古麗·斯坦&帕友國(guó)

Gulistan & Yorgos Papageorgiou

展期：3月27日——4月8日    展廳：3層展廳

這次是一次來自兩個(gè)遙遠(yuǎn)國(guó)度的藝術(shù)家的相遇與對(duì)話，一個(gè)來自西方遙遠(yuǎn)的希臘，一個(gè)來自東方的中國(guó)，是藝術(shù)使這兩位遙遠(yuǎn)國(guó)度的藝術(shù)家聯(lián)系在了一起，雖然兩位藝術(shù)家各有自己的風(fēng)格，但看過他們作品的人會(huì)立即被他們對(duì)藝術(shù)的理解的驚人相似所震撼.

This is a meeting between two artists of disparate origins; one hailing from Greece in Mediterranean Europe, the other born in Xinjiang in the extreme West of China, both now sharing the reality of living and working in Beijing. The work of either of these two artists will be associated with a faraway country for the viewer.

Duration: 27th March—— 8th April   Location: 3rd floor

古麗斯坦和帕友國(guó)

用繪畫傳遞心靈的音符

這次是一次來自兩個(gè)遙遠(yuǎn)國(guó)度的藝術(shù)家的相遇與對(duì)話，一個(gè)來自西方遙遠(yuǎn)的希臘，一個(gè)來自東方的中國(guó)，是藝術(shù)使這兩位遙遠(yuǎn)國(guó)度的藝術(shù)家聯(lián)系在了一起，雖然兩位藝術(shù)家各有自己的風(fēng)格，但看過他們作品的人會(huì)立即被他們對(duì)藝術(shù)的理解的驚人相似所震撼，譬如他們對(duì)色調(diào)的使用，對(duì)線條及光影的偏好，以及其作品所襯托的詩(shī)意。古麗斯坦的作品頻繁游走于傳統(tǒng)與現(xiàn)代之間， 她用一種對(duì)生命的注視方式去接近，發(fā)現(xiàn)被內(nèi)心體驗(yàn)到的純意識(shí)世界最本質(zhì)的所在。即有時(shí)間的接續(xù)，又有精神的蘊(yùn)藏，經(jīng)過了她內(nèi)心的提煉。帕友國(guó)在北京的作品，似乎更多受到了周遭環(huán)境和著名的中國(guó)現(xiàn)實(shí)派“電影攝影藝術(shù)”中的字符的顯著影響。

   是什么驅(qū)動(dòng)力促成了他們的相遇和共同的交流基礎(chǔ)呢？

要回答這個(gè)問題，需要首先看到他們繪畫差異的層面之外，而注重其作品的節(jié)奏韻律，并且“傾聽”他們的繪畫表象之下的音樂。

  其實(shí)，他們對(duì)音樂所共有的激情才是他們藝術(shù)的內(nèi)驅(qū)力， 或許就是這樣，藝術(shù)只對(duì)能夠在心弦上引起震顫的人傳遞出音符，時(shí)間和空間只為心靈而“存在”，“存在”也只因心靈產(chǎn)生意義。

Gulistan and Yorgos

Encounter between the notes

This is a meeting between two artists of disparate origins; one hailing from Greece in Mediterranean Europe, the other born in Xinjiang in the extreme West of China, both now sharing the reality of living and working in Beijing. The art of these two artists is associated with a faraway country..

While their art has similarities that immediately strike the viewer, such as the palette of colours they use, their common interest in texture and patina, and a certain poetic quality, it also has many disparities. Gulistan seems to follow a more thematic approach in her latest work, constantly travelling between tradition and modernity. She, with the concerned look to life, observes, approaches, catches and discovers the essence of the conscious world that the inner world can experience. Yorgos, in his Beijing work, seems particularly influenced by the surroundings and notably the “cinematographic” character of the Chinese reality.

So what is the driving force behind their meeting and the common base for their exchange?

To answer this question, one has to look carefully beyond the disparities of representation in their paintings. One must concentrate on the rhythm of their work and “l(fā)isten” to the music ever present below the surface of their paintings.

In fact, their common passion for music is an important driving force of their art. It makes their meeting not only possible, but also complementary, and creates an intriguingly harmonious experience for the viewer. That may be true: Art can only transfer the notes to the people who are touched by art. Time and space exist and create meanings only for the soul of passion.

古麗斯坦作品



古麗斯坦作品