悦·展评 | 思想从展览“结束”开始

An incisive curation of space and art
Cutting By Blunt Knife
—— 评展览《钝刀剌肉》

What makes a great exhibition? Is it great art, great design, great location? Yes, it is all these things, but a great exhibition makes you look at the world in a different way when you leave. This exhibition not only encourages you to examine art and society differently, but also context and space.


Yue Art Museum is a clever variation on the white cube gallery design, providing a flexible space to explore the creation of ‘rooms’ and sight lines. Producer, Wang Feiyue must get great credit for providing this framing and curator, Cheng Xi’s imaginative use of the space is nothing short of inspired.


The exhibition showcases four complementary but distinctive contemporary artists, Sheng Tianhong, Wang Pengjie, Yu Aijun and Zhao Yinou. They create a palate using imaginative media on which the curator has composed a symphony for the eyes.


盛天泓作品 《悲痛》
2018 综合材料 21.2x 15 cm
王鹏杰作品 《极乐界》
2017 布面油画 120X80cm
于艾君作品  《齐天大圣大战拉奥孔》
2019 帆布油彩、棉布、镀金钢针、丙烯缝接
并绘制于黑色绦棉布上 300✕570cm

赵银鸥作品 《20.2013-18》
2013-2018 布面油画 150x220cm

The clever use of a barrier directs you to a lone piece by Wang Pengjie, ‘Independent no.2’ in propylene. Although it stands alone, it can be interpreted in a number of ways and is worth viewing from different angles and distances. It is a mere appetiser for the delights to come.


王鹏杰 《独立No.2》 
2015  布面丙烯  50X60cm

Turning into the main gallery you are faced with an ‘en filade’ of paintings that diminish in size and are hung more closely together. Using more of Wang’s work to draw the audience in. Thus, the audience is drawn closer and closer until you begin to have an intimate relationship with the art and its detail.


At this point the exhibition now really begins to play with the audience. Nothing will be displayed as you expect. You turn to see the back of Yu Aijun’s fabrics hung from the roof. The audience is now fully immersed in the art, you are encouraged to move, explore both front and back of the art and weave between them.


As you move the intimate paintings are now given the new perspective small beyond large as the intelligent groupings and context become apparent.


Emerging from the fabrics you are now faced with a single painting propped against the wall, whilst above you on the mezzanine floor a series of heartfelt paintings by Zhou Yinou flare out into the roof space. The temptation to follow a ceremonial route up the stairs is strong.


However, you are stopped the single painting propped against the wall instantly make you question ideas of display. Nothing is near it. You might even think the exhibition is not complete. Thus, you are not just looking at a painting you are contemplating ideas of display at the same time.

You are forced to look down when you want to look up. The painting creates its own tension ask the audience to engage with a well-known episode from Journey to the West. China’s literary past meets a new conceptual presence. Once upstairs other paintings emerge and you are now required to look up and down and yet more perspectives emerge.


The exhibition is coming to an end. It is the best exhibition I have seen in Beijing this year. The display is the very definition of a liminal space where transformation takes place.





相对于你(盛天泓)的充满中国民间叙事性的大幅绘画,我更喜欢你的小幅实验性作品。但是发现开幕式上您的三幅作品吸引很多中国观众,"你的大画抓住了中国人的灵魂"   。

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