展览名称：异型

Exhibition: Anomalies

 

艺术家：曾浩

Artist: Zeng hao

 

展览策划：长风

Planned by Chang feng 

   

主办单位：北艺塘美术馆

Organized by Bei Yi Tang Art Gallery

    

 开幕时间：2023年6月10日下午4:00

Opening reception: June. 10, 2023,4pm

  

展期：2023年6月10日-6月24日

Duration: June.10,2023-June.24,2023

  

地点：北京通州区宋庄小堡北塘艺术区

Address: Beitang ArtZone, Xiaopu, Songzhuang, 

Tongzhou District, Beijing   

 

 

 

异 型 世 界

 

文/长风

 

       千百年来绘画一直是平面的，只有长和宽的尺寸限制，所谓的高度或深度也只是平面上明暗和透视手法的“虚拟”空间，而没有真正意义上的“深度”。艺术家曾浩的近期的作品，通过对绘画的“画框”和“画布”改造，使其周围由方而转圆，由平面转为立体。打破了以往矩形绘画空间的限制，使其绘画从传统的画框、边缘和隔断等元素中分割出来，具有连接性和向外的扩展性,成为一种独立的多维空间。

 

       这种使绘画由二维平面转换为三维的立体状态,早在文艺复兴前后就有先例，为了适合教堂的建筑布局就出现了各种异型的边框特征。上世纪50—60年代，在抽象艺术的领域中，“异型画布”更显得具有立体的三维空间。与以往不同，曾浩首先打破了早期作品强调的平面性，对二维空间如何转变为三维空间甚至于多维空间做了深入的探究，试想在雕塑与绘画之间建立起独特的艺术实践，从而采用了新的外形和构造。其次他运用了以前“泡影”的观念符号，把绘画外框切割为圆形或半圆的“泡泡”的形状，使画面外部呈现出不断膨胀、上升和扩张的状态，而内部却在不断紧缩、孕育或稍纵即逝的幻灭状态。尤其他运用画笔和喷笔相结合的手法，光鲜亮丽又精细入微，使其整个绘画既有平面上明暗和透视技术的“虚幻”空间，又有立体的再造的多维空间，两者巧妙的结合，完全打破了一般的透视规律，突出了以光影、时间、空间及运动为对象的移动形态。

      无疑曾浩给我们展示了一种异化的虚拟世界。那些泡沫如同一个个原子、离子或微尘，在相互的作用下，产生了互动性、联结性和转变性，构成一种有边而无限的宇宙空间。他所描绘的人和物如同在浩瀚的宇宙中时空穿梭，让光与影、真实与虚幻构建出无穷的想象力。向观众传达了一种关于人类、自然与未来世界的哲学思维和大胆猜想。

 

Anomalies World

 

Text / Chang Feng

 

Over the past thousands of years, painting had always been planar, with only the dimensional restrictions of length and width. The so-called height or depth was only the “virtual” space of light and shade and perspective on the plane, but there was no real “depth”. In the recent works of artist Zeng Hao, through the transformation of the “painting frame” and “canvas” of the painting, the surroundings of the paintings turn from square to round, and from plane to three-dimension, which smashed the limitation of the previous rectangular painting space, so the paintings could be separated from the traditional painting elements, such as: painting frame, edge and partition, to possess the connectivity and outward expansibility and become an independent multi-dimensional space.

 

This transformation of painting from a two-dimensional plane to a three-dimensional state had the precedents as early as in the Renaissance. In order to adapt to the architectural layout of the church, various special-shaped frame features appeared. From 1950s to 1960s, in the field of abstract art, “special-shaped canvas” appeared to have three-dimensional space. Different from the past, Zeng Hao first broke the flatness emphasized in the early works, made an in-depth exploration on how to transform two-dimensional space into three-dimensional space or even multi-dimensional space, and he tried to establish a unique artistic practice between sculpture and painting, so as to adopt a new shape and structure. Secondly, he used the previous concept symbol of “bubble” to cut the outer painting frame into the circular or semi-circular “bubble” shape, which makes the outside of the picture show a state of continuous inflation, rise and expansion, while the inside is in the  continuous contraction, gestation or fleeting disillusionment state. In particular, his combination technique of brush and spray pen is so bright, pretty and delicate, so that the whole painting has not only the “illusory” space of light and shade on the plane and perspective technology, but also the three-dimensional reconstructed multi-dimensional space. The ingenious combination of the two completely breaks the general the laws of perspective and highlights the moving form with light and shadow, time, space and motion as the object.

Undoubtedly, Zeng Hao demonstrated a heteromorphic virtual world for us. Those bubbles, like atoms, ions or dusts, interact, connect and transform under the interaction of each other, forming an infinite space with edges. The people and things that he depicts seem to be shuttling through time and space in the vast universe, allowing light and shadow, reality and illusion to build infinite imagination. He conveyed a kind of philosophical thinking and bold conjecture about human beings, nature and the future world to the audience.

 

关  于  策  展  人

 

长     风

Chang feng

长风(原名张建俊)  1971 年生于陕西蒲城，1996年毕业于西安美院，现居北京。艺术家、评论家和策展人。曾担任食天下当代美术馆馆长，北京怡盛空间艺术总监。二十年来策划过百场艺术展览，通过大量的策展经验所呈现的主题方式，致力于“空间、时间、 运动、声音和光的艺术视觉和图像学研究。

 

关 于 艺 术 家

曾 浩

1967  生于泸州

1985  毕业于四川宜宾师范艺体校美术专业

1992  毕业于四川美术学院 

              获学士学位

             2000  毕业于首都师范大学

              美术学院   获硕士学位

             现居北京

 

主·要·个·展

 

2023  异型-五件作品，北艺塘美术馆，中国

2022  飞跃太空-曾浩个展,海美术馆,中国 

2022  未来世,肇庆美术,肇庆,中国 

2021  幻像之相,祥山艺术馆,深圳,中国

2017  烟波微茫呈幻象,雅博艺廊,纽约,美国

2015 “静月所指”曾浩作品2008-2013,喜玛拉雅美术馆,证大当代艺术空间,上海,中国

2015  持续幻想,今日美术馆,北京,中国

2015  泡影,元典美术馆,北京,中国

2008  守护神,阿姆斯特丹,荷兰

1994  曾浩油画作品展,端州图书馆,肇庆,中国