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Foreword Chen Wenling is one of the most well-known contemporary sculptors in China today, and has participated in a number of prestigious exhibitions including Art Basel in Switzerland and the Shanghai Biennale. Having known and worked with Chen for the last 6 years, I am overjoyed to witness the rapid and impressive evolution of the artist through his works, and am extremely honored that Ode To Art is part of his artistic journey. And I am even more grateful for the friendship Chen Wenling has shared with me, as well as the support he has given the Gallery all these years. At Art Stage, we are proud to showcase the evolvement of Chen Wenling’s works with this solo show, which features sculptures from his signature ‘red boys’ in “Red Memory”, to Chinese landscapes in “China Scene”. Chen’s “Red Memory” sculptures have been exhibited internationally and won the People’s Choice, NAB Kid’s Choice as well as the Public Art prizes at the Sculpture by the Sea Exhibition, in 2011. It is a series which he has been working on since 2002, and represents the first stage of his artistic creations. This series expresses the sculptor’s “negation of the pursuit of money and power; tension, anxiety, fear and cruelty” in the adult world. Following Chen’s first stage of sculptures came series such as “Happy Life”, “Valiant Struggle” and now more recently, “China Scene”: a landscape series of sculptures which he has been working on for the past 4 years.Shaping his stainless steel and electroplating works to resemble the forms of mountains and stone, Chen explores the reconstruction and revival of history and culture by displaying concepts history and reality, abstract and concrete, illusion and realism – which all are all conflicting yet co-existing with each other on a mutual plane. According to Chen, they represent “the spiritual world of traditional Chinese culture”, delivering “mechanical callosity and technological arbitrary of modern civilization” through the cold and reflective material. I sincerely thank all the patrons who support Chen Wenling’s art, and again would like to thank Chen Wenling for his friendship. Jazz Chong / Director Ode To Art Contemporary
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在中国当代艺术界，陈文令堪称一位迅速建立起自己艺术面貌的当代艺术家。凭借着持续的努力 和旺盛的创造力，他的作品一个系列接着一个系列面见艺坛，参加到多种展览活动之中，引人注 目。更重要的是，他的作品因具有他自己艺术发展逻辑内在的牢靠性而获得鲜明的风格。在当代 艺术创造中，观念的个性和风格的个性二者的统一至少是艺术成熟的基本标尺，在这个尺度上， 陈文令构筑起了自己的世界。 摘自范迪安《陈文令：形有所据》
In the Chinese contemporary art circle, Chen Wenling is indeed a contemporary artist who quickly establishes his artistic outlook. With persistent diligence and vigorous creativity, he presents the world of art with one series of work after another. He also participates in various exhibitions and attracts the attention of many people. More importantly, due to the consistency within the developing logic of his art, his works are characterised by a salient feature. In the contemporary art, the unity between the personality of conception and the personality of style is at least the basic measurement of mature art. By this standard, Chen Wenling has constructed his own world of art. Fan Di'an: Chen Wenling: A Well Grounded Form
中国风景 No.8（局部） 不锈钢 China Scene No.8 (Detail) Stainless steel 2010
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中国风景 陈文令
现阶段的中国是一个复杂重叠的混合体。整体社会处于一个农业社会、工业社会与后工
抛光后的不锈钢材质反射出周围环境的影像，并使其扭曲和破碎成毫无真实感的幻想。
业社会相互冲突、重叠、糅合、演变的过渡期，传统农业社会天人合一的主观精神思
这也是一种紧张冲突和融合共生的矛盾关系。作品以超现实的山石消融流淌的图景，表
