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展訊 | Exhibition

學(xué)術(shù)主持: 王春辰 Academic Chair: Chunchen Wang

策展人: 牟俊 Curator: Jun Mu 
開幕時(shí)間: 2019/10/05，15:30 

Opening: October 5th, 2019, 3:30 p.m.
展覽時(shí)間: 2019/10/05 - 10/07 

Duration: October 5 to 7, 2019
主辦單位: 北京上苑藝術(shù)館 

Sponsor: Shangyuan Art Museum, Beijing
協(xié)辦單位：中南大學(xué)建筑與藝術(shù)學(xué)院 

Co-sponsor: School of Architecture and Art, Central South University
展覽地址: 北京市懷柔區(qū)橋梓藝術(shù)公社上苑藝術(shù)館
Location: Shangyuan Art Museum of Qiaozi Art Commune, Huairou District, Beijing

我們身處在后人類語境下表象被撕裂的時(shí)代，一切關(guān)乎人類存在的指向似乎都已經(jīng)不再明確，社會(huì)、科技、性別已經(jīng)不再重要。在我們皮囊之下涌現(xiàn)著近乎魔幻的痛苦之感。傷痕不再是社會(huì)或者群體性的感受，而是關(guān)乎自我存在的痕跡。就像拉圖爾所說的“我們從未現(xiàn)代過”一樣，我們也從未人類過，我們天生就是血肉模糊的有機(jī)體，卻與機(jī)械沒有本質(zhì)上的區(qū)別。“涌”和“現(xiàn)”在藝術(shù)家本次展覽中，是兩個(gè)并列的動(dòng)詞，它們各自展現(xiàn)的關(guān)于藝術(shù)家周巧云在自我藝術(shù)上地探索和自我生命延續(xù)地過程中的追思。

We are now in the age of a post-human context in which the appearance is torn apart. It seems that the direction of human existence is no longer clear, and that society, science and technology, and gender are no longer significant. Under the layers of our skin came an almost magical sense of pain. The scar is no longer a social or group feeling but has a trace of self-existence. As Latour said, "We have never been modern", we have never been human. We are born as flesh-and-blood organisms, but there is no essential difference from a machine. "Surge" and "Appear" are two juxtaposed verbs in the artist’s exhibition. They respectively show Qiaoyun Zhou’s recollection in the process of artistic exploration of self and the relationship with life identity in it’s continuum. 

展覽所呈現(xiàn)的藝術(shù)作品中我們不難發(fā)現(xiàn)不斷翻涌的欲望、無比刺痛的傷痕，以及看似輕松自在的筆墨，在時(shí)間的擠壓下，展示出了巧云對(duì)于藝術(shù)和自我生命的反思與再造。作品中所蘊(yùn)涵著的潛藏的旺盛的生命本體已經(jīng)超越了藝術(shù)家的生活本身。畫面中所呈現(xiàn)的近乎欲望的血肉之感，最初起于花蕊。而巧云以極其理性的工筆的線條描繪出花蕊如同噴涌之態(tài)，展現(xiàn)出自然最鮮活最原始的欲望。在部分作品中巧云使用鮮紅的墨汁織染其上，給予了觀者痛苦的撕裂之感。畫面不再是脫胎于花蕊所呈現(xiàn)的那樣翻涌的欲望情思，一股如同利刃將一塊肌膚剜去后從心底所激起的刺骨痛感，在內(nèi)心不斷的攀升。可待血液淡去后在畫面上只剩下褪去潤(rùn)澤的蒼白之痕。

In the works of art presented in this exhibition, we can easily find the surging desire, the extremely painful scars, and the seemingly relaxed pen and ink, which shows Qiaoyun’s reflection and reconstruction of art and self-discovery through life under the pressure of time.The vigorous life noumenon implied in the works has gone beyond the artist’s life itself.The flesh and blood associations, a feeling of desire in the picture originated from the stamens. Qiaoyun depicts the stamens like a gushing state with extremely rational and meticulous lines, showing the most vivid and primitive desire of nature. In some works, Qiaoyun uses bright red ink to weave and dye it, which gives the viewer a painful sense of tearing. The picture is no longer the surge of a desire and emotion as shown by the flower stamens, but the sharp pain aroused from the bottom of the heart after cutting off a piece of skin with a sharp knife, which keeps climbing up in the heart. When the blood fades, only the pale traces fade away.

