2021成都雙年展特別邀請(qǐng)展

欲上.合囤

——川音成都美術(shù)學(xué)院油畫(huà)系碩士研究生提名展 前 言

欲上.合囤——川音成都美術(shù)學(xué)院油畫(huà)系碩士研究生提名展順應(yīng)成都雙年展“超融體”的策劃主題，以成都本土藝術(shù)高校研究生創(chuàng)作群落為主體，旨在借助成都雙年展平臺(tái)展現(xiàn)本土當(dāng)代藝術(shù)的新生力量。當(dāng)然，或許更為真實(shí)的目的，在于呈現(xiàn)一種真實(shí)的西南區(qū)域年輕藝術(shù)家的肌理和質(zhì)地。

要為這群青年藝術(shù)家造像是難的，簡(jiǎn)單粗暴的評(píng)定為“川音成都美術(shù)學(xué)院油畫(huà)系碩士研究生是一個(gè)有當(dāng)代油畫(huà)語(yǔ)言意識(shí)和圖像意志的創(chuàng)作群體”似乎并不公平。他們是單獨(dú)的“個(gè)體”，有著對(duì)藝術(shù)創(chuàng)作的差異化認(rèn)知，心態(tài)、年齡、資歷也不盡相同，盡管是同一位導(dǎo)師培養(yǎng)出來(lái)的，彼此差別也是明顯的。這個(gè)群體并不服從“某一種體系”，如果刻意去尋找一種風(fēng)格定調(diào)和傾向性，我也看不到這種歸納的必要。這源于以下經(jīng)驗(yàn)：“過(guò)往的哲學(xué)家，大多傾向于實(shí)證主義，也就是建構(gòu)一個(gè)理論，然后被經(jīng)驗(yàn)所證實(shí)。比如說(shuō)，牛頓力學(xué)被證實(shí)，是因?yàn)楹Ｍ跣堑陌l(fā)現(xiàn)。再比如，萬(wàn)有引力之下，蘋(píng)果肯定向下掉，自有人類(lèi)開(kāi)始，總是如此。但是卡爾.波普爾認(rèn)為，這種說(shuō)法是錯(cuò)的。因?yàn)槟悴恢滥囊惶炜赡芫统霈F(xiàn)與這個(gè)理論不一致的現(xiàn)象。從邏輯上來(lái)說(shuō)，歸納是有限的，而任何科學(xué)理論都試圖得出一個(gè)普遍性結(jié)論，那么這個(gè)普遍性結(jié)論是絕對(duì)不可能被歸納所證實(shí)的。猶如無(wú)限無(wú)法被有限所證實(shí)一樣。”那么究竟如何給這群先后出入江湖或者是即將出入江湖的年輕藝術(shù)家造像呢？是否完全沒(méi)有可能，抑或是還有一種我們不曾覺(jué)察到的邊界，可以將這個(gè)群像恰當(dāng)?shù)毓蠢粘鲆粋€(gè)可辨識(shí)的輪廓？

“欲上.合囤”是一個(gè)比較感性的標(biāo)題，語(yǔ)詞的詩(shī)意跳躍旨在于表達(dá)對(duì)“繪畫(huà)是一種自我表達(dá)的意志”的價(jià)值取向，和態(tài)度上的認(rèn)定和篤定，即法國(guó)當(dāng)代哲學(xué)家吉爾.德勒茲哲學(xué)中提到藝術(shù)功能的“向上流變”或福柯的“異托邦”?！昂隙凇笔侵敢环N群體狀態(tài)，大致寓意著“合力而囤，厚積薄發(fā)”的指向，以此展示川音成都美術(shù)學(xué)院研究生群體的樣態(tài)和生發(fā)。除此之外，沒(méi)有更多造作的深刻邏輯了。“欲上.合囤”這個(gè)主題有著濃厚的“本土性”，成都這座城市生態(tài)所滋養(yǎng)的散漫、無(wú)羈、自性、逍遙的生命樣態(tài)彼此不同，岔道相通。今天的文化和藝術(shù)或許需要這種散漫的溫情和流浪意志。川西壩子文化基因里沒(méi)有王勃那首寫(xiě)于南昌的《滕王閣序》的引經(jīng)據(jù)典的金句對(duì)仗；也沒(méi)有唐崔顥那首寫(xiě)于武漢的《黃鶴樓》煙波浩渺的生死茫茫；也似乎找不到北宋范仲淹《岳陽(yáng)樓記》里那份憂國(guó)憂民的家國(guó)情懷，依稀繼承的還是四川眉山東坡《記游松風(fēng)亭》當(dāng)中那份自在自若和對(duì)生活的溫柔，“余嘗寓居惠州嘉佑寺，縱步松風(fēng)亭下。足力疲乏，思欲就亭止息。望亭宇尚在木末，意謂是如何得到？良久，忽曰：此間有甚么歇不得處？由是如掛鉤之魚(yú)，忽得解脫。若人悟此，雖兵陣相接，鼓聲如雷霆，進(jìn)則死敵，退則死法，當(dāng)恁么時(shí)也不妨熟歇”?；蛟S這是中國(guó)文化史上第一次出現(xiàn)的“躺平”事件，蘇軾一生被放逐的人生境遇與松風(fēng)亭的“不妨熟歇”與今日流行之“躺平”一詞有著跨時(shí)空的異質(zhì)同構(gòu)，“躺平”現(xiàn)象涉及到社會(huì)分層及階層結(jié)板化帶來(lái)的虛無(wú)態(tài)度、價(jià)值萎縮等社會(huì)化議題，是德勒茲理論中的一種社會(huì)裝配出的“集體——個(gè)體”肌理的外化顯征，也是?？露x的“權(quán)力結(jié)構(gòu)化的馴化結(jié)果”。“躺平”這個(gè)狀態(tài)如果硬要被指責(zé)為“偏安一隅”，這里只能“呵呵”了，不禁嘲諷一句：按照后現(xiàn)代文化里的“多重立場(chǎng)”和“去中心化”意志，偏安一隅不正是恰如其時(shí)？

