三月 肆 [ 日 ] 贰拾壹號 4. March issue 21
本期艺术家
The Artist
陆超
Lu Chao
1988 年出生于中国沈阳 教育 2014 2012 2008
英国皇家艺术学院绘画硕士，伦敦，英国 中国中央美术学院油画学士，北京，中国 中国中央美术学院附中，北京，中国
1988 Born in Shenyang, China Education
2014 MA Painting, Royal College of Art, London , UK 2012 BA Oil Painting, China Central Academy of Fine Art, Beijing, China 2008 Fine Art School affiliated to China Central Academy of Fine Arts. Beijing, China
个展 / Solo Exhibition
2015 Black Mirror, Art Basel HongKong, Hadrien de Montferrand Beiijng, China 2013 Black Forest, Hadrien de Montferrand Gallery, Beiijng, China
Gallery,
展览 / Group Exhibitions and Awards
2014 Saatchi New sensation shortlist, Victoria house, London Uk Life and hope, Sanofi, French institute,Beijing China A new circle, Forbidden city gallery,Shanghai China London Design festival 2014, Mint Gallery, London Uk Art Brussels, Hadrien de Montferrand Gallery,Brussels Belgium River light RCA Studio summer exhibition, London Uk Royal college of art graduation exhibition, Royal college of art, London Uk RCA secret, Royal college of art, London Uk Soho art festival 2014, London Uk 2013 Black Forest, Hadrien de Montferrand Gallery, Beiijng, China Drawing Now Art fair, March 2013, Le Carrousel du Louvre, Pairs, France Art Brussels, March 2013, Brussels, Belgium RCA Secret, March 2013, Dyson Gallery. Royal College of Art, London, UK New figuration, Feburary 2013, Hadrien de Montferrand Gallery. Beijing China Multiculturalism is dead, February, host by Interact Organization and British Council, Bethnal Green church, London,UK Royal College of Art student show, Royal College of Art, London, UK 2012 The works of Royal College Of Art, Royal College Of Art, London, UK 2011 Exhibition of Contemporary Art, Snow Mountain Music Festival , Lijiang, Yunnan Province,China 《Enigma》, UpSpace, Beijing, China 2010 《Dwelling in the Fuchun Mountain 2010》,Silver Prize, Giant Cup Today National Art Students Annual Awards 2010, Today Art Museum, Beijing, China Wolf in Sheep’s Clothing, Up Space, Beijing, China 2008 Excellent works, China Central Academy of Fine Art, Beijing, China 2006 First Prize, Cishan Schoolarship, Beijing, China
获奖 / Award 2014
Painter-Stainers Goron Luton Award, London, UK Solo award runners up, London, UK RCA studio award, London, UK 2013 Lucy Halford Bursary”, Royal College of Art, London, UK 2012 《Days under the sunlight》, Best Creative Awards, China Central Academy of Fine Art, Beijing,China 2011 Next Seconds》, Excellent Sketching , China Central Academy of Fine Art，Beijing,China 2010 《Dwelling in the Fuchun Mountain 2010》,Silver Prize, Giant Cup Today National Art Students Annual Awards 2010, Today Art Museum, Beijing, China
“生活就像在黑色的镜子中不断的找寻一个模糊的影子，有时候看镜子里 的自己好像是在看别人，而看别人的时候好像又是在看自己。 在我的生活中每天都会遇见很多的陌生人，每张陌生的面孔背后都讲述着 完全不同的故事 , 我对我所遇见的每张脸都有着无限的好奇，我常去想象 和猜测发生在每一张脸背后的故事 , 我凭借记忆，把在头脑中模糊的面孔 重现在画布上，这可能源自于对于了解他人的渴望，更是出自于了解自我 的渴望 . 我猜想每个人的身体里都隐藏着很多个不一样的自我，我们很难 去彻底的了解自我，更完全不可能彻底的了解我们所面对的世界，但是生 活中的美和希望就源自于这种了解与不了解的朦胧之中 , 就像面对一面黑 色的镜子。”
"Life is like the search for a faint shadow on a black mirror. Sometimes, When you turn to a mirror to have a good look at yourself, it seems as if you are looking at someone else, and sometimes it seems as if someone else is looking at you. In my life i meet strangers everyday, and every stranger's face tells a completely different story. I am extremely curious about all these faces i encounter, and i try to imagine and picture each of these faces' story. Relying on my own memory, i try to lay on the canvas all the strange faces stored in my mind. This may spring from a desire to understand myself. I try to conjecture the unique persona that lies hidden within the body of each and every person. We find it difficult to thoroughly understand our own persona, and we find it even more difficult to understand the world facing us. But from the dimness between what we do and what we do not understand originates the beauty and excitement of life, as if we were staring at a black mirror."
