流動彩虹十周年——熊文韻攝影作品展
　　三影堂攝影藝術(shù)中心系列個展之二
　　藝術(shù)家：熊文韻
　　策展人：張黎
　　開幕酒會：2008年6月21日星期六下午3點
　　展期：2008年6月21日 - 8月2日，10:00–18:00 （每周一休息）
　　地點：三影堂攝影藝術(shù)中心（北京朝陽區(qū)草場地155號A）

　　繼三影堂攝影藝術(shù)中心成功舉辦活動影像和攝影藝術(shù)家趙亮的個展“剎那”之后，“流動彩虹十周年——熊文韻攝影作品展”又呈現(xiàn)給觀眾一個新穎而獨特的視覺體驗。作為一個從藝近30年、多產(chǎn)和活躍的女藝術(shù)家，熊文韻在當代藝術(shù)領(lǐng)域獨辟蹊徑，作品跨越多種形式并自成體系。她善于將個人情感的外化表達與社會人文環(huán)境相結(jié)合，從最原初的個人感受出發(fā)，在與外部世界的結(jié)合中形成一種巧妙的形式和獨特的語言。這些作品不只局限在展廳之內(nèi)，而是在更廣闊的空間中吸引更廣泛的人群，同時又保持著非常單純和直接的力量。

　　熊文韻畢業(yè)于四川美術(shù)學(xué)院國畫系，九十年代曾在日本研習(xí)藝術(shù)并執(zhí)教，期間對色彩構(gòu)成作了深入的研究，并創(chuàng)作了體現(xiàn)色彩秩序的精神性的抽象繪畫?；貒院笏龑⑦@一實驗成果轉(zhuǎn)接到了戶外的自然空間。從1998年開始，她在川藏公路用三年時間先后實施了多次“流動彩虹”這一綜合形式的作品。這一作品包括對公路沿線自然環(huán)境和原生態(tài)建筑以及運輸卡車的裝置性表現(xiàn)，以攝影和錄像的形式留存下來。作品將當代藝術(shù)、社會歷史文化、生態(tài)和環(huán)保、藝術(shù)家與公眾的互動等等方面整合在一起，是一次跨領(lǐng)域、跨學(xué)科的實驗性藝術(shù)活動。

　　熊文韻運用在色彩心理實驗中形成的微妙和充實的情感形式，在藏區(qū)做了一系列的藝術(shù)實驗，開始建立個人心靈與廣闊的自然和社會的對話。高原艱苦的生存條件和脆弱的生態(tài)環(huán)境使她的藝術(shù)探索直接與當?shù)氐淖匀缓腿宋沫h(huán)境聯(lián)系起來，在這一廣闊的地域中，川藏公路跨越金沙江、瀾滄江、怒江以及之間的橫斷山脈，青藏公路則跨越海拔5000多米的高原山口和永久凍土。這些地區(qū)的自然條件異常艱苦，氣候變化劇烈，多地震、泥石流等地質(zhì)災(zāi)害。以藏族為代表的多民族人民在這里形成了獨特的生活景觀和文化形態(tài)。熊文韻所采用的彩虹的圖樣形式可以在當?shù)孛褡宸椧约安貍鞣鸾痰慕?jīng)幡中看到，她正是以這種單純明朗的形式入手，探討現(xiàn)代文明與神秘古老的傳統(tǒng)文明的沖突、人工與自然的對立，以及用藝術(shù)的手法尋求和諧共生的過程。她用序列性的色彩裝飾沿途為汽車加水和修理的小屋，以及對山石、溪流、房屋帳篷等進行各種色彩表現(xiàn)的實驗。在不斷提煉和純化之后，熊文韻把公路線以及流動的運輸卡車和狹小的石頭和土坯房子作為藝術(shù)表現(xiàn)的載體，用彩色蓬布替換了老式的厚帆布車蓬，以及用單純的色彩裝飾房門。她以高原雪域的巨大舞臺展現(xiàn)一種單純的形式，恰當、貼切地將藝術(shù)有機地融入當?shù)氐淖匀缓腿宋沫h(huán)境。

　　處于轉(zhuǎn)變期的中國社會狀況給熊文韻提供了獨特的角度和空間。在個人藝術(shù)實踐的基礎(chǔ)上熊文韻繼而嘗試與更廣泛的社會機制發(fā)生聯(lián)系。在內(nèi)地到西藏的公路沿線，熊文韻和她的同伴們以藝術(shù)作為溝通的橋梁進行了各種環(huán)境保護的宣傳活動，他們舉辦圖片展覽，發(fā)放宣傳資料，征集簽名，邀請觀眾拍攝及時成像照片，以新穎的令人愉悅和興奮的方式同時作用于環(huán)境保護和藝術(shù)欣賞。隨時間、地點、參與者的千變?nèi)f化而出現(xiàn)的偶然發(fā)生的動人場面層出不窮，這些不同人群的多種多樣的參與構(gòu)成了這些藝術(shù)活動的重要組成部分。

