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Christopher Pelley Comment: ​Wang Qing Xiang

[2015-9-1 8:49:30]

美国艺术家马赛克评:王庆祥:无相

 Christopher Pelley Comment: Wang Qing Xiang:WUXIANG


季雨译


无相是一个在西方不存在的概念。它天生就是中国的,尽管到现在还没有哪一个中国人能够给我解释清楚它到底是什么意思。和很多别的中国概念相似,它的根源无法逃脱地与书法有关,后来拓展到了更大的领域。它包含了留白和无的概念。这是个悖论,一个东西怎么能既是有又是无?

Wu Xiang is a concept that has no equivalent in the West.  It is innately Chinese, though no Chineseperson has ever been able to clearly define its meaning for me.  Like many Chinese concepts, it appears tohave had its origins inextricably linked to calligraphy, and then grown to takeon broader meanings. It encompasses the idea of the space between things andthe idea of nothingness.  It is aparadox.  How can something be somethingand be nothing?


第二次世界大战之后在美国发展起来的抽象表现主义一直是重要的艺术表现形式之一。但是它的起源来自好几代人之前的弗洛伊德、卡尔·荣格和欧洲超现实主义。在这里,无意识的绘画动作直接与潜意识连接起来,跨过了具象的图形所作为的中介。王庆祥极具动态的新画和装置作品恰恰是根植于这个传统。他的作品延伸在地面和墙上,我们感受到了一种巴斯奇亚式高压的能量和卢齐欧·封塔纳的形式主义。

AbstractExpressionism developed in post WWII America and remains a major form ofexpression.  Its origins, though, laygenerations earlier with Freud, Carl Jung and European surrealism.  Here, the spontaneous act of paintingconnects directly with the unconscious mind without the intermediate need ofrecognizable imagery. Wang Qing Xiang’s dynamic new paintings and installations are firmly rooted in thistradition.  Spread out on the floors andwalls of his gallery exhibition we feel the high voltage energy of Basquiat andthe formalism of Luca Fontana.


《无题1

《无题1》是一个三联油画紧紧地挂在人眼的高度,它的同伴《无题2》被略微分开,置于地板上靠着墙。能量在这两幅画之间来回震荡。白色的色块在黑色的背景上平衡着,在交替的面板上滴落的油彩标识着从北向南方向的改变,像是失去控制的指南针。油彩的液滴和泼溅在这里达到了自发性与控制的完美平衡。它们线条的形式在固定于画布上自然状态的存在物的白色的条形中达到顶点。这个自然状态的存在物来自于王庆祥夏天在工作室里使用的风扇的罩子。我们很快就认识到了没有什么是他不能融入到自己的作品中去的。有一些线条并不是用油彩画出来的,而是用电线、铁丝、绳子和它们带来的影子制成。

“WUTI 1” is a three panel painting hung tightly at eye level and its companionpiece, “WU TI 2”, is set slightly apart on the floor, leaning against thewall.  The energy vibrates between thetwo paintings.  Blocks of white balance onblack, the drip marks shifting direction from north to south in alternatingpanels like some compass gone haywire. The drips and splash marks strike aperfect balance between spontaneity and control, their linear forms culminatingin the white lines of a found object affixed to the canvas.  This found object is the blade guard from asmall fan in Qing Xian’s hot summer studio. One quickly notices that no object within his reach was safe frombecoming incorporated into his paintings. Some lines are not drawn with paint but are actually bits of wire,electrical cords and string with their accompanying shadows.


《无题
2

这种自发性与控制力的结合继续跨过地面上一个未命名的多面装置。这个装置杂乱地蔓延过12米长的白色画布。15幅画散落在地面上,有一些面朝上,有一些面朝下。再一次,绳索、铁丝和它们的阴影与画面上的线条相辉映,象征性地将不同的单元结合在一起。大家都没能想到能够从这个视觉的不和谐看到一种抒情诗的特质。在这里有一种在混乱之上的秩序,也有一种在冷白色和特别小主要是灰色和黑色面板之间的优雅。《无题7》(展览上的所以作品都有相同的名字)是一个被严重砍坏了的油画框。被扯坏的纤维边缘被拉出来并被粗暴地缝上。但是像童谣里的矮胖子一样再也没办法重新拼回去了。在这个豁口后面是一张纸,上面被戳着有节奏的洞。那个画布、缝口、有洞的纸的破边和部分可见的木质支架,这些都通过它们的影子相互作用和结合,它们短暂的虚无描述了它们之间的空间。

