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“暗星”曾志钦个展
展览时间:2019/8/18-2019/9/18
展览城市:北京-北京
展览地点:蜂巢(北京)当代艺术中心
策展人:赵小丹
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展会介绍

开幕时间:2019-08-18 16:00

展览地址:北京市酒仙桥路4号798艺术区E06

参展人员:曾志钦


展览介绍:

蜂巢(北京)当代艺术中心将于2019年8月18日举办青年艺术家曾志钦的最新个展“暗星”。这是继蜂巢·生成项目第十九回,也即艺术家的首次个展“暗合之处”之后,蜂巢(北京)当代艺术中心为其推出的第二次个人展。展览由蜂巢当代艺术中心策展人赵小丹策划,将持续至9月18日。

在曾志钦的新作中,对于形式的注重,在某种程度上使得描绘的主题,也即绢本所承载的内容成为一种仅仅带有传统表皮,而并不包含追溯意味的媒介。当形式改观成为作品的发力点,不难见得,艺术家将创作视为能够收集、获取并且释放能量的一条特殊路径。将自身置于现代艺术创作的脉络与比较点,而非工笔线索,探索不可“入画”的“入画”途径,曾志钦的创作面临了诸多挑战。在寻找通往“非现实”的道路上,曾志钦在其作品中抒发了一种幽暗的气质。

由暗物质构成的,几乎不包含任何星体的“暗星”大概是一种比拟。李安在《少年派的奇幻漂流》中,将故事、宗教以一种不可思议的外在形式进行包裹,实则是通过将种种象征的进行不断叠加、重组后的一种能量释放。曾志钦《夜的颜色》(2018-2019)大概是对于这一印象的回应,而诸多现实尺度的加入,使得这一想象仍然带有框架感,对于未来的感知的确是此次个展新作较为令人瞩目的。此外,作为此次个展中的系列作品《离弦之箭》(2017-2019)延续了曾志钦在首次个展中那种试图迸发的劲头,也即一种直觉性思维,包含了危险感、节奏感、神秘性,正如在“暗合之处”个展《受刑的竹》(2015)以及此次新展《离弦之箭No.1》这两件作品当中所意蕴的。如果说前者是一种能力释放,那么《虚无状态》(2019)《崩溃边缘》(2019)则是混合了艺术家个人情绪的一种产物。

绢本作为一种传统绘画的载体,实际上它的创作过程决定了其最终呈现,往往是通过描绘的精致度来区分空间和绘画层次。《闯入者》(2018)大概是曾志钦的一次突破,源于意外所造就的空间体验,使得画面呈现出几对疏离关系,背景的屏风所间隔的空间所阻隔的视线,在某种程度上也寓意了对于观者向传统追溯的一种抵抗,画面左右物理分割的空间,使得“母牛”成为介于传统与现实之间的一个媒介,并且具有了一种游离身份,实际上也是对于艺术家自身维度的一则界定,圆形的球体在某种程度上可视作对于方向不确定的诸多选择,以绢本为载体的创作是稳定的,同时也具有多元倾向。大概是处于一种闲庭信步的状态,《垂暮》(2017-2018)对于画面的分隔,更多的是对于观者想象空间的截取,也即通过观看,这件作品才能得以最终完成。

在此次个展中,对于形式的注重,使得直觉性思维让位于对未来的感知,曾志钦所使用的带有承载意味的绢本媒介,与其意图在作品中赋予的特殊能量,在某种程度上,回应了人类大脑在面对技术传统与现代文明生产的诸多现象之间的对冲。在虚实的缝隙处,曾志钦细心拿捏,从中牵扯出一点神思,找寻到一条于现实重压下,能够使作品和自身在不同层面上,得以出逃的路径。

Hive Center for Contemporary Art (Beijing) is honored to pronounce that Zeng Zhiqin Solo Exhibition: Faint Star will be presented from Aug 18 to Sep 18 2019. The exhibition marks the second solo show of artist Zeng Zhiqin after her first individual project The Coincidence in Hive-Becoming. Curated by Zhao Xiaodan.

In Zeng Zhiqin's new works, the emphasis on form, to a certain extent, makes the subject matter of the depiction and the content carried by the transcript become a medium with only a traditional epidermis and no traceability. When the form becomes the force of the work, it is not difficult to see that the artist regards creation as special way to collect, acquire and release energy. Putting himself in the context of modern artistic creation, rather than meticulous clues, exploring the "into the painting" approach that cannot be "into the painting", Zeng Zhiqin faced many challenges in his creation. In the search for a path to "unreality", Zeng Zhiqin expressed a dark temperament in his works.

"Faint star" consisting of dark matter and containing almost no stars is probably a metaphor. In Life of Pi, Li An wraps the story and religion in an incredible external form, but in reality it is a kind of energy release by constantly superimposing and reorganizing various symbols. Zeng Zhiqin's Color of the Night(2018-2019) is probably a response to this impression, and the addition of many realistic scales makes this imagination still have a sense of frame. The perception of the future is indeed the most eye-catching in this new exhibition. In addition, as the series of works in this solo exhibition Out of control(2017-2019) continues Zeng Zhiqin's enthusiasm in the first solo exhibition. This is also a kind of intuitive thinking, including the sense of danger, rhythm, mystery, just as Torturous Bamboo(2015) in the solo exhibition Coincidence and the "Out of Control No.1" in this new exhibition. If the former is a capacity release, then Nothingness(2019) and On the Verge of Collapse(2019) are products that mixes the artist's personal emotions.

As a carrier of traditional painting, the process of creating a silk painting actually determines its final presentation. It often distinguishes the space and the level of painting by the degree of refinement. Intruder(2018) is probably a breakthrough of Zeng Zhiqin, which stems from the spatial experience created by the accident, which makes the picture appear a few pairs of alienation. The space between the screen of the background and the line of sight that is blocked, to some extent, also implies a resistance to the viewer's traditional traceability. The space of physical partitioning around the screen makes "cow" a medium between tradition and reality, and has a dissociative identity, which is actually a definition of the artist's own dimension. A circular sphere can be seen to some extent as a number of choices for direction uncertainty. The creation of silk as a carrier is stable and has multiple tendencies. Probably in a state of leisurely strolling, Drop Screen(2017-2018) for the separation of the picture, more is the interception of the viewer's imagination, also means that this work can be finally completed by watching. 

In this solo exhibition, the emphasis on form makes intuitive thinking gives way to the perception of the future. The carrier-oriented silk medium Zeng Zhiqin used and the special energy he intended to give in his work responded to the confrontation between human minds facing many phenomena of technological tradition and modern civilized production. In the gap between the virtual and the real, Zeng Zhiqin carefully took care of it and took a little thought from it, looking for a path that could make the works and the self to escape on different levels under the weight of reality.

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