北京时代美术馆：2010青年批评家推荐词系列

邓猗夫推荐词Recommendation for Deng Yifu

邓猗夫以迷彩图案为基础，演绎出了一套视觉的格式塔游戏，并把它建立在对我们的学院艺术传统的反思之上。—鲍栋Based on the camouflage patterns, Deng Yifu provides us a visual gestalt game and establishes it on our reflection on the tradition of academic arts.--Bao Dong

葛磊Recommendation for Ge Lei

在葛磊对手语的使用中，包含着对我们自身语言经验的反思，以及对语言与存在关系的理解——我们如何去面对不同“世界”之间的交流可能。—鲍栋The use of sign language by Ge Lei indicates our reflection on language experience and understanding of the relationship between language and existence—how to face the possibility of communication between different “worlds”.-- Bao Dong

沈怡Recommendation for Shen Yi

沈怡在日常生活中找到了一个想象力的突破口，把我们从日常经验的囚牢中解放了出来，使每一次当下都获得了重新被理解的可能。—鲍栋Finding a breakthrough of imagination in the daily life, Shen Yi sets us free from the prison of daily experience and makes the re-understanding of every moment possible.-- Bao Dong

俸正泉Recommendation for Feng Zhengquan

已经从卡通趣味中摆脱出来的俸正泉逐渐开始了对绘画视觉经验的反观，他把绘画的表征对象与表征手段同时呈现在了画布上，形成了一种视觉表征的辩证关系。—鲍栋No longer being interested in cartoon style, Feng Zhengquan is starting to reflect on the visual experience of painting. He presents both representation object and representation method of painting at the same time, thus forming a dialectical relationship of visual representation.--Bao Dong

陈彧君Recommendation for Chen Yujun

遭遇现代性的中国东南地域乃至东南亚，源远流长的原有地域文化被冲击和肢解的支离破碎。作为生长于这片土地的艺术家，陈彧君一方面接受这早已成为全球化图景的文化事实，另一方面又不愿放弃追根溯源的努力。于是，他通过绘画、装置等手段，来廓清东南亚的当代文化地界。在这个过程中，现代性的普世影响力同当地的特定文脉产生了非常复杂的交织、衍生关系，并在他的作品中表征为一个个视觉迷宫。他在追根溯源的过程中，不断的遭遇文化解码和再造、精神祛魅和赋魅，并在此基础上让解密和再造成为一种在当代进行文化自我塑型的手段。—杜曦云While confronting the challenge of modernity, the originally long-standing regional cultures in Southeast China and even in Southeast Asia are now greatly impacted and becoming fragmented. As a local artist, Chen Yujun has accepted this cultural fact which has already been a globalization view on one hand, and is not willing to stop striving for the cultural origins on the other hand. So he tries to clear the modern cultural boundary in Southeast Asia by means of painting and decoration. During the process, modern universal influence and specific local context are complicatedly inter-related and become derivative, representing a variety of visual mazes in his work. And during his process of striving for the cultural origins, he constantly encounters the cultural decode and reconstruction and spiritual disenchantment and enchantment as well, making decryption and reconstruction a means of cultural self formation in modern times. --Du Xiyun

康妮Recommendation for Kang Ni

康妮的作品注重“绘画性”：与所画之物对话，然后将其抽离图像性而凭借胸中意象重新创造在画布之上，从而使所画之物的精神性呈现出来。同时，康妮对色彩语言的整体性有着相对深入的理解与把握，细密的笔触使得她的作品带有无法复制的手工性，确保了绘画从体验到图式的唯一性。不过，她所期望的沉静、温暖、古典的气韵，在现阶段由于对绘画语言的精雕细琢而无法得以淋漓尽致的呈现。—杜曦云Kang Ni’s work pays much attention to “the drawing nature”. She likes to “talk” with the objects she paints, and then extract their actual images and re-create them according to the images in her mind in order to present their spirits. At the same time, Kang Ni has a relatively deep understanding and good mastery of the integrity of color language, and the subtle style of drawing makes her work a unique handicraft, making sure the uniqueness of her painting ranging from the experience to the pattern. The calm, warm and classical tone that she always expects, however, could not be fully presented right now due to her accurate description of the painting language.--Du Xiyun

邵文欢Recommendation for Shao Wenhuan

对“客观世界”的观看欲望，使邵文欢从绘画转向摄影。但他的摄影显然不只是为了记录外在世界的表象，而是通过一种介于客观与主观之间的媒介，在客观与主观之间寻找和把握一种更为合理的尺度。所以，从他最初拍摄江南风物时起，就是带着一种研究、探讨的态度和方式来进行的——素描、草稿、数字技术的加工、暗房冲洗……。Shao Wenhuan turns from painting to photography owing to his desire of looking into the “objective world”. But obviously, the aim of his photography is not just to record the appearance of the outer world, but also to find and seize a more reasonable dimension between the objectivity and subjectivity through a media between the objectivity and subjectivity. Therefore, when he started to photograph the scenery in the south of the Yangtze River at the very first, he did it with an attitude and method of research and exploration, including sketch, draft, processing of digital technology and development in the darkroom, etc..

从这些最初的“摄影”开始，之后的一系列作品，包括《国际旅游者》系列，其深层动力都是想探寻一种确定的精神支点，或者想确定“是否有一种确定的精神支点”。在通过《国际旅游者》来呈现或营造出全球性的精神低迷之后，邵文欢的关注点又由西方返回到了中国本土，而且是他成长于斯的江南。The deeper motive of a series of works after the first “photos”, including the series of International Travelers is to explore an assured spiritual fulcrum, or to make sure “if there is an assured spiritual fulcrum”. After presenting or constructing a global spiritual depression through International Travelers, Shao Wenhuan’s focus comes back to China from the West, especially the south of the Yangtze River, the hometown where he was born and grew.

《明……》这一系列作品，可以视为邵文欢对以江南文化为表征的汉文化的思索，而且主要从山水木石的视觉维度切入。从视觉语言层面，他融合了自己对绘画与摄影的体会，使这些作品拥有一般摄影者所难以触及到的领域和层面。《不明……》中的树木山石，来源于精心选择的自然景物，散发着非常生动的喜乐之“气韵”。这种喜乐让人一睹即陶醉，进而可能流连忘返。但茫茫天际的浩瀚与莫测，也呈现在“高远”的画幅之中；类似霉斑、污渍、划痕、噪点的痕迹经由复杂的明室与暗房技巧被生成和浮现……这些都具有隐晦的不祥或不乐之气，但又很含蓄，无心与此的观者可以忽视它们。邵文欢在此基础上又营造出突兀而强烈的不明痕迹，对具有形而下成分的喜乐氛围进行破坏或干扰。如同喜乐之人脸上被不明气流划伤，这种不明痕迹，似乎毫无道理，来去莫测，而且因其超验、形而上的特征而难以言说。个中意味，邵文欢自己可能也难以言表，但他又真切的感受得到，并挥之不去。The series of Bright can be viewed as Shao Wenhuan’s meditation of the Chinese culture which is represented by the culture in the south of the Yangtze River, with the mountains, rivers, trees and stones as the main visual dimension. From the level of visual language, he merges his experience of painting and photography and makes his works attain the field and aspect that most of the ordinary photographers cannot achieve. While the trees, mountains and stones in his Not Bright come from the natural scenery that is carefully selected and radiates an extremely vivid and delightful “tone”. The delight enchants the viewers and makes them lost in the painting. The infinity and uncertainty of the sky are also represented in the “free and natural” paintings. The traces like mould stains, besmirches, scratches and error points are generated and emerged owing to the complicated skills in the bright room and dark room…All these traces show an obscure atmosphere of bad luck, but they are so obscure that the careless viewers may even overlook them. And based on these, Shao Wenhuan further creates other unidentified traces, both abrupt and strong, in order to destroy or disturb the above-mentioned delightful atmosphere with concrete elements. Just like a delightful person’s face is hurt by an unidentified airflow, the unidentified traces are too unreasonable and unfathomable too be expressed due to their characteristics of transcendence and metaphysics. Maybe even Shao Wenhuan himself cannot express exactly the meaning of his photos, but he can feel it clearly and the feeling is always lingering in his mind.

