這個團隊，又要弄一個藝術圈大事件

大家還記得去年，給大家推的一篇福利文章嗎？說的是一個年輕團隊，集齊了七顆龍珠，哦不，集齊了中國當代最全的一流水準的水墨藝術家，在民營美術館的頭牌（今日美術館）做了一場名為《中國當代水墨年鑒展（2015-2016）》的展覽 ，那篇文章在下面，沒看過的朋友可以回顧下：

今年

他們又來啦：

近一個多世紀以來，中國處於一個劇烈變革的時代，中國水墨藝術進入不斷反思、變革、創新的階段，一大批仁人志士開始積極探索、實驗，持續至今，形成風格各異、蔚為大觀的當代水墨風貌。

2017年4月25日至5月28日，四川美術學院美術館將舉辦題為「無垠：行進中的水墨運動——中國當代水墨年度大展（Boundless: Ongoing-Chinese Ink Art 2017）」，本次展覽由國際知名學者、著名策展人沈揆一教授親自擔綱，邀請了海內外37位最有代表性和影響力的中國當代水墨藝術家共同參與，將為大家呈現一場中國當代水墨的饕餮盛宴。

中國當代水墨藝術家們從東西方、古今藝術中汲取養分，為傳統的水墨媒材尋找到新的方向，延續中國傳統藝術的生命。尤其是改革開放以來，當代水墨畫家在新潮藝術觀念影響下，不僅表現出中國水墨獨有的氣質和傳統，還賦予了傳統水墨以當代觀念與精神，在傳統與當代、東方與西方之間找到了一個準確的結合點，呈現出不同於以往的面貌與形態，豐富了水墨這一語言形態的表現力，表現出當代人的思想、審美情趣和觀念。在此背景下，富有鮮明個人風格的藝術家和作品層出不窮，也形成當代水墨的中堅力量。本次展覽「無垠：行進中的水墨運動——中國當代水墨年度大展」目的就在於通過較為全面的展現與梳理，呈現當代水墨的中流砥柱和多樣化的創新面貌。

「Boundless: Ongoing -Chinese Ink Art 2017」Opening Soon

For more than a century, China has been in a period of dramatic change. Chinese Ink Painting has entered a stage of continuous reflection, change and innovation. A large number of people with lofty ideals have been actively exploring, experimenting Chinese Ink Painting and continuing to form different styles and present a magnificent sight.

Art Museum of Sichuan Fine Arts Institute will hold a large exhibition titledBoundless: Ongoing-Chinese Ink Art 2017from April 25 till May 28,2017. Prof. SHENKuiyi, an internationally renowned scholar will be the curator of the exhibition and he will invite 37 most representative and influential Chinese Ink Painting artists at home and abroad to participate the exhibition, showing a feast of Chinese Ink Painting.

Chinese contemporary ink Painting artists absorb nutrients from art of the East and West, from the ancient and modern art.Especially since the implementation of the reform and opening-up policy, with the influence of the trendy artistic concept,contemporary Chinese ink artists not only show the unique characters and traditions of Chinese ink painting, but also endue the traditional ink with the contemporary concept and spirit, finding an accurate combination point between the traditional and contemporary, the East and the West, showing a different face and form from the past, enriching the expression form of ink and presenting the thinking,aesthetic taste and ideas of the modern people. In this context, artists and works full of distinctive personal style are springing one after another. The aim of the exhibitionBoundless: Ongoing-Chinese Ink Art 2017is to present the mainstay and the diverse innovative looks of contemporary ink through a more comprehensive show.

