文章 Articles -《海相》展览前言

2015年3月19日

海报-01

海相  

“海相”这个展览是对于时间的解读。艺术家曼努埃尔·瓦伦西亚通过绘画表现时间的纬度和张力,同时诉说人类本真的一种诉求,即自身的归属感。艺术家在变幻莫测的海面上寻求一种征服欲和永恒性。

海相:将大海的多面性来对应人间众生。对人的意识而言,就是“想” 即人的意识对事物的某种反映,也是人的意识对某种程度的相状摹写。

在过去7年的工作中,瓦伦西亚将他的视角拉长,又放缓。他透过窗外马略卡岛深入大海的一隅,看到内心无限的自由和创造力。这次展览中的一件作品由34幅同样视角的画面组成,它们构图统一,似乎遵循着某种定律,但是近距离观察时却发现它们可能存在着绝对的差异。它们材料复杂、多样,甚至展现完全不同的绘画风格和由情绪演绎的艺术家内在本身存在的文化对立。34副作品似乎在展现34中不同风格的艺术表现形式,出自34个不同的艺术家。从极简主义到抽象表现主义,从拼贴到涂鸦,从印象派风景到水墨写意,瓦伦西亚尝试着所有可能性,但对于他来说唯一不变的是他独特的气质,这种气质是他的标志,于是他将海平面变成了一面镜子,映射人的内心。他将7年的持续工作汇聚成这一秒的呈现,当观众面对他的作品时,他们看到的是对时间和空间的高度统一。

在瓦伦西亚的作品中,我们所看到的不仅仅是恬静的海平面,而是思绪万千的自我内心的揭示。海的朝夕变换,也好似人的喜怒哀乐。人类每呼吸一秒就将生命延续一点点,这每一秒钟所发生的事情都有可能改变全局,它微妙、脆弱,又伟大和值得期待。这也许就是时间这个抽象的概念使我们痴迷的原因,我们无法控制它却要完完全全依附于它。瓦伦西亚将时间统一在这一秒的观察中,使它静止,并让自己和观众都陷入思考。静止的力量即转为对内观察和审视的契机。这个过程不同于科学实验数百次只为获得一次意外的惊喜,对于艺术家来说,他没有目的,只为通过思想的创造力将这一平静和永久的瞬间描绘出永远不一样的风景。每一幅画面都是静止的,但也是流动的。也许更多的人只能看到海平面的恬静,但瓦伦西亚却获得了来自内心无限的归属感。

这个展览所讲述的是一个与时间竞赛的故事。繁复的世界和紧张的外交官日程,没有剥夺瓦伦西亚内心的自由。他将绘画转化为内观的过程。这些绘画作品是其内心的写照。视觉的体验也许短暂,但是记忆和思考的纬度更广也更长久。今天,我们需要这样一种精神,因为热爱绘画,将绘画作为一种生命力延续的象征,瓦伦西亚成为了一个通向未来的使者,艺术的生命力是他手中的火把,使创造力不断前行。

 

李诗

2015年3月 北京

 

The Skin of the Sea

“The Skin of the Sea” is an exhibition that deciphers time. Artist Manuel Valencia expresses the latitude of time and its strength by means of painting, which meanwhile narrates an appeal of human nature, id est the immanent belongingness. On top of the volatile ocean horizon, the artist is in quest of a sort of conquer and eternity.

The skin of the sea: to respond to all living creatures in the secular world with the versatility of the sea. With regard to human consciousness, it refers to “thinking”, namely the reflection of human consciousness on things, as well as the facsimile of a certain extent.

In the work over the last seven years, Valencia has stretched his perspective and then retarded. Through the corner of Mallorca embedded in the ocean outside his window, he has seen the boundless freedom and creativity in his heart. One series of work in the exhibition is comprised of thirty-four pictures from the same angle, and the unified composition seems to be following some kind of regular pattern; taking a closer look, some absolute discrepancy therein may be visible. Made of complicated and diverse materials, they demonstrate widely different artistic styles and an emotive cultural contrast inherent in the artist alike. The thirty-four pieces seems to present thirty-four varied artistic expressions by thirty-four varied artists. From Minimalism to Abstract Expressionism, collage to graffiti, Impressionist landscape to freehand ink wash, Valencia experiments on all the possibilities, but the one and only changeless is his distinctive aura that is symbolic of him; therefore he transforms the ocean horizon into a mirror whereon human hearts are shown. He has condensed his continual work of the last seven years into the presentation of this moment. When confronted with his works, the viewers see a supreme unity of time and space.

