Illusion and Bubble

Contemporary Tibetan Art I
May 18 - July 31, 2020

Gade 嘎德(b.1971)
Landscape 风景,2016
Acrylic on canvas, cloisonne 布面丙烯,掐丝珐琅
17 3/4 x 39 3/8 inches (45 x 100 cm)

 

EXHIBITED
Turin, ROSSI & ROSSI Gallery, GADE, KESANG LAMDARK, TENZING RIGDOL, TSHERIN SHERPA at Artissima, November 2 - 5, 2017.
都灵,ROSSI & ROSSI 画廊,《嘎德,KESANG LAMDARK,丹增热珠,TSHERIN SHERPA 在Artissima》,2017年11月2日 - 5日.

 

"By using two kinds of materials to finish the Landscape, the painting part was the thangka, painting technique and the character part adopted the Chinese Cloisonné craft. In one painting, there had two different ethnic drawing techniques which exactly fitted my identities of half Tibetan and half Han. During the Cultural Revolution, many temple murals were covered by the paintings of Chairman MAO’s quotations. Time goes by, the outer layers of MAO’s quotations began to partially peel off, and the original murals appeared, which formed excessively absurd pictures. Two completely different beliefs and ideologies were displayed on the same wall, it enabled people to sigh the impermanence of the world and the absurdity of The Times. This works was created under the influence of this scene. Only replaced MAO’s quotations with the “Twice-Cooked Pork recipe”." -- Gade

 

"《⻛景》是运⽤了两种材料制作的,画的部分是⽤唐卡的绘制⼿法,字的部分是⾤⽤的汉地掐丝景泰蓝⼯艺。两个不同⺠族的绘制⼿法运⽤在同⼀幅画中契合我藏汉混⾎的身份表达。⽂⾰时期许多寺院的壁画被油漆覆盖,写上了⽑主席语录?随着岁⽉流逝,表层的⽑语录开始部分拨落,后⾯的壁画呈现出来,形成了⼀幅⾮常荒诞的画⾯。两种完全不同的信仰与意识形态同时展现在同⼀个墙⾯上。让⼈感叹世事的⽆常与时代的荒谬。⽽这幅作品正是受这个情境的影响⽽创作的,只是把⽑语录转换成了"回锅⾁菜谱"。" -- 嘎德

Gade 嘎德(b.1971)
Morning Tea 早茶,2014
Acrylic on canvas, newspaper collage 布面丙烯,报纸拼贴
54 3/4  x 60 1/4 inches (139 x153 cm)

 

EXHIBITED
Turin, ROSSI & ROSSI Gallery, GADE, KESANG LAMDARK, TENZING RIGDOL, TSHERIN SHERPA at Artissima, November 2 - 5, 2017.
都灵,ROSSI & ROSSI 画廊,《嘎德,KESANG LAMDARK,丹增热珠,TSHERIN SHERPA 在Artissima》,2017年11月2日 - 5日.

 

“Morning Tea was created in 2014 and intended to paint something different from the previous styles, but also a return to the easel painting. Having morning tea is the life style of Lhasa people. Every time I’m in it and always have a sense of fantasy. It seems that the sweet tea houses in Lhasa are like a special isolation space, which separates you from your real situation. Morning Tea used a large number of local newspapers to collage. The newspapers were posted and torn off, similar to the adverting flyers that were constantly posted on the street and were repeatedly torn off by people. The work’s colors were strictly limited to black, white, and red. These three colors dominated the atmosphere that the painting was aimed to convey. The correspondence between the documentary nature of the newspapers and the fictional magic of the picture was what I was extremely trying to create.”  -- Gade

 

"《早茶》这幅作品创作于2014年,当时想画些不同于以往⻛格的作品,也是对架上绘画的⼀次回归。喝早茶是拉萨⼈的⽣活⽅式,每次置身其中我也时常有种虚幻感,似乎拉萨的甜茶馆如同⼀个特别的隔离空间,将你与你的真实境遇分割开来。《早茶》运⽤了本地⼤量的报纸拼贴,报纸贴了⼜撕掉,类似街头不断贴⼜被⼈不断撕掉的⼩⼴告。⾊彩上严格限定在⿊⽩红。⿊⽩红三⾊主控这幅画所要传达的氛围。报纸的记实记录性和画⾯的虚构的魔幻性相对应的关系是我极⼒想营造的。" -- 嘎德

Karma Tenzin 嘎玛丹增(b.1988)
Tetris Series 01 俄罗斯方块系列 01,2019
Mixed media on canvas (pigment, collage on canvas) 布面综合 (颜料、布面拼贴)
39 3/8 x 31 1/2 inches (100 x 80 cm)

 

EXHIBITED
Lhasa, Bocun Art Space, What Makes It ART, November 11 - December 9, 2019.
拉萨,博存艺术空间,《有什么‘艺义’》,2019年11月11日 - 12月9日.

 

“ In Karma Tenzin’s Tetris series, Buddhas were made up by pieces of Tetris. The appearance of the Buddha’s outline can be considered as a reference of the symbol of Tibetan cultural, or as Karma Tenzin’s personal inner world. Tetris constantly changing, we do not know when to fall and where to fall. Tetris can refer to foreign things and uncontrollable fates. Karma Tenzin often felt that life was like a game program in which won less and lost more in reality, the outcomes were never in his control. “Every day of my life is repetitive doing everything. Sometimes I knew I was not willing to do, but, due to the pressures of life, I had to carry and could not avoid. Just like Tetris game, the shapes and sizes that fall down in the game are all rigid squares, like my living conditions, feel very boring but have to build up brick by brick. Life is a game but the main control never belongs to me”, he said.  However, another series, Button, sewed real buttons into paintings. The image of the button, on his views, was is a projection of real life. Like the Tetris, it was a reality shackles that he declined to accept but had to face, and the image of the Buddhas appeared constantly was the other side of his wish and sustentation. ” -- Karma Tenzin

 

“ 嘎玛旦增的俄罗斯⽅块系列,是由⼀块块俄罗斯⽅块构成的佛陀轮廓,佛陀轮廓的表象可以认为是对⻄藏⽂化背景符号的⼀个能指,也可以认定为他个⼈的内⼼世界。⽽不断变化,不知何时落下,⼜落于何处的俄罗斯⽅块,则可以所指外来事物与不可控的命运。他时常觉得⼈⽣就如同⼀个游戏程序,现实中赢少输多,结局从来不由⾃⼰控制。他说:"我⽣活的每⼀天就是重复性的做着每⼀件事,有时明知道⾃⼰不愿意、却因⽣活的压⼒必须要扛起来,⽆法躲避。就像是俄罗斯⽅块游戏⼀样,游戏中下来的形状规格,都是硬⽣⽣的⽅块,像⾃⼰的⽣活状况⼀样,感到⾮常的枯燥却不得不⼀砖⼀砖的垒起来,⽣活就是⼀场游戏,⽽游戏的主控权却永远不属于我⾃⼰"。 ⽽另⼀个系列扣⼦则是将真的扣⼦缝在画⾯当中。扣⼦的意像,他认为就是现实⽣活的⼀个投射,如俄罗斯⽅块⼀样,是他⾃⼰不愿接受,但却⼜不得不去⾯对的⼀个现实桎梏,⽽不断出现的佛陀形象则是他希翼的彼岸与寄托。” --  嘎玛旦增

Karma Tenzin 嘎玛丹增(b.1988)
Tetris 俄罗斯方块,2017
Mixed media on canvas (pigment, collage on canvas) 布面综合 (颜料、布面拼贴)
39 3/8 x 55 1/8 inches (100 x 140 cm)

 

EXHIBITED
Lhasa, Bocun Art Space, Stubborn, August 2017 - June, 2018.
拉萨,博存艺术空间,《犟》,2017年8月 - 2018年6月.

