展览名称：克洛德·维尔拉 & 王一｜表里
展览时间：2018 年 05 月 16 日 - 06 月 23 日
展览地点：HdM 画廊 | 北京市朝阳区酒仙桥路 4 号 798 艺术区七星东街
HdM画廊北京空间非常荣幸地宣布举办艺术家克洛德·维尔拉和王一的展览《表里》，展览将展出王一的近作和克洛德·维尔拉的作品，其中包括一件维尔拉 1974 年创作的作品。
特别感谢 Ceysson & Bénetière 画廊对本次展览艺术家克洛德·维尔拉的支持与合作。
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关于展览
作为“载体—表面派”（Supports/Surfaces movement）的创始成员，克洛德·维尔拉自上世纪 60 年代末以来以重复着同样的图案进行不同材质的创作，其中包括多种类型的布料、服装和纺织品以及数百种不同的颜色组合。他也在过去50年间创作出大量的优秀作品，从而在法国当代艺术中占据了前沿位置。
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王一，《中枢2018-1》、《中枢2018-2》，布面综合材料，220×220cm，2018
王一近五年来也坚持不懈地进行着他独特的绘画实践，王一擅于使用自制的透明颜料在帆布、铝板和镜面等多种载体上进行创作。此次展览依然延续了他独特的创作方式，并尝试仅用两、三种颜色通过传统油画中的“罩染法”，在规整的几何框架中建构数十种的色彩变化，去创造几乎看不见创作痕迹的完美作品。
展览源于两位艺术家共同对于生产过程、色彩、几何、建筑结构的关注，虽然两位艺术家的年龄和背景大相径庭，但二者的艺术手法和构想又有异曲同工之处，他们各自为阵而遥相呼应。所以在《表里》中，我们希望为观众呈现一次来自东西方抽象艺术的精彩交流。
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克洛德·维尔拉，《2016/393》，纺织物丙烯，225x392cm，2016
关于艺术家
克洛德· 维尔拉 1936 年生于尼姆，他是世界上最受敬重的法国当代艺术家之一。1960 年代末，他成为“载体—表面派”中最重要的一员。这一运动旨在探寻重塑绘画和接近绘画的方式。这个流派的成员通常直接在画框、或者是平面作品的侧面进行创作，创作题材也以正方形和圆圈居多。而克洛德·维尔拉则舍弃了画框直接使用布料进行创作，他的灵感来自于在公寓的水池里发现的海绵轮廓为原型，之后五十年如一日地用不同的媒介和数百种颜料无连接地排列这一图案，将人类这种最原始的艺术姿态呈现出来以重塑同样的画面，他也因此而闻名。克洛德·维尔拉曾在多个美术馆和机构举办个展，包括：路德维希博物馆（德国科布伦茨），Frost 美术馆（迈阿密，美国），梵高基金会（阿尔勒，法国），波斯尼亚和黑塞哥维那国家美术馆（萨拉热窝，波斯尼亚），蓬皮杜国家艺术和文化中心（巴黎，法国），1989 年第 43 届威尼斯双年展等。
王一，1991 年生于上海，他的创作与中国当代抽象艺术顶尖人物丁乙掀起的抽象艺术运动有着密不可分的关系，同时也受到了弗兰克·斯特拉、艾德·莱因哈特等艺术家的影响。他通过鲜明的色彩和硬边几何图形的排列，营造出富有动感和深度的视觉效果。而他在铝板上的作品，则降低了颜色的对比度，让时间呈现出如湖水般的静谧。强调绘画手势单纯的方向性，依靠在施加于工业板材上数十、数百遍的层数来改变完成效果。试图用缓慢的个人制作方式对峙当下艺术环境中工厂式的快生产模式，并回溯对于古典绘画艺术的敬意。他的艺术创作是新一代中国抽象艺术家的典型之一，他们中的许多人选择了在创作中放弃任何对政治或社会的评论。在纯粹形式的探讨之外，王一保留了部分来源于现实，或者说“抽象化”的社会/自然的线索，画面中通过将单一的结构元素反复重叠组合，讨论“一与全”的社会关系；而近期新出现的格状结构也似乎指涉出网络环境中单元和集体、特性与统一间的相互消涨。王一曾入选“约翰·莫尔绘画奖（中国）”、“罗中立艺术奖学奖”、“M50 创意新锐奖”等。他的作品在多个美术馆和机构展出，包括：上海当代艺术馆（上海），民生当代艺术馆（上海，中国），上海油雕院美术馆（上海，中国），OCT 当代艺术中心（深圳，中国），盒子艺术空间（深圳，中国），成都当代美术馆（成都，中国），寺上美术馆（北京，中国），中国油画院美术馆（北京，中国），中国美术馆（北京，中国）等。
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Exhibition:Claude Viallat & Wang Yi | Inside and Outside
Opening: 2018.05.16 (Wed.), 16:00 - 18:00
Duration:2018.05.16 - 06.23
Location:HdM GALLERY | 798 Art District, No.4 Jiuxianqiao Road, Chaoyang District, Beijing
HdM Gallery is pleased to present “Inside and Outside”, a dual show of Wang Yi and French artist Claude Viallat. Opening on the 16th of May, the show will include the latest works of Wang Yi and 6 works of Viallat including a work dating back to 1974.
