2021成都雙年展特別邀請展

欲上.合囤

——川音成都美術(shù)學(xué)院油畫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，或許更為真實的目的，在于呈現(xiàn)一種真實的西南區(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，簡單粗暴的評定為“川音成都美術(shù)學(xué)院油畫系碩士研究生是一個有當(dāng)代油畫語言意識和圖像意志的創(chuàng)作群體”似乎并不公平。他們是單獨的“個體”，有著對藝術(shù)創(chuàng)作的差異化認知，心態(tài)、年齡、資歷也不盡相同，盡管是同一位導(dǎo)師培養(yǎng)出來的，彼此差別也是明顯的。這個群體并不服從“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：“過往的哲學(xué)家，大多傾向于實證主義，也就是建構(gòu)一個理論，然后被經(jīng)驗所證實。比如說，牛頓力學(xué)被證實，是因為海王星的發(fā)現(xiàn)。再比如，萬有引力之下，蘋果肯定向下掉，自有人類開始，總是如此。但是卡爾.波普爾認為，這種說法是錯的。因為你不知道哪一天可能就出現(xiàn)與這個理論不一致的現(xiàn)象。從邏輯上來說，歸納是有限的，而任何科學(xué)理論都試圖得出一個普遍性結(jié)論，那么這個普遍性結(jié)論是絕對不可能被歸納所證實的。猶如無限無法被有限所證實一樣?！蹦敲淳烤谷绾谓o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？是否完全沒有可能，抑或是還有一種我們不曾覺察到的邊界，可以將這個群像恰當(dāng)?shù)毓蠢粘鲆粋€可辨識的輪廓？

“欲上.合囤”是一個比較感性的標(biāo)題，語詞的詩意跳躍旨在于表達對“繪畫是一種自我表達的意志”的價值取向，和態(tài)度上的認定和篤定，即法國當(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?？碌摹爱愅邪睢薄！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，沒有更多造作的深刻邏輯了。“欲上.合囤”這個主題有著濃厚的“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有王勃那首寫于南昌的《滕王閣序》的引經(jīng)據(jù)典的金句對仗；也沒有唐崔顥那首寫于武漢的《黃鶴樓》煙波浩渺的生死茫茫；也似乎找不到北宋范仲淹《岳陽樓記》里那份憂國憂民的家國情懷，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，忽得解脫。若人悟此，雖兵陣相接，鼓聲如雷霆，進則死敵，退則死法，當(dāng)恁么時也不妨熟歇”?；蛟S這是中國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”一詞有著跨時空的異質(zhì)同構(gòu)，“躺平”現(xiàn)象涉及到社會分層及階層結(jié)板化帶來的虛無態(tài)度、價值萎縮等社會化議題，是德勒茲理論中的一種社會裝配出的“集體——個體”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”和“去中心化”意志，偏安一隅不正是恰如其時？

“欲上——躺平”、“合囤——個體”是兩對很有意思的語詞組合，語詞之間互為注解和分層，形成一種“迭奏”，正如“一個孩子身處黑暗之中，被恐懼鉗制，以低聲的歌唱來安慰自己，覓得一個寧靜的中心，通過一個迭奏形成一個保護性的轄域。”這是理解“欲上——躺平”、“合囤——個體”機制的心理含義。

所以，我們盡可能不急于對這一群青年藝術(shù)創(chuàng)作者造像或定義，他們還在各自形成和生成的過程中，“欲上——躺平”、“合囤——個體”都是他們的特征之一。這個成都雙年展特別邀請展以此為名聚集這一群體僅僅是因為他們均成長于一所四川的藝術(shù)院系——川音成都美術(shù)學(xué)院油畫系，除此之外，是各自的開枝散葉，一路蕩漾。

策展人：魏言 2021年10月12日寫于新都

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)院油畫系提名組成30名年輕藝術(shù)家的參展群體。 參展作品種類： 油畫、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：鐘 浩 顧問組： 馬一平、周思源、何多苓、賀陽、魏言、馬杰、王建斌、李昌龍、黃明元、鄒瓊輝、郭維新、章肇方、劉可 展覽時間：2021年10月25日

畫冊印刷 欲上.合囤——川音成都美術(shù)學(xué)院油畫系碩士研究生提名展畫冊 畫冊出品人：川音成都美術(shù)學(xué)院油畫系 畫冊主編：魏 言

序

藝術(shù)作品具有自己的個體經(jīng)驗，同時也有社會的共同記憶。通過不同的媒介表達自己的觀念和對當(dāng)代社會的思考。

川音成都美院油畫系歷屆研究生提名展，不僅是對青年藝術(shù)家的關(guān)注，同時也是關(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)館長期為推動本土青年藝術(shù)家提供平臺，以推動本土藝術(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)的機會,展示藝術(shù)研究方面的學(xué)術(shù)成果。

川音成都美院油畫系創(chuàng)建于2000年，是由著名美術(shù)教育家馬一平院長親手建立，在歷屆系主任：劉虹教授、劉勇教授的先后主持下，逐漸形成集繪畫基礎(chǔ)課、語言實驗探索課、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。

