花. 凝視--楊平個展
FLOWER.GAZE------ Yang Ping Solo Exhibition
主辦方：悅.美術館
Organizer： Enjoy - Art Museum
學術支持： 賈方舟
Academic support： Jia Fangzhou
策展人：魯虹
Curator： Lu Hong
翻 譯：Royce 李博揚
Translate： Royce Li Boyang
藝術家：楊平
Artist： Yang Ping
展覽時間：待定
Exhibition Date： November 26， 2022 -December 6， 2022
開幕時間：待定
Opening Time： November 26， 2022 (Saturday)，3 pm
展覽地點：北京 悅.美術館C廳
Exhibition Location： Beijing Enjoy - ArtMuseum C Room
地址：北京市朝陽區(qū)酒仙橋2號路798藝術區(qū)797路B06
Address： B06， 797 Road， No. 2 Road，Jiuxianqiao， Chaoyang District
迷幻絢爛之境
再讀楊平的畫
冀少峰
楊平近期的視覺圖像較之前發(fā)生了明顯的轉向。視覺圖像帶給閱讀者的不僅僅是迷幻與爛漫，華麗與光鮮，更有隱匿其間的疏離與孤寂，哀怨與憂傷。
對于兒童和女性形象的描述，一直是楊平視覺敘事的主調。但近期視覺圖像中的具體形象越來越遠離其視覺的表達，撲面而來的是令閱讀者暈眩的花的世界和蘭色的大視域?？砷喿x的細節(jié)越來越多，越來越令閱讀者激賞。
楊平一方面在和粉紜變幻的現實世界形成一種凝視關系，她和現實世界有種互文性。透過其圖像世界，閱讀者感知到楊平個人世界的那種雖然熱情滿懷，但依然有著焦慮與痛苦的生命體驗。體察到楊平的那種對青春歲月的日漸遠去和逝水流年的憂慮與茫然期許。物質世界的豐富性似乎和精神世界的虛妄形成了鮮明的對照。盡管現實世界充斥著種種奢華，迷幻與欲望的誘惑，各種時尚用品琳瑯滿目，光鮮靚麗，奪人眼球。但孤獨的目光如同孤寂的花蕊，靜默地凝視著這個看似華麗絢爛的世界。五彩繽紛的現實。但華麗絢爛繁華似錦的背后，卻又有著種難以覺察的暗潛的文化視角。鮮花雖然美艷動人，爭奇斗艷，令閱讀者迷醉其間，但它的結局注定是充滿著悲劇色彩。隨之而來的結局注定是短暫的，殘敗的，枯萎的和死亡的，這恰恰又是每個閱讀者不得不直面的人生現實。當閱讀者被無數迷幻絢爛繁華似錦的鮮花裹挾著時，正可謂亂花漸欲迷人眼，充斥其間的是無休止的欲望，難以抵擋的誘惑，更有對美好未來的向往，在一步步侵蝕著每一個置身其間的閱讀者的心靈。絢爛艷麗的色調，又強化著這種虛妄感和茫然若失的惆悵。
楊平從自我封閉的個人世界轉向了對現實世界的真誠思考和激情表達。將個體的生存經驗與碎片化的現實的焦慮與虛妄相交融，進而編織出自我既融入現實又和現實有著種疏離的異彩紛呈的精神世界。
她以自我清醒的思考去直面這個絢爛迷幻而又危機四伏，日漸潰爛的真實世界，又以個體的微敘事、微體驗去消解那些看似宏大，看起來實則又不怎么崇高的空洞的理想。
楊平擺脫了具象性的視覺修辭，脫略了再現性的視覺講述，從有限的物理的真實世界走向了純粹而又無限的，又充斥著種種虛妄的精神世界。從現實空間走向心理空間。并以真誠而又頗富激情的視覺講述，逐漸建構起屬于楊平自己的精神世界。
但視覺圖景中那個孤獨的眼神卻令閱讀者永久難忘……
2022.11.9.晚8：00于東湖路三官殿
(冀少峰：當代著名美術評論家、策展人、湖北美術館館長)
The Realm of Psychedelic Splendor
Re-reading Yang Ping‘s Paintings
Ji Shaofeng
Yang Ping’s recent visual images have taken an obvious turn from the previous ones. The visual images bring to the reader not only psychedelia and splendor， splendor and brilliance， but also a hidden detachment and loneliness， sorrow and sadness.
The depiction of children and women has always been the main tone of Yang Ping‘s visual narrative. But recently， the specific images in the visual images have become more and more distant from their visual expression， and what comes to the reader is a dizzying world of flowers and a large field of orchids. The details that can be read are becoming more and more exciting to the reader.
On the one hand， Yang Ping is forming a kind of gaze with the real world， which is changing in different ways， and she has a kind of intertextuality with it. Through her world of images， the reader perceives Yang Ping’s personal world， which is full of enthusiasm but still full of anxiety and pain. The reader perceives Yang Ping‘s anxiety and bewilderment about her youthfulness and the passing years. The richness of the material world seems to be in sharp contrast to the illusion of the spiritual world. Although the real world is full of all kinds of luxury， psychedelic and desire temptations， all kinds of fashion items are full of glamorous， beautiful and eye-catching. But the lonely gaze is like a lonely stamen， silently gazing at this seemingly gorgeous and gorgeous world. The colorful reality. But behind the gorgeous and gorgeous and prosperous， there is a kind of imperceptible dark submerged cultural perspective. Although the flowers are beautiful， beautiful， and enchanting to the reader， its ending is destined to be full of tragedy. The ending that comes with it is destined to be short， crippled， withered and dead， which is precisely the reality of life that every reader has to face. When the reader is wrapped in countless psychedelic and gorgeous flowers， it can be said that the flowers are a mess， filled with endless desire， irresistible temptation， and the desire for a better future， eroding the mind of every reader who is in it step by step. The brilliant and colorful hues reinforce this sense of delusion and the melancholy of being lost.
