艺博会 | 林大艺术中心参展北京当代2021 | 展位 3.13

毛旭辉 Mao Xuhui

圭山写生 - 山坡上的核桃树，布面油画，120 x 170 cm, 2010

Walnut Tree on the Hill, Oil on canvas, 120 x 170 cm，2010

迷彩2003伊拉克之二，布面油画，190 x 200 cm, 2006

Camouflage 2003 Iraq No.2, Oil on canvas, 190 x 200 cm，2006

毛旭辉用现实的风格来表达理念，但他的作品却并非现实主义的，导致了许多艺术评论家误将他的作品归为表现主义。从欧洲艺术的角度来看，他的画属于现实表现主义的范畴。他的作品旨在体现一个人在传统视觉艺术中的智识深度。

剪刀的元素，最初对于毛旭辉来说，它虽是一件日常用品，但却象征着日常生活中无处不在的权力和力量。他将其当作一种怪异的符号，拼贴在各种现实生活场景中，来表达他的某种愤怒和不安。但渐渐的，他开始更关注剪刀的造型和它本身具备的功能性，即元素本身的意义，用他的话说，他“画的不是剪刀，而是一些剪刀的造型”。他故意使用了平涂的表现方式，使看似明确的造型，却被除去物件本身的实用含义，而其本身的符号性意义得到了强调。

Mao Xuhui uses realistic style to express his ideas but his works are not of realism. This leads to many art critics misinterpretation and categorized his works as Expressionism. From the European perspective of European Arts, his paintings falls into the category of Realistic Expressism. His artworks meant to express one’s intellectual depth in traditional visual arts.

For Mao Xuhui, the element of scissors is a daily supply at first, but it symbolizes the power and strength that is everywhere in daily life. He took it as a kind of weird symbol, collage in various real life scenes, to express his anger and unease. However,he gradually began to pay more attention to the shape of scissors and its functionality, which mean the meaning of the element itself. In his words, he "did not draw scissors, but the shape of some scissors". He deliberately uses the expression of flat coloring, so that the seemingly clear shape is removed from the practical meaning of the object itself, and its symbolic meaning is emphasized.

苏新平 Su Xinping

假日一号，布面油画，194 x 130 cm, 1999

Holiday No.1, Oil on canvas, 194 x 130 cm，1999

干杯系列之48，布面油画，180 x 120 cm, 2008

Toasting No.48, Oil on canvas, 180 x 120 cm，2008

苏新平的兴趣更多地集中在中国传统绘画理念及方法的思考与当代性转换以及个人艺术语言转换的可能性探讨方面。他通过对自己最熟悉的语言方式的不断认识和提炼，寻找到适合自己的艺术表现语言，并且在重新认识、领悟中国传统绘画精神和理念过程中，努力实现观念的当代性转换，从而达到实现个人独特性艺术语言的目的。他的艺术观建立在对人生的反思和实践上,日益激烈的竞争环境中,人们力争上游突破自我奋斗不息的生命状态。

Su Xinping's interests have focused more on the thinking and contemporary transformation of traditional Chinese painting concepts and methods, as well as the possibility of personal artistic language transformation.Through continuous knowledge and refinement of the language that he is most familiar with, He finds his own artistic expression language, and in the process of re-understanding and comprehending the spirit and concept of traditional Chinese painting, he strives to achieve a contemporary transformation of concepts, so as to achieve To achieve the purpose of personal unique artistic language. His artistic concept is based on the reflection and practice of life. In the increasingly fierce competitive environment, people strive to break through the self-struggling life state.

肖红 Xiao Hong

纠缠系列 1，布面油画，160 x 180 cm，2021

Entangled 1, Oil on Canvas, 160 x 180 cm, 2021

肖红在其创作中所流露出来的壁画式的历史时空意识，从一种平面的并置发展成为了多时空的交叠。他的油画技法语言便也从早期的更加注重材料物性特征的写意式涂抹，变成了注重多空间交融的渲染。

Xiao Hong has expressed the spatial manifestation of historicity in his works, establishing the meeting point of multiple space-time continum on  techniques of oil painting has progressed, from the qualities of the mediuum on the two dimensional expanse of a canvas. In this way, his techniques of oil painting has progressed, from an early prioritization of qualities of giving importance to the rendering of multiple space-time complexes.

