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展览预告 | 从蛮荒出发:当代汉字艺术展——第二十三届深圳美术馆当代艺术邀请展

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展览预告 | 从蛮荒出发:当代汉字艺术展——第二十三届深圳美术馆当代艺术邀请展 崇真艺客

从蛮荒出发:当代汉字艺术展

第二十三届深圳美术馆当代艺术邀请展


Journey from the Wilderness: Contemporary Chinese Character Art Exhibition

The 23rd Shenzhen Art Museum Contemporary Art Invitation Exhibition


指导单位:深圳市文化广电旅游体育局

Guiding Authority: Shenzhen Municipal Bureau of Culture, Radio, Television, Tourism, and Sports


主办单位:深圳美术馆

Organizer: Shenzhen Art Museum


展览总监:王新妮、 王子蚺

Directors:Wang Xinni, Wang Ziran


学术主持&策展人:陈履生

Curator & Academic Support:Chen Lyu Sheng


执行策展人:游江、杨世武

Curatorial Execution:You Jiang , Yang Shiwu


展览时间:2025年1月1日-3月11日

Duration: January 1, 2025 - March 11, 2025


展览地点:深圳美术馆(新馆)

Venue: Shenzhen Art Museum


深圳市宣传文化事业发展专项基金 支持项目

Supported by Shenzhen Publicity and Culture Fund




参展艺术家(按出生年月为序)

Participating Artists (Sort by date of birth)


王冬龄 Wang Dongling

徐冰 Xu Bing

任戎 Ren Rong

魏立刚 Wei Ligang



展览预告 | 从蛮荒出发:当代汉字艺术展——第二十三届深圳美术馆当代艺术邀请展 崇真艺客

前言

Preface



艺术的符号性特质不仅是在当代艺术的表现中,早在艺术产生的原始时代,这种符号性的表现就是非常明显,而且是艺术表现的特点之一,其中有很多神秘和不解,这就是人类早期创立各种符号的特殊性。

The symbolic nature of art is not only evident in contemporary artistic expressions; it was already very prominent in the primitive era when art first emerged. This symbolic representation is one of the characteristics of artistic expression, filled with many mysteries and enigmas. This highlights the uniqueness of humanity's early establishment of various symbols.


然而,在各种符号的创立与表现之中,符号所具有的意义各不相同,其中的象形与抽象,都反映了与自然和物象之间的关系,更是人类认识世界和表现世界的一种反映。这是从蛮荒时代出发所显现的艺术发展的共同特征。

However, among the various symbols created and expressed, the meanings of these symbols differ significantly. Both pictorial and abstract forms reflect the relationship between humanity and nature, serving as a manifestation of how humans understand and represent the world. This is a common characteristic of artistic development that emerges from the primitive era.


中国艺术从新石器时代刻画在陶器等硬质表面上的那些符号,到后来文字的成型与发展,依然存留了符号早期在交流之中所承担的特别的社会意义。

Chinese art, from the symbols carved on hard surfaces like pottery in the Neolithic era to the later formation and development of written characters, still retains the special social significance that symbols held in early communication.


而在后来的发展中,从符号到文字,从刻画到书写,固然其中有材质方面的变化,但本质上是从这种符号到文字的变化中所显现出来在功用上的大幅度的提升,让人们看到了文字所具有的特别的社会意义,而审美的不断介入又将文字的书写抬升到了具有文化意味的新的层面。

In the later development, the transition from symbols to written characters and from carving to writing certainly involved changes in materials. However, fundamentally, it reflects a significant enhancement in functionality from symbols to written characters, revealing the special social significance of writing. The continuous involvement of aesthetics has elevated the act of writing to a new level imbued with cultural meaning.


在中国,汉字的书写是一门独特的艺术。而到了21世纪的今天,人们又看到了在当代艺术的发展中借助于各种艺术符号来发展当代艺术的表现,并成为一种国际潮流。

In China, the writing of Chinese characters is a unique art form. As we reach the 21st century, we see the development of contemporary art utilizing various artistic symbols, which has become an international trend.


