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展览预告|蔡志松2024新加坡艺术展

2024-02-17 10:43:02 来源:艺术家提供 0次浏览


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林大艺术中心荣幸宣布,「蔡志松2024新加坡艺术展」将于3月1日在新加坡百丽宫盛大启幕,展示艺术家蔡志松独特的创作之美。诚挚邀请各位莅临现场,共同领略艺术的魅力。Linda Gallery is pleased to announce the grand opening of the solo exhibition 「Cai Zhisong Singapore Art Exhibition」by artist Cai Zhisong at Paragon in Singapore on March 1st. Linda Gallery extends a cordial invitation to all guests to attend and admire the exceptional artistic beauty of Cai Zhisong's creations.

蔡志松2024新加坡艺术展2024 Cai Zhisong Singapore Art Exhibition

艺 术 家    |       蔡志松

Artist                 Cai Zhisong

展    期     |        2024.2.23-3.3

Duration            23rd February to 3rd March 2024

展    厅     |       百丽宫1层1厅

Exhibit hall        Paragon, Level 1, Atrium 1

地    址     |        乌节路290号,新加坡238859

Address              290 Orchard Rd, Singapore 238859

蔡志松作品部分展示与专家评论 Partial Display of Cai Zhisong's Artwork with Expert Commentary

蔡志松的艺术一向注重在古代文化典故和当下文化命题之间建立起联系,也特别注重用视觉造型的语言将生命意象与现实批判结合起来。他关注生命的存在,更关注生命赖以存在的世界,他的艺术能力足以展现自己的个体形象,但他更愿意用艺术引起人们在社会共同问题上的共鸣。难能可贵的是,蔡志松在艺术语言上始终有自己的追求和准则。他不回避自己作为一个学院型艺术家的身份,他认为古典的、传统的、经典的美感经验不应该断裂,而应该成为当代物质生活空间中的文化养分,因此,他的作品总是浸染了浓郁的艺术“古风”,既有源自西方传统的古典形象,更有来自本土传统的古典意象,他将东西方艺术的古典神韵化为一体,因而呈现出一种新的古典仪态与意韵。他也不背弃学院教育给予他的写实功力,而是基于这种功力,在造型中注入当代意识和人文情怀,在大量的金属材料作品中和大体量的形象制作中,他追求材质的质感,让媒介材质的精致与制作技巧的精湛形成激发感性的魅力,在视线的触及与叩击中散发出富有张力的光彩。

—— 范迪安全国政协委员 中国美术家协会主席中央美术学院院长

https://img10.artimg.net/public/beian/jpg/202402/fe52324d04ac301a828c61af8f044b0a.jpg

《拂 Sika Deer》, 家园Homeland不锈钢Stainless steel

170×108×231cm, 2020

Cai Zhisong’s sculptures have been known to link ancient cultural parables to current cultural topics and to unite life images with critiques of reality through the language of visual representation. He focuses not only on the existence of life but also on the world on which life’s very existence depends. His artistic skills are more than enough to display his individual image, but his concern is to use art to raise awareness about common social problems.

What stands out is that Cai Zhisong sticks to his artistic pursuit and principles and doesn’t shy away from his background of academic education. In his mind, far from diverging from classical and traditional aesthetics, we should make them nurture the modern physical world culturally. That’s why his works are immersed in antique artistic styles: he mixes the romantic charms of East and West, combines classical images from Western tradition and Chinese tradition, and regenerates classical manners and charm. He doesn’t abandon the realistic techniques he has learned from academic teaching. Instead, he combines those techniques with thoughts on contemporary issues and humanistic ideas. When creating a large number of works made of metal and his large-scale image representations, the texture of the material is of vital importance to him. Furthermore, he molds the exhibition area into a visual symphony through the emotional inspiration provided by the delicacy of the texture of media and exquisite techniques and through the splendor emanated from visual contact and percussion.

