展览活动

EXHIBITION


展览时间:2017年1月22日-3月5日

展览场地:上海喜玛拉雅美术馆4层展厅(4-1/4-2/4-3/号展厅)

参展艺术家(按姓首字母排列):蔡广斌、蓝正辉、秦风、邱志杰、杨劲松、袁顺

策划及执行团队

策展人:沈其斌

展览总监:肖雄

执行策展人:马真正

展览执行团队:宋新新、朱聪、李翌欣、刘敏、尚德顺、杨川、杨峰、魏巍

支持机构

联合主办:上海喜玛拉雅美术馆、上海喜玛拉雅文化艺术基金会

协办:上海证大文化发展股份有限公司


“昔墨如今”——中国当代水墨艺术展

 

水墨,这一中国绘画艺术的精髓,随着历史的发展与时间的推移,其意义已远远超越单纯概念上的一种创作媒介;进而演变为一种真正意义上对于中国人文精神与气质的表述方式。

很多学者与艺术史学家认为传统中国水墨,或者说传统中国文人笔墨的发展,在进入明代之后显现地更为快速与重要。彼时,无论人文画家还是职业画家多能以掌握笔墨之表现能力而自豪。石守谦在其《从风格到画意:反思中国美术史》一书中形容该现象时称:“这个趋势发展到明末,终于形成了可以称之为‘笔墨中心主义的高峰’。”继而,中国传统水墨的发展得以脱离单一描绘形象的功能性束缚,而逐渐成为中国绘画大戏中的首席角色。

进入二十一世纪,中国当代水墨艺术的发展开始呈现出一种百家争鸣式的繁荣,同时我们也必须正视在此过程中经历过现代主义困境之后产生的“乱象”。但是中国当代优秀的艺术家们,依旧以出色的创作技艺与各自充满智慧、独具特色的创作语言,以水、墨画水墨,把昔日跃动于绢纸之间的那份灵动与精致以当代的包容、热情与创造力重新演绎成为一种融汇古今、贯穿中西的新水墨视觉大戏。

此次“昔墨如今”中国当代水墨艺术大展的参展艺术家们的创作植根于中国传统文化脉络,并在过程中实现创新与演变,呈现充满当代视觉文化语境的水墨新语言。

蔡广斌的水墨作品从其表现手法上形成了自己新的且非常鲜明的创作方法论。他跳出传统思维惯性中从人文画角度去理解水墨特性的方式。在他的水墨世界里,无论从材质媒介本身,还是从包容性与表现力上,水墨都是具有极大潜力的。作为一位当代水墨艺术家,他非常善于利用自身在大信息、大科技、新媒体时代背景下对于知识与资讯的吸收消化,将传统水墨与新媒介、新科技、新影响、新思维、新视觉乃至新的生活习惯等充分结合,由跨界入手,去探索当代水墨的全新表现题材与文化图像。这个创作过程也成为了新时代模式影响新感知习惯,新感知习惯催生新表现方法甚至审美经验的过程之缩影。

蓝正辉在其创作中始终坚持使用中国传统的墨与宣纸,但是作品的尺寸往往又出奇的大,远远超越了我们对于传统水墨画的认知。他的创作以写代画,又似画似写;当他的巨笔大墨在宣纸上肆意挥洒时,形成的是黑白水墨间层层叠叠的融汇与交错。也正是在这些跃然于纸上的碰撞中,蕴含着蓝正辉心中的大天地:江河山川、万物众生、宇宙万象。通过他大体量的书写性绘画,蓝正辉把他在创作过程中每一次情绪的波动与宣泄直观地通过笔锋的激荡与游走呈现于水与墨、笔与纸的直接碰撞与交锋中,更成功地把聚积千百年的水墨精神之能量喷薄于纸面之上。

