Artist
胡庆泰1985年生，工作生活于北京，2008年毕业于湖北美术学院影像媒体专业。他的作品强调个体意志、心理活动、以及自身与他者、周边环境间的微妙关系，同时质疑艺术创作的主体和知识霸权，作品涉及诸多媒介，包括文本、录像、绘画、装置等。其作品在上海当代艺术博物馆；南京艺术美术馆；泰康空间；k11艺术空间；Uferhallen；诚品画廊；长征空间；杨画廊；CLC画廊；空白空间；扬子江论坛等多个艺术机构、空间展出，作品曾入选2014香港巴塞尔艺术探新项目，获2014年华宇青年奖提名，2016年第三届保诚远见之眼亚洲艺术奖提名等。
线运动/嗯……你真是辉?这样，先挂了，你用亚君电话给我打啊……，尺寸可变(长度2500米)，高密织唛，2016
Since then, I have tried to let daydream-like imagination seep into the picture, and those earlier, more symbolic images have also been naturally diluted. Perhaps, it is precisely because of the temperament that seems to be infiltrated by the picture and some image contents that are contrary to reality that cause the association like a dream.
When the painting is really close to us, the first thing that appears to our eyes is this Le cimetière marin[1] written by Valéry in 1922. The curators Hu Yihang and Zhang Tingzhi, together with artist Guo Yujian, divided the exhibition “Dangerous Complicity” in the gallery into three chapters with words and symbols: imagination, a plateau, and a theatre.
When looking at Guo Yujian’s works, what have been depicted is always in a state of flow, and the secret words that are related to each other become images that avoid us and approach us. The work that takes shape on the canvas in our sight is yet to come, in transition, about to embrace change, and it will not push us away until the feeling is fulfil.
1985年在北京中国美术馆举办的《劳申伯格艺术展》让中国人近距离地看到了“后现代艺术”的形态，这些展品让中国观众目瞪口呆：山羊的标本，汽车的轮胎，废弃的地毯组成了前所未见的图腾。在展览期间，保洁员差一点把作品误作是垃圾清理。
“绘画没有办法不诚恳，这是一种无法伪装的媒介。我对绘画的诚恳和机械的、拾得的图像产生的化学反应感兴趣，尤其是当网络图像和铜板线腐蚀这种必须要经过转化才能成型的绘制方式相遇，就形成了有意思的关系。”
当我们把“看见”这一行为比作打开一个空房间的房门，看着这件物体的视线和它存留下的痕迹像是打开门后产生的余音，我们无法准确的追寻余音回荡的轨迹。不断地“看见”，新的东西累积产生同时，不可避免的产生了遗忘与消亡。一张照片保存了一个时间的瞬间，通过回忆，某些时刻得以持续存活，不相关瞬间的外观孤立了出来成为“科学家的信息、摄影师的引用”
Tuesday – Sunday
10.00am – 6.00pm
ARCH Gallery
Yinjiachong Rd, Tianxin District
410000 Changsha
星期二 – 星期日
上午10.00 – 下午6.00
湖南省长沙市天心区殷家冲路
1123文创园一楼
ARCH GALLERY