“欲上——躺平”、“合囤——個(gè)體”是兩對(duì)很有意思的語(yǔ)詞組合，語(yǔ)詞之間互為注解和分層，形成一種“迭奏”，正如“一個(gè)孩子身處黑暗之中，被恐懼鉗制，以低聲的歌唱來(lái)安慰自己，覓得一個(gè)寧?kù)o的中心，通過(guò)一個(gè)迭奏形成一個(gè)保護(hù)性的轄域?！边@是理解“欲上——躺平”、“合囤——個(gè)體”機(jī)制的心理含義。

所以，我們盡可能不急于對(duì)這一群青年藝術(shù)創(chuàng)作者造像或定義，他們還在各自形成和生成的過(guò)程中，“欲上——躺平”、“合囤——個(gè)體”都是他們的特征之一。這個(gè)成都雙年展特別邀請(qǐng)展以此為名聚集這一群體僅僅是因?yàn)樗麄兙砷L(zhǎng)于一所四川的藝術(shù)院系——川音成都美術(shù)學(xué)院油畫(huà)系，除此之外，是各自的開(kāi)枝散葉，一路蕩漾。

策展人：魏言 2021年10月12日寫(xiě)于新都

Special Invitation Exhibition of Chengdu Biennale 2021 Desire Hoarding

Nomination Exhibition for Master Degree Candidates of Oil Painting Department of Chengdu Academy of Fine art.

Preface

“Desire Hoarding ” --- Nomination Exhibition for Master Degree Candidates of Oil Painting Department of Chengdu Academy of Fine art conforms to the "Super Fusion" theme of Chengdu Biennale, taking the creative community of graduate students in Chengdu local art colleges as the main part, it aims to show the new force of local contemporary art through the platform of Chengdu Biennale. Of course, perhaps the more real purpose is to present a real texture and texture of the Young Artists in the Southwest Region.

To portray these young artists is difficult, It seems unfair to simply and crudely assess as "Graduate students of Oil Painting Department of Chengdu Academy of Fine Arts are a creative group with contemporary oil painting language awareness and the will of image". They are separate "individuals" with differentiated cognition of artistic creation, and their mentality, age, and seniority are not all the same. Even though they are trained by the same tutor, the differences between them are obvious. This group does not obey "a certain system." If deliberately looking for a tone of style setting and tendency, I don't see the necessity for this kind of induction either. This stems from the following experience: "Most philosophers in the past tended to be positivistic, that is, to construct a theory, and then to be confirmed by experience. For example, Newtonian mechanics was confirmed because of the discovery of Neptune. Another example, under universal gravitation, Apple must fall downward, since humans started, always. But Karl Popper believes that this statement is wrong. Because you don’t know which day there may be a phenomenon that is inconsistent with this theory. Logically speaking, Induction is limited, and any scientific theory tries to draw a universal conclusion, then this universal conclusion is impossible to be confirmed by induction. Just as infinity cannot be confirmed by finiteness." So how to portray this group of young artists who have entered or are about to enter and leave the Jianghu? Is it impossible at all, or is there a boundary that we have not perceived, which can properly draw a recognizable outline of this group image?

"Desire Hoarding" is a more perceptual title. The poetic leap of words aims to express the value orientation of "painting is a will for self-expression", and determination and determination in attitude, It is the "upward flow" of artistic function mentioned in the philosophy of French contemporary philosopher Gil Deleuze, or the "heterotopia" by Foucault. "Combination" refers to a group state, roughly implying the direction of "joining forces and hoarding, profound accumulation"

To show the students' style and generative development, In addition, there is no more contrived deep logic. The theme of "Desire Hoarding" has a strong "locality", The undisciplined, uninhibited, self-nature, and carefree life form nourished by The matrix of Chengdu City are different from each other, but they are connected. Today's culture and art may need this kind of loose warmth and wandering will. The Cultural Genes of Chengdu Plain do not have the golden sentence contrast of Wang Bo's quotation from "The Preface to the Pavilion of the King of Teng" written in Nanchang; There is also no Tang Cuihao’s "Yellow Crane Tower" written in Wuhan, and the vast life and death of the misty waves; It seems also can’t find the feelings of worrying about the country and the people in Fan Zhongyan’s "The Story of Yueyang Tower" in the Northern Song Dynasty. The vaguely inherited poem "Journey to Songfeng Pavilion" by Su Shi in Meishan, Sichuan， “I used to live in Jiayou Temple in Huizhou. One day, I was walking around Songfeng Pavilion. I felt exhausted and tired. I wanted to rest in the pavilion. But when I saw the eaves of Songfeng Pavilion still far away in the woods, when would I get there? Then I changed my mind and thought again, and suddenly realized: "Why can't I take a rest here?" I understood it all at once, and it was like a baitfish, suddenly liberated. If you can understand this point, even on the battlefield with close combat, the drums are like thunder, and you will die by the enemy's hands when you rush up, and you will die by military methods when you retreat. At this time, you might as well take a good rest.“ Perhaps this is the first "Lie down" event in the history of Chinese culture. The circumstance of Su Shi's life, "Come and take a rest" with Songfeng Pavilion in the in Poetry And today’s popular term "Lie Down" have heterogeneous and isomorphic across time and space, the phenomenon of "Lie Down" involves social issues such as nihilistic attitudes and value shrinkage brought about by social stratification and stratification is an externalized manifestation of the "collective-individual" texture assembled by society in Deleuze's theory, and it is also the "domesticated result of the power structure" defined by Foucault. If the state of "Lie Down" is to be accused of being "stay in a corner", there will be no more than "um...interesting" here. I can't help but ridicule: According to the "multiple positions" and "decentralized" will in postmodern culture, isn't it just the right time for a corner? I can't help but ridicule: According to the "multiple positions" and "decentralized" will in postmodern culture, isn't it just the right time to stay in a corner?

“Desire - Lie down“, "Hoarding - individual" are two very interesting word combinations, The words and words are mutually annotation and layering, forming a kind of "iteration", Just as "a child is in darkness, restrained by fear, comforts himself with a low voice, finds a quiet center, and forms a protective jurisdiction through an iteration." This is to understand the psychological meaning of the mechanism of “Desire - Lie down“ and "Hoarding - individual".

