伍伟 Wu Wei 巨兽 Monster

伍伟出生于1981年，中国河南省郑州​伍伟2012年毕业于中央美术学院实验艺术系，获硕士学位，现居北京。伍伟的作品中充斥着触感欲望，涉及文明、野蛮、神话的议题，在材料与空间中寻找新的感受和可能。 艺术家对纸张进行裁切、重组，以皮毛的视觉质感呈现。 作为一种「拟态」，在作品中时常出现的「兽纹」以及某种附以强烈色彩的「神兽」，既以局部的、可变换的形态出现，也以纯粹的、抽象化的形式语言组织为新的意味。 从深层的角度来讲，一直以来艺术家的工作触及对当代文化的思考和质疑。 他曾在奥地利维也纳、德国柏林参与国际艺术驻留。 作品曾在当代唐人艺术中心（北京） 、深港城市建筑双城双年展2019、市原湖畔美术馆（日本）、白盒子艺术馆（北京）、上海当代艺术博物馆、南京艺术学院美术馆、北京民生现代美术馆、列奥纳多· 皮尔斯坦美术馆（美国费城）、UBC大学亚洲中心（加拿大温哥华）、户尔空间（德国柏林）、候鸟空间（德国柏林）、FLUC当代艺术空间（奥地利维也纳）等多家艺术机构展出，公共收藏包括民生现代美术馆、中央美术学院美术馆、白盒子艺术馆、今日美术馆、Bing3艺术基金等机构。 他于2015年获第六届报喜鸟新锐艺术人物空间类大奖，2012年获第三届新星星艺术节艺术场大奖。 Wu Wei​b. 1981, Zhengzhou, Henan Province, China​​In 2012, Wu Wei graduated from the Experimental Art Department of the Central Academy of Fine Arts with a master's degree and now lives in Beijing. Wu's works are full of sensual desires, involving topics of civilization, barbarism, and mythology, looking for new feelings and possibilities in materials and space. The artist cuts and restructures paper, presenting furry textures. The ‘beastly pattern’ and certain kind of ‘godly creature’ with a vivid colour appears in parts, or interchangeable forms, and presents new meaning with the pure, abstract formal elements. The artist contemplates and investigates into the contemporary culture consistently, results in the symbolism in his works.​He participated in international art residency in Vienna, Austria and Berlin, Germany. His works have been exhibited in Tang Contemporary Art (Beijing), The Bi-City Biennale of Urbanism/Architecture 2019, Ichihara Lakeside Museum (Japan), Whitebox Art Center (Beijing), Power Station of Art (Shanghai), Art Museum of Nanjing University of the Art, Beijing Minsheng Art Museum, Leonard Pearlstein Gallery (Philadelphia, U.S.A), Asian Library, University of British Columbia (Vancouver, Canada), XC. HuA Gallery (Berlin, Germany), Migrant Bird Space (Berlin, Germany), FLUC Art Space (Vienna, Austria) and many other art institutions; public collections include Minsheng Modern Art Museum, Central Academy of Fine Arts, Whitebox Art Center, Today Art Museum, Being3 Art Foundation and other institutions. He won the 6th Anniversary Award for the New Artists Space Award in 2015, and won the 3rd New Star Art Festival Art Award in 2012.伍伟的装置使用了高饱和度的色调、对比强烈的色彩关系、清晰的轮廓，以及暗示着生命体的复杂形态。同时，也在作品中对异化的现实，以及我们当今所面对的艰难境遇做出回应。或对生命力量进行转化和扭曲，或与工业化结构进行对抗。 伍伟的作品以纸张作为材料，这一选择从早期对书本的运用演变而来。他改造了传统剪纸的方法，将不同色彩的纸张转化为皮毛，并结合唐卡制作的“堆绣”技巧把层层皮毛与形状结合，堆叠出凹凸的生长趋势。纸张的质地在漫长、复杂的手工劳作过程中得到了强调。视觉顺利触发我们对于动物皮毛的心理感受，触感由此在观看过程中被调动起来。作品被赋予细致温暖的气质，亦表达了艺术家对于原始而隐秘力量的诉求。虽然作品与古代神兽相关联，但伍伟抛却了其中的故事性，将关注点集中于动物的形貌与皮毛纹路本身。在颜色的使用上也尽可能地简洁，只在主体色调的统治下谨慎地选择局部颜色，有时甚至是在哑光白色中辅以亮白。如艺术家在自述中所说：“从个人情感引发出对某种力量和体验的探求,进而从现实回到东方传统中的原始经验和精神性,在逐步纯化的语言中实现‘物’本身带给个人的直接反应，是视觉的也是心理的,我试图在材料与空间中寻找一种纯粹而极致的直觉状态。”  Wu Wei’s works are made of paper, a choice of material that evolved from his early use of books. He adapted traditional paper cutting methods, transforming different colors of paper into fur. He then incorporated the layered embroidery techniques of thangka production into combinations of layered fur and forms that seem to undulate and grow. The texture of paper is emphasized in his long, complex process, done entirely by hand. This visual element easily triggers our psychological associations with animal fur, and the sense of touch is activated in the course of looking. The works are delicate yet warm, and they reflect Wu’s pursuit of primeval, hidden power. Although his work is related to ancient mythical creatures, Wu Wei removes their narrative elements, shifting the focus to the forms of the animals and the grain of the fur. His color palette is as clean as possible. He carefully chooses a secondary color dictated by the primary tone, which is sometimes simply matte white set off by a bright white. As Wu has said, “My exploration of power and experience begins with personal emotion. I return from reality to the primitive experience and spirituality of the Eastern tradition, in order to spark the direct reactions that things cause in people using a language that I am gradually purifying. It’s visual, but it’s also psychological. In materials and space, I attempt to find an ultimate, pure intuitive state.”