俗姓王

Recommendation for “Family Name Wang”

在“藝術國際”網站開通之際，就有一個網名為“俗姓王”的人每天在干著一件同樣的事：取、展、覽、揉、燒，同一份報紙；然后化灰、合水、調勻；最后畫成一張佛像；一年365天，從沒有停斷。你會很好奇，“他”居然沒有外出過？沒有厭煩過？沒有無聊過？這個人除了每天提供一套反映這個過程的照片之外，從沒有留下過任何文字。我們甚至不知道這個人到底叫什么，住在哪里？這是一件只能發(fā)生在網絡時代的事情。一件毫無意義的行為，由于頑固的、偏執(zhí)狂式的堅持，成為了一個耐人尋味的“過程”。每天發(fā)生在某個偶然時段中的時間“點”被鏈接成“線”，進而具有了一種體現在時間性之中的形式感，并最終將“無意”變成“有意”，從中體現出了作者的價值判斷。

—吳鴻

When the website of “Art International” opens to the public, people can watch on line every day that a man nicknamed “Family Name Wang” doing the same thing: fetching, unfolding, reading, rubbing and burning the same newspaper and then mixing the paper ash with water and painting an image of the Buddha at last, which he does all year through without a stop. You may be very curious about why he needn’t go out and why he even never gets bored. The man leaves nothing but a few photos showing this process. We even do not know what his name is and where he lives. This is something that can only happen in a cyber age. A seemingly meaningless behavior becomes a “process” that provides much food for thought due to the stubborn and intolerant insistence. The time “points” happened accidentally in a certain period are linked to a whole “l(fā)ine”, endowed with visuality reflected in timeliness. Finally the “meaningless” becomes “meaningful”, thus reflecting the artist’s values.

--Wu Hong

管勇

Recommendation for Guan Yong

管勇在70畫家中無疑是特別的，他仍然強調歷史性的宏觀話題，帶有公眾精英的烏托邦情懷，而非70畫家通常的自我化話題。他的畫面，通常以對知識分子的反思為出發(fā)點，具有一種對文化形成歷史的追問意識。黑衣紅圍巾、布幔鋼筆以及零碎的書籍，帶著一種沉重的宗教感，管勇試圖用圖像思考急劇變革的中國，及其背后的歷史成因。從某種意義上說，管勇的畫面呈現出一種設問的修辭結構：往往通過圖像的組合形成問題，并借助圖像表達的象征意味隱喻他的認知結果。如果說，管勇的圖像運用有著與60畫家接近的宏觀話題意識，從而形成了他在70畫家中的獨特性。但他在表達這種意圖的方式上，與60畫家有所不同。60畫家用以表意的圖像多具直接性，符號與語義指向的連接明確，其理性思考帶有激情表達的成分。而管勇對相似問題的思考，則往往不具備答案的確定性，更多呈現出獨立的、自我的審思過程，其理性思考具有冷靜的沉郁，或者說自我的情緒。在這一點上，管勇無疑運用了70自我化的視角完成了與60畫家相似的社會思考。這便使得他的作品，在60話題與70視角中獲得了獨特的表述角度與價值。

——吳鴻

Undoubtedly Guan Yong is very unique among the painters born in the 1970s, for he still emphasizes the historically macroscopic topic with the Utopia feelings of the public elite instead of the personal topic preferred by the ordinary painters born in the 1970s. His paintings start from the reflection on the intellectuals and have a sense of questioning concerning the history of cultural formation. Guan Yong tries to use the images, such as the black coat, red scarf, curtains, pens and some books with a religious atmosphere, to deliberate on the dramatically changing China and the historical reason behind the change. To a certain extent, the paintings of Guan Yong present a rhetoric structure of questioning, i.e. to raise a question through the combination of images and to indicate his cognitive outcome through the symbol of the image representation. Perhaps we can say that Guan Yong’s application of images reflects the sense of macroscopic topics which are preferred by the painters born in the 1960s, thus forming his uniqueness among those painters born in the 1970s. But he is different from the painters born in 1960s concerning the way of expressing his intentions. The images used by the painters born in the 1960s are direct, the connection between the symbol and the semantic orientation being clear and their rational thought showing an element of passionate expression. While Guan Yong’s thinking of the similar questions will not provide a definite answer and only present an independent reflection on himself. His rational thinking is endowed with a calm depression and an emotion of egoism. At this point, Guan Yong certainly completes his reflection on the society the same as that of the painters born in the 1960s through a visual angle of personalization which is very popular among the painters born in the 1970s. All of these offer his works a unique angle of expression and value through the topics of the painters born in the 1960s and the visual angles of the painters born in the 1970s.