Therefore, we try our best not to rush to portray or define this group of young art creators, they are still in the process of their respective formation and generation, “Desire - Lie down“ and "Hoarding - individual" are one of their characteristics. In addition, they enlarge and spread their power and influence gradually, rippling all the way.

Curator: Wei Yan In Xindu, October 12, 2021

二.展覽架構(gòu)： 學(xué)術(shù)主持：何多苓 策展人：魏 言 統(tǒng)籌：趙 歡 主辦機(jī)構(gòu)： 川音成都美術(shù)學(xué)院美術(shù)研究院 何多苓美術(shù)館 協(xié)辦單位： 成都D空間 參展藝術(shù)家： 由川音成都美術(shù)學(xué)院油畫(huà)系提名組成30名年輕藝術(shù)家的參展群體。 參展作品種類(lèi)： 油畫(huà)、水彩、裝置、影像、綜合材料、觀念攝影 展覽統(tǒng)籌：呂 靜、王 龍 平面設(shè)計(jì)：鐘 浩 顧問(wèn)組： 馬一平、周思源、何多苓、賀陽(yáng)、魏言、馬杰、王建斌、李昌龍、黃明元、鄒瓊輝、郭維新、章肇方、劉可 展覽時(shí)間：2021年10月25日

畫(huà)冊(cè)印刷 欲上.合囤——川音成都美術(shù)學(xué)院油畫(huà)系碩士研究生提名展畫(huà)冊(cè) 畫(huà)冊(cè)出品人：川音成都美術(shù)學(xué)院油畫(huà)系 畫(huà)冊(cè)主編：魏 言

序

藝術(shù)作品具有自己的個(gè)體經(jīng)驗(yàn)，同時(shí)也有社會(huì)的共同記憶。通過(guò)不同的媒介表達(dá)自己的觀念和對(duì)當(dāng)代社會(huì)的思考。

川音成都美院油畫(huà)系歷屆研究生提名展，不僅是對(duì)青年藝術(shù)家的關(guān)注，同時(shí)也是關(guān)注成都當(dāng)代藝術(shù)的傳承。這次展覽是系統(tǒng)性藝術(shù)研討，更是一次文化脈絡(luò)的梳理。

何多苓美術(shù)館長(zhǎng)期為推動(dòng)本土青年藝術(shù)家提供平臺(tái)，以推動(dòng)本土藝術(shù),提升公共文化美學(xué)教育為基礎(chǔ),為公眾提供欣賞藝術(shù)的機(jī)會(huì),展示藝術(shù)研究方面的學(xué)術(shù)成果。

川音成都美院油畫(huà)系創(chuàng)建于2000年，是由著名美術(shù)教育家馬一平院長(zhǎng)親手建立，在歷屆系主任：劉虹教授、劉勇教授的先后主持下，逐漸形成集繪畫(huà)基礎(chǔ)課、語(yǔ)言實(shí)驗(yàn)探索課、藝術(shù)創(chuàng)作以及藝術(shù)理論課為一體的教學(xué)系統(tǒng)。在現(xiàn)任系主任魏建翔副教授組織帶領(lǐng)下，將該教學(xué)體系又得到了更一步的深化和完備。

油畫(huà)系開(kāi)收研究生從2003年（第一屆）至今已經(jīng)是19屆了，大約有200余人在此畢業(yè)。 本次研究生提名展由油畫(huà)系碩導(dǎo)群共同提名和篩選，共有有29位藝術(shù)家參展，這里面既有最早一批畢業(yè)的研究生，也有2020級(jí)在讀的研究生。 展出包括油畫(huà)、水彩、綜合材料、雕塑以及影像多個(gè)種類(lèi)，共計(jì)92件作品。集中呈現(xiàn)藝術(shù)與當(dāng)下社會(huì)碰撞中綻放的多元化的面貌，折射他們目前的創(chuàng)作生態(tài)和精神內(nèi)涵。

何多苓美術(shù)館館長(zhǎng) 趙歡 2021.10.17

————- Preface

The artwork has its individual experience, but also the common memory of society. Express the ideas through different media and thinking about contemporary society.

This exhibition is a systematic art seminar, It’s more of a cultural context combing，and also for the attention of young artists, At the same time, also concerned about the inheritance of Chengdu contemporary art.

He Duoling Art Museum has provided a platform for promoting local young artists for a long time, based on promoting local art and enhancing public cultural aesthetics education, providing the public with opportunities to appreciate art, and exhibiting academic achievements in art research for a long time. To promote local art, enhance public cultural aesthetics education as the basis, provide opportunities for the public to appreciate art, show academic achievements in art research.

The Oil Painting Department of Chengdu Academy of Fine art been founded in 2000. It was personally established by the famous art educator Ma Yiping, Dean. Under the presidency of successive deans: Professor Liu Hong and Professor Liu Yong, gradually, a teaching system integrating basic painting courses, language experiment exploration courses, artistic creation, and art theory courses have been formed. under the leadership of the current department head, Associate Professor Wei Jianxiang, the teaching system has been further deepened and completed. The Department of Oil Painting began to recruit graduate students from 2003 (the first year), it has been 19 years, and about 200 students graduated here.

This postgraduate nomination exhibition is jointly nominated and selected by the master tutor group of the Oil Painting Department. There are a total of 29 artists participating in the exhibition. There are not only the first batch of graduate students but also the 2020 graduate students.

The exhibition includes oil paintings, watercolors, mixed materials, sculptures, and videos, with a total of 92 works. Focusing on the diversified faces blooming in the collision between art and current society, it reflects their current creative ecology and spiritual connotation.

