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[現場]“黑夜給了我黑色的眼睛” 王小冬個展
[2016-8-29 6:28:54]
[現場] “黑夜給了我黑色的眼睛” 王小冬個展
[scene]Gave me black eyes Night Wang Xiaodong solo exhibition
展覽城市:北京
策展人:蘇豐雷
展覽時間:2016.09.04-2016.09.09
開幕時間:2016年9月4號(星期天)15:30-17:30
展覽地點:上苑藝術館二號廳
地址:北京,懷柔,橋梓,沙峪口-(橋梓藝術公社)
參展人員:王小冬
主辦單位:上苑藝術館
作品選刊：
布面油畫 生靈 規格：1960mm-930mm 2016（上苑藝術館收藏）
程小蓓 解讀：
這些待宰的豬與王小冬的心靈聯通起來了，發生著強烈的感同身受。一個優秀的藝術家面對世間萬物，都用自己的身體去親歷，并敏感地將親歷中的信息處理在自己的藝術作品中。
畫面中的豬，它們成為了有情感，有思想的生靈，它們面對自己的命運，往遠說，如二戰時的猶太人，有著無奈，抗爭，飛翔的靈魂……。往近說，也可以影射當下社會生存環境。
由于王小冬畢竟就生活在當下。難道我們就比這些豬更能掌握自己的命運？我們哪一個不是待宰的羔羊？這幅畫的創作時間正好是“雷洋案”事發期，不得不讓我產生這樣的聯想。
Interpreted by Cheng Xiaobei:
These pigs waiting to be slaughtered are connected to Wang Xiaodong’s heart, making him strongly sympathizing with them. A good artist should experience the world with his own physical being, absorb the information and integrate it into his works in a sensitive manner.
The pigs in the painting,started to become creatures with emotion and intelligence.They face their own fate, in a remote sense, like the Jews in the Second World War, helpless, trying to resist the oppression, and yet having flying souls.And when we look at our own lives, these pigs also reflect the contemporary social condition. After all, Wang Xiaodong livesin the present. Are we really having more control over our lives when comparing to these pigs? Aren’t we all just sheep waiting to enter the slaughter house? This painting was made during the period of the Death of Lei Yang, inevitably it invokes such a feeling among the audience.
黑夢未醒——漫談王小冬的藝術實踐
張懿
王小冬的身上有著對生活的熱情和樂觀的心態，生活中隨時能感受到他的幽默和睿智，但是從只言片語中，可以體會這些幽默和俏皮卻是苦澀的,他的繪畫作品仿佛是一個永遠不醒的黑色夢魘，縈繞在你我的心頭。他們那一代人，他們大多在大學時經歷了理想主義的幻滅，來自西方的一系列哲學，美學，藝術的信息在八零年代中葉，涌入中國的大城市和大學校園。在經歷了十年文革的浩劫，復蘇的各個領域，都極力的在一種后理想主義的底色中，吸收外來的文化營養。在詩歌，繪畫領域出現了一大批先行的創作群體，但是并不意味著現代性在這一時期得到一定的構建，在一種五四運動以來傳承的情緒化的語境下，困惑地經歷了理想主義最后的幻滅，但是市場地位在中國九零年代初的最后確立，在經濟層面，中國社會在經濟開放沖力的倒逼下進行著現代性不完整的構建。由于相關政治改革的滯后，和市場的過度激進，使得極度撕裂的社會轉型期，出現了種種痛苦體驗。我想這是王小冬作為一個藝術創作者之所以呈現出如此面貌的大背景和流變的環境因素。
紙本綜合材料-法力無邊之七龍珠05規格30mm-2016
王小冬早期的繪畫實踐體現了對歷史事件及其影響的反思，雖然出生于六零年代末，對于文革的記憶是比較模糊的，但是在七零年代的末期，在他少年時代，生活的細節還是能夠感受到文革作為一個歷史事件對各個方面的影響，比如墻上留下的各種標語，父母單位里各種人事糾葛，都有著那個時代特有的模式和底色，報紙新聞上各種平反的新聞頭條，也都會對王小冬產生了深刻的印象，甚至在課堂上，語文課本都有著五四式樣的語言特點。可以說在王小冬少年時的那個時代依然能感受到那種強烈的文革氣息，人與人之間那種充滿權力對抗和分邊站隊的獨特話語，還殘存在一個正在接受外部信息的孩子周圍的生活細節中。
所以我們就可以看到王小冬一系列的關于文革的繪畫，里面有標志性人物的面孔的圖像，無論是大人物，還是一些悲情的小人物都是那個時代最經典的個案和符號，而在畫面的處理上，小冬以黑白的色調來突出那種沉重的歷史問題，大尺幅的頭像涂繪，包括適度的變形和玻璃裂隙的運用，都有著那個時代人們對于文革這個事件對每個家庭個體的細微的影響，我想這些圖像是來自于小冬少年時代，甚至是更早的記憶。
布面油畫 思想者 規格：810mm-810mm 2016.
