Exhibition
Installation View
開展現場照片
Bluerider ART藍騎士藝術空間將於 2021 年 11 月 11 日-14 日參加在上海西岸藝術中心舉辦的第八屆西岸藝術與設計博覽會，這也是Bluerider ART首次參展西岸博覽會。
Bluerider Art此次參展，將以“混生 Hybrid” 為主題，特別推出中國藝術家曹吉岡和瑞士藝術家馬克（Marck）的重要作品。曹吉岡借由傳統西方坦培拉多層塗抹的堆棧，結合“有為留白”玉質感、內斂沈靜的極簡山水，表現文人“壹片沒有溫度的風景”的至高精神境界。馬克則以粗獷雕塑結合立體拍攝影像，帶領觀者進入幻想和情緒的結合，以妙趣橫生、虛虛實實的鏡像，邀請觀眾進入木箱內參與行為藝術，沖擊觀者既有的框架思維。中西兩位藝術家，以迥然不同卻同樣混生的風格，產生跨越空間的共振。
Bluerider ART創始人王薇薇（Elsa Wang）表示：“此次為藍騎士藝術空間入駐上海外灘後首次參展西岸博覽會。西岸博覽會是帶動整個中國高端藝術市場、亞洲藝術市場的前景指標之壹，我們期待以壹中壹西兩位藝術家的作品帶給觀眾全新的視覺震撼與交流對話。”
曹吉岡的「當坦培拉遇見山水」
中國藝術家曹吉岡以古老的坦培拉繪畫技法，經由多層制作打磨過程，借鑒水墨罩染方式，保持間薄余留的痕跡，呈現作品豐富玉質的觸感。藝術家表示，“元代詩人倪雲林在他的路上踽踽獨行，進入了極端個人化的‘花不開水不流’的寂寞世界。我希望能沿著這條路繼續前行，抵達壹個沒有花沒有水的更加荒寒空寂的無人之境。”藝術家融合東西方技法對山水進行詮釋，將文人思想蘊藏在作品中，以有為的留白和極簡畫面，呈現東方的無為之境。
馬克（Marck）的「錄像雕塑」
瑞士藝術家馬克（Marck）以獨到的錄像雕塑（Videosculpture）創作方式聞名，巧妙述說女性面臨的社會框架。特殊的表現手法及跨文化內容，使其展出遍及世界各地，獲得廣泛的收藏。馬克的作品看似以女性為主體，實則以其為社會縮影的代表，與框架的沖撞更探討著有形與無形的束縛，喚起觀者心中的共鳴。作品無法被單純定義為錄像與雕塑的結合，更像虛實的壹體呈現，由出演的排序、影片拍攝的精確定位，“錄像的目的不是敘述壹個故事，而是激發觀眾的情緒”，滲入我們習以為常的生活，以動態的畫面觸撥我們觀看雕塑的思維。錄像雕塑以全新的形式，揉合影像的平面表述與雕塑的空間意義，不僅辟出錄像創作的新道路，也擴張了觀者的感官體驗。此次展出的作品木箱（Transport Crates）展現了在壹個受限的空間內翻轉的各種角度，模糊的邊界中移動的曖昧影像，沖擊觀眾的感官。
兩位藝術家不同的混生手法、內容和媒介，展開著回溯過去、面向未來的新突破，各自站在東西方文化獨特語境中，探索當代藝術在世界語匯的交融中，產生富有意涵、對比、活力的表達。
Works
Artist
Cao Jigang
(China, b. 1955）
Cao Jigang, born in Beijing, China in 1955, graduated from the Oil Painting Department of the Central Academy of Fine Arts in 1984. In 2000, he completed the Material Expression Research Program at the same academy. He has previously taught at the Basic Department of the Sculpture School at the Central Academy of Fine Arts and currently resides and creates art in Beijing. Cao Jigang's artistic journey has evolved through various phases, initially depicting the ruins of the Great Wall in oil paintings. Over the years, he has explored different mediums such as pencil and acrylic, ultimately delving into the Egg Tempera technique to create large-scale works like the seven-meter-long "Guangling Melody" and the series "Barren Cold." His works are characterized by a unique semi-transparency, a warm, porcelain-like texture reminiscent of jade, achieved through deliberate layering. Expressing the concept of "emptiness" through intentional application, Cao Jigang has recently transitioned towards a minimalist style, opening up a space for contemplation on the connection between heaven and humanity. He received the Silver Award at the 9th National Art Exhibition of China in 1999 and has participated in numerous exhibitions at institutions such as the China National Art Museum and internationally. His works are permanently collected by prestigious institutions like the China National Art Museum, Shanghai Art Museum, as well as by numerous collectors from both sides of the Taiwan Strait.
More information
Marck
(Switzerland, b. 1964）
nternationally renowned X-ray artist Nick Veasey reveals the hidden facets beneath the surface using his unique X-ray penetration technique. His work humorously and mischievously explores the essence of people and objects' inner nature. Nick Veasey uses x-ray to strip back the layers and show what it is like under the surface. The technique reveals what, and often how, things are made, which grants his art to penetrate the surface and take us on a journey into a world otherwise hidden and unseen. Veasey has an extensive exhibition experience worldwide, with his artwork featured on the cover of TIME magazine and invited to give a TED talk. In 2018, he held a large-scale exhibition at the renowned Fotografiska museum in Sweden, visited by The Prince and Princess of Wales and the Crown Princess of Sweden. He also photographed important antique costumes for the Victoria and Albert Museum and collaborated with various brands such as Louis Vuitton, United Airlines, Balenciaga and Alexander McQueen. Works collected by the Victoria and Albert Museum, National Science and Media Museum in the UK, the San Francisco Museum of Modern Art, The Museum at FIT in the USA, the BMW Museum in Germany and the Museum of Applied Arts and Design (MUDAC) in Switzerland.
Marck 的作品看似以女性為主體，實際上則是以其作為社會縮影的代表，與框架的沖撞更探討著有形與無形的束縛，喚起觀者心中的共鳴。作品無法被單純定義為錄像與雕塑的結合，更像虛實的壹體呈現，由出演的排序、影片拍攝的精確定位，「錄像的目的不是敘述壹個故事，而是激發觀眾的情緒」，滲入我們習以為常的生活，以動態的畫面觸撥我們觀看雕塑的思維，同時也築起多媒體素材，至動力機械和雕塑的手工制作。錄像雕塑以全新的形式，揉合影像的平面表述與雕塑的空間意義，不僅辟出錄像創作的新道路，也再擴張觀者的感官體驗。