主題：鏡中影像——2008賈穹個(gè)展
　　時(shí)間：2008.05.24-2008.07.01
　　開幕酒會(huì)：2008.05.24 下午15:00-18:00
　　地點(diǎn)：北京市朝陽區(qū)酒仙橋路4號(hào)798藝術(shù)區(qū)E區(qū)E03號(hào)樓三層大象藝術(shù)空間

　　心靈中特有的片段——評(píng)論家眼里的賈穹

　　賈穹是一個(gè)持續(xù)地在畫布上構(gòu)建生命夢(mèng)想的畫家。生命的豐盈、神秘、力量與美好，是他多年來創(chuàng)作中反復(fù)吟唱的主題。寫實(shí)且略帶表現(xiàn)性的手法為畫家所熟練地掌握與使用，那些鮮艷的色彩、灑脫的筆觸、精確的造型、疏密得當(dāng)?shù)漠嬅鏄?gòu)成，向我們展現(xiàn)了畫家繪畫基本功的扎實(shí)和才情的一面。盡管賈穹繪畫的內(nèi)容通常是夢(mèng)幻的、超現(xiàn)實(shí)的，但由于他是以平實(shí)的方式進(jìn)行描繪，這就使得他的作品在形式上具有另一種繪畫的真實(shí)感。

　　——上海美術(shù)館學(xué)術(shù)部 江梅

　　有一位西方的藝術(shù)史學(xué)家曾說過，一切藝術(shù)都是對(duì)遠(yuǎn)古的、朦朧的東西的回憶，藝術(shù)家心靈之中的片段始終同這些來自久遠(yuǎn)的東西須臾不離。對(duì)賈穹來說也是如此，賈穹不一定熟悉他們思想、著作，但他‘心靈中特有的片段’與那些不朽哲人的思想果實(shí)有著同樣的土壤，來自同一個(gè)源流。”

　　——中國油畫學(xué)會(huì)常務(wù)理事 水天中 《生命狀態(tài)——一個(gè)畫家的記憶和幻想》

　　賈穹藝術(shù)簡歷

　　1990年，入駐圓明園畫家村。
　　1994年，被德國慕尼黑“沃斯特沃爾藝術(shù)與收藏基金”選中并簽約。赴德國三年，在慕尼黑先后參加了94年度、95年度、96年度舉辦的“沃斯特沃爾藝術(shù)與收藏基金會(huì)年度展”及其它藝術(shù)活動(dòng)。
　　1998年，在中國美術(shù)館舉辦了《1990—1998賈穹作品展》，同時(shí)參加由中國內(nèi)地的藝術(shù)家舉辦的“中國當(dāng)代十人油畫展”。
　　2001年，參加臺(tái)灣經(jīng)典環(huán)宇畫廊主辦的《精神景象》油畫作品展；參加美國加利福尼亞橙色現(xiàn)代藝術(shù)中心舉辦的《自由之筆》中國當(dāng)代紙上作品展及美國東西方藝術(shù)家協(xié)會(huì)舉辦的代表德國華人藝術(shù)家的《世界名人藝術(shù)展》；臺(tái)灣先見出版社出版《將演化為城市的沼澤——賈穹作品十年》。
　　2002年，在北京世紀(jì)翰墨舉辦個(gè)展“藏匿”。
　　2003年，參加上海海上山藝術(shù)中心“中國視覺”展。
　　2004年，參加德國法蘭克福國際藝術(shù)家博覽會(huì)。
　　2005年，參加北京世紀(jì)翰墨“中國當(dāng)代繪畫藝術(shù)名家作品展”。
　　2006年，參加美國紐約曼哈頓格瑞斯畫廊中國當(dāng)代繪畫藝術(shù)提名展；參加北京“限制與自由” 中國當(dāng)代藝術(shù)名家展；參加北京“宋莊油畫——北京東區(qū)藝術(shù)中心第一回油畫作品展” ；參加北京“2006年中國當(dāng)代藝術(shù)文獻(xiàn)展” 。
　　2007年，參加上海正大美術(shù)館《浮世相考》五人作品展；參加北京宋莊美術(shù)館“宋莊當(dāng)代提名展”；參加北京 上海 廣州 舉辦的“中國－宋莊巡回展”；簽約瑞典諾貝爾藝術(shù)中心。
　　2008年，參加荷蘭阿姆斯特丹“中國當(dāng)代藝術(shù)邀請(qǐng)展”；在北京798大象藝術(shù)空間由中國文化書院主辦“鏡中影像——賈穹個(gè)人作品展”。

