『绘画艺术中的理性与情感』，是Du/laboratory以主题性策划发布的一个推送。此次我们邀请艺术家分享他的艺术实践。Du/laboratory后续会发布不同主题性推荐。

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艺术家陈若冰

▲2020年德国工作室照片

陈若冰的画作

乌尔里希·克伦佩尔

一种巨大的宁静存在于这些绘画中，它们是从色彩的领域中浮现出来的，或包含在色彩领域中的，它们都是平静而静止的。它们是身体，在边缘以较浅的颜色突出，凸起等高线，或在颜色的体积上突出，但它们无法更精确地描述它们的物质性。如果它们被悬挂在它们周围的绘画区域，并被设计成釉色共振，在表面之下，观察者可以分辨出其他颜色的亮光。

颜色场和形状的表面由许多层的油漆组成，不时地从并列的颜色上的较低层中的微小的飞溅显现出来。画上的图层在画的边缘也是可见的，因此，就像视觉上的考古学家一样，我们可以追溯到这些画的制作史上。在表面完美的背后和下面，持之以恒的眼睛可以看到更多颜色的尺寸。

陈的绘画迫使我们进入观察的辩证法。在他的绘画中没有什么是如此清晰，在进一步的审查，它可能不会开放不同的解释：新的东西夺走了我们最初的信念。是什么定义并支配着我们对这些绘画的体验？是物体、体积，还是色域、空性？陈的绘画并没有给出一个明确的答案，绘画中的个体元素在不断地相互对话。

“泥土被塑造成容器，而它们的空洞是有用的容器。门窗都是为了造房子而切割的，由于它是空的，它作为一所房子是有用的。所以生存可以说是与收益相对应的而是非存在来使用。“ (老子，道德经，第十一章，翻译作者: John Chalmers , 1968）同样的，如果我们在观察中慢慢来，陈的绘画让我们在空间中体验物体的矛盾心理，在不存在中的存在，而不给我们只有一种观看方式的确定性。

陈的绘画充满了光，这种光是色彩中固有的，不是用来照明或聚焦的，也不是制造阴影，它无处不在。只有这样的光，才有可能体验黑暗与光明的对比，在这里，作品似乎有意地降低到平静和沉思。只有这样，这种体验才有可能。“五色迷目”，“过度的狩猎和追逐使人发疯”。(《道德经》第十二章，阿瑟·韦利译， 1934 年).在陈的绘画中，我们发现光、形式和物体。但它们都被还原到了本质，以致于它们允许一种无限的经验，而不仅仅是肉体的实体。侵犯了感知的多样性这幅画没有夸张的效果，没有艺术家夸张的痕迹。表面的柔软光滑反映了希望将组成的有形元素溶解在一个和谐的整体中，将形与空相融合。观察者感觉到身体和形体是如何尽可能地减少的，作为一个规则，颜色从一级光谱或二级光谱中的两种颜色也一样，这些颜色在绘画过程中可能会发生变化，如果它们经不起画家在随后更远的沉思中对它们的批判性感知。这样，离开艺术家工作室的作品在其最终形态之下，承载着它是如何被创作的故事。绘画中形式的纯粹性，最简化的实现，因此包含了逐步的、沉思的达到这种纯粹和清晰的过程。

