金色笔记

The Golden Notebook

2022.9.29 - 2022.10.29

参展艺术家 | Artists：陈彧君、罗荃木、罗艳龙、邱黯雄、沈宁、王劼音、吴维佳、杨勋、谢南星、钟飙、邹操

出品人 | Producer：曹紫恬

策展人 | Curator：朱彤

开幕时间 | Opening：2022年9月29日   15:00

地点 : 金杜艺术中心

      （北京市朝阳区东三环中路1号环球金融中心东塔2层201）

金杜艺术中心（KWM Art Center）荣幸地宣布，2022年9月29日，金色笔记——艺术家联展将在金杜艺术中心开幕。

金色笔记

The Golden Notebook

文/朱彤

展览“金色笔记”以轻松、碎片的随笔方式为观众呈现11位艺术家跨度近17年的绘画作品面貌，在时代之河的截面中捕获那些未曾被发觉的流转金波。“金色笔记”意欲回到以艺术家“第一人称”为叙事的视角，而非绘画的历史。在为观众呈现这11位艺术家“多元性”的同时，以“笔记”作为一种虚构的编纂，籍此展览，提供一种交叉的可能性，从而为观众带来一些与当下呼应的碎片式思考。

“金色笔记”出自英国作家多丽丝·莱辛的同名小说，作为自伍尔夫之后最伟大的女性作家，莱辛在这部著作中以繁复和极尽意识流的写作方式，以小见大，描绘出纷繁世界中的自我以及个体身处的外部世界；而清代文学家纪昀的《阅微草堂笔记》同样以“笔记”入题，用异闻志怪，叙写当下的故事。作家的笔，艺术家的笔，在草堂的孤灯下相互碰撞，激发着观看者关于历史的、纵向世界考古的想象。

在本次展览中，11位艺术家从不同的绘画媒介及观念的表达出发，他们即是观看者，同时也是故事中鲜活的角色，用艺术的方式展现着或叙事或描写性的独特视角。我们能从其中感受到来自古代神话的现代演绎，也有古典的、文人式的“托物言志”，有使用传统的媒介来进行当代观念的转化，亦有融贯中西的，不拘泥传统技法，自成一体的作品。这些面貌组成中国当代艺术的重要要素和基因，既承袭经典又贴近艺术家心中的理想之境。

“把活泼的新生命灌输到保守而陈旧的风格和技巧中，在这样晚的历史时刻里实现，并不是件容易的事。”对于周臣、唐寅和仇英，高居翰曾如是评价道。这着实为我们提供一种新的绘画的参照系。仇英不得不“戏写”，以一种潇洒的态度轻松回应，但他们也绝非西方绘画史中那些曾经试图捍卫传统的艺术家。他们捍卫的不是传统，他们在“这样晚的历史时刻里”，以一种近似考古的方式，淌过历史的河流，创造属于自己的时刻。

绘画正在以“多元性”的方式保持着一种前所未有的开放姿态，以开放抵御着保守和陈旧。在今天，图像和流媒介的冲击改变了人们的观看方式，改变了艺术家的创作方式。图像、绘画和生活中充满了拼贴和组合，世界不是扁平的，绘画不再是我们以为的维度，而是以图层和观念的方式叠合，构成“熵”的叙事。站在此刻，我们的时代是过去，也是未来。

The exhibition "The Golden Notebook" presents the paintings of 11 artists spanning nearly 17 years in a relaxed and fragmentary way, capturing the undiscovered flow of golden waves in the cross section of the river of time. "The Golden Notebook “ intends to return to the narrative perspective of the artist's "first person," rather than the history of painting. While presenting the "diversity" of these 11 artists to the audience, with "notebook " as a kind of fictional compilation, this exhibition provides a possibility of intersection, thus bringing some fragmented thinking to the audience that echoes with the present.

The Golden Notebook is a novel written by Doris Lessing, the greatest female writer since Woolf. In this work, Lessing describes the self in the complicated world and the external world in which the individual lives. And the Qing Dynasty writer Ji Yun's "Jottings from the Thatched Abode of Close Observations" is also titled with notes, writing the current story with strange news.  The writer's pen collides with the artists’ pens  under the lonely lamp of the thatched cottage, inspiring the viewer's imagination about history and vertical world archaeology.

In this exhibition, the artworks of the 11 artists from different painting media and the expression of concepts. They are not only the viewers, but also vivid characters in the story, showing unique perspectives of narration or description in the artistic way. We can feel the modern interpretation from ancient myths, and also the classical and literati style of "expressing ambition through objects." Some use traditional media to transform contemporary concepts, while others integrate Chinese and Western art without rigidly adhering to traditional techniques. These features constitute the important elements and genes of Chinese contemporary art, which not only inherit the classics but also close to the ideal world of the artists.

"It is not easy to infuse a lively new life into a conservative and old style and technique at such a late time in history." For Zhou Chen, Tang Yin and Qiu Ying, Gao Juhan had such comments, which provide us with a new reference frame for painting. Qiu Ying had to "dramatize " and respond easily with a chic attitude, but they were by no means the artists who once tried to defend the tradition in the history of western painting. They are not defending tradition. They are creating their own moment by crossing the river of history in an almost archaeological way "at this late moment in history."

Painting is maintaining an unprecedented open attitude in the way of "diversity”, and resisting conservatism and obsolescence with openness. Today, the impact of images and streaming media has changed the way people view and the way artists create. Images, paintings and life are full of collages and combinations. The world is not flat, and painting is no longer the dimension we think it is. Instead, it overlaps with layers and concepts to form a narrative of "entropy." At this moment, our time is both the past and the future.

展览作品：钟彪｜石头记｜126.2X91cm｜布面油画

展览作品：沈宁｜摘星｜139X139cm｜绢本设色

展览作品：陈彧君｜相似物No.20140426｜110X150cmx4｜布面丙烯

展览作品：谢南星｜某人肖像｜120X80cm｜布面油画

关于策展人

朱彤，当代艺术策展人，曾策划过包括《未来考古学—第二届中国艺术三年展》（南京博物院）、《书写—首届南京国际双年展》（江苏省美术馆）、《朦胧—第54届威尼斯艺术双年展特别展》（意大利威尼斯）、《目光所及-后金融危机时代的中国新绘画》（保利博物馆，法国泰勒基金会，日本福冈亚洲美术馆等）、《美丽新世界—南京第二届国际美展》《无界-来自中国的当代艺术》（意大利曼特尼亚美术馆）等多个国内外重要展览项目。曾出版《演变》《超越的维度》《幻想》等多部学术专著。

关于金杜艺术中心

King & Wood Mallesons Art Center

金杜艺术中心是由金杜律师事务所及其合伙人共同支持创立的。位于北京CBD区环球金融中心。中心包括展览展示空间和沙龙空间, 将用于呈现专业的当代艺术展览，推介及收藏国内外的优秀当代艺术家作品。同时开展与时尚，设计，建筑的跨界合作，以及开办一系列多角度的艺术教育活动和课程，培养艺术爱好者，拓展公民的高品质审美和趣味。通过在金杜全球众多事务所的展示活动，以及与国际艺术机构的互动，增强中国艺术的国际影响，成为中国当代文化的有力传播者。

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