COVER FEATURE 封面专题 第 03 版 ISSUE 09 出品 Published by 红专厂文化艺术机构 Redtory Culture and Art Organization 红专厂 / 艺术与设计工厂 Redtory Art + Design Factory - 地址 Addr

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1 2015 ISSUE 09 EXHIBITION FOCUS 展览聚焦 THE PERSISTENCE OF IMAGES 执像 - 中国当代摄影展 COVER FEATURE 封面专题 Neo-Moroism Itinerant Exhibition 新朦胧主义 INTERNATIONAL VISION 国际视界 BLACK BIRDS - AVITAL CNAANI 黑鸟 - 阿薇塔 迦南倪个展

2 COVER FEATURE 封面专题 第 03 版 ISSUE 09 出品 Published by 红专厂文化艺术机构 Redtory Culture and Art Organization 红专厂 / 艺术与设计工厂 Redtory Art + Design Factory - 地址 Address: 广州市天河区员村四横路 128 号 No. 128, Yuan Cun Si Heng Rd., Tianhe District, Guangzhou 邮编 Post Code: 电话 Tel: 电邮 redtory@redtory.com.cn - 网址 Website: 微信 Wechat: 红专厂 Redtory 新浪微博 Sina 红专厂 Redtory 豆瓣 Douban: site.douban.com/redtory 封面 Cover: 新朦胧主义巡展 Neo-Moroism Itinerant Exhibition Neo-Moroism Itinerant Exhibition 新朦胧主义巡展 时间 :2015 年 4 月 3 日 - 6 月 2 日地点 : 广州红专厂当代艺术馆 (RMCA)1 号馆主办 : 东京画廊 +BTAP 北京 798 文化创意产业投资股份有限公司 广州红专厂文化艺术机构 Duration: April 3 - June 2, 2015 Venue: Hall 1, Guangzhou Redtory Museum of Contemporary Art Organizers: Tokyo Gallery+BTAP, Beijing 798 Cultural Creative Industrial Investment Co., Ltd., Redtory Culture & Art Organization 主办单位代表 策展人 部分参展艺术家和到会嘉宾合影 Group photo of representatives of Sponsors, curators, partial participant artists and attended distinguished guests 网址 Website: 微信 Wechat: 红专厂 Redtory CHARACTER 人物 ARTIST SHEN SHAOMIN 沈少民艺术家 2014 年 9 月 30 日, 知名当代艺术家沈少民访问红专厂 在考察园区历史建筑 展览项目和驻园机构的时候, 他感慨于红专厂艺术区与城市大众的亲近和互动, 表现出对中国南方当代艺术发展的乐观, 并于红专厂设立了工作室 Shen Shaomin, a famous and contemporary artist, visited Redtory on September 30, When investigating the historical buildings, exhibition projects and internal organizations in the park, he admired the closeness and interaction between Redtory and the urban masses, showed his hope to the development of contemporary art in southern China and set up the studio in Redtory. MASAYUKI KUROKAWA, A FAMOUS JAPANESE ARCHITECT 黑川雅之日本建筑师 2014 年 11 月 14 日, 开创日本建筑和工业设计新时代的代表人物黑川雅之先生到访广州红专厂 他对红专厂在推动工业设计 建筑设计等方面的工作思路表示赞同, 并感叹广州作为南中国重要的经济城市, 艺术 设计与经济协同发展并互相促进, 具有国际都市的风范 Mr. Masayuki Kurokawa, a representative personage initiating a new age for Japanese building and industrial design visited Guangzhou Redtory on November 14, He was in favor of the working ideas in the aspects of promoting industrial design and building design and highly praised that Guangzhou as an important economic city in South China which is endowed with the manner of cosmopolis characterized by synergetic development and mutual promotion in art, design and economy. 4 月 3 日, 由东京画廊 +BTAP 北京 798 文化创意产业投资股份有限公司和广州红专厂文化艺术机构联合主办, 皮道坚策展的 新朦胧主义 巡展 ( 广州站 ) 在红专厂当代艺术馆 1 号馆开幕 本次展览延续首届 新朦胧主义 展的理念, 聚集了中国大陆 香港 台湾及日本地区的 21 名艺术家的作品 他们分别是王舒野 ( 中国 ) 徐冰 ( 中国 ) 杭春晖 ( 中国 ) 曾健勇 ( 中国 ) 蔡广斌 ( 中国 ) 吴强 ( 中国 ) 朱建忠 ( 中国 ) 叶剑青 ( 中国 ) 泰祥洲 ( 中国 ) 丁蓓莉 ( 中国 ) 文凤仪 ( 中国香港 ) 林东鹏 ( 中国香港 ) 林于思 ( 中国 ) 邵文欢 ( 中国 ) 沈勤 ( 中国 ), 刘美育 ( 中国台湾 ) 张诠 ( 中国 ) 张天军 ( 中国 ) 石井友人 ( 日本 ) 高桥淑人 ( 日本 ) SHIMURAbros( 日本 ) 本次展览将呈现包括绘画 摄影 装置和多媒体等多种视觉语言形式 On April 3, Neo-Moroism Itinerant Exhibition (Guangzhou) jointly sponsored by Tokyo Gallery+BTAP, Beijing 798 Cultural Creative Industrial Investment Co., Ltd. and Redtory Culture & Art Organization with Pi Daojian as curator, was launched in Hall 1, Redtory Museum of Contemporary Art. This exhibition continues the concept of the 1st NEO-MOROISM Exhibition, aggregates various works of 21 artists coming from mainland China, Hong Kong SAR, Taiwan and Japan. They are respectively Wang Shuye (China), Xu Bing (China), Hang Chunhui (China), Zeng Jianyong (China), Cai Guangbin (China), Wu Qiang (China), Zhu Jianzhong (China), Ye Jianqing (China), Tai Xiangzhou (China), Ding Beili (China), Man Fung-yi (Hong Kong, China), Lam Tung-pang (Hong Kong, China), Lin Yusi (China), Shao Wenhuan (China), Shen Qin (China), Liu Meiyu (Taiwan, China), Zhang Quan (China), Zhang Tianjun (China), Tomohito Ishii (Japan), Yoshito Takahashi (Japan), SHIMURAbros (Japan). This exhibition presented diversified visual language forms including painting, photography, installations and multi-media etc.