但这是否只是邵文欢作为一个差异性的个体的极其个人的感受甚至妄想？这种感受因何而来，如何消失？这是所有被触动的观者需要思考和解决的问题。就笔者个人而言，《不明……》中的不明痕迹，再温暖些、再柔和些可能会更好。—杜曦云But is it only an extremely individualized feeling or even deliria for Shao Wenhuan as a different individual? Why does the feeling emerge, and why does it disappear? These are questions that require all viewers touched by the photos to consider and to solve. As far as the author’s concerned, it will be better if the unidentified traces in Not Bright are even warmer and softer.--Du Xiyun

王光乐Recommendation for Wang Guangle

王光乐希望在各种集体性话语的笼罩中逃逸出来，于是，他最初通过创造各种观看角度来寻找个体的精神支点。在此过程中所选择的对象、操作方式等，是他在寻找过程中的衍生品，并继而替代了“观看”，成为寻找精神支点的新的途径。虽然途径在不断演绎，但将一种日常的慵懒、无为诗意化，却在他的寻找之途中一脉相承。—杜曦云Wang Guangle wishes to escape from the cage of various discourses of collectivity, so that he tries to find spiritual fulcrum for individual by creating different viewing angles at first. And the objects and operation modes he chooses during the process are derivations of his searching, and then are substituted for “viewing” as a new way of finding spiritual fulcrum. Though the way is constantly changing, he always makes the ordinary indolent and inaction become poetic expression.-- Du Xiyun

杨光南Recommendation for Yang Guangnan

杨光南从传统的雕塑语言入手，逐渐扩展到装置、行为等。她对自己的日常化切身体会进行推究和演绎，转化为具有动人力量的作品。这些作品关乎渺小个体在都市化空间中的生存状况、身份认同、情感纠结、时间意识等，看似随感而发、信手拈来，但在所有作品中都散发着一种独有的细腻而尖锐、刚硬、强韧的意识，以此形成她强烈的个人特质。—杜曦云Starting from the traditional sculpture language, Yang Guangnan gradually focuses on the devices and behaviors, etc. She examines and deducts her daily experience and turns them into touching and powerful works. The works are about the living situation, identify recognition, emotional conflicts and time consciousness of the nobodies in the urbanized space, which seem to be inspired by the ordinary incidents in ordinary life, but actually radiate a unique, subtle, sharp, firm and tough consciousness, thus forming a particular trait of her own.--Du Xiyun

黄志琼Recommendation for Huang Zhiqiong

已经很久没有一张画可以进入我的内心了，当天深夜一回头看到黄志琼自己珍藏、挂在高墙之上的《人物》，心里一惊：泪水都快要出来了。画里的人物为什么掩面而泣呢？画家画她时是否也为之动容？虽然我还没有跟黄志琼交谈过，但已经能体会他的向往，画家画了一匹奔向远方的野马，画了一群振翅高飞的野鸟，画家想要过自由的生活，想要无垠的空间。（宋）韩拙在《山水纯全集》中说道：“有近岸广水旷阔遥山者谓之阔远；有野雾暝漠，野水隔而仿佛不见者，谓之迷远；景物至绝而微茫缥缈者，谓之幽远。”黄志琼画中的空间可谓迷远，又更近于幽远，但他并不想完全归隐山林，理想的状态是：不必完全逃避社会，身体和心灵依然能保持无拘无束。林语堂在《生活的艺术》中对理想人物状态的描绘和追求，我感觉很适合黄志琼参考：一半有名，一半无名；钢琴也会弹弹，可是不十分高明，只可弹给知己的朋友听听，而最大的用处还是给自己消遣；古玩也收藏一点，可是只够摆满屋里的壁炉橱；书也读读，可是不很用功；学识颇广博，可是不成为任何专家。—段君I haven’t been touched by one painting for a long time. But one night, when I turned around and saw The Character, which was treasured and hung on the wall by Huang Zhiqiong himself, I felt something happened in my heart and nearly burst into tears. Why are the character in the painting covering her face and weeping? Did the painter feel sorry for her when he was painting? Though I haven’t talked to Huang Zhiqong yet, I have already sensed his desire. He paints a wild horse running towards the distant, and a group of wild birds flying into the sky, which indicates that he wants a free life and an infinite space. Han Zhuo in Song Dynasty once described in A Complete Collection of Mountains and Rivers (Shan Shui Chun Quan Ji) that “when a space is near the bank and far away from the mountain, it makes people feel broad and profound; when a space is covered with fog and separated by a river, it makes people feel lost and profound; when the scenery is extremely wonderful while misty as well, it makes people feel peaceful and profound.” The space in Huang Zhiqiong’s painting can be called “lost and profound”, or more close to “peaceful and profound”, but he does not want to live in seclusion. His ideal life is the one that needs not fully escape from the society and is able to remain the body and mind unconstraint as well. Lin Yutang once depicted in his The Importance of Living about the ideal living situation of ideal people that “a person is best to be neither too famous nor too obscure. And he can play the piano but is not good at it. Actually he will only play it for his best friends or most importantly, take it as a recreation for himself; he also collects some antiques, but not too many; he also reads books but not very industrially; he masters extensive knowledge but is not an expert on any field.” I think the above depiction can be viewed as an excellent reference to Huang Zhiqiong.--Duan Jun

王海元Recommendation for Wang Haiyuan

王海元在2004-2009年间持续拍摄青海的一位哑巴、智障者小路（路建业），我在长时段的原始录像素材中，仅看到过一次路建业试图放飞他自己制作的风筝，但是放飞失败，为他热情的破灭预作了伏笔。《小路的风筝》是一部具有观念色彩的纪录片，真实纪录路建业在2004-2009年间的状态变化。路建业后天的生理缺陷，反而使得他的表情和动作比正常人更加自然生动。王海元在剪辑中非常重视对路建业数种习惯性动作的呈现，因为动作是路建业急切表达内心的最佳方式。路建业5年间的动作转变，显示出他从最初的理想满怀到最后热情尽失的过程。王海元的作品提示出：社会中不正常的人的毁灭，并不是由于他们走向了虚无主义，而是社会没有提供坚固的价值和信念给他们，路建业是一件牺牲品，他没有活在我们的社会中。—段君Wang Haiyuan kept on filming Xiao Lu (Lu Jianye), a dummy and mentally retarded person lived in Qinghai from 2004 to 2009. In the long original video material, I see only once that Lu Jianye tried to fly a kite made by himself, but failed in the end, which served as a foreshadow for his disillusioned passion. Xiao Lu’s Kite, a documentary with concept, records Lu Jianye’s changes from 2004 to 2009 authentically. His physiological defects make his facial expressions and actions even more natural and vivid. While editing the video, Yang Haiyuan pays much attention to the presentation of Lu Jianye’s various habitual movements, for movements are the best ways for Lu Jianye to express his feeling. The change of the movement in the past five years indicates the process that at first, he was full of hope, but gradually, the hope disappeared. Wang Haiyuan’s work suggests that the ruin of the abnormal people in our society is not because they themselves adopt the nihilism, but because the society does not provide them concrete values and belief. And from this point of view, Lu Jianye is anything but a sacrifice that does not truly live in our society.--Duan Jun

