走进艺术家 | 【我自然 With Nature】之 方力钧 & 曾小俊

----中国玩世写实主义的代表者方力钧无意活成了当下时代的文人——自1988年以来开始所创造的“光头泼皮”的形象，以玩世、泼皮幽默的艺术语言有力抨击了自80年代末起中国社会中弥漫的乏味、沉闷、无奈生存状态，刻画出向往精神自由的时代诉求。

----Fang Lijun, the representative of China's cynical realism, truly lives as a literati of the current era. His "shaved head" image created in 1988 has effectively attacked the boring, dull and helpless living conditions in Chinese society since the late 1980s, which cynically captures the generational demands for spiritual freedom.

“玩世写实主义中的精神自由”

The Spiritual Freedom in Cynical Realism

方力钧，1963年生于河北邯郸，1989年毕业于中央美术学院版画系，著名艺术家，中国当代玩世现实主义代表人物之一。作为中国千万元级的当代艺术家，方力钧与王广义、张晓刚、岳敏君并称为“当代艺术F4”，他的“光头”人像以玩世、泼皮幽默的艺术语言有力抨击了自80年代末起中国社会中弥漫的乏味、沉闷、无奈生存状态，刻画出向往精神自由的时代诉求, 成为国际艺术界最受瞩目的中国当代艺术代表之一。

Fang Lijun was born in Handan, Hebei in 1963 and graduated from the Printmaking Department of the Central Academy of Fine Arts in 1989. As one of the most famous artists of contemporary Chinese cynical realism, Fang Lijun aligns with Wang Guangyi, Zhang Xiaogang and Yue Minjun , constituting the most expensive artist group in China--“the Contemporary Art F4”. His "shaved head" image created in 1988 has effectively attacked the boring, dull and helpless living conditions in Chinese society since the late 1980s, which cynically captures the generational demands for spiritual freedom and thus makes him became one of the most highly regarded representatives of Chinese contemporary art in the international art world.

 有力量的版画 

方力钧 Fang Lijun

(左) 2016 (/100), (右)2017 (/18)

 木刻版画 Woodblock Print

80x60cm / 244x122cm

2016 / 2017

方力钧在90年代后期以来，制作了多幅巨大的版画，方力钧学版画出身，他一直期望在版画是上有所突破，版画尤其木刻，历来适合制作小品，诸如书籍插图之类，而方力钧的版画追求完整的独幅创作，和威武气派。方力钧的版画迥异于油画、丙烯的无笔触感，表现力极强，显示出是一种搏击的力量和动感。

Since the late 1990s, Fang Lijun has produced a large number of large-scale prints. After studying printmaking at University, Fang Lijun hopes to make further breakthroughs. The printmaking technique, specially woodcuts, have always been suitable for making small pieces, such as book illustrations, however, Fang Lijun pursues a sense of completeness, uniqueness and strength in his printmaking works. Fang Lijun's prints are different from oil paintings and acrylics' pen-free touches---They are extremely expressive, manifesting ower and dynamics. 

 光头形象 

方力钧 Fang Lijun

2017 (/68)

 木刻版画 Woodblock Print

60x80cm 

2017

方力钧作为中国后89新艺术潮流最重要的代表，与这个潮流的其它艺术家共同创造出一种独特的话语方式——玩世写实主义。方力钧在他1988年最早创作的《素描NO.1—3》，就出现了他延续至今的符号——光头。

Fang Lijun, as the most important representative of China's post-89 new art movement, together with other artists of this trend, have created a unique way of discourse - cynical realism. Fang Lijun's "Sketch No. 1-3", which he first created in 1988, appeared the symbol that he continued to this day - the shaved head. 

方力钧 Fang Lijun

2013-2015 (/18)

 木刻版画 Woodblock Print

244x122cm

2015

在艺术语言上，光头是简洁的代名词。无论是追求高纯度色彩搭配，还是人物造型的单纯，笔触的不露痕迹，以及不管他的光头人物多么泼皮，在方力钧内在的冷静和理智之下井然有序，呈现出“不动声色的完美”。

In terms of the artistic language, the shaved head is synonymous with the concept of simplicity. Whether it is the pursuit of high-purity color matching, the simplicity of the character's shape or the effortless traces of the brushstroke---no matter how sloppy his bald figure, Fang Lijun always manages to present the perfection of “unstable and vivid” with his extraordinary the calmness and rationality.