無垠：行進中的水墨運動

——中國當代水墨年度大展

Boundless: Ongoing-Chinese Ink Art 2017

策展人Curator：沈揆一SHEN Kuiyi

展覽總監Director：張宗喜ZHANG Zongxi

展覽時間Duration：2017.4.25 - 5.28

開幕時間Opening Reception：2017.4.25 18:00

學術論壇Forum：2017.4.25 15:00

展覽地點Venue：

四川美術學院美術館

Art Museum of Sichuan Fine Arts Institute

重慶市沙坪壩區大學城南路56號

No. 56, The South Road, University Town, Shapingba District, Chongqing

401331, China

參展藝術家：

Participating Artists

阿海 AHai

丁小真DING Xiaozhen

馮斌 FENG Bin

谷文達 GU Wenda

藍正輝 LAN Zhenghui

李華生 LI Huasheng

李華弌 LI Huayi

李津 LI Jin

李婷婷 LI Tingting

梁巨廷 LIANG Juting

劉國松 LIU Guosong

盧輔聖 LU Fusheng

陸春濤 LU Chuntao

潘公凱 PAN Gongkai

彭薇 PENG Wei

仇德樹 QIU Deshu

丘挺 QIU Ting

沈勤 SHI Jiazhuang

譚軍 TAN Jun

田黎明 TIAN Liming

王川 WANG Chuan

王冬齡 WANG Dongling

王璜生WANG Huangsheng

王勁松 WANG Jinsong

王天德 WANG Tiande

魏青吉 WEI Qingji

武藝 WU Yi

徐冰 XU Bing

徐華翎 XU Hualing

徐樂樂 XU Lele

徐累 XU Lei

章燕紫ZHANG Yanzi

鄭重賓 ZHENG Chongbin

周晉ZHOU Jin

周京新 ZHOU Jingxin

朱偉 ZHU Wei

鄒操ZOU Cao

主辦Host：

四川美術學院美術館Art Museum of Sichuan Fine Arts Institute

謀道文化MOUDAO Fine Arts

大川文化DACHUAN Culture

出品人Producer：張凱ZHANG Kai

策展助理Assistant Curators：陸嘉穎LUJiaying邵筆柳SHAO Biliu

視覺設計Visual Director：李劍LI Jian

』

無垠—行進中的中國水墨

沈揆一

水墨繪畫語言的拓展一直是中國藝術家面臨的一個重要挑戰。尤其是自20世紀以來，希望在中國傳統水墨繪畫中有所突破和有所創新的藝術家無不在這方面進行探索。1980年代我們開始運用「水墨」這一概念，就已經明確地、有意識地試圖將這一類實踐與傳統的「國畫」加以區別，並與當時的「現代化」和「國際化」進程加以鏈接。這在當時中國經歷了數十年的封閉之後步入現代化進程中有著特殊的政治上和實踐操作上的需求和必要性。藝術的發展軌跡也就像我們在坐標上的移動，任何時間都離不開縱向和橫向的定位。但我們的藝術發展在很長時間裡它應有和可能的橫向比較被屏蔽，縱向的追溯又遭扭曲或阻隔，所以「水墨」的提出一開始就面對和承擔著雙向的指代、挑戰和壓力，但它基本上還是在自20世紀上半期就已開始的「傳統」與「現代」、「東方」與「西方」、「具象」與「抽象」、「民族性」與「世界性」等簡單二元對立的框架和自身的語言體系內的討論。然而中國藝術在20世紀90年代步入國際舞台後，坐標上的橫向指標全部展開，中國藝術作為多元文化中的一元，它的文化身份屬性很自然地得到了關注。中國的當代藝術不由自主地進入到這一建構中國文化身份的進程中。但同時，在共時性的空間關係中，跨文化的傳播和影響也帶來了如何在多元的世界文化中建立民族和中國身份的切實問題。中國的當代藝術不是一種被動表現的載體或被讀的文本，而是一個主動參與創造歷史的文化載體，社會或主體身份形成的過程。當代的水墨實踐在它擺脫了狹隘的媒材、畫種的界定後，進入一個更為廣闊的藝術表現的空間。媒材的選擇和表達的方式從來就不是藝術表現的最終目的。水墨同其他的藝術形式一樣，成為這一文化自覺建構進程的一個重要組成部分。

這次參與《無垠：行進中的水墨運動》展覽的三十七位藝術家在年齡上跨越了三代。有在五、六十年代即開始向舊傳統進行挑戰、開創現代水墨運動的劉國松，還有一大批在八、九十年代開始參與並經歷了中國當代水墨實驗發展全過程的中堅藝術家，更有一些為畫壇帶入新風的新進實踐者。展覽以《後經典》、《幻象》、《象外》、《塵世》、和《越界》五個部份對當代水墨的發展做了一個不嚴格的分類，其中顯然有很多跨界或重疊。這些作品分別展示了中國水墨藝術家們在更為寬疏的當代語境中自如地運用水墨性話語重新詮釋經典的傳統水墨，展露他們的觀感世界，描述各自的人文景觀，表達對生活和生命的關注，揭示對精神世界的求索。《後經典》部分的藝術家們將中國筆墨原有的傳統價值標準同現代的審美與藝術觀賞方式加以對接，各自對古代文人畫的文化修養和精神格調以及對筆墨形式語言本體價值的建構作出了獨到的詮釋。《幻象》中的畫家們將個人、社會、文化、歷史的記憶和認知以荒誕、 幽默、 象徵和幻覺的圖式轉述在畫面上，假借虛擬、隱喻的的幻象世界來訴求他們的認知和理念。《象外》部分則展示了中國藝術家們在抽象繪畫領域的探索。無論是對中國傳統繪畫和書法中抽象元素的提煉還是對西方抽象主義藝術觀念的借鑒和挪用，以水墨的形式對抽象作出新的詮釋。《塵世》部分的畫家更注重直接介入當下社會生活， 以「入世」的態度，假借客體或自身代入，化形為象，以象喻世，表達了對人生、人身、生命、生活和慾望的關注以及對當下社會諸象的強烈批判意圖。《越界》中的作品則充分展示了水墨藝術創作的多元性，從觀念、形式語言、 材料多種角度對傳統界域的挑戰，以及水墨藝術語言的拓展。

