千高原艺术空间携刘传宏、师进滇等艺术家作品参展亚洲画廊艺术博览会

千高原艺术空间
携刘传宏、师进滇等艺术家作品参展亚洲画廊艺术博览会
A Thousand Plateaus Art Space participates in Art Asia Shanghai with works of Liu Chuanhong and Shi Jindian

展 位 号：3C，二楼 / 三号展厅
Booth No.: 3C, F2/ Hall 3

展览地址：龙美术馆西岸馆（上海市徐汇区龙腾大道3398号）
Venue: Long Museum West Bund, No.3398, Longteng Avenue, Shanghai
预览时间：6月5日（星期四）15:00-18:00（请柬）
Preview: Jun. 5th (Thursday), 15:00-18:00 (invited)

开幕时间：6月5日（星期四）18:00-21:00（请柬）
Opening Hours: Jun. 5th (Thursday), 18:00-21:00 (invited)

展览时间：6月6日（星期五）11:00-18:00
Exhibition Hours: Jun. 6th (Friday), 11:00-18:00
6月7日（星期六）11:00-18:00 Jun. 7th (Saturday), 11:00-18:00
6月8日（星期日）11:00-17:00 Jun. 8th (Sunday), 11:00-17:00

艺 术 家：刘传宏、师进滇 Artists: Liu Chuanhong, Shi Jindian
作品媒介：绘画、雕塑 Media: Painting, Sculpture
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千高原艺术空间荣幸受邀，携刘传宏、师进滇等艺术家作品参展2014亚洲画廊艺术博览会（Art Asia Shanghai 2014）。
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亚洲画廊艺术博览会于2014年6月5日至8日在上海市徐汇区龙美术馆（西岸馆）举办。艺博会由中华人民共和国文化部主办，上海市文化广播影视管理局、上海艺博会国际展览有限公司协办，上海东采西略文化发展有限公司承办，旨在搭建亚洲文化艺术交流的桥梁与平台，打造中国顶级当代艺术博览会。
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A Thousand Plateaus Art Space is pleased to be invited to present works of artists Liu Chuanhong and Shi Jindian at the first edition of Art Asia Shanghai 2014.

Art Asia Shanghai 2014 will be open at Long Museum West Bund, Xuhui District from 5th to 8th June, 2014. This fair is hosted by The Ministry of Culture of the People’s Republic of China and co-hosted by The Bureau of Administration of Culture, Broadcasting, Film and Television of Shanghai, and Shanghai Art Fair International Exhibition Co., Ltd. Art Asia Shanghai aims at building up a bridge and platform of exchange through culture and art with a goal to be a top-quality contemporary art fair in China.
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刘传宏，皖南记事，第二幕第三场，繁阳2，布面油画，43×85cm，2012-2014
Liu Chuanhong, Memoir in Southern Anhui, Act Two, Scene Three, Fanyang 2, Oil on Canvas, 43×85cm, 2012-2014
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刘传宏的参展作品为近两年创作的新作《皖南纪事》的其中两组。《皖南记事》由三十八幅油画和一百余幅日记、地图、攻击计划图等构成的十四组作品组成。艺术家杜撰了“刘先生”，以及他于1941年至1943年期间在皖南沦陷区的旅行。
“刘先生”是一个具有“知识分子”和“匪首”双重特性的边缘人，一个无政府主义者。他从对依附于日本政权的中国乡村维持会和富商的攻击行动中获取钱财，在旅行和田野考察中寻求内心的安静。这组作品重温了刘传宏少年时对独行侠客生活的幻想。

刘传宏（1975年出生于吉林省长春市，现工作生活于北京、长春和河南林县）更象一个与当代生活隔绝的行吟诗人。在2002-2005年间，他执拗地远离都市生活，选择在山林里绘画和写作。在其隐居山林的几年，山中风景和生活成为他创作的题材。与目前普遍以急功近利心态创作的作品相比，刘传宏的作品透着纯真的“天然性”和“真实性”，站在远观的角度考虑和思考生活，使他有着一份镇定和放松的情怀，外部世界的众多表象在他眼中转化为精准的内心风景。这种风景与地域生活有关、与自身体验有关。正如哲学家休谟所说：事物本身并无美的特性，美只存在于我们对事物进行观照的思想中。这也正是其作品的意义所在。
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刘传宏，皖南记事，第二幕第四场，铜陵6，布面油画，43×98cm，2012-2014
Liu Chuanhong, Memoir in Southern Anhui, Act Two, Scene Four, Tongling 6, Oil on Canvas, 43×98cm, 2012-2014

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Liu Chuanhong’s presented works are two groups of his recent works Memoir in Southern Anhui. Memoir in Southern Anhui consists of 38 oil paintings and 14 groups of works including over 100 diaries, maps and attack plans. The artist fabricated “Mr. Liu” and his journey into the enemy-occupied area in Southern Anhui from 1941 to 1943.
“Mr. Liu” is a very marginal person with the characteristics of both “intellectuals” and “mobsters”. He got money from the attacks on China’s vigilance committee and rich merchants, and found the peace of mind from his journey and field study. It makes Liu Chuanhong revive his boyhood fantasies about lone rangers.
Liu Chuanhong (b. 1975, Changchun City, Jilin Province, currently living and working in Beijing, Changchun and Linxian County, Henan) is like a troubadour who is separated from contemporary life. From 2002 to 2005, he pertinaciously kept away from the urbanism, choosing to paint and write in the mountain. During his hermit years, the landscape and life in the mountain became his subject matter. Different from the current commonly mentality of quick success, Liu Chuanhong’s works appear the pure “natural” and “authenticity”. He gets the calm and relax feelings from thinking about life by reading life from a distance, numerous presentations transfer into pertinacious inner landscape, which is related to regional life and experience. As Philosopher Hume said: thing itself has no character of beauty, beauty only exists in our thought of viewing the thing. It is exactly the meaning of the works.

