后生可畏
展覽名稱：《Yeah!解剖——任軍個(gè)人作品展》
策 展 人：任軍
展覽總監(jiān)：陳德城 杜放
展覽執(zhí)行：馬艷
展覽統(tǒng)籌：顧佳君
媒體聯(lián)系：盧星 王嬋娟
展覽時(shí)間：2008年5月17日-2008年5月25日
開(kāi)幕酒會(huì)：2008年5月17日
展覽地點(diǎn)：上海多倫現(xiàn)代美術(shù)館1-2層
主 辦 ：上海多倫現(xiàn)代美術(shù)館 協(xié)辦：美術(shù)焦點(diǎn)傳媒
上海多倫現(xiàn)代美術(shù)館將于2008年5月17日至2008年5月25日舉辦“任軍個(gè)人作品展”。
任軍，生長(zhǎng)和受教育于西安這個(gè)漢唐遺韻至今仍非常濃厚的古都，后又成為中國(guó)第一批介入市場(chǎng)的公共雕塑藝術(shù)家，并長(zhǎng)期地頻繁穿梭于國(guó)際之間。但正是在這種對(duì)傳統(tǒng)文化、國(guó)際文化以及本土社會(huì)文化狀況的一定程度的把握之下，他選擇了回歸和關(guān)注當(dāng)下的本土經(jīng)驗(yàn)和文化問(wèn)題。他的“耶（Yeah）”系列作品，是其通過(guò)細(xì)致地采樣、考察、研究的基礎(chǔ)上，綜合自身的國(guó)際視野和本土經(jīng)驗(yàn)，以及對(duì)傳統(tǒng)文化的把握，比對(duì)和探尋當(dāng)下中國(guó)人的差異性文化心理，并在其繪畫中以“耶”這一手勢(shì)作為深層心理意識(shí)的噴發(fā)點(diǎn)。
“耶”這一手勢(shì)，在當(dāng)下的中國(guó)非常的普泛與流行，成為了日常性動(dòng)作。作為源自西方文化的象征性手勢(shì)，它本來(lái)意指VICTORY(勝利)。但是具有諷刺意義的是，西方人使用它的頻率，其實(shí)遠(yuǎn)沒(méi)有中國(guó)人這么高。“耶”這一手勢(shì)的普泛，其實(shí)是流行文化占據(jù)主導(dǎo)文化地位的顯征之一，它暗示了某種在各階層之間趨同的文化心理。而在當(dāng)下，它的頻頻使用，與某些日漸膨脹的欲求有潛在的關(guān)聯(lián)，是一種集體意識(shí)的流露。所以，任軍選擇它，是希望它作為通行的關(guān)鍵性動(dòng)作來(lái)凝練地傳達(dá)某種當(dāng)下集結(jié)的群體性心理態(tài)勢(shì)。
在繪畫語(yǔ)言方面，他摒棄技巧和趣味，用大號(hào)畫筆和非繪畫性工具“放手直取”，因?yàn)檫@樣才能保持一種單純與直接性，在瞬間“爆發(fā)”之中捕捉和傳達(dá)他無(wú)法言傳的獨(dú)特體驗(yàn)與認(rèn)知，這種語(yǔ)言方式，以其具體性而使得幅幅作品都有特定的指向，從而整個(gè)系列的作品具有了一定的豐富性和精準(zhǔn)性，與那些千篇一律的符號(hào)化拉開(kāi)距離。而灰白的色彩則注入更多的主觀態(tài)度，把這些在當(dāng)下正在熾情綻放的“活色生香”產(chǎn)生一種時(shí)間距離，以供歷史眼光審視、歷史意識(shí)反思。
在歷史意識(shí)的驅(qū)動(dòng)之下，任軍這些力圖捕捉、涵蓋部分人群在當(dāng)下的主要心理訴求和樣態(tài)的作品，具有一定的文化研究意義和歷史價(jià)值。
大盤震蕩
Yeah! Dissection——Ren Jun’s Works Exhibition
Curator: Ren Jun
Producer: Chen Decheng
Administrative Director: Du Xiyun, Du Fang
Exhibition Coordinator: Gu Jiajun
Media: Lu Xing, Wang Chanjuan
Date: May 17 – May 25, 2008
Opening: May 17, 2008 3:00pm
Venue: 1-2/F, Shanghai Duolun Museum of Modern Art, No. 27, Duolun Rd
Presented by: Shanghai Duolun Museum of Modern Art
Co-operator: Art Focus Media
For further information:
Shanghai Duolun Museum of Modern Art
Lu Xing Tel: 65406703-106, Wang Chanjuan Tel: 65406703-103
Email: nhkbook@hotmail.com chanjuanwang@gmail.com
Shanghai Duolun Museum of Modern Art will hold the “Ren Jun’s Works Exhibition” from May 17th, 2008 to May 25th 2008.
Born and educated in Xi’an, an ancient city remaining the charm of Han Dynasty and Tang Dynasty, Ren Jun became a pioneer involved in the market as a public sculpture artist, shuttling around the world over the years. It is under this situation where traditional culture, international culture, and local culture of society coexist that he chose to return to his motherland and follow closely the current local experience and cultural issues. The series of “Yeah” is an “eruption”of deep psychological awareness by using the hand signal “yeah” in the pictures. All these are done to compare and find out the differences among today’s Chinese in their cultural psychology through combining his international vision with local experience, and his understanding of traditional culture on the basis of carefully collecting samples, examining and studying.
Nowadays, the hand signal “yeah” is popular in China, and has become a daily motion. As a symbol gesture originating from western culture, it originally refers to VICTORY. Ironically, the westerners use it far less than Chinese.
The popularity of the hand signal “yeah” is one of the features that pop culture occupies the guiding culture, which suggests the symmetry of cultural psychology among levels of all kinds. At present, the frequent use of it bears some latent relation to the increasing desire, revealing a kind of collective awareness. Therefore, the reason why Ren Jun chooses it is that he hopes to express concisely some current psychology of a group of people.
As to the way of painting, he casts off painting techniques and fun and uses the large-size paintbrush and non-painting tools to express his art concept freely and directly, which keeps the purity and the directness. In the “eruption”, he seizes and expresses his unique feeling and understanding, which cannot be expressed in language. Different from those stereotyped works, his unique art language gives all his works a special direction, thus bringing the whole series richness and exactness. Containing more subjective attitude of the artist, the grayish-white hue intends to create a sense of distance of time to today’s vigorous lives in his works, by which a viewer can look closely at these paintings with the eye of history and reflect upon the past.
Driven by the awareness of history, Ren Jun tries to seize and cover the state of mind and its ways of expression of a group of modern people. Therefore, his works are of cultural study value and historical value.
關(guān)系曖昧
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