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閆冰 Yan Bing b.1980 半夜 In the Middle of the Night
香港
2024年04月07日 开拍 / 2024年04月05日 截止委托
拍品描述
油彩 畫布
Oil on canvas
二〇一六至二〇一八年作
Painted in 2016-2018
80 × 220 cm. 31 1/2 × 86 5/8 in.
款識 半夜 閆冰 2016-2018(畫背) 出版 2019年,《起初天氣很好》電子圖錄,香格納畫廊,北京,第7頁
Titled and signed in Chinese, dated on the reverse LITERATURE 2019, At First the Weather Was Fine e-catalogue, ShanghART Gallery, Beijing, p. 7
展覽 2019年9月14日至11月10日,「起初天氣很好」,香格納畫廊,北京 來源 北京香格納畫廊 現亞洲重要私人藏家直接購自上述來源 浩瀚生命的不朽凝望 閆冰的風物之詩 「『過去同現在』,他暗想,『是由連綿不斷、前呼後應的一長串事件連繫在一起的。』他覺得他剛才似乎看見這條鏈子的兩頭:只要碰碰這一頭,那一頭就會顫動。」這是俄國文豪契訶夫(Anton Chekhov)在小說《大學生》中寫下的一段話,也是80後新生代炙手可熱的藝術家閆冰在他2019年個展「起初天氣很好」中反復提及的引述,作為其藝術經歷和思考的寫照。閆冰自2007年畢業於中央美術學院油畫系後,便獲藝術家劉小東賞識,親身幫他策畫於2009年在北京尤倫斯當代藝術中心舉辦的「閆冰/溫度」首次個展,令他名聲大噪,其後在2011年閆冰陸續推出「土豆」、「牛皮」、「蘑菇」、「梨花」系列,以「放大」的戲劇視角、充滿古典象徵意味的細膩生命力,在藝壇大獲讚譽,並接連於北京泰康空間、上海民生現代美術館、廣東美術館舉辦個展,備受矚目。 然而正如開篇所述,閆冰的創作如同一條紐帶,連接的是他自小在黃土高原的成長經歷:「這是一個溯流而上的過程,我卻看到了新的風景」。閆冰出生於甘肅天水名為杏樹灣的小山村,在19歲赴京求學之前,他的世界曾單純地跟隨四季輪迴。在祖輩世代生活的土地上,他曾跟隨牛馬的每一步去辛勤勞作,收獲耕耘的踏實和欣慰,也曾飽受自然風霜雨雪、為屠宰生命而難以釋懷。儘管畢業後他遷居北京創作,閆冰卻意識到:「人需要看見自己,才能確認是否完整。這意味著回看」。他信賴他自身實地的所見所思,此影響著他觀看世界的方式:他未曾由照片上尋找回憶,而是極為自如地在記憶中連接起少年時四季播種和情感的紐帶,以此塑造出他畫中那細膩逼真的土豆、牛皮。透過樸實、自然流露的筆觸,閆冰認真耕耘自我的藝術,透過對過往歲月的反芻,透過反復的凝視、描摹,以其所言「內心的目光在主導繪畫過程」的方式,去構建出那宏觀、磅礴的物體力量,以及內在、豐富的微觀精神。自2016至2018年、歷時三年所作的《半夜》,便以如此般的凝望筆觸,詮釋了閆冰對生命超越時空的不朽表述。 火焰般的生命塑造 照見牛皮下的生命光輝 「一切都自然而然,幾乎是本能地描繪我對生存世界的體驗,重塑生活在我心裡的投射。我用牛皮來做成被子,又反復地描繪牛皮,以盡可能樸素的方式面對世界的深沉。」 ——閆冰 閆冰的「牛皮」系列由其2009年的裝置《牛皮被子》發展而來,是和「土豆」系列旗鼓相當的重要母題。兩者雖皆以誇張放大的單一物件作為主角,然而「牛皮」系列卻摒棄了任何背景的烘托敘事,僅將「皮毛」作為唯一的風景,讓它成為被審視、凝望的對象。自2011年該系列創生之始,閆冰便逐漸以一種如雕刻般的筆觸,將顏料如同泥塑一樣在畫布上塗抹堆砌。那些遠看幾可亂真、有著微微閃爍光澤、層次漸變、斑點凹凸的毛皮,近看時卻彷彿一簇簇「跳動的火焰」,在那充滿生命力的筆觸下,凝固於觀者眼前。因此,與其說是畫出來的,閆冰的牛皮不如說是「塑」出來的,直接連接著他雙手的力量。 完成於2016至2018年的《半夜》一作,在早期「牛皮」系列的寫實基礎上,進一步以抽象般的形式自由重新整合思考,閆冰特別選取了一塊長兩米二的畫布,讓他能充分展現畫筆拉伸的幅度與廣度,更以歷時長達3年,在漫長時光的守候中,於楔機降臨的瞬間將牛皮敏銳捕捉。而或正是他無數次凝視著作品的夜半時分,令此作獲得其名。作品選取低限的棕色、黑色,營造出古典油畫明暗交疊的光輝性。長條形的畫幅若邀請觀者帶著目光的巡禮,一寸一寸地用雙眼撫摸著眼前的毛皮,去感受那柔順的觸感、微微刺痛手心的毛尖,和當中留存的生命氣息。當視線在牛皮上遊走,我們俯視的視角,若能以一種由上至下的光芒,去看透、看穿,自逼真的皮毛下,看到內在流動的血液和骨骼經脈。正如閆冰所言:「目光真的是一束光,能照見隱藏的結構。一切都自然而然,幾乎是本能地描繪我對生存世界的體驗,重塑生活在我心裡的投射。」 精神曠野上的永恆奇觀 而帶著如此般的目光,由左至右出現的四塊斑點,也在原本有限的視野中,獲得了一種更為廣闊的視界,他們如同沙漠中的遺跡、沉寂的火山口,又彷彿黃河中的漩渦、銀河中的黑洞,共同拼湊出一個完整的牛的個體、一個更完整的宇宙。 或許對閆冰而言,斑點更多的是代表著牛身上曾留下農耕的歲月痕跡,有著土地的溫潤氣息,折射著勞動的精神。它們似那黃土高原上的石窟,在每一個石窟裡都藏著數不勝數的經書寶典,也有著神佛僧尼和芸芸眾生的我們。他們既代表古往今來人類的文明歷史,又在現實的此刻,被賦予新的價值。帶著觸手可及的溫度、記憶中的溫情,在寂靜的半夜,吟唱著對遙遠時空的迴響。從土地、時空,再回到眼前的毛皮,視角的變化,衍生出多變的思考,並揭示了存在的多重可能。而那被閆冰所凝視的物體,正擴張為漫無邊際的天地和永恆,在起伏的肌理下,化身為懸浮在人們精神原野上的宏偉,並用自身靜默的無限力量,反向凝視著畫外的我們,緩緩流進我們的歲月。
EXHIBITED 14 Sep–10 Nov 2019, At First the Weather Was Fine, ShanghART Gallery, Beijing PROVENANCE ShanghART Gallery, Beijing Acquired directly by present important private Asian collector from the above The Immortal Gaze of Vast Life Yan Bing’s Landscape Poems After graduating from the Oil Painting Department of the Central Academy of Fine Arts in 2007, Yan Bing was first introduced to the artist Liu Xiaodong, who helped him curate his first solo exhibition, Yan Bing/Temperature, held in 2009 at the UCCA in Beijing, which made him a celebrated figure. Yan Bing’s Potato, Cowhide, Mushroom, and Pear Blossom series, with their enlarged theatrical perspective and delicate life force full of classical symbolism, have been highly acclaimed in the art world, and have attracted much attention with solo exhibitions at Beijing’s Taikang Space, Shanghai’s Minsheng Art Museum, and Guangdong Museum of Fine Arts. Born in the small mountain village of Xingshuwan in Tianshui, Gansu Province, Yan Bing’s world simply followed the cycle of the seasons before he went to Beijing at the age of 19. On the land where his ancestors had lived for generations, he had followed every step of the oxen and horses to work hard and gain the solidity and comfort of ploughing. Even though he moved to Beijing after graduation to