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人们甚至可以想象某些作品中有动物形象的眼睛,转向与关联09年中国水墨提名展 环铁美术馆2008年

时间:2019-12-23 19:11

  今天,中国的当代艺术呈现出多种形态。也许当下在西方圈子内最熟悉的面孔是岳敏君作品中的戏剧化卡通笑脸,像佛陀的笑容,它们第一次出现在20世纪90年代,还有是毛泽东的政治图像,如董希文的作品《开国大典》(1980年修改)。岳敏君的绘画超越了传统,旨在寻求新的艺术身份。他的作品没有多少传统文人画的痕迹。毛泽东在世时以及去世后出现了大量他的图像,安迪沃霍尔在1972年和1973年创作了著名的作品,使得它们超越了中国的地理与文化界限,进入到了西方,它们标志着毛在20世纪中叶的中国政治与社会演化中所扮演的独特作用。再一次,许多不同的艺术家对毛的描绘和中国的传统艺术没有一点关系,因为他们都主要依据中国社会现实主义或某些波普艺术形式,这可能与中国民间艺术传统有关联。

王非在现代实验水墨的探索上早就超越了创造或革命的概念,因为他已经建立了自己的语言王国。这种成就被过份强调传统的国画界和过分强调观念的批评界忽略了。我推荐他的理由恰在于他既是具备优秀观念艺术家的思想品质又具备水墨艺术家的语言高度。他的巨幅作品镜像天涯是纸本绘画中少见的力作。

  姬子(1942-)属于中国当代艺术完全不同的方面。中国当代艺术不知不觉地采用了受西方影响的艺术方法,显得相当浮华。姬子和其他选择中国笔墨绘画媒介的画家,都积极地去探索传统哲学-艺术方法与当代经验之间的有意义的联系。这并不意味着仅仅按照过去的大师的方式去创作绘画。相反,姬子的绘画通过探索画面空间的描绘、多样的墨彩和笔法,获得了它们自身的一种独创价值。他的媒介是笔墨绘画,或是某种建构形式的变体。

王华祥

  我第一次接触姬子的绘画,是在2007年11月去访问他的工作室,那次是到北京在北京二外、中央美院、北京大学和中国社会科学院进行学术讲座。在我最初对姬子的绘画的印象中,我感受到了一种强有力的视觉冲击,感受到那种出自杰出艺术家之手的形式力度和表现力。深邃的墨很仔细地染了几层,唤起空间图式,其特征显现了强劲的形状、微妙的黑色调、灰色调直至白色调,间或有些红色、蓝色色块,产生一种画面的视觉、心理秩序感。他的绘画的最深刻的印象是,空间的超常深度,含有几层的强度。图像只能全凭想象去阅读,因为它们不是基于任何真实的世界事件或对象的再现作品,而是想象的产物,旨在更加激发观众的想象力。

王非 简历

  所以,姬子的水墨绘画主要是基于内在的情感或想法,而不是依赖实际的自然的观察,如中国传统山水画。他的图像激发了视觉感,以期将画面的节奏感转换到观众的内心中。在思索这些作品的过程中,就可以想象自由的形式,如风吹着云、山、溪流,或山石激荡,打乱了另一个世界的秩序,声势浩大。但是,也可以在他的构图中偶然找到一些象征性的结构形式,或甚至是象征性的动物形象,被置于旋动着的抽象形式中,富于幻想。人们甚至可以想象某些作品中有动物形象的眼睛。但是,其要点是在于去体验作品是某种视觉沉思,富于深刻的精神与文化内涵,也许根植于道家学说的哲学理解中。

1964年生于安徽1992年任职于中国佛教文化研究所1997年担任《中国当代艺术家丛书》主编2000年创办《艺术状态》杂志并任主编现任清华大学当代艺术研究生课程班指导老师

