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苏新平——万物是凝固的

展览时间: 2019年12月15日(周日) - 2020年2月12日(周三) 展览地点: 现代艺术厅

前言

展览试图研究80年代苏新平先生绘画中的空间和色彩关系,因为只有黑白灰,空间被简约的图像占据。柱体在画面中一直存在着,如同人类文明的象征。而牧者、白马、鹰飞之空间的张力,如果被还原成空间化的沉浸式体验。观看从观者凝视的姿态,转为画中人。我很想去体会80年代强烈阳光下的草原,牧民生活的浪漫自由,人与自然亲近无隔膜。这些被置于空间中的,对精神和想象力的抽象,应在苏新平先生宁静自省的姿态中,灰度和空间感应,恰好与画面的感受一致。

贝聿铭先生设计的苏州博物馆,外在看类似仿古建筑,使用了苏州民居的传统风格,内里却是现代建筑的简约内敛,保留一个传统的草亭。苏州博物馆完成于2006年,考虑到艺术展览的需求,设计了一个可以做展览的空间,空间构置与其他空间一致,光感和遮挡,伴随着展览增减。2006年蔡国强创作的火药亭子,与贝聿铭先生藏在一隅的草亭,呼应着传统和现在。层层叠叠的山,中心的一汪池塘,连接着草亭和现代展厅的空间景,与天地接。

空间上的联系,是从苏新平先生80年代的创作到现在的,也是对整个建筑关于灰度、简约的回应。希望从画面的空间里,扩展出的明暗关系,进而去思考时代和人,是苏新平先生80年代的独白,也是同一文化血脉下,与仙去的贝聿铭先生在空间上的对话。

如果你能体会80年代文学的美,也就不难理解苏新平先生绘画的纯粹。你看到的和能感知到的共情,也会在。

 

 

Preface

 

The exhibition attempts to study the relationships between space and color in Su Xinping’s paintings from the 1980s. Because there is only black, white, and grey, the spaces are occupied by concise imagery. Pillars are always present in the images, like symbols of human civilization. If the spatial tension between herders, white horses, and eagles are returned to a spatial, immersive experience, viewers shift from being onlookers to being people in the painting. I really wanted to experience the 1980s plains under the intense sunlight, the romantic freedom of herding life, and the unobstructed intimacy between man and nature. These elements are the abstraction of the spirit and imagination, situated in the space. In Su Xinping’s calm and introspective attitude, the response to greyscale and space are consistent with the emotion in the works.

 

From the outside, the Suzhou Museum, designed by I. M. Pei, looks like a cluster of old-style buildings, referencing traditional residences in Suzhou. However, the interiors are simple and restrained, complete with a traditional thatched pavilion. The Suzhou Museum was completed in 2006, including a space designed with art exhibitions in mind. This space is arranged in a similar fashion to the museum’s other spaces, and the light and shade fluctuate with the exhibitions. The gunpowder pavilion that Cai Guoqiang created in 2006 and the thatched pavilion that I. M. Pei placed in a corner reflect the echo between the traditional and the present. Layered mountains and a pool in the center are connected to the spatial settings of the thatched pavilion and modern exhibition galleries, linking heaven and earth.

 

Spatial relationships are Su Xinping’s response to the greyscale and simplicity of the entire building, but they have also permeated his work since the 1980s. He hoped to, from the relationships between light and dark in the spaces in his paintings, further consider man and their times. It is a 1980s monologue by Su Xinping, but it is also a spatial dialogue with the late I. M. Pei in the same cultural context.

 

If you can appreciate the beauty of 1980s literature, it’s not difficult to understand the purity of Su Xinping’s painting. What you see and the empathy you feel are both present.

 

Curator: Li Zhenhua

excerpt from Li Zhenhua:“Su Xinping”

 


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