油畫系開收研究生從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級在讀的研究生。 展出包括油畫、水彩、綜合材料、雕塑以及影像多個種類，共計92件作品。集中呈現(xiàn)藝術(shù)與當(dāng)下社會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 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，我向油畫系主任魏言提出，可以在適當(dāng)時候在我的美術(shù)館辦一個我院研究生的展覽。如今，這個展覽已經(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。無論如何，這是個好事——從學(xué)院來說，參展藝術(shù)家都是自己的導(dǎo)師推薦，算是一個階段性小結(jié)；對于學(xué)生，能集結(jié)成展，進入成都雙年展序列，在他們的藝術(shù)歷史中也算光彩的記錄。對于我，多年來一直在為青年藝術(shù)家提供展出機會方面略盡綿力，這次能在自己的美術(shù)館推出（和D空間聯(lián)展），也是一個榮幸。

在藝術(shù)領(lǐng)域，學(xué)院體系占有絕對優(yōu)勢。也就是說，現(xiàn)在活躍的藝術(shù)家基本來自各個藝術(shù)學(xué)院，這是一個現(xiàn)實。有鑒于此，本文來談?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)院繪畫系本科和研究生班。從資歷上，算典型的學(xué)院派。對這個名詞，當(dāng)下褒貶不一。但關(guān)于這一點，有一個情況可能有說服力。當(dāng)年和我一起業(yè)余學(xué)畫的朋友很多，如今他們在專業(yè)圈子里消失了——他們后來都沒考美院。不管這算不算一個原因，就我來說，能走到今天，首先要歸功于我的老師們。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——時進時退，正負相加——一個長期而復(fù)雜的過程的疊加。我不知道這次參展的學(xué)生是否有同樣體會。不爭的事實是，他們都經(jīng)歷過學(xué)習(xí)，如果他們選擇成為專業(yè)藝術(shù)家，那么這個學(xué)習(xí)模式將伴隨他們一生。

“學(xué)院派”之所以被質(zhì)疑，可能因為現(xiàn)代藝術(shù)就是從對此的反叛中誕生和發(fā)展的。以我來說，并不算典型的當(dāng)代畫家，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——我其實指的是，某些學(xué)問已經(jīng)進入肌肉記憶，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)。昨晚看了一個視頻音樂講座，談肖邦五歲時寫的一首曲子。同為神童，和莫扎特對比，在這首曲子的成熟度上，肖邦勝出。但主講人指出：這是因為前后關(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（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的活動上，和幾位不同領(lǐng)域的人士座談。一位建筑師說，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)建筑界談起這一點很坦率——不知何故，藝術(shù)界對此有點羞羞答答?？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，你生已晚，語言都被前輩（甚至包括同輩中的先覺者）用完了。你只能先學(xué)到他們的語言，然后爭取說得更好。這就要說到“引用”了。

上文說到語言的原創(chuàng)時代已經(jīng)結(jié)束。中國當(dāng)代藝術(shù)起步晚，加速的方法就是學(xué)習(xí)和引用。這也是一個客觀事實。每一位成功藝術(shù)家的后面都站著一位過去的大師；盡管藝術(shù)界不大談師承——誰也看得出誰的父本是誰。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，喜歡誰就學(xué)誰，喜歡什么已有的符號就加以引用。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。古文時代，不會用典的詩人都不好意思說自己是詩人。畫得像誰沒關(guān)系——一來你本來是學(xué)生，二來只要像好東西即可。在藝術(shù)門類，口頭能傳授的學(xué)問有限。視覺藝術(shù)主要靠視覺。我告訴學(xué)生，首先要學(xué)會“看”。瞻前顧后、左顧右盼，看歷史，看當(dāng)代?？创髱熞部此厝水嫾??？蠢蠋熞部茨愕耐瑢W(xué)?？串媰?、看畫展。別的領(lǐng)域也不能忽略——我從建筑中學(xué)到了很多無法從美院里學(xué)到的。要聽音樂——不能想象一位優(yōu)秀的畫家不熱愛音樂。如果可能，看看樂譜。音符有視覺之美，因為它改變了世界。畫畫的要多看攝影，畫油畫的要多看水墨畫，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。

中國傳統(tǒng)畫界很樂于說師承。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家。但我們也不用回避血統(tǒng)。因為它存在。

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

展覽評語

胡佳穎，她的畫有女性畫家特有的溫婉，柔美之感，她的畫寧靜淡雅，頗有些尾尾道來之感。

溫泉的作品嚴(yán)謹篤定，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：張洪宇對繪畫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語言的追問中將表達推進到通過語言的糾葛激發(fā)畫面結(jié)構(gòu)張力的突顯以及痕跡的沉思狀態(tài)。

