"On a Daily basis -- Tan Xun and Shen Liyi's Works Exhibition" will open at 2:00 PM, April 30, 2018, in the "West Lake, Landscape, Culture -- Art Gallery" of Huanglong Hotel, Hangzhou. This is the 57th exhibition held by Hanyang Art Center in the gallery of Huanglong Hotel.
Tan Xun and Shen Liyi are the representative sculptors in the field of contemporary sculpture. Their works are all related to the transformation between media and physical nature, form and concept, and the effectiveness of their ideas is mostly due to the excavation of "everyday things". Both from the "daily", and beyond the "daily". Among the numerous similarities, there is another characteristic that needs to be emphasized, that is, the two artists' exploration of the aesthetic experience of traditional and Oriental culture.
A total of 12 works by the two artists are displayed in this exhibition, which is also in the form of "dialogue". The extension will last until June 30, 2018.
Above the daily
Modernism sculpture has two important dimensions in aesthetics. One is the transfer from "meaningful form" to internal structure, that is, the development from "sculpture as a shape" to "sculpture as a structure". The core aesthetic appeal is "form self-discipline". Another dimension of meaning lies in exploring the aesthetic, cultural and social significance of materials based on their physical properties. In terms of the treatment of "materiality", there are essentially two important creative paths. One is that with the evolution of late modernism sculpture to minimalism in the 1960s, the media in the sense of modernism was gradually replaced by the objecthood of objects. The other is Duchamp's "Dada", although its purpose is "anti-art", but objectively gives the ready-made with legitimacy. These two paths, which reached the same conclusion in the late 1960s, have the greatest value in bridging the gap between modernist art and life. In other words, the "everyday thing" becomes a gateway between art and reality. The appearance of "everyday" value also indicates the decline of modernism creation and aesthetic paradigm.
Tan Xun and Shen Liyi are the representative sculptors in the field of contemporary sculpture. Their works are all related to the transformation between media and physical nature, form and concept, and the effectiveness of their ideas is mostly due to the excavation of "everyday things". "Disposable Paper Cups" comes from the abandoned disposable paper cups. However, time is the creator of these traces. The fading of residual tea and the fusion, infiltration and interweaving of tea juice make the soaked paper cups of aesthetic significance due to accident and uncertainty. Tan Xun's creation not only changes the daily state of paper cups, but also puts them into a new visual mechanism, so that these original filthy and residual traces can be scattered with aesthetic meaning in the audience's "gaze". In the Series of works of Li Mingzhuang Project, the artist, on the one hand, excavates the "Chinese experience" hidden behind these everyday objects; on the other hand, he transforms them and gives them the identity of works of art with the help of the shaping of various "small landscapes". Tan Xun's transformation of "things" and ready-made products is not only confined to the categories of form, aesthetics and rhetoric, but also involves the reflection on history, reality, cultural identity and many other issues. For example, the heavy and distant historical atmosphere in 24.2 Square Meters, as well as the Oriental aesthetic image evoked by the traces of black brick and breakage. Although the Rainbow series has the form and appearance of typical modernist sculptures, the artist's original intention was rooted in anxiety over the worsening environmental problems of the North China Plain. From the perspective of image, painting, sculpture, installation and other different visual mechanisms and cognitive modes, a broom discusses the multiple attributes of "a broom" as a daily object, aesthetic object and conceptual object. Compared with the Rainbow, this work is less concerned with realistic circumstances and more philosophical and speculative colors.
In Shen's Sky series, viewers can see many everyday objects, such as notebooks, notes, MEDALS, shovels, napkins, computers, and packaging boxes. In the process of creation, the artist tries to keep the daily marks of these objects as much as possible, but at the same time, he also incorporates symbolic elements such as "Tiananmen", "The Capitol", "The Statue of Liberty", "Christ the Lord" and so on. Although the intervention of symbols can weaken the personal narration, it infuses meaning into the works. In fact, Shen Liyi is an artist who is good at creating shock and awe in everyday visual habits. So-called "jing is shaken", make it produces a kind in the process that the vision receives namely "accident", that is to say, besides empty and real, positive and negative conversion, familiar and strange, daily and abnormal, rational and perceptual can produce a kind of inner tension in visual psychology. The garden series is based on the artist's childhood experience and memory of artificial hills and rocks and bonsais. For most people, bonsai is very familiar in daily life, is also a common aesthetic object. Yet the garden series creates an everyday spectacle that exudes an aesthetic experience that is both familiar and unfamiliar. Moreover, the visual tension formed by bondage and struggle, confinement and break, domestication and struggle vividly reveals this morbid and distorted beauty. The garden also seems to be a reminder to examine and discover the power, or the harm, that lies beneath the surface, behind everyday discourse. Unlike The sky and the Garden, which focus on conceptual shifts, Rain is more focused on language and a simpler, more pure expression of emotion. Rain, ripples, water flow, time at that moment stopped, concentrated attention, as if the audience can feel the spring breeze kissing the face, hear the soft, even rain sound.
It is not difficult to find that tan Xun and Shen Liyi's works have a lot in common. They emphasize the concept transformation of form and language, which both originates from "everyday" and goes beyond "everyday". Among the numerous similarities, there is another characteristic that needs to be emphasized, that is, the two artists' exploration of the aesthetic experience of traditional and Oriental culture. For example, one of the works in The Li Mingzhuang Project is a Chinese landscape pattern carved on the top of three abandoned eaves columns, while the aesthetics of 24.2 Square Meters is also orientalized and imagistic. In essence, Shen Liyi's "Garden" is a reflection on some aesthetic habits of the Chinese collective unconscious. Although the series of "Rain" is completed in the language of figurative sculpture, what the works pursue is the aesthetic realm of "great sound and great sound". The re-exploration of local and orientalized cultural and visual aesthetic experience also reflects the consciousness and confidence of this generation of Chinese sculptors in language, rhetoric and cultural identity.
In April 2018 in Huxi Campus of Sichuan Academy of Fine Arts
The exhibition works