By Zhao Huan, Director of He Duoling Art Museum 2021.10.17

學(xué)習(xí)就是力量

今年5月，在川音成都美院的研究生畢業(yè)展上，我向油畫(huà)系主任魏言提出，可以在適當(dāng)時(shí)候在我的美術(shù)館辦一個(gè)我院研究生的展覽。如今，這個(gè)展覽已經(jīng)策劃完成，即將呈現(xiàn)，并且被納入2021成都雙年展的特邀展系列。無(wú)論如何，這是個(gè)好事——從學(xué)院來(lái)說(shuō)，參展藝術(shù)家都是自己的導(dǎo)師推薦，算是一個(gè)階段性小結(jié)；對(duì)于學(xué)生，能集結(jié)成展，進(jìn)入成都雙年展序列，在他們的藝術(shù)歷史中也算光彩的記錄。對(duì)于我，多年來(lái)一直在為青年藝術(shù)家提供展出機(jī)會(huì)方面略盡綿力，這次能在自己的美術(shù)館推出（和D空間聯(lián)展），也是一個(gè)榮幸。

在藝術(shù)領(lǐng)域，學(xué)院體系占有絕對(duì)優(yōu)勢(shì)。也就是說(shuō)，現(xiàn)在活躍的藝術(shù)家基本來(lái)自各個(gè)藝術(shù)學(xué)院，這是一個(gè)現(xiàn)實(shí)。有鑒于此，本文來(lái)談?wù)剮煶小?/p>

以我為例，我出身成都師范學(xué)院美術(shù)班、四川美術(shù)學(xué)院繪畫(huà)系本科和研究生班。從資歷上，算典型的學(xué)院派。對(duì)這個(gè)名詞，當(dāng)下褒貶不一。但關(guān)于這一點(diǎn)，有一個(gè)情況可能有說(shuō)服力。當(dāng)年和我一起業(yè)余學(xué)畫(huà)的朋友很多，如今他們?cè)趯?zhuān)業(yè)圈子里消失了——他們后來(lái)都沒(méi)考美院。不管這算不算一個(gè)原因，就我來(lái)說(shuō)，能走到今天，首先要?dú)w功于我的老師們。比如我在川美的老師馬一平先生，他教給我“轉(zhuǎn)調(diào)”的概念和方法，至今受益匪淺。老師們訓(xùn)練了我，也改變了我，使我的作品有了今天的面貌——時(shí)進(jìn)時(shí)退，正負(fù)相加——一個(gè)長(zhǎng)期而復(fù)雜的過(guò)程的疊加。我不知道這次參展的學(xué)生是否有同樣體會(huì)。不爭(zhēng)的事實(shí)是，他們都經(jīng)歷過(guò)學(xué)習(xí)，如果他們選擇成為專(zhuān)業(yè)藝術(shù)家，那么這個(gè)學(xué)習(xí)模式將伴隨他們一生。

“學(xué)院派”之所以被質(zhì)疑，可能因?yàn)楝F(xiàn)代藝術(shù)就是從對(duì)此的反叛中誕生和發(fā)展的。以我來(lái)說(shuō)，并不算典型的當(dāng)代畫(huà)家，但也早已不用在學(xué)院里學(xué)到的風(fēng)格工作。我也經(jīng)常告訴我的學(xué)生，有些東西學(xué)到手后就要遺忘——我其實(shí)指的是，某些學(xué)問(wèn)已經(jīng)進(jìn)入肌肉記憶，不需要去想到它，但并不代表它不起作用。比如上文提到的“轉(zhuǎn)調(diào)”，好比一位作曲家，用手而不是腦子在操作，而這正是多年腦子學(xué)習(xí)的結(jié)果。

再談學(xué)習(xí)。昨晚看了一個(gè)視頻音樂(lè)講座，談肖邦五歲時(shí)寫(xiě)的一首曲子。同為神童，和莫扎特對(duì)比，在這首曲子的成熟度上，肖邦勝出。但主講人指出：這是因?yàn)榍昂箨P(guān)系——莫扎特在前，肖邦學(xué)習(xí)了他，所以……所以我要談學(xué)習(xí)的另一個(gè)（也許更重要的）方面，就是向前人學(xué)習(xí)。

不久前在深圳藝博會(huì)的活動(dòng)上，和幾位不同領(lǐng)域的人士座談。一位建筑師說(shuō)，現(xiàn)在我們已經(jīng)不是在向自然學(xué)習(xí)，而是師法前人，即使用自己的眼睛，也是站在前人的肩膀上。我發(fā)現(xiàn)建筑界談起這一點(diǎn)很坦率——不知何故，藝術(shù)界對(duì)此有點(diǎn)羞羞答答?？赡?，當(dāng)代藝術(shù)的成功基本上在于原創(chuàng)。所以大家都想成為杜尚。但我要說(shuō)，你生已晚，語(yǔ)言都被前輩（甚至包括同輩中的先覺(jué)者）用完了。你只能先學(xué)到他們的語(yǔ)言，然后爭(zhēng)取說(shuō)得更好。這就要說(shuō)到“引用”了。

上文說(shuō)到語(yǔ)言的原創(chuàng)時(shí)代已經(jīng)結(jié)束。中國(guó)當(dāng)代藝術(shù)起步晚，加速的方法就是學(xué)習(xí)和引用。這也是一個(gè)客觀事實(shí)。每一位成功藝術(shù)家的后面都站著一位過(guò)去的大師；盡管藝術(shù)界不大談師承——誰(shuí)也看得出誰(shuí)的父本是誰(shuí)。當(dāng)然，我也遵循潛規(guī)則，心照不宣；然后理直氣壯地勸學(xué)生，喜歡誰(shuí)就學(xué)誰(shuí)，喜歡什么已有的符號(hào)就加以引用。不以為恥，反以為榮。須知，在某些領(lǐng)域，引用乃是逼格很高的事兒。古文時(shí)代，不會(huì)用典的詩(shī)人都不好意思說(shuō)自己是詩(shī)人。畫(huà)得像誰(shuí)沒(méi)關(guān)系——一來(lái)你本來(lái)是學(xué)生，二來(lái)只要像好東西即可。在藝術(shù)門(mén)類(lèi)，口頭能傳授的學(xué)問(wèn)有限。視覺(jué)藝術(shù)主要靠視覺(jué)。我告訴學(xué)生，首先要學(xué)會(huì)“看”。瞻前顧后、左顧右盼，看歷史，看當(dāng)代。看大師也看素人畫(huà)家。看老師也看你的同學(xué)?？串?huà)冊(cè)、看畫(huà)展。別的領(lǐng)域也不能忽略——我從建筑中學(xué)到了很多無(wú)法從美院里學(xué)到的。要聽(tīng)音樂(lè)——不能想象一位優(yōu)秀的畫(huà)家不熱愛(ài)音樂(lè)。如果可能，看看樂(lè)譜。音符有視覺(jué)之美，因?yàn)樗淖兞耸澜?。?huà)畫(huà)的要多看攝影，畫(huà)油畫(huà)的要多看水墨畫(huà)，搞當(dāng)代的要多看傳統(tǒng)——學(xué)習(xí)不可恥，不學(xué)習(xí)可恥。先學(xué)習(xí)，再思考，邊走邊學(xué)，邊學(xué)邊丟——最后就是你自己。

