生态剧场:张丹个展 Eco-Theatre: Zhang Dan Solo Exhibition

2020年5月20日-7月5日


 我们很荣幸地宣布艺·凯旋画廊将于2020年5月20日在北京798艺术区推出“生态剧场:张丹个展”。展览同时作为“2020画廊周北京”主单元展览之一,展出2019至2020年创作的最新作品。艺术家以多种媒介形式阐述生态系统内万物之间的内在联系,让其自然发生形成观念传达,同时探索某种观念背后存在的意义。

张丹,1973年出生于黑龙江省大庆市,1992年至1999年于鲁迅美术学院油画系学习并留校任教,现任鲁迅美术学院当代艺术系主任、副教授。自2003年起,多次出国访问和各种艺术现场的观察与认知使张丹对之前一直坚持的新古典主义绘画固有的技术与惯性思维进行反思积极吸取中西方艺术养分为所用在与国外艺术家及艺术机构的交流学习中逐渐探索出自己独特的艺术语言与思考问题的方式

此次展览以对生态与生命存在的认知,对未知世界的探索为主题。人类对世界的认知直至今日都是十分有限的,一直以来,生命的神秘与神奇都牵引着张丹对未知世界的探索。从对个体生命状态的关注,到研究从宏观到微观万物之间的关系一直是艺术家关注的话题

如展览标题“生态剧场”所云,此次展览以四幕剧的形式展开,每个展厅一个主题,以生命发展的历程为线索层层递进,即第一幕“萌动”——第二幕“惊蛰”——第三幕“乌托邦的回忆”——第四幕“重生”,体现了一种对生命存在层层剥离的认知观,和对未知世界的探索与观望。

进入画廊第一展厅即开启了生命的序曲。在此主要呈现了张丹近期的架上绘画作品,以肆意挥洒的笔触和耀目跳脱的色彩,将生命最初的韵律与萌动呈现在观者面前,也由此引生出生命最原始的巨大能量,将观者引入下个展厅。

在第二个展厅中,张丹通过木刻、影像、绘画及装置作品,展现了生态系统中,经历过生命初始的萌动,各种蛰伏生物破土而出,能量迸发的状态。展厅右侧的作品《惊蛰》由经艺术家雕刻的木板拼接而成,覆盖整面墙壁,刻画了鱼群鸟群各种动植物在自然界中生机涌动的形态,呈现了艺术家对生态系统一个侧面的理解。伴随着生命的生发,灵魂的救赎也随之展开展厅中另一件作品《失去的荣耀》由制作抽油机的木模子现成品、带翅膀形状的枯木以及降落伞组成暗喻了对生命本身的祈祷与无奈。

第三展厅中的作品通过视频、装置、绘画等手段以一种多时空拼接的形式呈现“乌托邦的”主题。艺术家以它者的眼光不去打扰地观看各个系统的生发、变异及系统内部各元素之间的相互作用能量流动。作品描述了艺术家张丹想象中的记忆。展厅左侧主体为视频《生态剧场》,视频记录了蜗牛、乌龟、螃蟹、青蛙在人为的环境中各自的生存方式,暗喻了生命体在其他因素干预下所表现出的慌张、不安与无奈。展厅右侧墙面由六个显示器组成视频乌鸦视频的呈现方式采取多屏组合连接线外露的形式,暗喻了某种电子世界与自然生态的共生,亦是对生命终极的暗示与未来的期待展厅中心位置展出了由木模子制成的小型装置作品《逝去的记忆》,展示了一个移动的城市废墟,亦是一座小型纪念碑,装置中陶制的龙头仿佛是对生命未知居所间隙的窥视。艺术家通过对观看世界经验的整合对生态系统中的生命进行情景置换、重组,暗喻了人类在宇宙中所扮演的角色的特异性以及不断追求乌托邦式的未来。

在最后的一个展厅中,主体作品以拼贴绘画《生命体》与《生态链》系列绘画相结合。每一片拼贴绘画通过色彩在转印的残片上层叠混合,层层覆盖,呈现了一派生机蓬勃的自然生态景象;《生态链》系列绘画的灵感来源于密斯·凡·德罗曾提出的将城市看作不断成长变化中的丛林。丛林中有阳光、空气、细菌、人、动物、信息、战争、利益等因素组成相互关联的立体网络,而人类的观看与思考为其不断发展延伸成多维生命体提供了更多可能。作品中强烈耀目的色彩结合弧形线条疏密变化,以及各种材质的拼贴,呈现出复杂稠密的细节,层层叠叠相互缠绕,是我们所处的城市丛林的写照,亦反映了每个多维生命体的复杂与绚烂。在各元素的交叉与碰撞间,生命体经历着一次次的凋零与重新生长,如此循环往复展现了生命不断轮回重生的景象。

张丹曾经说过,我一如既往地努力建立一个理想的准则,为了实现目标,刻意的遵守,试图沿着这条直线走下去,在实际操作时却事与愿违。我不再执着,我只能用一个无心的动作掐断念头的发展,因而形成形而上的隐喻。

此次展览是张丹对世界进行多角度多层次交叉性思考的艺术表达围绕着生态系统下各个生物之间的关系、其中不断生发的各种场域,以及随之产生的某种生命律动,展开对各个生命体之间的关系及对其所释放的能量的表达。


 We are honored to present “Eco-Theater: Zhang Dan Solo Exhibition” at Triumph Gallery in Beijing 798 Art Zone on May 20, 2020. As part of the main sector in “2020 Gallery Weekend Beijing”, it showcases his latest works between 2019 and 2020. The artist demonstrates the internal connections between everything in the ecosystem, using varied media to facilitate spontaneous communications of concepts while exploring the meaning behind a certain idea.