秦风的作品最直接也最恰到好处地把这位生于大西北的艺术家骨子里那份不羁与豪迈体现地淋漓尽致。不同于蓝正辉对于宣纸的执着与渴望把每一滴墨挥洒于纸上的热情。秦风的水墨创作更似一种充满浪漫主义骑士精神的冒险之旅、探索之旅。他的水墨可以结合油彩与丙烯颜料,作为承载的媒介也可以从宣纸到无纺布甚至自制的亚麻纸;画面往往被误读为西方表现主义行动绘画的水墨衍生版。但是秦风作品中那种中国传统文化推崇的所谓力透纸背之表现力与强大的精、气、神则是波洛克、罗伯特·马泽维尔或汉斯·哈同等西方抽象表现主义大师等不具备的。也正是这种力透纸背的磅礴之气,使得秦风的作品很好地对接中国传统文脉并产生强烈的当代性呼应与共鸣。

深厚的传统文化功底,使邱志杰始终可以游刃有余地在传统与当代两种模式与上下文关系间自由切换。从2010年开始,他就启动了“邱注·上元灯彩计划”,从原画临摹,到给画做注解,再到为画里每一处有趣的元素创作“道具”(或者说装置艺术);甚至还发展出一个庞大的“历史剧推演”计划,着力把画里的人物、故事、场景乃至器具都推演成一个个独立剧本。把一件中国传统绘画作品用当下的视角与创意重新解构再重构、演绎到极致。此次展出的《初识上元灯彩图》,是艺术家对于这一系列的创作的原点。邱志杰用纯粹的水墨画技艺加上对于画面场景的文字注解重现了《上元灯彩图》这一明代巨作。当代的观众通过当代艺术家对于一件古代作品的重绘与注解,以当下的视角解读明代金陵城的故事,何其有趣。

杨劲松喜欢用“涂抹”一词来形容自己的创作。也恰是这一个与印象中优雅的水墨艺术似乎那么格格不入的词,使得我们第一时间就能强烈感受到其水墨作品与众不同的气质。那是一种厌恶被所谓“造型”与“套路”简单定义,厌恶被单一的平面与空间束缚的气质。细看其作品,这种所谓“涂抹”式的水墨并非一种简单的材料叠加、抽象表述或是情绪宣泄。而是一种在空间与媒介层面上关于“可能性”与“实验性”的研究与论述。好似传统水墨“留白”所产生的“无中生有”,杨劲松在画面上的“涂抹”同样是一种空间的再创造与对于一种拿捏着不过分、不拘泥、且不刻意间对于所谓“大象无形”的再演绎。

袁顺的水墨语言来自于他多年跨文化的阅历、经验与积累。他既是1980年代新水墨运动的探索者,也是一个旅居海外十多年的跨文化经历者。博大精深的传统文化之于袁顺是一种精神图腾,是一种帮助他拓展其特有宇宙观与创作精神世界的通道。所以哪怕是通过作品阐述宇宙、未来、宏观、超时空、超物质等一系列属于“未来季”的元素,纸与水墨也依旧是他艺术的最主要承载体。对于水墨与造型卓越的把控力,也使袁顺的作品在构图、色调、多样的视觉元素排列组合等多方面都体现了极高的整体性与强烈的视觉凝聚力。空间在他的作品中成为一种静穆的概念,文化的根基,与时间原点才是他不断探索的本质。艺术创作永不枯竭的土壤必然来自于传统智慧与当代精神间的一种“圆”满。

对于中国水墨艺术的研究是一个可以延展出无限可能与惊喜的课题,而“昔墨如今”是一个基于时间维度从而延展到空间视角、历史、社会学、话题性、等多元、多维度探寻水墨艺术魅力的主题。东方的传统文化之所以能够“无中生有”,正是因为千百年来延续的一种精神:含而不露又热情奔放,海纳百川且融会贯通;使得看似简单或互无关联的创作实际却含蕴无穷且息息相关。因为中国传统人文精神中的所谓包容之心、雄浑之气、朴茂之风都深深扎根于创作之中,当代之水墨,或能更为深刻诠释在传统中“再发现”的中国艺术精神之核心。恰似艺术批评家罗伯特·C·摩根博士所提“水墨再造,寻本朔源”。

 

执行策展人、上海喜玛拉雅文化艺术基金会秘书长:马真正

2017年元月

 

 

 

"Treasure Ink in the Present Days"--Contemporary Ink Art Exhibition

 

Chinese ink painting is the essence of the Chinese painting art, whose significance has far surpassed a simple creative media with the development of the history and passage of time. And it is further evolved into an expression approach of humanistic spirits and temperament of China in the real sense.

