"旅美年轻艺术家吴达新在作品图像的中西文化资源、符号的利用上，一个有趣的视觉呈现是移植与并置，并在叠加中悄悄地渗透、融解。以不同文化中的符号象征的拼合，既是现实状态的一种，又是吴达新作品的一种话语方式。它直接对应和测度着现实变化，构成了中国当下生动而奇特而混杂的现实图景。因此其创作已经不能简单地评价说是从某种现实的文化中派生出来的某种现代性，而是文化全球化趋势的一种再现形式，它也是中国当下新的全球经验的一个明确表征。其意义所指不仅在于形成一种新的视觉语言表现他往来于中、美之间的生存与行旅的状态，也在于为自身文化的处境记录和见证了精神的和情感的历史。显示了他的创作在跨出了对于“似真性”的追求之后，在一个新的语境中的自由穿越与拼合能力。从而凸现了一种“不确定性”的作用，一种无法把握的无限的变动。Danny Wu, contemporary artist, who used to study and live in the United States. In his works, Eastern and Western cultural resources were grasped and skillfully applied on his works, which turned out to be an interesting visual presentation, transplant and collocation, and quietly penetration, melting in the process of superposition. The splicing of symbols in different culture was one of the real state, and also a way of discourse in Danny’s work. It is directly corresponding and measuring the change of reality, which posing a picture of vivid , strange and confounding reality of contemporary China. So, his works could not be simply evaluated as some sort of modernity derived from a kind of realistic culture, but a form of reproduction of the trends of cultural globalization. It was also a clear representation of the new global experience in China. Referred to its significance not only lies in the formation of a new kind of visual language to express Danny’s situation during his living and traveling between the United States and China, but also record and witness the mental and emotional history of our own cultural situation. All of his works showed that his artistic creation has crossed out the pursuit of verisimilitude, and he has the ability of splicing and going through freely in a new context. His works highlighted the role of a kind of “uncertainty”, which were the infinite changes unable to grasp. 或许对于吴达新来说，这不仅是一种形式，而是一种具体而微的生活体验；另一方面也道出了他的特别经验。这种经验的中心既是“环球居民”构想的诱惑，又是个人经验如何保持在变换中的自身。“我是谁”的复杂而微妙问题始终灌注在作品背后——他的审视与抓取拍摄当中。Maybe to Danny, artistic creation was not only a form creation , but also a vital life experience, and it expressed his unique and individual experience in the other way. The center of this experience was the temptation of the “global citizens” idea, but also sticking his ground during the changes of personal experiences. The complex and subtle problem, “who am I”, was behind all his works, in his review and scraping."
—— 冯博一 Feng Boyi
雕塑 | Sculpture：600(H)x550 × 550cm 底座 | base：50(H)x700x700cmExhibited at Public Sector of Gallery Weekend Beijing 2020Exhibited at Terrestrial Harmony at first hall, Triumph Gallery, 2019药师如来 | Pharmacist Buddha
塑料药瓶 | Plastic medicine bottles
408x278x225cm
2018-2019
展出于2019年陆地和声个展艺·凯旋画廊第二展厅
Exhibited at Terrestrial Harmony at the second hall, Triumph Gallery, 2019
致敬井上 | Tribute to Inoue Yuichi山 | Mountain 190x80x253cmExhibited at Terrestrial Harmony at the third hall, Triumph Gallery, 2019七重塔 | Seven-Storeyed Pagoda不锈钢齿轮，电机 | Stainless steel gears，electric engineExhibited at Terrestrial Harmony at the forth hall, Triumph Gallery, 2019飞天｜Mysterious Songbird
装置：钢铁、LED｜Installation：Iron and steel, LED
