金杜藝術中心榮幸地宣布於2020年8月13日至2020年9月26日舉辦藝術家張弓的個展《啟示錄》。
張弓這次個展包括了23幅架上作品和12幅素描。大多是他在2018到2020年的創作，以2020年的為主。在這個世界發生結構性變動的時代，藝術家描繪了他接受到的各種啟示，分別來自內心的幻象和信仰，或是來自大自然的微妙細節。
與展覽同名的《啟示錄》系列最為典型地代表了藝術家這個時期的風格。騎士們時而兇猛地拿著中世紀長槍，時而文靜地抱著坐騎的脖頸，時而赤身裸體，時而穿著如維多利亞淑女，他們的坐騎時而是馬，時而是龍，有的腳像螳螂一樣的細長，有的腳像蟾蜍一樣吸附，還有的突然從奔跑的足尖上開出了薔薇。背景中有布滿綠色鱗片的帷幕，睜開紅色眼睛的雲朵，文藝復興式的海邊山城，骷髏和春花，嬰兒和塞壬，在鄉野上如同莊稼般盛放……題材是超現實的，如同一個夢境。遠看有童話一般的形象和唐卡一般的色彩，但近觀則可以發現有關死亡、復活、毀滅和重生的信息。而所有的騎士都是女人，女性成為宣告啟示的使者，女性成為不同世界的通道。
張弓，啟示錄 No.7，2020，布面油畫，45 x 65 cm，圖片由藝術家提供
Zhang Gong, Apocalypse No.7, 2020, Oil on canvas, 45 x 65 cm, Courtesy of the Artist
另一個張弓最青睞的題材是自然。這裡的自然不是任何罕見的景觀，只是每天藝術家遛狗路上的小區綠植、草叢裡的昆蟲，樹上的小鳥和被遺棄的玩具。張弓曾經非常仔細地觀察地面上纖細的苔蘚類植物，發現它們是進入另一個巨大的自在世界的入口。像《日光之下》和《有晚上，有早晨》這樣的作品，就體現了這種創世紀一般的清新視角。再加上《捕風》、《增添知識》、《天起涼風》、《日影飛去》這些作品一起，都通過動植物角色和背景的互動，帶來固有命運之中的細小而生動的圖景，迷一般的被動性中體現的力量，壓倒性的無限重複裡反透出的新意。
從繪畫技術來看，張弓的技術如同他的名字，是緊張、用力和異常細膩精確的。他的創作也是一個緩慢而艱辛的過程。但最後的作品效果卻一派天真，既乾淨，也安靜，每一隻小爪子，每一片小鱗片，每張小葉子和每粒天上的灰塵都被藝術和信仰的大手輕輕放置安穩。美好純真的畫面跟頗具分量的大主題，形成了有當代性的張力。
張弓，日光之下，2018，布面丙烯，120 x 220 cm，圖片由藝術家提供
Zhang Gong, Under the Sun, 2018, Acrylic on canvas, 120 x 220 cm, Courtesy of the Artist
KWM artcenter is pleased to present Zhang Gong’s solo exhibition 「Revelations」 from 8.13.2020 to 9.26.2020.
The show displays 23 paintings on canvas and 12 drawings from 2018 to 2020. In this era of structural changes in the world, the artist describes various revelations he has received in the form of fantasies and beliefs through to subtle details from nature. The Revelations series most typically represents the style of the artist during this period. The depicted knights sometimes hold medieval spears aggressively, sometimes quietly hold the necks of their animals, are sometimes naked and sometimes dress like Victorian ladies. Their animals are sometimes horses, sometimes dragons, and some have slender feet like praying mantis. Some have the feet of toads, and some have roses growing from between their toes. In the background, there are curtains full of green scales, clouds with open red eyes, Renaissance-style seaside towns, skulls and spring flowers, and landscapes where babies and sirens grow like crops. The theme is surreal. It's like a dream. From a distance, there are fairy tale-like images and thangka-like colours, but on closer look, you find information about death, resurrection, destruction, and rebirth. All the knights are women. Women become messengers of revelations and pathways to different worlds.