“三十六度九”系列是巧云前一個(gè)時(shí)期的作品。是作者在不惑的年齡，在面對(duì)生活和藝術(shù)時(shí)心力憔悴，身體在不堪負(fù)荷的的狀態(tài)里頻頻發(fā)出警告，“三十六度九”是人正常的體溫范圍的臨界值。而在作品中表現(xiàn)出的是一種源自女性內(nèi)心的母性的溫存，畫面通過反復(fù)不斷的潤(rùn)色和工筆線條一筆筆的勾勒，猶如女性在生活內(nèi)一點(diǎn)一滴的成長(zhǎng)的過程，畫面中所呈現(xiàn)的色澤，也如同不斷持續(xù)的內(nèi)心涌動(dòng)的過程，展現(xiàn)出女性對(duì)于生活持續(xù)性痛苦的隱忍和堅(jiān)強(qiáng)，直至最后變得蒼白麻木的過程。時(shí)間之后，任何的痛楚都已經(jīng)無法形成對(duì)女性肉體的威脅，這樣的經(jīng)歷造就了女性的堅(jiān)韌，同樣也會(huì)磨滅女性的銳度，削弱女性的精神力量。

"36.9 degree" series is Qiaoyun’s works of a period from the past. It is the author’s age in doubt, in a state of haggard heart and body unable to bear the burden of warning frequently, to keep himself as far as possible in a normal range, that is, to maintain a normal temperature range. In her works, she shows a kind of gentleness that comes from the female’s inner heart. The picture is repeatedly outlined by Bibi. It is like the process of women’s growth in every aspect of life. The color presented in the picture is like the continuous process of inner agony. It shows the endurance and strength of women’s persistent pain for life and finally changes. The process of paleness and numbness. After time, any pain has been unable to form a threat to women’s body, such experience has created a woman’s tenacity, will also wear down the sharpness of women, weakening women’s spiritual strength.

“空鏡”系列中藝術(shù)家在畫面中繪制了一道欲界，欲望的藤蔓噴涌式的生長(zhǎng)，卻又被禁錮于欲界內(nèi)。如同米蘭·昆德拉《不能承受的生命之輕》中特蕾莎那個(gè)驚悚的噩夢(mèng)描述的，一個(gè)個(gè)歡歌舞蹈的赤裸女性在游泳池邊環(huán)繞，她們?nèi)缤瑳]有靈魂一般享受著歡愉的氣氛，而特蕾莎的丈夫托馬斯手持著槍將她們一個(gè)接一個(gè)的擊斃，美好的肉體跌落于泳池之內(nèi)，泛起嫣紅。直到托馬斯最后將槍口對(duì)準(zhǔn)特蕾莎，將恐懼推向頂峰。“空鏡”系列展示出了這種不斷的不斷攀升的欲望和恐懼兼并的畫面，以一種近乎壓迫式的觀感表現(xiàn)出通過畫面中的一抹嫣紅引導(dǎo)我們?nèi)プ窇浤菗羝苾?nèi)心的一槍。這一槍來自作者自身，同樣也來自觀者自身。那種想要表現(xiàn)自己獨(dú)一無二的原始的沖動(dòng)中，我們漸漸的消失殆盡成為了不盡相同的每一個(gè)人。

In the series of "empty mirror", the artist draws a desire realm in the picture. Desire is like the crazy growth of rattan, but it is confined in the desire realm. As Milan Kundera described in Teresa’s thrilling nightmare in The Unbearable Lightness of Being, naked women singing and dancing around the swimming pool enjoyed a pleasant atmosphere as if they had no soul, while Teresa’s husband Thomas shot them one by one with guns, and them beautiful body fell into the pool and became red. Until Thomas finally pointed his gun at Teresa and escalated fear to its peak. The series of "empty mirrors" shows the rising desire and fear of merging. It shows a nearly oppressive sense of view through the picture of blood-like red, leading us to recall the shot that broke our hearts. "Empty Mirror" series shows this rising desire and fear of mergers, with a nearly oppressive look through the picture of blood-like red, guides us to recall the "shot" that broke our hearts. The gun came from the author himself, as well as from the viewer. In the primitive impulse to express our uniqueness, we gradually disappear and become the same kind of people.