Many scholars and art historians hold that the development of the traditional Chinese ink painting or that of the traditional Chinese literati ink becomes more rapid and important since the Ming Dynasty. At that time, the humanistic painters and the professional painters were proud of their performance ability of ink. Shi Shouqian said in From Style to Huayi: Ruminating on Chinese Art History when describing the phenomenon: "this tendency finally forms the 'summit of ink centralism' at the end of the Ming Dynasty." What's more, the development of traditional Chinese ink gets rid of the functional restraint of the single image's depiction and gradually becomes the main role in the Chinese painting field.

In the 21st century, the development of the contemporary ink painting art begun to show prosperity in all kinds. Meanwhile, we must also face up to the "disorder" produced after the dilemma of modernism. However, the excellent contemporary artists in China still use their own brilliant creative skills and their wise and special creation languages and combine the flexible and delicate traditional ink painting with the contemporary tolerance, enthusiasm and creation, thus creating a new ink painting visual drama that integrates both the ancient and the modern, the Chinese and the western.

The creation of participant artists of this exhibit is deeply root in the traditional Chinese cultures and realizes innovation and evolution in the process, thus presenting the new language of ink painting filled with the contemporary visual cultural context.

In his ink painting works, Cai Guangbin forms his own new and vivid creation methodology in terms of the performance mode. He jumps out of the traditional thinking modes, which is to understand the mode of ink painting from the perspective of humanistic painting. In his ink painting world, the ink owns huge potentials in terms of the material media, tolerance and expressive force. As a contemporary Chinese ink painting artist, he is proficient at using his absorption of knowledge and information under the background of big information, big technology and new media and fully combining the traditional Chinese ink painting with the new media, new technology, new influence, new thinking, new visual sense and new living habits to explore the brand-new performance subjects and cultural images of the contemporary Chinese ink painting from the start of crossover. This creation process also becomes an epitome of the process that the new perceptual habit influenced by the new era mode and the new perceptual habit produces the new performance mode and even the aesthetic experience.

Lan Zhenghui has always made use of Chinese traditional ink and rice paper in his paintings. On the other hand, what impresses us most is that his paintings are often surprisingly large, far beyond our understanding of traditional ink paintings. His paintings, a combination of painting and calligraphy writing, seemly take the form of writing; His giant brush on the rice paper miraculously achieves the mix and convergence of water and ink decorated with both black and white colors. The vivid collision on the paper embraces the big world in the mind of Lan Zhenghui: rivers and mountains, all living beings and things in the universe. In his large-dimension paintings, Lan Zhenghui has succeeded in injecting his heartfelt reflections into various collisions and convergence of water and ink as well as brush and paper through the surge and wandering of Chinese brush, with a view to integrating the time-honored painting spirit into each of his works.

The paintings by Qin Feng directly and appropriately express the inherent unruly and heroic spirit of this artist who was born in the big northwest of China. Different from Lan Zhenghui's paintings which indicate his love for rice paper and the enthusiasm of showing each drop of the ink onto the paper. The paintings by Qin Feng are more like an adventurous and groping trip with romanticism and knight spirit. His works, combined with oil and acrylic paints, serve as various media ranging from rice paper, non-woven cloth to self-handmade linen or ceramic paper; The paintings are often misinterpreted as a derivative version of abstract action paintings by western expressionists masters. However, compared with works by Pollock, Robert Motherwell, Hans Hartung and other western abstract expressionists, the paintings by Qin Feng have the penetrating expression and strong motivations, which are advocated by the Chinese traditional culture. The majestic momentum of this penetrating expression makes the paintings by Qin Feng embrace the traditional Chinese culture well and creates the strong echo and resonance of contemporaneity.

