神话与真理—东南亚最活跃的艺术家之一罗德尔塔帕雅新作展 @唐人北京

　　神话与真理—罗德尔塔帕雅新作展

　　展期：2018年11月3日-12月15日

　　地点：当代唐人艺术中心北京第二空间

　　当代唐人艺术中心荣幸地宣布，将于2018年11月3日在北京第二空间推出东南亚最活跃的艺术家之一，菲律宾80后代表性艺术家罗德尔·塔帕雅（Rodel Tapaya）的个展《神话与真理》。展览由马蒂亚斯·阿恩特（Matthias Arndt）策展，将呈现艺术家新近创作的一系列超大幅及中等画幅的绘画作品，一件装置作品及影像作品。

　　《丢失的铆钉》，布上丙烯，244 x 335 cm，2018

　　The Loss of Rivets,Acrylic on Canvas,244 x 335 cm, 2018

　　罗德尔·塔帕雅（Rodel Tapaya）生于1980 年，现在菲律宾布拉干省（Bulacan）工作和生活。他将传统故事的叙述置于当代语境之中，在讲述该国神话故事的同时，反映菲律宾人民的面貌和时事社会问题。他善于将想象与现实、过往与现在、神话与时事联系在一起，体现出高超的故事叙述水平。作为一名具象派画家，塔帕雅的创作源自文学作品，这使他的艺术跳脱了当地语境的局限，释放出全球性的影响力。

　　《八头怪兽与生命之树》，布上丙烯，244 x 335 cm，2018

　　Eight Headed Monster and the Tree of Life,Acrylic on Canvas,244 x 335 cm, 2018

　　塔帕雅采用多样化的创作媒介，除了在画布上涂抹大片丙烯颜料外，他还探索了玻璃绘画、传统手工艺、透视画和素描等。他透过民间故事与殖民时期之前的历史观察这个世界，为观者拼贴出各种各样光怪陆离的人物形象。另外，他对那些能引发持久共鸣的时代和地点进行深入思考与反刍，以此作为精神养料浇灌每一部作品，比如他在早期作品中对“网格”赋予的形式主义与心理方面的隐意，以及对神话和民间美学始终不懈的挖掘与解读，都体现了他的这一艺术理念。

　　《一抓一啄》，玻璃纤维、木质个人元素。60 x 29 x 29 cm x 60 pic，2010。作品展出于个展《罗德尔·塔帕雅》，澳大利亚国家博物馆，堪培拉，2017

　　Isang kahig, Isang Tuka（One Scratch, One Peck）, Glass Fiber, Wooden Personal Elements, 60 x 29 x 29 cm x 60 pic, 2010. Shown at "Rodel Tapaya", NationalGallery of Australia, Canberra, 2017

　　本次展览旨在探讨科学真理与菲律宾神话传说之间的区别和联系。法国人类学家、结构人类学创始人克洛德·列维-施特劳斯（Claude Levi-Strauss）认为，不能把神话简单地看成原始信仰或封建迷信的产物。神话其实是一种野史，为人们系统性地分析人类潜意识的工作方式提供了原始资料。因此塔帕雅在谈到这次个展时说：我要表现的，并不是人们会怎样看待神话，而是神话如何不知不觉地在人们的脑海中运作。

　　《Adda Manok Mo, Pedro?》，第20届悉尼双年展，悉尼，2016

　　Adda Manok Mo, Pedro? (Do You Have a Rooster, Pedro?),20th Biennale of Sydney, Sydney, 2016

　　《未知领域》，奥地利Hilger BrotKunsthalle美术馆，维也纳，2017

　　“Terra Incognita”，Hilger BrotKunsthalle, Vienna, 2017

　　本次新作中呈现的森林、山川和风景，既让人熟悉又富有幻想色彩。塔帕雅把神话元素与现代社会中的普遍境遇相互并置。他认为现代人往往狂妄地以为自己就是巨人甚或是神明，但在控制自然、改造自然的过程中，各种‘地震’和灾害却频频降作。他透过生态的视角探讨神话与当今世界之间关系，并从中揭示人类因贪欲无度而遭致自然的惩罚。

　　《Baston ni Kabunian, Bilang Pero di Mabilang》，光州双年展，2014

　　Baston ni Kabunian, Bilang Pero di Mabilang (Cane of Kabunian, numbered but cannot be counted)participated in 2014 Gwangju Biennale

