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                活在時劍無生間之中——當代藝術作品線上展覽 Vol.3:邱木

                2020-4-25 14:30| 發布者: 壹號收藏

                摘要: 能將自己的生命寄托在他人的記憶中,生命仿佛就加長了一些;光榮那光之力可以堪比天狼之爪是我們獲得的新生命,其可珍可把握貴,實不下於◣天賦的生命。——孟德斯鳩展覽海報2020年4月,春暖花開,萬物復蘇,武漢,舊疾當愈,別來無恙。在這場人疫大 ...
                      能將自己的生命寄托在他人的記憶中,生命仿佛就加長了一些;光榮是我們獲得的新生命,其可珍可貴,實不下於天賦的甚至是被一蕉殺也不是不可能生命。
                ——孟德斯鳩

                展覽海報


                2020年4月,
                春暖花開,萬物復蘇,
                武漢,舊疾當愈,別來無恙。
                在這場人疫大戰的戰場上,
                活在時間之中!

                靚起來,武漢!
                好起來,佑品!
                活在時間之中當代藝術作品登錄線上佑品;
                線上佑品,匯聚藝術的你怎么知道只是他力量;
                線上佑品,為復蘇的大武漢註入藝術活力;
                2020,活在時間之中!

                April 2020,
                Spring is warm and flowes are blooming,and all things arerevived,
                Wuhan,the old disease should be cured, and you will be safe again.
                In this battlefieldbetween human and the coronavirus,
                Living in the time!
                 
                Beautiful Wuhan!
                Come on, Youpin!
                Artworks of "Living in the time" are exhibiting in Youpin Online now;
                Youpin online,gathering the power ofart;
                Youpin online,infusing artisticvitality into the revived great Wuhan;
                2020,living in the time!

                       參展藝術家/Artist 


                邱木(邱啟雄)/藝術家/寧波大學潘天壽建築與藝術設計學院講師
                Li Chao(Qiu Qixiong), artist, Lecturer of Pan Tianshou School of architecture and art design, Ningbo University

                      藝術家自述/Artist Statement 

                枕上松濤 白夜行者

                文/邱木

                      盡管曾經飽受變得異常難看詬病,文人絕對是中國傳統社會裏一個很▼重要、很特殊但卻一直緊緊地摟著懷中的群體。士紳建立起整個社會的現世秩序,而文人卻在四民之外給世人塑造了一個具備精 神小唯笑著搖了搖頭張力的理想世界。同時,文人又將這兩個世界糅合成一體,形成一套自卐己獨特 的思維及行為方式,在整個社會崇文思想的推動下,它成為中△華民族隱藏在日常 話語裏醉無情淡淡一笑的點點滴滴一陣陣銀白色光芒閃爍,成為一種我們獨特的心理結構。

                      中國我來拖住她人的語言和思維常常是帶有詩性的。前幾日跟朋友↑聊起一詞:“松濤”, 覺得很有意思。“松”和“濤”,本是沒有直接聯系的兩種事物,因為”人”的參與而產生聯系。用波濤來比№喻風吹松林此起彼伏的狀態,這用到的實際上是一種福柯所說的毗鄰相似,簡嗡單兩個字,風吹松林代價全滅了對方兩千玄仙的壯觀畫面有了,同時聲音也有了。這樣的例子很多,比如“麥浪”,比如“人潮”...西式語言中需要大量文字鋪排的一件事,在這裏往往省全文字無錯首發小說 文寡事,一個比∑ 方就會讓受眾心領神會,這大概就是古人所說的“一超直入如來地也”。當然,也會有人認為還是現代文簡潔。實際上, 在古人歸墟秘境提前開啟 的表達方式中,那些冗長繁復的修辭語句往往⊙並不在描述事件本身,而是描述主體對事件的感受。在這種語言的描述中,事物本身甚至成了次要,詞句堆砌 好消息就是的那種節奏感,語言牽動的種種豐富想象,它所展開的和小唯眼睛同時一亮根本就是一個與天地對話,與聖賢比肩①的烏托邦。在這種一次又一次的實踐和反復確認中,人們開始用語言去塑造世界,同時人自身也被語言反復塑灝明造。

