其他
新展预告｜汤国：大江东去
展期：2020.11.17 - 2021.1.4开幕：2020.11.17 16:00
艺术家：汤国策展人：郑闻学术主持：胡斌主办单位：华侨城盒子美术馆协办单位：大良文化中心统筹：广州美术学院油画系策划组顾问：中山大学艺术文化创新与发展研究中心艺术总监：周力 刘可工作团队：郭燕 何金芳 邓子军 袁泽强 陈思佳 曾芸 章雅婷 邓芷婷视觉设计：闫菁
Tang Guo ｜Ebbs And Flows
Exhibition Time：2020. 11.17 - 2021.01.04Opening：2020. 11.17 16:00
Artist: Tang Guo Curator: Zheng WenAcademic Host: Hu BinOrganizer: OCT Boxes Art MuseumCo-organizer: Daliang Cultural CentreCoordinator: Oil Painting Department Curatorial Group of Guangzhou Academy of Fine ArtsConsultant: Institute of Art and Culture Innovation Research and Development, Sun Yat-sen UniversityArt Director：Zhou Li, Liu KeWork Team: Guo Yan, He Jinfang, Deng Zijun, Yuan Zeqiang, Chen Sijia, Zeng Yun, Zhang Yating, Deng ZhitingDesigner：Yan Jing
前言
1082，神宗元丰五年，苏轼因乌台诗案贬居黄州，游赤壁矶写下撼魂荡魄的《赤壁怀古》。苏轼的词作以乌台诗案为重要分水岭，从前半生“奋厉有当世志”的挥斥方遒转变为“聊从造物游”的艺术境界。以“大江东去”这一意象开卷的《赤壁怀古》，所呈现的开阔格局与旷达气象，已经内化为千年以来历代文人应对命运跌宕的抒怀座标与超脱方式。2020年的汤国新作展依旧以“大江东去”为标题，亦可视作艺术家近期创作的一个重要节点，浓缩化的展示汤国最新的艺术探索。这批作品可以激发对于一系列二元关系的重新讨论，比如传统文化与现代艺术、历史叙事与个体表达、材料属性与社会价值、艺术工业与创作自由……对这一系列能动关系的思考，会让我们领略艺术家对世界的另一种理解，感受另一种“自然”。 艺术之于汤国有两个关键词——“修复”与“再造”。他早期拼贴作品中的佛像与云山、装置作品中的古建云纹残件、综合材料作品中的古籍纸本、水墨长卷上描绘的残破器物，以及汤国在现实生活中亲自修复的查济古宅和藏传佛教寺庙，都可以看作是他对于现代生活精神匮乏的修补弥合，以及对于“无根现代性”的徒劳修复。一身浸透江南文人深厚教养的汤国，从汉代、魏晋南北朝、战国到唐宋的器物类型都烂熟于心。汤国在艺术创作中对于历史遗物的创造性使用，既不同于平庸常见的史料陈列，也不同于西方艺术体系中马塞尔·杜尚“现成品”的观念逻辑。汤国采取了一种深深根植于东方文化的“诗化浪漫”的处理方式，他从文化遗址与日常居所的残骸遗物中攫取出图像、符号、实物，通过艺术化的重新创造，重新构建了当代人对于历史与文化的理解。从“历史遗迹”到“创作元素”的这一转化过程，重新激活了材料本身蕴含的文化属性与历史信息，将世人悲哀惨淡的“缅怀”与“凭吊”转化为了“重构”与“再造”的奇妙过程，再生出完全不同的艺术景象和意义空间。
本次展览将呈现艺术家最新创作的一系列大尺幅天然纸浆纤维作品。这批作品的产生最早可以追溯到汤国自上世纪80年代起对传统造纸术的研究与迷恋。1980年代，汤国去到安徽泾县访问高人，花了整整两年学习古法造纸工艺。在古老的作坊里严格遵循古法五十多道工序，不加任何化学辅料，自然备料、选料、蒸煮、晾晒、造纸。来源于皖南泾川地区特有的以青檀皮与沙田稻草加工的纤维材料——正是构成中国著名的“宣纸”所特有的原料。其它竹类、草类、藤类、麻类、皮类等等做出来的纸张虽然名目众多，可称为“书画纸”但并非真正意义上的“宣纸”。中国古代的造纸术，于汤国而言不仅是一种技术性的还原和考古，还是一种回溯水源地质与自然肌理的方法。创作的过程于他而言，并不是一种创作材料的前期准备，而是对于众多门类植物纤维的亲身感受，是对于檀、麻、皮等浆料纤维的触摸与感知。汤国这批作品中所选择的纤维材料之一，正是青檀皮料制浆技艺与图像制作的完美结合。
早在上世纪九十年代，汤国就以令人耳目一新的水墨创作，成为“新文人画”的代表之一。他的综合材料与拼贴创作，也是彼时中国现代艺术形式革新的先声。但阶段性的成就从来都不能让一个不愿重复自己的实验者沾沾自喜并停止脚步。汤国逐渐告别在海内外都已获得广泛认同的一些“拿手好戏”，投入到更加个体化的工作当中。2000年以后，他在经历北京智珠寺修复项目的漫长时间以后，愈发远离艺术圈的潮流与喧嚣。他就像一个古代作坊里的纸农，沉浸在山里寻找檀麻枸皮纤维纸料，用传统方法清理浸泡冲洗，摊晒堆揉锤练。这些不同性状的“纸”的纤维本身承载着大量的信息，汤国选择相信来自“造物主”的力量，以不多干预的孵化心态让图像和景观在纤维中自动生成。预置的纤维或密集或松散，或快速或缓慢的流淌、扩散、聚集，直到图像生成……完全凭借纤维自身的力量凝固成作品。汤国在这一过程中追求的是流动中的瞬间、物质本身的自然呈现、时间流逝的痕迹、漫长的积累和沉淀。“纯洁、清净、自由、自然天成”则是他在这一工作过程中追求的境界与人格写照。
汤国说：“废墟，是更高级别的文明。”在这里，古法造纸纤维的终极目的已经不再是成为承载图像的纸张，而是成为了构成画面和艺术的本体，它从承载艺术的介质成为了艺术本身，从过往艺术的“废墟”转化为了当下艺术的“文明”。在这一主客体转化的过程中，艺术家完成了从技术到观念的转化，从工艺到思想的升华，从传统到当代的演变，使传统和遗产焕发出新的美学和能量。
另一种自然
文/ 郑闻
Foreword
In 1082, the fifth year of Emperor Shenzong’s Yuanfeng reign, Su Shi was exiled to Huangzhou from court for the Wutai Poem Incident, and, to commemorate his trip to Red Nose Cliff, he wrote the stunning poem Reminiscence of Red Cliffs. The Incident resulted in a divide of his poetry, so we can see a turn from vibrant, painstaking pursuit of making a difference in the world to a state of art that allowed him to embrace nature from time to time. The poem, unfolding from the image of “ebbs and flows”, has given Chinese literati over the past millennium a way of