看崔志鹏的采访视频，对这位时刻抱有微笑的画家印象深刻，对于采访者的问题，没有吊书袋的回答，而更多地告以自我的直觉与感受。观看崔志鹏的画是一件很容易的事，读之却不易，但看过崔志鹏作品的人，不免会问“为什么这么画”，崔志鹏给出的答案却如那微笑般简单明了：这样画很舒服。
The other side of the silent man-2020-Oil on board-27×35cm
崔志鹏画树有一段时间了，他没有一开始就画树。艺术家庭、考前集训、大学学习，这是所有艺术生成为艺术家的基本道路，但专业的技术魅力也常让人沉浸其中难以自拔，对比之下更能感受到崔志鹏坚持这样画树的可贵之处。崔志鹏画树的方法像一个没有艺术基础的爱好者，甚至用传统绘画专业的眼光审视，这些树更像来自一个未经专业训练的人的“乱画”。这可以追溯到现代主义先驱式的创作思考，舍弃扎实的绘画技术，找寻内心的直觉与感受，这或许与大学时期崔志鹏在学校所感受的“自由”有关，这种感受进而转化为在艺术创作中塑造自我的心理需求。正如崔志鹏所说：“我更倾向于内心深处的散漫，不费尽心机，能够自如的欣赏生活，这种本身的心灵使我快乐，至于额外的艺术创作是我调侃自己属于物质世界里的现象，当然不包括我全部的面貌。”
崔志鹏画的树，是去形象化的，平面化的剪影表达，让观众只能在画面中看到一个形状——一种仅仅能被归类于树的形状，在图像表达上只是一个简单的块面，虽然有微妙的层次，却远逊于现实中树的形象。在绘画方法上，也是去方法化的，崔志鹏表现出来的状态是被一幅古典写实油画折磨疯掉的画家，生无可恋地让笔刷拖着疲惫的手在画布上游走，不再充满技巧，而是饱含生趣。崔志鹏的树在审美上是去审美化的，他的树画的快、薄、顺，且简单，过后不加雕琢与修饰，任由画面粗糙和孤独。这或许就是崔志鹏自己所强调的“绘画就是本能反应”，与心有成竹、经营位置的经典绘画技巧不同，崔志鹏将绘画作为个人内心情感与生命运动的表现，是“不知所措后的直接反应”，更多的画面并非是构思的产物，而是提笔面对画布的此在情绪，是“笔和颜料与画布的摩擦中产生心理图像”。讲求一种相逆的状态，将艺术家的“创作”纠结抛给观众。面对这些图像，崔志鹏将他作品的评判标准之一归为气息、情绪。
崔志鹏的树很容易让人联想英国艺术家吉迪恩•鲁宾的作品中对人物面部的平面化处理——即将本可具象化的人物的面部处理成空洞的白色，画面中的树和人相似，本可处理成千差万别的具象图像，但画家却采用一种消失的主题方式，让画面的树、人脸成为一种统一化的单音节或一个固定的符号，唯一变化的是被赋予场景与气息。与吉迪恩•鲁宾在人物面部使用白色处理不同，崔志鹏的树无一例外地使用黑色——一种充满能量的颜色来表现，让画面充斥未被曝光的遮蔽感。如果在屏幕上单看这些作品，它们更像是同质化的画面，如同我们所处屏幕时代的视觉，充满荒诞和意味，的确，在当下的图像时代，绘画早已不是图像生产的主要媒介，而人们评价图像的标准就是流量，图像成为让媒介获取流量的工具，观众更注重图像的新奇、刺激以及故事，这种在流量评价体系中催生的窄化的标准让图像呈现出的状态也日益趋同，阅读者的个体感受被席卷而来的时代洪流淹没……此时的图像生产大多趋于实用性和工业性，这显然是崔志鹏反对和试图反抗的。
Mourns song-2019-Oil on canvas-120×160cm
回归本质，去功能化的绘画手法，以及对简单之物的去形象化描述，构建了崔志鹏这一阶段的图像世界，在这里图像既非宣言，也无叙事，但这个态度本身就是面对这个时代的宣言和叙事了。（文/蓝庆伟）
Grey red sky-2019-Oil on Canvas-40x60cm
Contradiction&Consciousness——Cui Zhipeng’s Paintings
Lan Qingwei
Watching Cui Zhipeng's interview video, I was deeply impressed by the painter who is always smiling. In the face of the interview,he didn't show off knowledge, but told them more about his intuition and feelings. It is easy to watch Cui Zhipeng's paintings, but not easy to read them. However, those who have seen Cui zhipeng's works will inevitably ask, "Why do you draw like this?" Cui zhipeng's answer is as simple and clear as his smile: It is comfortable to draw like this.