自然而然，小冬關注的另一個重要的主題：意識形態相關的言語暴力和組織壓力，國家機器對于個體的壓迫與清除，所引起的一系列死亡事件。在小冬眾生系列的繪畫作品上，我們看到堆積如山的骷髏，使用流淌和穿插的筆觸，表達出死亡的真切地實在感，我想這不僅僅是肉身的死亡，這里面隱含著作為八十年代下半葉經歷過那場理想主義幻滅的青年人的集體記憶，堆積如山的骷髏眼睛的黑洞，昭示著一個巨大的空虛的時代的來臨，在頭骨組成的廢墟上，荒誕的飛著天使，坐著在思考，假裝思考，僅僅做一個思考動作的孩子，我想小冬是體會到了一種荒誕，他并沒有參與到九十年代初那種政治波普的圖式當代藝術運動中，作為一名特立獨行的藝術實踐者，他同樣也經歷了理想的幻滅，但是也醉心于生活的冒險。在人間的紛亂中，保持著敏感，和殘余的理想底色。
布面油畫 1894 規格：920mm-730mm 2016
進入上苑藝術館之后，北京作為當代文化信息的集散地，藝術北京，草場地，黑橋，798的觀看經驗，無疑在方法論上給予了小冬新的啟示，雖然在他《彼岸花》、《生靈》、《悲歌》、《詩人之死》中仍然有著過去的延續，和及其強烈的政治隱喻，有的甚至是明喻，但是我們可以看到他對于一種語境的解構，和圖像多義性的努力，當然這對于他那個年齡群體的人來說，這是需要很大的勇氣和決心的。這并不是說我們現在不需要政治底色濃重的表達，而是這個時代，我們需要更加多維度的觸摸，現象的各個層面都要顧及，那種簡單，圖示化的表達，那種革命口號式的語言模型是我們要小心重蹈的陷阱。現代性的構建它并不是一個簡單可以描述的過程。也并不是標準化的向前推進的演化，承認世界的多元，對經典模型進行質疑，同時保持一個穩定態的認知路徑，在表達的呈現上始終處于開放的狀態，我想這既是一個藝術家要有的狀態，也是要對當代文化各個層面有所把握的必經之途。
布面油畫 1948-1980 規格：1000mm-1200mm 2016.
在一些繪畫實踐，特別是最近的一些列作品中，我們可以看到，他對過去慣常語言轉向的努力，更加明顯，在《love》、《娃哈哈娃哈哈》、《西游》等作品中，出現了自覺地色彩運用，他有意的在強化作品中荒誕的意味，但是我們還是能從一些隱喻的層面，品味出他一貫的對一些政治敏感問題的關注，我想這是他自身的一個特點，不可能會有大的決絕的改變，但是我們應該看到他對于作品呈現多義性的努力。整體來說他的繪畫實踐逐漸的走向了一種自覺地探索，逐漸的跳脫出一種情緒和主題的表達，朝著更加切合自己肉身經驗，和復雜社會實踐體驗的方向發展。
布面油畫 悲歌規格：1140mm1460m 2016 2016
相比較他的繪畫，他的影像和攝影作品，就具備了更加的敏感的肉體經驗和開放的多義表達的特點，在他的上苑藝術館日記式的記錄《2016我在沙峪口流浪》中，他忠實于日常生活片斷的呈現，偶爾看到的角落光影，經常光顧的理發店內景，村子里的小吃店招牌，藝術館外墻的標語和涂鴉，這都是看似瑣碎的時光定格，但是這正是小冬內心的經驗折射，這批照片可以說具有了他繪畫中不具有的那種模糊性和自身生發的新鮮感。
布面油畫 青銅時代 規格：1460mm-1140mm 2016
他的影像作品《鎖》，通過開鎖的過程的記錄，呈現了一個事件，這個事件本身是日常生活中經常發生的，但是通過影像的方式記錄下來，就有一個標本的意義，通過這個標本，可以反射出對于心理和社會學層面的多重視界。門作為私有的標的物，在通過非正常強力打開后，這本身有著對于社會契約和身體政治層面無常的隱喻，我想這是這段影像值得我們思考的G點，但是，唯一不足的影像的制作還是要進行技術上的強化，稍微粗糙的影像和音軌有了一丁點遮蔽的效果。
布面油畫 十年浩劫之少奇同志 規格：2500mm-1900mm 2016.