Beijing, Red Gate Gallery, Tibet · Now, October 6 - 23, 2018.                      
北京,红门画廊,《西藏 · 此时》,2018年10月6日 - 23日.

Karma Tenzin 嘎玛丹增(b.1988)
Tetris (Detail) 俄罗斯方块 (细节),2017
Mixed media on canvas (pigment, collage on canvas) 布面综合 (颜料、布面拼贴)
39 3/8 x 55 1/8 inches (100 x 140 cm)

 

EXHIBITED
Lhasa, Bocun Art Space, Stubborn, August 2017 - June, 2018.
拉萨,博存艺术空间,《犟》,2017年8月 - 2018年6月.

Beijing, Red Gate Gallery, Tibet · Now, October 6 - 23, 2018.                     
北京,红门画廊,《西藏 · 此时》,2018年10月6日 - 23日.

Karma Tenzin 嘎玛丹增(b.1988)
Confined Demon 镇魔图,2018
Mixed media on canvas (acrylic on canvas, button) 布面综合 (布面丙烯,扣子)
31 1/2 x 51 1/8 inches (80 x 130 cm)

 

EXHIBITED
Beijing, Red Gate Gallery, Tibet · Now, October 6 - 23, 2018.                      
北京,红门画廊,《西藏 · 此时》,2018年10月6日 - 23日.

Karma Tenzin 嘎玛丹增(b.1988)
Confined Demon (Detail) 镇魔图 (细节),2018
Mixed media on canvas (acrylic on canvas, button) 布面综合 (布面丙烯,扣子)
31 1/2 x 51 1/8 inches (80 x 130 cm)

 

EXHIBITED
Beijing, Red Gate Gallery, Tibet · Now, October 6 - 23, 2018.                     
北京,红门画廊,《西藏 · 此时》,2018年10月6日 - 23日.

Karma Tenzin 嘎玛丹增(b.1988)
Buddhist Cosmology 色界,2017
Mixed media on canvas ( acrylic on canvas, collage) 布面综合 (布面丙烯,拼贴)
55 1/8 x 39 3/8 inches (140 x 100 cm)

 

EXHIBITED
Lhasa, Bocun Art Space, Stubborn, August 2017 - June, 2018.
拉萨,博存艺术空间,《犟》,2017年8月 - 2018年6月.

Beijing, Red Gate Gallery, Tibet · Now, October 6 - 23, 2018.                      
北京,红门画廊,《西藏 · 此时》,2018年10月6日 - 23日.

Karma Tenzin 嘎玛丹增(b.1988)
Buddhist Cosmology (Detail) 色界 (细节),2017
Mixed media on canvas ( acrylic on canvas, collage) 布面综合 (布面丙烯,拼贴)

 

EXHIBITED
Lhasa, Bocun Art Space, Stubborn, August 2017 - June, 2018.
拉萨,博存艺术空间,《犟》,2017年8月 - 2018年6月.

Beijing, Red Gate Gallery, Tibet · Now, October 6 - 23, 2018.                     
北京,红门画廊,《西藏 · 此时》,2018年10月6日 - 23日.

Karma Tenzin 嘎玛丹增(b.1988)
Pyramids 金字塔,2014
Metal (lock, iron frame) 金属 (锁,铁框架)
Installation 装置作品
15 3/4 x 15 3/4 x 15 3/4 inches (40 x 40 x 40 cm) x 4

 

EXHIBITED
Lhasa, Bocun Art Space, No / Yes, August 3, 2014.
拉萨,博存艺术空间,《没/有之间》,2014年8月3.

 

“Pyramids is the image reproduction of the organizational structure of the human society. The bottom is the majority of the ordinary workers; the middle is the managers; few leaders occupy the top level. There is no doubt that this is the social structure of the human society since the ancient times. We have to join this mode for our own survivals and developments. And our desires through the image of the lock can be clearly presented in the concept of the pyramid. In my opinions, desires are is like the shackles that bundle up our whole life. Therefore, the bigger the shackles on us, the more we lose ourselves. Today we are obsessed with greed, and have no choices to enter this pyramidal society in order to survive, but it against our original intentions.” -- Karma Tenzin

 

“ “金字塔”是人类社会组织结构的形象重现,即,底层大多数的普通劳动者;中间为管理者;上层为少数的领导者。毫无疑问,自我的生存与发展迫使我们进入这种自古以来的社会结构与模式,而我们的欲望通过锁这一形象得以清晰的呈现在金字塔的概念中。在我看来,欲望就像是缠绕一生的枷锁,因此当身上的枷锁越大时我们越会迷失自己。贪念缠绕着今天的我们,迫于生存压力,我们只能进入这金字塔式的社会,但却违背了原有的本意。”--  嘎玛旦增

Karma Tenzin 嘎玛丹增(b.1988)
Pyramid (Detail -1)金字塔 (细节 -1),2014
Metal (lock,iron frame) 金属 (锁,铁框架)
Installation 装置作品
15 3/4 x 15 3/4 x 15 3/4 inches (40 x 40 x 40 cm) x 4

 

EXHIBITED
Lhasa, Bocun Art Space, No / Yes, August 3, 2014.
拉萨,博存艺术空间,《没/有之间》,2014年8月3.

Karma Tenzin 嘎玛丹增(b.1988)
Pyramid (Detail -2) 金字塔 (细节 -2),2014
Metal (lock, iron frame) 金属 (锁,铁框架)
Installation 装置作品
15 3/4 x 15 3/4 x 15 3/4 inches (40 x 40 x 40 cm) x 4

 

EXHIBITED
Lhasa, Bocun Art Space, No / Yes, August 3, 2014.
拉萨,博存艺术空间,《没/有之间》,2014年8月3.

Namdron Gyaltsen 朗珍坚赞(b.1987)
Space 05 空间 05,2019
Mixed media on canvas (acrylic on canvas,Chinese pigment) 布面综合 (布面丙烯,国画颜料)
11 3/4 x 11 3/4 inches (30 x 30 cm)

 

EXHIBITED
Lhasa, Bocun Art Space, What Makes It ART, November 11 - December 9, 2019.
拉萨,博存艺术空间,《有什么‘艺义’》,2019年11月11日 - 12月9日.

 

“ Namdron Gyaltsen’s four exhibition works, Spiderman Series in the form of round-frame painting, draw the Western popular culture superhero Spiderman into the Tibetan traditional style of landscapes. The works used Tibetan cosmology forms to express world’s four elements, which are “Earth”, “Water”, “Wind” and “Fire”.  To Create a ridiculous scene analogous to a cross-type.The method of drawing cartoon characters into traditional Tibetan works is also a phenomenon, which often used in Tibetan contemporary art. It comes more from the influences of globalization, the impact on marginal culture, and the reflection and struggle of traditional culture on foreign culture. Namdron Gyaltsen gave the cartoon characters’another way of thinking, called reflection after reflection, and hoped that a superhero would appear to solve the problems.” -- Namdron Gyaltsen

 

“朗珍坚赞的四幅参展作品《蜘蛛侠系列》以圆框画的形式,将⻄⽅流⾏⽂化中的超级英雄蜘蛛侠,画⼊⻄藏传统⻛格的⼭⽔之中,并以⻄藏宇宙观中对世界形成的四⼤元素"地⽔⽕⻛"的形式来表现。营造出了⼀个类似于穿越式的荒诞场景。将卡通⼈物画⼊⻄藏传统作品中的⼿法,也是⻄藏当代艺术中时常运⽤的⼀个现象,更多来⾃于对全球化影响下,对边缘⽂化的冲击,以及传统⽂化对外来⽂化的⼀种反思和抗争。⽽朗珍坚赞⼜赋予它的另⼀种思考,他把此称之为反思之后的反思,并希望能真的出现⼀个超级英雄,来解决由此带来的⼀系列难题。” -- 朗珍坚赞

Namdron Gyaltsen 朗珍坚赞(b.1987)
Space 06 空间 06,2019
Mixed media on canvas (acrylic on canvas,Chinese pigment) 布面综合 (布面丙烯,国画颜料)
11 3/4 x 11 3/4 inches (30 x 30 cm)

 

EXHIBITED
Lhasa, Bocun Art Space, What Makes It ART, November 11 - December 9, 2019.
拉萨,博存艺术空间,《有什么‘艺义’》,2019年11月11日 - 12月9日.

