BOUNDARY OF FREEDOM · FOURTH ROUND – CHINESE CONTEMPORARY INKTOWARDS BASEL
Academic Consultant：Fan Di’an
新闻发布会时间：2013年11月16日14:30—16:00
Press Conference Time: 14:30—16:00 16th Nov, 2013
Press Conference Venue:Taihe Art Gallery
展览时间：2013年12月2日—2013年12月25日
Duration：2nd Dec, 2013 – 25th Dec, 2013
展览地点：太和艺术空间美国分支机构——迈阿密尼娜·托瑞斯艺术画廊
Exhibition Venue：Miami Nina Torres Art Gallery—The branch of Taihe Art Gallery in America
展览地址：1800 N. Bayshore Dr., Miami, Florida, America
Exhibition Address：1800 N. Bayshore Dr., Miami, Florida, America
太和艺术空间美国分支机构——迈阿密尼娜·托瑞斯艺术画廊
Nina Torres Art Gallery—The branch of Taihe Art Gallery in America
王秋人、田黎明、王 川、王冬龄、仇德树、谷文达、郭 桢、郝世明、何玮明、侯珊瑚、昆仑子、蓝正辉、老 圃、刘进安、刘新惠、衲 子、邱振中、沈 勤、沈 沁、唐承华、王 非、一 了、张 浩、张新建、赵 浥、朱 岚
Wang Qiuren, Tian Liming, Wang Chuan, Wang Dongling, Qiu Deshu,Gu Wenda, Guo Zhen, Hao Shiming, He Weiming, Hou Shanhou, Kun Lunzi, Lan Zhenghui, Lao Pu, Liu Jin’an, Liu Xinhui, Na Zi, Qiu Zhenzhong, Shen Qin, Shen Qin, Tang Chenghua, Wang Fei, Yi Liao, Zhang Hao, Zhang Xinjian, Zhao Yi, Zhu Lan
受邀参加本次展览的艺术家都是在水墨艺术探索和创新上具有鲜明个性并且富有才华的人物，他们的作品从不同的维度展现了水墨艺术的当代发展。他们深切地感受着中国社会的急剧变革，以一种新的人文情怀关注现实，超越了传统的艺术主题和题材，使水墨艺术和其他媒介的艺术一样，指向当代的生活和人的精神变迁，敏锐地表达自己对于外部世界的思考和体验。在他们的作品中呈现出来的多种视角和感受的直接性，反映了水墨艺术积极参与社会文化重构的当代性。本次展览题为“自由的尺度”，意在提示艺术家们从自我的真实感受出发的艺术立场和在水墨这种媒介中谋求纯粹精神的文化理想。实际上，在传统的水墨观念中，人与自然的内在和谐，通过“笔墨”实现人与物质世界在精神层面的融合，彰显心灵的自由，就是一种重要的遗产。在复杂的社会文化现实面前，中国艺术家重新激活了水墨艺术的这个本质，既直面现实，反映时代的变迁，又通过笔墨的自由抒发，建立属于自己的精神家园。
The artists invited to take part in this first exhibition of Ink Art are all exploring and innovating and showing their individuality and artistic character and talent, their works from different dimensions displaying Ink Art’s modern development. They keenly feel Chinese society’s rapid development, as a new cultural mood interested in reality, they go beyond traditional art’s themes and subject matter, making Ink Art and other forms of media share common ground, facing people’s modern lives and spiritual vicissitudes, sharply expressing their own thinking and experiences of the external world. In their works many kinds of perspectives appear, with feelings expressed in a straightforward way, reflecting Ink Art’s active participation in society’s cultural reconstruction of modernity. In the original exhibition theme “Freedom as Standard”, the idea is for the artists to raise the real feelings of the Self, and by an expressive art position in the ink medium to strive for pure spirit’s cultural perfection. In fact in traditional Ink Art’s there is a concept of Man and Nature’s intrinsic harmony, through brush and ink man and the material worlds’ fusion is brought about on a spiritual level, and precisely manifesting the spirit’s freedom a kind of important heritage. Facing society’s complicated cultural reality Chinese artists have once again activated Ink Art’s intrinsic quality, straightforwardly facing reality, reflecting the generation’s challenges and through brush and ink’s freedom of expression, establishing their own spiritual territory.
