展览日期：2021/11/02 — 2022/01/09开幕时间：2021/11/02 15:00-18:00（星期二）展览地点：四川省成都市高新区盛邦街，铁像寺水街南广场，千高原艺术空间电话：+ 86 - (0) 28 8512 6358自上世纪80年代以来，杨述就一直是一个离经叛道者。不过，和很多激进的实践者不同的是，杨述从来没有放弃画布，顶多在画布上附着一点日常现成物。“一个艺术家选择什么媒介形式取决于它能否打开自己的神经”，对他而言，就是绘画。因此，他并不觉得绘画是一个过时的语言，但他也不是一个绘画原教旨主义者，在他这里，不存在绘画与艺术或其他媒介的区分。绘画就是一种简单形式，就是日常吃喝拉撒，就是爱恨情仇、生老病死……简言之，绘画就是一种自在自为的个人生命状态。在这个意义上，黄桷坪、器空间也都是他身体的一部分。▲杨述，S No.1，布面丙烯，喷漆，树脂，硅胶，碳笔，铅笔，树枝，杂志，打包带，塑料扎带，纸胶带，广告钉，纸片，250×220cm，2021Yang Shu, S No.1, Acrylic on canvas, spray painting, resin, silicone, charcoal pencil, pencil, twig, magazine page, packing belt, plastic cable tie, paper tape, nail, paper, 250×220cm, 2021杨述从来没有什么创作计划，想画的时候就画，不想画就不画。他不屑于、也无意透过绘画表达什么深刻的思想和观念，他的绘画没有寓意、没有象征，甚至没有背后。这当然不是回到纯粹的形式主义，他不相信任何纯粹的东西——纯粹本身就带有某种法西斯主义的色彩，他也不是有意诉诸混沌——大多时候他对自己所认同和所反对的还是有着清晰的判断和界定。说到底，画面中那些五彩斑斓、毫无章法、如儿童涂鸦一般的描绘或书写，其实就是他的日常踪迹：随性、无序又略感不安的线条和笔触中常常暗潮涌动，而透明的介质（如颜料、光感）常常让画面变得更加不透明和不可见。这看似是一种极具主观性的书写行为，但实际上是将自己客体化后的一种自动书写。▲杨述，S No.24，布面丙烯，喷漆，树脂，硅胶，碳笔，树枝，塑料扎带，240×160cm，2021Yang Shu, S No.24, Acrylic on canvas, spray painting, resin, silicone, charcoal pencil, twig, plastic cable tie, 240×160cm, 2021由此认为杨述“反绘画”显然简化、甚至狭隘化了他的实践。在我看来，杨述所反对（准确地说是亵渎）的与其说是绘画的历史秩序，不如说是一切循规蹈矩的事物，一切神圣的东西。他不避讳艺术史（如劳申伯、汤布利 ）和当下流行趣味（如荧光、喷绘）对他潜移默化的“干扰”；他亦无所谓画面好看与否，当然他的画并不难看；他拒绝让画面承载任何绘画以外的功能，尤其厌恶那些企图用某种符号证明自己身份，乃至一切具有象征和意义的表达，他认为绘画其实就是表面；……可见，他真正信奉的就是不（想）受任何（人）支配和影响的极端个人主义——当然前提是他也不会去干涉或影响他人。如果说这是一种绘画达达主义的话，那么它真正的底色是无政府主义。不过，他既不想被归类、被定义，目的也并非煽起一场摧毁一切惯例的革命，而是回到消极野蛮的动物性这一朴素的个人原始主义，以抵御或抗拒无处不在的精神压迫和内心分裂。
All that is Sacred : Yang Shu's Solo Exhibition
Duration: November 2, 2021 - January 9, 2022Opening: November 2, 2021, 15:00-18:00, TuesdayOrganizer: A Thousand Plateaus Art SpaceVenue: A Thousand Plateaus Art Space, South Square, Tiexiang Temple Riverfront, Shengbang Street, High-tech Development Zone, Chengdu, ChinaTel: + 86 - (0) 28 8512 6358E-mail: info@1000plateaus.orgYang Shu has been a rebel since the 1980s. Contrary to many radical experimentalists, he has never strayed away from canvas, the furthest from which is his occasional addition of everyday readymades. “What medium does an artist choose depends on whether it opens up one’s own nerves.” For him, such medium is painting. Therefore, Yang Shu has never agreed on that painting is an outdated language. Neither is he a fundamentalist painter. To his view, there is no medium distinctions, painting is but a simple format, one that we go through as we eat, drink, shit and piss, as we experience love and hatred, living and dying… In a word, for Yang Shu, painting is an personal life condition in-itself and for-itself. To that extent, the space of Huangjueping and Organhaus are both considered extensions of his body.