Page 341 - 亚洲二十世纪及当代艺术
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˜Ң௴ிٙɛيҖ൥݊Ң࿁ٟึႩٝձΙ൥ٙɓ၇ୌ໮׌ڌ༺fίҢٙᝈׂ                                    “The characters I’ve created serve as
        ༁dତྼ˰ޢၾɛᗳၚग़݊Շࡈ̻Бٙ˰ޢf™                                               symbolic expressions of my perception
                                                                            and impression of society. In my
                                                                 { ဤρ
                                                                            conceptualization, the realm of reality
        ͛׵ 1975 ϋٙဤρІʃᆠฌᖭ೥dˇࣛɝᛘ̬ʇߕஔኪ৫ڝʕd2002 ϋ׵ʇߕ                           and the human psyche exist as parallel
        ذ೥ӻ՟੻၂ɻኪЗܝdу஗ַᜡЇ̬ʇɽኪ΂઺dତ΂ʇɽᖵஔኪ৫ᖭ೥ӻ˴                                 worlds.”
        ΂ʿߕஔ᎜᎜ڗfϋˇϞމٙ˼dଭุܝᎇу׵̏ԯفරᖵஔ᎜ᑘ፬ə࠯ࡈࡈ࢝d                                                           — Xiong Yu
        ஗ൖژ̬ʇ೥ݼ™ٙܝආʘӸfၾ஢ε 70 ܝ޴Чdဤρϓڗʕ຾ዝഹεʩ˖ʷ                              Born in 1975, Xiong Yu developed a passion
        ٙຠᅜd˼੽ཥൖeဘ೥e༟͉˴່eཥɿ˖ʷeʝᑌၣٙݴБୌ໮̈೯dഐΥ                                 for painting from an early age. After attending
        ᆄݲʕ˰ߏ̚Պᖵஔʕٙӽ྅eग़༑ʿᏕᄌ׌ٙΈᅂڌତdІ 2000 ϋৎd˼஫                              the Affiliated Middle School of Sichuan Fine
        ߈̚ʦd˸ዹ௴ٙ˜̹۬˂Դ™މ˴ᇞdᐄி̈୿մྫྷሁছٙ൴ତྼ೥ྤd͊Ը                                 Arts, Institute he obtained a master’s degree

        ชɤԑdˏჯᝈ٫߈૞׵ൈྼ޴͛ٙᖭ೥˰ޢʕdᔟν་νྫྷছٙ೥ྤdܠϽ΢Ѝ                                in oil painting from the same academy in
        ྡ྅ٙତྼў່fՉЪۜಀ஗ˋГ໋ڭᖯ਷࢕ߕஔ᎜€The São Paulo Museum of                     2002. Shortly after, he was hired to teach
        ArteଉέО࠰ኑߕஔ᎜e؛ဏߕஔ᎜ഃϗᔛf                                             at Sichuan University, where he currently
                                                                            holds the position of Director of the Painting
        ᙗᙗ˷ν፲˰ዹͭ                                                            Department and Gallery Director at the School
       ˜֛චίϋჀӲ͛࿁׵ڡ݆ٙྫྷˌၾ࿁ߕλٙᅏᅓdහൡᒯߒϾ૶૱fœॼ                                    of Arts. As a brilliant young artist, Xiong Yu held
        ၶdۆ஗ࣅԸൖމˇϋʔᗴจཀܓ஗ҼጣeᎇࣛேঐৗᕎତఙٙІҢ͉Зd                                  his first solo exhibition at the Yan Huang Art
        Ͼவࡈӻΐɰ݊ဤρ௴Ъٙ࠯ච˾ڌf™                                                  Museum in Beijing, establishing himself as a
                                                                            rising star of the Sichuan Fine Arts Institute.
                                              { CANS ᖵஔอၲᕏႦᐼᇜቍɗთ
                                                                            Like many in his 1970s age, Xiong Yu has been
        ݊ϣяତٙᅨᅙٙϻˣ‘މᖵஔ࢕അɨ຾Պ˜ვകӲ܀™ٙྫྷྤतᄳdމՉϘ                                 exposed to diverse cultural influences. Drawing

