烟色轻染 梁铨个展

展览名称：烟色轻染 梁铨个展 艺 术 家：梁铨 策 展 人：夏可君 博士 出 品 人：夏季风 展览总监：佟娟娟 主办单位：蜂巢当代艺术中心 展览时间：2013年5月11日 至6月11日 展览地点：蜂巢当代艺术中心（北京市朝阳区酒仙桥路4号798艺术区E06） 展览介绍： 北京蜂巢当代艺术中心荣幸地宣布将于2013年5月11日起举办梁铨先生的个展《烟色轻染》。作为中心年度新水墨的重要项目，展览将持续至2013年6月11日，为期一个月。作为实验抽象水墨的重要代表艺术家，梁铨以其带有“手工制作”特性的撕纸方式，把淡墨染成的宣纸条拼贴成抽象的几何构成画面，完全放弃了传统笔墨程式与图式系统，建构着一个理性而克制的个人视觉世界，并以此进行着对自性与空性这一哲学内核的思辨与探寻。 梁铨水墨的知觉模式在于，以细碎的繁复来实现空静。通过对水与墨的精微控制，对色块与色块颜色的叠加与调节，并以“间白”的韵节替代传统绘画的施色，艺术家最终在虚白与色晕的暗自吟咏和烟色轻染的氤氲间，形成了复调的诗学。 我们可以从以下几个纬度来凝述梁铨独特的创作语言：第一，把西方的抽象以及日本的物派向着更为自然化的“分形几何”拓展，让“抽象”返回到“自然”，充分展现了水墨的吸纳性与空无性，以细节堆砌而成的空白，重建了表面与空白的丰富关系；第二，把水墨、日常生活以及中国文化的“蒙养”相结合，形成了“观养”——不再追求西方式的视觉冲击，转而强化对生命其内在呼吸性的关注，从而呈现心性的陶冶；第三，梁铨重建了文人的审美生存风格，恢复了平淡与空寒的至高境界，藉以消解当下过于消耗与膨胀的消费主义的弥散。 此次梁铨于蜂巢当代艺术中心展览的作品，以淡黄的茶色为基调，以茶与水的内在呼应，展开中国文化中阴与阳的对话，以此纪录那对消逝与挽留的咏叹。梁铨作品以其表面的诗学与谦逊的姿态，在接近零度的表面上展现无限的张力，让空白來滋养空间和孕化生命。这一“反向重构”的创作机制，亦是画者对新水墨创作的卓然探索。 Fold of the Infra-Fade: the Solo Exhibition of Liang Quan Artist：Liang Quan Curator: Dr. Xia Kejun Exhibition Director: Tong Juanjuan Producer: Xia Jifeng Duration: 11th May- 11th June, 2013 Organizer: Hive Center for Contemporary Art Address: E06, 798 Art Zone, No.4 Jiuxianqiao Rd., Changyang District, Beijing, China On behalf of Hive Center for Contemporary Art, We have the honor to claim that Fold of the Infra-Fade: the Solo Exhibition of Liang Quan will open on May 11th 2013. As the essential exhibition of HCCA's annual Neo Water-ink Project, it will last to June 11th 2013. Liang Quan, the representative abstract ink painter, is featured for his unique collages technique using dyed rice paper. Abandoned traditional painting methods and theories, Liang constructs a rational and undemonstrative visual world to philosophize the meaning of Zen. Liang Quan’s perceptual pattern draws on the method of showing emptiness by dedicated details. His participations: the accurate control towards water and ink, overlaying and adjusting of color areas, and using blank to replace coloring all aim to create a polyphonic and poetic sense. We can conclude his characteristics of art practices: First, he evolves the methodology from western abstract and Japanese mono-ha to naturalized fractal geometry to illustrate ink painting’s traits which contain an affluent inter-relation between blank and surface. Second, He endows his works a strong sense of mental vitality. Third, Liang reconstructs the aesthetic style of intellectuals which glorifies the ultimate realm of isolation and flatness to ease the excessive diffusion of consumerism. The base color tone of Liang Quan’s works which will exhibit in Hive Center for Contemporary Art is sandy, echoing the inter-response between water and tea as a metaphor of Yin and Yang to record the ode to fading and surviving. Liang Quan uses the blank to nourish the life with a poetic expression and modest attitude. Also, Liang also makes magnificent contribution to neo ink painting for his methodology of reverse-deconstructivism.