杨健Recommendation for Yang Jian

《来自文革时代的歌》（录像）是杨健偶然在厦门中山公园录下的，片中的老人旁若无人地唱着文革时代的歌曲。对未曾经历文革的青年人来说，理解文革的疯狂显然是很困难的事情。选择杨健《来自文革时代的歌》参加《2010青年批评家提名展》的原因在于，我觉得当前无论是在艺术界、批评界，还是在生活界，青年与长者之间缺乏沟通和理解。尽管我对人与人之间的沟通和理解并不抱很大的希望，因为我崇尚存在主义的名言——他人即地狱，所以《来自文革时代的歌曲》实际上还是与我的主张具有一致性：人应该得到自由，如果在文明社会中找不到无拘无束的人身自由，那还是去追求自由的心灵世界吧。—段君Songs from the Times of Cultural Revolution (a video) was recorded by Yang Jian in Zhongshan Park in Xiamen accidentally, in which the old men were singing songs from the times of Cultural Revolution as if no one else was there. Obviously it is difficult for the youths who do not experience the Cultural Revolution to understand the fever at that time, therefore I recommend this video to be presented in 2010 Nomination Art Exhibition for Young Critics. The reason lies in that I feel at present there is a lack of necessary communication and understanding between the youths and the old men, in the field of arts and critics as well as in our daily life. Actually I advocate a famous saying of existentialism: “Hell is other people.”, so I do not have much hope for the inter-personal communication and understanding. Viewing from this point, Songs from the Times of Cultural Revolution is consistent with my opinion: human beings need freedom. And if we cannot find unconstrained individual freedom, let us just pursue a free mind.--Duan Jun

尹朝阳的绘画能激发批评家的诗意，但当批评家描述尹朝阳作品的文字并不足够诗意、但又试图达到诗意的时候，文字反而给人以东施效颦的感觉。我知道尹朝阳对毛泽东保留敬意，我既不同意对该敬意表示反对的做法，也不同意批评家为该敬意进行的辩护，尹朝阳对毛泽东的敬意出自他个人的经历和情感，无可厚非。我认同尹朝阳的绘画，是因为他的绘画或画面所具有的强度。记得最近一次我的赞叹，是看到他2007年用转圈的方法画的佛像，佛在巨大的漩涡中更加平和镇定。尹朝阳的绘画是能量从内部的喷涌，尤其是渗血的人，让我觉得渗血的人是人的真正面目。段君2010年5月11日Yin Chaoyang’s painting can make critics poetic. When critics describe that the words in the paintings are not poetic enough but tries to be poetic as well, their description looks like an imitation of Yin Chaoyang’s words. I know Yin Chaoyang still respects Mao Zedong, and I do not think it is sensible enough either to oppose or defense that respect. I only feel natural for Yin Chaoyang’s respect due to his own experience and emotion. I identify with Yin Chaoyang’s painting because of the intensity. Recently I saw a figure of Bhddha painted by him by a method of circling in 2007, in which the Buddha looks even more placid and calm in a huge whirlpool. And this painting made me admired. Yin Chaoyang’s painting is like a sprout of energy from inside, and I personally prefer the image of people with their blood oozing from the wound, which I think is the real features of human beings.Duan JunMay 11, 2010

张耒Recommendation for Zhang Lei

张耒绘画中最打动我的是他作品中的忧伤感，造成忧伤的原因可能是他在画中营造了很好的时空距离：即便画的是眼前景物，却也仿佛离现世很远。所以他不是一个为了影像而影像的影像画家，也不是一个为了把画面画虚而画虚的画家，他画虚是为了制造时空的距离感。我一直认为影像绘画作为一种视觉特性有其合理性的存在基础，但前提是画家必须要考虑清楚：为什么要画虚？张耒以前画过一批《永不消失的灵光》，其中一部分画的是清末民初的旧照片，他试图固定住灵光、固定住时间的即时即刻，由此可见，他的作品是在讨论绘画与时代的关系，更具体而言，他讨论的是绘画是否还留得住转瞬即逝的视觉与情绪？—段君It is the sense of grief in Zhang Lei’s painting that touches me most, and the cause of the grief may be the creation of the excellent space-time distance in his painting: the objects seem far away from the secular life even though they are just before your eyes. Therefore his purpose is not just to present the images, and he will not pursue emptification on purpose -- only to create the space-time distance. As far as I’m concerned, the photographic panting, as a visual characteristic, has a reasonable ground for its existence, while the premise of which is that the painter must consider this question: why emptification? Zhang Lei used to paint a series of paintings called Halo Never Disappears, some of which are paintings of some old photos in late Qing Dynasty and Early Republic of China. In these paintings, Zhang Lei ties to fix the halo and time. So we can see that he wants to discuss the relationship between the paintings and times through his works, or more concretely, discuss the question that if the painting can make the passing vision and emotion stay forever.--Duan Jun

向京推荐词Recommendation for Xiang Jing

向京以极度细腻的雕塑手感与绘画性着色手法，赋予传统雕塑语言以全新的表达力，将处于特定状态下、符号化的女人，尤其青春期少女，塑造为一种精神自足的观念表达，在保持艺术感官感染力的同时，实现了再现性写实雕塑向主观化表达的当代转向。她的作品，在叙述结构上打破自身封闭性，通过所塑造人物的动态与环境处所关系，形成第三方在场状态，实现了作品语义在观看时的开放性。应该说，向京的作品在符号表述、语言表达、结构表现三个层面上，实现了对传统雕塑的改造与转换，是将传统技术化艺术推向当代的成功典范之一。—杭春晓Xiang Jing endows the traditional sculpture language with brand new expression ability with an extremely subtle style and a painting coloring method, and makes symbolized women in a certain status, especially the adolescent girls, a concept expression with spiritual self-sufficiency. Therefore, her works manages to maintain the appeal of artistic sensory and indicates the modern trend from the reproductive realism sculpture to the subjective expression. Her sculpture breaks the closure of the narrative structure and forms a situation of a third party’s presence through creating the relationship between the dynamic state of the people and the environment they live in, thus attaining the openness of semantics when the audiences view her works. And it is reasonable to say that Xiang Jing’s works realize the reformation and transformation of the traditional sculptures from three levels of notation, language expression and structure manifestation, and can be viewed as one of the examples that make the traditional arts being accepted by modern viewers.--Hang Chunxiao

黎薇推荐词Recommendation for Li Wei

黎薇的雕塑具有一种表达的干净与直接，没有多余的修辞。她将所有精力集中在具有病痛感的少女身上，或许是出于一种自我体验的痛感，她习惯放大此类病痛的因素，从造型、着色乃至细节处理上强化这一主观经验，从而将所有语言细节直接呈现为视觉上对于观者的侵略与触动，并以此形成她试图表达的某种不安、紧张，抑或怀疑的精神质地。就此而言，相对很多年轻艺术家追求所谓意图表达的流行图像，黎薇向我们再次表明了艺术的魅力，并非形式上的花哨，而是源于一种视觉上的干净、直接。—杭春晓Li Wei’s sculptures are clear, direct and simple and focus on the description of delicate young girls. Perhaps according to her own experience, she is used to amplifying the elements of ailment and strengthening this subjective experience through the sculpting, coloring and treatment of details, thus making all the language details a presentation of visual invasion and touching of the viewers, and expressing such emotions as uneasiness, nervousness or suspicion that she always desires. And in this respect, compared to many young artists who prefer to pursue the popular images of the so-called intension, Li Wei shows us the glamour of art, which does not originates from a fancy form, but from a clear and direct vision.--Hang Chunxiao

