康海濤

Recommendation for Kang Haitao

70畫家中，康海濤對繪畫語言的體驗(yàn)與表達(dá)無疑是突出的。他將中國畫的“積染”語言與紙本丙烯進(jìn)行了結(jié)合，創(chuàng)造性地營造出一種具有東方意趣的寧靜、深邃而純粹的感官世界。他的畫面沒有特殊表意功能的符號或結(jié)構(gòu)，而多選擇夜色下單純的場景，通過獨(dú)具他個(gè)人化風(fēng)格的語言塑造，賦予普通場景以別樣的精神體悟。康海濤的夜色，將普通人習(xí)以為常的經(jīng)驗(yàn)轉(zhuǎn)化為陌生的視覺范式，在不確定感的視覺體驗(yàn)中營造了一種冷靜、厚重而舒遠(yuǎn)的精神影像。從某種角度上說，康海濤是將繪畫性發(fā)揮到極致，并進(jìn)而使語言自身具有觀念訴求的畫家。這種特質(zhì)，在今天流行化的圖像浪潮中，顯得尤為難得。

——杭春曉

Kang Haitao is one of the most outstanding painters born in the 1970s who are good at the experience and expression of the painting language. He combines the skills of coloring in traditional Chinese painting with paper painting and propylene, creating a peaceful, profound and pure world with an Oriental atmosphere. Containing no special signs or structures to express meanings, Kang Haitao prefers to choose simple scenes at night and endows ordinary scenes with particular spiritual enlightenment through the language shaping of his own style. The night scene painted by Kang Haitao transfer the ordinary experience into a strange visual paradigm, and creates a calm, solid and profound spiritual image through the visual experience of uncertainty. Viewing from a certain angle, Kang Haitao is a painter who fully exerts the nature of the painting and appeals his opinions through the painting language itself. This trait is particularly rare in today’s trend of popular paintings.

--Hang Chunxiao

景禹朝

Recommendation for Jing Yuchao

年輕一代畫家中，景禹朝對油畫筆觸的控制力與表現(xiàn)力，無疑是突出的。當(dāng)然，這種語言感受能力，往往也會讓畫家沉迷于語言自身的書寫趣味，從而掉入簡單的表現(xiàn)主義陷阱中。值得慶幸的是，經(jīng)過多重方向選擇之后，景禹朝逐漸將這種語言體驗(yàn)轉(zhuǎn)化為一種思想觀念的姿態(tài)，將充滿不安、動(dòng)蕩的筆觸轉(zhuǎn)化為社會底層經(jīng)驗(yàn)的描述，細(xì)膩而具質(zhì)感地傳達(dá)了當(dāng)下某種困頓、無助而掙扎的社會情緒。從某種角度上看，景禹朝的畫面不僅觸及了70生人整體價(jià)值觀上的迷失與彷徨，而且還觸及了淪入實(shí)用主義的中國社會在整體上所具有的精神虛無感的命運(yùn)悲劇。而這種表達(dá)上的理性訴求，保證了景禹朝能夠?qū)⒈憩F(xiàn)主義的語言形式帶入當(dāng)代觀念表達(dá)的語境中。

——杭春曉

Undoubtedly, Jing Yuchao is a young painter outstanding for his control and expressive force of the oil painting style. Of course, this ability of linguistic impression often makes the painter lost in the writing taste of the language itself, and drops into the simple trap of expressionism. Fortunately, however, after various selection, Jing Yuchao gradually transfers this language experience to a position of opinions, turns the uneasy and unstable style to a description of the experience at the bottom of the society, thus conveying a hopeless and struggling social emotion at present subtly and with quality feeling. Viewing from a certain angle, Jing Yuchao’s paintings not only express the loss and hesitation of people born in the 1970s concerning their values, but also reveal the tragedy of spiritual nihility in Chinese society which in the whole has already reduces to the pragmatism. And this rational appeal of expression ensures that Jing Yuchao is able to bring the language form of expressionism into the modern context of concept expression.