What we see in Valencia’s works is not merely a serene ocean horizon but also a revelation of a myriad of thoughts. The morning and evening tides of the sea resemble the emotions of human beings. Every breath that one takes extends the life a little, and what happens within the time of each breath may change the situation at large, which is delicate, frail, yet grand and worthy of expectation. Perhaps this is why the abstract concept of time enthralls us—we cannot take control of it but must adhere completely to it. Valencia unifies time within the observation of this second, freeze-framing it, and submerges the viewers as well as himself in meditation. The stilled power is hence transformed into an opportunity to inspect inward and ponder on the internal. Such process differs from the scientific experiments that repeat hundreds of times to achieve serendipity once; as an artist, he is dedicated to depicting the ever-changing seascape out of the peaceful and perpetual instant, with spiritual creativity yet without an aim. Every scene is static, and meanwhile flowing. Maybe it is the tranquility of the ocean horizon that the majorities see, but Valencia has attained the infinite belongingness from the depths of his heart.

This exhibition narrates a story of competing with time. The intricate world and the demanding diplomatic schedule have not deprived Valencia of his inner liberty. He transforms the act of painting into a process of introspection. These paintings are a portrayal of his heart. Visual experiences can be ephemeral, but the latitude of memory and cogitation appears wider and longer. Today, we need such kind of spirit; by virtue of the passion for painting, making the act of painting an emblem of vitality, Valencia has become an ambassador to the future, holding a torch lit by the fire of art that shines glory in the never-ending path of creativity.

 

By Shi Li-Sanderson

Beijing, March 2015

文章 Articles:艾拉多斯——界渡交撮 Islados: Liminal Crossings

 

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艾拉多斯——界渡交撮

初次寓目西班牙艺术家曼努埃尔·瓦伦西亚的综合材料单色海景《艾拉多斯》,便觉闯入诗情画意筑起的圣殿;此乃汲取浪漫主义、抽象表现主义与极简主义惠泽之作。放眼汪洋,瓦伦西亚以双层构图托出的海平线没入梦幻泡影,恍若尘埃落定与望尘莫及交锋的渺远边际。《艾拉多斯》引人联想到马克·罗斯科、赛·托姆布雷和格哈德·里希特作品中直抒胸臆的诡谲水平线,置观者于浩瀚的视域中切身体悟无垠,并将超逸绝尘内化为自身的延展。瓦伦西亚坦陈《艾拉多斯》“是一场有始有终没有彼岸的梦。艺术家的孤寂,空旷如沧海,无人问津且遗世独立……无尽大观悉收眼底。”

观,目光游走明暗之间,此举自古便令善思者与艺术家心往神驰,是超越时代与文化的情感呼应。观者,由身及心也,是主观性从原始意识通向自知自明的渡口,稍纵即逝。透过明暗错落,心魂深处的觉识界线依稀可见。因赋有哲学、科学、文学及心理学等多重意蕴,这条界线也必将归顺于妙手偶得的艺术诠释。

与其称《艾拉多斯》是单纯的画面提取,毋宁说它是由复杂视像所激起,是艺术家形影相吊的浪漫写照。若以瓦伦西亚惯用的跨文化手法与媒介品评《艾拉多斯》,会咀嚼出一些新鲜独创、引人入胜的意味。

瓦伦西亚生于马德里,成长于西班牙北部的巴斯克沿海地带。醉心艺术的他年轻时便走访了一批以对光线敏锐、创作保持偶然性与自发性而闻名的西裔或荷裔艺术家的工作室。瓦伦西亚曾负笈荷兰海牙,求学四载,打牢了绘画、构图及当代理论等基础;作为具象艺术家,他专攻超现实主义,且在布面与木板上苦练丙烯、水彩以及文艺复兴时期的荷兰及佛兰德坦培拉技法,如此又度过十四个寒暑。现已踏遍世界、阅历颇丰的瓦伦西亚亦曾全职投身商界,他坦言自己“易受外界触动”且愿探索他口中的“人生积淀”。十五年前,一次大开眼界的京都之旅令瓦伦西亚在中国唐宋美学中流连忘返。观赏与创作中另辟蹊径展露亚洲之美,照瓦伦西亚所言,“为人从艺,皆改变我良多。”

瓦伦西亚将《艾拉多斯》谓为“弦上的景观……观念与情感在巨幕上的角力”。浏览画面,可见线条狂放,直指身心张力。或以砑光轧线,或以既成纱织,或以搓捻纤纸,一连串起伏的线条随瓦伦西亚的笔墨跃然纸上,在眼前婆娑起舞,浑然天成。这些粗犷的线条凌厉、不羁、笔力雄健,如草书般洋洋洒洒,彰显出近乎悟道的自在与纵情挥毫的快意。