康海涛推荐词Recommendation for Kang Haitao

70画家中，康海涛对绘画语言的体验与表达无疑是突出的。他将中国画的“积染”语言与纸本丙烯进行了结合，创造性地营造出一种具有东方意趣的宁静、深邃而纯粹的感官世界。他的画面没有特殊表意功能的符号或结构，而多选择夜色下单纯的场景，通过独具他个人化风格的语言塑造，赋予普通场景以别样的精神体悟。康海涛的夜色，将普通人习以为常的经验转化为陌生的视觉范式，在不确定感的视觉体验中营造了一种冷静、厚重而舒远的精神影像。从某种角度上说，康海涛是将绘画性发挥到极致，并进而使语言自身具有观念诉求的画家。这种特质，在今天流行化的图像浪潮中，显得尤为难得。—杭春晓Kang Haitao is one of the most outstanding painters born in the 1970s who are good at the experience and expression of the painting language. He combines the skills of coloring in traditional Chinese painting with paper painting and propylene, creating a peaceful, profound and pure world with an Oriental atmosphere. Containing no special signs or structures to express meanings, Kang Haitao prefers to choose simple scenes at night and endows ordinary scenes with particular spiritual enlightenment through the language shaping of his own style. The night scene painted by Kang Haitao transfer the ordinary experience into a strange visual paradigm, and creates a calm, solid and profound spiritual image through the visual experience of uncertainty. Viewing from a certain angle, Kang Haitao is a painter who fully exerts the nature of the painting and appeals his opinions through the painting language itself. This trait is particularly rare in today’s trend of popular paintings.--Hang Chunxiao

景禹朝推荐词Recommendation for Jing Yuchao

年轻一代画家中，景禹朝对油画笔触的控制力与表现力，无疑是突出的。当然，这种语言感受能力，往往也会让画家沉迷于语言自身的书写趣味，从而掉入简单的表现主义陷阱中。值得庆幸的是，经过多重方向选择之后，景禹朝逐渐将这种语言体验转化为一种思想观念的姿态，将充满不安、动荡的笔触转化为社会底层经验的描述，细腻而具质感地传达了当下某种困顿、无助而挣扎的社会情绪。从某种角度上看，景禹朝的画面不仅触及了70生人整体价值观上的迷失与彷徨，而且还触及了沦入实用主义的中国社会在整体上所具有的精神虚无感的命运悲剧。而这种表达上的理性诉求，保证了景禹朝能够将表现主义的语言形式带入当代观念表达的语境中。—杭春晓Undoubtedly, Jing Yuchao is a young painter outstanding for his control and expressive force of the oil painting style. Of course, this ability of linguistic impression often makes the painter lost in the writing taste of the language itself, and drops into the simple trap of expressionism. Fortunately, however, after various selection, Jing Yuchao gradually transfers this language experience to a position of opinions, turns the uneasy and unstable style to a description of the experience at the bottom of the society, thus conveying a hopeless and struggling social emotion at present subtly and with quality feeling. Viewing from a certain angle, Jing Yuchao’s paintings not only express the loss and hesitation of people born in the 1970s concerning their values, but also reveal the tragedy of spiritual nihility in Chinese society which in the whole has already reduces to the pragmatism. And this rational appeal of expression ensures that Jing Yuchao is able to bring the language form of expressionism into the modern context of concept expression.--Hang Chunxiao

蔡磊推荐词Recommendation for Cai Lei

在保持雕塑语言的细腻手感之外，蔡磊试图以真实皮毛进行一种语言转换与感官重建，并进而于此新感官中赋予作品新的观念表述：华美的生命表象下潜藏着的死亡与重生。—杭春晓Apart from maintaining the subtle style of sculpture language, Cai Lei tries to make a language transformation and sensory reconstruction and then endows his works with a new expression of concept, i.e. the death and renascence under the surface of gorgeous life.-- Hang Chunxiao

于向溟Recommendation for Yu Xiangming

于向溟的作品大多描绘一些现代工业社会的场景，画面的氛围凝重而压抑，潜伏着一种无法回避的危机意识。很显然，对于艺术家而言，现实的荒诞与内心的焦虑构成了一种悖论关系。这既是对现代人生存异化的写照与反思，也是对自我内心世界的拷问与自省。于是，生存的危机与生命的自省共同赋予其作品强烈的预言与寓言性。如果说“预言”关涉人类的未来发展，那么“寓言”则指涉着当代人的精神世界。在现代性的意义维度中，于向溟作品中的自省与批判意识是具有积极意义的。 —何桂彦Most of the works painted by Yu Xiangming depict scenes of modern industrial society, the atmosphere of which is dignified and oppressive and conceals a crisis consciousness that cannot be avoided. Obviously, as far as the artists concern, there is a paradoxical relation between realistic absurdity and inner anxiety. This is not only portraiture and a reflection on alienation for existence of modern people, but also an excruciation and self-reflection of one’s inner world. Therefore, the survival crisis and self-reflection on life both endow his works with strong prophecy and fable features. If the “prophecy” is said to relate to the development of human beings in the future, then the “fable” relates to the spiritual world of the modern people. In the dimensions of the meaning of the modernity, the self-reflection and criticism in Yu Xiangming’s works are very positive.--He Guiyan

潘剑 Recommendation for Pan Jian

当代架上绘画的特点之一是以图像为中心，以图像来标识个人，将图像转化为图式，并强图像的叙事功能。潘剑是一个善于利用图像的艺术家，不过，在他笔下，图像并不是一种个人标识，也不具有明确的符号意义，相反他追求图像表达在视觉上的陌生感、疏离性，希望那些具有日常化的图像能在生活体验、个人记忆，以及历史与现实交织的语境中呈现出新的意义。—何桂彦One characteristic of the modern easel painting is to regard the images as the center of the painting, to mark individuals by images, to transfer the images to schema, and to strengthen the narrative function of images. Pan Jian is an artist who is good at taking advantage of images, while in his painting, images are neither one individual mark, nor of a definite symbolic meaning. Quite on the contrary, he pursues the visual foreignness and alienation of image expression, hoping that the ordinary images can present a brand new meaning in the context of life experience, individual memory and the interweaving of history and reality.--He Guiyan

刘玉洁Recommendation for Liu Yujie

从对个人图示的强调转向对画面场景氛围的营建，刘玉洁近期的作品在修辞与创作观念上都出现了新的变化。在《白光》、《暖国》、《征兆》等作品中，画面的氛围繁复且神秘、忧郁而诡魅，加之一些怪诞情景的置入，不仅增强了画面的叙述性与戏剧色彩，也赋予其较强的荒诞意味。从诗化的语言、内在的个人气质以及蕴含的精神含量上看，刘玉洁的作品都具有较强的代表性。—何桂彦Switching from the emphasis of individual graphical representation to the creation of the atmosphere of the scene, the recent works of Liu Yujie show new changes both in the rhetoric and creation concept. In the works such as White Light, Warm Country and Symptom, the atmosphere of the painting is complicated, mysterious, gloomy and strange. In addition, the application of some grotesque scenes not only strengthens the narrative usage and dramatic feature of the painting, but also endows the works with strong absurdity. Viewing from the poetic language, inner personal temperament and the spirit contained in the paintings, Liu Yujie’s works are highly representative.--He Guiyan

梁硕Recommendation for Liang Shuo

纯化媒介、强调观念一直是梁硕装置作品较为突出的特点。一方面，艺术家纯化语言，尽量涤除材料自身所承载的各种文化与社会信息，将其还原为纯粹的“物”，即仅仅强化其作为视觉与物理属性上的存在。但另一方面，艺术家追求观念化的表达，突出创作过程中强烈的主体意识，即以形式表达中的“少”来寻求意义呈现的“多”。也就是说，梁硕以最简捷的创造行为来使用作品中的媒介，力图在媒介表达与作品观念生成之间找到一个最佳的契合点，以此构成一种单纯且强烈的张力关系。同时，从对“人、物、场”展览效果的营造与控制的角度讲，梁硕的作品都具有较强的实验性。—何桂彦One prominent feature of Liang Shuo’s works is to purify the media and emphasize the concept. On one hand, the artist purifies the language, makes every effort to eliminate various cultural and social information born by the material itself and reduce it to a pure “object”, i.e. strengthen its visual and physical existence; on the other hand, he pursues an idealized expression and highlights the strong subject consciousness during the creation process, i.e. makes “less” formal representation bring “more” presentation of meaning. That is to say, Liang Shuo employs the media in his works through the simplest creative behavior, and tries to find an excellent meeting point between the expression of media and the generation of the concept in his works, thus forming simple and intense tension connections. Meanwhile, viewing from the angle of the creation and control of the exhibition effect of “the people, the objects and the scenes”, Liang Shuo’s works are full of experiments.--He Guiyan