语言法度与个人自由的关系，就是水墨传统和个人感觉的关系，一个艺术家穷其一生都是在处理这种关系，在语言法度和个人自由之间要达到游刃有余，个人感觉是首要的因素。中国历代文人所强调的“功夫在诗外”，在乎的就是个人和社会之间形成的生命张力。从来没有抽象和纯粹的人性，人只有在具体的生存环境中，个人的感觉由于它的针对性和冲突性，才显示出一个艺术家的真挚和激情。近三十年，中国艺术的现状是西方写实主义传统，西方现代、当代艺术的传统，中国文人画传统并行的时期，而且，这三个传统或多或少、时断时续地在中国艺术的文化情境中起着作用，并且这三条语言线索中都产生过好的作品。因此，我们能仅仅以西方语言系统的逻辑来判断和称呼中国艺术吗？能沿着不断“前卫”和“原创”的语言逻辑，来判断中国艺术哪些人更前卫，哪些艺术更当代吗？从这个角度说，我们更在乎哪些是好的艺术，以及怎样才是好的艺术，而不仅仅是按照西方当代艺术语言形态的逻辑，来认证哪些是当代艺术。
The relationship between language standards and personal freedom is the relationship between the ink painting tradition and personal feeling. An artist spends his entire life dealing with this relationship. To achieve a balance between language standards and personal freedom, personal feeling is the primary factor. The “work is beyond poetry” emphasized by Chinese literati in the past dynasties is concerned with the life tension formed between the individual and the society. There is never abstraction and pure human nature, only in the specific living environment, the personal feeling can show the sincerity and passion of an artist because of its pertinence and conflict. In the past 30 years, the status quo of Chinese art is a period in which the tradition of Western realism, the tradition of modern and contemporary Western art, and the tradition of Chinese literati painting have been paralleled. play a role in the cultural context, and good works have been produced in all three language cues. Therefore, can we judge and call Chinese art only by the logic of the Western language system? Can you follow the language logic of continuous “avant-garde” and “original” to judge which Chinese art is more avant-garde and which is more contemporary? From this perspective, we care more about what is good art and what is good art, rather than just certifying what is contemporary art according to the logic of Western contemporary art language form.
水墨作为中国文化的重要象征，不仅承载着数千年来中国文化的精神特质与审美内核，更承载着中国历代文人修内质、养德操、怡性情的精神托付。所以将中国水墨作为一种文化输出推向世界彰显了中国人的文化自信与自觉，《自由的尺度》第四回的展览初衷也在于此。所谓“尺度”与“自由”，即要求创作心态保持“自由”的同时，创新语言的运用则需要“尺度”，比如笔墨纸砚，比如人文精神，比如优秀的技术手段。当代水墨需要在继承传统文化精神的前提下，有发展地建立一种艺术语言上的规范，在保留最基础的底线上赋予文脉于现时代传承的可能性，使艺术家在有效的规范当中去进行创作。正是这种有尺度的自由，实现了水墨创新在取舍过程中的蜕变，而“尺度”本身也会因时代的更迭而不断具备当下的意义。随心所欲而不逾矩，尺度的变更延展了自由的范畴，自由与尺度的平衡与否，催生着当代水墨新的可能，这必将成为长久的的艺术课题。
As one of the key symbols of Chinese culture, ink not only carries the soul and aesthetic core of a civilization of thousands of years, but also embodies the pursuit of all Chinese literati for virtue, morals, grace and spiritual fulfillment. Promoting Chinese ink painting to global audience serves as a decisive step in manifesting our cultural confidence and awareness, which is the very purpose of the fourth exhibition. The title “Boundary of Freedom” can be interpreted as that while keeping one’s creativity “free”, one needs to take into account of the “Boundary” to which an innovative vernacular is used, such as ink, brush pen and paper, humanistic touch and excellent technology. Building on traditional and cultural essence, contemporary ink painting needs to create certain rules for artistic expression, making it easier for artists to make their own pieces within effective rules and carry on the traditions in contemporary context. It is this controlled Boundary of freedom that allows the genre to transcend from the old and absorb new elements. Meanwhile, the “Boundary” itself also serves to reflect the “now” as time changes. New possibilities of contemporary ink painting are largely attributable to a series of lasting themes including freedom within effective rules, the expansion of freedom based on the change of the Boundary and the balance or imbalance between freedom and the Boundary.
