社會色彩學——朱金石個展
策展人：高名潞
開幕時間：2009年6月20日下午4點
展覽時間：2009年6月20日——8月16日
展覽地點：卓越藝術(shù)，北京市朝陽區(qū)酒仙橋路4號798藝術(shù)區(qū)D10
開放時間：周二至周日上午10點至下午6點
聯(lián)系電話：+ 86 10 5978 9788
電子郵箱：joyart@yahoo.cn
朱金石在七十年代初開始師從李宗津教授學習繪畫。1979年參加《星星畫展》，是七十年代追求藝術(shù)現(xiàn)代化和人性自由的“在野文藝運動”的積極參與者。八十年代中期移居德國，并往來于北京和柏林，從事藝術(shù)交流、創(chuàng)作和教學活動。朱金石一直致力于“中西合璧”，無論是他的繪畫還是裝置作品，都自然地融入了中國傳統(tǒng)“感物詠志”的美學理念。繪畫顏料與作品材料被視為社會感情或者個人感悟的言說。朱金石的藝術(shù)具有一種獨特的視覺“直接性”。這種“直接性”把社會性和個人感性、把概念和形象這些似乎矛盾的因素一古腦地同時傳達給觀眾。這種方式其實來自中國傳統(tǒng)詩學的“意境”和禪宗的“棒喝”，但是朱金石試圖把這些因素和當代人的知覺經(jīng)驗融為一體，并形成自己的藝術(shù)語言，這無疑是一種非常有價值的創(chuàng)作。
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SOCIAL CHROMATOLOGY——ZHUJINSHI’S SOLO EXHIBITION
Curator:Gao Minglu
Opening:4pm, Saturday, June 20, 2009
Exhibition Dates: June 20—August 16 2009
Venue: JoyArt, Zone D10, 798 Art District, 4 Jiuxian Qiao Road,
Chaoyang District, Beijing, China
Opening Hours: 10am – 6pm, Tuesday – Sunday
Tel: ＋86 10 5978 9788
Email: joyart@yahoo.cn
Zhu Jinshi began his artistic life in early 1970s under the advice of Li Zongjing, a professor from the Central Academy of Fine Arts. In 1979, Zhu Jinshi participated the “Stars” Exhibition as one of the most active underground young artists who were pursuing for both cultural modernity and social freedom in the late 1970s. In the mid – 1980s, Zhu Jinshi moved to Germany and later traveling back and forth between Beijing and Berlin for artistic exchange, education as well as creation of art.
In the last four decades, Zhu Jinshi has persistently devoted himself to the idealism of synthesis of East and West with a traditional philosophy of “searching truth though material perception”. Therefore, in his artwork, Zhu Jinshi always attempts to turn substance (pigment in painting, or material in installation) in speech of social mood and individual experience. In doing so, Zhu Jinshi brings a kind of perceptive “immediacy” to his audience. The “immediacy” can merge social idea and personal feeling, the conceptual and pictorial simultaneously together with no need of logic analysis in the beginning of looking. This particular perceptive method, in fact, comes from traditional calligraphical as well as poetic theory, but Zhu successfully incorporates these elements into his contemporaries’ perception, and turns this “immediacy” a peculiar methodology and language in his art. Doubtlessly to say, Zhu’s devotion is very substantial and valuable.
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