在荷塘边吟诗，综合材料 拼贴，120 x 100 cm，2006

Reciting Poem Beside The Lotus Pond, Collage/Canvas, 120 x 100 cm, 2006

开国大典，综合材料，135 x 175 cm，2005

PRC Founding Ceremony, Mixed-media on canvas, 135 x 175 cm, 2005

朱伟1966年出生于中国北京，是第一位将工笔画手法引进中国当代艺术领域的艺术家。作品被国内外二十余家美术馆、博物馆收藏。在当年大量的中国新锐艺术家用油画创作“政治波普”和“讽刺现实主义”作品时，他便开始探索以传统的工笔画来表现当代中国的政治与社会生活的可能性。朱伟的作品中人物形象怪诞，具有荒谬但淡然的温暖。

Zhu Wei was born in 1966 in Beijing, China, and was the first artist to introduce fine brushwork painting techniques into the Chinese contemporary art field. His artworks have been collected by more than 20 art galleries and museums around the world. When a large number of Chinese emrging artists used oil painting to create "political pop" and "satirical realism" works, he began to explore the possibility of using traditional fine brushwork paintings to show the political and social life of contemporary China. The characters in Zhu Wei's works are grotesque, with absurd but lightly warmth.

张林海 Zhang Linhai

童话系列 - 梦魇2，布面油画，100 x 100 cm, 2019

Fairytale Series - Dream 2, Oil on canvas, 100 x 100 cm，2019

童话系列，布面油画，120 x 180 cm, 2019

Fairytale Series, Oil on canvas, 120 x 180 cm，2019

在张林海近三十年的艺术创作中，他通过对于自身的身世经历和家族命运的真实感受，以及对 于以他的童年成长环境为代表的中国广大农村真实的社会、文化的现状和历史性分析，并以此 为原型，揭示出了在中国近现代历史中，民族的共同命运转折和精神磨难，进而再通过这种民 族命运的这种炼狱式的现实场景的魔幻现实主义式的 “ 剧场化 ” 呈现，完成了他对于中国文化 历史传统中的愚昧和保守，以及现实社会政治中的独裁和专制的批判。同时，对于那些处于时 代浩劫和历史轮回中备受磨难和煎熬的芸芸众生，张林海在同情、悲悯，进而感同身受的同时， 对于其与生俱来的集体无意识式的盲目、顺从、愚昧，进而成为专制帮凶的人性之恶，也展开 了深入的揭示和批判。

In Zhang’s nearly thirty years of making art, he has engaged with his real feelings about his personal experience and his family’s fate, as well as the historical analysis and social and cultural status quo of China’s vast rural areas, as represented by his childhood envi-ronment. With this as an archetype, he reveals the collective twists of fate and spiritual torments in modern Chinese history. Through the theatrical, magical realist presentation of real scenes akin to purgatory, he criticizes the ignorance and conservatism in Chinese cultural history and traditions, as well as dictatorship and autocracy in current society and politics. At the same time, Zhang Linhai has sympathy and pity for all living things being tormented in the tumult of the times and the cycles of history, and even as he feels this sym-pathy, he has continued to reveal and criticize the innate blindness, submissiveness, and ignorance of the collective unconscious, and the human evil that has become the accomplice to autocracy.

众望单元 WONDER

Nyoman Nuarta (b. 1951), his artworks mostly reflect on important Balinese life philosophy. Nuarta is recognized as one of Indonesia’s ingenious and foremost modern sculptors by creating numerous masterpieces and building monumental statues. In 2018, he completed his most ambitious project the “Garuda Wisnu Kencana” monument in Bali making it the largest and third tallest monument in the world and it’s also a landmark of Bali. He is indeed the gem and pride of Indonesia.