展览信息
Exhibition Information
艺术家：王朝刚
Artist：WANG Chaogang
学术顾问：庞茂琨
Adviser：Pang Maokun
出品人：赵秀忠
Producer：Zhao Xiuzhong
策展人：朱彤
Curator：Zhu Tong
芳华·Youth
“珠蚌用体液和疼痛孕育珍珠，大山以暗流和矿藏孕育钟乳石，十克拉的胆石也一样，也是被液体和苦楚滋养打磨，也是一种成长着蜕变着的生命。”——《芳华》严歌苓
"Pearl mussels give birth to pearls with bodily fluids and pain; mountains give birth to stalactites with undercurrents and mineral deposits;ten-carat gallstones are also a life form that is growing and transforming, nourished and polished by liquids and pains."——Youth by Yan Geling
《镜花缘-深绿NO.2》，布面油画，100X80cm，2020
展览“芳华”，题目来源于著名小说家严歌苓的小说《芳华》，严歌苓曾说这是她“最诚实的一本书”，对于艺术家王朝刚来说，“芳华”不仅意味着“诚实的”记忆，一代人的现实与想象，还关乎艺术生命的蜕变和对绘画、个人本体的思考。自1997年至今，展览跨越艺术家26年的绘画生涯，呈现了他对“芳华”这一喻体的独特诠释和深刻思考。
The title of the exhibition "Youth" is derived from the novel Youth written by the famous novelist Yan Geling, who once said that it was her "most honest book". For the artist Wang Chaogang, "Youth" means not only "honest" memory, the reality and imagination of a generation, but also the transformation of artistic life and reflection on painting and personal ontology. From 1997 to the present, this exhibition ps the artist's 26-year painting career, presenting his unique interpretation and profound thinking about the signifier——"Youth".
《镜花缘-蓝色夜空》，布面油画，120X100cm，2021
本次展览由“解析花卉”系列、“中国式风景”系列、“荼靡”系列、“镜花缘”系列、“秘境”系列以及“存在”系列构成。从艺术家早期作品便可看出，他对“花卉”题材有着独特的钟爱，这种爱超越景观本身，是深入的，并带有对时间、情感与实践的记忆，以及时代和所谓“物理时间”对于艺术家个体及创作的塑造，并通过理解和体验，呈现出他对生活、时光和人生的深刻思考。对每个人来说，总有一个地方心向往之，在这一理想之地，艺术家心中的“花”也在生生不息地绽放。春花盛放、秋月皎洁，生命的轮回如诗如画，花作为物象在他的绘画中，或娇艳欲滴，或含苞待放，或芬芳四溢，或静谧幽香，散发着生命的力量和美丽的韵味，让人感受到生命的坚韧和不屈。花朵或盛放或凋谢，但生命的脉动永不停止，在他创造的世界中，有着季节轮换过程中的生命之美，生命的顽强和坚持，让人感受到生命力的无尽奇迹。同时，花朵在宇宙浩瀚中绽放，生命的短暂和永恒在画作中交织呼应。他通过对花朵的艺术呈现，表现了宇宙和生命的壮丽和深远，使人感慨于韶光的美好、脆弱和珍贵。存在主义总强调每个人需要为自己的存在找到意义和目的，通过自我思考和自我创造来赋予生命以意义。艺术家的作品犹如这个世界的剖面，我们在其中体察到对生命、自我、他者等存在的深刻思考和探索，通过作品中的画面、符号、象征等，表现了个体对存在的意义和目的的探究。
This exhibitionfeatures the series of "Study the Chinese Flowers and Plants", "The Chinese Style Landscape", "Rosa rubus", "Flowers in the Mirror", "Land of Mystery" and "Existence". From the artist's early works, it can be seen that he has a passion for "flower" theme, and the passion is deep, beyond the scenery itself, with the memory of time, emotion and practice, and traces left by the times and the so-called "physical time" which shaped the artist and his creation. Through his understanding and experience, his insights into living, time and life are manifested. For every individual, there is always a place to yearn for, and in this ideal place, the "flower" in the heart of artist is blooming endlessly.At the same time, flowers bloom in the vastness of the universe, while the ephemerality and eternity of life are intertwined and echoed in the painting. Through the artistic presentation of flowers, he expresses the magnificence and far-reaching of the universe and life, making people feel the beauty, fragility and preciousness of youth. Existentialists always emphasize that everyone needsto find meaning and purpose for his or her existence, and to give meaning to life by means of self-reflection and self-creation. The artist's works resemble a section of this world, in which we experience the deep thinking and exploration of life, self,the other, etc.. Through the images, symbols, symbols, and other elements in the works, the artist expresses the individual's exploration of the meaning and purpose of existence.
