或许，如是

Maybe Real

仝紫云个展

Tong Ziyun Solo Exhibition 

开幕时间 Opening：2023.7.22

展期 Duration：2023.7.22 - 2023.9.17

地点 Venue：芳草地画廊 Parkview Green Art

北京市朝阳区东大路9号侨福芳草地B座LG2-K-14 (100020) 

No. K-14, LG2 Floor, B Tower, Parkview Green FangCaoDi, No. 9 Dongdaqiao Road, Chaoyang District, Beijing, China (100020)

或许，如是

Maybe Real

几个世纪以来，在不同的文化背景下，现实及其表现形式之间的问题一直是艺术和哲学辩论的中心。柏拉图提出，我们看到的世界不是“真实的”的世界，而只是它的反映，康德区分了本体（事物本身）和现象（事物的显现）。随着20世纪初历史先锋派的出现，在艺术辩论中开始出现了以一种清晰客观的方式表现现实的困难问题。

The issue between reality and its representation has been at the centre of the artistic and philosophical debate for centuries across different cultural backgrounds. Plato suggested that the world we see is not the ‘real’ world, but just its reflection and Kant distinguished between noumenon (thing in itself) and phenomenon (thing as it appears). With the emergence of historical avant-garde at the beginning of the 20th century, the issue about the difficulties in representing reality in a univocal and objective way started to emerge within the artistic debate. 

与立体主义、抽象艺术、超现实主义有关的运动，以及几十年后更多的当代艺术趋势，都源于对艺术模仿功能的审视，以及对其表现现实的能力的质疑。在内化关于表征模糊性的历史辩论的同时，许多当代艺术家继续从事不同形式的现实主义实验，探索艺术、现实和表现之间的复杂关系。

Movements related to cubism, abstract art, surrealism and, decades after, more contemporary artistic trends originated from the need to put under scrutiny the mimetic function of art and to question its capacity to represent reality as it is. While internalizing the historical debate about the ambiguity of representation, many contemporary artists continue to engage in the experimentation of different forms of realism to explore the complex relationship between art, reality and representation.

侨福芳草地画廊荣幸地宣布举办艺术家仝紫云的个展“或许，如是”，仝紫云通过他的作品探索现实主义的概念及其与当代艺术的相关性，同时对主客观的观察和解释之间的二分法提出质疑。

Parkview Green Art is honoured to present “Maybe Real”, the solo exhibition of Tong Ziyun who, through his works, explores the notion of realism and its relevance to contemporary art, while problematizing the dichotomy between subjective and objective observation and interpretation. 

仝紫云的视觉语汇是丰富多样的：静物图像，日常生活的室内场景，自然景观的表现，私人公寓的部分，以及人物的镜像反射，充斥着艺术家的想象。他的视觉元素以植物、花卉、半身像、自画像、水果、石头以及废弃的纸箱、瓶子、小雕像和家具为主。通过理性和有节制的笔触描绘，日常生活中的平凡事物被放大，并被赋予尊严和独特性。通过艺术的再加工和诠释，这些物体泛有神奇的光环：成为我们存在的迷人而诗意神秘的象征和寓言。普通的物体唤醒了观众的审美意识，使他们能够从集体和个人的故事中激活不同的心理联想和视觉记忆。

Tong Ziyun’s visual vocabulary is various and multifaceted: images of still life, indoor scenes from everyday life, representations of natural landscapes, portions of private apartments as well as mirror reflections of human characters populate the artist’s imagination. His iconographic repertoire is characterized by plants, flowers, busts, self-portraits, fruit, stones as well as discarded carton boxes, bottles, small statues and general furnishings. Depicted through rational and controlled brushstrokes, banal objects of everyday life are magnified and given dignity and uniqueness: through the artistic re-elaboration and interpretation, these objects are characterized by a magic aura: they become symbols and allegories of the fascinating and poetic mystery of our existence. Ordinary objects awaken the aesthetic consciousness of the viewers, enabling them to activate different mental associations and visual memories from collective and individual stories.

