HOW+SPACE 新展预告 | 陈轩荣：都市遗迹
陈轩荣：都市遗迹
Roy XR Chen: Wild Walls
展期：2022年08月27日 - 2022年10月21日
艺术家：陈轩荣
HOW+策展人：Nara Huang
地址：HOW+SPACE 展厅一
上海市浦东新区祖冲之路2277弄1号3楼
主办：HOW+
*Please scroll down for English version.
HOW+很荣幸地宣布，将于2022年08月27日起在HOW+项目空间展厅一呈现艺术家陈轩荣（Roy XR Chen）的全新个展“都市遗迹”（Wild Walls）。
陈轩荣全新个展“都市遗迹”中的作品均出自“G系列”，此系列作品强调的并非涂鸦本身，而是涂鸦及其承载物经历时间洗礼后的产物。艺术家在创作时身份不断地在涂鸦者、观察者与记录者之间切换。其绘画细腻地描绘了涂鸦丰富的层次：最上层鲜活的涂料、墙壁颓败的底色，及之间若隐若现被时光洗刷过的沉淀物。系列主题传递着不论是涂鸦还是工业的人为创造终抵不过自然和时间的力量。现代都市被自然蚕食，建筑仿佛有生命般慢慢败坏，墙壁上的新旧涂鸦覆盖更替，被遗弃的都市中人类的痕迹历历在目。
陈轩荣 Roy XR Chen
G1.0.6.0 (The Fire Hydrant), 2020
布面丙烯 Acrylic on Canvas
195cm x 155cm
致谢艺术家 Courtesy of the artist
古老壁画由自然之力造成的残缺凋零感和人为的痕迹之间的关系深深吸引着陈轩荣。其作品中描绘了似后人类文明的景象，有着人类痕迹的街道、墙面和卫生间，却没有人的身影。这些场景中，涂鸦是仅有的人类留下的非工业印记。而置身展览的观众成为了这座“都市遗迹”中的人，也是置身遗迹外的观察者。在艺术家眼中，涂鸦是从上世纪开始延续至今的一种壁画形式。随着工业发展和城市建设，涂鸦的载体也更加多样，如厕所、车辆、垃圾桶、滑板场等等。古时壁画在于记录，而涂鸦在不知不觉中也成为了记载和见证都市及社区文化的符号，涂鸦与其承载物共同形成了“都市遗迹”。
陈轩荣 Roy XR Chen
G2.0.1.3(Vision&Hulk), 2020
布面丙烯 Acrylic on Canvas
255cm x 345cm
致谢艺术家 Courtesy of the artist
陈轩荣 Roy XR Chen
G2.0.1.0 (5POINTZ), 2020
布面丙烯 Acrylic on Canvas
210cm x 320cm
致谢艺术家 Courtesy of the artist
在一些观察者眼中，涂鸦延续了壁画作为一种公共艺术形式的呈现。伟大的涂鸦作品可以美化一个街区，表达特定社区的诉求。然而这类作品是创新艺术形式还是公害的问题一直存在争议。在公共空间使用的讨论中，涂鸦者常常被视为试图侵略城市公共空间的人。与此同时人们却默许在公共场所展示更具攻击性的东西：广告。它时刻告诉我们还不够好，不够漂亮，不够富有。虽然许多涂鸦在美学上可能不够成熟，但它可以作为一个在公共平台发声的媒介：一句呼喊、一次对话、一个从图像中捕捉出的概念。真正的街头艺术可以展示一个社区的真实身份，无论是好是坏，因为它存在于日常生活的公共空间中，而非真空密封在一个特定的私人空间。“公共性”使街头艺术独特且强大。
陈轩荣 Roy XR Chen
G1.0.5.0(The Restroom), 2018
布面丙烯 Acrylic on Canvas
195cm x 155cm
致谢艺术家 Courtesy of the artist
除街景主题外“都市遗迹”中还呈现了大量厕所主题的作品。公共厕所空间的独特性使其在街头艺术中可以作为一个单独的分类。这种在公共场所进行私人活动的紧张感和微妙的界限感能同时隐藏并展示都市文化中难以启齿的部分。厕所涂鸦与人们在厕所里的行为方式形成着有趣的对比。不进行眼神交流和避免与陌生人交谈的潜规则，都有助于营造一个有时紧张的环境，目的是将注意力从隔间门后实际发生的事情上转移开。但厕所中的涂鸦却丝毫不在意人们的情绪，这些涂鸦——通常是人们从周围环境中汲取灵感的创作，粗暴地承认并取笑我们都去洗手间做什么。这些富有“侵略性”的涂鸦进入了本不该进入的空间，在“都市遗迹”中又将这些空间搬进了美术馆。“都市遗迹”也成为了涂鸦的承载物，与展览中的绘画作品一起记录了这些涂鸦存在的时空，或是不同时空的交叠产生的动态定格。
关于艺术家
陈轩荣 ｜ Roy XR Chen
陈轩荣，一位活跃的艺术家和策划人，本科硕士皆毕业于中央美术学院。陈轩荣作为艺术家致力于创作与流行文化和亚文化相关的绘画作品，因此他也是潮流文化和青年文化的观察者，研究者，实践者。陈轩荣迄今为止举办的部分个展及个人项目有“Dope&Duang”(北京，松美术馆，2020)，“砍浪”(北京，陌上画廊，2017)，“额外的作品”(台北，台北当代艺术馆，2016)、“挣脱藩篱”(上海，昊美艺术酒店，2016)等。他的作品曾被中央美术学院美术馆、中央美术学院版画系、松美术馆、昊美术馆、Longlati基金会、汤臣一品、华为集团、般若PROCHAIN等机构收藏。陈轩荣同时活跃于跨界合作领域，曾与路虎揽胜极光、雅典表(Ulysse Nardin)、YOHO潮流志、NEOCHA、BIGBANG乐团等进行跨界合作。作为策划人迄今为止策划了“5POINTZ重建计划”(漳州，蚁巢美术馆)，“出山入江：漳州当代绘画邀请展”(漳州，漳州市美术馆，2018)，“观世界·世界观：漳州国际当代艺术展”(漳州，漳州市博物馆，2017)等大型 艺术项目。
陈轩荣：都市遗迹
Roy XR Chen: Wild Walls
Dates: August 27 - October 21, 2022
Artist: Roy XR Chen
HOW+Curator: Nara Huang
Venue: HOW+SPACE ONE (3F, No. 1, Lane 2277, Zuchongzhi Road, Shanghai)
Organizer: HOW+
HOW+ is pleased to announce the opening of Wild Walls, solo exhibition by Roy XR Chen, on August 27, 2022, at HOW+ SPACE ONE.