方力钧 Fang Lijun

2017 (/68)

 木刻版画 Woodblock Print

80x60cm 

2017

而在现实生活中，光头形象凸显个性，而且往往与流氓、泼皮及反面角色有某种联系。最早的光头以成群而无个性的排列，反映了他最初体验到的人被意识形态教育、规定的感觉，既有一种沉闷，又显示出泼皮式的叛逆意识。

In real life, the shaved head image highlights personality and often has a connection with rogue, splashing, and negative characters. Fang's earliest shaved heads are arranged in groups and without personality, reflecting the feelings of the people he first experienced being ideology education and stipulations. There is both a dull and resentful sense of rebellion.

 当代文人的精神诉求 

方力钧 Fang Lijun

2017 (/68)

 木刻版画 Woodblock Print

80x60cm 

2017

1989年以后，他的光头发生了重要的变化，形成典型的泼皮幽默语符，有力抨击了自80年代末起中国社会中弥漫的乏味、沉闷、无奈生存状态，刻画出向往精神自由的时代诉求。玩世、泼皮幽默作为一种在精神上自我解脱的方式，不但是后'89时期的壹种标志，甚至作为中国知识分子的ㄧ种传统方式，可以在中国历史上找到许多例证，尤其政治高压时期，如魏晋之际的士大夫，多以狂士自嘲，并以放浪形骸的生活作为对付高压政治的方式，来达到自我解脱的目的。

After 1989, his shaved head image had undergone important changes, forming a typical splashy humorous character, which strongly attacked the boring, dull and helpless living conditions in Chinese society since the late 1980s, and portrayed the times of longing for spiritual freedom. Cynical and poetic humor as a way of spiritual self-liberation is not only a sign of the post-89 period, but even a traditional way of Chinese intellectuals, many examples can be found in Chinese history, especially political high pressure. During the period, such as the scholar-bureaucrats of the Wei and Jin Dynasties, the self-deprecating of the madman, and the way of dealing with high-pressure politics, to achieve self-liberation

“我作画时, 每幅画都花了很长时间,不断在改, 总觉得它们自己有生命力, 跟画古藤一样。这两者是相通的, 追求的都是自然的变化。先是喜欢它,才能欣赏它、画它, 而且在画的过程中发现它们包含了千变万化的生命力。”

曾小俊

“When I was painting, each painting took a long time and was constantly changing. I always felt that they had their own vitality, just like painting ancient vines. The two are the same, and the pursuit is all natural changes. One has to like it in the first place in order to appreciate it, paint it, and discover their ever-changing vitality during the process of painting."

Zeng Xiaojun

“绞胎中流淌的文人动脉”

"The Flowing Literati Artery"

曾小俊，1954年在北京出生，1981年于北京中央美术学院壁画系毕业。其后移居美国，在波士顿工作了十四年，综览欧美藏中国古物、古画浩瀚典藏，并于1997年返回中国。在北京生活的曾小俊，借当代文人精神的启发，探索千年来中国文人传统蕴藏的精粹。他以其当代文人的锐利眼光，以及运用革新的艺术语言，诠释传统画作中具代表性及源远悠长的作画题材。曾小俊不仅是一位扎根北京的艺术家，同时还是学者及收藏家，他精鉴古典家俱，善藏赏石清玩，亦嗜家俱制作，所鉴赏、收藏、创作之艺术，流露文人雅逸气质。

Zeng Xiaojun was born in Beijing in 1954. He graduated from the Mural Painting Department of the Central Academy of Fine Arts in Beijing in 1981. After moving to the United States, he worked in Boston for 14 years. He reviewed the collections of ancient Chinese and antiquities in ancient times, and returned to China in 1997. Born in Beijing, Zeng Xiaojun, inspired by the spirit of contemporary literati, explores the essence of the Chinese literati tradition in the millennium. With his sharp vision of contemporary literati and his use of innovative artistic language, he interprets the representative and long-lasting motifs of traditional paintings. Zeng Xiaojun is not only an artist who has taken root in Beijing, but also a scholar and collector. He is a master of classical furniture, a collection of stone appreciation, an art of appreciation, collection and creation, revealing the temperament of the literati.

 收藏 & 艺术界的双重典范 

在晚明家具、文人器物和文人石方面无与伦比的收藏，使曾小俊成为当今中国收藏家、艺术家的理想典范。作为一名艺术家，曾小俊有一个明确的规则：他只画自己收藏的物品或者他亲眼看到的物品。在绘画中，他运用传统材料，如毛笔、水墨、宣纸以及传统矿物和植物颜料的结合，对题材进行渲染。对他来说，绘画是一种研究物品的方法。通过绘画，他能够吸收绘画对象的美学特质，并在这一过程中提高自己的艺术敏感度和创作过程中敏感性。这种追求精致和升华的实践被他称为“敏感主义”，在超越艺术家本人的经验的同时，涵盖了收藏家和严谨的艺术观察者的经验。

The unparalleled collection of furniture in the late Ming Dynasty and literati antiques has made Zeng Xiaojun an ideal example of today's Chinese collectors and artists. As an artist, Zeng Xiaojun has a clear rule: he only paints his own collection of items or items he sees with his own eyes. In painting, he uses traditional materials such as brush, ink, xuan paper, traditional minerals and plant pigments to render the theme. For him, painting is a way of studying objects. Through painting, he is able to absorb the aesthetic qualities of the painting object and improve his artistic sensitivity and sensitivity in the creative process. This practice of pursuing exquisiteness and sublimation is what he calls “sensitivity.” It transcends the artist's own experience and covers the experience of collectors and rigorous art observers.