蜷曲的线条在温润的宣纸上飞舞出异于艺术传统的写意表现。如登台的演员拿捏分毫,瓦伦西亚勾勒出内心抑扬顿挫的悸动,时而嘈嘈如急雨,时而切切如私语,将小字、诗句、风暴、气流、炸裂、喷发等片段纵横交叠,将波点集成乱笔,再成结扣,终成湍流。于此可见的并非直抵无限神思的路径,而是艺术家深思熟虑的凿、撕、刮等手笔以及有意而为的解构与重塑。在纵欲与抽象之间,瓦伦西亚将线条、形状与材料塑造成立体突兀,如肉体的延伸支配着空间。在不少作品中,左侧海滨凸出,嵌入海面,截断海平线。这些纸型左岸反复运用其肌肉般的扭曲,在此番犀利的表现中更显耽于声色。这是肉欲,是本能,是蒙昧,阻碍我们谛观无量。

瓦伦西亚独创的岸、山、线条形态渗出发自肺腑的力量,名正言顺地主宰着其所到之处。他以文学元素给作品赋予含义。在一件重要作品中,他影射了死亡、空白、绝望等虚无主义主题,并手书摘自艾略特战后诗《空心人》的哀婉章句。半透明、脆弱等主题对渡与灭不作预设,却也在瓦伦西亚的作品中有着预兆未来的作用。在另一件迷人的装置中,他把绳线悉数提起至脱离布面,将其悬挂宛若扯裂的网帘;该作品不受视角所限,而本质上这一形式和材料却不堪一击。

瓦伦西亚绳线交撮的海景在纸面上展开一场感官的较量,尤其是在与时空隐逸有着深厚文化历史渊源的宣纸上,绵延出色欲伪装的嬗变海平线,质疑着我们在感知的临界已被同化的观看习惯。浏览画面,观者会被引入一个旋即漂浮、切断的认同过程,没有惟一答案却为始终如一而上下求索,无休无止。《艾拉多斯》吁请我们接纳渡越疆界已融为一体的认识。由此观之,瓦伦西亚本人作为艺术家和现任西班牙驻华大使的双重身份也例证了在自身与世界交撮之际真实、忘我的美学体验。

 

谨为艺术家曼努埃尔·瓦伦西亚作此文

《海之诗:曼努埃尔·瓦伦西亚近作》

二〇一五年三月于北京元空间开展

毛奕齡二〇一五年二月书于纽约

(中文译者:彭哲文)

 

Islados: Liminal Crossings

 

At first glance, Islados, a series of monochromatic, mixed-media seascapes by the contemporary Spanish artist Manuel Valencia, seems to stage a poetics of the inner sanctum, drawing from the artistic legacy of Romanticism, Abstract Expressionism, and Minimalism. In open marine vistas, Valencia’s two-tiered compositions usher forth an ocean horizon, submersed in an illusory dream, as a distant periphery that evokes a poignant confluence of the complete and the unattainable. Reminiscent of the spectral horizons seen in the spiritually inspired works of Mark Rothko, Cy Twombly and Gerard Richter, Valencia’s Islados envelops our eyes in an immense visual field, evoking a sensory experience of infinity, and internalizing the sublime as if an extension of the self. In an artist statement, Valencia describes Islados as “A dream with a start and an end, but no shoreline. The artist’s loneliness, empty and wide like the sea, an isolated being, secluded but independent…an endless landscape but only in the limit of our eyesight.”

The act of seeing, upon the threshold between darkness and light, is an emotive response that has historically enthralled thinkers and artists over time and across cultures. It is that momentary crossover of realms when subjectivity is transferred from a primal consciousness towards a heightened self-awareness, from body to mind. Through an experience of light differentials, a boundary on the cusp of inner consciousness emerges. Fraught with enriched meanings and interpretations in philosophy, science, literature, and psychology, as such, it is inevitable that such a boundary would also yield itself to the most inspired artistic interpretations.

Yet Islados is galvanized by a more complex vision than being simply distilled, lyrically romantic self-portraits of the lone artist. When evaluated in the cross-cultural palette of methodology and media in which Valencia actively engages, something new, original, and intriguingly significant about Islados emerges.