3 第 04 版 COVER FEATURE 封面专题 第 05 版 策展人皮道坚在开幕式上表示, 从朦胧主义到新朦胧主义, 这样一个展览的议题, 它所体现出来的是在本土和全球的文化张力关系之中, 对传统绘画语言及其媒介转换, 向当代转换问题的思考, 以及在这样一个张力关系之中, 考察艺术变革的各种可能性和东方艺术的世界性价值 新朦胧主义 或许能给我们带来一个契机, 在现代绘画语言逻辑的语境中重新考察 21 世纪水墨及其相关媒介的实验 通过演绎一种 新朦胧主义 的文化概念, 在一个全球化的框架之下检视当下创作的若干文化面向 同时也考察艺术变革的各种可能性和东方艺术的世界性价值 开幕式上, 东京画廊负责人田畑幸人先生致辞 : 过去的当代艺术呈现出一边倒的状态, 西方艺术在话语上总是处于领导的地位 而随着时代的演进, 亚洲艺术也慢慢被发现被理解 今天, 亚洲艺术和欧美艺术, 已经可以同样被这个世界欣赏和认可了 过去欧美一些关注艺术的人总是从他们的角度出发, 用自己的知识体系 美术史, 去观察 解读亚洲的艺术 但随着我们共同的努力, 我们已经有能力发声, 用属于我们的语言和言语, 向世界展示出亚洲艺术完整的体系 虽然新朦胧主义一定不能代表整个亚洲的艺术, 但它所要传达的核心, 是具有亚洲思想的代表性特质的 希腊驻广州总领事馆总领事夫人乔安娜康斯坦丁 ( 左 ) 红专厂文化艺术机构艺术总监黄丽诗 ( 中 ) 和策展人皮道坚先生 ( 右 ) Joanna Constantine, consul general's spouse of Consulate General of the Hellenic Republic in Guangzhou (Left), Art Director of Redtory Culture & Art Organization, Alice Wong (Middle) and curator Mr. Pi Daojian (Right) 策展人皮道坚先生 Curator Mr. Pi Daojian 参展艺术家代表叶剑青在开幕式上发言, 这个展览为亚洲艺术在全球化语境中的新走向, 提供了极为宽广的文化蓝图和理论上的崭新高度, 是超越了时间 地域的理想主义情怀, 是正在为这个时代构建的理想景观 作为艺术家, 应该不懈地努力, 为百年冲击下的亚洲艺术重新焕发光彩, 贡献自己的绵薄之力 红专厂当代艺术馆馆长杨晓先生在开幕致辞中表示, 这次展览是一个国际性画廊 国内两个重要的艺术园区 ( 北京 798 和广州红专厂 ) 和美术馆的四方合作, 这次的合作, 丰富了展览的内涵, 提升了展览的影响力, 促进了中国当代艺术的南北交流和国际对话, 这也是红专厂作为传统与现代 东方和西方文化艺术交流平台的发展宗旨所在 日本驻广州总领事馆总领事伊藤康一 ( 右 ) 与东京画廊负责人田畑幸人 ( 左 ) Mr. ItoKoichi, Consul General of Consulate-General of Japan in Guangzhou (Right) and Mr. Tabata Yukihito, Director of Tokyo Gallery (Left) Curator Pi Daojian stated in the opening ceremony that, from Moroism to Neo-Moroism, what exhibition theme manifests is transformation of traditional painting language and medium, thinking on contemporary transformation issue in the tension connection between local and global culture as well as investigation on various possibilities of artistic reform and global value of oriental art in such a tension connection. Perhaps Neo-Moroism can provide us with an opportunity to reexamine experiment on 21th century Chinese ink and relevant media in the context of language logic of modern painting, to examine various cultural perspectives of current creation within a globalized framework through deduction of a Neo-Moroism cultural concept. In the meanwhile, it can also facilitate the investigation on diversified possibilities of artistic reform and global value of oriental art. At the opening ceremony, Director of Tokyo Gallery, Mr. Tabata Yukihito delivered a speech that: the past contemporary art has manifested a predominated state and western art invariably takes up the discourse leadership. While with the gradual progress of times, Asian art is also gradually be noticed and understood. Today, Asian art and Euro-American art have already been able to be appreciated and recognized by this world. In the past, people in Europe and America who pay attention to art always proceed from their own perspectives, observe and interprete Asian art with their own knowledge hierarchy and art history. However, along with our joint efforts, we have already been able to express our voices and manifest the integrated system of Asian art to the world with our own language and speech. Although NEO- MOROISM definitely couldn t represent the whole Asian art, the core that it wishes to be expressed is attached with representative property of Asian thought. Ye Jianqing, a representative of participant artists, delivered a speech at the opening ceremony that, this exhibition provides the new tendency of Asian art in context of globalization with an extremely extensive cultural blueprint and theoretically brandnew height. It is an idealism feeling beyond limits of time and region and an idealized landscape which is currently in construction for this era. Each artist should contribute one's pygmy effort to radiant-beauty energization of Asian art which suffers from centurial impact. Mr. Yang Xiao, Curator of Redtory Museum of Contemporary Art, stated in the opening speech that, this exhibition is contributed by a cooperation of four sides involving an international gallery, two important domestic artistic zones (Beijing 798 & Guangzhou Redtory) and RMCA. This cooperation enriches the connotations of exhibition, uplifts influence of exhibition and promotes south-north exchange and international dialogue of Chinese contemporary art, which is also the development tenet of Redtory as an exchange platform of oriental and occidental cultural art. 朱建忠, 水墨十二 纸本水墨 245x122cm, 2014 Zhu Jianzhong Ink Wash painting 12, Ink and color on paper 245x122cm, 2014

4 第 06 版 COVER FEATURE 封面专题 第 07 版 Neo-Moroism as a Cultural Concept 作为文化概念的 新朦胧主义 ( 节选 ) 皮道坚著名学者 批评家 Pi Daojian Noted academic, art critic 我个人觉得, 谈论 新朦胧主义 或许能带来一个契机 除了上面谈到的在一个全球化与区域文化的张力关系中考量东亚艺术的若干可能性以外 ; 是否我们也可以尝试通过这一因缘, 在现代绘画语言逻辑的语境中重新考察 21 世纪水墨及其相关媒介的实验 因为 80 年代以来, 中国国内论述水墨文化, 总是放在中西文化对抗的上 下文关系中来谈论 这种谈论方式固然有效, 但是往往也会造成文化本质主义的误区 凭借朦胧主义和印象派绘画实验的这段因缘, 我们是否可以通过演绎一种 新朦胧主义 的文化概念 ( 而不是风格概念 ), 在一个全球化的框架之下检视当下创作的若干文化面向? 由此, 新朦胧主义 或许可以成为美学家 艺术家 艺术史家 批评家和策展人之间一个可延续合作的项目, 而不是一个简单的艺术品商标 本次展览另一个面向就是当代艺术中的家园故国意识 展览中出现的以家园 园林 彼岸为主题的作品, 无论是沈勤作品中那写意的梦境的表现, 张诠那种风雨飘渺的城市风景, 或者丁蓓莉画中那朦胧的彼岸, 还有林于思的作品中出现的孤独单薄的人物, 都传递着我们这个喧嚣 繁华 纷杂时代的文化信息 ; 也无论是朱建忠作品中梦境般的树木与闲庭, 还是邵文欢对于现代园林的作旧, 艺术家无不是力图远离喧嚣 纷杂与繁华, 选择宁静 冥想与沉思, 这也就意味着选择了一种 水墨形而上 的精神生活方式, 这是观念的蜕变 精神的升华也是艺术家心灵的安顿 从现实层面看, 这些艺术家都试图在画面中回归到一个现实中无法回归的精神家园 这些飘渺 模糊 虚幻的 家 和 园 也是文化身份的象征 就画面而言, 它们的确是朦胧的 但重要的是这朦胧并非单纯的形式语言或者某种视觉经验, 而是标识着艺术家和现代生活之间, 东方艺术家和全球化现实之间的心理距离, 也是对 主体间性 的一种确认 徐冰, 背后的故事 玻璃 麻丝 树叶等自然材料,2014 Xu Bing, The Story Behind Glass, hemp thread, leaves and other natural materials, 2014 张诠, 胡宝珍, 纸本水墨, 290cmx190cm, 2007 Zhang Quan, Hu Baozhen, ink on paper, 290cmx190cm, 2007 本次展览的三个面向 : 水墨性表达的多样性, 水墨形而上的家园意识, 和当代东方文化中的精英意识, 都是由东方民族视点出发, 在全球化语境中从现实关系 媒介语言和文化观念上强化自身的差异性, 与朦胧的画面感相比在观念上则是力求确切的表达 这些作品已经超越了文化本质主义和民族主义的叙述 如果说百年以前的 朦胧主义 是一个民族主义文化运动的话, 那么从这些有心灵追求的艺术家作品中, 我们可以看到, 民族主义和民族情结已经退场, 而本土文化的视点却被强化, 因而他们所提供的艺术表达也在全球化时代变得可以被分析 谈论和传播 而这或许是我眼中 新朦胧主义 的在当下文化场域中非常显著的一个特色 Personally speaking, the discussion on Neo-Moroism may bring about an opportunity. In addition to the abovementioned deliberations on East Asia Art s several possibilities in tension connections of globalization and regional culture; we can also attempt to utilize this Chinese ink culture to reexamine experiments on Chinese ink and relevant media of the 21th century in the contextual logic of modern painting. Since the 1980s, the domestic discussion and analysis of Chinese ink culture in China are invariably placed in a contextual relationship of oriental and occidental cultural confrontation. This expounding method is effective to some extent. However it often causes misunderstanding on cultural essentialism. Relying on predestined relationship between Moroism and impressionism painting experiments, whether we can reexamine various cultural perspectives of current creations through a cultural concept, Neo-Moroism (but not style conception) within a globalized framework? Thus, perhaps Neo-Moroism can become a project with consistent cooperation among aestheticians, artists, art historians, critics and curators, rather than a simple artwork trademark. Another perspective of this exhibition is the native-homeland consciousness in contemporary art. The works are themed by homeland, garden, the other shore displayed in this exhibition. Whether the manifestation of freehand dream in Shen Qin s works, or Zhang Quan s dimly discernible urban landscape in wind and rain, or the hazy opposite shore in Ding Beili s paintings, or thin and lonely figures presented in Lin Yusi s works, all transmit cultural transformation of these bustling, prosperous and disorder times; In addition, whether dreamlike trees or tranquil courtyard in Zhu Jianzhong s works, or Shao Wenhuan s artificially tattered modern garden artists all strive to be far away from hustle and bustle, properity and disorder, and choose tranquil, deep-meditation and contemplation. It also means the selection of a spiritual lifestyle of Metaphysic inkwash. It is a metamorphosis of concept, spiritual sublimation as well as the artists spiritual settlement. From a practical perspective, artists are trying to return to a spiritual homeland by these paintings, which couldn t be realized in the reality. SHIMURAbros, SUN 纸 投影仪 投射灯, 尺寸可变,2 013 SHIMURAbros, SUN Paper, projector, projection lamp, variable size, 2013 These misty, vague, unreal "homes" and "gardens" are also a symbol of cultural identity. As to painting pictures, they are indeed hazy. However, the important thing is that this haziness is not a simple formal language or a certain visual experience, but an identified mental distance between artists and modern life, between oriental artists and reality of globalization, which is also a confirmation of intersubjectivity". Three perspectives of the exhibition Diversification of ink-wash expression, Ink-wash superorganic homeland consciousness and Elite-consciousness of contemporary oriental art, all proceed from viewpoints of oriental ethnicity and enhance personal differentiation from perspectives of practical relation, medium language and cultural concept in context of globalization. In addition, they are all conceptually accurate expression when compared with tableau sense of haziness. These works have already surpassed the statement of cultural essentialism and nationalism. If Moroism occurred hundreds of years ago is as a nationalism cultural movement, in these artists works with spiritual pursuits, we can see that nationalism and national patriotism have been demobilized while the viewpoint of local culture is intensified. Therefore, their artistic expressions have been able to be analyzed, discussed and transmitted in a globalized era. Perhaps this is an extremely remarkable characteristic of Neo-Moroism in current cultural field in my views.

