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【香格纳画廊】艺术家 | 丁乙个展《十X三十——丁乙作品》将于9月30日在广东美术馆开幕

录入时间: 2018-09-30


Ding Yi's solo exhibition "十 X 30 Years — Ding Yi's Works", curated by Feng Boyi, will be presented at GDMOA (Guangdong Museum of Art) on September 30, 2018. The exhibition director is Wang Shaoqiang, director of GDMOA. This exhibition continues until November 2.

艺术家 | Artist

丁乙 Ding Yi

展览总监 | Exhibition Director

王绍强 Wang Shaoqiang

策展人 | Curator

冯博一 Feng Boyi

开幕 | Opening

15:30, 2018.09.30

展期 | Duration

2018.09.30 - 2018.11.02

地址 | Address


Guangdong Museum of Art, No.38 Yanyu Road, Ersha Island, Guangzhou

丁乙 DING Yi | 十示 2018-5 Appearance of Crosses 2018-5 | 2018 | 椴木板上综合媒介 Mixed media on basswood | 120 x 120 cm

丁乙 DING Yi | 十示 2018-2 Appearance of Crosses 2018-2 | 2018 | 椴木板上综合媒介 Mixed media on basswood | 丁乙工作室现场 In Ding Yi's studio


Ding Yi’s art addresses the endless conflict between the individual and reality. In such interdependent relationship, his crosses, whether + or ×, are an expression of his epiphany of realistic being as well as his artistic signature. Through five thematic sections of “What ‘Appearance of Crosses’ Demonstrates”, “Mirror One Another”, “Tension of Parallax”, “In Between” and “Energy Transformation”, this exhibition attempts to present Ding’s unrelenting exploration in the past three decades; and unveil the intrinsic logic within his practice as well as the eminence of his individual artistic energy.

丁乙 DING Yi | 十示 1991-1 Appearance of Crosses 1991-1 | 1991 | 布面丙烯 Acrylic on canvas | 120 x 140 cm

丁乙 DING Yi | 十示 2003-9 Appearance of Crosses 2003-9 | 2003 | 成品布面丙烯 Acrylic on tartan | 140 x 160 cm


In a way, Ding’s crosses are a clever invention: they displace individual existence from discursive struggle in search of a remote visual quality, rendering an orderly or disordered visual discipline. By avoiding excessive tangle with everyday experiences, Ding manages to create pieces in which rationality curbs overwhelming sentimentality. His paintings are thus structured by intricating and overlapping fragments between form and formlessness, existence and emptiness, while never cease in the expansion and rejection of the notion of ‘infinity’. Ding Yi transcends both the pursuit of realism and the simple dichotomy of reality and fiction. The repetitive traits of the lines and crosses in his art engender a chaotic and nuanced relationship between space and time, and accentuate the agency of uncertainty and unpredictable changes. Such uncertainty is not merely formal for Ding Yi: it is a concrete expression of his own experience and feelings, and a testament to his dogged perseverance with (or extreme focus on) his art. The value of Ding’s work is not to be found in simple parallels with reality, but rather in the projection of his own views through his patterns of ‘Appearance of Crosses’. Ding Yi flits between the two routes of ‘art for life’ and ‘art for art’s sake’, mirroring the synapse between each cross in his paintings. I believe that Ding is trying to create a return to metaphysics – the origin of art – and get back to exploring the relationships between mankind and thought, painting language, art, and the nature of survival.

丁乙 DING Yi | 十示 1996-B24 Appearance of Crosses 1996-B24 | 1996 | 纸上炭笔、粉笔 Charcoal and chalk on paper | 52 x 69 cm

丁乙 DING Yi | 十示 2001-B20 Appearance of Crosses 2001-B20 | 2001 | 纸上铅笔、彩铅 Pencil and color pen on paper | 50 x 70 cm


Ding Yi’s minimalist, metaphysical artwork is simple and unified because it is divorced from personal sentiment. His work reflects his calm, meticulous practice, which itself has become his trademark of a contained and refined artistic attitude. Ding’s detached methods are a conscious erosion of the so-called values and meaning of art – he has instead created new, self-sufficient perspective that conjures infinite associations in the mind of the viewer. Ding Yi has also been a continuous innovator: he has always explored new ways to use his crosses, the integral element of his paintings. The way he has immersed himself in the same repetitive behaviour over an extended period of time may well be his preferred modus operandi. He continuously strips his paintings of any external imagery or metaphor in favour of pure, precise anchors and visual symbols. The contemporary cultural context and the respective individual reflection on and sensitivity to art will provoke new perception on conventional art forms; in order to manifest such thinking, judgment, inspection and pursuit, artists need a method that is recognised as ‘art’ and a visual language. What seems clear is that Ding Yi’s own visual rhetoric is not restricted to his artwork itself. In fact, his visual rhetoric has already expanded to exploring new possibilities for how Chinese painting can construct contemporary values in the current cultural context, as well as how Chinese contemporary art can transform, even innovate, today. Ding’s art has provided a visual guide for others seeking to revolutionise contemporary art for the times.

丁乙 DING Yi | 十示 2017-19 Appearance of Crosses 2017-19 | 2017 | 椴木板上综合媒介 Mixed media on basswood 120 x 120 cm









Whenever I view Ding Yi’s art, I am reminded of Fernando Pessoa’s poem The Curse:

Different colour houses,

Different colour houses….

Only Lisbon has

different colour houses.


