彩排 Rehearsal

布面丙烯 acrylic on canvas

200cmx200cm

2015-2019

站台中国当代艺术机构将于2019年3月21日在站台中国主空间呈现重要展览《宫立龙：彩排》。

“彩排”有两方面的指涉，一是对宫立龙过去三十余年来艺术实践的一个排演式的呈现；再则暗示着他的艺术语言与现实的距离关系所构成的戏剧特征。宫立龙作为北方绘画的代表人物，这次展览将展出贯穿其艺术生涯多个阶段的二十余件作品。

宫立龙1982年毕业于鲁迅美术学院油画系，后任教于鲁迅美术学院。在1980年宫立龙创作了《路》、之后的几年中陆续创作了《街头》和《为周末晚会扮演丑角A、X、OKE在镜前试装的学生温柔玉》等重要作品。在80年代的时代语境下，对于在保守与激进、人文精神和世俗社会等等的讨论声中成长起来的年轻创作者来说，在写实的范围内寻找连接学院外部的可能性似乎成为一种必然。宫立龙当时用写实的手法，现代主义的视觉策略还带有一点矫饰主义的古怪，糅杂出一种在当时看起来无法清晰描述的力量——彼时的宫立龙在努力勾画一条从社会的、文化的外部勾连进艺术的内部的线。90年代是宫立龙绘画变迁的重要转折期，这一时期的创作开始转型为对中国弱势的乡土文化的关注，他着迷于乡村生活的世俗、粗粝和戏剧感，期间完成了《村长》、《腊月二十九·去狗柱儿家送福的春秀儿》，还有后来的《摩登步》、《新潮》和《打台球》等作品。宫立龙在这几个作品身上更关注所谓“精神性”的东西。他并没有具体阐释过“精神性”的内涵，但总的来说，他希望面对笔下这些具有鲜明社会属性和丰富的个体性的人物保持一种理性的关怀和思考。宫立龙把乡村作为检验和批判世俗生活的变化和实质的场所，把具体生活的可感可见转化为一种糅合了庄重与欲望、典雅与艳俗的辩证，我们可以感受到艺术家在严肃的艺术追求上所致力的方向：寻找思考的概括性和形式的表现性之间的平衡。此时的宫立龙投射出的对于质朴美的期待，混合着圣洁和欲望，似乎已经走出了曾经在写实的道德与威严笼罩下无法描述的空隙与无法还原的情愫。

进入到新世纪，宫立龙画了大量的双人肖像作品，有意构造了戏剧性的荒诞，呈现出一派欲望的狂欢。这些双人肖像往往以一种整体的雕塑样貌出现，一即是二，二即是一，两个跳舞的形象骨肉相连，做出各种夸张的肢体动作。这个时期的作品慢慢走出了那种对于文化冲突的追问，他喜欢把男欢女爱的荡漾和性感反复地画出来，画中的两个形象有时候完全失去了身份，难以分解。从对抽象的“精神性”的要求，转而到描写关系中的肉体的人。

近年来，他完成了《远哥》、《紫鹃》、《小杨》、《秋来》等作品，从情感、状态、心理和情势上勾勒出这个对象的多种面向。他把视角一点点拉下来，聚焦在人身上。这里的人也不是拥有绝对个性的、不可归类的个人，而是一种在关系中出现的、动态的、可以被他者塑造和解读的人。从乡村到无语境的无名者，宫立龙叛逃出了文化象征的模式，走向更为个性化的实践。与他有着亲密师生关系的艺术家王兴伟就曾以“从城市走向农村，从当代走向无时代”为题道出了这种转变。正如刘骁纯对他的评价“非常庄重的幽默和非常严肃的荒诞”，宫立龙展现了戏剧化的现实和现实的戏剧化。

好 It's ok

布面油画 oil on canvas

100cmx100cm

2007

远哥 Brother Yuan

布面丙烯 acrylic on canvas

200cmx160cm

2013-2018

紫鹊 Purple magpie

布面丙烯 acrylic on canvas

200cmx160cm

2018

白 White

布面油画 oil on canvas

33cmx53cm

2006

Platform China Contemporary ArtInstitute is honored to unveil an important sole exhibition Gong Lihong: Rehearsal in its main space area on March 21, 2019. The topic Rehearsal contains twofold implications, namely, a rehearsed display of Gong’s artistic practices over the past more than three decades, and a hint about the dramaticism behind the distance between his artistic language and the reality. This exhibition will present over 20 artworks stretching through several stages in the artistic career of the iconic artist for the northern painting school.