The works on view at "Wild Walls", Roy XR Chen’s solo exhibition at HOW+SPACE, are selected from his "G Series". The series intends to cast more light on what behind the graffiti through the passing of time rather than merely the content of the graffiti itself. When he creates the works, Chen’s role constantly swifts between a graffiti artist, an observer and a recorder. His works delicately depict the rich layers of graffiti: the top layer of fresh paint, the base layer showing decadent walls, and the sediments left over by the washing of time in the middle layer. The whole series conveys the message that human creation, be it graffiti or industrial productions, can never withstand the power of nature and time for good. In Roy XR Chen’s paintings, we see modern cities eroded by nature, and buildings slowly deteriorating as if they had life in them. Old graffiti on the walls are covered and replaced by new ones over and over, leaving human traces in abandoned cities all the more distinct.
陈轩荣 Roy XR Chen
G1.0.5.3(The Restroom), 2019
布面丙烯 Acrylic on Canvas
195cm x 155cm
致谢艺术家 Courtesy of the artist
Roy XR Chen is deeply intrigued by the interplay between the sense of incompletion and dilapidation of ancient murals caused by the force of nature and traces of human intervention. His works depict scenes of post-human civilization. There are streets, walls and toilets, all with human traces, but not a single human figure. In these scenes, graffiti is the only non-industrial mark left by human beings. Viewers become both the observers of and pedestrians on these streets. Roy XR Chen sees graffiti as a modern form of mural painting that has emerged since the last century. With the development of industry and urban construction, graffiti start to be seen on surfaces other than walls, for instance, toilets, vehicles, garbage cans and skateparks. In ancient times, to make recordings was a main purpose of mural. Nowadays quite likewise, graffiti has also turned out to become a medium to witness and record the ongoing urban and community cultures. The graffiti and surfaces where they are presented collectively define the "Wild Walls".
陈轩荣 Roy XR Chen
G1.0.2.8(The Restroom), 2017
布面丙烯 Acrylic on Canvas
210cm x 140cm
致谢艺术家 Courtesy of the artist
陈轩荣 Roy XR Chen
G2.0.0.2(The Trolleybus), 2017
布面丙烯 Acrylic on Canvas
210cm x 320cm
致谢艺术家 Courtesy of the artist
In the eyes of some observers, graffiti continues the purpose of murals as a public art form. Great graffiti works as not only decoration but also a voice for people from certain communities. However, the question whether this kind of works is an innovative art form or a public nuisance has always remained controversial. In the discussion of the use of public space, graffiti artists are often regarded as intruders of urban public space. But at the same time, people give consent to displaying something more offensive in public places: advertisements. Ads always tells us that we are not good enough, not pretty enough, not wealthy enough. Although graffiti can be aesthetically immature in some aspects, at its best, it can be the opening of a communal space: a commentary, a conversation, a concept captured in an image on a wall. Real street art holds up a mirror to the world so that we can see the absurdity of it. It shows us who we really are, both good and bad, as a community. Street art has an amazing ability to do this because it exists in our real and everyday world, not vacuum-sealed and shuffled away in a privileged private space. Its very public nature makes street art unique and powerful.
