造句
Make a Sentence
2023.12.24 - 2024.1.28
開(kāi)幕 Opening:
2023.12.24 14:00 - 18:00
藝術(shù)家 Artist:
陳問(wèn)村
Wencun Chen
策展人 Curator:
付若瑄
Roxane Fu
南柯畫廊將于12月24日帶來(lái)藝術(shù)家陳問(wèn)村的個(gè)展項(xiàng)目《造句》（Make a sentence）。展覽將呈現(xiàn)藝術(shù)家近年來(lái)在其藝術(shù)創(chuàng)作中的探索過(guò)程，這些作品關(guān)注對(duì)于 文字力量 的嘗試，亦體現(xiàn)了藝術(shù)家延伸創(chuàng)作與表達(dá)的邊界的過(guò)程。
Nan Ke Gallery will present Wencun Chen's solo exhibition Make a Sentence on 24th December 2023.The exhibition will feature a range of works from Wencun's artistic explorations, which focus on experimenting with the power of words and demonstrate the artist's process of expanding the boundaries of creativity and expression.
陳問(wèn)村 Wencun Chen
要一起喝一杯嗎？ Fancy a Cuppa?, 2023
金屬板，油彩，UV印刷
Metal plate, oil colour, UV printing
100w x 32.5h cm
? Courtesy of the artist
在陳問(wèn)村的作品中，文字的元素反復(fù)出現(xiàn)在不同藝術(shù)媒介的各個(gè)角落。這些字詞往往是零散而架空的，以 “掠影”（Glimpses） 的形式駐留在觀者的視線中，仿佛在飛馳的汽車上不斷經(jīng)過(guò)路邊的標(biāo)語(yǔ)，由文本落在視網(wǎng)膜的瞬間留下強(qiáng)烈卻含混的片段性印象?！罢Z(yǔ)言”被拆解成由單個(gè)字詞構(gòu)成的基本組分，繼而被重組，形成新的藝術(shù)表達(dá)的語(yǔ)言體系。藝術(shù)家借助文字這一會(huì)使人“不受控地去理解”的元素，以強(qiáng)勢(shì)的姿態(tài)占領(lǐng)性地傳遞給觀者的藝術(shù)內(nèi)涵。
In Wencun's works, the element of words repeatedly appears in various corners of different art media. These words are often fragmented, residing in the viewer's vision in the form of "glimpses" , as if passing by roadside slogans in a speeding car, leaving a strong but ambiguous fragmentary impression of the moment when the words fall on the retina. The "language" is disassembled into basic components consisting of individual words, which are then reorganised to form a new language system of artistic expression. With the help of words, an element that can be "uncontrollably understood", the artist takes a strong stance and occupies the viewer with his artistic connotations.
陳問(wèn)村 Wencun Chen
E是Engine的E
E is for engine, 2023
布面油畫 Oil on canvas
180w x 120h cm
? Courtesy of the artist
對(duì)藝術(shù)家而言，創(chuàng)作是他“訴說(shuō)”的方式。有時(shí)候文字仿佛謎語(yǔ)，幫助他在具象化的、追求“意義”的現(xiàn)實(shí)世界通過(guò)抽象和模糊創(chuàng)造可供休憩或探索的空隙，獲得抽離的表達(dá)空間。在嘗試的過(guò)程中，陳問(wèn)村逐漸構(gòu)筑起自己的藝術(shù)語(yǔ)言體系。他將打散的片段性字詞通過(guò)這個(gè)體系整合，試圖使其成為 “make sense” 的完整景觀。其中一半是帶有與生俱來(lái)的意義的字詞，另一半則是繪畫、影像等不同形態(tài)的藝術(shù)語(yǔ)言。
For the artist, creation is his way of "speaking". Sometimes words are like riddles, helping him to create gaps for rest or exploration through abstraction and ambiguity in the figurative real world in pursuit of "meaning", and to obtain a space for abstract expression. In the process of experimentation, Wencun gradually constructed his artistic language system. He integrates fragmented words through this system, trying to make them into a complete landscape of "make sense". Half of them are words with innate meanings, and the other half are different forms of artistic language, such as painting and video.
