隐喻:当代水墨七人展 Metaphor: Contemporary Ink Painting Exhibition of Seven Artists

2018.10.20-2018.12.2

隐喻:当代水墨七人展

Metaphor: Contemporary Ink Painting Exhibition of Seven Artists

艺术家 | Artist: 梁缨 | Liang Ying、李军 | Liang Ying、李关关 | Li Guanguan、王濛莎 | Wang Mengsha、张天幕 | Zhang Tianmu、周雪 | Zhou Xue、祝铮鸣 | Zhu Zhengming

开幕时间 | Opening Ceremony:2018年10月20日 16:00

展览时间 | Duration:2018年10月20日-2018年12月2日



•凯旋画廊荣幸地宣布将于2018年10月20日举办“隐喻:当代水墨七人展”,展览将呈现梁缨、李关关、李军、王濛莎、张天幕、周雪、祝铮鸣,七位艺术家的水墨作品。

作为一种文学修辞,隐喻有着漫长的历史,而在作为视觉图像的艺术中,隐喻同样是艺术家惯常采用的创作方式、艺术史家们研究艺术作品的重要通道。对隐喻的研究让我们能够理解古典绘画中诸如“面包”、“羊羔”、“骷髅”等符号的宗教含义,《双喜图》中一对枝头喜鹊和地上兔子的关系,《庐山高图》中高山与长辈寿星之间的情谊。从传统来看,中国画并不长于精细描绘现实和讲述各种故事,但“隐喻”却在绘画中却司空见惯,它们赋予不同的符号以丰富的社会文化内涵,并建立起一套相应的理解系统。

现代艺术为这样一系列含义及其系统找到了全新的方式,隐喻成为一种更为直接和鲜明的创作手段,无论是在先锋派诗歌,还是在前卫派艺术中,这一现象都同样发达。正如波德莱尔笔下所写,“人穿过象征的森林,森林发出悠长的回声”。现实主义的统治终结之后,在中国的当代水墨中,一方面继承了经典绘画中的隐喻传统,另一方面又吸纳了现代艺术的全新手法,以此作为感知、体验、想象、理解、讨论的渠道,在自我与他人、内心与世界、现实与情感之间建立起全新的结构性联系。

新水墨自新世纪第二个十年起,开始变得流行。最初,无论是艺术家,还是评论家,都乐于从绘画语言与视觉形式的角度去看待这种变化,来解释“新”与“传统”的差异。随着时间的进展,单一形式上的转化已经无法支持“新”的“意义”。因此,艺术家在创作中,评论家在写作中,都开始寻找另外的可能性,从自我、生活、阅读、观念等方面着手,重绘“新”的当代地图。显然,仅仅是视觉表象的改变,已经不能持续发展水墨,那么,个人、社会、文化之间的互动就变得尤为关键,这也正是本次展览命名“隐喻”之目的所在。


Triumph Gallery is pleased to present “Metaphor: Contemporary Ink Painting Exhibition of Seven Artists” on October 20th, 2018 at Triumph Gallery. This exhibition presents ink painting works by seven artists, including Liang Ying, Li Guanguan, Li Jun, Wang Mengsha, Zhang Tianmu, Zhou Xue, Zhu Zhengming (alphabetical order).

 

As a literary rhetoric, metaphor has been around for quite a long time. So is it in visual art, where artists create metaphorical works, and art historians approach masterpieces via the lens of metaphors. Studies of the metaphor have given us access to the religious meaning of symbols such as “bread”, “lambs” and “skeletons” in classical paintings, the relationship between the magpies and the rabbit in Two Magpies from Song dynasty, and the friendship between the mountain and the elders in Mount Lushan by Shen Zhou from Ming dynasty. While traditional Chinese paintings seldom focus on realistic story-telling, metaphors are commonly seen to evoke rich social and cultural connotations and consequently establish an understanding system unique to themselves.

 

In modern art, metaphors have evolved to be a more direct and distinct means of creation, both in avant-garde poetry and art. As Baudelaire wrote, “People pass through the symbolic forest, who observes them like an echo.” As the reign of realism comes to an end, contemporary Chinese ink paintings inherits the metaphorical traditions, and lets in the new methods of modern art as a channel for perception, experience, imagination, understanding and discussion, forging a new structural bond between self and others, the inner world and the outside, reality and emotions.

 

New ink painting has become popular since the second decade of this century. Initially, artists and critics were keen on interpreting the difference between the new and the traditional from the perspective of painting language and visual forms. As time went by, formal transformation was not enough to be what it took to be new. As a result, artists and critics began to seek alternatives from the self, life, reading and concepts to remap the meaning of newness. It has become apparent that mere visual changes can no longer help with the development of ink painting, and the interaction between individuals, society and culture becomes especially crucial. And this is precisely why this exhibition is called “metaphor”.