With special thanks to Galerie Ceysson & Bénetière ofartist Claude Viallat for supporting the exhibition.
About the Exhibiton
The show originates from both artists’ preoccupation with production processes, colours and construction. A founding member of the Supports/Surfaces movement, Claude Viallat has been obsessively repeating the same pattern since the late 1960’s. Using numerous types of cloths, garments and textiles and hundreds of different color combinations, he has been building a coherent corpus of works for the last 50 years thereby gaining a position at the forefront of French contemporary art.
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Claude Viallat, 2016-393, acrylic on fabric, 225 x 392 cm, 2016
Since his first solo show at J Gallery in 2012, Wang Yi has also pursued the same goal relentlessly. Using acrylic and transparent paint on canvas and aluminium, he has experimented dozens of colour combinations in impeccably geometrical constructions, seeking to make perfectly produced works where the hand of the artist becomes almost invisible.
Whilst different in both age and background, the approach and artistic conception of the two artists are remarkably similar and their respective production can be usefully compared and contrasted.
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Wang Yi, Panorama 2018-1, mixed media on aluminum, 30×60 cm, 2018
About the Artist
Born in 1936 in Nimes,Claude Viallat is one of the most respected French contemporary artists in the world. In the late 1960’s, he became part of the Supports/Surfaces movement. This movement sought to reinvent painting and the way to approach a painting. Some of the followers painted on frames, others on the side of the paintings, others painted squares or circles. Viallat took away the frame from the painting and used only the cloth. He took the motif he is known for from the contour of a sponge that he once found in the sink in his apartment. He took this pattern to have no connotation or association and thought its shape was akin to man’s most primitive artistic gesture as he dipped a hand in paint and applied in on rock. Using hundreds of colours, materials and paints, Viallat has endlessly reinvented the same painting for the last 50 years. Viallat’s works have been exhibited extensively in solo shows at the Ludwig Museum (Koblenz, Germany), at the Frost Art Museum (Miami, U.S.A.), at the Fondation Van Gogh (Arles, France), National Gallery of Bosnia and Herzegovina (Sarajevo, Bosnia), Centre Pompidou (Paris, France) and at the 43rd Venice Biennale in 1989.
Born in Shanghai in 1991,Wang Yi’s practice is closely related to the new abstract movement in China initiated by Ding Yi. His works on canvas are influenced by Frank Stella and Vasarely as they rely on chromatic variations and geometrical shapes to create an illusion of movement and depth within the canvas. As to his works on aluminium, he maintains the same construction and only relies on the number of layers applied to the plate to vary the effect and theoutcome. His artistic production is typical of the new generation of Chinese artists, many of whom choose to abstain from any political or social commentary in their creations. Wang Yi’s works have already been widely exhibited including in group shows at MoCA Pavilion (Shanghai, China), at the Mingyuan Art Museum (Shanghai, China), at the Chengdu Contemporary Art Museum (Chengdu, China), at Boxes Art Space (Shenzhen, China), at the SPSI Art Museum (Shanghai, China) and at the Ningbo Museum of Art (Ningbo, China).
北京市朝阳区酒仙桥路 4 号 798 艺术区七星东街，100015，中国
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