無(wú)聲的風(fēng)景

　　參展藝術(shù)家：白東亮、何遲、李川、王亞彬、王亞強(qiáng)、趙罡

　　策劃：翁志娟

　　展覽時(shí)間: 2008.06.07-07.06

　　開(kāi)幕酒會(huì): 2008.06.07 16:00

　　展覽地點(diǎn): 北京方音畫(huà)廊

　　聯(lián)系電話: +86 10 8459 9257

　　電子信箱: fangfineart@yahoo.com.cn

　　網(wǎng)站: www.ffinegallery.com

　　風(fēng)景畫(huà)在古代被稱(chēng)為山水畫(huà)，山水畫(huà)在中國(guó)古代繪畫(huà)中是一個(gè)重要的科目，在元明清甚至成為繪畫(huà)的主流。在中國(guó)當(dāng)代繪畫(huà)中，許多藝術(shù)家也以風(fēng)景作為自己的創(chuàng)作元素，所不同的是，他們使用的是當(dāng)代藝術(shù)創(chuàng)作的思維方式與觀察角度，來(lái)描寫(xiě)著周遭的風(fēng)景，它們包括：自然與環(huán)境的、人文與歷史的、傳統(tǒng)與現(xiàn)代的、工業(yè)與科技的、情感與哲理等的各式各樣的風(fēng)景。

　　白東亮在作品里使用了超現(xiàn)實(shí)主義的思維，用一種比較行為的方式，即涂、刷、噴、灑等各種油畫(huà)創(chuàng)作的手段，把原本是灰色的風(fēng)景涂抹成自己想象中的青山綠水。趙罡在有蘑菇云的湖面上安排了幾個(gè)人在游泳嬉戲，兩者的對(duì)比穿插在畫(huà)面中形成心理上的落差，更加映襯了人類(lèi)的渺小感。李川的作品采用了中國(guó)畫(huà)山水的用筆與布景方式，人們?nèi)钥稍诠糯剿?huà)的層面上來(lái)解讀他的作品。王亞彬的畫(huà)處于抽象與具象的臨界點(diǎn)，他把形削減到最低，畫(huà)面幾乎接近于抽象水墨，又類(lèi)似于變異的文人畫(huà)。何遲的作品講究畫(huà)面之間的搭配，他把畫(huà)面的布局結(jié)合到無(wú)規(guī)則的排序的當(dāng)中，把聯(lián)畫(huà)做成一張畫(huà)的概念。王亞強(qiáng)的作品為抽取現(xiàn)代生活與科技化樣式的產(chǎn)物，然后將之解構(gòu)再重置，畫(huà)面呈現(xiàn)出后現(xiàn)代無(wú)厘頭的特性。

　　這一幅幅寂靜無(wú)聲的風(fēng)景繪畫(huà)作品，充滿(mǎn)了預(yù)感性、隱喻性、抒情性、象征性與荒誕性，它們無(wú)不觸動(dòng)著我們當(dāng)下社會(huì)的喧囂現(xiàn)實(shí)。

　　Newsletter

　　Silent Scenery

　　Curator: Weng Zhijuan

　　Artist: Bai Dongliang、He Chi、Li Chuan、Wang Yabin、Wang Yaqiang、Zhao Gang

　　Time: 2008.06.07-07..06

　　Opening: 2008.06.07 16:00

　　Venue: F.Fine Gallery

　　Tel: +86 10 8459 9257

　　Email: fangfineart@yahoo.com.cn

　　Website：www.ffinegallery.com

　　Landscape painting, known as “Shan Shui painting”in Chinese traditional, is an important subject in ancient Chinese painting and even became the main trend in Yuan, Ming and Qing Dynasty. Many modern Chinese artists are having landscape as elements in their creation and drawing the surrounding scenery in artistic ways of thinking and observing angles of the time, involving various landscapes describing nature and environment, human and history, tradition and modern, industry and science, emotion and philosophy.

　　With various oil painting actions such as painting, brushing, spraying and sprinkling, and surrealism thoughts, Bai Dongliang turned the original grey scenery into his imaginary blue mountains and green waters. Zhao Gang arranged in his painting several people swimming and playing in the lake where mushroom cloud is raising, the mental contrast formed in the painting tells more about the insignificance of human beings. Li Chuan adopted the brushwork and composition of ancient Chinese landscape painting and on the level of which, the audience can still explain his works. Wang Yabin, who gave the least shape in his works to make them be close to abstract ink and wash or similar as altered painting of man-of-letters, is painting on the critical point of abstract and concrete, he imitated the images and mood of ancient paintings with textures to create an atmosphere for meditation. He Chi pays close attention to the collocation of drawings, his composition of paintings are arranged in an irregular order with the concept of one painting encompassing several connecting pictures. Wang Yaqiang’s paintings are a product from abstracting patterns of modern life and science and technology for deconstruction and replacement, his paintings present a character of postmodernism.

　　Those paintings imbued with expectations, metaphors, emotions, emblems and fancies, these silent scenery paintings are invariably reflecting the facts of the present noisy society.