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Tabula Rasa (塔布拉 • 拉沙) 戴迪•苏菲阿迪中国首展

2021-04-27 17:21:42 未知

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Tabula  Rasa  (塔布拉 • 拉沙)
戴迪•苏菲阿迪中国首展
China's First Exhibition of Dedy Sufriadi's Works


策展 / 万军 

   Curtor / Wan Jun 

出品 / 赵妍 

Producer / Zhao Yan 

统筹 / 王鹏 
Coordinator / Wang Peng 


展出时间 Exhibition Time
2021.04.02—05.09


德舍空间
DESE DESIGN
北京尚群文化艺术有限公司
Beijing ShangQun Culture and Art Co., Ltd


北京朝阳区草场地国际艺术区326号
326 Cao Changdi International Art District,ChaoYang District,Beijing,China




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戴迪•苏菲阿迪
Dedy Sufriadi

 

出生于:1976年,印度尼西亚巨港

日惹 Seni Indonesia学院(ISI)美术硕士

 

来自苏门答腊南部巨港的Dedy Sufriadi是六个兄弟姐妹中的第二个,15岁开始认真绘画,当时还在高中艺术学校(SMSR)。从那以后,他继续在日惹著名的印尼艺术学院(Institut Seni Indonesia)学习,主修绘画。该学院的印尼首字母缩写是ISI,2013年,他在同一所院校获得硕士学位。


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Boat of Love
 acrylic, marker, oil stick,  pencil on canvas 
150×150cm  2018



戴迪是一个狂热的读者,从1995年开始接受高等教育以来,一直在认真阅读书籍。他特别擅长的一个领域是存在主义哲学,这门学科强烈地影响了他的艺术努力。多年来他读过的书中,包括弗里德里希·尼采、让-保罗·萨特、瑟伦·克尔凯郭尔、马丁·海德格尔和阿尔伯特·加缪等哲学重量级人物。因为对阅读的热爱,文本已经成为他艺术中一个非常重要的元素也就不足为奇了。戴迪还注意到文本作为一种传递信息的手段的普遍性,他引用了一个经常被忽视的事实,即我们几乎在每一个醒着的时刻都会受到各种形式和媒介的文本的影响。

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Identification Object Series #1

 Acrylic, Marker, Oil stick,  and Pencil on Canvas 

150×150 cm  2019



早期的职业生涯中,戴迪将这段时期描述为他的存在主义时期(1998-2004),在他的绘画中,文本的使用方式可以说是对画布上呈现的内容的补充。文本的清晰,人们可以很容易地从视觉上跟踪和描述所呈现的内容,尽管部分内容可能被模糊。
在这段时间里,他的绘画文本表达了他的许多经历、思考、日常观察,甚至抄录了他当时正在阅读的书籍的节选。戴迪将他对文本的使用描述为“克服视觉理解问题的附加选择”,引用图片故事和添加文本总是更容易理解,以说明他的观点。

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Identification Object Series #3

Acrylic, Marker, Oil stick,  and Pencil on Canvas,

150×150 cm  2019



渐渐地,文本在戴迪的艺术作品中是如何使用的,这一过程始于他开始思考和质疑文字在绘画中的运用。文本惯例是如何开始的?谁是第一个意识到文本的人,这种意识的环境是什么?文本本身能拓宽和发展知识吗?这些是核心问题之一,成为戴迪认真研究文本的参数。
这一哲学思考过程所产生的结果是他在其作品中对文本呈现的最终重新包装。文本的随机放置和多层应用成为新的视觉元素,这取代了抽象表现主义艺术作品的典型色彩和线条。文本变成了完全不同的片段,每个片段几乎没有,如果有的话,与另一个几乎没有关系,在直觉和逻辑之间的拉锯战中提供了一条急需的中间道路,一方面是即兴创作的自由,另一方面,逻辑要求文本仍然清晰易读。

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Ars Longa Vita Brevis #2b

Marker,Oil and Oilstick on Canvas

150×150cm  2016



最终的结果是,文本的字面意义不再重要,不再直接有助于美学意图。相反,文本现在可以与艺术作品中的其他视觉元素和媒介和谐地共存,总的来说成为对艺术家记录的经验、思想、迷恋和意见的重新诠释。