贾靖Recommendation for Jia Jing

贾靖早期的作品大多描绘一些与战争相关的场景。艺术家对战争的敏感与其说是呈现其带给人类的巨大苦难，毋宁说是想通过战争揭露人类无意识层面所潜藏的暴力行径。贾靖近期的作品在题材上出现了新的变化，其主题逐渐远离了战争，远离了暴力，但即便如此，艺术家仍希望将暴力虚化为一种倾向于唯美的图景。然而，在贾靖的作品中，这些图像是片段的、破碎化的，虽然它们不能成为现实生活的镜像，但似乎又与周遭的现实体验契合。同时，各种文字的出现不仅增强了画面的图式特征，也与图像形成了一种互文关系。如果这些图像代表着偶然、随意的话，那么这些文字则是理性、规则的象征，它们相互砥砺与渗透，形成了一种多义的画面空间。 —何桂彦Most of the early works of Jia Jing describe the scenes related to wars. The artists’ sensitivity to wars is not only because they want to present the great miseries the wars bring to the human beings, but also because they wish to reveal the violence hidden in the unconsciousness of human beings through the wars. Recently, new changes have taken place in the theme of Jia Jing’s works, the topics of which are gradually far away from wars and violence. And in spite of this, the artists still hope to turn violence into an almost aesthetic picture. In Jia Jing’s paintings, however, the images are fragmented and broken. Though they cannot become the mirror of real life, they seem to agree with the experience of reality around them. Meanwhile, the appearance of various characters and letters not only strengthens the pictorial features of the painting, but also forms intextuality with images. If the images represent coincidence and randomness, then the characters and letters stand for reason and rules. They cultivate and infiltrate each other, forming a space with multiple meanings in the paintings,-- He Guiyan

卓凡Recommendation for Zhuo Fan

在卓凡的《每分钟，产生泡沫的速度是……》中，如果把大量涌现的肥皂泡沫（真泡沫）视为时下现实的一种表征的话，那么可以把雕塑（做成的）泡沫视为现实基础的表征。充满泡沫的现实之所以如此张扬，一定有其更深层的架构在支撑。这个看似坚硬的，我们习惯承认的架构其实可能也是脆弱不堪的。尽管它看起来很强大，并不断制造着光怪陆离的现实幻境。—刘礼宾In Zhuo Fan’s work Foams produced Speed…Per Minute, if we regard a great number of foams (the real foams) as a characterization of the reality, we can also view the foams made by the sculpture as a characterization of the realistic foundation. The reason why the reality filled with a large sum of foams is so aggressive that it is supported by a deeper structure. This structure seems to be tough and easily accepted by people, but actually it may be quite fragile, even though it looks strong and constantly creates lustrous and dazzling dreamland of reality.--Liu Libin

邬建安Recommendation for Wu Jian’an

“文明史”的书写已经有诸多版本，在这样的历史中，从野蛮到文明的进化是人类进步的明证。这些叙事对“文明”背后的话语系统以及权力控制缺少更多的反思。邬建安通过他的创作质疑这种“文明史”的合法性、真实性。他心目中有一部“野蛮史”，他通过他的创作恢复“野蛮”所蕴含的能量，揭示“文明”遮羞布下的血腥与残酷。—刘礼宾There are various editions of “civilization history” and the evolution from barbarism to civilization during the course of history serves as the evidence of human beings’ progress. These narratives lack necessary reflections on the discourse system behind the “civilization” and power control. Wu Jian’an tries to question the legitimacy and authenticity of this “civilization history” through his works. There is a “barbarism history” in his heart, and he wants to restore the energy of “barbarism” through his works and reveal the bloodiness and cruelty concealed behind the so-called “civilization”.--Liu Libin

金江波Recommendation for Jin Jiangbo

金江波在对社会的积极介入中，发现了中国在超速进程中的气喘吁吁、汗流浃背的狼狈一面。他的摄影作品大多呈现这一现实。由于具有了田野调查式的客观和冷静，他的摄影作品成为展示“盛世中国”场景的一个有效文本。不同于摄影作品的零度书写，在《天使的云》中，金江波深入现实（抑或称为历史）的深处搅拌，使其沉渣泛起。这些沉渣具体化为鲜活的生灵（倒悬的鸟），在“天使”的名义下，成为阴森的“云”。—刘礼宾While actively involving in the society, Jin Jiangbo finds a difficult situation during the process of development at top speed in China, which is presented by most of his photography works. Thanks to the field investigation -- like objectiveness and calmness, his works become an authentic text that shows the scene of “a prosperous China”. Different from the zero description of the photography works, Jin Jiangbo probes into the reality (or the history) in his Angel’s Cloud, stirs the sediment at the bottom of it and makes the floating sediment concretized as a vivid creature (a suspended bird), which becomes a gloomy “cloud” in the name of the “angel”.--Liu Libin

刮子Recommendation for Guazi

近几年，中国行为艺术创作处于低谷，除了何云昌等几位优秀的行为艺术家之外，绝大多数行为艺术家（姑且称之“艺术家”）的创作使人看到的是创作者的浮躁和冲动，偏狭和肤浅。乃至到当下，行为艺术创作几乎成了“闹剧”、“恶作剧”的同义词。在这样的情形下，年轻艺术家刮子的创作显得弥足珍贵，他对主体自我的深入挖掘，对身体呈现在艺术作品中的度的控制，都显示出他作为一位年轻行为艺术家的杰出素质。在《还有羽毛》中，他以自己三个多月的狱中收集羽毛的行为，在收集羽毛的艰难和沉重以及羽毛的轻盈形体之间形成了有效的对比。这一对比将个体在时下社会中的无奈，以及个体对自由的追求（以及如影随行的沉重）表现得恰到好处。《就这样》则表现出这位年轻艺术家的决绝和坚定。他不停地撞击墙体，并把每一次撞击以刻度明示。最后一撞，刮子晕倒在坚实的墙体下。如果说《还有羽毛》把对自由的向往借助最后羽毛的呈现意象化了，《就这样》则把追求自由的悲剧命运行为化了。—刘礼宾During recent years, the performance art in China is at the bottom. Most of the creations of the so-called performance artists show their fickleness, impulsion, insularity and superficiality except a few outstanding ones such as He Yuanchang. Therefore, at present, the creation of the performance art nearly equals to “farces” and “practical jokes”. Under this circumstance, the creation of Guazi, a young artist, is very valuable. He is qualified as a young performance artist because of his thorough understanding of the subjective self and the control of the body representation in artistic works. He used to collect feathers in the prison for three months and finishes his Feathers, which shows an effective comparison between the tough process of collecting the feathers and the lightness of the feathers, expressing the helplessness of individuals in today’s society and the individual pursuit of the freedom (and the sense of heaviness everywhere). That’s It shows the firmness and determination by hitting the wall continuously and marking every collision with clear scales. Guazi finally fainted beside the solid wall. If we agree that Feathers visualizes the desire for freedom through the presentation of the feathers, then we can also say That’s It makes the tragedy of pursuing freedom more concrete.

