Gallery

ISSUE 215-216 / Oct-Nov 2016

艺术之滇 THE ART OF YUNNAN

封面人物 COVER STORY

唐志冈 Tang Zhigang

A Narrator of Surrealism 艺术家工作室 PROFILE Li Ji Gao Xiang

10

Luan Xiaojie

李 季 高 翔 栾小杰

CONTENTS 目 录

编者言

008

008

Editorial

创意SHOW

010

010

ART SHOW

圈里圈外

012

012

THE ART CROWD

一个展览所带出的 美术馆管理问题（二）

020

020

What an Exhibition Unveils: Management Issues of Art Museums (2)

女艺术家的时间困境

024

编辑：邓雨晴 林建华 温可琳

Written by Lan Qingwei

撰文：蓝庆伟

撰文：王娅蕾

Edited by Deng Yuqing, Hana Lam, Colleen Wen

024

A Female Artist's Predicament of Time Written by Wang Yalei

EYESHOT OF GALLERIES

画廊大视野 Max Jansons 的微妙感观戏法

026

026

Shifting Perceptions: A Play of Subtle Complexity

蓝色的交响：方力钧的视觉图景

034

034

The Blue Symphony:The Visual Images of Fang Lijun

Game Over: 让我们聊聊艺术、投币、通关与游戏（节选）

042

042

Game Over: A Discussion on Art, Coin Slot, Stage Clear and Game (excerpt)

Frieze 伦敦艺术展

046

046

Frieze London 2016

与神独处

052

052

Alone With God

撰文：大卫·帕格尔 编辑：黄子正

撰文：符坚 编辑：邓雨晴

撰文：赖心怡 编辑：邓雨晴

Edited by Max Wong

Written by Lai Xinyi Edited by Deng Yuqing

COVER STORY

封面人物 058

突变与扩张 —— 关于唐志冈绘画中的疾病隐喻

058

士兵之歌

070

070

The Song of Soldier

病人老唐和他如履薄冰的童话

076

076

The Patient Mr. Tang and His Fragile Fairy Tale

撰文：毛旭辉 编辑：林建华

撰文：叶永青

策划：李琼波 徐游 采编：徐游 邓冬燕

GALLERY MAGAZINE

Written by Mao Xuhui Edited by Hana Lam

Written by Ye Yongqing

PERSPECTIVE

独家观察 超现实的叙述者 —— 唐志冈的表现主义绘画

Sudden Change and Expansion: On The Disease Metaphor In Paintings of Tang Zhigang Planned by Li Qiongbo, Shell Xu Written by Luo Fei

策划：李琼波 徐游 撰文：罗 菲

4

Written by Fu Jian Edited by Deng Yuqing

Edited by Deng Yuqing

编辑：邓雨晴

编辑：黄子正

Written by David Pagel Edited by Max Wong

084

084

A Narrator of Surrealism: Tang Zhigang's Expressionist Painting Planned by Li Qiongbo, Shell Xu Interviewed by Shell Xu, Dong Dong

CONTENTS 目 录

PROFILE

艺术家工作室 李季：与“当代动物”为伍

100

100

Li Ji: Keeping Company with “Contemporary Animals”

高翔艺术访谈录（节选）

116

116

An Interview with Gao Xiang on Art

梦的边缘

124

124

The Boundaries of A Dream

孤独的大男孩 —— 栾小杰的感性回归

128

128

A Lonely Big Boy: Luan Xiaojie's Perceptual Return

苏家寿自述

140

140

Su Jiashou: Readme

无限的意象 —— 苏家喜的绘画

146

146

Su Jiaxi: Limitless Inspirations

郭棚：凝止于斯

152

152

Guo Peng: Standstills

梁木：一个材料实验者的乌托邦世界

158

158

Liang Mu: The Utopia of a Material Experimenter

内心的风景 —— 王欣的自我思虑

164

164

Inner Landscape: Wang Xin's self-reflection

孤独的保护 —— 应博睿自述

170

170

Ying Borui: The Protection of Loneliness

撰文：李森

采访：邹跃进 编辑：邓雨晴

撰文：彭锋

采编：徐游

Written by Peng Feng

Written by Su Jiashou

Written by Xue Tao

撰文：薛滔

撰文：莫妮卡·德玛黛 翻译：熊文靖

Interviewed by Zou Yuejin Edited by Deng Yuqing

Written by Shell Xu

撰文：徐游

撰文：苏家寿

Written by Li Sen

Written by Monica Dematté Translated by Xiong Wenjing

Interviewed by Shell Xu

Interviewed by Hana Lam

采编：林建华

Written by Ying Borui

撰文：应博睿

WHO IS SPONSORING HISTORY

谁在赞助历史 袁晓岑美术馆的十年

176

176

TCG诺地卡文化中心 以多种艺术形态激起对人类价值的反思

184

184

108智库空间：新兴的艺术集结地

192

采编：温可琳

Yuan Xiaocen Museum: One Decade of Yuan Xiaocen Museum Interviewed by Colleen Wen

Interviewed by Lu Xun, Colleen Wen

采编：温可琳

采编：邓雨晴

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GALLERY MAGAZINE

TCG Nordica Culture Center: Stimulating Reflection on Human Worth as Expressed in Various Art Forms

192

108 ThinkTank Space: An Emerging Hub of Art Interviewed by Deng Yuqing

艺术引领生活 传播塑造经典

Art Leads Life style Communication Creates Uniqueness

ISSUE 215-216 / Oct-Nov 2016 国内统一刊号：CN44-1008/J 国际标准刊号：ISSN1000-4815 ORGANIZATION 主管 PUBLISHER 主办 ADD 地址 ZIP CODE 邮政编码 TEL 电话 FAX 传真 ASSOCIATE PUBLISHER 协办 ART GALLERY MAGAZINE PUBLISHING HOUSE ADD 《画廊》编辑部地址 TEL 电话 FAX 传真 BEIJING OFFICE 北京 TEL 电话 FAX 传真 PUBLISHER 社长 EXECUTIVE PUBLISHER 执行社长 EDITOR-IN-CHIEF 主编 EXECUTIVE EDITOR-IN-CHIEF 执行主编 PLANNING DIRECTOR 策划总监 PLANNING EDITORS 策划编辑 COORDINATOR 流程编辑 ENGLISH EDITOR 英文编辑 ART EDITOR 美术编辑 INTERN EDITORS 实习编辑 TRANSLATORS 翻译

FOREIGN CORRESPONDENTS 海外特约撰稿人

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GALLERY MAGAZINE

编者言 EDITORIAL

地处西南边陲的云南省，与缅甸、老挝，越南三国接壤，在文 化上深受多国交界、多民族杂居的特殊地理环境的影响，如此，这里 所呈现的艺术生态与文化生态也有其独特的一面——乡土民族文化。

自 1910 年开始，云南当代艺术的脚步未曾停止。地域的偏远让 云南远离主流，但与土地、自然的关系更为密切，因此，云南文化生 态未受遽变的现代社会的影响，而完整保留下来的文化，直接影响了 云南艺术的面貌。自当代艺术在云南形成伊始，云南艺术家逐渐走出 了一条属于自己的现代之路。

云南艺术家一直强调生命与自由，风格多元，对土地与自然有 着丰沛的感情。然而，云南艺术家最为关注的仍是：如何在当代艺术 的语境下另辟蹊径，突出地域性、个人性的符号特征。

本期合刊，从封面人物到艺术家工作室，主要关注出生于不同 年代的云南艺术家，以他们之间的差异来比较看待不同时代环境下的

Yunnan Province is located in the southwest of China, bordering Myanmar, Laos and Vietnam. The unique geographic environment with multinational borders and multi-ethnic inhabitants has been providing nutrient to its vibrant culture. And the artistic ecology and cultural ecology of Yunnan have their own distinctive features—local ethnic culture.

Since 1910, the pace of Yunnan contemporary art hasn’t been stopped. Its remote position allows Yunnan to play a different card that away from the mainstream and more close to earth and nature.

Therefore, its cultural ecology has not been influenced by the great shift of modern society, and the well-preserved culture directly influences the appearance of Yunnan's art. Since the contemporary art scene in Yunnan began to take shape, home-grown artists from Yunnan gradually pave their own way for modernization.

Having been emphasizing life and freedom, style diversity, and passion for earth and nature all along, what artists from this state concern about is still mainly on finding a new path and underlining local characteristics and personal symbolic features in the context of contemporary art.

From Cover Story to Profile, this double issue mainly focuses on Yunnan artists born in different ages and makes a comparative study of the evolution of Yunnan art ecology in different ages.

云南艺术生态的演变。

在封面人物栏目中，以云南代表性艺术家唐志冈的新、旧创作 的对比，来呈现宏观的时代背景下，云南艺术家自我身份的演变。

The Cover Story compares new and old works by Yunnan representative artist Tang Zhigang so as to show the evolution of Yunnan artists’ individual identity in a macro background.

而在艺术家工作室栏目中，从 50 后艺术家栾小杰着重个人符号 性突显以及回归画面本身的研究与探索，60 后艺术家李季对动物、 环境题材带有叙述性的表现方式，70 后艺术家高翔着重个人精神性 的超现实体现，再到 6 位 80 后、90 后艺术家对不同的材料语言与创 作形式的探索，来共同呈现云南当代艺术家的创作状态。

多元化的艺术生态令云南艺术始终呈现差异于主流艺术的面貌。

In the Profile, Luan Xiaojie, who born in 1950s emphases personal symbol and returns to the research and exploration of painting; post-60 Li Ji brings narrative expression into animal and environmental themes; post-70 Gao Xiang focuses on the surrealistic expression of individual spirituality; and 6 of the post-80 young artists show their exploration of different material languages and creative forms.

All jointly presenting the art-making condition of Yunnan contemporary artists and a diverse art scene that different from the mainstream.

从题材的述写到材料与画面的探索研究，云南艺术家回归到表 达自我精神的状态上。云南以其独有的自然环境哺养了艺术家，给予 他们源源不断的灵感。艺术家将云南特有的、富有纯粹生命力的东西 融合起来，形成一派自由的氛围与创作环境。

云南，正是艺术的香格里拉。

From subject description to exploration and research of materials and images, Yunnan artists return to the state of expressing individual spirit. They have been inspired by the unique natural environment that Yunnan continuously provides; the unique and pure vigorous of Yunnan that they have combined is forming a free art-making atmosphere.

Yunnan, is the Shangri-La of art.

《画廊》编辑部 GALLERY MAGAZINE GALLERY MAGAZINE

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创意SHOW

ART SHOW

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MUKMUK WONGWONG SUKSUK YUNGYUNG

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穆穆皇皇肃肃雍雍

八骏图

GALLERY MAGAZINE

作 者 / ARTIST：刘滨 Liu Bin

作 者 / ARTIST：刘滨 Liu Bin

材 质 / MATERIAL：纸本水墨 ink on paper

材 质 / MATERIAL：纸本水墨 ink on paper

尺 寸 / DIMENSIONS：40cm × 50cm

尺 寸 / DIMENSIONS：50cm × 40cm

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斑马，白鹿与猫

作 者 / ARTIST：刘滨 Liu Bin

作 者 / ARTIST：刘滨 Liu Bin

材 质 / MATERIAL：纸本水墨 ink on paper

材 质 / MATERIAL：纸本水墨 ink on paper

尺 寸 / DIMENSIONS：40cm × 50cm

尺 寸 / DIMENSIONS：34.5cm × 35cm

产品说明：刘滨作为 80 后青年艺术家，画布与油画色彩是他展示诙谐、趣味的游乐场。如今，

Description: As an artist born in the 80’s, colors on canvas and oil painting is Liu Bin’s playground

他转换了另一种表现材质 —— 水墨，但画面上戏谑、诙谐、有趣的艺术表达仍占据着艺术家的

with humorous and fun. He now tries the same recipe with ink, with witty, interesting artistic expression

内心。这种人物日记式的画面描绘令刘滨的水墨画区别于传统的水墨所蕴含、承载的中国传统的

that from the artist's heart. And his pictorial portrayal makes Liu Bin's ink painting different from the

文化精神，亦令他没有拘囿于中国传统水墨的物象表达，因为他旨在描绘记录一些突发奇想的事

traditional Chinese ink painting that embodies traditional Chinese cultural spirit, and the impromptu and

物。整体而言，这次，刘滨以轻松的“游戏心态”推动创作，绕开陈词滥调，以一向的戏谑叙事

unexpected things that he’s trying to paint makes him breaking the restrains of traditional expressions.

来记录自己的日常及心态的改变，同时将观者的审美视角指向了芜杂而荒诞的日常。

Generally, the "mentality of a funny game" is what pushing his creativity, and the humorous narratives of the everyday life and changes of mind of himself has shifted viewer's aesthetics at the complex and absurd of everyday life.

GALLERY MAGAZINE

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圈里圈外

THE ART CROWD

洛杉矶克莱蒙特艺术研究大学美术馆

CGU · Los Angeles

南京艺术学院美术馆

AMNUA · Nanjing

9 月 20 日，“中国风景——3+ 首届中美艺术邀请展 - 洛杉矶站”在洛杉矶克莱蒙特 艺术研究大学美术馆开幕。 Opening of China’s Landscape: The 3+ US – China Art Invitation Exhibition Los Angeles at Claremont Graduate University Los Angeles on Sep 20.

9 月 23 日，“黑色之光：保科丰巳个展”在南京艺术学院美术馆正式开幕。 Opening of Hoshina Toyomi solo exhibition Light of Darkness at AMNUA Nanjing on Sep 23.

展览现场 At the exhibition

展览现场 At the exhibition

上海展览中心

Shanghai Exhibition Center · Shanghai

成都千高原艺术空间

A Thousand Plateaus Art Space · Chengdu

10 月 7 日，“蓬皮杜现代艺术大师展”在上海展览中心开幕。 Opening of Masterpieces from the Centre Pompidou 1906-1977 at Shanghai Exhibition Center on Oct 7.

10 月 15 日，最后一夜——陈霄 & 消失的地平线——李振华双个展在成都千高原艺 术空间开幕。 Opening of Chen Xiao-The Last Night & Li Zhenhua-Lost Horizon double solo exhibition at A Thousand Plateaus Art Space Chengdu on Oct 15.

展览现场 At the exhibition

展览现场 At the exhibition

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GALLERY MAGAZINE

武汉美术馆

Wuhan Art Museum · Wuhan

成都蓝顶美术馆

Blue Roof Museum of Chengdu · Chengdu

10 月 15 日，“中国风·王心耀作品展”在武汉美术馆开幕。 Opening of Wang Xinyao solo exhibition Chinese Style at Wuhan Art Museum on Oct 15.

10 月 15 日，由 2016 成都蓝顶艺术节组委会主办的“朋友之间 —— 李晓峰、马蕙” 双人画展在成都蓝顶美术馆正式开幕。 Opening of Li Xiaofeng & Ma Hui – Amongst Friends at Blue Roof Museum of Chengdu on Oct 15.

艺术家王心耀在开幕式致辞 Artist Wang Xinyao gives a speech at the opening

开幕式现场 At the opening

北京艺琅国际

X Gallery · Beijing

湖北美术馆

Hubei Museum of Art · Wuhan

10 月 22 日，“平行”范勃个展在北京草场地艺术区艺琅国际开幕。 Opening of Fan Bo solo exhibition Parallel at X Gallery, Beijing on Oct 22.

10 月 28 日，“身体景观 —— 徐文涛作品展”在湖北美术馆正式拉开序幕。 Opening of Xu Wentao solo exhibition Body Spectacles in Hubei Museum of Art on Oct 28.

展览现场 At the exhibition

展览现场 At the exhibition

GALLERY MAGAZINE

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圈里圈外

THE ART CROWD

北京时代美术馆

Beijing Times Art Museum · Beijing

南京艺术学院美术馆

AMNUA · Nanjing

10 月 29 日，“王艺 2016 研究展”在北京时代美术馆正式开幕。 Opening of Wangyi 2016 Research Exhibition at Beijing Times Art Museum on Oct 29.

11 月 10 日，“秦天”艺术家同名个展在南京艺术学院美术馆正式开幕。 Opening of Qin Tian solo exhibition Qin Tian at AMNUA Nanjing on Nov 10.

嘉宾合影 Guests photo

展览现场 At the exhibition

今日美术馆

Today Art Museum · Beijing

余德耀美术馆 上海西岸

YUZ Museum West Bund · Shanghai

11 月 15 日，“数据主义理论 —— 艾何乐个展”于今日美术馆一号馆圆满开幕。 Opening of Josef Achrer solo exhibition Theory of Nataism at Today Art Museum, Beijing on Nov 15.

11 月 19 日，孙逊个展“谶语实验室”在余德耀美术馆·上海西岸开幕。 Opening of Sun Xun solo exhibition Prediction Laboratory at YUZ Museum West Bundon Nov 19.

展览现场 At the exhibition

展览现场 At the exhibition

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GALLERY MAGAZINE

成都当代美术馆

MOCA · Chengdu

广州美术学院美术馆

Art Museum of GAFA · Guangzhou

11 月 19 日，“无声之境 —— 熊宇作品展”在成都当代美术馆开幕。 Opening of Xiong Yu solo exhibition Silence Like Heaven at Museum of Contemporary Art Chengdu on Nov 19.

11 月 24 日，“第四届广州国际藏书票暨小版画双年展”在广州美术学院美术馆开幕。 Opening of 2016 Guangzhou International Exlibris and Mini-prints Biennial at Art Museum of Guangzhou Academy of Fine Arts on Nov 24.

展览现场 At the exhibition

嘉宾合影 Guests photo

合美术馆

United Art Museum · Wuhan

湖北美术馆

Hubei Museum of Art · Wuhan

11 月 25 日，“王广义 / 存在与超验”在合美术馆开幕。 O p e n i n g o f Wa n g G u a n g y i : E x i s t e n c e a n d Tr a n s c e n d e n c e a t U n i t e d A r t Museum,Wuhan on Nov 25.

11 月 26 日，“再识方力钧”在湖北美术馆开幕。 Opening of Re-sensing the Work of Fang Lijun in Hubei Museum of Art on Nov 26.

嘉宾合影 Guests photo

展览现场 At the exhibition

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北京 Beijing

中央美术学院美术馆 基弗在中国 时间：2016 年 11 月 19 日 – 2017 年 1 月 8 日 地址：北京市朝阳区花家地南街 8 号 中央美术学院美术馆 电话：8610-64771575 网址：www.museum.cafa.com.cn

蜂巢当代艺术中心 幕间：季鑫 时间：2016 年 11 月 19 日 – 2016 年 12 月 19 日 地址：北京市朝阳区酒仙桥路 4 号 798 艺术区 E06 电话：8610-59789530 网址：www.hiveart.cn

尤伦斯当代艺术中心 新倾向：王海洋 时间：2016 年 11 月 4 日 – 2017 年 1 月 8 日 地址：北京市朝阳区酒仙桥路 4 号 798 艺术区 4 号路 电话：8610-57800200 网址：www.ucca.org.cn

Hive Center For Contemporary Art Interval: Ji Xin Solo Exhibition

Ullens Center for Contemporary Art New Directions: Wang Haiyang

Fine Arts, 8 Museum

Duration: 19 Nov, 2016 - 19 Dec, 2016

Duration: 4 Nov, 2016 - 8 Jan, 2017

Web: www.museum.cafa.com.cn

Add: E06, 798 Art Zone, No.4 Jiuxianqiao Rd, Chaoyang District, Beijing

Add: 798 Art District, No. 4 Jiuxianqiao Lu, Chaoyang District, Beijing

Tel: 8610-59789530

Tel: 8610-57800200

Web: www.hiveart.cn

Web: www.ucca.org.cn

蜂巢当代艺术中心 矩阵：游迪文个展 时间：2016 年 11 月 19 日 – 2016 年 12 月 19 日 地址：北京市朝阳区酒仙桥路 4 号 798 艺术区 E06 电话：8610-59789530 网址：www.hiveart.cn

香格纳画廊 刘月个展：格言 时间：2016 年 11 月 19 日 - 2017 年 2 月 15 日 地址：北京市朝阳区机场辅路草场地 261 号 电话：8610-64323202 网址：www.shanghartgallery.com

余德耀美术馆 安迪 · 沃霍尔：影子 时间：2016 年 10 月 29 日 - 2017 年 1 月 15 日 地址：上海徐汇区龙腾大道丰谷路 35 号 电话：8621-64261901 网址：www.yuzmshanghai.org

Hive Center For Contemporary Art Matrix: You Diwen Solo Exhibition

ShanghART Beijing Liu Yue: Maxim

Yuz Museum Andy Warhol: Shadows

Duration: 19 Nov, 2016 - 19 Dec, 2016

Duration: 19 Nov, 2016 - 15 Feb, 2017

Duration: 29 Oct, 2016 - 15 Jan, 2017

Add: E06, 798 Art Zone, No.4 Jiuxianqiao Rd, Chaoyang District, Beijing

Add: 261 Cao Chang Di, Old Airport Rd. Chaoyang Dst, Beijing

Add: No.35 Longteng Road, Xuhui District, Shanghai

Tel: 8610-59789530

Tel: 8610-64323202

Tel: 8621-64261901

Web: www.hiveart.cn

Web: www.shanghartgallery.com

Web: www.yuzmshanghai.org

CAFA Art Museum Anselm Kiefer Coagulation Duration: 19 Nov, 2016 - 8 Jan, 2017 Add: Chaoyang District, South Street, take the Central Academy of

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Tel: 8610-64771517

上海 Shanghai

成都 Chengdu

余德耀美术馆 米拉 · 丹西：“未来女性 // 重塑自我” 时间：2016 年 11 月 8 日 - 2017 年 1 月 15 日 地址：上海徐汇区龙腾大道丰谷路 35 号 电话：8621-64261901 网址：www.yuzmshanghai.org Yuz Museum Mira Dancy: “FUTURE WOMAN // remake me” Duration: 8 Nov, 2016 - 15 Jan, 2017 Add: No.35 Longteng Road, Xuhui District, Shanghai Tel: 8621-64261901 Web: www.yuzmshanghai.org

香港 Hong Kong

成都当代美术馆 光的皴法 —— 董建艺术实验项目 时间：2016 年 10 月 15 日 - 2016 年 11 月 13 日 地址：成都高新区天府大道天府软件园 C1 西楼 电话：8628-85980055 网址：www.chengdumoca.org

高古轩画廊 間 时间：2016 年 11 月 25 日 – 2017 年 1 月 7 日 地址：香港中西区中环毕打街毕打行七楼高古轩画廊 电话：852-21510555 网址：www.gagosian.com

Chengdu Contemporary Art Museum The Wrinkle Method by Light: Dong Jian

Gagosian Gallery JIĀN

Duration: 15 Oct, 2016 - 13 Nov, 2016

Duration: 25 Nov, 2016 - 7 Jan, 2017

Add: C1, Tianfu software Park, Tianfu Avenue, Chengdu

Add: 7/F Pedder Building, 12 Pedder Street, Central, Hongkong

Tel: 8628-85980055

Tel: 852-21510555

Web: www.chengdumoca.org

Web: www.gagosian.com

武汉 Wuhan

台湾 Taiwan

余德耀美术馆 孙逊：谶语实验室 时间：2016 年 11 月 19 日 - 2017 年 1 月 15 日 地址：上海徐汇区龙腾大道丰谷路 35 号 电话：8621-64261901 网址：www.yuzmshanghai.org

湖北美术馆 再识方力钧 时间：2016 年 11 月 23 日 – 2017 年 1 月 3 日 地址：湖北省武汉市武昌东湖路三宫殿 1 号 电话：8627-86796062 网址：www.hbmoa.com

台北索卡艺术中心 舞影凌乱：林葆灵 时间：2016 年 11 月 5 日 - 2016 年 12 月 4 日 地址：台北市中山区堤顶大道二段 350 号 电话：886-25339658 网址：www.soka-art.com

Yuz Museum Sun Xun: Prediction Laboratory

Hubei Museum of Art RE-SENSING: The Work of Fang Lijun

Taipei Soka Art Center A DANCE of Scattered Shadows: Lin Bao Ling

Duration: 19 Nov, 2016 - 15 Jan, 2017

Duration: 23 Nov, 2016 - 3 Jan, 2017

Duration: 5 Nov, 2016 - 4 Dec, 2016

Add: No.35 Longteng Road, Xuhui District, Shanghai

Add: No.1 Sangongdian, Donghu Road, Wuchang, Wuhan

Add: No.350 Sec 2, Diding Avenue, Zhongshan District, Taipei

Tel: 8621-64261901

Tel: 8627-86796062

Tel: 886-25339658

Web: www.yuzmshanghai.org

Web: www.hbmoa.com

Web: www.soka-art.com

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美国 USA 歌剧画廊 单色光 时间：2016 年 11 月 18 日 - 2016 年 12 月 3 日 地址：791 Madison Avenue, New York 电话：+1-646-7073299 网址：www.operagallery.com Opera Gallery Monochromaniac

佩斯纽约 基斯 · 桑尼：公祭河与早期创作 时间：2016 年 11 月 26 日 - 2017 年 1 月 21 日 地址：32 East 57th Street, New York 电话：+1-212-4213292 网址：www.pacegallery.com Pace Gallery Keith Sonnier: Ebo River and Early Works Duration: 26 Nov, 2016 - 21 Jan., 2017 Add: 32 East 57th Street, New York Tel: +1-212-4213292 Web: www.pacegallery.com

Paris Cahiers d’Art Gallery Sol LeWitt Duration: 20 Oct, 2016 - 28 Jan, 2017 Add: 14 Rue Du Dragon 75006, Paris

Duration: 18 Nov, 2016 - 3 Dec, 2016 Add: 791 Madison Avenue, New York

法国巴黎 Cahiers d' Art Gallery 索尔 · 勒维特 时间：2016 年 10 月 20 日 - 2017 年 1 月 28 日 地址：14 Rue Du Dragon 75006, Paris 电话：+33 (0)1 45 48 76 73 网址：www.cahiersdart.com

其他国家 Other Countries

Tel: +33 (0)1 45 48 76 73 Web: www.cahiersdart.com

Tel: +1-646-7073299

迪拜 莱拉海勒画廊 弗兰克 · 斯特拉 时间：2016 年 11 月 13 日 - 2017 年 1 月 4 日 地址：I-87, Alserkal Avenue, Al Quoz 1, Dubai 电话：+971-4-3216942 网址：www.leilahellergallery.com

澳大利亚 澳大利亚国家当代美术馆 宫岛达男：感知万物 时间：2016 年 11 月 3 日 - 2017 年 3 月 5 日 地址：140 George Street, The Rocks NSW 2000 电话：+ 61-2-9245-2400 网址：www.mca.com.au

Andy Warhol: Idolized

Dubai Leila Heller Gallery Frank Stella

Australia Museum of Contemporary Art Australia Tatauo Miyajima: Connect with everything

Duration: 3 Nov, 2016 - 15 Dec, 2016

Duration: 13 Nov, 2016 - 4 Jan, 2017

Duration: 3 Nov, 2016 - 5 Mar, 2017

Add: 99 Gansevoort Street, New York

Add: I-87, Alserkal Avenue, Al Quoz 1, Dubai

Add: 140 George Street, The Rocks NSW 2000

Tel: +1-212-5703600

Tel: +971-4-3216942

Tel: + 61-2-9245-2400

Web: www.whitney.org

Web: www.leilahellergallery.com

Web: www.mca.com.au

Web: www.operagallery.com

惠特尼美国艺术博物馆 安迪 · 沃霍尔：偶像崇拜 时间：2016 年 11 月 3 日 - 2016 年 12 月 15 日 地址：99 Gansevoort Street, New York 电话：+1-212-5703600 网址：www.whitney.org Whitney Museum of American Art

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日本 Japan

英国 Britain 白立方画廊 安塞姆 · 基弗：瓦尔哈拉 时间：2016 年 11 月 23 日 - 2017 年 2 月 12 日 地址：144-152 Bermondsey St, London SE1 3TQ 电话：+44-20-79305373 网址：www.whitecube.com

萨奇画廊 群展：艺术家眼中的艺术家 时间：2016 年 11 月 30 日 - 2017 年 2 月 28 日 地址：Duke of York' s HQ, King' s Road, London 电话：+44-20-78113085 网址：www.sattchigallery.com

小山登美夫画廊 蜷川实花：光 时间：2016 年 10 月 21 日 - 2016 年 12 月 3 日 地址：complex665 2F, 6-5-24, Roppongi, Minato-ku, Tokyo, Japan 电话：+81-3-6434-7225 网址：www.tomiokoyamagallery.com

White Cube Anselm Kiefer: Walhalla

Saatchi Gallery Painters' Painters

Tomio Koyama Gallery Mika Ninagawa: Light of

Duration: 23 Nov, 2016 - 12 Feb, 2017

Duration: 30 Nov, 2016 - 28 Feb, 2017

Duration: 21 Oct, 2016 - 3 Dec, 2016

Add: 144-152 Bermondsey St, London SE1 3TQ

Add: Duke of York’s HQ, King’s Road, London

Add: complex665 2F, 6-5-24, Roppongi, Minato-ku, Tokyo, Japan

Tel: +44-20-79305373

Tel: +44-20-78113085

Tel: +81-3-6434-7225

Web: www.whitecube.com

Web: www.sattchigallery.com

Web: www.tomiokoyamagallery.com

新港街画廊 加文 · 特克：谁、什么、何时、何地、怎么和为什么 时间：2016 年 11 月 23 日 - 2017 年 3 月 19 日 地址：Newport Street, London 电话：+44-20-31419320 网址：www.newportstreetgallery.com

佩斯伦敦 美国经典 时间：2016 年 11 月 25 日 - 2016 年 12 月 17 日 地址：6 Burlington Gardens, London W1S 3ET 电话：+44-20-32067600 网址：www.pacegallery.com

日动画廊 越中正人：新圣诞 时间：2016 年 11 月 16 日 - 2016 年 12 月 26 日 地址：东京都中央区银座 5-3-16 电话：+81-(0)3-3571-2553 网址：www.nichido-garo.co.jp

Newport Street Gallery Gavin Turk: Who What When Where How & Why

Pace London American Classics

Galerie Nichido Masahito Koshinaka: New Christmas

Duration: 23 Nov, 2016 - 19 Mar, 2017

Duration: 25 Nov, 2016 - 17 Dec, 2016

Duration: 11 Nov, 2016 - 26 Dec, 2016

Add: Newport Street, London

Add: 6 Burlington Gardens, London W1S 3ET

Add: 5-3-16 Ginza, Chuo-ku, Tokyo, Japan

Tel: +44-20-31419320

Tel: +44-20-32067600

Tel: +81-(0)3-3571-2553

Web: www.newportstreetgallery.com

Web: www.pacegallery.com

Web: www.nichido-garo.co.jp

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WHAT AN EXHIBITION UNVEILS: MANAGEMENT ISSUES OF ART MUSEUMS (2)

一个展览所带出的 美术馆管理问题（二）

蓝庆伟 Lan Qingwei 艺评人、策展人、成都当代美术馆执行馆长 Art critic, curator and Executive Director of Chengdu Museum of Contemporary Art

时间到 2016 年 12 月，各大媒体又开始盘点年度事

息数据库的社会里，需要创造出一种新型的博物馆管理

中，其中第三条如下：“三、作为‘基弗在中国’展中

件。在中央美术学院美术馆举办的“基弗在中国”极有

模式，以便实现博物馆的去空间化和时间化。‘事件’

国合作伙伴之一的中央美院美术馆，本着对基弗先生的

可能成为多家媒体的年度事件之一。关于“基弗在中国”

因此取代了作品。”“事件”化的确是博物馆与美术馆

高度敬佩和对他艺术成就的认知，也本着引入这一无论

所引起的争论已经跨越了展览的意义，可以称呼为“基

展览、宣传的一种新模式，但此次“基弗事件”的“事

是艺术性或学术性都极为严肃和意义重大展览的意愿，

弗事件”。这一称呼类似在 1989 年的“中国现代艺术展”

件化”却并不是主办方所希望看到的。本文不想对“基

接受了德国主办方策划和筹组的这一展览项目，并作为

上，肖鲁朝向自己的作品《对话》开枪后所引发的事件，

弗事件”展开论述，也不想就该事件的对错展开讨论，

中国巡展的第一站。我们也为这个展览的推广、学术研

在梳理此事件时，大家更愿意将其称为“枪击事件”，

这里需要赘述的是由“基弗在中国”所带出的美术馆管

讨和公共教育做了大量准备，相信这一展览将在中国文

而非使用作品名《对话》，事件超越了作品本身。汉斯·贝

理方面的问题。

化艺术界产生深远的影响！”以此条声明与展览信息比

尔廷写道：“在一个不看重存放物品的保险箱而看重信

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让我们将目光重新回到中央美术学院美术馆的声明

对可以明确，此次最主要的主办方是来自德国的贝尔艺

gain we come round to the end of anther

that we approved of this project curated and arranged by the

year when the media begin their annual

German organizer as the first stop of the touring exhibition.

reviews on topical issues. Among many,

Our institute has been done lots of preparation work for the

the Anselm Kiefer in China exhibition

promotion, academic discussion and public education of the

held by Central Academy of Fine Arts

event, in the firm belief that it would generate a far-reaching

(CAFA) might very possibly be a winning nominee. The

impact on Chinese cultural and art fields”.

controversy it has stirred up well bypasses the topic of the

With a comparison between this statement and the

exhibition itself, which we can call as the “Kiefer Incident”.

exhibition information, we are clear that the main organizer

The tag serves as a reminder of another event back in 1989

is the Bell Art Center who acts more like the agent or

at the Chinese Modern Art Exhibition following the artist

introducer of the event. The show in China is the same in

Xiao Lu’s gunshot at her own work The Dialogue. People

content as other Kiefer shows held overseas. We can read

preferred to remember that day by “the Gunshot Incident”

through the lines the role of CAFA - the Chinese organizer

rather than the title of the work, which suggests that the

- in the exhibition that “our institute has been done lots of

event went beyond the range of the work itself. Hans Belting

preparation work for the promotion, academic discussion

once wrote that: “in a society where database weighs more

and public education of the event”, which expounds on the

than safe cases for storing real things, a new model of

groundwork done for the localization of the touring event

museum management is of urgent need to facilitate the de-

based on the exhibition and exhibits as pre-designed. If we

spatiality and temporalization of museums. For that matter,

get retrospective of events like Masterpieces from the Musee

events are the replacement of works.” Eventualization is

National Picasso Paris 2011 or Master of Impressionism -

indeed a new exhibiting and publicizing mode for museums

Claude Monet, we would find this exhibiting mode quite

and galleries. Nevertheless, the eventuality of the Kiefer

popular in China, as both exhibitions not only offered

Incident is not intended by the organizer. I would not

Chinese audience the chance to appreciate the authentic

elaborate on this here, nor give any moral judgment of it,

works but also helped the organizer harvest great fame and

because what I would like to extend on are the management

profit overnight. By no coincident, the two events were

issues of art museums the Kiefer Incident unveils.

introduced and organized by the same Chinese company

Why not look back to the third clause of CAFA’s

- Shanghai Tix-Media Co. Ltd. Other than the two, Tix-

statement: “3. As one of the cooperative partners of

Media also introduced to China large-scale international

the Anselm Kiefer in China exhibition, we have great

exhibitions like Pierre-Auguste Renoir: A Life for Painting,

admiration for and recognition of Mr. Kiefer and his artistic

Dali’s Fantastic Universe and Masterpieces from the Centre

achievements. It was under the will to introduce to China this

Pompidou: 1906-1977, all of which require tremendous

solemn event of the utmost artistic or academic significance,

costs of loan shows and transportation insurance that are

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术中心，这一德国主办方更像是一个中介或是展览的引入者，

展出。而这些‘超级大展’多半实行着这样的模式：从国外

将此展览带到中国。而从此展览与已知国外展览上来看，进

引进—与媒体、机构合作—引领大众文化流行—创造观众人

入到中国的基弗展并没有什么内容上的不同。作为中方主办

潮；而西方国家则是这样的流程：博物馆—基金会—企业赞

机构之一的中央美术学院美术馆在此展览上面的作用，在这

助—媒体。两种策划组合的模式有所不同。这种艺术与商业

条声明中可以读到——“我们（中央美术学院美术馆）也为

的结合难免是展览有追求商业利润之嫌疑。在国外，‘超级

这个展览的推广、学术研讨和公共教育做了大量准备”，这

大展’通常是在博物馆、美术馆这样的非营利机构空间举办。

是基于既定展览及展览内容展开的，也是巡展在地化的一些

博物馆是主办方，他们往往会寻求外界的赞助，但在展览的

基础工作。如果回头查看，不免发现这样的展览方式在中国

主体和质量上，他们会严格把关。”除了上文提到的几个“大

颇为流行，如：“2011 毕加索中国大展”、“印象派大师：

展”外，马琳在文章中还提到了“草间弥生——我的一个梦”、

莫奈特展”，两个展览都给中国的观众带来了欣赏原作的机会，

“贾科梅蒂雕塑展”。这样份量的展览对任何一家美术馆都

也让办展机构名声大噪，同时也能够赚得盆满钵盈。但两个

极具吸引力——尤其是对新成立的美术馆，很多时候，这样

展览的背后我们不免发现同一家公司的身影——上海天协文

的“大展”是可遇不可求的，也是急切想获得的。因为“大展”

化发展有限公司（简称上海天协），这两个展览也均是由上

所带来的“价值”是多方面的，但主要集中在以下两个方面，

海天协引入中国的。不仅如此，上海天协引入中国的国际大

首先是因展览影响力而带来的美术馆影响力的提升；其次在

型展览还包括“印象派大师：雷诺阿特展”、“疯狂达利艺

短时间内能树立美术馆较高知名度。

术大展”、“蓬皮杜现代艺术大师展（1906—1977）”。这些

马琳在文章中对中西“超级大展”不同模式的比较恰恰

展览的引入均需要高额度的借展、运输保险费用，而这些费

体现了中西美术馆管理的差异，在国内美术馆“不管白猫黑

用最终是靠参观者的购票参观来买单。追求商业化成为该类

猫抓住老鼠就是好猫”理念的影响下，“超级大展”被不断

展览显著的特点，基于此也不难解释为什么每次引入的展览

地认可和推动，但问题也如滚雪球般不断增大，尤其是对于

都在不同的展览场所。似乎所有人的关注点都在“基弗事件”，

美术馆而言。不论美术馆发展处于什么阶段，我们都不应忘

而忘却了“基弗在中国”展览标价 60 元的门票，这样的门票

记美术馆管理的基本原则与理念，尤其是在所谓的美术馆发

定价制度符合“特展特价”的美术馆管理惯例，而中央美术

展的“初级阶段”。“超级大展”没有问题，问题在于美术

学院美术馆本来也是固定收取参观门票的美术馆，并未纳入

馆在“超级大展”中扮演的角色问题。哪家美术馆可以拒绝

免费体系。虽然，因“基弗在中国”展览还未结束，参观数

作为“基弗在中国”这样的展览场地呢？目前来看，答案是：

据的多少不得而知，但可以想象的是，“基弗事件”肯定给

没有！没错，对于展览的引入者 / 经营者来说，美术馆的角

主办方最初设定的门票想象泼了一盆冷水。即便是有着以上

色仅仅是一处展览场地，此外都不需要美术馆系统的参与，

两方面的因素，但也难逃追求商业利润之嫌。

他们的公司化、资本化运营已经足够。在此类事件中，美术

马琳在《两个达利展同城撞车，国内“超级大展”的困 境》一文中写道：“值得注意的是，组织这些展览的主办方 大都是民间机构，展览也大多选择在商业空间内的艺术机构

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馆毫无疑问是弱势一方，原因并非资本不如人或者地位低人 一等，而是美术馆对学术研究策划能力的主观摒弃。

represented eventually on the ticket fees paid by the visiting

Besides the above-mentioned “super exhibitions”, she

audience. Featured by the evident pursuit of commercial

also refers to others like Kusama Yayoi - A Dream I Dreamt,

profits, the introduced exhibitions are by no doubts

Sculptures of Alberto Giacometti, influential events that are

dispersed into a variety of exhibiting places. People are so

hard to come by and that are deadly appealing for any art

intense on the Kiefer Event that they somehow forget about

museums, especially the newly-found. These new institutes

the ticket price of 60 RMB, though the pricing abides by

would be in an urgent need of their multi-faceted values:

the usual practice of “special pricing for special events”

first the rise of social influence due to that of the events, and

at art museums and also that CAFA, outside of the free-

then the rapid rise in fame for the art museum.

ticket name-list, still collects fixed fees from the audience.

