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雙想: Kata Legrady和王魯炎的藝術Doublethink: Kata Legrady and Wang Luyan

Exhibition details

Opening / Event Date:
26 October, 2013
Time:
2:00 pm - 6:00 pm
Closing / End Date:
18 January, 2014
Event Category:

展覽地點:藝門畫廊(香港) 

開放時間為週二至週五上午10時至下午6時,星期六上午11時至下午6時, 週日和週一敬請預約

在這次藝門畫廊(香港) 的展覽同期,勒圭迪和王魯炎的作品亦會在香港藝術中心展出。 展覽期間為十月二十四日至十一月十日。

展覽開幕禮十月二十六日二時至六時

這次展覽將展出Kata Legrady(1974年生于匈牙利Barcs)及王魯炎(1956年生于中國北京)兩位藝術家的作品。《雙想》呈現兩位同樣著迷于隱藏在我們共有的信念和欲望下的種種悖論的藝術家。展覽題目取自奧威爾的經典反烏托邦小說《一九八四》(1949年), 「雙想」一語指的是壹種心理調節方法,將日常生活中的令人難以接受的種種矛盾,通過自欺和故意遺忘去接受。這個詞組也指出了這兩位藝術家各具特點的創作,卻同樣能促使觀察去反思我們一般不會細想的成見。《雙想》是Legrady和王魯炎第一次在香港展出他們的作品。

Kata Legrady 和王魯炎有一些從表面上難以察覺的共通之處。他們分別成長于匈牙利的「肉湯共産主義」(Goulash Communism)和中國的文化大革命,兩個巨大的政治宣傳運動之中。因此,他們工人都有一種利用標誌性的重大圖象的自然傾向,和對誇大其詞的意識形態的深刻懷疑。這兩位藝術家是蘇維埃教育下的兒童,他們都曾經是戴著紅領巾的少年先鋒 -- 他們少時都不得不參加共産黨的少年團,Legrady甚至要在其中參加射擊訓練和槍法比賽。 在他們所接受的教育中,Legrady和王魯炎都被鼓勵去學習一些「客觀」的知識,比如數學和幾何學,這些知識都在他們今天計算精確的紙上作品中反映了出來。他們都沒有正式學習視覺藝術,而是接受了一些講求秩序和精確的進修:Legrady曾受過成爲歌劇女高音的訓練,王魯炎則學習過機械工程。今天,這兩位藝術家所用的參照是共同的,即一種曾經不容置疑的,卻因爲蘇聯集團在1989年的倒台和中國大陸的經濟大轉向而變得不再有任何意義的價值觀。他們青年時代的意識形態國家,如今只存在他們的記憶之中。

Kata Legrady的作品是貼上了羽毛的手榴彈,大幅照片中印滿了鮮花的子彈和被糖果包裹著的地雷,她將矛盾敵對的概念連結起來:美和暴力,兒童遊戲和戰爭,搶眼的消費品和大破壞等,她的驚人的並置提出了更多難以共存的二元。她的空殼手槍上要不就貼滿了色彩繽紛的糖果(《糖果與槍》,2008年至今),要不就被壹元美鈔包裹著,說明資本也可以被用于暴力。

如果說 Legrady 在她那些漂亮卻令人不安的作品中將相互矛盾的元素結合起來,那麽王魯炎的作品則借用工程設計的圖像,以顯現出我們生活中無處不在的悖論。在王魯炎的繪畫及雕塑中,戰爭從不帶來穩定,宗教招致的也不是和平而是血腥。一只籠中鳥(在2008年的繪畫作品《W Birdcage》中) 被困在一個複雜的滑輪系統中,牠一旦想逃走即會被困得更牢。在王魯炎的作品中不存在勝利者:所有行動都立即産生反作用。

