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艾贡个展

2017/08/16 15:55:14 来源:北京文艺网  
Edvard Munch说:“一种艺术,若不因人敞开心灵的需要而挣扎降生,便不具有艺术的资格一一所有的艺术作品,包括音乐,都必须带着艺术家的血流淌而出。”

  艺术家| Artist:艾贡| Egon


  开幕时间 | Opening:2017.8.19  15:30 pm


  展览时间 | Exhibition Dates:8.19- 8.24.2017


  地点|Venue:


  北京 上苑艺术馆 BEIJING Shangyuan Art Museum


  地址|Add.


  北京市怀柔区桥梓镇沙峪口村 上苑艺术馆


  Shangyuan Art Museum , Qiaozi County, Huairou District, Beijing


  自序


  我不可避免的行进在路上,触碰到一块巨石,爬上去站在石头上,发现石头一直在变高。环视周围我看到被地心吞噬着同时也被太阳吸引着的万物。反方向的两种死亡之力赋予了生命,生命本生也在消耗着生命。我在空间与时间的假象里是会惧怕这两个假想的,渴望触及空间与时间的轮廓,这种渴望又延展了更大的假象。自然地我开始很崇敬土石、流水、植物、动物……


  无视生死是对生命真正的尊重。


  这清晰的透明后,我看到我的脚、腿、躯干,看到我的心脏,看到我的头、我的耳朵、我的鼻子、我的嘴巴,我终于看到了我的眼睛。是这些肉身的部位通过不停歇的工作与自身的更替,收集着我用来自我完整需要的能量,以完成我这个阶段的独立与抽离。我会变成一棵树,一块石头……;我会变成所有的树、所有的石头……;我会变成一切,我会变成不知道有我的一切。我看到时间们与空间们不停的工作,就像我所有的感官一样。


  感知力工作总是有着多出我需要的。外在痕迹是从我儿童开始靠眼睛汲取能量的主要来源,无法选择与避免的我会原路回流一些。


  I inevitably walked on the road, touching a boulder, climbed up to stand on the stone and found the stone had been getting higher. Looking around, I saw all of the things that are being swallowed by the earth and attracted by the sun. The opposite direction of the two deaths of the power given to life, life is also consumption of life. I am in the space and the illusion of time, afraid of these two hypothetical states, eager to touch the outline of space and time. This desire has extended a greater illusion. Naturally I began to admire earth and rock, water, plants, animals ... ...


  Ignoring life and death is a real respect for life.


  After this clarity and transparency, I saw my feet, legs, torso, saw my heart, saw my head, my ears, my nose, my mouth, I finally saw my eyes. They are the parts of this flesh through endless work with their own regeneration, collecting the energy I use to self-complete. Need to complete my stage of independence and withdrawal. I will become a tree, a stone ... ... I will become all the trees, all the stones ... ... I will become everything, I will become something I do not know exists. I see that time and space are working endlessly, as are all of my senses.


  Awareness always has more of what I need. The external traces are the main source of energy from my children who began to draw on their eyes, and I cannot choose to avoid the way I will return.、


  艾贡的抽象绘画在我看来都是一种奥妙体验(费洛姆)一种人的广义超越。这种超越,要求对世界、对历史以及对受世界和历史约定的自我有一个否定的尝试,进而,从这否定中,将无我的、广泛的爱的力量解放出来。这种奥妙体验只能通过诗或者视觉的符号才能表达出来,这大概也是作为一个画家的艾贡诗写的很好的原因。在一个情感匮乏、精神散漫的社会里,这种体验为人提供健康的规避和自我陶冶,与身边的现实暂时绝缘,同时却与更大的现实融为一体。让人在一个情感上不健康的社会里,保持情感健康。在艾贡的抽象描绘里,你能体会出一种属于孩子的质朴和无邪。


  冯彤


  Egon’s abstract paintings, in my opinion, is a profound experience, a form of generalized transcendence. This transcendence portrayal requires an attempt in denial on the world, on history and the self, restrained by our society. Furthermore, it necessitates the liberation of universal power and love. It’s also Buddhist ideology: the opposite of parochial love from this denial. This profound experience can only be expressed through poetry or visual symbolism, which is also the reason  Egon’s poetry is so impressive. In an emotionally scarcity, spiritually dispersed society, this experience provides healthy reflection and self-cultivation, temporary isolation from the reality of the surroundings, and is integrated with universal/general reality.For People in an emotional unhealthy society, to maintain emotional health. In the abstract depiction of Egon, you can experience a kind of simplicity and childlike innocence.


  Feng Tong


  闻艾贡将在上苑艺术馆办个展,很欣慰。与艾贡相识多年,那时他美院刚毕业,在宋庄建了工作室。一日,在一位画家朋友的引荐下到了我工作室,聊了不少,又一起在门口的烧烤摊喝酒,没多长时间,艾贡就跑到树下吐酒,回桌后坚持拜我为师,因初识,又不知其作品的美学理念是否与我臭味相投,故没答应。


  后来他邀我去他工作室看画,看得出他在求变、在痛苦中探索,这些我都经历过,要把学院灌输的那种旧理念一口口地吐出来是需要时间和勇气的。经过三年的挣扎、奋斗,艾贡做到了!


  去年冬天,艾贡又邀我去他的工作室,将他的画统统看了一遍后,我为之一震,他终于找到了自己的视觉语言,值得喝三杯庆贺。席间他又提出拜我为师,我欣然接受,共同进步。


  Edvard Munch说:“一种艺术,若不因人敞开心灵的需要而挣扎降生,便不具有艺术的资格一一所有的艺术作品,包括音乐,都必须带着艺术家的血流淌而出。”


  我愿将这句话标举艾贡的作品。


  赵孟君


  2017.8.13於柏林


  (编辑:杨晶)

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