Namdron Gyaltsen 朗珍坚赞(b.1987)
Space 07 空间 07,2019
Mixed media on canvas (acrylic on canvas,Chinese pigment) 布面综合 (布面丙烯,国画颜料)
11 3/4 x 11 3/4 inches (30 x 30 cm)

 

EXHIBITED
Lhasa, Bocun Art Space, What Makes It ART, November 11 - December 9, 2019.
拉萨,博存艺术空间,《有什么‘艺义’》,2019年11月11日 - 12月9日.

Namdron Gyaltsen 朗珍坚赞(b.1987)
Space 08 空间 08,2019
Mixed media on canvas (acrylic on canvas,Chinese pigment)  布面综合 (布面丙烯,国画颜料)
11 3/4 x 11 3/4 inches (30 x 30 cm)

 

EXHIBITED
Lhasa, Bocun Art Space, What Makes It ART, November 11 - December 9, 2019.
拉萨,博存艺术空间,《有什么‘艺义’》,2019年11月11日 - 12月9日.

Nornor 诺诺(b.1988)
Green 绿色,2019
Mixed media on canvas (acrylic, marker pen, yarn) 布面综合 (丙烯,马克笔,毛线)
15 3/4 x 39 3/8 inches (40 x 100 cm)

 

EXHIBITED
Lhasa, Bocun Art Space, What Makes It ART, November 11 - December 9, 2019.
拉萨,博存艺术空间,《有什么‘艺义’》,2019年11月11日 - 12月9日.

 

“ Nornor‘s five works at the exhibition, Blue, White, Red, Green and Yellow, are a group of paintings which created in 2019. They were based on the Tibetan concept of five different colors, which corresponded to the nature of metal, wood, water, fire and earth. (Blue serves as blue sky and strength, white means white clouds and purity, red represents fire and compassion, green represents river water and wisdom, and yellow represents earth and temperament.) From his Nornor’s perspective, when human beings constantly using the living conditions and wealth that nature gives us, they are ignoring the survival and causal relationships between them and nature! Nornor tried to use the mixed media, triangles, squares and the other compositions to paint the combinations of simple humanoids, animals and flowers. And, he tried to warn and reflect on the relationship between human and nature. In recent years, the marker pen has become his main medium of painting expression, and the dense dots and lines to formed his painting language. It was similar to the combinations of cartoons and graffities, but never given up the activation and refinement of his own cultural and artistic traditions. ” -- Nornor 

 

“ 诺诺此次参展的五幅作品《蓝》《⽩》《红》《绿》《⻩》是2019年创作的组画作品取材⾃⻄藏⼈对⾃然界⾦⽊⽔⽕⼟所对应的5种不同的颜⾊的⼀种观念,蓝⾊代表蓝天和⼒量、⽩⾊代表⽩云和纯洁、红⾊代表⽕焰和慈悲、绿⾊代表江⽔和智慧、⻩⾊代表⼤地和⽓质。他认为当⼈类不断地利⽤⼤⾃然给我们的⽣活条件和财富、忽略了⼈类与⼤⾃然的⽣存关系及因果关系!并试图运⽤综合材料和三⻆形、正⽅形等构图⾥⾯画写简单的⼈形和⼤⾃然的动物及花朵结合,警示和反思⼈类与⾃然的关系。近年来他⼀直⽤⻢克笔来作为主要的绘画表达媒介并采⽤密集的点和线来组成他的绘画语⾔,有⼀种类似卡通与涂鸦的结合,但始终没有放弃对⾃身⽂化艺术传统的激活与提炼。” -- 诺诺

Nornor 诺诺(b.1988)
Blue 蓝色,2019
Mixed media on canvas (acrylic, marker pen, yarn) 布面综合 (丙烯,马克笔,毛线)
15 3/4 x 39 3/8 inches (40 x 100 cm)

 

EXHIBITED
Lhasa, Bocun Art Space, What Makes It ART, November 11 - December 9, 2019.
拉萨,博存艺术空间,《有什么‘艺义’》,2019年11月11日 - 12月9日.

Nornor 诺诺(b.1988)
Yellow 黄色,2019
Mixed media on canvas (acrylic, marker pen, yarn) 布面综合 (丙烯,马克笔,毛线)
15 3/4 x 39 3/8 inches (40 x 100 cm)

 

EXHIBITED
Lhasa, Bocun Art Space, What Makes It ART, November 11 - December 9, 2019.
拉萨,博存艺术空间,《有什么‘艺义’》,2019年11月11日 - 12月9日.

Nornor 诺诺(b.1988)
Red 红色,2019
Mixed media on canvas (acrylic, marker pen, yarn) 布面综合 (丙烯,马克笔,毛线)
15 3/4 x 39 3/8 inches (40 x 100 cm)

 

EXHIBITED
Lhasa, Bocun Art Space, What Makes It ART, November 11 - December 9, 2019.
拉萨,博存艺术空间,《有什么‘艺义’》,2019年11月11日 - 12月9日.

Nornor 诺诺(b.1988)
White 白色,2019
Mixed media on canvas (acrylic, marker pen, yarn) 布面综合 (丙烯,马克笔,毛线)
15 3/4 x 39 3/8 inches (40 x 100 cm)

 

EXHIBITED
Lhasa, Bocun Art Space, What Makes It ART, November 11 - December 9, 2019.
拉萨,博存艺术空间,《有什么‘艺义’》,2019年11月11日 - 12月9日.

Nornor 诺诺(b.1988)
Untitled 01 无题 01,2019
Wood 木材
Installation 装置作品
7 7/8 x 39 3/8 x 11 3/4 inches (20 x 100 x 30 cm)

 

EXHIBITED
Lhasa, Bocun Art Space, What Makes It ART, November 11 - December 9, 2019.
拉萨,博存艺术空间,《有什么‘艺义’》,2019年11月11日 - 12月9日.

