旅日抽象艺术家周豪北京首次个展“铸画”12月28日开幕

周豪：铸画

展期：12月28日- 2月28日 10:00 - 18:00

开幕：12月28日 15:00

媒体预览：12月28日 14:30 - 15:00

2019年12月28日至2月28日，旅日抽象艺术家周豪北京首次个展“铸画（Works and Days）”在三远当代艺术中心（N3 Contemporary Art）开幕，将展出艺术家近期创作的二十余幅油画作品。

周豪的作品用画笔层叠往复的痕迹呈现一个瞬间和无数个永恒的实体。他的艺术实践，如同铸剑师对铁料的无数次锤炼敲击。作品的完成是一层接续一层的“进行时”，由时日的累计，画布上逐渐显现某个“从那边来”的东西，而非对于事物的再现。画布上，织物、文本般的痕迹阻绝了单线的有方向性的“叙述”，将熟悉的隔离为陌生的，观看者则借由层层肌理进入一个澄明的敞开空间。周豪的作品均以号码命名，摒弃文学性的描述，画本身成为画的主题。

不为画作命名，是由于周豪认为绘画和观看都是一种自由，同野口勇、李禹焕、河原温等艺术家的实践相呼应，敞开的万物就是“神思”，它们无须为自己辩解。海德格尔提出的“敞开的自由（Die offene Freiheit）”可以作为我们理解周豪作品的一种视角。

O.1803152-15， 布面油画 Oil on Canvas，108*108*4cm，2018

1990年自武藏野美术大学版画系硕士毕业后，周豪在日本美术史家益田祐作创立的版画工房MMG做过十三年印刷师。周豪最初以版画家为人所知，百年专业季刊《版画艺术（版画芸術）》曾做过三期周豪专题。周豪作品曾被美国波士顿美术馆、波兰国立美术馆、日本武藏野美术大学美术资料图书馆、多摩美术大学美术馆等机构收藏。

周豪铜版画中简逸的色与形在益田祐作眼里有禅宗之“无相”。纤维中渗透波动墨色的白纸如同枯山水中的幽玄立石与波纹白砂，石组是本体恒常，白砂如百相变换，体相间的偶然振谐不是可观察的对象，变成了神属空间里短暂与永恒、有限与无限间的圆融，进而“直指人心”。

O.1803152-10， 布面油画 Oil on Canvas，108*108*4cm，2018

作品细部 Detail

2003年后，周豪的版画技艺精进，墨痕变得可控，一切“偶然”的效果对于周豪而言成为了“必然”，艺术家完全抛弃过去，转向油画创作。在油画的创作过程中，笔触节奏、情绪节奏都不再左右艺术家的心神。他完成一幅油画用时数周。作品画面由几层组成，重复的笔法一点一点覆盖画布铺排出灰质的“留白”。像是铸剑师铸献礼器，多层颜料渗透进画布之中磨画柔软的、非切割的边缘，生成抽象的图景。无论途经哪个方向，都有如同万壑松风般的无尽波纹。随着柔软边缘的起伏，有意识的生命被排除出世界。纯粹的色彩和画面的绝对平面使观画者在此时如同使用透镜。在观看这个运动过程之中，我们自发地移动去靠近自身的神坛，在更少的遮蔽下察觉会发生的和会显影的，在某个属灵的时刻有一个自由观察的身位。艺术家与观者均被允许进入敞开空间之中，不再相对世界而立。

若未实地观看周豪的油画，其实很难通过想象感受到其中涌动的气息。这个冬季，三远邀您一同进入周豪画作的世界。

文/ 黄丹蕾

Works and Days:

Zhou Hao’s Recent Oil Paintings

N3 Contemporary Art is glad to present “Works and Days”, an exhibition featuring ZHOU Hao’s recent oil paintings. This exhibition will be on display from December 28th, 2019 to February 28th, 2020.