The comparison made by Ma Lin between the western

The number of visitors to Anselm Kiefer in China is still

and the Chinese curating modes of the super events gives

unknown as the show has yet been finished, but we can still

a vivid picture of the difference in museum management.

imagine the cloud the event has cast over the box office

Domestically, under the philosophy that “be it a black cat or

expectation of the organizer. Even given the consideration of

a white cat, a cat that can catch mice is a good cat”, super

the two above-mentioned factors, Tix-Media is still not free

exhibitions are getting more recognition and promotion,

of the suspicion that they have made a fortune here.

when problems, particularly for art museums, are being

In her article Two Dali Shows in the Same City: The

accumulated at the same time. No matter which development

Dilemma China’s Super Exhibitions Faces, Ma Lin writes:

phrase an art museum is in, the basic principles and ideas

“What is noteworthy is that, as the organizers are mostly

of museum management should be shelved and forgotten,

private-run organization, the exhibitions are mainly held

especially when the institute just starts up. Super events

within commercial art institutes. Usually, these super events

are totally fine, but the role that museums play within is

follow this pattern: imported from abroad - co-run by media

not quite. Which museum can turn down the offer to be the

and institutes - leading the trend of pop culture - attracting

exhibiting place for events like Anselm Kiefer in China? The

throngs of the audience. In the western countries, things go

answers seem to be totally negative so far. Surely, the role

differently: art museum - foundations - corporate donations

of art museums would be limited to the exhibiting places in

- the media. These are two combinations of curation, the

the eyes of the introducer/proprietor, as they are not short

former is suspicious of generating commercial advantages

of corporate or capital operations at all. This leaves the art

while the latter are often held in non-profit spaces like

museums inferior. They are inferior not in terms of funds

museums and galleries. In the west, as the organizer of the

or social status, but as a result of their abandonment of the

events, the museum would often seek outside funding and

capability in academic research and curatorship.

impose strict control over the entities and qualities of the exhibitions. ”

GALLERY MAGAZINE

23

圈里圈外

THE ART ART CROWD CROWD THE

A FEMALE ARTIST'S PREDICAMENT OF TIME

女艺术家的时间困境

王娅蕾 Wang Yalei 曾任艺术媒体编辑、记者，现为自由撰稿人 Former art editor and journalist, currently a freelance writer

几天前康妮在微信朋友圈里发了一张图，并配以

时间在艺术家生命中不算长，有些艺术家的过渡和积

争取一席之地，平和宽容的母性对这个时期而言只是

文字说明：“复工后的第一张画（局部），不管好坏

累期甚至需要五年以上。那些低潮和过渡期是因人而

一种阻碍。当然，当下的艺术家对如何适应这一点已

都 MARK 一下”；另一个处于孕期的女朋友拿着手机对

异的，而女艺术家的“生育假期”是一个共同话题，

经有了比较好的对策，很多女艺术家将生育、生产、

我说：“天哪，康妮是等到小孩子上了幼儿园才复工的，

每一位经历过生育的女艺术家都要面对。正因为职业

育儿的经历和体会做成了作品，而且，这些作品受众

三年都没时间画画，我将来要怎么办？”

艺术家不需按照国家规定假期休假——大陆的法定产

群很明确，就是同样对生育有体验或思考的女性观众，

康妮是成都的年轻画家，工作室在蓝顶二期，她

假一般在三到四个月，香港甚至只有 21 天，远远短于

那是一种性别内的私密对话。即使完全没有这方面的

的作品我一直非常喜欢，用细碎有力的笔锋描绘植物

艺术家自定的复工时间——女艺术家往往会不知不觉

表达，大多数女艺术家也能从中得到全新的生命体验。

和建筑，布局简洁而有分寸，并不表达激烈的观念，

间就在家待到孩子们主动脱离家庭，而“上幼儿园”

但对于许多即将进入这一时期的女艺术家来说，面对

但也不是纯粹的安静，作品很有活力。作画是体力活，

则是一个阶段性脱离家庭的显著标志。直到此时，母

未知的心情还是比较复杂的，一如本文开头那位朋友

无论水墨、油画还是简单的插画，三年下来即使心一

亲才有了相对自由的工作时间。与前述的艺术家低潮

的焦虑：“将来要怎么办？”再多的文本经验也无法

直在，手也会生疏，需要一段时间的过渡期。康妮并

期不同，这个时间段里的女艺术家往往要完全脱离“艺

替代实践中的心境转变，我们只能说，这个问题永远

非个例，从北京到西南，我所认识最早复工的女画家

术家”的身份，她们的复工在很大程度上并不是在过

存在，对这个问题所有的分析都只是陈述，不能完全

也是从孕期就离开工作室，直到小孩一岁多才重新工

渡期内思考和积累的结果，而是重新回到这个行业，

代入个人经验。正如哪怕三年都没有停顿的思考也替

作，间隔期至少需要两年，三到四年则是比较普遍的

这三年，对于艺术生涯来说是空白的。

代不了复工后手的生疏感。不过，“体验”是艺术魅

时间。复工后，她们的工作时间与以往相比，基本上

在社会转型还未完成的早期，“母亲”和“艺术家”

都要减半，除非调整为深夜作画，但体力则很难跟上。

（甚至可以扩大到“职业女性”）的身份是对立的，

写这些并不是为女艺术家抱屈，几乎所有艺术家

从 18 世纪以来，尤其西方的女艺术家往往需要突破性

都会经历一段时间的低潮期，与性别无关；两三年的

别的限制，用激烈的观念和手段来为自己在艺术史上

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力的一种，从长久来看，困境也是契机。

ays ago, Connie shared a picture in her WeChat

Hong Kong only provides a lying-in woman a paid vacation of 21 days

Moments with the description that goes “First

- both much shorter compared to the vacation decided utterly by the

painting (part of it) ever since I returned to work.

female artists themselves. They tend to devote themselves to the family

Be it fair or foul, let me mark it down here”. After

without much self-awareness until the child takes an initiative to break

seeing this sharing on her phone, a female friend

away, with the hallmark timing being they “going to the kindergarten”.

during pregnancy cried to me: “Oh my God! Connie returned to work

Only till then would a mother regain some relatively free working

after her child went to the kindergarten, which means she had had no

hours. What differs maternity leave from the time of lows is that they

time for painting for a span of three years. Jesus, what shall I do in the

would strip off their label of an artist completely, and their return to

days to come?”

work counts not as an end to a transitional period of thinking and

Connie is a young artist in Chengdu city. She owns a workshop in the 2nd Phase of Blueroof. I like her work very much as the plants

accumulation, but as a restart after they leave the page blank for three years.

and architecture are painted with powerful but disintegrated strokes,

Back to the time when social transformation had yet been

the layout of the painting is simple but well-considered, the expression

completed, the identity of a mother stood opposite to that of an artist

is non-aggressive but not voiceless, and the works are full of vigor.

or even to the broad sense of a professional woman. Since the 18th

Painting can be deemed as a kind of manual labor. Thus even though

century, female artists, those in the West especially, had no choice but

the soul stays in the realm of art for a transitional period of three years,

to adopt radical thought and means to break the barriers of gender

an artist would be rusty with either ink painting or simple illustration

difference for a tiny space in art history, the motherhood marked

until he or she becomes acquainted with the craftsmanship again.

with peacefulness and forgiveness having placed for them only more

Connie is just one of them. Among all the female artists whom I have

obstacles. Nowadays, female artists are more strategic in dealing

met from the northern city of Beijing to those in the southeastern

with maternity, as many would employ the experience of fertility,

China, the earliest to return to work is the one that left her workshop

production and child-bearing into the creation of new works. Specially

during pregnancy and that only went back for her career after her child

targeting viewers of the same sex with similar experience or thinking

turned 1 year or more. Therefore, we can see that the gap year would

of maternity, these works serve as a private intra-gender dialogue.

range from the minimum of two years to an average span of three to

Most female artists would achieve a brand new life experience from

four years. Also, even though they resume their work, the working

maternity, even if they had not sought for any relevant expressions.

hours available would be reduced basically by half, unless they

However, for those who are about to enter this unknown stage of life,

choose to burn some midnight oil, which would be much demanding

many hold complicated feelings, as we are reminded by my friend’s

physically.

anxious crying “what shall I do in the days to come?” at the very

Here, I’m discussing this phenomenon not because that I feel for

beginning of this article. Experiences read from books are no substitute

my female counterparts. Nearly everyone in this profession, regardless

for mental transition during real practice. We can only be sure of the

of his or her gender difference, has experienced hard times of transition

eternal being of the problem itself, and any exposition to it is merely

or accumulation even as long as five years. In comparison, two to three

narration, not full substitution of down-to-earth personal experience.

years is not so long a time. In fact, the time of their lows varies from

What ‘s more, even the thinking process that lasts for three years

person to person, while maternity leave is a common theme that all

would fail to make the hands less rusty right after their return. But then

female artists would encounter. Legally speaking, female mainlanders

again, experience is the spell of art, which means for the long term;

enjoy a maternity leave lasting usually from three to four months and

today’s predicament might turn an opportunity for some moment.

GALLERY MAGAZINE

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画廊大视野

EYESHOT OF GALLERIES

《七武士，五郎》亚麻布油画 SEVEN SAMURAI, GOROBEI 27.9cm×22.86cm oil on linen

《七武士，岛田勘兵卫》亚麻布油画 SEVEN SAMURAI, KAMBEI SHIMADA 27.9cm×22.86cm oil on linen

Shifting Perceptions: A Play of Subtle Complexity

Max Jansons 的微妙感观戏法 撰文：大卫·帕格尔 Written by David Pagel

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编辑：黄子正 Edited by Max Wong

GALLERY MAGAZINE

《七武士，平八》亚麻布油画 SEVEN SAMURAI, HEIHACHI 27.9cm×22.86cm oil on linen

《七武士，七郎》亚麻布油画 SEVEN SAMURAI, SHICHIROJI 27.9cm×22.86cm oil on linen

马克斯·杨颂斯（Max Jansons）

ax Jansons paints pictures of duplicitous

的作品看似简单，实则不然。换句话

simplicity. That’s another way of saying that

说，他的画作带有一种微妙的复杂性。

his paintings are all about subtle complexity.

从常规认知来讲，简单和复杂是对立

Although simplicity and complexity are often

的，但洛杉矶画家杨颂斯将它们融合

thought of as opposites, they come together

在一起，创造出令人十分着迷又难以

the Los Angeles painter’s exceptionally efficient—and wonderfully

捉摸的作品。

elusive—compositions.

GALLERY MAGAZINE

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画廊大视野

EYESHOT OF GALLERIES

展览现场 at the exhibition

杨颂斯以不着痕迹的方式改变人们的看法，更留下许多让观众寻思的空间。面

装着花朵的花瓶——你会发现，我们的大脑对周遭环境的最终理解，并不同于眼睛实

对艺术家在加州圣塔莫尼卡艾玛·格雷（Emma Gray）的五辆车车库展览空间（Five

际看到的景象。换句话说，我们以为正在观看的，并非实际上看到的东西。杨颂斯强

Car Garage）展出的十七幅油画，无论你以何种方式从哪一幅作品开始观看，在移至

调了这个差距。他的作品突出了周遭环境中与为人熟悉的既定图案不相符的细节，以

下一幅作品前，你对事物的看法已开始改变。这是因为杨颂斯极其擅长于处理系列内

具有启发性的形式揭示了我们的大脑是如何玩弄自己的。杨颂斯所传达的意思并不是

作品以及不同系列之间的关系。系列作品在当代艺术中很常见，艺术家会为某个系列

“眼睛欺骗了我们，大脑扮演拨乱反正的角色”，正好相反，他暗示大脑妨碍了眼睛

设定范围，在此范围内探索各种变化，直至灵感枯竭为止。这时，艺术家通常会开始

对眼前事物的正确认知。

创作另一件作品。在不同系列间建立关系则比较罕见。为了做到这一点，艺术家会将

比如，观看杨颂斯一幅名为《神秘主义》的作品时，我们会立即“看到”一束带

一个系列当作一件单独的作品，系列与其他系列之间，就如一个系列中不同作品之间

有花茎和叶子的花朵，这束花朵插在一个粗矮的黑白花瓶中，而花瓶放在一张用米白

的关系。这就是杨颂斯的专长。通过建立系列内作品以及不同系列之间的关系，他的

色桌布铺盖的桌子上。这看起来十分简单，我们在自己家里、他人家里、网络图片、

作品一环扣一环，为我们单独或整体观看作品设定了条件。

照片或博物馆里都看到过不少类似的场景。但杨颂斯的作品又有一些离奇之处。其不

杨颂斯将成熟技巧的美妙与享乐主义的趣味性偷偷融入亚麻布油画作品中。他的

甚协调的地方来自于艺术家设计图形背景错视感的方式，具体而言，就是花瓣与叶子

作品十分亲切、平凡和直截了当，大多数观众都不会加以深思。观看杨颂斯的作品就

之间的黄油色空间显得过于实质化。这个出人意料的细节让观众的大脑处于警戒状态，

像得到一种保证：世界正是我们以为的那个样子。在一个系列中，鲜艳的花朵高雅地

使大脑意识到一些异乎寻常的事情可能正在发生。

摆放在画有精致图案的花瓶中，大自然的美被带入室内，为原本平淡无奇的布景增添

这时，在看似符合逻辑的画面中，你开始注意到更多的矛盾之处。最明显的是花

些许华丽。另一个系列的主角则是严肃且沉默寡言的男人，这些男人们表情庄严如掌

瓶左边和右边的空间，即由花瓶、桌面、叶子和花朵所勾勒出来的轮廓。就好像杨颂

握大权的领导人，让观众看到了寡言的力量。在另一个系列中，抽象画创造了一种图

斯犯了一个错误，将花瓶那具有装饰性的图案画在周边的地面上。但细心如杨颂斯的

形背景错视感；一个多世纪以来，这种手法赋予美国抽象主义作品以活力。

艺术家，怎么可能犯这种错误呢！反之，这个“错误”突出了艺术家的巧妙手法，强

并且，杨颂斯的作品有其妙处。仔细看他的四幅静物画——每一幅都描画了一个

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GALLERY MAGAZINE

调绘画总是为自由发挥留出空间，尤其是在观众意想不到的地方，比如在绘画对象过

Shifting perceptions never looked better. Nor left viewers with more to mull over.

vases, bring nature’s beauty indoors, where they add a splash of gorgeousness to

No matter how you begin looking at any one of Jansons’ seventeen canvases at Emma

otherwise mundane settings. In another, somber, even taciturn men, wearing the stately

Gray’s Five Car Garage in Santa Monica, California, before you move on to the next

expressions of powerful leaders, convey the virtues of holding one’s tongue. In a third,

one you will have begun to see things differently. That’s because Jansons is a master

abstract compositions create the kind of figure-ground ambiguity that has animated

of working both within and between series. The first is common to modern art: An

American abstraction for more than a century.

artist establishes parameters for a particular series and explores the variations within

But there’s something funny about Jansons’ paintings. To look carefully at his four

that setup until the potential for discovery has run its course. Then, typically, he moves

still lifes—each of which depicts a vase filled with flowers—is to see that our minds

onto another body of work. The second method is less conventional. It comes into

make sense of our surroundings by jumping to conclusions that are not, ultimately,

play when an artist treats an entire series as an individual work, which relates to other

borne out by what our eyes actually see. In other words, what we think we are seeing

series in the same way that individual works relate to individual works within a single

is not what we are actually looking at. Jansons highlights that gap. His paintings give

series. That is Jansons’ specialty. Both intra- and inter-serial, his paintings frame one

provocative form to the ways our minds play tricks on us by overriding the details of

another, setting the terms by which we see those around them, both individually and

our surroundings that do not fit into the pre-established patterns we are familiar with.

collectively.

Rather than shoring up the notion that our eyes deceive us and that our minds set us

Jansons’ oils-on-linen smuggle the beauty of unbelievably sophisticated artifice and the playfulness of unapologetic hedonism into compositions so familiar, so flat-

straight, Jansons suggests the opposite: that our minds get in the way of our eyes’ accurate perception of whatever is right in front of them.

footed, and so ordinary that most viewers won’t think twice about them. To glance

For example, when we look at a painting such a Mystic we immediately “see” a

at a painting by Jansons is to be reassured that the world is just as we thought it was.

bunch flowers and stems and leaves in a stout black-and-white vase on a table covered

In one series, brightly colored flowers, tastefully arranged in elaborately patterned

by a cream-colored tablecloth. That seems simple enough, like lots of similar setups

GALLERY MAGAZINE

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画廊大视野

EYESHOT OF GALLERIES

《上古刀》亚麻布油画 JŌKOTŌ 50.8cm×40.64cm oil on linen

《古刀》亚麻布油画 KOTŌ 50.8cm×40.64cm oil on linen

于平凡和日常、看似没有自由发挥空间的作品中。杨

治和私密化。

《新刀》亚麻布油画 SHINTŌ 50.8cm×40.64cm oil on linen

杨颂斯的六幅抽象画同样呈现了意外转变的过程。

颂斯认为，绘画既描画了世界又散漫不拘地玩弄事实，

在杨颂斯根据黑泽明（Akira Kurosawa）1954 年

这六幅抽象画以日本六大武士刀的制作年代命名，分

但他并不将自己的观点强加给观众，反之，任何认可

电影《七武士》（Seven Samurai）创作的七张武士肖

别是上古（上古刀，900 年之前）、古（古刀，900-

艺术能同时达到多个目的的观众，杨颂斯必倾囊相授。

像画中，艺术家再次将自己的见解具体化。这个系列

1596 年）、新（新刀，1596-1780 年）、新新（新新刀，

他用静物画、肖像画和抽象画等看似过时的艺术形式

由七张 11×9 英寸大的作品组成，每件作品都呈现了

1781-1876 年）、现代（现代刀，1786-1945 年）和新

来掩盖自己的意图，以创作出能够从视觉和认知方面

一位武士的头肩像特写，这些武士分别是勘兵卫、五郎、

制（新制刀，1953 年至今）。与杨颂斯的静物画类似，

改变我们看待事物方式的作品。

平八、胜四郎、菊千代、久藏和七郎。每幅作品由带

一开始，他的抽象画看起来似乎由简单的立体色块构

有颜色的立体面构成，未以阴影或高光加以装饰（只

成，轮廓尖锐，棱角分明。但仔细观看，你会发现你

己的观点和深刻见解融入易为人们忽略的普通画面中。

有久藏的衣领带有些许阴影效果）。杨颂斯用漫画的

的大脑简化了杨颂斯实际描画的事物。杨颂斯坚持手

这种迂回甚至是秘密的办事态度让人想起具有高度敏

方式捕捉人物的身份，将刻画手段简化为单色平面的

绘亚麻布油画，因此，他的油画几乎全由粗糙的边缘、

感性的地下工作，言语必须用代码代替，瞒着敌方的

同时，夸大了对人物身份至关重要的面部表情。在他

富于质感的表面、变化多端的笔画、古怪杂乱的颜色、

同时，能一清二楚地将信息传达至我方工作人员的耳

的笔下，这种结合“简化”与“夸大”的手法起到十

摇摆不定的线条、不规则的轮廓、不断变换的空间转

中。在艺术创作中，这种态度似乎过于牵强和政治化，

分美妙的效果。仅需几根线条，杨颂斯便勾勒出人物

移和许多古怪的不协调组成。观众不安地意识到，第

但现实是，人们并不十分严肃看待花卉画，尤其是希

的嘴巴、眼睛和头部轮廓，并将这些著名角色的本质

一次竟错过了那么多东西。

望艺术以浮夸的方式展现充沛情感的观众。相比之下，

传递出来。在黑泽明的史诗级电影中，这些武士对待

这个发现迫使你往后退一步，以思考杨颂斯的抽

杨颂斯从小处着手，以此为基础构建作品。他将重点

村民的态度由原来的忽视转化为同情，最后甚至心甘

象画、肖像画和静物画之间以及内部可能存在的联系。

放在面对面互动之上，引导观众，让观众发现自己总

情愿为村民们献上生命。尽管发现自己处于与成长环

这时，第一眼看到的图案开始分崩离析，习惯反应也

是对偏差视而不见，总是忽略图案中不协调的地方，

境不同的世界里，武士们也能够将过往经历中学到的

戛然而止。我们不再急于下结论，转而用更直觉的方

总是匆忙下结论，最终错过了眼前的事物。更强大的是，

东西应用于他们从未想要或预料到的情况中。这种适

式来理解事物。想象力向行动飞跃，创造了出人意料、

艺术家以看似简单的静物画便做到了这一点。而且，

应与坚持、改变与坚守的能力正是杨颂斯的画作所体

脱离剧本和不同寻常的体验。这正是杨颂斯艺术的魅

杨颂斯将快乐置于重要位置，让我们忘了快乐和惊喜

现的，每一幅画作都简单如卡通画，却又如名作一样

力。

总是伴随顿悟而来。这种迂回的行事风格显得十分政

能引起共鸣。

杨颂斯没有哄得我们自满得意，而是偷偷地将自

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《新新刀》亚麻布油画 SHINSHINTŌ 50.8cm×40.64cm oil on linen

《现代刀》亚麻布油画 GENDAITŌ 50.8cm×40.64cm oil on linen

《新制刀》亚麻布油画 SHINSAKUTŌ 50.8cm×40.64cm oil on linen

we have seen throughout our lives, whether in our

on the contrary, highlights the artifice of his endeavor,

to speak in code, so that one’s enemies remain deaf

own homes, in those we have visited, or in images

emphasizing that painting makes room for freedom,

to the messages one is trying to convey while one’s

we have looked at, whether online, in photographs,

especially when no one expects it: in pictures whose

co-conspirators are able to hear them, loud and clear.

or in museums. But there’s something uncanny about

subjects are so anodyne and clichéd that they seem

That may seem farfetched and over-politicized, but

Jansons’ painting. Its out-of-sync oddness derives from

toothless. Rather than clobbering viewers over the

flower paintings are not taken very seriously, especially

the way he has engineered figure-ground ambiguity,

head with his conviction that painting both pictures

by viewers who look to art for grandiose displays of

making the buttery space between the petals of his

the world and plays, fast and loose, with that fact,

overblown sentiments. In contrast, Jansons starts small

flowers and the fronds of his leaves so substantial, so

Jansons whispers this wisdom to anyone tuned into

and builds from there. Putting a priority on face-to-

tactile, so present. This unexpected perception puts

art’s capacity to do more than one thing at once. He

face interaction, he invites viewers to catch ourselves

the mind on alert, tuning it into the possibility that

uses seemingly outdated genres—still life, portraiture,

glossing over differences, seeing patterns while

something out of the ordinary is taking place.

and abstraction—to camouflage his intentions: to make

ignoring inconsistences, leaping to conclusions, and

paintings that change the way we see things, both

missing what is right in front of our eyes. That he is

visually and intellectually.

able to do that with seemingly simple still lifes is all

That’s when you notice even more compositional inconsistencies in Jansons’ otherwise coherently rendered image. The biggest occur immediately to the

Jansons does not lull us into complacency

the more potent. Plus, Jansons puts pleasure front and

left and the right of the vase, their contours formed

so much as he sneaks big ideas and profound

center, never letting us forget that delight and surprise

by the vase, tabletop, fronds and flowers. It is as if

convictions into pictures that seem so ordinary they

go hand in hand with real insight, which is both

Jansons has made a mistake, painting the decorative

are easily overlooked. That attitude—of doing one’s

political and intimate.

pattern of the vase on the ground around it. But he is

work indirectly, even surreptitiously—bespeaks an

Similar convictions take shape in Jansons’ seven

too precise a painter to have done that. The “mistake,”

underground sensibility, one in which it is necessary

portraits of the seven warriors in Akira Kurosawa’s

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EYESHOT OF GALLERIES

《神秘主义》亚麻布油画 MYSTIC 48.26cm×41.91cm oil on linen

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1954 film Seven Samurai. Each of

transformation also unfolds in his six

the 11-by-9-inch components that

abstractions, each of which is titled

make up this seven-part painting

after the six ages of Japanese sword

is a head-and-shoulder close-

making: Jōkotō (ancient, pre-900),

up of one of the seven samurai:

Kotō (old, 900-1596), Shintō (new,

Kambei Shimada, Gorobei,

1596-1780), Shinshintō (new new,

Heihachi, Katsushiro, Kikuchiyo,

1781-1876), Gendaitō (modern,

Kyuzo, and Shichiroji. Each

1786-1945), and Shinsakutō (newly

consists of nothing but solid

made, 1953-present). Like Jansons’

planes of color, all unadorned with

still lifes, his abstractions initially

shadows or highlights (except for

appear to be made up of solid

Kyuzo’s collar, which is slightly

blocks of unmodulated color, their

shaded). Jansons has managed

contours sharp and hard-edged. To

to capture the identities of these

look closely, however, is to see that

characters by means of caricature,

that is how your mind has quickly

simultaneously simplifying his

simplified what Jansons has actually

means of depiction—flat planes of

painted. Adamantly handmade, his

solid color—while exaggerating the

oils on linen are almost entirely

facial features that are essential to

comprised of rough edges, richly

their identities. In his hands, that

textured surfaces, wildly diverse

combination works beautifully.

brushstrokes, odd mélanges of

A few judiciously placed lines,

colors, wavering lines, unsteady

around their mouths and eyes,

contours, jittery spatial shifts, and so

along with the crisply silhouetted

many idiosyncratic inconsistencies

shapes of their heads, are all it takes

that it’s unsettling to realize you

for Jansons to convey the nature

missed so much on first glance.

of these famous characters, who,

That discovery compels you to

in Kurosawa’s epic, extend their

step back and consider the possible

sympathies to villagers they once

links between and among Jansons’

would have ignored, yet are now

abstractions, portraits, and still lifes.

willing to die for. Despite finding

When that happens, established

themselves in a world alien to their

patterns fall by the wayside.

upbringings, the samurai manage

Habitual responses dissipate. And,

to transfer the virtues of their pasts

rather than leaping to conclusions,

to a situation they neither desired

our minds turn to more intuitive

nor anticipated. That capacity, to

ways to make sense of things.

adapt and preserve, to change and

The imagination leaps into action,

maintain, is exactly what happens

creating unexpected, unscripted,

in Jansons’ paintings, each of which

and out-of-the-ordinary experiences.

is as simple as a cartoon yet as

That’s exactly where Jansons’ art

resonant as a masterpiece.

takes us.

The drama of unanticipated

《神秘主义》亚麻布油画 MYSTIC 48.26cm×41.91cm oil on linen

《单色不被察觉》亚麻布油画 MONO NO AWARE 45.72cm×38.1cm oil on linen

《文艺复兴的微笑》亚麻布油画 RENAISSANCE SMILE 104cm×91.4cm oil on linen

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《2014-2015 春》布面油画 2014-2015 SPRING 400cm×720cm oil on canvas 2015

The Blue Symphony: The Visual Images of Fang Lijun

蓝色的交响： 方力钧的视觉图景 撰文：符坚 Written by Fu Jian

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撰文：邓雨晴 Written by Deng Yuqing

GALLERY MAGAZINE

透过“再识方力钧”的系列视觉表达，观者能清晰地 感受到其视觉图景中对创作和人生探寻的“无我”的打开 方式。往往，观者能从他的视觉图像世界里看到自己，看 到他人，看到痛苦、死亡、希望……但看不到方力钧。然 而，这样一个方力钧的视觉图像你是否认识？

hrough a series of visual expression in Re-sensing the Work of Fang Lijun, the viewers could clearly experience the way of “Anatman” in his visual images to explore creation and life. Often, in his visual world, viewers could find themselves, others, pains, death, hope…except Fang Lijun. However, do you really know the visual images from Fang Lijun?

《2013-2016》（局部）套色木刻 2013-2016 (detail) 122cm×163cm chromatic woodcuts 2016

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画廊大视野

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《2008 春》布面油画 SPRING 2008 400cm×880cm oil on canvas 2008

灰色的阴霾 在全球化意识遍地席卷的今天，方力钧视觉图景

饥饿的、骨瘦如柴的非洲儿童；印度对女性的蔑视与

中的讨论与思考并不局限于单一的意识形态。而人类

践踏……单一的灰色层层递进，敲击着观众的心脏，

生存境遇的观察与表达则是抵达人性拷问的路径，如

犹如贝多芬悲壮激昂的音律久久不能平息。而对文化

果将之置于全球的时代背景下进行考量，也是成立的。

身份、种族、性别、灾难及世界和平的描述，对于人

随着中国进入全面深化改革新时期，人类生存境

类生存境遇的关注和思考，方力钧没有描绘呼吸，却

遇的纯净在经济浪潮中遭受挑战，被无情践踏之势也

《2006》布面油画 2006 180cm×250cm oil on canvas 2006

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让观者从这视觉图像中感受到极度缺氧。

愈演愈烈。作品《2006》中那些拥挤不堪的灰色建筑，

灰色阴霾的蔓延，让蓝色也愈加忧伤。作品《2013

被笼罩在灰色的阴霾下，视线最前面的一层，是零星

年春》《2013》描绘了人对水的渴望。那些任由雨水

飞舞的、带翅膀的新生命。美丽的蝴蝶怎么飞入灰色

打落在脸庞的人物，雨水与泪水交织。作品的创作灵

的城市中，而城市中却空无一人，多么惊叹的表达！

感从何而来，我们不得而知，可是我们能循着时间叙事，

突破灰暗底色，灼灼闪现的色彩愈加绚丽！广大的场

联想到对水的期盼之情，若不是经历了极度的干枯，

域使生命更显渺小，曾几何时，蝴蝶就在身边，而此时，

又怎能体会等待的痛苦？对于人类赖以生存的水资源，

已然是忧伤的回望。作品《2008 春》中压抑的灰色无

方力钧仅用一个情感片段的表述，而其中的问题与答

限延伸，混乱、残缺的尸体无序地摆放；自然给人类

案，便由观者随心所欲了，在蓝色的背后，是否都看

带来的灾难如此沉重，那些生离死别的瞬间无法忘记；

到了对未来生存境遇的美好期盼？

《2013 春》布面油画 SPRING 2013 180cm×250cm oil on canvas 2013

《2013》布面油画 2013 160cm×130cm oil on canvas 2013

GRAY HAZE Todays, the awareness of globalization is sweeping

colors breaking the gray background are even more

does not depict the breath but let the viewers feel the

the world, thus the discussion and reflection in Fang

magnificent! The vast space makes life much smaller.

extreme hypoxia state from the visual images.

Lijun’s visual images are not limited to one kind of

Once the butterflies were around us, but now we could

The sprawling gray haze makes blue sadder.

ideology. The observation and expression of human

only look back sadly. In Spring 2008, the depressing

Spring 2013 and 2013 depict human’s desire for water.

survival environment are the way to interrogate human

gray tone stretches indefinitely, and chaotic and broken

There are people allowing the rain dripping on their

nature. It works if it is considered in the context of

corpses display disorderly; the disasters that nature

faces, and the rain mixes with tears. Although we don’t

globalization.

brings to human are so heavy and those moments of

know where the creation inspiration comes from, we

As China witnesses a new age of all-round

birth, death, reunion and departure are unforgettable;

could think of the expectation for water in terms of

deepening reforms, the purity of human survival

there are skinny children suffering from hunger in

chronological narration. If one hasn’t experienced

environment is being challenged in the economic tide,

Africa and women suffering from contempt and

extreme drought, how could he feel the pain of waiting?

and the ruthless trampling becomes even more violent.

trampling in India... Monotonous gray tone develops

On the water that human survives on, Fang Lijun

In the work 2006, crowded gray buildings are shrouded

gradually, knocking on the viewers’ heart and lingering

presents with merely one emotional fragment, leaving

in the gray haze, and colorful butterflies flying scattered

like the solemn and passionate melody of Beethoven.

viewers the freedom to find the questions and answers.

and new life with wings come to one’s eyes firstly. How

As for the description of cultural identity, race, gender,

Yet, behind the blue, whether they all see the positive

could these beautiful butterflies fly into a gray city with

disaster and peace of the world, and the concern and

expectation for future survival environment or not still

no human? What an amazing expression! The shining

reflection on human survival environment, Fang Lijun

remains a question.

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与消费缔约 信息时代的发展使得全球视野扁平化，人性弱点的共性更 易突显。金色的侵蚀让人目眩，对物质的追求以及物欲所带来 的麻痹正侵蚀着人类的灵魂。物欲横流，沉浸在物质岁月中， 人类似乎已无须追求精神的思辨。在作品《2011-2012》 《2013 秋》 里，人性欲望的贪婪一览无遗，在金光灿烂的画面里，似乎只 有冰冷的浮华，而没有一丝温暖，对物质垂涎欲滴的丑态被珠 光宝气缠绕、湮没；病态的身体背后是对欲望的病态追逐，遂 而产生了病态的价值观，从而出现了一个病态的社会价值体系。 人性是贪婪的，这个永恒的话题不会因为时代变化而停止， 只会因此表现出不同时代的个体状态。消费时代让人性的欲望 和贪婪扩大，快速的信息，快速的消费，快速的开始和结束， 快速的替换和丢弃甚至是快速的摧毁！消费物欲的背后，是人 类对生命、环境，道德的无底线的透支。因此，当观者面对这 些作品的时候，我们再次看到了自己，看到了在消费时代下， 被物欲操控与绑架的自己。显然，在方力钧的视觉叙事逻辑里， 我们阅读到了另外一个自己，虽不是天使的样子，却如镜子一 般观人知己。

静与动的视觉心理 方力钧的陶瓷作品就那样静静地呈现在观者面前。然而， 我们坐不住了，甚至有一种跃前一步，伸手保护的冲动！因为 在那些静态之下，散发一股摧枯拉朽的动态之势！视觉与内心 都无法再平静，这与每一件陶瓷作品细部的晶莹剔透、轻薄如 纸的美形成强烈的反差和冲突。除了视觉的震撼，心理震动才 是直指人心的力量。看似体积庞大，却有一种瞬间坍塌的脆弱 和危险。定格欲将坍塌的一瞬间，让人不禁感叹：一念天堂， 一念地狱，被凝固的状态俨然已悄然入心，引人驻足。 不可否认，方力钧的这一叙述语言出人意表。而这种意外 显然不仅仅在于对材料的选择，更在于对艺术视觉与艺术思考 的双重表达所运用的方式和手段。然而，这对方力钧来说绝非 偶然之作。历经一次次探索，方力钧也在寻找他自己提出的问题， 什么样的提问？答案是什么？临界点？立与破？坚强与脆弱之 间？当思想萌生了疑问，他始终在寻找最能表达艺术思考的途 径。通过这些途径，转而把事物的两面性、共生性，以哲理性 暗藏于作品之中，这就是方力钧，这就是方力钧的视觉世界—— 《2013 秋》布面油画 AUTUMN 2013 360cm×250cm oil on canvas 2013

来自人性的、个体生命状态的、生存境遇的、社会的、国家的， 自我蜕变的思考。毋庸置疑，我们又一次再识方力钧，不是版画、 油画，而是陶瓷！也不是水墨的自由与为我所用，更不是光头、 嬉皮，而是严肃、认真和自我挑战！

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unlikely to pursue the spirit of critical thinking. In 2011-2012, and Autumn 2013, the greedy desires of human are exposed clearly. The glittering pictures seem to feature only icy glitz, without a trace of warmth. The ugly performance that people grabs the material objects greedily are entwined and even submerged by the splendorous jewels.

Behind the morbid body is the morbid pursuit of desire, and morbid values are created, and finally a morbid social value system emerges.

Human nature is greedy, which is an eternal topic. It will not stop as the time changes, but only shows the individual state in different ages. The age of mass consumption amplifies the desire and greedy nature of human: fast information, fast consumption, fast beginning and ending, fast replacement and abandonment, and even fast destruction! Behind this desire is human’s endless overdraft of life, environment, and ethics. Therefore, in the face of these works, we see ourselves again, who are controlled and kidnapped by the materialistic desire in the consumption age.

Obviously, according to Fang Lijun’s visual narrative logic, we see another image of us, which is not an angel, but helps us know ourselves like a mirror.

VISUAL PSYCHOLOGY OF THE STATIC AND DYNAMIC Fang Lijun's ceramic works are quietly exhibited in front of the audience.

However, we cannot stand still, and is almost overwhelmed by the impulse to leap forward and reach out to protect it! Under the static state is an overwhelming dynamic power! Both the vision and heart cannot be calm anymore, which forms a strong contrast and confliction with the crystal and flimsy beauty of the details in each piece of ceramic work. Apart from visual impact, the mental impact is a power directly pointing to the human heart. It looks huge, but reveals the fragility and danger of a momentary collapse. If the collapsing moment is frozen, people would sign: From heaven to hell is a moment. The solidified state seems to have quietly walked into the heart and attract people to stay.

Undeniably, such a narrative language used by Fang Lijun is beyond all expectations, not only due to the choice of material, but also the approach and means 《2011-2012》布面油画 2011-2012 360cm×250cm oil on canvas 2012

applied in double expressions: artistic vision and thinking. However, it is not accidental for Fang Lijun. He explored again and again, seeking for the questions he raises on his own. What kind of questions is it? What is the answer, the critical point, make and break, as well as strong and fragile? When his mind raises question, he keeps looking

THE CONTRACT WITH CONSUMPTION

for the best way to express the artistic thinking. Through these ways, the duality and symbiosis of objects are concealed in his works. This is Fang Lijun, and this is his visual world, which comes from the reflection on human nature, individual living

As the information age develops, the global vision is flattening and the generality

state, survival circumstances, society, nation, and self-transformation. Undoubtedly,

of human weaknesses is more obvious. The golden erosion is dazzling, and the

we know Fang Lijun once again through his ceramic works rather than prints and oil

pursuit of materials and the paralysis brought by materials is eroding the human soul.

paintings. It is not about freedom or utilization of ink, neither are the baldhead and

The desire for materials overflows, people are immersed in the materialistic age and

hippie. It is about seriousness, earnest and self-challenge!

GALLERY MAGAZINE

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画廊大视野

EYESHOT OF GALLERIES

《2013-2015》套色木刻 2013-2015 122cm×163cm chromatic woodcuts 2015

《2013-2015》套色木刻 2013-2015 122cm×81cm chromatic woodcuts 2015

秩序的变化

天、地、人、水、太阳、云层是构成人类生存境遇的基础元素，也是构

了媒材，打破了单一媒材的刻板，这种坦然和笃定充满自信与智慧。用最熟

架方力钧艺术图景中的核心元素。近期的版画作品《2013-2015》《2014》

悉的叙事语言进行着深度表达，创新交给思想。以实现在有限中创造无限的

《2013-2016》《2016》着实令人难忘和印象深刻。不难发现，方力钧的版

可能，看似云淡风轻，却掷地有声。于是，我们还认识他，只是如同多年未

画叙事与早期的版画表达不同，人物看似无序的排列、重叠，明快的色彩却

见的朋友，再相见时，我们彼此都有了新的变化和境遇。

让人雀跃。延伸至方力钧的油画作品，对于光的处理，用简练递进的色块，

在“无我”的方式下打开方力钧的自我寻找与突破，然而最终的结果是我们

扑面而来。作品《2014 春夏》《2014 夏》《2014 秋》《2016》《2014-2015

都在寻找一个人生的、人类的发展平衡点，而方力钧对于平衡点的智慧已于

春》以出生的婴儿为中心，照亮了人物的脸庞；以云层为发射点，穿过云层，

“无形”中渗透在他的艺术图景中。没有大道理，没有晦涩之音，有的只是

照亮了人物的脸庞；以水的漩涡为中心，照亮了人物的脸庞。从版画到油画，

举重若轻的娓娓道来。

我们未见太阳，却看到光芒万丈。所有植物都有向阳性，人类也如此。所以

然而，阅读方力钧的艺术图景也是打开观者心理学的图景。纵观方力钧

我们好奇、贪婪、怀有希望围绕在一个中心，一个漩涡、一个高点之外。芸

的作品，一个在时间轴上自由书写的、敏感的方力钧，洞见身边的一切，用

芸众生中，是否有一个摸不着北的人，只是我们置身其中不得而知呢？

他最熟悉的语言，讲述着身边的故事，而这故事里有你、我、他……再识方

于无序中见有序，在有序中见变化。方力钧的视觉图景并没有突然变得 陌生，甚至在这其中，也没有试图摆脱和刻意规避已有的标签痕迹，他超越

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诚然，方力钧的视觉图像世界是一种可以渗透到所有生活领域的世界观。

表达得利落干脆！他对版性精熟的运用，大气磅礴，色彩浓烈，视觉震撼力

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力钧的意义恰恰在于，在看似轻松、戏谑的表达中，却时时刻刻关乎人类未 来命运的发展……

《2016》套色木刻 2016 80cm×60cm chromatic woodcuts 2016

《2013-2015》套色木刻 2013-2015 244cm×122cm chromatic woodcuts 2015

《2014》套色木刻 2014 122cm×163cm chromatic woodcuts 2014

ORDER AND CHANGE Sky, earth, human, water, sun, clouds are the

paintings, we cannot see the sun, but the glorious

Admittedly, Fang Lijun's visual image world is an

basic elements that constitute the human survival

sunbeams. All plants are lucipetal, so are humans.

outlook that can permeate all fields of life. Through the

environment, and also are the core elements that

Therefore, we are curious and greedy, hopping to move

way of “Anatman” to reveal his self-identification and

composes Fang Lijun’s artistic images. His recent

around a center, a whirlpool, and a high spot. Among

breakthrough, we can easily find the final result that all

prints 2013-2015, 2014, 2013-2016, 2016 are really

all the living creatures, whether there is a man who

of us are looking for a balance point in the development

impressive and unforgettable. It is not difficult to

could not tell where is the North? Or whether we are

of life and human being. Fang Lijun’s wisdom on the

find that his print narrative differs from his previous

the ones but we just don’t know?

balance point has permeate his artistic images. There

print expression: the characters seem to be in disorder

See the order in the disorder, and the change in

arrangement and the overlapping and bright colors are

the order. Fang Lijun's visual images do not appear

is no great truth and obscure voice, but narrative on

delightful. It is extended to his oil paintings, in which

unfamiliar suddenly, neither do they attempt to get

However, appreciating Fang Lijun's artistic images

the treatment of light and progressive simple color

rid of and avoid deliberately the existing label traces.

is to reveal the viewers’ psychological state. In all his

blocks are expressed in a crisp way! The audience

He surpasses the media and breaks the stereotype of a

works, we could see a sensitive Fang Lijun, who paints

can tell his mastery of the print characteristics. His

single media. Such kind of calmness and determination

freely on timer shaft, has an insight into everything

works are majestic and colorful, with a strong visual

calls for confidence and wisdom. He gives in-depth

around, and tell stories around him in his most familiar

power. His Spring and Summer 2014, Summer 2014,

expression with his most familiar narrative language

language. In the stories, there are you, me, and

Autumn 2014, 2016, and Spring 2014-2015 center

and brings innovation to the ideas in order to realize

him...The meaning to re-discover Fang Lijun is just

around newborn babies, illuminating the characters’

infinity in the limited, which sounds vain but forceful.

the unceasing concern about the future development of

faces; regard the clouds as firing point, illuminating the

Therefore, we still know him, just like a friend who we

a human being in the seemingly relaxing and playful

characters’ faces; center around the water whirlpools,

do not meet for years. When we meet again, both of us

expression.

illuminating the characters’ faces. From prints to oil

have new changes and situations.

important issues in an easy manners.

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第七届新星星艺术节于 2016 年 12 月 在郑州彩虹盒子美术馆举行，作为艺术节 主要流程之一的学术论坛——GAME OVER， 聚集了艺术圈各大批评家、策展人，他们 就“批评的有效性”展开了一系列讨论， 大家从写作话语、批评话语、策展话语， 甚至从策展工作和批评家工作方面，以及 艺术家的创作、艺术生产机制等问题各抒 己见。本刊选取了部分关于策展方面中涉 及到的“批评的有效性”的部分讨论。

The 7th New Star Art Festival was held in Zhengzhou Rainbow Box Art Park in December 2016. GAME OVER, one of the major arts festivals, gathered all the critics and curators from the art circle. "Criticism Effectiveness," a series of discussions, from the writing discourse, critical discourse, curatorial discourse, and even from the curatorial work and critics work, as well as the artist's creation, artistic production mechanism and other issues. We select some of the discussions on the "validity of criticism" in the curatorial context.

第七届新星星艺术节展览现场 The 7th New Star Art Festival Exhibition

Game Over

A Discussion on Art, Coin Slot, Stage Clear and Game (excerpt)

让我们聊聊艺术、投币、通关与游戏（节选） 编辑：邓雨晴 Edited by Deng Yuqing

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现场速记：郑州达成速录服务有限公司 Stenography: Zhengzhou Dacheng Stenographic Service Co., Ltd.

heng Wen (Curator, Art Museum of Nanjing University of the Arts): Now let's kick off our discussion today. The reason that we’d organize this forum can be dated back to the evaluation and selection of candidates for the New Star Art Festival this year. All the judges, including Lv Peng, the art director, talked lengthily about the issues of growing prominence in today’s art scene. What exactly do we try to accomplish nowadays? The theme chosen for our discussion this time is quite intriguing, The Effectivity of Criticism. The fact that we brought it up probably means art criticism is no longer effective.

Lan Qingwei (Executive Director, Museum of Contemporary Art, Chengdu): As Zheng said, The Effectivity of Criticism was first proposed as the theme of the 10th China Annual Art Critics Assembly, and all of us felt art criticism has lost its power.

Interestingly, the Annual Art Critics Assembly has been effectively run for ten years, and on the 10th anniversary, it looked at the issue of ineffectivity.

At the end of 2016, we shed light on the effectivity of art criticism, which led us to the concomitant issue of art and market. A central portrayal of the effectivity of criticism is the total loss of discursive power when art is overshadowed by the market.

So there is another effectivity we need to address, the effectivity of the capital, which, in given ways, is far greater than the effectivity of criticism. The dilemma for us is that the legitimacy of contemporary art is granted with the help of art market. The official apparatus is yet to recognize this legitimacy, but the market is already on board. So the history of contemporary art being accepted and recognized is never complete without the chapter on art market, including those “whopping-price sales” that we despised.

