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展覽海報(bào)

展覽：“吳杉：綿延”
藝術(shù)家：吳杉
策展人：冀然，鄧芷婷
學(xué)術(shù)主持：周力，陳海濤
主辦單位：盒子美術(shù)館
統(tǒng)籌：廣州美術(shù)學(xué)院油畫系策劃組
顧問：中山大學(xué)藝術(shù)文化創(chuàng)新與發(fā)展研究中心
支持：站臺中國當(dāng)代藝術(shù)機(jī)構(gòu)
展期：2022.04.29-2022.07.03
地址：盒子美術(shù)館，佛山市順德區(qū)順峰山公園（南門）

Exhibition Title:Wu Shan：Duration
Artist: Wu Shan
Curator：Ji Ran , Deng Zhiting
Academic Director：Zhou Li ，Chen Haitao
Organizer: Boxes Art Museum
Coordinator: Oil Painting Department Curatorial Group of Guangzhou Academy of Fine Arts
Consultant: Institute of Art and Culture Innovation Research and Development, Sun Yat-sen University
Supporting：Platform China Contemporary Institute
Exhibition Duration: 2022.04.29-2022.07.03
Address: Boxes Art Museum, Shunfeng Mountain Park（South Gate）, Shunde District, Foshan City.

 

前言 Perface
“吳杉：綿延”

　　線條是吳杉認(rèn)知世界，并讓世界在他的觀察模式下祛魅的方式。在那如絲般的線條中，我們仿佛感受不到藝術(shù)家的意圖，這些線無目的、無快慢、無圖案地流動(dòng)著，迫使觀者必須走到足夠近距離才能夠看清它們的走勢和趨向。因此，他的抽象圖式并不使人產(chǎn)生暈眩、錯(cuò)位、崇高等經(jīng)典的美學(xué)感受，而是提供給觀者一個(gè)氣定神閑的，從畫面“規(guī)定”好的距離沉著冷靜、一覽無余的觀看體驗(yàn)。這些線條也僅僅在那些可以駐足凝視的觀者眼前開始變化，達(dá)到絕對凝練的狀態(tài)，以展現(xiàn)觀者自身并不存在于其中的空間圖景。由線分割而成的空間仿佛成為了畫面形式的“饋贈”，它們是作為藝術(shù)家在創(chuàng)作中的無目的的合目的性而存在，它們在收縮、內(nèi)化、封閉的過程中，產(chǎn)生了觀看角度的擴(kuò)張，并呈現(xiàn)了觀看本身、視點(diǎn)置于外部的層次感。

　　線條也是他保持專注的“工具”，亦是創(chuàng)作中“專注性”的結(jié)果。專注性的凝聚構(gòu)成了那一幅幅封閉線條所形成的畫面，由線條所交織形式和塊面被附上了時(shí)間，而在時(shí)間的綿延之間，空間自然顯露。這些線是那么的輕盈，卻又那么的“繁復(fù)”。輕是輕在線條的冷靜、高古、沉著與游絲般的筆觸；而“繁”則體現(xiàn)在不斷變換的視角、不停轉(zhuǎn)化的方位，以及塊面之間相互擠壓、交融、調(diào)和所形成的統(tǒng)一性。從方法論上講，這的確是立體主義的，但吳杉卻不僅停留在立體主義。與其把他的作品歸類到某種主義，毋寧說是畫面上的線條自發(fā)的讓藝術(shù)家徘徊在那個(gè)激情與躊躇并存的時(shí)代。在那里，他把寧靜、優(yōu)雅、內(nèi)斂，最重要的是把安全感放置在每一根線條上，在線與線細(xì)微的差異中，緩緩地向“未來”進(jìn)發(fā)，也慢慢地向“過去”告別。延綿而悠長的告別是如此之輕，以至于觀者難以察覺其中所變。誠然，抽象藝術(shù)是獻(xiàn)給有準(zhǔn)備的觀者，而他在用線條封閉畫面圖式的同時(shí)，也進(jìn)一步劃定了觀者的范圍。這樣一種反傳播、反重復(fù)的方式簡直太不現(xiàn)代了。于是，矛盾就從作品的內(nèi)涵和外延之間延展開來，它是那么的現(xiàn)代，又那么的前現(xiàn)代。他在這些常人難以察覺的矛盾之間，找到了屬于自身的、獨(dú)特的“現(xiàn)代”。

