Page 193 - 当代艺术

ARTIST BIOGRAPHIES 艺术家简历

changed, he never lost his original intention.
The art of Gao Ludi goes hand in glove with his reflections on the condition of our times. By
rethinking the culture of “the image”(tuxiang) in a contemporary context, he links the practice
of painting to an exceptional kind of physical activity of which the principal function is to deal
with “residual stuff”. This is the main channel for the transmission of images. To a large
extent, socialmedia influence the most basic ways in which images are generated. The daily,
disciplined sharing of individual information by the masses has incrementally added physical
meaning to the image, allowing it to depart from the mere domain of aesthetics and spread
out into the physical domain. Keywords here are “daily”, “high frequency” and “disciplined”.
The artist departs from readily available, unprocessed original images, subjecting their
everyday aesthetic to tongue-in-cheek analysis and misappropriation. Hence, the artist’s works
don’t just operate within the complex history of painting and photography in the modern and
contemporary age: their physicality also envelo

关奉东（b.1985） 1985年出生于陕西西安。关奉东的绘画无师自通，他没有经历传统艺术教育的束缚，犀利，执着，又无所
Guan Fengdong 顾忌的个性展露在他的绘画语言中。他的符号绘画很单纯，仅有黑白灰蓝几对颜色，它借此可以趁机潜入
“形象表意”矽统，灌注抒放、坚定的力量，从此享受绘画本身“绘”的乐趣。关奉东的绘画很符合“80
16
后”一代的的形象特征：自我、多变、游离、泛信仰、外表明朗而内心矛盾尖锐。个展：2008年“符号撞
游—关奉东个展“，北京空间画廊，北京草场地红一号院，北京；2008年“路世界—关奉东个展”，
北京酒厂国际艺术院，北京；2007年“关奉东个展”，京酒厂国际艺术院，北京；2006年“《符号生活》
个展”，宋庄美术馆，北京。

Born in 1985 in Xi'an, Shaanxi Province. Guan Fengdong's paintings are untutored, he has not
experienced the constraints of traditional art education, and his sharp, persistent, and carefree
personality is revealed in his painting language. His symbolic paintings are very simple, with
only a few pairs of black, white, grey and blue colours, which allows him to take the opportunity
to dive into the silicon system of "image representation", infuse lyrical and resolute power,
and from then on, enjoy the pleasure of painting itself. Fengdong's paintings are very much
in line with the image of the "Post-80s" generation: egoistic, changeable, wandering, pan-
faithful, outwardly bright but inwardly contradictory. Solo Exhibitions: 2008 “Symbol Crash Tour
- Guan Fengdong's Solo Exhibition”, Beijing Space Gallery, Beijing; 2008 “Road World - Guan
Fengdong's Solo Exhibition”, Beijing Brewery International Art Institute, Beijing; 2007, “Guan
Fengdong Solo Exhibition”, Brewery International Art Gallery, Beijing; 2006 "Symbolic Life" Solo
Exhibition, Songzhuang Art Museum, Beijing.

关根伸夫（1942-2019） 1942年出生于日本埼玉县，1968年于多摩美术大学油画系获得美术学位，师承艺术家斎藤义重和高松次
Nobuo Sekine 郎。毕业后以物派的代表人物，活跃于国际间的艺术展览。物派，直译物的流派，是日本战后现代艺术的
象征性团体，而关根伸夫于1968年创作的“位相—大地”，被广泛认为是物派运动的起源，也是当时最
26
具代表性的日本艺术创作之一，对亚洲地区日后的大地、装置、极简艺术发展有显著深远的影响。关根伸
夫的作品深受禅宗哲学的启发，将拓扑学(位相几何学)的理论结合艺术实验，探讨物事经过变形却不变质的
状况下，其本质在不同角度所呈现的多元观感，以及人与物之间的关系改变。他的作品包括大地艺术、天
然和工业材料的装置、场域特地的的人形立体雕塑、以及探索绘画媒材的平面创作。关根伸夫于1970年以
“空相”系列代表日本参加第35届威尼斯双年展，之后更陆续参与于法国、日本、韩国举办的双年展。泰
特现代艺术馆于2001年为表扬关根伸夫对于日本现代艺术的贡献，将他的作品梳理至展览“CenturyCity”
中。重要展览：2013“平行观点：1950年代、60年代、70年代的意大利和日本艺术”，TheWarehouse，达
拉斯，美国；2012“东京1955-1970：新前卫”，现代艺术博物馆，纽约，美国；2005“物派反思”，大阪
国立国际美术馆，大阪，日本。他的作品为许多公共机构收藏，包括东京原美术馆、豊田市美术馆、川越
市立美术馆、大阪国立国际美术馆、韩国果川市国立现代美术馆、丹麦路易斯安那现代艺术博物馆、荷兰
克勒勒-米勒博物馆、挪威HenieOnstadKunstsenter等。