肆 + 陆超
採訪記錄 interview Sì + Lu Chao
肆：如果让你挑出作品中的关键词，你会写什么？ Si: If to select key words from your work, what will you choose? 陆：人群，拥挤，黑色，游戏 Lu: crowd, crowded, black, game.
肆：能谈谈你创作时对色彩的选择吗？ Si: Can you talk about how you select colour in your painting? 陆：我觉得我画画的感觉更像是写日记，我尽量避免颜色阻碍写日记时的 流畅性。 Lu: I think how I paint is more like writing a diary, I try not to let colour interfere in the fluency of recording a diary.
>>coloum oil on canvas 190x250 cm 2014
>>art fair oil on canvas 190x250 cm 2014
>>life collection oil on canvas 380x250 cm 2014
>>detail of work "life collection" oil on canvas 380x250 cm 2014
肆：是什么样的契机让“人”称为你作品的主体？ Si: What brings “people” to your works as the main body? 陆：从小上学家就离学校远，每天上学放学都要挤公交车，我背 着个小书包夹在人群中车来了上不去，到站了下不来，所以我对 拥挤的人群和人的这种被动性特别敏感。 Lu: Since I was a child, my home was far from my school, I had to take a crowded bus every day to go to school and go back home. Most of time I with my little schoolbag was sandwiched among the crowd, either hard to got in a bus or got out of it. So I am sensitive with the crowd and this kind of passivity of human.
肆：你作品中的人是作为个体存在还是一个集体存在？你理解的 这两者之间的关系是什么？ Si: Are the people in your works existed as an individual or a group? What do you concern about the relationship between individual and group? 陆：我觉得都是，首先我的画面里有一群人，然后每个人都在干 着不一样的事，他们看起来完全不同，但同时他们又几乎相同。 Lu: Both, I think. Primarily, there are a group of people in my image, and then everyone is doing different things, they look completely different but meanwhile almost the same.
肆：如果说你作品中的人物可以分成两种身份：一类作为景观存 在，只有脸没有身体；一类作为观众存在，只能看清模糊的形状。 这两种身份有什么寓言？你认为你自己是以哪种身份存在？ Si: If there are two identities of the people in your work can be defined: one kind as landscape with only faces showing, the other kind as audiences with faint shadow. What do the two identities imply? Which one do you think that you belong to? 陆：首先画面里的每一张脸都是我凭着记忆画的，就是我在街上 走路时或者做地铁时遇到的陌生人，我之后会凭着记忆试着把他 们画下来，像不像不重要，重要的是我觉得每一张脸都像是一个 故事，画面里的小人都是我想象着我自己读到这些“故事”的反
>>trolly oil on canvas 190x250 cm 2014
>>forest art fair oil on canvas 190x250 cm 2014
应画的，每一个小人都像是我的自画像。其实我并不同意脸是景观，这 些小人是观众的说法，就像我们看一个大树，我们凭什么说我们是观众 树是景观呢？ 我看着树，树也看着我啊，他也有生命啊，而且他们的 生命应该开始的早于人类吧？ Lu: First of all, every single face in my paintings relies on my memory, they are strangers I met on street or underground. I then try to take them off from my memory to my painting. It does not matter whether they look alike, more important is I see each face as a story, the little figures in the image were painted while I was imaging my reaction in respond to reading these “stories”, every single little man is my portrait. Actually I do not agree with the opinion that faces are landscape, little figures are audiences. This is like seeing a tree, how we can say we are audiences and the trees are landscape? We are looking at trees and vice versa, trees have life as well, and didn’t their life start even earlier than human?