中国的文字作为具有中国文化特点的符号之一,它有着显著的国家文化特征以及和艺术的关系,这就是书写所给予这样一种特别的艺术所带来的文化的高度。所以,在不断的发展过程中,中国的书写自成体系并形成了高峰林立的天下和在近世的发展。

As one of the symbols characteristic of Chinese culture, Chinese writing possesses significant national cultural traits and a relationship with art. This reflects the cultural elevation brought about by the unique art of writing. Therefore, in the process of continuous development, Chinese writing has formed its own system, creating a landscape of towering peaks and evolving significantly in modern times.


在当代艺术的诸多表现中,人们也能够看到从徐冰的《天书》(《析世鉴-天书》,1987-1991)开始利用文字进行着具有跨时代的重要创作,而他作品中的那些文字又不是人们所熟识的那些,更难以连接到人们已有的知识系统之中。

In many expressions of contemporary art, one can see the significant cross-era creations that began with Xu Bing's "Book from the Sky" ("Xishi Jian - Book from the Sky," 1987-1991), where he utilizes text in a unique way. The characters in his work are not those familiar to people, making it even more challenging to connect them to existing knowledge systems.


《天书》的创造性就在于利用这种符号性的特点,把人们拉向了与文字关联的文化回望之中,思接千载至蛮荒时代的各种符号,实际上是利用了文化的亲情而扩展了艺术的表现。这种具有当代性的创作并不是一种书写,更不是一种已有文字的书写。

The creativity of "Book from the Sky" lies in its use of symbolic characteristics, drawing people into a cultural reflection associated with text. By connecting various symbols that reach back to ancient and primitive times, it effectively expands the expression of art through the affinity of culture. This contemporary creation is not a form of writing, nor is it a writing of existing characters.


毫无疑问,在多种多样的当代艺术的表现中,像王冬龄的“乱书”,依然是在传统书写基础上的延续与发展,只不过在其发展的过程中引发了基因的突变。

Without a doubt, among the diverse expressions of contemporary art, works like Wang Dongling's "Chaos Writing" continue to build upon and develop traditional writing, albeit with a genetic mutation triggered during its evolution.


那么,所谓的“乱书”再也不是传统意义上的书写,而是把传统的书写引入到当代艺术的表现之中,这就是消解了人们对于文字及其关联意义的指认,或者是去除了对于具体内容和意义的判断,它所带来的“乱”的符号虽然是文字的构成,却完全不同于传统书写的审美,成为一种符号性在当代艺术表现中的一种重要的方式。

Therefore, the so-called "Chaos Writing" is no longer traditional writing in the conventional sense; rather, it brings traditional writing into the realm of contemporary artistic expression. This approach dissolves people's identification with the meanings associated with text, or removes the judgment of specific content and significance. The "chaotic" symbols it produces, although composed of characters, are entirely different from the aesthetics of traditional writing, becoming an important mode of symbolism in contemporary artistic expression.


然而,魏立刚的表现尽管有其个人的特色,他有时坚持去写,并通过用一些新的材料以扩展在视觉上的独特性,从而改变了宣纸在审美上的固定模式。

However, despite Wei Ligang's personal style, he sometimes insists on writing and expands the visual uniqueness by using new materials, thereby altering the fixed aesthetic patterns of rice paper.


但是,他的写同样不具有传统书写的美学要求,也不是传统文人所期盼的那样,更不是在间架结构和中锋用笔的品评要求中表现出为传统书家津津乐道的那种深厚的功力。

However, his writing also does not possess the aesthetic requirements of traditional calligraphy, nor does it align with the expectations of traditional literati. Furthermore, it does not demonstrate the profound skills that traditional calligraphers take pride in, as reflected in the evaluation of structural composition and the use of the central axis in brushwork.


他有时又不放弃对于文字的指认,甚至通过文字的指认而获得某种特别的趣味,这就显现出了一种矛盾的状态。

At times, he does not abandon the identification with text, and even gains a certain special interest through this identification, which reveals a contradictory state.


