站台中国20周年｜线上展览回顾：2021
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The Easeful Life Time – Huang Liang Solo Exhibition岁月静好——指涉出画家创作的重要取向，发轫于生活，探寻绘画具有的恒久品性。静物，肖像，是画家专注的主题，其风格质朴而静谧，透露着人性的温度。其极具吸引力的灰色基调与旧物美感，有着复杂的生成因素，关乎于画家的品格，心灵，以及深层的社会性背景。而在这流行瞬息的时代，黄亮的作品如深沉的低音，传达出绘画的持守与异质。The Easeful Life Time reflects the important orientation of the artist's creation. It comes from life and explores the eternal nature of painting. Stationary objects and portraits, as the themes that painters focus on, are simple and quiet in style and reveal the temperature of human nature. Born from complex generating factors, its attractive gray tone and aesthetic feeling of old objects are related to the character, soul and deep social background of the painter. In this era of rapid popularity, Huang Liang's works convey the persistence and heterogeneity of painting in a deep voice.
—— Wang Jiang
黄亮，人像，布面油画，110x150cm，2019
Huang Liang, Portrait, Oil on Canvas黄亮，白螺雕塑，布面油画，40x33cm，2020
Huang Liang, White Snail Sculpture, Oil on CanvasYi Liao: The View From A Hermit
一了，本名朱明，少时起修习佛禅。其艺术生涯发轫于禅宗之道，由书入画。上世纪末，他以具有现代意识的书法实验获得盛名。而在近十年中，他的绘画日臻成熟，形成了极富表现力的个人风格。神隐录——影涉出画家的创作取向、处世态度与文化立场。长年来，一了隐于嵩山。在这禅宗源起之地，他重塑日常，重构自身与艺术的关系, 以禅悟通达艺术本真。他在创作上挚于灵兽主题，通过对形式、媒介与技巧的反复实验，演绎出丰富的面貌。他的绘画具备原生的基因与民间的活力，冲破了传统审美的囿限，追求自由与自我。他笔下的灵兽既是自我观照，亦是人世隐喻，造型陌异而生动，充溢着神秘与野逸。
AWith the real name of Zhu Ming, Yi Liao has learned and practiced Buddhism and Dhyana ever since he was young. His artistic career commenced from the doctrine of Dhyana, and he created works from books to paintings. Since the end of the last century, he has gained fame for his calligraphy experiment full of modern sense. His paintings have gone mature over time in the past decade, forming a personal style with a strong expressive force.The View from a Hermit maps out the creation orientation, ways of life and cultural position of the painter. Yi Liao has lived in seclusion on Songshan Mountain for many years. He has reshaped his daily life, reconstructed the relationship between himself and art, and understood the artistic truth through Buddhist perception at the original place of Dhyana. He has persisted in creating works under the theme of spirit animals, and deducted rich features based on the repeated experiments of form, media and skill. His paintings are defined by original gene and civil vitality, broken through the enclosure and limit of traditional aesthetics, and pursued for freedom and ego. Spirit animals in his works are not only self-reflection, but also the metaphor of the world. The strange and different modes are vivid and show mystery and wild leisure. Exhibition view
一了，语世系列，纸本水墨、丙烯，180x96cm，2010
Yi Liao, Talking to the world, Ink and acrylic on paper
艺术家：庞薰琹、林岗、庞壔、袁运甫、袁运生、闫振铎、冯国东、袁佐、袁加、林延、马可鲁、宫立龙、赵汀阳、王兴伟、王音、段正渠、段建伟、吴杉、刘港顺、王家增、一了、闫博、秦琦、刘鼎、马轲、邱瑞祥、张业兴、宋拓、毕建业、汤大尧、黄亮、亓文章、付经岩、傅饶、葛辉、宋元元、廖国核、肖江、劳大伦、黄冰洁、孙逸飞、孙一钿、叶庆、耿旖旎、周天白、李喷泉、唐詠星、郑子豪、张炜、苗妙、钟乐星、杨涛、陈家威、陈栋帆Artists：Pang Xunqin, Lin Gang, Pang Dao, Yuan Yunfu, Yuan Yunsheng, Yan Zhenduo, Feng Guodong, Yuan Zuo, Yuan Jia, Lin Yan, Ma Kelu, Gong Lilong, Zhao Tingyang, Wang Xingwei, Wang Yin, Duan Zhengqu, Duan Jianwei, Wu Shan, Liu Gangshun, Wang Jiazeng, Yi Liao, Yan Bo, Qin Qi, Liu Ding, Ma Ke, Qiu Ruixiang, Zhang Yexing, Song Ta, Bi Jianye, Tang Dayao, Huang Liang, Qi Wenzhang, Fu Jingyan, Fu Rao, Ge Hui, Song Yuanyuan, Liao Guohe, Xu Cheng, Xiao Jiang, LODTALAD, Huang Bingjie, Sun Yifei, Sun Yitian, Ye Qing, Geng Yini, Zhou Tianbai, Li Penquan, Tang Yongxing, Zheng Zihao, Zhang Wei, Miao Miao, Zhong Lexing, Yang Tao, Chen Jiawei, Chen Dongfan袁运生，紫丁香，布面油画，110x90cm，1977