--Wu Hong

陳衛(wèi)群

Recommendation for Chen Weiqun

陳衛(wèi)群的《靜物》在水果、蔬菜、器物上畫上水粉，形成了物體繪畫，造成了一種立體雕塑的效果，將繪畫的本質深入到物品上，而不是像傳統(tǒng)那樣，僅僅把畫布、紙張或墻壁看作一個平面、一種質地，在上面畫上圖像。陳衛(wèi)群則是畫出物品本身的質地，力圖造成一種視覺錯覺、一種繪畫與自然對象關系的質疑，觀眾面對的是繪畫？還是物品？而物品如何又被轉換成藝術？等等，這就提出了他對繪畫與藝術之間關系的獨特理解，最終又以圖片的形式將這一思考表現出來，顯示了藝術的層層相扣的遞進關系。

In Chen Weiqun’s Still Life, the fruits, vegetables and vessels are all painted with the gouache to form a drawing of objects, attaining the effect of three-dimensional sculpture. The traditional drawing is only to view the canvas, paper or walls as a surface and texture, and to paint images on them, while Chen Weiqun reflects the texture of the objects of the painting and tries to create a visual misconception and raise a question concerning the relationship between the painting and the natural objects: do the viewers face a painting or an object? How to transfer objects to art?... This shows his unique understanding of the relationship between the painting and the art, and expresses his thinking through his paintings, thus presenting the progressive relation of the art.

關矢

Recommendation for Guan Shi

關矢的這組作品是他在甘肅白銀經過三個多月的調研、訪談、選題之后拍攝的作品。它們不單單是圖像的呈現，而是揭示了圖像背后的社會變遷、經濟興衰。這樣就賦予了圖像更深刻的內容和文本性價值，因此這樣的視覺圖像就具有了言說的強大功能，而非靜止的視覺觀看。關矢的特點就是希望尋找生活中的圖像故事，以此來闡述自己對社會問題的立場判別。

The works of Guan Shi are completed after three months’ research and investigation, interview and topic selection. It is not only the presentation of images, but also the revelation of the rise and fall of society and economy behind the images, which endows the images with profound context and textual value. Therefore the visual images not only can be watched statically, but also have a powerful function of expressing. The characteristics of Guan Shi’s works are to find the stories of images in the daily life and elaborate his judgment of the social problems.

吳夢詩

Recommendation for Wu Mengshi

吳夢詩正如她的名字所寓意的那樣，喜歡想象，喜歡做出沒有關聯的東西，給人一種驚訝或期待。這也是新一代年輕人看待事物的特殊性所致，他們喜歡個性，也喜歡嘗試試驗，在試驗中獲得的快樂是無法用常規(guī)的言語表述的。這種先天的好奇態(tài)度使得吳夢詩像輕快的飛艇，自由暢想，沒有局限，讓自己腦海里飛奔的奇思妙想化為可觸摸、可視覺的奇觀。年輕是否是一筆財富，關鍵在于能不能敢于想象、敢于嘗試。對于吳夢詩，我們鼓勵再鼓勵。

Just as her name indicates, Wu Mengshi likes to imagine and create works without inner connection, which makes viewers surprise and expect. This is also results from the uniqueness of the new generation who like unique individuality and experiments. They will attain much happiness through the experiment that cannot be expressed by language. The born curiosity makes Wu Mengshi a lively aero boat. She can imagine freely and makes her unusual but wonderful thinking become works that can be touched and viewed. If you dare to imagine and experiment, then youth is a treasure for you. So let us highly encourage Wu Mengshi.

