{{sindex}}/{{bigImglist.length}}

艺术家 | 王友身个展《文化符码——王友身的旅程》于北京中间美术馆开幕

{{newsData.publisher_name}} {{newsData.update_time}} 浏览：{{newsData.view_count}}

来源 | {{newsData.source}} 作者 | {{newsData.author}}

香格纳画廊荣幸宣布王友身个展《文化符码——王友身的旅程》于3月26日在北京中间美术馆开幕。此次展览首次全面地梳理并呈现艺术家王友身跨越30余年的艺术实验与实践，通过“从去意义到无意义”与“从图像处理到图像消失”这两个角度切入，旨在对其艺术生涯进行深描与细读。此次展览是在艺术家事业中期对其过往旅程的一次必要回溯。

艺术家 | 王友身个展《文化符码——王友身的旅程》于北京中间美术馆开幕王友身个展文化符码旅程北京中间美术馆艺术家香格纳画廊艺术实验崇真艺客《文化符码-王友身的旅程》展览现场，北京中间美术馆 | Installation View of Wang Youshen: Codes of Culture, Beijing Inside-Out Art Museum, 2022

ShanghART Gallery is honored to announce that “Wang Youshen: Codes of Culture” opens at Beijing Inside-Out Art Museum on 26 March. The exhibition brings to the public for the first time the overall body of artistic experiments and practice of Wang Youshen, an oeuvre spanning more than three decades. The exhibition approaches Wang’s artistic career from two perspectives: “From the Removal of Meaning to Meaninglessness” and “From Image Processing to Image Disintegration.” It aims at presenting a detailed and in-depth investigation into Wang's practice. This exhibition is a much-needed mid-career retrospective of the artist.

王友身于1988年毕业于中央美术学院连环画专业，随后就业于《北京青年报》。这是一家在改革开放继续深化中走向中国的，处于新闻报业改革中心的媒体。自1990年以来，这份报纸在内容上及其体制建设和价值取向上，与开放创新的时代风气同频共振。王友身置身其中，逐渐成长为一位资深的报业人。与此同时，他的创作与他在《北京青年报》的工作并行不悖，紧贴着个人的生活轨迹与社会的瞬息变化，既为其留影，也对其设问，将创作作为记录与思考时代与个人的手段。

In 1988, Wang Youshen graduated from the Central Academy of Fine Arts with a degree in Comic Drawing. Right after that, he got a job at Beijing Youth Daily. The newspaper publisher has played a key role at the heart of press reform in the wake of the furthering of Reform and Opening-up policy. Since the 1990s, the values upheld by the paper, the establishment of its institutional structure, as well as its editorial content have echoed the open and innovative spirit of the time. Wang Youshen was deeply involved and became an experienced professional in the media industry. In the meantime, his art practice ran in parallel with his work at Beijing Youth Daily. In both, he’s stayed acutely alert to the trajectory of individual lives and the instantaneous changes of the society, which he’s captured and questioned in his artworks. It’s no surprise that Wang Youshen considers art as a means to record and reflect on the time he’s lived in and its people.

进入1990年代之后，中国艺术一方面以媒介更新作为艺术当代化和全球化的特征，一方面将考察社会与生活的视角拉回到周围与个人，有意地与1980年代具有浓重形而上意味的思考拉开距离。王友身则是当时北京“新生代”群体中的一员与推动者。

In the early 1990s, on one hand, the renewal of artistic mediums was considered a signature of being contemporary and global by the Chinese art community. In practice, it was translated into a phenomenon in which a certain medium such as painting was considered a lesser form while installation and video for example, were considered a more advanced form. On the other hand, the artistic perspective on the society and life was leveled back to one’s immediate surroundings and individual beings in one’s life, as opposed to the heavy metaphysical tendency in thinking of the 1980s. Wang Youshen was a member and a promotor of the so-called “New Generation” (Xinshengdai) artists in Beijing at that time.

在1990年代颇受关注的文化问题中，大众传媒、大众文化和印刷文化位列其中。大众传媒在进一步市场化的契机下获得了较大的自由度，占据了较大的社会话语空间。在媒体的聚焦之下，诸多社会现象被报道和讨论获得了文化的意义。王友身因为个人工作的机缘，在此时获得了一个较为宽松和主动的实践平台。他不仅将对当代艺术的报道和当代艺术家的观念性实践带进《北京青年报》的板块之中，使之获得更多的社会关注度。他也不断地对以《北京青年报》为例的媒体工业与社会生活和景观的关系进行描摹。《北京青年报》因此成为他工作、创作的平台，也成为他创作的一手素材。这使他的创作与1990年代以来的都市生活和大众文化形成了超越“近距离”的关系。

