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相遇此在 | 殷双喜: 策展人前言

2019-03-15 19:20:00 来源: 北京民生现代美术馆 作者:北京民生现代美术馆 
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摘要:相遇此在——庞茂琨艺术展2009-2019前言殷双喜在中国当代油画家中,庞茂琨因其精湛的古典油画技巧而备受画界好评。但是,庞茂琨不是通常意义上的写实画家,他对于西方古典油画的研究不是简单的模仿,而是在深切了解西方油画史的基础上,寻求自己的独特思想、语言和技法。多年来,他坚持探索古典油画语言在当代文化…



相遇此在——庞茂琨艺术展2009-2019

前言


殷双喜




在中国当代油画家中,庞茂琨因其精湛的古典油画技巧而备受画界好评。但是,庞茂琨不是通常意义上的写实画家,他对于西方古典油画的研究不是简单的模仿,而是在深切了解西方油画史的基础上,寻求自己的独特思想、语言和技法。多年来,他坚持探索古典油画语言在当代文化情境的表达与呈现,将创作熔铸于当下社会现实之中。他以冷静的观看者身份凝视和描述现实,原本静穆和谐的古典画风被他赋予了一种陌生感和距离感,从而发展出一种以写实语言为基础,具有象征主义和超现实主义特征的现代绘画。庞茂琨的艺术理想和气质不仅代表着个人风格的建构,同时也指向“中国油画在当代艺术中的价值和意义”这一具有历史性的研究课题。



相遇此在——庞茂琨艺术展(2009-2019)展览现场



庞茂琨从艺40年的生涯,与20世纪下半叶以来中国艺术从封闭走向开放、从单一走向多元的历史变迁紧密相关。近十年来庞茂琨举办了多次重要个展,如 “今日之神话Mythology of Today”(2010,上海)、“不动声色的凝视Gaze in Silence”(2011,广东)、“浮世·游观Viewing the Floating World”(2013,北京)、“迷宫:庞茂琨艺术中的视觉秩序与图像生产Maze:Visual Order and Graphic Production in Pang Maokun's Art”(2015,北京)、“手绘之谜The Mystery of Freehand Sketching”(2016,武汉)、“折叠的伊甸园Fold-away Eden”(2017,长沙)、“历史的现实性Realistic History”(2018,意大利佛罗伦萨)等。这些展览体现了庞茂琨对国家和民族发自内心的热爱,对人民的生活和命运充满关注与同情。一切当代性总是根植于历史和古典之中的,庞茂琨将油画这一西方传统艺术方式与中国的具体现实图景进行文化比较,其中既有中国如何与世界相处相融,又有如何超越西方话语,突显中华文化特色的问题。庞茂琨的作品既体现了他对于普通百姓日常生活的观看与研究,也体现了他认为“具像油画”在反映时代、促进中国当代文化发展中的不可替代的价值。他的具像油画直指历史与现实,生动地反映了这个时代复杂多变的社会景观和人民形象。



相遇此在——庞茂琨艺术展(2009-2019)展览现场



这个展览是庞茂琨十年来艺术创作的汇总与回顾,展出了他的主要创作成果,让我们与他的艺术不期而遇。展览体现出庞茂琨旺盛的创作力、积极的创新意识和精到的绘画品质,意在突出庞茂琨艺术中的“审美理想”与“中国精神”以及“人的主题”,揭示文艺复兴以来西方文化中的“人文理想”与中国当代知识分子画家的“人文关怀”在艺术创造中的意义。展览中的丰富作品与鲜明风格,表达了庞茂琨与时俱进的生活感受与思考,即海德格尔所讨论的“存在的展开”。正是这种“此在”打开了遮蔽的存在,“把各种生命及其关联方式聚拢起来,合成一体。在这潜在的关联中,生死、祸福、荣辱等,俱以命运的形态展现在人类面前。而这一关联体系包容的范围,即是这一历史民族的世界。”我们在庞茂琨的作品中与“此在”相遇,它呈现在庞茂琨十年来不同时期的创作主题中,这其中有巧合、邂逅、游观、过客、镜像、穿越等,既是古今中外的相遇,也是现实与理想的相遇,生命的底蕴由此敞开,生活的意义也内涵其中。



相遇此在——庞茂琨艺术展(2009-2019)展览现场





The Encounter with There-Being

The Solo Exhibition of Pang Maokun‘s Artworks

Preface


Yin Shuangxi




Pang Maokun is praised for his sophisticated classical oil painting technique among Chinese modern oil painters. However, He is not a common realistic painter and his study on the western classical oil painting focuses on pursuing his own unique thinking, language and technique based on his understanding of the history of the western oil painting rather than imitates the classical art images. He keeps exploring the expression and presentation of classical oil painting language in the modern cultural context and integrates his own artistic creation into the reality. He gazes and describes the reality as a detached onlooker, which adds a sense of strangeness and distance to the originally quiet and harmonious classical painting style to create a kind of modern painting of symbolism and surrealism based on the realistic language. Therefore, Pang Maokun’s artistic ideal and temperament not only represent the formation of his own style but also point at this historic subject “the value and significance of Chinese oil painting in the modern art.”