尚一心Recommendation for Shang Yixin

尚一心打破了固有的绘画空间，通过不同尺寸、不同位置的画框并置，且以光照的视觉语言重构了一个个新的时间逻辑。静谧、有序的视觉整体与其画面内在的细碎与无逻辑的逻辑之间形成了极具意味的张力关系。在这里，时间与空间的张力反而被削弱或消解，毋宁说它超越了简单的时空关联。—鲁明军Breaking the inherent space of painting, Shang Yixin reconstructs a couple of new temporal logic with the visual language of light by the juxtaposition of frames of different sizes and positions. A peaceful and orderly vision and a subtle and illogical logic inside the painting form a meaningful tension connection. Here the tension of time and space is weakened or dispelled, or we can also say the simple relationship between time and space is surpassed.--Lu Mingjun

李飞霖Recommendation for Li Feilin

或许是因为太过理性，李飞霖在创作中总是无法回避他的直接经验。据他说，近作“捕虫记”系列就来自他现下的真实生活，因为租住的地方到处都是蟑螂，蛆，苍蝇，各种虫子。当然，是否经验也并不重要，关键在于如何表征经验，怎样应用修辞。在这个意义上，我们很难看得出来他是经验的，还是先验的，抑或超验的。虚构而不失真实，荒诞而又不失反省，袒陈现实的残酷及其不确定性，直逼人卑微的内心及其反抗和无奈。—鲁明军Li Feilin is always too rational to avoid his direct experience during the creation. According to his statement, his latest works Insect Catching series come from his life experience right now, for the room he rents is full of cockroaches, maggots, flies and other insects. Of course, the key to success is not experience itself, but how to characterize the experience and how to take advantage of the rhetoric. From this point of view, it is difficult for the viewers to identify if an artist is experienced, transcendental or transcendent. Both fictional and never lack reality, absurd but introspective, Li Feilin’s works reveal the cruel and uncertain reality and describe the humble inner world of the individuals and their rebellion and helplessness.--Lu Mingjun

靳 勒Recommendation for Jin Le

作为石节子村直选村长的靳勒不仅在偏远的西北乡村推介当代艺术，而且还以最为朴素的方式建造了世界上最具特色的美术馆：石节子美术馆。今年春节，首届石节子电影节也在此开幕。据说，这是世界上最贫困的美术馆，也是世界上最小的电影节。……尽管从一开始，靳勒就将这一切实践作为其艺术的一部分。但随着介入的深入，发现艺术已然不是艺术。——不管是对于作为艺术家的他，还是对于村民而言。殊不知，这本身就是一种新的话语方式的开启。—鲁明军As a village chief directly selected by the villagers of Shijiezi Village, Jin Le not only promotes modern art in the remote village of Northwest China, but also establishes the most unique art gallery in the world with the simplest method: Shijiezi Art Gallery. And the first Shijiezi Film Festival was opened here during the Spring Festival this year. It is said that the art gallery is the poorest one, and the film festival is the smallest one in the world. From the very beginning, Jin Le regards all the practice as part of the art, but as the intervention becomes deeper and deeper, he realizes that it is no longer art, neither for him, the artist, nor for the villagers. And this actually is the beginning of a new mode of discourse.--Lu Mingjun

陈彧凡Recommendation for Chen Yufan

陈彧凡以点的铺排方式“叙述”《山海经》，“书写”《庄子》，……。这是一种绝对的个体叙事，也是一种绝对的内心观照。因为只有他自己知道他在说什么。甚或说，这是自我与历史的一次次私密对话。有意思的是，如此却呈现了《山海经》、《庄子》及其他的另一番“景致”。“景致”当中，隐涵的是自我对于物与理的体悟和对于时间和空间的感知。更重要的是，这样一种“叙述”方式也同时改变了他者既有的观看和判断逻辑。—鲁明军Chen Yufan narrates The Classics of Mountains and Seas and writes Chuang Tzu by the arrangement mode of the dots. This is an absolute individual narrative as well as an absolute inner witnessing. Only himself knows what he is talking about, or we can also say they are private dialogues between himself and the history. While interestingly, another aspect of The Classics of Mountains and Seas and Chuang Tzu is thus presented, which show the artist’s consciousness of objects and reasons and his perception of time and space. More importantly, this way of narration also changes others’ original logic of vision and judgment.--Lu Mingjun

詹蕤Recommendation for Zhan Rui

詹蕤的作品因为其手段的极端，已经走向了彻底的观念主义。在他的作品中，已经彻底放弃了所有的主观的视觉经验判断，他将自己变成了一个只为了完成某种“自然规律”而存在的工具而已。天气的变化、股市行情的变化，这些都是无法以人的意志为转移的客观存在，詹蕤仅仅是通过视觉来完成这种变化的现象存在。那么，这些是他所要表现的“对象”吗？——也不是！在这里，他只不过是找到了他自己并不能主观驾驭的、但是又必须要“有所依据”的某种“依据”而已。Because of the extreme method, Zhan Rui’s works present completely the conceptualism. His works has abandoned all subjective judgments of visual experience and turned himself into a tool to realize a certain “natural law”. The change of weather and the ups and downs of the stock market are all objective existence independent of human will, and Zhan Rui only reveals the existing phenomenon of the change through the vision. Then, are these the “objects” he wants to present? –Absolutely not! Here he only finds certain “evidences” that cannot be based on by himself but has to be there.

据此，我们似乎可以发现，在面对詹蕤的“作品”的时候，我们会失去所有的判断依据：它是“绘画”？，还是“装置”？；甚至会对它们是否还能否称之为“艺术品”而发生怀疑。但这些都不是问题的根本，“形式”仅仅是他所要借助的一个“外壳”，而他所要表达的观念也正是这种人在似乎“有所依据”，而实际上又失去了所有的“依据”的失重状态下，既往的视觉知识系统到底能给以我们什么的经验支撑？——或许“它”是那样脆弱的不堪一击！—吴鸿Thus we seem to find that while facing Zhan Rui’s works, we have lost all the basis of judgment: is it a “painting” or a “device”? We may even question if the works can be called “works of art”. But there are not the fundamental problems. The “form” is only a “coat” that he wants to take advantage of, and the actual concept he wants to express is what kind of support the original visual knowledge system can bring us in the weightless state where people seem to “have some evidence” but actually lose all the “evidence”—perhaps “it” is just so weak and fragile!--Wu Hong

易鹤达Recommendation for Yi Heda

易鹤达是我所见到的最难以用概念来归类的艺术家之一。他长期归隐于自己的生活方式之中，而似乎与社会不发生任何关系。在经历了自己各种五光十色的生活方式之后，他最终归于一种简单的内心诉求。同时，在尝试了各种技法、材料、媒介之后，他也找到了一种最单纯的语言方式。这两个“过程”在现阶段对于他而言是合而为一体的。所以，“形式”对于他来说已经不再是一种目的。他每天的工作仅仅就是在重复着一种看似枯燥、无聊的过程。这个过程也是他自己内心的一种修为，重复，最终是为了消解“重复”的意义；强调，最终是为了强调这种“强调”的虚无；丰富，最终是为了归为单一。但是，当我们将这个意义逻辑颠倒过来的时候，似乎又会豁然开朗，繁华之后归于平淡，人生和宇宙的意义似乎就体现在这个时间的最本质性的没有尽头的线性重复之中。—吴鸿Yi Heda is the hardest one to be classified by concept among the artists I have ever seen. He secludes in his own way of life and seems not to be involved in anything happened in the society. After experiencing different life styles, he finally seeks a simple inner appeal. Meanwhile, after experiencing various skills, materials and media, he finally finds the simplest language method. For him, these two “processes” mingles with each other at present. Therefore, the “form” is no longer an aim. His everyday work is only the repetition of the seemingly dull and boring process, which is one kind of inner accomplishment: to repeat is to eliminate the meaning of “repetition”, to emphasize is to emphasize the nihility of “emphasis”, and to be color is to reduce to the simplest style. However, when we reverse this significance logic, everything seems to be suddenly enlightened. The hustle and bustle is passing in a twinkle, and only plainness lasts forever. The meaning of life and universe seems to reflect on the essential endless linear repetition of time. -- Wu Hong

