海報(bào)

策展人：毛唯辛 
展覽統(tǒng)籌：?jiǎn)蝿?李蘇寧
展覽時(shí)間：2017年11月11日----2017年11月15日
展覽地點(diǎn)：合肥久留米友好美術(shù)館
媒體支持：卓克藝術(shù)網(wǎng) 雅昌藝術(shù)網(wǎng) 新華網(wǎng) 人民網(wǎng) 新浪網(wǎng)

前言：

      矩陣（Matrix）本意是子宮、控制中心的母體、孕育生命的地方。在數(shù)學(xué)上，矩陣是指縱橫排列的二維數(shù)據(jù)表格，最早來(lái)自于方程組的系數(shù)及常數(shù)所構(gòu)成的方陣。 

       以“矩陣”來(lái)命名此次的展覽，預(yù)示著安徽的在當(dāng)代藝術(shù)的文化生態(tài)里生成了一種全新的藝術(shù)行動(dòng)方式，這也是安徽當(dāng)代藝術(shù)的一次集體方陣。在當(dāng)代藝術(shù)以作為當(dāng)下的一種主流藝術(shù)形式，在一線二線的城市正在如火如荼的進(jìn)行著。而作為安徽的省城合肥卻偏于一隅呈“弱顯征”態(tài)勢(shì)，卻涉及到“傳統(tǒng)”、“保守”“滯后”的問(wèn)題，僅僅通過(guò)一次展覽來(lái)回答，是不能令人滿意的。當(dāng)然，如此來(lái)界定安徽的當(dāng)代藝術(shù)仍舊是不夠的。而我想要描述的是一種新的可能性趨勢(shì)。這將在此次展覽所邀請(qǐng)的藝術(shù)家與作品中得到印證。這種態(tài)勢(shì)是一種旨在去“地域化”， 也希望藝術(shù)家的每一個(gè)作品都在尋找自己的“內(nèi)在性”和“自在性”，或給安徽一直低迷的當(dāng)代藝術(shù)打一劑強(qiáng)心針。繼而觸發(fā)安徽當(dāng)代藝術(shù)生態(tài)的多元化。

      本次群展選取以上海和合肥當(dāng)代藝術(shù)家為主的不同年代及年齡層次的藝術(shù)家重要?jiǎng)?chuàng)作時(shí)期的作品，以知名藝術(shù)家及具有代表性質(zhì)的中青年藝術(shù)家的自身獨(dú)特視角，審視當(dāng)代藝術(shù)創(chuàng)作的源頭與初衷。通過(guò)追溯藝術(shù)家從萌發(fā)、突圍直至多方位獨(dú)立思考的歷程，挖掘濃縮于藝術(shù)家個(gè)體的當(dāng)代中國(guó)藝術(shù)史發(fā)展縮影。 

      本次群展涵蓋當(dāng)代藝術(shù)各個(gè)門類，包含繪畫、行為、裝置及影像多媒體等方面。以全方位的角度解析藝術(shù)與藝術(shù)家之間的本質(zhì)關(guān)聯(lián)，還原藝術(shù)家于純粹，并思考藝術(shù)在跨越自身中的轉(zhuǎn)折與拓展。通過(guò)描述與表現(xiàn)藝術(shù)創(chuàng)作中的建構(gòu)過(guò)程，彰顯藝術(shù)在當(dāng)代文明發(fā)展中的獨(dú)特精神與魅力，啟發(fā)及引導(dǎo)更多的人群來(lái)認(rèn)知及了解中國(guó)當(dāng)代藝術(shù)。

      正如文明與藝術(shù)是互為啟迪的關(guān)系一樣，當(dāng)代中國(guó)藝術(shù)在文化復(fù)蘇的大背景下同樣成為了一座播撒種子的燈塔。當(dāng)代藝術(shù)泛發(fā)的活力不僅帶來(lái)了社會(huì)層面文化價(jià)值的變遷，更產(chǎn)生出一種對(duì)于思考與行為方式的延展。——而當(dāng)我們把這種延展逆向延伸，便回到了每一種藝術(shù)，每一個(gè)藝術(shù)家的創(chuàng)作理念與實(shí)踐的原點(diǎn)，這個(gè)時(shí)間點(diǎn)總是存在。——不論可被追溯的廣度，不論任何表現(xiàn)形式與媒介，——在這個(gè)點(diǎn)上，懵懂蛻變成了一種堅(jiān)定，青澀被置換成可以以自信的姿態(tài)迎接整個(gè)世界喝彩的成熟。

毛唯辛于2017年9.12日上海

The third phenomenon "matrix" Contemporary Art Invitation Exhibition
 
Matrix (Matrix) is intended to be the uterus, the center of the control center, where the birth of life. In mathematics, the matrix refers to the vertical and horizontal arrangement of two-dimensional data table, which originally come from the equations of the coefficients and constants formed by the square.
 
