王音简历

王音2009

艺术家：王音

学术主持：汪民安

策展人：左靖

展览开幕：2009年9月26日下午4点

展览日期：2009年9月26日-11月22日

展览地址：伊比利亚当代艺术中心  北京市朝阳区酒仙桥路4号798艺术区E06

总监：夏季风

出品人：高平

主办：西班牙国际文化艺术基金会｜伊比利亚当代艺术中心

T: 86 10 5978 9530 / 5978 9030 info@iberiart.org www.iberiart.org

展览简介：

伊比利亚当代艺术中心将于2009年9月26日隆重推出艺术家王音个展——王音2009。

王音毕业于中央戏剧学院。1990年入驻圆明园画家村，1998年去宋庄后，正式进入了职业画家状态。从八五美术新潮到圆明园到宋庄，王音经历了中国绘画现代化的过程。此外，王音还一直从事戏剧和绘画等领域的越界工作。1989年与林兆华合作《汉姆雷特》，1996年与张艺谋合作《图兰朵》，2007年再次与林兆华、谭盾合作《刺客》。黄梅戏、粤剧、淮剧……等各种剧种亦有所参与。

王音少年时期的绘画经验，是在苏派绘画传统中获得的，他的大学时光，正好是被西方人文思潮和美术思潮所“震撼”的时光。这也使他对当时的来自西方的先锋派思潮，尤其是美术和戏剧方面的先锋思潮非常了解。当时，在北京，新的艺术潮流就是用西方的先锋派经验来取代苏式绘画经验和文革绘画经验，并借此对美院传统和强大的官方绘画意识形态进行挑战。

王音总是尝试抓住那种从生活体会和对绘画理解中形成的绘画意识，使绘画更富于挑战性。“挑战固有的认识习惯，挑战那些侵入人们意识内，变得僵硬、秩序化了的东西，挑战绘画在展厅与客厅之间的安娴的品格与淑女一般的脾性。”与主流绘画不同的是，王音一直在试图探寻中国绘画现代性进程中是否存在一条“内在理路”，他把个人的情感经验、思想脉络贯穿于自己对近现代绘画史的认识中，或者说，把外缘的影响内化为纯粹个人化的身体经验，以便于从中找出一条被“粗糙的思想与观念的杂草所遮蔽着的‘内在理路’”来。

从视觉上看，王音的绘画似乎是游离于中国当代艺术发展方向之外，显得很保守和“很土”。很少有人像他那样，他的目光是往回看的。王音曾说过“编新不如述旧”，在这个意义上，他的工作多少有点类似中国传统文人“我注六经”、“六经注我”的意味。我们看到，正是经历了激荡的1980年代后，在历史与文化，传统与现实面临重新评价的时刻，王音找到了适合自己性情的道路，即从中国近现代绘画史的源头开始梳理，重新翻检传统脉络，用极朴素、极平实的视觉方式来表达自己对传统与现在时的关系的理解。

此次展览，王音带来了自2003年以来创作的30余件作品，这是继2007年德国的个展之后，又一次王音作品的大型展示，2009年9月26日至2009年11月22日在伊比利亚当代艺术中心展出。

花 布面丙烯、油彩 230×360cm 2006

Flowers Acrylic and oil on canvas 230×360cm 2006

Exhibition: WANG YIN 2009

Artist: Wang Yin

Academic Advisor: Wang Min’an

Curator: Zuo Jing

Opening: 26 September 2009, 4:00 pm

Dates: September 26 — November 22, 2009

Address： Iberia Center for Contemporary Art

E06, 798 Art Zone, No.4 Jiuxianqiao Road, Chaoyang District, Beijing (Close to the south gate of 798)

Director: Xia Jifeng

Producer: Gao Ping

Organizer: International Art & Culture Foundation (IAC) of Spain

| Iberia Center for Contemporary Art

T: 86 10 5978 9530 / 5978 9030 info@iberiart.org www.iberiart.org

Iberia Center for Contemporary Art will present a large solo exhibition featuring the artist Wang Yin: “WANG YIN 2009” on 26th September 2009.

Wang Yin graduated from Central Academy of Drama. In 1990, he had resided in art village in Yuan Ming Yuan Park, then moved to Song Zhuang in 1998 to begin his work as a professional artist. From ’85 New Wave to Yuan Ming Yuan Park and Song Zhuang, Wang Yin experienced the modern process of Chinese painting. Furthermore, he is always engaged on theater and had cooperated with director Lin Zhaohua on Hamlet in 1989 and with director Zhang Yimou on Turandot in 1996. In 2007, he worked again with Lin Zhaohua and Tan Dun on Assassin. He also worked on various kinds of operas such as HuangMei opera, Yue opera and Huai opera etc.

As with most artists of his age, his painting experience from boyhood undoubtedly grew out of the Soviet painting tradition. Additionally, the time he spent at university coincided with the arrival of Western humanist trends and fine arts theories that have created a "shock" in the society. This allowed him to be fully exposed to the avant-garde trends of thought from the West, especially those in fine arts and theatre. At that time in Beijing, the new trend in art was to replace the Soviet and Cultural Revolution painting experiences with Western avant-garde art and in this way challenge the tradition of art academies and the powerful official ideology in painting.

Wang Yin always attempts to make his paintings more provocative by capturing painting conceptions growing on daily life and his understanding of painting. “Painting should actually challenge the established paradigms; it should put to the test what perception renders stiff and systematic, the ‘good manners’ and ‘good taste’ of those pictures hung in living rooms and exhibits.” Different from conventional painters, Wang Yin has continued his interest in examing the inner logic of Chinese painting in the course of modernity. He introduces his personal feeling and thoughts into his understanding of Chinese modern painting. In other words, he internalizes the outside influence into a sort of purely embodied experience in order to sort out the inner logic.

The “conservative” and “old-fashioned” images from Wang Yin’s paintings seem to have distanced his painting practice from the development of Chinese contemporary art. Very few artists look backwards like him. Wang Yin once cited the sentence from A Dream in Red Chamber, “it's better to quote an old saying than to compose a new one”, which alludes to the fact that his way of working is somehow close to that of traditional Chinese intellectuals: “I interpret the classics, the classics interpret me”. After the turbulence of 1980s, at the time when history and culture, tradition and reality had been re-evaluated, Wang Yin found a way of his own, that is, review the tradition from the headstream of Chinese modern painting and use a simple and plain visual expression to convey his understanding on the relationship of tradition and present.

This exhibition will include more than 30 pieces of Wang Yin’s creation since 2003. Following the 2007 solo exhibition in German, this will be another grand presentation of Wang Yin’s work. The exhibition will be on view at Iberia Center for Contemporary Art from September 26th 2009 to November 22nd 2009.