东西文化是两座势均力敌的大山，到了西方眺望祖国的大山更能看清山脉的起伏和山势的雄伟，更清醒自己要坚持什麽，走出自巳的路。
站台中国当代艺术机构郑重地宣布，将代理著名艺术家袁运生先生及其作品，并于2022年9月21日推出袁运生个展《眺望远方》。眺望是他身处美国语境中的眺望，他在眺望什么？是本次展览的核心。展览将选择袁运生在美国期间创作的以水墨为媒介的绘画，将呈现那个阶段其个人绘画实践与遥远传统的衔接。这些作品，或将激发我们对当下艺术的省思。
在此特别鸣谢艺术家与其家属，以及挚友王瑞、倪军、俞健游等的支持。
Yuan Yunsheng-Art Framed by controversy, 1982
袁运生-艺术受到争议，1982
袁运生1937年出生在江苏南通，1955年他入学中央美术学院，师从董希文，1957年他被划为右派，经历了两年劳动改造。1962年，他的毕业创作《水乡的记忆》因具有现代感的绘画语言而引发了一系列风波，毕业他被分配至长春工人文化宫工作18年。1978年袁运生前往云南西双版纳傣族自治州的景洪、临沧等地写生，他的《云南白描写生集》就此问世，引起了美术界轰动。1979年袁运生回京，参加了首都机场的壁画创作，《泼水节——生命的赞歌》成为了中国现代艺术史中的闪耀篇章。他以个人化的现代主义装饰风格描绘了傣族风情，引发了巨大的社会争议。其作为70年代末期的文化事件，被认为是中国改革开放的重要象征。1982年，他赴西北考察写生，并撰写了《魂兮归来——西北之行感怀》，提出反对美学标准的单一化，“追索民族艺术的真精神”「1」。1982年8月，袁运生应邀访美，在14年的美国生活中，与西方的艺术与思想进行碰撞，包括与德库宁、西格尔、劳申伯格等艺术家交流。这一时期，袁运生在创作上进行了广泛探索。1996年，他受靳尚谊邀请，回到中央美院执教，着手推动中国传统雕塑的复刻工作。至今他一直保持着旺盛的创作激情，并持续深入推进个人的艺术实践。
眺望远方，1991年
Look into the distance, Ink on paper
纸本水墨，136x70cm
“眺望远方”，取自袁运生美国时期的一件画作之名（1991年），它也回应了一篇载于1993年《装饰》杂志的访谈《从西方看东方：袁运生先生谈艺录》。「2」因此，展题中的“远方”，或与观众的理解有着一种位移，它反映了彼时身处纽约的袁运生，与其故土之间存在着一种既弥远又紧密的关系，而那远方也包含了过去与未来。所以，对他来说，“眺望”不仅是地理上的，也是时间上的，更是心理上的。中国文化所蕴藏的美学资源，一直是他心怀敬畏，并不断探究和追索的对象。相对于袁运生漫长而波澜起伏的艺术历程，本次展览只是作为代表其阶段性探索的一个切面，呈现他在美国时期（1982-1996年）创作的以水墨为媒介的绘画作品。同时，展览撷选了相关文献，通过现场展呈和线上推送的方式呈现袁运生的艺术思想，为观众探寻其创作理路提供线索。
袁运生与德库宁，1982年
Yuan Yunsheng with Willem de Kooning, 1982
袁运生访西格尔工作室，1983年
Yuan Yunsheng visit George Segal's studio, 1983
Yuan Yunsheng with Robert Gwathmey, 1983Yuan Yunsheng and Robert Rauschenberg, 19831982年起，袁运生开始了他在纽约长达14年的生活创作。通过与美国文化界的密接接触，他清楚地认识到西方艺术的处境与问题，也深刻地感受到，中国艺术家想要站在世界舞台上与西方同行对话，必须面对其固有文化身份和西方艺术语境之间的现实。在他看来，坚持自身的文化身份，正是平等交流所应必备的主体意识，也是借鉴其它文化成果的基础。此时的袁运生是一名成熟的艺术家，而在美国，多元化的当代艺术观念风起云涌，绘画早已处在边缘。在长期的强劲的时髦文化冲击下，袁运生仍然坚定地将充足的热情投射在现代艺术与自身传统之中，他深刻地体认到二者具有的价值和共性。因此，他始终没有放弃使用东方的墨、毛笔和宣纸来进行创作，同时也广泛地采纳了蜡、油、木板等多种新材料。这一时期，他创作了丰富的水墨媒介绘画。这些作品不再聚焦于具体的现实题材，线条跃动激荡，驳杂的抽象元素中，也常常映现出人的形象，一切充溢着生命的能量。在那个时代，他的信念，他的追索，无不展现了一个大灵魂的生命激情。正如汪民安所言：“袁运生激活了水墨固有的流动性和渗透性，他绝不对其抑制、修饰和编码，他让这种能量和强力在纸面上肆意地涌动，在各个方向上繁殖、奔突、伸展。它们如此之强劲。相互挤压和撞击，仿佛要冲出画外，冲向纸的边缘。”「3」他对袁运生画作的感受，反映出其水墨语言具有某种神秘性的生命能量。在他看来，这些抽象水墨画，是在持续不断地讨论着生命。生命一直要摆脱外在的束缚，回到内在的存粹性，而这些画作正是被那存粹的力量和强度所贯通。袁运生曾如此谈论创作：“我一直在做这件事，先将思路推到彻底的抽象，再从这里出发，扩充它的包容性，寻求与适切的图像做坚实结合，做到自在无碍。我一直在追求宽厚、博大而有光彩的东西”。「4」「1」袁运生《魂兮归来——西北之行感怀》，《美术》，第5-7页，1982年第1期「2」邹文，《在西方看东方：袁运生谈艺录》，《装饰》，第46-47页，1993年第3期「4」袁运生，《自序》，《中国素描经典画库-袁运生素描集》，第6页，1998年
English Version
Eastern and Western cultures are two evenly matched mountains. When you arrive in the west, looking at the mountains of the motherland, you can see the ups and downs of the mountains and the majesty of the mountains more clearly, and you will be more aware of what you must insist on, so as to walk out of your own path.
Yuan Yunsheng in the U.S.
Controversy nothing new to visiting Chinese painter, 1994
对中国访问画家来说，争议并不新鲜，1994
