康海涛

Recommendation for Kang Haitao

70画家中，康海涛对绘画语言的体验与表达无疑是突出的。他将中国画的“积染”语言与纸本丙烯进行了结合，创造性地营造出一种具有东方意趣的宁静、深邃而纯粹的感官世界。他的画面没有特殊表意功能的符号或结构，而多选择夜色下单纯的场景，通过独具他个人化风格的语言塑造，赋予普通场景以别样的精神体悟。康海涛的夜色，将普通人习以为常的经验转化为陌生的视觉范式，在不确定感的视觉体验中营造了一种冷静、厚重而舒远的精神影像。从某种角度上说，康海涛是将绘画性发挥到极致，并进而使语言自身具有观念诉求的画家。这种特质，在今天流行化的图像浪潮中，显得尤为难得。

——杭春晓

Kang Haitao is one of the most outstanding painters born in the 1970s who are good at the experience and expression of the painting language. He combines the skills of coloring in traditional Chinese painting with paper painting and propylene, creating a peaceful, profound and pure world with an Oriental atmosphere. Containing no special signs or structures to express meanings, Kang Haitao prefers to choose simple scenes at night and endows ordinary scenes with particular spiritual enlightenment through the language shaping of his own style. The night scene painted by Kang Haitao transfer the ordinary experience into a strange visual paradigm, and creates a calm, solid and profound spiritual image through the visual experience of uncertainty. Viewing from a certain angle, Kang Haitao is a painter who fully exerts the nature of the painting and appeals his opinions through the painting language itself. This trait is particularly rare in today’s trend of popular paintings.

--Hang Chunxiao

 

景禹朝

Recommendation for Jing Yuchao

年轻一代画家中，景禹朝对油画笔触的控制力与表现力，无疑是突出的。当然，这种语言感受能力，往往也会让画家沉迷于语言自身的书写趣味，从而掉入简单的表现主义陷阱中。值得庆幸的是，经过多重方向选择之后，景禹朝逐渐将这种语言体验转化为一种思想观念的姿态，将充满不安、动荡的笔触转化为社会底层经验的描述，细腻而具质感地传达了当下某种困顿、无助而挣扎的社会情绪。从某种角度上看，景禹朝的画面不仅触及了70生人整体价值观上的迷失与彷徨，而且还触及了沦入实用主义的中国社会在整体上所具有的精神虚无感的命运悲剧。而这种表达上的理性诉求，保证了景禹朝能够将表现主义的语言形式带入当代观念表达的语境中。

——杭春晓

Undoubtedly, Jing Yuchao is a young painter outstanding for his control and expressive force of the oil painting style. Of course, this ability of linguistic impression often makes the painter lost in the writing taste of the language itself, and drops into the simple trap of expressionism. Fortunately, however, after various selection, Jing Yuchao gradually transfers this language experience to a position of opinions, turns the uneasy and unstable style to a description of the experience at the bottom of the society, thus conveying a hopeless and struggling social emotion at present subtly and with quality feeling. Viewing from a certain angle, Jing Yuchao’s paintings not only express the loss and hesitation of people born in the 1970s concerning their values, but also reveal the tragedy of spiritual nihility in Chinese society which in the whole has already reduces to the pragmatism. And this rational appeal of expression ensures that Jing Yuchao is able to bring the language form of expressionism into the modern context of concept expression.

--Hang Chunxiao

 

蔡磊

Recommendation for Cai Lei

在保持雕塑语言的细腻手感之外，蔡磊试图以真实皮毛进行一种语言转换与感官重建，并进而于此新感官中赋予作品新的观念表述：华美的生命表象下潜藏着的死亡与重生。

——杭春晓

Apart from maintaining the subtle style of sculpture language, Cai Lei tries to make a language transformation and sensory reconstruction and then endows his works with a new expression of concept, i.e. the death and renascence under the surface of gorgeous life.

-- Hang Chunxiao

 

于向溟

Recommendation for Yu Xiangming

于向溟的作品大多描绘一些现代工业社会的场景，画面的氛围凝重而压抑，潜伏着一种无法回避的危机意识。很显然，对于艺术家而言，现实的荒诞与内心的焦虑构成了一种悖论关系。这既是对现代人生存异化的写照与反思，也是对自我内心世界的拷问与自省。于是，生存的危机与生命的自省共同赋予其作品强烈的预言与寓言性。如果说“预言”关涉人类的未来发展，那么“寓言”则指涉着当代人的精神世界。在现代性的意义维度中，于向溟作品中的自省与批判意识是具有积极意义的。

—何桂彦

Most of the works painted by Yu Xiangming depict scenes of modern industrial society, the atmosphere of which is dignified and oppressive and conceals a crisis consciousness that cannot be avoided. Obviously, as far as the artists concern, there is a paradoxical relation between realistic absurdity and inner anxiety. This is not only portraiture and a reflection on alienation for existence of modern people, but also an excruciation and self-reflection of one’s inner world. Therefore, the survival crisis and self-reflection on life both endow his works with strong prophecy and fable features. If the “prophecy” is said to relate to the development of human beings in the future, then the “fable” relates to the spiritual world of the modern people. In the dimensions of the meaning of the modernity, the self-reflection and criticism in Yu Xiangming’s works are very positive.