想，强调的是中庸和谐，以中道相济，以礼义节制，因势利导而行；强势崛起的工业文
现了一个虚静空明、静观默想的纯化世界，关于融化、流淌、凝固的主题让人体味着时
明以其规格统一的结构主义思想，表现了一种冷冰冰的力量和秩序感；后工业时代多元
间的可变化性和空间的无秩序性，试图唤起人们对自身日常的参照系统和外部世界的重
变化的解构主义思想增强了分析性的思考和归纳，从而提供了不同结构体之间对话和互
新审观，从而寻找到一个内在与外延相互平衡的临界点。作品中历史与现实、抽象与具
换的可能。我的作品试图表达的正是这种可能。
象、幻想与现实相互冲突、相互投射而又同存一体，突显了现代文明与传统文化之间的 解构与重建，传递与融合。
作品提供了一些传统符号的痕迹，如山水奇石、古塔、梅花等等，它所表现的是中国传 统文化的精神世界，是中国人以独特的观象方式所表达出来的对宇宙和生命的认知。应
这是我对历史和文化重建与复兴的一个图形化探索，试图对艺术创作与生活方式，文化
用高科技感的不锈钢材质则充分表达了现代文明所充满的机械的无情感和科技的武断
观念与历史意识联系在一起，并不直指直接的现实社会现象和事件，而是强调自己所关
性，光滑的曲面和流畅的线条体现了一种精确感，也缓解了那种紧张的冰冷的感觉。
心的精神依托和人文关怀。
陈文令工作室
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Chen Wenling's Studio 2011
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China Scene Chen Wenling China at present is a complex and overlapped admixture. On the whole, our society has come to the interim of the conflict, superposition, amalgamation and evolution among agricultural, industrial and post-industrial trends. The traditional agricultural society which is known for its subjective spirit thought that man is integral part of nature, emphasizes harmony and golden mean, which shows middlebrow, etiquette and abstention; the forcefully grew up industrial civilization with the structuralism of uniform specification behaves a sense of icy power and order; in post-industrial age, the multivariant untie structure doctrine boosts analytical ponder and conclusion, which provides the interlocution and interchange possibility of different configurations. And what this work tempts to express is that possibility. Our work outpours some traces of traditional symbols, such as mountains, wonderful stones, ancient tower, clubs and so on. It represents the spiritual images of traditional Chinese culture, and express the cognizance of the universes and life in Chinese unique observing method. And the high-tech stainless steels fully deliver the mechanical callosity and technological arbitrary of modern civilization, but the slippery curved surface and the flowing lines embody a kind of precision, and relieve that tense and icy feeling. The polished stainless steels reflect the images of the surroundings, and contort and crash them into untruely apparitions, which also is an ambivalent relationship on intense and confliction. The super-real images of melting and flowing mountains and stones in this work expresses a peaceful, void and meditative purified world. The theme about thaw, flow and concreting embodies the transmutability of time and the disorderliness of space. It tries to arouse people's re-scan of the daily consultable system of themselves and the outer world, in order to find a balanceable critical point of inherent and extension. The history and reality, abstract and concrete, illusion and realism in the work inter-conflict and inter-cast but at the same time coexist with each other. It diaplays the disintegration and rebuilding, delivery and mixture of modern and traditional civilization. This is also my graphic exploration of the reconstruction and revival of the history and the culture, so as to interosculate the art creations, the living methods cultural concepts and the historical sense. What I want to indicate is not the real phenomenon and events in society, but the spiritual bailment and the human solicitude that I care about.
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中国风景 No. 8 不锈钢 China Scene No. 8 Stainless steel 31×320×18cm 2010