而这种矛盾的书写状态以及他的艺术所呈现出来的这种符号性的特质,让人们看到了艺术在如今的中国当代艺术的发展过程中的多样性。

This contradictory writing state and the symbolic qualities presented in his art allow people to see the diversity in the development of contemporary art in today's China.


无疑,魏立刚通过书写所表现出来的多样性,又完全不同于王冬龄的方式。

Undoubtedly, the diversity expressed through writing by Wei Ligang is completely different from that of Wang Dongling.


而任戎以文字符号为基础的表现,连接了汉代画像和民间艺术的某些形式,又连接了德国当代艺术的观念和趣味。

Ren Rong's expression, based on written symbols, connects certain forms of Han dynasty imagery and folk art, while also linking to concepts and tastes in contemporary German art.


任戎以文字为基础的创作,其霸悍、强劲的个人风格,所展现的文字符号和文化意义在观念的表现中有着他对当代艺术的理解。

Ren Rong's creations, based on written language, showcase a bold and powerful personal style. The written symbols and cultural meanings he presents reflect his understanding of contemporary art in the realm of conceptual expression.


任戎的这样一种方式是以脱离书写的表现而呈现出装饰性、图案化和当代性的缠绕,他更多的是在材质上,或者是在其他方面所表现出来的自身特色。

Ren Rong's approach emphasizes a decorative, patterned, and contemporary entanglement that transcends traditional writing. His work often highlights unique characteristics through materials and other aspects, showcasing a distinct artistic identity.


“从蛮荒出发:当代汉字艺术展”,作为“第二十三届深圳美术馆当代艺术邀请展”,所选择的四位艺术家就是四个独特的个案。

"Journey from the Wilderness: Contemporary Chinese Character Art Exhibition," as part of the 23rd Shenzhen Art Museum Contemporary Art Invitational Exhibition, features four selected artists, each representing a unique case. 


他们中既有中国当代艺术发展具有里程碑的历史性回顾,又有深具当代影响与中国当代艺术发展的重要的现实问题的思考,还有具有代表性的以汉字为基础的激发中国当代艺术创作的不懈努力。

Among them, there is both a historical review of the milestones in the development of contemporary Chinese art and a deep reflection on significant contemporary issues impacting this evolution. Additionally, there are representative efforts that continuously inspire contemporary Chinese art creation based on Chinese characters.


在这样一种跨越数十年的历史发展中,以文字符号为基础的中国当代艺术的表现,在国际当代艺术的发展过程中越来越受到关注,其影响也越来越广泛。

In this historical development spanning several decades, the expression of contemporary Chinese art based on written symbols has garnered increasing attention in the context of international contemporary art, and its influence has become more widespread.


相信其中最重要的原因就是中国文字和中国书写所具有的自身的魅力,以及基于书写这样一种特别的方式所带来的特别的文化感觉。

I believe one of the most important reasons is the inherent charm of Chinese characters and Chinese writing, as well as the unique cultural feeling brought about by this special form of writing.


而在当代艺术以此为基础的各种不同的表现中,艺术家不管是颠覆,还是利用;不管是建构,还是创造,总是寄希望于这样一种利用文字的方式能够建构起一种新的文化格局,以维护21世纪的世界文化多样性。

In the various expressions of contemporary art based on this foundation, artists, whether subverting or utilizing, constructing or creating, always hope that this use of written language can establish a new cultural framework to uphold the cultural diversity of the world in the 21st century.


这是摆脱抄袭、模仿,推动中国当代艺术在21世纪发展的一条重要的途径。在如今当代艺术的表现中,以文字符号为基础的建构,所簇拥起的一个个让人们仰视的高峰,是以文字符号为基础的表现所呈现出来的多样化的表现方式。

This is an important avenue for the development of contemporary Chinese art in the 21st century, which has often been criticized for plagiarism and imitation. In today's expressions of contemporary art, the constructions based on written symbols have created a series of towering peaks that showcase the diverse forms of expression presented by this foundation of written language.


他们的文化基因相同,而表现却是美美与共,让人们看到了当代艺术具有一些规律性的表现内容。

Their cultural genes are the same, yet their expressions are beautifully shared, allowing people to see that contemporary art has some regular patterns in its content.


