俗姓王
Recommendation for “Family Name Wang”
在“藝術(shù)國(guó)際”網(wǎng)站開通之際，就有一個(gè)網(wǎng)名為“俗姓王”的人每天在幹著一件同樣的事：取、展、覽、揉、燒，同一份報(bào)紙；然後化灰、合水、調(diào)勻；最後畫成一張佛像；一年365天，從沒有停斷。你會(huì)很好奇，“他”居然沒有外出過(guò)？沒有厭煩過(guò)？沒有無(wú)聊過(guò)？這個(gè)人除了每天提供一套反映這個(gè)過(guò)程的照片之外，從沒有留下過(guò)任何文字。我們甚至不知道這個(gè)人到底叫什麼，住在哪？這是一件只能發(fā)生在網(wǎng)路時(shí)代的事情。一件毫無(wú)意義的行為，由於頑固的、偏執(zhí)狂式的堅(jiān)持，成為了一個(gè)耐人尋味的“過(guò)程”。每天發(fā)生在某個(gè)偶然時(shí)段中的時(shí)間“點(diǎn)”被連結(jié)成“線”，進(jìn)而具有了一種體現(xiàn)在時(shí)間性之中的形式感，並最終將“無(wú)意”變成“有意”，從中體現(xiàn)出了作者的價(jià)值判斷。
—吳鴻
When the website of “Art International” opens to the public, people can watch on line every day that a man nicknamed “Family Name Wang” doing the same thing: fetching, unfolding, reading, rubbing and burning the same newspaper and then mixing the paper ash with water and painting an image of the Buddha at last, which he does all year through without a stop. You may be very curious about why he needn’t go out and why he even never gets bored. The man leaves nothing but a few photos showing this process. We even do not know what his name is and where he lives. This is something that can only happen in a cyber age. A seemingly meaningless behavior becomes a “process” that provides much food for thought due to the stubborn and intolerant insistence. The time “points” happened accidentally in a certain period are linked to a whole “l(fā)ine”, endowed with visuality reflected in timeliness. Finally the “meaningless” becomes “meaningful”, thus reflecting the artist’s values.
--Wu Hong
管勇
Recommendation for Guan Yong
管勇在70畫家中無(wú)疑是特別的，他仍然強(qiáng)調(diào)歷史性的宏觀話題，帶有公眾精英的烏托邦情懷，而非70畫家通常的自我化話題。他的畫面，通常以對(duì)知識(shí)分子的反思為出發(fā)點(diǎn)，具有一種對(duì)文化形成歷史的追問(wèn)意識(shí)。黑衣紅圍巾、布幔鋼筆以及零碎的書籍，帶著一種沉重的宗教感，管勇試圖用圖像思考急劇變革的中國(guó)，及其背後的歷史成因。從某種意義上説，管勇的畫面呈現(xiàn)出一種設(shè)問(wèn)的修辭結(jié)構(gòu)：往往通過(guò)圖像的組合形成問(wèn)題，並借助圖像表達(dá)的象徵意味隱喻他的認(rèn)知結(jié)果。如果説，管勇的圖像運(yùn)用有著與60畫家接近的宏觀話題意識(shí)，從而形成了他在70畫家中的獨(dú)特性。但他在表達(dá)這種意圖的方式上，與60畫家有所不同。60畫家用以表意的圖像多具直接性，符號(hào)與語(yǔ)義指向的連接明確，其理性思考帶有激情表達(dá)的成分。而管勇對(duì)相似問(wèn)題的思考，則往往不具備答案的確定性，更多呈現(xiàn)出獨(dú)立的、自我的審思過(guò)程，其理性思考具有冷靜的沉鬱，或者説自我的情緒。在這一點(diǎn)上，管勇無(wú)疑運(yùn)用了70自我化的視角完成了與60畫家相似的社會(huì)思考。這便使得他的作品，在60話題與70視角中獲得了獨(dú)特的表述角度與價(jià)值。
——吳鴻
Undoubtedly Guan Yong is very unique among the painters born in the 1970s, for he still emphasizes the historically macroscopic topic with the Utopia feelings of the public elite instead of the personal topic preferred by the ordinary painters born in the 1970s. His paintings start from the reflection on the intellectuals and have a sense of questioning concerning the history of cultural formation. Guan Yong tries to use the images, such as the black coat, red scarf, curtains, pens and some books with a religious atmosphere, to deliberate on the dramatically changing China and the historical reason behind the change. To a certain extent, the paintings of Guan Yong present a rhetoric structure of questioning, i.e. to raise a question through the combination of images and to indicate his cognitive outcome through the symbol of the image representation. Perhaps we can say that Guan Yong’s application of images reflects the sense of macroscopic topics which are preferred by the painters born in the 1960s, thus forming his uniqueness among those painters born in the 1970s. But he is different from the painters born in 1960s concerning the way of expressing his intentions. The images used by the painters born in the 1960s are direct, the connection between the symbol and the semantic orientation being clear and their rational thought showing an element of passionate expression. While Guan Yong’s thinking of the similar questions will not provide a definite answer and only present an independent reflection on himself. His rational thinking is endowed with a calm depression and an emotion of egoism. At this point, Guan Yong certainly completes his reflection on the society the same as that of the painters born in the 1960s through a visual angle of personalization which is very popular among the painters born in the 1970s. All of these offer his works a unique angle of expression and value through the topics of the painters born in the 1960s and the visual angles of the painters born in the 1970s.
