逸空间展讯｜刘彤彬个展「彡彡野行记」

彡彡野行记

Journal of Travelling Around

艺术家：刘彤彬

Artist: Liu Tongbin

策展人：陈瑞

Curator: Chen Rui

学术主持：卞卡

Academic host: Bian Ka

2022.10.22-2022.11.22

开幕时间：10月22日 [周六] 14:30

Opening: Saturday 22 October, 14:30

逸空间荣幸地宣布刘彤彬个展「彡彡野行记」即将于10月22日开幕，本次展览将呈现艺术家刘彤彬近期创作的铝板材质系列全新作品。

East Gallery is honored to announce that Liu Tongbin’s solo exhibition - ‘Journal of Travelling Around ’ will open on 22nd of October. This exhibition will present the new aluminum panel works created by artist Liu Tongbin.

展览现场 Installation View

刘彤彬的野行记，是一场贯穿始终的艺术理念与艺术行动。

Liu Tongbin's Journal of Travelling Around is an artistic concept and artistic action throughout.

在若干年前，刘彤彬就在为这次“野行”做准备，因为他知道，只有勇气、信念是不够的，更重要的是可以改变并切合实际的方法。他有一个随身携带的小本子，无论走到哪都会涂上几笔，颜色基本上是金色、银色和黑色的马克笔，偶尔还会加入杂志撕剪下的图像粘贴在一起，这些手稿已经不仅是简简单单的写生的和速写的概念，更多的是一种指向性非常明确的图像学的采集和分析，背后有着非常直觉化的判断，这些看似随意且碎片化的元素成为了日后的砖石。

A few years ago, Liu Tongbin started to prepare for ‘travelling around’. He knew that courage and faith alone are not enough, and more importantly, a changeable and practical method. He always carries a small notebook with him, and he paints a few strokes wherever he goes. The colors are basically gold, silver and black markers, and occasionally he adds images clipped from magazines and pastes them together. These manuscripts are not only a simple concept of sketching, but also a collection and analysis of iconography with a very clear direction, and there is a very intuitive judgment behind it. These seemingly random and fragmented elements have become the foundation for his creation in the future.

下淀的喷泉 Fountain of Xiadian 铝板汽车烤漆 Aluminum Plate, Baking paint 120×240cm，2022

“野行”是刘彤彬个人化选择，也是对这个时代的回应。如同近年异常火爆的户外露营与徒步，已经成为一种潮流，而现象的另一面，是普遍性的焦虑、内卷、精神内耗所结成的硬壳。余华说他写作经历了四十年的精神内耗，但在某种程度是件好事儿，没有内耗就没有思考，没有思考就不会有内心的悸动，所以余华总结精神内耗实质其实是一个寻找出口的过程，只要你对自己还有更高的要求，就会有内耗。我相信刘彤彬也有同样的经历，从他的艺术历程而言，尝试了多种材料、绘画手段以及观念的转换就可见一斑。他一直在寻找一个艺术上的出口，而野行是他属于自己的方式。

‘Travelling Around’ is Liu Tongbin's personal choice and a response to this era. Just like outdoor camping and hiking, which have become a trend in recent years, the other side of the phenomenon is the ‘hard shell’ formed by the general anxiety, involution and mental internal friction. Yu Hua said that he had experienced mental internal friction for 40 years in his writing, but to some extent, it was a good thing. Without internal friction, there will be no thinking, and without thinking, there will be no inner throbbing. Therefore, Yu Hua concluded that the essence of mental internal friction is actually a process of finding an exit. As long as you have higher requirements for yourself, there will be internal friction. I believe that Liu Tongbin has the same experience, as evidenced by his artistic journey, in which he has experimented with various materials, painting methods and the transformation of concepts. He has been looking for an artistic exit, and ‘travelling around’ is his own way.

彡彡野行记 Shan Shan's Journal of Travelling Around 铝板汽车烤漆 Aluminum Plate, Baking paint 120×150cm，2022

野行代表的状态，不仅仅是一次次的出走与自我放逐，除了寻找、探寻、漫游、出走、归来的一系列的过程和心境。更重要的是他在行动的过程中用怎样的艺术的方式去做了怎样的记录和表达。我想，刘彤彬的几十本手稿本就是最好的证明。

The state represented by the ‘travelling around’ is not just about running away and self-exile again and again. In addition to a series of processes and moods of searching, exploring, wandering, leaving, and returning, what is more important is what kind of artistic way he used to record and express in this process. I think the dozens of manuscripts created by Liu Tongbin are the best proof.

CANDLE 铝板汽车烤漆 Aluminum Plate, Baking paint 120×120cm，2022

当然，刘彤彬野行的方式是多元和立体的，除了以上所述的旅行与记录，还包括野外展览实践、绘画材料研究、田野调查、当代艺术的研究与传播等。尤其是围绕“射乌山”进行的系列当代艺术策划实践，将废弃的厂房和山野作为试验场，探讨城市化、消费主义、环保等议题，并拓展了策展理念与展览表达的可能性，令人印象深刻。在主持“水印版画技法与材料实验室”的过程中，从材料入手，追根溯源，逆流而上，对纸张、板材、工具等进行考察和研究，弥补空白的同时也建构了水印版画的底层土壤……这也为“读万卷书、行万里路”与知行合一的理念在艺术实践中留下了清晰的注脚，形而上与形而下两条路径在本次展览也融为一体。这也让我们更好地理解到刘彤彬此次展览以全新的面貌、材料和表达进行的呈现，并非心血来潮的转型，也不是灵感迸发式的宣泄，他一直在做这样努力，包括素材的积累、感觉的积淀、材料的探寻，最终整体而轻松呈现出与众不同的却又十分自然而然的创作状态。

Of course, Liu Tongbin's methods of creation are diverse and multi-dimensional. In addition to the above-mentioned travels and records, it also includes field exhibition practice, painting material research, field investigation, and contemporary art research and dissemination. Especially the series of contemporary artcuratorial practices around ‘Shooting Wushan’, which used abandoned factories and mountains as testing grounds to explore issues such as urbanization, consumerism, and environmental protection. And it expanded the possibilities of curatorial concepts and exhibition expressions which is quite impressive. In the process of presiding over the ‘Watermark Print Techniques and Materials Laboratory’ , Liu Tongbin started from the materials and tracing back to the source. He inspected and studied paper, plates, tools, filling the gaps and building the foundation for watermark print. He leaves a clear footnote in the artistic practice with the concept of ‘reading ten thousand volumes of books and traveling ten thousand miles’ and unity of knowledge and action. The two paths of the metaphysical and the physical are also integrated in this exhibition. This also allows us to better understand that Liu Tongbin presents this exhibition with brand-new looks, materials and expressions. It is not a transformation on a whim or an inspirational catharsis. He has been making such efforts, including the accumulation of materials, feelings and the exploration of materials. Then he finally presents a unique and natural creative state in a comprehensive and relaxed way.

前言 / 陈瑞

Preface / Chen Rui

ABOUT ARTIST

刘彤彬