王海元
Recommendation for Wang Haiyuan
王海元在2004-2009年間持續(xù)拍攝青海的一位啞巴、智障者小路（路建業(yè)），我在長(zhǎng)時(shí)段的原始錄像素材中，僅看到過(guò)一次路建業(yè)試圖放飛他自己制作的風(fēng)箏，但是放飛失敗，為他熱情的破滅預(yù)作了伏筆。《小路的風(fēng)箏》是一部具有觀念色彩的紀(jì)錄片，真實(shí)紀(jì)錄路建業(yè)在2004-2009年間的狀態(tài)變化。路建業(yè)后天的生理缺陷，反而使得他的表情和動(dòng)作比正常人更加自然生動(dòng)。王海元在剪輯中非常重視對(duì)路建業(yè)數(shù)種習(xí)慣性動(dòng)作的呈現(xiàn)，因?yàn)閯?dòng)作是路建業(yè)急切表達(dá)內(nèi)心的最佳方式。路建業(yè)5年間的動(dòng)作轉(zhuǎn)變，顯示出他從最初的理想滿懷到最后熱情盡失的過(guò)程。王海元的作品提示出：社會(huì)中不正常的人的毀滅，并不是由于他們走向了虛無(wú)主義，而是社會(huì)沒(méi)有提供堅(jiān)固的價(jià)值和信念給他們，路建業(yè)是一件犧牲品，他沒(méi)有活在我們的社會(huì)中。
—段君
Wang Haiyuan kept on filming Xiao Lu (Lu Jianye), a dummy and mentally retarded person lived in Qinghai from 2004 to 2009. In the long original video material, I see only once that Lu Jianye tried to fly a kite made by himself, but failed in the end, which served as a foreshadow for his disillusioned passion. Xiao Lu’s Kite, a documentary with concept, records Lu Jianye’s changes from 2004 to 2009 authentically. His physiological defects make his facial expressions and actions even more natural and vivid. While editing the video, Yang Haiyuan pays much attention to the presentation of Lu Jianye’s various habitual movements, for movements are the best ways for Lu Jianye to express his feeling. The change of the movement in the past five years indicates the process that at first, he was full of hope, but gradually, the hope disappeared. Wang Haiyuan’s work suggests that the ruin of the abnormal people in our society is not because they themselves adopt the nihilism, but because the society does not provide them concrete values and belief. And from this point of view, Lu Jianye is anything but a sacrifice that does not truly live in our society.
--Duan Jun
楊健
Recommendation for Yang Jian
《來(lái)自文革時(shí)代的歌》（錄像）是楊健偶然在廈門中山公園錄下的，片中的老人旁若無(wú)人地唱著文革時(shí)代的歌曲。對(duì)未曾經(jīng)歷文革的青年人來(lái)說(shuō)，理解文革的瘋狂顯然是很困難的事情。選擇楊健《來(lái)自文革時(shí)代的歌》參加《2010青年批評(píng)家提名展》的原因在于，我覺(jué)得當(dāng)前無(wú)論是在藝術(shù)界、批評(píng)界，還是在生活界，青年與長(zhǎng)者之間缺乏溝通和理解。盡管我對(duì)人與人之間的溝通和理解并不抱很大的希望，因?yàn)槲页缟写嬖谥髁x的名言——他人即地獄，所以《來(lái)自文革時(shí)代的歌曲》實(shí)際上還是與我的主張具有一致性：人應(yīng)該得到自由，如果在文明社會(huì)中找不到無(wú)拘無(wú)束的人身自由，那還是去追求自由的心靈世界吧。
—段君
Songs from the Times of Cultural Revolution (a video) was recorded by Yang Jian in Zhongshan Park in Xiamen accidentally, in which the old men were singing songs from the times of Cultural Revolution as if no one else was there. Obviously it is difficult for the youths who do not experience the Cultural Revolution to understand the fever at that time, therefore I recommend this video to be presented in 2010 Nomination Art Exhibition for Young Critics. The reason lies in that I feel at present there is a lack of necessary communication and understanding between the youths and the old men, in the field of arts and critics as well as in our daily life. Actually I advocate a famous saying of existentialism: “Hell is other people.”, so I do not have much hope for the inter-personal communication and understanding. Viewing from this point, Songs from the Times of Cultural Revolution is consistent with my opinion: human beings need freedom. And if we cannot find unconstrained individual freedom, let us just pursue a free mind.
