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【言午画廊|展览预告】超常规:陈文令艺术展

发布时间:2018-08-11 来源:宝龙艺术中心

摘要: 陈文令早期的《红孩子》、《辛福生活》、《异度风景》系列和近期的《妙谛因心》系列中,各种古灵精怪的人物形象和物像符号都具有一定的视觉魔性和辨识度。


【言午画廊|展览预告】超常规:陈文令艺术展


陈文令:超常规的思维放电

策展人/顾振清


超常规是一种思维方式。这种思维方式往往是艺术家赖以打破常规、以与众不同的形式语言脱颖而出的秘径。常规对陈文令而言,就是既有艺术的陈规、旧习、惯性和艺术史范本形成的条条框框。这些条条框框是双刃的。它既是人们窥探人类既有艺术遗产、认知既有艺术法则的门径,又是屏蔽现代视觉革命的复杂背景和深度逻辑、固化当代艺术史范本及其符号学范式的樊笼。陈文令不为常规所囿、所禁,尊崇的是一种来自天性的自由。他的思维放电模式,时而是非线性的、发散的、跳跃的,时而又是重组的、旁通的和集成的。陈文令对自由意志的纵容和对世俗社会的批判,使思想不断塑形、不断成像。他的思想塑形和成像在自身作品中野蛮生长,触角所至,贯穿叙事与形式、能指与所指之间的壁垒,构成一种超越符号学谱系的语境和一种个性化的知识生产。诚然,陈文令各种生动的形象符号往往是一种逻各斯中心主义化的视觉文本链条,互相链接,互为因果。它们可以是侧向思维、逆向思维的结果,诉诸入世、夸张和自我搏斗;也可以是平行思维、多元思维的出口,诉诸出世、高蹈和宇宙奥义。


  △陈文令 《绝对生花》256x110x75cm 综合材料 2018


△陈文令 《绝对生花》256x110x75cm 综合材料 2018


陈文令的家乡是福建的安溪。中国福建沿海地区的民间雕塑传统和妈祖崇拜、萨满精神之间的关联,成为深植于他知识结构和人文修养深层的一种文化根性。这种文化根性源自一种针对人类生存本质的深刻感知和深度体验。陈文令自源性的生命感知和体验所催生的文化自觉,使他产生一种刻骨铭心的本土认同和自我认同,从而无惧地面对不同时代、不同地缘、不同人群的精神困境和人性危机。陈文令的人物、动物等形象所拥有的生命的原始冲动和洪荒之力,往往与现代性社会的秩序和消费主义流行文化所蕴涵的问题和危机,构成一种难以调和的冲突。这种冲突充满迷人的张力,使得艺术家寓言化的具像叙事和反讽方法具有一种魔幻现实主义的风格。在陈文令新的集成风格的作品中,他或把既有的雕塑成品、或把流行的符号性物像,进行超常规地搭配、重组,使之融为一体。无论是现实生活人性挣扎的形象表现,还是消费社会之中物欲横流的群像塑造,都被集成风格的形式语言活化为有机的视觉元素。原来互不相干的两个、多个形象符号成品,在陈文令魔幻般的集成化结构中发生语言形式的“能指变”效应,转换、发散出极为丰富的所指意义。这样的雕塑性装置作品,彰显出一种新与旧同在、天使与魔鬼同在、发生感与崩坏感同在的表现力。


   △陈文令 《诗与远方》420x310x235cm  铜着色 2018


 △陈文令 《诗与远方》420x310x235cm  铜着色 2018


陈文令早期的《红孩子》、《辛福生活》、《异度风景》系列和近期的《妙谛因心》系列中,各种古灵精怪的人物形象和物像符号都具有一定的视觉魔性和辨识度。这些的形象符号的知识渊源以及隐喻、象征系统,都可上溯至中国文明推崇“天人合一”、“万物有灵”理念的文化原乡及其人文传统。艺术家凭借自身作品形象符号的一种超常规的精进、转换,聚焦着他对当今人类的生存状况的深度洞察和分析,同时释放着他对未来人类的进化方式的无尽想象和焦虑。陈文令的自身经验、自身认知,不仅塑造并刷新着自己重组的符号体系,而且延展着他与外在世界润物无声的非凡对话。