--He Guiyan

 

潘剑

Recommendation for Pan Jian

当代架上绘画的特点之一是以图像为中心，以图像来标识个人，将图像转化为图式，并强图像的叙事功能。潘剑是一个善于利用图像的艺术家，不过，在他笔下，图像并不是一种个人标识，也不具有明确的符号意义，相反他追求图像表达在视觉上的陌生感、疏离性，希望那些具有日常化的图像能在生活体验、个人记忆，以及历史与现实交织的语境中呈现出新的意义。

—何桂彦

One characteristic of the modern easel painting is to regard the images as the center of the painting, to mark individuals by images, to transfer the images to schema, and to strengthen the narrative function of images. Pan Jian is an artist who is good at taking advantage of images, while in his painting, images are neither one individual mark, nor of a definite symbolic meaning. Quite on the contrary, he pursues the visual foreignness and alienation of image expression, hoping that the ordinary images can present a brand new meaning in the context of life experience, individual memory and the interweaving of history and reality.

--He Guiyan

 

刘玉洁

Recommendation for Liu Yujie

从对个人图示的强调转向对画面场景氛围的营建，刘玉洁近期的作品在修辞与创作观念上都出现了新的变化。在《白光》、《暖国》、《征兆》等作品中，画面的氛围繁复且神秘、忧郁而诡魅，加之一些怪诞情景的置入，不仅增强了画面的叙述性与戏剧色彩，也赋予其较强的荒诞意味。从诗化的语言、内在的个人气质以及蕴含的精神含量上看，刘玉洁的作品都具有较强的代表性。

—何桂彦

Switching from the emphasis of individual graphical representation to the creation of the atmosphere of the scene, the recent works of Liu Yujie show new changes both in the rhetoric and creation concept. In the works such as White Light, Warm Country and Symptom, the atmosphere of the painting is complicated, mysterious, gloomy and strange. In addition, the application of some grotesque scenes not only strengthens the narrative usage and dramatic feature of the painting, but also endows the works with strong absurdity. Viewing from the poetic language, inner personal temperament and the spirit contained in the paintings, Liu Yujie’s works are highly representative.

--He Guiyan

 

梁硕

Recommendation for Liang Shuo

纯化媒介、强调观念一直是梁硕装置作品较为突出的特点。一方面，艺术家纯化语言，尽量涤除材料自身所承载的各种文化与社会信息，将其还原为纯粹的“物”，即仅仅强化其作为视觉与物理属性上的存在。但另一方面，艺术家追求观念化的表达，突出创作过程中强烈的主体意识，即以形式表达中的“少”来寻求意义呈现的“多”。也就是说，梁硕以最简捷的创造行为来使用作品中的媒介，力图在媒介表达与作品观念生成之间找到一个最佳的契合点，以此构成一种单纯且强烈的张力关系。同时，从对“人、物、场”展览效果的营造与控制的角度讲，梁硕的作品都具有较强的实验性。

—何桂彦

One prominent feature of Liang Shuo’s works is to purify the media and emphasize the concept. On one hand, the artist purifies the language, makes every effort to eliminate various cultural and social information born by the material itself and reduce it to a pure “object”, i.e. strengthen its visual and physical existence; on the other hand, he pursues an idealized expression and highlights the strong subject consciousness during the creation process, i.e. makes “less” formal representation bring “more” presentation of meaning. That is to say, Liang Shuo employs the media in his works through the simplest creative behavior, and tries to find an excellent meeting point between the expression of media and the generation of the concept in his works, thus forming simple and intense tension connections. Meanwhile, viewing from the angle of the creation and control of the exhibition effect of “the people, the objects and the scenes”, Liang Shuo’s works are full of experiments.

--He Guiyan

 

贾靖

Recommendation for Jia Jing

贾靖早期的作品大多描绘一些与战争相关的场景。艺术家对战争的敏感与其说是呈现其带给人类的巨大苦难，毋宁说是想通过战争揭露人类无意识层面所潜藏的暴力行径。贾靖近期的作品在题材上出现了新的变化，其主题逐渐远离了战争，远离了暴力，但即便如此，艺术家仍希望将暴力虚化为一种倾向于唯美的图景。然而，在贾靖的作品中，这些图像是片段的、破碎化的，虽然它们不能成为现实生活的镜像，但似乎又与周遭的现实体验契合。同时，各种文字的出现不仅增强了画面的图式特征，也与图像形成了一种互文关系。如果这些图像代表着偶然、随意的话，那么这些文字则是理性、规则的象征，它们相互砥砺与渗透，形成了一种多义的画面空间。

——何桂彦

Most of the early works of Jia Jing describe the scenes related to wars. The artists’ sensitivity to wars is not only because they want to present the great miseries the wars bring to the human beings, but also because they wish to reveal the violence hidden in the unconsciousness of human beings through the wars. Recently, new changes have taken place in the theme of Jia Jing’s works, the topics of which are gradually far away from wars and violence. And in spite of this, the artists still hope to turn violence into an almost aesthetic picture. In Jia Jing’s paintings, however, the images are fragmented and broken. Though they cannot become the mirror of real life, they seem to agree with the experience of reality around them. Meanwhile, the appearance of various characters and letters not only strengthens the pictorial features of the painting, but also forms intextuality with images. If the images represent coincidence and randomness, then the characters and letters stand for reason and rules. They cultivate and infiltrate each other, forming a space with multiple meanings in the paintings,

-- He Guiyan