Yuan Yunsheng, The lilacs, Oil on Canvas
袁运甫，绍兴鲁迅路，布面油彩，80×64cm，1961Yuan Yunfu, Luxun Road Shaoxing, Oil on Canvas
庞薰琹，工艺美术集06-地毯 ，羊毛、丝线，155x290cm，1941年设计，2019年制作
Pang Xunqin, Arts and Crafts 06- Carpets, Wool and silk
林岗，蓝与黑的较量，油画麻胶板，47x40cm，1997
Lin Gang, The fight between black and blue, Oil painting linen board
林延，草地野花，纸板油画，38.4x45.6cm，1978
Lin Yan, Meadow wildflowers, Oil painting on cardboard
王兴伟，卖鸡蛋（习作），布面油画，50x60cm，2007
Wang Xingwei, Selling Eggs (Exercise), Oil on Canvas
王音，报春花，布面油彩，130x105cm，2013
Wang Yin, Untitled(Primrose), Oil on Canvas
马轲，肢体2，布面油画，72×57cm，2021
Ma Ke, Crucifixion II, Oil on Canvas
段建伟，三少年，布面油画，150×180cm，2018
Duan Jianwei, Three Boys, Oil on Canvas
刘港顺，腐烂基础，布面丙烯，150x120cm，2014
Liu Gangshun, Rotten Base, Acrylic on canvas
马可鲁，西山道途 ，布面油画，17x19.5cm，1977-1978
Ma Kelu, Xishan endeavor, Oil on Canvas
段正渠，干沟川 ，纸本水彩，32.5x20cm，2015
Duan Zhengqu, GanGou Channel, Watercolor on paper
廖国核，巨额财富 ，布面丙烯，79x50cm，2018
Liao Guohe, Huge wealth, Acrylic on canvas
秦琦，月兔 ，布面油画，100x120cm，2020
Qin Qi, Moon Rabbit, Oil on canvas
邱瑞祥，无题，纸本油画棒，38x48.5cm，2017-2018
Qiu Ruixiang, Untitled, Stick on paper
吴杉，寄生草，大漆、麻、木板，60x50cm，2017
Wu Shan, Ji Shengcao, Lacquer、hemp、board
袁加，口罩系列——洋葱头与油画颜料，布面油画，30×80cm，2020
Yuan Jia, The Mask Series--Onions and Oil Paint, Oil on canvas
袁佐，夏日，布面油画，70×60cm，2021
Yuan Zuo, Summer Days, Oil on canvas
许成，无题，布面丙烯，50×60cm，2017
Xu Cheng, Untitled, Acrylic on canvas
肖江，沿途，布面丙烯，50x35cm，2020
Xiao Jiang, Along The Way, Oil on canvas
汤大尧，正午，布面油画，200x300cm，2014
Tang Dayao, Noon, Oil on canvas
傅饶，正午，纸本油画，50x70cm，2018
Rao Fu, High noon, Oil on paper
张业兴，默 ，布面油画，60x50cm，2021
Zhang Yexing, Silence, Oil on canvas
宋元元，康忙小猪 ，布面油画，206x250cm，2020
Song Yuanyuan, Come On Piggy, Oil on canvas
亓文章，礼物 2，布面油画，80x65cm，2017
Qi Wenzhang, Gift 2, Oil on canvas
孙一钿，皮皮岛的周日，木板丙烯，33x33cm，2021
Sun Yitian, Sunday at PiPi Island, Acrylic on wood
苗妙，标点符号花园3号，纸上油蜡颜料，30x42cm，2020
Miao Miao, The Garden of Punctuations No.3, Oil wax pigment on paper
叶庆，留下，布面油画，120x85cm，2019
Ye Qing, Stay, Oil on canvas
孙逸飞，欢迎来到现实这个大荒漠，布面丙烯，120x80cm，2020
Sun Yifei, Welcome To The Desert of The Real, Acrylic on canvas
Yuan Yunsheng : REGENERATION
Academic Adviser：Lu Mingjun
“我深信，当我们真正研究古代艺术之后，再回味现代艺术之所以追求，也许能找到一个共同的基础，也许会认识到现代艺术的追索与我们在本质上相去并不很远，并且可以从中得到必要的启示。那时，将出现一种、十种甚至一百种重内容的素描，重情感的素描、重精神的素描。追索民族艺术的真精神。才是所谓继承传统的实质。其他的一切，都不在话下。魂兮归来。”“I deeply believe that we may find a common ground when we review the pursuit of modern art after we have really studied the ancient art. We may realize that the difference between the searches of modern art and ours is not significant, and can get necessary enlightenment therefrom. At then, one, ten, or even a hundred kinds of sketches that lay emphasis on content, feelings and spirit will show up. The essence of inheritance of tradition lies in searching for the real spirit of national art, which is most significant. The tradition will be back.”