--Duan Jun
尹朝陽(yáng)的繪畫(huà)能激發(fā)批評(píng)家的詩(shī)意，但當(dāng)批評(píng)家描述尹朝陽(yáng)作品的文字并不足夠詩(shī)意、但又試圖達(dá)到詩(shī)意的時(shí)候，文字反而給人以東施效顰的感覺(jué)。我知道尹朝陽(yáng)對(duì)毛澤東保留敬意，我既不同意對(duì)該敬意表示反對(duì)的做法，也不同意批評(píng)家為該敬意進(jìn)行的辯護(hù)，尹朝陽(yáng)對(duì)毛澤東的敬意出自他個(gè)人的經(jīng)歷和情感，無(wú)可厚非。我認(rèn)同尹朝陽(yáng)的繪畫(huà)，是因?yàn)樗睦L畫(huà)或畫(huà)面所具有的強(qiáng)度。記得最近一次我的贊嘆，是看到他2007年用轉(zhuǎn)圈的方法畫(huà)的佛像，佛在巨大的漩渦中更加平和鎮(zhèn)定。尹朝陽(yáng)的繪畫(huà)是能量從內(nèi)部的噴涌，尤其是滲血的人，讓我覺(jué)得滲血的人
是人的真正面目。
段君
2010年5月11日
Yin Chaoyang’s painting can make critics poetic. When critics describe that the words in the paintings are not poetic enough but tries to be poetic as well, their description looks like an imitation of Yin Chaoyang’s words. I know Yin Chaoyang still respects Mao Zedong, and I do not think it is sensible enough either to oppose or defense that respect. I only feel natural for Yin Chaoyang’s respect due to his own experience and emotion. I identify with Yin Chaoyang’s painting because of the intensity. Recently I saw a figure of Bhddha painted by him by a method of circling in 2007, in which the Buddha looks even more placid and calm in a huge whirlpool. And this painting made me admired. Yin Chaoyang’s painting is like a sprout of energy from inside, and I personally prefer the image of people with their blood oozing from the wound, which I think is the real features of human beings.
Duan Jun
May 11, 2010
張耒
Recommendation for Zhang Lei
張耒繪畫(huà)中最打動(dòng)我的是他作品中的憂傷感，造成憂傷的原因可能是他在畫(huà)中營(yíng)造了很好的時(shí)空距離：即便畫(huà)的是眼前景物，卻也仿佛離現(xiàn)世很遠(yuǎn)。所以他不是一個(gè)為了影像而影像的影像畫(huà)家，也不是一個(gè)為了把畫(huà)面畫(huà)虛而畫(huà)虛的畫(huà)家，他畫(huà)虛是為了制造時(shí)空的距離感。我一直認(rèn)為影像繪畫(huà)作為一種視覺(jué)特性有其合理性的存在基礎(chǔ)，但前提是畫(huà)家必須要考慮清楚：為什么要畫(huà)虛？張耒以前畫(huà)過(guò)一批《永不消失的靈光》，其中一部分畫(huà)的是清末民初的舊照片，他試圖固定住靈光、固定住時(shí)間的即時(shí)即刻，由此可見(jiàn)，他的作品是在討論繪畫(huà)與時(shí)代的關(guān)系，更具體而言，他討論的是繪畫(huà)是否還留得住轉(zhuǎn)瞬即逝的視覺(jué)與情緒？
—段君
It is the sense of grief in Zhang Lei’s painting that touches me most, and the cause of the grief may be the creation of the excellent space-time distance in his painting: the objects seem far away from the secular life even though they are just before your eyes. Therefore his purpose is not just to present the images, and he will not pursue emptification on purpose -- only to create the space-time distance. As far as I’m concerned, the photographic panting, as a visual characteristic, has a reasonable ground for its existence, while the premise of which is that the painter must consider this question: why emptification? Zhang Lei used to paint a series of paintings called Halo Never Disappears, some of which are paintings of some old photos in late Qing Dynasty and Early Republic of China. In these paintings, Zhang Lei ties to fix the halo and time. So we can see that he wants to discuss the relationship between the paintings and times through his works, or more concretely, discuss the question that if the painting can make the passing vision and emotion stay forever.
