王劉健的展覽關(guān)于面對(duì)時(shí)間的無常和殘酷，面對(duì)生死的幻滅，以及原初的統(tǒng)一和個(gè)別化，意愿，表象以及生命苦難之間的矛盾，要表現(xiàn)自己，必須有一個(gè)新的象征世界，整個(gè)軀體都獲得新的象征意義，通過狂熱的沉醉，本質(zhì)就是一種不可明狀的，不可遏制的生命激情與沖動(dòng)砸破了個(gè)體性并將其拖進(jìn)毀滅的深淵使生命融入本源存在。
———Jianai
Wang Liu Jian’s exhibition is about the contradiction between the inconstancy and cruelty of time, the disillusionment of life and death, the original unity and individuation, the will, the appearance and the suffering of life. To express oneself, there must be a new symbolic world, and the whole body has new symbolic significance. Through fanatical intoxication, the essence is an indefinable. The irresistible passions and impulses of life break the individuality and drag it into the abyss of destruction to bring life into its origin.
——Jianai
策展人 Curator:
前些天，與藝術(shù)家坐在工作室閑聊，他總是不經(jīng)意間的流露出對(duì)過往的懷念之情。雙手雖然觸摸著自己的作品，但嘴里卻反復(fù)咀嚼著‘曾經(jīng)’。這些是他整整一年的經(jīng)歷，并且摻雜著些許還很年輕的回憶。 與過往的作品相比，他不再糾結(jié)一個(gè)藝術(shù)家是否像背負(fù)著使命一樣在那拼命的吶喊。相反，他平靜了很多，安靜的像個(gè)僧人，不再過多的思考這個(gè)世界，開始本能的‘關(guān)心糧食和蔬菜’。也許，闡述自己的故事更能準(zhǔn)確的把作品呈現(xiàn)出來。也許，涂掉那層滿載欲望的外衣更能看清事物的本質(zhì)。也許，他只是借用那些沒有扔掉酒瓶來提醒自己還沒有完全空掉，像那些放了幾個(gè)月的饅頭一樣，在防腐劑的‘保護(hù)’下，依然保持著曾經(jīng)的樣子。這是無法變質(zhì)的時(shí)代，被太多的時(shí)間所洗禮，但依然頑固的存在。
聶以為
The other day, sitting in the studio chatting with the artist, he always inadvertently showed his nostalgia for the past. Although his hands touch his works, but bis mouth repeatedly chewed ’once’. These were his experiences for a whole year, mixed with some very young memories. Compared with the previous works, he no longer struggles over whether an artist is carrying the same mission in that desperate cry. On the contrary, he calmed down a lot, quietly like a monk, no longer thinking too much about the world, and began to instinctively ’care about food and vegetables’. Perhaps it is more accurate to present your story. Perhaps it would be easier to see the essence of things by erasing the coat full of desire. Perhaps, he just used those bottles that had not been thrown away to remind himself that they were not completely empty. Like those steamed buns that had been kept for several months, they still kept the same appearance under the protection of preservatives. This is an era that can’t go spoiled, baptized by too much time, but it still exists.