　　鏡中影像

　　賈穹

　　人生如鏡。

　　鏡反射出人生環(huán)境、成長心理、社會(huì)影響以及造化弄人。

　　鏡中影像，意境，呈現(xiàn)于畫面，局限的表達(dá)與階段性的思考，美學(xué)與現(xiàn)象。

　　二十年來藝術(shù)創(chuàng)作的歷程改變著與此相關(guān)聯(lián)的人生成長。原本幻想第一自然與人性的崇尚到商業(yè)時(shí)代人與商品價(jià)值的依存與矛盾、人的價(jià)值、商品的價(jià)值乃至人生或者個(gè)人、民族、國家的演化與命運(yùn)，又及櫥窗呈現(xiàn)于畫面，眼睛所見映于腦，變于情，感于心。

　　少年蒙昧的成長，無限希望，各種可能，徘徊于廢園的青春，貧困中的愛情與回憶，商品改變性情的欲望與理想。現(xiàn)實(shí)價(jià)值擠壓所剩無幾的時(shí)間，仿佛身染瀝青，忘卻原本屬于自己生命物種的顏色，諸多元素粘滿身體與心靈的周遭。

　　又見草原，回歸的路途，投身于自然四季的懷抱，離棄當(dāng)代文明與未實(shí)現(xiàn)的城市理想。在興安盟遼闊和堅(jiān)忍的土地上，草原上的人們，白狼的靈魂，構(gòu)建中的家庭，未來不能實(shí)現(xiàn)卻永存于心的路程、蒙古啊……尋求與渴望，片刻出現(xiàn)在面前，轉(zhuǎn)瞬即逝，莽莽迷途與未來，不再回來。

　　多少次欲棄筆從戎，小戰(zhàn)多多，身受重傷又回到藝路、沉默繪畫仿佛修行。圓明園的掙扎，海淀的流浪，慕尼黑的創(chuàng)作，仿佛夢(mèng)境，中國美術(shù)少年又將怎樣，CBD早期單人房的公司到企業(yè)集團(tuán)化，哈爾濱的冬季，齊齊哈爾城市，離異。北京啊北京，博爾濟(jì)吉特的孩子，宋莊畫家村空蕩蕩的房間，遼闊美麗的綠色之海，艱苦草原上的人們，構(gòu)建中的空中家庭。再回藝途，深感疲憊，命運(yùn)又把我蕩回，不能再從事其它……

　　改革變化中，時(shí)代的關(guān)口，輝煌的封建文明，百年屈辱后的璀璨，商品社會(huì)交易的燈火……東方將再崛起于世界……

　　櫥窗盛載于物，影像于眼，人與社會(huì)，偶人擺布。

　　薩滿的內(nèi)容對(duì)于當(dāng)代社會(huì)中的我，盡以蒙昧，仿佛血液中流淌著薩滿生與悲情，愛與憎。這就是我早期的繪畫片面表達(dá)自身難注解的謎團(tuán)。

　　薩滿與歐亞的歷史，阿爾泰通古斯?jié)摬赜趦?nèi)心的希望，匈奴、鮮卑、契丹、女真、蒙古、朝鮮和日本，滿作為被改造者而存留于世的后裔歷史，如臺(tái)階般一層層一步步把延續(xù)推向虛空之中……

　　真實(shí)與虛幻之間

　　賈穹

　　在現(xiàn)實(shí)與虛幻的無限范圍內(nèi)，諸多謎一般的事物引起人們無限的遐想。 面對(duì)這撲朔迷離的世界， 一種價(jià)值觀和責(zé)任感驅(qū)使著我，艱難而誠實(shí)地求索， 并把藝術(shù)形式看作是精神世界的表達(dá)，在象征、隱喻的空間里，透過視覺的觸角，領(lǐng)悟人對(duì)于生命的持久關(guān)注，進(jìn)而通過藝術(shù)表現(xiàn)力使其持久地再現(xiàn)。