The key to understanding Zhou's works is to grasp the instant, yet eternal moment manifested by the over-layering brush traces. His artistic practice is like a bladesmith’s repeated attacking on raw materials - it is not a representation of the reality; rather, it is an on-going process of “becoming”, which accumulates the energy from the artist’s asceticism, and gradually leads to somewhere "from the other world". The brush strokesdetach the viewers from the linear and directional narrative, and eventually allow them to enter the Clearing (lichtung). Zhou stops naming his pictures and gives them numbers instead, because he intends to release the viewer from any kind of fixed subject matters in his art.

Zhou believes that both the painter and the viewer should be set free. Echoing the practice of Isamu Noguchi, On Kawara and Lee Ufan, Zhou insists that the pure form of human existence is to be in a relationality with unconscious perception of the universe. Here, we could draw from Martin Heidegger’s notion of the Freedom of the Open (Die offene Freiheit).

O.191284-7，布面油画 Oil on Canvas，65x53x2cm，2019

作品细部 Detail

In 1990, Zhou graduated from the Department of Printmaking at Musashino Art University. After that, Zhou had worked as an artist for 13 years in Atelier MMG, a renowned lithography studio founded by Japanese printmaker and art historian Yusaku Masuda. The established Japanese printmaking quarterly, On Printmaking (版画芸術), which enjoys over one hundred-year history, published three special issues on Zhou’s printings. His works were hold by many public collections, including Boston Art Museum, Poland National Art Museum, Musashino Art University Museum & Library and Tama Art University Museum.

Masuda once commented that the simple color and calming shape in Zhou's copperplate etchings embody the "nothingness" of Zen. The white paper permeated with the fluctuating ink color resonates with the inky stone and the wavy white sand in the Japanese rock garden (karesansui). The stone is a constant form and the white sand is a shifting idea. The uncanny resonance between the form and the idea is not an observable object but a divine shrine that bridges the ephemerality and the eternity, producing a sense of reflexivity.

O.191284-15，布面油画 Oil on Canvas，65x53x2cm，2019

作品细节 Detail

After 2003, Zhou realized that his printmaking skill was so mature that it had denied new possibilities in his art practice. He then turned his career to oil painting to achieve an alternative state of mind. It takes him weeks to finish a painting. His paintings are usually composed of several layers, and his repeated brushstroke covers the canvas to arrange an ashen image. The multiple layers of pigments seep into the canvas to scrub a soft, uncut edge and generate an abstract plane. No matter which path the Mind’s Eye passes by, there are endless ripples waving by the dusky pines. Following the peaceful variance of the soft edge, the viewers’ consciousness and subjectivity are neglected. With a psychological lens, they zoom in on Zhou’s works, while spontaneously getting close to the divine Clearing and possessing a spiritual position where they come into Less Shielding (aletheuein). In this perceptual moment, both the artist and the viewer are allowed to enter the Open Space. The difference between the object, the world, and the subject “I” is no longer there.

It would be difficult to sense the surging wave if you haven’t seen Zhou’s works in person. In this winter, welcome to N3 Contemporary Art and join us in exploring Zhou’s world.

