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“吴建楠:Collisions”艺术家个展于纽约时代画廊正式开幕

  青年艺术家吴建楠个展「COLLISIONS」于2020年11月24日在纽约时代画廊(TIME ARTS GALLERY)开幕。本次展览由美国艺术家、策展人、纽约艺术学院(New York Academy of Art)院长彼得·德瑞克(Peter Drake)担任策展人,中国《收藏》杂志社社长、总编杨敏担任学术支持,展出了艺术家近两年创作的13件以中国东北乡村日常生活场景为主题的彩色具象浮雕系列作品。

  吴建楠,美国国家雕塑协会会员,美国奖章雕塑协会会员,海外华人艺术家协会理事,世界经济论坛全球杰出青年大连社区委员,目前任教于纽约艺术学院。1990年出生于辽宁省大连市,2014年获得中国美术学院雕塑系艺术学士学位,2016年获得纽约艺术学院雕塑系艺术硕士学位。他的作品多以现实主义和叙事性的手法,通过浮雕和半浮雕的形式来展现当代城市生活的主题。

Country Love:Big Show,2020,树脂,木,LED灯,7×9×3英寸

  在展出的作品中,吴建楠以雕塑语言描绘当代中国乡村的“人”与“物”,多角度地展现了中国东北地区的乡村文化,尤其是上世纪九十年代以来在外来流行文化与本土传统风俗碰撞下逐渐产生的新变化和新社会关系,以及由此引发的东北人民关于本地性及身份认同的焦虑。

Country Love:Gang War,2020,树脂,木,金属,14×14×5英寸

  吴建楠出生并成长于东北,从小浸染于东北特色文化,尤其受到小品、影视作品等艺术表演形式的影响。在本系列作品中,吴建楠将众多东北题材影视剧中的经典角色融入其中,描绘出一个个鲜活的日常生活场景,蕴藏着东北人共有的集体记忆。藉由叙事性的雕塑手法,吴建楠将故事场景的某个正在进行的片断凝固化,同时植入相应的情趣和思考,以幽默戏虐的手法和现实主义的风格传达出东北乡村文化所蕴含的生活趣味和生命力,展现了东北人民的生活热情、“黑土情怀”和“乡土情结”,凸显出这种生活形态背后的美学价值及文化价值,表达了雕塑家对于人性美好的坚信和热爱。

Untitled,2020,树脂,木,16×15×3.5英寸

  作品以小尺寸浮雕的形式呈现,由树脂和木材制作,并使用丙烯上色。部分作品内部有LED灯光投射,以增强戏剧性和雕塑感。黑色的木框如图像一样装裱,既是作品呈现的途径和工具,同时也做为场景的一部分,引导并限制着观者的视野,仿佛从他者的眼中看世界,也是“记忆”的一种象征。

Country Love:Classmate Reunion,2020,树脂,木,9×9×3英寸

Country Love:On My Way,2020,树脂,木,金属,10×11×2.5英寸

  吴建楠于2019年被授予加拿大伊丽莎白·格林希尔茨基金会大奖,2017年被美国国家雕塑协会授予Dexter Jones大奖,2016年被授予美国Compleat Sculptor奖项。2020年入选由洛杉矶邮报评选的全美华人“30 Under 30”榜单。他的雕塑作品被中国《雕塑杂志》评为2019年最佳原创作品。

  近年个展包括:《Reliefs》,西诺丁汉学院,马里兰,美国(2020);《Metroland》,纽约第一银行画廊,纽约,美国(2018)。重要群展包括:《Apocalypse Now》,Poulsen画廊,哥本哈根,丹麦(2020);《2020 Vision》,南安普顿艺术中心,南安普顿,美国(2020);《第十三届全国美术作品展览》,重庆当代美术馆,重庆,中国(2019);《Cross-Cultural Practice》,纽约城市大学理工学院,纽约,美国(2019);《Phantasmagoria》,纽约艺术学院,纽约,美国(2019);《Take Home A Nude》,苏富比拍卖中心,纽约,美国(2018);《Emerging》,纽约Elizabeth艺术基金会,纽约,美国(2018);《纽约心境—2018中美艺术展》,未知空间画廊,大连,中国(2018);《Summer Exhibition》,Flower 画廊,纽约,美国(2018);《Season Opening》,Accesso画廊,彼得拉桑塔,意大利(2018);《New Youth 中美青年艺术家展》,纽约大都会展览馆,纽约,美国(2018);《超然象外—2018中美艺术展》,北京成蹊当代艺术中心,北京,中国(2018);《Take Home A Nude》,苏富比拍卖中心,纽约,美国(2017);《Single Fare 4》,Highline Stages,纽约,美国(2017);《Materials Matters》,Accesso画廊,彼得拉桑塔,意大利(2017);《Season Opening》,Accesso画廊,彼得拉桑塔,意大利(2017);《WAVELENGTH II》,The Hole 画廊,纽约,美国(2017);《Graduates 2016》,Poulsen 画廊,哥本哈根,丹麦(2016);《Tenth Annual Summer Exhibition》,Flower 画廊,纽约,美国(2016)。