　　櫥窗偶人和水沫偶人是我目前使用的載體，我的作品中形態(tài)和表情的多樣性會(huì)引發(fā)觀者不同的解讀，所繪之物不一定完全存在于現(xiàn)實(shí)，但體現(xiàn)了我的主觀意圖。

　　在人類漫長的歷史和社會(huì)演變中，櫥窗作為它特有的符號(hào)涵蓋著所盛載物象的破滅與繁榮，相逢與分離，金錢與真理，情感在生命中的虛無以及充實(shí)…… 雨后迷離的櫥窗，偶人和擺放的各種商業(yè)元素，喚起不一樣的人的不一樣的情感。怎樣的交易，怎樣的奢華，怎樣的璀璨，怎樣的擺脫不掉的城市人的感傷……仿佛象征人類漫長的歷史在時(shí)間中凝固，人們苦難的命運(yùn)，人生的無奈和身陷囹圄般的不自由。

　　水沫偶人影映著生命，光怪陸離的未知水面托舉著它所有附著的生命和浮來之物，人對(duì)于玩偶的同情折射著著人本身同樣的遭遇，水沫上閃爍其間的波光被濃情所籠罩著。那水沫中漂泊的玩偶在每一個(gè)不同的境遇、每一個(gè)不同的時(shí)間，引起人們不同的情感。去向哪里，最終的歸期，懸浮于水中的迷離波光，怎樣的幸福、怎樣的逃離、怎樣的放縱、怎樣的隨波逐流，怎樣的消失于黑暗亦或升華到光明。

　　不直接性的表達(dá)、象征的意義，系列的效果以及在生命創(chuàng)作中的爭取完善和追求終極。日月欲明，浮云蓋之；河水欲清，沙石穢之；人性欲平，嗜欲害之，玻璃物象與人的隔閡，櫥窗模特與商品對(duì)于人的引誘和挑釁，反射在物象表面的真實(shí)與虛假，精神與肉體的欲望所呈現(xiàn)出的痛苦，商品世界里人們之間的交易，誘惑和距離，最后的虛無和浮華，象征著擺脫不掉的當(dāng)代人所處的現(xiàn)狀和情感，以及東西方文化的碰撞、交融乃至和諧共處。

Special Segment In Heart

Jia Qiong In Critics’ Eyes

Jia Qiong is an artist who continues to construct dream of life on the canvas. Life, which is rich, mystic, powerful and beautiful, is his favorite theme repeating on his canvas in recent years.

Realism and expressionism are skillfully used by him. It shows us his talent and basic skill by its bright color, handsome brush, exact model and the appropriate space. His work has a different realistic sense in its form because it was described in a mild way, although their content is often dreamlike and surrealistic.

By Jiang Mei

Academy Department of Shang Hai Art Museum

An art historian said art is memory on ancient and dim things, which segments in artist heart always follow closely to. To Jia Qiong, it is too. He maybe doesn’t familiar with their thoughts and works, but the “special segment in his heart” derived from the same origin with the immortal philosopher.

Life State, Memory And Delusion Of An Artist

By Shui Tianzhong

Executive member of Oil Painting Institute of China

RESUME

1990 Entering Yuan Mingyuan Artist Village.

1994 Selected by “Worsterwall Art and Collection Fund” Munich of Germany, Stayed in Germany for three years, Participated in its annual exhibitions and other art activities from 1994 to 1996.

1998 1990-1998 “Jia Qiong Exhibition”in Art Museum of China. And participated in “Chinese Contemporary Oil painting Exhibition of Ten Artists” in the same year.

2001 Participated in the exhibition “Scenery of the Spirit” held by Classic Huan Yu Gallery of Taiwan. Participated in the exhibition “Brush of Freedom” held by Orange Modern Art Center in California, US. And “World Personage exhibition” held by Eastern and Western Artists Association of US which presents Chinese artists in Germany. Evolve To Be Marsh Of The City, Jia Qiong’s Works Of Ten Years published by Prevision (Xian Jian) publishing house.

2002 Solo exhibition “Hiding” century hanmo(brush and ink) of Beijing

2003 Participated in “Chinese Visual” by Mountain On the Sea Art Center in Shanghai.

Participated in Artist International Fair of Frankfurt.