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在《中国风景》中，陈文令的艺术观念有了一个转变，更让自己的雕塑具有实验性和公 共性的特征，他充分发挥了个人的想象力，借用挪用、拼贴和转译的表现方法，即对自 然、传统和现代的图像进行混合和转换，从而创造了一种超现实的奇异的山石之景，怪 异山石被主观处理成了模棱两可的物象，类似于冰雪消融流淌所形成的冰山，又类似于 一头硕大的鹿，也类似于传统园林中的亭子，而底部则像融化的冰，亭子上有正在流淌 的晶莹剔透的水滴，这是一种扭曲和破碎的毫无真实感的幻象，生动再现了一个寂静空 灵的洁净世界及与现实的疏离感。同时，雕塑《中国风景》充分利用了工业文明的不锈 钢材质圆润光滑的曲面和流畅的线条，营造出的是一种现代社会的冷漠感和秩序感，表 现出的融化、流淌、凝固的形式让人无不体验到时间的可变性和空间的无序性。事实 上，艺术家的雕塑观念就在于他把自然的和谐性，现代（不锈钢材料）的冰冷感和力量 感，传统的诗意美感进行了解构和整合。这也正 是对中国社会处于农业社会、工业社会 和后工业社会间相互冲突、重叠、混合的过渡时期的视觉化隐喻。艺术家准确地把握住 了文化观念、历史意识和现实世界的有机联系。这是一件集自然、传统、工业于一体的 超现实雕塑作品，具有互动性和公共性。当观众置身于作品中的时候，不锈钢的雕塑表 面会对观众产生光的反射，使其感受到由光和影构成的奇异梦幻世界。在这个意义上， 它试图提示人重新审视日常经验的参照系和整个外部环境的变化，并不断反视主体意识 和洞察客观世界的变化。因此，我们通过陈文令的开放雕塑语言案例可以进一步认识和 理解中国当代艺术在传统美学与现代美学的转换过程中的价值和意义。
摘自：黄笃《什么是中国式幻想？》
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In his latest work "China Scene", Chen Wenling‘s concept of art experience a great change, making his work more experimental and public than before. He gives full rein to his imagination, borrowing the postmodern methods of appropriation, collage and translation, that is, blending and transforming the natural, traditional and modern images to create a surrealistic and fantastic scene of mountain and stone. The odd-looking mountain and stone are shaped into ambiguous object image subjectively, resembling a melting iceberg, or a gigantic deer, or a pavilion in traditional Chinese gardens. The bottom of the sculpture looks like melting ice, while on the top of the pavilion there are flowing drops of crystal water. This twisted, fragmentized and unrealistic illusion expresses vividly a quiet, elusive yet pure world and a sense of alienation from the reality. At the same time, "China Scene" takes full advantage of the material of industrial civilization, the stainless steel, whose smooth curved surface and fluent lines create a sense of indifference and orderliness in the modern society. It's melting, fluid or solidifying forms expressed the changeability of time and the randomness of space. In fact, the deconstruction and integration of the harmony of nature, the modern (stainless steel) sense of chill and power and the traditional poetic aesthetic are the artists' concept of sculpting. It also serves as a visualised metaphor of the transitional period of the Chinese society, when agricultural society, industrial society and post-industrial society are conflicting, overlapping and mixing with each other within a single country. The artist firmly grasps the organic relation among the cultural concept, historical consciousness and the real world. This is a surrealistic sculpture that integrates the natural, the traditional, and the industrial within itself. It is interactive as well as public. When facing this work, the audience would feel like they are in a fantastical and dream world of light and shadow, because of the reflection from the surface of the stainless steel. In this sense, it attempts to remind the people to reexamine the frame of reference of the daily experience and the changes in the external environment as a whole, and at the same time, review our subjective consciousness, as well as penetrate the changes in objective world. Therefore, through the case of Chen Wenling's open sculpture language, we are able to further understand the value and meaning of Chinese contemporary art in the transition process between traditional aesthetics and modern aesthetics.
Huang Du: What is Made-in China Fantasy?
中国风景 No.5 铜 桌子 烤漆 China Scene No.5 Bronze Table Car paint 274×215×120 cm 2007
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红男孩为什么走红 彭德