Thesense of spontaneity and control continues across the floor with an untitledmulti-panel installation sprawling across 12 meters of pristine whitecanvas.  15 small paintings are strewnupon the ground, some face up, some face down. Here again string and wire with their complimenting shadows echo thelinear marks of the paintings, figuratively tying the separate unitstogether.  There is a lyricism that onewould not expect to find in this visual cacophony.  There is a sense of imposed order on thechaos, and a sense of elegance between the cool white and the frenetic smallpredominately gray and black panels.  “WUTI 7” (all the pieces in this exhibition share the same title) is a violentlyslashed canvas.  The edges of the tornfabric are pulled and aggressively stitched, but like Humpty Dumpty couldn’t beput back together again. Behind the still gaping wound is paper, holesrhythmically punched in it.  The canvas,the string stitching, the ragged edges of the punched paper and the partiallyvisible wooden support all interact and interconnect via the shadows they cast,their transient nothingness describing the space in between.


观看王庆祥的新作品,我们能够看见情感和行动之间的空间。这个空间既是短暂的存在,又是一个在无和有之间的真实和美。

ViewingWang Qing Xiang’s new works, we are witness to that space between feelings andactions, that space which is momentary and fleeting and which is both nothingand something very real and beautiful.

马赛克 Christopher Pelley

Beijing 2015


《无题
7


无题3 150x1500cm  现场装置 1  2015年

无题3 150x1500cm 现场装置2  2015年


无题4  70x90cm  综合材料  2015年


无题5  60x90cm  综合材料  2015年


无题6  160x300cm  综合材料  2015年


无题8   150x400cm  综合材料   2015年


无题9   90x90cm   综合材料  2015年


无题10  120x160cm   综合材料  2015年


无题11 100x120cm   综合材料   2015年


无题12  100x130cm   综合材料  2015年


无题13  30x40cm  综合材料   2015年


无题14  70x90cm   综合材料  2015年


无题15 70x90cm    综合材料   2015年


无题16  100x130cm   综合材料  2015年


无题18 100x120cm   综合材料   2015年


无题19   100x120cm  综合材料   2015年


无题20  70x90cm   综合材料  2015年


无题21 70x90cm   综合材料   2015年

展览现场


王庆祥
1986年出生在哈尔滨

2010年毕业于哈尔滨师范大学美术学院
2014年支教于内蒙古
毕业后一直生活工作在北京,现居中国宋庄
中国意象油画研究会会员
2015年上苑艺术馆驻馆艺术家

2015    参加北京上苑国际艺术馆驻馆艺术家亮相展
2015    参加上苑国际艺术馆驻馆集体活动 “从上苑到鸟巢”。
2015    参加怀柔区艺术联盟会


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上苑 & 鸟巢-文学艺术国际联盟(简称:国际文盟)

International Network of Literature and ArtINLA

电话: 010-60635299 60635757

Website: http://www.inlac.cc/

http://www.syartmuseum.com/

交通指南□北京东直门916路、942路到怀柔,转杯柔-沙峪口(上苑艺术馆) 
□京承高速12出口 > 右拐过水渠西行2KM > 良善庄路口北行到底>右拐300m路北


鸟巢文化中心建筑面积约为15,000平方米,是鸟巢建筑空间的重要组成部分。文化中心依托国家体育场•鸟巢自身的建筑特色、强烈的奥运色彩及独特的品牌文化,充分发挥鸟巢“窗口”和“平台”的自身优势,填补鸟巢作为一个露天体育场馆缺少高端文化交流和会议会展设施的空白。

Bird’s Nest Cultural Center has 15,000 square meters’ construction area. It is an important component of the architectural space of Bird’s Nest. The cultural center, based upon the architectural characters of the National Stadium/Bird’s Nest, strong Olympic spirit and unique brand culture, is now completing the role as a high end facility for cultural events and conferences which Bird’s Nest lacks as an outdoor sport stadium.


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