2018年7月28日下午3：00，《謎蹤記》-孫磊、楊斌、於磊三人作品展於北京方圓美術館盛大開幕。本次展覽由方圓美術館主辦，山東省美術家協會、山東藝術學院、濟南市文學藝術界聯合會提供學術支持。此次展覽力邀著名美術批評家皮道堅先生擔任學術主持，青年批評家孫欣女士擔任策展人，為展覽提供專業指導以呈現青年一代的水墨品質，精神氣象。本次展覽於2018年7月28日在方圓美術館啟幕，持續至8月28日。
孫磊
孫磊作品
半途 100cmx100cm 2012 紙本設色
大海之二 200cm x 200cm 2017 紙本設色
燃燒之地（三） 90cmx90cm 2015 紙本設色
燃燒之地（之一）90cmx90cm 2015 紙本設色
虛村 100cmx100cm 2011 紙本設色
應聲 90cmx180cm 2012 紙本設色
“謎蹤記”引
皮道堅
“新工筆”概念的出現，被認為是對新世紀以來中國當代藝術文化概念演變的呼應，儘管它的言不及義和所指含混曾一度引人詬病。顯而易見，以“謎蹤記”為題的孫磊、楊斌、於磊作品展之語言媒介方式與“工筆”血脈相連；或說“工筆”是藝術家作品與其文化母體相連的“臍帶”——作品的孕育、代謝產物與營養物質的交換無不與 “工筆”相關。但這並未妨礙三位藝術家各自獨特的當代表達，圖像表達與精神訴求的撲朔迷離、模糊朦朧、耐人尋味是其敘事風格的共同之處，不同的是：孫磊的詩人氣質及其對“直覺的形式”的敏感，令其作品包蘊了豐富的文化記憶和內省力量；楊斌的超現實鏈接賦予了傳統“工筆”藝術語彙以全新的時代內涵；而於磊的“虛淡”則是對傳統“工筆”意象的再造，以提示一種無須瞻前顧後、左顧右盼即可安寧自適的心靈滿足。因此，對“謎蹤”的探勝既是對“新工筆”之“新”的解讀，也是對當代水墨進行時的認知。
Introduction to “the Mystery Track”
Pi Daojian
The emergence of the “new Gongbi ” concept is a response to the evolution of Chinese contemporary art and culture in the new century; Even though it was once criticized due to the incomplete explanation and vague reference. It is clear in the “Mystery Track” exhibition from Sun Lei, Yang Bin, and Yu Lei that their medium of artistic creation share some similarities with the “ Gongbi” paintings; In other words, “Gongbi” is the cord that ties the artworks with its cultural matrix. The birth of the work, the exchange of metabolites and nutrients are all related to the“Gongbi.” Nevertheless, it does not impede the unique contemporary expressions of the three artists. The ambiguity, vagueness, and thought-provokingness of image expression and spiritual appeal are the common features of their narrative styles. Sun Lei’s poetic temperament and his sensitivity to “the form of intuition” makes his work rich in cultural memory and introspective power. Yang Bin’s surrealistic linkage replaces the art vocabularies of “Gongbi” with meanings from the new age. Yu Lei’s “placidity” is a recreation of the traditional “Gonbi” image, to prompt a spirit of self-satisfaction with tranquility and freedom to avoid being overcautious and indecisive. Therefore, the exploration of the “Mystery Track” is both an interpretation of the "new" of "new Gongbi" and a cognition of contemporary ink painting.