陈文令的红男孩，通体鲜红，如火如荼。红色是2002年的流行色；从韩国的红魔拉拉队
游记》中的红孩儿，但却找不到妖气。人们可能会想到文革中的红小兵，但却看不到杀
到欧洲足坛以往罕见的红队服，再到中国各式各样的红色物象，举目四股，处处红色。
气。人们可能从厦门这个军事重镇去回忆过去的战火，但却不会造成丝毫的恐惧感。熟
红色的流行使得红男孩们找到了名正言顺的色彩空间。在历史中，红色是中国南方的标
悉陈文令的人，还可能会将红男孩同他的一段经历联系在一起：1996年《厦门日报》发
志色和吉祥色。在现实中，红色的人体改变了作品的写实倾向，加强了非现实意图，表
表题为“难能可贵的自卫与自救”的文章，说的是一对青年男女在海边被歹徒劫持，男
达出作者对现实中成人们势利、紧张、焦虑、恐惧、残酷的否定，也不期而然地道出了
方奋力反抗，身中几十刀，被割开两个手腕的动脉，血染全身，成为当地流血最多的血
人们的共同心愿：对童真状态的怀念和对早熟了两千年的中式文明的质疑。
案。被文章作者描述并视为英雄行为的男青年，就是大难不死的陈文令，不过，在陈文 令的《红色记忆》中全然看不到仇恨。
2002年春，当陈文令率领这群红男孩在厦门珍珠湾海滩露面时，立即吸引了成千上万的 观众。临近收场时，市民曾向政府呼吁将他们长留厦门。一时间，红孩子成了厦门传媒
当代艺术强调作品蕴涵的观念，常常派生出观念超载的作风，让人一看就累。陈文令于
每天的话题。2002年秋，陈文令的红男孩在广州参加首届“中国艺术三年展”，不仅
此相反，显得朴实，没有刻意制造的观念。裸露的躯体剥去了伪装，留下的只是人与自
又一次引进传媒和观众的好评，也引起了美术批评家的关注。这群裸体男孩塑像，总
然的直接关联，只是人与社会的直接对话。面部与肢体语言的适度夸张，是对这两种关
共一百多个，分为几类在水边嬉戏玩耍的姿态。作品用玻璃喷制，打磨，抛光，喷上红
系的强调，这组作品，可以说是对观念超载的解脱，也可以说是携带着裁减观念的观
漆，放置在沙滩、树干、船头、灯塔上。这组作品投资四十五万，是所有参展作品投资
念。
最多的一件。艺术和投资和艺术价值不一定成正比，但陈文令这组作品的确产生了水涨 船高的效果。
中国每年数以万计的个展和联展，脱颖而出的作品只是极少数。它们大多能满足一项视 觉需要：新鲜。陈文令的作品属于新型的艺术形态，介于写实雕塑、装置、互动式行为 艺术和偶发艺术之间。作为雕塑，陈文令的雕塑有别于学院派的正和现代派的奇，有别 于马约尔的“肥”和贾柯梅蒂的“瘦”。作为集装置和行为于一体的行为艺术，他的作 品同以往走极端的前卫艺术相比，在艺术观和艺术表现上有根本的不同。这群红男孩不 是天真的而不是邪恶的，是健康的而不是病态的。众所周知，20世纪晚期的视觉艺术， 无论美术还是影视以及电子游戏中的三维动画，充斥着暴力和无病呻吟的作品。陈文令 的红男孩有着出淤泥而不染的品格，切合了人们对前卫艺术新流向的渴望，也就是从艺 术作为人性批判的武器转变为人性建构的载体。他的作品，使外行和内行、学院派和前 卫批评家都能找到自己的看点。
陈文令的这组作品，取名为《红色记忆》。他具有当代艺术见仁见智的多义性。人们面
红色记忆－羞童 铜 烤漆 Red memory - shy boy Bronze Car paint 163×40×38cm 2001
对这群孩子，可能会想到古典文化中的赤子，但却感受不到迂腐。人们可能会想到《西
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The Red Boy is having his moment Peng De The red boy from Wenling Chen’s The Red Memory is bright red all over the body like a
critics. This group of sculptures of over a hundred naked boys is divided into a few categories
ragging fire. Red is the color of 2003, from the “Red Devils” cheer squad of Korean to the
by their different postures of playing by the water. The sculptures were grinded, buffed, and
red team shirts in European football, which were very rarely seen in past years, and then not
sprayed with red paint, and then placed on beach, tree trunks, prows and lighthouses. ¥450,000
to mention all kinds of Chinese objects in red; red is everywhere if you take a look around us.
RMB was invested to create this artwork, which made it the most invested piece among all
And this very popularity of red color offers the perfectly reasonable color space for The Red
exhibited artworks. It is true that value of an artwork doesn’t necessarily in proportion to the
Memory. In the history, the color of red has always been an iconic color and the symbol of
cost to create it, but in this case, the ship certainly has risen with the tide.
auspiciousness in South China; in the actuality, the redness of the body altered the realistic tendency of the artwork, emphasized the non-physical intention, while communicated the
There are over thousand of solo and group exhibitions in China every year, only very few
artist’s deny against the snobbery, tension, anxiety, fear, cruelty of human being in reality,
artworks stand out from the crowd and they almost all meet one visual need: Freshness. Wenling
meanwhile, unexpectedly expounded the common aspiration of us all: Our cherished memories
Chen’s works belong to a new type of art form, a joint among realistic sculpture, installation,
of the innocent childhood, and the query against the precocity in Chinese culture for over two
interactive performance art, and happening art. In term of sculptures, Chen’s work is different
thousand years.
