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Ma Qiusha: Works on Paper 马秋莎:纸上作品


  • Beijing Commune 北京公社 Taoci 3rd St Beijing, Beijing, 100015 China (map)

Beijing Commune is pleased to announce the opening of MA Qiusha’s fourth solo exhibition at the gallery“ Works on Paper”on April 3rd, 2014. The show will continue through May 24th, 2014.

Ma Quisha’s diversified art practice encompasses video, photography, painting and installation. Linking interestingly and cautiously with the petty reality of daily experience, her works reveal strange imagination concealed beneath the surface of the mundane. Her works on paper has been shown in various exhibitions both at the gallery and offsite programs, yet this has been the first time for Ma Qiusha to present her works on paper as a solo project.

Ma Qiusha’s exposure to painting began fromher early childhood. In her youth, architecture was a favorite subject during outdoor sketching sessions. The analysis of internal and external architectural structures required for accurate sketches gave her an excellent sense of the order in architecture, the rationality of which intertwines with the physicality of the environment it nurtures, people living within and their intricate emotions. Architecture and spatial design had since become a constant theme throughout Ma’s work, which first appeared in more concrete representations. Two of Ma’s smaller paper pieces, depicting two buildings that she saw in person and later painted from memory with additional imaginative embellishments, were shown atBeijing Commune’s 2011 group exhibition Constructing Form. Since the very beginning, Ma’s works featuring architecture had always been an expressiveness nurtured under a veil of rationality and order and a reflection on her own experiences.

Ma’s works on paper often portray images or notions of windows. In her solo exhibition Address, at the Ullens Center for Contemporary Art, the window, as depicted, represented a paradox of separation and connection, linking her rollerblading on outdoor asphalt roads (All My Sharpness Comes From Your Hardness, video, 2011) with the privacy of her growing experience. Fog, a piece in her solo exhibit Static Electricity, was produced by rubbing the lace curtain with dark watercolor on paper, hinting abstractly at the window hidden behind. In her paintings of architecture, Ma emphasizes the windows in the buildings through repeated use of reflective paper. Ever since her early work depicting architecture, which were relatively more on the figurative side and were mostly based on real structures, Ma often carefully and methodically glued small rectangular pieces of reflective paper on top of her watercolor paintings, which while tempting the viewer to imagine what is hidden behind them, also mirrors that imagination back to the source.

The works shown in the You series were created on 2012. Ma moves away from real architecture; instead she takes architectural shapes from memory and decorates them further through imagination, and are more stylized in nature. She uses watercolor to paint the baseline structure, and then glues small pieces of silver and gold reflective paper on top to add texture. The neatly arranged paper shapes give the structures a sense of order, while at the same time adding nearly suffocating density to the temptation. The windows are no longer an aspect of the architecture; instead, the massively overlapping and shining rectangles become the very foundational construct of the piece. The viewing experience varies depending on the angle of approach, offering different colors and reflections as the viewer walks across the painting.

Ma explains: “When we examine a work of art, what do we really see? In other words,the viewer’s interpretation can never quite match the artist’s intentions in creating the piece. People always attempt to understand the world they see through their own experiences; when viewing a piece of artwork, they are peaking into a slice of someone else’s world. The viewer, with all his curiosity, attempts to infer the meaning behind the piece, but any meaning thus interpreted in fact comes from the viewer himself after all. What we are able to observe will always be the piece that we already know; we really only observe ourselves. To the artist, the viewer is by default misinterpreting. People always try to establish a connection to the world they live in, but isolate themselves further in that very process.” Thus the choice of You as the name of the series.

Ma Qiusha was born in 1982. She received her BA in Digital Media Art from China Central Academy of Fine Arts in 2005 and MFA in Electronic Integrated Arts from Alfred University in U.S. in 2008. She currently lives and works in Beijing. As one of the most dynamic figures of the emerging generation in China’s contemporary art community, Ma Qiusha’s art have been widely exhibited across the international art scene. Her works have been shown at the Tate Modern, UK; ZKM(Center for Art and Media Karlsruhe), Germany; the Contemporary Arts Museum Houston, U.S.; the International Contemporary Art Foundation, Bergen; the Chinese Arts Centre, UK; the Ullens Center for Contemporary Art, Beijing; the Minsheng Art Museum, Shanghai; the OCAT(Contemporary Art Terminal), Shanghai; the National Art Museum of China; and the Art Museum of Central Academy of Fine Arts, Beijing, etc. Her upcoming shows include “My Generation: Young Chinese Artists” at Tampa Museum of Art and Museum of Fine Arts, St. Petersburg, Florida, U.S.; “A Time for Dreams - Moscow International Biennale for Young Art”at The Museum of Moscow, Moscow; “Performance and Imaginations: Photography from China 1911-2014”at Stavanger Art Museum, Norway and so on.

