OLLEH



OLLEH 

太平

2020.12.12 - 2021.1.12


开幕时间:2020年12月12日下午3点

预展日:2020年12月12日—13日

公众开放日:2020年12月15日上午10点


地点:湖南省长沙市天心区南湖路

长坡二街酷力文体园区三楼



OLLEH | Taiping


2020.12.12 - 2021.1.12

Preview: Sat, Dec 12, 2020, 3pm

Public Day: From Dec 15, 2020, 10am


Address: Floor 3, Kuli Sports Center, 

Changsha, Hunan





展览前言


若如福柯所言,语言是一切被念出的东西的喃喃低语,太平的作品会在每一个步入展厅的人耳旁不断变换着低频振动。这种语音的变换源自艺术家创作方式的偶发性和反抗性,即他对瞬间灵感的捕捉和对既定范式的逆反。正因如此,太平的作品呈现出块状分割感,而当我们放大去看这些块状区域,则会发现它们由碎片构成。作为观者,我们需要仔细观察、自省,才能在碎片的周围找到那个使其自身存在的,像文学之连续性一样的东西。


这种东西存在的前提,是太平保持着作为艺术家的自由姿态。这种自由不是安那其式的,恰恰相反,它是规范支配下的自由。矛盾但又可理解的是,太平无意破坏和毁灭那个由精英阶层所规范的文化系统和符号结构。他通过艺术实践作出行动,如同在午夜和朋友闲聊般调侃着艺术界所奉圭臬。


太平将自己假设为一个被实验对象、被批判对象,利用自己的实践来讽刺那早已僵化的,意识形态层面的欺骗。由此,他成为了一种仿真 (simulacre),一种与模仿的形象相反的,排除了相似性,以差异为食的存在。源于《傲慢与偏见》和《善恶的彼岸》之中的作品名称,蓝黑画面中的图腾符号,还有那个洗脑般的“OLLEH”,都是作为仿真形态的反词语 (contremots) 对已有规则的持续僭越。


在此方法论中,仿真变成了破坏范式和复制的狡猾手段。这也恰恰证明了,太平以戏谑的态度剥夺旧形式的实体内容,并以戏仿之形式再演的实践在公认范式中被视为失败时,这种“失败”在后现代的形式上是成功的。



If language is the murmur of everything that is spoken, Taiping’s works will constantly change its bass vibration in the ears of everyone who enters the exhibition hall. This phonetic change originates from the occasional and rebellious nature of the artist’s creative practice, i.e., his capture of momentary inspiration and his rebellion against the established paradigm. Through his ingenious nature, Taiping’s works show a sense of blocky division, and when we zoom in to look at these blocky areas, we will find that they are composed of fragments. As viewers, we need to observe and introspect to find differance that makes the fragments exist as what synthesise the continuity of literature.


The presupposition of differance is that Taiping remains a free attitude as an artist. This freedom is not anarchic, reversely, it is freedom governed by norms and criteria. Taiping has no intention of breaking or obliterating the cultural system and symbolic structure regulated by the elite, paradoxically but understandably, he acts through artistic practice, ridiculing the law of the art world like babbling with friends at midnight.


Taiping assumed himself as an object that is experimented on and criticised to satirise the already rigid ideological deception. Thus, he became a kind of simulacre, a kind of existence that is opposite to the image of imitation, which excludes similarities and feeds on differences. The titles of works derived from Pride and Prejudice and Beyond Good and Evil, the totem symbols in the blue and black pictures, and the repetitive “OLLEH” are all contremots that act as imitations and continue arrogating existing orders.


In this methodology, simulacre becomes a cunning means of dismantling paradigm and repetition. This also just proves that when Taiping deprived the physical content of the old form facetiously and re-enacted in the form of parody is regarded as a failure in the accepted paradigm, this “failure” is a triumph in a manner of postmodernity.




展出作品


OLLEH

©太平

2019

布面丙烯

290x200cm


无用

©太平

2017

综合材料

180x142cm




艺术家

太平



太平,1986年出生于江苏徐州,2015年毕业于中央美术学院油画系,获硕士学位后工作、生活于北京。经历早年的绘画实践后留学德国,归国后进入中央美术学院油画系第四工作室师从马路先生,太平的创作经历了一个从具象到抽象的过程。


在太平的绘画中,大量可见介于自由宣泄与高度自制之间的微妙状态。正如他对于绘画方法的自述那样,以笔触迅疾的喷发占领画面,充斥着由随机带来的愉悦感,而这种绘画行动往往由画面业已存在的上一件作品的衍生物激发而来。太平以一种不间断的方式,整体的展开他的绘画事业: 他不会陶醉于开启某件“新”的作品,而是依循当前的版图或线索,如同植物的生长一般向前延伸。太平的作品可以被抽象为引发记忆活动的方法,因为无论其作品面貌如何变化,它们都在以独特的形态,烙印进观看者的心中。





2020/12/4
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