而在“涌動(dòng)”系列作品中巧云開始重新思考通過對(duì)具象的昆蟲、三寸金蓮、內(nèi)衣、文字等特殊的指向性圖像符號(hào)的再造，以及對(duì)于欲界禁錮的突破，從外物的視角開始對(duì)自身身份進(jìn)行探討，以社會(huì)和群體性符號(hào)進(jìn)入，試圖表現(xiàn)人的共通或者不同，來表達(dá)自我認(rèn)知過程中所涌動(dòng)的新感受。而且畫面中不再只是痛苦，開始一步一步褪去痛苦的外衣，甚至在畫面給予希望和美、荒誕和乖張。展現(xiàn)出了一種來自死亡和新生疊加的畫面狀態(tài)，置死而后生。畫面中所呈現(xiàn)的圖像輕松表現(xiàn)著作為人性最初的，也是永恒的哲學(xué)性的思考。

In the "surge" series of works, Qiaoyun began to rethink the reconstruction of image symbols such as concrete insects, small shoes, words, and underwear, as well as the breakthrough of imprisonment in the world of desire. From the perspective of external objects, Qiaoyun begins to explore her own identity, starting with social elements and group of symbols, trying to show the common or not so common aspects of human beings. Similarly, making an effort to express the new feelings, surging in the process of self-recognition. And the picture is no longer just painful. It begins to fade away from the cloak of pain step by step. It even gives hope and beauty, absurdity and perverseness to the picture. It shows a kind of picture state from the superposition of death and a newborn, putting it to death and then to life. The images presented in the pictures easily express the original and eternal philosophical thinking as human nature.

其實(shí)正如我們所處的時(shí)代一樣，后人類的語境之下，性別已經(jīng)變得不再重要，在科技、消費(fèi)、社會(huì)整體性對(duì)人施壓的過程中，性別所呈現(xiàn)的不過是類似人種一般，留于皮囊的劃分。對(duì)于在嘗試褪去皮囊的藝術(shù)家周巧云來說，在藝術(shù)的創(chuàng)作過程中內(nèi)心涌動(dòng)的澎湃之情，漸漸逾越了作品完成度對(duì)藝術(shù)的阻隔，創(chuàng)作過程逐漸成為了藝術(shù)作品本身。

In fact, as we live in the era, in the context of post-human, gender has become no longer important. In the process of pressures from technology, consumption and social integrity, gender presents only a general problem similar to race, which is left in the division of skin layers. For Qiaoyun Zhou, an artist who is trying to get rid of her layers of skin, the surging emotion in the process of artistic creation has gradually surpassed the barrier of the completion of the work to art, and the process of creation has gradually become the work of art itself.

——2019.09.28于北京上苑藝術(shù)館，牟俊

Jun Mu, Shangyuan Art Museum, Beijing, Sep. 28th, 2019

周巧云 Qiaoyun Zhou

1999年本科畢業(yè)于湖南師范大學(xué)美術(shù)學(xué)院中國畫專業(yè)

In 1999, she graduated from the School of Fine Arts, Hunan Normal University with a bachelor’s degree in Traditional Chinese Painting

2006年研究生畢業(yè)于湖南師范大學(xué)美術(shù)學(xué)院工筆花鳥畫專業(yè)

In 2006, she graduated from the School of Fine Arts, Hunan Normal University with a master’s degree in Traditional Chinese Flowers-and-birds Paintings

現(xiàn)為中南大學(xué)建筑與藝術(shù)學(xué)院副教授，生活和工作于北京和長(zhǎng)沙

Now she is an associate professor in the School of Architecture and Art, Central South University and lives and works both in Beijing and Changsha