 

“ With the developments of our human society, the energies are in the serious shortages, the resources supplies are insufficient and the environmental pressures are increasing! I wonder if we should consider the forces of nature? To pay a little effort for the construction of ecological civilization?  Based on this creative concept, this installation work, Untitled #1, was completed in 2019. The main materials were taken from the natural trees. By means of the contradictory forms of protection and utilization, it can arouse people’s thinking about the opportunities and challenges in life, enhance the efficiency of the resources' utilization, and realize the significance of the environmental protection. ” -- Nornor

 

“ 随着我们人类社会的进步与发展,能源开始严重紧缺,资源随之供应不足而环境压力在不断加大!我想,我们是不是应该考虑自然的力量?为生态文明建设付出一点力量?基于这种创作理念,装置作品作品无题#1于2019年完成,其材料取自于大自然的树木。通过保护与利用这种相互矛盾的表现形式,引起大家对生活中机遇与挑战的思考,增强资源利用效率以及意识到保护环境的重要性。” -- 诺诺

 

 

Penpa 边巴(b.1974)
Trace 痕迹,2019
Mixed media (Ink, Chinese pigment, gouache, pencil) 综合材料 (墨,国画颜料,水粉,铅笔)
37 3/8 x 28 3/4 inches (95 x 73 cm)

 

“ Trace series, Penpa this group of exhibition works, is an attempt to preserve and present the past things by the approach of rubbing. He kept rubbing on the rock walls, the sutra plates and the Mani stones and recently began rubbing on objects of his life. For example, the flagstone road in the village where he grew up, the old farm tools in his home and the loss function of daily products. Whether it is rubbing Buddha statues or rubbing daily necessities, these items retain his dead childhood, his childhood dreams, his faith, his lost loves and the loss of his family's farmland.  Penpa tried to preserve the memories and time, that has past or were about to disappear. “ -- Penpa 

 

“ 这⼀组参展作品是他的《痕迹系列》,边巴试图将已逝的事物⽤拓印的⽅式加以保留和呈现。他不断在岩壁,经板、玛尼⽯上拓印。最近开始在与他有关的⽣活物品上拓印。如他从⼩⽣⻓的村庄的⽯板路,家中保留下来的旧农具和已失去功能的⽇⽤品上,⽆论是拓印佛像还是拓印⽇⽤品,这些物品上都留存着他的已逝的童年、他的少年时代的梦想,他的信仰,他失去亲⼈的⽓息,还有他们家失去的耕地⋯。他试图让这些已逝或即将消失的记忆和时间保留住。” -- 边巴

Penpa 边巴(b.1974)
Trace 痕迹,2012
Mixed media (Ink, Chinese pigment, gouache, pencil) 综合材料 (墨,国画颜料,水粉,铅笔)
45 1/4 x 31 7/8 inches (115 x 81 cm)

 

Penpa 边巴(b.1974)
Five Creature Desires--Body 五妙欲--身,2012
Mixed media (Ink, Chinese pigment, gouache, pencil) 综合材料 (墨,国画颜料,水粉,铅笔)
55 2/16 x 55 2/16 inches (140 x 140 cm)

 

“ Penpa’s Five Creature Desires series was inspired by the five senses described in the Buddhist scriptures: “Body”, “Sound”, “Smell”, “Sexual”,and“Touch”. He expressed the experience of Five Creature Desires in the form of portraits, and extended the anxiety and uneasy about the environmental protection, human existence and personal situations. Simultaneously, the works profoundly reflected the state of being trapped in the desires but unable to extricate themselves. ” -- Penpa

 

“ 边巴此次参展的《五妙欲系列》创作⽴意来⾃佛经中对外界的五种感官的描述:"身欲"声欲"味欲"⾊欲和触欲。他以⾃画像的形式表达对这五种欲望的体验并引申出对于环保、⼈类⽣存及个⼈处境的焦虑和不安。将深陷于欲望但⼜⽆⼒⾃拔的状态,加以深刻的表达。” -- 边巴

Penpa 边巴(b.1974)
Five Creature Desires--Touch 五妙欲--触,2012
Mixed media (Ink, Chinese pigment, gouache, pencil) 综合材料 (墨,国画颜料,水粉,铅笔)
55 1/8 x 55 1/8 inches (140 x 140 cm)

 

EXHIBITED
Beijing, Songzhuang Art Center, Scorching Sun of Tibet – Contemporary Tibetan Art Show, September 10 - October 10, 2010.
北京,宋庄美术馆,《烈日西藏 – 西藏当代艺术大展》,2010年9月10日 - 10月10日.

Penpa 边巴(b.1974)
Five Creature Desires--Smell 五妙欲--嗅,2012
Mixed media (Ink, Chinese pigment, gouache, pencil) 综合材料 (墨,国画颜料,水粉,铅笔)
55 2/16 x 31 8/16 inches (140 x 80 cm)

Penpa 边巴(b.1974)
Passbook 存折,2011
Mixed media (Ink, Chinese pigment, gouache, pencil) 综合材料 (墨,国画颜料,水粉,铅笔)
39 3/8 x 39 3/8 inches (100 x 100 cm)

 

“ The Passbook from Penpa’s Sweets and Bitters of Life series is more individual. It reinforced and presented his own personal situations and life troubles in a self-deprecating way. ” -- Penpa


“《存折》来⾃他的《酸甜苦辣系列》,这个系列更加个⼈化,将他个⼈的处境和⽣活的困扰,以⾃嘲的⽅式来加以强化和呈现。” -- 边巴

Penpa 边巴(b.1974)
Drunk 醉,2004
Oil on canvas 布面油画
39 3/8 x 39 3/8 inches (100 x 100 cm)

Penpa 边巴(b.1974)
I'm Moving to the Mountain - 1 我要搬到山上住 - 1,2014
Video image 影像图片
23 5/8 x 35 3/8 inches (60 x 90 cm)

Edition of 10
A video of I'm Moving to the Mountain will be sold together with a set of three video images. 
三张影像图片与视频《我要搬到山上住》一起出售.

 

EXHIBITED
Beijing, DHW Art Museum, The 3rd Independent Character Nomination Exhibition, April 5 - 14, 2019.
北京,大河湾美术馆,《第三届独立品格提名展》,2019年4月5日 - 14日.

Penpa 边巴(b.1974)
I'm Moving to the Mountain - 2 我要搬到山上住 - 2,2014
Video image 影像图片
23 5/8 x 35 3/8 inches (60 x 90 cm)

Edition of 10
A video of I'm Moving to the Mountain will be sold together with a set of three video images. 
三张影像图片与视频《我要搬到山上住》一起出售.

 

EXHIBITED
Beijing, DHW Art Museum, The 3rd Independent Character Nomination Exhibition, April 5 - 14, 2019.
北京,大河湾美术馆,《第三届独立品格提名展》,2019年4月5日 - 14日.

Penpa 边巴(b.1974)
I'm Moving to the Mountain - 3 我要搬到山上住 - 3,2014
Video image 影像图片
23 5/8 x 35 3/8 inches (60 x 90 cm)

Edition of 10
Three video images and the video of I'm Moving to the Mountain together for sale.
三张影像图片与视频《我要搬到山上住》一起出售.

 

EXHIBITED
Beijing, DHW Art Museum, The 3rd Independent Character Nomination Exhibition, April 5 - 14, 2019.
北京,大河湾美术馆,《第三届独立品格提名展》,2019年4月5日 - 14日.

Penpa 边巴(b.1974)
Last Spring Plowing - 1 最后的春耕 - 1,2016
Video image 影像图片
23 5/8 x 35 3/8 inches (60 x 90 cm)

Edition of 10
A video of Last Spring Plowing will be sold together with a set of six video images.
六张影像图片与视频《最后的春耕》一起出售

 

EXHIBITED
Beijing, Red Gate Gallery, Tibet · Now, October 6 - 23, 2018.                      
北京,红门画廊,《西藏 · 此时》,2018年10月6日 - 23日.

Penpa 边巴(b.1974)
Last Spring Plowing - 2 最后的春耕 - 2,2016
Video image 影像图片
23 5/8 x 35 3/8 inches (60 x 90 cm)

Edition of 10
A video of Last Spring Plowing will be sold together with a set of six video images.
六张影像图片与视频《最后的春耕》一起出售

 

Beijing, Red Gate Gallery, Tibet · Now, October 6 - 23, 2018.                      
北京,红门画廊,《西藏 · 此时》,2018年10月6日 - 23日.

