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2018 HK ART CENTRAL | Booth:B06

018 HK ART CENTRAL

Duration:2018.3.26-4.1

Venue:Central Harbourfront Hong Kong

Booth:B06 Caissa Besseiche (Asia) Art Centre 


2018 Art Central Hong Kong will take place in the new waterfront in Central on March 26,in concurrence with Art Basel Hong Kong, to present the remarkable season of art fairs in Hong Kong. Caissa Besseiche (Asia) Art Centre is pleased to participate in this year’s Art Central, and would like to present outstanding artists and introduce excellent artworks to all art enthusiasts from different fields. This year, Caissa Besseiche will feature three Chinese contemporary artists, including Jiang Ji'an, Jiang Zhi and Ma Lingli,etc. Their works have drawn inspiration from the great classic traditions, and include the application and introspection  from modernism to contemporary art.They are committed to construction of a kind of internal self-esteem and integrity of soul between reality and imagination.


     姜吉安Jiang Ji'an




茶叙 Tea Gathering

现成品绘画 ready-made painting

24x113cm,16x16cm

2017



幽兰伴读 Orchid Accompanies Reading

现成品绘画 ready-made painting

42x29cm,12x12cm

2017



剩余价值之二 Surplus Value No.2

现成品绘画 ready-made painting

30x64cm,28x6cm

2017


姜吉安的艺术实践中,题材似乎并不是他太关心的层面,他的题材是一种“默认设置”,即依循惯例,趁手就好。他不同时期作品中的题材资源都是他当时的语境,包括物质生活环境和艺术实践语境里的一部分。2010年开始了更直接的把绘画本身作为绘画的题材,开始了对物/画关系的视觉思辨,而他用作为材料的丝绢、茶叶、烟斗,以及他绘画中所再现的树枝、酒瓶、杯子,也都是他日常里总是打交道的东西。


忽略题材的意义,或者刻意保持题材的无意义,是为了把注意力从艺术外部转到内部。这似乎是一种为艺术而艺术的态度,但题材的无意义是为了呈现艺术实践而不只是艺术作品的价值,姜吉安选择日常性题材正是要强调艺术的日常性,这本身就是一种意义取舍和价值取向——在生活中做艺术,而不是在艺术中“做”生活。在各种空洞的、表演化的“艺术为人民”的口号中,“艺术为人生”反而显得确切并踏实。


In Jiang Ji’an’s artistic practice, he does not seem overly concerned with subject matter. His subjects seem to be chosen by default, as part of his customary routine, with an eye to accessibility. His sources of subject matter in different periods derive from contexts at those times, including material settings and accoutrements of artistic practice. Beginning in 2010 he treated painting itself as subject matter for paintings, which began his visual cogitations on relations of objects to paintings. By then the materials he used—silk fabric, tea leaves, a tobacco pipe—along with the tree branches, bottles and cups represented in his paintings, were all items with which he came in contact every day.


The point of overlooking one’s subject matter’s significance, or purposefully sticking with insignificant subject matter, is to shift attention from art’s exterior to its interior. This would seem to be an attitude of art for art’s sake, but the insignificant subject is chosen to highlight artistic practice instead of the value of an artwork. Jiang Ji’an’s choice of everyday subject matter was precisely intended to emphasize the everydayness of art. This inherently implies a take on meaning and a value orientation—a preference for artmaking amidst life rather than “making” life through art. In a context of hollow, exhibitionistic slogans about “art for the people,” it seems more down-to-earth to think of “art for the sake of life.” 


 

蒋志 Jiang Zhi




悲歌之命运之瑟 Elegy - The 25 Strings of Destiny

艺术微喷 archival inkjet print

100x125cm

2017



悲歌之不舍 Elegy - To Not Wedded to Give Up

艺术微喷 archival inkjet print

90x125cm

2017


志的《哀歌》颇有些含义。我们经常说“光线”,不仅有“光”,还有“线”,这是中文的语境里才存在的表达。当蒋志把“光”具体成“光线”连接于各种肉体之上时,观者感觉的不是被照耀的温暖,而是一种似乎快要被撕裂的疼痛感。《哀歌》系列中,光看名字,可能会有不一样的想象,你怎么可能想到“有时跳舞”会是两只被截断的猪蹄,而“撕裂有时”则是一只等待宰割(或者已经被宰割)的羔羊,那两道光线,就像蒋志自己说的,“这种光,不是照亮,而是施与力量,刺入,拉扯……”整个系列充满了末日般的凝重,无需把这些动物以及动物的骨干替换成人,就已经能感受到社会观察的无声置入。


Jiang Zhi's Elegy series has profound implication. In Chinese language, when people talk about "light", they tend to describe it as "lines of light". The Chinese forge an intimate connection between "light" and "line". However, when Jiang Zhi visualizes "light" in the form of "lines" and presents different types of flesh pierced by these "lines of light", viewers feel a kind of penetrating pain instead warmth of radiation. In the Elegy series, it's hard for one to imagine what the photographs will feature just by looking at the titles. For instance, how would anyone on earth associate two severed trotters with the title A Time to Dance and a lamb waiting to be slaughtered (or perhaps have already been slaughtered©), A Time to Rend. According to Jiang, the two beams of light "are not to illuminate but to bestow power, to stab and to drag…" The series is brimming with a sense of heaviness as if the doomsday is coming. Without the need to replace those animals or parts of animals with the image of human beings, viewers could already feel the silent presence of social observation. 



 

马灵丽 Ma Lingli



博斯之梦 Bosch’s Dream

绢本绘画装置 painted installation on silk

55x80x12cm

2017



人穴 Everyone is A Cave

绢本绘画装置 painted installation on silk

55x80x12cm

2017


每一件作品的完成都有一个复杂的过程,绘画是其中一部分,裁减,打乱,粘贴再次拼接,很像是游戏,一层层关卡,精密的环环相扣,直到作品完成,钉钉盖板,我时常比喻最后一步就像盖上了棺材盖,一段时间的我,我的一切都已经存封在这个小匣子里了,已经与现在的我无关,我又有了新的生命和灵魂。

 

我相信每一个做艺术创作的人都是极其敏感的,能把凡人经常都看到的不以为然的东西和情绪无限放大从而表现出来,而每件作品又都是作者不同时期意念的导致,这无关好坏对错,都有存在的理由。


The completion of each of my works results from a complicated process among which is painting. Cutting, disorganising, pasting and montaging again. It's like a game of levels; each segment is delicately interconnected, level by level, until the last cover plate is nailed and the work is complete. I always compare this last moment to the final nail in the coffin: everything about the "me" of a certain period in the past is sealed in this small box, and has nothing to do with the "current me" anymore. I regain new life and soul.

 

I firmly believe that every person who works in the arts is extremely sensitive, with an ability to amplify and thus manifest something and some sentiments that others cannot see or do not care about. Each artwork, meanwhile, is born from the author's ideas in different time periods, which has nothing to do with good or bad, right or wrong, but exists for a reason.



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