Boers-Li画廊荣幸地向您宣布，艺术家梁远苇将于5月30日至7月15日，在本画廊的主空间举办她的最新个展——《115楼1904室：梁远苇个展》。
梁远苇1977年生于西安，1999年毕业于中央美术学院。作为一位年轻艺术家，她的摄影、绘画及装置作品关注的是每日生活里语言符号学意义上的美好与压抑的联结点。作为N12的成员之一，还在学生时代，梁远苇即开始举办展览并且吸引了国际范围的关注。
梁远苇近期的大部分作品关注的主题是私密性、人与人之间的交流、个体自身的感受及其所带来的感动。显然艺术家认为正是这些感动，填满了内心与日常生活的空白空间。与众不同的是，梁远苇的作品拒绝女性艺术家们特有的、理想的女性题材，而是关注对社会题材更广泛地探索。
梁远苇的实践对艺术技巧有严格的要求，并且常常对于时间及精力的安排也有特定量的要求。这促使观众在看作品的同时，须重新审视那交织成每日平凡生活的、使人销魂或痛苦的微妙问题。艺术家拒绝简单易得的答案，更乐于对感知环境进行艰苦地重构。
此 次个展将展示的是艺术家最新的油画系列《生活的片断》，这组油画以艺术家自己拥有的衣服或者布单上的花纹为蓝本来进行绘画。画面上细碎的小花及柔和的底 色不是死气沉沉的，仔细看，它们似乎从自身发出柔和的光来，又像一片海洋，花朵在里面沉沉浮浮。就专业技法的角度来说，《生活的片断》的创作过程需要极大 的耐心及定力，艺术家从画面的一个边开始绘画，从这个方向以条状推进，每天只画窄窄的一条。于是每天看到的图案都不是完整的，在整个画面完成之前，即便是 艺术家本人也无法预料到完成时画面会成为什么样子。并且，哪怕有一笔小小的失误，整幅画就失败了，必须从头来过——因为前些天绘画的内容已经干了，无法修 改。
这组油画像是一个微妙的提示，告诉人们对于混乱的外部世界暴政的反抗是可能的，并且力求通过每日不懈地、细致入微地绘画创作，开垦出一个存在于已知世界之内的 “桃花源” 。

如果您希望得到关于本次展览的更多信息，请您联系我们：
电话: +86-10-6432-2620

电子邮件: info@boersligallery.com

网站: www.boersligallery.com

BLDG 115, RM 1904: Liang Yuanwei Solo Exhibition
Boers-Li Gallery is pleased to announce that Liang Yuanwei will be featured in the next solo exhibition in the main project space, opening on May 30 and running through July 4. The project is entitled BLDG 115, RM 1904.
Liang Yuanwei, a graduate of the Central Academy of Fine Art originally from Xi’an born in 1977, is a young artist whose photography, painting, and installation work often focuses on articulating the sites of both beauty and oppression in the semiotics of the everyday. As a member of the N12 group, she began organizing exhibitions and attracting international attention along with her peers while still a student.
Her most recent work has involved themes of discretion, secrecy, interpersonal communication, domesticity, and the affect produced therein. Significantly, she seems to claim that this affect is all that fills up the empty space that dominates domesticity and everyday life. Uniquely, her practice rejects the feminine specificity idealized by so many of her peers in favor of more broadly universal explorations of social themes.
Technically rigorous and often requiring extraordinary amounts of time and energy, Liang Yuanwei’s artistic practice forces her audience to re-inspect the subtle points of ecstasy and torture that make up the fabric of the everyday, leading to a rejection of easy answers in favor of a laborious reconstruction of the perceived environment.
This latest exhibition will feature a number of works from the artist’s A Piece of Life series, which takes the patterns and prints of the artist’s own clothing and fabric as its inspiration. The texturing is impeccable, with mellow colors creating a sensation of floating blossoms. The focus in these works, however, is above all on the meticulous process involved in their production.
The creation of these paintings required large amounts of patience and concentration. The artist started painting from one edge, working consistently in the same direction and progressing strip by strip, each day painting only a very narrow strip. Because the pattern remained incomplete at the end of each day, the artist was unable to anticipate what its final appearance would be. At the same time, she worked under constant fear: a single misplaced brushstroke or minor mistake would mean the failure of the whole piece. Because the previous day’s work was already dry, there would be no way to correct any mistakes other than starting over anew.
These paintings and their process act as a subtle reminder of resistance to the tyranny of the chaotic outside world, reclaiming habitable space through anticipation and tedium.
 