Born in Daqing, Heilongjiang Province in 1973, Zhang Dan studied at the Oil Painting Department of the Lu Xun Academy of Fine Arts from 1992 to 1999 and has stayed there as a teacher. He is currently the director and associate professor of the Contemporary Art Department of the Lu Xun Academy of Fine Arts. Since 2003, with numerous visits overseas and observation and understandings of various art scenes, Zhang Dan has been reflecting on his previous way of thinking about techniques and customs inherent in the neoclassical paintings, and actively absorbing the beneficial elements from Chinese and Western art, in order to discover his own artistic language and approaches to

problems in exchanges with foreign artists and institutions.

This exhibition presents the artist’s understanding of ecology and the existence of life, and his exploration of the unknown world. Human cognition of the world is still very limited to this day and the mystery and magic of life has always wondered Zhang Dan, leading him to explore the unknown world. The artist’s focus has long been on the individual life and the examination of connections between everything from macro to micro world.

As the title “Eco-Theater” suggests, the exhibition reveals itself in the form of a four-act play, one theme for a hall, progressing step by step according to the development of life, with the first act being “Germination”, the second “Insects Awaken” , the third “Utopian Memories” and the forth “Rebirth”. It embodies the cognition of the existence of life, and the exploration and observation of the unknown world.

The first part opens up the prelude to life. Here presents Zhang Dan’s recent easel paintings. With willful brush strokes and dazzling colors, the initial rhythm and birth of life welcome viewers with enormous primitive energy and lead them to the next act.

In the second hall, Zhang Dan uses woodcuts, videos, paintings, and installations to show the state of the ecosystem, where the germination of life takes place, various dormant creatures wake up with a burst of energy. On the right side, the work Insects Awaken is composed of wooden panels carved by the artist and covers the entire wall. It depicts the vitality of fish, birds and a range of wildlife in nature, showing the artist’s understanding of the ecosystem. With the growth of life, the salvation of the soul also unfolds. Another work Lost Glory consists of ready-made wooden molds for the oil pumping machine, dead wood with wings, and parachutes, a metaphor of the prayer for and helplessness of life itself.

In the third hall, the topic of “Utopian Memories” is demonstrated by means of video, installation and painting across time and space. The artist sees the germination and variation of each system and the interaction and energy flow between the elements in the system as an outsider. The works depict the memory of Zhang Dan’s imagination. On the left side is the video Eco-Theater, recording the survival of snails, turtles, crabs, and frogs in an artificial environment. It metaphorically expresses the panic, anxiety, and helplessness of the organism under the intervention of human factors. The wall on the right side is covered with six screens displaying the video of Crow, with the electric lines exposed. It’s an analogy of the symbiosis of an electronic world and natural ecology, as well as an allusion to the ultimate life and the expectation of future. The centerpiece is Past Memory, a small-scale installation made of wooden molds, showing a moving city ruin. It is also meant to be a small monument. The ceramic faucet in the installation seems a peep into the gap between the unknown places of life. Through the integration of his experience of the world, the artist carries out scene replacement and reorganization of life in the ecosystem, metaphorizing the idiosyncratic role humans play in the universe and in their pursuit of the utopian future.

In the last hall are the collage painting of Life and the Eco-system Series. Each piece in the collage is layered upon one another on the remnants with color-painted transferred prints, presenting a vigorous natural ecological landscape. The Eco-system Series is inspired by Ludwig Mies Van der Rohe’s belief that the city should be seen as an ever-growing jungle, where sunlight, air, germs, humans, animals, information, wars and interests constitute an correlating network, and the observation and reflection of humans offer more possibilities for its continuous development and extension into a multi-dimensional life. The combination of dazzling colors, arc lines with varying density and the collage of various materials, presents complex and dense details intertwined with each other. It is a portrayal of the urban jungle we are in, and of the intricacy and splendor of multidimensional life forms. In the collision of elements, life undergoes withering and regrowth over and over again, the cycle of which shows the reincarnation of life in an endless manner.

Zhang Dan once said, "As always, I have strived to establish an ideal criterion to abide by in order achieve the goal, never deviating, but the reality is always against my wishes. So I don’t pursue it any longer and unintentionally break away from thoughts, thus creating metaphysical metaphors. "

This exhibition is an artistic expression of Zhang Dan’s multi-angled, multi-layered and crisscrossed perspective of the world. He focuses on the relationship between creatures in the ecosystem, the various fields that are constantly emerging, and the consequent rhythm of life, revealing the relationship between living things and the energy they release.