图像性格 图像的性格显现，就像五位艺术家的作品一样。他们代表了60年代的普遍性。展出的作品也代表了他们对艺术的智性态 度。 高速扩张的城市，智能信息与后物质时代的人越来越没有性格。人也按着标准化生活。人被当成了一批批城市生物，这 种环境下，文化的发展自然也会变的没有了自己的性格。 图像信息不断泛滥，使得图像向庸俗化发展，成了传播的普通工具，只求其表象。可是图像在艺术家眼里是有思想的、 有智性的图像是他们传播思想的媒介，也就是艺术家通过有意识图像和观众交流思想的普遍社会工具，从而完成了思想 的交流。 五位艺术家的作品图像说明了他们的作品性格与身份，马堡中，以传统写实油画的方式，用 信息化技术语言对历史的了解融入作品中，参与艺术对社会层面的意识形态的再解读，对过去的政治再梳理，再讨论， 从而开创了政治油画。 周祁，这位老师哥，他从小就看着文革长大的，到今天他自己都想不起来什么情节？只记着一片红，作品多以表现政治 意味的明确性，过去消失的意识。 张立语是位装置艺术家，他以硬币为媒介，通过手工精细制作，每件作品都是件思想的硬器用资本包裹出一件件“资本 雕塑”。 朴光夔的作品，方中圆，圆中水，水中人，人在非现实状态下的美感，桃粉色的画面，让人想起了美好的希望。 我是位实验形艺术家，画过一些有性格的衣服，也做装置和装置绘画，甚至是录像和行为。最近又参与策展，我的作品 是对事物的不确定性再认识，尤其是对金钱的模糊性进行了探讨，通过作品反映不同时代人对事物的看法与认知。 这就是“图像的性格”。 王强
2012`7`10`
Wang Qiang
王強
Wang Qiang’s works filled with the smell of Eat Drink Man Woman. He will draw in the lining of the oldfashioned clothes, these paintings by the naked body of the female. The female body has been deliberately handling is very simple, they do not have a clear expression, can not see their inner world, they are not beautiful, but without exception, they are very sexy. Sexy is the only form of these women, see, Wang Qiang is his group works to get sexy, let Art contaminated with a trace of sensory and pornography. However, these female body is ambiguous hidden in the clothes lining. Secretive lure, if not his fists, then to spread to the lining of these clothes, the female body to stimulate voyeurism is difficult to meet. In this way, these works buried in a special kind of sexual dynamics. These works really completed, implementation, or that it is real consumption, the need for audience participation and direct contact. Thus, this group works to lure excited because it cleverly from a position of material transformed into a dynamic behavior works. To this end, we will find the works of pornography makes qualitative change. Wang Qiang’s works are also keen to discuss the relationship between clothes and body. Clothes both to fend off the cold, the modesty of nature. In the latter case, the clothes should be covered over the body, in particular, should be covered in the body hidden. However, in this group of works, the body is painted surface of the cloth clothes, and various parts of the body is not a layer of clothes wrapped the contrary, the body is a clothes pattern, also wrapped in the clothes, which subvert the clothes and body inherent in the relationship. - Wang Ming An 王强的作品充斥着饮食男女的气味。他将画画在老式衣服的衬里，这些 画主要由女性的裸体身体构 成。这些女性身体被故意处理得十分简单，她们没有明确的表情，看不 出她们的心灵世界，她们也 不漂亮，但是无一例外地，她们都十分地性感。性感是这些女人的唯一 形态，看得出来，王强就是 要他的这组作品变得性感，让艺术沾染一丝感官和色情信息。 但是，这 些女性身体是半遮半掩地藏于 衣服的衬里中的。遮遮掩掩的目的是引诱，如果不动手将这些衣服的衬 里摊开的话，这些女性身体所 激发窥视欲是难以满足的。这样，这些作品就埋藏着一种特殊的色情动 力学。这些作品的真正完成、 实施，或者说它的真正被消费，需要观众的参与与直接接触。这样，这组作品就因为它所激发的引诱巧妙地从一个表态的综 合材料转化为一个动感的行为作品。为此，我们会发现，色情会使作品产生质变。 王强的这组作品还敏锐地讨论了衣服和身 体的关系。衣服既有驱寒，也有遮羞的性质。就后者而言，衣服应覆盖于身体之上，尤其应覆盖于身体的隐秘处。但是，在 这组作品中，身体是画在衣服的布面上，身体的各个部位不是被一层衣服包裹，相反身体既是衣服的图案，同时也包裹了衣 服，这就颠覆了衣服和身体的固有关系。 —汪民安
US$10 170 x 230 cm Oil On Canvas
Grove 120 x 100 cm Oil On Canvas
2 Yuan 170 x 230 cm Oil On Canvas
Coca Cola 86 x 71 cm Oil On Canvas
Ma Baozhong
马堡中