Nie Yiwei
學(xué)術(shù)主持評(píng)論：
天賦是可以被開發(fā)出來的！
——王劉健工作室開放展有感
這一次2019年年終工作室開放展中的王劉健的作品，是日記式的作品。
對(duì)于日記式的視覺作品，我最開始是從幾年前來館駐留的一位韓國(guó)首爾大學(xué)藝術(shù)學(xué)博士Lee Seungjae，他在上苑藝術(shù)館所做的攝影作品，我才開始對(duì)這種類型的作品有了不同的了解。
我們都知道，日記是有隱私的，不是所有人都會(huì)毫不保留地展示給別人，如波蘭寧夫人日記式的詩(shī)。還有一種就是從一開始就是為大眾寫日記的人，通常都是有人物感的人（或者本來就是人物，如蔣介石），寫的都不是自己的真實(shí)生活記錄，而是有加減的帶有個(gè)人印跡的史官式日記。
通常日記式視覺作品都是用攝影方式，將所見所聞都拍攝下來,以自己的視角、自己的想法去記錄所經(jīng)歷的一切。而Lee Seungjae不是一般意義上的拍攝，他是注入自己的體溫，用抽象的光影記錄自己的情緒，每一個(gè)清晨醒來時(shí)的燥動(dòng)與緊張。
但我們今天看王劉健的作品，卻又進(jìn)了一步。他不是攝影方式，而是用日常用品、區(qū)域布置，再用情緒里的色、形、空間……來營(yíng)造他的經(jīng)歷再現(xiàn)。讓大家在這個(gè)場(chǎng)域里，與他一起感同身受，與他一起經(jīng)歷他的迷茫與困惑，他的失落與冀望，還有些許懷念和別離感。我能感受到他紀(jì)念碑式的與過往的告別，有一種古老的神圣儀式感。
能用視覺方式作有思想、有情緒的日記，很難，能做到意味深長(zhǎng)就更難，而王劉健做到了。從他今年的兩次展覽中，讓我看到了王劉健的成長(zhǎng)和他原本就有的視覺思想的激發(fā)。天賦是可以開發(fā)出來的？王劉健在上苑藝術(shù)館的這三年里，讓我看到了這種可能性。他從一開始學(xué)院出來后的那種框架里的視覺產(chǎn)物：呆板、定式、普通、亦步亦趨……地做作品，到今天我們看到的他兩場(chǎng)參與度很高的展覽來看，他就是證明：天賦是可以被開發(fā)出來的！
程小蓓
Talent can be developed!
- Thoughts on the opening Exhibition of Wang Liujian Studio
The work of Wang Liu Jian, who opened the studio at the end of 2019, is a diary work.
For diary visual works, I began with a different understanding of this type of work from Lee Seungjae, an art doctor from Seoul University in South Korea, who was stationed at the Shangyuan Museum of Art a few years ago.
We all know that diaries are private, and not everyone will unreservedly show them to others, such as Madame Polanin’s diary poems. Another is that people who keep diaries for the public from the beginning are usually people with a sense of character (or people who are already characters, such as Chiang Kai-shek), who write not their own real life records, but historical diaries with personal imprints.
Diary visual works are usually photography, take pictures of what you see and what you hear, with their own perspective, their own ideas to record what has been experienced. Lee Seungjae is not a general sense of shooting, he is injecting his body temperature, recording his emotions with abstract light and shadow, and every morning when he wakes up, he is restless and nervous.
However, when we look at Wang Liujian’s works today, it taken one step further. He is not photography, but with daily necessities, regional layout, and then the color, shape, space in the mood…to create a reproduction of his experience. Let everyone falls in this field, with him to feel the same, with him to experience his confusion and confusion, his loss and hope, but also a little nostalgia and parting feeling. I can feel his memorial farewell to the past, there is an ancient sense of sacred ceremony.
It is difficult to be able to make a thoughtful and emotional diary in a visual way, and it is even more difficult to be meaningful, and Wang Liujian has done so. From his two exhibitions this year, I saw the growth of Wang Liujian and the stimulation of his already visual ideas. Can talent be developed? In the three years that Wang Liujian has been in Shangyuan Art Museum, I have seen this possibility. The visual products in the frame he came out of College from the beginning: Inflexible, stereotyped, common, follow the trend To date, we have seen two exhibitions with high participation, which prove that: Talent can be developed!
Cheng Xiaobei
這個(gè)展覽對(duì)于王劉健來說，應(yīng)該是他對(duì)自己近年生活的一個(gè)回顧和交代。展覽中主要的四個(gè)裝置作品，都是以他的生活經(jīng)歷和生活狀態(tài)為靈感，源于事件，注入思考，呈現(xiàn)感悟。固化的服裝，塵封的酒瓶，紅色光影下的鐵絲，干裂霉變的饅頭……，無一不是證據(jù)，軌跡，訴說和回憶。
王劉健的這些作品，具有立即性和經(jīng)常帶有挑釁性的態(tài)度，他將自己的作品牢固地定位在尊重自己內(nèi)心這樣一個(gè)線索中，他在意的是當(dāng)下的生活處境，從這個(gè)角度可以看出劉健的真誠(chéng)和自由的意志，感覺到了一種沖破社會(huì)對(duì)自己生命壓抑的表達(dá)！
肖毓方
For Wang Liujian, this exhibition should be a review and explanation of his life in recent years. The four major installation works in the exhibition are all inspired by his life experience and life, which are derived from events, injected with thinking and presented with feelings. Solidified clothes, dusty wine bottles, iron wire under red light and shadow, dried and moldy steamed bread None of them is evidence, track, telling and recollecting.