By Danlei Huang

Translated by Tobey Pan, Danlei Huang

关于艺术家

周豪

艺术家肖像 | 王梓暄拍摄

Artist Portrait by Wang Zixuan

1960 生于上海

1988 东京武藏野美术大学油画系毕业

1990 东京武藏野美术大学大学院造形研究科版画课程硕士毕业

2004 任早稻田大学艺术学校版画课程讲师

2005 任宇都宫美术馆版画讲座讲师

2008, 2010 于法国 Atelier Rémy Bucciali 从事铜版画系列作品创作

2016 参加意大利亚洲艺术家夏期驻留项目 LAFORET LOVEART- Summer Artists Residence Project

周豪现工作生活于上海和横滨。

主要个展

2019  KOCHURAKU，日本鹿儿岛

2018 《周豪展》，周围艺术画廊，中国上海

2016, 18 绘屋，日本新泻

2016 《彼岸》，周围艺术画廊，中国上海

2011 岛田画廊，日本神户

2006, 10, 12 绘画堂，日本东京

2004, 06, 08, 10, 12, 14, 16, 18  ARTLAND，日本香川

2001, 04, 06, 08, 10, 12, 14, 16, 18 巷房画廊，日本东京

自1993年起，周豪在东京，大阪，名古屋，广岛，香港，上海等城市举办个展70余次。

主要群展

2018, 19 “ART021 SHANGHAI”，中国上海

2017, 18, 19  “Art on Paper”， 美国纽约

2013, 14, 15, 16, 17, 18  Kobe Art Marche， 日本神戶

2012, 13, 14　杭州艺术博览会， 中国杭州

2011, 12, 13   “The Affordable Art Fair Singapore” ， 新加坡

2012 “The Affordable Art Fair”，布鲁塞尔

2012 “ART Multiplied”， Christie's

2011   首届北京 798 国际版画博览交易会，百雅轩艺术沙龙， 中国北京

2009, 12“ART ELYSEES" , 法国巴黎

2009, 10 ART PARIS， 巴黎， 法国

2006年 "Chinesische Perspektiven"，Galerie Ruhnke， 德国波茨坦

2002, 03, 05, 06, 07, 10 上海艺术博览会,  中国上海

主要机构收藏

波士顿美术馆  美国

史密斯大学美术馆  美国

广告美术馆  法国

国立美术馆  波兰

武藏野美术大学美术资料图书馆  日本

Centre of international Graphic Work  挪威

多摩美术大学美术馆  日本

关口美术馆  日本

ZHOU Hao

1960 Born in Shanghai, China

1988 Obtained a bachelor’s degree in Painting at Musashino Art University

1990 Finished the Graduate Course in Printmaking at Musashino Art University

2004 Lectured on printmaking at Waseda University

2005 Lectured on printmaking at Utsunomiya Museum of Art

2008, 2010 Made copperplate etchings at Atelier Rémy Bucciali, Colmar, France

2016 Participated in Laforêt Summer Vacation Project (Summer Vacation for Asian Artists) in Italy

ZHOU Hao now lives and works in Shanghai and Yokohama

Selected Solo Exhibitions

2019 KOCHURAKU, Kagoshima

2018 Zhou Hao’s Works, AroundSpace Gallery, Shanghai

2016 The Other Shore, AroundSpace Gallery, Shanghai

2016, 18 EYA, Niigata

2011 Gallery Shimada, Kobe

2006, 10, 12 KAIGADO, Tokyo

2004, 06, 08, 10, 12, 14, 16, 18 ARTLAND, Kagawa

2001, 04, 06, 08, 10, 12, 14, 16, 18 Gallery Kobo, Tokyo

Since 1993, Zhou had held more than 70 solo exhibitions in Tokyo, Osaka, Nagoya, Hiroshima, Hong Kong, and Shanghai.

Selected Group Exhibitions

2018 Art021, Shanghai

2017, 18 Art on Paper, New York, U.S.A

2013, 14, 15, 16, 17, 18 Kobe Art Marche, Kobe, Japan

2012, 13, 14 Hangzhou Art Fair, Hangzhou, China

2012 ART ELYSEES, Paris, France

2012 Affordable Art Fair Bruxelles, Brussels

2011, 12, 13 The Affordable Art Fair Singapore, Singapore

2011 The First Beijing International Print Expo, Beijing, China

2009, 10 ART PARIS, Paris, France

2006 Chinesische Perspektiven, Galerie Ruhnke, Potsdam, Germany

2002, 03, 05, 06, 07, 10 Shanghai Art Fair, Shanghai, China

Important Public Collections

Museum of Fine Arts, Boston, U.S.A.;

Smith College Museum of Art, U.S.A.;

Paris Museum of Graphic Art, France;

Krakow National Museum, Poland;

Centre of international Graphic Work, Norway;

Musashino Art University Museum & Library, Japan；

Tama Art University Museum, Japan;

Sekiguchi Museum, Japan.