相關(guān)展覽信息

　　定義：午夜，標(biāo)志著全世界民用時(shí)間每一天的開始和結(jié)束。作為一天與另一天的劃分點(diǎn)，午夜不容易歸類為前一天或后一天的一部分。盡管在這個(gè)問題上全球沒有統(tǒng)一，但通常午夜被認(rèn)為是新的一天的開始，與小時(shí)00：00相關(guān)聯(lián)。

Def-i-n-i-tion: Mid-night marks the begin-ning and end of each civ-il day around the world. As the point of divi-sion between one day and anoth-er, mid-night is not eas-i-ly clas-si-fied as part of the day before or the day after. Although there is no glob-al con-sen-sus on this issue, mid-night is usu-al-ly con-sid-ered the begin-ning of a new day, asso-ci-at-ed with the hour 00:00.

——文字來源于《維基百科》The text is from Wikipedia

　　我有很多次在午夜乘坐飛機(jī)的經(jīng)歷，飛機(jī)的轟鳴聲讓我會(huì)進(jìn)入一種似醒非醒的狀態(tài)。

　　午夜所呈現(xiàn)出來的模糊和矛盾與我近期的作品較為吻合：畫面指向性越來越不明顯。就像今年普利茲克獎(jiǎng)的建筑師所傳達(dá)的“更少的建筑”理念一樣，我在嘗試的是“更少的繪畫”，即在可控的方法中尋找不可控的圖示。

　　這次展覽的作品都是圍繞時(shí)間的線索展開，嘗試探索作品中一種模糊時(shí)間的概念。

Many times I’ve been on a plane in the mid-dle of the night, and the roar of the plane has sent me into a kind of half-awake sta-tus.

The ambi-gu-i-ties and con-tra-dic-tions pre-sent-ed by mid-night are con-sis-tent with my recent works: The direc-tiv-i-ty of the work is less and less obvi-ous. Like the archi-tects who award-ed this year’s Pritzk-er Prize deliv-ered the idea of “l(fā)ess archi-tec-ture,” what I’m try-ing to do is “l(fā)ess draw-ing,” which is to look for uncon-trol-lable images in a con-trolled way.

The works in this exhi-bi-tion are all about the clues of time, try-ing to explore the vague con-cept of time in the works.

——?jiǎng)⒙?Liu Cong

　　開幕當(dāng)天同時(shí)會(huì)發(fā)布由fRUITY-PRESS 出版的兩本劉聰?shù)莫?dú)立出版物-《NEW PORTRAITS》和《POLAR DAY》敬請(qǐng)期待。

劉聰|Liu Cong

　　1988年生于遼寧大連，現(xiàn)工作生活于北京。他的作品涉及多種繪畫媒介和形式，他不拘泥于單一的繪畫表達(dá)，而更關(guān)注繪畫方法的建立，以及不同媒介之間的相互關(guān)系。他把自己的創(chuàng)作過程比喻為在城市中漫步，在體力消耗的同時(shí)總能發(fā)現(xiàn)一些有意思的畫面，從而尋找邊界和打破邊界。

　　近期個(gè)展包括：

　　“午夜” 妙有藝術(shù)，北京(2021);“洛克群島” 妙有藝術(shù)，北京(2020);“臨時(shí)的，暫時(shí)的;短暫的” 盤子空間，北京(2019);“寂寞的影子”，麗禾藝術(shù)空間，深圳(2019);更衣室，fRUITSPACE，北京(2019);“自由餐廳”，Link畫廊，北京(2019);“平視”，藝術(shù)方位畫廊，深圳(2018);“鄉(xiāng)村垂釣俱樂部”， fRUITSPACE，北京(2017)。

　　主要群展包括：“碧潭” 妙有藝術(shù)，北京(2021);“飄” 艾格維畫廊，紐約，美國(guó)(2018);“Art Cen-tral 2018”，中環(huán)海濱,香港(2018);“感動(dòng)的前提”，Link畫廊，北京(2017);“睛彩聯(lián)合國(guó)國(guó)際藝術(shù)展”，聯(lián)合國(guó)，紐約，美國(guó)(2017);“花園里的展覽”，L?Space,北京(2017);“紙藏“，Link畫廊，北京(2017);“約翰 莫爾繪畫大賽(中國(guó))”上海喜馬拉雅美術(shù)館 ，上海(2014);南京國(guó)際美術(shù)展，南京國(guó)際博覽中心，南京(2014)。

Liu Cong

Born in 1988 in Dalian, Liaon-ing Province, now lives and works in Bei-jing. Liu Con-g’s works involve a vari-ety of paint-ing media and forms. He does not stick to a sin-gle paint-ing expres-sion, but pays more atten-tion to the estab-lish-ment of paint-ing meth-ods and the rela-tion-ship between dif-fer-ent media. He likens his cre-ative process to walk-ing in a city, find-ing inter-est-ing images while phys-i-cal-ly expend-ing, to find and break bound-aries.

Recent Solo exhi-bi-tion include:

“Mid-night”， MOUart, Beijing(2021); “Rock islands”， MOUart, Beijing(2020); “Tem-po-rary”， PLATESPACE, Beijing(2019); “Lone-ly shado”,Lia Art-Space, Shenzhen(2019); “Chang-ing room”，fRUITSPACE, Beijing(2019); “T? Do Restau-rant”, Link Gallery, Beijing(2018); “Par-al-lel Sight”, J&Z Gallery, Shenzhen(2018); “Coun-try Fish-ing Club”, fRUIT-SPACE, Beijing(2017). Major group exhi-bi-tion include：“Green Lake”，MOUart, Beijing(2021); “Drift-float”,Elga Wim-mer pcc, New York, USA(2018);”Art Cen-tral 2018”, Cen-tral Harborfront，Hong Kong(2018); “Touched by the premise”, Link Gallery, Beijing(2017); “Eye-art inter-na-tion-al exhi-bi-tion at the Unit-ed Nations”, Unit-ed Nations, New York, USA(2017); “Gar-den of the exhi-bi-tion”, L?Space, Beijing(2017); “Paper-work col-lec-tion”, Link Gallery, Beijing(2017); “John Moore Paint-ing Com-pe-ti-tion (Chi-na)”, Shang-hai Himalayan Art Muse-um, Shanghai(2014); “Nan-jing Inter-na-tion-al Art Exhi-bi-tion”, Nan-jing Inter-na-tion-al Expo Cen-ter, Nanjing(2014).

靛 Indigo 木板綜合材料 comprehensive material on wood 30.5x23cm 2021

極晝 Polar day 木板綜合材料 comprehensive material on wood 20.5x15.5cm 2020