钱佳华 1987 年生于上海,2011 年毕业于中国美术学院,现生活工作于上海。作为近年观众熟知的新一代中国抽象绘画重要代表之一,钱佳华曾参加国内多个重要机构的展览,包括瑞士卢塞恩圣·乌尔班当代艺术博物馆、上海龙美术馆、上海 chi K11 美术馆、成都当代美术馆、中国美术学院美术馆和北京时代美术馆等。




ANTITHESIS


By Zhu Zhu,  October 2018


The word “antithesis” does not emphasize opposition or conflict; instead, it refers to the mutual effects of all factors prior to reaching a balance: line and shadow, line and plane, plane and plane; color layer and color layer—although they may have been concretized in a painting, they are not static. They are situated in a standoff, a dynamic of complementary tensions. The space of the painted surface holds a concealed, tacit narrative; it also captures an instantaneous realization. For instance, a blitz-like line tears dramatically through a solid mass. Perhaps each of her artworks can be viewed as a characterization of the lengthy process leading to balance.  

QIan Jiahua, Blue should be above, acrylic on©HdM GALLERY

QIan Jiahua, Blue should be above, acrylic on canvas, 120x90cm,2016


Qian Jiahua is one of the up-and-coming abstract painters who has emerged in recent years. Although a minor tradition of abstraction had taken shape in China prior to her generation, not many artists were committed to it, and it was by no means a major direction in painting. Artists and viewers alike were more fascinated by the stories, images and symbols in representational art. Yet this collective preference has been moderating in the past two decades, and abstraction has taken an increasingly large stage. This has led to a bout of fierce competition: young abstract painters are strongly driven to produce recognizable personal motifs. However, fixed development of one’s own motifs implies a certain danger, for habit and inertia can easily make them an incubator for hatching more of the same. Such self-truncation of the logic of success has already shown itself in the representational realm, so rising expectations have made our scrutiny more exacting. 

Qian Jiahua, Configuration and pile, acrylic on ca©HdM GALLERY

Qian Jiahua, Configuration and pile, acrylic on canvas, 70×40cm, 2016


Qian Jiahua cuts through planar spaces with a keen yet delicate line, in a way that people find memorable. Her unique language also deals with juxtaposition of solid masses, giving a sense of tectonic shifts and impacts. She does this in a way that quickly gains access to the viewer’s inner space. At the same time, she purposefully employs strong color contrasts to evoke a contradictory totality, which maintains a wondrous cohesiveness through use of detail. In contrast to painters of the elder generation, who pursued a sense of monumentality and high-mindedness, her imagination is infused with an elfish innocence and nimble-mindedness. She strives to settle on a fantasy that offers a point of egress for her feelings. As she herself remarked: 

“I cut a columnar layer cake into wedge-shaped pieces, but I don’t serve them to everyone. I leave the slice-marks and the original shape, waiting to be eaten, to evoke the ambience of an imminent phase change.”

Qian Jiahua, Staggered Space, acrylic on canvas, 1©HdM GALLERY

Qian Jiahua, Staggered Space, acrylic on canvas, 100×70cm, 2016


Quite a few critics have remarked that Qian Jiahua’s compositions have crisp, clear-cut boundaries. One way she explains this is the habit people in her generation—born in single-child families—to maintain clear boundary relations with other people. In fact, this is the tradition of interpersonal dealings in her birthplace, Shanghai. In that dense, congested living environment, people are especially sensitive about establishing personal space and psychological distance. This also bears upon the issue of self-awareness in a colonial culture. As for her, the influence of her childhood environment goes even deeper: in that highly ordered spatial arrangement of the city: “plants are growing along the edges of each building, and at the instant that wind blows between the buildings, you notice the margins of each window are parallel with the walls; you notice tall buildings pressing down as you walk along them, and the rapid pace of pedestrians passing by.” As she

ruminates on remembered details of those oppressive times, they take on suppleness and vividness. In her paintings we can find suggestions and echoes of them.  

Qian Jiahua, Plane and plane, acrylic on canvas, 1©HdM GALLERY

Qian Jiahua, Plane and plane, acrylic on canvas, 120x90cm, 2016


By what is shown and implied in her paintings, Qian Jiahua convinces us that abstraction can be concrete and subtle. There is no need for conjectural ascription to the cosmos or the Tao. What one ascribes to a high principle may only be a mask for inner hollowness. In contrast, by searching for a bypath of one’s own, one paradoxically ends up getting closer to the truth. Qian Jiahua often reminds herself not to fall into compositions of hollow form. She would rather follow a wavering painted line, yearning for balance and enjoying the thrill of an imminent downward plunge.


*Zhu Zhu, poet, art curator, art critic, was born in September 1969. He won the Second Anne-Kao Poetry Prize, the third Chinese Contemporary Art Critic Award (CCAA) and Hushi Poetry Prizes. He is the author of collection of poems, essays and art reviews, including Franch version poetry ‘Blue Smoke’ (2004, French version, translator: Chantal Chen—Andro), ‘Gray Carnival: Chinese Contemporary Art Since 2000’ (Collection of ‘Imaginist’ by Guangxi Normal University Press in 2013, published by ARTCO Journal in 2016). The English version poetry anthology ‘The Wild Great Wall’ is  published in 2018 by Phoneme Media in United States.


About the artists

Born in 1987 in Shanghai, Qian Jiahua graduated from China Academy of Art in 2011. She now lives and works in Shanghai. As one of the important representatives of the new generation of abstract paintings in China, her work has already been largely exhibited including at St. Urban Museum of Contemporary Art (Luzern, Switzerland), Long Museum (Shanghai, China), Chi K11 Museum (Shanghai, China), Chengdu Museum of Contemporary Art (Chengdu, China), Times Art Museum (Beijing, China), etc.


Qian Jiahua | Antithetical

Curator: Zhu Zhu

Duration: 2018.10.04 - 11.05

Location: HdM GALLERY | 42 Conduit Street, Mayfair, London W1S 2YH               



北京空间 

北京市朝阳区酒仙桥路 4 号 798 艺术区七星东街,100015,中国

info@hdmgallery.com

+ 86 10-59789320

周二至周六 11:00 – 18:00

伦敦空间

42 Conduit Street, Mayfair, London W1S 2YH

m@hdmgallery.com

周一至周五 10:00 –18:00 


www.hdmgallery.com

Instagram:hdm_gallery



阅读原文

【文章仅代表作者观点,不代表崇真艺客的立场,转载请注明出处】

发表评论
博文分类

艺讯订阅

联系客服
86-021-62666063
info@trueart.com

分享

×