致幻 Ⅱ
都市景观与抽象艺术
上海明圆美术馆 主办
策展人 | 了了
出品人 | 李松坚 凌菲菲
参展艺术家
余友涵、查国钧、周长江、申凡、张健君、
沈忱、倪志琪、秦一峰、冯良鸿、燕飞翔
（以年龄为序）
开幕时间：2021年3月20日（周六）16:00
展览时间：2021年3月21日——5月30日
地点：上海明圆美术馆
（徐汇区复兴中路1199号A座5楼）
观众限制80人（免费）
诚邀您出席
抽象艺术诞生于上世纪初，彼时人类社会进入现代化并渗透到社会的各个领域。现代抽象艺术的奠基人康定斯基与彼埃·蒙德里安和马列维奇等人共同推动了抽象艺术的产生与发展；包豪斯的成立标志着现代设计教育的诞生，包豪斯风格成为了现代主义风格的代名词，一举影响了世界现代艺术与设计的发展。抽象艺术的诞生和包豪斯的创立无疑是具有里程碑意义的。对此我们不难发现抽象艺术与城市发展密不可分，包豪斯学院校长格罗皮乌斯与后来的密斯凡德罗与柯布西埃的建筑设计和城市规划更是证明如此。
上世纪后期，城市维度巨变，人类社会处处显示生机与活力，后现代艺术、抽象艺术更是成为世界艺术的主流。如果将城市看作为一个空间结构中的整体，从内部的规划管理到外在宽度与高度的物理形态风景，都与抽象艺术有着密切的关系。无论是鸟瞰式从全景观察，或是近距离以感性的角度认知城市，视点、视角的不同，导致看到与感知的城市景观也有着很大的不同。毫无疑问，抽象艺术得以呈现的如此丰富多彩，对表面的观察必将转换成对本质的认识。通过这个过程，才能进一步探讨城市与社会的本质，从而了解抽象艺术的核心。抽象艺术始于对形式的探索，而后发展至侧重情感表现，以致后来出现了极简艺术实践运动，极简主义和虚无主义等。将城市生活的碎片、多样、复杂与多变带来的感受转换到各类抽象艺术的创作之中，人类的感情与物质的实体间才有了联系，空间才成为抽象的背景，抽象艺术的意义才得以彰显。
疫情仍在持续，尤其是国外的情况更为糟糕。跨国间各行业的交流均已中断，致幻的情景在眼下似乎很难改变，焦虑压抑的情绪持续蔓延。前几日在网上流传着这样一张照片，图片的中心位置是一条血红的标语，上面刺眼的写着这么一行文字：“2021年的目标——活着。”在此也祈盼疫情早日结束。
_了了
余友涵 《抽象2019 6-5》 布面丙烯
Yu Youhan, Abstract 2019 6-5, Acrylic on Canvas
211x160cm 2019
在我的"圆”由黑白转为彩色的过程中，这是我对非绘画性的清理。我以画"圆"的笔触，尝试了十家形、×形、满幅乃至毫无规则的结构安排，我关心的是绘画语言本身的逻辑，而非"圆"带来的文化含义。_余友涵
The process of turning my "circle" from black and white to color is my clean up for non-painting. With the brush strokes of "circle", I tried “+” shape, “x” shape, full frame and even random structure arrangement. What I care about is the logic of the painting language itself, not the cultural meaning of "circle". _ Yu Youhan
查国钧 《混沌世界 2020 No.04》 综合材料Zha Guojun, Mistic World Series 2020 No.04, Mixed Media
查国钧的绘画过程显示了他将内心的主观现实和日常现实生活中的认知相互结合。他的创造思维、再现了他作为艺术家对往事的回忆，并通过巨大想象力而表现出来的体验过程，这些在他的艺术作品的变革上得到了体现。在他的教学中，查国钧教导他的学生将想象力贯穿与绘画中。正如他自己所言：“我不告诉学生什么是好的，什么是不好的，因为艺术是没有定格的。艺术是通过观察者的感受和被吸引的程度所体现其价值。_罗士琳·皮·尤顿
The painting process of Zha Guojun shows that he combines his inner subjective reality with the cognition in daily life. His creative thinking reproduced his memories of the past as an artist and the experience process expressed through his great imagination, which reflected in the transformation of his artworks. In his teaching, Zha Guojun taught his students to integrate imagination into painting. As he said, I don't tell students what is good and what is bad, because art is not fixed. Art reflects its value through the observer's feelings and the degree of attraction. _ RoslyeB Ultan
周长江 《间之性202012-20213》 布面丙烯Zhou Changjiang, Intermittent 202012-20213, Acrylic on Canvas
这两年对自我尽可能做减法，绘画也企图限定在一两个颜色中展开，清空残存的意念，意识跟着痕迹扑捉限制的自由，在形、色、空间的维度中缓迅走笔，专注使贫乏生有，心手经营中庆幸灵性的偶然降临，我画故我在吗？_周长江
In the past two years, I have subtracted myself as much as possible, and my paintings have also tried to develop in one or two limited colors, to clear out the remaining mind. The consciousness follows the traces to capture the restricted freedom and to move slowly in the dimensions of shape, color and space. Concentration makes poverty alive, and I am grateful for the accidental arrival of spirituality in the process of using my heart and hands. I paint, therefore I am? _ Zhou Changjiang