        ϋ຾Պ˾ڌf೥ࠦ˸̒ீ׼੭ጋ޻ሯชٙვϲЍމ˴ሜd฽బཥɿၾ͊ԸชdᒱԴ                                inspiration from television, comics, capitalism,
        ٙ݊͜Гόذ೥ᕙࣘШဤρਗ਼ʘ̋˸؇˙˥ኈҦجʘᓃeશe಩ݑdՍ೥̈˴ԉ                                 electronic culture, and internet popular culture,
                                                                            he combines portraiture, mythology, and the
        Ոږ᙮ช˜ᒄ௹؃д™ࠬٙᑲᆴ৷ჯၡԒВdҪᝈ٫זΣɓࡈʔٝΤٙڢତྼ٤                                 dramatic play of light and shadow found in
        ගf̈ՉʔจٙΈԅνၳΈዱၳೊ׵Ӳ܀঍ۃd߰ཥΈ˦ͩছว଻ێྼd߉ᜑՉ                                 mediaeval European  painting.  Since 2000,
        ԒܝˏɛءͦٙՇ˪੭ᒯఏٙॼၶdᓃ׼ə˴ԉ࿁Іٙ͟ᓋֻdᐄி̈ग़।ٙᏕ                                 he has traversed time and created a unique
        ᄌชdɦ̂͆ഹ૧Ԋɦ˟ٙдՓfϾ೥ࠦʕ̯ɓ࣬ϻˣჀޮήໝɨdԊႭəࣛග                                 series titled Angel in City constructing surreal
        ٙࠐ༦f߉νՉԸٙɖ৳˓੽೥̮Фɝdܸືѯྼʱ׼d▃ᘪʹ፹ʕd߰ࠗʔʿ                                 painting reminiscent of “Zhuangzi’s Dream of
        ܙ૧ᙃ࿟Ӳ܀d߰ฮఏيᅎዑݴٙ˰ޢ༁dޫމлֻٙဢᘖd͵ᒯఏओᙍٙ຅˾                                 Butterfly.” With a strong sense of futurism,
        ٟึʕԸІ̬ࠦɞ˙ٙႰ౅fϾ˴ԉᑕ᎔ᆰۂdᄀᆃ৷ٜd୫ɿᜄ୚dˢԷ།ੵ                                 he guides viewers through his painting world
        ٙɽ଻ฆບd଻ग़৖ᏸd̛˓Ⴠۧd̸˓ɪϖd˓ܸฆױd߰൮ʮɿছ၌୿৷ශd                                where reality and illusion intertwine, inviting
        Չ଻ग़վ್dЧ˷ൡႭഹʫː˜኿ഛոੂ™ٙ਺֛ၾ̻᎑fߎᆗٙீͣЄᇮίࠠ                                 contemplation on the profound meaning behind
        ࠠᛌᛌΈᅂɨྮͦೌˢdኑൖഹ଻ۃओᙍٙ㎄ਗdˈତ˴ԉ˜଺ɛޫቑҢዹ፴™                                 various imagery. His works have been collected
        ٙଣ౽fᖵஔ࢕˸୚ጰഅᙃdݓழٙЍዣdࢉࢉ༸Ըྡྷ˰ʘڳdɦ˸˴ԉٙ৷൮                                 by renowned institutions such as The São
        и᎑dႡிੵɢ੶डٙˀࢨdࣣᄳːʕଣซၾତྼላ߉fဤρ˸๕Іତྼٙ˜۬                                 Paulo Museum of Art in Brazil, the He Xiangning
                                                                            Art Museum in Shenzhen, and the Wuhan Art
        ̹˂Դ™ၾ˰ɛ΍ۈd݊Չ͂ॎତྼᬞᕁdஹഐІҢซ൥ၾڡ݆ٙช׌෧ி̈ٙ                                 Museum.
        ईဘၾ૶፴f
                                                                            Drifting Untethered from the World
                                                                            “The young gentlemen’s contemplation
                                                                            on the essence of youth and their
                                                                            aspirations for a splendid future are
                                                                            delicately conveyed. The term ‘Wings’ is
                                                                            regarded as a symbol of their reluctance
                                                                            to be restrained, allowing them to
                                                                            detach themselves from any situation
                                                                            at will{a manifestation of their self-
                                                                            centeredness. This collection serves as
                                                                            an exemplary embodiment of Xiong Yu’s
                                                                            creative initial stage.”
                                                                                  — Cheng Nai-ming, CANS Art Magazine
                                                                                                        Chief Editor
                                                                            The presented artwork, Stroking Feathers, is
                                         ဤρΈӕ‘dذ੹೥̺d150 Ò 120 cmd2003 ϋЪdଉ  an intimate portrayal of the iconic “Silverboy”
        ဤρ׵ʈЪ܃                           έО࠰ኑߕஔ᎜ᔛ

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