5 第 08 版 EXHIBITION FOCUS 展览聚焦 第 09 版 ON THE RUN WANG HUANGSHENG 王璜生现任中央美术学院教授 博士生导师, 中央美术学院美术馆馆长, 全国美术馆专业委员会副主任, 文化部 国家当代 碌碌而为 : 王璜生 艺术研究中心 专家委员会委员, 国务院政府特殊津贴专家, 广州美术学院 南京 时间 :2014 年 12 月 21 日 年 3 月 26 日地点 : 广州红专厂当代艺术馆 (RMCA)1 号馆主办 : 中央美术学院承办 : 广州红专厂文化艺术机构 Duration: December 21, 2014 March 26, 2015 Venue: Hall 1, Guangzhou Redtory Museum of Contemporary Art Organizers: China Central Academy of Fine Arts, Redtory Culture & Art Organization 艺术学院 华南师范大学 中央民族大学特聘教授 作为美术馆长与批评家, 他从 20 世纪 90 年代中叶以来, 一直关注水墨 艺术与各种现当代艺术, 主持或参与了许 多影响深远的现当代艺术展览, 并积极进 开幕式学术对话会现场, 左起中央美术学院院长范迪安, 批评家皮道坚, 中央美术学院美术馆馆长 艺术家王璜生, 列宾美院院长米哈伊洛夫斯基 西蒙 The academic dialogue site of the opening ceremony, from left Fan Di an (Dean of China Central Academy Of Fine Arts, Pi Daojian (Art Critic), Wang Huangsheng (Director of CAFA Art Museum,artist), Mikhailovsky Simon(the dean of Repin Academy of Fine Arts) 行艺术批评写作 他本人的艺术创作具有从艺术本体之内走向艺术之外广阔视界的总体趋向, 其作品被认为是在对艺术语言与知识生产 个体价值与社会责任 历史延续与当下存在之复杂关系的深刻反思后所生成的一种既延续传统文脉又面向世界与未来的当代精神图像 此次展览展品包括王璜生画作 天地系列 悠然系列 游象系列 示象 线象系列, 影像作品 日晕, 装置作品 隔空 谈话 渗 溢光, 及其部分早期作品, 展览还同时呈现王璜生自上世纪 90 年代中叶以来在艺术批评 艺术策展等方面的重要贡献, 可以说是其当代艺术工作成就的集中演示 红专厂是广州有生机 有活力, 并有自身文化品位的文化艺术机构, 一直致力于传 播和推动当代艺术, 让当代艺术更好地发挥在文化生态上的作用 With many honorable titles, Wang Huangsheng is now the Professor and Doctoral Advisor in CAFA, the Director of CAFA Art Museum, Deputy Director of the Specialized Committee of the China National Art Gallery and the Member of the Expert Committee of National Contemporary Art Research Institute under the Ministry of Culture. 12 月 21 日, 中央美院美术馆馆长 原广东美术馆馆长王璜生的个人当代艺术展 碌碌而为 : 王 璜生 在广州红专厂当代艺术馆 (RMCA) 开幕 该展览由中央美术学院主办, 著名学者 美术批 评家皮道先生坚担任策展人, 红专厂文化艺术机构艺术总监黄丽诗担任展览总监 展览开幕当天 红专厂邀请了中央美术学院院长范迪安 列宾美院院长米哈伊洛夫斯基 西蒙 中国美术馆副馆长 张子康 中山大学传播与设计学院副院长杨小彦 中山大学教授冯原 首都师范大学教授汪民安 青年批评家鲁明军和颜勇等多位学者 批评家就王璜生艺术与当代艺术问题展开了热烈的讨论 中国互联网新闻中心艺术中国 雅昌艺术网等多家媒体对展览进行了报道 Wang Huangsheng s (the Director of CAFA Art Museum and the former Director of Guangdong Museum of Art)contemporary art exhibition with the name of On the Run was inaugurated at Retory Museum of Contemporary Art (RMCA) on December 21. Curated by the noted scholar, art critic Pi Daojian and directed by Alice Wong - the director of Retory Culture & Art Organization. With the warmly invitation of Fan Di an (the dean of Central Academy of Fine Arts), Mikhailovsky Simon (the dean of Repin Academy of Fine Arts), Zhang Zikang(the deputy director of National Art Museum of China),Yang Xiaoyan (the associate dean of the School of Communication and Design of Sun Yat-Sen University), Feng Yuan (the professor of Sun Yat-Sen University), Wang Min an (the professor of Capital Normal University), Lu Mingjun, Yan Yong and the other scholars and youth critics), Retory gathered a group of senior scholars and art critics to deeply discuss issues regarding contemporary art at the opening ceremony. China Internet Infomation Center/ Art China, Artron and several medias reported the exhibition.