 绞胎之美 对话古今

“我的创作,是再现本质的抽象。”

"My art is a abstract reinterpretation of the essence."

曾小俊 Zeng Xiaojun

曾小俊 Zeng Xiaojun

唐枕梦之一 Dream of Tang Ware I

 设色纸本 Ink and color on paper

108.5x227.5cm

2018

在此次展出的绞胎系列中，曾小俊将绞胎图案平面铺展，构成一幅现代主义绘画，将唐代独有的绞胎枕美感，在当代的语境中平面打开，带给观者不同视觉美感。观者可从画中肌理感受主体的动脉与灵魂，与自然融为一体。

In his latests series , Zeng Xiaojun spreads the flat pattern of Jiaotai--the twisted-body portcelain from the Tang Dynasty into a modernist painting, which creates an unique sense on the traditional a under the contemporary context. The viewer can feel the body's arteries and souls from the texture and integrate with nature. 

曾小俊 Zeng Xiaojun

唐枕梦之二 Dream of Tang Ware II

 设色纸本 Ink and color on paper

147x188cm

2018

绞胎瓷在唐代陶瓷工艺中首次出现, 宋代发扬到极致, 元后逐渐衰亡。孔子言 : “天命不可知, 成事在人”, 也有古人言 :“谋事在人,成事在天”。绞胎瓷是 “天自然,人自然” 的合作, 是人工的自然。在艺术家征曾小俊看来，他们的制作是第一次创作 ，而自己收藏、欣赏它是第二次创作 ; 再到画的时候，便更能看清楚和理解古人的感觉, 这可以算他的第三次创作。

Jiaotai appeared for the first time in the ceramics industry of the Tang Dynasty. It reached its peak in the Song Dynasty and gradually declined after the Yuan Dynasty. Confucius once said: "The destiny is unknown, and results depend sorely on the people." , while there are ancient words: "Man proposes, God disposes".  Jiaotai is the cooperation of nature and human, a product of artificial nature. In the opinion of the artist Zheng Zengjun, their manufacture is the first step of creation, and his collection, appreciate it is the second creation. When it is being painted, Zeng Xiaojun can better emphasize the feelings of the ancients, which can be regarded as his The third creation.

曾小俊 Zeng Xiaojun

唐枕梦之三 Dream of Tang Ware III

 设色纸本 Ink and color on paper

108.5x227.5cm

2018

面对相隔一千多年的艺术语言，人们总能通过眼和心去感受。这里没有古代与现代之分，一千年对于宇宙历史来说太短暂。曾小俊在创作中冥冥中感觉到古人其实都在描绘宇宙,  这种体验在绞胎里的体现十分明显。 人对于自然的惊奇与惊喜以及对自然的欣赏没有时代之分。在绞胎制作过程中, 绞完有一个概念, 窑变后更多惊喜, 这种惊喜与曾小俊艺术创作看到时的惊喜是一样的。古人研制绞胎, 而曾小俊喜欢石头和木头上的纹路, 观念是一致的, 都是发自内心的对自然的欣赏。 

Faced with an art language that is more than a thousand years apart, people can always emphasize with if through their eyes and heart. There is no distinction between ancient and modern, and a thousand years is too short for the history of the universe. While painting,  Zeng Xiaojun senses that the ancients are actually depicting the universe. This kind of feeling is very obvious in Jiaotai.There is no differences when people are surprised and amazed by nature and to appreciate nature from time to time. In the process of making the Jiaotai, there is a concept of twisting, and more surprises after the kiln is changed. This kind of surprise is the same as the surprise Zeng Xiaojun has discovered during his artistic creations. The ancients adore Jiaotai, and Zeng Xiaojun adores the lines on the stones and the wood. The concept is the same---they are all from one's genuine appreciation of nature.