王友身 Wang Youshen | 暗房 · 清洗 Darkroom · Washing | 1998-2022 | 照片、显影盘、红灯、线、夹子、水 Photograph, plate, red light, clip, Water | 尺寸可变 Size variable

Mass media, popular culture, and print culture were among the cultural issues that received considerable attention in the 1990s. Through marketization, mass media were given a greater degree of freedom and occupied a significant place in the space of social discourse. Under the spotlight of the media, many social phenomena were reported and discussed, and in turn, acquired cultural significance. Wang's post at the Beijing Youth Daily gave him a practical platform with leeway for proactive actions. Not only did he bring coverage of contemporary art and conceptual art practices into the pages of the paper, hence giving them greater visibility. He also continuously engaged with the media industry's relation to the landscape of social life in his artworks. While being the platform for his presswork and creative practice, Beijing Youth Daily provided first-hand sources for his artworks as an example of the media industry. This has cultivated a relationship between his works and the urban life and popular culture since the 1990s that is closer than “close proximity (Jinjuli).”

自1990年代起，王友身的创作生涯与此时中国艺术进一步全球化的历程多有重合之处，他多次在西欧、北美和南美展出作品。尽管他所参与的多为以中国为聚焦的群展，但因为立足于具体的议题与个人的经历，其创作有别于在1990年代初期反复被后冷战意识形态化投射所固化的一些表面符号，也因此不易被艺术市场和大众传播所识别与消费。对于中国当代艺术史的认知与书写，王友身的案例因为紧贴时代脉络又顽强地生长出灵动且充盈的形态，而成为我们严肃的艺术史学者和机构应该更为关注的对象。

王友身 Wang Youshen | 每平米 06 Square Meter 06 | 2010-2014 | 石膏板、木板、胶 Drywall, Plywood, Glue | 100×100×4 cm×21 pieces

Since the 1990s, Wang's artistic career has had many cross-overs with the globalization of Chinese art. He has exhibited multiple times in Western Europe, North America, and South America. The exhibitions were mostly group and thematic shows about China. Nonetheless, due to his inclination towards specific issues and personal experience, his works have distinguished themselves from those artworks by Chinese artists of this period featuring solidified superficial icons, repeatedly interpreted by cold-war ideologies in the early 1990s. Subsequently, his works could not be as easily consumed by the art market and mass media. Historically intertwined yet undogmatic, the art practice of Wang Youshen should be of particular interest to serious art historians and institutions in their efforts to write and understand contemporary Chinese art history.

自2017年的“失调的和谐”展以来，中间美术馆通过一些具体区域和案例的考察开启了对1990年代的梳理和研究。此次对于王友身的个案研究，也是这个研究序列中的一环。该展览由中间美术馆馆长、艺术史家、策展人卢迎华策划。法从例出，相信对于个案的深入考察，有助于我们松动乃至颠覆既有的印象与叙述，重新从中国当代文化和思想脉络中，同时在全球艺术的语境中贴切地认识和描述自我。

Since the organization of the exhibition “Discordant Harmony” in 2017, the Inside-Out Art Museum has launched a research on the 1990s through studies of specific regions and artists. This exhibition on Wang Youshen is part of such a historical research and is curated by Carol Yinghua Lu, art historian and director of the museum. As studies of individual cases can lead to the formation of laws, thoughtful individual case studies will assist us in loosening, or even subverting existing historical impressions and narratives. We can then perhaps develop a more truthful and nuanced understanding and narration of our own via the vein of contemporary culture and thinking in China.

文化符码——王友身的旅程

Wang Youshen: Codes of Culture

策展人 | Curator

卢迎华

Carol Yinghua Lu

展期 | Duration

2022/03/26 - 06/26

地点 | Location

中间美术馆，北京

Inside-Out Art Museum, Beijing

关于艺术家

向上滑动阅览 Scroll down for English

王友身，1964年出生于北京，毕业于中央美术学院，现生活和工作于北京。曾经参与过众多国内国际重要的双年展和机构展览，包括在中国当代艺术史上具有重要地位的展览：“中国现代艺术展”、“新生代艺术展”、“威尼斯双年展”、“圣保罗双年展”、“台北双年展”、“广州三年展”、“上海双年展”等等，他是中国当代艺术重要的参与人与见证人之一。同时，王友身自1988年至2018年在北京青年报社工作30年，曾担任过美术编辑、艺术总监等职务，一直以来，王友身兼具双重身份，在艺术界与传媒界两个领域间工作，致力于考察和松动艺术 / 生活、创作 / 日常间僵化的边界。

