- 发布时间：2019-11-30 11:32
- 发布时间：2019-11-30 11:32
地点：武汉市洪山区野芷湖西路 16 号
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
《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.
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.
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.
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.
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.”
“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)
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)）
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)
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).
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)
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
墨 宣纸 纸背白梗绢边装裱立轴 900cm×274.5cm
伪篆书临摹本式 遗失的王朝系列 a 1-50
墨 宣纸 纸本装裱 61cm×91cm(每一份均相同尺寸）
联合国 — 人间
联合国 — 千禧年的巴比伦塔