后生可畏
展览名称：《Yeah!解剖——任军个人作品展》
策 展 人：任军
展览总监：陈德城 杜放
展览执行：马艳
展览统筹：顾佳君
媒体联系：卢星 王婵娟
展览时间：2008年5月17日-2008年5月25日
开幕酒会：2008年5月17日
展览地点：上海多伦现代美术馆1-2层
主 办 ：上海多伦现代美术馆 协办：美术焦点传媒
上海多伦现代美术馆将于2008年5月17日至2008年5月25日举办“任军个人作品展”。
任军，生长和受教育于西安这个汉唐遗韵至今仍非常浓厚的古都，后又成为中国第一批介入市场的公共雕塑艺术家，并长期地频繁穿梭于国际之间。但正是在这种对传统文化、国际文化以及本土社会文化状况的一定程度的把握之下，他选择了回归和关注当下的本土经验和文化问题。他的“耶（Yeah）”系列作品，是其通过细致地采样、考察、研究的基础上，综合自身的国际视野和本土经验，以及对传统文化的把握，比对和探寻当下中国人的差异性文化心理，并在其绘画中以“耶”这一手势作为深层心理意识的喷发点。
“耶”这一手势，在当下的中国非常的普泛与流行，成为了日常性动作。作为源自西方文化的象征性手势，它本来意指VICTORY(胜利)。但是具有讽刺意义的是，西方人使用它的频率，其实远没有中国人这么高。“耶”这一手势的普泛，其实是流行文化占据主导文化地位的显征之一，它暗示了某种在各阶层之间趋同的文化心理。而在当下，它的频频使用，与某些日渐膨胀的欲求有潜在的关联，是一种集体意识的流露。所以，任军选择它，是希望它作为通行的关键性动作来凝练地传达某种当下集结的群体性心理态势。
在绘画语言方面，他摒弃技巧和趣味，用大号画笔和非绘画性工具“放手直取”，因为这样才能保持一种单纯与直接性，在瞬间“爆发”之中捕捉和传达他无法言传的独特体验与认知，这种语言方式，以其具体性而使得幅幅作品都有特定的指向，从而整个系列的作品具有了一定的丰富性和精准性，与那些千篇一律的符号化拉开距离。而灰白的色彩则注入更多的主观态度，把这些在当下正在炽情绽放的“活色生香”产生一种时间距离，以供历史眼光审视、历史意识反思。
在历史意识的驱动之下，任军这些力图捕捉、涵盖部分人群在当下的主要心理诉求和样态的作品，具有一定的文化研究意义和历史价值。
大盘震荡
Yeah! Dissection——Ren Jun’s Works Exhibition
Curator: Ren Jun
Producer: Chen Decheng
Administrative Director: Du Xiyun, Du Fang
Exhibition Coordinator: Gu Jiajun
Media: Lu Xing, Wang Chanjuan
Date: May 17 – May 25, 2008
Opening: May 17, 2008 3:00pm
Venue: 1-2/F, Shanghai Duolun Museum of Modern Art, No. 27, Duolun Rd
Presented by: Shanghai Duolun Museum of Modern Art
Co-operator: Art Focus Media
For further information:
Shanghai Duolun Museum of Modern Art
Lu Xing Tel: 65406703-106, Wang Chanjuan Tel: 65406703-103
Email: nhkbook@hotmail.com chanjuanwang@gmail.com
Shanghai Duolun Museum of Modern Art will hold the “Ren Jun’s Works Exhibition” from May 17th, 2008 to May 25th 2008.
Born and educated in Xi’an, an ancient city remaining the charm of Han Dynasty and Tang Dynasty, Ren Jun became a pioneer involved in the market as a public sculpture artist, shuttling around the world over the years. It is under this situation where traditional culture, international culture, and local culture of society coexist that he chose to return to his motherland and follow closely the current local experience and cultural issues. The series of “Yeah” is an “eruption”of deep psychological awareness by using the hand signal “yeah” in the pictures. All these are done to compare and find out the differences among today’s Chinese in their cultural psychology through combining his international vision with local experience, and his understanding of traditional culture on the basis of carefully collecting samples, examining and studying.
Nowadays, the hand signal “yeah” is popular in China, and has become a daily motion. As a symbol gesture originating from western culture, it originally refers to VICTORY. Ironically, the westerners use it far less than Chinese.
The popularity of the hand signal “yeah” is one of the features that pop culture occupies the guiding culture, which suggests the symmetry of cultural psychology among levels of all kinds. At present, the frequent use of it bears some latent relation to the increasing desire, revealing a kind of collective awareness. Therefore, the reason why Ren Jun chooses it is that he hopes to express concisely some current psychology of a group of people.
As to the way of painting, he casts off painting techniques and fun and uses the large-size paintbrush and non-painting tools to express his art concept freely and directly, which keeps the purity and the directness. In the “eruption”, he seizes and expresses his unique feeling and understanding, which cannot be expressed in language. Different from those stereotyped works, his unique art language gives all his works a special direction, thus bringing the whole series richness and exactness. Containing more subjective attitude of the artist, the grayish-white hue intends to create a sense of distance of time to today’s vigorous lives in his works, by which a viewer can look closely at these paintings with the eye of history and reflect upon the past.
Driven by the awareness of history, Ren Jun tries to seize and cover the state of mind and its ways of expression of a group of modern people. Therefore, his works are of cultural study value and historical value.
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