发布活动
2018年10月27日 13:30 ~ 2018年10月27日 16:00|(陕西西安)雁南一路9号曼蒂广场2层西安当代美术馆

西安当代美术馆:瑞典艺术家克里斯·库伦格林的“梦与现实”展览开幕

田尾圭一郎:展览序言 亚洲最具影响力艺术媒体美術手帖编者序

Exhibition Preface by Tao, Keiichiro, Editor from Bijutsutecho

西安当代美术馆海报.jpg

Introduction to the Between Dream & RealityExhibition by Kristoffer Krs Kullengren 

Kristoffer Kullengren “梦与现实” 展览前言

 

Hearing that Kris was holding an exhibition in Shanghai this May I decided to head over there. I saw him surrounded by people of all nationalities, chatting and pulling down laughter with an art explanation mic performance ending the night by Dj-ing himself. I asked Kris whether perhaps he, who was born in Sweden, lives in Tokyo and does art in China whether perhaps the way of looking at his paintings might vary depending on the country the person is from so I asked him if it is so. When I hear his answer; To me it is not about where they are from but rather to treasure the meeting and communicate with respect I felt myself strangely accepting the truth in that. 

 

今年五月,我在得知Kris在上海有场展览后,决定前往参观。只看见他由来自世界各地的观众包围,幽默逗乐式地与大家分享着他的艺术故事。整场活动以他的麦克风表演为始,以他为在场观众DJ打碟结束。面对如此文化多元的群体,我非常好奇,于是我问他,作为一个生于瑞典,在东京生活,又在中国从事艺术的他,是否会觉得欣赏艺术的方式会根据观者的不同文化或国籍而有所不同。而他的答案则是:“我觉得重要的不是来自哪里,而是对每一次相聚的珍惜,并愿意带着对彼此的尊重去交流。”我出乎意料地非常赞同这个说法。

 

 クリスの作品は、具象と抽象の間を行き来しながら、鑑賞者の想像を流暢にさせる。それは自由 な色彩や筆使い、(ハートやスカルなどの)ポップなイコンも伴いながら、人の心をときにハッピー にし、またあるときにはチクリとした毒を刺す。


Kris’s works freely moves between the concrete and the abstract leaving interpretation to the viewer. Using light color strokes and pop icons like hearts it often creates a feeling of happiness while sometimes lancing the boils of humanity to release the poison within.

Kris的创作风格时常自由地在写实与抽象之间穿梭,给观者留下无限解读空间。通过对明亮色彩与如同爱心等的流行图案的运用,他的作品给人们带来快乐感的同时,也反映了对当代人性与社会的针砭时弊。

 

これらの“軽やかさ”はどこからくるのだろう、と ぼくは彼の作品を見ながら疑問に感じていたが(というぐらい、日本の現代美術シーンは重く、 複雑で説明過多なものが多い傾向にある)、それは彼の“属性”よりも“個”を重視し、目の前のこと を楽しもうとする意識が、導いているのだろう。このことを彼は、欧州という国境の曖昧な環境 で育ち、文化の異なる東方の島国で揉まれるなかで、自然と身につけたにちがいない。

 

From where comes this laissez faire attitude I found myself thinking while watching his works.  Perhaps this is why to him, the Japanese modern art scene seems difficult to grasp, full of rules and a culture, which awards association rather than originality. This interpretation of the scene seems natural when you considered he grew up in an area where borders are diffuse and now lives on an island where land is limited and which has a very distinct Eastern Culture.

他作品中的这种“自由主义”让我不禁思考。也许这是为什么对于他来说,日本现代的艺术场景仿佛难以拿捏,一种充满了规则与崇尚“关联性”多于原创性的文化。而他所创作出的艺术场景则更为自然,因为他出身于一个幅员辽阔,边界多样的国度,而现在却生活在一个土地狭小,而富于独特东方文化的岛屿。

 

日本には、“軽み(karumi)”と呼ばれる美意識がある。日本における俳句の第一人者・松尾芭蕉 が到達した理念で、日常的な題材のなかに美を見出し、(仰々しくなく)さらりと表現する心得 を指す。西と東、愛と死、美と俗。その両者を知りながら絶妙なバランス感覚を魅せるクリスの作 品は、芭蕉が後年に行き着いた“軽み”に通じるものがある。 

 

振り返れば、19世紀末の産業革命以降、技術や情報に振り回され続けてきた末路に、疲弊した現 代の我々が求めるものは、こういった絵画なのだろう。その意味で、いま急発展を遂げている中 国でこれらの作品が発表されることは、表象や作家の意図を超えて、実に示唆的なのかもしれな い。

There is a concept in Japanese art known as Karumi軽”in Japanese art. It was minted by the legendary Haiku poet Matsuo Basho (松尾芭蕉) as a truth that he arrived at in his thoughts. It means to not to be intrusive but simple and part of everyday life. To simply add a touch of beauty to stir the heart is the meaning of this truth of beauty. When I look at the balance that Kris walks between the cultures of East and West, Love and Death, Beauty & Filth, I feel this truth of “Karumi”  that Basho found only in his later years. 

