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香格纳新加坡 | 刁德谦同名个展1月22日开幕



刁德谦

DAVID DIAO


展期 | Duration

2021/01/22 – 2/28(周三 – 周日 Wed.-Sun. 11 am - 7 pm,周一、周二及公共假期闭馆 excluding Monday, Tuesday and Public Holiday)


地点 | Location

香格纳新加坡,吉门营房LOCK路9号02-22,新加坡 108937 | ShanghART Singapore, 9 Lock Road, #02-22, Singapore 108937



香格纳新加坡荣誉呈现刁德谦(生于1943年,生活和工作于纽约)的个人展 ——《刁德谦》。这将是这位华裔美国艺术家在东南亚的第一个展览,期间将展出1999年至2018年间创作的画作。

ShanghART Singapore is pleased to kickstart 2021 with a solo presentation of David Diao (b. 1943, lives and works in New York). This will be the Chinese-American artist’s first showcase in Southeast Asia, featuring paintings made between 1999 and 2018. 


利西茨基曲线&赫尔曼·米勒2  Lissitzky Curves & Herman Miller2 | 2018 | 布上丙烯, 乙烯 Acrylic and vinyl on canvas | 134.6(H)*167.6(W)cm



刁德谦的艺术实践跨越了50多年,从前辈如卡西米尔·马列维奇、埃尔·利西茨基、巴奈特·纽曼等人汲取灵感和主题。他的作品里经常以自己的方式运用了这些先前画家绘画中标志性的图形,通过结合与拼凑表达出某种视觉叙述。

Diao’s artistic practice, spanning more than 50 years, draws on inspirations and motifs from predecessors such as Kasimir Malevich, El Lissitzky, and Barnett Newman, among others. Recurring motifs from their paintings can be identified in Diao’s works, employed in his own ways and sometimes combined to tell a visual story. 


沙发骨架1  Couch Skeleton 1 | 2017 | 布面丙烯,丝网印刷 Acrylic and silkscreen on canvas | 81(H)*183(W)cm



他在移民美国三十多年后于1979年造访中国,再次接触中华文化与历史促使了他在创作方式上的转变,在作品里融入传记元素,如自己的职业经历、中国传统、移民和乡愁的主题。在重叠的文字和图像与常见的符号里,观众能在刁德谦的绘画中体会到多层次的解读。

His return to China in 1979, after more than three decades, prompted a shift in his practice as he began incorporating biographical elements such as his own career histories, themes of his Chinese heritage, emigration, and displacement. Diao’s paintings possess several layers of interpretations for their viewers as he superimposes text and images with common symbols.


沙发 Couch | 1999 | 布面丙烯,丝网印刷 Acrylic and silkscreen on canvas | 81(H)*183(W)cm



刁德谦在向美国近代艺术史致敬的同时,也提出了相对的问题。他以借用和挪用的方式,敏锐地将含义转译为形式,通过极简主义构图来反思自己家族历史和祖先留下的文化遗产。本次展览的作品参考了对艺术家个人意义重大以及对世界社会具有文化意义的主题,以现代主义美学呈现出富有独特概念的叙事。

Paying homage to the history while simultaneously raising questions about it, Diao borrows, appropriates, and translates content as forms, reflecting on his ancestry and legacy through minimal compositions. Referencing both personally and culturally significant themes, the works featured in this exhibition string together a conceptually distinctive narrative portrayed in Modernist aesthetics. 


外祖父的书 1 Maternal Grandfather's Book 1 | 2017 | 布面丙烯,丝网印刷 Acrylic and silkscreen on canvas | 152(H)*114(W)cm



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关于艺术家 

About the artist



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纽约学派抽象画家刁德谦在20世纪60年代至70年代间的早期作品主要表现为对现代经典的强烈渴望,但同时也质疑它的血统和理论基础。刁德谦的早期创作受到巴奈特·纽曼的影响,这也贯穿了他其后的整个艺术生涯。另外一位对他影响至深的是硬边绘画艺术家埃尔·赫尔德。一直到七十年代初,刁德谦的创作形式体系被当时社会、文化和政治环境所影响。而这后来也成为刁德谦的主要关注。在80年代中期,刁德谦的创作风格发生了彻底的改变。他开始将丝网印图像、乙烯基字母、手绘标记和文字结合在一起,详细描述他的个人生活和实践。他将激进的形式主义与先锋派的图解、身份政治以及自传相结合:他的中国身份被西方观众所感知-童年在中国,成年于美国。刁德谦面对着不同历史的复杂性。无论他们是被推崇的、全球化的还是秘密的,对他来说都是非常个人化的。

New York School abstract painter Diao’s early works of the 1960s and 1970s are characterized by an earnest desire to contribute to the Modernist canon, while questioning its lineage and theoretical underpinnings. Early influences were Barnett Newman, a significant figure through Diao’s career, and the hard-edge painter Al Held. By the early seventies, Diao’s formalism was inflected with the social, cultural, and political. This has remained the primary preoccupation of Diao’s work ever since. However, in the mid-eighties, Diao’s style shifted radically, as he began incorporating silkscreened images, vinyl lettering, hand-drawn marker, and painted words, detailing his personal life and practice. Combining his radical formalism with avant-garde iconography, identity politics, and autobiography––namely, his Chinese identity as perceived by Western audiences, and his formative years as a boy in China, despite coming of age in America––Diao confronts the complexity of histories, whether they are canonized, global, or private, all of which are deeply personal to him.






来源:香格纳画廊 作者:香格纳画廊

特别声明:本文为艺术头条自媒体平台“艺术号”作者上传并发布,仅代表该作者观点。艺术头条仅提供信息发布平台。

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