   △陈文令 《超常规》720x250x180cm  铜着色  2018


 △陈文令 《超常规》720x250x180cm  铜着色  2018


展览主题:超常规:陈文令艺术展

开幕时间:2018年8月19日  16:00

展览时间:2018年8月19日——9月14日

展览地点:言午画廊


Chen Wenling: An Exceptional Discharge of Mentality

 

Curator Gu Zhenqing


Being exceptional is a way of thinking, which serves as a receipt for artists to push the boundaries of conventions and stand out in a singular language of form. Conventions, to Chen Wenling, suggest the fixed stereotypes, past inclinations, tendencies in addition to the rules and principles inhered in the paradigm of art history. However, the rules and regulations are double-edged, the set of rules not only functions as a means to pry into the existing artistic heritage and investigate into the currently applicable rules of art, but serves as a sort of confinement that blocks off the rather complicated background and profound logics of the modern visual movements and consolidate the paradigm of history of contemporary art in addition to its symbolic prototype.  Not being hampered and shackled by the conventions, Chen Wenling thinks highly of the innate freedom. Assembling a way of electricity discharge, his way of thinking turns out to be non-linear, radiant, vibrant and reassembled, bypassed, and integrated at the same time. Chen Wenling’s indulgence towards free will and critique of worldly society just allow his thought to further develop and envision. The developing and envisioning of his thought has been explicitly observed in his works in an unrestrained manner, exhaustively touching upon the barriers between narration and form, signifier and signified and forming a context going beyond semiotic pedigree as well as a sort of individualized production of knowledge.  Chen Wenling’s wide range of vivid, symbolic images, manifestly, turns out to be a visual, textual linage of logocentrism where symbols are closely related and interactive like a type of reciprocal causation; moreover, all of them may resort to mundanity, exaggeration, struggle against themselves as a result of lateral thinking and reverse thinking, meanwhile, they may resort to transcendence, parnassianism, and theodicy of the universe as a means of parallel thinking and multiple thinking.




 △陈文令 《行走的人》390x150x260cm  综合材质  2017




 △陈文令 《长天秋月》260x170x80cm  综合材质  2017




 △陈文令 《鉴古知今》300x190x370cm  综合材质  2017


Chen Wenling was born in Anxi of Fujian province where the close relation between the folk customs relating to sculptures and the worship of Mazu and shamanism in the coastal areas has formulated a cultural heritage that profoundly lies in the depth of his knowledge structure and humanistic cultivation. Such a cultural heritage originates from a detailed cognition and in-depth perception of the nature of human beings’ existence. The cultural consciousness motivated by his spontaneous perception and experience of life gives rise to his identity of himself and the locality, thus, the artist could fearlessly confront the psychological and humanistic crises of different times, locales and people. An un unmodifiable conflict appears, as the problems and crises denoted in the modern social order and consumerist pop culture, in a way, incorporate into the original impulse and powerfulness of life showcased in the images of figures and animals depicted by Chen Wenling. Such a fascinating force enables the artist to equip his allegorical narration and sarcasm with a style of magic realism. In the collection of Chen Wenling’s integrated works, he brings together the ready-made sculptures or iconic subjects from pop culture in a supernormal way and reassemble, integrate them as a whole. Either the figures depicting struggles of human beings in realistic life or the collective manifestation of materialism in the consumer society is transformed into dynamic visual element through the integrative language of form. After being transformed, pairs or groups of unattached symbolic images denote utterly diverse denotations through the “shift of signifier” in linguistic form as seen in Chen Wenling’s magically integrated structures. Such a sculptural installation manifests an expressiveness that unites the concurrence of the new and the old, angels and evils, commencing and collapsing as well.


△陈文令 《笑傲江湖》500x334x343cm  综合材料  2008-2018


 △陈文令 《笑傲江湖》500x334x343cm  综合材料  2008-2018


 △陈文令 《领队》400x163x135cm  综合材料  2018


 △陈文令 《领队》400x163x135cm  综合材料  2018 


From the previous works of Chen Wenling such as Red Boy, Happy Life, Exotic Landscape to the recent Graces of My Heart series, all of Chen Wenling’s mischievous characters and symbolic objects of all kinds feature a visually magic recognizability. The knowledge base, metaphors and symbolism of these images could trace back to the ideas of “Original Home” and humanistic traditions of Chinese civilization which highly advocated “Man is integral with nature” and animism.Relying on a sort of “supernormal” advancement and transformation of the symbolic images in his own works, the artist centers on his in-depth observation and examination of the surviving conditions of human beings today, meanwhile, highlights his boundless imaginations and anxieties about the evolvement of human beings in the future. Chen Wenling’s own experience and self-knowledge not only formed and renewed the symbolic scheme re-established by himself, it also extended his extraordinarily unspeakable dialogue with the external world.