陳問(wèn)村 Wencun Chen
什么 What, 2020
石墨，絲網(wǎng)印刷，帆布，固體油彩，噴漆，布面丙烯
Graphite, screen print, canvas, solid oil, spray paint, acrylic
180w x 230h cm
? Courtesy of the artist
然而， “make sense”也并不是藝術(shù)家所追求的標(biāo)準(zhǔn)答案。進(jìn)一步拆解這一短語(yǔ)， “sense” 不僅僅可以指代“道理”和“意義”，也可以代表 “感官” ，而這正是藝術(shù)家所追求的：用藝術(shù)的語(yǔ)言造句時(shí)， “理解”就不僅僅局限于對(duì)文字的閱讀理解，而是一種多感官的交互，聯(lián)動(dòng)意識(shí)與直覺(jué)的共情。
However, "make sense" is not the standard answer that the artist is looking for. To further dismantle the phrase, "sense" can refer not only to "reason" and "meaning", but also to "sensation". This is exactly what the artist seeks: when using the language of art to create a 陳問(wèn)村 Wencun Chen 說(shuō)明 Manual,2023 布面油畫，石墨，絲網(wǎng)印刷 Oil on canvas, graphite, screen printed 120w x 180h cm ? Courtesy of the artist 像組成語(yǔ)言的字符一樣，藝術(shù)家始終關(guān)注如同分子一樣構(gòu)建物質(zhì)的“基本單位”。在早期作品《比爾布雷克斯》（Bill Bricks）中，藝術(shù)家在油紙上印制了未經(jīng)切割的半透明紙幣圖樣，并使用來(lái)自破裂舊倉(cāng)庫(kù)門的木板封印在墻面上。重復(fù)的紙幣作為基本單位，仿佛重復(fù)訴說(shuō)的詞句，令人聯(lián)想到《閃靈》中著名的‘All work and no play makes Jack a dull boy’的重復(fù)書寫，一種壓抑下的僵化行為和其中暗涌的、即將爆發(fā)的宣泄。人對(duì)于財(cái)富的渴望在作品中被具象化，而其對(duì)精神的影響或摧殘也借由語(yǔ)言體系變得顯然。 Like the characters that make up language, the artist has always focused on the "basic units" that build matter like molecules. In an early work, Bill Bricks, the artist printed uncut, translucent banknote patterns on oiled paper and sealed them on the wall with wooden planks from a broken old warehouse door. The repetition of the banknotes as a basic unit, as if repeating words, recalls the famous repetition of 'All work and no play makes Jack a dull boy' in The Shining, an act of repressed rigidity and its undercurrent of impending catharsis. The human desire for wealth is visualised in the work, and its effect or destruction on the spirit becomes apparent through the language system. 陳問(wèn)村 Wencun Chen 比爾布雷克斯 Bill Bricks,2018 石板印刷，無(wú)框 Lithography, unframed 90w x 60h cm ? Courtesy of the artist 在其后的創(chuàng)作中，藝術(shù)家對(duì)于組裝的興趣一直延續(xù)，而表現(xiàn)形式也從簡(jiǎn)單的重復(fù)擴(kuò)展到了不同零件的組裝，這似乎呼應(yīng)了藝術(shù)家語(yǔ)言體系和用語(yǔ)能力的擴(kuò)張。在作品《運(yùn)作》（How to get a work done）中，陳問(wèn)村借用了宜家（Ikea）這一經(jīng)典品牌和其代表的藍(lán)色，并延用了宜家家具需要自己組裝的核心特征。整體的物件被拆解成功能分明的零件，并被賦予了近似管理學(xué)概念中的流程功能，將社會(huì)體系中的程序變得如同組裝家具一樣可視。作品企圖展現(xiàn)的完整信息也如同句子般，由零件的畫作單詞組成拼接，徐徐展開(kāi)，如對(duì)話般向觀者傳輸。 In subsequent works, the artist's interest in assembly has continued, and the forms of expression have expanded from simple repetition to the assembly of different parts, seemingly echoing the expansion of the artist's linguistic system and ability to use language. In how to get a work done, Wencun borrows from the classic Ikea brand and its representative blue color, and extends the core feature of Ikea furniture that requires self-assembly. The whole object is disassembled into functional parts and given the function of a process as if it were a management concept, making the procedures of the social system as visible as the assembly of furniture. The complete message that the work attempts to present is also like a sentence, composed of the words of the paintings of the parts, which unfolds and is transmitted to the viewer like a dialogue. 