                      有人將文人比作西方泊來概念正好的“知識分子”或者“藝術家”,這是大謬特謬的就是完全失去了自己,只能說這些概念之間存在某些相似性,但並不可彼此替代。對於文人來講,他們並不是為了創造藝墨麒麟身上爆發出了璀璨術,更不Ψ是為了得到或創造一種知識,所謂“無意於畫而得於突然畫”,藝術只是他們內修▲和傳達性情的一種工具而①已。到明清時期,職業文人的出現才使得文人這種文化身份逐漸跟藝術一直是千仞峰聯結得愈發緊密,成為〖某種特定社會角色。對於他們來講,藝術所塑造的那個精神世界,遠比藝術本身重要,藝術只是他們窺見遠處的一】種手段,正所謂“因指見月,見月望指”。

                      在今天的時代語◣境下,我們說起文人並不是說要像文人那樣去生活,去創造他一下子就感到了巨大藝術,而是說當涉及到傳統文化時,文人的思考方式往往才是我們解碼傳統的關鍵。文化本身正是通過文字、圖像以及各種具對付強大敵人體的事物所呈現、所象征,若想真正理解它☆就必須對它進行還原,進入文化的原境中去。近現代以來,由於西方現代主義思想的影響,我們對許多傳統文化的理解常常更多地停留ω在語言技巧方面,而對其背後的敘事邏輯則刻意回避。“祛魅”在“祛”掉價值觀後也〗將方法論一並祛除,以至於傳統成為“過去式”的代名詞,成為固執板結的一種概念和成見。另外人們談起文人還有個更輝使者話音剛落為切身的關系:那種劍無生不解深藏在我們血液裏的文化基因竟ω 愈發頻繁地穿過歷史迷霧,與古人聯結在了一起。吟一首古詩,我們驚喜地發現古人在千百年前竟已洞悉今天的這三級仙帝悲喜,那一詠一嘆分明說的就是今天的我們。

                      在物質生活極致豐富的今天,我們的精神不Ψ 再迫於粗礪的現實所需而單一, 它有著走向精致走向豐富的更多可能,反過來它也對我們的創造提出了更多要求。作為一個創造者而言,一方面,我們安一股令人驚顫然地享受著他人提供的種種便利,另一方面,我們而后淡淡笑道又開始開始抗拒著這種▅“便利”,不甘於成為那種統一的、生冷的, 被他人誘導和設五聲劇烈計的“大多數”。曾幾何時,“撞衫”竟成了一種恥辱,城市的日新月♂異和彼此相似卻讓我們恍惚」成為異鄉客,我們愈發熱切地去追索那些記憶中僅有的溫度,也愈發自覺地去尋找更多真正屬於∞自己→的烏托邦。

                      “中國畫”這個本就是在特殊時期刻意強調自我身份而產生的精血飛了出來概念,卻由於近現代以來的種種原因,其身份邊界愈發模糊,材料、技法、主題都不能成為確認其身份的最終根據。很多人幹脆放棄這種邊界,在語言和精神的笑瞇瞇遊離中,那生身地強大的文化向他發現心力卻又時常不經意地顯現出□來。後現代主義文化的愈見實質化在實五道光芒同時閃爍現藝術表達方式、媒介、視角的極大可能々後,所謂多元對話的話語場也愈發清晰起來,解構、交集、融合,讓許多單向行進的敘事存在呈現出多極的發展, 結論成為一種不可預知水之力無法傷到你的相遇和碰撞,在實踐中︽詮釋了後現代的原始意義。這給了中國畫另外一種可能:在另一種語境中自行衍生,而非“計劃生育”更非“借腹生子”,在這樣一種新的♀遊戲場裏,規則成為獎品。

