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周围艺术将于九月特别推出旅居海外多年的丁文父先生在国内的首次个人作品展：重塑，呈现18件以灵璧石为主要媒介的立体装置作品。 中国赏石的起源已不可考，确凿的图文史料始于唐代，赏石的认知鉴定与审美标准则成熟于宋代。12世纪的首部论石专著《云林石谱》称灵璧石自古以来在中国赏石中占有三分天下，因为最符合《尚书》中所记载的“泗滨浮磬”而获得了正统的尊贵地位，并毫无悬念地成为精英阶层的收藏爱好。然而，灵璧石作为礼乐的象征、作为书房案头的清供、作为文人士大夫与自然宇宙沟通的桥梁，都不乏记载与论述，却独独没有作为艺术品而独立存在过。 丁文父先生是中国赏石领域的专家，熟知千年的赏石历史，出版有多种专著。他在《中国古代赏石》这本巨著中事无巨细地探讨研究了赏石的质地肌理、源流产地、时代审美特征，见诸书画文献的例证、乃至修治打磨、底座制造等等技术细节，可谓洋洋大观。然而最为可贵的是，他没有让严谨的学术研究束缚了自己的艺术创造力。他认识到在宋代以后，中国赏石从精神层面到技术层面的发展似乎都停滞不前了，过于强大乃至顽固的传统，人云亦云的品味，都束缚和禁锢着艺术家的创造力与想象力。丁文父不满中国赏石在当代社会的发展，于是在精研中国传统艺术的基础上，从西方当代艺术、特别是当代雕塑中寻找参照与坐标，汲取养分与灵感。他从亨利·摩尔、布朗库西、野口勇等人对石材的处理中获得启发，创作出这一批难以用传统媒介与观点来定义的、独一无二的作品，姑且称作“石作”。 艺术作品的成功与否，很大程度上要取决于艺术家的创作选择与审美判断。丁文父的“石作”是在一种存在了上千年的媒介与材料上，勇敢地用“一刀”改变每一件赏石的形态、质感与空间感，使之成为带有强烈个人风格色彩的当代艺术作品，这样的方式不免令人想起意大利艺术家卢齐欧·封塔纳在画布上决定性地一刀（或数刀）切割。展览中作品2008第001号以两块新的光滑立面，彻底改变了石头原有的形状； 另一件也是展览中唯一一件黄灵璧石作品，整体被切开，原有的形状和肌理遭到了破坏，却打开了作品与观者对话和交流的可能。这些赏石在丁文父的刀下呈现出多种样貌，艺术家没有把它们当作天然的珍品供奉起来，而是断然下刀、大胆切割，以平滑的切面和几何的线条取代自然的皴皱肌理与起伏沟壑，以对空间体量和张力的追求代替了传统审美关注的穿插藏闪和玲珑透露，赋予古老的赏石当代的艺术生命。 珍贵的灵璧石固然有着自然之美，但是艺术家的干预才是对美的自觉建构与创造。在这一批作品中，丁文父着力打破了赏石“崇尚自然”的魔咒，重塑了当代观众对灵璧石的认识。而他真正想要重塑的，是审美的习惯，将中国观众从对赏石的欣赏惰性和窠臼中解放出来，重塑其对于美，对于当代艺术的正确观念，以开放的姿态拥抱新时代的人文与精神世界——这也是周围艺术的宏愿。 Reshaping: Masaru Takanashi Stone Works AroundSpace Gallery is proud to present overseas artist Masaru Takanashi's first solo exhibition in China, Reshaping, which showcases eighteen pieces of three-dimensional installation work made of one type of Chinese scholars' rocks, the Lingbi Stone. The origin of collecting Chinese scholars' rock is hard to trace, although it started to appear in historic documents, literature and paintings in the Tang Dynasty; the authentication standards and the aesthetics criteria of scholars' rock was established in the Song Dynasty. The first comprehensive study of scholars' rock, Yunlin Shipu (Yunlin Rock Catalog), was published in the. early 12th century. It ranked Lingbi Stone high among all types of Chinese scholars' rocks, because Lingbi was associated with the description of 'sounding stones that [seem to] float near the bank of Si (Si Bing Fu Qing)' mentioned in Shang Shu (Classic of Documents), which not only gained Lingbi legitimacy in mainstream culture, but also made it the most appealing collectible to the elite. Therefore Lingbi Stone has been considered as the symbol of Confucian ritual, the desktop decoration of the elites' study and the passage that links the literati's inner mind and the cosmos, but never as an individual artwork to be appreciated in its own right. Mr. Masaru Takanashi is an expert in Chinese scholars' rock. With the knowledge of scholars' rock's thousand-year history, he has published a number of studies and catalogs on the topic. In his Classical Chinese Stones, he thoroughly explored and meticulously discussed the scholars' rocks' shape and texture, original production locations, aesthetics styles, text and image documentation, as well as the technic details such as the carving and coloring process and the making of the stand. However, Takanashi did not let scholarly research work limit his artistic creativity or cloud his judgment. What he has found is that after the Song Dynasty, the development of Chinese scholars' rock stalled in both aesthetical appreciation and technical studies.