陳問(wèn)村作品 《運(yùn)作》（How to get a work done） 局部照片， 圖片由藝術(shù)家提供 。 Photos of Wencun Chen 's work How to get a work done (part), image courtesy of the ar tist. 對(duì)陳問(wèn)村而言，大學(xué)老師的身份使他在創(chuàng)作中一直保持著學(xué)習(xí)、進(jìn)展的蓬勃狀態(tài)。在他看來(lái)，這個(gè)時(shí)代中的我們處于一個(gè)充滿可能性的“過(guò)程”里。新的技術(shù)、藝術(shù)語(yǔ)言不斷涌現(xiàn)，填補(bǔ)著純語(yǔ)言的空白，也給藝術(shù)家以更自如地表達(dá)的機(jī)會(huì)。 維特根斯坦“語(yǔ)言游戲?qū)W”的理論主張語(yǔ)言是在游戲般的交互中習(xí)得的。語(yǔ)言在使用中被每個(gè)使用者賦予了各自所理解的意義，而并沒(méi)有“本質(zhì)主義”的絕對(duì)意義。對(duì)于陳問(wèn)村而言，創(chuàng)造自己的藝術(shù)語(yǔ)言系統(tǒng)也是如此。它在藝術(shù)實(shí)踐中更新、擴(kuò)張并迭代，而每一件藝術(shù)品的產(chǎn)生也就如同“造句”，重點(diǎn)在于創(chuàng)造的過(guò)程。在藝術(shù)創(chuàng)作中，不斷地學(xué)習(xí)和充盈自己的語(yǔ)言庫(kù)，將作品像飽含信息的語(yǔ)句一樣創(chuàng)造出來(lái)，與觀者交流并聆聽(tīng)回聲。 For Wencun, his position as a university teacher keeps him in a vigorous state of learning and progress in his creative endeavors. In his view, we are in a "process" full of possibilities in this era. New technologies and artistic languages are constantly emerging, filling in the gaps of pure language and giving artists the opportunity to express themselves more freely. Wittgenstein 's theory of "linguistic play" asserts that language is learned through play-like interactions. Language is used by each user to give meaning to his or her own understanding, and there is no "essentialist" absolute meaning. For Chen Wencun, creating his own artistic language system is the same. It renews, expands, and iterates in the course of artistic practice, and the creation of each work of art is like the "making of a sentence," with an emphasis on the process of creation. In the process of art creation, one constantly learns and fills up one's own language bank, creating works like informative statements, communicating with the viewer, and listening to the echoes. 陳問(wèn)村 Wencun Chen 娛樂(lè) Entertain,2022 布面油畫，石墨，服裝標(biāo)簽 Oil on canvas, graphite, garment labels 120w x 70h cm ? Courtesy of the artist 在展覽《造句》中，語(yǔ)言和藝術(shù)表達(dá)是同源的，都具備創(chuàng)造交流的力量和生機(jī)。這種力量建構(gòu)在字、詞和短句的基礎(chǔ)之上，又由創(chuàng)造性的藝術(shù)表達(dá)所補(bǔ)全。陳問(wèn)村的作品不斷叩問(wèn)著二維的邊界，以對(duì)話般的精神力量尋求多維性的、感官的體驗(yàn)和回應(yīng)。在這里，粗糙或精煉，含混或直白，都成為了仿佛語(yǔ)言學(xué)習(xí)一般的螺旋上升過(guò)程，吸引人走進(jìn)，對(duì)話；或者閱讀，旁觀。 In the exhibition "Make a Sentence", language and artistic expression are homologous, both possessing the power and vitality to create communication. This power is built on the foundation of words, phrases, and short sentences, and is complemented by creative artistic expression. Chen Wenchun's works constantly question the boundaries of two-dimensionality, seeking multi-dimensional, sensory experiences and responses with the power of dialogue-like spirituality. Here, roughness or refinement, ambiguity or straightforwardness, all become a spiral process as if learning a language, attracting people to walk in and dialogue; or read and observe. 文/付若瑄 Text by Roxane Fu 藝術(shù)家Artist 陳問(wèn)村Wencun Chen 陳問(wèn)村 個(gè)人簡(jiǎn)述 陳問(wèn)村1991年生于杭州，本科畢業(yè)于中央美術(shù)學(xué)院版畫系，研究生先后畢業(yè)于倫敦藝術(shù)大學(xué)切爾?藝術(shù)學(xué)院，英國(guó)皇家藝術(shù)學(xué)院?，F(xiàn)任教于中國(guó)美術(shù)學(xué)院。