venting and transcending in face of ups and downs in life by presenting a case of strategic magnificence and broad-mindedness. The 2020 exhibition of Tang Guo’s latest works, also with the title of “Ebbs and Flows”, can be seen as an important point in his recent art practice, and it epitomizes Tang Guo’s latest exploration of art. These works can arouse new discussions of a series of dualisms, such as traditional culture and modern art, historical narrative and individual expression, material attributes and social value, the art industry and the freedom of creation… By pondering on this series of dynamic relations, we can learn about the artist’s way of interpreting the world and feel another form of “nature”. Tang Guo’s art can be reduced to two keywords – “restoration” and “reconstruction”. For example, he has made attempts to fix the spiritual barrenness in modern life and vain efforts to restore “rootless modernity” with his early works, like figures of Buddha and cloud-covered mountains in his collages, moiré fragments of ancient buildings in his installations, paper editions of ancient literature in his mixed-media pieces, broken utensils in his long-scroll ink paintings, and the ancient residence in Zhaji village and the Tibetan Buddhist temple both restored by him personally in real life. Highly cultivated as an intellect from Jiangnan (south of the Yangtze River), Tang Guo has acquainted himself with the utensil types from the Han dynasty to the Tang and Song dynasties. Tang Guo’s artistic processing of historical remains is different from any common displays of historical materials or Marcel Duchamp’s conceptual logic of “readymade” from the Western art system. Tang Guo takes a “poetic and romantic” way of processing deeply rooted in Eastern culture, or, to be particular, he extracts images, symbols and objects from cultural relics or daily residential remains and works them into pieces of art so as to build a new contemporary understanding of history and culture. By turning “historical relics” to “creative elements”, he reactivates the cultural and historical messages carried by materials, and the wondrous process of turning sorrowful “reminiscing” and “mourning” to “rebuilding” and “remaking” can generate a totally different landscape of art and dimension of meaning. This exhibition is to present a series of the artist’s latest large works made of natural pulp fiber, which can be traced back to his obsessive study of traditional papermaking in the 1980s. During that period, Tang Guo paid a visit to a master of the craft in Jing County, Anhui Province, and spent two whole years learning how to make paper the traditional way. The ancient workshop strictly followed the traditional technique of over fifty procedures, hence paper made without any chemical addition and according to such natural steps as raw material preparing and selecting, steaming, boiling, drying and cutting. Originated from a southern region of Anhui around Jingchuan county, the unique fiber material made by mixing the bark from the blue sandalwood and rice straws is the very ingredient