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墙报报道|《艺术》谷文达回顾展

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  • 发布时间:2019-11-30 11:32

【概要描述】

墙报报道|《艺术》谷文达回顾展

【概要描述】

  • 分类:展览
  • 作者:
  • 来源:
  • 发布时间:2019-11-30 11:32
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《艺术》谷文达回顾展
出品人:黄立平
主办:合美术馆
地点:武汉市洪山区野芷湖西路 16 号
策展人:布莱恩·肯尼迪 鲁虹
学术主持:沈语冰
支持:peabody essex museum
开幕式:2019 年 12 月 15 日下午 4 点 30 分
展期:2019 年 12 月 15 日 - 2020 年 5 月 15 日
art: a retrospective of gu wenda
producer: huang liping
organizer: united art museum
address:#16, west yezhihu rd., hongshan district, wuhan city
curator: brian kennedy, lu hong
host: shen yubing
supporter: peabody essex museum
opening: 2019.12.15 16:30
exhibition dates: 2019.12.15 – 2020.05.15
 
 
 
 
 
 
 
【展览信息】
 
 
《艺术》谷文达回顾展将于武汉合美术馆展壹贰叁层柒个展厅近叁仟平米,及馆外广场同时展出,展览由美国皮博迪埃·塞克斯博物馆馆长 brain kennedy 及合美术馆执行馆长鲁虹联合策划。届时 brian kennedy 也会在开幕式期间发表演讲。
 
 
art: a retrospective of gu wenda will be exhibited in seven exhibition halls on the first, second and third floors of united art museum in wuhan, covering nearly 3,000 square meters and the square outside the museum. the exhibition is co-curated by brain kennedy, rose-marie and eijk von otterloo director and ceo of peabody essex museum, and lu hong, executive director of united art museum. brian kennedy will also give a speech at the opening ceremony.
 
 
此次《艺术》谷文达回顾展囊括了谷文达从上世纪捌拾年代至今不同时期最具代表性的艺术作品,以《艺术的故事》文献资料的线索为引导,艺术家叁拾贰年在中国,叁拾贰年在纽约和西方,以数个主题概括了艺术家肆拾年在肆拾国的艺术旅程。
 
 
《艺术的故事》分为:壹,奠基与建立当代水墨艺术和书写艺术;贰,语言和翻译-从碑林到《简词典》;叁,生物时代之谜-【生之谜】到【联合国】;肆,大众当代艺术日-从【天堂红灯】到【青绿山水画的故事】。观众将会透过展出的作品了解谷文达从捌拾年至今的艺术实践及演变。
 
 
the exhibition‘ art: a retrospective of gu wenda’includes the most representative works of gu wenda from the 1980s to the present. It is guided by the clue of the document literature a story of art. the artist spent 32 years in china and 32 years in new york and western countries, and the artistic journey of the artist in forty years in forty countries is summarized with several themes. a story of art is divided into four parts, first, the foundation and establishment of contemporary ink art and calligraphy art; second, language and translation -- from forest of stone steles to dictionary of simplified phrase; third, the enigma of the biological age - from enigma of birth to united nations. forth, public contemporary art day series - from heavenly lanterns to a story of qinglu shanshui.visitors will learn about gu wenda's artistic practice and evolution during this period.
 
 
本次展览主题“《艺术》谷文达回顾展”,很大程度上展现谷文达在面临国际文化相互渗透之势,利用作品雄心勃勃地探讨艺术与当代社会,经济和文化着重于全球主义关系与问题,谷氏艺术具有卓越的时代性,正像所有重要的艺术作品一样在具有现实意义的同时预卜未来。
 
 
the theme of the exhibition art: a retrospective of gu wenda, which shows gu wenda's artworks in the face of the trend of interpenetration of international culture, and explores the relationship and issues between art and contemporary society, economy and culture with an ambitious focus on globalism. gu's art is of great epochal character, just like all important works of art, it anticipates the future with realistic significance.
 
 
【关于艺术家】
 
 
 
 
谷文达 1955 年生于上海,生活和工作在纽约和上海两地。1981 年谷文达毕业于浙江美术学院国画研究生班,获文学硕士学位;1981 年至 1987 年,任教于浙江美术学院国画系;1987年,获加拿大国家外国访问艺术家奖,并移居纽约;1999 年 3 月,凭借作品【联合国】成为首次登上《美国艺术》杂志 art in america 封面的华人。 2015 年在新加坡获得 Prudential 亚洲艺术家终身成就奖。
 
 
Gu Wenda was born in Shanghai in 1955. He is living and working in both New York and Shanghai currently. In 1981, he received his M.F.A. from China Academy of Arts where he taught the traditional Chinese painting from 1981 to 1987. In 1987, he received the award of the Canada council for visiting foreign artists and moved to the United States. In 1999, Gu Wenda’s art project United Nations covered the March issue of Art in America that made him become the first Chinese to receive the honor. In 2015, he received the life time achievement award for asian contemporary art, prudential eye awards, in Singapore.
 
