1918艺术空间4月春天展讯

　　“Extreme games”

　　An exhibition of experimental images in contemporary art

　　实验图像作品展

　　Dates : April 5 to 29

　　展览时间：2008.4.5　–　2008.4.29

　　Location : WAREHOUSE Changping road n. 78 Shanghai

　　地址：上海市昌平路７８号

　　参展艺术家：高世强，裘世明，殷俊敏，郑端祥，周雷

　　Featuring: ZHENG Duanxiang, GAO Shiqiang, QIU Shimin, YIN　Junmin, ZHOU Lei

　　本次展览所谓的“极限运动”，并非指对于那些人类肉体上的高危运动所作的影像纪录，而是对摄影技术层面可能性的一种探索。

　　众所周知，摄影是一门光的艺术，摄影的物理本质即感光而留下影像。那么，如何曝光之于摄影就等同于笔墨之于绘画。

　　这里的所呈现的一组艺术家大多选择了慢速曝光这种技术手段，即在夜晚或封闭、黑暗的环境中，将照相机开至B门，并人为地使用手电筒等简单照明设备，对所摄对象进行运动的、反复的、长时间的扫射，并让照相机长时间处于感光状态，最长者可长达三小时之多，因此创作出了效果诡异的影像。

　　“ West lake ” YUAN Jinhua paper works exhibition

　　西湖－袁进华纸上作品展

　　Dates : April 5 to 20

　　展览时间：2008.4.5　–　2008.4.20

　　Location : WAREHOUSE Changping road n. 78 Shanghai

　　地址：上海市昌平路７８号

　　Yuan presents the calmness of nature (mountains, rivers, waterfalls etc.) in a series of works inspired by its beauty and mystery. On Chinese rice paper, he associates the traditional technique of ink with acrylic, giving his small-scale works (45x45cm) a strength coming from the ancestral of modern techniques and theme. Giving the viewer a feeling of eternal beauty and peace.

　　圆的解码 – 西湖边系列作品

　　When comparing the boundaries of a circular and rectangular shape of the same perimeters, the circle will appear to have a larger acreage. Although this judgment comes from our sensory organs going against factual science, it still has validity.

　　These are principles shared in painting and photography. A circular composition gives the impression of an object in motion while reducing the scale of the image to the human eye. This misconception has established the predominance of the circular in romantic motifs, such as the round mirror in a mistress’ bedroom

　　传播中的方圆之战正酣，曾经我们以将方头方脑的大本图书插满橱架而感欣慰，今天却更多的依靠飞转的光盘和硬盘，来储存和转贴我们不能缺少的见识。

　　The battle between the rectangular and circular continues to this day. Once a time, we filled our bookshelf with rectangular books to satisfy our appetite for information. Nowadays, we have come to rely on the CD and High definition screens to deposit and transfer the knowledge we need.

　　袁进华博士即将展出的３０件圆形小品，是他近期所从事的一系列水墨创作的提炼与纪要，其中有风景，有人物，也有更为直接的抽象试验。

　　Recent engagements of the artist contain 30 circular pieces. This exhibition contains a series of abstract documentary ink works.

　　“八五新潮”呼啸大江南北之时，袁进华在浙江美术学院国画系人物专业读本科，那一代大学生贯注于外域文化的热情，或者说，现代艺术观念带给他们思维方法的影响，即使拿更开放的今日与之相较，依然在深度上是力有未逮的。这个背景是解读浙派当代水墨的一把钥匙。

　　When the “1985 new art wave” raised an art upsurge all over China, Yuan Jinhua was studying as an undergraduate in traditional Chinese painting. Academics of that generation were concentrated in foreign culture; these concepts of modern art had a strong influence on their progression. As a result, the past can no longer compare with these extensive influences in current standards. Understanding these series of events is paramount in comprehending the state of contemporary ink and wash paintings.

　　所以我无法使用单一语词结构来定义他的风格。

　　Therefore, I cannot define his artistic style using words.

　　他的线条和水墨，往往在表现叙事功能的时候，显得冷静近乎冷漠，而脱离了情节负担，纯作勾勒与渲染时，却又显示了高超的瞬间感觉，张弛有度，收放自如。

　　In his use of line and ink, the narrative function brings calmness on the verge of indifference, releasing the burden of plot. When used as an outline for romance, it reveals a superior and instantaneous feeling. The subject is flexible in opening, closing, expanding and contracting.

　　与世界上所有运动一样，绘画显示了物质在不同时空间的相对移动。比如，我们通过毛笔将砚台里的墨汁搬运并安置到宣纸之上，搬运与安置能力的强弱，取决于作者的意匠和控制。很多人观画讲究笔笔中锋，或许有一种仪仗队走正步的秩序感在后面驱动，但生活不会成天都是正步，美人有凌波微步，文豪有闲庭信步，合适的场合需要合适的表情，艺术也一样。

　　墨子说:“圜,一中同长也。”(《墨经上》)画面的中心到四周的均等机会，使得圆构图适合从任意一隅起笔，也可以从更自由的角度观看，似乎从作者与受众两方面，实践了“具平等相”的大乘教义。

　　Mo-tse said "circular and linear at the same time." (“MoJing”) There are equalizations of opportunities from around the screen to the center of the circular. A round shape can be from any corner of the composition as well as from the perspective of a conceptual view. The practice of equality is for both the author and audience. (Mahayana teachings)

　　但是展览依然要把圆形FE作品安置方框之中，这也许暗示了：起码在当下，绘画自觉依然处于图象习惯的有力掌握之中。

　　However, the exhibition is still working to resettle the circular box. Suggesting at least for the present, painting is still conscious in the habit of powerful hands.