—— Fan Di'an

CPPCC MemberPresident of China Artists Association

President of China Central Academy of Fine Arts

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《喜竹 Magpie and Bamboo》, 家园Homeland

不锈钢Stainless steel,白铜White Copper

92cm×65cm×210cm, 2022

https://img10.artimg.net/public/beian/png/202402/1f55d140ba2cb922518a7f2b815f2d2e.png

喜竹 Magpie and Bamboo》, 家园Homeland

不锈钢Stainless steel,白铜White Copper

92cm×65cm×210cm, 2022

(局部)

需要强调的是,东方性题材的选择与本体语言方面的探索在蔡志松的雕塑里是相辅相成,同步推进的。如果选择两件作品来说明他多年以来在雕塑本体语言探索方面的不懈努力,我相信《故国·颂7#》和《升1·#》会是不错的例子。这两件作品都采用了最适合展现躯体之美的经典“十字架”造型。不同的是,前者以人体为对象,是在西方传统雕塑体系内技术水平的展示;后者以孔雀为对象,在十字造型的基础上做了进一步的拟人化夸张处理。与此同时,艺术家在雕塑的颜色、光线、空间效果等方面细致入微的考量,也反映出他在本体语言方面的研究已经走到了更深处。

各种难题的处理,正是一个艺术家专业能力的最佳彰显。从总体到细节,从材质到肌理,雕塑不仅是艺术创作里的“重工业”,也需要系统集成的能力与精准完成度的配合。可能在大多数人心目中,蔡志松永远是如孔雀一般的精致形象。回归创作本身,我更为这位老同学时时贯注的“工匠精神”而叹服。

——  吴洪亮 北京画院院长

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《升·3# Soaring No.3》, 家园Homeland

不锈钢Stainless steel

145×101×230cm, 2022

69×52×123cm, 2022

15×10.4×25.5cm, 2022

https://img10.artimg.net/public/beian/jpg/202402/c40bfeb3b0efab75aaa43c06e2e4bbe8.jpg

《升·3# Soaring No.3》, 家园Homeland

不锈钢Stainless steel

145×101×230cm, 2022

69×52×123cm, 2022

15×10.4×25.5cm, 2022

局部)

It should be emphasized that the choice of oriental themes and the exploration of ontological language in Cai Zhisong's sculptures are complementary and advanced simultaneously. If I were to choose two works to illustrate his tireless efforts in exploring the ontological language of sculpture over the years, I believe that Homeland - Ode 7# and Peacock would be good examples. Both of them adopt the classic "cross" form, which is most suitable for showing the beauty of the body. The difference is that the former takes the human body as the object, demonstrating the technical level within the traditional Western sculpture system; the latter takes the Peacock as the object and further exaggerates the anthropomorphic treatment based on the cross shape. At the same time, the artist's meticulous consideration of the color, light, and spatial effects of the sculptures reflects that his research in ontological language has gone deeper.Handling various difficulties is the best manifestation of an artist's professional ability. From the general to the details, from the materials to the texture, sculpture is not only a "heavy industry" in art creation but also requires the ability of system integration and accurate completion. Perhaps Cai Zhisong will always be a delicate image like a peacock in most people's minds. Returning to the creation itself, I am even more impressed by the "craftsmanship" that this old student has been focusing on at all times.

—— Wu Hongliang

CPPCC Member

President of Beijing Art Academy

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《山水 Landscape》, 家园Homeland

不锈钢Stainless steel

81×38×67cm, 2022

https://img10.artimg.net/public/beian/png/202402/b792a94328e9699968554d21282fddeb.png

《山水 Landscape》, 家园Homeland

不锈钢Stainless steel

81×38×67cm, 2022(局部)

“蔡志松的雕像造型,在某种程度上就是这种传统的再现,但是他在情境的转换中赋予这些造型于当下的寄托,让其成为新的文化符码。在这里,重要的不是他塑造了形象,而是他再现了情境,形成了可视可感的展场氛围,由此使得呦呦鹿鸣、翩翩仙鹤成为引动人们心理、启拨人们沉思的可视形象。”

—— 范迪安

中国美术家协会主席中央美术学院院长

https://img10.artimg.net/public/beian/jpg/202402/61ba6378787d1dfe8a00cbc82afb13d8.jpg

《喜上眉梢 Magpie and Winter Sweet》, 不锈钢 Stainless steel44×35×81cm, 2019

https://img10.artimg.net/public/beian/png/202402/a0647425ef33ce799cbbed0569bbcfa0.png

《喜上眉梢 Magpie and Winter Sweet》,

不锈钢 Stainless steel

44×35×81cm, 2019

(局部)

Cai Zhisong’s sculptures are representations of such a kind of tradition in some way. Moreover, he infuses expectations on current events into these images, rendering them into new cultural codes. The crucial thing here is not the images he’s created but the reproduction of a situation and an exhibition atmosphere that can be seen and felt. In that sense, the crying Sika deer and graceful red-crowned crane become the images that trigger emotions and reflection.