Penpa 边巴(b.1974)
Last Spring Plowing - 3 最后的春耕 - 3,2016
Video image 影像图片
23 5/8 x 35 3/8 inches (60 x 90 cm)

Edition of 10
A video of Last Spring Plowing will be sold together with a set of six video images.
六张影像图片与视频《最后的春耕》一起出售

 

EXHIBITED
Beijing, Red Gate Gallery, Tibet · Now, October 6 - 23, 2018.                      
北京,红门画廊,《西藏 · 此时》,2018年10月6日 - 23日.

Penpa 边巴(b.1974)
Last Spring Plowing - 4 最后的春耕 - 4,2016
23 5/8 x 35 3/8 inches (60 x 90 cm)

Edition of 10
A video of Last Spring Plowing will be sold together with a set of six video images.
六张影像图片与视频《最后的春耕》一起出售

 

EXHIBITED
Beijing, Red Gate Gallery, Tibet · Now, October 6 - 23, 2018.                      
北京,红门画廊,《西藏 · 此时》,2018年10月6日 - 23日.

Penpa 边巴(b.1974)
Last Spring Plowing - 5 最后的春耕 - 5,2016
Video image 影像图片
23 5/8 x 35 3/8 inches (60 x 90 cm)

Edition of 10
A video of Last Spring Plowing will be sold together with a set of six video images.
六张影像图片与视频《最后的春耕》一起出售

 

EXHIBITED
Beijing, Red Gate Gallery, Tibet · Now, October 6 - 23, 2018.                      
北京,红门画廊,《西藏 · 此时》,2018年10月6日 - 23日.

Penpa 边巴(b.1974)
Last Spring Plowing - 6 最后的春耕 - 6,2016
Video image 影像图片
23 5/8 x 35 3/8 inches (60 x 90 cm)

Edition of 10
A video of Last Spring Plowing will be sold together with a set of six video images.
六张影像图片与视频《最后的春耕》一起出售

 

EXHIBITED
Beijing, Red Gate Gallery, Tibet · Now, October 6 - 23, 2018.                      
北京,红门画廊,《西藏 · 此时》,2018年10月6日 - 23日.

Phurbu 普布(b.1974)
New Town 新城,2018
Acrylic on canvas 布面丙烯
39 3/8 x 55 1/8 inches (100 x 140 cm)

 

“ Over the years, Phurbu has been endeavoring to express his individual’s artistic intention with the combination of the form of traditional black Thangka. Red Sofa, Time Square, Game and New Town, the works which exhibited in this show, are from the black Thangka series. Among of which, Time Square has a clear theme: Zhibdegling ruins is in the painting’s center, which next to the current Lhasa’s largest commercial complex – Shenli Time Square. Phurbu recorded all goods and brands’ names from Shenli mall, and drew them on the painting. The intense visual impact was formed by the contrast between the modern commercial symbols and the Zhibdegling ruins. It made people felt the senses of unease and helplessness of the new belief (money beliefs) replaces the old one. ” -- Phurbu 

“ 普布这些年⼀直在尝试结合传统的⿊唐卡的形式表达个⼈的艺术意图,本次参展的《红沙发》《时代⼴场》《游戏》《新城》也是来⾃他⿊唐卡系列,其中《时代⼴场》是这批作品中主题⼗分鲜明的作品,画⾯中间的废墟是希德寺遗址,旁边就是⽬前拉萨最⼤的商业综合体-神⼒时代⼴场,他将神⼒商城⾥所有的商店和品牌名字记录下来,写在画⾯上,现代商业符号与⻄德寺废墟相对照形成了强烈的视觉冲击,让⼈感受到⼀种新的信仰(⾦钱信仰)替代旧有信仰的焦虑感和⽆助感。” -- 普布

Phurbu 普布(b.1974)
Game 1 游戏 1,2017
Acrylic on canvas 布面丙烯
48 x 63 inches (112 x 160 cm)

 

EXHIBITED
Lhasa, Bocun Art Space, Stubborn, August 2017 - June 2018.
拉萨,博存艺术空间,《犟》,2017年8月 - 2018年6月.

Phurbu 普布(b.1974)
Time Square 时代广场,2015
Acrylic on canvas 布面丙烯
48 3/8 x  63 inches (122 x 160 cm)

 

EXHIBITED
Hong Kong, Conrad Hong Kong, The 13th Asian Contemporary Art Show, September 28 - October 1, 2018.
香港港丽酒店,《十三届香港亚洲当代艺术展》,2018年9月28日 - 10月1日.

Phurbu 普布(b.1974)
Red Sofa 红沙发,2015
Acrylic on canvas 布面丙烯
48 3/8 x 63 inches (122 x 160 cm)

 

EXHIBITED
Hong Kong, Conrad Hong Kong, The 13th Asian Contemporary Art Show, September 28 - October 1, 2018.
香港港丽酒店,《十三届香港亚洲当代艺术展》,2018年9月28日 - 10月1日.

 

“ Another work, Red Sofa, the sofa can extend a lot of meaning and moral, such as status, money, pleasure. The broken sofa, Phurbu found in a garbage dump, was in tatters and culled by a bar, but the broken and scarred sofa seemed to have a kind of life, a kind of vandalized and discarded sense of dust, and seemed s to be able to read every paragraph of the story that ever happened on this sofa. ” -- Phurbu 

 

“ 另⼀幅《红沙发》,沙发可以引申出很多的意味和寓意,地位,⾦钱,享乐⋯。这个破沙发是普布在⼀个垃圾堆⾥发现的,早已破损不堪,估计是某个酒吧淘汰下来丢弃的,但破旧和伤痕却让这个沙发仿佛有了⼀种⽣命,⼀种被摧残,被丢弃的⻛尘感,似乎可以读到在这个沙发身上曾经发⽣过的每⼀段故事。” -- 普布

Phuchong 普琼(b.1991)
Clown 小丑,2019
Mixed media on canvas (acrylic on canvas, oil painting) 布面综合 (布面丙烯,油画)
31 5/8 x 19 3/4 inches (60 x 50 cm)

 

EXHIBITED
Lhasa, Bocun Art Space, Dialogue, August 3 - September 3, 2019.
拉萨,博存艺术空间,《对 · 画》,2019年8月3日 - 9月3日.

 

“ Phuchong’s identity is special. After graduating, he engaged in the profession police, which is completely out of line with art. I didn’t know the career transformation would bring what kind of psychological changes to his artistic creation, but it let me particularly interested in and would like to know. From the three self-portraits series, which showed in this exhibition, we can touch Phuchong’s deep detested and hatred the ways of the world and all kinds of unreasonable rules of the workplace in his works. Phuchong usually painted himself as a clown to dispel helplessness and the irony of the contemporary problems. Turning A Blind Eye echoed his concerns about the heritage of the traditional culture, and Kite demonstrated his yearning for an unfettered free life. ” -- Phuchong


“ 普琼的身份⽐较特别,他毕业后从事了与艺术完全不搭界的职业-警察。我不知道这样⼀种职业身份转换会对他的艺术创作产⽣怎样的⼼理变化。这也是我特别感兴趣和想要了解的。从这次参展的三幅⾃画像系列,我们可以感受到他作品中对⼈情世故及单位中各种不合理规则的深恶痛绝,他时常把⾃⼰画成⼩丑的模样,来消解⽆奈并以此反讽时弊。⽽《⾃画像.睁⼀只眼闭⼀只眼》是他对传统⽂化传承的担忧。《⾃画像.⻛筝》则是他对⽆拘⽆束的⾃由⽣活的⼀种向往。” -- 普琼
 

Phuchong 普琼(b.1991)
Turning A Blind Eye 睁一只眼闭一只眼,2018
Mixed media on canvas (acrylic on canvas, oil painting) 布面综合 (布面丙烯,油画)
23 5/8 x 19 3/4 inches (60 x 50 cm)

 

EXHIBITED
Lhasa, Bocun Art Space, Dialogue, August 3 - September 3, 2019.
拉萨,博存艺术空间,《对 · 画》,2019年8月3日 - 9月3日.