当然,在如今中国当代艺术的表现中还有多种多样的方式,还将出现更加丰富而多样的对传统文化或符号的新的利用,它们未来可能会形成一个阵营,形成一个利用中国传统文化而推动当代艺术新发展的群,并以此来呈现出与中国传统文化所关联的中国方式。

Of course, in the expressions of contemporary Chinese art today, there are various methods, and there will be even richer and more diverse new uses of traditional culture or symbols. In the future, they may form a camp, creating a group that promotes the new development of contemporary art through the utilization of Chinese traditional culture, thereby presenting a Chinese approach associated with traditional culture.


深圳美术馆艺术总监 陈履生

Shenzhen Art Museum Art Director

Chen Lyu Sheng



艺术家简介

Artists Introduction


展览预告 | 从蛮荒出发:当代汉字艺术展——第二十三届深圳美术馆当代艺术邀请展 崇真艺客

王冬龄

WANG DONGLING





王冬龄,1945年生,江苏如东人。中国美术学院现代书法研究中心主任,中国美术学院教授、博士生导师,杭州市书法家协会终身名誉主席,兰亭书法社社长,西泠印社理事。


1981年浙江美术学院(今中国美术学院)首届书法研究生班毕业,文学硕士,留校任教。1989年赴美国明尼苏达大学讲授中国书法四年,为该校及加州大学(圣特鲁斯)客座教授。1994年回中国美术学院执教。


作品由故宫、中国美术馆、北京大学、清华大学、伦敦大英博物馆、维多利亚和阿尔伯特博物馆、大都会博物馆、哈佛大学、耶鲁大学、剑桥大学、斯坦福大学、伯克利大学、温哥华美术馆、奥克兰美术馆、香港M+美术馆等收藏。


Wang Dongling, born in 1945, is from Rudong, Jiangsu. He is the director of the Modern Calligraphy Research Center of the China Academy of Art, a professor and doctoral supervisor of the China Academy of Art, the lifelong honorary chairman of the Hangzhou Calligraphers Association, the president of the Lanting Calligraphy Society, and the director of the Xiling Seal Society.


In 1981, he graduated from the first calligraphy graduate class of the Zhejiang Academy of Fine Arts (now the China Academy of Art) with a master's degree in literature and stayed at the school to teach. In 1989, he went to the University of Minnesota in the United States to teach Chinese calligraphy for four years and was a visiting professor at the school and the University of California (St. Truth). In 1994, he returned to the China Academy of Art to teach.


His works are collected by the Palace Museum, the National Art Museum of China, Peking University, Tsinghua University, the British Museum in London, the Victoria and Albert Museum, the Metropolitan Museum of Art, Harvard University, Yale University, Cambridge University, Stanford University, Berkeley University, Vancouver Art Gallery, Auckland Art Gallery, and M+ Art Gallery in Hong Kong.


展览预告 | 从蛮荒出发:当代汉字艺术展——第二十三届深圳美术馆当代艺术邀请展 崇真艺客

王冬龄 

《霍金箴言》

纸本水墨

460cm × 550cm

2023



展览预告 | 从蛮荒出发:当代汉字艺术展——第二十三届深圳美术馆当代艺术邀请展 崇真艺客

徐冰

XU BING


徐冰,艺术家,中央美术学院教授。他被广泛认为是当今重要的概念艺术家,特别在语言学和符号学领域,始终以极具突破力的艺术创作拓展着艺术的边界。作品展出于中国美术馆、大都会艺术博物馆、纽约现代艺术博物馆、古根海姆美术馆、大英博物馆、威尼斯双年展等艺术机构,并被广泛收藏。