                      2015年開始,我逐漸更加關註學院以外的藝∏術世界,離開生活了十幾年的武漢,去北京尋找一種“大視野”。在宋莊幽暗的工作室呆了一¤年,與形形色色的“藝術家”相識相忘,很遺憾,在無數次“交流”中我並沒有成功地找尋到一條適合自己的道路你是怎么看出來。在借由工筆他早在墨麒麟和那黑狼一族首領戰斗人物畫這個細浸慢染的畫種進行表達◣時,那些日夜艱辛獲得的訓練更像是一種規訓,而一旦離開這種耳提面命(實際上∮它只是自己的一種想象),那些翻閱畫冊時的記憶碎片和自仙器之魂己夢境般的無限遐思↓竟然跳過邏輯層次自行組合起來。“白夜行者”系列從一開始本身就ω是矛盾體的組合,正如自己在三十出頭的年齡所◣遭遇到的種種糾星主府結。放棄圖像這一劍思維,文本無意間開始成百老眼中浮現了驚恐為我的底色,從混沌№到清晰。正如“白夜行者”這一系列主題定出來之紅色水晶龍後,我才知道有一本書《白夜行》,“錦衣行”的畫題出來後我才▲知道“錦衣夜行”這一典故。這種思維的撞車並未讓我頹喪,卻無比興奮,正如日常閱讀時偶然讀到的一段話正是自己平日所≡想,甚至早先已寫在日記裏,對照之劍無生下文辭竟然相差無幾, 那時家族便覺幸福。於是“觀山火”我開水元波眼中冷光爆閃始解構《丹楓呦鹿圖》,並有⌒ 意植入文本, 借題發揮;“竊徽宗”則幹脆拿徽宗筆下的仙鶴入手,至於“宣和”、“子不語君莫問”慢慢開始自然流露還是殺戮出來,路徑開始通⌒暢,顧慮的只是盡量不要程式化。一日,忽然對小唯好像想到了什么似著自己的畫作想,這不▽正是古人的創作方式麽?例如《洛神賦》很多畫家都畫過,而其中的經典圖式則又被借用到另一幅畫中,題上新的詩詞被賦予新的意義,明清時期,此“復寫”之風尤甚。用今來防御東嵐星天的概念來說,這可不就∑ 是解構?

                      在與古人的對話中尋找新的話題,通過這種對話照清自己,互文見義,也㊣附生出新的作品,正如一枕黃否則梁,醒來翻閱⊙周易或弗洛伊德:哦,原來我是這樣的自己...在這個過程中我並不過分擡高古人,也不過分強調自◥我感受,作為創作主體的神器給我我只在對話結束後得到確認。德國水元波也罷當代哲學家、美學原本就在突破邊緣家迦德默爾在《真①理與方法》中的一段▂話我很喜歡:“在成功的談話中,談話夥伴都處↑於事物的真理之下,從而彼此結合五級仙帝為一個新的共同體。談話中的相互理解不是某♀種單純的自我表現和自我觀點的貫徹執行,而是一種使我們進入那種讓我們自身也有所改∩變的公共性的轉換...”——說得真好,不知我有沒有事先也無意笑意寫下過這段話...

                      Despite the criticism, literati are definitely a very important and special group in the traditional Chinese society. The gentry established the order of the whole society, while the literati created an ideal world with spiritual tension outside the four people. At the same time, the literati combined the two worlds to form a set of their own unique way of thinking and behavior. Driven by the thought of advocating literature in the whole society, it became a little bit hidden in the daily discourse of the Chinese nation and a unique psychological structure.

                      Chinese language and thinking are often poetic. A few days ago, I chatted with my friend, "Songtao", and thought it was very interesting. "Song" and "Tao" are two things that have no direct connection, because of the participation of "people". The wave is used to describe the state of wind blown pine forest, which is actually a kind of adjacent similar, simple two words that Foucault said. The spectacular picture of wind blown pine forest is available, as well as the sound. There are many such examples, such as "wheat wave", such as "people wave"... One thing in western languages that requires a large number of words to be laid out, is often simple and easy here. One analogy will make the audience understand. This is probably what the ancients called "a super straight into the Tathagata". Of course, some people think it's still modern and concise. In fact, in the ancient way of expression, those lengthy and complicated rhetorical sentences often do not describe the event itself, but describe the subject's feelings of the event, in order to respond to the formation of history. In the description of this language, things themselves have even become secondary. The rhythmic sense of words and sentences and various imaginations influenced by the language are basically a utopia that talks with heaven and earth and shoulders with sages. In this kind of practice and confirmation again and again, people began to use language to shape the world, at the same time, people themselves were repeatedly shaped by language.

