“亭”在中国文化的建筑元素里面,可以说无处不在,无论是古代宫廷建筑还是民宅,亦或是园林、乡间,都有存在各式各样的“亭”。“亭”提供了某种生活的场景和文化的因子,有的亭具有纪念意义,例如碑亭;有的则具避风遮雨的实用功能。构建“亭”这件作品的元素都来自云南本地的生活场景,包括当地建筑中的面板、雕花窗板、地板,以及本地的家具等,这些充满地方特色,但在现代生活中又正在流失的建筑元素,在此又重新聚集起来,构建起一个具有追溯当地文化意义的“亭”。另一方面,它不是传统意义的“亭”,而是一个非传统的、工字结构、伞形的亭,其构建语言是当代的;“亭”也具有互动性,无论视觉层面还是物质层面,都连接着云南在地性的文脉,在村落现场,由家具堆叠的中心柱还设有类似坐凳的结构,为当地居民提供了一个公共活动与停留的空间。
As an architectural element in Chinese culture, the pavilions (pronounces "ting" in Mandarin) are everywhere. In ancient palaces, in private spaces, in gardens, or in villages, there are various pavilions. The pavilion creates a kind of living scene and cultural factor, for example Beiting (the "stele pavilion") gives a roof to a stone tablet to protect the engraved record of an important event; and some pavilions provide people with shade from the sun and protection from the rain. All the parts of my pavilion are from Yunnan's living scenes, including the veneers, the craved shutters, the floor boards, and the local furniture. These architectural elements with rich local color, lost in modern life, are being re-collected, built up into a pavilion to trace the local culture. On the other hand, it surpassing the conventional measures of "pavilion", creates a nontraditional, I-shaped and umbrella-shaped pavilion. Its architectural language is contemporary; it is interactive, visually or materially; it is also with Yunnan's site-specific context. On the site of the village, the old pieces fit together to form a central column equipped with some seat structures, to provide a venue for local public activities and leisure.
1962年生于上海,现工作、生活于上海。其创作领域包括绘画、雕塑、空间装置和建筑。从 80 年代后期开始,他将视觉符号“十”字以及变体的“X”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。
丁乙的作品在全球不同机构和画廊广泛展出,包括伦敦大英博物馆(2021);香港M+博物馆(2021);上海当代艺术博物馆(2020);旧金山现代艺术博物馆(2018-2019);古根海姆博物馆(西班牙毕尔巴鄂/美国纽约,2017-2018);柏林戴姆勒当代艺术(2017);巴黎蓬皮杜艺术中心(2015);杜伊斯堡、杜塞尔多夫等地美术馆联合群展(2015);罗马MAXXI 博物馆(2011);北京尤伦斯当代艺术中心(2007);瑞士伯尔尼、德国汉堡、西班牙巴塞罗那等地美术馆巡展(2005-2009);柏林汉堡火车站当代美术馆(2001)等。大型国际双年展包括第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)。
近期在国内外多家机构举办个展,包括宁波美术馆、华茂艺术教育博物馆(宁波,2023),深圳市当代艺术与城市规划馆(深圳,2023),摩诘美术馆(太原,2023),西海美术馆(青岛,2022),吉本岗艺术中心(拉萨,2022),RGR画廊(墨西哥城,2022),香格纳画廊(上海,2018;新加坡,2022),泰勒画廊(纽约,2021/伦敦,2019),龙美术馆(重庆,2020;上海西岸馆,2015),Karsten Greve 画廊(科隆,2020;巴黎/圣莫里茨,2021),Nova Contemporary(曼谷, 2020),Rüdiger Schöttle画廊(慕尼黑,2019),广东美术馆(广州,2018),西安美术馆(西安,2017),湖北美术馆(武汉,2016),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。
Ding Yi (b. 1962) was born and currently resides in Shanghai. 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.
Ding Yi has exhibited extensively at various institutions and galleries, among many others, The British Museum (London, 2021); M+ Museum (Hong Kong, 2021); Power Station of Art (Shanghai, 2020); San Francisco MoMA (2018-2019); Solomon R. Guggenheim Museum (New York/Bilbao, 2017-2018); Daimler Contemporary (Berlin, 2017); Centre Pompidou (Paris, 2015); Lehmbruck Museum (Duisburg, 2015); Museo Nazionale Delle Arti Del XXI Secolo MAXXI (Rome, 2011); Ullens Center for Contemporary Art (Beijing, 2007); Exhibition tour in museums in Bern, Hamburger, Barcelona, etc. (2005-2009); 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).
He has recent solo exhibitions at Ningbo Museum of Art and Huamao Museum of Art Education (Ningbo, 2023), Shenzhen Museum of Contemporary Art and Urban Planning(Shenzhen, 2023), Mojie Art Museum(Taiyuan, 2023), TAG Art Museum (Qingdao, 2022), Jebum-gang Art Center (Lhasa, 2022), Galería RGR (Mexico City, 2022), ShanghART Gallery (Shanghai, 2018/ Singapore 2022), Timothy Taylor Gallery (New York, 2021/ London, 2019), Long Museum (Chongqing, 2020/ West Bund, Shanghai, 2015), Galerie Karsten Greve (Cologne, 2020/Paris&St.Moritz, 2021), Nova Contemporary (Bangkok, 2020), Galerie Rüdiger Schöttle (Munich, 2019), Guangdong Museum of Art (Guangzhou, 2018), Xi’an Art Museum (Xi’an, 2017), Hubei Museum of Art (Wuhan, 2016), Minsheng Art Museum (Shanghai, 2011), Museo d’Arte Modena di Bologna (Bologna, 2008), Ikon Gallery (Birmingham, 2005), etc.