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蘇州博物館關于推遲啟動2020年度新志愿者招募工作的公告

各位尊敬的觀眾及市民朋友:

因新型冠狀病毒肺炎疫情的發展,蘇州博物館2020年度新志愿者招募工作將推遲啟動,具體啟動時間請關注蘇州博物館官網或微信公眾平臺發布的通知。

感謝廣大觀眾及市民朋友一直以來對蘇博志愿社的關心與支持,蘇博志愿社的全體志愿者也將持續提升服務水平,用熱情、專業和耐心服務更多蘇博觀眾。

同舟共濟,共克時艱,相信我們定會戰勝疫情!

蘇州博物館

2020年2月7日

關閉

蘇新平——萬物是凝固的

展覽時間: 2019年12月15日(周日) - 2020年5月05日(周二) 展覽地點: 現代藝術廳

前言

展覽試圖研究80年代蘇新平先生繪畫中的空間和色彩關系,因為只有黑白灰,空間被簡約的圖像占據。柱體在畫面中一直存在著,如同人類文明的象征。而牧者、白馬、鷹飛之空間的張力,如果被還原成空間化的沉浸式體驗。觀看從觀者凝視的姿態,轉為畫中人。我很想去體會80年代強烈陽光下的草原,牧民生活的浪漫自由,人與自然親近無隔膜。這些被置于空間中的,對精神和想象力的抽象,應在蘇新平先生寧靜自省的姿態中,灰度和空間感應,恰好與畫面的感受一致。

貝聿銘先生設計的蘇州博物館,外在看類似仿古建筑,使用了蘇州民居的傳統風格,內里卻是現代建筑的簡約內斂,保留一個傳統的草亭。蘇州博物館完成于2006年,考慮到藝術展覽的需求,設計了一個可以做展覽的空間,空間構置與其他空間一致,光感和遮擋,伴隨著展覽增減。2006年蔡國強創作的火藥亭子,與貝聿銘先生藏在一隅的草亭,呼應著傳統和現在。層層疊疊的山,中心的一汪池塘,連接著草亭和現代展廳的空間景,與天地接。

空間上的聯系,是從蘇新平先生80年代的創作到現在的,也是對整個建筑關于灰度、簡約的回應。希望從畫面的空間里,擴展出的明暗關系,進而去思考時代和人,是蘇新平先生80年代的獨白,也是同一文化血脈下,與仙去的貝聿銘先生在空間上的對話。

如果你能體會80年代文學的美,也就不難理解蘇新平先生繪畫的純粹。你看到的和能感知到的共情,也會在。

 

 

Preface

 

The exhibition attempts to study the relationships between space and color in Su Xinping’s paintings from the 1980s. Because there is only black, white, and grey, the spaces are occupied by concise imagery. Pillars are always present in the images, like symbols of human civilization. If the spatial tension between herders, white horses, and eagles are returned to a spatial, immersive experience, viewers shift from being onlookers to being people in the painting. I really wanted to experience the 1980s plains under the intense sunlight, the romantic freedom of herding life, and the unobstructed intimacy between man and nature. These elements are the abstraction of the spirit and imagination, situated in the space. In Su Xinping’s calm and introspective attitude, the response to greyscale and space are consistent with the emotion in the works.

 

From the outside, the Suzhou Museum, designed by I. M. Pei, looks like a cluster of old-style buildings, referencing traditional residences in Suzhou. However, the interiors are simple and restrained, complete with a traditional thatched pavilion. The Suzhou Museum was completed in 2006, including a space designed with art exhibitions in mind. This space is arranged in a similar fashion to the museum’s other spaces, and the light and shade fluctuate with the exhibitions. The gunpowder pavilion that Cai Guoqiang created in 2006 and the thatched pavilion that I. M. Pei placed in a corner reflect the echo between the traditional and the present. Layered mountains and a pool in the center are connected to the spatial settings of the thatched pavilion and modern exhibition galleries, linking heaven and earth.

 

Spatial relationships are Su Xinping’s response to the greyscale and simplicity of the entire building, but they have also permeated his work since the 1980s. He hoped to, from the relationships between light and dark in the spaces in his paintings, further consider man and their times. It is a 1980s monologue by Su Xinping, but it is also a spatial dialogue with the late I. M. Pei in the same cultural context.

 

If you can appreciate the beauty of 1980s literature, it’s not difficult to understand the purity of Su Xinping’s painting. What you see and the empathy you feel are both present.

 

Curator: Li Zhenhua

excerpt from Li Zhenhua:“Su Xinping”

 


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