织梭光景——12位女性艺术家的绘画
“Woven in Time”–Paintings by 12 female artists
2023.02.09 – 2023.03.30
金杜艺术中心（KWM Art Center）荣幸地宣布，2023年2月9日，由朱彤策展的“织梭光景——12位女性艺术家的绘画”联展在金杜艺术中心开幕。
KWM Art Center is honored to announce that the group exhibition “Woven In Time” – Paintings by 12 Female Artists” curated by Zhu Tong will open on February 9, 2023.
“我就在轰轰的时间织机旁，织造神的有生命的衣裳。”
本次展览以碎片化的编织史与古代诗歌为灵感，在春暖花开之际，呈现绘画作品中看似柔软却又坚不可摧的质地与品质。展览将呈现万瑾玉 、杨蝉翼 、应晶晶 、廖曼 、吕楠 、郭静 、张琳、杨旭霞 、郑迎春 、魏阳阳 、马灵丽、汪玉涵这十二位女性艺术家的作品。
自绳结伊始，人们有了时间，绳结便是最早的编织。绘画也从最初的岩壁走向柔软的纸与布面，历经千万年的时间洗礼，生硬的岩矿物质，经过研磨、过滤，最终得以沁入缜密的织物中，形成亘古文明的证据。而诗歌，那些曾长存于泥土中的残片将我们带回农耕时代的田园中，带入到一个个具体的场景里。《诗经》中最早追溯了民间的编织行为，其中 “葛之覃兮，施于中谷，维叶莫莫。是刈是濩，为絺为綌，服之无斁（诗经《国风·周南·葛覃》）”描述织物在生活中功能性的诗句，文字的部首亦提示着文字本身的一种编织。在古代诗歌中，有过那么多“无名氏”，不曾留下姓名，却编织出曼妙的文字和对神话的遐想，如 “迢迢牵牛星，皎皎河汉女。纤纤擢素手，札札弄机杼。”（汉朝·佚名《古诗十九首》）。无论是 《木兰辞》中的花木兰还是《奥德赛》中的佩涅洛佩，作为诗歌文本中的女性或编织者，她们身上闪耀着勇敢和智慧的光辉，编织可能是某种束缚，有时也是女性自己的武器。无论从物质还是精神维度，编织史都仿若半部女性史，女性们在横纵相交的织机上诉说爱情、生命、独立和智慧之思。
而绘画可能是另一种“编织”。展览中，十二位艺术家基于感性的知识和图像生产的定义，使得他们的作品在观看方式上呈现出多元及融合的面貌。这其中，有源于城市景观与个体经验之间的重组与转换的思考，城市在未来主义的解构下形成多元和交错的“后城市”景象，在创作方法论上，就像在复杂的搜索引擎中进行某种检索，而艺术家的思想如同一张网，将图像资料网罗于其中；抽象的绘画作为图示语言，似乎和狭义的编织行为更为接近，在她们的作品中，接近四方连续似的抽象符号，汲取了神秘学和禅宗的影响，充满理性和哲思，规律和秩序带了视觉上的和谐和美感；在绘画的叙事视角，我们看到只言片语构成的诗歌式的标题，无不在提示观者，那些静态的画面后面经过艺术家编纂后连续闪烁的剧情。
在此次展览中，“编织”本身由一种生产工具的手段变为精神和媒介在画布上的纠缠、交织，使这一行动变得生动和具有当下意义。艺术家们正在用艺术之绳结，编织着属于自己的时刻，从无意识的内心之海登陆，踏入广袤的世界中。
“I am weaving the living garment of God by the roaring shuttles of time.”
This exhibition is inspired by the fragmented history of weaving and ancient poetry,presenting the seemingly soft yet indestructible texture and quality of paintings in the spring. The exhibition will feature artworks created by 12 female artists: Jinyu Wan, Chanyi Yang, Jingjing Ying, Man Liao, Nan Lv, Jing Guo,Lin Zhang,Xuxia Yang, Yingchun Zheng, Yangyang Wei, Lingli Ma and Yuhan Wang.