中國(guó)傳統(tǒng)畫(huà)界很樂(lè)于說(shuō)師承。師承某某某，這是炫耀家底。雖然我寧愿我的學(xué)生不像我，也不像歷史上任何一位畫(huà)家。但我們也不用回避血統(tǒng)。因?yàn)樗嬖凇?/p>

何多苓 2021.10.17晚

Learning is strength

In May of this year, at the 2021 Graduate Graduation Exhibition of Oil Painting Department of Chengdu Academy of Fine art, I proposed to Wei Yan, the director of the oil painting department, that an exhibition of graduate students of our school could be hold in my museum at an appropriate time. Now, this exhibition has been well planned and will be presenting soon, and it will be included in the Special Invitation Exhibition of Chengdu Biennale 2021. Anyhow, it is a good matter. For the college, the participating artists are recommended by their own instructors, which is a stage summary. For students, being able to gather into an exhibition and enter the Chengdu Biennale sequence is also a glorious record in their art history. For me, I have been doing my best in providing exhibition opportunities for young artists for many years. It is also an honor to be able to launch this time in my museum (joint exhibition with D Space).

In the field of art, the college system has an absolute advantage. In other words, this is a reality that the active artists are basically from various art schools. In this context, this article will talk about the mentorship.

Take me as an example, I graduated from the fine arts class of Chengdu Normal University and the undergraduate and postgraduate classes of the painting department of Sichuan Fine Arts Institute. In terms of qualifications, regarded as a typical academism. There are mixed reviews for this term at the moment. But on this point, there is a situation that may be convincing. Back then, many friends studied painting with me together in their spare time. Now they disappeared from the professional circle, none of them were admitted to the Academy of Fine Arts. Regardless of whether this is a cause, as far as I am concerned, I can go to this day, first of all, thanks to my teachers. For example, Mr. Ma Yiping, my teacher at Sichuan Fine Arts Institute, taught me the concept and method of "Modulation" and has benefited a lot so far. The teachers have trained me and changed me so that my work has the same appearance as it is today, moving forward or back, increase or reduce, sometimes. I don't know if the students participating in this exhibition have the same experience. The indisputable fact is that they have all experienced learning. If they choose to become professional artists, then this learning mode will accompany them throughout their lives.

The reason why "academism" is being questioned, maybe because modern art was born and developed from the rebellion against this. As far as I am concerned, I am not a typical contemporary painter, but I no longer have to work with the style I learned in the academy. I also tell my students that some things should be forgotten after they have learned them —— What I am actually referring to is that certain knowledge has entered muscle memory and there is no need to think about it, but it does not mean that it does not work. For example, the "Modulation" mentioned above is like a composer operating with his hands instead of his brain, and this is the result of years of brain learning.

Let's talk about learning. I watched a video music lecture talked about a song written by Chopin when he was five years old last night. They are all child prodigies. Compared with Mozart, Chopin won the song in terms of maturity. But the speaker pointed out: It's because of context, Mozart was in front, Chopin learned from him, So I want to talk about another aspect perhaps more important of learning, which is to learn from the predecessors.

Discuss with several people in different fields at the Shenzhen International Art Fair not long ago, an architect said that now we are not learning from nature, but learning from our predecessors. Even using our own eyes, we are standing on the shoulders of predecessors. I find that the architecture world is very frank about this, somehow, the art world is a little shy to answer this. That is possible, that the success of contemporary art basically lies in originality. But I want to say that you are too late in your life, and your language has been used up by your predecessors (and even the awakeners among your peers). You can only learn their language first, and then strive to speak better. This is about "quoting".

As mentioned above, the era of the original language is over. Chinese contemporary art started late, and the way to accelerate it is to learn and quote. This is also an objective fact. Behind every successful artist stands a master of the past; Although the art world doesn't talk much about mentorship -- you can always tell who your father is. Of course, I also follow the unspoken rules, tacitly; Then confidently urge the students to learn whoever they like, and to quote any existing symbols they like. Of course, I also follow the unspoken rules, tacitly; Then confidently urge the students to learn whoever they like, and to quote any existing symbols they like. Don't be ashamed of it, but proud of it. It’s important to know that in some areas, the quote is a high-level thing. In ancient times, poets who can't use allusions are embarrassed to say that they are poets. It doesn't matter your painting looks like someone else's painting. First, you were originally a student, the second is as long as it looks like a good thing. In the art category, the knowledge that can be taught orally is limited. Visual art mainly relies on vision. I told students that they must learn how to "look" first. Looking forward and backward, looking left and right, looking at history, looking at the present. Look at the master and look at the amateur painter. Look at the teacher and look at your classmates. Look at the picture album, watch the art exhibition. Other areas of knowledge cannot be ignored yet. I learned a lot from architecture that I cannot learn from the Academy of Fine Arts. Listen to music, I can not imagine that a good painter who doesn't love music. If possible, If possible, have a look at the sheet of music. Musical notes have their visual beauty because they change the world. Those who paint should look more at photography, those who paint oil paintings should look more at Chinese Ink Painting, the contemporary artist should look more at the traditional things. It is not shameful to learn, and it is shameful not to learn. Learn first, think again, learn while growing, learn while losing, in the end, you are yourself.

The world of Chinese traditional painting is very glad to talk about mentorship. To learn from someone is to show off his value. Although I would rather my students are not like me or any painter in history. But we don’t have to avoid pedigree. Because it exists.