　　《ICA 海外展：香港人》，香港Duddell's空间，香港，2015

　　“ICA Off-Site: Hong Kongese”,Duddell's,Hongkong, 2015

　　贾克林·巴宾顿（Jaklyn Babington，澳大利亚国家美术馆，国际策展人）在论及塔帕雅作品中的符号意义及其深层联系时指出：“塔帕雅从菲律宾殖民时代之前的神话传说和风俗传统中汲取灵感，将幻想与现实融为一炉，以视觉的方式反映当代政治、社会及环境问题，呈现出当代人复杂的生存境遇。他的绘画特点与墨西哥壁画艺术家和超现实主义艺术家有不少共通之处，然而塔帕雅将菲律宾的社会、政治和环境问题有机地串联在一起，在作品中揭示的本土性问题，具有全球性的意义，这份功力堪与前辈的社会叙事画大师相比肩。”

　　关于艺术家

　　罗德尔·塔帕雅出生于1980年，是菲律宾80后艺术家中的重要代表人物，也是目前东南亚最活跃的艺术家之一。在2001年获诺基亚艺术奖（Nokia Art Awards）特等奖。后赴美国纽约的帕森斯设计学院和芬兰的赫尔辛基大学努力攻读素描和油画课程。后毕业于菲律宾国立大学艺术学院。

　　其部分个展包括：“城市迷宫”（Urban Labyrinth），阿亚拉博物馆，马尼拉，菲律宾，2018年；“罗德尔·塔帕雅：来自菲律宾的新艺术”，澳大利亚国家博物馆，堪培拉，澳大利亚，2017年；“罗德尔·塔帕雅”,辛德尔芬根市美术馆（Galerie der Stadt Sindelfingen），德国，2016年；“伦敦当代艺术学院馆外展：香港人”（ICA Off-site: Hong Kongese），都爹利会馆，香港，2014年；“Bato-Balani”，雅典耀美术馆（Ateneo Art Gallery），奎松市，菲律宾， 2014年；仙境(Cloudland)，Art Hongkong, 香港，2012年；“棱镜与平行”（Prism and Parallelism），BenCab博物馆，碧瑶市，菲律宾，2012年；“舌之花”（Flowers of the Tongue），巴尔加斯美术馆（Vargas Museum），奎松市，菲律宾等。

　　其部分群展包括：“第十五届亚洲艺术节”，宁波美术馆，宁波，中国；“未知领域”（Terra Incognita），Hilger BrotKunsthalle美术馆，维也纳，奥地利；“激情与前进：菲律宾艺术”（Passion and procession: Art of the Philippines），新南威尔士美术馆，悉尼，澳大利亚；“第二十届悉尼双年展”，悉尼，澳大利亚，2016年；“Bisa: Potent Presences”，马尼拉大都会博物馆，菲律宾，2011年；“很久很久很久以前－菲律宾艺术百年之旅”（Thrice Upon a Time: A Century of Story in the Art of the Philippines），新加坡美术馆，新加坡，2009年等。

　　他的作品受诸多国际性美术馆收藏，包括新南威尔士美术馆（悉尼，澳大利亚）、澳大利亚国家美术馆（堪培拉，澳大利亚）、森美术馆（东京，日本）、新加坡美术馆（新加坡）、Bencab 博物馆（本格特省，菲律宾）、雅典耀美术馆（马尼拉，菲律宾）、Pinto美术馆（菲律宾），以及菲律宾中央银行等。

　　关于策展人

　　马蒂亚斯·阿恩特，1968 年生于德国法兰克福，当代艺术领域的专家和顾问，曾担任 1997 年第十届卡塞尔文献展 (Documenta X) 总监。A3艺术事务所 (A3 - Arndt Art Agency) 的创始人。艺术管理公司“artservices”创始人，与2000年世博会、柏林双年展和柏林世界文化宫 (Haus der Kulturen) 合作。柏林秋季艺术节 (Kunstherbst Berlin) 的创始人之一，该艺术节是柏林艺术周 (Berlin Art Week) 的前身。伦敦泰特现代美术馆亚太地区藏品购入委员会成员。2002 年获法国文化部授予的法国艺术与文学骑士勋章。柏林 Master 基金会 (Berlin Masters Foundation) 主席，该慈善基金会旨在对柏林的艺术家提供支持。

　　Tang Contemporary Art is proud to announce the opening of Myths and Truths: Recent Work by Rodel TapayaonNovember3, 2018, in the 2ndspace of Beijing. Curatedby Matthias Arndt, thisexhibitionwill present a range of monumentally scaled paintings alongside medium scale works, an installation piece and film.