Like it or not, it’s part of the history.

Hu Bin (Director, Art Museum, Guangzhou Academy of Fine Arts): I also have 第七届新星星艺术节展览现场 The 7th New Star Art Festival Exhibition

a few ideas about the effectivity of criticism that Lan mentioned, though with some differences. I’d begin with the changing role art criticism plays globally, which surely is a personal, intuitive reflection. Then I will move on to the inertia of criticism and

郑闻（南京艺术学院美术馆策展人）：为什么要做这样一个论坛，起因是在今年新星 星的评选工作中，各位评委包括艺术总监吕澎老师在一起聊了很久当下艺术界愈来愈 凸显出来的问题。我们这群人现在到底要做一些什么样的事情呢？这届的主题很有意 思，它的名字叫做“批评的有效性”。为什么要把批评的有效性提出来，那可能就是

curation. It seems that art criticism is ineffective and critics are more into the curatorial practice. By being a curator, one may get a greater say, a realistic perspective in the capital-driven market. But that does not mean we never reflect upon our intrinsic inertia. We can blame the capital sway on us, but what can we really offer that is new and different?

说它真的遇到一个无效的状况了。

Liao Liao: We are all familiar with this issue of effectivity of criticism, and over the 蓝庆伟（成都当代美术馆执行馆长）：如郑闻所说，批评的有效性在第十届批评家年

years people have talked heavily about it. Simply put, the effectivity of criticism is

会提出来，所有人的感觉就是：批评很无力。从另外一个角度来说，批评家年会都有

fundamentally about personal gains and academic integrity. With the same art system

效十年了，结果在第十年来讨论一个无效性问题。

and structure of interests, all the issues shall remain—issues of personal favor, of

2016 年的年底我们讨论的是批评有效性，这就面临第二个问题——艺术与市场

rules of the game, of personal stand and of paid services. Do you expect the younger

的问题。今天批评有效性的集中表现之一是在艺术与市场之间所导致的完全的失语。

generation to be essentially different from the older one? I hardly think so. Do you

我们面临着另外一个有效性——资本的有效性，从某些方面来看，今天资本的有效性

expect anything effective to follow the criticism? To me, it’s an issue of structure, or

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局没有改变，无论人情问题，江湖问题，立场问题， 还是坐台问题，你们觉得年轻一代跟上一代相比，会 有什么根本性的改变吗？我觉得没有。批评完之后又 怎么样？我觉得这是一个结构的问题，或者说是一个 体制的问题。我说的是艺术圈的体制，艺术圈的体制 跟上一代的体制都是一样的，大家考虑的问题还是利 益问题，而不是学术态度的问题。

李国华：我觉得廖廖说的挺正确的，我先批判一下自 己。别人的情况我不太了解，比较了解自己的情况。 像我这样从美院毕业，对当代艺术有一定了解后，一 开始也是非常有理想，希望从事理论批判，改变不正 确现状的。但悖论的是，随着你对艺术认识的不断深 入，你会发现自己也陷入到各种各样的关系里面去了， 最后发现说话也不那么自由了。从工作性质上讲，只 要我们从事的工作不是要靠稿费或者评论能够养活自 己的时候，往往还要介入经营。在介入经营的时候， 不管你开始的出发点如何，只要到了具体实施的阶段， 就会遇到很多问题。 评委合影左起：廖廖、李国华、宋振熙、王春辰、郑闻、蓝庆伟、胡斌、吕澎 Judges (from left to right): Liao Liao, Li Guohua, Song Zhenxi, Wang Chunchen, Zheng Wen, Lan Qingwei, Hu Bin, Lv Peng

海杰：大家都在说批评的问题，立场的问题，以及一

已经远远大于批评的有效性。我们面临的问题是，当

些共同体的问题，其实这里面也有一个媒介的语境。

代艺术的合法化是通过市场来完成的，这种默认方式

我们以前在看一些人际关系的时候，不通过一定的了

是直到今天艺术体制的认可下仍旧面临的问题，但是

解是见不到的，它某种程度上是不可见的。但是现在

市场的认可是没有问题的。那么当代艺术的接受史同

不一样了，新媒体语境下的批评，它缠绕、交织的社

时也伴随着艺术市场，包括我们嗤之以鼻的“天价现

会关系随时可见，你给谁点赞了我们一眼能看清楚，

象”。但是它都是当代艺术接受史的一个方面。

这种关系会交织在一块，导致所有的圈子可见，所有 的圈层维护，变得谨小慎微。媒介助推了这个恶习，

伊可《流浪兔》创造性互动艺术 STRAY RABBIT by Yi Ke creative and interactive art

胡斌（广州美术学院美术馆馆长）：刚才蓝庆伟说到

艺术家或观众在面对这些情况的时候，往往保持沉默，

批评的有效性，当然对这个我也有一些思考，但是我

不会给对于日益恶劣的艺术生态的批评助力，因为艺

可能要谈的跟他有一些区别。我首先讲一下批评这个

术家还要依赖那些导致恶劣生态发生的权力性人物。

角色在全球范围内的一种变化，这个变化也是一种

而且很多人带有一定的粉丝心态，这就导致整个价值

很直观的感受。一方面好像批评产生了这样的一个问

评判边缘化，大家的关系都变成制作人和作者的关系，

题——批评家更多地在做策展。策展看似有话语权，

偶像和粉丝的关系。这里面既有一个控制的逻辑，也

实际上也是在一个资本的格局当中。我们也要反思我

有一个依赖的关系。

们当中的一些惰性，一方面我们也在说资本对我们的 左右，但是另外一方面我们有什么新的东西呢？

尹丹：批评的有效性首先需要增强语言的有效性，尽 量多使用可被“试错”的原子叙述，少使用“气韵生动”

第七届新星星艺术节展览现场 The 7th New Star Art Festival Exhibition

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廖廖：批评有效性问题我们大家都知道，近年来相关

等笼统、模糊的概念。批评文章的文风应与文学文章

的讨论也很多很多。简单来说，我觉得批评有效性就

的文风有所区别，在此，语言的“明晰性”或许比语

是利益的问题和学术的问题。如果艺术体制和利益格

言的“智慧性”更为重要。

李琳琳《十日谈 No.30》综合材料 10 DAYS TALK NO.30 by Li Linlin multi-materials

第七届艾佳生活新星星艺术节学术研讨会现场 At The 7th Ai Jia New Star Art Festival Art Symposium

system, the system of art circle, which is all the same

and fueled the abusive ecosystem. What’s worse,

with our forefather’s. People are still incentivized by

Hai Jie: Everyone is trying to address the issues of

many are psychologically biased as followers, which

their personal gains, not by academic integrity.

criticism, position and community, but I think the

marginalizes the value judgment process. People have

context of media should also be on the table. Back

turned into duos of producers and authors, of idols and

Li Guohua: I agree with Liao’s opinion. I think I’ll

then, some interpersonal relations were invisible to

fans. They try to control one another, yet also depend

criticize myself first, since I don’t really know about

us, until you had knowledge and insights. But now

on each other.

others’ situation. I graduated from the art academy, and

the world has changed in that regard. Criticism in the

then knew more about contemporary art, so I carried a

new media context is visible anytime and anywhere,

Yin Dan: To make criticism effective, we have to begin

lofty ideal to practice theoretical criticism in the hope

together with the social relations it is interwoven with,

with improved effectivity of language by using more

of correcting the wrong. And here comes the paradox.

because everyone can see who you just liked on SNS.

granulated, detailed accounts that welcome “trial-and-

The deeper you understand art, the deeper you are in

And your social relations are tied with others’, staying

error” and less the fuzzy, ambiguous ideas of “art with

the web of all kinds of relationship. And finally you

visible to all circles. People start to be more cautious

a lively spirit and charm”. The style of critical essays

don’t even get to speak up your mind freely. If we look

when trying to maintain the friendliness in their

should vary from that of literary pieces, which gives a

at the nature of our work, as long as we cannot support

circles and layers. The media has aggravated this vice.

thumb-up for “clarity” over “wisdom” of language.

ourselves financially with contribution or criticism,

Artists or audience usually keep reticent when seeing

we’d usually resort to commercial operations. And that,

the malpractice, instead of supporting the criticism

no matter how and where you start, will be infected

against the ever-deteriorating art ecosystem, because

with lots of issues during implementation.

artists rely on those power elites who have engendered

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Frieze London 2016

FRIEZE 伦敦艺术展 编辑：黄子正 Edited by Max Wong

图片来源： Photograph by Linda Nylind. Courtesy of Linda Nylind/Frieze.

第 14 届 Frieze 伦 敦 艺 术 展 于 10 月 6 日 至 9 日 举 行。 今 年 的 展览汇集了 160 多个世界前沿的画廊，展出当今最重要艺术家的作 品，同时包括其非营利的新艺术家及讲座。本年的 Frieze 伦敦艺术 展首次呈现一个重塑 90 年代重大展览的新区域——90 年代区（The Nineties），以及每年都有为新晋画廊而设的焦点区（Focus）和表演 艺术的现场区（Live）。

he 14th edition of Frieze London took place at 6–9 October. This year’s fair brings together more than 160 of the world’s leading galleries, showcasing today’s most significant artists across its main and curated sections, alongside the fair’s celebrated non-profit program of ambitious new artist commissions and talks.

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资料来源： Materials: frieze.com

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与 Frieze 伦敦同期 举行的还有 Frieze 大师（Frieze Master）和 Frieze 雕塑公园（Frieze Sculpture Park）展览，汇集了来自 多个国家多个时期的最高质量艺术， 并为收藏家、学者和艺术爱好者 提供了一个精彩绝伦的文化 体验。

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In 2016 the fair debut a new gallery section, The Nineties, recreating seminal exhibitions from the decade, alongside the return of sections Focus and Live, the definitive platforms for emerging galleries and performance art respectively. Frieze London coincides with Frieze Masters and the Frieze Sculpture Park, convening art of the highest quality from a spectrum of periods and countries and offering collectors, scholars and art enthusiasts an unparalleled cultural experience.

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Frieze Sculpture Park

（Frieze 雕 塑 公 园 ） 展 览 从

The Sculpture Park will be open from

2016 年 10 月 5 日 延 续 至 2017 年

5 October 2016 – 8 January 2017, with

1 月 8 日， 并 且 全 免 费 对 外 开 放。

free entry to all. Selected by Clare Lilley

由 Clare Lilley（ 约 克 郡 雕 塑 公

(Director of Program, Yorkshire Sculpture

园 计 划 主 管 ） 选 出 的 20 件 20 世

Park), 20 works by 20th-century masters

纪大师和当代艺术家的作品在 The

and contemporary talents will be placed

Regent’s Park 的英式花园中展出，

throughout the English Gardens of The

这为伦敦市中心增添一个免费户外

Regent’s Park, creating a free outdoor

艺术展览。

exhibition at the center of London.

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《惠然之顾》硅胶、玻璃钢、头发、衣服、孔雀标本 装置 THE WELCOME GUEST silicone, fibreglass, human hair, clothing, taxidermied peacocks installation 2011

Alone with Gods

与神独处 撰文：赖欣怡 Written by Lai Xinyi

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编辑：邓雨晴 Edited by Deng Yuqing

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“首领是一个科技狂。他想拓

了一个女孩——他的女儿。这女孩

宽他的眼界，改进他的身体，改进

是一个杰出的造物者，她创造了这

他的样貌。他做到了，他使自己的

些生命，它们看起来既像人，又像

身体能像女性一样生产，并且生下

动物，甚至像某些物件……”

这段文字来自于由艺术家帕翠西亚·皮奇尼尼（Patricia Piccinini） 和彼得·亨尼西（Peter Hennessey）共同撰写的科幻小说。最近，他们把 首领女儿和她的奇异世界带进了悉尼当代艺术博物馆。

“The leader is a pusher. He wants to push science, he wants to push the body, he wants to push his vision, and he does. He made his body to give birth, and he gave birth to a girl, a daughter. She is a great creator and she creates these lifeforms, these beings that have no boundary between them and animals and even things…”

《流年》硅胶、玻璃钢、头发、皮革、三合板、衣服 装置（图片由艺术家和鹿腿画廊提供） THE LONG AWAITED silicone, fibreglass, human hair 92cm×151cm×81cm installation 2008 (Courtesy of the artist and Haunch of Venison)

his is a part of a fiction story written

sculpture, Piccinini creates a group of creatures that do

2003 Venice Biennale. Undoubtedly, her exhibition

by artists Patricia Piccinini and

not exist in the real world. But, meanwhile, she gives

We Are Family was a breakaway hit. It showed six

Peter Hennessey. Recently, they

them a strong sense of life with the human skin and

groups of installations: The Young Family is a flesh-

brought the leader’s daughter and her

hair. These creatures shape like things we are familiar

like sculptural-based installations made of silicone,

wondrous world into the Museum of

with, such as ballet shoes, bicycle helmet and different

polyurethane, leather, plywood and human hair, which

parts of human body. However, they are reformed by

gave the audiences a feeling that they are breathing

Contemporary Art in Sydney.

As a part of the collaborative project Alone with the

the creator in an unreasonable way. Their appearances

privately. It featured a weary-looking mother mammal,

gods, seven piece of Australian artist Patricia Piccinini’s

are so disturbing and provocative that they make lots of

a hairless dog with human limbs, nursing her four pups.

latest works are currently presented in the Museum

audiences shocked at the exhibition.

Another “Family” work Still Life with Stem Cells – a

of Contemporary Art, including five sculptures, one

Born in Sierra Leone in 1965, Patricia Piccinini

girl was cuddling one fleshy embryonic lump like a cat

painting and one screen-based installation in the

came to Australia in 1972 and graduated from Victorian

while looking at five other similar lumps with a friendly

exhibition.

College of the Arts in1991. With the installation We

smile. Also, there was the Game Boys Advanced, an

Piccinini extends the style of her former pieces to

Are Family, Piccinini gained the worldwide attention

installation inspired by the premature death of Dolly-

these works. With her skills of making hyperrealistic

as a young and promising artist at the prestigious

the-cloned-sheep. Piccinini created two life-like boys

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画廊大视野

EYESHOT OF GALLERIES

《早衰的游戏机男孩》硅胶、聚氨酯、头发 装置（图片出自 weatherspoon 美术馆） GAME BOYS ADVANCED silicone, polyurethane, human hair installation 2002 ( Image from Weatherspoon Art Museum )

作为合作项目“与神独处”的一部分，澳大利亚

《静物和干细胞》硅胶、聚氨酯、头发 装置（图片出自 weatherspoon 美术馆） STILL LIFE WITH STEM CELLS silicone, polyurethane, human hair installation 2002 ( Image from Weatherspoon Art Museum )

术生涯中的一个重要突破，共展出六组装置、雕塑作品。

物，极致真实的质感与不真实的物体形态的结合，往

艺术家帕翠西亚·皮奇尼尼的七件独立作品目前正在

其中，《年轻一家》（The Young Family，2002）最

往使观众感到不适和错乱。

当代艺术博物馆展出。这七件作品创作于 2016 年，其

为引人注目，它呈现了一只形状怪异的雌性动物，她

通过这些作品，皮奇尼尼促使我们思考一系列由

中包括五件雕塑、一件综合材料架上作品和一件影像

像是一只长着人类四肢的无毛狗，正在蜷在地上给她

高速发展的生物技术所带来的伦理问题：在一个充斥

作品。

的幼仔喂奶；另一组展出的作品是《静物与干细胞》

着基因改造、克隆、动物器官向人体移植、精子库等

在展示的作品中，皮奇尼尼延续了过往的风格：

（Still Life with Stem Cells，2002）——一个小

生物工程的世界中，人类和其他生物应该以何种关系

利用超写实雕塑的手法表现了一群并不存在于现实世

女孩怀里抱着一团肉块状的生物，像抚摸一只小猫一

共存？如果，在未来的某天，这些我们曾无法想象其

界中，却因其与人类高度相似的毛发和皮肤而具有生

样抚摸着它，并面带微笑地看着其他几团环绕着她

存在的生命体成为了现实世界的一部分，甚至进入了

命感的“生物”。它们的造型取材于人类的躯体、自

的“肉块”。此外，还有一组艺术家受克隆羊多莉过

我们的日常生活，我们又该如何与他们相处？我们能

行车头盔、芭蕾舞鞋……这些我们熟悉的事物，并以

早衰亡的启发而创作的《早衰的游戏机男孩》（Game

接受他们吗？我们的生活会变成什么样？

有违常理的方式重新组合呈现，它们强烈的不合理性

Boys Advanced，2002）。从远处看，作品像是两个站

皮奇尼尼在其新作中延续了对这些问题的思考。

与挑逗性让整个展览现场充斥着观众错愕的脸。

在展场一角玩游戏机的男孩，可当观众走近他们的时

这一次，她把另一个奇怪的家族带进了当代艺术博物

候，则会发现他们明显早衰的痕迹：脸上与年纪不相

馆的新展“新浪漫：艺术与新人类”（New Romance:

符的皱纹，干枯易断的头发。

Art and the Posthuman）中。正如她所描述的，这个

皮奇尼尼于 1965 年生于塞拉利昂，1972 年移民至 澳大利亚，并在 26 岁时从维多利亚艺术学院毕业。借 助作品《我们是一家人》（We Are Family），当时作

皮奇尼尼擅长制作超写实主义雕塑，主要以硅胶、

家庭由几个怪异但可爱的成员组成：在展厅门口迎接

为年轻艺术家的皮奇尼尼在 2003 年威尼斯双年展中获

皮革和真人毛发等作为创作原材，其作品高度还原了

观众的是《舞者》（The Dancer），一只形状似芭蕾

得了世界性的关注。而这组作品也是皮奇尼尼在其艺

人类肌肤和肉体的质感；这种质感赋予她所创造的生

舞鞋的小猩猩，像实验室小白鼠一般站在由玻璃制成

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《年轻一家》硅胶、丙烯、头发、皮革、木材 装置 （摄影：Graham Baring 图片由图片由艺术家和鹿腿画廊提供） THE YOUNG FAMILY silicone, acrylic, human hair, leather, timber 80cm×150cm×110cm 2002 ( Photography by Graham Baring, Courtesy of the artist and Haunch of Venison )

standing together, wearing real clothes and shoes, one playing with a Game Boy while

Through these pieces, Piccinini reminds us the problems that come along with

the other is watching. They looked completely normal unless you move closer to look

the developing science and technology, she prompts us to consider the relationship

at their faces – with the winkled skin and wispy hair, they are prematurely aged.

between human and other creatures in a world of genetic manipulation, cloning,

Piccinini is famous for creating hyperrealistic sculptures, which are mainly made

animal-to-human organ transplants, sperm banks and so on. If these uncanny lifeforms

of silicone, human hair and leather. Piccinini imitates the texture of human skin and

had become a part of our daily life, how would you accept them? Will you be

body, then combines it with her “abnormal creatures”. In this way, she mix reality with

responsible for them? What would our life be?

unreality, making the audience uncomfortable and confused.

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画廊大视野

EYESHOT OF GALLERIES

的展示盒里。它仰着脸，用一双大眼直勾勾地看着观众， 仿佛在质问我们将如何看待它这个丑陋却无辜的小怪物。 《舞者》身后的“家庭成员”状似一个脂肪过剩的肚 腩，它的顶部有一大簇向外延伸的触手，四周环绕以富有 光泽的棕色毛发；另一名成员则是一个肉感的自行车头 盔，背后并排着三列形状暧昧、金发缠绕的棒状器官。《大 家伙》（The Big Guy）被挂在一面铺满镜子的墙上，它 是一个大块头男人的躯体，肚皮上绣有一只精致的小鹰。 在展场的另一端有一个长发女孩，她坐在地上，以双 手支撑着她无腿的畸形身躯，背着几个长着人类嘴唇的肉 团。她就是皮奇尼尼小说中首领的女儿——那个造物者， “她负责照管这里的所有生命”。 如果你因与这些诡异的“生物”共享一个空间而感到 不安或震惊，这代表了你已读懂皮奇尼尼的作品。皮奇尼 尼希望激发观众对于人类与其他生物的关系，人工与自然 的关系，人类自身与人造生命的关系的思考。也许，未来 将出现像“舞者”一样的生物，当我们望向它的眼睛时， 我们该作何反应？ 对于这些关系的思考，皮奇尼尼在作品中流露出了 “爱”的倾向。显然，她鼓励我们去爱这些生命，一如父 母爱自己的子女。在为本次展览所做的视频介绍中，皮奇 尼尼表达了她对这个“家庭”的爱：“我把它们看作一个 奇怪的家庭。这个家庭不太正常，甚至有些问题。但他们 是一家人，而且他们能创造一个全新的、奇妙的东西。对 于我来说，这是一个美好且奇妙的地方，一个充满可能性 的地方。”大概是基于这种博爱之情，皮奇尼尼总是把她 作品中的角色塑造得非常纯真，即使它们容貌骇人，但他 们总是看上去如此单纯无害，如此软弱无助，以至于我们 如果不爱他们则会感到罪恶。为了强调它们的友善，皮奇 尼尼在她的其他作品里常常让它们与人类小孩或老人亲密 互动。除上文提及的《静物与干细胞》，还有其他作品， 如《惠然之顾》（The Welcome Guest，2011）、《流年》 （The Long Awaited，2008）、《不离不弃》（Undivided， 2004）都表现出了人类与其他生物间的亲昵。 皮奇尼尼希望我们去爱和包容其他生物，但她的这种 倾向同时暴露了她创作的局限。在现实生活中，生物可能 是可爱的，但也可能是危险的。史蒂芬·霍金一直提醒人 们不要试图联系地球外的生命，因为它们可能给人类带来 灭顶之灾，而澳洲人常常无缘无故地被海鸥、鲨鱼、袋熊 攻击就是很好的一次例证。任何一种生物都有其黑暗面， 《不离不弃》硅胶、玻璃钢、头发、绒布、综合材料 装置 （摄影：Graham Baring 图片由图片由艺术家和鹿腿画廊提供） UNDIVIDED silicone, acrylic, human hair, flannelette, mixed medium 101cm×74cm×127cm 2004 ( Photography by Graham Baring, Courtesy of the artist and Haunch of Venison )

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无论是人造生物还是自然动物，但这方面的问题皮奇尼尼 始终未曾提及。

《大家伙》硅胶、玻璃钢、头发 装置（图片由格林纳威画廊 GAG 项目提供） THE BIG GUY silicone, fibreglass, human hair 73cm×54cm×36cm 2016 (Courtesy of the artist and Haunch of Venison)

《舞者》 硅胶、钢、树脂、人与动物毛 装置（图片由格林纳威画廊 GAG 项目提供） THE DANCER silicone, steel, resin, human and animal hair 45cm×24cm×16cm 2016 (Courtesy of the artist and Haunch of Venison)

Piccinini extends this theme in her latest works. She brought another “strange family” into the exhibition New Romance: Art and the Posthuman at MCA. As

Dancer” in the future, when it happens, how should we react while looking into its eyes?

she described, there are several characters in this family: Near the entrance of the

It is obvious that when it comes to Piccinini, she would encourage us to love, to

exhibition, there is The Dancer. She is a simian creature shapes as a dancing shoe,

love these creatures, to love our products, to love whatever they are. For example,

standing in a glass-surrounded display container, like a lab rat. With a very human

while talking about this exhibition, she expressed her love to this “family”: “I see it

sense to her, she looks up at the viewers directly with her big and watery eyes, seems

as a strange family, a bit unconventional, probably has a few issues. But it’s family

to be waiting for some kind of response. She is almost urging us to consider our

and they created something new and wondrous. For me, this is a beautiful space,

relationship with her: How will you accept it while facing up with an alien creature

a wondrous space, a space of possibility.” With a strong sense of love, she always

which looks both hideous and innocent?

portrays her characters to be so innocent – they all look harmless, helpless and empty

Behind The Dancer, there is a bulging stomach with a cluster of finger-like

in mind – that we would feel guilty not to love them. Also, she love featuring them

lifeforms blossoming at the top, and a fleshy bicycle helmet with growths and blonde

interacting closely with children and the elderly, like in her works Still Life With Stem

human hair coming out. The Big Guy was hanged on the wall covered by mirrors. It

Cells (2002), The Welcome Guest (2011), The Long Awaited (2008) and Undivided

shapes like the body of a big guy with a delicate eagle sewed on his skin. But it is

(2004).

empty, the empty inner of the “Big Guy” can be seen on the mirror.

This preference in creating artworks indicates Piccinini’s wishes for love and

On the other side of the exhibition, there is a girl with long hair, lying on the floor,

tolerance, however, it reveals her limitation as well. In the everyday realities of the

supporting her deformed body with one hand. She is carrying some lumps with lips on

world, creatures could be lovable as well as dangerous. Stephen Hawking keeps

her back. Piccinini introduced her as the creator in the fiction: “This girl is responsible

reminding us not to contact living things on other planets as they might be extremely

for the other things in the space.”

dangerous, and people in Australia are suffering from seagull-attacks, shark-attacks

If you feel disturbed or shocked while wandering among them, you feel it

and wombat-attacks for no reason. We should be cautious to the darkness of creatures,

correctly. Through these works, Piccinini encourages us to think about the relationships

whether they are natural or artificial, but this theme is never mentioned in Piccinini’s

between human and other creatures, between artificial and the natural, between people

works.

and lives that we create. Human beings might be able to create a living thing like “The

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封面人物 COVER STORY

SUDDEN CHANGE AND EXPANSION On the disease metaphor in paintings of Tang Zhigang

突变与扩张 —— 关于唐志冈绘画中的疾病隐喻 策划：李琼波 徐游 Planned by Li Qiongbo Shell Xu

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撰文：罗菲（策展人，TCG 诺地卡文化中心画廊总监） Written by Luo Fei ( Curator, Gallery Director of TCG Nordica Culture Center )

艺术家唐志冈在工作室 artist Tang Zhigang at the studio

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封面人物 COVER STORY

在劳改营长大，而后在部队从事过多年宣 传工作的唐志冈深谙管教与被管教之间相互 依存的关系，深谙权力运作的方式方法，深谙 体面政治生活背后的荒诞与无力。这一切都反 映在唐志冈自 20 世纪 90 年代以来，创作的大 批令人印象深刻、幽默而尖锐的讽喻画作里， 如“儿童会议”系列、 “永远长不大”系列、 “中 国童话”系列等。艺术家通过把懵懂、调皮甚 至看上去十分无辜的儿童放到严肃的政治生 活、军事场景和寓言场景中，戏仿成人世界的 拉帮结派、装腔作势、世故圆滑、老谋深算…… 从另一面看，也反映出成人世界的幼稚、反 智、荒诞和深刻的孤独。这也正是唐志冈画 作通常令人莞尔一笑，却又发人深思的缘故。 一种在场的旁观者的机智。

《台上台下》布面油画 ON AND OFF THE STAGE 160cm×200cm oil on canvas 2016

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《中泰情深艺术交流展 2（苏捷的生日）》布面油画 SINO - THAI ART EXHIBITION NO.2 (BIRTHDAY OF SU JIE) 80cm×100cm oil on canvas 2015

ang Zhigang who grew up in a labor camp and previously was

and Chinese Fairy Tale series. The artist has put the ignorant, naughty and even

engaged in propaganda work in the army for many years was

innocent children on the serious political, military and fairy tale scenes to exhibit

intensely aware of the interdependent relationship between

their simulation of the adult world in ganging up, assuming the airs of importance,

controlling and being controlled, the ways and means of

being smooth and sophisticated and being experienced and astute. On the contrary,

power operation and the absurdity and incapability behind

they have also reflected the naïve, non-intellectual, absurd and deep loneliness of

the respectable political life. All these have been reflected in a huge amount of

the adult world. This is the reason why Tang’s paintings will often cause a smile

allegorical paintings Tang Zhigang has created since the 90s which are impressive,

but will set people thinking. This is the wit of an onlooker on the site.

humorous and biting such as Children’s Meeting series, Never Grow Up series

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封面人物 COVER STORY

《膀胱上皮细胞癌之一》布面油画 SKIN CELL CARCINOMA OF BLADDER NO.1 130cm×162cm oil on canvas 2015

在近期画作中，唐志冈的艺术正在被另一种更强

《膀胱上皮细胞之二》布面油画 SKIN CELL CARCINOMA OF BLADDER NO.2 120cm×140cm oil on canvas 2016

部颠覆的过程，一个微观却最终走全局终结的过程。

俨如一个“他者”的存在。艺术家把人们羞于启齿的

大更具破坏性的诱因所占据——疾病。甚至早在 20 世

人们从不只是谈论一场疾病本身，更是隐喻着死

病名、身体部位和细胞活动像一台戏一样暴露在观众

纪 90 年代，唐志冈就已经对疾病入侵、感染导致的溃

亡、人类的软弱和脆弱。疾病隐喻还不满足于停留在

面前，如同他之前把“会议”当做一台戏呈现那样。

烂，以及医疗图像这类视觉效果产生浓厚兴趣，比如

美学和道德范畴，它经常进入政治和种族范畴，成为

疾病和政治都具有神秘性，而神秘性正是隐喻的滋生

图片作品《病毒报告——艾滋病》（1994 年），油画

对付国内外反对派、对手、异己分子或敌对力量的最

地。在这张画中，艺术家以疾病隐喻来描绘一幅神秘

《性病》（1995 年）、《透视》（1995 年）、《苍蝇》

顺手的修辞学工具。

的恣意妄为的扩张行动。

（1998 年）等。随着影像技术的发展，腐败与溃烂这 种特定的视觉图像为 90 年代和世纪之交的许多中国艺 术家提供了灵感，并发展成为一种审美趣味。从品味 上反映出艺术家对主流社会价值的疏离。

隐喻，按亚里士多德在《诗学》里的定义，是指 以他物之名名此物。

在另一幅被命名为《台上台下系列一》（2016 年） 的画作中，大厅里塞满了密密麻麻的孩子，无数双惊

在一幅蓝绿色调的画中，八个身着黄褐色军装的

恐的眼神正在寻求一个安全出口。和唐志冈过去的“会

男孩正站在坐便器或他人头上朝观众小便。他们以某

议”系列相比，这幅画彻底调换了镜头，从前是台上

唐志冈近期作品里的“疾病”，源于艺术家亲身

种内部商议好的等级和序列出场。他们的生殖器生长

的人物，现在是台下的人群。密集的人群不再有过去

经历的让人痛苦的癌症。和许多患者选择隐瞒不同，

出肖像，露出诡异的笑容。这些“童子军”还长出了

“会议”时期丰富的孩童表情，也没有任何肢体语言，

唐志冈选择与人分享疾病给人带来的身体和精神的双

轻盈的翅膀，这暗示着他们就地解决后很快就要转移

只有数不尽的寥寥带过的青色的、褐色的、血色的人头，

重折磨，以及微观世界里的病理学视觉经验。他意识

战场，飞去下一个地方继续肆意小便，他们有超常的

像是显微镜下观察到难以抑制的细胞活动，俨如一场

到那种基于政治讽喻的画作，已经不足以表达他在疾

迁徙自由，能随意对远处目标发起攻击。这幅画被命

细胞正在发动的政变与骚乱。艺术家认为这种密集人

病中所经历的一切，那个他所讽喻的政治系统和接受

名为《膀胱上皮细胞癌》（2015 年）——绘画的正是

群的视觉经验可能来自军旅生涯中的人海战术，视觉

作品的资本系统，已经具备了超强的免疫力。讽喻作

艺术家相伴多年的疾病。

上与细胞病理学图像具有相似性。

为一种病菌，已不足以令人严重感染。

癌症通常攻击一些令人羞于启齿的部位（结肠、

这种类似对人群进行细胞化的处理手法在唐志冈

和病菌感染所导致的疾病不同，癌症与体内异常

膀胱、直肠、乳房、子宫颈、前列腺、睾丸）。身体

细胞突变有关，这些异常细胞最终离开其原先所在位

里的肿瘤通常唤起羞耻感，患者经常被恐惧和痛苦折

《历史之三》（2015 年）、《曼谷》（2015 年）、《苏

置或器官，向其他器官或系统大举扩散，这是一个内

磨得毫无尊严。那些癌变细胞在身体内部扩散、增生，

捷的生日》（2015 年）等。这种表现手法让人不再注

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近期不少作品里都有呈现，如“达卡”系列（2016 年）、

In his recent works, the art of Tang Zhi-gang has been occupied by a stronger and more destructive incentive, the disease. Even in the 90s of the last century, Tang Zhigang has shown great interest in the visual effect of festers caused by disease invasion and infection and the medical images, such as the picture works Virus Report-Aids (1994), and the oil paintings Venereal Disease (1995), X-ray Examination (1995) and The Fly (1998). With the development of image technology, the specific visual images of corruption and fester have provided inspiration to the Chinese artists in the 90s and at the turn of the century and they have been developed into an aesthetic taste. It has reflected the alienation of artists from the mainstream society.

However, the disease in his recent works originates from the painful cancer which the artist has personally experienced. Unlike the choices of many patients and medical doctors, Tang Zhigang has chosen to share with the others the physical and mental sufferings caused by this unmentionable disease and the pathological visual experience in the microscopic world. He is aware that the painting works based on political allegory cannot fully express what he has experienced with the disease, and the political system he has ridiculed and the capital system that accepts the works have extremely strong immunity. Allegory as a pathogenic germ cannot seriously infect them and reveal the problems.

《世象系列 - 会议》布面油画 WORLD SERIES - THE MEETING 170cm×220cm oil on canvas 2014

Unlike the diseases caused by pathogenic germ infection, cancer is related with the conflict of the abnormal cells in the body and these cells ultimately leave their original positions or organs and start to spread hugely to the other organs and systems. This is a process of internal overturn and a process from microscopic to complete termination.

People are not merely talking about a disease itself because the disease has been regarded as a metaphor for death and the weakness and fragility of human beings. Disease metaphor is not limited to aesthetics and ethics and it is often involved with politics and nationalities and has become a useful tool to deal with the domestic and foreign opposition parties, opponents, dissidents, and enemies.

According to the definition by Aristotle in Poetics, it refers to the naming of one thing with the name of another thing.

In a painting of blue and green tones, eight children wearing yellowish-brown uniforms who stand on toilet seats and the heads of others are urinating toward the viewers. They come on the stage in the internally planned ranks and order. Portraits have grown on their organs which show a wicked smile. These “boy scouts” have grown with light wings which imply that they will fly to another site to freely urinate after the urination. They have extraordinary freedom of movement and will attack any remote targets at their will. The image has the double

《后台》布面油画 BACK STAGE 170cm×220cm oil on canvas 2014

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《曼谷》布面丙烯 BANGKOK 80cm×100cm acrylic on canvas 2015

《世象系列 -918》纸面水粉 WORLD SERIES - 918 55cm×78cm gouache 2015

意画面中具体的表情、人物关系和故事情节，而是整体上的躁动与不安。这种不安感

结石》，从中不难看出艺术家在另一场疾病中的艰难抵抗。在另一幅《永远长不大：

也源于这时期的作品不再传递“儿童会议”时期那种一目了然的寓意。这个阶段的画

移山填海》（2008 年）中，工兵形象的孩子们正在徒手搬运石头，扩张城市或搭建

面色彩普遍笼罩在比较压抑的蓝绿色调中（但也有部分作品非常明快），像黯淡的病

海上军事基地。这些攻防工事反映出国家在面对自身状况时所采取的紧急应对措施。

房或军营一隅。除此之外，画作更具表现性，强调绘画语言的速度和反转的色彩系统。

对于身体层面的疾病来袭，人们有如兵临城下的紧迫感。

在《台上台下系列一》中，艺术家用类似微观的细胞活动来表现社会的不安与躁动。

唐志冈还常常在画面里表现暴力以及人们看待暴力的态度，这在各个阶段的作品

在体面的政治秩序底下，隐藏着的不断增长的公信力失控风险，体面撤离的同时，却

里都有表现，如批斗、武斗、欺凌、算计等等。在近期的《后台》（2014 年）、《历

在发生公共道德溃败的现实。这是艺术家通过疾病隐喻对社会与政治状况作出的警示。

史之一》（2015 年）、《历史之二》（2015 年）、《在妈妈的床上拉泡屎》（2015 年）

针对疾病的响应措施，军事隐喻经常在宣传领域中被使用，如向癌症开战，向艾

等画面里，出现了成堆的被肢解的玩偶形象。在唐志冈孩童时的记忆中，父亲赠送的

滋病开战，战争被定义为一种紧张状态，牺牲再大也不过分。疾病被看作外来入侵的

玩具经常被幼儿园小朋友拆卸肢解。然而这些画面并不是简单反映他的个人经历，更

“他者”，像现代战争中的敌人一样，基于这样的理由，人们往往把疾病妖魔化，但

没有交待那双实施肢解的双手，而是被肢解的结果，并且那些脱离身体的人体器官看

最终导致患者被妖魔化，如对患者的性情、为人、私生活进行评价。

似具有独立意志甚至行动能力。从疾病隐喻来看，与其说这些玩偶样式的孩童是被肢

身体也以自身的“军事行动”来对付这种入侵，例如调动免疫“防卫”系统，而 药物则是“攻击性”的，如大多数化疗语言中所说的那样。对于一个有着职业军旅生

解，不如说他们是正在进行中的异常细胞的分裂活动——细胞突变。这是一种不断持 续的分裂，但免疫系统无法对其进行识别。一系列不可见的“历史性”的裂变。

涯又具备独立艺术表达的人来说，军事生活中的任何场景都可能被转换为针对自身经

无论是“会议”系列还是如今的“疾病隐喻”，唐志冈的画作可以被看作一系列

验和现状的一针见血的隐喻。在唐志冈 2007 年描绘的一幅凶险的溃坝画面里，孩子

的社会性文本，一系列关于社会内部的变异：反智主张的蔓延，官僚作风的恶化，暴

们为了抢险，组成人肉堤坝，却一起被洪水冲散，这幅画被命名为《永远长不大：胆

力逻辑的恣意扩张……癌症并非源于外在“污染”导致对免疫系统的彻底破坏，而是

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《在妈妈的床上拉泡屎》布面油画 SHIT ON MOM'S BED 110cm×150cm oil on canvas 2015

meaning of reproduction and military. This painting is named as Skin Cell Carcinoma

there is not any body language as in The Meeting. Instead, there are countless roughly

Of Bladder (2015), which is the disease the artist has suffered for many years.

painted black, brown and red heads which appear to the uncontrollable activities of

Unlike other diseases, cancer normally attacks the unmentionable parts of the

cells under a microscope as if the cells are starting a coup and riot. The artist thinks

human body such as colon, urinary bladder, rectum, breasts, cervix uteri, prostate

that the visual experience of the dense crowd probably has originated from the huge

and testes. The tumors in the body often arouse a sense of shame and the patient

crowd strategy in his military life, which visually has similarity with images of cellular

who suffers from terror and pain often loses dignity. The cancer cells spread and

pathology.

proliferate in the body which resembles the existence of an “other”. The artist exposes

The cellularized treatment technique of crowd has appeared in many recent works

the unmentionable disease, parts of the body and cell activities to the viewers like a

of Tang Zhigang, to include Dhaka series (2016), History No.3 (2015), Bangkok (2015),

performance as he previously has represented The Meeting like a performance. Disease

Birthday of Su Jie (2015), etc. This technique of expression has diverted the attention

and politics are both characteristic of mystery, and mystery is the breeding ground

from the specific expressions, relationship between the characters and plot to the

for metaphor. On this painting, the artist has used the metaphor of disease to depict a

overall agitation and restlessness on the image. This sense of restlessness originates

mysterious and unscrupulous expansion action.

from the works of this period of time which no more communicates the apparently

On another painting named as On And Off The Stage Series No.1 (2016), the hall

implied meaning during the time of Children’s Meeting. On the paintings in this period

is crowded with children and their eyes are filled with terror and are looking for an

of time, the colors are the generally shrouded by the depressing blue and green tones

exit. Compared with his previous painting The Meeting, Tang Zhigang has completely

(with some bright colors), which look like a corner of the bleak ward or barracks.

changed the lens, which previously exhibited characters on the stage and now a crowd

The works in this period of time are more expressive and they emphasize the speed of

off the stage. The dense crowd does not have the rich expressions of children and

painting language and the reversed color system.

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《世象系列 - 历史 2》（局部）布面油画 WORLD SERIES - HISTORY NO.2 (detail) 180cm×220cm oil on canvas 2015

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In On And Off The Stage Series No.1, the artist has used the microscopic cell activities to express the restlessness and agitation of society. The risk of losing control of credibility is increasing and is concealed beneath the respectable political order. When the respectability is withdrawn, the reality of defeated public morality will happen. This is the warning of social and political conditions made by the artist through disease metaphor.

With regard to the response measures against diseases, the military metaphor is often used in the field of propaganda such as fight against cancer and fight against Aids. War is defined as a state of tension and sacrifice is unavoidable. Disease is regarded as the invading “other” like an enemy in modern warfare. Based on this reason, disease has been demonized which ultimately leads to the demonization of the patient, such as the appraisal of the temperament, behavior and private life of the patient.

The body fights against this invasion with its “military action” such as using its immunity “defense” system while medicine is “offensive”, like what is said in most chemotherapy languages. To a person with experience of professional military service and artistic expression, any scenes in military life can be transformed into incisive metaphors for itself and current conditions. On a painting of 2007, 《世象系列 - 历史 1》布面油画 WORLD SERIES - HISTORY NO.1 130cm×162cm oil on canvas 2015

Tang Zhigang depicted a dam break disaster. The children formed a human flesh dam to fight against floods but they are washed away by floods. This painting has been named as Never Grow Up: Gall Stone, which shows the hard resistance of the artist against another disease. In another painting named as Never Grow Up: Move Mountain And Fill Sea (2008), the children who are dressed like sappers are moving stones with hand, expanding the city and building military base on the sea. These offense and defense works reflect the emergency response actions taken by the state regarding its current conditions. People have the sense of urgency for diseases attacking their bodies like the enemy at gate.

On his paintings, Tang Zhigang often expresses violence and people’s attitude toward violence, such as struggle session, fighting, bullying, calculating, etc. In his recent works such as Back Stage (2014), History No.1 (2015), History No.2 (2015) and Shit On Mom’s Bed (2015), the paintings exhibit images of a large amount of dismembered dolls. In Tang’s memory of his childhood, the toys he received from his father as gifts were often dismantled by children in the kindergarten. Those images do not merely reflect his personal experience and they have not depicted the hands that have dismembered the dolls. Instead, they have only shown the result of dismemberment. In addition, the organs separated from the body appear to have independent will and even action ability. From the point of disease metaphor, the dismemberment of children in the form of dolls can be regarded as the separatist activities of abnormal cells, which is the sudden change of cells. This is the

《世象系列 - 黑伞》布面油画 WORLD SERIES - BLACK UMBRELLA 130cm×162cm oil on canvas 2015

continual separation which cannot be identified by the immunity system. They are the invisible “historical” fission.