of the renowned Chinese Xuan paper, the type in the real sense, not other types of “writing and painting paper”, various though, made of materials such as bamboo, grass, vine, hemp and bark. As Tang Guo sees it, Chinese traditional papermaking is not only a technical process of restoring and digging into the past but also a method of back-tracing in terms of source of water, geology and natural texture. Making art out of these is no early-stage preparation of materials to him but a way to personally feel and learn about various pulp-making plant fibers such as blue sandalwood, hemp and bark. One of Tang’s adopted fiber materials for this group of works is the very product of a perfect marriage between image making and the technique of making pulp out of the bark from the blue sandalwood. Since as early as the 1990s, Tang Guo has become a representative artist of “new literati painting” with his refreshing works of ink and wash. And his mixed-media art and collage also pioneered the formal reform of Chinese modern art at the time. As an artist unwilling to repeat his own experiments, however, Tang would never get complacent about achievements of any single stage and cease to advance. He gradually put away some of his “tricks” already widely recognized in China and abroad and dove into more individualized work. Since the long period he spent restoring the Zhizhu Temple in Beijing after 2000, Tang Guo has been living in increasing isolation from the community of artists filled with trends and clamors. Like a papermaker in an ancient workshop, he spends most of his time looking for raw fiber material for papermaking in mountains and processing it the traditional way, including cleaning, soaking, washing, drying, brushing and tempering. As a lot of messages are inherent in the fiber of these diverse pieces of “paper”, Tang Guo has chosen to believe in the power of the “Creator” and likes to see images and landscapes self-generate in the fiber with a non-interfering attitude like an incubator. In a compact or loose form, the preset fiber flows, spreads and gathers rapidly or slowly until the generation of images… The power of the fiber is all it takes to form the work by condensation. And, in the process, Tang Guo goes after the moments during the flow, the natural demonstration of material, the traces of time flowing, and the accumulation and deposit over a long period. Besides, the state and character he pursues can be boiled down to “purity, quiet, liberty and naturalness”. “Ruins are civilization of a higher level,” says Tang Guo. In this case, the fiber for traditional papermaking is not to, ultimately, be made into paper that carries images, but to become the very constitution of images and art; it turns from a medium of art to art itself, from a “ruin” of art in the past to a “civilization” of art in current times. During this subject-object switch, the artist has managed to inject new aesthetics and power to tradition and legacies through his technology-to-concept transformation, craft-to-ideology sublimation and traditional-to-contemporary evolution.
