方力钧系列二（之四） 布面油画 200×200cm 1991-92
透彻人性 | 方力钧
Deep Understanding of Human Nature | Fang Lijun
当今时代，物质文明的冲击已经成为我们生活的主要特征之一。科技的进步、物质的丰富和信息的爆炸，伴随着快节奏的生活方式，我们的精神变得空洞与苍白。在这个时代，人们往往感到迷茫，似乎在不断寻找失去的东西。
在物质化观念盛行天下的人潮人涌之中，当下的物质文明为我们带来了前所未有的物质繁荣与膨胀。然而，与此同时，这也催生了一种无休止的消费文化所催促成的玩世主义，使人们沉浸在物质追求的苦途中。我们不断地以各种理由来鼓励自我去追求所谓的更多财富、更高的名利及地位，但这似乎并没有带来真正的满足感和幸福。往往在幸福即将来临的一瞬间又变成了泡沫与灾难。艺术家方力钧的绘画作品的光头回眸，一瞬间的恍惚与如梦初醒。这一觉醒，感觉到物质与自我精神的分离，给自我开了一个人世间的大玩笑一样。一切变得如此陌生。
In today's era, the impact of material civilization has become one of the main features of our lives. The progress of science and technology, the abundance of material and the explosion of information, along with the fast-paced lifestyle, have made our spirit hollow and pale. In this era, people often feel lost and seem to be constantly searching for what they have lost. In the midst of the surging tide of people who are preoccupied with materialistic concepts, the current material civilization has brought us unprecedented material prosperity and inflation. However, at the same time, it also gave rise to a culture of endless consumption that promoted cynicism, causing people to become immersed in the pursuit of material goods. We constantly encourage ourselves to pursue so-called greater wealth, higher fame and status for various reasons, but this does not seem to bring us true satisfaction and happiness. It often turns into a foam and disaster at the moment when happiness is coming. The painting of the artist Fang Lijun's bald head looking back, a moment of trance and awakening. This awakening, which felt the separation between matter and self-spirit, was like a big joke to the self. Everything has become so strange.
方力钧 系列二（之二） 布面油画 200×230cm 1991-92
方力钧 木刻版画 400×852cm 2003年
万物互联网的数字信息冲击，天天都有大量的信息源涌入我们的生活。它们无孔不入地侵略我们的思维，与此同时，快节奏的生活也在压榨我们的身躯，永远无休止的追赶时间，从来没有足够的时间、空间让自我停下来思考自我或解析自我的精神。在苍白的物质追求中，把自我硬邦邦地拧巴成焦虑、疲惫、慌张融为一体的精神空洞者。人人几乎都孤立在一个冷漠的人世间，人与人开始怀疑一切存在价值与意义，利益在异化着人性，变得更加虚伪及荒诞。
空洞的幸福感是一种假象，像泡沫一样吹嘘着现实人性的阴暗面，物质永远无法来超度自我灵魂，它只会支架你的精神外相。
有人总认为现实就是曙光，名利就是太阳，在理想的孤舟里，如梦幻般的孤云托起来的往往是无奈的光，在无形的压力之下往往被视为一种精神枷锁，限制了我们的自由梦想。这些枷锁让我们感到束缚，无法自由地到达自我的理想彼岸。
The digital information impact of the Internet of Everything has brought a large number of information sources into our lives every day. They invade our mind in every possible way, while fast-paced life also squeezes our body, with an endless pursuit of time, never having enough time and space to stop and reflect on ourselves or analyze our own spirit. In the pale pursuit of material things, they have twisted themselves into a spiritual void of anxiety, exhaustion, and panic. Almost everyone is isolated in an indifferent world, and people begin to doubt the value of everything that exists? Interests are alienating human nature, becoming more hypocritical and absurd. Empty happiness is a kind of illusion, boasting the dark side of reality and humanity like a foam. Material can never transcend your soul, it will only support your spiritual appearance. Some people always believe that the reality is the sun of dawn and fame and fortune. In the lonely boat of their dreams, the lonely cloud that is like a dream is often a helpless light, and under the pressure of the invisible, it is often seen as a spiritual shackle that limits our free dreams. These shackles make us feel bound and unable to freely reach the ideal destination of self.