For more information on the coming exhibition, please contact us.

Tel: +86-10-6432-2620

Email: info@boersligallery.com

Web: www.boersligallery.com

梁远苇：简介

梁远苇1977年生西安，毕业于中央美术学院。作为一位年轻艺术家，她的摄影、绘画及装置作品关注的是每日生活里语言符号学意义上的美好与压抑的联结点。

她近期的大部分作品关注的主题是判断力、私密性、人与人之间的交流、家庭生活的感觉及这些所带来的影响。明显地，她认为正是这些影响填满了支配家庭及日常生活的空白空间。梁远苇是她这一代中国女性艺术家中最具有重要意义的一位，但她的作品拒绝女性艺术家们理想的特有的女性题材，而是更感兴趣于对社会题材的更广泛地探索。

梁远苇的艺术实践对技巧有严格的要求，并且对于时间及精力常常也有特定量的要求，这促使她的观众在看作品的同时，重新审视那交织成每日平凡生活的使人销魂或痛苦的微妙问题。梁远苇拒绝简单易得的答案，而是更乐于对感知环境进行艰苦地重构。

Liang Yuanwei: A Brief Introduction

Liang Yuanwei, a graduate of the Central Academy of Fine Art originally from Xi’an born in 1977, is a young artist whose photography, painting, and installation work often focuses on articulating the sites of both beauty and oppression in the semiotics of the everyday.

Her most recent work has involved themes of discretion, secrecy, interpersonal communication, domesticity, and the affect produced therein. Significantly, she seems to claim that this affect is all that fills up the empty space that dominates domesticity and everyday life. She is one of the most significant female artists of her generation in China, but her practice rejects the feminine specificity idealized by so many of her peers in favor of more broadly universal explorations of social themes.

Technically rigorous and often requiring extraordinary amounts of time and energy, Liang Yuanwei’s artistic practice forces her audience to re-inspect the subtle points of ecstasy and torture that make up the fabric of the everyday, leading to a rejection of easy answers in favor of a laborious reconstruction of the perceived environment.

梁远苇: 简历 

1977       生于西安       
1999       中央美术学院设计学院平面设计专业，学士学位
2004       中央美术学院设计学院，硕士学位
现工作生活于北京

个展：

2008       115号楼1904室，Boers-Li画廊，北京，中国

群展览：

2008       潜活：公寓日志，大未来画廊，北京，中国
              另外都红的，Joan Miro基金会，巴塞罗纳，西班牙
              找麻烦，Mackintosh画廊，格拉斯哥美术学院，格拉斯哥，英国
2007       注意！中国当代摄影展， Artium当代艺术博物馆，马德里，西班牙
             玩画廊，东京艺术工程，北京，中国
2006              架上绘画联展蜀中七大将，奥美零空间画廊，北京，中国
亚洲当代美术邀请展，光州宝星白民美术馆，广州，韩国
梁远苇与杨静， Espacio Mínimo Gallery，马德里，西班牙
限制与自由美术展，美术文献艺术中心，武汉，中国
架上绘画联展N12第四回展，西五画廊，北京，中国
        出位：非商业 设计艺术展，何香凝美术馆，OCT当代艺术中心，深圳，中国
2005       架上绘画联展N12第三回展，中央美术学院美术馆，北京，中国
七零年代青年艺术家联展坏孩子的天空，星空间画廊，北京，中国
2004       架上绘画联展N12第二回展，中央美术学院美术馆，北京，中国
2003       威尼斯双年展学生展未来再生，威尼斯，意大利
架上绘画联展N12，中央美术学院美术馆，北京，中国
2001       中奥四人联展四合一，中央美术学院设计学院展厅，北京，中国
2000       联展二厂时代，云峰画苑，北京，中国
联展接触，中央美术学院雕创室，北京，中国
联展现场之外艺术计划2000，北京平谷，中国

