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房圣易藝術簡歷
9藝術空間正在展出“原始資本——房圣易作品展”
原始資本——房圣易作品展
Original Sin — Exhibition of Works by Fang Shengyi
藝術家：房圣易
Artist: Fang Shengyi
展覽時間：2010年4月3日—2010年4月30日
Dates: 3:00 pm. to 6:00 pm, 3 April 2010
主辦單位：北京9藝術空間
Organizer: Beijing 9 Art Space
展覽地點：北京市朝陽區(qū)酒仙橋路2號院798藝術區(qū)3818庫內9藝術空間
Venue: 3818 Warehouse, No.2 Jiuxianqiao Road 798 Art District, Chaoyang District, Beijing 100015 China
T: (8610) 8459 9663
F: (8610）8459 9662
W: www.9gallery.net
E: gallery@9gallery.net
2010年4月3日下午3：00 “原始資本Original Sin——房圣易作品展”將于798藝術區(qū)3818庫內9藝術空間開幕，此次展覽將展出藝術家2009年至今的最新作品。
房圣易對經濟與藝術之間的聯系一直很感興趣。他常常往自己的作品中注入商業(yè)社會的元素，比如黃金，價格標簽和債券貨幣等；他也擅長使用概念混淆和反諷的手段，比如在“永遠差一點滿足的欲望”以及“種族問題存在嗎？”系列作品里可以看得出來。他也是在暗示人類無法擺脫心靈的貧瘠和天性的邪惡，救贖正是藝術的一種功能。
藝術家本人對于中國近三十年來的經濟快速發(fā)展也十分感興趣。此次展覽的重要作品“原始資本”就是對社會主義祖國快速發(fā)展經濟的一次側面反思，是一件為即將成為歷史的生產方式的紀念碑式作品。發(fā)展中國家對于先進文明的知識產權的利用、剽竊、掠奪，是落后文化對發(fā)達文化在認同前提下的赤裸裸地剝削。這或許是對歷史上占有先發(fā)優(yōu)勢的殖民者們的總報應。在作品“灰色文化”系列里，圖片的表層模糊不清，不過隱含的內容令人性奮。房圣易在此提醒觀眾的是生活的權利。雖說性感的片段讓圖片的模糊依然具有極高的吸引力，但是模糊不清的灰色讓人聯想到的是“意識形態(tài)”對于公眾生活的干預，它提醒我們管制的存在和自由的相對性。圖片上失去的色彩隱喻的是生理快感的壓抑。
房圣易是具有國際視野的中國青年藝術家。他致力于以當代藝術介入社會現實生活，在關懷社會存在狀態(tài)的同時，對于人類生活方式的演變以及精神狀況的變化持續(xù)給予關注。
Original Sin——Art Exhibition of Fang Shengyi
“Original Sin——Art Exhibition of Fang Shengyi” is going to open in 9 Gallery located in the 3818 Warehouse of 798 Art District at 3:00pm April 3rd 2010. Latest works since 2009 will be shown on this exhibition.
He’s always been interested in the relation between economy and art, hence elements of commercial community such as gold, price tags, bonds and currency often show up in his works. He is also adept at concepts confusing and irony, that can be seen in the works of “Always Within An Ace Of Lust” and “Does Racial Issue Exist?”. He is also suggesting that humans can not get rid of the spiritual leanness and inborn evil. For he believes that salvation serves as a function of art.
Fang Shengyi is also very interested in rapid development of Chinese economy within the last three decades. The main work of this exhibition “Original Sin” is a lateral reconsideration toward the frantic pace of economic growth of the socialism homeland; it is a monumental work of the mode of production that will soon become history. The utilizing, plagiarizing and plundering of intellectual property of advanced civilization by the developing countries, equals to a bald-faced exploitation of developed culture under the premise of identification: this may be the general retribution of the colonizers who possess the first-mover advantages in history. In the series of “Grey Culture”, the blurry surface of image indicates exiting contents. What Fang hints here is the right of life. Although the erotic segments have promoted the appeal of vague pictures, ideology’s interference of public lives occurs in the blurry grey to remind us the existence of supervision and the relativity of freedom. The lack of colors plays a metaphor of the oppression of sensational content.
Fang Shengyi is a young Chinese artist with global vision. He is committed to intervene social reality with contemporary. While caring for the state of social existence, dedicating continuous attention to the evolution of human lifestyles, as well as variety of mental conditions.
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