Legarady將奢侈品與大災難的悲劇組成一對,她的炸彈可能是名牌唇膏形狀(《Chanel 217》,2011年) ,或者塗上了一種你會在法拉利車上的超光澤灰色 (《Little Boy》,2009年) -- 後者的題目當然直接指涉了美國投到廣島的那枚原子彈。令人想起畢卡比亞(Picabia)那些描繪機械的作品,王魯炎的手表— 同樣是一種身份象徵 — 描繪出地緣政治關于錯綜複雜的機制,反映了各個國家之間不可分割的野心和權力關系。王魯炎的畫作極其精細,像《Cold War Watch》 清楚地描述出國際關系的機制 -- 在這裏,韓國和朝鮮位于中央,成爲了一大片國家的星群的軸心,這些國家對于韓朝之間的一舉一動都必須小心回應。

槍作爲一種藝術對象貫穿整個展覽,但當然不是對武器的喜愛,而是一種批判。在王魯炎的巨型繪畫《W Fire at Both Ends Automatic Handgun》(2013年)中,不可能發生好結果:跟王魯炎作品中所有的槍一樣,它的設計是一旦扣動機板,子彈就會從槍的兩邊發射,造成雙方的傷亡。 Legrady的《Government with Saddle on Socket》(2012年) 是一把巨型的手槍,在它上面是一個特制的愛瑪仕馬鞍,好比說我們的消費狂熱會帶我們走向一種殘酷的結局。這兩位藝術家絕不容忍暴力,絕不讚頌槍炮或企圖掩飾這個愈來愈危險的世界。相反,Legrady和王魯炎利用武器和其他各種符號,爲的是揭示出這種讓暴力永遠存在于我們身邊的雙想。

藝術家簡介:

卡妲.勒圭迪 (Kata Legrady,生於匈牙利包爾奇;現於漢諾威、布達佩斯及巴黎之間生活及工作)曾在匈牙利佩奇音樂學院接受成為歌劇主唱的訓練,又在Gor Nagy Maria 戲劇學校學習過,在投身視覺藝術界前,曾參與過多齣音樂劇和電影。自2010年起,她在歐洲及世界各地舉辦和參與過多次展覽,其中她參加過的聯展包括《Le Cabinet de Curiosités de Thomas Erber》(倫敦Browns,2011年,柏林Andreas Murkuldis,2012年);《Le Luxe, mode d’emphoi》(巴黎Passage de Retz,2012年);《Hybride 2》(杜埃Ancien Hôspital Général,2013年)及即將舉行的《Caravana Negra》(布宜諾斯艾利斯 La Bocca,2013年)。最近的個展包括《炸彈和糖果及面具和槍枝》(巴黎Rabouan Moussin畫廊,2010及2011年 );卡妲.勒圭迪》(多倫多Pari Nadimi畫廊) ;《卡妲.勒圭迪》(米蘭Fondazione Mudima美術館,2011年); 《炸彈和糖果》(Kulturstiftung Marienmunster,2013年)。在2014年他將會在ZKM藝術媒體中心(卡爾斯魯厄)及Kathe-Kollowitz 美術館(柏林)。在這次香港藝術中心的展覽同期,勒圭迪和王魯炎的作品亦會在藝門畫廊(香港)展出。