陳問(wèn)村的藝術(shù)創(chuàng)作是自我求索式的，關(guān)注人的共通之處而非差異，在他多樣的作品形式中可 以看到他對(duì)身份，語(yǔ)言，文字，集體經(jīng)驗(yàn)等命題的關(guān)注。其創(chuàng)作涉及繪畫，裝置，影像，實(shí)驗(yàn)音樂(lè)等多個(gè)領(lǐng)域，觀察和回 應(yīng)是他保持藝術(shù)鮮活的方式。 教育 2010-2014 中央美術(shù)學(xué)院，版畫系，獲學(xué)士學(xué)位2015-2016 倫敦藝術(shù)大學(xué)切爾?藝術(shù)學(xué)院，純藝術(shù)專業(yè)，獲碩士學(xué)位 2016-2018 英國(guó)皇家藝術(shù)學(xué)院，版畫系，獲碩士學(xué)位 展覽 2023 繪畫之上：還原與無(wú)限，瑀空間，上海 2023 激悅與隱蔽的私密地帶，BROWNIE Project，上海 2023 皮欽光譜：一種文化的非線性可能，PSA，上海 2022 改造未來(lái)—第八屆多倫青年美術(shù)大展，多倫現(xiàn)代美術(shù)館，上海 2022 “辣條”時(shí)代:年輕力觀察，年代美術(shù)館，溫州 2021 #TGIF Thank God It's Fungible，BROWNIE Project， 上海 2021 迷失，眼淚與時(shí)間 Fears，Tears，Years，廿號(hào)Space，上海 2020 “視覺(jué)編碼-第五屆青年藝術(shù)聯(lián)展”，德中文化交流基金會(huì)，Kommunale Galerie, 柏林 2020 出梅ll—當(dāng)代杭州2020，金彩畫廊，杭州 2019 “時(shí)間開(kāi)始了-烏鎮(zhèn)當(dāng)代藝術(shù)邀請(qǐng)展”，烏鎮(zhèn)，中國(guó) 2018 研究生畢業(yè)展，英國(guó)皇家藝術(shù)學(xué)院，倫敦2017 “無(wú)界” 留英中國(guó)青年藝術(shù)家群展，約瑟夫-圣?丁畫廊， 巴黎 2017 “繁茂” 群展，店街畫廊，倫敦2017 “模糊邊界” , Fitzrovia畫廊， 倫敦2017 “研討:來(lái)臨的群體” 展覽，地宮畫廊，倫敦 2017 “對(duì)話-倫敦” 中國(guó)留學(xué)生成果匯報(bào)展，中國(guó)駐英大使館，倫敦 2017“平行存在”群展，布魯姆斯伯里畫廊,倫敦 “過(guò)程”群展，皇家藝術(shù)學(xué)院，倫敦 2016 切爾?藝術(shù)學(xué)院碩士畢業(yè)展，倫敦 2016 切爾?藝術(shù)學(xué)院中期展，倫敦2016 “逆向” 研究生群展— 三角空間，切爾?藝術(shù)學(xué)院，倫敦 2014 中央美術(shù)學(xué)院版畫系畢業(yè)作品展，北京，作品刊登于《流動(dòng)藝術(shù)》6月刊 2013 “對(duì)話”都靈—上海當(dāng)代藝術(shù)作品展，意大利都靈，中國(guó)駐意大利大使館文化部 2013 中央美術(shù)學(xué)院版畫系四工作室“傳統(tǒng)文化考察”作品展，北京 2012 中央美術(shù)學(xué)院版畫系 “思維轉(zhuǎn)換”作品成果展，北京 2012《牙》系列 作品展示，上海外灘18號(hào) 2012 中央美術(shù)學(xué)院版畫系“印刷文化”考察課程匯報(bào)展，北京 2011 作品“對(duì)話” 獲“跳動(dòng)的脈搏” 作品評(píng)獎(jiǎng)三等獎(jiǎng)，中央美術(shù)學(xué)院，北京 2011 “足跡·青春”—慶祝建黨九十周年學(xué)生主題創(chuàng)作展覽，中央美術(shù)學(xué)院，北京 2010 “十二象”藝術(shù)沙龍第三次成果展，杭州 2009 “十二象”藝術(shù)沙龍第二次成果展，杭州 Chen Wencun Born in Hangzhou, China, 1991 Wencun Chen currently teaches at the China Academy of Art. Chen Wencun's art is self-seeking, focusing on commonalities rather than differences, and his attention to propositions such as identity, language, text and collective experience can be seen in his diverse forms. His work involves painting, installation, video and experimental music, and observation and response are his ways of keeping his art alive. Education 2010-2014 Printmaking, China Central Academy of Fine Arts 2015-2016 MA Fine Art, Chelsea College of Arts 2016-2018 MA Contemporary Art Practice, Royal College of Art Exhibition 2023 Beyond Painting: Restoration and Infinity, ASTRA ART, Shanghai 2023 The Secret Realm of Thrills and Concealment, BROWNIE Project, Shanghai 2023 Pidgin Spectrum: Nonlinear Narratives of Multiculture, PSA, Shanghai 2022 SHAPE THE FUTURE / The Eighth Shanghai Duo-lun Youth Art Exhibition, Shanghai 2022 Spicy Gluten and Youth Power: A Generational Insight, Epoch Art Museum, Wenzhou 2021 #TGIF-Thank God It’s Fungible, BROWNIE Project, Shanghai 2021 "Fears, Tears, Years", 20SPACE, Shanghai 2020 Out of the rainy season ll—Contemporary Hangzhou 2020 Jincai Gallery, Hangzhou 2020 "Vision code-33 Young Art from China", GeKA, Kommunale Galerie Berlin 2019 "Now is the Time" — 2019 Wuzhen Contemporary Art Exhibition, Wuzhen, China 2018 MA Print Degree Show, Royal College of Art, London 2017 "Briser les Frontières" exhibition, Galerie