Benefiting from the foundation of profound traditional culture, Qiu Zhijie has always been skillful in the free switch between the traditional-and-contemporary modes and the painting contexts. Since the year 2010, he has started the project of "Notes by Qiu·Lantern Festival Painting Plan", which includes facsimileing original painting, taking notes to the paintings, making "props" for each of the interesting elements in the paintings installation art) and even a huge program - "Deduction of Historical Dramas", in which such elements as characters, stories, scenes and even appliances have been integrated into various independent scripts. From the contemporary perspective and creativity, the traditional Chinese paintings will be perfectly expressed through deconstruction and reconstitution. The exhibition of Initial Outlook of Lantern Festival Painting serves as the origin of this series by the artist. Qiu Zhijie manages to reproduce the image of Initial Outlook of Lantern festival Painting (the masterpiece of Ming Dynasty) through pure techniques of ink paintings and related notes of the scene in the painting. Thanks to the reprinting and interpreting by the contemporary artists, the audiences, from a modern view, enjoy the interesting story of Jinling City of Ming Dynasty.

Yang Jingsong likes to use the word "smear" to describe his own paintings. The word, which is inconsistent with the elegant art of ink paintings in our minds, paradoxically injects a unique flavor into the paintings. It is the temperament that detests to be defined simply by so-called of "modeling" and "stereotyped" as well as constrained by undiversified planes and space. Through a closer look at his paintings, we could find that this so-called "smear" type of ink is not characterized with simple materialized clusters, abstract expressions, or emotional elicitations. It focuses on the research and discussion on the "possibility" and "experimental" from the perspective of space and media. Paintings by Yang Jingsong feature a kind of space re-creation which embodies the measured, free and not deliberate, proper re-interpreting of "great image is shapeless", just like the artistic mode of "embracing beautiful images under an empty context" by "blank" in the traditional ink paintings.

Yuan Shun has got his ink language from his many years of cross-cultural reading, experience and scholarship accumulation. He is not only the explorer of the new ink movement in the 1980s, but also has been experience the cross-cultural exchanges for more than a decade. For Yuan Shun, the extensive and profound traditional culture is not only a spirit totem, but also a channel that can help him expand his special world outlook and creative inner world. Therefore, paper and ink still serve as the main media of his art, even though to show such "future" elements as the universe, the future, the macro aspects, as well as the macroscopic and super-material sectors, etc. Benefiting from his excellent skills in the control of ink and shapes, Yuan Shun, from the perspectives of composition, color and diversified arrangement of visual elements, has succeeded in injecting high integrity and strong visual impact into his paintings. In his paintings, the space has developed into a kind of stillness conception and cultural foundation, fully demonstrating his unremitting exploration of the time origin. The eternal soil of artistic creation always derives from a kind of "completeness" between traditional wisdom and contemporary spirit.

The study of Chinese ink art is a subject which embraces an exhaustible source of possibility and surprise. "Treasure Ink in the Present Days", is a theme that explores the charm of ink art in the multivariate and multidimensional way extended from a multi-dimensional view of time to space, history, sociology, topic and other parts. The traditional oriental culture, benefiting from its ideological continuation for thousands of years, has been able to "embracing beautiful images under an empty context" is because: the traditional oriental culture is characterized with its unique passion and simplicity, which can tolerance differences and integrate everything; and can make the seemingly simple or unrelated creation contained and connected closely with each other. Thanks to the deep-rooted traditional Chinese human spirit as inclusiveness, magnificence and simplicity, the contemporary ink art perhaps can deeply explain the core of "re-discovery" of traditional Chinese art. Like the art critic Dr. Robert C. Morgan has once commented: "The recreation of ink paintings can deeply find the origin of traditional culture."

 

Executive curator, Secretary-general of Shanghai Himalayas Cultural and Arts Foundation:

Felix Ma

January 2017