展覽名稱：現(xiàn)在·未來(lái)三人展丨雷米·艾融、邢俊勤、胡昌煢

開幕時(shí)間：2022年4月30日（周六）下午15:00

展覽時(shí)間：2022年4月30日至5月20日

展覽地點(diǎn)：藝棧畫廊，798東街藝術(shù)區(qū)#D10

聯(lián)系人：丁女士13001170598

在疫情肆虐的日子里，緊張的氣氛籠罩著世界，給大家生活、工作帶來(lái)很大影響，給人們?cè)斐闪司薮蟮男睦韷毫Γ欢吘故谴号ㄩ_的季節(jié)，藝術(shù)像溫暖的春風(fēng)一樣，撫慰著我們的心靈。在這里，我們奉上三位不同文化背景、不同成長(zhǎng)經(jīng)歷的藝術(shù)家作品聯(lián)展，猶如一縷清新的空氣撲面而來(lái)。

雷米·艾融、邢俊勤、胡昌煢三位藝術(shù)家來(lái)自不同的國(guó)度，成長(zhǎng)于不同的時(shí)代。他們的作品相聚于此，和而不同，以各自的藝術(shù)語(yǔ)調(diào)，共同演繹出和諧的三重唱。

雷米·艾融作品

雷米·艾融是一位非常儒雅的法國(guó)藝術(shù)家。從他的作品中可以看出，無(wú)論是立體主義、至上主義或是東方元素的自然融入，他都能夠自由穿梭于平面與立體、抽象與具象之間。無(wú)論形式上的轉(zhuǎn)換，還是結(jié)構(gòu)空間的建構(gòu)，他都能將個(gè)人的精神情感和藝術(shù)思考安放在視覺的邏輯體系之中。他將空間結(jié)構(gòu)和色彩節(jié)奏把握得兼具視覺張力和內(nèi)斂含蓄的雙重氣質(zhì)，優(yōu)雅而高級(jí)的灰色調(diào)更是顯現(xiàn)出形而上的超現(xiàn)實(shí)之境。或者說(shuō)，他具有西方文人畫家的氣質(zhì)，當(dāng)然這是以中國(guó)“文人畫”概念所作的未必恰當(dāng)?shù)谋扔鳌?/p>

邢俊勤 槍中的風(fēng)景.迷彩布丙烯25X120cm

 邢俊勤 偶·像-93X121cm丙烯、油彩

邢俊勤 迷彩紀(jì)事，93X93cm迷彩布丙烯

用澳大利亞批評(píng)家強(qiáng)·麥克當(dāng)納爾特所說(shuō)，邢俊勤是一位行進(jìn)在兩個(gè)世界之間的藝術(shù)家。他用自己特立獨(dú)行的藝術(shù)思考和方法，把軍事繪畫的符號(hào)巧妙地進(jìn)行了藝術(shù)語(yǔ)言的轉(zhuǎn)換。“邢俊勤對(duì)生活、對(duì)戰(zhàn)爭(zhēng)、對(duì)人性的思考及其在作品中的表現(xiàn)，讓我再次感受了思想對(duì)作品的意義”（齊忠亮語(yǔ)）。邢俊勤的“迷彩”藝術(shù)符號(hào)覆蓋的是背后廣博的人文情懷和平等的學(xué)術(shù)歷史觀。“迷彩”的屬性在他的作品中發(fā)生了溫情的質(zhì)變，它的形式意味與符號(hào)價(jià)值轉(zhuǎn)變成一種質(zhì)感豐富而色彩絢爛的雙關(guān)語(yǔ).“邢俊勤把迷彩圖案作為文化資源和視覺符號(hào)放回到藝術(shù)生態(tài)中，將題材的決定性因素放回到普通的日常景觀，是實(shí)現(xiàn)生命質(zhì)樸關(guān)懷的一次成功嘗試”（許向群語(yǔ)）。

胡昌煢 《沉默的馬》布面蠟彩50×70cm 

胡昌煢 《一瞬而過(guò)的》木板油畫-42×60cm

胡昌煢 《槐樹的春芽》木板-礦物質(zhì)色粉坦培拉-30×42cm

胡昌煢是一位沉靜而溫厚的青年畫家。他以礦物質(zhì)色粉為主色料，蜂蠟、雞蛋為調(diào)合劑，做成坦培拉媒介劑，以向文藝復(fù)興前期大師致敬的精神創(chuàng)作靜穆、沉穩(wěn)而古樸的繪畫。

胡昌煢作品大多是寫生而來(lái)，但在具象的表面樣式之下卻是寧?kù)o的象征主義特質(zhì)。他敬意傳統(tǒng)，并把現(xiàn)實(shí)景觀凝固在“灰澀”的色彩體系之中，營(yíng)造出理性而崇高的意境，讓具象繪畫衍生出抽象精神。他的畫一掃浮塵燥氣，樸素而真摯的筆觸肌理蘊(yùn)藏著沉著而涌動(dòng)的視覺張力。

三位藝術(shù)家平心靜氣的藝術(shù)表達(dá)，是面對(duì)后疫情時(shí)代的視覺敘事，也是作品與作品之間、作品與觀者之間的一次畫聊。

有疫說(shuō)藝，以藝抗疫，是為序。

 ICI LABAS藝棧2022.4.20

法國(guó)藝術(shù)家 雷米?艾融Rémy ARON

 雷米?艾融作品

法國(guó)藝術(shù)家 雷米?艾融Rémy ARON

法國(guó)著名藝術(shù)畫家，法國(guó)美術(shù)家協(xié)會(huì)前主席、法國(guó)藝術(shù)和文學(xué)騎士

1952年4月16日生于法國(guó)敘雷納

畢業(yè)于巴黎國(guó)立高等美術(shù)學(xué)院

中國(guó)國(guó)家畫院外籍研究員

泰勒基金會(huì)金獎(jiǎng)