Yang Ping shifts from his self-enclosed personal world to a sincere reflection and passionate expression of the real world. She blends her individual experience of existence with the anxiety and delusion of the fragmented reality， thus weaving a colorful spiritual world in which she is both integrated into and detached from the reality.
She confronts the gorgeous， psychedelic， crisis-ridden and festering real world with her own sober thinking， and dissolves the seemingly grand， but seemingly not very noble， empty ideals with her individual micro-narratives and micro-experiences.
Yang Ping is free from the visual rhetoric of figurativity and the visual narration of reproduction， and moves from the limited physical real world to the pure and infinite spiritual world， which is full of illusions. From the real space to the psychological space. With a sincere and passionate visual narration， Yang Ping gradually constructs his own spiritual world.
But the lonely eyes in the visual scenes are permanently unforgettable to the reader ......
2022.11.9. 8：00 pm at Sanguandian， Donghu Road
(Ji Shaofeng： famous contemporary art critic， curator and director of Hubei Art Museum)
作品欣賞
I’m here-1我在這兒-1 50x50cm 紙本水墨 2021
I‘m here-3我在這兒-3 50x50cm 紙本水墨 2021
Between gaze-1 凝視之間-1 98x98cm 紙本水墨 2022
Between gaze-3 凝視之間-3 98x98cm 紙本水墨 2022
Between gaze-5 凝視之間-5 98x98cm 紙本水墨 2022
Blues&Water Flowers-7 藍調&水中花-7 25x25cm 卡紙水墨 2022
Blues&Water Flowers-11 藍調&水中花-11 25x25cm 卡紙水墨 2022
High in the clouds NO.18 云端NO.18 145x 177cm 紙本水墨 2021
High in the clouds NO.27 云端NO.27 145x117cm 紙本水墨 2021
Flowers .Screen(the obvers side) 花.屏風（正面）35x200x7cm
Flowers .Screen(the reverse side)花.屏風（背面）35x200x7cm
The desire to gaze 凝視的欲望175x225cm 卡紙水墨 2022
Flowers bloom and fade花開花落 50x250cm 卡紙水墨 2022
Time-3 時光-3 180x297cm 紙本水墨 2022
The fragrance comes NO.2香襲.NO.2 32x41cm 卡紙水墨 2021
The fragrance comes-7香襲-7 50x50cm 紙本水墨 2021
Tuberose-1 晚香玉-1 38x38cm 紙本水墨 2021
Tuberose-5 晚香玉-5 38x38cm 紙本水墨 2021
Gaze NO.9 凝視NO.9 60x60cm 紙本水墨2020
Gaze NO.23 凝視NO.23 60x60cm 紙本水墨2020
Gaze NO.26 凝視NO.26 60x60cm 紙本水墨2020
I am a flower-1我是一朵花-1 50x230cm 紙本水墨 2021
I am a flower-2我是一朵花-2 50x230cm 紙本水墨 2022
Flowers are not flowers NO. 2 花非花NO.2 145 x 180cm 紙本水墨 2020
Like water 如水NO.8 120 x 147cm 紙本水墨 2020
Gaddess of flowers-1花神-1 36x43cm 老紙水墨 2022
Gaddess of flowers-5花神-5 36x43cm 老紙水墨 2022
冀少峰
當代著名美術評論家、策展人，現任湖北美術館館長，第十四屆中國美術批評家年會輪值主席，中國雕塑學會副秘書長，中國文化藝術發(fā)展促進會當代藝術專業(yè)委員會副主任，***政府特殊津貼專家，文科崗二級教授。
獲評第55屆威尼斯雙年展唯一一項“組織策劃特別貢獻獎”和“最佳策劃獎”。出版專著《中國當代藝術批評文庫：冀少峰自選集》（北岳文藝出版社）、《品圖：冀少峰藝術批評文集》（河北美術出版社）、《我就是你：岳敏君》（吉林美術出版社）。
Ji Shaofeng
a famous contemporary art critic and curator， is currently the curator of Hubei Art Museum， the rotating chairman of the 14th Annual Conference of Chinese Art Critics， deputy secretary general of China Sculpture Society， and deputy director of the Contemporary Art Professional Committee of China Culture and Art Development and Promotion Association. The State Council government special allowance expert， liberal arts post secondary professor.
He was awarded the only “Special Contribution to Organizational Planning Award” and “Best Planning Award” at the 55th Venice Biennale. He has published monographs， Chinese Contemporary Art Criticism Library： Selected Works of Ji Shaofeng (Beiyue Literature and Art Publishing House)， Product Picture： Ji Shaofeng Art Criticism Collection Works (Hebei Fine Arts Publishing House)， and I am You： Yue Minjun (Jilin Fine Arts Publishing House).
楊平
畢業(yè)于中央美術學院中國畫學院，獲碩士學位。
中國美術家協(xié)會會員、中國書法家協(xié)會會員、香港畫院研究員
當代獨立藝術家、Young平空間創(chuàng)始人
工作生活于北京。
YangPing
Contemporary independent artists，She graduated from the School of Chinese Painting， the Central Academy of Fine Arts， with a master’s degree.
Member of Chinese Artists Association， member of Chinese Calligraphers Association， researcher of Hong Kong Academy of Painting，
Founder of Young ping Space， Work and live in Beijing.
