Then and Now: Chinese Contemporary Arts Joint Exhibition
Then and Now: Chinese Contemporary Arts Joint Exhibition
**聯展時間: 11月7日 – 11月15日 (星期二至星期四; 早上十點至下午六點)
Date: 11/7 -11/15 (Tue. to Sun.; 10:00 a.m. – 6:00 p.m.)
Hwang Gallery Address: 39-10 Main St. Suite #303, Flushing, NY 11354
Opening Reception: 11/7 (Sat.) 2:00 p.m. – 4:00 p.m.
王家增 (中國人民大學藝術學院繪畫系副主任、教授 )
For the five Chinese artists whose works are being shown at Hwang Gallery’s “Then and Now: Chinese Contemporary Arts Joint Exhibition,” their places in history are forever inscribed by a sense of transition. All of them were born in the 1960s, and they have seen the end of different eras and the advent of new pages in Chinese history.
The memories of the Cultural Revolution more or less left an indelible mark on their personal histories. And in their youth, they experienced the opening-up of China’s economic policies and the 85′ New Wave, both of which ushered in Western ideas that stimulated the artists intellectually and artistically. Despite the fact that they too, like the 1950s generation before them, have experienced the turbulent and often grim events in recent Chinese history, they seem to possess the ability to create artworks that are acutely aware of social reality, yet which refrain from being too weighed down by the effects of historical trauma. Compared to their predecessors, they are blessed with more opportunities and room for artistic creation. And while these 60s artists have embraced the cultures of the Internet and new media like the 70s generation artists after them, they surpass the latter generation in terms of intellectual alacrity and artistic outlook. They are, as a whole, a community of transition that bridges the two eras they have taken part of and observed.
“Then and Now: Chinese Contemporary Arts Joint Exhibition” is pleased to have invited these five Chinese artists to use their different personal narratives, preferred media, and signature styles to examine the connections between art and history.
The vantage point of the present has allowed them new perspectives to reinterpret the presents and pasts of Chinese contemporary art. The act of looking back, the re-evaluation of “then” from the viewpoint of “now,” is what our exhibition intends to focus upon, along with a deeper understanding and examination of matters of time, history, and the individual and the society. New visual experiences and artistic values are what we hope to uncover through our artists’ observations of Chinese cultural and art history.
The opening reception of our joint exhibition will be held at 2:00 pm on November 7th (Saturday) at Hwang Gallery. Attendance is free of charge. We are excited to offer you the experience of meeting our artists face-to-face and expanding your horizons on Chinese contemporary art. The exhibition will last for 10 days (November 7th to November 15th). It is an opportunity not to be missed!
- Feng Zhang (Professor of the Sculpture Department, Lu Xun Academy of Fine Arts)
- Jia-Zeng Wang (Deputy director and professor of the Painting Department in the School of Arts, Renmin University of China)
- Ying-Chao Zhang (Associate professor of the Environmental Art Design Department, Lu Xun Academy of Fine Arts)
- Cheng Sui (Executive deputy editor of the Chinese Engraving Magazine; Professor of the School of Arts, Shenzhen University)
- Sin-Ying Ho (Associate professor of the Art Department, City University of New York; Deputy chair of Studio Art)
張峰 Feng Zhang (雕塑)
在這次展出的作品裡，展現了張峰在他的雕塑藝術中，運用中國水墨虛實觀的奇妙之處。他使用虛實相生的手法，將虛的光影變成實體，用實的手法去表達虛幻 。此種水墨化的雕塑所體現出的光與影的效果，虛與實的空間，經過再造的過程，如畫中畫，鏡中像，讓人重新思考主體與附屬之間的關係，而運用中國觀念和中國方法這樣的創作實驗,也成為了張峰在他的當代藝術雕塑中的獨特創作特點。那些看似殘破的雕塑人體, 比起完整的外表, 更具穿透及震撼力, 他們訴說著, 經歷過苦澀而帶著缺憾的人生, 更能體味生命中濃郁的情感以及呈現人類更高尚的尊嚴。
In his sculptures, Professor Feng Zhang (Lu Xun Academy of Fine Arts) takes inspiration from Chinese ink paintings’ play on absence and presence. The broken forms of his sculptures foreground the dialogue between light and shadow and the contrast between positive and negative space. The coarse and fractured features of his sculptures are bittersweet creations that suggest that life is never free from damage. Compared to sculptures of unblemished appearances, Zhang’s sculptures therefore are ideal conduits that convey the vitality of human emotions and a sense of undefeated dignity.