王魯炎(生於北京,現居當地)由1970年代末期開始參與到中國當代藝術的發展,是其中一位最重要的藝術家。他曾參加1979年在北京舉行的星星畫展,在1989年在北京中國美術館舉行的《中國現代藝術展》。 王魯炎與陳少平和顧德新組成了新刻度小組,在1988年到1955年之間進行的一連串的實驗性實踐。他也曾參加很多重要的國際展覽,包括第二屆亞太三年展(布里斯本昆士蘭美術館,1996年);《蛻變突破-華人新藝術》(紐約亞洲協會及P.S.1當代藝術中心,1998年);第一屆廣州三年展(2002年);第六屆上海雙年展「超設計」(2006年);《八五新潮 中國第一次當代藝術運動》(北京尤倫斯當代藝術中心,2007年)及兩次釜山雙年展 (2008及2010年)。最近的個展包括《被鋸的鋸?》(北京阿拉里奧畫廊 ,2007年);《王魯炎:整體的背面》(北京卓越藝術空間,2008年);《王魯炎》(首爾整體美術館,2010年);《王魯炎》(巴黎RX畫廊,2011年)及《王魯炎:圖.寓言》(北京芳草地展覽館,2013年)。在這次香港藝術中心的展覽同期,勒圭迪和王魯炎的作品亦會在藝門畫廊(香港)展出。
關於策展人:
丁達韋 是一位策展人,藝術評論及編輯,現居北京。他曾策劃包括Mona Hatoum、馮夢波、阿運.拉挽猜歌 及Lawrence Weiner的個展,也策劃過不少聯展及其相關公共項目。他最近策劃的展覽是《雙想:卡妲.勒圭迪和王魯炎的藝術》(香港藝術中心,2013年)。他曾任北京尤倫斯當代藝術中心的策展人。他專長於藝術評論,曾獲Andy Warhol Foundation|Creative Capital 的評論獎,其文章發表在各種畫冊,專集及期刊如Artforum及Frieze上。他曾任Art Papers,Contemporary及Flash Art International的海外通訊員/特輯編輯,也是ARTINFO China 的創刊總編輯。他最近的編輯工作是《九龍皇帝:曾灶財的藝術》(即將由Damiani出版社出版,2013年)。丁達韋是香港亞洲藝術文獻庫的學術顧問之一,也是三藩市影像策劃顧問委員會成員之一。

如需要更多資料請聯絡我們:Tel: 852 2177 6190 或 [email protected]

 

Exhibition Venue:Pékin Fine Arts (Hong Kong)

To compliment the Pékin Fine Arts (Hong Kong) Exhibition, Wang and Legrady have a concurrent exhibition on view at Hong Kong Arts Centre. Exhibition period is 24 Oct to 10 Nov.

Opening reception: 26 October, 2:00 pm to 6:00 pm

Bringing together new and recent artworks by Kata Legrady (born in Barcs, Hungary; lives and works in Hanover, Budapest and Paris) and Wang Luyan (born, lives and works in Beijing), Doublethink playfully exposes the paradoxes of a world defined by unchecked consumption and an ongoing cycle of vengeance and violence. Having come of age immersed in the powerful propaganda of Communist Hungary and China’s Cultural Revolution, respectively, Legrady and Wang share an aptitude for manipulating iconic forms and an abiding distrust for overreaching ideologies. Taken from George Orwell’s dystopian novel Nineteen Eighty-Four, the exhibition’s title describes a mental maneuver in which contradictions are neutralized through self-deception and willed forgetting.

With her large-scale photographs of flower-encrusted bullets and candy-coated landmines, Kata Legrady links terms usually considered antagonistic: beauty and brutality, childhood games and warfare, conspicuous consumption and mass destruction are just three of the uneasily aligned dyads that emerge through her striking juxtapositions. Pairing the allure of luxury with the tragedy of mass casualties,
Legrady coats what appears to be a bomb—its shape echoing “Little Boy,” the atomic bomb American forces dropped on Hiroshima in 1945—in a glossy pink lacquer inspired by a designer lipstick shade to create Chanel 217 (pink bomb), 2011. In Wang’s paintings, sculptures and installations, warfare never brings the promised stability because there are no victors: every action simultaneously triggers its opposite. Reminiscent of Picabia’s machinist works, Wang’s exacting paintings of wristwatches, such W Global Watch (2011), reflect the inseparability of national forces caught in the checkmate of posturing and reciprocal aggression. Such works demonstrate what Wang calls “gear logic”—interlocking power relations in which the geopolitical maneuvers of one country necessitates the repositioning of all others.

Neither artist condones violence, celebrates guns or seeks to minimize the consequences of living in world made dangerous by the technologies of war. Instead, both Legrady and Wang transform weapons into artistic material in order to reveal the doublethink that perpetuates the bloodshed around us. No good can ever come of Wang’s oversized W Fire at Both Ends Automatic Handgun D13–02 (2013); like all of the firearms in Wang’s works, it has been redesigned to shoot in both directions when the trigger is pulled, assuring mutual destruction. Legrady’s Government Balancoir “Pink Dollar” (2012) is an enormous handgun emblazoned with a US dollar bill and outfitted with a custom-made Hermès saddle, invites us to ride our consumer obsessions toward a fatal end. Doublethink marks the first time that Legrady and Wang are presenting their work to Hong Kong audiences.