而在他的觀念紙本和裝置中，還是有著極強烈的寓言風格，在金色手紙和金蔬菜和你的好、你的錯里，都有一種傾向于結果的目的性表達，這種目的性表達，在路徑上似乎是有了開放的可能，但是其中蘊含的政治隱喻和語言反制都還是延續他早期繪畫實踐的思維定式，無論是通過對物涂金還是意念控制墨色，這其實還是注重結果和主體性的表達，在整體上看是閉合的路徑。
布面油畫 十年浩劫之詩人之死 規格：2500mm-1900mm 2016
王小冬既有著成長中形成的理想主義情結，也有著通常那代人稀缺的反思和解構的精神，他的繪畫有著一定的延續的面貌，嫻熟的繪畫技巧平衡了略顯直接的表達，而他豐富深刻的肉身與心靈的經驗，又讓他的作品成為了中國社會轉型期經歷各種陣痛見證的文本，從文革的圖像記憶到對死亡的荒誕解構，以及對于語境權力的反制的運用，他在做著最艱難的努力和嘗試。他的圖片作品生猛鮮活，反映出他作為藝術家的敏感和細心，有著對于經驗碎片收集的熱情。他的裝置影像和觀念作品反應出他使用視覺語言參雜觀念碎片的局限。整體來看，王小冬的藝術實踐最值得關注的還是他啟示錄般的繪畫，尤其是后期的作品值得我們駐足細品，他的作品為我們描述了生活中被掩蓋的部分，為我們提供了一個完整的，富含營養，滿滿的負能量的文本，時刻提醒我們這個時代所面臨的陷阱與困惑。
2016年8月24日
(張懿，高校美術教師，上苑藝術館駐館藝術家)
Unwakened Nightmare some opinions on Wang Xiaodong’s artistic practice
Zhang Yi
翻譯：陳艷梅
布面油畫 眾生 規格：1140mm-1460mm 2016.
Wang Xiaodong lives a life of passion and optimistic attitude. In daily life, you can feel his sense of humor and wisdom anytime. However, from a few words, you can also appreciate that the humor is bitter and witty. His paintings are like a never wake-up nightmare haunting you and me. In their generation, most of them experienced the disillusionment of idealism at university. A series of information on philosophy, aesthetics and art from the West pour into major cities and college campuses of China in the mid-1980s. After ten-year catastrophe of the Cultural Revolution, all fields in recovery strongly absorbed cultural nutrition from foreign countries under the background of post-idealism. In poetry and painting appear a large number of antecedent creative groups. But this doesn’t mean the construction of modernity in this period. Under the emotional context inheriting from the May Fourth Movement, they experienced the final disillusionment of idealism. But upon the final establishment of market status in the beginning of 1990s, in economy, Chinese society is experiencing the incomplete construction of modernity under the force of economic liberalization. Because of the lag of related political reforms and the extremely radical market, various painful experiences appeared in the extremely tearing period of social transition. I think this is the overall background under which How Wang Xiao has shown to us as an artist and the environmental factor that caused his change.