 

It seems to me to be no coincidence that not only is it no coincidence that his art finds a following in China but that it transcends the ideas of impression and the meaning of the word artist and suggest that perhaps this is just what is needed right now.

在日本艺术中,有一种理念是“平易”(Karumi軽)。这个词是由日本伟大俳句诗人松尾芭蕉所创,凝练了其晚年的思想精华。其含义是,艺术创作不应矫揉造作,而应简单与平易,如同每天生活的一部分。简单地将美融入,去打动内心,是美的真正意义所在。而当我看到Kris在东西文化,爱与死亡,美与丑陋中寻求平衡时,我感觉这就是芭蕉在其晚年所悟出的“平易”的体现。

 

 这是为什么,我认为,他的艺术能在中国有如此的受众并不是巧合;更甚至,他的作品已经超越了印象派的概念,或者“艺术家”这个词,而成为了我们当下所需的一种表现形式。

 

文章を書き終えて作品リストを見返すと、そこにはARを用いた新作があった。技術や情報の波を 避けながらも使いこなすアンビバレンツもまた、彼のバランス感覚ゆえなのかもしれない。ニヤ リと笑う彼の顔を浮かべ、ぼくはこの展覧会の成功を確信した。

 

I had just finished writing these sentences after going through the list of work that he has submitted for the exhibition when I checked my phone and saw a chat from Kris. It was two new AR pieces that he had just produced. I read it and was immediately struck by the thought that, this ambivalent balancing act he keeps doing between strong adversity towards technology and his ability to use it is a large part of who he is. I see him smiling at me with that mischievous glint and I knew that this exhibition would be a great success.

 

在我写下这些时,我看完了Kris为此次展览提交的作品,并看见他给我传来的简讯。两个新的运用AR增强现实技术所做的艺术作品。仔细看后,我深刻感受到,他的作品所表现的科技对人性的冲击,与他将科技运用于艺术创作本身,即是一种平衡,也是他与他的艺术观的一种体现。我看见他冲我顽皮地一笑,我就知道,这场展览一定会收获巨大的成功。

 

田尾圭一郎

Tao, Keiichiro

 

 

日本美術手帖

田尾圭一郎

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梦与现实

Between Dream and Reality

 

梦与现实之间的真实是克里斯艺术作品的灵感之源,也是他所追寻的创作状态。“在梦与现实之间有着一个美丽的地方,而我会告诉你如何去到那里。”

 

Between dream and reality lies what Kris calls the origin for his creative inspiration, and a constant balancing identity he pursues for each artwork he creates. ‘Between the reality that we live in and the dreams we have lies a beautiful place.’ And through this exhibition he’d show us how to get there with him.

 

克里斯在梦与现实之间的平衡中,衍生出对爱与自我,人性与科技,自然与城市,人生与旅途等主题的思考,通过明亮的色彩与自由的表现派风格,展现的是艺术家所表达的情感真实背后的哲学深思。

 

On the balance between dream and reality, Kris threaded this exhibition with four main themes: the relations between love and the self, humanity and technology, nature and city life, and life as a journey. Never feared of using bold colors and free flow of energy and emotion to express the truth in this balance, he tells his life stories seemingly through a child’s perspective with a philosophical depth.

 

其中关于科技对人性的桎梏与奴役,克里斯巧妙地通过艺术领域的AR增强现实的技术,来更多元地呈现了他对将来社会中人性所扮演角色的探讨。

 

On his works that tackle the issues of enslaving technology, Kris innovatively incorporates AR technology as a new approach to experience the art that sheds a light on what role technology plays with humanity.

 

此次展览,在多数作品中,将AR引入观展体验,给观众带来的不仅是多元的“梦与现实”的体验,更是艺术家为观者所带来的超越传统艺术观感的解读与互动。

 

Many works of this exhibition have used AR technology in a very new and gamified way to create the audience experience of ‘between dream and reality’ in order to have an art experience that transcends the tradition and leads to a new way of interpretation and interaction between art and audience.

 

爱与自我

Love x Self


该章节收录了克里斯在2017-2018近两年的关于爱与梦想的代表作品,反映了克里斯关于爱与自我之间关系的哲学探讨与其相辅相成的关系,即:大爱始于己。

 

This section exhibits Kris’ recent representative works on love and dream in 2017 and 2018, reflecting his thinking on the relation between the self and the power to love, which he believes big love comes from a round, loved self.


人生与旅行 

Life x Travel


“一直在路上”是克里斯对自己人生的一个评价。他的人生仿佛是棵被连根拔起的树,从地球的一端到另一端,这些作品皆反映了克里斯关于他旅居人生的内心感悟与对人生的思考。

‘Always on the road’ is what Kris said about himself. He sees his life as an uprooted tree, traveling from one side to the other of the earth. Works in this section express the inner truth and feelings he has upon his traveling life.