--Hang Chunxiao

蔡磊

Recommendation for Cai Lei

在保持雕塑語言的細(xì)膩手感之外，蔡磊試圖以真實(shí)皮毛進(jìn)行一種語言轉(zhuǎn)換與感官重建，并進(jìn)而于此新感官中賦予作品新的觀念表述：華美的生命表象下潛藏著的死亡與重生。

——杭春曉

Apart from maintaining the subtle style of sculpture language, Cai Lei tries to make a language transformation and sensory reconstruction and then endows his works with a new expression of concept, i.e. the death and renascence under the surface of gorgeous life.

-- Hang Chunxiao

于向溟

Recommendation for Yu Xiangming

于向溟的作品大多描繪一些現(xiàn)代工業(yè)社會的場景，畫面的氛圍凝重而壓抑，潛伏著一種無法回避的危機(jī)意識。很顯然，對于藝術(shù)家而言，現(xiàn)實(shí)的荒誕與內(nèi)心的焦慮構(gòu)成了一種悖論關(guān)系。這既是對現(xiàn)代人生存異化的寫照與反思，也是對自我內(nèi)心世界的拷問與自省。于是，生存的危機(jī)與生命的自省共同賦予其作品強(qiáng)烈的預(yù)言與寓言性。如果說“預(yù)言”關(guān)涉人類的未來發(fā)展，那么“寓言”則指涉著當(dāng)代人的精神世界。在現(xiàn)代性的意義維度中，于向溟作品中的自省與批判意識是具有積極意義的。

—何桂彥

Most of the works painted by Yu Xiangming depict scenes of modern industrial society, the atmosphere of which is dignified and oppressive and conceals a crisis consciousness that cannot be avoided. Obviously, as far as the artists concern, there is a paradoxical relation between realistic absurdity and inner anxiety. This is not only portraiture and a reflection on alienation for existence of modern people, but also an excruciation and self-reflection of one’s inner world. Therefore, the survival crisis and self-reflection on life both endow his works with strong prophecy and fable features. If the “prophecy” is said to relate to the development of human beings in the future, then the “fable” relates to the spiritual world of the modern people. In the dimensions of the meaning of the modernity, the self-reflection and criticism in Yu Xiangming’s works are very positive.

--He Guiyan

潘劍

Recommendation for Pan Jian

當(dāng)代架上繪畫的特點(diǎn)之一是以圖像為中心，以圖像來標(biāo)識個(gè)人，將圖像轉(zhuǎn)化為圖式，并強(qiáng)圖像的敘事功能。潘劍是一個(gè)善于利用圖像的藝術(shù)家，不過，在他筆下，圖像并不是一種個(gè)人標(biāo)識，也不具有明確的符號意義，相反他追求圖像表達(dá)在視覺上的陌生感、疏離性，希望那些具有日常化的圖像能在生活體驗(yàn)、個(gè)人記憶，以及歷史與現(xiàn)實(shí)交織的語境中呈現(xiàn)出新的意義。

—何桂彥

One characteristic of the modern easel painting is to regard the images as the center of the painting, to mark individuals by images, to transfer the images to schema, and to strengthen the narrative function of images. Pan Jian is an artist who is good at taking advantage of images, while in his painting, images are neither one individual mark, nor of a definite symbolic meaning. Quite on the contrary, he pursues the visual foreignness and alienation of image expression, hoping that the ordinary images can present a brand new meaning in the context of life experience, individual memory and the interweaving of history and reality.

--He Guiyan

劉玉潔

Recommendation for Liu Yujie

從對個(gè)人圖示的強(qiáng)調(diào)轉(zhuǎn)向?qū)Ξ嬅鎴鼍胺諊臓I建，劉玉潔近期的作品在修辭與創(chuàng)作觀念上都出現(xiàn)了新的變化。在《白光》、《暖國》、《征兆》等作品中，畫面的氛圍繁復(fù)且神秘、憂郁而詭魅，加之一些怪誕情景的置入，不僅增強(qiáng)了畫面的敘述性與戲劇色彩，也賦予其較強(qiáng)的荒誕意味。從詩化的語言、內(nèi)在的個(gè)人氣質(zhì)以及蘊(yùn)含的精神含量上看，劉玉潔的作品都具有較強(qiáng)的代表性。

—何桂彥

Switching from the emphasis of individual graphical representation to the creation of the atmosphere of the scene, the recent works of Liu Yujie show new changes both in the rhetoric and creation concept. In the works such as White Light, Warm Country and Symptom, the atmosphere of the painting is complicated, mysterious, gloomy and strange. In addition, the application of some grotesque scenes not only strengthens the narrative usage and dramatic feature of the painting, but also endows the works with strong absurdity. Viewing from the poetic language, inner personal temperament and the spirit contained in the paintings, Liu Yujie’s works are highly representative.

