正在展出｜北京公社正在展出梁远苇个展「雨瘾者」

“⾬”在梁远苇最新的油画系列中是笔触的动势、绘画的动作。我们从未真的⻅过没有动势的⾬，⾬是⼀个动作。“⾬”是梁远苇对绘画动作的毫不掩饰。

梁远苇要求⾃⼰的画⾯中没有悔笔。这不仅是对每⼀个笔触的极⾼要求，也让每⼀个绘画动作之间的关联与差异构成了艺术家画⾯中独特的张⼒。

苏丹 Wh·YeGrUm· Br- 

im Kugelhagel Wh·YeGrUm· Br-

 2025, 亚麻布上油画 oil on linen, 190x160cm

苏丹 Wh·YeGrUm· Br-
im Kugelhagel Wh·YeGrUm· Br-

 细节 detail

稀释的油画颜料增加了对笔触控制的难度，同时也要求连续的动作更加连贯⽽紧凑。动作可以通过不断的经验训练，“熟能⽣巧”；⽽梁远苇则有意地在创作中寻求⼀种“去经验”的⽅式。在此次展览的油画作品中，她搁置了对细腻的画笔的使⽤，⽽选择粗朴的刮板、圆⽚等⼯具来处理颜料的疏密；在⽤两层稀释的油画颜料叠加来产⽣⾊彩变化的⽅式上，她引⼊了更多的颜⾊组合，来产⽣过去创作经验之外的⾊彩效果。极薄的表层颜料被以不同⼒度和⽅向的动作刮除，露出底层。艺术家以这⼀她所形容的“最低限度的雕塑“，邀请着光线对物质进行穿透，在不同⾊相的⾊层和不同⽅向的痕迹间造成“图”与“底”之间的波动，形成了颤动的视⽹膜印象。

对艺术家的绘画经验来说有些陌⽣的动作让她感受到某种动作⾃身的质地。动作的性质不在绘画动作的重复中发⽣改变，然⽽质地本身却在不断的重复中变得越来越⽣动。每个动作嵌套在它周围的局部纹理⽹络中，⼜与远处的动作发⽣形式上的呼应。它们令⼈联想起世界上的⼀些纹理，画⾯内部与外部的世界发⽣某种共鸣式的颤动，画⾯的“内容”在与世界持续相互颤动的关联中浮现⼜隐退。

马孔多的细密画大师 W·B-R·B-
The Miniature Master of Macondo W·B-R·B-

2025, 亚麻布上油画 oil on linen, 200x250cm

马孔多的细密画大师 W·B-R·B-
The Miniature Master of Macondo W·B-R·B-

细节 detail

"Rain" in Liang Yuanwei's latest series of oil paintings embodies the dynamic momentum of brushstrokes, the very act of painting. We have never truly witnessed rain without motion—rain is a verb. "Rain" is Liang’s revelation of painting as action, unreserved.

Liang demands that her canvases bear no signs of revision. This discipline asks absolute commitment to each stroke, while allowing the interplay of gestures, their connections and contrasts, to generate a unique pictorial tension.

Working with diluted oil paint heightens the challenge of control and compels the movements to be more coherent and compact. While mastery is often born of repeated practice—“practice makes perfect,” Liang consciously pursues a “de-familiarization” of her own technique. For this exhibition, she has set aside fine brushes in favor of coarse implements—scrapers, round cutouts—to spread and texture the paint. New color combinations are introduced between two superimposed layers of diluted paint, generating chromatic shifts that extend beyond her familiar palette. The thinly applied surface is repeatedly worked in varying directions and pressures, gradually exposing the layer beneath. In what Liang calls a form of “minima sculptura,” light is invited to penetrate across the color strata and directional marks, activating a continuous visual fluctuation between the “figure” and the “ground.”

美式英雄（黑咖啡）01 W·BR·-B-
Americano Hero (Black Coffee) 01 W·BR·-B-

2025, 亚麻布上油画 oil on linen, 190x160cm

美式英雄（黑咖啡）01 W·BR·-B-
Americano Hero (Black Coffee) 01 W·BR·-B-

细节, detail

Through gestures that feel unfamiliar to her painting practice, the artist comes to sense a certain quality inherent in the movement itself. While the nature of these movements does not change with repetition, their texture grows increasingly vivid through recurrence. In Liang’s latest paintings, each movement is nested within a localized web of surrounding marks, while formally resonating with other gestures across the canvas. These conjure textures from the wider world, evoking a resonant tremor between the painting’s interior and the world beyond it. Within this ongoing, vibrating relationship with the world, the painting’s "content" emerges and recedes.

“Pluviophile” is formed from “Pluvio” and “-phile.” Any noun may precede “-phile”; here, “-phile” is a verb. “-phile” signifies Liang Yuanwei’s act of painting from within the world. 

Such an action draws no meaning from its poles—the beginning and the end, the subject and the object, the “self” and the world; it unfolds through continuous return. It does not move outward toward the world to claim it as its own; rather, it vibrates from within it, alongside it. Through the relentless repetition of this motion, Liang Yuanwei never establishes nor acquires a fixed relationship with the world. Instead, she weaves self and world into a dynamic, interlaced grain.