Platform China Contemporary Art Institute solemnly announces that we will represent the famous artist Mr. Yuan Yunsheng, and will launch his solo exhibition Looking into the Distance on September 21, 2022. Look out is his view in the U.S. context. What is he looking at? This is the core of the exhibition.This exhibition will present the ink paintings created by Yuan Yunsheng during his stay in the United States, showing how he connected his personal practice with the distant tradition and how he thought about his own culture and the future of Chinese art at that stage. These works are exhibited to stimulate our reflection on the art now.
Special thanks to the artist and his family, as well as close friends Wang Rui, Ni Jun, Yu Jianyou, etc. for their support.
Yuan Yunsheng was born in Nantong, Jiangsu Province in 1937. In 1955, he enrolled in the Central Academy of Fine Arts, and was taught by Dong Xiwen. In 1957, he was wrongly classified as a rightist and underwent two years of reform through labor. In 1962, his graduation work Memories of the Water Town caused a series of disturbances because of his painting language in pursuit of modern sense. After graduation, he was assigned to Changchun Workers’ Cultural Palace for 18 years since then. During this period, Yuan Yunsheng went to Jinghong, Lincang and other places in Xishuangbanna Dai Autonomous Prefecture, Yunnan Province in 1978 to sketch. The Collection of Line Drawing Sketches in Yunnan came out and caused a sensation in the art world. In 1979, Yuan Yunsheng returned to Beijing and participated in the mural creation of the Beijing Capital International Airport. Water-Splashing Festival-Hymn of Life became a shining chapter in the history of modern Chinese art. He depicted the customs of the Dai people in a personal modernism decorative style caused a huge social controversy. As a cultural event in the late 1970s, it is regarded as an important symbol of China’s reform and opening up. In 1982, he went to the northwest to study and sketch, and wrote Regeneration: Trip to Northwest China, proposing to oppose the simplification of aesthetic standards and “pursue the true spirit of national art” 「1」. In the same year, Yuan Yunsheng was invited to visit the United States. During his 14 years of stay in the United States, he had a face-to-face exchange with western art and ideas, including meeting with pop artist Rauschenberg and abstract expressionism artist Willem de Kooning. During this period, Yuan Yunsheng made extensive exploration in his creation. In 1996, at the invitation of Jin Shangyi, he returned to the Central Academy of Fine Arts to teach and began to promote the re-engraving of Chinese traditional sculpture. Up to now, he has maintained a strong creative passion, and has continued to deepen his personal artistic practice.
