Hi艺术

展览简介

参展艺术家：冯良鸿，李向阳，马可鲁，徐红明

展期：2017.04.16 - 06.11

开幕：2017.04.16，星期日，下午4点

Artists: Feng Lianghong, Li Xiangyang, Ma Kelu, Xu Hongming

Duration: April 16 – June 11, 2017

Opening: 4PM, Sunday, April. 16th

2017年的初春，我们有幸邀请到了四位有着叠合的艺术身份的艺术家，他们都曾在美国、欧洲和中国本土深入巢穴地研究过西方艺术，而他们也更醉心于在今天中国语境中变形了的伟大中国艺术和哲理传统。

In the early spring of 2017,We have the honor to invite four artists present at this exhibition have overlapping artistic identities. They have thoroughly studied Western art in the United States, Europe, and they have grown more infatuated metabolically with the Chinese art and the philosophy of the country’s current art context.

不仅仅是叠合，今天好的抽象艺术家还要忍受不断的艺术过程中的转向。一种转动，使担任角色的艺术家在艺术感受和表达的舞台上跑到东，跑到西。他经历的不是波德莱尔的现代主义的厌倦，而是今天的感受和知觉的最大的不确定性。在不确定性的过程中，某种东西被撕裂了，出现了一个或几个洞。

In addition to the superposition, today's decent abstract artists have to follow the constant rotation in the artistic procedure. A kind of rotation that maintains the role of the artist carrying his feelings and expressions from one side of the stage to another. He has not lost his enthusiasm in Baudelaire's modernism, but it’s nowadays feelings and perceptions that greatly clasps the artist’s uncertainty. In this process of ambiguity, something gets torn apart and creates one or several craters.

本雅明郑重地引用过法国人蒙朗的一段话，我们做引用的引用：“过去在文本中留下自身的影像，就像物件被光线映射到感光底片上的影像那样，而那能够完美地将这些影像冲洗出来的工人，只有在未来才能找到。”今天的艺术家应该是将中国传统和西方体系中遮蔽的光芒冲洗出来的人。他们带着忐忑，带着害怕，带着诚实来构建一个叠合和转动带来的转变了的现实。

Benjamin solemnly quotes the passage of the French Montanian: "In the past, one’s image was left in the text, just as the object reflects to the image on the photoreceptor , And the professional tape cleaners can only be found in the future." Today's artists are those who were adept to discover the hidden light in Chinese tradition and in the western system structure. With dismay, fear and honesty, they are to bring changes in reality through overlapping rotation.

是的，艺术家们做引用，做引用的引用，但是今天语境的强烈性使引用的本质消解了。它僭越了引用，也僭越了空间，创造着空间之外的空间。这是一种空，艺术家们喜欢的空，艺术家们避闪的空，一种不再能够辨别出来的空，一个无数艺术家用毕生的存在来填满的空。

Yes, artists generates references, references of references, but the strength of today’s context eliminates the essence of citation. It has not only meddled with the reference, but also overstepped the space, creating a space outside of the space. This is an empty space, an emptiness that the artist would go for yet break out from. An emptiness that he is no longer able to identify, an emptiness that countless artists would fill it with their existence of life.