Wang Liujian’s works have an immediate and often provocative attitude. he firmly locates his works in a clue that respects his heart. What he cares about is the current situation of life. From this point of view, we can see Liu Jian’s sincerity and free will, and feel a kind of expression that breaks through the repression of his own life!
Xiao Yufang
王劉健近期的一系列作品，是他的生活史。杜尚說生活即藝術(shù)，這句話用在王劉健身上是再合適不過了。他以藝術(shù)的方式，複製，再現(xiàn)，記錄和固化了自己的生活，那些作品就是他生活的真相和密碼，他以此自我致敬，自我安撫，自我審視，並藉此恢復(fù)平靜，使某些散落的日常有了趨於永恆的可能。作為一個(gè)剛剛開始自己的藝術(shù)生涯的年輕藝術(shù)家，他很幸運(yùn)地找到了一種正確的方式，使自己的生活和藝術(shù)能夠互為因果，互相成就，沒有排斥，沒有分裂。
他的作品，無論是繪畫還是裝置，無論是材料和語言的選擇，還是表達(dá)意圖的調(diào)整，都越來越明顯地呈現(xiàn)出一種更寬廣的視野，更厚重的內(nèi)涵，迥異于一般年輕藝術(shù)家常見的拘謹(jǐn)和狹隘，這種變化，必然是更深入透徹的思考的結(jié)果，清楚表明了他的藝術(shù)境界及理念的進(jìn)步和升華。他更放鬆，更大膽，也更自信了。
李念奴
Wang Liujian’s recent series of works is his life experience. Du Shang said that life is art, which is suitable for Wang Liujian. He reproduced, reproduced, recorded and solidified his life in the way of art. Those works are the truth and code of his life. He paid homage to himself, comforted himself, examined himself, and recovered his peace, making some scattered daily life possible for eternity. As a young artist who had just begun his artistic career, he was lucky to find the right way to make his life and art cause and effect, achieve each other, without exclusion, without division.
His works, whether painting or installation, whether the choice of materials and language, or the adjustment of expression intention, are more and more obvious to show a broader field of vision, thicker connotation, very different from the general young artists common formal and narrow, this change must be the result of more in-depth and thorough thinking, clearly indicating the progress and sublimation of his artistic realm and ideas. He is more relaxed, bolder, and more confident.
Li Niannu
藝術(shù)家評(píng)論：
The battlefield between the illusions and the *Genuinity (this word doesnt exist, please see a note underneath, but the world needs more of it)
A search, seeking, trying to grasp the core so intensely that the reality gets stretched, confused, conditional to the external manipulation. Liujian Wang’s collection of artworks captures this problematic so vividly, defining the reality often invisible, but yet deeply present in our emotional pool, both collective and individual. Something universal is happening here, we are witnessing The Death Spiral that starts as an amorous relationship locking the talons and it ends up a battle for a territory, a territory being the mind.
It is only the mind that can or cannot be conquered, now that we have conquered the entire Earth, the final frontier, and the tools used are often times the emotional constructs. Under the pretense of better and greater future we tend to consume, the original basic instinct that commands: “survive” is transcended into - if you don’t own (by buying) this particular item, your survival will depend on it even if you don’t die - the sense of purpose would somehow evaporate. Hence the stretching, the soul seeks so hard that it becomes stretched represented by those very same materials that sometimes try to form it. The clothes that we wear, the shell over our skin, the masks representing so many faces get gradually stretched, deformed and lonely. Finally the consumer is being consumed by the self, the snake is eating it’s own tale and the realization of eternity appears in the white innocence of the colour used.