仇德树 《裂变–暖雪》 100x 150cm宣纸 丙烯 画布 2010
Qiu Deshu Fission-Warm Snow100 x 150cm rice paper and acrylic2010
谷文达 《纸本水墨》 69 × 116cm纸本水墨
Gu WendaInk world69× 116cm ink on paper
郭桢 《风》93 x 95cm丙烯、水墨、高丽纸2011
Guo Zhen Wind93 x 95cmacrylic, ink, Korean paper2011
郝世明 《石门颂》系列68 x 138cm 绢上水墨 2008
Hao Shiming Ode To Shimen68x 138cm ink on silk2008
何玮明 《林中路》340 x 130cm x 4 纸本水墨2013
He Weiming Holzwege340 x 130cm x 4ink on paper2013
侯珊瑚 《态 • 初》系列 OBYL01 120 × 156cm纸本水墨 2012
Hou Shanhu Dynamic Origin OBYL01120 × 156cmink on paper 2012
昆仑子 《天籁系列 No.52》 178× 96cm纸本水墨 2012
Kunlun Zi Heavenly Series No.52 178× 96cm ink on paper 2012
蓝正辉 《体量水墨系列之二》 125 x 134cm 宣纸水墨
Lan ZhenghuiInk Of Dimension No.2125 x 134cmink on rice paper
老圃 《莲升图》 180 × 97cm 纸本水墨 2010
Lao Pu Lotus Seed And Advance180 × 97cmink on paper 2010
刘进安 《进安水墨》136 × 60cm 纸本水墨2011
Liu Jin’an Jin‘an’s ink136 × 60cm ink on paper2011
刘新惠 《书法——普门品全文》 34.5cm x 135cm x6纸本水墨
Liu Xinhui Universal Door Chapter34.5cm x 135cm x6 ink on paper
衲子 《朝披梦泽云》 69 × 35cm纸本水墨
Na Zi The Fog In The Morning Is Like A Dream Scene69× 35cm ink on paper
邱振中 《西厢记第二组画 No.1》146 × 210.6cm 纸本水墨2012
Qiu Zhenzhong The second group of paintings of Romance of the Western Chamber No.1146 × 210.6cmink on paper2012
沈勤《园·荷》138 x 68cm 纸本水墨2011
Shen Qin Garden and Lotus 138 x 68cmink on paper2011
沈沁 《双鹫》148x 220cm纸本水墨2008
Shen Qin Double Heroes148 x 220cm ink on paper 2008
唐承华 《C小调漫延曲NO.21-1》 200 x 110cm油画棒、手工蚕丝纸 2013
Tang Chenhua Diffuse melody in C minor NO.21-1200 x 110cm oil painting stick, handmade silk paper2013
田黎明 《都市男孩》139x 69cm 纸本水墨2017
Tian Liming City Boy 139x 69cmink on paper2017
王川 《no.7》68.5 x 69cm 纸本水墨1999
Wang Chuan no.7 68.5 x 69cmink on paper1999
王冬龄 《乱书·韦庄诗·江雨霏霏》97 x 180cm纸本水墨 2017
Wang Dongling Chaotic Scribbling·Wei Zhuang·Heavy Rain97 x 180cmink on paper 2017
王非 《丰欲的困倦》 800 x300cm纸本水墨2010
Wang Fei Drowsiness of Abundance 800 x 300cmink on paper2010
王秋人 《空明净心之八》 143 × 70cm纸本水墨 2008
Wang Qiuren The Ethereal Mountain Makes People’s Heart Pure No.8143 × 70cmink on paper 2008
一了《作品一号》68 x 136cm纸本水墨
Yi Liao Work No.1 68 x 136cmink on paper
张浩 《精神旅行2012-8》220 x 146cm 水墨宣纸 2012
Zhang Hao Spiritual Travel 2012-8220 x 146cmink on rice paper2012
张新建 《腾飞的山影》 70x70cm纸本彩墨2006
Zhang Xinjian The Soaring Shadow Of The Mountain 70x70cmcolor ink on paper2006
赵浥《正物》 152 × 152 × 10cm 综合材料 2011
Zhao Yi In Harmony With Things152 × 152 × 10cmcomprehensive material 2011
朱岚 《无题》 69 x 137cm 纸本水墨2010
Zhu Lan Untitled 69 x 137cmink on paper2010
部分到场艺术家及策展人贾廷峰先生、雅昌艺术网总经理朱文轶先生合影
太和艺术空间与雅昌签署战略合作协议
新闻发布会现场
太和艺术空间现位于798国际艺术区2号院主街地段，空间是50年代初由东德设计并建造的包豪斯风格排架大跨式厂房改建而成，展厅面积500平米，纵高5米，展线逾100 米，是798艺术区的老牌艺术机构。旗下太和美术馆坐落在风景优美的燕山脚下，面积 2000平米。长年陈列馆藏，开展艺术沙龙、艺术家驻留等项目。太和艺术空间曾经在泰国、尼泊尔、台湾、香港、美国、法国、德国、意大利、日本、韩国等地策划过上千位中国当代水墨艺术家的展览宣传与推广活动。