from the orthodox of academism or the novelty of modernism; it is different from the ‘fat’ When Wenling Chen first had his
in Maillo’s work or the ‘slim’ in Giacometti’s work. In term of an artwork that combines
group of red boys displayed at
installation and performance art, Chen’s work is also radically distinct - in both artistic
Xiamen Pearl bay beach in spring
perspective and artistic expression - from the avant-garde art that often tends to extremes. This
2002, thousands of audiences
group of red boys is innocent but not evil; it is healthy but not morbid. As is well known, the
were attracted to them at once.
visual art in late 20th century are flooded with violence and artworks that making a fuss about
By the end of the exhibition, the
imaginary illnesses. Wenling Chen’s red boys have the character of a lotus, which rises unsullied
citizens of Xiamen appealed to the
from mud, and it fulfills our thirst for a new direction of the avant-garde art, where art starts to
authority to keep them in the city
transform from a weapon of Human nature criticism to a medium of human nature building.
permanently. The Red Memory
Whether amateurs or professionals, academism or avant-garde critics, everyone can all find
once became a daily topic of the
their own focus in Chen’s work.
local media. Autumn 2002, Chen’s
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Red Memory was exhibited in the
Wenling Chen’s group of red boys is named The Red Memory. As a piece of contemporary art,
first Triennial of Chinese Arts in
it has the ambiguity that opens to interpretation. When people looking at these boys, they might
Guangzhou. This time, the art
think of the phrase “Redboy”, which means newborn baby in classical Chinese literature, but
work did not only won praises of
not so pedantic; they might think of the “Red Kid” in the classic novel The Journey to the West,
the media and the audiences again,
but not so wicked; they might think of the Red Guard during the Culture revolution, but not
but also attracted the attention of
so violent. People might also look at the Xiamen, the military town, and recall its histories of
童年——海平线 铜 烤漆 Childhood—Horizon Bronze Car paint 210×280×220cm (H×L×W) 2010
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wars and battles, but without any fear whatsoever. For whom knows Wenling Chen, might also associate the red boys to an experience of the artist: 1996, Xiamen Daily published an article under the name of The Commendable self-defense and self-rescue, about a pair of young man and women was robbed and attacked by the beach, the young man fought back with all his strength, he was terribly injured with dozens of knife wounds, the his arteries on both wrists were silted, and his entire body was soaked in blood. It was the most violent crime of the city then. This brave young man in the report is the very artist created the red boys, Wenling Chen, who had survived from death. However, there is not even a glimmer of grudge in his work, The Red Memory. In contemporary art, the concept that the artwork implied is much emphasized, and this often leads to artworks overloaded with concepts, which makes the audiences tired at a glance. On the contrary, Wenling Chen’s work is modest and earthy, without any deliberately made concepts. Camouflages were taken off from the naked bodies, and what’s left is the straightforward connection between man and nature is the direct dialogue between human and the society. The moderate exaggeration of facial and body language is an emphasis on these two relationships, and this group of work can be interpreted as liberation from concepts overload, or, an idea of concept cut down.