法國(guó)藝術(shù)家大獎(jiǎng) - 賽費(fèi)爾南德·科蒙（泰勒基金會(huì)）

1985年至2018年，法國(guó)美術(shù)家協(xié)會(huì)主席

邢俊勤

邢俊勤  畫室 80X40cm迷彩布丙烯

藝術(shù)家 邢俊勤 XING Junqin

邢俊勤，1960年生于山西省壽陽(yáng)縣，軍旅畫家

1989年畢業(yè)于解放軍藝術(shù)學(xué)院，1993年中央美術(shù)學(xué)院油畫系研究班畢業(yè)，1995年調(diào)入北京軍區(qū)空軍文藝創(chuàng)作室。

2002年第一批進(jìn)駐798藝術(shù)區(qū)。同時(shí)成為將軍事繪畫藝術(shù)推向國(guó)際的第一位軍旅畫家。曾任北京軍區(qū)空軍文藝創(chuàng)作室創(chuàng)作員，中國(guó)美協(xié)會(huì)員，澳大利亞新南威爾士大學(xué)美術(shù)學(xué)院客座教授，解放軍美術(shù)創(chuàng)作院畫家，山西晉中學(xué)院客座教授、大連畫院特聘畫家，中國(guó)人民革命軍事博物館藝術(shù)家。

胡昌煢

胡昌煢 《下滑的棚戶屋》木板-礦物質(zhì)色粉坦培拉-30×42cm

藝術(shù)家 胡昌煢 Hu Changqiong

1980年生于湖南株洲，2007年碩士畢業(yè)于中央美術(shù)學(xué)院油畫系，現(xiàn)為中國(guó)藝術(shù)研究院油畫院特聘畫家，教師，學(xué)術(shù)委員。

其創(chuàng)作初期的作品關(guān)注倫理現(xiàn)實(shí)中人的悲觀處境；近期，以窗內(nèi)窗外作為有限取景的約束性行為進(jìn)行寫生、創(chuàng)作。在創(chuàng)作技法上，藝術(shù)家擅長(zhǎng)使用以純礦物質(zhì)為色料，以蜂蠟、干酪素、雞蛋為媒介的坦培拉技法，試圖通過(guò)將不同的媒介組合在一起，創(chuàng)作出具有更多可能性和直覺上的豐富性的藝術(shù)作品。

Present and Future

These days when the pandemic is raging, the tense atmosphere envelops the world, which having a great impact on everyone's life and work, and causing great psychological pressure to people. Even so it is now spring and warm with flowers blossoming and art is like a warm spring breeze, soothing our hearts. Here, we present a group exhibition of the works of three artists with different cultural backgrounds, just like three rays of fresh air.

Rémy Aron, Xing Junqin and Hu Changqiong are three artists from two different countries and grew up in different times. Their works are showcased together here, harmoniously and differently, in their own artistic tones, jointly to interpret a harmonious trio.

Rémy Aron is a very elegant French artist. It can be seen from his works that whether it is Cubism, Supremacism or the natural integration of Oriental elements, he can freely shuttle between 2D and 3D, abstraction and figuration. Whether it is the transformation of form or the construction of structural space, he can place his emotions and artistic thinking in a logical system of vision. He grasps the spatial structure and color rhythm with both visual tension and inner, subtle temperament. His works are elegant using light gray tones to show a metaphysical and surreal realm. In other words, he has the aura of a Western literati painter, which is of course an inappropriate metaphor based on the concept of Chinese "literati painting".

In the words of Australian art critic John McDonald, Xing Junqin is an artist who travels between two worlds. He used his unique artistic thinking and methods to subtly transform the symbols of military painting into an artistic language. As Qi Zhongliang ever commented, "Xing Junqin's contemplation on life, war, and human nature, and those expressions through his work, has made me feel the significance of thoughts embedded in his work again". As Xu Xiangqun ever said, what Xing Junqin's "camouflage" art as his symbol uncovers the broad humanistic feelings and equal views of an academic history behind it. The attributes of "camouflage" underwent a warm qualitative change in his works, and its meaning in form and symbolic value transformed into a pun with richness in texture and brilliance in color. "By using camouflage patterns as cultural resources and visual symbols, and the decisive factor of his subject matter, Xing Junqin has returned to an art ecology as well as a daily landscape. All those are his successful attempt to realize the essential care of a life".

Hu Changqiong is a quiet and gentle younger painter. By using mineral paint in powder as a pigment, beeswax and egg as a mixture, he made Tempera his media to create paintings of calmness, heaviness and ancientness so as to spiritually pay tribute to the masters of the early Renaissance period. 

Most of Hu Changqiong's work are sketches made in outfields, but beneath the figurative surface his style is of a serene symbolist character. He pays homage to traditions and solidifies the realistic landscape in a "gray" color system, to create a rational and sublime artistic experience, allowing figurative painting to derive an abstractive spirit. In his paintings he swept away the dusty particles and impetuousness, instead, those brushstrokes and textures in simplicity and sincerity showcase a calm and surging visual tension.

The artistic expression in calmness by the three artists could be regarded as a visual narrative facing the post-pandemic era, and it maybe a conversation between one and another work, or between a work and a viewer. 

In the days when the pandemic is raging, let art be talking, and let art fight the pandemic, thus is the way.

 ICI LABAS藝棧丨Gallery ICI LABAS

2022.4.20

邢俊勤/文丨text by Xing Junqin

晉華/翻譯丨translated into English by Jin Hua