方力钧

1963 生于邯郸

1989 毕业于中央美术学院版画系

现生活和工作于北京

个展精选

悉尼朱雀画廊；香港汉雅轩；北京民生现代美术馆；鲁迅美术学院美术馆；香港时代广场，中国香港；西安美术馆； 今日美术馆；台北市立美术馆，比利菲尔德美术馆 ,广东美术馆，上海美术馆，印尼国家美术馆，Kupferstichkabinett美术馆，中国美术馆，香港艺术中心，阿姆斯特丹美术馆等

近年群展精选

索卡艺术中心，宝龙美术馆, 北京当代唐人艺术中心, 纽约Ethan Cohen画廊 , 北京民生现代美术馆, 央·美术馆， 余德耀美术馆, 上海当代艺术博物馆, 宋庄美术馆, 伊比利亚当代艺术中心, 上海美术馆, ,今日美术馆等

Fang Lijun

1963  Born in Handan

1989  Graduated from the Printmaking Department of the Central Academy of Fine Arts

Lives and works in Beijing

Selected Solo Exhibitions

Sydney Vermilion Gallery; Hong Kong Hanart Galler; Beijing Minsheng Art Museum; Lu Xun Academy of Fine Arts; Hong Kong Times Square; Xi'an Art Museum; Today Art Museum; Taipei Fine Arts Museum, Kunsthalle Bielefeld Museum, Guangdong Museum of Art , Shanghai Art Museum, Galeri Nasional, Kupferstichkabinett Art Museum, National Art Museum of China, Hong Kong Art Center, Amsterdam Art Museum, etc.

Selected Group exhibitions

Soka Art Center,  Powerlong Museum, Tang Contemporary Art Beijing , New York Ethan Cohen Gallery, Beijing Minsheng Modern Art Museum, Yang Art Museum, Yuz Museum, Shanghai Museum of Contemporary Art, Songzhuang Art Museum, Iberia Contemporary Art Center, Shanghai Art Museum, Today Art Museum etc.

曾小俊

1954 出生于北京

1981 毕业于中央美术学院

1983-1997 工作生活于美国

1997至今 工作生活于北京

个展精选

墨斋&蓝理中国文物公司，纽约; 苏州博物馆，苏州; 香港苏富比艺术空间，香港; Michael Goedhuis 画廊，伦敦; Chinese Porcelain Company，纽约;

群展展于

吉美博物馆，巴黎; 文良画廊，纽约; 波士顿美术博物馆，波士顿; Chinese Porcelain Company, 纽约; Guanxiang画廊, 台北; 文良画廊，纽约，

Zeng Xiaojun

1954 Born in Beijing, People’s Republic of China

1981 Graduated from the Central Art and Craft Academy of Beijing

1983–1997 Moved to he United States 

1997 Till Now Works and Resides in Beijing

Selected Solo Exhibitions

J.J. Lally & Co. Oriental Art, New York；Suzhou Museum, Suzhou； Sotheby’s Art Space, Hongkong；Michael Goedhuis, London； Chinese Porcelain Company, New York；

Selected Group exhibitions

Musée Guimet, Paris；China 2000 Fine Art, New York；China 2000 Fine Art, New York；Museum of Fine Arts, Boston；The Chinese Porcelain Company，New York；Guanxiang Gallery, Taipei；

感谢您对索卡的关注与支持！

想了解更多内容请关注：

官方网站：www.soka-art.com

官方微博：@北京索卡艺术中心

索卡艺术中心成立于1992年台湾台南，2001年北京索卡艺术中心成立，为中国最早以美术史观及学术角度来经营的画廊。索卡现今拥有北京，台北，台南艺术中心，成为一家跨足中国经典和当代艺术，亦致力于推广亚洲当代艺术，影响力涵盖全球的国际性画廊。

北京 Beijing

北京市朝阳区酒仙桥路2号798艺术区8502信箱 100015

798 Art District, No.2 Jiuxianqiao Road, Chaoyang District, Beijing P.O. Box 8502 100015

开放时间 Opening hours：10:00-18:30 （周一公休 Closed on Monday）

T/86-10-5978-4808

F/86-10-5978-4810

E/infosokaart@126.com

台北 Taipei

台北市中山区堤顶大道二段350号 10462

No. 350, Sec. 2, Tiding Blvd., Zhongshan District, Taipei, Taiwan, 10462

开放时间 Opening hours：10:00-19:00 （周一公休 Closed on Monday）

T/+886-2-2533-9658

F/+886-2-2533-9660

E/info@soka-art.com.tw

台南 Tainan

台南市安平区庆平路446号70842

2F, No.446, Qing Ping Road,An Ping District Tainan, Taiwan, 70842

开放时间 Opening hours：10:00-19:00（周一公休 Closed on Monday）

T/+886-6-297-3957

F/+886-6-297-3907

E/sokaart.tn@gmail.com

微信扫一扫关注该公众号