Stretching of the soul continues into the domain of the chemical world interacting with the body, a Bacchus gets awaken, but only internally, the portals to the soul through wine, liberation and truth is cloaked in the color of transformation, a whiteness of being, giving us incredible distance from the actual landscape that these shapes compose. Just like a Bacchus has a divine mission as a role of a liberator, so does this composition, inviting the viewers to freely explore, liberate the inner world but only under the impermanence of time. The composition with bottles is making everything empty, while the space petrifies, solidifies the experience of drinking towards the truth, the build up of materials that is covering the bottles, communicate to us the build up of past layers of impermanent liberation. Bacchus is a Roman God who is using wine and different aspects of music, grapes, partying and emotional charge to liberate the senses, celebrate spontaneity and find the freedom. “In vino veritas” (a latin famous saying: In wine is truth) solemnly resonates through this collection but is contained and burdened by the layers of life, sometimes illusions, sometimes truths, sometimes illusions so convincing,….
In this body of artworks Liujian Wang almost completely merges the feeling of intoxication, vision and a passionate almost self-destructive struggle of life with the distance, calculation, rationality of our times. He is letting the time put the layers upon layers of daily debris onto the things and in such a way he petrifies the essence towards which he gravitates. The flux of life where all the shades of emotions are visible, a place so remote and yet powerfully burning from within, which leads us to the next piece, an art piece dealing with the wires.
Metal may be considered the most alive of all the non-animate objects, because it has a life circle finishing the stage of shine with the rusting processes, but still or maybe just because of this among other reasons, we consider it so cold and smooth and futuristic, almost a non-human entity. Soaked in the color of red, the passion empowering the coldness, the emotional state so chaotic and yet containing the order of coldness, fear, desperation of the build-up of negativity.
Just like the evoking Bacchus through bottles that are preserved with the layers upon layers of the petrifying life events, so are the wires, entangled representing similar trajectory on the quest for truth but from an entirely different angle. This time we are peaking into something personal, a machinery within our emotional system where the engine of will, free will and the power to will is ignited. Hence the pulsating feeling of the red that encompasses everything, yet again interacting with the dualistic nature of material and Liujian Wang’s perspective towards these two aspects, the human warms and passion within at one end and a restrictive shell at the other, preserved bottles and wire as a material infiltrated deeply into the emotional state.
This emotional state, sometimes so mysterious and enigmatic, leads us back to the stretching, but this time through the language of food. The initial sense of consumerism reflected as a spiritual problem of our society is now transcended to the entirely different level, the food, the most fundamental of the consuming elements. “To consume or be consumed” in this aspect of the presented collection takes a completely different twist, it becomes a matter of statistics. A struggle between what should have been done, what is forced upon from the external influences and a rebellious response to either. A test of endurance, this is a testimony of our times, to consume and observe what seems like a forbidden fruit and then rebel against the feelings that are out of tune by not consuming, stretching the time between the nutrients, until it becomes clear what is truly nutritious and what just seems like it. The theme of this collection is to break through the illusions of the daylight and go into the honesty of night, where only the genuine thread thrives and goes forward into the light.