Gong graduated from Lu xun Academy of Fine Arts as an oil painting student in 1982, and stayed there later as a teacher.After finishing the work Lu (Path) in1980, Gong completed, successively, Jietou(Street Corner), A mild student is trying to make herself up in front of mirror for playing harlequin A、X、QTE at the weekend party among other significant works in the years that followed. For a young painter growing up in a society filled with debates over conservatism and radicalism, humanistic spirit and secular world, and so on, the era context during the 1980s seemed to make it inevitable for him to seek the possibility of reaching beyond the academism within the scope of realistic painting. At that time, Gong employed arealistic approach, with the modernism-based visual strategy mingled with a strange element of Mannerism, in such a way as to form a kind of force which it then seemed impossible to clearly describe – Gong was trying to draw a line extending from the external parts of society and culture into the external parts of art. The 1990s marked a critical transitional period for his painting trajectory, accompanied by a shift in attention to the weak countryside culture in China. During that period, Gong, obsessed with the secular mind, roughness and sense of drama characteristic of countryside life, accomplished a multitude of works, including Cunzhang (VillageHead), Chun Xiuer Sending Blessings(Fu) to Gou Zhuer One Day before Lunar New Year’s Eve, and subsequent Modengbu (Modern), Xinchao (Fashion) and Dataiqiu(Play billiards). In relation to these works, Gong concentrated more on theso-called “spirituality” concept, albeit without a detailed interpretation ofits connotations. But on the whole, he hoped to entertain a kind of rationalcare and thinking in the face of the characters exhibiting both striking socialattributes and rich personalities under his painting brush. Gong regarded the countryside as a place to test and criticize the changes and essence of secular life. Thanks to the conversion into dialectical unity of solemnness and desire, elegance and gaudiness from specific life that can be felt and seen, we cansense which direction an artist is marching toward in his pursuit of seriousart: seeking a balance between general thinking and concrete forms. At that point, as expressed in his works, amid anticipation for simple beauty, which was mixed with holiness and desire, there seemed to have been a farewell to the once indescribable gaps and irreproducible feelings, a restriction resultingfrom the morality and dignity required under a realistic approach.

Entering the 21st century, Gong created awide range of dual-character portrait paintings in a purposeful attempt to construct dramatic absurdity in a hilarious scene highlighting human desire. In these portraits, the two characters tend to be presented in the shape of aholistic sculpture, that is, they form an integral whole. Two closely connecteddancing persons make various types of exaggerated body movements. We can thustell a gradual shift from the past inquires about cultural conflicts to atendency towards repeated depiction of strong emotion and sex appeal includedin love. Characters in his paintings sometimes completely lose their respectiveidentity and it becomes hard to divide them. All these revealed that Gong changed his focus from abstract “spirituality” to real persons with a sexual relationship.

Recent years also saw the debut of other works like Brother Yuan where characters are observed from Xiao Yang, Zijuan, Xiaoyang and Qiulai (Arrival of Autumn),ln facets, such asemotion, state, mind and the circumstances they are situated. Step by step,Gong crystallized the image of his drawing objects and focused on persons. However, instead of unclassifiable individuals possessing absolute personalities, persons in his paintings are dynamic images that are defined bya certain relationship and can be shaped and interpreted by viewers. Following the shift from countryside to context-free unknowns, Gong abandoned the pattern carrying cultural symbolism and turned to more distinctive practices. Wang Xingwei, who learned from and established a close relationship with Gong, once pointed out this kind of shift by saying “From city to countryside, from contemporary era to no era”. Liu Xiaochun stressed the “very solemn humor andvery serious absurdity” manifested in his works, in a recognition that Long showed the dramatic reality and the dramaticism of realties.

©宫立龙工作室｜Gong Lilong Studio，Copyright 2019

©宫立龙工作室｜Gong Lilong Studio，Copyright 2019

/

关于艺术家 About the Artist

宫立龙 | GongLilong

1953生于大连,1982年毕业于鲁迅美术学院油画系，后任教于鲁迅美术学院，教授。宫立龙是北方绘画的代表人物，其作品多次入选全国美展、中国油画大展等国家性重要展览并获奖，多件作品被中国美术馆以及国内外美术馆及机构收藏。主要代表作品有《为周末晚会扮演丑角A、X、OKE在镜前试装的学生温柔玉》、《下大地》、《时装步》、《打台球》、《村长》、《婚纱》、《探戈》、《顺风》、《千里共婵娟》等等，近年来又陆续创作了《远哥》、《紫鹃》、《小杨》、《秋来》等。宫立龙敏感于社会转型期间乡土价值观念、行为方式的变迁，荒诞性是其作品的表意特纫。他在创作中寻找思考的概括性和形式的表现性之间的平衡，对鲜明社会属性和丰富的个体性的人物保持一种理性的关怀和灵动的思考。

Gong Lilong, born in Dalian in 1953, graduated from Lu Xun Academy of Fine Arts as an oil painting student in 1982. He stayed there later as a teacher. Gong Lilong as a representative figure in northern painting, his works have been selected for important national exhibitions such as National Art Exhibitions, Chinese oil painting exhibitions, as well as won awards for many times. Many of his works have been collected by National Art Museum of China and other art museums，institutions from China and overseas. Main representative works include "A mild student is trying to make herself up in front ofmirror for playing harlequin A、X、QTE at the weekend party ", "The Ground", "Fashion Step", "Play Billiards", "Village Head", "Wedding dress", "Tango","Wind", " Share The Beauty of The Moon Together.", and so on, in recent years he has created "Brother Yuan", "Zi Juan" and " XiaoYang", " Arrival of Autumn", etc. Gong Lilong is sensitive to the changes in the local values and behaviors during the social transformation, and the absurdity is the ideology of his works. In his creation, he seeks a balance between the generality of thinking and the expressiveness of form, and maintains a rational concern and reflection on the distinctive social attributes and rich individual characters.

END

.

合作或投稿

请发邮件至：maanart@163.com