Pang Maokun’s forty-year painting career is closely related to the historical changes of Chinese art from exclusiveness to openness and single to variety in the late twentieth century. In recent ten years, he has held many important solo exhibitions such as Mythology of Today(2010, Shanghai), Gaze in Silence(2011, Guangdong), Viewing the Floating World(2013, Beijing), Maze: Visual Order and Graphic Production in Pang Maokun’s Art(2015, Beijng), The Mystery of Freehand Sketching(2016,Wuhan), Fold-away Eden(2017, Changsha), Realistic History(2018, Florence, Italy). These exhibitions demonstrate Pang Maokun’s passion for his country and people as well as his compassion and attention to the life and destiny of common people. The contemporaneity comes from the history and classics, Pang Maokun makes cultural comparisons between oil painting this western traditional artisitic form and Chinese reality, which refers to how China gets on well with the world and highlights Chinese cultural characteristics by transcending western discourse. His artistic works demonstrate his observation and study of the common people’s daily life as well as his emphasis on the irreplaceable values of “concrete oil painting” in reflecting the times and advancing the Chinese modern culture development. His concrete oil painting points out the history and reality, which vividly reflects the complex social landscapes and people’s images in this time.


This exhibition is the summary and review of Pang Maokun’s ten-year artistic creation, which exhibits his main creation works and offers us an opportunity to encounter with his works. This exhibition shows Pang Maokun’s vigorous creativity, active innovation consciousness and sophisticated painting technique in order to highlight the “aesthetic ideal” “Chinese spirit” and “the theme of human” of his art and reveal the significance of “humanistic ideal” of western culture since the Renaissance and “humanistic care” of Chinese modern intellectual artists in the artistic creation. The abundant works and distinctive styles of this exhibition demonstrate the updating life experience and thought of Pang Maokun, and that is “the unfold of the existence” called by Martin Heidegger. It is “Dasein” that unfolds the sheltered existence, “which gathers all kinds of lives and their association ways into one entity. These potential associations like life and death, weal and woe, honor and disgrace are emerged in front of human in forms of destiny whose coverage is the whole world.” We encounter with “Dasein” in Pang Maokun’s artistic works, which is reflected in the creation themes of different periods in Pang Maokun’s ten-year creation such as Coincidence, Encounter, Viewing the Floating World, Passerby, Mirror, Time-travel, it is the encounters of the ancient and modern as well as the  reality and dream and entails the meanings of life and living.


Exhibition Curator: Yin Shuangxi

                                                February 15th, 2019



关于文章作者







殷双喜, 江苏泰州人。1991毕业于西安美术学院,美术理论硕士;2002年毕业于中央美术学院,美术史博士。曾参与策划“中国现代艺术大展”(1989)、中国美术批评家提名展(1993,1994)、“东方既白:20世纪中国美术作品展”(2003,巴黎)等展览。曾任第11届、第12届全国美展评委(2009,2014),第6届“艺术中国”AAC评委会主席(2011),第55届威尼斯双年展中国国家馆评委(2013),CCAA中国当代艺术奖评委(2014),第4届中国油画双年展(2018)。


出版专著《永恒的象征:人民英雄纪念碑研究》(2006)(2007年获第一届中国出版政府奖图书奖提名奖,2009年获首届中国美术奖·理论评论奖)、《现场:殷双喜艺术批评文集》(2006)、《对话:殷双喜艺术研究文集》(2008)、《观看:殷双喜艺术批评文集2》(2014)、《殷双喜自选集》(2014,北岳文艺出版社)。主編《吴冠中全集·第4卷》、《周韶华全集·第7卷》、《黄永玉全集·第2卷》、国家重点图书《新中国美术60年》(分卷副主编)、《20世纪中国美术批评文选》(2016,河北美术出版社)等。


现为中央美术学院教授、博士生导师,《美术研究》主编、中国油画学会《油画艺术》执行主编、国家近现代美术研究中心研究员、中国美术家协会理事、中国文艺评论家协会理事、中国雕塑学会副会长。



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相遇此在——庞茂琨艺术展2009-2019

展览时间  2019.03.09-2019.04.16 

地点  北京民生现代美术馆二、三展厅 

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