陈轩荣 Roy XR Chen
G1.0.6.2 (The Toilet Paper), 2020
布面丙烯 Acrylic on Canvas
150cm x 200cm
致谢艺术家 Courtesy of the artist
Touring around the "Wild Walls", viewers would easily notice that there is a large number of works under the theme of toilets. What makes toilet graffiti special, and worthy of its own entire category, is the uniqueness of the space in which people are painting or writing. There’s a tension to doing private activities in a public space, with only the flimsiest of boundaries hiding and displaying some of our culture’s biggest taboos. Toilet graffiti also offers an interesting contrast to the way people typically behave in the bathroom. The unspoken rules of keeping to oneself, not making eye contact, and avoiding talking to strangers, all contribute to a sometimes-tense environment with the goal of shifting focus away from what’s actually happening behind stall doors. But the graffiti on the stall doors does not ignore it one bit. It crudely acknowledges and pokes fun at what we all go to the bathroom to do, and flouts the politeness surrounding it as well. These "aggressive" graffiti enter spaces that should not have been entered, and now these spaces are moved into the art museum. The exhibition "Wild Walls" have also become a carrier of graffiti. Together with the paintings in the exhibition, they record the time and space of these graffiti, or the dynamic superposition of several different spaces and times, generating an moment of uncertainty.
ABOUT THE ARTIST
Roy XR Chen
Roy Xuanrong Chen, an active artist and curator, graduated from the Central Academy of Fine Arts with a master's degree. As an artist, Roy Xuanrong Chen is committed to creating paintings related to pop culture and subculture, so he is also an observer, researcher and practitioner of trendy culture and youth culture. Some of Chen xuan-wing's solo exhibitions and projects so far include "Dope&Duang" (Song Art Museum, Beijing, 2020), "Freaking Awesome" (MoShang Gallery, Beijing, 2017), "Additional Works" (MoCA Taipei, Taipei, 2016), "Breaking Free from The Fence" (OneHome How Art Hotel, Shanghai, 2016), etc. His works have been collected by CAFA Museum , CAFA Printmaking Department, Song Art Museum, How Art Museum, Longlati Foundation, Tomson Group, Huawei Group, Prajna PROCHAIN, etc. Roy XR Chen is also active in the field of cross-border cooperation, and has worked with Range Rover , Ulysse Nardin, YOHO , NEOCHA, BIGBANG, etc. As the curator, I have planned the 5POINTZ Reconstruction Plan (Ant nest Art Museum, Zhangzhou), Out of the Mountains into the River: Zhangzhou Contemporary Painting Invitational Exhibition (Zhangzhou art Museum, Zhangzhou, 2018), View the World: Zhangzhou International Contemporary Art Exhibition (Zhangzhou, Zhangzhou Museum, 2017) and other large-scale art projects.
HOW昊美术馆于2022年正式创立全新艺术品牌——HOW+。该品牌由昊美术馆创立，HOW+团队独立运营。HOW+代表与任何领域、人群发生连接的可能性。通过持续举办展览与跨界联合项目，打造全新复合型艺术空间与艺术品牌。视野涵盖艺术、科技、商业、设计、建筑、时尚、音乐等多元流行文化形式。借由多维度展览拉近艺术、商业与大众之间的距离，推动并打造一个更贴合前沿艺术动态、城市消费潮流的文化艺术现场。
HOW+SPACE项目空间位于昊美术馆三楼，占地面积1000㎡。HOW+将打破对传统艺术平台想象的藩篱，借地处年流量达30万人次的浦东文化地标优势，打造一个可持续发展的艺术生态社区。作为创新艺术空间，HOW+SPACE将与昊美术馆及HOW+store形成互补综合的形式存在。在为艺术家打造自由展览空间的同时，HOW+SPACE将通过对当下潮流文化的把控，及一贯高品质的公共项目输出，为不同领域的品牌提供定制化服务。其范围包括展览规划、跨界联名、公共教育活动和媒体战略等。旨在更有效地将艺术家专属IP品牌化，结合艺术类展览及活动，线上线下同步推广。
CONTACT US
info@howartmuseum.org
正在展出
即将展出