拼贴：玩纸牌的人 | Collage : The Card Players

展览时间 Date: 2017年4月1日 - 6月3日 | 1st April - 3rd June,2017

地点 Venue : 沪申画廊 | Shanghai Gallery of Art

策展人Curator : Xⁿ OFFICE

艺术家 | THE Artists

陈彧君，高磊，郭鸿蔚，杨·罗威斯，林科，刘月，马灵丽，倪有鱼，权五祥，尚一心，塔尔·R，尹秀珍，徐累，吴笛，姚朋，庄辉

策展理念 | THE CONCEPT

Sometime in 1912, Braque, the Cubist pioneer, walked into a wallpaper shop. He bought some wood grain wallpaper, cut it, and pasted the fragments on canvas. Greatly amazed by the interesting tension created by the texture of the wallpaper, the wood grain, and the optic illusion of the painting, he took what was later to be titled “Fruit Dish and Glass” to Picasso. “That’s exactly what I was looking for!” exclaimed Picasso.

This large drawing pasted with wallpaper actually inaugurated a brand new way of art creation, called “papier collé” (meaning pasting paper). During the 1910s, the European art world found its artists adopting this technique in their works immediately after their visits to Braque’s and Picasso’s studios in Paris. From montage to assemblage, collage extended from paper pasting to photography, film, and installation until it became a common denominator in all art media. Collage is a fundamental part of Western modern art, but the practice of overlapping and combining ready elements to form something new is never alien to non-western cultures.

This exhibition is devoted to a number of collages by altogether 18 artists from China, South Korea and Europe. Among these artists are Jan Lauwers, winner of the Golden Lion Lifetime Achievement Award at the Venice Biennale in 2014; Tal R, an outstanding Danish artist; Osang Gwon, a South Korean artist well known for photo-sculptures. Also, it will be the debut of Yin Xiuzhen’s “TVT Rocket”, a large installation made for the International Biennial of Contemporary Chinese Art Montpellier-China. Also, Xu Lei’s superimposition collage, Hong Hao’s collage of articles of daily consumption and Xu Bing’s collage of installation and collage based on classic manuals of paintings are all worthy taking a look at.

This exhibition also offers new insights into collage by extending from two-dimension to space, light and shadow, virtual field or even conceptualization. Ni Youyu and Guo Hongwei make collages of old photos or printed images respectively; Yao Peng changes the way of looking by connecting the image with semantics; Chen Yujun mixes together collages and paintings to describe mental images and the unknown world; Shang Yixin and Ma Lingli are skillful artists who build bridges from different perspectives to capture the changes in the patterns of shadows, the lights and darkness; Wu Di, however, did her collage with varied media achieved through a surprisingly complex process; Gao Lei’s collages also go beyond the planar dimension and the spatial dimension, the emotion and function; Liu Yue works on the mild force between rejected materials to form a space collage in the exhibition hall; Lin Ke’s collage can only survive in the virtual world, while Zhuang Hui realizes his conceptual collage with action, the process of making and photos.

Our life is flooded with fragmentary experiences, images, information from different areas and categories. In the mundane world, when artists make art, they are like players of cards who keep shuffling the visual and perceptual “cards” they received randomly and passively, which become their source of inspiration.

Collage underlies the dazzling movements and declarations in art and revolutionizes artists’ cognition and way of thinking. Consciously or unconsciously, the Chinese artists in this exhibition all connect themselves with this trend in modern art while keeping their cultural genes and the traces of this era. This exhibition juxtaposes collage works from Europe and those from contemporary Asia, as well as artists of different age groups using different media. In this way, we can compare and contrast two arts and cultures through “linguistic typological analysis” of collage to unveil the essence of ‘Art’.

1912年的某月，立体派先驱勃拉克（Braque）走进一家卖墙纸的店，买了一卷模仿木纹的墙纸回工作室，剪下来贴在画布上。他惊讶的发现墙纸的质感、仿真木纹与绘画的视错觉之间形成有趣的张力。勃拉克拿这幅《水果盘和酒杯》给毕加索（Picasso）看，毕加索立即惊叹道,“这也是我一直在寻找的！”。

这张贴了墙纸的画开启了一种全新的创作方法，被称之为“papier collé” (原意：黏贴纸张)。1910年代到访巴黎，探访过勃拉克和毕加索工作室的艺术家们都旋即开始使用这种方式创作。逐渐出现 “montage”（蒙太奇），“assemblage”（集合物），拼贴从纸张黏贴扩展到摄影、影像、装置，以至最终成为所有艺术媒介的创作者的日常。

抛开西方艺术视角，实质上将现成元素交叉组合、转化为新事物的逻辑，也根植于许多非西方文化中。

在这次展览中，我们将呈现18位中国、韩国、欧洲艺术家的拼贴作品。其中包含获得2014年威尼斯金狮奖的剧场艺术家杨•罗威斯（Jan Lauwers），丹麦最出色的艺术家之一塔尔•R(Tal R)，以摄影-雕塑著名的韩国艺术家权五祥；还将首次呈现尹秀珍为蒙皮利埃双年展所做的大型装置作品《TVT-火箭》，徐累的重影拼贴，洪浩的日常消费品拼贴以及徐冰分别利用杂物和现成图像元素实践的装置与平面拼贴。

展览还将跨越人们对拼贴的常规认知，从平面延展至空间、光影、虚拟场域甚至概念化。倪有鱼、郭鸿蔚分别使用老照片/现成图片制作了两组摄影拼贴；姚朋则将图像与文字语义交错，改变观看；陈彧君融合拼贴与绘画，描摹心像与未知；尚一心、马灵丽从不同的角度巧妙桥接图像、物体的明暗与光影；吴笛以极其繁复的过程，以多种媒介组成作品；高磊的拼贴同时跨越平面和空间，情绪与功能；刘月利用废弃物之间微弱的作用力，在展厅中构成空间拼贴；林科所做的拼贴仅存在于虚拟世界中；而庄辉则用行为、过程和摄影图像实现一幅存在于时空交错之中的概念性拼贴。

今天的生活充满极其碎片化的体验，充斥着来自不同地区、类型的图像和信息，人们就生活在现实的拼贴之中。艺术家就像玩纸牌的人，随机抽到一手来自视觉与知觉体验的“纸牌”，他们不断重组“纸牌”，使之成为创作的来源。

在20世纪令人眼花缭乱的艺术运动与宣言背后，拼贴以颠覆性的方式改变了创作者的认知和思维方式。展览中的中国艺术家，每一位都从不同的角度有意识或无意识的与这一条现代艺术的脉络相接融，同时也携有根深蒂固的文化基因和当下时代的影子。我们在这个展览中将欧洲拼贴作品和亚洲当代的拼贴作品并置，将不同年龄、使用不同媒介的艺术家作品并置，旨在通过对拼贴的“语言类型学研究”，观察两种艺术和文化根本上的异同，以求触及艺术的本质。

现场图片 | Installation View