攝影作品：光陰的碎片-2016我在沙峪口流浪
Wang Xiaodong’s early painting practice shows his reflection on history events as well as their influence. Although he was born in the late 1960s and has a blurry memory on the Cultural Revolution, in the late 1970s in his youth, he still can feel from the details of life the influence of the Cultural Revolution as a historical event on all aspects of life. For example, various slogans left on the wall and personnel disputes in his parents’ work unit have an unique model and mark of that period. A lot of headline news about rehabilitation on newspaper also left a profound impression on him. Even on the Chinese textbook in the classroom, the language was infected with May Fourth style. As it were, in the generation of his youth, it was still easy to sense the strong influence of the Cultural Revolution. The unique utterance filled with power confrontation among people still remained in the life details of children who were receiving more and more information from outside world.
裝置作品1：藝術家的生活-金手紙（攝影：古洪強）
Therefore, we can find portrayals of iconic figures in a series of his paintings about the Cultural Revolution. Whether it is a somebody or a miserable nobody, all of them are the most classical symbols of that generation. As for the skill in representing the general appearance of his painting, he use black and white colors to highlight heavy historical problems. Head portraits of big size, using skill of moderate deformation and glass crevice, reflects the subtle influence of the Cultural Revolution on every member of a family in that generation. In my opinion, these portrayals originate from his youth or even earlier memories.
裝置作品2：藝術家的生活-金色蔬菜（攝影：古洪強）
Another theme that Wang Xiaodong focuses on is a series of death incidents caused by ideology-related speech violence and organization pressure as well as oppression and elimination of country machine on individuals. From the Beings series of his painting works, we see skeletons piled up like a mountain, using fluid and penetrating style to express the vivid feeling on death. I think it is not only the death of body but also implies the collective memory of the disillusionment of realism of the youth in the later half century of 1980s. The black holes of those piled-up skeleton eyes indicate the coming of a era of huge empty. On the ruins of skeletons absurdly fly an angel, who is sitting there, pretending to be thinking but just posing a though action. I think Wang sensed the absurdity. He didn’t take part in the movement of contemporary Politics POP arts in the 1990s. As a maverick of art practitioners, he also experienced the ideal disillusionment but is still obsessed with the life adventure. In the world of chaos, he still keeps his sensitivity and his last ideal.
行為作品：你的好 你的錯（攝影：古洪強）
After he moved into Shangyuan Art Museum, Beijing as the gathering place of contemporary cultural information, the visual experience of Art Beijing, Caochangdi Workstation, Black Bridge and 798 undoubtedly gave him new enlightenment from methodology. Although from his works Equinox Flower, Lives, Sad Melody and the Death of Poet, we still can find the continuity of the past and strong political metaphors or even simile, we also see his destruction of context and efforts on image ambiguity. Of course, for the group of people of his age, that needs courage and determination. It doesn’t mean that we don’t need expression with heavy political color. Instead, it means we need touch from more dimensions and give consideration to all aspects. Those simple graphical expressions and revolution slogan model of language are traps we should avoid carefully. The construction of modernity is neither a process that can be easily described nor evolution that moves forward according to standard. Admitting the diversification of this world, remaining skeptical to classical models, keeping a steady recognition route and holding an open attitude toward the presentation of expression are psychological states an artist should have and also the only way to grasp contemporary culture from all kinds of aspects.
布面油畫 十年浩劫之田漢 規格：2500mm-1900mm 2016
In some painting practice, especially in some recent series of work, we can see his effort on transformation of past usual language. Obviously, he consciously used colors to strengthen the absurdity in his works like Love, Wahaha Wahaha and Journey to the West. However, we still can sense his usual concern on some sensitive political issues from some metaphors. I think it is his characteristic that is impossible to remove. But we should recognize his effort on the ambiguity his works present. All in all, his painting practice is gradually going towards kind of conscious exploration, escaping from expression of only mood and theme and developing towards more pertinent body experience and experience of more complicated social practice.
布面油畫 十年浩劫之吳晗 規格：2500mm-1900mm 2016
Compared with his paintings, his photography and video works have the characteristics of more sensitive body experience and open ambiguity expressions. In his dairy documentary made at Shangyuan Art Museum, 2016 I Roam Shayukou, he was very faithful to the presentation daily life. Occasionally seen shadow in a corner, internal design of a frequented hairdresser’s, signboard of a snack bar in the village and slogans and doodles on the outside wall of art gallery, all these seemingly trivial moments are experience reflection of his heart. These photos have the ambiguity that his paintings have not and the self-generating freshness.