With regard to the Meeting series and the current Disease Metaphor, the paintings of Tang Zhigang can be regarded as a series of social documents and a

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《斑点狗 1》纸面水粉 DALMATIANS NO.1 55cm×80cm gouache 2015

无法阻止的内在癌细胞的突变与扩张，直到整个机能死亡。也即是说，癌症作为隐喻，

从早年描绘动员、表态性质的会议样式，抗洪抢险等宏大叙事，发展出以细胞突变与

并不涉及病因，它只揭示其失控又不可逆的增长。正如唐志冈绘画所表现的，是一场

扩张活动为隐喻的微叙事。他从个别历史困境中剥离出一种根本性的疾病隐喻的批判

视觉上的突变与扩张的过程。

性图像。唐志冈正在织起一张基于疾病隐喻、军事隐喻和政治隐喻的复合性语义网，

在多年与疾病相伴的经历中，唐志冈深谙疾病不只是一种个人经历，不只是身体 层面的战斗，更是一场象征领域的战斗。这些图像深深扎根于艺术家个人经验中，他

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捕捞“癌变”这一微观却致命的现实。

《蓝狗》纸面水粉 BLUE DOG 55cm×80cm gouache 2015

series of descriptions of internal social changes such

As Tang Zhigang has expressed in his paintings, it is a

lately developed micro recounting that adopts the

as the spread of non-intellectual proposals, worsened

process of sudden change and expansion in visual art.

sudden change and expansion activities of cancer cells

bureaucratic work style and the reckless expansion of

Having suffered from the disease for many years,

as the metaphor. He has extracted from the specific

violence logic. Unlike Aids, cancer is not the complete

Tang Zhi-gang is well aware that disease is not limited

historical difficulties a fundamental image of criticism

destruction of the immunity system caused by external

to a personal experience or fighting on the body level

that takes disease as a metaphor. Tang Zhi-gang is

contamination but is the sudden change and expansion

as it is more like a fight in the symbolic realm. These

weaving a complex semantic net based on disease

of the internal cancer cells that cannot be stopped until

images are deeply rooted in the personal experience

metaphor, military metaphor and political metaphor to

the whole function is dead. In other words, cancer as

of the artist, from his earlier paintings that depict the

catch the microscopic but fatal reality of “canceration”.

a metaphor is unrelated to the cause of disease and it

grand recounting of the meetings of motivation and

only reveals the uncontrollable and irrevocable growth.

commitment and the stories of flood fighting to the

Art is never a commitment to curing all diseases but it is only responsible for disclosure.

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《丁亮的儿子》（局部）纸面水粉 DING LIANG'S SON (detail) 55cm×80cm gouache 2015

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The Song of

Soldier 士兵之歌 撰文：毛旭辉 Written by Mao Xuhui

编辑：林建华 Edited by Hana Lam

在我接触的人当中，唐志冈是

mongst the acquaintances I have, Tang

第一位将军人作为普通人来看待

Zhigang is the first-ever painter who treats

的画家，基于这样的人文态度，他

soldiers as ordinary people, a unique cultural

的作品抹去了我们头脑中早已形

attitude that empowers his works to erase in

成的关于军事题材的模式，即重大

our mind the established archetypal mode

的军事行动，富有历史意义的战争

of military subjects, namely major military operations, wars of

和对军人形象的概念化的讴歌。

historical significance and ode to the abstract image of soldiers.

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《领袖》纸面水粉 LEADER 55cm×80cm gouache 2015

唐志冈是一个接受过多次艺术教育的军人，他曾 于 1983 年在南京艺术学院油画系进修；1986 年在中央

《埋伏在森林里》纸面水粉 LYING IN THE FOREST 55cm×80cm gouache 2016

峻的救护人员，那些夸张的、大面积的白床单则令人 难忘。

对于唐志冈的这些作品，我们有理由将它们放在 现代主义的思潮里来讨论。因为他朴素的写实主义风

美术学院徐悲鸿画室进修；1989 年毕业于解放军艺术

许多年过去了，那场战争已成为历史。当时 25 岁

格吸收了大量的现代艺术和当代具象绘画的因素，使

学院美术系油画专业。然而要深入了解他的作品，仅

的军人兼画家用自己的画笔关注了战争中死亡和献身

他的绘画风格与传统意义上的写实主义有了很大的区

了解这些简历是不会有太大收获的。

这两个主题所具有的普遍性意义，充分体现了一个画

别。在观念上，他更接近欧洲当代具象绘画的精神，

早在 1984 年，唐志冈就满怀幽思创作了组画《军

家的人道主义精神。这种精神的基本价值就是对人类

就像法国的巴尔蒂斯和英国的弗洛伊德。另一方面，

魂》。这是他作为战士在 1983 年从老山前线带回来的

的热爱与对命运的关怀，它作为信念支撑唐志冈之后

他的这批作品无疑也属于 1989 年后中国当代艺术回归

一首有关生死的精神赞歌，在这组画中，画家恰如其

近十年的艺术道路。

写实主义的那一倾向，即与所谓“新生代”画家群的

分地运用了表现主义与象征主义的语言来表达他对战

唐志冈不断创作有关士兵生活的题材，这种题材

文化状态具有同步的基调，只是，他提供的是以士兵

争的体验。在《军魂之一》中，我们看到心情沉重的

成为他创作道路的主流：一首首士兵之歌给人留下了

作为普通人的日常状态。当然这些状态无论如何都带

战士用担架抬着被牺牲的战士，他们的尸体盖着白布

深刻的印象。在训练中的士兵（《操练》1989），在

有军人的性质，那正是画家的课题：既是军人的，又

和花圈。不远处，在那被战争蹂躏过的土地和天空中，

小镇兵站上巡逻的士兵（《体验》1989），星期天在

是普通人的。作为军人和画家的唐志冈对这种性质把

飞扬着一个正在呼唤的女性形象，那种强有力的呼唤

边疆小镇茶馆里喝茶、抽烟、看报的士兵（《茶馆》

握得如此自然、得心应手，这是多年军营生活的必然

是人道主义式的，它打破了沉闷的、令人窒息的悲痛

1989），在医务室里看病的士兵（《啊》1992），洗脸、

结果。这样的画家不可能是一个搞形式主义的人，就

气氛。在《军魂之二》中，画家描绘了野外救护所正

刷牙、打水的士兵（《课后》1992），正在杀猪的炊

是说，唐志冈的作品不可能与生活无关。自始至终，

抢救伤员的情景，他突出了处于死亡边缘的、令人紧

事班（《杀猪》1992），在营房里下棋的士兵（《棋

日常的生活和事物都是唐志冈捕捉的对象，他并不过

张和肃然的时刻，以静止、凝固的画面展现了牺牲和

斗》1993）……关于这系列作品，可以使用以下的一

问生活是否充满了时代精神和伟大的理想以及永恒的

受难的情形。画面省略了大量的生活细节，突出了受

些句子来描述：朴实无华的风格，近距离观察的结果，

价值，他只是作为一个融入日常生活的人，抓住那些

伤的严重性，以及处于垂危状态的战士那沉重僵硬的

贴近生活的亲切感，对日常生活、事物的敏感，对生

日常状态中有趣的东西，并与同样热爱普通生活的人

躯体和一双面向天空张开的手，而周围肃立着神情严

活本质进行概括并加以描述的能力……等等。

娓娓交谈。

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《笼子里的权利》纸面水粉 RIGHTS OF THE CAGE 54cm×76cm gouache 2013

Tang is a serviceman receiving several iterations

However, having knowledge of this detailed academic

of the Laoshan Mountain in 1983, this painting series

of art education. Back in 1983, he studied in the

biography really doesn’t help much if one is to gain

see the apt use of art languages of expressionism and

Department of Oil Painting of the Nanjing University

insights into his works.

symbolism to narrate his war experiences. In Soul of

of the Arts; then, in 1986, he furthered his study at the

As early as 1984, Tang produced a painting series

the Army No.1, we witness the soldiers killed in action

Xu Beihong Studio of CAFA, and finally graduated

titled Soul of the Army with all the feelings and thoughts

on the stretchers lifted by heavy-hearted brothers in

as an oil painting major from the Department of Fine

he had within. A spiritual hymn of life and death that he

arms and covered by white cloth and wreaths. Not far

Arts at the People’s Liberation Army Academy of Art.

captured and enlivened as a soldier from the battlefront

from the corpses, in the land and sky so mauled by

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《人物》纸面水粉 CHARACTER 55cm×80cm gouache 2015

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wars, a female figure is visible, calling out loud

Butchering, 1992), and soldiers playing Chinese

and fluttering in the open. Her powerful calling,

chess in the barracks (Chess Game, 1993). This

bespeaking a humanitarian note, cuts open the

series of works really fit with the following

stifling and suffocating mood of sadness and

descriptors: simple and unadorned style, life in

mourning. In Soul of the Army No.2, the artist

keen observation at close quarters, affinity close

depicts a scene of rescuing the wounded in a field

to life, sensitivity towards day-to-day life and

medical aid station, where the moment of tense

objects, the ability to generalize and describe the

and awe, right on the verge of death, is made

nature of life, and the list goes on.

prominent in still and frozen images to relive the

We have every reason to make discussional

situation of sacrifice and suffering. Details of life,

assays of Tang’s works in the Modernistic school

many of them, are taken out of the picture to put

of thoughts, for his style of plain Realism has

the severity of the wound and the soldier at his

assimilated many elements of modern art and

last gasp in the limelight, his heavy and stiff body

contemporary figurative painting that draw a

and hands that are spread out towards the sky. The

marked distinction between his painting style and

grim-looking medical staff, standing close, leaves

Realism in the traditional sense. In his artistic

an unforgettable impression of equal measure

concept, he is closer to the spirit of European

with those exaggerated white linens of bold sizes.

contemporary figurative painting, featured by

Years have passed and long gone is the war

Balthus in France and Floyd in Britain. Quite

in our mind. This solider-cum-painter, then 25

interestingly, his series of works also fall under

of age, wielded his painting brush to illustrate

the move towards Realism by post-1989 Chinese

the universal meaning embodied in the two main

contemporary art, in sync with the tone in the

themes—death and devotion in war, giving clear

cultural stand of the new-generation painter

and full expression to his humanitarianism.

community, with the only difference being his

The fundamental values of this spirit are about

depicting the everydayness of soldiers as ordinary

the compassion for mankind and solicitude for

people. There is, for sure, no way to truly remove

destiny. They are there, supporting Tang’s art

the tinge of soldier-hood, despite the state in

journey in the coming decade, as his support

which he portrays the soldiers, and that is exactly

system of faith.

the task of the painter himself, to make it both of

Tang Zhigang delivered a prolific, ongoing

a soldier and of a commoner. Tang, a duality of

array of works on the life of soldiers, a subject

serviceman and painter, takes such a natural and

matter that took the lion’s share of his creative

skillful command of this nature as the necessary

efforts and resulted in impressive movements,

result of his years in the military camp. You can

one after another, singing praise to soldiers.

never equate an artist like him with a man of

There are soldiers in training (Drill, 1989),

formalism, because his art productions breathe

soldiers patrolling in the township military

life with them. Tang, all along the way, has been

depot (Experience, 1989), soldiers drinking tea,

looking closely at everyday life and objects.

smoking and reading newspaper in a teahouse

Not bothered about the possibility of having the

of a frontier town on Sunday (Teahouse, 1989),

zeitgeist, lofty ideal and eternal value in life, he

soldiers seeing the doctor in the clinic (Ouch,

is merely a man living his and our life, capturing

1992), soldiers grooming themselves and

the intriguing things in our everydayness and

fetching water (After Class, 1992), soldiers of

pleasingly talking with others who also love an

the cookhouse squad butchering a pig (Hog

ordinary life.

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病人老唐 The patient Mr. Tang

and His Fragile Fairy Tale

和他如履薄冰的童话 撰文：叶永青 Written by Ye Yongqing

《玩偶》（局部）布面油画 DOLL (detail) 130cm×162cm oil on canvas 2015

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封面人物 COVER STORY

《青海布卡拉》布面油画 QINGHAI BUKALA 160cm×200cm oil on canvas 2016

我少年时代就认识唐志冈了，那时我们同在故乡昆明—— 一个中国边陲的小城。

中和监狱生活，当过兵、宣传干事，参加越战、赴江南和京城求艺向学。因为梦想进

文革、红卫兵和集体生活 , 青春残酷的岁月给人留下深深的印记。作为热爱艺术的初

入中央美院，还在北京自学了两年英文，回云南后结束了军中半世的生涯，转业到云

学者，我们相互结识、相互模仿，也彼此较量。不知天高地厚的青年人一心想离开脚

南艺术学院当了一名教师。课余他开办了儿童绘画班，以此获得收入来维持生计和他

下这狭小封闭的土地，去闯荡外面的世界。我记得 78 年高考时我和老唐共坐在同一

热爱的艺术。这段简历为他今后的艺术创作提供了如下关键词：军队画风、儿童、生

张课凳上冥思苦想答题，可惜那年唐并未考上大学。当我拿到重庆川美的录取通知书

活的记忆和 China Tang。

时，老唐只能回部队出早操和写黑板报去了。 其实很难从外表看得出老唐丰富的人生经历和现实的磨难：他童年跟随父母在军

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生活中的老唐外表强大内心脆弱，在军人威猛的虚张声势的外貌和作派后面，是 情绪化的多愁善感和忧心忡忡的焦虑不安。四季如春的昆明其实是个多病的城市，大

was acquainted with Tang Zhigang in childhood and we both lived in our hometown Kunming, a small city in the border area of China.

The years of Cultural Revolution, red guards, group living and the hard time of youth have deeply impressed us. We were acquainted with each other when we started learning art and we imitate each other and compete with each other. At that time, we were ignorant youths who desired to leave the small and isolated land and to go out into the world. As I remember, I and Tang Zhigang attended the college entrance examination in 1978 and we shared the same desk at the examination. Unfortunately, Tang failed this examination. When I received the letter of admission from Sichuan Arts Institute in Chongqing, Tang Zhigang returned to the army to continue his military life and propaganda work.

It is not easy to observe from his appearance the rich experience in life and the difficulties Tang has experienced in reality. He lived with his parents in the army and prison in childhood. He has served in the army as a propaganda officer, has joined the battles against Viet Nam and has gone to regions south 《嫖娼》纸面水粉 PROSTITUTION 55cm×80cm gouache 2015

of the Yangtze River and to Beijing to study art. He dreamed of entering Central Academy Of Fine Arts to study art and has learned English by himself in Beijing for two years. He terminated his military life after he returned to Yunnan and became a teacher in Yunnan Art Institute after he retired from the army. He used his free time to open painting classes for children and used the earnings to support living and the art he loved. His experience in this period of time has provided the keywords in artistic creation in the following years: military painting style, children, the memory of life and China Tang.

Tang appears strong in reality but he is fragile inwardly. Behind the powerful and bold military appearance and style, he was moody, sentimental and anxiety-ridden. Kunming, a city of spring all year around, in fact, is a city of diseases as pharmacies are set up along the streets. The reason why Tang is named as the patient is not limited to his physical illness but also his illness mentally. Tang is well-built and strong who looks like a warlord and a villain in the movies but he well knows various tonics and medicines for health protection. When the weather becomes cold in autumn, he is the first middleaged man in Kunming who wears leather pants. He is afraid of illness, flying on airplanes, car accidents, blood and anything that is dangerous. He looks at

《雀神》纸面水粉 BIRD GOD 55cm×80cm gouache 2015

me traveling around all places in the air with admiration and concern. During the time of SARS, he regarded me as a dangerous man that should be avoided.

In a place of familiarity and safety, he looks completely different as he looks relaxed, interesting, powerful and strong. He often invites friends to dinners and will discuss life and art with them. Tang likes to repeat a subject that a group of naughty children who are not aware of the risks and danger they are facing play various risky games. These are the inner portrayal of Tang Zhigang

《草图》纸面水粉 ROUGHDRAW 72cm×48cm gouache 2013

regarding the crisis.

Tang’s talent in painting was exhibited during his study in Nanjing Art

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当时我在昆明策划了上河会馆的第一个展览，这也是 云南本地艺术家有机会第一次与来自中国各地艺术高 手同台竞技的舞台。唐志冈送来了他的新作《开会》， 让我眼前一亮！这个题材他其实一直反复在画，是现 实中熟悉的情态和场景的再现。但这次的变化是一群 孩子模仿成人会议：神态各异的儿童们在一张红色的 桌子前端坐，一个身着蓝色人民装的小胖子煞有其事 地在作报告的样子，后面一块幕布提示这个舞台式的 场合的虚假和可笑。我当时心里想：“成了！老唐大 器晚成，浓缩人生精华，他的艺术涅磐啦！”我觉得 说老唐这个人，看老唐的作品，尤其是近年来发展出 来的《中国童话》系列，也未尝不是反观我们自己。 老唐的处事和性格以及笔下创造的儿童形象固然可笑， 然而我们所面对的生活，不也会往往遭遇到同样的窘 境么？只是我们不会每每都像老唐在艺术中一样处处 爆出笑料来。不过在面对同样的窘境时我们是否会感 到同样的尴尬？而唐志冈的价值就是把生活中那些尴 尬全都变成幽默和反讽，让我们在一笑了之、一笑而 过后又突然惊出一身冷汗，陷入深深的思考。 唐志冈笔下那些天真单纯到头脑发热的小家伙， 虽然也时常动些成人世界的小心眼，又或戏仿大人们 的一切笨拙的手段，但显出的更是一种故作精明的朴 实，是小人物梦想惊天动地和改变命运的一些人尽皆 知的小秘密，被画在画布上一看，就成了笑话。你我 恐怕都是生活中这样的小人物，傻傻地扮出一点小聪

《老大》布面油画 BOSS 135cm×160cm oil on canvas 2012

明，不过却在老唐的笔下现了形。 在我们的童年、少年一直到现在的人生际遇和阅

大小小的街道旁，比比皆是药店。说老唐是病人，不

唐志冈的绘画才能早在就学于南京艺术学院时已

读史中，从来未出现过童话。我们太早就进入了一个

只是说他身体不好，更是说他总喜欢与身体或心理上

显露出来，80 年代创作的《军魂》系列组画，已经能

所谓的“真实”世界，打动我们的一开始就是现实、

的各种毛病打交道。人高马大长得像影视里军阀和反

感觉到这外表粗旷的部队画家对形式的把握能力和细

历史、传记、政治和金钱，它让我们相信那的确发生过。

角的老唐熟谙各种补品和药理，每当深秋天凉，第一

腻的情感世界。后来在北京解放军艺术学院，唐志冈

唐志冈展现的就是经历“真实”世界后的灾难性后果，

阵北风袭来时，他一定是这个城市最早穿上皮裤的中

系统地学习和继承了写实主义的创作方法。他以流行

在该阅读童话的年纪不进行幻想，使在应该成熟的年

年男人。他怕，怕生病，怕坐飞机，怕车祸，怕见到

在军队中苏联和文革样式结合的社会现实主义的油画

纪，才开始陷入强劲的幻想。糟糕的是，这种幻想是

鲜血和一切危险的事物。他总是既羡慕又担心地看着

表现性风格完成了毕业创作，用一种宣传画式的用笔

如此的单调，因为它不过是现实的回光返照，在欢乐

我满世界飞来飞去，“非典”期间，他更视我为危险

和色彩套路来处理士兵的日常生活。这种直露、纯真

后面也充满苦涩的味道。这就是唐氏的成人童话和如

分子，避之不及。但在熟悉和安全的范围内，老唐判

的观察方法和潜藏于其中的嘲讽气质，一直延续在唐

履薄冰的人生经验。我偏爱这种单一的类型，杰出的

若两人，变得轻松好玩，威风凌人，指南打北。他会

氏的创作道路中。90 年代中期，唐志冈离开部队，参

人物总是幼稚与可爱并存，既风光神奇又充满弱点。

经常风光无比地招呼一群部下，吃吃喝喝、口沫四溅

与了在云南昆明的一些小范围的现代艺术展览和活动，

我们可以在谈论世界时假装滔滔不绝，但事实上，在

大谈人生艺术。老唐后来爱不断重复地画一个题材：

他的创作此时期也受到流行于中国北京的前卫艺术思

内心深处一直活在一个简单的模式中，唐志冈揭示了

一个或一群贪玩的小男孩，不知为何身处绝境，时而

潮的影响。在描绘社会政治和市民生活情态的绘画中，

这种模式——只要你真心愿意，什么时候开始回到童

高台临水令人胆寒，时而身处云端机翼胆战心惊，或

加入了反讽和玩世的因素，从都市男女的情欲到社会

年都不晚，它或许真的能唤起你内心单纯、天真的那

者巨潮山石压顶浑然不觉。这一切正是唐志冈危机四

体制严肃的政治面孔的描写都被放大到一种大话式的

一面，你知道，在每个时代，这种单纯与天真，总被

伏的内心写照。

夸张和戏仿的表现中。特别重要的变化出现在 1999 年，

证明是最强大的力量，透过儿童的眼光看世界，我们

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《宝书》纸面水粉 TREASURE BOOK 55cm×80cm gouache 2015

《小钱撒尿》纸面水粉 PISS 55cm×80cm gouache 2013

Institute in his early years. His serial paintings named Soul of the Army created in the

and his works have concentrated the essence of life. His art has reached nirvana!”I

80s has exhibited his ability in controlling the form of the harsh military paintings and

think that when I talk about Tang and look at his painting works, particularly the

his delicate feelings. Later, when he studied at Beijing PLA Art Institute, Tang has

China Fairy Tale series he has developed in recent years, we are reviewing ourselves.

systematically studied and inherited the creation techniques of realism. He completed

Tang’s behavior, character and the images of children he has created with his brush

his graduation creation by combining the styles of the Soviet Union and Cultural

are ridiculous; however, have we also encountered the same embarrassment in life?

Revolution with the oil painting expressive style of social realism and has used the

Although we do not make jokes as Tang in his art, are we embarrassed the same as

propaganda style painting techniques and colors to depict the daily life of soldiers.

Tang when we encounter the same awkward situation? The value of Tang Zhigang has

This direct and pure observation method and the concealed ironical quality have been

converted the embarrassments of life into humors and ironies which give us a laugh.

with Tang in creation forever. In the mid-90s, Tang Zhigang retired from the army

After the laugh, we are scared into a cold sweat and are set into deep thinking.

and participated in some small-scale modern art exhibitions and activities held in

The children in Tang’s paintings are naive, simple and energetic although they

Kunming, Yunnan. His creation was influenced by the avant-garde artistic ideological

often play small tricks like adults or mimic the clumsy ways of adults which are a

trend that was popular in Beijing. In his paintings that depicted social politics and

pretentious simplicity that is the small secret of nobodies who dream of changing

the daily life of ordinary people, he has added the ironical and cynical elements. The

their fate and life that is known to everyone. When this has been painted on canvas,

depiction of the passions of men and women in the cities and the serious political face

it becomes a joke. You and I probably are all the nobodies in reality who foolishly

of the social system has been enlarged into the tale-like exaggeration and performance-

pretend to be smart but it is betrayed under Tang’s painting brush.

like representation. The most important change happened in 1999. At that time, I

From childhood and early youth till today, there is not any fairy tale in real life

planned the first exhibition held in Upriver Club in Kunming which was a platform for

and reading. We have entered a so-called “real” world at an early age and what inspires

the local artists in Kunming to communicate and exchange with artists from various

us are the reality, history, biography, politics and money which make us believe that

parts of China for the first time. Tang Zhigang presented his new works “The Meeting”

they have happened. What Tang Zhigang has represented is the disastrous consequence

which impressed me most. He has been painting this subject repeatedly and it is the

that children at the age of reading fairy tales do not have any fantasy and they fall

reproduction of the modality and scenes of reality that are familiar to us. The change

into strong fantasy when they are in the mature age. Worst of all, this fantasy is so

he had made at this time is a group of children imitating adults in holding a meeting.

monotonous and it is only the reflection of reality and it is filled with bitterness behind

The children are sitting at a red table and a fat boy wearing blue militia clothes is

joy. This is Tang’s adult fairy tale and his fragile life experience. I have a special

presenting a report and the curtain at the back reminds you that the platform-like

favor for this simplicity as outstanding characters often coexist with childishness and

scene is false and ridiculous. I was thinking: “Great! Tang has succeeded in late life

loveliness which are shiny and magical but are filled with weaknesses. We can pretend

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《世象系列 - 游泳池》布面油画 WORLD SERIES - SWIMMING POOL 100cm×132cm oil on canvas 2014

意识到天真和成熟的分野；现实的成人世界欲壑难填、愚蠢可笑、危机四伏、彷徨悲哀。

配，一个灰头土脸的小男孩，龟缩在角落里，绝望，伤心，而不失好奇地打量着这个

我经常爱去老唐的画室坐坐，它位于昆明创库，是我俩一起谋划和开发的最早的

热闹场景。毫无疑问，我们生活在一个祛魅的时代，事物的种种神秘面纱都正在被一

艺术家社区。在那儿，看看老唐的画，想想我们这个时代。童话好像已经不再受到欢

层层撕掉。而艺术家的感觉和天真，很大程度上正与这些面纱相关，秘鲁作家略萨在

迎。人们读《哈里·波特》与《达芬奇密码》。似乎所有的男女青年都愿意显得幼稚

回忆录里曾写过他们那个时代人对性的看法：那个年月，性是充满神秘色彩的，它与

些。但却没有能力让自己真的天真了。我说天真这个词，想到的不是故作的简单和无

占卜和礼仪紧紧相连；而现在它变得如此容易获取，像老唐画中的两只狗一样“成为

知，而是指一种好奇心和对新颖的直感。有时候我在想，我们的直觉和感受力是否真

一种体操运动”。他会说：“看着一个裸女躺在床上，总会有一种令人激动、慌乱的

的消失了？儿童从出生起，他们的世界堆满了各种信息，他们稍微长大一些时，一切

体验，如果那时跟女人做爱没有那么多必须克服的障碍，那么对我来说也就不会是如

又变得唾手可得，这个世界变得更为开放了，价值标准更为混乱了，过多的诱惑让人

此重要，如此受到崇敬和充满幸福期待的东西了。”在很多时刻，即使不是儿童，也

焦虑不安，持续的专注热情消退了，人们自然地成为了短暂兴奋的俘虏；标准丧失了，

希望生活在老唐和略萨先生所描绘的那种状态里，那种来自内心的颤栗、冲动和提心

一切价值观都是相对的……当这个世界上没有什么禁区，人们不相信存在着绝对的伟

吊胆、战战兢兢，该是多么令人神往。那一刻，我们才像生活在一个真正的童话世界。

大与梦想时，人们还能保持天真吗？我想在很大程度上，唐志冈的成人童话是用来对

看老唐的童话，就是看一面镜子，童话里就是我们，就是周围的朋友和人生，因

抗现实的暗淡的，在创造的童话中获取生活新的可能性。而且他的童话也不仅是提供

而倍感亲切，笑着有病的老唐，笑着傻傻的画中人和自己，如同那些嬉戏的儿童们，

这种逃避性，它包含了艺术家的励志故事：面对不尽人意的现实，坚定、勇敢和富于

虽然常常如临深渊，却仍临危不惧，乐在其中，生活的可乐和警醒就在老唐的画中一

同情心，它能激起你内心柔软的那部分，却并不是让你回避现实。

点点地展开。

给我印象最深的唐的一幅作品画面是这样的：两只公母狗在醒目的位置纵情欢

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《世象系列 - 游泳池》（局部）布面油画 WORLD SERIES - SWIMMING POOL (detail) 100cm×132cm oil on canvas 2014

I was deeply impressed by a painting of Tang in which a male dog and a bitch are mating and a depressed little boy crouching in a corner who looks sad and desperate is looking at the dogs with curiosity.

Doubtlessly, we are living in a world of disenchantment in which all mysteries have been unveiled. The sensation and naivety of the artists are related with the veils to a large extent. The Peru writer Llosa in his naivety I have said is not the deliberate simplicity

memoirs has written about the opinions of sex in their

and ignorance but the curiosity and intuition toward

times. In those years, sex was full of mystery and it was

new things. Sometimes I will think if we have lost our

closely related with divination and ritual. Today, it can

intuition and sensibility. The world of children since

be easily obtained and it has become a gymnastic sport”

to be eloquent in talking about the world but in fact,

their birth is filled with various kinds of information

like the two dogs in the painting of Tang. He may say

we are living in a simple mode deep in the heart. Tang

and everything can be obtained with extreme ease. The

that “when you see a nude woman lying in bed, there is

Zhigang has uncovered this mode that you can start

world has become more open, the value standard is

always an experience of exciting bewilderment. If there

to return to your childhood at any time if you really

more confusing, the excessive temptations have caused

is not much obstacle to be overcome in making love

want to. Maybe it can really rekindle the simplicity and

more anxiety, the enthusiasm of continual attention has

to a woman, there will not be anything so important,

naivety in your heart as you know that at any times, the

been weakened and people naturally have become the

revering and full of expectation for pleasure.” In most

simplicity and naivety have been proved to be the most

prisoners of temporary excitement. When the standard

of the time, those who are no more children still wish

powerful strength. To observe the world with the eyes

has been lost, all values are relative. When the world

that they were living in the state depicted by Tang and

of children, we are aware of the difference between

does not have any forbidden zones, can people maintain

Llosa and the inward thrill, appeal, fear and anxiety are

naivety and maturity. The people, in reality, are greedy,

naivety if they do not believe in any absolute greatness

so fascinating. At that moment, we feel we are living in

foolish, are living in crisis and full of sorrow.

and dream? I have been thinking that Tang’s adult

a real fairy tale world.

I often go to Tang’s studio located in Chuangku in

fairy tale, to a large extent, is to resist the darkness

The fairy tale of Tang is like a mirror that reflects

Kunming which is the earliest community of artists I

of reality and he is trying to gain new possibilities of

us, our friends and our life and it makes us feel rather

have planned and developed with Tang. In that place, I

life through the fairy tale he has created. On the other

genial. Looking at Tang, the characters in the paintings

will watch Tang’s paintings and think about the time. It

hand, his fairy tale is not limited to the provision of

and ourselves with a smile, they look like the playful

seems that fairy tales are no more welcome as people

escape as it contains the motivational story of an artist.

children who enjoy themselves and are unconscious of

are reading Harry Porter and Da Vinci Code. It appears

Facing the unsatisfactory reality, firmness, bravery and

the risks and danger that are nearby. The pleasure and

that all young people want to look childish although

compassion, it can arouse the softness in your heart

vigilance of life are slowly uncovered in the paintings

they cannot make themselves really naive. The word

instead of evading reality.

of Tang.

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A Narrator of

Surrealism Tang Zhigang's Expressionist Painting

超现实的叙述者 —— 唐志冈的表现主义绘画 策划：李琼波 徐游 Planned by Li Qiongbo, Shell Xu

采编：徐游 邓冬燕 Interviewed by Shell Xu, Dong dong

按：从民族性和地域性开始的云南当代艺术，形成了

the contemporary art of Yunnan started

recurrence and the return to nature. The observation of

其独有的艺术文化特色。云南代表艺术家、云南油画

from nationalism and regionalism

the nature with the artistic language that is characteristic

学会会长唐志冈以生动的绘画叙事性介入当代艺术

which has created its unique features

of regional quality and the study of painting itself are the

的立场，调皮的儿童是他一贯沿用的符号；而在近期

of artistic culture. Mr. Tang Zhi-gang, a

major features that are still the key point of expression

作品中，这个符号发生了改变——在叙事性的语境中

representative artist of Yunnan province

in Tang’s works. In addition, he has paid attention to

逐渐关注图像性，他将此视为回归物象，回归自然。

and chairman of Yunnan Oil Painting Society holds his

the evolution of art trend and has thought about the

以具有地域特质的艺术语言去观察自然，以及研究绘

position in entering contemporary art with vivid painting

problems related to the contemporary art. He thinks that

画本身仍然是唐志冈作品中的表现重点。同时，他也

narration and naughty children are a symbol that he has

the expression of painting is not the simple following of

关注艺术潮流演变，思考当代艺术的问题。他认为，

used. In his recent works, this symbol has changed as

trends and instead, and it is associated with the topics of

绘画表现不是对潮流简单的跟随，而是更多地回归社

he has gradually diverted his attention to the image in

return to society and nationality that are related with our

会、民族这些与自身现实环境相关的话题。

the context of narration and he regards it as the image

realistic environment.

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2015 香港汉雅轩《世象》个展现场 艺术家唐志冈 Tang Zhigang at Shixiang Exhibition at Hanart HK 2015

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《英雄》纸面水粉 HERO 55cm×80cm gouache 2015

《世象系列 - 困顿》布面油画 WORLD SERIES - EXHAUSTED 150cm×110cm oil on canvas 2014

画廊：从《成人会议》到《中国童话》《绿宝石》系列，

现在的创作对于我来说是不是孩子已经不重要了，原

态下的我是可读的，而且也是多解的，他会让人在一

再到现在的作品，都是对现实的描绘，大家说你的作

来画画是想好题材以后找资料，设计好故事主次，再

瞬间产生很多想法。我当时躺在病床上，喜欢盯着一

品是属于现实主义，你是怎么定义的？

找好形象，画完就完了。现在会反复修改，可能很长

个东西看，我看到面前的桌子上摆着一个孤零零的热

唐志冈：原来注重的是对现实的叙述，但现在的作品

时间都画不完，我现在更关心的是颜色、笔触、黑白

水瓶，手柄没有了，它的影子在墙上反射出很孤独的

在内容上是超现实的，在风格上则强调更多的表现性。

和画面本身的相互关系，我纠结的是绘画和图像的关

印记，它和白墙之间形成的关系：苍茫、交错、重叠，

我可能在超现实或意象性绘画之间犹疑，但中心的一

系问题，这可能是今天架上绘画要解决的根本问题。

这给我一种对生命的重新认识，这就是图像的力量，

个话题就是对语言有兴趣了。

因为今天是个图像时代，绘画是一个过去的事情，它

比画 100 个生动的孩子的力量还强大。我想人类的感

要向图像转移。怎么保证绘画既有图像元素，又保持

触是共通的，所以西方才会有抽象艺术。这时，我想

画廊：我觉得你还是在画现实中的物象。

绘画的感觉，并在今天具有可读性？这是我这几年的

我得从叙述当中出来，我得去思考图像的问题，我得

唐志冈：超现实就是从现实当中影射过来的，只不过

实践和研究，但是孩子的题材还会不停地出现。

学习纯绘画。但是我又有一个纯叙述的、写实的绘画

它并非完全来自现实的镜像，超现实的人物画得很写

历史，我怎么能够在这两者间构建一座桥，我想试着

实，但内容、空间关系和描述的事情，是现实当中没

画廊：2009 年，你因一场大病淡出了公众视野，在此

去挑战，去走另外一条路。这是我病了以后，作品发

有的，像梦境一样。

之后，你的作品较之前呈现出很大的不同，艺术上的

生转换的原因。

转变和这段经历有没有关系？ 画廊：你的新作变化主要是在形式上，主题上还是画

唐志冈：和生病肯定是有关系的。在病得最严重的时

画廊：从画面上看，现在的作品还在原来的那种阅读

儿童，儿童符号的内容是否有阶段性的意义？

候我很反感故事，因为你没有心情，什么都看不进去。

经验中，在形式的逐渐转变中，是否会摆脱掉这种主

唐志冈：儿童符号到现在仍在一个阶段，不同的是，

当时，真正给我力量的是纯图像。纯图像对于当时状

题性，尝试其他的绘画方式？

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《首长》纸面水粉 CHIEF 55cm×80cm gouache 2015

Gallery: Most of your works from Adult Meeting,

the content, spatial relationship and the things depicted

be the essential problem of easel painting that should

Chinese Fairy Tale and Emerald series to the

do not exist in reality and they are like a dreamland.

be solved. We live in an image time today and painting is an old thing, which should transfer to image. How

contemporary works are the depiction of reality and people say that your works belong to realism. How

Gallery: The major change in your new works is

can we preserve the image elements in the painting,

do you define it?

in form and the subjects are still children. Does the

the feeling of painting and the readability today? This

Tang: I previously have focused on the narration of

symbol of children have any periodical significance?

is my practice and research in the last few years but

reality but the content in my contemporary works is

Tang: The symbol of children is still at the same stage

the content of children will still appear in my works

surrealistic and it emphasizes the expression in style.

but the difference is that the subject of children is no

repeatedly.

I may have hesitated between surrealistic painting and

more important to my current creation. My previous

imagery painting but a topic in my heart is that I have

paintings were completed in the sequence of subject,

Gallery: In 2009, you disappeared from the view

an interest in language.

material preparation, design of the plot and image

of the public due to a bad illness. Afterward, your

preparation. I now will repeatedly make corrections

works exhibit a big difference. Is the change in art is

Gallery: I feel that you are still painting images in

and sometimes it takes a long time for me to finish a

related to this part of experience?

reality.

painting. I care more about the interactive relationship

Tang: It is certainly related with the illness. I did not

Tang: Surrealism has derived from realism although

between colors, brushwork, black and white colors

like stories when I was seriously ill because I did not

it is not completely from the reflection of reality. The

and image itself. I think about the solution of the

have the mood to read. At that time, it was pure image

characters in the surrealistic paintings are realistic but

relationship between painting and image, which can

that gave me strength. Under such circumstance,

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《达卡 3》布面油画 DHAKA NO.3 41cm×41cm oil on canvas 2016

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pure image was readable to me. Pure image can be interpreted

oil painters to paint landscapes. Painting from life has greatly

differently and it can arouse various ideas at an instant. When I was

influenced me in painting because the imagery in painting from life

sick in bed, I liked to stare at one object for a long time. When I

is the seeking of the relationship between the objects and self. It is

saw a thermos bottle without the handle standing alone on a table, I

like the development of the traditional art in early years from the

observed its shadow on the wall which reflected a very lonely mark

modern time to the contemporary time which has been developed

and its relationship with the white wall that was vast, interactive

from the contextual relationship between the objects and self and

and overlapping. It has allowed me to regain my understanding

it is the choice of a man between objects and me. It is difficult for

of life and it is the power of image which is more powerful than

me to be rid of this order. Landscape painting has allowed me to be

painting 100 vivid children. I believe that the sense of human

in the reading relationship between objects and self and I have not

beings is common and

completely got rid of the

that is why abstract art has

objects.

emerged in the western countries. At that time, I

Gallery: You often paint

thought of walking out of

from life recently and

narration to think about

you pay great attention

image and to study pure

t o p a i n t i n g f ro m l i f e .

painting. As I have a pure

As you previously have

narrative and realistic

said, many children in

painting experience,

your works are from life.

how can I build a bridge

However, the creation

between the two? I want

of many artists is not

to try the challenge and to

painting from life. Will it

walk on a different path.

become a habit which will

That is the cause of the

evolve to self-copy if they

change in my works after

are isolated from objects

I was ill.

for a long time?

Tang: We are all thinking about this issue. I think

G a l l e r y : To o b s e r v e the images, your current works are still limited to the original

that this type of art is conceptual or it is formalism. It is difficult

reading experience and are gradually changing in form. Will

to change this habit. Many artists resist the objects they have

you abandon this topicality to try other painting techniques?

observed, particularly the modernist artists. They care about

Tang: I think it is impossible for me to completely change the

forms, techniques and innovative creation. However, when they

form or the way of reading and viewing, or to use other materials

turn back to look, they will find that their works ten years ago are

for creation. I do not want to abandon painting and will continue

more or less the same as their works today. As aesthetic taste and

to have a subject but it will be more expressive, more imagery and

logic thinking have become individualized, even the mechanism

more abstract on this basis. Now, I do not care about the market as I

fabricated will look alike.

hope to make some new trials but the image will not be completely unrelated with Children’s Meeting. I wish to hold an art exhibition

Gallery: I think this is due to the fast development of time, the

which is named as Meeting Continued. Art should intervene in real

flattened information and the copying from each other.

life and I do not agree with the art that is completely unrelated with

Tang: This leads to another issue. Which one is more valuable,

the realistic society.

regionalism, nationalism or individualism? I have been thinking,

Because of my health problem in recent years, I have spent

does Yunnan have a clear direction or image, and what are the

much time in painting from life, in training students or organizing

features of the artists in Yunnan? To observe from its geographical

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《政治蛋糕》布面油画 POLITICAL CAKE 170cm×204cm oil on canvas 2012

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《政治蛋糕》（局部）布面油画 POLITICAL CAKE (detail) 170cm×204cm oil on canvas 2012

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《水泡》纸面水粉 BLISTER 55cm×80cm gouache 2015

唐志冈：完全改变形式，或者完全改变阅读观看的方

写生本身对我的绘画有蛮大影响，写生里面的意象性

会形成一种习惯，从而演变成自我拷贝？

式，或者用其他材料创作，我觉得都没有太大的可能性。

是在找寻物和我之间的关系，正如早期传统艺术从现

唐志冈：我们都在思考这个问题，我认为这样的艺术

我还不想放弃绘画性，还是会继续有一个主题，只不

代到当代，它是从物和我之间的脉络关系中过来的，

很概念化，或者说是样式主义。而且这种习惯不容易改。

过会在这个基础上更有表现性，更意象，或者更抽象。

是一个人对物和我之间的选择。所以对我来说，我很

有很多艺术家在这条道上，一直抵制所见的对象，特

现在，我不关心市场，我希望可以做一些新的尝试，

难摆脱这样的秩序，风景写生让我一直处在对象和人

别是现代主义类型的艺术家，他们在意样式，在意方法，

但是画面不会完全跟《儿童开会》没有关系。我想办

之间的阅读关系中，并没有完全摆脱客观对象。

在意创新创造。但是回过头整体一看，他 10 年前跟今

一个展览，叫“继续开会”。艺术应该介入现实生活， 我不太赞成完全跟现实社会没有关系的艺术。

天的作品大同小异，因为审美趣味和逻辑思维已经极 画廊：你最近经常写生，也很注重写生，之前我们也

还有，这几年因为身体的原因，我花了很多时间

聊到你的儿童很多是从生活中取材的，然而很多艺术

去写生，带学生，或者组织云南的油画家去画风景。

家的创作方式是非写生的，如果长期脱离对象，会不

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具个人化了，哪怕是做装置也会变得很像。 画廊：我觉得这可能是时代发展得太快，信息处于扁

relationship with South Asia and Southeast Asia without considering the advancement, backwardness and time of culture, Yunnan belongs to the drainage basins of Lantsang River and Mekong River. Any civilization is associated with rivers. We are facing the culture of the Central Plains in the basins of Yangtze River and Yellow River which is an influence. What relationship does Yunnan have with the culture of the Central Plains?

Gallery: The contemporary art in Southeast Asia seems to have more characteristics than the Chinese contemporary art because the Chinese contemporary art seems to have been copying and inheriting in recent years and it does not have the regional features which you have mentioned and it seems to have the sameness. Why have we been lagged behind although our contemporary art movement started earlier than them?

Tang: The problem is still related to the economy because they have solved the problem of the system.

《宴会》纸面水粉 BANQUET 55cm×80cm gouache 2015

Those countries were in the process of colonial culture development at the beginning and the artists in the countries such as Malaysia, India, and Thailand have their religious culture and they have used their strong religious culture to dock with the western culture.

In the 50s and 60s of the last century, the painting techniques of the artists in Viet Nam were the same as the techniques of the French artists. Our artists went to View Nam to study and the French artists came to View Nam to teach. Decades later, we are still entangled with the problems related inside and beyond the system. We also have the problem of nationalization of western painting which is another problem related to the contemporary art beyond the system. We are wandering what is art and what is not art while they have solved this problem a long time ago.

Gallery: You went to college in Beijing in the past and have lived there for a long time. Beijing has more resources for an artist and it has more advantages for development than Yunnan. Why did you choose to return to Yunnan?