　　Born 1980, Rodel Tapaya lives and works in Bulacan, Philippines and is considered one of the most important Filipino painters of his generation and one of the most active artists working in Southeast Asia today. In his work, he conveys important stories of his country, the people and topical local societal issues from the Philippines that intertwine traditional storytelling within a contemporary context. As all great storytellers do, he draws connections between the imagined and the real, history and the present day, and myth and current events. As a figurative painter, Tapaya’s intriguing literary-based compositions transcend beyond their local context to universal situations and are reminiscent in style to painters from the German Expressionist tradition such as Neo Rauch, Max Beckmann, as well as finding parallels in the painterly developments of artists such as Daniel Richter and Peter Doig, among others.

　　《到处都是水，却没有一滴能喝》, 布上丙烯, 300×500cm, 2018

　　Water Water Everywhere, Not a Drop to Drink,Acrylic on Canvas,300 × 500cm, 2018

　　Utilising a range of media — from large acrylic on canvasses to an exploration of under-glass painting, traditional crafts, diorama, and drawing —Tapaya filters his observations of the world through folktales and pre-colonial historical research, creating whimsical montages of his characters. Each work has its origin in Tapaya’s reflections on a particular time or place that possesses an enduring resonance, from its correspondence with the formalistic and psychological implication of the grid in his earlier works to protracted ventures which excavate and interpret myth and folk aesthetics.

　　Speaking about the symbolism in Tapaya’s work and further associations, Jaklyn Babington (Senior Curator, Contemporary Arts Practice – Global, National Gallery of Australia) comments “by drawing inspiration from pre-colonial mythology and Filipino folkloric tradition, Tapaya meticulously pieces together numerous pictorial fragments, fusing the otherworldly with the real, in a visual grappling with contemporary politics, social and environmental issues. Tapaya has been exhibiting for over a decade and has established an intriguing literary-based visual practice, unique in its Filipino perspective yet striking for its participation in the rich history of Hispanic narrative painting. His flat application of paint, cramped figurative compositions and mix of decorative surface with political messaging immediately evokes the work of the Mexican muralists and surrealists such as José Clemente Orozco, Diego Rivera, David Alfaro Siqueiros and Frida Kahlo. However, in a constructed knotting of the social, political and environmental issues of Filipino life, Tapaya’s work illuminates a complicated contemporary existence. And, as with the great social narrative painters before him, the local issues grappled with are often of global significance.”

　　《阳光充足》，布上丙烯，183x244 cm，2018

　　Abundance in Sunlight,Acrylic on Canvas,183x244cm, 2018

　　This exhibition is about the exploration of the dichotomy between scientific truths and the rich mythical stories from my country, The Philippines.French anthropologist, Claude Levi-Strauss, founder of Structural Anthropology once said, “I therefore claim to show, not how men think in myths, but how myths operates in men’s minds without their being aware of the fact.” As Levi-Strauss believed that myths are not simply a random construction of primitive beliefs or backward mentality instead myths are pseudo-histories, the artist speaks about his solo project:

　　《无题》（两件），青铜，左180 x 80 x 45 cm，右180 x85 x 67cm，2018

　　Untitled, Bronze, 180 x 80 x 45 cm(L),180 x 85 x 67 cm(R), 2018

　　“A French anthropologist, Claude Levi-Strauss, founder of Structural Anthropology once said, “I therefore claim to show, not how men think in myths, but how myths operates in men’s minds without their being aware of the fact.” This exhibition is about the exploration of the dichotomy between scientific truths and the rich mythical stories from my country, The Philippines.

