展览时间：18年07月08日-07月29日
开幕时间：2018-07-08 15:00:00
展览地点：ATA 空间 (上海M50创意园7号楼109)
砖自发明以来，就天然具备两种属性，其一是构成建筑的材料属性，其二是美化建筑的装饰属性。两汉的画像砖、明清的砖雕艺术都是建筑中的装饰品。陈清勇的砖画作品消解了这两种围绕建筑的属性，使砖独立作为一种特殊的艺术承载物而存在。
百年历史的青砖，时间在其表面留下了丰富的肌理与痕迹，这是自然的产物，陈清勇根据这些肌理与痕迹，在其上画象布色、构兹云岭，形成一方方基于古砖的独特世界。这种创作方式让我想到了《梦溪笔谈》中记载的一则故事，工于绘画的宋迪向陈用之传授山水画法，让其将绢素挂于破败之墙，隔着绢看到败墙之土"高平曲折，皆成山水之象。"于是"心存目想，高者为山，下者为水，坎者为谷，缺者为涧，显者为近，晦者为远，神领意造……自然境皆天就，不类人为，是谓活笔。"同样根据是长时间观察自然的肌理与痕迹，陈清勇从自然的"无意"中领会布局的"有意"，使作品达到"应会感神，神超理得"的效果，与古人的方法可谓异曲同工。
作为一位油画出身的青年艺术家，陈清勇用古砖与山水回溯传统东方文脉，在去掉三维空间后，图像成为纯粹色彩的表面。红色皮肤的人物大量出现在砖画中，扮演着各种各样的角色，这是艺术家理想的状态，远离尘世，寻找一方净土自由栖居，正如陈清勇将工作室安放于江南水乡朱家角一样，沉醉在一方方古砖中的桃花源里。
——于蒙群
Brick naturally has two properties, one is materialistic, one is decorative. Artist Chen Qingyong’s brick paintings dispelled these two architectural properties and makes the bricks exist independently as the carrier of art.
These hundred-year-old black bricks have left rich texture and traces on their surfaces. They are the natural products. Based on these texture and traces, the artist painted on the bricks with colors and created a unique world of ancient bricks. This creation idea reminds me of a story from a book by Shen Kuo called "Dream Pool Essays". Song Di, who was skilled in painting, taught Chen Yongzhi the why of painting landscape. He let him hang the silk on the dilapidated wall and catch the view of landscape through the silk which is the shape of the mud and then think with heart open and eyes closed, the high one is mountain, the low one is water, the camp is valley, the short one is stream, the near one is obvious and the far one is dark which are created by the nature. It is called a living pen rather than manmade scene. Likewise, Artist Chen Qingyong comprehended the "intention" of the layout from the “unintentional” nature with texture and traces left by nature and made the artworks fulfill the needs of eyes, hearts and minds. And this is same as the method of ancients.
As a young artist who is born in oil painting, Chen Qingyong backtracks the eastern context with antique bricks and landscapes to creat the surface with colors only after removing the 3-D space. The characters with red skin appear in brick paintings in large numbers and play various roles, and this is the ideal state of the artists to find a pure land to settle down freely to stay away from the world and same does Chen Qingyong, his studio is located in the water town called Zhujiajiao, where he indulges in the peach garden of ancient bricks.
——Dr. Yu Mengqun
艺术家：陈清勇
1979年出生于四川。毕业于成都美术学院油画系，现工作生活在上海，作品被多家机构，个人收藏
部分展览情况
2009 入选《2009年当代艺术年鉴》
2010 I CAN PAY艺术节 上海
2013 当代艺术中国进行时，上海
2014 "各就其位"当代艺术邀请展多伦美术馆 上海
2014 十年link 红鼎画廊 北京
2014 转场圣东方艺术画廊 北京
2015 上海新族当代艺术展上海春美术馆
2015 无言之境个展 卓越艺术空间北京
2016 与时空对画--陈清勇砖画展个展 犀牛会，
2016 上海新世界艺术展，同济大学博物馆
2016 海上之约-十人当代艺术展何画廊 上海
2017 艺术电波 K11 中国香港
2017《左西右东》中美优秀艺术作品大展上海中心 上海
2018 "溯洄游之'云之空间实验第二季 云艺术中心 上海
2018年猎质广东国际艺术双年展 中山美术馆 广东
策展人：于蒙群
上海美术学院博士，艺术评论人、策展人、经纪人。曾任职于雅昌艺术网、海平线艺术品公司等艺术媒体及机构，担任艺术顾问、画廊经理等职。现任文化部下属《艺术市场》杂志特约撰稿人。多年来从事艺术史、艺术市场、当代艺术研究及评论工作，参与策划、独立策划多个艺术展览与活动。
展览部分作品 | Part of Exhibition Artworks
《制造姿态》-39 | 2016 | 油画 | 30X40cm
《Making A Posture》- 39 | 2016 | Oil Painting
《制造姿态》-5 | 2017 | 油画 | 30X40cm
《Making A Posture》- 5 | 2017 | Oil Painting
《制造山水》-6 | 2016 | 油画 | 30X40cm
《Making Landscape》- 6 | 2016 | Oil Painting