個(gè)展 Solo exhibitions
2018  三十六度九——周巧云作品展，物物空間，長(zhǎng)沙

2018  Thirty-six Degrees of Nine—Exhibition of Zhou Qiaoyun’s Works, ARTOBJ, Changsha

2015  花·癮——周巧云作品展，狀態(tài)美術(shù)館，長(zhǎng)沙

2015  Flower & Addiction—Zhou Qiaoyun Works Exhibition, Zhuangtai Art Museum, Changsha

2014  幽·雅——周巧云作品展，藏福美術(shù)館，長(zhǎng)沙

2014  Tranquil & Elegant—Works exhibition of Zhou Qiaoyun, Cangfu Art Museum, Changsha

主要展覽 Major exhibitions

2019  一張棉花紙，九層美術(shù)館，北京2019  One Piece of Cotton Paper, Nine Storeys Museum，Beijing2019  上苑藝術(shù)館2019國際創(chuàng)作計(jì)劃開幕展，上苑藝術(shù)館，北京2019  Opening Exhibition of 2019 International Creative Project of Shangyuan Art Museum, Shangyuan Art Museum, Beijing
2018  變量——湖南省第二屆青年工筆畫家提名展，美侖美術(shù)館，長(zhǎng)沙2018  Variable—The Second Nomination Exhibition of Young Meticulous Painters in Hunan Province, Meilun gallary, Changsha
2018  輕蔓計(jì)劃——心語水墨女性藝術(shù)家邀請(qǐng)展，798蔓空間，北京2018  Light Tendril Plan—Xinyu Invitational Exhibition of Female Ink Painting Artists 798 Sprawl Space. Beijing
2018  色·渡——中日女性藝術(shù)邀請(qǐng)展，誠豐美術(shù)館，珠海2018  Se & Du—Invitational Exhibition of Chinese and Japanese Feminist Art, Chengfeng art museum, Zhuhai
2018  藝與術(shù)·萬物皆備——女藝術(shù)家與女設(shè)計(jì)師邀請(qǐng)展，廈門會(huì)展中心，廈門2018  The Art and Technique & Everything is Ready, Invitational Exhibition of Female Artists and Designers, Xiamen Exhibition Centre, Xiamen
2018  第八界富山國際現(xiàn)代美術(shù)展，日本富山國際美術(shù)館，日本2018  The 8th Tomiyama International Modern Art Exhibition, Tomiyama International Art Museum, Japan
2017  中國工筆畫省際聯(lián)盟邀請(qǐng)展，遼河美術(shù)館，盤錦2017  Inter-provincial Alliance of Chinese Claborate-style Painting, Liaohe Art Museum, Panjin
2017  氣·象——兩湖工筆畫聯(lián)展，美侖美術(shù)館，長(zhǎng)沙2017  Qi & Image—Joint Exhibition of Claborate-style Painting of Hunan and Hubei, Meilun Art Museum, Changsha
2017  身體與劇場(chǎng)——2017藝術(shù)廈門女性藝術(shù)邀請(qǐng)展，廈門國際會(huì)展中心，廈門2017  The Body and The Theatre, Invitational Exhibition of Female Art of 2017 Artistic Xiamen, Xiamen International Conference and Exhibition Center，Xiamen2017  云雀在天上——當(dāng)代青年藝術(shù)11人，兌山美術(shù)館，廈門2017  Lark in the Sky—The Modern Youth Art Exhibition(11 Artists), Duishan Art Museum, Xiamen, China
2017  假裝——女性藝術(shù)家作品展，仟僖雅畫廊，武漢2017  Pretending—Female Artists Works Exhibition,Qianxiya Painting salon,Wuhan, China
2016  失·控—當(dāng)代女性藝術(shù)邀請(qǐng)展，城豐美術(shù)館，珠海2016  Out of control—Modern Female Art Inviting Exhibition, Chengfeng Art Museum, Zhuhai, China
2016  無界——當(dāng)代藝術(shù)交流展，制造文化OCT空間，深圳2016     Unbounded—Modern Art Exchange Exhibition, Making Culture OCT Space, Shenzhen, China
2016  重構(gòu)的他者——宋莊青年藝術(shù)家群體現(xiàn)象研究展，中山博覽中心，中山2016  Reconstituted Others—Songzhuang Youth Artists Group Phenomenon Studying Exhibition, Zhongshan expo centre, Zhongshan, China.
2016  氣·象——兩湖工筆畫聯(lián)展，湖北省美術(shù)院美術(shù)館，武漢2016  Meteorological Phenomena—Hubei & Hunan Elaborate-Style Painting Eihibition, Art Museum of Hubei Academy of Fine Art, Wuhan, Chin.
2016  內(nèi)燃——中國新一代女性藝術(shù)邀請(qǐng)展，美國布羅德美術(shù)館，蘭辛2016  Fire Within—A New Generation of Chinese Women Arists, Eli and Edythe Broad Art Museum at Michigan State University, Lansing, US
2016  新感知 未知的愛——全球女性藝術(shù)家邀請(qǐng)展，廈門國際會(huì)議展覽中心，廈門2016  Neo-Perception-Love Unknown—Global Female Artists Exhibition, Xiamen International Conference Exhibition Center, Xiamen
2016  首屆藝術(shù)在線國際女畫家協(xié)會(huì)世界巡回展，日本東京中國文化中心，東京2016  World Tour Exhibition of First Session Art Online International Female Artists Association, Tokyo China Cultural Center, Tokyo, Japan