The strong, sometimes stubborn conventional and inherited tastes became burdens and obstacles that constrained artists' creativity and imagination. Takanashi is not satisfied with the status of Chinese scholars' rock in today's world. Having a deep understanding of its Chinese culture context, he turned to western contemporary art, especially contemporary sculpture for reference and inspiration. He has studied the role stones played in the art of Henry Moore, Constantin Brancusi and Isamu Noguchi, and created a unique body of works that is impossible to categorize by traditional medium, which we called stone works.
The success of an artwork is primarily defined by its creator's artistic choice and judgment. In Masaru Takanashi's stone works, he altered each stone's shape, texture and volume by applying a bald 'one cut' on a material that has existed for thousands of years. His cut made these Lingbi Stones contemporary artworks with strong individual style, which also reminds viewers of the decisive 'one cut' (or several cuts) Italian artist Lucio Fontana applied on his canvas. Here presented, the 2008 No. 001 completely changed the stone's original shape with two new smooth surfaces created by the artist;
another piece, the only yellow Lingbi Stone included in this show, was cut open entirely. While its original configuration and texture was disturbed, its openness and accessibility was displayed to the audience. These Lingbi Stones became various different artworks under Takanashi's work.
The artist did not shrine them as natural treasures, but treated them as an artist's medium with bold ideas and decisive cuts. He used smooth surfaces and geometric lines to replace natural furrows and grooves, and shifted the traditional focus on natural hollows and perforations to the pursuit of volume and tension in space. In doing so, Takanashi made these ancient scholars' rocks alive and relevant in a contemporary context.
Although precious Lingbi Stone has its nature beauty, it is the artist's intervention that consciously constructs and creates beauty in art history. In these works, Masaru Takanashi broke the convention 'admiring the nature' that guided the appreciation of Chinese scholars' rock for centuries, and reshaped the contemporary audience's appreciation of Lingbi Stone. What he truly tried to reshape is the habit of appreciating art, to free Chinese audiences from the conventional and stagnant habit of appreciating scholars' rock and to enable them appreciate contemporary art properly and to embrace the zeitgeist of our time, which is also what we try to promote at AroundSpace Gallery.
重塑：丁文父作品展 开幕式：2019年9月14日星期六下午3点-6点 展览时间：2019年9月15日—10月24日 周围艺术画廊 中国上海四川中路33号703室，近延安东路 联系：明明13801743061 办公室： 86 21 3305 0100 Reshaping: Masaru Takanash Stone Works Opening: Saturday, September 14, 2019, 3:00PM-6:00PM Through October 24, 2019 AroundSpace Gallery Suite 703, No. 33, Sichuan Middle Road, Shanghai, 200002, China Contact: Ming Ming 138 0174 3061 (Mobile), 3305 0100 (Office) www.aroundspace.gallery Ins: aroundspacegallery Facbook: AroundSpace
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