*(note about the word “genuinity” there is no such word in the dictionary but in this case and at this point in history that the artist is depicting I felt that “genuine” needs more versions of this word, so I used to emphasize on the essence of it and considered it apt for this collection)
Irina
幻象與真實(shí)性之間的戰(zhàn)場(chǎng)
一種尋求，試圖如此強(qiáng)烈地把握核心的搜索，以至于現(xiàn)實(shí)被拉伸，困惑，以外部操縱為條件。 王劉健的藝術(shù)作品生動(dòng)地捕捉了這個(gè)問題，定義了現(xiàn)實(shí)，這些現(xiàn)實(shí)通常是看不見的，但在我們的情感庫(kù)中，無論是集體的還是個(gè)人的，都深深地存在。 普遍的事情正在這里發(fā)生，我們目睹了死亡螺旋，它開始于一種多情的關(guān)系，鎖定了獵物，最終導(dǎo)致了對(duì)領(lǐng)土的爭(zhēng)奪，領(lǐng)土就是思想。
既然我們已經(jīng)征服了整個(gè)地球，最后的疆界，并且所使用的工具通常是情感建構(gòu)的時(shí)間，那么只有心靈可以被征服或無法被征服。 在更好，更美好的未來的幌子下，我們傾向于消費(fèi)，原來的基本本能就變成了：“生存”變成了-如果您不擁有（通過購(gòu)買）此特定物品，即使您沒有生存，您的生存也將取決于它。 不必要的情感會(huì)以某種方式消失。 因此，靈魂的拉伸是如此艱辛，以至于它被那些有時(shí)試圖形成它的相同材料所代表。 我們穿的衣服，皮膚上的貝殼，代表那么多面孔的面具逐漸變得伸展，變形和孤獨(dú)。 最終，消費(fèi)者被自我所吞噬，蛇正在吃著自己的故事，而永恒的現(xiàn)實(shí)出現(xiàn)在白色的純真中。
靈魂一直延伸到與身體相互作用的化學(xué)世界中，酒神醒來了，但是只有在內(nèi)部，通過酒，解放和真理通往靈魂的門戶隱藏在轉(zhuǎn)化的色彩中，即白皙的存在， 使我們離這些形狀組成的實(shí)際景觀擁有難以置信的距離。 就像酒神扮演解放者的神圣使命一樣，這種構(gòu)圖也是如此，它邀請(qǐng)觀眾自由探索，解放內(nèi)心世界，但只能在時(shí)間的無常中。 裝有瓶子的組合物使所有東西都變空了，而空間卻石化了，鞏固了真相的經(jīng)驗(yàn)，覆蓋瓶子的材料的堆積，向我們傳達(dá)了過去無常的堆積。 酒神是一位羅馬神，他使用酒和音樂，葡萄，聚會(huì)和情感上的不同方面來釋放感官，慶祝自發(fā)性并找到自由。 “在葡萄酒中”（拉丁名言：在葡萄酒中是真理）在這個(gè)系列中莊嚴(yán)地引起共鳴，但又被生活的各個(gè)層面所牽制和負(fù)擔(dān)，有時(shí)是幻想，有時(shí)是真理，有時(shí)是令人信服的幻想，……。
在這件藝術(shù)品中，王劉健是陶醉視覺和熱情的，幾乎自我毀滅的生活與時(shí)代的距離，計(jì)算和理性融合在一起。 他讓時(shí)間把東西上的日常碎片逐層堆積起來，以這種方式使石化了它變得吸引。 生活的變化，所有的情緒陰影都是可見的，一個(gè)遙遠(yuǎn)而又強(qiáng)烈地從內(nèi)部燃燒的地方，將我們引向下一個(gè)片段，一個(gè)處理鐵絲的藝術(shù)品。
金屬可能被認(rèn)為是所有非生命物體中最活躍的，因?yàn)樗幸粋�(gè)生命周期，可以完成生銹過程中的發(fā)光階段，但是仍然或者也許僅由于這個(gè)原因，我們認(rèn)為它是如此的寒冷和光滑， 未來的，幾乎是非人類的實(shí)體。 浸透在紅色中的激情賦予了寒冷，情感狀態(tài)如此混亂，卻包含著寒冷，恐懼，消極情緒的絕望。
就像通過酒瓶喚起酒神的酒一樣，酒瓶被一層又一層地保存在石化的生命中，纏在一起的鐵絲也代表著尋求真理的相似軌跡，但角度卻截然不同。 這次，我們進(jìn)入了一種個(gè)人化的東西，即我們情感系統(tǒng)中的一種機(jī)制，點(diǎn)燃了意志，自由意志和意志力的引擎。 因此，紅色的脈動(dòng)感涵蓋了所有事物，又與材料的二元性以及劉健對(duì)這兩個(gè)方面的觀點(diǎn)相互影響，一方面是人類的溫暖和激情，另一方面是限制性的外殼，保留了瓶子和金屬絲。 作為一種物質(zhì)，滲透到情感狀態(tài)中。
這種情緒狀態(tài)，有時(shí)是如此神秘，使我們回到了伸展的路上，但這一次是通過食物的語言。 反映在我們社會(huì)的精神問題上的最初的消費(fèi)主義意識(shí)現(xiàn)在已經(jīng)超越了完全不同的層次，即食物，最基本的消費(fèi)要素。 在提出收藏的這一方面，“消費(fèi)還是被消費(fèi)”完全不同，這成為統(tǒng)計(jì)問題。 在應(yīng)該做的事情，外部影響所強(qiáng)迫的事情與對(duì)其中任何一個(gè)的叛逆反應(yīng)之間的斗爭(zhēng)。 耐力的考驗(yàn)，這是我們時(shí)代的見證，是食用和觀察似乎是違禁的水果，然后通過不食用，延長(zhǎng)養(yǎng)分之間的時(shí)間來反抗不合時(shí)宜的感覺，直到看清楚什么，看起來像什么。 該系列的主題是突破日光的幻覺，進(jìn)入夜晚的誠(chéng)實(shí)，在夜晚，只有真正的鐵絲才能蓬勃發(fā)展并進(jìn)入燈光。
Irina