Born in Madrid, Valencia was raised along the shores of Spain’s northern Basque country. Passionate about art, in youth, he had visited studios of Spanish and Dutch artists known especially for their sensitivity to light and for openness to chance and spontaneity in the creative process. Valencia’s four years of training in Stichting de Vrije Academie voor Beeldende Kunst, Hague, Netherlands grounded him in drawing, composition and contemporary theory. He trained as a figurative artist for nearly fourteen years, leaning on Surrealism, also familiarizing himself on canvas and wood, with acrylic, watercolor, and tempera glazing technique of Dutch and Flemish Renaissance. A seasoned world traveler given his former occupation as a full-time businessman, Valencia admits being “porous to external influences” and open to explore what he calls “the sediments from life experiences.” A trip to Kyoto fifteen years ago was an eye-opening experience that regaled his sensuality to the Chinese aesthetics of the Tang and the Song dynasties. The revelation of Asian aesthetics as an alternative way of seeing and creating, according to Valencia, “had changed me as a man, as an artist.”

Valencia calls Islados, “Landscape of strings…a fight between concept and emotion against a dramatic background.” From frame to frame, lines gesticulating such psychosomatic tensions are rampant. In the form of mangled threads, found yarn, and twisted fibrous paper strings, a spectrum of undulating lines protrude from Valencia’s ink-brushed surface, engaging our eye in a raw optical dance. Adventurous, edgy and exuberant, Valencia’s rugged lines seemingly resonate with the abandon of cursive calligraphic script. They exalt a similar freedom in the process of becoming and a brimming energy as if brushwork in execution.

Fastened onto the supple leniency of Chinese rice paper, his gnarling lines of threads wage a gestural performance against established artistic conventions. Like characters on a theatrical stage, his lines rhythmically pulsate, at times in a murmuring whisper, at times in a thunderous torrent, taking the shapes of small letters, poetic stanzas, storms, atmospheric winds, explosions, and eruptions, crisscrossing and converging into wavelengths of dots, scribbles, knots, and turbulence. Visible here is not a mere invitation into a mindful infinity, but rather, the artist’s deliberate hand at gouging, scrapping and scratching, and his conscious effort at deconstruction and reconstruction. Between carnality and abstraction, Valencia fashions lines, forms, and materials that protrude three- dimensionally, like bodily extensions dominating the space. In more than a few works, a leftward shore juts forth repeatedly, butting into the ocean to intercept the horizon. More animalistic than passive, in their edgy embodiments, these left banks molded from paper-Mache repeatedly exert their muscular contortions. They are carnal, visceral, barbaric things that interfere to thwart our gaze towards the infinite.

Valencia’s inventive shape of the shore, the mountains, and the lines, exude a visceral strength, authoritatively possessing the space in which they are placed. Valencia uses literary elements to imbue his art with meaning. In one notable piece, he alludes to the nihilist themes of death, void, and despair, handwriting stanzas directly from T.S. Eliot’s elegiac post-war poem, “The Hollow Man.” The themes of translucency and fragility, in its open-endedness to crossings and destruction, also come to play a portentous role in Valencia’s art. In a haunting installation, Valencia lifts the entire spectrum of his fibrous threads, off the canvas, suspending them as if a faint curtain of torn webs, making the piece, accessible from all views, but ultimately vulnerable and eroding in form and material.

On a paper surface such as the Chinese rice paper, especially one that is intimately loaded with cultural and historical references to spatiotemporal seclusions, Valencia’s stringed seascapes wage a sensory battle, to stretch open a volatile horizon of sensual guises and quintessentially calling into question our acculturated habits of seeing at the threshold of perception. From frame to frame, the viewer is lured into an open-ended identification process that is at once afloat, disconnected, always negotiating for coherence, but never ending. Islados solicits us to enter into an open acceptance of conflated recognitions across borderlines and boundaries. It is from this view that Valencia’s own dual identity as an artist and as the incumbent Ambassador of Spain to China becomes a stirring embodiment of an authentic, all-consuming aesthetic experience at the crossing of the self and the world.

 

An essay for the artist Manuel Valencia

For Sea Poems: Recent Works by Manuel Valencia

An exhibition at Yuan Space, Beijing CHINA, March 2015

 

By Yiling Mao

New York, February 2015

团建Team Building-YMPC团队赴2015年香港巴塞尔博览会考察

2013年3月15日

2015.3赴香港考察2015.3赴香港考察1

此次团队考察主要以香港艺术活动和艺术展会类为主。学习大型艺术博览会在亚洲地区的布局、策划、流程安排、经营方式,考察展会现场效果。同时对大型艺术展会举办期间周边的艺术配套活动也进行了相应的考察。

在3天的行程中拜访的机构包括:

a.香港高古轩——画廊

b.香港White Cube——画廊

c.现代传播——媒体

d.亚洲艺术档案馆 Asia Art Archive——艺术档案

e.香港巴塞尔艺术博览会现场——艺术展会

f. 牛棚艺术村——独立艺术机构

e. 诚品书店——文化设施

g. 置地广场中庭——公共/商业场所艺术装置