當然，此次展覽中展出的藝術家的作品只是中國當代水墨中具有代表傾向的一些重要部份。他們各自用獨特的方式提出對傳統或現代的質疑，無論觀念形態還是圖式語境都在當代社會中得到拓展，體現了社會文化的當代性，也展現了水墨藝術領域發展的無限可能性。

Boundless-Ongoing Chinese Ink Art

SHEN Kuiyi

How to develop and expand the pictorial and technical language of ink painting has always been a challenge for Chinese artists. Particularly since the beginning of the twentieth century, innovative artists who sought breakthroughs within traditional Chinese ink painting have constantly explored new possibilities. The term 「ink art」 entered the artistic discourse of mainland China in the 1980s, conceptually differentiating it from the practices and traditions of 「Chinese painting」 and linking it with the process of 「modernization」 and 「internationalization」 then underway. In the particular political and practical context of the time, as China began its process of modernization after decades of isolation, this had its necessity. If the trajectory of art were to be tracked by its synchronic and diachronic coordinates, every moment would have a point in relationship to the horizontal and vertical axes. For a quite long time, artistic developments in China, however, were shielded from necessary and possible latitudinal comparisons with the outside world, and longitudinal comparisons with China』s own history were manipulated or distorted. As a result, from its inception, the concept of 「ink art」 was faced with pressure on both axes of reference, that is to say, the global and the historical. The internal discursive system of Chinese art was still locked into simplistic binary oppositions that had developed in the framework of early twentieth century debates: tradition vs. modernity, east vs. west, concrete vs. abstract, and national character vs. universality. When Chinese art walked onto the international stage in the 1990s, however, it was fully exposed to potential horizontal comparisons, and as one part of a pluralistic global culture, its cultural identity naturally attracted attention. Contemporary Chinese art inevitably was thrust into this process of constructing a Chinese cultural identity. At the same time, however, in this open conceptual space, transmission and influences across cultures also brought out the practical issues of how to establish a national identity in this pluralistic global culture. Rather than a vehicle for passive expression or a text to be read, Chinese contemporary art is a cultural and economic carrier that is actively engaged in creating history; it is also a process of forming social and subjective identity. After breaking the boundaries of medium and genre, contemporary ink enters a much broader space of artistic expression. The choice of medium and means of expression are never the ultimate goals of art.Ink art, like other forms of art, becomes an important part of the process of constructing cultural consciousness.

The thirty-seven artists participating in 「Boundless-Ongoing Chinese Ink Art」 span three generations. Some, like LIU Guosong, who led the modern ink movement, have been challenging the status quo since the 1950s. A larger group participated in and experienced the entire developmental process of the contemporary experimental ink movement of the 1980s and 1990s. Finally, a younger cohort of practitioners who matured in the digital age bring a new sensibility into their art. The exhibition has organized the development of the contemporary ink movement into five large rather loosely defined, intersecting, and sometimes overlapping categories:Post-Classical, Fantastic, Non-Objective, Secular, and Boundary-Crossing. These works demonstrate the ways Chinese ink artists are freely, within the broad discourse of contemporary art, using the vocabulary of ink to reinterpret classical ink painting, convey their perceptions of the external world, express their concern for human life, and manifest their spiritual pursuits. Artists in the 「Post-Classical」 section establish a linkage between traditional standards of value and modern aesthetics and modes of artistic appreciation. All reinterpret the self-cultivation and spirit of literati culture and even the value system attached to the basic language of brush and ink. 「Fantastic」 artists convey their individual social, cultural, and historical memories and consciousness to their artworks with absurd, humorous, symbolic, or illusionary images, adopting virtual or metaphorical fantasy worlds to present their perceptions and beliefs. The 「Non-Objective」 section displays the explorations of Chinese artists in the field of abstract painting. Regardless of whether they refine the abstract elements of Chinese traditional painting and calligraphy or appropriate concepts of Western abstract art, they use ink to create their new interpretation of abstraction. The artworks in the 「Secular」 section are more directly related to contemporary society and life, with a temporal attitude, expressing their concerns about human life, the human body, and human desire, as well as strong criticism of the various phenomena of contemporary society. The artists in the 「Boundary-Crossing」 section fully demonstrate the creative pluralism of ink art. They challenge tradition from multiple angles, including conception, formal language, and materials, thereby expanding and developing the formal language of ink art.

Of course, the artworks shown in this exhibition do not represent all of the important trends in contemporary ink art. They each use a unique way of questioning tradition or modernity, and regardless of whether conceptual or representational, they all embody the contemporaneity of society and culture and demonstrate the boundless potential of ink art.

了解了信息，有興趣的小夥伴，可以抽空去看展覽了。。好了！~就醬~

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