收起

推荐作品
艺术+油站
积分:0
加关注
  • 资质:
  • 评分:
    1分 2分 3分 4分 5分 6分 7分 8分 9分 10分 9.4
  • 印象:
    喜欢 灰常好! 支持 添加
    确定
  • 经营时间:
    3年
  • 展厅面积:
    1000平米
  • 地  区:
    国外-国外地区
您所在的位置:艺术+油站>展览>展览详情

小心轻放

  • 无图

  • 无图

已经是最后一张,点击重新浏览!

展览介绍

 


小心轻放

Handle With Care

 

艺术家:沈少民

Artist: Shen Shaomin

 

展览时间: 2015年3月7日-2015年5月2日

开幕式: 2015年3月7日(周六)下午12:00 - 4:00

 

地点:纽约凯尚画廊

地址:美国 纽约市 22街 西525号 邮编:10011

 

Exhibition Time: March 7 2014 – May 2 2015

Opening Reception: 12:00- 4:00 pm, March 7

Venue: Klein Sun Gallery

Add: 525 West 22ndStree New York, NY 10011 U.S.

 

凯尚画廊很荣幸的展出沈少民的第三个个展《小心轻放》,展览时间2015年3月7日至2015年5月2日。

 

展览将呈现这位名声斐然海内外的观念艺术家的最新油画系列。这些作品挑战了所谓的艺术独创性和传统的艺术鉴赏方式。这个系列的标题, “小心轻放”—— 一个常见于易碎及珍贵物品包装的文字标识—— 突出了艺术品的时间性以及不确定性。

 

这个系列展示了大约20件作品。虽然被“塑料保护膜”包裹,但艺术爱好者一眼就可以从中看到波普艺术的影子,并发现这些作品是对安迪沃荷的模仿——沃荷著名的金宝汤和文化偶像肖像,包括玛丽莲梦露,毛泽东,和约翰列侬。此外,“塑料膜”上多个艺术品包装公司的商标掩盖并模煳了安迪沃荷的具有高识别度的“品牌”。沃荷的创作方法在艺术史上常被论及其艺术个性和真实性,而沈少民通过挪用沃荷的图像再次探索艺术创作最本质的原创性。


沈少民,《小心轻放No.26》,2014,布面油画,91.5 x 91.5cm

 

依靠在画廊的墙面上,被一层造成错视效果的“塑料膜”包裹着,“小心轻放”系列代表了艺术作品在被固定上墙并展示之前的过渡状态。这些作品,由于非传统的被展示方式,打破了雕塑与油画的界限。这样的展示环境同时颠覆了观者在美术馆或画廊空间内与艺术品互动的方式,从而暗指了对传统艺术机构及其机制的批评。

沈少民,《小心轻放No.20》,2014,布面油画,91.5 x 91.5cm

 

通过赋予油画表面不同的透明度——从半透明到完全全模煳——沈少民巧妙地操纵作品给人带来的视觉体验。他借助人类偷窥欲望的本能来唤起观者去撕裂表面“塑料膜”,看清隐藏图样的冲动。整个展览挑战了理想与现实间的界限。

沈少民,《小心轻放No.14》,2014,布面油画,89 x 59cm

 

沈少民出生在1956年,中国黑龙江省。他生活工作在悉尼,澳大利亚,和北京,中国他的作品在全球范围内众多博物馆展览,包括近期的展览“遭遇:丝绸之路上的新艺术”,新疆双年展,乌鲁木齐,中国(2014年);“火锅:中国现代艺术的新味道”伯瑞特波罗博物馆和艺术中心,伯瑞特波罗,佛蒙特州,美国(2013年); “去图:中国当代书像”,谢尔曼当代艺术基金会,悉尼,澳大利亚(2012年); “漂浮的眼睛”第九届上海双年展,上海当代艺术博物馆,上海,中国; “见所未见”第四届广州三年展,广东艺术博物馆,广州,中国(2012年);“军械库2012”第一届基辅国际当代艺术双年展,基辅,乌克兰(2012年);“动植物:为自然疯狂”,艺术设计美术馆,纽约,美国(2011年);“生或死”,纽约设计美术馆,纽约,美国(2010年);“美与距离”第十七届悉尼双年展,悉尼,澳大利亚(2010年)。

 

 

 

Klein Sun Gallery is pleased to announce Handle with Care, its third solo-exhibition for Shen Shaomin on view from March 7th through May 2nd, 2015.

 

The exhibition showcases the world-renowned, conceptual artist’s new series of oil paintings which challenge artistic originality and the traditional method of viewing art. The title, Handle with Care, commonly found on the wrappings of precious and fragile items, highlights the temporality and instability of artwork.

 

The series consists of more than twenty pieces portraying archetypal Pop Art works wrapped in protective plastic packaging. Through the translucent wrappings, the works are still vaguely visible; the viewer can immediately identify these works as replicas of Andy Warhol’s Campbell Soup and other portraitures of cultural figures such as Marilyn Monroe, Mao Zedong, and John Lennon. Various logos of art handling companies, which appear to have been taped on, overshadow Warhol’s highly recognizable “brands.” Shen Shaomin probes the nature of artistic creation through the appropriation of Warhol’s pieces which occupy important territory in the historical discourse concerning individuality and authenticity.

 

Leaning against the wall of the gallery, furnished with veneers that deliver a deceptive effect, paintings from the Handle with Care series represent a pre-installation state, a transitional condition of artwork. The unconventional “hanging” method of this group also breaks the boundaries between painting and sculpture. The setting subverts the traditional manner in which one interacts with artworks inside a museum or gallery, further issuing a subtle statement of institutional critique.

 

Shen Shaomin manipulates the optic effect by rendering the pictorial surface of each painting with different degrees of translucency—from semi-lucid to absolutely opaque. He seeks to invoke the voyeuristic desire to see through the cover and the physical impulse to tear apart the bubble wrap to discover the “true” image underneath the wrapping. The exhibit challenges the boundaries between what is ideal and what is reality.

 

Shen Shaomin was born in Heilongjiang Province, China in 1956. He lives and works in Sydney, Australia and Beijing, China. His work has been exhibited in museum shows around the world, including recent exhibitions “Encountering: New Art on the Silk Road,” Xinjiang Biennale, Urumqi, China (2014): "Hot Pot: A Taste of Contemporary Chinese Art," Brattleboro Museum and Art Center, Brattleboro, VT (2013); "Go Figure: Contemporary Chinese Portraiture," Sherman Contemporary Art Foundation, Sydney, Australia (2012); "The Floating Eye," The 9th Shanghai Biennale, Shanghai Museum of Contemporary Art, Shanghai, China (2012); "The Unseen," The 4th Guangzhou Triennial, Guangdong Museum of Art, Guangzhou, China (2012); "ARSENALE 2012," The First Kiev International Biennale of Contemporary Art, Kiev, Ukraine (2012);"Flora and Fauna: MAD about Nature," Museum of Arts and Design, New York, NY (2011); " Dead or Alive,” Museum of Arts and Design, New York, NY (2010); and "The Beauty and the Distance," 17th Sydney Biennale, Sydney, Australia (2010).

 

分享到: