教堂空间 Church Space
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于艾君：摸黑 Yu Aijun: Grope in the dark

策展人:

棉布

艺术家:

于艾君

Curator(s):

Mian Bu

Artist(s):

Yu Aijun

于艾君：摸黑 Yu Aijun: Grope in the dark

前言
棉布

北京在3画廊非常荣幸的宣布将于2017年8月19日举办于艾君个展：摸黑。

艺术家于艾君说，这个展览讨论绘画在尴尬层面的、别的可能性。这一可能性并不来自于绘画的内部。在如今这个风格主义流行、图像信息泛滥却又想象力贫乏的时代，绘画的可能性与价值在哪？

于艾君的作品，刻意的回避视觉性的制造，转向找寻气质、情感与陌生性。他工作和生活的鲁美，有一种讲故事的氛围，这也暗含于他的作品中，使得观者总想透过笔触看到作品和现实以及文本的关联，但他并不固定画布，那样松散着操作，仿佛对媒介有一种任意操纵的意图，假如，这是一种超现实主义方式，而这一点显而易见的属于他气质的层面，并打动我。

由于他的才华，以及多年来不间断的在绘画语言层面上的实验，使得于艾君在他内在的意愿中仿佛有些不耐烦，从他个人的角度看，仿佛他在和“架上”这件事有种竞争，而他对于绘画自身是那么的诚实，每一幅画仿佛都想洞察什么而不一定还要表现什么，不过，在我的眼里由于松散的媒介特质，他的作品不可救药的散发着诗意。

其实生活在这个时代的画家并不那么走运，不过，在于艾君的精神里，他不抓那些细枝末节，而着重于自我的整体性，在这个意义上他的绘画是抽象的又是新媒介的，所以从他本人的发展角度，基于这一内在价值，他的地位和价值都处在巨大的可能性和成熟的表情。

不管绘画到了今天是多么的问题和末世的悲观主义，北京都是非常重要的城市，于艾君在这样一个活跃的城市里迈出的任何一步都是高级的范畴，更何况是在在3画廊那个充满实验感的，难以用架上驾驭的教堂空间叙事，他似乎在异常活跃的超越媒介，但又经典的遵从美术史的本质和进展。

不过，就像世界上所有杰出的画家一样，于艾君也在寻求从貌似被遗弃的媒介，向诗意的逃逸，更进一步，毫无疑问，他又主观的把展览空间视为媒介的拓展，这样一来，他在此复活了之前无助的绘画。

 

Preface
Leanne

Beijing Being 3 Gallery is very proud to announce the opening of the solo exhibition of Yu Aijun on August 19th: Grope in the Dark.

Artist Yu Aijun says, this exhibition discusses the awkward and alternative possibility of painting. This possibility does not come from the inside of painting — in the contemporary times of stylism, over-saturation of visual information and scarce imagination, what is the possibility and value of painting?

Yu Aijun’s works intentionally avoids the creation of visualization, but instead seeks out mood, feelings, and alienation. LuXun Academy of Fine Arts, where he works and lives, has an atmosphere of story-telling, and this can be felt in his works, and makes the viewer want to see the connection between the piece and reality via the brush strokes. But he paints on unbound canvas, and this relaxed operation seems to contain a casual motive towards the medium. If this is a surrealist approach, then this is an obvious layer to his person, and it moves me.

Because of his talent, and endless experimentation in the language of painting all these years, Yu Aijun seems a little impatient in his intentions. From his perspective, he seems to be competing against “easeled”. Yet he is so truthful in the matter of painting, and every picture seems to want to examine something, without necessarily expressing anything. In my eyes, due to the relaxation of the medium, his artworks evoke a helpless sense of poeticism.

This age and time is not lucky for painters, but in Yu Aijun’s mind, he does not focus on the details, but rather, the wholeness of the self. In this sense, his painting is both abstract and of a new medium, and so for his development, his place and value contains huge possibilities and mature expressions.

Regardless of how paintings have entered a problem-filled and apocalyptic pessimism, Beijing is always an important city. Any step Yu Aijun takes in this energetic city is a step of the higher order — especially in Being 3 Gallery’s experimental, irrepressible Church Space. He seems to override media, yet also follows the true character and development of art history.

But, like all outstanding painters, Yu AIjun is also seeking to go a step further towards poetic escape in this abandoned medium. Without a question, he has subjectively viewed the exhibition space as an expansion of the medium, and in doing so, revived the helplessness of paintings.

 

by Mian bu, Being3 Gallery Art Director