Shen Fan, Urban Landscape, Installation, Rose gold mirror stainless steel尺寸可变（20件）Variable size (20 pieces) 2013-2015
山和水，多年以来一直是申凡的创作试图去接近并不断地被反复解读的课题。对风景的关注在申凡后来的创作中慢慢转移到了对城市景观的关注，而霓虹灯的使用，逐渐成为了其作品的重要组成因素。而这个重要的象征同时也是艺术家的策略：消费一件作品的速度被灯光的运行速度所控制，观众必须接受“停顿”，或者反复回来再观看作品，而不是习以为常的一扫而过。_比利安娜·思瑞克
Foryears landscape has been a constant subject of SHEN Fan's art and he's beentrying to interpret it from a variety of perspectives. SHEN's focus on natural landscape gradually shifts to urban landscape and the use of neon light becomes a prominent element of his work. A strategy of the artist is hereby unveiled: the speed to consume a piece of artwork is regulated by the running of the light. Viewers have to accept "halts" from time to time. Sometimes they will also need to repeatedly go back to see the work, which is quite different from how we usually see artwork. _ Biljana Ciric
张健君 《拓雨》 水墨，油彩，丙烯，宣纸，画布
Zhang Jianjun, Rubbing Rain, Ink, oil, acrylic, rice paper, canvas
拓（rubbing），中国传统文化或古代文明中的一个特有的印记方式。我的作品“拓太阳”，“拓雨”在自然物理学范畴内的不可为，却可在美学意向的范畴呈现，形而上的心象与自然界物象以诗意的方式交汇而成幻象。_张建君
Rubbing is a unique way of imprinting in Chinese traditional culture or ancient civilization. My work Rubbing Sun and Rubbing Rain are indispensable in the realm of natural physics but can be presented in the realm of aesthetic intentions. The metaphysical mental image and the natural physical image merge into an illusion in a poetic way. _ Zhang Jianjun
沈忱 《作品-无题 11206-18》 画布, 丙烯Shen Chen, Untitled No.11206-18, Acrylic on Canvas
我主张作品的观念性。作品的制作过程和作品本身同样重要，过程是观念的阐述，呈现作品的性状和品质。笔触承载并表达精神和意念，单一笔触的不断重复，既为观念又是形式。单一走向极端，重复既满亦空。此时的肯定是对彼时的否定，终极对绘画传统的超越，直击艺术最原始的本质。_沈忱
I advocate the conceptuality of the work. The production process of the work is as important as the work itself. The process is the elaboration of concepts, presenting the nature and quality of the work. The brush strokes carry and express spirits and ideas, and the continuous repetition of the single stroke is both a concept and a form. Single goes to extremes, and repetition is both full and empty. The affirmation at this time is a denial of that time. The ultimate transcends the tradition of painting and directly hits the most primitive essence of art. _ Shen Chen
Ni Zhiqi, The Rose on the Wind, Mixed media
在倪志琪的作品中，被视觉表达的心态，渗透着他个人的美学趣味。欧洲那些浸润文化气息的老旧之物令他陶醉：中世纪教堂的墙砖、文艺复兴以来的旧书、巴洛克时期的残椅……他往往选取这些曾经风华正茂的往昔遗物的局部，用绘画的方式转化它们的形状，或者直接作为现成品组合到他的新作中。_杜曦云
The mind expressed visually in Ni Zhiqi's works permeates his personal aesthetic taste. He was intoxicated by the old European objects that infused with cultural atmosphere: the wall tiles of medieval churches, old books from the Renaissance, fragmented chairs of Baroque,etc. He often selects the components of these relics that were blooming in the past and transforms their shapes through painting or directly combining them as readymades into his new works. _ Du Xiyun
