玻璃房-肖骏作品展
开幕：2009年3月21号，星期六，15:00
展览时间：2009年3月21号-5月3号，10:00 – 18:00（周一休息）
生于1965年的肖骏，在九十年代参加过一些展览后，就突然不再露面艺术圈。然而，他却从来没有停止过创作。这次的作品展将展出肖骏自1996年以来到现在创作的几个系列作品。
肖骏的作品大部分是以“层叠”的形式：类似窗户或盒子的框，里边分层放置着各种材料，包括色彩鲜艳的小框、西方流行杂志上剪切下来的图片或文字，以及粘贴着皮毛和羽毛的各种包装材料。
在这次的《玻璃房》作品展里，肖骏将展出三个系列的作品：
“浅面: 如同皮肤是人体中感知度最大的器官之一,富于磨损和变化,有时,我在涂抹颜料时觉得是在触摸和化装肌肤.
糖果盒: 人每天睁开眼睛便开始了阅读.我把那些曾阅读过,曽鲜活过的东西放在静止的薄片中,他们仍还美丽迷人,让人绯夷所思.象透明的未吃过的糖果
玻璃房:玻璃房的展示可以将一组相关或不相关的东西放在一起,产生一种与理想中的空间的相似性.而人(与人密切之物)往往总是各种大小空间规模里的最吸引我的因素.
我的玻璃房和我的内心产生了一致力量..”
我的玻璃房和我的内心产生了一致力量..”
“作品中最想隐藏的意义（东西）总是最容易暴露的，而暴露的也不会产生多么“逼真动人”的声音。
一而再地覆盖原来的作品不可取，但我经常这么做，以前的内容便没用了，接着把当时的紧张掺进去。
和自己的私密关联着，也只有那些纠缠不爽的东西可以一直把握住，制作过程漫不经心。
图像给我的触动总是那么大，我很少记录（几乎没有）文字形式的内心体会，图像便成了我的日记。
外观的漂亮一直是我最本能的关注点，曾有朋友认为我对图像有一种隔岸观火的快感，似乎是很贴切的形容，我迷恋那么些放在薄片里的“平面人物”。如果我是他们，又会如何？
就象儿童作画，快感十分重要，而有可能涉及的理论是不经意的，甚至和周围环境不结合，找不到可以解决为什么的理由，只有“自我”。”
——肖骏
一而再地覆盖原来的作品不可取，但我经常这么做，以前的内容便没用了，接着把当时的紧张掺进去。
和自己的私密关联着，也只有那些纠缠不爽的东西可以一直把握住，制作过程漫不经心。
图像给我的触动总是那么大，我很少记录（几乎没有）文字形式的内心体会，图像便成了我的日记。
外观的漂亮一直是我最本能的关注点，曾有朋友认为我对图像有一种隔岸观火的快感，似乎是很贴切的形容，我迷恋那么些放在薄片里的“平面人物”。如果我是他们，又会如何？
就象儿童作画，快感十分重要，而有可能涉及的理论是不经意的，甚至和周围环境不结合，找不到可以解决为什么的理由，只有“自我”。”
——肖骏
肖骏作品展将在2009年3月21号到5月3号在小平画廊展出。
Showcase – Xiao Jun solo exhibition
Opening: March 21st, 2009, Saturday, 15:00
Exhibition dates: March 21st to May 3rd, 2009. 10:00 – 18:00 (Monday closed)
After participating to a few exhibitions in the 1990s, Xiao Jun, born in 1965, suddenly withdrew from the art circle, without however ceasing creating works. This solo show gathers series of works from 1996 to nowadays. Part of the exhibition space has been turned into a replica of the artists living room. Furnitures (sofa, tv, shelves, chair), ornamental objects coming from his place as well as music he usually listens to are displayed here, emphasizing the intimity between his artworks and his life. In an interview Xiao Jun declared he doesnt consider himself as an artist, but like to realize these ‘showcases’ which reveal his interests, fantaisies, and make people understand him.
Generally speaking, Xiao Jun’s works present a recurrent structure: frames divided into compartments as windows or boxes, superimposition of materials into different layers, etc., while contents vary from colored geometrical compositions to Western magazines’ images and texts, or even terra cotta objects with furs and feathers…..
In “Showcase”, three series of works will be presented:
“Shallow depth: just as skin is the most sensible part of the human body, easily worn and modified, when I paint, I sometime feel that I am touching or applying makeup on skin.
Candy box: each day people open their eyes and read. I displayed things I read, that used to be new, between still sheets. They are unbelievable, as transparent, uneaten, fascinating candies.
Showcase: the display in “Showcase” is composed of things, related to each other or not, resembling to a certain ideal space. People (things close to people) usually are the elements in space that attract me the most. My showcases and my inner thoughts coincide into one same energy.”
“Shallow depth: just as skin is the most sensible part of the human body, easily worn and modified, when I paint, I sometime feel that I am touching or applying makeup on skin.
Candy box: each day people open their eyes and read. I displayed things I read, that used to be new, between still sheets. They are unbelievable, as transparent, uneaten, fascinating candies.
Showcase: the display in “Showcase” is composed of things, related to each other or not, resembling to a certain ideal space. People (things close to people) usually are the elements in space that attract me the most. My showcases and my inner thoughts coincide into one same energy.”
“Meanings (or things) that we wish to hide the most in works are usually easy to notice, but even revealed they won’t make a “soul-stirring” noise.
Covering over and over a work isn’t recommendable, but I often do that, then the original content loses its meaning and the anxiety of the moment is added to it.
It’s all related to my own private life, only these tangled unclear things can be controlled, the production process is random, unconscientious.
I’m always deeply touched by images, I hardly (almost never) remember experiences coming from words, images became my diary.
I have always been focused on external beauty, some friends consider that I show an utter unconcerned delight for images, this is a relevant qualification, I am infatuated with these “two dimensional characters”. If I was one of them, how would that be?
Just as child’s drawings, pleasure is very important while meanings they embody are unintentional, even incompatible with the environment, answers to the why and the wherefore are unobtainable, there’s only “me”.” -- Xiao Jun.
Covering over and over a work isn’t recommendable, but I often do that, then the original content loses its meaning and the anxiety of the moment is added to it.
It’s all related to my own private life, only these tangled unclear things can be controlled, the production process is random, unconscientious.
I’m always deeply touched by images, I hardly (almost never) remember experiences coming from words, images became my diary.
I have always been focused on external beauty, some friends consider that I show an utter unconcerned delight for images, this is a relevant qualification, I am infatuated with these “two dimensional characters”. If I was one of them, how would that be?
Just as child’s drawings, pleasure is very important while meanings they embody are unintentional, even incompatible with the environment, answers to the why and the wherefore are unobtainable, there’s only “me”.” -- Xiao Jun.
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