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Galerie Perrotin, 17/F, 50 Connaught Road, Central, Hong Kong
OUYANG CHUN
A prolific imagination and incredible diligence are the strongest impression Ouyang Chun leaves after a first meeting. Not too long ago, he painted every morning tirelessly from 2pm to 6am, aside from sleeping, he only painted. Ouyang Chun is a man of contradictions, while he uses his innocent and perceptual paintings to suck in his viewers, he himself has had a rather complicated life of experiences, and has exceptionally rational thoughts on art itself. He abandoned middle school, ran away from home and self-educated in the ways of the world. He brushed up against seedy underworld types, who were to later be reincarnated in his paintings as “evil”characters.
Ouyang Chun’s paints an illusory world of childlike imagination that lets him safely dodge the complexities and excitements of reality. At first glance, his paintings look like the scribbles of a child, they are piled up with intense colors, generous layers of oil paints, unrestrained brush strokes, with Ouyang Chun’s metaphors. Ouyang Chun’s painting unintentionally reveals a kind of natural purity, it seems to resist age as well as certain established traditions of painting, but it doesn't feel affected; perhaps we can conclude it has a poetic and magical enchantment.
Luminescence is a series of works Ouyang Chun had been working on from 1998 to 2006, by collecting day to day objects and painting on them, including small boxes, posters, plastic bags etc. His creation, on one hand is very personal narration of life experience, on the other hand, is a sensitive approach to communicate with audience. His way to display thousands of small paintings in a whole wall reaching the ceiling endows these earthly stuff some kind of religious significance.
Ouyang Chun’s academic deficiencies are good and bad, he lacks the painting habits learned over practice, but is instead in touch with a primal force of life, a spiritual influence, and is sympathetic to color. Such poetic images tantalize the collective unconscious of the Post 70s generation.
Huang Yuxing
With this exhibition works of the new series “River”, Huang Yuxing totally abandoned conceptual art, and absorbed himself in the exploration of painting language itself. The paintings look classic, simple and even a bit tedious. It is always one river, either silent or running with whirlpool, and a few trees overlapping with architectural structures as background. But all these seemly simple surfaces are coming out of layers upon layers thin and transparent colours interweaving and interplaying, as well as scraping with knives. Standing in front of these mottled dark blue and green tone paintings, it feels like Monet’s water lily pool, or Rothko’s overwhelming abstract colours. Chinese philosophy believes still water going deep. There is always unpredictable passion underneath external calmness. About this new series, Huang Yuxing’s only explanation is: I just want to paint the lapse and standing still of time. Things flow away day and night, but when an artist standing in front of his canvas, the world is timeless and immortal.
The development of paintings is sluggish nowadays. Compared with other artists in the same generation, Huang Yuxing’s style reveals singularity, which seemingly detached from current social contexts. Yet, there are practically apparent relations with his educational background in the academy, exposing a “fallacious” aesthetic value and “paradoxical” comprehension, which are especially apparent in his latest undertaking. Strong visible impact intertwined with practically thin paints attached to the canvases, endowing the whole picture with an eerie aura. Despite the surrealism prevailing in his paintings, sarcasm about politics, even not explicit or pertinent, serves as the quintessence. Huang’s detachment mirrors a collective consciousness of bunch of people in the same generation. Renouncing conceptualism whenstarting painting, Huang typically fulfills his artistic practices along with modernism, imbuing the new surroundings with new significances and values.
Gao Weigang
Gao Weigang (b. 1976, based in Jixi, Heilongjiang Province, China) is an intensely versatile artist, reveling in his capacity to turn from painting to performance and then to sculpture in the short space of a single project, emphasizing wild experimentation and bold initiative over style or unitary practice. The 2011 winner of the ArtHK Art Futures prize, Gao Weigang evades categorization of his artworks into a particular genre.
His language makes each piece both the apparatus and the product of experiment, transforming objects so they break through the audience’s natural and ideological perceptions of the material world. Gao Weigang’s creations are also personal: they are milestones in the artist’s quest of self-reflection and a constant re-examination of himself. Despite the many artistic forms and materials Gao Weigang adopts and the great aesthetic variations throughout his works, they all reflect his intention to challenge the viewer’s accustomed visual culture with a sense of humour and an overriding hint of skepticism. Whether it is painting, sculptures or installations, the artist manages to retain a strong sense of medium-specificity.