張弓，啟示錄 No.6，2020，布面油畫，40 x 32 cm，圖片由藝術家提供
Zhang Gong, Apocalypse No.6, 2020, Oil on canvas, 40 x 32 cm, Courtesy of the Artist
Nature is important to Zhang Gong. Nature in the paintings is not represented by generic landscapes, but by the green plants in the community where the artist walks his dog every day: the insects in the grass, the birds in the trees and the abandoned kid’s toys. Zhang Gong once observed the delicate moss on the ground very carefully, and found that it was the entrance to another huge world of freedom. Works such as "Under the Sun" and "There was evening and there was morning", embody this kind of fresh perspective on creation. Together with works such as "A Chasing after the Wind", "The More Knowledge", "The Day Breaks" and "The Shadows Flee", the interaction between the animals, plants and the background brings us tiny and vivid depictions of our inherent fate, reflecting the power embodied in passivity, and the new ideas stemming from the overwhelming infinite repetition of motifs.
張弓，增添知識，2019，布面丙烯，75 x 60 cm，圖片由藝術家提供
Zhang Gong, The More Knowledge, 2019, Acrylic on canvas, 75 x 60 cm, Courtesy of the Artist
Zhang Gong's technique is like his name in Chinese which means nervous, tenacious, and extremely accurate and precise. His creation is a slow and arduous process. But the effect of the final work is naive, clean and coherent. Every small paw, every small scale, every small leaf and every grain of dust in the sky is gently placed and stabilised by the big hands of art and his faith. A contemporary tension is formed from the juxtaposition between beautiful and childlike imagery and weighty themes.
張弓，1959年生於北京，1993年畢業於中央工藝美術學院圖形想像專業碩士，現工作居住於北京。曾參加 "巴塞爾藝術博覽會"（瑞士巴塞爾，1996）、「馬拉什畫廊」 中國藝術家展（荷蘭，1998）、「張弓東京展」(日本東京，2000)、 嶽敏君、張弓新作展（中國北京四合苑畫廊，2001）、「虛擬的愛-當代新異術「（新加坡美術館，2006）、 「潘大姐在紐約」（美國紐約藝萊紐約畫廊，2010）、「坐看繁城「 （中國香港季豐軒，2014）、 「守望者」（美國紐約凱尚畫廊，2016）、 「物種菌」，（北京蜂巢當代藝術中心，2018）等重要展覽。
張弓亦是在中國製作手繪動畫藝術短片的先驅之一。1999至2009年間創作了5部動畫，如《紅姐》（2009年）、《黑豬白豬》（2005年）、《樹》（2003年）。作品多次入選世界各地國際動畫節，包括法國安錫國際動畫影展、比利時布魯塞爾動畫電影節、倫敦國際動畫電影節、加拿大魁北克電影資料館放映單元等。作品獲多項動畫大獎肯定，其中首部動畫《樹》獲三項獎項，包括法國裡昂第十屆亞洲電影及文化電影節「優秀電影短片獎」（2004年）。
Zhang Gong was born in Beijing in1959. In 1993, he graduated from the Central Academy of Arts and Design with an MFA. Now he is the professor in the Information Department at Tsinghua University. Zhang now lives and works in Beijing. His selected recent group exhibitions include Basel Art Exposition, Basel, Switzerland (1996); Exhibition of Chinese Artists, Gallery Marash, The Netherlands (1998); Zhang Gong, Tokyo, Japan (2000); New Works Exhibition of Yue Minjun and Zhang Gong, The CourtYard Gallery, Beijing, China (2001); FICTION LOVE-Ultra New Vision in Contemporary Art,」 Singapore Art Museum, Singapore (2006); Miss Panda, Eli Klein Fine Art, New York, NY (2010); A Tale of Metropolis, Kwai Fung Hin Art Gallery, Hong Kong (2014); The Watcher, Klein Sun Gallery, NY (2016); Mushroom Mushroom, Hive Center, Beijing (2018).
Zhang Gong is also one of the pioneers in making hand-painted animated films in China. From 1999 to 2009, he produced five independent animated films, such as "Ms Red" (2009), "Black Pig, White Pig" (2005), "Trees" (2003), which were highly praised in many international animation festivals in Europe and Asia, such as Annecy International Animated Film Festival, France, Brussels Animation Films Festival, Belgium, London International Animation Festival, and Cinémathèque Québécoise, Montreal.
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