Surging News reporter Huang Song
British artist David Hocknie once said: “collage” is “for a larger picture.” In the early 1980s, he began a series of photo collage experiments called “Joiner”, trying to construct a three -dimensionalist image that shows the subjective experience of the viewer’s subjective experience to break the photography “one -eyed eye -catching eye The limitations of giant “.
In response to Hocky’s point of view, on March 8th, “For the larger picture” opened in APSMUSEUM, and the exhibition gathered 12 domestic contemporary artists. They either specialize in images or paint on the shelf, or use devices to express their ideas, but in the way This uses the “collage” method to explore the “bigger picture” in the current field of vision.
David Hokkini believes that the “collage” of three -dimensionalism is an important invention of the 20th century art.
In the view of the academic host of the exhibition and the professor of the School of Journalism of Fudan University, “collage” is not only a technical method, but also a new artistic language, which reflects the way of visual experience and observation methods of postmodernist new art vision. And way of thinking. “Patching Art” is also a breakthrough in linear perspective laws since the Renaissance art.
Walking into the exhibition hall with a long and narrow passage with a strong sense of perspective, Zhang Enli’s group of “Hair” series hit the work, like the building’s wall, the work and exhibition space. Reading, this set of works is quite surprising.
Zhang Enli’s work at the end of the channel “Hair”
Establish a new relationship between art and reality with “collage”
The impression of Zhang Enli mainly comes from those static paintings. Water pipes, cartons, balls, beds, ordinary objects are taken out of daily life and put in the space created by painting. They are true and “empty”, expressionless and full of emotions.
Gu Yan had a joke that Zhang Enli was a “object “ist, such as the manifestation in painting works, and he had a persistence to depict ordinary objects in life. In the contemporary art field where conceptualism prevails, his attitude of “discovering daily poetry from daily observations, rather than surpassing daily life in a daily way” is particularly valuable.
Zhang Enli, “Hair”, comprehensive material collage, 1100x800mm, 2014
In the exhibited “Hair” series, the artist cuts different colors and shapes from the fashion magazine, and the collages are stacked and gathered together. The gaps of these vortex fill the scattered lines drawn by pencils, like another depiction of hair. In the artist’s opinion, they not only “break the visual unity of hair, but also have a dense change.” Looking at these scattered lines, they may think of the water pipe lines that are difficult to divide into each other, and then they seem to be able to see the relationship between people and people.
Continuing the concept of the artist, painting and “collage” originated from one place, complementary, and established a way of experience, observation and thinking about the visual visual vision of postmodernist new art.
On the occasion of the exhibition, Shanghai is under a round of epidemic, and many participants will come to the scene in the future due to epidemic prevention requirements. The speech of the academic host Gu Yan and the curator Shi Hantao was read by Zhang Enli, and then read the small paintings collaborated by Ling Yun and Yang Fudong in the exhibition.
Ling Yun, Yang Fudong, “Baying Moon Slow”, oil painting pigments, ink, birch bark, watercolor paper, collage painting 600x400mm, 2021
“Baying Moon Slow” is the name of the Song Dynasty. It was performed by the Tang Dynasty in the Tang Dynasty. When introducing the work, the artist said, “The epidemic seems to make time slower, you can read books and draw on the painting. When this work is completed, the word suddenly appears in the thoughts and is captured.”
The quiet breath brought by the name of the word card also penetrates among the many video works of Yang Fudong. The background of the work is the “infinite peak” painted by Yang Fudong on the watercolor paper. Skin, and painting paint with oil painting a woman’s look up, with the meaning of bark texture with a trace of religious painting. This comes from Yang Fudong’s wife Ling Yun. The stack of the two seems to be seen as a kind of personal time and emotional flow and accumulation.
At the exhibition site, Ni Youyu’s collage photography “Xiaoyaoyou”
The flow of time is also reflected in Ni Youyu’s collage photography “Xiaoyaoyou”. The artist collects many old landscape photos from the flea markets around the world to cut the collage, forming a group of traditional Chinese landscape painting artistic conception. work.