Joseph Saint Martin, Paris 2017 "Flourishing Growth" group exhibition, Store Street Gallery, London 2017 "Hazy Boundaries" group exhibition, Fitzrovia Gallery, London 2017 "Symposium: The Coming Community" Exhibition, The Crypt Gallery, London 2017 "Dialogue - London" Exhibition, Education section, Embassy of The People's Republic of China 2017 "Parallel Existence" Group exhibition, Bloomsbury Gallery, London 2017 "Work In Progress" Exhibition, Royal College of Art 2016 MA Fine Art Degree Show, Chelsea College of Art 2016 MA Fine Art Interim Show, Chelsea College of Art 2016 MA Fine Art “Counter Practice” Exhibition in Triangle Space, Chelsea College of Art 2014 Degree Show, China Central Academy of Fine Arts, Beijing 2013 "Dialogue" with Turin – Shanghai Contemporary Works of Art Exhibition, Turin, Italy, Ministry of Culture of Chinese Embassy in Italy 2013 "Traditional Cultural Study" Works Exhibition of the Four Studio of Engraving Department of China Central Academy of Fine Arts, CAFA, Beijing 2012 "Paradigm Shift" Works Exhibition of Engraving Department of China Central Academy of Fine Arts, CAFA, Beijing 2012 Works Exhibition of "Ya" Series, Shanghai Bund 2012 Engraving "Print Culture" Study Course Report Exhibition, CAFA, Beijing 2011 "Footprint ? Youth" – Student Creation Exhibition with the Theme of Celebrating the 90th Anniversary of Party Founding, CAFA, Beijing 2010 The 3rd annual Exhibition of "Shi-Er Xiang" Art Salon in Hang Zhou 2009 The 2nd annual Exhibition of "Shi-Er Xiang" Art Salon in Hang Zhou 策展人Curator 付若瑄Roxane Fu 付若瑄（Roxane Fu）是南柯畫廊的駐館策展人。她畢業(yè)于愛(ài)丁堡大學(xué)，獲電影，展覽與策展專業(yè)碩士學(xué)位。畢業(yè)后任職于倫敦日本畫廊，負(fù)責(zé)文獻(xiàn)研究和策展工作。繼而在Royal Academy of Arts工作，同期在進(jìn)行“鏈的故事”（Tale of the Chain）獨(dú)立策展項(xiàng)目。 策展方面，她追求基于作品的熱忱和真實(shí)，并努力以完整而清晰的敘事貫穿展覽，幫助藝術(shù)家和觀者在輕松安全的環(huán)境進(jìn)行真誠(chéng)的對(duì)話。在策展實(shí)踐中，她喜愛(ài)以仿佛小說(shuō)的故事線整合展品，把展覽看作三維的文學(xué)，誠(chéng)實(shí)地傳遞和表達(dá)藝術(shù)家最為真摯的想法。 Roxane Fu currently serves as the Curator-in-Residence at Nan Ke Gallery. She graduated from the University of Edinburgh with an MA in Film, Exhibition, and Curation. After completing her studies, she worked at the Japan Gallery in London, where she was responsible for documentary research and curatorial tasks. Following that experience, she joined the Royal Academy of Arts and contributed to the independent curatorial project 'Tale of the Chain.' In her curatorial practice, Roxane Fu endeavors to amplify the passion and authenticity inherent in artworks. She is dedicated to constructing a comprehensive and coherent narrative within exhibitions, fostering genuine dialogues between artists and viewers within a relaxed and secure environment. Roxane's approach involves integrating exhibits into a storyline, akin to crafting a novel, transforming exhibitions into three-dimensional literature. Her goal is to faithfully convey and articulate the artist's most sincere ideas. 作品垂詢請(qǐng)郵件至 Please email for inquiries about the artwork.： info@nankegallery.com
2023 進(jìn)化：奇點(diǎn)，南柯畫廊，上海
2023 Evolution: Singularity, Nan Ke Gallery, Shanghai
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