花. 凝视--杨平个展

FLOWER.GAZE------ Yang Ping Solo Exhibition

主办方：悦.美术馆

Organizer： Enjoy - Art Museum

学术支持： 贾方舟

Academic support： Jia Fangzhou

策展人：鲁虹

Curator： Lu Hong

翻  译：Royce 李博扬

Translate： Royce  Li Boyang

艺术家：杨平

Artist： Yang Ping

展览时间：2022年11月26日-12月6日

Exhibition Date： November 26， 2022 -December 6， 2022

开幕时间：2022年11月26日（星期六 ）下午3：00

Opening Time： November 26， 2022 (Saturday)，3 pm

展览地点：北京 悦.美术馆C厅

Exhibition Location： Beijing Enjoy - ArtMuseum C Room

地址：北京市朝阳区酒仙桥2号路798艺术区797路B06

Address： B06， 797 Road， No. 2 Road，Jiuxianqiao， Chaoyang District

迷幻绚烂之境

再读杨平的画

冀少峰

　　杨平近期的视觉图像较之前发生了明显的转向。视觉图像带给阅读者的不仅仅是迷幻与烂漫，华丽与光鲜，更有隐匿其间的疏离与孤寂，哀怨与忧伤。

　　对于儿童和女性形象的描述，一直是杨平视觉叙事的主调。但近期视觉图像中的具体形象越来越远离其视觉的表达，扑面而来的是令阅读者晕眩的花的世界和兰色的大视域。可阅读的细节越来越多，越来越令阅读者激赏。

　　杨平一方面在和粉纭变幻的现实世界形成一种凝视关系，她和现实世界有种互文性。透过其图像世界，阅读者感知到杨平个人世界的那种虽然热情满怀，但依然有着焦虑与痛苦的生命体验。体察到杨平的那种对青春岁月的日渐远去和逝水流年的忧虑与茫然期许。物质世界的丰富性似乎和精神世界的虚妄形成了鲜明的对照。尽管现实世界充斥着种种奢华，迷幻与欲望的诱惑，各种时尚用品琳琅满目，光鲜靓丽，夺人眼球。但孤独的目光如同孤寂的花蕊，静默地凝视着这个看似华丽绚烂的世界。五彩缤纷的现实。但华丽绚烂繁华似锦的背后，却又有着种难以觉察的暗潜的文化视角。鲜花虽然美艳动人，争奇斗艳，令阅读者迷醉其间，但它的结局注定是充满着悲剧色彩。随之而来的结局注定是短暂的，残败的，枯萎的和死亡的，这恰恰又是每个阅读者不得不直面的人生现实。当阅读者被无数迷幻绚烂繁华似锦的鲜花裹挟着时，正可谓乱花渐欲迷人眼，充斥其间的是无休止的欲望，难以抵挡的诱惑，更有对美好未来的向往，在一步步侵蚀着每一个置身其间的阅读者的心灵。绚烂艳丽的色调，又强化着这种虚妄感和茫然若失的惆怅。

　　杨平从自我封闭的个人世界转向了对现实世界的真诚思考和激情表达。将个体的生存经验与碎片化的现实的焦虑与虚妄相交融，进而编织出自我既融入现实又和现实有着种疏离的异彩纷呈的精神世界。

　　她以自我清醒的思考去直面这个绚烂迷幻而又危机四伏，日渐溃烂的真实世界，又以个体的微叙事、微体验去消解那些看似宏大，看起来实则又不怎么崇高的空洞的理想。

　　杨平摆脱了具象性的视觉修辞，脱略了再现性的视觉讲述，从有限的物理的真实世界走向了纯粹而又无限的，又充斥着种种虚妄的精神世界。从现实空间走向心理空间。并以真诚而又颇富激情的视觉讲述，逐渐建构起属于杨平自己的精神世界。

　　但视觉图景中那个孤独的眼神却令阅读者永久难忘……

2022.11.9.晚8：00于东湖路三官殿

　(冀少峰：当代著名美术评论家、策展人、湖北美术馆馆长)

The Realm of Psychedelic Splendor

Re-reading Yang Ping‘s Paintings

Ji Shaofeng

　　Yang Ping’s recent visual images have taken an obvious turn from the previous ones. The visual images bring to the reader not only psychedelia and splendor， splendor and brilliance， but also a hidden detachment and loneliness， sorrow and sadness.

　　The depiction of children and women has always been the main tone of Yang Ping‘s visual narrative. But recently， the specific images in the visual images have become more and more distant from their visual expression， and what comes to the reader is a dizzying world of flowers and a large field of orchids. The details that can be read are becoming more and more exciting to the reader.

　　On the one hand， Yang Ping is forming a kind of gaze with the real world， which is changing in different ways， and she has a kind of intertextuality with it. Through her world of images， the reader perceives Yang Ping’s personal world， which is full of enthusiasm but still full of anxiety and pain. The reader perceives Yang Ping‘s anxiety and bewilderment about her youthfulness and the passing years. The richness of the material world seems to be in sharp contrast to the illusion of the spiritual world. Although the real world is full of all kinds of luxury， psychedelic and desire temptations， all kinds of fashion items are full of glamorous， beautiful and eye-catching. But the lonely gaze is like a lonely stamen， silently gazing at this seemingly gorgeous and gorgeous world. The colorful reality. But behind the gorgeous and gorgeous and prosperous， there is a kind of imperceptible dark submerged cultural perspective. Although the flowers are beautiful， beautiful， and enchanting to the reader， its ending is destined to be full of tragedy. The ending that comes with it is destined to be short， crippled， withered and dead， which is precisely the reality of life that every reader has to face. When the reader is wrapped in countless psychedelic and gorgeous flowers， it can be said that the flowers are a mess， filled with endless desire， irresistible temptation， and the desire for a better future， eroding the mind of every reader who is in it step by step. The brilliant and colorful hues reinforce this sense of delusion and the melancholy of being lost.