肆：作为所出现人物们的载体，那些看似日常，却荒诞、无限以及诙谐 的空间你是如何选择的？是日常生活中的偶发幻想还是有其特定的寓 意？ Si: As the container of the people, how do you choose those seemingly everyday however absurd, endless and humour space? Are they random fantasy or have specific implication? 陆：没什么特殊的寓意，我只是凭着直觉选择了一些场景。 Lu: Not much specific implication, I chose those scenes just followed my intuition.
肆：你作品中的造型和讽刺性令人想起丰子恺式的漫画，漫画有影响你 的作品吗？ Si: The form and its irony in your work reminds us of Feng Zikai’s caricature, does caricature influence your work? 陆：当然有，我们上附中时都特别喜欢杜米艾，漫画对我影响很大，但 我同时也很喜欢伦勃朗，提香，柯罗，所以我画时尽量不去想我想画成 什么样，就尽量很自然的跟着直觉画，我并不希望我画出来一个很像前 人画出来的东西。 Lu: Of cause yes, when we were in middle school, we were all fond of Honoré Daumier. Caricature has a great influence on me, but in the meantime I also like Rembrandt, Titian and Corot. So I try not to think what kind of things I want to paint when I am
>>detail of work "forest art fair" oil on canvas 190x250 cm 2014
painting, just trying to follow my intuition naturally. I don’t want to paint something that resembling to the previous paintings.
肆：你是否有观察过面对《黑镜子》这个作品的观众？他们是什么状态？ Si: Have you observed the audiences in front of “The Black Mirror”? What is their reaction? 陆：其实这个黑色的镜子里有很多模糊的人群中的脸，镜子的反光很强，所以 当观众看到镜子里的人群时就看不到镜中的自己，而把目光聚焦在自己时就看 不清镜中的人群。 我观察过看这个作品的观众，有的人看到镜子里的自己但 并没发现里面有人，有的人看着里面好多人并不觉得这是个镜子，当然也有人 两者都发现了，也有人离远了一看就以为是块黑颜色就去看下一件作品了。 Lu: Actually there are a lot of painted vague faces among the crowd in the black mirror. The mirror has strong reflected light, so the audiences cannot see themselves through it while they’re trying to see the crowd, alternatively when they are focusing on watching themselves, would not be able to see the crowd. I’ve been observing the audiences who were in front of this work, some people saw themselves in the mirror without noticing the inside people; some people didn’t realize that it was a mirror when they saw the painting; of cause there were people who found the both, and some just had a glance of it from a distance and thought it was just a piece black colour and moved forward to the next work.
肆：你希望观众从你的作品中得到些什么？ Si: What do you expect the audiences to gain from your work? 陆：看到他们自己 Lu: To see themselves.