--Regeneration, Yuan Yunsheng, 1982袁运生，傣女一般像，毛笔宣纸，68x95cm，1978秋Yuan Yunsheng, Portrait of the Dai girl Yiban, Ink on Xuan paper袁运生，麦积山北魏坐佛写生，毛笔宣纸，67.5x132.5cm，1981Yuan Yunsheng, Sketch of Maiji Mountain Sitting Buddha, Ink on Xuan paper
Man only plays when in the full meaning of the word he is a man,and he is only completely a man when he plays.丁立人，明珠里的?（卡富来从理发店讨得一瓶香水当蜜吸），纸本拼贴，42x29.7cm，2020
Ding Liren, The ? in Mingzhu (Kafurai procured a bottle of perfume from a barbershop and drank it like honey), Collage on paper
丁立人，明珠里的?，纸本拼贴，42x29.7cm，2020
Ding Liren, The ? in Mingzhu, Collage on paper
Wang Yilong : The Painter on Balcony
策展人：王将
王一龙的创作关注现实世界中的人物情感，他试图用绘画来创造一种当代社会的人类寓言。“爱”与“拥抱”是其偏好的主题，同时具有讽喻性的社会场景也是其创作中的常见内容。通过饱含个人情感的描绘，王一龙借绘画讲述了他对现实生活的个人见解。另一方面，对绘画形式的探索是他的创作核心。近些年来，随其创作方式的更进，他的绘画逐渐显露出颇具个人语调的造型和色彩。在一些新作中，略显个涩的形状凸显出形象的陌异感，而柔和的色彩又调节了这种造型带来的视觉刺激，因此，画面隐涵了复杂的情绪张力。王一龙笔下的形象概括洗炼，虽然剔除了繁杂的细节，却仍不失值得反复细察的魅力。这种魅力正是源于他对画面中抽象关系的精心调控。显而易见的是，他的绘画继承了现代主义的基因，这也表明了一种延续和发展的可能性，正如他所说：“我无法摆脱前辈甚至同代人的影响，我认为这是一个良性关系。前面铺路的人让我看到了更多的风景，我会尝试走得更远一些。”With the works focusing on the true feelings of people in the real world, Wang Yilong tries to create the allegory of human beings in the contemporary society with paintings. He favors the themes of “love” and “embrace”, and in contrast, he often depicts allegorical social scenes as well. He conveys his personal insight into the real life through his emotional depiction in the paintings. In addition, the core of his creation lies in the exploration of painting forms. In recent years, as his creation style evolves, his paintings have gradually taken on the shape and color full of his own tone. In some of his new paintings, the slightly strange shape highlights the sense of Fremdheit of the image, and the visual stimulation brought by such shape is adjusted by the pastel colors. Therefore, his paintings contain complicated emotional extendibility. The images in Wang Yilong’s works are general and concise: Although the complex details are abandoned, the paintings are still worthy of repeated appreciation. Such charm benefits from his elaborate arrangement of the abstract relationships in each paining. Obviously, his paintings inherit the gene of modernism, which also indicates the possibility of continuity and development. Just as Wang Yilong has said, “I can’t get rid of the influence of the predecessors and even my contemporaries. I have stood on the shoulders of giants, and I will try to see further by myself. I think this is a benign relationship.”
