中文海报
    

English poster

    
策展人：车建全
展览时间：2015年9月1日——9月30日
展览地点：德国海德堡席勒画廊
展览地址：德国海德堡市施罗德大街一号
参展艺术家：莫希亮、林昀、谢莹、肖姗姗、梁曼勇、李金阳、肖欣跳、黄子亭、任真、何绮兰、吴天然、郭梦垚、王会慧、张璐、叶绩、王相超、张子嫣、张丹燕、杨洋
    

广东青年艺术家群体自2010年以来，逐渐成为引人瞩目的艺术新力量，并逐渐进入拍卖和画廊市场。这些以80后为主体的新生力量基本都出自广州美院大本营，因为地缘文化所限，2010年之前的广东艺术界早已失去开放之初的活力与优势，陷入地方化和发展迟缓的状态，2003年后毕业的艺术家们很多选择了去北京和上海以及海外发展，虽然产生了以飘一代为代表的艺术群落，但由于缺乏持续性的精神动力和学术推动，始终难以形成具有凝聚力的方向性探索。和北京与上海的不同之处在于，广东青年艺术家虽散落在城市的不同角落，始终是在一个统一的圈子里工作和生存，尚没有形成截然不同的后背支持，无论是学术支持还是收藏群体的支持。所以他们在创作上必然体现出某种折衷的态度，为了生存，他们懂得妥协带来的机会，并且积极通过各种微妙的妥协达成自己艺术上的发言，这些因素都对他们的创作发生了一定的影响。
    
    Since the year of 2010, the group of Guangdong young artists start to appear on various art scenes and gradually has become the new noticeable art strength. At the same time, their works begin to enter into the market of auction and gallery. Such a new strength that mainly consists of those who were born between 1980-1989 basically come from the the base of Guangzhou Academy of Fine Arts. Due to the limits of regional culture, the art field in Guangdong before 2010 lost its original vitality and advantages that was gained at the beginning of open and reform and was caught in a state of localization and low development. Most of the artists graduated in 2003 went to Beijing, Shanghai or overseas for further development, which leads to the emergence of the art group represented by the wandering generation. However, they fail to form cohesive and directional exploration due to a lack of sustainable intellectual impetus and academic drive. Therefore, while they prepare to break with the conservative local culture, they still tend to cling to the interest group to get the chance to gain the attention of the public.Different from those artists in Beijing and Shanghai, although the young artists in Guangdong are scattered in different corners of the city, they still keep working and surviving in a unit community. Since they have not achieved strong academic support or the support from the collectors yet, inevitably there is a sense of compromise beneath their creation. In order to survive, they have to compromise to get opportunities, and then voice their artistic opinions through subtle compromises. All those factors more or less influence their creation.
    

吴天然 《圆1》 珂罗版 39.45cmx39.02cm 2015.6
Wu Tian ran 《CEC1》 collotype printing
    

郭梦垚 《城市计划系列-阿姆斯特丹-No.3》 媒介:数码微喷，315g光滑美术纸 38x38cm 2015.6
Guo Meng yao 《CityPlan Series-Amsterdam》
    

何绮兰 《主爱. 环绕》 珂罗版 41.39cmx41.45cm 2015.6
He Qi lan 《The Love of Jesus. encircle》 collotype printing
    

黄子霆 珂罗版 《Mu 17》 48.01cmx38.34cm 2015.6
Huang Ziting 《Mu 17》 collotype printing

    
    这些艺术家就是在这样一个环境下慢慢形成了自己的工作方式和艺术面貌。他们和其他地区的艺术家一样，在互联网下，或多或少在颠覆着学院的规条，他们看似拥有一个完全自由的选择，但是他们似乎并不想走得太远，他们必须谨慎的让自己不变的边缘和异类，以便身在边缘位置仍然保持和现实与主流的呼应。他们当中有些人已经成为市场的焦点，背景和画廊保持了良好的互动关系，其他的艺术家也正在通向这个目标的路上。但从根本上看，与真正的学术支持和新型学术模式化的建立还有相当的距离。他们普遍呈现出碎片化、卡通化和形式优先的整体特征，比前辈更加个人化，主观和自由，他们不仅在架上绘画领域，也在动画、影像等领域做出了积极的尝试。虽然缺乏北方艺术家的犀利和深刻，更具有温和的自省与趣味化的优势。从另一个角度来看，过早稳定和固化的形式语言也在一定程度上阻碍了艺术家的自我颠覆，因此，展览透过群体的集中呈现，强调做出内省的思考，以促进艺术家走向新的高度。
    
    These artists gradually form their own working ways and art styles under such a circumstance. Like the artists in other regions, they also more or less subvert the rules and regulations of the school with the effect of the Internet. They seem to be totally free to choose; but actually they don’t want to go too far away on that free way. They must be careful to avoid themselves becoming marginalized or alienated. In that way, they could still respond to the reality and the mainstream culture even though they are located in the edged place. Some of them have become the focus of the market —- a sound mutual relationship is kept between their background and the galleries, and other artists are on their way to such a destination. Fundamentally, there is still a long way to establish real academic support and new academic modeling. Generally, they are wholly featured in fragkementation, cartoonlizaiton and form-priority and more personal, subjective and free than their predecessors. Except from drawing, they also actively ma attempts in such areas as cartoon, image and etc. Although they are not so sharp or profound as other northern artists, they gain a fine advantage in mild self-examination and a sense of interesting. Viewed from another perspective, prematurely setting and fixing form languages could, to certain degree, hinder the artists from self-subversion. Thus, the exhibition emphasizes reflections on self-examination through a concentrated presentation of the group to drive the artists to go further.
    