《演讲》纸面水粉 SPEECH 55cm×80cm gouache 2015

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艺术家唐志冈工作室 artist Tang Zhigang's studio

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《朝鲜人》纸面水粉 NORTH KOREAN 55cm×80cm gouache 2015

平化，相互在模仿的原因。

唐志冈：他们的问题还是跟经济有关系，因为他们解决了制度的问题。他们一开始就

唐志冈：那么就要提出一个问题：地域性、民族性和个人性，哪些东西有价值？我这

处在殖民文化的发展过程中，像马来西亚、印度、泰国的艺术家，他们有自己的宗教

段时间也在想，云南到底有没有一个明确的方向和形象，云南的艺术家该是什么面貌？

文化，他们以强大的宗教文化对接西方文化。20 世纪的五六十年代，越南一些老画

如果不讲文化的先进、落后，不讲时代，就从南亚、东南亚的地缘关系上来看的话，

家的画法跟法国艺术家一模一样，我们的艺术家到越南去学习，法国艺术家也会到越

云南属于澜沧江湄公河流域，任何一个文明都跟河流有关，我们天天面对的是黄河长

南来办学。几十年过去了，我们似乎还是在体制内和体制外的问题上纠结。我们有一

江流域的中原文化，这是一种影响，但云南跟中原文化有什么关系？这就是我们需要

个西方绘画民族化的问题，又有一个体制外的当代艺术的问题。当我们还在纠结什么

思考的问题。

是艺术，什么不是艺术，他们早就解决了。

画廊：东南亚的当代艺术似乎比中国当代艺术更有特色一点，而中国当代艺术在这几

画廊：你之前在北京念书，也在那生活过很长时间，北京对于艺术家来说资源更多，

年似乎一直在复制、沿袭，更没有你说的地域性特点，似乎很同一化，为什么我们比

发展比云南更有优势，为什么你会选择回到云南这个地方？

他们更早开始当代艺术运动，反而滞后了呢？

唐志冈：一个很重要的因素是这里的阳光，阳光充足，色彩会变得丰富。云南有一种

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《会议桌》纸面水粉 THE MEETING TABLE 55cm×80cm gouache 2015

Tang: One important factor is that Yunnan has sufficient sunshine and the colors are

Galley: What do you plan to do in the next step?

rich. Yunnan has a special purple color which is the chord of all colors combined. Only

Tang: I will continue with easel painting although some people say that Mr. Tang, you

the purple color in Yunnan is rich. Beijing has its purple color but it is different from

can try some performance art or mechanism. I think that my enthusiasm is in topics

the purple color of Yunnan and it is not as rich. The geography of Yunnan is complex

related with the Meeting in the earlier years but it will be different from the previous

which has cold zones, temperate zones, tropical zones and subtropical zones, and

discussion and representation. The Chinese contemporary art has a history of 30 years

the land forms are various. There is not any other province in China that has the rich

today and I think the most typical, most valuable and most vivid part is painting. The

geographical features as Yunnan. In Yunnan, I can paint rich things when I paint from

other types of art such as mechanism or performance art are in the context of western

life and will have many possibilities. I feel that one day I may change myself into a

contemporary art. With regard to the Chinese contemporary art between the 90s and

painter of pure colors.

the 21st Century, the paintings are very vivid and they have deeply reflected the time.

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特别的紫颜色，紫是所有的颜色加在一起的和音，只有云南那么丰富。北京也有紫色，

艺术家所体现的文化个性已经非常地小了，当然，这和国家、民族之间的差异性非常

但和云南的紫不同，它没有那么丰富。再加上云南的地缘复杂，寒带、温带、热带、

地小，已经不容易识别了是有关的。

亚热带都有，地貌特征也变幻无穷，没有一个省可以像云南这样拥有这么丰富的地缘 类型，所以在这儿写生，我可以画出很丰富的东西，会有很多的可能性，我觉得有一

画廊：作为云南油画学会会长，对于云南未来的艺术推广，有些什么想法呢？

天搞不好我就变成一个纯粹的色彩画家了。

唐志冈：我考虑的不是没有实质性的空市场，我觉得应该走出去，向南亚、东南亚拓 展。今后要在云南的区域里面扮演推动者的话，我想朝这个方向去努力。我们跟他们

画廊：接下来打算做一些什么样的尝试？

只有一河之隔，居然对他们那么陌生，他们的艺术家是多元的，又做装置，又做行为

唐志冈：我还是会继续做架上绘画。尽管有人说，唐老师你也可以做点行为艺术，或

艺术，又做绘画，而我们的艺术家特别类型化。这也是一个时代或者一个制度造成的。

者装置。我认为我的热情肯定还是会放在与早期的开会有关系的话题上，但是和过去

通过我们以后的独立工作，或许能改变这个现实，年轻艺术家参与到这些活动当中，

讨论的、呈现的会是不一样的东西。中国当代艺术到今天已经 30 年时间，我认为，

能跟当地的艺术家去交流。12 月的第一个周，马来西亚的一个亚洲艺术博览会，我

最典型、最有价值的，最生动的，还是绘画。装置或者行为等等其他类型的艺术，都

作为特邀嘉宾过去参观，就是为了以后能够和南亚、东南亚这些国家建立相互的关系，

是在西方当代艺术的语境当中。中国当代艺术从 90 年代到 21 世纪这个阶段的绘画是

他们对当代艺术的认识和理解，我认为比我们要成熟很多，他们在这个体制的系统当

非常生动的，他们深刻地反映了那个时代。那个轰烈的时代，带着一种真诚，一种虔

中，时间比较长。未来还很难定论，只能表明在目前状态上我的一点看法。

诚的宗教式情节。当时的艺术家非常熟悉自己的生活，非常熟悉自己的社会。今天，

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That time is dynamic with sincerity and a pious religious sentiment. The artists at

able to change this reality through our independent work and the young artists can

that time are very familiar with their life and their society. Today, the individualism

communicate with the local artists in those countries when they participate in these

of culture represented by the artists is very small because the difference between the

activities. I have been invited to attend an Asian art exposition held in Malaysia in

nation and the nationalities is very small which is difficult to identify.

the first week of December and my purpose is to establish relationship with artists in the South Asian and Southeast Asian countries. I think that they are more mature in

Gallery: As chairman of Yunnan Oil Painting Society, what ideas do you have

their knowledge and understanding of contemporary art because they have been in

regarding the promotion of art in Yunnan?

this system for a longer time. It is hard to define the future and I can only present my

Tang: What I consider is not an empty market without substance and I think that

personal opinions under the current conditions.

we should go out to develop toward South Asia and Southeast Asia. I hope to work in this direction if I will play the role of promoter in Yunnan in the future. We are strangers to them although we are only separated by a river. Their artists are diversified and they make art installations, performance art and paintings while our artists have been classified, which has been caused by the time and the system. We may be

《绿影》（局部）布面油画 GREEN SHADOW (detail) 162cm×130cm oil on canvas 2014

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《宠物系列》（局部）布面油画 PET SERIES (detail) 146cm×114cm oil on canvas 2007

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李季 Li Ji

Li Ji: Keeping Company with “Contemporary Animals”

李季：与“当代动物”为伍 撰文：李森（云南大学艺术学院院长） Written by Li Sen ( Dean, College of Arts and Design, Yunnan University )

我看见，李季六岁时的习作充盈着传统美的观念，那种白

capture with my eyes the concepts of traditional

描式的亲切和伤感，那种童话般的稚拙和情怀，打开了他的图

beauty that gush from the childhood works by the six-

式塑造的心灵。这是一种文学性的根深蒂固的文化承传。没有

year-old Li Ji, in which the line-drawn affability and

牧歌般的声音和形象缔造过的心灵，是粗糙的。表面看来，这

melancholy as well as the fairytale-like naivety and

种文化传统的诗学隐喻，与所谓当代艺术的语言表达相去甚远，

sentiment opened his mind of schematic modeling.

事实上，传统文化的心灵养育，从来都是任何一个时代当代艺

It’s a deeply rooted cultural lineage with a literary bent, a coarse

术发育和创作的基础，即便这一基础已经变成了一种俗文化的

representation without idyllic sound and finely shaped mind.

隐喻模式，它也是一个人的成长不能不面对的集体记忆。在我

On the look of it, this poetic metaphor from a cultural tradition

看过的李季极少数的版画中，也能发现传统抒情元素构建的精

is a far cry from the expressions of language of the so-called

神世界对他的造就。太阳、月亮、房屋、树杈、山羊、窗户、

contemporary art, but, in fact, the spiritual nurturing of traditional

眼睛、黄昏、大地、海洋、波涛等等，以及在这种种诗的意境

culture has always served as the bedrock of the development and

中人的抽象或具象的存在，给予过他足够多的关怀。没有这个

production of contemporary art in any given era, which, though

积淀，那种消解隐喻的解构主义重构，就没有根据。 “美”、 “丑”、

having already turned into the metaphorical mode of a common

“创新”，都有自己的“母语”。

culture, continues to be the collective memory that none shall

与许多当代中国艺术家一样，李季在 20 世纪 90 年代初期

evade from in their personal development. In the rare examples

的创作，正是对艺术的抒情程式和革命化写实主义、英雄主义

of Li’s engraving works, I could observe the formative impact

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《青海湖》布面丙烯 QINGHAI LAKE 60cm×90cm acrylic on canvas 2016

的对抗。此种对抗或与文化中心城市流行的玩世现实主义观念有着密切的联系，或与

生的新一代艺术家，为了激活现代主义程式的、一次新的艺术洗礼。也是所谓“精神

艳俗艺术的观念程式进行呼应。在 20 世纪 90 年代初期，这是一个以一种观念对抗另

破碎”的“无聊”时代的一次集体性的精神突围。无论是“痞子”、“堕落”、“俗

一种观念，以一种隐喻消解另一种隐喻的潮流。以岳敏君、邓箭今式的“丑陋”人物

气”，还是“丑陋”、“无聊”，这次“突围”都是成功而有效的。此是艺术进程连

形象解构革命现实主义和人文现实主义的宏大主题、集体艺术心灵样式，解构优美

环套中的一环。

和崇高的诗学造像，是《女郎 No.1》（1993—1994）、《笑脸》（1993）、《女郎

不过，正当峰涌浪骁之时，一些艺术家也在思考，在艺术语言的革新方面到底有

No.4》（1995）等作品的语言特征。不管这种语言是谁最先应用，但有一点可以肯定，

没有恒久意义，有没有主题观念之外的本真艺术直观表现——那种童真般的艺术游戏

在这一个时期，几乎所有门类艺术的先锋艺术青年，都尝试着这等解构主义的创作。 “解

直观表现在哪里呢？ 80 年代理想主义的破碎来得如此突然，“无聊”、“无辜”、“无

构”是潮流的灿烂之浪，李季膺服于这个潮流，是浪涌的一个音符。这是背离 20 世

意义”的价值疲软，来得何其速也，连先锋艺术家们似乎都没有来得及认真反省，就

纪 80 年代现代主义大潮探索的一个结果，是背叛的再次背叛，是 20 世纪 60 年代出

已经弄巧成真。这一点，李季是很清楚的。他在 1996 年总结道：“虽然艺术家尽可

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of the spiritual world built by traditional lyric elements on him. He has received sufficient care and affection from the sun, moon, houses, branches, goats, windows, eyes, dusk, earth, sea, waves and much more, as well as from the abstract and concrete human presence in all these poetic imageries. It is this heritage that justifies the deconstructive reconstruction which dissolves the metaphors. Be it “beauty”, “ugliness” or “innovation”, there is an inherent “native language” for all.

Like many other contemporary Chinese artists, Li Ji’s art practice in early 1990s was a confrontational effort against the lyric stereotype of art and the revolutionized realism and heroism. This confrontation was either closely tied with the idea of cynical realism prevalent in cities as the center of culture, or resonating with the conceptual pattern of Gaudy Art. The early 1990s was typified by this movement of confronting one concept with the other, of dissolving one metaphor with the other. The characteristics of art language in Lady No.1 (1993-1994), Smiley Face (1993), Lady No.4 and others were manifest in the “ugly” images of figures, following the style set by Yue Minjun and Deng Jianjin, that deconstructed the grand themes

《隆务寺》布面丙烯 LONGWU TEMPLE 60cm×80cm acrylic on canvas 2016

of revolutionary realism and humanistic realism, the spiritual pattern of collective art and the graceful and sublime poetic image-making. No matter who pioneered the use of this art language, one thing we

prime, some artists threw in some contemplative efforts

should also possess its own visibility and the necessary

are sure of is the almost universal attempt made by

to question the presence, or absence, of eternal meaning

readability of the tradition of painting art. When the

avant-garde young artists of all art genres of that time

in revolutionizing the art languages, of the intuitive

art of painting loses its own glamour and is reduced

at practicing this deconstructive art. “Deconstruction”

expression of purified art besides being loaded with a

to the sole functionality of illustrating pictorially an

was in the teeth of the stormy artistic trend, and Li Ji

thematic concept —where is the intuitive expression

empty concept and principle, it shall, at the end of the

admired it, and became a note in that chamber music.

of the game of art with childlike innocence? Idealism

day, relinquish its own art language and become a mere

It was the outcome of departing from the exploratory

was shattered to pieces, quite out of the blue, in 1980s,

manual of understanding some concept.”

practices of the mainstream Modernism in 1980s,

whereas the values of “boredom”, “innocence” and

I somehow admire Li Ji’s prudent stand that he

a double betrayal that betrayed the revolt, a new

“meaninglessness” were declining so fast that even

kept all along as an insider of the fervently blooming

artistic baptism by the new-generation artists born in

avant-garde artists couldn’t afford the time for some

artistic trend. It seems that he is keeping a constantly

1960s to invigorate the patterns of Modernism, and a

serious introspection before the iron was cast. Fully

wary mind and cleaning himself up. This caliber that

collective spiritual breakout in the age of “boredom”

aware of it, Li wrote summarily in 1996, “Though

he owns suffices him to pursue his personal ambition

with “shattered spirits”. Call it “riffraff”, “degradation”

artists try their best to use the most direct and explicit

and give birth to a personal style of art in the general

or “vulgarity”, or “ugliness” and “boredom”, this

way to interpret art, painting seems not possess

trend of art. On the one hand, he is closely aligned with

“breakout” is nonetheless successfully and effective. In

its innate meaning. Its meaning only exists when

the expansive dynamism of Chinese contemporary

the interlinked chains of art in progression, it finds it.

expressing a certain idea, which compels us to think

art discourse and timely practices the historical

that, besides its conceptual meaning, the art of painting

transformation of contemporary art language; while

However, when the tidal wave of art was in its

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《最后的大自然 - 祈祷》布面丙烯 THE FINAL NATURE - PRAY 210cm×300cm acrylic on canvas 2010

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《最后的大自然》（局部）布面丙烯 THE FINAL NATURE (detail) 220cm×250cm acrylic on canvas 2009-2010

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《最后的大自然 2》布面丙烯 THE FINAL NATURE NO.2 210cm×300cm acrylic on canvas 2010

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《丛林猫》布面丙烯 JUNGLE CAT 60cm×80cm acrylic on canvas 2016

《豹猫》纸本 LEOPARD CAT 54cm×38cm paper 2016

on the other hand, he is also driving into the universal

shapes. In a blunt way, he made the quick transition of

dissolving trends, like two sharp blades, threaten the

principles of art that are immune from the ideas of

replacing the light-and-shadow structure born in the

livelihood of interest groups of academic and traditional

the time. It has always been a dilemma that few could

sketching method of traditional academic painting with

painting in such a forceful and ruthless manner that

manage with ease and appropriateness—the ability

the visually intuitive color and shape in his paintings.

they are completely caught off guard. This waning trend

to both keep the intuitiveness and simplicity in one’s

The light-and-shadow modeling that invests its belief

has lost the control in institutional support, and avant-

own talent and know-how and to isolate oneself from

in the sketching method from the academic origin

garde art is not alone in the league of embarrassment.

the “contemporary ills”, never pandering to tradition

for coloring and portrayal makes up the burdensome

On the pro side, it marks the ascending journey to glory

and the current “vulgar practice”. Li Ji’s prudence

cross that plastic arts have to carry since the dawn of

of contemporary art. As a player of avant-garde art,

powers his works to move ahead towards enhancement,

modern times, and purports to be the golden rules of

Li Ji has moved head-on with a prominent and clear-

towards his desired realm of excellence. In an age when

the dying academic schematic structure. The techniques

cut profile in the buzzing and crowded contemporary

contemporary art market is bordering frenzy craziness,

of horizontal painting, monochromatic lines for

art movement. In both thematic concepts and painting

Li knows all too well that the closer one is to the

intuitive representation (color blocks) and anti-focal

techniques, he has kept riding the tide in avant-garde

market, the more likely the aftermath of losing both art

perspective in contemporary art are indeed a wave

art with an edge of sparkling sharpness and a decisive

and the market.

of self-examination on the compositional methods

separation of swift resolution.

Is there any universal principle of art? This time-

of sketching, color, light and shadow, and depth in

Gaudy Art in the mid and late 1990s is one

honored proposition places itself like a shrine, in front

academic painting, which also affronts contemporary

necessary trend in the art history when both the

of which all artists have responded with their own art

art with all sorts of defame (Yet the techniques of

power of thematic concept and painting technique

productions. Li Ji’s artistic insights predetermine that

monochromatic lines for image-making and horizontal

was dissolving. But, of course, it is but a strand of

he couldn’t keep one same established avant-garde

painting are no novelty in the history of visual art.). It

the complex flows of contemporary art. Li Ji’s oil

posture for his lifetime. Beginning in mid-1990s, the

can be otherwise paraphrased that contemporary avant-

paintings during that time were markedly presenting

painting techniques of Li Ji’s grew in maturity and

garde painting not only dissolves the deep structure of

some touches of Gaudy Art in their composition

sophistication, adopting purer and cleaner colors and

theme and concept, but also of techniques. These two

and contemporary art language, though the creative

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《宠物在北京》布面油画 PETS IN BEIJING 220cm×250cm oil on canvas 2007

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methods of his art and of those directly drawing materials from political ideology and language of folk art convention (like bright red and purple for exaggerated sharpness) were quite different. Very soon, we saw the Lady Series change into the Room Series and Pet Series. After following the vogue of painting “cynical” and “gaudy” faces, Li quite straightforwardly placed the face of the figures outside the composition in the bulk of his Room Series and Pet Series, offering faceless compositions, a method of his that was possibly attributed to the “inspiration” and method of the camera lens randomly focusing on local details to create a local, concrete pictorial effect. We shall always remember Li’s position as a photographer teaching photographic techniques, necessitating the effect on his oil paintings from the lens language of “random candid photography”, and his background as a printmaking artist by training, an art genre with its own surface compositional elements in the folk tradition. But more importantly, he intended to break the controlling input from the faces for the pictorial equilibrium, so as to dissolve the binary opposition between the “beautiful” and “ugly”. Indeed, no matter it is the “big-headed ruffian” or “small-headed hooligan”, or the flirting “facial features” extruding keen affection and gleaming with amorous glances, as long as the face is in the picture, it will seize the duty of dominating the conceptual and aesthetic orientation of the painting. The composition of “random candid photography” is without any dispute about establishing and confirming the visual position of the non-generalized local world. This very position, in traditional techniques and compositions of fine arts, is the turf of the faces, and subsequently subordinate to the metaphorical framework of the theme. The painting method of “random candid photography” respects the partiality, concreteness and blindness of visual facts and is founded on the reflection and re-establishment of the cultural norms of vision after refuting the particular details. We have also come to clearer terms of the fact that the vision of mankind doesn’t really go by the summarized principle in visual art history that it should have a steady schematic focus or center of gravity, that it must possess a conceptual and cultural core or pattern for reference. We should be noted that there have always been multifarious options and alternatives in the complexity and uncertainty of visual concept and vision itself. The schema of golden section of the

《宠物在巴黎》布面油画 PETS IN PARIS 146cm×114cm oil on canvas 2008

human body is the choice made by visual culture, whereas the abolishing of the golden section is also in compliance with visual authenticity.

Whilst removing the role of faces in composition, Li is also aware that the image

present the same visual symbol of the “carnal desire” in the popular culture, “nastily”

of faces itself is not a cultural mistake of vision. Culture in its own right is prescriptive,

splendid and “uglily” blooming. Many painters used it as an expressive theme in the

so is aesthetic culture. The established norms of culture are sharp or brutal, warm

hope of breaking down the stronghold of expressive stereotypes. They either used

or charming from time to time, so is aesthetic culture. The lens of “random candid

customary flamboyance to antagonize simplicity, or deployed accustomed emotion

photography” can be set towards the local, or aligned with the whole from a given

against elegance. Anyhow, they tried to undermine the established rules of aesthetics

angle. Knowing it, we can argue that the randomness in Li’s composition is not a

to enable the self-knowledge and innovation of art language. By putting both the

matter of expediency and is footed in an academic headspring with contemporaneity,

vulgar beauty and animal in the painting, Li activated the tension of the pictorial

where the nuanced steps of the evolving art history are only available to the discerning

metaphor. He is a genius in proposing this thematic combination, which, on top of

eyes. He found the subject matter of animals, and combined it with the subject matter

its contemporaneity, critiques the everlasting metaphors of daily life and their poetic

of the garnish, coquettish ladies in around 1998 and began to work on them. Those

attributes.

ladies, whether as intimate drinking companions in clubs or late-night sex workers,

The metaphorical relation that Li created by putting both the gaudy and coquettish

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能地用最直接最明确的手法来解释艺术，但绘画似 乎在这里并没有其本身的意义，其意义只有在表达 某种观念中而存在，这使得我们不得不去思考这样 一个问题，即：绘画艺术除了其观念性的意义以外， 还有自身的可视性及绘画艺术的传统可读的必要 性。如果绘画艺术丧失了它自身的魅力所在，唯一 的功能在于图解某种空泛的概念及道理，那么最终 也就丧失了绘画的自身语言能力，而成为某种观念 的说明书。” 我的确有点钦佩李季在局内对火热的艺术潮流 保持着的审慎态度。他仿佛时刻都在告诫自己，清 理自己。这种素质，足以在艺术潮流中驱使个人抱 负的实践，催生个人风格的诞生。一方面，此人紧 紧把着中国当代艺术话语扩张的脉动，适时实践当 代艺术语言的历史转型；另一方面，他又在思考艺 术自身不受时代观念影响的普遍法则。这永远是个 两难的问题，很少有人拿捏得恰到好处：既能保持 自身天赋才能的直观和淳朴，又不流于“时弊”， 屈从传统和当下的“恶俗”。李季的审慎态度使他 的作品不断精进，向着他渴望达到的境界拓展。在 当代艺术市场近乎疯狂的时代，李季知道，越是靠 近市场，最终失去的肯定是艺术和市场。 有没有艺术的普遍法则呢？在这个古老的命题 面前，就像立于一个神龛面前，每个艺术家都必须 以自己的创作，表现出回答的姿态。凭李季的艺术 洞察力，他不可能保持一个既定的先锋姿态不变。 从 20 世纪 90 年代中期开始，李季的绘画技术更 臻于成熟，色和型更加单纯、洁净，说得直接点， 就是他的画面，很快就力求以色与型的直观，取代 了来源于传统学院素描画法的光影结构。来源于学 院式的传统素描，相信这种素描画法，然后进行着 色描绘的光影造型，是近现代以来造型艺术背负着 的一个沉重负荷，也是垂死的学院派图式结构的 金科玉律。当代艺术中平涂、单色（色块）直观、 反焦点透视的技法，的确对学院派的素描、色彩、 光影、深度的构成法进行了一次画法上的反思，也 使当代艺术不得不面临各种诋毁（不过，就视觉艺 术的历史来看，单色直观造像与平涂法并不新鲜）。 《宠物系列》布面油画 PET SERIES 146cm×114cm oil on canvas 2008

也即是说，当代先锋绘画不但消解着主题、观念上 的深度构造，也消解着技法上的深度构造，这两把 锋利的刀子架到了学院派和传统绘画利益集团的 脖子上，下刀可谓狠也，连学院派和艺术既得利益 集团都措手不及。因为这个潮流已经失去了体制

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《大宠物系列》布面油画 BIG PETS SERIES 162cm×130cm oil on canvas 2008

ladies and animals in the paintings gives our aesthetic experience a sudden, retarded

engendered by Li’s attempts at employing different animals as subject matters in

burst and an absurd strangeness, like when two metaphorical blocks had an unexpected

comparative conjunction with coquettish ladies. When the coquettish ladies are drawn

rendezvous. It’s an aphasia caused by the destroyed established rules of aesthetics,

side by side docile cats and dogs, the extent of aphasia is not that strong for these

a silent and peaceful deconstruction, which can be tentatively called metaphorical,

meek animal subjects are often the companion animals or play things in our daily

realistic deconstruction with horizontal painting. I can feel the deconstructive force

life, so the realistic property is more than deconstructive labor. But when a glossy

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视觉地位，而在传统美术技法和构图中，这一地位是 从属脸谱，也就是从属于主题隐喻框架的。“随意抓 拍”这一画法，既尊重视觉事实上的局部性、具体性、 盲目性，也是基于对视觉的文化成规的反省与破立。 我们越来越认清了这样一个事实，人类的视觉并不像 视觉艺术历史概括的那样，总是有一个稳定的图式中 心或重心，有一个观念的、文化的观照核心或样式。 必须看到，视觉观念和视觉本身的复杂性和不确定性， 从来都具有各种选择的可能。人体的黄金分割图式是 视觉文化的选择，破除这种黄金分割也是对视觉真实 的遵从。 李季在消除脸谱构图的同时，当然也知道脸谱视 像本身并不是一个视觉的文化错误。文化本身就具有 规约性，审美文化亦如是也。文化成规有时是锋利的， 有时是残暴的，有时也是温柔迷人的，审美文化亦如 是也。“随意抓拍”的镜头既可以对准局部，也可以 对准从某个角度观看的整体。也就是说，李季的画面 构成的随意性并非权宜之计。其有当下性的学术来源， 那种艺术史演进的细微之处，只有明眼人可以洞见也。 大约从 1998 年开始，他找到了表现动物这一题材，并 与当代红尘艳俗女子的题材相结合。红尘艳俗女子不 管是坐台的，还是出台的，反正在视觉中都是“肉欲 横流”的俗文化“鲜肉”。“烂”得灿烂，“丑”得 怒放。许多画师，都是拿来作为一种表现题材，以期 捣破表现窠臼之坚。或以艳丽为俗对抗淳朴，或以抒 情为俗对抗典雅，反正都以破坏审美成规为契机，达 到语言自觉与创新的目的。李季把艳俗粉黛与动物画 《宠物系列》布面油画 PET SERIES 190cm×170cm oil on canvas 2006

在一起，确实激活了画面隐喻的张力。就从题材组合 而言，李季的这一想法是很富有天才的。这种组合不 仅具有当代性，而且具有对恒久的日常生活隐喻与诗 性隐喻的批判。

性的手段控制，尴尬的已不是先锋艺术。这是当代艺

和“宠物系列”的多数作品，干脆把人物的脸谱切割

术的光荣历程。作为先锋艺术的在场者，李季在人头

到画面之外，形成无脸谱构图的画面。这种方法或得

李季把艳女与动物画在一起，创造的隐喻关系，

攒动的当代艺术运动中，一直往前，面貌醒目。无论

益于照相镜头随意抓取局部，以造成局部的、具体的

如两个隐喻板块之间的相遇，使审美突然产生了审美

在主题观念，还是在技法上，他的画面总步先锋之韵，

画面效果的“灵感”和方法。我们不能忘记李季是个

智障的震荡，也带来了一种荒诞的陌生感。这是一种

锋芒何其锐，斩乱何其速也！

教授摄影技术的摄影师，他的油画深受“随意抓拍”

审美成规被破坏了的失语，是一种无声的、平静的解构。

90 年代中后期的艳俗艺术，是主题观念和技法双

的镜头语言的影响；同时，李季还是个学版画出身的

姑且把这种解构方法叫做平涂隐喻写实解构主义。我

重消解后的一个历史走向。当然，这只是当代艺术复

版画家，版画这个艺术品种本身就具有民间性的平面

感受到，李季在尝试使用不同动物作为题材，与艳女

杂潮流中的一脉。李季这个时期的油画在构成和当代

构成因素。但更重要的是，他要打破脸谱对画面均衡

比赋而滋生的解构力量，或许把艳女和温顺的猫狗画

性语言上确有一些艳俗艺术的感觉，不过，李季的艺

力量控制，以此来消解“美的”或“丑的”二元对立。

在一起，那种失语感还不算强烈，因为温顺的猫与狗，

术与直接取材于政治意识形态和民间性艺术俗套语言

我们的确看到，无论是“痞子大头”、“流氓小头”，

是一些人日常生活中的宠物或玩物——写实性大于解

（比如大红大紫）的创作方式很有不同之处。很快，

还是含情脉脉、秋波频频的“五官”挑逗，脸谱只要

构性，可是，把一只油光可鉴的嫩猪，一只毛发不生

《女郎系列》，次第变成了《房间系列》《宠物系列》。

在画面上，就会主导画面的观念和审美走向。“随意

的裸猪，一只垂涎欲滴、骄傲而温顺的宠物猪画在艳

李季在“玩世”和“艳俗”脸谱潮流之后，其“房间系列”

抓拍”的构图，无疑是要确立不加概括的局部世界的

女的胸前、躺在艳女的肉上、露出超写实的猪奶和屁

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《宠物系列》布面油画 PET SERIES 200cm×250cm oil on canvas 2008

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股，猪与艳女两个隐喻层面的碰撞力量就让人惊慌 失措了。人们也许会把猪与艳女的关系看成龌龊、 放荡的性隐喻，当成对当下社会生活中烂人、烂 事、烂物的批判——这似乎是顺藤摸瓜式的习惯性 解读。其实，我观李季的画，并没有如此简单直白 地迎合审美的习惯性冲动。李季的可贵之处，是他 在处理世俗性的龌龊隐喻层面时，与这个隐喻层面 保持着高度的警惕，此人以那种冷静、客观，甚至 是残酷的视觉，创造了观察的距离，以至“性”的 关系只表现出一种性征符号（记号），甚至连直截 了当的批判性，也控制在绘画语言的范畴。这是此 才处理隐喻、控制隐喻审美走向举重若轻的高明。 诚然，李季的《宠物系列》或其他系列作品肯定是 具有批判性的，解构无疑就是文化批判、审美批判 或意识形态批判，但我已经说过，一种具有语言控 制力的批判，显得更有力度，更富有学术精神。我 们只要看看他画的那些眼神，人和动物扑朔迷离、 没有信任感的眼神，就能领悟出价值失却与无意义 之残忍，这难道是美之荒芜留下的历史记忆？ 李季近几年来的创作走向，力图在画中实现人 与动物的角色互换。风尘艳俗女子逐渐退场，熊 猫、土狗、洋狗、哈巴狗、猴子、猪仔（不分公母） 次第登场。它们或着女子内衣直立、游荡于天安门 前、北海旁边，或直立行走于万里长城之上，或在 现代大都市背景前发呆，或在自然景观之中恍惚， 从室内到室外，从人体的隐喻到历史文化、现代都 市、自然景观的隐喻，画家总是在不断地转换隐喻 系统，使诗意创造在解构与建构之间、在动物与生 活视觉影像之间谋求一种平衡。同时，技法上，李 季为我们设置了一个电视荧光屏般闪烁不定的视 觉障碍，好像现代人观察生活世界和自然景物的方 式，不是肉眼直接获得的那种直观的二元关系，而 是通过影像扫描这一中间环节才得以实现的。在当 代社会生活中，影像的确成为了我们观察世界的主 要渠道之一，就像艺术文化成规、艺术创作范式一 样，我们创造了观察世界的方法，但我们往往受控 于我们自身或集体创造的产物。我们得到的越多， 我们离世界越遥远。李季的影像都市、影像风景、 影像历史，仿佛既是动物角色眼中陌生的神话，也 是画家心中遥远的海市蜃楼。

《女郎》布面丙烯 LADY 90cm×70cm acrylic on canvas 2011

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and academically viable. One needs only to look at the expressions in the eyes of his subjects, the expressions of tangling confusion and distrust between people and animals, to catch the cruelty of the absence of value and meaning. Isn’t it the memory of history left by the barrenness of beauty!

Over the years, Li Ji has tried to exchange the roles of people and animals in his creative painting efforts.

The coquettish and whorish ladies have retreated and been replaced by pandas, rural and foreign breeds of dogs, Pekinese, monkeys and piglets (indiscriminate of genders) in succession. They stand upright or wander about by the rostrum of Tian’anmen or Beihai Park in women’s lingerie, or walk erect on the Great Wall, or sit in a daze against the background of modern metropolis, or dwell in a trance amongst the natural landscape. From the interior to the exterior settings, from the metaphor of human body to the metaphor of history, culture, modern city and natural landscape, the artist never stops converting between different metaphorical systems, so that the poetic production 《宠物系列》套色石版画 PETS SERIES 65cm×42cm chromatic lithographs 2016

is in constant pursuit of an equilibrium between deconstruction and construction, between animals and visual images in life. In the meantime, Li Ji uses his painting techniques to install a visual barrier that

looking piglet, a hairless naked pig or a drooling,

highly vigilant about the metaphorical dimension of

flickers and blinks like the old fluorescent screen of TV

proud and meek pet pig is drawn on the breasts of the

the secular dirtiness with which he deals. He adopts

sets, much like how modern dwellers observe their life

coquettish lady, lying on her flesh and revealing its

a sober-minded, objective and even cruel vision to

and natural sceneries—it’s not the direct binary relation

surrealistic porcine breasts and buttocks, the power of

create the distance of observation, so that the “sexual”

accessed directly by the naked eyes, but empowered by

collision between the two metaphorical dimensions

relation is a mere symbol (mark) of sexuality, and even

the intermediary of image scanning. In contemporary

of pig and coquettish lady freaks people out. People

the flat-footed critique is walled within the confines

social life, visual image is truly one of the main means

might treat this pig-lady relation as a dirty, licentious

of painting language. This epitomizes the brilliance

for us to observe the world. But like the set rules of

metaphor of sex, as the critical judgment of the morally

of wielding metaphors and controlling metaphorical

art and culture and paradigms of art productions, we

degraded people, things and events in contemporary

aesthetics towards the elevated state of simplifying

are the creator of our way of observing the world, and

life—which is the customary interpretation when

the complexity. Truth be told, the element of critique

we are slaves to the products we’ve indigenously or

people follow the visible clues. In fact, in the way I

is to be found in Li’s Pet Series or other serial works,

collectively created. The more we’ve got, the farther we

understand it, Li Ji never had the habitual impulse

since deconstruction is doubtlessly cultural, aesthetic

are from the world. The visual metropolis, landscape

to single-mindedly and straightforwardly pander to

or ideological criticism, but, as I’ve said, critique with

and history of Li Ji are alien myths in the eyes of the

aesthetic fashions. His distinct value is in staying

the ability to control the art language is more powerful

animals, as well the distant mirage in his own mind.

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《梦 - 北斗星》（局部）布面油画 THE DREAMS: TRIONES (detail) 180cm×160cm oil on canvas 2009

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高翔 Gao Xiang

An Interview with Gao Xiang on Art

高翔艺术访谈录 （节选） 采访：邹跃进 Interviewed by Zou Yuejin

编辑：邓雨晴 Edited by Deng Yuqing

按：高翔的《梦》游离在现实与梦境中，无论是马或者人都以

andering in reality and dreams, The

明朗的姿态呈现在画布上。这种意识形态除了在其架上绘画中

Dreams by Gao Xiang, with subjects of

细致描述，在装置作品中亦将空间、环境、材料等元素融洽结

horses or people are in a clear posture

合表述。本篇邹跃进与高翔的对话共同探讨高翔的艺术世界。

on the canvas. This ideology extends beyond the delicate depiction on

邹（邹跃进）：在对史前洞穴壁画艺术的研究中，有学者发现

painting, his installation works depict harmonious expression

画得最多的动物是马和牛。研究者得出结论认为这两种动物形

with elements like space, environment, and materials. Here’s an

象实际上是象征着雌性和雄性的符号，并与某些原始巫术和仪

interview that we explore the art world of Gao Xiang from his

式有关。从性别的角度讨论动物形象在梦中的意义问题，是弗

conversation with Zou Yuejin.

洛伊德对梦解释的一个特点。所以，我觉得在你的创作过程中， 画面上的女人越来越退到后面，马逐渐成为画面的主体，我觉

Zou: In the studies on the pre-historical grotto fresco, some

得可能与你的潜意识有关。如果说你的《谁是玩偶》系列作品

scholars had found that the animals that had been mostly

是在现实生活层面表达对性和性别的感觉，那么，在后来的《梦》

frequently painted are horses and oxen. They concluded that

系列作品中就转化成为潜意识的流露。

these two animals were, in fact, symbols that represent male

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高（高翔）：可能有。不过我画画一直是凭感觉，是否有潜意识 的促使，我并不知道。 邹：知道就不是潜意识了。 高：我也是很困惑的。我是想给大家，或者更多地给我自己提出 问题。 邹：你的作品许多关于梦境的描述都是以马和人为主，而且马也 非常具有中国传统特色，虽然是梦境，却也十分清明。 高：一直以来，我都在对莫兰迪做一些研究，不可否认，他的艺 术对我是有很大影响的。我早期的作品中可能会较明显的看到 一些隐喻的现实片段，也会有一些不安与纠结的情绪融于其中。 对莫兰迪的研究让我明白艺理相谐，终是殊途同归。往往简单的 画面也能将感情倾泻而出。虽然现在的创作仍偏重揭露与呈现， 不过不像以前那么直接了。我试图在我的画面中将人与马或者更 广泛的一些自然符号相连，以使得人能从重重文化包裹中脱离而 出，回归到真实的自我，从而达到一种精神的平衡。 邹：你把对存在的感知寄予在真实性与虚幻性之间，在梦与现实 中往来穿越，游刃有余。你的梦是自由的也是感伤的，但当它的 虚幻性一旦被戳破，人不得不面临深刻的孤独，这使得你的作品 有一种特殊的优雅的感伤气质。 高：我希望能在我的画面中将梦境与现实、文化与社会、西方与 东方这些元素和谐相处。让世俗的个体生命与神圣的文化传统联 系起来而赋予个体生命以崇高的精神维度。 邹：有时你画两匹马是由于意义的需要还是构图的需要？ 高：一个是画面需要，两匹马有更大的力度；也有意义的需要， 因为马有多义性，可以很温柔，也可以很残暴。这种多义性符合 人性的特点。 邹：你作品中宁静与奔放的表现与你对生活的体验有什么关系？ 比如眺望。 高：我的画面中用了大量眺望的形象。那是我对未来的一种展望， 一种期待，但又有不安的情绪在里面。 邹：在艺术史上，表现梦的典型作品是达利的超现实主义，但你 的方式则更传统一些，比较注重绘画性。既不是古典写实的，也 不是纯粹的抽象，但作品很完整。人与马的比例也给人以陌生的 现代感。当然也与你要表现的梦的主题有关。 高：艺术手法的选择，跟我的性格与我最终要表达的东西有关。 我觉得表现手法如果过于写实，背离我对梦的追求，如果完全脱 离写实，又不真实，难以打动我。

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《梦 - 牛郎织女星》布面油画 THE DREAMS: COWHERD AND WEAVER 300cm×200cm oil on canvas 2010

and female, which could also be related to primal wizardries and rituals. It is special in Freud's theory of dream interpretation to make an argument on the significance of animal in a dream from the perspective of gender. I presume, therefore, that it might have something to do with the non-consciousness when the figure of a woman has been gradually weakened, while the horse has turned to be the main subject in the image you created. As you have just said, Who is the Doll series expresses your perception on sex and gender from the perspective of real life, while The Dreams series has something to do with the exposure of your nonconsciousness. I would say that continuity exists in the context of gender in both of your series.

Gao: Possibly. But I really don’t know whether it is driven by non-consciousness.

Zou: It is not non-consciousness if you know it.

Gao: I’m also confused. I want to remind the public, or remind myself.

Zou: There are usually a lot of descriptions about dreams with horses and people, and horses are also very traditional Chinese characteristics in paintings, there are in clear vision even it’s a dream.

Gao: All along, I have done some research on Giorgio Morandi.

It’s undeniable that his art has a great impact on me. There might have been some obvious metaphors of fragments of the reality in my early works, as well as anxiety and tangled emotions that were melted in. My research of Giorgio Morandi made me realized that skills and theories are heading towards to the same direction – a simple image could often well express of feelings. Even though my creations are still emphasized on disclosure and presentation, they are not as direct as before. I try to connect people with horses or a broader range of natural symbols in my painting, so that people could be separated from the heavy cultural burdens and return to the real self, and to achieve a spiritual balance.

Zou: You have put the perception of existence in the reality and illusory, crossing in-between dream and reality with ease. Your dream is free and sentimental, but once its illusion is pierced, people have to face profound loneliness, which makes your work a special elegant sentimental temperament.

Gao: I hope the elements in my paintings co-exist in harmony, dream and reality, culture and society, the West and the East. So

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《梦 - 马之塔》布面油画 THE DREAMS: TOWER OF HORSES 260cm×110cm oil on canvas 2012

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《梦 - 马之塔》布面油画 THE DREAMS: PAGODA OF HORSE 180cm×80cm oil on canvas 2013

《梦 - 玩偶》布面油画 THE DREAMS: DOLLS 180cm×80cm oil on canvas 2011

《梦——一只伤虎》布面油画丙烯 THE DREAMS: AN INJURED TIGER 200cm×160cm acrylic and oil on canvas 2016

《舍身饲虎》画布综合材料 SACRIFICE 160cm×120cm canvas composite material 2015

artistic language and spirit.

that the secular individual life and the sacred cultural

brushwork. It is neither classical realism nor pure

traditions could be linked and given the individual life

abstract, but it is an integral.The scale between horse

with a high spiritual dimension.

and man would bring viewers a strange sense of

Zou: Have you ever thought of using tradition Chinese

modernity. Of course, it is relevant to the theme of

garden design technique to depict space in your work,

Zou: Is it required by expression or by composition to

dream you want to express.

for example, the borrowed scenes with windows and

paint two horses?

Gao: The artistic approach is related to my own

gates?

Gao: Both. From the perspective of composition, two

personality and the object I want to express. It would be

Gao: Yes, I have. I have been inspired by the technique

horses are stronger; from the perspective of expression,

a deviation from my pursuit of dream when realism is

of scene-adopting since I had read a great number of

the horse may be gentle or atrocious, which is similar

strong applied; while it would not have me convinced if

garden painting albums. Aside from this, however,

in human. In my opinion, horse is extension of my soul

realism is not applied at all, for it is not realistic.

contemplation on combination of painting and environment has come into being in my mind.

and has something off gentle in it implicitly, perhaps just as you have said.

Zou: When did you start to make glass installation? I regard that as contemplation on space, environment,

Zou: There are two approaches, one is to make a frame

Zou:What is the relationship between the

material and significance is the most valuable thing in

around installation works, incorporating the natural or

representation of tranquility and boldness and your life

these works.

artificial environment into the image of the installation.

experience? For instance, the overlooking posture.

