開幕式時間：2008年09月04日 下午3：00
展覽日期：2008年09月05日——2008年09月21日
展覽地點：今日美術(shù)館2號館 2 層
策展人：黃燎原
忻海洲是一個記錄者，不僅是記錄時代變化中的人，更是在記錄急劇發(fā)展的社會給人自身造成的種種影響。一直處于作品中心的人物正經(jīng)歷著青春的激情和痛苦，暗示了與這個國家?guī)捉嗤脑庥觥@種心理分析式的繪畫語言貫穿忻海洲作品的始終。對攝影和錄像等現(xiàn)代觀看方式的不斷吸收，則顯示了忻海洲作為一個具有現(xiàn)代主義繪畫情結(jié)的實驗者令人欽佩的敏感。他將不斷綿延的個人敘事整合起來，構(gòu)成了一個具有普遍性的青春整體敘事，就此而言，作為敏感的青春敘事者，忻海洲堅持了他早期的基本信念，他的藝術(shù)是60年代出生的藝術(shù)家中具有標志性的形象文獻。他的作品在標題上就直通通地強化點題，并且原封不動地揭示一些臆想，揭示一些粗話、穢語、猥詞在臆想里的轉(zhuǎn)化，比如《去死！》和《挨球！》，又比如《尖叫》、《哪兒來的鎯頭？》；它們點明那奇特的認定（《白.悶棍》），它們簡潔地提出問題（《哪（兒）的事啊？》）；它們甚至在《世界盡頭》上表現(xiàn)年輕人那些顯而易見的、極為錯綜復(fù)雜的感情。在忻海洲具有獨一無二意義的繪畫藝術(shù)里，青年人的命運經(jīng)過藝術(shù)加工而得到了提升。從許多方面看都是這樣。
Xin Haizhou is a recorder. He does not just record the people in the changing times, but also the various impacts on those people from the fast-developed society. All the characters in Xin’s art works had been experiencing the passion and the pain in their youth, which implies mostly the same experience of the country----this psychological analyzing painting language has been through all of Xin’s paintings. Absorbing successfully from the modern art of photographs and videos shows that Xin Haizhou has the admirable sensitivity as a modernism experimental painter. He will continue to reorganize his personal narrative to formulate a comprehensive narrative on youth. As a sensitive narrator, Xin Haizhou keeps his initial beliefs. His art is the figurative documentation of artists from the 1960s. His new pictures come straight to the point. Their titles are drastic invocations and the paintings portray impassively the apparent conversion of some of the ominous four-letter-words such as “Fuck” and “Shit”, as well as “Shouting”, “Where does the hammer come from?”, the strange observation “Staggering blow with a cudgel” and the terse question “What’s Happening?”, or even the obviously very ambivalent feelings of young people at an “End of the World”. In Xin Hai Zhou’s singularly impressive pictures the youth’s fate is in good hands artistically - in many respects.
【編輯：霍春?！?