Cui Zhipeng has painted trees for a while, and he did not paint trees at the very beginning. Art family, pre-exam intensive training and university study are the basic paths for all art students to become artists. However, the charm of professional technology often makes people immersed in it and unable to pull themselves out. In contrast, we can feel the value of Cui Zhipeng's insistence on painting trees like this. Cui zhipeng's method of painting trees is like that of a hobbyist with no foundation in art. Even viewed from the perspective of a traditional painting professional, the trees are more like "graffiti" from an untrained person. This can be traced back to the pioneering creative thinking of modernism, abandoning solid painting techniques to find inner intuition and feelings, which may be related to the "freedom" cui Zhipeng felt in college, and this feeling was then transformed into the psychological needs of shaping himself in artistic creation. Just as Cui Zhipeng said, "I prefer to be carefree in my inner heart. I can appreciate life freely without any pains, which makes me happy. As for the additional artistic creation, I make fun of the phenomenon that I belong to the material world, which does not include all my features."
Cui Zhipeng's trees are de-visualized, planized silhouette expressions, so that the audience can only see one shape in the picture -- a shape that can only be classified as a tree. In terms of image expression, it is only a simple block. Although there are subtle levels, it is far inferior to the image of trees in reality. In terms of painting methods, cui Zhipeng is also methodical. He is a painter who has been tortured crazy by a classical realistic oil painting. All his life, he let the brush drag his tired hands to walk on the canvas, which is no longer full of skills, but full of vitality. Cui Zhipeng's trees are aesthetically de-aestheticized. His trees are fast, thin, smooth and simple. After that, he leaves the picture rough and lonely without any carving or modification. This is probably Cui Zhipeng what they emphasize "painting is instinct", the management position of classical painting skills, Cui Zhipeng painting as personal feelings and life movement performance, is the direct reaction of "after" at a loss, more a product of the picture is not the idea, but in the face of the canvas the sifting through the emotions, It is "the friction of pen and paint against canvas to produce mental images". Emphasizing a state of opposition, the artist's "creation" entanglements are thrown to the audience. In the face of these images, Cui Zhipeng classifies his works as breath and emotion.
On the plain-2020-Oil on Canvas-30x40cm
Cui Zhipeng tree is easy to evoke the British artist Gideon rubin's work in the face of complanation handle - is this the character's facial treatment of the way into an empty white, the tree with the people in the picture are similar, this can handle into different figurative images, but the painter USES a way of disappearing theme, The trees and faces in the picture become a unified monosyllable or a fixed symbol, and the only change is that the scene and breath are given. Unlike Gideon Rubin, who used white on the faces of his figures, Cui zhipeng's trees invariably use black -- an energetic color that fills the image with a sense of unexposed shade. If looking at these works on the screen, they're more like homogeneity, as we are in the screen of the era of vision, full of absurd and, indeed, in the present era of images, painting is not the main medium of image production already, and evaluation criteria of the image is the flow of people, the image become let medium traffic tools, The audience pays more attention to the novelty, excitement and story of the image. This narrow standard promoted in the traffic evaluation system makes the state of the image increasingly similar, and the individual feelings of readers are overwhelmed by the flood of The Times... At this time, image production tended to be practical and industrial, which cui Zhipeng obviously opposed and tried to resist.
Cui Zhipeng's image world at this stage is constructed by returning to the essence, the painting technique of disablement and the visual description of simple things. Here, the image is neither a declaration nor a narrative, but this attitude itself is the declaration and narrative of this era.