He Duoling In the night, 17th October, 2021

展覽評(píng)語(yǔ)

胡佳穎，她的畫(huà)有女性畫(huà)家特有的溫婉，柔美之感，她的畫(huà)寧?kù)o淡雅，頗有些尾尾道來(lái)之感。

溫泉的作品嚴(yán)謹(jǐn)篤定，追求光與人之間色彩光線造型交織在一起的變化，由此找出自己的追求和表達(dá)方向和方式。

—————王建彬

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Hu Jiaying, Her paintings have gentleness that is unique to female painters, A sense of femininity, Her paintings are quiet and elegant, quite like told the stories leisurely to us. The works of Wen Quan is strictly and firmly, Pursue the interweaving change of color, light, and shape between light and people, therefore find out the direction and way of pursuing and expressing yourself.

—————By Wang Jianbing

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張洪宇：張洪宇對(duì)繪畫(huà)有著較為突出的控制能力，但他自己并不滿足于此。在不斷的自我省視和繪畫(huà)語(yǔ)言的追問(wèn)中將表達(dá)推進(jìn)到通過(guò)語(yǔ)言的糾葛激發(fā)畫(huà)面結(jié)構(gòu)張力的突顯以及痕跡的沉思狀態(tài)。

冀璽冰：冀璽冰擅長(zhǎng)于以具有強(qiáng)烈的情緒共振的造型和邊緣線來(lái)塑造畫(huà)面關(guān)系，并凸現(xiàn)身體的異化感受和心理的疏離。

高蜜：高蜜對(duì)繪畫(huà)有著強(qiáng)烈的身體體驗(yàn)快感，在繪畫(huà)中往往依靠其直覺(jué)行動(dòng)，既有孩子般的沖動(dòng)又有自我的感受和凝視。

——————馬杰

···························································································································································· Zhang Hongyu has a relatively prominent ability to control painting, but he is not satisfied with it. In the constant self-examination and questioning of the painting language, to pushing the expression into a state in which the entanglement of language stimulates the highlighting of the structural tension and traces of the picture of contemplation.

Ji Xibing is good at shaping the relationship between pictures with strong emotional resonance shapes and edge lines, moreover, highlighting the feeling of body alienation and the alienation of the psychological.

Gao Mi has a strong sense of physical experience in painting. In painting, she often relies on his intuition to act, there are both childlike impulses and self-feelings and gaze.

————Ma Jie

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鄧晧天：圖形的表達(dá)是有局限性、圖像在畫(huà)的過(guò)程是一部電影式的現(xiàn)象。在現(xiàn)實(shí)與繪畫(huà)節(jié)點(diǎn)上所表達(dá)的氣息沒(méi)被掩飾。＂非直視＂在時(shí)空運(yùn)動(dòng)中所留下＂痕跡＂，恰恰是藝術(shù)表現(xiàn)所在。

段睿：改造與碰撞同樣是水彩的表現(xiàn)方式、對(duì)于著迷這種態(tài)度時(shí)心態(tài)還是單純的恣意、即使在濃重的憂郁中也同樣飽含春色。也是當(dāng)下心里的觸動(dòng)。

劉嬌：審美導(dǎo)向是屬于自己的一種表達(dá)方式，在水彩這個(gè)方框以外建立自己的一個(gè)世界后、意圖的再行為才是繪畫(huà)的本質(zhì)。

————章肇方

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Deng Haotian: The expression of graphics is limited, and the process of drawing images is a cinematic phenomenon. The breath expressed in the node of reality and painting has not been concealed. The "trace" left by "non-direct vision" in the movement of time and space is precisely where the artistic expression lies.

Duan Rui: Transformation and collision both are expressions of watercolor, the attitude towards obsessed with this attitude is still pure and arbitrary, even in the deep melancholy, it is also full of spring. It is also touch in the heart at the moment.

Liu Jiao: Aesthetic orientation is an expression of oneself, After establishing her own world outside the frame of watercolor, the re-behavior of intention is the essence of painting.

————Zhang Zhaofang

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為什么推薦魏書(shū)龍同學(xué)？作為川音美院油畫(huà)系的2018級(jí)的研究生，他比較有代表性，也非常突出，在校三年的研讀期間創(chuàng)作了一大批這個(gè)具有個(gè)人獨(dú)特語(yǔ)言風(fēng)格的油畫(huà)創(chuàng)作，他的創(chuàng)作即能夠代表今日高校藝術(shù)油畫(huà)創(chuàng)作教育的動(dòng)向和我們思考的一些標(biāo)準(zhǔn)，同時(shí)，在個(gè)人語(yǔ)言性的深度和題材的挖掘，以及個(gè)人的創(chuàng)作方法論和思考探索方面，魏書(shū)龍的創(chuàng)作也都具有了一定的成熟度，作為一位年輕藝術(shù)家，對(duì)他的這樣的一個(gè)認(rèn)可，我覺(jué)得是非常值得肯定的。

張斯羽在研期間完成了一批帶有鮮明個(gè)性的紙本作品，她對(duì)醫(yī)學(xué)觀測(cè)下的微觀世界有著特殊的興趣，圖像敘事建立了一種暗喻和隱匿的指涉。作為研三的學(xué)生，我們還期待她在畢業(yè)創(chuàng)作中有更成熟的表現(xiàn)。

張瑞翔過(guò)去幾年一直致力于實(shí)驗(yàn)影像創(chuàng)作，在他的作品里，經(jīng)常會(huì)閃爍著關(guān)于青春期的異化敘事、生存的日常與意外等主題。張瑞翔的影像作品里一種“特質(zhì)感”，雖然這種“特質(zhì)感”還處在一種未完成狀態(tài)，但作品的冷靜和銳度讓人印象深刻。

李梓瑄擅長(zhǎng)于處理一種異樣的圖像，她總能快速的找到她的調(diào)性：?jiǎn)渭兊?、極簡(jiǎn)的、抽象的視覺(jué)經(jīng)驗(yàn)，仿佛是她自己身體的一部分，充滿了作者“自我凝視”的意味。她的系列觀念攝影、現(xiàn)場(chǎng)裝置似乎都在這個(gè)維度而被我們所感知。

-------魏言

···························································································································································· Why recommend Wei Shulong? As a 2018 graduate student of the Oil Painting Department of Sichuan Music Academy of Fine Arts, he is very representative and outstanding, during his three-year study in school, he created a large number of oil paintings with his own unique language style. It shall be said that he is relatively excellent in the southwest region and these art colleges, and there is a clear difference. His creation can represent a trend of art education in Southwestern universities and some of our standards, meanwhile, In terms of personal linguistic depth and subject exploration, as well as personal creative methodology and thinking and exploration, they also have a certain degree of maturity.

