北京時(shí)代美術(shù)館：2010青年批評(píng)家推薦詞系列

鄧猗夫

Recommendation for Deng Yifu

鄧猗夫以迷彩圖案為基礎(chǔ)，演繹出了一套視覺(jué)的格式塔遊戲，並把它建立在對(duì)我們的學(xué)院藝術(shù)傳統(tǒng)的反思之上。

——鮑棟

Based on the camouflage patterns, Deng Yifu provides us a visual gestalt game and establishes it on our reflection on the tradition of academic arts.

--Bao Dong

葛磊

Recommendation for Ge Lei

在葛磊對(duì)手語(yǔ)的使用中，包含著對(duì)我們自身語(yǔ)言經(jīng)驗(yàn)的反思，以及對(duì)語(yǔ)言與存在關(guān)係的理解——我們?nèi)绾稳ッ鎸?duì)不同“世界”之間的交流可能。

—鮑棟

The use of sign language by Ge Lei indicates our reflection on language experience and understanding of the relationship between language and existence—how to face the possibility of communication between different “worlds”.

-- Bao Dong

沈怡

Recommendation for Shen Yi

沈怡在日常生活中找到了一個(gè)想像力的突破口，把我們從日常經(jīng)驗(yàn)的囚牢中解放了出來(lái)，使每一次當(dāng)下都獲得了重新被理解的可能。

—鮑棟

Finding a breakthrough of imagination in the daily life, Shen Yi sets us free from the prison of daily experience and makes the re-understanding of every moment possible.

-- Bao Dong

俸正泉

Recommendation for Feng Zhengquan

已經(jīng)從卡通趣味中擺脫出來(lái)的俸正泉逐漸開始了對(duì)繪畫視覺(jué)經(jīng)驗(yàn)的反觀，他把繪畫的表徵對(duì)象與表徵手段同時(shí)呈現(xiàn)在了畫布上，形成了一種視覺(jué)表徵的辯證關(guān)係。

—鮑棟

No longer being interested in cartoon style, Feng Zhengquan is starting to reflect on the visual experience of painting. He presents both representation object and representation method of painting at the same time, thus forming a dialectical relationship of visual representation.

--Bao Dong

陳彧君

Recommendation for Chen Yujun

遭遇現(xiàn)代性的中國(guó)東南地域乃至東南亞，源遠(yuǎn)流長(zhǎng)的原有地域文化被衝擊和肢解的支離破碎。作為生長(zhǎng)于這片土地的藝術(shù)家，陳彧君一方面接受這早已成為全球化圖景的文化事實(shí)，另一方面又不願(yuàn)放棄追根溯源的努力。於是，他通過(guò)繪畫、裝置等手段，來(lái)廓清東南亞的當(dāng)代文化地界。在這個(gè)過(guò)程中，現(xiàn)代性的普世影響力同當(dāng)?shù)氐奶囟ㄎ拿}産生了非常複雜的交織、衍生關(guān)係，並在他的作品中表徵為一個(gè)個(gè)視覺(jué)迷宮。他在追根溯源的過(guò)程中，不斷的遭遇文化解碼和再造、精神祛魅和賦魅，並在此基礎(chǔ)上讓解密和再造成為一種在當(dāng)代進(jìn)行文化自我塑型的手段。

—杜曦雲(yún)

While confronting the challenge of modernity, the originally long-standing regional cultures in Southeast China and even in Southeast Asia are now greatly impacted and becoming fragmented. As a local artist, Chen Yujun has accepted this cultural fact which has already been a globalization view on one hand, and is not willing to stop striving for the cultural origins on the other hand. So he tries to clear the modern cultural boundary in Southeast Asia by means of painting and decoration. During the process, modern universal influence and specific local context are complicatedly inter-related and become derivative, representing a variety of visual mazes in his work. And during his process of striving for the cultural origins, he constantly encounters the cultural decode and reconstruction and spiritual disenchantment and enchantment as well, making decryption and reconstruction a means of cultural self formation in modern times.

--Du Xiyun

康妮

Recommendation for Kang Ni

康妮的作品注重“繪畫性”：與所畫之物對(duì)話，然後將其抽離圖像性而憑藉胸中意象重新創(chuàng)造在畫布之上，從而使所畫之物的精神性呈現(xiàn)出來(lái)。同時(shí)，康妮對(duì)色彩語(yǔ)言的整體性有著相對(duì)深入的理解與把握，細(xì)密的筆觸使得她的作品帶有無(wú)法複製的手工性，確保了繪畫從體驗(yàn)到圖式的唯一性。不過(guò)，她所期望的沉靜、溫暖、古典的氣韻，在現(xiàn)階段由於對(duì)繪畫語(yǔ)言的精雕細(xì)琢而無(wú)法得以淋漓盡致的呈現(xiàn)。

—杜曦雲(yún)

Kang Ni’s work pays much attention to “the drawing nature”. She likes to “talk” with the objects she paints, and then extract their actual images and re-create them according to the images in her mind in order to present their spirits. At the same time, Kang Ni has a relatively deep understanding and good mastery of the integrity of color language, and the subtle style of drawing makes her work a unique handicraft, making sure the uniqueness of her painting ranging from the experience to the pattern. The calm, warm and classical tone that she always expects, however, could not be fully presented right now due to her accurate description of the painting language.

--Du Xiyun