Phuchong 普琼(b.1991)
Kite 风筝,2018
Mixed media on canvas (acrylic on canvas, oil painting) 布面综合 (布面丙烯,油画)
23 10/16 x 19 11/16  inches (60 x 50 cm)

 

EXHIBITED
Lhasa, Bocun Art Space, Dialogue, August 3 - September 3, 2019.
拉萨,博存艺术空间,《对 · 画》,2019年8月3日 - 9月3日.

Tashi 扎西(b.1979)
Ma Ne 嘛呢,2019
Mixed media on canvas (Chinese pigment on canvas, gouache) 布面综合 (布面国画颜料,水粉画)
55 1/8 x 39 3/8 inches (140 x 100 cm)

 

EXHIBITED
Lhasa, Bocun Art Space, What Makes It ART, November 11 - December 9, 2019.
拉萨,博存艺术空间,《有什么‘艺义’》,2019年11月11日 - 12月9日.

 

“ Ma Ne is a Zen-filled work, which composed of the mountains piled up by Om mani padme hum and the scriptures scattered all over the picture. Tashi believes d that Om mani padme hum is the voice of great wisdom and compassionate of all Buddhas. The scattered scriptures express the irregular status from order to chaos and from chaos to order, which indeed is the law of the formation and the demise of the world. Tashi compared clouds with the form of individual in his life. Disorderly fluttering is like the shape of cloud; transient transformation is not by himself. All of these are also the author’s a deep experience of impermanence and Saṃsāra. ” -- Tashi

 

“ 扎⻄的《嘛呢》是⼀幅充满禅意的作品。由六字真⾔堆积的⼭峰和满画⾯飘散的经⽂构成。他认为六字真⾔,是诸佛慈悲和智慧的声⾳,散落的经⽂⼜表达的是不规则的状态,从混沌到有序,⼜从有序到混沌,其实就是世界形成与消亡的⼀个规律,⽽他将那朵浮云⽐作他个⼈在⽣活中的形态,⽆序的飘扬,如云的形状,瞬息变换不由⾃⼰,也是作者对⽆常与轮回的⼀次深切体验。“ -- 扎西

Tashi 扎西(b.1979)
The Scream 呐喊,2019
Mixed media on canvas (Chinese pigment on canvas, gouache) 布面综合 (布面国画颜料,水粉画)
55 1/8 x 39 3/8 inches ( 140 x 100 cm)

 

EXHIBITED
Lhasa, Bocun Art Space, What Makes It ART, November 11 - December 9, 2019.
拉萨,博存艺术空间,《有什么‘艺义’》,2019年11月11日 - 12月9日.

 

“ The Scream was a re-expression and a homage to Munch’s famous work. The man with the screaming mask stood among the ruins holding a prayer wheel wrapped in a red cloth, and the image of floating clouds reappeared. Tashi desires to convey a claustrophobic feeling and an unconscious inner world. Through the floating clouds, the closed door opened again and the chaotic mind was liberated. ” -- Tashi

 

“《呐喊》是对蒙克的那幅著名的作品的致敬与再次表达。带着呐喊⾯具的⼈,矗⽴于废墟之中⼿中拿着⼀个⽤红布包裹着的转经筒,浮云的意象再次出现。扎⻄认为⾃⼰想要表达的是⼀种幽闭的情绪。⼀种⽆意识的内⼼世界。通过浮云,封闭之⻔再次打开,混沌的⼼灵得到解脱。” -- 扎西

Tashi 扎西(b.1979)
Column 柱子,2019
Red lines, wood, screw 红线,木头,螺丝
Installation 装置作品
78 3/4 x 5 7/8 x 19 3/4 inches (200 x 15 x 50 cm)

 

“ Column’s materials are red lines, woods and screws. The column is the main loadbearing element in the building structure. It plays a key role in preventing the collapse of the house. In this era of the information’s exploration, the impacts of foreign cultures on local cultures are huge. Among the cultures, there are not only collisions but also fusions. While we seizing this moment, we also need to be clearer about the uniqueness and preciousness of our culture. We should take the essences, and abandon its dregs. On the basis of carrying forward and inheriting the traditional excellent culture, we should absorb and utilize the various good cultures, and strive to adhere to the characteristics and independence of our own culture. ” -- Tashi 


“《柱子》材质是红线,木头,螺丝。在房屋结构中柱子是主要承重构件,起到防止柱倒屋塌的关键作用。在这信息爆炸的时代,外来文化对本土文化的冲击影响巨大。文化之间不仅有碰撞也有融合,我们在把握好这个时机的同时更需明确自己文化的独特性,宝贵性,做到取其精华弃其糟粕。即,在发扬继承优秀传统文化的基础上,对各种好的文化加以吸收和利用同时坚持自身文化的特点和独立性。” -- 扎西
 

Tashi 扎西(b.1979)
Destroyer 破坏者,2018
Sand, fabric, steel, plastic hands 沙子,布料,钢筋,塑料手
Installation 装置作品
59 x 39 3/8 x 39 3/8 inches (150 x 100 x 100 cm)

 

“ Destroyer utilized sands, cloth, steels and plastic hands as materials. In the form of a funnel, the sands slowly leaked out of the cloth bag and gradually drowning the plastic hands on the ground. The work was an attempt to show the environment, which we live, is gradually being destroyed. Environmental protection contributes to the current, but brings the benefits to the future generations. ” -- Tashi 


“《破坏者》作品运用了沙子,布料,钢筋,塑料手为材料。以漏斗的形式展现出沙子从布袋里慢慢漏出的场景,逐渐将地上的塑料手淹没。该作品试图展示我们赖以生存的环境,正在逐渐的被破坏。环境保护功在当代,利在千秋。” -- 扎西
 

Tashi 扎西(b.1979)
Destroyer (Detail -1) 破坏者 (细节 -1),2018
Sand, fabric, steel, plastic hands 沙子,布料,钢筋,塑料手
Installation 装置作品
Dimension variable 尺寸可变

Tashi 扎西(b.1979)
Destroyer (Detail -2) 破坏者 (细节图 -2),2018
Sand, fabric, steel, plastic hands 沙子,布料,钢筋,塑料手
Installation 装置作品
Dimension variable 尺寸可变

Tashi Phuntsok 扎西平措(b.1977)
Coke Series 02 可乐系列 02,2019
Mixed media on canvas (acrylic on canvas, marker pen) 布面综合 (布面丙烯,马克笔)
33 1/2 x 29 1/2 inches (85 x 75 cm)

 

EXHIBITED
Lhasa, Bocun Art Space, What Makes It ART, November 11 - December 9, 2019.
拉萨,博存艺术空间,《有什么‘艺义’》,2019年11月11日 - 12月9日.

