“超然象外”美国当代具象艺术系列展
“BeyondFiguration”——-Art America Beijing 2018
主办：北京成蹊当代艺术中心
Sponsor：ChengxiContemporary Art Center
参展艺术家简介及作品
蒋维宪，美籍华裔艺术家。1981年生于中国福州。 2005年本科毕业于天津美术学院，2016年获New York Studio School艺术硕士学位。作品在美国、中国多次展出。2016年蒋维宪刚刚在纽约Slag画廊举办了自己的个展。
蒋维宪大部分的雕塑作品是将冰冷的工业材料如铜、水泥或陶瓷进行转化，从而使人联想到原始的矿石、沉积物和粘土等物质，这样的转化展现了孕育着生命的大自然过去的面貌，而这样的面貌现在几乎被人们所遗忘。
传承 Weixian Jiang 铜 高38*长42*宽23
Theelemental sculptures of Weixian Jiang transform stark industrial material suchas bronze, cement, or ceramic into forms reminiscent of their organic originsof ore, sediment, and clay – breathing new life to a nearly forgotten paststate of nature. Jiang'sworks are firmly rooted in the harmony between material and process. Theartist uses traditional and modern techniques such as hand forged iron, foundobjects, welding, weaving, “snow casting”, a technique achieved by pouringmolten wax or plaster in a deep layer of snow, and “water casting”, using waterinstead of snow -- all to create haunting, organic forms.
To Weixian Jiang, this form of sculpture is the most primary form ofcreation. He takes a bit from nature. He takes a bit from industry. These worlds come together in his hands, as a process of pure manufacturing.
Weixian Jiang
1981 born in FuZhou, China
Education
2000-2005 Attends TianJian Academy of Art
2005 Emigrates to the United States
2006-2007 Study at the Art Students League of New York
2014-2016 Receives M.F.A. From New York Studio School of Drawing, Painting& Sculpture
Group Exhibition
2016, May. MFA Thesis Exhibition, New York Studio School
2016, September. The 3rd Sculpture Art Competition in FUJIAN, China
2017. John Davis Gallery, Hudson New York
Personal statement
Some of my materials are natural, such as bamboo, sticks, branches, feathers, and leaves. Other materials I use have very natural origins, but they are more associated with manufacturing and industry. These materials include cement, iron, plaster, ceramic, gold leaf, bronze, copper, wire, rubber bands, and glazes
Some materials work well together, whether their origins are more natural or not. Some materials do not work well together.
My work is an exploration into what kinds of materials work well
together visually, on the one hand, but more important to me is that the
materials complement each other physically. I let my pieces form and inform
themselves as I work. I choose my materials for how they feel, physically, in my
hands, and I let one stage of the object-making tell me what form or material will
come next. The idea for an ultimate, final object only begins to form in my mind
as it starts to form in my hands. This is the most primary form of manufacturing,
as I see it, and that is how I think of my pieces.
I take a bit from nature. I take a bit from industry. These materials come together in my hands, as a process of pure manufacturing.
蒋维宪作品欣赏
“超然象外”美国当代具象艺术系列展一
“BeyondFiguration”——-Art America Beijing 2018
学术主持：成蹊
Academic preside：ChengXi
策展人：成蹊、吴建楠
Curator: Cheng Xi 、Jiannan Wu
学术支持：皮特·德瑞克（美）
Academic support: Peter Drake
参展艺术家：
Artist：
Peter Drak ｜皮特·德瑞克
John Jacobsmeyer ｜约翰·雅各布斯迈尔
Bruce Gagnier ｜布鲁斯·加尼尔
Adam Lupton ｜亚当·卢普顿
Jingyi Wang ｜王敬宜
AlonsaGuevara ｜阿隆萨·格瓦拉
Simón Ramírez ｜西蒙·拉米雷斯
Weixian Jiang ｜蒋维宪
Caleb DowBooth ｜卡莱布·布斯
Ciara Rafferty ｜席亚拉·拉弗蒂
Nan Xu ｜徐楠
James Razko ｜詹姆斯·瑞斯科
Dina Brodsky｜ 迪娜·布罗斯基
Jiannan Wu ｜吴建楠
开幕时间：2018年3月10日15:00（周六）
OpeningReception: 3pm, March 10th, Saturday, 2018
展览时间：2018年1月28日----3月28日
ExhibitionTime: January 28th,2018——March 28th, 2018
主办单位：北京成蹊当代艺术中心
Sponsor：ChengxiContemporary Art Center
展览地点：北京市顺义区龙塘文创园，成蹊当代艺术中心（龙塘新馆）
ExhibitionVenue: ChengxiContemporary Art Center, Creative Industry Park B01, 28 Longtang Road, ShunyiDistrict, Beijing
品牌合作：北京龙塘文化创意产业园
媒体支持：中央美术学院艺讯网、凤凰文化、在艺网、搜狐新闻、北京文艺网、艺厘米、概艺网、墙报、天涯艺术、艺术中国、hello陌生、爱艺网、雅昌艺术、腾讯视频等
收藏资讯：13241963310（电话、微信）
前言
文｜皮特·德瑞克（美）
