<h3>奧克蘭藝術(shù)博覽會(huì)的創(chuàng)始人Jennifer Buckley 為本次展覽寫的推薦文：</h3> <h3>Introducing the work of Deng Xinli and Xie Yi, two artists whose work navigates the shifting current of Chinese society, politics, and economy, while maintaining a connection to the countrys deep cultural roots. From 3 28 May 2018 at Orexart, in Arch Hill. <br /></h3><h3><br /></h3><h3>Part of a new generation of Chinese artists deeply affected and influenced by the countrys recent and ancient history, Beijing-based Deng Xinli and Xie Yis powerful figurative paintings engage highly traditional methods to communicate thoroughly contemporary ideas about art and culture in China today. </h3><h3><br /></h3><h3>Deng Xinli and Xie Yi met as classmates at the renowned Chinese Cultural Institute of Fine Art in Beijing and, frustrated by the constraints of the Academys focus on technique, they travelled together to Auckland to expand their horizons and further their study, each completing a Fine Arts Degree at Whitecliffe College of Art and forming strong bonds with Aucklands art community. </h3><h3><br /></h3><h3>Over the past 10 years, both artists have shown extensively in China, taking part in solo and curated exhibitions at galleries and fairs in Hong Kong, Taipei, Shanghai and Taipei. This occasion marks the first exhibition of their work together in New Zealand. </h3><h3><br /></h3><h3>The work of both Deng Xinli and Xie Yi is deeply rooted in tradition and rich in cultural signifiers. Figures drawn from ancient myths, or conjured from legends, form the strongly symbolic heart of much of the subject matter, but manifest themselves in their paintings in different ways. </h3><h3><br /></h3><h3>The exploration of complex ideas from multiple cultural perspectives has long played a prominent role in Deng Xinlis life; his father is the adopted son of Rewi Alley, the famous Canterbury-born revolutionary political activist, teacher, poet and member of the Communist Party of China. </h3><h3><br /></h3><h3>Deng Xinlis work might be described as a critical fantasy. His complex and surreal compositions combine his academy-honed, technical skills with wry observations of post-socialist contemporary culture in China. The large painting The Lady of the Moon offers a good example, conflating the ancient legend of Change, the Goddess of the Moon, with the Apollo moon-landing. In it, a Tang- dynasty jade tower coexists in time and space with a rippling American flag - suggesting a double colonisation of the night sky. </h3><h3><br /></h3><h3>The work of Xie Yi entwines history and myth in paintings of landscapes that strongly reference traditional ink-wash paintings - familiar to the Western eye in scrolls. Hers is an ancient meditative world, uninhabited by humans, but filled with reiki or spirits which are represented by the horse, a symbol associated with nobility and purity. The horses, which hover above or beyond the landscapes, are highly stylized and drawn with a naivety that emphasises their other-worldliness. </h3><h3><br /></h3><h3>Deng Xinli and Xie will be in Auckland to attend the opening of their exhibition at Orexart, 15 Putiki Street, in Arch Hill on Thursday 3 May. They will also conduct an open discussion about their work and the ideas behind it, at the gallery on Saturday, 5 May at 1:00pm. All welcome.</h3> <h3>中文譯文：</h3><h3> 一部分中國新一代藝術(shù)家深受中國近代和古代歷史的作用和影響，北京的鄧新黎和謝懿極具力量感的具象繪畫，采用了高度傳統(tǒng)的方式來傳達(dá)當(dāng)代中國的藝術(shù)和文化理念。</h3><h3><br /></h3><h3>鄧新黎和謝懿是在著名的中國中央美術(shù)學(xué)院作為同班同學(xué)相識(shí)的,曾受制于學(xué)院派技術(shù)至上的氛圍之中。他們一起前往奧克蘭擴(kuò)大視野和進(jìn)一步的學(xué)術(shù)探究,并各自都完成了在Whitecliffe藝術(shù)學(xué)院的學(xué)士學(xué)位課程，與奧克蘭的藝術(shù)社區(qū)形成了強(qiáng)有力的紐帶。</h3><h3><br /></h3><h3>在過去的十年里，這兩位藝術(shù)家都廣泛地活躍于中國的藝術(shù)領(lǐng)域，他們在香港、北京、上海、新加坡和臺(tái)北的不同的畫廊和博覽會(huì)上舉辦過個(gè)展和聯(lián)展。這是他們在新西蘭的首次二人聯(lián)合展覽。</h3><h3><br /></h3><h3>鄧新黎和謝懿的作品都深深植根于傳統(tǒng)，含有豐富的文化符號(hào)。在畫面中，從古代神話中提取或從傳說中召喚出來的形象，構(gòu)成了許多畫面主題的強(qiáng)烈象征性核心，也以不同的方式在展現(xiàn)藝術(shù)家自身。</h3><h3><br /></h3><h3>從多元文化視角對復(fù)雜思想的探索活動(dòng)，長期以來在鄧新黎的生活中占了很大比重;他的父親是著名的坎特伯雷革命政治活動(dòng)家、教師、詩人、中國共產(chǎn)黨黨員艾黎的養(yǎng)子。</h3><h3><br /></h3><h3>鄧新黎的作品或許可以被描述為一個(gè)批判性的幻想。他的復(fù)雜而超現(xiàn)實(shí)的作品結(jié)合了他的學(xué)術(shù)磨礪、技術(shù)技巧和對中國后社會(huì)主義當(dāng)代文化的扭曲觀察。這幅巨大的畫《月亮女士》就是一個(gè)很好的例子，它將嫦娥的古代傳說與阿波羅登月計(jì)劃結(jié)合在一起。在這幅畫中，一座唐代的玉石塔和一個(gè)漣漪波動(dòng)的美國國旗在時(shí)間和空間概念上共存了，暗示著夜空中的雙重殖民。</h3><h3><br /></h3><h3>謝懿的作品是縈繞著歷史和神話的風(fēng)景畫，強(qiáng)烈地引用了傳統(tǒng)的水墨繪畫與西方人眼中的卷軸畫很相近。她的世界是一個(gè)古老的冥想世界，無人居住，但充滿靈氣或精神由象征高貴和純潔的馬代表著。馬在風(fēng)景的上方或處于遠(yuǎn)景中，它們高度風(fēng)格化，以純真為特征來說明其源自于塵世之外。</h3><h3><br /></h3><h3><br /></h3>