布面油畫 彼岸花 規格：810mm-810mm 2016
His video work The Lock presents an event through the recording of the process of unlocking. This event itself is something often happening in our daily life. But recording through video, it has the meaning of a sample, which can reflect multiple sights of psychological and sociological fields. Door as a private subject, opened in a violent improper way, is a metaphor of the inconstancy of social contract and bodypolitics. In my point of view, this is the G point of the video which worth thinking. However, the only weakness is the manufacture of the video which needs to improve in techniques. A bit rough images and voice have sort of screening effect.
布面油畫 娃哈哈呀娃哈哈 規格：1460mm-1140mm 2016
In his concept paper edition and device still has strong fable style. In images like golden toilet paper and golden vegetables as well as utterance like “your goodness” and “your fault”, you can find purposive expression inclined to the result. This kind of purposive expression seems to have the possibility of being open on the route. But the political metaphor and language countering imbedded continue the thinking model of his early painting practice. Whether through painting things in gold or though controlling color by mind, it is still expression that emphasizes on the result and subjectivity. On the whole, it is a closed route.
布面油畫 眾神 規格：1460mm-1140mm 2016
Wang Xiaodong has both the idealism complex that formed in his growth and the spirits of reflection and deformation that his generation lacks. His painting has certain continuity. Adept painting skills balance his slightly direct way of expression. And his rich and profound mental and physical experience makes his works the witness text of the paint caused by the social transformation. From the image memory of the Cultural Revolution to the absurdity deformation of death and the usage of countering of context rights, he is making the hardest effort and attempts. His image works, fresh and alive, mirror his sensitivity and thoughtfulness as an artist and his enthusiasm in the gathering of experience fragments. His device video and concept works reflects his limitation on the usage of visual language mixed with concept fragments. As a whole, the most notable part of his art practice is his apocalyptic painting. Especially, his later works are worthy of our stop to taste them. His works describe to us the covered part of life, provide us with a complete and nutritious text full of negative energy and always remind us of the traps and confusion of our generation.
24th August, 2016
(ZHANG YI, art teacher of college, resident artist of Shangyuan Art Museum)
王小冬 簡歷
1968年12月出生江蘇徐州人
1994南京藝術學院美術系油畫專業
1998年中國美院油畫系一工研修班
1993年廣州九十年代雙年展
1994年中國第二屆前衛藝術展
1995年北京青年油畫家聯展
1997年中國首屆油畫風景展
1998年中國第二屆油畫靜物展
1999年江蘇二十世紀油畫大展
2001年當代優秀青年油畫家作品展
2005年上海青年美術大展
2016年北京記憶—后視鏡中的戲劇
2016年北京上苑藝術館駐館藝術家
WANG XIAODONG Personal Profile
Born in Xuzhou of Jiangsu Province in December, 1968
Major in oil painting in fine arts department of Nanjing Arts Institute in 1994
Attend the seminar of the oil painting department of the Central Academy of Fine Arts in 1998
Participated in the biennial exhibition of 1990s in Guangzhou in 1993
Participated in the Second Ten Avant Gard Exhibition of China in 1994
Participated in Beijing Youth Oil Painting Exhibition, Associated Exhibition in 1995
Participated in the First Chinese Landscape Painting, Oil Painting Exhibition in 1997
Participated in the Second Chinese Oil Painting, Still Life Exhibition in 1998
Participated in the Jiangsu Oil Painting Exhibition of the 20th Century in 1999
Participated in the Exhibition of Contemporary Outstanding Young Oil Painter in 2001
Participated in the Shanghai Youth Art Exhibition in 2005
Participated in the Remember of Beijing—Drama in the Rear View Mirror in 2016
Participated in the Exhibition of Beijing Resident Artists of Shangyuan Art Museum in 2016
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上苑 & 鳥巢－文學藝術國際聯盟（簡稱：國際文盟）
International Network of Literature and Art（INLA）
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□北京東直門916路、942路到懷柔，轉懷柔-沙峪口（上苑藝術館）
□京承高速12出口 > 右拐過水渠西行2KM > 良善莊路口北行到底>右拐300m路北
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