利悟利
RÊVERIE







利悟利
RÊVERIE 装置，2015
 颜磊为红砖美术馆制作的新计划，简单地以“利悟利”的名称作为标题。这事对“颠覆”的再一次尝试，而且是更壮观的展示。
他对《有限艺术项目》做了延伸发展，将第十三届文献展的作品，根据现场空间重新在走廊展厅装置和展示。另一组绘画则是他（和员工）从传媒和其他资源里“遇到”和挑选的图像，这些图像悬挂于墙面构成一面而多层次的图像墙，以压倒性的姿态俯视着经过的人流…..

 an Lei’s new project for Red Brick At Museum uses very simply the name of “Rêverie” as its title. This is a renewed and even more spectacular demonstration of the attempt of “subversion”.
Expanding his Limited Art Project, he will fit out the side galleries with a site-specific re-installa­tion of the paintings presented in DOCUMENTA (13) and a series of paintings with images that he (and his employees) “came across” and selected from mass media and other resources. These images are mounted to form multi-layered image walls, overwhelmingly overlooking the flux of people underneath…


巴洛克
BAROQUE 布面丙烯，2011

 巴洛克一词的原意是奇异古怪，文艺复兴后期的古典主义者用它来称呼这种被认为是离经叛道的艺术风格。巴洛克时期的艺术华丽而炫耀，充斥着宗教的崇拜却又带着强烈享乐主义的色彩。
作为观念绘画的艺术家，颜磊向来把绘画作为一种语言的可能性和策略，阐述得是他对艺术以及当代社会文化生活的感受和态度……

 Originally, the word “baroque” meant “strange,” which is why classicists in the late Renaissance used this word to name the artistic style they considered rebellious. The art of the Baroque period is magnificent, ostentatious, and permeated by religious adoration and a strong sense of hedonism.
Yan Lei is a conceptual painter who always use painting as a linguistic possibility and strategy to reflect his thoughts and feelings about art, contemporary society, life and culture.

 



追光（升级版）
SPARKLING (UPGRADED)摄影，2009

 颜磊2009年为尤伦斯当代艺术中心个人展览“追光（升级版）”创作的作品，沿用了其一向混合着复杂情感的、人工化的、歧义性的现实主义方法；这些作品中的形象来源于尤伦斯当代艺术中心馆长杰罗姆.桑斯为中国当代艺术生产关系中的艺术家、收藏家等拍摄的照片……
Yan Lei”s solo exhibition “sparkling (upgrade version)” UCCA 2009, continue to follow the mix of complex emotions, artificial and realistic method of ambiguity; The image of these works from the UCCA curator Jerome Sans took photos about relations of production in Chinese contemporary art of artists, collectors and other photographs……




超级风水——猛龙过江
SUPER FENG SHUI: FIERE DRAGON CROSSING RIVER 布面丙烯，2008

 超级风水——猛龙过江 SUPER FENG SHUI: FIERE DRAGON CROSSING RIVER

狗年牛市
DOG YEAR 雕塑，2007

 狗年牛市 DOG YEAR



着陆
LANDING 双联画、布面油画  2007

 着陆似乎是对《上升空间》的某种呼应，当艺术家的事业达到高峰时，艺术家寻找的是现实物质世界的落脚点，空姐的形象——这一给人带有性幻想的符号开始出现在画面里。

 Landing seems to echo similar sentiments from the Climbing Space series. It seems to be a time when the careers of contemporary artists are beginning to reach a peak. Artists tend to look to position themselves in the materialistic world: with the images of flight attendants, a symbol is used to convey sexual fantasies that begin to appear in the picture.


狗星
DOG STAR 表演、布面油画 2007

 顔磊受邀请参加2007年伊斯坦布尔双年展，他决定带北京一支知名的朋克乐队去土耳其做现场表演，并以此作为自己的参展作品。

 As his contribution for the Istanbul Biennale, the artist arranged for a Well-known punk band to live perform at the exhibition as his work.