王家增 Jia-Zeng Wang (油畫)
在王家增的繪畫作品中, 常反映著出在社會規範及大環境體制下, 人的精神與理想的變形與缺失問題, 此次展出的《城跡》系列畫作中，他將重點放在人自身, 透過作品傳達個體反省自身被環境束縛的問題,畫作中以宏觀的場域為背景，描繪個體或群體，在猶豫中絶決離開, 這種場景猶如在龐大而孤獨的都市叢林中看清了自己的行跡，並試著在寬宏的場域中試著找回自己, 突破這個看不見的圍牆對人的束縛，進而突破自身的束縛。
The distortion of dreams and the warping of the human spirit under societal pressures are predominant themes in Professor Jia-Zeng Wang’s (Renmin University of China) paintings. For our exhibition, “Now and Then,” we have selected works from his “Mark of City” series, a series that poses introspective treatments of the restrictions that society imposes on the individual.
張英超 Ying Chao Zhang (雕塑)
張英超的藝術風格強調回歸人類素樸天真的本性。他的雕塑不強調技術的堆砌，那些所謂的“功夫”消解在情感之中，消解在一種精神世界裡。他關注的是“感覺”和“靈光”，他有節制的使用技術，不因炫技而損害他的“感覺”和“靈光”。他強調感覺和靈光給他帶來的物像之「神」 ，他將「以神寫形」作為感受與撲捉靈光的態度，實現他「神形合一」的復歸。 欣賞張英超的人像雕塑，即是在這個喧囂躁動的“大時代”和漠然自我的“小時代”裡，深深感受到“人”的溫暖。
Sculptor and associate professor Ying Chao Zhang (Lu Xun Academy of Fine Arts) uses his sculptures to capture the inner spirit of his subjects. For Zhang, it is the faithful arresting of spirit, and not flamboyant technique, that elevates his works and joins together form and inner essence. The warmth and human touch of his sculptures offer a respite to the modern viewer who wishes to escape the clamor of the outside world and the lonely isolation of one’s inner existence.
隋丞 Cheng Sui (版畫)
《都市與浮水者》系列，使用強化過的“傳統”符號與現代交通標誌，高速公路等象徵現代文明的符號進行並置與導入，運用水紋符號做“底”擴大到滿幅畫面，再用浮水者的人形與交通標誌牌作為“圖”進行了極端化的組合，使這種傳統符號的意義完全消失，而出現一種陌生，怪異又熟悉的視覺組合形式。隋丞的浮水者是他對實現意象的表述。他說,「大多數人去香港都看過這樣的場景，當紅燈轉成綠燈的瞬間，等待過馬路的人群會如浪潮般向你湧來，而我佇立在那，去接受這種被置入浮水中的感覺，我確實可以將這種感覺提煉出某種概念並轉化成我的方式去表達」。隋丞作品中所表現的視覺組合形式，傳達出具有時代特徵的生活觀念, 形成了以簡潔的手法實現較為複雜觀念的表達, 此乃隋丞獨特的藝術方法之一。
The usage of simplistic symbols to express complicated ideas is a common characteristic of Professor Cheng Sui’s (Shenzhen University) printmaking works. His works from his “Metropolis and Swimmers” series, some of which are exhibited here, mixes modern and traditional symbols to create unique visual coordinations that speak of the zeitgeist of urban life. “Most people are very familiar with this sight in Hong Kong,” he explains, when asked about the imagery of swimmers in his works, “the sight of people rushing and swarming towards you on the street when the light turns from red to green. I once stood there and just let the crowds wash past me. It gave me the feeling of floating on water.”
何善影 Sing Ying Ho (陶藝)
Deputy chair and associate professor Sin-Ying Ho (Queens College, City University of New York) likewise combines the old and the new in her porcelain sculptures. In her works, Ho draws on decal techniques refined by Jingdezhen and also incorporates hand-painted symbols of popular culture to her seemingly traditional sculptures. Her works are therefore amalgamations, thoughtful and intriguing conversations between past and contemporary, between East and West, and between technology and traditional culture. They highlight issues of conflict in cultural identification and are products of collision between different cultures and life styles.