—— Fan Di'an

CPPCC Member

President of China Artists Association

President of China Central Academy of Fine Arts

https://img10.artimg.net/public/beian/jpg/202402/408c7cabd1b73b6fb91edcbe3193f867.jpg

《依依 Peacocks》, 家园Homeland

不锈钢Stainless steel

左left-216x79x113cm,右right-225x70x100cm, 2022

左left-30x11x16.5cm,右right-30x9.4x14.5cm, 2022

(局部)

https://img10.artimg.net/public/beian/png/202402/855b1a33bcacbcd55d1e2e24e5beef43.png

《依依 Peacocks》, 家园Homeland不锈钢Stainless steel 左left-216x79x113cm,右right-225x70x100cm, 2022

左left-30x11x16.5cm,右right-30x9.4x14.5cm, 2022

关于艺术家About the Artist

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​蔡志松 Cai Zhisong

1997年毕业于中央美术学院雕塑系,之后于该系任教十年,2008年辞去教职专心从事艺术创作。现为职业艺术家,工作、生活于北京、苏州。

从事艺术工作以来曾获奖几十次,其中比较重要的有:1997年获中央美术学院毕业生作品展创作一等奖;2001年获法国巴黎秋季沙龙最高奖——“泰勒大奖”,成为该活动103年历史中首次获此殊荣的中国艺术家,时年二十九岁;2004年获中央美术学院院长奖;2011年应邀参加第54届威尼斯双年展;2012年入选法国《Art Actuel》评出的年度“全球100名艺术领袖”,并荣登封面;2012年获评“中国艺术权力人物”;2013年获评“中国风度人物”、“年度华人时尚领袖”;2014年获“洛克菲勒中国杰出青年艺术家大奖”、“年度影响力特别艺术家奖”;2017年获评第十四届“时尚先生”、“艺术领军人物”。

近年来在世界各地举办过许多次个展,参加联展众多。作品曾三次创造中国国内雕塑家在国际市场上的最高拍卖记录。并被国内外许多知名博物馆、美术馆及艺术机构收藏,其中包括:洛克菲勒艺术基金会、泰勒基金会、美国纽瓦克美术馆、德国雷根斯堡博物馆、希腊美术馆、印尼国家博物馆、新加坡国家美术馆、德意志银行、比利时驻华大使馆、中国国家博物馆、中国美术馆、中央美术学院美术馆、苏州博物馆、上海民生美术馆等。

艺术创作及学术活动社会影响广泛,跨界合作丰富,并积极推动艺术与社会各个领域的融合。

主要作品有《故国》《玫瑰》《浮云》《家园》等系列。

《故国》系列作品开始创作于1999年底,历时16年,分风、雅、颂三个部分,融合了不同地域、不同历史时期的塑造技法,以具像造型与现代材料语言相结合的创作方式,传达了艺术家对历史与人性的关注。

《玫瑰》系列作品开始创作于2008年,历时6年,以材料和装置为表现方式阐述了艺术家的爱情观。

《浮云》系列作品开始创作于2011年,最初的一组是为第54届威尼斯双年展而做,之后该系列作品呈现出各种面貌和样式,并融入现代科技手段,以装置和观念为表现方式阐述了艺术家的人生观。

《家园》系列作品开始创作于2016年,主要探讨以当代艺术形式演绎东方传统文化精神的可能性,并以传统题材为表现侧重,倡导士大夫精神、阐述人与自然之间的关系,进一步探讨生命的深层内涵。

责任编辑:王丹

推荐关键字:蔡志松

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