30周年 | 史钟颖 - 刚加入红门时我是画廊最年轻的合作艺术家
记忆分享人
红门画廊成立30年了！我和红门画廊的合作也有21年了。时间过得真快！因为刚加入红门时我是画廊最年轻的合作艺术家，记得布朗那时还说我是红门画廊的“baby”。
1999年本科毕业后，2000年初我参加了李刚老师召集的在中央美院陈列馆举办的“元素-金属雕塑五人展”。当时北京的当代艺术画廊很少。红门画廊、四合院画廊、艺术文件仓库这3家画廊是其中的翘楚。李刚老师邀红门画廊的老板布朗来参观了展览。当时我们的策展人易英老师告诉我布朗在美院美术史系学习过。
“元素展”在央美陈列馆闭幕后受布朗邀请直接移师到位于东便门角楼的红门画廊继续展出了一个月。展出结束后布朗又邀请我的几件作品参加了“火红·红火”当代艺术展，在展览画册中当时的画廊经理Nicky Combs还专门为我写了推介文章。展出期间突然接到布朗的电话说有藏家收藏我的作品，让我给他我的银行账号。之后，作品一被收藏，我就会接到红门的电话通知。尤其让我印象深刻的是：有一次我收到的汇款比售出作品的定价多了不少，我赶紧打电话告诉布朗。他告诉我“每件作品每售出两版后，画廊会提价以保证艺术家与收藏家的权益”（我的雕塑通常定8版）。因为那时国内当代艺术市场还在起步阶段，当代雕塑基本没有市场，能够有红门这样重量级画廊帮助售出雕塑作品的艺术家更是屈指可数。此外，做雕塑的门槛比较高，需要投入的财力物力比其他艺术门类都要高很多，我们雕塑系的学生毕业后除了在单位上班，主要靠干些别人委托的雕塑行活挣钱，很难继续坚持自己的艺术创作。而我当时才刚刚毕业，我到现在都觉得自己真是太幸运了。
之后我又参加了许多红门画廊组织的联展，以及画廊博览会，如红门画廊10周年展、20周年到澳大利亚的巡展等等。当然印象最深刻的还是我在红门画廊举办的个展。如2005年举办的《静观空间》，2007年举办的《静观空境》、2014年举办的《钟颖造像》、2015年在瑜舍举办的《钟颖造像》。
这些展览的顺利进行除了得益于布朗对中国当代艺术的热情与坚持，也离不开画廊员工的敬业。如为我2007年个展画册撰写文章的裴大利(Tally Beck)；为我的作品集翻译了多篇文章的杨传照(George Michell)；屈尊将自己绘画作品做我雕塑背景的Tony Scott；为我2014、2015年个展尽心尽力工作的小伙伴付琛、牛婕、孙辰翎、国晨；帮我编辑个展画册的Reg Newitt；英语很棒的王军、杨来耀、Tim、和乔鲁强；又开拓出自己一番事业的邵琦、郭顺；利用假期回国实习的田纳溪、党雪茜、温馨；近年加入的王星予;当然还有与我在红门共同成长21年的红门元老韩春海、小郭和红梅，在此一并表示感谢！
与红门画廊轻松、愉快、相互信任的合作使我非常希望与布朗继续再合作30年！祝布朗健康长寿，永葆青春！祝红门画廊永远红火！
史钟颖
2021.6.15
Red Gate Gallery has been established for 30 years and I have been working with Red Gate for 21 years! How time flies. When I began cooperating with the gallery, I was the youngest artist and I remember Brian once said I was a baby among them.
I participated in the group show 'Elements' in the CAFA museum with Prof. Li Gang after my graduation in early 2000. There were few contemporary galleries in Beijing - Red Gate Gallery, Courtyard Gallery and China Art archives & Warehouse were the top three and Li Gang invited the owner of the Red Gate to visit the exhibition. At that time, the curator, Prof. Yi Ying told me that Brian had studied in the faculty of art history in CAFA.
