侯 勇 | HOU YONG
艺术家 | Artists: 侯勇 | Hou Yong
开幕 | Opening： 2012/06/02 16：00
展览日期 | Exhibiting Time： 2012/06/02—2012/06/23
地点 | Venue：空间站 北京市朝阳区酒仙桥路4号798艺术区中一街
Space Station，NO.4 Jiuxianqiao Rd，798 Art District，Beijing 100015
T: +86 10 59789671
W: www.space-station-art.com E: spacestationart@163.com
《侯勇》新闻稿
空间站将于2012年6月2日举办“侯勇”个展。此次展览集中了侯勇近两年来，以丙烯和铅笔为主要媒介的绘画作品。铅笔在侯勇的创作中一直发挥着巨大的作用，他运用深浅各不相同的铅笔，反复的描摹中线条已经不太明显，铅笔透明、滑腻的质感被凸显出来，这些 “铅性”在水泥板系列中表现的最为单纯独立，你既可以说他们是“写实的抽象作品”，也可以说他们是“抽象的写实绘画”，因为细节既是表面也是内部，既是表象也是内涵。
关于水的作品是侯勇一直在画的一个系列，与前一阶段所不同的是，画面中的人物和透视消失了，绘画文学性（叙事性）的所指失去了；出现了一些色彩，表现对象的能指随之丰富起来。虽然所绘对象的全貌不曾被遮蔽，艺术家用底色隔离了一个单纯的层面，透视只能集中在这个有限的表面里，于是，观众的视点被拉到画面以外，可以说，对于对象表面的极限性探究成了侯勇这几年工作中最大的兴趣所在。
批评家鲍栋在展览文章中写到：“侯勇把水画成了一种纯粹为了展示表面起伏而存在的物质，它有着固体的密度，也几乎如固体一样毫无流动。实际上，侯勇正是把水面的那一刻放大了，就像在一个慢到凝固的镜头下，每一个波浪中的水分子的存在都被感知了一样。通过描绘水面，侯勇的工作所呈现的是对某种‘原子事实’的经验，即一种实在论的态度：你看的水只是水，你看画只是画，你的看也只是看，一切都到此为止。”
置身于这个“物质世界”，与侯勇这些有体量的作品交谈，观看者是否会在精神上产生危机，自身价值行将瓦解?这种感受似乎应验了情境主义代表居伊·德波的纪录片“我们一起游荡在夜的黑暗中，然后被烈火吞噬”(1978年)。
展览将持续到6月23日。
"HOU YONG" Press Release
Space Station is pleased to announce the opening of solo exhibition "Hou Yong" on 2nd June 2012. The exhibition groups painting works created by Hou Yong in recent two years through the medium of propylene and pencil. Pencil plays a crucially important role in Hou Yong’s creations. He utilizes pencils of various shades, lines become inconspicuous through reiterative portraying, transparent and smooth texture of pencil is singled out. These “lead susceptibilities” behaves purely and independently in cement board series, and they can be regarded as both “realistic abstract works” and “abstract realistic paintings” because details are appearance and inside as well as representation and connotation.
Paintings about water are series which Hou Yong continues to draw. Different from the previous ones, figures and perspectives are gone and signified literariness (narrativity) is missing; some colours appear and the signifier used to present objects becomes abundant. Although full view of objects was never shielded, the artist insulates a pure layer using base colour and perspectives can only be centralized in this limited surface. In this case, audience’s viewpoint is stretched out of the picture, we might consider that the exploration on the limitation of objects’ surface attracts Hou Yong’s interest most in recent years.
As critic Bao Dong wrote in his article: “Hou depicts water as a substance, which exists only for the purpose of surface fluctuation. It bears density, and also lacks liquidity, just like solids. Actually, Hou does enlarge the surface of water, which is a longtake sluggish enough to be finally congealed to one moment. The existence of every water particle in the waves can be well-cognized. In other words, Hou renders certain experiences about ‘atomic facticity’ by depicting the water surface, which is an attitude towards realism. The water you glimpse is only the water; the painting is only the painting. That is the whole story.”
Staying in this “material world”, discuss with such works by Hou Yong, whether the audience will suffer from the crisis in spirit and the collapse in one’s own value. This feeling seems to verify the documentary by situationism representative Guy Debord—“We Spin Around the Night Consumed by the Fire”(1978).
The exhibition will last until 23rd June 2012.
侯勇作品|HOU YONG'S ARTWORKS
Hou Yong Gray_13 Pencil on canvas 180×140cm 2012
Hou Yong Green_10 Pencil on canvas 180×140cm 2012
