暗色 - 宋永兴作品（2010-2017）

　　Gloomy – Song Yongxing (2010-2017)

　　策 展 人 ▏冯博一

　　开 幕 ▏2017.4.2（星期日） 15:00 - 18:00

　　展 期 ▏2017.3.24 - 2017.4.20

　　Curator ▏Feng Boyi

　　Opening ▏Sunday, April 2 2017 15:00-18:00

　　Duration ▏March 24 – April 20 2017

　　艾米李画廊很高兴的宣布将在4月2日迎来由冯博一策划的青年艺术家宋永兴个展“暗色”，此次个展是宋永兴与艾米李画廊继2015年群展“现实虚 视觉误”之后的第二次合作， 展览将展出艺术家宋永兴从2010-2017年间创作的40余幅油画作品。将从“人”、“物”、“景”三个系列来呈现宋永兴近8年的创作面貌。

　　宋永兴的创作具有“从早期对电影剧照的复制到对事件新闻图像的复制”过程， 早期的油画创作是一种通过油画媒介的“二手图像”，但在这一转化过程中，复制的原本与摹本之间却形成了间离的视觉效果。尽管，他在以后创作的思路与方式上不断实验，但与此相对应的信息、图像的“碎片化”，则是身处我们这个时代共同的看与被看的视觉经验，而宋永兴则是敏感并有效地利用了时代赋予我们的机会，从而形成了宋永兴油画语言方式，也构成他油画创作的独特样貌。他没有采取一种简单的现实主义表现手法，也没有陷入一种庸俗社会学的考察，而是以“二手图像”的碎片，直面的视角，通过绘画来凝视日常和无常的真实状态。他将与自己日常生活密切相关的人物、器物和街边、角落、通道、窗户等等即时入画，将微观的细节与空间的闭合融为一体，有一些钟情于人物动作、生活场景、器物和绘画本身的朴素魅力，甚至还有悬疑、神秘、不知所终的危险意味。同时，还留下了真实、幽暗，还有光的指向痕迹。但其实质则折射了获得宽泛概念的“存在”之后，恰恰是丧失了栖居的安全感，以及焦虑、挫折、无奈等切身感受。

红椅子 The Red Chair 布面油画 Oil on Canvas 145x200cm 2012

夏天不热 Not Hot in Summer 布面油画 Oil on Canvas 150x200cm 2016

兄弟-3 Brother 3 布面油画 Oil on Canvas 145x200cm 2010

　　在他的油画作品中，具有貌似真实，甚至逼真，其实提供的是荒诞不经的处境。这是他有意通过混沌、幽闭的背景和人物动作的局部穿插，呈现出混杂、曲折的人生境遇，具有纪实与重构的视界。正是这种表层的真实后面隐藏得更为深刻的真实，才能使原初状态成为一种真实自我的有意识体现。在过去，你可以为自己的不幸找到一个承担者，现在则越来越多地要由你自己来承担了。你拥有了更多的生活，你也因此更加感到不安。尽管会有光，却一定显得幽暗、苍白和乏味，并使观者陷入一种如宋永兴作品里的暗色和茫然的惶恐之中。

现在，没有风景 Now There is No View 布面油画 Oil on Canvas 120x90cm 2013

五楼 Fifth Floor 布面油画 Oil on Canvas 80x100cm 2013

白桌子 The White Table 布面油画 Oil on Canvas 80x100cm 2012

　　Amy Li Gallery is proud to present the second solo exhibition of emerging artist Song Yongxing to be held in Amy Li Gallery, organized by Feng Boyi. Figures, objects and landscapes are the subject of the three series of artworks in this exhibition spanning from 2010 to 2017.

　　Song Yongxing’s creation has "evolved from copying film shots in the early days to representing news event images". His earlier oil paintings are based on a kind of "second-hand image" transmitted via this very medium, while an estranging visual effect between the copy of the original and its reproduction takes form during its transformation process. Although he continues to experiment with his future ideas and methods, we share the corresponding "fragmentation" of information and image, since the retrospective relation of the acts of seeing and being seen is the common experience of our time; and Song Yongxing has been highly sensitive and effective in seizing the opportunity given to us by the times in forming a personal pictorial language which also constitutes the unique style of his oil paintings. Song Yongxing neither did opt for an expression of simplified realism, nor did he slide into a series of vulgar sociological field studies; rather, he uses the fragment of "second-hand images" and straightforward angles to speculate on reality in both its daily and impermanent appearances through paintings. He simultaneously introduces what is closely related to his daily life, such as people, streets, corners, corridors, windows, and artifacts, etc. Then he assembles and integrates the details on a reduced scale in a tight space, conveying the primary charms that are derived from his attachments to the movements of the depicted person, the specific scenes, the everyday items, and the paintings themselves, and even occasionally the dangerous hunch of suspense, mystery, or endlessness. Meanwhile, the real, the obscure, the traces of light, have been saved. But his work essentially reflects the loss of a sense of security after acquiring the vast concept of "existence", which leads precisely to feelings of anxiety, frustration, and helplessness.

渐变不坏 Degraded but Not Corrupted 布面油画 Oil on Canvas 160x300cm 2016

两根凳子 Two Stools 布面油画 Oil on Canvas 50x60cm 2014

红色更兴奋 The Reds Excites Better 布面油画 Oil on Canvas 110x150cm 2014

　　Thus, the seemingly real fidelity to nature in his paintings in fact renders images of absurd conditions. Song Yongxing intended exactly to act this, that is to say, he intended to depict the complicated, winding path of life, through a combination of a chaotic, enclosed background and a zoom-in on the human body, which shows a documentary and reconstructive point of view active in the works. It is that truth hiding behind the seemingly true appearance that is more relevant to the profound reality key to transforming the primary state into true self-conscious revelation. In the past, you could find a culprit behind your own misfortune, but now you bear it more and more by yourself. You have more probable lives, which also disturbs you. Although there always will be light, it must appear obscure, pale and monotone, which indulges you into that kind of emotion resembling the fears delivered in Song Yongxing's works, dark and dazed ones.

　　▏关于艺术家

宋永兴

　　1976年 生于重庆城口

　　2000年 毕业于四川美术学院油画系

　　现工作、生活于成都

　　个展：

　　2017 “暗色—宋永兴作品(2010-2017)”, 艾米李画廊，北京

　　2014 “偏僻的惯性——宋永兴绘画实验展”，空格空间，成都

　　2012 “宋永兴”个展，Gallery J. Chen，台北

　　群展：

　　2016 116㎡+绘画流动双年展，杭州

　　“生态&叙事的比较级”蓝顶美术馆馆际交流展，蓝顶美术馆，成都

　　“萧条与供给”第三届南京国际美术展，百家湖美术馆，南京

　　2015 “现实墟·视觉误”，艾米李画廊，北京

　　2014 “中心视角—关于实践方式的几种可能”，上舍空间，北京

　　2013 “黑——格物组第一回展”，蓝顶教育中心，成都

　　“杂七杂八——青年一代的视觉修辞”，金鸡湖美术馆，苏州

　　“流动的面孔——2013艺术、北京”，全国农业展览馆，北京

　　“传家:破茧于传统”——2013大瑭中国新锐艺术年度大展，文轩美术馆，

　　成都

来源：雅昌艺术网