By the invitation from Brian, the exhibition moved directly to the Red Gate Gallery at Dongbianmen for one extra month after it closed at CAFA. After the exhibition, Brian included several of my works in the 'Red Hot' exhibition produced by Ogilvy. In the exhibition album, the gallery manager Nicky Combs wrote a special essay for me. During the exhibition, I suddenly got a call from Brian to tell me that one of my works had been sold and he wanted my bank account info, followed with another call from Brian as soon as the money was transferred. Surprisingly the remittance was much higher than I expected so I called him in a hurry. He told me that 'as editions are sold, the gallery will raise the price to ensure the rights and interests of artists and collectors' (my sculptures are usually in editions of eight).
At that time, the domestic contemporary art market was still in its infancy, so there was basically no market for contemporary sculpture. There were only a few artists who could sell their sculptures with the help of a heavyweight gallery like Red Gate. In addition, the cost threshold of sculpture is relatively high. The financial and material resources needed are much higher than other art categories. After graduation, our sculpture department students mainly earn money by doing sculpture work commissioned by others. It's hard for them to stick to their artistic creation. I had just graduated and was selling my art already, and I still feel so lucky.
I took part in a considerable number of group exhibitions and art fairs organized by Red Gate: such as the 10th anniversary, the 20th anniversary tour to Australia and so on. Of course, the most important shows were my solo exhibitions such as Viewing Space in 2005, Viewing Emptiness in 2007, Zhongying’s Icons in 2014 and Zhongying’s Icons at The Opposite House in 2015.
The staff dedication and Brian’s pursuit of contemporary art have lead to the success we have today. Tally Beck wrote the essay for my exhibition in 2007; George Michell did so much translation for me; Tony Scott shared his paintings as the background for my sculptures; Fu Chen, Niu Jie, Sun Chenling and Guochen helped with my exhibitions in 2014 and 2015; Reg Newitt edited my invitation of my solo; Wang Jun, the one with fluent English; Liyu, Tim, Qiao Luqiang; Shao Qi and Guo Shun, who also developed their own careers; Tian Naxi, Dang Xueqian, and Wenxin, who returned to China for an internship during their summer holidays; Wang Xingyu, who joined in recent years. Of course, there are also Red Gate elders Han Chunhai, Xiao Guo and Hongmei who have grown up with me in Red Gate for 21 years. Thank you!
The relaxed and happy manner, and the mutual trust with Red Gate Gallery makes me hope to continue to cooperate with Brian for another 30 years! I wish Brian a long and healthy life! I wish Red Gate Gallery will be prosperous forever!
Brian's Memory
布朗想当年
Elements was the group show at CAFA in 2001, and when I saw it, I had to have it in Red Gate at Dongbianmen. The works all looked great in the white space at CAFA, but when they were presented in the imposing tower with it its grey walls and red columns rising to the roof four stories above, the sculptures came to life, with each artist staking out their own natural space. Zhongying’s Net Scenery standing figures were placed in front of the grey stone walls. When the lighting was fixed, each piece cast a fuzzy black shadow on to the wall, adding an intrigue to the sometimes ghostly ambience of the 600 year old tower. Over the years his work has broadened to include paintings of these shadows, and more integrated explorations of Buddhism.
At 25, Shi Zhongying joined the Red Gate family. We have watched him grow, always calm and steady, courteous and respectful to all around him – artists, gallery staff, interns, curators, writers, designers….. Like the shadows of his Icons, Zhongying is always present!
