X年X月X日—童雁汝南油画展
中国美院80年校庆期间系列展之一
主办单位：杭州当代美术馆（筹）、雁南艺术机构、《艺术名家》杂志
学术支持：许江、王林、黄笃
展览地点：杭州市南山路182-1号
开幕酒会：2008年3月23日19:00
展览时间：2008年3月23日—4月22日
评 论
当我们面对这一群群无声息的、纠结着沧桑的笔触、浑然的影调的肖像之时，我们同时所面对的是童雁式的观看，或者说是那种漫游中的心灵。我们并不努力地看清那人，而是去捕捉那种尚在混沌之中的状态。我们并不刻意追求视觉焦距的明晰，而是去琢磨心思相遇相浑的瞬间。这状态和瞬间常常叠映而为浑茫的丘壑，如云山、夜山、雨山一般，寂然一片。那面庞脸形变为丘壑之时，也如丘壑一般沉默无语，化作整体的意态沉吟。五官陷入沟壑之中，细节让位给了影壁一般的岁月流痕。这生成的主角常常是我们自己，是我们如此这般地赶在清晰地“看见”之前，把握到的朦胧的“所看”。正是这种“所看”引领着我们捕捉生活的瞬间，体验那不经意的留意，守候不期而然的确然。我们仿佛被带到那个观看的现场，品赏某个观看生成的瞬间，在猝不及防之时，肖像背后的隐语正被看见，面庞丘壑的沉吟正被聆听。当我们对这种丘壑有所感悟之时，我们也正领受某种观看的诗学。(《南山、丘壑与漫游》节选 )
许 江 2007年8月16日 西湖南山三窗阁
Therefore, as we are facing the crowds of silent figures entangled with brushstrokes full of vicissitudes and integrated tinge, we are at the same time facing the watching of Tong Yan’s type, or facing a kind of souls in rambling.
We do not distinguish those figures with great effort, whereas we try to catch the kind of state still in chaos. We do not pursue the perspicuity in visual focus, whereas we ponder over the moments of the meeting and the merging of thoughts. Such states and moments often overlap and reflect with each other, turning into integrated hills and gullies, and forming a whole silence, as cloudy hills, evening hills, or rainy hills.
When the shape of faces turn into hills and gullies, they, also, are silent like hills and gullies, muttering as an meaningful integrated appearance. The facial features fall into the gullies, while the details give way of marks of time, looked like a worn screen wall.
The prompters of such turnings are no other than ourselves. It is ourselves rushing through to grasp the vague seen before we see clearly. It is just about this kind of seen that leads us to catch the moments in life, to experience the careless care, and to wait for the uncertain certainty.
It seems that we are taken to that spot of watching, to appreciate a certain turning-watching moment. At an unexpected moment, the riddle behind the figures is being caught, and the muttering of the figures or those hills and gullies are being listened. When we feel something from this kind of hills and gullies, to some extent, we are receiving a certain poetics of watching. (《The South Hill, Gullies and Rambling》digest)
Xu Jiang August 16, 2007 In the Pavilion of Three Windows, South Hill, West Lake, Hangzhou
在童雁汝南的巨制鸿篇《满觉陇的同志们》中，这些胸像都以单色背景画出，略有变化但整体协调，灰色的作用使色彩中性化，这对组合性作品是必需的形式要求。人物各具情态，因随意而松动，因书写而自由。画家在不经意间对于对象特征的把握是十分准确的。为一座村庄的“同志们”写生，不仅有社会学考察的意义，还有点向肖像画难度挑战的意图。这些头像排列在一起，成为中国人物的方阵。当他们全都注视着你的时候，你会在目不暇接的观赏状态之中，感觉到一种异样的视觉挑衅和心理紧张。我想这正是画家期望达到的现场效果。（《绘画的诗学与人的主体性——对童雁汝南作品的个人阅读》节选）
王 林 2007年8月28日 四川美院桃花山侧
These busts of Tong Yan Ru nan’s huge painting Comrades in Manjuelong are all drawn out of the monochromatic background, in a harmonious integration with slightly change, in which the function of the grey makes the color neutral. This is an essential requested form for a painting series. The figures with various looks become flexible for the liberal disposal, and become free for writing. The painter's inadvertent assurance to the subject's characteristic is very accurate. Sketching for comrades of a whole village does not merely have the significance of sociological investigation, but an intention of challenging the difficulty degree of the portrait painting. Those figures are arranged together, becoming the square matrix of Chinese folks. When they are all gazing at you, you will be feel a kind of unusual visual provocation and the psychological tense, in the state of appreciating too plenty for the eye to take it all in. I think this is exactly an on-the-spot effect that the painter expects to give us.（《Poetics of Painting & Human’s Subjectivity --Personal reading of Tong Yan Ru Nan's works 》digest）
Wang Lin August 28, 2007 Peach-Blossom Hillside, Art Institute of Sichuan
我知道汝南是希望与古典主义告别的年轻艺术家，所以就产生了另外一个疑点，在他艺术表现远于传统近于当代时，我们却无法在艺术家的个人内心状态中获得解释，因此描述汝南的艺术就不那么容易。
一般来说，对汝南的作品关注都会侧重他的头像系列，如果说面孔是认识人的内心深处的窗口，那么他把肖像的面孔处理成模糊的似是而非的形象，这样认识人心灵的窗户就变得暧昧。然而，这种效果是靠什么来完成呢？艺术家通过流动性、随意性、偶然性浑厚而粗犷的写意方式实现的形象特征，以此把明确而具体的意义变成了想象和抽象的图像。也就是说，把身边作为个体人的特征转变成了普遍意义人的特征。（《童雁汝南：从经典美学中转译的绘画当代性》节选）
黄 笃 8月29日于北京
I know that Runan, as a young artist, hope to depart classicalism, thus comes the other doubtful point: if his artistic expression is as far as tradition and as new as the present age, why cannot we find the proper interpretation in his inner world? So it is somewhat difficult to describe Runan's art.
Generally speaking, attentions paid to Runan's works often emphasized particularly to his head portrait series. If the face was the window to look into the dim recess of one's mind, in the delusively blurry images of his portraits, the window to read one's heart became ambiguous. But how could he create such effects? By forming the character with fluidness and uncertainty and in a haphazard and straightforwardly impressionistic way, the artist transformed concrete and specific meanings into imaginary and abstract images. In other words, individual characteristics were converted into universal meaning of human life.（《Tong Yan Runan: Contemporary Painting Translated from Classical Aesthetics》digest）
Huang Du August 29, 2007 Beijing
简历
童雁汝南：杭州当代美术馆（筹）馆长、《艺术.名家》杂志艺术总监、中国美协会员、浙江雕塑研究会副会长、多家艺术基金顾问、中国美院讲师。现居北京杭州。1990银帆奖；1999李仲生艺术奖；2000崇丽艺术奖；2001中国油画大展获铜奖、中国艺术大展获金奖；2003中国油画大展、法中文化年展；2004十届美展、优秀青年艺术家提名奖；2005浙江油画大展获金奖；2006中国杰出中青年室内建筑师、“匙”菲律宾国家博物馆•大都会博物馆、国家重大历史题材美术创作工程、香港osage个展、浙江美术年获学术奖、今日中国美术大展、全国城雕优秀奖；2007北京TRA个展、创意中国盛典最具创意产品奖提名；2008北京国际双年展。
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