杨志超Recommendation for Yang Zhichao

杨志超的行为作品的意义是体现在一种不温不火、有计划、有步骤的过程中。他长期以来将自己的身体，已经围绕“身体”的各种概念性外延作为实施自己作品的试验场。从这个“试验场”中我们可以看到，他既可以追问一种生理性的“内力”，也可以拷问一种社会性的“张力”，而最感人的地方在于，当这种个人性的内力遭遇社会性的外力的时候，从中所爆发出来的张力是他的作品中最有价值的支点。他的作品《爱情故事》将线索放置在一个漫长的个人私密生活空间中，通过将自己的私密性信息暴露在公众面前之后，我们却又可以从中发现大量的生理性和社会性的信息。同时，在这个过程中，我们又可以体验到各种悖论式的关系：感性与理性、情绪化与数据化、私密性与仪式性、偶然性与逻辑性、个人性与社会性，等。这些都是在他以身体为试验场的长期过程中所体现出来的各种“身体”属性之间纠葛、碰撞之后爆发出来的人性张力。—吴鸿The meanings of Yang Zhichao’s behavioral works lie in a mild process with a certain plans and steps. For a long time, he regards his own body as a “testing field” of his works revolving around different conceptual extension of the “body”. We can see that in this “testing field”, he can question not only a physiological “internal force”, but also a “social tension”. The most touching part is that, when the individual internal force encounters the social outside force, the tension exploded from the encounter is the most valuable fulcrum in his works. His Love Story places the clue in a long and private living space, and after exposing his private information to the general public, we can in turn find a lot of physiological and social information. Meanwhile, during this process, we can also experience different paradoxical relations: sensibility and ration, emotion and digitization, privacy and ritual, occasionality and logic, personality and sociality, etc. These are all tension of humanity exploded from the collision of physical attributes during the long process that taking his body as the testing field.--Wu Hong

俗姓王Recommendation for “Family Name Wang”

在“艺术国际”网站开通之际，就有一个网名为“俗姓王”的人每天在干着一件同样的事：取、展、览、揉、烧，同一份报纸；然后化灰、合水、调匀；最后画成一张佛像；一年365天，从没有停断。你会很好奇，“他”居然没有外出过？没有厌烦过？没有无聊过？这个人除了每天提供一套反映这个过程的照片之外，从没有留下过任何文字。我们甚至不知道这个人到底叫什么，住在哪里？这是一件只能发生在网络时代的事情。一件毫无意义的行为，由于顽固的、偏执狂式的坚持，成为了一个耐人寻味的“过程”。每天发生在某个偶然时段中的时间“点”被链接成“线”，进而具有了一种体现在时间性之中的形式感，并最终将“无意”变成“有意”，从中体现出了作者的价值判断。—吴鸿When the website of “Art International” opens to the public, people can watch on line every day that a man nicknamed “Family Name Wang” doing the same thing: fetching, unfolding, reading, rubbing and burning the same newspaper and then mixing the paper ash with water and painting an image of the Buddha at last, which he does all year through without a stop. You may be very curious about why he needn’t go out and why he even never gets bored. The man leaves nothing but a few photos showing this process. We even do not know what his name is and where he lives. This is something that can only happen in a cyber age. A seemingly meaningless behavior becomes a “process” that provides much food for thought due to the stubborn and intolerant insistence. The time “points” happened accidentally in a certain period are linked to a whole “line”, endowed with visuality reflected in timeliness. Finally the “meaningless” becomes “meaningful”, thus reflecting the artist’s values.--Wu Hong

管勇推荐词Recommendation for Guan Yong

管勇在70画家中无疑是特别的，他仍然强调历史性的宏观话题，带有公众精英的乌托邦情怀，而非70画家通常的自我化话题。他的画面，通常以对知识分子的反思为出发点，具有一种对文化形成历史的追问意识。黑衣红围巾、布幔钢笔以及零碎的书籍，带着一种沉重的宗教感，管勇试图用图像思考急剧变革的中国，及其背后的历史成因。从某种意义上说，管勇的画面呈现出一种设问的修辞结构：往往通过图像的组合形成问题，并借助图像表达的象征意味隐喻他的认知结果。如果说，管勇的图像运用有着与60画家接近的宏观话题意识，从而形成了他在70画家中的独特性。但他在表达这种意图的方式上，与60画家有所不同。60画家用以表意的图像多具直接性，符号与语义指向的连接明确，其理性思考带有激情表达的成分。而管勇对相似问题的思考，则往往不具备答案的确定性，更多呈现出独立的、自我的审思过程，其理性思考具有冷静的沉郁，或者说自我的情绪。在这一点上，管勇无疑运用了70自我化的视角完成了与60画家相似的社会思考。这便使得他的作品，在60话题与70视角中获得了独特的表述角度与价值。——吴鸿Undoubtedly Guan Yong is very unique among the painters born in the 1970s, for he still emphasizes the historically macroscopic topic with the Utopia feelings of the public elite instead of the personal topic preferred by the ordinary painters born in the 1970s. His paintings start from the reflection on the intellectuals and have a sense of questioning concerning the history of cultural formation. Guan Yong tries to use the images, such as the black coat, red scarf, curtains, pens and some books with a religious atmosphere, to deliberate on the dramatically changing China and the historical reason behind the change. To a certain extent, the paintings of Guan Yong present a rhetoric structure of questioning, i.e. to raise a question through the combination of images and to indicate his cognitive outcome through the symbol of the image representation. Perhaps we can say that Guan Yong’s application of images reflects the sense of macroscopic topics which are preferred by the painters born in the 1960s, thus forming his uniqueness among those painters born in the 1970s. But he is different from the painters born in 1960s concerning the way of expressing his intentions. The images used by the painters born in the 1960s are direct, the connection between the symbol and the semantic orientation being clear and their rational thought showing an element of passionate expression. While Guan Yong’s thinking of the similar questions will not provide a definite answer and only present an independent reflection on himself. His rational thinking is endowed with a calm depression and an emotion of egoism. At this point, Guan Yong certainly completes his reflection on the society the same as that of the painters born in the 1960s through a visual angle of personalization which is very popular among the painters born in the 1970s. All of these offer his works a unique angle of expression and value through the topics of the painters born in the 1960s and the visual angles of the painters born in the 1970s.--Wu Hong

陈卫群Recommendation for Chen Weiqun

陈卫群的《静物》在水果、蔬菜、器物上画上水粉，形成了物体绘画，造成了一种立体雕塑的效果，将绘画的本质深入到物品上，而不是像传统那样，仅仅把画布、纸张或墙壁看作一个平面、一种质地，在上面画上图像。陈卫群则是画出物品本身的质地，力图造成一种视觉错觉、一种绘画与自然对象关系的质疑，观众面对的是绘画？还是物品？而物品如何又被转换成艺术？等等，这就提出了他对绘画与艺术之间关系的独特理解，最终又以图片的形式将这一思考表现出来，显示了艺术的层层相扣的递进关系。In Chen Weiqun’s Still Life, the fruits, vegetables and vessels are all painted with the gouache to form a drawing of objects, attaining the effect of three-dimensional sculpture. The traditional drawing is only to view the canvas, paper or walls as a surface and texture, and to paint images on them, while Chen Weiqun reflects the texture of the objects of the painting and tries to create a visual misconception and raise a question concerning the relationship between the painting and the natural objects: do the viewers face a painting or an object? How to transfer objects to art?... This shows his unique understanding of the relationship between the painting and the art, and expresses his thinking through his paintings, thus presenting the progressive relation of the art.

