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宋洋的动漫艺术

宋洋美术Msbad品官方淘宝: http://msbad.taobao.com/

 
 
 

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*宋洋*艺术家,被上海媒体称为“风头最劲的漫画家”,被北京媒体称为“最具明星气质的漫画家”,高中时就被媒体评为“新疆漫画第一人”在各个领域施展自己的创作才能:众多时尚明星代言、推荐的《坐在对岸的企鹅》、电视媒体热烈报道的王朔小说改编漫画《动物凶猛》,火遍全国的《玉观音》《七剑》漫画单行本。他的作品的涉及油画,音乐,封面设计、主持、DV影像、专栏写作……2011年国际拍卖86万记录。 官方艺术/生活 品牌 http://msbad.taobao.com/ mail:songyangart@sina.com

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宋洋2月个人画展 ,欢迎大家参加开幕酒会:>  

2007-01-30 12:30:42|  分类: 默认分类 |  标签: |举报 |字号 订阅

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主办:TIME OUT Beijing北京宋洋美术文化艺术发展有限公司

展览时间:2月10(星期六)下午三点开幕酒会,展期至3月15日

展览地点 :北京大山子798艺术南区“四合苑798项目空间”画廊

http://arts.tom.com/2007-01-18/0009/21733094.html

 

渴望偶像:宋洋的漫画艺术
Stacey Duff [美]
中国的年轻观众中,至少70年代后以来的那批是看卡通漫画长大的。日本和美国的动画产业在这批中国观众群中留下了深刻印象,而中国原创动画产业却依然在本土影响力方面落后与国外竞争对手。宋洋这位在16岁就开始正式从事漫画创作的艺术家,目前已成为了中国最具实力和影响力的年轻漫画家,在世界的知名度也与日俱增。他的作品背后最重要的信息是:中国有能力发展出一个生机勃勃的漫画产业,虽然达到这个目的将并不轻松。
我们在一年前邀请宋洋为Timeout [英国泰晤士报beijing版]画漫画专栏,当时我们立刻就被他作品中一种感性的能量打动了。宋洋为Timeout创作的SongYang’sPeople这个系列的漫画,首先触动读者的是艺术家对市井生活的细腻感受:城市这个现代从林一直是创造力的孵化器,北京也不例外,在很大程度上北京能够n倍突出地体现这一规律,这不仅是因为这座城市正在经历高速的变化,更是因为在这些变化发生的同时,中国正在越来越强烈地认识到,中国在文化方面在国际舞台上将成为积极的角色扮演者,而不再是被动的观察者。Songyang’sPeople抓住了这种变化的感觉,却并没有抛弃对其描画对象的心灵刻画—内心是任何艺术作品的创作根源,无论它在表面上还试图要达到什么其它目的。
Song Yang’sPeople主要是通过不同阶层生活在北京中的人和事,从艺术家,歌手,成功商人到公司打工者侄清洁环卫工人,建筑工人,卖早点的大妈,路边世代修皮鞋的小人物,通过宋洋的视角来看待每个人的生活状态,从而从细小的地方来展现北京乃至中国在经济社会迅速发展中的人为主题的生活状态,绘画方式界于漫画,版画和油画之间,大大区别于以往的日,美风格。
构成这次展览的另一部分重要作品是宋洋工作室自2005年来开始创作的。它展示了宋洋作品中一个更趋商业化却依然令人兴奋的发展方向,因为我们终于看到一个本土的卡通偶像在这位中国漫画家的手中诞生了。宋洋和他工作室的成员们创造的BadGirl是一组迷人的漫画作品:漫画,油画,专卖店,玩具设计从不同方向全面开发BADGIRL原创品牌,围绕着一个有点时尚爱玩的女孩小P展开。小P和Songyang’sPeople里面的人物之间的联系没有被点出来,但却是肯定存在的:Songyang’sPeople里面的人物来自于真实的生活,而小P这个人物虽然有更多幻想的成分,却同样是这个城市的产物。“小P”宋洋最近和我们谈到,“一定是个爱玩爱闹的都市年轻人,但她还必须有做人的原则,她应该能够真正代表当今这个时代的青年人!”
关于这次展览最后要强调的一点是:商业化的卡通艺术与近来中国艺术圈内卡通艺术的繁荣现象之间的联系是不容被低估的。对于中国最新一代的艺术家,也就是70后那一代而言,从小看的卡通漫画对他们有着不可磨灭的影响。那些卡通产品,无论是出现在荧幕上的还是漫画书,大多数都是从国外盗版过来的。如果有更多像宋洋一样雅俗并蓄的艺术家能站出来,那么中国的下一代就不用再从国外去找影响。他们也将会拥有他们自己的偶像。他们也会像宋洋一样自信地去通过漫画创造一种真实的视觉语言,去“表达当今这个时代”。
艺评家Stacey Duff[美]
自2005年起任Time Out Beijing艺术编辑。
宋洋2月个人画展 ,欢迎大家参加开幕酒会: - waitany8 - 宋洋的漫画世界
 