 
高名潞在他的著作《中国当代美术史(1985-1986)》写道:“在八五美术运动中,只有谷文达作为个体艺术家能与众多群体抗衡。”(高名潞,《中国当代美术史 (1985-1986)》,上海人民出版社,1991)
 
 
Gao Minglu wrote in his book Contemporary Chinese Art History (1985-1986), “In the ‘85 New Wave Movement, Gu Wenda was the only individual artist who was capable of contending with the many groups.”
 
 
“85 艺术复兴那当儿,大有山雨欲来风满楼和黑云压城城欲摧之势。国画死了,艺术死了。但我看到了,她是壹次历史性机遇,所谓凤凰涅槃,浴火重生。”(谷文达,《全主义艺术哲学手稿》)
 
 
“During the art revival of ‘85, it showed the urgent situation of “the wind sweeping through the tower heralds a rising storm in the mountains and the city might crumble under the mass of dark clouds.” (Tang Poetry) The traditional painting was dead, so did art. From what I saw, it was a historical opportunity of what is called the phoenix nirvana would reborn from the fire.”(Gu Wenda,Artwholism Philosophical Manuscript)
 
 
“谷文达在中国当代艺术史中的地位是由他的两项国内工作成就奠定的:对母语文化和西方文化全方位的批判立场和持续性的艺术实验,而对中国母语文化的批判性重建是其工作的出发点和核心内容。在他众多的艺术课题中,‘水墨问题’是他关注时间最长、涉及范围最广和实验方式最深入的艺术实验项目,它构成了我们对谷文达进行思想史和艺术史研究的基础,它与他的另外两项重大实验成果:【联合国】和【唐诗后著】碑林四系也有着学术上的互文关系。
 
 
作为当代实验水墨的奠基者,谷文达的水墨实验主要围绕‘文字图像’、‘文化语词’和‘生物材料’三项观念课题展开,涉及到哲学、文化学、语言学、生物学和艺术史等广泛的问题领域。”(黄专,《水墨炼金术-谷文达的实验水墨》,岭南美术出版社出版 ,2010(收录何香凝美术馆和 OCT 当代艺术中心谷文达水墨艺术三十年回顾展内容))
 
 
“The status of Gu Wenda in the contemporary Chinese art history was established on his two domestic work achievements: the all-around critical stance to native language culture and western culture and persistent art experiments. And his critical reconstruction to native Chinese culture is the starting point and core content of his work. In his many art projects, “Ink issue” is the art experimental project that he spent the most time, covered the widest scope and experimented the deepest. It consists of the basic of our research on his in both intellectual history and art history. It has intertextual relationships with his other two important experimental results: United Nations and Forest of Stone Steles--A Retranslation and Rewriting of Tang Poetry. As the establisher of contemporary experimental ink painting, Gu Wenda’s ink experiments are mainly about three concept subjects“character images” “cultural words” “biological materials” referring to philosophy,cultural studies, linguistics, biology, art history and other wide fields.”(Huang Zhuan, Ink Alchemy: The Experimental Ink of Gu Wenda, Lingnan Art Publication, 2010(Cataloge of Gu Wenda 30-year Ink Painting retrospective exhibition in He Xiangning Art Museum and OCT Contemporary Art Terminal))
 
 
《纽约时报》当代艺术首席专栏作家萝伯特·丝蜜斯认为﹕“谷文达已加入有争议的艺术家的行列。其艺术被广泛地责问是否仍然是艺术但却得到了艺术界的支持。”(萝伯特·丝蜜斯,《艺术回顾》,《纽约时报》, 1996-01-19)
 
 
Roberta Smith, the chief columnist on contemporary art of The New York Time, claims “Wanda Gu…seems to be joining the list of artists whose work is attacked by a larger public questioning its status as art and defended by fervent art worlders who ignore its obvious weakness in the face of any opposition.”(Roberta Smith,Art in Review, The New York Times, Jan.19, 1996)
 
 
英国著名美术史家爱德华·史密斯在他的《二十世纪视觉艺术史》中评论道:“从一方面来讲,谷文达极具野心的作品上承欧洲浪漫主义文化和十八、十九世纪的现代主义;另一方面,谷氏的艺术又正象他自己所述‘迅速成长的地域主义和欧美之外的文化’将深刻的分歧张力具体化了,并代表了九十年代各种各样的艺术表现和潮流。”(爱德华·路希·史密斯,二十世纪视觉艺术史,普林帝斯霍尔出版社,纽约,1997)
 
 
The famous English art historian Edward Lucie-Smith wrote in his book Visual Arts in the Twentieth Century that “In one sense, Wenda Gus project, with its all-embracing ambition, relates to European Romanticism--to ideas inherited by the Modernists from the culture of the late eighteenth and early nineteenth centuries. In another sense, it is linked, as he himself points out, “to growing self awareness of regionalism and otherness.” It thus typifies the tensions and deep divisions to be foundin the most characteristic artistic expressions of the early 1990s.”(Edward Lucie-Smith, Visual Arts in the Twentieth Century, Harry N. Abrams and Prentice Hall, New York,1997)
 