王一龙，爬梯2，布面油画，120x160cm，2019Wang Yilong, Party No.2, Oil on canvas
王一龙，阳台画家，布面油画，115x63cm，2020Wang Yilong, The Painter on Balcony, Oil on canvas
Folding
艺术家：关根伸夫、刘可、吴杉、闫博Artists：Sekine Nobuo, Liu Ke, Wu Shan, Yan Bo
通常，“折叠”是用来讨论单一维度与多个维度的问题，这可以是是视觉的，心理的、感知的、文明的、时间的、空间的、文化的，亦或是已知与未知的。科学家用“折叠”，使空间发生扭曲现象的强大引力，探寻宇宙时空的超越。哲学家用“折叠”这一隐喻，表达对传统逻辑理解方法的质疑，赋予思考更深广的含义。
此次展览邀请四位艺术家，共同在其抽象艺术作品中，挖掘“折叠”。他们的作品有共通的视觉抽象与直觉叠加的审美特征，又有各自独立、完整的观念意图、表现方式及形式美构成体系。抽象艺术在发展沉淀至今，对观念的无限渴望与探索决定了艺术内容的基础，形式感的可能性给了观念更完整的视觉表现。 “折叠”为我们呈现了，在面对当代精神的框架中，各种表现形式的边界溶解下，抽象艺术以何种状态存在着。Usually, “fold” is a topic around single dimension or multiple dimensions, which can be visual, psychological, perceptual, civilized, temporal, spatial, cultural, known and unknown. Scientists make use of “fold”, the powerful gravitational force that warps the space, to explore the transcendence of cosmic space and time. Philosophers employ the metaphor of “fold” to express their doubts about the traditional methods to understand logic and endow the thought with a deeper and broader meaning.Four artists are invited to the exhibition to explore “fold” through their abstract artworks. Their works bear the common aesthetic taste characterized by visual abstraction and intuitive superposition. Meanwhile, the works reflect independent and complete concept intention, expression method and constitution system of formal beauty of each artist. With the development of abstract art up to now, the infinite desire for and exploration of concept have determined the basis of art content, and the possibility of the sense of form has facilitated a more complete visual expression of the concept. “Fold” shows us in what form the abstract art exists when the boundaries dissolve in various forms of expression under the framework of contemporary spirits.
关根伸夫，空の台座，和纸、18k金箔，162.5x228cm，1990
Nobuo Sekine, Pedestal of the Sky, Paper, Gansai, Gold
刘可，金色圣维克多山之五，布面综合材料，210x190cm，2018Liu Ke, Golden Mont Sainte-Victoire No.5, Mixed media on canvas
Xu Yongcheng : Palace Maid and Fountain
宫娥与喷泉, 是从许永城作品中抽取的两个形象。在他的一件旧作中，委拉斯贵支的名画《宫娥》出现在一个幽暗的室内空间的深处。这种“穿越”，使带有特定文化背景的《宫娥》与未名的环境混合在一起，从而产生出一种陌异感，朦胧的形式语言则让场景具有了神秘气息。另一方面，在他的近期创作中，喷泉成为了一个持续实验的题材。它不仅是古远的供水设施，也是随时代变更象征意义的“权利建筑”，这吸引了许永城的目光。人、时空与喷泉的关系成为了该系列的最初议题，他试图以特定的情境来表现喷泉的公共价值。但在最新的作品里，许永城采用了相反的策略，他通过消解喷泉所处的环境来悬搁绝对意义。这些画中的喷泉，无关于地域空间上的中心与边缘，无关于过去、现在与未来。其成为了一种超级符号，在混沌的时空中拥有了开放的象征性。展览以“宫娥与喷泉”作为主题，是对这两种事物所蕴含的私密或公共属性的思辨，它涉及了艺术的阶级区隔，又隐含了时代变迁中艺术观念与文化景观的更新。在这一点上，画家提出了一种可供参考的见解：“宫娥”与“喷泉”皆是意义流变之物，因此，我们只能在限定时空中去认识与比较两者。对时间与空间的表现一直是许永城绘画实践的重要方向。他的画作往往兼具了时空体验上的二元性，即深度与平面，瞬间和永恒。这一特质在其褐色调的表现室内景观的旧作里尤为显著：幽谧的空间中，光色微颤，物象有着迷蒙的轮廓。当目光循着透视投向深处，观者似乎能够在此间感受到流动的空气。而细节则隐蔽在虚渺的气雾之中，显示着目光所及即是不及。这些景象向观者分享了画家的凝视，但异化的形状、错杂的色层与松动的笔触又制造了观看的间离感，这是一种恒久不变的提示，它展示着它正在展示（demonstration）——眼前的景象就是一幅画——其不断地将观者的注意力牵引到画作的表面。形状、色彩和笔触让我们沉浸在平和悠然的形式韵律中。在形而上的世界里，我们遇见了绘画的本体。另一方面，静默的氛围、微茫的光影和稳定的构图将瞬间塑成了永恒。通过这些景象，我们可以领略二者：瞬间，是理性认知，永恒，是感性体验。永恒有着无住之心，它不离开任何瞬间而又不住于任何瞬间，它呈现在生灭之中，变化不息且前后绵延。因而瞬间即是永恒。许永城的这些画作，缘于对日常景象的默观与冥想。他以此捕捉瞬间，刻画永恒，呈现个人的生命体验。Palace Maid and Fountain are two images extracted from the works of Xu Yongcheng. The Maids of Honor, a famous painting of Velazquez, appeared in the deep of a gloomy interior space in an old work of Xu Yongcheng. The “traverse” made The Maids of Honor with specific cultural information mixed with the unnamed environment and produced a sense of strangeness. Yet, the hazy picture endowed certain mystery to the scene. Moreover, fountain became a theme under constant experiment in his works created recently. Fountain is not just an ancient water supply facility, but also the “architecture of power” with the symbolic meaning changed as time goes by, thus attracting the attention of XuYongcheng. The relations of people, space-time and fountain became the initial topic of the series as he tried to express the public value of fountain via specific situation. But in his recent works, Xu Yongcheng adopted an opposite strategy to suspend the absolute meaning by dispelling the environment of fountain. In these paintings, fountain has nothing to do with the center or margin on the regional space, nor is it related to the past, today and future. As a super sign, it has open symbolism in the chaotic space-time. Themed by Palace Maid and Fountain, the exhibition is the speculation of the private or public attribute of the two things and involves the class segment of art while implying the update of artistic concept and cultural landscape amid the change of time. For that matter, the painter proposed a referential insight: Both “Palace Maid” and “Fountain” are the outcome of meaning evolution. Therefore, we can only recognize and compare them in definitive space-time.