主要收藏：

中央美术学院美术馆，北京，中国
乌利西克个人收藏，瑞士
白兔美术馆，澳大利亚
瑞士银行收藏，苏黎世，瑞士

Liang Yuanwei: Biography
  
1977       Born in Xi’an, China
1999       Graduated from School of Design, China Central Academy of Fine Arts
2004       Graduated from School of Design, CAFA, in Visual Communication Design
Currently works and lives in Beijing

Solo Exhibitions:

2008       BLDG115 RM1904, Boers-Li Gallery, Beijing, China

Group Exhibitions:

2008       Hidden Life: Apartment Diary, Lin & Keng Gallery, Beijing, China
              Red Aside, Joan Miro Foundation, Barcelona, Spain
              Asking for It, Mackintosh Gallery, Glasgow School of Art, Glasgow, U.K.
2007       Zhu Yi! Chinese Contemporary Photography, ARTIUM of Contemporary Art,                                   Madrid, Spain
Is It Ok to Have Fun In An Art Gallery?, Beijing Tokyo Projects, Beijing, China
2006       Seven Young Artists, Zero Gallery, Beijing, China
Diffusion of International Contemporary Art Exhibition, Gwangju, Korea
Liang Yuanwei & Yangjing, Espacio Mínimo Gallery, Madrid, Spain
Limitation & Freedom, Contemporary Art Archives, Wuhan, China
N12 Fourth Annual Exhibition, CAFA Gallery, Beijing, China
Extraordinary: Non-Commercial, He Xiangning Art Terminal, Shenzhen, China
2005       N12 Third Annual Exhibition, Beijing, China
Naughty Kids, Star Gallery, Beijing, China
2004       N12 Second Annual Exhibition, Beijing, China
2003       VV2: Recycling the Future, Venice, Italy
N12 New Paintings, Beijing, China
2001       Four in One: Cooperation with Austrian Artists, Beijing, China
2000       Second Factory Time, Beijing, China
Touch, Beijing, China
Art Project 2000, Beijing, China

Major Collections:

Museum of the Central Academy of Fine Art, Beijing, China
The Sigg Collection, Lucerne, Switzerland
White Rabbit Gallery, Sydney, Australia
UBS International Collection, Zurich, Switzerland

梁远苇，垃圾，2004，综合材料装置，14 x 12厘米
Liang Yuanwei, Garbage, 2004, Mixed-media installation, 14 x 12 cm

“Too hard to live, too young to die”艺术家的装置作品《垃圾》中，出现了这句话。《垃圾》是几张小小的透明光盘盒组成的一个装置系列，透明的光盘盒中，整齐地放着旧的锡箔食品包装纸，和打着字的蛋糕垫纸、小片的卫生纸。其中一片蛋糕垫纸上就写着这样一行字。艺术家对生活的理解和要求摆在这里。生活很艰辛，不仅是物质上的，还有精神上的追求。在物质上，我们的生活都会变成“垃圾”——那些被我们消耗掉的物质同时代表着我们消耗掉的生命。梁远苇收集起这些“垃圾”，将它们放在光盘盒中。这个细节向我们透露艺术家对这些“垃圾”的珍惜和不舍。因为熟悉的人都知道，梁远苇是将音乐视为生命的。这些小小的纸片上，记录着艺术家对生活的感悟——“爱，宁静……”。一个在27岁之前一心想着自杀的人，才最明白什么是干净的生活，才有着对生命的质量最为苛刻的要求。看似是“垃圾”的废物和它们记录的瞬间，往往才是平凡生命中最值得宝贵的

Liang Yuanwei’s installation piece Garbage is composed of a series of transparent CD jewelcases grouped together into a series. Neatly placed in the center of each case is a piece of trash, be it a tinfoil snack wrapper, a small piece of toilet paper, or cake packaging. On the cake packaging the following sentence is written: “Too hard to live, too young to die.” This single phrase expresses the artists understanding of and expectations of life. Life is difficult, not only materially, but also in terms of spiritual needs. Materially, everything in our lives eventually turns into garbage—the things we consume and discard ultimately represent our own attitudes and lifestyles. Liang Yuanwei collects this “garbage,” revealing how she cherishes such elements of life. As those familiar with her know, the artist takes music as her life. On these small fragments of paper, she has recorded her inspirations: “Love, tranquility….” As only someone who wanted to kill herself before she was 27 can truly know, the artist has a remarkable understanding of the meaning of a clean life, and is uniquely suited to understand her own high expectations of life. Indeed, what looks like garbage—the things we throw away and the moments that are recorded in their materiality—are often the very things most worth treasuring.