6 第 10 版 EXHIBITION FOCUS 展览聚焦 第 11 版 Wang is also a specially-appointed professor in Guangzhou Academy of Fine Arts, Nanjing Art Institute, South China Normal University and Minzu University of China, who is the expert entitled to Government Special Allowance (GSA).As a Museum Director and an obliged art critic, Wang has been constantly working on Chinese Ink Painting and all kinds of modern arts from the middle of 1990s during which Wang has hosted and participated in many contemporary art exhibitions with far-reaching consequences and devoted himself to critical writings. His works are highly introspective with the broadening horizon from the art itself to a wider exterior world, which are regarded as Wang s mediational productions for the relations between art languages and knowledge production, individual values and social responsibilities, and the one between historical continuity and current living status. The exhibition includes Wang Huangsheng s paintings Heaven and Earth, Fly and Free, Roaming and Apparition, Revelations Visions, Lines Visions, video work Aureole, installation works Separation and Distance, Conversation, Aureole, Spill Light, and some of his early works. The exhibition presented Wang s important contribution to the field of art criticism and art curating since the middle 1990s. The exhibition could be considered as a collection and presentation of his accomplishments on contemporary art. Redtory is an art and culture organization in Guangzhou, which is vibrant, energetic and has its own culture taste. It has been dedicating on broadcasting and promoting contemporary art, as well as making contemporary art playing a more significant role on cultural ecology. ON THE RUN WANG HUANGSHENG 碌碌而为 : 王璜生 皮道坚著名学者 批评家 Pi Daojian Noted academic, art critic 王璜生所兼具的美术馆馆长 批评家与艺术家这三重身份使其艺术创作与一般职业艺术家的创作不太一样 它们逐渐展开的从艺术本体走向艺术之外的开阔视野, 似乎更能开启我们的视觉感知力和领悟力 事实上王璜生近年的艺术创作正是在对艺术语言与知识生产 个体价值与社会责任 历史延续与当下存在之复杂关系的深刻反思后, 所生成的一种既延续传统文脉又面向世界与未来的当代精神图像 在任广东美术馆馆长期间, 王璜生的水墨艺术更多表现出他对中国哲学精神的领悟和对传统绘画语言的心领神会, 但几乎是与此同时出现在画面上的抽象性探索已分明能让我们感受到某些现 当代艺术气息 作为美术馆长与批评家, 王璜生一直在思考如何能更敏锐地发现与感知当下, 包括新艺术家 新观念或新的艺术形态 20 世纪 90 年代中叶以来, 他一直关注中国传统水墨语言的现 当代转换, 组织或主持过许多影响深远的现 当代艺术展览, 也通过主编和撰稿不懈地进行着他的 知识生产 然而他内心更大的冲动应该还是通过自己的艺术对当代人的生存进行感知与表达 自 2009 年调入中央美术学院以后, 王璜生的艺术发生了突变 他将传统水墨艺术中那如春蚕吐丝般连绵不绝的 高古游丝描 引入当代, 以之作为一种纯意义的语言来呼唤观念 他笔下的线条越来越成为与中国传统艺术最高准则 游于艺 二律背反的象征 : 一方面是艺术家游心物外的载体, 另一方面又作为符号象征着 碌碌而为 的当代人备受禁锢折磨的生存状态, 因此而为我们贡献了一种别具机杼 别样韵味的当代性艺术表达 当代艺术是当代文化中不可或缺 不可替代的重要一环 红专厂致力于传播和推动当代艺术, 让当代艺术更好地发挥其在文化生态上的建设作用 碌碌而为 不仅是王璜生此次个人展览的名称, 同时也是红专厂孜孜不倦推广当代艺术文化的写照 在红专厂当代艺术馆举办的 碌碌而为 展, 在我看来既是一种 象征, 更是一种 明志 There are obvious distinctions in Wang Huangsheng s art works for his tertiary artistic status: a noted artist, the director of the art museum and an art critic. With his broadening perspective from the art itself to the exterior world, we are gradually exposed to a wider context to perceive more from his works. For years, he has been constantly thinking about all kinds of complexities, such as the relations between art languages and knowledge productions, individual values and social obligations, and the one between historical continuity and current living status. And it is such meditation that transform into a totem which can not only present the past essences, but also depict the incoming modern prosperities. During the time serving as the Director of Guangdong Museum of Art, Wang s Shui Mo paintings(here after referred as Traditional Chinese Ink Paintings) reflected his Chinese philosophy and the understandings to traditional arts. Besides, the simultaneous abstract expressions were also deeply embedded in his works to convey his contemporary tendency. As a critic and director, he is keen on perceiving the current social status, exploring outstanding artists and discovering a variety of art forms. From the middle of 1990s, he has been working on the modern implications to Shui Mo. By organizing and hosting profound exhibitions and art activities, he contributes to his art productions, as well as by editing and composing the relevant essays. On top of it, Wang is pursuing to express his unique understandings towards modern society by his art works. Since being transferred to the China Central Academy Of Fine Arts in 2009, Wang has made a sudden change to his art works. He introduced Ancient Gossamer Painting, which only exits in Shui Mo and resembles silkworm spinning, to contemporary art, as it is a language of pure meaning to call for notions. His line drawings have become a symbol against the highest norm of Chinese art tradition Studying with Courtesy, Music, Archery, Driving, Literature, and Math. On one hand, his line drawings are the carriers of artists disconnections from the material world; On the other hand, the line drawings represent the living states of modern people, which is painstaking and torturing. Thus, his art works are contributed to demonstrate us a distinctive art expression. Contemporary art plays an indispensable and irreplaceable rolein the context of contemporary culture. And Redtory has been dedicating on broadcasting and promoting contemporary art, as well as making contemporary art playing a more significant role to balance cultural ecology. Thus, On The Run is not only a title of Wang s solo exhibition, but a reflection of Redtory s dedication on promoting contemporary art and culture as well. From my perspective, it is not only a symbol, but also a representation of our determinations to launch On The Run at Redtory Museum of Contemporary Art.

7 第 12 版 EXHIBITION FOCUS 展览聚焦 第 13 版 ON THE RUN WANG HUANGSHENG EXHIBITION 碌碌而为 : 王璜生 黄丽诗红专厂文化艺术机构艺术总监 Alice Wong Art Director of Redtory Culture and Art Organization 缠 ( 局部 ) Wind (partial) 渗 Seeping 线象 参考消息 LineVisions (Reference News) 游 象 ( 局部 ) Moving Visions (partial) 中国现当代艺术的发展道路, 学理阡陌交错, 权利如影随形, 市场排山倒海, 目标若影若现, 与国运相仿 相依 个体在大大小小的潮流中浮沉 而在其中, 王璜生先生碌碌勤勉的身影, 披星戴月, 穿梭南北, 腾挪体制内外, 游弋于中西哲学比较之中, 将终极追问融入自我的艺术探求 本次展览除了呈现大家所熟知所期待的游象线象作品系列, 我们还梳理了他作为艺术推动者的探索足迹 策划展览的原版海报, 亲笔工作日记, 业余情绪笔记, 成长存照等等 观者可以通过立体的轮廓, 在随时遇见艺术家的人生交叉点, 看到王璜生作为一位知识分子的责任感, 骑士精神, 勇气和迷茫 人们习惯将碌碌与无为相联系 而另一种 无为, 是庄子的无为而治, 无所束缚 我们看到在王璜生的线条绕缠中, 升腾出弥漫却犀利的气象, 这种线条是传统笔墨的惊醒, 是他从碌碌的工作状态出走到艺术创作中, 应了庄子, 无为地游牧 在我看来, 既然作为一馆之长, 就要把美术馆做的更规范更专业, 实现与国际接轨 如此这般, 为这份工作付出全部便成了我必然的选择, 而艺术创作也就自然变成了业余爱好 在组织展览 接触艺术家时, 我深深佩服他们对艺术的激情和投入, 同时也觉得非常遗憾, 自己变成了这样碌碌无为的一个人 这是王璜生谦逊的表达 在我看来, 是艺术家对艺术永不止歇的真诚追求 碌碌而为亦即 无为而为 感谢本次展览策展人皮道坚老师! 感谢中央美术学院的信任与支持! 感谢红专厂艺术机构的展览筹备完美团队! The development road of Chinese Modern and Contemporary Art, with ambiguous aims, similar to and dependent on the fate of the nation, was filled with kinds of complex theories and impacted by rights and marketization. Individuals went up and down in such trend. Among them, Wang Huangsheng was working diligently, learning day and night, traveling from north to south, working inside and outside the system and making comparisons between Chinese and western philosophy, integrating ultimate inquiries into his pursuit of art. In addition to the series of Moving Visions and Lines Vision which are well known and audiences are expecting, we have sorted out and exhibited his exploring footprint as an art promoter in this exhibition the original posters on curating the exhibition, autographical working diaries, amateur emotional notes, growth record, etc. Through such three-dimensional contours, audiences can meet the artist s human crossing and catch sight of Wang Huangsheng s responsibility, chivalry, courage and confusion. Doing nothing is usually regarded as mediocrity. However, there is another doing nothing which may have the meaning of being free and easy (i.e. doing nothing that goes against nature) in Chuang tzu s opinion. Those lines drawn by Wang Huangsheng show us something which is pervasive and sharp. The lines make traditional ink and wash painting awakened. And they also indicate that Wang Huangsheng has successfully gone deep into artistic creation from routine working, which is consistent with Chuang tzu s opinion -- doing nothing that goes against nature when painting. In my opinion, as the curator, I have the responsibility to make the art museum more normative and professional, and in line with international norms. To achieve the goal, I have no choice but to be devoted to this job. Accordingly art creation becomes my hobby. In the course of organizing exhibition and contacting with artists, I deeply admire their passion and commitment. Meanwhile, I feel very regretful for my mediocrity. The above words show Wang Huangsheng s modesty. While, in my view, this reflects artists sincere and constant craving for art. On the running means doing nothing that goes against nature, that is to say, acting following natural law. 研讨会现场 Academic dialogue site 展览开幕式现场 Opening ceremony Thank Pi Daojian, the curator of this exhibition! Thanks for the trust and support of the China Central Academy Of Fine Arts Thanks for perfect preparatory team of RMCA!

