Slide

陈子丰

陈子丰

艺术家

金斗云,Mixed-medium on paper,60x60cm,2019

1983年出生于河北邢台

2007年毕业于中央美术学院国画学院,获学士学位

2011年毕业于中央美术学院国画学院,获硕士学位

2011年任教于北京林业大学艺术设计学院,讲师

The artist’s works have a temperament that makes people feel nervous.

The artist is currently working and living in Beijing. The artist’s works have a temperament that makes people feel nervous. It is as if we were glancing at a giant hiding in the attic, facing away from us, doing things we could not know or understand. We would perhaps have a hint of curiosity and fear, but then turn around and leave. The attic is such a metaphor for an existence which is dark, crowded, always ignored and forgotten, and people see it as if it is not related to their own world. Thus, the thin partition on the top floor of the house becomes a big box for storing secret traces.

2019 拨云见日 (淮安市美术馆,淮安)

2018 写意中国-2018中国国家画院青年画院作品展 (国家画院美术馆,北京)

2018  “学院”中国画教师作品展(炎黄美术馆,北京)

2018 悲鸿YOUNG-青年艺术家推广项目(山水美术馆,北京)

2018 平行-多元暨中西方艺术家联展(上海画廊,上海)

2018 学院新方阵第11届年展 (政协文史馆,北京)

2018  图像的现场-当代水墨新锐邀请展 (桂林市花桥美术馆,桂林)

2018 后传统的告白-当代水墨作品邀请展 (中华世纪坛,北京)

2018 丹青华茂-当代青年中国画家邀请展 (中国画美术馆,北京)

千里江山1,Mixed-medium on paper,240x156cm,2019

千里江山2,Mixed-medium on paper,240x166cm,2019

Characters in the story 1,Mixed-medium on paper,74x174cm,2019

The Giant 4,Mixed-medium on paper,225x102cm,2019

Exhibitions

过往展览

2022.10.22-2023.01.07

The Task of Alchemy

Artist:Zhao Yu
2022.10.22-2023.01.07

Amber

Artist:Duan Yifan
2022.10.22-2023.01.07

A N G E L U S

Artist:Hannah Benassi
2022.08.06-10.09

Eclipse

Artist:Lin Shu
2022.10.22-2023.01.07

炼金的任务

艺术家:赵玉
2022.10.22-2023.01.07

琥珀

艺术家:段一凡
2022.10.22-2023.01.07

A N G E L U S

艺术家:汉娜·贝纳西
2022.08.06-10.09

Eclipse

艺术家:林舒

Art Channel

艺术频道

ARCH REVIEW | Making Complicity

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.

ARCH INTERVIEW | Guo Yujian

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.

豆豆也是拳拳

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。

ARCH REVIEW | 制造共犯

当画作真切地逼近我们双眼,首先出现的是这首瓦雷里1922年所写的《海滨墓园》。机构策展人胡奕航、张汀芷与艺术家郭宇剑一起,将这次拱形画廊名为《危险同谋》的展览,用文字或符号分成了几大篇章:臆想、一座高原、剧场。许是有意为之,又或是无心之举,开篇选取的这段文字,饱含着诗人瓦雷里对家乡赛特港的深沉眷念。

ARCH 采访 | 郭宇剑

从那时起我尝试让白日梦式的想象力渗到画面中去,那些较早之前象征意味较浓的图示也被自然地冲淡了。或许正是因为这种像是被什么浸润过的画面所流淌出的气质和一些与现实相违和的图像内容才造成了类似梦境似的联想。

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