一月
肆 [
日 ]
拾號
4. January
issue 10
本期藝術家
the Artist
梁曼琪 1986 出生于广东珠海 2009 毕业于中国美术学院公共艺术学院美术教育系 2011 赴德国柏林艺术大学学习 2012 毕业于中国美术学院中德艺术研究生院（CDK）绘画系获取 柏林艺术大学美术硕士学位 现居住与工作在杭州，自由艺术家
展览经历 2011.7 2012.3 2012.7 2012.10 2013.2 2013.5 2013.6 2013.9 2013.9 2013.11
<Rundgang> 柏林艺术大学，柏林 <Art Beijing 2012 艺术北京 >，北京农业展览馆，北京 <2012 夏季群展 >，清影现代艺术空间，杭州 " 庭院——清影四周年邀请展 "，清影现代艺术空间，杭州 "Kate’s Apartment 开幕展 "，心舍工作室，珠海 " 第六届杭州艺术博览会 "，浙江世贸国际展览中心，杭州 " 上海城市艺术博览会 "，上海豫园万丽酒店，上海 "2013 杭州德国周－中德艺术展 "，杭州洲际酒店，杭州 " 半野与半拉子－艺术行为邀请展 "，半野酒店，杭州 " 地下 x 空间 x 物质—艺术家驻地项目个展 "，梦想家，杭州
Manqi Liang
1986 born in Zhuhai,China 2009 graduated from China Academy Art (CAA) 2012 graduated from Die Universit채t der K체nste Berlin (UdK) Master of Fine Art Now is working and living in Hangzhou.
Exhibition 2011.7 2012.3 2012.7 2012.10 2013.5 2013.6 2013.9 2013.11
"Rundgang", Die Universit채t der K체nste Berlin (UdK), Berlin "Art Beijing 2012", Beijing "Summer group exhibition", Inna Contemporary Art Space, Hangzhou "Garden", Inna Contemporary Art SpaceII, Hangzhou "Hangzhou 6th Art Fair", International Trade Exhibition Center, Hangzhou "Shanghai City Art Fair", Wanli Hotel, Shanghai. "2013 Hangzhou Deutsche Woche", Zhouji Hotel, Hangzhou. "Underground", solo exhibition, DreamerHouse, Hangzhou
梁曼琪
採訪記錄
Interview with Manqi Liang
肆：为什么会选用消除常规视觉经验的抽象形式来表达 你的艺术？ 梁：我也常常在想什么是常规的视觉经验这个问题。对” 地下之光”这件作品，我换了呈现的载体，选择在三维 的空间里去寻找色彩、构成本身更多可能性，消除空间、 回归平面只是其中一种表达方式。欧洲文艺复兴开始大 师们已经开始研究解剖、透视，试图在二维的画面上画 出写实的三维物体，反观这种观念，其实也可以说是消 除常规视觉经验的一种表达。在我看来，无论过去还是 现在，视觉空间一直是画家们的一种本能的探索欲，我 也不例外。在平面里通过绘画寻找空间，而我现在在做的， 是在三维空间里通过绘画寻找平面。
S I : W h y y o u c h o s e t o e x p re s s y o u r a r t b y eliminating the general visual experiences? LIANG: I often think about what exactly the general visual experience is. Regarding to ‘The Light Underground’, I changed the platform of presenting, which is to search into 3d space of more possibilities between colours and structures. The elimination of the space and return to the plane is just one of the ways to show my concept. Since the European Renaissance, the old masters had already started to research Anatomy and Perspective, they trying to draw realistic 3d objects on a 2d plane. This can also been seen as an expression of eliminating the general visual experience. In my opinion, no matter in the past or in the present, the visual space exploration is always an instinct desire for painters, and I am no exception. This is what I am doing now, to pursuing the 2d plane by painting within the 3d space.
肆：你的作品是对空间和色彩的表达 , 这种表达是一种 私密的个人感悟还是对知识的形象化表述？ 梁：我觉得这两者并不矛盾。首先艺术表达必须先有个 人真实的情感和感悟，然后通过自身建立的知识体系和 绘画语言，形象化地表达出来。
SI: Your work is an expression for the space and colour, is it an intimate personal feeling or a visualization of knowledge? LIANG: I think these two are not contradictory. First, you must have your personal emotions and experiences, and then through building your knowledge system and own language of painting, to express the inner feelings visually.
肆：我注意到在 < 地下之光 > 这件作品中作为组成光的 材料 " 三原色 " 都不是纯色，而是在淡淡的灰色调中， 你为什么会做出这样的处理。 梁：这点我在我创作期间也思考过这个问题。我想借用 自然光中的”三原色”概念去完成这个作品，如果我对 红蓝绿这几种颜色经过调和，是否已经违背了此观念本 身？在创作的过程中，我还是回归自身的色彩系统，根 据自己的感觉和方式将颜色进行重组。就是根据一个画 面的色彩需要，没有过多重视观念本身了。不过这个问 题问得很好，我这个作品想表达的概念有点多了，这点 在我以后做空间项目之前就必须要考虑清楚的。
SI: In ‘ The light Underground’ project, the colours you used as the composition of light are not the original RGB colours, but in a grey colour tone. Why did you make such an effect? LIANG: I also have been thinking about this question during working. I want to use the original RGB colour to complete the work. If I mix the three colours, was this concept already been violated? During making this work, I still returned to my own colour system, I followed my feeling and method to restructure the colour. So make it just to follow the need on a picture, without much focus on the concept. I think this question is very good, that is I admit my concepts on one work were too many, I should have had a well consideration before starting a space project next time.