 

“ Tashi Phuntsok‘s painting styles has always been greatly fixed and followed the pattern painting style, like the cold abstract expression methods. Tashi Phuntsok combined the dense and repeated array of Tibet architecture in a painting and occupied the whole painting. The two Coke Series’ works, which showed in the exhibition, added the English font of Coca-Cola on the painting’s architecture. It is Tashi Phuntsok’s reflection on the traditional culture under a commercialized and globalized background. ” -- Tashi Phuntsok 

 

“ 扎⻄平措的作品画⾯⻛格⼀直很固定,⼀直在沿⽤图案化的绘画⻛格,类似冷抽象的表现⼿法,它将⻄藏的建筑密集重复的排列组合在画⾯中并占满整个画⾯,此次参展的两幅作品《可乐系列》在建筑上加⼊了可⼝可乐的英⽂字体,是他对商业化及全球化背景下对传统⽂化的⼀种反思。” -- 扎西平措

Tashi Phuntsok 扎西平措(b.1977)
Coke Series 07 可乐系列 07,2019
Mixed media on canvas (acrylic on canvas, marker pen) 布面综合 (布面丙烯,马克笔)
19 3/4 x 15 inches (50 x 38 cm)

 

EXHIBITED
Lhasa, Bocun Art Space, What Makes It ART, November 11 - December 9, 2019.
拉萨,博存艺术空间,《有什么‘艺义’》,2019年11月11日 - 12月9日.

Tashi Norpu 扎西诺布(b.1981)
Collective 群体,2018
Acrylic on canvas 布面丙烯
70 7/8 x 39 3/8 inches (100 x 180 cm)

 

“ In terms of style, Tashi Norbu’s works in this show attempted to transform the previous expressive methods into narrative, because, from the presentation of the single picture, the latter was closer to the Tibetan local aesthetic experience. From the works Buddha in My Heart, Collective and Getting Warm, Tashi Norpu visualized the proposition through the experimental methods, so as to equalize the language and the image and no longer subordinate to each other. The work expressed as “the temperature of faith”. ” -- Tashi Norpu 

 

“ 扎⻄诺布这次参展的作品绘画的总的⻛格来讲作品开始尝试从之前表现性⽅式转换为叙事性。他觉得从单⼀的画⾯呈现⻛格来讲叙事性更贴近⻄藏本⼟的审美经验。作品《⼼中有佛》《取暖》《群体》是作者⽤实验性的⼿法把命题图像化,从⽽使语⾔和图像平等,不再互为⾪属。画⾯的表述的是“信仰的温度”。” -- 扎西诺布

Tashi Norbu 扎西诺布(b.1981)
Getting Warm 取暖,2016
Acrylic on canvas, collage on canvas 布面丙烯,布面拼贴
15 3/4 x 11 3/4 inches (40 x 30 cm)

Tashi Norpu 扎西诺布(b.1981)
Buddha in My Heart 心中有佛,2017
Acrylic on canvas 布面丙烯
23 5/8 x 28 3/4 inches (60 x 73 cm)

Tashi Norpu 扎西诺布(b.1981)
Big Stage 大舞台,2016-2017
Acrylic on canvas 布面丙烯
Set of 16, each 13 x 15 6/16 inches (30 x 39 cm)

 

“ For the series of the Big Stage, Tashi Norpu he totally painted 24 works and chose 16 pieces to exhibit. They were is a combination of installation and easel painting, which documented the author’s personal life, to expressed the concerns in the various mazes which set up by the society about how people can live justly and reasonably together, and try to answer the “true and false” proposition. ” -- Tashi Norpu 

 
“《⼤舞台》系列,此作品他画了24幅,这次参展有16幅,是⼀套装置与架上结合的作品。⽤类似“⽇记”的⽅式记录作者个⼈的⽣活,表述在社会设下的各种迷局中关⼼⼈们如何才能公正合理地活在⼀起来,并试图解答“真与假”这个命题。” -- 扎西诺布

Tashi Norpu 扎西诺布(b.1981)
Big Stage (Detail) 大舞台 (细节),2016-2017
Acrylic on canvas 布面丙烯
Set of 16, each 13 x 15 6/16 inches (30 x 39 cm)

Tashi Norpu 扎西诺布(b.1981)
Big Stage (Detail) 大舞台 (细节),2016-2017
Acrylic on canvas 布面丙烯
Set of 16, each 13 x 15 6/16 inches (30 x 39 cm)

Tashi Norpu 扎西诺布(b.1981)
Big Stage (Detail) 大舞台 (细节),2016-2017
Acrylic on canvas 布面丙烯
Set of 16, each 13 x 15 6/16 inches (30 x 39 cm)

Tashi Norpu 扎西诺布(b.1981)
Big Stage (Detail) 大舞台 (细节),2016-2017
Acrylic on canvas 布面丙烯
Set of 16, each 13 x 15 6/16 inches (30 x 39 cm)

Tashi Norpu 扎西诺布(b.1981)
Big Stage (Detail) 大舞台 (细节),2016-2017
Acrylic on canvas 布面丙烯
Set of 16, each 13 x 15 6/16 inches (30 x 39 cm)

Tashi Norpu 扎西诺布(b.1981)
Big Stage (Detail) 大舞台 (细节),2016-2017
Acrylic on canvas 布面丙烯
Set of 16, each 13 x 15 6/16 inches (30 x 39 cm)

Tashi Norpu 扎西诺布(b.1981)
Big Stage (Detail) 大舞台 (细节),2016-2017
Acrylic on canvas 布面丙烯
Set of 16, each 13 x 15 6/16 inches (30 x 39 cm)

Tashi Norpu 扎西诺布(b.1981)
Big Stage (Detail) 大舞台 (细节),2016-2017
Acrylic on canvas 布面丙烯
Set of 16, each 13 x 15 6/16 inches (30 x 39 cm)

Tashi Norpu 扎西诺布(b.1981)
Big Stage (Detail) 大舞台 (细节),2016-2017
Acrylic on canvas 布面丙烯
Set of 16, each 13 x 15 6/16 inches (30 x 39 cm)

Tashi Norpu 扎西诺布(b.1981)
Big Stage (Detail) 大舞台 (细节),2016-2017
Acrylic on canvas 布面丙烯
Set of 16, each 13 x 15 6/16 inches (30 x 39 cm)

Tashi Norpu 扎西诺布(b.1981)
Big Stage (Detail) 大舞台 (细节),2016-2017
Acrylic on canvas 布面丙烯
Set of 16, each 13 x 15 6/16 inches (30 x 39 cm)

Tashi Norpu 扎西诺布(b.1981)
Big Stage (Detail) 大舞台 (细节),2016-2017
Acrylic on canvas 布面丙烯
Set of 16, each 13 x 15 6/16 inches (30 x 39 cm)

Tashi Norpu 扎西诺布(b.1981)
Big Stage (Detail) 大舞台 (细节),2016-2017
Acrylic on canvas 布面丙烯
Set of 16, each 13 x 15 6/16 inches (30 x 39 cm)

Tashi Norpu 扎西诺布(b.1981)
Big Stage (Detail) 大舞台 (细节),2016-2017
Acrylic on canvas 布面丙烯
Set of 16, each 13 x 15 6/16 inches (30 x 39 cm)

Tashi Norpu 扎西诺布(b.1981)
Big Stage (Detail) 大舞台 (细节),2016-2017
Acrylic on canvas 布面丙烯
Set of 16, each 13 x 15 6/16 inches (30 x 39 cm)

Tashi Norpu 扎西诺布(b.1981)
Big Stage (Detail) 大舞台 (细节),2016-2017
Acrylic on canvas 布面丙烯
Set of 16, each 13 x 15 6/16 inches (30 x 39 cm)

Tashi Norpu 扎西诺布(b.1981)
Group Photo 合影,2013
Oil on canvas 布面油画
55 1/8 x 70 7/8 inches (140 x 180 cm)

 

“ Eight Treasure Cow Car Map and Group Photo, Rider continued the style of Mask. The characters in the painting wore various traditional Tibetan masks appeared naked on the certain ceremonial occasions. This combination of absurdity and anachronism akin to the dramatic style, in his opinions, was destined to express the helplessness and embarrassment of individuals in a rapidly changing society. ” -- Tashi Norpu