Yuan Yunsheng at the antique market in New York, 1994. 8
摄影：王瑞 Images courtesy of Wang Rui
“Looking into the Distance”, named after a painting by Yuan Yunsheng in his stay in the United States (1991), also responded to an interview published in Art & Design magazine in 1993, Looking at the East from the West: Mr. Yuan Yunsheng’s Talks on Art. 「2」 Therefore, the “Distance” in the theme of the exhibition has a displacement with the audience’s understanding. It reflects that Yuan Yunsheng, who was in New York at that time, had a close and distant relationship with his hometown, and that distance also includes the past and the future. Therefore, for him, “Looking into the Distance” is not only in the geographical sense, but also in the temporal and psychological sense. The aesthetic resources contained in Chinese culture have always been the object of his awe and constant exploration and pursuit.Compared with Yuan Yunsheng’s long and turbulent artistic journey, this exhibition is only a section representing his staged exploration, presenting his ink and wash paintings created during his stay in the United States (1982-1996). At the same time, the exhibition selects relevant literature, and presents Yuan Yunsheng’s artistic thoughts through on-site exhibition and online push, providing clues for the audience to identify his creative ideas.
In China, there's always a chance a painting may become a backstop, 1983
在中国，一幅画总有可能成为后盾，1983年
Starting from 1982, Yuan Yunsheng started his 14-year life and creation in New York. Through close contact with American cultural circles, he clearly realized the situation and problems of western art, and deeply felt that Chinese artists must face the relationship between their inherent cultural identity and the context of western art if they want to stand on the world stage and talk to their counterparts in the west. In his view, adhering to one’s own cultural identity is the necessary subject consciousness for equal communication, and it is also the basis for learning from other cultural achievements. Yuan Yunsheng, who lived in a foreign country, was a mature artist. In the United States at that time, diversified contemporary art concepts were surging, and painting was already on the edge. Under the long-term strong impact of fashionable culture, Yuan Yunsheng still firmly projected his enthusiasm into modern art and his own tradition, and deeply realized the value and commonality of both. Therefore, he never gave up using oriental ink, brush and rice paper for creation. At the same time, he widely adopted a variety of new materials such as wax, oil and planks of wood, with an open mind, to get rid of all stereotypes. During this period, he created many paintings in ink and wash media. These works no longer focus on specific realistic themes, but are featured with free and rich pictures and vibrant lines, and often reflect people’s images among complicated abstract elements, all of which are filled with the energy of life. At that time, his faith and pursuit all showed the passion of a great soul.
Yuan Yunsheng and Chen Danqing in New YorkAs Wang Min’an said, “Yuan Yunsheng activated the inherent fluidity and permeability of ink and wash, and he never restrained, modified or coded it, but allowed this energy and strength to surge wantonly on paper, multiplying, rushing and stretching in all directions. They are so powerful, squeezing and bumping against each other, as if to rush out of the painting, towards the edge of the paper.” 「3」 His feelings about Yuan Yunsheng’s artworks reflect that Yuan’s language of ink and wash paintings has some mysterious life energy. In his view, these abstract ink and wash paintings are constantly discussing about life. Life is always striving to get rid of the external constraints and return to the inner essence, and these paintings are penetrated by the power and intensity of the essence.Yuan Yunsheng once talked about creation like this: “I have been doing this all the time. First, I will push my thinking to a complete abstraction, and then from here, I will expand its inclusiveness, seek a solid combination with appropriate images, so as to be free and unhindered. I have been pursuing something generous, broad and glorious”. 「4」「1」 Yuan Yunsheng, Regeneration: Trip to Northwest China, Art, pp. 5-7, Issue 1, 1982「2」 Zou Wen, Looking at the East from the West: Mr. Yuan Yunsheng’s Talkson Art, Art & Design, pp. 46-47, Issue 3, 1993「3」 Wang Min’an, From Purity to Strength「4」 Yuan Yunsheng, Self Preface, Chinese Sketch Classics Gallery—Yuan Yunsheng’s Sketches Collection, page 6, 1998Yuan Yunsheng, Line·Form, Ink on paper
*以上摄影均来自家属或摄影者授权。
The above photos are all authorized by family members or photographers.