--Duan Jun
向京
Recommendation for Xiang Jing
向京以極度細(xì)膩的雕塑手感與繪畫(huà)性著色手法，賦予傳統(tǒng)雕塑語(yǔ)言以全新的表達(dá)力，將處于特定狀態(tài)下、符號(hào)化的女人，尤其青春期少女，塑造為一種精神自足的觀念表達(dá)，在保持藝術(shù)感官感染力的同時(shí)，實(shí)現(xiàn)了再現(xiàn)性寫(xiě)實(shí)雕塑向主觀化表達(dá)的當(dāng)代轉(zhuǎn)向。她的作品，在敘述結(jié)構(gòu)上打破自身封閉性，通過(guò)所塑造人物的動(dòng)態(tài)與環(huán)境處所關(guān)系，形成第三方在場(chǎng)狀態(tài)，實(shí)現(xiàn)了作品語(yǔ)義在觀看時(shí)的開(kāi)放性。應(yīng)該說(shuō)，向京的作品在符號(hào)表述、語(yǔ)言表達(dá)、結(jié)構(gòu)表現(xiàn)三個(gè)層面上，實(shí)現(xiàn)了對(duì)傳統(tǒng)雕塑的改造與轉(zhuǎn)換，是將傳統(tǒng)技術(shù)化藝術(shù)推向當(dāng)代的成功典范之一。
——杭春曉
Xiang Jing endows the traditional sculpture language with brand new expression ability with an extremely subtle style and a painting coloring method, and makes symbolized women in a certain status, especially the adolescent girls, a concept expression with spiritual self-sufficiency. Therefore, her works manages to maintain the appeal of artistic sensory and indicates the modern trend from the reproductive realism sculpture to the subjective expression. Her sculpture breaks the closure of the narrative structure and forms a situation of a third party’s presence through creating the relationship between the dynamic state of the people and the environment they live in, thus attaining the openness of semantics when the audiences view her works. And it is reasonable to say that Xiang Jing’s works realize the reformation and transformation of the traditional sculptures from three levels of notation, language expression and structure manifestation, and can be viewed as one of the examples that make the traditional arts being accepted by modern viewers.
--Hang Chunxiao
黎薇
Recommendation for Li Wei
黎薇的雕塑具有一種表達(dá)的干凈與直接，沒(méi)有多余的修辭。她將所有精力集中在具有病痛感的少女身上，或許是出于一種自我體驗(yàn)的痛感，她習(xí)慣放大此類病痛的因素，從造型、著色乃至細(xì)節(jié)處理上強(qiáng)化這一主觀經(jīng)驗(yàn)，從而將所有語(yǔ)言細(xì)節(jié)直接呈現(xiàn)為視覺(jué)上對(duì)于觀者的侵略與觸動(dòng)，并以此形成她試圖表達(dá)的某種不安、緊張，抑或懷疑的精神質(zhì)地。就此而言，相對(duì)很多年輕藝術(shù)家追求所謂意圖表達(dá)的流行圖像，黎薇向我們?cè)俅伪砻髁怂囆g(shù)的魅力，并非形式上的花哨，而是源于一種視覺(jué)上的干凈、直接。
——杭春曉
Li Wei’s sculptures are clear, direct and simple and focus on the description of delicate young girls. Perhaps according to her own experience, she is used to amplifying the elements of ailment and strengthening this subjective experience through the sculpting, coloring and treatment of details, thus making all the language details a presentation of visual invasion and touching of the viewers, and expressing such emotions as uneasiness, nervousness or suspicion that she always desires. And in this respect, compared to many young artists who prefer to pursue the popular images of the so-called intension, Li Wei shows us the glamour of art, which does not originates from a fancy form, but from a clear and direct vision.
--Hang Chunxiao