关矢Recommendation for Guan Shi

关矢的这组作品是他在甘肃白银经过三个多月的调研、访谈、选题之后拍摄的作品。它们不单单是图像的呈现，而是揭示了图像背后的社会变迁、经济兴衰。这样就赋予了图像更深刻的内容和文本性价值，因此这样的视觉图像就具有了言说的强大功能，而非静止的视觉观看。关矢的特点就是希望寻找生活中的图像故事，以此来阐述自己对社会问题的立场判别。The works of Guan Shi are completed after three months’ research and investigation, interview and topic selection. It is not only the presentation of images, but also the revelation of the rise and fall of society and economy behind the images, which endows the images with profound context and textual value. Therefore the visual images not only can be watched statically, but also have a powerful function of expressing. The characteristics of Guan Shi’s works are to find the stories of images in the daily life and elaborate his judgment of the social problems.

吴梦诗Recommendation for Wu Mengshi

吴梦诗正如她的名字所寓意的那样，喜欢想象，喜欢做出没有关联的东西，给人一种惊讶或期待。这也是新一代年轻人看待事物的特殊性所致，他们喜欢个性，也喜欢尝试试验，在试验中获得的快乐是无法用常规的言语表述的。这种先天的好奇态度使得吴梦诗像轻快的飞艇，自由畅想，没有局限，让自己脑海里飞奔的奇思妙想化为可触摸、可视觉的奇观。年轻是否是一笔财富，关键在于能不能敢于想象、敢于尝试。对于吴梦诗，我们鼓励再鼓励。Just as her name indicates, Wu Mengshi likes to imagine and create works without inner connection, which makes viewers surprise and expect. This is also results from the uniqueness of the new generation who like unique individuality and experiments. They will attain much happiness through the experiment that cannot be expressed by language. The born curiosity makes Wu Mengshi a lively aero boat. She can imagine freely and makes her unusual but wonderful thinking become works that can be touched and viewed. If you dare to imagine and experiment, then youth is a treasure for you. So let us highly encourage Wu Mengshi.

张欣、唐然Recommendation for Zhang Xin and Tang Ran

张欣和唐然作为组合，面对诸多的艺术样式，试图扩展艺术表现的媒介，并使之鲜活起来。感觉从来都是艺术上的一道难题，即便是成熟的艺术家也为之绞尽脑汁。张欣和唐然在发现新感觉、尝试新体验方面小试刀锋，将坚硬抽离，将物质结构软化，给人以瞬间启悟的感受，事实上也将艺术的认识陌生化，不以艺术的固有范畴为准绳。所以，如何再再实验新材料、转换新方法依然是艺术的入手点。Facing various styles of arts, Zhang Xin and Tang Ran, as partners, try to extent the media of artistic expression and make it alive. Sensation has been a hard nut to crack even for those mature artists, while Zhang Xin and Tang Ran make every effort to fine the new sensation and try new experience. They take out the toughness and soften the material structure, making people feel enlightened in an instant. Actually they also defamiliarize the perception of art and do not measure the art by inherent rules. Therefore, how to experiment new material and find new methods are still the point for them to set about.

张小涛Recommendation for Zhang Xiaotao

张小涛在2009年末与北京艺术区的其他艺术家一道做了一件非常有意义的事情，就是在北京大规模拆除艺术工作室、侵害了艺术家的法律权利的时候，他们共同倡议发起“暖冬”计划。这是一次超越了艺术自身的事件，其意义是又再次地唤醒人们关注生存的环境、社会的发展进程以及法律维权意识。艺术在这里并不是最重要的，但艺术家可以赋予自身的行动以艺术的方式，这样就在合情合法有趣的行为中述说了自己的价值诉求和对社会问题的审判。At the end of 2009, Zhang Xiaotao did something extremely meaningful with other artists in Beijing: to initiate a plan called “Warm Winter” together when a great deal of art studios were pulled down and the legal rights of the artists were infringed. This is an event that surpasses the art itself, the meaning of which is to ask the general public to pay attention once again to the living environment, the course of the social development and the consciousness of protecting legal rights. Here art is not the most important, but the artists can endow their action with the artistic methods, thus stating their appeal for the values and judgment of the social problems in a proper way.

宋昱霖推荐词Recommendation for Song Yulin

宋昱霖是一位有着极强自我主体性的艺术家。她的绘画从人物头像开始，学院派的描绘“完成”以后，再通过各种细小的线条组成网络，数遍覆盖原有画面，最终的结果便是隐约可见的人物与线条网络的综合体。她的绘画既是一种自我否定，也是一种自我确认，恰如自己说到的那样，“破坏的过程其实就是确定自我的过程”，“作为一个艺术家，画画这一种行为本身就是在确认”。—盛葳Song Yulin is an artist with strong subjectivity. Her painting of figures starts from the head picture, and after the portrayal with a style of academism, she will from a net of various slender lines and covers the original painting. Therefore what the viewers see at last is a faint mixture of the figure and the net made of lines. Her painting is both self-denial and self-verification. Just as she states by herself: “the process of destruction is also the process of self-verification”, and “as an artist, painting itself is one kind of verification.”--Sheng Rui

王思顺推荐词Recommendation for Wang Sishun

王思顺的主要关注点是包括装置艺术在内的综合媒介。《合金》是王思顺较早的作品之一，从此时开始，他将物质及其不同存在形态之间的关系转化作为自己创作的核心，并在其后的实验中逐步加入对包括“流通”在内的社会规则的讨论，以不确定的未来为目标。此外，时空及其转换同样是王思顺的主要议题，在《无题》、《重影》等作品中，完整地体现出这一点。—盛葳The main focus of Wang Sishun is the comprehensive media including the installation art. The Alloy is one of Wang Sishun’s early works, and since then, he has placed the substance and the change of the substance between different forms in the center of his creation, and gradually added to the discussion of social rules including the concept of “circulation” during the experiments later on, with the uncertain future as his aim. Besides, time and space and their transition is also the main topic of Wang Sishun, which is wholly presented in the works named Untitled and Double Image.--Sheng Rui

兰一推荐词Recommendation for Lan Yi

兰一在赴法期间的绘画具有强烈的涂鸦色彩，在回国后的创作中，涂鸦的一些基本语言被保留下来，最为明显的是线条分明的形象和强烈对比的色彩效果，隐藏其下的是艺术家对“人”及“人性”的关注。在他近期的绘画创作中，利用精确的线条和色块来勾画带有写意特征的传统绘画，并形成了一种明显的视觉反差。—盛葳Lan Yi’s works used to be characterized by graffiti when he was in France, the basic expressions of which remained after he came back China. The images with lines and the color effect of strong comparison are highly impressive, under which is the artist’s focus on “human beings” and “humanity”. His recent paintings make use of exact lines and color lumps to sketch the freehand brushwork in traditional Chinese painting and forms an obvious visual contrast.-- Sheng Rui

吴达新推荐词Recommendation for Wu Daxin

吴达新的艺术创作以影像开始，并逐渐发展为动态装置的形式。在相当长的一段时间内，艺术家的兴趣点一直放在对“水”和“冰”同一物质的不同物理形态之间的转换，以及转换过程所夹带的意义上。在新近创作的这件作品中，可以明显地看出他从观念层面上对“影像”作为艺术创作的“技术”的深入思考。—盛葳Wu Daxin’s artistic creation starts from photography and gradually develops to the form of dynamic device. During quite a long period of time, the artist keeps his interest in the transformation of “water” and “ice”, actually the same substance, between different physical forms, and the meaning of the transformation process. His latest piece of works reflects clearly his penetrating thinking of “images” as the artistic creation from the aspect of the concept.-- Sheng Rui