梁远苇，youmustbestrong，2004-2006，装置（打字机，卫生纸），尺寸不定
Liang Yuanwei, youmustbestrong, 2004-2006, Installation (typewriter, toilet paper),
Dimensions variable

《you must be strong》的媒介是容易被人漠视的，卑微的，极端的——它只是一卷再普通不过的卫生纸。为了完成这件作品，艺术家用了将近两年的时间，在一台老式的打字机上把“you must be strong”打到一卷白色的卫生纸上。每天只打一小段，直到整卷的卫生纸被打满。这样消耗时间和精力的作品，用艺术家自嘲的说法：简直就是长期自虐。艺术不是生活，是生命的态度，梁远苇的作品从来就关注传达出她对生命的关照。她用这样一个消耗生命的方式创作，同时也清晰地留下生命的痕迹。Be Strong是坚强，巧合的是，她的打字机竟然是“marathon”牌。You must be strong,是艺术家的马拉松。

The material medium of you must be strong is easy to ignore or pass of as a joke. It is lowly, and it is extreme—it is, after all, nothing but a simple roll of toilet paper. But in order to complete this work, Liang Yuanwei required almost two years, the final result being a roll of white toilet paper covered with the phrase “you must be strong,” typed out on an old typewriter. Every day the artist would type only a small portion until at last the entire roll was full. The project is incredibly time- and energy-consuming, leading the artist to self-deprecatingly claim that the work is a form of long-term autosadism. Art is not life itself, but rather an attitude towards life, and Liang Yuanwei’s work always pays attention to how she expresses her own outlook on life. At the same time that she uses such energy-sapping methods, she also leaves behind the distinct traces and scars of life. The work itself expresses a certain strength; coincidentally, the typewriter she used is made by the “Marathon” brand. The work is, indeed, the artist’s marathon.

梁远苇，生活的片段之6，2006-2007，布面油画，140 x 120厘米
Liang Yuanwei, Piece of Life 6, 2006-2007, Oil on canvas, 140 x 120 cm

梁远苇的油画系列《生活的片断》是以自己拥有的衣服或者布单上的花纹为蓝本来绘画的。画面上细碎的小花及柔和的底色不是死气沉沉的，仔细看，它们似乎从自身发出柔和的光来，又像一片海洋，花朵在里面沉沉浮浮。这些美丽的画面隐隐透出一股坚韧。就专业技法的角度来说，《生活的片断》的创作过程需要极大的耐心及定力，艺术家从画面的一个边开始绘画，从这个方向以条状推进，每天只画窄窄的一条。于是每天看到的图案都不是完整的，在整个画面完成之前，即便是艺术家本人也无法预料到完成时画面会成为什么样子。并且，哪怕有一笔小小的失误，整幅画就失败了，必须从头来过——因为前些天绘画的内容已经干了，无法修改。在周遭世界不停变化的当代社会里，能这样沉住气用生命的消耗来完成一件艺术作品，是罕见和让人感动的.

Liang Yuanwei’s series of oil paintings entitled A Piece of Life takes the patterns and prints of the artist’s own clothing and fabric as its original source. The finely scattered flowers and mellow background colors are not actually inert; on close inspection, their gentle lightness seems to come from their own figures. Much like the sea, the bouquets of flowers seem to float on the surface. The subtle beauty of these objects is both tough and flexible. From a technical point of view, the creation of the work required large amounts of patience and concentration. The artist started painting from one edge, working consistently in the same direction and progressing strip by strip, each day painting only a very narrow strip. Because the pattern remained incomplete at the end of each day, the artist was unable to anticipate what its final appearance would be. At the same time, the artist worked under constant fear: a single misplaced brushstroke or minor mistake would mean the failure of the whole piece. Because the previous day’s work was already dry, there was no way to correct any mistakes other than starting over anew. Given the state of the outside world—the ever-changing state of contemporary society—that the artist could take the time and energy to resist these influences and complete a single work is a truly rare and moving feat.