Using “matrix” to name the exhibition, indicates that Anhui in the contemporary art of cultural ecology to generate a new way of art action, which is the collective square of Anhui contemporary art. Currently contemporary art is the mainstream type of art, is spreading its spirit among first tier and second tier cities. However, as the province of Anhui, Hefei, currently is experiencing its weak situation, which involves with characteristics such as “traditional”, “conservative” and “lag” problem and it will be difficult to answer all the questions only through this exhibition.

It is not enough to define the contemporary art of Anhui Province only through this exhibition. But what I want to describe is the new possible trend. This will be proven by artists and works that has been invited through this exhibition. This trend is aimed to "regionalize" and hope that each of the works of the artist is looking for their own "internality " and "freedom", or strengthen the diversity of contemporary art in Anhui.

From this exhibition, we will select the works of contemporary artists who are in different ages that come from in either Shanghai or Hefei. We, as well-known artists and young representatives, will use unique perspective to appreciate the origins of contemporary art creation. Through tracing back, the artists from germination, and breakout until the multi-directional independent thinking process, to explore the individuals of artists that are exposed as a miniature of China Art and history.

This exhibition covers all categories of contemporary art, including painting, behavior, installation and video multimedia and so on. To analyze the essential relationship between art and the artist in an all-round way, to restore the artist purely and to think about the turning and expansion of art across itself. Through the description and performance of artistic creation in the construction process, highlighting the art of contemporary civilization in the development of the unique spirit and charm, inspire and guide more people to understand and understand the Chinese contemporary art.
 
Just as the mutual enlightening relation between civilization and art, contemporary Chinese art has also become a lighthouse for seeding in the context of cultural recovery.

The vitality of contemporary art has not only brought about the cultural changes in the social dimension, but also produced a kind of thinking and behavior for the extension of the way. And when we extend this extension extensively, we return to the origin of every art, every artist's creation and practice, and that time is always there.

Regardless of the breadth of the trail, regardless of any form of expression and the media, at this point, ignorant into a firm, Sentimental is replaced with a confident attitude to meet the world.

Weixin Mao was written in Shanghai on September 12, 2017

李新成

李新成簡(jiǎn)介：

       李新成，1978生，職業(yè)畫家和編劇。自幼師從黃紹京后及劉義付。多年獨(dú)自潛心研習(xí)繪畫與文藝文學(xué)，作品多為英法德等國(guó)私人訂購(gòu)和收藏。

《自由 ·  位置》裝置 2016

劉義付

劉義付簡(jiǎn)介：

       1963年生于安徽霍邱；藝術(shù)碩士學(xué)位、現(xiàn)任教于安徽工商職業(yè)學(xué)院藝術(shù)設(shè)計(jì)系；安徽美術(shù)家學(xué)協(xié)會(huì)會(huì)員、中國(guó)商業(yè)美術(shù)師。 

劉義付 《消隱在背后的危險(xiǎn)》 40x45cmx3 

 陸巖松 

陸巖松簡(jiǎn)介： 

      陸巖松,燈光藝術(shù)總監(jiān) 從事舞臺(tái)燈光藝術(shù)工作10年.

大事件： 

1、展覽時(shí)間：2016年12月31第三屆合肥雙年展2016年度文獻(xiàn)展 

參展作品：燈光裝置      作品名稱：上善若水 

2、展覽時(shí)間：2017年4月22第三屆合肥雙年展實(shí)驗(yàn)項(xiàng)目2017年“華信智原杯” 

參展作品：燈光裝置      作品名稱：光界 

3、展覽時(shí)間：2017年10月18《合肥雙年展學(xué)術(shù)論壇》 

兩個(gè)重要項(xiàng)目的學(xué)術(shù)研討： 

1、《2018-2020第四屆合肥雙年展》暨《21世紀(jì)新媒體藝術(shù)綜合試驗(yàn)站》 

作品名稱：光影-光效 

2、展覽時(shí)間：2017年11月11日----2017年11月15日 

現(xiàn)象“矩陣”當(dāng)代藝術(shù)邀請(qǐng)展 

參展作品：燈光裝置     作品名稱：選擇 

創(chuàng)作靈感：當(dāng)代藝術(shù)是需要激情、感知與實(shí)踐，富有想象、結(jié)合實(shí)地空間環(huán)境等現(xiàn)狀。以光的藝術(shù)形式在當(dāng)代藝術(shù)中的創(chuàng)作、及體驗(yàn)者的感知。 

基礎(chǔ)元素：燈具、黑絲絨布、 

裝置空間尺寸：根據(jù)現(xiàn)場(chǎng)結(jié)構(gòu)環(huán)境 

 陸巖松《選擇》