張欣、唐然

Recommendation for Zhang Xin and Tang Ran

張欣和唐然作為組合，面對諸多的藝術樣式，試圖擴展藝術表現的媒介，并使之鮮活起來。感覺從來都是藝術上的一道難題，即便是成熟的藝術家也為之絞盡腦汁。張欣和唐然在發(fā)現新感覺、嘗試新體驗方面小試刀鋒，將堅硬抽離，將物質結構軟化，給人以瞬間啟悟的感受，事實上也將藝術的認識陌生化，不以藝術的固有范疇為準繩。所以，如何再再實驗新材料、轉換新方法依然是藝術的入手點。

Facing various styles of arts, Zhang Xin and Tang Ran, as partners, try to extent the media of artistic expression and make it alive. Sensation has been a hard nut to crack even for those mature artists, while Zhang Xin and Tang Ran make every effort to fine the new sensation and try new experience. They take out the toughness and soften the material structure, making people feel enlightened in an instant. Actually they also defamiliarize the perception of art and do not measure the art by inherent rules. Therefore, how to experiment new material and find new methods are still the point for them to set about.

張小濤

Recommendation for Zhang Xiaotao

張小濤在2009年末與北京藝術區(qū)的其他藝術家一道做了一件非常有意義的事情，就是在北京大規(guī)模拆除藝術工作室、侵害了藝術家的法律權利的時候，他們共同倡議發(fā)起“暖冬”計劃。這是一次超越了藝術自身的事件，其意義是又再次地喚醒人們關注生存的環(huán)境、社會的發(fā)展進程以及法律維權意識。藝術在這里并不是最重要的，但藝術家可以賦予自身的行動以藝術的方式，這樣就在合情合法有趣的行為中述說了自己的價值訴求和對社會問題的審判。

At the end of 2009, Zhang Xiaotao did something extremely meaningful with other artists in Beijing: to initiate a plan called “Warm Winter” together when a great deal of art studios were pulled down and the legal rights of the artists were infringed. This is an event that surpasses the art itself, the meaning of which is to ask the general public to pay attention once again to the living environment, the course of the social development and the consciousness of protecting legal rights. Here art is not the most important, but the artists can endow their action with the artistic methods, thus stating their appeal for the values and judgment of the social problems in a proper way.

宋昱霖

Recommendation for Song Yulin

宋昱霖是一位有著極強自我主體性的藝術家。她的繪畫從人物頭像開始，學院派的描繪“完成”以后，再通過各種細小的線條組成網絡，數遍覆蓋原有畫面，最終的結果便是隱約可見的人物與線條網絡的綜合體。她的繪畫既是一種自我否定，也是一種自我確認，恰如自己說到的那樣，“破壞的過程其實就是確定自我的過程”，“作為一個藝術家，畫畫這一種行為本身就是在確認”。

——盛葳

Song Yulin is an artist with strong subjectivity. Her painting of figures starts from the head picture, and after the portrayal with a style of academism, she will from a net of various slender lines and covers the original painting. Therefore what the viewers see at last is a faint mixture of the figure and the net made of lines. Her painting is both self-denial and self-verification. Just as she states by herself: “the process of destruction is also the process of self-verification”, and “as an artist, painting itself is one kind of verification.”

--Sheng Rui

王思順

Recommendation for Wang Sishun

王思順的主要關注點是包括裝置藝術在內的綜合媒介。《合金》是王思順較早的作品之一，從此時開始，他將物質及其不同存在形態(tài)之間的關系轉化作為自己創(chuàng)作的核心，并在其后的實驗中逐步加入對包括“流通”在內的社會規(guī)則的討論，以不確定的未來為目標。此外，時空及其轉換同樣是王思順的主要議題，在《無題》、《重影》等作品中，完整地體現出這一點。

——盛葳

The main focus of Wang Sishun is the comprehensive media including the installation art. The Alloy is one of Wang Sishun’s early works, and since then, he has placed the substance and the change of the substance between different forms in the center of his creation, and gradually added to the discussion of social rules including the concept of “circulation” during the experiments later on, with the uncertain future as his aim. Besides, time and space and their transition is also the main topic of Wang Sishun, which is wholly presented in the works named Untitled and Double Image.

--Sheng Rui