8 第 14 版 EXHIBITION FOCUS 展览聚焦 第 15 版 THE PERSISTENCE OF IMAGES 执像 中国当代摄影展 时间 :2015 年 4 月 24 日 - 6 月 29 日地点 : 广州红专厂艺术与设计工厂 E7/E9 馆主办 : 红专厂文化艺术机构 Duration: April 24 - June 29, 2015 Venue: E7/E9 Galleries, Redtory Art & Design Factory, Guangzhou Organiger: Redtory Culture & Art Organization 2015 年 4 月 24 日, 执像 中国当代摄影展 ( 第一季 ) 于红专厂艺术区 E7 和 E9 展馆开幕 当天下午, 由鲁明军任学术主持, 学术研讨会邀请策展人王川及艺术家翁乃强 张大力 计洲 封岩参与对话 展览以红专厂及其所象征的工业与后工业文化的变革为起点, 围绕历史 时间 城市记忆以及日常经验等相关主题, 从不同的角度展开关于摄影这一媒介语言的思考和实验 On April 24th, 2015, the first session of the exhibition The persistence of images was opened on E7 and E9 Galleries in Redtory Art & Design Factory. At the afternoon of that day, hosted by academic host Lu Mingjun, the symposium was organized among curator Wang Chuan, Artists Weng Naiqiang, Zhang Dali, Ji Zhou and Feng Yan. The exhibition is started by the evolution of industrial and post-industrial culture which Redtory represents. Through the exhibition and symposium, new thoughts and experiments about the medium of photography are launched with the relevant topics about the history, time, memories of cities and daily experiences, etc. 嘉宾合照 Group Photo of Guests 红专厂文化艺术机构艺术总监黄丽诗 Art Director of Redtory Culture and Art Organization, Alice Wong 嘉宾合照 Group Photo of Guests 张大力, 哈尔滨滑冰运动员李建华,70x70cm Zhang Dali, The Harbin Ice-skating Athlete Li Jianhua, 70x70cm 艺术家张大力 Artist Zhang Dali 封岩, 山石 04,120x180cm,2011 Feng Yan, Rock04, 120x180cm, 2011

9 第 16 版 EXHIBITION FOCUS 展览聚焦 第 17 版 Vision and Virtue 目光与真实 今天, 我们所谓的摄影早已不是 19 世纪的那个概念了 它不再只是一种观看的技术, 或是一种再现的手段, 我们更愿意将其视为一种认知的部署 何况, 其技术本身发展至今, 也不知经历了多少次革命性的升级和更新 也因此, 我们习惯将其统称为影像或装置 但事实上, 不管技术如何变化, 它所 再现 的依然不是真实, 再现 本身才是真实 换句话说, 真实的不是目光或镜头所及, 而是目光的建构本身, 以及其中的主体与伦理意识 所以, 没有什么纯粹的目光, 也没有什么所谓纯粹的影像语言, 目光或影像本身就是一套体制或运作机制 由红专厂文化艺术机构主办 王川策划的 执像 :2 6 当代摄影展, 以红专厂及其所象征的工业与后工业文化的变革为起点, 围绕历 Today, our understanding toward photography is not what we perceived in 19th century and it is no longer just a visual technic or a representational tool but a cognitive deployment. With the development of technics, photography has updated and upgraded numerous of times. Thus we get used to call it video or illustration. In fact, no matter how dramatic those changes are, what photography represents is still not real. The representation itself, however, is real. In other words, it is not the target of vision or camera but the vision itself and its embedded body and ethic awareness that are of intrinsic authenticity. Therefore, neither vision nor video language is pure for each of them is a complexity and mechanism. 史 时间 城市记忆以及日常经验等相关主题, 从不同的角度展开关于摄影这一媒介语言的思考和实验 展览邀请了翁乃强 张大力 计洲 封岩 张超音 塔可 姚璐 洪浩 冯梦波 张波 刘铮 鲁小本等 12 位艺术家 他们各自都有一套独特的工作方法, 每个人对于摄影或影像的理解也迥然不同, 因此, 其文化针对性也有着很大的差异 毫无疑问, 诸如拓展摄影的边界或是开启摄影语言的实验这样的说法在此已经失效 每个艺术家面对的都是活生生的现实, 不管是镜头, 还是反镜头, 他们的目光所对准都是被现实所遮蔽或遗弃了的 真实 因此, 无论历史 记忆的经验重探, 还是图像 观看的知识考古, 抑或对于当代文化 政治的一种反思性回应, 其实都离不开 目光与真实 这样一个主题 透过这些目光的实践, 我们可以洞悉和体验他们对于历史 意识形态的一种理解, 以及对 Organized by Redtory and curated by Wang Chuan, the contemporary photographic exhibition the Persistence of Images: 2*6 is motivated by Redtory s advocate to observe the cultural transformation under the background of industrialization and post-industrialization. Themed with history, time, city memories and daily lives, this exhibition presents the understandings toward photography and the experiment on such medium from different perspectives. 12 artists are invited with each of them embracingunique working methodology and they are Weng Naiqiang, Zhang Dali, Ji Zhou, Feng Yan, Zhang Chaoyin, TaKe, Yao Lu, Hong Hao, Feng Mengbo, Zhang Bo, Liu Zheng, Lu Xiaoben respectively. Their understandings toward photography or video are divergent, thus, the culture embodied in their works are different. 学术对话会 Academic symposium 于自我的一种主体性确认 此时, 即便是摄影术本身的实验, 也不乏对于艺术与现实世界这一体制性关联的自觉 鲁明军 2015 年 3 月 30 日 Undoubtedly, it has been invalid to say broadening the scope of photography or experimenting on video language. Every artist has to face reality either by the camera or out of it and they always focus on the concept of real that is shaded or abandoned by the surroundings. Thus, either the rediscovery of history and memory or the research on the visual knowledge cannot get rid of being related to the motif of vision and reality, just like the way those artists introspect the contemporary politics or culture. Through such vision, we can gain an insight into their understandings toward history, ideology and theirown. Thus, even the experiment on photographic technics is an approach to relate art with reality. 红专厂文化艺术机构艺术总监黄丽诗 Art Director of Redtory Culture and Art Organization, Alice Wong 策展人王川 Curator Wang Chuan By Lu Mingjun March 30, 2015 学术主持鲁明军 Academic host Lu Mingjun 艺术家封岩 Artist Feng Yan 艺术家翁乃强 Artist Weng Naiqiang

10 第 18 版 EXHIBITION FOCUS 展览聚焦 第 19 版 Attachment & Detachment Li Huichang 空怨 李恵昌 时间 :2015 年 3 月 8 日 - 4 月 20 日地点 : 广州红专厂艺术与设计工厂 E9 馆主办 : 红专厂文化机构 AIP 画廊 Duration: March 8 - April 20, 2015 Venue: E9 Gallery, Redtory Art & Design Factory, Guangzhou Organizers: Redtory Culture & Art Organization, AIP Gallery 学术主持皮道坚 策展人刘骁纯在进行学术对话 Academic host Pi Daojian and curator Liu Xiaochun are having academic dialogue 2015 年 3 月 8 日下午, 由刘骁纯担任策展人 皮道坚担任学术主持的 空怨 李惠昌个展 于广州红专厂艺术区 E9 展馆开幕 此次展览由 AIP 画廊和红专厂文化艺术机构共同主办, 展出了李惠昌六十余幅水墨丶油画作品 开幕当天, 皮道坚与刘骁纯 杨小彦 鲁虹 孙振华 冯原 胡斌等国内知名学者就 水墨艺术和当代性问题 展开学术对话 In the afternoon of March 8, 2015, Attachment & Detachment--Li Huichang Solo Exhibition was launched at E9, Guangzhou Redtory Museum of Contemporary Art with Mr. Liu Xiaochun as curator and Mr. Pi Daojian as academic host. Jointly sponsored by AIP Gallery and Redtory Culture & Art Organization, this exhibition exhibited Li Huichang s more than 60 ink-wash and oil paintings. At the current day of opening ceremony, Pi Daojian, Liu Xiaochun, Yang Xiaoyan, Lu Hong, Sun Zhenhua, Feng Yuan, Hu Bin and other domestic well-known scholars undertook academic dialogue on Ink-wash Art & Contemporaneity Issues. 艺术家李惠昌老师 Artist Mr. Li Huichang

