PEID3

Destinies - EXTRA CONTENT Huang Yong Ping

日期
08.02.2010 | 19.03.2010
画廊
London
Carlson is delighted to present Destinies, Yan Pei-Ming’s first gallery exhibition in the UK in the last ten years. Regarded as one of the greatest living painters, Yan Pei-Ming (Shanghai, 1960) has a work that demands very strong and often contradictory terms to be described. In fact, his practice is grounded both in classical Chinese painting, in which figuration and abstraction are diluted one inside the other, and in Western tradition, observed in the expressiveness with which he depicts his subjects, being them persons, landscapes or other figures. For this exhibition Yan Pei-Ming entangled a dialogue between two symbolic figures: Elizabeth II, and Puyi, the last Emperor of China, and between two moments, for both sovereignties are represented in their youth and in their elderly condition. At the same time, this multicultural dialogue of rulers is traversed by a third element, that of the representation of the artist. However, it is not a traditional self-portrait done in the same large-scale depiction of the busts of the potentates. In Dead Artist, Yan Pei-Ming provocatively depicts himself in the same position of Andrea Mantegna’s famous Dead Christ. Doing so, he is not only appropriating one of the most iconic paintings of the Renaissance tradition, but he is also replacing the figure of Christ by his own. With this gesture, he turns himself into a symbol at the same high of importance as the two most representative icons of England and China. Working from memory or from photographic images, his paintings intertwine personal and cultural imagery: fame and anonymity, public figure or intimate subject, death or live, all these questions are resolved inside his works that are, above anything, a deep and often harsh reflection on human condition. As the artists stated in an interview with curator Hou Hanru in 2006, “I am interested in humanity rather than individuality”. Following this reflection about life and death, power and dignity, Huang Yong Ping (Xiamen, China, 1954) has created an installation for the Carlson spaces that reads both as a reaction to an original project that had to be altered due to British Law on animal cruelty as well as a thought provoking statement on the relationship between the art dealer and artist. By playing with size, with visual similarities and referencing Maurizio Cattelan’s ‘A perfect day’ (1999) , the work draws parallels between insects like crickets, known for their thirst for destruction, and the gallery owner Mr De Carlo; here shown on the front cover of a French book that reproduces Maurizio Cattelan’s work.
Yan Pei Ming
Yan Pei-Ming

严培明(1960年生于中国上海)目前生活工作于法国第戎。


从其职业生涯的开始,严培明就对人物和肖像画产生极大的兴趣。他创作了一系列具有表现主义和纪念意义的画像,如佛像、教皇、李小龙,以及一些包括自画像和其父亲肖像在内的个人主题画作。


严培明从不断地绘画中探索使肖像画脱胎换骨的方式,最为著名的是使用一把长如拖把的笔刷,用黑白或者红白相间的颜料快速在画布上层层描绘出作品中经典的形象。


其作品被众多重要机构收藏,包括:澳大利亚国家美术馆,堪培拉;海蒂·霍顿藏品博物馆;S.M.A.K.,根特;广东美术馆,广州;上海美术馆,上海;余德耀美术馆,上海,蓬皮杜艺术中心,巴黎;兰伯特收藏馆;阿维尼翁;弗朗索瓦·皮诺基金会,巴黎;路易威登基金会,巴黎;新地区当代艺术博物馆,第戎;维勒班当代艺术中心,维勒班;LE CONSORTIUM,第戎;角斗场,图卢兹;巴黎现代艺术博物馆,巴黎;第戎美术馆,第戎;雷恩美术馆,雷恩;保尔·瓦雷里博物馆,塞特;德意志银行收藏,法兰克福;曼海姆美术馆,曼海姆;路德维希博物馆,科隆;BANCA POPOLARE DI BERGAMO,贝加莫;COLLEZIONE FONDAZIONE SAN PATRIGNANO,里米尼;贝加莫现当代美术馆,贝加莫;国立二十一世纪艺术博物馆,罗马;东京国立近代美术馆,东京;卡塔尔博物馆管理局,多哈;善载当代艺术博物馆,庆州;WOOYANG MUSEUM OF CONTEMPORARY ART,庆州;马拉加当代艺术中心,马拉加;福尔林登博物馆,瓦塞纳;阿布扎比卢浮宫,阿布扎比;檀香山艺术学院,檀香山;檀香山美术馆,檀香山;夏威夷州立艺术博物馆,檀香山;TIA COLLECTION,圣达非。


严培明的作品曾参加威尼斯双年展,意大利(1995年,2003年);里昂双年展,法国(1997年,2003年);SEVILLE BIENNIAL,西班牙(2006年);伊斯坦布尔双年展,伊斯坦布尔(2007年);曼谷双年展(2018年)。