方力鈞， 中國 「后89新藝術(shù)潮流」先鋒。自1990年代初，方力鈞以其標志性的「光頭」形象，開創(chuàng)了中國當代藝術(shù)的「潑皮文化」與「玩世現(xiàn)實主義」（栗憲庭，1991）。方力鈞自創(chuàng)作以來，一直以「像野狗一樣生活」自醒自寓。「人&像」作為其創(chuàng)作的核心題材，解構(gòu)性地編織了時代面孔與大眾臉譜之間的交流與交融，超驗性地傳達出時代與生命的痛感與通感。

本次展覽以「人&像」這一研究方力鈞既經(jīng)典又全新的視角為主脈絡，圍繞「內(nèi)觀——自畫像」、「對照——朋友們」、「塵光——眾生相」三個主結(jié)構(gòu)單元，盡力呈現(xiàn)方力鈞的創(chuàng)造歷程， 尤其是近十年來，他在諸多媒介領(lǐng)域甚至NFT虛擬空間的新實驗、新動向 。從主單元結(jié)構(gòu)出發(fā)，「通道」、「圖像」、「出版」三個部分，為澳門方力鈞首展呈現(xiàn)以時間線索展開 的「人&像」側(cè)影。本展覽邀請每一位觀眾，通過方力鈞的「人& 像」，觸摸當代國人的脈輪，感受到自己心靈深處的聲音。

A pioneer of China’s “Post-1989 New Art Movement”, Fang Lijun’s iconic ‘bald-headed’ figures have pioneered the “Rascal Culture” and “Cynical Realism” (Li Xianting, 1991) in Chinese contemporary art since the early 1990s. Since the beginning of his artistic career, Fang Lijun has constantly been identifying himself with “living like a wild dog”. As one of the key motifs of his art, Fang Lijun’s “Human & Figures” works deconstruct the interplay and mixture between the typical portraits and stereotypical faces of an era, capture the shared pains and feelings of the present time and life in a transcendental manner.

Using “Human & Figures” as a narrative clue, this exhibition aims to provide a classic yet fresh perspective on Fang Lijun. We have chosen to present three main sections: “Introspection: Self-Portraits”, “Mutual Reflections: Friends”, and “The Light of Dust: Human”, which strive to showcase the creative journey that the artist has taken, with a particular focus on his new experiments with a variety of media that range from traditional Chinese painting, oil painting, print, and sculpture to the virtual space of NFT during the last decade. Besides these sections, the curatorial team also attempt to elaborate on the theme of “Human & Figures” in this first solo exhibition of Fang Lijun in Macao with a temporal clue through three additional displays of “Passage”, “Video”, and “Publications”. All viewers, both online and offline, are invited to take a glimpse, through Fang Lijun’s works, into the zeitgeist of contemporary China and lend a listening ear to our own internal voices.

方力鈞（b.1963， 中國），1963年出生于河北邯鄲，1989年畢業(yè)于中央美術(shù)學院版畫系，同年7月1日入住圓明園，并逐漸形成圓明園畫家村。1993年創(chuàng)建宋莊工作室并逐漸形成宋莊畫家村。2014年創(chuàng)建“中國當代藝術(shù)檔案庫”。

方力鈞曾在德國路德維希美術(shù)館、德國國家美術(shù)館、阿姆斯特丹城市美術(shù)館、日本國際交流基金會、瑞士阿麗亞娜陶瓷博物館、意大利都靈市立現(xiàn)代美術(shù)館、臺北市立美術(shù)館、香港藝術(shù)中心、上海美術(shù)館、湖南省博物館、北京民生現(xiàn)代美術(shù)館等美術(shù)館和畫廊舉辦過51次個展。參加威尼斯雙年展、圣保羅雙年展、光州雙年展、上海雙年展等眾多群展。作品被紐約現(xiàn)代美術(shù)館（MOMA）、蓬皮杜國家藝術(shù)中心、路德維希美術(shù)館、舊金山現(xiàn)代美術(shù)館、西雅圖藝術(shù)博物館、荷蘭STEDELIJK博物館、澳大利亞新南威爾士美術(shù)館、澳大利亞昆士蘭美術(shù)館、福岡亞洲美術(shù)館、東京都現(xiàn)代美術(shù)館、日本廣島現(xiàn)代美術(shù)館、中國美術(shù)館、上海美術(shù)館、廣東美術(shù)館、何香凝美術(shù)館、湖南省博物館、中央美院美術(shù)館等眾多公共機構(gòu)收藏。

出版?zhèn)€人畫冊、圖書《方力鈞：編年記事》《方力鈞：批評文集》《方力鈞：作品圖庫》《方力鈞：云端的懸崖》《方力鈞：禁區(qū)》《方力鈞版畫》《像野狗一樣生存》等44本。并被中央美術(shù)學院、四川美術(shù)學院、景德鎮(zhèn)陶瓷大學、西安美術(shù)學院等23所國內(nèi)大學聘為客座教授。1993年，作品《系列二之二》登上《紐約時報周刊》封面。

Fang Lijun (b.1963, China) was born in 1963, Handan, Hebei. He graduated from the Printmaking Department of China Central Academy of Fine Arts in 1993. on July 1st of the same year, Fang Lijun moved to Yunamingyuan, the Old Summer Palace, and later the Yunamingyuan Artists' Village was gradually formed. In 1993, Fang Lijun established his studio in Songzhuang. The Songzhuang Artists' Village has steadily developed for the last two decades. In 2014, Fang Lijun established the Archive of Chinese Contemporary Art.

Fang Lijun has held 51 solo exhibitions in major art institutions and galleries, including Ludwig Museum Koblenz, Staatliche Kunsthalle, Stedelijk Museum Amsterdam, the Japan Foundation, Ariana Museum in Geneva, Museum of Modern and Contemporary Art in Turin, Taipei Fine Arts Museum, Hong Kong Arts Centre, Shanghai Art Museum, Shanghai Art Museum, Hunan Museum, Beijing Minsheng Art Museum. His participation includes the Venice Biennale, Sǎo Paulo Biennial, Kwangju Art Biennial, and Shanghai Biennial. His works are collected by The Museum of Modern Art (USA), Seattle Art Museum(USA), San Francisco Museum of Modern Art (USA), Centre de G. Pompidou (France), Ludwig Forum für Internationale Kunst (Germany), Stedelijk Museum Amsterdam(Holland), The National Gallery of Australia (Australia), Fukuoka Asian Art Museum (Japan), Museum of Contemporary Art Tokyo(Japan), Hiroshima City Museum of Contemporary Art(Japan), National Art Museum of China(China), Shanghai Art Museum (China), Guangdong Art Museum (China), He Xiangning Art Museum (China), Hunan Museum（China）, CAFA Art Museum(China). He is one of the Chinese contemporary artists with the most extensive collection by major art institutions worldwide.

He has published 44 personal albums and related publications, including Fang Lijun: Chronicles, Fang Lijun: Criticism, Fang Lijun: Works of Art,FANG LIJUN, Fang Lijun：The Precipice Over the Clouds, Fang Lijun: Espaces Interdits Forbidden Areas, Fang Lijun：Woodcuts, Live Like A Wild Dog, Etc. Fang Lijun has been invited as a visiting professor and graduate supervisor in 23 universities, including Central Academy of Fine Arts, Sichuan Academy of Fine Arts, Jingdezhen Ceramic University, Xi 'an Academy of Fine Arts, etc. In 1993, his painting "Series 2, No. 2" appeared on the cover of the New York Times Magazine.