As a young artist, such a recognition of him,I think it is very worthy of recognition.

Zhang Siyu completed a batch of paper works with a distinctive personality during his postgraduate period, she has a special interest in the microscopic world under medical observation, image narration establishes a metaphor and concealed reference. we also expect her to have a more mature performance in graduation creation as a third-year graduate student.

Zhang Ruixiang has been committed to experimental video creation in the past few years, the alienation narrative about adolescence, Daily life And accidents, and other topics are always shining in his works. Zhang Ruixiang's video works have a kind of "special texture”. Although this kind of "special texture" is still in an unfinished state, the calmness and sharpness of the work is impressive.

Li Zixuan is good at processing the kind of strange images, she can always find her tone quickly as if it were part of her own body: simple, minimal, abstract visual experience, it is full of the author's "self-gaze". Her series of conceptual photography and on-site installations seem to be perceived by us in this dimension.

————Wei Yan

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任俊超: 任俊超是一位可以在繪畫(huà)、裝置、綜合材料之間相互穿越的年?藝術(shù)家，他的才能體現(xiàn)在他所觸及的每一種藝術(shù)傾向的表達(dá)中都能獲得相應(yīng)的藝術(shù)張力，這源于他敏銳的藝術(shù)直覺(jué)和感受能力，以及藝術(shù)語(yǔ)言的轉(zhuǎn)換能力?？梢灶A(yù)期，他的綜合修養(yǎng)達(dá)到一定的高度后，藝術(shù)潛能在某些單項(xiàng)上的爆發(fā)。

涂侃: 以廢棄物為對(duì)象的繪畫(huà)表達(dá)在近年來(lái)的藝術(shù)創(chuàng)作中時(shí)有所延續(xù)，而涂侃繪畫(huà)中卻有個(gè)人獨(dú)到的闡釋?zhuān)阂皇恰笆聦?shí)場(chǎng)景”的選擇；二是“繪畫(huà)方式”的選擇?！笆聦?shí)場(chǎng)景”中往往是荒誕現(xiàn)實(shí)的存留物，如豪宅、舞臺(tái)、吧臺(tái)等，自帶隱語(yǔ)和秘密，而“繪畫(huà)方式”卻在保持“事實(shí)場(chǎng)景”的 基礎(chǔ)上進(jìn)行“語(yǔ)言調(diào)侃”。

唐果: ?景寫(xiě)生在某種程度成為藝術(shù)界流行文化標(biāo)志以后，概念化的風(fēng)景寫(xiě)生大行其道。而唐果的風(fēng)景景寫(xiě)生中，寄托有兒時(shí)的記憶，成年后的奔波與古道熱腸。表現(xiàn)在繪畫(huà)語(yǔ)言上，已初具沉穩(wěn)而不虛飾，厚樸而不失靈動(dòng)，雖傳統(tǒng)而不失進(jìn)取精神的風(fēng)貌，加之充沛的藝術(shù)熱情，未來(lái)可期。

林廣海: 當(dāng)代媒體因科技的發(fā)展迅速地翻新?lián)Q代，引來(lái)了圖像時(shí)代的個(gè)體狂歡，虛擬的事物成為事實(shí)一樣的存在， 廣海在其中發(fā)現(xiàn)“事實(shí)場(chǎng)景”中的“問(wèn)題語(yǔ)境”，于是他在綜合材料方面的實(shí)驗(yàn)精神與關(guān)注當(dāng)代藝術(shù)前沿理論的習(xí)慣，成為他藝術(shù)表達(dá)的助力。繪畫(huà)、綜合材料、裝置，皆有所獲。

?子萱: 攝影中新的視覺(jué)經(jīng)驗(yàn)在繪畫(huà)中的運(yùn)用，在新一代畫(huà)家中已成為一種日常習(xí)慣，隨機(jī)的手機(jī)拍攝和圖象處理，似乎更適合新時(shí)代的個(gè)體心理感受？正如?子萱所說(shuō)：“我被圖片的模糊感受或者呈現(xiàn)的凌亂所打動(dòng)......這種繪畫(huà)體驗(yàn)以及遵從自己內(nèi)心的創(chuàng)作感受深深吸引著我。”

——————?jiǎng)⒂?/p>

···················································································································································· For Ren Junchao: Ren Junchao is a young artist who can travel through paintings, installations, and comprehensive materials, his talent is reflected in the expression of every artistic tendency he touched can get the corresponding artistic tension, this stems from his keen artistic intuition, ability to feel, and ability to transform artistic language. It can be expected, after his comprehensive cultivation reaches a certain height, his artistic potential can explode in certain individual items.

For Tu Kan: The expression of paintings with waste as the object is occasionally seen in recent years of artistic creation. However, there is his own unique interpretation in Tu Kan's paintings: 1. The choice of "Factual scenes", 2. The choice of "Drawing method". "Factual scenes" are often remnants of absurd reality, such as mansions, stages, and bar counters, with lingoes and secrets. On the other hand, the “painting method” doing "Language Teasing" is based on keeping a “factual scene”.

For Tang Guo: After landscape sketching has become a symbol of popular culture in the art world to some extent, conceptualized landscape sketching is taking over the mainstream. In Tang Guo's landscape sketches, there are memories of childhood, also the rush, being sincere and enthusiastic as an adult. Expressed in the language of painting, it has already begun to be calm and unpretentious, simple yet flexible, although traditional, but not lost progressive spirit, coupled with ample artistic enthusiasm, the future can be expected.

For Lin Guanghai: The contemporary media is upgrading iteration due to the rapid development of technology, it has attracted the individual carnival of the Age of Image, virtual things become reality like existence, Guanghai found the "problem context" in the "fact scene", Therefore, his experimental spirit in comprehensive materials and the habit of paying attention to the cutting-edge theories of contemporary art become a boost for his artistic expression. Paintings, comprehensive materials, and installations have all been rewarded.

