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刘銧銧个展“暴风雨来临”|妙有艺术

发表时间:2020-10-30 22:37作者:admin


2020年10月31日,刘銧銧个展“暴风雨来临”于妙有艺术开幕。本次展览是刘銧銧与妙有艺术的首次合作,由青年策展人冯兮策划。本次展览将持续至2020年11月30日。

On October 31, 2020, Liu Guangguang's solo exhibition "The storm is coming" opened in MOUart. The exhibition was planned by the young curator Feng Xi, which was the first cooperation between Liu Guangguang and MOUart. The exhibition will run until November 30, 2020.



不赀之躯 1/A body that cannot be valued by assets 1

布面油画/Oil on canvas

50X45cm

2020


我乐衷于在画面中营造色彩对比强烈的繁复重叠,其质感与这个时代多维的“色彩”有关,色彩是能点醒灰暗掩盖的自我意识的工具。假设黑暗被一道光亮指明了方向,色彩则是创造世界的方法之一。

经典与流行,在时代面前都失去了它应有的位置。我想我能做且能保持的,只是随着意识,从流飘荡,任意东西。

I prefer to create a strong contrast of colors in the picture, whose texture is related to the multi-dimensional "color" of this era. Color is a tool to wake up the dark self - consciousness. Assuming that darkness is directed by a light, color is one of the ways to create worlds.

Classics and popularity have lost their rightful place in the face of The Times. I think all I can do and keep is just float along with consciousness from the stream anything.

刘銧銧 Liu Guangguang



被掩埋的自尊/Buried self

布面油画/Oil on canvas

100x130cm

2020


“暴风雨来临”是继“燃烧殆尽的梦”后,艺术家刘銧銧在2020年呈现的第二次个展,在“燃烧殆尽的梦”展出的大部分是疫情前完成的作品,展览中设置了一段类似公路电影般的情景,在这条走不到终点的路上,充斥着人与欲望之间纠缠不清的关系,当不断遭到本能欲望和现实压力的吞噬时,开始了怀疑时代,怀疑自己,怀疑价值存在的意义。两个展览题目的文本衔接,似乎预示着暴风雨正在浇灭曾经燃烧殆尽的梦,人在度过集体事件后,延续着什么?改变了什么?是否即将面对的生活才是山雨欲来风满楼?经历了疫情中长期的居家生活,多了亲情的陪伴和对即将打开的生活的期待,回归正常生活后,世界已经混杂并弥漫着更多的未知性,好像疾病治疗中伴随而来的各种并发症,疫情本身更像一段小说的引言,而“后疫情时代”所引发的全球性政治、经济、环境等诸多问题,才是纪实文学关于现实的描写。作为无助的个体,作品中包裹着刘銧銧对于未来不确定的感觉,在明快的色彩下隐含着阴郁的情绪,压抑的戏剧化场景与人物设计,预示着将进入了一场“暴风雨来临”前的临界点,在前戏般的雨点中升腾着迷惘,人们失去了躲避的方向。