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

高蜜：高蜜對繪畫有著強烈的身體體驗快感，在繪畫中往往依靠其直覺行動，既有孩子般的沖動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：圖形的表達是有局限性、圖像在畫的過程是一部電影式的現(xiàn)象。在現(xiàn)實與繪畫節(jié)點上所表達的氣息沒被掩飾。＂非直視＂在時空運動中所留下＂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、對于著迷這種態(tài)度時心態(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。

劉嬌：審美導(dǎo)向是屬于自己的一種表達方式，在水彩這個方框以外建立自己的一個世界后、意圖的再行為才是繪畫的本質(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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為什么推薦魏書龍同學(xué)？作為川音美院油畫系的2018級的研究生，他比較有代表性，也非常突出，在校三年的研讀期間創(chuàng)作了一大批這個具有個人獨特語言風(fēng)格的油畫創(chuàng)作，他的創(chuàng)作即能夠代表今日高校藝術(shù)油畫創(chuàng)作教育的動向和我們思考的一些標(biāo)準(zhǔn)，同時，在個人語言性的深度和題材的挖掘，以及個人的創(chuàng)作方法論和思考探索方面，魏書龍的創(chuàng)作也都具有了一定的成熟度，作為一位年輕藝術(shù)家，對他的這樣的一個認可，我覺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性的紙本作品，她對醫(yī)學(xué)觀測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)。

張瑞翔過去幾年一直致力于實驗影像創(chuàng)作，在他的作品里，經(jīng)常會閃爍著關(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。

李梓瑄擅長于處理一種異樣的圖像，她總能快速的找到她的調(diào)性：單純的、極簡的、抽象的視覺經(jīng)驗，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)場裝置似乎都在這個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、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)直覺和感受能力，以及藝術(shù)語言的轉(zhuǎn)換能力?？梢灶A(yù)期，他的綜合修養(yǎng)達到一定的高度后，藝術(shù)潛能在某些單項上的爆發(fā)。

涂侃: 以廢棄物為對象的繪畫表達在近年來的藝術(shù)創(chuàng)作中時有所延續(xù)，而涂侃繪畫中卻有個人獨到的闡釋：一是“事實場景”的選擇；二是“繪畫方式”的選擇?！笆聦崍鼍啊敝型腔恼Q現(xiàn)實的存留物，如豪宅、舞臺、吧臺等，自帶隱語和秘密，而“繪畫方式”卻在保持“事實場景”的 基礎(chǔ)上進行“語言調(diào)侃”。

唐果: ?景寫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)景寫生大行其道。而唐果的風(fēng)景景寫生中，寄托有兒時的記憶，成年后的奔波與古道熱腸。表現(xiàn)在繪畫語言上，已初具沉穩(wěn)而不虛飾，厚樸而不失靈動，雖傳統(tǒng)而不失進取精神的風(fēng)貌，加之充沛的藝術(shù)熱情，未來可期。

林廣海: 當(dāng)代媒體因科技的發(fā)展迅速地翻新?lián)Q代，引來了圖像時代的個體狂歡，虛擬的事物成為事實一樣的存在， 廣海在其中發(fā)現(xiàn)“事實場景”中的“問題語境”，于是他在綜合材料方面的實驗精神與關(guān)注當(dāng)代藝術(shù)前沿理論的習(xí)慣，成為他藝術(shù)表達的助力。繪畫、綜合材料、裝置，皆有所獲。

?子萱: 攝影中新的視覺經(jīng)驗在繪畫中的運用，在新一代畫家中已成為一種日常習(xí)慣，隨機的手機拍攝和圖象處理，似乎更適合新時代的個體心理感受？正如?子萱所說：“我被圖片的模糊感受或者呈現(xiàn)的凌亂所打動......這種繪畫體驗以及遵從自己內(nèi)心的創(chuàng)作感受深深吸引著我?！?/p>

——————劉勇

···················································································································································· 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)作實踐能力強，他通過對綜合材料繪畫語言的不斷探索，形成了《皮毛》等系列作品。他的作品多用廢棄的羊皮來構(gòu)建代表權(quán)力的服飾，從而達到一種強烈的反差感；同時用羊皮作為藝術(shù)材料也凸顯了其作品特有的民族屬性。

何帖子宏對藝術(shù)執(zhí)著而專注，思維敏銳，創(chuàng)作能力強。研究生階段，持續(xù)探索景觀符號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)作素材進行解構(gòu)、重組與轉(zhuǎn)換，以此實現(xiàn)自我批判與否定，同時強調(diào)了他的觀念意識在現(xiàn)實中的呈現(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，童年與成熟，時代變異中的成長痕跡

劉緯：比起繪畫，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，實則內(nèi)在狂野的畫面。近作更凝固了流動的力量，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)作者旁若無人的率直內(nèi)心世界

伊文兵：層層疊疊的畫面，貌似抽象，時而閃現(xiàn)具象，燦爛而厚重

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

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

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

與李明師生近十年之久，在研究生期間他的繪畫就有敏銳且獨特的感受，時至畢業(yè)后多年，依然能看到他對繪畫的進一步認識與理解，用以震動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自己千百般的磨練所做到的表達。

——————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