The expression of time and space has long been an important direction of the painting practice of the artist. His works often demonstrate the duality of space-time experience, i.e., depth and plane, moment and eternity. This peculiarity is extremely evident in the old works which manifest indoor landscape with brown tonality: Color vibrates slightly in the deep and quiet space where images have misty outlines. When throwing sights upon the depth along the perspectivity, the spectators seemingly can feel the flowing air in the space. Yet, the details are hidden in the illusory fog, revealing that everywhere you look is out of reach. These scenes shared the contemplation of the painter with the spectators, but the aliened forms, mixed color layers and loose brushwork produced the alienation sense of watching. This is a constant hint, showing that it is demonstrating—the immediate scene is a painting—it constantly attracts the attention of the audience to the surface of the painting. Forms, colors and brushwork enable us to sink in the placid and leisure form and rhythm. In this metaphysical world, we meet the thing-in-itself of painting. On the otherhand, the silent atmosphere, hazy shadow and stable composition shape the moment to eternity. We can appreciate both through the scenes: Moment is a reasonable awareness, while eternity is a perceptual experience. Eternity manifests the idea that the mind should linger nowhere. It stays with any moment; yet, it does not cease at any moment; it is shown in birth and death, is ever-changing and continuous. Therefore, the moment is an eternity. The paintings of Xu Yongcheng result from his contemplation and mediation of daily scenes. Based on this, he captures moment, depicts eternity, and displays his life experience.许永城，喷泉－9，布面油画，200x160cm，2021Xu Yongcheng, Fountain 9, Oil on canvas
2015年末，劳家辉忙着准备和思考明年的毕业创作。这时的他试图回顾自身过往，来找到自己的创作表达。但他在回顾家乡环境时发现价值感不够，因此往后探索，便看到童年时期生活在虚拟世界时的自己。童年时期至青少年时期的他拥有过各种虚拟生活体验，但在成年期及以后，则主要接触三维的国风传统类游戏，其他便较少。重回到虚拟世界后的熟悉感与当下游戏的陌生感产生冲突，深入思考时，他感觉到了深入骨髓的刺激，在三维虚拟世界里存在着极大的发掘和探索的空间，看到了自己要做的事。因此，他在玩了从00年到16年间上市的上百款游戏后，不但找到了可用于表现三维世界的美学形式，还感受到了另一个世界的底层逻辑与现实世界的差异，这也会带来思维方式和底层架构的不同。因一直思考新世界的事，他感觉越来越脱离现实，直至感到“走火入魔”。终于，为了找到合适的共处方式，他试图将这股力量清晰化，并划分出来。在之后的2020年开始，劳家辉终于把这股源起于异世界的力量，归纳成“劳大伦体系”。At the end of 2015, Lao Jiahui was busy preparing and contemplating his graduation project for the following year. During this time, he attempted to reflect on his past to find his creative expression. However, when revisiting his hometown environment, he found insufficient emotional resonance. Delving further, he encountered memories of his childhood self immersed in virtual worlds. From childhood to adolescence, he had experienced various virtual lifestyles, but in adulthood, his engagement shifted primarily to 3D traditional Chinese-style games, with little exploration of other genres. Returning to virtual worlds, the clash between nostalgic familiarity and the unfamiliarity of contemporary games sparked an intense, almost visceral stimulation. Through deep reflection, he recognized vast potential for exploration within 3D virtual spaces and identified his creative mission. After studying over a hundred games released between 