11 第 20 版 EXHIBITION FOCUS 展览聚焦 第 21 版 皮道坚认为李惠昌的绘画以诡异荒诞 匪夷所思的形像和场景令人触目惊心, 这些源于具象 超越具象的形像与场景, 具有我们无法抗拒的魔力, 能激活我们的生命能量, 让人从麻木中警醒 它们延续传统水墨的语言范式, 而直面都市化生活所造成的逼迫 困窘和迷茫 ; 努力寻求笔墨韵味与当下体验的契合, 在色墨的挥洒和人 物形象的巧妙契合间, 将一种悲天悯人的情怀融入其中, 以突显人在 现代性 之后出现的难以适从的生存困境, 让我们在喧嚣之中得以重返内心宁静, 在反思与自 As to Curator Liu XIaochun, the things manifested in LI Huichang s painting works are all urban ghosts without existence of congested skyscrapers, huge neon network, layer-upon-layer flyovers and magic matrix computer clusters etc. In other words, the things confronted by him is not metropolis but urban ghosts. In his paintings, mistiness, nothingness, insipidness and intangibleness are all different from traditional and original cultural significance. It is an intangible virtuality, wandering fear as well as vague and remote ghostly crying with a tight grasp of human soul. Li Huichang s fear built with utilization of elegance, permeability, smoothness and moisturization isn t second to Francis Bacon s created fear through utilization of black-out curtain. His urban worries and anxieties is not rational but intuitive, is not philosophic but poetic. May he could maintain this state. May he could become increasingly distant with Francis Bacon. In the Midst of Ethereality and Oblivion: 2 Solo Exhibitions by MAN Fung-yi & MOK Yat-san 飘渺与忘形之间 : 文凤仪 莫一新双个展 时间 :2015 年 3 月 27 日 4 月 22 日地点 : 广州红专厂艺术与设计工厂 E7 展馆主办 : 红专厂文化艺术机构 Duration: March 27 April 22, 2015 Venue: E7 Gallery, Redtory Art & Design Factory, Guangzhou Organizer: Redtory Culture and Art Organization 省中安顿自己的心灵 对于策展人刘骁纯而言, 李惠昌画作中展 示的是都市幽灵 没有拥塞的摩天大楼 巨大的霓虹灯网 层层缠绕的立交桥, 魔 阵般的计算机群 也就是说, 他所面对 的不是超级都市而是都市幽灵 在他的画 中, 缥缈 虚无 淡泊 空灵都不同于传统 原来的文化意义, 那是一种捉摸不透的虚 淡, 漂泊不定的恐惧, 渺远而又死死抓住 灵魂的鬼泣 李惠昌用淡雅 通透 流畅 润泽所塑造出来的恐惧, 竟不亚于培根用 暗幕塑造出来的恐惧 他的都市忧思不是 理性的而是直觉的, 不是哲学的而是诗意 的 但愿他能保持这种状态 但愿他离培 根越来越远 Pi Daojian deems that Li Huichang s paintings are overwhelming astounding with weird, absurd and unimaginable images and scenes. These figures and scenes which originate and surpass concrete images are equipped with irresistible magic power, which can stimulate our vital energy and cultivate focused alertness from numbness. They continue language model of traditional ink-wash, while directly face constriants, embarrassment and confusion incurred by urbanized life; They strive to seek for conformity between writing charm and current experience and incorporate a compassionate feeling for all mankind in the tacit conjunction process of sprinkling paint and images of figures and objects so as to highlight people s difficult-to-adapt survival predicament after modernity, facilitate us to restore inner tranquilness in hustle and bustle and settle our minds in refection and introspection. 哼者 51,140cm x 70cm, 纸本水墨,2009 年 Grunter 51, 140cm x 70cm, Ink on paper, 2009 艺术家李惠昌作品 Artist Mr. Li Huichang s Works 年 3 月 2 7 日, 艺术家夫妇莫一新与文凤仪二人于广州红专厂艺术区 E7 展馆为其再度出展的双个展 飘渺与忘形之间 揭幕 展览由红专厂文化艺术机构主办, 承接二人 2014 年于香港的双个展 恍惚之间 两人作品呈现各自的个性 自主性和性别视角之余, 隐隐沁出彼此间长期相互共同创作又合作无间的情态下的状况 On March 27, the artistic couple, MOK Yat-san and MAN Fung-yi presented their two solo exhibitions In the Midst of Ethereality and Oblivion in Redtory of Guangzhou. for the purpose of continuing the exhibition Falling Into A Trance in Hong Kong, You can sense their different characteristics, independences and gender perspectives in their works. At the meantime, the works leak out a long-term correlation dependence and mutually reinforcing throughout the creation process whereas demonstrating a flawless collaboration. 艺术家莫一新与文凤仪 Artists MOK Yat-san and MAN Fung-yi

12 第 22 版 EXHIBITION FOCUS 展览聚焦 第 23 版 莫氏透过强调量感的 雕塑 形式去处理物理上 轻 的意态和易变的性质, 在他的近作 大荒 及 边极 中, 他进一步把恒常在变的水与云的影像投射其中 ; 影像令作品时亮时灭如幻, 让观者反思之余, 也是自身精神还乡的方式 文凤仪依恋旧衣物,y i 向以巾衣履借代 THE TRACE ART EXHIBITION OF HE WEIMING 心林 何玮明 为时间 身体和记忆, 并逐一轻缝成 文物, 由一刻转化为永恒 为故事 于 恍 时间 :2014 年 8 月 30 日 -11 月 2 日地点 : 广州红专厂艺术与设计工厂 C1 馆主办 : 红专厂文化艺术机构 Duration: August 30 November 2, 2014 Venue: C1 Gallery, Redtory Art & Design Factory, Guangzhou Organizer: Redtory Culture and Art Organization 惚之间 她展出了不少 编织亲密 及 女 儿香 系列作品 ( 金属衣物系列 ); 而 飘 渺之间 则展示较多线香灼孔绢本作品 当宛若一针一线般密密缝 织织复织织的柔柔心思跟内在省思相踫触, 女艺术家透过作品轻问 慈母 贤妻 在当下知性社会中的意涵 文氏喜欢捕捉虚实之间一体两面 对立并存不悖的一刻和瞬间, 以及自然光影与作品作为 物 间的相互关系, 多呈现宁谧和静止, 深刻和内省, 柔弱又坚韧的内向力量 开幕式中, 红专厂文化艺术机构艺术总监黄丽诗提到 : 吴冠中先生曾讲过, 艺术创作就像怀孕一样, 分娩只能是怀孕的结果 从何玮明的作品来看, 相信他是完完全全地在表达一种最真我的性格 希望大家都能感受到中这种 静穆的伟大 艺术家 哲学家 广州美术学院教授李正天先生在致辞中提到 : 画画的人看展览, 能够看得这么激动实在罕见 我来到这个 MOK Yat-san emphasizes the volume 展厅, 感觉自己好像完全沉浸在一种新的 of sculpture to deal with the physical nature of the lightness between ideology and variability. From his recent works Uncultivated Bound and Desolate Bound, he projects the images of instantaneously changeable water and cloud further, which causes the work to lighten but darken. It is the form of achieving spiritual enjoyment and mental victory that make the audience rethink and reture spirit home. MAN Fung-yi is keen on old costumes, she generally employs her own worn clothing and shoes to signify time, body and memory, then turns into the HERitage. It transfers the fleeting only moment into perpetuity, which makes it a story. Within Falling Into A Trance, she presents a few series of Weaving Intimacy: Body Lines and Girl-land (Metallic clothes series). Yet, In the Midst of Ethereality reveals several silk works through jossstick burning. It pictures the feminine emotion of working day and night to complete every stitch seamlessly although it clashes with her selfreflection. By doing this, artist gently raises the issue What the significance of fond mother and good wife is to today s society? Man Fung-yi likes to capture the minute moments in between two polarities, contrary yet existing simultaneously. In addition to interaction of light and fascinating shadow along with her works, they represent the primal, inner power which lies between tranquility and stillness, profoundness and introspection, softness and toughness. 文凤仪作品 MAN Fung-yi s Works 8 月 30 日下午, 心林 何玮明艺术展 在红专厂 C1 馆开幕, 艺术家 哲学家 广州美术学院教授李正天先生, 艺术评论家 策展人 红专厂艺术顾问皮道坚先生, 广东美术馆馆长罗一平先生, 本次展览学术主持高岭先生等嘉宾共同出席了本次开幕式 雅昌艺术网 中国互联网新闻中心艺术中国等媒体对开幕式表示了关注, 并进行了相关采访报道 展览呈现了艺术家何玮明创作的系列水墨作品, 展现了他近年来在当代水墨艺术中的探索和艺术成就 The Trace Art Exhibition of He Weiming was inaugurated in Redtory C1 Gallery in the afternoon of August 30. Mr. Li Zhengtian (the artist, philosopher and professor of Guangzhou Academy of Fine Arts), Mr. Pi Daojian (the art critic, curator and artistic consultant of Redtory), Mr. Luo Yiping (the curator of Guangdong Museum of Art) and Mr. Gao Ling (the host of exhibition) jointly attended the opening ceremony. The media (including but not limited to Artron Net, China Internet News Center Art China) paid close attention to the opening ceremony and did an interview on scene. The exhibition presented the ink painting works of He Weiming and revealed his exploration in contemporary ink painting art and artistic achievements. 深山之间 NO.3, 365x140(4), 纸本水墨, 2012 Between the deep mountains NO.3, 365x140(4), Ink on paper,2012 境界里面 崇高的单纯, 静穆的伟大 艺术评论家皮道坚先生在开幕式中说到 : 中国水墨画经过近 30 年的发展, 现在又进入到了一个新的阶段 何玮明先生的艺术为我们创造了一种新的境界 新的图式和新的笔墨形体 他的作品很好地把古今东西融合在一起, 他把中国山水画最优的素质和西方风景画最优的素质很好地结合在一起, 为我们创造了一种全新的艺术 广东美术馆馆长罗一平先生为本次展览致辞 : 不管是用当代艺术的眼光, 还是用主流艺术的眼光, 甚至是用文学的眼光来看, 何玮明的作品都能够感动我们 重要的是, 他的作品能让我们明了我们与当