Made possible with support from Pékin Fine Arts (Beijing and Hong Kong)

About the Artists
Kata Legrady trained as a lyric opera singer at the Pécs Music Conservatory and studied drama at the Gor Nagy Maria Drama School, participating in various musical and film projects before launching her career in the visual arts. Since 2010, she has been making and exhibiting her work throughout Europe and beyond. Legrady has been featured in several group exhibitions, including Le Cabinet de Curiosités de Thomas Erber (Browns, London, 2011 and Andreas Murkudis, Berlin, 2012); Le Luxe, mode d’emploi, (Passage de Retz, Paris, 2012); Hybride 2 (Ancien Hôpital Général, Douai. 2013) and the upcoming Caravana Negra (La Bocca, Buenos Aires, 2013). Recent solo exhibitions include Bombs & Candies and Masks & Guns (Galerie Rabouan Moussion, Paris 2010 and 2011); Kata Legrady (Galerie Pari Nadimi, Toronto, 2011); Kata Legrady (Fondazione Mudima, Milano 2011); Bombs and Candies – dulce et decorum (Denkerei Bazon Brock, Berlin 2012); Bombs and Candies, (Kulturstiftung Marienmünster, 2013). In 2014, her work will be presented in solo exhibitions at ZKM Center for Art and Media (Karlsruhe) and the Käthe-Kollwitz-Museum (Berlin). To compliment the Hong Kong Arts Centre exhibition, Legrady and Wang have a concurrent exhibition on view at Pékin Fine Arts (Hong Kong).
Wang Luyan has been a key figure in the development of contemporary Chinese art since the late 1970s, when the movement began. He exhibited with the Stars group in Beijing in 1979 and participated in the historic China / Avant-garde exhibition at the National Art Museum of China in 1989. With Chen Shaoping and Gu Dexin, Wang also co-founded the New Measurement Group, an experimental collective active from 1988 to 1995. His work has been included in many important international exhibitions, including the Second Asia Pacific Triennial (Queensland Art Gallery, Brisbane, 1996); Inside Out: New Chinese Art (Asia Society and P.S.1 Contemporary Art Center, New York, 1998); the First Guangzhou Triennial (2002); Hyper-Design, the Sixth Shanghai Biennale (2006); ’85 New Wave: The Birth of Chinese Contemporary Art (Ullens Center for Contemporary Art, Beijing, 2007) and the Busan Biennale (2008 and 2010). Recent solo exhibitions include Sawing or Being Sawed (Arario Beijing, 2007); Wang Luyan: The Other Side of Totality (JoyArt, Beijing, 2008); Wang Luyan (Total Museum, Seoul, Korea, 2010), Wang Luyan (Galerie RX, Paris, 2011) and Diagramming Allegory (Parkview Green, Beijing, 2013). To compliment the Hong Kong Arts Centre exhibition, Wang and Legrady have a concurrent exhibition on view at Pékin Fine Arts (Hong Kong).

About the Curator
David Spalding is an American curator, critic and editor based in Beijing. He has organized solo exhibitions with artists ranging from Mona Hatoum and Feng Mengbo to Navin Rawanchaikul and Lawrence Weiner, as well as numerous group exhibitions and related public programs. Previously, he was curator at the Ullens Center for Contemporary Art. A prolific writer whose art criticism was honored with an award from the Andy Warhol Foundation | Creative Capital, Spalding’s work appears regularly in exhibition catalogues, monographs and periodicals that include Artforum and Frieze. He has served as a contributing editor for Art Papers, Contemporary and Flash Art International magazines and was the founding editor-in-chief of ARTINFO China. His latest book-length project, King of Kowloon: The Art of Tsang Tsou-choi is forthcoming from Damiani Press (2013). Spalding sits on the Academic Advisory Board of the Asia Art Archive (Hong Kong) and is a member of San Francisco Camerawork’s Curatorial Advisory Committee.
For further information please contact the Hong Kong gallery at [email protected] or at +852 2177 6190.

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