Hi艺术

展览简介

艺术家: 黄宽 刘刚 万真宇 王天璇 张英楠 朱新宇

前言

红色的婴如

将《红色的婴如》作为展览题目，来于偶然。这次参展的六位艺术家是以朋友身份聚到一起的，他们的作品本身并无共性，于是突发奇想决定以一种友情互动的游戏方式来定夺这次展览的题目。展览前的某日午后，与参展艺术家聚在王天璇家闲聊，其间找来《古汉语词典》、《古本山海经图说》和《金刚般若波罗蜜经》三本书，让每人随机抽出一些单字和词汇, 通过多轮的混和抓阄最终得到“袾”字和“婴如”一词。袾，纯赤色也，也通“美好”之意。“婴如”是《山海经》里描述的一种神兽，曰：其状如鹿而结白尾，马足人手而四角……它天赋神力，祥瑞而正义，从形象上看英武矫健。也许艺术就是这样总会在无意之间得到一些灵感，红色婴如提示了一种独立自信、自由而开阔的意象，而这也恰恰是本次展览的探索所在，最终一个游戏得来的结果让大家甚为满意。

艺术本身是一种在生活过程之中某种感性契机所激发的体验的累积，由艺术创作者自身性格、生命体验、生存状况乃至生活方式决定。参展的六位艺术家因不同的人生经历和感受确立了各自独立的艺术创作倾向，通过这个展览力图呈现出一个宽泛而丰富的艺术语境。

王天璇是一位对生命感悟力极强的艺术家，艺术成为他对生命做出解释的载体。他将对客观物质世界的参悟幻化成自我精神世界的风景，神秘、荒谬而晦涩，却折射出一种不容回避的真实性。朱新宇是位对艺术极其敏感的艺术家，他的作品总能将人带入一个深度的心灵空间：记忆中的地方，暗淡的色彩，阴凉的环境，一些幽暗的光，让一切显得孤寂而美妙，仿佛可以轻易盗走每一个观者的梦。万真宇的作品充满着对人生的解读和未来的幻想，他让现实世界的各种人物和事件巧妙地相遇，形成一个陌生的感官世界，他的作品如同一个现实魔方将人引入各种不同的际遇猜想之中。刘刚的作品将过去的美好和现实的残酷相参照，以写实的方式刻画出对现实的无力感。张英楠用诗人般的情怀将过去的美好深深凝固起来，储存在记忆里。面对现实，他不断提取记忆去封存住那些不快，以寻求一种心灵的惬意。这种情形就像小时候受了伤，只需一颗糖就可以住安抚我们的心。年少英雄的偶像孙悟空也跨入了暮年，黄宽以一种轻松逗趣的方式将《老圣》演化为现实的隐喻。孤独、彷徨和安全感的缺失是现代人生活的标签，当崇拜与信仰也开始悄然变化,我们是否还可以准确把握住内心的标准和信念?!

中国当代艺术家经历了茫然与困惑，学习与激进之后，如今就像湖面一般平静，逐渐清澈。找到“回家”的路，树立独立的艺术方式和理念才是艺术创作的唯一出口。希望透过这样一个展览，可以传递出一份开阔、自由的视觉体验；希望“红色的婴如”可以引导我们体会艺术更多的精彩纷呈。

Foreword

The Red Yingru (婴如 )

It is quite by chance that “The Red Yingru” was designated the title of the exhibition. The six participating artists got together as friends, their works in themselves having little in common. An odd idea popped up and it was decided that the title of the exhibition be chosen through a friendly interactive game. On an afternoon before the exhibition, the artists met at the home of Wang Tianxuan, one of the six, for a chat. While there, they found three books: Ancient Chinese Dictionary, Illustrated Classical Shan Hai Jing (a Chinese bestiary) and vájra-cchedikā-prajñā-pāramitā-sūtra. Each of them was asked to pick at random a few Chinese characters and phrases, and after mixing these together, lots were drawn at great length and two choices made: “袾”(zhu) and “婴如”. The first word means scarlet as well as nice, while Yingru is a mystical beast described in the book Shan Hai Jing, which has the following features: shaped like a deer, white-tailed, hind legs hoofed but fore legs affixed with hands, bearing four horns. Auspicious and righteous, the beast is endowed with supernatural strength, and looks powerful and agile. Perhaps inspiration often comes to art just like that, haphazardly and without design. The red Yingru offers an independent, self-confident, free and open vision which is just the exhibition aspires to achieve. All were quite gratified with the game derived result.

Art itself is the accumulation of experience inspired by emotional turning points in the course of life, and is determined by the artist’s personality, life experience, living condition and way of life. The different life experience and feelings give rise to their respective artistic style. The aim of the exhibition is to present a diverse and expansive artistic landscape.

Wang Tianxuan is an artist who feels strongly about life; for him, art is the carrier of his interpretation of life. He transforms his understanding of the objective material world into his personal landscape of ethos, a mysterious, absurd and obscure world which reflects inescapable genuineness. Zhu Xinyu is an artist who is extremely sensitive to art. His works can always usher people into a deep space of the soul: a place of reminiscence, faint colors, cold and shady environment, dim light, everything solitary and miraculous as if the dreams of the audience can be easily taken away. Wan Zhenyu’s works are filled with interpretations of life and future fantasies. Skillfully, he lets all kinds of people and events meet, creating an unknown sensational world. Like a Rubik's Cube, his works put people into different kinds of scenarios and suppositions. Liu Gang’s work contrasts the good of the past with the cruelty of the present, realistically depicting the powerlessness of reality. Using poetic affection, Zhang Yingnan freezes the good of the past and stores it in memory. In the face of reality, the artist continuously resorts to memory to isolate anything unpleasant, and to seek spiritual solace. That actually is like the candy we were given in our childhood when we were hurt. The heroic Monkey King of his childhood days has progressed in life and aged considerably, and artist Huang Kuan has jocularly evolved “The Old Monkey King” into a metaphor of the reality. Solitude, indecision and the lack of security is the label of modern life. When worship and faith have also started to change quietly, can we still master with accuracy our moral standard and inner faith?

After experiencing loss, bewilderment, improvement and radicalization, contemporary Chinese artists are now as calm and clear as an undisturbed lake. The only way forward is to create an independent artistic path and mindset, to find a way “home”, so to speak. We hope that through this exhibition an open and free visual experience will be presented. We also hope that “The Red Yingru” will guide us to what brilliance and thrill art has to offer.