展覽時間：18年07月08日-07月29日
開幕時間：2018-07-08 15:00:00
展覽地點：ATA 空間 (上海M50創意園7號樓109)
磚自發明以來，就天然具備兩種屬性，其一是構成建筑的材料屬性，其二是美化建筑的裝飾屬性。兩漢的畫像磚、明清的磚雕藝術都是建筑中的裝飾品。陳清勇的磚畫作品消解了這兩種圍繞建筑的屬性，使磚獨立作為一種特殊的藝術承載物而存在。
百年歷史的青磚，時間在其表面留下了豐富的肌理與痕跡，這是自然的產物，陳清勇根據這些肌理與痕跡，在其上畫象布色、構茲云嶺，形成一方方基于古磚的獨特世界。這種創作方式讓我想到了《夢溪筆談》中記載的一則故事，工于繪畫的宋迪向陳用之傳授山水畫法，讓其將絹素掛于破敗之墻，隔著絹看到敗墻之土"高平曲折，皆成山水之象。"于是"心存目想，高者為山，下者為水，坎者為谷，缺者為澗，顯者為近，晦者為遠，神領意造……自然境皆天就，不類人為，是謂活筆。"同樣根據是長時間觀察自然的肌理與痕跡，陳清勇從自然的"無意"中領會布局的"有意"，使作品達到"應會感神，神超理得"的效果，與古人的方法可謂異曲同工。
作為一位油畫出身的青年藝術家，陳清勇用古磚與山水回溯傳統東方文脈，在去掉三維空間后，圖像成為純粹色彩的表面。紅色皮膚的人物大量出現在磚畫中，扮演著各種各樣的角色，這是藝術家理想的狀態，遠離塵世，尋找一方凈土自由棲居，正如陳清勇將工作室安放于江南水鄉朱家角一樣，沉醉在一方方古磚中的桃花源里。
——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
藝術家：陳清勇
1979年出生于四川。畢業于成都美術學院油畫系，現工作生活在上海，作品被多家機構，個人收藏
部分展覽情況
2009 入選《2009年當代藝術年鑒》
2010 I CAN PAY藝術節 上海
2013 當代藝術中國進行時，上海
2014 "各就其位"當代藝術邀請展多倫美術館 上海
2014 十年link 紅鼎畫廊 北京
2014 轉場圣東方藝術畫廊 北京
2015 上海新族當代藝術展上海春美術館
2015 無言之境個展 卓越藝術空間北京
2016 與時空對畫--陳清勇磚畫展個展 犀牛會，
2016 上海新世界藝術展，同濟大學博物館
2016 海上之約-十人當代藝術展何畫廊 上海
2017 藝術電波 K11 中國香港
2017《左西右東》中美優秀藝術作品大展上海中心 上海
2018 "溯洄游之'云之空間實驗第二季 云藝術中心 上海
2018年獵質廣東國際藝術雙年展 中山美術館 廣東
策展人：于蒙群
上海美術學院博士，藝術評論人、策展人、經紀人。曾任職于雅昌藝術網、海平線藝術品公司等藝術媒體及機構，擔任藝術顧問、畫廊經理等職。現任文化部下屬《藝術市場》雜志特約撰稿人。多年來從事藝術史、藝術市場、當代藝術研究及評論工作，參與策劃、獨立策劃多個藝術展覽與活動。
展覽部分作品 | Part of Exhibition Artworks
《制造姿態》-39 | 2016 | 油畫 | 30X40cm
《Making A Posture》- 39 | 2016 | Oil Painting
《制造姿態》-5 | 2017 | 油畫 | 30X40cm
《Making A Posture》- 5 | 2017 | Oil Painting
《制造山水》-6 | 2016 | 油畫 | 30X40cm
《Making Landscape》- 6 | 2016 | Oil Painting