1999年,因其在 “原创性、创造能力、个人方向和对社会,尤其在版画和书法领域中作出重要贡献的能力”, 获得美国创造性人才最高奖“天才奖”。2003年,“由于对亚洲文化的发展所做的贡献”,获得第十四届日本福冈亚洲文化奖。2004年,获得首届“Artes  Mundi国际当代艺术奖”,评委会授奖理由:“徐冰是一位能够超越文化界线,将东西方文化相互转换,用视觉语言表达他的思想和现实问题的艺术家。”2006年, 由于“对文字、语言和书籍溶智的使用,对版画与当代艺术这两个领域间的对话和沟通所产生的巨大影响”获美国“版画艺术终身成就奖”。2010年,美国哥伦比亚大学授予徐冰人文学荣誉博士学位。2018年,获得中央美术学院“徐悲鸿艺术创作奖”。


Xu Bing, an artist. He was born in Chongqing, China, in 1955. Xu Bing serve as a professor in CAFA. Xu Bing is widely recognized as the leading conceptual artists of language and semiotics working today. He has always been expanding the boundaries of art with the inventive breakthrough in his artistic creations. His work has been exhibited at various art institutions such as the National Art Museum of China, The Metropolitan Museum of Art, New York, the Museum of Modern Art, New York, the Solomon R. Guggenheim Museum, New York, the British Museum, London, the Venice Biennale, and have been widely collected.


In 1999, Xu Bing received the highest creative talent award in the United States. In recognition of his “capacity to contribute importantly to society, particularly in printmaking and calligraphy.” In 2003, he was conferred the 14th Fukuoka Asian Culture Award for his “contribution to the development of Asian culture”. In 2004, he won the first Artes Mundi Prize in Wales. Reasons for the jury's award: "Xu Bing is an artist who can transcend cultural boundaries, convert Eastern and Western cultures, and express his thoughts and practical issues in visual language. In 2006, the Southern Graphics Council conferred on Xu Bing its lifetime achievement award in recognition of the fact that his “use of text, language and books has impacted the dialogue of the print and art worlds in significant ways.” In 2010, he was awarded an honorary doctorate in humane letters from Columbia University. In 2018, he was awarded the "Xu Beihong Art Creation Award" by the Education Development Foundation of the CAFA.


展览预告 | 从蛮荒出发:当代汉字艺术展——第二十三届深圳美术馆当代艺术邀请展 崇真艺客

徐冰 

《苏州文字写生(纸抄纸)》

双色石版印刷,Entrada自然碎布纸

220.3cm × 87.6cm

2003-2013



展览预告 | 从蛮荒出发:当代汉字艺术展——第二十三届深圳美术馆当代艺术邀请展 崇真艺客

任 戎

REN RONG


出生于中国江苏省南京市。1986年毕业于南京艺术学院,1992年毕业于德国杜塞尔多夫国立艺术学院。1993年获德国史莱斯威西·赫尔斯坦州文化部艺术奖学金。其曾在德国、捷克、加拿大、新加坡、北京、台北、香港等地多次举办个人展览,并多次参加重要群展。


1996年任戎受到德国波恩国立艺术博物馆委托,组织策划《中国!》当代艺术巡回展,2013年他在德国波恩创建“德国波恩当代艺术馆”,并与众多的德国、中国公立博物馆、民营美术馆以及私人画廊积极合作,持续组织和策划欧亚艺术家展览,推进各国文化交流。


任戎现生活和工作在德国波恩和中国北京。


Born in Nanjing, Jiangsu Province, China. He graduated from Nanjing University of the Arts in 1986 and from Dusseldorf State Academy of the Arts in Germany in 1992. In 1993, he received the Art Scholarship of the Ministry of Culture of Schleicwiesie Helstein, Germany. He has held individual exhibitions in Germany, Czech Republic, Canada, Singapore, Beijing, Taipei, Hong Kong and other places, and participated in important group exhibitions for many times.


In 1996, Ren Rong was commissioned by the Museum of Art in Bonn, Germany, to organize the "China!" Travelling exhibition of contemporary art, In 2013, he founded the "Kunstraum Villa Friede" in Bonn, Germany, and has cooperated with numerous German and Chinese public museums, private art museums and private galleries actively cooperate to continue to organize and plan exhibitions of Eurasian artists and promote the development of various countries Cultural exchange.


Ren Rong now lives and works in Bonn, Germany and Beijing, China.