主办:
TIME OUT Beijing
北京宋洋美术文化艺术发展有限公司
展览时间 :
2月10(星期六)下午三点开幕酒会,展期至3月15日   
展览地点:    
北京大山子798艺术南区“四合苑798项目空间”画廊
TEL:0086 10 8225 1369 
  
 
Hungry for an icon: the animation art of Song Yong
Stacey Duff

  Young Chinese audiences, atleast those born in late 1970s and after, have grown up on cartoonsand animation. Although Japanese and American cartoon industry hasleft a deep impression on those audiences, China’s domesticcartoon industry has yet to match its foreign competitors in termsof influence on the mainland. Song Yang, who began seriouslyworking as an animation artist at the age of 16, has emerged as thecountry’s most dynamic and influential young cartoon artist, whoseinfluence at home is matched with increasing recognition abroad.But the most important message behind his work is that China iscapable of producing a thriving native cartoon industry, althoughgetting there won’t be easy.
 When we invited Song Yang over a year ago to comeup with illustrations for Time Out, we were immediately struck withthe visceral energy of his work. Looking at Song Yang’s series forTime Out, Song Yang’s People, the reader is first struck with theartist’s impeccable sense of street life: urban jungles are greatincubators for creativity. Beijing is no exception to this rule,and in many ways the city illustrates that that point to the nthdegree, not only because changes here are happening at breakneckspeed, but because those changes are happening even as China isincreasingly more aware of itself as a potential cultural player(not just a passive observer) on the world stage. Song Yang’sPeople captures that speed without abandoning compassion for hissubjects – compassion being the root of any work of art, whateverelse it is attempting to do on the surface.
The second major component of this exhibition, which Song Yang’sstudio began developing in 2005, represents a slightly morecommercial but no-less exciting development in Song Yang’s work,because finally, a Chinese animation artist is coming up with anative cartoon icon. Song Yang and his studio have created BadGirl, a mesmerizing series of that revolves around a jadedcharacter, named Little P. The link between Song Yang’s People andLittle P is not pronounced but it is definite: like the real-lifecharacters that his People series is based on, the morefantasy-driven Little P is every bit as urban. ‘Little P’, SongYang recently explained to us, ‘has to have the playfulness andloudness of urban youth. But she has to have integrity too. She hasto really be able to represent the present times.’
One final note must be emphasized in approaching this exhibition:that is, the link between commercial cartoon art and the recentexplosion of cartoon art in the Chinese art world proper cannot beunderestimated. China’s latest generation of artists, the Post-70sgeneration, have been indelibly influenced by the cartoons theywatched growing up. Most of those cartoons, whether on screen or incomic books, were pirated and were funneled to China from theoutside. If more artists like Song Yang – who works in bothhigh-brow and demotic genres – steps forward, China’s nextgeneration will not have to look outside of China for influences.They too will find their own icon. They too, like Song Yang, willhave the confidence to create an authentic visual language, throughcartoons, ‘to represent the present times.’
Since 2005, art critic Stacey Duff has served as the arteditor for Time Out Beijing.
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