秦一峰 《2013_06_26 09：38 多云》 8x10英寸明胶银盐负片 自然光 Qin Yifeng, 2013_06_26 09：38 cloudy, 8x10inches silver-film. natural light.曝光19'30 exposure for 19'30
秦一峰的近距摄影方式，犹如是在扫描、拓印物理对象。他拍出来的影像没有景深、透视的空间感，也取消了观者日常化感知体验的光锥视角。事物表面实体化的反射光影和明暗关系被抹去，只剩下裸露的肌肤。秦一峰刻意为之的图像负片效果，让对象表面的结构、线条与纹理在“负像”存在中得以事无巨细地显化。_顾振清
Qin Yifeng's method of close-up photography is like scanning and rubbing the physical objects. The images taken by him do not have the sense of space from depth of field and perspective and also cancel the light cone perspective of the viewer's daily perception experience. The reflected light and shadow relationship that materialized on the surface of objects are erased, leaving only bare skin. Qin Yifeng's deliberate negative effect of the images allows the structure, lines and textures of the object's surface to be manifested in the presence of "negative". _ Gu Zhenqing
Feng Lianghong, Yellow 21-2, Acrylic on Canvas
绘画过程中捕捉”偶发”和”随机”，注重无意识的意外效果是我乐此不疲的，每一偶发的细节都可能产生某种能量，对我而言它是一种真实的存在；因此在绘画过程中我尽量不预设结果。一般情况下，刚开始时我不知道画面将出现什么，为了避免习惯思维的束缚，让画面形态自然组合自由生长，我探究”放空”的自动状态开始作画，然后再进入某种视觉的关系中做取舍调整。通常在过程中感受到的遗憾，可能是我下一次绘画的动力。_冯良鸿
In the process of painting, capturing "incidental" and "random", paying attention to unconscious unexpected effects is something I never tire of. Every incidental detail may generate some kinds of energy, which is a real existence for me; therefore, in the painting process I try not to pre-set the result. Normally, at the beginning, I didn’t know what would appear in the picture. In order to avoid the constraints of habitual thinking and allow the natural combination of picture forms to grow freely, I explored the automatic state of "empty" and started painting, and then entered a certain visual relationship. To make trade-off adjustments. The regret that I usually feel in the process may be the motivation for my next painting. _ Feng Lianghong
Yan Feixiang, 2010-P-09, Acrylic on Canvas
在一个图像化的时代，艺术家的创造无疑面临各种图像信息的尖锐挑战，在这样的条件下，只有真正沉入自己的内心世界，在那里坚守和探索，才能产生出属于自己的作品。这些年来，燕飞翔就十分专注地驻守在自己的精神家园里，不求闻达，也没有浮躁的情绪，所以当他的作品呈现在我们面前时，我们看到的是一个在精神上自足、在形式语言上又完全自立的图景。_范迪安
In an era of imagery, the creation of artists will undoubtedly face the sharp challenges of various image information. Under such conditions, only by truly sinking into their inner world, sticking to and exploring there, can they produce their own works. Over the years, Yan Feixiang has been stationed in his spiritual home with great concentration. He does not seek to hear and does not have impetuous emotions. Therefore, when his works are presented to us, we see a person who is spiritually self-sufficient and a completely self-reliant picture in formal language. _ Vandian
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