李金阳 《拘禁的梦魇》 珂罗版 38.17cmX38.63cm 2015.6
LiJinyang 《the night of detention》 collotype printing
    

梁曼勇 《玩偶》 珂罗版 48.08×42.5cm 2015.6
Liang Man yong 《Doll》 collotype printing
    

林昀 《焦虑粉饰》 珂罗版 35.97×60 cm 2015.6
Lin Yun 《A Prettification of Anxiety》 collotype printing
    

莫希亮 《树下有人家–儿童计画NO.1》 珂罗版 39.65×39.42cm 2015.6
Mo Xi liang 《Households Under The Tree–Children Project NO.1》 collotype printing

    
    这个展览首先希望为80后艺术群体做一次与众不同的展示，以10年作为一个时间间距，透过文献和10年的创作过程做一次检阅与回顾，让更多的年轻艺术家看到他们10年间的心路历程，矛盾和决择。这也是值得学术界探讨和梳理这一辈艺术家创作特质的机会。
    在消费和当下文化现实的背景下重新以梦为马，重新回到支持我们最初梦想和创作的起点，是此次展览策划的初衷。艺术源自梦想，想象力和创造力永远是孤独骑行的那匹骏马，真正的贡献源自永不屈服于既有的秩序。推动和批评也成为展览的双重任务。
    
    Firstly, the exhibition tends to show something unique for the artists group of the generation after 80s. It chooses 10 years as a time span and aims at letting more young artists to see the participated artists’ spiritual journey with contradictions and choices in the past 10 years through an inspection and retrospection into the 10-year creation course as well as the document, which is a chance for the academic field to discuss and tease out the creation characteristics of the artists of this generation.
    This exhibition originally intends to advocate moving forward with one’s dreams and coming back to support our original dreams and the start of creation under the circumstances of consumption and contemporary cultural reality. Art originates from dreams. Imagination and creativity will always be that horse moving forward alone with dreams. Real contribution comes from never yielding to the existing order. So driving and criticizing become the dual tasks of the exhibition.
    

王会慧 《天台》 珂罗版 43.92X50.8cm 2015.6
Wang Hui hui 《The Rooftop》 collotype printing
    

王相超 《马拉之死》 珂罗版 60cmx47.08cm 2015.6
Wan xiang chao 《The Death of Marat》 collotype printing
    

肖珊珊 《东游记 等待祷告的阿拉伯妇女 叁》 珂罗版 40.06cmx51.33cm 2015.6
Xiao Shan shan 《A Trip to the east the Arabic Women Waiting for Praying 3》 collotype printing
    

肖欣跳 《洞见系列之十三》 珂罗版 37.15X60.18cm 2015.6
Xiao Xin tiao ≪Insight -13≫ collotype printing
    

谢莹 《Detail No. 7》 珂罗版 39.83x40cm 2015.6
Xie Ying 《Detail No. 7》 39.83×40 cm collotype printing
    

杨洋 《无限》 珂罗版 51.5cmx39.8 cm 2015.6
Yang Yang 《Infinite》 collotype printing
    

叶绩 《摩捏摩绪捏》 珂罗版 44.18cm x 60cm 2015.6
Ye Ji 《Mnemosyne》 collotype printing
    

张丹燕 《我，就是你》 珂罗版 60×37.5cm 2015.6
Zhang Dan yan 《I am you》 collotype printing
    

张璐 《暗》 珂罗版 37.57cmx56.74cm 2015.6
zhang lu 《Dark》 collotype printing
    

张子嫣 《Paradise》 珂罗版 38.65cm X38.3cm 2015.6
Zhang Ziyan 《Paradise》 collotype printing
    

任真 《婚嫁》 珂罗版 39.89cmx39.86cm 2015.6
Ren Zhen 《Marriage》 collotype printing

    
    这次展览是一个巡展的方式，广州美院是第一站，然后是东莞美术馆、中山美术馆，德国席勒画廊是此次展览的第4站，我们根据空间特别印制了艺术家代表作的版画作品，希望在广东最有代表性的青年艺术家和德国艺术界之间创建有效的交流与对话平台，倾听更多的批评与讨论，感谢席勒画廊对此次展览的倾力支持。
    
    This exhibition adopts form of tour exhibition with the first stop to be Guangzhou Academy of Fine Arts followed by Dongguan Art Gallery and Zhongshan Art Gallery. Schiller Gallery in German is the fourth stop of this exhibition. We especially print the artists’ representative print works according to the art space, hoping that an effective communication and conversation platform could be established between the most representative young artists in Guangdong and Germany art field for more criticism and discussion. At last we would like to deliver great thanks to Schiller Gallery for their dedicated support to this exhibition.