“元素金属雕塑展” 是2001年在中央美院的一个群展，当我再次欣赏这个展览时，我已经把这个展览挪到了东便门的红门画廊里。这些作品在中央美院白色空间的展示效果看起来已经很棒了，但是当它们出现在角楼的灰墙和高耸至四层塔顶的朱红大柱之间时，这些雕塑变得更加栩栩如生，如同艺术家缠绕出了它们的本来面目。史钟颖的立式雕塑“网景”被陈设在灰色石墙前，当灯光照射时，每一片都在墙上映射出一个模糊的黑影，为这座时而有些幽冥气息的600年古代角楼增添了更多神秘色彩。这些年，他作品中这种投影的形式已经延展到绘画，以及更多关于佛学的深度探索。
史钟颖加入红门大家庭时才25岁。我们见证了他的成长，他一直都是冷静沉着、彬彬有礼，谦虚恭敬的对待周围的人——艺术家、画廊的员工、实习生们、策展人、评论人、设计师等等……正如他“造像”的那些投影，钟颖一直在努力！
Shi Zhongying Memory Wall
史钟颖的记忆墙
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上图：2001年 火红，红火 展览请柬
下图：2001年 火红，红火 展览出版物中关于史钟颖的评论文章
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史钟颖在红门画廊展览的请柬
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史钟颖作品在东便门角楼
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2005年 静观空间 展览请柬
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2007年 静观-空境 展览请柬
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2014年 钟颖造像 展览请柬
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2015年 钟颖造像 展览请柬
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上图：2003年1月，《东方艺术》在长篇评论中引用史钟颖的作品
下图：2007年12月，《艺术》在评论中引用史钟颖的作品
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上图：北京本地媒体刊登史钟颖作品
下图：2014年12月29日，《北京晚报·五色土》刊登史钟颖作品
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2005年3月，《That's Beijing》和《Beijing Talk》分别刊登史钟颖展览推荐
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2005年 《Timeout Beijing in English》刊登史钟颖展览推荐
部分图片及资料由史钟颖提供。
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史钟颖
艺术家
1975 生于云南
1999 毕业于中央美术学院雕塑系，获学士学位
1999 - 2004 任教于河北大学艺术学院
2004 – 2007 中央美术学院雕塑系公共艺术专业,获硕士学位
2007至今 北京林业大学艺术设计系老师；中国美术家协会会员，中国雕塑学会会员；城市雕塑创作设计资格证书持有者
1975 Born in Yunnan Province
1999 Graduated from the Sculpture Dept., Central Academy of Fine Arts (CAFA), Beijing
1999 - 2004 Teacher at the Academy of Fine Arts, Hebei University
2004 – 2007 Masters Degree in the Sculpture Department, CAFA
2007- Present: Professor of Art and Design at the Beijing Forestry University
史钟颖在红门画廊的展览经历：
Shi Zhongying at Red Gate Gallery:
2000 Elements 元素金属雕塑五人展
2001 Red Hot 红火 红火
2001 CLUES TO THE FUTURE Red Gate Gallery's 10th Anniversary 迹象未来——十周年纪念展
2005 Shi Zhongying: Viewing Space 静观空间 - 史钟颖
2005 CIGE 中国国际艺术博览会
2006 CIGE 中国国际艺术博览会
2006 15th Anniversary - To the Watchtower 角楼15周年纪念
2007 CIGE 中国国际艺术博览会
2007 Art Beijng 艺术北京
2007 Shi Zhongying: Viewing Emptiness 静观-空境 史钟颖个展
2008 A Different Take 不同的视角
2008 CIGE 中国国际艺术博览会
2008 Red Gate Stars 红门群星
2008 Art Beijng 艺术北京
2009 China Form 中国形式
2011 Ming to Nirvana 从明到涅槃
2011 The Luxembourg Embassy Residence's Sculpture Garden 卢森堡大使馆官邸雕塑花园
2011 Art Beijing 艺术北京
2011 Two Generations, Red Gate 20th Anniversary 红门二十周年-两代艺术家
2012 The Luxembourg Embassy Residence's Sculpture Garden卢森堡大使馆官邸雕塑花园
2014 Zhongying's Icons - Shi Zhongying's Contemporary Sculpture 钟颖造像 - 史钟颖当代雕塑展
2015 Zhongying's Icons - Shi Zhongying's Contemporary Sculpture at The Opposite House 钟颖造像 - 史钟颖当代雕塑展
2015 Art Central
2015 ART021
2016 Art Central
2017 Red Gate on the Move! Last Exhibition at the Watchtower! 红门·继往开来
2020 Backlighting 逆光
红门画廊
红门画廊Red Gate Gallery由澳大利亚籍人士布朗·华莱士Brian Wallace创办于1991年，是中国最早经营当代艺术的外资画廊。三十年来，红门画廊始终致力于中国当代艺术推广和国际艺术联络。邀请国际、国内知名策划人在红门画廊策划当代艺术活动，进行高水平的学术交流，向中国观众介绍国内外当代艺术，为中国当代艺术的发展以及中西方的艺术交流做出了巨大的贡献。
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