展览预告 | 从蛮荒出发:当代汉字艺术展——第二十三届深圳美术馆当代艺术邀请展 崇真艺客

任戎

《创世纪》

 空间装置

200cm × 200cm × 75cm × 6

2018-2019



展览预告 | 从蛮荒出发:当代汉字艺术展——第二十三届深圳美术馆当代艺术邀请展 崇真艺客

魏立刚

WEI LIGANG


1964年出生于山西大同,现生活工作于北京。开创书象派与国际书象学社,现任中国现代书法艺术学会副会长。魏立刚的艺术创作始于天津南开大学数学系就读期间,师承王学仲、孙伯翔等。先后主导发起策划多个意义重大的中国现代书法艺术运动展览、论坛、出版等。2005年荣获ACC亚洲文化协会年度艺术家大奖后赴纽约交流创作,后开启全球学术考察驻留,其创作名誉海内外。他以艺术家、策划者、教育者的多重身份致力于书写现当代性的视觉理论研究及东西方文化交流。


其四十余年的职业艺术实践关注探究东方抽象纯粹视觉性及本土文化复兴的使命,把“书写”拓展为对应宇宙万物、建构“结构本身”的艺术形式,打造一种基于汉字线条和空间结构的普世抽象语言,为中国当代水墨艺术中最早的个人视觉语言之一。


重要收藏机构包括伦敦大英博物馆、中国国家博物馆、中国美术馆、巴黎赛努奇亚洲艺术博物馆、洛杉矶郡立美术馆(LACMA)、西雅图盖茨基金会、旧金山现代艺术博物馆、爱尔兰皇宫、不丹王室、皮诺家族收藏、香港艺术馆(HKMoA)等中外艺术机构收藏。


Wei Ligang, born in Datong, Shanxi in 1964, currently lives and works in Beijing. He founded the School of Calligraphic Imagery and the International Calligraphic Imagery Society, and currently serves as the vice president of the China Modern Calligraphy Art Association. Wei Ligang began his artistic creation while studying mathematics at Nankai University in Tianjin, under the tutelage of Wang Xuezhong and Sun Boxiang. He has spearheaded and planned numerous significant exhibitions, forums, and publications related to the modern Chinese calligraphy art movement. In 2005, after receiving the ACC Asian Cultural Council Annual Artist Award, he went to New York for artistic exchange and subsequently began a global academic investigation and residency, gaining recognition for his work both domestically and internationally. He is dedicated to the study of contemporary visual theory and the exchange of Eastern and Western cultures in his multifaceted roles as an artist, curator, and educator.


For over four decades, his artistic practice has focused on exploring the pure visual abstraction of the East and the mission of reviving indigenous culture. He expands "writing" into an art form that corresponds to all things in the universe, constructing "structure itself," creating a universal abstract language based on the lines and spatial structure of Chinese characters.  This is considered one of the earliest individual visual languages in contemporary Chinese ink art.


His works are held in prominent collections worldwide, including the British Museum (London), the National Museum of China, the National Art Museum of China, the Musée Cernuschi (Paris), the Los Angeles County Museum of Art (LACMA), Bill and Melinda Gates Foundation (Seattle), the San Francisco Museum of Modern Art (SFMOMA), the Irish Presidential Palace, the Bhutanese Royal Family Collection, the Pinault Collection, and the Hong Kong Museum of Art (HKMoA).


展览预告 | 从蛮荒出发:当代汉字艺术展——第二十三届深圳美术馆当代艺术邀请展 崇真艺客

魏立刚

《黑孔雀》

墨、丙烯、宣纸

123cm x 245cm x 2

2018




展览预告 | 从蛮荒出发:当代汉字艺术展——第二十三届深圳美术馆当代艺术邀请展 崇真艺客
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展览预告 | 从蛮荒出发:当代汉字艺术展——第二十三届深圳美术馆当代艺术邀请展 崇真艺客


展览预告 | 从蛮荒出发:当代汉字艺术展——第二十三届深圳美术馆当代艺术邀请展 崇真艺客


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