艺术家简介
About Artist
Image courtesy of Xu Shengzhong
袁运生，1937年生于江苏南通，1962年毕业于中央美术学院油画系董希文工作室。1962年至1980年，分配至吉林省长春市工人文化宫工作。1979年创作首都机场壁画《泼水节——生命的赞歌》，1980年调至中央美术学院壁画系工作。1982年-1996年应邀访美并客居纽约，任教于塔夫茨大学、麻省大学、斯密斯学院、哈佛大学。1996年至今在中央美术学院工作，曾任油画系第四工作室主任、院学术委员会副主任，博士生导师；曾任中国美术家协会壁画艺委会副主任；曾任中央美术学院中国古代造型研究中心主任，国家重大课题“重建中国高等美术教育体系”责任人。至今依然保持着旺盛的创作状态。2022《袁运生的历程》，龙美术馆（西岸馆），上海2021《魂兮归来——袁运生》，站台中国当代艺术机构，北京2021 "一段修复的记忆——袁运生《水乡的记忆》作品史研究"，中央美术学院美术馆，北京2019《袁运生——生命的赞歌》，站台中国当代艺术机构，北京2017《走向文明的自觉——袁运生艺术展》，中国美术馆，北京2014《第三条路——袁运甫、袁运生绘画作品展》，中间美术馆，北京2014《南通籍名家系列展——袁运生作品展》，南通市中心美术馆，南通2010《熟饭乎？——袁运生个展》，Galerie99，德国1997 作品《搏》参加意大利“第47届威尼斯国际艺术双年展”1991《袁运生近作展》，西百老汇街456画廊，纽约1987 在纽约Soho区Art
Wave画廊举办个展1983 在纽约市东汉普顿70A公园韦雷德国际艺术画廊举办个展“袁运生”1983 在美国波士顿市政府大厦画廊、美国塔夫斯大学、美国恩普斯特学院博物馆、美国斯密斯学院艺术系、美国麻省大学、美国北爱荷华大学美术馆举办展览Yuan Yunsheng was born on 4 April 1937 in Nantong city, Jiangsu Province. In 1962, he
graduated from "Dong XiwenStudio”ofthe Oil Painting Department of the China Central Academy of Fine Arts. From
1962 to 1980, Yuan Yunshengwas assigned to work in the Fine Arts Group at the Changchun Municipal Workers
Cultural Palace of Jilin Province. In 1979, he created the mural Water Sprinkling Festival - Hymn of Life for
Beijing Capital Airport; In 1980, he was transferred to the Mural Department of
the China Central Academy of Fine Arts. From 1982 to 1996, he went to the
United States to give lectures and lived in New York. He has been working at
the Central Academy of Fine Arts since 1996. He used to work as the director of
the Fourth Painting Studio of Oil Painting Department, the deputy director of
the Academic Committee of the Academy, and the PhD tutor. Currently, he is the
director of the Chinese Ancient Modeling Research Center of the China Central
Academy of Fine Arts, and the principal of the national major project
"Replication of Traditional Chinese Sculptures and Establishment of
Contemporary Chinese Art Education System”.Important solo exhibitions:2022Look into the distance, Platform
China Contemporary Art Institute, Beijing2022 Journey of Yuan Yunsheng,
Long Museum, Shanghai2021 REGENERATION, Platform China Contemporary Art Institute, Beijing2021 The Restoration of the Memory–A Study of
the history of Yuan Yunsheng’s work ‘Memories of the Water Town’,
CAFA Art Museum, Beijing2019EXTOL LIFE,
Platform China Contemporary Art Institute, Beijing2017Self-Conscious to the Civilization
Renowned Chinese Artists of Fine Arts in the 20th Century, National Art Museum, Beijing2014The Third Path—Yuan YunfuYuan Yunsheng paintings exhibition，Inside-Out
Art Museum, Beijing2014Nantong Famous Artists Exhibition
series-Exhibition of Works by Yuan Yunsheng,
Nantong Central Museum2010Cooked Rice? – Yuan Yunsheng’s solo exhibition，Galerie99，Germany1997 His
work Struggle was
displayed in the 47th International Art Exhibition Venice Biennale, Italy1993The Exhibition of Painting by Yuan Yunsheng，International
Art Gallery，Beijing1992 He
held a solo exhibition at the Oriental Art Center in Los Angeles1992 He
held a solo exhibition at the XuanmenArt Center in Taipei1991Yuan Yunsheng’s Recent Works，456
Gallery West Broadway，New
York1987 He
held a solo exhibition at the Art Wave Gallery in soho, New York1985 He
held a solo exhibition at the Wheeler Gallery in San Francisco1984 He
stayed as a visiting art scholar at the Harvard University and held a solo
exhibition there1983 He
held solo exhibition at the Vered International Art Gallery 70A Park Place East Hampton, New York1983 Boston
City Hall Gallery,Tufts University, Amherst College Museum, North Iowa University, Smith College1980 Nantong
Cultural Palace1979 Central Institute of Design, Beijing1978 Museum of Yun-nan and Fine Arts College of Yun-nan
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