--Wu Hong
陳衛(wèi)群
Recommendation for Chen Weiqun
陳衛(wèi)群的《靜物》在水果、蔬菜、器物上畫上水粉，形成了物體繪畫，造成了一種立體雕塑的效果，將繪畫的本質(zhì)深入到物品上，而不是像傳統(tǒng)那樣，僅僅把畫布、紙張或墻壁看作一個(gè)平面、一種質(zhì)地，在上面畫上圖像。陳衛(wèi)群則是畫出物品本身的質(zhì)地，力圖造成一種視覺錯(cuò)覺、一種繪畫與自然對(duì)象關(guān)係的質(zhì)疑，觀眾面對(duì)的是繪畫？還是物品？而物品如何又被轉(zhuǎn)換成藝術(shù)？等等，這就提出了他對(duì)繪畫與藝術(shù)之間關(guān)係的獨(dú)特理解，最終又以圖片的形式將這一思考表現(xiàn)出來(lái)，顯示了藝術(shù)的層層相扣的遞進(jìn)關(guān)係。
In Chen Weiqun’s Still Life, the fruits, vegetables and vessels are all painted with the gouache to form a drawing of objects, attaining the effect of three-dimensional sculpture. The traditional drawing is only to view the canvas, paper or walls as a surface and texture, and to paint images on them, while Chen Weiqun reflects the texture of the objects of the painting and tries to create a visual misconception and raise a question concerning the relationship between the painting and the natural objects: do the viewers face a painting or an object? How to transfer objects to art?... This shows his unique understanding of the relationship between the painting and the art, and expresses his thinking through his paintings, thus presenting the progressive relation of the art.
關(guān)矢
Recommendation for Guan Shi
關(guān)矢的這組作品是他在甘肅白銀經(jīng)過(guò)三個(gè)多月的調(diào)研、訪談、選題之後拍攝的作品。它們不單單是圖像的呈現(xiàn)，而是揭示了圖像背後的社會(huì)變遷、經(jīng)濟(jì)興衰。這樣就賦予了圖像更深刻的內(nèi)容和文本性價(jià)值，因此這樣的視覺圖像就具有了言説的強(qiáng)大功能，而非靜止的視覺觀看。關(guān)矢的特點(diǎn)就是希望尋找生活中的圖像故事，以此來(lái)闡述自己對(duì)社會(huì)問(wèn)題的立場(chǎng)判別。
The works of Guan Shi are completed after three months’ research and investigation, interview and topic selection. It is not only the presentation of images, but also the revelation of the rise and fall of society and economy behind the images, which endows the images with profound context and textual value. Therefore the visual images not only can be watched statically, but also have a powerful function of expressing. The characteristics of Guan Shi’s works are to find the stories of images in the daily life and elaborate his judgment of the social problems.
吳夢(mèng)詩(shī)
Recommendation for Wu Mengshi
吳夢(mèng)詩(shī)正如她的名字所寓意的那樣，喜歡想像，喜歡做出沒有關(guān)聯(lián)的東西，給人一種驚訝或期待。這也是新一代年輕人看待事物的特殊性所致，他們喜歡個(gè)性，也喜歡嘗試試驗(yàn)，在試驗(yàn)中獲得的快樂(lè)是無(wú)法用常規(guī)的言語(yǔ)表述的。這種先天的好奇態(tài)度使得吳夢(mèng)詩(shī)像輕快的飛艇，自由暢想，沒有局限，讓自己腦海裏飛奔的奇思妙想化為可觸摸、可視覺的奇觀。年輕是否是一筆財(cái)富，關(guān)鍵在於能不能敢於想像、敢於嘗試。對(duì)於吳夢(mèng)詩(shī)，我們鼓勵(lì)再鼓勵(lì)。
Just as her name indicates, Wu Mengshi likes to imagine and create works without inner connection, which makes viewers surprise and expect. This is also results from the uniqueness of the new generation who like unique individuality and experiments. They will attain much happiness through the experiment that cannot be expressed by language. The born curiosity makes Wu Mengshi a lively aero boat. She can imagine freely and makes her unusual but wonderful thinking become works that can be touched and viewed. If you dare to imagine and experiment, then youth is a treasure for you. So let us highly encourage Wu Mengshi.