  姬子就像他的许多其他同辈艺术家一样,不得不经受文化大革命的挑战,期间他被剥夺了就读正式美术教育的机会。他的艺术教育是通过他坚持不懈的创作实践、娴熟掌握笔墨而获得的。他的艺术创作的发展历程皆赖他的勤奋自学、阅读艺术着作、参学其他艺术家以及观摩北京各个美术馆藏大师作品,所有这一切又都是在姬子从事其他职业(如他做过木工、工艺美术)之余完成。20世纪80年代以来,他全身心地投入到艺术创作中。

主要个展2008年 王非作品展第四回 环铁美术馆,北京2006年 王非作品展第三回 零度空间,北京王非作品展第二回 杰孚画廊,北京 王非作品展第一回 F2画廊,北京1996年 王非作品展 蓝色画廊,北京1993年 王非绘画艺术展 中国美术馆

  姬子的绘画处在中国当代艺术这个大画卷中的什么位置呢?他属于中国当代艺术中关注中国绘画的构成内涵以及构成当代水墨绘画的内涵的主流运动中。(皮道坚)这些争论关注了这种媒介涉及的传统观念以及现代抽象与表现理论的影响。这种传统继续着,尽管在事实上,水墨画的物质媒介与今天的媒体艺术的复杂格式相比,显得安静、温和。本质而言,水墨绘画狭义上讲,指的是用墨和笔作的画,但是广义上讲,它意味着黑白关系,单色调的绘画。(G。Y。Wu)它的成就几乎在于哲学与美学的理解及技法,这些都需要个体的艺术家来掌握。从事水墨绘画的艺术家都有一种愿望,就是创造的艺术要扎根在中国的文化传统中,而是努力去创建今天的新中国的有意义的生活符号。

主要群展2009年 领升2009中国美术批评家提名展 北京当代艺术馆 转向与关联09年中国水墨提名展 环铁美术馆2008年 国际能源中心艺术基金会中国当代艺术提名展 太原 北京第三届国际美术双年展 中国美术馆,北京 2007中国当代艺术文献展 墙美术馆,北京 中国水墨年度汇展 环铁美术馆,北京2007年 戒色中国当代水墨艺术展 郑州 墨缘100第二届名家邀请展 宋庄,北京 环铁时代首届现代艺术部落邀请展 环铁艺术区,北京 中国宋庄水墨同盟交流展 宋庄,北京 厌战中国 北京,1号地 中国新书写--油画水墨展 三月画廊,北京 异质的水墨中国当代水墨名家邀请展 深圳2005年 水墨精神第一展 北京 魅力中国现代抽象水墨展 北京 水墨精神第二展 北京2004年 纸上玫瑰展 北京 88艺术文献仓库展 北京,费家村 江苏画刊30周年中国画名家百人展 南京2003年 庄园水墨展 北京 今日中国美术大展 北京 名家水墨动态邀请展 北京 名家秋季作品邀请展 北京 2003水墨状态学术邀请展 北京 江苏画刊学术邀请展 北京2002年 当代中国书画家作品邀请展 北京 穿越时空四人展 北京

  中国当代艺术中的笔墨绘画的重要性可以用这个事实来证明:今天的核心艺术家都从事这种创作。如谷文达、徐冰。谷文达合作写了一本21世纪中国水墨绘画的书,是由上海美术出版社出版的。这两个艺术家都参加以笔墨为主的展览。

收藏:中国美术馆日本中川美术馆大坂现代美术馆等

  目前的兴趣产生了一系列针对当代笔墨绘画的展览。这些旨在扩大笔墨在当代艺术中的艺术可能性的实践,在最近时期的许多展览都有体现,如纽约大都会美术馆的笔墨:中国的书写艺术(2007)、北京当代艺术馆组织、在美国哈佛大学举办的进化中的当代艺术(2008、2009)以及深圳美术馆策划、在美国费城Drexel大学展出的墨非墨展览(2009)。中国和其他地方都有很多这一起题材的展览。姬子的水墨绘画展在798艺术空间举办,也意味着参与到了建立笔墨绘画在中国的当代艺术世界的重要地位的现实对话中。