　　在藝術(shù)家早期的作品中，我們可以從視錯(cuò)覺關(guān)聯(lián)到素描所形成的圖式的具體所指，它們似山川、似園林、似石碑、似江河。到了近幾年的創(chuàng)作，先是紙本設(shè)色的退場，少了體塊上附著的色彩斑斕，然后體積感也逐漸淡化，那些代表著明暗的細(xì)密排線下沉到體積本身，消失不見。線描越來越精煉，線條也愈發(fā)純粹，呈現(xiàn)出一種峰回路轉(zhuǎn)的自信與挺拔。與此同時(shí)，線本身也在發(fā)生變化，在中早期還有一些急停、急轉(zhuǎn)，似皴法的力透紙背，而現(xiàn)在的線少有鋒利之感，線條在柔和、平緩的轉(zhuǎn)折中悠然自得。這些線的豐富性不啻于形狀的多樣性，也在于同一根線條中的品質(zhì)和內(nèi)容在意想不到的變化中展開。如果說抽象圖式也有等級之分，他的創(chuàng)作則是歷經(jīng)了形式抽象到純粹抽象的歷程。線條從物的邊緣出發(fā)，騰空而起，吸附在純凈思維的地平線上。在這個(gè)演化過程中，線終究退回到了線本身。這一點(diǎn)，也可以從作品的標(biāo)題上看出端倪，“四塊玉”“朝元歌”“上京馬”“一江風(fēng)”雖道不明與畫面本身的具體圖式關(guān)聯(lián)，但卻把思想背景置于昆曲的纏綿婉轉(zhuǎn)、柔漫悠遠(yuǎn)的張力之間。

　　從紙本到大漆，是藝術(shù)家到中年時(shí)對于媒介、質(zhì)感和線條成熟把控的升維。蘊(yùn)含在大漆里的古典、溫潤與幽靜，離不開它那制作中的緩慢流程和獨(dú)特的材質(zhì)魅力。線條上的“輕”與大漆中的“慢”在他的創(chuàng)作中不期而遇，大漆的裝飾、優(yōu)雅與刻板的審美和輕快、律動(dòng)的線描形成了既矛盾又統(tǒng)一的審美觀照。蜿蜒的線描如抽絲般漸漸地剝下大漆的裝飾感所帶來的世俗性，僅留下純粹的與線條相契合的古老魅力，讓線條更隱蔽、也更靈性。在傳統(tǒng)的大漆工藝制作中，如遇溫度、濕度等自然因素的不確定性，往往會重制以修正這些不合預(yù)期的畫面，而吳杉卻會將這些“意外”保留。如果說線描是經(jīng)驗(yàn)、心境以及歲月的積累，在封閉的圖式完成之前，它代表著一種可預(yù)見的不確定性，那么層疊上自然因素的不確定之后，便夾雜了時(shí)間與空間的可塑性，使它擁有了獨(dú)特的文化內(nèi)核，抽離了傳統(tǒng)大漆的審美慣性。

　　至此，他筆下的線不再形似于物，因?yàn)樗溉f物；不再依附于空間，因?yàn)樗?，空間才得以解蔽；不再求助于色彩，它與大漆浸潤、融匯、合而為一。線條在他的筆下既是形式，也是內(nèi)容，而要領(lǐng)會其中深意，則須翻開那色彩的“封面”細(xì)細(xì)品讀。留存在創(chuàng)作中的諸多對立統(tǒng)一并非刻意為之，而是他的創(chuàng)作手法和觀察方式使矛盾置于思想本源，并把多重的二元性純凈地躍然紙上。