 
爱德华·史密斯进而评述到﹕“...谷文达是中国改革开放以来最著名的前卫艺术家之一...也是国际知名艺术家。从许多方面来看﹐他已成为我们时代的文化艺术的重要人物。” (展览Esplanade 新加坡开幕画册,2002)
 
 
Edward Lucie-Smith further commented that “Wenda gu is the most celebrated of a new generation of avant-garde artists who emerged from china in the very late 1980s and in the 1990s, as a result of the “open door” policy that succeeded the chauvinism of the cultural revolution...he has made himself into a fully international figure. in more senses than one, he is a key figure in the culture of our time.” (catalogue of the grand opening of the esplanade in Singapore, 2002).
 
 
马丽莲·丝塔克斯达德和大卫·奥瑞利在其合著的重要艺术教科书《艺术史》的谷文达词条中写到:“谷文达的作品雄心勃勃地探讨艺术与当代社会,经济和文化着重于全球主义关系与问题,谷氏艺术具有卓越的时代性,正象所有重要的艺术作品一样在具有现实意义的同时预卜未来。
 
 
对于艺术家来说,最根本的问题是通过历史去拓宽人类认知的界限,情感,思想和表达人性中最深刻的向往以及最有力量的理想。’伟大的人类大同世界的乌托邦也许永远不可能在我们的现实中实现’谷氏认可到,‘但她将在艺术中得以圆满’”。(《艺术史》(第二版),马丽莲·丝塔克斯达德和大卫·奥瑞利,第 29 章节:1945 年后的国际前卫艺术,培生出版社,伦敦-纽约,2002)
 
 
Marilyn Stokstad and David Cateforis wrote about Gu Wenda in their important art text book Art History, “In its ambitious attempt to address in artistic terms the issue of globalism that dominates discussions of contemporary economics, society, and culture, Gu’s work is remarkably timely. Yet, like all important art, it is meant to speak not only to the present but also to the future, which will recognize it as part of the fundamental quest of artists throughout history to extend the boundaries of human perception, feeling, and thought and to express humanity’s deepest wishes and most powerful dreams. A “great utopia of the unification of mankind probably can never exist in our reality,” admits Gu, “but it is going to be fully realized in the art world.”(Marilyn Stokstad and David Cateforis, Art History (second edition), Chapter 29‘International Avant-garde Art since 1945’,Pearson, LondonNew York,2002)
 
 
“谷文达不是单纯的技术型、感觉型和情感型的艺术家,也不是自我表现、自我抒情、自我叙事的艺术家。而是一个思想型、智慧型、精神型的艺术家。谷文达从当上中国美院陆俨少的研究生开始,便进入了艺术创作状态,一直到现在有了长达 40 年的时间。他在上个世纪八十年代,就有预谋地把他的整个创作活动都大致规划、设计好了。(陈孝信,《陈孝信:他主动选择了艺术史 ——在谷文达研讨会上 的发言》,2017-03-13)
 
 
“it’s hard to define him. gu wenda cannot be simply described as technically- proficient, emotionalor sentimental. Neither can he be labeled as artist noted for self-representation, self-expression or self arration. he is an artist with vision, insight and experimental spirit. gu wenda has entered the state of artistic creation 40 years until now since he became a graduate student of lu yanshao of china academy of art. in the 1980s, he planned and designed his entire creative activities in a premeditated way.”(chen xiaoxin: he chose art history on his own initiative -speech at gu wenda seminar, 2017-03-13)
 
 
 
【部分作品】
 
 
 
无声演讲  水墨行为艺术 
1985于中国杭州浙江美术学院谷文达工作室 
感谢摄影矫健
 
 
 
 
 
 
静观的世界   遗失的王朝  /#1太朴世界/#2文字的构成/#3文字的综合/#4文字的解构/#5复合的文字
1984于中国杭州浙江美术学院谷文达工作室
墨 宣纸 纸背白梗绢边装裱立轴  900cm×274.5cm
感谢西安艺术家画廊  1986
 
 
 
伪篆书临摹本式 遗失的王朝系列 a 1-50
1983-1986 于中国杭州浙江美术学院谷文达工作室
墨 宣纸 纸本装裱 61cm×91cm(每一份均相同尺寸) 
感谢香港艺术中心  1993
 
 
 
联合国 — 人间
1999-2000于纽约
各国混合人发制全世界国旗幕墙
500cm×1350cm×1100cm
感谢萨奇美术馆  2014
 
 
 
联合国 — 千禧年的巴比伦塔
1998-1999于纽约工作室
伪汉字,英语,印度语和阿拉伯语的发墙构成。
2287cm×直径1037cm
感谢旧金山现代艺术博物馆 2013
 
 
 
【联系方式】
 
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