师进滇, 拨弦波尔卡, 装置, 不锈钢丝着色 、木炭, 210cm×66cm×45cm, 2014
Shi Jindian, Pizzicato Polka, Installation, Coloured Stainless Steel, Charcoal, 210cm×66cm×45cm, 2014

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师进滇参展作品《拨弦波尔卡》是根据奥地利著名作曲家约翰•施特劳斯 （Johann Strauss）的作品《拨弦波尔卡》创作的。师进滇将一个完整的低音大提琴里面所有零件先行拆解，然后用不锈钢丝将这些拆解的部件分别包裹，再行组装，然后烧毁。琴声是欢快而优美的，但烧毁之后的作品却呈现出反象——不锈钢丝包裹的琴里留下的木碳呈现出破坏和消亡….艺术家以他独特的方式表达了对稍纵即逝的美的个人感受。除却独特的审美内涵，作品繁复漫长的制作过程和瞬间的燃烧焚毁，并通过燃烧彻底改变原有的物质性，完成一种置换，亦强调了某种生命时间的记录。

艺术家师进滇（1953年出生于云南，现工作生活于成都）是个举重若轻，具有东方美学追求的艺术家。不锈钢丝编织构成了师进滇作品的基本艺术语言。他的雕塑清透、空灵，材料的运用简洁纯净，形成一种轻薄、朴素的视觉景象，如同千万道流经他生命的血脉构成了反复多元的视觉奇观。那些看似轻盈的线条中蕴含着深沉的诗意，如同回到万物最初的源头寻求事物本心的追寻，在空灵中充满了禅意。交错重叠的线条畅游于多维的空间中，寻找内心的宁静。当今纷乱浮躁的城市生活中，往往产生出躁动不安的艺术，而在喧嚣的环境中师进滇的内心却越来越倾向于平静。他的作品轻薄而稳定，幽静中有生命渐渐幻灭的寂寥，犹如时间的萧然逝去。在记忆的恍然易逝中，感知艺术最初带给我们的快乐本真状态。

师进滇的创作过程又是一种近乎中国禅修似的冷静而漫长的劳作过程，这种类似农业文明时代的漫长的手工劳作完全是对被他拆解的工业制造物的反动。对于师进滇而言，这一切的初衷可能只是渴求对传统雕塑语言的改变，但在文化层面看来，这是一个剖析文化符码的有效的实践方式。

师进滇的艺术创作经历了从传统雕塑到现代艺术转变的过程，这种转变让我们看到一个具有持续创造力的艺术家的“有机知识分子”特质。也正是因为这种持续的创造成果，使师进滇成为今天中国现当代艺术领域独具特色和价值的艺术家之一，备受业界重视。他的作品也被中国、美国、欧洲、澳大利亚和韩国的一些美术馆、机构和个人所收藏。
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Shi Jindian’s presented work Pizzicato Polka is based on the work of the same name composed by Johann Strauss, the famous Austrian composer. Shi Jindian dissects the whole cello then wraps them up, and constructs them with steel wire and burns them up. The music from the cello is cheerful and lively but this work conveys contrary meaning after its burning. With the presentation of deconstruction and dissipation, the remaining charcoal in the cello reflects of the fleeting beauty. Apart from the feelings for space, Shi Jindian puts much emphasis on some uncertain documentation of time. A fresh experience can be obtained through utterly transforming and changing the original quality of object by the way of burning it.

The artist Shi Jindian (b. 1953, Yunnan Province, currently living and working in Chengdu) is a composed artist with a pursuit of eastern aesthetics. Coloured Stainless Steel is Shi Jindian’s basic artistic means. His sculptures are clear and empty, his use of materials is concise and pure, to form a transparent and plain visual amenity. It’s just like the visual legendary which is formed of thousands of streams flowing through his life. Those seemingly light streams bear deep poetry, as if back to the root for the true intention, vacant, but full of buddhist mood. The staggered lines wonder among the multidimensional spaces, to find the peace of inner world. In today’s troublous and impulsive urban life, there are always restless artworks emerged, however, Shi Jindian’s inner world is tending to calming down. His works are transparent and stable, with a kind of loneliness on the gradually disillusioned life, as time pass by. Although memory waits for no man, let’s feel the happy real state art initially brings us.

The creative process for Shi Jindian is a quiet and long laboring-like experience which almost echoes with the Chinese Buddhist practice. The endless manual work is like the agricultural civilization, totally contradicting the industrialized manufactures he has dismantled. For Shi Jindian, the original intention is merely for a change of traditional sculpture’s language. However, on the cultural level, this is an effective practice of analyzing cultural symbols.

Concerning the process of artworks, Shi Jindian has experienced changes from traditional sculpture to modern art. This change makes us realize his characteristics as an “organic intellectual” who has potential capacity for persistent creation. Just because of the results of the continued innovation, Shi Jindian has become one of the most unique and valuable artists of Chinese contemporary art field in nowadays, attracting much attention in professional respect. His works are collected by museums, organizations and individuals in China, America, Europe, Australia and Korea.