图集 | 图像的缝隙：邢彦超个展

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图集 | 图像的缝隙：邢彦超个展

2019-05-28 来源：时尚新闻网责任编辑：晓月点击:次

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5月26日下午三点，一〇一艺术空间“图像的缝隙”邢彦超个展隆重开幕。来自全国各地的艺术家、策展人、收藏家、企业家、设计师等多个行业和领域的百余位知名人士共同参加开幕仪式。

“图像的缝隙”集中呈现了艺术家邢彦超近两年的创作作品，邢彦超出身于山东艺术学院油画专业，后在中央美术学院研读壁画。积淀于专业艺术院校的功底和学识为他在艺术技术层面的发展奠定了厚实基础，但他似乎并不愿意满足于此，近期创作尤其是2017至2019年之间的新作，没有桎梏于单一绘画材料，而是采用水墨综合材料来呈现，并在“失焦”的图像中确立自己的表达方式，这便是邢彦超个展《图像的缝隙》生成的契机。

策展人李书天说：“彦超依旧保持着坚守艺术创作的初心，且执拗的前行着；在如此社会中，这一点对自我艺术的执拗甚至已成为令很多人艳羡的幸福。”

展览将持续至6月20日。

EXHIBITION SITE

展览现场

PREFACE

前言

文/李书天

Yanchao did not come to Henan for a long time, his eyes under myopic lenses seemed to shine wisely all the time. I met Yanchao under the introduction of my friend and slowly became familiar with him and his works.

彦超兄来河南不久，近视镜片下的眼睛似乎一直散发着睿智的光芒；在友人的介绍下认识，才慢慢的熟悉了彦超和他的作品。

Through the Deconstructing and reconstruction of classical images, Yanchao's works construct their own unique language features. There are some elusive metaphors in his works, and I was fascinated the first time I saw the electronic versions of these works. I was so fond and curious about the special temperament in Yanchao's works that as soon as I heard that he had a new work, I urged him to let me have a look at it.

彦超的作品通过对经典图像的解构与再造，构建了自我独特的语言特征。作品中有一些难以捉摸的隐喻在内，第一次见到这批作品的电子版时便深深的吸引着我。因为喜欢和好奇着彦超作品中的特殊气质，以至于听说到他一有新作就催着他让我一睹为快。

After knowing each other for a long time, the chat between me and brother Yanchao was no longer formal. After a deep chat with brother Yanchao, I found that his knowledge and cognition were very extensive. When I talked with him for a few hours, there was no feeling of tiredness.

认识久了一些，我与彦超兄之间的聊天也不再拘谨。与彦超兄深聊后发现他的知识面与认知竟是十分广博，每次天南海北的聊几个小时却没有一丝累的感觉。

Yanchao always creates at home. On several occasions when we ate near his house, he said the house was so messy that he was sorry to show me around. Once Yanchao sent me WeChat, I roughly saw what his home looked like in the video: on the wall, on the table, the ground was full of works and creative tools, a little messy, but I thought it was good. On second thought, creation has filled up all the time outside of his basic working life.

彦超兄基本在家中创作，几次在彦超家附近吃饭，他都说家中实在太乱，不好意思带我去参观。一次彦超给我发微信才从视频中大概看到他家里的样子，墙上、桌子上、地上堆满了作品和创作工具，高低错落略有杂乱，我却觉得煞是好看。细一想，创作已经占满了彦超基本工作生活外的所有时间。

“All things delightful are gratifying enough t please people. If it is not enough to change a people, it would be better book and painting.”Yanchao still adheres to the original heart of artistic creation, and stubbornly moves forward. In such a material society, this stubbornness to self-art has even become the envy of the happiness that many people envy.

“凡物之可喜，足以悦人。而不足以移人者，莫若书与画。”彦超兄依旧保持着坚守艺术创作的初心，且执拗的前行着；在如此社会中，这一点对自我艺术的执拗甚至已成为令很多人艳羡的幸福。

EXHIBITION WORKS

展览作品

Announce Image报晓图NO.11

Ink On Paper纸本水墨

52×36cm

2017

Co-bath Group Painting Sequence Nine: Dialogue

共浴组画序列九：对话

Ink On Paper纸本水墨

200×160cm

2016

Co-bath Group Painting Sequence Six

共浴组画序列六

Ink On Paper纸本水墨综合材料

54×180cm

2015

Guanhutun关虎屯

Ink On Paper纸本水墨

30×40cm

2019

Fruit果实

Ink On Paper纸本水墨

30×40cm

2019

Fantasy Image

幻戏图

Ink On Paper纸本水墨综合材料

148×60cm

2018

Forbidden Fruit禁忌的果实

Ink On Paper纸本水墨

30×40cm

2019

Recitation朗诵

Ink On Paper纸本水墨

166×207cm

2016

Let The Mother Be A Mother

让母亲成为母亲

Ink On Paper纸本水墨

30×40cm

2019

Life And Growth生生

Ink On Paper纸本水墨

30×40cm

2019

Icon圣象

Ink On Paper纸本水墨

30×40cm

2019

The Origin Of The World

世界的起源

Ink On Paper纸本水墨综合材料

66×160cm

2017

Whether the rabbit is not important, the solution does not explain does not matter

是不是兔子不重要，解不解释无所谓

Ink On Paper纸本水墨综合材料

135×154cm

2018

Great Stone

伟大的石头

Ink On Paper纸本水墨

30×40cm

2019

The Star of Wisdom文曲星

Ink On Paper纸本水墨

30×40cm

2019

The Starry Sky星空

Ink On Paper纸本水墨

30×40cm

2019

A Good Chess

一招好棋

Ink On Paper纸本水墨综合材料

145×135cm

2018

Barrier Method障眼法

Ink On Paper纸本水墨

30×40cm

2019

Executive Portrait

执掌者肖像

Ink On Paper纸本水墨

82×192cm

2016

Exhibition Comment

展评

Zhang Qibin（Doctor of Fine Arts）

张启彬（美术学博士）

Beuy's behavioral art directly points to two aspects of the development of contemporary art. One is that art no longer depends on objective objects but becomes a tool for tracing the real world, just as after the birth of photography, the reproduction and recording function of artificial image is greatly weakened. On the other hand, the idealization of artistic images is becoming more and more developed, from Marcel Duchamp's Dada concept of <urinal> to Andy Warhol's pop thinking, which provides a new way for the generation of artistic images by subverting and reshaping realistic scenes and images. Like the word "Unfocused" in the photography technology, art creation pulls away from a kind of objective world, which might becomes another dimension of view with its significant. "Unfocused" in reality life with the classic image, the artist Xing Yanchao has discovered new possibilities from his "unfocused" situation, which has embodied the image structure reconstruction and metaphor world construction in his ink painting art.

博伊斯的艺术表达直指现当代艺术发展的两个方面，一是艺术不再依附客观外物而成为描摹现实世界的一种工具，正如摄影术诞生之后，人工制作图像的再现与记录功能被大大弱化；另一方面，艺术图像的观念化愈加发展，从马塞尔·杜尚《小便池》的达达观念，到安迪·沃霍尔的波普思维，对现实场景及图像的颠覆与再塑造为艺术图像的生成提供了新路径。如同摄影技术中的“失焦”一样，艺术创作抽离出某种客观世界的模样，或许也是另一种维度的审视，并且有其自身的意义。“失焦”于现实生活与经典图像，艺术家邢彦超正从他所“聚焦”情境中发现了新的可能，于此践行了他水墨绘画艺术中的图像结构再造与隐喻世界构建。