Ma Baozhong was born in Jiamusi, Heilongjiang in 1963. He graduated from Central Academy of Fine Arts in 1991 and became a professional artist in 1992. Ma Baozhong is the creator of the super-structure of the modeling concept is the representative figure of the political art school in China. Its unique in the contemporary arts, whether it is a new interpretation of the concept of sketch modeling and academic innovation, or the painting theme preference, politics, war, power, and multimedia extension of the experimental spirit shows its deep in the contemporary art artistic skills and unique insights. This uniqueness comes from his long-term artistic practice basic language of art. 1963年生于黑龙江佳木斯，1991年毕业于中央美术学院版画 为职业艺术家。
系。1992年成
马堡中是超级结构主义造型概念的原创人，是中国后政治艺术流派 的代表人物。其 艺术在当代艺术界独树一帜，无论是素描造型观念的全新解释与学术创新，还是油画主题中对政治、战争、 权力的偏爱，以及多媒体上实验精神的延伸都显示出其在当代艺术上的深厚的艺术造诣与独特见解。这种独 特性来自于他长期的艺术实践即对艺术基本语言的研究。正如道家所言：“一生二，二生三，三生万物。” 一是基点，这个基点就是马堡中常年以来对素描造型观念与方法的思考与实践，并在此基础上独创了一个全 新的学术概念——“网络造型”，即以结构语言为主，在认识的深度、使用的能力上大大超越了所谓的结构 素描，它含有后现代的解构成分。网络素描把光影转化为明暗使用，强调结构语言化、形态尖锐化，在形体 间结构成有形或无形的运动痕迹中连通各个终端、深挖对象表征下的精神含量、超量的体量感、“活性的体 验”等等特点。马堡中的艺术也正是在此基础上不断繁殖、开花、结果。
1953.7 18 x 13.5 cm Oil On Canvas
1988.7.1 42 x 30 cm Oil On Canvas
A Bright Sky 152 x 109 cm Oil On Canvas
1958.6.1 42 x 30 cm Oil On Canvas
Trade 150 x 115 cm Oil On Canvas
1988.6 42 x 30 cm Oil On Canvas
Zhou Qi
周祁
Zhou Qi was born in the Heilongjian Province, China, in 1961. He studied at the National Academy of Fine Arts, graduating in 1987.
Full of the hedonism color gaudy style of Chinese contemporary art world, Zhou Qi with the nostalgic style of romanticism is especially pronounced. Zhou Qi’s opinion, the problems faced by the contemporary people is too practical and less than ideal. It is just the reverse of the problems faced by China in 30 years ago, when the Chinese people is too idealistic and impractical. Zhou Qi, born in the early 1960s to retain the memory of that fiery era. Whenever he encountered in real life because it is too practical and the problems caused when his head will appear red’s the scenario, there will be a hold back any longer the impulse to use artistic means at his disposal the kind of fiery scene reproduction. 在充斥具有享乐主义色彩的艳俗风格的中国当代艺 术界中，周祁的具有浪 漫主义色彩的怀旧风格显得格外突出。 在周祁看来，当代人面临的问题是过于实际而缺乏 理想。它刚好是30年前 中国人面临的问题的倒转，那时候中国人的问题是 过于理想而不切实际。 上世纪60年代初期出生的周祁，保留了那个火红年 代的记忆。每当他在现 实生活中遭遇因为过于实际而造成的各种问题的时 候，他的脑海中就会出 现那个火红年代的情景，就会有一种按捺不住的冲动要用他掌握的艺术手段将那种火红的情景再现 出来。
ZQ No.3 170 x 140 cm Oil On Canvas
ZQ No.4 90 x 70 cm Oil On Canvas
ZQ No 2 170 x 140 cm Oil On Canvas
ZQ No.5 140 x 100 cm Oil On Canvas
ZQ No.1 120 x 100 cm Oil On Canvas
Zhang Liyu
张利语
Zhang Liyu was born November 1st, 1965 in Tianjin, China. He graduated from the Tianjin Academy of Fine Arts in 1991, majoring in print. Vice-president of Professional Education Department of Tianjin Academy of Fine Arts. 张利语的装置作品通过“物质母体的转构”的方式，把最小单位值的货币从新置换成物品，这种以转 换（或交易）的过程。金钱成了流通的另一种权利至上的新物质符号，而不是大小等级的分配的购物 尺码。 