标题乍看表达了逻辑性的向前发展或是抛开传统和已知的一种概念。但标题想要表达的真实意思是先进的具象创作的下一步发展是尊重过去但又不是墨守成规。这是指借鉴诸世纪来的发明和实验来创造作品，这些作品以历史准则为基石，但又突破了这些准则。Beyond Figuration非常清晰地表达了先锋具象艺术家们是可以做到鱼和熊掌兼得的。通过直观的视觉表达，融合艺术历史和当代文化是本次展览对艺术家们的期望。
詹姆斯·瑞斯科的作品就是一个完美的例子。从他的夜视主题的绘画到他的当代错视画，他创造了一个令人信服的世界，一个只有结合大量的艺术历史的背景知识并利用制造错觉的艺术创作的可能性才可以创造出的世界。当你第一眼看他的弹孔主题的绘画的时候，会觉得是如此无辜，就像一个小纽扣或是一个奖章。但只有当你认真思考了它们所隐喻的暴力之后你才能感受它们真正想要表达的内容。
王敬宜的孤独的仙人掌， 投影在一张照片纸上，呈现出仙人掌在室内生长的场景。这种抑郁的描绘表达出了大自然和室内的错觉之间强烈的反差对比。在她的作品里你能感觉到好像你踉跄走进了亚利桑那州菲利克斯的一个牙医诊所，然后发现本该是菲利克斯真实的风景变成了一副临摹画。
在NewYork New York这件作品中，吴建楠用浅浮雕的形式展示了一个凌乱又充满能量的纽约地铁场景。 各种各样的广告logo漂浮在一个单点透视的场景中就是借鉴了布鲁内勒斯基的作品。吴建楠对传统文化的认知，加上他想要超越它的意愿，最终在作品中呈现了百老汇布吉伍吉爵士乐式的美妙、混乱和困惑。
鲜明的对比下，亚当·卢普顿的作品Verbatum呈现了另一种真实，一种颜料在画布上的真实感，和那种真实感的愉悦和虚构。卢普顿的作品充满了情绪的张力，但作品真正的力量来自于他想要一幅一幅地去扩张他的视觉的信息量的意愿。他的颜料在一幅作品中是粗糙的，但到了下一幅作品又是谄媚的。从弗兰斯·哈尔斯到弗朗西斯·培根，艺术家们一直在尝试从诸世纪的画作中学到更多，而卢普顿就是这样一位结合了历史传承和逻辑性向前发展的艺术家。
这次参加Beyond Figuration的所有艺术家都是当代艺术圈新兴的大范围对话的一部分。这个对话不禁让我们去质疑被坚持了近一个世纪的学术准则是否正确，即艺术家的技术、才华和艺术历史认知之间是没有相互关系的。这些艺术家们充分证明了这个准则不再正确。这些对于美术史的认知不再只是存在于艺术家们的眼里，而是丰富了艺术家们的艺术创作。
——皮特·德瑞克
（艺术家，策展人，纽约艺术学院教授、副院长）
Beyond Figuration
The title suggests that there is a logical nextstep, or the leaving behind of a tradition or the known. The truth is that thenext step in progressive figuration respects the past without being beholdingto it. It takes advantage of centuries-worth of invention and experimentationto create works that build on and go beyond historical norms. Beyond Figuration makes it clear thatprogressive figurative artists can have their cake and eat it too. Beingvisually articulate, aware of art history and engaged with contemporary cultureis what is expected of the artists in this exhibition.
James Raczkowski’s work is a perfectexample; from his haunting night-vision pictures to contemporary trompe l’oeil,he creates a convincing world that could only be achieved through a deepinvestment to art history and the magical possibilities of illusionisticartmaking. His bullet-hole pinwheels appear so innocent at first glance, like atiny button or a medallion. They only assert themselves after you considertheir implied violence.
Jingyi Wang’s lonesome cacti, cast shadowson what appears to be a photo-mural of the very setting the plant should be athome in to begin with. This melancholic depiction could only be effective if itis convincing to begin with, the sharp contrast of one illusion set off againstanother. There is the sense in her work that you have stumbled into a dentist’soffice in Phoenix Arizona where the genuine landscape has been replaced with itsdistant facsimile.
In NewYork, New York, Jiannan Wu creates a bas relief phantasmagoria of theclattering energy of the New York City subway system. Advertising clouds floatover a single point perspective that’s right out of Brunelleschi. The beauty, the mayhem and theconfusion of the Broadway Boogie Woogie is realized by Jiannan’s awareness ofthis tradition and his willingness to go beyond it.
Bysharp contrast, Adam Lupton’s Verbatum presentsanother kind of truth, the truth of paint on canvas and the exhilaration andinvention of that reality. Lupton’s work is emotionally loaded, but its realstrength comes from his willingness to expand his visual vocabulary from pieceto piece. Paint becomes scabrous in one painting and buttery in the next. FromFrans Hals to Francis Bacon, artists have been trying to get more out of paintfor centuries and Lupton is both a part of this tradition and its logical nextstep.
Allof the artists in Beyond Figuration area part of a larger dialog that is emerging in the contemporary art world. Thisdialog questions the academic norm of our time which has insisted for a centurythat skill, talent and art historical awareness are no longer relevant. Theseartists make it abundantly clear that this is no longer the truth. These assetsdo not stand in the way of an artist’s vision, they enhance it.
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