記得8月份一個(gè)接近黃昏的時(shí)候，和幾位朋友登上那座山腰上的棄屋，觀看今年駐館的幾位中外藝術(shù)家極具特色的群展。那長(zhǎng)久無人居所被他們一人一件作品改造為別樣的展覽館，他們用藝術(shù)改造廢棄空間的動(dòng)念及展出作品的意味給人留下深刻印象。這其中便有王劉健的一件裝置作品，它含義內(nèi)斂，以沃霍爾式鋪排制造出震撼的場(chǎng)面。
王劉健工作室開放展展出作品給我?guī)硗瑯訌?qiáng)烈的感受。這三年王劉健在上苑藝術(shù)館做義工，負(fù)責(zé)很多日常事務(wù)，藉此常與這些中外藝術(shù)家打交道。這些生活經(jīng)歷在他的作品中得以曲折呈現(xiàn)。它們頗具匠心，有時(shí)甚至腦洞大開，尤其那幾件裝置作品：劉健信手拈來日常生活中的器物，將它們處理得富有震撼力和寓意性，在藝術(shù)手法上，已顯示出風(fēng)格一致性。
他的裝置使用的材料有衣服、酒瓶、饅頭、鐵絲等，形態(tài)各異。在刻意刷白的展出空間中，器物被白色顏料涂抹或包裹，仿佛要被藝術(shù)家從記憶中抹去，但終至于無法抹去的存在物——其中流露出深深的痛苦心理。那些發(fā)霉的饅頭，以它們本真的樣貌，與時(shí)間坐標(biāo)并置，是頂有意思的創(chuàng)意。王劉健的畫作和攝影則將簡(jiǎn)潔的意象或關(guān)系制造得朦朦朧朧，讓觀眾自去品味藝術(shù)家賦予的充滿情感的肌理。
蘇豐雷
2019.10.28
I remember one evening in August, when I was about to go up the mountainside’s abandoned house with a few friends to watch a special exhibition of Chinese and foreign artists staying at the museum this year. The long-term uninhabited house was transformed into a different exhibition hall by their works one by one. People were impressed by their idea of using art to transform the abandoned space and the meaning of the works on display. There is a device work by Wang Liujian among them, which has an implicit meaning and creates a shocking scene with Warhol-style layout.
The opening exhibition of Wang liujian’s studio bring me the same strong feeling. In the past three years, Wang Liujian has been working as a volunteer in the Shanghai Garden Art Museum, taking charge of many daily affairs, so he often deal with these Chinese and foreign artists. These life experiences are presented in his works. They are quite ingenious, sometimes even with big brain holes, especially those device works: Liu Jian picked up the utensils at random in his daily life, and dealt with them with shocking and moral. In terms of artistic techniques, it has shown the consistency of style.
The materials used in his device include clothes, wine bottles, steamed bread, iron wire, etc., with different shapes. In the deliberately whitewashed exhibition space, the artifacts were painted or wrapped in white paint, as if they were to be erased from the memory of the artist, but finally the objects that could not be erased -- which reveals deep pain. Those moldy steamed bread, with their true appearance, juxtaposed with the time coordinates, are the most interesting idea. Wang Liu Jian’s paintings and photography create a vague image or relationships, so that the audience can taste the emotional texture given by the artist.
Su Fenglei
October 28, 2019