方力钧 1993.2 布面油画 180×230cm 1993
《狂热分子》
在空洞的精神世界里，我们更清澈地辨别人性的丑恶与善美，方力钧的肖像绘画把人性的内心世界刻画的惟妙惟肖，那种来自自我的人生感悟所理解的人性哲学，在他的肖像绘画中呈现的更加彻底，绘画艺术的就如同一把解剖人性内心的手术刀那样，把人性的真实面通过自我的思想沉寂而做出判断的一种独特语境来解剖社会人生真实度。
In the empty spiritual world, we can distinguish the ugly and beautiful of human nature more clearly. Fang Lijun's portrait painting vividly portrays the inner world of human nature. The philosophy of human nature understood from self-awareness is presented more thoroughly in his portrait painting. The art of painting is like a scalpel that dissects the inner world of human nature, and it uses the unique context of self-awareness to dissect the authenticity of social life through the silence of self-thought.
《1997.1》
人性是复杂多样的，包括善良、恶意、自私、慷慨等各种特质。在异形的物质化价值观下，人性可能会在各种各样的环境下展现出一种荒诞性，试图在社会中获取更多的资源和权力。这种行为包括谎言、欺骗、背叛等。玩世的荒诞性行为不仅在个体层面存在，还在社会层面产生影响。社会中的不诚实和腐败行为会破坏信任，导致社会不稳定和不公平。人性中的邪恶一面可能会得到放大，导致社会的衰败和堕落。艺术可以是对异形的物质化价值观的一种反思和抗议。艺术家方力钧通过他的绘画作品表达对社会不公和伦理沦丧的关切，引发我们对人性的深刻思想。
Human nature is complex and diverse, including various traits such as kindness, malice, selfishness, and generosity. Under the materialistic values of aliens, human nature may exhibit a kind of absurdity in various circumstances, attempting to gain more resources and power in society. Such behavior includes lying, cheating, betrayal, etc. The cynical and absurd sexual behavior not only exists at the individual level, but also has an impact at the social level. Dishonesty and corruption in society can undermine trust, leading to social instability and injustice. The evil side of human nature may be amplified, leading to social decay and degeneration. Art can be a reflection and protest against alien material values. The artist Fang Lijun expresses his concern about social injustice and ethical decay through his paintings, which provokes deep thoughts about human nature.
2012油画009
2011油画003
2012油画014
2012油画016
方力钧通过其绘画作品探讨了人性、社会性和荒诞性之间的复杂关系。在物质财富和社会地位成为主要价值观的情况下，人性可能会呈现出阴暗的一面，包括谎言、欺骗和精神扭曲等现象。为了建立一个更加道德和美好的现实，我们需要反思异形的物质化价值观，重视道德原则和人性的美德，培养更加坚韧、善良和创造力的人性温度。
Through his paintings, Fang Lijun explores the complex relationship between humanity, sociability, and absurdity. In a situation where material wealth and social status become the main values, human nature may exhibit a dark side, including lying, deception, and mental distortion. In order to build a more moral and beautiful reality, we need to reflect on the materialized values of aliens, value moral principles and the virtues of human nature, and cultivate a more resilient, kind, and creative human temperature.
《1996.4》
《2011-2012》
（文/畅泉，来源：浮艺）
艺术家简介
方力钧，1963年出生于河北邯郸，1989年毕业于中央美术学院版画系，同年7月1日入住圆明园，并逐渐形成圆明园画家村。1993年创建宋庄工作室并逐渐形成宋庄画家村。2014年创建“中国当代艺术档案库”。
方力钧曾在德国路德维希美术馆、德国国家美术馆、阿姆斯特丹城市美术馆、日本国际交流基金会、瑞士阿丽亚娜陶瓷博物馆、意大利都灵市立现代美术馆、澳门艺术博物馆、台北市立美术馆、香港艺术中心、上海美术馆、湖南省博物馆、北京民生现代美术馆等美术馆和画廊等重要机构举办过个展。参加威尼斯双年展、圣保罗双年展、光州双年展、上海双年展等众多群展。作品被纽约现代美术馆（MOMA）、蓬皮杜国家艺术中心、路德维希美术馆、旧金山现代美术馆、西雅图艺术博物馆、荷兰STEDELIJK博物馆、澳大利亚新南威尔士美术馆、澳大利亚昆士兰美术馆、福冈亚洲美术馆、东京都现代美术馆、日本广岛现代美术馆、中国美术馆、上海美术馆、广东美术馆、何香凝美术馆、湖南省博物馆、中央美院美术馆等众多公共机构收藏。
出版个人画册、图书《方力钧：编年记事》《方力钧：批评文集》《方力钧：作品图库》《方力钧：云端的悬崖》《方力钧：禁区》《方力钧版画》《像野狗一样生存》等56本。并被中央美术学院、四川美术学院、景德镇陶瓷大学、西安美术学院等23所国内大学聘为客座教授。1993年，作品《系列二之二》登上《纽约时报周刊》封面。