红色记忆——港湾 铜 烤漆 Red memory — Harbor Bronze Car paint 205×215×660cm (H×L×W) 2011
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童年——海平线 铜 烤漆 Childhood—Horizon Bronze Car paint 210×280×220cm (H×L×W) 2010
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红色记忆——别看了 铜 烤漆 Red memory — Stop Staring at Me Bronze Car paint 35×105×45cm (H×L×W) 2010
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童年——晨曲 铜 烤漆 Childhood—Aubade Bronze Car paint 188×55×40cm (H×L×W) 2010
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红色记忆——笑 铜 烤漆 Red memory — Smile Bronze Car paint 89×66×52cm (H×L×W) 2010
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岸 铜 烤漆 Shore Bronze Car paint 74×54×34cm (H×L×W) 2010
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陈文令的小红人系列具有颇大的视觉冲击力，这证明，他创作的心理场非常广阔，有一 种舍我其谁的劲头。我听到一些人用了“壮观”的字眼来评价，“壮观”无非说明作品 在“量”上的庞大和“质”上的张力，同时也表明某种惊人的新奇感，没有新奇感，能 引起这个花花世界人的注意么？人们已被各种各样的花招弄得胃口全无，除非在花招之 中确实具有让人警醒的东西。小红人以规模和组合取胜，因为陈文令的制作原则是重 视环境和作品的交融及互动，这也是当代艺术，特别是当代雕塑的一个特征。从相对 封闭的展示场所走向公共空间，使作品更富公共的参与性，如此，雕塑就不再是单纯的 存在，而是作为整体环境的一个有机部分，参与者和作品之间构成了呼应关系，产生出 一种“在场”的情景，这种情景可能是诗意的，也可能是观念的。小红人系列在诗意和 观念的交叉地带，陈文令既不像本雅明定名的诗人气质，又不是昆德拉说的哲理类艺术 家，我的看法是，他属于在生活中寻找灵感并将其融化为创作源泉的人。就是说，在背 后支撑他的是一股生活的原始力量，它与形而上思考，与抽象道理都无多大的联系，他 紧贴着感觉的经验，或是经验的感觉。正如他自己一再声言的，是生活本身教给了他一 切。
——摘自：李小山（批评家）《小红人后面是什么？》
红色记忆——队长 铜 烤漆 Red memory - Brothers Bronze Car paint 380×116.5×76.5cm 2007
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The Red Memory series of Wenling Chen has a very strong visual impact, from which we can tell that he is an artist with an extraordinary open creative psychology, and the energy of one of a kind. On the occasion of describing this artwork, the word “magnificent” often came to my ears. “Magnificent” states the tension in both quantity and its great character, and also means there is an amazing sense of newness in this work, in this razzle-dazzle world, the public hardly ever find anything attractive without such newness. We’ve already lost our appetite to all kinds of fancy tricks unless there is something truly mindful in it. Its size and combination made The Red Memory an outstanding piece of artwork, since Wenling Chen upholds the creative principle of respecting the interflow and interaction between the environment and the artwork; and this is also a significant feature of contemporary art, especially in contemporary sculptures. Moving from a relatively closed exhibition space to a open space makes the artwork much more participatory to the public, thus, the sculptures are no longer a simple existence but an organic part of a holistic environment; an echo emerged between the artwork and the participators, creating a scene of “being-there” , and this scene could be poetical, or, conceptual. The Red Memory series stands in the junction of poetical and conceptual, Wenling Chen is not exactly the poetic temperament described by Walter Benjamin, or a philosophical artist referred by Milan Kundera, in my understanding, Chen is more like someone looking for inspirations in life and sublimes it into sources of artistic creation. In other words, what really behind Chen’s back, is a primal power of life, it doesn’t have much to do with the metaphysical thinking or abstract truth, he simply sticks to the experiences of feelings, or, the feelings of experiences. Just as he has declared, time and again, it is life taught him everything. — Li Xiaoshan: What is behind The Red Memory?