 △陈文令 《沐浴星光》850x240x350cm  综合材料  2017




 △陈文令 《倒立》300x142x63cm  综合材料  2008-2018


艺术家简介




陈文令

1969年生于福建泉州

先后毕业于厦门工艺美术学院和中央美术学院,获艺术硕士学位

现居北京,职业艺术家

 

个展:

2018 “超常规”-------陈文令艺术展      言午画廊      上海         中国

2017 “妙谛因心”——陈文令个人展览   白盒子艺术馆      北京         中国

2017 “世外桃源”——陈文令个人展览  中画廊     北京       中国

2016 “万物皆牛”——陈文令大型户外雕塑展   顺义国际鲜花港     北京   中国

2014 “共同体”—陈文令新作展     表美仙画廊      首尔       韩国

2012 “异度风景” ——陈文令新作展    品画廊      北京        中国

2011 “对号入坐”—陈文令个人展览       安姿当代空间      香港      中国

2010 “悬案”——陈文令新作展         今日美术馆      北京       中国

2009 “紧急出口”——陈文令新作展      卓越艺术空间      北京         中国

2008 “我的童年”——陈文令个展          OdeToArt  Singapore    新加坡

2008 “中国风景”——陈文令个展           井画廊      东京         日本

2006“幸福生活”——陈文令个展         上海多伦现代美术馆       上海       中国

2002“红色记忆”——陈文令雕塑展示行动      珍珠湾海滩       厦门       中国

1991 “不务正业”——陈文令木雕展        厦门工艺美术学院       厦门      中国




 △陈文令 《你看到未必是真实的》1100x600x500cm  综合材料  2009




 △陈文令 《万物皆牛NO.1》810x2200x480cm  综合材料  2012-2014


Chen Wenling

1969      Born in Quanzhou, Fujian Province

Received Bachelor of Arts from the Sculpture Department of Xiamen Academy of Art and Design and Master of Fine Arts from the Central Academy of Fine Arts, Beijing

A professional artist, living and working in Beijing at present

 

[Solo Exhibitions]

2018  “SUPERNORMAL”Works of chenwenling                    Shanghai      China

2018  “OpenSource:Shenzhen Biennale,2018”                     ShenZhen     China

2017  “Graces of My Heart”-Chen Wenling Solo Exhibition, Whitebox Art Center,  Beijing  China

2017  “Another Realm”-Chen Wenling’s solo exhibition,Zhong Gallery  Beijing   China

2016  “Everything is awesome”Large outdoor Exhibition   Shunyi international flower garden   Beijing      China

2014  “The Community- Chen Wenling’s New Works, Pyo Gallery            Seoul      Korea

2012 “Exotic Landscapes – Chen Wenling's New Works”, PIN Gallery       Beijing       China

2011  “Searching for Identity – Chen Wenling Solo Exhibition”, Contemporary by Angela Li  Hong Kong        China

2010  “The Suspense” – Sculptures By Chen Wenling, Today’s Art Museum  Beijing       China

2009  “Emergency Exit” – Sculptures By Chen Wenling, JoyArt            Beijing       China

2008  “My Childhood”– Sculptures By Chen Wenling, OdeToArt       Singapore     Singapore

2008  “China Scene”–Sculptures By Chen Wenling, Jing Gallery         Tokyo        Japan

2006  “Chen Wenling’s Sculpture Solo Exhibition”, Duolun Museum of Modern Art  Shanghai      China

2002 "Red Memory"-- the First Time Sculpture Show by Chen Wenling,Pearl Bay Beach,    Macau      China

1991  “ Goof Around”- Woodcarving By Chen Wenling, Xiamen Academy of Art  Xiamen   China



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