▲杨述，S No.2，布面丙烯，喷漆，树脂，硅胶，碳笔，粘土，发泡胶，尼龙线，塑料盖帽，220×180cm，2021Yang Shu, S No.2, Acrylic on canvas, spray painting, resin, silicone, charcoal pencil, super-light clay, spray foam, nylon thread, plastic cap, 220×180cm, 2021Yang Shu has always been painting without premeditation, he paints when he wants to, vice versa. He refuses to express any profound thoughts or concepts through painting. Thus his works have no messages, representations, or anything behind. This is no return to pure formalism, for his disbelief in anything “pure” – which always insinuates some sort of fascism. Yang Shu does not intend to resort to chaos – for most of times, there are precise judgments and boundaries to what he identifies with or argues against. After all, the colorful, disorderly and children's graffiti-like depictions or writings in the paintings are actually his daily traces: random, irregular and slightly disturbed lines and brushstrokes are often the masks for latent potential. Transparent mediums (such as paint, light perception) often makes the picture more opaque and invisible. This seems to be a very subjective act of writing, but it is actually an automatic writing after objectifying oneself.Therefore, the inference that Yang Shu’s style is"anti-painting" obviously simplifies or even narrows his practice. In my opinion, what Yang Shu opposes (to be precise, commits blasphemy against) is not so much the historical order of painting as all the things that follow preset rules and all the sacred things. He does not shy away from the subtle "interference" of art history (such as Rauschenberg, Twombly) and trendy interests (such as fluorescence, inkjet); he does not worry about whether the pictures are good-looking or not, of course his paintings are not ugly; he refuses to allow the picture to carry any function other than being a painting, especially detests those who try to use some kind of symbol to prove their identity, and even all symbolic and meaningful expressions, he believes that painting is actually the surface; ... It can be seen that what he really believes in is extreme individualism free of dominance or influence from any person - of course, the premise is that he will also not interfere or influence others. If this is a kind of painting Dadaism, then its true background is anarchism. However, he neither wants to be classified or defined, nor is his purpose to instigate a revolution that would destroy all conventions. Instead, he returns to the simple individual primitivism of passive and barbaric animality, in order to defend or resist the ubiquitous mental oppression and inner division.
杨述，1965年出生于重庆，1985年毕业于四川美术学院油画系并继续深造研究生，后于1988 年毕业后留校任教至今，1995年在荷兰阿姆斯特丹的荷兰皇家视觉艺术学院(Rijksakademie van beeldende kunsten)驻留一年,是中国实验绘画早期的探索者。杨述天生的造型才华，以及 扎实的学院写实功底帮助他建立了对抽象的结构与色彩的深入认知。从1990年代开始，杨述的 创作就逐渐从受表现主义影响的非具象作品，发展为今天具有独特魅力的“杨述式”的视觉创 造。他的创作不仅关注现实世界的变迁，还将批判精神和美学创造融为一体，将对平面结构的 破坏转化为综合材料的重组，凝结出冷峻而富有爆发力的诗意。鲁明军，历史学博士。复旦大学哲学学院青年研究员。策展人，剩余空间艺术总监。近年策划《疆域：地缘的拓扑》（2017-2018）、《在集结》（2018）、《没有航标的河流，1979》（2019）、《街角、广场与蒙太奇》（2019）、《缪斯、愚公与指南针》（2020）等展览。在《文艺研究》《美术研究》等刊物发表多篇论文。近著有《理法与士气：黄宾虹画论中的观念与世变（1907-1954）》（2018）、《目光的诗学》（2019）等。2015年获得何鸿毅家族基金中华研究奖助金；2016年获得Yishu中国当代艺术写作奖；2017年获得美国亚洲文化协会奖助金（ACC），同年，获得第10届中国当代艺术评论奖（CCAA）；2019年获得中国当代艺术奖（AAC）年度策展人奖。