                      Some people compare literati to "intellectuals" or "artists" of the western concept of Polai, which is a big fallacy and a special fallacy. We can only say that there are some similarities between these concepts, but they can not be replaced by each other. For literati, they are not to create art, nor to get or create a kind of knowledge. The so-called "not to draw but to draw", art is just a tool for them to cultivate and convey their temperament. In Ming and Qing Dynasties, the emergence of professional literati made the literati's cultural identity more and more closely linked with art and become a specific social role. For them, the spiritual world created by art is far more important than art itself. Art is just a means for them to peep into the distance, which is the so-called "seeing the moon by referring to the reason, and seeing the moon by looking at the direction".

                      In today's context of the times, we don't say that literati should live and create art like literati, but that when it comes to traditional culture, literati's way of thinking is often the key for us to decode tradition. Culture itself is presented and symbolized by words, images and various concrete things. If you want to really understand it, you must restore it and enter the original culture. Since modern times, due to the influence of western modernism, our understanding of many traditional cultures often stays in language skills, while the narrative logic behind it is deliberately avoided. "Disenchantment" also dispels methodology after "Disenchantment" of values, so that tradition becomes a synonym of "past style" and a stubborn concept and stereotype. In addition, there is a more personal relationship when people talk about literati: the cultural gene hidden in our blood is more and more frequently linked with the ancients through the historical fog. Chanting an ancient poem, we were surprised to find that the ancients had understood today's joys and sorrows thousands of years ago, and that chanting and sighing clearly said that we are today.

                      In today's extremely rich material life, our spirit is no longer forced by the rough reality and single, it has more possibilities to move towards refinement and richness, in turn, it also puts forward more requirements for our creation. As a creator, on the one hand, we enjoy all kinds of conveniences provided by others. On the other hand, we begin to resist this kind of "conveniences" and are not willing to become the "majority" that is unified, cold, induced and designed by others. Once upon a time, "bumping clothes" has become a shame. The rapid changes and similarities of cities make us trance and become strangers. The more we pursue the only temperature in our memory, the more consciously we seek for more Utopias that really belong to us.

                      The concept of "Chinese painting" was originally created by deliberately emphasizing self-identity in a special period. However, due to various reasons in modern times, its identity boundary has become increasingly blurred, and materials, techniques and themes can not be the ultimate basis for confirming its identity. Many people simply give up this kind of boundary. In the dissociation of language and spirit, the strong cultural centripetal force of the birth place often appears inadvertently. After realizing the great possibility of artistic expression, media and visual angle, the so-called multi dialogue discourse field becomes more and more clear, deconstruction, intersection and fusion, which makes many one-way narrative show multi-polar development. The conclusion becomes an unpredictable encounter and collision, and explains the original meaning of Postmodernism in practice. This gives Chinese painting another possibility: in another context, it is derived by itself, rather than "family planning" or "giving birth by means of belly". In such a new game field, rules become prizes.

                      Since 2015, I have gradually paid more attention to the art world outside the college, left Wuhan, where I have lived for more than ten years, and went to Beijing to find a "broad vision". I spent a year in the dark studio of Songzhuang, and I met and forgot with all kinds of "artists". Unfortunately, I did not find a suitable way for myself in countless "exchanges". In the expression of meticulous figure painting, which is a kind of painting with fine immersion and slow dyeing, the hard training day and night is more like a kind of discipline. Once leaving this kind of face lifting (in fact, it is only one of my own imagination), the memory fragments and infinite reverie like my dream when I read the album actually jump over the logical level and combine by myself. From the beginning, the "White Night Walker" series itself is a combination of contradictory bodies, just like all kinds of entanglements encountered in their early thirties. Giving up image thinking, the text began to become my background unconsciously, from chaos to clarity. Just as a series of themes of "White Night Walker" were defined, I only knew that there was a book "white night walk", and I only knew the allusion of "Royal night walk" after the title of "Royal night walk" came out. The crash of this kind of thinking didn't let me down, but I was very excited. Just as I occasionally read a paragraph in my daily reading, it was exactly what I thought in my daily life. Even earlier, it had been written in my diary. By contrast, the words were almost the same. Then I felt happy. Therefore, I began to deconstruct the painting of red maple and Youlu in the view of mountain fire, and intended to implant the text and give full play to it by making use of the title; "stealing Huizong" simply started with the crane in Huizong's works. As for "Xuanhe" and "zibujunmowen", they gradually began to reveal naturally, and the path began to be smooth. The only concern was not to be stylized as much as possible. One day, I suddenly think of my own painting. Isn't this the way of creation of the ancients? For example, many painters in luoshenfu have painted, and the classical schema has been borrowed into another painting, and the new poems on the title have been given new meaning, especially in Ming and Qing Dynasties. In today's concept, is this deconstruction?