2004 Participated in “Chinese contemporary art exhibition of virtuoso” held by century hanmo(brush and ink) of Beijing

2005 Participated in “Chinese contemporary art nomination exhibition” in Geris (Ge Rui Si) gallery of Manhattan, New York. Participated in “Restriction and Freedom” of Beijing. Participated in “Oil Painting of Song Zhuang, the First Round Exhibition of East Area Art Center of Beijing”. Participated in “Contemporary art documentary exhibition 2006”

2006 “Various Looks of Multitudes” Five Artists Exhibition held by Shang Hai Zen Dai Museum of Modern Art. Participated in “Contemporary Art Nomination Exhibition “in Art Museum of Songzhuang. “Travelling Exhibition of China-Songzhuang”in Beijing, Shanghai, Guangzhou. Signed Contract with Nobel Art Center of Sweden.

2008 Participated in “Contemporary Art Invitation Exhibition of China ” in Amsterdam. “Image In Mirror, Jia Qiong Solo Exhibition” hosted by culture college of China in Dax Art Space in 798.

Image Behind Mirror

Jia Qiong

Life is like mirror.

By which surrounding of people, growing psychology, influence by the society and the nature creation can be reflected.

Art has changed life state of human for the last twenties years, which are presented on canvas through shopwindows. What saw by eyes reflected in brain, changed the mind, moving the heart. Commodity has changed desire and ideal, the momory for love in poverish, youth wandering in the deserted gardern, spaceless hope and various capabilities. Reality pressed against time. People were like dyed by asphsltum and forgot their origin color.

Caught sight of grassland again, devoted into embrace of nature, and gave up contemporary culture and unconsummated ideal of city. People on the grassland, white wolf, family in the process of constructing, Mongolia. Never went back from the wrong path.

Many times I have given up brush to fight, but injured badly and came back again, painting silently like beliefe. Struggling in Yuan Ming Yuan art village, wandering in Hai Dian, painting in Munich, all those are like dream. And then from small company in CBD to collectivized company, the winter in Haerbin, Qi Qi haer, devorce. Beijing, the son of Bo-Er-Ji-Ji-Te (a household of Man), empty studio of songzhuang, beautiful green sea, people on the grassland, family in the air. Came back to art, I will never engage in others.

In the prosess of reform, pass of time, splendish after centuries humiliation, lights of commodity transaction, east will grow up in the world again.

The content of shaman to me is ignorant. I feel sadness, love and hatress of shaman are flowing in my body. This is what I expressed in my earlier work, the puzzles difficult to interpret.

The history of shaman and Eurasian, the desire of Altay Tungus, Hun, Xianbei, Khitan, Juchen, Mongolia, Korea and Japan, Man has survived after modification, which like the stairs went to none step by step, layer by layer.

Between the Reality and Transience

Jia Qiong

Many puzzles brought people imagination both in reality and transience space. I was propelled by a responsibility to pursue hardly and honestly. And regard art as spirit, through which we can read life and then re-create it everlastingly by simbol and metapher way.

Shopwindow dolls and foam dolls are the carriers whose style may initiate different interpretations from the spectators. What I paint maybe not exists in reality but reflect my intention.

Shopwindow has many special elements such as booms and slumps, coming across and separation, money and truth and also vanity and rich of the emotion. Shopwindow dolls call out different feeling of different people by their different ways to be put.

Business deal, luxury, resplendent and obsessional sentiment can be seen in the shopwindow dolls. The shopwindow can show dark destiny, life helplessness and discomfort just like time frame fixing.

Magic water surface bears all the floating life. Shimmering flashes on the foam and surrounded by deep passion, which reflected same experiences of human being. Different status, different time cause different feeling of people. Where to go? What the final aim? Happiness, getting away, Drifting and Wandering, disappear in the darkness or sublime to brightness.

I use indirect way to express symbolistic meaning. Cloud makes the sun and the moon can’t show the brightness, the sand makes the river can’t be clear, greed make people can’t be calm. The gulf between people and things behind the window, the model and commodity teasing people reflects the emotion and situation of modernist and even collide, mingle and even harmony between east and west.