For Huang Zixuan: The use of new visual experiences of photography in painting has become a daily habit among the new generation of painters. Random cellphone shooting and image processing seem to be more suitable for individual psychological feelings in the new era? As Huang Zixuan said: "I was moved by the blurry feeling of the picture or the messy presentation, this kind of painting experience and the feeling that followed my inner creativity deeply attracted me.”

————Liu Yong

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殷果的藝術(shù)思維活躍，創(chuàng)作實(shí)踐能力強(qiáng)，他通過(guò)對(duì)綜合材料繪畫(huà)語(yǔ)言的不斷探索，形成了《皮毛》等系列作品。他的作品多用廢棄的羊皮來(lái)構(gòu)建代表權(quán)力的服飾，從而達(dá)到一種強(qiáng)烈的反差感；同時(shí)用羊皮作為藝術(shù)材料也凸顯了其作品特有的民族屬性。

何帖子宏對(duì)藝術(shù)執(zhí)著而專(zhuān)注，思維敏銳，創(chuàng)作能力強(qiáng)。研究生階段，持續(xù)探索景觀符號(hào)與虛擬圖像之間的界限。在此次展出的系列作品中，他將創(chuàng)作素材進(jìn)行解構(gòu)、重組與轉(zhuǎn)換，以此實(shí)現(xiàn)自我批判與否定，同時(shí)強(qiáng)調(diào)了他的觀念意識(shí)在現(xiàn)實(shí)中的呈現(xiàn)。

———鄒瓊輝

···························································································································································· Yin Guo has active artistic thinking, strong creative and practical ability. Through continuous exploration of the painting language of comprehensive materials, he formed the "Fur" series of works. His works mostly use discarded sheepskins to construct clothing that represents power, to achieve a strong sense of contrast; At the same time, the use of sheepskin as an art material also highlights the unique ethnic attributes of his works.

He Tiezihong has perseverance and focuses on art, Sharp thinking, and strong creative ability. At the graduate level, continue to explore the boundaries between landscape symbols and virtual images. In the series of works exhibited this time, He deconstructed, reorganized, and transformed the creative materials to realize self-criticism and denial, and at the same time emphasized the presentation of his conceptual consciousness in reality.

————Zou Qionghui

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何千里：混合了幻想與現(xiàn)實(shí)，童年與成熟，時(shí)代變異中的成長(zhǎng)痕跡

劉緯：比起繪畫(huà)，行為與裝置所體現(xiàn)的行走的腳步、多維的空間，似乎更能滿足他的思考

朱可染：執(zhí)著于表面沉靜，實(shí)則內(nèi)在狂野的畫(huà)面。近作更凝固了流動(dòng)的力量，把水這種生命載體以結(jié)構(gòu)的方式再現(xiàn)

張靖：直接而粗暴的題材與呈現(xiàn)，體現(xiàn)作者旁若無(wú)人的率直內(nèi)心世界

伊文兵：層層疊疊的畫(huà)面，貌似抽象，時(shí)而閃現(xiàn)具象，燦爛而厚重

吳奇睿：幽暗的畫(huà)面，近來(lái)變得明亮。復(fù)雜斑駁的意象，暗示了對(duì)美好世界的向往

羅仕鵬：形體更強(qiáng)調(diào)涂鴉似的偶然，色塊和線條時(shí)而分離，在錯(cuò)綜復(fù)雜中呈現(xiàn)空靈

熊垚宇：畫(huà)面的內(nèi)容源于雜志圖像的轉(zhuǎn)化，賦予其陌生荒誕的疏離感，一種憂郁揮之不去。

————何多苓

···························································································································································· He Qianli: a mixture of fantasy and reality, childhood and maturity, traces of growth in the variability of the times.

Liu Wei: Compared with painting, the walking steps and multi-dimensional space embodied in behaviors and installations seem to be more satisfying for his thinking.

Zhu Keran: She is persistent to the calmness on the surface, but in fact, the inner wildness. Recent works have solidified the force of flow, reappearing the life carrier of water in a structural way.

Zhang Jing: Direct and rude subject matter and presentation, reflecting the author’s straightforward inner world like no one else. It embodies the author’s straightforward inner world like no one else.

Yi Wenbing: Layers upon layers, seemingly abstract, sometimes flashing concretely, brilliant and heavy.

Wu Qirui: The dark picture gradually becomes brighter. The complex and mottled imagery implies a yearning for a better world.

Luo Shipeng: The shape more emphasizes graffiti-like accidents, the color blocks and lines are sometimes separated, appear ethereal in the intricacies.

Xiong Yaoyu: The content of the picture stems from the transformation of magazine images, giving it a strange and absurd sense of alienation, a melancholy lingering melancholy.

————He Duoling

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陳嵐楠的繪畫(huà)具有難得的厚重感，同時(shí)兼容女性的浪漫抒情，使得她的作品不止于對(duì)圖像的簡(jiǎn)單摘取，是綜合的、復(fù)雜的、飽含情感的表達(dá)，是耐得住觀看的真正的繪畫(huà)。

與李明師生近十年之久，在研究生期間他的繪畫(huà)就有敏銳且獨(dú)特的感受，時(shí)至畢業(yè)后多年，依然能看到他對(duì)繪畫(huà)的進(jìn)一步認(rèn)識(shí)與理解，用以震動(dòng)的色彩將空間抽象化，使抽象寓于具象之中。這樣的作品正是全身心的投入和對(duì)自己千百般的磨練所做到的表達(dá)。

——————郭維新

···························································································································································· Chen Fenglan's paintings have a rare sense of heaviness, at the same time compatible with women’s romantic lyricism, makes her work more than simply extracting images, it is a comprehensive, complex, and emotional expression, and it is a real painting that can withstand viewing.

For nearly ten years with Li Ming's teachers and students, he has had a keen and unique feeling in his paintings during his postgraduate studies. Until many years after graduation, he can still see his further understanding and understanding of paintings, abstracting space with vibrating colors. Transformation, so that the abstract resides in the concrete. This kind of work is the expression of wholehearted devotion and the expression of tempering of himself thousands of times.

————Guo Weixin