创立于90年代初的太和艺术空间，历经30年的发展，是中国第一代艺术机构。太和艺术空间始终致力于中国当代艺术的国际视野的拓展，尤其是中国当代水墨艺术（不限于材质）的发现和挖掘，培养和推广富有东方气质、当代表现的艺术家。植根中国古老文明，激活传统、生发传统、当代转换，培育了一大批当代水墨艺术家。经过三十年近千位水墨艺术家的展览和推广，如今已成为于中国当代水墨领域的一面旗帜，重塑中国本土当代艺术标准，生成一条中国自己的艺术道路。荣获中国文联书画中心颁发2002、2005年度“中国十大诚信画廊”、2009年雅昌“年度最佳展览画廊”、2013年“雅昌艺术网首家全方位合作画廊”、2018年与“中央美院、北京画院、首都师范大学艺术学院”一道获得首届文化部“艺术市场杂志社”风云榜“学术贡献奖”。
Taihe Art Space is now located in the main street area of No.2 Courtyard in 798 International Art Zone. The space was designed and constructed by East German in the Bauhaus style row frame factory style. The exhibition hall area is 500 square meters. The vertical height is 5 meters. The exhibition line is more than 100 meters. It is the veteran art institution in the 798 Art Zone. Taihe Art Museum is located at the foot of the beautiful Yanshan Mountain. The area is 2000 square meters. It holds long-term collection display, art salon, artistic residency and other art projects. Taihe Art Space has curated thousands of Chinese contemporary ink artists’exhibitions in Thailand, Nepal, Taiwan, Hong Kong, the United States, France, Germany, Italy, Japan, South Korea and other places.
Founded in the 1990s, Taihe Art Space has developed over the past 30 years and is the first generation of art institution in China. Taihe Art Space has always been committed to expand the international vision of Chinese contemporary art, especially the discovery of Chinese contemporary ink art (not limited to materials) . We cultivate and promote artists with oriental temperament and contemporary expression. We root in Chinese ancient civilization and activate as well as develop tradition. We develop and transform in creative way and raise a large number of contemporary ink painters，holding exhibitions and promoting nearly 1000 ink artists over thirty years, we have now become a banner in the field of Chinese contemporary ink art and reshape the standards of Chinese local contemporary art as well as generate own path of Chinese art field. Taihe Art Space awarded as the “Top Ten Honesty Galleries in China” by the China Federation of Literature and Painting Center in 2002 and 2005; “Best Exhibition Gallery of the Year” in 2009;“First All-round Cooperation Gallery of Artron Art Network”in 2013; Academic Contribution Award of the First Ministry of Culture “Art Market magazine” list in 2018 together with Central Academy of Fine Arts, Beijing Academy of Painting and Art College of Capital Normal University.
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周二至周日 10:00 – 18:00
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