展览名称
宽阔的现实主义：
中国与西班牙当代油画展
PINTURA FIGURATIVA：
CONTEMPORÁNEA
CHINA Y ESPAÑOLA
首展时间
2023年11月8日-11月28日
Del 8 al 28 de noviembre de 2023
开幕时间
2023年11月8日上午10:00
8 de noviembre de 2023 10:00
展览地点
中国杭州.全山石艺术中心
Centro de Arte Quan Shan Shi
Hangzhou,China.
作为行动与生产的现实主义
欢迎，啊，生活！我将去面对无数的现实经历，将在我那灵魂的作坊里打造我的民族所不曾有的良心。
——詹姆斯·乔伊斯：《一个青年艺术家的画像》
没有可能性的现实是不完整的，没有未来愿景的世界是不值得看的。
——恩斯特·布洛赫：《希望的原则》
外在世界与内在世界并非判然分开的两端，而现实所意味的也绝非客观、自在的外部世界。在这个意义上，艺术是将内在世界与外在世界融为一体的桥梁，艺术家则是内与外的摆渡者。在《无边的现实主义》导论中，罗杰·加洛蒂说：“一个在运动、回忆、梦想、希望或恐惧中的人所看到的世界，要比一个无动于衷地透过阿尔贝蒂之窗凝视的、古典主义抽象的世界更为现实。”加洛蒂以毕加索、卡夫卡和圣-琼·佩斯为例，强调现实主义艺术家是如何通过对形象和事物的细心描摹，以及对事物之间关系的觉察和暗示，呈现出“日常事物的轮廓、隐蔽的梦想、哲学或宗教的观念，以及超越它们的愿望”。在19世纪中叶以来的艺术史中，这种把现实主义看作“以艺术改变世界的积极思考”曾经多次涌现，值得我们不断地回顾与回收。无论是何种意义上的现实主义者，大都会认同一个基本观点——艺术是艺术家生命经验的凝结和投射。一个在画室中闷头创作的画家，生产出的是他这段时间生命经验的报告，那是这个人在画布上面对世界的表达，就像一滩浅浅的水洼也可以映照出天光云影。然而，那毕竟是些浮光掠影，而且若不能保持水源的鲜活灵动，这水洼就会迅速变得污浊，而污水表面上只有五光十色的油渍。让它始终保持清澈的方法是要找到源头活水，对艺术家来说就是生活。在《个人的毁灭》一文中，高尔基写道：
往日的作家一般都具有广阔的构思、和谐的世界观、强烈的生活感，整个辽阔无垠的世界尽在他们的视野之中。可是在现代作家那里，作为感情和思想之合成体的个性却变得越来越不可琢磨，越来越暗淡模糊，越来越脆弱可怜。作者已经不再是世界的一面镜子，而变成了一片碎玻璃。它被丢弃在城市街头的尘埃之中，再没有能力以自己的断面反映出广大的社会生活，而只能反映破碎心灵的残破的琐屑。
盛装的塔吉克姑娘阿依古丽
Tajik Girl Ayiguli in Full Attire
全山石｜QUAN SHANSHI
布面油画｜Oil on canvas
自藏｜Artist's Own Collection
2007,102cmx84cm
在高尔基式的现实主义者看来，现代主义的个人宛如一片黯淡的碎玻璃，是孤独而疏离的存在，他要么将自身抛入城市街头的尘埃，成为海德格尔所谓沉沦着的众人或者常人（Das Man）；要么摆脱外部世界和社会关系的羁绊，转向纯粹的内倾的自我，由此产生一种对现代主义文学与艺术 影响至深的虚幻的个体性。艺术的深度是生活的深度。而生活之所以有深度，不只由于人从来处于历史脉络和社会关系的因缘牵引之中，还因为它总是被各种表面事实掩盖着，正如残酷戏剧导演安托南·阿尔托所指出的：“生活并非表面事实的集合，而是形式从未抵达的那个脆弱而骚动的中心。”现实主义不是模仿现实的形象，而是把握现实的能动性；不是提供事物和事件的复制品，而是参与一个正在生发中的历史、正在形成中的世界的现实行动。一切真正的艺术品都在表现自我在世界上存在的形式，同样，每一件伟大作品都在帮助我们发现现实的新尺度。要趋向于这个“形式从未抵达的中心”，我们不只需要去真诚地生活，从真诚的生活中发现生活的深度，而且需要发明自己的语言，用艺术的语言点亮生活，从生活的深度中发掘出艺术的深度。艺术是新生活的一种精神准备，那新生活必定是一种“积极的生活”（Vita Activa）。为此，我们需要同时成为劳动者、生产者和行动者。我们需要比日常中的自己更接近、更具体、更强烈、更深刻、更全面、更细微地把握这个变化中的现实世界，并且创造出艺术的世界，并且以这个新世界作为折射出现实行动的镜子。在此，行动之本质乃在于一种完成（海德格尔意义上的“Vollbringen”），而完成意味着——把未来展开到它本质的丰富性中，即生产出来。现实主义是一种来自生活、为了生活、朝向生活的行动，一种贯通美学、政治与伦理的艺术生产，而就艺术而论，行动与生产，统一于实践（在亚里士多德的意义上）。通过中西两国百名艺术家的优秀画作，“宽阔的现实主义——中国与西班牙当代油画展”希望展现出的，正是一种开放、多元的现实主义实践。展览中这些丰富多彩的作品向我们证明了：在21世纪，现实主义依然是一条具有无限潜能的、宽阔的艺术道路，在这条路上——世界气象万千，一切生机勃勃。
（文/高世名，策展人，教授、博士生导师，现任中国美术学院院长）
鼓手 The Drummer
徐芒耀｜XU MANGYAO
布面油画｜Oil on canvas
自藏｜Artist's Own Collection
2020-2023，140cmx120cm
The Power of Realism
as Action and Production
Welcome, O life! I go to encounter for the millionth time the reality of experience and the forge in the smithy of my soul the uncreated conscience of my race.