捕获黄金雨/Catching golden rain

布面油画/Oil on canvas

200x150cm

2020


展览分成了两条并行的线索,以“暴风雨来临”的“雨中即景”作为主线结构,平行展出了六张“不赀之躯”系列的躯干肖像。“暴风雨来临”的前奏,从作品“捕获黄金雨”和“越位”设计组成的前厅小空间开始。“捕获黄金雨”中的捕雨者贪婪的获取天空中的黄金雨滴,而手中紧握着捞鱼的抄网,似乎预示着竹篮打水一场空的结局。身侧两个拟人化的枕头充满了愤怒的表情,陪伴着不眠不休的欲望。一只表情漠然的和平鸽成为了旁观者,安静的观察着追逐欲望到努力后落空的过程。作品“越位”是通过一场雨中足球回应现实的寓言,在即将得分的一瞬间,球员满脸茫然地被定格在了抬脚射门的动作,“越位”的哨音使球队的配合变得徒劳无功,如同每次付出的努力都可能面对不明原因的否决,“资本方”随时的决议将浪费掉为之准备的身体和时间,面对每一次的无功而返,你将意识到命运并不在自己的手中。两张作品拼合出追逐欲望过程和不断落空的现实,作为展览开始的引言,将“暴风雨来临”前压抑的状态变成两个运行中的动作,并与上一个展览中的观点产生了上下文的互动关系。在主空间中呈现了“泪和雨”和“暴风雨来临”两张沉浸于雨中的绘画,作品“泪和雨”由三个不同国家、肤色和种族的人物组成,他们几乎相同的穿着拉平了各自的身份,每个人面无表情的站立,却姿态亲密的相拥在雨中,脸上的泪水混合着雨水向身下流逝,在明快艳丽的色彩背后,有种阴郁的压抑感隐约存在,暗暗的不可名状。“暴风雨来临”是展览中的尺寸最大的核心作品,巨大的英文STORM参照好莱坞山的形式设计成图像的背景,与空中的阴云密布一起,预示着暴风雨将至的前兆,停滞路中的汽车里,司机眼神木然地坐在座位望向远方,车外的两个人物愤怒的站在车的两侧,好像黑帮车队遇袭后的紧张气氛,C位的黄衬衣青年手中握着方向盘,看似掌控着一切,却因零件分离的状态,使每个人失去了雨中的方向,和雨后不受控制的未来。



越位/Offside

布面油画/Oil on canvas

100x80cm

2020


同时,展厅中设计了一组“不赀之躯”系列绘画,刘銧銧用线条描绘出比如大臂、腹部、胸部等人的局部躯干,在躯干的轮廓内用自己卡通的方式添加了五官,重新构成了一个个“肖像”。卡通肖像中流着眼泪的微笑表情,和线条的躯干表达的疲惫不堪的状态,呈现出“不赀之躯”本意的不能被金钱取代的身体与现实境遇间的矛盾感,幻想着在成功学的道路上时刻保持着自我仅有的尊严。两组不同题材的作品,组成主空间矛盾为基调的语境,努力与徒劳、幻想与现实都承载着不可预判的未知境遇,明天和昨天或者今天一样的无法把握,我们只是等待命运的暴风雨安排的小人物。也许,悲观的人总是对的,而乐观的人总会成功,乐观是如此美好而迷人,可真的和我们有关吗?



胜利的财产/Victory property

布面油画/Oil on canvas

120X180cm

2019


"The Storm is Coming" is the second solo exhibition by artist Liu Guangguang in 2020, after "Burning Dream". Most of the paintings exhibited in "Burning Dream" are completed before the epidemic. A scene similar to a road movie is set in the exhibition. On this never-ending road, the tangled relationship between human and desire is full of. When it is continuously devoured by instinctive desire and realistic pressure, it starts to doubt the age, oneself and the meaning of value existence. The textual cohesion of the two exhibition titles seems to indicate that the storm is dousing the dreams that once burned out. What does a person continue after passing through a collective event? What has changed? Is the life you are about to face a storm? Having lived at home for a long time after the epidemic, I have had more family companionship and expectations for the life to be opened. After returning to normal life, the world has been mixed and filled with more unknownness, like the complications that accompany the treatment of diseases. The epidemic itself is more like the introduction of a novel, while the global political, economic, environmental and other problems caused by the "post-epidemic era" are the realistic descriptions of documentary literature. As a helpless individuals, paintings with artists the feeling of uncertainty about the future, under the bright color implies a gloomy mood, suppress the dramatic scenes and characters of design, signal will be entered into a "before the storm", the critical point of rising the lost in the rain like foreplay, people lost the direction of escape.



