却是即目群展现场 2023.3.18-2023.4.24
The scene of Beyond the Range of Vision group exhibition
“却是即目”，于2023年3月18日在北京798艺术区白盒子艺术馆开幕。此次展览汇集了5位艺术家——黄立言、李易纹、马文婷、王远铮、张文朝，抽样出他们创作的视觉样本。“绘画已死”的议题自照相机问世后经常被谈起，随着绘画主题、媒介、展览方式等多元维度的日常化，绘画的神秘性与世俗性逐渐交融。学者热衷于探讨存在与意识的辩证关系，艺术家则通过在画中造境，穿梭于现实经验与艺术意志。5位艺术家通过他们的绘画作品，关于眼见之“实”是否便是心之所“向”，各自提供了个人“即目”的视域。
现实不过是幻觉，却实在太持久
Reality Is just an Illusion That Lasts Too Long
（节选）
文/冯博一
By FENG Boyi
1990年代，中国当代艺术除了绘画之外，装置、行为、影像等开始方兴未艾，这种多媒介方式主要滥觞于“85美术思潮”，其中1989年中国现代艺术展上的作品，可以说是一次集约式的呈现，直接影响到中国当代艺术生态在1990年代的生态变化。新媒介方式所引起的新奇、未知的可能性总是被以年轻艺术家为主体的敏感、利用和尝试，甚至趋之若鹜地形成了一种流行趋势。包括一些已经画的很好的艺术家，抛弃了绘画，开始转向于多媒介方式的创作，成就斐然。
In the 1990s, installations, behavior, and images, in addition to paintings, of contemporary art began to flourish in China. This multi-medium approach mainly found it roots in the "Art Trend of Thoughts that emerged during the mid-1980s", among which the art work at the China Modern ArtExhibition in 1989 can be said was an intensive presentation that directly affected the ecological changes of contemporary art in China during the 1990s.The novelty and unknown possibilities that are inspired by the new media arealways sensed, utilized, and tried out by young artists, even attracting manypeople to follow suit. Some artists, including those who had already become quite successful in painting abandoned painting and turned their attention to multi-media creation, with great achievements as a result.
（左）黄立言 《上海滩》 布面油画 80x60cm 2021年
(Left) HUANG Liyan, Shanghai Tang, Oil on canvas, 80x60cm, 2021
（右）黄立言 《冰冷而坚硬的日子》 布面油画 80x60cm 2021年
(Right) HUANG Liyan, Cold and Hard Days, Oil on canvas, 80x60cm, 2021
其实，对当代文化的敏锐将导致艺术观念、媒介利用、视觉语言在方法论上的不断变化，而绝不在于媒介本身的新旧之分。因此，我一直以为绘画本身并没有象有些评论家偏执地认为的“绘画已经死亡”的结论，只是从事绘画艺术创作变得更难了而已。这也就意味着作为绘画艺术家所承担着更多的压力、困境和付出更多的艰辛努力，从这点来说，持守绘画的艺术家更需要内心的强大。
In fact, the sensitivity to contemporary culture will lead to constant changes in artistic concepts, media utilization, and visual language methodology, rather than the distinction between the old and the new media itself.Therefore, I have never believed the conclusion of some paranoid criticswho say "painting has died”. Rather I believe that it has become more difficult to engage in the art of painting. This also means painting artists have undergone more stress, hard workand difficulties, which shows that it takes a stronger heart to stay committedto painting.
（左）李易纹《人立方 画稿》 布面丙烯 27x35cm 2015年
(Left) LI Yiwen, Person Cube Sketch, Acrylic on canvas, 27x35cm, 2015
（右上）李易纹《人立方 画稿 2015.5.1》 布面丙烯 40x40cm 2015年
(Upper Right) LI Yiwen, Person Cube Sketch 2015.5.1, Acrylic on canvas, 40x40cm, 2015
（右下）李易纹《人立方 画稿 2015.3.1》 布面丙烯 40x40cm 2015年
(Lower Right) LI Yiwen, Person Cube Sketch 2015.3.1, Acrylic on canvas, 40x40cm, 2015
媒介并不重要，它可以是传统的，也可以是新型的，绝不意味着绘画是陈旧的，新媒体才当代的误解。其实，还是在于艺术家如何选择适宜于自我表达的媒介方式而已，且事在人为。当今，功成名就于画坛的艺术家比比皆是，其当代性仍然可以通过古老的绘画方式，充分地表现他们对人类社会的认知与觉知。这次在白盒子艺术馆策划的“却是即目”展览，正是基于以上的考量，试图通过我熟悉的，一直坚守绘画方式的中青年艺术家黄立言、李易纹、马文婷、王远铮、张文朝——他们近年的绘画作品——抽样出他们创作的视觉样本。
The medium does not matter, it can be traditional or new, and in no way implies the misconception that painting is archaic and only new media is contemporary. In fact, it is just a matter of how the artist chooses the appropriate medium to express themselves, and how artists establish themselves with the medium they choose. Today, there are many artists who have made a name for themselves in the world of painting, and the contemporary style is still fully able to express their knowledge and awareness of human society throughthe old ways of painting. Based on the above observations, the exhibition "Beyond the Rangeof Vision" curated in the White Box Art Centre tries to select visual samples from paintings created by young and middle-aged artists in recent years. The artists include HUANG Liyan, LI Yiwen, MA Wenting, WANG Yuanzheng and ZHANG Wenzhao, all of whom I am familiar with and who have remained faithful to the painting approach.