Curator Statement, Feng Boyi

关于艺术家 About the artist

摄影 Photo by 黎晓亮(Alexvi Li)

丁乙1962 年生于上海,现工作、生活于上海。1983 年毕业于上海工艺美术学校,1990 年毕业于上海大学美术学院。丁乙的创作领域包括绘画、雕塑、空间装置和建筑。“十”字以及变体的“X”是他主要的视觉符号,用以超越和对抗当时中国典型的政治、社会寓言绘画。从 80 年代后期开始,他将这一标志作为结构和理性的代表,以及反映事物本质的图像表现的代名词。

Ding Yi (b. 1962) was born and currently resides in Shanghai. He graduated from Shanghai Arts & Crafts Institute in 1983 and graduated from Shanghai University with B.F.A. in 1990. The practice of Ding Yi encompasses painting, sculpture, spatial installation and architecture. He works primarily with “+” and its variant “x” as formal visual signals, above and against the political and social allegories typical of painting in China. He chose this sign in the second half of the 80s as a synonym of structure, rationality and of a pictorial expressiveness that reflects the essence of things.


The simplicity of compositional structure contrasts with the use of a wide variety of materials and of colors that range from almost monochrome tones to the very bright and fluorescent. For the artist these are a record on canvas of the excesses, noise, chaos and confusion but also the stimuli and styles of the city of Shanghai, with which his work is inextricably bound up.

丁乙的作品在全球不同机构和画廊广泛展出,重要群展包括“ 1989 年之后的艺术与中国:世界的舞台” (古根海姆博物馆,纽约/毕尔巴鄂,2017-2018); “昨晚的算命人:来自中国及国际当代艺术新藏品展 第三部分” (戴姆勒当代艺术,柏林,2017);“一种历史:从1980 年至今的艺术、建筑、设计”(蓬皮杜艺术中心,巴黎,2015); “CHINA 8”(杜伊斯堡、杜塞尔多夫等地,2015);“向东方,中国建筑景观”(MAXXI 博物馆,罗马,2011);“上海”(旧金山亚洲艺术博物馆,旧金山, 2010);“’85新潮:中国第一次当代艺术运动”(尤伦斯当代艺术中心,北京,2007);“麻将:希克的中国当代艺术收藏展”(伯尔尼、汉堡、巴塞罗那等地,2005-2009);“生活在此时,29位中国当代艺术家作品展”(汉堡火车站当代美术馆,柏林,2001)等。丁乙还曾参加第45届威尼斯双年展(1993)、第1 届亚太三年展(1993)、第11届悉尼双年展(1998)、第1届横滨三年展(2001)、第6届上海双年展(2006)、第7届深圳雕塑双年展(2012)、第7届釜山双年展(2016)。

Ding Yi has exhibited extensively at various institutions and galleries, among many others, “Art and China after 1989: Theater of the World” (Solomon R. Guggenheim Museum, New York/Bilbao, 2017-2018); “Last Night’s Fortune Teller: The Third Part of an Exhibition Series with New Acquisitions of Chinese and International Contemporary Art” (Daimler Contemporary, Berlin, 2017); “Une histoire: art, architecture, design des années 1980 à nos jours” (Centre Pompidou, Paris, 2015); ”China 8, Contemporary Art from China at the Rhine and Ruhr”(Lehmbruck Museum, Duisburg, 2015); “Verso Est, Chinese Architectural Landscape” (Museo Nazionale Delle Arti Del XXI Secolo MAXXI, Rome, 2011); “Shanghai” (Asian Art Museum, San Francisco, 2010); “’85 New Wave, The Birth of Chinese Contemporary Art” (Ullens Center for Contemporary Art, Beijing, 2007); “Mahjong: Contemporary Chinese Art from the Sigg Collection” (Bern, Hamburger, Barcelona, etc. 2005-2009); “Living in Time, 29 Contemporary Artists from China” (Hamburger Bahkhof Museum Für Gegenwart, Berlin, 2001). His works has also been included in 45th Venice Biennale (1993), The First Asia-Pacific Triennial of Contemporary Art (1993), 11th Biennale of Sydney (1998), Yokohama 2001 International Triennale of Contemporary Art (2001), 6th Shanghai Biennale (2006), 7th Shenzhen Sculpture Biennale (2012), 6th Busan Biennale (2016).

近期在国内外多家机构举办个展,包括西安美术馆(西安,2017),泰勒画廊(伦敦/纽约,2017),湖北美术馆(武汉,2016),龙美术馆西岸馆(上海,2015),香格纳画廊(新加坡,2015/上海,2006),Karsten Greve 画廊(巴黎,2014 / 圣莫里茨,2012 / 科隆,2008),民生现代美术馆(上海,2011),博洛尼亚当代美术馆(博洛尼亚,2008),Ikon 美术馆(伯明翰,2005)等。

He has recent solo exhibitions at Xi’an Art Museum (Xi’an, 2017), Timothy Taylor Gallery (London/New York, 2017), Hubei Museum of Art (Wuhan, 2016), Long Museum (West Bund) (Shanghai, 2015), ShanghART Gallery (Singapore, 2015/ Shanghai, 2006), Galerie Karsten Greve (Paris, 2014/ St.Moritz, 2012/ Cologne, 2008), Minsheng Art Museum(Shanghai, 2011), Museo d’Arte Modena di Bologna (Bologna, 2008), Ikon Gallery (Birmingham, 2005).

Images courtesy Ding Yi Studio, copyright the artist