Since the beginning of the knot, people have had the time and the knot is the first knitting. The painting also went from the original rock wall to the soft paper and cloth surface. After thousands of years of baptism, the hard rock minerals, after grinding and filtering, were finally penetrated into the rigorous fabric, forming the evidence of ancient civilization. And the poems, the fragments that had been left in the soil take us back to the agrarian countryside, to the concrete scenes.In ancient poetry, there have been so many “anonymous”, never left a name, but weave beautiful words and mythological reverie, such as “Long way Altair, bright bright river girl.Zhuazu hand, Zha get Zhu.” (Han Dynasty.Anonymous “Nineteen Ancient Poems”). Whether it is Hua Mulan in “Mulan Ci” or Penelope in “The Odyssey”, as women or knitters in the poetic text, they shine with courage and wisdom.Weaving may be a kind of bondage, and sometimes it is a weapon of the women themselves.In both material and spiritual dimensions, the history of weaving is half of the history of women.Women tell stories of love, life, independence and wisdom on interweaving looms.
Painting may be another kind of “weaving”.In the exhibition, 12 artists based on perceptual knowledge and the definition of image production, so that their works in the way of viewing presents the appearance of diversity and integration. Among them,there are reflections on the recombination and transformation between urban landscape and individual experience. Under the deconstruction of futurism, the city forms a diversified and staggered “post-city” scene. In terms of creation methodology, it is a search in a complex search engine, and the artist’s thought is a net, in which the image data is collected.Abstract painting, as a graphic language, seems to be closer to the narrow sense of weaving behavior.In their artworks, they are close to the quartet of continuous abstract symbols. Influenced by the occult and Zen, they are full of reason and philosophy, and the law and order bring visual harmony and beauty. In the narrative perspective of painting, we can see the poetic titles formed by fragments of words, all of which remind the viewer of the continuous flickering plots compiled by the artist behind those static pictures.
In this exhibition, “weaving” itself has changed from a means of production tools to the intertwining and interweaving of spirit and media on the canvas, making this action vivid and significant . With the knot of art, artists are weaving their own moments, landing from the sea of unconscious heart into the vast world.
万瑾玉｜Monet meta NO.2｜150X150cm｜布面丙烯 | 2022
杨蝉翼｜目光所及之处3｜100X100X18cm｜亚克力、LED灯、不锈钢 | 2022
郭静｜白雾下2｜100X100cm｜布面油画 | 2022
魏阳阳｜永恒之星｜100X100cm｜布面油画 | 2023
应晶晶 | 云朵动物园系列2｜180X180cm｜布面综合材料 | 2022
张琳 | 被灿烂的与被毁灭的59 | 80x60cm | 布面油画 | 2022
马灵丽 | 宴《七》| 154x76cm | 绢本设色 | 2020
汪玉涵 | 敦煌-秘境系列 | 120x80cm | 综合材料 | 2022
杨旭霞 | 夏日 | 100x67cm | 绢本设色 | 2022
吕楠 | 环形倒影 | 150x180cm | 布面油画 | 2021
郑迎春 | 海边奔跑的两个女人 | 150x200cm | 布面油画 | 2022
廖曼 | 夏日甜宠剧2 | 40x50cm | 布面丙烯 | 2022
关于金杜艺术中心
King & Wood Mallesons Art Center
金杜艺术中心是由金杜律师事务所及其合伙人共同支持创立的。位于北京CBD区环球金融中心。中心包括展览展示空间和沙龙空间, 将用于呈现专业的当代艺术展览，推介及收藏国内外的优秀当代艺术家作品。同时开展与时尚，设计，建筑的跨界合作，以及开办一系列多角度的艺术教育活动和课程，培养艺术爱好者，拓展公民的高品质审美和趣味。通过在金杜全球众多事务所的展示活动，以及与国际艺术机构的互动，增强中国艺术的国际影响，成为中国当代文化的有力传播者。