850x250x350cm
2014
中轴线｜Central Axis
装置：螺纹钢、火车减震弹簧、枕木、铁架｜Installation：screw thread steel, train shock absorbing spring, sleeper, iron stand
400x300cm
2012
如是观｜Buddha Seen like This
装置：钢板，制冷压缩机，钢管 |
Installation：steel plate, cold compressor，steel tube
300x200cm
2013
Installation：screw thread， copper pipe，cold compressor心脏 | Ashely's Heart
装置：铜管，制冷压缩机，霜｜
Installation：Brass tubes, refrigerating compressor, air cooler
3000x500cm
2011
阴谋论｜Conspiracy Theory
装置：钢板、制冷压缩机｜
Installation：steel plate, cold compressor
10000x300cm
2009
2010“阴谋论”，空间站，美国安迪沃霍尔美术馆策展人 Eric Shiner 策展
2010 Exhibtion “Conspiracy Theory”，curated by Eric Shiner from Andy Warhol Gallery
装置：冰,钢结构｜Installation：Ice，Steel 吴达新，1969年出生于中国福建泉州，1992年毕业于华侨大学外语系日语专业。同年留学日本，就读于日本国立琦玉大学教育学部研究生，师从山口静一教授专修东洋美术史，2001年移居美国，在纽约市立大学学习影像技术，2007年毕业。吴达新在作品图像的中西文化资源、符号的利用上，一个有趣的视觉呈现是移植与并置，并在迭加中悄悄地渗透、融解。以不同文化中的符号象征的拼合，既是现实状态的一种，又是吴达新作品的一种话语方式。他直接对应和测度着现实变化，构成了中国当下生动而奇特而混杂的现实图景。 他的近期个展包括：“陆地和声：吴达新个展”（艺·凯旋画廊，北京，中国，2019）、“巨鳄来袭”（北京，中国，2015）、“失度“（当代唐人艺术中心，北京，中国，2013）、“阴谋论”（空间站，北京，中国，2010），等。 他参与的群展包括：“‘塑·像’ 画廊周北京2020公共单元 （798创意广场，北京，中国，2020）、“第二届安仁双年展”（四川，中国，2019）、“第二届平遥国际雕塑节”（山西，中国，2019）、“力的共生”（泉州，中国，2015）、“24艺术计划‘NAISSANCE’”（今日美术馆，北京，中国，2014）、“卡塞尔中国公共艺术展”（卡塞尔，德国，2012）、“越后妻有大地三年展”（新泻，日本，2012），等。
Wu Daxin was born in 1969 in Quanzhou, Fujian Province, China. In 1992, he graduated with a bechalor’s degree in Japanese in Huaqiao University. In the same year, he studied in Japan, with professor Yamaguchi, specialized in Japanese art history in Saitama University. In 2001, Wu Daxin moved to the United States, studied video art technology in the City University in New York, and graduated in 2007. In Wu’s work, Eastern and Western cultural resources were grasped and skillfully applied, which turned out to be an interesting visual presentation through transplant and juxtaposition, and quietly penetratesand melts into each other in the process of superposition. The splicing of symbols in different cultures not only reflects the reality, but a way of discourse in Wu’s work. It directly corresponds and measures the changes of reality, which posing a vivid, strange and confounding image of contemporary China.
His latest solo exhibitions include: "Terrestrial Harmonies: Wu Daxin Solo Exhibition" (Triumph Gallery, Beijing, China), “Muggeris Back on the Prowl” (Beijing, China, 2015), “De Composure” (Tang Contemporary Art, Beijing, China, 2013), “Conspiracy Theory" (Space Station, Beijing, China, 2010), etc. The group exhibitions he participates include: “Form · Impression” Gallery Weekend Beijing 2020 Public Sector （798 Creative Square, Beijing, China, 2020), “2nd Sculpture Projects Ping Yao" (Shangxi, China, 2019), "Anren Biemmale" (Sichuan, China, 2019), “Force Symbiosis”(Quanzhou, China, 2015), “24 Art Project ‘NAISSANCE’” (Today Art Museum,Beijing, China, 2014), “Chinese Public Art Exhibition" (Kassel, Germany, 2012),“Echigo-Tsumari Art Triennale” (Niigata, Japan, 2012), etc.
作者：艺·凯旋艺术空间
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。
