新闻稿
《画个“鸟”！》叶永青个展
展览时间: 2007.06.30-08.10
开幕酒会: 2007.06.30 16:00
展览地点: 北京方音空间
联系电话: +86 10 8459 9257
电子信箱:
info@funartspace.com
网站：Http://
www.funartspace.com
叶永青的近期绘画很容易与“念经”、“打坐”联系起来，因为态度的明确与行为的简洁，草草涂鸦的“鸟”看上去生动之致，却是在恒定长期的填充之后出现的图形。它是一种逻辑上的颠倒，看起来是一个非常简单的、快的东西，实际上却是非常慢的、复杂的方式创作的。此次展览的题目《画个“鸟”》，意思可以理解为画个什么都不是，包含了一种对绘画的嘲讽。艺术家认同杜尚的观点，即认为一个人的生活在某种意义上就是艺术，这里没有谁比谁更重要。
叶永青的艺术历程开始胚胎于“85新潮”的思想解放运动的时期，这时期给予他浪漫和抒情的空间与心灵的准备。艺术家此时作品的特征为总是使用薄薄的颜料作画。89年后，叶永青的艺术与思想所针对的反思对象，开始切入具体的、个体的历史经验和视觉经验，并针对源于现实社会的“社会化”本身。90年代，叶永青建立了大字报的装置，融入了他从书刊报纸以及画册各个渠道得来的信息，它是一个特定时期的公共日记，曾经用纸张和毛笔以及墨汁就完成的文化与思想批判，在艺术家的作品里被转化为对历史和现实的调侃。 “大招贴”是一个过程，是艺术家通过画布、纸张、丝绸、毛笔、墨汁以及其他材料不断进行陈述的文章。从1994年开始，他在继续制作“大招贴”的同时开始书写自己的形象日记。有很长的时间里，叶永青退回到了传统文人的态度上，他对涂鸦乐此不彼。
从2000年开始，叶永青开始减少他作品中的内容，他抽取了那些涂鸦作品中的局部和个别符号，决定从两个极端入手：杜尚的认定立场和图式的文人化。他抽取一些符号、图形，经常是那些涂鸦作品中的鸟，先用铅笔自由地画在纸上，通过投影放大在画布上，在确定的迹印边界上填充，有时候，他会悄悄地强调那些毛糙的细节，让其在填充之后显得图形更加毛糙。不过，无论如何，艺术家采取的是尽可能减少的策略，所以，对于这部分新作品的理解和阐释不会有太多的美学负担。画“鸟”也是艺术家联系过去、现在与未来的一个标志。
Newsletter
《Ｐaint a “Bird”!》Ye Yongqing Solo Exhibition
Time: 2007.06.30-08.10
Opening: 2007.06.30 16:00
Venue: FUN ART SPACE
Tel: +86 10 8459 9257
Email:
info@funartspace.com
Website：Http://
www.funartspace.com
Ye Yongging’s recent paintings might be associated with “squatting down on the ground” due to their clear attitudes and concise expression. The careless graffiti of a “bird” in a vivid form is actually a form filled with a sense of constancy. at seems to be a very simple and fast process. In reality, the painting is involved in a very slow and complicated process. The exhibition with a thence of “painting a bird” consists of a satire on the art of painting. Artists have the same viewpoint as Duchamp’s: One’s life itself, in one sense, is a form of art. Therefore, no one is more important than another.
Out of the inception of the 85’new trend, Ye Yongqing was infused with romance and a vivid imagination in space and in mind. Then, his works were characteristic of thin material spread over a surface. After 1989, he began to introduce his own personal, concrete experience and perspective in the paintings. In the 1900s, he combined the history with the reality in his works by the use of canvas, paper, silk, brushes and ink. From 1994 on, he continues to paint posters and write a diary. Ye Yongqing has remained an attitude of a traditional artist and been keen on graffiti.
From 2000 on, Ye Yongqing fried to cut down production and began to draw from graffiti their sections and signs. At first, he put them, with a pen, on a piece of paper in a free way, then showed it on a screen by an overhead projector for the framework and finally enhanced the lines and shapes. Anyway, artists should use as little strategy as possible. Any comprehension and enunciation of these new works should not be considered a burden on art. They can be applied in any space without question. The painting of a “bird” is only a mark used by an artist to link the past with the present and the future.