追光——阿斯蓬
SPARKLING-ASPEN
布面油画，2007

“追光——阿斯蓬”系列将阿斯蓬壮丽的光影与社会主义现实主义传统的太阳升起的图像比喻联结在一起，颜磊从统治了中国和前苏联近六十年的宣传画风格中发展出了自己的一套波普版本。社会主义现实主义宣扬典型性、理想化、党派忠诚和无产主义；颜磊则代表着艺术、世俗、个人和流行文化。

 Sparkling-Aspen marries the gloriousness of Aspen light with the traditional rising sun imagery associated with Socialist Realism. Yan Lei evolves his own Pop version of a propaganda-infused style of painting found in China and the former Soviet Union, where it was the officially approved art for nearly sixty years. Socialist Realism promoted the typical, idealized, partisan, and proletarian. Yan Lei presents the artistic, mundane, personal, and pop cultural.


彩轮
COLOR WHEEL
布上丙烯，2006

 艺术家自己说是为了寻找一种乐观的态度才开始制作彩轮系列的，圆形的形状具有简单的娱乐性 。360 个色谱中的不同颜色，可以按不同的逻辑关系和秩序构成衍生出无尽的不同的彩轮，更加神话了颜磊的绘画制作技术。
Looking to adopt a tone of optimism in his work, the artisthas utilized circular shapes to create the entertaining series “Color Wheel”. 360 different colors have been produced using chromatographic separation. An endless combination can be created depending on the logic or different sequences used with the color wheel; thus a mystique is added to the production process of Yan Lei’s paintings.





特醇
SUPER LIGHTS 布上丙烯，2006

 特醇是加了过滤嘴的超淡香烟, 这个系列都是拷贝其他艺术家的作品。艺术家认为自己翻新的作品是无法达到原作的能量和张力的，就像加了加长过滤嘴的特醇香烟一样。

Super Lights is a filter added to ultra-light cigarettes. This series consists of reproductions made of other works of art. The artist believes it is impossible to ‘renovate’ or regain the intensity or energy of the original works – it’s the same idea as attaching a Super Lights filter tip onto a cigarette.


国际酵母
INTERNATIONAL YEAST 布面丙烯，2004

 国际酵母是艺术家参加2004年上海双年展时的作品, 巨幅的油画表现的是装着艺术家自己特制的颜料罐。当时的上海双年展是全中国为数不多的在国家美术馆内举办的国际当代艺术展。颜磊的油画同样作为心理暗喻的过程，表现艺术家当时希望自己的成功和影响力能够像发酵效应一般迅速到来的意愿，更是对当代艺术和艺术品市场能够像酵母一般膨胀起来的瞻望。

 International Yeast is a work the artist contributed for the Shanghai Biennale in 2004. The painting prominently features specially mixed paint that the artist prepared himself. At the time, the Shanghai Biennale was held in the National Art Museum, one of the few places to hold international art exhibitions in China. In Yan Lei’s painting, the process of yeast fermentation is evoked as a metaphor to express the artist’s desire at the time: the wish for a similar accumulation of success and influence that would be realized just as quickly.

上升空间
CLIMBING SPACE
艺术现场、布面丙烯 2002

 从90年代开始,艺术家频繁往来于国际间参加各种展览，这一系列取材于艺术家自己拍摄的世界各地的机场以及和艺术相关的空间场所的照片……

 Since the beginning of 1990, the artist has travelled back and forth, participating in international exhibitions. The series consists of pictures the artist took of airports from around the world, as well as photographs taken of spaces related to art……

国际运气
INTERNATIONAL LUCK
布面丙烯，2002

 该作品是艺术家“国际运气”“国际酵母”等一系列创作的其中之一，亮相于2002年上海双年展。台球，作为一种娱乐与赌注的项目，其中自有能力与运气所在，艺术家则选择了这样一种创作主题进行叙述， 对于当代艺术进行了隐喻式的阐释。

 This work is part of a series of artworks named ” International luck” and “International yeast” presented at the Shanghai Biennale in 2002. Billiards becomes a kind of project for entertainment and hazard based on ability and luck. The artist has chosen a creative theme to carry out a narrative discourse: he presents an illuminative metaphor for the status of contemporary art.



封面系列
COVER SERIES
布面丙烯，2000

 艺术家以vip身份免费得到了一些画册，颜磊将其转手卖出，并将这些画册的封面转化为绘画，随后将这些作品又多卖了一次。这是带着黑色幽默的调侃艺术的行为，被掩盖在一张张封面的绘画背后。

 The artist received art catalogues for free by adopting the identity of a VIP. The artist sold the catalogues after using the catalogue covers to create paintings, which were resold again as new artwork. The gesture by the artist conveys a dark humor towards artistic behavior and reveals the underlying cover behind painting.




















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