开幕现场Opening Site
相 逆 与 意 识Contradiction and Consciousness
2021.09.25-2021.11.14
策展人 | Curator：蓝庆伟 Lan Qingwei
艺术家 | Artist：崔志鹏 Cui Zhipeng
关于策展人About the Curator
蓝 庆 伟
LAN QINGWEI
艺术评论人、策展人，艺术学博士。从事现当代美术研究、当代艺术评论与策展实践、美术馆学研究与美术馆管理。曾任成都当代美术馆执行馆长，现任教于成都大学。
LAN Qingwei is an art critic, curator and doctor of art. Engaged in modern and contemporary art research, contemporary art criticism and curatorial practice, art museum research and art museum management. He used to be the executive director of Chengdu Contemporary Art Museum and now teaches at Chengdu University.
关于艺术家 About the Artist
崔 志 鹏
CUI ZHIPENG
1993年出生于江西九江，现为独立艺术家。近期个展有：相逆与意识，千虎瑠ART SPACE，西安，2021；怀揣星河，偶然咖啡，北京，2020；崔志鹏，NUOART画廊，北京，2019；记录与宽容，盘子空间，北京，2018；树志，一处x14象，北京，2017。
Cui Zhipeng（b.1993）, born in Jiujiang，Jiangxi province，independent artist.Recent solo exhibition：Contradiction and Consciousness, QIANHULIU ART SPACE,Xi'an，2021; The Mikey Way in my arms，OURAN Cafe，Beijing，2020；CUI ZHIPENG,NUOART, Beijing，2019；Record and Tolerance，Plate space, Beijing；Shu Zhi, YICHUx14ELEPHANT, Beijing.
关于千虎瑠About QIANHULIU ART SPACE
千虎瑠（画廊） 位于西安，创办于2021年。作为一家新锐全球性的营利艺术机构。坚持艺术生态理念，致力于多学科、多角度的综合性艺术形式探索。秉承全球性视角和开放的姿态，通过展览、收藏、公教、研究、策划等方式，致力于新一代艺术工作者的培养与发掘、辅助新型个人、集体专业收藏体系的建构，探讨在不同语境中艺术发展变化的新形式、新可能。
画廊将建立与艺术家的合作关系，研究艺术家创作轨迹和思想脉络，持续观察、研究、支持鼓励艺术家发展。画廊开展的系列学术活动项目包括并不局限于某些特定媒介，例如装置、绘画、声音、摄影、影像、行为，数字艺术等。辅助优秀策展人在空间和展线进行不断推演、实验，力求自作品遴选到摆置精益求精、推陈出新。通过线上线下平台立体化构建对各类展呈艺术现场的分析、讲解，对各个环节严格把关，力求学术性与在地性兼顾。针对多角度向藏家提供合理的收藏建议与导向。建立相应课题，通过文本记录结合视觉谱系研究，完成艺术家、策展人、观看者的多重主观意识的交汇与碰撞，完成对当下的文化思考和艺术体悟的持续发声。
QIANHULIU ART SPACE is located in Xi’An and was founded in 2021. As a cutting-edge global profit-making art organization, the art space adheres to the concept of art ecology and commits to multi-disciplinary, multi-angle comprehensive art form exploration. QIANHULIU ART SPACE adheres to the global perspective and open attitude. Through exhibition, collection, public education, research, and planning, QIANHULIU ART SPACE focus on the cultivation and discovery of a new generation of artists, supporting the construction of new personal and collective professional collection system and exploring the development of art in different contexts of new forms, new possibilities.
The art space will establish a cooperative relationship with the artists, study the creative track and ideological context of the artists, and continue to observe, study, support and encourage the development of the artists. It offers a wild range of academic activities, such as installation, painting, sound, photography, video, performance, digital art, etc. Striving to make the process of art work selecting and placing excellent and innovative, the art space assists excellent curators in the space and exhibition line for discussing and experimenting. Through the three-dimensional construction of online and offline platforms, QIANHULIU ART SPACE are strictly controlled in each link of the on-site analysis and explanation of all kinds of art exhibitions. It strives to balance academic and local characteristics. The art space also provides reasonable collection suggestions and guidance for collectors from multiple angles. Establishing corresponding topics through text records combined with visual genealogy research, QIANHULIU ART SPACE completes the intersection and collision of multiple subjective consciousness of artists, curators and viewers. It also completes the continuous voice of the current cultural thinking and artistic understanding.
陕西省西安市碑林区长安南路88号长安国际中心C座7楼702室Room 702,7/F, C, Changan International Center ,88 Changan South Road, Bei Lin District, Xi'an City, Shaanxi Province, QIANHULIU ART SPACE.