科技与人性

Humanity x Technology


在对人性与自我的不断深度追求与探讨的过程中,克里斯对当下飞速发展的智能科技感到了担忧。通过他的作品,在不同角度,反映了对科技发展对人性在自我意识,人性自由的影响,以及人类与未知的外星生物的关系的想象。

As a humanitarian at heart, Kris has a concern towards the exponential growth of digitalization and artificial intelligence. Through his works, he explores the relation between humanity and technology, which would be a struggle for the freedom in humanity and self-awareness. He also imagined the relation between humans and extraterrestrial lives.

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城市与自然

Nature x Cosmopolitan

 

来自北欧瑞典的克里斯,对自然拥有着热爱与敬畏,而这让自然成为了他观察世界,感悟内心,感及他人的一个创作视角,去感悟内心自我与他人的关系,去探究内心荒芜下的宁静,困苦里的坚强,以及推己及人的人与人之间的关怀。

Having Swedish culture as his roots, Kris has a deep love and respect for nature, which makes nature a creative lens through which he examines the world and relates to others and views himself. Through works, there are the inner calm in storm, tenacity through adversity and the humanitarian care that connects wide and broad.

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西安当代美术馆

Xi An Contemporary Art Museum


西安当代美术馆,坐落于大唐芙蓉园西门向西,占地2000㎡,是西部首家国有非盈利性质的艺术推广平台。致力于在当今文化全球化的背景中,建构陕西艺术界与全国乃至国际平等对话、交流的场所,引进优秀艺术家、艺术作品及艺术交流活动,建立开放、包容的合作模式,营造国际化、多元化的艺术生态环境,属于中国西部最具影响力之一的当代美术馆。

 

Xi An Contemporary Art Museum situates in Xi An, a city of culture and history in the west of China, opposite to the Lotus Palace of Tang Dynasty, with a space of 2,000 square meters. It is the first nation-owned non-profit art museum and platform in the west of China, facilitating art conversations between China and the international. It is a core construct for an open, equal, inclusive and collaborative art platform that connects artists in China and abroad to build an international and diverse art ecosystem. It is one of the most influential art museum on contemporary art in the west of China.

 

Kristoffer Kullengren

克里斯 库伦格林

 

Kristoffer Kullengren,是瑞典具有代表性的,与独特创作声音的当代艺术家,其作品以情感表达的真实与超现实的抽象相结合,反映的是他“梦与现实”之间的创作平衡,以及融合东西方文化的人生经历。

 

Kristoffer Kullengren is a representative avant-garde Swedish artist with a unique voice of his own. His works are characterized by strong emotional authenticity expressed through abstract and surrealistic constructs, reflecting his creative balance ‘between dream and reality’ born from his unique life experience crossing over the distinct cultures in the east and the west.

 

自幼习画的他,在24岁离开家乡瑞典,定居日本之前,他曾搬家17次,旅居30多个国家。不同国家的语言,文化,饮食及人与人之间的关系,让他在看到人性在不同中的共性,从而他希望通过艺术,去建立一种跨越文化,语言,年龄,人种,社会阶级以及命运的人性共鸣。

 

Painting since a child, Kris moved from Sweden to Japan at the age of 24, before which he had moved 17 times with a travel experience across 30 countries. And this experience of living in greatly different cultures, languages and ways of life has made him see, beyond the differences, the universality in humanity that can bridge the essential differences of culture, language, age, race, social class and life. This realization has become the cornerstone for where his creativity comes from, and the key message he hopes to deliver through his works.

 

采取童真的视角去体察这个世界,是克里斯选择的一种创作声音,因其相信儿童的视角能对世界的一切怀有开放,好奇,接纳的心态,去创造快乐与建立理解。他的作品,给观者往往能带来瞬间正向的情感能量与视觉冲击,而后总能吸引观者随其作品,进入往往关于人性的矛盾与挣扎,爱与自我的探索,城市与自然的共生等哲学探讨。在他看来,每一幅画都即是灵魂在某个时刻的真相,也是一场灵魂对话的发起。

 

Exploring the world through a child’s perspective is a chosen voice of Kris for his creation because he believes it is children who have the most open, curious and acceptive mind to embrace otherness and create happiness. His works are often fingerprinted with an immediate rush of positive energy in visual freshness, with a gradual lead into sometimes the deep philosophy on humanity in its struggle and conflict, on love and the evolving self, on the symbiotic balance between city and nature. To him, every painting is both a moment of truth to a soul and an initiative to reach another soul for conversation.

 

10年间的艺术创作中,Kris不仅在艺术领域将其作品带给更广泛的国际观众,在更广泛的领域,他也与艺术领域领先技术合作,不断为观者创造独特的艺术体验。

 

Within 10 years’ of creative works, Kris has built his name and audience to reach even further the international crowd. And in his cross-disciplinary works such as bringing AR technology to art, he is broadening what artists can do to create new and explorative experience for the audience.


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  • Diwei Chen 2个月前

    期待与大家西安见:)

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