2000 and 2016, he not only discovered aesthetic frameworks for representing 3D worlds but also uncovered fundamental differences in the underlying logic between virtual and real-world systems, which shaped distinct cognitive patterns and structural foundations. His persistent focus on this new realm gradually distanced him from reality, leading him to feel "consumed by obsession." Ultimately, to establish a balanced coexistence, he sought to clarify and compartmentalize this force. Starting in 2020, Lao Jiahui formally synthesized these otherworldly influences into what he termed the "LODTALAD System."劳大伦，合照，纸本石墨，57.5x59cm，2018LODTALAD, Group Picture, Graphite on paper劳大伦，脸的局部，铝板上纸本石墨，55.5x60cm，2020LODTALAD, A Part of the Face, Graphite on paper mounted on aluminumLODTALAD, Line, Graphite on paper
Wang Yuping : SALT ROASTED GINKGO
Academic Adviser：Wang Mingan
“盐烤银杏”，源于一件绘画小品的题材，它是王玉平喜爱的日式名点，其作为诗性的复合意象联接了展览主题——盐，点出了平头百姓的日常生活;烤即寓意暖煦，传递心与绘画的温度;银杏则是断生可食的果实，喻指画家自然且纯熟的技艺——“盐烤银杏”表明王玉平对宏大主题的拒绝，强调了平凡事物所蕴含的真意。回溯他的创作线索，从早期激烈的表现性绘画到近期细腻的物件写生，二者在美学取向上有着很大差距。其间三十多年的创作生涯，王玉平进行了多样的绘画实验，这使他的艺术风格呈现出多个时期的变化。对于个案研究来说，不同的时期提供了丰富的比较样本，对于画家本人而言，物件写生更加亲近于他的心灵。
展览作品描绘了王玉平生活中的心动之物，不仅显示了他的日常用度，也透露了他的收集趣味。它们往往有着轻松柔软的视觉效果，流露出画家欣然自得的情绪。尤为显著的是，王玉平笔下的色彩，明丽而不轻浮，妖治与朴拙同在，为观者带来了复杂的通感体验——视觉感受似乎能够牵动味觉与触觉的神经。而不同的色彩相交，揉合出虚渺的轮廓，画中事物仿佛有着记忆般的光晕。
王玉平的绘画向内而生，以一种私人化的方式映射了现代世界的文化景观。这些绘画就像一层轻柔的纱网，过滤掉媚俗的缁尘，随心所欲地接收着多元的文化资源。面包、香烟、浮世绘、点石斋画报、美式小台灯、印第安铁皮玩具，伊斯坦布尔针织帽……王玉平以私人趣味创作了现代生活的 “博物志”，于其中，观者可以体认“心唤物至”与“乘物游心”的心物之思。The exhibition name”Salt-Roasted Ginkgo" originated from one of his sketch, it is Wang Yuping's favorite Japanese snack. The name connects the theme of the exhibition as a composite imagery. The “Salt” is refers to the daily life of ordinary people; “Roasted” means warmth and conveys the temperature of his heart and painting; “Ginkgo” is an edible fruit, a metaphor for the artist’s natural and fluent skill. In sum,”Salt-Roasted Ginkgo" shows Wang Yuping’s rejection of the grand theme, and his emphasis on the emotions and meanings within everyday, ordinary objects. Looking back at his creative clues, from the intense expressive painting in early days to the recent exquisite object sketching, there is a gap in aesthetic orientation between the two. During his more than 30 years of creative career, Wang Yuping conducted various experiments of painting methods, resulting in his variation of artistic styles during different periods. For case studies, the variations provide a wealth of comparative samples. For the painter himself, object sketching is much closer to his soul.
The works in the exhibition depict the touching warmth in Wang Yu Ping’s life, not only showing his daily expenses, but also revealing his interesting collection of objects. His works often have a relaxed and soft visual effect, expressing the painter's happy feelings. What is particularly remarkable is that the colors in Wang Yuping's works are bright but not frivolous, simplicity coexisting with a demonic charm, bringing a complex synesthetic experience, the visual perception seems to be able to affect the nerves of taste and touch to the audience. The colors intersect and blend into a phantom outline, glowing in a halo of memory.