王友身对官方/民间、职业/业余、艺术/现实等等二元性的分野有着自己独特的理解和介入方式，这让他可以动用两个不同系统的资源，开创和塑造一些认识自己和认识周遭的可能性。他呈现给我们一个艺术家实践的强度、持续性和丰富的层面。这一实践不仅仅体现在简单的作品或者产品层面之上，而是不断重新观看自己的潜力和局限，挖掘艺术与自我和世界对话的可能形态。

Wang Youshen (b.1964, Beijing), currently works and lives in Beijing. Wang graduated from the Central Academy of Fine Arts in 1988, and the Middle School Attached to the Central Academy of Fine Arts in 1984. He worked for Beijing Youth Daily from 1988 to 2018.

Wang Yousheng has participated in domestically and internationally influential biennials and institutional exhibitions, as well as exhibitions that held important positions in the history of Chinese contemporary art, such as “China / Avant Garde Exhibition”, “New Generation Art Exhibition”, La Biennale di Venezia, Bienal de São Paulo, Taipei Biennial, Guangzhou Triennial, Shanghai Biennial, etc. He is one of the important participants and witnesses of Chinese contemporary art.

At the same time, Wang Youshen has worked in Beijing Youth Daily for 30 years from 1988 to 2018 and served as art editor, art director and other positions. All along, Wang Youshen has dual identities, working between the art world and the media world. He committed to investigating and loosening the rigescent boundaries between art/life, art practice/daily life.

Wang Youshen has his unique way of understanding and intervening in the duality of official/civilian, professional/amateur, art/reality, etc., which allows him to use the resources of two different systems to generate the possibilities of knowing himself and the surroundings. Wang Youshen presents us with the intensity, continuity and richness of an artist's practice. His practice is not only reflected at the level of artworks, but is constantly re-examining one's potential and limitations, and exploring possible forms of dialogues between art and the self, art and the world.

关于策展人

向上滑动阅览 Scroll down for English

卢迎华，艺术史家、策展人，现任北京中间美术馆馆长。她于2020年获墨尔本大学艺术史博士学位。她曾于2012至2015年间出任深圳OCAT艺术总监及首席策展人。2012年担任第九届光州双年展联合策展人、第七届深圳雕塑双年展联合策展人，2013年获得泰特美术馆研究中心亚太计划的首个特邀研究学者奖金，是2017年美国艺术史研究机构协会（ARIAH）首届“东亚学者奖”的四位获奖者之一。2013年至今，她与艺术家刘鼎持续开展题为“社会主义现实主义的回响”的研究，对叙述中国当代艺术的视角和方法论进行重新评估。

卢迎华曾担任全球艺术界多个重要奖项的评委：包括2012年威尼斯双年展金狮奖、2012年基辅平丘克艺术中心的未来世代艺术奖，2018年威尼斯建筑双年展菲律宾国家馆评委，2019年Hugo Boss亚洲新锐艺术家大奖与Rolex劳力士创艺推荐资助计划、2020年集美·阿尔勒国际摄影艺术季发现奖与2021年Hyundai Blue Prize青年策展奖等。2019年至今，她一直担任东京当代艺术奖评委。

Carol Yinghua Lu is an art historian and curator. She is the director of Beijing Inside-Out Art Museum. She received her PhD in Art History from the University of Melbourne in 2020. From 2012 to 2015, she was the artistic director and chief curator of OCAT Shenzhen. She was the co-artistic director of the 2012 Gwangju Biennale and co-curator of the 7th Shenzhen Sculpture Biennale in 2012. She was the first visiting fellow in the Asia-Pacific Fellowship program at the Tate Research Centre in 2013 and was one of the first four ARIAH (Association of Research Institute in Art History) East Asia Fellows in 2017. Since 2013, Carol Yinghua Lu has been in collaboration with artist Liu Ding in the research on the legacy of socialist realism in the practices and discourses of contemporary art in China, entitled “From the Issue of Art to the Issue of Position: Echoes of Socialist Realism.”

Carol Yinghua Lu has served as a jury member for several important awards in the global art world, including the Golden Lion at the 2012 Venice Biennale, the Future Generation Art Award at the Pinchuk Art Center in Kyiv in 2012, the Philippine National Pavilion at the 2018 Venice Architecture Biennale, the Hugo Boss Asian Emerging Artist Award and Rolex Rolex Mentor and Protégé Arts Initiative in 2019, the Discovery Award at the 2020 Jimei-Arles International Photo Art Season and the Hyundai Blue Prize Youth Curatorial Award in 2021. She has been on the jury for the Tokyo Contemporary Art Award since 2019.

*文中部分文字和图片来源于北京中间美术馆