楊斌
楊斌作品
後青春的詩之二 240cmx120cm 2010 絹本設色
後青春的詩之四 240cmx120cm 2010 絹本設色
離兮 80cmx165cm 2015 絹本設色
流兮 80cmx165cm 2015 絹本設色
迷失 230cmx180cm 2011 絹本設色
時間之象 之二 108cmX317cm 2018 絹本設色
時間之象 之一108cmX317cm 2017 絹本設色
於磊
於磊作品
機之一 90cmx122cm 2017 絹本水墨
彌 69cmx49cmx9 2016 絹本水墨
取象之二 51cmx180cm 2018 絹本水墨
生生不已之變 180cmx260cm 2017 絹本水墨
相對 48cmx68cmx2 68cmx48cmx3 2018 絹本水墨
謎蹤記
當代水墨實踐中的個案
無論中西，從來不存在一成不變的所謂傳統，那些之於傳統的概念化、樣板化理解都不過是惰性心理懶於深究的託辭。系統相對穩定的中國傳統文化至今不絕，恰恰因由千年不移的動態化調試：藝術作為傳統文化的視覺形態在不同文化語境中持續發生著變異，與不同時代特質滲透、互融，形成一條精神卓絕的文化巨鏈承遞著往昔人文經驗。片段的經驗雖為文化遺存不可復現，但它留給後來者一扇扇思接千載之門以彌合曆史間距、達成深遠的精神邂逅，而它自身則等待被鮮活的觀念、語言喚醒，等待被更新、再造的命運。
不難發現三位藝術家作品中的共性特徵：傳統文化的向心力、多種文化資源的融化。無論是與古為新還是援西入中，形式借鑑從來都只是表象層級的鏈接，真正的影響是藉助它達成內在精神的互融。他們的創作似乎意在表明，於中國傳統文化這一不斷變化的複雜共同體，每一次自發地回溯都是對文化基因的再審視、再理解，於異質文化的外鑑，相對於形式更重要的是將其典型性的思辨和追問意識融入創作中，在對其判斷、選擇、吸收、轉化的過程中生成與內在自我的深度對話。孫磊、楊斌、於磊深知藝術家內心的開放度與持續的自省是作品具有長久活力的原因，他們堅守水墨這塊陣地，試圖以“當代人”的視角鏈接多元文化的精神巨鏈，只為一個折返的意義：對當代問題進行有效檢視並從中熔鍊、重組生成新的文化價值。
策展人：孫欣
展覽現場
The mystery track
Cases in the Chinese Contemporary Ink practice
Regardless of the Chinese or Western traditions, there has never been an ever-lasting so-called tradition. Conceptualized and stereotyped understanding of the tradition is nothing but an excuse for laziness and rejection to in-depth thinking. The relatively stabilized system of Chinese traditional culture was long-lasting due to the constant dynamism of readjustments. Art as a visual form of long-established culture continues to mutate in different cultural contexts, and penetrate as well as blend with traits of different eras. It forms an outstanding cultural chain that inherits the humanistic experience of the past. Although the fragmented experience is not reproducible for the cultural heritage, it leaves it to the latecomers to think through the doors of the thousand years to bridge the gap between history and reach a profound spirit, while itself waiting for the revival of lively ideas and language, for the fate of being renewed and recreated.
It is not difficult to find the shared characters between the works of the three artists: the centripetal force of traditional culture and the fusion of multiple cultural resources. Whether it is learning from the ancient or the western, the formal reference is only a linkage on the surface, while the real influence is to use it to achieve the integration of the internal spirit. Their creation seems to indicate that, in the ever-changing complex community of Chinese traditional culture, each spontaneous retrospective is a reexamination and re-understanding of the cultural genes. When looking into the foreign culture, rather than merely borrowing the form, it is more important to integrate the typical critical thinking and consciousness of questioning into the creation process to create an in-depth dialogue with their inner self through judgment, selection, absorption, and transformation. Sun Lei, Yang Bin and Yu Lei knew that the artist’s open mind and continuous introspection are the reasons for the long-lasting vitality of the works. They adhere to the field of “Ink and Wash" and try to link the spiritual chain of multiculturalism from the perspective of the “current generation”, only to seek for a return: to examine contemporary issues and to distill from them, reorganize them and generate new cultural values.
curator: Sun Xin
閱讀更多 點滴未來藝術 的文章