　　They provide the raw material for a systematic analysis of how humans unconscious mind works. “In this new body of work, I have created forests, mountains and landscapes, familiar yet otherworldly. The elements in the myths are juxtaposed with present conditions prevailing in contemporary society. As humans we tend to see ourselves as giants and gods that can control nature but in the process creating our own ‘earthquakes’ and disasters. It is interesting for me to find connections and relations of myths and the present stories on ecological perspectives, combined with the consequences of humans insatiable desires resulting to man-made disasters.”

　　《丰渔》，布上丙烯，244 x 183 cm，2018

　　Big Catch,Acrylic on Canvas,244 x 183 cm, 2018

　　About the artist

　　Rodel Tapaya was born in 1980. He completed his studies at the University of the Philippines College of Fine Arts.Heawarded the coveted Grand Prize in the Nokia Art Awards in 2001, which allowed him to pursue intensive drawing and painting courses at Parsons School of Design in New York and the University of Helsinki in Finland.

　　Selected solo exhibitions include: Urban Labyrinth, Ayala Museum, Manila, Philippines (2018), Rodel Tapaya. New Art from the Philippines, National Gallery of Australia, Canberra, Australia (2017), Rodel Tapaya, Galerie der Stadt Sindelfingen, Germany (2016), "ICA Off-Site: Hong Kongese" (2015), curated by Gregor Muir, Alia Al-Senussi and Abdullah AlTurki at Duddell’s Hong Kong, "Bato-Balani" at the Ateneo Art Gallery, Quezon City, Philippines (2014), "Cloudland" at the Art Hongkong, Hong Kong (2012), "Prism and Parallelism" at the BENCAB Museum, Baguio City, Philippines (2012), "Flowers of the Tongue" at the Vargas Museum, UP Campus Diliman, Quezon City, Philippines (2010) and "Mythical Roots" at the SOKA ART Center, Beijing (2009).

　　Selected group exhibitions include: 15th Asia Arts Festival, Ningbo Museum of Art, Ningbo, China, Terra Incognita, Hilger BrotKunsthalle Vienna, Austria, Passion and procession. Art of the Philippines, Art Gallery of New South Wales, Sydney, Australia, Pinto: Manhattan Manila, West Village, NYC, USA, 20th Biennale of Sydney, Sydney, Australia (2016), "June a Painting Show, Sadie Coles HQ, London, UK (2015), Bisa: Potent Presences at the Metropolitan Museum of Manila, Philippines (2011) and Thrice Upon a Time: A Century of Story in the Art of the Philippines at the Singapore Art Museum, Singapore (2009).

　　His work is held in the following international museum collections: Art Gallery of New South Wales, Sydney, Australia, National Gallery of Australia, Canberra, Australia, Mori Art Museum Collection, Tokyo, Japan, The Hori Science and Art Foundation, Nagoya, Japan, SAM - Singapore Art Museum, Singapore, Bencab Museum Collection, Benguet, Philippines, Ateneo Art Gallery Collection, Manila, Philippines, Pinto Art Museum, Philippines, Bangko Sentral ng Pilipinas (Central Bank of the Philippines).

　　About the curator

　　Born in 1968, in Frankfurt, Germany, Matthias Arndt is a contemporary art expert and advisor who ran his successful gallery business in Berlin with branches in Zurich, New York and Singapore. Spanning twenty-three years of operation, Arndt’s contemporary art galleries staged over 300 exhibitions worldwide, were represented in all major international art fairs, and published 80 artist monographs, catalogue raisonnés, gallery magazines and thematic publications in collaboration with major international publishing houses and editors. Matthias Arndt is the founder and managing director of A3 - Arndt Art Agency.

　　Matthias Arndt was also Director of the guided tours and visitor services of DOCUMENTA X (1997) and created a dynamic arts management firm, artservices, consulting with clients such as Volkswagen, Expo 2000, Berlin Biennale, Haus der Kulturen, and co-founded “Kunstherbst Berlin” (today’s Berlin Art Week). Arndt has lectured at the Institute of Culture and Media Management at the Berlin University, at Documenta IX and X in Kassel, the UBS Arts Forum in Wolfsberg and LASALLE College of the Arts in Singapore. He is a member of the Asia Pacific Acquisition Committee of the TATE in London and was awarded Knight of the French “Ordre des Arts et des Lettres ” in 2002 by the French Ministry of Culture. Arndt is also the Chair of the BERLIN MASTERS Foundation, a charitable foundation to support artists based in Berlin.