create his work, Yan Bing realised that "one has to see oneself to be sure of one’s completeness". This means looking back. By connecting the seasons and emotions of his youth in his memories, he shapes the subtle and realistic potatoes and cowhides in his paintings. Midnight, created over the course of three years from 2016 to 2018, uses such gazing brushstrokes to interpret Yan Bing’s monumental expression of life transcending time and space. Flame-like Life Shaping Illuminating the Light of Life under a Cow’s Skin "Everything came naturally, almost instinctively, to describe my experience of the world I live in and to reshape the projections of life in my mind. I use cowhide to make quilts, and then I paint the cowhide again and again, facing the depths of the world in as simple a way as possible." ——Yan Bing Yan Bing’s Cowhide series, developed from his 2009 installation Cowhide Quilt, is a key motif of his art just as the Potato series. Although both series feature a single, exaggerated and magnified object as the main character, the Cowhide series eschews any contextualization of the narrative, leaving the "skin" as the sole landscape, an object to be examined and gazed at. Since the series’ inception in 2011, Yan Bing has gradually used a sculptural brushstroke to apply paint to the canvas like clay sculpture. The fur, which appears almost deceptively real from afar, with its faintly shimmering luster, gradual changes in layers, and dots and bumps, appears to be dancing flames when viewed up close, frozen before the viewer’s eyes by the vibrant brushstrokes. Thus, rather than being painted, Yan Bing’s cowhides are like moulded, directly connected to the power of his hands. Completed between 2016 and 2018, Midnight builds on the realism of the earlier Cowhide series, and further rethinks it in abstract form. Yan Bing chose a 2.2-metre-long canvas to allow him to fully express the range and breadth of his brush, and he also spent three years to capture the cowhide. Perhaps it is the midnight hours, when he has gazed at the work so many times, that have given it its name. The choice of browns and blacks in the work creates the luminosity of a classical oil painting with its overlapping light and dark. The long strip of the painting invites the viewer to take a tour of the fur with their eyes and stroke it inch by inch, to feel the soft touch, the tips of the hairs that slightly prickle the palm of the hand, and the breath of life that remains in it. When our eyes roam over the cowhide, if we can look down with a light from top to bottom, we can penetrate it and see the blood and bone veins flowing underneath the realistic fur. Eternal Wonders in the Spiritual Wilderness With such a gaze, the four spots that appear from left to right also gain a wider perspective in an otherwise limited field of view. They are like relics in a desert or a silent crater, or like whirlpools in the Yellow River or black holes in the Milky Way, all of which together piece together a complete cow body and a more complete universe. For Yan Bing, the spots represent the traces of the years of farming left on the cattle, the warmth of the land, and the spirit of labour. They resemble the grottoes on the Loess Plateau, each of which contains countless treasures of scripture, as well as the multitudes of us. They represent the history of human civilization throughout the ages, and with the warmth within reach and the tenderness of memory, in the silence of the middle of the night, they sing the echoes of a distant time and space. With the infinite power of their own silence, the objects gazed upon by Yan Bing are now gazing back at us outside the painting, and slowly trickles down to us over the course of our years.

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