Wang Fei Wang Fei was born in Anhui Province, China in 1964 and now a professional artist in Beijing.Education1986 Graduates from the Fine Arts Dept. of Fuyang Teachers College 1990 Studies in Beijing Art Academy2001 Studies in China Art InstituteWork experience1992. Works in the Research Institute of the Buddhism Culture of China2000. Starts and becomes the editor in chief of the magazine Art Status

  [美]柯提斯卡特系国际美学协会主席、美国Marquette University美学教授

Solo exhibitions1996. Exhibition of art works by Wang Fei (Beijing)1993. Exhibition of painting works by Wang Fei. (National Art Museum of China)

Jizi: A bridge Between Chinese Traditional Art and The Present

Joint-exhibitions2009 Lead Up -The Exhibition of the Chinese Fine Arts Critics Nominations2009Museum of contemporary art beijing2005 1st Spirit of Ink and Brush exhibition. (China Millennium Monument) China Glamour exhibition of modern abstract ink and brush painting. (New York Art Space, Beijing) 2nd Spirit of Ink and Brush exhibition. (China Millennium Monument)2004. Rose on Paper exhibition. (Beijing) 88 Artistic Documents Warehouse exhibition. (Feijia Village, Beijing) Exhibition of traditional Chinese painting works by 100 noted painters in the honour of the 30th anniversary of Jiang Su Art Monthly. (Nanjing)2003 Manor exhibition of ink and brush works. (Beijing Yan Huang Art Museum) Inviting Exhibition of contemporary works by noted artists. (Beijing Yan Huang Art Museum) 1st inviting exhibition of Chinese flower-and-bird painting works. (Guangzhou) China Today grand exhibition of the fine arts. (China Millennium Monument) Inviting exhibition of ink and brush painting works by noted artists. (Beijing) Autumn inviting exhibition of works by noted artists. (Beijing) 2003 Status of Ink and Brush academic inviting exhibition. (Beijing) Jiang Su Art Monthly Academic inviting exhibition. (Beijing)2002. Tour exhibition of experimental ink and brush art in China (Beijing) Inviting exhibition of art works by contemporary calligraphers and painters in China. (Beijing) Spanning Time and Place exhibition of art works by four artists. (Beijing Yan Huang Art Museum)

  Curtis L. Carter

Works Collected byNational Art Museum of China Nakagawa Museum of Chinese Art, Hiroshima, Japan Osaka Museum of Contemporary Art, Osaka, Japan

  June 21, 2009

编辑:admin

  Today, the faces of Chinese contemporary art appear in many forms. Perhaps most familiar in Western circles at this moment are the theatrical caricatures of the Buddhas smile as in the works of Yue Minjun which first emerged in the 1990s, and the political renderings of Mao Zedong, for example Dong Xiwens painting Mao Declaring the Peoples Republic from Tiananmen (revised ca. 1980). Yue Minjuns painting stretches beyond the roots of tradition in search of a new artistic identity. His work leaves few traces to the literati of traditional Chinese art. The familiar images of Mao emerged during his lifetime and beyond, extending beyond the geographic and cultural boundaries of China into the West thru Andy Warhols famous rendering of Mao, 1972, 1973, mark his unique role in the political and social evolution of mid-twentieth century China. Again, the many different artists renderings of Mao bear little relationship to traditional Chinese art, as they are grounded mainly in Chinese Social Realism or some form of Pop Art, with the possibility of connections to Chinese folk art traditions.

  Jizi (1942-) belongs to a very different aspect of Chinese contemporary art that is fermenting quietly alongside other more flamboyant western-driven approaches to art. He and others who chose to work in the medium of ink brush paintings are engaged in a search for meaningful connections between traditional philosophical and artistic means and the present day experience. This does not mean simply painting in the manner of previous masters. Rather Jizis paintings achieve their own sense of originality through experimentation with renderings of pictorial space, varied ink colorations, and brush strokes. His medium is brush and ink painting, or some variation in the form of constructions.

