The Note of Staying -Wang Haichuan Solo Exhibition

展覽時(shí)間: 2010年7月10日－2010年8月25日

Date: July 10,2010- August 25,2010

開(kāi)幕酒會(huì): 2010年7月10日星期六下午4-6時(shí)

Reception: 4pm-6pm,Saturday,July 10th,2010

主辦: 高地畫廊

Host: Gaodi Gallery

開(kāi)放時(shí)間: 11:00-18:00（星期二至星期日，周一休息）

Opening Hours: 11am-6pm ( Tuesday-Sunday, Monday By Appointment Only )

地址: 中國(guó)北京市朝陽(yáng)區(qū)酒仙橋路2號(hào)798藝術(shù)區(qū)706北四街B10

Venue: B10,706 North Forth St.,798 Art Zone,No.2

Jiuxianqiao,Chaoyang District, Beijing, China



視覺(jué)藝術(shù)出身的王海川曾經(jīng)多年從事建筑和景觀設(shè)計(jì)。而這批作品的出現(xiàn)也是有這樣一個(gè)歷史機(jī)緣在其中。在他的作品中，絕無(wú)人的出現(xiàn)，對(duì)于建筑和園林的描述，人們很容易將這些作品看作是一些風(fēng)景繪畫的陳詞濫調(diào)。但是事實(shí)并非如此。從2008年開(kāi)始，藝術(shù)家最先描述的是那些紀(jì)念碑性質(zhì)的建筑。而后將觸角涉及到正在蓬勃崛起的各種高檔小區(qū)之中。如果不考慮畫面上的滴灑，我們幾乎可以將這些圖像視作是建筑畫。但是這些作品的觀念恰巧出現(xiàn)在這些非繪畫性的因素之中。這些單色的畫面，使得來(lái)自真實(shí)場(chǎng)景的景物變得虛假；拒絕了人的出現(xiàn)則是讓這些本來(lái)應(yīng)該人性化的東西變得更加沒(méi)有“人性”，而顯得象舞臺(tái)上的空洞、單薄的擺設(shè)。而這些單色的滴灑，則不斷的提示著我們，這些美好的虛偽性，以及藝術(shù)家試圖破壞或者穿透它們的企圖。王海川的作品是將那些美好的私人生活和和諧社會(huì)的表征毀滅給我們看。但是其方式卻是平凡而普通的。其作品中試圖磨滅現(xiàn)實(shí)的質(zhì)感而替換以時(shí)間的陳?ài)E。­­-



Wang Haichuan, whose major was visual art, used to work in the field of architecture and landscape design for many years. In his works, there are no figures. People tend to regard these works as cliches of landscape painting because of his portrayal of buildings and gardens. But the fact is not like that. Since 2008, artists first portrayed those monuments, and then he spread to all kinds of high-class compounds. If we ignore the brush strokes in the picture, we can almost consider these images as architectural paintings. However, the conception of these paintings happens to be in these non-painting elements. These single-colored pictures make things from the real scenes become fake. The absence of people in the pictures makes these humanized things lose their “humanities”; they look like the empty and simple decorations on the stage. Those single-colored brush strokes continuously remind us of the fakeness of the beauty and the artist’s attempt to destroy or penetrate it. Wang Haichuan’s works destroy the superficial characters of those beautiful