Wang Yuping's paintings are born inwards, reflecting the cultural landscape of the modern world in a private and personal manner. These paintings are like a layer of soft gauze, filtering the dust and grimes of profanity, and distributing diverse cultural resources at will. Bread, cigarettes, Ukiyo-e, Dian Shizhai pictorial, American table lamps, Indian tin toys, Istanbul knitted hats... Wang Yuping created the "Natural History" of modern life with an intimate and intriguing perspective, in which viewers can see the objects and travel through the heart’s desires.王玉平，白马、浮世绘，布面丙烯、油画棒，206x240cm，2021Wang Yuping, White Horse, Ukiyo-e, Acrylic and oil pastel on canvas王玉平，摩托骑士，纸本丙烯、油画棒，72x116cm，2019Wang Yuping, Motorcycle Rider, Acrylic and oil pastel on paper
对邱瑞祥来说，作为一个画家，他所度过的时间绝大部分都是在与绘画这一活动、这一媒介进行着搏斗；从绘画史到绘画的材料性，再到画布和颜料——作为一个二维空间、一种材料和一个图画平面——所构成的基本框架。邱瑞祥所面临的挑战在于如何处理从历史到今天不可遏止的风格和图像的累积。我们已经做了很多，那么，还有什么是可以做的，或者可以说的呢？今天的画家要如何超越这座大山，同时保持他们本能的创作冲动？
在这种冲动的牵引下，邱瑞祥完成了一些极具绘画性、同时非常简单的东西，它们主要关乎绘画本身，关乎他所使用的颜料，并力图超越传统美术史的框架。在邱瑞祥的作品中，颜料以搅动人心的规律性开裂，剥落，并且无法复原。其中一些构图或许过于昏暗，过于光亮，或过于亚光。然而，无论它们多么令人挫败地难以控制，这些问题都丝毫没有令他止步。当然，它们也从未阻碍他追逐那些他知道自己必须表达却难以言说的东西。最直白的说，这可以被描述为传达一种状态，或关于存在的各种状态。在使用颜色上，邱瑞祥已经做出一次转变，这使他转向更深的色调和更丰富的深色层次。在他的作品中，似乎一直存在一种灰白色和冷茜素红之间的暧昧，但邱瑞祥认为这些颜色本身并不重要，他更看重的是色调，就好像他是在用茜素红创作单色画。邱瑞祥所描绘的人物变得更加自信，像是散发着坚定的光芒——即便是这份自信有时也会遭遇挫折。这些人物越来越体现出结构性，在无形态或被拖拉、悬吊的过程中获得一种坚实或重量感。我们不需要再为他们的身体状况担忧（就像邱瑞祥在站台中国的第一次个展“自视”中的人物画给人的感觉那样），而是要在意他们的心理健康问题。这些人物并非在时间维度上表达着什么，他们关乎人性存在的本质，关乎重量/负担、挣扎、野心和偶然的启蒙，并且受制于此。邱瑞祥通过最大限度地提炼人物的本质——或许就像安东尼·葛姆雷（Anthony Gormely）那样，试图通过雕塑来提炼人体的重量和比例之本质——以试图捕捉贯穿着身体的能量。这些能量既能支撑也能压垮你，或者更理想的是将你托起。邱瑞祥实现这些目标的方式是将正能量作为运动自由度，静止作为包裹住负能量的手段。这就是他的作品，以及他在过去几年里起草和把控构图所依赖的核心推动力。在这个意义上，邱瑞祥的作品已经非常明确地揭示了自身。For Qiu Ruixiang, more than fifty per cent of what he does as a painter is to wrestle with the activity, the medium, that is painting; from its history, to its materiality, to the simple framework of what canvas and paint does as a two-dimensional space, as a material and picture plane. It is the challenge of dealing with the overwhelming accumulation of styles and imagery through history to the present. So much has been done already, what possibly can be left to do, or to say? How does a painter today get beyond this mountain, while remaining true to their own impulses?
Within those impulses Qiu Ruixiang does something very painterly, something very simple, that’s largely about painting itself; largely because he’s using paint, even as he works to transcend the weight of its tradition. In his works, the paint cracks with frustrating regularity, it flakes off and cannot be restored. Some compositions become too dark, or too shiny, or then again too matt. Yet, no matter how frustratingly hard to control, these issues do not inhibit him in the slightest. They certainly never deter him from pursuing the elusive thing that he knows he needs to express.