《梵高NO.1》，布面油画，70X60cm，1997
艺术家对经典艺术史的演绎和解构，也一直贯穿于近30年的创作脉络里，从《梵高梵高NO.1》(1997)到《存在-从物到物》(2021)，不同艺术家的符号，在王朝刚的笔下，都被归结于一种统一的个人风格和语言，被组合的打乱的艺术符号，有了新的生命和故事，而不再是“物”本身。他从自我和他者之间的关系、身份和认同的建构等方面来解构经典或现象作品中的自我意识，探讨对自我形象和表达的多层次、多面向的反思。在这些演绎动作中，不难发现，王朝刚从时间的线性性、相对性和复杂性等方面来展现作品之间的时间观念、空间观念，如平面、深度、虚实、空间的多重性和不稳定性，从而进一步深化为对时间和记忆的思考，对历史和未来的关注。
The artist's interpretation and deconstruction of classical art history is also running through his creative context of the past 30 years, fromVan Gogh Van Gogh No.1 (1997) to Existence - From Thing to Thing (2021). In Wang Chaogang’s creation, symbols of different artists areunified into a personal style and language, and the combined and disrupted artistic symbols are endowed with new life and story, rather than the "thing" itself. He deconstructs self-consciousness in classic or phenomenal works, from aspects of the relationship between self and the other, identity construction, and explores multi-layered and multi-faceted reflections on self-image and expression. In these deductive actions, it is not difficult to find that Wang Chaogang has manifested the concepts of time and space between works, from the aspects of linearity, relativity and complexity of time, such as plane, depth, virtualization & reality, the multiplicity and instability of space, so as to sublimate into the reflection on time & memory and the emphasis on history and future.
《溪水江山图》，布面油画，180X100cm，2021
在“中国式风景”系列中，得以洞见艺术家对古典绘画作品庞大的阅读量。虽多以中国传统的题材山水、人物及构图范式为主，他同时也融入了个人的当代审美理念和艺术手法，使得他的作品呈现出古雅和传统的氛围和当代的故事性。他通过绘制山水、描绘花卉、刻画人物等元素，表现了中国传统绘画中不曾有过的自然观、山水观，以及对人物以及情感的独特理解和表达，他运用油彩这一介质，熟练地在画布上展现皴法，摹仿墨色的深浅，巧妙地处理光影，使得画面继承了西方现代主义绘画以来对自然光最伟大的礼赞，引领观者在充满空间感及动态笔触的景致中自由地“行走”、感受、想象。
In the"Chinese Style Landscape"series,it is possible to catch a glimpse of the artist's extensive reading of classical paintings. Although his creations are mainly themed on traditional Chinese features, like landscapes, figures and compositional paradigms, he incorporates his own contemporary aesthetic concepts and artistic techniques, so that his works reflect the traditional and elegant character with contemporary narrative. By painting landscapes, depicting flowers, portraying figures and other elements, he expresses the view of nature, landscapes,rivers and the unique understanding and expression of characters and emotions,which have never been seen in traditional Chinese paintings.He utilizes oil painting as a medium to demonstrate the wrinkle method on the canvas, imitating the shades of ink color, and skillfully handling light and shadow. Thus,his painting has inherited the greatest tribute to natural light since Western modernist painting, making viewers to freely "walk", feel and imagine in the landscape with the sense of space and dynamic brushstrokes.