>>the light undergrund installion 2013
肆：同样是在 < 地下之光 > 这件作品中被场景遮挡住的 颜色（比如柱子的背面）你是怎么决定的？ 梁：我在做这个空间作品前，首先已经设定好了一个观 看点。我是根据这个观察点的视觉感受去完成这一平面 空间的概念的。其它面的主色调是绿色，不在特定角度 以外的色彩我是凭自己的色彩感觉画的。不在考虑范围 以内。
SI: Also in ‘The Light Underground’ project, how do you determine the colour which was obscured (for example, the back side of the column)? LIANG: Before I planned to do this space project, I had already set a specific watching point. And then I complete the whole plane space based on this specific point. Besides this point, the other sides are mainly green, and I painted them based on my sense of colour. I’m not taking them into consideration.
>>dreamerhouse installation 2013
part of work Crystals Charcoal on paper 104x77 cm 2013
肆：< 晶体 > 和 < Dreamerhouse> 这两件装置作品和 之前的作品有一些转变，这种转变的原因是什么？ 梁：这次个展是一个驻地项目展览，艺术家有一个月的 时间在梦想家这里进行创作。晶体的石膏体是我在这段 比较短的驻地时间里完成的。也根据现场环境来整体思 考，这组作品希望能从多维的感受传递我的情绪和感受。 而 <Dreamerhouse> 这个作品也是我即兴创作的，我 认为这是一个实验的空间，不像专业画廊和美术馆那么 多限制，我可以随心所欲实现自己的想法，没有像之前 的作品那样想得太深，保持了我最初的激情和温度。
SI: In comparison to your previous works, we found that there are some changes in the two installation works ‘Crystals’ and ‘Dreamerhouse’, how does this happen? LIANG: This solo show (Cr ystals) was from a residency project. The chosen artist has a month to create works in the Dreamerhouse. Within such a short time, I complete the plasters in ‘Crystals’. I also took the site environment into whole considerations; I hope to transmit my emotions and feelings through multi-dimensional expression. The ‘Dreamerhouse’ project was another improvisation. I think it is an experimental space, not like professional galleries or art museums which have too many restriction. I can realize my thoughts by following my own wishes. This work was not like my previous works that was so thoughtfully, so that it kept my initial passion and temper.
>>Crystals (live) installation 2013
>>black energy oil on canvas 120x120 cm 2013
肆：你对自己作品的表述很有职业艺术家范，你是怎么看待艺 术家这个职业的？对自己后面的艺术生涯有怎样的规划？ 梁：我真不知道职业艺术家范的作品表述是怎样的。我喜欢我 现在的创作激情和生活状态。有时候会觉得，艺术家也不过是 一个称呼，别人如何称呼你的身份而已。最重要的是我如何认 识我自己和艺术的关系，并且找到一个适合自己的平衡点。就 这样一直坚持走下去。
>>untitled oil on canvas 120x120 cm 2013
SI: Your expression of your own works is very professional, how do you see of being an ‘artist’? How do you plan your artistic career? LIANG: I don't really know what is so called ‘professional expression’. I enjoy my current working passion and life status. I sometimes think, ‘artist’ is just a name, depends on how others call your status. For me, the most important thing is how to recognize the relationship between art and me. And to find out a balance point that suits myself. And then keep going with it.
肆：说说那些影响了你的艺术家吧 ? 梁：20 世纪 30 年代后西方很多艺 术家都深深影响了我。可能是因为 时代背景和今天比较接近，我对当 代的艺术比较有感觉。我指的不是 风格流派上的影响，而是精神和思 维方式上的。大师们都给予我很多 坚持自己的信念。
SI: Can you please talk about which artists impact on you? LIANG: After the 1930s, many Western ar tists are deeply affected me. Probably because of their background was relatively closer to nowadays, I have more sense of contemporar y ar t. I do not mean the impact on the style, but the spirit and way of thinking they have. The old masters have given me a lot of beliefs to insist myself.
-end(translated by Wendi Xie)
solo show lin DreamerHouse underground, Hangzhou, China
关于 > 肆 SI< 隶属 > 草乙載萬殊 <zoewanshu.net 之微杂志，介绍活动于欧洲的亚洲青年艺术家。 About SI micro conceptual magazine, part of Zoe(zoewanshu.net) introducing young Asian artists who are based in Europe
editor / 編輯 孫 敏祺 Minqi Sun（ 美術設計） 謝 文蒂 Wendi Xie（中英翻譯） 鄭 田明 Tianming Zheng（本期文本）
front cover / 封面 Crystals (live) installation 2013 Manqi Liang
contact / 聯繫我們 www.zoewanshu.net zoe.wanshu@gmail.com zoewanshu
SĂŹ 4.January 2014 No.10
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