  I first became acquainted with Jizis paintings during a visit to his studio in November, 2007 during a visit to Beijing to lecture at Beijing International University, the Central Academy of Fine Art, Beijing University, and the China Academy of Social Sciences. In my first impressions of Jizis paintings I experienced a powerful sense of visual energy, driven by the formal rigor and expressive force of the masterful hand of a gifted artist. Dark inks carefully layered to evoke spatial patterns marked by energized shapes, subtle tones of black to gray to white, and with occasional daubs of reds, blues giving a sense of visual and psychological order to the painting surfaces. Most impressive in his paintings is the extraordinary depth of space with multiple layers of intensity. The images can only be read imaginatively, as they are not representational works based on any real world events or objects, but products of the imagination, intended to activate in turn the imagination of the viewers.

  The ink brush paintings of Jizi are thus mainly based on inner feelings or ideas rather than observations of actual scenes of nature, as is the case with traditional Chinese landscape art. His images evoke visual sensations that function to transfer the rhythmic patterns endowed in the paintings surfaces to the mind of the viewer. In the course of contemplating these works it is possible to imagine the free forms as wind driven clouds, mountains, streams of flowing water, or the clashing of rock formations that might generate powerful disruptions of the underworld. However, it is not out of the question to find in his compositions occasional symbolic architectural forms, or even symbolic animal figures placed quixotically in the midst of swirling abstract forms. One can even imagine the eye of a monster figure in some of the works. However, the main point is to experience the works as visual meditations with deeply spiritual and intellectual connotations grounded most likely in a philosophical understanding of Taoism.

  Like many other artists of his generation, Jizi had to work through the challenges of the Cultural Revolution, which deprived him of the opportunity for a formal education in art. His education in art was acquired by persistence toward mastery of the brush and ink medium through unrelenting practice. His practice was augmented by diligent self-study, reading books on art, consulting with other artists, and observing master paintings in the museums and galleries of Beijing. All of this while working at various jobs including carpentry and designing art- craft works. Since the 1980s, he has devoted full time to his art.

  Where do the paintings of Jizi fit into the larger picture of contemporary Chinese art? He belongs to a mainstream movement in Chinese contemporary art concerned with what constitutes Chinese painting, and ultimately, what constitutes contemporary ink painting. (Pi Daojian). The debate takes place in reference to both traditional ideas with respect to this medium and the influences of modern theories of abstraction and expression. This tradition persists despite the fact that the material medium of ink painting itself is quite, modest when compared with the complex formats of the media arts of today. Essentially, Ink painting in a narrow sense means literally painting with ink and brush, but in a broader sense it means black on white, painting of monochromatic palette. (G. Y. Wu ) Its success depends almost entirely on the philosophical and aesthetic understanding and skill possessed by the individual artist. These artists who choose to practice ink brush painting share a desire to create art that is grounded in the cultural traditions of China, while establishing meaningful symbols for life in the new China of today.

  The importance of brush and ink paintings in Chinese contemporary art is attested to by the fact that leading artists of today are involved in the practice. Among these are Wenda Gu and Xu Bing. Wenda Gu co-authored a book on Chinese Ink Painting in the Twenty-first Century published by Shanghai Fine Arts Press. Both artists have participated in exhibitions featuring ink and brush paintings.

  The current interest has generated a series of exhibitions devoted to contemporary ink and brush painting. These efforts to extend the artistic possibilities for brush and ink into contemporary art have been documented in numerous recent exhibitions including the exhibition, Brush and Ink: the Chinese Art of Writing, at the Metropolitan Museum of art in New York (2007), Contemporary Art in Evolution organized by BJMOCA, Beijing, with venues at Harvard University (2008, 2009) in the USA, and Ink Not Ink, organized by the Shenzhen Art Museum and presented at Drexel University in Philadelphia, USA in 2009. Numerous exhibitions on this subject have taken place in China and elsewhere. The exhibition of Jizis brush ink paintings opening in Beijings 798 Art Space (June 2009) joins the on-going discourse to establish the importance of brush and ink painting in the contemporary art world of China.

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