Gao: It can be dated back to the year 2000 when I

By doing so, the environment becomes scenery of the

Gao: Appearance of overlooking has been frequently

had made several pieces of glass installation imitating

image and it would change according to visual angle.

seen in my paintings. It represents my expectation for

ancient furniture of Ming and Qing Dynasty. Moreover,

The other is to fuse the painting and environment as

the future, but there’s also a sense of uneasiness.

I was very interested in the theme of space, and the

one, without a frame. Which one do you prefer?

title of my Ph.D. dissertation was A Contemplation on

Gao: At the beginning, I used flame just as a support

Zou: In the art history, the typical works representing

Space as well. By using acrylic glass and multi-element

for my works.Then I used floor screen, which means

dream is the surrealism of Dali. But your version is

materials in my exploration on the special aspect, I

that the works could stand without support. And

more of the classic way, paying much attention to

hope it could bring some new possibilities to both

then roundness is adopted, it could blend into the

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《梦 - 谁是玩偶》玻璃、丙稀、铜铰链 紫云轩，北京 THE DREAMS: WHO IS THE DOLL 300cm×200cm×60cm glass, acrylic, bronze hinge Green T. House Lanscape, Beijing 2007

《梦 - 谁是玩偶》玻璃、丙稀、不锈钢架 丽思塔风景，挪威 THE DREAMS: WHO IS THE DOLL 222cm×300cm×30cm glass, acrylic, stainless steel frame Lista Lanscape, Norway 2005

邹：玻璃装置从什么时候开始？我以为对空间、环境、

高：我的作品一开始有边框，只是为了支撑作品。后

我希望这种融合不是用传统符号的挪移和拼贴来达到，

材料和意义的思考是你这批作品最有价值的地方。

来用了屏风的形式，不需要支撑就可以成立，再后来

而是精神上的一种自然融合。至于把绘画与公共艺术，

高：最早是 2000 年做的几件玻璃的装置，都是仿明清

就用圆的形式，使其融入到环境中去。这说明我是偏

或者说装置结合起来，是我近几年艺术上的一种尝试。

古式的家具。对于空间这个题目我也很感兴趣，我博

向后者的，或者说是传统的借景方式与现代的融入背

士论文的题目就叫《空间的静观》，包括后来我用有

景观念结合起来的方法。

邹：在我看来，当绘画成为你装置作品中的一部分时， 也就被观念化和当代化了，它已不具有原来绘画的那

机玻璃、多元材料来探索空间的变化，我希望它能给 邹：还有一个问题：当你的作品可以成为任何空间中

种含义。从总体上看，你的装置作品主要还是表达了

的一部分的时候，你是看中作品进入空间中的偶然效

你对当代生存经验的感受。我以为这是你这一尝试最

邹：你有没有想过，中国传统中的园林设计对空间的

果，还是你预期的必然的理想效果。后者对环境是有

成功的地方。并且在我看来只尊重自己的生存感受，

表现，如通过窗、门来借景。

要求的。比如亨利·摩尔，他认为他的雕塑放到背景

艺术才有力量。

高：我考虑过，以前看过大量的园林画册，受到了借

不复杂的环境，如绿草地上会有更好的效果。

高：是的。

景的启发。不过我又加入了绘画与环境结合的思考。

高：我属于后者。

艺术语言和精神都带来一些新的可能性。

邹：对于目前一些流行的当代艺术样式你持什么态度。

邹：有两种方法：一是在装置作品上加一个框，把一

邹：我们谈第三个问题。很明显你的作品具有绘画性，

高：我希望保持独立表达的立场，关注当代，注重自

个自然环境，或人为的环境纳入到装置画面中，这样，

有比较深厚的传统功力，但你的装置又是比较当代的，

我内心生存体验的艺术方式。

环境就成了画中的景物，随着视角的变动，画面内容

你怎样理解你创作中绘画与装置的联姻？

邹：很好！

也会有所变化。第二种就是无框，把作品融到环境中去，

高：我是比较注重传统的艺术家，无论是西方绘画传统，

成为环境的一部分。你是前者还是后者？

还是中国绘画传统，我很想做这两方面的融合。但是

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《马塔》玻璃、丙稀 PAGODA OF HORSE 26cm×38cm glass, acrylic

Gao: I am an artist who attach great attention to tradition.It is my intention to combine them, whatever they are Western or Chinese.However I do not hope to achieve this through movement and patch-up of traditional symbols, but through natural spiritual combination.I just have attempted to combine brushwork and public art or installation environment. You could say that I'd prefer thelatter.Or to be more specific, I'd prefer

in most recent years.

the technique that combines traditional scene-adopting and contemporary adaptation.

Zou: In my point of view, the original significance of the painting is no more there Zou: One more question, since your works could become a part of any space, what

when brushwork becomes a part of your installation works, i.e. It is conceptualized

kind of result do you expect to see, accidentally arising into space or the inevitable

and modernized. In general, your installation mainly expresses your perception on the

positive result you expected? The latter is environment-sensitive. Such as Henry

life experience in modern times and it is the most successful area in your attempt. Art

Moore, who insisted that his sculpture could achieve a better result when it was put in

itself would, in my opinion, be powerful only when one should respect his own life

an environment without too complicated background, like in a meadow.

experience.

Gao: I am the latter.

Gao: That's right.

Zou: Now we come to the third main question. It is obvious that your works feature

Zou: How do you think of contemporary art that is trendy nowadays?

strong brushwork, with solid traditional skills. However, your installation is relatively

Gao: I appreciate the art styles that would maintain independence and attach attention

contemporary. How do you think of the combination of brushwork and installation in

and focus to contemporary times and inner self experience of life.

your creation?

Zou: Very nice!

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《梦 - 星》（局部）画布丙烯 THE DREAMS - STAR (detail) 120cm×60cm canvas propylene 2011

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The Boundaries of

A Dream

梦的边缘 撰文：彭锋（北京大学美学教授、第 54 届威尼斯双年展中国国家馆策展人） Written by Peng Feng ( Professor of aesthetics at Peking University, China Pavilion curator for the 54th Venice Biennale )

高翔喜欢画梦。10 年前，他创作的《谁是玩偶》系列，就

ao Xiang likes to paint dreams. Ten years

有梦幻般的舞台和不成比例的男女人物形象。5 年前创作的《梦》

ago, he created the Who is the Doll series,

系列，梦幻的主角变成了不成比例的人与马。随后，其创作中

which featured disproportional male and

以人和马为题材的作品，尽管没有明显的变形，但与出土陶俑

female figures on a dream-like stage. His The

的明显关联，从另一方面突显了作品的梦幻性。但是，与曾经

Dreams series was created five years ago,

流行的卡通不同，高翔的作品并没有完全脱离现实，游离在写

and the protagonists of these dreams are disproportional humans

实与梦幻之间，与现实保持着若即若离的关系，亦使得他的作

and horses. Recently, Gao has continued to focus on subjects of

品没有重复超现实主义的老路。

humans and horses, but has reduced the distortion. In this new

如果说高翔的作品不能归入超现实主义的行列，它们离现

work, the figures are obviously linked to excavated terracotta

实主义的距离似乎更远。尽管这位画家受到严格的现实主义训

figures, representing another kind of dream. However, in contrast

练，但是他在创作时更加侧重自己的内心感受和独立思考，作

to popular children's cartoons, the works by Gao Xiang has

品的表现方式、所要表达的事物，都充分融合了现代与传统的

never completely left the reality, but has dissociated dreams from

元素，其个人性格、情绪都掺杂其中。然而，高翔没有将外部

reality. Maintaining a relationship with reality allowed Gao to

现实与内心世界完全对立起来，而是在寻找它们之间的边缘地

avoid repeating the old tropes of Surrealism.

带，就像游走在梦的边缘那样，非真非幻，似梦还醒。艺术家

Even if his work cannot be classified as Surrealism, it’s even

们容易在具象与抽象、现实与表现、内心与外界之间做非此即

farther from Realism. Although he received rigorous training

彼的处理，高翔避免了这种简单化的处理方式，力图在矛盾的

in Realism, Gao places more emphasis on his emotions and

双方之间寻找平衡，梦境与现实，社会与文化，中国与西方……

thoughts, all the expression of his works are fully combined with

这些看似矛盾的相处却在他的画面中相安无事。从这种意义上

modern and tradition, his personality and emotion were mixed in

来说，高翔是一位平衡的高手。在宁走极端的当代艺术界中，

it. However, Gao sees external reality as a completely opposite

折衷主义反而让他的作品与众不同。

to his inside world. Searching for the boundaries between the

高翔没有在表面上走向极端，而是力图做深入的发掘。这

interior and the exterior is like traveling along the boundaries of

与他长期研究莫兰迪不无关系。与 20 世纪多数艺术家追求制造

a dream, neither real nor unreal, like a daydream. Artists very

表面奇观不同，莫兰迪向内的发掘让他的作品别具一格，让日

easily choose between the figurative and the abstract, the realist

常物沐浴在沉静而神圣的光辉之中。对莫兰迪的研究和热爱，

and the expressive, the internal and the external. Gao avoids

让高翔在绘画形象的选择和塑造方面比较克制。尽管他也追求

these oversimplifications and attempts to find a balance between

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画面的力量，但他没有无序的宣泄，而是努力将力量蕴 含在秩序之中。当然，这种克制、平衡和内敛在中国文 化传统中也可以找到根源，中国哲学信奉中庸之道，中 国绘画推崇似与不似之间，它们似乎都对高翔的绘画产 生了影响。 除了在古代与现代、内心与外界之间寻求平衡之外， 高翔还力图找到东西方之间的平衡。高翔学的是油画， 但却对中国传统文化有浓厚兴趣。他的人物和动物形 象，更多从中国古代造型艺术那里获得启发。与不同国 家和地区的艺术家的广泛交往，让高翔对全球化时代的 文化有深刻的体会。与当下流行的国际当代艺术的高度 匀质化不同，高翔没有放弃自己的文化身份。如何在寻 求相互理解的同时又保持自己的特色？更简要地说，如 何能够做到和而不同？于此，高翔再一次显示了他超强 的平衡能力。他将独特的文化内涵渗透在普遍的艺术语 言之中，在普遍性中暗藏着独特性，通过持续而深入的 交往而达成共识。因此，高翔并没有像时下流行的超现 实波普（Pop Surrealism）那样，采用浅显的绘画语言， 而是采用了厚重而富有密度的绘画语言，希望除了形象 的寓意之外，能够借助绘画语言说出更多的内容。 从中国美学的角度来说，追求极端并不困难，困难 的在于在极端之间找到平衡。因为没有标准告诉我们什 么是平衡，平衡的掌握完全有赖于我们对尺度的敏感。 高翔将自己放任在各种矛盾纠葛之中，然后凭借自己的 敏感去摆平矛盾的方方面面。他的每一幅作品，都可以 被视为一次决断，一次解决。

《梦 - 牛郎织女星》画布丙烯 THE DREAMS - LEGEND VEGA STARS 120cm×60cm arylic on canvas 2011

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《梦 - 星》画布丙烯 THE DREAMS - STAR 120cm×60cm acrylic on canvas 2011

these two conflicting sides, dreams and reality, culture and society, the East and the West, all those contradictions achieved harmony on his canvas. In this sense, Gao is a master of balance. In a contemporary art world that prefers extremes, his eclecticism makes him stand out.

Gao Xiang does not move towards superficial extremes; instead, he attempts to dive deeper into his work. This tendency is unrelated to his long-term study of Giorgio Morandi. In contrast to many twentieth century artists who created superficial spectacles, Morandi’s internal explorations were what made his work so amazing; he bathed ordinary objects in a calm, sacred radiance. Gao’s love of Morandi allows him to exercise restraint in choosing and modeling his painted forms. Although Gao also pursues powerful surface effects, he does not randomly vent his emotions, he endeavors to place this power within an orderly structure. Of course, some of the roots of this control, balance, and restraint can be found in traditional Chinese culture. Chinese philosophy embraces the doctrine of the mean, and Chinese painting esteems the ability to balance similitude and dissimilitude.

All of this seems to have influenced Gao’s work.

In addition to the desire for balancing the ancient and the modern, the interior and the exterior, Gao also attempts to find a balance point between the East and the West. Although oil painting is his major, he still has a deep interest in traditional Chinese culture. Very often, his human and animal forms are inspired by the modeling arts of ancient China. Broad interactions with different countries have allowed Gao to experience different cultures in a globalized era. Flying in the face of the homogeneity of international contemporary art, Gao has not abandoned his cultural identity. How can you pursue mutual understanding while still preserving your own unique traits? In other words, how can you achieve both similarity and difference?

Seemingly in answer to these questions, Gao Xiang once again shows off his power of balancing –cleverly placing unique cultural elements into a universal artistic language, hiding uniqueness within universality.

Through deep and persistent interaction, he arrives at a single, common understanding. Therefore, Gao’s work is nothing like the accessible Pop Surrealism that is so popular now. Instead, his painting language is dignified and dense, and in addition to the visual implications of his work, he hopes to use painting to say something deeper.

From the perspective of Chinese aesthetics, the pursuit of an extreme is easy, but the difficult part is finding a balance point between extremes.

Because no standards could detach the nature of balance, the mastery of balance is entirely reliant on our perceptions of proportion. Gao Xiang is the kind of painter who places himself within conflicts and entanglements, then handles these conflicting elements in his own way. Thus, each of his works 《梦 - 星》画布丙烯 THE DREAMS - STAR 120cm×60cm acrylic on canvas 2012

can be seen as a decision or a solution.

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《天幕》（局部）布面油画 THE SKY (detail) 80cm×110cm oil on canvas 2010

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栾小杰 Luan Xiaojie

A Lonely Big Boy Luan Xiaojie's Perceptual Return

孤独的大男孩 ——栾小杰的感性回归 撰文：徐游 Written by Xu You

瘦长变形的大男孩，孤独的背影与侧面，既夸张又充满童

uan Xiaojie’s eccentric and personalized

真的形象，这些是栾小杰特立独行的个人化符号。从乡土具象

symbols feature lanky and distorted boys, lonely

到抽象再到具有标志性的语言符号，至 90 年代中期，栾小杰完

back and side profiles, and exaggerated images

成了表达自己内心体验的语言符号。这是艺术家在个人化的表

filled with childlike innocence. From local

现形式之上对自我情绪的表达，也是艺术家对生存状态以及个

concretization to abstraction to iconic language

人创作心理的记录——以表现主义的方式叙述个人内心的主题。

symbols, till the mid-90s, Luan Xiaojie finished developing a

栾小杰说，画面中的男孩就是自己。画了 20 年的大男孩，

language symbol system that expressed his inner experience.

他将对外界的敏锐触觉投射到画面中，瘦狭的男孩形象显得孤

This is not only the artist’s expression of his emotions upon

独而平静，呈现出远离喧嚣的避世心态。栾小杰在内容上是以

personalized manifestation form, but also records of his

感性的方式进行叙述，而在技法表现上又回归到一种理性状态。

survival state and personal creation psychology, in other words,

他探索着画面间的关系，色块的摆放、色调的处理、线条的运

description of his inner heart in the form of expressionism.

用等等绘画本身急需解决的问题。在栾小杰看来，画家始终要

As said by Luan Xiaojie, the boy in the image is no other

认识自己作为绘画者的身份，画家就该尊重画面，就该画好画。

people but himself. 20 years of boy-drawing experience has

至于艺术市场，外界的评论，以及其他人的审视目光，都不该

enabled him to project keen insight of the outer world onto his

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《灰色的形式》布面油画 THE FORM OF GRAY 70cm×100cm oil on canvas 2015

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《折叠的空间之十一》布面油画 FOLDED SPACE NO.11 110cm×70cm oil on canvas 2016

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《折叠的空间之五》布面油画 FOLDED SPACE NO.5 70cm×110cm oil on canvas 2015

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painting, creating a lonely and quiet lanky boy image that shows a tendency to live a secluded life and stay away from noisiness.

Luan Xiaojie relates content perceptually, but in the expression of technique, he resorts to a rational state. He explores problems about painting itself in urgent need of being solved, such as relationships between images, placement of color blocks, treatment of tints and shades as well as employment of lines. In Luan Xiaojie’s opinion, a painter should be aware of his identity as a painter, meaning respecting images and creating good works. Art market, external comment, and other people’s review should not affect the painter in any way.

Since the 90s, Yunnan’s local art scene started to “go against” mainstream art, and marginally individual creation became an important feature in Yunnan’s contemporary art. Meanwhile, art creation emphasizing on idealization and a tendency of rebellion during the New Wave Art period had transformed and entered the state of dedicated creation. Returning to oneself and to nature became the most distinctive characteristic of Yunnan local artists in the 90s.

Luan Xiaojie wrote in his script: for many years, I have been drawn to painting by its unpredictability and marvelous joy.

It invites you to listen and to feel with heart. The implications delivered by the symbol-like flattened boy image and the indistinct and silhouette-like tall buildings are more to be felt with heart than to be seen with eyes. As is said that “eyes are the windows of the heart”, in the highly information age, for an individual, reality means loneliness.

What Luan Xiaojie was trying to do is to find the method rooted in the Western art of painting, and to turn this method into a fixed creative technique. Though oil painting has a longer history in the West than in the East, Luan Xiaojie uses this technique to give out a unique voice.

Dedicated to the study and exploration of painting language, Luan Xiaojie presented changes in a way that is natural rather than deliberate. His recent creation adopted a warmer tone; the boy has become taller, manifested in a less exaggerated manner and what was once an obscure image has gradually become clear.

The boy as the subject has transformed from an expressionistically obscure image to a concretized and clear figure, shedding light on the fact that the artist is becoming more and more decisive in the employment of brushwork and color. The growth of the boy reflects the artist’s progress in the form of pictures, in other words, the artist is getting clearer in what he wants and how to shape image figures.

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《手势》布面油画 GESTURE 60cm×80cm oil on canvas 2016

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《折叠的空间之七》布面油画 FOLDED SPACE NO.7 70cm×100cm oil on canvas 2015

《有阴影的空间》布面油画 SHADED SPACE 70cm×110cm oil on canvas 2016

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成为影响画家的因素。 从 90 年代开始，云南本土的艺术故事与主流产 生“相背”的特征，边缘形态中的个体创造成为了 云南当代艺术中的一个重要特征。同时，新潮美术 时期强调观念化和反叛倾向的艺术创作发生了转变， 并进入到一种潜心创作的状态。回归自我，回归自然， 成为了 90 年代云南本土艺术家最为鲜明的特点。 栾小杰在他的手记中写道：多年来，不可预知 是绘画吸引我的地方，奇妙是绘画的乐趣。慢慢地 用心去听，用心去感受。画面上近似符号的那个扁 平的男孩，那些隐约的、剪影般的高楼，所传达出 的那份意味，得益于眼，更得益于心 , 正可谓“眼 睛是心灵的窗户”。在当今高度信息化的时代，对 于个人，现实就意味着孤独。 爱德华·路希·史密斯评价道：栾小杰所做的 就是找出深深植根于西方绘画艺术中的方法，并将 这种方法转化为一种固定的创作技巧。西方油彩画 的历史较之东方而言更加久远，而栾小杰的作品则 以这种手法发出自己独特的声音。 潜心于绘画语言的研究和探索，栾小杰画面中 的变化是自然的，而非刻意的。在近期的创作中， 冷色调变得温暖了；男孩的形象也高大起来了，表 现方式不再夸张；朦胧的画面也开始清晰。男孩作 为主体，从朦胧到清晰，由表现主义转为具象化， 艺术家在笔触和色彩的运用上越发果断。男孩的成 长映照着艺术家自身在画面形式上的成长，艺术家 越发明确自己想要什么，该怎么去塑造画面形象。 这种变化是画家对语言的理性思考，以及在长 期的实践之下形成的对语言运用驾轻就熟的结果。 栾小杰的画面虽然具有强烈的意象性，但那是对客 观对象绝对的尊重。男孩并非凭空的构想，而是有 具体的参考对象。在写生的过程中逐渐加入对男孩 的主观意象，画面中短促的笔触被一笔笔地并置， 遍布整个画面。苦行僧一般不断重复的工作方式也 是栾小杰日常状态的体现。最终，呈现在我们眼前 的是一个略有夸张变形的男孩形象。男孩是存在的， 而大多数的人也同男孩一样，孤独且无可奈何，他 有着软弱的一面，却给外表穿上强大的铠甲，以隐 藏自己的弱小与恐惧。 所以，我们看到，大男孩的外形高大，并且被 画得很扎实，表象与内在的孤独、胆怯的情感又形 成了极为矛盾的一面。栾小杰希望以这样矛盾、冲 突的方式，留给人深刻的印象。

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《折叠的空间之六》布面油画 FOLDED SPACE NO.6 70cm×110cm oil on canvas 2015

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或许正是作品中有着孤独身影的男孩蕴含充沛的情 感，所以在压抑之中才带给人一种亟待爆发的力量。画 面的构图形式非常简洁，只以一个男孩占据整个画面， 简洁有力的图像表现，果断的笔触，清晰的边缘线，这 一切在绘画上的肯定与自信所带来的强烈视觉冲击，使 观众轻易就被带入画面。孤独、彷徨的感情源源不断地 从画面中溢出，情感共鸣加之栾小杰的独特形式，是作 品最为打动人的地方。 云南艺术家着重地域文化的表现。然而，栾小杰在 这之中似乎又有所不同。他注重于描绘心灵幻想，坚持 对于个体意志的表达，在表现主义与现实主义中寻找一 个平衡点。 栾小杰创作之外的时间，喜欢玩，喜欢旅行。从事 艺术创作，更需要努力去接触外界事物，艺术家对生活 投入的热情决定了艺术品的生动性。栾小杰说，对艺术， 对生活，都希望顺其自然。尊重身边发生的、经历的所 有故事，他记述的是生活中的点滴小感情，这让他的创 作也带着一抹情感式的图像记录，在不断追求技法上的 变化与突破时，也不忘汲取生活中的养分。栾小杰大男 孩一般的心态，正如作品中的大男孩，拥有纯粹与童真 的感情。

《折叠的空间之八》布面油画 FOLDED SPACE NO.8 146cm×150cm oil on canvas 2015

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《折叠的空间之十》布面油画 FOLDED SPACE NO.10 150cm×140cm oil on canvas 2015

《柔软的空间》布面油画 SOFT SPACE 150cm×200cm oil on canvas 2015

Such changes are the result of the artist’s rational

and like the boy, most people are lonely and helpless.

decisive strokes, and clear edge lines bring about such

reflection on painting language and proficiency in the

He has a weak side, but he dresses with a strong armor

a strong visual impact that easily draws audiences into

use this language that comes with long-term practice.

to conceal his weakness and fear.

the image. Coupled with the unique form adopted by

Though Luan Xiaojie’s images deliver a strong

As we can see, the tall appearance of the boy and

the artist, the emotions of loneliness and hesitation

sense of imagery, he shows absolute respect for the

the sturdy strokes used are contradictory to his inner

overflowing from the image and the emotional

objective targets. For example, rather than imagination

loneliness and timidness. Luan Xiaojie hopes to leave

resonance caused are deeply touching.

coming out of nowhere, the boy comes from a specific

a deep impression in a way that is contradictory and

referential object. The artist gradually adds subjective

conflicting.

Different from most Yunnan artists emphasizing on the presentation of regional culture, Luan Xiaojie

intention onto the boy in the process of sketching, and

Perhaps due to the abundant emotions contained

focuses on describing the fantasy of hearts and insists

brief strokes are juxtapositioned bit by bit to spread

in the lonely shadow of the boy, the work delivers an

on expressing individual will. By doing this, he

over the whole image. Working without ending like

about-to-erupt force among all the repression. The

attempts to find a balance between expressionism and

an ascetic monk is Luan Xiaojie’s daily status. And

image is so concise in its composition as to be occupied

realism.

eventually, we are confronted by a slightly exaggerated

by only one boy. The assurance and confidence reflected

and distorted boy image. The boy is a real existence,

through concise yet powerful image presentation,

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《玉兰 3》（局部）布面油画 MAGNOLIA NO.3 (detail) 40cm×50cm oil on canvas 2014

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苏家寿 Su Jiashou

Su Jiashou:

Readme 苏家寿自述 撰文：苏家寿 Written by Su Jiashou

今天，关于“绘画”这件事，很多人都有各自的理解。我

egarding to painting, people of nowadays have

们大多情况下看到的关于绘画及其创作逻辑是通过绘画材料和

their own understanding. The painting and

一定的技术手段创作出一个图像，借此图像去说明或表达什么。

its creating logic we usually see is to create

绘画本身或绘画这一行为往往不在大家的关注之内，绘画的结

an image with painting materials and certain

果，被画出来的图像才是大家关注的对象。现实习惯中，也许

technical means and to explain and express

是人们太多地强调自己的中心地位，观察者与世界始终保持距

something with the image… Painting itself and the painting

离，把人和人之外的事物对立开来，某种角度上说人们似乎忽

action usually do not cause concern; only the result of painting or

略了人自身也是世界的一部分。习惯让我们把自己当成世界的

the completed image is the concerned object. In actual practice,

主体，以至于我们给“苹果”下定义。说苹果是水果类中的一种，

people may emphasize too much their own central position—the

可以吃、富含维生素、拳头大小、什么颜色。从此，人们只能

observer always keeps a distance with the world, setting humans

从这个层面看苹果。当画家在画或者画出一个“苹果”时，太

against objects—people, in a way, seem to ignore the fact that

多人都会习惯地从“像不像”一个能吃的苹果这一层面去理解（人

people are also part of the world.

们给对象添加的固有概念）。可是，这只是从某时起人们给它

We get used to regard ourselves as the main body of the

的一个名称或定义而已。如果我们只能从这个层面去理解世界，

world so that we define "apple" as a kind of fruit that is eatable,

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《刺青》布面油画 TATTOO 40cm×50cm oil on canvas 2014

绘画也就只有“像不像”这个标准可看了。其中的绘画逻辑始终难逃变为一种获得预 期图像的工具式手段。在绘画中，这确实是很多人的习惯性理解，绘画成为一种图像 的制作手段。 在这习惯的逻辑中，艺术家的工作方式被忽略了。 在探讨“工作方式”这一问题时，好友薛滔有过这样的表述：“对于作品的讨论，

《头盔》布面油画 HELMET 30cm×40cm oil on canvas 2015

需要解决的，就像家庭装修一样，解决个体的舒适度。 在这里，“绘画”已然是一个艺术的表达形式，重点是如何使用绘画，而不是你 画了什么。在此逻辑中甚至可以说绘画是没有对象的，是你拿“画画”这个“东西” 干了什么事。 我希望我的绘画是这样一个“敞开”的过程 , 在这一“敞开”中，把我带进一个

我更愿意从工作方式开始。”对工作方式的了解将是了解作品的基础。不同的工作方

包括我自身在内的整体之中，在这整体的世界里，我能感到脱离对象的自由与无限。

式会呈现完全不同的作品，同时也会整理出不同的创作逻辑。这种“不同”既是对多

我不想被对象的固有定义所绑架 , 而变为利用符号式的图像去表达什么。只是绘画，

元性的尊重，也可能意味着创造性的开启。这个观点似乎与现代主义的形式创造很相

或者说绘画本身就是对象。如果非要说有一种意义存在的话 , 那么我想这个意义在绘

似（现代主义热衷于创造“不同”的画面形式）。如果如此，那这将是一个画蛇添足

画中便已出现；它不是在绘画的结果中去寻找，因为结果只是图像的单纯呈现。当然，

的问题，因为现代主义的形式创造是一个已经结束或者已经穷尽的问题。在一味求新

一张画画出来了 , 我们看到的是一种结果，在这个结果上，很多人 ( 经常也包括画家

的现代主义逻辑里，20 世纪初期各种艺术运动，形式语言层出不穷，导致人们认为

本人 ) 都更愿意拿它去对应某种具体对象或者拿它去表达什么，但我更习惯看见它留

绘画已经走入绝境，不可能再出现新的形式，所以绘画是死亡的，这是一个看似不错

在画面上的痕迹本身，不强加附会地去贴上某种对象或符号象征。这个抽象的痕迹，

的结论。这里要说的工作方式的“不同”不是画面语言的形式创造，而是宏观面对创

会让我看（体会）到绘画的状态及过程，我画画时很在意这一点。画的过程或者说留

作状态时所出现的思路和过程的探索，不只是注重结果的视觉呈现。

下痕迹的过程中会获得一个“更大的空间”。这个空间正是脱离了人为定义下的这个

在工作方式的讨论中，绘画作为艺术表达形式则无所谓死不死亡，因为这时任何 东西都已经成为了形式，重要的是使用这种形式时的工作方式。所以，绘画和雕塑、 身体、建筑、空间、自然、历史、政治、宗教、经济、种族等等一样都成为平行的艺 术创作材料。那么绘画内部的语言问题，随之便不再成为艺术问题，它是艺术家个人

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“现实世界”的更大开阔，它自由，无限。 我能够在这样的状态及过程中获得“自我完成”。我很喜欢佛教禅宗里的这句话： “迷人文字中求，悟人向心而觉”。

《天空》布面油画 SKY 50cm×60cm oil on canvas 2016

《枝叶》布面油画 BRANCHES AND LEAVES 40cm×50cm oil on canvas 2015

《斑鸠》布面油画 TURTLEDOVE 40cm×50cm oil on canvas 2014

《花草》布面油画 FLOWERS 40cm×50cm oil on canvas 2015

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《局外 - 风景》系列 布面油画 OUTSIDE - LANDSCAPE SERIES 50cm×60cm oil on canvas 2010

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rich in vitamins, a fist size, and what kind of colors…

It sounds like a nice conclusion. Here ‘difference’

stereotypical definition of the object, but to express

Since then, people can only see apple from this

of working methods is not about formal creation of

with the symbolic image. Painting or painting itself

perspective. When a painter is painting or painted

painting language, but the thinking and exploring

is the object. If there must be a meaning, I think it

an "apple", many people will be used to think only

process when one faces an art-making condition in a

emerges in the painting process, rather than to be

whether it is "like" an eatable apple (the stereotypical

macro view. Focus on the visual presentation of

found in the result of painting. The result is nothing

the result is far from enough.

concept that people add to the object).

but an image. Of course, we can only see a result as

However, this is only a name or

In the discussion of

a painting comes out. Many people (including the

a definition given by people

working methods,

painter) would like to match the result with a specific

painting as a form of

object or use it to express something, but I am used

sometime. If we can only

artistic expression

to see the traces it left in the painting rather than

from this perspective,

does not matter

to impose a certain object or a symbolic sign. The

painting can be

death, because

abstract traces help me see (experience) the state or

only appreciated

then everything

process of painting, which is what I concern the most.

according to the

has become a

The process of painting or leaving traces results in a

standard of likeness,

form and most

“larger space”, huger and more open than the “real

and the painting

important is

world” defined by human. It is free and unlimited.

logic is always a tool

the working

In this state and process, I gain access to "self-

methods to

fulfillment". I like a saying in Zen: “The confused

understand the world

to obtain expected

apply this form.

images. Indeed it is

Painting, sculpture,

many people’s habitual

body, architecture, space,

understanding of painting: it is

nature, history, politics,

no more than a means to produce

religion, economy, races and so

images.

Under this conventional logic, the working method of the artist is ignored.

When discussing "working method", my friend

turn to words, the enlightened feel with heart".

on can become parallel art-marking materials, and then the internal language of painting will no longer be an artistic

Xue Tao says so: "If to discuss the work, I prefer

problem. It should be solved by the

to start from working method, the understanding of

artist themselves, just like home

which will be the basis for understanding the work.

decoration to solve the individual's

Different working methods will present entirely

comfort."

different works and meanwhile sort out different

Here, "painting" is already a

art-making logics. The ‘difference’ both respects

form of artistic expression, and

pluralism and signifies the opening of creativeness,

the key is how to use painting

which seems to be very similar to modernist form

rather than what you have

of creation (Modernist keen on creating ‘different’

painted. By this logic, you might

painting forms). If so, it will be a superfluous issue,

even say that there is no object

because the modernist form of creation is an ended

in painting; except what you have

or an already exhausted issue. Under the modernist

done with the “object” of "painting".

logic that keeps pursuing new things, there are

I hope my painting is such an

a variety of artistic movements in the early 20th

"open" process, in which I am brought into

century and forms of language surges continuously,

a whole that includes myself and I can feel

which makes people think painting gets into a cul-

the freedom and infinity out of the object in this

de-sac with no more new forms and painting is dead.

whole world. I do not want to be kidnapped by the

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“用绘画本身去重新定义有限的对象，对象本 身并不表达任何意义，它固有的概念与绘画无 关。也就是说，通过绘画过程，从对象的定义 里脱身出来，进入到相对宽泛自由的空间。形 象在这里成为进入绘画的通道，不强调符号的 意义，由此避开绘画成为获得图像的工具性手 段。从而开启一种感知方式。” 苏家喜自述

Redefining limited subjects with painting while the subject itself has no inherent significance related to painting. In other words, the meaning of the subject is being delivered to a broader context from the painting process. In here, image of the subject becomes the entrance of the painting; without symbolism, it avoids being as a tool to capture the image, and it becomes a perceptual approach.

Su Jiaxi

《树林》（局部）布面油画 FOREST (detail) 90cm×110cm oil on canvas 2016

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苏家喜 Su Jiaxi

Su Jiaxi:

Limitless Inspirations

无限的意象 ——苏家喜的绘画 撰文：薛滔 Written by Xue Tao

苏家喜是非常少见的云南画家，他对绘画的理解和其他画

u Jiaxi is a rare painter from Yunnan province,

家差别很大，在他看来，绘画是一种修行。当然，很多艺术家

China. Unlike other painters, painting is a self-

都会说艺术或者绘画是一种“修行”，但真的把修行从说法落

cultivating journey for him. Of course, many

实到行动，把修行变成具体的艺术实践在作品中呈现出来，则

artists would declare that art or painting is a sort

是非常困难的事情，这不仅需要勇气还需要智慧。所以尽管大

of "self-cultivating journey", but it is hard to put

家都会这么说，而实际上真这么做的还是比较少的。而我了解

words into action, turning “self-cultivating journey” into specific

的苏家喜，就真的把“修行”实践于他的绘画中。因为他认为，

art practice and showing it in their works. It calls for courage and

在绘画中获得心灵体验的重要性远远大于获得视觉图像。而云

wisdom. Although everyone says so, few do so in fact. As far as

南大多数画家都沉迷于创造让人赞叹的视觉图像，或者苦于锤

I know, Su Jiaxi truly practices “self-cultivating journey” in his

炼自己的图式语言，或者沉浸于表现个人的某种思绪和情感。

paintings, because he believes that the spiritual experience in the

这些理解绘画的方式，是云南艺术家的普遍特征。他们对绘画

painting is far important than visual achievement. However, most

的理解更多在绘画的物质属性方面，无论是个人情感表现还是

painters in Yunnan are obsessed with creating stunning visual

美术史线索的探索和延续，都难以离开绘画的物质属性方面，

images, tempering their own schematic language, or expressing

他们会把绘画当作外在的“对象”来看待。尽管有人会说他在

certain personal thoughts and emotions. These approaches to

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《 树之三》布面油画 TREE NO.3 (detail) 120cm×200cm oil on canvas 2014

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understand painting are general characteristics of artists in Yunnan. Their understanding of painting more focuses on the materiality of painting. Whether expressing personal emotions or exploring and inheriting the clue of art history hardly can leave the materiality of painting. They regard painting as an external “object”. Someone would say that he is fully engaged in the painting process and has reached the state of forgetting the difference between himself and the others, but the process is just to make a great work.

That is to say, to accomplish a great work is the initial wish and the final result of their painting action. For Su Jiaxi, his purpose and result of painting do not focus on getting a piece of work, but moving forward the spiritual experience — a special direction — through the painting process.

At the beginning, painting was something close to human instinct, then developed into a form of art, and later turned into a complex professional skill.

Today, the painting we are exposed to is a professional skill; it has been separated quite far away from instinct and art. In the eyes of radical artists, skill has become a symbol of conservative thinking and lack of imagination and courage to innovate, and then painting becomes quite boring. In fact, most painters in Yunnan do not think about these issues. With their instinctive habit and impulse, they bring all the painting skills they command into full play. Whereas the definition of painting or art has been neglected.

The unique understanding of painting services Su Jiaxi well in creating a number of unusual images — personal emotions, painting language, schematics are seen in his works. For those who do not understand him, his images may be too general and plain; for those who are accustomed to visual enjoyment from the painting, his works may even be dull. However, if we change our usual perception of painting or put aside our visual expectation through painting, we will see in his plain works endless wonders, and infinity.

Generally, it is unfortunate that it’s impossible to transcend the painting by thinking over it. Su Jiaxi, who is familiar with Diamond Sūtra, calls this phenomenon reaching "being (You)". The phenomenon

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《水》纸本丙烯 WATER 51.5cm×150cm acrylic on paper 2011

绘画过程中是全身心投入，并已经达到物

理解，或者放下通过绘画去获得视觉预期

我两忘的地步，但这个忘却身心的过程其

的话，我们就会在苏家喜平淡的作品中看

目的是为了实现一件好作品。也就是说，

到奇妙无穷，看到无限。

获得一件好作品这个目的成为他们绘画行

通常对绘画的思考使绘画无法超越绘

动的最初愿望和最终结果。而苏家喜画画

画，这是非常遗憾的事。熟读《金刚经》的

的目的和结果并不注重于获得一件作品，

苏家喜把这种现象称为着“有”。对绘画

而是朝着通过绘画过程来获得心灵体验这

的思考导致最终离开绘画，或者对艺术的

一特殊的方向前进的。

思考导致艺术离开艺术，这被称为着“空”。

刚开始时，绘画是一种接近人类本能的

《汝窑之一》纸本丙烯 KILN NO.1 70cm×52.5cm acrylic on paper 2011

《汝窑之二》纸本丙烯 KILN NO.2 70cm×52.5cm acrylic on paper 2011

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无论着“有”还是着“空”都是需要非常

事物，后来变成了艺术，后来又变成了一

警惕的。“空”“有”两边都不“着”，“中”

项复杂的专业技艺。我们今天接触的绘画，

亦不“住”，才是究竟之道。所以尽管苏

是一种专业的技艺，相距本能与艺术已经

家喜画画的目的和结果是朝着通过绘画过

相当遥远。在激进的艺术家眼里，技术成

程来获得心灵体验这一特殊的方向前进，

了思想保守、缺乏想象力和创新勇气的象

也并不代表苏家喜就是一个行为艺术家，

征，这时绘画就变得相当无趣。而事实上，

或者观念主义者。因为这两者都背离了绘

云南大多数画家都不太思考这些问题，他

画，都着了“空”。而如何在绘画中却又

们凭着本能的惯性和冲动在挥洒着他们所

超越绘画本身，既做艺术又不被艺术形式

能够掌握的绘画技艺。绘画是什么？或者

所束缚，实现心灵和形式的完全自由，这

艺术是什么？它们成了被忽略的问题。

才是苏家喜所追求的终极目标。

出于对绘画的特别理解，致使苏家喜创

不善言辞的苏家喜实际是一个喜欢思

作出一些不一般的图像，他的作品穿过个

考的人，对于绘画的理解或者对于艺术的

人情绪、绘画语言、图式哲学等等。他做

思考，除了从他的作品中可以看到，他的

出的这些图像对于不了解他的人来说，可

日记也给我们提供了了解他作品和思想的

能会过于一般和平淡。对于习惯从绘画中

重要线索。看他的日记，让我有一种说什

获得视觉享受的人来说，他的作品甚至会

么都显得多余的感觉。所以，我建议大家

索然无味。而如果我们改变对绘画的惯性

在看苏家喜作品时，别忘记看他的日记。

that thinking in painting leads to the final departure from painting or thinking in art leads art to leave itself is called reaching "nothingness (Kong)".

Whether "being" or "nothingness" calls for vigilance. The true doctrine (Tao) is that both of "nothingness" and "being" are not "reached (Zhuo)" and "medium (Zhong)" refuses "staying (Zhu)".

Although Su Jiaxi’s purpose and the result on painting points directly at the spiritual experience through the painting process, it does not mean that he is a performance artist or Conceptualist, both of which are deviated from painting and reaching "nothingness". To paint beyond the painting itself, and to make art pieces with complete freedom of mind and form is the ultimate goal of Su Jiaxi.

Being not good at expressing himself in words, Su Jiaxi actually enjoys thinking. Apart from his works, his understanding of painting and his perspectives on art can be traced in his diary. Reading his diary could make my words seemed pale. Therefore, I suggest you should read his diary when you appreciate his works.

《风景之一》纸本丙烯 LANDSCAPE NO.1 34cm×49cm acrylic on paper 2012

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郭棚 Guo Peng

GUO PENG: STANDSTILLS

郭棚：凝止于斯 撰文：莫妮卡·德玛黛 Written by Monica Dematté

翻译：熊文靖 Translated by Xiong Wenjing

虽然郭棚创作很多摄影作品，但每当想起时，我都认为他

hen I think about Guo Peng I don't

是一位艺术家，而不仅仅是位摄影师。我认为《凝止于斯》更

c o n s i d e r h i m a s a p h o t o g r a p h e r,

多的是自我的表达，而不仅仅是作品的展示。

even though most of his works are

在一次与其好友罗菲的交谈中，郭棚提到“自己从摄影里

photographs. I think of him as an artist.

学到了很多……并十分感激摄影”。我十分想知道，摄影是联

I suppose it's because I feel his small

系郭棚与周遭世界的桥梁，还是一个连接自身和外物的媒介？

'standstills' are his self-expression rather than the representation

并且同时还能让自身与外物彼此独立？在过去几年里，郭棚选

of objects.

择的事物对象，大多都是静止的，是凝止于一个孤立的空间中

In a dialogue with his friend Luo Fei, Guo Peng once

很小的事物。这些事物通常是很难定义的，不是那么久以前的

said that he "has learned a lot from photography" and that he

东西，同时也不是当下的。所以营造出一种很强烈的超然感。

"wants to express his gratitude to photography". I wonder,

由于他处理口袋大小照片的独特方法，使得这些事物富有诗意，

might photography in this case be considered a bridge that

从而引起观者的共鸣。平时他把这些小照片随身携带，使其慢

connects Guo Peng to the outside world? A medium that links

慢变得具有岁月的沧桑感。所以这些纸片变得很皱，有时接近

two 'poles' (the author and everything else) and at the same time

破损，边缘的小角或许已经掉落不见。这些照片就像是经历了

helps to keep a distance between them? The subjects Guo Peng

长年风雨变迁的幸存者。我很好奇，是艺术家仔细的观察使每

chooses, especially in the last years, remain still, are often small,

张照片产生新的皱痕，还是他无意为之？于是，艺术家极力展

suspended in a frozen space which, being un-definable (not as

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现出来的这种有意识的忽略，鼓励了观者更近一步接触了解作品，随意而自然地欣赏

和外部空间。在成为创作者之前，作为观者的郭棚怀着不同的心境，以不同的角度去

它们。

观察同一件事物，然后通过仔细缜密的设置安排来传达出自己的主观情感。他希望这

另一个独特之处是，他习惯在同一件事物上拍摄几张图片，通过稍微改变图像的

些外物能够成为自己经历的一部分并长时间存在，那些照片带着的“伤痕”就是对无

构成，达到不同的视觉效果。图像有时候是正方形，有时又是矩形，同时，尺寸大小

数经历的见证。这些图像不仅告诉我们事物的存在，甚至事物独立的存在；图像在主

也有变化。这些照片有的会有修剪过的白边，流露出对所谓的现实中一隅的不尽可能

观的现实世界里成为可感触的实物，“时间”转换成了“空间”。在过去的创作中郭

的理解。更有趣的是，他不像其他摄影师那样，把拍摄同一事物的所有照片放一起，

棚常常使用一些十分不自然，炫丽的颜色给照片手工上色。但最近，他选择以一种更

并从中挑选出一张；相反，他把这些照片都排列起来，这打破了单独一张照片所表达

简洁，更传统的方式突出现实和图片形象中的不同：把它们放置到极简的黑色与白色

的意义，让注意力从作品转移到观者本身。我相信郭棚希望强调一个理念：外部世界

之中。最多，会有一点泛黄，只是用来呈现照片历经时间洗礼之后的意境。我必须说，

的显影其实是由我们决定的。观者的感知决定世界的诸多面，然后再决定自己的角度

我更倾向这个清晰的决定，因为这将事物更诗意地呈现在我眼里，同时以一种更简单

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far past as it might seem, not really present either), creates a strong sense of detachment. They are poetic as well, subtly evocative, due to the way the author processes the pocket-size pieces of paper: he carries them with him on many occasions and wears them out, makes them appear aged and heavy with memories.