Country Love:I’m Telling You...,2019,树脂,木,LED灯,8×6×2.5英寸

Country Love:Afternoon,2019,树脂,木,7×5×2.75英寸

Country Love:Village Governor,2019,树脂,木,LED灯,5×7×2.75英寸

Collisions

—彼得·德瑞克

艺术家、策展人、纽约艺术学院院长

  幻觉绘画、素描和雕塑对技术和概念都有着严苛的要求。熟练掌握其中任何一项已是相当难得,而同时掌握这些技能则几乎是超凡的表现。这是对浅浮雕这种艺术形式的恰当描述,而吴建楠就是谙熟这一极具挑战性艺术媒介的杰出的当代艺术家。他令人惊叹的微型浮雕小品,通过空气透视、单点透视和两点透视, 展现了中国东北乡村生活中亲密又有些许平庸的小故事。

  取材于中国电视剧《乡村爱情》,每一件作品都描绘了一个延展的叙事片段,并通过几个主要角色的反复出现相联系。这并不是说它们是这部剧集的插画,而是说这部剧已经成为了这位艺术家的一种原型,一种重新将他和自己的乡村记忆联系起来的方式。吴建楠在纽约艺术学院学习了两年,在此期间和之后的几年里,他的乡愁通过观看一部中国版的《绿色的田野》得到了几近于诙谐式的满足。尽管这些作品没有以荧屏高宽比呈现,但立体相框式的呈现让人感觉就像在看电视一般。

  无论是共享家庭晚餐,还是在乡间小路上骑行,作品的框架形式营造出身临其境的幻觉。这在一定程度上得益于吴所使用的材料营造出了一种更深层次的空间感。它们都以丙烯颜料彩饰,最强烈的颜色被使用在最接近的前景。树脂经常被用来表现光亮的水面,而软陶土则使他所塑造的人物容光焕发。

  在作品《Country Love:That’s All Your Fault》中,一位老人正在家人面前斥责一名年轻人,旁观的两个女人和一个孩子都在避免眼神接触,仿佛对他的羞愧感同身受。地板上有一个制作精美的保温瓶,完美地提示了这个家庭所代表的工人阶级氛围。

Country Love:That’s All Your Fault,2019,树脂,木,LED灯,6×8×2.75英寸

  小镇上的琐碎口角是作品《Country Love: My Daughter Will Not Marry Your Son》的主题。两个男人——其中一个怪异地站在水里——正在互相争论,似乎他们生活中的地位有很大不同,但实际上他们来自同一个阶级。光是看着他们你就能猜到,他们的不和可以追溯到几十年前,或许是因为一个被撞坏的挡泥板或者一头倔强的母牛。

Country Love: My Daughter Will Not Marry Your Son,2020,树脂,木,LED灯,6×8×2.5英寸

  在作品《Country Love: Village Beauty》的前景中,一名女子似乎在给另一名女子拍照,但真正的情节是远处背景中一群男人的斗殴。故事中的“美人”只是勉强称得上漂亮,但给她拍照的年长女性有着一位骄傲的母亲的兴奋面容。男人们是在为这个美女打架吗?女人是否已经习惯了男人们为这些小事争斗?这些都是在所有小镇上都发生过的生命叙事。

Country Love:Village Beauty,2020,树脂,木,9×7×3英寸

  在作品《Trilogy III》中,我们看到两个想成为潮人的人在尽职尽责地自拍。他们穿着在大城市里会沦为笑柄的过时服装,在中国小镇上却让他们看起来像“黑帮成员”。在透明的酸黄色水道的映衬下,他们的自拍杆被高高举起,就像一个荒谬的奖杯。他们的穿着和周围的环境形成了鲜明的对比,辛酸,滑稽,却也充盈着人性之光。

Trilogy Ⅲ,2020,树脂,木,金属, 8×10×3.7英寸

  最后一件完成的作品是一场全面混战。《Country Love: Gang War》以圆形浮雕的形式创作,我们可以看到七个人参与了一场几乎无法被圆形框架限制住的混战。腿乱踢,胳膊到处挥舞,身体像纸风车一样旋转。这件作品似乎是一出小镇歌剧的高潮,它(无疑)会让所有人精疲力竭,疲惫不堪,甚至互相嘲笑。而他们明天不得不继续与他们的邻居打交道,也许这就是他们应该要吸取的教训。当推搡演变成了群架,他们也就变得难分难解。

  吴建楠看待这些故事时就像在照镜子。他的雕塑从不贬损他的人物,只是剥开层层遮盖,穿透他们的生活之墙。这些人就像和他成长过程中认识的人一样,他们热情、风趣、小气而为人熟知。他们的生活中并没有特别戏剧性的事情发生,然而他们的生活本身就是一出戏剧。

Collisions

—Peter Drake

Artist, Curator

Provost at the New York Academy of Art

Illusionistic painting, drawing and sculpture is technically and conceptually demanding. It is rare to master any of these skills, but it’s almost superhuman to master all of them at once. This is an apt description of bas relief, and Jiannan Wu who is an incomparable contemporary master of this challenging medium. His stunning miniature bas relief vignettes employ atmospheric, one-point and two-point perspective to reveal the intimate, and to a degree, the banal mini-narratives of rural life in northeast China.