--He Guiyan

梁碩

Recommendation for Liang Shuo

純化媒介、強(qiáng)調(diào)觀念一直是梁碩裝置作品較為突出的特點(diǎn)。一方面，藝術(shù)家純化語言，盡量滌除材料自身所承載的各種文化與社會信息，將其還原為純粹的“物”，即僅僅強(qiáng)化其作為視覺與物理屬性上的存在。但另一方面，藝術(shù)家追求觀念化的表達(dá)，突出創(chuàng)作過程中強(qiáng)烈的主體意識，即以形式表達(dá)中的“少”來尋求意義呈現(xiàn)的“多”。也就是說，梁碩以最簡捷的創(chuàng)造行為來使用作品中的媒介，力圖在媒介表達(dá)與作品觀念生成之間找到一個(gè)最佳的契合點(diǎn)，以此構(gòu)成一種單純且強(qiáng)烈的張力關(guān)系。同時(shí)，從對“人、物、場”展覽效果的營造與控制的角度講，梁碩的作品都具有較強(qiáng)的實(shí)驗(yàn)性。

—何桂彥

One prominent feature of Liang Shuo’s works is to purify the media and emphasize the concept. On one hand, the artist purifies the language, makes every effort to eliminate various cultural and social information born by the material itself and reduce it to a pure “object”, i.e. strengthen its visual and physical existence; on the other hand, he pursues an idealized expression and highlights the strong subject consciousness during the creation process, i.e. makes “l(fā)ess” formal representation bring “more” presentation of meaning. That is to say, Liang Shuo employs the media in his works through the simplest creative behavior, and tries to find an excellent meeting point between the expression of media and the generation of the concept in his works, thus forming simple and intense tension connections. Meanwhile, viewing from the angle of the creation and control of the exhibition effect of “the people, the objects and the scenes”, Liang Shuo’s works are full of experiments.

--He Guiyan

賈靖

Recommendation for Jia Jing

賈靖早期的作品大多描繪一些與戰(zhàn)爭相關(guān)的場景。藝術(shù)家對戰(zhàn)爭的敏感與其說是呈現(xiàn)其帶給人類的巨大苦難，毋寧說是想通過戰(zhàn)爭揭露人類無意識層面所潛藏的暴力行徑。賈靖近期的作品在題材上出現(xiàn)了新的變化，其主題逐漸遠(yuǎn)離了戰(zhàn)爭，遠(yuǎn)離了暴力，但即便如此，藝術(shù)家仍希望將暴力虛化為一種傾向于唯美的圖景。然而，在賈靖的作品中，這些圖像是片段的、破碎化的，雖然它們不能成為現(xiàn)實(shí)生活的鏡像，但似乎又與周遭的現(xiàn)實(shí)體驗(yàn)契合。同時(shí)，各種文字的出現(xiàn)不僅增強(qiáng)了畫面的圖式特征，也與圖像形成了一種互文關(guān)系。如果這些圖像代表著偶然、隨意的話，那么這些文字則是理性、規(guī)則的象征，它們相互砥礪與滲透，形成了一種多義的畫面空間。

——何桂彥

Most of the early works of Jia Jing describe the scenes related to wars. The artists’ sensitivity to wars is not only because they want to present the great miseries the wars bring to the human beings, but also because they wish to reveal the violence hidden in the unconsciousness of human beings through the wars. Recently, new changes have taken place in the theme of Jia Jing’s works, the topics of which are gradually far away from wars and violence. And in spite of this, the artists still hope to turn violence into an almost aesthetic picture. In Jia Jing’s paintings, however, the images are fragmented and broken. Though they cannot become the mirror of real life, they seem to agree with the experience of reality around them. Meanwhile, the appearance of various characters and letters not only strengthens the pictorial features of the painting, but also forms intextuality with images. If the images represent coincidence and randomness, then the characters and letters stand for reason and rules. They cultivate and infiltrate each other, forming a space with multiple meanings in the paintings,

-- He Guiyan