13 第 24 版 Pu s Column 璞时专栏 第 25 版 下这个时代 社会之间的关系 我们一直渴望心灵中那个自然而然的 能让我们驻足的地方 在他的作品里, 犹如一直在梦境中徘徊 游离 寻找, 然而这种梦境又是一种现实 另外, 当我得知何玮明在广州红专厂办个展的时候, 很吃惊, 因为这几年来, 红专厂在艺术领域里, 确实是做得风生水起, 在广东当代艺术领域发挥了非常重要的作用, 我很钦佩 本次展览学术主持高岭先生在致辞中提到 : 何玮明的作品融汇古今中西, 把中国的山水画和西方的风景画互相的融汇和跨越, 借助了西方绘画在色调 明暗关系 形体塑造上的优势, 又充分吸收和传承了中国山水画中的 缠绵悱恻 超旷空灵 来表现视觉透视和主客体关系 他利用灰调子的不同细微变化, 诠释了中国传统艺术中的气韵 开幕式合照 Opening ceremony photo 艺术家何玮明先生表示 : 希望作品的呈现不仅是一个水墨的新样式, 更应该是一种新的文化精神, 一种具有传统文化, 甚至是有宗教支撑的文化精神 Ms. Alice Wong, the art director of Redtory Culture and Art Organization mentioned in the opening ceremony: Mr. Wu Guanzhong said that artistic creation is the same as pregnancy and the delivery is only the result of pregnancy. The works of He Weiming show that he expresses an actual character through and through. I wish everyone may feel the solemn and quiet greatness from the exhibition. Mr. Li Zhengtian, the artist, philosopher and professor of Guangzhou Academy of Fine Arts made a speech: it is rarely seen to be moved by the exhibition as an artist. Upon coming into the exhibition hall, I feel completely immersed in a new realm lofty purity and solemn greatness. Mr. Pi Daojian, the art critic mentioned in the opening ceremony: Chinese ink painting is stepping into a new stage passing through nearly 30 years of development. The art of He Weiming creates a new realm, schema and pen & ink form. His works better blend the ancient and modern elements and combine the best quality of Chinese and Western landscape paintings, creating a new kind of art for us. Mr. Luo Yiping, the curator of Guangdong Museum of Art made a statement in the exhibition: we are touched by the works of He Weiming from the perspectives of contemporary art, mainstream art and literature. It is important that his works make us understand our relations with the modern age and society. We have been always yearning for a quiet place accommodating us. In his works, he always hovers, dissociates and searches as if he were in the dream, while the dream were a reality. In addition, I was amazed when I heard that He Weiming would hold a solo exhibition in Redtory. I admire so much that Redtory sprang up and played a very important role in contemporary art field in the past several years. Mr. Gao Ling, the host of exhibition mentioned in his speech: the works of He Weiming combine the ancient and modern things and Western and Chinese things, as well as Chinese and Western landscape paintings as a whole, draw the advantages from Western painting in hue, light and shade relationship and body molding and fully absorb and inherit sentimental emotions and intangible sceneries in Chinese landscape paintings to express visual perspective and subject-object relationship. He interprets the artistic conception in Chinese traditional art utilizing different and tiny changes in gray tone. Mr. He Weiming expressed that the works are not only a new style in ink paintings, but also a new cultural spirit with support from traditional culture and religion. APPEARANCE PICTURE IMAGE EXHIBITION OF WORKS BY LI QUANMIN 相 像 象 李全民作品展 时间 :2014 年 9 月 27 日 -11 月 2 日地点 : 广州红专厂艺术与设计工厂 F10 栋, 璞时画廊主办 : 璞时画廊 Duration: September 27 November 2, 2014 Venue: Pu's Gallery, F10, Redtory Art & Design Factory, Guangzhou Organizer: Pu's Gallery 9 月 27 日下午, 由广州璞时画廊主办的 相 像 象 李全民作品展 在广州红专厂 F10 艺术馆开幕 此次展览展出了李全民新近的版画作品, 主要包括 面释 书 蚀 和 文意 等系列作品 作品中, 李全民将思想线索抽象为独特的符号, 引发观众对东方美学的深刻思考 除版画作品外, 他还以版画为起点, 将其近期创作的一些充满生活小品意趣的陶艺作品也一同带入展览 Appearance Picture Image Exhibition of Works by Li Quanmin sponsored by Guangzhou Pu's Gallery in Art Gallery, F10 Gallery, Redtory, Guangzhou was inaugurated in the afternoon of September 27. The recent printmaking works of Li Quanmin are exhibited in the exhibition, mainly including Face Interpretation series, Book Erosion series and Text & Significance series. The thinking clues are abstracted as unique symbols in the works of Li Quanmin, resulting in the profound thinking of audience on eastern aesthetics. In addition to printmaking works, he also exhibited the pottery works full of spices in life created recently starting from printmaking., 艺术家李全民正在为观众介绍作品 Li Quanmin is introducing works to the audience on exhibition site 李全民的陶艺作品 Pottery works of Li Quanmin 开幕当天, 艺术家李全民在讲座上分享了他对版画创作的思考 他认为, 现在综合版画的创作不仅是一种技术手段的实践, 更是一种艺术创作思维的方法, 在版画创作过程中, 有大量时间是在预见 想象 规划 统筹, 这些东西贯穿在版画创作的每个环节中, 训练了创作者思维方式的辩证性 严谨性 条理性和丰富性 对于李全民而言, 综合版画创作是跨界的实践, 热爱音箱设备和收藏古董的他, 将生活中的电路板和铜钱图式化, 但同时, 又摒弃了单纯呈现生活表象的意义 在李全民的作品中, 处处蕴含古代哲学思考 Li Quanmin shared his thinking on printmaking creation in the lecture on opening day. He holds that the creation of modern integrated printing is not only a practice of technical means, but also a method of creative thinking. During the creation process of printing, a plenty of time is spent on foresight, image, planning and coordination. Such things penetrate each creation link of printmaking and train the dialectics, preciseness, orderliness and richness of thinking mode of creators. In the opinion of Li Quanmin, the creation of integrated printmaking is a trans-boundary practice. As a devotee in speaker equipment and collecting antiques, he often schematizes the circuit board and coins in daily life, whilst abandoning the significance in purely presenting the appearance of life. The ancient philosophy thoughts are contained in the works of Li Quanmin.