儿童节（复刻 2015.16） W·B-YO·B-

Children’s Day (cover 2015.16) W·B-YO·B-

2025, 亚麻布上油画 oil on linen, 190x160cm

儿童节（复刻 2015.16） W·B-YO·B-

Children’s Day (cover 2015.16) W·B-YO·B-

细节 detail

梁远苇1977年出⽣于中国，于1999年和2004年分别取得中央美术学院学士与硕⼠学位，现⼯作和⽣活于北京。梁远苇以绘画作为主要创作媒介，善于在明确设定的创作条件与工作方法中，以非叙事性的视觉语言反映变动中的社会背景与文化语境。梁远苇的绘画具有细腻⽽独特的物质感，同时融汇了对不同⽂化背景与线索的引⽤，在她所构筑的视觉空间与⾊彩系统中，笔触不断演化成书写或代码般的表达形式。从柔软细致到深邃宽阔，梁远苇以画笔勾勒语言难以名状的感知与情感，联结⾝处历史变动中的⼈与⼈。

梁远苇的个展曾举办于北京外交公寓12号空间、北京公社、威尼斯Palazzo Pisani-Conservatorio de Musica、湖南省博物馆、⻄安OCAT、佩斯伦敦、北京泰康空间等。她的作品曾展览于第54届威尼斯双年展中国馆（2011）、外交公寓12号空间、北京X美术馆、旅顺博物馆、上海⻄岸美术馆、上海龙美术馆、北京中国美术馆、香港M+，瑞⼠伯尔尼美术馆、佛罗⾥达坦帕艺术博物馆、佛罗⾥达圣彼德斯堡美术馆、加州橘郡美术馆、鹿特丹Museum Boijmans Van Beuningen、伯克利美术馆、瑞⼠伯恩美术馆、巴塞罗那⽶罗博物馆、北京尤伦斯当代艺术中⼼、北京红砖美术馆、北京中央美术学院美术馆、上海⺠⽣现代美术馆等艺术机构。她的创作亦被收录于费顿出版社的《伟⼤的女画家》、《比耶稣年轻》，《Vitamin P2》，《中国艺术》等多个专业出版物中。她的作品被北京中央美术学院美术馆，香港K11艺术基⾦会，香港M+ Sigg Collection、香港德英基⾦会、瑞⼠瑞银艺术收藏、北京松美术馆、南京⾦鹰美术馆、南京四⽅美术馆、上海经纬艺术基⾦会、上海龙美术馆、上海复星艺术基⾦会、澳⼤利亚⽩兔美术馆、法国路易威登基⾦会、荷兰De Heus Collection、法国DSL基⾦会等收藏。

Liang Yuanwei was born in 1977 in China. She graduated from the Central Academy of Fine Arts (China), receiving her BA in 1999 and MA in 2004. She currently lives and works in Beijing. Working primarily in painting, Liang’s practice tellingly reflects shifting social and cultural landscapes through a non-narrative visual language, under self-imposed constraints and methodologies. Her painting exhibits a delicate and unique materiality while weaving a tapestry of subtle references to diverse cultural histories and significations. Within the visual spaces and chromatic systems of her work, brushstrokes evolve into expressive forms akin to writing or code. From tender to unfathomable, Liang’s work delineates ineffable sensations and emotions, forging spiritual connections between individuals amidst the flux of history.

Her solo exhibitions were held at DRC No.12 (Beijing), Palazzo Pisani-Conservatorio de Musica (Venice), Beijing Commune (Beijing), Hunan Museum (Changsha), OCT Contemporary Art Terminal Xi’an (Xi’an), Taikang Space (Beijing), Pace London (London), etc. Her works have been exhibited in the Chinese Pavilion at the 54th Venice Biennale (2011), DRC No.12 (Beijing), X Museum (Beijing), Lushun Museum (Lushun), West Bund Museum (Shanghai),  Long Museum (Shanghai), National Art Museum of China (Beijing), M+ Museum (Hong Kong), Switzerland Kunstmuseum Bern (Switzerland), Tampa Museum of Art (Florida), Museum of Fine Arts St. Petersburg (Florida), Orange County Museum of Art (California), Museum Boijmans Van Beuningen (Rotterdam), Berkeley Art Museum (Berkeley), Kunstmuseum Bern (Bern), Foundation Joan Miró (Barcelona), Ullens Center for Contemporary Art (Beijing), Red Brick Museum (Beijing), CAFA Art Museum (Beijing), and Minsheng Art Museum (Shanghai) among others. Her work has been featured in publications such as Great Women Painters (Phaidon, 2022), Younger than Jesus (Phaidon, 2009), Vitamin P2 (Phaidon, 2011), and The Chinese Art Book (Phaidon, 2013).  Her works have been collected by CAFA Art Museum (Beijing), K11 Art Foundation (Hong Kong), M+ Sigg Collection (Hong Kong), De Ying Foundation (Hong Kong), the UBS Art Collection (Zürich), Song Art Museum (Beijing),  G Museum (Nanjing), Sifang Museum (Nanjing), Longlati Foundation (Shanghai), Long Museum (Shanghai), Fosun Foundation (Shanghai), White Rabbit Collection (Australia), Louis Vuitton Foundation (France), De Heus Collection (the Netherlands), DSL Collection (France), etc.