戴迪的艺术作品本质上为观众提供了一个机会,让他们不仅能欣赏到他们视觉上所看到的东西,而且还能控制语境的理解。这个属性是通过使用文本的多层和随机放置来实现的,观众可能会发现,这样会创建无数的视觉轨迹组合。与书籍不同,书中的文本是以作者预先确定的方式呈现的,戴迪的艺术作品允许观众同时“阅读”并成为“阅读”内容的作者。

 



Dedy Sufriadi

Born: 1976 in Palembang, Indonesia
Masters of Fine Art, InstitutSeni Indonesia (ISI), Yogyakarta

Originally from Palembang in Southern Sumatra, Dedy Sufriadi is the second of six siblingsand began painting seriously at the age of 15 while still in Senior High Schoolfor the Arts (SMSR). From there, he went on to study at the prestigiousIndonesian Institute of the Arts (Institut Seni Indonesia) in Yogyakarta,better known by its Indonesian acronym ISI, where he majored in painting. In2013, he obtained his Masters degree from the same institution. 

Dedy is anavid reader, seriously consuming books ever since he began his tertiaryeducation in 1995. One specific area he is particularly well read in isexistential philosophy, a subject that has strongly informed his artisticendeavor. Among the books he has read over the years include philosophicalheavyweights such as Friedrich Nietzsche, Jean Paul Sartre, Søren Kierkegaard,Martin Heidegger, and Albert Camus, among others.

Because ofhis love for reading, it should come as no surprise that text has become a veryimportant element in his art. Dedy also notes the ubiquitous nature of text, asa means to convey information, citing the often-overlooked fact that we aresubjected to text, in its various forms and mediums of presentation, at almostevery waking moment.

Earlier inhis career, a time that Dedy describes as his Existentialist Period (1998 –2004), text was used in his paintings in a manner that could be described ascomplementary to what was presented on the canvas. The text was more distinct,and one could visually track and verbalize what was presented quite easily,although portions may have been obscured.

Text in hispaintings during this period articulated his many experiences, reflections,daily observations, or even transcribed excerpts from books he was reading atthe time. Dedy describes his use of text as an “added alternative to overcomeissues of visual understanding”, citing picture stories with added text werealways easier to understand, to illustrate his point.

Gradually,how text is used in Dedy’s artworks evolved, a process that began when hestarted to ponder and question the utilization of text in paintings. How didthe convention of text begin? Who was the first to become aware of text, andwhat were the circumstances surrounding this awareness? Could text itself broadenand develop knowledge? These were among the core questions that became theparameters for Dedy’s serious study of text.

Whatemerged from this philosophical thought process was an eventual repackaging ofhow Dedy presented text in his works. Randomly placed and multilayeredapplications of text emerged as new visual elements, supplanting colors andlines typical of abstract expressionist artworks. The text became not much morethan disparate snippets, each having little, if any, to do with the other, providinga much-needed middle path in the tug-of-war between intuition and logic, thefreedom to improvise freely on the one hand, and the logic dictates demandingthat the text still be legible and readable, on the other.

The endresult is that the literal meaning of the text presented no longer becomesimportant, and no longer contributes directly to the aesthetics intended.Instead, text now could coexist harmoniously in parallel with other visualelements and mediums within the artwork, in total becoming a reinterpretationof recorded experiences, thoughts, obsessions, and opinions of the artist.

Dedy’sartworks essentially provide the opportunity for the viewer to not onlyappreciate what they visually discern, but to be in control of contextualunderstanding. This attribute is achieved from the multilayering and randomplacement of the text utilized, creating countless combinations of visualtrajectories the viewer may pick up on. As opposed to books, where text ispresented in an arrangement predetermined by the author, Dedy’s artworks allowthe viewer to simultaneously “read” and become the author of what is “read”.

(责任编辑:孟语)

注:本站上发表的所有内容,均为原作者的观点,不代表雅昌艺术网的立场,也不代表雅昌艺术网的价值判断。

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