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杨心广个展：行道迟迟

Boers-Li 画廊将于十一月八日至十二月二十一日于Boers-Li画廊小空间举办艺术家杨心广在北京的首次个展 ——“行道迟迟”，透过展出的木雕及陶器作品，杨心广进一步拓展他对形体和物质的询叩。

杨心广，1980年生于湖南，毕业于中央美术学院雕塑系，现居北京。艺术家曾参与一系列国内群展，在年轻雕塑家中，他表现突出。杨心广的作品游弋于中国当代艺术史的主叙事以外，绕开了对日常生活的描述和对政治的抗议， 取而代之的是艺术家的内省。其作品对身体和观者的现象学联系令人联想起美国极简主义雕塑，对材料与空间的开放性又与贫穷艺术（Arte Povera）如出一辙。

 

木料，陶土和石块是杨心广雕塑的主要素材。虽然工序对雕塑作品举足轻重，但是成品往往才是重点所在（有异于一体的艺术品），杨心  广的作品本身悉数封存了生产的全部痕迹。

是次展览主要展出杨心广的新作，它们保留了艺术家创作的一贯特点， 当中包括流线型的陶器, 木钩, 钻了孔的石块, 经过削刮的木材, 木樑和平面木板。

 

这些作品旨在诘问形体的语言和物质的本质。在此，形体即语言。一如索绪尔的人类语言概念，杨心广作品的形体绝非单纯的工具。形体某种程度上可被利用于塑造物质客体,与此同时它通过双向的多元决定过程模铸了书写者本身。

此种形体折射了欲望在物质处理过程的角色：物质被处理的同时，依附其本身的文化价值同时遭到揭示和破坏。在这个过程中，艺术家在处理素材时的自觉行为是必要的辅助。比方说，当土以蛇的形态展现，无生命的土和有机的蛇之间的关系转变为双重转喻，其专横/齐平于生死之间的张力。

 

但另一方面，杨心广强调他的工序创作很大程度上是通过形体来研究物质， 或是对物质本质的探索。这些作品追求自然的“初始”状态，并探寻这种状态被艺术转化的可能性。杨心广顺应素材固有的特质去创造作品，从而揭露物质性的文化内涵与构造，观众在观赏作品时能感受到艺术家改变素材外形同时赋予其意义。

 

出乎意料的是，在成品出现前，杨心广拒绝为他的作品给出概念上的阐释。实际上他一般并不知道作品的素材到底会把他引领到哪一个方向。杨心广这种不淡化主观性的生产风格，一方面质疑艺术家的主体性和责任，另一方面平衡了文明和原生自然（越过自觉的文化指涉的孤寂空间）的分界。

 

这些雕塑漠置空间，纵使他们的构成很大程度上依赖正负空间的相互作用，而且空气是这些作品的主要构形物，观者还是能观察到这种空实际上被形体 –物质的语言–所消耗。

 

如果需要关于本次展览的更多信息，请您联系我们：

Tel: +86-10-6432-2620
Email: info@boersligallery.com
Web: www.boersligallery.com

 Consumed: A Yang Xinguang Solo Exhibition

 

Dates: 8 November – 21 December

Time: Tuesday – Sunday 11:00 – 18:00

Opening: 8 November, 16:00-18:00

Place: Boers-Li Gallery, Caochangdi No. A-8

 

Boers-Li Gallery is pleased to announce that we will be hosting a Yang Xinguang solo project in our Gallery II space from 8 November to 21 December 2008. The show, entitled Consumed, is the artist’s first solo exhibition in Beijing and will expand the artist’s enquiries into form and materiality in a showcase of new sculptural works in wood and earth.

 

Yang Xinguang, a Beijing-based artist born in Hunan province in 1980, is a graduate of the sculpture academy of the Central Academy of Fine Arts. Through his participation in a series of group exhibitions across China, he has earned a reputation as one of the strongest exemplars of a reemerging sculptural sense among the younger generations of artists in China. Occupying a unique role in the dialectic of contemporary art history, Yang Xinguang steps back from both descriptive work on everyday life and protest work in the realm of politics. Instead, his introspective works recall the discourses of both American minimalist sculpture in terms of their phenomenological relationship with the body of the spectator and arte povera in terms of their openness towards material and space.

 

Yang Xinguang’s works often involve wood, earth, and stone as their primary materials. Despite the process-oriented nature of their production, the emphasis remains on a final, finished product (although one differentiated from a unitary commodity); that is to say, all marks of production remain with the piece itself.

 

This exhibition will include primarily new works in the artist’s signature styles: stone formations, organic earthen shapes, wooden hooks, bored stones, shaved timbers, logs, and two-dimensional woodcarvings.

 

The primary themes interrogated in these pieces involve the language of form and the nature of materiality. Form, here, is a language. Like human language in its Saussurian conception, form in these works is never a simple tool. Although it can be used to mold the material object in a certain sense, it can also shape the scriptor through a process of mutual overdetermination.

 

This form reflects the role of desire in the processing of any material, with the conscious act of the artist as the necessary supplement that reveals and destroys the cultural value attached to the object itself. When dirt takes on the form of the snake, for example, the relationship between the “inanimate” earth and the “organic” snake becomes one of dual metonymy on levels as presumptuous as the tension between life and death itself.

 

The artist emphasizes, however, that his process is largely one of researching material through form, or an exploration into the natural properties of the material. In this sense, these works are as much a pursuit of an “original” state of nature as they are an interrogation of the possibility of a transformation of this origin by the institutions of art. Just as Yang Xinguang exposes the cultural connotations and constructions of materiality by allowing his hand to be guided by certain “innate” properties of the material itself, the viewer is always aware that meaning is attached to material as the hand of the artist alters its shape.

 

It is curious, then, that the artist refuses to offer conceptual readings of his work before its final shape appears; indeed, Yang Xinguang is often himself unaware which in direction his material will take him. Calling into question the subjectivity and responsibility of the artist, this de-emphasized style of subjective production balances on the line between the social and the “primitive” (a marked space of solitude beyond the boundaries of self-conscious cultural reference).

 

In this way, it could be said that these sculptures have a tendency to leave space beside. Despite the fact that their construction relies heavily on the interplay of positive and negative space and often consist largely of empty air, an observer may note that this emptiness is in fact consumed by form—the language of materiality.

 

For more information on the coming exhibition, please feel free to contact us.

Tel: +86-10-6432-2620
Email: info@boersligallery.com
Web: www.boersligallery.com