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游戏 铜 烤漆 Games Bronze Car paint 190×58×48cm (H×L×W) 2010
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红色记忆－羞童 铜 烤漆 Red memory - shy boy Bronze Car paint 230×75×93cm 2007
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岸 铜 烤漆 Shore Bronze Car paint 210×215×68cm (H×L×W)
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2010
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红色记忆——笑 铜 烤漆 Red memory—Smile Bronze Car paint 270×150×202cm 2007
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陈文令
CHEN WENLING
1969年生于中国福建泉州 先后毕业于厦门工艺美术学院和中央美术学院 现居北京，职业艺术家
1969
重要个展 2011 2010 2009 2008 2007 2006 2004 2002 1991
对号入座——陈文令2011个展 Contemporary by Angela Li画廊 香港 悬案——陈文令2010新作展 今日美术馆 北京 中国 你看到的是真实的——陈文令个展 ODETOART画廊 新加坡 紧急出口——陈文令2009新作展 卓越艺术 北京 中国 物神——陈文令2008新作展 亚洲艺术中心 北京 中国 蜕变——陈文令个展 井画廊 东京 日本 幸福生活——陈文令个展 上海多伦现代美术馆 上海 中国 幸福生活——陈文令个展 厦门大学中国欧洲艺术中心 厦门 中国 红色记忆——陈文令雕塑展示行动 珍珠湾海滩 厦门 中国 陈文令木雕艺术展 厦门工艺美术学院 厦门 中国
重要群展 2011
2010
2009 2008
2007 2006 2005 2004 2003 2002 2001
穿越历史Ⅱ · 当代艺术邀请展 贵点艺术空间 北京 中国 三清山当代艺术邀请展 悦 · 美术馆 北京 中国 一合 · 艺术邀请展 万荷美术馆 北京 中国 清晰的地平线——1978年以来的中国当代雕塑展暨开馆展 寺上美术馆 北京 中国 归去来兮——上湖流动美术馆开放展 上湖流动美术馆 北京 中国 形态与意识——中国当代艺术实验第一回展 文轩美术馆 成都 中国 山水意园：中国公共艺术展 肯尼迪艺术中心 美国 韩国国际艺术博览会 Galerie Forsblom 首尔 韩国 邦迪海岸国际雕塑展 悉尼 澳大利亚 开悟——大同国际雕塑双年展 和阳美术馆 山西 中国 制造文明——中国当代雕塑展 澳门特区政府文化局 澳门 杜撰者 索卡画廊 北京 中国 丹麦海岸国际雕塑展 奥尔胡斯 丹麦 静 · 界 静艺空间 北京 中国 自拍：近代的外表——昌原亚洲艺术节 Sungsan艺术馆 昌原 韩国 无法缺席——文轩当代艺术展 成都 中国 第七届澳洲海岸雕塑展 佩斯 澳大利亚 生存的进化 釜山双年展 釜山文化中心 釜山 韩国 The TAO of Now 白兔美术馆 悉尼 澳大利亚 调节器——今日文献展 今日美术馆 北京 中国 2010世博静安国际雕塑展 静安雕塑公园 上海 中国 改造历史 国家会议中心 北京 中国 书写——南京国际当代艺术双年展 南京 中国 对话芝加哥——中国当代雕塑艺术 芝加哥 美国 第三届塞维利亚国际当代艺术双年展 CAAC 塞维利亚 西班牙 第三届南京三年展——亚洲方位 南京博物院 南京 中国 消费——釜山双年展 釜山现代艺术博物馆 釜山 韩国 中国——面对现实 维也纳国立当代艺术博物馆 维也纳 奥地利 聚热——今日亚洲 休斯敦美术馆 休斯敦 美国 超设计——上海双年展 上海美术馆 上海 中国 第二届中国艺术三年展 南京艺术博物院 南京 中国 中国比利时当代雕塑展 安特卫普 比利时 北京国际美术双年展中国雕塑展 北京王府井大街 中国 首届中国艺术三年展 广州博物院 中国 上海青年美术大展雕塑邀请展 上海师范大学 中国
曾获奖项 获2011年丹麦奥胡斯市国际雕塑展最受欢迎大奖 获2011年 澳大利亚佩斯国际海岸雕塑展公共艺术大奖 获2010年“报喜鸟”新锐空间艺术大奖 2010 年入选“艺术财经”杂志, 中国百名权力人物榜 获2008年“当代艺术”杂志，五四青年艺术杰出贡献奖 获2003年北京双年展中国雕塑特展，红色记忆获最受欢迎作品奖
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Born in Quanzhou, Fujian Province, China Graduated from Xiamen Academy of Art and Design Completed Study in Sculpture Dept and then Central Academy of Fine Arts, Beijing, China Now Works and Lives in Beijing, a Professional Artist, China
Solo Exhibitions 2011 Searching for Identity—Chen Wenling Solo Exhibition 2011, Contemporary by Angela Li, Hong Kong 2010 The Suspense—Sculptures By Chen Wenling 2010, Today’s Art Museum, Beijing, China What You See is Real—Chen Wenling Solo-Exhibition, Odetoart, Singapore 2009 Emergency Exit—Sculptures By Chen Wenling 2009,JoyArt, Beijing, China 2008 God of Materialism—Sculptures By Chen Wenling 2008, Asia Art Center, Beijing, China 2007 Metamorphose Chen Wenling Exhibition, Makii Masaru Fine Arts, Japan 2006 Chen Wenling’s Sculpture Solo Exhibition, Duolun Museum of Modern Art, Shanghai, China 2004 Happy Life—Chinese European Art Center, Xiamen, China 2002 Red Memory—the First Time Sculpture Show by Chen Wenling, Pearl Bay Beach, Xiamen, China 1991 Chen WenLing Woodcarving Show, Xiamen Academy of Art and Design, China Group Exhibitions 2011 Across History –Invitation of Chinese Contemporary Art Exhibition, G-Dot Art Space Beijing, China Sanqingshan Contemporary Art Invitation Exhibition, Injoy Museum of Art Beijing, China Yihe Art Exhibition, Lotus Art Museum, Beijing, China