The paper becomes pitilessly crumpled, sometimes torn, and/or tiny pieces of it are missing. The pictures seem to be survivors of long years of adventurous vicissitudes. I wonder whether the artist examines them carefully in order to take note of every new trace of abrasion, or whether he is rather careless. The sought after negligence that the author flaunts encourages the viewer to have a closer relationship with the works, to treat them with a sense of ease.

Another very unique characteristic is Guo Peng's practice of taking several shots of a chosen subject, slightly changing the composition of the images; sometimes their form is square, other times it is rectangular, and the dimensions vary as well, creating different visual effects. The photograph might have a white border or not, often the border is trimmed...

《是无等等》（局部）尺寸可变 摄影装置 THAT'S IT (detail) dimensions variable photography installation 2012

giving different possible perceptions of the same tiny aspect of so-called reality. Even more interestingly, Guo Peng does not select one single image out of

specimens of subjective realities. Where in the past Guo

few works I am aware of, where images are nowhere

the several he has taken of the 'same' subject, like

Peng used to manually add color to the images - and he

aligned, is the one entitled Coming as humans, leaving

most photographers, but rather he lines them all up,

often employed very unnatural, garish colors - recently

as Buddhas, dated 2013. In it, the rhythm of the

disturbing the effect one image would convey and

he has chosen another, simpler and more 'traditional'

images is more random, it gives the viewer a feeling of

shifting the focus from the viewed to the viewer. I

way to emphasize the difference between 'reality' and

progressive expansion, like an explosion that, strangely,

believe Guo Peng wishes to stress the idea that the

the pictures: these are left in black and white. At most,

does not lose energy as it expands from the center

appearance of the outside world really depends on us.

there are yellowish nuances that only contribute to the

point, but rather keeps all of its power, because the size

It is up to the viewer to notice single aspects of the

illusion of old photos. I have to say that I much prefer

of the images does not diminish as they move further

world, then to decide the perspective, the viewpoint,

this sober choice, which is aesthetically more pleasant

and further from the center. The photos in different

the amount of surrounding space. As a viewer before

in my eyes and conveys the message in a more simple

sizes represent repeatedly the sculpture of a sitting

being a 'creator', he looks at the same objects from

and direct way.

Buddha, whose head has been cut out leaving a hole, an

different angles, in different moods, and conveys his

One single work consists of several shots, or of

emptiness. It seems to me that this work, together with

subjectivity through the careful arrangement of their

many different prints of the same shot. The sequence in

Reenactment (2013), is opening up a new development

settings. He wants them to be part of his existence, to

which they are arranged on the wall differs, depending

for the artist's creation, as it looks freer. In this case

live in a prolonged period of time, and the 'scars' the

on the aesthetic consideration of the author, but the

and in the case of two previous works dating back to

photographic paper carries testify to the experiences

pictures must all be aligned at the top. I feel that the

2012, namely That's it and A river, Guo Peng develops

they have been through. These images not only tell

straight line reflects the rational side of Guo Peng's

further his consideration of the most suitable way

us of the existence of their subject, they even become

character, his need of an orderly setting that gives him

to show the works in a given space. This aspect has

'existences' on their own, they become tangible

the 'harmony' and peace he longs for. One of the very

always been important for the artist, as he likes to make

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直接的方式传达出来。 一件作品由许多张照片组成，或者是同一张照片的许多不同冲印 组成一件作品。根据作者的美学考虑，那些布置在墙上的照片顺序不 同，但是必须在顶部对齐。我感觉到那些对齐的直线折射出郭棚理智 的一面，他需要有秩序的力量感，这样就能给他带来他向往的协调与 宁静。然而我记得的少量作品中的一件叫做《过来人 未来佛》，创 作于 2013 年，其中的图像却没有一点整齐的感觉。在这件作品中 , 图像的“韵律”是自由的，这给观者带来一种向前扩张的感觉。就像 爆炸一样，从中心向周围扩张时，力量没有失去，反而更具有张力。 这是因为照片在布置得离中心越远时，尺寸并没有变小。不同尺寸的 照片重复呈现着一尊坐立的佛像，佛头被剪掉了，留下一个空洞。在 艺术家的创造性上 , 我认为这件作品和之前创作的《拾弃》（2013） 有了新的发展，这让作品看起来更加自由。再结合 2012 年的两件作 品《是无等等》和《一条河流》，可以看出郭棚在进一步思考，在给 定的空间里展示作品的最佳方式。这一点对艺术家来说十分重要，正 如他坚持用一种特殊的布展方式来把具有二维空间的平面作品与三维 空间联系起来。 看一下作品的名称，不难发现艺术家给它们都赋予了特殊的形象。 我找到了一组由不同的事物对象，并以“尘埃”开头的作品（比如， 《尘埃—瓶》、《尘埃—山》、《尘埃—水》）。把“尘埃”和“瓶” 结合在一起是很现实普通的，特殊的是将“尘埃”和“水”联系在一起； 很显然，作品本身就变成了以自我为参照的独立对象。艺术家表达出 来的情感是最有关联的。在选择其他作品名称的时候，有时取得十分 朴实、简单（比如，窗前 , 草、荷、松、雾），但大多时候都取得十 分抽象（比如，光、已、立、时间、同在、往事、原点、在、空山、气、 神经……）。同样很明显，他重在表达自己的主观情感，通过一些细 节来表现出感知不同理念的可能性，而这些细节，是其他人没有注意 到的，或被认为是物质世界的乏味体现。郭棚说，“每一次携带照片， 都能产生不同的情感与反应”，并十分乐享这种“自我察觉，自我关照”。 我个人认为，郭棚的这种“自我关照”的方式与其他年轻的摄影 师不同。比如，那些年轻人喜欢拍摄自己身体的一部分，描述自己或 朋友的生活环境，并使用一种平淡无奇、粗糙的摄影技术。想起在大 理与郭棚以及一些年长摄影家的一次讨论，我很认同郭棚的观点：“一 件艺术作品最重要的是其传达主观而独特的立场”。在他的作品中难 能可贵的是，能穿越分割“自己”和“外物”的疆界，在与外界保持 联系的时候不失去自己的独特性。我认为，他的作品成功的突破了“当 时性”表达的局限，并自然联系到“经典”。 我知道郭棚渴望听到真正的批评，而不是太多的赞赏。但我必须 承认的是，郭棚一路追求艺术表达的路程是鲜活、原创的，充实的， 是真正倾听自己内心声音的。这对我来说是最重要的。就像许多人认 真听取苏格拉底不断“了解自身”的劝勉一样，郭棚的艺术之路，是 《拾弃》（局部）尺寸可变 摄影装置 REENACTMENT (detail) dimensions variable photography installation 2013

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一生的追求，而我期待看到他的下一步……

《尺度》摄影 SIZE 5.5cm×7cm 8cm×11cm 4cm×5.2cm 8cm×8.5cm 5cm×11cm 9.5cm×12.5cm photography 2011

《空山》摄影 EMPTY 4cm×5.5cm 5cm×6.5cm 8cm×6cm 6.4cm×4.8cm 5cm×6.8cm 5cm×4cm photography 2012

《半》摄影 HALF 7cm×9.2cm 5cm×6.5cm 2.2cm×3cm 9.7cm×13cm 3cm×4cm 8cm×10.5cm photography 2015

his bi-dimensional works relate to the environment in a 'site-specific' way.

like to take pictures of parts of their own body, details of their living environment, of

Looking at the titles Guo Peng has carefully given to each set of images, I found

their friends, shot using a very casual, intentionally shabby photographic technique.

that there is a group of very different objects that are preceded by dust [i.e. Dust-

Thinking of a debate that he and a group of elderly photographers had once in the

bottle, Dust-mountain, Dust-water]. While the combination of 'dust' with 'bottle' is

South of China ( 大理 ), I agree with him that the most important aspect of an artwork

a very realistic one, different is the case of water and mountain: it is evident that the

is the subjective, unique expression it carries. But it is very important as well, I

photo has become an object itself, it is self-referential. The most relevant aspect is the

believe, to cross the border that separates the 'self' from 'everything else', and to be

mood expressed by the artist, while the chosen subject merely conveys it. The titles of

able to communicate with the world outside without giving up one's uniqueness. I

other works are sometimes very 'down to earth', very simple [Window, Grass , Lotus ,

personally relate naturally to his works that appear somehow 'classic' and, I believe,

Pine , Fog ], but most of the times they are very abstract [Light, Oneself , Stand , Time

manage to overcome the expression of a limited 'temporality': it would be difficult to

, Together, Past, Origin, Here, Empty mountain, Air, Nerves...]; again, it is clear that

tell the age, both of the works and of the author.

the artist stresses his own very subjective point of view, suggesting the possibility of

I know Guo Peng does not want to hear too many words of appreciation and longs

perceiving vast concepts through minute details that others may not notice or might

for real criticism. I have to admit, however, that I consider his journey through artistic

consider prosaic expressions of the material world. The author even proclaims that he

expression original, rich and true to himself, which is the most important thing in my

has "different feelings and responses to the photos each time he takes them out", and

opinion. His journey, like that of all the people who take seriously Socrates' exhortation

that he strongly relies on his "introspective perception".

of 'knowing themselves', is a life-long one, and I am looking forward seeing the next

I personally consider Guo Peng's way of being 'self-referential' very different

step...

from examples I have seen of other young photographers' works who, for instance,

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梁木 Liang Mu

梁木 Liang Mu: The Utopia of

a Material Experimenter 一个材料实验者的乌托邦世界 采编：徐游 Interviewed by Shell Xu

按：从版画创作到综合材料制作，梁木的作品在材料运用上有

rom printmaking to comprehensive material

了很大的改变，材料上的改变必然导致形式上的转换，从具象

creation, there’s a huge change of materials that

到抽象，梁木在缜密的思考之后，便是自然的转型。在梁木看来，

Liang Mu applied in his works, which will inevitably

材料制作是一种快乐的体验。受到德国表现主义的影响，他的

lead to conversion in form. From representational

作品往往带有一种充满张力与表现力的内在精神性。他在抽象

to abstract, his meticulous thought makes it seemed

与非抽象之间转换，在不同阶段的实验之下，呈现的是不同的

like a natural transformation. In his view, material creation is a

图像样貌，然而形式的改变并不影响其对内在精神力量的彰显，

pleasant experience. Influenced by German expressionism, his works

材料的探索与研究是梁木的精神述说方式。

often feature an inherent spirituality full of tension and expressive force. At different stages of the experiment, his conversion between

画廊：你早期的作品比较具象，最近开始变得抽象了，为什么？

abstract and non-abstract shows different looks of the image, but the

梁木：也许很早以前我会赞同有所谓的具象与抽象的区别，但

change in form does not affect its demonstration of spiritual power.

现在我不这么认为了。我认为事物的存在都是阶段性的以时间

The exploration and research of material is his approach to explain

来划分的，在不同的阶段，样貌会发生改变，但本质没变，就

spirituality.

好比水会在气态、液态、固态之间转化。而所谓画面语言的抽 象与非抽象其实是观者的主观认知问题，人们总是凭着本能试

Gallery: Your early works are more of representational, whereas

图读取点什么，总想找出所指，但是事物外在形式不会超越其

your recent works are more of abstract. Could you tell us why?

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自身本质，假如被定义为所谓抽象，也只是阶段性不

了版画可以复制，这是版画的本体语言。而利用模板

有专门的画笔纸张颜料等等，其本质是物质上的延伸

能在表面上把控而已，其实我不赞同这种划分，太主观，

进行的印刷（也就是复制）会留下各种各样的痕迹，

与承载。从我个人经验来理解完全没必要拘泥于此，

太对立了。至于我之前画面为什么可辨识，我想只是

人为的、自然的、偶然的等等，时间久了我必然会对

任何可以拿来被利用的都是合理的，只不过每一种被

因为这样好入手、好把控，甚至会让我找到一种恣意

这个东西很敏感，我个人会把这些东西理解为一种语

利用的物质都有自身特性，我这里指的不是它的物理

妄为的状态。但是，这很危险。当你太舒服的时候必

言形式，至于它停留在纸面上还是布面上或者是墙上，

属性，而是给人留下的感觉，这些东西是不会百分百

然要付出代价，会失去很多宝贵的挫败的经历，我得

我并不在乎。这个过程我被自身的意愿驱使着，要完

听话的，总会产生一个斗争、较量、妥协的过程，最

警醒这一点。

成它。因此我也不理解什么叫综合材料绘画，更不清

后的结果不会是田园牧歌，更像是一个战场。

楚人们是怎么定义的。 画廊：你之前一直创作版画，为什么现在会开始做综

画廊：材料上的改变是否影响表现形式的改变？

合材料？

画廊：是在怎样的契机下开始做这些材料尝试的？

梁木：这是必然的，我从一开始就没有确立一个目标

梁木：版画是个技术性很强的画种，它的间接性决定

梁木：人们总会有种习惯性的观念，似乎绘画必须得

或者树立一个标准。我把所谓的材料语言制作过程（在

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《红格子》综合材料 RED LATTICE 50cm×60cm multi materials 2016

《隐没的黄》综合材料 HIDDEN YELLOW 80cm×100cm multi materials 2016

Liang Mu: Maybe long ago I would agree with the so-called difference between

very dangerous. When you are too comfortable, you must pay the price, losing a lot of

representational and abstract, but now I don’t think so. I think the existence of an

valuable experience of frustration. I should wake up to it.

object is periodically defined according to time. The appearance of an object would be changed at different stages, but its nature remains the same, like water which can

Gallery: You have been making prints all along. Now, why do you switch to

convert between gas, liquid, and solid state. So-called abstraction and non-abstraction

comprehensive materials?

of image language are actually the subjective cognition of the viewer. People always

Liang Mu: Print is a kind of artwork with a strong technical nature. Its indirectness

try to read something by instinct, and always want to find out its meaning. However,

determines that print can copy, which is the ontology language of print. Printing

the external form of an object will not surpass its own nature. If it is defined as a so-

with stencil—that is to copy—would leave traces of all kinds, man-made, natural, or

called abstraction, it just loses its control of the surface periodically. In fact, I do not

accidental and etc. Over time I am certainly become sensitive to it and personally I

agree with such a kind of definition; it is too subjective and antagonistic. As for why

regarded it as a form of language. I don’t care whether it stays on paper, on cloth or on

my early works can be easily identified, I think it is just because it is easier to start

the wall. This process is driven by my own will to complete it. Therefore, I don’t know

and better to control, and even makes me feel I can do anything as I please. Yet, it is

what is called comprehensive material painting, nor do I know how people define it.

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《葵花——被省略的部分》凹版 SUNFLOWER - PART OMITTED 46cm×76cm gravure 2009

《蓝色印象》凹版 BLUE IMPRESSION 76cm×60cm gravure 2016

我看来是留下痕迹的过程）看作是一次互相改变的接触，或者说我与外在事物气质融

至能体会到德国人心中那个乌托邦化的永远不可抵达的遥远的东方。对于我，也是如

合的过程。还有一点需要说明，当使用一些太过顺手的方式或材料时，就需要提高警

此。

惕了，不然很容易被自己的技巧以及造型能力俘获，最终沦落为仅仅为了自己所谓的 “悟性”寻找某种物质形态上的报酬而已。

画廊：在绘画中更偏重于哪一种形式语言的研究？ 梁木：我之前说过出于视觉经验的原因，我必然会对某些呈现方式保持敏感，比如

画廊：你的作品中有些有着德国表现主义艺术家的影子，如基弗、里希特，从他们那

“痕迹”。但是惯性思维或者保持对自己思维内核的某种复制，未必是一种好习惯。

里中受到了哪些启发呢？

所以警觉是必要的，关系若即若离也许最恰当。至于形式，也许出现的就是目前阶段

梁木：我受这些艺术家影响非常大，大学期间系里一直非常推崇贾科梅蒂、塔皮埃斯、

适合的。

杜布菲、博伊斯、基佛、里希特等等艺术家，这些影响甚至有一种挥之不去的感觉。 但那是之前，后来我专门学了德语，考了欧标证书打算去留学。后来，当我来到德国

画廊：前期的作品以黑白色调为主，在综合材料创作中却出现了很纯的大色块，为什

能够阅读一些文献之后，这种感觉就不见了，这里伴随着一种比较复杂的感情，我不

么呢？

想展开说。

梁木：其实我最期望的就是我能够做到既看不见形体也看不见颜色，但是这种境界只

举个例子，我在海德堡居住期间，经常在一个安静的街区散步，那里，一座精致 而静谧的别墅开设了一家“太极东方医学诊疗中心”，标志是个太极图，是两个德国 医学博士开设的，从名字就能看出来绝对不是东方人，从整个诊疗中心的氛围中我甚

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能是一种奢望。至于结果为何会这样呈现，我是希望有这么一个明确原因存在的，但 我绝对不会去主动找寻，这些原因最好是被埋进深深的土里。永远别让我知道。

《一行白鹭》凸版 LINE OF EGRETS toppan 2016

《无边落木萧萧下》凸版 DEFOLIATION 90cm×86cm toppan 2016

《无边落木萧萧下》凸版 DEFOLIATION 90cm×86cm toppan 2016

Gallery: What kind of circumstance made you start

easily trapped by your skills and modeling ability and

entire atmosphere in the treatment center made me feel

to try on these materials?

ultimately reduced to seeking some kinds of material

the remote utopian Orient in the hearts of the Germans

Liang Mu: People always keep a sort of habitual

rewards for so-called “savvy”.

that could not be reached forever. So as it is for me.

a particular brush, paper, pigments and etc., and its

Gallery: There are traces of German Expressionism

Gallery: In painting, which form language of

nature is the physical extension and bearing. According

in your works, such as from Anselm Kiefer or

research do you focus on more?

to my personal experience, it is no need to rigidly

Gerhard Richter. What kind of inspiration do you

Liang Mu: I mentioned earlier I am sensitive to certain

adhere to it. Anything that can be used is reasonable,

get from them?

presentation approaches due to my visual experience,

and each material to be used has its own characteristics.

Liang Mu: I am greatly influenced by these artists, and

such as “traces”. However, it may not be a good habit

Here I don’t refer to its physical properties, but the

always highly appreciate Alberto Giacometti, Antoni

to keep habitual thinking or copying one’s internal

feelings that it impresses people. These things are not

Tàpies, Jean Dubuffet, Joseph Beuys, Anselm Kiefer,

thinking, so vigilance is necessary and an ambiguous

perfectly obedient, but always produce a struggling,

Gerhard Richter and other artists since my college. I felt

relation may be most appropriate. As for the form, what

contesting and compromising process. The final result

like to be haunted by their influences. Later I purposely

has appeared seemed appropriate for the current stage.

will not be an idyll, but more like a battlefield.

learned German and acquired European standard

concept: it seems that painting must be associated with

certificate with the intention of study in Germany.

Gallery: Your previous works are mainly in black

Gallery: Does the change in materials affect the

Afterwards I read a few related literature articles when

and white, while large pure color blocks are shown

change of expressive form?

I was in Germany, that admiration was gone and a more

on your comprehensive material work. Why?

Liang Mu: Inevitably. I did not establish a goal or a

complex feeling came along, which I don’t want to

Liang Mu: In fact, what I expect the most is that I can

standard at the very beginning. I regard the so-called

explain clearly here.

realize works with invisible shape and color, which is

material language creation process—for me it is the

For instance, during my stay in Heidelberg, I

an impossible status. As for why I present the outcomes

process to keep traces—as a chance to be a mutual

often took a walk in a quiet block. In a sophisticated

in this way, I just hope there is a clear reason, but I

exchange or a process to merge with temperament

and tranquil villa, there was "Tai Chi Oriental Medical

will not take the initiative to find it. These reasons are

of the external. Another point to note is that you

Center" with a Tai Chi diagram as its logo, and was ran

better to be buried deep into the soil, and never let me

should be vigilant when certain methods or materials

by two German medical doctors. Its name already told

know.

are too convenient to use. Otherwise, you would be

me that it was definitely not owned by Orientals. The

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《夜行》（局部）布面油画 WALK IN THE NIGHT (detail) 60cm×90cm oil on canvas 2016

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王欣 Wang Xin

Inner Landscape Wang Xin's Self-Reflection

内心的风景 —— 王欣的自我思虑 采编：林建华 Interviewed by Hana Lam

按：成长于江苏扬州，求学于西安、昆明的王欣，其绘画并未

ang Xin grew up in Yangzhou, Jiangsu,

呈现出不同文化气息交织的质感，相反，他在创作中拭去不同

and received education in Xi'an and

城市带给自己的复杂感情，以纯粹的、似曾相识的日常场景与

Kunming, yet his paintings do not

形单影只的人物来构建自己内心的风景，它们往往带有某种精

feature a texture intertwined by different

神性，指向当今社会年轻人内心那个沉重的、摇摇欲坠的世界。

cultures. Contrarily, he wipes away

对目前的王欣而言，重要的不是去追问那个精神世界存在的原

the complex emotions that different cities bring to him in his

因，而是去记录当人面对广袤的都市时在内心留下的风景。

creation, and builds his own inner landscape with pure and familiar daily scenes and solitary figures. They usually have

画廊：你作品的主题似乎总围绕着人物的某种状态展开，其

some kind of spirituality, pointing to that heavy and crumbling

中的灵感来源于哪里？

spiritual world in the heart of young people in today's society. To

王欣：我画面中的人物在很大程度上反映自己和周围的人当

Wang Xin, now it is important to record the landscape left in the

下的一种状态：孤独，游离，不安。我觉得这是当今社会环

heart when people face the vast city, rather than ask the reason

境下大多数年轻人的状态。在拜金主义盛行的年代，我们这

for the existence of the spiritual world.

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代年轻人对自我存在提出质疑，甚至开始逃 避自我，容易感到精神层面上的疏离和孤 寂。我关注这种现象，所以想以作品阐述这 种精神危机，对我而言，也有自省的意味。 画廊：画面上形单影只的人物都有他们各自 的意义吗？ 王欣：画面只刻画单个人物有两个原因，首 先，画面需要强调孤寂的气氛；其次，我愿 意把这种形式渐渐转化成这系列作品的某种 特质，以突出人的自我存在意识。 画廊：你认为你作品中的人物是否具有一定 的叙事性？ 王欣：叙事意味肯定会有的，毕竟我构建了 真实的场景，精心安排了人物的动态。但你 所说的叙事性强调的可能是某个状态的延 续，但我目前更愿意表现某个节点的状态， 通过这种状态激发出特别的感受，从而与观 者产生共鸣，引起某种共同的记忆。 画廊：在你的作品中，人物与环境之间的关 系是怎样的？ 王欣：人作为一个渺小的个体，一下子就被 扔到一个空旷的场景里，人会感到不知所 措，可能人自身根本难以走进这个环境，但 被创作者生拉硬扯地拖进某个场景中，人往 那一站，往那一坐，与环境之间突然形成某 种尴尬的关系，而这种状况则可能恰恰是某 个群体的共同感受。 画廊：你曾就读于西安美术学院与云南艺术 学院两个院校，你认为两个院校所呈现出来 的艺术环境有什么不一样的地方？ 王 欣： 西 安 给 我 以 厚 重、 深 沉 的 感 觉， 它 像个学识广博的老辈儿。昆明热情、惬意， 像不羁的少女。学院艺术环境和城市的质感 或许真的在某种程度上有所关联：西美更传 统，严谨，有着成熟完善的教学体系，云艺 开放、自由，有天高任鸟飞的意味。

《呈贡》布面油画 WORSHIP 100cm×150cm oil on canvas 2015

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画廊：你到处游历、写生，那你怎么看待写 生与创作这两种不同的绘画状态？

《空地》木板油画 SPACE 142cm×138cm oil on board 2013

《空地之二》布面油画 SPACE NO.2 120cm×150cm oil on canvas 2014

Gallery: The theme of your works seems to always

gradually into a certain characteristic of this series, to

into such a situation by himself, but can be dragged

center on a certain state of the characters. Where

highlight people's awareness of self-existence.

into a scene by the art-maker. As long as he stands or sits there, some kind of embarrassing relation with the

does your inspiration come from?

Wang Xin: To a large extent, the character in my works

Gallery: Do you think the characters in your works

environment forms suddenly. Such kind of state may be

reflects the current state of my own or people around:

have a certain narrative?

the common feeling of a certain group.

lonely, dissociated and uneasy, which I think is the state

Wang Xin: Of course, there are some narrative

of most young people in today's social environment. In

meanings, since I create real scenes and arrange the

Gallery: You studied at Xi'an Academy of Fine Arts

the age that money worship prevails, young people of

character dynamic carefully. But what you mean by

and Yunnan Arts University. What is the difference

our generation question the existence of their own, even

narrative may focus on the continuation of a state, but

between these two institutions in term of the artistic

begin to escape themselves, and easily feel spiritual

now I would more like to show the state of a node,

environment?

alienation and loneliness. I am concerned about this

through which my works stimulate a special feeling,

Wang Xin: Xi'an impresses me with its dignified and

phenomenon, so I want to present this spiritual crisis

and then resonate with the viewers and recall some

profound character, like a knowledgeable scholar of the

with my work, which also means self-reflection to me.

memories in common.

older generation. Kunming is enthusiastic and pleasant,

Gallery: Do the solitary figures in your paintings

Gallery: What is the relation between people and

environment of the institute might be related to the

have their own meanings?

the environment in your works?

texture of the city: Xi'an Academy of Fine Arts is more

Wang Xin: The painting only depicts a single character.

Wang Xin: Since every human is a small individual,

traditional and rigorous, with a mature and developed

Firstly, the painting should emphasize the lonely

he would be at a loss what to do once being thrown into

teaching system, while Yunnan Arts University is open

atmosphere. Secondly, I would like to turn this form

an open scene suddenly. It is difficult for one to walk

and free, with an environment that encourages free

like an uninhibited girl. To some extent, the artistic

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《扎美寺印象》纸本综合 ZHAMEI TEMPLE IMPRESSION 15cm×15cm×6 paper synthesis 2016

王欣：我个人并不认为这两种状态离得很远，在我看

布面油画相比，纸本创作对你来说有什么不一样？

王欣：现在的我太年轻，绘画于我可能才刚刚开始。

来写生就是创作，写生并非一定要把你看到的东西稳

王欣：纸上创作一般比较快，加上材料的流动性和尺

从我记事起，绘画就一直伴随我。我父亲算是我的启

稳当当地移植到画布上。我写生的时候，经常在不同

幅的限制，纸本作品显得偶然、生动，它可以很快地

蒙老师。印象里，只要他有空，就会带年幼的我一块

的地点里截取各种景色，这里取点儿，那里取点儿，

记录一个突然的想法，因此具有很强的记录性。纸本

画画。我父亲爱画画，但他没有接受过学院的专业训

不想要的就扔了，想要的就添加，全部组合在一起。

很难做到像油画那样可以反复覆盖、修改，它容不得

练，在他看来这似乎成为了遗憾，因此他多少有些让

观者在画面中压根儿找不到对应的实景，但脱离了实

你犹豫，所以完成的作品往往呈现出干净利落的特质，

我替他完成梦想的情结，甚至时常因为我画画不投入

景，画面中的景色也不存在。天地有自己的颜色，但

一气呵成却不完整，有一种模糊、支离破碎的感觉。

而对我严加训斥，我由此感到了他对我的期望。后来

我觉得把那个颜色放画面里完全不对味儿，那就给它

对纸本创作而言，会稀里糊涂地就撞上一张“好画”，

绘画真正成了我自己的事情，直至现在融入我的身体

换了，没什么规矩，跟着画面走。这是我的写生方式，

像中了奖一样惊喜，这是我最喜欢的一点。

和生活，就像吃饭睡觉一样出于本能，我能意识到自

我觉得那就是创作，眼睛和心相互照应，离了哪样都 难办。 画廊：你最近开始了纸本水彩或纸本丙烯的创作，与

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己非得把这件事做下去。我的生活很简单，抛去在外 画廊：回顾你的人生，你似乎一直走在画画这条路上，

写生的时间，一般就是在工作室创作自己想表达的东

那选择绘画这条路，对你来说意味着什么？你的创作

西，它们的灵感大多来源于我对当下生活的体悟，虽

与生活之间存在一种什么样的关系？

然没那么深刻，但它实实在在属于当前的自我。

《采蜜》布面油画 HONEY HARVEST 150cm×150cm oil on canvas 2016

《下船》布面油画 DISEMBARK 120cm×150cm oil on canvas 2016

exploration in the vast sky of art.

repeat covering and modification, as well as hesitation. Therefore, the completed work usually shows a crispy nature, which is made in one action yet not complete, exuding

Gallery: You travel around and sketch a lot. How do you think of sketching and

an ambiguous and fragmentary feeling. When creating on paper, you might happen to

creating these two different painting states?

make a “great painting”, as surprising as wining a prize. I just like it.

Wang Xin: Personally, I don’t think these two states are very different. In my opinion, sketching is creating, and sketch is not necessarily to move something you see to

Gallery: When I review your life experience, you seem to keep walking in the

the canvas safely and soundly. When I sketch, I often select a variety of scenery

course of painting. What does it mean to you to choose this course? What is the

in different locations, some here and some there. I cast something I dislike, add

relation between your creation and your life?

something I like, and finally combine them altogether. The viewers could not find the

Wang Xin: Now I am too young and may just begin painting. In my memory, painting

corresponding real scene in my paintings. Yet, without the real scene, the scenery in the

always stays with me. My father can be called my first teacher. I remember he would

painting will not exist. Thought both the sky and earth have their own colors, I don’t

paint with me as long as he was free when I was a child. He loves painting but does

think is completely right to me to put these colors into the painting. I change them with

not received professional training in the academy, which seems to him a pity. Thus he

no rules and just follow the sense of painting. It is my way of sketching, and I think it

hoped me to realize his dream in some way, and often rebuked me when I did not focus

is creating. The eyes and heart help each other, and live hard without each other.

on painting, and I feel his expectation as well. Later, painting really becomes what I want to do, and now it has emerged into my body and life, like eating and sleeping out

Gallery: Recently you start creating watercolor or acrylic on paper. Compare

of instinct. I can realize that I have to keep on painting. My life is very simple, and

with oil on canvas, what is the difference of painting on paper to you?

usually I create what I want to express in the studio expect when I sketch outdoor. The

Wang Xin: Creating on paper is generally faster and features fluidic material and

inspiration mostly comes from my understanding of current life. It may be not deep

limited size, which makes the paper work accidental and vivid. It can quickly record a

enough but truly belongs to who I am at the present.

sudden idea, with a strong documentary characteristic. Creating on paper hardly allows

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《坑》（局部）布面油画 PIT (detail) 150cm×130cm oil on canvas 2016

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应博睿 Ying Borui

Ying Borui:

The Protection of Loneliness

孤独的保护 —— 应博睿自述 撰文：应博睿 Written by Ying Borui

卢梭曾说：“当一个人一心一意做好事情的时候，他最终

ean-Jacques Rousseau once said: “a man

是必然会成功的。”如今的我虽还未成功，但也是自幼一心一

who is bent wholeheartedly on the work will

意走在绘画道路之上，不断地学习，不断地探索。在这条崎岖

ultimately succeed”. I have not succeeded

道路上曾亲见一批批习画友人弃绘画而去，我亦因此有过放弃

today but I have been fully engaged in

之念，与母亲诉之，而她的回答至今铭记在心，她说：“人要

painting since I was young and I have not

学会孤独。”虽然当时年少不知其深意，但是随着年纪的增长，

stopped learning and exploration. I have seen my friends

却越来越能体会到其中的意味……寻求艺术真理的道路是孤独

abandoning the learning of painting in this difficult process

的，而卢梭话中的“一个人”，大概亦有此意，也正因如此，

and I have also thought of abandonment. Therefore, I told

每一位成功的艺术家都有特立独行的风格。

my mother of my thought and I still remember what she

在孤独的艺术道路上行走，不知不觉便是十多年，从最初

said to me: “one should learn to be lonely”. Although I did

的懵懂无知到如今主动寻找自己的道路，我不断成长，寻找这

not quite understand her at that time because of my young

条属于自己的路需要细致的观察和深入的思考。面对当下，我

age, I realized her meaning when I grew up. The process of

们可以发现，自杜尚以后，艺术有太多的路可以选择，然而在

seeking the truth of art is lonely and “a man” said by Jean-

众多的选择中我依然坚持架上绘画，以我见，这是最为淳朴的

Jacques Rousseau may also imply this meaning. Because

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《门》（局部）布面油画 DOOR (detail) 80cm×100cm oil on canvas 2016

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《灯》布面油画 LIGHT 80cm×100cm oil on canvas 2016

of this, every successful artist has created his own independent and unique style.

《旋转》布面油画 WHIRLING 70cm×90cm oil on canvas 2016

In the earlier years, my creation is mainly based on the normal people added with light and shadows

I’ve been on the journey of art for more than a

to create a strange conception and later I added the

decade, from my ignorant painting to the seeking of my

characters with chemical protective clothing when

own path, I have been growing and the seeking of my

I felt that the normal characters could not satisfy

path requires careful observation and in-depth thinking.

the atmosphere I required. Chemical protective

With the art world today that full of choices since the

clothing has two meanings to my works. On one

time from Marcel Duchamp, and I still choose painting

hand, human activities have caused pollution to the

on frame among others. To my understanding, this is a

earth and chemical protective clothing has become a

purest artistic form and it could be most truly expressed

common product that is closely associated with our

my thoughts. In my opinion, most of contemporary

life because we can say that people today are living

artworks are mainly based on conveying the personal

in a very dangerous and fragile environment. On the

thoughts of artists and they are more characteristic of

other hand, people in society are isolated from each

spiritualism. I have been learning from many western

other and compete with each other which have caused

artists, to include Lucian Freud, Eric Fisher, Edward

a barrier and the barrier is like the effect of chemical

Hopper, etc. and have been influenced by them but I

protective clothing which has blocked their association

have not completely accepted them. I continued to take

with the external world and has prevented others from

what I observe and what I think as the direction of my

harming them. To me, it means deeper thinking as

creation. Therefore, most of my painting works are the

chemical protective clothing is an implication of self-

description of me and the social reality and people who

protraction awareness and dangerous environment. I

are the major social existence are major subjects of my

was born in Kunming and I grew up in the urban area.

works.

I have witnessed the change of this city, observed

《奇异之森》布面油画 EXOTIC FOREST 60cm×100cm oil on canvas 2016

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《燃烧》布面油画 COMBUSTION 60cm×80cm oil on canvas 2016

《未知探索》布面油画 EXPLORING 80cm×100cm oil on canvas 2016

艺术形式，也最能表达出我的所思及所想。而谈及所

人与人之间相互隔绝，相互竞争，致使隔阂产生，而

我亦是如此，我明白，在艺术市场中，枫丹白露般优

思所想，当下艺术作品大多以传达艺术家个人思想为

这样的隔阂就如同防化服一般，既阻断了自己与外界

美的油画是极为讨好大众的，但是我并不想因为些许

主，且更加具有精神性。在我的学习生涯中，曾向很

的联系，又防止了别人对自己的伤害。对我而言，防

的经济利益而放弃我对世界的思索。对我而言，绘画

多艺术大师学习，如卢西恩·佛洛依德、艾瑞克·费

化服还有更为切身的思考，它的存在意味自我保护的

是情感的诉说及思想的寄托，并非糊口的工具，我能

舍尔、爱德华霍·珀等等，虽受他们影响，但也未全

意识以及对危险环境的暗示。我生于昆明，从小在城

做的也只能是将其置于防化服中好好保护起来，继续

盘接纳，我仍然以观察身边事物的思考为主要创作方

市中生活，经历过城市的变迁，也亲眼目睹滇池污染、

孤独地游走于艺术的道路上……对于绘画而言，孤独

向，在我的作品中更多的是对自身及社会现实的一些

空气污染等环境问题，长大后更能体会到都市生活的

是一剂苦口良药，齐白石先生也说：“作画是寂寞之道，

阐述，因此，作为社会核心存在的“人”亦成为我所

压力，感受到都市人之间的疏离、竞争、攻击、猜忌，

百事可做。”

创作的主要对象。

在充满威胁的环境里我们彷徨、迷茫、残喘，虽想逃

我作品中的世界并非真实存在，而仅是虚幻与现

最初，我的创作大多以常态的人物为主，以光线

避却无处可逃……有一次，偶然在电影中看到生化服，

实的相互交织。在亦真亦假的感觉中如同进入梦境一

与阴影来创造出一种奇怪的意境，后来却觉普通人物

遂感与我想法极为贴切，故取之并将其与人物相结合

般，飘渺而又真实；在梦境中我们能得到一种保护，

不能满足我所需气氛，故又加之防化服。对于我的作

以突出我更深层次的思考，之后便一直沿用。

一种来自孤独的保护；在这种孤独的保护下我们能自

品而言，防化服有两层含义，一方面是人类活动对地

在我看来，防化服中的我们是安全的，我们不再

由地探索与发现更多超越现实的东西，也能更自由地

球的污染，致使防化器具成为司空见惯的物品，并与

受外界的搅扰，不再受外界的伤害，甚至旁人也无法

诉说对现实的各种感悟……最后，用塞尚的话作为结

我们的生活紧密联系，换言之，在当下，人生活在一

看清我们的面目。虽说如此，但在这样的情况下，个

束：“我欠你的绘画真理，我将在画中告诉你。”

种极为危险、脆弱的环境里；另一方面，当今社会，

体的存在却显得孤独了……在艺术道路上不断行走的

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the contamination of the Dian Lake and have experienced air pollution. When I grew up, I feel the pressure of urban life and have observed the isolation, competition, attack and jealousy of the people. In an environment full of threat, we wander and breathe with perplexity but we have nowhere to go although we want to escape. When I once saw chemical protective clothing in a movie, I felt that it was very close to what I think.

Therefore, I combined it with the characters in my works to describe my in-depth thinking and I have used it till today.

In my view, chemical protective clothing is the safest and it prevents disturbance and harm from the external world and even people nearby cannot see your true face. However, under such circumstance, the individual has become lonely.

This is the same circumstance for me who have been walking on the road of art. I am fully aware that the Fontainebleau style pretty oil paintings in the art market aim at pleasing the public but I do not want to abandon my exploration of the artistic world due to the small profit. To me, painting is the basis of sentiment and thoughts instead of the tool for earning money. What I can do is to preserve it in the chemical protective clothing and I have continued walking on the road of art. To painting, loneliness is a good medicine that tastes bitter, as Mr. Qi Bai-shi once said that “painting is the way of loneliness. Those who can endure loneliness can make achievements”.

The world in my works is not a real world and it is the interaction between illusion and reality which is like a dreamland that combines fantasy and reality. In this dreamland, we can receive a protection which is the protection from loneliness.

Under the protection of loneliness, we can freely explore and discover more things that are surrealistic and we can also more freely describe

《列队》布面油画 LINED UP 150cm×100cm oil on canvas 2016

our understanding of the reality. Finally, let me use what Cezanne has said to end this article, “the truth of painting I owe you will be told in the painting”.

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奇幻之童趣——昆明青年艺术家对话草间弥生展览现场 Wonder of Being Childlike —— A Dialogue Between Yayoi Kusama and Yunnan Young Artists Exhibition

Yuan Xiaocen Museum

袁晓岑美术馆的十年 One Decade of Yuan Xiaocen Museum 采编：温可琳 Interviewed by Colleen Wen

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受访人：高翔、刘芳 Interviewee: Gao Xiang, Liu Fang

按：袁晓岑美术馆在昆明开馆 10 年有余，一直致力于研究展示袁晓岑先生的作 品及收藏，并同时兼顾云南地区的青年艺术家的发展，秉着将中国当代艺术（尤 其是云南地区当代艺术）推向国际的宗旨发展运营至今。而今后，袁晓岑美术馆 的活动计划将进入线上线下双双发展阶段。

ver the ten years of opening in Kunming, Yuan Xiaocen Art Museum has been devoting to research and exhibition of Mr. Yuan Xiaocen's works and collections and development of young artists in Yunnan. Its mission for operation till now has been orienting contemporary Chinese art (especially Yunnan’s) to the international sphere. It is going to develop both online and offline events.

画廊：袁晓岑美术馆的发展宗旨是什么？

Gallery: What is the mission of Yuan Xiaocen Museum?

高翔、刘芳：袁晓岑艺术园是云南省于 2004 年由昆明市政府投资并

Gao Xiang and Liu Fang: Yhe Art Garden of Yuan Xiao Cen is

联合袁晓岑先生共同建设的重点公益性文化项目，在研究展示以袁先

a key nonprofit cultural project jointly funded by the Kunming

生为代表的云南近现代艺术家作品的同时放眼国际内外发展当代艺

Municipal Government and Mr. Yuan Xiaocen in 2004. It is devoted to

术。

studying contemporary Yunnan artists represented by Mr.Yuan, while developing contemporary art with an international perspective.

画廊：袁晓岑美术馆从 2006 年开放至今刚好十年，这十年内美术馆 变化最大的是什么？收获最大的又是什么？

Gallery: It’s been exactly ten years since Yuan Xiaocen Museum

高翔、刘芳：我馆在建馆时确立了：以向公众普及艺术知识，组织学

was opened in 2006. What was the biggest change for the art

术研究，开展国际国内的文化艺术交流为本，推进我国美术事业的发

museum over the decade? What was the biggest payoff?