Another Form of Natureby Zheng Wen
关于艺术家 About Artist
汤国 （Tang Guo）
1955 生于中国江苏无锡，现工作和生活在南京。 1989 曾在南京艺术学院美术系和中央工艺美院书籍装帧系学习 曾任江苏省作家协会《钟山》杂志美术编辑
艺术家汤国利用传统媒介－水墨和书法创造出了一个很特别的世界，直到最近才开始延伸到摄影等领域。在汤国的绘画，脱离了一种严密和象形诗意的提议，水、纸浆、色彩是他最基本的元素。也许漫不经心的一瞥，会觉得他的画肯定和抽象表现主义相似，但很快就得为这些细腻温暖而又多情的作品让步。纵观汤国的作品，他的抽象绘画领域从意味悠远到不同色度的逐渐变化，既有深厚的传统韵味也不泛现当代视觉韵味。汤国很清晰地表示出他的兴趣在于色彩领域里的关系，混合，相互作用，色彩延展着它们自身的限度。其作品的美源自和谐的色彩层次，假以水墨规律而完成。汤国对再现有着强烈的偏好，当作品相互作用时，它们对自我价值的履行反倒更为独立。就算减小了色彩的范围，每一笔一画仍不失其独特，热诚地探索着什么才是质朴和纯粹。
在他的黑白照片系列“水”和“人境”（2000－2002）里，一种诗性的昔日情怀在增加：所有的照片都避免了人的出现。不过，在“水”这个系列里的照片是抽象的，模糊的和主观的，而在“人境”中则是提供了传统和现实的“客观”照片纪录。
重要展览
个展
2017 纸草, 艺术家汤国个展，澳门莲花美术馆
纸草纲目, 汤国个展，逸空间，南京
2016 智珠寺与澹园, 汤国户外投影墙视频展，东景缘，北京
2015 大江东去, 汤国个展，南京艺术学院美术馆，南京
2013 墟：汤国个展，香格纳主空间，上海
2008 流溢，外滩18号创意中心，上海
2006 水.土, 汤国个展，朱屺瞻艺术馆，上海
2005 人境, 汤国摄影展，香格纳H空间，上海
2002 乐水-汤国摄影展，香格纳复兴公园，上海
2001 汤国新作品展，香格纳复兴公园，上海
2000 生命的渴望，LA GALLIAVOLA，米兰，意大利
1998 汤国纸上新作品，上海美术馆，上海
1997 江苏画刊 97中国画家提名展，南京
1996 汤国作品展，香格纳波特曼，上海
汤国水墨作品展，国父纪念馆，台北，台湾
1995 飞越故园, 汤国新作品展，江苏省美术馆东方画廊，南京
1994 香港-北京, 汤国绘画艺术展，意大利使馆文化处，北京
东方家园, 汤国作品展，PHIMS 画廊，伦敦，英国
1991 汤国绘画艺术展，国际艺苑，北京
1990 汤国作品展，意大利使馆文化处，北京
群展
2018 以12月12日作为理由，杭州
2016 不确定的，或者被搁置的......，香格纳H空间，上海
不确定的，或者被搁置的......，香格纳主空间，上海
世界是你们的, 也是我们的，白立方，伦敦，英国
徘徊·荒芜, 一种复象的粉本，鼎艺会，上海
2015 美丽新世界, 第二届南京国际美术展，南京国际展览中心，南京
2014 CHINA: 当代陶瓷炼金术第一回，南京艺术学院美术馆，南京
2013 水之澜，M艺术空间，上海
界: 艺术家工作室白皮书，金鹰当代艺术空间，南京
呼吸之帧--独立影像展, 影像艺术档案，南京艺术学院美术馆，南京
2012 忆江南, 中国当代艺术展，泛华艺术中心，上海
2009 纸上, 香格纳艺术家群展，香格纳在淮海路798，上海
2007 显影, 中国当代摄影二十年，四方当代美术馆，南京
纸上谈兵, 名家纸面作品邀请展，四方当代美术馆，南京
2006 江南，TS1 当代艺术中心，北京
2005 病：我们今天的艺术，南京美术馆，南京
画妆, 中国戏曲主题艺术大展，H 美术馆，北京
体温, 纪念安徒生诞辰200周年·中国当代艺术邀请展，北日德兰艺术博物馆，丹麦
第一现实, 中国摄影展，欧盟总部展厅，布鲁塞尔，比利时
2004 移步换景, 摄影展，南京美术馆，南京
如影随形, 摄影展，莫干山路50号，上海
2003 乐水—平遥国际摄影节，平遥，山西
乐水, 摄影展，中华世纪坛美术馆，北京
2002 中国水墨艺术展，青岛，烟台
2000 新中国画大展，刘海粟美术馆，上海
东亚的位置, 中、日、韩现代艺术展，上海当代艺术馆，上海
1999 99年世界财富论坛, 当代艺术展，上海金茂大厦，上海
99' 中国水墨邀请展，广州
方式, 当代艺术展，浙江新图书馆，杭州
1998 中国首届国画家艺术邀请展，中国美术馆，北京
20世纪回顾主题展活动，波兰，华沙
5 CINESI A VERPUNO，ARTE NEL CASTELLO，意大利
世纪之星, 中国艺术双年展，安达略中国美术馆，加拿大
1997 创意荟萃展，香港
1995 江苏画刊20年展，南京博物馆，南京
1994 飘行与现实，香港大会堂展厅，香港
1993 中国基督教艺术展，道风山，香港
1992 92 春季作品展，时代画廊，广州