▲无题（2208）, 2022, 布面丙烯，100x100 cm

▲无题（2213）, 2022, 布面丙烯，100x100 cm

▲无题（2203）, 2202, 布面丙烯， 40x150 cm

▲无题（2111）, 2021, 布面丙烯，70x70 cm

▲无题（2105）, 2021, 布面丙烯，70x70 cm

▲无题（2031）, 2020，布面丙烯，150x150 cm

▲无题（2033）, 2020-2021, 布面丙烯，150x150 cm

▲无题（2029）, 2020, 布面丙烯，90x300 cm

▲无题（2030）, 2020, 布面丙烯，90x300 cm

▲无题（2216）, 2022，布面丙烯，100x300 cm

▲无题（2001）, 2020, 布面丙烯，120x120 cm

▲无题（2002）, 2020, 布面丙烯，120x120 cm

▲无题（1707）, 2017, 布面丙烯，120x120 cm

▲无题（1711），2017-2020, 布面丙烯，50x50 cm

▲无题（1710）, 2017-2019, 布面丙烯，46x40 cm

The paintings of Chen Ruo Bing

Ulrich Krempel

A great serenity lies within these paintings of single, calmly resting forms which emerge from or are contained in fields of colour. They are bodies, accentuated at the edges by lighter, raised contour lines or highlighted as such on the volumes of colour, yet they defy a more precise description of their corporality. It is if they are suspended, in the areas of the painting which surround them and are contrived in glazed colour resonances, beneath the surfaces of which the observer can discern shimmers of other colours.

The surfaces of the colour fields and the forms consist of numerous layers of paint, revealed now and then by tiny splashes from a lower layer on the juxtaposed colour. The layers which have been painted one upon the other are also visible at the edges of the painting, and thus, like archaeologists of visual perception we can travel back in the history of the making of these paintings. Behind and below the perfection of the surface, the persevering eye can see further dimensions of colour hues.

Chen’s painting forces us into a dialectic of observation. Nothing in his paintings is so clear that on further scrutiny it might not be open to a different interpretation: something new which robs us of our initial conviction. What is it that defines and dominates our experience with these paintings? Is it the objects, the volumes, or the colour fields, the emptiness? Chen’s paintings do not offer a clear answer, the individual elements of the paintings are in continuous dialogue with each other.

“Earth is moulded into vessels, and by their hollowness

they are useful as vessels.

Doors and windows are cut out in order to make a house,

and by its hollowness it is useful as a house.

So then existence may be said to correspond to gain,

but non-existence to use.” (Lao Tse, Tao Te King, Chapter 11, Translationby John Chalmers, 1968) In the same way, if we take our time in our observation, Chen’s painting allows us to experience the ambivalence of the objects in the space, the existence in the non-existence, without giving us the certainty of only one way of seeing.

Chen’s painting is full of light; this luminosity is intrinsic in the colours, is not used to illuminate or focus, does not make shadows, it is ubiquitous. It is only this light which makes it possible to experience the darkness that is set in contrast to the brightness, and here the work seems deliberately reduced to calmness and contemplation. Only then is this experience possible. “The five colours confuse the eye” ,“ excess of hunting and chasing makes minds go mad.” (Tao Te King, Chapter 12, Translation by Arthur Waley, 1934). In Chen’s painting we find light, form and objects but they are all reduced to the essential to the extent that they permit an infinite experience and no mere corporeal entity intrudes on the diversity of perception.

This painting does without loud effects, there are no traces of flourishes on the part of the artist. The soft smoothness of the surfaces reflects the wish to dissolve the tangible elements of the composition in a harmonious whole, to merge the form with the emptiness. The observer senses how the bodies and the forms have been reduced as far as possible, as have the colours – as a rule – to two colours from the primary or secondary spectrum, and these may change during the act of painting, should they not withstand the painter’s critical perception of them on subsequent, more distant contemplation. In this way, the work which then leaves the artist’s studio bears beneath its final form the story of how it was created. The purity of the form in the painting, the most reduced implementation possible, thus contains the process of the gradual, contemplative attaining of this purity and clarity.

▲2017年德国波鸿美术馆馆藏作品陈列展

▲2019年荷兰海牙夏波/德莱克画廊个展

▲2016德国波鸿美术馆个展场景

▲2020年德国波鸿美术馆馆藏陈列展

1970 出生于中国
1988-1991 于中国杭州的浙江美术学院学习中国画
1992-1998 就读并毕业于德国杜塞尔多夫艺术学院
1993 德国杜塞尔多夫海德维西和罗伯特·萨姆尔基金会艺术奖金
2000 艺术家驻留于美国约瑟夫和安妮·阿尔伯斯基金会，贝瑟尼，康州
2013 艺术家驻留于韩国光州市永殷当代艺术馆
2014 爱尔兰阿基尔岛海因里希·博尔小屋居住艺术家
2016 意大利马焦雷湖拉弗雷特暑期项目
2020 德国斯图加特市罗伯特·博世医院艺术项目