2016  新約——中國當(dāng)代女性藝術(shù)邀請(qǐng)展，東方美術(shù)館，無錫2016  New Convenant—Chinese Modern Female Art Exhibition, Oriental Art Museum, Wuxi
2015  新感知——中國新一代女性藝術(shù)邀請(qǐng)展，藝術(shù)門畫廊，上海2015  Neo-Perception—China’s New Generation of Women Artists, Pearl Lam Galleries, Shanghai
2015  綻放——2015中國首屆百位當(dāng)代女性藝術(shù)家作品展，成都華僑城創(chuàng)想中心，成都2015  Blossom—the First Session of 100 Chinese Contemporary Women Artists Exhibition, Chengdu OCT Creative Center, Chengdu 
2015  凝視——2015中國當(dāng)代女性藝術(shù)雙年展（優(yōu)秀獎(jiǎng)），河北師大博物館，石家莊2015  Gaze—2015 Biennale of Contemporary Arts of Female Chinese Artists, Hebei Normal University Museum, Shijiazhuang 
2015  5+5展，米哈娜亞畫廊，東京
2015  5+5 Exhibition, Micha Naya Gallery, Tokyo
2015  積翠邊城——大美湘西中國畫展，曼谷詩麗吉國際會(huì)展中心，泰國曼谷2015  Lush border town—Chinese Paintings Exhibition concerning beautiful western HunanSirikit International Conference and Exhibition Center, Bangkok, Thailand
2014  紙·上——2014當(dāng)代藝術(shù)邀請(qǐng)展，羅湖美術(shù)館，深圳2014  On & paper—2014 Contemporary Art  Invitation Exhibition, Luohu Art Museum, Shenzhen, China
2014  青春心印——2014首屆關(guān)山月美術(shù)館青年工筆畫展，關(guān)山月美術(shù)館，深圳2014  Images of the mind for youth—2014 First Guan Shanyue Art Museum Youth Elaborate-style Painting Art exhibition, Guan Shanyue Art Museum, Shenzhen, China
2014  “隱于市”首屆東莞農(nóng)貿(mào)市場(chǎng)國際藝術(shù)節(jié)，茂源中心市場(chǎng)，東莞2014  Reclusion in City First Dongguan farmer’s Market International Art Festival, Maoyuan center market, Dongguan, China
2013  “似似非非”湖南青年工筆畫提名展，于斯空間，長(zhǎng)沙2013  “Similar and Different” Hunan Youth Elaborate-style Painting Nomination Exhibition, Yusi Space, Changsha, China
2013  方寸之間——當(dāng)代水墨邀請(qǐng)展，藝•凱旋藝術(shù)空間，北京2013  Among Square Cun—Contemporary ink Painting invitation Exhibition, Art-Triumph Art space, Beijing, China
2013  “牽手丹青”三地巡回展，千年時(shí)間當(dāng)代藝術(shù)中心，長(zhǎng)沙、香港、澳門
2013  “Hold hands with Painting” Tour Exhibition in Three places, Millennium Time Contemporary Art Center, Changsha, Hong Kong, Macao, China.
2012  “象為心印”第二回展， 深圳博物館，深圳
2012  Image is the Impression of Mind, the 2nd Exhibition, Shenzhen Museum, Shenzhen, China
2012  “漸變”四人工筆畫展，文萃報(bào)美術(shù)館，長(zhǎng)沙2012  Gradual Change, Four people Elaborate-style Painting Exhibition, Wencui Newspaper Gallery, Changsha, China.
2011  歷史——新宋莊之“破界”當(dāng)代水墨邀請(qǐng)展，上上國際美術(shù)館，北京2011  History—New Songzhuang: Break The Boundary Contemporary Ink Exhibition, Sunshine International Art Museum, Beijing, China
2010  從東營到宋莊·湖南當(dāng)代藝術(shù)展，禾·美術(shù)館，北京2010  From Dongying to Songzhuang & Hunan Contemporary Art Exhibition, He-Art museum, Beijing, China
2010  “重現(xiàn)高地”藝術(shù)聯(lián)展，杰森畫廊，北京
2010  Reappearing Highland Art Group Exhibition, Jason Gallery, Beijing, China.
2009  中國情境“重慶驛站”當(dāng)代藝術(shù)展，501當(dāng)代美術(shù)館，重慶2009  Chongqing courier station under Chinese Context Contemporary Art Exhibition, 501 contemporary Art Museum, Chongqing, China.
2008  藝術(shù)湖南，湖南省美術(shù)精品展，中國美術(shù)館，北京2008  Art Hunan, An Exhibition of Great Art Works of Hunan Province, Hunan Province Art Museum, Changsha, China
2006  湖南工筆畫新作展（佳作獎(jiǎng)），湖南省美術(shù)館，長(zhǎng)沙2006  An Exhibition of New Elaborate-style Painting, (prize of excellent works) , Hunan Province Art Museum, Changsha, China
2005  湖南省首屆花鳥畫作品展（銀獎(jiǎng)），湖南省美術(shù)館，長(zhǎng)沙2005  The 1st Exhibition of Flowers and Birds Paintings of Hunan province, (silver award), Hunan Province Art Museum, Changsha, China