Most directly, that can be described as a desire to communicate a state, or various states, of being. There has been a shift in his use of colour towards darker shades and still richer gradations of darkness. There’s an on-going uncomfortable flirtation with pasty greys and cold alizarins, but Qiu Ruixiang sees these less in terms of colour per se and more of a tonality, as if he was painting in monochrome but in the key of alizarin. The figures he depicts have grown in surety and the aura of certitude they emanate, even where that confidence is tainted with frustration. The figures are increasingly structural. They have a sense of solidity or weight, of formlessness or being dragged down or hanging. They no longer need us to feel concerned for their physical well-being (as was the sense that emanated from figure paintings presented in his first exhibition at Platform China, “Portrait of Self” – but instead for their psychological welfare. They are not there to express anything in a temporal sense, they are about the ongoing essence of humanity, they are about the eternal weight/burden, struggles, ambitions, and occasional enlightenment, to which it is subject. Working with this minimal essence of the figure, perhaps in the way that Anthony Gormely tries to extract the essence of human weight, of human proportion through sculptural forms, Qiu Ruixiang is trying to capture the energy that courses through the body, that holds or weighs you down or, ideally, that lifts you up. He does this in ways that suggest positive energy as freedom of motion; and conditions of stasis as means of encasing the negative forces. These are the momentums that have been the core of his content, and that draft and direct the compositions over the last several years. In this sense, Qiu Ruixiang’s work speaks to us very clearly.邱瑞祥，无题，布面油画，250x170cm，2018-2020Qiu Ruixiang, Untitled, Oil on canvas邱瑞祥，无题，布面油画，65x45.7cm，2018-2019Qiu Ruixiang, Untitled, Oil on canvas
Xiao Jiang：The Distant Mountains
Academic Adviser：Lu Mingjun
在肖江的描绘中，自然的景观虽然保持了原初的基本透视结构，但形式、质地其实已经与原图相去甚远。原本郁郁葱葱、层层叠叠、蜿蜒曲折的山峦被他化约为一个个硬边的平面几何（主要是三角）形状的叠加，仿佛是一部地景装置。很难说强烈背光下的风景时刻到底是晨曦，还是黄昏，但都传递着一种莫名的忧郁和晦暗。同室外风景系列一样，在关于室内风景的刻画中，画中的人物扮演着至关重要的角色。肖江不屑于忠实地再现一张照片，他更加关心的是，人物的形态与空间的关系。大多时候，人物与四周空间结构并不违和，并隐隐传递着一丝疏离和孤独。不妨说，其整个场景就是画中人物的一个梦境。而这样一种情绪几乎弥漫在所有关于室内风景的刻画中。
一束白光串起了所有的作品，它既穿越了内外空间，同时又阻隔了内外空间；它制造了一个个穿越性的不可知的时空，并让整个展览处在隐隐的不安之中。这也意味着，对于肖江而言，原本就没有内外风景之别。那些生锈的地景，那些被白光笼罩的室内空间，以及其中那些被困的身影，说到底其实都是艺术家的想象和虚构。肖江并不愿意给每一张画提供一个确切的解释和观念导向，从某种意义上，他之所以阻隔观看（比如抹去人物面孔或人物总是以背影直面观众），其实也在暗示我们，这原本是一个封闭的世界，无需向外界说明什么。就像肖江自己，很少探讨自己的绘画，对他而言，他想表达的其实都已经在画面中了，无需再说什么。所谓“山外山”，其实山还在山中间。这是一个寓言。
In depicting these natural landscapes, Xiao Jiang has maintained the basic perspective structure, but the form and texture has yet gone far from the original image. The actual lush, layered, winding mountains were reduced to a superposition of hard-edged planar geometric shapes (mainly triangular) as if they were a landscape installation. It is hard to say whether the scenic moment under the strong backlight is morning or dusk, but they all convey an inexplicable melancholy and gloom. In portraying indoor and outdoor scenery, the characters in the painting play a vital role. Xiao Jiang disdains to reproduce a photo faithfully; he is more concerned about the relationship between the form of the character and the space. In most cases, the combination of characters and the surrounding space structure does not violate the harmony and faintly convey a trace of alienation and loneliness. It can be said that the whole scene is a dream of the person in the painting. And this kind of emotion permeates almost all the portrayals of indoor scenery.
A beam of white light strung all these works. It not only traverses the inner and outer spaces but also blocks them; it creates a traversing and unknowable time and space, thus immersing the entire exhibition in a vague sense of anxiety. This also means that for Xiao Jiang, there is no difference between the inside and outside scenery. Those rusty landscapes, those indoor spaces shrouded in white light, and those figures trapped in it are, in the end, the artist's imagination and fiction. Xiao Jiang is unwilling to provide an exact explanation and conceptual orientation for every work. In some sense, the reason he obstructed viewing (such as wiping out the characters' faces or always facing the audience with their backs) implies that this is ultimately an enclosed world, and there is no need to explain anything to the outside. Just like Xiao Jiang himself, he rarely discusses his creation of art. What he wants to express is already in his painting, and there is no need to say anything. The so-called "mountain beyond the mountain" still refers to a position in the middle of it, and this is a fable.
肖江，山外山，布面油画，60x160cm，2019Xiao Jiang, Mountains beyond Mountains, Oil on canvas肖江，山边公路，布面油画，120x90cm，2020Xiao Jiang, Road by the Hill, Oil on canvas
Images copyright ? Platform China & Artists20-year Exhibition History 
#时间的形状：20周年特展
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