当前展览
CURRENT EXHIBITIONS

广场-张大力个展
Square-Zhang Dali

策展人:俞可
Curator : Yu Ke
开幕时间:2014-07-26
Opening:2014-07-26
展览时间:2014-07-26-2014-08-31
Exhibition time:2014-07-26-2014-08-31
参展艺术家:
张大力
Artists:
Zhang Dali

诠释
Interpretation

张大力用了近四年时间折腾出《广场》这一最新创作,不但再次更新了他对“现实主义”这个关键词的理解,而且他用了一种社会学的角度涉及到每个人赖以生存的公共空间,尖锐地表达了自己的看法,“广场”正是用互动的方式与展览的观看者就这一命题展开讨论。
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张大力用了近四年时间折腾出《广场》这一最新创作,不但再次更新了他对“现实主义”这个关键词的理解,而且他用了一种社会学的角度涉及到每个人赖以生存的公共空间,尖锐地表达了自己的看法,“广场”正是用互动的方式与展览的观看者就这一命题展开讨论。 透过《广场》这个重新设计的虚拟现场,张大力的目的是将艺术当作社会的催化剂,并希望以此来推动社会的变革。而这个公共性的话题,也正好对应了张大力就中国现实主义艺术所进行的长期研究,也是他对今天意识形态所做出的迅速反映。“现实主义”——这个在中国当代艺术中反复出现的单词,对每个中国人而言并不十分陌生,从十九世纪法国的库尔贝、杜米埃,俄罗斯的巡回画派到意大利的社会现实主义,以及产生于中国本土的伤痕艺术、魔幻现实主义、玩世现实主义和今天张大力所代表的极端现实主义。这不仅仅只是一个线性的文化逻辑,它也再次证明了艺术与社会之间必须存在的联系,也反映出当代艺术在文化改良过程中持有的真实性。很长一段时间以来,中国文化陷入一种悲观世界的认识论中——消解文化、追求享乐、描述失败,艺术使我们感受到人类不完善的一面。张大力正是对这一文化现象表示出怀疑,并以积极的视角对这一现象做出另一种诠释。 由此,艺术家才有意将他的展览放置于大洋彼岸的两个完全不同的城市:成都与纽约,以一种比较的方式来重新评估当代艺术必须承担的社会责任,并强调出每个生存在这个世界的人们,应该遵循共同价值观,并希望通过当代艺术中的自由观念来摒弃“权力”这个无所不在的幽灵。 展览中所呈现的装置、平面作品正是创作主题所涉及的象征内容的具体实施。如果我们把他的绘画作为思想的窗户,把雕塑中的人群当作社会对个人的束缚,而把冰激凌状的黑白色寓意某种极端的事物。那么即将飞翔的鸽子所带来的隐喻是不言而喻的。所以,我们才会因“广场”而在这里聚合,并与艺术家一道完成我们生活中,关于民主、关于自由的想象……

Zhang Dali spent nearly four years of hard work on producing his latest creation "Square".
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Zhang Dali spent nearly four years of hard work on producing his latest creation "Square". With this new work, he not only once again renewed his interpretation of "Realism", but also examines the public space on which everyone relies on for survival through a sociological lens and expresses his sharp point of view. Precisely by employing an interactive approach, "Square" opens a discussion with the viewers about this proposition. Through the virtual scene redesigned in "Square," Zhang Dali's aim is to use art as a catalyst of society and thus promote social transformation. This public-concerning topic also relates to Zhang Dali’s long-term study of Chinese realist art and it is his prompt response to today’s ideology. "Realism", a recurring word in Chinese contemporary art, shouldn’t in fact sound unfamiliar to the Chinese, being influenced by nineteenth-century French artists Courbet and Daumier, Russian Peredvizhniki and Italian Social Realism, as well as Chinese local art genres, such as “Scar” Art, Magic Realism, Cynical Realism and today’s Extreme Realism represented by Zhang Dali. This is not just a linear progression in a cultural logic, but proof of the inevitable links between art and society, and also a reflection of the authenticity that exists in contemporary art’s reformation process. For a long time, Chinese culture fell into an epistemology of pessimism, focused on culture’s consumption, pursuing pleasure and describing failure; art makes us recognize the imperfection of humanity. Zhang Dali expresses his suspicion towards this cultural phenomenon, and from the perspective of an artist, he presents a different interpretation of this phenomenon. Therefore, the artist intentionally places his exhibition in two completely different cities across the ocean: Chengdu and New York; by comparison he re-evaluates the social responsibility of contemporary art and emphasizes common values that people living in this world should hold. With the concept of freedom in art, we should abandon power as a ghost affecting people's normal lives. The installation and graphic design are the implementation of this symbolic content. If we see the blue photogram painting as windows, the crowds among sculptures as our shackles with each other in social relationships, and the ice cream-like black-and-white statues as symbols of some kind of extreme being, the implicit meaning brought by the doves is self-evident. In this sense, the “square” is the reason why we convene here, and together with the artist we fulfill in our own lives the ideal of democracy and freedom...

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