>>black mirror oil on board 36.5x57 cm 2014
>>going forward oil on canvas 120x150 cm 2014
肆：能谈谈东西方的传统艺术给你的影响吗？ Si: Could you talk about how the traditional art from the East and the West influences you? 陆：这其实是一个很古老的话题，我曾经很努力的把东西方的文化符号放在同一个画 面里来传达某种观念，那时候试了很多方式想看看怎么把西方符号放到中国画里或者 怎么能用西方语言来表达东方精神。但一直不成功，我自己对着自己的画都害羞觉得 矫情。后来才慢慢明白其实咱们画画的时候想到东西方这对概念其实已经掉到前人挖 的陷阱里去了，谁规定的东方还是西方啊？没人规定，是你自己和自己过不去。 想想 我今天早餐吃的包子喝的咖啡，午饭我吃完了三明治喝了一杯普洱，我在做这些选择 时无比自然，真的没想到包子和普洱来自东方，三明治和咖啡来自西方，再想想我从 小到大都是这么过来的，我凭什么说我是一个来自东方的艺术家呢？这样的例子太多 太多，但其实说明什么呢？东方和西方只是一对概念，绘画也一样，他并不比包子和 咖啡高级到哪去，绘画应该迎来一个东西方文化在他体内自然生长的时代而告别一个 东西方文化嫁接的时代。对我来讲更重要的是忘掉东方和西方，很诚实的画画，这样 我不心虚，凡是扯概念的画我完成了以后都不好意思去看。 Lu: This is actually an old topic. I had attempted to include both eastern and western cultural symbols into one image in order to convey some kind of concept. I tried various methods to fit the western symbols into Chinese painting or expressed eastern spirit by using western language. But they were not very successful. I was even shame to face to my own paintings. Afterwards I’ve been gradually realizing when we paired the concept of East and West in painting, we actually fell into a trap by the predecessor- who invented East and West? Nobody, just we discover the trouble of our own. Let me think that, I had breakfast this morning with stuffed bun and coffee, sandwich and Puerh for lunch. However I was doing this very natural, without thinking of stuffed bun and Pu-erh tea comes from East, sandwich and coffee comes from West. And I grew up like this, how can I prove that I am an artist who comes from East? These kinds of examples are numberless, it only indicates that East and West is just a pair of concept. Same is painting, not much higher than stuffed buns and coffee. Painting should welcome an era that allows the east and west cultural grow naturally inside and wave to an era that grafted them to each other. To me more important is to forget the East and West, just paint in honesty. Then I don't feel guilty. If I have to talk nonsense of my painting when it is done, I am embarrassed to watch it again.
>>seeking oil on canvas 150x120 cm 2014
肆：你是怎么看待绘画的？ Si: How do you see painting? 陆：我一直觉得绘画是一种本能，没法去解释绘画，说白了，画是说 不清的，说清了还画他干嘛呢？但有时候画完了再想想为什么直觉会 让我在画面上作出这样的选择可能是可以试着找到原因的，但是画时 真的没想那么多。 我创作的动机很简单，就是真实的描述我的生活和 我所看到的世界。 Lu: I always think that painting is an intuition, no way to explain. To be frank, painting is hard for words, if it can be explained clearly why should I paint? However sometimes when a painting is done, I took a little thinking that the reason why my intuition made this decision on my image could probably be found, although when I paint I really didn't think of much. It is fairly simple the reason why I paint, that is to paint veritably my life and the world in my sight.
肆：哪些艺术家或者人物影响了你 ? Si: Which artists or people influence you? 陆：我受的影响很多元化，我也没特别受到谁的影响，或特意去学谁， 但是一刹那见我想到的人是伦勃朗，杰夫昆斯，刘小东，黄公望 Lu: I’ve had diversified impacts, not affected by specific person, or imitate someone purposely. But for this moment, some names pop in like Rembrandt, Jeff Koons, Liu Xiaodong and Huang Gongwang.
肆：欧洲留学带给你影响最大的是什么？ Si: What brought you the most that after studying in Europe? 陆：敢把画往坏了画 Lu: I don’t afraid of making a bad painting.
>>cake oil on canvas 120x150 cm 2014
- end { translated by Wendi Xie }
>>cake shop oil on canvas 120x90 cm 2014
>>2014 年 12 月 31 日 23 时 35 分 oil on canvas 100x80 cm 2015
>>laboratory oil on canvas 120x150 cm 2014
>>detail of work "laboratory 1" oil on canvas 120x150 cm 2014
{ designed by Minqi Sun }
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 謝 文蒂 Wendi Xie 鄭 田明 Tianming Zheng 王 琰迪 Yandi Wang 应 梦婷 Mengting Ying
front cover / 封面 >>life collection oil on canvas 380x250 cm 2014 by Lu Chao
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SĂŹ 4. March 2015 No. 21
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