Start from the Horizon–Chinese Contemporary Sculpture since 1978, Sishang Art Museum, Beijing, China Policy Finance & Art Forum –LAC- Mobile Museum Open Exhibition, LAC-Mobile Museum, Beijing, China Ideology and Manifestation, Winshare Gallery, Chengdu, China Landscape in Mind: Public art from China, Kennedy Performance ArtCenter,Washington Dc, U.S.A Korea International Art Fair, Galerie Forsblom, Seoul, Korea Sculpture by the Sea , Bondi, Sydney, Australia Enlightment—DATONG International Sculpture Biennale, Heyang Gallery, Shanxi, China Remaking of Civilization—Chinese Contemporary Sculptures, Instituto Cultural do Governo da R.A.E de Macau, Macau Fabricator, SOKA Contemporary Space, Beijing, China Sculpture by the Sea, Aarhus, Denmark The Realm, JINGYI Art Space, Beijing, China Self Camera: Exterior of the Modern—Changwon Asia Art Festival, Sungsan Art Hall, Changwon, Korea Unable Absence—Winshare contemporary art display, Chengdu, China 7th of the Sculpture by the Sea, Perth, Australia 2010 Living in Evolution—Pusan Biennale,Pusan Cultural Center, Busan, Korea THE TAO OF NOW—The White Rabbit Gallery, Sydney, Australia Negotiations—Today’s Document Exhibition, Today’s Museum, Beijing, China Expo 2010 Jing’An International Sculpture Exhibitiom, Jing An Park of Sculpture, Shanghai, China Reshaping the History, AIPC Beijing, China. And-Writers—Nanjing Contemporary Double Exhibition, JiangSu Provincial Art Museum New address, Nanjing, China 2009 A Conversation with Chicago—Contemporary Sculpture from China, Chicago, American 2008 Third International Biennial of Contemporary Art, Centro Andaluz de Arte Contemporáneo, Seville, Spain The 3rd Nanjing Triennial - Reflective Asia, Nanjing Museum, Nanjing, China Pusan Biennale –Expenditure, Busan Museum of Modern Art, Busan, Korea 2007 China: Facing Reality—the Museum Moderner Kunst Stiftung Ludwig Wien, Vienna, Austria Red Hot—Asian Art Today, The Museum of Fine Art, Houston, American 2006 Hyper Design—Shanghai Biennale, Shanghai Art Museum,Shanghai, China 2005 Second China Art Triennial, Nanjing Art Museum, Nanjing, China 2004 China-Belgium Contemporary Sculpture Exhibition, Antwerpen, Belgium 2003 Chinese Sculpture Masterpieces Exhibition of the Beijing international Biennale, Beijing, China 2002 First China Art Triennial, Guangzhou Art Museum, Guangdong, China 2001 Sculpture Show, Shanghai Young Artists Exhibition, Normal University of Shanghai, China AWARDS In 2011, he was awarded the Most Popular Award in the International Sculpture Exhibition at Aarhus City of Denmark In 2011, he won the Public Art Prize in the 7th of the Sculpture by the Sea at Perth, Australia In 2010, he was awarded the “Bao Xi Niao”Art Prize by Alternative Space In 2010, he was selected by “Art Value” magazine into the 2010 Art Power 100 of China In 2008 “Contemporary Art” Magazine, he won the Youth May 4th Outstanding Contribution in Art Award 2003 Bejing Biennale, China Sculpture Special Exhibition, his Red Memory was awarded the Most Popular Work Award
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撰文：范迪安
黄笃
彭德
Contributors: Fan Di'an
李小山
Huang Du
陈文令 Peng De
文章图片摄影：李贵明 Li Xiaoshan
刘善龙
Chen Wenling
Pictures in articles taken by Li Guiming Liu Shanlong
翻译：訾韧 Translator: Zi Ren
摄影：邹胜武 Photographers: Zou Shengwu
设计：简枫 Designer: Jian Feng
www.chenwenling.com
特别感谢所有为此画册制作出版提供帮助的人 Thank you to everyone who contributed to this catalogue, and also to our sponsors. Printed in Beijing, 2012
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