-------------------------------------------- Ouyang Chun was born in Beijing, China. He lives and works in Beijing Solo shows / 個展 2012 Child, Today Art Museum, Beijing, China / “孩童”，今日美術館，北京，中國 Reveling In Rambling, Yuz Museum Jakarta, Indonesia / “囈語”，余德耀美術館，雅加達，印尼 2011 Painting the King, Belvedere-Upper Belvedere & Augarten Contemporary, Vienna, Austria / “王”， Belvedere美術館，維也納，奥地利 2010 Ouyang Chun-Painting the King, me Collectors Room, Berlin, Germany / “王”，me Collectors Room，柏林，德國 2009 Ouyang Chun-Paintings 2007-2009, Galerie Frank Schlag & Cie, Germany / “歐陽春“2007-2009”作品展”，Frank Schlag & Cie畫廊，德國 Alter Ego, Gallery of Art Three on the Bund, Shanghai, China / “個性的另一面”，外灘3號滬申畫廊，上海，中國 2008 Tale of Whaling, Han Ji Yun Contemporary Space, Beijing, China / “捕鯨記”，韓之演當代空間，北京，中國 Infinity Column, Star Gallery, Beijing, China / “無窮柱”，星空間，北京，中國 2007 A Productive Painer, Gallery J Chen, Taipei, Taiwan / “多產畫家”，Gallery J Chen，台北，台灣 Luminescence, Star Gallery, Beijing, China / “璀璨“，星空間，北京，中國 2006 Luminescence - Ouyang Chun’s Solo Exhibition, Star Gallery, Beijing, China / “璀璨 - 歐陽春個人作品展“，星空間，北京，中國 中国 Whaling, Star Gallery, Beijing, China / “捕鯨船”，星空間，北京，中國 2004 We Armed Ourselves with The Flames of Endurance and Arrived in the City of Glory at Dawn, Yanhuang Art Museum, Beijing, China / “我們在燃燒的忍耐中 武裝，隨著拂曉抵達光輝的城鎮”，炎黄美術館，北京，中國 Group Exhibitions / 群展 2012 The 9th Shanghai Biennale, Shanghai, China / “第九屆上海雙年展”，上海，中國 Spin – the First Decade of New Century / Today Art Museum, Beijing, China / “自旋——新世紀的十年”, 今日美術館，北京，中國 RE:PAINTING / Platform China, Beijing, China / “再繪畫”，站台中國 ，北京，中國 Modern@modeng – Gallery Hotel Art Project, Gallery Hotel, Beijing, China / “摩登 - 瑞居藝術計劃，瑞居酒店，北京，中國 2011 Future Pass – From Asia to the World, Abbazia di San Gregorio, Venice, Italy / “未來通行證——從亞洲到全球”，聖格雷戈斯修道院，威尼斯，意大利 Draft, Shanghai Gallery of Art Three on the Bund, Shanghai, China / “白痴”，外灘3號滬申畫廊，上海，中國 2010 Close Encounter, Cheju National Gallery, Korea / “遭遇”，濟州島美術館，濟州島，韓國 The Official Opening of Minsheng Art Museum - Thirty Years of Chinese Contemporary Art, Min Sheng Art Museum, Shanghai, China / “民生現代美術館 開幕展——中國當代藝術三十年曆程”，民生現代美術館，上海，中國 2009 Weaving A Chinese Dream - Chinese Elements in New Generation Art,Star Gallery, Beijing, China / “編織一個中國夢——新藝術裡的中國元素”，星空間， 北京，中國 From Zero to Hero,Star Gallery, Beijing, China / “從 Zero 到 Hero”，星空間，北京，中國 Art Beijing 2009 Thematic Exhibition: Art Unforbidden Poetic Daily - Group Exhibition by Young Chinese Artists, National Agriculture Exhibition Center, Beijing, China / “詩意· 日常——中國年輕藝術家群展”，全國農業展覽館，北京，中國 2008 Realms of Myth, Shanghai Gallery of Art Three on the Bund, Shanghai, China / “神話之界”，外灘3號滬申畫廊，上海，中國 Looking for me,Minsheng Art Museum, Shanghai, China / “找自己”，民生當代藝術中心，上海，中國 2007 Escape By Crafty Scheme - Salvation From Traditional And Revolutional Language, Square Gallery Of contemporary Art, Nanjing, China / “金蟬脫殼——從傳統和 革命中的語言拯救”，四方當代美術館，南京，中國 The Generation Pulled From the Center, 798 Art District, Beijing, China / “抽離中心的一代”，798藝術區，北京，中國 Hand + Experimentation, Tokyo Wonder Site, Tokyo, Japan / “手+實驗” ，TWS，東京，日本 2006 The Self-made Generation, Zenda Museum, Shanghai, China / “自我造局” ，上海證大現代藝術館，上海，中國 Experience New China, Arario, Beijing, China / “超驗的中國” ，阿拉里奥北京，北京，中國 New Interface - Landing of UP Generation, Red Bridge Gallery, Shanghai, China / “新界面——UP 一代登陸展”，紅橋畫廊，上海，中國 2005 Next Station: Cartoon?, Star Gallery, Beijing, China & He Xiangning Art Museum, Shenzhen, China / “下一站,卡通嗎?”，何香凝美術館，深圳，中國 The Generation After Market Changes China, Mingyuan Art Center, Shanghai, China & Today Art Museum, Beijing, China / “70 後藝術——市場改變中國後 的一代” ，明園文化藝術中心，上海，中國，今日美術館, 北京, 中國 Naughty Kids, Star Gallery, Beijing, China / “壞孩子的天空” ，星空間，北京，中國 The Game of being Low and Shallow - The Rising of the cartoon Generation, 3818 Cool Gallery & Hanno Art Gallery, Beijing, China / “低和淺的遊戲——卡通 漫畫一代的崛起”當代藝術展，3818 庫,世紀翰墨畫廊，北京，中國 The Second Chengdu Biennale, Chengdu, China / “景觀· 世紀與天堂”，第二屆成都雙年展，成都，中國 A Cartoon, TAIKANG Top Space, Beijing, China / “一卡通” ，泰康空間，北京，中國 2004 Ideal of A New Generation, He Xiangning Art Museum, Shenzhen, China / “少年心氣”，何香凝美術館，深圳，中國
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