Based on the Chinese television show “Country Love”, each vignette represents a slice of an extended narrative that is linked through the repeating appearances of several main characters. This isn’t to say that they are illustrations of the show, but rather that the show has become a touchstone for the artist and a way to reconnect him to his own rural past. Wu studied at the New York Academy of Art for two years and during that time and in the years since, he experienced a longing for home that was almost comically satisfied by watching a kind of Chinese “Green Acres”. And even though the pieces are not presented in aspect ratio, the shadow-box presentation feels like watching television.

Whether sharing a family dinner or riding a bicycle on a country lane, the framed format creates the illusion of being there. This is in part due to the materials Wu uses to create a deeper sense of space. They are all poly-chromed with acrylic paint with the most intense colors used in the immediate foreground. Resin is frequently used to represent luminous water, and the use of the polymer-clay Sculpy, makes the flesh of his characters glow.

In “Country Love: That’s All Your Fault” an older man is berating a younger man in front of his family. The two women and the one child watching are avoiding eye contact as if feeling his shame for him. There is a beautifully rendered thermos on the floor that perfectly speaks to the working-class environment that the family home represents.

Small-town petty squabbles are the subject of “Country Love: My Daughter Will Not Marry Your Son”. Two men, one oddly standing in water, are arguing with each other as if their stations in life were dramatically different, when in fact they come from the same class. You know, just from looking at them, that their feud goes back decades and could have been the result of a dinged fender or a wayward cow.

One woman appears to be photographing another in the foreground of “Country Love: Village Beauty”, but the real action is the fistfight happening between a group of men in the distant background. The “beauty” of the narrative is just barely a beauty, but the older woman shooting her has the gleeful face of a proud mother. Are the men fighting over the beauty? Are the women used to men fighting over minor grievances? These are the life-blood narratives of all small towns.

In “Trilogy III” we find two wanna-be hipsters dutifully shooting a selfie. They are dressed in out-of-date clothing that would make them a laughing-stock in a big city, but makes them look something like a “gangsta” in small-town China. They are beautifully set off against a transparent acid-yellow waterway with their selfie-stick held high like a preposterous trophy. There is something poignant, comical and ultimately human about the sharp contrast of their wardrobes and their environment.

The final piece to be completed is an all-out melee. Created in a tondo form, Country Love: “Gang War”, we find seven figures engaged in a donnybrook that is barely contained by the circular format. Legs are kicking, arms are flailing and whole bodies are spinning like a pinwheel. This piece appears to be the crescendo of a small-town opera that will leave everyone, (no doubt), exhausted, depleted and maybe even laughing at each other. They will have to deal with their neighbors tomorrow and maybe that’s the lesson to be learned. When push comes to shove, they are stuck with each other.

Wu looks at these narratives like he’s looking into a mirror. His sculptures never demean his subjects, he just peels back the layers and sees through the walls of their lives. These are people like the people he grew up with, they are warm, funny, petty and well-known. Nothing too dramatic happens in their lives and yet, their lives are full of drama.

COLLISIONS

艺术家 | Artist:吴建楠 Jiannan Wu 

策展人 | Curator:皮特·德瑞克 Peter Drake

学术支持 |Academic Support:杨敏 Min Yang

画廊 | Gallery:纽约时代 TIME ARTS

开幕 | Opening:2020.11.24 6-8pm

时间 | Dates:2020.11.24-12.18

地址:178 Bleecker Street 2nd floor New York, NY 10012

预约参观:请发邮件至newyork@timeartsus.com

纽约Time Arts

178 Bleecker Street 2nd floor New York, NY 10012

NewYork@timeartsus.com

www.timeartsus.com

  时代艺术(Time Arts )2017年成立于纽约,作为国际间艺术品领域的参与者,其设立的画廊旨在包容呈现独特 思维与创意的多功能艺术空间,致力于探索多元文化背景下艺术创作的影响力,携手具有世界公民意识的艺术家 参与全球艺术的发展进程。

Established in 2017, as a participant of international artistic community, Time Arts is a multi- functional space built uniquely to accommodate creativity and imagination. Time Arts which bases in New York is dedicated to artistic creation, residencies, exhibitions, and community exchanges. Time Arts is committed to exploring the influence of artistic creation under the multicultural background and developing the progress if global art together with artists.

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