暴风雨来临/The storm is coming

布面油画/Oil on canvas

210x210CM

2020


The exhibition is divided into two parallel threads, with the "scene in the Rain" of "The Storm is Coming" as the main structure, and six torso portraits in the "A body that cannot be valued by assets" series are displayed in parallel. The prelude of "The Storm is Coming" begins with the small space in the anteroom composed of "Catching golden rain" and "Offside". The raincatcher in "Catching golden rain" greedily captures the raindrops in the sky, while the net holding the fish seems to indicate the end of getting nothing. The two anthropomorphic pillows on the side are full of angry expressions, accompanying the restless desire. A peace dove with indifferent expression became a spectator, quietly observing the process from chasing desire to failing after efforts."Offside" is an allegory that responds to reality through a football match in the rain. At the moment when the goal is about to be scored, the players are frozen in the action of lifting the foot to shoot. The "Offside" whistle makes the team play in vain, just as every effort is subject to an unexplained rejection, the "Capital" will waste the body and time it has prepared for, and you will realize that your destiny is not in your hands in the face of each fruitless attempt. As the introduction to the exhibition, the two works combine the process of pursuing desire and the reality of constantly falling short. They turn the depressed state before "the storm" into two actions in operation and create a contextual interaction with the views in the previous exhibition.



泪和雨/Tears and rain

布面油画/Oil on canvas

170x130cm

2020


In the main space, there are two paintings, "Tears and rain" and "The Storm is coming". The painting "Tears and Rain" is composed of three people from different countries, colors and RACES. They wear almost the same clothes to level out their identities. Each of them stands with expressionless faces, but embraces each other intimately in the rain. The tears on his face mixed with the rain to pass under him, behind the bright and gorgeous colors there is a kind of gloomy oppression vaguely, quietly indescribable. "The Storm is coming" is the exhibition's largest core painting. The giant English word "STORM", designed as an image background in the form of the Hollywood Hills, is accompanied by clouds in the sky, heralding an approaching storm. In the car parked on the road, the driver sat in the seat and looked into the distance with his eyes frozen. Two characters outside the car stood angrily on both sides of the car, as if the tension after the convoy was attacked. The young man in the yellow shirt in the center of the picture is holding the steering wheel in his hands, seemingly in control of everything. However, due to the separation of the parts, everyone loses the direction in the rain and the uncontrolled future after the rain.



不赀之躯 3/A body that cannot be valued by assets 3

布面油画/Oil on canvas

60X55cm

2020


At the same time, the exhibition hall designed a series of paintings of "A body that cannot be valued by assets". The artist used lines to depict the partial torso of the human body, such as the arm, abdomen, chest and so on. In the outline of the torso, features were added in the way of cartoons to form a new "portrait". In the cartoon portrait, the smile with tears and the exhausted state expressed by the torso of lines present the contradictory feeling between the body and the real situation, which cannot be replaced by money, and the illusion that the only dignity of self can be kept on the road to success. Two groups of paintings with different themes constitute the context of contradiction as the keynote of the main space. Efforts and futility, fantasy and reality are all laden with unforeseen circumstances. Tomorrow is as uncertain as yesterday or today. We are only small people waiting for the stormy arrangement of fate. Perhaps a pessimist is always right, while an optimist always succeeds. Optimism is so beautiful and charming, but does it really have anything to do with us?

冯兮 Feng Xi










刘銧銧 Liu Guangguang

1986生于甘肃,2009毕业于鲁迅美术学院视觉传达设计系获学士学位,现生活和工作于北京。近期个展:“暴风雨来临”,妙有艺术,北京(2020 ); “燃烧殆尽的梦”,弥金画廊,上海(2020); “刘銧銧同名个展”,艺琅国际,北京(2016); “宝石迷阵-刘光光个展”,空间站,北京(2013)

Liu Guangguang, Born in Gansu in 1986. Graduated from the Visual Communication Design Department of LuXun Academy of Fine Arts. Currently works and lives in Beijng.Recent solo exhibition include: “The storm is coming”, MOUart, Beijing (2020); “ Burning Dreams”, Gene Gallery, Shanghai (2020); “LIU GUANG GUANG”, X GALLERY, Beijing (2016); “Bejeweled”,Space Station,Beijing(2013)


妙有艺术 MOUart mouart.com

北京市朝阳区酒仙桥路2号798 创意广场B区

Zone B, 798 Originality Square, No.2, Jiuxianqiao Road, Chaoyang District, Beijing, China


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