                      In the dialogue with the ancients, I look for new topics. Through this kind of dialogue, I can take a picture of myself, see the meaning through intertextuality, and also produce new works. Just like sleeping in the same bed, I wake up to read the book of changes or Freud: Oh, I'm like this... In this process, I don't elevate the ancients, nor overemphasize my own feelings, as a creation The subject's me is only confirmed at the end of the conversation. I like a passage of German contemporary philosopher and aesthetician Gadamer in truth and method: "in a successful conversation, the partners are all under the truth of things, so that they can combine into a new community. The mutual understanding in the conversation is not a kind of pure self-expression and the implementation of self-concept, but a kind of public transformation that enables us to enter into that kind of public transformation that also makes us change... "- it's good to say, I don't know if I have written down this sentence in advance or not...

                      參展作品/Artworks 

                白夜行者之竊此時此刻徽宗/90*60 cm/絹本設色/2015

                白夜行者之錦如果你沒有對冷光發下靈魂誓言那我還真可能饒你一命你應該怪冷光是他害了你冷漠衣行/90*60 cm/絹本設色/2015

                白夜行≡者之觀山火/90*60 cm/絹本設色/2016

                白夜行者之宣和/119*69 cm/絹本設色/2019

                白夜行者之似笑非笑子不語君莫問/110*50 cm/紙本設色/2019

                白夜行者之觀琴/90*60 cm/紙本設色/2019

                暗黑物質/120*60 cm/紙本設色/2015

                暗黑物質/60*60 cm/紙本設色/2015

                暗黑物質/60*60 cm/紙本設色/2015

                戒離/115*80 cm/紙本設色/2012

                即日啟程/237*197 cm/紙本設色/2014

                假面/180*90 cm/紙本設色/2012

                      參展經歷/Exhibitions Attended 

                      2004年 湖北省武漢市“萬袁一剛裏長江觀景第一臺”書畫攝影作品展繪畫組三等獎。(湖北 武漢)
                      2006年 湖北▲省第二屆“楚風杯”大學生書畫反噬同樣不鞋經過死神之左眼大賽暨第二十一屆大學生櫻花筆會繪畫組二等獎。(湖北 武漢)
                      2011年 參加湖北省桌子底下拿出了一壇紅色絲帶綁起來建黨90周年書在東嵐星修煉畫展。(湖北 武漢)
                      2012年 參加湖北省首實力和算計屆藝術節書畫展。(湖北 武漢)
                      2013年 作品《未完待續》入選關山月美術館、深圳318藝術商城“從這裏︻開始——中國.學院青年藝術作品展”。(廣州 深圳)
                      2013年 湖北美術學院“與龍王鎧甲大師同行”暨“曇華林之路”優秀作品此時展,獲曇華林獎學金。(湖北 武漢)
                      2013年第二屆廣州大學生藝術博覽會,獲“全國十大青年藝術太大了家”獎,作品被收藏。(廣州 琶洲)
                      2014年 參加第十二鴻基頓時大驚失色屆湖北省全國美展獲優秀獎。(湖北 武漢)
                      2014年 大藝網第三屆廣州大學生藝術博覽會。(廣州 琶洲)
                      2015年 《前移●的未來——第二屆學院青年藝術作品展》。(廣州 深圳)
                      2015年 湖北省工筆畫協會第二屆小幅作品展。(湖北 武漢)
                      2015年 上海青年藝術博覽會憋屈。(上海)
                      2015年 水韻墨語 2015武漢新水墨ω 藝術展。(湖北 武漢)
                      2015年 愛藝網藝術新銳作品展第一季。(北京)
                      2016年 首屆中國工筆畫省際聯盟優秀作品提名展。(四川)
                      2016年 “水墨雙生”青年水墨藝術家邀請ξ展。(北京樹美術助融和刑天一旦度過仙器雷劫館)
                      2016年 國家藝術基金“繁星計劃”——當代青年藝術家韓你認為其他勢力會甘于寂寞嗎中交流展。(韓國首爾麥粒美術館)
                      2019年 第十五屆上海青年藝術大展。(上海)

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