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“往里看”——杨茂源个展
艺术家： 杨茂源
策展人： Wolf-Guenter Thiel（德国）
主办方/展馆： 上海东大名创库
展览日期： 2006年9月1日——10月8日
开幕酒会： 2006年9月1日周五20:00
门票： 免费
杨茂源毫无疑问是当代中国最为重要的雕塑艺术家。他的作品曾参加过众多国际艺术展览，07年还将在欧洲各地举行一系列个展。正值06年第六届上海双年展之际，东大名创库将再次展出他的作品。这是一次艺术家与东大名创库的长期合作计划，而这个计划始于四年前东大名创库的“下雨又逢漏水”艺术展。同时，由彼岸艺术与东大名创库合作的艺术家画册也将在此次展览期间推出。
杨茂源与他的其他艺术同辈们不同，他既没有选择文化大革命作为创作题材，也没有去做一种对当代生活、时尚的社会学观察或批评；而是将中国文化与哲学的历史遗存作为他创作来源。真正令他感兴趣的是精神力量以及精神力量的传播。所有的态度，无论是道德的、现实的、情感的还是宗教的，都是出于意识的“客体”——我们所相信与我们共存的客体，无论是真实存在还是在理想之中。那些马以及羊都是对应于人、物或者概念的原型——理想化的模式，从中发源出各种相近的形态，并被复制、模式化或仿造。在心理学中，原型代表了一类人、一种个性或是特定的行为方式，它通过其本身与当代社会所形成的反差来凸显其独特性。马与羊的系列作品就是通过与其他当代艺术作品的差异来呈现其独特的。
在中国的艺术学院中临摹名作或石膏像是一个基础，杨茂源将这一中国艺术教育的规范作为他的大理石雕塑的出发点，通过打磨、抛光棱角、将其圆滑来修改原型，同时也去除了欧洲哲学与强势态度——圆形是完美的，而棱角却不是。这种工作方式的基础改变了原本的形态，并利用中国哲学对于美、和谐的观念将雕塑打磨圆滑来表现相反的文化态度。这种相反的文化态度既是对复制西方雕塑这样一种教育方式的批评，同时也是对西方关于美的原型的强势美学观念的对抗。
杨茂源最新的作品是一些人形的抽象绘画，这些绘画会让我们联想到毕加索在上世纪20年代所发展新古典主义风格。这些作品的基础是一些躺在海滩上的女孩的照片，并将其修改并变形为人的金字塔，而金字塔的形状是长期风蚀或水蚀的结果。这是关于沙漠经验的主题，同时也是人类面对自然力量的所表现出的自身能量。金字塔代表了一种古老的经验，同时也是人类面对自然侵蚀这类自然能量的源泉。此外金字塔代表着埃及、苏丹法老的最高声望或特权，也同样是墨西哥的祭祀场所。将这样的想法投射在画布上改变对于绘画的观点，建造一座金字塔也许是对死亡的隐喻，同时也是一种很高的声望。
上海东大名创库
上海市东大名路713号3楼 邮编：200080
电话：+86 21 3501 3212 传真：+86 21 3501 3340
开放时间：周二至周日(免费) 11:00-19:00
www.ddmwarehouse.org
info@ddmwarehouse.org
东大名创库交通指示：13、19、25、37、921、922、868、875路汽车及22路电车至高阳路站
"LOOK INSIDE" Yang Maoyuan Solo Show
Artist: Yang Maoyuan
Curator: Wolf-Guenter Thiel (Germany)
Organiser/Venue: ddmwarehouse
Exhibition Dates: Sep. 1st – Oct. 8th, 2006
Opening: 8 pm Sep. 1st, 2006 (Fri.)
Entry: Free
Yang Maoyuan is unquestionable one of the most important sculptors working in China today. His work has been shown in numerous international shows and will be shown in representative one-person-shows 2007 in different cities all over Europe. DDM is showing his work at the occasion for the 6th Shanghai Biennale 2006. This show is expression of a long term collaboration between the artist and DDM-Warehouse and started with the show “When It Rains It Pours” four years ago. At this occasion and the upcoming shows a book will be published by Other Shore arts in cooperation with DDM warehouse.
Yang Maoyuan chooses differently from nearly all of his artistic collegues neither the Culture revolution, nor sociological observations of contemporary fashions or styles as his artistic source. His benchmark is the history of Chinese culture and the veritable relicts of Chinese philosophy. He is interested in the spiritual and mental power and how to transmit this power. All attitudes, moral, practical, or emotional, as well as religious, are due to the 'objects' of consciousness, the things which we believe to exist, whether really or ideally, along with ourselves. The horse, the sheep and the goat are archetypes, idealized models of persons, objects, or concepts from which similar instances are derived, copied, patterned, or emulated. In psychology, an archetype is a model of a person, personality or behaviour. It stands out as original by their contrast against contemporary society by nature. The horse, the sheep and the goat as artworks stand out as original by their contrast against other contemporary artworks.
In Chinese Academies it is a must to copy masterpieces and draw and sculpt from clay copies. Yang Maoyuan takes this today paradigm of chinese artist education as a starting point for his marble sculptures and modifies the prototypes by rounding the sculptures and grinding and polishing the edges, synonym for european philosophy and power attitudes away. The round is the perfect and not the edge. This as the base of the working process transformes the prototype and shows the counter culture attitude by rounding the sculptures with the chinese philosophy of beauty and harmony. The counter culture attitude is both critical towards the education methods of copying western sculptures as well as the western idea of power aestehtics as prototypes of beauty.
The most recent work of Yang Maoyuan are paintings which show abstract figures of humans, which might lead us to paintings of Picasso of the 20ies of the last century in which he cultivated a neo-classicistic style. The base for this work are photos of girls laying on an beach which are then modified and transformed into human pyramides. The form of the pyramide is the result of a long term process of erosion through wind and water. So we have the topic of desert experience, but also human power and the confrontation with nature power. The pyramide represents an archaic experience and source for how to face nature power in terms of nature powers like erosion. It also is very interesting that we know that pyramides were of highest prestige and reserved for the emperors of Aegypt or Sudan or reserved for cultic venues like the ones in Mexico. To project this idea on the paintings changes the perspective towards the paintings. To build a pyramide with a body could be a metaphor for death, but also for high prestige.
ddmwarehouse
713 Dong Daming Rd. 3F Shanghai, China 200080
Tel: +86 21 3501 3212 Fax: +86 21 3501 3340
Opening Hours: 11:00-19:00 Tues.-Sun. (no fee)
www.ddmwarehouse.org
info@ddmwarehouse.org
Bus Lines(ddm)：13,19,25,33,37,921,922,868,875 to Gao Yang Rd.
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发表于 2006-9-9 05:13:31