北京公社将于2014年4月3日荣幸地开启马秋莎在我们空间的第四次个展“纸上作品”,展览将持续至5月24日。

马秋莎的艺术创作不拘泥于特定的媒介,其作品包括摄影、录像、绘画、装置等,作品内容以具体而细微的个人经历为主,却往往能够从日常性中抽离、并超越于对情感的直接述说,进入到更为本质的形式层面。马秋莎的纸上作品曾在北京公社及国内外的艺术中心、美术馆等多个展览中展出,但本次以《你》命名的系列,是她的第一次纸上作品项目。

马秋莎自幼接受绘画训练,建筑是其少年时绘画写生课中描摹最多的对象。对建筑内外结构的分析与描绘使马秋莎很早就体会到建筑所呈现的秩序感,而这种被赋予的理性又与活动于其中的人类情感交织混杂。建筑及空间一直成为她作品中持续的主题,起初以一种较为具象的表达展现出来。北京公社2011年的群展《建筑形式》中,马秋莎的两件小幅纸上作品描绘了两栋真实存在、但又被艺术家用记忆、缅怀与幻想所篡改了的建筑。从一开始,马秋莎关于建筑的绘画就是一种在理性、秩序表面下的情感抒发及对自身的观照。

马秋莎的纸上作品中多次出现窗的形象或意象。在她尤伦斯个展《地址簿》中,“窗”的纸上形象作为隔绝与接纳的统一体,连接了她在户外的水泥路面上滑冰的行为(《我所有的锐气来自你的坚硬》,录像,2011)与成长的隐秘体验。而在其《静电》展览中的纸上作品《雾》—蕾丝窗帘拓印出的浓黑色调纸上水彩作品,则是对窗的形象的抽象化。在马秋莎的纸上建筑绘画中,“窗”则借由她对反光纸反复而持续地使用被强调出来。在初期较为写实的、以具体建筑为表现对象的作品中,马秋莎就开始把切成细小格子的反光纸一枚枚仔细黏贴在水彩画面上。这些反光纸在“引诱”观看者想象其遮蔽的空间的同时又将这种想象折返给观看者。

本次展览所呈现的作品《你》系列始于2012年。艺术家不再依赖现实中的真实建筑,而是从记忆中抽取出建筑的样式加以想象描绘,也更加形式化。她以水彩铺底描绘出建筑的外观,再用金色或银色的反光纸一点点将其分割出棱角。这种分割使得画面中的建筑看似更具秩序感,但大面积使用的反光纸却将“引诱”的密度变得令人窒息。“窗”不再只是建筑的局部,大量铺陈叠加的、闪闪发亮的细小格子构建了画面中建筑的基本形态,而观看的效果则会随着观者的位移而改变,每个角度都有不一样的色彩与折射。

马秋莎说:“当我们面对一件作品的时候,我们真正看到了什么?换言之,作品背后的创作者的想法与观看者的接收永远不相匹配。人们总是在用自己的经验来感知外部世界,在艺术作品呈现了另一个人的世界。观看者怀揣着好奇心,总在揣摩亦或试图解读作品背后的涵意,而实际上这涵意来自于观看者本身。我们看到的永远是我们已有的那部分,是我们自己本身。对于创作者来说观看者一直处在误读中。人们总是努力想构建与世界的联系,却又孤立了自己。”这也是她将这个系列命名为《你》最直接原因。

马秋莎出生于1982 年,2005 年毕业于中央美术学院,2008 年毕业于美国阿尔弗雷德大学电子综合艺术专业艺术硕士学位,现生活和工作于北京。她的作品曾于英国泰特现代美术馆、ZKM德国卡尔斯鲁尔艺术与媒体中心、休斯顿当代美术馆、俾尔根国际艺术基金会、波特兰当代艺术学院、英国华人艺术中心、北京尤伦斯当代艺术中心、上海民生现代美术馆、OCT当代艺术中心上海馆、中国美术馆和中央美术学院美术馆等多处展出。她即将到来的展览包括美国坦帕艺术博物馆和圣彼得斯堡美术馆“My Generation: Young Chinese Artists”、莫斯科国际青年艺术家双年展“A Time for Dreams”以及挪威Stavanger Art Museum “Performance and Imaginations: Photography from China 1911-2014”。