《友涵與余友涵----余友涵的早期經(jīng)驗(yàn)與晚期風(fēng)格》展覽將于2025.03.25-2025.06.15在深圳市美術(shù)館舉辦。

深圳美術(shù)館作為深圳最早的藝術(shù)展覽機(jī)構(gòu)，一直以來以“立足深圳、面向世界，立足時(shí)代、面向未來”為基本定位，多年來，見證和承載著深圳美術(shù)發(fā)展歷史，構(gòu)建近現(xiàn)代中國(guó)美術(shù)文脈，積極踐行著中國(guó)美術(shù)傳播者、當(dāng)代藝術(shù)觀察者、藝術(shù)脈絡(luò)梳理者、城市文化建構(gòu)者的多重身份。舉辦余友涵先生的個(gè)展，正是深圳美術(shù)館在梳理藝術(shù)脈絡(luò)、推動(dòng)當(dāng)代藝術(shù)發(fā)展方面的重要之舉。展覽通過余友涵先生的早期實(shí)踐與其晚期創(chuàng)作之間的對(duì)話，展現(xiàn)出余友涵先生在其藝術(shù)創(chuàng)作過程中內(nèi)在變化的思想肌理，向觀眾展現(xiàn)出藝術(shù)家的個(gè)人生涯與中國(guó)當(dāng)代藝術(shù)自身發(fā)展及其背后的思想流變形成的互文關(guān)系。

The Shenzhen Art Museum is the oldest art institution in Shenzhen， with the motto of "rooted in the local, facing the global; anchored in the present, looking to the future", the museum has witnessed and borne the historical development of Shenzhen's art, constructed the context of modern Chinese art, and actively fulfilled multiple roles as a disseminator of Chinese art, an observer of contemporary art, a comber of the art context, and a constructor of urban culture. Holding Mr. Yu Youhan's solo exhibition is precisely an important move by the Shenzhen Art Museum in sorting out the art context and promoting the development of contemporary art. The exhibition seeks to reveal the conceptual underpinnings of his stylistic evolution by fostering a dialogue between his early practice and his later one. It also aims to establish an intertextual connection between the artist’s personal trajectory and the development of Chinese contemporary art in terms of their intellectual undercurrents.

上海藝術(shù)家余友涵先生1943年出生，直至2023年辭世，其藝術(shù)人生跨越了中國(guó)當(dāng)代藝術(shù)發(fā)展中數(shù)個(gè)激蕩的歷史時(shí)期。他的創(chuàng)作發(fā)端于驟變中的社會(huì)生活，他通過藝術(shù)含蓄地轉(zhuǎn)譯了他對(duì)生活與文化的思考。到了晚年，他充分地反芻早期的創(chuàng)作經(jīng)驗(yàn)，在作品中展現(xiàn)出多變、靈動(dòng)、自如、平和的面貌。余友涵曾概括形塑自己創(chuàng)作的因素，“一方面來自社會(huì)本身所帶來的情感上的刺激，一方面來自全球的當(dāng)代藝術(shù)的潮流，同時(shí)也受到本地歷史和現(xiàn)實(shí)問題的影響。”此次展覽是余友涵先生離世后的首個(gè)大型回顧展，全面呈現(xiàn)余友涵先生跨越半個(gè)多世紀(jì)的創(chuàng)作生涯，涵蓋了100多件作品和豐富的文獻(xiàn)資料。在此次展覽中，兩位策展人基于自身藝術(shù)史和思想史的雙重視野，勾勒出余友涵立足于自身的藝術(shù)探索，與時(shí)代孜孜不倦地對(duì)話的卓越成果，也從他的個(gè)人實(shí)踐中提煉出若干與當(dāng)代藝術(shù)史相關(guān)的關(guān)鍵性問題。

Yu Youhan was born in 1943 and deceased in 2023. His artistic life traversed across several tumultuous periods in the historical course of contemporary art in China. His art emerged from a period of the society characterized by dramatic shifts and he subtly translated his reflections on life and culture into his works. In his later years, he fully digested and reactivated his early creative experiences. As a result, his late works appeared to be constantly changing, flexible, fluid, and tranquil. Yu once summarized the factors that shaped his art as such,“On the one hand, they might be the emotional stimulations brought about by society itself; on the other hand, they might be trends in global contemporary art; and furthermore, they might be the influence of local historical and reality issues. I painted the collisions among the three.”This general description can encompass nearly every stage of his works, which vary considerably in forms and subject matters.

展覽試圖通過其早期經(jīng)驗(yàn)與晚期風(fēng)格兩個(gè)相互輝映的部分來譜寫余友涵的創(chuàng)作人生。他的早期經(jīng)驗(yàn)包括1970年代的后印象派風(fēng)格的風(fēng)景寫生，和1980年代通過揣摩現(xiàn)代派形式的作品，結(jié)合“文化熱”的思潮而抵達(dá)“圓”系列的探索過程。他的晚期風(fēng)格，即在2002年之后直至晚年的20余年間，不斷消化和游戲他在上一個(gè)階段中所積累下來的經(jīng)驗(yàn)，從而生發(fā)出輕松自然，超越某一風(fēng)格和時(shí)間的“晚期風(fēng)格”，釋放出早期的快樂和發(fā)現(xiàn)。“友涵與余友涵”意在展現(xiàn)出一位藝術(shù)家不斷成長(zhǎng)和自我擴(kuò)容的過程。其數(shù)十年的思考和專研使其作品具有難以超越的廣度和深度，為藝術(shù)世界留下了一筆豐厚的遺產(chǎn)。余友涵的實(shí)踐告訴我們：在藝術(shù)中，對(duì)自我創(chuàng)造進(jìn)行探索可以一直進(jìn)行到底。

