展覽日期 ｜ Duration 

2024 / 9 / 27 - 2024 / 11 / 20

開放時間 ｜ Hours

周二 至 周六 Tuesday To Saturday

10:00 - 19:00

周日 Sunday

12:00 - 17:00

周一閉館  Closed on Monday

展覽地點 ｜ Location

藍岸畫廊，南山區(qū)歡樂海岸3層9號

L3 No.9 O'Plaza , Nanshan District

一種荒誕不經(jīng)的新的美學

但也完全如同我們再熟悉不過的當下生活

——

張晨

中央美術學院人文學院副教授

This is an absurdly innovative aestheticthat resonates profoundlywith the familiar realities of contemporary life.

——Zhang ChenAssociate Professor

Faculty of Art, CAFA

藍岸畫廊榮幸地宣布將于2024年9月27日至月日期間推出藝術家童昆鳥個展“機機復機機”。童昆鳥的創(chuàng)作包含裝置、繪畫、行為藝術等諸多呈現(xiàn)方式，并以極強的個人性賦予材料以全新的使用方式，拼接構建為一幅能量磅礴的生存景象。

LAN Gallery is proud to announce the upcoming solo exhibition “Machine's Dialogue” featuring the artist Tong Kunniao, scheduled from September 27 to November 20, 2024. Tong Kunniao' s body of work encompasses various mediums, including installation, painting, and performance art. He revitalized materials with a strong personal touch, constructing a powerful depiction of existence through innovative applications and arrangements.

展覽前言

The Preface

童昆鳥以他的裝置作品為人熟知，具體而言，是由他所創(chuàng)造、組合與裝配的一個個機器，它們往往在展廳中招搖過市、發(fā)出唧唧喳喳的聲音，總能輕松吸引我們的注意。而在本次展覽中，我們發(fā)現(xiàn)，童昆鳥的這些機器進入了畫布（實際上，藝術家的架上創(chuàng)作一直與他的其它媒介并行，這些繪畫也因與裝置架構的結合而成為字面意義上的“架上繪畫”），裝置作品變?yōu)榱搜b置的圖像，機器實體映照為機器的影子，電路的連接也轉化為藝術家圖繪的玄機，更為突兀的是，這些形象被絹布材料與礦物顏料所包裹，并在二維的平面上與我們四目相對，因而更加切近藝術家與觀眾的身體。

Tong Kunniao showcases his acclaimed installation art, particularly the intricate machines he devised and constructed. These creations dominated exhibition spaces, generated a symphony of sounds often mesmerising the audience. In this showcase, we witness a metamorphosis where these machines have entered the canvas domain. Notably, the artist's canvas work has consistently paralleled his other artistic endeavours, with these pieces becoming true "canvas works" through their confluence with installation elements. The installation works now serve as visual analogs of their physical counterparts, as the material machines project their shadows, while the interconnected circuitry transforms into detailed representations rendered by the artist. Additionally, these visuals are enveloped in silk fabric and mineral pigments, engaging the viewer on a two-dimensional level, and thereby fostering a tangible connection between the artist and the audience.

展覽現(xiàn)場

也就是說，原本既已略顯怪異的裝置，被童昆鳥用繪畫的手法緩慢、細致地拉入到另一差異化的語境，在那里，現(xiàn)代工業(yè)的產(chǎn)品——或者說，來自工業(yè)生產(chǎn)的廢棄物，與屬于東方傳統(tǒng)的古老美學奇異交織，這樣一種既熟悉又陌生、既雅致又戲謔的觀看體驗，便使有關裝置的繪畫如真實的機器一般，在安靜的畫布與白色的展墻上繼續(xù)震顫，繼續(xù)不合時宜地傳出窸窸窣窣的運動聲響。

In essence, the apparatus, which initially seemed unconventional, is intricately and progressively integrated into a distinct transforming context through the artistic methodology. In this new domain, contemporary industrial artifacts—or more precisely, the remnants of industrial processes—interlaced with the ancient aesthetics of oriental heritage. This fusion engendered a viewing experience that is at once recognizable and otherworldly, graceful yet mocking. The painted installation echo the authenticity of actual machinery, their subtle movement producing an unexpected rustling sound against the tranquil canvases and pristine exhibition field.

展覽現(xiàn)場

另一方面，機器與裝置所天然攜帶的技術屬性，所共同指向的人機結合等后人類議題，也在與絹本和花鳥的對話中，在一層又一層的顏料堆疊里，不得不從未來折返回過去，從喧鬧降落到歷史?？梢哉f，裝置與繪畫、機器與機器一起構成了童昆鳥此刻創(chuàng)作的基本面貌，這其中既有炫目的技法也透露出低科技的窘迫，既有對于技術的嫻熟運用也有對技術危機的反思，這些機器與尋常物、與人體模特、與垃圾、也與畫布一起，被藝術家不斷重復地互相拼貼與嫁接，由此發(fā)明出一種荒誕不經(jīng)的新的美學，但也完全如同我們再熟悉不過的當下生活。

On the other hand, the inherent technological characteristics embodied by these machines and installations allude to post-human concepts such as the integration of humanity and machinery. This interaction with silk and floral artistry invited a reflective voyage from the future into the past, transitioning from the dissonance of modern existence to historical narratives. It can be posited that the dynamic interactions between installations, paintings, and machinery constitute the essential framework of Tong Kunniao’s contemporary oeuvre. This amalgamation unveiled both remarkable craftsmanship and a pronounced low-tech clumsiness, demonstrating a sophisticated command of technology while simultaneously critiquing its associated crises. The continual reconfiguration and juxtaposition of machines, quotidian objects, human figures, waste materials, and canvases cultivate an absurdly innovative aesthetic that resonates profoundly with the familiar realities of contemporary life.

張晨

中央美術學院人文學院副教授

Zhang Chen Associate Professor, Faculty of Art, CAFA

展覽現(xiàn)場

圖文資料由主辦方提供