（左）马文婷《坏东西 No.10》 布面油画 90x90cm 2021年
(Left) MA Wenting, Bad stuff No.10, Oil on canvas, 90x90cm 2021
（右）马文婷《坏东西 No.9》 布面油画 90x90cm 2021年
(Right) MA Wenting, Bad stuff No.9, Oil on canvas, 90x90cm, 2021
“即目”引自唐代李商隐的诗作，指涉的是当下的目光所及，即目即事，皆为实境。但这个实境并非实景，而是强调绘画创作返还到现实的境遇。在世界变化与疫情影响的不确定性中，注重虚构与日常经验的有机联系及转化，并通过具体琐碎的叙事，提纯出个人的认知，以及在绘画中营造人与物、人与景之间微妙的关系。
"Ji mu " is quoted from LI Shangyin's poems in the TangDynasty, which refers to what the eyes can see, that is, what the eyes can seeis the entire reality. This reality though is not the real scene but asituation that emphasizes the return of painting creation to reality. In theuncertain vicissitudes of this world and the impact of the epidemic, we payattention to the organic connection and transformation between fiction anddaily experience, generate personal cognition through trivial narration, andcreate the subtle relationship between human beings, objects, and scenery inpainting.
王远铮《金屋03》 布面油画 120x150cm 2020年
WANG Yuanzheng, Golden House, Oil on canvas, 120x150cm, 2020
王远铮《遛狗的男人》 布面油画 80x100cm 2019年
WANG Yuanzheng, A Man Walking a Dog, Oil on canvas, 80x100cm, 2019
其实验性在于对叙事的重构和其人其境的可想，包含情因境生的切实而不虚，朴实而不华，扎实而不飘的绘画艺术的品格。其中景观的题材，日常的叙事，又不失荒诞、幽默与自嘲的融合。而每日带有强迫症似的手工劳作，反映出他们对绘画粘性和质感的迷恋。他们的绘画艺术更象是他们生存的手迹，视觉文本已经深深地刻下了他们各自不同创作的烙印与标识。
The experimentation lies in the reconstruction of the narrative and one’s ability to imagine the people and their situations they are in, containing their expression of emotions under a certain circumstance featuring practicality and simplicity, as well as the solid character of the art of painting. The subjects of the landscapes and everyday narratives are, at the same time, absurd, humorous and self-deprecating. The seemingly compulsive daily manual work reflects artists fascination with the stickiness and texture of painting. Their paintings are more like the handwriting of their existence, and the visual texts have been deeply engraved with the marks and logos of their creations.
（左）张文朝《柔软的安排》 布面油画 100x110cm 2021年
(Left) ZHANG Wenzhao, Soft Arrangement, Oil on canvas, 100x110cm, 2021
（右）张文朝《纪念的纪念》 布面油画 100x115cm 2022年
(Right) ZHANG Wenzhao, Commemoration of Commemoration, Oil on canvas, 100x115cm 2022
由于中国社会转型的丰富与复杂，尤其是近些年的跌宕起伏，使我们每个人都深陷其中而在劫难逃。也正是在时代迁化的变态里，艺术家面对现实和负载现实文化针对性的艺术创作，并被纳入到个体切身的生命经历和记忆当中，构成为中国当代艺术的显著特征之一。作为这五位艺术家个人所表现的经验性存在，也是越来越清晰地被放置于他们个人“即目”的视域之中。
Due to the richness and complexity of the transformation of Chinese society, the ups and downs that have occurredespecially in recent years have impacted each of us without exception. It isalso during the transformation of this erathat the artistic creation emerged from artists facing reality and was a way toreflect the culture relevance, being incorporated into the personal experienceand memories of individuals and became one distinct characteristic of Chinesecontemporary art. The empirical presence demonstrated by these five artists isalso increasingly clearly placed in their own personal vision range.
现场嘉宾
艺术家黄立言、艺术家王远铮、策展人冯博一、孙永增馆长、艺术家张英楠、策展人李章旭、艺术家张文朝在现场
本文来自微信公众号“白盒子艺术馆”（ID：whitebox798798）。大作社经授权转载，该文观点仅代表作者本人，大作社平台仅提供信息存储空间服务。
