廖国核:金矿，雷鸣般的烟雾Liao Guohe: Cash Cow

---

---

^{仁，Tax，比一片良心，增八方福报 2021 布上丙烯 165 x 258 cm Humanity, Tax, Make a Gesture of Morality, Bringing Blessings to All the Directions 2021 Acrylic on canvas 165 x 258 cm}

^{雷鸣般的烟雾 2023 布上丙烯 198 x 208 cm The Smoke that Thunders 2023 Acrylic on canvas 198 x 208 cm}

^{无题（灰黑地，白菱形，HATE TIME）2020 布上丙烯 168 x 239 cm Untitled (Dark Gray Ground, White Rhombus, HATE TIME) 2020 Acrylic on canvas 168 x 239 cm}

^{金矿 2023 布上丙烯 188 x 241 cm Gold Mine 2023 Acrylic on canvas 188 x 241 cm}

^{无题（黑地，白菱形，HATE TIME）2020 布上丙烯 168 x 238 cm Untitled (Black Ground, White Rhombus, HATE TIME) 2020 Acrylic on canvas 168 x 238 cm}

廖国核

金矿，雷鸣般的烟雾

Liao Guohe: Cash Cow

2023.10.28-2024.5.10

没顶美术馆将于10月28日推出廖国核个展「金矿，雷鸣般的烟雾」，展览将呈现廖国核最新作品。

春天十分美好，然而没有钱，真是倒霉。

——安东·巴夫洛维奇·契诃夫

在有点漫长的筹备过程中，我们把展览主题和作品都做了反复整改，力求这是一个能传递正向情绪价值的展览。

去年冬天的时候，艺术市场很好，完全看不出刚发生过大流行病，一些朋友的作品都卖疯了，拍卖也是屡破纪录，这个时候我们就对艺术家说，你赶紧做个展览吧，不然完蛋了。他说，他很久没画画了，准备去越南打工了。

当然，他还没有去。困厄中的人们总是试图穿越一些东西。

展览将持续到来年5月。希望你也喜欢这个展览。

——廖国核

关于艺术家

廖国核，1977年出生于加尔各答，2001年结业于圣塔芭芭拉加州大学机械制图专业，现生活和工作于长沙、北京。

廖国核的绘画总让人处于某种无所适从的快感中，这种玩世不恭的批判策略既令人着迷，又为观者设置了诸多审美上的挑战。在当代艺术依附意识形态的同时又对后者进行揭露和抵抗的游戏已让人感到疲惫的今天，廖国核的实践似乎想要绕到游戏背后，成为一种比乔装的意识形态更为狡黠的存在。对于廖国核来说，绘画的“真理”潜藏在超越和减少其内容和形式这一充满讽刺意味的过程之中。廖国核在绘画形式上的表现可能会让观众相信艺术家对于媒介的信奉，但他使用的语言破坏了图像所传递的直白信息。和他很多绘画作品一样，在展现其对绘画深度理解的同时，廖国核也在颠覆绘画的基本信条中对此媒介发起挑战。

廖国核近期个展包括：“猿人”，Cc基金会&艺术中心，上海（2021）；“民工威武”，马刺画廊，北京（2021）；“艺术家谱系研究之五：通俗绘画之一室一厅保佑”，SSSSTART研究中心，上海（2020）；“一万幢房子”，北京民生现代美术馆（2016）；“中国好画家祝你爽！”，四方美术馆，南京（2014）。参与的群展包括：“绵延：变动中的中国艺术”，北京民生现代美术馆（2020）；“土尾世界——抵抗的转喻和中华国家想象”，Para Site艺术空间，香港（2015）；“精神”，PAC当代艺术博物馆，米兰（2015）；以及蒙特利尔双年展（2016）等。

MadeIn Art Museum is pleased to present Liao Guohe’s solo exhibition “Cash Cow” on October 29, featuring his latest creations.

“Spring is beautiful, but I do not have money. What lousy luck!” 

— Anton Pavlovich Chekhov

During a rather prolonged preparation, we readjusted the theme and works of the exhibition to make sure it conveys an uplifting spirit.

Last winter, the art market was marvelous without any sign of Covid-19 having just taken place. Some friends’ works became a big hit and kept breaking auction records. That was when we told the artists to hold exhibitions or else they would be racked. He had not been painting for long, the artist said. He was going to look for a job in Vietnam.

Of course he didn’t. People in distress always try to traverse something.

The exhibition will last till next May. Hope you like it.

— Liao Guohe

About Liao Guohe

Born in 1977 in Kolkata, Liao Guohe graduated from the University of California, Santa Barbara in 2001, majoring in mechanical drawing, and currently lives and works in Changsha and Beijing.

One would always immerse in the sense of loss and ignorance when appreciating Liao Guohe’s painting. This cyniscism is used as a critical strategy, fascinating while aesthetically is also a challenge for the audiences. In today’s art ecology, while contemporary art adheres to ideology, the game of exposing and resisting the latter has made people feel tired. Whereas the practice of Liao seems to go behind the game and becomes a more crafty existence than the ideology in disguise. For Liao, the “truth” of painting lies in the ironic process of transcending and reducing its content and form. The representation of Liao in the form of painting may convince the audience of the artist’s belief in medium, but the language of his painting destroys the direct message conveyed by the image. Like many of his paintings, Liao challenged the medium in the process of overturning the basic tenets of painting while showing his profound understanding of painting.Liao Guohe’s recent solo exhibitions include: “Lost People”, Cc Foundation & Art Center, Shanghai (2021); “Mighty Laborer”, SPURS Gallery, Beijing (2021); “Public Painting: APARTMENT BLESS, Genealogy Study of Artists No. 5”, SSSSART Research Centre, Shanghai (2020); “Ten Thousand Houses”, Minsheng Art Museum, Beijing (2016); “Satisfaction Guaranteed”, Sifang Art Museum, Nanjing (2014). Selected group exhibitions include: “Duration: Chinese Art in Transformation”, Minsheng Art Museum, Beijing (2020); “A Hundred Years of Shame – Songs of Resistance and Scenarios for Chinese Nations”, Para Site, Hong Kong (2015); “Jing Shen – The act of painting in contemporary China, Padiglione d’Arte Contemporanea (PAC), Milan (2015); and La Biennale de Montreal (2016).

---