張欣、唐然
Recommendation for Zhang Xin and Tang Ran
張欣和唐然作為組合，面對(duì)諸多的藝術(shù)樣式，試圖擴(kuò)展藝術(shù)表現(xiàn)的媒介，並使之鮮活起來(lái)。感覺從來(lái)都是藝術(shù)上的一道難題，即便是成熟的藝術(shù)家也為之絞盡腦汁。張欣和唐然在發(fā)現(xiàn)新感覺、嘗試新體驗(yàn)方面小試刀鋒，將堅(jiān)硬抽離，將物質(zhì)結(jié)構(gòu)軟化，給人以瞬間啟悟的感受，事實(shí)上也將藝術(shù)的認(rèn)識(shí)陌生化，不以藝術(shù)的固有範(fàn)疇為準(zhǔn)繩。所以，如何再再實(shí)驗(yàn)新材料、轉(zhuǎn)換新方法依然是藝術(shù)的入手點(diǎn)。
Facing various styles of arts, Zhang Xin and Tang Ran, as partners, try to extent the media of artistic expression and make it alive. Sensation has been a hard nut to crack even for those mature artists, while Zhang Xin and Tang Ran make every effort to fine the new sensation and try new experience. They take out the toughness and soften the material structure, making people feel enlightened in an instant. Actually they also defamiliarize the perception of art and do not measure the art by inherent rules. Therefore, how to experiment new material and find new methods are still the point for them to set about.
張小濤
Recommendation for Zhang Xiaotao
張小濤在2009年末與北京藝術(shù)區(qū)的其他藝術(shù)家一道做了一件非常有意義的事情，就是在北京大規(guī)模拆除藝術(shù)工作室、侵害了藝術(shù)家的法律權(quán)利的時(shí)候，他們共同倡議發(fā)起“暖冬”計(jì)劃。這是一次超越了藝術(shù)自身的事件，其意義是又再次地喚醒人們關(guān)注生存的環(huán)境、社會(huì)的發(fā)展進(jìn)程以及法律維權(quán)意識(shí)。藝術(shù)在這裡並不是最重要的，但藝術(shù)家可以賦予自身的行動(dòng)以藝術(shù)的方式，這樣就在合情合法有趣的行為中述説了自己的價(jià)值訴求和對(duì)社會(huì)問(wèn)題的審判。
At the end of 2009, Zhang Xiaotao did something extremely meaningful with other artists in Beijing: to initiate a plan called “Warm Winter” together when a great deal of art studios were pulled down and the legal rights of the artists were infringed. This is an event that surpasses the art itself, the meaning of which is to ask the general public to pay attention once again to the living environment, the course of the social development and the consciousness of protecting legal rights. Here art is not the most important, but the artists can endow their action with the artistic methods, thus stating their appeal for the values and judgment of the social problems in a proper way.
宋昱霖
Recommendation for Song Yulin
宋昱霖是一位有著極強(qiáng)自我主體性的藝術(shù)家。她的繪畫從人物頭像開始，學(xué)院派的描繪“完成”以後，再通過(guò)各種細(xì)小的線條組成網(wǎng)路，數(shù)遍覆蓋原有畫面，最終的結(jié)果便是隱約可見的人物與線條網(wǎng)路的綜合體。她的繪畫既是一種自我否定，也是一種自我確認(rèn)，恰如自己説到的那樣，“破壞的過(guò)程其實(shí)就是確定自我的過(guò)程”，“作為一個(gè)藝術(shù)家，畫畫這一種行為本身就是在確認(rèn)”。
——盛葳
Song Yulin is an artist with strong subjectivity. Her painting of figures starts from the head picture, and after the portrayal with a style of academism, she will from a net of various slender lines and covers the original painting. Therefore what the viewers see at last is a faint mixture of the figure and the net made of lines. Her painting is both self-denial and self-verification. Just as she states by herself: “the process of destruction is also the process of self-verification”, and “as an artist, painting itself is one kind of verification.”
--Sheng Rui
王思順
Recommendation for Wang Sishun
王思順的主要關(guān)注點(diǎn)是包括裝置藝術(shù)在內(nèi)的綜合媒介。《合金》是王思順較早的作品之一，從此時(shí)開始，他將物質(zhì)及其不同存在形態(tài)之間的關(guān)係轉(zhuǎn)化作為自己創(chuàng)作的核心，並在其後的實(shí)驗(yàn)中逐步加入對(duì)包括“流通”在內(nèi)的社會(huì)規(guī)則的討論，以不確定的未來(lái)為目標(biāo)。此外，時(shí)空及其轉(zhuǎn)換同樣是王思順的主要議題，在《無(wú)題》、《重影》等作品中，完整地體現(xiàn)出這一點(diǎn)。
——盛葳
The main focus of Wang Sishun is the comprehensive media including the installation art. The Alloy is one of Wang Sishun’s early works, and since then, he has placed the substance and the change of the substance between different forms in the center of his creation, and gradually added to the discussion of social rules including the concept of “circulation” during the experiments later on, with the uncertain future as his aim. Besides, time and space and their transition is also the main topic of Wang Sishun, which is wholly presented in the works named Untitled and Double Image.
--Sheng Rui