November 20, 2012 - January 19, 2013
London WC1X 9JD
T. 44.207.841.9960 F. 44.207.841.9961
Hours: Mon–Fri 10-6
Chinese Version PDF (215 Kb)
[Scroll down for Chinese version / 向下滾動的中文版本]
Opening reception for the artist: Saturday, November 17th, from 6:00 to 8:00 pm
They are not real landscapes. They are rather about an experience of miao wu [marvellous revelation]. Miao wu constitutes a restless journey of discovery.
Gagosian Gallery is pleased to present new paintings by Zeng Fanzhi, his first exhibition at the London gallery, following the Hong Kong exhibition last year.
Zeng's aesthetic restlessness epitomizes the evolution of Chinese contemporary art in the post-1989 era, grappling with local history and tradition in the face of external influence and accelerated change. Since the beginning of his career, he has presented a succession of powerfully introspective subjects, from the haunting Hospital paintings to the visceral Meat paintings that juxtapose human subjects with butchered flesh; from the enigmatic Mask paintings to candid and startling close-up portraits; from intimate, existential still-lifes to depictions of pivotal Western cultural figures such as Francis Bacon, whose psychic portraits altered the status of the human figure in twentieth century art. Charged with an underlying psychological tension, Zeng's oeuvre reveals the place of the unconscious and the aberrant in the construction of human experience.
For the past decade, landscape has been a central focus of Zeng's art. In highly tactile scenes, the details of representation often overlap seamlessly with qualities of abstraction, as in certain traditional Chinese aesthetic objects. All are expressionistically rendered with extraordinary attention to the material nuances of the painted surface. In densely worked paintings, such as Pure Land (2012) and Untitled (2012), gnarled branches crisscross over dark terrain, accented with swaths of white, teal, violet and rose. Zeng's fictitious place is at once luminous and bleak, where unearthly bursts of vivid color are trapped in snaking brambles that obstruct yet hold the gaze. Filled with brushwork that is both refined and heavily textured, the thick surfaces underscore the physicality of Zeng's painting process. Against these haunting landscapes, the bare yet resilient trees that survive in such harsh conditions hold the promise of renewal and rebirth.
Several works in the exhibition are inspired by the sketches of Albrecht Dürer. In a reversal of conventional East-West aesthetics, Zeng re-interprets Dürer's intricate imagery and thin, precise brushstrokes—which resonate with traditional Chinese painting—with thick strokes of oil paint layered with a broad brush. In The Hare (2012) and Head of an Old Man (2012), the rabbit fur of the former and the flowing white beard of the latter are rendered as masses of carefully delineated, yet aggressively and broadly executed brushstrokes. In his interpretation of Dürer's drawing Praying Hands (1508)—an iconic image that has been endlessly disseminated and reproduced—Zeng moves beyond the overt symbolism of hands clasped in prayer, intent on rendering the nuances of aging flesh in highly textured impasto.
Zeng Fanzhi was born in Wuhan, China in 1964. Major exhibitions include Singapore Art Museum (2007); Musée d'Art Moderne de Saint-Etienne de Metropole, Saint-Etienne, France (2007); Fundacion Godia, Barcelona, Spain (2009); National Gallery for Foreign Art, Sofia, Bulgaria (2010); and Rockbund Art Museum, Shanghai, China (2010). He has participated in numerous international group exhibitions including the first Guangzhou Triennale (2002); the Biennale di Venezia (2009); and "I mondo vi appartiene" at the François Pinault Foundation, Palazzo Grassi, Venice (2011). He will also participate in a major solo exhibition at the the Musée d’Art Moderne de la Ville de Paris in October, 2013.
Zeng lives and works in Beiijing.
For further information please contact the gallery at firstname.lastname@example.org or at +44.207.841.9960.
过去十年，曾梵志以创作风景画为主 他描绘的风景充满质感，细节完美结合了抽象主义的特质，与若干传统中国美学主体相似 他以表现主义的手法作画，非常讲究画作表面颜料的细微变化 在《无题》(2012年)里，大片的白色、青色、紫色和玫瑰红衬托着深色背景上纵横交错的枝桠 曾梵志构想的世界既明亮又荒凉，鲜艳的色彩困在荆棘里，挡住视线，同时又惹人注目 他的笔触细腻而充满质感，厚实的表面强调了绘画的过程。在诡异慑人的风景里，能在恶劣环境下生存的秃树，带有重生的希望
本次部分展出的画作灵感源自阿尔布雷特•丢勒的素描 曾梵志一反传统的东西美学，以粗画笔涂上厚厚的颜料，重新演绎丢勒细致复杂的画面和精准纤细的笔触，呼应中国的传统水墨画 《兔子》(2012年)里的兔毛和《智者》(2012年)里的白胡子虽然笔触粗犷，轮廓却非常细致 在曾梵志的笔下，丢勒最广为流传和临摹的作品《祈祷》(1508年)，超越了双手紧握祈祷的表征意义，极具质感的厚颜料还呈现衰老时肉体的细微变化
曾梵志在1964年生于中国武汉，曾在新加坡美术馆 (2007年)、法国圣艾蒂安现代美术馆(2007年)、西班牙巴塞罗纳高弟基金会(2009年)、保加利亚索菲亚国家外国美术展览馆(2010年)和中国上海外滩美术馆(2010年)等举办展览，也曾参加多次国际群展，包括首届广州三年展(2002年)、威尼斯双年展(2009年)和意大利威尼斯格拉西宫皮诺基金会的“I mondo vi appartiene”(2011年)等 在2013年10月，他将会在法国巴黎市立现代美术馆举行大型个展
Gagosian Gallery was established in 1980 by Larry Gagosian.