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钟乐星 推拿图

2018/07/28 - 2018/08/21
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    著名策展人路易斯比格斯先生(Lewis Biggs)特别为此次展览撰文探讨钟乐星的绘画作品,以下文字选自他的文章。

    我对钟乐星自2014年获约翰·莫尔绘画奖(中国)优秀奖至今的发展感到非常高兴。

    对于这些画作的第一印象来源于图像(推拿的类型)。绘画并不只是关于视觉。在将颜料应用到画布的过程中,触觉是艺术家使用的主要技巧,并且当我们面对一幅画的时候,我们会直接感受到身体对触觉的反应。这种主体与方法之间的自反性在钟乐星的作品里尤其重要且充满吸引力。

    但在这些画作中存在着更深沉而不那么轻松的东西,在你持续的观看中变得愈来愈强烈。绘画本身传达的是一种治愈术,可是仍与暴力相关;它们暗示着关怀与照看,却也意图侵略。白大褂(医者)涉及“客观性”——一个没有情感的科学世界,或许更加险恶:充满折磨,甚至性侵。这些画作提示着我们所遭受的巨大伤害系由“我们自己的利益”导致;我们被自身的“安全与保障”操纵着;我们因为“社会安全”而变得被动。

    善与恶保持着微妙的平衡,而我们常常不知道一个正在变成另一个。这个强大的主题在钟乐星的绘画中被表达得淋漓尽致。

    路易斯·毕格斯
    2018年4月


    路易斯 · 毕格斯教授是一位独立的策展人、评论家及文化顾问。他曾担任2013年日本爱知三年展联合策展人,2011年至2013年香港奥赛艺术基金会艺术顾问,2000年至2011年英国利物浦双年展总监以及1990年至2000年利物浦泰特美术馆馆长。现任2017年英国Folkstone三年展策展人、《泰特现代艺术家》丛书总编、上海大学美术学院国际顾问及国际公共艺术奖组委会主席。

    此外,他还曾任上海外滩美术馆国际顾问、利物浦艺术设计学院兼职教授(当代艺术研究)、格拉斯哥大学美术学院名誉教授等职。同时,他亦是几个艺术机构理事会的活跃成员,包括约翰 · 莫尔利物浦展览基金会(绘画比赛)、曼彻斯特中国艺术中心、利物浦艺术与创新技术基金会(FACT)等。


    Types of massage

    It has been a great pleasure for me to see the development of Zhong Lexing’s paintings from 2014, when he was a John Moores Painting Prizewinner (China), until now.

    The first impression of these paintings comes from the image (types of massage). Painting is not only about the visual. Touch is the main skill of the painter in applying paint to canvas, and it is the sensation of touch that we all feel directly in our bodies when we confront a painting. This reflexivity between subject and method in the work of Zhong Lexing is immediately attractive and important.

    But there is something deeper and less easy to discuss in these paintings, which becomes gradually stronger as you continue to look. The paintings communicate about healing, but also about violence; they suggest caring, but also aggression. The white coats speak of ‘objectivity’ - an emotionless world of science, that may also be something more sinister: the emotionless world of torture, or of sexual predation. The paintings are a reminder that we suffer great damage ‘for our own good’; we are manipulated for our ‘safety and protection’; we are made passive for our ‘social security’.

    The balance between good and evil is finely made, and often we do not know that one is becoming the other. This is a strong theme, and the paintings communicate it well.

    Lewis Biggs
    April 2018



    Lewis Biggs is a freelance Curator, Writer and Cultural Consultant. He was Director of Liverpool Biennial 2000-2011, and the Director of Tate Liverpool from 1990 to 2000.

    Biggs is now the Curator of the Folkestone Triennial 2017, General Editor of Tate Modern Artists (books on contemporary artists since 2002), International Advisor, School of Fine Arts, Shanghai University and Chair, Organising Committee, International Award for Excellence in Public Art (Shanghai). He was Co-curator, Aichi Triennale 2013, and undertook a consultancy in 2011-2013 with Osage Art Foundation, Hong Kong.

    Lewis is a member of the Board of International Advisors to the Rockbund Art Museum, Shanghai, a Visiting Professor of Contemporary Art at Liverpool School of Art and Design (he was awarded an Honorary Fellowship at Liverpool John Moores University in 1998) and an Honorary Professor at Glasgow University (School of Art). He is active as a trustee of several boards including the John Moores Liverpool Exhibition Trust (Painting Competition), Chinese Arts Centre, Manchester, Foundation for Art and Creative Technology (FACT), Liverpool and Situations, Bristol.