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Shangyuan Art Museum artist Chen Ping - Works have
[2013-5-25 12:23:31]
上苑2013年澳洲駐館藝術家陳平入選《2013年威尼斯雙年展的主要國際藝術展》
Shangyuan Art Museum artist Chen Ping - Works have been selected by 2013 Venice Biennale
“時間－空間－存在＃２”（荷蘭世界藝術事務）
彩虹，樹林，猛獸，人，2013，油畫，180 x 210 cm
南極光，紅綠鳥，紅鳥，猛獸，人，2013，油畫，180 x 210 cm
意大利威尼斯博本宮
Artist Statement: Unseen Forest
Chen Ping
Ancestor Di Jun was a god with the head of a bird, the bodyof a monkey and only one leg. There was a country in which the people all hadone head and three bodies. These were Di Jun’s children; He had another tensons who came out one at a time after washing in the south-east sea and thentook turns to work as the sun in the sky; He also had twelve daughters who werethe moons, they always bathed in the remote west and took turns to come out atnight. Occasionally, Di Jun came down to meet the five coloured birds in theeast valley. They danced joyfully. In the ancient Chinese myth, the creator ofthe world, Pan Gu, had the head of a dog and the body of a human. Nu Wa, thegoddess who created humans, had the face of a woman and the body of a snake.The first king, Huang Di, was a bird, with four wings and six legs. There wasalso a god of the ocean and wind, and he was sometimes a fish with a human faceand sometimes a bird.
These great majestic creatures, once the carriers of thehuman spirit, are now nowhere to be seen. Their forests have been lost. Sincethe dream of communism shattered, we have turned ourselves into hungry hunters ofa concrete reality, and our souls have been transmuted.
I traverse among spirit, illusion and reality; mingle manwith landscape and animals. This is where I could once again let my spirit fly.Looking down, I increasingly disengage from politics and society.
“The phoenix has never come in the sky, the picture hasnever appeared from the river, and yet my life is near the end!”（Confucius)
Catalogue Essay: The Artist & the Threshold
JamesArvanitakis
Thecontemporary world is one of contradictions: globalization is accompanied byaggressive nationalism; militant religious movements emerge within secularstates; scientific rationalism makes us desire enchantment and meaning in nature.
Staring at Chen Ping’s ethereal paintings such contradictions emerge:while one part of the artwork is busy, congested, verging on exhausting, otherparts are composed, calm, contemplative. Looking at the works, we see astructures being constructed while simultaneously feel a melting away, like agentle wave running over a sand castle.
The works representthe language of paint, not a classification of the abstract/ classical, East/Westor unadulterated human or uncontaminated nature.
The workscapture the simultaneous connection and disconnection between humanity andnature that Ping identifies as his motivation.
Ping highlightsthat nature is not separate from us: it is not ’over there’. Rather, ourrelationship with nature is everywhere, both precarious and robust: from theTasmanian wilderness, to the Himalayas, large urban centres, and even the artgalleries that hang such works.
This is keyto Ping’s work: we might think that we can disconnect ourselves from the world,but across space and time, both our quality of life and very existence, dependson this relationship.
The controversialGerman philosopher, Martin Heidegger, described the concept of the ’threshold’:the moment we move from a state of ignorance to reflection. Here we look aroundand see the world with fresh eyes and identify what is most important: ourhumanity and the essence of the relationships we build.
Once wecross this threshold, the world is different: more beautiful, intense, full ofincreasing insight and emotions.
Heideggerargued that it is the artist who can guide us through the threshold: poets,musicians, painters.
Chen is aunique artist who defies definition and can guide us through thethreshold: showing the world in a different way.
2013年駐上苑藝術館創作的作品：
陳平，彩虹，斷樹，白鳥，人，2013，油畫，180 x 210 cm.
陳平，落葉，紅鳥，男人，女人，2013，油畫，180 x 210 cm.
陳平，樹，落花，紅鳥，2013，油畫，180 x 210 cm.
紅光，樹，黃紫鳥，綠鳥，男人，女人，2013， 油畫，180 x 210 cm.
月光，黃鳥，男人，女人，2013，油畫，180 x 210 cm.
不見森林
陳平
始祖神帝俊是一個單腳鳥頭猿身的怪物。生了一個三身國，其國民都是一頭三身；他的另外十個兒子是太陽，常在東南海的甘洲洗澡后，輪班白天去工作；還有十二個女兒是月亮，卻常在西方荒野洗澡后，輪班晚上去工作。帝俊時常下天到東方荒野與五彩鳥聚會，在這里，他們翩翩起舞。中國神話里，開天辟地的盤古是狗頭人身；創造人類的女媧是人頭蛇身；始祖神黃帝是一只六腳四翼的神鳥；而海神兼風神禺強有時是人臉魚身，有時變為鳥身。
這些承載著我們靈魂的偉大的神物已經遠去，那些森林也不再存在。徘徊于精神，幻覺和現實，交錯于人，鳥獸和風景，我靈魂再次得到升華；俯視社會和政治，我日益與之絕決。“鳳鳥不至，圖不出河，吾已矣乎。”（孔子）
藝術家和門檻
詹姆斯 阿凡尼塔斯基
當今是一個沖突的世界：全球化進程帶來了強烈的民族主義；憲政國家里宗教武裝運動此消彼起；科學進步論反而促使我們尋求返樸歸真。
凝視陳平的作品，我們看到了類似的沖突：畫面里有時紛亂，擁擠到難以喘氣，有時冷靜，深思而有序。它的結構在建立的同時也在消溶消失，像海浪緩緩地沖洗著海灘上沙筑的的堡壘。
他的作品是關于純粹的繪畫語言，無關抽象或寫實，無關東方或西方，不在潔人與凈土。
陳平看到了人與自然既相依又相殘的矛盾，并準確地在作品里展示出來。這里，自然與人是一體：它不是“在那里”，相反，我們與自然相依相存是無處不在，既風雨又同舟：從塔斯馬尼亞到喜瑪拉雅，到大都會，甚至到掛這些畫的畫廊。
我們或許有時會認為能凌駕于自然，但在這時間和空間里，我們的生活質量乃至生命，完全依賴于自然。這就是陳平作品的解讀。
有爭議的德國哲學家馬丁 海德格爾在闡述“門檻”的概念時說，當我們從愚昧變為反思時，會用新鮮的眼睛看世界，會體會什么才是最重要的 – 人道和我們已建精神的聯系。
一旦我們跨過這一門檻，這是一個不同的世界：更美麗，更精彩，更內在和更具有情感。
海德格爾堅稱，只有藝術家如詩人，音樂家和畫家才能帶我們跨過這門檻。
陳平是個難得的藝術家，敢于藐視成見，可帶我們跨過這門檻：他呈現了一個不同的世界。
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