展。在建馆的十年中，除了空间布局及利用率极大提高以外，展览也

Gao Xiang and Liu Fang: It was decided at its establishment that

更加人性化；同时在展览文献的梳理方面也更加专业。所举办的展览

the museum should popularize art knowledge to the public, organize

不仅注重国内当代艺术的发展，还注重云南艺术家与国外艺术家的艺

academic research, carry out international and domestic cultural

术交流，通过展览媒介将艺术家以及云南本土文化让更多的人了解，

and artistic exchanges, in order to promote the artistic development

尽所能将展览推向国际。在这十年中我馆积极联系国际以及国内各艺

in China. For the past decade, in addition to great advancement

术中心和美术馆，将艺术资源进行共享。在十年的发展历程中，袁晓

in layout and utilization of space, exhibitions have become more

岑美术馆不仅与中国美术馆建立了良好的合作关系，同时与日本大使

visitor-friendly; and the organization of exhibition literature has also

馆、挪威驻华大使馆、瑞典驻华大使馆、孟加拉驻昆大使馆和云南省

become more professional. The exhibitions of the museum have been

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各文化机构和部门都保持着良好的交流。 画廊：在政府和企业的支持下，袁晓岑美术馆比起民营美术馆能够 减少对财政的担忧，在这十年里经历的最大难题是什么，又是如何 解决的？ 高翔、刘芳：袁晓岑美术馆在十年间经历的最大难题还是对高品质 展览和艺术项目的充足资金支持，目前主要通过向国家、省市文化 艺术部门和私人企业资助来获得。 画廊：袁晓岑美术馆目前的部门设置是怎样的？在这十年内是否改 变过这种架构，是什么原因导致的？ 高翔、刘芳：袁晓岑美术馆目前的部门主要分为：策展团队和展览 学术部。展览学术部负责并管理美术馆展览、学术、典藏的全面工 作，规划、组织、实施、审查，是引进展览以及其他艺术活动的酝 酿、承接、讨论并拿出预案供美术馆高层进行表决的学术机构。团 队以凸显主题特征策划展览为准则，并通过各种方式（赞助、展览、 媒体、出版、收藏、推介等）来推动中国当代艺术创作、研究与交 流。在近年我馆将各部门职能进行合理划分，使得各部门的人员更 加清晰自己在美术馆的职责所在。 画廊：袁晓岑美术馆是以袁晓岑作品收藏展览为主，除此以外是否 还会有新增的其他艺术家作品？ 高翔、刘芳：我馆虽然主要是研究展览袁晓岑作品及收藏，但同时 也注重中国当代艺术家的发展，包括给予了更多的青年艺术家展示 的机会。并且，美术馆也积极联系国外美术馆和各国大使馆，通过 不同的渠道将展览传播到各地区，这也与我馆“举办与中国传统艺 术相关联的中国当代艺术展览，积极引进和组织国外高品质当代艺 术交流展”的宗旨相吻合。除袁先生的作品收藏和借展之外，正积 极筹划收藏资金，拟收藏国内外艺术家作品，以丰富馆藏。 画廊：近年来袁晓岑美术馆举办了比较多中国与国外艺术家的交流 展，是以什么标准来选择合作的国家及其艺术家？ 高翔、刘芳：我馆举办的每次展览都会设定艺术主题，都会在已设 定的主题中选择合适的国家和艺术家，同时合作的不同国家和艺术 家也会考量所设定的主题是否符合自己的艺术创作初衷。这样的双 向选择也使展览呈现的方向性更明确。 画廊：在这些与国外合作的交流项目中，美术馆作为连接中外艺术 交流的桥梁是如何发挥作用的？ 高翔、刘芳：我馆将交流项目分为前期、中期、后期，也就是展览 筹备期、展出期、展览结束后。在展览筹备期我们会根据交流项目 两种艺术的态度——中德艺术交流展现场 Kunstaustausch Zwischen Deutschland und China: Zwei Zustande Der Kunst Exhibition

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的主题，在国内外宣传平台中选择适合的渠道积极宣传，展览开幕 期间会邀请国内外相关机构和专业学者参加展览，同时不定时进行

in the past decade? If yes, what were the causes?

Gao Xiang and Liu Fang: The Yuan Xiaocen Art Museum comprises the curatorial team and the department of exhibitions and academics. The latter is responsible for managing the overall exhibitions, academics a n d c o l l e c t i o n s . I t p l a n s , o rg a n i z e s , implements and reviews. It is an academic department that introduces and coordinates exhibitions and other artistic activities and comes up with plans for senior executives of the museum to decide. The curatorial 奇幻之童趣——昆明青年艺术家对话草间弥生展览现场 Wonder of Being Childlike —— A Dialogue Between Yayoi Kusama and Yunnan Young Artists Exhibition

team is committed to planning exhibitions with prominent themes and promoting artistic creation, research and exchange of

concerned with not only the development

Gallery: With the support of the

Chinese contemporary art through various

of contemporary art, but also the artistic

government and the enterprises, Yuan

means (sponsorship, exhibitions, media,

exchanges between Yunnan and foreign

Xiaocen Art Museum may have less

publications, collections, promotion, etc.).

artists. They make artists and local Yunnan

financial concerns than private art

In recent years, we have reasonably divided

culture accessible to more people and

museums, but what was the greatest

department functions, which helps the staff

even international audience. In the past ten

difficulty in the past decade, how did you

of different departments to gain a clearer

years, our museum has actively contacted

solve it?

understanding of their responsibilities in the

international and domestic art centers and

Gao Xiang and Liu Fang: The biggest

museum.

art museums to share art resources. The

difficulty for Yuan Xiaocen Museum for the

Yuan Xiaocen Art Museum has not only

past ten years was gaining adequate financial

Gallery: As Yuan Xiaocen Museum focuses

established a cooperative relationship with

support for high-quality exhibitions and art

on exhibiting Yuan Xiaocen’s works and

the National Art Museum of China, but also

projects, which has been acquired mainly

collections, do you involve works of other

maintained good communication with the

through national, provincial and municipal

artists as well?

Japanese Embassy, the Norwegian Embassy,

departments of art and culture and private

the Embassy of Sweden, the Bangladesh

enterprises.

Gao Xiang and Liu Fang: Although the museum mainly focuses on researching and exhibiting Yuan Xiaocen's works and

Embassy in Kunming, and cultural institutions and departments of Yunnan

Gallery: How do you structure the

Province.

d e p a r t m e n t s o f Yu a n X i a o c e n A r t Museum? Have you restructured them

collections, it is also concerned with the development of Chinese contemporary artists, for example by giving more exhibiting

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两种艺术的态度——中德艺术交流展现场 Kunstaustausch Zwischen Deutschland und China: Zwei Zustande Der Kunst Exhibition

艺术沙龙让更多的学者和观众参与到展览中，并邀请

术家对话草间弥生展》《返朴求真——泸沽湖文化考

高翔、刘芳：昆明是一个一年四季如春的城市，在气

专业学者根据自己对交流项目的认识，在交流项目进

察暨艺术展》中，以及 2014 年的《青春——2014 年云

候上便吸引了大批的国内外艺术家，而艺术家创作的

行时和结束后写一些相关评论文章。展览结束后会在

南艺术学院美术学院优秀作品提名展》等展览中在数

作品必然需要艺术场所展现，这便造就了美术馆一直

美术馆的相关新媒体上对展览进行回顾报道，同时联

量上都以青年艺术家为主。老一辈艺术家终将老去，

保持运营的必要性；其次，昆明是云南省高校所占比

系艺术类专业杂志根据交流项目的不同方向对交流项

必然会被新的艺术趋势、艺术家替代，青年艺术家的

重最高的地区，在一定程度上也为美术馆提供了学术

目进行发表。美术馆的相关部们也会在艺术项目不同

力量不容小视，因此培养他们，给他们更多的展览机

力量；同时云南比邻南亚、东南亚国家，在一定意义

阶段对其信息资料进行相关整理。

会是很重要的，也是顺应潮流的。我们不仅着力推动

上是经济贸易的纽带，客观来说，昆明作为云南省会

当地青年艺术家发展，也一直保持与国内外艺术中心

在经济、文化上与其他城市相比会占有优势。所以在

的持续合作，尽可能给青年艺术家提供发展机会。

昆明经营美术馆客观条件和主观条件相较其他地区会

画廊：袁晓岑美术馆举办了许多青年艺术家展览，是 否计划推动当地青年艺术家发展？ 高翔、刘芳：在近期的《奇幻之童趣——云南青年艺

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更加占有优势。 画廊：在昆明经营美术馆有什么得天独厚的条件？

opportunities to young artists. Besides, the museum actively contacts art galleries abroad and foreign embassies to spread the exhibitions to various regions through different channels. This is consistent with our mission “to organize exhibitions of Chinese contemporary art relevant to traditional Chinese art and to actively introduce and organize exhibitions of high-quality contemporary art from abroad." Other than collecting Mr. Yuan's works or borrowing them for exhibitions, we are actively setting up funds for collecting works of domestic and foreign artists to enrich our collections.

Gallery: In recent years, Yuan Xiaocen Museum has organized many exhibitions for exchange between Chinese and foreign artists. What are your criteria to 两种艺术的态度——中德艺术交流展开幕式现场 at the opening of Kunstaustausch Zwischen Deutschland und China: Zwei Zustande Der Kunst

select countries and artists for cooperation?

Gao Xiang and Liu Fang: For each exhibition, we decide the theme first, and then choose accordingly the countries and artists, who will also consider whether the set theme meets their original intention of artistic creation. This two-way selection helps clarify the direction of the exhibition.

Gallery: In the exchange programs with other countries, how does the museum function as a bridge between Chinese and foreign art?

Gao Xiang and Liu Fang: We divide our exchange projects into three periods, i.e. the exhibition preparation period, the exhibition period, and the post-exhibition period. In the first period, we will select channels of promotion suitable for the theme. During the exhibition, we will invite relevant organizations and scholars from home and

生命之象——十位艺术家的印度视觉展览开幕式现场 at the opening of Elephant, The Symbol and Source of Life: Ten Artists' Vision of India

abroad to participate in the exhibition, while at the same time involve more scholars and audience with art salons. We will also invite scholars to write review articles during or after the project based on their own understanding of it. After the exhibition, we will review it on relevant new media platform of the museum, and contact art magazines to report from different angles. Relevant departments of the museum will also organize relevant information at different stages of the art project.

Gallery: As Yuan Xiaocen Museum holds a number of exhibitions of young artists, are you going to promote the development of local young artists?

Gao Xiang and Liu Fang: Young artists have dominated recent exhibitions including "Wonder of Being Childlike – A Dialogue between Yayoi Kusama and Yunnan Youth Artists", "Exploring the Original Nature - Cultural Studies and Art Exhibition Concerning Lugu Lake", and "Youth - 2014 Exhibition of Nominated Works of the

奇幻之童趣——昆明青年艺术家对话草间弥生展览现场 Wonder of Being Childlike —— A Dialogue Between Yayoi Kusama and Yunnan Young Artists Exhibition

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生命之象——十位艺术家的印度视觉展览现场 Elephant, The Symbol and Source of Life: Ten Artists' Vision of India Exhibition

画廊：是否已经有下一个 10 年的发展计划？

2010 年、2011 年和 2014 年以及 2016 年间，美术馆已组织国外艺术家、中国艺术家、

高翔、刘芳：我们的发展计划定并没有定下 10 年的期限。在接下来的时间中，美术

摩梭艺术家在泸沽湖地区考察访问并写生创作，美术馆团队收集并记录了大量相关视

馆计划主要分为线上与线下。在线上美术馆会优化已有网络平台让展览信息更快的

频、照片、文献和写生创作作品。我们通过这 4 次深入泸沽湖，深切地体会到了山水

传达到观众的面前，一些无法来到展览现场的观众也可以通过网络平台了解到展览的

环绕所孕育出的“高冷”的风景之美、摩梭人民的热情朴实、以及星空的璀璨，在那

基本信息。同时也会积极与国内外艺术网站合作，将艺术家以及艺术展览更便捷地推

里艺术家们更加接近心灵的呼唤。在接下来的时间中我们有意将此系列展览推向国际，

行至全球。线下计划推进“新媒体”艺术展览，并持续举办与中国传统艺术相关联的

让更多的观众感受到“天地人神共存”的摩梭文化。

当代艺术展；对于袁晓岑先生的收藏作品，我们也会进行进一步的整理和保护。在

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Gao Xiang and Liu Fang: We don't have a ten-year limit for our development plan.

In the coming period, the museum plans to go both online and offline. For the online part, we will optimize our existing online platform so that the exhibition information will reach the audience faster, and those who cannot come can also access basic information of our exhibitions. We will also promote artists and art exhibitions to the world more conveniently by cooperating with domestic and foreign websites of art actively. For the offline part, we are going 生命之象——十位艺术家的印度视觉展览现场 Elephant, The Symbol and Source of Life: Ten Artists' Vision of India Exhibition

to launch "new media" art exhibitions, and continue to hold contemporary art exhibition relevant to traditional Chinese art; and we

Fine Arts School, Yunnan Arts University".

foreign artists, who sure need art venues

will further organize and protect Mr. Yuan

The older generation of artists is bound to

to showcase their works. This makes

Xiaocen’s collections. In 2010, 2011, 2014

grow old and be replaced by new artistic

it necessary for museums to maintain

and 2016, the museum organized foreign,

trends and artists. The strength of young

operations. Besides, Kunming houses

Chinese and Mosuo artists to visit and draw

artists cannot be underestimated. So it is vital

the highest proportion of colleges and

from nature in the Lugu Lake area. The

and consistent with the trend to cultivate

universities in Yunnan Province, which also

museum team has collected and recorded a

them and give them more opportunities to

provides, to a certain extent, academic force

large number of videos, photos, literature,

exhibit. We not only strive to promote the

to the museum. Moreover, as Yunnan is an

and drawings. Through the four in-depth

development of local young artists, but

economic and trade link with neighboring

investigations of the Lugu Lake, where we

also maintain continuous cooperation with

South Asia and Southeast Asian countries,

deeply appreciate the “aloof” landscape

domestic and foreign art centers to provide

Kunming, as its provincial capital, has more

nurtured by the mountains and rivers, the

young artists as many opportunities for

edge than other cities, objectively speaking.

warm and simple Mosuo people, and the sky

development as possible.

Thanks to these subjective and objective

shone by bright stars, the artists are closer to

conditions, it is more advantageous to

the echo of the soul. We are going to present

Gallery: What are the advantages for

operate art museum in Kunming than in other

this series of exhibitions to the international

operating art museum in Kunming?

regions.

stage to enable more viewers to experience the Mosuo culture advocating "coexistence

Gao Xiang and Liu Fang: As Kunming boasts spring-like climate all year round,

Gallery: Have you got any plan for the

it attracts a large number of domestic and

next decade?

of Heaven and Earth, man and God."

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WHO IS SPONSORING HISTORY

英国艺术家乔纳森·科尼个展“柒”现场 British artist Jonathan Kearney Solo Exhibition Seven, 2006

TCG Nordica Culture Center

TCG 诺地卡文化中心

以多种艺术形态激起对人类价值的反思 Stimulating Reflection on Human Worth as Expressed in Various Art Forms 采编：温可琳 Interviewed by Colleen Wen

184 GALLERY MAGAZINE

展览“呓语的方式”，黄越君行为表演，2016 年 In a way of Ravings, Huang Yuejun performance art, 2016

按：TCG 诺地卡文化中心的宗旨是“以多种艺术形态

he mission of TCG Nordica Culture Center's is to "stimulating

激起对人类价值的反思”。基于这样的宗旨，TCG 诺

reflection on human worth as expressed in various art forms." Based on

地卡创始人瑞典诗人孟安娜女士（Anna Mellergård）

this tenet, its founders Anna Mellergård and Ms. Wu Yuerong, Chinese

与中国文化工作者吴月蓉女士于 1999 年创立了 T 咖

culture worker, launched the T Coffee Gallery in 1999 and moved to

啡画廊，并于 2002 年迁入昆明创库，更名为 TCG 诺

the Chuang Ku/Loft, Kunming as TCG Nordica in 2002. Since then,

地卡。之后，TCG 诺地卡迅速成为昆明最瞩目的东西

the TCG Nordica quickly became the most eye-catching site for cultural exchange

方文化交流的场所，最活跃的艺术展示平台。

between the East and the West and the most active platform for art display in Kunming.

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WHO IS SPONSORING HISTORY

丹麦艺术家 Marianne Ronnow 与挪威艺术家 Barbro Raen Thomassen 展览“迷”现场，2016 年 Misery by Danish artist Marianne Ronnow, Norwegian artist Barbro Raen Thomassen, 2016

画廊：TCG 诺地卡文化中心名字的含义是什么？

门都是在跨文化交流的框架里进行，我们的宗旨是“以

间来支持艺术家、诗人、知识分子和年轻学生的交流，

TCG: TCG 诺地卡是英文 TCG Nordica 的谐音，“T”

多种艺术形态激起对人类价值的反思”，反映出我们

诺地卡的创办就是基于这样的背景。当时的两位创始

是指瑞典诗人托马斯·特朗斯特罗姆，他把自己的名

对文化理想的关注。

人——吴月蓉女士与瑞典诗人、文化活动家孟安娜看

字授予诺地卡，也表示诺地卡最初与诗歌方面的国 际交流有密切的关系。“C”代表 culture，“G”是

到了这样的需要，一拍即合，共同创办了 TCG 诺地卡。 画廊：当时为什么会选择在昆明创办 TCG 诺地卡？能

gallery，“Nordica”则指北欧。这个名字也大体说

谈一下两位创始人创办 TCG 诺地卡的过程吗？

画廊：2008 年，TCG 诺地卡在瑞典玛丽安娜隆德建立

明了机构建立的意图和方向，名字的每个部分都是阐

TCG: 很大程度上是机缘巧合，可以说，在 1999 年

画廊，作为 TCG 诺地卡在北欧的分支。这种跨越产生

释机构性质的关键词。它基本起源于北欧和中国之间

初，诺地卡创办的时候是“天时地利人和”，因为当

了什么影响？

的跨文化交流，十多年过去，她已经成为跨文化交流

时国内民间画廊、私人文化空间非常稀少，具有国际

TCG: 2008 年诺地卡创始人之一孟安娜女士回到瑞

的国际性平台，不仅限于北欧，还包括亚洲国家、欧

背景的机构就更少了，而诺地卡则是昆明第一家具有

典，住在玛丽安娜隆德——一个典型的瑞典小镇，并

洲其他国家等。画廊、舞台、餐厅、旅游、教育等部

国际背景的艺术空间。当时整个民间社会需要文化空

在小镇创立另一个文化机构，同时建立诺地卡的分部。

186 GALLERY MAGAZINE

TCG 诺地卡文化空间的现代舞表演 Modern dance performance at TCG Nordica Culture Center

Gallery: What does the Chinese name of

and other European countries. Our goal is

background. At that time, cultural space was

TCG Nordica Cultural Center mean?

to "stimulating reflection on human worth

needed by the whole civil society to support

TCG: The Chinese name is transliterated

as expressed in various art forms", which

exchanges of artists, poets, intellectuals and

from English. "T" refers to the Swedish poet

reflects our concern for cultural ideals.

young students. Nordica was founded on that background. The two founders – Ms. Wu

Tomas Transtromer, who gave his name to Nordica, to hint on Nordica’s close tie with

Gallery: Why did you base TCG Nordica

Yuerong and Anna Mellergård, the Swedish

international poetry exchange at first. "C"

in Kunming? Could you introduce the

poet and cultural activist, saw such a need.

stands for culture, while "G" for gallery, and

process of founding TCG Nordica of the

They hit it off, and co-founded TCG Nordica.

"Nordica" for Northern Europe. The name

two founders?

demonstrates basically the intention and

TCG: To a large extent it was luck. It was

Gallery: In 2008, TCG Nordica established

direction of setting up the institution, as each

fair to say that in early 1999 Nordica was

a gallery in Mariannelund, Sweden as its

part of its name is a keyword to characterize

founded at the right time and in the right

Nordic branch. What effect does the jump

it. It has developed from the original

place, since domestic folk art galleries

bring?

intercultural communication platform

and private cultural spaces were rare then,

TCG: When Ms. Anna Mellergård returned

between Northern Europe and China to one

let alone art spaces with international

to Sweden in 2008 to live in Mariannelund,

for intercultural communication involving

background, and Nordica was the first

a typical Swedish town, she created another

not only Northern Europe, but also Asian

art space in Kunming with international

cultural institution there and a branch of

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WHO IS SPONSORING HISTORY

瑞典艺术家 Janeric Johansson 展览现场，2010 年 At the exhibition of Swedish artist Janeric Johansson, 2010

诺地卡与北欧的策展人、文化人一直都有非常密切的

的方式来展开我们的文化理想。因为不同的文化，我

我们今天重新认识艺术史与打开艺术视野不可回避的

联系，彼此之间高度信任。所以需要在瑞典建立一个

们也会在不同的项目里针对不同的观众群体，设定不

一种维度。当代艺术实践本身就是在跨文化中展开的。

分部来接收一些在北欧的活动。但后来我们依托更多

同的目标，呈现不一样的面貌。

从画廊本身的管理和策展角度来看，我们已经发展出

的是整个北欧的合作网络，而不只是一个分部而已。

第三种文化，不仅是中国文化、挪威文化或是瑞典文

这一切都是为了更好地推广中国的文化与当代艺术到

画廊：TCG 诺地卡所策划执行的活动、展览，大部分

化中的某一种文化，而是站在跨文化的语境下来看待

欧洲。

都致力于东西方文化的交流与传播，这是否与两位创

问题。

始人分别来自中西方的背景有关？ 画廊：瑞典的 TCG 诺地卡发展宗旨和定位是否与昆明

TCG: 是的，肯定有一定的关系。从创始之初到现在，

画廊：TCG 诺地卡除了展览以外，还有诗歌盛会、音

的 TCG 诺地卡一致？它与后者的发展有什么差别？

我们都看到东西方文化交流的重要性。跨文化交流是

乐演出、戏剧表演，甚至还有文化定制旅行，这些活

TCG: 无论在中国的实体空间 TCG 诺地卡，还是搭建

我们的基因，这使得我们的交流已经不再是简单的互

动都是出自怎样的想法去策划执行的？

在整个北欧的合作网，我们的宗旨都是以跨文化交流

相见面、认识，从学术的角度上来看，跨文化已经是

TCG: 首先，最早的形态是基于诗人和艺术家会面的

188 GALLERY MAGAZINE

展览“呓语的方式”，观众欣赏张锦作品，2016 年 In a way of Ravings, works by Zhang Jin, 2016

Nordica. Nordic has always kept close contact with curators and

TCG: Yes, it’s relevant for sure. Since the founding, we have noted

intellectuals in the Nordic area and maintained deep trust with them.

the significance of cultural exchange between the East and the West.

So it is necessary to establish a branch in Sweden to receive activities

Intercultural communication is in our gene, which extends our

in Northern Europe. But afterwards we rely more on the entire Nordic

communication beyond simple acquaintance and understanding. From

cooperation network, instead of the branch only. All this is aimed to

an academic point of view, cross culture has become an unavoidable

better promote Chinese culture and contemporary art to Europe.

perspective for us to revisit art history and open our artistic vision.

Contemporary art practice itself is carried out in a cross-cultural

Gallery: Is the goal and positioning of the Swedish TCG Nordica

environment. For the management and curating of the gallery itself,

development consistent with the one in Kunming? How does it

we have developed a third culture, which isn’t a single culture – be it

differ from the latter in terms of development?

Chinese, Norwegian, or Swedish, but a cross-cultural perspective.

TCG: Whether for the physical space of TCG Nordica in China or the network covering the whole Nordic, our purpose is to develop

Gallery: In addition to exhibitions, there are also poetry events,

our cultural ideals through intercultural communication. Due to their

music shows, theater performances, and even customized cultural

different cultural backgrounds, we target different audience groups for

tours in TCG Nordica. How do you plan and execute these

different projects, set different goals, and present different looks.

activities?

TCG: First, the earliest form of TCG Nordica is a platform for poets

Gallery: Events and exhibitions curated by TCG Nordica are

and artists to meet. You can see from the name Tomas Transtromer

mostly committed to the exchange and dissemination of Eastern

gave us, poetry was our earliest form of cultural activities. Later,

and Western cultures. Is it relevant to the fact that the two

with the development and expansion of our space, our local and

founders come from the East and the West respectively?

international cooperation has been enriched, involving poets, artists,

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谁在赞助历史

WHO IS SPONSORING HISTORY

和丽斌行为艺术工作坊的表演，2016 年 Art performance by He Libin, 2016

平台， 从托马斯·特朗斯特罗姆授予我们的名字就可以看出，诗歌是最早的文化活

而不是国家。进驻艺术家也会带来他自己的工作方式，会跟本地人的思想文化产生碰

动形式。后来从我们的空间不断发展、扩大，我们与本地及国际的合作越来越丰富：

撞，这是必然。这种碰撞已经越来越常态化，但在早些年，对本地人来说还是相当新

从诗人到艺术家、音乐人、学者、旅行者……无论哪种活动类型，我们都强调，第一：

鲜的。

跨文化交流；第二：以多种艺术形态及其对人类价值的反思，讨论人类共同的问题。 当然我们非常看重原创，尤其比较前沿的，无论是诗歌、绘画还是音乐。文化旅游也

画廊：最近 TCG 诺地卡接待了瑞典首位女驻华大使林戴安女士，这是一次怎样的策

一样，我们并不是走传统的、固有的旅行团路线，而是更多的进入个人与个人会面的

划与活动？

环境里，因为在个人与个人的交往中，我们交流，思想产生碰撞，就会结出新的果子。

TCG: 在今年 10 月景德镇的北欧艺术节上，TCG 诺地卡的同事为瑞典驻华大使林戴 安女士（Anna Lindestedt）与文化参赞马福力先生（Mathias Lafolie）详细介绍了

画廊：TCG 诺地卡提供的艺术家进驻项目曾经产生怎样的艺术思想碰撞，能分享一

机构历史，并盛情邀请他们到昆明来。后来他们于 2016 年 12 月 10 日造访昆明，并

下吗？

参加 TCG 诺地卡与袁晓岑美术馆共同举办的文化活动暨展览“返朴求真”的开幕式。

TCG: 这些年产生了太多的奇思妙想。我们是本地比较早做进驻艺术项目的，从 90

大使一行还特别参观了创库艺术家毛旭辉先生、唐志冈先生的工作室，并对他们的艺

年代末、2000 年初就开始了，对本地艺术家来说，这为他们打开了一个很重要的窗口，

术表示极大的赞赏。在此次瑞典大使与文化参赞的亲密拜访后，我们相信将会有更多

大家在看待国外艺术家时，不再以国家的整体面貌去看待，而是能看到每一个艺术家

的瑞典与中国的交流项目在 TCG 诺地卡发生！

都是一个独立的个体。在每一个进驻项目中，都可以看到一个艺术家首先代表他个人，

190 GALLERY MAGAZINE

musicians, scholars, travelers, etc. No

which inevitably collide with the local

matter what type the activity is, we

culture. Such collision has become

stress firstly cross-cultural exchange

more and more common, but they used

and secondly discussing common

to be quite new to the local people in

problems of mankind with various art

the early years.

forms and their reflection on human

TCG 诺地卡创始人孟安娜女士（左）、吴月蓉女士（右）与瑞典诗人、 2011 年诺贝尔文学奖得主托马斯·特朗斯特朗姆（中） TCG Nordica Culture Center founder Miss Anna Mellergård, Nobel Prize in Literature 2011 winner, Swedish poet Tomas Transtromer, Miss Wu Yuerong (from left to right)

worth. Of course, we value original

Gallery: TCG Nordica recently

works, especially those cutting-edge

received Ms. Anna Lindstedt, the

ones, whether poetry, painting or music.

first female Ambassador of Sweden to

Cultural tours are the same, as we do

China. How did you plan the event?

not take conventional routes of tour

TCG: At the Scandinavian Art Festival

groups, but let you access environment

i n J i n g d e z h e n t h i s O c t o b e r, o u r

for meetings between individuals,

colleagues from TCG Nordica delivered

since in personal contacts ideas are

a detailed introduction to the history of

exchanged and collided to produce new

the institution for Ms. Anna Lindestedt,

fruits.

Ambassador of Sweden to China, and Mr. Mathias Lafolie, Cultural

瑞典驻华大使安娜女士与文化参赞马蒂亚斯先生拜访 TCG 诺地卡， 与文化旅游部经理郭婧女士合影，2016 年 Swedish Ambassador to China Miss Anna Lindstedt, Swedish Cultural Counsellor Mathias Lafolie, General Manager of Couture and Tourism Miss Guo Jing visiting TCG Nordica Culture Center, 2016

瑞典驻华大使安娜女士与文化参赞马蒂亚斯先生与 TCG 诺地卡团队合影， 2016 年 Swedish Ambassador to China Miss Anna Lindstedt, Swedish Cultural Counsellor Mathias Lafolie with team of TCG Nordica Culture Center, 2016

Gallery: What kind of collision of

Counselor, and warmly welcome

artistic ideas has TCG Nordica’s

them to Kunming. Later, they visited

“Artist in Residency” produced?

Kunming on December 10, 2016, to

Could you share some with us?

participate in the opening ceremony of

TCG: There have been so many

"Exploring Original Nature”, cultural

wonderful ideas these years. As one

studies and art exhibition jointly

of the earliest launcher of “artist in

organized by TCG Nordica and Yuan

residency”, we started in the late

Xiaocen Art Museum. They also paid

1990s and early 2000s. It opens a

a special visit to studios of the Chuang

vital window for local artists. When

Ku artists, including Mr. Mao Xuhui

we look at foreign artists, we no

and Mr. Tang Zhigang, and expressed

longer focus on their overall national

their great appreciation of the art of

appearance, but take each artist as

the two artists. After the Swedish

an independent individual. In each

Ambassador and Cultural Counselor's

“artist in residency” project, you can

kind visit, we believe that there will

see an artist representing himself first,

be more Sweden-China exchange

rather than his state. Stationed artists

programs taking place in TCG Nordica!

will bring their own ways of working,

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WHO IS SPONSORING HISTORY

Paper 小组杨辉行为作品《宣言》 Paper Group Yang Hui behavior Declaration

108 ThinkTank Space

108 智库空间

新兴的艺术集结地 An Emerging Hub of Art 采编：邓雨晴 Interviewed by Deng Yuqing

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2015 年第二届五三青年艺术节零档案装置现场 installation in the 2nd 53 Art Festival in 2015

按：108 智库空间立足云南，在老厂房特有韵味的

ased in Yunnan and availing the unique charm of old factory buildings,

基础上，它借助云南艺术学院留下的浓厚的艺术氛

the 108 ThinkTank Space (the Space) draws advantage of the legacy art

围，创建了云南新艺术文化归属地，在举办展览的

ambience inherited from the former tenant—Yunnan Arts University—

同时兼容新兴的办公空间。作为新兴文化集结地，

to create a new home of art and culture in Yunnan, a place both holding

智库充分发挥了其艺术活力，以极大的容纳力承办

exhibitions and housing innovative office space. As an emerging hub

了多形式的艺术活动，同时给 90 后年轻艺术家提

of art, the Space makes the best of its artistic vigor and hosts a multifarious array of art

供了更多的展示机会，为云南艺术的发展最大化尽

events with great inclusiveness. While lending the post-90s artists a bigger window for

己之力。

self-presentation, the Space carries its duty to prosper the art landscape in Yunnan.

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WHO IS SPONSORING HISTORY

重建巴别塔·2016 年第三届五三青年艺术节云中旅“在云上”行为艺术现场 Reconstruction of the Tower of Babel in 2016 Third Third Youth Art Festival Cloud CTS In The Cloud performance

画廊：智库空间集美术馆与休闲文化商业区于一体，长期致力昆明文化艺术交流，与

智库：我们承办当代传统艺术的同时，也在目前的社会发展中不断发掘独特的，受众

我们分享一下智库空间的发展历程？

面更广的新颖艺术形式。我们紧跟时代的步伐不放，将艺术活动的形式多样化、丰富

智库：108 智库空间地处云南艺术学院旧址的麻园对面，麻园曾是云南艺术聚集地，

化，同时融入小剧场、动漫展、电子烟派对、电音舞台等一系列年轻的血液，这样不

也是云南艺术生态环境发展形势的缩影，然而在云艺搬离麻园之后，这片区域的艺术

仅受众面更广，而且也将智库独特的承载能力发挥到了极致。

氛围日益消退，因此智库想要接过传承麻园精神的接力棒，将原有的艺术文化维持辖 区，并且能够有所发展。

云南距离当代艺术集中地较远，人们很难接受到目前最新、最具代表的艺术形象， 此外云南人口文化素质参差不齐，层次分化较大，人们对待艺术热情度有限，这也在

园区结合本身工业历史特色与自然环境，打造了 Loft 风格的办公空间，为从事

一定程度上对智库造成了压力和影响；但是云南本身也是少数民族集聚地，在这里有

艺术文化产业类的企业提供了一座个性化的办公空间，满足了有个性需求的企业以及

很多民族艺术和文化是北上广无法拥有和比拟的，所以丰富且独特的民族艺术文化也

年轻的创意、创业团队对于办公环境的个性化需求，同时园区配套的美食、酒吧、咖

就成为了智库不可或缺的一道风景线。

啡文化联合空间为来到园区的企业员工、艺术家们提供特色体验式餐饮空间。 画廊：智库与云南艺术生态之间的关系是怎样的？ 画廊：云南具有其自身独特的艺术气息与民族风情，但同时地理位置也远离当代艺术

智库：艺术文化区是艺术生态链中很重要的一环，它能够在一定程度上反映当下当地

较为集中的北京、上海等地，以经营当代艺术为主的智库是如何保持自己的时代性？

的艺术发展水平和状态，智库对云南艺术生态亦是如此。智库在聚集云南本土的艺术

云南这个地理位置又给智库怎样的优势和劣势？

家及艺术资源的同时，完成艺术文化的输入、聚集与形成、传播、转化等，并提供对

194 GALLERY MAGAZINE

重建巴别塔·2016 年第三届五三青年艺术节云中旅“在云上”行为艺术现场 Reconstruction of the Tower of Babel in 2016 Third Third Youth Art Festival Cloud CTS In The Cloud performance

Gallery: The 108 ThinkTank Space

Space offers LOFT-styled office footage,

Space: While carrying on the lineage of

integrates both an art museum and a

giving enterprises in the art and cultural

traditional art, we stay updated in the current

business quarter for recreational and

industry an individualized office space and

social fabrics to find unique, novel art forms

cultural industry and for long dedicates

meeting the personalized requirements on

that invite a broader audience. We are at the

itself to cultural and art exchanges in

office environment of companies craving for

heels of the time to diversify the forms of

Kunming. Can you tell us about how it is

bespoke, personalized needs and creative and

art events with more substantial contents.

born and grown?

start-up teams of youthful vigor. The cultural

Youthful blood is also constantly injected

Space: The 108 ThinkTank Space is located

complex of restaurants, bars and coffee shops

into our organization, such as mini-theatre,

right opposite Mayuan, the former site of

give the resident staff and artists the best of

comic con, electronic music party and techno

Yunnan Arts University and once the rallying

dining and wining with unique experiences.

stage, helping us both expand the breadth of the audience and maximize the particular

point as well as a barometer of the ecosystem

capacity of art of the Space.

and general trend of art in Yunnan. However,

Gallery: Yunnan has its own, distinct

when the University left Mayuan for a new

art flavor and ethnic tradition, quite far

Yunnan is farther away from the centers

site, it brought away with it the artistic

away from Beijing, Shanghai and other

of contemporary art, denying people easy

strength, which withered and waned. So

loci of concentrated contemporary art

access to the latest and most representative

our Space is intended to receive the baton

practice. How does the Space, which is

art forms. This province is also uneven in

signaling the Mayuan spirit to sustain this

mainly engaged in contemporary art,

people’s cultural literacy, where people in

area with the traditional art and cultural

keep its relevance with the time? What

different social strata vary quite sharply with

pivots and hopefully to develop it further.

can Yunnan offer, both good and bad, to

limited passion for art, putting the Space

the 108 ThinkTank Space considering its

under quite some stress and resistance in a

location?

way. However, Yunnan, as the home to many

Considering both the industrial history and natural environment of Mayuan, our

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谁在赞助历史

WHO IS SPONSORING HISTORY

和丽斌行为作品《光》 He Libin performance Light

艺术生态影响比较突出的资源，包括经济资源、人才

把握美术馆的方向，对外拓展商谈企业展览。总结起来，

画廊：智库的展览多以青年艺术家为主，而且大多数

资源、信息资源、文化资源、政治资源等，因此构成

都是用一场场的会议和活动堆出来的。

是 90 后的青年艺术家，对此，智库是出于什么样的考 虑？

了云南艺术生态的重要组成部分。 画廊：108 智库空间立足昆明，代理发展的艺术家都是

智库：90 后目前已经是社会的新生代力量，这一群体

画廊：智库以美术馆命名，是如何把握学术与商业之

云南地区的艺术家吗？智库与艺术家采取的是一种怎

自身就有着这个时代所需要的得天独厚的的条件，他

间的平衡？

样的合作方式？

们的作品更贴近于年轻群体，更容易被接受，周围也

智库：当学术与商业同时出现时，这本来就是一个难

智库：艺术不分国度和区域，我们代理发展的艺术家

有很多年轻的粉丝群体。而且 90 后艺术家正处于创作

题，全国都在想办法找平衡。若过分依赖商业，美术

包括但不限于云南地区，国内外的都有，只要他们的

作品产量的巅峰时期，他们能发现很多微妙的东西，

馆将会失去其本来的意义；而仅专注“非盈利”式的

作品有独特的理念，我们都会提供平台让他们拥有展

也能继承和学习到更多东西。展示他们的作品，一是

纯粹学术活动，则会造成园区资金压力。我们也是在

示的空间。我们的合作方式是多样化的，根据每个艺

为了让他们的作品有展示空间，有让大众接受的机会，

不断的探索中寻找平衡商业与学术的中间路线，对内

术家的自身条件而进行适合且合理的合作方式。

二是为了让空间更具有年轻的活力。

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the art museum, whereas a focus on “not-forprofit”, pure academic activities puts the Art and Cultural District under financial distress.

We are constantly making exploratory quests to find the middle ground that balances commercial and academic priorities.

Internally, we maintain the art museum practice on the right track; externally, we engage in business negotiations to curate exhibitions with corporate sponsorship. In a nutshell, it all comes down to meetings and events of all sorts.

Gallery: Seeing that the Space is based in 零距离—艺术家小尺寸作品邀请展周凤仪《落叶一组》 Zero Distance - Artists Invitation Exhibition of Small Size Works: Zhou Fengyi Deciduous group

Kunming, I was wondering whether the contracted artists you have are all from Yunnan. How do you work with these artists specifically?

ethnic minorities, is proud to have types of

collecting, forming, transmitting and

S p a c e : A r t h a s n o b o r d e r, s o a r t i s t s

ethnic art and culture that Beijing, Shanghai

converting art and culture, our Space also

contracted to our agent service are not just

and Guangzhou—those urban art centers—

provides resources with a prominent impact

based in Yunnan, but also elsewhere in China

fail to have or compare. Thereby the rich and

on the local art ecosystem, like those of

and the world. As long as their works speak

unique portfolio of ethnic art and culture is

economy, manpower, information, culture,

a unique idea, we’ll give them the platform

an indispensable signature of our Space.

politics and alike, to make ourselves a critical

and space to present them. We take diverse

component in Yunnan’s art eco-system.

means of cooperation, usually finding an appropriate and reasonable approach with

Gallery: What’s the relation between the Space and the art eco-system in Yunnan?

Gallery: The 108 ThinkTank Space is

reference to the personal conditions of the

Space: An art and cultural district is essential

named as an art museum, so how do

individual artist.

in the art eco-chain, which to a certain extent

you balance academic and commercial

reflects the standard and state of local art

interests?

Gallery: Your exhibitions mainly feature

development at the current stage. And this

Space: Nationwide, people are seeking a

young artists, who are mostly born in

relation truthfully mirrors the role of our

balanced solution to the conundrum of having

1990s. What’s the reason behind your

Space to the art ecosystem in Yunnan. While

both academic and commercial outreaches.

choice?

collecting local artists and art resources in

Overreliance on the commercial arm will

Space: The post-90s generation is the new

Yunnan to complete the cycle of importing,

necessarily nullify the existential meaning of

and potent generation in our society. As a

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WHO IS SPONSORING HISTORY

小组作品《停电》行为 Group work Blackout performance, 2015

画廊：“五三青年艺术节”是智库发起并一直坚持下来的活动吗？最初做这个艺术活

画廊：智库空间接下来有什么新的发展方向吗？

动的动机是什么？有受众限制吗？

智库：我们计划在五三青年艺术节里增加更多的板块，全方位、多样化的进行艺术文

智库：五三青年艺术节是 2014 年由艺术家兼策展人和丽斌、林善文与 108 智库空间

化的展示、交流与发展；同时计划与更多的云南本土青年艺术家合作，选择最适合的

共同策划发起的大型艺术活动，旨在通过绘画、雕塑、装置、行为、影像、诗歌、音

合作方式帮助其创作与发展，形成独特的云南青年艺术家集聚阵地。联动多位知名艺

乐、设计的互动与展示，呈现今天都市青年人丰富的想象力、创造力与自我发现与表

术家进行专业且不失趣味性的学术性探讨与研究，思考云南艺术生态的保护和发展，

达的愿望，为开启都市青年人丰富的精神生活，搭建自由表达的平台，为都市文化不

传承更多积极有益的艺术文化。

断创造新的亮点。五三青年艺术节活动形式多样，辐射广，每个年龄层次的群众都能 在节日中找到自己的兴趣点，因此并没有受众限制。

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Paper 小组沙玉蓉行为作品《七》 Paper Group Sha Yurong works Seven

demographic group, they are born

themselves. It builds a platform of

with the privileged qualifications

free expression to enrich the spiritual

needed by our time. Their works are

life of these young people and to

closer to and better received by the

provide an inexhaustible supply of

young people, and popular among

new highlights to the urban cultural

young followers. The post-90s artists

scene. The events and activities in

are now at the peak of their art

the Festival are varied and diverse in

production, quantitatively speaking.

form with a wide coverage. People of

They are observant with subtleties,

all ages can find things to their liking,

and capable of inheriting and

so we don’t just look at one type of

learning more things. The reasons for

visitors.

exhibiting their works are two-fold: giving them the space to present their

Gallery: Can you talk about any

works for more public acceptance,

new priorities in your forthcoming

and giving our Space a youthful vibe.

development?

S p a c e : We p l a n t o a d d n e w

Paper 小组王蓓行为作品《爱情宣言》 Paper Group Wang Bei works Love Declaration

Gallery: Is the May 3rd Youth

ingredients to the May 3rd Youth

Art Festival the brainchild and

Art Festival to present, exchange

ongoing effort of the ThinkTank

and develop art and culture with

Space? What prompted you at the

diversity and inclusiveness. In the

very beginning to roll it out? Does

meantime, we’d also work with more

it look at a specific visitor group?

local young artists in Yunnan, find

Space: The May 3rd Youth Art

the most fitting way to cooperate

Festival is a mega art event co-curated

with them and help them produce

by He Libin and Lin Shanwen, both

and develop, and round up a solid

artists and curators, in collaboration

front of young artists in Yunnan

with the 108 ThinkTank Space in

with inimitable distinction. Also in

2014. Through the interaction and

the pipeline is concerted effort with

exhibition of painting, sculpture,

acclaimed artists for professional,

installation, action, video, poetry,

and not boring, academic discussions

music and design, it’s interested in

and researches to reflect upon the

projecting the profuse imagination

protection and development of art

and creativity of the contemporary

ecosystem in Yunnan and to inherit

young urbanites, as well as their

more art and cultural strands with

willingness to discover and express

positive benefits.

Paper 小组黄越君行为作品《雨》 Paper Group Huang Yuejun works Rain

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