 

“ 其中《⼋宝⽜⻋图》《合影》《骑⼿》延续了⾯具系列的⻛格,绘画中的⼈物带着⻄藏传统的各类⾯具⼜⾚身的在某种仪式场合上出现,这种类似戏剧式荒诞⼜不合时宜的组合他认为是想要表达⼀种急剧变化的社会中个⼈的⽆奈与尴尬的处境。” -- 扎西诺布

 

 

Tashi Norpu 扎西诺布(b.1981)
Eight Treasure Cow Car Map 八宝牛车图,2013
Acrylic on canvas 布面丙烯
29 1/2 x 37 3/8 inches (75 x 95 cm)

Tashi Norpu 扎西诺布(b.1981)
Rider 骑手,2014
Acrylic on canvas 布面丙烯
31 8/16 x 47 4/16 inches (80 x 120 cm)

Tashi Norpu 扎西诺布(b.1981)
Impermanence 无常,2016
Acrylic on canvas 布面丙烯
47 1/4 x 31 1/2 inches (120 x 80 cm)

 

“ A Man of Forty, Impermanence and The Death of Antrabhara, are the works in the same period. The theme to understand the loneliness and express the unbacked, vacant and anxious state. “This is especially true in this era. There are too many information which are impossible to tell what is true from what is false, and even harder to talk about trust. Subconsciously, I hope that everyone can reflect on their own and not to be alone in this impetuous, indifferent and false world. ” -- Tashi Norpu


“ 作品《四⼗岁的男⼈》《⽆常》《中阴之度亡》是同⼀个时期的作品,这些作品的主题是对孤独的理解,表达⼀种⽆助、茫然与焦虑的状态。他说"尤其在这个时代,信息之多已⽆从辨别真假,更难谈及信任。在潜意识中希望⼤家都能反思,不⾄于在这个浮躁冷漠虚假的世界中孤单度过"。” -- 扎西诺布

Tashi Norpu 扎西诺布(b.1981)
A Man of Forty 四十岁的男人,2013
Acrylic on canvas 布面丙烯
47 1/4 x 31 1/2 inches (120 x 80 cm)

Tashi Norpu 扎西诺布(b.1981)
The Death of Antrabhara 中阴之度亡,2013
Acrylic on canvas 布面丙烯
47 1/4 x 31 1/2 inches (120 x 80 cm)

Thohim 措真(b.1989)
The Donkey Series 驴系列,2017
Oil on canvas 布面油画
31 8/16 x 39 6/16 inches (80 x 100 cm)

 

EXHIBITED
Lhasa, Bocun Art Space, Dialogue, August 3 - September 3, 2019.
拉萨,博存艺术空间,《对 · 画》,2019年8月3日 - 9月3日.

 

“ In this exhibition, Thohim displayed the works, Donkey. He drew a smirked donkey, and compared himself to this stubborn donkey, like an alternative self-portrait. Calling someone “donkey” in Tibetan means idiot. Thohim used such an ironic and self-deprecating image to allay his personal situation’s anxiety and helplessness. He thought his relationship with art was in harmony with his simple and stubborn image. ” -- Thohim 


“ 措真参展作品《驴》,⼀头张嘴傻笑的驴,他把⾃⼰⽐成这头倔驴,像是⼀幅另类的⾃画像。⻄藏⼈喊⼀个⼈是驴就是⽩痴的意思,他⽤这样⼀个反讽和⾃嘲的形象,来消解对个⼈状况的焦虑和⽆奈。他认为单纯与倔强的形象协调了他与艺术的关系。” -- 措真

Thohim 措真(b.1989)
Repeat 重复,2015
Mannequin head, acrylic paint, newspaper 模特头,丙烯颜料,报纸
Seven mannequin head, each 7 7/8 x 7 7/8 inches (20 x 20 cm)

 

EXHIBITED
Lhasa, Bocun Art Space, Dialogue, August 3 - September 3, 2019.
拉萨,博存艺术空间,《对 · 画》,2019年8月3日 - 9月3日.

 

“ Garuda is also called Shia Jia Qiong (Zhang-Zhung language). It is called “Xiong” in the Zhang-Zhung language, called “Qiong” in the Tibetan script, and called “Peng” in Chinese language. In Sanskrit, Garuda is named “Suparna” or “Suparnin”, which means something with the beautiful feathers. It is an ancient totem.
Peng has been recorded in the several Western literary works, such as The Arabian Nights ("One Thousand and One Nights"), which indicates the close connections and repetitions between the early civilizations. Like the evolution of the Peng, the heads, which plastered with newspapers, are endowed with different meanings in each repetition. In the eyes of others, you are doing something repetitive, but in your view, it is to create your own things. ” -- Thohim


“ 金翅鸟又叫做“琼鸟”在象雄文中叫做“雄”,藏文叫做“琼”,汉语叫做“鹏鸟”。梵语suparna,或suparnin)。此外,它意译羽毛美丽,是一个古老的图腾。
在西方的《一千零一夜》等著作中记载大鹏鸟显示早期文明间的密切联系与重复。贴满报纸的人头与大鹏鸟的演变一样,在每一次重复中赋予了不一样的意义。在别人看来,你是在做重复的事情,但在你看来,却是创造属于自己的东西。” -- 措真
 

Thohim 措真(b.1989)
Repeat (Detail) 重复 (细节),2015
Mannequin head, acrylic paint, newspaper 模特头,丙烯颜料,报纸
7 7/8 x 7 7/8 inches (20 x 20 cm)

 

EXHIBITED
Lhasa, Bocun Art Space, Dialogue, August 3 - September 3, 2019.
拉萨,博存艺术空间,《对 · 画》,2019年8月3 - 9月3.

Thohim 措真(b.1989)
Taotie 饕餮,2015
Yak heads, clay pot, sand 牦牛头,淘罐,沙子
Yak heads: 23 5/8 x 23 5/8 inches (60 x 60 cm)
Fifty clay pot, each 5 7/8 x 5 7/8 inches (15 x 15 cm)

 

EXHIBITED
Lhasa, Yak Museum of Tibet, Moo - The Secret Language of Yaks, Contemporary Art Exhibition, September 30 - December 30, 2015.
拉萨,西藏牦牛博物馆,《哞 – 牦牛秘语现当代艺术大展》,2015年9月30日 - 12月30日.

 

“ Whenever I see yaks, I feel they are miserable, and Tibetans are ashamed of them. The open mouths’ potteries that surround the yaks look like zombies and greedy Taoties (a kind of ancient Chinese monster), but actually the monsters are us who cling to yaks’ meats and always constantly consume them.
Yaks are doomed not to adapt to the increasing urbanization and modernization of human civilization, but their vast fields is increasingly shrinking. We devoured yaks’ everything, but with the disintegration of the animal husbandry culture and the brutal transformation of the slaughtering methods, we are helpless. However, the people in the city are more and more fond of yaks’ meats. If we're not the ghosts with the big mouths open, who we are? " -- Thohim


“ 每当我见到牦牛之后,我的感受确切地来讲牦牛是悲惨的,藏人对其有愧。那些包围着的张开嘴巴的陶制像是僵尸,像是贪欲的饕餮,但实则是我们,是我们这些留恋牦牛肉,始终不断消费牦牛的人。
它注定适应不了日益城镇化与现代化的人类文明,属于它的原野却日益在萎缩。我们吞噬着牦牛的一切并且城市里的人们是越来越热爱吃牦牛肉,而随着牧业文化的解体和屠宰方式的残酷转变,我们束手无策,什么也做不了,如果我们不是那些张开大嘴巴的幽灵那是什么?” -- 措真