在仝紫云的静物画中，可以发现不同的艺术性与历史性的参考：如艺术家本人所言，他的艺术实践丰富而多面，受中国古典绘画、当代水墨画、现实主义、超现实主义和抽象表现主义的影响，他的作品呈现出东西方艺术传统元素的灵动结合. 在其他作品中，镜子作为视觉元素反复出现，通过对多角度和不同时空层次的描述对真实性提出质疑。在仝紫云看来，镜子作为象征物，定义了一个先验的虚拟的空间，从而丰富了观察现实的视角，激活了自我分析的过程。

In his still life paintings, different artistic and historical references can be detected: as stated by the artist himself, his complex and multifaceted artistic practice was influenced by classical Chinese painting, contemporary wash and ink painting, realism, surrealism and abstract expressionism, thus displaying a vibrant combination between elements of Eastern and Western artistic tradition. In other works, the recurrent visual element of mirror contributes to problematize the authenticity of the representation through the depiction of multiple perspectives and different temporal and spatial layers.  According to Tong Ziyun, mirror is also a symbolic object which defines a surreal and virtual space, thus multiplying the perspectives of observation of reality and activating a process of self-analysis.

Old and ancient statues are also recurrent elements in his works: while highlighting a spiritual and mystic atmosphere, these symbols of antiquity also suggest the necessity of breaking away from the limitations of material vision to expand the perceptive possibilities through inspiration and mental enlightenment. Statues and antiques represent the artist's fascination for Chinese traditional artifacts and his willingness to investigate and rediscover classical and ancient cultural roots.

在“或许，如是”展览中，仝紫云探索了表现世界的不同方式，发掘了真实与相似、具体与表象、现在与过去之间的模糊性。“真实世界”可能并不作为一个独立的范畴存在，而仅仅作为个人的投射或建构。艺术创作也许忠实地记录现实，但也同样可能重塑了现实。

In the show “Maybe Real”, Tong Ziyun explores different ways of representing the world and the ambiguity that lies between the real and the verisimilar, the concrete and the apparent, the present and the past. “Real world” might not exist as an independent category, but merely as an individual projection.  Artistic creation might faithfully record reality – but it may equally reshape it.  

Tong Ziyun was born in Henan Province in 1987. He graduated from the Oil Painting Department of the China Academy of Art with a bachelor's degree and a master's degree. He is a teacher and a member of the research group of the Oil Painting Institute of the China National Academy of Arts. He is also a doctoral student of the China National Academy of Arts, and a member of the China Artists Association. 

作品曾于中国艺术研究院油画院美术馆，中国美术馆、今日美术馆、日照市美术馆、浙江省展览馆、苏州公共文化艺术中心、宁波美术馆、江苏省美术馆、重庆市美术馆、美国加尔文大学中心美术馆，天津美术馆、北京观唐美术馆、深圳关山月美术馆、西安美术学院美术馆、北京中捷当代美术馆、东亿美术馆、西班牙M.E.A.M现代艺术博物馆、漳州美术馆、哈尔滨红场美术馆、保利艺术博物馆、嘉德艺术中心、Hi艺术中心、山艺术北京林正艺术空间、SKP RENDEZ-VOUS GALLERY等展出。

His works have been exhibited in many institutions including Art Museum of the Oil Painting Institute of the Chinese Academy of Arts, National Art Museum of China, Today Art Museum, Rizhao Art Museum,  Zhejiang Provincial Exhibition Hall, Suzhou Public Culture and Art Center, Ningbo Art Museum, Jiangsu Art Museum, Chongqing Art Museum, Calvin University Central Art Museum, Tianjin Art Museum, Beijing Guantang Art Museum, Shenzhen Guan Shanyue Art Museum, Xi’an Academy of Fine Arts Art, Beijing Zhongjie Contemporary Art Museum, Dongyi Art Museum, M.E.A.M Museum of Modern Art (Spain), Zhangzhou Art Museum, Harbin Red Square Art Museum, Poly Art Museum, Guardian Art Center, Hi Art Center, Shan Art Beijing Linzheng Art Space, SKP RENDEZ-VOUS GALLERY. 

作品曾被国家大剧院、中国艺术研究院、中国美术学院、江苏省美术馆、江西省美术馆、淮安市美术馆、筑中美术馆等艺术机构收藏。

His works have been collected by the National Center for the Performing Arts, China Academy of Arts,  Jiangsu Provincial Art Museum, Jiangxi Provincial Art Museum, Huaian Art Museum, Zhuzhong Art Museum and other art institutions.

本文图片来自艺术家和芳草地画廊
Photo credit to the artist and Parkview Green Art

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