2023广州和美艺术中心预告|杨国辛个展：万物，相互蕴含时间、地点、门票价格

广州和美艺术中心预告|杨国辛个展：万物，相互蕴含时间、地点、门票价格

1、时间：2023.09.26-12.18

2、地点：和美艺术中心

3、门票价格：30

广州和美艺术中心预告|杨国辛个展：万物，相互蕴含详情

广州和美艺术中心预告|杨国辛个展：万物，相互蕴含

万物，相互蕴含

阅读这批扇面，我看到一位冷静的预言家，将几年来地球上每一个人的苦熬和挣扎，写进了自己的日记里。这批绘画涉及了整个世界的每一天，将新冠疫情、俄乌战争、火山爆发、大地震……做了记录。要知道，若是没有整体观，我们就无法展开对日常生活的研究。整体概念对于艺术家具有一种特殊性，他们可能更辩证地处理模糊与强烈的关系，更擅长利用矛盾心理构成画面的情境，在个人、感觉和表达之间激荡，发展出具有层次的结构。这批绘画涉及从伦理到审美的各种现实，看过会有一种强烈的感觉，是杨国辛用日常记录咬开了这个社会，发现了它的真实成分。在具有明显构图局限性的扇面上，图像来源于真实生活以及人类共有的历史典故，画面处理的纷杂、紧张与感伤纠缠着，将扇面发展成新的“有意味的形式”。

杨国辛的绘画对于观众并不陌生，前不久进行的广东美术馆馆藏精品索引系列展·第一回中出现的“好果子”属于他最具代表性的作品。如果说那个时间段的波普方法曾经彰显着创作者明确的社会态度以及处理题材的个人意识，近年来呈现出的变化和转向，则基于杨老师对人类命运更高更深的观察、思考。

在和美艺术中心展出的，前后两期共两百多件绘画，从内容上看，是杨国辛一个人的世界史；也将艺术史中具有隐喻的图像重新运用，譬如“梅杜萨之筏”“亚当与夏娃”；莱辛、桑塔格、齐泽克的出现与艺术家自身对人类行为的质疑相互阐释。画面传递出的态度终归出于艺术家对人类命运的不信任、不甘心，有点像是一种挣扎。这几年我们仿佛行走在一群陌生人身边，其实他们又何尝不是这样想象我们？活生生的感受挥之不去，杨国辛用自己全视阈的方式做了强烈的回应。超越日记体绘画的具体内容，个人能不能创造出对抗社会的有效形式，这是我的思考。也许不必那么遗憾，我认识杨老师的时候，他的创作已经度过了对田园牧歌有所依恋，心存幻想的时期。他也并不刻意地召唤一段往昔来反衬现实的无情。相反地，将历历在目的此时此刻描画为历史，就记录下了强大的外在社会力量，记录了真实的生命感受。

艺术家在处理现实的时候需要面对的相关性问题，被杨老师以不同的主次、深浅、强弱抓住，模糊了碎片与整体的关系。这时候，我想起虞世南的五言绝句《蝉》中的两句：居高声自远，非是藉秋风。

Everything containseach other

Reading this collection of fanart of paintings,I see a calmprophet who wrote in his diary the agonies and struggles of every human being on the planet in the past few years. The paintings cover every day of the entire world, making notes of the COVID-19 pandemic, the Russia-Ukraine war, the volcanic eruptions, and the greatearthquakes ....... It is important to realize that without a holistic view, we would not be able to develop a study of everyday life. The concept of totality has a specificity for artists who may deal more dialectically with the relationship between ambiguity and intensity, and are more adept at utilizing ambivalence to constitute the context of a picture, and develop a structure with layers by stirring between individuality, feeling and expression. These paintings involve various realities from ethics to aesthetics, and seeing them one gets a strong feeling that it is Yang Guoxin who bites open this society with his daily records and discovers its real components. In the fanpaintings, which has obvious compositional limitations, the images are derived from real life as well as historical allusions shared by mankind, and the handling of the images is entangled with chaos, tension, and sadness, which develops the fanpaintinginto a new "meaningful form".

Yang Guoxin's paintings are not unfamiliar to the audience, and "Good Fruit", which appeared in the first exhibitionof Guangdong Museum of Art's Fine Art Collection Index Series not long ago, belongs to his most representative works. If the pop method of that time period once demonstrated the creator's clear social attitude and personal consciousness of dealing with the subject matter, the changes and shifts shown in recent years are based on MrYang's deeper and more profound observation and thinking aboutthe fate of mankind.

There aremore than 200 paintings in the two periods exhibited at the Harmony& Beauty Art Center,they are Yang Guoxin's personal history of the world in terms of content; And also reapply metaphorical images from the history of art, such as "The Raft of Medusa," "Adam and Eve," The presence of Lessing, Sontag, and Zizek is interpreted and explained each other in relation to the artist's own questioning of human behavior. The attitude conveyed by the images is ultimately due to the artist's distrust and unwillingnessto accept the fate of mankind,somewhat like a struggle. These years we seem to be walking around a group of strangers, but in fact, don’tthey imagine us in the same way? Living feelings linger on, and Yang Guoxin responds strongly with his own full-threshold approach. Beyond the specifics of diary painting, I wonder if individuals can create an effective form of confrontation with society. Perhaps there is no need to be so regrettable. When I met Mr. Yang, his creation had already passed the period of attachment to idyllicpastoral songs and fantasies in mind,nor did he deliberately summon up a period of the past to contrast the ruthlessness of reality. On the contrary, by depicting the here and now as history, he records the powerful external social force and records the true feelings of life.

The relevance problems that artists need to face when dealing with reality is captured by Mr. Yang in different prioritiesand secondary, shades, strengths and weaknesses, blurring the relationship between the fragments and the whole. At this time, I recalled two lines from Yu Shinan's five-character quatrain"Cicada":

“Rising high ,far your voice will go,not on the wings of autumn breeze”.