　　熊文韻用鮮明而有力的藝術(shù)語言和風(fēng)格樣式作用于快速變化發(fā)展的社會，承載人類內(nèi)在和本質(zhì)的心理內(nèi)涵——對生命的熱愛和關(guān)懷。藝術(shù)創(chuàng)作需要超越常規(guī)的才智和勇氣以及認真而平實的態(tài)度，當代藝術(shù)的新發(fā)展要求藝術(shù)不局限于傳統(tǒng)的媒介和表達方式，藝術(shù)家們需要努力走出各種各樣的束縛和制約，直接面向生活，與廣大公眾交流互動，并且與各種層面的組織和機構(gòu)以及個人廣泛的合作，更大程度地傳播藝術(shù)的影響力。熊文韻并不是一個專業(yè)攝影家，然而她的這些以攝影和錄像呈現(xiàn)的作品具有直接的感染力，給人們帶來了審美的驚喜、愉悅和思考。熊文韻擺脫了藝術(shù)概念的教條化束縛，在創(chuàng)作的過程中不斷整合出人類的心靈軌跡，這種綜合的方式使我們看到了當代藝術(shù)所煥發(fā)出的新的活力。

　　三影堂攝影藝術(shù)中心
　　北京朝陽區(qū)草場地155號（100015）
　　86-10-64322663 / 64319063 / 64319693
　　www.threeshadows.cn

　　Ten Years of Moving Rainbow: Photography by Xiong Wenyun
　　Three Shadows 2008 Solo Exhibition Series
　　Artist: Xiong Wenyun
　　Curator: Zhang Li
　　Opening: Saturday, June 21, 2008, 3pm
　　Exhibition Duration: June 21 to August 2, 2008, 10am – 6pm (closed on Mondays)
　　Venue: Three Shadows Photography Art Centre
　　No. 155-A Caochangdi, Chaoyang District, Beijing

　　Following the success of multimedia artist Zhao Liang’s solo show, “In an Instant,” Three Shadows is pleased to present “Ten Years of Moving Rainbow: Photography by Xiong Wenyun.” A prolific female artist, Xiong Wenyun’s multidisciplinary works link individual emotion with the social environment through a unique, subtle language. Her works are not confined to the exhibition hall, but attract a wider audience through their simple, direct force.

　　Xiong Wenyun graduated from the ink-painting department of the Sichuan Academy of Fine Arts. In the nineties, she studied and taught in Japan, during which time she did in-depth research on the composition of color and created abstract paintings that embodied the energy of color sequences. After returning to China, she brought these experiments outside. Beginning in 1998, she spent three years working on the multimedia project “Moving Rainbow” on the Sichuan-Tibetan highway. The project incorporates installations along the highways with local architecture and motorcades of trucks. Captured through photography and video, this multidisciplinary, experimental project combines contemporary art, society, history, culture, local ecology, environmentalism, and activism by both artist and audience.

　　Xiong Wenyun’s experimental and psychological use of color subtly establishes a dialogue between the individual and the environment in the Tibetan region. Survival in the bitter plateaus and the fragile ecological environment directly influenced the relationship between people and nature in her project. The Sichuan-Tibetan highway crosses over the Jinsha, Lancang, and Nujiang Rivers, and the Hengduan Mountains between them, while the Qinghai-Tibetan highway traverses frozen plains that reach 5,000 meters in altitude. The natural conditions in these areas are unusually difficult, with dramatic changes in climate, earthquakes, mudslides, and other frequent natural disasters. The Tibetan people who live in these areas have created a unique life and culture. The colorful forms that Xiong Wenyun uses can be found in the clothes of the local ethnic minorities or the prayer flags of Tibetan Buddhism. She uses these pure forms to discuss the clash of modern civilization and mysterious ancient traditions, examine the meeting point of man and nature, and explore the practice of harmonious living. Her installations appear as blocks of pure color in the doorways of truck stops, painted stones and tents along the highway, and in motorcades of trucks covered by colorful canvas. The snow-covered plains are a stage for her art form, which melts organically into the local nature and culture.

　　A country in the midst of vast social changes provided Xiong Wenyun with a unique angle and space for her art. Building on her foundations as an established individual artist, Xiong Wenyun attempted to connect with the far-reaching mechanisms of society. Along the road to Tibet, Xiong Wenyun and her partners used art as a medium for communicating practices of environmental protection. They held exhibitions, distributed information, collected signatures, and invited people to take pictures and make photographs. Through these methods, Xiong Wenyun and her team spread environmental awareness and art appreciation. The most important part of her project was the participation of all these different people.

　　Xiong Wenyun uses clear and forceful artistic language to capture the passion for life that is inherent in humanity. Artistic creation must go beyond a status quo attitude; new developments require that contemporary art not be limited to traditional mediums and means of expression. Artists must work hard to break free of the limits that hold them back and face life directly – greater interaction with the public and cooperation with both individuals and organizations will better convey the influential power of art. Though photography is not her only medium, Xiong Wenyun’s works in photography and video possess an infectious strength, in which aesthetic beauty is surprising, joyful, and thoughtful. Xiong Wenyun has broken free of the dogma that so often limits conceptual art; in the process of creating, she has brought to light the spirit of the human heart. Through this comprehensive means, we see a new vitality that can be awakened by contemporary art.

　　Three Shadows Photography Art Centre
　　No. 155-A Cao Changdi, Chaoyang District, Beijing 100015
　　86-10-64322663 / 64319063 / 64319693
　　www.threeshadows.cn