Selected Exhibitions 1999 • Works on Paper Exhibition,Beijing Yunfeng Gallery 2003 • This is China,Video and Photo Exhibition,Beijing Modern City 2005 • We Exist, Tianjin Dingtian Art Gallery Cabinet, Beijing Songzhuang Arts Base Camp New Sky, Beijing Zhaowei Huadeng Building Ten-Year Glory of Songzhuang Invitation Exhibition, Beijing Songzhuang Arts Contemporary Artists Joint Exhibition, Beijing Bada Gallery Ten Become Ten Beijing Songzhuang Arts Base Camp 2006 • We Exist, Tianjin Yueweixian Bar Pressure in Uncertain Age Beijing Modern Exhibition, Beijing France-Chtian-Japan Comtemporary Art Exhibiion,Tianjin 2007 • Comtemporary Artist Joint Exhibition,Taida Museum 2008 • Utopia of the border, Beijing Today Art Museum 2009 • Realistic Docking, Today Art Museum Mostly a Money, STIFTELSEN3.14Norway 2009 • Spirit Highland, Jason Gallery Beijing Well Off Studio Rouge Gallery Red Gate Gallery Beijing 2010 • Crossover﹒2010 The 6TH Culture and Arts Festival SongZhuang-China Beijing 2011 • Moving Socialism, Comtemporary Art Exhibiion,Taiwan
Tooth 106 x 81 x 81 cm Sculpture
Clock No.2 37.5 x 5 cm Sculpture
Penis No.9 55 x 58 x 40 cm Sculpture
Apple 160 x 80 x 90 cm Sculpture
AWL 220 x 6 x 6 cm Sculpture
Piao Guangxie
朴光燮
Piao Guangxie was born in 1970 in Yanbian, Jilin Province, Korean, and now lives in Beijing songzhuang. 1995 graduated from Yanbian Institute of Arts. 1997 graduated from the Central Academy of Fine Arts assistant classes, graduated from Central Academy of Fine Arts 10th, 1999 Oil Painting Seminar.
Piao Guangxie’s work is classified as “cynical” style, also known as the bare faction. His work is in the form mostly used bare the old-fashioned techniques and flat processing styles. His artwork content are pretentious, vague, ambiguous, uncertain and making a fuss. Dazed, staring at him, scratching, bathing, silly cry and giggle, like play after the revolution. tendency is not present in the virtual boring performance. 朴光燮，1970年生于吉林延边，朝鲜族，现居北京宋 于延边艺术学院美术系。1997结业于中央美术学院版画助 业于中央美术学院第10届油画研修班。
庄。1995年毕业 教班，1999年毕
朴光燮的作品被归入“后玩世”的风格，后玩世”又称” 后无聊”。这是近年来在宋庄乃至全国，有一批画家们的 来的共同倾向的总的称谓。他们的作品在形式上大都采用 平平的老套处理模式。在内容上也大都是在装腔作势， 确定，无病呻吟。发呆，干瞪眼、挠痒、洗澡、傻哭和 状。倾向上都是不在场的虚拟的后无聊表现。
光光派”也称” 作品中所呈现出 了光光的手法和 模糊、暧昧、不 傻笑，扮后革命
2006 - 05 60 x 60 cm Oil On Canvas
2006 - 04 200 cm Oil On Canvas
2010 - 05 60 x 60 cm Oil On Canvas
2006 - 10 200 cm Oil On Canvas
‘Image Character’ Group Exhibition at Yang Gallery • Beijing 798
‘Image Character’ Group Exhibition at Yang Gallery • Beijing 798
‘Image Character’ Group Exhibition at Yang Gallery • Beijing 798
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杨艺术中心 新加坡•北京 藝術中心介紹 楊藝術中心是新加坡和北京两地最具影响力的国际画廊之一, 致力于发展最具收藏价值的中国当代艺术。 楊藝術中心展示作品包括：油画，雕塑，水彩画，摄影，版画，装置，家具设计和具艺术性的建筑设计等。 楊藝術中心的客户包括： 当代艺术馆 、 私人艺术基金 、大型机构、奢侈品集团、投资银行和来自世界各地的私人收藏家。在 过去几年中，我们成功举办和参与了一系列的具有影响力的展览和合作，例如：方力钧-中国当代艺术投资研讨会、文化艺术 交流、 和梅赛德斯-奔驰 合作的艺术展出，以及在新加坡和北京两地承办的多项关爱和资助残疾儿童的慈善展览和活动等等。 。。 凭借对当代艺术史的认知和丰富的市场经验， 创新精神、专业背景和领先资讯，使得楊藝術中心得以领先在中国当代艺术市 场的迅速发展和成长；我们为著名艺术家与收藏家之间建立了一个高效、开放、自由的艺术共享平台，并帮助艺术家和收藏 家之间获得全新的艺术体验！
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Zhou Changqing Solo Exhibition - Yang Gallery • Beijing 798
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Fang Lijun’s ‘Investing in Chinese Contemporary Art’ Seminar - Singapore
Yang Gallery • Singapore
Yang Gallery • Beijing 798
Yang Gallery • Beijing Songzhuang
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