Beijing Abstract Keeping Quiet in a Noisy Neighbourhood

闹中取静的北京抽象

Vantage Shanghai - - CULTURALIST -

每年3月是香港最热闹的艺术季,全球最顶尖的画廊和机构铆足劲在这块寸土寸金的地方占上一席之地,将拿手好戏呈献给所有观众。在一周的视觉和身心轰炸之后,喧闹瞬间四散,人去楼空的安静却正好能够让人细看一个个展览。而说到安静,芳草地香港的《北京抽象》可能是最闹中取静的展览之一。

北京抽象是生活在北京的八位艺术家发起的艺术团体,包括毛栗子、马可鲁、马树青、袁佐、谭平、孟禄丁、冯良鸿和李迪。这些艺术家最初从事的都是具象艺术创作,后来转为抽象派,并成为过去30年的主要风格。“北京抽象”像是姗姗来迟的画派,时隔30年面世,没有宣言,亦没有约束,自成一种意识。

中国的抽象艺术不像西方抽象艺术,没有系统或者学术的定义,而我们称之为抽象的元素,大多指的是传统艺术中不可明言的部分。中国现代抽象直到20世纪才开始出现,初期林风眠、庞薰琹等艺术家留学法国,将表现主义带回中国,之后朱德群、赵无极等继续抽象绘画的探索,将中国美学的意境融入现代绘画,形成有东方韵味的抒情抽象。到1981年,杰克逊· 波洛克等美国

March is the busiest art season in Hong Kong, with the world's top galleries and institutions all trying to stake their place here by bringing their biggest and best shows to wow audiences. After a week of visual and physical impact, the noise is scattered, and the quiet of the empty space is just enough for people to look closely at each exhibition. When it comes to quiet, Parkview Art Hong Kong's Beijing Abstract exhibition is keeping a serene profile in the noisy neighbourhood.

Beijing Abstract is an art group initiated by eight artists living in Beijing - Mao Lizi, Ma Kelu, Ma Shuqing, Yuan Zuo, Tan Ping, Meng Luding, Feng Lianghong and Li Di. These artists originally engaged in representational art, later turning to abstract styles, which became the dominant discourse within Chinese art of the past 30 years. As such the sentiment within the ‘Beijing Abstract' exhibition is like a long-overdue style of painting: after three decades of maturation there is no declaration or constraint within the style, instead a unique kind of consciousness.

Abstract art in China is not like western abstract art; there is no ‘system' or academic definition. What we call abstract elements in Chinese art mostly refers to the unspoken parts of traditional art, with modern abstraction did not begin to appearing until the 20th century. In the beginning,

艺术家的作品在中国美术馆展出,西方现代艺术的冲击引起中国当代艺术探索抽象绘画的新潮。中国的抽象派艺术源自东方哲学与理念,亦在一段外部资讯非常有限的时期发展起来。展出的几位艺术家则摆脱了前人藩篱,各自发展出截然不同的艺术创作方向,却又经历过去三四十年中国的重大变迁,且旅居海外一段时间,形成独特的艺术语言,也凝聚出北京抽象这一独特的画派。

展览中有上世纪80年代创作的作品,例如毛栗子的《抽象》创作于1980年。而另一件他的作品《花非花》则创作于2017年,尽管两件作品的材质和方法各有不同,但其气质依然有相似之处,力图展现中国传统美学的意境。马克鲁在上世纪70年代就开始抽象探索,他追求风格多变,作品与自身的情绪紧密相关。中国社会的快速发展和他本人的经历,让他的作品面貌迥异。展出的三件作品分别创作于1985年、2010年和2017年,截然不同的风格就好像是他不同时期经历的印证。

谭平从上世纪 80 年代初开始抽象探索,最初让他着迷的是蚀刻版画偶然的抽象肌理,后来他试图用绘画来探索控制与偶然之间的张力。展览中的作品,都延续了他对复杂与单纯的关系的探索。谭平的作品最终呈现的是单纯的平面,但透过反复的覆盖,单纯的平面背后暗藏复杂的涌动。 Fengmian Lin, Xunqin Pang and other artists studied in France, bringing expressionism to China with them. Later, Chu Teh-chun and Zao Wou Ki continued the exploration of abstract painting, integrated the artistic conception of Chinese aesthetics into modern painting, and eventually formed a lyrical abstraction with oriental charm. By 1981, the works of American artists such as Jackson Pollock were exhibited at the National Art Museum of China. The impact of western modern art caused Chinese contemporary art to explore the abstract painting trend, eventually developing into a distinctive abstractionism with roots in eastern philosophy and ideas – all of which occurred during a period of very limited external information. Several of the artists whose works were on display were freed from the barriers that beset their predecessors, leading each to develope a very different creative direction. However, they also have experienced significant changes in China over the past 30 or 40 years. Some have been living abroad for some time, ultimately forming a unique artistic language that formulates the unique painting styles seen in ‘Beijing Abstract.'

The exhibition included works created in the 1980s, such as Mao Lizi's 1980 work Abstract. Another piece of Mao's, Floweriness, was created in 2017. Although the materials and methods of the two are different, their temperament still has similarities that show the artistic conception of Chinese traditional aesthetics. In the 1970s, another artist, Ma Kelu, started to pursue abstraction in a variety of styles, producing work closely related to his

孟禄丁 80 年代中期开始抽象探索,从一开始他就对运动着迷,这在他 80 年的作品中已见端倪。本次展出的《元速》创作于 2015 年。它们不是对速度的再现,而是作画速度的记录。孟禄丁力图将绘画还原为纯粹的视觉经验,他在探索一种生物学意义上的绘画,一种适合全球化时代的创作。

马树青力图将现代主义艺术观进行到底,一门心思建构自己的艺术世界。马树青的艺术世界,是由色彩的呼吸、气韵和光芒构成的。作品的结构不断软化、虚化,最终成为纯粹的色彩。空间软化成了时间的流淌,时间又氤氲出空间的深度。

不同艺术家的抽象作品形成一个强大却温和的气场。整个展览空间给予观众足够的空间呼吸,在喧闹的香港中环之中,疯狂的艺术周之后,留有一席冥想之地,细心观看作品的笔触和流动,体会见山是山,见水是水的境界。

personal emotions.

Tan Ping began abstract exploration in the early 1980s after dabbling with the occasional abstract texture of etchings. After this, he then reverted to painting as a means to understand the tension between control and chance. His works in three stages in the exhibition continued this exploration of complex and simple relationships.

Having been fascinated by sports since the his early years, Meng Luding's abstraction began to take shape in his work during the 1980s. In this exhibition, his piece Yuan Rate was created in 2015. They are not a representation of speed, but a record of the speed of painting. Meng Luding seeks to restore painting to pure visual experience.

Ma Shuqing, on the other hand, is modernist to the end, focusing on building his own art world composed of colorific breathiness, charm and light.

The combination of abstract works from different artists form a powerful but gentle aura, with the entire exhibition space giving the audience enough space to breathe. In the noisy Central of Hong Kong after the craziness of art week, there is a place for meditation, and you can carefully admire the works and feel the world inside the paintings.

左页起顺时针

CLOCKWISE FROM LEFT PAGE《再见江南》袁佐

Back to Jiangnan Yuan Zuo展览现场 Exhibition Site《啊打深紅》马可鲁

Ada in Crimson Ma Kelu《方凳研习》马树青Study of a Square Chair Ma Shuqing

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