文-冀然

 

Wu Shan：Duration

Lines are Wu Shan’s way of understanding and disenchanting the world in his mode of observation. In the silk-like lines, we can’t seem to feel the artist’s intention. These lines flow without purpose, speed, or pattern, forcing the viewer to get close enough to see their trends. Therefore, his abstract schemas do not make people feel dizzy, dislocated, sublime and other classic aesthetic feelings, but provide the viewer with a calm and unobstructed viewing experience from a "prescribed" distance from the picture. These lines only begin to change in front of the viewers who can stop and stare, reaching a state of absolute condensedness, so as to show the spatial picture in which the viewers themselves do not exist. The space divided by lines seems to be the "gift" of the picture form. They exist as the purposeless purposefulness of the artist’s creation. In the process of shrinking, internalizing and closing, they generate the expansion of viewing angles, and presents the layering of viewing itself and the viewpoint placed outside.

Lines are also his "tools" for maintaining focus, and are also the result of "focusness" in his creation. Concentration of focusness constitutes the pictures formed by closed lines, forms and blocks are intertwined by lines and attached by time, and between the duree of time, the space is naturally revealed. These lines are so light, yet so "complex". Lightness refers to the calm, ancient, composed and hairspring-like brushstrokes of the lines; while the "complex" is reflected in the constantly changing perspective, the constantly transforming orientation, and the unity formed by the mutual extrusion, blending and reconciliation of the blocks. From a methodological point of view, it is indeed cubism, but Wu Shan does not only stay in cubism. Rather than classifying his works into a certain doctrine, it is rather the lines on the picture that spontaneously make the artist wander in that time of coexistence of passion and hesitation. There, he put serenity, elegance, restraint, and most importantly, the sense of security on every line, and in the subtle differences between lines, he slowly move towards the "future" and bid farewell to the "past". The long farewell is so light that it is difficult for the viewer to perceive what has changed. It is true that abstract art is dedicated to the prepared viewer, and while closing the picture schema with lines, he also further delimits the viewer’s scope. Such an anti-propagation, anti-repetition approach is simply too unmodern. Therefore, the contradiction extends from the connotation and extension of the work, which is so modern and so pre-modern. He found his own and unique "modern" among these contradictions that are difficult to detect by ordinary people.

In the artist’s early works, we can relate the visual illusion to the specific reference of the schemas formed by the sketches, which are like mountains and rivers, gardens, stele, and rivers. In recent years, in his creation of works, firstly, the coloring on paper was withdrawn, and the colorful colors attached to the body blocks were lost, and then the sense of volume gradually faded. Those fine lines representing light and shade sank into the volume itself and disappeared. The line drawing is becoming more and more refined, and the lines are becoming more and more pure, showing a kind of self-confidence and uprightness with twists and turns.

At the same time, the line itself is also changing. In the middle and early stages of creation, there were some sudden stops and sharp turns, which like penetrating the back of the paper in wrinkle method, but now the lines are less sharp, and the lines are leisurely in soft and gentle transitions. The richness of these lines is not only the diversity of shapes, but also the quality and content of the same line unfolding in unexpected variations. If there are levels of abstract schemas, his creations have gone through a process from formal abstraction to pure abstraction. Lines start from the edge of things, rise into the sky, and stick to the horizon of pure thinking. In this evolutionary process, the line eventually regressed to the line itself. This point can also be seen from the title of the work. Although "Sikuaiyu", "Chaoyuange", "Shangjingma" and "Yijiangfeng" are unclear to say how they related to the specific schema of the picture itself, they places the ideological background between the lingering and gentle, soft and distant tension of Kunqu Opera.

