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紧急出口—陈文令2009年新作展
策 展 人：黄 笃
开幕时间：2009年8月29日下午4时
展览时间：2009年8月29日——10月11日
展览地点：卓越艺术，北京市朝阳区酒仙桥路4号798艺术区D10
开放时间：周二至周日上午10点至下午6点
联系电话： +86 10 5978 9788
电子邮箱：Joyart@yahoo.cn
网 址: www.joyart-beijing.com
陈文令：以“超真性”全新出击
陈文令是中国当代艺术颇具代表性的艺术家之一。他的大型个展《紧急出口》将于2009年8月29下午4时于798卓越艺术空间开幕，这是由著名策展人黄笃在北京为陈文令策划的第二次个展。
此次展览分别在大小两个展厅展出两件大型雕塑：《你看到的未必是真实的》【1100×580×300cm】和《如何逃离》【480×200×200cm】。此外，为了让观众更加清晰地认识和理解艺术家的创作线索，个展还提供了他的一些草图和一部纪录片。
在这两件最新的雕塑中，尽管陈文令保持以往某些充满力量和动感的夸张手法，但他还是在创作的整体思路上进行了大胆的调整。首先是他在观念、语言和风格上以“超真性”（Hyper-Reality）来塑造一种鲜明的个性化的艺术语言，从而超越了那种被认定的民俗性、波普性、艳俗性符号的语言系统。其次是他的政治经济学观点的转变，即从相对地域性的文化问题转向很具国际性的经济政治问题——把全球金融危机案例作为视觉文化的聚焦点和分析对象。艺术家选择了华尔街上竖立的著名“金牛”雕塑和“庞氏”金融骗子麦道夫作为创作对象，讽喻了当代资本社会中人和金钱之间的复杂关系，以及资本主义的自由经济体系给人类带来巨大的损失和伤害。
在展览现场，观众可以从作品《你看到的未必是真实的》中看到，麦道夫被一个放着爆炸式的屁的牛顶在墙的中央，戏谑性地刻画了麦道夫处于走投无路的窘迫、无奈、痛苦之状，那种带有腾云驾雾的动感“牛屁”不仅暗喻了人过度贪婪“吹牛”的结局，而且象征了国际金融中心虚拟泡沫的危险。在这个物欲横流的社会，有人用钱虚拟了很多假象，有人被假象所迷惑。麦道夫只是艺术家选择的一个典型对象，正像作品命名那样，“你看到的未必是真实的”，也就是说，我们所看到的未必就是真正的真相，这是一个非常具有社会批判性的寓意。艺术家通过这一代表性的人物诠释了人和资本之间的某种难以澄清的复杂关系，同时也折射出全球很多国家人们在金融危机下的普遍困境。
与之前“物神”系列相比，陈文令的新作转向更具观念性的社会现实批判性，这是一种建立在真实与超真实、现实与超现实、日常与超日常关系之上的艺术语言，他紧紧抓住了把雕塑语言的运动感置于思想之中的理念，并将经典雕塑进行了观念转换，从而创造出了一种新的雕塑-装置语言。事实上，他并不是追求为观念而观念或为新而新，而是使观念和语言服从于表现和形式的需要。他的艺术与其说是生动而形象地再现了人和资本之间的复杂搏弈关系，倒不如说深刻分析和揭示了视觉表征背后的人类的道德危机、信誉危机和信仰危机。这是陈文令的艺术观念核心，即以视觉语言向为观众提供了一种新的观看方式和理解方式。
EMERGENCY EXIT CHEN WENGLING’S SOLO EXHIBITION
Curator: Huang Du
Opening:4pm, Saturday, August 29, 2009
Exhibition Dates: August 29—October 11, 2009
Venue: JoyArt, Zone D10, 798 Art District, 4 Jiuxian Qiao Road,
Chaoyang District, Beijing, China
Opening Hours: 10am – 6pm, Tuesday – Sunday
Tel: ＋86 10 5978 9788
Email: joyart@yahoo.cn
Website: www.joyart-beijing.com
Chen Wenling：
Making a Brand-New Appearance through Hyper-Reality
Chen Wenling is one of the most representative sculptors of contemporary artists. His large-scale solo exhibition “Emergency Exit”, designed by famous curator Huang Du as his second solo exhibition for Chen Wenling, is going to be held at 4:00 p.m. on August 29th, 2009 in Joyart Space.
The exhibition will display two big sculptures, which are “What You See Might Not Be Real”【1100×580×300cm】, and “How to Escape”【480×200×200cm】. In addition, the solo exhibition will provide some of his sketches and a documentary film, in order to help the audience recognize and undersand artist’s creation clue.
Despite the powerful and dynamic exaggeration remaining in his two latest sculptures, Chen Wenling has made a bold adjustment in his overall creative thinking. In the first place, he builds a kind of distinctive and unique art language through Hyper-Reality in terms of concept, language and style, surpassing the language system with firm, folk, spectral and vulgar signals. Secondly, his point of view of political economy changes from comparatively local cultural issues to international political and economic issues—to take global financial crisis as the spotlight of visual culture and analytical target. The artist chooses the well-known “Golden Bull” of Wall Street and “Ponzi” financial cheater Madoff as his creative target, satirizing the complicated relationship between people and money in contemporary capitalist society and the enormous loss and damage to people brought by free capitalist economic system.
In the exhibition, audice can find Madoff crushed against a huge wall by a bull breaking wind in “What You See Might Not Be Real”, vividly portraying Madoff’s embarassed, helpless and painful image. The dynamic bull’s wind not only refers to the ending of people’s greedy brag, but also symbolizes the danger of virtual bubbles in the international financial center.。 In this society of desire and money, some people create many false impressions, while some people are deluded by these impressions. Madoff is only an epitome chosen by the artist. As the name said, “What You See Might Not Be Real”, that is to say, things we can see might not always be the real fact, and it contains an extrodinary critical meaning for the society.。The artist elaborates some sort of sophisticated relationship between people and capital through this representative figure, reflecting a common plight people around the world are suffering under the economic crisis.
Compared with “The God of Material” Series, Chen Wenling’s new artwork direction is conceptual criticism on social reality. It is a kind of art language on the basis of reality and hyper-reality,. He tightly grasps the concept that to place the sense of movement of sculpture language into thought, and conceptually transforms classic sculptures, in order to create a kind of new sculpture—device language. His art deeply analyzes and reveals the moral crisis, credibility crisis and belief crisis behind visual token, rather than vividly reproduce the sophisticated game relations between people and capital. As a matter of fact, he makes idea and language appear in consistent with demonstration and form, instead of being superficial. This is the core of Chen Wenling’s artistic concept—to provide a kind of new way of viewing and understanding through visual language.
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