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Gave me black eyes Night Wang Xiaodong solo exhib
[2016-8-29 8:25:34]
“黑夜給了我黑色的眼睛” 王小冬個展
Gave me black eyes Night Wang Xiaodong solo exhibition
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。
布面油畫 生靈 規格：1960mm-930mm 2016（上苑藝術館收藏）
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.
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.
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.
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）
電話: 010-60635299 60635757
Website: http://www.inlac.cc/
上苑藝術館官網 http://www.sh-yinshua.com/
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