歧感激流—通向語言的繪畫

策展人：戴卓群

藝術(shù)家：陳彧君，段建宇，耿旖旎，侯勇，黃宇興，吉磊，賈藹力，李青，劉唯艱，馬文婷，秦琦，仇曉飛，申亮，沈曄，宋元元，唐永祥，屠宏濤，謝南星，謝其，翟倞，詹翀，鄭文昕

開幕：2016.05.08 3：00pm

時間：2016.05.08-2016.05.18

主辦：今日美術(shù)館

贊助：哇棒移動傳媒集團(tuán)

地點：今日美術(shù)館二號館

前言|戴卓群

西方繪畫的主體歷史經(jīng)驗，從早期服務(wù)于神和宗教，中世紀(jì)之后逐漸轉(zhuǎn)變?yōu)榉?wù)宮廷與貴族，到十八世紀(jì)后開始面向人與自然，民主化、自由與個人主義，雖然繪畫的語言與風(fēng)格自覺隱現(xiàn)，但繪畫的對象和內(nèi)容自始至終處于繪畫的外部?，F(xiàn)代主義革命所帶來的成果，是將繪畫本身變成了繪畫的對象，將繪畫導(dǎo)向了自身的內(nèi)部。自印象派之后，表現(xiàn)主義、立體派、抽象派、超現(xiàn)實主義、抽象表現(xiàn)主義、新具象、新表現(xiàn)…乃至超越繪畫、反對繪畫，繪畫革命所導(dǎo)向的，不是得出繪畫已死的論斷，而是繪畫自身的解放，是關(guān)于繪畫的繪畫，繪畫自身成為繪畫的對象。中國繪畫傳統(tǒng)亦有相似的進(jìn)路，但是在元明文人畫鼎革之后歷史性地走向了衰敗之路，如同中國歷史自身晚到的現(xiàn)代性。

繪畫存在于語言之中，也只有在語言的建構(gòu)中，事物原本被遮蔽、不可見乃至不可理解的東西顯現(xiàn)出來。繪畫通過語言將真實對象予以分析、分解，然后重新給予新結(jié)構(gòu)、新內(nèi)涵，這種沒有確切意義和充滿不確定性的形而上學(xué)活動，使得繪畫在與其客體以及時空之間產(chǎn)生新意，其意涵遠(yuǎn)高于原初對象一般的可理解性。

創(chuàng)作或行動在當(dāng)下的繪畫語境中，已然不再是再現(xiàn)事物直觀可視的具體形象，不是為了模擬實在對象，而是為了讓我們發(fā)展對事物的理解和思考。規(guī)定藝術(shù)意義的并非客觀對象自身的屬性，而是通過繪畫語言的建構(gòu)，賦予物像的增益，可以說，是語言創(chuàng)造作品，或者更進(jìn)一步說，只有語言才是作品的靈魂。繪畫的語言方式使對象之間的關(guān)系和并存不再是純粹偶然的結(jié)果，繪畫亦不再體現(xiàn)恒定的、有限的、“真實的”意義，而是不知窮盡地努力去創(chuàng)造新的形式與意義。

Dissensus Agitation - The Painting to Language

Curator： Dai Zhuoqun

Artists： Chen Yujun， Duan Jianyu， Geng Yini， Hou Yong， Huang Yuxing， Ji Lei， Jia Aili， Li Qing， Liu Weijian， Ma Wenting， Qin Qi， Qiu Xiaofei， Shen Liang， Shen Ye， Song Yuanyuan， Tang Yongxiang， Tu Hongtao， Xie Nanxing， Xie Qi， Zhai Liang， Zhan Chong， Zheng Wenxin

Opening： 2016.05.08 3：00pm

Duration： 2016.05.08-2016.05.18

Organizer： Today Art Museum

Sponsor： Wooboo Mobile Media Group

Venue： Building No.2 Today Art Museum

PREFACE/ DAI ZHUOQUN

When we go through the mainline of western painting，we can find that art served for religious purpose at the beginning， then served for royal family and the nobility after middle ages. When it came to 18th century， painting started manifest the concern about democratization， freedom and individualism. Although the languages and styles varied， the object and content have been separated from painting itself. The modernism revolution leads painting to look inside， as painting becomes the object of painting. As the Impressionism， Expressionism， Cubism， Surrealism， Abstract Expressionism， Neo-figuration and Neo-abstraction showing， painting has be liberated， instead of going dead. Chinese painting has a similar history， to be specific， it begun to decay after the bloom of literati painting of Yuan and Song dynasty， and the modernization happened rather lately.

Painting exists in the language. Only when the language constructed， the hidden part， sometimes is not cognitive， will emerge. Painting analyzes and deconstructs the real objects through language and then endows them with new meanings and structures. This kind of probabilistic metaphysics activity inspires painting to find new possibility between its object and context， which is more valuable than the ordinary meaning of a primary object.

Creation activities refer to， in today’s context， neither reflecting the visible objects， nor simulating a real object， but to provoking our thinking about these objects. What defines art is actually how to organize the artistic language rather than to show the nature of an object. In another word， the language builds a work. Further， only the language is the soul of an artwork.

Painting， as a language， makes the relationship between objects is not occasional any more. What’s more， instead of representing constant finite and “real”meanings，it continuously creats new forms and meanings.