From paper to lacquer, it is an upgrade of the artist’s mature control of medium, texture and line in his middle age. The classicism, warmth and serenity contained in the lacquer are inseparable from its slow production process and unique material charm. The "light" in the lines and the "slow" in the lacquer meet unexpectedly in his creations. The decoration and elegance of lacquer, the inflexible aesthetic, the brisk and rhythmic line drawing form a contradictory yet unified aesthetic picture.The sinuous line drawing gradually peels off the worldliness brought by the decorative sense of the lacquer, leaving only the pure ancient charm that fits the line, making the line more hidden and more spiritual. In the traditional lacquer production process, in case of uncertainty of natural factors such as temperature and humidity, it is often remade to correct these unexpected pictures, but Wu Shan will keep these "accidents". If the line drawing is the accumulation of experience, mood and years, before the closed schema is completed, it represents a predictable uncertainty, then after the uncertainty of natural factors is layered, the plasticity of time and space is mixed, so that it has a unique cultural core and is separated from the aesthetic inertia of traditional lacquer.

So far, the line in his brush no longer resembles objects, because it refer to all things; it no longer attach to space, because of it, space can be unmasked; no longer rely on color, it infiltrates, merges, and fuses with lacquer. Lines are both form and content in his brush, and to understand the deep meaning, one must open the "cover" of color and read it carefully. The unity of opposites that remains in his creations is not intentional, but his creative techniques and observation methods place the contradictions at the source of his thoughts, and bring multiple dualities to the surface of the paper.

Ji Ran

-展覽現(xiàn)場-

 

- 部分作品

吳杉《奉春時(shí)》，大漆、麻、木板，60cm×50cm，2020

吳杉，《風(fēng)入松》大漆、麻、木板 ,80x60cm,2018-2021

吳杉，《寨兒令》大漆、麻、木板 ,80x60cm,2021

吳杉《秋夜月》，大漆、麻、木板，80cm×60cm，2021

吳杉，《三疊引》大漆、麻、木板 ,120cm×80cm,2020(1)

吳杉，《仙呂宮》大漆、麻、木板 ,60cm×50cm,2021

 

藝術(shù)家簡介
Artist Profile

吳杉
1960年生于中國杭州，現(xiàn)今60歲
1982年畢業(yè)于浙江美術(shù)學(xué)院油畫系
1983-1986年就讀于美國芝加哥藝術(shù)學(xué)院研究院,獲碩士學(xué)位
1988年在芝加哥中國藝術(shù)中心擔(dān)任策展人
2006年回國，現(xiàn)為中國美術(shù)學(xué)院中德藝術(shù)研究生院教授

　　國際化的學(xué)術(shù)背景和藝術(shù)履歷，簡練的、理性與感性交雜平衡的畫面語言，中國傳統(tǒng)的材料基礎(chǔ)的融合，讓他成為中國當(dāng)代抽象藝術(shù)的先鋒之一。藝術(shù)家基于大漆材料本身的審美屬性，在制作的緩慢和重疊當(dāng)中，發(fā)掘自己的線條審美的這種韻律和語言。

　　曾在中國美術(shù)館、浙江美術(shù)館、南京藝術(shù)學(xué)院美術(shù)館、勞倫斯珀林畫廊、美國芝加哥藝術(shù)學(xué)院、美國威斯康新州馬修弗德新視覺美術(shù)館、芝加哥東西方現(xiàn)代畫廊、印地安那州南本德美術(shù)館、美國伊利諾州懷斯立洋大學(xué)、MERWIN畫廊、芝加哥海德公園藝術(shù)中心等中外各大畫廊和美術(shù)館舉辦展覽。

 

