April 2019

趙 剛 回 顧 展
Zhao Gang: Diluted Retrospective
April 12 – May 18, 2019

Opening Reception: April 12, 2019 | 7 – 9 PM

趙剛 Zhao Gang, Untitled, 2019, oil and silkscreen on canvas , 80 cm x 100 cm

亞紀畫廊很榮幸宣布將展出中國藝術家趙剛個展。此展將展出趙剛最新作品,包含了兩組觀念性系列:描繪歷史的水彩與油畫、以及於哈爾濱創作的攝影與絹印油彩。展覽取名為「趙剛回顧展 Diluted Retrospective」,以反轉「回顧展」成為觀念藝術本身,謔而不虐地同時回溯中國之為國家、趙剛之為藝術家的歷史。兩組觀念作品將在兩個不同的樓層呈現,回顧且揭示與故事、土地、幻想連結的身份,並在最終由趙剛結合創造。

趙剛此次個展的油畫作品啟發自中國哈爾濱,大型絹印印樣攝影作品描述了這個曾在十八世紀末到十九世紀初期被數個世代的猶太裔俄國難民為逃避暴力而當作棲身之所的城市。透過趙剛自身的滿族身份,也就是從中國東北移居別地的滿人,外來文化也形塑著現代中國。

在中國古代的歷史中,滿人與漢人的衝突不曾停歇。十二世紀時,由滿州女真族創建的金朝侵略了北宋,並在東北佔地為王。十六世紀時,滿洲又再次侵略中國,滿清推翻了明朝。如同當年的女真金朝,清朝也同樣的被吸收漢化。

在兩個土地和文化的狹窄空間,以及俄羅斯所建造中國東方鐵路中心節點,趙剛用攝影記錄下了他所想像的哈爾濱,並透過在影像上的繪畫探索了一個近乎烏托邦的空間。趙剛的作品中的哈爾濱與個人敘事共鳴,點綴著轉移、移民、與越境。再一次,趙剛邀請觀眾一起探索這些歷史敘事,就如同這些故事是如何與他緊緊相扣。

關於趙剛

趙剛,1961年生於北京,生活與創作於紐約、北京、台北。他的藝術生涯啟蒙於在18歲時加入的星星畫會。隨後在歐洲與紐約攻讀藝術,先後畢業於荷蘭馬斯垂克州立藝術學院、美國波啟浦夕瓦薩學院、美國哈得遜河畔安嫩代爾巴德學院藝術創作碩士,趙剛於海外生活超過了20年,並發展出了一系列複雜的作品。在2006年回到中國北京後,趙剛的創作專注在了私人歷史與中國歷史的關係上。他獨特的本地與外地特質影響了他近年來的創作。重要的美術館展覽有:2016年智利聖地牙哥當代美術館 「通往奴役之路II」、2015年中國蘇州蘇州美術館「偶園」、2015年中國北京尤倫斯當代藝術中心 「通往奴役之路」、2011年中國北京今日美術館「病夫:趙剛」。重要聯展有:1990年美國紐約PS1藝術機構/Blum Helman Gallery「門」、2017年美國紐約索羅門古根漢基金會「1989後的藝術與中國:世界劇場」、中國北京長征空間「原地前進」、2018年中國上海龍美術館「轉捩點-中國當代藝術四十年」。重要雙、三年參展則有:2008年「廣州雙年展」、2007年紐約「PERFPRMA雙年展」、2005年「橫濱三年展」。2019年五月,「趙剛:歷史畫」將於美國邁阿密佩雷斯美術館展出。

Each Modern is pleased to present Diluted Retrospective, an exhibition of new works by Zhao Gang comprised of two conceptual series; one of historical watercolors and paintings, and one of photographic works on paper and oil on silkscreen made in Harbin. The exhibition, deceptively titled a “retrospective,” reverses the retrospective exhibition into a conceptual presentation that traces the history of China as a country and Zhao Gang as an artist through new works. Presented on two different floors, the so-called “retrospective” looks back through history to reveal an identity that is connected through lost narratives, land, imagined territory, and ultimately crafted by Zhao.

This solo exhibition of Zhao Gang is inspired by Harbin, China. A set of photographs with enlarged silk screen contact sheets depict the city that was once a refuge for generations of Jewish Russian immigrants fleeing the violent pogroms of the late 18th and early 19th century. Through Harbin, Zhao contemplates his own Manchu identity, the Manchurian migration out of Dongbei (Northeast China), and the role this outsider culture played in shaping modern China.

Through out Chinese antiquity, the Manchu people were in conflict with the Han Chinese. The Jurchen Manchu’s of the Jin Dynasty invaded the Northern Song territories bordering their Dongbei homelands throughout the 12th century. In the 1600’s the Manchu’s would again invade China, conquering the Ming Dynasty and establishing the Qing Dynasty. But like the Jin before them, the Manchu Qing would assimilate and Sinicize.

A liminal space between two lands and cultures, and the central node of the Russian-built Chinese Eastern Railroad, the imagined Harbin is captured in Zhao’s unique photographic artworks. It is a near-utopian space, historically tied to migration and dotted with movements, border-crossings, and stories of assimilations. Again, Zhao invites us to uncover a narrative as much tied to history as it is to himself.

Both series represent a departure from the familiar modes of Zhao Gang’s art making, though they both orbit the concerns of his oeuvre; history addressed with levity, and identity externalized in the historical.

ABOUT THE ARTIST

Zhao Gang (b. 1961, Beijing) currently lives and works in New York, Beijing, and Taipei. His artistic career began as a member of the Stars Group in Beijing when he was 18 years old. Shortly thereafter he pursued an art education in Europe and New York; graduating from State Academy of Fine Art, Maastricht, the Netherlands; Vassar College, Poughkeepsie, USA; MFA, Bard College, Annandale-on-Hudson, USA. Zhao Gang lived for over two decades overseas, developing a complex body of work. After returning to Beijing in 2006, Zhao Gang has focused his practice on his personal past with Chinese history. His unique position as a native and a foreigner has influenced much of his recent artworks. His selected museum solo exhibitions include: The Road to Serfdom II, Museo de Arte Contemporáneo, Santiago, Chile; 2016 Paramour’s Garden, Suzhou Museum, Suzhou, China, 2015; The Road to Serfdom, Ullens Center for Contemporary Art, Beijing, China, 2015; Sick Man: Zhao Gang, Today Art Museum, Beijing, China, 2011. His selected group exhibitions include: The Door, P.S.1 Institute of the Arts/Blum Helman Gallery, New York, USA, Art and China after 1989: Theater of the World, Solomon R. Guggenheim Foundation, New York, USA, 2017; Marching in Circles, Long March Space, Beijing, China, 2017; Turning Point – 40 Years of Chinese Contemporary Art, Long Museum West Bund, Shanghai China, 2018. He participated in important biennial/triennial exhibitions such as Guangzhou Triennial, 2008; PERFORMA 07, New York; and Yokohama Triennial, 2005. Zhao Gang: History Painting will be exhibited at the Pérez Art Museum Miami, in May 2019.