14 第 26 版 INDIVIDUAL EXHIBITION FOCUS 国际视界 第 27 版 FREE STATE ZHANG SUIYANG ARTWORKS EXHIBITION: INDIFFERENCE AND TRANQUILITY IN BOTTLE 本次展览策展人樊林评价张穗扬的作品时说, 在这个系列中, 天地 人是主要的形象, 被一个透明的玻璃器皿彼此隔绝 每一个画面都由这样的基本元素构成, 色彩被统一到淡绿的明暗变化环境中 璞时画廊总监蔡智颖小姐在开幕式上表示 : 逍遥界 张穗扬作品展 是璞时画廊为艺术家在最具艺术创造力的阶段举 Black Birds Solo Exhibition of Israeli Artist Avital Cnaani 黑鸟 以色列艺术家阿薇塔 迦南倪个展 时间 :2015 年 3 月 26 日 - 5 月 24 日地点 : 广州红专厂当代艺术馆 (RMCA)2 号馆主办 : 以色列驻广州总领事馆 红专厂文化艺术机构 Duration: From March 26, 2015 to May 24, 2015 Venue: Hall 2, Guangzhou Redtory Museum of Contemporary Art Organizers: Consulate General of Israel in Guangzhou, Redtory Culture & Art Organization 办的展览 同时画廊也致力于为具有实 验精神的艺术家提供作品展示交流的机 会, 以丰富的艺术品的推广经验牵动当代艺术收藏, 普及艺术品消费的生活模式 以色列艺术家阿薇塔 迦南倪 Israeli Artist Avital Cnaani 时间 :2014 年 11 月 22 日 - 12 月 28 日地点 : 广州红专厂艺术与设计工厂 F10 栋, 璞时画廊主办 : 璞时画廊 Duration: September 27 November 2, 2014 Venue: Pu's Gallery, F10, Redtory Art & Design Factory Guangzhou Organizer: Pu's Gallery 艺术家张穗扬在开幕式上发言 The artist Zhang Suiyang is making a statement in the opening ceremony 11 月 22 日, 逍遥界 张穗扬作品展在红专厂 F10 璞时画廊开幕 本次展览由广州美术学院教授樊林策展, 展览展出了张穗扬近两年创作的 Prajna 系列油画 版画以及装置影像作品 Free State Zhang Suiyang Artworks Exhibition was inaugurated in F10 Pu s Gallery of Redtory on November 22. The exhibition is curated by Professor Fan Lin from Guangzhou Academy of Fine Arts. Prajna series of oil paintings, printmakings and device videos created in recent two years were exhibited in the exhibition. Fan Lin, the curator said when evaluating the works of Zhang Suiyang, the world and people are the main images in the series, which are separated by a piece of transparent glassware. Each frame is constituted by these basic elements and the color is unified to an environment of light green where chiaroscuro is changing. Ms. Cai Zhiying, the director of Pu s Gallery expressed in the ceremony: Free State-Zhang Suiyang Artworks Exhibition is the exhibition held by Pu s Gallery for the artist in the stage with most artistic creativity. In the meanwhile, the gallery is also dedicated to offer an opportunity for work manifestation and exchange to the artists with experimental spirit so as to affect contemporary art collection and popularize the living patter featuring consumption of art works with its abundant promotion experience of art works. 3 月 22 日, 由以色列驻广州总领事馆及红专厂文化艺术机构主办, 以色列艺术家阿薇塔 迦南倪的个人作品展 黑鸟 于红专厂当代艺术馆 2 号馆开幕 在开幕式当天的艺术对谈活动中, 策展人雅尼夫 沙比拉 Yaniv Shapira 认为阿薇塔作品的形式巧妙地结合了雕塑和绘画两种媒介, 将画装裱在木板上, 它就成为雕塑的一部分 另一方面, 用塑料面板做成的雕塑, 具有雕塑感的同时也具有绘画里的线条和形式感 像黑鸟的这个绘画作品, 被放到地上展示, 如果通过观看和触摸等方式, 也能获得一种雕塑感 On March 22, sponsored by Consulate General of Israel in Guangzhou and Redtory Culture & Art Organization, Israeli Artist Avital Cnaani s Solo Exhibition Black Birds was launched at Hall 2, Guangzhou Redtory Museum of Contemporary Art. In the intraday Artistic Dialogue of Opening Ceremony, Curator Yaniv Shapira deemed that Avital s works tacitly integrated two media of sculpture and painting. If a painting is mounted on a plank, it will become a part of sculpture. On the other hand, the sculpture made of plastic panel is concurrently equipped with a sense of sculpture, a sense of lines and forms in painting. As to the painting work Black Birds, if it is displayed horizontally on the floor, a sense of sculpture will also be achieved through appreciation, touching and other methods. Avital Cnaani 雕塑作品 Date Tree, Formica, 200*60*60, 2008 Prajna 系列作品 "Prajna" series of works

15 第 28 版 INDIVIDUAL EXHIBITION FOCUS 国际视界 第 29 版 阿薇塔经常会以女人的名字来命名作品, 并且会以这个女人的头发或者意向来进行创作 她说, 一开始她是想做一个关于女人头发的雕塑, 但呈现出来之后更多的是一个动物的形态 阿薇塔的作品是从人体衍生出来的产物, 它们塑成原始动物, 磨破的土地, 起伏的植被, 其主体形状逃出他们的各种图像 使用 PARADISE LOST PERSONAL PHOTOGRAPHIC EXHIBITION OF CHRISTIAN HOUGE 的材料, 如木屑, 泥土和皱巴巴的福米卡塑料面板, 作品都在模仿被丢弃的生命体, 软绵绵地挂在墙上或激动的在地板上休息, 失乐园 Christian Houge 个人摄影展 充满痛苦, 恐惧和无力的 从雕塑中描述出来的自然规律都是被击败的 这是赤裸裸的揭示, 平躺在地板上或墙上 通过减少它的基本形状, 活生生地脱离它原本的存在从而作为一个典型的整体 时间 :2014 年 12 月 14 日 2015 年 2 月 15 日地点 : 广州红专厂艺术与设计工厂 E7 馆主办 : 红专厂文化艺术机构协办 : 岛之风文化合作支持机构 : 挪威驻广州总领事馆 康颂相纸 Duration: December 14, 2014 February 15, 2015 Venue: E7 Gallery, Redtory Art & Design Factory, Guangzhou Organizer: Redtory Culture and Art Organization Co-organizer: Wind of Island Cultural Cooperation Supporting organizations: Norway Consulate General in Guangzhou, Canson Infinity 黑鸟, 展示的是一个生命与死亡之间的界限, 给人的感觉相对来 说会比较沉重 跟印象中的鸟在天上飞翔所展现出来的生命力会 形成很强烈的对比 作品目的是提出有关事物与其周边环境之间 的, 而对阿薇塔而言, 黑鸟代表着野生动物与自然之间, 人与动 物之间以及驯养的与野生之间关系的相关性意识形态问题 Avital often names her artistic works with women s names. In addition, she will also utilize this woman s hair or intention to undertake creations. She said, she initially intended to make a sculpture on woman s hair, while more manifestations of an animal s shape were achieved. Avital said her works are derived from the human body, they form images of primordial animals, pieces of frayed land, vegetation that climbs and falls, heads whose shape escaped them. Using materials such as wood chips, clay and rumpled Formica, her sculptures are imitating discarded living bodies, hanging limply on the wall or resting agitatedly on the floor - thorny, frightening and overpowering. The nature described in the sculptures is defeated. It is revealed in its nakedness, laid horizontally on the floor or on the wall. It is reduced to its basic shapes, animatedly striped down of its original being ad transformed to a standard entirety. The painting work Black Birds manifests a demarcation between life and death and bring a relatively heavy-hearted feeling to people, which will form a sharp contrast with the vitality manifested by birds flying in the sky in the previous impression. The aim of the painting is to come up with relevant ideology issues on relevant objects and their surrounding environment. In Avital s opinion, the painting work Black Birds represents relevant ideology issues in relationships between wild animals and nature, human beings and animals as well as domesticated animals and wild animals. Christian Houge 摄影作品 Christian Houge s photography works 失乐园 Christian Houge 个人摄影展 于 12 月 14 日在广州红专厂 Christian Houge 是一名享誉国际的挪 艺术区 E7 展馆开幕 展览展出了挪威艺术家 Christian Houge 2000 年 威美术摄影师 在过去的二十年里, 他一 至 2014 年的摄影及影像作品, 包括 北极科技与末日粮仓 直通过多种角度探索自然与人文的关系 巴伦支堡 内在的阴影 熊熊燃烧的黑 无论是在人迹稀少的挪威斯瓦尔巴群岛, 暗 四个系列 本次展览是 Christian Houge 在中国的首次 以审视的态度, 记录群岛上科技景观与原 个人展, 他非常高兴有机会与中国观众共享他过去十五年间的作品, 并希望观 始环境的反差 ; 还是十四次拜访俄罗斯采 者能在他充满浪漫主义的景观图像中, 感受到我们所处世界的奇妙和恐惧, 矿城, 将自然与人文的矛盾, 定格在白雪 反思人类科技发展的后果 黑煤的颓废景象中 ; 或是亲身体验与狼相 研讨会现场 Academic dialogue site Paradise Lost Personal Photographic Exhibition of Christian Houge was inaugurated in E7 Gallery, Redtory Art & Design Factory on December 14. The photographic and video works of Christian Houge (an artist in Norway) from 2000 to 2014 were exhibited in the exhibition, including four series North Pole Science and Technology & Svalbard International Seed Vault , Barentsburg , inherent shadow and "blazing darkness The exhibition is the first personal exhibition of Christian Houge in China. He is pleased to share the works in past 15 years with Chinese audiences and hopes the appreciators may feel the wonders and fears in the world and reflect the consequences of scientific and technical development of 宿相栖的生活, 打破自然与人类的边界, 在原始自然中寻求出这两者的共鸣之处 回看 Christian Houge 整个系列的创作过程, 与其说他是一个摄影师, 不如说他是一个行为艺术家, 用身体亲昵自然, 用内心感悟人文 大尺寸全景式的摄影形式, 寂静得几乎穿透心魂的构图表达,Christian Houge 的 human from the landscape images filled with romanticism. 作品传递出一种令人畏惧的无物感 然而, 在这些渗透着沉默感和宁静感的图像中,