- 策展人介紹 -

冀然
Ji Ran
　　冀然，策展人、寫作者。曾策劃“洞察之律”王蓬個(gè)展、“流動(dòng)的間隔”金亞楠個(gè)展、“極·光”荷蘭黑點(diǎn)藝術(shù)小組展、巴黎Oberkampf畫廊“Peinture peinture”展、巴黎B&B畫廊 “Paris photographie” 等多個(gè)展覽。文章散見《美術(shù)學(xué)報(bào)》《新美術(shù)館學(xué)》《畫刊》《華僑城盒子美術(shù)館年鑒》等刊物。
Ji Ran, Curator, writer. He has curated exhibitions such as “The Law of Perspective” Wang Peng solo exhibition, “The interval in flux” Jin Yanan solo exhibition, “Unlimited Light”Macular Art Collective, “Peinture peinture” Rue Oberkampf, Paris, “Paris photographie”The Gallery B&B, Paris. Articles are published in journals such as Art Journal , New Art Museum Studies, Art Monthly, OCT Boxes Art Museum Ⅰ, and so on.

鄧芷婷Deng Zhiting
　　盒子美術(shù)館策展人，寫作者，藝術(shù)類翻譯，碩士畢業(yè)于英國利茲大學(xué)。她近期的研究方向?yàn)橐袁F(xiàn)當(dāng)代藝術(shù)史為基礎(chǔ)，關(guān)注女性身份覺知與哲學(xué)。曾策劃“林錚、潘澤嘉：第二自我”、“吳卓釗、黃逸哲：相對次序”“馬雯怡：旋轉(zhuǎn)木馬”等展覽。
Curator of the Boxes Art Museum, writer, art translator. MA graduate from University of Leeds, UK. Her recent research based on modern contemporary art history, focusing on female identity awareness and philosophy. She has curated exhibitions such as "Lin Zheng, Pan Zegia: Alter-ego”, "Wu Zhuozhao, Huang Yizhe: Relative Order" and "Ma Wenyi: Merry-go-round".

 

-美術(shù)館簡介-

盒子美術(shù)館
　　盒子美術(shù)館是由廣東順德華僑城全資建設(shè)，委托廣州美術(shù)學(xué)院油畫系策劃組運(yùn)營管理的非營利公益性機(jī)構(gòu)。華僑城盒子美術(shù)館由范勃擔(dān)任館長，周力擔(dān)任藝術(shù)總監(jiān)，劉可擔(dān)任執(zhí)行館長，正式開館日期為2017年9月28日。美術(shù)館坐落在順德區(qū)順峰山公園內(nèi)，包括四個(gè)標(biāo)準(zhǔn)的室內(nèi)展廳和室外公共展覽空間。美術(shù)館致力于整合地區(qū)及國際資源，呈現(xiàn)出國際化高水準(zhǔn)的藝術(shù)樣態(tài)；并依托美術(shù)學(xué)院研究與教學(xué)平臺、順德當(dāng)?shù)氐膫鹘y(tǒng)特點(diǎn)和現(xiàn)代化發(fā)展，將藝術(shù)展示、公共交流和本地文化結(jié)合在一起，促進(jìn)本土的、社會的、國際的藝術(shù)實(shí)踐與文化產(chǎn)生。

Boxes Art Museum
Boxes Art Museum is built and financed by the OCT Group, a non-profit public organization operated and managed by the Curatorial Group of the Oil Painting Department at the Guangzhou Academy of Fine Arts. OCT Boxes Art Museum has invited Fan Bo to serve as Museum Director, Zhou Li to serve as Artistic Director, and Liu Ke to serve as Executive Museum Director. Boxes Art Museum’s official opening was on September 28, 2017. It is located in the Shunfeng Mountain Park in Guangzhou’s Shunde District, and consists of four standard exhibition halls and outdoor public exhibition spaces. The museum strives to integrate regional and international resources in manifesting cultural activities of the highest caliber, and draws resources from the Guangzhou Academy of Fine Arts as an integrated research and educational platform. Boxes Art Museum combines Shunde’s local strengths with contemporary development strategies, uniting art exhibitions, public discourse and local culture in fostering new directions for local and international art practices and cultural production.

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