　　Yang Ping shifts from his self-enclosed personal world to a sincere reflection and passionate expression of the real world. She blends her individual experience of existence with the anxiety and delusion of the fragmented reality， thus weaving a colorful spiritual world in which she is both integrated into and detached from the reality.

　　She confronts the gorgeous， psychedelic， crisis-ridden and festering real world with her own sober thinking， and dissolves the seemingly grand， but seemingly not very noble， empty ideals with her individual micro-narratives and micro-experiences.

　　Yang Ping is free from the visual rhetoric of figurativity and the visual narration of reproduction， and moves from the limited physical real world to the pure and infinite spiritual world， which is full of illusions. From the real space to the psychological space. With a sincere and passionate visual narration， Yang Ping gradually constructs his own spiritual world.

　　But the lonely eyes in the visual scenes are permanently unforgettable to the reader ......

​2022.11.9. 8：00 pm at Sanguandian， Donghu Road

(Ji Shaofeng： famous contemporary art critic， curator and director of Hubei Art Museum)

作品欣赏

I’m here-1我在这儿-1  50x50cm  纸本水墨  2021

I‘m here-3我在这儿-3  50x50cm  纸本水墨  2021

Between  gaze-1 凝视之间-1  98x98cm  纸本水墨  2022

Between  gaze-3 凝视之间-3  98x98cm  纸本水墨  2022

Between  gaze-5 凝视之间-5  98x98cm  纸本水墨  2022

Blues&Water Flowers-7  蓝调&水中花-7    25x25cm  卡纸水墨  2022

Blues&Water Flowers-11  蓝调&水中花-11    25x25cm  卡纸水墨  2022

High in the clouds NO.18 云端NO.18      145x 177cm     纸本水墨    2021

High in the clouds NO.27 云端NO.27  145x117cm       纸本水墨   2021

Flowers .Screen(the obvers side) 花.屏风（正面）35x200x7cm

Flowers .Screen(the reverse side)花.屏风（背面）35x200x7cm

The desire to gaze 凝视的欲望175x225cm       卡纸水墨   2022

Flowers bloom and fade花开花落 50x250cm         卡纸水墨   2022

Time-3 时光-3 180x297cm  纸本水墨  2022

The fragrance comes NO.2香袭.NO.2   32x41cm   卡纸水墨   2021

The fragrance comes-7香袭-7    50x50cm            纸本水墨  2021

Tuberose-1 晚香玉-1        38x38cm           纸本水墨  2021

Tuberose-5 晚香玉-5  38x38cm           纸本水墨  2021

Gaze NO.9 凝视NO.9       60x60cm   纸本水墨2020

Gaze NO.23 凝视NO.23       60x60cm   纸本水墨2020

Gaze NO.26 凝视NO.26       60x60cm   纸本水墨2020

I am a flower-1我是一朵花-1  50x230cm   纸本水墨   2021

I am a flower-2我是一朵花-2  50x230cm         纸本水墨   2022

Flowers are not flowers NO. 2 花非花NO.2    145 x 180cm     纸本水墨  2020

Like water 如水NO.8         120 x 147cm      纸本水墨   2020

Gaddess of flowers-1花神-1 36x43cm  老纸水墨   2022

Gaddess of flowers-5花神-5 36x43cm  老纸水墨   2022

　　冀少峰

　　当代著名美术评论家、策展人，现任湖北美术馆馆长，第十四届中国美术批评家年会轮值主席，中国雕塑学会副秘书长，中国文化艺术发展促进会当代艺术专业委员会副主任，***政府特殊津贴专家，文科岗二级教授。

　　获评第55届威尼斯双年展唯一一项“组织策划特别贡献奖”和“最佳策划奖”。出版专著《中国当代艺术批评文库：冀少峰自选集》（北岳文艺出版社）、《品图：冀少峰艺术批评文集》（河北美术出版社）、《我就是你：岳敏君》（吉林美术出版社）。

　　Ji Shaofeng

　　a famous contemporary art critic and curator， is currently the curator of Hubei Art Museum， the rotating chairman of the 14th Annual Conference of Chinese Art Critics， deputy secretary general of China Sculpture Society， and deputy director of the Contemporary Art Professional Committee of China Culture and Art Development and Promotion Association. The State Council government special allowance expert， liberal arts post secondary professor.

　　He was awarded the only “Special Contribution to Organizational Planning Award” and “Best Planning Award” at the 55th Venice Biennale. He has published monographs， Chinese Contemporary Art Criticism Library： Selected Works of Ji Shaofeng (Beiyue Literature and Art Publishing House)， Product Picture： Ji Shaofeng Art Criticism Collection Works (Hebei Fine Arts Publishing House)， and I am You： Yue Minjun (Jilin Fine Arts Publishing House).

　　杨平

　　毕业于中央美术学院中国画学院，获硕士学位。

　　中国美术家协会会员、中国书法家协会会员、香港画院研究员

　　当代独立艺术家、Young平空间创始人

　　工作生活于北京。

　　YangPing

　　Contemporary independent artists，She graduated from the School of Chinese Painting， the Central Academy of Fine Arts， with a master’s degree.

　　Member of Chinese Artists Association， member of Chinese Calligraphers Association， researcher of Hong Kong Academy of Painting，

　　Founder of Young ping  Space，  Work and live in Beijing.