In more exhibition works, the audience saw a relatively strange work of familiar artists. Although these “collages” are not the subjects they created, and sometimes even sketches for creative works, they are obviously obvious. Personal characteristics make people see some kind of connection.
Back to the history of the individual and the times by collage
In this exhibition, several artists are in the United States, including Ren Lingye. Her work “Revolution” is selected from the “from that day” series. She collapsed the family photos of different periods into a photo of an empty room, so as to “renovate” the home that she had a common memory with her mother but had been vacant for a long time.
Ren Lingyu, “Revolution”, collecting grade art micro -spray, 1680x1092mm, 2021
In this photo, she had a wedding photo of her parents, a photo of her mother when she was young, and a photo of her teeth when she learned her teeth. These different time and space photos allow family members to gather again through “collage”, and it seems to reveal the nostalgia of a young man who lives overseas alone. The work is called “refurbishment”, but the house shot is a state of renovation. The reason why it should also be the dark line that the work wants to express.
In recent years, Ren Lingzhang’s works have paid more attention to people’s life and social status after the epidemic, and revealing her response to her family, love, social environment changes, and world historical processes through or straightforward or metaphorical methods. , Society and urban life on the psychological state of people.
Cai Dongdong, “Night”, brilliant silver photo, acrylic, mirror, wood photography lens, cloth, 2000x2000x2000mm, 2018, The Cloud Collection
Another work “Night”, which is more direct to the historical scene, comes from Cai Dongdong. This work consists of an old emerald green four -off screen. The original screen of the screen is no longer there. The artist puts nearly 1,000 old photos of only 1 inch of only 1 -inch, and is filled into a new screen of the screen. There is a piece of clothes hanging on the screen, and a dressing mirror embedded with a camera lens is also placed on the sideline shelf. As a result, a daily corner and objects of a family life have become a container that accommodate a period of time, and the invisible time flows on specific objects.
Old photos in Cai Dongdong’s “Night”. The Cloud Collection
Take a closer look, these yellowed 1 -inch photos record the stories of different people, some tourists, family photos, and some photos that record their children’s growth. Occasionally, the text and name behind the photos reveal the information at the time. Just the people and things in the photo have been sealed. A large part of Cai Dongdong’s creation was carried out with the embezzlement and collage hundreds of thousands of old photos. These old photos are both “ready -made” and “current imaging”. The material and imagery of the photo have been fully exhibited in the works. His works also crossed the boundaries between the two worlds of reality and images, especially for the use of mirror surfaces, and made today’s time collage into the past images, so that there are multiple tense at the same time in a image space.
Cai Dongdong’s “Moving Moon” and “Cave”
The works of Ren Lingzhang and Cai Dongdong evoked different eras of individuals and collective memories of the times. Lei Lei also relied on careful collage and coloring to resurrect the family photos of decades or previously popular patterns to resurrected into vivid moments. Essence Although these photos belong to the past, they have a direct or hidden association with contemporary Chinese social life and even greater globalization worlds, vividly reflecting the feelings, emotions and thinking of contemporary people.
At the exhibition site, Lei Lei’s works “Stance 9”, 1200x1020mm, 2019
For contemporary life, Luo Yongjin divided the dazzling “Oriental Pearl” and “Jinmao Building” in the night into a part of the flow of light and shadow. At the same time, “collage” is not only to get a “bigger picture”, but also contains the decomposition in viewing, reflecting the relationship between modern people and the external world.
At the exhibition site, Luo Yongjin’s works “Oriental Pearl” and “Jinmao Building”
“I became more and more aware that the moment of solidification is very unreal in me. Photography is not as life as painting.” Hocky once compared the difference between photography and painting. To this day, the problem of photography officially allows the image to be located. The “collage” from modernism has expanded more styles to a large extent. The use of comprehensive materials is one of the appearances of “collage”, and the ideas, thoughts, and spirit hidden behind it far exceed the material itself. The exhibition provides a new possibility of “collage”.
The exhibition will last until May 8.
Editor in charge: Chen Ruoqian
School pair: Ding Xiao