展覽主題：文川，繪畫(huà) 2007-2009

　　開(kāi)幕酒會(huì)：2009年6月21日（周日）16：00-18：00

　　展覽時(shí)間：2009年6月21日至7月09日

　　展覽地點(diǎn)：星空間藝術(shù)中心

　　Exhibition Theme: Wen Chuan.Paintings 2007-2009

　　Reception: Jun.21(Sun) 16:00-18:00

　　Exhibition: Jun.21 – Jul.09,2009

　　Exhibition Venue: Star Gallery

　　文川 /繪畫(huà)

　　小時(shí)候，他非常崇拜梵高（Van Gogh）、畢加索（Picasso）和達(dá)·芬奇（da Vinci），他曾經(jīng)攢錢(qián)買(mǎi)了本梵高的傳記，在書(shū)上密密麻麻地寫(xiě)下自己的感想，甚至把梵高的話寫(xiě)到書(shū)簽上提醒自己。通過(guò)對(duì)這些藝術(shù)巨匠的了解，文川開(kāi)始感悟到了藝術(shù)家的真正含義。

　　在文川的早期作品中，他使用黑白的點(diǎn)狀筆觸來(lái)表現(xiàn)舊時(shí)的圖像：其中有標(biāo)準(zhǔn)的工農(nóng)兵形象、在北戴河暢游的領(lǐng)導(dǎo)人以及蜿蜒壯闊的長(zhǎng)城。不同大小的黑點(diǎn)造成褪色的效果，似乎暗示著集體主義意識(shí)的凋謝。在近幾年的新作中，文川幾乎放棄了伴隨他幾年的“點(diǎn)點(diǎn)”，轉(zhuǎn)而在黑色輪廓上重疊一層層的顏色。這個(gè)新的做法達(dá)到了絲網(wǎng)印刷的效果，并混合了典型沃霍爾式（Andy Warhol）的波普藝術(shù)感與像素圖片的形式感。從黑白到彩色的轉(zhuǎn)變?yōu)槲拇ㄌ峁┝烁鼜V泛的素材：看上去像是隨手偶得的圖像來(lái)自教科書(shū)插圖、網(wǎng)絡(luò)圖片和自拍的數(shù)碼照片等，包括布達(dá)拉宮、黃果樹(shù)瀑布、過(guò)時(shí)的紀(jì)念雕塑，以及一些難以定義的形象，但依然延續(xù)著一貫的懷舊感。

　　盡管很多觀眾誤以為文川的作品是對(duì)政治的隱喻，但他卻的確對(duì)政治相當(dāng)不感冒。雖然十分在意觀眾對(duì)自己作品的理解，但在文川看來(lái)他的作品注定是游離于普遍意義的藝術(shù)范疇之外的，而他也樂(lè)于這樣做下去。

　　文： 安靜

　　Wen Chuan /Paintings

　　When he was a boy, Wen Chuan reveled in stories of da Vinci, Picasso and Van Gogh; these stories were highly influential on the boy, eventually becoming his artistic compass. When he was ten years old, he saved for months to buy a 13 RMB copy of Irving Stone's biography of Van Gogh "Lust for Life," filled the margins with notes and wrote quotes from the book all over his textbooks––he felt he had discovered the definition of a true artist.

　　Devoted to painting from this early age, Wen Chuan's first paintings as a career artist himself were black and white "pointillist" renditions of nostalgic images such as model workers, the chairman swimming in the Beidaihe, or a mammoth 3-meter landscape of the Great Wall. The different sized dots create faint images that could be fading from a collective memory, or diffusing into space. Following his artistic development, where white space once prevailed on his canvases, bold, primary colors were introduced, and Wen Chuan all but abandoned the "dot" method and began layering thin colors over black outlines of his subjects. This new technique achieved the look and feel of silkscreen prints, blending the language of classic Warholian pop art with the pixilated images that Wen Chuan painted on the canvas.

　　With the transition to color he seems to have embraced a wider selection of subjects; in his latest works, seemingly randomly chosen "found images," from snapshots or encyclopedia illustrations, other found online, are an extension nostalgic themes. Some feature classic landscapes such as the Potala Palace or Huangguoshu Waterfall, others portray silent monuments whose time seems to have passed, still others are images whose significance seems hard to gauge.

　　Despite the political undertones in these works, Wen Chuan is less interested in making statements than getting reactions to his work. He cares obsessively about how people react to his work, and thrives off of critical feedback. He comments, "Some people tell me my art is superficial and vulgar, to the point that it shouldn't be called art. There are also people who say my work is too "profound, "that it is filled with too much metaphor, or that I don't yet understand the world inside of me." But Wen Chuan knows that his works are outside of our average expectations towards art, and he likes it that way.

　　Text:Lee Ambrozy