中国当代艺术画廊
朱冥个人展
2008年10月18日-11月26日
预展：2008年10月18日3pm
中国当代艺术画廊很高兴向您发布Zhu Ming的个人展yabo88备用。展品包括摄影，雕塑，油画。展览将定于2008年10月18日至11月26日。地点位于北京798艺术区的中国当代艺术画廊。预展于2008年10月18日，届时艺术家本人会到场。
作为著名的东村艺术家中的一员，朱冥被认为是90年代初的行为艺术的发起者，他打破了中国传统对、裸体的艺术使用的禁忌。在早年的艺术创作中被排挤甚至被关押，朱冥将他裸露的身体放置在形体各异的圆形气球当中， “发光人” 暗示了人类的生存是脆弱的，最终是孤单的。“泡泡系列” 展示了中国传统对“气”的概念，同时暗示了生命的暂时性。出于艺术要求，艺术家将自己放置在肥皂泡沫中，或者在塑料气球中。经常，这些艺术要求对他的身体是一种挑战。
艺术家经常将自己放置在极端的物理条件之下，比如稀薄的空气，在自己的身体上用有害的荧光颜料作画，随时面临被淹死的可能-艺术家的身体与所使用的材料和艺术之深刻形成对比。我们经常不能肯定那些气球是为了遮挡外界的冲击，或，气球本身的短暂性暗示了里面生命的短暂性。艺术家在2003年3月8日在澳大利亚、悉尼港口的艺术行为说明了这一点，鲨鱼活动着的水域中有一个塑料气球承载着一个生命。四川凉山州，艺术家在25000里长征的一个标志性地段上，实施了他的气球行为艺术，作品“2008年7月27日”。此作品被有关部门指控为无利于和谐社会。作品“2008年7月27日”的意义在于展示早期中共的根据地的意义随着时间而逝去，取而代之的是人类以圆形的形态，自然地重生。艺术家将展示摄影作品，雕塑作品和油画作品，届时将更好地讲述此次的行为艺术。
艺术家朱冥，作为国际知名的艺术家，曾经被资助先后去德国，日本，意大利，奥地利和英国展示自己的艺术。摄影作品曾在“介于过去和未来之间-来自中国的摄影于摄像作品”纽约当代艺术学院 / 维多利亚&阿尔伯特，伦敦。（“Between Past and Future – New Photography and Video from China”2004, Institute of Contemporary Art, New York; Victoria & Albert, London)并展览于国际知艺术活动 FIAC 2001年，艺术科隆 2001年（ART Cologne 2001)，51界威尼斯双年展。 Waterways 2005年。
Chinese Contemporary Gallery
Zhu Ming Solo Show
October 18 – November 26, 2008
Opening: October 18 2008, 3 pm
For immediate release –Chinese Contemporary is pleased to announce a solo exhibition of Zhu Ming’s photography, sculpture and oil paintings that will be on display October 18 – November 26, 2008 at Chinese Contemporary’s Beijing gallery in Factory 798. The opening will be October 18, 2008 at 3 pm and the artist will be present.
A member of the famous East Village (Dong Cun) artists, Zhu Ming is considered one of the original performance artists of the 1990s who shattered the ingrained notion in China of the body as taboo. Marginalized and even jailed by the Chinese government during the early years of his production, Zhu Ming has cast his naked body in a variety of raw, experimental Bubble and Luminescent Man performances that hint at the fragility and ultimately singular experience of human existence. The Bubbles Series serve as a reference to the Chinese traditional concept of qi (air, gas) and as a symbol of the transience of the human life cycle. Zhu Ming’s performances consist of either enveloping himself with an immense blanket of sudsy bubbles or encasing himself within a plastic balloon, often in brutal and physically demanding ways.
Subjecting his body to extreme conditions– such as a lack of air, toxic florescent body paint or the threat of drowning – Zhu Ming’s slight body stands in contrast to the enormity of the materials and the intensity of his performance. It is often unclear whether the bubbles shield him against external forces or whether their translucent skin emphasizes the vulnerability of the naked figure within. This tension is apparent in the artist’s March 8, 2003 performance, executed in the waters of Sydney Harbor, Australia, which draws a fine line between the protection of the buoyed bubble and the threat of the shark infested water. In his latest ‘July 27, 2008, Liangshanzhou, Sichuan’ work, Zhu Ming recruited participants to set one of the camping grounds of Mao’s Long March as the stage for a Bubble performance. Once persecuted by the authorities for what they viewed as being antagonistic to the social order, ‘July 27, 2008’ highlights the passage of time with the death of the historical spot as a communist stronghold and the rebirth of the men to a natural state within the circular form. To accompany his photography, Zhu Ming will also exhibit sculptural works and oil paintings that are an extension of his performance works.
An internationally acclaimed artist, Zhu Ming has received funding to perform in Germany, Japan, Italy, Australia and England. His photography has been included in the groundbreaking show “Between Past and Future – New Photography and Video from China” (2004, Institute of Contemporary Art, New York; Victoria & Albert, London) and has been shown in important fairs such as FIAC (2001), ART Cologne (2001) and the at the 51st Venice Biennale – WATERWAYS 2005.
|