——James Joyce,
《A Portrait of the Artist as a Young Man》
Reality without real possibility is not complete, the world without future-laden properties does not deserve a glance.
——Ernst Bloch,
《The Principle of Hope 》
The relationship between the external and internal worlds is complex and interconnected, rather than completely separate entities. Reality extends beyond the objective, self-contained external cosmos that encompasses subjective experiences and interpretations. In this context, art functions as a bridge, integrating these two worlds, and the artists navigate and transcend between these two realms, facilitating this communication.
In his introduction to D’un réalisme sans rivages, Roger Garaudy asserts, “e world seen by a man in motion, or lost in memory, dream, hope, or fear is more real than a world of classical abstraction seen impassively through Alberti’s window.” For the author, such artists as Picasso, Franz Kaa, and Saint-John Perse oer a more authentic portrayal of reality compared to a detached observation of the world through classical abstraction, and thus present “the outlines of everyday things, hidden dreams, philosophical or religious ideas, as well as the desire to transcend them.” roughout the history of art since the mid-19th century, this form of realism, characterized as the positive transformation of the world through art, has resurfaced repeatedly. Its enduring relevance and impact make it a subject worthy of continuous reection and examination.
Realists, in various senses of the word, would generally agree with one fundamental notion - that art serves as the condensation and projection of an artist’s life experience. When a painter diligently works in his studio, he produces a visual representation of his experiences during that particular period. On the canvas, one can observe the painter’s expression when confronted with the world, just as a shallow puddle can reect an entire sky ‑lled with light and shadow. However, this reection is ephemeral, and without continuous nourishment, the puddle would soon become murky, leaving behind only greasy stains on its surface. To maintain the clarity of the puddle, artists must constantly seek the source of living water, which symbolizes life itself.
Gran Vía, 1 de agosto, 13:00 horas
8月1日下午1点的格兰维亚大道
Antonio López García｜安东尼奥·洛佩斯·加西亚
Oil on canvas｜布面油画
Artist's Own Collection｜自藏
1994,130cm×120cm
In his essay “e Destruction of the Individual”, Maxim Gorky expresses his thoughts as follows: “In the past, writers possessed expansive ideas, a harmonious worldview, and a profound sense of life, embracing the vast and boundless world within their vision. However, in the case of modern writers, their personalities, a combination of emotions and thoughts, grow increasingly elusive, obscure, fragile, and pitiable. e writer is no longer a mirror reecting the world, but a shard of broken glass discarded in the dust-laden city streets. It lacks the ability to capture the broad tapestry of social life, only capable of reecting fragmentary debris of broken hearts.”
According to Gorkian realists, modernists are likened to desolate shards of broken glass, solitary and alienated beings who either surrender themselves to the grimy streets, becoming “sunk men” or “Das Man” in Heidegger’s terms, or sever all social connections, retreating into a purely introverted self. is retreat gives birth to an illusory individuality that profoundly inuences modernist literature and art.
The depth of art can be understood as a reection of the depth of life. Life gains depth not only through its connection to history and social relations but also because a mere surface-level understanding fails to comprehend its true essence. As Antonin Artaud, the proponent of the “eatre of Cruelty”, articulated, “When we speak the word ‘life’, we are not referring to its super‑cial facts but rather to the delicate and ever-changing core that remains elusive.” Realism, in this context, does not aim to replicate reality’s image but rather to capture reality’s essence. It is not about producing copies of things and events but rather participating in the ongoing process of shaping history and the world. Genuine works of art serve as demonstrations of how forms can exist in the world, expanding our understanding of reality. To access this elusive core, we must not only live authentically and explore life’s depths but also create our own language to illuminate existence and uncover the profound depths of art.
Pensamientos con sol
阳光下的静思
María Moreno｜玛丽亚·莫雷诺
Oil on canvas｜布面油画
Artist's Own Collection｜自藏
1982,52.5cm×58cm
Art serves as a spiritual preparation for a new life, also known as a Vita Activa. To achieve this, we must embrace multiple roles simultaneously—that of labourers, producers, and activists. It is crucial to approach the ever-changing reality with a closer, deeper, more speci‑c, intense, comprehensive, and subtle mindset than our everyday selves possess. rough this approach, we can create a world of art and utilize it as a mirror to reect genuine actions. In this context, the essence of action lies in achieving a state of completion, as Heidegger describes it, which involves expanding the future to its fullest potential—a process we refer to as production.
Realism is a dynamic expression of life itself—an artistic creation that seamlessly integrates aesthetics, politics, and ethics. In the realm of art, it combines action and production, akin to the Aristotelian concept of praxis. By displaying the extraordinary paintings of over 100 Chinese and pish artists, this “Broad Realism:Exhibition of Chinese and pish Contemporary Figurative paintings” aims to demonstrate a rich and diverse approach to realism. ese captivating works on display not only rearm that realism continues to ourish as an expansive artistic path in the 21st century, but also remind us that this path is teeming with boundless potential. In this journey, the world unravels before us, brimming with its inherent diversity and vibrant vitality.
（Gao Shiming）
（来源：中国美术学院绘画艺术学院）