This exhibition depicts Yu's creative life through two mutually reinforcing spectrums: his early experience and his later style. His early experiences include post-impressionist landscape paintings in the 70s, his exploration of modernist forms in the 1980s, which culminated with the “Circles” series, under the influence of Cultural Fever of the time. As to his later styles, which were formed from 2002 to his last days, he continued to re-project the experiences he had accumulated through previous stages, ultimately delivering a relaxed and natural “late style” that transcended time while releasing the joys and discoveries of his early years. As early as in 1983, Yu Youhan recognized in Picasso's art the quality of infinite variations both in various stages of his practice and in every single part of his painting, colors differing in edges and lines varying in ending points. He thus held himself up to such a standard. It’s this self-expectation that can unify all of Yu's later inventions. From “Youhan” to “Yu Youhan,”it is a journey that encapsulates an artist's continuous growth and self-expansion. Decades of contemplation and exploration in art empowers Yu’s works with unsurpassed breadth and depth, offering a rich legacy for the art world. Yu Youhan's practice proves such a point: in art, the search for artistic creation within oneself can go all the way to the end.

關(guān)于藝術(shù)家

余友涵

1943年，余友涵出生于上海，并于上海生活和工作直至2023年離世。1973年畢業(yè)于北京中央工藝美術(shù)學(xué)院。余友涵被認(rèn)為是中國(guó)當(dāng)代重要和具有影響力的藝術(shù)家之一，他的繪畫實(shí)踐可以追溯到1970年代，是中國(guó)當(dāng)代藝術(shù)的重要先驅(qū)。余友涵融匯了中國(guó)傳統(tǒng)藝術(shù)的理解和西方藝術(shù)的表達(dá)方式，通過對(duì)各種視覺手法的持續(xù)探索，他的繪畫保持著普遍意義，影響并感染了一代年輕藝術(shù)家。

他曾參加第22屆圣保羅雙年展，巴西（1994），第45屆威尼斯雙年展，意大利（1993），以及首屆亞太當(dāng)代藝術(shù)三年展，布里斯班，澳大利亞（1993）。他的作品在國(guó)內(nèi)外廣泛展出，包括：余友涵：永恒與多變，金鷹美術(shù)館，南京（2022）；長(zhǎng)樂路的風(fēng)，應(yīng)空間當(dāng)代藝術(shù)中心，北京（2021）；具象·抽象，龍美術(shù)館，重慶（2018）；魔都之脈動(dòng)——上海當(dāng)代藝術(shù)的騰飛，熊本市現(xiàn)代美術(shù)館，日本（2018）；1989年之后的藝術(shù)與中國(guó)：世界的舞臺(tái)，古根海姆博物館，紐約，美國(guó)（2017）；余友涵回顧展——PSA中國(guó)當(dāng)代藝術(shù)收藏展系列，上海當(dāng)代藝術(shù)博物館，上海（2016）；余友涵1973-1988作品展，龍美術(shù)館，上海（2016）；走出上海，非具象藝術(shù)博物館，奧滕多夫，德國(guó)（2009）；墻上的字：中國(guó)80、90年代新現(xiàn)實(shí)主義和前衛(wèi)藝術(shù)，格羅寧根博物館，荷蘭 （2008）；身體·中國(guó)，馬賽現(xiàn)代藝術(shù)博物館，馬賽，法國(guó)（2004）；中國(guó)現(xiàn)代藝術(shù)展，中國(guó)美術(shù)館，北京（1989）等。

關(guān)于策展人

劉鼎 盧迎華

2013年至今，劉鼎與盧迎華持續(xù)開展題為“社會(huì)主義現(xiàn)實(shí)主義的回響”的研究，對(duì)敘述中國(guó)當(dāng)代藝術(shù)的視角和方法論進(jìn)行重新評(píng)估。他們共同策劃的一系列展覽包括“小運(yùn)動(dòng)——當(dāng)代藝術(shù)中的自我實(shí)踐I、II”（2011，2013年）、“偶然的信息——藝術(shù)不是一個(gè)體系，也不是一個(gè)世界”（2012年）、“從藝術(shù)的問題到立場(chǎng)的問題——社會(huì)主義現(xiàn)實(shí)主義的回響”（2014年）、“‘新刻度’與錢喂康——中國(guó)早期觀念藝術(shù)的兩個(gè)案例”（2015年）、“沙龍沙龍——1972－1982年以北京為視角的現(xiàn)代美術(shù)實(shí)踐側(cè)影”(2017年、2020年)，“工廠、機(jī)器與詩(shī)人的話——藝術(shù)中的現(xiàn)實(shí)光影”(2019年)、“巨浪與余音——重訪1987年前后中國(guó)藝術(shù)的再當(dāng)代過程”（2020年）、“巨浪與余音——后現(xiàn)代主義與全球80年代”（2021年），“萬(wàn)言亦無聲——生活的學(xué)術(shù)價(jià)值”（2021年）和“筆記——來自二十世紀(jì)末的中國(guó)聲音”（2022）。第八屆橫濱三年展藝術(shù)總監(jiān)（2024年）。