中国现代艺术展，CACTUS SHADOWS 美术中心，美国
1991 中国扇型绘画邀请大展，北京音乐厅展览厅，北京
江苏画刊收藏展，雄狮画廊，台湾
九十年代中国新文人画，中国画研究院，北京
江苏青年水墨展，大千画廊，北京
纸的现实艺术展，上海图书馆，上海
1990 中国新文人画研讨会，中国画研究院，北京
五人中国画探索展，十竹斋，南京
90' 春季画展，中国画研究院，北京
1986 国际青年年, 江苏青年艺术周大型艺术展，江苏省美术馆，南京
1982 西行画展，南京鼓楼公园，南京
1980 江苏省农民画展，江苏省美术馆，南京
项目 (所有 | 主要)
2009 智珠寺，北京
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欧洲私人藏家
(向下👇查看艺术家完整简历）华侨城盒子美术馆
华侨城盒子美术馆是由广东华侨城全资建设，广州美术学院油画系策划组运营管理的非营利公益性机构。华侨城盒子美术馆由范勃担任馆长，周力担任艺术总监，刘可担任执行馆长，正式开馆日期为2017年9月28日。美术馆坐落在顺德区顺峰山公园内，包括四个标准的室内展厅和室外公共展览空间。美术馆致力于整合地区及国际资源，呈现出国际化高水准的艺术样态；并依托美术学院研究与教学平台、顺德当地的传统特点和现代化发展，将艺术展示、公共交流和本地文化结合在一起，促进本土的、社会的、国际的艺术实践与文化产生。
OCT Boxes Art Museum
OCT Boxes Art Museum is builted and financed by the OCT Group, a non-profit public benefit organization operated and managed by The Oil Painting Department Curatorial Group of Guangzhou Academy of Fine Arts. OCT Boxes Art Museum has invited Fan Bo to serve as Museum Director, Zhou Li to serve as Artistic Director, and Liu Ke to serve as Executive Museum Director. Official opening day is on September 28, 2017. The museum located in the shunfeng mountain park in shunde district, its consists of four standard indoor exhibition halls and outdoor public exhibition Spaces. The museum strives to integrate regional and international resources, manifesting in a high-standard of artistic temperament, relying on the Guangzhou Academy of Fine Arts as both research and educational platform. The museum combines Shunde local specialties with modern development, uniting art exhibition, and public discourse with local culture. Its also promotes local, social and international art praxis as well as cultural production.
地址 /Address
佛山市顺德区顺峰山公园(南门)，华侨城盒子美术馆
OCT Boxes Art Museum, Shunfeng Mountain Park, Shunde District, Foshan City, Guangdong Province.
开放时间 /Opening hour10:00-18:00 (Tuesday to Friday) 10:00-20:00 (Weekend）
10:00-18:00 (周二至周五) 10:00-20:00 (周末)
3D展厅/https://www.artvrpro.com/1512629135720992Email /电子邮箱 boxartmuseum@163.comWebsite /官网 http://www.boxesartInstagram/boxesartmuseumTEL /电话 0757-22916960