《蜉蝣》，布面油画，80X60cm，2022
同时，在这一系列中《浮游》《望见彩虹少年》等作品，以及“镜花缘”系列中，可以看到艺术家通过绘画实现对“镜像”理论的探讨。《镜花缘》本是清代文人李汝珍创作的长篇小说，小说是基于现实与荒谬世界这一微妙的镜像关系的探讨。艺术家援用小说及文本的概念隐喻于作品之中，这一镜像关系象征着个体的自我认知、自我映射和自我反思。拉康认为：“个体在镜像阶段建立的自我认同往往是虚构的，存在着自我与他者之间的冲突和紧张”。在作品中，可以看到静物、景观与“虚构”图层之间并不构成一对现实中的真实关联，在虚构的图层中，一定程度上反映出个体对自我认同的探索和对“自我”与“他者”之间关系的思考，艺术家在试图建立一种自我形象的重塑，以暗示个体对自我形象的不断调整和塑造，对个体内部世界和外部世界的关系进行重新构建的探索。
Meanwhile, from works such as Roaming and Seeing the Rainbow Youth in this series as well as the "Flowers in the Mirror" series, we can see that the artist discussed the "mirror image" theory through painting. The Flowers in the Mirror is a novel written by Li Ruzhen, a scholar in the Qing Dynasty, based on the subtle mirror-image relation between reality and the absurd world. The Artist has used the concepts of the novel and text as metaphors in his works. This mirror-image relation symbolizes the individual's self-cognition, self-mapping and self-reflection. According to Lacan, "the self-identity established by the individual in the mirror phase is often fictitious, and there is conflict and tension between the individual and the other". In the works we can see that still life, landscape and "fictional" layers have not constructed a pair of real connections in reality. To some extent, the fictional layers reveal the individual's search for self-identity and reflection on the relationship between"self" and the "other". The artist tries to reshape their self-images, implying that individuals are constantly adjusting and shaping their self-images, and exploring the reconstruction of the relationship between the individual's inner world and the outer world.
而所有对物像和符号的解构，最终都将人引向对“诗意地栖居”的思考。最后的最后，希望观众可以走进艺术家的“芳华”年轮之中，不拘泥于文本的限制，以行履的方式，将诸多情感的碎片弥合，在生活和情感被分割、断裂和重组后，在象征性美学祛魅后，仍然愿意观看这些要素所构成的时代画卷。某种程度上说，“芳华”不是一个形容词，不是具体的年代，是在峥嵘岁月中，对诗意和灿烂生命的追逐，是内心世界的外化过程。于是，一切对现实世界的逃避和掩盖都烟消云散了，每一个温柔的良夜终将迎来翱翔的太阳。（文/朱彤）
The deconstruction of objects and symbols ultimately leads to thinking about"poetic dwelling". Ultimately, it is hoped that the audience will be able to enter into the artist's "Youth" annual rings without the restriction of the text, and they can assemble fragments of emotions by means of walking. After life and emotions are separated, broken and reorganized, and the symbolic aesthetics are disenchanted, the audience are still be willing to see paintings of the era composed of these elements. To some extent, "Youth" is not an adjective, or a specific period of time, but the pursuit of poetry and brilliant life in eventful years and the externalization process of the inner world. Thus, escapism will disappear, and every gentle night will finally usher in the soaring sun.（Article/ Zhu Tong）
本次展览艺术家：四川美术学院创作科研处处长、四川美院油画系教授王朝刚
从左到右依次为：著名策展人朱彤；中国美术家协会副主席、重庆市美术协会主席、四川美术学院院长庞茂琨；若同画廊创始人赵秀忠；国际当代艺术收藏研究中心主任、清华大学文化经济研究院专家、国家文化艺术基金专家徐民奇。
（来源：若同画廊）
艺术家简介
王朝刚，1975年出生于中国重庆。1995年考入四川美术学院油画系本科，1999年考入四川美术学院油画系研究生，2002年获硕士学位并任教于四川美术学院油画系，2006-2007法国巴黎第一大学留学访问，2018年考入上海大学上海美术学院博士研究生。
现任四川美术学院创作科研处处长、博士、教授、硕士生导师，中国油画学会理事，重庆市油画学会秘书长，重庆市美协油画艺委会任办公室主任。
作品参加《第7届乌兹别克斯坦塔什干国际艺术双年展》《第17届孟加拉亚洲艺术双年展》《流变与共在：中国新现实绘画》等国际性展览。作品被中国美术馆、成都市美术馆、四川美术学院美术馆等机构和私人收藏。
